Yamaha Mc1204 User manual

@YAMAHA

Series

Mixers

OPERAl'lNG

MANUAL

MC1204

C1604

MC2404

The

Yamaha

MC-series

mixers

have

been

designed

to

meet a

broad

variety

of

applications

with

uncompromising

overall

electronic

performance and

superior

control

capability.

Their

broad

versatility

and plentiful

complement

of

control

features

make

them

ideal

for

sound

reinforcement,

recording,

theater

and

production

applications.

Further,

state-of-the-art

design

and

technology

has

made

it

possible

to

offer

such

exceptional

flexibility

and

per-

formance

at

significantly

reduced

cost.

Your

MC-series

mixer

should

provide

you

with

years

of

trouble-free perfor-

mance

.

To

make

the

most

ofall

the

features

and performance it

provides,

however,

we

recommend

that

you

read

this

operating

manual

thoroughly

before

use.

CONTENTS

Front

Panel

Operation

Input

Channels

.....

...

"..

. .

....

2

Echo

Return

and

Group

Out

Sections

......

..

......

.

..

.

....

.4

FB

Oul,

Echo

Send

and

Stereo

Out

Sections

......

..

.......

.

..

"

..........

6

Phones

and

Talkback

Section

"..............

.

....."

. .

.......

......

....

.......

7

Rear

Panel

Connections

...............

..

...

"

......

..

."

.................

......

..

.....

"

..

.........

"

...

8

VU

Meters

..........

.

..

....

..

........................

.

......

..

.............

...

..

.....

.

..

.

..

.......................

..9

Installation

"."

.......

..

....

.

..

....

.

.......

..

.........

..

....

..

.

..

........

.....

..

...

................

.. ..

"".,,

10

Operating

Tips

....

.

.".""

..

"

.....

..

,,

..........

....

......

.. ..

...

....

..

".

..

......

..."

..

"

..

11

Application

Examples

....

..

...

".......

...................

.."

."

..

"

..

.......

".

...

.

....

"

..

12

Specifications

...

".

"

.....

"

....

......

............

...

....

"

........

....

."

..

...

......

.

.....

..

.

..

...

.

..

...

15

Block

Diagram

......................

.

.....

....

..........

.....

................

.

...

.

....

."

.....

..

17

Level

Diagram

......

.............

............

....

...

..

...

....

......

....

...

....

...........

".

.....

.............

18

FRONT

PANEL

OPERATION

Input Channels

-

,~

•

15

M'D

o

11111111111111

1

111111111111

111

11

PAD

....

.

~

-

eo

GA'N

...

-t---iKt

.

t::.

•

,~

HIGH

o

PAD

switch, GAIN control

and

PEAK

LED

These adjust

the

input sensitivity

of

the

MC

mixers over a wide range.

The

PAD

switch

inserts a

20

dB

pad

ahead

of

the head amplifier, and the GAIN control continuously

adjusts the sensitivity of the head amplifier between -

20

and -60

dB.

The

PEAK

LED

lights whenever the channel's post-EO, pre-fader signal comes within

3 dB

of

clipping, warning the operator

of

impending channel overload.

8 HIGH, MID FREO/MID

and

LOW

EO

controls

These continuously variable controls allow ±

15

dB of equalization

in

the following

frequency ranges:

HIGH

.. ..

....................

..

.......................

...

..

.

..

.

...

..............10 kHz shelving.

MID/FREOUENCY........

..

.

'''''''

'''

..........

..

........,

.. ..

..

,........

...

350

Hz-5

kHz

peaking.

LOW ..............................................

..

..................................100

Hz

shelving.

Response

is

flat

at

the

center position.

(

dB

)

tl!\

+10

t!\

w

VI

Z

~

0

VI

w

Q:

-5

-10

-15

~

-~

.(

~

/

V

I...

~

-.

....

.

'\..

\.

'U'

,

~

/

~

....

IK'"

FRE

"""

I

1\

hi

I

J

'\..

/

I~

)'/

....

'}#'

.....

-

.".-

~

, "

~

V

\'~

1\

:\

,

~If

1

1'-"

1\

'\..

""

....."

~

/

I"

I ,

"""'--

I

~.,..

1

(Hz I

lAo d I

100

Ik 10k

W

FB

1 an

FB

2 send contro s

FREOUENCY

These controls feed a pre-EO, pre-fader signal to the Foldback 1 and Foldback 2

busses which

feed

the

FB

1

and

FB

2 outputs, respectively.

These busses would normally

be

used for stage foldback or monitor speaker systems.

Internal P.e. board jumpers are provided for changing the foldbacks to post

EO

and

fader for use

as

additional echo/effect sends.

This

modification can

be

made

at

any

Yamaha Service Center.

Post Insert

1/0

Pre EO Post EO

Pre Fader

Po

st Fader

F8

1.2

.....

....

...

......

FACTORY

SET

..... ........... 0 0 ........ .

ECHO 1.2 0 0 FACTORY

SET

o ECHO 1

and

ECHO 2 controls

Adjusts the amount of post-

EO

, post-fader signal fed from that channel to the

ECHO

1

and

ECHO

2 busses, which feed the

ECHO

1

and

ECHO

2 outputs, respectively.

The

ecM

busses may be used

to

feed outboard effect devices or as additional

foldback/monitor sends.

2

o

PAN

control

and

Group

1·2/3·4

Assignment

Switches

The

P'AN

control assigns the channel fader output to group busses 1

-2

and/or 3-4

according to the setting of the buss assignment switches. When group assignment

switch 1

-2

is

engaged, the signal

is

panned between busses 1 and 2.

If

3-4

is

engaged

the signal

is

panned between busses 3 and

4.

Both switches can

be

engaged,

in

which

case

the

signal

is

panned between group busses 1

-3

and 2-4. Panning left delivers

more signal to busses 1 and

3,

while panning right delivers more signal to busses

2 and 4.

o

CUE

button

Pressing the

CUE

button

on

any channel permits monitoring of only the selected chan-

nel

signal via the headphone output.

All

other outputs are not affected. If more than

one channel

is

"cued",

their signals are summed and

fed

to the headphone output.

o

CH

ON

buHon

The

CH

ON

button turns the respective channel

ON

or OFF. This

is

handy for rapid

punch-ins

or

punch-outs, or for temporarily killing a channel without disturbing the mix

fader level.

«3

Channel

Fader

These set the mix level of each channel. These smooth linear faders also provide

a good visual indication of the overall mix levels. Rated output (nominal) level is

achieved with the fader set

at

"6"

(

~

....

