Yamaha MGP12X Uživatelský manuál

Značka: Yamaha

Modelka: MGP12X

Kategorie: Audio mixéry

Typ: Uživatelský manuál

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Owner’s Manual

Precautions pages 4, 5

Quick Start Guide pages 12 to 14

Troubleshooting page 27

MGP16X/MGP12X Owner’s Manual

IMPORTANT SAFETY

INSTRUCTIONS

1 Read these instructions.

2 Keep these instructions.

3 Heed all warnings.

4 Follow all instructions.

5 Do not use this apparatus near water.

6 Clean only with dry cloth.

7 Do not block any ventilation openings. Install in accordance with the

manufacturer’s instructions.

8 Do not install near any heat sources such as radiators, heat registers,

stoves, or other apparatus (including amplifiers) that produce heat.

9 Do not defeat the safety purpose of the polarized or grounding-type plug.

A polarized plug has two blades with one wider than the other. A ground-

ing type plug has two blades and a third grounding prong. The wide

blade or the third prong are provided for your safety. If the provided plug

does not fit into your outlet, consult an electrician for replacement of the

obsolete outlet.

10 Protect the power cord from being walked on or pinched particularly at

plugs, convenience receptacles, and the point where they exit from the

apparatus.

11 Only use attachments/accessories specified by the manufacturer.

12 Use only with the cart, stand, tripod, bracket, or table

specified by the manufacturer, or sold with the appa-

ratus. When a cart is used, use caution when moving

the cart/apparatus combination to avoid injury from

tip-over.

13 Unplug this apparatus during lightning storms or

when unused for long periods of time.

14 Refer all servicing to qualified service personnel. Servicing is required

when the apparatus has been damaged in any way, such as power-sup-

ply cord or plug is damaged, liquid has been spilled or objects have

fallen into the apparatus, the apparatus has been exposed to rain or

moisture, does not operate normally, or has been dropped.

(UL60065_03)

PRÉCAUTIONS CONCER-

NANT LA SÉCURITÉ

1 Lire ces instructions.

2 Conserver ces instructions.

3 Tenir compte de tous les avertissements.

4 Suivre toutes les instructions.

5 Ne pas utiliser ce produit à proximité d’eau.

6 Nettoyer uniquement avec un chiffon propre et sec.

7 Ne pas bloquer les orifices de ventilation. Installer l’appareil conformém-

ent aux instructions du fabricant.

8 Ne pas installer l’appareil à proximité d’une source de chaleur comme un

radiateur, une bouche de chaleur, un poêle ou tout autre appareil (y com-

pris un amplificateur) produisant de la chaleur.

9 Ne pas modifier le système de sécurité de la fiche polarisée ou de la fiche

de terre. Une fiche polarisée dispose de deux broches dont une est plus

large que l’autre. Une fiche de terre dispose de deux broches et d’une

troisième pour le raccordement à la terre. Cette broche plus large ou

cette troisième broche est destinée à assurer la sécurité de l’utilisateur.

Si la fiche équipant l’appareil n’est pas compatible avec les prises de

courant disponibles, faire remplacer les prises par un électricien.

10 Acheminer les cordons d’alimentation de sorte qu’ils ne soient pas piét-

inés ni coincés, en faisant tout spécialement attention aux fiches, prises

de courant et au point de sortie de l’appareil.

11 Utiliser exclusivement les fixations et accessoires spécifiés par le fabri-

cant.

12 Utiliser exclusivement le chariot, le stand, le trépied,

le support ou la table recommandés par le fabricant

ou vendus avec cet appareil. Si l’appareil est posé sur

un chariot, déplacer le chariot avec précaution pour

éviter tout risque de chute et de blessure.

13 Débrancher l’appareil en cas d’orage ou lorsqu’il doit

rester hors service pendant une période prolongée.

14 Confier toute réparation à un personnel qualifié. Faire réparer l’appareil

s’il a subi tout dommage, par exemple si la fiche ou le cordon d’alimenta-

tion est endommagé, si du liquide a coulé ou des objets sont tombés à

l’intérieur de l’appareil, si l’appareil a été exposé à la pluie ou à de l’humi-

dité, si l’appareil ne fonctionne pas normalement ou est tombé.

(UL60065_03)

CAUTION: TO REDUCE THE RISK OF

ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLE

PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

Explanation of Graphical Symbols

Explication des symboles

The lightning flash with arrowhead symbol within an equilateral tri-

angle is intended to alert the user to the presence of uninsulated

“dangerous voltage” within the product’s enclosure that may be of

sufficient magnitude to constitute a risk of electric shock to persons.

L’éclair avec une flèche à l’intérieur d’un triangle équilatéral est

destiné à attirer l’attention de l’utilisateur sur la présence d’une «

tension dangereuse » non isolée à l’intérieur de l’appareil, pouvant

être suffisamment élevée pour constituer un risque d’électrocution.

The exclamation point within an equilateral triangle is intended to

alert the user to the presence of important operating and mainte-

nance (servicing) instructions in the literature accompanying the

product.

Le point d’exclamation à l’intérieur d’un triangle équilatéral est des-

tiné à attirer l’attention de l’utilisateur sur la présence d’instructions

importantes sur l’emploi ou la maintenance (réparation) de l’appa-

reil dans la documentation fournie.

The above warning is located on the rear of the unit.

L’avertissement ci-dessus est situé sur le arrière de l’appareil.

WARNING

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE

THIS APPARATUS TO RAIN OR MOISTURE.

