MIXING

MIXING CONSOLE
CONSOLE

Owner’s Manual

Making the Most Of Your Mixer

Pages 6 to 14

EN
 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 • Do not expose the device to rain, use it near water or in damp or wet conditions,
printed on the name plate of the device. or place containers on it containing liquids which might spill into any openings.
• Use only the specified AC power adaptor (PA-10 or an equivalent recommended • Never insert or remove an electric plug with wet hands.
by Yamaha).
• Do not place the power cord near heat sources such as heaters or radiators, and If you notice any abnormality
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 • If the power cord or plug becomes frayed or damaged, or if there is a sudden
over it. 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
Do not open qualified Yamaha service personnel.
• Do not open the device or attempt to disassemble the internal parts or modify • If this device or the AC power adaptor should be dropped or damaged,
them in any way. The device contains no user-serviceable parts. If it should immediately turn off the power switch, disconnect the electric plug from the
appear to be malfunctioning, discontinue use immediately and have it inspected outlet, and have the device inspected by qualified Yamaha service personnel.
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:

Power supply/Power cord Connections

• Remove the electric plug from the outlet when the device is not to be used for • Before connecting the device to other devices, turn off the power for all devices.
extended periods of time, or during electrical storms. Before turning the power on or off for all devices, set all volume levels to
• When removing the electric plug from the device or an outlet, always hold the minimum.
plug itself and not the cord. Pulling by the cord can damage it.
• To avoid generating unwanted noise, make sure there is 50 cm or more Handling caution
between the AC power adaptor and the device. • Do not insert your fingers or hand in any gaps or openings on the device.
• Do not cover or wrap the AC power adaptor with a cloth or blanket. • Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any
gaps or openings on the device. If this happens, turn off the power immediately
Location and unplug the power cord from the AC outlet. Then have the device inspected
by qualified Yamaha service personnel.
• Before moving the device, remove all connected cables.
• Do not use the device or headphones for a long period of time at a high or
• Avoid setting all equalizer controls and faders to their maximum. Depending on
uncomfortable volume level, since this can cause permanent hearing loss. If you
the condition of the connected devices, doing so may cause feedback and may
experience any hearing loss or ringing in the ears, consult a physician.
damage the speakers.
• Do not rest your weight on the device or place heavy objects on it, and avoid use
• Do not expose the device to excessive dust or vibrations, or extreme cold or heat
excessive force on the buttons, switches or connectors.
(such as in direct sunlight, near a heater, or in a car during the day) to prevent
the possibility of panel disfiguration or damage to the internal components.
• Do not place the device in an unstable position where it might accidentally fall
over.
• Do not use the device in the vicinity of a TV, radio, stereo equipment, mobile
phone, or other electric devices. Otherwise, the device, TV, or radio may
generate noise.

2 MG8/2FX
 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.

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.

Copying of commercially available music data and/or digital audio files, except for personal use, is strictly prohibited.
Illustrations in this manual are for explanatory purposes only, and may not match the actual appearance of the product during operation.
Company names and product names used in this Owner’s Manual are trademarks or registered trademarks of their respective owners.

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).

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! that interference will not occur in all installations. If this product
This product, when installed as indicated in the instructions is found to be the source of interference, which can be deter-
contained in this manual, meets FCC requirements. Modifica- mined by turning the unit “OFF” and “ON”, please try to elimi-
tions not expressly approved by Yamaha may void your author- nate the problem by using one of the following measures:
ity, granted by the FCC, to use the product. Relocate either this product or the device that is being affected
2. IMPORTANT: When connecting this product to accessories by the interference.
and/or another product use only high quality shielded cables. Utilize power outlets that are on different branch (circuit
Cable/s supplied with this product MUST be used. Follow all breaker or fuse) circuits or install AC line filter/s.
installation instructions. Failure to follow instructions could void In the case of radio or TV interference, relocate/reorient the
your FCC authorization to use this product in the USA. antenna. If the antenna lead-in is 300 ohm ribbon lead, change
3. NOTE: This product has been tested and found to comply with the lead-in to co-axial type cable.
the requirements listed in FCC Regulations, Part 15 for Class If these corrective measures do not produce satisfactory
“B” digital devices. Compliance with these requirements pro- results, please contact the local retailer authorized to distribute
vides a reasonable level of assurance that your use of this this type of product. If you can not locate the appropriate
product in a residential environment will not result in harmful retailer, please contact Yamaha Corporation of America, Elec-
interference with other electronic devices. This equipment gen- tronic Service Division, 6600 Orangethorpe Ave, Buena Park,
erates/uses radio frequencies and, if not installed and used CA90620
according to the instructions found in the users manual, may The above statements apply ONLY to those products distrib-
cause interference harmful to the operation of other electronic uted by Yamaha Corporation of America or its subsidiaries.
devices. Compliance with FCC regulations does not guarantee

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B)

MG8/2FX 3
 Introduction

Introduction
Thank you for your purchase of the YAMAHA MG8/2FX mixing console. The MG8/2FX is a compact unit offering up to eight
input channels and incorporating high-quality internal digital effects. The mixer combines ease of operation with support for
multiple usage environments.
Please read through this Owner’s Manual carefully before beginning use, so that you will be able to take full advantage of the
mixer’s superlative features and enjoy trouble-free operation for years to come.

Contents Features

Introduction 4 Input Channels................................ page 18

Contents .............................................................. 4 With up to four mic/line inputs or up to three stereo
Features ............................................................... 4 inputs, the MG8/2FX can simultaneously connect to
a wide range of devices: microphones, line-level
Before Turning on the Mixer ................................. 5
devices, stereo synthesizers, and more. For exam-
Turning the Power On .......................................... 5 ple, you can connect two microphones and three ste-
reo devices, or four microphones and one stereo
Making the Most Of Your Mixer 6 device.
1. A Place For Everything and
Everything In Its Place.................................... 6 Phantom Power (+48 V) .................. page 16
2. Where Your Signal Goes Once A single switch turns phantom power on or off for
It’s Inside the Box ........................................... 9 four mic inputs. Phantom power enables easy con-
3. The First Steps in Achieving nection to condenser microphones that require exter-
Great Sound ................................................. 10 nal power.
4. Internal and External Effect Mixes................ 12
High-quality digital effects............. page 16
5. Making Better Mixes..................................... 13
With digital effects built in, the MG8/2FX can deliver
Front & Rear Panels 15 a wide range of sound variations all by itself. The unit
also includes an EFFECT SEND jack that can be
Channel Control Section .................................... 15
used to connect an external effector.
Master Control Section ...................................... 16
Input/Output Section .......................................... 18 Send to external effector ............... page 19
Rear Section ...................................................... 19 You can use the EFFECT SEND jack to send the sig-
nal from the EFFECT bus to an external effector, and
Setting Up 20 you can use the RETURN jack to reinput the effec-
Setup Procedure ................................................ 20 tor’s stereo output.
Setup Examples ................................................. 20
Optional Mic Stand ......................... page 21
Mounting to a Microphone Stand ....................... 21
The optional BMS-10A Mic Stand Adaptor makes it
Appendix 22 easy to mount the MG8/2FX on a microphone stand.
Your mixer integrates easily into a wide variety of set-
Specifications ..................................................... 22 ups.
Dimensional Diagrams ....................................... 24
Block Diagram and Level Diagram .................... 25

4 MG8/2FX
 Introduction

Before Turning on the Mixer Turning the Power On

1 Be sure that the mixer’s power switch is in the

STANDBY position.
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.
Use only the PA-10 adaptor included with this
mixer. Use of a different adaptor may result in Note that trace current continues to flow while the
equipment damage, overheating, or fire. 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.

