User manual YAMAHA MG206C-MG166CX-MG166C

[. . . ] Features Input Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 12 With up to 16 (MG166CX/MG166C: 10) mic/line inputs or up to four stereo inputs, the MG mixer can simultaneously connect to a wide range of devices: microphones, line-level devices, stereo synthesizers, and more. Compression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 10 Compression increases the overall level without introducing distortion by compressing excessive peaks in the signals from microphones and guitars. AUX Sends and Stereo AUX Return. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 16 You can use the AUX SEND jack to feed the signal sent to an external signal processor, and then return the processed stereo signal through the RETURN jack. High-quality digital effects (MG166CX). . . . . . . . . . . . . . . . . . . . pages 15, 19 With digital effects built in, the MG166CX can deliver a wide range of sound variations all by itself. Caractéristiques Compression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 46 La compression augmente le niveau général sans engendrer de distorsion en comprimant les pics excessifs des signaux des micros et des guitares. [. . . ] Delay times can be adjusted to create a wide variety of "grooves". When adding delay to a vocal, for example, try setting the delay time to dotted eighth notes corresponding to the tune's tempo. For chorus and flanging the signal is delayed by several milliseconds, with the delay time modulated by an LFO, and recombined with the direct signal. In addition to the phasing effect described above, the delay modulation causes a perceived pitch shift which, when mixed with the direct signal, results in a harmonically rich swirling or swishing sound. The difference between chorus and flanging effects is primarily in the amount of delay time and feedback used--flanging uses longer delay times than chorus, whereas chorus generally uses a more complex delay structure. Chorus is most often used to thicken the sound of an instrument, while flanging is usually used as an outright "special effect" to produce otherworldly sonic swoops. Reverb Tone Different reverb programs will have different "reverb tone" due to differences in the reverb time of the high or low frequencies. Too much reverb, particularly in the high frequencies, can result in unnatural sound and interfere with the high frequencies in other parts of the mix. It's always a good idea to choose a reverb program that gives you the depth you want without detracting from the clarity of the mix. Compression One form of compression known as "limiting" can, when properly used, produce a smooth, unified sound with no excessive peaks or distortion. A common example of the use of compression is to "tame" a vocal that has a wide dynamic range in order to tighten up the mix. With the right amount of compression you'll be able to clearly hear whispered passages while passionate shouts are still well balanced in the mix. Too much