AVERTISSEMENT

POUR RÉDUIRE LES RISQUES D’INCENDIE OU DE DÉCHARGE ÉLECTRI-

QUE, N’EXPOSEZ PAS CET APPAREIL À LA PLUIE OU À L’HUMIDITÉ.

Thank you for your purchase of the Yamaha MGP16X or MGP12X mixing console.

Please read this manual thoroughly to make the best use of the mixing console for the

longest possible period of time.

After reading this manual, please keep it available for future reference.

MGP16X/MGP12X Owner’s Manual

Main Features ................................ 3

PRECAUTIONS.................................4

Making the Most of Your Mixer............ 6

Balanced Cables and Unbalanced Cables ...........6

Connector Types...................................................6

Level Adjustment for Optimum Mix .......................7

Setup ........................................... 8

Setup Examples....................................................8

Rack Mounting.................................................... 10

Security Cover Mounting .................................... 11

Quick Start Guide ...........................12

Step 1 Preparing the Power Supply ...................12

Step 2 Connections ........................................... 12

Step 3 Powering Up the System ........................12

Step 4 Getting Sound to the Speakers...............13

Step 5 Using the Built-in Digital Effects ............. 13

Step 6 <Application>

Using the Ducker function.......................14

Controls and Connectors...................15

Front Panel ......................................................... 15

Rear Panel..........................................................16

Where Your Signal Goes

Once It’s Inside the Box..........................17

Channel Control Block........................................18

Master Control Block...........................................20

About the Detailed Setting Mode......................21

Rear Input/Output Block .....................................25

Troubleshooting .............................27

Appendix......................................28

Digital Effect Program List...................................28

Jack List..............................................................29

Specifications......................................................30

Dimensions.........................................................32

Block Diagram and Level Diagram......................33

ContentsMain Features

Sophisticated analog circuits D-PRE (Discrete

Class-A MIC preamp)

Mono input channels are equipped with Class-A discrete microphone

preamplifiers.

The head amplifier features an inverted Darlington circuit* used in

high-end audio devices, and reproduces low frequencies with excep-

tionally musical characteristics as well as sustained high frequencies.

Independent toggle switching of +48V phantom power and 26dB (pad)

on each channel.

* Inverted Darlington circuit: An amplifying method for eliminating the

nonlinear characteristics of the amplifier element and suppress-

ing the distortion.

The circuit features highly musical phase characteristics.

EQ (equalizer)

The shelving EQ (low/high) on the mono input channels features

Xpressive EQ, which effectively models analog EQ utilizing Yamaha’s

famed VCM (Virtual Circuitry Modeling) technology. We analyzed

vintage EQ analog circuits and redesigned the technology specifically

for the MGP to create an EQ with exceptionally musical characteris-

tics. Furthermore, the cutoff frequency can also be adjusted, enhancing

use of the EQ in sound reinforcement applications, and extending the

sonic control range of the mixer.

Digital effects — REV-X and SPX (pages 21, 28)

Two powerful digital effect blocks are built into the mixer: REV-X (8

types) and SPX (16 types). REV-X gives you a high-density, richly

reverberant sound ambience, with smooth attenuation, spread and

depth that work together to enhance the original sound. The versatile

SPX block features a variety of effect applications, such as reverb,

delay, and modulation effects, along with complex combinations of

multiple effects.

Convenient, practical func-

tions for events – Ducker,

Leveler, and Stereo Image

(pages 14, 18, 19)

The mixer features three exceptionally

convenient features for the stereo input

channels: Ducker, Leveler and Stereo

Image. The Ducker function automatically lowers the level of back-

ground music to accommodate the voice of an announcer coming in on

another channel. The Leveler function automatically maintains a con-

sistent sound volume, even when using sound sources that have differ-

ent mastering levels, such as on an iPod/iPhone filled with a variety of

sources classified according to different genres and ages. Stereo Image

narrows the pan balance of the stereo sound source, and changes stereo

signals to mono. This is useful in restaurants and other spaces where

the left and right speakers are distantly positioned, or when you input

accompaniment sound to the left channel and vocal sound to the right

and want a more natural stereo image.

USB port for playing and charging your iPod/iPhone

(page 20)

The mixer has a built-in USB port (at top) for connection to an iPod/

iPhone. Digital audio output from the iPod/iPhone can be directly input

to the unit, and the iPod/iPhone can be charged while connected.

Accessories

• AC power cord (1)

• Rack mount kit (1) (MGP12X only)

• Owner’s manual (1)

MGP16X/MGP12X Owner’s Manual

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:

• 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.

• Only use the voltage specified as correct for the device. The required voltage

is printed on the name plate of the device.

• Use only the supplied power cord/plug.

If you intend to use the device in an area other than in the one you purchased,

the included power cord may not be compatible. Please check with your

Yamaha dealer.

• Check the electric plug periodically and remove any dirt or dust which may

have accumulated on it.

• Be sure to connect to an appropriate outlet with a protective grounding

connection. Improper grounding can result in electrical shock.

• This device contains no user-serviceable parts. Do not open the device or

attempt to disassemble the internal parts or modify them in any way. If it

should appear to1 be malfunctioning, discontinue use immediately and have

it inspected by qualified Yamaha service personnel.

• Do not expose the device to rain, use it near water or in damp or wet

conditions, or place on it any containers (such as vases, bottles or glasses)

containing liquids which might spill into any openings. If any liquid such as

water seeps into the device, turn off the power immediately and unplug the

power cord from the AC outlet. Then have the device inspected by qualified

Yamaha service personnel.

• Never insert or remove an electric plug with wet hands.

