MW12CX-MW12C - Mixer YAMAHA - Free user manual and instructions

USER MANUAL MW12CX-MW12C YAMAHA

Connecting the Plug and Cord IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured makings identifying the terminals in your plug proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L'or coloured RED. Making sure that neither core is connected to the earth terminal of the three pin plug.

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

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 : USB Mixing Studio Model Name : MW12CX/MW12C This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:

1) this device may not cause harmiul 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.

• This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. {FCC Doc) FCC INFORMATION (U.S.A.)

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- 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. lfthe antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. Ifthese 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.

• This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. MWi2CX/MW12C_ Owner's Manual (class B)

• Please keep this manual in a safe place for future reference. À WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: Power supply/Power cord + 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 AC power adaptor (PA-20 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. À cAUTION < 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. e Never insert or remove an electric plug with wet hands. If you notice any abnormality e_lfthe 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 + lfthis 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. Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the device or other property. These precautions include, but are not limited to, the following: Power supply/Power cord < Remove the electric plug from the outlet when the device is not to be used for extended periods of time, or during electrical storms. e 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. e 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. lf 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. < 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. e 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. e Do not place the device in an unstable position where it might accidentally fall over. e 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. Handling caution + 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. Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into any gaps or openings on the device. lf 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. lf 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 MWi2CX/MW12C Owners Manual SKIS

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. 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 MW 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 Owners Manual applies to both the MW12CX and MW12C. The main difference between the two models is that the MW12CX includes digital effects while the MWA2C has no internal effects. *_Inthis manual the term “MW mixsers” refers to both the MW12CX and MW12C. In cases where different features need to be described for each model, the MW12CX feature will be described first, followed by the MW12C feature in brackets: MW12CX (MW12C). SPECIAL NOTICES + The owners manual is the exclusive copyright of Yamaha Corporation. + The included software is the exclusive copyright of Steinberg Media Technologies GmbH. + Use ofthe 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:/mww.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 bundies 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. ED 200 m2 Ovners Manual

Introduction Thank you for choosing a Yamaha MW12CX/MW12C USB Mixing Studio. The MW12CX/MW12C includes an audio mixer equipped with a USB interface for digital audio data transfer, and Cubase AI4 DAW (Digital Audio Workstation) software for Windows® and Macintosh® computer operating sys- tems. With the MW12CX/MW12C USB Mixing Studio and your personal computer you have the basic elements of a high-performance computer recording system that is easy to set up and operate. Please read through this manual carefully before beginning use, so that you will be able to take full advantage of your mixer’s superlative features and enjoy trouble-free operation for years to come. After reading the manual, please store it in a safe place. Connect To Your Computer via a Single USB Cable (page 7) The MW mixer connects to your computer via the supplied USB cable. Stereo audio data is transferred in both direc- tions—from the mixer to the computer, and vice-versa—via the USB connection (44.1 kHz or 48 KHz sampling fre- quency). No Driver Installation Required (page 7) The MW system uses the standard drivers included in your computer's operating system, so there's no need to install any extra driver software. Cubase Al4 DAW Software Supplied (page 7) Cubase Al software, included in the MW package, offers versatile, high-performance hard-disk recording capability. Compression (page 9) Compression increase the overall level without introducing distortion by compressing excessive peaks in the signals from microphones and guitars. Mixer Functions (page 16) The MW mixer can handle up to 12 simultaneous inputs, mixing them to STEREO OUT or REC OUT. You could con- nect four microphones and four stereo sources, or six microphones and two stereo sources, for example. AUX SEND connectors are provided for convenient connection to external signal processors or other equipment. 48V Phantom Power (page 19) À PHANTOM switch supplies +48V phantom power to the mixer's microphone inputs, so you can use high-quality phantom-powered condenser microphones for superior recording quality. Accessories + Cubase Al4 DVD-ROM + Power adaptor (PA-20)* + USB cable + Owner's Manual (this book)