2 Connect the power adaptor to the AC ADAPTOR IN

connector (1) on the rear of the mixer, and then turn
the fastening ring clockwise (2) to secure the connec-
tion.

3 Plug the power adaptor into a standard household

power outlet.

• Be sure to unplug the adaptor from the outlet

when not using the mixer, or when there are light-
ning storms in the area.

• To avoid generating unwanted noise, make sure

there is 50 cm or more between the power adaptor
and the mixer.

MG8/2FX 5
 Making the Most Of Your Mixer

Making the Most Of Your Mixer

■ An Introduction
You’ve got yourself a mixer and now you’re ready to use it.
Just plug everything in, twiddle the controls, and away you go … right?
Well, if you’ve done this before you won’t have any problems, but if this is
the first time you’ve ever used a mixer you might want to read through this lit-
tle tutorial and pick up a few basics that will help you get better performance
and make better mixes.

1. A Place For Everything and Everything In Its Place

1-1. A Plethora Of Connectors—What Goes Where?
Questions you’re likely to encounter when setting up a system for the first time might include “Why all these different types of
connectors on the back of my mixer?” and “What’s the difference?”.
Let’s start by taking a look at the most common connector types.

■ The Venerable RCA Pin Jack

This is the “consumer connector,” and the one that has been most commonly used on
White home audio gear for many years. Also known as “phono” jacks (short for “phonogram”),
but the term isn’t used much these days—besides, it’s too easily confusable with
“phone” jacks, below. RCA pin jacks are always unbalanced, and generally carry a
line-level signal at –10 dB, nominal. You’re most likely to use this type of connector
when connecting a CD player or other home audio type source to your mixer, or when
Red connecting the output of your mixer to a cassette recorder or similar gear.

■ The Versatile Phone Jack

The name “phone jack” arose simply because this configuration was first used in
telephone switchboards. Phone jacks can be tricky because you can’t always tell what
type of signal they’re designed to handle just by looking at them. It could be unbalanced
Stereo/TRS phone plug
mono, unbalanced stereo, balanced mono, or an insert patch point. The connector’s label
will usually tell you what type of signal it handles, as will the owner’s manual (you do
keep your manuals in a safe place, don’t you?). A phone jack that is set up to handle
balanced signals is also often referred to as a “TRS” phone jack. “TRS” stands for
Mono phone plug Tip-Ring-Sleeve, which describes the configuration of the phone plug used.

6 MG8/2FX
 Making the Most Of Your Mixer

■ The Sturdy XLR

This type of connector is generally referred to as “XLR-type,” and almost always carries
a balanced signal. If the corresponding circuitry is designed properly, however,
XLR-type connectors will also handle unbalanced signals with no problem. Microphone
Male cables usually have this type of connector, as do the inputs and outputs of most
professional audio gear.

Female

1-2. 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 high-gain head amplifier.

To summarize:
Microphones: Use balanced lines.
Short line-level runs: Unbalanced lines are fine if you’re in a relatively noise-free environment.
Long line-level runs: The ambient electromagnetic noise level will be the ultimate deciding factor, but balanced is
best.

■ How Do Balanced Lines Reject Noise?

** Skip this section if technical details make you queasy. **
Balanced lines work on the principle of “phase cancellation”: if you add two identical signals out of phase (i.e. one signal is
inverted so its peaks coincide with the troughs in the other signal), the result is … nothing. A flat line. The signals cancel each
other out.

Normal-phase signal.

No signal.
(Phase cancellation)

Reverse-phase signal.

MG8/2FX 7
 Making the Most Of Your Mixer

A balanced cable has three conductors:

1) A ground conductor which carries no signal, just the “ground” or “0” reference against which the signal in the other con-
ductors fluctuates.
2) A “hot” or “+” conductor which carries the normal-phase audio signal.
3) A “cold” or “–” conductor which carries the reverse-phase audio signal.
While the desired audio signals in the hot and cold conductors are out of phase, any noise induced in the line will be exactly the
same in both conductors, and thus in phase. The trick is that the phase of one signal is reversed at the receiving end of the line so
that the desired audio signals become in-phase, and the induced noise suddenly finds itself out of phase. The out-of-phase noise
signal is effectively canceled while the audio signal is left intact. Clever, eh?

Normal-phase signal
+ normal-phase noise.

Desired signal
with no noise.

Normal-phase signal
+ reverse-phase noise.

1-3. Signal Levels—Decibel Do’s and Don’ts

From the moment you start dealing with things audio, you’ll have to deal with the term “decibel” and its abbreviation, “dB”.
Things can get confusing because decibels are a very versatile unit of measure used to describe acoustic sound pressure levels as
well as electronic signal levels. To make matters worse there are a number of variations: dBu, dBV, dBm. Fortunately, you don’t
need to be an expert to make things work. Here are a few basics you should keep in mind:
● “Consumer” gear (such as home audio equipment) usually has line inputs and outputs with a nominal (average) level of
–10 dB.
● Professional audio gear usually has line inputs and outputs with a nominal level of +4 dB.
● You should always feed –10 dB inputs with a –10 dB signal. If you feed a +4 dB signal into a –10 dB input you are likely to
overload the input.
● You should always feed +4 dB inputs with a +4 dB signal. A –10 dB signal is too small for a +4 dB input, and will result in
less-than-optimum performance.
● Many professional and semi-professional devices have level switches on the inputs and/or outputs that let you select –10 or
+4 dB. Be sure to set these switches to match the level of the connected equipment.
● Inputs that feature a “Gain” control—such as the mono-channel inputs on your Yamaha mixer—will accept a very wide range
of input levels because the control can be used to match the input’s sensitivity to the signal. More on this later.

8 MG8/2FX
 Making the Most Of Your Mixer

2. Where Your Signal Goes Once It’s Inside the Box

At first glance the block diagram of even a modest mixer can look like a space-station schematic. In reality, block diagrams are
a great aid in understanding how the signal flows in any mixer. Here’s a greatly simplified block diagram of a generic mixer to
help you become familiar with the way these things work.