• Do not put burning items, such as candles, on the unit. A burning item may

fall over and cause a fire.

• When one of the following problems occur, immediately turn off the power

switch and disconnect the electric plug from the outlet. Then have the device

inspected by Yamaha service personnel.

- The power cord or plug becomes frayed or damaged.

- It emits unusual smells or smoke.

- Some object has been dropped into the instrument.

- There is a sudden loss of sound during use of the device.

• If this device should be dropped or damaged, immediately turn off the power

switch, disconnect the electric plug from the outlet, and have the device

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:

• 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.

• Remove the electric plug from the outlet when the device is not to be used for

extended periods of time, or during electrical storms.

• Do not place the device in an unstable position where it might accidentally

fall over.

• Do not block the vents. This device has ventilation holes at the bottom and

sides to prevent the internal temperature from becoming too high. In

particular, do not place the device on its side or upside down. Inadequate

ventilation can result in overheating, possibly causing damage to the

device(s), or even fire.

• Do not place the device in a location where it may come into contact with

corrosive gases or salt air. Doing so may result in malfunction.

• Before moving the device, remove all connected cables.

• When setting up the device, make sure that the AC outlet you are using is

easily accessible. If some trouble or malfunction occurs, immediately turn off

the power switch and disconnect the plug from the outlet. Even when the

power switch is turned off, electricity is still flowing to the product at the

minimum level. When you are not using the product for a long time, make

sure to unplug the power cord from the wall AC outlet.

• If the device is mounted in an EIA standard rack, carefully read the section

“Precautions for Rack Mounting” on page 10. Inadequate ventilation can

result in overheating, possibly causing damage to the device(s), malfunction,

or even fire.

• 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.

Power supply/Power cord

Do not open

Water warning

Fire warning

If you notice any abnormality

Power supply/Power cord

Location

Connections

PA_en_1 1/2

MGP16X/MGP12X Owner’s Manual

• Remove the power plug from the AC outlet when cleaning the device.

• Do not insert your fingers or hands in any gaps or openings on the device

(vents, ports, etc.).

• Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into

any gaps or openings on the device (vents, ports, etc.) 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 rest your weight on the device or place heavy objects on it, and avoid

use excessive force on the buttons, switches or connectors.

• Do not use speakers 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.

Always turn the power off when the device is not in use.

NOTICE

To avoid the possibility of malfunction/damage to the prod-

uct, damage to data, or damage to other property, follow the

notices below.

 Handling and Maintenance

• Do not use the device in the vicinity of a TV, radio, stereo

equipment, mobile phone, or other electric devices. Oth-

erwise, the device, TV, or radio may generate noise.

• 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, damage to the internal components

or unstable operation.

• Do not place vinyl, plastic or rubber objects on the device,

since this might discolor the panel of this device.

• When cleaning the device, use a dry and soft cloth. Do

not use paint thinners, solvents, cleaning fluids, or chemi-

cal-impregnated wiping cloths.

• Condensation can occur in the device due to rapid, dras-

tic changes in ambient temperature—when the device is

moved from one location to another, or air conditioning is

turned on or off, for example. Using the device while con-

densation is present can cause damage. If there is reason

to believe that condensation might have occurred, leave

the device for several hours without turning on the power

until the condensation has completely dried out.

• 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 apply oil, grease, or contact cleaner to the faders.

Doing so may cause problems with electrical contact or

fader motion.

• When turning on the AC power in your audio system,

always turn on the power amplifier LAST, to avoid speaker

damage. When turning the power off, the power amplifier

should be turned off FIRST for the same reason.

 Connectors

XLR-type connectors are wired as follows (IEC60268 stan-

dard): 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.

Information

 About copyrights

• Copying of the commercially available musical data including but

not limited to MIDI data and/or audio data is strictly prohibited

except for your personal use.

 About this manual

• The illustrations as shown in this manual are for instructional pur-

poses only, and may appear somewhat different from those on

your device.

• Throughout this manual, all panel illustrations show the panel of

the MGP16X.

• In this manual the term “MGP” refers to both the MGP16X and

MGP12X. In cases where different features need to be described

for each model, the MGP16X feature will be described first, fol-

lowed by the MGP12X feature in brackets: MGP16X (MGP12X).

• The company names and product names in this manual are the

trademarks or registered trademarks of their respective compa-

nies.

iPod

, iPhone

iPhone, iPod, iPod classic, iPod nano, and iPod touch are

trademarks of Apple Inc., registered in the U.S. and other

countries.

“Made for iPod” and “Made for iPhone” mean that an elec-

tronic accessory has been designed to connect specifically

to iPod or iPhone respectively, and has been certified by the

developer to meet Apple performance standards. Apple is

not responsible for the operation of this device or its compli-

ance with safety and regulatory standards. Please note that

the use of this accessory with iPod or iPhone may affect

wireless performance.

Maintenance

Handling caution

Yamaha cannot be held responsible for damage caused by improper use

or modifications to the device, or data that is lost or destroyed.

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MGP16X/MGP12X Owner’s Manual

Making the Most of Your Mixer

Balanced Cables and Unbal-

anced Cables

Two types of cables can be used to connect microphones, elec-

tronic instruments, and other audio sources to the mixer’s inputs,

as well as to connect the mixer’s outputs to a power amplifier or

related gear: balanced or unbalanced.

Balanced cables are highly resistant to noise, and are the best

choice for low-level signals such as the output from microphones,

as well as for long cable runs. Unbalanced cables are generally

used for short runs from line-level sources such as synthesizers.