)

on

the scale.

.

CH24,.,.rr----4-H-.~--_f:l

-20-

-60dB

I

MID

fREO)

GROUP

ECHO

fB

_

I 2

:5

4 I 2 I 2

OJE

CUE

r---

LO

Z

CH INPUT

MC

1204

CHI-(;HI2

MC

1604

CHI

-

CHI6

I '

:5

MC

2404

CH

I

-

l-

----®-I-®

L--

HI Z

~r-

-

-+@-I~

I

:C

CH

ON

)

~--H-++'"

I

I I - ---+--H-+-H

~

'--------+-<~---r-L:-~

~-C-U-E-4~~+4~

3

r------,

,

.,

o

,

..

ST

!REO

O'

"'

ECHO RETURN I

CuE

o "'

G'1QUP

our,

L •

GRO

UP

' PAN

111111

111

11111111

1

1111

1

1111111111

11

11111

1

GROUP I

Echo Return

and

Group Out Sections

o Echo

PAN

control and 1·213·4ISTEREO assign switches

The

PAN

control assigns the echo return signal received at the appropriate

ECHO

RTN

jack to group busses 1-2 and/or 3-4 according to the setting of the buss assign-

ment switches.

The

same signal can also

be

set to and panned across

the

LlR stereo

buss

by

engaging the

STEREO

switch. When group assignment switch 1-2

is

engaged,

the signal

is

panned between busses 1

and

2.

If

3-4

is

engaged the signal

is

panned

between busses 3

and

4.

Both switches can be engaged,

in

which case the signal

is

panned between group busses 1-3 and 2·4. Panning left delivers more signal to

busses 1

and

3,

while panning right delivers more signal

to

busses 2

and

4.

8 ECHO

RETURN

control

This control

is

used

to

match the sensitivity of the corresponding

ECHO

RTN

input

to

the output level

of

the external echo device

used

. Setting

th

is control

to

"8"

on

the

scale delivers rated output for a +4 dB input level.

8

CUE

button

Pressing the

CUE

button permits monitoring of only the selected echo signal via the

headphone output.

All

other outputs are not aHected.

GROOP

ECHO

FB

STERE

O

1 2 3 4 1 2 1 2

ruE

CUE L R

ECHORTNI~

r----&>

(+4dBl

a

ECHO RETURN I)

f----b

ECHO

RTN 2

~'~

(+4dBl

(ECHO RETURN 2)

"3L

(-

<

'.

\

,

(PAN) ,) \ \

-(-

2·4 ·R

' ·3 ·L

f

( \ \

,

(

PAN

) > \ \\

"-¥

2·4 ·R

\

o

GROUP

OUT

control

This

control adjusts the overall level

at

the corresponding G

RO

UP OUT

XLR

type

con-

ne

cto

r.

The

GROUP

master

fade

r does not aHect the level

at

the GROUP

OUT

XLR

-

type connector. Rated output (nominal) level

is

achieved

at

a setting of "8"

on

the

GROUP

OUT

control sca

le

.

1

J

o

~

(~

Group ON Sw Group f ader

~

t----&>-

Group Ou,

Vo

'

Pre Post

Group ON Sw Group ON Sw

Group Fader

(Mix to

SD

0

FA

C

TOR

Y

SET

"

GROUP

PAN

control

The

GROUP

PAN

control a

ss

ign

s the corresponding group signal to the

Land

R

STEREO

busses.

4

IN

/ou

T:5

,-----

--

--+t-

. •• ' , ' 3

10

'I

v

.III

f

l.'

@A

OV

P

OuT

\

1..

..

ST'[R£D

,.

~

-

o

!.

~

1

INPUT

1

~

2

~

!

ECHO

RTN GROUP OUT

I'

t4d8

1

GROuP INSERT

~

-

~

I

GROUP SUB

IN

I

_~---.

(

GROUP SUB

IN

4--l_--+-t+i

J

.-

----

..

-

vu

-

~

-

"

.

-

,

----H-

~

--------

~

-

tOYU

W".

'

W"

~

)

~

!~

t

l~

~

•

CUE

button

Pressing the

CUE

button permits monitoring of only the selected group signal via the

headphone output only. Signals inserted

at

the GROUP

INSERT

jacks are included

f)

GROUP

ON

button

The

GROUP

ON

button turns the respective GROUP output

ON

or OFF. This

is

handy

for

rapid group punch-ins

or

punch-outs, or for temporarily killing a group without

disturbing the mix level.

The

GROUP

ON

button affects both the group

XLR

type out-

puts

and

the

group feed to the

Land

R stereo buss.

o

GROUP

Master

Fader

The

GROUP

master fader controls the overall level of the corresponding group signal

sent

to the LlR

STEREO

program buss.

Rated

output (nominal) level

is

achieved with

the fader set to "6" (

~

)

on

the scale.

5

o '"

ECHO

'

0

ECH02

'"

c..

c

ct:

STE

RE

O L ON

111111111111

1

11111111111111111111

o

'"

FlI'

o '"

fB

2

•

STEREO

Foldback Out, Echo Send

and

Stereo Out Sections

o FB master controls

The

FB

1

and

FB

2 master controls control the overall level of the mix

on

the respec-

tive

FB

busses to

be

delivered to the

FB

OUT

connectors. Rated output (nominal) level

is

achieved with

the

FB

master controls set

at

"8"

on the scale.

These outputs could be used to feed the on-stage foldback/monitor power amplifiers

and speakers.

8 CUE button

Pressi

ng

the

CUE

button permits monitoring of only the selected FB signal via the

headphone output only.

o ECHO master controls

The

ECHO

1

and

ECHO

2 master controls control the overall level of the mix

on

the

respective

ECHO

busses to be delivered to the ECHO SEND connectors. Rated output

(nominal)

level

is

achieved with the ECHO master controls set

at

"8"

on

the scale.

.,

CUE button

Pressing the

CUE

but10n

permits monitoring of only the selected echo signal via the

headphone output only.

GIIOO"

ECH

O

,.

12'4

12'

1

2'

0A:

5if'

INPUT

~

Jw

l7

I

CJ

"----'n

'

-----,

-iii;

r ECHO SEND

~

li4dB

I

INPUT

I:;;..::

J

E<i

=n

2

I

~

!

L

~

ECHO

SUB

IN

I

I"--..

1-

r;;

'"

i"

~

'---r

V I ,

qj?

~

1

.

'"

...