2-1. Greatly Simplified Mixer Block Diagram

Input Channel Master Section

Signals from the mixer’s other

input channels (if they are
assigned to this master output
or “bus”).

1 2 3 4 5

■ Input Channel ■ Master Section

1 Head Amp 4 Summing Amplifier
The very first stage in any mixer, and usually the only This is where the actual “mixing” takes place. Signals
stage with significant “gain” or “amplification.” The head from all of the mixer’s input channels are “summed”
amp has a “gain” control that adjusts the mixer’s input (mixed) together here.
sensitivity to match the level of the source. Small signals
(e.g. mics) are amplified, and large signals are attenuated. 5 Master Fader & Level Meter
A stereo, mono, or bus master fader and the mixer’s main
2 Equalizer output level meter. There could be several master faders
Could be simple bass and treble controls or a full-blown depending on the design of the mixer—i.e. the number of
4-band parametric EQ. When boost is applied the EQ buses or outputs it provides.
stage also has gain. You can actually overload the input
channel by applying too much EQ boost. It’s usually
better to cut than boost.
3 Channel Peak LED & Fader
The channel peak LED is your most valuable tool for
setting the input “gain” control for optimum
performance. Note that it is located after the head amp
and EQ stage.

MG8/2FX 9
 Making the Most Of Your Mixer

3. The First Steps in Achieving Great Sound

Before you even consider EQ and effects, or even the overall mix, it is important to make sure that levels are properly set for
each individual source. This can’t be stressed enough—initial level setup is vitally important for achieving optimum perfor-
mance from your mixer! Here’s why … and how.

3-1. The Head Amplifier “Gain” Control Is the Key!

Let’s review our simplified mixer block diagram:

Each and every “stage” in the mixer’s signal path will add a certain amount of noise to the signal: the head amp, the EQ stage,
the summing amplifier, and the other buffer and gain stages that exist in the actual mixer circuit (this applies to analog mixers in
particular). The thing to keep in mind is that the amount of noise added by each stage is usually not dependent to any significant
degree on the level of the audio signal passing through the circuit. This means that the bigger the desired signal, the smaller the
added noise will be in relation to it. In tech-speak this gives us a better “signal-to-noise ratio”—often abbreviated as “S/N ratio.”
All of this leads to the following basic rule:

To achieve the best overall system S/N ratio, amplify the input to the desired average level as
early as possible in the signal path.

In our mixer, that means the head amplifier. If you don’t get the signal up to the desired level at the head amplifier stage, you will
need to apply more gain at later stages, which will only amplify the noise contributed by the preceding stages. Just remember
that too much initial gain is bad too, because it will overload our channel circuitry and cause clipping.

10 MG8/2FX
 Making the Most Of Your Mixer

3-2. Level Setup Procedure For Optimum Performance

Now that we know what we have to do, how do we do it? If you take another quick look at the mixer block diagram you’ll notice
that there’s a peak indicator located right after the head amplifier and EQ stages, and therein lays our answer! Although the exact
procedure you use will depend on the type of mixer you use and the application, as well as your personal preferences, here’s a
general outline:

1 Start by setting all level controls to their minimum: master faders, channel faders, and input gain controls. Also make sure
that no EQ is applied (no boost or cut), and that all effects and dynamic processors included in the system are defeated or
bypassed.

2 Apply the source signal to each channel one at a time: have singers sing, players play, and playback devices play back at
the loudest expected level. Gradually turn up the input gain control while the signal is being applied to the corresponding
channel until the peak indicator begins to flash, then back off a little so that the peak indicator flashes only occasionally.
Repeat for each active channel.

3 Raise your master fader(s) to their nominal levels (this will be the “▼” markings on the fader scale).

4 Now, with all sources playing, you can raise the channel faders and set up an initial rough mix.

That’s basically all there is to it. But do keep your eyes on the main output level meters while setting up the mix to be sure you
don’t stay in the “peak zone” all the time. If the output level meters are peaking constantly you will need to lower the channel
faders until the overall program falls within a good range—and this will depend on the “dynamic range” of your program
material.

MG8/2FX 11
 Making the Most Of Your Mixer

4. Internal and External Effect Mixes

4-1. Effect Bus For Convenient Effect Control
There are a number of reasons why you might want to “tap” the signal flowing through your mixer at some point before the main
outputs: the two most common being to create a monitor mix and to process the signal via one or more effect units and then bring
it back into the mix. Monitor mixing is not always required in small consoles, but effect processing is important in a wide range
of applications. Your mixer has an effect bus that lets you send the channel signals to the internal effect processor as well as to
external effect gear connected to the EFFECT SEND output. Larger mixing consoles might have 6, 8, or even more auxiliary and
effect buses to handle a variety of signal routing and processing needs.
Using the effect buses and controls on your mixer is pretty straightforward. The more you rotate the EFFECT control on any
channel clockwise, the more signal is sent from that channel to both the internal effect processor and the EFFECT SEND jack.
The effect send is “post-fader,” which means that the signal is taken from a point after the channel fader, so its level will be
affected by both the effect send level control and the channel fader. This is important because it means that once you set the
amount of reverb that you want to add to the channel by using the EFFECT control, for example, you can use the channel fader
to raise or lower the overall channel level while maintaining the balance between the main channel signal and the reverb effect.

4-2. Channel Inserts for Channel-specific Processing

Another way to get the mixer’s signal outside the box is to use the channel inserts. The channel inserts are almost always located
before the channel fader and, when used, actually “break” the mixer’s internal signal path. Unlike the EFFECT send and return,
the channel insert only applies to the corresponding channel. Channel inserts are most commonly used for applying a dynamics
processor such as a compressor or limiter to a specific channel—although they can be used with just about any type of in/out
processor.

Channel
Fader

When a plug is inserted into the channel insert jack, the inter-
nal signal path is interrupted and sent outside the mixer for
external processing.

Channel insert jacks must be used with a special insert cable that has a TRS phone jack on one end and mono phone jacks on the
split “Y” end. One of the mono phone jacks carries the “send” signal to be fed to the input of the external processor, and the
other carries the “return” signal from the output of the processor.