Cable Guidelines

Connector Types

XLR connectors

This 3-pin connector is resistant to externally induced noise, and

is used primarily for balanced connections. With properly

designed receiving circuitry, cables with this type of connector

can also be used for unbalanced signals. XLR type connectors are

the standard for microphone connections as well as most profes-

sional audio gear.

Phone jacks

Phone jacks are available in mono and stereo versions. Stereo

types are also known as “TRS” connectors (Tip-Ring-Sleeve),

and are used for stereo headphone jacks, insert jacks, and also to

carry balanced signals in many cases. Unbalanced types are used

for mono signals -guitar cables are a common example.

RCA Pin Connectors

This type of unbalanced connector is most commonly found on

home audio and video equipment. RCA type pin jacks are often

color coded: white for left audio channel and red for right audio

channel, for example.

Microphones Balanced is best.

Short line-level cables

Unbalanced cable is fine in a rela-

tively noise-free environment.

Long line-level cables Balanced is best.

Male

Female

Stereo/TRS phone plug

Mono phone plug

White

Red

MGP16X/MGP12X Owner’s Manual

Making the Most of Your Mixer

Level Adjustment for Optimum

Mix

Equalizer Tips

The best advice that can be given regarding equalization while

recording is simply to use as little equalization as possible. If you

want a little more presence you can turn the HIGH end up a bit.

Or you can boost the bass a little if you feel the low end is lack-

ing. During recording it’s better to use EQ sparingly for compen-

sation only.

 Cut for a Cleaner Mix

For example: pianos have a lot of energy in the mid and low fre-

quency ranges that you don’t really perceive as musical sound,

but which can interfere with the clarity of other instruments in

these ranges.

You can basically turn the low EQ on piano channels all the way

down without changing the way they sound in the mix. You’ll

hear the difference, however, in the way the mix sounds more

“spacious,” and instruments in the lower ranges will have better

definition.

Naturally you won’t want to do this if the piano is playing solo.

The reverse applies to kick drums and bass guitars: you can often

roll off the high end to create more space in the mix without com-

promising the character of the instruments. You’ll have to use

your ears, though, because each instrument is different and some-

times you’ll want the “snap” of a bass guitar, for example, to

come through.

The fundamental and harmonic frequency ranges

of some musical instruments.

Comp settings

One form of compression known as “limiting” can, when prop-

erly used, produce a smooth, unified sound with no excessive

peaks or distortion. A common example of the use of compres-

sion is to “tame” a vocal that has a wide dynamic range in order

to tighten up the mix. Compression can also be applied to guitar

tracks to add extra sustain. Too much compression can be a cause

of feedback, however, so use it sparingly.

Use the High-pass Filter for Microphone

Input

As the name implies, a “high-pass filter” allows only signals

above a certain frequency to pass. Conversely, signals below that

“cutoff frequency” are attenuated. When an MGP high-pass filter

is turned on, signals below 100Hz are attenuated.

This can be useful for minimizing low-frequency breath noise

from a vocalist, as well as handling noise, or rumble transmitted

via the microphone stand. It is generally a good idea to turn the

high-pass filter on for microphone channels.

Start with the Featured Part

You can start working on a mix from almost any part, but it makes

the most sense to start with the main instrument or vocal. Set up

an initial level for the main part, and then build the rest of the mix

around it.

For example, if you’re mixing a piano trio with a vocalist, begin

by setting the level of the vocal track at around the nominal level,

and then gradually add the other instruments. Your choices will

also be influenced by the type of music you are working on. If the

song is a ballad you might want to add the piano to the mix after

the vocal, and then add the bass and drums. If it’s a more rhythmi-

cally oriented piece you could add the bass and drums first, and

then the piano. Whatever best serves the music is right.

Cymbal

Piano

Bass drum

Snare drum

Bass guitar

Guitar

Trombone

Trumpet

20 50 100 200 500 1k 2k 5k 10k 20k (Hz)

Fundamental: The frequency that determines the basic

musical pitch.

Harmonics: Multiples of the fundamental frequency that

play a role in determining the timbre of the

instrument.

Output

0 (Min)

10 (Max)

Input

MGP16X/MGP12X Owner’s Manual

Setup

Powered monitor speakers

CD player

Computer/Audio interface

iPod/

iPhone

Headphones

Synthesizer

Exciter

Portable

recorder

Powered speakers

Powered monitor

speakers (For musician

monitoring)

Effect processor

Microphone x 2

Microphone x 4

Guitar

Drum

Bass

Setup Examples

1. Sound Reinforcement for

Live Performance

(MGP16X) USB : iPod/iPhone signal  CH15/16

(MGP12X) USB : iPod/iPhone signal  CH11/12

MGP16X/MGP12X Owner’s Manual

Setup

iPod/

iPhone

Headphones

Computer/Audio interface

DJ mixer

DVD player (voice)

CD player

Powered speakers

CH8 (for MC)

* MGP12X: CH4

Power amp

Speakers

Instrument, Microphone

2. For Events and Parties

(MGP16X) USB : iPod/iPhone signal  CH15/16

(MGP12X) USB : iPod/iPhone signal  CH11/12

Setup

MGP16X/MGP12X Owner’s Manual

Rack Mounting

The unit requires at least 11U* of rack space. To take into

account the cable connections, we recommend to ensure at least

13U* of rack space.

* 11U corresponds to about 489mm and 13U is about 578mm.

