User manual YAMAHA MG124C ATTACHING THE OPTIONAL RACK-MOUNT KIT

[. . . ] Compression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 42 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 46 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 (MG124CX). . . . page 48, 49 Grâce aux effets numériques intégrés, la console MG124CX peut proposer de nombreuses variations de sons. Funktionen Eingangskanäle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Seite 28 Mit bis zu sechs Mikrofon-/Line-Eingängen oder bis zu vier Stereoeingängen können viele Geräte gleichzeitig am MGMischpult angeschlossen werden: Mikrofone, Geräte mit Leitungspegel, Stereo-Synthesizer uvm. Kompression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Seite 26 Kompression erhöht den Durchschnittspegel, ohne Verzerrung hinzuzufügen, indem übermäßige Pegelspitzen der Signale von Mikrofonen oder Gitarren komprimiert werden. [. . . ] 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. 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. 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 10 MG124CX/MG124C Owner's Manual Reference Setup Reference Guitar Powered Speakers Synthesizer Bass Foot Switch (YAMAHA FC5) Recorder Microphone CD Player DI Effect Processor (exciter) Effect Processor Headphones Powered Monitor Speaker Powered Monitor Speakers MG124CX MG124CX/MG124C Owner's Manual 11 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 1 to 4 (Monaural) Channels 5/6 and 7/8 (Stereo) Channels 9/10 and 11/12 (Stereo) These are balanced XLR-type microphone input jacks (1:Ground; 2:Hot; 3:Cold). 2 LINE Input Jacks (CHs 1 to 4) 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. 1 2 1 4 3 LINE Input Jacks (CHs 5/6 to 11/12) 3 3 These are unbalanced phone-jack stereo line inputs. 5 4 LINE Input Jacks (CHs 9/10, 11/12) These are unbalanced stereo RCA pin jacks. NOTE 6 7 8 6 7 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 to 4) Each of these jacks provides an insert point between the equalizer and fader of the corresponding input channel (CHs 1 to 4). 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 9 9 0 0 0 A B C D A B C D A B C 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 To the INSERT I/O jack Tip: OUT D Sleeve (Ground) Sleeve (Ground) Ring: IN Tip: OUT Tip: IN E F G H ON E F G H ON E F G H ON To the output jack of the external processor 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. CAUTION 6 GAIN Control I I I MG124CX 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. [. . . ] 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) +10 dBu (2. 45 V) Connector Specifications XLR-3-31 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) TRS phone jack (balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) XLR-3-31 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) Phone jack (unbalanced) Phone jack (unbalanced) RCA pin jack TRS phone Jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND]) Phone jack (unbalanced) 10k -- 10k ­20 dBu (77. 5 mV) 0 dBu (0. 775 V) +20 dBu (7. 75 V) 600 ­12 dBu (195 mV) +4 dBu (1. 23 V) +24 dBu (12. 3 V) Lines 600 2TR IN (L, R) -- 10k ­26 dBV (50. 1 mV) ­10dBV (0. 316V) +10dBV (3. 16 V) RCA pin jack Lines 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 faders and level controls are at their maximum position. ) -- 10k Output Specifications Output Connectors Output Impedance 75 Appropriate Impedance 600 Lines Nominal Level Max. before clipping +24 dBu (12. 