MG Series Mixers Catalogue

8/18/2019 MG Series Mixers Catalogue

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MG Series

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MIXING CONSOLE


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Yamaha is an unusual company. There are

others who can claim “total music involvem

that is Yamaha’s position. We’ve been maki

musical instruments for more than 100 ye

leading sound reinforcement mixers for m

years, and cutting-edge digital mixers and

production gear for 15 years. In s ound-rei

terms 30 years is a very long time. In fact,

roughly equal to the total history of sound

(the term “sound reinforcement” wasn’t ev

then – it was still “PA”), and we’ve been th

time. Innovating, leading, and in many wa

the development of modern mixing consol

We’re still at it. We are proud to introduce

MG-series mixing consoles, featuring six m

in size from a small 10-channel/2-bus unit

very flexible 32-channel/14-bus type with

selection of built-in effects. There have bee

compromises. The MG mixers are built fo

total control, and superior reliability. In fa

undergo the same rigorous quality and reli

our world-class PM-series mixing consoles

taking full advantage of the latest Yamaha

and manufacturing techniques, we have bepack these superlative mixers with more va

find anywhere else. In short, they offer ext

performance and mixing power at remarka

If you need a high-performance analog mix

production or sound reinforcement, the Ya

Series is the first – and last – place you sho

Century Of Sound Behind Six Superlative M A Century Of Sound Behind Six Superlative M


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MIXING CONSOLE

Just the Basics – With ClassIf you simply need to mix a few sources to stereo – but insist on the finest audio quality available – the M

probably the way to go. It’s compact and convenient to use, but won’t compromise your signal in any way

optional adaptor the MG10/2 can even be mounted on a microphone stand for totally flexible positionin

access. For demo and music production in your personal studio, for band rehearsal or small sound reinfo

applications, or simply as a super utility mixer for any application, you can’t lose with the MG10/2.

10 Input ChannelsThe MG10/2 featuresa total of 10 input

channels: two monomicrophone/lineinputs and four stereoline inputs, two of which offer monomicrophone inputcapability.

Four Low-noise,High-precision Mic Preamps

The microphonepreamps provided onthe two monochannels and two ofthe four stereochannels would be worth the price of theentire mixer if

packaged separately. These are high-performancehead amplifiers that will bring out the best inany dynamic or condenser microphone.

Phantom PowerSo you can take advantage of the superior sonicquality of professional-class studio condensermicrophones, all four of the MG10/2’s high-performance mic preamps feature switchablephantom power. A single switch turns phantompower on or off for all four channels.

Insert I/OMono input channels feature insert I/O patchpoints so you can add compressors, EQ, or other

extra signal-processing to the channels asrequired.

3-band Channel EQ & HPFDesigned for smooth, “musical” response, the3-band equalizers provided on all input channelsare one more sonic tool you can use to createclean, professional mixes. All mono microphoneinput channels also feature a switchable high-pass filter that can be used to cut out unwantedlow-frequency noise.

Two Aux Sends & SteThe MG10/2 is also full equexternal effects and monitor

post-fader auxiliary sends in the stereo auxiliary returns toor other external effects to thfader sends to feed a separatemonitor system.

Optional Mic Stand M What could be moreconvenient thanhaving your mixermounted on amicrophone stand forfreedom of placementand easy access? Withthe optional BMS-10A Mic Stand Adaptor youand have your sonic control reach all the time.


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Extensive Creative Control In the Studio Or On StageThe mid-range MG models go beyond the basics to give you extensive control for a wide range of applications – with

the no-compromise Yamaha sonic quality that makes the MG mixers the finest in their class. Whether music is a hobby

or profession, these mixers will deliver total satisfaction. If you don’t need effects, or already have an arsenal of outboard

favorites, the MG12/4 or MG16/4 may offer all the capacity and capabilities you need. But if the idea of having some

of the finest effects available built right into the console appeals to you, then consider the effect-enabled MG16/6FX.

MIXING CONSOLE

Superlative Balance Of Sound,Size and Features

When You NeedExtra Input Capacity …

No OutboardSignal-processing Gear Required!

12 Input ChannelsFour mono microphone/line inputs and fourstereo line inputs, two of which offer monomicrophone input c apability.

Six Low-noise,High-precision Mic PreampsSix high-performance head amplifiers that willbring out the best in any dynamic or condensermicrophone.

Phantom Power All six of the MG12/4’s high-performance micpreamps feature switchable phantom power forstudio condenser microphones. A single switchturns phantom power on or off for all sixchannels.

Insert I/O All mono input channels feature insert I/Opatch points so you can add extra signal-processing to the channels as required.

Four Buses (Stereo and Group)In addition to the main stereo bus, the MG12/4features a stereo group bus and outputs that canbe used for convenient channel grouping.

3-band Channel EQ & HPFSmooth, “musical-response” 3-band equalizerson all input channels. All mono microphoneinput channels also feature a switchable high-pass filter that can be used to cut out unwantedlow-frequency noise.

Two Aux Sends & Stereo Aux ReturnTwo auxiliary sends on each channel – one post-fader and one switchable for pre- or post-faderoperation – provide plenty of flexibility forexternal signal processing and monitoring. Astereo auxiliary return is also provided.

