Yamaha MG206C USB/MG166CX USB/MG166C USB Owner's Manual Mg206cusb En Om A0

User Manual: Yamaha MG206C-USB/MG166CX-USB/MG166C-USB Owner's Manual

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Owner’s Manual

Bedienungsanleitung

Mode d’emploi

Manual de instrucciones

EnglishDeutschFrançaisEspañol

Features

Input Channels...................................................................page 16

With up to 16 (MG166CX-USB/MG166C-USB: 10) mic/line inputs

or up to four stereo inputs, the MG mixer can simultaneously

connect to a wide range of devices: microphones, line-level

devices, stereo synthesizers, and more.

Compression........................................................................page 9

Compression increases the overall level without introducing

distortion by compressing excessive peaks in the signals from

microphones and guitars.

Cubase AI 4 DAW Software Supplied...............................page 10

By connecting the MG mixer to the computer via a USB cable an

audio data mixed by the MG mixer can be recorded on Cubase AI

High-quality digital effects (MG166CX-USB)...........pages 19, 23

With digital effects built in, the MG166CX-USB can deliver a wide

range of sound variations all by itself.

Caractéristiques

Canaux d’entrée.................................................................page 64

Avec 16 entrées micro/ligne (MG166CX-USB/MG166C-USB: 10)

ou quatre entrées stéréo maximum, la console de mixage MG peut

connecter simultanément une grande variété d’appareils : micros,

appareils de ligne, synthétiseurs stéréo, etc.

Compression......................................................................page 57

La compression augmente le niveau général sans engendrer de

distorsion en comprimant les pics excessifs des signaux des

micros et des guitares.

Le logiciel DAW Cubase AI 4 fournit................................page 58

En connectant la console de mixage MG à un ordinateur via un

câble USB, des donnés audio créées par la console de mixage MG

peuvent être enregistrées sur Cubase AI 4.

Effets numériques de qualité supérieure

(MG166CX-USB).........................................................pages 67, 71

Grâce aux effets numériques intégrés, la console MG166CX-USB

peut proposer de nombreuses variations de sons.

Funktionen

Eingangskanäle..................................................................Seite 40

Mit bis zu 16 Mikrofon-/Line-Eingängen (MG166CX-USB/MG166C-

USB: 10) oder bis zu vier Stereoeingängen können viele Geräte

gleichzeitig am MG-Mischpult angeschlossen werden: Mikrofone,

Geräte mit Leitungspegel, Stereo-Synthesizer uvm.

Kompression......................................................................Seite 33

Kompression erhöht den Durchschnittspegel, ohne Verzerrung

hinzuzufügen, indem übermäßige Pegelspitzen der Signale von

Mikrofonen oder Gitarren komprimiert werden.

DAW-Software Cubase AI 4 mitgeliefert.........,................Seite 34

Wenn Sie Ihr MG-Mischpult über ein USB-Kabel am Computer

anschließen, können durch das MG-Mischpult gemischte

Audiodaten in Cubase AI 4 aufgenommen werden.

Hochwertige Digitaleffekte (MG166CX-USB)...........Seiten 43, 47

Mit den eingebauten digitalen Effekten kann das MG166CX-USB

aus sich heraus eine Reihe von Klangvariationen liefern.

Características

Canales de entrada.........................................................página 88

Con un máximo de 16 entradas de micrófono/línea (MG166CX-

USB/MG166C-USB: 10) o cuatro entradas estereofónicas, la

mezcladora MG puede conectarse simultáneamente con una gran

variedad de dispositivos: micrófonos, dispositivos de nivel de línea,

sintetizadores estereofónicos, etc.

Compresión.....................................................................página 81

La compresión aumenta el nivel general sin causar distorsión,

mediante la compresión del exceso de picos en las señales de los

micrófonos y guitarras.

El software DAW Cubase AI 4 suministrado................página 82

Al conectar la mezcladora MG con un ordenador por medio de un

cable USB, se puede grabar en Cubase AI 4 datos de audio

creados por la mezcladora MG.

Efectos digitales de alta calidad (MG166CX-USB)

...páginas 91, 95

Gracias a sus efectos digitales incorporados, la mezcladora

MG166CX-USB puede producir por sí misma una amplia gama de

variaciones de sonido.

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

* This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (2 wires)

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (FCC DoC)

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.

COMPLIANCE INFORMATION STATEMENT

(DECLARATION OF CONFORMITY PROCEDURE)

Responsible Party : Yamaha Corporation of America

Address : 6600 Orangethorpe Ave., Buena Park, Calif. 90620

Telephone : 714-522-9011

Type of Equipment : Mixing Console

Model Name : MG206C-USB/MG166CX-USB/MG166C-USB

This device complies with Part 15 of the FCC Rules.

Operation is subject to the following two conditions:

1) this device may not cause harmful interference, and

2) this device must accept any interference received including interference that may cause undesired operation.

See user manual instructions if interference to radio reception is suspected.

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions

contained in this manual, meets FCC requirements. Modiﬁ-

cations not expressly approved by Yamaha may void your

authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories

and/or another product use only high quality shielded cables.

Cable/s supplied with this product MUST be used. Follow all

installation instructions. Failure to follow instructions could

void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply

with the requirements listed in FCC Regulations, Part 15 for

Class “B” digital devices. Compliance with these require-

ments provides a reasonable level of assurance that your use

of this product in a residential environment will not result in

harmful interference with other electronic devices. This

equipment generates/uses radio frequencies and, if not

installed and used according to the instructions found in the

users manual, may cause interference harmful to the opera-

tion of other electronic devices. Compliance with FCC regula-

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

tions does not guarantee that interference will not occur in all

installations. If this product is found to be the source of inter-

ference, which can be determined by turning the unit “OFF”

and “ON”, please try to eliminate the problem by using one of

the following measures:

Relocate either this product or the device that is being

affected by the interference.

Utilize power outlets that are on different branch (circuit

breaker or fuse) circuits or install AC line ﬁlter/s.

In the case of radio or TV interference, relocate/reorient the

antenna. If the antenna lead-in is 300 ohm ribbon lead,

change the lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory

results, please contact the local retailer authorized to distrib-

ute this type of product. If you can not locate the appropriate

retailer, please contact Yamaha Corporation of America,

Electronic Service Division, 6600 Orangethorpe Ave, Buena

Park, CA90620

The above statements apply ONLY to those products distrib-

uted by Yamaha Corporation of America or its subsidiaries.

FCC INFORMATION (U.S.A.)

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 3

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:

• Only use the voltage speciﬁed as correct for the device. The required voltage is

printed on the name plate of the device.

• Use only the included power adaptor (PA-30 or an equivalent recommended by

Yamaha).

•Do not place the power cord near heat sources such as heaters or radiators, and

do not excessively bend or otherwise damage the cord, place heavy objects on

it, or place it in a position where anyone could walk on, trip over, or roll anything

over it.

• Do not open the device or attempt to disassemble the internal parts or modify

them in any way. The device contains no user-serviceable parts. If it should

appear to be malfunctioning, discontinue use immediately and have it inspected

by qualiﬁed Yamaha service personnel.

•Do not expose the device to rain, use it near water or in damp or wet conditions,

or place containers on it containing liquids which might spill into any openings.

• Never insert or remove an electric plug with wet hands.

• If the power cord or plug becomes frayed or damaged, or if there is a sudden

loss of sound during use of the device, or if any unusual smells or smoke

should appear to be caused by it, immediately turn off the power switch,

disconnect the electric plug from the outlet, and have the device inspected by

qualiﬁed Yamaha service personnel.

• If this device or the AC power adaptor should be dropped or damaged,

immediately turn off the power switch, disconnect the electric plug from the

outlet, and have the device inspected by qualiﬁed Yamaha service personnel.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage

to the device or other property. These precautions include, but are not limited to, the following:

• Remove the electric plug from the outlet when the device is not to be used for

extended periods of time, or during electrical storms.

• When removing the electric plug from the device or an outlet, always hold the

plug itself and not the cord. Pulling by the cord can damage it.

•To avoid generating unwanted noise, make sure there is adequate distance (50

cm or more) between the AC power adaptor and the device.

• Do not cover or wrap the AC power adaptor with a cloth or blanket.

• Before moving the device, remove all connected cables.

•When setting up the device, make sure that the AC outlet you are using is easily

accessible. If some trouble or malfunction occurs, immediately turn off the

power switch and disconnect the plug from the outlet. Even when the power

switch is turned off, electricity is still ﬂowing to the product all the minimum

level. When you are not using the product for a long time, make sure to unplug

the power cord from the wall AC outlet.

•If this device is to be mounted in an EIA-standard rack, leave the back of the rack

open and make sure that it is at least 10 cm away from walls or surfaces. Also, if

this device is to be mounted with devices that tend to generate heat, such as

power ampliﬁers, be sure to keep an adequate gap between this device and the

heat-generating devices or install ventilation panels to prevent high

temperatures from developing inside this device.

Inadequate ventilation can result in overheating, possibly causing damage to the

device(s), or even ﬁre.

•Avoid setting all equalizer controls and faders to their maximum. Depending on

the condition of the connected devices, doing so may cause feedback and may

damage the speakers.

•Do not expose the device to excessive dust or vibrations, or extreme cold or heat

(such as in direct sunlight, near a heater, or in a car during the day) to prevent

the possibility of panel disﬁguration or damage to the internal components.

• Do not place the device in an unstable position where it might accidentally fall

over.

• Do not block the vents. This device has ventilation holes at the bottom/rear to

prevent the internal temperature from becoming too high. In particular, do not

place the device on its side or upside down. Inadequate ventilation can result in

overheating, possibly causing damage to the device(s), or even ﬁre.

• Do not use the device in the vicinity of a TV, radio, stereo equipment, mobile

phone, or other electric devices. Doing so may result in noise, both in the device

itself and in the TV or radio next to it.

•Before connecting the device to other devices, turn off the power for all devices.

Before turning the power on or off for all devices, set all volume levels to

minimum.

• When turning on the AC power in your audio system, always turn on the power

ampliﬁer LAST, to avoid speaker damage. When turning the power off, the power

ampliﬁer should be turned off FIRST for the same reason.

• Do not insert your ﬁngers or hands in any gaps or openings on the device

(vents, etc.).

•Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any

gaps or openings on the device (vents, etc.) If this happens, turn off the power

immediately and unplug the power cord from the AC outlet. Then have the

device inspected by qualiﬁed Yamaha service personnel.

• Do not use the device or headphones for a long period of time at a high or

uncomfortable volume level, since this can cause permanent hearing loss. If you

experience any hearing loss or ringing in the ears, consult a physician.

•Do not rest your weight on the device or place heavy objects on it, and avoid use

excessive force on the buttons, switches or connectors.

Power supply/Power cord

Do not open

Water warning

If you notice any abnormality

Power supply/Power cord

Location Connections

Handling caution

(5)-4 1/2

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

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 qualiﬁed Yamaha service

personnel about replacing defective components.

The MG mixer may heat up by as much as 15 to 20°C while the power is on. This is normal. Please note that the panel temperature may exceed 50°C in ambient temperatures

higher than 30°C, and use caution to prevent burns.

* This Owner’s Manual applies to the MG206C-USB/MG166CX-USB/MG166C-USB. The main differences between the three models are the number of input channels and

whether the internal effects are included. The MG206C-USB has 20 input channels while the MG166CX-USB/MG166C-USB have 16 channels. And only the MG166CX-

USB has internal effects.

*In this manual the term “MG mixsers” refers to the MG206C-USB/MG166CX-USB/MG166C-USB.

Speciﬁcations and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or speciﬁcations at

any time without prior notice. Since speciﬁcations, equipment or options may not be the same in every locale, please check with your Yamaha dealer.

SPECIAL NOTICES

• The owner’s manual is the exclusive copyright of Yamaha Corporation.

• The included software is the exclusive copyright of Steinberg Media Technologies GmbH.

• Use of the software and this manual is governed by the license agreement which the purchaser fully agrees to upon breaking the seal of the software packaging. (Please

read carefully the Software Licensing Agreement at the end of this manual before installing the application.)

• Copying of the software or reproduction of this manual in whole or in part by any means is expressly forbidden without the written consent of the manufacturer.

•Yamaha makes no representations or warranties with regard to the use of the software and documentation and cannot be held responsible for the results of the use of this

manual and the software.

• This disk is a DVD-ROM. Do not attempt to play the disk on a DVD player. Doing so may result in irreparable damage to your DVD player.

• Visit the web address below for the latest information on supplied software and operating system requirements.

<http://www.yamahasynth.com/>

The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may appear somewhat different from those on your instrument.

This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or with respect to which it has license to use others’ copyrights.

Such copyrighted materials include, without limitation, all computer software, style ﬁles, MIDI ﬁles, WAVE data, musical scores and sound recordings. Any unauthorized use

of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of copyright has legal consequences. DON’T MAKE, DISTRIBUTE

OR USE ILLEGAL COPIES.

Copying of the commercially available musical data including but not limited to MIDI data and/or audio data is strictly prohibited except for your personal use.

• Windows is the registered trademarks of Microsoft® Corporation.

• Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries.

• Steinberg and Cubase are the registered trademarks of Steinberg Media Technologies GmbH.

• The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies.

Speciﬁcations and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or speciﬁcations at

any time without prior notice. Since speciﬁcations, equipment or options may not be the same in every locale, please check with your Yamaha dealer.

XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (-).

Insert TRS phone jacks are wired as follows: sleeve: ground, tip: send, and ring: return.

