Yamaha Mg 102 C Manual

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Owner’s Manual
Bedienungsanleitung
Mode d’emploi
Manual de instruccionesOwner’s Manual
Bedienungsanleitung
Mode d’emploi
Manual de instrucciones
MIXING CONSOLE MIXING CONSOLE
Features
Input Channels..............................................................page 10
With up to four mic/line inputs or up to three (four for MG102C) 
stereo inputs, the MG mixer can simultaneously connect to a  
wide range of devices: microphones, line-level devices, stereo 
synthesizers, and more. 
Compression...................................................................page 9
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 12
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 (MG82CX)...................page 13, 57
With digital effects built in, the MG82CX can deliver a wide range 
of sound variations all by itself.
Caractéristiques
Canaux d’entrée..............................................................page 36
Avec quatre entrées micro/ligne ou trois entrées stéréo maximum 
(quatre pour la console MG102C), la console de mixage MG peut 
connecter simultanément une grande variété d’appareils : 
micros, appareils de ligne, synthétiseurs stéréo, etc.
Compression...................................................................page 35
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 38
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 (MG82CX)...page 39, 57Grâce aux effets numériques intégrés, la console MG82CX peut 
proposer de nombreuses variations de sons.
Funktionen
Eingangskanäle.............................................................Seite 23
Mit bis zu vier Mikrofon-/Line-Eingängen oder bis zu drei (vier 
beim MG102C) Stereoeingängen können viele Geräte 
gleichzeitig am MG-Mischpult angeschlossen werden: 
Mikrofone, Geräte mit Leitungspegel, Stereo-Synthesizer uvm.
Kompression..................................................................Seite 22
Kompression erhöht den Durchschnittspegel, ohne Verzerrung 
hinzuzufügen, indem übermäßige Pegelspitzen der Signale von 
Mikrofonen oder Gitarren komprimiert werden.
AUX Sends und Stereo AUX Return............................Seite 25
Von der AUX SEND-Buchse können Sie das Signal einzeln an 
einen externen Signalprozessor führen, und das verarbeitete 
Stereosignal über die RETURN-Buchse zurück in das Pult 
führen.
Hochwertige Digitaleffekte (MG82CX)...................Seite 26, 57
Mit den eingebauten digitalen Effekten kann das MG82CX aus 
sich heraus eine Reihe von Klangvariationen liefern.
Características
Canales de entrada......................................................página 49
Con un máximo de cuatro entradas de micrófono/línea o tres 
entradas estereofónicas (cuatro en el modelo MG102C), la 
mezcladora MG puede conectarse simultáneamente con una 
gran variedad de dispositivos: micrófonos, dispositivos de nivel 
de línea, sintetizadores estereofónicos, etc.
Compresión..................................................................página 48
La compresión aumenta el nivel general sin causar distorsión, 
mediante la compresión del exceso de picos en las señales de 
los micrófonos y guitarras.
Envíos AUX y retorno AUX estereofónico.................página 51
Puede utilizar la toma AUX SEND para introducir la señal 
enviada en un procesador de señales externo y luego devolver la 
señal estereofónica procesada a través de la toma RETURN 
(retorno).
Efectos digitales de alta calidad (MG82CX)........página 52, 57
Gracias a sus efectos digitales incorporados, la mezcladora 
MG82CX puede producir por sí misma una amplia gama de 
variaciones de sonido. 
						

							 
2 
MG82CX/MG102C Owner’s Manual
1.  IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!This product, when installed as indicated in the instructions con-
tained in this manual, meets FCC requirements. Modifications not 
expressly approved by Yamaha may void your authority, 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” digi-
tal devices. Compliance with these requirements provides a rea-
sonable 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 generates/uses radio fre-
quencies and, if not installed and used according to the instruc-
tions found in the users manual, may cause interference harmful to 
the operation of other electronic devices. Compliance with FCC 
* This applies only to the MG82CX distributed by YAMAHA CORPORATION OF AMERICA, not the MG102C. (class B)
regulations does not guarantee that interference will not occur in 
all installations. If this product is found to be the source of interfer-
ence, which can be determined by turning the unit “OFF” and “ON”, 
please try to eliminate 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 con-
tact Yamaha Corporation of America, Electronic Service Division, 
6600 Orangethorpe Ave, Buena Park, CA90620
The above statements apply ONLY to those products distributed by 
Yamaha Corporation of America or its subsidiaries.
FCC INFORMATION (U.S.A.)
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.
• This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.(2 wires) 
						

