Yamaha MG102C - 10 Input Stereo Mixer Bruksanvisning
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Owner’s Manual
Bedienungsanleitung
Mode d’emploi
Manual de instrucciones
Owner’s Manual
Bedienungsanleitung
Mode d’emploi
Manual de instrucciones
MIXING CONSOLE
MIXING CONSOLE
Features
Input Channels..............................................................page 10
With up to four mic/line inputs or up to three (four for MG102C)
stereo inputs, the MG mixer can simultaneously connect to a
wide range of devices: microphones, line-level devices, stereo
synthesizers, and more.
Compression...................................................................page 9
Compression increases the overall level without introducing
distortion by compressing excessive peaks in the signals from
microphones and guitars.
AUX Sends and Stereo AUX Return............................page 12
You can use the AUX SEND jack to feed the signal sent to an
external signal processor, and then return the processed stereo
signal through the RETURN jack.
High-quality digital effects (MG82CX)...................page 13, 57
With digital effects built in, the MG82CX can deliver a wide range
of sound variations all by itself.
Caractéristiques
Canaux d’entrée..............................................................page 36
Avec quatre entrées micro/ligne ou trois entrées stéréo maximum
(quatre pour la console MG102C), la console de mixage MG peut
connecter simultanément une grande variété d’appareils :
micros, appareils de ligne, synthétiseurs stéréo, etc.
Compression...................................................................page 35
La compression augmente le niveau général sans engendrer de
distorsion en comprimant les pics excessifs des signaux des
micros et des guitares.
Envois AUX et retour AUX stéréo..................................page 38
Vous pouvez utiliser la prise jack AUX SEND pour envoyer le
signal vers une unité de traitement de signaux externes, puis
pour renvoyer le signal stéréo traité via la prise jack RETURN.
Effets numériques de qualité supérieure (MG82CX)
...
page 39, 57
Grâce aux effets numériques intégrés, la console MG82CX peut
proposer de nombreuses variations de sons.
Funktionen
Eingangskanäle.............................................................Seite 23
Mit bis zu vier Mikrofon-/Line-Eingängen oder bis zu drei (vier
beim MG102C) Stereoeingängen können viele Geräte
gleichzeitig am MG-Mischpult angeschlossen werden:
Mikrofone, Geräte mit Leitungspegel, Stereo-Synthesizer uvm.
Kompression..................................................................Seite 22
Kompression erhöht den Durchschnittspegel, ohne Verzerrung
hinzuzufügen, indem übermäßige Pegelspitzen der Signale von
Mikrofonen oder Gitarren komprimiert werden.
AUX Sends und Stereo AUX Return............................Seite 25
Von der AUX SEND-Buchse können Sie das Signal einzeln an
einen externen Signalprozessor führen, und das verarbeitete
Stereosignal über die RETURN-Buchse zurück in das Pult
führen.
Hochwertige Digitaleffekte (MG82CX)...................Seite 26, 57
Mit den eingebauten digitalen Effekten kann das MG82CX aus
sich heraus eine Reihe von Klangvariationen liefern.
Características
Canales de entrada......................................................página 49
Con un máximo de cuatro entradas de micrófono/línea o tres
entradas estereofónicas (cuatro en el modelo MG102C), la
mezcladora MG puede conectarse simultáneamente con una
gran variedad de dispositivos: micrófonos, dispositivos de nivel
de línea, sintetizadores estereofónicos, etc.
Compresión..................................................................página 48
La compresión aumenta el nivel general sin causar distorsión,
mediante la compresión del exceso de picos en las señales de
los micrófonos y guitarras.
Envíos AUX y retorno AUX estereofónico.................página 51
Puede utilizar la toma AUX SEND para introducir la señal
enviada en un procesador de señales externo y luego devolver la
señal estereofónica procesada a través de la toma RETURN
(retorno).
Efectos digitales de alta calidad (MG82CX)........página 52, 57
Gracias a sus efectos digitales incorporados, la mezcladora
MG82CX puede producir por sí misma una amplia gama de
variaciones de sonido.
2
MG82CX/MG102C Owner’s Manual
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions con-
tained 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” digi-
tal devices. Compliance with these requirements provides a rea-
sonable 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 fre-
quencies and, if not installed and used according to the instruc-
tions found in the users manual, may cause interference harmful to
the operation of other electronic devices. Compliance with FCC
* This applies only to the MG82CX distributed by YAMAHA CORPORATION OF AMERICA, not the MG102C. (class B)
regulations does not guarantee that interference will not occur in
all installations. If this product is found to be the source of interfer-
ence, 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 con-
tact 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.
FCC INFORMATION (U.S.A.)
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 coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Making sure that neither core is connected to the earth terminal of the three pin plug.
• This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (2 wires)
MG82CX/MG102C Owner’s Manual
3
(5)-4
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:
• 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 specified AC power adaptor (PA-10) or an equivalent recommended
by Yamaha).
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.
• Do not place the power cord near heat sources such as heaters or radiators, and
do not excessively bend or otherwise damage the cord, place heavy objects on
it, or place it in a position where anyone could walk on, trip over, or roll anything
over it.
• Do not open the device or attempt to disassemble the internal parts or modify
them in any way. The device contains no user-serviceable parts. If it should
appear to be malfunctioning, discontinue use immediately and have it inspected
by qualified Yamaha service personnel.
• Do not expose the device to rain, use it near water or in damp or wet conditions,
or place containers on it containing liquids which might spill into any openings.
• Never insert or remove an electric plug with wet hands.
• If the power cord or plug becomes frayed or damaged, or if there is a sudden
loss of sound during use of the device, or if any unusual smells or smoke
should appear to be caused by it, immediately turn off the power switch,
disconnect the electric plug from the outlet, and have the device inspected by
qualified Yamaha service personnel.
• If this device or the AC power adaptor 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:
• Remove the electric plug from the outlet when the device is not to be used for
extended periods of time, or during electrical storms.
• When removing the electric plug from the device or an outlet, always hold the
plug itself and not the cord. Pulling by the cord can damage it.
•To avoid generating unwanted noise, make sure there is 50cm or more between
the AC power adaptor and the device.
• Do not cover or wrap the AC power adaptor with a cloth or blanket.
• 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.
•Avoid setting all equalizer controls and faders to their maximum. Depending on
the condition of the connected devices, doing so may cause feedback and may
damage the speakers.
• Do not expose the device to excessive dust or vibrations, or extreme cold or heat
(such as in direct sunlight, near a heater, or in a car during the day) to prevent
the possibility of panel disfiguration or damage to the internal components.
• Do not place the device in an unstable position where it might accidentally fall
over.
• Do not use the device in the vicinity of a TV, radio, stereo equipment, mobile
phone, or other electric devices. Doing so may result in noise, both in the device
itself and in the TV or radio next to it.
• 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.
• 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.
