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Yamaha Mg12-4fx Manuals
Yamaha Mg12-4fx Manuals
MIXING CONSOLE
CONSOLE
Owners Manual
EN
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical
shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
Power supply/Power cord
Water warning
Only use the voltage specified as correct for the device. The required voltage is
printed on the name plate of the device.
Do not expose the device to rain, use it near water or in damp or wet conditions,
or place containers on it containing liquids which might spill into any openings.
Do not place the power cord near heat sources such as heaters or radiators, and
do not excessively bend or otherwise damage the cord, place heavy objects on
it, or place it in a position where anyone could walk on, trip over, or roll anything
over it.
Do not open
Do not open the device or attempt to disassemble the internal parts or modify
them in any way. The device contains no user-serviceable parts. If it should
appear to be malfunctioning, discontinue use immediately and have it inspected
by qualified Yamaha service personnel.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage
to the device or other property. These precautions include, but are not limited to, the following:
Power supply/Power cord
Remove the electric plug from the outlet when the device is not to be used for
extended periods of time, or during electrical storms.
When removing the electric plug from the device or an outlet, always hold the
plug itself and not the cord. Pulling by the cord can damage it.
To avoid generating unwanted noise, make sure there is 50 cm or more
between the AC power adaptor and the device.
Do not cover or wrap the AC power adaptor with a cloth or blanket.
Location
Before moving the device, remove all connected cables.
Avoid setting all equalizer controls and faders to their maximum. Depending on
the condition of the connected devices, doing so may cause feedback and may
damage the speakers.
Do not expose the device to excessive dust or vibrations, or extreme cold or heat
(such as in direct sunlight, near a heater, or in a car during the day) to prevent
the possibility of panel disfiguration or damage to the internal components.
Do not place the device in an unstable position where it might accidentally fall
over.
Do not use the device in the vicinity of a TV, radio, stereo equipment, mobile
phone, or other electric devices. Otherwise, the device, TV, or radio may
generate noise.
MG12/4FX
Connections
Before connecting the device to other devices, turn off the power for all devices.
Before turning the power on or off for all devices, set all volume levels to
minimum.
Handling caution
Do not insert your fingers or hand in any gaps or openings on the device.
Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any
gaps or openings on the device. If this happens, turn off the power immediately
and unplug the power cord from the AC outlet. Then have the device inspected
by qualified Yamaha service personnel.
Do not use the device or headphones for a long period of time at a high or
uncomfortable volume level, since this can cause permanent hearing loss. If you
experience any hearing loss or ringing in the ears, consult a physician.
Do not rest your weight on the device or place heavy objects on it, and avoid use
excessive force on the buttons, switches or connectors.
XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold ().
Insert TRS phone jacks are wired as follows: sleeve: ground, tip: send, and ring: return.
Yamaha cannot be held responsible for damage caused by improper use or modifications to the device.
Always turn the power off when the device is not in use.
Even when the power switch is in the STANDBY position, electricity is still flowing to the device at the minimum level. When you are not using the device for a long time,
make sure you unplug the power cord from the wall AC outlet.
The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult qualifi ed Yamaha service
personnel about replacing defective components.
Copying of the commercially available music data and/or digital audio files is strictly prohibited except for your personal use.
Illustration examples shown herein are for explanatory purposes only, and may not match actual appearance during operation.
The company names and product names in this Owners Manual are the trademarks or registered trademarks of their respective companies.
MG12/4FX
Introduction
Introduction
Thank you for your purchase of the YAMAHA MG12/4FX mixing console. The MG12/4FX features input channels suitable for
a wide range of usage environments, and includes high-quality built-in digital effects that can provide some very serious sound.
The mixer combines ease of operation with support for multiple usage environments.
Please read through this manual carefully before beginning use, so that you will be able to take full advantage of this mixers
superlative features and enjoy trouble-free operation for years to come.
Contents
Introduction
Features
4
Contents .............................................................. 4
Features ............................................................... 4
Before Turning on the Mixer ................................. 5
Turning the Power On .......................................... 5
17
Setting Up
23
Appendix
26
Specifications ..................................................... 26
Dimensional Diagrams ....................................... 28
Block Diagram and Level Diagram .................... 29
MG12/4FX
Introduction
MG12/4FX
An Introduction
Youve got yourself a mixer and now youre ready to use it.
Just plug everything in, twiddle the controls, and away you go right?