' FB OUT

ECHO

SUB

IN

2

--..

-.

11.4dB

l

h .... 2

-----'

I-

V I

(ill)

~

..

FB

SUB

IN

I

F8

SUB

IN

2

o CUE (STEREO L CUE)

button

Pressing the

CUE

but10n

permits monitoring of only the stereo

Signal

via the L head-

phone output

only.

o STEREO L ON

button

The

STEREO

ON

but10n

turns the respective

STEREO

L output channel

ON

or OFF.

These are useful

for

turning off

the

console outputs after the sound check and all

levels have been

set

f)

STEREO L master fader

Controls the overall level of the corresponding

STEREO

L output

channel-including

all GROUP,

and

ECHO

RETURN

Signals assigned to the respective stereo channel.

Rated output (nominal) level

is

achieved with the fader set

at

"0" (max.)

on

the

scale.

ST

EREO

, .

GROUP-----.J

IfT[1tEO

.

QR

10 vu

.,..

,

.,

(ITE.E

O~

.t~

~

/

-

U l ' L

<U£AEQ • '

AP

E!\)

, A I

STEREO

OUT

ECHO

RTN

-

----II~

10

VU M• •• r

~

[ t

4dB

I

J

/~

~

..

R

(

~

!

J

"(

O

~

Rl

_

O

~

LA

( ST

ERE

O A

CU

E )

L-.,~

~

to PHONES

( STEREO L CuE )

The

abo

ve

appl

ies

in the same way to the R channel. 6

10

PHONES LEVEL

----

r:------:1

CJ

'

, I

D

:--t---t~1

• I

. ,

g :

_______

.J

SOdB

TALI(

BA

CK

Phones and Talkback Section

o PHONES jack

This jacks accepts a standard pair of stereo headphones

When

a

CUE

button

is

pressed headphone output consists of the corresponding cue signal.

PHONES 8 CUE/PHONES LEVEL control

Controls

the

volume

of

the headphone output. Rated output

is

achieved with the

con-

trol

set

at

"8"

on

the scale.

1

CUE

INPUT, GROUP,

ECHO RETURN,

--

.....

----

......

----'

ECHO, FB,

CUE

·0

I,

t~

:0

':

~

Ir~

PHONES

STEREO

•

,

'J

t~.;"

:9 <CUE/PHONES

LEVEL

)

L

@)

Talkback Assign Switches

These switches determine

to

which mixing buss the talkback signal

is

sent. Talkback

can

be

sent

to

the group

1,

2,

3 or 4 busses, the

FB

busses or the main stereo buss

by

engaging the corresponding switch.

o Talkback INPUT connector

INPUT

-A low-impedance talkback microphone can

be

connected here. Input level/impedance

at

this connector

is

-50

dB/50-250

ohms.

o INPUT LEVEL control

Controls the

level

of

the talkback signal. Rated (nominal)

level

is

achieved with the

control set

at

"8"

on

the scale.

o TALKBACK switch

Engaging this switch activates the talkback send to the selected mixing buss.

The

talkback system

is

a very useful feature for audience announcements

and

com-

munication between the engineer and performers.

QIIOUp

ECHO

r8 _ STEREO

I 2 3 4 I 2 I 2

OJ[

CUE

l R

~::uS:CK

~~Y-=&>+\\\rl

\,

1i+

- - -

---.-.+l

,.

,Od81

F V

~UT

LEYEL

)

II

RI

EAR

PANEL

CONNECTIONS

•

VOLTAGE

SELECTOR (GENERAL MODEL

ONLY)

Before turning t

he

u

ni

t on. make sure that the

rear·panel voltage selector

is

pro

pe

rl

y

se

t accor·

di

ng

to

the line votlage in your area

Me 12

04

o CHANNEL INPUTS

Each input channel has

an

electronically balanced

low-impedance

(LO

Z)

XLR-type input connector

and

a high-impedance

(HI

Z)

balanced

1/4"

TRS

(Tip-

Ring

-Sleeve) phone jack.

The

inputs are designed

for

50-250

ohm microphone or 600 ohm line sources

with

an

input level from -60 to 0 dB.

An

internal

phantom power supply

(+

48

V)

is

provided for

phantom-powered mics.

.,

CHANNEL

INSERT IN/OUT connectors

These tip-ring-sleeve connectors provide

an

unbalanc-

ed

insert patch point between the channel gain control

and equalizer stages. The

IN

line accepts a

600

ohm

,

-

10

dB

signal, and the

OUT

line delivers a

-10

dB

signal capable of driving a

10

k-ohm load impedance.

The

CHANNEL

INSERT

input may

be

used to insert

an

eHect

device

on

a specific channel.

TRS

Wiring

Block

Diagram

':':

~r

•

'"

T INSERT I

/O

II

~

• V-C-'

0000

6$

~

,

~

G

tot

D IN

oUT

.,

PHANTOM

switch

The

internal phantom power supply can

be

switched .

ON

and

OFF

in

4-input-channel sections. When

the

PHANTOM switch

is

ON,

48 volts

DC

is

applied across

pins 2 and 3 of the corresponding

XLR

type connectors.

The

phantom supply

is

disconnected if a plug

is

in-

serted into the

HI

Z

TRS

phone jack. Always be sure to

turn the PHANTOM supply OFF when not

in

use.

NOTE:The PHANTOM power supply will not have any

eHect

on

balanced dynamic microphones or

line sources when

ON

.

If

unbalanced sources

or transformers with earthed center taps are

used, however, hum or even damage

to

the

connected equipment could occur.

o GROUP INSERT IN/OUT

connectors

These tip-ring-sleeve connectors provide

an

unbalanc-

ed

insert patch point between the corresponding group

mixing buss and the group cue, ON/OFF and master

fader. The

IN

line accepts a 600 ohm,

-10

dB

signal,

and the

OUT

line delivers a -

10

dB signal capable of

driving a

10

k-ohm load impedance.

The GROUP

INSERT

input

is

a convenient way of pat-

ching

in

a device such

as

a compressor/limiter for use

on

an

enti

re

group of instruments.

o SUB IN (GROUP, FB. ECHO)

connectors

These inputs are intended mainly for connection to

a second

MC

-

se

ries mixer

in

order to increase the

number of available input channels. These are all

un

-

balanced inputs with a matching level/impedance

of

+4 dB/600 ohms.

The outputs of the second console or submix

er

would

be

connected to the appropriate SUB

IN

connectors,

thus increasing the number

of

input channels and

allowing

the

master controls

of

the main console to

control both units (with the submixer master controls

at

nominal settings).