 Precautions for Rack Mounting

This unit is rated for operation at ambient temperatures ranging

from 0 to 40 degrees Celsius. If you install this unit along with

other devices in a poorly ventilated rack, the ambient temperature

inside the rack may rise, resulting in inefficient performance.

Be sure to rack-mount in the following conditions so the unit does

not overheat.

• When mounting the unit in a rack with devices such as power

amplifiers that generate a significant amount of heat, leave

more than 1U of space between the MGP and other equipment.

Also either leave the open spaces uncovered or install appropri-

ate ventilating panels to minimize the possibility of heat

buildup.

• To ensure sufficient airflow, leave the rear of the rack open and

position it at least 10 centimeters from walls or other surfaces.

If the rear of the rack cannot be left open, install a commer-

cially available fan or similar ventilating option to secure suffi-

cient airflow. If you’ve installed a fan kit, there may be cases in

which closing the rear of the rack will produce a greater cool-

ing effect. Refer to the rack and/or fan unit manual for details.

 Mounting the MGP16X/MGP12X

1. Two metal rack-mount brackets are screwed

onto the unit. Use a screwdriver to remove

these brackets.

2. Turn the brackets over, and fasten them into

place again using the same screws.

Fasten them to the mixer in order (as shown): q center,

w front, and e back.

CAUTION

Be sure to use the same screws that were removed in step

1. Using other screws can cause damage.

 MGP16X

3. Mount the unit into the rack, and fasten it into

place.

11U

13U

MGP16X/MGP12X Owner’s Manual

Setup

 MGP12X

3. Prepare the included rack-mount kit (2 sup-

ports and 6 screws).

4. Use the included screws to fasten the rack-

mount supports with a triangular mark ( ) on

the top side, to the installed rack-mount brack-

ets in step 2.

Fasten them to the mixer in order (as shown): q center, w

front, and e back.

Similarly fasten the other side as well.

CAUTION

Be sure to use the included screws with the MGP12X.

Using other screws can cause damage.

5. Mount the unit into the rack, and fasten it into

place.

Security Cover Mounting

In order to prevent the control knobs of the front panel from being

operated inadvertently, you can attach a protective cover using

four screw holes on the unit. (Size: M3; horizontal spacing:

410mm for MGP16X and 311mm for MGP12X; vertical spacing:

208.5mm.) Yamaha does not sell such a cover; however, you can

easily make one yourself and attach it to the front cover.

When mounting a cover make sure that the screws used do not go

deeper than 12 millimeters into the front panel. Also, to ensure

that the cover does not come in contact with the panel controls,

leave a space of about 20–25 millimeters between the front panel

and the cover.

11U

13U

MGP16X/MGP12X Owner’s Manual

Quick Start Guide

We’ll begin this guide by connecting a pair of speakers

and generating some stereo output. Note that the oper-

ations and procedures will vary somewhat according to

the input devices you are using.

Step 1 Preparing the Power Sup-

ply

1. Make sure that the power switch of the unit is

set to the “ ” position (off).

2. Connect the socket of the included power cord

to the [AC IN] connector.

3. Plug the power cord into a power outlet.

Step 2 Connections

1. Turn all the faders and gain controls com-

pletely down.

2. Connect the microphones and/or instruments

you intend to use.

For details on making connections, refer to the “Setup Exam-

ples” on pages 8, 9.

Step 3 Powering Up the System

To prevent an unwanted burst of noise from the

speakers, power up the devices in the following

order: peripheral devices (instrument, micro-

phone, iPod)  MGP mixer  power amps (or

powered speakers).

Reverse this order when turning the power off.

CAUTION

• If you are using condenser microphones that require phan-

tom power, turn the mixer’s +48V switch on before turning

on the power to the power amps or powered speakers. See

page 18 for details.

• Be sure to turn the power on/off in the order given in Step 3

above every time you use the device. Failure to do so may

result in loud noise bursts that can damage your equipment,

your ears, or both.

GAIN controls Power switch (rear panel)

Faders

Front Panel

Rear Panel

When using a con-

denser microphone,

set the +48V phantom

switch to ON (page 18).

Although electric guitars and basses can be connected directly

to the mixer’s inputs, the sound is likely to be thin and possibly

noisy. For best results with these types of instruments use a DI

box (direct box) or amp simulator between the instrument and

the mixer.

MGP16X/MGP12X Owner’s Manual

Quick Start Guide

Step 4 Getting Sound to the

Speakers

1. Adjust the channel GAIN controls so that the

corresponding peak indicators flash briefly on

the highest peak levels.

NOTE

To use the level meter to get an accurate reading of the incom-

ing signal level, turn the channel PFL switch on. Adjust the

GAIN controls so that level meter indication occasionally rises

above the “<” (0) level.

Note that the PHONES jack outputs the pre-fader signal from

all channels for which the PFL switch is ON, so that those sig-

nals can be monitored via the headphones.

2. Turn on the ON and ST switches for each chan-

nel you are using.

3. Make sure that all PFL and AFL switches are

set to off ( ).

4. Turn on ( ) the ON switch for the STEREO

master.

5. Raise the STEREO master fader to the “0”

position.

6. Set the channel faders to create the desired

initial balance.

7. Adjust the overall volume of the STEREO mas-

ter fader.

The overall headphone level is adjusted by the MONITOR/

PHONES control.

NOTE

If the PEAK indicator lights frequently, slightly lower the chan-

nel faders to avoid distortion.

Step 5 Using the Built-in Digital

Effects

1. Turn the [PROGRAM] knob to select the

desired effect, and then press the knob to

enable it.

For details about available effects, see the Digital Effect Pro-

gram List on page 28.

