Yamaha MGP12X Manual de usuario

Marca: Yamaha

Modelo: MGP12X

Categoría: Mezcladores de audio

Tipo: Manual de usuario

Este manual también es adecuado para

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.

PA_en_1 2/2

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

MGP16X/MGP12X Owner’s Manual

Controls and Connectors

Built-in digital effects section

 About the Detailed Setting Mode

The detailed setting mode lets you adjust the attenuation of

the CH15/16 (CH11/12) for adjusting the play level from the

iPod/iPhone, and also adjust the range of the Ducker function.

Procedure

1. Press both FX1 and FX2 PROGRAM knobs simultane-

ously for at least two (2) seconds.

2. “P” flashes on the FX1 LED display and “A” or “d”

lights on the FX2 LED display.

The mixer enters the detailed setting mode. The available

detailed setting parameters, LED display, and range are as

follows.

3. Use the PROGRAM knob to select the parameter (“A”

or “

d”) you want to change.

4. Use the FX2 PARAMETER control to adjust the attenua-

tion.

Please refer to the above table for the range.

5. Press the PROGRAM knob again.

The mixer saves the settings, and then exits the detailed

setting mode.

NOTE

• The mixer retains the last setting made, even after the

power is turned off.

• To restore the default settings, press the TAP button while

in the condition of step 3 above.

• When the parameter setting is different from the default

setting (i.e., when you’ve changed the parameter value

from the default), a dot indication is displayed at the lower

right of the FX2 program number.

* The Ducker attenuation range is common for CH13/14 and

CH15/16 (MGP12X: CH9/10 and CH11/12).

Parameter LED display Range

CH15/16 (CH11/12)

Attenuation

(Attenuator)

-24dB – 0dB

Ducker Attenuation

(Ducker Range)

-70dB – 0dB

-12dB

-7dB-19dB

-24dB 0dB

-35dB

-56dB -21dB

-70dB 0dB

Controls and Connectors

MGP16X/MGP12X Owner’s Manual

q Effect program display

Displays the program number selected with the PROGRAM

knob (w).

w PROGRAM knob

Selects one of 8 internal effects from FX1 and 16 internal

effects from FX2. Turn the knob to select the desired effect,

and then press the knob to enable it.

See page 28 for details about the internal effects.

NOTE

You can also select the desired effect by turning the knob while

holding it down.

e PARAMETER control

Adjusts the parameter (depth, speed, etc.) for the selected

effect. The last value used with each effect type is saved.

NOTE

When you change to a different effect type, the mixer automati-

cally restores the value that was previously used with the newly

selected effect (regardless of the current position of the

PARAMETER Control knob).

r AUX PRE controls (1, 2)

Each knob adjusts the level of the effect-processed sound sent

to the corresponding AUX1 and AUX2 buses.

t TAP button and indicator

This feature lets you set the delay time (tempo) for FX2 by

tapping on the button. The feature only works when the effect

type for FX2 is set to , DELAY or . SINGLE DELAY.

To set the tempo, tap on the button at the appropriate interval.

The average interval (BPM) at which you tap the button will

be calculated, and that value will be set for the tempo. Con-

tinue tapping as necessary until you get the timing right.

The TAP indicator flashes in sync with the tempo when the

, DELAY or . SINGLE DELAY is selected.

NOTE

• The tempo is not set when the average interval at which you

tap the button is out of the range of 80 – 300BPM.

• For more information on the tempo range, see page 28.

• The mixer retains the last tempo setting made, even after the

power is turned off.

y ON button

This button turns the corresponding internal digital effect on

or off. When the function is on, the button lights.

NOTE

The On/Off status of the internal effects will be retained, even

when you turn off the power.

u SIG indicator

Lights when an effect signal is input into the channel.

i Bus assign switches

These switches determine the bus(es) to which the signal of

the internal digital effects is sent. Press the switch in ( ) to

output the signal to the corresponding buses.

• 1-2, 3-4 switches: Assign to the GROUP 1-2, 3-4

buses.

• ST switch: Assigns to the STEREO L/R bus.

o PFL switch and indicator

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

indicator will light and the pre-FX (1, 2) RTN-fader signal is

output to the MONITOR OUT and PHONES jacks for moni-

toring.

NOTE

If both PFL and AFL switches are turned on, only the PFL

switch is enabled. To monitor the post-fader signal, make sure

to turn off all PFL switches.

!0 FX RTN faders (FX1, FX2)

These adjust the level of the effect sent from the internal

effect to the GROUP 1-2, 3-4 and STEREO L/R buses.

First tap Second tap Third tap Fourth tap

ab c

The average interval will be set (the average of a, b, and c)

To restore the initial factory settings for the internal effects, turn

on the power while holding the TAP button (t) and the ON

button (y).

MGP16X/MGP12X Owner’s Manual

Controls and Connectors

Meter/PHONES section

q PHONES jack

Connect a pair of headphones to this TRS phone jack. The

PHONES jack outputs the same signal as the MONITOR

OUT jacks.

w POWER indicator

This indicator lights up when the mixer’s power is ON.

e Level meter

This LED meter displays the level of the signal output from

the STEREO OUT jack, or the signal selected by the 2TR IN

switch and PFL/AFL switch.

The “0” segment corresponds to the nominal output level.

The PEAK segment lights when output reaches the clipping

level.

NOTE

The PFL signal has display priority when an input channel’s

PFL switch is on ( ).

r MONITOR/PHONES control

Controls the level of the signal output to the PHONES jack

and the MONITOR OUT jacks.

RETURN/2TR IN section

q RETURN

• AUX1, AUX2 controls: Adjust the level at which the L/

R signal received at the RETURN jacks (L

(MONO) and R) is sent to the AUX1 and AUX2

buses.

• STEREO control: Adjusts the level at which the signal

received at the RETURN jacks (L (MONO) and

R) is sent to the STEREO L/R bus.

NOTE

If you supply a signal to the RETURN L (MONO) jack only, the

mixer sends the same signal to both the L and R Stereo buses.

w 2TR IN

• 2TR IN switch: If this switch is set to TO MONITOR

( ), the signals input via the 2TR IN jacks or

the iPod/iPhone are sent to the MONITOR OUT

jacks, the PHONES jack, and the level meter. If it

is set to TO STEREO ( ), the signals are sent

to the STEREO L/R buses.

• 2TR IN control: Adjusts the level of the signal sent

from the 2TR IN jacks or the iPod/iPhone to the

STEREO L/R buses.

Controls and Connectors

MGP16X/MGP12X Owner’s Manual

SEND MASTER section

q SEND MASTER controls (AUX1, AUX2, FX1,

FX2)

These adjust the signal level sent to the AUX, AUX2, FX1

and FX2 SEND jacks.

NOTE

These SEND MASTER controls do not affect the level of the

signal sent from the internal digital effect to the FX1 and FX2

buses.

w AFL switch and indicator

When the AFL (After-Fader Listen) switch is on, the indica-

tor lights and the signal after the AUX1 and AUX2 controls

(q) adjustment is output to the MONITOR OUT and

PHONES jacks for monitoring.

NOTE

• The PFL signal has priority when both the PFL switch and

AFL switch are on. To monitor the post-fader signal, make

sure to turn off all PFL switches.

• If the PFL (preferred) is enabled, the AFL indicator does not

light, even if the AFL switch is pressed.

GROUP/STEREO section

q GROUP 1-2 fader

Adjusts the signal level to the GROUP OUT 1 and GROUP

OUT 2 jacks.

w GROUP 3-4 fader

Adjusts the signal level to the GROUP OUT 3 and GROUP

OUT 4 jacks.

e ST switch

If this switch is on, the signals are sent to the STEREO L/R

bus via the GROUP1-2 or 3-4 fader. The Group 1 and 3 signal

goes to Stereo L and the Group 2 and 4 signal goes to Stereo

r AFL switch and indicator

When the AFL (After-Fader Listen) switch is on, the indica-

tor lights and the signal after GROUP 1-2 (q) or 3-4 (w)

faders adjustment is output to the MONITOR OUT and

PHONES jacks for monitoring.

NOTE

• The PFL switch has priority when both the PFL switch and

AFL switch are on. To monitor the post-fader signal, make

sure to turn off all PFL switches.

• If the PFL is enabled (preferred), the AFL indicator does not

light, even if the AFL switch is pressed.

t ON switch

Turn this switch on to enable the STEREO master fader. The

switch lights when on.

y STEREO master fader

Adjusts the signal level sent to the STEREO OUT jacks.

MGP16X/MGP12X Owner’s Manual

Controls and Connectors

Rear Input/Output Block

Channel I/O connectors section

q Mono inputs

• INSERT: These jacks are located between the com-

pressor and equalizer of the corresponding input

channel. The INSERT jacks are ideal for connect-

ing devices such as graphic equalizers or noise

filters into the corresponding channels. These are

TRS (tip, ring, sleeve) phone jacks that carry both

the send and return signal (tip = send/out; ring =

return/in; sleeve = ground).

NOTE

Connection to an INSERT I/O jack requires a special insertion

cable as illustrated below. Use a separately-sold Yamaha inser-

tion cable (YIC025/050/070).

CAUTION

The signal output from the INSERT jacks is reverse-

phased. This should not be a problem when connecting to

an effect unit, but please be aware of the possibility of

phase conflict when connecting to other types of device.

A reversed-phased signal may result in degraded sound

quality or even complete sound cancellation.

• MIC/LINE: These are combo jacks that support both

XLR-type and TRS phone-type plugs, and are for

connection of both microphones and/or instru-

ments.

w Mono/Stereo inputs

• LINE: These are unbalanced phone-jack stereo line

inputs.

• MIC: These are balanced XLR-type microphone input

jacks. (1: Ground; 2: Hot; 3: Cold)

NOTE

On any given channel, you may use either an XLR or phone

jack, but not both.

e Stereo input

• LINE: These are stereo input jacks that connect line-

level instruments, such as a synthesizer. These

are unbalanced input jacks. Two jack types are

provided: phone type and RCA pin type.

NOTE

On any given channel, you may use either a phone or RCA

jack, but not both.

y!1 t r e w q

ui!0

(MGP12X:

CHs 9/10, 11/12)

(MGP12X: CHs 5/6, 7/8) (MGP12X: CHs 1 to 4)

To the INSERT

I/O jack

Sleeve (ground)

Ring: IN

Tip: OUT

To the input jack

of the external

processor

To the output jack

of the external

processor

Tip: OUT

Tip: IN

Controls and Connectors

MGP16X/MGP12X Owner’s Manual

Master I/O connectors section

r 2TR IN

These RCA pin jacks can be used to input a stereo sound

source. Use these jacks when you want to connect a CD

player, and output the signal to the monitor or the STEREO

L/R bus.

NOTE

You can adjust the signal level using the 2TR IN control in the

Master Control block.

t REC OUT

These RCA pin jacks can be connected to an external

recorder such as an MD recorder in order to record the same

signal that is being output via the STEREO OUT jacks.

NOTE

The mixer’s STEREO master fader has no affect on the signal

output via these jacks. Be sure to make appropriate level

adjustments at the recording device.

y MONITOR OUT

Connect these impedance-balanced* TRS phone jacks to

your monitor system. These jacks output the signal before or

after the faders for the various buses. The PFL and AFL indi-

cators in each section indicate which signal is being output.

NOTE

The PFL switch has priority when both the PFL switch and AFL

switch are on. To monitor the post-fader signal, make sure to

turn off all PFL switches.

u RETURN

These are unbalanced phone-jack type line input jacks. The

signal received by these jacks is sent to the STEREO L/R

buses and the AUX1 and AUX2 buses. The mixed signal of L

(MONO) and R is sent to the AUX1 and AUX2 buses.

These jacks are typically used to receive the signal returned

from an external effect device (reverb, delay, etc.).

NOTE

• These jacks can also be used as an auxiliary stereo input.

• If you connect to the L (MONO) jack only, the mixer will rec-

ognize the signal as monaural and will send the identical sig-

nal to both the L and R jacks.

i GROUP OUT

These impedance-balanced* TRS phone jacks output the

GROUP 1-2, 3-4 signals. Use these jacks to connect to the

inputs of a multi-track recorder, external mixer, or another

similar device.

o SEND

You use these jacks, for example, to connect to an effect

device or monitor system.

• AUX1, AUX2: These are balanced XLR-3-32 type out-

put jacks (1: Ground; 2: Hot; 3: Cold).

• FX1, FX2: These are impedance balanced* phone-

jack type output jacks. These jacks output the

signals from the FX1 and FX2 buses, respec-

tively.

!0 STEREO OUT

These are XLR type and TRS phone type balanced output

jacks that output the mixed stereo signal. The signal level is

adjusted by the STEREO master fader before it is output. You

can use these jacks, for example, to connect to the power

amplifier driving your main speakers.

Power section

!1 POWER switch

Turns power to the unit ON or OFF. Press the switch to the

“ ” position to turn on the power. Press the switch to the

“ ” position to turn off the power.

CAUTION

Rapidly turning the unit ON and OFF in succession can

cause it to malfunction. After turning the unit OFF, wait for

about 6 seconds before turning it ON again.

!2 AC IN connector

Connect the included power cord here. First, connect the

power cord to the MGP, and then plug it into an AC outlet.

* Impedance balanced

Since the hot and cold terminals of impedance balanced

output jacks have the same impedance, these output jacks

are less affected by induced noise.

MGP16X/MGP12X Owner’s Manual

Troubleshooting

* If any specific problem should persist, please contact your Yamaha dealer.

