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English Deutsch Français Español Owner’s Manual Bedienungsanleitung Mode d’emploi Manual de instrucciones EN DE FR ES  IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured makings identifying the terminals in your plug proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Making sure that neither core is connected to the earth terminal of the three pin plug. * This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (2 wires) COMPLIANCE INFORMATION STATEMENT (DECLARATION OF CONFORMITY PROCEDURE) Responsible Party : Address : Telephone : Type of Equipment : Model Name : Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620 714-522-9011 USB Mixing Studio MW12CX/MW12C This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: 1) this device may not cause harmful interference, and 2) this device must accept any interference received including interference that may cause undesired operation. See user manual instructions if interference to radio reception is suspected. * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (FCC DoC) FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements 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 operation of other electronic devices. Compliance with FCC regula- * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class b korea) 2 MW12CX/MW12C Owner’s Manual tions does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries. (class B)  PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep this manual in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: Power supply/Power cord Water warning • Only use the voltage specified as correct for the device. The required voltage is printed on the name plate of the device. • Do not expose the device to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. • Use only the included AC power adaptor (PA-20 or an equivalent recommended by Yamaha). • Never insert or remove an electric plug with wet hands. • Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it. If you notice any abnormality • If the power cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the device, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the device inspected by qualified Yamaha service personnel. Do not open • Do not open the device or attempt to disassemble the internal parts or modify them in any way. The device contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualified Yamaha service personnel. • If this device or the AC power adaptor should be dropped or damaged, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the device inspected by qualified Yamaha service personnel. CAUTION Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the device or other property. These precautions include, but are not limited to, the following: • Do not place the device in an unstable position where it might accidentally fall over. Power supply/Power cord • Remove the electric plug from the outlet when the device is not to be used for extended periods of time, or during electrical storms. • 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. • When removing the electric plug from the device or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it. • To avoid generating unwanted noise, make sure there is adequate distance (50 cm or more) between the AC power adaptor and the device. Connections • Before connecting the device to other devices, turn off the power for all devices. Before turning the power on or off for all devices, set all volume levels to minimum. • Do not cover or wrap the AC power adaptor with a cloth or blanket. Location Handling caution • Before moving the device, remove all connected cables. • When setting up the device, make sure that the AC outlet you are using is easily accessible. If some trouble or malfunction occurs, immediately turn off the power switch and disconnect the plug from the outlet. Even when the power switch is turned off, electricity is still flowing to the product at 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. • When turning on the AC power in your audio system, always turn on the power amplifier LAST, to avoid speaker damage. When turning the power off, the power amplifier should be turned off FIRST for the same reason. • Do not insert your fingers or hands in any gaps or openings on the device. • Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any gaps or openings on the device. If this happens, turn off the power immediately and unplug the power cord from the AC outlet. Then have the device inspected by qualified Yamaha service personnel. • Avoid setting all equalizer controls and faders to their maximum. Depending on the condition of the connected devices, doing so may cause feedback and may damage the speakers. • Do not 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 expose the device to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disfiguration or damage to the internal components. • Do not rest your weight on the device or place heavy objects on it, and avoid use excessive force on the buttons, switches or connectors. (5)-4 MW12CX/MW12C Owner’s Manual 3  XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (-). Insert TRS phone jacks are wired as follows: sleeve: ground, tip: send, and ring: return. Yamaha cannot be held responsible for damage caused by improper use or modifications to the device, or data that is lost or destroyed. Always turn the power off when the device is not in use. Even when the power switch is in the “STANDBY” position, electricity is still flowing to the device at the minimum level. When you are not using the device for a long time, make sure you unplug the power cord from the wall AC outlet. The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult qualifi ed Yamaha service personnel about replacing defective components. The MW 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 both the MW12CX and MW12C. The main difference between the two models is that the MW12CX includes digital effects while the MW12C has no internal effects. * In this manual the term “MW mixers” refers to both the MW12CX and MW12C. In cases where different features need to be described for each model, the MW12CX feature will be described first, followed by the MW12C feature in brackets: MW12CX (MW12C). SPECIAL NOTICES • The owner’s manual is the exclusive copyright of Yamaha Corporation. • The included software is the exclusive copyright of Steinberg Media Technologies GmbH. • Copying of the software or reproduction of this manual in whole or in part by any means is expressly forbidden without the written consent of the manufacturer. • Yamaha makes no representations or warranties with regard to the use of the software and documentation and cannot be held responsible for the results of the use of this manual and the software. • This disk is a DVD-ROM. Do not attempt to play the disk on a DVD player. Doing so may result in irreparable damage to your DVD player. • Visit the web address below for the latest information on supplied software and operating system requirements. <http://www.yamahasynth.com/> The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may appear somewhat different from those on your instrument. This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or with respect to which it has license to use others’ copyrights. Such copyrighted materials include, without limitation, all computer software, style files, MIDI files, WAVE data, musical scores and sound recordings. Any unauthorized use of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of copyright has legal consequences. DON’T MAKE, DISTRIBUTE OR USE ILLEGAL COPIES. Copying of the commercially available musical data including but not limited to MIDI data and/or audio data is strictly prohibited except for your personal use. • Windows is the registered trademarks of Microsoft® Corporation. • Apple, Mac and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. • Steinberg and Cubase are the registered trademarks of Steinberg Media Technologies GmbH. • The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies. Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. 4 MW12CX/MW12C Owner’s Manual  Introduction Thank you for choosing a Yamaha MW12CX/MW12C USB Mixing Studio. The MW12CX/MW12C includes an audio mixer equipped with a USB interface for digital audio data transfer, and Cubase AI DAW (Digital Audio Workstation) software for Windows® and Macintosh® computer operating systems. With the MW12CX/MW12C USB Mixing Studio and your personal computer you have the basic elements of a high-performance computer recording system that is easy to set up and operate. Please read through this manual carefully before beginning use, so that you will be able to take full advantage of your mixer’s superlative features and enjoy trouble-free operation for years to come. After reading the manual, please store it in a safe place. Features Connect To Your Computer via a Single USB Cable (page 7) The MW mixer connects to your computer via the supplied USB cable. Stereo audio data is transferred in both directions—from the mixer to the computer, and vice-versa—via the USB connection (44.1 kHz or 48 kHz sampling frequency). No Driver Installation Required (page 7) The MW system uses the standard drivers included in your computer’s operating system, so there’s no need to install any extra driver software. Cubase AI DAW Software Supplied (page 7) Cubase AI software, included in the MW package, offers versatile, high-performance hard-disk recording capability. Compression (page 9) Compression increases the overall level without introducing distortion by compressing excessive peaks in the signals from microphones and guitars. Mixer Functions (page 16) The MW mixer can handle up to 12 simultaneous inputs, mixing them to STEREO OUT or REC OUT. You could connect four microphones and four stereo sources, or six microphones and two stereo sources, for example. AUX SEND connectors are provided for convenient connection to external signal processors or other equipment. 