Yamaha Mg164 Owners Manual

							 
Making the Most Of Your Mixer 
MG16/4, MG12/4 
11 
 The First Steps in Achieving Great Sound 
Before you even consider EQ and effects, or even the overall mix, it is important to make sure that levels are
properly set for each individual source. This can’t be stressed enough—initial level setup is vitally important for
achieving optimum performance from your mixer! Here’s why … and how. 
3-1. The Head Amplifier “Gain” Control Is the Key! 
Let’s review our simplified mixer block diagram:
Each and every “stage” in the mixer’s signal path will add a certain amount of noise to the signal: the
head amp, the EQ stage, the summing amplifier, and the other buffer and gain stages that exist in the
actual mixer circuit (this applies to analog mixers in particular). The thing to keep in mind is that the
amount of noise added by each stage is usually not dependent to any significant degree on the level of
the audio signal passing through the circuit. This means that the bigger the desired signal, the smaller the
added noise will be in relation to it. In tech-speak this gives us a better “signal-to-noise ratio”—often
abbreviated as “S/N ratio.” All of this leads to the following basic rule:
In our mixer, that means the head amplifier. If you don’t get the signal up to the desired level at the head
amplifier stage, you will need to apply more gain at later stages, which will only amplify the noise con-
tributed by the preceding stages. Just remember that too much initial gain is bad too, because it will over-
load our channel circuitry and cause clipping. 
To achieve the best overall system S/N ratio, amplify the input to the desired average
level as early as possible in the signal path.
3
 
