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English Canaux d’entrée.................................................................page 64 Avec 16 entrées micro/ligne (MG166CX-USB/MG166C-USB: 10) ou quatre entrées stéréo maximum, la console de mixage MG peut connecter simultanément une grande variété d’appareils : micros, appareils de ligne, synthétiseurs stéréo, etc. Compression........................................................................page 9 Compression increases the overall level without introducing distortion by compressing excessive peaks in the signals from microphones and guitars. Compression......................................................................page 57 La compression augmente le niveau général sans engendrer de distorsion en comprimant les pics excessifs des signaux des micros et des guitares. Cubase AI 4 DAW Software Supplied...............................page 10 By connecting the MG mixer to the computer via a USB cable an audio data mixed by the MG mixer can be recorded on Cubase AI 4. Le logiciel DAW Cubase AI 4 fournit................................page 58 En connectant la console de mixage MG à un ordinateur via un câble USB, des donnés audio créées par la console de mixage MG peuvent être enregistrées sur Cubase AI 4. High-quality digital effects (MG166CX-USB)...........pages 19, 23 With digital effects built in, the MG166CX-USB can deliver a wide range of sound variations all by itself. Effets numériques de qualité supérieure (MG166CX-USB).........................................................pages 67, 71 Grâce aux effets numériques intégrés, la console MG166CX-USB peut proposer de nombreuses variations de sons. Funktionen Características Eingangskanäle..................................................................Seite 40 Mit bis zu 16 Mikrofon-/Line-Eingängen (MG166CX-USB/MG166CUSB: 10) oder bis zu vier Stereoeingängen können viele Geräte gleichzeitig am MG-Mischpult angeschlossen werden: Mikrofone, Geräte mit Leitungspegel, Stereo-Synthesizer uvm. Canales de entrada.........................................................página 88 Con un máximo de 16 entradas de micrófono/línea (MG166CXUSB/MG166C-USB: 10) o cuatro entradas estereofónicas, la mezcladora MG puede conectarse simultáneamente con una gran variedad de dispositivos: micrófonos, dispositivos de nivel de línea, sintetizadores estereofónicos, etc. Kompression......................................................................Seite 33 Kompression erhöht den Durchschnittspegel, ohne Verzerrung hinzuzufügen, indem übermäßige Pegelspitzen der Signale von Mikrofonen oder Gitarren komprimiert werden. DAW-Software Cubase AI 4 mitgeliefert.........,................Seite 34 Wenn Sie Ihr MG-Mischpult über ein USB-Kabel am Computer anschließen, können durch das MG-Mischpult gemischte Audiodaten in Cubase AI 4 aufgenommen werden. Hochwertige Digitaleffekte (MG166CX-USB)...........Seiten 43, 47 Mit den eingebauten digitalen Effekten kann das MG166CX-USB aus sich heraus eine Reihe von Klangvariationen liefern. Deutsch Caractéristiques Input Channels...................................................................page 16 With up to 16 (MG166CX-USB/MG166C-USB: 10) mic/line inputs or up to four stereo inputs, the MG mixer can simultaneously connect to a wide range of devices: microphones, line-level devices, stereo synthesizers, and more. Français Features Español Owner’s Manual Bedienungsanleitung Mode d’emploi Manual de instrucciones Compresión.....................................................................página 81 La compresión aumenta el nivel general sin causar distorsión, mediante la compresión del exceso de picos en las señales de los micrófonos y guitarras. El software DAW Cubase AI 4 suministrado................página 82 Al conectar la mezcladora MG con un ordenador por medio de un cable USB, se puede grabar en Cubase AI 4 datos de audio creados por la mezcladora MG. Efectos digitales de alta calidad (MG166CX-USB)...páginas 91, 95 Gracias a sus efectos digitales incorporados, la mezcladora MG166CX-USB puede producir por sí misma una amplia gama de variaciones de sonido. 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 Mixing Console MG206C-USB/MG166CX-USB/MG166C-USB 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- 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. * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. 2 MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual (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 power adaptor (PA-30 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. 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 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. • 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. • 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. • Do not cover or wrap the AC power adaptor with a cloth or blanket. Location • Do not block the vents. This device has ventilation holes at the bottom/rear to prevent the internal temperature from becoming too high. In particular, do not place the device on its side or upside down. Inadequate ventilation can result in overheating, possibly causing damage to the device(s), or even fire. • Do not use the device in the vicinity of a TV, radio, stereo equipment, mobile phone, or other electric devices. Doing so may result in noise, both in the device itself and in the TV or radio next to it. Connections • 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 all the minimum level. When you are not using the product for a long time, make sure to unplug the power cord from the wall AC outlet. • If this device is to be mounted in an EIA-standard rack, leave the back of the rack open and make sure that it is at least 10 cm away from walls or surfaces. Also, if this device is to be mounted with devices that tend to generate heat, such as power amplifiers, be sure to keep an adequate gap between this device and the heat-generating devices or install ventilation panels to prevent high temperatures from developing inside this device. Inadequate ventilation can result in overheating, possibly causing damage to the device(s), or even fire. • 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. Handling caution • 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 (vents, etc.). • Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any gaps or openings on the device (vents, etc.) If this happens, turn off the power immediately and unplug the power cord from the AC outlet. Then have the device inspected by qualified Yamaha service personnel. • 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 1/2 MG206C-USB/MG166CX-USB/MG166C-USB 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 MG mixer may heat up by as much as 15 to 20°C while the power is on. This is normal. Please note that the panel temperature may exceed 50°C in ambient temperatures higher than 30°C, and use caution to prevent burns. * This Owner’s Manual applies to the MG206C-USB/MG166CX-USB/MG166C-USB. The main differences between the three models are the number of input channels and whether the internal effects are included. The MG206C-USB has 20 input channels while the MG166CX-USB/MG166C-USB have 16 channels. And only the MG166CXUSB has internal effects. * In this manual the term “MG mixsers” refers to the MG206C-USB/MG166CX-USB/MG166C-USB. Copying of commercially available music or other audio data for purposes other than personal use is strictly prohibited by copyright law. Please respect all copyrights, and consult with a copyright specialist if you are in doubt about permissible use. 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. 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. • Use of the software and this manual is governed by the license agreement which the purchaser fully agrees to upon breaking the seal of the software packaging. (Please read carefully the Software Licensing Agreement at the end of this manual before installing the application.) • 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 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 MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual  Introduction Thank you for your purchase of the Yamaha MG206C-USB/MG166CX-USB/MG166C-USB mixing console. The MG206C-USB/MG166CX-USB/MG166C-USB feature input channels suitable for a wide range of usage environments. Furthermore, the mixer has the USB connector that enables you to record an audio data mixed with the mixer on the included Cubase AI 4 DAW software. Please read through this manual carefully before beginning use, so that you will be able to take full advantage of this mixer’s superlative features and enjoy trouble-free operation for years to come. Contents Introduction .......................................... 