8

CD

ECHO RETURN

connectors

These

connectors accept the output signal from exter-

nal echo. delay or reverb devices fed by the

ECHO

SEND

connectors. These are unbalanced inputs with

an

input level/impedance of +4 dB/600 ohms.

• ECHO SEND

connectors

The

signal from these connectors

is

sent to external

echo. delay. or reverb devices. These are unbalanced

outputs with

an

output level/impedance

of

+4 dB/600

ohms.

• GROUP OUT connectors

These connectors deliver the main group output signals

to the power amplifiers which will drive the main house

speakers

in

a sound reinforcement system. or a tape

deck for recording applications. These are electronically

balanced outputs with a rated level/impedance of +4

dB/600 ohms.

o FB OUT connectors

The

output from these connectors will mainly be used

to drive

the

power amplifiers which will feed

the

stage

monitor speakers

in

a sound reinforcement system.

In

a

VU

METERS

recording system. both

FB

OUTs could

be

used to drive

the "control room" monitor system. or only one FB

OUT could

be

used for the control room monitors. and

one used to drive a studio monitor or cue system. For

theater sound applications. the

FB

OUTs could be used

to drive a

"fill"

speaker system. These are electronical-

ly

balanced outputs with a rated level/impedance of

+4 dB/600 ohms.

til

STEREO OUT

connectors

The stereo outputs can be used to feed the power

amplifiers which will drive the main house speakers

in

a sound reinforcement system. or a stereo tape deck

for recording. These are balanced outputs with a rated

output level/impedance of +4 dB/600 ohms.

.,

POWER

switch

Turn this switch

ON

to apply

AC

power to the mixer.

The

VU

meters light to indicate power ON.

4&

AC POWER CORD

This

3-wire cord

is

for connection to any 120 V

AC.

60

Hz

grounded outlet. (General model: 110-120

V.

220-240

V.

50/60

Hz)

.

'>/:)

7 5 3 0

PE:"

~\\'

\ \ \ 1111/11

,,#.]

-

Of>,o

60

SO,Oo,:

+

VU

IlIWtA

GROUP

1'2

FB

1'2

GROUP 3' 4 • ECH01'2

o

VU

Meters

These are VU-ballistic level meters with built-in peak

in-

dicator

LEDs

.

The

VU

meters can

be

used to monitor

the

GROUP

1-4.

FB

1 and 2.

ECHO

1

and

2.

and

STEREO

Land

R output levels. A

VU

meter reading of

o

dB

corresponds to rated output. The

PEAK

LEDs

light

at

8

dB

above 0

VU

.

VU

METER

-20

VU

-10

VU

-5

VU

o

VU

+3

VU

READING

+4

dB

-16

dB

-6

dB

-1

dB

+4

dB + 7 dB

Outputs (123

mV)

(388 mV)

(691

mV) (1.23

V)

(1.74

V)

-10

dB

-30

dB

-20dB

-15

dB

-10

dB

-7

dB

Outputs (24.5

mV)

(77.5

mV)

(138 mV) (245 mV) (346 mV)

8 Meter

Function

Switches

(MC1204, MC1604 only)

These switches determine the function of

the

GROUP/FB and GROUP/ECHO

VU

meters.

The

GROUP/FB meters can

be

switched to read either

GROUP 1

and

2 or FB 1 and 2 levels. while the

GROUP/ECHO meters can be switched to read either

GROUP 3 and 4 or ECHO 1 and 2 levels.

9

INSTALLATION

AC

Power

Connection

(for

models

with

3·conductor

power

cable)

Mixers provided with a 3-wire power cable should be

PC

grounded for safety and optimum shielding against

noise.

lit

a 3-wire

PC

outlet

is

not available, or there

is

any chance the

PC

outlet may not be grounded, a

separate ground wire must be connected from the mix-

er chassis to an earth ground. Cold water pipes

generally provide good grounds unless they are

in-

sulated by a length of

PVC

(plastic) pipe or a water

meter. Avoid hot water pipes and gas pipes. When a

convenient, confirmed ground is not available, use a

length of copper pipe driven into moist, salted earth to

a depth of at least 1.5 meters

(5

feet). Alternately, use

a chemical type grounding

rod.

Hook·Up

Cables

and

Hum

Avoidance

The mixer's primary inputs and outputs feature elec-

tronically balanced circuits and connectors. When these

connectors are used with the appropriate 2-conductor

shielded cables

(e

.g. standard microphone cables),

these circuits provide optimum protection against hum

and noise pickup. The

XLR

type connectors are wired

with pin 2

as

"audio high" and pin 3 as "audio low"

in

accordance with DIN and

JIS

standards.

In

the bal-

anced

TRS

connectors, the tip

is

audio high and the

ring is audio low.

1

in

the

XLR

type connectors, and

the sleeve

in

the

TRS

connectors are ground. Some

professional audio equipment and microphones are

wired with pins 2 and 3

(XLR)

reversed. Generally, this

will cause no problem other than a polarity reversal.

However, if such a piece of equipment uses a balanced-

type connector for an unbalanced input, or

an

adaptor

is

used to match an unbalanced connector to a bal-

anced input, the high side of the audio circuit could be

grounded.

In

this case, reverse the audio high and

audio low wiring at one end of the connecting cable,

or use a suitable polarity-reversal adaptor. Regardless

of connector polarity,

if

hum

is

encountered

try

cutting

the shield connection

at

one end of the cable.

All,

unbalanced phone jacks are intended for use with

standard tip-sleeve

1/4"

phone plugs and single-

conductor shielded cable. Do not attempt to reduce

hum by cutting the shield connection

on

these cables.

Rather, restrict unbalanced cables to about 10 feet

(3

meters), and try to set up the system so that either

(a)

the equipment involved is all connected to the same

PC

circuit, or (b) the third-wire

PC

mains ground is used

on

only one piece of equipment, typically the mixer. Break·

ing the ground path can create a SHOCK HAZARD.

When routing cables, especially unbalanced cables,

avoid strong sources of electro-magnetic interference

or radio frequency interference generated by electric

motors, fluorescent lights, dimmer panels, etc.

To

avoid

crosstalk-induced feedback, never bundle microphone

input cables with mixer output cables: these cables

should cross

at

right angles where practical.

Grounding

Careful grounding procedures are essential

for

proper

operation, not only of the mixer, but of the entire audio

system. Many grounding techniques exist, and a

number of books have been written

on

the subject. The

following are good sources of grounding information:

THE

AUDIO CYCLOPEDIA by Howard M. Tremaine

(Pub.

