ページ1に含まれる内容の要旨
MIXING CONSOLE
MIXING CONSOLE
Owner’s Manual
Owner’s Manual
Bedienungsanleitung
Bedienungsanleitung
Mode d’emploi
Mode d’emploi
Manual de instrucciones
Manual de instrucciones
Features Caractéristiques
Input Channels..............................................................page 12 Canaux d’entrée...............................................................page 44
With up to six mic/line inputs or up to four stereo inputs, the MG Avec six entrées micro/ligne ou quatre entrées stéréo maximum
ページ2に含まれる内容の要旨
IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured makings identifying the terminals in your plug proceed as follows: 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
ページ3に含まれる内容の要旨
PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep this manual in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: Power supply/Power cord Water warning • Only use the voltage specified as correct for the device. The required volt
ページ4に含まれる内容の要旨
XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (-). Insert TRS phone jacks are wired as follows: sleeve: ground, tip: send, and ring: return. Yamaha cannot be held responsible for damage caused by improper use or modifications to the device, or data that is lost or destroyed. Always turn the power off when the device is not in use. Even when the power switch is in the “STANDBY” position, electricity is still flowing to the devic
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Introduction Thank you for your purchase of the YAMAHA MG124CX/MG124C mixing console. The MG124CX/ MG124C feature input channels suitable for a wide range of usage environments. And the MG124CX includes high-quality built-in digital effects that can provide some very serious sound. The mixer com- bines ease of operation with support for multiple usage environments. Please read through this manual carefully before beginning use, so that you will be able to t
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Mixer Basics Quick Guide Mixer Basics Getting Sound to the Speakers We begin by connecting a pair of speakers and generating some stereo output. Note that oper- ations and procedures will vary somewhat according to the input devices you are using. Microphones, instruments 2 Speakers 2 Power Amp 2, 4 Monitor Speakers Headphones 2, 4 1, 4 GAIN controls 4 3 PHANTOM switch PEAK indicators Equalizer 4, 7 Level meter PAN 5 ON switches ON ON ON ON ON ON ON ON ON 4 PFL switches 5 ST switches 1,
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Mixer Basics Quick Guide Be sure that your mixer is turned off Turn on the ON and ST switches for 1 5 and that all level* controls are turned each channel you are using. all the way down. Set the STEREO OUT Master fader to * STEREO OUT Master Fader, Channel Fader, 6 the “0” position. GROUP 1-2 Fader, Gain Control, etc. NOTE Set the Channel faders to create the 7 Set the equalizer and the pan controls to their t posi- desired initial balance, then adjust
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Mixer Basics Making the Most of Your Mixer You’ve got yourself a mixer and now you’re ready to use it. Just plug everything in, twiddle the controls, and away you go … right? Well, if you’ve done this before you won’t have any problems, but if this is the first time you’ve ever used a mixer you might want to read through this little tutorial and pick up a few basics that will help you get better performance and make better mixes. Balanced, Unbalanced—What’s the Difference? In a word: “noise.”
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Signal Level (dB) Mixer Basics Making the Most of Your Mixer To EQ or Not to EQ In general: less is better. There are many situations in which you’ll need to cut certain frequency ranges, but use boost sparingly, and with caution. Proper use of EQ can eliminate interference between instruments in a mix and give the overall sound better definition. Bad EQ—and most commonly bad boost—just sounds terrible. Cut for a Cleaner Mix For example: cymbals have a lot of energy in the mid The fundamental
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Mixer Basics Making the Most of Your Mixer For chorus and flanging the signal is delayed by Ambience several milliseconds, with the delay time modulated Your mixes can be further refined by adding by an LFO, and recombined with the direct signal. In ambience effects such as reverb or delay. The MG’s addition to the phasing effect described above, the internal effects can be used to add reverb or delay delay modulation causes a perceived pitch shift to individual channels in the same way as exte
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Reference Setup Reference Guitar Powered Speakers Synthesizer Foot Switch (YAMAHA FC5) Bass Recorder CD Player Microphone DI Effect Processor Effect Processor (exciter) Headphones Powered Monitor Powered Monitor Speaker Speakers MG124CX MG124CX/MG124C Owner’s Manual 11
