Yamaha Mg 206 C Manual

							
EN
DE
FR
ES
English
Deutsch
Français
Español
Features
Input Channels..........................................................\
.........page 12
With up to 16 (MG166CX/MG166C: 10) mic/line inputs or up to four 
stereo inputs, the MG mixer can simultaneously connect to a wide 
r ange of devices: microphones, line-level devices, stereo 
synthesizers, and more.
Compression.............................................................\
.........page 10
Compression increases the overall level without introducing 
distortion by compressing excessive peaks in the signals from 
microphones and guitars.
A UX Sends and Stereo AUX Return.................................page 16
Y ou can use the AUX SEND jack to feed the signal sent to an 
e xternal signal processor, and then return the processed stereo 
signal through the RETURN jack.
High-quality digital effects (MG166CX)....................pages 15, 19
With digital effects built in, the MG166CX can deliver a wide range 
of sound variations all by itself.
Caractéristiques
Canaux d’entrée.................................................................page 48
Av ec 16 entrées micro/ligne (MG166CX/MG166C: 10) ou quatre 
entrées stéréo maximum, la console de mixage MG peut connecter 
simultanément une grande variété d’appareils : micros, appareils 
de ligne, synthétiseurs stéréo, etc.
Compression.............................................................\
.........page 46
La compression augmente le niveau général sans engendrer de 
distorsion en comprimant les pics excessifs des signaux des 
micros et des guitares.
Envois AUX et retour AUX stéréo.....................................page 52
V ous pouvez utiliser la prise jack AUX SEND pour envoyer le signal 
v ers une unité de traitement de signaux externes, puis pour 
renvoyer le signal stéréo traité via la prise jack RETURN.
Effets numériques de qualité supérieure (MG166CX)...pages 51, 55
Grâce aux effets numériques intégrés, la console MG166CX peut 
proposer de nombreuses variations de sons.
Funktionen
Eingangskanäle..................................................................Seite \
30
Mit bis zu 16 Mikrofon-/Line-Eingängen (MG166CX/MG166C: 10) 
oder bis zu vier Stereoeingängen können viele Geräte gleichzeitig 
am MG-Mischpult angeschlossen werden: Mikrofone, Geräte mit 
Leitungspegel, Stereo-Synthesizer uvm.
K ompression..............................................................\
........Seite 28
K ompression erhöht den Durchschnittspegel, ohne Verzerrung 
hinzuzufügen, indem übermäßige Pegelspitzen der Signale von 
Mikrofonen oder Gitarren komprimiert werden.
A UX Sends und Stereo AUX Return.................................Seite 34
V on 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 (MG166CX)....................Seiten 33, 37
Mit den eingebauten digitalen Effekten kann das MG166CX aus 
sich heraus eine Reihe von Klangvariationen liefern.
Características
Canales de entrada......................................................\
...página 66
Con un máximo de 16 entradas de micrófono/línea 
(MG166CX/MG166C: 10) o cuatro entradas estereofónicas, la 
mezcladora MG puede conectarse simultáneamente con una gran 
va riedad de dispositivos: micrófonos, dispositivos de nivel de línea, 
sintetizadores estereofónicos, etc.
Compresión...........................................................\
..........página 64
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 70
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 (MG166CX)........páginas 69, 73
Gracias a sus efectos digitales incorporados, la mezcladora 
MG166CX puede producir por sí misma una amplia gama de 
va riaciones de sonido.
Owner’s Manual
Bedienungsanleitung
Mode d’emploi
Manual de instrucciones 
						

							
MG206C/MG166CX/MG166C   Owner’s Manual2
* This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.(2 wires)
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 te rminals 
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.
1.  IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!This product, when installed as indicated in the instructions 
contained in this manual, meets FCC requirements. Modifi-
cations 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 
v oid 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 require-
ments provides 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 generates/uses radio frequencies and, if not 
installed and used according to the instructions found in the 
users manual, may cause interference harmful to the opera-
tion of other electronic devices. Compliance with FCC regula-
* This applies only to the MG166CX distributed by YAMAHA CORPORATION OF AMERICA, not the MG206C/MG166C. (class B)
tions does not guarantee that interference will not occur in all 
installations. If this product is found to be the source of inter-
f erence, 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 distrib-
ute this type of product. If you can not locate the appropriate 
retailer, please contact Yamaha Corporation of America, 
Electronic Service Division, 6600 Orangethorpe Ave, Buena 
Pa rk, CA90620
The above statements apply ONLY to those products distrib-
uted by Yamaha Corporation of America or its subsidiaries.
FCC INFORMATION (U.S.A.) 
						