Well, if youve done this before you wont have any problems, but if this is
the first time youve ever used a mixer you might want to read through this little tutorial and pick up a few basics that will help you get better performance
and make better mixes.
Red
This is the consumer connector, and the one that has been most commonly used on
home audio gear for many years. Also known as phono jacks (short for phonogram),
but the term isnt used much these daysbesides, its too easily confusable with
phone jacks, below. RCA pin jacks are always unbalanced, and generally carry a
line-level signal at 10 dB, nominal. Youre most likely to use this type of connector
when connecting a CD player or other home audio type source to your mixer, or when
connecting the output of your mixer to a cassette recorder or similar gear.
MG12/4FX
The name phone jack arose simply because this configuration was first used in
telephone switchboards. Phone jacks can be tricky because you cant always tell what
type of signal theyre designed to handle just by looking at them. It could be unbalanced
mono, unbalanced stereo, balanced mono, or an insert patch point. The connectors label
will usually tell you what type of signal it handles, as will the owners manual (you do
keep your manuals in a safe place, dont you?). A phone jack that is set up to handle
balanced signals is also often referred to as a TRS phone jack. TRS stands for
Tip-Ring-Sleeve, which describes the configuration of the phone plug used.
Male
This type of connector is generally referred to as XLR-type, and almost always carries
a balanced signal. If the corresponding circuitry is designed properly, however,
XLR-type connectors will also handle unbalanced signals with no problem. Microphone
cables usually have this type of connector, as do the inputs and outputs of most
professional audio gear.
Female
To summarize:
Microphones:
Short line-level runs:
Long line-level runs:
No signal.
(Phase cancellation)
Reverse-phase signal.
MG12/4FX
A ground conductor which carries no signal, just the ground or 0 reference against which the signal in the other
conductors fluctuates.
A hot or + conductor which carries the normal-phase audio signal.
A cold or conductor which carries the reverse-phase audio signal.
While the desired audio signals in the hot and cold conductors are out of phase, any noise induced in the line will be exactly the
same in both conductors, and thus in phase. The trick is that the phase of one signal is reversed at the receiving end of the line so
that the desired audio signals become in-phase, and the induced noise suddenly finds itself out of phase. The out-of-phase noise
signal is effectively canceled while the audio signal is left intact. Clever, eh?
Normal-phase signal
+ normal-phase noise.
Desired signal
with no noise.
Normal-phase signal
+ reverse-phase noise.
MG12/4FX
Master Section
Input Channel
Master Section
1 Head Amp
4 Summing Amplifier
The very first stage in any mixer, and usually the only
stage with significant gain or amplification. The head
amp has a gain control that adjusts the mixers input
sensitivity to match the level of the source. Small signals
(e.g. mics) are amplified, and large signals are attenuated.
2 Equalizer
Could be simple bass and treble controls or a full-blown
4-band parametric EQ. When boost is applied the EQ
stage also has gain. You can actually overload the input
channel by applying too much EQ boost. Its usually
better to cut than boost.
MG12/4FX
Each and every stage in the mixers signal path will add a certain amount of noise to the signal: the head amp, the EQ stage,
the summing amplifier, and the other buffer and gain stages that exist in the actual mixer circuit (this applies to analog mixers in
particular). The thing to keep in mind is that the amount of noise added by each stage is usually not dependent to any significant
degree on the level of the audio signal passing through the circuit. This means that the bigger the desired signal, the smaller the
added noise will be in relation to it. In tech-speak this gives us a better signal-to-noise ratiooften abbreviated as S/N ratio.
All of this leads to the following basic rule:
To achieve the best overall system S/N ratio, amplify the input to the desired average level as
early as possible in the signal path.
In our mixer, that means the head amplifier. If you dont get the signal up to the desired level at the head amplifier stage, you will
need to apply more gain at later stages, which will only amplify the noise contributed by the preceding stages. Just remember
that too much initial gain is bad too, because it will overload our channel circuitry and cause clipping.
10
MG12/4FX
Start by setting all level controls to their minimum: master faders, group faders (if provided), channel faders, and input
gain controls. Also make sure that no EQ is applied (no boost or cut), and that all effects and dynamic processors included
in the system are defeated or bypassed.
Apply the source signal to each channel one at a time: have singers sing, players play, and playback devices play back at
the loudest expected level. Gradually turn up the input gain control while the signal is being applied to the corresponding
channel until the peak indicator begins to flash, then back off a little so that the peak indicator flashes only occasionally.