• May not be included depending on your particular area. Please check with your Yamaha dealer. Introduction Features. Contents. Before Turning on the Mixer Turning the Power On/OFF. Computer System Requirements.. Cubase Al4 System Requirement. E Mixer Basics... Quick GUIde nn

1. Installing Cubase Al4

2. Connecting to the MW mixer .

3. Powering Up the System

4. Adjusting Level and Tone

5. Recording with Cubase Al4

6. Mixing with Cubase Al4

H Reference. Front & Rear Panels Channel Control Section Master Control Section . Digital Effect. Rear Input/Output Section Digital Effect Program List Jack List Troubleshooting Specifications Electrical Specifications General Specifications Analog Input Specifications. Analog Output Specifications. Digital Input/Output Specifications Dimensional Diagrams Block Diagram and Level Diagram About the accessory disk... 94

SOFTWARE LICENSE AGREEMENT 94

MWi2CX/MW12C Owners Manual SERS

Introduction Before Turning on the Mixer 1 Be sure that the mixer's power switch is in the STANDBY position. Use only the included power adaptor (PA-20) or an equivalent recommended by Yamaha. Use of a GRümoN different adaptor may result in equipment dam- age, overheating, or fire. 2 Connect the power adaptor to the AC ADAPTOR IN connector (@) on the rear of the mixer, and then turn the fastening ring clockwise (@) to secure the connection. 3 Plug the power adaptor into a standard household power outlet. + Be sure to unplug the adaptor from the outlet when not using the mixer, or when there are SRnoN _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. Turning the Power On/OFF 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. f you do not plan GRumon _to use the mixer again for a long while, please be sure to unplug the adaptor from the wall outlet. To prevent loud pops and noises, turn on the power to your sound gear starting with the sources (instruments, CD players, etc.) and ending 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. When turning off the power to the system, reverse the order described above. RE 20cm 2C Ouners Manual Computer System Requirements Windows Vista Windows-based computer with built-in USB inter- Computer | {ee os Windows Vista CPU 1 GHz or higher Intel Core/Pentium/Celeron proces- sor Memory | 1 GB or more Windows XP Computer pngows-based computer with built-in USB inter- 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) Macintosh Computer | Macintosh computer with builtin 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 Al4 System Require- ments Windows os Windows XP Professional/XP Home Edition CPU 1.4 GHz or higher Intel Pentium processor Memory | 512 MB ormore ce | Windows DirectX compatible Hard Disk | 400 MB or more Macintosh 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 + À DVD driver is required for installation. + To activate your software license, install the application while the computer is connected to the internet.

This quick setup and operation guide covers everything from installing the Cubase Al4 software to using Cubase Al4 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 Al4 software. Step 1] Installing Cubase AI4 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. Start the computer and log on to the Administrator account. Insert the included DVD-ROM into the computer’s DVD-ROM drive. Open the “Cubase AI 4 for Windows” folder and double-click on the “CubaseAl4.msi”. Follow the on-screen instructions to install the Cubase AI4 software. ON = + When installing Cubase A4, you will need a working internet connection to register your Cubase Al4. Make sure to fil 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 “CubaseAl4.mkpg” icon for installation. | 2| Connecting to the MW mixer 1 Turn the power to the MW mixer and all gear that is to be connected to the MW mixer off/standby (except the computer), and set the channel faders, STEREO OUT Master fader, and REC OUT fader to their minimum settings. 000000 MS) clclecelecveecO 666 66le6cee &les CPPEE 2 0000 Les ofofolololo olololololo olololol o[o PEREEE ololo coloc oo) oo) oo SERBE Channel fader REC OUT fader STEREO OUT Master fader 2 Connect the MW mixer to your computer using the supplied USB cable. USB Connection Precautions Be sure to observe the following points when connecting to the computer USB interface. Failure to observe these rules can result in computer freezes/ hang-ups and possibly data loss or corruption. lf the MW 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- Grow nection to the computer's USB connector. Connect the MW mixer to the computer before turning the MW mixer power on. Always quit all applications running on the computer before turning the MW mixers power on or off, or connecting or disconnect- ing the USB cable. Wait at least 6 seconds between turning the MW mixer on or off, and between connecting or disconnecting the USB cable. When connecting or disconnecting the USB cable be sure to turn the 2TR IN/USB control Grvron all the way down. NA Disconnect the USB cable when using the MW mixer without the computer. MW12CX/MW12C Owners Manual FRE

Mixer Basics Quick Guide 3 Connecting 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.