• Do not insert your fingers or hands in any gaps or openings on the device.
•Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any
gaps or openings on the device If this happens, turn off the power immediately
and unplug the power cord from the AC outlet. Then have the device inspected
by qualified Yamaha service personnel.
• Do not use the device or headphones for a long period of time at a high or
uncomfortable volume level, since this can cause permanent hearing loss. If you
experience any hearing loss or ringing in the ears, consult a physician.
• Do not rest your weight on the device or place heavy objects on it, and avoid use
excessive force on the buttons, switches or connectors.
Power supply/Power cord
Do not open
Water warning
If you notice any abnormality
Power supply/Power cord
Location
Connections
Handling caution
4
MG82CX/MG102C Owner’s Manual
Always turn the power off when the device is not in use.
Even when the power switch is in the “STANDBY” position, electricity is still flowing to the device at the minimum level. When you are not using the device for a long time,
make sure you unplug the power cord from the wall AC outlet.
The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult qualified Yamaha service
personnel about replacing defective components.
The MG mixer may heat up by as much as 15 to 20°C while the power is on. This is normal. Please note that the panel temperature may exceed 50°C in ambient tem-
peratures higher than 30°C, and use caution to prevent burns.
* This Owner’s Manual applies to both the MG82CX and MG102C. The main difference between the two models is that the MG82CX includes digital effects while the
MG102C has no internal effects.
* In this manual the term “MG mixsers” refers to both the MG82CX and MG102C. In cases where different features need to be described for each model, the
MG82CX feature will be described first, followed by the MG102C feature in brackets: MG82CX (MG102C).
* Illustrations herein are for explanatory purposes only, and may not match actual appearance during operation.
* Company names and product names herein are trademarks or registered trademarks of their respective companies.
Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any
time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.
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.
Copying of commercially available music or other audio data for purposes other than personal use is strictly prohibited by copyright law. Please respect all
copyrights, and consult with a copyright specialist if you are in doubt about permissible use.
MG82CX/MG102C Owner’s Manual
5
Introduction .......................................... 5
Contents ................................................................. 5
Before Turning on the Mixer ................................... 5
Turning the Power On............................................. 5
■
Mixer Basics
Quick Guide.......................................... 6
Making the Most of Your Mixer........... 7
Balanced, Unbalanced—What’s the Difference?.... 7
Signal Levels and the Decibel ................................ 7
To EQ or Not to EQ ................................................ 8
Ambience................................................................ 9
The Modulation Effects: .......................................... 9
Phasing, Chorus, and Flanging .............................. 9
Compression........................................................... 9
■
Reference
Front & Rear Panels........................... 10
Channel Control Section....................................... 10
Master Control Section ......................................... 11
DIGITAL EFFECT................................................. 13
Rear Input/Output Section .................................... 13
Setup ................................................... 14
Jack List................................................................ 14
Troubleshooting................................. 15
Mounting to a Microphone Stand.......................... 15
Specifications..................................... 55
Introduction
Thank you for your purchase of the YAMAHA MG82CX/MG102C mixing console. The MG82CX/
MG102C feature input channels suitable for a wide range of usage environments. And the MG82CX
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 take full
advantage of this mixer’s superlative features and enjoy trouble-free operation for years to come.
1
Be sure that the mixer’s power switch is in the
STANDBY position.
2
Connect the power adaptor to the AC ADAPTOR
IN connector (
1
) on the rear of the mixer, and
then turn the fastening ring clockwise (
2
) to
secure the connection.)
3
Plug the power adaptor into a standard household
power outlet.
Press the mixer’s power switch to the ON position.
When you are ready to turn the power off, press the
power switch to the STANDBY position.
Before Turning on the Mixer
Use only the PA-10 adaptor included with this mixer.
Use of a different adaptor may result in equipment
damage, overheating, or fire.
•
Be sure to unplug the adaptor from the outlet when
not using the mixer, or when there are lightning
storms in the area.
•
To avoid generating unwanted noise, make sure
there is 50 cm or more between the power adaptor
and the mixer.
Turning the Power On
Note that trace current continues to flow while the
switch is in the STANDBY position. If you do not plan
to use the mixer again for a long while, please be
sure to unplug the adaptor from the wall outlet.
CAUTION
2
1
CAUTION
CAUTION
Contents
Accessories
Owner’s Manual
AC power adaptor (PA-10)
*
* May not be included depending on your particular
area. Please check with your Yamaha dealer.
Mixer Basics
6
MG82CX/MG102C Owner’s Manual
Quick Guide
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.
1
Be sure that your mixer is turned off
and that all level* controls are turned all
the way down.
* STEREO Master control, Level controls, Gain Control,
etc.
NOTE
Set the equalizer and the pan controls to their
t
posi-
tions.
2
Turn off any other external devices,
then connect microphones, instru-
ments, and speakers.
NOTE
*For information on connecting external devices see
the Connection Example on page 14.
* Connect electric guitars and basses through an inter-
mediary device such as a direct box, preamp, or amp
simulator. Connecting these instruments directly to
the MG mixer may result in degraded sound and
noise.
3
To avoid damage to your speakers, power
up the devices in the following order:
Peripheral devices
→→
→→
MG mixer
→→
→→
power
amps (or powered speakers). Reverse
this order when turning power off.
NOTE
If you are using microphones that require phantom
power, turn the MG mixer’s phantom power switch on
before turning on the power to the power amp or pow-
ered speakers. See page 12 for more detail.
4
Adjust the channel GAIN controls so
that the corresponding peak indicators
flash briefly on the highest peak levels.
5
Set the STEREO Master control to the
“
t
” position.
6
Set the Level control to create the
desired initial balance, then adjust the
overall volume using the STEREO Mas-
ter control.
NOTE
* Use the LEVEL meter to view the level being applied to
the STEREO L/R buses.
* If the PEAK indicator lights frequently, lower the LEVEL
controls a little to avoid distortion.
Getting Sound to the Speakers
PAN
1, 4
GAIN controls
4 PEAK indicators
Equalizer
1, 6 Level controls
1, 5, 6
STEREO Master control
6 Level meter
3 PHANTOM switch
1, 3
POWER switch
2
2
2
Microphones,
instruments
2
Monitor Speakers
Headphones
Power Amp
Speakers
Mixer Basics
7
Mixer Basics
MG82CX/MG102C Owner’s Manual
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.” The whole point of balanced lines is noise rejection, and it’s something they’re very good at.
Any length of wire will act as an antenna to pick up the random electromagnetic radiation we’re constantly
surrounded by: radio and TV signals as well as spurious electromagnetic noise generated by power lines,
motors, electric appliances, computer monitors, and a variety of other sources. The longer the wire, the more
noise it is likely to pick up. That’s why balanced lines are the best choice for long cable runs. If your “studio” is
basically confined to your desktop and all connections are no more than a meter or two in length, then
unbalanced lines are fine—unless you’re surrounded by extremely high levels of electromagnetic noise.
