Yamaha MG8 Le manuel du propriétaire

Marque: Yamaha

Modèle: MG8

Catégorie: Mélangeurs audio

Taper: Le manuel du propriétaire

Ce manuel convient également à

2FX
MG8/2FX

MIXING CONSOLE

Owner’s Manual

Making the Most Of Your Mixer

Pages 6 to 14

MG8/2FX

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).

• 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 50 cm 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.

•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. Otherwise, the device, TV, or radio may

generate noise.

• 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.

• Do not insert your ﬁngers or hand 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

MG8/2FX

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.

Copying of commercially available music data and/or digital audio ﬁles, except for personal use, is strictly prohibited.

Illustrations in this manual are for explanatory purposes only, and may not match the actual appearance of the product during operation.

Company names and product names used in this Owner’s Manual are trademarks or registered trademarks of their respective owners.

• This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (2 wires).

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B)

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.

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.

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions

contained in this manual, meets FCC requirements. Modiﬁca-

tions not expressly approved by Yamaha may void your author-

ity, 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” digital devices. Compliance with these requirements pro-

vides a reasonable 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 gen-

erates/uses radio frequencies and, if not installed and used

according to the instructions found in the users manual, may

cause interference harmful to the operation of other electronic

devices. Compliance with FCC regulations does not guarantee

that interference will not occur in all installations. If this product

is found to be the source of interference, which can be deter-

mined by turning the unit “OFF” and “ON”, please try to elimi-

nate 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 contact Yamaha Corporation of America, Elec-

tronic Service Division, 6600 Orangethorpe Ave, Buena Park,

CA90620

The above statements apply ONLY to those products distrib-

uted by Yamaha Corporation of America or its subsidiaries.

Introduction

MG8/2FX

Introduction

Thank you for your purchase of the YAMAHA MG8/2FX mixing console. The MG8/2FX is a compact unit offering up to eight

input channels and incorporating high-quality internal digital effects. The mixer combines ease of operation with support for

multiple usage environments.

Please read through this Owner’s Manual carefully before beginning use, so that you will be able to take full advantage of the

mixer’s superlative features and enjoy trouble-free operation for years to come.

Contents

Introduction 4

Contents .............................................................. 4

Features ............................................................... 4

Before Turning on the Mixer ................................. 5

Tu r ning the Power On .......................................... 5

Making the Most Of Your Mixer 6

1. A Place For Everything and

Everything In Its Place.................................... 6

2. Where Your Signal Goes Once

It’s Inside the Box ........................................... 9

3. The First Steps in Achieving

Great Sound ................................................. 10

4. Internal and External Effect Mixes................ 12

5. Making Better Mixes..................................... 13

Front & Rear Panels 15

Channel Control Section .................................... 15

Master Control Section ...................................... 16

Input/Output Section .......................................... 18

Rear Section ...................................................... 19

Setting Up 20

Setup Procedure ................................................ 20

Setup Examples ................................................. 20

Mounting to a Microphone Stand ....................... 21

Appendix 22

Speciﬁcations ..................................................... 22

Dimensional Diagrams ....................................... 24

Block Diagram and Level Diagram .................... 25

Features

Input Channels................................ page 18

With up to four mic/line inputs or up to three stereo

inputs, the MG8/2FX can simultaneously connect to

a wide range of devices: microphones, line-level

devices, stereo synthesizers, and more. For exam-

ple, you can connect two microphones and three ste-

reo devices, or four microphones and one stereo

device.

Phantom Power (+48 V) .................. page 16

A single switch turns phantom power on or off for

four mic inputs. Phantom power enables easy con-

nection to condenser microphones that require exter-

nal power.

High-quality digital effects............. page 16

With digital effects built in, the MG8/2FX can deliver

a wide range of sound variations all by itself. The unit

also includes an EFFECT SEND jack that can be

used to connect an external effector.

Send to external effector ............... page 19

You can use the EFFECT SEND jack to send the sig-

nal from the EFFECT bus to an external effector, and

you can use the RETURN jack to reinput the effec-

tor’s stereo output.