(RULES Be sure to turn the MW mixer

PHANTOM switch on when using phantom-powered con- denser microphones. Although electric guitars and basses can be con- nected directly to the ixer'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 box) or amp simulator between the instrument and the mi Balanced Cables and Unbalanced Cables Two types of cables can be used to connect microphones, elec- tronic instruments, and other audio sources to the mixer's inputs, as well as to connect the mixer outputs to a power amplifier or related gear: balanced or unbalanced. Balanced cables are highly resistant to noise, and are the best choice for low-level sig- nals such as the output from microphones, as well as for long cable runs. Unbalanced cables are generally used for short runs from line-level sources such as synthesizers. Cable Guidelines Balanced is best. Unbalanced cable is fine in a relatively Microphone cable Short line-level cables Long line-level cables noise-free environment. Balanced is best. Connector Types XLR Connectors This 3-pin connector is resistant to externally induced noise, and is used primarily for balanced con- nections. With properly designed receiving circuitry cables with this type of connector can also be used for unbalanced signals. XLR type connectors are the standard for microphone connections as well as most professional audio gear. RE 20x20 Ovress Manual “| 3| Powering Up the System 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. CAUTION + 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. Is also a good idea to turn the mixer’s output controls—STE- REO OUT Master fader and REC OUT fader—all the way down. + We recommend that you set the computer output to the maximum level and mute the computer 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 22. 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 MW mixer on. If this occurs, wait until the installation is complete before proceeding. Phone Connectors Phone connectors are avail- able in mono and stereo ver- sions. Stereo types are also known as “TRS” connectors (Tip-Ring-Sleeve), and are used for stereo headphone jacks, insert jacks, and also to carry balanced signals in many cases. Unbalanced types are used for mono signals -guitar cables are a common example. RCA Pin Connectors This type of unbalanced con- nector is most commonly found on home audio and video equipment. RCA type pin jacks are often color coded: white for left audio channel and red for right audio channel, for exam- pie. 4 |

Mixer Basics Quick Guide “| 4| Adjusting Level and Tone Level Adjustment 1 The first step is to set the level controls on all instruments and other sources appro- priately. 2 Adijust the channel GAIN controls so that the corresponding PEAK indicators flash briefly on the highest peak levels. (GAIN controls are not provided on the stereo channels—9/10 and 11/12). Engage the ON and REC switches of the input channels that you would like to record. Make sure that the PFL switch is off (=), and that the MONITOR switch is set to REC

Raise the REC OUT fader to the 0 dB posi- tion. Q OU À © Set the channel faders to create the desired initial balance while monitoring via headphones or monitor speakers.The overall headphone level is adjusted by the PHONES control. MONITOR switch COCOCO NES) olelele se ele ele °0O °1S s181e1e181e16le 88 GAIN control —4 © 0/00 @|®| e DUVU | PEAK indicator date | olololololo © olo|lo|lo]o[o[o|o ©

200 @ 0000 | ON switch olololo oololo LE &1 “L DO 00 0 000 Üje © PFLewich—aie sis spi) REC switoh —|| L L l Channel fader REC OUT fader PHONES control Tone Adjustment The MW mixer's compressors and 3-band equalizers make it easy to shape the tone of independent channels to achieve the best possible mix. Use the High-pass Filter for Microphone Input As the name implies, a “high-pass filer” allows only signals above a certain frequency to pass. Conversely, signals below that “cutoff frequency" are attenuated. When an MW high- pass filter is tuned on, signals below 80 Hz are attenuated. This can be useful for minimizing low-frequency breath noise from a vocalist, as well as handling noise, or rumble transmit- ted via the microphone stand. itis generally a good idea to turn the high-pass filter on for microphone channels. Compression One form of compression known as “limiting” can, when properly used, produce a smooth, unified sound with no excessive peaks or distortion. À 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. OUTPUT 0 (in) 10 (Max) INPUT 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 litll if you feel the low end is lacking. During recording its better to use EQ sparingly for compensation only. MWi2CX/MW12C Owner's Manual