48V Phantom Power (page 19) A PHANTOM switch supplies +48V phantom power to the mixer’s microphone inputs, so you can use high-quality phantom-powered condenser microphones for superior recording quality. Accessories • • • • Cubase AI DVD-ROM Power adaptor (PA-20)* USB cable Owner’s Manual (this book) Contents Introduction...........................................5 Features .......................................................... 5 Contents.......................................................... 5 Before Turning on the Mixer............................ 6 Turning the Power On/OFF............................. 6 ■ Mixer Basics................................ 7 Quick Guide ..........................................7 1. 2. 3. 4. 5. 6. Installing Cubase AI .................................... 7 Connecting to the MW mixer....................... 7 Powering Up the System ............................ 8 Adjusting Level and Tone ........................... 9 Recording with Cubase AI ........................ 10 Mixing with Cubase AI .............................. 13 ■ Reference .................................. 15 Setup....................................................15 Front & Rear Panels ...........................16 Channel Control Section ............................... 16 Master Control Section.................................. 18 Digital Effect .................................................. 20 Rear Input/Output Section............................. 20 Digital Effect Program List............................. 21 Jack List ........................................................ 21 Troubleshooting .................................22 Specifications .....................................91 Electrical Specifications ................................ 91 General Specifications .................................. 91 Analog Input Specifications........................... 92 Analog Output Specifications ........................ 92 Digital Input/Output Specifications ................ 92 Dimensional Diagrams .................................. 93 Block Diagram and Level Diagram................ 94 About the accessory disk ..................95 * May not be included depending on your particular area. Please check with your Yamaha dealer. MW12CX/MW12C Owner’s Manual 5  Introduction Before Turning on the Mixer 1 Be sure that the mixer’s power switch is in the STANDBY position. CAUTION 2 Use only the included power adaptor (PA-20) or an equivalent recommended by Yamaha. Use of a different adaptor may result in equipment damage, overheating, or fire. Connect 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. w 3 q Plug the power adaptor into a standard household power outlet. CAUTION • Be sure to unplug the adaptor from the outlet when not using the mixer, or when there are lightning storms in the area. • To avoid generating unwanted noise, make sure there is 50 cm or more between the power adaptor and the mixer. Turning the Power On/OFF 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. CAUTION NOTE Note that trace current continues to flow while the switch is in the STANDBY position. If you do not plan to use the mixer again for a long while, please be sure to unplug the adaptor from the wall outlet. To prevent loud pops and noises, turn on the power to your sound gear starting with the sources (instruments, CD players, etc.) and ending with the power amplifier or powered speakers. Example : Instruments, microphones, and CD players first, then the mixer, and finally the power amplifier or powered speakers. When turning off the power to the system, reverse the order described above. 6 MW12CX/MW12C Owner’s Manual  Mixer Basics Quick Guide Mixer Basics This quick setup and operation guide covers everything from installing the Cubase AI software to using Cubase AI for recording and mixdown. While going through this section you might find it useful to also refer to the “Front and Rear Panels” section on page 16, as well as the pdf manual supplied with the Cubase AI software. Step 1 Installing Cubase AI Important! 1 2 3 You are only permitted to use this software pursuant to the terms and conditions of the “Steinberg Software End User License Agreement (EULA)” shown during the installation. Start the computer and log on to the Administrator account. Insert the included DVD-ROM into the computer’s DVD-ROM drive. Follow the on-screen instructions to install the Cubase AI software. NOTE • In order to have continuous use of Cubase AI, including support and other benefits, you will need to register the software and activate your software license by starting it while the computer is connected to the Internet. Click the “Register Now” button shown when the software is started, then fill in all required fields for registration. If you do not register the product, you will be unable to use the application after a limited period of time expires. • To install on Mac computers double-click the “Cubase AI*.mpkg” icon or the “Cubase AI* Start Center” icon. “*” indicates where the version number appears in the actual icon name. • Visit the web address below for the latest information on: <http://www.yamahasynth.com/> Step 1 2 Connecting to the MW mixer Turn the power to the MW mixer and all gear that is to be connected to the MW mixer off/standby (except the computer), and set the channel faders, STEREO OUT Master fader, and REC OUT fader to their minimum settings. 2 Connect the MW mixer to your computer using the supplied USB cable. USB Connection Precautions Be sure to observe the following points when connecting to the computer’s USB interface. Failure to observe these rules can result in computer freezes/ hang-ups and possibly data loss or corruption. If the MW mixer or computer does hang up, turn the power to both devices off and then on again, and restart the computer. CAUTION • Be sure to wake the computer from sleep/suspended/standby mode before making a connection to the computer’s USB connector. • Connect the MW mixer to the computer before turning the MW mixer power on. • Always quit all applications running on the computer before turning the MW mixer’s power on or off, or connecting or disconnecting the USB cable. • Wait at least 6 seconds between turning the MW mixer on or off, and between connecting or disconnecting the USB cable. Channel fader REC OUT fader STEREO OUT Master fader CAUTION NOTE When connecting or disconnecting the USB cable be sure to turn the 2TR IN/USB control all the way down. Disconnect the USB cable when using the MW mixer without the computer. MW12CX/MW12C Owner’s Manual 7  Mixer Basics Quick Guide 3 Connecting Microphones and/or Instruments. For details on making connections refer to the “Setup” section on page 15 and the “Front & Rear Panels” section on page 16. Step 3 Powering Up the System To prevent loud pops and noises, turn on the power to your sound gear starting with the sources (instruments, CD players, etc.) and ending with the power amplifier or powered speakers. Example : Instruments, microphones, and CD players first, then the mixer, and finally the power amplifier or powered speakers. Be sure to turn the MW mixer PHANTOM switch on when using phantom-powered condenser microphones. Observe the following precautions when turning on phantom power. CAUTION • Make sure that the PHANTOM switch is off when phantom power is not needed. • When turning the switch on, be sure that only condenser microphones are connected to the XLR input jacks. Other devices may be damaged if connected to phantom power. This precaution does not apply to balanced dynamic microphones, however, as these will not be affected by phantom power. DI • To minimize the possibility of speaker damage, turn phantom power on ONLY while your power amplifier or powered speakers are switched off. It’s also a good idea to turn the mixer’s output controls—STEREO OUT Master fader and REC OUT fader—all the way down. USB cable Although electric guitars and basses can be connected directly to the mixer’s inputs, the sound is likely to be thin and possibly noisy. For best results with these types of instruments use a DI box (direct box) or amp simulator between the instrument and the mixer. NOTE • We recommend that you set the computer output to the maximum level and mute the computer’s internal speaker. For details on how to make the setting refer to the “The recorded sound is too low in level.” in the “Troubleshooting” on page 22. • The first time you connect to the computer’s USB connector, or change the connection to a different USB port, a driver installation display may appear after turning the power to the MW mixer on. If this occurs, wait until the installation is complete before proceeding. Balanced Cables and Unbalanced Cables Two types of cables can be used to connect microphones, electronic instruments, and other audio sources to the mixer’s inputs, as well as to connect the mixer’s outputs to a power amplifier or related gear: balanced or unbalanced. Balanced cables are highly resistant to noise, and are the best choice for low-level signals such as the output from microphones, as well as for long cable runs. Unbalanced cables are generally used for short runs from line-level sources such as synthesizers. Cable Guidelines Microphone cable Short line-level cables Long line-level cables Balanced is best. Unbalanced cable is fine in a relatively noise-free environment. Balanced is best. Connector Types XLR Connectors This 3-pin connector is resistant to externally induced noise, and is used primarily for balanced connections. With properly designed receiving circuitry cables with this type of connector can also be used for unbalanced signals. XLR type connectors are the standard for microphone connections as well as most professional audio gear. 8 MW12CX/MW12C Owner’s Manual Phone Connectors Phone connectors are available in mono and stereo versions. Stereo types are also known as “TRS” connectors (Tip-Ring-Sleeve), and are used for stereo headphone jacks, insert jacks, and also to carry balanced signals in many cases. Unbalanced types are used for mono signals -guitar cables are a common example. RCA Pin Connectors This type of unbalanced connector is most commonly found on home audio and video equipment. RCA type pin jacks are often color coded: white for left audio channel and red for right audio channel, for example.  