5 ■ Reference .................................. 15 Contents...........................................................5 Before Turning on the Mixer ............................6 Turning the Power On/OFF..............................6 Computer System Requirements.....................6 Cubase AI 4 System Requirements.................6 Setup....................................................15 ■ Mixer Basics................................ 7 Quick Guide.......................................... 7 1. 2. 3. 4. 5. 6. Installing Cubase AI 4..................................7 Connecting to the MG mixer ........................7 Powering Up the System .............................8 Adjusting Level and Tone ............................9 Recording with Cubase AI 4 ......................10 Mixing with Cubase AI 4 ............................13 Front & Rear Panels ...........................16 Channel Control Section ................................16 Digital Effects .................................................19 Master Control Section ..................................20 Digital Effect Program List (Only MG166CX-USB)................................23 Jack List .........................................................23 Troubleshooting .................................24 Specifications .....................................99 About the accessory disk ................106 SOFTWARE LICENSE AGREEMENT ...106 Accessories • • • • Cubase AI 4 DVD-ROM USB cable Owner’s Manual AC power adaptor (PA-30)* * May not be included depending on your particular area. Please check with your Yamaha dealer. MG206C-USB/MG166CX-USB/MG166C-USB 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-30) 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 q Computer System Requirements Windows Vista Computer Windows-based computer with built-in USB interface OS Windows Vista CPU 1 GHz or higher Intel Core/Pentium/Celeron processor Memory 1 GB or more Windows XP Computer Windows-based computer with built-in USB interface OS Windows XP Professional/XP Home Edition CPU 750 MHz or higher Intel Core/Pentium/Celeron processor Memory 96 MB or more (128 MB or more recommended) Macintosh 3 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. Computer Macintosh computer with built-in USB interface OS MacOS X 10.3.3 or higher CPU Macintosh G3 300 MHz or higher/Intel processor Memory 128 MB or more Cubase AI 4 System Requirements Windows 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 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. OS Windows XP Professional/XP Home Edition CPU 1.4 GHz or higher Intel Pentium processor Memory 512 MB or more Audio Interface Windows DirectX compatible Hard Disk 400 MB or more Macintosh OS MacOS X 10.4 or higher CPU Power Mac G4 1 GHz/Core Solo 1.5 GHz or higher Memory 512 MB or more Hard Disk 400 MB or more NOTE • A DVD driver is required for installation. • To activate your software license, install the application while the computer is connected to the internet. 6 MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual  Mixer Basics Quick Guide Mixer Basics This quick setup and operation guide covers everything from installing the Cubase AI 4 software to using Cubase AI 4 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 4 software. Step 1 Installing Cubase AI 4 IMPORTANT ! 1 2 3 Since the End-User Software License Agreement (EUSLA) shown on your PC-display in your installing the “DAW” software is replaced by the agreement at the end of this manual, you should disregard the EUSLA. Read the Software License Agreement at the end of this manual carefully, and install the software if you agree to it. Start the computer and log on to the Administrator account. Insert the included DVD-ROM into the computer’s DVD-ROM drive. Open the “Cubase AI 4 for Windows” folder and double-click on the “CubaseAI4.msi”. Follow the on-screen instructions to install the Cubase AI 4 software. NOTE • When installing Cubase AI 4, you will need a working internet connection to register your Cubase AI 4. Make sure to fill in all required fields for user registration. If you do not register the product, you will be unable to use the application after a limited period of time expires. • For a Macintosh computer, double-click the “CubaseAI4.mkpg” icon for installation. Step 1 2 Connecting to the MG mixer Turn the power to the MG mixer and all gear that is to be connected to the MG mixer off/standby (except the computer), and set the channel faders, STEREO OUT Master fader, GROUP 1-2 fader and GROUP 3-4 fader to their minimum settings. 2 Connect the MG 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 MG 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 MG mixer to the computer before turning the MG mixer power on. • Always quit all applications running on the computer before turning the MG mixer’s power on or off, or connecting or disconnecting the USB cable. • Wait at least 6 seconds between turning the MG mixer on or off, and between connecting or disconnecting the USB cable. Channel fader GROUP 1-2 fader GROUP 3-4 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 MG mixer without the computer. STEREO OUT Master fader MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 7  Mixer Basics Quick Guide 3 Connecting Microphones and/or Instruments. Step For details on making connections refer to the “Setup” section on page 15 and the “Front & Rear Panels” section on page 16. 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 MG 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 , GROUP 1-2 fader and GROUP 3-4 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 24. • 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 MG mixer on. If this occurs, wait until the installation is complete before proceeding. Balanced, Unbalanced—What’s the Difference? In a word: “noise.” The whole point of balanced lines is noise rejection, and it’s something they’re very good at. Any length of wire will act as an antenna to pick up the random electromagnetic radiation we’re constantly surrounded by: radio and TV signals as well as spurious electromagnetic noise generated by power lines, motors, electric appliances, computer monitors, and a variety of other sources. The longer the wire, the more noise it is likely to pick up. That’s why balanced lines are the best choice for long cable runs. If your “studio” is basically confined to your desktop and all connections are no more than a meter or two in length, then unbalanced lines are fine—unless you’re surrounded by extremely high levels of electromagnetic noise. Another place balanced lines are almost always used is in microphone cables. The reason for this is that the output signal from most microphones is very small, so even a tiny amount of noise will be relatively large, and will be amplified to an alarming degree in the mixer’s highgain head amplifier. Balanced noise cancellation Cable Guidelines Microphone cable Noise Short line-level cables Hot (+) Long line-level cables Cold (–) Phase inversion Noise-free signal Phase inversion Ground Noise cancelled Source 8 Cable Receiving device MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual Balanced is best. Unbalanced cable is fine in a relatively noise-free environment. Balanced is best.  Mixer Basics Quick Guide 4 Adjusting Level and Tone Step Level Adjustment Compression 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. 3 Engage the ON and ST 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 STEREO ( ). 5 Raise the STEREO OUT Master 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 MONITOR/PHONES control. 