Mixer Basics Quick Guide ‘| 5| Recording with Cubase AI4 This section describes the procedure for recording to the Cubase Al4 software we installed earlier via the MW mixer. For details on operation of the Cubase Al4 software refer to the pdf-format manual provided with the software. Cubase Al4 Setup 1 Launch Cubase Al4. Windows: Click [Start] — [AII Program] — [Steinberg Cubase AI 4] [Cubase AI 4] to launch the program. If the ASIO Multimedia dialog window appears, click [Yes]. ASIO Multimedia The audio card configuration appears to have changed. This test can check the sync relabiy of al he current selected audio input and output ports, with their current ptions. This test is the defniive check la see f your cuirent configuration supports effective audio communication and therefore MIDI to audio sy. Ifthe test fais, you wil have ta either select fewer simultaneaus audio input and output ports or adust their bufer sizes or options. Should this new configuration be tested ? 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- Macintosh: dow, and click [OK]. Skip ahead to step 6, below. Double-click the [Application] — [Cubase AI 4]. 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 + If you specified a file destination when installing the Cubase A4 software, launch the applica- tion from that location. + Create a Cubase Al4 shorteut or alias on your recorded data you can select [USB Audio desktop so you can easily launch the program CODEC (1)] to lighten the load on the com- when required. puters CPU. 3 On a Windows computer select [ASIO 2 Select [Device Setup] from the [Device] DirectX Full Duplex Driver] in the [Devices] menu to open the Device Setup window. field on the left side of the Device Setup Windows: window, and click [Control Panel] on the Select [VST Audio System] in the [Device] field on the right side of the window. left side of the window. Select [ASIO DirectX Full Duplex Driver] in the [ASIO Driver] field on the right side of the window. À dialog box will appear asking “Do you want to switch the ASIO driver?”. Click [Switch]. OP m2 mm 2c Onners Manual

Mixer Basics Quick Guide 4 The ASIO Direct Sound Full Duplex Setup dialog box will be displayed. Check only the input port and output port [USB Audio CODEC] checkbox. 08 A5) Dune Sound Pal Duphen Setup … Version 1.0.1, 2 - DirectX Versn 3.3.2600,7100 D 5 Make 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. RONA _!fthe [Port System Name] field does not change, close and restart the Cubase Al4, then open the Device Setup window. 6 Select [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]. NO Recorded Cubase Al4 data is stored as a “project file”. New Project E 7 When 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. Project window Mixer window a | Transport panel MW12CXMW12C Owner's Manual

Mixer Basics Quick Guide Preparing to Record 4 Play the instrument to be recorded, and adjust the MW mixer’s GAIN control, chan- 1 Click in the track list (the area in which the nel faders and REC OUT fader so that the track names are displayed) to select a Clipping indicator never light. track to record on. The various settings for the selected track are available <Transport panel> in the Inspector on the left side of the display. Clipping indicator [Record Enable] button Track list 4/4

5 Specify 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. Ruler Recording and Playback Inspector k 1 Click the Transport panel [Record] button Input routing : : to begin recording. When recording is started the project cursor will begin You will normally use a stereo track when moving to the right and a box that displays the recording recording synthesizers, and a monaural track results will be created. when recording vocals or guitar. 2 Click the Input Routing field in the Inspec- tor to select the au nput source. Select “Stereo In 1” for a stereo track and “Left (Right)-Stereo In 1” for a monaural track. 3 Make 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. <Transport panel> Recording results 2 Play the part. 3 When you finish recording the track, click the Transport panel [Stop] button. RE 20m 12c Onners Manual

Mixer Basics Quick Guide 4 To 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 AI4 is routed to the MW mixer's 2TR IN inputs. To hear the play- back sound via a pair of headphones plugged into the MW mixer, set the bus select switch to TO MONITOR (= ) and adjust the volume with the 2TR IN/USEB control and the PHONES con- trol. [Narrow/Wide] button [Narrow/Wide] button Bus level meter Level meter “| 6| Mixing with Cubase AI4 5 To 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.