Mixer Basics Quick Guide 4 Adjusting Level and Tone Step Level Adjustment Tone Adjustment 1 The first step is to set the level controls on all instruments and other sources appropriately. 2 Adjust the channel GAIN controls so that the corresponding PEAK indicators flash briefly on the highest peak levels. (GAIN controls are not provided on the stereo channels—9/10 and 11/12). 3 Engage the ON and REC switches of the input channels that you would like to record. 4 Make sure that the PFL switch is off ( ), and that the MONITOR switch is set to REC ( ). 5 Raise the REC OUT fader to the 0 dB position. 6 Set the channel faders to create the desired initial balance while monitoring via headphones or monitor speakers. The overall headphone level is adjusted by the PHONES control. The MW mixer’s compressors and 3-band equalizers make it easy to shape the tone of independent channels to achieve the best possible mix. Use the High-pass Filter for Microphone Input As the name implies, a “high-pass filter” allows only signals above a certain frequency to pass. Conversely, signals below that “cutoff frequency” are attenuated. When an MW highpass filter is turned on, signals below 80 Hz are attenuated. This can be useful for minimizing low-frequency breath noise from a vocalist, as well as handling noise, or rumble transmitted via the microphone stand. It is generally a good idea to turn the high-pass filter on for microphone channels. Compression One form of compression known as “limiting” can, when properly used, produce a smooth, unified sound with no excessive peaks or distortion. A common example of the use of compression is to “tame” a vocal that has a wide dynamic range in order to tighten up the mix. Compression can also be applied to guitar tracks to add extra sustain. Too much compression can be a cause of feedback, however, so use it sparingly. OUTPUT (Min) (Max) MONITOR switch INPUT GAIN control PEAK indicator Equalizer Tips The best advice that can be given regarding equalization while recording is simply to use as little equalization as possible. If you want a little more presence you can turn the HIGH end up a bit. Or you can boost the bass a little if you feel the low end is lacking. During recording it’s better to use EQ sparingly for compensation only. ON switch PFL switch REC switch Channel fader REC OUT fader PHONES control MW12CX/MW12C Owner’s Manual 9  Mixer Basics Quick Guide Step 5 Recording with Cubase AI This section describes the procedure for recording to the Cubase AI software we installed earlier via the MW mixer. NOTE Cubase AI 6 is used for the examples in this manual. For details about other versions of Cubase AI or Cubase AI operation in general, refer to the PDF manual provided with the software. Cubase AI Setup 1 Launch Cubase AI. Windows: Click [Start] → [All Program] → [Steinberg Cubase AI *] → [Cubase AI *] to launch the program. (“*” indicates where the version number appears in the actual icon name.) NOTE 3 Select [Device Setup] from the [Devices] menu to open the Device Setup window. Windows: Select [VST Audio System] in the [Devices] field on the left side of the window. Select [ASIO DirectX Full Duplex Driver] in the [ASIO Driver] field on the right side of the window. A dialog box will appear asking “Do you want to switch the ASIO driver?”. Click [Switch]. If the ASIO Direct Sound Full Duplex Driver dialog window appears, click [OK]. Mac: Double-click the [Application] → [Cubase AI *]. “*” indicates where the version number appears in the actual icon name. NOTE • If you specified a file destination when installing the Cubase AI software, launch the application from that location. • Create a Cubase AI shortcut or alias on your desktop so you can easily launch the program when required. 2 When the Project Assistant window appears, select the [More] menu → [Empty] and click [Create]. Mac: Select [VST Audio System] in the [Devices] field on the left side of the window. Select [USB Audio CODEC] in the [ASIO Driver] field on the right side of the window. A dialog box will appear asking “Do you want to switch the ASIO driver?”. Click [Switch]. A new project is created. NOTE 10 Recorded Cubase AI data is stored as a “Project.” MW12CX/MW12C Owner’s Manual  Mixer Basics Quick Guide 4 Select [ASIO DirectX Full Duplex Driver] (Windows), [USB Audio CODEC] (Mac) in the [Devices] field on the left side of the Device Setup window, and click [Control Panel] on the right side of the window. 6 Select [VST Connections] from the [Devices] menu. Windows: If “Not Connected” is selected in the [Audio Device] field, click on the “Not Connected” indication, and then switch to [ASIO DirectX Full Duplex Driver]. Also set the [Outputs] in the same way, and then close the window. Windows: The ASIO Direct Sound Full Duplex Setup dialog box will be displayed. Check only the input port and output port [USB Audio CODEC] checkbox, and then click [OK] to close the dialog window. Mac: If “Not Connected” is selected in the [Audio Device] field, click on the “Not Connected” indication, and then switch to [USB Audio CODEC]. Also set the [Outputs] in the same way, and then close the window. Mac: The [CoreAudio Device Settings] dialog window appears. Check only the [USB Audio CODEC] checkbox in both “Input” and “Output” of the [Input/Output Configuration] field. Click [Close] to close the dialog window. 5 Make sure that “USB Audio CODEC 1/2” (Windows), “Front Left/Front Right” (Mac) are shown in the [Port System Name] field, and check the [Visible] column in the Device Setup window. Click [OK] to close the window. NOTE If the [Port System Name] field does not change, close and restart the Cubase AI, then open the Device Setup window. 7 Select [Add Track] → [Audio] from the [Project] menu. The Add Audio Track dialog window appears. 8 Set the “Count” and “Configuration” parameters, and then click [Add Track]. The added tracks will appear. NOTE You will normally use a stereo track when recording synthesizers, and a monaural track when recording vocals or guitars. MW12CX/MW12C Owner’s Manual 11  Mixer Basics Quick Guide 4 Preparing to Record 1 Click in the track list (the area in which the track names are displayed) to select a track to record on. Specify the point at which you want to start recording via the ruler at the top of the window for the project. Click the black area of the ruler to move the project cursor (the vertical black line) to that position. The various settings for the selected track are available in the Inspector on the left side of the display. [Record Enable] button Ruler Track list Recording and Playback 1 Click the Transport panel [Record] button to begin recording. When recording is started the project cursor will begin moving to the right and a box that displays the recording results will be created. <Transport panel> Rewind Record Forward Stop Start Inspector 2 Make sure the [Record Enable] button for the track to be recorded is turned on. If the [Record Enable] button is off, click it to turn it on. 3 Recording results Play the instrument to be recorded, and adjust the MW mixer’s GAIN control, channel faders and REC OUT fader so that the Clipping indicator never lights. <Transport panel> 12 Clipping indicator MW12CX/MW12C Owner’s Manual 2 3 Play the part. When you finish recording the track, click the Transport panel [Stop] button. To hear playback of the track you have just recorded, use either the Transport panel [Rewind] button or the ruler to rewind to the beginning of the recorded section, then click the Transport panel [Start] button.  Mixer Basics Quick Guide 4 Select [Mixer] from the [Devices] menu to open the Mixer window. The overall playback level will be displayed via the master section bus level meter on the right side of the mixer window, and the channel level will be displayed via the channel strip level meter. NOTE The output signal from Cubase AI is routed to the MW mixer’s 2TR IN inputs. To hear the playback sound via a pair of headphones plugged into the MW mixer, set the bus select switch to TO MONITOR ( ) and adjust the volume with the 2TR IN/USB control and the PHONES control. Level meter Step 5 To save the project select [Save] from the [File] menu and enter a file name before actually saving the file. Save your project frequently to insure against losing large amounts of data if a problem occurs. 6 Repeat steps 1 through 5 to record further material on the same track. 7 To record additional material on a different track, select a new track and repeat the record procedure. NOTE You can monitor the sound being recorded and a previously recorded sound simultaneously while recording (MONITOR MIX). Refer to “E 2TR IN/USB” on page 19 for details. Bus level meter 6 Mixing with Cubase AI In this section we’ll try mixing down multiple recorded audio tracks to stereo, and creating an audio file. Mixes can be stored as WAV or AIFF files, which can then be recorded to audio CDs. 1 2 Launch Cubase AI and open a project file. 3 While listening to playback, drag the channel strip level faders up and down to create the desired initial balance, then adjust the overall volume using the bus volume fader. Click the [Start] button on the Transport Panel. Start with the Featured Part You can start working on a mix from almost any part, but it makes the most sense to start with the main instrument or vocal. Set up an initial level for the main part, and then build the rest of the mix around it. For example, if you’re mixing a piano trio with a vocalist, begin by setting the level of the vocal track at around the nominal level, and then gradually add the other instruments. Your choices will also be influenced by the type of music you are working on. If the song is a ballad you might want to add the piano to the mix after the vocal, and then add the bass and drums. If it’s a more rhythmically oriented piece you could add the bass and drums first, and then the piano. Whatever best serves the music is right. MW12CX/MW12C Owner’s Manual 13  Mixer Basics Quick Guide 4 Drag the pan controls on the top of the channel strips left and right to set the stereo position of each track. 