To the input jack of the

external processor

To the INSERT I/O jack

Sleeve Tip

Sleeve
Ring
Tip To the output jack of
the external processor

12 MG8/2FX
 Making the Most Of Your Mixer

5. Making Better Mixes

5-1. Approaching the Mix—Where ■ Music First—Then Mix

Do You Start? In any case, the music comes first. Think about the music
Mixing is easy, right? Just twiddle the faders around until it and let it guide the mix, rather than trying to do things the
sounds right? Well, you can do it that way, but a more sys- other way around. What is the music saying and what instru-
tematic approach that is suited to the material you’re mixing ment or technique is being used to drive the message? That’s
will produce much better results, and faster. There are no where the focus of your mix should be. You’re using a
rules, and you’ll probably end up developing a system that high-tech tool to do the mixing, but the mix itself is as much
works best for you. But the key is to develop a system rather art as the music. Approach it that way and your mixes will
than working haphazardly. Here are a few ideas to get you become a vital part of the music.
started:

■ Faders Down
5-2. Panning For Cleaner Mixes
Not only does the way you pan your individual channels
It might sound overly simple, but it is usually a good idea to determine where the instruments appear in the stereo sound
start with all channel faders off—all the way down. It’s also field, but it is also vital to give each instrument it’s own
possible to start with all faders at their nominal settings, but “space” so that it doesn’t conflict with other instruments.
it’s too easy to lose perspective with this approach. Start with Unlike live sound in a real acoustic space, recorded stereo
all faders down, then bring them up one by one to fill out the sound is basically 2-dimensional (although some types of
mix. But which channel should you start with? surround sound are actually very 3-dimensional), and instru-
ments positioned right on top of each other will often get in
Example1: each other’s way—particularly if they are in the same fre-
Vocal Ballad Backed by Piano Trio quency range or have a similar sound.
What are you mixing? Is it a song in which the vocals
are the most important element? If so you might want to
build the mix around the vocals. This means bringing
the vocal channel up to nominal first (if your level setup
procedure has been done properly this will be a good
starting point), and then adding the other instruments.
What you add next will depend on the type of material
you are working with and your approach to it. If the
vocals are backed by a piano trio and the song is a bal-
lad, for example, you might want to bring in the piano
next and get the vocal/piano relationship just right, then
bring in the bass and drums to support the overall
sound.

Example2:
Funky R&B Groove
The approach will be totally different if you’re mixing a
funky R&B number that centers on the groove. In this
case most engineers will start with the drums, and then
add the bass. The relationship between the drums and
bass is extremely important to achieve the “drive” or
groove the music rides on. Pay particular attention to
how the bass works with the kick (bass drum). They
should almost sound like a single instrument—with the
kick supplying the punch and the bass supplying the
pitch. Once again, there are no rules, but these are con-
cepts that have been proven to work well.

MG8/2FX 13
 Making the Most Of Your Mixer

■ Spread them Out! 5-4. Ambience

Judicious application of reverb and/or delay via the mixer’s
Position your instruments so they have room to “breathe,”
effect busses can really polish a mix, but too much can
and connect in the most musical way with other instruments.
“wash out” the mix and reduce overall clarity. The way you
Sometimes, however, you’ll want to deliberately pan sounds
set up your reverb sound can make a huge difference in the
close together, or even right on top of one another, to empha-
way it meshes with the mix.
size their relationship. There are no hard-and-fast rules. Nor-
mally (but this is not a rule), bass and lead vocals will be
panned to center, as will the kick drum if the drums are in ■ Reverb/Delay Time
stereo.
Different reverb/delay units offer different capabilities, but
most offer some means of adjusting the reverb time. A little
5-3. To EQ Or Not To EQ extra time spent matching the reverb time to the music being
In general: less is better. There are many situations in which mixed can mean the difference between great and merely
you’ll need to cut certain frequency ranges, but use boost average sound. The reverb time you choose will depend to a
sparingly, and with caution. Proper use of EQ can eliminate great degree on the tempo and “density” of the mix at hand.
interference between instruments in a mix and give the over- Slower tempos and lower densities (i.e. sparser mixes with
all sound better definition. Bad EQ—and most commonly less sonic activity) can sound good with relatively long
bad boost—just sounds terrible. reverb times. But long reverb times can completely wash out
a faster more active piece of music. Similar principles
applies to delay.
■ Cut For a Cleaner Mix
For example: cymbals have a lot of energy in the mid and ■ Reverb Tone
low frequency ranges that you don’t really perceive as musi-
cal sound, but which can interfere with the clarity of other How “bright” or “bassy” a reverb sound is also has a huge
instruments in these ranges. You can basically turn the low impact on the sound of your mix. Different reverb units offer
EQ on cymbal channels all the way down without changing different means of controlling this—balance between the
the way they sound in the mix. You’ll hear the difference, high- and low-frequency reverb times, simple EQ, and oth-
however, in the way the mix sounds more “spacious,” and ers. A reverb that is too bright will not only sound unnatural,
instruments in the lower ranges will have better definition. but it will probably get in the way of delicate highs you want
Surprisingly enough, piano also has an incredibly powerful to come through in your mix. If you find yourself hearing
low end that can benefit from a bit of low-frequency roll-off more high-end reverb than mix detail, try reducing the
to let other instruments—notably drums and bass—do their brightness of the reverb sound. This will allow you to get
jobs more effectively. Naturally you won’t want to do this if full-bodied ambience without compromising clarity.
the piano is playing solo.
The reverse applies to kick drums and bass guitars: you can ■ Reverb Level
often roll off the high end to create more space in the mix It’s amazing how quickly your ears can lose perspective and
without compromising the character of the instruments. fool you into believing that a totally washed-out mix sounds
You’ll have to use your ears, though, because each instru- perfectly fine. To avoid falling into this trap start with reverb
ment is different and sometimes you’ll want the “snap” of a level all the way down, then gradually bring the reverb into
bass guitar, for example, to come through. the mix until you can just hear the difference. Any more than
this normally becomes a “special effect.” You don’t want
■ Boost With Caution reverb to dominate the mix unless you are trying to create the
effect of a band in a cave—which is a perfectly legitimate
If you’re trying to create special or unusual effects, go ahead creative goal if that’s the sort of thing you’re aiming for.
and boost away as much as you like. But if you’re just trying
to achieve a good-sounding mix, boost only in very small
increments. A tiny boost in the midrange can give vocals 5-5. Built-in Effects
more presence, or a touch of high boost can give certain Your MG mixer features a high-performance internal effect
instruments more “air.” Listen, and if things don’t sound system offers extraordinary sound-processing power and
clear and clean try using cut to remove frequencies that are versatility without the need for external equipment. The
cluttering up the mix rather than trying to boost the mix into internal DSP (Digital Signal Processor) lets you individually
clarity. add reverb and delay to each channel in the same way that
you can with an external effect unit – but you don’t need to
One of the biggest problems with too much boost is that it
wire up any extra gear, and won’t suffer the signal quality
adds gain to the signal, increasing noise and potentially over-
loss that external connections sometimes entail. For details
loading the subsequent circuitry.
see page 16.