							
MG206C/MG166CX/MG166C   Owner’s Manual3
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 possibilit\
y of serious injury or even death from electrical 
shock, short-circuiting, damages, fire or other hazards. These precaut\
ions 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 included power adaptor (PA-30 or an equivalent recommended by 
Yamaha). 
• Do not place the power cord near heat sources such as heaters or radiato\
rs, 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 m\
odify 
them in any way. The device contains no user-serviceable parts. If it should 
appear to be malfunctioning, discontinue use immediately and have it ins\
pected 
by qualified Yamaha service personnel. •
Do not expose the device to rain, use it near water or in damp or wet co\
nditions, 
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 su\
dden 
loss of sound during use of the device, or if any unusual smells or smok\
e 
should appear to be caused by it, immediately turn off the power switch,\
 
disconnect the electric plug from the outlet, and have the device inspec\
ted 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 possibilit\
y 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 us\
ed for 
extended periods of time, or during electrical storms.
• When removing the electric plug from the device or an outlet, always hol\
d the 
plug itself and not the cord. Pulling by the cord can damage it.
•T o avoid generating unwanted noise, make sure there is adequate distance \
(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.
• When setting up the device, make sure that the AC outlet you are using i\
s easily 
accessible. If some trouble or malfunction occurs, immediately turn off \
the 
power switch and disconnect the plug from the outlet. Even when the powe\
r 
switch is turned off, electricity is still flowing to the product all the minimum 
level.  When you are not using the product for a long time, make sure to\
 unplug 
the power cord from the wall AC outlet. •
If this device is to be mounted in an EIA-standard rack, leave the back \
of the rack 
open and make sure that it is at least 10 cm away from walls or surfaces\
. Also, if 
this device is to be mounted with devices that tend to generate heat, su\
ch as 
power amplifiers, be sure to keep an adequate gap between this device and the 
heat-generating devices or install ventilation panels to prevent high 
temperatures from developing inside this device.
Inadequate ventilation can result in overheating, possibly causing damag\
e to the 
device(s), or even fire.
•A void setting all equalizer controls and faders to their maximum. Dependi\
ng 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 col\
d 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 accidenta\
lly fall 
over.
• Do not block the vents. This device has ventilation holes at the bottom/\
rear to 
prevent the internal temperature from becoming too high. In particular, do not 
place the device on its side or upside down. Inadequate ventilation can \
result in 
overheating, possibly causing damage to the device(s), or even fire.
• 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.
Power supply/Power cord
Do not open
Water warning
If you notice any abnormality
Power supply/Power cord
Location
(5)-4  1/2 
						

							
MG206C/MG166CX/MG166C   Owner’s Manual4
•Before connecting the device to other devices, turn off the power for al\
l devices. 
Before turning the power on or off for all devices, set all volume level\
s to 
minimum. •
When turning on the AC power in your audio system, always turn on the po\
wer 
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 
(vents, etc.).
•A void inserting or dropping foreign objects (paper, plastic, metal, etc.) into any 
gaps or openings on the device (vents, etc.) 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.
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 y ou 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, vo\
lume controls, and connectors, deteriorates over time.  Consult qualifi ed 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 temperatures 
higher than 30°C, and use caution to prevent burns.
* This Owner’s Manual applies to the MG206C/MG166CX/MG166C. The main differences between the three models are the number of  inp ut channels and whether the 
internal effects are included. The MG206C has 20 input channels while the MG166CX/MG166C have 16 channels. And only the MG166CX  has internal effects.
* In this manual the term “MG mixsers” refers to the MG206C, MG166CX and MG166C.
* 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 trad\
emarks of their respective companies. 
Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to cha nge or modify products or specifications at 
any time without prior notice. Since specifications, equipment or options may not be the same in ever y locale, please check with  your Yamaha dealer.
ConnectionsHandling caution
XLR-type connectors are wired as follows (IEC60268 standard): pin 1: g\
round, 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 mo\
difications to the device, or data that is lost or dest royed.
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.
(5)-4  2/2 
						