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) INPUT 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. MONITOR/PHONES control ● Cut for a Cleaner Mix For example: pianos have a lot of energy in the mid and low frequency ranges that you don’t really perceive as musical sound, but which can interfere with the clarity of other instruments in these ranges. You can basically turn the low EQ on piano channels all the way down without changing the way they sound in the mix. You’ll hear the difference, however, in the way the mix sounds more “spacious,” and instruments in the lower ranges will have better definition. Naturally you won’t want to do this if the piano is playing solo. The reverse applies to kick drums and bass guitars: you can often roll off the high end to create more space in the mix without compromising the character of the instruments. You’ll have to use your ears, though, because each instrument is different and sometimes you’ll want the “snap” of a bass guitar, for example, to come through. GAIN control PEAK indicator ON switch PFL switch ST switch The fundamental and harmonic some musical instruments. frequency ranges of Cymbal Channel fader Piano STEREO OUT Master fader Bass Drum MONITOR switch Snare Drum Bass Tone Adjustment Guitar The MG mixer’s compressors, 3-band equalizers and digital effects make it easy to shape the tone of independent channels to achieve the best possible mix. NOTE The MG166CX-USB has built-in digital effects. Refer to “Use the Built-in Digital Effects to Refine Your Mixes” on page 14 and “Digital Effect Program List” on page 23 for details. Trombone Trumpet 20 50 100 200 500 1k 2k 5k 10 k 20 k (Hz) Fundamental: The frequency that determines the basic musical pitch. Harmonics: Multiples of the fundamental frequency that play a role in determining the timbre of the instrument. MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 9  Mixer Basics Quick Guide Step 5 Recording with Cubase AI 4 This section describes the procedure for recording to the Cubase AI 4 software we installed earlier via the MG mixer. NOTE For details on operation of the Cubase AI 4 software refer to the pdf-format manual provided with the software. Cubase AI 4 Setup 1 To prevent the playback sound from Cubase AI 4 from being directly rerecorded, set the MG mixer’s 2TR IN/USB switch to TO MONITOR ( ). 2 Launch Cubase AI 4. Windows: Click [Start] → [All Program] → [Steinberg Cubase AI 4] → [Cubase AI 4] to launch the program. If the ASIO Multimedia dialog window appears, click [Yes]. Macintosh: Select [VST Audio System] in the [Device] field on the left side of the window. Select [USB Audio CODEC (2)] in the [ASIO Driver] field on the right side of the window, and click [OK]. Skip ahead to step 6, below. NOTE 4 Macintosh: Double-click the [Application] → [Cubase AI 4]. NOTE • If you specified a file destination when installing the Cubase AI 4 software, launch the application from that location. • Create a Cubase AI 4 shortcut or alias on your desktop so you can easily launch the program when required. 3 Select [Device Setup] from the [Device] menu to open the Device Setup window. Windows: Select [VST Audio System] in the [Device] 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 window will appear asking “Do you want to switch the ASIO driver?”. Click [Switch]. 10 MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual Under Mac OS X you can select either [USB Audio CODEC (1)] or [USB Audio CODEC (2)] in the [ASIO Driver] field. Normally you should select [USB Audio CODEC (2)], but if you will only be playing back and mixing previously recorded data you can select [USB Audio CODEC (1)] to lighten the load on the computer’s CPU. On a Windows computer select [ASIO DirectX Full Duplex Driver] in the [Devices] field on the left side of the Device Setup window, and click [Control Panel] on the right side of the window.  Mixer Basics Quick Guide 5 The ASIO Direct Sound Full Duplex Setup dialog window will be displayed. Check only the input port and output port [USB Audio CODEC] checkbox. 7 Select [New Project] from the [File] menu to create a new project file. The new project dialog window will open. For this example select [CAI4 - 4 Stereo 8 Mono Audio Track Recorder] and click [OK]. NOTE 6 Recorded Cubase AI 4 data is stored as a “project file”. Make sure that “USB Audio CODEC 1/2” 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 4, then open the Device Setup window. 8 When the directory selection dialog window appears, select the folder to which the project and audio files for the project are to be stored, and click [OK]. An empty project window with 4 stereo and 8 monaural tracks will appear. Project window Mixer window Transport panel MG206C-USB/MG166CX-USB/MG166C-USB 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. The various settings for the selected track are available in the Inspector on the left side of the display. [Record Enable] button Play the instrument to be recorded, and adjust the MG mixer’s GAIN controls, channel faders and STEREO OUT Master fader so that the Clipping indicator never light. <Transport panel> Clipping indicator Track list 5 Specify the point at which you want to start recording via the ruler at the top of the project window. Click the black area of the ruler to move the project cursor (the vertical black line) to that position. Ruler Recording and Playback Inspector Input routing NOTE 1 When recording is started the project cursor will begin moving to the right and a box that displays the recording results will be created. You will normally use a stereo track when recording synthesizers, and a monaural track when recording vocals or guitar. 2 Click the Input Routing field in the Inspector to select the audio input source. Select “Stereo In 1” for a stereo track and “Left (Right)-Stereo In 1” for a monaural track. 3 Make sure the [Record Enable] button for the track to be recorded is turned on. Click the Transport panel [Record] button to begin recording. <Transport panel> Rewind Record Start Forward Stop If the [Record Enable] button is off, click it to turn it on. Recording results 2 3 12 MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual Play the part. When you finish recording the track, click the Transport panel [Stop] button.  Mixer Basics Quick Guide 4 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. 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 5 Save your project file 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. • Click the [Narrow/Wide] button in the upper left corner of the mixer window to increase the width of the mixer’s channel strips. NOTE • The output signal from Cubase AI 4 is routed to the MG mixer’s 2TR IN inputs. To hear the playback sound via a pair of headphones plugged into the MG mixer, set the bus select switch to TO MONITOR ( ) and adjust the volume with the 2TR IN/USB control and the MONITOR/ PHONES control. [Narrow/Wide] button Level meter Step To save the project file select [Save] from the [File] menu and enter a file name before actually saving the file. You can monitor the sound being recorded and a previously recorded sound simultaneously while recording (MONITOR MIX). Refer to “ F 2TR IN/USB” on page 22 for details. [Narrow/Wide] button Bus level meter 6 Mixing with Cubase AI 4 In this section we’ll try mixing down multiple recorded audio tracks to stereo, and creating a wav file. Mixes can be stored as WAV or AIFF files, which can then be recorded to audio CDs. 1 Launch Cubase AI 4 and open a project file. 4 2 Click the [Start] button on the Transport Panel. 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. Drag the pan controls on the top of the channel strips left and right to set the stereo position of each track. MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 13  Mixer Basics Quick Guide 5 7 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 Insert 1 and select Earlier VST Plug-ins → Reverb → RoomWorks SE. NOTE CAUTION 6 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 Macintosh OS X), Stereo Out (stereo), 16 bit, and 44.1 kHz. For further details refer to the pdf manual provided with the Cubase AI 4 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. When the final mix adjustments have been made, go to the [File] menu and select [Export] → [Audio Mixdown]. 8 Click [Export]. Progress of the mixdown operation will be shown in a progress window. When the progress window closes the mixdown is complete. NOTE Wave files created by mixdown can be directly played back using the Windows Media Player, or iTunes on a Macintosh computer. Use the Built-in Digital Effects to Refine Your Mixes (Only MG166CX-USB) ● Reverb and Delay Time The optimum reverb time for a piece of music will depend on the music’s tempo and density, but as a general rule longer reverb times are good for ballads, while shorter reverb times are more suited to uptempo tunes. Delay times can be adjusted to create a wide variety of “grooves”. When adding delay to a vocal, for example, try setting the delay time to dotted eighth notes corresponding to the tune’s tempo. ● Reverb Level It’s amazing how quickly your ears can lose perspective and fool you into believing that a totally washed-out mix sounds perfectly fine. To avoid falling into this trap start with reverb level all the way down, then gradually bring the reverb into the mix until you can just hear the difference. Any more than this normally becomes a “special effect.” NOTE ● Reverb Tone Different reverb programs will have different “reverb tone” due to differences in the reverb time of the high or low frequencies. Too much reverb, particularly in the high frequencies, can result in unnatural sound and interfere with the high frequencies in other parts of the mix. It’s always a good idea to choose a reverb program that gives you the depth you want without detracting from the clarity of the mix. 14 MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual For details on the modulation effects, refer to “Digital Effect Program List (Only MG166CX-USB)” on page 23.  