Illuminated SwitchesIlluminated ON (ST buss assign), PFL (Pre-Fader Listen), and phantom-power switchesprovide easy visual confirmation of critical

console settings.

Rack Mount Adaptors IncludedUse your MG mixeron a desktop ormounted in a rack –the rack mountadaptors areprovided.

16 Input ChannelsEight mono microphone/line inputs and fourstereo line inputs. Two of the stereo inputs alsooffer mono microphone input capability.

10 Low-noise,High-precision Mic PreampsTen high-performance head amplifiers willdeliver optimum performance with any dynamicor condenser microphone.

Phantom Power All ten mic preamps feature switchable phantompower for studio condenser microphones. A single switch turns phantom power on or offfor all 10 channels.

Insert I/O Add compressors, EQ, or other signal-processinggear to the mono c hannels as required via insertI/O patch points.

Four Buses (Stereo and Group)The MG16/4 features a stereo group bus andoutputs that can be used for convenient channelgrouping, in addition to the main stereo bus.

3-band Channel EQ & HPFSmooth, “musical-response” 3-band equalizerson all input channels. All mono microphoneinput channels also feature a switchable high-pass filter that can be used to cut out unwantedlow-frequency noise.

Two Aux Sends& Stereo Aux ReturnEach input channel has two one post-fader and one switcpost-fader operation – affordflexibility for external signal monitoring. A stereo auxiliarprovided.

Illuminated SwitchesIlluminated ON (STbuss assign), PFL(Pre-Fader Listen),and phantom-powerswitches provide easy

visual confirmationof critical consolesettings.

Rack Mount AdaptorDesktop or rack-mounted, your MGmixer will happilyintegrate in anysetup. Rack mountadaptors areprovided.

16 Input ChannelsEight mono microphone/line inputs and fourstereo line inputs. Two of the stereo inputs alsooffer mono microphone input capability.

10 Low-noise,High-precision Mic PreampsTen high-performance head amplifiers offersuperior performance with any dynamic orcondenser microphone.

Phantom Power All ten mic preamps feature switchable phantompower for phantom-powered studio condensermicrophones. A single switch turns phantompower on or off for all 10 channels.

Insert I/O Add compressors, EQ, or other signal-processinggear to the mono c hannels as required via insertI/O patch points.

Internal Digital Effects & 7-band Stereo GEQ

Yamaha digital signalprocessing is widelyrespected as the finestin the industry. Inthe MG16/6FX youget a complete effectssystem with a rangeof 16 superb reverband delay effects built right in. There’s also a7-band stereo graphic equalizer for flexibleoverall response shaping control.

Six Buses (Stereo and TThe MG16/6FX features twgroup buses and outputs thaconvenient channel groupinmain stereo bus.

3-band Mid-sweep ChaSmooth, “musical-response” with a sweepable mid-band o All mono microphone inputfeature a switchable high-pasused to cut out unwanted lo

Three Aux Sends & SteEach input channel has threeone post-fader “Effect” sendpre- or post-fader operation,send – affording plenty of flesignal processing and monito

auxiliary return is also provid

Illuminated SwitchesIlluminated ON (ST buss asFader Listen), and phantom-provide easy visual confirmaconsole settings.

Rack Mount Adaptor Your MG mixer will happilysetup – desktop or rack-mouadaptors are provided.


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MIXING CONSOLE

Serious Capacity For Sound Reinforcement & InstallationsIf your application is live sound reinforcement you’ll want all the channel capacity you can get – just in case. Vocal

mics, instrument mics, stereo keyboards, direct-injection feeds, drum mics, and the rest can add up very quickly. With

24 and 32 input channels, respectively, the MG24/14FX and MG32/14FX are ready to handle all but the most

ambitious sound-reinforcement setups. And with dual SPX digital effect systems on-board you won’t need racks of

outboard gear to get the sound you need. There’s also a comprehensive range of group and auxiliar y busses to make

even complex mixes easy.

24 or 32 Input ChannelsChoose either the 24-channel MG24/14FX orthe 32-channel MG32/14MX according to yourneeds. All other features are the same. TheMG24/14FX has 16 mono microphone/linechannels while the MG32/14FX has 24. Bothoffer four stereo line channels in addition to themono mic/line channels.

Low-noise,High-precision Mic Preamps With Phantom Power All 16 mic preampsin the MG24/14FX

and all 24 micpreamps in theMG32/14FX are ofexemplary quality.They offer low-noise,transparentamplification with the widest possible range ofdynamic and condenser microphones, whichadds up to cleaner, better-sounding mixes. All mic preamps feature switchable phantompower for phantom-powered studio condensermicrophones. Phantom power is switchable in8-channel groups.

Illuminated SwitchesIlluminated ON (channel), PFL (Pre-FaderListen), and phantom-power switches let youconfirm critical console settings at a glance.