14 MG8/2FX
 Front & Rear Panels

Front & Rear Panels

Channel Control Section

4 Equalizer (HIGH, MID, and LOW)

Channels Channels Channels
This three-band equalizer adjusts the channel’s high,
1 and 2 3/4 and 5/6 7/8
(Monaural) (Stereo) (Stereo) mid, and low frequency bands. Setting the knob to the ▼
position produces a flat frequency response. Turning the
knob to the right boosts the corresponding frequency
1 band, while turning to the left attenuates the band. The
following table shows the EQ type, base frequency, and
3 maximum cut/boost for each of the three bands.

2 Band Type Base Frequency Maximum Cut/Boost

HIGH Shelving 10 kHz

MID Peaking 2.5 kHz ±15 dB

4 LOW Shelving 100 Hz

5 EFFECT Controls
Adjusts the level of the signal sent from the channel to
the EFFECT bus. Note that the signal level to the bus is
also affected by the Channel LEVEL Control. If you are
5 5 5 using stereo channels (CHs 3/4, 5/6, 7/8), the signals
from the L (odd) and R (even) channels are mixed and
then sent to the EFFECT bus.
6 6 6
6 PAN Control (CHs 1 and 2)
PAN/BAL Control (CHs 3/4 and 5/6)
7 7 7 BAL Control (CH 7/8)
The PAN control determines the positioning of the chan-
nel’s signal on the Stereo L and R buses.
The BAL control knob sets the balance between left and
right channels. Signals into the L input (odd channel)
1 GAIN Control feed to the Stereo L bus; signals into the R input (even
Adjusts the input signal level. To get the best balance channel) feed to the Stereo R bus.
between the S/N ratio and the dynamic range, adjust the NOTE On channels where this knob provides both PAN
level so that the PEAK indicator (2) comes on only at and BAL controls: The knob operates as a PAN
about maximum input level. control if you are inputting through the MIC jack
The –60 to –16 scale indicates the MIC input adjustment or into the L (MONO) input only, and operates as a
level. The –34 to +10 scale indicates the LINE input BAL control if you are inputting into both L and R
adjustment level. inputs.

2 PEAK Indicator 7 Channel LEVEL Control

Adjusts the output level of the signal being input to the
Detects the peak level of the post-EQ signal, and lights
channel. Use these LEVEL Controls to adjust the vol-
up red when the level reaches 3 dB below the clipping
ume balance among the various channels.
level. For XLR-equipped stereo input channels (3/4 and
5/6), detects both post-EQ and post-mic-amp peak lev- NOTE To reduce noise, set the LEVEL Control knobs for
els, and lights red if either of these levels reaches 3 dB unused channels all the way to the left (to the min-
below the clipping level. imum setting).

3 Switch (High Pass Filter)

This switch toggles the HPF on or off. To turn the HPF
on, press the switch in ( ). The HPF cuts frequencies
below 80 Hz. (But note that regardless of the switch set-
ting, the mixer does not apply this HPF to the line inputs
of stereo input channels.)

MG8/2FX 15
 Front & Rear Panels

Master Control Section

3 2TR IN Control
Adjusts the level of the signal sent from the 2TR IN jack
to the Stereo bus.

1 4 ST Master LEVEL Control

7 Adjusts the signal level to the ST OUT jacks.

8 REVERB HALL 1
REVERB HALL 2
REVERB ROOM 1
5 C-R/PHONES LEVEL Control
REVERB ROOM 2
REVERB STAGE 1
REVERB STAGE 2
Controls the level of the signal output to the PHONES
REVERB PLATE
DRUM AMBIENCE
KARAOKE ECHO
6 jack and the C-R L and R jacks.
VOCAL ECHO

6 Level Meter
CHORUS 1
CHORUS 2
FLANGER
PHASER
AUTO WAH
This LED display shows the level of the signal fed to the
2 DISTORTION

Stereo bus. The “0” point corresponds to the standard

3 5 output level. The indicator lights up red when the output
hits the clipping level.
4
7 POWER Indicator
This indicator lights up when the mixer’s power is ON.
1 PHANTOM +48 V Switch 8 DIGITAL EFFECT
This switch toggles phantom power on and off. If you set
• PROGRAM Dial
the switch on, the mixer supplies power to all channels
that provide XLR mic input jacks (CHs 1, 2, 3/4, 5/6). Selects the internal digital effect to be applied. You can
Set this switch on ( ) when using one or more con- select from 16 effects, as shown in the table.
denser microphones. No Program Parameter

NOTE When this switch is on, the mixer supplies DC 1 REVERB HALL 1 REVERB TIME
+48 V power to pins 2 and 3 of all XLR-type MIC 2 REVERB HALL 2 REVERB TIME
INPUT jacks.
3 REVERB ROOM 1 REVERB TIME

• Be sure to leave this switch off ( ) if you do not 4 REVERB ROOM 2 REVERB TIME
need phantom power. 5 REVERB STAGE 1 REVERB TIME
• When tuning the switch on ( ), be sure that 6 REVERB STAGE 2 REVERB TIME
only condenser mics are connected to the XLR 7 REVERB PLATE REVERB TIME
input jacks (CHs: 1 to 5/6). Devices other than
condenser mics may be damaged if connected to 8 DRUM AMBIENCE REVERB TIME
the phantom power supply. Note, however, that 9 KARAOKE ECHO DELAY TIME
the switch may be left on without problem when
0 VOCAL ECHO DELAY TIME
connecting to balanced dynamic microphones.
A CHORUS 1 LFO FREQ
• To avoid damage to speakers, be sure to turn off
amplifiers (or powered speakers) before turning B CHORUS 2 LFO FREQ
this switch on or off. We also recommend that you C FLANGER LFO FREQ
turn all output controls (ST Master LEVEL Con- D PHASER LFO FREQ
trol, etc.) to minimum settings before operating
the switch, to avoid risk of loud noises that could E AUTO WAH LFO FREQ
cause hearing loss or device damage. F DISTORTION DRIVE

2 RETURN Control
Adjusts the level of the signal sent from the RETURN
jacks (L (MONO) and R) to the Stereo bus.
NOTE If you supply a signal to the RETURN L (MONO)
jack only, the mixer outputs the identical signal to
both the L and R Stereo buses.

16 MG8/2FX
 Front & Rear Panels

• PARAMETER Control
Adjusts the parameter (depth, speed, etc.) for the
selected effect.
NOTE The mixer saves the last value used with each
effect type.
When you change to a different effect type, the
mixer automatically restores the value that was
previously used with the newly selected effect
(regardless of the current position of the PARAM-
ETER Control knob).
These parameter values are retained even after
power-off.
• ON Switch
Switches use of the internal effect on or off. The inter-
nal effect is applied only if this switch is turned on. The
switch lights up orange to indicate that it is on.
With the (separately sold) YAMAHA FC5 foot switch
connected, you can use your foot to toggle the digital
effects ON and OFF.
NOTE When you turn on the power, the ON switch lights up
and the internal effector becomes active.
• EFFECT RTN Control
Adjusts the signal level from the internal digital effec-
tor to the STEREO bus.