Howard W. Sams)

SOUND SYSTEM ENGINEERING by Don and Carolyn

Davis

(Pub.

Howard

W.

Sams)

GROUNDING AND SHIELDING

IN

INSTRUMENTA-

TION by Ralph Morrison (Pub. John Wiley & Sons)

"Ground loops" are often caused by multiple paths

from the equipment grounds to the

PC

mains ground

(or earth ground). Ground loops are a major cause of

hum and noise

in

an

audio system.

In

severe cases,

ground loops can even cause the equipment involved

to

break into oscillation. This can cause distortion and

even damage to amplifiers and speakers. One way to

avoid ground loops

is

to make sure that there is only

one path to the

PC

ground for the entire audio system.

A popular method

is

to cut the shield ground of balanc·

ed cables at the input end of the cable. Another techni-

que is to ground all shields

at

one piece of equipment,

typically the console, and cut the shields at the other

ends of the cables. (This is NOT possible with

un-

balanced cables).

Check

Mains

Voltages

Connect the mixer to the

PC

mains only after confirm-

ing that the line voltage and frequency are correct. A

simple check with a voltmeter can save your equipment

-and

the show. It is also a good idea to check for pro·

per polarity at the

PC

outlet. The power switch

on

the

mixer should be OFF before connecting the the mixer

to the mains.

As

a further precaution, disconnect the

mixer from the mains while audio cables are being

installed.

10

OPERATING

TIPS

Matching

Input

Channel

Sensitivity

with

the

Source

The pad switch and continuously variable gain control

provided on the mixer's input channels permit setting

the input sensitivity of each channel anywhere between

-60 dB and 0 dB. With the pad switch set at 0 dB

(pad out) the gain control adjusts sensitivity between

-

60

and -

20

dB, while with the pad switch set at

-20 dB

(pad

in) the gain control adjusts sensitivity be-

tween -

40

and 0 dB. This makes it possible to ideally

match the mixer's input sensitivity with a broad range

of input sources.

In

general,

an

input sensitivity setting of about -

50

dB

is commonly used with low output dynamic micro-

phones, -40 dB with medium output condenser micro-

phones, -

20

dB with electric instruments (preamplified)

and low level (creative audio or hi-fi) line sources, and

odB with high level line sources (such

as

some profes-

sional equipment line outputs).

Set the input level switch to correspond to the type of

device that

is

plugged into the corresponding Channel

Input jack. Here

is

one suggested procedure:

1. Connect

all

input sources to their respective chan-

nels.

Plug

in and wear your headphones to hear the

program mix. DO NOT CONNECT any power

amplifiers or speakers yet.

2.

Set up the mixer so that the signal from each input

channel feeds the

STEREO

mixing buss, and set all

channel faders at infinity (minimum). Raise the

STEREO

L master fader to about "

6"

on

the scale.

3. Start with the lowest input sensitivity (pad

in,

gain at

-

20)

. Bring the channel fader up to

"6"

on the

scale If necessary, gradually increase sensitivity

us-

ing the gain control until the input

is

clearly audible.

If sensitivity is still too low, return the gain control to

the -20 dB setting and set the pad switch

to

0 dB,

then gradually increase the gain control setting once

again. The STEREO L program

VU

meters should

peak around

"0

VU".

If the meter consistently shoots

past

"0

VU", or

if

the signal sounds distorted

in

your

headphones, the input sensitivity

is

set too high;

decrease the input sensitivity until the levels are

correCt.

The input peak LED may also be used

as

a visual

aid

in

adjusting the gain control. If the peak

LED

is

on

continuously the gain control is set too

high-reduce

the gain control level. Normally, the

peak

LED

will light occasionally

on

louder musical

passages (peaks or transients).

4. Repeat the procedure for each input channel, until all

channels are set for proper input sensitivity. Turn the

Mixer Power Off, and connect your outputs. Turn the

mixer power ON again. You are now ready

to

adjust

the remaining controls on each channel.

NOTE:The

console and all signal processing devices

connected to

it

MUST be turned on before

the power amplifiers are turned on, or the

turn-on transient could easily cause irrepa-

rable damage

to

your loudspeakers. This pro-

cedure should be reversed when the system

is turned off.

Using

the

Channel

EO

Controls

The Low-EO control adjusts the channel's frequency

response through the low-frequency range. The control

has no effect ("flat response") when centered. Low

EO

boost (clockwise rotation) gives more "fullness"

to

vocals, guitars, etc

.,

and more of a me

ll

ow character

to

horns and woodwinds. Low-EO cut (counterclockwise

rotation) removes boominess, avoids some of the

excessive energy from drums, and reduces 50 or 60

cycle hum, and stage rumble.

The Mid-EO control permits peaking boost or cut

equalization at the frequency determined by the setting

of the MID

FREO

control

(0

.

35-5

kHz). Boosting the

midrange (especially at around 2.5 or 3 kHz) can great-

ly increase the overall "presence"

of

the sound.

Vocalists will seem to come forward and stand out from

the instrumental backing. Cutting the mid-frequencies

has the opposite effect

-vocals

seem

to

recede and

the overall sound becomes "thinner". It is often effec-

tive

to

cut the midrange response of the instrumental

backing just slightly, and boost the vocal channel

midrange a little in order

to

make the vocals stand out

with exceptional clarity.

The High-EO control adjusts the channel's frequency

response through the high-frequency range. High-

EO

boost (clockwise rotation) gives more

"edge"

or

"bite

"

to string instruments and more "attack" to percussive

instruments. High-

EO

cut (counterclockwise rotation)

removes some of the breath sound from wind instru-

ments, reduces guitar·string fingering sounds, lessens

hiss, and avoids sibilant (Iispy) vocal sounds. High-EO

cut also helps to make a performer sound farther

away, particularly if reverb

is

added. The equalizer

can be helpful

in

avoiding feedback, too.

Care should be taken not to "over-equalize" any given

channel. Using drums

as

an

example, moving the

microphone as little as one inch (2.5 cm) can alter

its tonality

significantly-without

having to adjust the

channel equalizer. Also, the type of microphone used

can greatly affect the tone achieved. Experiment with

different microphones and microphone placement for

the best results in your application. A little care in

mic

placement can save a lot of time trying to "fix

it

in

the

mix".