Optional Mic Stand ......................... page 21

The optional BMS-10A Mic Stand Adaptor makes it

easy to mount the MG8/2FX on a microphone stand.

Your mixer integrates easily into a wide variety of set-

ups.

Introduction

MG8/2FX

Before Turning on the Mixer

Be sure that the mixer’s power switch is in the

STANDBY position.

Use only the PA-10 adaptor included with this

mixer. Use of a different adaptor may result in

equipment damage, overheating, or ﬁre.

Connect the power adaptor to the AC ADAPTOR IN

connector (

) on the rear of the mixer, and then turn

the fastening ring clockwise (

) to secure the connec-

tion.

Plug the power adaptor into a standard household

power outlet.

• Be sure to unplug the adaptor from the outlet

when not using the mixer, or when there are light-

ning 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

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.

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.

MG8/2FX

Making the Most Of Your Mixer

■ An Introduction

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 lit-

tle tutorial and pick up a few basics that will help you get better performance

and make better mixes.

1-1. A Plethora Of Connectors—What Goes Where?

Questions you’re likely to encounter when setting up a system for the ﬁrst time might include “Why all these different types of

connectors on the back of my mixer?” and “What’s the difference?”.

Let’s start by taking a look at the most common connector types.

■ The Venerable RCA Pin Jack

This is the “consumer connector,” and the one that has been most commonly used on

home audio gear for many years. Also known as “phono” jacks (short for “phonogram”),

but the term isn’t used much these days—besides, it’s too easily confusable with

“phone” jacks, below. RCA pin jacks are always unbalanced, and generally carry a

line-level signal at –10 dB, nominal. You’re most likely to use this type of connector

when connecting a CD player or other home audio type source to your mixer, or when

connecting the output of your mixer to a cassette recorder or similar gear.

■ The Versatile Phone Jack

The name “phone jack” arose simply because this conﬁguration was ﬁrst used in

telephone switchboards. Phone jacks can be tricky because you can’t always tell what

type of signal they’re designed to handle just by looking at them. It could be unbalanced

mono, unbalanced stereo, balanced mono, or an insert patch point. The connector’s label

will usually tell you what type of signal it handles, as will the owner’s manual (you do

keep your manuals in a safe place, don’t you?). A phone jack that is set up to handle

balanced signals is also often referred to as a “TRS” phone jack. “TRS” stands for

Tip-Ring-Sleeve, which describes the conﬁguration of the phone plug used.

1. A Place For Everything and Everything In Its Place

White

Red

Stereo/TRS phone plug

Mono phone plug

Making the Most Of Your Mixer

MG8/2FX

■ The Sturdy XLR

This type of connector is generally referred to as “XLR-type,” and almost always carries

a balanced signal. If the corresponding circuitry is designed properly, however,

XLR-type connectors will also handle unbalanced signals with no problem. Microphone

cables usually have this type of connector, as do the inputs and outputs of most

professional audio gear.

1-2. 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.

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.

■ How Do Balanced Lines Reject Noise?

** Skip this section if technical details make you queasy. **

Balanced lines work on the principle of “phase cancellation”: if you add two identical signals out of phase (i.e. one signal is

inverted so its peaks coincide with the troughs in the other signal), the result is … nothing. A ﬂat line. The signals cancel each

other out.

Male

Female

Normal-phase signal.

Reverse-phase signal.

No signal.

(Phase cancellation)

MG8/2FX

Making the Most Of Your Mixer

A balanced cable has three conductors:

1) A ground conductor which carries no signal, just the “ground” or “0” reference against which the signal in the other con-

ductors ﬂuctuates.

2) A “hot” or “+” conductor which carries the normal-phase audio signal.

3) A “cold” or “–” conductor which carries the reverse-phase audio signal.

While the desired audio signals in the hot and cold conductors are out of phase, any noise induced in the line will be exactly the

same in both conductors, and thus in phase. The trick is that the phase of one signal is reversed at the receiving end of the line so

that the desired audio signals become in-phase, and the induced noise suddenly ﬁnds itself out of phase. The out-of-phase noise

signal is effectively canceled while the audio signal is left intact. Clever, eh?