ページ12に含まれる内容の要旨
Reference Front & Rear Panels The following applies to both the MG124CX and MG124C. In cases where different features need to be described for each model, the MG124CX feature will be described first, followed by the MG124C feature in brackets: MG124CX (MG124C). Channel Control Section 1 MIC Input Jacks (CHs 1 to 4, 5/6, 7/8) Channels Channels Channels These are balanced XLR-type microphone input jacks 1 to 4 5/6 and 7/8 9/10 and 11/12 (1:Ground; 2:Hot; 3:Cold). (Monaural) (Stereo) (Stereo) 2 LI
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Reference Front & Rear Panels 7 Switch (High Pass Filter) C EFFECT (AUX2) Controls This switch toggles the HPF on or off. To turn the HPF on, Adjusts the level of the signal sent from the channel to the press the switch in ( ). The HPF cuts frequencies below 80 EFFECT (AUX2) bus. Note that the signal level sent to the Hz (the HPF does not apply to the line inputs of stereo input bus is also affected by the Channel fader. On stereo channels channels 34). (5/6, 7/8, 9/10, or 11/12), the signals f
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Reference Front & Rear Panels 1 2TR IN Jacks Master Control Section These RCA pin jacks can be used to input a stereo sound source. Use these jacks when you want to connect a CD player directly to the mixer. 2 NOTE You can adjust the signal level using the 2TR IN con- trol in the Master Control section. 1 2 REC OUT (L, R) Jacks 5 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. 3
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Reference Front & Rear Panels 8 PHONES Jack D MONITOR/PHONES Connect a pair of headphones to this stereo phone jack. The • MONITOR Switch PHONES jack outputs the same signal as the MONITOR If this switch is set to GROUP ( ), the Group 1/2 bus sig- OUT jacks. nals are sent to the MONITOR OUT jacks, the PHONES jack, and the level meter. If it is set to STEREO ( ), the 9 PHANTOM +48 V Switch STEREO L/R bus signals are sent to these jacks and the level This switch toggles phantom power on and off.
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Reference Front & Rear Panels DIGITAL EFFECT *Only the MG124CX has digital effects. 1 FOOT SWITCH Jack A YAMAHA FC5 foot switch (sold separately) can be connected to this 1 jack and used to toggle the digital effects ON and OFF. 2 PROGRAM Dial 2 Selects one of the 16 internal effects. See page 17 for details about the internal effects. 3 3 PARAMETER Control Adjusts the parameter (depth, speed, etc.) for the selected effect. 4 The last value used with each effect type is saved. NOTE When you chan
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Reference Front & Rear Panels Digital Effect Program List No Program Parameter Description 1 REVERB HALL 1 REVERB TIME Reverb simulating a large space such as a concert hall. 2 REVERB HALL 2 REVERB TIME 3 REVERB ROOM 1 REVERB TIME Reverb simulating the acoustics of a small space (room). 4 REVERB ROOM 2 REVERB TIME 5 REVERB STAGE 1 REVERB TIME Reverb simulating a large stage. 6 REVERB STAGE 2 REVERB TIME 7 REVERB PLATE REVERB TIME Simulation of a metal-plate reverb unit, producing a more hard-ed
ページ18に含まれる内容の要旨
Reference Troubleshooting ❑ Is the supplied power adaptor properly plugged into an appropriate AC ■ Power doesn’t come wall outlet? on. ❑ Is the supplied power adaptor properly plugged into the mixer? ❑ Are microphones, external devices, and speakers connected correctly? ■ No sound. ❑ Are the ON switch and ST switch of the channels you are using turned ON? ❑ Are the channel GAIN controls, Channel fader, STEREO OUT master fader and GROUP 1-2 fader set to appropriate levels? ❑ Are the MONITOR swi
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Reference Specifications ■ Electrical Specifications MIN TYP MAX UNIT Frequency Response STEREO OUT GAIN: min (CHs 1-7/8) 20 Hz-20 kHz GROUP OUT Nominal output level @1 kHz –3.0 0.0 1.0 dB EFFECT/AUX Input: CHs 1 to 11/12, RETURN, 2TR IN (AUX1, 2*) SEND MONITOR OUT, REC OUT Total Harmonic Distortion STEREO OUT +14 dBu @ 20 Hz-20 kHz, Input GAIN Control at 0.1 % (THD + N) minimum Hum & Noise CH INPUT 1-4 MIC EIN (Equivalent Input Noise): Rs = 150 Ω , GAIN: –128 maximum Hum & Noise are measured S
ページ20に含まれる内容の要旨
Reference Specifications ■ Input Specifications Input Appropriate Max. before Clip- Connector Specifica- Input Connectors Gain Sensitivity * Nominal Level Impedance Impedance ping tions –60 dB –80 dBu (0.078 mV) –60 dBu (0.775 mV) –40 dBu (7.75 mV) XLR-3-31 type (bal- CH INPUT MIC 50–600Ω 3kΩ anced [1 = GND, 2 (CHs 1-4) Mics –16 dB –36 dBu (12.3 mV) –16 dBu (123 mV) +4 dBu (1.23 V) = HOT, 3 = COLD]) –34 dB –54 dBu (1.55 mV) –34 dBu (15.5 mV) –14 dBu (155 mV) TRS phone jack CH INPUT LINE 600Ω (b