Yamaha cannot be held responsible for damage caused by improper use or modiﬁcations to the device, or data that is lost or destroyed.

Copying of commercially available music or other audio data for purposes other than personal use is strictly prohibited by copyright law. Please respect all

copyrights, and consult with a copyright specialist if you are in doubt about permissible use.

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 5

Introduction.......................................... 5

Contents...........................................................5

Before Turning on the Mixer ............................6

Turning the Power On/OFF..............................6

Computer System Requirements.....................6

Cubase AI 4 System Requirements.................6

■Mixer Basics................................ 7

Quick Guide.......................................... 7

1. Installing Cubase AI 4..................................7

2. Connecting to the MG mixer ........................7

3. Powering Up the System .............................8

4. Adjusting Level and Tone ............................9

5. Recording with Cubase AI 4 ......................10

6. Mixing with Cubase AI 4 ............................13

Introduction

Thank you for your purchase of the Yamaha MG206C-USB/MG166CX-USB/MG166C-USB mixing

console. The MG206C-USB/MG166CX-USB/MG166C-USB feature input channels suitable for a

wide range of usage environments. Furthermore, the mixer has the USB connector that enables you to

record an audio data mixed with the mixer on the included Cubase AI 4 DAW software.

Please read through this manual carefully before beginning use, so that you will be able to take full

advantage of this mixer’s superlative features and enjoy trouble-free operation for years to come.

Contents

■Reference .................................. 15

Setup....................................................15

Front & Rear Panels ...........................16

Channel Control Section................................16

Digital Effects.................................................19

Master Control Section ..................................20

Digital Effect Program List

(Only MG166CX-USB)................................23

Jack List.........................................................23

Troubleshooting .................................24

Specifications .....................................99

About the accessory disk................106

SOFTWARE LICENSE AGREEMENT

...106

Accessories

• Cubase AI 4 DVD-ROM

• USB cable

• Owner’s Manual

•AC power adaptor (PA-30)*

*May not be included depending on your particular area. Please

check with your Yamaha dealer.

Introduction

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

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

STANDBY position.

Use only the included power adaptor (PA-30) or

an equivalent recommended by Yamaha. Use of a

different adaptor may result in equipment dam-

age, overheating, or ﬁre.

2Connect the power adaptor to the AC ADAPTOR IN

connector (q) on the rear of the mixer, and then

turn the fastening ring clockwise (w) to secure the

connection.

3Plug 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

lightning storms in the area.

•To avoid generating unwanted noise, make

sure there is 50 cm or more between the power

adaptor and the mixer.

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.

Note that trace current continues to ﬂow while the

switch is in the STANDBY position. If you do not plan

to use the mixer again for a long while, please be sure

to unplug the adaptor from the wall outlet.

Windows Vista

Windows XP

Macintosh

Windows

Macintosh

•A DVD driver is required for installation.

•To activate your software license, install the application

while the computer is connected to the internet.

Before Turning on the Mixer

Turning the Power On/OFF

CAUTION

Computer System Requirements

Computer Windows-based computer with built-in USB inter-

face

OS Windows Vista

CPU

1 GHz or higher Intel Core/Pentium/Celeron proces-

sor

Memory 1 GB or more

Computer Windows-based computer with built-in USB inter-

face

OS Windows XP Professional/XP Home Edition

CPU

750 MHz or higher Intel Core/Pentium/Celeron pro-

cessor

Memory 96 MB or more (128 MB or more recommended)

Computer Macintosh computer with built-in USB interface

OS MacOS X 10.3.3 or higher

CPU Macintosh G3 300 MHz or higher/Intel processor

Memory 128 MB or more

Cubase AI 4 System Require-

ments

OS Windows XP Professional/XP Home Edition

CPU 1.4 GHz or higher Intel Pentium processor

Memory 512 MB or more

Audio

Interface Windows DirectX compatible

Hard Disk 400 MB or more

OS MacOS X 10.4 or higher

CPU Power Mac G4 1 GHz/Core Solo 1.5 GHz or higher

Memory 512 MB or more

Hard Disk 400 MB or more

NOTE

Mixer Basics

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 7

Quick Guide

This quick setup and operation guide covers everything from installing the Cubase AI 4 software to

using Cubase AI 4 for recording and mixdown. While going through this section you might find it

useful to also refer to the “Front and Rear Panels” section on page 16, as well as the pdf manual

supplied with the Cubase AI 4 software.

Since the End-User Software License Agreement (EUSLA) shown on your PC-display in your

installing the “DAW” software is replaced by the agreement at the end of this manual, you

should disregard the EUSLA. Read the Software License Agreement at the end of this man-

ual carefully, and install the software if you agree to it.

1Start the computer and log on to the Administrator account.

2Insert the included DVD-ROM into the computer’s DVD-ROM drive.

3Open the “Cubase AI 4 for Windows” folder and double-click on the “CubaseAI4.msi”.

Follow the on-screen instructions to install the Cubase AI 4 software.

•When installing Cubase AI 4, you will need a working internet connection to register your Cubase AI 4. Make

sure to ﬁll in all required ﬁelds for user registration. If you do not register the product, you will be unable to use

the application after a limited period of time expires.

•For a Macintosh computer, double-click the “CubaseAI4.mkpg” icon for installation.

1Turn the power to the MG mixer and all

gear that is to be connected to the MG

mixer off/standby (except the computer),

and set the channel faders, STEREO OUT

Master fader, GROUP 1-2 fader and GROUP

3-4 fader to their minimum settings.

2Connect the MG mixer to your computer

using the supplied USB cable.

When connecting or disconnecting the USB

cable be sure to turn the 2TR IN/USB control

all the way down.

Disconnect the USB cable when using the MG

mixer without the computer.

Step 1Installing Cubase AI 4

IMPORTANT !

NOTE

Step 2Connecting to the MG mixer

Channel fader

STEREO OUT Master fader

GROUP 3-4 fader

GROUP 1-2 fader

USB Connection Precautions

Be sure to observe the following points when connecting to

the computer’s USB interface.

Failure to observe these rules can result in computer freezes/

hang-ups and possibly data loss or corruption. If the MG

mixer or computer does hang up, turn the power to both

devices off and then on again, and restart the computer.

•Be sure to wake the computer from sleep/sus-

pended/standby mode before making a con-

nection to the computer’s USB connector.

•Connect the MG mixer to the computer before

turning the MG mixer power on.

•Always quit all applications running on the

computer before turning the MG mixer’s power

on or off, or connecting or disconnecting the

USB cable.

•Wait at least 6 seconds between turning the

MG mixer on or off, and between connecting

or disconnecting the USB cable.

CAUTION

NOTE

Mixer Basics

Quick Guide

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

Mixer Basics

3Connecting Microphones and/or Instru-

ments.

For details on making connections refer to the “Setup”

section on page 15 and the “Front & Rear Panels” sec-

tion on page 16.

To prevent loud pops and noises, turn on the

power to your sound gear starting with the

sources (instruments, CD players, etc.) and end-

ing with the power ampliﬁer or powered speakers.

Example : Instruments, microphones, and CD players ﬁrst, then

the mixer, and ﬁnally the power ampliﬁer or powered

speakers.

Observe the following precautions when

turning on phantom power.

•Make sure that the PHANTOM switch is off when

phantom power is not needed.

•When turning the switch on, be sure that only con-

denser microphones are connected to the XLR input

jacks. Other devices may be damaged if connected

to phantom power. This precaution does not apply to

balanced dynamic microphones, however, as these

will not be affected by phantom power.

•To minimize the possibility of speaker damage, turn

phantom power on ONLY while your power ampliﬁer

or powered speakers are switched off. It’s also a

good idea to turn the mixer’s output controls—STE-

REO OUT Master fader , GROUP 1-2 fader and

GROUP 3-4 fader—all the way down.

•We recommend that you set the computer output to the

maximum level and mute the computer’s internal

speaker. For details on how to make the setting refer to

the “The recorded sound is too low in level.” in the “Trou-

bleshooting” on page 24.

•The ﬁrst time you connect to the computer’s USB con-

nector, or change the connection to a different USB port,

a driver installation display may appear after turning the

power to the MG mixer on. If this occurs, wait until the

installation is complete before proceeding.

USB cable

Be sure to turn the MG mixer

PHANTOM switch on when

using phantom-powered con-

denser microphones.

Although electric guitars

and basses can be con-

nected directly to the

mixer’s inputs, the sound is

likely to be thin and possi-

bly noisy. For best results

with these types of instru-

ments use a DI box (direct

box) or amp simulator

between the instrument

and the mixer.

Step 3

Powering Up the System

CAUTION

NOTE

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 electromag-

netic radiation we’re constantly surrounded by: radio and TV sig-

nals 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 con-

nections are no more than a meter or two in length, then unbal-

anced 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 rea-

son 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.

Noise

Hot (+)

Cold (–)

Ground

Source Cable

Noise cancelled

Noise-free

signal

Phase

inversion

Receiving device

Phase

inversion

Balanced noise cancellation Cable Guidelines

Microphone cable Balanced is best.

Short line-level cables Unbalanced cable is ﬁne in a rela-

tively noise-free environment.

Long line-level cables Balanced is best.

Mixer Basics

Quick Guide

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 9

Level Adjustment

1The ﬁrst step is to set the level controls on

all instruments and other sources appro-

priately.

2Adjust the channel GAIN controls so that

the corresponding PEAK indicators ﬂash

brieﬂy on the highest peak levels.

Engage the ON and ST switches of the input

channels that you would like to record.

4Make sure that the PFL switch is off ( ),

and that the MONITOR switch is set to STE-

REO ( ).

5Raise the STEREO OUT Master fader to the

0 dB position.

6Set the channel faders to create the

desired initial balance while monitoring via

headphones or monitor speakers. The

overall headphone level is adjusted by the

MONITOR/PHONES control.

Tone Adjustment

The MG mixer’s compressors, 3-band equalizers and digital

effects make it easy to shape the tone of independent

channels to achieve the best possible mix.

The MG166CX-USB has built-in digital effects. Refer to

“Use the Built-in Digital Effects to Reﬁne Your Mixes” on

page 14 and “Digital Effect Program List” on page 23 for

details.

Step 4Adjusting Level and Tone

PEAK

indicator

GAIN control

ON switch

ST switch

PFL switch

Channel fader

STEREO OUT Master fader

MONITOR switch

MONITOR/PHONES control

NOTE

Compression

One form of compression known as “limiting” can, when

properly used, produce a smooth, uniﬁed sound with no

excessive peaks or distortion. A common example of the use

of compression is to “tame” a vocal that has a wide dynamic

range in order to tighten up the mix. Compression can also

be applied to guitar tracks to add extra sustain. Too much

compression can be a cause of feedback, however, so use it

sparingly.

Equalizer Tips

The best advice that can be given regarding equalization

while recording is simply to use as little equalization as possi-

ble. If you want a little more presence you can turn the HIGH

end up a bit. Or you can boost the bass a little if you feel the

low end is lacking. During recording it’s better to use EQ

sparingly for compensation only.

●Cut for a Cleaner Mix

For example: pianos have a lot of energy in the mid and

low frequency ranges that you don’t really perceive as

musical sound, but which can interfere with the clarity of

other instruments in these ranges. You can basically turn

the low EQ on piano channels all the way down without

changing the way they sound in the mix. You’ll hear the dif-

ference, however, in the way the mix sounds more “spa-

cious,” and instruments in the lower ranges will have better

deﬁnition. Naturally you won’t want to do this if the piano is

playing solo.

The reverse applies to kick drums and bass guitars: you

can often roll off the high end to create more space in the

mix without compromising the character of the instru-

ments. You’ll have to use your ears, though, because each

instrument is different and sometimes you’ll want the

“snap” of a bass guitar, for example, to come through.

(Min)

(Max)

INPUT

OUTPUT

20 50 100 200 500 1 k 2 k 5 k 10 k 20 k (Hz)

Piano

Bass Drum

Snare Drum

Bass

Guitar

Trombone

Tr umpet

Cymbal

Fundamental: The frequency that determines the basic musical pitch.

Harmonics: Multiples of the fundamental frequency that play a role in

determining the timbre of the instrument.

The fundamental and harmonic frequency ranges of

some musical instruments.

Quick Guide

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

Mixer Basics

This section describes the procedure for recording to the Cubase AI 4 software we installed earlier via the MG mixer.

For details on operation of the Cubase AI 4 software refer to the pdf-format manual provided with the software.

Cubase AI 4 Setup

1To prevent the playback sound from

Cubase AI 4 from being directly rere-

corded, set the MG mixer’s 2TR IN/USB

switch to TO MONITOR ( ).

2Launch Cubase AI 4.

Windows:

Click [Start] → [All Program] → [Steinberg Cubase AI

4] → [Cubase AI 4] to launch the program. If the ASIO

Multimedia dialog window appears, click [Yes].

Macintosh:

Double-click the [Application] → [Cubase AI 4].

•If you speciﬁed a ﬁle destination when installing

the Cubase AI 4 software, launch the applica-

tion from that location.

• Create a Cubase AI 4 shortcut or alias on your

desktop so you can easily launch the program

when required.

3Select [Device Setup] from the [Device]

menu to open the Device Setup window.

Windows:

Select [VST Audio System] in the [Device] ﬁeld on the

left side of the window. Select [ASIO DirectX Full

Duplex Driver] in the [ASIO Driver] ﬁeld on the right

side of the window. A dialog window will appear asking

“Do you want to switch the ASIO driver?”. Click

[Switch].