2. Turn on ( ) the FX1/FX2 ON button.

The button lights up when it is turned on.

3. Set the FX1/FX2 RTN fader to the “0” position.

4. Use the channel FX1/FX2 controls to adjust the

effect depth for each channel.

5. Use the FX1/FX2 RTN fader to adjust the over-

all effect depth.

You can use the PARAMETER control to adjust effect

parameters such as reverb time and delay time. For details

about the parameters of each effect that can be adjusted with

the PARAMETER control, see page 28.

5,7

1,7

Level meter

MONITOR PHONES control

GAIN controls

Channel ON

switches

PEAK

indicators

Channel ST

switches

PFL switches Channel faders AFL switches

STEREO master fader

STEREO master ON switch

3,5

PAR AM ETE R

controls

FX1/FX2 controls

FX1/FX2 RTN faders

ON buttons

PROGRAM knobs

Quick Start Guide

MGP16X/MGP12X Owner’s Manual

Step 6 <Application>

Using the Ducker function

1. Connect a music player or device for playing

background music.

Connect the device to CH13/14 or CH15/16 on the MGP16X,

and to CH9/10 or CH11/12 on the MGP12X.

To connect an iPod/iPhone, use the USB terminal of the

MGP, and then set to the TO CH15/16 (TO CH11/12) switch

to USB ( ).

2. Turn on ( ) the DUCKER switch for each

channel you are using, and then adjust the

channel’s input to an appropriate level.

3. Connect the microphone to the SOURCE chan-

nel (MGP16X: CH8, MGP12X: CH4).

4. Adjust the input of the microphone to an

appropriate level.

5. Turn on ( ) the ON switch of the SOURCE

channel, and then raise the channel fader to

around “0” (nominal).

6. Play the background music, and listen to con-

firm that the sound volume automatically turns

down when you speak into the microphone.

NOTE

• The volume on the SOURCE channel is detected after fader

adjustment.

It is affected by the setting of ON switch and/or the channel

fader.

• If you want to make custom changes to the automatic sound

attenuation, refer to “About the Detailed Setting Mode” on

page 21.

 Built-in digital effects

Your mixes can be further refined by adding ambience effects

such as reverb or delay.

The MGP’s internal effects can be used to add reverb or delay

to individual channels in the same way as external effects pro-

cessors.

Reverb and Delay Time

Small adjustments to the reverb/delay time can actually have a

significant effect on the sound. The optimum reverb time for a

piece of music will depend on the music’s tempo and density,

but as a general rule longer reverb times are good for ballads,

while shorter reverb times are more suited to up-tempo tunes.

Delay times can be adjusted to create a wide variety of

“grooves.” When adding delay to a vocal, for example, try set-

ting the delay time to dotted eighth notes (e.) corresponding to

the tune’s tempo.

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 frequen-

cies 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.

Reverb Level

It’s 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 don’t want reverb to dominate the mix unless you are try-

ing to create the effect of a band in a cave-which is a perfectly

legitimate creative goal if that’s the sort of thing you’re aiming

for.

TO CH15/16 (TO CH11/12) switch

DUCKER switches

GAIN control

ON switch

Channel fader

SOURCE channel

GAIN controls

CH13/14, CH15/16

(CH9/10, CH11/12)

MGP16X/MGP12X Owner’s Manual

Controls and Connectors

Front Panel

* Throughout this manual, all panel illustrations show the panel of the MGP16X. On the MGP12X, there are four channels in the

mono input section (see 1 below) and 12 channels in the channel I/O connectors section (see 10 on the next page).

Channel Control Block

1. Mono input section ............................................. page 18

2. Mono and stereo input section ........................... page 18

3. Stereo input section............................................ page 18

Master Control Block

4. iPod/iPhone section............................................ page 20

5. Built-in digital effects section .............................. page 21

6. Meter/PHONES section...................................... page 23

7. R E T U R N/2TR IN section.................................... page 23

8. SEND MASTER section ..................................... page 24

9. GROUP/STEREO section .................................. page 24

1 2 3 5 9

Controls and Connectors

MGP16X/MGP12X Owner’s Manual

Rear Panel

Rear Input/Output Block

10. Channel I/O connectors section ....................... page 25

11. Master I/O connectors section.......................... page 26

12. Power section................................................... page 26

11 1012

MGP16X/MGP12X Owner’s Manual

Controls and Connectors

Where Your Signal Goes Once It’s Inside the Box

The purpose of configuring an audio system around a mixer is to collect signals from all channels and mix their levels and other settings

to achieve a good balance. The following simplified mixer block diagram shows how the input signal flows once it’s inside the mixer. For

an overall block diagram of the MGP, see page 33.

 Input channel

q Head amp

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 mixer’s input sensitivity to

match the level of the source. Small signals (e.g. mics) are

amplified, and large signals are attenuated.

w Equalizer

An equalizer boosts (amplifies) or cuts (attenuates) certain

frequency ranges to shape the tone. It can be used to modify

the tone to suit the acoustic characteristics of a room, to make

creative sounds, or for many other purposes. An equalizer

could be a high pass filter that cuts the sound below a speci-

fied frequency.

e PEAK indicator

When the level of an input signal exceeds the level that can be

handled by the mixer’s head amp or equalizer, distortion and

noise will result. The PEAK indicators are used to visually

check the signal level to ensure no overload occurs.

If the PEAK indicator lights continuously, make sure that sig-

nals are not amplified too much by the equalizer, and if

needed, adjust the GAIN control of the head amp to reduce

the level.