compression can be a cause of feedback, however, so use it sparingly. Most compressors require several critical parameters to be set properly to achieve the desired sound. The MG compressor makes achieving great sound much easier: all you need to do is set a single "compression" control and all of the pertinent parameters are automatically adjusted for you. OUTPUT Reverb Level It's amazing how quickly your ears can lose perspective and fool you into believing that a totally washedout mix sounds perfectly fine. To avoid falling into this trap start with reverb level all the way down, then gradually bring the reverb into the mix until you can just hear the difference. Any more than this normally becomes a "special effect. " The Modulation Effects: Phasing, Chorus, and Flanging All of these effects work on basically the same principle: a portion of the audio signal is "time-shifted" and then mixed back with the direct signal. The amount of time shift is controlled, or "modulated", by an LFO (Low-frequency Oscillator). The phase difference between the modulated and direct signals causes cancellation at some frequencies and reinforces the signal at others and this causes the shimmering sound we hear. (Min) (Max) INPUT 10 MG206C/MG166CX/MG166C Owner's Manual Reference Setup Reference Guitar Rear panel Recorder Powered monitor speakers Bass CD Player Effect processor Powered speakers Synthesizer Microphone DI Effect processor (exciter) Headphones Powered monitor speakers MG206C MG206C/MG166CX/MG166C Owner's Manual 11 Reference Front & Rear Panels Channel Control Section MG206C MG166CX/MG166C * A MG166C : EFFECT AUX3 Channels 1 to 8 (Monaural) Channels 9 to 12 (Monaural) Channels 13/14 and 15/16 (Stereo) Channels 17/18 and 19/20 (Stereo) Channels 1 to 6 (Monaural) Channels 7 and 8 (Monaural) Channels 9/10 and 11/12 (Stereo) Channels 13/14 and 15/16 (Stereo) 1 2 3 5 1 1 2 1 4 4 3 5 6 7 8 9 6 7 6 7 8 6 7 9 9 9 0 0 0 0 A A A A B B B B C C C C D E F G H D E F G H D E F G H D E F G H I I I I 12 MG206C/MG166CX/MG166C Owner's Manual Reference Front & Rear Panels 1 MIC Input jacks These are balanced XLR-type microphone input jacks. (1: Ground; 2: Hot; 3: Cold) 7 Switch (High-Pass Filter) This switch toggles the HPF on or off. The HPF cuts frequencies below 80 Hz (the HPF does not apply to the line inputs of stereo input channels 3, 4). 2 LINE Input Jacks (monaural channels) These are balanced TRS phone-jack line inputs. You can connect either balanced or unbalanced phone plugs to these jacks. 8 COMP Control Adjusts the amount of compression applied to the channel. As the knob is turned to the right the compression ratio increases while the output gain is automatically adjusted accordingly. The result is smoother, more even dynamics because louder signals are attenuated while the overall level is boosted. NOTE 3 LINE Input Jacks (stereo channels) These are unbalanced phone-jack stereo line inputs. 