Repeat for each active channel.
Raise your master fader(s)and group faders if availableto their nominal levels (this will be the 0 markings on the
fader scale).
Now, with all sources playing, you can raise the channel faders and set up an initial rough mix.
Thats basically all there is to it. But do keep your eyes on the main output level meters while setting up the mix to be sure you
dont stay in the peak zone all the time. If the output level meters are peaking constantly you will need to lower the channel
faders until the overall program falls within a good rangeand this will depend on the dynamic range of your program
material.
MG12/4FX
11
post
A post-fader signal is
taken from a point after the
channel fader, so its level
will be affected by both the
AUX send level control and
the channel fader.
Post-fader sends are most
commonly used in conjunction with the mixers AUX or
effect returns for external
effect processing.
Using the AUX buses and level controls is pretty straightforward. The only thing you need to consider is whether you
need a pre-fader or post-fader send. AUX sends often
feature a switch that allows you to configure them for pre- or
post-fader operation.
Pre-fader send for a monitor mix. The send signal is fed to the monitor power amplifier and speaker system.
The channel fader does not affect the send level so the monitor mix remains independent of the main mix. No
return signal is used in this case.
Channel
Fader
Master
Fader
AUX Send
Level
Post-fader send for external effects processing. The send signal is fed to the external effect unita reverb
unit, for exampleand the output from the effect unit is returned to the AUX Return jack and mixed back into the
main program. The send level is affected by the channel fader so the effect level always remains in proportion to
the channel signal.
12
MG12/4FX
A group of channels whose levels need to maintain the same relationshipa drum mix, for
examplecan 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
Stereo
Master
Fader
MG12/4FX
13
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.
14
MG12/4FX
Tip
Faders Down
It might sound overly simple, but it is usually a good idea to
start with all channel faders offall the way down. Its also
possible to start with all faders at their nominal settings, but
its 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? Is it a song in which the vocals
are the most important element? If so you might want to
build the mix around the vocals. 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 youre 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. The relationship between the drums and
bass is extremely important to achieve the drive or
groove the music rides on. Pay particular attention to
how the bass works with the kick (bass drum). They
should almost sound like a single instrumentwith the
kick supplying the punch and the bass supplying the
pitch. Once again, there are no rules, but these are concepts that have been proven to work well.
MG12/4FX
15
5-4. Ambience
5-3. To EQ Or Not To EQ
In general: less is better. There are many situations in which
youll need to cut certain frequency ranges, but use boost
sparingly, and with caution. Proper use of EQ can eliminate
interference between instruments in a mix and give the overall sound better definition. Bad EQand most commonly
bad boostjust sounds terrible.
16
MG12/4FX
Reverb/Delay Time
Different reverb/delay units offer different capabilities, but
most offer some means of adjusting the reverb time. A little
extra time spent matching the reverb time to the music being
mixed can mean the difference between great and merely
average sound. The reverb time you choose will depend to a
great degree on the tempo and density of the mix at hand.
Slower tempos and lower densities (i.e. sparser mixes with
less sonic activity) can sound good with relatively long
reverb times. But long reverb times can completely wash out
a faster more active piece of music. Similar principles
applies to delay.
Reverb Tone
How bright or bassy a reverb sound is also has a huge
impact on the sound of your mix. Different reverb units offer
different means of controlling thisbalance between the
high- and low-frequency reverb times, simple EQ, and others. A reverb that is too bright will not only sound unnatural,
but it will probably get in the way of delicate highs you want
to come through in your mix. If you find yourself hearing
more high-end reverb than mix detail, try reducing the
brightness of the reverb sound. This will allow you to get
full-bodied ambience without compromising clarity.
Reverb Level
Its amazing how quickly your ears can lose perspective and
fool you into believing that a totally washed-out 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. You dont want
reverb to dominate the mix unless you are trying to create the
effect of a band in a cavewhich is a perfectly legitimate
creative goal if thats the sort of thing youre aiming for.
Channels
5/6 and 7/8
(Stereo)
Channels
9/10 and 11/12
(Stereo)
1
3
2 PEAK Indicator
4
3
5
6
5
6
0
A
0
A
Band
Type
HIGH
Shelving
10 kHz
MID
Peaking
2.5 kHz
LOW
Shelving
100 Hz
15 dB
5 AUX Control
The AUX knob controls the signal level that the channel
sends to the AUX bus. The knob should generally be set
close to the position.
