User manual YAMAHA ADJUSTMENT OF TREMOLO UNIT

[. . . ] 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 ADJUSTMENT OF TREMOLO UNIT) 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. [. . . ] 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. The fundamental and harmonic musical instruments. Piano Bass Drum Snare Drum Bass Guitar Trombone Trumpet 20 50 100 200 500 1k 2k 5k 10 k 20 k (Hz) frequency ranges of some Cymbal 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. 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. 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 "timeshifted" 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. (Min) (Max) INPUT MG82CX/ADJUSTMENT OF TREMOLO UNIT Owner's Manual 9 Reference Front & Rear Panels Reference The following applies to both the MG82CX and ADJUSTMENT OF TREMOLO UNIT. In cases where different features need to be described for each model, the MG82CX feature will be described first, followed by the ADJUSTMENT OF TREMOLO UNIT feature in brackets: MG82CX (ADJUSTMENT OF TREMOLO UNIT). Channel Control Section Channels 1 and 2 (Monaural) Channels 3/4 and 5/6 (Stereo) Channels 7/8 (7/8 and 9/10) (Stereo) 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. 1 2 1 4 NOTE 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. 3 5 3 5 INSERT Jacks (CHs 1, 2) Each of these jacks provides an insert point between the equalizer and level control of the corresponding input channel (CHs 1, 2). The INSERT jacks can be used to independently 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). NOTE 6 7 8 6 7 Patching external devices via an INSERT jack requires a special insert cable such as illustrated below (insert cable sold separately). To the input jack of the external processor 9 0 9 0 0 To the INSERT I/O jack Tip: OUT Sleeve (Ground) Sleeve (Ground) Ring: IN Tip: OUT Tip: IN A B C A B C A B C MG82CX To the output jack of the external processor 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 possiblility of phase conflict when connecting to other types of device. 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 PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. Adds a sharp-edged distortion to the sound. 5 6 7 8 9 10 11 12 13 14 PHASER LFO Frequency 15 16 AUTO WAH DISTORTION LFO Frequency DRIVE * "LFO" stands for Low Frequency Oscillator. An LFO is normally used to modulate another signal, determining the modulation speed and waveform shape. Dimensional Diagrams 256. 6 62. 2 55. 2 2 302. 5 Unit:mm 300 MG82CX/ADJUSTMENT OF TREMOLO UNIT Owner's Manual 57 Reference Specifications EFFECT/AUX STEREO L RE CH LEVEL [0dBu] [­6dBu] [0dBu] MIC COMP [­6dBu] [0dBu] [0dBu] 3-Stage EQ BA [+4dBu] +48V PEAK RE PAN [0dBu] HA [­60 to ­16dBu] MID TH+GAIN SUM L [­6dBu] HPF BA STEREO STEREO OUT [+4dBu] CH INPUT LOW HIGH LINE 80 GAIN Trim (CH1 to 2) [­34 to +10dBu] [16 to 60dB] INSERT I/O SUM R PEAK RE EFFECT (MG82CX) AUX (ADJUSTMENT OF TREMOLO UNIT) ST CH LEVEL HA BA [0dBu] [­10dBV] STEREO R LOW MID LOW HIGH Block Diagram and Level Diagram MG82CX/ADJUSTMENT OF TREMOLO UNIT Owner's Manual PHANTOM BA [0dBu] 3-Stage EQ BAL/PAN R [­7. 8dBu] HIGH BA [­6dBu] [0dBu] [0dBu] 58 L REC OUT [­14dBu] [0dBu] [­34 to +10dBu] MIC HA 80 [­60 to ­16dBu] HPF ST CH INPUT LED METER DR STEREO L (CH3/4, 5/6) HA EFFECT (MG82CX) AUX (ADJUSTMENT OF TREMOLO UNIT) ST CH LEVEL HA BA DR STEREO R BAL BA MONITOR/PHONES HA [­14dBu] [0dBu] [­6dBu] LINE L/MONO 3-Stage EQ GAIN Trim [­34 to +10dBu] [6 to 50dB] LINE R [­34 to +10dBu] [0dBu] 2-Stage EQ [­6dBu] [0dBu] [0dBu] [0dBu] ST CH INPUT 2-Stage EQ [­16dBu] L (CH7/8) (CH9/10) (only ADJUSTMENT OF TREMOLO UNIT) [­10dBu] + SUM ­ BA L BA R MONITOR OUT [+4dBu] R EFFECT (MG82CX) AUX (ADJUSTMENT OF TREMOLO UNIT) + SUM ­ INV RETURN [0dBu] [­6dBu] L/MONO RETURN INV TO STEREO/TO MONITOR [0dBu] [­6dBu] [0dBu] [+4dBu] PHONES [3mW @40ohms] [+4dBu] R INV SUM 2TR IN INV BA L 2TR IN [­10dBV] [­7. 8dBu] only MG82CX EFFECT SEND (MG82CX) AUX SEND (ADJUSTMENT OF TREMOLO UNIT) [+4dBu] R FOOT SW EFFECT ON/OFF LO [­6dBu] PROGRAM(1-16) DIGITAL EFFECT (DSP) RO EFFECT RETURN IN PARAMETER ON YE MONITOR MIX only MG82CX +30dBu Clip Level Clip Level RETURN [+4dBu] Clip Level +30dBu Clip Level CH EFFECT/AUX [Nominal:­6dB] EFFECT/AUX SEND [+4dBu] Clip Level ST OUT [+4dBu] Clip Level [+4dBu] +20dBu +10dBu CH IN LINE Gain:Min [+10dBu] Clip Level ST CH LINE IN Gain:Min [+10dBu] +20dBu +10dBu MONITOR OUT 0dBu ­10dBu 0dBu ST CH IN [­10dBu] CH Level 2TR IN [­10dBV] ST CH Level [­7. 8dBu] [Nominal:­6dB] ­10dBu ST CH MIC IN Gain:Min [­16dBu] ­20dBu CH IN MIC Gain:Min [­16dBu] ­30dBu CH IN LINE Gain:Max [­34dBu] ST CH LINE IN Gain:Max [­34dBu] RETURN 2TR IN [Nominal:­6dB] ST [Nominal:­6dB] ST CH EFFECT/AUX [Nominal:­6dB] ST CH EFFECT/AUX SEND [+1dBu] REC OUT [­10dBV] [­7. 8dBu] PHONES [3mW @ 40ohms] MONITOR/PHONES [Nominal:­16dB] ­20dBu ­30dBu ­40dBu ­50dBu ­60dBu ­40dBu ­50dBu ­60dBu ST CH MIC IN Gain:Max [­60dBu] CH IN MIC Gain:Max [­60dBu] 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. [. . . ]