1-3. Signal Levels—Decibel Do’s and Don’ts

From the moment you start dealing with things audio, you’ll have to deal with the term “decibel” and its abbreviation, “dB”.

Things can get confusing because decibels are a very versatile unit of measure used to describe acoustic sound pressure levels as

well as electronic signal levels. To make matters worse there are a number of variations: dBu, dBV, dBm. Fortunately, you don’t

need to be an expert to make things work. Here are a few basics you should keep in mind:

● “Consumer” gear (such as home audio equipment) usually has line inputs and outputs with a nominal (average) level of

–10 dB.

● Professional audio gear usually has line inputs and outputs with a nominal level of +4 dB.

● You should always feed –10 dB inputs with a –10 dB signal. If you feed a +4 dB signal into a –10 dB input you are likely to

overload the input.

● You should always feed +4 dB inputs with a +4 dB signal. A –10 dB signal is too small for a +4 dB input, and will result in

less-than-optimum performance.

● Many professional and semi-professional devices have level switches on the inputs and/or outputs that let you select –10 or

+4 dB. Be sure to set these switches to match the level of the connected equipment.

● Inputs that feature a “Gain” control—such as the mono-channel inputs on your Yamaha mixer—will accept a very wide range

of input levels because the control can be used to match the input’s sensitivity to the signal. More on this later.

Normal-phase signal

+ normal-phase noise.

Normal-phase signal

+ reverse-phase noise.

Desired signal

with no noise.

Making the Most Of Your Mixer

MG8/2FX

At ﬁrst glance the block diagram of even a modest mixer can look like a space-station schematic. In reality, block diagrams are

a great aid in understanding how the signal ﬂows in any mixer. Here’s a greatly simpliﬁed block diagram of a generic mixer to

help you become familiar with the way these things work.

2-1. Greatly Simpliﬁed Mixer Block Diagram

■ Input Channel

1 Head Amp

The very ﬁrst stage in any mixer, and usually the only

stage with signiﬁcant “gain” or “ampliﬁcation.” The head

amp has a “gain” control that adjusts the mixer’s input

sensitivity to match the level of the source. Small signals

(e.g. mics) are ampliﬁed, and large signals are attenuated.

2 Equalizer

Could be simple bass and treble controls or a full-blown

4-band parametric EQ. When boost is applied the EQ

stage also has gain. You can actually overload the input

channel by applying too much EQ boost. It’s usually

better to cut than boost.

3 Channel Peak LED & Fader

The channel peak LED is your most valuable tool for

setting the input “gain” control for optimum

performance. Note that it is located after the head amp

and EQ stage.

■ Master Section

4 Summing Ampliﬁer

This is where the actual “mixing” takes place. Signals

from all of the mixer’s input channels are “summed”

(mixed) together here.

5 Master Fader & Level Meter

A stereo, mono, or bus master fader and the mixer’s main

output level meter. There could be several master faders

depending on the design of the mixer—i.e. the number of

buses or outputs it provides.

2. Where Your Signal Goes Once It’s Inside the Box

1234 5

Input Channel Master Section

Signals from the mixer’s other

input channels (if they are

assigned to this master output

or “bus”).

MG8/2FX

Making the Most Of Your Mixer

Before you even consider EQ and effects, or even the overall mix, it is important to make sure that levels are properly set for

each individual source. This can’t be stressed enough—initial level setup is vitally important for achieving optimum perfor-

mance from your mixer! Here’s why … and how.

3-1. The Head Ampliﬁer “Gain” Control Is the Key!

Let’s review our simpliﬁed mixer block diagram:

Each and every “stage” in the mixer’s signal path will add a certain amount of noise to the signal: the head amp, the EQ stage,

the summing ampliﬁer, and the other buffer and gain stages that exist in the actual mixer circuit (this applies to analog mixers in

particular). The thing to keep in mind is that the amount of noise added by each stage is usually not dependent to any signiﬁcant

degree on the level of the audio signal passing through the circuit. This means that the bigger the desired signal, the smaller the

added noise will be in relation to it. In tech-speak this gives us a better “signal-to-noise ratio”—often abbreviated as “S/N ratio.”