							 
MG82CX/MG102C Owner’s Manual 
3 
(5)-4 
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). 
If you intend to use the device in an area other than in the one you purchased, 
the included power cord may not be compatible. Please check with your Yamaha 
dealer.
•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 50cm 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.
•When setting up the device, make sure that the AC outlet you are using is easily 
accessible. If some trouble or malfunction occurs, immediately turn off the 
power switch and disconnect the plug from the outlet.
•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. Doing so may result in noise, both in the device 
itself and in the TV or radio next to it.
•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.
•When turning on the AC power in your audio system, always turn on the power 
amplifier LAST, to avoid speaker damage. When turning the power off, the power 
amplifier should be turned off FIRST for the same reason.
•Do not insert your fingers or hands 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 
						

							 
4 
MG82CX/MG102C Owner’s Manual 
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.
 
The MG mixer may heat up by as much as 15 to 20°C while the power is on. This is normal. Please note that the panel temperature may exceed 50°C in ambient tem-
peratures higher than 30°C, and use caution to prevent burns.
*This Owner’s Manual applies to both the MG82CX and MG102C. The main difference between the two models is that the MG82CX includes digital effects while the
MG102C has no internal effects.
*In this manual the term “MG mixsers” refers to both the MG82CX and MG102C. In cases where different features need to be described for each model, the
MG82CX feature will be described first, followed by the MG102C feature in brackets: MG82CX (MG102C).
*Illustrations herein are for explanatory purposes only, and may not match actual appearance during operation.
*Company names and product names herein are trademarks or registered trademarks of their respective companies. 
Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. 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.
 
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, or data that is lost or destroyed. 
Copying of commercially available music or other audio data for purposes other than personal use is strictly prohibited by copyright law. Please respect all
copyrights, and consult with a copyright specialist if you are in doubt about permissible use. 
						

							 
MG82CX/MG102C Owner’s Manual 
5 
Introduction .......................................... 5 
Contents ................................................................. 5
Before Turning on the Mixer ................................... 5
Turning the Power On............................................. 5 
■  
Mixer Basics 
Quick Guide .......................................... 6
Making the Most of Your Mixer ........... 7 
Balanced, Unbalanced—What’s the Difference?.... 7
Signal Levels and the Decibel ................................ 7
To EQ or Not to EQ ................................................ 8
Ambience ................................................................ 9
The Modulation Effects: .......................................... 9
Phasing, Chorus, and Flanging .............................. 9
Compression........................................................... 9 
■  
Reference 
Front & Rear Panels........................... 10 
Channel Control Section ....................................... 10
Master Control Section ......................................... 11
DIGITAL EFFECT ................................................. 13
Rear Input/Output Section .................................... 13 
Setup ................................................... 14 
Jack List ................................................................ 14 
Troubleshooting................................. 15 
Mounting to a Microphone Stand .......................... 15 
Specifications..................................... 55 
Introduction 
Thank you for your purchase of the YAMAHA MG82CX/MG102C mixing console. The MG82CX/
MG102C feature input channels suitable for a wide range of usage environments.  And the MG82CX
includes high-quality built-in digital effects that can provide some very serious sound. The mixer com-
bines ease of operation with support for multiple usage environments.
Please read through this manual carefully before beginning use, so that you will be able to take full
advantage of this mixer’s superlative features and enjoy trouble-free operation for years to come. 
1
 
Be sure that the mixer’s power switch is in the
STANDBY position. 
2
 
Connect the power adaptor to the AC ADAPTOR
IN connector (  
1  
) on the rear of the mixer, and
then turn the fastening ring clockwise (  
2  
) to
secure the connection.) 
3
 
Plug the power adaptor into a standard household
power outlet.
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. 
Before Turning on the Mixer 
Use only the PA-10 adaptor included with this mixer.
Use of a different adaptor may result in equipment
damage, overheating, or fire. 
• 
Be sure to unplug the adaptor from the outlet when
not using the mixer, or when there are lightning
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 
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.
CAUTION
2
1
CAUTION
CAUTION
 
Contents 
Accessories 
Owner’s Manual
AC power adaptor (PA-10) 
*
*May not be included depending on your particular
area. Please check with your Yamaha dealer. 
						