If you are using stereo channels, the signals from the L
(odd) and R (even) channels are mixed and sent to the
AUX bus.
NOTE
MG12/4FX
17
6 PRE Switch
Selects whether the pre-fader or the post-fader signal is
fed to the AUX bus. If you set the switch on ( ), the
mixer sends the pre-fader signal (the signal prior to passage through channel fader B) to the AUX bus, so that
AUX output is not affected by the fader. If you set the
switch off ( ) the mixer sends the post-fader signal to
the AUX bus.
7 EFFECT Controls
Adjusts the level of the signal sent from the channel to
the EFFECT bus. Note that the signal level to the bus is
also affected by the fader. If you are using stereo channels (CHs 5/6, 7/8, 9/10, or 11/12), the signals from the
L (odd) and R (even) channels are mixed and then sent to
the EFFECT bus.
8 PAN Control (1 to 4)
PAN/BAL Control (5/6 and 7/8)
BAL Control (9/10 and 11/12)
The PAN control determines the positioning of the channels signal on the Group 1 and 2 buses or on the Stereo
L and R buses.
The BAL control knob sets the balance between left and
right channels. Signals into to the L input (odd channel)
feed to the Group 1 bus or to the Stereo L bus; signals
into the R input (even channel) feed to the Group 2 bus
or the Stereo R bus.
NOTE
ST Switch
This switch assigns the channels signal to the Stereo L
and R buses. To send the signal to the Stereo bus, set the
switch on by pressing it in ( ). The switch lights up
orange to indicate that it is on.
A GROUP Switch
Use this switch to assign the channels signal to the
Group output. Press the switch in ( ) to output the signal to the Group 1 and 2 buses.
NOTE
18
MG12/4FX
B Channel Fader
Adjusts the output level of the signal being input to the
channel. Use these faders to adjust the volume balance
among the various channels.
NOTE
7
6
A
NOTE
5 RETURN
AUX Control
Adjust the level of the mixed L/R signal sent from the
RETURN jacks (L (MONO) and R) to the AUX bus.
5
4
9
8
3
ST Control
Adjust the level of the signal sent from the RETURN
jacks (L (MONO) and R) to the Stereo bus.
If you supply a signal to the RETURN L (MONO)
jack only, the mixer outputs the identical signal to
both the L and R Stereo buses.
NOTE
6 2TR IN Control
Adjusts the level of the signal sent from the 2TR IN jack
to the Stereo bus.
NOTE
1 ST Master Fader
Adjusts the signal level to the ST OUT jacks.
3 TO ST Switch
If this switch is on ( ), the mixer sends the signals processed by the GROUP 1-2 fader (2) onto the Stereo bus.
The Group 1 signal goes to Stereo L and the Group 2 signal goes to Stereo R.
) if you do not
MG12/4FX
19
*1
PFL
*2
2TR IN ST-GROUP
ON
PFL
ON
2TR IN
OFF
GROUP
ON
C-R OUT
&
PHONES
OFF
OFF
ST
C DIGITAL EFFECT
PROGRAM Dial
Selects the internal digital effect to be applied. You can
select from 16 effects, as shown in the table.
No
Program
Parameter
REVERB HALL 1
REVERB TIME
REVERB HALL 2
REVERB TIME
REVERB ROOM 1
REVERB TIME
REVERB ROOM 2
REVERB TIME
REVERB STAGE 1
REVERB TIME
REVERB STAGE 2
REVERB TIME
REVERB PLATE
REVERB TIME
DRUM AMBIENCE
REVERB TIME
KARAOKE ECHO
DELAY TIME
VOCAL ECHO
DELAY TIME
CHORUS 1
LFO FREQ
CHORUS 2
LFO FREQ
FLANGER
LFO FREQ
PHASER
LFO FREQ
AUTO WAH
LFO FREQ
DISTORTION
DRIVE
PARAMETER Control
Adjusts the parameter (depth, speed, etc.) for the
selected effect.
NOTE
9 C-R/PHONES Control
Controls the level of the signal output to the PHONES
jack and the C-R L and R jacks.
0 Level Meter
This LED display shows the level of the signal selected
by the selection switches described in 8 above (the level
to the C-R OUT and PHONES jacks). The 0 point corresponds to the standard output level. The indicator
lights up red when the output hits the clipping level.