Another place balanced lines are almost always used is in microphone cables. The reason for this is that the
output signal from most microphones is very small, so even a tiny amount of noise will be relatively large, and
will be amplified to an alarming degree in the mixer’s high-gain head amplifier.
Signal Levels and the Decibel
Let’s take a look at one of the most commonly used units in
audio: the decibel (dB). If the smallest sound that can be heard
by the human ear is given an arbitrary value of 1, then the
loudest sound that can be heard is approximately 1,000,000
(one million) times louder. That’s too many digits to deal with
for practical calculations, and so the more appropriate
“decibel” (dB) unit was created for sound-related
measurements. In this system the difference between the
softest and loudest sounds that can be heard is 120 dB. This
is a non-linear scale, and a difference of 3 dB actually results
in a doubling or halving of the loudness.
You might encounter a number of different varieties of the dB:
dBu, dBV, dBM and others, but the dBu is the basic decibel
unit. In the case of dBu, “0 dBu” is specified as a signal level of
0.775 volts. For example, if a microphone’s output level is –40
dBu (0.00775 V), then to raise that level to 0 dBu (0.775 V) in
the mixer’s preamp stage requires that the signal be amplified
by 100 times.
A mixer may be required to handle signals at a wide range of levels, and it is necessary match input and output
levels as closely as possible. In most cases the “nominal” level for a mixer’s input and outputs is marked on the
panel or listed in the owner’s manual.
Noise cancelled
Balanced noise cancellation
Noise
Hot (+)
Ground
Cold (–)
Cable
Source
Receiving device
Phase
inversion
Noise-free
signal
Phase
inversion
To summarize
Microphones: Use balanced lines.
Short line-level
runs:
Unbalanced lines
are fine if you’re in a
relatively noise-free
environment.
Long line-level
runs:
The ambient
electromagnetic
noise level will be
the ultimate
deciding factor, but
balanced is best.
+ 20 dBu
0 dBu
0.775 V
-
20 dBu
-
40 dBu
-
60 dBu
The inputs and outputs on
home-use audio gear
usually have a nominal level
of –10 dBu.
Most professional mixers,
power amplifiers, and other
types of equipment have
inputs and outputs with a
nominal level of +4 dBu.
Microphone signal levels
vary over a wide range
depending on the type of
microphone and the source.
Average speech is about
–30 dBu, but the twittering
of a bird might be lower than
–50 dBu while a solid bass
drum beat might produce a
level as high as 0 dBu.
8
Making the Most of Your Mixer
Mixer Basics
MG82CX/MG102C Owner’s Manual
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
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 cymbal 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. Surprisingly enough, piano also
has an incredibly powerful low end that can benefit from
a bit of low-frequency roll-off to let other instruments—
notably drums and bass—do their jobs more effectively.
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.
Boost with Caution
If you’re trying to create special or unusual effects,
go ahead and boost away as much as you like.
But if you’re just trying to achieve a good-
sounding mix, boost only in very small increments.
A tiny boost in the midrange can give vocals more
presence, or a touch of high boost can give
certain instruments more “air.” Listen, and if things
don’t sound clear and clean try using cut to
remove frequencies that are cluttering up the mix
rather than trying to boost the mix into clarity.
One of the biggest problems with too much boost
is that it adds gain to the signal, increasing noise
and potentially overloading the subsequent
circuitry.
Some Frequency Facts
The lowest and highest frequencies than can be heard by the human ear are generally considered to be around 20 Hz
and 20,000 Hz, respectively. Average conversation occurs in the range from about 300 Hz to about 3,000 Hz. The
frequency of a standard pitchfork used to tune guitars and other instruments is 440 Hz (this corresponds to the “A3”
key on a piano tuned to concert pitch). Double this frequency to 880 Hz and you have a pitch one octave higher (i.e.
“A4” on the piano keyboard). In the same way you can halve the frequency to 220 Hz to produce “A2” an octave lower.
20 50 100 200 500 1 k 2 k 5 k 10 k 20 k
(
Hz
)
Piano
Bass Drum
Snare Drum
Bass
Guitar
Trombone
Tr umpet
Cymba
l
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.
The fundamental and harmonic frequency ranges of some
musical instruments.
Signal
Level (dB)
Frequency (Hz)
LOW Boost
LOW Flat
LOW Cut
MID Boost
MID Flat
HIGH Boost
HIGH Flat
HIGH Cut
MID Cut
9
Mixer Basics
Making the Most of Your Mixer
MG82CX/MG102C Owner’s Manual
Ambience
Your mixes can be further refined by adding
ambience effects such as reverb or delay. The MG’s
internal effects can be used to add reverb or delay
to individual channels in the same way as external
effects processors. (Refer to page 13).
Reverb and Delay Time
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 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.”
The Modulation Effects:
Phasing, Chorus, and Flanging
All of these effects work on basically the same
principle: a portion of the audio signal is “time-
shifted” and then mixed back with the direct signal.
The amount of time shift is controlled, or
“modulated”, by an LFO (Low-frequency Oscillator).
For phasing effects the shift is very small. The
phase difference between the modulated and direct
signals causes cancellation at some frequencies
and reinforces the signal at others and this causes
the shimmering sound we hear.
For chorus and flanging the signal is delayed by
several milliseconds, with the delay time modulated
by an LFO, and recombined with the direct signal. In
addition to the phasing effect described above, the
delay modulation causes a perceived pitch shift
which, when mixed with the direct signal, results in a
harmonically rich swirling or swishing sound.
The difference between chorus and flanging effects
is primarily in the amount of delay time and
feedback used—flanging uses longer delay times
than chorus, whereas chorus generally uses a more
complex delay structure. Chorus is most often used
to thicken the sound of an instrument, while flanging
is usually used as an outright “special effect” to
produce otherworldly sonic swoops.
Compression
One form of compression known as “limiting” can,
when properly used, produce a smooth, unified
sound with no excessive peaks or distortion. A
common example of the use of compression is to
“tame” a vocal that has a wide dynamic range in
order to tighten up the mix. With the right amount of
compression you’ll be able to clearly hear whispered
passages while passionate shouts are still well
balanced in the mix. Compression can also be
valuable on bass guitar. Too much compression can
be a cause of feedback, however, so use it
sparingly.
Most compressors require several critical
parameters to be set properly to achieve the desired
sound. The MG compressor makes achieving great
sound much easier: all you need to do is set a single
“compression” control and all of the pertinent
parameters are automatically adjusted for you.
(Min)
(Max)
INPUT
OUTPUT
Reference
10
MG82CX/MG102C Owner’s Manual
Front & Rear Panels
The following applies to both the MG82CX and MG102C. In cases where different features need to be described for each
model, the MG82CX feature will be described first, followed by the MG102C feature in brackets: MG82CX (MG102C).