Reference Setup Reference Powered monitor speakers Guitar Rear panel Effect processor Recorder Bass Personal Computer CD Player Powered speakers Synthesizer Microphone DI Effect processor (exciter) Headphones Powered monitor speakers MG206C-USB MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 15  Reference Front & Rear Panels Channel Control Section ● MG206C-USB ● MG166CX-USB/MG166C-USB * A MG166C-USB : EFFECT → AUX3 Channels 1 to 8 (Monaural) Channels 9 to 12 (Monaural) Channels 13/14 and 15/16 (Stereo) Channels 17/18 and 19/20 (Stereo) Channels 1 to 6 (Monaural) 1 1 1 2 3 4 5 6 7 16 Channels 9/10 and 11/12 (Stereo) 1 2 3 5 6 7 8 6 7 6 7 8 9 9 0 0 A Channels 7 and 8 (Monaural) 9 9 0 0 A A B B A B B C C C C D E D E D E D E F G H F G H F G H F G H I I I I MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual Channels 13/14 and 15/16 (Stereo) 4  Reference Front & Rear Panels 1 MIC Input jacks 7 These are balanced XLR-type microphone input jacks. (1: Ground; 2: Hot; 3: Cold) 2 LINE Input Jacks (monaural channels) 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 (stereo channels) These are unbalanced phone-jack stereo line inputs. 4 LINE Input Jacks (stereo channels) These are unbalanced stereo RCA pin jacks. 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, 4). 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 On channels that provide multiple input jack options only one type of jack can be used at a time. NOTE 5 INSERT Jacks 9 PEAK indicator These jacks can be used to insert an external signal-processing device between the equalizer and fader of the corresponding monaural input channel. 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). Patching external devices via an INSERT jack requires a special cable such as illustrated below (insert cable sold separately). NOTE To the input jack of the external processor To the INSERT I/O jack Sleeve (Ground) Ring: IN Tip: OUT Tip: OUT Tip: IN To the output jack of the external processor CAUTION Avoid setting the compression too high, as the higher average output level that results may lead to feedback. 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 reversedphased signal may result in degraded sound quality or even complete sound cancellation. 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, 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. 0 Equalizer (HIGH, MID and LOW) This three-band equalizer adjusts the channel’s high, mid, and low frequency bands. 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 monaural channels have MID frequency controls to adjust the midrange frequency 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 * The monaural channel MID frequency can be adjusted from 250 Hz to 5 kHz. The MID frequency is 2.5 kHz when the MID frequency control is set at the center position. 6 GAIN Control Adjusts the input signal level. To get the best balance between the S/N ratio and the dynamic range, adjust the gain 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. MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 17  Reference Front & Rear Panels A AUX, EFFECT Control Adjusts the level of the signal sent from the channel to the AUX and EFFECT buses. These knobs should generally be set close to the “▼” position. These controls send either the signal from immediately prior to the channel fader (pre-fader signal) or the signal after the channel fader (post-fader signal) to the corresponding buses. The types of signals sent by the AUX and EFFECT controls on each mixer model are as follows: D ON Switch Turn this switch on to send the signal to the buses. The switch lights orange when on. E 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 signal is output to the PHONES and MONITOR OUT jacks for monitoring. • MG206C-USB AUX1: Pre-fader AUX2, 3: Pre-fader/post-fader (determined by the AUX PRE switch B) AUX4: Post-fader F 1-2 Switch • MG166CX-USB AUX1: Pre-fader AUX2: Pre-fader/post-fader (determined by the AUX PRE switch B) EFFECT: Post-fader G 3-4 Switch • MG166C-USB AUX1: Pre-fader AUX2: Pre-fader/post-fader (determines by the AUX PRE switch B) AUX3: Post-fader NOTE • To send the signal to the STEREO bus engage the ON switch ( ). • On stereo channels, the L (odd) and R (even) input signals are mixed and sent to the AUX and EFFECT buses. This switch assigns the channel’s signal to the GROUP 1/2 bus. NOTE This switch assigns the channel’s signal to the GROUP 3/4 bus. NOTE This switch assigns the channel’s signal to the STEREO L/R bus. NOTE To send the signal to the STEREO bus turn the ON switch on ( ). I Channel Fader Selects whether the pre-fader or the post-fader signal is fed to the AUX buses. If the switch is on ( ), the mixer sends the pre-fader signal to the AUX buses, so that AUX outputs are not affected by the channel fader I. If the switch is off ( ) the mixer sends the post-fader signal to the AUX buses. C PAN Control PAN/BAL Control BAL Control The PAN control determines the stereo positioning of the channel signal on the GROUP 1/2 and GROUP 3/4 buses or on the STEREO L/R bus. The BAL control knob sets the balance between left and right channels. Signals input to the L input (odd channel) go to the GROUP 1 or 3 buses or to the STEREO L bus; signals input to the R input (even channel) go to the GROUP 2 or 4 buses or the STEREO R bus. 18 To send the signal to the GROUP 3/4 bus turn the ON switch on ( ). H ST Switch B AUX PRE Switch NOTE To send the signal to the GROUP 1/2 bus turn the ON switch on ( ). On channels where this knob provides both PAN and BAL control, 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. MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 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.  Reference Front & Rear Panels Digital Effects * Only the MG166CX-USB 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 Selects one of the 16 internal effects. See page 23 for details about the internal effects. 3 PARAMETER Control 2 Adjusts the parameter (depth, speed, etc.) for the selected effect. The last value used with each effect type is saved. 3 NOTE 4 When you change to a different effect type, the mixer automatically restores the value that was previously used with that type (regardless of the current position of the PARAMETER 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 buses. NOTE The signal level sent to the AUX buses is not affected by the EFFECT RTN fader. 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. 5 6 7 8 9 NOTE The ON switch lights and the internal effect unit is active when the power is initially turned on. 6 PFL Switch Turn this switch on to send the effect signal to the PFL bus. 7 1-2 Switch 0 This switch assigns the effect signal to the GROUP 1/2 bus. 8 3-4 Switch This switch assigns the effect signal to the GROUP 3/4 bus. 9 ST Switch This switch assigns the effect signal to the STEREO L/R bus. 0 EFFECT RTN Fader Adjusts the signal level sent from the internal digital effect unit to the STEREO bus. MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 19  Reference Front & Rear Panels Master Control Section ● MG206C-USB ● MG166CX-USB/MG166C-USB 2 Rear panel 4 5 6 * 2, D MG166C-USB : EFFECT → AUX3 Rear panel 1 1 3 2 5 7 4 7 8 9 6 3 9 8 0 A 0 A B B D D C E C F 20 F I I H H G J MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual E G J  Reference Front & Rear Panels 1 USB Connector 7 STEREO OUT (L, R) Jacks Connects to the computer via the included cable. The USB connector outputs the same signal as the REC OUT jacks. CAUTION When connecting or disconnecting the USB cable be sure to turn the 2TR IN/USB control all the way down. 2 SEND Jacks (AUX, EFFECT) These impedance balanced* TRS phone jacks output the signals from the AUX/EFFECT buses. The pre-fader send option should be selected if you are connecting to a monitor system, while the post-fader send option is the best choice when connecting to external signal processors (e.g. effects units). See “AUX, EFFECT Control” on page 18 for information on the types of signals sent by the AUX and EFFECT controls on each mixer model. These jacks deliver the mixer’s stereo output. You 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 J for level control. • XLR jacks XLR-type balanced output jacks. • LINE jacks TRS phone-type balanced output jacks. 