Repeat steps 1 through 5 to record further material on the same track. 7 To 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 “® 2TR IN/USB" on page 19 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. 1 Launch Cubase A4 and open a project file. 2 Click the [Start] button on the Transport Panel. 3 While 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. Start with the Featured Part You can start working on a mix from almost any part, but it makes the most sense to start with the main instrument or vocal. Set up an initial level for the main part, and then build the rest of the mix around it. For example, if you're mixing a piano trio with a vocalist, begin by setting the level of the vocal track at around the nominal level, and then gradually add the other instruments. Your choices will also be influenced by the type of music you are working on. If the song is a ballad you might want to add the piano to the mix after the vocal, and then add the bass and drums. If its a more rhythmically oriented piece you could add the bass and drums first, and then the piano. Whatever best serves the music is right. MW12CX/MW12C Owners Manual

Mixer Basics Quick Guide 4 Drag the pan controls on the top of the channel strips left and right to set the ste- reo position of each track. Pan Effectively “Panning” creates the illusion of stereo space by changing the relative levels of each track's signal sent to the left and right speakers. If a signal is sent only to the left speaker, the sound will appear to come from the far left side of the stereo sound field. If it sent with equal level to both left and right speakers our ears tell us the sound is located in the center of the stage. Judicious panning can also help to create cleaner- sounding mixes by spreading the instruments out across the sound stage so that they don't "get in each others way" There are no hard and fast rules, but the bass and kick drum are usually placed in the center of the mix, as is the lead instrument or vocal. Other instruments should be evenly bal- anced throughout the sound stage in a well-balanced man- ner. 5 At 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 Al4 software. Hs a good idea to lower the channel fader a bit before adding an effect, since the effect CAUTION Can cause an increase in the overall channel level. MW12CX/MW12C Owner's Manual 6 When the final mix adjustments have been made, go to the [File] menu and select [Export] — [Audio Mixdown]. 7 Enter 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. Export Audio Mixdomn [1] Chse Export & Click [Export]. Progress of the mixdown operation will be shown in a progress window. When the progress window closes the mixdown is complete. NO Wave files created by mixdown can be directly played back using the Windows Media Player, or iTunes on a Macintosh computer.

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Er // Front & Rear Panels The following applies to both the MW12CX and MW12C. In cases where different features need to be described for each model, the MW12CX feature will be described first, followed by the MW12C feature in brackets: MW12CX (MW12C). Channel Control Section Channels Channels Channels 1t04 5/6 and 7/8 9/10 and 11/12 (Monaural) (Stereo) (Stereo) LES, 9/10

RE 20cm 12C Ouners Manual © MIC Input Jacks (CHs 1 to 4, 5/6, 7/8) These are balanced XLR-type microphone input jacks (l:Ground; 2:Hot; 3:Cold). @ LINE Input Jacks (CHs 1 to 4) These are balanced TRS phone-jack line inputs (T:Hot: R:Cold; S:Ground). You can connect either balanced or unbalanced phone plugs 10 these jacks. © LINE Input Jacks (CHs 5/6 to 11/12) These are unbalanced phone-jack stereo line inputs. @ LINE Input Jacks (CHs 9/10, 11/12) These are unbalanced stereo RCA pin jacks. Where an input channel provides both a MIC input jack and a LINE input jack, or a LINE input jack and an RCA pin jack, you can use either jack but not both atthe same time. Please connect to only one jack on each channel. © INSERT Jacks (CHs 1 to 4) Each of these jacks provides an insert point between the equalizer and fader of the corresponding monaural input channel (CHSs 1 to 4). The INSERT jacks are ideal for con- necting devices such as graphic equalizers, compressors, or. noise filters into the corresponding channels. 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 insert cable such as illustrated below (insert cable sold separately). To the input jack of the external processor To the INSERT 1/0 jack Tip: OUT Sleeve (Ground) | Ring: IN Tip: OÙT Tip:IN To the output jack of the external processor The signal output from the INSERT jacks is reverse-phased. This should not be a problem SAUON 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 cancella- tion.