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Making the Most Of Your Mixer 
MG16/4, MG12/4 
12 
3-2. Level Setup Procedure For Optimum Performance 
Now that we know what we have to do, how do we do it? If you take another quick look at the mixer
block diagram you’ll notice that there’s a peak indicator located right after the head amplifier and EQ
stages, and therein lays our answer! Although the exact procedure you use will depend on the type of
mixer you use and the application, as well as your personal preferences, here’s a general outline:
That’s basically all there is to it. But do keep your eyes on the main output level meters while setting up
the mix to be sure you don’t stay in the “peak zone” all the time. If the output level meters are peaking
constantly you will need to lower the channel faders until the overall program falls within a good range—
and this will depend on the “dynamic range” of your program material.  
1
Start by setting all level controls to their minimum: master fad-
ers, group faders (if provided), channel faders, and input gain
controls. Also make sure that no EQ is applied (no boost or
cut), and that all effects and dynamic processors included in
the system are defeated or bypassed.
2
Apply the source signal to each channel one at a time: have
singers sing, players play, and playback devices play back at
the loudest expected level. Gradually turn up the input gain
control while the signal is being applied to the corresponding
channel until the peak indicator begins to flash, then back off
a little so that the peak indicator flashes only occasionally.
Repeat for each active channel.
3
Raise your master fader(s)—and group faders if available—to
their nominal levels (this will be the “0” markings on the fader
scale).
4
Now, with all sources playing, you can raise the channel fad-
ers and set up an initial rough mix.
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							Making the Most Of Your Mixer
MG16/4, MG12/4
13  External Effects, Monitor Mixes, and Groups
4-1. AUX Buses For Monitor Sends and 
Overall Effects
There are a number of reasons why you might
want to “tap” the signal flowing through your
mixer at some point before the main outputs: the
two most common being 1) to create a monitor
mix that is separate from the main mix, and 2) to
process the signal via an external effect unit and
then bring it back into the mix. Both of these func-
tions, and more, can be handled by the mixer’s
AUX (Auxiliary) buses and level controls. If the
mixer has two AUX buses, then it can handle both
functions at the same time. Larger mixing con-
soles can have 6, 8, or even more auxiliary buses
to handle a variety of monitoring and processing
needs.
Using the AUX buses and level controls is pretty
straightforward. The only thing you need to con-
sider is whether you need a “pre-fader” or “post-
fader” send. AUX sends often feature a switch that
allows you to configure them for pre- or post-
fader operation.
Pre/Post—What’s the difference?
4
prepost
A “pre-fader” signal is taken
from a point before the
channel fader, so the send
level is affected only by the
AUX send level control and
not by the channel fader.
Pre-fader sends are most
commonly used to provide
monitor mixes.A “post-fader” signal is
taken from a point after the
channel fader, so its level
will be affected by both the
AUX send level control and
the channel fader.
Post-fader sends are most
commonly used in conjunc-
tion with the mixer’s AUX or
effect returns for external
effect processing.
Pre-fader send for a monitor mix. The send signal is fed to the monitor power amplifier and speaker system.
The channel fader does not affect the send level so the monitor mix remains independent of the main mix. No
return signal is used in this case.
Post-fader send for external effects processing. The send signal is fed to the external effect unit—a reverb
unit, for example—and the output from the effect unit is returned to the AUX Return jack and mixed back into the
main program. The send level is affected by the channel fader so the effect level always remains in proportion to
the channel signal.
Channel 
FaderMaster 
Fader
AUX Send 
Level
AUX Send Level AUX Return Level
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14
4-2. Using Groups
Group buses and faders can greatly simplify the mixing process—particularly in live situations in which
changes have to be made as quickly as possible. If you have a group of channels that need to be adjusted
all together while maintaining their relative levels, grouping is the way to go. Simply assign the group to a
group bus, and make sure that group is also assigned to the main program bus. Then you can adjust the
overall level of the group using a single group fader, rather than having to attempt to control multiple
channels faders simultaneously.
Group buses usually also have their own outputs, so you can send the group signal to a different external
destination from the main mix.
Channel faders Assigned to Group
(Controlled As a Group)
Stereo 
Master 
Fader Group 
Fader
Channel faders Assigned to Stereo
(Controlled Individually)A group of channels whose levels need to 
maintain the same relationship—a drum mix, for 
example—can be assigned to a group bus. 
Usually the group bus signal can be output 
independently via “Group” outputs, or it can be 
assigned to the main program (stereo) bus to be 
mixed in with the main stereo program.
Once the mix between the channels assigned to 
the group is established via the channel faders, 
the overall level of the entire group can be 
conveniently adjusted via a single group fader.
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							Making the Most Of Your Mixer
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15
4-3. Channel Inserts for Channel-specific Processing
Another way to get the mixer’s signal outside the box is to use the channel inserts. The channel inserts are
almost always located before the channel fader and, when used, actually “break” the mixer’s internal sig-
nal path. Unlike the AUX sends and returns, the channel insert only applies to the corresponding chan-
nel. Channel inserts are most commonly used for applying a dynamics processor such as a compressor or