8 MONITOR OUT jacks These are impedance-balanced* TRS phone-type output jacks. NOTE 3 GROUP OUT (1 to 4) Jacks These impedance-balanced* TRS phone jacks output the GROUP 1/2 and 3/4 signals. Use these jacks to connect to the input jacks of an multi-track recorder, external mixer, or other such device. 4 REC OUT (L, R) Jacks These RCA pin jacks can be connected to an external recorder such as an MD recorder in order to record the same signal that is being output via the STEREO OUT jacks. NOTE The mixer’s STEREO OUT Master fader has no affect on the signal output via these jacks. Be sure to make appropriate level adjustments at the recording device. 9 PHONES Jack Connect a pair of headphones to this TRS phone-type output jack. The PHONES jack outputs the same signal as the MONITOR OUT jacks. 0 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. Turn this switch on when using one or more phantom-powered condenser microphones. NOTE 5 2TR IN Jacks These RCA pin jacks input a stereo sound source. Use these jacks when you want to connect a CD player directly to the mixer. NOTE • Select where you want to send the signal using the 2TR IN/USB switch, and adjust the signal level using the 2TR IN/USB control in the Master Control section. • If signals are input via both the 2TR IN jacks and the USB connector, the signals are mixed. 6 RETURN L (MONO), R Jacks These are unbalanced phone-jack type line inputs. The signal received by these jacks can be sent to the STEREO L/R bus as well as the AUX1 and AUX2 buses. When a stereo signal is returned a mono mix of the signal is sent to the AUX1 and AUX2 buses. These jacks are typically used to receive the signal returned from an external effect device (reverb, delay, etc.). NOTE • 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. The signal output by these jacks is determined by the MONITOR switch, the 2TR IN/USB switch, and the PFL switches on the input channels. 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 if you do not need phantom power. CAUTION • When turning the switch on, be sure that only condenser microphones are connected to the XLR input jacks. 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. • To prevent damage to speakers, be sure to turn off power amplifiers (or powered speakers) before turning this switch on or off. We also recommend that you turn all output controls (STEREO OUT Master fader, GROUP 1-2 fader, GROUP 3-4 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. A POWER Indicator This indicator lights when the mixer’s power is ON. * 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. MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 21  Reference Front & Rear Panels B Level Meter The following illustration shows how the switch settings correspond to the signal selection. This LED meter displays the level of the signal selected by the MONITOR switch E, 2TR IN/USB switch F and PFL switch. The “0” segment corresponds to the nominal output level. The PEAK indicator lights red when the output reaches the clipping level. Switches C RETURN PFL MONITOR/ PHONES 2TR IN/USB ON — — • AUX1, AUX2 Control STEREO Adjusts the level at which the L/R signal received at the RETURN jacks (L (MONO) and R) is sent to the AUX1 and AUX2 buses. OFF Adjusts the level at which the signal received at the RETURN jacks (L (MONO) and R) is sent to the STEREO L/R bus. Adjusts the signal level sent to the SEND (AUX, EFFECT) jacks. If you are using the MG166CX-USB, the Master SEND control (EFFECT) does not affect the level of the signal sent from the EFFECT bus to the internal digital effect processor. E MONITOR/PHONES TO STEREO TO MONITOR GROUP 3-4 (+ 2TR IN/USB) * : When overdubbing, you can adjust the levels of the monitor playback signal and the signal being recorded separately. MONITOR MIX Signal Flow 2TR IN/USB control 2TR IN/USB Playback MONITOR/PHONES controls signal MONITOR STEREO OUT/PHONES bus jacks Recording signal STEREO OUT Master fader REC OUT/USB jacks NOTE ) ), 1-2 ( ), 3-4 ( ) ) • MONITOR Control Controls the level of the signal output to the PHONES jack and the MONITOR OUT jacks. F 2TR IN/USB If the input channel PFL switch is on ( ), then only the PFL output from that channel is sent to the MONITOR OUT jacks, PHONES jack, and level meter. G GROUP 1-2 Fader Adjusts the signal level sent to the GROUP OUT 1/2 jacks. H GROUP 3-4 Fader Adjust the signal level to the GROUP OUT 3/ 4 jacks. I ST Switch If this switch is on, the signals are sent to the STEREO L/R bus via the GROUP 1-2 fader or GROUP 3-4 fader. The GROUP 1 and 3 signals go to STEREO L and the GROUP 2 and 4 signals go to STEREO R. • 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. GROUP 3-4 3-4 These switches select the signal sent to the MONITOR OUT jacks, PHONES jack and the level meter from STEREO L/R bus, GROUP 1/2 bus or GROUP 3/4 bus. STEREO L/R bus: STEREO ( GROUP 1/2 bus: GROUP ( GROUP 3/4 bus: GROUP ( GROUP 1-2 TO MONITOR GROUP 1-2 (+ 2TR IN/USB) GROUP • MONITOR switches J STEREO OUT Master Fader • 2TR IN/USB Control Adjusts the level of the signal sent from the 2TR IN jacks and the USB connector. 22 1-2 • 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. D Master SEND Controls (AUX, EFFECT) NOTE TO STEREO STEREO (+ 2TR IN/USB) TO STEREO • (MG206C-USB) Signals input via the RETURN1 jacks are adjusted using the RETURN1 AUX1, AUX2 and the STEREO controls, and signals input via the RETURN2 jacks are adjusted using the RETURN2 AUX1, AUX2 and the STEREO controls. PFL TO MONITOR STEREO + 2TR IN/USB * • STEREO Control NOTE Signals output via the MONITOR/PHONES jacks MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual Adjusts the signal level sent to the STEREO OUT jacks.  Reference Front & Rear Panels Digital Effect Program List (Only MG166CX-USB) 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 Jack LINE INPUT (monaural channels) GROUP OUT, STEREO OUT, MONITOR OUT, AUX SEND, EFFECT SEND (Only MG166CX-USB)* Tip: Hot (+) Ring: Cold (–) Sleeve: Ground INSERT Tip: Output Ring: Input Sleeve: Ground PHONES Tip: L Ring: R Sleeve: Ground RETURN LINE INPUT (stereo channels) Ring Sleeve Tip TRS Phone Jack Tip: Hot Sleeve: Ground Sleeve Tip Phone Jack * These jacks will also accept connection to phone plugs. If you use monaural plugs, the connection will be unbalanced. MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 23  Reference Troubleshooting ■ While using the MG mixer 24 Power doesn’t come on. ❑ Is the supplied power adaptor properly plugged into an appropriate AC wall outlet? ❑ Is the supplied power adaptor properly plugged into the mixer? No sound. ❑ Are microphones, external devices, and speakers connected correctly? ❑ Are the ON switch and ST switch of the channels you are using turned ON? ❑ Are the channel GAIN controls, Channel fader, STEREO OUT Master fader and GROUP 1-2/3-4 fader set to appropriate levels? ❑ Are the MONITOR switch and 2TR IN/USB switch set properly? ❑ Are your speaker cables connected properly, or are they shorted? ❑ If the above checks do not identify the problem, call Yamaha for service. (Refer to the page 71 for a list of service centers.) Sound is faint, distorted, or noisy. ❑ Are the channel GAIN controls, Channel fader, STEREO OUT Master fader and GROUP 1-2/3-4 fader set to appropriate levels? ❑ Are two different instruments connected to the XLR-type and phone jacks, or to the phone and RCA pin jacks on one channel? Please connect to only one of these jacks on each channel. ❑ Is the input signal from the connected device set to an appropriate level? ❑ Are you applying the effects at an appropriate level? ❑ Are microphones connected to the MIC input jacks? ❑ If you are using condenser microphones, is the PHANTOM +48 V switch turned ON? No effect is applied. (If you are using MG166CXUSB) ❑ Check that the EFFECT control on each channel is correctly adjusted. ❑ Be sure that the internal effect unit’s ON switch is turned ON. ❑ Be sure that the EFFECT PARAMETER control and EFFECT RTN fader are correctly adjusted. I want spoken words to be heard more clearly. ❑ Be sure that the switches are ON. ❑ Adjust the equalizers (HIGH, MID and LOW) on each channel. I want to output a monitor signal through speakers. ❑ Connect a powered speaker to the AUX 1, 2 or 3 jack (MG206C-USB), or to the AUX1 or 2 jack (MG166CX-USB/MG166C-USB) and turn the PRE switch on each channel on. Then adjust the output signal by using the AUX controls on each channel and the Master SEND control. The level meter doesn’t show the output signal level. ❑ Are the PFL switches for the channels that you are not using turned on? MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual  Reference Troubleshooting ■ While using the MG mixer with Cubase AI 4 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 MG 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. No sound. ❑ 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: 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]. Macintosh: 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 4 application assigned properly? For setup details refer to page 7 of the Quick Guide. 