AN Feerence Front & Rear Panels © GAIN Control Adjusts the input signal level. To achieve the best balance between S/N ratio and dynamic range, adjust the level so that the PEAK indicator @ 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. /80 Switch (High Pass Filter) This switch toggles the HPF on or off. To turn the HPF on, press the switch in (=). The HPF cuts frequencies below 80 Hz (the HPF does not apply to the line inputs of stereo input channels @). COMP 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 the higher average output level that results may lead to feedback. PEAK 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 (5/ 6 and 7/8), 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 clipping. Equalizer (HIGH, MID, and LOW) This three-band equalizer adjusts the channels high, mid, and low frequency bands. Channels 9/10 and 11/12 have two bands: high and low. Setting the knob to the Y position pro- duces à flat response in the corresponding band. Turning the knob to the right boosts the corresponding frequency band, while turning to the left attenuates the band. The following table shows the EQ type, frequency, and maximum cut/boost for each of the three bands. Band Type Frequency | Mepoun HIGH Shelving 10 kHz MID Peaking 2.5kHz #15 dB LOW Shelving 100 Hz AUX (AUX1) Control Adjusts the level of the signal sent from the channel to the AUX (AUXI) bus. The knob should generally be set close to the Y position. On stereo channels, the signals from the L (odd) and R (even) channels are mixed and sent to the AUX (AUXI) bus. To send the signal to the buses set the ON switch to on (=). @ AUX PRE Switch Selects whether the pre-fader or the post-fader signal is fed to the AUX (AUX) bus. If the switch is on (me), the mixer sends the pre-fader signal (the signal immediately prior to the Channel fader @) to the AUX (AUX1) bus, so that AUX (AUX 1) output is not affected by the fader. If the switch is off (JL) the mixer sends the post-fader signal to the AUX (AUX) bus. ©® EFFECT (AUX2) Controls Adjusts the level of the signal sent from the channel to the EFFECT (AUX2) bus. Note that the signal level sent to the bus is also affected by the Channel fader @. On stereo chan- nels (5/6, 7/8, 9/10, or 11/12), the signals from the L (odd) and R (even) channels are mixed and then sent to the EFFECT (AUX2) bus. ® PAN Control (1 to 4) PAN/BAL Control (5/6 and 7/8) BAL Control (9/10 and 11/12) The PAN control determines the stereo positioning of the channel signal on the REC L and R buses or on the Stereo L and R buses. The BAL control knob sets the balance between left and right channels. Signals input to the L input (odd channel) go 10 the REC L bus or to the Stereo L bus; signals input to the R input (even channel) go to the REC R bus or the Stereo R bus. On channels where this knob provides both PAN and BAL control (channels 5/6 and 7/8), the knob oper- ates as a PAN control when input is received via the MIC jack or L (MONO) input only, and as a BAL con- trol when input is received via both L and R inputs. ® ON Switch Turn this switch on to send the signal to the buses. The switch lights orange when on. © PFL (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. © REC Switch This switch assigns the channel’s signal to the REC L and R buses. To send the signal to the REC bus engage the ON switch (-æ). @ ST Switch This switch assigns the channels signal to the Stereo Land R buses. To send the signal to the Stereo bus engage the ON switch (=). © Channel 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. MW12CXMW12C Owner's Manual