							
MG206C/MG166CX/MG166C   Owner’s Manual5
Introduction .......................................... 5
Contents........................................................... 5
Before Turning on the Mixer ............................ 5
Turning the Power On ...................................... 5
■Mixer Basics ................................ 6
Quick Guide .......................................... 6
Making the Most of Your Mixer ........... 8
Balanced, Unbalanced—What’s the Difference? .............................. 8
Signal Levels and the Decibel.......................... 8
To EQ or Not to EQ.......................................... 9
Ambience ....................................................... 10
The Modulation Effects: Phasing, Chorus, and Flanging .................. 10
Compression .................................................. 10
■Reference .................................. 11
Setup ................................................... 11
Front & Rear Panels........................... 12
Channel Control Section ................................ 12
Digital Effects ................................................. 15
Master Control Section .................................. 16
Digital Effect Program List (Only MG166CX) . 19
Jack List ......................................................... 19
Troubleshooting................................. 20
Specifications..................................... 75
Accessories
• Owner’s Manual
•A C power adaptor (PA-30) *
*May not be included depending on your particular area. Please 
check with your Yamaha dealer.
Introduction
Thank you for your purchase of the Yamaha MG206C/MG166CX/MG166C mixing console. The 
MG206C/MG166CX/MG166C feature input channels suitable for a wide range o\
f usage environments.  
And the MG166CX includes high-quality built-in digital effects that can provide some very serious 
sound. The mixer combines 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.
1Be sure that the mixer’s power switch is in the
STANDBY position.
Use only the included power adaptor (PA-30) or
an equivalent recommended by Yamaha. Use of a
different adaptor may result in equipment dam-
a ge,  overheating, or fire.
2Connect the power adaptor to the AC ADAPTOR IN
connector (
q) on the rear of the mixer, and then
turn the fastening ring clockwise (
w) to secure the
connection.
3Plug 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
lightning storms in the area.
•T o avoid generating unwanted noise, make
sure there is 50 cm or more between the power
adaptor and the mixer.
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
s witch 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.
Before Turning on the Mixer
T urning the Power On
CAUTION
q
w
CAUTION
CAUTION
Contents 
						

							
MG206C/MG166CX/MG166C   Owner’s Manual
Mixer Basics
6
Quick Guide
We begin by connecting a pair of speakers and generating some stereo output. Note that
operations and procedures will vary somewhat according to the input devices you are using.
Getting Sound to the Speakers
P AN/BAL switches
1 , 4GAIN controls
4PEAK indicators
Equalizer
5 ON switches
4 PFL switches
5 ST switches
1, 7 Channel faders
4 , 7Level meter
3PHANTOM switch
Microphones, instruments
2
Speakers
Pow
er Amp
2
Headphones2, 4
Monitor Speakers
1 , 6 , 7 STEREO OUT Master fader
MG206C
1 , 3 POWER switch
Mixer Basics 
						

							
Mixer BasicsQuick Guide
MG206C/MG166CX/MG166C   Owner’s Manual7
1Be sure that your mixer is turned off 
and that all level controls* are turned 
all the way down.
* STEREO OUT Master fader, Channel faders, GAIN 
controls, etc.
Set the equalizer and the PAN/BAL controls to 
their ▼ positions.
2Turn off any other external devices, 
then connect microphones, instru-
ments, and speakers.
•F or information on connecting external 
devices see the Connection Example on page 
11.
• Connect electric guitars and basses through 
an intermediary 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.
3To  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.
If you are using condenser microphones that
require phantom power, turn the MG mixer’s
phantom power switch on before turning on
the power to the power amp or powered
speakers. See page 17 for more detail.
4Adjust the channel GAIN controls so 
that the corresponding PEAK indica-
tors flash briefly on the highest peak 
levels.
To  use the level meter to get an accurate read-
ing of the incoming signal level, turn the chan-
nel PFL switch on. Adjust the GAIN controls so 
that the level meter indication occasionally 
r ises above the “ ▼” (0) level.
Note that the PHONES jack outputs the pre-
f ader signal from all channels on which the 
PFL switch is ON so that those signals can be 
monitored via the headphones.
5T urn on the ON and ST switches for 
each channel you are using.
6Set the STEREO OUT Master fader to 
the “0”  position.
7Set the Channel faders to create the 
desired initial balance, then adjust the 
o verall volume using the STEREO 
OUT Master fader.
•T o use the level meter to view the level being 
applied to the STEREO L/R buses, set the 
PFL switch off ( ) and the MONITOR switch 
to STEREO ( ).
• If the PEAK indicator lights frequently, lower 
the Channel faders a little to avoid distortion.
NOTE
NOTE
CAUTION
NOTE
NOTE 
						

