User manual YAMAHA MG206C-MG166CX-MG166C

[. . . ] Features Input Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 12 With up to 16 (MG166CX/MG166C: 10) mic/line inputs or up to four stereo inputs, the MG mixer can simultaneously connect to a wide range of devices: microphones, line-level devices, stereo synthesizers, and more. Compression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 10 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 16 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 (MG166CX). . . . . . . . . . . . . . . . . . . . pages 15, 19 With digital effects built in, the MG166CX can deliver a wide range of sound variations all by itself. Caractéristiques Compression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 46 La compression augmente le niveau général sans engendrer de distorsion en comprimant les pics excessifs des signaux des micros et des guitares. [. . . ] 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. 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. 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. OUTPUT Reverb Level It's amazing how quickly your ears can lose perspective and fool you into believing that a totally washedout 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. (Min) (Max) INPUT 10 MG206C/MG166CX/MG166C Owner's Manual Reference Setup Reference Guitar Rear panel Recorder Powered monitor speakers Bass CD Player Effect processor Powered speakers Synthesizer Microphone DI Effect processor (exciter) Headphones Powered monitor speakers MG206C MG206C/MG166CX/MG166C Owner's Manual 11 Reference Front & Rear Panels Channel Control Section MG206C MG166CX/MG166C * A MG166C : EFFECT AUX3 Channels 1 to 8 (Monaural) Channels 9 to 12 (Monaural) Channels 13/14 and 15/16 (Stereo) Channels 17/18 and 19/20 (Stereo) Channels 1 to 6 (Monaural) Channels 7 and 8 (Monaural) Channels 9/10 and 11/12 (Stereo) Channels 13/14 and 15/16 (Stereo) 1 2 3 5 1 1 2 1 4 4 3 5 6 7 8 9 6 7 6 7 8 6 7 9 9 9 0 0 0 0 A A A A B B B B C C C C D E F G H D E F G H D E F G H D E F G H I I I I 12 MG206C/MG166CX/MG166C Owner's Manual Reference Front & Rear Panels 1 MIC Input jacks These are balanced XLR-type microphone input jacks. (1: Ground; 2: Hot; 3: Cold) 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 3, 4). 2 LINE Input Jacks (monaural channels) These are balanced TRS phone-jack line inputs. You can connect either balanced or unbalanced phone plugs to these jacks. 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. NOTE 3 LINE Input Jacks (stereo channels) These are unbalanced phone-jack stereo line inputs. 4 LINE Input Jacks (stereo channels) These are unbalanced stereo RCA pin jacks. NOTE On channels that provide multiple input jack options only one type of jack can be used at a time. Avoid setting the compression too high, as the higher average output level that results may lead to feedback. 5 INSERT Jacks These jacks can be used to insert an external signal-processing device between the equalizer and fader of the corresponding monaural input channel. The INSERT jacks are ideal for connecting devices such as graphic equalizers, compressors, or noise filters into the corresponding channels. NOTE 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. [. . . ] Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 POLAND Yamaha Music Central Europe GmbH Sp. z. 17 Stycznia 56, PL-02-146 Warszawa, Poland Tel: 022-868-07-57 ASIA THE PEOPLE'S REPUBLIC OF CHINA Yamaha Music & Electronics (China) Co. , Ltd. [. . . ]