							 
Mixer Basics 
6 
MG82CX/MG102C Owner’s Manual 
Quick Guide 
We begin by connecting a pair of speakers and generating some stereo output. Note that oper-
ations and procedures will vary somewhat according to the input devices you are using. 
1
 
Be sure that your mixer is turned off
and that all level* controls are turned all
the way down. 
*STEREO Master control, Level controls, Gain Control, 
etc. 
NOTE 
Set the equalizer and the pan controls to their  
t 
 posi-
tions. 
2
 
Turn off any other external devices, 
then connect microphones, instru-
ments, and speakers. 
NOTE 
*For information on connecting external devices see 
the Connection Example on page 14.
*Connect electric guitars and basses through an inter-
mediary device such as a direct box, preamp, or amp 
simulator.  Connecting these instruments directly to 
the MG mixer may result in degraded sound and 
noise. 
3
 
To avoid damage to your speakers, power 
up the devices in the following order: 
Peripheral devices 
  
→→ → →
 
 MG mixer 
  
→→ → →
 
 power 
amps (or powered speakers). Reverse 
this order when turning power off.
 
NOTE 
If you are using microphones that require phantom
power, turn the MG mixer’s phantom power switch on
before turning on the power to the power amp or pow-
ered speakers. See page 12 for more detail. 
4
 
Adjust the channel GAIN controls so 
that the corresponding peak indicators 
flash briefly on the highest peak levels. 
5
 
Set the STEREO Master control to the 
“ 
t 
” position. 
6
 
Set the Level control to create the 
desired initial balance, then adjust the 
overall volume using the STEREO Mas-
ter control. 
NOTE 
*Use the LEVEL meter to view the level being applied to 
the STEREO L/R buses.
*If the PEAK indicator lights frequently, lower the LEVEL 
controls a little to avoid distortion.
Getting Sound to the Speakers
PA N
1, 4
GAIN controls
4 PEAK indicators
Equalizer
1, 6 Level controls1, 5, 6STEREO Master control
6 Level meter
3 PHANTOM switch
1, 3POWER switch22
2Microphones, 
instruments
2
Monitor Speakers
HeadphonesPower Amp Speakers
 
Mixer Basics 
						

							 
7 
Mixer Basics 
MG82CX/MG102C Owner’s Manual 
Making the Most of Your Mixer 
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 little tutorial and pick up a few basics 
that will help you get better performance and make better mixes. 
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.  
Signal Levels and the Decibel 
Let’s take a look at one of the most commonly used units in
audio: the decibel (dB). If the smallest sound that can be heard
by the human ear is given an arbitrary value of 1, then the
loudest sound that can be heard is approximately 1,000,000
(one million) times louder. That’s too many digits to deal with
for practical calculations, and so the more appropriate
“decibel” (dB) unit was created for sound-related
measurements. In this system the difference between the
softest and loudest sounds that can be heard is 120 dB. This
is a non-linear scale, and a difference of 3 dB actually results
in a doubling or halving of the loudness.
You might encounter a number of different varieties of the dB:
dBu, dBV, dBM and others, but the dBu is the basic decibel
unit. In the case of dBu, “0 dBu” is specified as a signal level of
0.775 volts. For example, if a microphone’s output level is –40
dBu (0.00775 V), then to raise that level to 0 dBu (0.775 V) in
the mixer’s preamp stage requires that the signal be amplified
by 100 times.
A mixer may be required to handle signals at a wide range of levels, and it is necessary match input and output
levels as closely as possible. In most cases the “nominal” level for a mixer’s input and outputs is marked on the
panel or listed in the owner’s manual.
Noise cancelled
Balanced noise cancellation
Noise
Hot (+)
Ground Cold (–)
Cable SourceReceiving device Phase 
inversionNoise-free
signal
Phase 
inversion
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.
+ 20 dBu
0 dBu0.775 V
-20 dBu
-40 dBu
-60 dBu
The inputs and outputs on 
home-use audio gear 
usually have a nominal level 
of –10 dBu. Most professional mixers, 
power amplifiers, and other 
types of equipment have 
inputs and outputs with a 
nominal level of +4 dBu.
Microphone signal levels 
vary over a wide range 
depending on the type of 
microphone and the source. 
Average speech is about 
–30 dBu, but the twittering 
of a bird might be lower than 
–50 dBu while a solid bass 
drum beat might produce a 
level as high as 0 dBu. 
						