Channel Control Section
1 MIC Input Jacks (CHs 1 to 5/6)
These are balanced XLR-type microphone input jacks
(1:Ground; 2:Hot; 3:Cold).
2 LINE Input Jacks (CHs 1, 2)
These are balanced TRS phone-jack line inputs (T:Hot;
R:Cold; S:Ground).
You can connect either balanced or unbalanced phone plugs
to these jacks.
3 LINE Input Jacks (CHs 3/4 to 7/8 (CHs 3/4 to
9/10))
These are unbalanced phone-jack stereo line inputs.
4 LINE Input Jacks (CH 7/8, (CHs 7/8, 9/10))
These are unbalanced stereo RCA pin jacks.
Where an input channel provides both a MIC input
jack and a LINE input jack, or a LINE input jack and
an RCA pin jack, you can use either jack but not both
at the same time. Please connect to only one jack on
each channel.
5 INSERT Jacks (CHs 1, 2)
Each of these jacks provides an insert point between the
equalizer and level control of the corresponding input chan-
nel (CHs 1, 2). The INSERT jacks can be used to indepen-
dently connect devices such as graphic equalizers,
compressors, 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).
Patching external devices via an INSERT jack
requires a special insert cable such as illustrated
below (insert cable sold separately).
6 GAIN Control
Adjusts the input signal level.
To achieve the best balance between S/N ratio and dynamic
range, adjust the level so that the PEAK indicator
9 lights
only occasionally and briefly on the highest input transients.
The -60 to -16 scale is the MIC input adjustment range. The
-34 to +10 scale is the LINE input adjustment range.
7 Switch (High Pass Filter)
This switch toggles the HPF on or off. To turn the HPF on,
press the switch in ( ). The HPF cuts frequencies below 80
Hz (the HPF does not apply to the line inputs of stereo input
channels
34).
1
6
A
B
C
9
0
3
7
C
B
A
0
3
4
1
2
5
6
8
A
B
C
9
0
7
Channels
7/8 (7/8 and 9/10)
(Stereo)
Channels
1 and 2
(Monaural)
Channels
3/4 and 5/6
(Stereo)
MG82CX
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 possiblility of phase conflict when
connecting to other types of device.
NOTE
NOTE
To the input jack of the
external processor
To the output jack of the
external processor
Sleeve (Ground)
Tip: OUT
Tip: IN
To the INSERT I/O jack
Sleeve (Ground)
Sleeve (Ground)
Ring: IN
Tip: OUT
CAUTION
Reference
Front & Rear Panels
MG82CX/MG102C Owner’s Manual
11
Reference
8 COMP Control
Adjusts the amount of compression applied to the channel.
As the knob is turned to the right the compression ratio
increases while the output gain is automatically adjusted
accordingly. The result is smoother, more even dynamics
because louder signals are attenuated while the overall level
is boosted.
Avoid setting the compression too high, as the the
higher average output level that results may lead to
feedback.
9 PEAK Indicator
The peak level of the post-EQ signal is detected, and the
PEAK indicator lights red when the level reaches 3 dB below
clipping. For XLR-equipped stereo input channels (3/4 and
5/6), both the post-EQ and post-mic-amp peak levels are
detected, and the indicator lights red if either of these levels
reaches 3 dB below clipping.
0 Equalizer (HIGH, MID, and LOW)
This three-band equalizer adjusts the channel’s high, mid,
and low frequency bands. CH 7/8 (CHs 7/8, 9/10) have two
bands: high and low. Setting the knob to the t position pro-
duces 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 following
table shows the EQ type, frequency, and maximum cut/boost
for each of the three bands.
A EFFECT (AUX) Control
Adjusts the level of the signal sent from the channel to the
EFFECT (AUX) bus. Note that the signal level sent to the
bus is also affected by the Level control
C. On stereo chan-
nels (CHs 3/4 to 7/8 (CHs 3/4 to 9/10)) the signals from the L
(odd) and R (even) channels are mixed and then sent to the
EFFECT (AUX) bus.
B PAN Control (CHs 1, 2)
PAN/BAL Control (CHs 3/4, 5/6)
BAL Control (CH 7/8 (CHs 7/8, 9/10)
The PAN control determines the stereo positioning of the
channel signal on the Stereo L and R buses.
The BAL control knob sets the balance between left and right
channels. Signals input to the L input (odd channel) go to the
Stereo L bus; signals input to the R input (even channel) go to
the Stereo R bus.
On channels where this knob provides both PAN and
BAL control (channels 3/4 and 5/6), the knob oper-
ates as a PAN control when input is received via the
MIC jack or L (MONO) input only, and as a BAL
control when input is received via both L and R
inputs.
C Level Control
Adjusts the level of the channel signal. Use these knobs to
adjust the balance between the various channels.
Set the controls for unused channels all the way down
to minimize noise.
Master Control Section
1 2TR IN Jacks
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.
Select where you want to send the signal using the
2TR IN switch, and adjust the signal level using the
2TR IN control in the Master Control section.
2 REC OUT (L, R) Jacks
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.
The mixer’s STEREO Master control has no affect on
the signal output via these jacks. Be sure to make
appropriate level adjustments at the recording device.
Band Type Frequency
Maximum
Cut/Boost
HIGH Shelving 10 kHz
±15 dBMID Peaking 2.5 kHz
LOW Shelving 100 Hz
NOTE
NOTE
NOTE
0
8
A
D
B
1
3
4
5
2
6
7
9
C
MG82CX
NOTE
NOTE
12
MG82CX/MG102C Owner’s Manual
Front & Rear Panels
Reference
3 RETURN L (MONO), R Jacks
These are unbalanced phone-jack type line inputs. The signal
received by these jacks is sent to the STEREO L/R buses.
These jacks are typically used to receive the signal returned
from an external effect device (reverb, delay, etc.).
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.
4 SEND EFFECT (AUX) Jack
This is an impedance balanced* phone-jack type output that
outputs the signal from the EFFECT (AUX) bus. You can use
this jack, for example, to connect to an external effect unit.
5 STEREO OUT (L, R) Jacks
These are impedance balanced* phone-jack type outputs that
output the signals adjusted by the STEREO Master control.
You can use these jacks, for example, to connect to the power
amplifier driving your main speakers.
6 MONITOR (L, R) Jacks
These are impedance balanced* phone-jack type outputs that
output the signals adjusted by the MONITOR/PHONES con-
trol. Connect these jacks to your monitor system.
7 PHONES Jack
Connect a pair of headphones to this stereo phone jack. The
PHONES jack outputs the same signal as the MONITOR
OUT jacks.
8 PHANTOM +48 V Switch
This switch toggles phantom power on and off. When the
switch is on the mixer supplies +48V phantom power to all
channels that have XLR mic input jacks (CHs 1–5/6).