14 Buses In All ForFlexible Signal Routing

In addition to lots ofinput channels, livesound reinforcementapplications usuallydemand a number ofadditional mixes –usually in the form ofgroup sub-mixes and

aux sends for external signal processing andmonitor mixes. In both the MG24/14FX andMG32/14FX you have a total of 14 mix buses:the main stereo program bus, four stereo groupbus pairs for convenient channel grouping, sixauxiliary busses (four configurable for pre- or

post-fader operation and two set up as effectsends), and two internal effect busses that feedthe dual high-performance built-in effectprocessors.

Insert I/O All mono input channels feature insert I/Opatch points so you can insert compressors, EQ,or other extra signal-processing gear into thechannel signal path as required.

3-band Mid-sweep Channel EQand HPFThe 3-band equalizers with a sweepable mid-band provided on all input channels aredesigned for exceptionally smooth, intuitive

response that can help you to create cleaner,tighter mixes. All mono microphone input channels alsofeature a switchable high-pass filter that can beused to cut out unwanted low-frequency noise.

Dual SPX Digital EffIn the MG24/14FXand MG32/14FXyou have not one, but two high-performance digital signalprocessing stages,fed by separate effectbuses, so you canenhance your mix with two separate effects at the sametime. And the effects are provlatest Yamaha DSP technoloyou're getting the best.Each stage provides a selectio

– quality SPX digital effects,delay, pitch change, chorus, doubling, distortion, and moParameter controls that can bthe effects to your sonic requprovided and Tap delay maktempo-synchronized delays.

Talkback InputCommunication capability iefficient setup as well as for krunning smoothly. The MG2MG32/14FX both feature a allows the FOH engineer to the monitor engineer, perforto keep the team operating aefficiency.

Balanced XLR Stereoand Mono OutputsProfessional connectivity is p XLR-type balanced stereo an

Sweepable LPF for MOne of the many uses for a mdrive a subwoofer system. ThMG32/14FX make this easibuilt-in sweepable low-pass foutputs.


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MIC

Cassette or MD

Synthesizer etc.

PLG 2

A B C D E F G H

15

CATEG O RYSEARCH

O CTAVEDOWNU P

KNO BCO NTRO L

FUNCTIO N

PAN R E V ER B C H ORUSTEM PO

ATTACKRELE ASECUTO FFRESO NANCEASSIG NAASSI G NBASSI G N1ASSIG N2

K N 1 K N 2 KN 3 K N 4M EQ LO WM EQ HI M IDM EQLOWMI D M E Q HIG H

REM O TECO NTRO LO N/ O FF

EFFECTBYPASSARPEG G I O

INSERTI O NSYST E M O N / O FFM ASTERVO LUM E

VO LUM E1VO LUM E2VO LUM E3VO LUM E4

C S 1 C S 2 C S 3 C S 4

ZO NE1Z O NE2ZO NE3ZO NE4

SEQ TRANSPO RT

LO CA TE 1 2

REC

M O DE

VO ICEP ERFO RM M ASTER

SEQ UENCER

SO NG PA TTER N F ILE

IN TE G RA TE DS AM P LIN G M I XING UTI LITY

EDIT J O B S T O R E

COMPARESCENESTO RESETLO CATE

SO NG SCENES F 1 S F 2 SF 3 S F4 S F 5

F1 F2 F 3 F4 F 6F5

I NFO RM ATI O N

DEC/ N O I NC/ YES

EX IT E NTER

EXECUTE

M USICPRO DUCTI O NSYNTHESIZERIntegratedSam plingSequencer

Real- tim eExt er nalCont rolSur faceM odular Synt hesisPlug-inSystem

DRUM KITS

FAVO RITES

SLO T 1 S LO T 2 SLO T3

P R E 1 PR E 2 PRE3 G M U S ER P L G1 P LG 3

A.PIANO KEYBO ARDO RG ANG UITAR/ PLUCKED

BASS STRINGSBR A S S R EED/ PIPE

SYNLEAD S Y N PAD/ CHO IR

SYNCOM PCHROMATI CPERCUSSIO N

DRUM / PERCUSSIO N

SEM USI CALFXCO MBI

1 2 3 4 5 6 78

9 10 11 1 2 1 3 1 4 1 6

SECTIO N

TRACKSELECT

M UTE

SO LO

BANK

G RO UP

NUM BER

COMMON

ELEM ENT/ PERF.PART/ ZO NE

MIC

Drums

Guitar etc.

Synthesizer etc.