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: 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.” Macintosh: 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 4 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. MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 25  Reference Troubleshooting The sound is intermittent or distorted. ❑ Does the computer you are using meet the listed system requirements? Refer to “Computer System Requirements” on page 6 for details. ❑ 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 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 wave 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). 26 ❑ Check the URL listed below for the latest information. <http://www.yamahaproaudio.com/> MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual  Reference Specifications MG206C-USB ■ Electrical Specifications Frequency Response Total Harmonic Distortion (THD + N) Hum & Noise STEREO OUT GROUP OUT AUX SEND MONITOR OUT, REC OUT STEREO OUT 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) All faders and controls are maximum when measured. PAN/BAL: panned hard left or hard right Phantom Voltage CH INPUT 1–12 MIC STEREO OUT GROUP OUT AUX SEND GAIN: min (CHs 1–19/20) 20 Hz–20 kHz Nominal output level @1 kHz Input: CHs 1 to 19/20, RETURN, 2TR IN MIN 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, GROUP 1-2 fader and GROUP 3-4 fader at nominal level and all channels’ ST and 1-2, 3-4 switches off. Master/AUX control at nominal level and all CH AUX controls at minimum. STEREO OUT STEREO OUT, GROUP 1-2, GROUP 3-4 faders and one CH GROUP OUT fader at nominal level. STEREO OUT Residual Output Noise Adjacent Input CHs 1–12 Input to Output STEREO L/R, CHs 1–12, PAN: panned hard left or right Rs = 150 Ω MIC to CH INSERT OUT INPUT GAIN: maximum MIC to STEREO OUT MIC to GROUP OUT MIC to GROUP to ST MIC to REC OUT MIC to MONITOR OUT, ST TO MONITOR MIC to PHONES OUT MIC to AUX SEND PRE MIC to AUX SEND POST CH 17/18, 19/20 LINE to STEREO OUT CH 17/18, 19/20 LINE to GROUP OUT CH 17/18, 19/20 LINE to AUX SEND PRE CH 17/18, 19/20 LINE to AUX SEND POST Rs = 150 Ω RETURN to STEREO OUT RETURN to AUX SEND Rs = 600 Ω 2TR IN to STEREO OUT MIC no load -128 -88 -81 dBu -64 -98 -70 -70 dB 60 84 94 62.2 94 83 76 86 dB 58 47 57 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. CHs 1–12 CH 13/14–19/20 PEAK Indicator LED Level Meter Power Supply Adaptor Power Consumption Dimensions (W x H x D) Net Weight Pre MONITOR Level STEREO/GROUP/PFL bus PA-30 Input/Output: 44.1/48 kHz 80 Hz, 12 dB/oct HIGH: 10 kHz (shelving) MID: 250 Hz–5 kHz (peaking) LOW: 100 Hz (shelving) HIGH: 10 kHz (shelving) MID: 2.5 kHz (peaking) LOW: 100 Hz (shelving) Red LED turns on when post EQ signal (either post MIC HA or post EQ signal for CHs 13/14–19/20) reaches -3 dB below clipping (+17 dBu). 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. AC 35 VCT, 1.4 A, Cable Length = 3.6 m 40 W 478 mm x 102 mm x 496 mm 6.0 kg All faders are nominal if not specified. Output impedance of signal generator: 150 ohms MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 99  Reference Specifications ■ Analog Input Specifications Input Connectors CH INPUT MIC (CHs 1–12) CH INPUT LINE (CHs 1–12) ST CH MIC INPUT (CHs 13/14–19/20) ST CH LINE INPUT (CHs 13/14, 15/16) ST CH INPUT (CHs 17/18, 19/20) Gain Input Impedance Appropriate Impedance 3kΩ 50–600Ω Mics 10kΩ 600Ω Lines 3kΩ 50–600Ω Mics 10kΩ 600Ω Lines 10kΩ 600Ω Lines -60 dB -16 dB -34 dB +10 dB -60 dB -16 dB -34 dB +10 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) -54 dB (1.55 mV) -34 dB (15.5 mV) -14 dB (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) Phone jack (unbalanced) RCA pin jack CH INSERT IN (CHs 1–12) — 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 Connector Specifications 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]) GROUP OUT (1–4) 150Ω 10kΩ Lines +4dBu (1.23 V) +20 dBu (7.75 V) TRS phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND]) AUX SEND (1–4) 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 1–12) 75Ω 10kΩ Lines 0 dBu (0.775 V) +20 dBu (7.75 V) TRS phone jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND]) REC OUT (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 TRS phone jack Where 0 dBu = 0.775 Vrms and 0 dBV = 1 Vrms ■ Digital Input/Output Specifications 100 Connector Format Data Length Connector Specification USB USB Audio 1.1 16 bit USB B type MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual  Reference Specifications MG166CX-USB/MG166C-USB ■ Electrical Specifications Frequency Response Total Harmonic Distortion (THD + N) Hum & Noise STEREO OUT GROUP OUT EFFECT/AUX* SEND MONITOR OUT, REC OUT STEREO OUT 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) All faders and controls are maximum when measured. PAN/BAL: panned hard left or hard right Phantom Voltage CH INPUT 1–8 MIC STEREO OUT GROUP OUT EFFECT/AUX* SEND GAIN: min (CHs 1–11/12) 20 Hz–20 kHz Nominal output level @1 kHz Input: CHs 1 to 15/16, RETURN, 2TR IN MIN 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, GROUP 1-2 fader and GROUP 3-4 fader at nominal level and all channels’ ST and 1-2, 3-4 switches off. Master EFFECT/AUX* control at nominal level and all CH EFFECT/AUX* controls at minimum. STEREO OUT STEREO OUT, GROUP 1-2, GROUP 3-4 faders and one CH GROUP OUT fader at nominal level. STEREO OUT Residual Output Noise Adjacent Input CHs 1–8 Input to Output STEREO L/R, CHs 1–8, PAN: panned hard left or right Rs = 150 Ω MIC to CH INSERT OUT INPUT GAIN: maximum MIC to STEREO OUT MIC to GROUP OUT MIC to GROUP to ST MIC to REC OUT MIC to MONITOR OUT, ST TO MONITOR MIC to PHONES OUT MIC to AUX SEND PRE MIC to AUX SEND POST, EFFECT* SEND CH 9/10, 11/12 LINE to STEREO OUT CH 9/10, 11/12 LINE to GROUP OUT CH 9/10, 11/12 LINE to AUX SEND PRE CH 9/10, 11/12 LINE to AUX SEND POST, EFFECT* SEND CH 13/14, 15/16 to STEREO OUT CH 13/14, 15/16 to GROUP OUT Rs = 150 Ω RETURN to STEREO OUT RETURN to EFFECT/AUX* SEND Rs = 600 Ω 2TR IN to STEREO OUT MIC no load -128 -88 -81 dBu -64 -98 -70 -70 dB 60 84 94 62.2 94 83 76 86 dB 58 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 MG166CX-USB) LED Level Meter Power Supply Adaptor Power Consumption Dimensions (W x H x D) Net Weight Input/Output: 44.1/48 kHz CHs 1–11/12 80 Hz, 12 dB/oct CHs 1–8 HIGH: 10 kHz (shelving) MID: 250 Hz–5 kHz (peaking) LOW: 100 Hz (shelving) CH 9/10–15/16 HIGH: 10 kHz (shelving) MID: 2.5 kHz (peaking) LOW: 100 Hz (shelving) Red LED turns on when post EQ signal (either post MIC HA or post EQ signal for CHs 9/10–15/16) 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) STEREO/GROUP/PFL bus PEAK lights if the signal level reaches 3 dB below the clipping level. PA-30 AC 35 VCT, 1.4 A, Cable Length = 3.6 m 35 W (MG166CX-USB), 30 W (MG166C-USB) 478 mm x 102 mm x 496 mm 5.5 kg (MG166CX-USB), 5.3 kg (MG166C-USB) All faders are nominal if not specified. Output impedance of signal generator: 150 ohms * MG166CX-USB: AUX1, 2, EFFECT MG166C-USB: AUX1, 2, 3 MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 101  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 9/10, 11/12) ST CH LINE INPUT (CHs 9/10, 11/12) Appropriate Impedance -60 dB CH INPUT MIC (CHs 1–8) CH INPUT LINE (CHs 1–8) 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 13/14, 15/16) — 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 1–8) — 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 Connector Specifications 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]) GROUP OUT (1–4) 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* 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 1–8) 75Ω 10kΩ Lines 0 dBu (0.775 V) +20 dBu (7.75 V) TRS phone jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND]) REC OUT (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 TRS phone jack Where 0 dBu = 0.775 Vrms and 0 dBV= 1 Vrms * MG166CX-USB: AUX1, 2, EFFECT MG166C-USB: AUX1, 2, 3 ■ Digital Input/Output Specifications 102 Connector Format Data Length Connector Specification USB USB Audio 1.1 16 bit USB B type MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual  Reference Specifications ■ Dimensional Diagrams (MG206C-USB/MG166CX-USB/MG166C-USB) 444 102 5 488.5 496 98 478 43 41 Unit: mm ■ Rack Mounting To mount the MG mixer, it requires 12U of rack space. CAUTION If the MG mixer is to be mounted with devices that tend to generate heat, such as power amplifiers, be sure to install ventilation panels to prevent high temperatures from developing inside the mixer. 