11

APPLICATION

EXAMPLES

The

MC1204 will

be

used

in

the following application

examples Actual application may require more input

channels,

in

which case the MC1604 or MC2404 are

recommended.

A

Sound

Reinforcement

System

Balanced microphones are plugged directly into

the

channel

XLR

input connectors, while unbalanced elec-

tronic instrument outputs (synthesizers, etc.) are con-

nected

via

a balancing transformer type direct

box.

Compressors are connected at the insert jacks

of

the

vocal mic channels, and a "flanger" effect

is

con-

nected

at

the insert jack

on

one of the instrument

channels.

The

ECHO

1 SEND and

RETURN

connectors

are hooked

up

to a digital delay unit, while a reverb unit

is

connected to the

ECHO

2 SEND and

RETURN.

The

DIGITAL

REVERB UNIT

SPEAKER SYSTEM

COMPRESSOR

LIMITER

DIGITAL

DELAY UNIT

PF

15

BALANCING

DIRECT

BOX

BALANCING

DIRECT

BOX

DX

7

SYNTHESIZER

IN COMPRESSOR

OUT

'--

____

---1

COMPRESSOR

INSTRUMENT VOCAL

MICS MICS

EQUALIZER

f------l

POWER AMP

f-----I

MONITER SPEAKER

'---.-.I

EQUALIZER

f------l

POWER AMP

f-----I

MONITER SPEAKER

STEREO

OUT connectors feed the main left and right

house speaker power amplifiers

via

graphic equalizers.

The

FB

OUT connectors feed the stage monitor

amp/speakers, also via graphic equalizers for feedback

control.

The

GROUP OUT connectors feed a 4-track

tape recorder

so

that the performance can

be

recorded

and remixed later to stereo.

The

GROUP

INSERT

II\J/OUT

jacks may be used to connect a com-

pressor/limiter or other effect which will then process

all

the channels assigned to that group.

12

A

Recording

System

As

in

the sound reinforcement system shown previous-

ly,

balanced microphones are plugged directly into

the

channel

XLR

input connectors, while unbalanced elec-

Ironic instrument outputs (synthesizers, etc.) are con-

nected via a balancing transformer type direct box.

In

this case, however, the last four input channels are

connected

to

the

outputs from a 4-channel multitrack

tape

recorder. Compressors are connected at the insert

jacks of

the

vocal mic channels. The

ECHO

1

and

2

SEND

and

RETURN

connectors are connected

to

a

high-quality stereo plate reverb unit. The

FB

1

and

2

OUT

connectors feed separate headphone amplifiers

providing two different headphone cue mixes for the

performers.

The

STEREO

OUT connectors feed the

control room monitor system, and the GROUP OUT

connectors

feed

the 4-channel multitrack recorder.

luJ

DIRECT

I~

BOX

OX 7

SY

NTH

ES

IZER

SPEAKER

PERFORMERS'

HEA

D

PH

ONES

SPEAKER

. ·CHA

NNEL

MICROPHON

ES

-MU

LTrm

ACK

L...:-=-=--"--"'-'

TA

PE

DE

CK

ST

ER

EO

PL

ATE

REVERB

MONITOR

13

STEREO

H;D~---,oc------,!;"""'7~

TAPE _ °

PLAYER c..:-=--,O,,---=--=---,

POWER

AMP

POWER

AMP

OVERHEAD

1MICROPHONES OFFSTAGE

MICROPHONE

STAGE FLOOR

MICROPHONES

A

Theatrical

Production

System

In

this application the inputs consist of stage floor and

overhead mics, wireless mic receivers

and

a stereo

tape player,

The

ECHO

1 and 2

SEND

and

RETURN

connectors are hooked up to a stereo echo system for

special effects,

The

GROUP OUT connectors feed

the

power amplifiers which drive the main stage speakers,

STEREO ECHO

and one of

the

FB

OUTs are used to drive a "back fill"

amp/speaker system, The remaining

FB

OUT drives a

foldback system for the dressing rooms

and

lighting

staff,

The

STEREO

OUTs are available to drive a tape

deck to record

the

performance, or a remote broadcast

feed,

TO TAPE RECORDER

OR

REMOTE BROADCAST FEED

+----------------'

TO

BACK

FILL

SPEAKER

SYSTEM

FOLDBACK

TO

DRESSING ROOMS,

_----I

UGHTING STAFF,

ETC

,

POWER AMP

POWER

AMP

POWER

AMP

TO MAIN STAGE SPEAKERS

14

SPECIFICATIONS

Frequency Response

20

Hz-

20

kHz

O~l

dB (@ 600

11,

+4 dB)

Total H1armonlc Less than 0 1% (20 Hz -20 kHz @ 600

11,

Distortion

+4

dB)

Noise

level'

Equivalent Input -128

dB

(

Rs-1

S0

fl)

Noise

Residual Noise -95

dB

GROUP OUT -86 dB GROUP Level Volume-nominal' ,

All CH Assign

Switches-off

-64 dB GROUP Level Volume -nominal' ,

One Input

Fader-nominal"

STEREO OUT -

76

dB GROUP

Fader-maximum

All

GROUP

Faders-minimum

-64

dB GROUP Fade

r-maximum

One Input Fader and One GROUP

Fader -nominal"

FB

OUT -67 dB GROUP Level

control-

nominal"

All

Input FB

Volumes-minimum

-62 dB GROUP Level

control-nominal"

One Input

FB

Volume-nominal"

ECHO SEND -67 dB GROUP Level

control-

nominal"

All

Input ECHO

Volumes-minimum

-62 dB GROUP Level

control-

nominal"

One Input ECHO

Volume-

nominal"

Maximum Voltage Gain

INPUT

-GROUP

OUT

76

dB

INPUT

-STEREO

OUT

76

dB

INPUT-

FB

OUT

76

dB

INPUT-ECHO SEND 82

dB

ECHO

RTN-GROUP

OUT

12

dB

TALKBACK INPUT

-GROUP

OUT 66

dB

GROUP SUB

IN-GROUP

OUT 6 dB

FB

SUB

IN-

FB

OUT 6 dB

ECHO

SUB

IN-ECHO

SEND 6 dB

Equalizer Characteristics

LOW-EO ±

15

dB

(100 Hz Shelving)

MID-

EO

±

15

dB (350 Hz - 5 kHz

Pe

aking)

HIGH-

EO

±

15

dB

(10kHz

Shelving)

Crosstalk

(1

kHz)

MIXBUS to MIXBUS Less than -60 dB

INPUT CH to Less than -60 dB

INPUT CH

VU

Meter

MC1204, MC1604 GROUP

l/FB

1,

GROUP 2/FB 2, GROUP

31

ECHO

1,

GROUP

4/ECHO

2,

STEREO

L.R

MC2404 GROUP 1-

4,

FB

12,

ECHO 1.