Turn this switch on when using one or more phantom-pow-
ered condenser microphones.
When this switch is on the mixer supplies DC +48 V
power to pins 2 and 3 of all XLR-type MIC INPUT
jacks.
9 RETURN 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.
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.
0 POWER Indicator
This indicator lights when the mixer’s power is ON.
A Level Meter
This LED meter displays the level of the signal sent to the
MONITOR jacks and the PHONES jack. The “0” segment
corresponds to the nominal output level. The PEAK segment
lights red when the output reaches the clipping level.
B 2TR IN
• 2TR IN Switch
If it is set to TO STEREO ( ), the signals are sent to the
STEREO L/R buses. If this switch is set to TO MONITOR
( ), the signals input via the 2TR IN jacks are sent to the
MONITOR OUT jacks, the PHONES jack, and the level
meter. The MONITOR MIX feature becomes available when
it is set to TO MONITOR ( ).
* : When overdubbing, you can adjust the levels
of the monitor playback signal and the signal
being recorded separately.
MONITOR MIX Signal Flow
• 2TR IN control
Adjusts the level of the signal sent from the 2TR IN jacks to
the STEREO L/R buses.
C MONITOR/PHONES Control
Controls the level of the signal output to the PHONES jack
and the MONITOR jacks.
D STEREO Master Control
Adjusts the signal level sent to the STEREO OUT jacks.
* Impedance Balanced
Since the hot and cold terminals of impedance balanced output
jacks have the same impedance, these outputs are less affected by
induced noise.
•
Be sure to leave this switch off ( ) if you do
not need phantom power.
•
When tuning the switch on ( ), be sure that
only condenser mics are connected to the XLR
input jacks (CHs: 1 to 5/6). Devices other than
condenser mics may be damaged if connected
to the phantom power supply. Note, however,
that the switch may be left on when connecting
to balanced dynamic microphones.
•
To avoid damage to speakers, be sure to turn off
amplifiers (or powered speakers) before turning
this switch on or off. We also recommend that
you turn all output controls (STEREO Master
control, etc.) to their minimum settings before
operating the switch to avoid the risk of loud
noises that could cause hearing loss or device
damage.
NOTE
NOTE
CAUTION
NOTE
Playback
signal
Recording
signal
2TR IN
2TR IN Control
STEREO Master Control
MONITOR/PHONES Controls
STEREO
buses
REC OUT
MONITOR/
PHONES
jacks
Front & Rear Panels
MG82CX/MG102C Owner’s Manual
13
Reference
DIGITAL EFFECT *Only the MG82CX has digital effects.
1FOOT SWITCH Jack
A YAMAHA FC5 foot switch (sold separately) can be connected to this
jack and used to toggle the digital effects ON and OFF.
2 PROGRAM Dial
Selects one of the 16 internal effects. See page 18 for details about the
internal effects.
3 PARAMETER Control
Adjusts the parameter (depth, speed, etc.) for the selected effect.
The last value used with each effect type is saved.
When you change to a different effect type, the mixer automat-
ically restores the value that was previously used with the
newly selected effect (regardless of the current position of the
PARAMETER Control knob).
These parameter values are reset when the power is turned off.
4 ON Switch
Switches the internal effect on or off. The internal effect is applied only
if this switch is turned on. The switch lights orange when on.
An optional YAMAHA FC5 foot switch (sold separately) can be used to
toggle the digital effects ON and OFF.
The ON switch lights and the internal effect unit is active by
default when the power is initially turned on.
5 EFFECT RTN Control
Adjusts the signal level sent from the internal digital effect unit to the
STEREO buses.
Rear Input/Output Section
1POWER Switch
Use this switch to turn the mixer’s power ON or to STANDBY mode.
2 AC ADAPTOR IN Connector
ConnectConnect the supplied PA-10 power adaptor to this connector
(see page 5).
Note that a small current continues to flow while the switch
is in the STANDBY position. If you do not plan to use the
mixer for a while, be sure to unplug the AC adaptor from the
wall outlet.
Use only the PA-10 adaptor included with this mixer. Use of
a different adaptor may result in fire or electric shock.
3
4
5
2
1
MG82CX
NOTE
NOTE
1 2
CAUTION
CAUTION
Reference
14
MG82CX/MG102C Owner’s Manual
Setup
Jack List
* These jacks will also accept connection to monaural phone plugs. If you use monaural plugs, the connection will be unbalanced.
DI
MG82CX
Powered Speakers
Recorder
CD Player
Guitar
Bass
Microphone
Synthesizer
Powered Monitor
Headphones
Effect Processor
(exciter)
Foot Switch
(YAMAHA FC5)
Effect Processor
Input and Output Jacks Polarities Configurations
MIC INPUT Pin 1: Ground
Pin 2: Hot (+)
Pin 3: Cold (–)
LINE INPUT(CHs 1, 2)
STEREO OUT, MONITOR OUT,
EFFECT (AUX)*
Tip: Hot (+)
Ring: Cold (–)
Sleeve: Ground
INSERT Tip: Output
Ring: Input
Sleeve: Ground
PHONES Tip: L
Ring: R
Sleeve: Ground
RETURN
LINE INPUT
(CHs 3/4 to 7/8 (CHs 3/4 to 9/10))
Tip: Hot
Sleeve: Ground
OUTPUTINPUT
TipSleeve
Ring
TipSleeve
MG82CX/MG102C Owner’s Manual
15
Reference
Troubleshooting
* The MG82CX feature is described first, followed by the MG102C feature in brackets: MG82CX (MG102C).
■ Power doesn’t come on. ❑ Is the supplied power adaptor properly plugged into an appropriate AC wall outlet?
❑ Is the supplied power adaptor properly plugged into the mixer?
■ No sound. ❑ Are microphones, external devices, and speakers connected correctly?
❑ Are the channel GAIN controls, LEVEL controls, STEREO Master control set to
appropriate levels?
❑ Is the MONITOR switch set properly?
❑ Are your speaker cables connected properly, or are they shorted?
❑ If the above checks do not identify the problem, call Yamaha for service. (Refer to
the page 59 for a list of service centers.)
■ Sound is faint,
distorted, or noisy.
❑ Are the channel GAIN controls, LEVEL controls, STEREO Master control set to
appropriate levels?
❑ Are two different instruments connected to the XLR-type and phone jacks, or to the
phone and RCA pin jacks on one channel? Please connect to only one of these
jacks on each channel.
❑ Is the input signal from the connected device set to an appropriate level?
❑ Are you applying the effects at an appropriate level?
❑ Are microphones connected to the MIC input jacks on channels 1 to 5/6?
❑
If you are using condenser microphones, is the PHANTOM +48 V switch turned ON?
■ No effect is applied.
(If you are using
MG82CX)
❑ Check that the EFFECT control on each channel is correctly adjusted.
❑ Be sure that the internal effect unit’s ON switch is turned ON.