 Power doesn’t come on.  Is an independent power-supply unit such as a power generator, or a power strip with switch

plugged into the mixer?

Make sure that the power is turned on.

 No sound.  Are microphones, external devices, and speakers connected correctly?

 Is a Y-shaped cable used to connect the INSERT connector or an external device?

 Are your cables connected properly, or are they shorted or faulty?

 Are the channel GAIN controls, channel faders, STEREO master fader and GROUP 1-2/3-4 faders

set to appropriate levels?

 Are the bus assign switch and 2TR IN switch set properly?

 (When using STEREO OUT jacks) Are the ON switch and ST switch of the channels you are using

turned ON?

 (When using STEREO OUT jacks) Is the ON switch of the STEREO master turned on?

 (When using AUX 1/2 and FX 1/2 jacks) Are the respective SEND MASTER control, AUX 1/2 and

FX 1/2 controls of each channel set to appropriate levels?

 (When using MONITOR OUT jacks ) Are the PFL switches for the channels that you are not using

turned on? Make sure to turn off the PFL switch.

 [For signals that are input to the 2TR IN and CH15/16 (CH11/12) jacks] Is the routing assign switch

set to USB ( )? Make sure to set the switch to ANALOG ( ).

 Sound is faint, distorted, or

noisy.

 Are the channel GAIN controls, channel faders, STEREO master fader and GROUP 1-2/3-4 faders

set to appropriate levels?

 Is the 26dB switch turned on?

Make sure to turn off the switch when a low-level source, such as a microphone, is input.

 Is the output signal from the connected device set to an appropriate level?

 Are you applying the effects and compressor at appropriate levels?

You may have to lower the FX (1, 2) control, FX RTN fader, and COMP control levels.

 Are two different instruments connected to the XLR-type and phone jacks, or to the phone and RCA

pin jacks on one channel?

Make sure to connect to only one of these jacks on each channel.

 Are microphones connected to the MIC input jacks or MIC/LINE input jacks ?

 If you are using condenser microphones, is the +48V switch turned ON?

 If you are connecting a device which has a specified output level of +4dBu, turn on the 26dB (PAD)

switch of the mono channels or use stereo channels.

 (Stereo channel) Is the DUCKER switch turned on?

When a signal is constantly input to CH4 (MGP12X)/CH8 (MGP16X), the sound becomes faint.

 No effect is applied.  Check that the EFFECT knob on each channel is correctly adjusted.

 Check whether the ON button of FX1/FX2 is turned on or off.

 Be sure that the PARAMETER control and FX RTN fader are correctly adjusted.

 Check that the switch for the desired bus in the FX1/FX2 RTN bus assign switches is turned on.

 When an effect device is connected to the FX1 or FX2 jack, is the FX1 or FX2 control on the SEND

MASTER set to appropriate levels?

 The FX1/FX2 ON buttons are

not locked.

 The FX1/FX2 ON buttons are of a type that do not lock.

 I want spoken words to be

heard more clearly.

 Make sure that the switch is turned ON.

 Are the equalizers (HIGH, MID, and LOW knobs) on each channel adjusted appropriately?

 I want to output a monitor

signal for the mixer through

speakers.

 Connect a powered speaker to the MONITOR OUT jack.

Make sure to adjust the level of output signal from the MONITOR OUT jack with the MONITOR/

PHONES control.

 The level meter doesn’t

show the output signal level.

 Are the PFL switches for the channels you are not using turned on?

Make sure to turn off the PFL switch.

 iPod/iPhone signal is not

output.

 Is the USB cable that came with Pod/iPhone properly connected to the mixer?

 Is the routing assign switch set to USB ( )?

 Is the LED indicator turned off?

The mixer has not recognized your iPod/iPhone. Check which iPod/iPhone models are supported.

 The supported iPod/iPhone

is not recognized.

 If your iPod/iPhone has not been charged, it may take some time to be recognized by the mixer.

Please wait.

 When a stereo signal is

input, the left and right vol-

ume is different.

 Is the pan control set to the center position?

If it is located in the center, try swapping the connections. If the lesser/greater volume signals are

also switched, check the connected device(s).

 Is the same type of cable used for the right and left signals?

A cable with resistance lowers the volume.

 The sound level is inconsis-

tent, or there is an unnatural

“pumping” in the sound.

 Are you applying the compressor at an appropriate level?

You might have to lower the COMP control levels.

 The Leveler is not enabled.  Is the GAIN control on the stereo channels adjusted appropriately?

The Leveler may not be enabled if you increase the gain too much.

MGP16X/MGP12X Owner’s Manual

Appendix

Digital Effect Program List

FX1 REV-X (REV-X algorithm)

FX2 SPX (SPX algorithm)

* “LFO” stands for Low Frequency Oscillator. An LFO is normally used to modulate another signal, determining the modulation speed and

waveform shape.

No. Program Parameter Variable range Description

1 HALL Reverb Time 0.3 s – 10.0 s Reverb simulating a large space such as a hall.

2 WARM HALL Reverb Time 0.3 s – 10.0 s Warm reverb simulating a hall.

3 BRIGHT HALL Reverb Time 0.3 s – 10.0 s Bright reverb simulating a hall.

4 PLATE 1 Reverb Time 0.3 s – 10.0 s Reverb simulating a metal-plate. Suitable for vocals.

5 PLATE 2 Reverb Time 0.3 s – 10.0 s Reverb simulating a metal-plate. Suitable for snare drum sound.

6 ROOM Reverb Time 0.3 s – 3.2 s Reverb simulating the acoustics of a small space (room).

7 WARM ROOM Reverb Time 0.3 s – 3.2 s Warm reverb simulating the acoustics of a small space (room).

8 SLAP ROOM Reverb Time 0.3 s – 3.2 s Reverb simulating a slap echo of a small space (room).

No. Program Parameter Variable range Description

1 HALL Reverb Time 0.3 s – 10.0 s Reverb simulating a large space such as a hall.

2 ROOM Reverb Time 0.3 s – 3.2 s Reverb simulating the acoustics of a small space (room).

3 PLATE Reverb Time 0.3 s – 10.0 s Reverb simulating a metal-plate, producing a more hard-edged sound.

4 LARGE STAGE Reverb Time 0.3 s – 10.0 s Reverb simulating a large stage.

5 SMALL STAGE Reverb Time 0.3 s – 10.0 s Reverb simulating a small stage.

6 VOCAL ECHO Delay Time 30.0 ms – 743.0 ms Echo suitable for vocals.

7 KARAOKE ECHO Delay Time 40.0 ms – 265.0 ms Echo suitable for karaoke.

8DELAY

Delay Time 20.0 ms – 743.0 ms

Feedback delay adding multiple delayed signals.

Delay Time

(when input-

ting Tap)

200 ms – 743.0 ms

80 BPM – 300 BPM

9SINGLE DELAY

Delay Time 0 ms – 743.0 ms

Mono delay adding a delayed signal.

Delay Time

(when input-

ting Tap)

200 ms – 743.0 ms

80 BPM – 300 BPM

10 EARLY REF. Room Size 0.1 – 10.0

Early reflections without the subsequent reverb.

Applies a more elaborate effect than conventional reverb.

11 CHORUS LFO Freq 0 Hz – 39.7 Hz Creates a thick sound by modulating the delay time.

12 PHASER LFO Freq 0 Hz – 8.08 Hz Phase modulation produces a cyclical phasing effect.

13 FLANGER LFO Freq 0 Hz – 8.08 Hz Creates a tone with pitched effect.

14 SYMPHONIC LFO Depth 0 – 127 Creates a thick sound by multiplexing the sound.

15 DOUBLER Pitch Change -63 – +63 Creates an illusion of two people singing the same phrase.

16 RADIO VOICE Cutoff Offset 0 – 127

Reproduces a lo-fi feel in the style of the AM radio. Adjust the parame-

ter to change the frequency range to be emphasized.

MGP16X/MGP12X Owner’s Manual

Appendix

Jack List

* These jacks will also accept connection to phone plugs. If you use monaural plugs, the connection will be unbalanced.

Input and Output Jacks Polarities Configurations

MIC/LINE, MIC, AUX SEND,

STEREO OUT

Pin 1: Ground

Pin 2: Hot (+)

Pin 3: Cold (–)

XLR Jack

*LINE (mono channels)

GROUP OUT, STEREO OUT,

MONITOR OUT, FX SEND

Tip: Hot (+)

Ring: Cold (–)

Sleeve: Ground

TRS Phone Jack

INSERT

Tip: Output

Ring: Input

Sleeve: Ground

PHONES

Tip: L

Ring: R

Sleeve: Ground

RETURN

LINE (stereo channels)

Tip: Hot

Sleeve: Ground

Phone Jack

INPUT OUTPUT

Ring

TipSleeve

Sleeve Tip

Appendix

MGP16X/MGP12X Owner’s Manual

Specifications

Electrical Characteristics

0 dBu=0.775 Vrms, 0 dBV=1 Vrms

All faders are set to nominal position if not specified. (Nominal position is adjusted to a position that is 10 dB lower than the maximum position)

Output impedance of signal generator(Rs)=150 ohms, Output load impedance=10k ohms (TRS phone output), 600 ohms (XLR output)

*1 Noise is measured with an A-Weighting filter.

*2 Crosstalk is measured with a 1 kHz band pass filter.

*3 Maximum voltage gain is measured under the condition that all faders and GAIN controls are at maximum. PAN/BAL controls are panned

hard left or right.

General Specifications

* The device may not function depending on your iPod/iOS software version. For updated information about supported software versions,

check the Yamaha Pro Audio website (http://www.yamahaproaudio.com/).

UNIT

Frequency Response

20 Hz–20 kHz, refer to the nominal output level @1 kHz

GAIN: min (MONO CH, STEREO CH)

+0.5/-1.0 dB

Total Harmonic Distortion STEREO OUT +14 dBu@20 Hz–20 kHz, GAIN: min 0.02 %

Noise

CH INPUT EIN (Equivalent Input Noise): Rs=150 ohms, GAIN: max -128 dBu

STEREO OUT

GROUP OUT

STEREO and GROUP master faders are at nominal position and all of

bus assign switches are off.

-92 dBu

AUX SEND

FX SEND

AUX and FX master controls are at nominal position, and all of CH mix

controls are at minimum position.

-83 dBu

STEREO OUT Residual Output Noise -102 dBu

Crosstalk at 1 kHz

Adjacent Input Between input channels -74 dB

Input to Output STEREO OUT L/R, PAN: panned hard left or right -74 dB

Maximum Voltage Gain

(1 kHz)

CH INPUT MIC to

CH INSERT OUT 60 dB

STEREO OUT 84 dB

GROUP OUT 84 dB

REC OUT 62 dB

MONITOR OUT 80 dB

PHONES OUT 69 dB

AUX SEND (AUX2: PRE) 76 dB

AUX SEND (AUX2: POST) 86 dB

FX SEND86dB

RETURN to

STEREO OUT 16 dB

AUX SEND12dB

2TR IN to

STEREO OUT 28 dB

MONITOR OUT 34 dB

Supported iPod/iPhone models (as of

Dec. 2011)

*iPod classic, iPod touch (1

– 4

generation), iPod nano (2

– 6

generation), iPhone 4S,

iPhone 4, iPhone 3GS, iPhone 3G, iPhone

Input Channel HPF 100 Hz, 12 dB/oct

Input Channel EQ

HIGH 8 kHz, shelving

MID

MGP16X CHs 1–8, 13–16: 250 Hz to 5 kHz, peaking MGP16X CHs 9–12: 2.5 kHz, peaking

MGP12X CHs 1–4, 9–12: 250 Hz to 5 kHz, peaking MGP12X CHs 5–8: 2.5 kHz, peaking

LOW 125 Hz, shelving

Input Channel Compressor Parameters (ratio, threshold, output gain) are controlled by one knob.

Signal Indicator CH INPUT

PEAK indicator (red)

SIG indicator (green)

PEAK lights if the signal comes within 3 dB of the clipping level.

LED Level Meter

2 x 12 segments LED meter

(PEAK, +10, +6, +3, 0, -3, -6, -10, -15, -20, -25, -30 dB)

Metering point: post stereo master fader or pre monitor level

Phantom Power +48V

Power Supply

Requirements 100–240 V 50/60 Hz, auto sensing, IEC input

Power Consumption

MGP16X: 55 watts max

MGP12X: 45 watts max

Dimensions (W x H x D)

MGP16X: 447 mm x 143 mm x 495 mm (17.6" x 5.6" x 19.5")

MGP12X: 348 mm x 143 mm x 495 mm (13.7" x 5.6" x 19.5")

Weight

MGP16X: 9.0 kg (19.8 lb)

MGP12X: 7.5 kg (16.5 lb)

MGP16X/MGP12X Owner’s Manual

Appendix

Analog Input Specifications

0 dBu=0.775 Vrms, 0 dBV=1 Vrms

*1 Sensitivity: The lowest level that will produce an output of +4 dB (1.23 V), or the nominal output level when the unit is set to maximum

level. (All faders and level controls are at their maximum position.)

*2 Combo jacks are balanced (1&Sleeve=GND, 2&Tip=HOT, 3&Ring=COLD)

*3 XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)

*4 Phone jacks are unbalanced.