PLG 2

A B C D E F G H

15

CATEG O RYSEARCH

O CTAVED O W N U P

KNO BCO NTRO LFUNCTI O N

P A N R EVERBCHO RUSTEM POATTAC K R ELEASECUTOF F R ESO NANCE

ASSI G NAASSIG N B ASSIG N1ASSI G N2

K N 1 KN 2 K N 3 K N 4M EQ LOW M E Q HI M IDMEQLOWMID M EQ HI G H



INSERTIO NS YSTEM O N / O FFM ASTERVO LUM E

VOLUM E1VO LUME2VO LUM E3VO LUM E4

C S 1 C S 2 C S 3 C S 4

ZO NE1ZO NE2Z O NE3ZO NE4

SEQ TRANSPO RT

LO CAT E 1 2

REC

MODE

VO IC E P E RFO RM M ASTER

SEQ UENCERSO NG PATT E R N FI LE

IN T EG R AT EDSA M PL IN G

M IXING U TI LI TY

EDI TJ O B S TO RE

CO M PAR E S C ENESTO RESETLOCATE

SONG SCENESF1 SF2 S F 3 S F 4 S F5

F 1 F 2 F 3 F4 F6F5

INFO RM ATIO N

DEC/ NO INC/ YES

EXIT E NTER

EXECUTE

M USI CPRO DUCTIO NSYNTHESIZERI ntegratedSamplingSequencer

Real-t im eExternalControlSurfaceM odular SynthesisPlug-inSyst em

DRUM KI TS

FAVO RI TES

SLO T1SLOT 2 S LO T3

P R E 1 P R E 2 P R E3 G M U S ERPL G 1 P L G 3

A.PIANO KEYBO ARDO RG A N GUITAR/ PLUCKED

BASSST RIN G S BRASS R E ED/ PI PE

SYNLE A D SYNPAD/ CHO IR

SYNCO M PCHRO M ATICPERCUSSI ON

DRUM / PERCUSSI ON SE M U SI CALFXCO M BI

1 2 3 4 5 6 7 8

9 1 0 1 1 1 2 1 3 14 16

SECTIO N

TRACKSELECT

M UTE

SO LO

BANK

G RO UP

NUM BER

COMMON

ELEM ENT / PERF.PART/ ZO NE

Macintosh or PC

Powered Speakers

PA Monitors

PC Audio Cardor

Audio Interface

Compressor

Compressor Multi Effector

Graphic EQ

Power Amplifier

Powered Speakers

Guitar etc.

MIC

Synthesizer etc.

PLG 2

A B C D E F G H

15

CATEG O RYSEARCH

O CTAVEDOWNU P

KNO BCO NTRO L

FUNCTIO N

PAN R E V ER B C H OR U S T EM POATTACKRELE ASECUTO FFRESO NANCE

ASSIG NAASSI G NBASSI G N1ASSIG N2

K N 1 K N 2 KN 3 K N 4M EQ LO WM EQ HI M IDM EQLOWMI D M E Q HIG H



INSERTI O NSYST E M O N / O FFM ASTERVO LUM E

VO LUM E1VO LUM E2VO LUM E3VO LUM E4

C S 1 C S 2 C S 3 C S 4

ZO NE1Z O NE2ZO NE3ZO NE4

SEQ TRANSPO RT

LO CA TE 1 2

REC

M O DE

VO ICEP ERFO RM M ASTER

SEQ UENCERSO NG PA TTER N F ILE

IN TE G RA TE DS AM P LIN G M I XING UTI LITY

EDIT J O B S T O R E

COMPA R E SCENESTO RESETLO CATE

SO NG SCENES F 1 S F 2 SF 3 S F4 S F 5

F1 F2 F 3 F4 F 6F5

I NFO RM ATI O N

DEC/ N O I NC/ YES

EX IT E NTER

EXECUTE

M USICPRO DUCTI O NSYNTHESIZERIntegratedSam plingSequencer

Real- tim eExt er nalCont rolSur faceM odular Synt hesisPlug-inSystem

DRUM KITS

FAVO RITES

SLO T 1 S LO T 2 SLO T3

P R E 1 PR E 2 PRE3 G M U S ER P L G1 P LG 3

A.PIANO KEYBO ARDO RG ANG UITAR/ PLUCKED

BA S S STRINGSBR A S S R EED/ PIPE

SYNLEAD S Y N PAD/ CHO IRSYNCOM PCHROMATI C

PERCUSSIO NDRUM /

PERCUSSIO NSE

M USICALFXCO MBI

1 2 3 4 5 6 7 8

9 10 11 1 2 1 3 1 4 1 6

SECTIO N

TRACKSELECT

M UTE

SO LO

BANK

G RO UP

NUM BER

COMMON

ELEM ENT/ PERF.PART/ ZO NE

Guitar etc.

Connection A c tu a l So ur c e F or U s e Wi t h Output Level *1

Connector In Mixer I mp ed an ce N om in al Nominal Max. before Clip

STOUT[L, R] 150Ω 10kΩ L i ne s + 4 d Bu ( 1 .2 3 V ) + 2 4 dB u ( 12 . 3 V) P h on e J ac k ( TR S )*6

AUX SEND 150 Ω 10kΩ L i ne s + 4 d Bu ( 1 .2 3 V ) + 2 0 dB u ( 7. 7 5 V) P h on e J ac k ( TR S )*6

CH INSERTOUT(1– 2) 150Ω 10kΩ L i ne s 0 d B u (0 . 77 5 V ) + 2 0 dB u ( 7. 7 5 V) P h on e J ac k ( TR S )*3

2TROUT[L, R] 600 Ω 10kΩ Lines -10dBV (316mV) +10dBV(3.16V) RCA PinJack

C-R OUT[L,R] 150Ω 10kΩ L i ne s + 4 d Bu ( 1 .2 3 V ) + 2 0 dB u ( 7. 7 5 V) P h on e J ac k ( TR S )*5