MG8/2FX 17
 Front & Rear Panels

Input/Output Section

1 3 4 56 A

2 9 8 7 0

1 Channel Input Jacks (CHs 1, 2, 3/4, 5/6) The signal output from the INSERT I/O jacks is
reverse-phased. This will not be a problem if con-
• MIC jacks necting the jack to an effector. If using the jack to
These are balanced XLR-type input jacks (1:Ground; output to an external device, however, please be
2:Hot; 3:Cold). aware of possible phase conflicts with other signals.

• LINE jacks
3 Channel Input Jacks (CH 7/8)
These are balanced phone-type input jacks. You can Each of these channel pairs can be used to input a stereo
connect either balanced or unbalanced phone plugs to
source signal. For each pair, the odd-numbered channel
these jacks.
inputs the L signal, and the even-numbered channel
NOTE Where an input channel provides both a MIC jack inputs the R signal.
and a LINE jack, you may use either one of these
Each channel offers a choice of two jack types: phone
jacks but you may not use both at the same time.
Please connect to only one of these jacks on each jack and RCA pin jack. All of these jacks are unbal-
channel. anced.
NOTE Where a channel provides both a phone jack and
2 INSERT I/O Jacks (CHs 1 and 2) an RCA pin jack, you may use either one of these
These are unbalanced phone-type input/output jacks. jacks but you may not use both at the same time.
Each of these jacks is positioned between the equalizer Please connect to only of these jacks on each chan-
and Channel LEVEL Control of the corresponding input nel.
channel. These jacks can be used to independently con-
nect these channels to devices such as graphic equalizers, 4 2TR IN Jacks
compressors, and noise filters. These are TRS (tip, ring, These are unbalanced RCA-pin input jacks. Use these
sleeve) phone jacks that support bidirectional operation. jacks when you want to connect a stereo sound source
(CD, DAT, etc.) directly to the mixer for monitoring.
NOTE Connection to an INSERT I/O jack requires a spe-
cial separately-sold insertion cable such as illus- NOTE You can adjust the signal level using the 2TR IN
trated below. control in the Master Control section.
To the input jack of the external processor 5 REC OUT (L, R) Jacks
These are unbalanced RCA-pin output jacks. These jacks
To the INSERT I/O jack output the mixed signal whose level is controlled by the
Sleeve Tip ST Master LEVEL Control. You use these jacks, for
example, to connect to an external recorder.
Sleeve
Ring
To the output jack of the external processor
Tip

18 MG8/2FX
 Front & Rear Panels

6 ST OUT (L, R) Jacks 9 RETURN L (MONO), R Jacks

These are impedance-balanced phone-type output jacks. These are unbalanced phone-type input jacks. The signal
These jacks output the mixed signal whose level is con- received by these jacks is sent to the Stereo bus. These
trolled by the ST Master LEVEL Control. You use these jacks are typically used to receive a return signal from an
jacks, for example, to connect to the power amplifier external effector (reverb, delay, etc.).
driving your main speakers.
NOTE These jacks can also be used as an auxiliary stereo
7 C-R OUT Jacks input. If you connect to the L (MONO) jack only,
the mixer will recognize the signal as monaural
These are impedance-balanced phone-type output jacks. and will propagate the identical signal on both L
These jacks output the mixed signal whose level is con- and R jacks.
trolled by the C-R/PHONES LEVEL Control. You use
these jacks, for example, to connect to the monitor sys- 0 PHONES Jack
tem. Connector for headphones. This is a balanced phone-type
output jack.
8 SEND Jacks
• EFFECT A FOOT SWITCH Jack
This is an impedance-balanced phone-type output jack This phone input jack can connect to the (separately
that outputs the signal from the EFFECT bus. sold) YAMAHA FC5 foot switch. With the foot switch
You use this jack, for example, to connect to an exter- connected, you can use your foot to toggle the digital
nal effector. effects ON and OFF.

Connector Polarities
INPUT OUTPUT
Pin 1: Ground
MIC INPUT Pin 2: Hot (+)
Pin 3: Cold (–)

LINE INPUT (monaural channels), Tip: Hot (+)

ST OUT, C-R OUT, Ring: Cold (–)
EFFECT * Sleeve: Ground
Ring
Tip: Output
INSERT I/O Ring: Input
Sleeve: Ground
Sleeve Tip
Tip: L
PHONES Ring: R
Sleeve: Ground

Tip: Hot
RETURN, LINE INPUT (stereo channels)
Sleeve: Ground
Sleeve Tip

* These jacks will also accept connection to monaural phone plugs. If you use monaural plugs, the connection will be unbalanced.

Rear Section

1 AC ADAPTOR IN Connector
Connects to the included PA-10 power adaptor (see page 5).
Use only the PA-10 adaptor included with this
mixer. Use of a different adaptor may result in fire
or electric shock.

2 POWER Switch
1 2 Use this switch to set mixer power to ON or STANDBY.
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, be sure to
unplug the adaptor from the wall outlet.

MG8/2FX 19
 Setting Up

Setting Up
Setup Procedure

1 Before connecting to microphones and instruments, be

sure that all devices are turned off. Also be sure that all
NOTE Where an input channel provides both a MIC
INPUT jack and a LINE INPUT jack, you may use
either one of these jacks but you may not use both
of the channel controls and all of the controls in the
Master Control section are turned to their minimum at the same time. Please connect to only one of
these jacks on each channel.
settings.

2 For each connection, connect one end of the cable to

the relevant microphone or instrument and connect the
3 To avoid causing damage to speakers, power up the
devices in the following order: Peripheral devices →
other end to the appropriate input jack on the mixer. mixer → power amps (or powered speakers).
NOTE When shutting the system down, turn off the power
in the opposite order: Power amps (powered
speakers) → mixer → peripheral devices.
Setup Examples

Sound Source (CD, MD,

DAT, Cassette, Video, etc.)

Synthesizer
Sound Source (CD, MD,
DAT, Cassette, Video, etc.)

Master Recorder
(MD, CD-R, DAT, etc.)
MTR
Rhythm Machine
Foot Switch
(YAMAHA FC5)

Powered Monitor
Speakers

Microphone

Headphones

Guitar
Effector

20 MG8/2FX
 Setting Up

Mounting to a Microphone Stand

• When using the mixer on a microphone stand, be

sure to set the stand on a level and stable surface.
Do not set up the stand in locations subject to
3 Loosen the angle adjustment wingnut (1), adjust the
mixer’s angle as desired (2), and then tighten the
wingnut securely (3).
vibrations or wind.
• Note that mixer may be damaged if the stand
2
should fall over. Attach the connection cables
carefully so that the cables will not catch on the
equipment and cause it to fall. For example:
arrange the cables so that they run parallel with
the microphone pole down to the base of the
stand.