A POWER Indicator
This indicator lights up when the mixers power is ON.
B PHONES Jack
Connector for headphones. This is a stereo phone-type
output jack.
NOTE
PFL Switch
Set this switch on if you wish to output the effect signal
to the PFL bus.
EFFECT RTN Fader
Adjusts the signal level from the internal digital effector to the STEREO bus.
20
MG12/4FX
Sleeve
Tip
1
These are unbalanced stereo line input jacks. Two jack
types are provided: phone type (CHs 5/6 to 11/12) and
RCA pin type (CHs 9/10, 11/12).
NOTE
Sleeve
Ring
NOTE
NOTE
Tip
MG12/4FX
21
7 SEND Jacks
0 2TR IN Jacks
AUX
This is an impedance balanced phone-type output jack.
This jack outputs the signals from AUX bus, respectively. You use this jack, for example, to connect to an
effector or to a cue box or other such monitoring system.
EFFECT
This is an impedance balanced phone-type output jack
that outputs the signal from the EFFECT bus.
You use this jack, for example, to connect to an external effector.
NOTE
B POWER Switch
Use this switch to set mixer power to ON or STANDBY.
C AC ADAPTOR IN Connector
Connects to the included PA-20 power adaptor (see page
5).
Use only the PA-20 adaptor included with this
mixer. Use of a different adaptor may result in fire
or electric shock.
Connector Polarities
Pin 1: Ground
Pin 2: Hot (+)
Pin 3: Cold ()
INSERT I/O
Tip: Output
Ring: Input
Sleeve: Ground
PHONES
Tip: L
Ring: R
Sleeve: Ground
RETURN
LINE INPUT (stereo channels)
Tip: Hot
Sleeve: Ground
INPUT
OUTPUT
Ring
Sleeve
Sleeve
*
22
Tip
Tip
These jacks will also accept connection to monaural phone plugs. If you use monaural plugs, the connection will be unbalanced.
MG12/4FX
Setting Up
Setting Up
Setup Procedure
NOTE
Setup Examples
Home Recording
Synthesizer
Effector
Effector
Rhythm
Machine
Effector
MTR
Guitar
Microphone
Foot Switch
(YAMAHA FC5)
Powered Monitor
Speakers
Headphones
Master Recorder
(MD, CD-R, DAT, etc.)
Personal Computer
MTR
MG12/4FX
23
Setting Up
Sound Reinforcement for Live Performance
Monitor Speakers
(Internal)
Drums
Microphones
Power Amp
Effector
DI
Synthesizer
CD, Cassette, or
DAT Recorder
Bass
CD Player
Effector
Power Amp
Foot Switch
(YAMAHA FC5)
Microphones
Headphones
Guitar
Main Speakers
(External)
Stage (Internal)
ST
24
MG12/4FX
AUX
(PRE
)
Audience (External)
ST
Setting Up
Rack Mounting
Mounting the MG12/4FX
Mount the unit into the rack, and fasten it into place.
Do not install the mixer near power amps or other
heat-generating devices.
MG12/4FX
25
Appendix
Appendix
Specifications
Electrical Characteristics
Total Harmonic Distortion
(MIC to ST OUT)
Frequency Response
(MIC to ST OUT)
Crosstalk (1 kHz)
Monaural/Stereo Input GAIN Control
Conditions
(THD+N) 20 Hz-20 kHz @+14 dBu 600 ohms (CH1 to 4) with
Signal input CH ST Switches are On, Signal input CH Fader,
ST Master Fader at nominal level
20 Hz-20 kHz @+4 dBu 600 ohms with GAIN control at
minimum level
Equivalent Input Noise (CH1 to 4)
Residual Output Noise (ST OUT)
ST, GROUP Master Fader at nominal level and all CH Group
Switches and ST Switches are off. (ST, GROUP OUT)
AUX Master Control at nominal level and all CH mix controls
at minimum level. (AUX SEND)
ST, GROUP Master Fader and one CH Fader at nominal level.