4 LINE Input Jacks (stereo channels) These are unbalanced stereo RCA pin jacks. NOTE On channels that provide multiple input jack options only one type of jack can be used at a time. Avoid setting the compression too high, as the higher average output level that results may lead to feedback. 5 INSERT Jacks These jacks can be used to insert an external signal-processing device between the equalizer and fader of the corresponding monaural input channel. [. . . ] 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. MG206C/MG166CX/MG166C Owner's Manual 79 Reference Specifications AUX1 AUX2 AUX3 AUX4 STEREO L STEREO R GROUP 1 GROUP 2 GROUP 3 GROUP 4 PFL L PFL R PFL CTRL [0dBu] Mid G [-34 to +10dBu] AUX2 PRE SUM AUX3 [0dBu] [0dBu] TH+GAIN CH9 to 12 GROUP Fader [-6dBu] BA [-6dBu] TO STEREO SUM [-6dBu] INSERT I/O 4 PEAK RE PRE AUX4 PFL SUM ST G1­2 [0dBu] YE G3­4 [0dBu] [-6dBu] BA AUX 1 [0dBu] [-10dBu] [0dBu] [-34 to +10dBu] CH Fader BAL/PAN BA [0dBu] [0dBu] MIC +15V HA HPF [-60 to -16dBu] [-10dBu] HPF ST CH INPUT (CH13/14, 15/16) LINE L/MONO HA [0dBu] Lo G 3-Stage EQ Mid f Hi G Lo [-34 to +10dBu] ST Fader SUM BA [0dBu] [-6dBu] AUX 2 PRE AUX 3 [-6dBu] PRE [-6dBu] ST/GROUP 1-2/3-4 [0dBu] LED Meter DR PFL AUX 4 SUM BA GAIN Trim [6 to 50dB] LINE R Mid Hi [-6dBu] 80 ST GROUP Fader ON SUM BA [-10dBu] YE AUX1 [-6dBu] SUM BA [0dBu] [+4dBu] [-10dBu] BA G3­4 [0dBu] [0dBu] RE CH Fader PAN G1­2 [0dBu] MIC 2 GROUP OUT 3 [0dBu] PHANTOM +48V PEAK RE [0dBu] SUM BA [0dBu] [-10dBu] 1 HA HPF CH1 to 8 [-60 to -16dBu] COMP 3-Stage EQ HPF CH INPUT LINE (CH1 to 12) GAIN Trim [16 to 60dB] L HA 3-Stage EQ STEREO OUT [+4dBu] [-34 to +10dBu] R Block Diagram and Level Diagram (MG206C) MG206C/MG166CX/MG166C Owner's Manual L REC OUT [-10dBV] MIC HA [-34 to +10dBu] HPF [-60 to -16dBu] HPF ST CH INPUT (CH17/18, 19/20) LINE L HA [0dBu] ST CH INPUT 17/18-19/20 -- Same as ST CH INPUT 13/14-15/16 R [-7. 8dBu] [-34 to +10dBu] GAIN Trim +15V [6 to 50dB] LINE R SUM [-6dBu] STEREO SUM AUX 1 [-14dBu] [0dBu] SUM HA [0dBu] [-34 to +10dBu] L MONITOR OUT SUM [+4dBu] INV AUX 2 [-14dBu] R DR LED Meter [-16dBu] INV MONI/PHONES INV L/MONO [0dBu] RETURN (RETURN1/2) [+4dBu] R INV PHONES [3mW, 40ohms] ST/MONITOR 2TR IN [0dBu] L [-6dBu] SUM INV 2TR IN [-10dBV] [-7. 8dBu] R INV [0dBu] AUX SEND 1 [-6dBu] BA AUX SEND 1 [+4dBu] AUX SEND 2 to 4 -- Same as AUX SEND 1 MONITOR MIX +30dBu Clip Level RETURN [+4dBu] 2TR IN [-10dBV] [-7. 8dBu] ST CH AUX *1 [Nominal:-6dB] CH Level ST CH Level [Nominal:-10dB] RETURN 2TR IN [Nominal:-6dB] AUX SEND *1 [Nominal:-6dB] REC OUT [-7. 8dBu] GROUP Fader [Nominal:-10dB] ST Master [Nominal:-10dB] MONI/PHONES [Nominal:-16dB] CH AUX *1 [Nominal:-6dB] Clip Level AUX SEND *1 [+4dBu] Clip Level GROUP OUT [+4dBu] Clip Level ST OUT [+4dBu] MONITOR OUT [+4dBu] PHONES [3mW @ 40ohms] Clip Level +30dBu +20dBu +10dBu 0dBu -10dBu -20dBu -30dBu +20dBu Clip Level Clip Level Clip Level +10dBu CH IN LINE Gain:Min [+10dBu] ST CH IN LINE Gain:Min [+10dBu] 0dBu -10dBu CH IN MIC Gain:Min [-16dBu] ST CH IN MIC Gain:Min [-16dBu] -20dBu ST CH IN [-10dBu] -30dBu CH IN LINE Gain:Max [-34dBu] ST CH IN LINE