2,

STEREO

L.R

Peak Indicator

INPUT (Red) Lights 3 dB below clipping

VU

(Red) Lights 8 dB above 0

VU

Power Requirements

U.S.

&Canadian models:

120

V 60

Hz

General Model:

110

-120/220-240 V

50/60

Hz

Power Consumption U.

S.

&Canadian

models

:

70

W

General model: 80 W

Dimensions (W x Hx

D)

MC1

204

762.5

x

185

.5x 654.3

mm

(30" x 7-5/16" x 25-3/4" )

MC1604

919x

185.5x654

.3

mm

(36-3/16x 7-5/16" x 25-3/4")

MC2404 1,232 x 185.5 x 654.3 mm

(48-1/2" x7-5/16" x 25-3/4")

Weight

MC1204

22

kg

(48

Ibs.

60z)

MC1604 26

kg

(57

tbs

.

30zl

MC2404

34

kg

(74

tbs

.

13

oz)

'Measured with a - 6 dBloctave

LPF

@

12

.7 kHz.

"nominal

=6

dB

below max.

Specifications subject to change without notice.

odB=0.775 V

15

.INPUTS

Input terminals Input level

Input Source Sensitivity Connector

impedance impedance

Ma

x non·

PAD GAIN Rated level

clippi

ng

le

ve

l

----

t.-

--

-

--

-60dB

-

72dB

-60dB -

30dB

CHINPUT

50

-

250

0 (0.

195mV

) (0.775mV) (

245mV

) XLR type

OFF

( a

dB}

LO Z

4k

O

Microphones

-32dB

-

20dB

+

10dB

(Balanced )

[MC1

204

I -

12)

MC

1604

I -

16

or

(

19

.5mV) (

77

.5mV

) (2.

45V

)

-20dB

HI

Z

10k

0

MC2404

I -

24

600

Q Lines

-12

dB

adB +

20dB

Phone Jack(TRS )

ON(

20dB

} (

195mV

) (775mV ) (7.75V) (Balanced)

(MCIIIl4 I -

II)

10k

0

600

0

lines

-

22dB

10dB

+

20dB

Phone

Jack(TRS

)

CH INSERT IN

MC

I

61l4

1- 16 (61.6mV) (245mV) (7.75V) (Unbalanced)

MCI.1l4 I -

I'

( I - 4 ) 5 k0

600

0 Lines -

16dB

-IOdB

+20dB Phone

Jack(TRS

)

GROUP INSERT IN (

123mV

) (245mV) (7.

75V

) (Unbalanced)

( I . 2 )

10

k 0

600

0 Lines - 8 dB + 4 dB +

20dB

Phone Jack

ECHO RETURN (309mV) (1.23V) (7.75V) (Unbalanced)

SUB IN

(

~:?UPI

.

I

EC~O

I . I )

10k

0

600

0

lines

- 2dB + 4 dB +20dB Phone Jack

(616mV) ( 1.23V) (7 .7

5V

) (Unbalanced)

"--

. -

IOdB

XLB· 3

-31

10k

0

50

-

250

Q

-62dB

-50dB

TALKBACKINPUT

Microphones (0.616mV) (2.45mV) (245mV) (Unbalanced)

.OUTPUTS

Output level

Output termina

ls

Output Load

Ma

x. non· Connector

impedance impedance

Ra

ted le

ve

l clipping level

.-

-

GROUP OUT ( I -

4)

150

0

600

0 Lines +4 dB( 1.

23V

) +

22dB

(9.

76V

) XLR type

(Balanced)

STEREO OUT (L.

R)

150

0

600

0

lines

+ 4 dB( I .

23V

) +

22dB

(9.76V) XLR

type

(Balanced )

FB

OUT ( I . 2 )

150

0

600

Q Lines + 4 dB( 1.

23V

) +

22dB

(9.76V) XLR type

(Balanced)

2 )

150

0

600

Q

lines

+ 4 dB( 1.

23V

) +18dB(6.

16V

) Phone Jack

ECHO SEND (

I.

(Unbalanced)

(MC

11

0. I - II )

10k

0 Lines

-IOdB

(245mV) + 20dB(7

75V

) Phone

Jack(TRS

)

CH INSERT OUT

MC

I60' 1 -

16

100

Q (Unbalanced)

MC1.1l4

I - I.

GROUP INSERT

OUT

( I - 4 )

600

0

10

k 0 Lines -IOdB(245mV) + 20dB{7.

75V

) Phone

Jack(TRS

)

(Unbalanced)

PHONES

100

0 8 Q Phones

ImW

20mW Stereo

Phone

Jack

40

Q Phones

3mW

130mW (Unbalanced)

• Input level requined to produce vated + 4 dB output leve

l.

• 0

dBO

.775Vr.m.s.

~

Dimension

I

,

-I'

~

.

~

.

~

!

=

J

~

0 0

~

.

~

;;

~

' .

~

.

~

.

~

0

~

;

1

Un

il m

mlln

ch ) 16

c

,e".

CH

INSERT

~

·

......

IN/OUT

~

..

to.o~.

1'

....

l

i..c-:~~;"-

;E~-;;

;E~;O;

-

-:

;

.;C~~;

~E;;;S;C~~N-

--

--,

lllQ1fUl

~

1

~~"·"

-

ir~'

.~:;I

_

~:::

\''''""j

'' i1

~ ~

Gr

~

!

':~-

~(1l

--i:H

'1

~

--M

--

~-

(I

11111

~

~--H-Wf

II II

I!

'L.<

WI.

I

IIIIII

L

1111

1

I

I-H-t-t-HI

~

~,

G'

~

(-8A

-

+--<

~~~M

~

~---L/~

i

iJ:-

II

I

'-'W!JJ

~=-®1

~

..

1_

..:..,.

~~~

.---

G'

1~

-

~3

~

t

.

~

-

,,~~=cJ

11,y

..;....

J.~~

--

-, y

~

r

,.

:~

'

II

r r

,i,,,.,

..

,,,,,

I . : :

[co<!

1

[CI'IO'

L

T~O..

I

LQIII'.IOH

1

~.

-2'0'

....

0.

