User manual YAMAHA PS30

[. . . ] Liquid or metal objects inside this unit are a fire and electrical shock hazard. Do not place heavy objects, including this unit, on top of the power cord. A damaged power cord is a fire and electrical shock hazard. In particular, be careful not to place heavy objects on a power cord covered by a carpet. G G If lightning begins to occur, turn off the power switch of the unit as soon as possible, and unplug the power plug from the electrical outlet. [. . . ] If the mixer has two AUX buses, then it can handle both functions at the same time. Larger mixing consoles can have 6, 8, or even more auxiliary buses to handle a variety of monitoring and processing needs. Using the AUX buses and level controls is pretty straightforward. The only thing you need to consider is whether you need a "pre-fader" or "postfader" send. AUX sends often feature a switch that allows you to configure them for pre- or postfader operation. Pre-fader send for a monitor mix. The send signal is fed to the monitor power amplifier and speaker system. The channel fader does not affect the send level so the monitor mix remains independent of the main mix. No return signal is used in this case. Channel Fader AUX Send Level Master Fader AUX Send Level AUX Return Level Post-fader send for external effects processing. The send signal is fed to the external effect unit--a reverb unit, for example--and the output from the effect unit is returned to the AUX Return jack and mixed back into the main program. The send level is affected by the channel fader so the effect level always remains in proportion to the channel signal. MG16/4, MG12/4 13 Making the Most Of Your Mixer 4-2. Using Groups Group buses and faders can greatly simplify the mixing process--particularly in live situations in which changes have to be made as quickly as possible. Unlike live sound in a real acoustic space, recorded stereo sound is basically 2-dimensional (although some types of surround sound are actually very 3-dimensional), and instruments positioned right on top of each other will often get in each other's way--particularly if they are in the same frequency range or have a similar sound. Faders Down It might sound overly simple, but it is usually a good idea to start with all channel faders off--all the way down. It's also possible to start with all faders at their nominal settings, but it's too easy to lose perspective with this approach. Start with all faders down, then bring them up one by one to fill out the mix. But which channel should you start with? Example1: Vocal Ballad Backed by Piano Trio What are you mixing?Is it a song in which the vocals are the most important element?If so you might want to build the mix around the vocals. This means bringing the vocal channel up to nominal first (if your level setup procedure has been done properly this will be a good starting point), and then adding the other instruments. What you add next will depend on the type of material you are working with and your approach to it. If the vocals are backed by a piano trio and the song is a ballad, for example, you might want to bring in the piano next and get the vocal/piano relationship just right, then bring in the bass and drums to support the overall sound. Example2: Funky R&B Groove The approach will be totally different if you're mixing a funky R&B number that centers on the groove. In this case most engineers will start with the drums, and then add the bass. The relationship between the drums and bass is extremely important to achieve the "drive" or groove the music rides on. [. . . ] 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. For European Model Purchaser/User Information specified in EN55103-1 and EN55103-2. Inrush Current: 6A Conformed Environment: E1, E2, E3 and E4 28 MG16/4, MG12/4 Appendix Dimensional Diagrams I MG16/4 27. 5 H 108 101. 3 393 3 428 D 416. 6 309. 6 31. 5 W 423 480 When mounted on rack I MG12/4 H 108 102. 6 2 W 322 322 D 416. 6 325. 6 317. 4 480 When mounted on rack MG16/4, MG12/4 29 Appendix Block Diagram and Level Diagram 30 MG16/4, MG12/4 For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. [. . . ]