12U * 12U (Approx. 534mm) * 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. MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 103  (CH1 to 12) [-60 to -16dBu] MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual -60dBu -50dBu -40dBu -30dBu -20dBu -10dBu 0dBu +10dBu +20dBu +30dBu (CH17/18, 19/20) ST CH INPUT [6 to 50dB] [-10dBV] [-7.8dBu] 2TR IN R CH IN MIC Gain:Max [-60dBu] CH IN LINE Gain:Max [-34dBu] CH IN MIC Gain:Min [-16dBu] ST CH IN MIC Gain:Max [-60dBu] ST CH IN LINE Gain:Max [-34dBu] ST CH IN MIC Gain:Min [-16dBu] 3-Stage EQ 3-Stage EQ [0dBu] PEAK RE YE [0dBu] YE ON ST CH IN [-10dBu] [-7.8dBu] 2TR IN [-10dBV] RETURN [+4dBu] Clip Level CH Level ST CH Level [Nominal:-10dB] Clip Level [0dBu] [0dBu] [-10dBu] CH Fader [-10dBu] CH Fader ST CH INPUT 17/18-19/20 — Same as ST CH INPUT 13/14-15/16 3-Stage EQ Clip Level [0dBu] ST CH IN LINE Gain:Min [+10dBu] Clip Level SUM SUM INV HA L [6 to 50dB] GAIN Trim HA INV USB OUT (L) USB OUT (R) HPF HA HA [0dBu] TH+GAIN CH9 to 12 GAIN Trim HPF [0dBu] [-34 to +10dBu] HPF HPF [-34 to +10dBu] HPF COMP CH1 to 8 (RETURN1/2) [+4dBu] R RETURN L/MONO [-34 to +10dBu] LINE R [-34 to +10dBu] LINE L HA [-34 to +10dBu] LINE R [-34 to +10dBu] LINE L/MONO HA [16 to 60dB] GAIN Trim CH IN LINE Gain:Min [+10dBu] [-60 to -16dBu] MIC (CH13/14, 15/16) ST CH INPUT [-60 to -16dBu] MIC [0dBu] INSERT I/O [-34 to +10dBu] CH INPUT LINE HPF Lo G Lo HA Hi G MIC Mid f [0dBu] PHANTOM +48V PEAK RE Mid G Mid 104 Hi RE BA BA BA AUX3 ST CH AUX *1 [Nominal:-6dB] CH AUX *1 [Nominal:-6dB] [-6dBu] [0dBu] [-6dBu] [-6dBu] [-6dBu] ST/MONITOR AUX 2 [-14dBu] AUX 1 [-14dBu] [-6dBu] STEREO PFL AUX 4 AUX 3 AUX 2 AUX 1 [-6dBu] G3–4 [0dBu] G1–2 [0dBu] ST PFL [-6dBu] [-6dBu] [-6dBu] G3–4 [0dBu] AUX2 +15V PRE [0dBu] [-6dBu] +15V PRE ST G1–2 [0dBu] RETURN 2TR IN [Nominal:-6dB] AUX1 AUX2 AUX3 AUX4 STEREO L STEREO R GROUP 1 GROUP 2 GROUP 3 GROUP 4 PFL L PFL R PFL CTRL AUX1 PRE AUX4 PRE 2TR IN BAL/PAN [0dBu] PAN SUM [0dBu] SUM SUM [0dBu] [0dBu] [0dBu] AUX SEND *1 [+4dBu] [-10dBu] BA SUM SUM BA BA LED Meter DR [0dBu] DR [0dBu] GROUP OUT [+4dBu] Clip Level INV INV ST Master [Nominal:-10dB] D+ USB 4 3 2 1 [-10dBV] REC OUT [+4dBu] [+4dBu] [+4dBu] PHONES [3mW @ 40ohms] -30dBu -20dBu -10dBu 0dBu +10dBu +20dBu +30dBu AUX SEND 1 [3mW,40ohms] PHONES R MONITOR OUT L R [-7.8dBu] L R STEREO OUT L [+4dBu] GROUP OUT MONITOR OUT [+4dBu] Clip Level MONI/PHONES [Nominal:-16dB] REG Vbus GND ST OUT [+4dBu] 12MHz (Bus Powered) PCM2900 USB AUDIO D- USB IN(R) USB IN(L) REC OUT [-7.8dBu] RO LO RIN LIN Clip Level LPF USB OUT(R) LPF LPF LPF [0dBu] [0dBu] USB OUT(L) USB IN(R) GROUP Fader [Nominal:-10dB] [-16dBu] MONI/PHONES LED Meter AUX SEND 2 to 4 — Same as AUX SEND 1 USB IN(L) MONITOR MIX [-10dBu] ST Fader BA BA BA BA TO STEREO GROUP Fader [-10dBu] GROUP Fader AUX SEND 1 [-6dBu] SUM [0dBu] SUM [0dBu] ST/GROUP Clip Level 1-2/3-4 [0dBu] AUX SEND *1 [Nominal:-6dB] SUM SUM SUM SUM SUM SUM Reference Specifications ■ Block Diagram and Level Diagram (MG206C-USB) [-6dBu]  [-60 to -16dBu] MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual -60dBu -50dBu -40dBu -30dBu -20dBu -10dBu 0dBu +10dBu +20dBu +30dBu (CH9/10, 11/12) L 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 only MG166CX-USB [-10dBV] [-7.8dBu] 2TR IN [+4dBu] RETURN L/MONO R (CH13/14, 15/16) [-10dBu] ST CH INPUT [-34 to +10dBu] LINE R [-34 to +10dBu] LINE L/MONO [-60 to -16dBu] MIC [0dBu] INSERT I/O [-34 to +10dBu] ST CH INPUT (CH1 to 8) CH INPUT LINE HA HPF [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 CH7 to 8 [0dBu] COMP ST CH IN LINE Gain:Min [+10dBu] Clip Level USB OUT (L) USB OUT (R) HPF HPF [-34 to +10dBu] [16 to 60dB] GAIN Trim HA 3-Stage EQ Lo G MIC 3-Stage EQ Hi G CH1 to 6 Mid f 3-Stage EQ 3-Stage EQ Lo YE [0dBu] YE ON [-7.8dBu] 2TR IN [-10dBV] RETURN [+4dBu] IN R out L out [-10dBu] CH Fader [-10dBu] CH Fader DIGITAL EFFECT (DSP) Clip Level YE ON [0dBu] YE CH Level ST CH Level [Nominal:-10dB] Clip Level ON PARAMETER [0dBu] [0dBu] PEAK RE PROGRAM (1–16) 3-Stage EQ Lo HPF Mid G Mid Mid [0dBu] PHANTOM +48V PEAK RE Hi Hi RE BA BA BA +15V PRE ST CH AUX *1 [Nominal:-6dB] CH AUX *1 [Nominal:-6dB] PFL [-10dBu] [0dBu] [-6dBu] [-6dBu] [-6dBu] [-6dBu] AUX 2 [-14dBu] AUX 1 [-14dBu] ST AUX* PFL AUX 2 AUX 1 G3–4 [0dBu] G1–2 [0dBu] ST PFL [-6dBu] [-6dBu] AUX 2 [-14dBu] [-14dBu] [-6dBu] SUM SUM SUM SUM SUM SUM SUM SUM [0dBu] [0dBu] MG166CX-USB [-10dBu] BA BA BA SUM SUM BA BA TO ST BA BA BA BA GROUP Fader [Nominal:-10dB] Clip Level USB OUT(R) USB OUT(L) USB IN(R) USB IN(L) LED Meter DR [0dBu] DR [0dBu] ST Master [Nominal:-10dB] GROUP OUT [+4dBu] Clip Level EFFECT AUX 3 AUX * MONITOR MIX AUX SEND* [-6dBu] AUX SEND 2 [-6dBu] MG166C-USB [-10dBu] GROUP Fader AUX SEND 1 [-6dBu] MODEL [0dBu] [0dBu] [0dBu] SUM [-10dBu] GROUP Fader STEREO Fader [0dBu] SUM [0dBu] STEREO/GROUP [0dBu] AUX SEND *1 [+4dBu] Clip Level SUM SUM SUM 1-2/3-4 [0dBu] AUX SEND *1 [Nominal:-6dB] STEREO L STEREO R GROUP 1 GROUP 2 GROUP 3 GROUP 4 PFL L PFL R PFL CTRL RETURN 2TR IN [Nominal:-6dB] ST [0dBu] G1–2 [0dBu] G3–4 [0dBu] TO ST/TO MONITOR AUX 1 BA BA 2TR IN EFFECT RETURN +15V AUX* [-6dBu] AUX2 +15V PRE [-6dBu] G3–4 [0dBu] G1–2 [0dBu] [0dBu] AUX1 AUX2 AUX* AUX1 Same as CH9/10 BAL/PAN [0dBu] PAN ST LPF LPF LPF LPF INV INV REC OUT [-7.8dBu] ST OUT [+4dBu] [0dBu] [0dBu] [-16dBu] MONI/PHONES LED Meter REG Vbus GND D+ D- [+4dBu] [3mW,40ohms] PHONES R MONITOR OUT L [-10dBV] [-7.8dBu] REC OUT [+4dBu] USB PHONES [3mW @ 40ohms] -30dBu -20dBu -10dBu 0dBu +10dBu +20dBu +30dBu [+4dBu] AUX SEND * [+4dBu] AUX SEND 2 [+4dBu] AUX SEND 1 R L R STEREO OUT L [+4dBu] GROUP OUT MONITOR OUT [+4dBu] Clip Level 12MHz (Bus Powered) PCM2900 USB AUDIO MONI/PHONES [Nominal:-16dB] RO LO RIN LIN USB IN(R) USB IN(L) 4 3 2 1 Reference Specifications ■ Block Diagram and Level Diagram (MG166CX-USB/MG166C-USB) 105  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. • Use of the software and this manual is governed by the license agreement which the purchaser fully agrees to upon breaking the seal of the software packaging. (Please read carefully the Software Licensing Agreement at the end of this manual before installing the application.) • 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. • For information about the minimum system requirements and latest information of the software in the disk, check the web site below. <http://www.yamahasynth.com/> • 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 Macintosh. NOTE • In order to install the software in the accessory disk, you’ll need a working Internet connection. Make sure to fill in all required fields when installing. • If you are using a Macintosh computer, double-click the “***.mpkg” file to start installation. 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.) ATTENTION SOFTWARE LICENSE AGREEMENT PLEASE READ THIS SOFTWARE LICENSE AGREEMENT (“AGREEMENT”) CAREFULLY BEFORE USING THIS SOFTWARE. YOU ARE ONLY PERMITTED TO USE THIS SOFTWARE PURSUANT TO THE TERMS AND CONDITIONS OF THIS AGREEMENT. THIS AGREEMENT IS BETWEEN YOU (AS AN INDIVIDUAL OR LEGAL ENTITY) AND YAMAHA CORPORATION (“YAMAHA”). BY BREAKING THE SEAL OF THIS PACKAGE YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS LICENSE. IF YOU DO NOT AGREE WITH THE TERMS, DO NOT INSTALL, COPY, OR OTHERWISE USE THIS SOFTWARE. THIS AGREEMENT PROVIDES YOUR USE-CONDITIONS ABOUT THE “DAW” SOFTWARE OF STEINBERG MEDIA TECHNOLOGIES GMBH(“STEINBERG”) WHICH IS BUNDLED WITH THIS PRODUCT. SINCE THE END-USER SOFTWARE LICENSE AGREEMENT (EUSLA) SHOWED ON YOUR PC-DISPLAY IN YOUR INSTALLING THE “DAW” SOFTWARE IS REPLACED BY THIS AGREEMENT, YOU SHOULD DISREGARD THE EUSLA. THAT IS, IN THE INSTALLING PROCESS, YOU SHOULD SELECT “AGREE” WITH THE EUSLA, WITHOUT YOUR JUDGMENT THERETO, SO AS TO PROCEED TO THE NEXT PAGE. 1. GRANT OF LICENSE AND COPYRIGHT Yamaha hereby grants you the right to use one copy of the software program(s) and data (“SOFTWARE”) accompanying this Agreement. The term SOFTWARE shall encompass any updates to the accompanying software and data. The SOFTWARE is owned by STEINBERG, and is protected by relevant copyright laws and all applicable treaty provisions. Yamaha has acquired the sublicense right to license you to use the SOFTWARE. While you are entitled to claim ownership of the data created with the use of SOFTWARE, the SOFTWARE will continue to be protected under relevant copyrights. 