❑ Be sure that the EFFECT PARAMETER control and EFFECT RTN control are cor-
rectly adjusted.
■ I want spoken words to
be heard more clearly.
❑ Be sure that the switches are ON.
❑ Adjust the equalizers (HIGH, MID and LOW) on each channel.
■
I want to output a monitor
signal through speakers.
❑ Connect a powered speaker to the EFFECT (AUX) jack*. Then adjust the output
signal by using the EFFECT (AUX) controls* on each channel.
Mounting to a Microphone Stand
1
Turn the mixer upside-down, and hold the
microphone-stand adaptor (BMS-10A; sold
separately) against the bottom of the mixer
so that the screw holes are aligned (
1).
Screw the adaptor firmly into place with the
two screws (
2).
2
Turn the mixer right-side up, and mount it
onto your microphone stand.
3
Loosen the angle adjustment wingnut (1),
adjust the mixer’s angle as desired (
2), and
then tighten the wingnut securely (
3).
For more information, refer to the BMS-10A Owner’s
Manual.
•
When using the mixer on a microphone stand, be
sure to set the stand on a level and stable sur-
face. Do not set up the stand in locations subject
to vibrations or wind.
•
Note that mixer may be damaged if the stand
should fall over. Attach the connection cables care-
fully so that the cables will not catch on the equip-
ment and cause it to fall. For example: arrange the
cables so that they run parallel with the micro-
phone pole down to the base of the stand.
•
Leave ample free space around the stand.
CAUTION
MG82CX/MG102C Owner’s Manual
55
Reference
Specifications
■ Electrical Specifications
■ General Specifications
All level controls are nominal if not specified.
Output impedance of signal generator: 150 ohms
* The MG82CX feature is described first, followed by the MG102C feature in brackets: MG82CX (MG102C)
MIN TYP
MAX
UNIT
Frequency Response STEREO OUT GAIN: min (CHs 1-5/6)
20 Hz-20 kHz
Nominal output level @1 kHz
–3.0 1.0
dB
EFFECT SEND
(AUX SEND*)
–3.0 1.0
MONITOR OUT, REC OUT
–3.0 1.0
Total Harmonic Distortion
(THD + N)
STEREO OUT +14 dBu, 20 Hz-20 kHz, Input Gain Control at mini-
mum
0.1 %
Hum & Noise
Hum & Noise are measured
with a 6 dB/octave filter
@12.7 kHz; equivalent to a
20 kHz filter with infinite
dB/octave attenuation.
Input: CH INPUT 1, 2 MIC
EIN (Equivalent Input Noise): Rs = 150 Ω, GAIN:
maximum (CH1, 2)
–128
dBu
STEREO OUT STEREO Master control at nominal level and all
CH Level control at minimum.
–87
EFFECT SEND
(AUX SEND*)
All CH EFFECT (AUX*) controls at minimum.
–85
STEREO OUT STEREO Master control and one CH level control
at nominal level (CH1, 2)
–64
STEREO OUT Residual Output Noise
–100
Crosstalk (1 kHz) Adjacent Input CH1, 2 –70
dB
Input to Output
STEREO L/R, CH 1, 2, PAN: panned hard left or right
–70
Maximum Voltage Gain (1 kHz)
All level controls are maxi-
mum when measured
PAN/BAL: panned hard left
or hard right.
Rs = 150 Ω
INPUT GAIN: maximum
MIC to CH INSERT OUT 60
dB
MIC to STEREO OUT 76
MIC to REC OUT 58.2
MIC to MONITOR OUT 92
MIC to PHONES OUT 81
MIC to EFFECT SEND (AUX SEND*) 76
LINE to STEREO OUT 50
LINE to EFFECT SEND (AUX SEND*) 47
ST CH 7/8, (CHs 7/8, 9/10*) to STEREO OUT 26
Rs = 150 Ω RETURN to STEREO OUT 12
Rs = 600 Ω 2TR IN to STEREO OUT 23.8
Phantom Voltage MIC no load 48 V
Input HPF CHs 1-5/6, 80 Hz, 12 dB/oct
Input Equalization
Turn over/roll-off frequency
of shelving: 3 dB below
maximum variable level.
±15 dB maximum
CHs 1-5/6 HIGH: 10 kHz (shelving)
MID: 2.5 kHz (peaking)
LOW: 100 Hz (shelving)
CH 7/8 (CHs 7/8, 9/10*) HIGH: 10 kHz (shelving)
LOW: 100 Hz (shelving)
PEAK Indicator Red LED turns on when post EQ signal (either post MIC HA or post EQ signal
for CHs 3/4, 5/6) reaches –3 dB below clipping (+17 dBu).
Internal Digital Effect* 16 PROGRAM, PARAMETER control
Foot Switch (Digital Effect On/Off)
LED Level Meter Pre MONITOR Level 2x7 points LED meter (PEAK, +6, +3, 0, –5, –10, –20 dB)
PEAK lights if the signal level reaches 3 dB below the clipping level.
Power Supply Adaptor PA-10 AC 38 VCT, 0.62 A, Cable Length = 3.6 m
Power Consumption 21 W
Dimensions (W x H x D) 256.6 mm x 62.2 mm x 302.5 mm
Net Weight 1.6 kg (MG82CX), 1.5 kg (MG102C)
56
MG82CX/MG102C Owner’s Manual
Specifications
Reference
■ Input Specifications
Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms
* 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 the maximum
level. (All level controls are at their maximum position.)