*5 Phone jacks are unbalanced. (Tip=Out, Ring=In, Sleeve=GND)

Analog Output Specifications

0 dBu=0.775 Vrms, 0 dBV=1 Vrms

*1 XLR-3-32 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)

*2 Phone jacks are impedance balanced. (Tip=HOT, Ring=COLD, Sleeve=GND)

*3 Phone jacks are unbalanced. (Tip=Out, Ring=In, Sleeve=GND)

*4 Phone jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND)

Digital Input Specifications

Input Connectors PAD Gain

Input

Impedance

Appropriate

Impedance

Input level

Connector

Specifications

Sensitivity

Nominal

Max. before Clipping

MONO CH INPUT

MGP16X: 1–8

MGP12X: 1–4

-60 dB

3k ohms

50–600

ohms Mics

-80 dBu (0.078 mV) -60 dBu (0.775 mV) -40 dBu (7.75 mV)

Combo jack

-16 dB -36 dBu (12.3 mV) -16 dBu (123 mV) +4 dBu (1.23 V)

26 dB

-34 dB

600 ohms

Lines

-54 dBu (1.55 mV) -34 dBu (15.5 mV) -14 dBu (155 mV)

+10 dB -10 dBu (245 mV) +10 dBu (2.45 V) +30 dBu (24.5 V)

STEREO CH INPUT

MGP16X: 9–12

MGP12X: 5–8

—

-60 dB

3k ohms

50–600

ohms Mics

-80 dBu (0.078 mV) -60 dBu (0.775 mV) -40 dBu (7.75 mV)

XLR-3-31 type

-16 dB -36 dBu (12.3 mV) -16 dBu (123 mV) -6 dBu (389 mV)

—

-34 dB

10k ohms

600 ohms

Lines

-54 dBu (1.55 mV) -34 dBu (15.5 mV) -14 dBu (155 mV)

Phone jack

+10 dB -10 dBu (245 mV) +10 dBu (2.45 V)

+30 dBu (24.5 V)

STEREO CH INPUT

MGP16X: 13–16

MGP12X: 9–12

— -34 dB

10k ohms

600 ohms

Lines

-54 dBu (1.55 mV) -34 dBu (15.5 mV) -14 dBu (155 mV)

Phone jack

RCA pin jack

— +10 dB -10 dBu (245 mV) +10 dBu (2.45 V)

+30 dBu (24.5 V)

MONO CH

INSERT IN

MGP16X: 1–8

MGP12X: 1–4

— — 10k ohms

600 ohms

Lines

-20 dBu (77.5 mV) 0 dBu (0.775 V) +20 dBu (7.75 V)

Phone jack

(TRS)

RETURN (L, R) — — 10k ohms

600 ohms

Lines

-12 dBu (195 mV) +4 dBu (1.23 V) +24 dBu (12.3 V) Phone jack

2TR IN (L, R) — — 10k ohms

600 ohms

Lines

-26 dBV (50.1 mV) -10 dBV (0.316 V) +10 dBV (3.16 V) RCA pin jack

Output Connectors

Output

Impedance

Appropriate

Impedance

Output Level

Connector

Specifications

Nominal Max. before Clipping

STEREO OUT (L, R) 75 ohms 600 ohms Lines +4 dBu (1.23 V) +24 dBu (12.3 V)

XLR-3-32 type

Phone jack

GROUP OUT (1–4) 150 ohms 10k ohms Lines +4 dBu (1.23 V) +20 dBu (7.75 V) Phone jack

AUX SEND (1, 2) 75 ohms 600 ohms Lines +4 dBu (1.23 V) +24 dBu (12.3 V) XLR-3-32 type

FX SEND (1, 2) 150 ohms 10k ohms Lines +4 dBu (1.23 V) +20 dBu (7.75 V) Phone jack

MONO CH INSERT OUT

MGP16X: 1–8

MGP12X: 1–4

150 ohms 10k ohms Lines 0 dBu (0.775 V) +20 dBu (7.75 V) Phone jack

REC OUT (L, R) 600 ohms 10k ohms Lines -10 dBV (0.316 V) +10 dBV (3.16 V) RCA pin jack

MONITOR OUT (L, R) 150 ohms 10k ohms Lines +4 dBu (1.23 V) +20 dBu (7.75 V) Phone jack

PHONES 100 ohms 40 ohms Phones 3 mW 75 mW Stereo phone jack

Connector Format Connector Specification

USB IN iPod, iPhone exclusive USB A type

Appendix

MGP16X/MGP12X Owner’s Manual

Dimensions

* Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corporation reserves the

right to modify products or specifications at any time without prior notice. Since specifications, equipment, and options may not

be the same in every locale, please check with your Yamaha dealer.

447 (444 excluding screw heads)

143

495

MGP16X

MGP12X

Unit: mm

348 (345 excluding screw heads)

143

495

MGP16X/MGP12X Owner’s Manual

Appendix

Block Diagram and Level Diagram

FX1-IN

FX2-IN

MID

LOW

HIGH

[0dBu]

+48V

26dB

PAD

+48V

HPF

100

COMP

COMP(TH)

LOW

MID

HIGH

3-Stage EQ

MID f

[0dBu]

GAIN

MAIN & MONO4

SIG

PEAK

INSERT

[0dBu]

[-60dBu~-16dBu]

[-34dBu~+10dBu]

MIC/LINE

CH INPUT

<CH1-3:MGP12X>

<CH1-7:MGP16X>

STEREO L

STEREO R

FX 2

AUX 1

AUX 2

PFL L

PFL R

FX 1

GROUP 1

GROUP 2

GROUP 3

GROUP 4

PFL CTRL

AFL L

AFL R

AFL CTRL

(CH Fader)

[-10dBu]

PRE

PFL

FX1 [-6dBu]

AUX1 [-6dBu]

AUX2 [-6dBu]

FX2 [-6dBu]

1-2

3-4

[0dBu]

PAN

[0dBu]

100

3-Stage EQ

GAIN

[0dBu] [0dBu]

MIC

[-60dBu~-16dBu]

ST CH INPUT

ST CH INPUT

LINE

[-34dBu~+10dBu]

LINE

[-34dBu~+10dBu]

L/MONO

GAIN

[0dBu]

ST CH INPUT

LINE

[-34dBu~+10dBu]

GAIN

[0dBu]

INV

L/MONO

INV

[0dBu]

INV

[0dBu]

INV

TO 2TR IN

INV

USB-R-OUT

USB-L-OUT

USB for iPod

TO CH11/12:MGP12X

TO CH15/16:MGP16X

<CH4:MGP12X>

<CH8:MGP16X>

SOURCE

CH INPUT

[-34dBu~+10dBu]

POWER

FX1 ON

PARAMETER

FX 2

(SPX)

PROGRAM 1~16

FX2 ON

PARAMETER

TAP

PROGRAM 1~8

FX 1

(REV-X)

(7 Seg)

FX1 FX2

SUM

[0dBu] [0dBu]

[+4dBu]

[-10dBu]

[+4dBu]

[0dBu]

[+4dBu]

SUM

[0dBu]

SUM

[0dBu]

SUM

[0dBu]

SUM

[0dBu]

[-10dBu]

SUM

[0dBu] [+4dBu]

[+4dBu]

SUM

[0dBu]

SUM

[0dBu]

SUM

[0dBu]

[+4dBu]

GROUP 1-2

GROUP 3-4

STEREO

REC OUT

[-10dBV]

GROUP OUT

[+4dBu]

STEREO OUT

[+4dBu]

MONITOR OUT

[+4dBu]

[0dBu]

AFL

SUM

[0dBu] [0dBu]

SUM

INV

SUM

[0dBu]

SUM

INV

SUM

[0dBu]

SUM

[0dBu] [0dBu][-6dBu]

[0dBu]

INV

[0dBu]

AUX1

SUM

[0dBu] [-6dBu]

FX1

[+4dBu]

AFL

[0dBu]

SUM

[0dBu] [0dBu][-6dBu]

AUX2

[+4dBu]

AFL

AUX2 SEND

[+4dBu]

AUX1 SEND

[+4dBu]

SUM

[0dBu] [-6dBu]

FX2

MAIN

FX2 SEND

[+4dBu]

FX1 SEND

[+4dBu]

MONITOR/

PHONES

(LED METER)

1/3

2/4

[-16dBu]

PHONES

[3mW 40ohms]

2TR IN

[-10dBV]

RETURN

[+4dBu]

[Same as CH1-3 : MGP12X]

[Same as CH1-7 : MGP16X]

PEAK

SIG

[0dBu]

[-10dBu]

(ST CH Fader)

AUX1

PAN/BAL

[0dBu]

1-2

3-4

[0dBu]

[-14dBu]

HPF

PRE

FX1

PFL

AUX2

[-14dBu]FX2

[-14dBu]

BAL

[Same as CH5/6, 7/8:MGP12X]

[Same as CH9/10,11/12:MGP16X]

[-14dBu]

AUX1

AUX2

2TR IN

[-6dBu]

STEREO

[0dBu]

1-2

3-4

[0dBu]

FX1 RTN

[-10dBu]

SIG

AUX1

AUX2

[-14dBu]

PFL

[Same as CH9/10 : MGP12X]

[Same as CH13/14 : MGP16X]

[Same as FX1]

DSP

[Same as CH1-3 : MGP12X]

[Same as CH1-7 : MGP16X]

FX1L-OUT

FX1R-OUT

FX2L-OUT

FX2R-OUT

TO STEREO/TO MONITOR

DUCKER

DETECT

DUCKER

LEVELER

MONO

STEREO

BLEND

STEREO IMAGE

LOW

MID f

MID

HIGH

INV

SIG

PEAK

+30dBu

+20dBu

+10dBu

0dBu

-10dBu

-30dBu

-40dBu

-50dBu

-60dBu

-20dBu

+20dBu

+10dBu

0dBu

-10dBu

-30dBu

-20dBu

ST CH MIC

Gain:Max [-60dBu]

ST CH MIC

Gain:Min [-16dBu]

ST CH LINE

Gain:Max [-34dBu]

ST CH LINE

Gain:Min [+10dBu]

2TR IN [-10dBV]

RETURN [+4dBu]

MONITOR OUT [+4dBu]

PHONES [3mW @ 40ohms]

MONITOR/PHONES

[Nominal:-16dB]

STEREO Fader

[Nominal:-10dB]

STEREO OUT [+4dBu]AUX, FX SEND [+4dBu]

RETURN

2TR IN

[Nominal:-6dB]

CH AUX, FX

[Nominal:-6dB]

ST CH AUX, FX

[Nominal:-6dB]

Clip Level

AUX,FX SEND

[Nominal:-6dB]

GROUP OUT [+4dBu]

GROUP Fader

[Nominal:-10dB]

Clip Level Clip Level

REC OUT [-10dBV]

INSERT I/O [0dBu]

MONO CH (PAD OFF)

Gain:Max [-60dBu]

MONO CH (PAD OFF)

Gain:Min [-16dBu]

MONO CH (PAD ON)

Gain:Max [-34dBu]

MONO CH (PAD ON)

Gain:Min [+10dBu]

CH Fader

ST CH Fader

[Nominal:-10dB]

Clip Level

Clip Level Clip LevelClip Level

+30dBu

INV

Clip Level

MGP16X/MGP12X Owner’s Manual

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions

contained in this manual, meets FCC requirements. Modifica-

tions not expressly approved by Yamaha may void your

authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories

and/or another product use only high quality shielded cables.

Cable/s supplied with this product MUST be used. Follow all

installation instructions. Failure to follow instructions could

void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply

with the requirements listed in FCC Regulations, Part 15 for

Class “B” digital devices. Compliance with these require-

ments provides a reasonable level of assurance that your use

of this product in a residential environment will not result in

harmful interference with other electronic devices. This equip-

ment generates/uses radio frequencies and, if not installed

and used according to the instructions found in the users

manual, may cause interference harmful to the operation of

other electronic devices. Compliance with FCC regulations

does not guarantee that interference will not occur in all

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B)

installations. If this product is found to be the source of inter-

ference, which can be determined by turning the unit “OFF”

and “ON”, please try to eliminate the problem by using one of

the following measures:

Relocate either this product or the device that is being

affected by the interference.

Utilize power outlets that are on different branch (circuit

breaker or fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the

antenna. If the antenna lead-in is 300 ohm ribbon lead,

change the lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory

results, please contact the local retailer authorized to distrib-

ute this type of product. If you can not locate the appropriate

retailer, please contact Yamaha Corporation of America,

Electronic Service Division, 6600 Orangethorpe Ave, Buena

Park, CA90620

The above statements apply ONLY to those products distrib-

uted by Yamaha Corporation of America or its subsidiaries.

FCC INFORMATION (U.S.A.)

(weee_eu)

Information for Users on Collection and Disposal of Old Equipment

This symbol on the products, packaging, and/or accompanying documents means that used electrical and electronic

products should not be mixed with general household waste.

For proper treatment, recovery and recycling of old products, please take them to applicable collection points, in accor-

dance with your national legislation and the Directives 2002/96/EC.

By disposing of these products correctly, you will help to save valuable resources and prevent any potential negative

effects on human health and the environment which could otherwise arise from inappropriate waste handling.

For more information about collection and recycling of old products, please contact your local municipality, your waste

disposal service or the point of sale where you purchased the items.

[For business users in the European Union]

If you wish to discard electrical and electronic equipment, please contact your dealer or supplier for further information.

[Information on Disposal in other Countries outside the European Union]

This symbol is only valid in the European Union. If you wish to discard these items, please contact your local authorities

or dealer and ask for the correct method of disposal.

This device complies with Part 15 of the FCC Rules. Operation

is subject to the following two conditions:

(1) this device may not cause harmful interference, and (2) this

device must accept any interference received, including inter-

ference that may cause undesired operation.

CANADA

This Class B digital apparatus complies with Canadian ICES-003.