All of this leads to the following basic rule:

In our mixer, that means the head ampliﬁer. If you don’t get the signal up to the desired level at the head ampliﬁer stage, you will

need to apply more gain at later stages, which will only amplify the noise contributed by the preceding stages. Just remember

that too much initial gain is bad too, because it will overload our channel circuitry and cause clipping.

3. The First Steps in Achieving Great Sound

To achieve the best overall system S/N ratio, amplify the input to the desired average level as

early as possible in the signal path.

Making the Most Of Your Mixer

MG8/2FX

3-2. Level Setup Procedure For Optimum Performance

Now that we know what we have to do, how do we do it? If you take another quick look at the mixer block diagram you’ll notice

that there’s a peak indicator located right after the head ampliﬁer and EQ stages, and therein lays our answer! Although the exact

procedure you use will depend on the type of mixer you use and the application, as well as your personal preferences, here’s a

general outline:

Start by setting all level controls to their minimum: master faders, channel faders, and input gain controls. Also make sure

that no EQ is applied (no boost or cut), and that all effects and dynamic processors included in the system are defeated or

bypassed.

Apply the source signal to each channel one at a time: have singers sing, players play, and playback devices play back at

the loudest expected level. Gradually turn up the input gain control while the signal is being applied to the corresponding

channel until the peak indicator begins to ﬂash, then back off a little so that the peak indicator ﬂashes only occasionally.

Repeat for each active channel.

Raise your master fader(s) to their nominal levels (this will be the “▼” markings on the fader scale).

Now, with all sources playing, you can raise the channel faders and set up an initial rough mix.

That’s basically all there is to it. But do keep your eyes on the main output level meters while setting up the mix to be sure you

don’t stay in the “peak zone” all the time. If the output level meters are peaking constantly you will need to lower the channel

faders until the overall program falls within a good range—and this will depend on the “dynamic range” of your program

material.

MG8/2FX

Making the Most Of Your Mixer

4-1. Effect Bus For Convenient Effect Control

There are a number of reasons why you might want to “tap” the signal ﬂowing through your mixer at some point before the main

outputs: the two most common being to create a monitor mix and to process the signal via one or more effect units and then bring

it back into the mix. Monitor mixing is not always required in small consoles, but effect processing is important in a wide range

of applications. Your mixer has an effect bus that lets you send the channel signals to the internal effect processor as well as to

external effect gear connected to the EFFECT SEND output. Larger mixing consoles might have 6, 8, or even more auxiliary and

effect buses to handle a variety of signal routing and processing needs.

Using the effect buses and controls on your mixer is pretty straightforward. The more you rotate the EFFECT control on any

channel clockwise, the more signal is sent from that channel to both the internal effect processor and the EFFECT SEND jack.

The effect send is “post-fader,” which means that the signal is taken from a point after the channel fader, so its level will be

affected by both the effect send level control and the channel fader. This is important because it means that once you set the

amount of reverb that you want to add to the channel by using the EFFECT control, for example, you can use the channel fader

to raise or lower the overall channel level while maintaining the balance between the main channel signal and the reverb effect.

4-2. Channel Inserts for Channel-speciﬁc Processing

Another way to get the mixer’s signal outside the box is to use the channel inserts. The channel inserts are almost always located

before the channel fader and, when used, actually “break” the mixer’s internal signal path. Unlike the EFFECT send and return,

the channel insert only applies to the corresponding channel. Channel inserts are most commonly used for applying a dynamics

processor such as a compressor or limiter to a speciﬁc channel—although they can be used with just about any type of in/out

processor.

Channel insert jacks must be used with a special insert cable that has a TRS phone jack on one end and mono phone jacks on the

split “Y” end. One of the mono phone jacks carries the “send” signal to be fed to the input of the external processor, and the

other carries the “return” signal from the output of the processor.

4. Internal and External Effect Mixes

Channel

Fader

When a plug is inserted into the channel insert jack, the inter-

nal signal path is interrupted and sent outside the mixer for

external processing.