■ Output Specifications
Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms
* The MG82CX feature is described first, followed by the MG102C feature in brackets: MG82CX (MG102C)
Input Connectors
Gain
Input
Impedance
Appropriate
Impedance
Sensitivity * Nominal Level
Max. before
Clipping
Connector
Specifications
CH INPUT MIC
(CHs 1, 2)
–60 dB
3 kΩ
50–600 Ω
Mics
–72 dBu (0.195 mV) –60 dBu (0.775 mV) –40 dBu (7.75 mV)
XLR-3-31 type
(balanced [1 = GND,
2 = HOT, 3 = COLD])
–16 dB
–28 dBu (30.8 mV) –16 dBu (123 mV) +4 dBu (1.23V)
CH INPUT LINE
(CHs 1, 2)
–34 dB
10 kΩ
600 Ω
Lines
–46 dBu (3.88 mV) –34 dBu (15.5 mV) –14 dBu (155 mV)
TRS phone jack
(balanced [Tip =
HOT, Ring = COLD,
Sleeve = GND])
+10 dB
– 2 dBu (0.615 V) +10 dBu (2.45 V) +30 dBu (24.5 V)
ST CH MIC
INPUT (CHs 3/4,
5/6)
–60 dB
3 kΩ
50–600 Ω
Mics
–72 dBu (0.195 mV) –60 dBu (0.775 mV) –40 dBu (7.75 mV)
XLR-3-31 type
(balanced [1 = GND,
2 = HOT, 3 = COLD])
–16 dB
–28 dBu (30.8 mV) –16 dBu (123 mV) –6 dBu (389 mV)
ST CH LINE
INPUT (CHs 3/4,
5/6)
–34 dB
10 kΩ
600 Ω
Lines
–46 dBu (3.88 mV) –34 dBu (15.5 mV) –14 dBu (155 mV)
Phone jack
(unbalanced)
+10 dB
– 2 dBu (0.615 V) +10 dBu (2.45 V) +30 dBu (24.5V)
ST CH INPUT
(CH 7/8 (CHs 7/8,
9/10))
— 10 kΩ
600 Ω
Lines
–22 dBu (61.5 mV) –10 dBu (245 mV) +10 dBu (2.45 V)
Phone jack
(unbalanced)
RCA pin jack
CH INSERT IN
(CHs 1, 2)
— 10 kΩ
600 Ω
Lines
–12 dBu (195 mV) 0 dBu (0.775 V) +20 dBu (7.75 V)
TRS phone jack
(unbalanced [Tip =
Out, Ring = In,
Sleeve = GND])
RETURN (L, R) — 10 kΩ
600 Ω
Lines
– 8 dBu (308 mV) +4 dBu (1.23 V) +24 dBu (12.3 V)
Phone jack
(unbalanced)
2TR IN (L, R) — 10 kΩ
600 Ω
Lines
–22 dBV (79.4 mV) –10 dBV (0.316 V) +10 dBV (3.16 V)
RCA pin jack
Output Connectors
Output
Impedance
Appropriate
Impedance
Nominal Level
Max. before
clipping
Connector Specifications
STEREO OUT (L, R) 150 Ω 10 kΩ Lines +4 dBu (1.23 V) +20 dBu (7.75 V)
Phone jack (impedance balanced [Tip
= HOT, Ring = COLD, Sleeve = GND])
EFFECT SEND (AUX
SEND*)
150 Ω 10 kΩ Lines +4 dBu (1.23 V) +20 dBu (7.75 V)
Phone jack (impedance balanced [Tip
= HOT, Ring = COLD, Sleeve = GND])
CH INSERT OUT
(CHs 1, 2)
75 Ω 10 kΩ Lines 0 dBu (0.775 V) +20 dBu (7.75 V)
Phone jack (unbalanced [Tip = OUT,
Ring = IN, Sleeve = GND])
REC OUT (L, R) 600 Ω 10 kΩ Lines –10 dBV (0.316 V) +10 dBV (3.16 V) RCA Pin jack
MONITOR OUT (L, R)
150 Ω 10 kΩ Lines +4 dBu (1.23 V) +20 dBu (7.75 V)
Phone jack (impedance balanced [Tip
= HOT, Ring = COLD, Sleeve = GND])
PHONES OUT
100 Ω 40 Ω Phones 3 mW 75 mW Stereo phone jack
Specifications
MG82CX/MG102C Owner’s Manual
57
Reference
■ Digital Effect Program List
* “LFO” stands for Low Frequency Oscillator. An LFO is normally used to modulate another signal, determining the modulation speed and
waveform shape.
■ Dimensional Diagrams
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-edged sound.
8 DRUM AMBIENCE REVERB TIME A short reverb that is ideal for use with kick drum.
9 KARAOKE ECHO DELAY TIME Echo designed for karaoke (sing-along) applications.
10 VOCAL ECHO DELAY TIME Echo suitable for vocals.
11
CHORUS 1 LFO Frequency Creates a thick sound by modulating the delay time.
The PARAMETER control adjusts the frequency of the LFO* that modulates the
delay time.
12
CHORUS 2 LFO Frequency
13
FLANGER LFO Frequency
A sweeping pitched effect.
The PARAMETER control adjusts the frequency of the LFO* that modulates the
delay time.
14
PHASER LFO Frequency
Phase modulation produces a cyclical phasing effect.
The PARAMETER control adjusts the frequency of the LFO* that modulates the
delay time.
15
AUTO WAH LFO Frequency
A wah-wah effect with cyclical filter modulation.
The PARAMETER control adjusts the frequency of the LFO* that modulates the
delay time.
16
DISTORTION DRIVE Adds a sharp-edged distortion to the sound.
256.6
302.5
62.2
55.2
2
300
Unit:mm
58
MG82CX/MG102C Owner’s Manual
Specifications
Reference
■ Block Diagram and Level Diagram
CH IN LINE
Gain:Min [+10dBu]
CH IN MIC Gain:Min [–16dBu]
Clip Level
Clip Level
CH Level
ST CH Level
[Nominal:–6dB]
CH EFFECT/AUX
[Nominal:–6dB]
ST CH EFFECT/AUX
[Nominal:–6dB]
EFFECT/AUX SEND [+4dBu]
RETURN
2TR IN
[Nominal:–6dB]
ST CH IN
[–10dBu]
RETURN [+4dBu]
2TR IN [–10dBV]
[–7.8dBu]
Clip Level
Clip Level
ST
OUT [+4dBu]
MONITOR/PHONES
[Nominal:–16dB]
PHONES
[3mW @ 40ohms]
MONITOR OUT
[+4dBu]
REC OUT [–10dBV]
[–7.8dBu]
ST [Nominal:–6dB]
ST CH EFFECT/AUX SEND [+1dBu]
Clip Level
Clip Level
Clip Level
CH IN LINE Gain:Max [–34dBu]
CH IN MIC Gain:Max [–60dBu]
ST CH LINE IN
Gain:Min [+10dBu]
ST CH MIC IN
Gain:Min [–16dBu]
ST CH LINE IN
Gain:Max [–34dBu]
ST CH MIC IN
Gain:Max [–60dBu]
+20dBu
+30dBu
0dBu
+10dBu
–20dBu
–10dBu
–40dBu
–30dBu
+20dBu
+30dBu
0dBu
+10dBu
–20dBu
–10dBu
–30dBu
–50dBu
–40dBu
–60dBu
–60dBu
–50dBu
HPF
COMP
HA
HPF
HA
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[16 to 60dB]
80
GAIN Trim
[–60 to –16dBu]
[0dBu]
[–34 to +10dBu]
MIC
[–60 to –16dBu]
MIC
[–34 to +10dBu]
[–34 to +10dBu]
[–34 to +10dBu]
LINE R
LINE L/MONO
(CH3/4, 5/6)
ST CH INPUT
(CH1 to 2)
CH INPUT
[6 to 50dB]
GAIN Trim
LINE
INSERT
I/O
TH+GAIN
+48V
PHANTOM
RE
80
3-Stage EQ
[0dBu] [
–6
dBu]
[
–6
dBu]
[
–6
dBu]
[
–6
dBu]
[
–6
dBu]
[
–6
dBu]
[
–6
dBu]
[
–6
dBu]
[
–14
dBu]
[
–6
dBu]
[
–16
dBu]
[
0
dBu] [
+4
dBu]
[
0
dBu]
[
–14
dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[0dBu]
[+4dBu]
[+4dBu]
[+4dBu]
[3mW @40ohms]
[–10dBV]
[–7.8dBu]
[0dBu]
[0dBu]
LOW
MID
HIGH
RE
PEAK
3-Stage EQ
LOW
MID
HIGH
HA
RE
PEAK
ST CH LEVEL
CH LEVEL
PA N
STEREO
STEREO L
STEREO R
EFFECT/AUX
LED METER
MONITOR/PHONES
STEREO L
MONITOR OUT
REC OUT
STEREO OUT
PHONES
STEREO R
L
R
L
R
L
R
BAL/PAN
BAL
RETURN
2TR IN
EFFECT RETURN
EFFECT (MG82CX)
AUX (MG102C)
EFFECT (MG82CX)
AUX (MG102C)
EFFECT (MG82CX)
AUX (MG102C)
TO STEREO/TO MONITOR
ST CH LEVEL
3-Stage EQ
HA
ST CH INPUT
(CH7/8)
(CH9/10) (only MG102C)
[–10dBu]
2TR IN
[–10dBV]
[–7.8dBu]
RETURN
[+4dBu]
L
R
L/MONO
R
L
R
HA
HA
INV
INV
INV
INV
ON
YE
PARAMETER
PROGRAM(1-16)
only MG82CX
FOOT SW
EFFECT ON/OFF
LO
RO
IN
BA
BA
SUM
SUM
BA
DR
DR
BA
BA
BA
BA
BA
BA
SUM BA
SUM
+
–
SUM
+
–
2-Stage EQ
2-Stage EQ
LOW
HIGH
DIGITAL
EFFECT
(DSP)
EFFECT SEND (MG82CX)
AUX SEND (MG102C)
[+4dBu]
MONITOR MIX
only MG82CX
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 jeweili-
gen Bestimmungsländern erhältlich.