Gain:Max [-34dBu] -40dBu -50dBu -60dBu CH IN MIC Gain:Max [-60dBu] ST CH IN MIC Gain:Max [-60dBu] AUX1 AUX2 AUX* STEREO L STEREO R GROUP 1 GROUP 2 GROUP 3 GROUP 4 PFL L PFL R PFL CTRL RE GROUP Fader ON SUM BA [-10dBu] [0dBu] AUX1 AUX2 PRE AUX* [0dBu] [0dBu] CH Fader SUM TO ST [-6dBu] SUM BA [-6dBu] GROUP Fader [-6dBu] SUM BA [+4dBu] [-10dBu] BA G3­4 [0dBu] [0dBu] CH Fader PAN G1­2 [0dBu] MIC 2 GROUP OUT 3 4 [0dBu] PHANTOM +48V PEAK RE ST [0dBu] SUM BA [0dBu] [-10dBu] 1 HA HPF CH1 to 6 [-60 to -16dBu] YE COMP 3-Stage EQ HPF Hi G PEAK RE CH INPUT LINE TH+GAIN CH7 to 8 [0dBu] INSERT I/O [0dBu] PFL ST SUM G1­2 [0dBu] YE G3­4 [0dBu] [-6dBu] BA AUX 1 [-6dBu] [0dBu] [-10dBu] [-34 to +10dBu] Mid G [-34 to +10dBu] Lo G Mid f (CH1 to 8) GAIN Trim [16 to 60dB] +15V BA [0dBu] BAL/PAN MIC [-10dBu] [0dBu] HA HPF [-60 to -16dBu] HPF 3-Stage EQ ST CH INPUT Hi (CH9/10, 11/12) HA [0dBu] Lo [-34 to +10dBu] STEREO Fader SUM BA [0dBu] GAIN Trim [6 to 50dB] Mid LINE L/MONO L HA [0dBu] AUX 2 PRE [-6dBu] AUX* PFL SUM BA 3-Stage EQ STEREO OUT [+4dBu] LINE R [-34 to +10dBu] R L +15V ON STEREO/GROUP 1-2/3-4 [0dBu] LED Meter Hi YE [0dBu] REC OUT R [-10dBV] [-7. 8dBu] HA [0dBu] 3-Stage EQ L Same as CH9/10 DR SUM [0dBu] [0dBu] SUM Lo ST CH INPUT (CH13/14, 15/16) [-10dBu] HA 3-Stage EQ Mid L MONITOR OUT [+4dBu] R SUM ST [-6dBu] SUM INV R DR LED Meter [-16dBu] AUX 2 [-14dBu] [-6dBu] INV MONI/PHONES INV L/MONO AUX 1 [-14dBu] [0dBu] RETURN [+4dBu] INV PHONES [3mW, 40ohms] R TO ST/TO MONITOR 2TR IN SUM [0dBu] AUX SEND 1 [-6dBu] BA L [-6dBu] SUM INV AUX SEND 1 AUX SEND 2 [-6dBu] [+4dBu] 2TR IN [0dBu] [0dBu] [-10dBV] [-7. 8dBu] BA Block Diagram and Level Diagram (MG166CX/MG166C) AUX SEND 2 [0dBu] AUX SEND* [-6dBu] [+4dBu] BA R SUM INV AUX SEND * MONITOR MIX [+4dBu] only MG166CX EFFECT RETURN L out [-10dBu] R out BA AUX 1 AUX 2 [-14dBu] [-14dBu] BA FOOT SW EFFECT ON/OFF PROGRAM (1­16) ST [0dBu] G1­2 [0dBu] G3­4 [0dBu] MODEL MG166C MG166CX AUX * AUX 3 EFFECT PARAMETER ON YE IN DIGITAL EFFECT (DSP) +15V PFL +30dBu Clip Level RETURN [+4dBu] 2TR IN [-10dBV] [-7. 8dBu] ST CH AUX *1 [Nominal:-6dB] CH Level ST CH Level [Nominal:-10dB] RETURN 2TR IN [Nominal:-6dB] AUX SEND *1 [Nominal:-6dB] REC OUT [-7. 8dBu] GROUP Fader [Nominal:-10dB] ST Master [Nominal:-10dB] MONI/PHONES [Nominal:-16dB] CH AUX *1 [Nominal:-6dB] Clip Level AUX SEND *1 [+4dBu] Clip Level GROUP OUT [+4dBu] Clip Level ST OUT [+4dBu] MONITOR OUT [+4dBu] PHONES [3mW @ 40ohms] Clip Level +30dBu +20dBu +10dBu 0dBu -10dBu -20dBu -30dBu +20dBu Clip Level Clip Level Clip Level +10dBu CH IN LINE Gain:Min [+10dBu] ST CH IN LINE Gain:Min [+10dBu] 0dBu -10dBu CH IN MIC Gain:Min [-16dBu] ST CH IN MIC Gain:Min [-16dBu] -20dBu ST CH IN [-10dBu] -30dBu CH IN LINE Gain:Max [-34dBu] ST CH IN LINE Gain:Max [-34dBu] MG206C/MG166CX/MG166C Owner's Manual -40dBu -50dBu -60dBu CH IN MIC Gain:Max [-60dBu] ST CH IN MIC Gain:Max [-60dBu] Reference Specifications 81 For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. NORTH AMERICA CANADA Yamaha Canada Music Ltd. [. . . ]