PHONES OUT 100 Ω 40ΩPhones 3 mW 75 mW Stereo Phones Jack

Connection Gain Actual Load For Use With Input Level *1

Connector In Mixer Trim Impedance Nominal Nominal Max. before Clip

CH IN MIC (1– 2)-60

3kΩ 50– 600 Ω Mics-60dBu(0.775mV) -40dBu(7.75mV)

XLR-3-31type*2 - 16 - 16 d Bu ( 12 3 mV ) + 4 dB u (1 .2 3 V)

CH IN LINE(1– 2)-34

10kΩ 600Ω Lines-34dBu(15.5mV) -14dBu(155mV)

PhoneJack(TRS) *3 1 0 + 10 d Bu ( 2. 45 V ) + 30 d Bu ( 24 .5 V )

STCH MIC IN -603kΩ 50–600Ω Mics

-60dBu(0.775mV) -40dBu(7.75mV)XLR-3-31type*2

(CH 3–4,5– 6) - 16 - 16 d Bu ( 12 3 mV ) - 10 d Bu ( 24 5 mV )STCH LINEIN -34


PhoneJack *4(CH 3–4,5– 6) 1 0 + 10 d Bu ( 2. 45 V ) + 30 d Bu ( 24 .5 V )

STCH INPUT 10kΩ 600Ω L i ne s - 1 0 dB u ( 24 5 m V) +1 0 d Bu ( 2 .4 5 V )

PhoneJack *4

(CH 7–8,9– 10) RCA PinJack

CH INSERTIN (1–2) 10kΩ 600Ω L i ne s 0 d B u (0 . 77 5 V ) + 2 0 dB u ( 7. 7 5 V) P h on e J ac k ( TR S )*5

AUX RETURN [L,R] 10kΩ 600Ω L i ne s + 4 d Bu ( 1 .2 3 V ) + 2 4 dB u ( 12 . 3 V) P h o ne J a ck *4

2TRIN [L,R] 10kΩ 600Ω Lines -10dBV (316mV) +10dBV(3.16V) RCA PinJack

MG10/2 OUTPUT CHARACTERISTICS

MG Series Specifications

MG10/2 INPUT CHARACTERISTICS

Connection A c tu a l So ur c e F or U s e Wi t h Output Level *1

Connector In Mixer I mp ed an ce N om in al Nominal Max. before Clip

STOUT[L, R] 150Ω 600Ω L i ne s + 4 d Bu ( 1 .2 3 V ) + 2 4 dB u ( 12 . 3 V)XLR-3-32type*2

PhoneJack(TRS) *4

GROUPOUT(1– 2) 150Ω 10kΩ L i ne s + 4 d Bu ( 1 .2 3 V ) + 2 0 dB u ( 7. 7 5 V) P h on e J ac k ( TR S )*6

CH INSERTOUT *7 150Ω 10kΩ L i ne s 0 d B u (0 . 77 5 V ) + 2 0 dB u ( 7. 7 5 V) P h on e J ac k ( TR S )*5

REC OUT[L,R] 600Ω 10kΩ Lines -10dBV (245mV) +10dBV(2.45V) RCA PinJack

C-R OUT[L,R] 150Ω 10kΩ L i ne s + 4 d Bu ( 1 .2 3 V ) + 2 0 dB u ( 7. 7 5 V) P h on e J ac k ( TR S )*6

PHONES OUT 100 Ω 40ΩPhones 3 mW 75 mW Stereo Phones Jack

Connection Gain Actual Load For Use With Input Level *1

Connector In Mixer Trim Impedance Nominal Nominal Max. before Clip

CH IN MIC *7 -60


XLR-3-31type*2 - 16 - 16 d Bu ( 12 3 mV ) + 4 dB u (1 .2 3 V)

CH IN LINE *7 -34


PhoneJack(TRS) *3 1 0 + 10 d Bu ( 2. 45 V ) + 30 d Bu ( 24 .5 V )

STCH MIC IN *8 -60


XLR-3-31type*2 - 16 - 16 d Bu ( 12 3 mV ) - 10 d Bu ( 24 5 mV )

STCH LINEIN *8-34


PhoneJack *4 1 0 + 10 d Bu ( 2. 45 V ) + 30 d Bu ( 24 .5 V )

STCH INPUT *9

10kΩ 600Ω L i ne s - 1 0 dB u ( 24 5 m V) +1 0 d Bu ( 2 .4 5 V )PhoneJack *4

RCA PinJack

CH INSERTIN *7 10kΩ 600Ω L i ne s 0 d B u (0 . 77 5 V ) + 2 0 dB u ( 7. 7 5 V) P h on e J ac k ( TR S )*1

AUX RETURN [L,R] 10kΩ 600Ω L i ne s + 4 d Bu ( 1 .2 3 V ) + 2 4 dB u ( 12 . 3 V) P h o ne J a ck *32TRIN [L,R] 10kΩ 600Ω Lines -10dBV (316mV) +10dBV(3.16V) RCA PinJack