• impedance balanced Since the hot and cold terminals of impedance bal- anced output jacks have the same impedance, these output jacks are less affected by induced noise. RE 20x20 Ovners Manual © 2TRIN Jacks These RCA pin jacks can be used to 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. + A signals input via both the 2TR IN input and the USB input are mixed. REC OUT 1 (L, R) Jacks These are RCA pin jacks that can be used to connect to an external stereo recorder. The signal processed by the REC OUT fader is output via these jacks. REC OUT 2 (L, R) Jacks These are impedance-balanced TRS phone jacks that can be used to connect to an external stereo recorder. The signal processed by the REC OUT fader is output via the these jacks. RETURN L (MONO), R Jacks These are unbalanced phone-jack type line inputs. The signal received by these jacks is sent to the STEREO L/R bus and the AUX (AUX1) bus. 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 stereo 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. SEND Jacks + AUX (AUX1) This is an impedance balanced* TRS phone jack that outputs the signals from AUX (AUX) bus. You can use this jack, for example, to connect to an effect unit, cue box, or other mon- itoring system. - EFFECT (AUX2) This is an impedance balanced* TRS phone jack that outputs the signal from the EFFECT (AUX2) bus. You can use this jack, for example, to connect to an external effect unit. STEREO OUT (L, R) Jacks These jacks deliver the mixer’s stereo output. You can use these jacks, for example, to connect to the power amplifier driving your main speakers. You can also connect these jacks 10 a recording device when you wish to record mixer’s stereo output while using the STÉREO OUT Master fader @ for level control. + XLR jacks XLR-type balanced output jacks. + LINE jacks TRS phone-jack type balanced outputs. MONITOR OUT Jacks Connect these impedance-balanced* TRS phone jacks to your monitor system. The signal output by these jacks is determined by the MONITOR switch @, the 2TR IN/USB @. and the PFL switches on the input channels.

@ PHONES Jack Connect a pair of headphones to this TRS phone jack. The PHONES jack outputs the same signal as the MONITOR OUT jacks. © PHANTOM +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 (CHs 1-4, 5/6, 7/8). Turn this switch on when using one or more phantom-pow- ered condenser microphones. 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 (BL) if you do not need phantom power. SAUTION + When tuning the switch on (=), be sure that only condenser mics are connected to the XLR input jacks (CHs: 1 to 7/8). 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 balanced dynamic microphones. To avoid damage to speakers, be sure to turn off amplifiers (or powered speakers) before turning this switch on or off. We also recom- mend that you turn all output controls (STE- REO OUT Master Fader, REC OUT Fader, etc.) to their minimum settings before operating the switch to avoid the risk of loud noises that could cause hearing loss or device damage. © RETURN + AUX (AUX1) Control Adjusts the level at which the L/R signal received at the RETURN jacks (L (MONO) and R) is sent to the AUX (AUX2) bus. + STEREO Control Adj 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. © Master SEND + Master AUX (AUX1) Control Adjusts the signal level sent to the AUX (AUX 1) SEND jack. + Master EFFECT (AUX2) Control Adjusts the level of the signal sent to the EFFECT (AUX2) bus. If you are using the MW12CX, the Master EFFECT control does not affect the level of the signal sent from the EFFECT bus to the internal digital effect processor. @ POWER Indicator This indicator lights when the mixer’s power is ON. ® Level Meter This LED meter displays the level of the signal selected by the MONITOR switch @, 2TR IN/USB switch @ and PFL switch. The “0” segment corresponds to the nominal output level. The PEAK segment lights red when the output reaches the clipping level. AN Feerence Front & Rear Panels ® MONITOR/PHONES + MONITOR Switch If this switch is set to REC (-m=.), the REC L/R bus signals are sent to the MONITOR OUT jacks, the PHONES jack, and the level meter. If it is set to STEREO (JL), the STEREO L/R bus signals are sent to these jacks and the level meter. + MONITOR Control Controls the level of the signal output to the MONITOR OUT jacks. + PHONES Control Controls the level of the signal output to the PHONES jack.