Tip

Ring

Sleeve

To the INSERT I/O jack

To the input jack of the

external processor

To the output jack of

the external processor

TipSleeve

Making the Most Of Your Mixer

MG8/2FX

5-1. Approaching the Mix—Where

Do You Start?

Mixing is easy, right? Just twiddle the faders around until it

sounds right? Well, you can do it that way, but a more sys-

tematic approach that is suited to the material you’re mixing

will produce much better results, and faster. There are no

rules, and you’ll probably end up developing a system that

works best for you. But the key is to develop a system rather

than working haphazardly. Here are a few ideas to get you

started:

■ 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 bal-

lad, 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. Pay particular attention to

how the bass works with the kick (bass drum). They

should almost sound like a single instrument—with the

kick supplying the punch and the bass supplying the

pitch. Once again, there are no rules, but these are con-

cepts that have been proven to work well.

■ Music First—Then Mix

In any case, the music comes ﬁrst. Think about the music

and let it guide the mix, rather than trying to do things the

other way around. What is the music saying and what instru-

ment or technique is being used to drive the message? That’s

where the focus of your mix should be. You’re using a

high-tech tool to do the mixing, but the mix itself is as much

art as the music. Approach it that way and your mixes will

become a vital part of the music.

5-2. Panning For Cleaner Mixes

Not only does the way you pan your individual channels

determine where the instruments appear in the stereo sound

ﬁeld, but it is also vital to give each instrument it’s own

“space” so that it doesn’t conﬂict with other instruments.

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 instru-

ments positioned right on top of each other will often get in

each other’s way—particularly if they are in the same fre-

quency range or have a similar sound.

5. Making Better Mixes

MG8/2FX

Making the Most Of Your Mixer

■ Spread them Out!

Position your instruments so they have room to “breathe,”

and connect in the most musical way with other instruments.

Sometimes, however, you’ll want to deliberately pan sounds

close together, or even right on top of one another, to empha-

size their relationship. There are no hard-and-fast rules. Nor-

mally (but this is not a rule), bass and lead vocals will be

panned to center, as will the kick drum if the drums are in

stereo.

5-3. 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 over-

all 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 musi-

cal 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 instru-

ment 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 over-

loading the subsequent circuitry.

5-4. Ambience

Judicious application of reverb and/or delay via the mixer’s

effect busses can really polish a mix, but too much can

“wash out” the mix and reduce overall clarity. The way you

set up your reverb sound can make a huge difference in the

way it meshes with the mix.

■ Reverb/Delay Time

Different reverb/delay units offer different capabilities, but

most offer some means of adjusting the reverb time. A little

extra time spent matching the reverb time to the music being

mixed can mean the difference between great and merely

average sound. The reverb time you choose will depend to a

great degree on the tempo and “density” of the mix at hand.

Slower tempos and lower densities (i.e. sparser mixes with

less sonic activity) can sound good with relatively long

reverb times. But long reverb times can completely wash out

a faster more active piece of music. Similar principles

applies to delay.

■ Reverb Tone

How “bright” or “bassy” a reverb sound is also has a huge

impact on the sound of your mix. Different reverb units offer

different means of controlling this—balance between the

high- and low-frequency reverb times, simple EQ, and oth-

ers. A reverb that is too bright will not only sound unnatural,

but it will probably get in the way of delicate highs you want

to come through in your mix. If you ﬁnd yourself hearing

more high-end reverb than mix detail, try reducing the

brightness of the reverb sound. This will allow you to get

full-bodied ambience without compromising clarity.

■ 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.” You don’t want

reverb to dominate the mix unless you are trying to create the

effect of a band in a cave—which is a perfectly legitimate

creative goal if that’s the sort of thing you’re aiming for.

5-5. Built-in Effects

Your MG mixer features a high-performance internal effect

system offers extraordinary sound-processing power and

versatility without the need for external equipment. The

internal DSP (Digital Signal Processor) lets you individually

add reverb and delay to each channel in the same way that

you can with an external effect unit – but you don’t need to

wire up any extra gear, and won’t suffer the signal quality

loss that external connections sometimes entail. For details

see page 16.