MG12/4, MG16/4 OUTPUT CHARACTERISTICS

MG12/4, MG16/4 INPUT CHARACTERISTICS

Connection A ct u al S o ur c e F or U s e Wi t h Output Leve

Impedance Nominal Nominal M

STOUT[L, R] 150 Ω 600Ω L i ne s + 4 d Bu ( 1 .2 3 V ) +

GROUPOUT(1–4)AUX SEND (1,2) 150Ω 10kΩ L i ne s + 4 d Bu ( 1 .2 3 V ) +EFFECTSEND

CH INSERTOUT(CH1– 8) 150Ω 10kΩ L i ne s 0 d B u ( 0. 7 75 V ) +

REC OUT[L,R] 600Ω 10kΩ Lines -10dBV (316mV) +

C-R OUT[L,R] 150Ω 10kΩ L i ne s + 4 d Bu ( 1 .2 3 V ) +

PHONES OUT 100 Ω 40 Ω Phones 3 mW

Connection G ai n A ct ua l L oa d F or Us e W it h Input Level

Trim Impedance Nominal Nominal M

CH IN MIC (CH1– 8)-60

3kΩ 50– 600Ω Mics -60dBu(0.775mV) -

- 16 - 16 d Bu ( 12 3 mV ) +

CH IN LINE(CH1– 8)-34

10kΩ 600Ω Lines -34 dBu(15.5mV) -

1 0 + 10 d Bu ( 2. 45 V ) +

STCH MIC IN *7-60

3kΩ 50– 600Ω Mics -60dBu(0.775mV) -

- 16 - 16 d Bu ( 12 3 mV ) -

STCH LINEIN *7-34

10kΩ 600Ω Lines -34 dBu(15.5mV) -

1 0 + 10 d Bu ( 2. 45 V ) +

STCH INPUT *8

10kΩ 600Ω Lines

-10dBu(245mV)

CH INSERTIN (1– 8) 10kΩ 600Ω L i ne s 0 d B u ( 0. 7 75 V ) +

AUX RETURN [L,R] 10kΩ 600Ω L i ne s + 4 d Bu ( 1 .2 3 V )

2TR IN [L,R] 10kΩ 600Ω Lines -10dBV (316mV) +

MG16/6FX OUTPUT CHARACTERISTICS

MG16/6FX INPUT CHARACTERISTICS

Connection A ct u al S o ur c e F or U s e Wi t h Output Leve

Impedance Nominal Nominal M

STOUT[L,R] 150Ω 600Ω L i ne s + 4 d Bu ( 1 .2 3 V ) +

MONO OUT

GROUPOUT(1–4) 150Ω 600Ω L i ne s + 4 d Bu ( 1 .2 3 V ) +

AUX OUT(1– 6)

STSUB OUT[L,R] 150Ω 10kΩ L i ne s + 4 d Bu ( 1 .2 3 V ) +

EFFECTOUT(1,2)

CH INSERTOUT *12

GROUPINSERTOUT(1– 4) 150Ω 10kΩ L i ne s 0 d B u ( 0. 7 75 V ) +STINSERTOUT[L, R]

REC OUT[L,R] 600Ω 10kΩ Lines -10dBV (316mV) +

PHONES OUT 100 Ω 40 Ω Phones 30 mW

Connection

PAD G ai n A ct ua l L oa d F or Us e W it h Input Level

Trim Impedance Nominal Nominal M

CH INPUT[A,B] *7

0-60

3kΩ

-60dBu(0.775mV) -

26 50 – 600 Ω Mics -34dBu(15.5mV) -

0-16

600Ω Lines -16dBu(123mV)

2 6 + 1 0 dB u ( 2. 4 5 V) +

STCH INPUT *8*9 -34

10kΩ 600Ω Lines -34 dBu(15.5mV) -

1 0 + 1 0 dB u ( 2. 4 5 V) +

CH INSERTIN *7 10kΩ 600Ω L i ne s 0 d B u ( 0. 7 75 V ) +

GROUPINSERTIN (1– 4) 10kΩ 600Ω L i ne s 0 d B u ( 0. 7 75 V ) +

SUB IN (1,2) [L,R] 10kΩ 600Ω L i ne s + 4 d Bu ( 1 .2 3 V ) TB IN 10kΩ 50–600 Ω Mics -50dBu(2.45mV) -3

2TR IN [L,R] 10kΩ 600Ω Lines -10dBV (316mV) +

MG24/14FX, MG32/14FX OUTPUT CHARACTERISTIC

MG24/14FX, MG32/14FX INPUT CHARACTERISTICS

MG10/2 MG12/4 MG16/4 MG16/6FX

Total HarmonicDistortion Lessthan0.1% (THD+N)

20Hz –20kHz @+14dB 600 Ω (STOUT) *3

FrequencyResponse 0+1,-3dB

20Hz –20kHz @+4dB 600 Ω (STOUT)

Input Hum &Noise *1 -128dB 20Hz – 20kHz,Rs=150 Ω,InputGain=Maximum,Inputsensitivity=-60dB *3