Macintosh:

Select [VST Audio System] in the [Device] ﬁeld on the

left side of the window. Select [USB Audio CODEC (2)]

in the [ASIO Driver] ﬁeld on the right side of the win-

dow, and click [OK]. Skip ahead to step 6, below.

Under Mac OS X you can select either [USB

Audio CODEC (1)] or [USB Audio CODEC (2)]

in the [ASIO Driver] ﬁeld. Normally you should

select [USB Audio CODEC (2)], but if you will

only be playing back and mixing previously

recorded data you can select [USB Audio

CODEC (1)] to lighten the load on the com-

puter’s CPU.

4On a Windows computer select [ASIO

DirectX Full Duplex Driver] in the [Devices]

ﬁeld on the left side of the Device Setup

window, and click [Control Panel] on the

right side of the window.

Step 5Recording with Cubase AI 4

NOTE

Mixer Basics

Quick Guide

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 11

5The ASIO Direct Sound Full Duplex Setup

dialog window will be displayed. Check

only the input port and output port [USB

Audio CODEC] checkbox.

6Make sure that “USB Audio CODEC 1/2”

are shown in the [Port System Name] ﬁeld,

and check the [Visible] column in the

Device Setup window. Click [OK] to close

the window.

If the [Port System Name] ﬁeld does not

change, close and restart the Cubase AI 4,

then open the Device Setup window.

7Select [New Project] from the [File] menu

to create a new project ﬁle.

The new project dialog window will open. For this

example select [CAI4 - 4 Stereo 8 Mono Audio Track

Recorder] and click [OK].

Recorded Cubase AI 4 data is stored as a

“project ﬁle”.

8When the directory selection dialog win-

dow appears, select the folder to which the

project and audio ﬁles for the project are to

be stored, and click [OK].

An empty project window with 4 stereo and 8 monaural

tracks will appear.

NOTE

Project window

Transport panel

Mixer window

Quick Guide

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

Mixer Basics

Preparing to Record

1Click in the track list (the area in which the

track names are displayed) to select a

track to record on.

The various settings for the selected track are available

in the Inspector on the left side of the display.

You will normally use a stereo track when

recording synthesizers, and a monaural track

when recording vocals or guitar.

2Click the Input Routing ﬁeld in the Inspec-

tor to select the audio input source. Select

“Stereo In 1” for a stereo track and “Left

(Right)-Stereo In 1” for a monaural track.

3Make sure the [Record Enable] button for

the track to be recorded is turned on.

If the [Record Enable] button is off, click it to turn it on.

4Play the instrument to be recorded, and

adjust the MG mixer’s GAIN controls, chan-

nel faders and STEREO OUT Master fader

so that the Clipping indicator never light.

5Specify the point at which you want to start

recording via the ruler at the top of the

project window.

Click the black area of the ruler to move the project cur-

sor (the vertical black line) to that position.

Recording and Playback

1Click the Transport panel [Record] button

to begin recording.

When recording is started the project cursor will begin

moving to the right and a box that displays the recording

results will be created.

2Play the part.

3When you ﬁnish recording the track, click

the Transport panel [Stop] button.

Inspector

Input routing

[Record Enable] button Track list

NOTE

<Transport panel> Clipping indicator

Ruler

Stop

Record

Start

Rewind

Forward

Recording results

Mixer Basics

Quick Guide

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 13

4To hear playback of the track you have just

recorded, use either the Transport panel

[Rewind] button or the ruler to rewind to

the beginning of the recorded section, then

click the Transport panel [Start] button.

The overall playback level will be displayed via the mas-

ter section bus level meter on the right side of the mixer

window, and the channel level will be displayed via the

channel strip level meter.

•Click the [Narrow/Wide] button in the upper left

corner of the mixer window to increase the

width of the mixer’s channel strips.

•The output signal from Cubase AI 4 is routed to

the MG mixer’s 2TR IN inputs. To hear the play-

back sound via a pair of headphones plugged

into the MG mixer, set the bus select switch to

TO MONITOR ( ) and adjust the volume with

the 2TR IN/USB control and the MONITOR/

PHONES control.

5To save the project ﬁle select [Save]

from the [File] menu and enter a ﬁle

name before actually saving the ﬁle.

Save your project ﬁle frequently to insure against losing

large amounts of data if a problem occurs.

6Repeat steps 1 through 5 to record further

material on the same track.

7To record additional material on a different

track, select a new track and repeat the

record procedure.

You can monitor the sound being recorded and

a previously recorded sound simultaneously

while recording (MONITOR MIX). Refer to “F

2TR IN/USB” on page 22 for details.

In this section we’ll try mixing down multiple recorded audio tracks to stereo, and creating a wav ﬁle. Mixes can be stored as

WAV or AIFF ﬁles, which can then be recorded to audio CDs.

1Launch Cubase AI 4 and open a project

ﬁle.

2Click the [Start] button on the Transport

Panel.

3While listening to playback, drag the chan-

nel strip level faders up and down to create

the desired initial balance, then adjust the

overall volume using the bus volume fader.

4Drag the pan controls on the top of the

channel strips left and right to set the

stereo position of each track.

NOTE

Level meter Bus level meter

[Narrow/Wide] button[Narrow/Wide] button

NOTE

Step 6Mixing with Cubase AI 4

Quick Guide

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

Mixer Basics

5At this point you can begin to use EQ to

reﬁne your mix, and add effects.

As an example let’s try adding reverb. Click the [Edit]

button ( ) on the left side of the channel strip to

open the VST audio channel settings window. Click

Insert 1 and select Earlier VST Plug-ins → Reverb →

RoomWorks SE.

For further details refer to the pdf manual pro-

vided with the Cubase AI 4 software.

It’s a good idea to lower the channel fader a

bit before adding an effect, since the effect

can cause an increase in the overall channel

level.

6When the ﬁnal mix adjustments have

been made, go to the [File] menu and

select [Export] → [Audio Mixdown].

7Enter a ﬁle name and select a destina-

tion for the ﬁle as well as a ﬁle type.

If you intend to use the ﬁle to create an audio CD, select

the WAV ﬁle type (AIFF on Macintosh OS X), Stereo

Out (stereo), 16 bit, and 44.1 kHz.

8Click [Export].

Progress of the mixdown operation will be shown in a

progress window. When the progress window closes the

mixdown is complete.

Wave ﬁles created by mixdown can be directly

played back using the Windows Media Player,

or iTunes on a Macintosh computer.

NOTE

CAUTION

NOTE

Use the Built-in Digital Effects to Reﬁne Your Mixes (Only MG166CX-USB)

●Reverb and Delay Time

The optimum reverb time for a piece of music will depend on the

music’s tempo and density, but as a general rule longer reverb

times are good for ballads, while shorter reverb times are more

suited to uptempo tunes. Delay times can be adjusted to create a

wide variety of “grooves”. When adding delay to a vocal, for

example, try setting the delay time to dotted eighth notes corre-

sponding to the tune’s tempo.

●Reverb Tone

Different reverb programs will have different “reverb tone” due to

differences in the reverb time of the high or low frequencies. Too

much reverb, particularly in the high frequencies, can result in

unnatural sound and interfere with the high frequencies in other

parts of the mix. It’s always a good idea to choose a reverb pro-

gram that gives you the depth you want without detracting from

the clarity of the mix.

●Reverb Level

It’s amazing how quickly your ears can lose perspective and fool

you into believing that a totally washed-out mix sounds perfectly

ﬁne. To avoid falling into this trap start with reverb level all the way

down, then gradually bring the reverb into the mix until you can

just hear the difference. Any more than this normally becomes a

“special effect.”

For details on the modulation effects, refer to “Digital

Effect Program List (Only MG166CX-USB)” on page 23.

NOTE

Reference

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 15

Setup

Recorder

Synthesizer

CD Player

Microphone

Powered speakers

Powered monitor

speakers

Bass

Headphones

Guitar

Effect processor

(exciter)

Powered monitor

speakers

MG206C-USB

Rear panel

Personal Computer

Reference

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

Reference

Front & Rear Panels

Channel Control Section

Channels

13/14 and 15/16

(Stereo)

Channels

1 to 8

(Monaural)

Channels

9 to 12

(Monaural)

●MG206C-USB

Channels

17/18 and 19/20

(Stereo)

6 6

C C

D D

I I

E E

9 9

7 7

Channels

9/10 and 11/12

(Stereo)

Channels

1 to 6

(Monaural)

Channels

7 and 8

(Monaural)

Channels

13/14 and 15/16

(Stereo)

●MG166CX-USB/MG166C-USB

* A MG166C-USB : EFFECT → AUX3

9 9

Reference

Front & Rear Panels

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 17

1MIC Input jacks

These are balanced XLR-type microphone input jacks. (1:

Ground; 2: Hot; 3: Cold)

2LINE Input Jacks (monaural channels)

These are balanced TRS phone-jack line inputs. (T: Hot; R:

Cold; S: Ground). You can connect either balanced or unbal-

anced phone plugs to these jacks.

3LINE Input Jacks (stereo channels)

These are unbalanced phone-jack stereo line inputs.

4LINE Input Jacks (stereo channels)

These are unbalanced stereo RCA pin jacks.

On channels that provide multiple input jack options

only one type of jack can be used at a time.

5INSERT Jacks

These jacks can be used to insert an external signal-process-

ing device between the equalizer and fader of the corre-

sponding monaural input channel. The INSERT jacks are

ideal for connecting devices such as graphic equalizers,

compressors, or noise ﬁlters into the corresponding chan-

nels.

These are TRS (tip, ring, sleeve) phone jacks that

carry both the send and return signal (tip = send/out;

ring = return/in; sleeve = ground). Patching external

devices via an INSERT jack requires a special cable

such as illustrated below (insert cable sold sepa-

rately).

The signal output from the INSERT jacks is

reverse-phased. This should not be a problem

when connecting to an effect unit, but please be

aware of the possibility of phase conﬂict when

connecting to other types of device. A reversed-

phased signal may result in degraded sound

quality or even complete sound cancellation.

6GAIN Control

Adjusts the input signal level. To get the best balance

between the S/N ratio and the dynamic range, adjust the gain

so that the PEAK indicator 9 lights only occasionally and

brieﬂy on the highest input transients. The -60 to -16 scale is

the MIC input adjustment range. The -34 to +10 scale is the

LINE input adjustment range.

7Switch (High-Pass Filter)

This switch toggles the HPF on or off. To turn the HPF on,

press the switch in ( ). The HPF cuts frequencies below

80 Hz (the HPF does not apply to the line inputs of stereo

input channels 3, 4).

8COMP Control

Adjusts the amount of compression applied to the channel.

As the knob is turned to the right the compression ratio

increases while the output gain is automatically adjusted

accordingly. The result is smoother, more even dynamics

because louder signals are attenuated while the overall level

is boosted.

Avoid setting the compression too high, as the higher

average output level that results may lead to feed-

back.

9PEAK indicator

The peak level of the post-EQ signal is detected, and the

PEAK indicator lights red when the level reaches 3 dB

below clipping.

For XLR-equipped stereo input channels, both the post-EQ

and post-mic-amp peak levels are detected, and the indicator

lights red if either of these levels reaches 3 dB below clip-

ping.

0Equalizer (HIGH, MID and LOW)

This three-band equalizer adjusts the channel’s high, mid,

and low frequency bands. Setting the knob to the “▼” posi-

tion produces a ﬂat response in the corresponding band.

Turning the knob to the right boosts the corresponding fre-

quency band, while turning to the left attenuates the band.

The monaural channels have MID frequency controls to

adjust the midrange frequency band.

The following table shows the EQ type, frequency, and max-

imum cut/boost for each of the three bands.

*The monaural channel MID frequency can be adjusted from

250 Hz to 5 kHz. The MID frequency is 2.5 kHz when the

MID frequency control is set at the center position.

NOTE

To the INSERT I/O jack

To the input jack of the

external processor

Tip: OUT

Tip: IN

To the output jack of

the external processor

Sleeve (Ground)

Ring: IN

Tip: OUT

CAUTION

Band Type Frequency Maximum

Cut/Boost

HIGH Shelving 10 kHz

±15 dBMID Peaking 2.5 kHz*

LOW Shelving 100 Hz

NOTE

Front & Rear Panels

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

Reference

AAUX, EFFECT Control

Adjusts the level of the signal sent from the channel to the

AUX and EFFECT buses. These knobs should generally be

set close to the “▼” position. These controls send either the

signal from immediately prior to the channel fader (pre-fader

signal) or the signal after the channel fader (post-fader sig-

nal) to the corresponding buses. The types of signals sent by

the AUX and EFFECT controls on each mixer model are as

follows:

• MG206C-USB

AUX1: Pre-fader

AUX2, 3: Pre-fader/post-fader (determined by the AUX

PRE switch B)

AUX4: Post-fader

• MG166CX-USB

AUX1: Pre-fader

AUX2: Pre-fader/post-fader (determined by the AUX

PRE switch B)

EFFECT: Post-fader

• MG166C-USB

AUX1: Pre-fader

AUX2: Pre-fader/post-fader (determines by the AUX

PRE switch B)

AUX3: Post-fader

•To send the signal to the STEREO bus engage the

ON switch ( ).

•On stereo channels, the L (odd) and R (even) input

signals are mixed and sent to the AUX and

EFFECT buses.