6 Double-click the left locator (starting point) and right locator (ending point) of the Transport panel. Change each highlighted number, and then specify the position of the locator. Bar Pan Effectively “Panning” creates the illusion of stereo space by changing the relative levels of each track’s signal sent to the left and right speakers. If a signal is sent only to the left speaker, the sound will appear to come from the far left side of the stereo sound field. If it sent with equal level to both left and right speakers our ears tell us the sound is located in the center of the stage. Judicious panning can also help to create cleanersounding mixes by spreading the instruments out across the sound stage so that they don’t “get in each other’s way.” There are no hard and fast rules, but the bass and kick drum are usually placed in the center of the mix, as is the lead instrument or vocal. Other instruments should be evenly balanced throughout the sound stage in a well-balanced manner. 5 At this point you can begin to use EQ to refine your mix, and add effects. As an example let’s try adding reverb. Click the [Edit] button ( ) on the left side of the channel strip to open the VST audio channel settings window. Click Inserts 1 and select “Reverb - RoomWorks SE”. NOTE CAUTION 14 For further details refer to the pdf manual provided with the Cubase AI software. It’s a good idea to lower the channel fader a bit before adding an effect, since the effect can cause an increase in the overall channel level. MW12CX/MW12C Owner’s Manual 7 When the final mix adjustments have been made, go to the [File] menu and select [Export] → [Audio Mixdown]. 8 Enter a file name and select a destination for the file as well as a file type. If you intend to use the file to create an audio CD, select the WAV file type (AIFF on Mac OS X), 16 bit, and 44.1 kHz. 9 Click [Export]. Progress of the mixdown operation will be shown in a progress window. When the progress window closes the mixdown is complete. NOTE Audio files created by mixdown can be directly played back using the Windows Media Player, or iTunes on a Mac computer.  Reference Setup Reference Guitar Powered Speakers Synthesizer Foot Switch (YAMAHA FC5) Bass Recorder CD Player Microphone DI Effect Processor (exciter) Effect Processor Headphones Powered Monitor Speaker Powered Monitor Speakers Personal Computer MW12CX MW12CX/MW12C Owner’s Manual 15  Reference Front & Rear Panels The following applies to both the MW12CX and MW12C. In cases where different features need to be described for each model, the MW12CX feature will be described first, followed by the MW12C feature in brackets: MW12CX (MW12C). Channel Control Section 1 MIC Input Jacks (CHs 1 to 4, 5/6, 7/8) Channels 1 to 4 (Monaural) Channels 5/6 and 7/8 (Stereo) Channels 9/10 and 11/12 (Stereo) These are balanced XLR-type microphone input jacks (1:Ground; 2:Hot; 3:Cold). 2 LINE Input Jacks (CHs 1 to 4) 1 1 4 3 3 These are balanced TRS phone-jack line inputs (T:Hot; R:Cold; S:Ground). You can connect either balanced or unbalanced phone plugs to these jacks. 3 LINE Input Jacks (CHs 5/6 to 11/12) 2 These are unbalanced phone-jack stereo line inputs. 5 4 LINE Input Jacks (CHs 9/10, 11/12) These are unbalanced stereo RCA pin jacks. Where an input channel provides both a MIC input jack and a LINE input jack, or a LINE input jack and an RCA pin jack, you can use either jack but not both at the same time. Please connect to only one jack on each channel. NOTE 6 6 7 7 8 5 INSERT Jacks (CHs 1 to 4) 9 9 0 0 Each of these jacks provides an insert point between the equalizer and fader of the corresponding monaural input channel (CHs 1 to 4). The INSERT jacks are ideal for connecting devices such as graphic equalizers, compressors, or noise filters into the corresponding channels. These are TRS (tip, ring, sleeve) phone jacks that carry both the send and return signal (tip = send/out; ring = return/in; sleeve = ground). 0 Patching external devices via an INSERT jack requires a special insert cable such as illustrated below (insert cable sold separately). NOTE A A A B C B C B C D D D E E E F F F G G G H H H To the input jack of the external processor To the INSERT I/O jack Sleeve (Ground) Ring: IN Tip: OUT I I MW12CX 16 MW12CX/MW12C Owner’s Manual Tip: IN To the output jack of the external processor CAUTION I Tip: OUT The signal output from the INSERT jacks is reverse-phased. This should not be a problem when connecting to an effect unit, but please be aware of the possibility of phase conflict when connecting to other types of device. A reversed-phased signal may result in degraded sound quality or even complete sound cancellation.  Reference Front & Rear Panels 6 GAIN Control B AUX PRE Switch Adjusts the input signal level. To achieve the best balance between S/N ratio and dynamic range, adjust the level so that the PEAK indicator 9 lights only occasionally and briefly on the highest input transients. The -60 to -16 scale is the MIC input adjustment range. The -34 to +10 scale is the LINE input adjustment range. 7 Switch (High Pass Filter) This switch toggles the HPF on or off. To turn the HPF on, press the switch in ( ). The HPF cuts frequencies below 80 Hz (the HPF does not apply to the line inputs of stereo input channels 3). 8 COMP Control Adjusts the amount of compression applied to the channel. As the knob is turned to the right the compression ratio increases while the output gain is automatically adjusted accordingly. The result is smoother, more even dynamics because louder signals are attenuated while the overall level is boosted. NOTE Avoid setting the compression too high, as the higher average output level that results may lead to feedback. 9 PEAK Indicator The peak level of the post-EQ signal is detected, and the PEAK indicator lights red when the level reaches 3 dB below clipping. For XLR-equipped stereo input channels (5/ 6 and 7/8), both the post-EQ and post-mic-amp peak levels are detected, and the indicator lights red if either of these levels reaches 3 dB below clipping. Selects whether the pre-fader or the post-fader signal is fed to the AUX (AUX1) bus. If the switch is on ( ), the mixer sends the pre-fader signal (the signal immediately prior to the Channel fader I) to the AUX (AUX1) bus, so that AUX (AUX1) output is not affected by the fader. If the switch is off ( ) the mixer sends the post-fader signal to the AUX (AUX1) bus. C EFFECT (AUX2) Controls Adjusts the level of the signal sent from the channel to the EFFECT (AUX2) bus. Note that the signal level sent to the bus is also affected by the Channel fader I. On stereo channels (5/6, 7/8, 9/10, or 11/12), the signals from the L (odd) and R (even) channels are mixed and then sent to the EFFECT (AUX2) bus. D PAN Control (1 to 4) PAN/BAL Control (5/6 and 7/8) BAL Control (9/10 and 11/12) The PAN control determines the stereo positioning of the channel signal on the REC L and R buses or on the Stereo L and R buses. The BAL control knob sets the balance between left and right channels. Signals input to the L input (odd channel) go to the REC L bus or to the Stereo L bus; signals input to the R input (even channel) go to the REC R bus or the Stereo R bus. NOTE 0 Equalizer (HIGH, MID, and LOW) This three-band equalizer adjusts the channel’s high, mid, and low frequency bands. Channels 9/10 and 11/12 have two bands: high and low. Setting the knob to the ▼ position produces a flat response in the corresponding band. 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, frequency, and maximum cut/boost for each of the three bands. Band Type Frequency HIGH Shelving 10 kHz MID Peaking 2.5 kHz LOW Shelving 100 Hz Maximum Cut/Boost ±15 dB A AUX (AUX1) Control Adjusts the level of the signal sent from the channel to the AUX (AUX1) bus. The knob should generally be set close to the ▼ position. On stereo channels, the signals from the L (odd) and R (even) channels are mixed and sent to the AUX (AUX1) bus. NOTE To send the signal to the buses set the ON switch to on ( ). On channels where this knob provides both PAN and BAL control (channels 5/6 and 7/8), the knob operates as a PAN control when input is received via the MIC jack or L (MONO) input only, and as a BAL control when input is received via both L and R inputs. E ON Switch Turn this switch on to send the signal to the buses. The switch lights orange when on. F PFL (Pre-Fader Listen) Switch This switch lets you monitor the channel’s pre-fader signal. Press the switch in ( ) so that it lights to turn it on. When the switch is on the channel pre-fader I signal is output to the PHONES and MONITOR OUT jacks for monitoring. G REC Switch This switch assigns the channel’s signal to the REC L and R buses. NOTE To send the signal to the REC bus engage the ON switch ( ). H ST Switch This switch assigns the channel’s signal to the Stereo L and R buses. NOTE To send the signal to the Stereo bus engage the ON switch ( ). I Channel Fader Adjusts the level of the channel signal. Use these faders to adjust the balance between the various channels. NOTE Set the fader sliders for unused channels all the way down to minimize noise. MW12CX/MW12C Owner’s Manual 17  Reference Front & Rear Panels Master Control Section 1 2TR IN Jacks These RCA pin jacks can be used to input a stereo sound source. Use these jacks when you want to connect a CD player directly to the mixer. 2 NOTE 1 6 • Select where you want to send the signal using the 2TR IN/USB switch E, and adjust the signal level using the 2TR IN/USB control in the Master Control section. • A signals input via both the 2TR IN input and the USB input are mixed. 4 7 5 3 8 2 REC OUT 1 (L, R) Jacks These are RCA pin jacks that can be used to connect to an external stereo recorder. The signal processed by the REC OUT fader is output via these jacks. 3 REC OUT 2 (L, R) Jacks These are impedance-balanced TRS phone jacks that can be used to connect to an external stereo recorder. The signal processed by the REC OUT fader is output via the these jacks. B 9 0 C 4 RETURN L (MONO), R Jacks These are unbalanced phone-jack type line inputs. The signal received by these jacks is sent to the STEREO L/R bus and the AUX (AUX1) bus. These jacks are typically used to receive the signal returned from an external effect device (reverb, delay, etc.). NOTE A These jacks can also be used as an auxiliary stereo input. If you connect to the L (MONO) jack only, the mixer will recognize the signal as monaural and will send the identical signal to both the L and R jacks. 