Crosstalk -70dB@1kHz

Mic 4(Ch1– 2,3/4,5/6:XLR) 6(Ch1– 4,5/6,7/8:XLR) 10(Ch1–8,9/10,11,12:XLR) 10(Ch1– 8,9/10,11,12:XLR)

Line 2(Ch1–2:TRS) 4(Ch1– 4:TRS) 8(Ch1– 8:TRS) 8(Ch1–8:TRS)CH Input

Stereo2(Ch3–4,5 –6:TRS)*Ch3,5:L(MONO) 2(Ch5–6, 7–8:TRS)*Ch5,7:L(MONO) 2 (Ch 9 – 10, 11 – 12: TRS) * Ch9, 11: L (MONO) 2 (Ch 9 – 10, 11 – 12: TRS) * Ch9, 11: L (MONO)

2(Ch7 – 8,9– 10:TRS/RCA) 2(Ch9 – 10,11– 12:TRS/RCA) 2(Ch9 – 10,11– 12:TRS/RCA) 2(Ch9 – 10,11– 12:TRS/RCA)

Insert I/O 2 (C h 1 – 2 : T R S = T: O u t, R : I n, S : G n d) 4 (C h 1 – 4 : T R S = T: O u t, R : I n , S: G n d) 8 (C h 1 – 8 : T R S = T: O u t, R : I n , S: G n d) 8 (C h 1 – 8 : T R S = T: O u t, R : I n, S : G n d)

AUXSend 2 (1 /P re , 2 /Po s t: T R S ) 2 (1 /Po s t-P resel ect abl e , 2 /P o st : T R S) 2 (1 /P os t -P resel ect abl e , 2 /P o s t: T R S ) 2 (1 /P re , 2 /Po s t-P resel ect abl e : T RS )

Return 1Stereo(L/MONO,R:TRS) 1Stereo(L/MONO,R:TRS) 1Stereo(L/MONO,R:TRS) 1Stereo(L/MONO,R:TRS)EFFECT Send — — — 1 (TRS)2TR In 1Stereo(L, R:RCA) 1Stereo(L,R: RCA) 1Stereo(L,R:RCA) 1Stereo(L, R:RCA)

REC Out 1Stereo(L, R:RCA) 1Stereo(L, R:RCA) 1Stereo(L, R:RCA) 1Stereo(L, R:RCA)ST Out 1Stereo(L, R:TRS) 2Stereo(L, R:2 TRS & 2XLR) 2Stereo(L, R:2TRS & 2XLR) 2Stereo(L, R:2 TRS& 2XLR)C/R Out 1Stereo(L, R:TRS) 1Stereo(L, R:TRS) 1Stereo(L, R:TRS) 1Stereo(L, R:TRS)GROUP Out — 2 (1, 2: TRS) 2 (1, 2: TRS) 4 (1 – 4: TRS)Phones 1(TRSStereo) 1(TRS Stereo) 1(TRS Stereo) 1(TRSStereo)Phantom Power +48 V + 48 V + 48 V + 48 V

CH & ST Ch Input Gain Control 44 dB valiable 44 dB valiable 44 dB valiable 44 dB valiableCH &ST HighPassFilter 80 Hz 12 dB/Octave 80 Hz 12 dB/Octave 80 Hz 12 dB/Octave 80 Hz 12 dB/Octave

CH EQ (MONO) *2 High 10kHz (Shelving) 10kHz (Shelving) 10kHz (Shelving) 10kHz (Shelving)

±15 dB (Max.) Mid 2.5kHz (Peaking) 2.5kHz (Peaking) 2.5kHz (Peaking) 0.25– 5kHz (Peaking) Low 100Hz (Shelving) 100Hz (Shelving) 100Hz (Shelving) 100Hz (Shelving) High 10kHz (Shelving) 10kHz (Shelving) 10kHz (Shelving) 10kHz (Shelving)

CH EQ (STEREO) *2 Hi-Mid — — — 3 kHz (Peaking)

±15dB (Max.)Mid 2.5kHz (Peaking) 2.5kHz (Peaking) 2.5kHz (Peaking) —

Low-Mid — — — 800 Hz (Peaking)

Low 100Hz (Shelving) 100Hz (Shelving) 100Hz (Shelving) 100Hz (Shelving)

7-bandGraphicEqualizer — — — (125, 250, 500, 1 k, 2 k, 4 k, 8 kHz)

±12dB (Max.)

Internal Digital Effect — — — 16 Programs: Parameter Control

Height 65 mm 104 mm 104 mm 108 mmD im en si on s D ep th 290 mm 417.5 mm 417.5 mm 416.6 mm

Width 251 mm 317.5 mm 423 mm 423 mmWeight 1.8 kg 5.0 kg 5.2 kg 5.5 kg

U:19W120V/60Hz U/C:27W120V/60Hz U/C:38W120V/60Hz U:51W120V/60Hz

H:19W230V/50Hz H:27W230V/50Hz H:38W230V/50Hz H:51W230V/50HzPower Requirements *4 B:19W230V/50Hz B:27W 230V/50Hz B:38W230V/50Hz B:51W 230V/50Hz