'"

"

un

G'"

••

0 , •

~

~ ~

,

IMIO

~"' O

t

: . - f L

________________

I

iTT

T T :

:~

L~~_~

__

~_~

______

J

:

, , .

"""'"

I

'~

[

Ji

GROuP

t~SE~To"

J

~

"

2

l?

~

ji

~_

GROUP

OUT

ROUP

INSERT \

IT.OB'

.

~~

~

"--L

e

INSfRT

-

f:::>---..,

I

·

J

~.

~

"~~.'.:,'~

-

~~;:

tlllil

mt

-

·,1 I

;%.

,~

~

HHllm

I

~~

t.-J:::::....

I

GRM'

~

,

~

<>--,

6t

~

,

~

:

I'-

~

II

PfiONES

E '

GROUe2

~

'

~

{~

r

~

",

~

...

J.~

)

L

l~

(~

t

rn

'

-l

tttt, r

~

,

ECHO

SEND

GROJe3~

~

,...

't'

-.J

'T'O.'

•

~~~

' .:=]2

~

crn.oJJ

r

GRaJP4n

~

SUB

IN

Ct4IJ9l

~

..

=

":~Gf

---llll

11

1

1111

~~1

~:

~

~.'··,

'82~

m

r-

o

=-=:

-

»

G)

»

~

3:

__

c

CH

IIJ,jSERT

;

J

~

GoIOoJ'"t.OooO

,.

r-MC~~~I~-

:E~~

~E~;O~

-

-"1

:

.:-C~~;

~E~;R-S;C~~;

- - - -

.,

,

....

J 1 • Z c.A' tu(

""

~

,,

-=

'''M

T • ,

'M

" :

.~r-

r

~1J::-..

~

O)p

I

~~------'r

I

i~~~~~~i

!?~,~?'

:

rr

'fr rr

(,

j

J::

H<

,

"00'

, '''"0.

'".

!

~

"

,,, ,,, .

"

~~

1WT

, " .

L~::'

-'!.'~.:'~'-

~~

-.:-

-!

_I

:

Ifl

~

Gfl

Gf

b c=QJ'

__

.;

:

~

'

~~~oo

'

I

:.

'

r.

-!

-

Y

I Ij

(-B>--

~

.-'

__

~

P I

1 _

L~'

__

~

__

~

_ _

..:

_____

_

•

.-

.•

L

'

.-

';':.:;~;:'

!

:~~

L""r " .

~

_"'

•.

\Tt..:.c

I :

,""

~O""."

......

".J

...

~

~l.

~

"'

;i~

l

t

J.:>...

__

_

---.f:>

~

.:Q/

'"

-1

-,

V

l?

:

I

~

L

~_

~

" .

,.,~,

_

__

.

, .

~~

..

~~

J

I1

1111

111

~~

~

.

:.

f

'

~~:J0

1

)

GR

O

UP

().)T

.c_

....

._

~~

..

. - • •-

t"""t

=11

l ;

p-

-

t:;?----

,

.4dB

J

-&>

"~,,,

I

..

d

1"

"''''

-'

c

~

,

~

~.!~t]"".c

1~1'

....J

, .

GROup

~"1'RT

~""v

•

.00'"

~~~

~

(

G'

_

,~r

(~

..

,~

~.-J

~'.9!i

~

.,f.w.

.

~

(_

r

Rl

....

' ,

-0-

- - 1 .

',

(J

" '

(C

',,",

" L "

'

c:;

M"~~

•

"i!'

'

11'

('

, , -

[CMO

,

.....

n

,.,

_

~

,

I'

-vJ

'

~

" I l• .

,.

~

[

,

-r

',

..

,,_

I

••

, ."

STEREO

OUT

'

J.

- •

[CMO

RT~Z,

_

;-....,

V I

..

40B

I

,

....

.

~

..

,'!.~!.

.

t

~'!!>

'

--

r-'

..

r:!;n-:-f "

..

.

C:

,

J;:--.j

~

~lR

_

---"

~

<1'''''

-l -( I

~'I"

o

.

"

o~

~

,.

,

~

J.'

,'~/

,

~

_ -

~

T"'-"""I:<

_ _ _ _

~

__ _ ! . •

•

;--...,......,..

I

-----'

I

~'

UI.

~

.t

"

l

't

-b

,.,

"

1...

.w

,."

'"~

~

i;>.

~

'-

'r

r.

,

'=='

n

"~""

- -

GR

OU

P I

:::r

- -

-vj

!

J

'

.a.«P~

(~

f

r

.R""

P2

9

--

-"

~

----V

-"-

':v .

~

"

,

~

",

oo,('$

J.l.

¥ (

~

,

I

III

II

~~~

-'~

'

-l

GRruP39

,...

"r

EC~O

SEND

~(~

t ' . _

---.J't40B

I

~

llili

~

~ 2

r

GRruP4

9

cv

e

SUS

IN

'+4cJ8l

[0<0

I

~

'S

•

11

~L~l'"1

.

F8

OUT

l [

CHOZ

9 tt---tb-L"

..

~

lz

-.l

IHOS

I

"'9

c;;r

l

l L......

'B2~'~

."

...

o

~

-

»

G)

::a

»

=:

lEV

,

EL

DIAGRAM

GAIN

ECHO

RETURN

,

L-

_ _

~~

_~~

__

GROUP

INSERT

IN/OUT

III

=>

III

w

=>

u

~

GROUP

OUT

l ¥

,\'

f

BA

------L

GROUP

GROU

FADER PAN

~'J~

-.

ST~

FADER

-":>I.J'

..

--"--r-~

BA

{

TALKBACK

TALKBACK~~r-

BA

>--~

}-

-

--+---

F

-

B

--

-~

30

20

10

O PAD

ON

-1

-10

-20

-30

,

\

TALKBACK

SUB IN ~-

---l~

L

JM:>-0--f

ECHO

~~-f---~--~

~ECTRONJC

BALANCED OUTPUTS ONLY

--

~=

."'"

""

'"

'""'

,.+

m,

~i

CLIPPING

LEY~L

____

_

II

GROUP

~N

1/,\

STEREO I

OUT

STEREO

GROUP

FB

ECHO

1

--\ :I

U,J,

__

"""::::=:':""":""::"'_-I

ECHO

\jj

I

---- LPHONES

(RL

"

aJ1.)

18

-40

-!SO

-60

CH

INPUT

(GAIN

-60)

~GROUP

-W

OUT

1

~

a a STEREO

OUT

Yamaha MC1204 User manual

Popular Music Mixer manuals by other brands