Para detalles sobre productos, contacte su tienda Yamaha más
cercana o el distribuidor autorizado que se lista debajo.
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: 416-298-1311
U.S.A.
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif.
90620, U.S.A.
Tel: 714-522-9011
MEXICO
Yamaha de México S.A. de C.V.
Calz. Javier Rojo Gómez #1149,
Col. Guadalupe del Moral
C.P. 09300, México, D.F., México
Tel: 55-5804-0600
BRAZIL
Yamaha Musical do Brasil Ltda.
Rua Joaquim Floriano, 913 - 4' andar, Itaim Bibi,
CEP 04534-013 Sao Paulo, SP. BRAZIL
Tel: 011-3704-1377
ARGENTINA
Yamaha Music Latin America, S.A.
Sucursal de Argentina
Viamonte 1145 Piso2-B 1053,
Buenos Aires, Argentina
Tel: 1-4371-7021
PANAMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES
Yamaha Music Latin America, S.A.
Torre Banco General, Piso 7,
Urbanización Marbella, Calle 47 y Aquilino de la
Guardia, Ciudad de Panamá, Panamá
Tel: +507-269-5311
THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
Tel: 01908-366700
GERMANY
Yamaha Music Central Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
SWITZERLAND/LIECHTENSTEIN
Yamaha Music Central Europe GmbH,
Branch Switzerland
Seefeldstrasse 94, 8008 Zürich, Switzerland
Tel: 01-383 3990
AUSTRIA
Yamaha Music Central Europe GmbH,
Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-60203900
CZECH REPUBLIC/SLOVAKIA/
HUNGARY/SLOVENIA
Yamaha Music Central Europe GmbH,
Branch Austria, CEE Department
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-602039025
POLAND
Yamaha Music Central Europe GmbH
Sp.z. o.o. Oddzial w Polsce
ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland
Tel: 022-868-07-57
THE NETHERLANDS/
BELGIUM/LUXEMBOURG
Yamaha Music Central Europe GmbH,
Branch Benelux
Clarissenhof 5-b, 4133 AB Vianen,
The Netherlands
Tel: 0347-358 040
FRANCE
Yamaha Musique France
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000
ITALY
Yamaha Musica Italia S.P.A.
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
SPAIN/PORTUGAL
Yamaha-Hazen Música, S.A.
Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid), Spain
Tel: 91-639-8888
SWEDEN
Yamaha Scandinavia AB
J. A. Wettergrens Gata 1
Box 30053
S-400 43 Göteborg, Sweden
Tel: 031 89 34 00
DENMARK
YS Copenhagen Liaison Office
Generatorvej 6A
DK-2730 Herlev, Denmark
Tel: 44 92 49 00
NORWAY
Norsk filial av Yamaha Scandinavia AB
Grini Næringspark 1
N-1345 Østerås, Norway
Tel: 67 16 77 70
OTHER EUROPEAN COUNTRIES
Yamaha Music Central Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: +49-4101-3030
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2313
TURKEY/CYPRUS
Yamaha Music Central Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
OTHER COUNTRIES
Yamaha Music Gulf FZE
LB21-128 Jebel Ali Freezone
P.O.Box 17328, Dubai, U.A.E.
Tel: +971-4-881-5868
THE PEOPLE’S REPUBLIC OF CHINA
Yamaha Music & Electronics (China)
Co.,Ltd.
25/F., United Plaza, 1468 Nanjing Road (West),
Jingan, Shanghai, China
Tel: 021-6247-2211
INDONESIA
PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
KOREA
Yamaha Music Korea Ltd.
Tong-Yang Securities Bldg. 16F 23-8
Yoido-dong, Youngdungpo-ku, Seoul, Korea
Tel: 02-3770-0660
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd.
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: 3-78030900
SINGAPORE
Yamaha Music Asia Pte., Ltd.
#03-11 A-Z Building
140 Paya Lebor Road, Singapore 409015
Tel: 747-4374
TAIWAN
Yamaha KHS Music Co., Ltd.
3F, #6, Sec.2, Nan Jing E. Rd. Taipei.
Taiwan 104, R.O.C.
Tel: 02-2511-8688
THAILAND
Siam Music Yamaha Co., Ltd.
891/1 Siam Motors Building, 15-16 floor
Rama 1 road, Wangmai, Pathumwan
Bangkok 10330, Thailand
Tel: 02-215-2626
OTHER ASIAN COUNTRIES
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2317
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,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu,
Japan 430-8650
Tel: +81-53-460-2313
NORTH AMERICA
CENTRAL & SOUTH AMERICA
EUROPE
AFRICA
MIDDLE EAST
ASIA
OCEANIA
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2441
PA14
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Yamaha MG102C - 10 Input Stereo Mixer Bruksanvisning
- Kategori
- Ljudmixer
- Typ
- Bruksanvisning
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