BAUX PRE Switch

Selects whether the pre-fader or the post-fader signal is fed

to the AUX buses. If the switch is on ( ), the mixer sends

the pre-fader signal to the AUX buses, so that AUX outputs

are not affected by the channel fader I. If the switch is off

() the mixer sends the post-fader signal to the AUX

buses.

CPAN Control

PAN/BAL Control

BAL Control

The PAN control determines the stereo positioning of the

channel signal on the GROUP 1/2 and GROUP 3/4 buses or

on the STEREO L/R bus. The BAL control knob sets the

balance between left and right channels. Signals input to the

L input (odd channel) go to the GROUP 1 or 3 buses or to

the STEREO L bus; signals input to the R input (even chan-

nel) go to the GROUP 2 or 4 buses or the STEREO R bus.

On channels where this knob provides both PAN and

BAL control, the knob operates as a PAN control

when input is received via the MIC jack or L (MONO)

input only, and as a BAL control when input is

received via both L and R inputs.

DON Switch

Turn this switch on to send the signal to the buses. The

switch lights orange when on.

EPFL (Pre-Fader Listen) Switch

This switch lets you monitor the channel’s pre-fader signal.

Press the switch in ( ) so that it lights to turn it on. When

the switch is on the channel pre-fader signal is output to the

PHONES and MONITOR OUT jacks for monitoring.

F1-2 Switch

This switch assigns the channel’s signal to the GROUP 1/2

bus.

To send the signal to the GROUP 1/2 bus turn the

ON switch on ( ).

G3-4 Switch

This switch assigns the channel’s signal to the GROUP 3/4

bus.

To send the signal to the GROUP 3/4 bus turn the

ON switch on ( ).

HST Switch

This switch assigns the channel’s signal to the STEREO L/R

bus.

To send the signal to the STEREO bus turn the ON

switch on ( ).

IChannel Fader

Adjusts the level of the channel signal. Use these faders to

adjust the balance between the various channels.

Set the fader sliders for unused channels all the way

down to minimize noise.

NOTE

Reference

Front & Rear Panels

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 19

Digital Effects * Only the MG166CX-USB has digital effects.

1FOOT SWITCH Jack

A Yamaha FC5 foot switch (sold separately) can be connected to this jack

and used to toggle the digital effects ON and OFF.

2PROGRAM Dial

Selects one of the 16 internal effects. See page 23 for details about the

internal effects.

3PARAMETER Control

Adjusts the parameter (depth, speed, etc.) for the selected effect. The last

value used with each effect type is saved.

When you change to a different effect type, the mixer automatically

restores the value that was previously used with that type (regard-

less of the current position of the PARAMETER knob).

These parameter values are reset when the power is turned off.

4AUX Control

Adjusts the level of the signal sent from the internal digital effect unit to

the AUX buses.

The signal level sent to the AUX buses is not affected by the

EFFECT RTN fader.

5ON Switch

Switches the internal effect on or off. The internal effect is applied only if

this switch is turned on. The switch lights orange when on.

An optional Yamaha FC5 foot switch (sold separately) can be used to tog-

gle the digital effects ON and OFF.

The ON switch lights and the internal effect unit is active when the

power is initially turned on.

6PFL Switch

Turn this switch on to send the effect signal to the PFL bus.

71-2 Switch

This switch assigns the effect signal to the GROUP 1/2 bus.

83-4 Switch

This switch assigns the effect signal to the GROUP 3/4 bus.

9ST Switch

This switch assigns the effect signal to the STEREO L/R bus.

0EFFECT RTN Fader

Adjusts the signal level sent from the internal digital effect unit to the STE-

REO bus.

NOTE

Front & Rear Panels

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

Reference

Master Control Section

6542

Rear panel

●MG206C-USB ●MG166CX-USB/MG166C-USB

Rear panel

*2, D MG166C-USB :

EFFECT → AUX3

Reference

Front & Rear Panels

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 21

1USB Connector

Connects to the computer via the included cable. The USB

connector outputs the same signal as the REC OUT jacks.

When connecting or disconnecting the USB

cable be sure to turn the 2TR IN/USB control all

the way down.

2SEND Jacks (AUX, EFFECT)

These impedance balanced* TRS phone jacks output the sig-

nals from the AUX/EFFECT buses. The pre-fader send

option should be selected if you are connecting to a monitor

system, while the post-fader send option is the best choice

when connecting to external signal processors (e.g. effects

units).

See “AUX, EFFECT Control” on page 18 for information on

the types of signals sent by the AUX and EFFECT controls

on each mixer model.

3GROUP OUT (1 to 4) Jacks

These impedance-balanced* TRS phone jacks output the

GROUP 1/2 and 3/4 signals. Use these jacks to connect to

the input jacks of an multi-track recorder, external mixer, or

other such device.

4REC OUT (L, R) Jacks

These RCA pin jacks can be connected to an external

recorder such as an MD recorder in order to record the same

signal that is being output via the STEREO OUT jacks.

The mixer’s STEREO OUT Master fader has no

affect on the signal output via these jacks.

Be sure to make appropriate level adjustments at the

recording device.

52TR IN Jacks

These RCA pin jacks input a stereo sound source.

Use these jacks when you want to connect a CD player

directly to the mixer.

•Select where you want to send the signal using the

2TR IN/USB switch, and adjust the signal level

using the 2TR IN/USB control in the Master Control

section.

• If signals are input via both the 2TR IN jacks and

the USB connector, the signals are mixed.

6RETURN L (MONO), R Jacks

These are unbalanced phone-jack type line inputs.

The signal received by these jacks can be sent to the STE-

REO L/R bus as well as the AUX1 and AUX2 buses. When a

stereo signal is returned a mono mix of the signal is sent to

the AUX1 and AUX2 buses. These jacks are typically used to

receive the signal returned from an external effect device

(reverb, delay, etc.).

• These jacks can also be used as an auxiliary ste-

reo input.

•If you connect to the L (MONO) jack only, the mixer

will recognize the signal as monaural and will send

the identical signal to both the L and R jacks.

7STEREO OUT (L, R) Jacks

These jacks deliver the mixer’s stereo output. You use these

jacks, for example, to connect to the power ampliﬁer driving

your main speakers. You can also connect these jacks to a

recording device when you wish to record mixer’s stereo

output while using the STEREO OUT Master fader J for

level control.

• XLR jacks

XLR-type balanced output jacks.

• LINE jacks

TRS phone-type balanced output jacks.

8MONITOR OUT jacks

These are impedance-balanced* TRS phone-type output

jacks.

The signal output by these jacks is determined by the

MONITOR switch, the 2TR IN/USB switch, and the

PFL switches on the input channels.

9PHONES Jack

Connect a pair of headphones to this TRS phone-type output

jack. The PHONES jack outputs the same signal as the

MONITOR OUT jacks.

0PHANTOM +48 V Switch

This switch toggles phantom power on and off. When the

switch is on the mixer supplies +48V phantom power to all

channels that have XLR mic input jacks. Turn this switch on

when using one or more phantom-powered condenser micro-

phones.

When this switch is on the mixer supplies DC +48 V

power to pins 2 and 3 of all XLR-type MIC INPUT

jacks.

•Be sure to leave this switch off if you do not

need phantom power.

•When turning the switch on, be sure that only

condenser microphones are connected to the

XLR input jacks. Devices other than condenser

mics may be damaged if connected to the

phantom power supply. Note, however, that the

switch may be left on when connecting to bal-

anced dynamic microphones.

•To prevent damage to speakers, be sure to turn

off power ampliﬁers (or powered speakers)

before turning this switch on or off. We also

recommend that you turn all output controls

(STEREO OUT Master fader, GROUP 1-2 fader,

GROUP 3-4 fader, etc.) to their minimum set-

tings before operating the switch to avoid the

risk of loud noises that could cause hearing

loss or device damage.

APOWER Indicator

This indicator lights when the mixer’s power is ON.

CAUTION

NOTE

CAUTION

* impedance balanced

Since the hot and cold terminals of impedance balanced output

jacks have the same impedance, these output jacks are less

affected by induced noise.

Front & Rear Panels

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

Reference

BLevel Meter

This LED meter displays the level of the signal selected by

the MONITOR switch E, 2TR IN/USB switch F and PFL

switch. The “0” segment corresponds to the nominal output

level. The PEAK indicator lights red when the output

reaches the clipping level.

CRETURN

•AUX1, AUX2 Control

Adjusts the level at which the L/R signal received at the

RETURN jacks (L (MONO) and R) is sent to the AUX1 and

AUX2 buses.

• STEREO Control

Adjusts the level at which the signal received at the

RETURN jacks (L (MONO) and R) is sent to the STEREO

L/R bus.

• If you supply a signal to the RETURN L (MONO)

jack only, the mixer sends the same signal to both

the L and R STEREO buses.

• (MG206C-USB) Signals input via the RETURN1

jacks are adjusted using the RETURN1 AUX1,

AUX2 and the STEREO controls, and signals input

via the RETURN2 jacks are adjusted using the

RETURN2 AUX1, AUX2 and the STEREO controls.

DMaster SEND Controls (AUX, EFFECT)

Adjusts the signal level sent to the SEND (AUX, EFFECT)

jacks.

If you are using the MG166CX-USB, the Master

SEND control (EFFECT) does not affect the level of

the signal sent from the EFFECT bus to the internal

digital effect processor.

EMONITOR/PHONES

• MONITOR switches

These switches select the signal sent to the MONITOR OUT

jacks, PHONES jack and the level meter from STEREO L/R

bus, GROUP 1/2 bus or GROUP 3/4 bus.

STEREO L/R bus: STEREO ( )

GROUP 1/2 bus: GROUP ( ), 1-2 ( )

GROUP 3/4 bus: GROUP ( ), 3-4 ( )

• MONITOR Control

Controls the level of the signal output to the PHONES jack

and the MONITOR OUT jacks.

F2TR IN/USB

• 2TR IN/USB Switch

If this switch is set to TO MONITOR ( ), the signals input

via the 2TR IN jacks and the USB connector are sent to the

MONITOR OUT jacks, the PHONES jack, and the level

meter. If it is set to TO STEREO ( ), the signals are sent to

the STEREO L/R bus.

• 2TR IN/USB Control

Adjusts the level of the signal sent from the 2TR IN jacks

and the USB connector.

The following illustration shows how the switch settings cor-

respond to the signal selection.

*: When overdubbing, you can adjust the levels of the mon-

itor playback signal and the signal being recorded separately.

MONITOR MIX Signal Flow

If the input channel PFL switch is on ( ), then only

the PFL output from that channel is sent to the MON-

ITOR OUT jacks, PHONES jack, and level meter.

GGROUP 1-2 Fader

Adjusts the signal level sent to the GROUP OUT 1/2 jacks.

HGROUP 3-4 Fader

Adjust the signal level to the GROUP OUT 3/ 4 jacks.

IST Switch

If this switch is on, the signals are sent to the STEREO L/R

bus via the GROUP 1-2 fader or GROUP 3-4 fader. The

GROUP 1 and 3 signals go to STEREO L and the GROUP 2

and 4 signals go to STEREO R.

JSTEREO OUT Master Fader

Adjusts the signal level sent to the STEREO OUT jacks.

NOTE

Switches Signals output via the

MONITOR/PHONES

jacks

PFL MONITOR/

PHONES 2TR IN/USB

ON — — PFL

OFF

STEREO

TO STEREO STEREO

(+ 2TR IN/USB)

TO MONITOR STEREO + 2TR IN/USB

GROUP

1-2

TO STEREO GROUP 1-2

TO MONITOR GROUP 1-2

(+ 2TR IN/USB)

3-4

TO STEREO GROUP 3-4

TO MONITOR GROUP 3-4

(+ 2TR IN/USB)

Playback

signal

Recording

signal

2TR IN/USB 2TR IN/USB control

STEREO OUT Master fader

MONITOR/PHONES controls

STEREO

bus

REC OUT/USB

jacks

MONITOR

OUT/PHONES

jacks

NOTE

Reference

Front & Rear Panels

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 23

Digital Effect Program List (Only MG166CX-USB)

* “LFO” stands for Low Frequency Oscillator. An LFO is normally used to modulate another signal, determining the modulation speed and

waveform shape.

Jack List

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

No Program Parameter Description

1 REVERB HALL 1 REVERB TIME Reverb simulating a large space such as a concert hall.

2 REVERB HALL 2 REVERB TIME

3 REVERB ROOM 1 REVERB TIME Reverb simulating the acoustics of a small space (room).

4 REVERB ROOM 2 REVERB TIME

5 REVERB STAGE 1 REVERB TIME Reverb simulating a large stage.

6 REVERB STAGE 2 REVERB TIME

7 REVERB PLATE REVERB TIME Simulation of a metal-plate reverb unit, producing a more hard-edged sound.

8DRUM AMBIENCE REVERB TIME A short reverb that is ideal for use with kick drum.

9 KARAOKE ECHO DELAY TIME Echo designed for karaoke (sing-along) applications.

10 VOCAL ECHO DELAY TIME Echo suitable for vocals.

11 CHORUS 1 LFO Frequency Creates a thick sound by modulating the delay time.

The PARAMETER control adjusts the frequency of the LFO* that modulates the

delay time.

12 CHORUS 2 LFO Frequency

13 FLANGER LFO Frequency

A sweeping pitched effect.

The PARAMETER control adjusts the frequency of the LFO* that modulates the

delay time.

14 PHASER LFO Frequency

Phase modulation produces a cyclical phasing effect.