5 SEND Jacks • AUX (AUX1) This is an impedance balanced* TRS phone jack that outputs the signals from AUX (AUX1) bus. You can use this jack, for example, to connect to an effect unit, cue box, or other monitoring system. D • EFFECT (AUX2) E This is an impedance balanced* TRS phone jack that outputs the signal from the EFFECT (AUX2) bus. You can use this jack, for example, to connect to an external effect unit. G 6 STEREO OUT (L, R) Jacks These jacks deliver the mixer’s stereo output. You can use these jacks, for example, to connect to the power amplifier driving your main speakers. You can also connect these jacks to a recording device when you wish to record mixer’s stereo output while using the STEREO OUT Master fader H for level control. F H • XLR jacks XLR-type balanced output jacks. MW12CX • LINE jacks TRS phone-jack type balanced outputs. 7 MONITOR OUT Jacks * impedance balanced Since the hot and cold terminals of impedance balanced output jacks have the same impedance, these output jacks are less affected by induced noise. 18 MW12CX/MW12C Owner’s Manual Connect these impedance-balanced* TRS phone jacks to your monitor system. NOTE The signal output by these jacks is determined by the MONITOR switch D, the 2TR IN/USB E, and the PFL switches on the input channels.  Reference Front & Rear Panels 8 PHONES Jack D MONITOR/PHONES Connect a pair of headphones to this TRS phone jack. The PHONES jack outputs the same signal as the MONITOR OUT jacks. • MONITOR Switch If this switch is set to REC ( ), the REC L/R bus signals are sent to the MONITOR OUT jacks, the PHONES jack, and the level meter. If it is set to STEREO ( ), the STEREO L/R bus signals are sent to these jacks and the level meter. 9 PHANTOM +48 V Switch This switch toggles phantom power on and off. When the switch is on the mixer supplies +48V phantom power to all channels that have XLR mic input jacks (CHs 1–4, 5/6, 7/8). Turn this switch on when using one or more phantom-powered condenser microphones. NOTE 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 ( not need phantom power. CAUTION ) if you do • MONITOR Control Controls the level of the signal output to the MONITOR OUT jacks. • PHONES Control Controls the level of the signal output to the PHONES jack. E 2TR IN/USB • 2TR IN/USB Switch If this switch is set to TO MONITOR ( ), the signals input via the 2TR IN jacks and the USB connector are sent to the MONITOR OUT jacks, the PHONES jack, and the level meter. If it is set to TO STEREO ( ), the signals are sent to the STEREO L/R bus. • When turning the switch on ( ), be sure that only condenser mics are connected to the XLR input jacks (CHs: 1 to 7/8). Devices other than condenser mics may be damaged if connected to the phantom power supply. Note, however, that the switch may be left on when connecting to balanced dynamic microphones. • 2TR IN/USB control Adjusts the level of the signal sent from the 2TR IN jacks and the USB connector to the STEREO L/R bus. • To avoid damage to speakers, be sure to turn off amplifiers (or powered speakers) before turning this switch on or off. We also recommend that you turn all output controls (STEREO OUT Master Fader, REC OUT Fader, etc.) to their minimum settings before operating the switch to avoid the risk of loud noises that could cause hearing loss or device damage. The following illustration shows how the switch settings correspond to the signal selection. Switches MONITOR/ PHONES PFL ON — 0 RETURN Adjusts the level at which the L/R signal received at the RETURN jacks (L (MONO) and R) is sent to the AUX (AUX2) bus. • STEREO Control Adjusts the level at which the signal received at the RETURN jacks (L (MONO) and R) is sent to the STEREO L/R bus. NOTE If you supply a signal to the RETURN L (MONO) jack only, the mixer sends the same signal to both the L and R Stereo buses. A Master SEND • Master AUX (AUX1) Control OFF REC * PFL TO STEREO STEREO (+ 2TR IN/USB) TO MONITOR STEREO + 2TR IN/USB * TO STEREO REC TO MONITOR REC (+ 2TR IN/USB) : When overdubbing, you can adjust the levels of the monitor playback signal and the signal being recorded separately. For MONITOR MIX turn on the REC and ST switches of the corresponding channels. MONITOR MIX Signal Flow 2TR IN/ USB 2TR IN/USB control Playback signal STEREO bus Recording signal Adjusts the signal level sent to the AUX (AUX1) SEND jack. • Master EFFECT (AUX2) Control — STEREO • AUX (AUX1) Control Signals output via the MONITOR/PHONES jacks 2TR IN/USB MONITOR/ PHONES controls MONITOR OUT/PHONES jacks ST switch REC switch REC bus STEREO OUT Master fader REC OUT fader REC OUT/USB Adjusts the level of the signal sent to the EFFECT (AUX2) bus. NOTE If you are using the MW12CX, the Master EFFECT control does not affect the level of the signal sent from the EFFECT bus to the internal digital effect processor. B POWER Indicator This indicator lights when the mixer’s power is ON. C Level Meter This LED meter displays the level of the signal selected by the MONITOR switch D, 2TR IN/USB switch E and PFL switch. The “0” segment corresponds to the nominal output level. The PEAK segment lights red when the output reaches the clipping level. NOTE If the input channel PFL switch is on ( ), then only the PFL output from that channel is sent to the C-R OUT jacks, PHONES jacks, and level meter. F REC OUT Fader Adjusts the signal level sent to the REC OUT jacks and the USB connector. G ST Switch If this switch is on ( ), the signals are sent to the STEREO L/R bus via the REC OUT fader F. The REC L signal goes to Stereo L and the REC R signal goes to Stereo R. H STEREO OUT Master Fader Adjusts the signal level sent to the STEREO OUT jacks. MW12CX/MW12C Owner’s Manual 19  Reference Front & Rear Panels Digital Effect * Only the MW12CX has digital effects. 1 FOOT SWITCH Jack A Yamaha FC5 foot switch (sold separately) can be connected to this jack and used to toggle the digital effects ON and OFF. 1 2 PROGRAM Dial 2 Selects one of the 16 internal effects. See page 21 for details about the internal effects. 3 PARAMETER Control 3 Adjusts the parameter (depth, speed, etc.) for the selected effect. The last value used with each effect type is saved. 4 NOTE When you change to a different effect type, the mixer automatically restores the value that was previously used with the newly selected effect (regardless of the current position of the PARAMETER Control knob). These parameter values are reset when the power is turned off. 4 AUX Control Adjusts the level of the signal sent from the internal digital effect unit to the AUX bus. NOTE 5 6 The EFFECT RTN fader does not affect the level of the signal sent to the AUX bus. 5 ON Switch Switches the internal effect on or off. The internal effect is applied only if this switch is turned on. The switch lights orange when on. An optional Yamaha FC5 foot switch (sold separately) can be used to toggle the digital effects ON and OFF. NOTE The ON switch lights and the internal effect unit is active by default when the power is initially turned on. 6 PFL Switch Turn this switch on to send the effect signal to the PFL bus. 7 7 EFFECT RTN Fader Adjusts the signal level sent from the internal digital effect unit to the STEREO bus. MW12CX Rear Input/Output Section 1 POWER Switch Use this switch to turn the mixer’s power ON or to STANDBY mode. CAUTION 1 2 3 Note that a small current continues to flow while the switch is in the STANDBY position. If you do not plan to use the mixer for a while, be sure to unplug the AC adaptor from the wall outlet. 2 AC ADAPTOR IN Connector Connect the supplied power adaptor to this connector (see page 6). 3 USB Connector Connects to the computer via the included cable. The USB connector outputs the same signal as the REC OUT jacks. CAUTION 20 MW12CX/MW12C Owner’s Manual When connecting or disconnecting the USB cable be sure to turn the 2TR IN/USB control all the way down.  Reference Front & Rear Panels Digital Effect Program List No Program Parameter Description 1 REVERB HALL 1 REVERB TIME 2 REVERB HALL 2 REVERB TIME 3 REVERB ROOM 1 REVERB TIME 4 REVERB ROOM 2 REVERB TIME 5 REVERB STAGE 1 REVERB TIME 6 REVERB STAGE 2 REVERB TIME 7 REVERB PLATE REVERB TIME Simulation of a metal-plate reverb unit, producing a more hard-edged sound. 8 DRUM AMBIENCE REVERB TIME A short reverb that is ideal for use with kick drum. 9 KARAOKE ECHO DELAY TIME Echo designed for karaoke (sing-along) applications. 10 VOCAL ECHO DELAY TIME Echo suitable for vocals. 11 CHORUS 1 LFO Frequency 12 CHORUS 2 LFO Frequency Creates a thick sound by modulating the delay time. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. 13 FLANGER LFO Frequency A sweeping pitched effect. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. 14 PHASER LFO Frequency Phase modulation produces a cyclical phasing effect. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. 15 AUTO WAH LFO Frequency A wah-wah effect with cyclical filter modulation. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. 16 DISTORTION DRIVE Adds a sharp-edged distortion to the sound. Reverb simulating a large space such as a concert hall. Reverb simulating the acoustics of a small space (room). Reverb simulating a large stage. * “LFO” stands for Low Frequency Oscillator. An LFO is normally used to modulate another signal, determining the modulation speed and waveform shape. Jack List Input and Output Jacks Polarities Configurations INPUT MIC INPUT, STEREO OUT OUTPUT Pin 1: Ground Pin 2: Hot (+) Pin 3: Cold (-) XLR Connector LINE INPUT (CH1 to 4) REC OUT, STEREO OUT, MONITOR OUT, AUX (AUX1), EFFECT (AUX2)* Tip: Hot (+) Ring: Cold (-) Sleeve: Ground INSERT Tip: Output Ring: Input Sleeve: Ground PHONES Tip: L Ring: R Sleeve: Ground RETURN LINE INPUT (CH5/6 to 11/12) Tip: Hot Sleeve: Ground Ring Sleeve Tip TRS Phone Connector Sleeve Tip Phone Connector * These jacks will also accept connection to monaural phone Connectors. If you use monaural phone connectors, the connection will be unbalanced. MW12CX/MW12C Owner’s Manual 21  Reference Troubleshooting The MW mixer won’t turn on. ❑ Is the included adaptor properly plugged into both the mixer and an appropriate AC wall outlet? The system doesn’t work properly. ❑ Are the USB cable and all necessary audio cables properly connected? ❑ Are you using a USB hub? USB hubs can interfere with proper operation, so try connecting the MW mixer directly to a USB port on the computer. If the computer has multiple USB ports, try a different USB port. ❑ Are you using other USB devices at the same time? If so, try removing the other device(s) and connecting only the Yamaha USB device. The Input ports are not shown (Windows 7/Vista). ❑ Is the sound input of your computer operating system assigned properly? 