It is important to know the mixer stage for which the PEAK

indicators are indicating signal levels. The PEAK indicator of

this unit detects the signal after the head amp and EQ stage.

r Channel fader

A channel fader enables you to adjust the level of the corre-

sponding input channel signal that is going to be routed to the

buses (excluding a pre-fader signal). It is the most often used

control during performance.

 Master section

t Bus (Summing Amplifier)

This is where the actual “mixing” takes place. Signals from

all of the mixer’s input channels are “summed” (mixed)

together here.

The signals flow in each channel from top to down after being

adjusted by the level control, and then these signals are

summed (mixed) from left to right. Finally, the overall level is

adjusted by the master control located at far right.

The operation of summing from left to right is the role of the

bus (summing amplifier).

y Master control and level meter

The master controls, specifically, the STEREO fader and

GROUP faders, are the means used to adjust the level of all

signals from all of the mixer’s input channels. The level meter

LED shows the level of the signal flowing to the STEREO

bus.

Simplified Mixer Block Diagram

Input channel Master section

INPUT

PEAK

CH Fader

SUM

GROUP

Fader

STEREO

Fader

LED meter

OUTPUT

CHs INPUT

q Head amp w Equalizer e PEAK

indicator

r Channel

fader

t Bus y Master control and

level meter

Controls and Connectors

MGP16X/MGP12X Owner’s Manual

Channel Control Block

Mono input section

Mono and stereo input section

Stereo input section

q +48V switch and indicator

This switch toggles phantom power on and off. When this

switch is turned on ( ), the mixer supplies DC +48V

power to pins 2 and 3 of all XLR input jacks. Turn this switch

on when using one or more phantom-powered condenser

microphones. The indicator lights when it is turned on.

CAUTION

• Be sure to leave this switch off ( ) if you do not need

phantom power. Humming or damage may result if you

connect to an unbalanced device or to an ungrounded

transformer while this switch is on.

• When turning the switch on, make sure that only a con-

denser microphone is connected to the XLR input jacks.

Devices other than condenser microphones may be

damaged if connected to the phantom power supply.

This precaution does not apply to balanced dynamic

microphones, however, as these will not be affected by

phantom power.

• To prevent damage to speakers, be sure to turn off power

amplifiers (or powered speakers) before turning this

switch on or off. It’s also a good idea to turn the mixers

output controls - the STEREO master and GROUP (1-2,

3-4) faders - all the way down when turning phantom

power on. Neglect of these precautions may result in

large noise bursts that may damage your equipment,

your ears, or both.

w 26dB (PAD) switch

When this switch is turned on ( ), the input signal from

the MIC/LINE jack of the mono channel is attenuated by

26dB.

Turn this switch off ( ) if you’ve connected a microphone

or other device with a low input level to the channel. Turn it

on ( ) if you’ve connected a line-level device.

e (High Pass Filter) switch

Turning this switch on ( ) will apply a high-pass filter that

attenuates frequencies below 100Hz in the signal by a slope

of 12dB/octave.

r DUCKER switch

When this switch is turned on ( ), the volume of the stereo

channels is automatically lowered when a signal exceeding a

certain level is input to the SOURCE channel (MGP16X:

CH8, MGP12X: CH4). You can use this switch, for example,

when you want to have the volume of background music

automatically lowered when making an announcement on the

microphone. For effective use of this switch, see Step 6 on

page 14. The switch lights when it is turned on.

NOTE

You can adjust the attenuation of the Ducker function in the

detailed setting mode (see column on page 21).

y y

Mono

channels

1–8 (MGP16X),

1–4 (MGP12X)

Mono/stereo

channels

9–12 (MGP16X),

5–8 (MGP12X)

Stereo

channels

13–16 (MGP16X),

9–12 (MGP12X)

MGP16X/MGP12X Owner’s Manual

Controls and Connectors

t LEVELER switch and indicator

When playing music from an iPod/iPhone or other audio

players, the actual sound output level may differ for each

song depending on the assigned category. Turning this switch

on ( ) lets you have the volume adjusted automatically to

a certain level, preventing sudden jumps or dips in the level.

The indicator lights when it is turned on.

NOTE

If an audio player other than iPod/iPhone is connected to the

input jacks (LINE) on the rear panel, initially adjust the input

level according to the softest part (lowest level) of the song,

and then turn on the LEVELER switch. Adjust the input level so

that the level meter indication occasionally rises above the “<”

(0) level while the PFL switch is on.

y GAIN control

Adjusts the sensitivity of the input signal. Monaural channels

have a 26dB switch (w) that lets you change the range of this

control. The adjustable sensitivity range is as follows.

Mono channel

Stereo channel

-34dB to +10dB

u COMP control and indicator

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. The COMP indicator will light when the compres-

sor operates.

NOTE

Avoid setting the compression too high, as the higher average

output level that results may lead to feedback.

i STEREO IMAGE switch

This switch selects the output signal by switching the input

stereo signal to one of the following three signal types.

• MONO : Mono signal

• BLEND : Stereo signal in which left and right inputs

are mixed in a certain percentage for a more nat-

ural stereo image.

• STEREO : Stereo signal (original, as is)

o Equalizer (HIGH, MID, and LOW)

This three-band equalizer adjusts the channel’s high, mid, and

low frequency bands.