The PARAMETER control adjusts the frequency of the LFO* that modulates the

delay time.

15 AUTO WAH LFO Frequency

A wah-wah effect with cyclical ﬁlter modulation.

The PARAMETER control adjusts the frequency of the LFO* that modulates the

delay time.

16 DISTORTION DRIVE Adds a sharp-edged distortion to the sound.

Input and Output Jacks Polarities Conﬁgurations

MIC INPUT, STEREO OUT

Pin 1: Ground

Pin 2: Hot (+)

Pin 3: Cold (–)

LINE INPUT (monaural channels)

GROUP OUT, STEREO OUT,

MONITOR OUT, AUX SEND,

EFFECT SEND (Only MG166CX-USB)*

Tip: Hot (+)

Ring: Cold (–)

Sleeve: Ground

INSERT

Tip: Output

Ring: Input

Sleeve: Ground

PHONES

Tip: L

Ring: R

Sleeve: Ground

RETURN

LINE INPUT (stereo channels)

Tip: Hot

Sleeve: Ground

OUTPUTINPUT

XLR Jack

TipSleeve

Ring

TRS Phone Jack

TipSleeve Phone Jack

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

Reference

Troubleshooting

■While using the MG mixer

Power doesn’t come on. ❑Is the supplied power adaptor properly plugged into an appropriate AC wall outlet?

❑Is the supplied power adaptor properly plugged into the mixer?

No sound. ❑Are microphones, external devices, and speakers connected correctly?

❑Are the ON switch and ST switch of the channels you are using turned ON?

❑Are the channel GAIN controls, Channel fader, STEREO OUT Master fader and

GROUP 1-2/3-4 fader set to appropriate levels?

❑Are the MONITOR switch and 2TR IN/USB switch set properly?

❑Are your speaker cables connected properly, or are they shorted?

❑If the above checks do not identify the problem, call Yamaha for service. (Refer to

the page 71 for a list of service centers.)

Sound is faint, distorted, or

noisy.

❑Are the channel GAIN controls, Channel fader, STEREO OUT Master fader and

GROUP 1-2/3-4 fader set to appropriate levels?

❑Are two different instruments connected to the XLR-type and phone jacks, or to the

phone and RCA pin jacks on one channel? Please connect to only one of these

jacks on each channel.

❑Is the input signal from the connected device set to an appropriate level?

❑Are you applying the effects at an appropriate level?

❑Are microphones connected to the MIC input jacks?

❑If you are using condenser microphones, is the PHANTOM +48 V switch turned

ON?

No effect is applied.

(If you are using MG166CX-

USB)

❑Check that the EFFECT control on each channel is correctly adjusted.

❑Be sure that the internal effect unit’s ON switch is turned ON.

❑Be sure that the EFFECT PARAMETER control and EFFECT RTN fader are cor-

rectly adjusted.

I want spoken words to be

heard more clearly.

❑Be sure that the switches are ON.

❑Adjust the equalizers (HIGH, MID and LOW) on each channel.

I want to output a monitor

signal through speakers.

❑Connect a powered speaker to the AUX 1, 2 or 3 jack (MG206C-USB), or to the

AUX1 or 2 jack (MG166CX-USB/MG166C-USB) and turn the PRE switch on each

channel on. Then adjust the output signal by using the AUX controls on each chan-

nel and the Master SEND control.

The level meter doesn’t

show the output signal

level.

❑Are the PFL switches for the channels that you are not using turned on?

Reference

Troubleshooting

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 25

■While using the MG mixer with Cubase AI 4

The system doesn’t work

properly.

❑Are the USB cable and all necessary audio cables properly connected?

❑Are you using a USB hub?

USB hubs can interfere with proper operation, so try connecting the MG mixer

directly to a USB port on the computer. If the computer has multiple USB ports, try a

different USB port.

❑Are you using other USB devices at the same time?

If so, try removing the other device(s) and connecting only the Yamaha USB device.

No sound. ❑Is the output of your computer operating system muted?

❑Do you have several applications running at the same time?

Be sure to quit all applications you are not using.

❑Is the sound output of your computer operating system assigned properly?

Windows:

1. From the [START] menu click [Control Panel], then double-click the “Sounds and

Audio Devices” icon to open the “Sounds and Audio Devices Properties” dialog

window.

2. Click the “Audio” tab.

3. Set “Sound playback: Default device” and “Sound recording: Default device” to

“USB Audio CODEC.”

4. Click [OK].

Macintosh:

1. Select “System Preferences ...” from the Apple menu and then select “Sound” to

open the “Sound” dialog window.

2. Click the “Input” tab and under “Choose a device for sound input” select “USB

Audio CODEC”.

3. Click the “Output” tab and under “Choose a device for sound output” select “USB

Audio CODEC”.

❑Is the sound output of the Cubase AI 4 application assigned properly?

For setup details refer to page 7 of the Quick Guide.

The recorded sound is too

low in level.

❑Is the computer’s output level setting too low?

We recommend that you set the computer output to the maximum level and mute

the computer’s internal speaker.

Windows:

1. From the [START] menu click [Control Panel], then double-click the “Sounds and

Audio Devices” icon to open the “Sounds and Audio Devices Properties” dialog

window.

2. Click the “Volume” tab.

3. Set “Device volume” to “High.”

4. Click the “Sound” tab.

5. Select “No sound” in the “Sound scheme.”

Macintosh:

1. Select [System Preferences ...] from the Apple menu and then select “Sound” to

open the “Sound” dialog window.

2. Click the “Output” tab and set the volume slider at the bottom of the window to its

maximum level.

3. Click the “Sound Effect” tab and set the volume slider of the “Alert volume” slider

to its minimum level.

❑Have you connected or disconnected the USB cable while Cubase AI 4 is running?

Doing so can sometimes cause the Windows output level to be reset to its default

level. Check and raise the output level if necessary.

Troubleshooting

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

Reference

The sound is intermittent or

distorted.

❑Does the computer you are using meet the listed system requirements?

Refer to “Computer System Requirements” on page 6 for details.

❑Are any other applications, device drivers, or USB devices (scanners, printers, etc.)

running at the same time?

Be sure to quit all applications you are not using.

❑Are you playing back a large number of audio tracks?

The number of tracks you can play at the same time will depend on the perfor-

mance of the computer you are using. You may experience intermittent playback if

you exceed your computer’s capabilities.

❑Are you recording or playing long continuous sections of audio?

The audio data processing capabilities of your computer will depend on a number of

factors including CPU speed and access to external devices.

On Windows computers, changing some settings as outlined below can improve

performance.

1. Click [Control Panel] from the [START] menu, and double-click the “Sounds and

Audio Devices” icon to open the “Sounds and Audio Devices Properties” dialog

window.

2. Click the “Volume” tab and click “Advanced” in “Speaker settings.” The

“Advanced Audio Properties” dialog window will open.

3. Click the “Performance” tab. Set “Hardware acceleration” to “Full”, and “Sample

rate conversion quality” to “Good.”

Don’t change these settings if you are not familiar with your computer’s operating

system.

Check that the file system is set properly, and make sure that you have a plenty of

free memory (more than 128 megabytes). If the wave files you are recording or

playing are not too large, changing the virtual memory settings can sometimes

improve audio performance.

In some cases it might be necessary to update your hard disk controller, device

drivers, or BIOS. Refer to your computer’s support center or support page on the

web for more information.

❑Try adding memory.

Adding more RAM memory can significantly increase your computer’s audio perfor-

mance. Refer to your computer’s owner’s manual for information on installing and

setting up extra memory.

There is a delay when play-

ing a software synthesizer

via a MIDI keyboard

(latency).

❑Check the URL listed below for the latest information.

<http://www.yamahaproaudio.com/>

Reference

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 99

Speciﬁcations

■Electrical Speciﬁcations

■General Speciﬁcations

All faders are nominal if not speciﬁed.

Output impedance of signal generator: 150 ohms

MG206C-USB

MIN TYP MAX UNIT

Frequency Response STEREO OUT GAIN: min (CHs 1–19/20)

20 Hz–20 kHz

Nominal output level @1 kHz

Input: CHs 1 to 19/20, RETURN, 2TR IN

-3.0 0.0 1.0 dB

GROUP OUT

AUX SEND

MONITOR OUT, REC OUT

Total Harmonic Distor-

tion (THD + N)

STEREO OUT +14 dBu @ 20 Hz–20 kHz, Input GAIN Control at minimum 0.1 %

Hum & Noise

Hum & Noise are mea-

sured with a 6

dB/octave ﬁlter @ 12.7

kHz; equivalent to a 20

kHz ﬁlter with inﬁnite

dB/octave attenuation.

CH INPUT 1–12 MIC EIN (Equivalent Input Noise): Rs = 150 Ω, GAIN: maximum -128

dBu

STEREO OUT STEREO OUT, GROUP 1-2 fader and GROUP 3-4 fader at

nominal level and all channels’ ST and 1-2, 3-4 switches off. -88

GROUP OUT

AUX SEND Master/AUX control at nominal level and all CH AUX controls at

minimum. -81

STEREO OUT STEREO OUT, GROUP 1-2, GROUP 3-4 faders and one CH

fader at nominal level. -64

GROUP OUT

STEREO OUT Residual Output Noise -98

Crosstalk (1 kHz) Adjacent Input CHs 1–12 -70 dB

Input to Output STEREO L/R, CHs 1–12, PAN: panned hard left or right -70

Maximum voltage gain

(1 kHz)

All faders and controls

are maximum when

measured.

PAN/BAL: panned

hard left or hard right

Rs = 150 Ω

INPUT GAIN: maximum

MIC to CH INSERT OUT 60

MIC to STEREO OUT 84

MIC to GROUP OUT

MIC to GROUP to ST 94

MIC to REC OUT 62.2

MIC to MONITOR OUT, ST TO MONITOR 94

MIC to PHONES OUT 83

MIC to AUX SEND PRE 76

MIC to AUX SEND POST 86

CH 17/18, 19/20 LINE to STEREO OUT 58

CH 17/18, 19/20 LINE to GROUP OUT

CH 17/18, 19/20 LINE to AUX SEND PRE 47

CH 17/18, 19/20 LINE to AUX SEND POST 57

Rs = 150 ΩRETURN to STEREO OUT 16

RETURN to AUX SEND 9

Rs = 600 Ω2TR IN to STEREO OUT 27.8

Phantom Voltage MIC no load 48 V

USB Audio Input/Output: 44.1/48 kHz

Input HPF 80 Hz, 12 dB/oct

Input equalization

±15 dB maximum

Turn over/roll-off frequency of

shelving: 3 dB blow maximum

variable level.

CHs 1–12 HIGH: 10 kHz (shelving)

MID: 250 Hz–5 kHz (peaking)

LOW: 100 Hz (shelving)

CH 13/14–19/20 HIGH: 10 kHz (shelving)

MID: 2.5 kHz (peaking)

LOW: 100 Hz (shelving)

PEAK Indicator Red LED turns on when post EQ signal (either post MIC HA or post EQ signal for

CHs 13/14–19/20) reaches -3 dB below clipping (+17 dBu).

LED Level Meter Pre MONITOR Level

STEREO/GROUP/PFL bus

2x12 points LED meter (PEAK, +10, +6, +3, 0, -3, -6, -10, -15, -20, -25, -30 dB)

PEAK lights if the signal level reaches 3 dB below the clipping level.

Power Supply Adaptor PA-30 AC 35 VCT, 1.4 A, Cable Length = 3.6 m

Power Consumption 40 W

Dimensions (W x H x D) 478 mm x 102 mm x 496 mm

Net Weight 6.0 kg

Specifications

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

Reference

100

■Analog Input Speciﬁcations

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

* Sensitivity : The lowest level that will produce an output of +4 dB (1.23 V), or the nominal output level when the unit is set to

the maximum level. (All faders and level controls are at their maximum position.)