1. From the [START] menu click [Control Panel], then double-click the “Sound” icon to open the “Sound” dialog window. 2. Click the “Recording” tab, right-click the “USB Audio CODEC” icon and select “Properties.” 3. Click the “Advanced” tab, then select “2 channel, 16 bit, 44100 Hz (CD Quality)” or “2 channel, 16 bit, 48000 Hz (DVD Quality)” in the “Default Format” field. No sound. ❑ Are your speaker cables connected properly, or are they shorted? ❑ Are the ON switch, ST switch, and REC switch for the channels you are using turned on? ❑ Are the volume controls of your sources, audio devices, applications software, computer operating system, etc., set at appropriate levels? ❑ Is the output of your computer operating system muted? ❑ Do you have several applications running at the same time? Be sure to quit all applications you are not using. ❑ Is the sound output of your computer operating system assigned properly? Windows 7/Vista: 1. From the [START] menu click [Control Panel], then double-click the “Sound” icon to open the “Sound” dialog window. 2. Click the “Playback” tab and check whether the “USB Audio CODEC” icon is checked. If not, right-click the “USB Audio CODEC” icon and select “Set as Default Device.” 3. Click the [Recording] tab and check whether the “USB Audio CODEC” icon is checked. If not, right-click the “USB Audio CODEC” icon and select “Set as Default Device.” Windows XP: 1. From the [START] menu click [Control Panel], then double-click the “Sounds and Audio Devices” icon to open the “Sounds and Audio Devices Properties” dialog window. 2. Click the “Audio” tab. 3. Set “Sound playback: Default device” and “Sound recording: Default device” to “USB Audio CODEC.” 4. Click [OK]. Mac: 1. Select “System Preferences ...” from the Apple menu and then select “Sound” to open the “Sound” dialog window. 2. Click the “Input” tab and under “Choose a device for sound input” select “USB Audio CODEC”. 3. Click the “Output” tab and under “Choose a device for sound output” select “USB Audio CODEC”. ❑ Is the sound output of the Cubase AI application assigned properly? For setup details refer to page 7 of the Quick Guide. 22 MW12CX/MW12C Owner’s Manual  Reference Troubleshooting The recorded sound is too low in level. ❑ Is the computer’s output level setting too low? We recommend that you set the computer output to the maximum level and mute the computer’s internal speaker. Windows 7/Vista: 1. From the [START] menu click [Control Panel], then double-click the “Sound” icon to open the “Sound” dialog window. 2. Click the “Playback” tab, right-click the “USB Audio CODEC” icon and select “Properties”. 3. Click the “Levels” tab, then set the volume slider to its maximum level. Close the “Properties” dialog window. 4. Click the “Sounds” tab in the “Sound” dialog window, then select “No sounds” in the “Sound Scheme.” Windows XP: 1. From the [START] menu click [Control Panel], then double-click the “Sounds and Audio Devices” icon to open the “Sounds and Audio Devices Properties” dialog window. 2. Click the “Volume” tab. 3. Set “Device volume” to “High.” 4. Click the “Sound” tab. 5. Select “No sound” in the “Sound scheme.” Mac: 1. Select [System Preferences ...] from the Apple menu and then select “Sound” to open the “Sound” dialog window. 2. Click the “Output” tab and set the volume slider at the bottom of the window to its maximum level. 3. Click the “Sound Effect” tab and set the volume slider of the “Alert volume” slider to its minimum level. ❑ Have you connected or disconnected the USB cable while Cubase AI is running? Doing so can sometimes cause the Windows output level to be reset to its default level. Check and raise the output level if necessary. The level meter doesn’t show the output signal level. ❑ Are the PFL switches for the channels you are not using turned on? MW12CX/MW12C Owner’s Manual 23  Reference Troubleshooting The sound is intermittent or distorted. ❑ Is the PEAK indicator flashing red? You might have to lower GAIN control or channel fader levels to avoid distortion. ❑ Are you applying the effects and compressor at an appropriate level? You might have to lower EFFECT RTN fader, ETTECT control and COMP control levels. ❑ Are any other applications, device drivers, or USB devices (scanners, printers, etc.) running at the same time? Be sure to quit all applications you are not using. ❑ Are you playing back a large number of audio tracks? The number of tracks you can play at the same time will depend on the performance of the computer you are using. You may experience intermittent playback if you exceed your computer’s capabilities. ❑ Are you recording or playing long continuous sections of audio? The audio data processing capabilities of your computer will depend on a number of factors including CPU speed and access to external devices. On Windows XP computers, changing some settings as outlined below can improve performance. 1. Click [Control Panel] from the [START] menu, and double-click the “Sounds and Audio Devices” icon to open the “Sounds and Audio Devices Properties” dialog window. 2. Click the “Volume” tab and click “Advanced” in “Speaker settings.” The “Advanced Audio Properties” dialog window will open. 3. Click the “Performance” tab. Set “Hardware acceleration” to “Full”, and “Sample rate conversion quality” to “Good.” Don’t change these settings if you are not familiar with your computer’s operating system. Check that the file system is set properly, and make sure that you have a plenty of free memory (more than 128 megabytes). If the audio files you are recording or playing are not too large, changing the virtual memory settings can sometimes improve audio performance. In some cases it might be necessary to update your hard disk controller, device drivers, or BIOS. Refer to your computer’s support center or support page on the web for more information. ❑ Try adding memory. Adding more RAM memory can significantly increase your computer’s audio performance. Refer to your computer’s owner’s manual for information on installing and setting up extra memory. There is a delay when playing a software synthesizer via a MIDI keyboard (latency). 24 ❑ Check the URL listed below for the latest information. <http://www.yamahasynth.com/> MW12CX/MW12C Owner’s Manual  Reference Specifications ■ Electrical Specifications Frequency Response Total Harmonic Distortion (THD + N) Hum & Noise Hum & Noise are measured with a 6 dB/ octave filter @ 12.7 kHz; equivalent to a 20 kHz filter with infinite dB/octave attenuation. Crosstalk (1 kHz) Maximum voltage gain (1 kHz) STEREO OUT REC OUT2 EFFECT/AUX (AUX1, 2*) SEND MONITOR OUT, REC OUT1 STEREO OUT CH INPUT 1–4 MIC STEREO OUT REC OUT2 EFFECT/AUX (AUX1, 2*) SEND STEREO OUT REC OUT2 STEREO OUT Adjacent Input Input to Output Rs = 150 Ω INPUT GAIN: maximum GAIN: min (CHs 1–7/8) 20 Hz–20 kHz Nominal output level @1 kHz Input: CHs 1 to 11/12, RETURN, 2TR IN Phantom Voltage TYP MAX UNIT -3.0 0.0 1.0 dB 0.1 % +14 dBu @ 20 Hz–20 kHz, Input GAIN Control at minimum EIN (Equivalent Input Noise): Rs = 150 Ω, GAIN: maximum STEREO OUT, REC OUT fader at nominal level and all channels’ ST and REC switches off. -128 -88 Master EFFECT/AUX (AUX1, 2) control at nominal level and all CH EFFECT/AUX (AUX1, 2) controls at minimum. STEREO OUT, REC OUT fader and one CH fader at nominal level. Residual Output Noise CHs 1–4 STEREO L/R, CHs 1–4, PAN: panned hard left or right MIC to CH INSERT OUT MIC to STEREO OUT MIC to REC OUT2 MIC to REC to ST MIC to REC OUT1 MIC to MONITOR OUT, ST TO MONITOR MIC to PHONES OUT MIC to AUX (AUX1*) SEND PRE MIC to AUX (AUX1*) SEND POST, EFFECT (AUX2*) SEND CH 5/6, 7/8 LINE to STEREO OUT CH 5/6, 7/8 LINE to REC OUT2 CH 5/6, 7/8 AUX (AUX1*) SEND PRE CH 5/6, 7/8 LINE to AUX (AUX1*) SEND POST, EFFECT (AUX2*) SEND CH 9/10, 11/12 to STEREO OUT CH 9/10, 11/12 to REC OUT2 Rs = 150 Ω RETURN to STEREO OUT RETURN to EFFECT (AUX2*) SEND Rs = 600 Ω 2TR IN to STEREO OUT MIC no load All faders and controls are maximum when measured. PAN/BAL: panned hard left or hard right MIN -81 dBu -64 -98 -70 -70 dB 60 84 94 72.2 84 83 76 86 58 dB 47 57 34 16 9 27.8 48 V ■ General Specifications USB Audio Input HPF Input equalization ±15 dB maximum Turn over/roll-off frequency of shelving: 3 dB blow maximum variable level. PEAK Indicator Internal Digital Effect (Only MW12CX) LED Level Meter Power Supply Adaptor Power Consumption Dimensions (W x H x D) Net Weight Input/Output: 44.1/48 kHz CHs 1–7/8, 80 Hz, 12 dB/oct CHs 1–7/8 HIGH: 10 kHz (shelving) MID: 2.5 kHz (peaking) LOW: 100 Hz (shelving) CH 9/10–11/12 HIGH: 10 kHz (shelving) LOW: 100 Hz (shelving) Red LED turns on when post EQ signal (either post MIC HA or post EQ signal for CHs 5/6, 7/8) reaches -3 dB below clipping (+17 dBu). 