Setting the knob to the “t” position produces a flat response

in the corresponding band. Turning the knob to the right

boosts the corresponding frequency band, while turning to the

left attenuates the band. The upper knob sets the center fre-

quency for the mid range, while the lower knob sets the

amount of attenuation or boost (counterclockwise/clockwise)

for the range. For the CH9/10 and CH11/12 (on the

MGP16X), and CH5/6 and CH7/8 (on the MGP12X), the

attenuation/boost can only be set at a fixed 2.5kHz center fre-

quency.

The following table shows the EQ type, frequency, and cut/

boost range for each of the three bands.

* The MID frequency can be adjusted from 250Hz to 5kHz.

The MID frequency is 2.5kHz when the MID frequency

control is set at the center position.

!0 AUX1 PRE, AUX2 controls

These knobs adjust the channel’s signal levels sent to AUX

buses 1 and 2. Each knob controls the signal sent to the corre-

sponding AUX bus. These knobs should generally be set

close to the “t” (nominal) position. The AUX1 control

adjusts the signal before the channel fader (pre-fader). The

signal adjusted by the AUX2 control is determined by the

PRE switch (!1).

!1 PRE switch

This switch selects whether the signal sent to the AUX 2 bus

is taken after the equalizer but before the channel fader (pre-

fader), or after the channel fader (post-fader). When the

switch is on ( ), the mixer sends the pre-fader signal to the

AUX2 bus, so that the AUX2 output is not affected by the

fader.

!2 FX1, FX2 controls

Adjusts the level of the signal (post-fader) sent from the chan-

nel into the FX bus. These knobs should generally be set

close to the “t” position.

NOTE

• To send the signal to the bus engage the ON switch (!4).

• On stereo channels, the LINE L (odd) and LINE R (even)

input signals are mixed before moving into the bus.

26dB switch Range

ON -34dB to +10dB

OFF -60dB to -16dB

Band Type Frequency

Cut/Boost

range

HIGH Shelving 8kHz

±15dBMID Peaking 2.5kHz*

LOW Shelving 125Hz

Controls and Connectors

MGP16X/MGP12X Owner’s Manual

!3 PAN control

PAN/BAL control

BAL control

The PAN control knob determines the stereo positioning of

each mono channel signal in the GROUP 1-2, 3-4 buses or in

the stereo L and R buses. For example, rotating the knob

toward L moves the sound to the left (depending on the loca-

tion of the knob).

The BAL control knob sets the balance between left and right

stereo channels. For example, rotate the knob toward L to

increase the volume level of the left or Groups 1 and 3, and

decrease the level of the right or Groups 2 and 4.

!4 ON switch

Turn this switch on ( ) to send the respective channel’s

signal to the buses. The switch lights when on.

!5 Input Meter

The LEDs indicate the input channel’s post-equalizer signal

level. The SIG indicator lights when a signal is being input

into the channel. The PEAK indicator lights when the input

signal level is 3dB below clipping.

!6 Bus assign switches

These switches determine the bus(es) to which each channel’s

signal is sent. Press the switch in ( ) to output the signal to

the corresponding buses.

• 1-2, 3-4 switches: Assign the channel’s signal to the

GROUP1-2, 3-4 buses.

• ST switch: Assigns the channel’s signal to the STE-

REO L and R buses.

NOTE

To send the signal to each bus, engage the ON switch.

!7 PFL switch and indicator

When the PFL (Pre-Fader Listen) switch is on ( ), the

indicator will light and the channel pre-fader signal is output

to the MONITOR OUT and PHONES jacks for monitoring.

!8 Channel fader

Adjusts the level of the channel signal. Use these controls to

adjust the balance between the various channels.

NOTE

To reduce noise, set the fader sliders for any unused channels

all the way down.

Master Control Block

iPod/iPhone section

q USB connector and indicator

This is a USB port dedicated for iPod/iPhone use. Using the

USB cable that came with the iPod/iPhone, connect the iPod/

iPhone. The indicator lights when the mixer recognizes the

iPod/iPhone.

If the mixer does not recognize the device or if a non-compli-

ant iPod/iPhone is connected, the indicator remains off.

For details on supported iPod/iPhone models, see “Supported

iPod/iPhone models” on page 30.

CAUTION

• Use the genuine Apple Dock Connector USB Cable for

the iPod/iPhone connection.

• Connect the USB connector to the iPod/iPhone before

turning the mixer power on.

• When connecting to an iPod/iPhone, allow at least 6 sec-

onds to pass between turning the mixer on and off and

plugging or unplugging the USB cable.

• Please do not use a USB hub.

• The mixer’s USB port is dedicated for iPod/iPhone use

only. Please do not connect other USB devices.

NOTE

• While the indicator lights, the iPod/iPhone is charged.

• If you connect your iPhone, an incoming call cause a ringing

sound to be output. In order to prevent this, we recommend

that your iPhone’s “Airplane” mode be turned on.

w Routing assign switches

Determine the destination of the input signal. The switch set-

ting and the destination is shown below.

NOTE

• The volume of an iPod/iPhone which was assigned to CH15/

16 (CH11/12) cannot be controlled by the GAIN control.

• Use the detailed setting mode in the column on the next

page to attenuate the playback level from an iPod/iPhone

assigned to CH15/16 (CH11/12).

Switch

Setting

Audio Signal

Input Source

Output Destina-

tion Channels

TO CH15/16

(MGP16X)

TO CH11/12

(MGP12X)

ANALOG

CH15/16 jacks

(MGP16X)

CH11/12 jacks

(MGP12X)

CH15/16

(MGP16X)

Ch11/12

(MGP12X)

USB

iPod/iPhone

TO 2TR IN

ANALOG

2TR IN jacks

2TR IN

USB

iPod/iPhone

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