Front & Rear Panels

MG8/2FX

Front & Rear Panels

Channel Control Section

1 GAIN Control

Adjusts the input signal level. To get the best balance

between the S/N ratio and the dynamic range, adjust the

level so that the PEAK indicator (2) comes on only at

about maximum input level.

The –60 to –16 scale indicates the MIC input adjustment

level. The –34 to +10 scale indicates the LINE input

adjustment level.

2 PEAK Indicator

Detects the peak level of the post-EQ signal, and lights

up red when the level reaches 3 dB below the clipping

level. For XLR-equipped stereo input channels (3/4 and

5/6), detects both post-EQ and post-mic-amp peak lev-

els, and lights red if either of these levels reaches 3 dB

below the clipping level.

3 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. (But note that regardless of the switch set-

ting, the mixer does not apply this HPF to the line inputs

of stereo input channels.)

4 Equalizer (HIGH, MID, and LOW)

This three-band equalizer adjusts the channel’s high,

mid, and low frequency bands. Setting the knob to the ▼

position produces a ﬂat frequency response. 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, base frequency, and

maximum cut/boost for each of the three bands.

5 EFFECT Controls

Adjusts the level of the signal sent from the channel to

the EFFECT bus. Note that the signal level to the bus is

also affected by the Channel LEVEL Control. If you are

using stereo channels (CHs 3/4, 5/6, 7/8), the signals

from the L (odd) and R (even) channels are mixed and

then sent to the EFFECT bus.

6 PAN Control (CHs 1 and 2)

PAN/BAL Control (CHs 3/4 and 5/6)

BAL Control (CH 7/8)

The PAN control determines the positioning of the chan-

nel’s signal on the Stereo L and R buses.

The BAL control knob sets the balance between left and

right channels. Signals into the L input (odd channel)

feed to the Stereo L bus; signals into the R input (even

channel) feed to the Stereo R bus.

On channels where this knob provides both PAN

and BAL controls: The knob operates as a PAN

control if you are inputting through the MIC jack

or into the L (MONO) input only, and operates as a

BAL control if you are inputting into both L and R

inputs.

7 Channel LEVEL Control

Adjusts the output level of the signal being input to the

channel. Use these LEVEL Controls to adjust the vol-

ume balance among the various channels.

To reduce noise, set the LEVEL Control knobs for

unused channels all the way to the left (to the min-

imum setting).

Channels

1 and 2

(Monaural)

Channels

3/4 and 5/6

(Stereo)

Channels

7/8

(Stereo)

Band Type Base Frequency Maximum Cut/Boost

HIGH Shelving 10 kHz

±15 dBMID Peaking 2.5 kHz

LOW Shelving 100 Hz

NOTE

Front & Rear Panels

MG8/2FX

Master Control Section

1 PHANTOM +48 V Switch

This switch toggles phantom power on and off. If you set

the switch on, the mixer supplies power to all channels

that provide XLR mic input jacks (CHs 1, 2, 3/4, 5/6).

Set this switch on ( ) when using one or more con-

denser 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.

• 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 without problem 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 (ST Master LEVEL Con-

trol, etc.) to minimum settings before operating

the switch, to avoid risk of loud noises that could

cause hearing loss or device damage.

2 RETURN Control

Adjusts the level of the signal sent from the RETURN

jacks (L (MONO) and R) to the Stereo bus.

If you supply a signal to the RETURN L (MONO)

jack only, the mixer outputs the identical signal to

both the L and R Stereo buses.

3 2TR IN Control

Adjusts the level of the signal sent from the 2TR IN jack

to the Stereo bus.

4 ST Master LEVEL Control

Adjusts the signal level to the ST OUT jacks.

5 C-R/PHONES LEVEL Control

Controls the level of the signal output to the PHONES

jack and the C-R L and R jacks.

6 Level Meter

This LED display shows the level of the signal fed to the

Stereo bus. The “0” point corresponds to the standard

output level. The indicator lights up red when the output

hits the clipping level.

7 POWER Indicator

This indicator lights up when the mixer’s power is ON.