• Leave ample free space around the stand. 3

1 Turn the mixer upside-down, and hold the micro-

phone-stand adaptor (BMS-10A; sold separately)
against the bottom of the mixer so that the screw holes
are aligned (1). 1
Screw the adaptor firmly into place with the two
screws (2).

For more information, refer to the BMS-10A Owner’s Man-

ual.

2 Turn the mixer right-side up, and mount it onto your

microphone stand.

MG8/2FX 21
 Appendix

Appendix
Specifications

■ Electrical Characteristics
Conditions MIN TYP MAX UNIT
(THD+N) 20 Hz - 20 kHz @+14dBu 10k ohms (CH1, 2) with
Total Harmonic Distortion
Signal input CH LEVEL Control and ST Master LEVEL Con- 0.1 %
(MIC to ST OUT)
trol at nominal level
Frequency Response 20 Hz - 20 kHz @+4 dBu 10k ohms with GAIN control at min-
–3 0 1 dB
(MIC to ST OUT) imum level
Equivalent Input Noise (CH1, 2) –128 dBu
Residual Output Noise (ST OUT) –100 dBu
Hum & Noise (20 Hz - 20 kHz)
ST Master Control at nominal level and all CH LEVEL Control at –87
dBu
Rs=150 ohms, Gain=Maximum, minimum level. (ST OUT) (91 dB S/N)
Sensitivity=–60 dBu, Hum & Noise are measured All CH EFFECT Control at minimum level and all CH LEVEL –85
with a –6 dB/octave filter @12.7 kHz;equivalent to dBu
at minimum level. (EFFECT SEND) (89 dB S/N)
a 20 kHz filter with infinite dB/octave attenuation.
ST Master Control and one CH LEVEL Control at nominal –64
dBu
level. (CH1, 2) (ST OUT) (68 dB S/N)
CH MIC INPUT to CH INSERT OUT 60 dB
CH MIC INPUT to ST OUT 76 dB
CH MIC INPUT to REC OUT 64.2 dB
CH MIC INPUT to EFFECT SEND 70 dB
Maximum Voltage Gain
ST CH MIC INPUT to ST OUT 76 dB
ST CH LINE INPUT to ST OUT 50 dB
PAN/BAL : panned hard left or hard right.
ST CH LINE INPUT to EFFECT SEND 41 dB
ST CH INPUT to ST OUT 26 dB
RETURN to ST OUT 12 dB
2TR INPUT to ST OUT 23.8 dB
Adjacent inputs –70 dB
Crosstalk (1 kHz)
input to output –70 dB
Monaural/Stereo Input GAIN Control variable range 44 dB
Where 0 dBu = 0.775 V

■ General Specifications
Monaural/Stereo CH High Pass Filter 80 Hz 12 dB/octave
±15 dB (Max. Variation)
Monaural/Stereo CH Equalization
HIGH: 10 kHz (shelving)
Turn over /roll-off frequency of shelving, 3 dB below maximum MID: 2.5 kHz (peaking)
variable level
LOW: 100 Hz (shelving)
16 programs, Parameter control
Internal Digital Effect
FOOT switch (ON/OFF)
Phantom Power Supplied when Phantom +48 V switch is ON. (XLR-type input jacks)
On each channel: red indicator lights if post-EQ signal (on ST channels, if either post-EQ
Monaural/Stereo Input PEAK Indicator
signal or post-mic-amp signal) comes within 3 dB of the clipping level.
Two 12-points LED level meters [ST (L, R)]
Peak point: red indicator
Level Meters
+5, +3, +1, 0: yellow indicators
–1, –3, –5, –7, –10, –15, –20: green indicators
Included Accessories Power adaptor (PA-10)
Options Microphone-stand adaptor (BMS-10A), Footswitch (FC5)
Power Consumption 25 W
Dimensions (W × H × D) 251 mm × 65 mm × 290.5 mm
Weight 1.8 kg
Where 0 dBu = 0.775 V

22 MG8/2FX
 Appendix

■ Input Specifications
Input Appropriate Nominal Max. Before Connector
Input Connector Gain Impedance Impedance Sensitivity* Level Clipping Specifications

–60 –72 dBu –60 dBu –40 dBu

MIC INPUT (0.195 mV) (0.775 mV) (7.75 mV) XLR-3-31 type
3 kΩ 50–600 Ω mic
(CH 1, 2) –28 dBu –16 dBu +4 dBu (balanced)
–16
(30.9 mV) (123 mV) (1.23 V)

–34 –46 dBu –34 dBu –14 dBu Phone jack (TRS)
LINE INPUT (3.88 mV) (15.5 mV) (155 mV) (balanced [T: hot;
10 kΩ 600 Ω line
(CH 1, 2) –2 dBu +10 dBu +30 dBu R: cold;
+10 S: ground])
(0.616 V) (2.45 V) (24.5 V)
–72 dBu –60 dBu –40 dBu
ST CH MIC INPUT –60 (0.195 mV) (0.775 mV) (7.75 mV) XLR-3-31 type
(CH3(L)/CH4(R), 3 kΩ 50–600 Ω mic
–28 dBu –16 dBu –10 dBu (balanced)
CH5(L)/CH6(R)) –16 (30.9 mV) (123 mV) (245 mV)
–46 dBu –34 dBu –14 dBu
ST CH LINE INPUT –34 (3.88 mV) (15.5 mV) (155 mV) Phone jack
(CH3(L)/CH4(R), 10 kΩ 600 Ω line
CH5(L)/CH6(R)) –2 dBu +10 dBu +30 dBu (unbalanced)
+10 (0.616 V) (2.45 V) (24.5 V)
Phone jack
ST CH INPUT 10 kΩ 600 Ω line –22 dBu –10 dBu +10 dBu (unbalanced);
(CH7(L)/CH8(R)) (61.6 mV) (245 mV) (2.45 V) RCA pin jack
Phone jack (TRS)
CH INSERT IN –20 dBu 0 dBu +20 dBu (unbalanced
10 kΩ 600 Ω line
(CH 1, 2) (77.5 mV) (0.775 V) (7.75 V) [T: out; R: in;
S: ground])
–12 dBu +4 dBu +24 dBu Phone jack
RETURN (L, R) 10 kΩ 600 Ω line (195 mV) (1.23 V) (12.3 V) (unbalanced)
–26 dBV –10 dBV +10 dBV
2TR IN (L, R) 10 kΩ 600 Ω line RCA pin jack
(50.1 mV) (316 mV) (3.16 V)
Where 0 dBu = 0.775 V and 0 dBV= 1 V
* Input sensitivity: the lowest level that will produce the nominal output level when the unit is set to maximum gain.