Cet appareil numérique de la classe B est conforme à la norme NMB-

003 du Canada.

• This applies only to products distributed by Yamaha Canada Music Ltd. (class B)

• Ceci ne s’applique qu’aux produits distribués par Yamaha Canada Musique Ltée.

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Connecting the Plug and Cord

WARNING: THIS APPARATUS MUST BE EARTHED IMPOR-

TANT. The wires in this mains lead are coloured in accordance

with the following code:

GREEN-AND-YELLOW : EARTH

BLUE : NEUTRAL

BROWN :LIVE

As the colours of the wires in the mains lead of this apparatus

may not correspond with the coloured markings identifying the

terminals in your plug proceed as follows:

The wire which is coloured GREEN-and-YELLOW must be

connected to the terminal in the plug which is marked by the

letter E or by the safety earth symbol or colored GREEN or

GREEN-and-YELLOW.

The wire which is coloured BLUE must be connected to the ter-

minal which is marked with the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the

terminal which is marked with the letter L or coloured RED.

(3 wires)

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.

HEAD OFFICE Yamaha Corporation, Audio Products Sales and Marketing Division

Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Toronto, Ontario,

M1S 3R1, Canada Tel: 416-298-1311

U.S.A.

Yamaha Corporation of America

6600 Orangethorpe Avenue, Buena Park, CA 90620,

U.S.A. Tel: 714-522-9011

MEXICO

Yamaha de México, S.A. de C.V.

Av. Insurgentes Sur 1647 Piso 9, Col. San José

Insurgentes, Delegación Benito Juárez, México,

D.F., C.P. 03900 Tel: 55-5804-0600

BRAZIL

Yamaha Musical do Brasil Ltda.

Rua Joaquim Floriano, 913 - 4º andar, Itaim Bibi,

CEP 04534-013 São Paulo, SP. BRAZIL

Tel: 011-3704-1377

ARGENTINA

Yamaha Music Latin America, S.A.,

Sucursal Argentina

Olga Cossettini 1553, Piso 4 Norte,

Madero Este-C1107CEK

Buenos Aires, Argentina

Tel: 011-4119-7000

VENEZUELA

Yamaha Music Latin America, S.A.,

Sucursal Venezuela

C.C. Manzanares Plaza P4

Ofic. 0401- Manzanares-Baruta

Caracas Venezuela

Tel: 58-212-943-1877

PANAMA AND OTHER LATIN

AMERICAN COUNTRIES/

CARIBBEAN COUNTRIES

Yamaha Music Latin America, S.A.

Torre Banco General, Piso No.7, Marbella,

Calle 47 y Aquilino de la Guardia,

Ciudad de Panamá, República de Panamá

Tel: +507-269-5311

THE UNITED KINGDOM/IRELAND

Yamaha Music Europe GmbH (UK)

Sherbourne Drive, Tilbrook, Milton Keynes,

MK7 8BL, U.K. Tel: 01908-366700

GERMANY

Yamaha Music Europe GmbH

Siemensstraße 22-34, 25462 Rellingen, Germany

Tel: 04101-3030

SWITZERLAND/LIECHTENSTEIN

Yamaha Music Europe GmbH

Branch Switzerland in Zürich

Seefeldstrasse 94, 8008 Zürich, Switzerland

Tel: 044-387-8080

AUSTRIA/BULGARIA

Yamaha Music Europe GmbH Branch Austria

Schleiergasse 20, A-1100 Wien, Austria

Tel: 01-60203900

CZECH REPUBLIC/HUNGARY/

ROMANIA/SLOVAKIA/SLOVENIA

Yamaha Music Europe GmbH

Branch Austria (Central Eastern Europe Office)

Schleiergasse 20, A-1100 Wien, Austria

Tel: 01-60203900

POLAND/LITHUANIA/LATVIA/ESTONIA

Yamaha Music Europe GmbH

Branch Poland Office

ul. Wrotkowa 14 02-553 Warsaw, Poland

Tel: 022-500-2925

MALTA

Olimpus Music Ltd.

The Emporium, Level 3, St. Louis Street Msida

MSD06 Tel: 02133-2144

NETHERLANDS/BELGIUM/

LUXEMBOURG

Yamaha Music Europe Branch Benelux

Clarissenhof 5-b, 4133 AB Vianen, Netherlands

Tel: 0347-358 040

FRANCE

Ya m a h a Mu s i c E u ro p e

7 rue Ambroise Croizat, Zone d'activites Pariest,

77183 Croissy-Beaubourg, France

Tel: 01-64-61-4000

ITALY

Yamaha Music Europe GmbH, Branch Italy

Viale Italia 88, 20020 Lainate (Milano), Italy

Tel: 02-935-771

SPAIN/PORTUGAL

Yamaha Music Europe GmbH Ibérica, Sucursal

en España

Ctra. de la Coruna km. 17,200, 28231

Las Rozas (Madrid), Spain Tel: +34-91-639-88-88

GREECE

Philippos Nakas S.A. The Music House

147 Skiathou Street, 112-55 Athens, Greece

Tel: 01-228 2160

SWEDEN/FINLAND/ICELAND

Yamaha Music Europe GmbH Germany filial

Scandinavia

J. A. Wettergrensgata 1, Box 30053

S-400 43 Göteborg, Sweden Tel: +46 31 89 34 00

DENMARK

Yamaha Music Europe GmbH, Tyskland – filial

Denmark

Generatorvej 6A, DK-2730 Herlev, Denmark

Tel: 44 92 49 00

NORWAY

Yamaha Music Europe GmbH Germany -

Norwegian Branch

Grini Næringspark 1, N-1361 Østerås, Norway

Tel: 67 16 78 00

RUSSIA

Yamaha Music (Russia) LLC.

Room 37, bld. 7, Kievskaya street, Moscow,

121059, Russia Tel: 495 626 5005

OTHER EUROPEAN COUNTRIES

Yamaha Music Europe GmbH

Siemensstraße 22-34, 25462 Rellingen, Germany

Tel: +49-4101-3030

Ya m a h a Mu s i c G u lf F ZE

Office JAFZA 16-512, P.O.Box 17328,

Jebel Ali - Dubai, UAE Tel: +971-4-881-5868

TURKEY

Yamaha Music Europe GmbH

Merkezi Almanya Türkiye İstanbul Şubesi

Maslak Meydan Sokak No:5 Spring Giz Plaza

Bağımsız Böl. No:3, 34398 Şişli İstanbul

Tel: +90-212-999-8010

CYPRUS

Yamaha Music Europe GmbH

Siemensstraße 22-34, 25462 Rellingen, Germany

Tel: 04101-3030

OTHER COUNTRIES

Yam a h a M u s i c G u l f F Z E

Office JAFZA 16-512, P.O.Box 17328,

Jebel Ali - Dubai, U.A.E Tel: +971-4-881-5868

THE PEOPLE’S REPUBLIC OF CHINA

Yamaha Music & Electronics (China) Co.,Ltd.

2F, Yunhedasha, 1818 Xinzha-lu, Jingan-qu,

Shanghai, China Tel: 021-6247-2211

INDIA

Yamaha Music India Pvt. Ltd.

Spazedge building, Ground Floor, Tower A, Sector

47, Gurgaon- Sohna Road, Gurgaon, Haryana, India

Tel: 0124-485-3300

INDONESIA

PT. Yamaha Musik Indonesia (Distributor)

Yamaha Music Center Bldg. Jalan Jend. Gatot

Subroto Kav. 4, Jakarta 12930, Indonesia

Tel: 021-520-2577

KOREA

Yamaha Music Korea Ltd.

8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong,

Kangnam-Gu, Seoul, Korea Tel: 02-3467-3300

MALAYSIA

Yamaha Music (Malaysia) Sdn., Bhd.

No.8, Jalan Perbandaran, Kelana Jaya, 47301

Petaling Jaya, Selangor, Malaysia Tel: 03-78030900

SINGAPORE

Yamaha Music (Asia) Private Limited

Block 202 Hougang Street 21, #02-00,

Singapore 530202, Singapore Tel: 65-6747-4374

TAIWAN

Yamaha Music & Electronics Taiwan Co.,Ltd.

3F, No.6, Section 2 Nan-Jing East Road, Taipei,

Taiwan R.O.C. Tel: 02-2511-8688

THAILAND

Siam Music Yamaha Co., Ltd.

3, 4, 15 and 16th floor, Siam Motors Building,

891/1 Rama 1 Road, Wangmai,

Pathumwan, Bangkok 10330, Thailand

Tel: 02-215-2622

VIETNAM

Yamaha Music Vietnam Company Limited

15th Floor, Nam A Bank Tower, 201-203 Cach

Mang Thang Tam St., Ward 4, Dist.3,

Ho Chi Minh City, Vietnam Tel: +84-8-3818-1122

OTHER ASIAN COUNTRIES

Yamaha Corporation

Sales & Marketing Division

Nakazawa-cho 10-1, Naka-ku, Hamamatsu,

Japan 430-8650 Tel: +81-53-460-2312

AUSTRALIA

Yam a h a M u s i c A u s t r a l i a P t y. L t d .

Level 1, 99 Queensbridge Street, Southbank,

Victoria 3006, Australia Tel: 3-9693-5111

COUNTRIES AND TRUST

TERRITORIES IN PACIFIC OCEAN

Yamaha Corporation

Sales & Marketing Division

Nakazawa-cho 10-1, Naka-ku, Hamamatsu,

Japan 430-8650 Tel: +81-53-460-2312

NORTH AMERICA

CENTRAL & SOUTH AMERICA

EUROPE

AFRICA

MIDDLE EAST

ASIA

OCEANIA

PA36

C.S.G., PA Development Division

311POAP*.*-**C0

WY83800

Yamaha Pro Audio global web site:

http://www.yamahaproaudio.com/

Yamaha Manual Library

http://www.yamaha.co.jp/manual/

Transcripción de documentos

Owner’s Manual Precautions pages 4, 5 Quick Start Guide Troubleshooting pages 12 to 14 page 27 EN 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. Explanation of Graphical Symbols Explication des symboles CAUT I ON The lightning flash with arrowhead symbol within an equilateral triangle 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. RISK OF ELECTRIC SHOCK DO NOT OPEN 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. 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. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. Le point d’exclamation à l’intérieur d’un triangle équilatéral est destiné à attirer l’attention de l’utilisateur sur la présence d’instructions importantes sur l’emploi ou la maintenance (réparation) de l’appareil 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. IMPORTANT SAFETY INSTRUCTIONS PRÉCAUTIONS CONCERNANT LA SÉCURITÉ 1 2 3 4 5 6 7 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 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 grounding 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. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. Only use attachments/accessories specified by the manufacturer. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. Unplug this apparatus during lightning storms or when unused for long periods of time. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply 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. WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE. (UL60065_03) 8 9 10 11 12 13 14 Lire ces instructions. Conserver ces instructions. Tenir compte de tous les avertissements. Suivre toutes les instructions. Ne pas utiliser ce produit à proximité d’eau. Nettoyer uniquement avec un chiffon propre et sec. Ne pas bloquer les orifices de ventilation. Installer l’appareil conformément aux instructions du fabricant. 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 compris un amplificateur) produisant de la chaleur. 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. Acheminer les cordons d’alimentation de sorte qu’ils ne soient pas piétinés ni coincés, en faisant tout spécialement attention aux fiches, prises de courant et au point de sortie de l’appareil. Utiliser exclusivement les fixations et accessoires spécifiés par le fabricant. 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. Débrancher l’appareil en cas d’orage ou lorsqu’il doit rester hors service pendant une période prolongée. 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’alimentation 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’humidité, si l’appareil ne fonctionne pas normalement ou est tombé. AVERTISSEMENT POUR RÉDUIRE LES RISQUES D’INCENDIE OU DE DÉCHARGE ÉLECTRIQUE, N’EXPOSEZ PAS CET APPAREIL À LA PLUIE OU À L’HUMIDITÉ. (UL60065_03) 2 MGP16X/MGP12X Owner’s Manual Main Features Contents Sophisticated analog circuits D-PRE (Discrete Class-A MIC preamp) Main Features ................................ 3 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 exceptionally musical characteristics as well as sustained high frequencies. Independent toggle switching of +48V phantom power and 26dB (pad) on each channel. PRECAUTIONS.................................4 Making the Most of Your Mixer............ 6 * Inverted Darlington circuit: An amplifying method for eliminating the nonlinear characteristics of the amplifier element and suppressing the distortion. The circuit features highly musical phase characteristics. Setup ........................................... 8 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 characteristics. 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 functions 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 background music to accommodate the voice of an announcer coming in on another channel. The Leveler function automatically maintains a consistent sound volume, even when using sound sources that have different 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. Balanced Cables and Unbalanced Cables ...........6 Connector Types...................................................6 Level Adjustment for Optimum Mix ....................... 7 Setup Examples.................................................... 8 Rack Mounting.................................................... 10 Security Cover Mounting .................................... 11 Quick Start Guide ...........................12 Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Preparing the Power Supply ................... 12 Connections ........................................... 12 Powering Up the System ........................ 12 Getting Sound to the Speakers............... 13 Using the Built-in Digital Effects ............. 13 <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 USB port for playing and charging your iPod/iPhone (page 20) Accessories 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. • AC power cord (1) • Rack mount kit (1) (MGP12X only) • Owner’s manual (1) MGP16X/MGP12X Owner’s Manual 3 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 • 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. • 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. Fire warning • Do not put burning items, such as candles, on the unit. A burning item may fall over and cause a fire. If you notice any abnormality Do not open • 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. • 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: Power supply/Power cord • Before moving the device, remove all connected cables. • 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. Location • 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. PA_en_1 4 MGP16X/MGP12X Owner’s Manual • 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. 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. 1/2 Maintenance Yamaha cannot be held responsible for damage caused by improper use or modifications to the device, or data that is lost or destroyed. • Remove the power plug from the AC outlet when cleaning the device. Handling caution Always turn the power off when the device is not in use. • 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. NOTICE To avoid the possibility of malfunction/damage to the product, 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. Otherwise, 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 chemical-impregnated wiping cloths. • Condensation can occur in the device due to rapid, drastic 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 condensation 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 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 purposes 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, followed 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 companies. iPodTM, iPhoneTM 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 electronic 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 compliance with safety and regulatory standards. Please note that the use of this accessory with iPod or iPhone may affect wireless performance. 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. PA_en_1 2/2 MGP16X/MGP12X Owner’s Manual 5 Making the Most of Your Mixer Balanced Cables and Unbalanced Cables Two types of cables can be used to connect microphones, electronic 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. 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 professional audio gear. Cable Guidelines Microphones Balanced is best. Short line-level cables Unbalanced cable is fine in a relatively noise-free environment. Long line-level cables Balanced is best. Male Female 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. Stereo/TRS phone plug Mono phone plug 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. White Red 6 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 lacking. During recording it’s better to use EQ sparingly for compensation only. Comp settings 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. 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. Output 0 (Min) 10 (Max)  Cut for a Cleaner Mix For example: pianos have a lot of energy in the mid and low frequency 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 compromising the character of the instruments. You’ll have to use your ears, though, because each instrument is different and sometimes you’ll want the “snap” of a bass guitar, for example, to come through. The fundamental and harmonic of some musical instruments. frequency ranges Cymbal Input 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. Piano Start with the Featured Part 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. 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 rhythmically oriented piece you could add the bass and drums first, and then the piano. Whatever best serves the music is right. MGP16X/MGP12X Owner’s Manual 7 Setup Setup Examples 1. Sound Reinforcement for Live Performance (MGP16X) USB : iPod/iPhone signal  CH15/16 (MGP12X) USB : iPod/iPhone signal  CH11/12 iPod/ iPhone CD player Computer/Audio interface Powered monitor speakers Headphones Synthesizer Exciter DI Bass Effect processor Portable recorder Microphone x 4 Microphone x 2 Powered speakers Guitar Powered monitor speakers (For musician monitoring) 8 MGP16X/MGP12X Owner’s Manual Drum Setup 2. For Events and Parties (MGP16X) USB : iPod/iPhone signal  CH15/16 (MGP12X) USB : iPod/iPhone signal  CH11/12 iPod/ iPhone DJ mixer DVD player (voice) CD player Headphones Computer/Audio interface Instrument, Microphone CH8 (for MC) * MGP12X: CH4 Power amp Powered speakers Speakers MGP16X/MGP12X Owner’s Manual 9 Setup 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.  Mounting the MGP16X/MGP12X 1. Two metal rack-mount brackets are screwed onto the unit. Use a screwdriver to remove these brackets. * 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 appropriate 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 commercially available fan or similar ventilating option to secure sufficient airflow. If you’ve installed a fan kit, there may be cases in which closing the rear of the rack will produce a greater cooling effect. Refer to the rack and/or fan unit manual for details. 2. Turn the brackets over, and fasten them into place again using the same screws. e q w e q w 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. 13U 11U 10 MGP16X/MGP12X Owner’s Manual Setup  MGP12X Security Cover Mounting 3. Prepare the included rack-mount kit (2 supports and 6 screws). 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. 4. Use the included screws to fasten the rackmount supports with a triangular mark ( ) on the top side, to the installed rack-mount brackets in step 2. e q w 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. 13U 11U MGP16X/MGP12X Owner’s Manual 11 Quick Start Guide We’ll begin this guide by connecting a pair of speakers and generating some stereo output. Note that the operations and procedures will vary somewhat according to the input devices you are using. Step 1 Preparing the Power Supply 1. Make sure that the power switch of the unit is set to the “ ” position (off). 2. Connect the microphones and/or instruments you intend to use. For details on making connections, refer to the “Setup Examples” on pages 8, 9. Front Panel Rear Panel When using a condenser microphone, set the +48V phantom switch to ON (page 18). 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 completely down. GAIN controls Power switch (rear panel) DI 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. 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, microphone, 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 phantom 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. Faders • 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. 12 MGP16X/MGP12X Owner’s Manual Quick Start Guide Step 4 Getting Sound to the Speakers Step 5 Using the Built-in Digital Effects 1. 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 incoming 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 signals can be monitored via the headphones. 2. Turn on the ON and ST switches for each channel you are using. 3. Make sure that all PFL and AFL switches are set to off ( 4. Turn on ( ). 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 Program 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 overall effect depth. ) the ON switch for the STEREO master. 5. Raise the STEREO master fader to the “0” 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. position. 6. Set the channel faders to create the desired initial balance. 7. Adjust the overall volume of the STEREO master fader. 4 FX1/FX2 controls PARAMETER controls PROGRAM knobs 5 1 The overall headphone level is adjusted by the MONITOR/ PHONES control. NOTE If the PEAK indicator lights frequently, slightly lower the channel faders to avoid distortion. Level meter MONITOR PHONES control STEREO master ON switch 1,7 7 4 GAIN controls 1 Channel ON switches FX1/FX2 RTN faders 3,5 2 ON buttons 2 PEAK indicators 1 2 Channel ST switches 3 PFL switches 6 Channel faders 3 AFL switches 5,7 STEREO master fader MGP16X/MGP12X Owner’s Manual 13 Quick Start Guide  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 processors. 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 setting 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 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. 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 trying 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. 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 channel (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 confirm 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. TO CH15/16 (TO CH11/12) switch 1 DUCKER switches 2 CH13/14, CH15/16 (CH9/10, CH11/12) 1 2 GAIN controls 4 GAIN control 5 ON switch 5 Channel fader 3 14 MGP16X/MGP12X Owner’s Manual SOURCE channel Controls and Connectors Front Panel 4 6 8 7 1 2 3 5 9 * 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 Master Control Block 1. Mono input section ............................................. page 18 4. iPod/iPhone section............................................ page 20 2. Mono and stereo input section ........................... page 18 5. Built-in digital effects section .............................. page 21 3. Stereo input section ............................................ page 18 6. Meter/PHONES section...................................... page 23 7. RETURN/2TR IN section.................................... page 23 8. SEND MASTER section ..................................... page 24 9. GROUP/STEREO section .................................. page 24 MGP16X/MGP12X Owner’s Manual 15 Controls and Connectors Rear Panel 12 11 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 16 MGP16X/MGP12X Owner’s Manual 10 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. Simplified Mixer Block Diagram Input channel Master section PEAK CH Fader INPUT HA EQ LED meter q Head amp w Equalizer e PEAK indicator GROUP Fader r Channel fader STEREO Fader CHs INPUT OUTPUT SUM t Bus y Master control and level meter  Input channel  Master section q Head amp t Bus (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 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 specified 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 signals 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. 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. r Channel fader A channel fader enables you to adjust the level of the corresponding 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. MGP16X/MGP12X Owner’s Manual 17 Controls and Connectors q +48V switch and indicator Channel Control Block 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. Mono input section Mono and stereo input section Stereo input section 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. Mono channels Mono/stereo channels Stereo channels 1–8 (MGP16X), 1–4 (MGP12X) 9–12 (MGP16X), 5–8 (MGP12X) 13–16 (MGP16X), 9–12 (MGP12X) q e w y q e y • When turning the switch on, make sure that only a condenser 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. r t • 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. y i u w 26dB (PAD) switch o o o !0 !0 !0 !1 !1 !1 !2 !2 !2 !3 !3 !3 !4 !4 !4 !5 !5 !5 !6 !6 !6 !7 !7 !7 !8 !8 !8 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 18 MGP16X/MGP12X Owner’s Manual You can adjust the attenuation of the Ducker function in the detailed setting mode (see column on page 21). 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. 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 frequency 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 frequency. The following table shows the EQ type, frequency, and cut/ boost range for each of the three bands. 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 26dB switch Range ON -34dB to +10dB OFF -60dB to -16dB 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 compressor 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 natural stereo image. • STEREO : Stereo signal (original, as is) Band Type Frequency HIGH Shelving 8kHz MID Peaking 2.5kHz* LOW Shelving 125Hz Cut/Boost range ±15dB * 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 corresponding 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 (prefader), 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 channel 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. MGP16X/MGP12X Owner’s Manual 19 Controls and Connectors !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 location 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 STEREO 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. Master Control Block iPod/iPhone section w 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-compliant 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 seconds 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 setting and the destination is shown below. Switch Switch Setting Audio Signal Input Source TO CH15/16 (MGP16X) ANALOG CH15/16 jacks (MGP16X) NOTE To reduce noise, set the fader sliders for any unused channels all the way down. q TO CH11/12 (MGP12X) CH11/12 jacks (MGP12X) USB ANALOG iPod/iPhone Output Destination Channels CH15/16 (MGP16X) Ch11/12 (MGP12X) 2TR IN jacks TO 2TR IN 2TR IN USB iPod/iPhone 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). 20 MGP16X/MGP12X Owner’s Manual Controls and Connectors Built-in digital effects section  About the Detailed Setting Mode The detailed setting mode lets you adjust the attenuation of the CH15/16 (CH11/12) for adjusting the play level from the iPod/iPhone, and also adjust the range of the Ducker function. q Procedure 1. Press both FX1 and FX2 PROGRAM knobs simultaneously for at least two (2) seconds. 2. “P” flashes on the FX1 LED display and “A” or “d” lights on the FX2 LED display. w The mixer enters the detailed setting mode. The available detailed setting parameters, LED display, and range are as follows. Parameter LED display e Range -24dB – 0dB CH15/16 (CH11/12) Attenuation (Attenuator) A -12dB -19dB -7dB -24dB 0dB r -70dB – 0dB Ducker Attenuation (Ducker Range) d -35dB -56dB -70dB -21dB 0dB t * The Ducker attenuation range is common for CH13/14 and CH15/16 (MGP12X: CH9/10 and CH11/12). 3. Use the PROGRAM knob to select the parameter (“A” or “d”) you want to change. y 4. Use the FX2 PARAMETER control to adjust the attenuation. Please refer to the above table for the range. 5. Press the PROGRAM knob again. The mixer saves the settings, and then exits the detailed setting mode. u NOTE • The mixer retains the last setting made, even after the power is turned off. i • To restore the default settings, press the TAP button while in the condition of step 3 above. • When the parameter setting is different from the default setting (i.e., when you’ve changed the parameter value from the default), a dot indication is displayed at the lower right of the FX2 program number. o !0 MGP16X/MGP12X Owner’s Manual 21 Controls and Connectors q Effect program display y ON button Displays the program number selected with the PROGRAM knob (w). This button turns the corresponding internal digital effect on or off. When the function is on, the button lights. NOTE w PROGRAM knob Selects one of 8 internal effects from FX1 and 16 internal effects from FX2. Turn the knob to select the desired effect, and then press the knob to enable it. See page 28 for details about the internal effects. The On/Off status of the internal effects will be retained, even when you turn off the power. u SIG indicator Lights when an effect signal is input into the channel. NOTE You can also select the desired effect by turning the knob while holding it down. e PARAMETER control Adjusts the parameter (depth, speed, etc.) for the selected effect. The last value used with each effect type is saved. NOTE When you change to a different effect type, the mixer automatically restores the value that was previously used with the newly selected effect (regardless of the current position of the PARAMETER Control knob). r AUX PRE controls (1, 2) Each knob adjusts the level of the effect-processed sound sent to the corresponding AUX1 and AUX2 buses. t TAP button and indicator This feature lets you set the delay time (tempo) for FX2 by tapping on the button. The feature only works when the effect type for FX2 is set to , DELAY or . SINGLE DELAY. To set the tempo, tap on the button at the appropriate interval. The average interval (BPM) at which you tap the button will be calculated, and that value will be set for the tempo. Continue tapping as necessary until you get the timing right. The average interval will be set (the average of a, b, and c) a First tap b Second tap c Third tap Fourth tap The TAP indicator flashes in sync with the tempo when the , DELAY or . SINGLE DELAY is selected. NOTE • The tempo is not set when the average interval at which you tap the button is out of the range of 80 – 300BPM. • For more information on the tempo range, see page 28. • The mixer retains the last tempo setting made, even after the power is turned off. 22 MGP16X/MGP12X Owner’s Manual i Bus assign switches These switches determine the bus(es) to which the signal of the internal digital effects is sent. Press the switch in ( ) to output the signal to the corresponding buses. • 1-2, 3-4 switches: Assign to the GROUP 1-2, 3-4 buses. • ST switch: Assigns to the STEREO L/R bus. o PFL switch and indicator When the PFL (Pre-Fader Listen) switch is on ( ), the indicator will light and the pre-FX (1, 2) RTN-fader signal is output to the MONITOR OUT and PHONES jacks for monitoring. NOTE If both PFL and AFL switches are turned on, only the PFL switch is enabled. To monitor the post-fader signal, make sure to turn off all PFL switches. !0 FX RTN faders (FX1, FX2) These adjust the level of the effect sent from the internal effect to the GROUP 1-2, 3-4 and STEREO L/R buses. To restore the initial factory settings for the internal effects, turn on the power while holding the TAP button (t) and the ON button (y). Controls and Connectors Meter/PHONES section RETURN/2TR IN section q q w w e q RETURN r q PHONES jack Connect a pair of headphones to this TRS phone jack. The PHONES jack outputs the same signal as the MONITOR OUT jacks. w POWER indicator This indicator lights up when the mixer’s power is ON. e Level meter This LED meter displays the level of the signal output from the STEREO OUT jack, or the signal selected by the 2TR IN switch and PFL/AFL switch. The “0” segment corresponds to the nominal output level. The PEAK segment lights when output reaches the clipping level. • AUX1, AUX2 controls: Adjust the level at which the L/ R signal received at the RETURN jacks (L (MONO) and R) is sent to the AUX1 and AUX2 buses. • STEREO control: Adjusts the level at which the signal received at the RETURN jacks (L (MONO) and R) is sent to the STEREO L/R bus. NOTE If you supply a signal to the RETURN L (MONO) jack only, the mixer sends the same signal to both the L and R Stereo buses. w 2TR IN • 2TR IN switch: If this switch is set to TO MONITOR ( ), the signals input via the 2TR IN jacks or the iPod/iPhone are sent to the MONITOR OUT jacks, the PHONES jack, and the level meter. If it is set to TO STEREO ( ), the signals are sent to the STEREO L/R buses. • 2TR IN control: Adjusts the level of the signal sent from the 2TR IN jacks or the iPod/iPhone to the STEREO L/R buses. NOTE The PFL signal has display priority when an input channel’s PFL switch is on ( ). r MONITOR/PHONES control Controls the level of the signal output to the PHONES jack and the MONITOR OUT jacks. MGP16X/MGP12X Owner’s Manual 23 Controls and Connectors SEND MASTER section GROUP/STEREO section t w q e q SEND MASTER controls (AUX1, AUX2, FX1, FX2) These adjust the signal level sent to the AUX, AUX2, FX1 and FX2 SEND jacks. r q y w NOTE These SEND MASTER controls do not affect the level of the signal sent from the internal digital effect to the FX1 and FX2 buses. w AFL switch and indicator When the AFL (After-Fader Listen) switch is on, the indicator lights and the signal after the AUX1 and AUX2 controls (q) adjustment is output to the MONITOR OUT and PHONES jacks for monitoring. NOTE • The PFL signal has priority when both the PFL switch and AFL switch are on. To monitor the post-fader signal, make sure to turn off all PFL switches. • If the PFL (preferred) is enabled, the AFL indicator does not light, even if the AFL switch is pressed. q GROUP 1-2 fader Adjusts the signal level to the GROUP OUT 1 and GROUP OUT 2 jacks. w GROUP 3-4 fader Adjusts the signal level to the GROUP OUT 3 and GROUP OUT 4 jacks. e ST switch If this switch is on, the signals are sent to the STEREO L/R bus via the GROUP1-2 or 3-4 fader. The Group 1 and 3 signal goes to Stereo L and the Group 2 and 4 signal goes to Stereo R. r AFL switch and indicator When the AFL (After-Fader Listen) switch is on, the indicator lights and the signal after GROUP 1-2 (q) or 3-4 (w) faders adjustment is output to the MONITOR OUT and PHONES jacks for monitoring. NOTE • The PFL switch has priority when both the PFL switch and AFL switch are on. To monitor the post-fader signal, make sure to turn off all PFL switches. • If the PFL is enabled (preferred), the AFL indicator does not light, even if the AFL switch is pressed. t ON switch Turn this switch on to enable the STEREO master fader. The switch lights when on. y STEREO master fader Adjusts the signal level sent to the STEREO OUT jacks. 24 MGP16X/MGP12X Owner’s Manual Controls and Connectors Rear Input/Output Block !1 y t r e (MGP12X: w (MGP12X: CHs 5/6, 7/8) q (MGP12X: CHs 1 to 4) CHs 9/10, 11/12) !0 !2 o i Channel I/O connectors section • MIC/LINE: These are combo jacks that support both XLR-type and TRS phone-type plugs, and are for connection of both microphones and/or instruments. q Mono inputs • INSERT: These jacks are located between the compressor and equalizer of the corresponding input channel. The INSERT jacks are ideal for connecting devices such as graphic equalizers or noise filters into the corresponding channels. These are TRS (tip, ring, sleeve) phone jacks that carry both the send and return signal (tip = send/out; ring = return/in; sleeve = ground). NOTE Connection to an INSERT I/O jack requires a special insertion cable as illustrated below. Use a separately-sold Yamaha insertion cable (YIC025/050/070). To the input jack of the external processor To the INSERT I/O jack Sleeve (ground) u w Mono/Stereo inputs • LINE: These are unbalanced phone-jack stereo line inputs. • MIC: These are balanced XLR-type microphone input jacks. (1: Ground; 2: Hot; 3: Cold) NOTE On any given channel, you may use either an XLR or phone jack, but not both. e Stereo input • LINE: These are stereo input jacks that connect linelevel instruments, such as a synthesizer. These are unbalanced input jacks. Two jack types are provided: phone type and RCA pin type. Tip: OUT NOTE Tip: IN On any given channel, you may use either a phone or RCA jack, but not both. Ring: IN Tip: OUT To the output jack of the external processor CAUTION The signal output from the INSERT jacks is reversephased. This should not be a problem when connecting to an effect unit, but please be aware of the possibility of phase conflict when connecting to other types of device. A reversed-phased signal may result in degraded sound quality or even complete sound cancellation. MGP16X/MGP12X Owner’s Manual 25 Controls and Connectors Master I/O connectors section r 2TR IN These RCA pin jacks can be used to input a stereo sound source. Use these jacks when you want to connect a CD player, and output the signal to the monitor or the STEREO L/R bus. NOTE You can adjust the signal level using the 2TR IN control in the Master Control block. t REC OUT These RCA pin jacks can be connected to an external