Yamaha is no newcomer to mixing console design. You'll find Yamaha consoles in some of the most respected live venues and production studios in the world. In fact, Yamaha has been innovating, leading, and in many ways defining the development of modern mixing consoles for more than 30 years.

And now we are proud to introduce the Yamaha MG-series mixing consoles, featuring eight models ranging in size from a small 8-channel/2-bus unit right up to a very flexible 32-channel/14-bus type with an impressive selection of built-in effects. No matter what your application – from production to sound reinforcement – there's a Yamaha MG mixer that will give you everything need … and more. There have been no compromises. These mixers are built for great sound, total control, and superior reliability. In fact, they undergo the same rigorous quality and reliability tests as our world-class PM-series mixing consoles. But, by taking full advantage of the latest Yamaha technology and manufacturing techniques, we have been able to pack these superlative mixers with more value than you'll find anywhere else. In short, they offer extraordinary performance and mixing power at remarkable prices.

If you need a high-performance analog mixer for music production or sound reinforcement, the Yamaha MG Series is the first – and last – place you should look.

If you simply need to mix a few sources to stereo – but insist on the finest audio quality available – the MG10/2 or MG8/2FX is probably the way to go. They're compact and convenient to use, but won't compromise your signal in any way. With an optional adaptor the MG10/2 can even be mounted on a microphone stand for totally flexible positioning and easy access. And the MG8/2FX's built-in effects can take your music to a new dimension. For demo and music production, small sound reinforcement applications, or simply as a super utility mixer for any application, you can't lose with these compact performers.

Top-quality Digital Multi Effects Built In It may be small, but the MG8/2FX is packed with a surprising amount of signal-processing power. Renowned Yamaha multi-effect technology brings you a range of reverb, delay, chorus, flanger, phaser, distortion, and other effects built in – total of 16 types in all (Same as MG12/4FX). Each effect program has a number of editable parameters as well as effect on/off switching and return level control. Additional convenience is provided by a footswitch jack to which you can connect an optional footswitch for effect on/off switching.

The MG10/2 features a total of 10 input channels: two mono microphone/line inputs and four stereo line inputs, two of which offer mono microphone input capability. The MG8/2FX has two mono microphone/line inputs and three stereo line inputs, two with mono microphone input capability. Gain trim covers a wide -60dB ~; -16dB range for microphone input, and -34dB ~; +10dB for line input. A Variety of Input Connectors Balanced XLR connectors are provided on both mono inputs and two of the stereo inputs (a total of four XLR connectors), in addition to phone jack connectors. Two of the stereo channels can accept mono microphone input either via the XLR or phone jack connectors. The remaining stereo input on the MG8/2FX, and the remaining two stereo inputs on the MG10/2, feature both phone jack and pin jack inputs for broad connectivity. A separate stereo 2TR input with pin-jack connectors is provided for independent input of signals from CD players or similar sources.

Balanced XLR connectors are provided on both mono inputs and two of the stereo inputs (a total of four XLR connectors), in addition to phone jack connectors. Two of the stereo channels can accept mono microphone input either via the XLR or phone jack connectors. The remaining stereo input on the MG8/2FX, and the remaining two stereo inputs on the MG10/2, feature both phone jack and pin jack inputs for broad connectivity. A separate stereo 2TR input with pin-jack connectors is provided for independent input of signals from CD players or similar sources.

The microphone preamps provided on the two mono channels and two of the four stereo channels would be worth the price of the entire mixer if packaged separately. These are highperformance head amplifiers that will bring out the best in any dynamic or condenser microphone.

So you can take advantage of the superior sonic quality of professional-class studio condenser microphones, all four high-performance mic preamps feature switchable phantom power. A single switch turns phantom power on or off for all four channels.

Mono input channels feature insert I/O patch points so you can add compressors or EQ for vocals, a noise gate on a guitar channel, or other extra signal processing to individual channels as required.

Designed for smooth, "musical" response, the 3-band equalizers provided on all input channels are one more sonic tool you can use to create clean, professional mixes. All mono microphone input channels also feature a switchable high-pass filter that can be used to cut out unwanted low-frequency noise.

These mixers are also fully equipped to handle external effects and monitor systems. Use the post-fader auxiliary send on the MG8/2FX or the two sends on the MG10/2 in conjunction with the stereo auxiliary returns to add reverb, delay, or other external effects to the mix, and the pre-fader sends to feed a separate mix to your monitor system.

In addition to the main L and R phone-jack stereo outputs, these versatile mixers also offer phone-jack control room, pin-jack recording, and stereo phonejack headphone outputs. You have plenty of outputs for a wide range of applications – monitoring, master recorder feed, etc.