K:19W220V/50Hz K:27W220V/60Hz K:38W220V/60Hz K:51W220V/60Hz

A:19W240V/50Hz A:27W240V/50Hz A:38W240V/50Hz A:51W240V/50HzOther Mic Stand Mountable Rack Mountable Rack Mountable Rack MountableOption MicStandAdapter BMS-10A — — —

MG24/14FX

Total HarmonicDistortion Lessthan0

20Hz – 20kHz @+

FrequencyResponse 0+

20Hz –20kHz @

Input Hum &Noise *1 -1 20Hz–20kHz,Rs=150Ω,InputGain=Max

Crosstalk -70d

Mic 16+1(InputA 1– 16,TalkBack:XLR)

Line 16(InputB 1– 16:TRS) CH Input

Stereo 2 (Ch 17 – 18, 19 – 20:TRS) * Ch17, 19:L (MONO 2(Ch21 – 22,23– 24:TRS/RCA)

Insert I/O 16(Ch1– 16:TRS T:Out,R:In,S:Gnd

AUXSend 6(1– 2/Post-Preselectable,3 – 4Return 2StereoSubIn

EFFECT Send 2 (12TR In 1Stereo

STEREO Insert 1StereoGROUP Insert 4(1–REC Out 1StereoST Out 1StereoMONO Out 1(ST SUB Out 1StereoGROUP Out 4(1–Phones 1(TRPhantom Power +

CH & ST Ch Input Gain Control 44dBCH &ST High PassFilter 80Hz 1

CH EQ (MONO) *2 High 10kHz

±15dB (Max.) Mid 0.25-5k

Low 100HzHigh 10kHz

CH EQ (STEREO) *2 Hi-Mid 3kHz (

±15 dB (Max.) Low-Mid 800HzLow 100Hz

MONO Out LowPassFilter 80– 120H

Internal Digital Effect SPX x2(Effect1: 16Programs,EffHeight 140 mm

Dimensions Depth 551 mm

Width 819 mmWeight 18.5 kgPower Requirements 100W100 V AC50/60Hz

*1Hum & Noisearemeasured witha6 dB/octavefilter @12.7kHz;equivalent toa20 kHz filter within*2Turn over /roll-offfrequencyofshelving :3dB below maximumvariablelevel.

*1 Inthesespecifications, whendB representsaspecific voltage,0dB isreferencedto 0.775Vrms.*2 XLRtypeconnectorsarebalanced.*3 CH INPUTPhoneJacks(TRS) arebalanced.[T:HOT,R :COLD,S :GND]*4 PhoneJacksareunbalanced.*5 INSERTPhoneJacks(TRS) areunbalanced.[T:OUT,R :IN,S :GND]*6 PhoneJacks(TRS) areimpedancebalanced.[T:HOT,R :COLD,S :GND]*7 MG12/4:CH1– CH4,MG16/4:CH1 – CH8,MG16/6FX:CH9 (L)/10(R),CH11(L)/12 (R),

MG24/14FX:CH1– 16,MG32/14FX:CH1– 24

*8 MG12/4:CH5(L)/6(R), CH7(L)/8(R),MG16/4: CH9(L)/10(R),CH 11(L)/12(R),MG16/6FX:CH13 (L)/14 (R), CH15 (L)/16 (R), MG24/14FX: CH17 (L)/18 (R), CH19 (L)/20 (R),MG32/14FX:CH25(L)/26(R),CH27 (L)/28(R)

*9 MG12/4:CH9(L)/10(R), CH11(L)/12(R),MG16/4:C H13(L)/14(R),CH15 (L)/16(R),MG24/14FX:CH21(L)/22(R),CH23 (L)/24(R),MG32/14FX:CH29(L)/30(R),CH31 (L)/32(R)

*10 CHINPUTXLRtype connectorsandPhoneJacks(TRS)are balanced.[T:HOT,R:COLD, S:GND]*11 TB IN XLR typeconnector isunbalanced.*12 MG24/14FX:CH1– 16,MG32/14FX:CH1– 24

*1 Hum& Noisearemeasured witha 6dB/octavefilter @12.7kHz;equivalent toa20 kHz filter withinfinitedB/octaveattenuation.*2 Turnover /roll-offfrequencyofshelving :3dB below maximumvariablelevel.*3 (CH,12):MG10/2,(CH1-4):MG12/4,(CH1-8): MG16/4,MG16/6FX.*4 Power SupplyAdaptor PA-10(MG10/2),PA-20(MG12/4,16/4),PA-30(MG16/6FX).

In this simple recording system a

small MG mixer is used to combine

the outputs from a stereo keyboard, a

rhythm/backing unit, a guitar, and

vocal microphone. The results are

mixed to stereo and recorded to

cassette or MD.

Application Examples

1. Basic Mix & Recording

The current trend is toward

computer-based music production,

but you still need a good mixer to

combine your sources in order to feed

your computer’s audio in terface, as

well as for monitoring.

2. Computer-based Music Production

A sound reinforcement system of about this scale is ideal for small clubs, churches, meeting rooms and similar venues.

3. A Small Sound Reinforcement System

SpecificationsandAlltrademarksandregisteredtrad

Documents

MG Series Mixers Catalogue