recorder such as an MD recorder in order to record the same signal that is being output via the STEREO OUT jacks. i GROUP OUT These impedance-balanced* TRS phone jacks output the GROUP 1-2, 3-4 signals. Use these jacks to connect to the inputs of a multi-track recorder, external mixer, or another similar device. o SEND You use these jacks, for example, to connect to an effect device or monitor system. • AUX1, AUX2: These are balanced XLR-3-32 type output jacks (1: Ground; 2: Hot; 3: Cold). • FX1, FX2: These are impedance balanced* phonejack type output jacks. These jacks output the signals from the FX1 and FX2 buses, respectively. !0 STEREO OUT NOTE The mixer’s STEREO master fader has no affect on the signal output via these jacks. Be sure to make appropriate level adjustments at the recording device. y MONITOR OUT Connect these impedance-balanced* TRS phone jacks to your monitor system. These jacks output the signal before or after the faders for the various buses. The PFL and AFL indicators in each section indicate which signal is being output. * Impedance balanced Since the hot and cold terminals of impedance balanced output jacks have the same impedance, these output jacks are less affected by induced noise. These are XLR type and TRS phone type balanced output jacks that output the mixed stereo signal. The signal level is adjusted by the STEREO master fader before it is output. You can use these jacks, for example, to connect to the power amplifier driving your main speakers. Power section !1 POWER switch Turns power to the unit ON or OFF. Press the switch to the “ ” position to turn on the power. Press the switch to the “ ” position to turn off the power. CAUTION NOTE The PFL switch has priority when both the PFL switch and AFL switch are on. To monitor the post-fader signal, make sure to turn off all PFL switches. Rapidly turning the unit ON and OFF in succession can cause it to malfunction. After turning the unit OFF, wait for about 6 seconds before turning it ON again. !2 AC IN connector u RETURN These are unbalanced phone-jack type line input jacks. The signal received by these jacks is sent to the STEREO L/R buses and the AUX1 and AUX2 buses. The mixed signal of L (MONO) and R is sent to the AUX1 and AUX2 buses. These jacks are typically used to receive the signal returned from an external effect device (reverb, delay, etc.). NOTE • These jacks can also be used as an auxiliary stereo input. • If you connect to the L (MONO) jack only, the mixer will recognize the signal as monaural and will send the identical signal to both the L and R jacks. 26 MGP16X/MGP12X Owner’s Manual Connect the included power cord here. First, connect the power cord to the MGP, and then plug it into an AC outlet. Troubleshooting  Power doesn’t come on.  Is an independent power-supply unit such as a power generator, or a power strip with switch plugged into the mixer? Make sure that the power is turned on.  No sound.            Sound is faint, distorted, or noisy. Are microphones, external devices, and speakers connected correctly? Is a Y-shaped cable used to connect the INSERT connector or an external device? Are your cables connected properly, or are they shorted or faulty? Are the channel GAIN controls, channel faders, STEREO master fader and GROUP 1-2/3-4 faders set to appropriate levels? Are the bus assign switch and 2TR IN switch set properly? (When using STEREO OUT jacks) Are the ON switch and ST switch of the channels you are using turned ON? (When using STEREO OUT jacks) Is the ON switch of the STEREO master turned on? (When using AUX 1/2 and FX 1/2 jacks) Are the respective SEND MASTER control, AUX 1/2 and FX 1/2 controls of each channel set to appropriate levels? (When using MONITOR OUT jacks ) Are the PFL switches for the channels that you are not using turned on? Make sure to turn off the PFL switch. [For signals that are input to the 2TR IN and CH15/16 (CH11/12) jacks] Is the routing assign switch set to USB ( )? Make sure to set the switch to ANALOG ( ).  Are the channel GAIN controls, channel faders, STEREO master fader and GROUP 1-2/3-4 faders set to appropriate levels?  Is the 26dB switch turned on? Make sure to turn off the switch when a low-level source, such as a microphone, is input.  Is the output signal from the connected device set to an appropriate level?  Are you applying the effects and compressor at appropriate levels? You may have to lower the FX (1, 2) control, FX RTN fader, and COMP control levels.  Are two different instruments connected to the XLR-type and phone jacks, or to the phone and RCA pin jacks on one channel? Make sure to connect to only one of these jacks on each channel.  Are microphones connected to the MIC input jacks or MIC/LINE input jacks ?  If you are using condenser microphones, is the +48V switch turned ON?  If you are connecting a device which has a specified output level of +4dBu, turn on the 26dB (PAD) switch of the mono channels or use stereo channels.  (Stereo channel) Is the DUCKER switch turned on? When a signal is constantly input to CH4 (MGP12X)/CH8 (MGP16X), the sound becomes faint.  No effect is applied.       The FX1/FX2 ON buttons are  The FX1/FX2 ON buttons are of a type that do not lock. Check that the EFFECT knob on each channel is correctly adjusted. Check whether the ON button of FX1/FX2 is turned on or off. Be sure that the PARAMETER control and FX RTN fader are correctly adjusted. Check that the switch for the desired bus in the FX1/FX2 RTN bus assign switches is turned on. When an effect device is connected to the FX1 or FX2 jack, is the FX1 or FX2 control on the SEND MASTER set to appropriate levels? not locked.  I want spoken words to be heard more clearly.  I want to output a monitor signal for the mixer through speakers.  The level meter doesn’t show the output signal level.  iPod/iPhone signal is not output.  The supported iPod/iPhone is not recognized.  When a stereo signal is input, the left and right volume is different.  The sound level is inconsistent, or there is an unnatural “pumping” in the sound.  The Leveler is not enabled.  Make sure that the switch is turned ON.  Are the equalizers (HIGH, MID, and LOW knobs) on each channel adjusted appropriately?  Connect a powered speaker to the MONITOR OUT jack. Make sure to adjust the level of output signal from the MONITOR OUT jack with the MONITOR/ PHONES control.  Are the PFL switches for the channels you are not using turned on? Make sure to turn off the PFL switch.  Is the USB cable that came with Pod/iPhone properly connected to the mixer?  Is the routing assign switch set to USB ( )?  Is the LED indicator turned off? The mixer has not recognized your iPod/iPhone. Check which iPod/iPhone models are supported.  If your iPod/iPhone has not been charged, it may take some time to be recognized by the mixer. Please wait.  Is the pan control set to the center position? If it is located in the center, try swapping the connections. If the lesser/greater volume signals are also switched, check the connected device(s).  Is the same type of cable used for the right and left signals? A cable with resistance lowers the volume.  Are you applying the compressor at an appropriate level? You might have to lower the COMP control levels.  Is the GAIN control on the stereo channels adjusted appropriately? The Leveler may not be enabled if you increase the gain too much. * If any specific problem should persist, please contact your Yamaha dealer. MGP16X/MGP12X Owner’s Manual 27 Appendix Digital Effect Program List FX1 REV-X (REV-X algorithm) No. Parameter Variable range 1 HALL Program Reverb Time 0.3 s – 10.0 s Reverb simulating a large space such as a hall. Description 2 WARM HALL Reverb Time 0.3 s – 10.0 s Warm reverb simulating a hall. 3 BRIGHT HALL Reverb Time 0.3 s – 10.0 s Bright reverb simulating a hall. 4 PLATE 1 Reverb Time 0.3 s – 10.0 s Reverb simulating a metal-plate. Suitable for vocals. 5 PLATE 2 Reverb Time 0.3 s – 10.0 s Reverb simulating a metal-plate. Suitable for snare drum sound. 6 ROOM Reverb Time 0.3 s – 3.2 s Reverb simulating the acoustics of a small space (room). 7 WARM ROOM Reverb Time 0.3 s – 3.2 s Warm reverb simulating the acoustics of a small space (room). 8 SLAP ROOM Reverb Time 0.3 s – 3.2 s Reverb simulating a slap echo of a small space (room). FX2 SPX (SPX algorithm) No. Program Parameter Variable range Description 1 HALL Reverb Time 0.3 s – 10.0 s Reverb simulating a large space such as a hall. 2 ROOM Reverb Time 0.3 s – 3.2 s Reverb simulating the acoustics of a small space (room). 3 PLATE Reverb Time 0.3 s – 10.0 s Reverb simulating a metal-plate, producing a more hard-edged sound. 4 LARGE STAGE Reverb Time 0.3 s – 10.0 s Reverb simulating a large stage. 5 SMALL STAGE Reverb Time 0.3 s – 10.0 s Reverb simulating a small stage. 6 VOCAL ECHO Delay Time 30.0 ms – 743.0 ms Echo suitable for vocals. 7 KARAOKE ECHO Delay Time 40.0 ms – 265.0 ms Echo suitable for karaoke. Delay Time 20.0 ms – 743.0 ms Delay Time (when inputting Tap) 200 ms – 743.0 ms 80 BPM – 300 BPM Delay Time 0 ms – 743.0 ms Delay Time (when inputting Tap) 200 ms – 743.0 ms 80 BPM – 300 BPM Room Size 0.1 – 10.0 8 DELAY 9 SINGLE DELAY 10 EARLY REF. Feedback delay adding multiple delayed signals. Mono delay adding a delayed signal. Early reflections without the subsequent reverb. Applies a more elaborate effect than conventional reverb. 11 CHORUS LFO Freq 0 Hz – 39.7 Hz Creates a thick sound by modulating the delay time. 12 PHASER LFO Freq 0 Hz – 8.08 Hz Phase modulation produces a cyclical phasing effect. 13 FLANGER Creates a tone with pitched effect. 14 SYMPHONIC 15 16 LFO Freq 0 Hz – 8.08 Hz LFO Depth 0 – 127 DOUBLER Pitch Change -63 – +63 RADIO VOICE Cutoff Offset 0 – 127 Creates a thick sound by multiplexing the sound. Creates an illusion of two people singing the same phrase. Reproduces a lo-fi feel in the style of the AM radio. Adjust the parameter to change the frequency range to be emphasized. * “LFO” stands for Low Frequency Oscillator. An LFO is normally used to modulate another signal, determining the modulation speed and waveform shape. 28 MGP16X/MGP12X Owner’s Manual Appendix Jack List Input and Output Jacks Polarities Configurations INPUT MIC/LINE, MIC, AUX SEND, STEREO OUT OUTPUT Pin 1: Ground Pin 2: Hot (+) Pin 3: Cold (–) XLR Jack * LINE (mono channels) GROUP OUT, STEREO OUT, MONITOR OUT, FX SEND Tip: Hot (+) Ring: Cold (–) Sleeve: Ground INSERT Tip: Output Ring: Input Sleeve: Ground PHONES Tip: L Ring: R Sleeve: Ground RETURN LINE (stereo channels) Tip: Hot Sleeve: Ground Ring Sleeve Tip TRS Phone Jack Sleeve Tip Phone Jack * These jacks will also accept connection to phone plugs. If you use monaural plugs, the connection will be unbalanced. MGP16X/MGP12X Owner’s Manual 29 Appendix Specifications Electrical Characteristics 0 dBu=0.775 Vrms, 0 dBV=1 Vrms All faders are set to nominal position if not specified. (Nominal position is adjusted to a position that is 10 dB lower than the maximum position) Output impedance of signal generator(Rs)=150 ohms, Output load impedance=10k ohms (TRS phone output), 600 ohms (XLR output) UNIT Frequency Response Total Harmonic Distortion Noise*1 Crosstalk at 1 kHz*2 CH INPUT STEREO OUT GROUP OUT AUX SEND FX SEND STEREO OUT Adjacent Input Input to Output CH INPUT MIC to Maximum Voltage Gain (1 kHz)*3 RETURN to 2TR IN to 20 Hz–20 kHz, refer to the nominal output level @1 kHz GAIN: min (MONO CH, STEREO CH) STEREO OUT +14 dBu@20 Hz–20 kHz, GAIN: min EIN (Equivalent Input Noise): Rs=150 ohms, GAIN: max STEREO and GROUP master faders are at nominal position and all of bus assign switches are off. AUX and FX master controls are at nominal position, and all of CH mix controls are at minimum position. Residual Output Noise Between input channels STEREO OUT L/R, PAN: panned hard left or right CH INSERT OUT STEREO OUT GROUP OUT REC OUT MONITOR OUT PHONES OUT AUX SEND (AUX2: PRE) AUX SEND (AUX2: POST) FX SEND STEREO OUT AUX SEND STEREO OUT MONITOR OUT +0.5/-1.0 dB 0.02 -128 % dBu -92 dBu -83 dBu -102 -74 -74 60 84 84 62 80 69 76 86 86 16 12 28 34 dBu dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB *1 Noise is measured with an A-Weighting filter. *2 Crosstalk is measured with a 1 kHz band pass filter. *3 Maximum voltage gain is measured under the condition that all faders and GAIN controls are at maximum. PAN/BAL controls are panned hard left or right. General Specifications *iPod classic, iPod touch (1st – 4th generation), iPod nano (2nd – 6th generation), iPhone 4S, iPhone 4, iPhone 3GS, iPhone 3G, iPhone 100 Hz, 12 dB/oct 8 kHz, shelving MGP16X CHs 1–8, 13–16: 250 Hz to 5 kHz, peaking MGP16X CHs 9–12: 2.5 kHz, peaking Input Channel EQ MID MGP12X CHs 1–4, 9–12: 250 Hz to 5 kHz, peaking MGP12X CHs 5–8: 2.5 kHz, peaking LOW 125 Hz, shelving Input Channel Compressor Parameters (ratio, threshold, output gain) are controlled by one knob. PEAK indicator (red) Signal Indicator CH INPUT SIG indicator (green) PEAK lights if the signal comes within 3 dB of the clipping level. 2 x 12 segments LED meter LED Level Meter (PEAK, +10, +6, +3, 0, -3, -6, -10, -15, -20, -25, -30 dB) Metering point: post stereo master fader or pre monitor level Phantom Power +48V Requirements 100–240 V 50/60 Hz, auto sensing, IEC input Power Supply MGP16X: 55 watts max Power Consumption MGP12X: 45 watts max MGP16X: 447 mm x 143 mm x 495 mm (17.6" x 5.6" x 19.5") Dimensions (W x H x D) MGP12X: 348 mm x 143 mm x 495 mm (13.7" x 5.6" x 19.5") MGP16X: 9.0 kg (19.8 lb) Weight MGP12X: 7.5 kg (16.5 lb) Supported iPod/iPhone models (as of Dec. 2011) Input Channel HPF HIGH * The device may not function depending on your iPod/iOS software version. For updated information about supported software versions, check the Yamaha Pro Audio website (http://www.yamahaproaudio.com/). 