							
MG206C/MG166CX/MG166C   Owner’s Manual
Mixer Basics
8
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 … righ\
t? 
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 an\
d 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 sur-
rounded 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 con-
fined 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 micro-
phones 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 appro-
priate “decibel” (dB) unit was created for sound-related mea-
surements. 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 deci-
bel 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 
f or a mixer’s input and outputs is marked on the panel or listed in the owner’s manual.
Hot (+)
Cold (–)
Ground
Source Cable Noise cancelledNoise-free
signal
Phase 
inversion
Receiving device
Phase 
inversion
To
 summarize
Microphones Use balanced lines.
Short line-
level runsUnbalanced lines are fine if 
y
ou’re in a relatively noise-
free environment.
Long line-
level runs The ambient electromag-
netic noise level will be the 
ultimate deciding factor, but 
balanced is best.
Noise
Balanced noise cancellation
+ 20 dBu
0 dBu 0.775 V
-20 dBu
-40 dBu
-60 dBu
The inputs and outputs on 
home-use audio gear usually 
have a nominal level of 
–7.8 dBu 
(–10 dBV).
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 
ov er a wide range depending on 
the type of microphone and the 
source. Average speech is 
about  –30 dBu , but the twitter-
ing of a bird might be lower than 
–50 dBu  while a solid bass 
drum beat might produce a level 
as high as  0 dBu. 
						

							
Mixer Basics
Making the Most of Your Mixer
MG206C/MG166CX/MG166C   Owner’s Manual9
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 
m usical 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 dif-
f erence, however, in the way the mix sounds more “spa-
cious,” and instruments in the lower ranges will have better 
definition. Surprisingly enough, piano also has an incredi-
b ly powerful low end that can benefit from a bit of low-fre-
quency roll-off to let other instruments—notably drums and 
bass—do their jobs more effectively. Naturally you won’t 
w ant 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. 
Y ou’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 pres-
ence, 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 fre-
quencies 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 cir-
cuitry. Some Frequency Facts
The lowest and highest frequencies than can be heard by the human ear ar\
e generally considered to be around 20 Hz 
and 20,000 Hz, respectively. Average conversation occurs in the range fr\
om about 300 Hz to about 3,000 Hz. The fre-
quency of a standard pitchfork used to tune guitars and other instrument\
s 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 )
The fundamental   and harmonic   frequency ranges of some 
musical instruments.
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.
Frequency (Hz)
LOW Boost
LOW Flat
MID Boost
MID Flat
HIGH Boost
HIGH Flat
HIGH Cut
MID Cut
LOW Cut
Signal 
Level (dB) 
						

							
Making the Most of Your Mixer
MG206C/MG166CX/MG166C   Owner’s Manual
Mixer Basics
10
Ambience
Your mixes can be further refined by adding ambi-
ence effects such as reverb or delay. The MG166CX’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 15).
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 
v ocal, 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 perspec-
tive 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 
gr adually 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 princi-
ple: 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).
F or phasing effects the shift is very small. The phase 
difference between the modulated and direct signals 
causes cancellation at some frequencies and rein-
f orces the signal at others and this causes the shim-
mering sound we hear. F
or chorus and flanging the signal is delayed by sev-
eral 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 other-
wo rldly 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 com-
mon example of the use of compression is to “tame” a 
v ocal that has a wide dynamic range in order to 
tighten up the mix. With the right amount of compres-
sion you’ll be able to clearly hear whispered pas-
sages 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 
f eedback, 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 “compres-
sion” control and all of the pertinent parameters are 
automatically adjusted for you.
(Min)
(Max)
INPUTOUTPUT