Output level monitoring is made accurate and easy with high-visibility 12-segment level meters.

Weighing in at a mere 1.8 kg (MG8/2FX), this mixer can easily be carried just about anywhere. You get top quality mixing performance in the rehearsal studio, club, outdoors … wherever you need it.

What could be more convenient than having your mixer mounted on a microphone stand for freedom of placement and easy access? With the optional BMS-10A Mic Stand Adaptor you can do just that, and have your sonic control center within easy reach all the time. This can be particularly handy when using the mixer as a drum sub-mixer or as a cue box in a recording situation.

All switches and controls used in these mixers have been chosen for smooth, reliable operation as well as easy visual confirmation.

The mid-range MG models go beyond the basics to give you extensive control for a wide range of applications – with the no-compromise Yamaha sonic quality that makes the MG mixers the finest in their class. Whether music is a hobby or profession, these mixers will deliver total satisfaction. If you don't need effects, or already have an arsenal of outboard favorites, the MG12/4 or MG16/4 may offer all the capacity and capabilities you need.

The MG12/4 feature a total of 12 input channels: four mono microphone/line inputs and four stereo line inputs, two of which offer mono microphone input capability. The MG16/4 feature eight mono microphone/line inputs and four stereo line inputs, two with mono microphone input capability. Gain trim covers a wide -60dB ~; -16dB range for microphone input, and -34dB ~; +10dB for line input.

Balanced XLR connectors are provided on all four or eight mono inputs and two of the stereo inputs (a total of six XLR connectors on the MG12/4 models, and ten on the MG16/4), in addition to phone jack connectors. Two of the stereo channels can accept mono microphone input either via the XLR or phone jack connectors. The remaining two stereo inputs feature both phone jack and pin jack inputs for broad connectivity. A separate stereo 2TR input with pinjack connectors is provided for independent input of signals from CD players or similar sources.

Six high-performance head amplifiers in the 12-channel modes or ten in the 16-channel models will bring out the best in any dynamic or condenser microphone.

All high-performance mic preamps in these consoles feature switchable phantom power for studio condenser microphones. A single switch turns phantom power on or off for all channels.

Mono input channels feature insert I/O patch points so you can add compressors or EQ for vocals, a noise gate on a guitar channel, or other extra signal processing to individual channels as required.

Smooth, "musical-response" 3-band equalizers are provided on all MG12/4 and MG16/4 input channels. All mono microphone input channels also feature a switchable high-pass filter that can be used to cut out unwanted low-frequency noise.

In addition to the main stereo bus, the MG12/4 and MG16/4 feature a stereo group bus and outputs that can be used for convenient channel grouping. Stereo and group bus assign switches are located above each channel fader. You could, for example, mix your instrument sources to the stereo buss while creating separate groups for the main vocal and chorus channels … or any bus configuration you need for your application.

The MG12/4 and MG16/4 have one post-fader AUX send and one pre/post switchable AUX send. Whichever model you choose you have plenty of flexibility for external signal processing and monitoring. A stereo auxiliary return is also provided.

In addition to the main L and R XLR and phone-jack stereo outputs, these versatile mixers also offer phonejack control room, pin-jack recording, and stereo phone-jack headphone outputs. You have plenty of outputs for a wide range of applications – monitoring, master recorder feed, etc. Phone-jack group outputs are also provided to allow independent output of the group bus mixes.

Output level monitoring is made accurate and easy with high-visibility 12-segment level meters on the stereo and group buses as well as the 2TR inputs.

Reliable, high-performance 60-millimeter faders provide smooth, noise-free level control. while original Yamaha illuminated ON (ST buss assign), PFL (Pre-Fader Listen), and phantom power switches provide easy visual confirmation of critical console settings.

Compact and surprisingly light in weight, these mixers can easily be carried just about anywhere. You get top-quality mixing performance in the rehearsal studio, club, outdoors … wherever you need it.

Use your MG mixer on a desktop or mounted in a rack – the rack mount adaptors are provided.

All switches and controls used in these mixers have been chosen for smooth, reliable operation as well as easy visual confirmation.

If the idea of having some of the finest effects available built right into the console appeals to you, then consider the effect-enabled models: the MG12/4FX or MG16/6FX. You get the same type of versatile mixing power and superior audio performance that is provided by the non-effect models, plus leading Yamaha signal processing quality all in one console.

The MG12/4FX feature a total of 12 input channels: four mono microphone/line inputs and four stereo line inputs, two of which offer mono microphone input capability. The MG16/6FX feature eight mono microphone/line inputs and four stereo line inputs, two with mono microphone input capability. Gain trim covers a wide -60dB ~; -16dB range for microphone input, and -34dB ~; +10dB for line input.