30 MGP16X/MGP12X Owner’s Manual Appendix Analog Input Specifications Input Connectors PAD Gain Input Impedance Sensitivity*1 -80 dBu (0.078 mV) 50–600 ohms Mics -36 dBu (12.3 mV) 3k ohms -54 dBu (1.55 mV) 600 ohms Lines -10 dBu (245 mV) -80 dBu (0.078 mV) 50–600 3k ohms ohms Mics -36 dBu (12.3 mV) -54 dBu (1.55 mV) 600 ohms 10k ohms Lines -10 dBu (245 mV) -60 dB -16 dB -34 dB 26 dB +10 dB -60 dB STEREO CH INPUT — -16 dB MGP16X: 9–12 -34 dB MGP12X: 5–8 — +10 dB STEREO CH INPUT — -34 dB MGP16X: 13–16 10k ohms — +10 dB MGP12X: 9–12 MONO CH INPUT MGP16X: 1–8 MGP12X: 1–4 0 Appropriate Impedance MONO CH INSERT IN MGP16X: 1–8 MGP12X: 1–4 — — 10k ohms RETURN (L, R) — — 10k ohms 2TR IN (L, R) — — 10k ohms 600 ohms Lines 600 ohms Lines 600 ohms Lines 600 ohms Lines Input level Nominal -60 dBu (0.775 mV) -16 dBu (123 mV) -34 dBu (15.5 mV) +10 dBu (2.45 V) -60 dBu (0.775 mV) -16 dBu (123 mV) -34 dBu (15.5 mV) +10 dBu (2.45 V) Max. before Clipping -40 dBu (7.75 mV) +4 dBu (1.23 V) -14 dBu (155 mV) +30 dBu (24.5 V) -40 dBu (7.75 mV) -6 dBu (389 mV) -14 dBu (155 mV) +30 dBu (24.5 V) Connector Specifications Combo jack*2 XLR-3-31 type*3 Phone jack*4 -54 dBu (1.55 mV) -34 dBu (15.5 mV) -10 dBu (245 mV) +10 dBu (2.45 V) -14 dBu (155 mV) Phone jack*4 +30 dBu (24.5 V) RCA pin jack -20 dBu (77.5 mV) 0 dBu (0.775 V) +20 dBu (7.75 V) -12 dBu (195 mV) +4 dBu (1.23 V) +24 dBu (12.3 V) Phone jack*4 -26 dBV (50.1 mV) -10 dBV (0.316 V) +10 dBV (3.16 V) RCA pin jack Phone jack (TRS)*5 0 dBu=0.775 Vrms, 0 dBV=1 Vrms *1 Sensitivity: The lowest level that will produce an output of +4 dB (1.23 V), or the nominal output level when the unit is set to maximum level. (All faders and level controls are at their maximum position.) *2 Combo jacks are balanced (1&Sleeve=GND, 2&Tip=HOT, 3&Ring=COLD) *3 XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD) *4 Phone jacks are unbalanced. *5 Phone jacks are unbalanced. (Tip=Out, Ring=In, Sleeve=GND) Analog Output Specifications Output Level Max. before Clipping Output Impedance Appropriate Impedance Nominal STEREO OUT (L, R) 75 ohms 600 ohms Lines +4 dBu (1.23 V) +24 dBu (12.3 V) GROUP OUT (1–4) AUX SEND (1, 2) FX SEND (1, 2) MONO CH INSERT OUT MGP16X: 1–8 MGP12X: 1–4 REC OUT (L, R) MONITOR OUT (L, R) PHONES 150 ohms 75 ohms 150 ohms 10k ohms Lines 600 ohms Lines 10k ohms Lines +4 dBu (1.23 V) +4 dBu (1.23 V) +4 dBu (1.23 V) +20 dBu (7.75 V) +24 dBu (12.3 V) +20 dBu (7.75 V) XLR-3-32 type*1 Phone jack*4 Phone jack*2 XLR-3-32 type*1 Phone jack*2 150 ohms 10k ohms Lines 0 dBu (0.775 V) +20 dBu (7.75 V) Phone jack*3 600 ohms 150 ohms 100 ohms 10k ohms Lines 10k ohms Lines 40 ohms Phones -10 dBV (0.316 V) +4 dBu (1.23 V) 3 mW +10 dBV (3.16 V) +20 dBu (7.75 V) 75 mW RCA pin jack Phone jack*2 Stereo phone jack Output Connectors Connector Specifications 0 dBu=0.775 Vrms, 0 dBV=1 Vrms *1 *2 *3 *4 XLR-3-32 type connectors are balanced. (1=GND, 2=HOT, 3=COLD) Phone jacks are impedance balanced. (Tip=HOT, Ring=COLD, Sleeve=GND) Phone jacks are unbalanced. (Tip=Out, Ring=In, Sleeve=GND) Phone jacks are balanced. (Tip=HOT, Ring=COLD, Sleeve=GND) Digital Input Specifications Connector Format Connector Specification USB IN iPod, iPhone exclusive USB A type MGP16X/MGP12X Owner’s Manual 31 Appendix Dimensions MGP16X 478 447 (444 excluding screw heads) 495 146 143 MGP12X 478 348 (345 excluding screw heads) 495 146 143 Unit: mm * Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corporation reserves the right to modify products or specifications at any time without prior notice. Since specifications, equipment, and options may not be the same in every locale, please check with your Yamaha dealer. 32 MGP16X/MGP12X Owner’s Manual L R R L [-10dBV] 2TR IN [+4dBu] RETURN L R R POWER R L R L/MONO LINE [-34dBu~+10dBu] L <CH11/12:MGP12X> <CH15/16:MGP16X> ST CH INPUT LINE [-34dBu~+10dBu] <CH9/10:MGP12X> <CH13/14:MGP16X> ST CH INPUT R LINE [-34dBu~+10dBu] L/MONO <CH5/6,7/8:MGP12X> <CH9/10,11/12:MGP16X> MIC [-60dBu~-16dBu] ST CH INPUT <CH4:MGP12X> <CH8:MGP16X> SOURCE CH INPUT INSERT [0dBu] MIC/LINE [-60dBu~-16dBu] [-34dBu~+10dBu] [0dBu] MGP16X/MGP12X MONO CH (PAD OFF) Gain:Max [-60dBu] MONO CH (PAD ON) Gain:Max [-34dBu] FX2 ON TAP PARAMETER PROGRAM 1~16 MONO CH (PAD ON) Gain:Min [+10dBu] FX 2 (SPX) FX1 FX2 GR GR RE ON ON SIG ST CH LINE Gain:Min [+10dBu] ST CH MIC Gain:Max [-60dBu] ST CH LINE Gain:Max [-34dBu] ST CH MIC Gain:Min [-16dBu] [0dBu] PRE [0dBu] PFL ST PAN [0dBu] [0dBu] [0dBu] Clip Level FX2L-OUT FX2R-OUT FX1R-OUT BA [0dBu] CH Fader ST CH Fader [Nominal:-10dB] [-14dBu] [-14dBu] PFL YE AUX2 AUX1 2TR IN [-10dBV] BA BA 3-4 PFL FX2 [-14dBu] FX1 [-14dBu] AUX2 [-14dBu] AUX1 [-14dBu] 3-4 [0dBu] 1-2 [0dBu] ST [0dBu] FX2 [-6dBu] FX1 [-6dBu] AUX2 [-6dBu] AUX1 [-6dBu] ST CH AUX, FX [Nominal:-6dB] 3-4 [0dBu] 1-2 [0dBu] ST [0dBu] RETURN 2TR IN [Nominal:-6dB] TO STEREO/TO MONITOR [Same as CH5/6, 7/8:MGP12X] [Same as CH9/10,11/12:MGP16X] YE YE CH AUX, FX [Nominal:-6dB] [Same as FX1] [-14dBu] [-14dBu] [-10dBu] FX1 RTN PRE BAL [-6dBu] RETURN [+4dBu] Clip Level GR 2TR IN AUX2 AUX1 STEREO SIG BA PAN/BAL [Same as CH1-3 : MGP12X] [Same as CH1-7 : MGP16X] (ST CH Fader) [-10dBu] Clip Level YE FX1L-OUT DUCKER DETECT YE YE PEAK SIG DSP BA BA 1-2 ON [-10dBu] (CH Fader) SIG PEAK [0dBu] PEAK INV INV STEREO IMAGE INSERT I/O [0dBu] Clip Level YE YE YE USB-L-OUT FX1 ON [0dBu] RE GR RE [0dBu] [Same as CH9/10 : MGP12X] [Same as CH13/14 : MGP16X] USB-R-OUT PROGRAM 1~8 MONO CH (PAD OFF) Gain:Min [-16dBu] -60dBu 3-Stage EQ DSP 3-Stage EQ [Same as CH1-3 : MGP12X] [Same as CH1-7 : MGP16X] COMP(TH) COMP 3-Stage EQ 100 DUCKER LEVELER YE YE FX 1 PARAMETER (REV-X) (7 Seg) -20dBu -30dBu -40dBu -50dBu 100 [0dBu] TO 2TR IN INV INV 0dBu -10dBu +10dBu +30dBu +20dBu WH GR USB for iPod INV INV INV HA [0dBu] GAIN HA HPF [-34dBu~+10dBu] HPF MAIN & MONO4 TO CH11/12:MGP12X [0dBu] TO CH15/16:MGP16X HA HA HA GAIN HA +48V [0dBu] HA HA INV GAIN GAIN RE +48V 26dB PAD +48V LOW RE LOW MID f +48V BLEND STEREO <CH1-3:MGP12X> <CH1-7:MGP16X> MID MID HIGH MONO HIGH LOW MID f MID HIGH FX2-IN FX1-IN CH INPUT [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] SUM SUM SUM SUM INV INV SUM SUM SUM SUM SUM SUM SUM SUM SUM SUM [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] [0dBu] INV INV SUM SUM AUX, FX SEND [+4dBu] Clip Level [0dBu] [0dBu] [0dBu] [0dBu] AUX,FX SEND [Nominal:-6dB] MAIN GROUP Fader [Nominal:-10dB] YE [-6dBu] [-6dBu] YE AFL [-6dBu] YE AFL [-6dBu] BA BA BA BA YE ON REC OUT [-10dBV] PHONES [3mW @ 40ohms] MONITOR OUT [+4dBu] Clip Level MONITOR/PHONES [Nominal:-16dB] STEREO OUT [+4dBu] [+4dBu] [+4dBu] [0dBu] [0dBu] [+4dBu] [+4dBu] [+4dBu] [+4dBu] [0dBu] [0dBu] Clip Level STEREO Fader [Nominal:-10dB] GROUP OUT [+4dBu] Clip Level FX2 FX1 AUX2 AUX1 ST ST BA BA BA BA BA BA YE AFL AFL GROUP 3-4 GROUP 1-2 [-10dBu] STEREO [-10dBu] -30dBu -20dBu -10dBu 0dBu +10dBu +30dBu +20dBu SUM SUM DR [+4dBu] [+4dBu] R 2/4 INV [-16dBu] L MONITOR/ 1/3 PHONES INV DR (LED METER) [+4dBu] [+4dBu] R L GROUP OUT [+4dBu] REC OUT [-10dBV] FX2 SEND [+4dBu] FX1 SEND [+4dBu] AUX2 SEND [+4dBu] AUX1 SEND [+4dBu] 4 3 2 1 R L MONITOR OUT [+4dBu] PHONES [3mW 40ohms] STEREO OUT [+4dBu] R L Appendix Block Diagram and Level Diagram Owner’s Manual 33 AFL L AFL R AFL CTRL PFL L PFL R PFL CTRL FX 1 FX 2 AUX 1 AUX 2 GROUP 1 GROUP 2 GROUP 3 GROUP 4 STEREO L STEREO R 34 MGP16X/MGP12X Owner’s Manual FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries. * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. CANADA This Class B digital apparatus complies with Canadian ICES-003. Cet appareil numérique de la classe B est conforme à la norme NMB003 du Canada. • This applies only to products distributed by Yamaha Canada Music Ltd. (class B) • Ceci ne s’applique qu’aux produits distribués par Yamaha Canada Musique Ltée. (class B) IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord WARNING: THIS APPARATUS MUST BE EARTHED IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: GREEN-AND-YELLOW : EARTH BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured GREEN-and-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or colored GREEN or GREEN-and-YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. (3 wires) Information for Users on Collection and Disposal of Old Equipment This symbol on the products, packaging, and/or accompanying documents means that used electrical and electronic products should not be mixed with general household waste. For proper treatment, recovery and recycling of old products, please take them to applicable collection points, in accordance with your national legislation and the Directives 2002/96/EC. By disposing of these products correctly, you will help to save valuable resources and prevent any potential negative effects on human health and the environment which could otherwise arise from inappropriate waste handling. For more information about collection and recycling of old products, please contact your local municipality, your waste disposal service or the point of sale where you purchased the items. [For business users in the European Union] If you wish to discard electrical and electronic equipment, please contact your dealer or supplier for further information. [Information on Disposal in other Countries outside the European Union] This symbol is only valid in the European Union. If you wish to discard these items, please contact your local authorities or dealer and ask for the correct method of disposal. (weee_eu) MGP16X/MGP12X Owner’s Manual 35 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. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Toronto, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Avenue, Buena Park, CA 90620, U.S.A. Tel: 714-522-9011 CENTRAL & SOUTH AMERICA MEXICO Yamaha de México, S.A. de C.V. Av. Insurgentes Sur 1647 Piso 9, Col. San José Insurgentes, Delegación Benito Juárez, México, D.F., C.P. 03900 Tel: 55-5804-0600 BRAZIL Yamaha Musical do Brasil Ltda. Rua Joaquim Floriano, 913 - 4º andar, Itaim Bibi, CEP 04534-013 São Paulo, SP. BRAZIL Tel: 011-3704-1377 ARGENTINA Yamaha Music Latin America, S.A., Sucursal Argentina Olga Cossettini 1553, Piso 4 Norte, Madero Este-C1107CEK Buenos Aires, Argentina Tel: 011-4119-7000 VENEZUELA Yamaha Music Latin America, S.A., Sucursal Venezuela C.C. Manzanares Plaza P4 Ofic. 0401- Manzanares-Baruta Caracas Venezuela Tel: 58-212-943-1877 PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES Yamaha Music Latin America, S.A. Torre Banco General, Piso No.7, Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panamá, República de Panamá Tel: +507-269-5311 EUROPE THE UNITED KINGDOM/IRELAND Yamaha Music Europe GmbH (UK) Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, U.K. Tel: 01908-366700 GERMANY Yamaha Music Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: 04101-3030 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. POLAND/LITHUANIA/LATVIA/ESTONIA Yamaha Music Europe GmbH Branch Poland Office ul. Wrotkowa 14 02-553 Warsaw, Poland Tel: 022-500-2925 MALTA Olimpus Music Ltd. The Emporium, Level 3, St. Louis Street Msida MSD06 Tel: 02133-2144 NETHERLANDS/BELGIUM/ LUXEMBOURG Yamaha Music Europe Branch Benelux Clarissenhof 5-b, 4133 AB Vianen, Netherlands Tel: 0347-358 040 FRANCE Yamaha Music Europe 7 rue Ambroise Croizat, Zone d'activites Pariest, 77183 Croissy-Beaubourg, France Tel: 01-64-61-4000 ITALY Yamaha Music Europe GmbH, Branch Italy Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 SPAIN/PORTUGAL Yamaha Music Europe GmbH Ibérica, Sucursal en España Ctra. de la Coruna km. 17,200, 28231 Las Rozas (Madrid), Spain Tel: +34-91-639-88-88 GREECE Philippos Nakas S.A. The Music House 147 Skiathou Street, 112-55 Athens, Greece Tel: 01-228 2160 SWEDEN/FINLAND/ICELAND Yamaha Music Europe GmbH Germany filial Scandinavia J. A. Wettergrensgata 1, Box 30053 S-400 43 Göteborg, Sweden Tel: +46 31 89 34 00 DENMARK Yamaha Music Europe GmbH, Tyskland – filial Denmark Generatorvej 6A, DK-2730 Herlev, Denmark Tel: 44 92 49 00 NORWAY Yamaha Music Europe GmbH Germany Norwegian Branch Grini Næringspark 1, N-1361 Østerås, Norway Tel: 67 16 78 00 RUSSIA Yamaha Music (Russia) LLC. Room 37, bld. 7, Kievskaya street, Moscow, 121059, Russia Tel: 495 626 5005 OTHER EUROPEAN COUNTRIES SWITZERLAND/LIECHTENSTEIN Yamaha Music Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: +49-4101-3030 AUSTRIA/BULGARIA Yamaha Music Gulf FZE Office JAFZA 16-512, P.O.Box 17328, Jebel Ali - Dubai, UAE Tel: +971-4-881-5868 Yamaha Music Europe GmbH Branch Switzerland in Zürich Seefeldstrasse 94, 8008 Zürich, Switzerland Tel: 044-387-8080 Yamaha Music Europe GmbH Branch Austria Schleiergasse 20, A-1100 Wien, Austria Tel: 01-60203900 CZECH REPUBLIC/HUNGARY/ ROMANIA/SLOVAKIA/SLOVENIA Yamaha Music Europe GmbH Branch Austria (Central Eastern Europe Office) Schleiergasse 20, A-1100 Wien, Austria Tel: 01-60203900 PA36 AFRICA MIDDLE EAST TURKEY Yamaha Music Europe GmbH Merkezi Almanya Türkiye İstanbul Şubesi Maslak Meydan Sokak No:5 Spring Giz Plaza Bağımsız Böl. No:3, 34398 Şişli İstanbul Tel: +90-212-999-8010 CYPRUS Yamaha Music Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: 04101-3030 OTHER COUNTRIES Yamaha Music Gulf FZE Office JAFZA 16-512, P.O.Box 17328, Jebel Ali - Dubai, U.A.E Tel: +971-4-881-5868 ASIA THE PEOPLE’S REPUBLIC OF CHINA Yamaha Music & Electronics (China) Co.,Ltd. 2F, Yunhedasha, 1818 Xinzha-lu, Jingan-qu, Shanghai, China Tel: 021-6247-2211 INDIA Yamaha Music India Pvt. Ltd. Spazedge building, Ground Floor, Tower A, Sector 47, Gurgaon- Sohna Road, Gurgaon, Haryana, India Tel: 0124-485-3300 INDONESIA PT. Yamaha Musik Indonesia (Distributor) Yamaha Music Center Bldg. Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 021-520-2577 KOREA Yamaha Music Korea Ltd. 8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong, Kangnam-Gu, Seoul, Korea Tel: 02-3467-3300 MALAYSIA Yamaha Music (Malaysia) Sdn., Bhd. No.8, Jalan Perbandaran, Kelana Jaya, 47301 Petaling Jaya, Selangor, Malaysia Tel: 03-78030900 SINGAPORE Yamaha Music (Asia) Private Limited Block 202 Hougang Street 21, #02-00, Singapore 530202, Singapore Tel: 65-6747-4374 TAIWAN Yamaha Music & Electronics Taiwan Co.,Ltd. 3F, No.6, Section 2 Nan-Jing East Road, Taipei, Taiwan R.O.C. Tel: 02-2511-8688 THAILAND Siam Music Yamaha Co., Ltd. 3, 4, 15 and 16th floor, Siam Motors Building, 891/1 Rama 1 Road, Wangmai, Pathumwan, Bangkok 10330, Thailand Tel: 02-215-2622 VIETNAM Yamaha Music Vietnam Company Limited 15th Floor, Nam A Bank Tower, 201-203 Cach Mang Thang Tam St., Ward 4, Dist.3, Ho Chi Minh City, Vietnam Tel: +84-8-3818-1122 OTHER ASIAN COUNTRIES Yamaha Corporation Sales & Marketing Division Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2312 OCEANIA AUSTRALIA Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation Sales & Marketing Division Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2312 HEAD OFFICE Yamaha Corporation, Audio Products Sales and Marketing Division Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Yamaha Pro Audio global web site: http://www.yamahaproaudio.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/ C.S.G., PA Development Division © 2011-2013 Yamaha Corporation 311POAP*.*-**C0 WY83800