■ Output Specifications
Appropriate Max. Before
Output Connectors Output Impedance Nominal Level Connector Specifications
Impedance Clipping

Phone jack (TRS)

ST OUT (L, R) 150 Ω 10 kΩ line +4 dBu (1.23 V) +20 dBu (7.75 V) (impedance balanced
[T: hot; R: cold; S: ground])

Phone jack (TRS)

EFFECT SEND 150 Ω 10 kΩ line +4 dBu (1.23 V) +20 dBu (7.75 V) (impedance balanced
[T: hot; R: cold; S: ground])

Phone jack (TRS)

CH INSERT OUT 150 Ω 10 kΩ line 0 dBu (0.775 V) +20 dBu (7.75 V) (unbalanced [T: out; R: in;
(CH 1, 2) S: ground])

REC OUT (L, R) 600 Ω 10 kΩ line –10 dBV (316 mV) +10 dBV (3.16 V) RCA pin jack

Phone jack (TRS)

C-R OUT (L, R) 150 Ω 10 kΩ line +4 dBu (1.23 V) +20 dBu (7.75 V) (impedance balanced
[T: hot; R: cold; S: ground])

PHONES 100 Ω 40 Ω phone 3 mW 75 mW Stereo phone jack

Where 0 dBu = 0.775 V and 0 dBV= 1 V

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.

European models
Purchaser/User Information specified in EN55103-1 and EN55103-2.
Inrush Current: 3A
Conforms to Environments: E1, E2, E3 and E4

MG8/2FX 23
 Appendix

Dimensional Diagrams

65
251

290.5
REVERB HALL 1
REVERB HALL 2
REVERB ROOM 1
REVERB ROOM 2
REVERB STAGE 1
REVERB STAGE 2
REVERB PLATE
DRUM AMBIENCE
KARAOKE ECHO
VOCAL ECHO
CHORUS 1
CHORUS 2
FLANGER
PHASER
AUTO WAH
DISTORTION

Unit: mm

24 MG8/2FX
 Appendix

Block Diagram and Level Diagram

MG8/2FX 25
 MEMO

26 MG8/2FX
For details of products, please contact your nearest Yamaha Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
representative or the authorized distributor listed below. Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
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. Para detalles sobre productos, contacte su tienda Yamaha más cercana
o el distribuidor autorizado que se lista debajo.

NORTH AMERICA BELGIUM/LUXEMBOURG ASIA

CANADA Yamaha Music Central Europe GmbH, THE PEOPLE’S REPUBLIC OF CHINA
Yamaha Canada Music Ltd. Branch Belgium Yamaha Music & Electronics (China) Co.,Ltd.
135 Milner Avenue, Scarborough, Ontario, Rue de Geneve (Genevastraat) 10, 1140 - Brussels, 25/F., United Plaza, 1468 Nanjing Road (West),
M1S 3R1, Canada Belgium Jingan, Shanghai, China
Tel: 416-298-1311 Tel: 02-726 6032 Tel: 021-6247-2211
U.S.A. FRANCE INDONESIA
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6600 Orangethorpe Ave., Buena Park, Calif. 90620, BP 70-77312 Marne-la-Vallée Cedex 2, France PT. Nusantik
U.S.A. Tel: 01-64-61-4000 Gedung Yamaha Music Center, Jalan Jend. Gatot
Tel: 714-522-9011 ITALY Subroto Kav. 4, Jakarta 12930, Indonesia
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Combo Division KOREA
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Col. Guadalupe del Moral Ctra. de la Coruna km. 17, 200, 28230
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Av. Reboucas 2636-Pinheiros CEP: 05402-400 J. A. Wettergrens Gata 1
Sao Paulo-SP. Brasil SINGAPORE
Box 30053 Yamaha Music Asia Pte., Ltd.
Tel: 011-3085-1377 S-400 43 Göteborg, Sweden #03-11 A-Z Building
ARGENTINA Tel: 031 89 34 00 140 Paya Lebor Road, Singapore 409015
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Sucursal de Argentina YS Copenhagen Liaison Office
Viamonte 1145 Piso2-B 1053, TAIWAN
Generatorvej 6A Yamaha KHS Music Co., Ltd.
Buenos Aires, Argentina DK-2730 Herlev, Denmark
Tel: 1-4371-7021 3F, #6, Sec.2, Nan Jing E. Rd. Taipei.
Tel: 44 92 49 00 Taiwan 104, R.O.C.
PANAMA AND OTHER LATIN NORWAY Tel: 02-2511-8688
AMERICAN COUNTRIES/ Norsk filial av Yamaha Scandinavia AB
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Torre Banco General, Piso 7, Urbanización Marbella, 891/1 Siam Motors Building, 15-16 floor
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Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá OTHER EUROPEAN COUNTRIES Bangkok 10330, Thailand
Tel: +507-269-5311 Yamaha Music Central Europe GmbH Tel: 02-215-2626
Siemensstraße 22-34, 25462 Rellingen, Germany OTHER ASIAN COUNTRIES
Tel: +49-4101-3030 Yamaha Corporation,
EUROPE Asia-Pacific Music Marketing Group
THE UNITED KINGDOM AFRICA Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
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Sherbourne Drive, Tilbrook, Milton Keynes, Yamaha Corporation,
MK7 8BL, England Asia-Pacific Music Marketing Group
Tel: 01908-366700 Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 OCEANIA
Tel: +81-53-460-2313
GERMANY AUSTRALIA
Yamaha Music Central Europe GmbH Yamaha Music Australia Pty. Ltd.
Siemensstraße 22-34, 25462 Rellingen, Germany MIDDLE EAST Level 1, 99 Queensbridge Street, Southbank,
Tel: 04101-3030 TURKEY/CYPRUS Victoria 3006, Australia
Tel: 3-9693-5111
SWITZERLAND/LIECHTENSTEIN Yamaha Music Central Europe GmbH
Yamaha Music Central Europe GmbH, Siemensstraße 22-34, 25462 Rellingen, Germany COUNTRIES AND TRUST
Branch Switzerland Tel: 04101-3030 TERRITORIES IN PACIFIC OCEAN
Seefeldstrasse 94, 8008 Zürich, Switzerland OTHER COUNTRIES Yamaha Corporation,
Tel: 01-383 3990 Asia-Pacific Music Marketing Group
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Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
AUSTRIA LB21-128 Jebel Ali Freezone
Tel: +81-53-460-2313
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Branch Austria Tel: +971-4-881-5868
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-60203900
THE NETHERLANDS
Yamaha Music Central Europe,
Branch Nederland
Clarissenhof 5-b, 4133 AB Vianen, The Netherlands
Tel: 0347-358 040

HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2441
PA11
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U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
© 2004 Yamaha Corporation
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