Yamaha Mixer Photo Download
Cassi Sturgul
The Yamaha MG16XU is a 16-channel mixer that features D-PRE Discrete class-A mic preamps, microphone inputs, and stereo/mono line inputs for input jacks. For musical and non-musical applications alike, effects processing adds polish and professionalism to the mix. The MG16XU features Yamaha's acclaimed SPX digital multi-effect processor, offering a comprehensive suite of 24 editable digital effects perfect for enhancing your mix, whether adding depth to a speaking engagement or breathing new color and atmosphere into a live band performance. In particular, the high-quality reverb and delay expand the spatial quality of the sound with remarkable realism and naturalness. You can even connect an optional FC5 foot switch for effect on / off control. All MG Series mixing consoles feature Yamaha's studio-grade, discrete class-A D-PRE preamps, which utilize an inverted Darlington circuit comprising two cascading transistors in a configuration that provides more power with lower impedance. Delivering fat, natural sounding bass and smooth, soaring highs, with very low distortion, D-PRE preamps possess a wide frequency range that allows them to handle signal from any audio source without overly amplifying any specific elements of the sound. Having such a pure sonic platform to build on will save you time and effort by eliminating the need for excessive EQing or additional effects processing in order to "fix" your mix. MG Series mixers also feature high-quality custom-made MG01 op-amps.
The MG10XU model is an intermediate model with 10 channels of the Yamaha MG mixer series, which has tables between 6 and 20 channels. They are suitable for a wide range of users and applications, from installed sound settings, recording studios or live music. The solid construction and flexible design allow you to shape your sound with confidence.
Yamaha mixers are renowned for their sound quality and reliability as well as their rugged construction. The MG10XU is an equipment for those who do not need many channels but want to have several connection possibilities to be able to boost their sound with the highest definition and creativity.
The mono mixer channels themselves are reassuringly conventional, headed up by a gain trim control and an 80Hz switchable low-cut filter. The line channels have no input trim or filter, so the nominal level needs to be adjusted at source. The EQ has three bands, with shelving sections at 10kHz and 100Hz plus a fixed mid-band peaking at 2.5kHz. All have a 15dB range. There are two aux send controls per channel, the first switchable pre/post-fader and the other fixed post-fader for use as an effects send. There's no EQ bypass, but all the EQ controls are centre-detented. Mono channels have conventional pan controls, while the line channels have stereo balance controls.
An illuminated On button allows individual channels to be muted or made active, and there's also an illuminated PFL (pre-fade listen) button for each channel, but not for any of the sends. PFL allows the pre-fader channel signal to be monitored in isolation when setting up the mixer. As usual, operating the PFL affects only the control room and phones outputs, not the main outputs, and the PFL level is shown on the main level meters. Each channel also has a single routing button which, when pressed, sends the channel signal to the two group outputs, rather than the master outputs. This is very useful in a recording situation, as you can use one buss for feeding signals to a recorder and the other for monitoring the outputs. Channel and master level control is via 60mm faders, all of which have a smooth, positive action.
When tested in real-world conditions using capacitor microphones, the mixer was quiet and transparent sounding, imposing no obvious character on the sound unless the EQ was brought into play. The high-end EQ was particularly nice, providing an airy quality to the sound, while the low EQ did what it purported to do with no surprises. Having a fixed-frequency mid-range control can be a little limiting and on some vocal tracks the 2.5kHz region sounded rather nasal or hard if boosted, but by the same token it was also possible to cut these frequencies where the sound being treated was too dominant in that area. Like most well-designed budget desk equalisers, this one sounded fine if used sparingly.
The general design of the mixer is practical without being too complicated, and the four-buss architecture lends itself well to small-studio applications, where you might need to record just one or two discrete tracks at a time, but monitor and mix, say, eight soundcard outputs. Having aux one switchable pre/post-fader is also useful, as you can use it in pre-mode for setting up a monitor mix, then flip it to post when mixing to use as a second effects send. A few tricks have been missed, such as not including a 'two-track to mix' button, but when designing a small mixer you have to decide what you can put in and what you have to leave out to meet the price point. On balance, the features that are provided meet the needs of most small-studio operators or those wanting a small live sound mixer, and I have no real criticisms other than perhaps the lack of sweep mid-band EQ controls and EQ bypass switches.
Every mixer built to a price is a compromise, but Yamaha have made some good decisions here by creating a design that has practical applications both for live sound and for recording. It doesn't have direct outputs on the various tracks, but its buss structure makes it possible to either record up to four discrete parts at once or to record two parts while monitoring multiple outputs from a soundcard or recorder. Indeed, you could record four parts (five if you used the pre-fade send as another way into your recorder) while simultaneously monitoring the stereo output from a soundcard via the two-track input and control room outputs. Those outputs that aren't fully balanced are impedance-balanced, which works well enough in small studio setups.
As to the sound and general performance, I'm quite happy with the quiet, neutral sound of the mixer, though the fixed mid-band EQ control is quite limiting and I'd probably try to use it as little as possible. Artefacts such as distortion and crosstalk are low enough to ignore for all practical applications and there seems to be plenty of headroom in the output stage, which is useful when driving soundcards that are calibrated to peak at around +18dB. Ultimately then, the MG16/4 is built to a price and isn't without stiff competition, not least from other Chinese-built mixers, but it offers a good range of features, it is solidly built, it sounds good, and it looks the part. You can't really ask for much more than that.
The QL5 is the bigger brother and a larger format mixer to the QL1. The QL1 is a 16 channel verses the QL5 that's a 32 channel mixer. The QL5 and its superb sound quality are just a start. This beast of a mixer not only sounds amazing but also has a very natural workflow that is essential to any lice sound application. The Digital mixer is really an all-in-one system great for small to medium size venues. If it is a church, outdoors concert to a corporate event you need a sold mixer that will not fail you in the middle of the show
Also If you're asking about the built-in Dugan Card, An 8ch or 16ch Dugan Automixer can be mounted on the GEQ rack and inserted into any channel. The control panel is also available on the QL touch screen. If you need more automix channels, use optional Dugan-MY16 cards, but please note that the automix groups cannot be linked between the built-in Automixer and the cards.
Yamaha has provided an impressive range of lineups in professional audio since the release of the PM200 in 1972 - their first ever professional analog mixing console. In 1987, they also released their first digital mixer, the DMP7, and have subsequently advanced technological innovations in sound quality, reliability and advanced functionalities with cutting-edge digital technologies.
Drawing from decades of experience crafting innovative, premium analog gear, Yamaha originally developed their new discrete Class-A microphone preamps for professional use in high-end recording equipment. Utilizing an inverted Darlington circuit design, Yamaha's MGP24X 24-Channel Premium Analog Mixer delivers a fat, rich, smooth tone that gives the MGP Series a significant advantage over any other mixer in its class. With Yamaha's proprietary X-pressive EQ they've managed to capture ultimate analog authenticity by unlocking the mysterious secret behind the expressive sound shaping capabilities of sought-after classic EQ modules.
At the heart of the MGP's compact configuration, Yamaha has taken an innovative new approach to the utilization of digital technology in an analog mixer; adding high-resolution effects, iPod/iPhone integration and the superb functionality of their new Stereo Hybrid Channel to the warmth and musicality of premium analog sound. The MGP Series represents the ultimate balance of the converging technologies that are the heart and soul of Yamaha's extraordinary achievements in professional audio.
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