■Analog Output Speciﬁcations

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

■Digital Input/Output Speciﬁcations

Input Connectors Gain

Input

Impedance

Appropriate

Impedance

Sensitivity * Nominal

Level Max. before

Clipping Connector Speciﬁcations

CH INPUT MIC

(CHs 1–12)

-60 dB

3kΩ50–600Ω

Mics

-80 dBu

(0.078 mV)

-60 dBu

(0.775 mV)

-40 dBu

(7.75 mV) XLR-3-31 type (balanced [1 = GND, 2 =

HOT, 3 = COLD])

-16 dB -36 dBu

(12.3 mV)

-16 dBu

(123 mV)

+4 dBu

(1.23 V)

CH INPUT LINE

(CHs 1–12)

-34 dB

10kΩ600Ω

Lines

-54 dBu

(1.55 mV)

-34 dBu

(15.5 mV)

-14 dBu

(155 mV) TRS phone jack (balanced [Tip = HOT,

Ring = COLD, Sleeve = GND])

+10 dB -10 dBu

(245 mV)

+10 dBu

(2.45 V)

+30 dBu

(24.5 V)

ST CH MIC INPUT

(CHs 13/14–19/20)

-60 dB

3kΩ50–600Ω

Mics

-80 dBu

(0.078 mV)

-60 dBu

(0.775 mV)

-40 dBu

(7.75 mV) XLR-3-31 type (balanced [1 = GND, 2 =

HOT, 3 = COLD])

-16 dB -36 dBu

(12.3 mV)

-16 dBu

(123 mV)

-6 dBu

(389 mV)

ST CH LINE INPUT

(CHs 13/14, 15/16)

-34 dB

10kΩ600Ω

Lines

-54 dBu

(1.55 mV)

-34 dBu

(15.5 mV)

-14 dBu

(155 mV) Phone jack (unbalanced)

+10 dB -10 dBu

(245 mV)

+10 dBu

(2.45 V)

+30 dBu

(24.5 V)

ST CH INPUT

(CHs 17/18, 19/20)

-34 dB

10kΩ600Ω

Lines

-54 dB

(1.55 mV)

-34 dB

(15.5 mV)

-14 dB

(155 mV) Phone jack (unbalanced)

RCA pin jack

+10 dB -10 dBu

(245 mV)

+10 dBu

(2.45 V)

+30 dBu

(24.5 V)

CH INSERT IN

(CHs 1–12) — 10kΩ600Ω

Lines

-20 dBu

(77.5 mV)

0 dBu

(0.775 V)

+20 dBu

(7.75 V)

TRS phone Jack (unbalanced [Tip =

Out, Ring = In, Sleeve = GND])

RETURN (L, R) — 10kΩ600Ω

Lines

-12 dBu

(195 mV)

+4 dBu

(1.23 V)

+24 dBu

(12.3 V) Phone jack (unbalanced)

2TR IN (L, R) — 10kΩ600Ω

Lines

-26 dBV

(50.1 mV)

-10dBV

(0.316V)

+10dBV

(3.16 V) RCA pin jack

Output Connectors Output

Impedance Appropriate

Impedance Nominal Level Max. before

clipping Connector Speciﬁcations

STEREO OUT (L, R) 75Ω600Ω Lines +4dBu (1.23 V) +24 dBu (12.3 V)

XLR-3-32 type (balanced [1 = GND, 2 =

HOT, 3 = COLD])

TRS phone jack (balanced [Tip = HOT, Ring

= COLD, Sleeve = GND])

GROUP OUT (1–4) 150Ω10kΩ Lines +4dBu (1.23 V) +20 dBu (7.75 V) TRS phone jack (impedance balanced [Tip

= HOT, Ring = COLD, Sleeve = GND])

AUX SEND (1–4) 150Ω10kΩ Lines +4dBu (1.23 V) +20 dBu (7.75 V) TRS phone jack (impedance balanced [Tip

= HOT, Ring = COLD, Sleeve = GND])

CH INSERT OUT

(CHs 1–12) 75Ω10kΩ Lines 0 dBu (0.775 V) +20 dBu (7.75 V) TRS phone jack (unbalanced [Tip = Out,

Ring = In, Sleeve = GND])

REC OUT (L, R) 600Ω10kΩ Lines -10 dBV (0.316 V) +10 dBV (3.16 V) RCA pin jack

MONITOR OUT (L, R) 150Ω10kΩ Lines +4 dBu (1.23 V) +20 dBu (7.75 V) TRS phone jack (impedance balanced [Tip

= HOT, Ring = COLD, Sleeve = GND])

PHONES OUT 100Ω40Ω Phones 3 mW 75 mW TRS phone jack

Connector Format Data Length Connector Speciﬁcation

USB USB Audio 1.1 16 bit USB B type

Reference

Specifications

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 101

■Electrical Speciﬁcations

■General Speciﬁcations

All faders are nominal if not speciﬁed.

Output impedance of signal generator: 150 ohms

*MG166CX-USB: AUX1, 2, EFFECT

MG166C-USB: AUX1, 2, 3

MG166CX-USB/MG166C-USB

MIN TYP MAX UNIT

Frequency Response STEREO OUT GAIN: min (CHs 1–11/12)

20 Hz–20 kHz

Nominal output level @1 kHz

Input: CHs 1 to 15/16, RETURN, 2TR IN

-3.0 0.0 1.0 dB

GROUP OUT

EFFECT/AUX* SEND

MONITOR OUT, REC OUT

Total Harmonic Distor-

tion (THD + N)

STEREO OUT +14 dBu @ 20 Hz–20 kHz, Input GAIN Control at minimum 0.1 %

Hum & Noise

Hum & Noise are mea-

sured with a 6

dB/octave ﬁlter @ 12.7

kHz; equivalent to a 20

kHz ﬁlter with inﬁnite

dB/octave attenuation.

CH INPUT 1–8 MIC EIN (Equivalent Input Noise): Rs = 150 Ω, GAIN: maximum -128

dBu

STEREO OUT STEREO OUT, GROUP 1-2 fader and GROUP 3-4 fader at

nominal level and all channels’ ST and 1-2, 3-4 switches off. -88

GROUP OUT

EFFECT/AUX* SEND Master EFFECT/AUX* control at nominal level and all CH

EFFECT/AUX* controls at minimum. -81

STEREO OUT STEREO OUT, GROUP 1-2, GROUP 3-4 faders and one CH

fader at nominal level. -64

GROUP OUT

STEREO OUT Residual Output Noise -98

Crosstalk (1 kHz) Adjacent Input CHs 1–8 -70 dB

Input to Output STEREO L/R, CHs 1–8, PAN: panned hard left or right -70

Maximum voltage gain

(1 kHz)

All faders and controls

are maximum when

measured.

PAN/BAL: panned

hard left or hard right

Rs = 150 Ω

INPUT GAIN: maximum

MIC to CH INSERT OUT 60

MIC to STEREO OUT 84

MIC to GROUP OUT

MIC to GROUP to ST 94

MIC to REC OUT 62.2

MIC to MONITOR OUT, ST TO MONITOR 94

MIC to PHONES OUT 83

MIC to AUX SEND PRE 76

MIC to AUX SEND POST, EFFECT* SEND 86

CH 9/10, 11/12 LINE to STEREO OUT 58

CH 9/10, 11/12 LINE to GROUP OUT

CH 9/10, 11/12 LINE to AUX SEND PRE 47

CH 9/10, 11/12 LINE to AUX SEND POST, EFFECT* SEND 57

CH 13/14, 15/16 to STEREO OUT 34

CH 13/14, 15/16 to GROUP OUT

Rs = 150 ΩRETURN to STEREO OUT 16

RETURN to EFFECT/AUX* SEND 9

Rs = 600 Ω2TR IN to STEREO OUT 27.8

Phantom Voltage MIC no load 48 V

USB Audio Input/Output: 44.1/48 kHz

Input HPF CHs 1–11/12 80 Hz, 12 dB/oct

Input equalization

±15 dB maximum

Turn over/roll-off frequency of

shelving: 3 dB blow maximum

variable level.

CHs 1–8 HIGH: 10 kHz (shelving)

MID: 250 Hz–5 kHz (peaking)

LOW: 100 Hz (shelving)

CH 9/10–15/16 HIGH: 10 kHz (shelving)

MID: 2.5 kHz (peaking)

LOW: 100 Hz (shelving)

PEAK Indicator Red LED turns on when post EQ signal (either post MIC HA or post EQ signal for

CHs 9/10–15/16) reaches -3 dB below clipping (+17 dBu).

Internal Digital Effect

(Only MG166CX-USB)

16 PROGRAM, PARAMETER control

Foot Switch (Digital Effect On/Off)

LED Level Meter Pre MONITOR Level

STEREO/GROUP/PFL bus

2x12 points LED meter (PEAK, +10, +6, +3, 0, -3, -6, -10, -15, -20, -25, -30 dB)

PEAK lights if the signal level reaches 3 dB below the clipping level.

Power Supply Adaptor PA-30 AC 35 VCT, 1.4 A, Cable Length = 3.6 m

Power Consumption 35 W (MG166CX-USB), 30 W (MG166C-USB)

Dimensions (W x H x D) 478 mm x 102 mm x 496 mm

Net Weight 5.5 kg (MG166CX-USB), 5.3 kg (MG166C-USB)

Specifications

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

Reference

102

■Analog Input Speciﬁcations

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

* Sensitivity : The lowest level that will produce an output of +4 dB (1.23 V), or the nominal output level when the unit is set to

the maximum level. (All faders and level controls are at their maximum position.)

■Analog Output Speciﬁcations

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

*MG166CX-USB: AUX1, 2, EFFECT

MG166C-USB: AUX1, 2, 3

■Digital Input/Output Speciﬁcations

Input Connectors Gain

Input

Impedance

Appropriate

Impedance

Sensitivity * Nominal

Level Max. before

Clipping Connector Speciﬁcations

CH INPUT MIC

(CHs 1–8)

-60 dB

3kΩ50–600Ω

Mics

-80 dBu

(0.078 mV)

-60 dBu

(0.775 mV)

-40 dBu

(7.75 mV) XLR-3-31 type (balanced [1 = GND, 2

= HOT, 3 = COLD])

-16 dB -36 dBu

(12.3 mV)

-16 dBu

(123 mV)

+4 dBu

(1.23 V)

CH INPUT LINE

(CHs 1–8)

-34 dB

10kΩ600Ω

Lines

-54 dBu

(1.55 mV)

-34 dBu

(15.5 mV)

-14 dBu

(155 mV) TRS phone jack (balanced [Tip =

HOT, Ring = COLD, Sleeve = GND])

+10 dB -10 dBu

(245 mV)

+10 dBu

(2.45 V)

+30 dBu

(24.5 V)

ST CH MIC INPUT

(CHs 9/10, 11/12)

-60 dB

3kΩ50–600Ω

Mics

-80 dBu

(0.078 mV)

-60 dBu

(0.775 mV)

-40 dBu

(7.75 mV) XLR-3-31 type (balanced [1 = GND, 2

= HOT, 3 = COLD])

-16 dB -36 dBu

(12.3 mV)

-16 dBu

(123 mV)

-6 dBu

(389 mV)

ST CH LINE

INPUT

(CHs 9/10, 11/12)

-34 dB

10kΩ600Ω

Lines

-54 dBu

(1.55 mV)

-34 dBu

(15.5 mV)

-14 dBu

(155 mV) Phone jack (unbalanced)

+10 dB -10 dBu

(245 mV)

+10 dBu

(2.45 V)

+30 dBu

(24.5 V)

ST CH INPUT

(CHs 13/14, 15/16)

— 10kΩ600Ω

Lines

-30 dBu

(24.5 mV)

-10 dBu

(245 mV)

+10 dBu

(2.45 V)

Phone jack (unbalanced)

RCA pin jack

CH INSERT IN

(CHs 1–8) — 10kΩ600Ω

Lines

-20 dBu

(77.5 mV)

0 dBu

(0.775 V)

+20 dBu

(7.75 V)

TRS phone Jack (unbalanced [Tip =

Out, Ring = In, Sleeve = GND])

RETURN (L, R) — 10kΩ600Ω

Lines

-12 dBu

(195 mV)

+4 dBu

(1.23 V)

+24 dBu

(12.3 V) Phone jack (unbalanced)

2TR IN (L, R) — 10kΩ600Ω

Lines

-26 dBV

(50.1 mV)

-10dBV

(0.316V)

+10dBV

(3.16 V) RCA pin jack

Output Connectors Output

Impedance Appropriate

Impedance Nominal Level Max. before

clipping Connector Speciﬁcations

STEREO OUT (L, R) 75Ω600Ω Lines +4dBu (1.23 V) +24 dBu (12.3 V)

XLR-3-32 type (balanced [1 = GND, 2 =

HOT, 3 = COLD])

TRS phone jack (balanced [Tip = HOT, Ring

= COLD, Sleeve = GND])

GROUP OUT (1–4) 150Ω10kΩ Lines +4dBu (1.23 V) +20 dBu (7.75 V) TRS phone jack (impedance balanced [Tip

= HOT, Ring = COLD, Sleeve = GND])

EFFECT/AUX* SEND 150Ω10kΩ Lines +4dBu (1.23 V) +20 dBu (7.75 V) TRS phone jack (impedance balanced [Tip

= HOT, Ring = COLD, Sleeve = GND])

CH INSERT OUT

(CHs 1–8) 75Ω10kΩ Lines 0 dBu (0.775 V) +20 dBu (7.75 V) TRS phone jack (unbalanced [Tip = Out,

Ring = In, Sleeve = GND])

REC OUT (L, R) 600Ω10kΩ Lines -10 dBV (0.316 V) +10 dBV (3.16 V) RCA pin jack

MONITOR OUT (L, R) 150Ω10kΩ Lines +4 dBu (1.23 V) +20 dBu (7.75 V) TRS phone jack (impedance balanced [Tip

= HOT, Ring = COLD, Sleeve = GND])

PHONES OUT 100Ω40Ω Phones 3 mW 75 mW TRS phone jack

Connector Format Data Length Connector Speciﬁcation

USB USB Audio 1.1 16 bit USB B type

Reference

Specifications

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 103

■Dimensional Diagrams (MG206C-USB/MG166CX-USB/MG166C-USB)

■Rack Mounting

To mount the MG mixer, it requires 12U of rack space.

If the MG mixer is to be mounted with devices that tend

to generate heat, such as power ampliﬁers, be sure to

install ventilation panels to prevent high temperatures

from developing inside the mixer.

*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.