16 PROGRAM, PARAMETER control Foot Switch (Digital Effect On/Off) Pre MONITOR Level 2x12 points LED meter (PEAK, +10, +6, +3, 0, -3, -6, -10, -15, -20, -25, -30 dB) PEAK lights if the signal level reaches 3 dB below the clipping level. PA-20 AC 35 VCT, 0.94 A, Cable Length = 3.6 m 30 W 346.2 mm x 86.1 mm x 436.6 mm 3.2 kg (MW12CX), 3 kg (MW12C) All faders are nominal if not specified. Output impedance of signal generator: 150 ohms * The MW12CX feature is described first, followed by the MW12C feature in brackets: MW12CX (MW12C) MW12CX/MW12C Owner’s Manual 91  Reference Specifications ■ Analog Input Specifications Input Connectors Gain 3kΩ 50–600Ω Mics 10kΩ 600Ω Lines 3kΩ 50–600Ω Mics 10kΩ 600Ω Lines -16 dB -34 dB +10 dB -60 dB ST CH MIC INPUT (CHs 5/6, 7/8) ST CH LINE INPUT (CHs 5/6, 7/8) Appropriate Impedance -60 dB CH INPUT MIC (CHs 1–4) CH INPUT LINE (CHs 1–4) Input Impedance -16 dB -34 dB +10 dB Sensitivity * Nominal Level Max. before Clipping -80 dBu (0.078 mV) -60 dBu (0.775 mV) -40 dBu (7.75 mV) -36 dBu (12.3 mV) -16 dBu (123 mV) +4 dBu (1.23 V) -54 dBu (1.55 mV) -34 dBu (15.5 mV) -14 dBu (155 mV) -10 dBu (245 mV) +10 dBu (2.45 V) +30 dBu (24.5 V) -80 dBu (0.078 mV) -60 dBu (0.775 mV) -40 dBu (7.75 mV) -36 dBu (12.3 mV) -16 dBu (123 mV) -6 dBu (389 mV) -54 dBu (1.55 mV) -34 dBu (15.5 mV) -14 dBu (155 mV) -10 dBu (245 mV) +10 dBu (2.45 V) +30 dBu (24.5 V) Connector Specifications XLR-3-31 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) TRS phone jack (balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) XLR-3-31 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) Phone jack (unbalanced) ST CH INPUT (CHs 9/10, 11/12) — 10kΩ 600Ω Lines -30 dBu (24.5 mV) -10 dBu (245 mV) +10 dBu (2.45 V) Phone jack (unbalanced) RCA pin jack CH INSERT IN (CHs 1–4) — 10kΩ 600Ω Lines -20 dBu (77.5 mV) 0 dBu (0.775 V) +20 dBu (7.75 V) TRS phone Jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND]) RETURN (L, R) — 10kΩ 600Ω Lines -12 dBu (195 mV) +4 dBu (1.23 V) +24 dBu (12.3 V) Phone jack (unbalanced) 2TR IN (L, R) — 10kΩ 600Ω Lines -26 dBV (50.1 mV) -10dBV (0.316V) +10dBV (3.16 V) RCA pin jack Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms * Sensitivity : The lowest level that will produce an output of +4 dB (1.23 V), or the nominal output level when the unit is set to the maximum level. (All faders and level controls are at their maximum position.) ■ Analog Output Specifications Output Impedance Appropriate Impedance Nominal Level Max. before clipping STEREO OUT (L, R) 75Ω 600Ω Lines +4dBu (1.23 V) +24 dBu (12.3 V) XLR-3-32 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) TRS phone jack (balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) REC OUT2 (L, R) 150Ω 10kΩ Lines +4dBu (1.23 V) +20 dBu (7.75 V) TRS phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) EFFECT/AUX (AUX1, 2*) SEND 150Ω 10kΩ Lines +4dBu (1.23 V) +20 dBu (7.75 V) TRS phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) CH INSERT OUT (CHs 1–4) 75Ω 10kΩ Lines 0 dBu (0.775 V) +20 dBu (7.75 V) TRS phone jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND]) REC OUT1 (L, R) 600Ω 10kΩ Lines -10 dBV (0.316 V) +10 dBV (3.16 V) RCA pin jack TRS phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) Output Connectors MONITOR OUT (L, R) 150Ω 10kΩ Lines +4 dBu (1.23 V) +20 dBu (7.75 V) PHONES OUT 100Ω 40Ω Phones 3 mW 75 mW Connector Specifications TRS phone jack Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms * The MW12CX feature is described first, followed by the MW12C feature in brackets: MW12CX (MW12C) ■ Digital Input/Output Specifications 92 Connector Format Data Length Connector Specification USB USB Audio 1.1 16 bit USB B type MW12CX/MW12C Owner’s Manual  Reference Specifications ■ Dimensional Diagrams 86.1 79.6 346.2 433.9 436.6 2 MW12CX Unit: mm * Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. MW12CX/MW12C Owner’s Manual 93  (CH1 to 4) -60dBu -50dBu -40dBu -30dBu -20dBu -10dBu 0dBu +10dBu +20dBu +30dBu (CH5/6, 7/8) ST CH INPUT R L R CH IN MIC Gain:Max [-60dBu] CH IN LINE Gain:Max [-34dBu] CH IN MIC Gain:Min [-16dBu] CH IN LINE Gain:Min [+10dBu] FOOT SW EFFECT ON/OFF [-10dBV] [-7.8dBu] 2TR IN [+4dBu] RETURN L/MONO R (CH9/10, 11/12) [-10dBu] ST CH INPUT L [-34 to +10dBu] LINE R [-34 to +10dBu] LINE L/MONO [-60 to -16dBu] MIC [0dBu] INSERT I/O [-34 to +10dBu] CH INPUT LINE [-60 to -16dBu] HA [6 to 50dB] GAIN Trim SUM SUM INV INV HA HA HA HA ST CH IN MIC Gain:Max [-60dBu] ST CH IN LINE Gain:Max [-34dBu] ST CH IN MIC Gain:Min [-16dBu] ST CH IN [-10dBu] Clip Level [0dBu] [0dBu] [0dBu] [0dBu] TH+GAIN COMP ST CH IN LINE Gain:Min [+10dBu] Clip Level HPF HPF [-34 to +10dBu] [16 to 60dB] GAIN Trim HPF HPF 3-Stage EQ [0dBu] 3-Stage EQ LOW 2-Stage EQ 3-Stage EQ LOW [0dBu] MID MID HA HIGH HIGH MIC 2TR IN [-10dBV] IN RO +15V CH AUX *1 [Nominal:-6dB] PFL [-10dBu] ST [0dBu] AUX *1 EFFECT *1 PFL BA BA RETURN 2TR IN [Nominal:-6dB] AUX [-14dBu] [0dBu] TO STEREO/TO MONITOR [-14dBu] [-6dBu] EFFECT *1 [-14dBu] [-14dBu] [0dBu] [0dBu] AUX *1 REC/ G1–2 ST PFL EFFECT *1 [-14dBu] [-14dBu] [0dBu] [0dBu] [-6dBu] AUX *1 REC/ G1–2 ST PFL [-6dBu] REC/ G1–2 [0dBu] AUX *1 ST [-6dBu] +15V PRE +15V PRE EFFECT RETURN +15V AUX *1 PRE EFFECT *1 2TR IN [0dBu] BAL [0dBu] BAL/PAN [0dBu] PAN EFFECT RETURN [Nominal:-10dB] ST CH AUX *1 DSP AUX [Nominal:-6dB] DIGITAL EFFECT (DSP) BA BA BA BA BA LO [-10dBu] CH Fader [-10dBu] CH Fader [-10dBu] CH Fader RETURN [+4dBu] Clip Level [-7.8dBu] CH Level ST CH Level [Nominal:-10dB] Clip Level [0dBu] ON YE YE only MW12CX ON PARAMETER PROGRAM (1–16) 2-Stage EQ [0dBu] YE ON [0dBu] YE ON [0dBu] PEAK RE PHANTOM +48V PEAK RE LOW MW12CX/MW12C Owner’s Manual HIGH 94 STEREO L STEREO R REC L/GROUP 1 REC R/GROUP 2 PFL L PFL R PFL CTRL SUM SUM [0dBu] INV [0dBu] [-10dBu] SUM SUM BA Clip Level REC OUT 1 [+4dBu] *1 LPF LPF LPF LPF RO LO GND D+ D- REC OUT2/ GROUP OUT MONITOR OUT [3mW @ 40ohms] PHONES [+4dBu] USB [+4dBu] -30dBu -20dBu -10dBu 0dBu +10dBu +20dBu +30dBu EFFECT SEND *1 [+4dBu] AUX SEND *1 R L [-10dBV] [-7.8dBu] REC OUT1 [+4dBu] STEREO OUT [+4dBu] PHONES [3mW @ 40ohms] MONITOR [Nominal:-6dB] PHONES [Nominal:-16dB] R L R L R/2 L/1 MONITOR OUT [+4dBu] Clip Level (Bus Powered) Vbus USB AUDIO INV INV INV INV STEREO OUT [+4dBu] AUX2 EFFECT LIN RIN REC OUT 2 [-7.8dBu] AUX1 AUX FUNCTION NAME [+4dBu] [+4dBu] [-16dBu] PHONES [-6dBu] MONITOR LED METER Clip Level MW12C MW12CX MODEL BA BA LED METER DR [0dBu] DR [0dBu] STEREO Master [Nominal:-10dB] EFFECT SEND *1 [-6dBu] AUX SEND *1 [-6dBu] MONITOR MIX [0dBu] BA TO STEREO BA BA STEREO Fader [-10dBu] INV REC/GROUP Fader REC Fader [Nominal:-10dB] AUX SEND *1 [+4dBu] Clip Level SUM [0dBu] [0dBu] SUM SUM [0dBu] STEREO/REC (GROUP) SUM [0dBu] AUX SEND *1 [Nominal:-6dB] SUM SUM [-6dBu] RE Reference Specifications ■ Block Diagram and Level Diagram  About the accessory disk SPECIAL NOTICE • The software included in the accessory disk and the copyrights thereof are under exclusive ownership by Steinberg Media Technologies GmbH. • Copying of the software or reproduction of this manual in whole or in part by any means is expressly forbidden without the written consent of the manufacturer. • Yamaha makes no representations or warranties with regard to the use of the software and documentation and cannot be held responsible for the results of the use of this manual and the software. • This disk is NOT for audio/visual purpose. Do not attempt to play the disk on an audio/visual CD/DVD player. Doing so may result in irreparable damage to your player. • Note that Yamaha does not offer technical support for the DAW software in the accessory disk. About the DAW software in the accessory disk The accessory disk contains DAW software both for Windows and Mac. NOTE • Make sure to install DAW software under the “Administrator” account. • In order to have continuous use of the DAW software in the accessory disk, including support and other benefits, you will need to register the software and activate your software license by starting the software while the computer is connected to the Internet. Click the “Register Now” button shown when the software is started, then fill in all required fields for registration. If you do not register the software, you will be unable to use it after a limited period of time expires. • To install on Mac computers double-click the “Cubase AI*.mpkg” icon or the “Cubase AI* Start Center” icon. “*” indicates where the version number appears in the actual icon name. For information about the minimum system requirements and latest information on the software in the disk, check the web site below. <http://www.yamahasynth.com/> About software support Support for the DAW software in the accessory disk is provided by Steinberg on its website at the following address. http://www.steinberg.net You can visit the Steinberg site also via the Help menu of the included DAW software. (The Help menu also includes the PDF manual and other information on the software.) MW12CX/MW12C Owner’s Manual 95  Über die Zubehör-Disc BESONDERER HINWEIS • Die in der Zubehör-Disk enthaltene Software und deren Urheberrechte sind im alleinigen Besitz der Steinberg Media Technologies GmbH. • Das Kopieren der Software und die Vervielfältigung dieses Handbuchs als Ganzes oder in Teilen sind nur mit ausdrücklicher schriftlicher Genehmigung des Herstellers erlaubt. • Yamaha übernimmt keinerlei Garantie hinsichtlich der Nutzung dieser Software und der dazugehörigen Dokumentation und kann nicht für die Folgen der Nutzung von Handbuch und Software verantwortlich gemacht werden. • Diese Disc dient NICHT audiovisuellen Zwecken. Spielen Sie diese Disc nicht in einem CD-/DVD-Player ab. Anderenfalls können schwere Schäden am Player entstehen. • Beachten Sie, dass Yamaha keine technische Unterstützung für die auf der Zubehör-Disc enthaltene DAW-Software gewährt. Über die DAW-Software auf der ZubehörDisc Die Zubehör-Disc enthält DAW-Software sowohl für Windows als auch für Mac. HINWEIS • Achten Sie darauf, die DAW-Software im „Administra- tor“-Account zu installieren. • Um den fortwährenden Betrieb der DAW-Software auf der Zubehör-Disk einschließlich Support und anderer Vorteile zu gewährleisten, müssen Sie die Software registrieren und Ihre Software-Lizenz aktivieren, indem Sie die Software auf dem Computer starten, während dieser mit dem Internet verbunden ist. Klicken Sie auf die Schaltfläche „Jetzt registrieren“, die beim Starten der Software angezeigt wird, und füllen Sie dann alle für die Registrierung erforderlichen Felder aus. Wenn Sie die Software nicht registrieren, können Sie sie nach Ablauf einer gewissen Zeitdauer nicht mehr nutzen. • Doppelklicken Sie zur Installation auf einem Mac-Computer auf das Symbol „Cubase AI*.mpkg“ oder „Cubase AI* Start Center“. „ * “ gibt die Stelle an, an der im tatsächlichen Symbolnamen die Versionsnummer angezeigt wird. Für Informationen über die minimalen Systemanforderungen und die neuesten Informationen zu der auf der Disc befindlichen Software besuchen Sie folgende Website. <http://www.yamahasynth.com/> Über die Software-Unterstützung Unterstützung der DAW-Software auf der Zubehör-Disc wird von Steinberg auf deren Website unter der folgenden Adresse gewährt. http://www.steinberg.net Sie können die Steinberg-Website auch über das Hilfemenü (Help) der enthaltenen DAW-Software erreichen. (Im Hilfemenü finden Sie auch die PDF-Anleitung und weitere Informationen zur Software.) 