3 V) Connector Specifications XLR-3-32 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) Phone Jack (balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Phone jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND]) RCA pin jack Phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Stereo phone jack STEREO OUT (L, R) +4dBu (1. 23 V) GROUP OUT (1, 2) EFFECT/AUX (AUX1, 2*) SEND CH INSERT OUT (CHs 1-4) REC OUT (L, R) 150 150 75 600 150 100 10k Lines 10k Lines 10k Lines 10k Lines 10k Lines 40 Phones +4dBu (1. 23 V) +4dBu (1. 23 V) 0 dBu (0. 775 V) ­10 dBV (0. 316 V) +4 dBu (1. 23 V) 3 mW +20 dBu (7. 75 V) +20 dBu (7. 75 V) +20 dBu (7. 75 V) +10 dBV (3. 16 V) +20 dBu (7. 75 V) 75 mW MONITOR OUT (L, R) PHONES OUT Where 0 dBu = 0. 775 Vrms and 0 dBV= 1 Vrms * The MG124CX feature is described first, followed by the MG124C feature in brackets: MG124CX (MG124C) 68 MG124CX/MG124C Owner's Manual Reference Specifications Dimensional Diagrams 86. 1 346. 2 79. 6 2 436. 6 Unit: mm 433. 9 MG124CX/MG124C Owner's Manual 69 Reference +48V PEAK RE SUM BA ON CH Fader [0dBu] [­10dBu] ST [0dBu] Specifications RE AUX *1 EFFECT *1 STEREO L STEREO R GROUP 1 GROUP 2 PFL L PFL R PFL CTRL MID LOW (CH1 to 4) [­34 to +10dBu] HIGH LOW MID HIGH LOW HIGH [­6dBu] 70 PAN G1-2 [0dBu] GROUP Fader GROUP OUT BA [+4dBu] SUM BA PRE [0dBu] PHANTOM MIC [-10dBu] [0dBu] HPF 1 HA [­60 to ­16dBu] HPF COMP 3-Stage EQ CH INPUT YE [0dBu] TO ST INV INV AUX *1 2 [­6dBu] PFL [­6dBu] LINE EFFECT *1 [0dBu] PEAK RE +15V GAIN Trim [16 to 60dB] TH+GAIN [0dBu] INSERT I/O [0dBu] [­34 to +10dBu] ST [0dBu] MIC ON [0dBu] PRE [­10dBu] BA [0dBu] [0dBu] HA CH Fader [0dBu] HPF BAL/PAN G1-2 STEREO Fader R SUM BA SUM BA [0dBu] [­10dBu] L ST OUT [+4dBu] [­60 to ­16dBu] HPF 3-Stage EQ ST CH INPUT YE [­14dBu] [0dBu] (CH5/6, 7/8) HA LINE L/MONO AUX *1 [­34 to +10dBu] BA GAIN Trim EFFECT *1 PFL STEREO/GROUP [0dBu] [0dBu] +15V [­14dBu] [6 to 50dB] Block Diagram and Level Diagram MG124CX/MG124C Owner's Manual L R REC OUT [­10dBV] [­7. 8dBu] HA 3-Stage EQ LINE R LED METER DR [­34 to +10dBu] ST [0dBu] ON [0dBu] [­10dBu] PRE BA [0dBu] CH Fader [0dBu] [0dBu] [­16dBu] BAL G1-2 [0dBu] SUM SUM MONITOR/PHONES INV HA [0dBu] 2-Stage EQ L MONITOR OUT [+4dBu] INV L YE [­14dBu] SUM SUM AUX *1 ST CH INPUT BA R DR (CH9/10, 11/12) [­10dBu] HA 2-Stage EQ EFFECT *1 PFL +15V [­6dBu] [­14dBu] R LED METER PHONES [3mW @ 40ohms] L/MONO ST SUM [0dBu] INV AUX SEND *1 [­6dBu] BA [0dBu] RETURN AUX *1 TO STEREO/TO MONITOR 2TR IN SUM [0dBu] [­14dBu] AUX SEND *1 EFFECT SEND *1 [­6dBu] BA [+4dBu] [+4dBu] INV R EFFECT SEND *1 [+4dBu] L [­6dBu] [0dBu] 2TR IN INV [­10dBV] [­7. 8dBu] R INV EFFECT RETURN LO [­10dBu] BA [0dBu] FOOT SW EFFECT ON/OFF PROGRAM (1-16) RO BA PARAMETER AUX [­14dBu] DIGITAL EFFECT (DSP) PFL ON YE +15V IN *1 MODEL MG124CX MONITOR MIX MG124C FUNCTION NAME AUX AUX1 EFFECT AUX2 only MG124CX +30dBu Clip Level RETURN [+4dBu] CH AUX *1 [Nominal:­6dB] Clip Level AUX SEND *1 [+4dBu] Clip Level GROUP OUT [+4dBu] Clip Level STEREO OUT [+4dBu] MONITOR OUT [+4dBu] RETURN 2TR IN [Nominal:­6dB] AUX SEND *1 [Nominal:­6dB] REC OUT [­7. 8dBu] GROUP Fader [Nominal:­10dB] STEREO Master [Nominal:­10dB] PHONES [3mW @ 40ohms] MONITOR/PHONES [Nominal:­16dB] Clip Level +30dBu +20dBu +10dBu 0dBu ­10dBu ­20dBu ­30dBu +20dBu Clip Level Clip Level Clip Level +10dBu CH IN LINE Gain:Min [+10dBu] ST CH IN LINE Gain:Min [+10dBu] 0dBu 2TR IN [­10dBV] CH Level [­7. 8dBu] ST CH Level [Nominal:­10dB] ­10dBu CH IN MIC Gain:Min [­16dBu] ST CH IN MIC Gain:Min [­16dBu] ­20dBu ST CH IN [­10dBu] ­30dBu CH IN LINE Gain:Max [­34dBu] ST CH IN LINE Gain:Max [­34dBu] ­40dBu EFFECT RETURN [Nominal:­10dB] ST CH AUX *1 DSP AUX [Nominal:­6dB] ­50dBu ­60dBu CH IN MIC Gain:Max [­60dBu] ST 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. [. . . ]