limiter to a specific channel—although they can be used with just about any type of in/out processor.
Channel insert jacks must be used with a special insert cable that has a TRS phone jack on one end and
mono phone jacks on the split “Y” end. One of the mono phone jacks carries the “send” signal to be fed
to the input of the external processor, and the other carries the “return” signal from the output of the pro-
cessor.
Channel 
Fader
When a plug is inserted into the channel insert jack, the inter-
nal signal path is interrupted and sent outside the mixer for
external processing.
TipRingSleeve To the INSERT I/O jackTo the input jack of the 
external processor
To the output jack of 
the external processorTip Sleeve
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							Making the Most Of Your Mixer
MG16/4, MG12/4
16 Making Better Mixes
5-1. Approaching the Mix—Where Do 
You Start?
Mixing is easy, right? Just move the faders around
until it sounds right? Well, you can do it that way,
but a more systematic approach that is suited to
the material you’re mixing will produce much
better results, and faster. There are no rules, and
you’ll probably end up developing a system that
works best for you. But the key is to develop a
system rather than working haphazardly. Here are
a few ideas to get you started:
Faders Down
It might sound overly simple, but it is usually a
good idea to start with all channel faders off—all
the way down. It’s also possible to start with all
faders at their nominal settings, but it’s too easy to
lose perspective with this approach. Start with all
faders down, then bring them up one by one to fill
out the mix. But which channel should you start
with?
Example1:
Vocal Ballad Backed by Piano Trio
What are you mixing? Is it a song in which the
vocals are the most important element? If so you
might want to build the mix around the vocals.
This means bringing the vocal channel up to
nominal first (if your level setup procedure has
been done properly this will be a good starting
point), and then adding the other instruments.
What you add next will depend on the type of
material you are working with and your approach
to it. If the vocals are backed by a piano trio and
the song is a ballad, for example, you might want
to bring in the piano next and get the vocal/piano
relationship just right, then bring in the bass and
drums to support the overall sound.
Example2:
Funky R&B Groove
The approach will be totally different if you’re
mixing a funky R&B number that centers on the
groove. In this case most engineers will start with
the drums, and then add the bass. The relation-
ship between the drums and bass is extremely
important to achieve the “drive” or groove the
music rides on. Pay particular attention to how
the bass works with the kick (bass drum). They
should almost sound like a single instrument—
with the kick supplying the punch and the bass
supplying the pitch. Once again, there are no
rules, but these are concepts that have been
proven to work well.
Music First—Then Mix
In any case, the music comes first. Think about
the music and let it guide the mix, rather than try-
ing to do things the other way around. What is the
music saying and what instrument or technique is
being used to drive the message? That’s where the
focus of your mix should be. You’re using a high-
tech tool to do the mixing, but the mix itself is as
much art as the music. Approach it that way and
your mixes will become a vital part of the music.
5-2. Panning For Cleaner Mixes
Not only does the way you pan your individual
channels determine where the instruments appear
in the stereo sound field, but it is also vital to give
each instrument it’s own “space” so that it doesn’t
conflict with other instruments. Unlike live sound
in a real acoustic space, recorded stereo sound is
basically 2-dimensional (although some types of
surround sound are actually very 3-dimensional),
and instruments positioned right on top of each
other will often get in each other’s way—particu-
larly if they are in the same frequency range or
have a similar sound.
5
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							Making the Most Of Your Mixer
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17
Spread them Out!
Position your instruments so they have room to
“breathe,” and connect in the most musical way
with other instruments. Sometimes, however,
you’ll want to deliberately pan sounds close
together, or even right on top of one another, to
emphasize their relationship. There are no hard-
and-fast rules. Normally (but this is not a rule),
bass and lead vocals will be panned to center, as
will the kick drum if the drums are in stereo.
5-3. To EQ Or Not To EQ
In general: less is better. There are many situations
in which you’ll need to cut certain frequency
ranges, but use boost sparingly, and with caution.
Proper use of EQ can eliminate interference
between instruments in a mix and give the overall
sound better definition. Bad EQ—and most com-
monly 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. Surpris-
ingly enough, piano also has an incredibly power-
ful low end that can benefit from a bit of low-
frequency roll-off to let other instruments—nota-
bly drums and bass—do their jobs more effec-
tively. Naturally you won’t want to do this if the
piano is playing solo.
The reverse applies to kick drums and bass gui-
tars: 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 dif-
ferent 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 incre-
ments. 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 cir-
cuitry.
5-4. Ambience
Judicious application of reverb and/or delay via
the mixer’s AUX busses can really polish a mix,
but too much can “wash out” the mix and reduce
overall clarity. The way you set up your reverb
sound can make a huge difference in the way it
meshes with the mix.
Reverb/Delay Time
Different reverb/delay units offer different capabil-
ities, but most offer some means of adjusting the
reverb time. A little extra time spent matching the
reverb time to the music being mixed can mean
the difference between great and merely average
sound. The reverb time you choose will depend
to a great degree on the tempo and “density” of
the mix at hand. Slower tempos and lower densi-