106 • You may use the SOFTWARE on a single computer. • You may make one copy of the SOFTWARE in machinereadable form for backup purposes only, if the SOFTWARE is on media where such backup copy is permitted. On the backup copy, you must reproduce Yamaha’s copyright notice and any other proprietary legends that were on the original copy of the SOFTWARE. • You may permanently transfer to a third party all your rights in the SOFTWARE, provided that you do not retain any copies and the recipient reads and agrees to the terms of this Agreement. MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual  2. RESTRICTIONS • You may not engage in reverse engineering, disassembly, decompilation or otherwise deriving a source code form of the SOFTWARE by any method whatsoever. • You may not reproduce, modify, change, rent, lease, or distribute the SOFTWARE in whole or in part, or create derivative works of the SOFTWARE. • You may not electronically transmit the SOFTWARE from one computer to another or share the SOFTWARE in a network with other computers. • You may not use the SOFTWARE to distribute illegal data or data that violates public policy. • You may not initiate services based on the use of the SOFTWARE without permission by Yamaha Corporation. Copyrighted data, including but not limited to MIDI data for songs, obtained by means of the SOFTWARE, are subject to the following restrictions which you must observe. • Data received by means of the SOFTWARE may not be used for any commercial purposes without permission of the copyright owner. • Data received by means of the SOFTWARE may not be duplicated, transferred, or distributed, or played back or performed for listeners in public without permission of the copyright owner. • The encryption of data received by means of the SOFTWARE may not be removed nor may the electronic watermark be modified without permission of the copyright owner. 3. TERMINATION This Agreement becomes effective on the day that you receive the SOFTWARE and remains effective until terminated. If any copyright law or provisions of this Agreement is violated, the Agreement shall terminate automatically and immediately without notice from Yamaha. Upon such termination, you must immediately destroy the licensed SOFTWARE, any accompanying written documents and all copies thereof. 4. LIMITED WARRANTY ON MEDIA As to SOFTWARE sold on tangible media, Yamaha warrants that the tangible media on which the SOFTWARE is recorded will be free from defects in materials and workmanship under normal use for a period of fourteen (14) days from the date of receipt, as evidenced by a copy of the receipt. Yamaha’s entire liability and your exclusive remedy will be replacement of the defective media if it is returned to Yamaha or an authorized Yamaha dealer within fourteen days with a copy of the receipt. Yamaha is not responsible for replacing media damaged by accident, abuse or misapplication. TO THE FULLEST EXTENT PERMITTED BY LAW, YAMAHA EXPRESSLY DISCLAIMS ANY IMPLIED WARRANTIES ON THE TANGIBLE MEDIA, INCLUDING THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. 5. DISCLAIMER OF WARRANTY ON SOFTWARE You expressly acknowledge and agree that use of the SOFTWARE is at your sole risk. The SOFTWARE and related documentation are provided “AS IS” and without warranty of any kind. NOTWITHSTANDING ANY OTHER PROVISION OF THIS AGREEMENT, YAMAHA EXPRESSLY DISCLAIMS ALL WARRANTIES AS TO THE SOFTWARE, EXPRESS, AND IMPLIED, INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF THIRD PARTY RIGHTS. SPECIFICALLY, BUT WITHOUT LIMITING THE FOREGOING, YAMAHA DOES NOT WARRANT THAT THE SOFTWARE WILL MEET YOUR REQUIREMENTS, THAT THE OPERATION OF THE SOFTWARE WILL BE UNINTERRUPTED OR ERROR-FREE, OR THAT DEFECTS IN THE SOFTWARE WILL BE CORRECTED. 6. LIMITATION OF LIABILITY YAMAHA’S ENTIRE OBLIGATION HEREUNDER SHALL BE TO PERMIT USE OF THE SOFTWARE UNDER THE TERMS HEREOF. IN NO EVENT SHALL YAMAHA BE LIABLE TO YOU OR ANY OTHER PERSON FOR ANY DAMAGES, INCLUDING, WITHOUT LIMITATION, ANY DIRECT, INDIRECT, INCIDENTAL OR CONSEQUENTIAL DAMAGES, EXPENSES, LOST PROFITS, LOST DATA OR OTHER DAMAGES ARISING OUT OF THE USE, MISUSE OR INABILITY TO USE THE SOFTWARE, EVEN IF YAMAHA OR AN AUTHORIZED DEALER HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. In no event shall Yamaha’s total liability to you for all damages, losses and causes of action (whether in contract, tort or otherwise) exceed the amount paid for the SOFTWARE. 7. GENERAL This Agreement shall be interpreted according to and governed by Japanese law without reference to principles of conflict of laws. Any dispute or procedure shall be heard before the Tokyo District Court in Japan. If for any reason a court of competent jurisdiction finds any portion of this Agreement to be unenforceable, the remainder of this Agreement shall continue in full force and effect. 8. COMPLETE AGREEMENT This Agreement constitutes the entire agreement between the parties with respect to use of the SOFTWARE and any accompanying written materials and supersedes all prior or contemporaneous understandings or agreements, written or oral, regarding the subject matter of this Agreement. No amendment or revision of this Agreement will be binding unless in writing and signed by a fully authorized representative of Yamaha. MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 107  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 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 POLAND Yamaha Music Central Europe GmbH Sp.z. o.o. Oddzial w Polsce ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland Tel: 022-868-07-57 THE NETHERLANDS/ BELGIUM/LUXEMBOURG Yamaha Music Central Europe GmbH, Branch Benelux Clarissenhof 5-b, 4133 AB Vianen, The Netherlands Tel: 0347-358 040 FRANCE 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 Yamaha Musical do Brasil Ltda. Rua Joaquim Floriano, 913 - 4' andar, Itaim Bibi, CEP 04534-013 Sao Paulo, SP. BRAZIL Tel: 011-3704-1377 ARGENTINA Yamaha Music Latin America, S.A. Sucursal de Argentina Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-4371-7021 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 Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700 GERMANY Yamaha Music Central Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: 04101-3030 SWITZERLAND/LIECHTENSTEIN Yamaha Music Central Europe GmbH, Branch Switzerland Seefeldstrasse 94, 8008 Zürich, Switzerland Tel: 01-383 3990 AUSTRIA Yamaha Music Central Europe GmbH, Branch Austria Schleiergasse 20, A-1100 Wien, Austria Tel: 01-60203900 CZECH REPUBLIC/SLOVAKIA/ HUNGARY/SLOVENIA Yamaha Music Central Europe GmbH, Branch Austria, CEE Department Schleiergasse 20, A-1100 Wien, Austria Tel: 01-602039025 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-Hazen Música, S.A. Ctra. de la Coruna km. 17, 200, 28230 Las Rozas (Madrid), Spain Tel: 91-639-8888 SWEDEN Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 THE PEOPLE’S REPUBLIC OF CHINA Yamaha Music & Electronics (China) Co.,Ltd. 25/F., United Plaza, 1468 Nanjing Road (West), Jingan, Shanghai, China Tel: 021-6247-2211 INDONESIA PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577 KOREA Yamaha Music Korea Ltd. 8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong, Kangnam-Gu, Seoul, Korea Tel: 080-004-0022 MALAYSIA Yamaha Music Malaysia, Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 3-78030900 SINGAPORE Yamaha Music Asia Pte., Ltd. #03-11 A-Z Building 140 Paya Lebor Road, Singapore 409015 Tel: 747-4374 TAIWAN Yamaha KHS Music Co., Ltd. 3F, #6, Sec.2, Nan Jing E. Rd. Taipei. Taiwan 104, R.O.C. Tel: 02-2511-8688 DENMARK YS Copenhagen Liaison Office Generatorvej 6A DK-2730 Herlev, Denmark Tel: 44 92 49 00 NORWAY Norsk filial av Yamaha Scandinavia AB Grini Næringspark 1 N-1345 Østerås, Norway Tel: 67 16 77 70 OTHER EUROPEAN COUNTRIES Yamaha Music Central Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: +49-4101-3030 THAILAND Siam Music Yamaha Co., Ltd. 891/1 Siam Motors Building, 15-16 floor Rama 1 road, Wangmai, Pathumwan Bangkok 10330, Thailand Tel: 02-215-2626 OTHER ASIAN COUNTRIES Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2317 OCEANIA AFRICA Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2313 MIDDLE EAST TURKEY/CYPRUS Yamaha Music Central Europe GmbH Siemensstraße 22-34, 25462 Rellingen, Germany Tel: 04101-3030 AUSTRALIA Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2313 OTHER COUNTRIES Yamaha Music Gulf FZE LOB 16-513, P.O.Box 17328, Jubel Ali, Dubai, United Arab Emirates Tel: +971-4-881-5868 HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2441 PA17  Yamaha Pro Audio global web site: http://www.yamahaproaudio.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2007 Yamaha Corporation WJ56020 703POCR?.?-01A0 Printed in Indonesia