MC Consoles

The Yamaha MC32/12 and MC24/12 are high-performace mixing consoles designed primarily for sound reinforcement applications and installations. 32-input and 24-input models are available, both with a unique 12-buss architecture, 10 mix buses, plus stereo, featuring Yamaha's Group/Aux Diversity system for unprecedented flexibility. The MC consoles also feature a center-master design with a logical, easy-to-use control layout, and are remarkably affordable in spite of their outstanding overall quality and extraordinary versatility.

Most mixing consoles have a fixed buss system: e.g. say 4 group busses, 3 or 4 auxiliary busses, a stereo buss, and maybe a mono buss. The numbers and variations are endless, but you're stuck with the configuration you initially purchased. If your buss requirements change, you need a new console. And if your buss requirements change from project to project, you'll need a console with much more capacity than any single job requires. The GA Diversity system provided on the MC Series Mixing Consoles gives you the flexibility to match the console's buss configuration to a wide range of signal-routing requirements. 4 of its 10 mix busses can be individually switched from pre-fader auxiliary send status to group type operation, so you can have 2 groups and 8 auxiliary sends, 4 groups and 6 auxiliary sends, or any other combination the job requires.

Many mixer circuits must handle low-level signals - the head amplifiers, for example - and must be designed with extra care or they can be a major source of noise and distortion. Other critical design criteria includes inter-stage matching, internal impedance, circuit layout, grounding, component selection, and a veritable plethora of other factors that affect performance and the mixer's overall "sound". Here's where Yamaha technology makes a real difference. Whether you're using microphone or line inputs, Yamaha's high-performance circuitry gives you an exceptionally clean, quiet signal from input to output. But then there's RF rejection. RF (Radio Frequency) noise generated by motors, video monitors, and digital equipment of almost any kind can make the cleanest, quietest circuitry virtually worthless. The MC32/12 and MC24/12 boast outstanding RF noise rejection, so you can use them just about anywhere.

Yamaha never has "tweaked" specifications. Never will. It's amazing how mediocre specs can be made to look impressive by simply optimizing test conditions. The electrical specifications we publish are all brutally honest, measured under the stated and/or industry-standard conditions. When in doubt, we urge you to use the most sensitive sound measurement devices available: your own ears. They'll tell you who you can trust.

From connectors to controls to chassis, MC consoles are built to last. Whether used in an installation or taken on the road, these attractively finished, rugged consoles will keep on performing with the utmost reliability.

The MC32/12 has 28 mono input channels, and the MC24/12 has 20 mono input channels, with balanced XLR-type microphone inputs and balanced/unbalanced TRS phone jack line inputs. Phantom power is switchable in 4- input groups for all mono inputs, providing direct compatibility with high-performance phantom-powered condenser microphones and DI boxes. On both the MC32/12 and MC24/12, stereo line sources can be directly connected to either of 2 stereo input channels (a total of four inputs) with unbalanced L/MONO and R phone jack inputs. The L/MONO inputs allow the stereo channels to be used for mono signals.

Insert send/return patch points are included on all mono channels for convenient insertion of compressor/limiters (a must for top-quality vocal sound), equalizers, or any other outboard equipment you might need to apply to individual channels.

Gain trim controls with a 44-dB range and LED peak indicators on all mono and stereo inputs facilitate optimum level matching with a wide range of sources. The mono inputs additionally feature 26-dB pad switches, phase switches for easy input phase correction, and switchable high-pass filters to cut out rumble and other low-frequency noise.

4-band equalization on each input channel can be used to bring out the best in the sound of individual instruments or voices, emphasize a channel in relation to others, blend the sound of several channels, create special effects, reduce noise, and much more. The hi-mid and lo-mid bands on the mono channels are sweepable for extra control precision. EQ bypass switches are provided on all channels so equalization can be punched in or out as required without having to change settings.

The M1 through M4 "Mix Send" controls feed the MC console's unique GA Diversity system. When the corresponding FIX/VAR switch in the master section is set to the "VAR" position, that send functions as a pre-fader auxiliary send: i.e. the send control adjusts the level of the signal sent to the corresponding buss (M1-M4), and the send ON switch simply turns the corresponding send on or off. If a FIX/VAR switch is set to the "FIX" position, the send then functions as a post-fader group send: The send control is bypassed, and the send ON switch functions as a group assign switch.

The M5 through M10 controls function as auxiliary sends, feeding the corresponding mix buss. These controls can be switched to receive the pre- or post-fader signal in groups of two (5/6, 7/8, and 9/10).

Stereo assign switches and pan controls on each input channel assign the corresponding channel signal to the MC console's stereo buss.

Smooth, noise-free 100-mm linear faders make it easy to set up the optimum balance between channels, while PFL (Pre-Fader Listen) switches allow convenient solo monitoring of a channel's pre-fader signal. All channels additionally feature channel on switches that can be used to switch the channel signal into or out of the mix without changing any other settings.

The core of the MC console's innovative GA Diversity system, these switches determine whether the corresponding sends on the input channels - M1 through M4 - function as auxiliary or group sends (see "Four Group/Aux Sends," for more details).

The first four mix buss master strips - M1 through M4 -receive either the pre-fader aux signal or the post-fader group signal from the channel sends, depending on the setting of the corresponding GA Diversity FIX/VARI switch. Each strip has its own 3-band equalizer and EQ switch, as well as a "to stereo" switch, and a pan control, which assigns the mix buss signal to the console's stereo buss. The mix buss master strips also feature 100-mm faders and AFL (After-Fader Listen) switches for convenient solo monitoring.

Mix buss strips M5 through M10 receive the auxiliary signal from the corresponding channel send controls. Like the M1 through M4 strips, strips M5 through M10 have individual 3-band equalizers and EQ switches as well as 100-mm faders and AFL (After-Fader Listen) switches.

The stereo buss feeds two stereo output pairs: stereo 1 and stereo 2. The main linear stereo fader feeds the balanced stereo 1 outputs, with AFL listen capability. The stereo 2 signal can be derived pre or post the stereo 1 fader, and feeds an unbalanced output pair via the rotary stereo 2 level control. A mono switch is also provided to sum the stereo 2 signal to mono for instant mono monitoring or to feed a mono sound system.

The stereo auxiliary return 1/2 pair has controls to adjust the level of the returned signal sent to the M1 through M4 mixes and the stereo buss as well as return on/off switch and PFL switches. The signal returned to the stereo auxiliary return 3/4 pair can be sent to any of the remaining mix busses (M5 through M10), or to the stereo buss. The 3/4 returns also have on/off and PFL switches.

Matrix controls can be used to set up two matrix sub-mixes from the M1 through M4 mix busses and the stereo buss. Both matrix mixes include mix on/off switches and AFL switches.

Convenient monitoring is provided by control-room monitor and headphone output with independent level controls, and peak-reading level meters providing accurate visual monitoring of the signal appearing at the ten mix busses, the stereo buss, and the PFL and AFL busses.

Rec outputs provide a line-level stereo output for convenient recording of the main program, while tape inputs with a level control allow the output from a recorder or other line-level source to be added to the console's stereo signal.