96 MW12CX/MW12C Owner’s Manual  A propos du disque accessoire AVIS SPECIAL • Les logiciels fournis sur le disque accessoire et leurs copyrights sont la propriété exclusive de Steinberg Media Technologies GmbH. • Toute copie du logiciel ou de ce mode d’emploi en tout ou en partie, par quelque moyen que ce soit, est expressément interdite sans le consentement écrit du fabricant. • Yamaha n’offre aucune garantie quant à l’usage des logiciels ou de la documentation et ne peut être tenu pour responsable des résultats de l’usage de ce mode d’emploi et des logiciels. • Ce disque n’est PAS un support audio/vidéo. N’essayez pas de le lire avec un lecteur de CD/DVD audio/vidéo. Vous risqueriez en effet d’endommager irrémédiablement ce dernier. • Veuillez noter que Yamaha n’offre aucun support technique pour les logiciels DAW présents sur le disque accessoire. A propos des logiciels DAW contenus sur le disque accessoire Le disque accessoire contient des logiciels DAW pour Windows et Mac. NOTE • Prenez soin d’installer le logiciel DAW avec le compte « Administrateur ». • Pour bénéficier d’un usage ininterrompu des logiciels DAW contenus sur le disque accessoire ainsi que du support et d’autres avantages, vous devez obligatoirement enregistrer le logiciel et activer votre licence de logiciel en démarrant l’application sur un ordinateur connecté à Internet. Cliquez sur la touche « Enregistrer maintenant » qui apparaît au démarrage du logiciel, puis renseignez tous les autres champs requis pour l’enregistrement. Si vous n’enregistrez pas le produit, vous ne pourrez plus exécuter l’application l’expiration d’un délai spécifique. • Pour procéder à l’installation sur un ordinateur Mac, double-cliquez sur l’icône « Cubase AI*.mpkg » ou « Cubase AI* Start Center ». « * » correspond au numéro de version dans le nom de l’icône. Pour plus d’informations sur la configuration système minimale requise et les dernières informations sur les logiciels contenus sur le disque, consultez le site web ci-dessous. <http://www.yamahasynth.com/> A propos du support logiciel Un support pour les logiciels DAW présents sur le disque accessoire est fourni sur le site web de Steinberg à l’adresse suivante. http://www.steinberg.net Vous pouvez en outre accéder au site de Steinberg via le menu Help des logiciels DAW fournis. (Le menu Help contient également le manuel PDF et d’autres informations sur les logiciels.) MW12CX/MW12C Owner’s Manual 97  Acerca del disco complementario AVISO ESPECIAL • El software que se incluye en el disco complementario y los derechos de copyright correspondientes al mismo son propiedad exclusiva de Steinberg Media Technologies GmbH. • Está terminantemente prohibida la copia del software o la reproducción total o parcial de este manual por cualquier medio sin la autorización por escrito del fabricante. • Yamaha no ofrece garantía o declaración alguna en relación con el uso del software y de la documentación, y no se responsabiliza de los resultados del uso de este manual ni del software. • Este disco NO está pensado para una reproducción audio/ visual. No intente reproducirlo en un reproductor de CD/ DVD audio/visual, ya que se podrían causar daños irreparables en el reproductor. • Tenga presente que Yamaha no ofrece asistencia técnica para el software DAW incluido en el disco complementario. Acerca del software DAW incluido en el disco complementario El disco complementario contiene software DAW para Windows y Mac. NOTA • Asegúrese de que instala el software DAW con la cuenta de administrador. • Para usar de forma continua el software DAW del disco complementario, incluida asistencia técnica y otras ventajas, deberá registrarlo y activar su licencia iniciándolo con el ordenador conectado a Internet. Haga clic en el botón “Register Now” (registrar ahora) que aparece cuando se inicia el software, luego rellene todos los campos requeridos para el registro. Si no registra el software, no podr usarlo después de un periodo limitado de tiempo. • Para la instalación en equipos Mac, haga doble clic en el icono “Cubase AI*.mpkg” o en el icono “Cubase AI* Start Center”. “ * ” indica el lugar donde aparece el número de versión en el nombre del icono. Para obtener detalles acerca de los requisitos mínimos del sistema y la información más reciente sobre el software incluido en el disco, visite el siguiente sitio Web. <http://www.yamahasynth.com/> Acerca de la asistencia para el software La asistencia para el software DAW incluido en el disco complementario la presta Steinberg en su sitio Web en la dirección siguiente. http://www.steinberg.net También puede visitar el sitio de Steinberg desde el menú Ayuda del software DAW incluido. (El menú Ayuda también incluye el manual en formato PDF y otra información sobre el software.) 98 MW12CX/MW12C Owner’s Manual  For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 CENTRAL & SOUTH AMERICA MEXICO Yamaha de México S.A. de C.V. Calz. Javier Rojo Gómez #1149, Col. Guadalupe del Moral C.P. 09300, México, D.F., México Tel: 55-5804-0600 BRAZIL Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. ASIA THE NETHERLANDS/ BELGIUM/LUXEMBOURG Yamaha Music Europe Branch Benelux Clarissenhof 5-b, 4133 AB Vianen, The Netherlands Tel: 0347-358 040 FRANCE Yamaha Musique France BP 70-77312 Marne-la-Vallée Cedex 2, France Tel: 01-64-61-4000 ITALY Yamaha Musica Italia S.P.A. Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 SPAIN/PORTUGAL Yamaha Música Ibérica, S.A. Ctra. de la Coruna km. 17, 200, 28230 Las Rozas (Madrid), Spain Tel: 91-639-8888 ARGENTINA Yamaha Music Latin America, S.A. Sucursal de Argentina Olga Cossettini 1553, Piso 4 Norte Madero Este-C1107CEK Buenos Aires, Argentina Tel: 011-4119-7000 PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES Yamaha Music Latin America, S.A. Torre Banco General, Piso 7, Urbanización Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panamá, Panamá Tel: +507-269-5311 EUROPE THE UNITED KINGDOM/IRELAND Yamaha Music U.K. Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700 GERMANY Yamaha Music Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: 04101-3030 SWITZERLAND/LIECHTENSTEIN Yamaha Music Europe GmbH Branch Switzerland in Zürich Seefeldstrasse 94, 8008 Zürich, Switzerland Tel: 01-383 3990 Philippos Nakas S.A. The Music House 147 Skiathou Street, 112-55 Athens, Greece Tel: 01-228 2160 SWEDEN Yamaha Scandinavia AB J. A. Wettergrens Gata 1, Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 CZECH REPUBLIC/SLOVAKIA/ HUNGARY/SLOVENIA Yamaha Music Europe GmbH Branch Austria Schleiergasse 20, A-1100 Wien, Austria Tel: 01-602039025 POLAND/LITHUANIA/LATVIA/ESTONIA Yamaha Music Europe GmbH Branch Sp.z o.o. Oddzial w Polsce ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland Tel: 022-500-2925 DENMARK YS Copenhagen Liaison Office Generatorvej 6A, DK-2730 Herlev, Denmark Tel: 44 92 49 00 FINLAND F-Musiikki Oy Kluuvikatu 6, P.O. Box 260, SF-00101 Helsinki, Finland Tel: 09 618511 Norsk filial av Yamaha Scandinavia AB Grini Næringspark 1, N-1345 Østerås, Norway Tel: 67 16 77 70 ICELAND Skifan HF Skeifan 17 P.O. Box 8120, IS-128 Reykjavik, Iceland Tel: 525 5000 RUSSIA Yamaha Music (Russia) Room 37, bld. 7, Kievskaya street, Moscow, 121059, Russia Tel: 495 626 5005 INDIA Yamaha Music India Pvt. Ltd. 5F Ambience Corporate Tower Ambience Mall Complex Ambience Island, NH-8, Gurgaon-122001, Haryana, India Tel: 0124-466-5551 PT. Yamaha Musik Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 021-520-2577 KOREA Yamaha Music Korea Ltd. 8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong, Kangnam-Gu, Seoul, Korea Tel: 02-3467-3300 Yamaha Music (Malaysia) Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 03-78030900 PHILIPPINES Yupangco Music Corporation 339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551 Yamaha Music (Asia) Pte., Ltd. #03-11 A-Z Building 140 Paya Lebor Road, Singapore 409015 Tel: 6747-4374 TAIWAN Yamaha KHS Music Co., Ltd. 3F, #6, Sec.2, Nan Jing E. Rd. Taipei. Taiwan 104, R.O.C. Tel: 02-2511-8688 THAILAND Siam Music Yamaha Co., Ltd. 4, 6, 15 and 16th floor, Siam Motors Building, 891/1 Rama 1 Road, Wangmai, Pathumwan, Bangkok 10330, Thailand Tel: 02-215-2622 OTHER ASIAN COUNTRIES OTHER EUROPEAN COUNTRIES Yamaha Music Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: +49-4101-3030 AFRICA Yamaha Corporation, Asia-Pacific Sales & Marketing Group Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2313 MIDDLE EAST Yamaha Corporation, Asia-Pacific Sales & Marketing Group Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2313 OCEANIA AUSTRALIA Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111 NEW ZEALAND TURKEY/CYPRUS Yamaha Music Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: 04101-3030 Yamaha Music Gulf FZE LOB 16-513, P.O.Box 17328, Jubel Ali, Dubai, United Arab Emirates Tel: +971-4-881-5868 Tom Lee Music Co., Ltd. 11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 2737-7688 SINGAPORE NORWAY OTHER COUNTRIES HONG KONG MALAYSIA AUSTRIA Yamaha Music Europe GmbH Branch Austria Schleiergasse 20, A-1100 Wien, Austria Tel: 01-60203900 Yamaha Music & Electronics (China) Co.,Ltd. 2F, Yunhedasha, 1818 Xinzha-lu, Jingan-qu, Shanghai, China Tel: 021-6247-2211 INDONESIA GREECE Yamaha Musical do Brasil Ltda. Rua Joaquim Floriano, 913 - 4' andar, Itaim Bibi, CEP 04534-013 Sao Paulo, SP. BRAZIL Tel: 011-3704-1377 THE PEOPLE’S REPUBLIC OF CHINA Music Works LTD P.O.BOX 6246 Wellesley, Auckland 4680, New Zealand Tel: 9-634-0099 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation, Asia-Pacific Sales & Marketing Group Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2313 HEAD OFFICE Yamaha Corporation, Digital Musical Instruments Division Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2432 SY55  Yamaha Web Site (English only) http://www.yamahasynth.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/ C.S.G., Pro Audio Division © 2007-2011 Yamaha Corporation 111POGR*.*-01D0 ZA68630