496

488.5

102

478

444

Unit: mm

12U

* 12U (Approx. 534mm)

CAUTION

Specifications

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

Reference

104

■Block Diagram and Level Diagram (MG206C-USB)

USB

D+

D-

Vbus

GND

REG

AUX SEND 1

[+4dBu]

MONITOR OUT

[+4dBu]

PHONES

[3mW,40ohms]

USB IN(L)

USB IN(R)

CH Fader

[-10dBu]

USB OUT (L)

USB OUT (R)

+48V

PHANTOM

MIC

[-60 to -16dBu]

[-34 to +10dBu]

LINE R

LINE L/MONO

AUX1

[-6dBu]

TH+GAIN

COMP

CH1 to 8

LED Meter

SUM

AUX2

[-6dBu]

AUX4

[-6dBu]

BAL/PAN

[-6dBu]

STEREO

2TR IN

HPF

[0dBu] HPF

MIC

[-60 to -16dBu]

LINE

INSERT

I/O

[-34 to +10dBu]

[0dBu]

CH INPUT

(CH1 to 12)

[16 to 60dB]

GAIN Trim

HPF

[-34 to +10dBu]

HPF

MIC

[-60 to -16dBu]

ST CH INPUT

(CH13/14, 15/16)

HA HPF

HPF

ST CH INPUT

(CH17/18, 19/20)

[-34 to +10dBu]

LINE L

[-34 to +10dBu]

LINE R

[-34 to +10dBu]

[0dBu] CH9 to 12

PEAK

Hi G

Mid G

Lo G

3-Stage EQ

Mid f

[0dBu]

[6 to 50dB]

GAIN Trim

Mid

3-Stage EQ

PEAK

[0dBu]

L/MONO

RETURN

(RETURN1/2)

[+4dBu]

[0dBu]

[6 to 50dB]

GAIN Trim

INV

[0dBu]

2TR IN

[-10dBV]

[-7.8dBu]

[-10dBu]

CH Fader

[0dBu]

PA N

G1–2

G3–4

[0dBu]

AUX3

[-6dBu]

PRE

+15V PFL

[0dBu]

G1–2

[0dBu]

G3–4

[0dBu]

[-6dBu]

AUX 1

[-6dBu]

AUX 2

AUX 3

[-6dBu]

AUX 4

[-6dBu]

PFL

+15V

ST CH INPUT 17/18-19/20

— Same as ST CH INPUT 13/14-15/16

AUX 1

[-14dBu]

AUX 2

[-14dBu]

ST/MONITOR

[-6dBu]

AUX1

AUX2

AUX3

AUX4

STEREO L

STEREO R

GROUP 1

GROUP 2

GROUP 3

GROUP 4

PFL L

PFL R

PFL CTRL

SUM

[0dBu]

GROUP Fader

[0dBu] [-10dBu]

GROUP Fader

[0dBu] [-10dBu]

TO STEREO

SUM

GROUP OUT

[+4dBu]

1-2/3-4

[-10dBu]

ST Fader

[0dBu] [0dBu]

SUM

STEREO OUT

[+4dBu]

LREC OUT

[-10dBV]

[-7.8dBu]

MONI/PHONES

[-16dBu]

INV

[0dBu]

LED Meter

SUM

ST/GROUP

[0dBu]

SUM

[0dBu]

SUM

[-6dBu]

AUX SEND 1

[-6dBu][0dBu]

SUM

AUX SEND 2 to 4 — Same as AUX SEND 1

MONITOR MIX

[0dBu]

[0dBu] LIN

RIN

USB IN(L)

USB IN(R)

USB OUT(L)

USB OUT(R)

LPF

USB

AUDIO

(Bus Powered)

12MHz

PCM2900

+20dBu

+30dBu

0dBu

+10dBu

-20dBu

-10dBu

-30dBu

+20dBu

+30dBu

0dBu

+10dBu

-20dBu

-10dBu

-40dBu

-30dBu

-60dBu

-50dBu

CH IN LINE Gain:Min [+10dBu]

CH IN MIC Gain:Min [-16dBu]

CH IN LINE Gain:Max [-34dBu]

CH IN MIC Gain:Max [-60dBu]

Clip Level

ST CH IN LINE Gain:Min [+10dBu]

ST CH IN MIC Gain:Min [-16dBu]

ST CH IN LINE Gain:Max [-34dBu]

ST CH IN MIC Gain:Max [-60dBu]

Clip Level

ST CH IN

[-10dBu]

Clip Level

RETURN [+4dBu]

[-7.8dBu]

2TR IN [-10dBV]

CH Level

ST CH Level

[Nominal:-10dB]

Clip Level

CH AUX *1

[Nominal:-6dB]

ST CH AUX *1

[Nominal:-6dB]

RETURN

2TR IN

[Nominal:-6dB]

Clip Level

AUX SEND *1

[Nominal:-6dB]

AUX SEND *1 [+4dBu]

Clip Level

GROUP OUT [+4dBu]

GROUP Fader

[Nominal:-10dB]

ST Master

[Nominal:-10dB]

Clip Level

ST OUT [+4dBu]

REC OUT [-7.8dBu]

Clip Level

MONI/PHONES

[Nominal:-16dB]

MONITOR OUT [+4dBu]

PHONES [3mW @ 40ohms]

PRE

SUM

Reference

Specifications

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 105

■Block Diagram and Level Diagram (MG166CX-USB/MG166C-USB)

[-10dBu]

USB OUT (L)

USB OUT (R)

2TR IN

[-10dBV]

[-7.8dBu]

Mid

Hi G

Mid G

Lo G

[-34 to +10dBu]

HPF

[0dBu] HPF

REC OUT

INV

[0dBu]

TO ST

GROUP Fader

GROUP OUT

[+4dBu]

STEREO Fader

STEREO OUT

[+4dBu]

[0dBu]

STEREO/GROUP

[0dBu]

MONITOR OUT

[+4dBu]

PHONES

[3mW,40ohms]

[0dBu]

AUX SEND 1

AUX SEND 2

AUX SEND*

[-6dBu]

AUX SEND 1

[+4dBu]

[0dBu]

[-6dBu]

CH Fader

MONI/PHONES

[-16dBu]

AUX SEND 2

LED Meter

AUX2

AUX1

INV

PROGRAM

(1–16)

PA RAMETER

SUM

AUX SEND *

AUX*

SUM

USB IN(L)

USB IN(R)

[0dBu]

USB

AUDIO

(Bus Powered)

USB

LIN

RIN

D+

D-

Vbus

GND

12MHz

REG

PCM2900

USB IN(L)

USB IN(R)

USB OUT(L)

USB OUT(R)

1-2/3-4

MONITOR OUT [+4dBu]

PHONES [3mW @ 40ohms]

MONI/PHONES

[Nominal:-16dB]

ST Master

[Nominal:-10dB]

ST OUT [+4dBu]

GROUP OUT [+4dBu]

GROUP Fader

[Nominal:-10dB]

Clip Level

Clip LevelClip Level Clip Level

REC OUT [-7.8dBu]

MONITOR MIX

MIC

[-60 to -16dBu]

LINE

INSERT

I/O

[-34 to +10dBu]

[0dBu]

CH INPUT

(CH1 to 8)

MIC

[-60 to -16dBu]

(CH9/10, 11/12)

ST CH INPUT

[16 to 60dB]

GAIN Trim

[-34 to +10dBu]

LINE R

LINE L/MONO

TH+GAIN

COMP

CH1 to 6

CH7 to 8

+48V

PHANTOM

PEAK

3-Stage EQ

Mid f

[0dBu]

[6 to 50dB]

GAIN Trim

PEAK

[0dBu]

3-Stage EQ

ST CH INPUT

(CH13/14, 15/16)

[-10dBu]

L/MONO

RETURN

[+4dBu]

[0dBu]

3-Stage EQ

[0dBu]

[-10dBu]

[0dBu]

PRE

PA N

G1–2

G3–4

[0dBu]

[-6dBu]

+15V PFL

G1–2

[0dBu]

G3–4

[0dBu]

[-6dBu]

CH Fader

[0dBu]

PRE

AUX 1

AUX 2

AUX*

[-6dBu]

PFL

+15V

Same as CH9/10

[-6dBu]

AUX 2

[-14dBu]

AUX 1

[-14dBu]

TO ST/TO MONITOR

2TR IN

[-6dBu]

[0dBu]

G1–2

[0dBu]

G3–4

[0dBu]

[-10dBu]

EFFECT RETURN

[-14dBu]

AUX 1

AUX 2

+15V PFL

L out

R out

DIGITAL

EFFECT

(DSP)

FOOT SW

EFFECT ON/OFF

AUX1

AUX2

AUX*

STEREO L

STEREO R

GROUP 1

GROUP 2

GROUP 3

GROUP 4

PFL L

PFL R

PFL CTRL

[0dBu]

[-10dBu]

[-10dBV]

[-7.8dBu]

SUM

HPF

+20dBu

+30dBu

0dBu

+10dBu

-20dBu

-10dBu

-30dBu

+20dBu

+30dBu

0dBu

+10dBu

-20dBu

-10dBu

-40dBu

-30dBu

-60dBu

-50dBu

AUX SEND *1

[Nominal:-6dB]

AUX SEND *1 [+4dBu]

RETURN

2TR IN

[Nominal:-6dB]

CH AUX *1

[Nominal:-6dB]

ST CH AUX *1

[Nominal:-6dB]

RETURN [+4dBu]

[-7.8dBu]

2TR IN [-10dBV]

Clip Level

CH Level

ST CH Level

[Nominal:-10dB]

Clip Level

ST CH IN

[-10dBu]

Clip Level

ST CH IN LINE Gain:Min [+10dBu]

ST CH IN MIC Gain:Min [-16dBu]

ST CH IN LINE Gain:Max [-34dBu]

ST CH IN MIC Gain:Max [-60dBu]

CH IN LINE Gain:Min [+10dBu]

CH IN MIC Gain:Min [-16dBu]

CH IN LINE Gain:Max [-34dBu]

CH IN MIC Gain:Max [-60dBu]

SUM

SUM SUM

SUM

INV

LPF

[-10dBu]

BAL/PAN

MODEL

MG166C-USB AUX 3

EFFECT

AUX *

MG166CX-USB

only MG166CX-USB

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual

106

About the accessory disk

SPECIAL NOTICE

• The software included in the accessory disk and the

copyrights thereof are under exclusive ownership by

Steinberg Media Technologies GmbH.

• Use of the software and this manual is governed by the

license agreement which the purchaser fully agrees to

upon breaking the seal of the software packaging.

(Please read carefully the Software Licensing Agreement

at the end of this manual before installing the applica-

tion.)

•Copying of the software or reproduction of this manual in

whole or in part by any means is expressly forbidden

without the written consent of the manufacturer.

•Yamaha makes no representations or warranties with

regard to the use of the software and documentation and

cannot be held responsible for the results of the use of

this manual and the software.

• This disk is NOT for audio/visual purpose. Do not

attempt to play the disk on an audio/visual CD/DVD

player. Doing so may result in irreparable damage to

your player.

•For information about the minimum system requirements

and latest information of the software in the disk, check

the web site below.

<http://www.yamahasynth.com/>

• Note that Yamaha does not offer technical support for

the DAW software in the accessory disk.

About the DAW software in the accessory

disk

The accessory disk contains DAW software both for Win-

dows and Macintosh.

•In order to install the software in the accessory disk,

you’ll need a working Internet connection. Make sure to

ﬁll in all required ﬁelds when installing.

•If you are using a Macintosh computer, double-click the

“***.mpkg” ﬁle to start installation.

For information about the minimum system requirements

and latest information on the software in the disk, check

the web site below.

<http://www.yamahasynth.com/>

About software support

Support for the DAW software in the accessory disk is pro-

vided by Steinberg on its website at the following address.

http://www.steinberg.net

You can visit the Steinberg site also via the Help menu of

the included DAW software. (The Help menu also includes

the PDF manual and other information on the software.)

ATTENTION

SOFTWARE LICENSE AGREEMENT

PLEASE READ THIS SOFTWARE LICENSE AGREEMENT (“AGREEMENT”) CAREFULLY BEFORE USING THIS SOFTWARE.

YOU ARE ONLY PERMITTED TO USE THIS SOFTWARE PURSUANT TO THE TERMS AND CONDITIONS OF THIS AGREE-

MENT. THIS AGREEMENT IS BETWEEN YOU (AS AN INDIVIDUAL OR LEGAL ENTITY) AND YAMAHA CORPORATION

(“YAMAHA”).

BY BREAKING THE SEAL OF THIS PACKAGE YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS LICENSE. IF

YOU DO NOT AGREE WITH THE TERMS, DO NOT INSTALL, COPY, OR OTHERWISE USE THIS SOFTWARE.

THIS AGREEMENT PROVIDES YOUR USE-CONDITIONS ABOUT THE “DAW” SOFTWARE OF STEINBERG MEDIA TECH-

NOLOGIES GMBH(“STEINBERG”) WHICH IS BUNDLED WITH THIS PRODUCT. SINCE THE END-USER SOFTWARE

LICENSE AGREEMENT (EUSLA) SHOWED ON YOUR PC-DISPLAY IN YOUR INSTALLING THE “DAW” SOFTWARE IS

REPLACED BY THIS AGREEMENT, YOU SHOULD DISREGARD THE EUSLA. THAT IS, IN THE INSTALLING PROCESS,

YOU SHOULD SELECT “AGREE” WITH THE EUSLA, WITHOUT YOUR JUDGMENT THERETO, SO AS TO PROCEED TO

THE NEXT PAGE.

1. GRANT OF LICENSE AND COPYRIGHT

Yamaha hereby grants you the right to use one copy of the

software program(s) and data (“SOFTWARE”) accompany-

ing this Agreement. The term SOFTWARE shall encom-

pass any updates to the accompanying software and data.