ties (i.e. sparser mixes with less sonic activity) can
sound good with relatively long reverb times. But
long reverb times can completely wash out a
faster more active piece of music. Similar princi-
ples applies to delay.
Reverb Tone
How “bright” or “bassy” a reverb sound is also
has a huge impact on the sound of your mix. Dif-
ferent reverb units offer different means of con-
trolling this—balance between the high- and low-
frequency reverb times, simple EQ, and others. A
reverb that is too bright will not only sound unnat-
ural, but it will probably get in the way of delicate
highs you want to come through in your mix. If
you find yourself hearing more high-end reverb
than mix detail, try reducing the brightness of the
reverb sound. This will allow you to get full-bod-
ied ambience without compromising clarity.
Reverb Level
It’s amazing how quickly your ears can lose per-
spective and fool you into believing that a totally
washed-out mix sounds perfectly fine. To avoid
falling into this trap start with reverb level all the
way down, then gradually bring the reverb into
the mix until you can just hear the difference. Any
more than this normally becomes a “special
effect.” You don’t want reverb to dominate the
mix unless you are trying to create the effect of a
band in a cave—which is a perfectly legitimate
creative goal if that’s the sort of thing you’re aim-
ing for.
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							MG16/4, MG12/4
18
Front & Rear Panels
Note: Within this manual, all panel illustrations show the 
MG16/4 panel.
1GAIN Control
Adjusts the input signal level.
To get the best balance between the S/N ratio and the dynamic
range, adjust the level so that the peak indicator (
2) comes on
only at about maximum input level.
The –60 to –16 scale indicates the MIC input adjustment level.
The –34 to +10 scale indicates the LINE input adjustment
level.
2PEAK Indicator
Detects the peak level of the post-EQ signal, and lights up red
when the level reaches 3 dB below the clipping level. For
XLR-equipped stereo input channels (9/10 and 11/12 on the
MG16/4; 5/6 and 7/8 on the MG12/4), detects both post-EQ
and post-mic-amp peak levels, and lights red if either of these
levels reaches 3 dB below the clipping level.
3 Switch (High Pass Filter)
This switch toggles the HPF on or off. To turn the HPF on,
press the switch in ( ). The HPF cuts frequencies below
80 Hz. (But note that regardless of the switch setting, the mixer
does not apply this HPF to the line inputs of stereo input chan-
nels.) 
4Equalizer (HIGH, MID, and LOW)
This three-band equalizer adjusts the channel’s high, mid, and
low frequency bands. Setting the knob to the   position pro-
duces a flat frequency response. Turning the knob to the right
boosts the corresponding frequency band, while turning to the
left attenuates the band. The following table shows the EQ
type, base frequency, and maximum cut/boost for each of the
three bands. 
5AUX1 and AUX2 Controls
The AUX1 knob controls the signal level that the channel sends
to the AUX1 bus; the AUX2 knob controls the signal level to
the AUX2 bus. The knob should generally be set close to the 
position.
If you are using stereo channels, the signals from the L (odd)
and R (even) channels are mixed and sent to the AUX1 and
AUX2 buses. 
Allows you to output the signal to the buses regard-
less of the setting of the ST switch 
8.
Channel Control Section
1
7
8
9
555
666
A
0
7
8
9
0
7
8
9
0
AA
3
4
2
Channels 
1 to 8 (MG16/4)
1 to 4 (MG12/4)
(Monaural)Channels 
13/14 and 15/16 
(MG16/4)
9/10 and 11/12 
(MG12/4)
(Stereo) Channels 
9/10 and 11/12 
(MG16/4)
5/6 and 7/8 
(MG12/4)
(Stereo)
BandTypeBase FrequencyMaximum Cut/Boost
HIGHShelving10 kHz
±15 dBMIDPeaking2.5 kHz
LOWShelving100 Hz
NOTE
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							Front & Rear Panels
MG16/4, MG12/4
19
6PRE Switch
Selects whether the pre-fader or the post-fader signal is fed to
the AUX1 bus. If you set the switch on ( ), the mixer sends
the pre-fader signal (the signal prior to passage though channel
fader 
A) to the AUX1 bus, so that AUX1 output is not affected
by the fader. If you set the switch off ( ) the mixer sends the
post-fader signal to the AUX1 bus.
Note that this switch applies to AUX1 only. The signal to the
AUX2 bus always passes through the channel fader first.
7PAN Control (MG16/4: CHs 1 to 8. 
MG12/4: 1 to 4.)
PAN/BAL Control (MG16/4: 9/10 and 11/12. 
MG12/4: 5/6 and 7/8.)
BAL Control (MG16/4: 13/14 and 15/16. 
MG12/4: 9/10 and 11/12.)
The PAN control determines the positioning of the channel’s
signal on the Group 1 and 2 buses or on the Stereo L and R
buses. 
The BAL control knob sets the balance between left and right
channels. Signals into to the L input (odd channel) feed to the
Group 1 bus or to the Stereo L bus; signals into the R input
(even channel) feed to the Group 2 bus or the Stereo R bus.
On channels where this knob provides both PAN
and BAL controls (9/10 and 11/12 on the MG16/4;
5/6 and 7/8 on the MG12/4), the knob operates as a
PAN control if you are inputting through the MIC
jack or into the L (MONO) input only, and operates
as a BAL control if you are inputting into both L and
R inputs.
8ST Switch
This switch assigns the channel’s signal to the Stereo L and R
buses. To send the signal to the Stereo bus, set the switch on by
pressing it in ( ). The switch lights up orange to indicate that
it is on.
9PFL (Pre-Fader Listen) Switch
This switch lets you monitor the channel’s pre-fader signal. To
set the switch on, press it in ( ) so that it lights up. When the
switch is on, the mixer outputs the channel’s pre-fader signal to
the PHONES and C-R OUT jacks, for monitoring. 
0GROUP Switch
Use this switch to assign the channel’s signal to the Group out-
put. Press the switch in ( ) to output the signal to the Group
1 and 2 buses. 
Allows you to output the signal to the buses regard-
less of the setting of the ST switch 
8.
AChannel Fader 
Adjusts the output level of the signal being input to the chan-
nel. Use these faders to adjust the volume balance among the
various channels. 
To reduce noise, set the fader sliders for unused
channels all the way down.
NOTE
NOTE
NOTE
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Front & Rear Panels 
MG16/4, MG12/4 
20
1  
ST Master Fader
 