							8
 Making the Most of Your Mixer Mixer Basics
MG82CX/MG102C Owner’s Manual
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 overall 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 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.
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 overloading the subsequent
circuitry.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.
“A4” on the piano keyboard). In the same way you can halve the frequency to 220 Hz to produce “A2” an octave lower.
20 50 100 200 500 1 k 2 k 5 k 10 k 20 k(
Hz)
Piano
Bass Drum
Snare Drum
Bass
Guitar
Trombone
TrumpetCymba
l
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. The fundamental   and harmonic   frequency ranges of some 
musical instruments.
Signal 
Level (dB)
Frequency (Hz) LOW Boost
LOW Flat
LOW CutMID BoostMID Flat
HIGH Boost
HIGH Flat
HIGH Cut
MID Cut 
						

							9
Mixer Basics
 Making the Most of Your Mixer
MG82CX/MG102C Owner’s Manual
Ambience
Your mixes can be further refined by adding
ambience effects such as reverb or delay. The MG’s
internal effects can be used to add reverb or delay
to individual channels in the same way as external
effects processors. (Refer to page 13).
Reverb and Delay Time
The optimum reverb time for a piece of music will
depend on the music’s tempo and density, but as a
general rule longer reverb times are good for
ballads, while shorter reverb times are more suited
to up-tempo tunes. Delay times can be adjusted to
create a wide variety of “grooves”. When adding
delay to a vocal, for example, try setting the delay
time to dotted eighth notes corresponding to the
tune’s tempo.
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.
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.”
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. For chorus and flanging the signal is delayed by
several milliseconds, with the delay time modulated
by an LFO, and recombined with the direct signal. In
addition to the phasing effect described above, the
delay modulation causes a perceived pitch shift
which, when mixed with the direct signal, results in a
harmonically rich swirling or swishing sound.
The difference between chorus and flanging effects
is primarily in the amount of delay time and
feedback used—flanging uses longer delay times
than chorus, whereas chorus generally uses a more
complex delay structure. 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.
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.
(Min)
(Max)
INPUT OUTPUT 
						

							Reference
10MG82CX/MG102C Owner’s Manual
Front & Rear Panels
The following applies to both the MG82CX and MG102C. In cases where different features need to be described for each
model, the MG82CX feature will be described first, followed by the MG102C feature in brackets: MG82CX (MG102C).
Channel Control Section
1MIC Input Jacks (CHs 1 to 5/6)
These are balanced XLR-type microphone input jacks
(1:Ground; 2:Hot; 3:Cold).
2LINE Input Jacks (CHs 1, 2)
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.
3LINE Input Jacks (CHs 3/4 to 7/8 (CHs 3/4 to 
9/10))
These are unbalanced phone-jack stereo line inputs.
4LINE Input Jacks (CH 7/8, (CHs 7/8, 9/10))
These are unbalanced stereo RCA pin jacks.
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.
5INSERT Jacks (CHs 1, 2)
Each of these jacks provides an insert point between the
equalizer and level control of the corresponding input chan-
nel (CHs 1, 2). The INSERT jacks can be used to indepen-
dently 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).
Patching external devices via an INSERT jack
requires a special insert cable such as illustrated
below (insert cable sold separately). 
6GAIN Control
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. The
-34 to +10 scale is the LINE input adjustment range.
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 
34).
1
6
A
B
C 9
0 3
7C
B
A 0 3 4
1
2
5
6
8
A
B
C 9
0 7
Channels
7/8 (7/8 and 9/10)
 (Stereo) Channels
1 and 2
 (Monaural)Channels
3/4 and 5/6
 (Stereo)
MG82CX
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 possiblility of phase conflict when
connecting to other types of device.
NOTE
NOTE
To the input jack of the 
external processor
To the output jack of the 
external processor
Sleeve (Ground)
Tip: OUT
Tip: IN
To the INSERT I/O jack
Sleeve (Ground)Sleeve (Ground)Ring: INTip: OUT
CAUTION
Reference