User manual YAMAHA MG16-4 MG12-4

[. . . ] MIXING CONSOLE Owner's Manual MG16/4 MG12/4 Making the Most Of Your Mixer Pages 6 to 17 E Precautions --For safe operation-- WARNING Installation G G G G G Connect this unit's AC power adaptor only to an AC outlet of the type stated in this Owner's Manual or as marked on the unit. Do not allow water to enter this unit or allow the unit to become wet. Do not place a container with liquid or small metal objects on top of this unit. Liquid or metal objects inside this unit are a fire and electrical shock hazard. [. . . ] Group buses usually also have their own outputs, so you can send the group signal to a different external destination from the main mix. Channel faders Assigned to Group (Controlled As a Group) A group of channels whose levels need to maintain the same relationship--a drum mix, for example--can be assigned to a group bus. Usually the group bus signal can be output independently via "Group" outputs, or it can be assigned to the main program (stereo) bus to be mixed in with the main stereo program. Group Fader Once the mix between the channels assigned to the group is established via the channel faders, the overall level of the entire group can be conveniently adjusted via a single group fader. Channel faders Assigned to Stereo (Controlled Individually) Stereo Master Fader 14 MG16/4, MG12/4 Making the Most Of Your Mixer 4-3. Channel Inserts for Channel-specific Processing Another way to get the mixer's signal outside the box is to use the channel inserts. The channel inserts are almost always located before the channel fader and, when used, actually "break" the mixer's internal signal path. Unlike the AUX sends and returns, the channel insert only applies to the corresponding channel. Channel inserts are most commonly used for applying a dynamics processor such as a compressor or limiter to a specific channel--although they can be used with just about any type of in/out processor. Channel Fader When a plug is inserted into the channel insert jack, the internal signal path is interrupted and sent outside the mixer for external processing. Channel insert jacks must be used with a special insert cable that has a TRS phone jack on one end and mono phone jacks on the split "Y" end. One of the mono phone jacks carries the "send" signal to be fed to the input of the external processor, and the other carries the "return" signal from the output of the processor. To the input jack of the external processor To the INSERT I/O jack Sleeve Sleeve Ring Tip Tip To the output jack of the external processor MG16/4, MG12/4 15 Making the Most Of Your Mixer 5 Making Better Mixes Music First--Then Mix In any case, the music comes first. Think about the music and let it guide the mix, rather than trying to do things the other way around. What is the music saying and what instrument or technique is being used to drive the message?You're using a hightech tool to do the mixing, but the mix itself is as much art as the music. Approach it that way and your mixes will become a vital part of the music. 5-1. Well, you can do it that way, but a more systematic approach that is suited to the material you're mixing will produce much better results, and faster. There are no rules, and you'll probably end up developing a system that works best for you. Panning For Cleaner Mixes Not only does the way you pan your individual channels determine where the instruments appear in the stereo sound field, but it is also vital to give each instrument it's own "space" so that it doesn't conflict with other instruments. Unlike live sound in a real acoustic space, recorded stereo sound is basically 2-dimensional (although some types of surround sound are actually very 3-dimensional), and instruments positioned right on top of each other will often get in each other's way--particularly if they are in the same frequency range or have a similar sound. Faders Down It might sound overly simple, but it is usually a good idea to start with all channel faders off--all the way down. It's also possible to start with all faders at their nominal settings, but it's too easy to lose perspective with this approach. Start with all faders down, then bring them up one by one to fill out the mix. But which channel should you start with? Example1: Vocal Ballad Backed by Piano Trio What are you mixing?This means bringing the vocal channel up to nominal first (if your level setup procedure has been done properly this will be a good starting point), and then adding the other instruments. What you add next will depend on the type of material you are working with and your approach to it. If the vocals are backed by a piano trio and the song is a ballad, for example, you might want to bring in the piano next and get the vocal/piano relationship just right, then bring in the bass and drums to support the overall sound. Example2: Funky R&B Groove The approach will be totally different if you're mixing a funky R&B number that centers on the groove. In this case most engineers will start with the drums, and then add the bass. [. . . ] reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. For European Model Purchaser/User Information specified in EN55103-1 and EN55103-2. Inrush Current: 6A Conformed Environment: E1, E2, E3 and E4 28 MG16/4, MG12/4 Appendix Dimensional Diagrams I MG16/4 27. 5 H 108 101. 3 393 3 428 D 416. 6 309. 6 31. 5 W 423 480 When mounted on rack I MG12/4 H 108 102. 6 2 W 322 322 D 416. 6 325. 6 317. 4 480 When mounted on rack MG16/4, MG12/4 29 Appendix Block Diagram and Level Diagram 30 MG16/4, MG12/4 For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. [. . . ]