Adjusts the signal level to the ST OUT jacks.
2  
GROUP 1-2 Fader 
 
Adjusts the signal level to the GROUP OUT 1 and GROUP
OUT 2 jacks.
3  
TO ST Switch
 
If this switch is on ( ), the mixer sends the signals processed
by the GROUP 1-2 fader (
2
 
) onto the Stereo bus. The Group 1
signal goes to Stereo L and the Group 2 signal goes to Stereo
R.
4  
Master SEND (AUX1 and AUX2 Controls)
 
Adjust the signal level, respectively. These are the signals that
are output to the AUX1 and AUX2 SEND jacks.
5  
RETURN (AUX1, AUX2, and ST Controls)
 
•AUX1 and AUX2 Controls  
Adjust the level of the mixed L/R signal sent from the
RETURN jacks (L (MONO) and R) to the AUX1 and AUX2
buses.  
•ST Control  
Adjust the level of the signal sent from the RETURN jacks (L
(MONO) and R) to the Stereo bus. 
If you supply a signal to the RETURN L (MONO)
jack only, the mixer outputs the identical signal to
both the L and R Stereo buses.
6  
2TR IN Control
 
Adjusts the level of the signal sent from the 2TR IN jack to the
Stereo bus.
7  
PHANTOM +48 V Switch
 
This switch toggles phantom power on and off. If you set the
switch on, the mixer supplies power to all channels that provide
XLR mic input jacks (CHs 1–8, 9/10, 11/12 on MG16/4, 1–4,
5/6, 7/8 on MG12/4). Set this switch on when using one or
more condenser microphones.  
When this switch is on, the mixer supplies DC +48 V
power to pins 2 and 3 of all XLR-type MIC INPUT
jacks. 
•Be sure to leave this switch OFF when you are not
using phantom power. Humming or damage may
result if you connect to an unbalanced device or to
an ungrounded transformer while this switch is on.
But note that the switch may be left on without
problem when connecting to balanced dynamic
microphones.
•To avoid damage to speakers, be sure to turn off
amplifiers (or powered speakers) before turning this 
switch on or off.  
Master Control Section
B
76
A
9
4
3
21
5
0
8
NOTE
NOTE
 
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