8 DIGITAL EFFECT

•PROGRAM Dial

Selects the internal digital effect to be applied. You can

select from 16 effects, as shown in the table.

REVERB HALL 1

REVERB HALL 2

REVERB ROOM 1

REVERB ROOM 2

REVERB STAGE 1

REVERB STAGE 2

REVERB PLATE

DRUM AMBIENCE

KARAOKE ECHO

VOCAL ECHO

CHORUS 1

CHORUS 2

FLANGER

PHASER

AUTO WAH

DISTORTION

NOTE

No Program Parameter

REVERB HALL 1 REVERB TIME

REVERB HALL 2 REVERB TIME

REVERB ROOM 1 REVERB TIME

REVERB ROOM 2 REVERB TIME

REVERB STAGE 1 REVERB TIME

REVERB STAGE 2 REVERB TIME

REVERB PLATE REVERB TIME

DRUM AMBIENCE REVERB TIME

KARAOKE ECHO DELAY TIME

VOCAL ECHO DELAY TIME

CHORUS 1 LFO FREQ

CHORUS 2 LFO FREQ

FLANGER LFO FREQ

PHASER LFO FREQ

AUTO WAH LFO FREQ

DISTORTION DRIVE

Front & Rear Panels

MG8/2FX

•PARAMETER Control

Adjusts the parameter (depth, speed, etc.) for the

selected effect.

The mixer saves the last value used with each

effect type.

When you change to a different effect type, the

mixer automatically restores the value that was

previously used with the newly selected effect

(regardless of the current position of the PARAM-

ETER Control knob).

These parameter values are retained even after

power-off.

• ON Switch

Switches use of the internal effect on or off. The inter-

nal effect is applied only if this switch is turned on. The

switch lights up orange to indicate that it is on.

With the (separately sold) YAMAHA FC5 foot switch

connected, you can use your foot to toggle the digital

effects ON and OFF.

When you turn on the power, the ON switch lights up

and the internal effector becomes active.

• EFFECT RTN Control

Adjusts the signal level from the internal digital effec-

tor to the STEREO bus.

NOTE

Front & Rear Panels

MG8/2FX

Input/Output Section

1 Channel Input Jacks (CHs 1, 2, 3/4, 5/6)

• MIC jacks

These are balanced XLR-type input jacks (1:Ground;

2:Hot; 3:Cold).

• LINE jacks

These are balanced phone-type input jacks. You can

connect either balanced or unbalanced phone plugs to

these jacks.

Where an input channel provides both a MIC jack

and a LINE jack, you may use either one of these

jacks but you may not use both at the same time.

Please connect to only one of these jacks on each

channel.

2 INSERT I/O Jacks (CHs 1 and 2)

These are unbalanced phone-type input/output jacks.

Each of these jacks is positioned between the equalizer

and Channel LEVEL Control of the corresponding input

channel. These jacks can be used to independently con-

nect these channels to devices such as graphic equalizers,

compressors, and noise ﬁlters. These are TRS (tip, ring,

sleeve) phone jacks that support bidirectional operation.

Connection to an INSERT I/O jack requires a spe-

cial separately-sold insertion cable such as illus-

trated below.

The signal output from the INSERT I/O jacks is

reverse-phased. This will not be a problem if con-

necting the jack to an effector. If using the jack to

output to an external device, however, please be

aware of possible phase conﬂicts with other signals.

3 Channel Input Jacks (CH 7/8)

Each of these channel pairs can be used to input a stereo

source signal. For each pair, the odd-numbered channel

inputs the L signal, and the even-numbered channel

inputs the R signal.

Each channel offers a choice of two jack types: phone

jack and RCA pin jack. All of these jacks are unbal-

anced.

Where a channel provides both a phone jack and

an RCA pin jack, you may use either one of these

jacks but you may not use both at the same time.

Please connect to only of these jacks on each chan-

nel.

4 2TR IN Jacks

These are unbalanced RCA-pin input jacks. Use these

jacks when you want to connect a stereo sound source

(CD, DAT, etc.) directly to the mixer for monitoring.

You can adjust the signal level using the 2TR IN

control in the Master Control section.