The SOFTWARE is owned by STEINBERG, and is pro-

tected by relevant copyright laws and all applicable treaty

provisions. Yamaha has acquired the sublicense right to

license you to use the SOFTWARE. While you are entitled

to claim ownership of the data created with the use of

SOFTWARE, the SOFTWARE will continue to be protected

under relevant copyrights.

•You may use the SOFTWARE on a single computer.

•You may make one copy of the SOFTWARE in machine-

readable form for backup purposes only, if the SOFT-

WARE is on media where such backup copy is permit-

ted. On the backup copy, you must reproduce Yamaha’s

were on the original copy of the SOFTWARE.

•You may permanently transfer to a third party all your

rights in the SOFTWARE, provided that you do not retain

any copies and the recipient reads and agrees to the

terms of this Agreement.

NOTE

MG206C-USB/MG166CX-USB/MG166C-USB Owner’s Manual 107

2. RESTRICTIONS

•You may not engage in reverse engineering, disassem-

bly, decompilation or otherwise deriving a source code

form of the SOFTWARE by any method whatsoever.

•You may not reproduce, modify, change, rent, lease, or

distribute the SOFTWARE in whole or in part, or create

derivative works of the SOFTWARE.

•You may not electronically transmit the SOFTWARE from

one computer to another or share the SOFTWARE in a

network with other computers.

•You may not use the SOFTWARE to distribute illegal

data or data that violates public policy.

•You may not initiate services based on the use of the

SOFTWARE without permission by Yamaha Corporation.

Copyrighted data, including but not limited to MIDI data for

songs, obtained by means of the SOFTWARE, are subject

to the following restrictions which you must observe.

• Data received by means of the SOFTWARE may not be

used for any commercial purposes without permission of

the copyright owner.

• Data received by means of the SOFTWARE may not be

duplicated, transferred, or distributed, or played back or

performed for listeners in public without permission of

the copyright owner.

• The encryption of data received by means of the SOFT-

WARE may not be removed nor may the electronic

watermark be modiﬁed without permission of the copy-

right owner.

3. TERMINATION

This Agreement becomes effective on the day that you

receive the SOFTWARE and remains effective until termi-

nated. If any copyright law or provisions of this Agreement

is violated, the Agreement shall terminate automatically

and immediately without notice from Yamaha. Upon such

termination, you must immediately destroy the licensed

SOFTWARE, any accompanying written documents and all

copies thereof.

4. LIMITED WARRANTY ON MEDIA

As to SOFTWARE sold on tangible media, Yamaha war-

rants that the tangible media on which the SOFTWARE is

recorded will be free from defects in materials and work-

manship under normal use for a period of fourteen (14)

days from the date of receipt, as evidenced by a copy of

the receipt. Yamaha’s entire liability and your exclusive

remedy will be replacement of the defective media if it is

returned to Yamaha or an authorized Yamaha dealer within

fourteen days with a copy of the receipt. Yamaha is not

responsible for replacing media damaged by accident,

abuse or misapplication. TO THE FULLEST EXTENT PER-

MITTED BY LAW, YAMAHA EXPRESSLY DISCLAIMS ANY

IMPLIED WARRANTIES ON THE TANGIBLE MEDIA,

INCLUDING THE IMPLIED WARRANTIES OF MERCHANT-

ABILITY AND FITNESS FOR A PARTICULAR PURPOSE.

5. DISCLAIMER OF WARRANTY ON

SOFTWARE

You expressly acknowledge and agree that use of the

SOFTWARE is at your sole risk. The SOFTWARE and

related documentation are provided “AS IS” and without

warranty of any kind. NOTWITHSTANDING ANY OTHER

PROVISION OF THIS AGREEMENT, YAMAHA EXPRESSLY

DISCLAIMS ALL WARRANTIES AS TO THE SOFTWARE,

EXPRESS, AND IMPLIED, INCLUDING BUT NOT LIMITED

TO THE IMPLIED WARRANTIES OF MERCHANTABILITY,

FITNESS FOR A PARTICULAR PURPOSE AND NON-

INFRINGEMENT OF THIRD PARTY RIGHTS. SPECIFI-

CALLY, BUT WITHOUT LIMITING THE FOREGOING,

YAMAHA DOES NOT WARRANT THAT THE SOFTWARE

WILL MEET YOUR REQUIREMENTS, THAT THE OPERA-

TION OF THE SOFTWARE WILL BE UNINTERRUPTED OR

ERROR-FREE, OR THAT DEFECTS IN THE SOFTWARE

WILL BE CORRECTED.

6. LIMITATION OF LIABILITY

YAMAHA’S ENTIRE OBLIGATION HEREUNDER SHALL BE

TO PERMIT USE OF THE SOFTWARE UNDER THE TERMS

HEREOF. IN NO EVENT SHALL YAMAHA BE LIABLE TO

YOU OR ANY OTHER PERSON FOR ANY DAMAGES,

INCLUDING, WITHOUT LIMITATION, ANY DIRECT, INDI-

RECT, INCIDENTAL OR CONSEQUENTIAL DAMAGES,

EXPENSES, LOST PROFITS, LOST DATA OR OTHER DAM-

AGES ARISING OUT OF THE USE, MISUSE OR INABILITY

TO USE THE SOFTWARE, EVEN IF YAMAHA OR AN

AUTHORIZED DEALER HAS BEEN ADVISED OF THE

POSSIBILITY OF SUCH DAMAGES. In no event shall

Yamaha’s total liability to you for all damages, losses and

causes of action (whether in contract, tort or otherwise)

exceed the amount paid for the SOFTWARE.

7. GENERAL

This Agreement shall be interpreted according to and gov-

erned by Japanese law without reference to principles of

conﬂict of laws. Any dispute or procedure shall be heard

before the Tokyo District Court in Japan. If for any reason a

court of competent jurisdiction ﬁnds any portion of this

Agreement to be unenforceable, the remainder of this

Agreement shall continue in full force and effect.

8. COMPLETE AGREEMENT

This Agreement constitutes the entire agreement between

the parties with respect to use of the SOFTWARE and any

accompanying written materials and supersedes all prior

or contemporaneous understandings or agreements, writ-

ten or oral, regarding the subject matter of this Agreement.

No amendment or revision of this Agreement will be bind-

ing unless in writing and signed by a fully authorized repre-

sentative of Yamaha.

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Scarborough, Ontario,

M1S 3R1, Canada

Tel: 416-298-1311

U.S.A.

Yamaha Corporation of America

6600 Orangethorpe Ave., Buena Park, Calif. 90620,

U.S.A.

Tel: 714-522-9011

MEXICO

Yamaha de México S.A. de C.V.

Calz. Javier Rojo Gómez #1149,

Col. Guadalupe del Moral

C.P. 09300, México, D.F., México

Tel: 55-5804-0600

BRAZIL

Yamaha Musical do Brasil Ltda.

Rua Joaquim Floriano, 913 - 4' andar, Itaim Bibi,

CEP 04534-013 Sao Paulo, SP. BRAZIL

Tel: 011-3704-1377

ARGENTINA

Yamaha Music Latin America, S.A.

Sucursal de Argentina

Viamonte 1145 Piso2-B 1053,

Buenos Aires, Argentina

Tel: 1-4371-7021

PANAMA AND OTHER LATIN

AMERICAN COUNTRIES/

CARIBBEAN COUNTRIES

Yamaha Music Latin America, S.A.

Torre Banco General, Piso 7, Urbanización Marbella,

Calle 47 y Aquilino de la Guardia,

Ciudad de Panamá, Panamá

Tel: +507-269-5311

THE UNITED KINGDOM

Yamaha-Kemble Music (U.K.) Ltd.

Sherbourne Drive, Tilbrook, Milton Keynes,

MK7 8BL, England

Tel: 01908-366700

GERMANY

Yamaha Music Central Europe GmbH

Siemensstraße 22-34, 25462 Rellingen, Germany

Tel: 04101-3030

SWITZERLAND/LIECHTENSTEIN

Yamaha Music Central Europe GmbH,

Branch Switzerland

Seefeldstrasse 94, 8008 Zürich, Switzerland

Tel: 01-383 3990

AUSTRIA

Yamaha Music Central Europe GmbH,

Branch Austria

Schleiergasse 20, A-1100 Wien, Austria

Tel: 01-60203900

CZECH REPUBLIC/SLOVAKIA/

HUNGARY/SLOVENIA

Yamaha Music Central Europe GmbH,

Branch Austria, CEE Department

Schleiergasse 20, A-1100 Wien, Austria

Tel: 01-602039025

POLAND

Yamaha Music Central Europe GmbH

Sp.z. o.o. Oddzial w Polsce

ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland

Tel: 022-868-07-57

THE NETHERLANDS/

BELGIUM/LUXEMBOURG

Yamaha Music Central Europe GmbH,

Branch Benelux

Clarissenhof 5-b, 4133 AB Vianen, The Netherlands

Tel: 0347-358 040

FRANCE

Yamaha Musique France

BP 70-77312 Marne-la-Vallée Cedex 2, France

Tel: 01-64-61-4000

ITALY

Yamaha Musica Italia S.P.A.

Combo Division

Viale Italia 88, 20020 Lainate (Milano), Italy

Tel: 02-935-771

SPAIN/PORTUGAL

Yamaha-Hazen Música, S.A.

Ctra. de la Coruna km. 17, 200, 28230

Las Rozas (Madrid), Spain

Tel: 91-639-8888

SWEDEN

Yamaha Scandinavia AB

J. A. Wettergrens Gata 1

Box 30053

S-400 43 Göteborg, Sweden

Tel: 031 89 34 00

DENMARK

YS Copenhagen Liaison Ofﬁce

Generatorvej 6A

DK-2730 Herlev, Denmark

Tel: 44 92 49 00

NORWAY

Norsk ﬁlial av Yamaha Scandinavia AB

Grini Næringspark 1

N-1345 Østerås, Norway

Tel: 67 16 77 70

OTHER EUROPEAN COUNTRIES

Yamaha Music Central Europe GmbH

Siemensstraße 22-34, 25462 Rellingen, Germany

Tel: +49-4101-3030

Yamaha Corporation,

Asia-Paciﬁc Music Marketing Group

Nakazawa-cho 10-1, Naka-ku, Hamamatsu,

Japan 430-8650

Tel: +81-53-460-2313

TURKEY/CYPRUS

Yamaha Music Central Europe GmbH

Siemensstraße 22-34, 25462 Rellingen, Germany

Tel: 04101-3030

OTHER COUNTRIES

Yamaha Music Gulf FZE

LOB 16-513, P.O.Box 17328, Jubel Ali,

Dubai, United Arab Emirates

Tel: +971-4-881-5868

THE PEOPLE’S REPUBLIC OF CHINA

Yamaha Music & Electronics (China) Co.,Ltd.

25/F., United Plaza, 1468 Nanjing Road (West),

Jingan, Shanghai, China

Tel: 021-6247-2211

INDONESIA

PT. Yamaha Music Indonesia (Distributor)

PT. Nusantik

Gedung Yamaha Music Center, Jalan Jend. Gatot

Subroto Kav. 4, Jakarta 12930, Indonesia

Tel: 21-520-2577

KOREA

Yamaha Music Korea Ltd.

8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong,

Kangnam-Gu, Seoul, Korea

Tel: 080-004-0022

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd.

Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,

Petaling Jaya, Selangor, Malaysia

Tel: 3-78030900

SINGAPORE

Yamaha Music Asia Pte., Ltd.

#03-11 A-Z Building

140 Paya Lebor Road, Singapore 409015

Tel: 747-4374

TAIWAN

Yamaha KHS Music Co., Ltd.

3F, #6, Sec.2, Nan Jing E. Rd. Taipei.

Taiwan 104, R.O.C.

Tel: 02-2511-8688

THAILAND

Siam Music Yamaha Co., Ltd.

891/1 Siam Motors Building, 15-16 ﬂoor

Rama 1 road, Wangmai, Pathumwan

Bangkok 10330, Thailand

Tel: 02-215-2626

OTHER ASIAN COUNTRIES

Yamaha Corporation,

Asia-Paciﬁc Music Marketing Group

Nakazawa-cho 10-1, Naka-ku, Hamamatsu,

Japan 430-8650

Tel: +81-53-460-2317

AUSTRALIA

Yamaha Music Australia Pty. Ltd.

Level 1, 99 Queensbridge Street, Southbank,

Victoria 3006, Australia

Tel: 3-9693-5111

COUNTRIES AND TRUST

TERRITORIES IN PACIFIC OCEAN

Yamaha Corporation,

Asia-Paciﬁc Music Marketing Group

Nakazawa-cho 10-1, Naka-ku, Hamamatsu,

Japan 430-8650

Tel: +81-53-460-2313

NORTH AMERICA

CENTRAL & SOUTH AMERICA

EUROPE

AFRICA

MIDDLE EAST

ASIA

OCEANIA

HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division

Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650

Tel: +81-53-460-2441

PA17

For details of products, please contact your nearest Yamaha

representative or the authorized distributor listed below.

Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou

au distributeur le plus proche de vous ﬁgurant dans la liste suivante.

Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten

Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen

Bestimmungsländern erhältlich.

Para detalles sobre productos, contacte su tienda Yamaha más cercana

o el distribuidor autorizado que se lista debajo.

Yamaha Pro Audio global web site:

http://www.yamahaproaudio.com/

Yamaha Manual Library

http://www.yamaha.co.jp/manual/

U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation

WJ56020 703POCR?.?-01A0

Printed in Indonesia

Yamaha MG206C USB/MG166CX USB/MG166C USB Owner's Manual Mg206cusb En Om A0

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