(CH1 to 4) (ST, GROUP OUT)
CH MIC INPUT to CH INSERT OUT
CH MIC INPUT to GROUP OUT, ST OUT (CH to ST)
CH MIC INPUT to ST OUT (GROUP to ST)
CH MIC INPUT to REC OUT (CH to ST)
CH MIC INPUT to AUX SEND (PRE)
CH MIC INPUT to AUX SEND (POST), EFFECT SEND
CH LINE INPUT to GROUP OUT, ST OUT (CH to ST)
ST CH MIC INPUT to GROUP OUT, ST OUT (CH to ST)
ST CH LINE INPUT to GROUP OUT, ST OUT (ST CH to ST)
ST CH LINE INPUT to AUX SEND (PRE)
ST CH LINE INPUT to AUX SEND (POST), EFFECT SEND
ST CH INPUT to GROUP OUT, ST OUT (ST CH to ST)
RETURN to ST OUT
RETURN to AUX SEND
2TR INPUT to ST OUT
Adjacent inputs
input to output
variable range
MIN
TYP
MAX
UNIT
0.1
dB
128
100
88
(92 dB S/N)
81
(85 dB S/N)
64
(68 dB S/N)
dBu
dBu
60
84
94
62.2
76
86
58
84
58
47
57
34
16
9
27.8
70
70
44
dBu
dBu
dBu
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
General Specifications
Monaural/Stereo CH High Pass Filter
Monaural/Stereo CH Equalization
Turn over /roll-off frequency of shelving, 3 dB below maximum
variable level
Level Meters
Included Accessories
Options
Power Consumption
Dimensions (W H D)
Weight
26
MG12/4FX
80 Hz 12 dB/octave
15 dB (Max. Variation)
HIGH: 10 kHz (shelving)
MID: 2.5 kHz (peaking)
LOW: 100 Hz (shelving)
16 programs, Parameter control
FOOT switch (ON/OFF)
Supplied when Phantom +48 V switch is ON. (XLR-type input jacks)
On each channel: red indicator lights if post-EQ signal (on ST channels, if either post-EQ
signal or post-mic-amp signal) comes within 3 dB of the clipping level.
Two 12-points LED level meters [ST (L, R)]
Peak point: red indicator
+5, +3, +1, 0: yellow indicators
1, 3, 5, 7, 10, 15, 20: green indicators
Power adaptor (PA-20)
Footswitch (FC5)
36 W
322 mm 108 mm 416.6 mm
5 kg
Appendix
Input Specifications
Input Connector
Gain
Input
Impedance
Appropriate
Impedance
Sensitivity*
Nominal
Level
Max. Before
Clipping
80 dBu
(0.078 mV)
60 dBu
(0.775 mV)
40 dBu
(7.75 mV)
36 dBu
(12.3 mV)
16 dBu
(123 mV)
+4 dBu
(1.23 V)
54 dBu
(1.55 mV)
34 dBu
(15.5 mV)
14 dBu
(155 mV)
+10
10 dBu
(245 mV)
+10 dBu
(2.45 V)
+30 dBu
(24.5 V)
ST CH MIC INPUT
(CH5(L)/CH6(R),
CH7(L)/CH8(R))
60
80 dBu
(0.078 mV)
60 dBu
(0.775 mV)
40 dBu
(7.75 mV)
36 dBu
(12.3 mV)
16 dBu
(123 mV)
10 dBu
(245 mV)
ST CH LINE INPUT
(CH5(L)/CH6(R),
CH7(L)/CH8(R))
34
54 dBu
(1.55 mV)
34 dBu
(15.5 mV)
14 dBu
(155 mV)
10 dBu
(245 mV)
+10 dBu
(2.45 V)
+30 dBu
(24.5 V)
60
MIC INPUT
(CHs 1 to 4)
3 k
50600 mic
10 k
600 line
16
34
LINE INPUT
(CHs 1 to 4)
Connector
Specifications
XLR-3-31 type
(balanced)
Phone jack (TRS)
(balanced [T: hot;
R: cold;
S: ground])
XLR-3-31 type
(balanced)
3 k
50600 mic
10 k
600 line
ST CH INPUT
(CH9(L)/CH10(R),
CH11(L)/CH12(R))
10 k
600 line
30 dBu
(24.5 mV)
10 dBu
(245 mV)
+10 dBu
(2.45 V)
Phone jack
(unbalanced);
RCA pin jack
CH INSERT IN
(CHs 1 to 4)
10 k
600 line
20 dBu
(77.5 mV)
0 dBu
(0.775 V)
+20 dBu
(7.75 V)
RETURN (L, R)
10 k
600 line
12 dBu
(195 mV)
+4 dBu
(1.23 V)
+24 dBu
(12.3 V)
Phone jack
(unbalanced)
2TR IN (L, R)
10 k
600 line
26 dBV
(50.1 mV)
10 dBV
(316 mV)
+10 dBV
(3.16 V)
16
+10
Phone jack
(unbalanced)
Input sensitivity: the lowest level that will produce the nominal output level when the unit is set to maximum gain.