Balanced XLR connectors are provided on all four or eight mono inputs and two of the stereo inputs (a total of six XLR connectors on the MG12/4FX model, and ten on the MG16/6FX), in addition to phone jack connectors. Two of the stereo channels can accept mono microphone input either via the XLR or phone jack connectors. The remaining two stereo inputs feature both phone jack and pin jack inputs for broad connectivity. A separate stereo 2TR input with pinjack connectors is provided for independent input of signals from CD players or similar sources.

Six high-performance head amplifiers in the 12-channel modes or ten in the 16-channel dels will bring out the best in any dynamic or condenser microphone

All high-performance mic preamps in these consoles feature switchable phantom power for studio condenser microphones. A single switch turns phantom power on or off for all channels.

Mono input channels feature insert I/O patch points so you can add compressors or EQ for vocals, a noise gate on a guitar channel, or other extra signal processing to individual channels as required.

Smooth, "musical-response" 3-band equalizers are provided on the MG12/4FX input channels. All mono microphone input channels also feature a switchable high-pass filter that can be used to cut out unwanted low-frequency noise.

Mono channels feature 3-band equalizers with HIGH (10 kHz), LOW (100 Hz), and MID (250 Hz ~; 5 kHz mid-sweep) bands. High-pass filters are also provided on all microphone inputs. Stereo channels have 4-band equalizers with HIGH (10 kHz shelving), HI MID (3 kHz peaking), LOW MID (800 Hz peaking), and LOW (100 Hz shelving) bands.

In addition to the main stereo bus, the MG12/4FX feature a stereo group bus and outputs that can be used for convenient channel grouping. The MG16/6FX has an additional two group busses for a total of six buses. Stereo and group bus assign switches are located above each channel fader. You could, for example, mix your instrument sources to the stereo buss while creating separate groups for the main vocal and chorus channels … or any bus configuration you need for your application.

The MG16/6FX has one pre-fader AUX send and one pre/post switchable AUX send, plus an additional effect send. The MG12/4FX has one pre/post switchable AUX send as well as an effect send. Whichever model you choose you have plenty of flexibility for external signal processing and monitoring. A stereo auxiliary return is also provided.

In addition to the main L and R XLR and phone-jack stereo outputs, these versatile mixers also offer phone-jack control room, pin-jack recording, and stereo phone-jack headphone outputs. You have plenty of outputs for a wide range of applications – monitoring, master recorder feed, etc. Phone-jack group outputs are also provided to allow independent output of the group bus mixes.

Output level monitoring is made accurate and easy with high-visibility 12-segment level meters on the stereo and group buses as well as the 2TR inputs.

Yamaha digital signal processing is widely respected as the finest in the industry. It may be small, but the MG12/4FX is packed with a surprising amount of signal-processing power. Renowned Yamaha multieffect technology brings you a range of reverb, delay, chorus, flanger, phaser, distortion, and other effects built in a total of 16 types in all. In the MG16/6FX you get a complete effects system with a range of 16 superb reverb and delay effects built right in. Each effect program has a number of editable parameters as well as effect on/off switching and return level control. Additional convenience is provided by a footswitch jack to MG12/4FX which you can connect an optional footswitch for effect on/off switching.

There's also a 7-band stereo graphic equalizer for flexible overall response shaping control or feedback reduction. The EQ bands are centered at 125, 250, 500, 1k, 2k, 4k, and 8kHz, adjustable over a 12dB range.

Reliable, high-performance 60-millimeter faders provide smooth, noise-free level control. while original Yamaha illuminated ON (ST buss assign), PFL (Pre-Fader Listen), and phantom power switches provide easy visual confirmation of critical console settings.

Compact and surprisingly light in weight, these mixers can easily be carried just about anywhere. You get top-quality mixing performance in the rehearsal studio, club, outdoors … wherever you need it.

Use your MG mixer on a desktop or mounted in a rack – the rack mount adaptors are provided.

All switches and controls used in these mixers have been chosen for smooth, reliable operation as well as easy visual confirmation.

If your application is live sound reinforcement you'll want all the channel capacity you can get – just in case. Vocal mics, instrument mics, stereo keyboards, direct-injection feeds, drum mics, and the rest can add up very quickly. With 24 and 32 input channels, respectively, the MG24/14FX and MG32/14FX are ready to handle all but the most ambitious sound-reinforcement setups. And with dual SPX digital effect systems on-board you won't need racks of outboard gear to get the sound you need. There's also a comprehensive range of group and auxiliary busses to make even complex mixes easy.