5 REC OUT (L, R) Jacks

These are unbalanced RCA-pin output jacks. These jacks

output the mixed signal whose level is controlled by the

ST Master LEVEL Control. You use these jacks, for

example, to connect to an external recorder.

28790

13 A456

NOTE

To the INSERT I/O jack

To the input jack of the external processor

To the output jack of the external processor

Ring

Sleeve

Tip

Sleeve

Tip

NOTE

Front & Rear Panels

MG8/2FX

6 ST OUT (L, R) Jacks

These are impedance-balanced phone-type output jacks.

These jacks output the mixed signal whose level is con-

trolled by the ST Master LEVEL Control. You use these

jacks, for example, to connect to the power ampliﬁer

driving your main speakers.

7 C-R OUT Jacks

These are impedance-balanced phone-type output jacks.

These jacks output the mixed signal whose level is con-

trolled by the C-R/PHONES LEVEL Control. You use

these jacks, for example, to connect to the monitor sys-

tem.

8 SEND Jacks

• EFFECT

This is an impedance-balanced phone-type output jack

that outputs the signal from the EFFECT bus.

You use this jack, for example, to connect to an exter-

nal effector.

9 RETURN L (MONO), R Jacks

These are unbalanced phone-type input jacks. The signal

received by these jacks is sent to the Stereo bus. These

jacks are typically used to receive a return signal from an

external effector (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 propagate the identical signal on both L

and R jacks.

0 PHONES Jack

Connector for headphones. This is a balanced phone-type

output jack.

A FOOT SWITCH Jack

This phone input jack can connect to the (separately

sold) YAMAHA FC5 foot switch. With the foot switch

connected, you can use your foot to toggle the digital

effects ON and OFF.

Connector Polarities

* These jacks will also accept connection to monaural phone plugs. If you use monaural plugs, the connection will be unbalanced.

Rear Section

1 AC ADAPTOR IN Connector

Connects to the included PA-10 power adaptor (see page 5).

Use only the PA-10 adaptor included with this

mixer. Use of a different adaptor may result in ﬁre

or electric shock.

2 POWER Switch

Use this switch to set mixer power to ON or STANDBY.

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, be sure to

unplug the adaptor from the wall outlet.

NOTE

MIC INPUT

Pin 1: Ground

Pin 2: Hot (+)

Pin 3: Cold (–)

LINE INPUT (monaural channels),

ST OUT, C-R OUT,

EFFECT *

Tip: Hot (+)

Ring: Cold (–)

Sleeve: Ground

INSERT I/O

Tip: Output

Ring: Input

Sleeve: Ground

PHONES

Tip: L

Ring: R

Sleeve: Ground

RETURN, LINE INPUT (stereo channels)

Tip: Hot

Sleeve: Ground

INPUT OUTPUT

Sleeve Tip

Ring

Sleeve Tip

1 2

Setting Up

MG8/2FX

Setting Up

Setup Procedure

Before connecting to microphones and instruments, be

sure that all devices are turned off. Also be sure that all

of the channel controls and all of the controls in the

Master Control section are turned to their minimum

settings.

For each connection, connect one end of the cable to

the relevant microphone or instrument and connect the

other end to the appropriate input jack on the mixer.

Where an input channel provides both a MIC

INPUT jack and a LINE INPUT jack, you may use

either one of these jacks but you may not use both

at the same time. Please connect to only one of

these jacks on each channel.

To avoid causing damage to speakers, power up the

devices in the following order: Peripheral devices →

mixer → power amps (or powered speakers).

When shutting the system down, turn off the power

in the opposite order: Power amps (powered

speakers) → mixer → peripheral devices.

Setup Examples

NOTE

Rhythm Machine

Effector

Synthesizer

MTR

Guitar

Powered Monitor

Speakers

Microphone

Headphones

Master Recorder

(MD, CD-R, DAT, etc.)

Sound Source (CD, MD,

DAT, Cassette, Video, etc.)

Sound Source (CD, MD,

DAT, Cassette, Video, etc.)

Foot Switch

(YAMAHA FC5)

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