Output Specifications
Output Connectors
Nominal Level
Max. Before
Clipping
Connector Specifications
ST OUT (L, R)
150
600 line
+4 dBu (1.23 V)
150
10 k line
+4 dBu (1.23 V)
CH INSERT OUT
(CHs 1 to 4)
150
10 k line
0 dBu (0.775 V)
600
10 k line
150
10 k line
+4 dBu (1.23 V)
PHONES
100
40 phone
3 mW
75 mW
Specifications and descriptions in this owners manual are for information purposes only. Yamaha Corp. 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: 3A
Conformed Environment: E1, E2, E3 and E4
MG12/4FX
27
Appendix
Dimensional Diagrams
108
102.6
322
325.6
416.6
317.4
322
480
Unit: mm
28
MG12/4FX
Appendix
MG12/4FX
29
MEMO
30
MG12/4FX
NORTH AMERICA
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: 416-298-1311
FRANCE
U.S.A.
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 714-522-9011
BRAZIL
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Av. Reboucas 2636-Pinheiros CEP: 05402-400
Sao Paulo-SP. Brasil
Tel: 011-3085-1377
ARGENTINA
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Sucursal de Argentina
Viamonte 1145 Piso2-B 1053,
Buenos Aires, Argentina
Tel: 1-4371-7021
EUROPE
THE UNITED KINGDOM
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Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
Tel: 01908-366700
GERMANY
Yamaha Music Central Europe GmbH
Siemensstrae 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
SWITZERLAND/LIECHTENSTEIN
Yamaha Music Central Europe GmbH,
Branch Switzerland
Seefeldstrasse 94, 8008 Zrich, Switzerland
Tel: 01-383 3990
AUSTRIA
Yamaha Music Central Europe GmbH,
Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-60203900
ASIA
BELGIUM/LUXEMBOURG
ITALY
Yamaha Musica Italia S.P.A.
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
SPAIN/PORTUGAL
Yamaha-Hazen Msica, S.A.
Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid), Spain
Tel: 91-639-8888
SWEDEN
Yamaha Scandinavia AB
J. A. Wettergrens Gata 1
Box 30053
S-400 43 Gteborg, Sweden
Tel: 031 89 34 00
INDONESIA
PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
KOREA
Yamaha Music Korea Ltd.
Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong,
Youngdungpo-ku, Seoul, Korea
Tel: 02-3770-0660
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd.
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: 3-78030900
Yamaha Music Asia Pte., Ltd.
#03-11 A-Z Building
140 Paya Lebor Road, Singapore 409015
Tel: 747-4374
NORWAY
Norsk filial av Yamaha Scandinavia AB
Grini Nringspark 1
N-1345 sters, Norway
Tel: 67 16 77 70
AFRICA
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2313
MIDDLE EAST
TURKEY/CYPRUS
Yamaha Music Central Europe GmbH
Siemensstrae 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
Yamaha Music Gulf FZE
LB21-128 Jebel Ali Freezone
P.O.Box 17328, Dubai, U.A.E.
Tel: +971-4-881-5868
SINGAPORE
DENMARK
OTHER COUNTRIES
TAIWAN
Yamaha KHS Music Co., Ltd.
3F, #6, Sec.2, Nan Jing E. Rd. Taipei.
Taiwan 104, R.O.C.
Tel: 02-2511-8688
THAILAND
Siam Music Yamaha Co., Ltd.
891/1 Siam Motors Building, 15-16 floor
Rama 1 road, Wangmai, Pathumwan
Bangkok 10330, Thailand
Tel: 02-215-2626
OCEANIA
AUSTRALIA
Yamaha Music Australia Pty. Ltd.
Level 1, 99 Queensbridge Street, Southbank,
Victoria 3006, Australia
Tel: 3-9693-5111
THE NETHERLANDS
Yamaha Music Central Europe,
Branch Nederland
Clarissenhof 5-b, 4133 AB Vianen, The Netherlands
Tel: 0347-358 040
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2441
PA11
U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
2004 Yamaha Corporation
WC71270 408CRAP8.3-01A0
Printed in China