Choose either the 24-channel MG24/14FX or the 32-channel MG32/14FX according to your needs. All other features are the same. The MG24/14FX has 16 mono microphone/line channels while the MG32/14FX has 24. Both offer four stereo line channels in addition to the mono mic/line channels. Gain trim covers a wide – 60dB ~; -16dB range for microphone input, and -34dB ~; +10dB for line input. Peak indicators are also provided for effect input gain setup.

Balanced XLR and phone-jack connectors are provided on all mono inputs (channels 1 ~; 16 on the MG24/14FX, and channels 1 ~; 24 on the MG32/14FX). Two of the stereo channels feature both pin-jack and phone jack connectors. A separate stereo 2TR input with pin-jack connectors is provided for independent input of signals from CD players or similar sources.

All 16 mic preamps in the MG24/14FX and all 24 mic preamps in the MG32/14FX are of exemplary quality. They offer low-noise, transparent amplification with the widest possible range of dynamic and condenser microphones, which adds up to cleaner, better-sounding mixes.

All mic preamps feature switchable +48V phantom power for phantom-powered studio condenser microphones. Phantom power is switchable in 8-channel groups.

points so you can insert compressors, EQ, or other extra signal-processing gear into the channel signal path as required. Insert patch points are also provided on the stereo and group buses for effective output processing.

Mono channels feature 3-band equalizers with HIGH (10 kHz), LOW (100 Hz), and MID (250 Hz ~; 5 kHz sweep) bands. High-pass filters are also provided on all microphone inputs. Stereo channels have 4-band equalizers with HIGH (10 kHz shelving), HI MID (3 kHz peaking), LOW MID (800 Hz peaking), and LOW (100 Hz shelving) bands.

In addition to lots of input channels, live sound reinforcement applications usually demand a number of additional mixes – usually in the form of group submixes and aux sends for external signal processing and monitor mixes. In both the MG24/14FX and MG32/14FX you have a total of 14 mix buses: the main stereo program bus, four stereo group bus pairs for convenient channel grouping, six auxiliary busses (four configurable for pre- or post-fader operation and two set up as effect sends), and two internal effect busses that feed the dual high-performance built-in effect processors. You can use the bus select switches and controls on each channel to assign the channel signal to the stereo, group, internal effect, and AUX buses as required.

All input channels feature six AUX send controls. AUX sends 1 through 4 are pre/post switchable while AUX 5 and 6 are post-fader sends. Two effect sends are also provided. You choose you have plenty of flexibility for external signal processing and monitoring in live sound-reinforcement applications. Two stereo auxiliary returns are included, as well as return facilities for the internal effect stages.

In addition to the main L and R XLR and phone-jack stereo outputs, these versatile mixers also offer L and R phone-jack sub-stereo, pin-jack recording, XLR mono, and stereo phone-jack headphone outputs. You have plenty of outputs for a wide range of applications – monitoring, master recorder feed, etc. Phone-jack group outputs are also provided to allow independent output of the group bus mixes.

Professional connectivity is provided by reliable XLRtype balanced stereo and mono outputs.

One of the many uses for a mono output is to drive a subwoofer system. The MG24/14FX and MG32/14FX make this easier than ever with a built-in 80 ~; 120 Hz sweepable low-pass filter on the mono outputs.

Output level monitoring is made accurate and easy with four high-visibility 12-segment level meters that can be switched to display the stereo, group, 2TR input, PFL (Pre-fader Listen), and AFL (After-fader Listen) signal levels.

In the MG24/14FX and MG32/14FX you have not one, but two highperformance digital signal processing stages, fed by separate effect buses, so you can enhance your mix with two separate effects at the same time. And the effects are provided by the very latest Yamaha DSP technology – you know you're getting the best. Each stage provides a selection of 16 professional quality SPX digital effects, including reverb, delay, pitch change, chorus, phasing, vocal doubling, distortion, and more. Parameter controls that can be adjusted to tailor the effects to your sonic requirement are also provided and Tap delay makes it easy to produce tempo-synchronized delays.

Reliable, high-performance 60-millimeter faders provide smooth, noise-free level control. while original Yamaha illuminated ON (ST buss assign), PFL (Pre-Fader Listen), and phantom power switches provide easy visual confirmation of critical console settings.

Communication capability is important for efficient setup as well as for keeping a show running smoothly. The MG24/14FX and MG32/14FX both feature a talkback system that allows the FOH engineer to communicate with the monitor engineer, performers, or other staff to keep the team operating at optimum efficiency.

Compact and surprisingly light in weight, these mixers can easily be carried just about anywhere. You get top quality mixing performance in the rehearsal studio, club, outdoors … wherever you need it.