+ 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 (JM ), 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 to the STEREO L/R bus. The following illustration shows how the switch settings cor- respond to the signal selection. Suienes a Signals output vis the MONITOR/PHONES Jack

PFL ONE 2TR IN/USB L

CE = = PFL. TOSTEREO | STEREO ( 2TRINUSS) STEREO 2 | ouonror m |STEREO + 2TRINUSS

ee TOSTEREO M [EC TO MONITOR 2m. [REC ZTRINUSE) : When overdubbing, you can adjust the levels of the mon- itor playback signal and the signal being recorded separately. For MONI- TOR MIX turn on the REC and ST switches of the corresponding channels. MONITOR MIX Signal Flow

jacks bus switch Recording signal REC STEREO OUT Master fader switch

REC bus REC OUT fader Ifthe input channel PFL switch is on (mn. then only the PFL output from that channel is sent to the C-R OUT jacks, PHONES jacks, and level meter. ® REC OUT Fader Adjusts the signal level sent to the REC OUT jacks and the USB connector. @ ST Switch If this switch is on (-m.), the signals are sent to the STEREO L/R bus via the REC OUT fader @. The REC L signal goes 10 Stereo L and the REC R signal goes to Stereo R. © STEREO OUT Master Fader Adjusts the signal level sent to the STEREO OUT jacks. MWi2CX/MW12C Owner's Manual

REC // Front & Rear Panels Digital Effect MW12CX

• Only the MW12CX has digital effects. FOOT SWITCH Jack A Yamaha FCS foot switch (sold separately) can be connected to this jack and used to toggle the digital effects ON and OFF. PROGRAM Dial Selects one of the 16 internal effects. See page 21 for details about the internal effects. PARAMETER 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 the newly selected effect (regard- less of the current position of the PARAMETER Control knob). These parameter values are reset when the power is turned of. AUX Control Adjusts the level of the signal sent from the internal digital effect unit to the AUX bus. The EFFECT RTN fader does not affect the level of the signal sent to the AUX bus. ON 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 toggle the digital effects ON and OFF. The ON switch lights and the internal effect unit is active by default when the power is initially turned on. PFL Switch Turn this switch on to send the effect signal to the PFL bus. EFFECT RTN Fader Adjusts the signal level sent from the internal digital effect unit to the STEREO bus. Rear Input/Output Section MWi2CXMW12C Owner's Manual © POWER Switch Use this switch to turn the mixer’s power ON or to STANDBY mode. Note that a small current continues to flow while the switch is in the STANDBY position. If you do GrunoN not plan to use the mixer for a while, be sure to unplug the AC adaptor from the wall outlet. @ AC ADAPTOR IN Connector Connect the supplied power adaptor to this connector (see page 6). © USB 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 CAUMON _ the way down.

Reverb simulating a large space such as a concert hall.

2 |REVERBHALL2 REVERB TIME

3 |REVERBROOM1 | REVERBTIME Reverb simulating the acoustics of a small space (room). 4 |REVERBROOM2 | REVERBTIME 5 |REVERBSTAGE{ | REVERBTIME Reverb simulating a large stage. 6 |REVERBSTAGE2 |REVERBTIME 7 | REVERB PLATE REVERBTIME | Simulation of a metal-plate reverb unit, producing a more hard-edged sound. 8 |DRUMAMBIENCE |REVERBTIME | A short reverb that is ideal for use with kick drum. 9 |KARAOKEECHO |DELAYTIME Echo designed for karaoke (sing-along) applications. 10 | VOCAL ECHO DELAY TIME Echo suitable for vocals. 11 CHORUS 1 LFO Frequency 12 CHORUS 2 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. A sweeping pitched effect. 13 | FLANGER LFO Frequency _ | The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time. Phase modulation produces a cyclical phasing effect. 14 | PHASER LFO Frequency _ | 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.

• “LFO" stands for Low Frequency Oscillator. An LFO is normally used to modulate another signal, determining the modulation speed and waveform shape. Jack List Input and Output Jacks Polarities Configurations INPUT OUTPUT Pin 1: Ground MIC INPUT, STEREO OUT Pin 2: Hot (+) Pin 3: Cold (-) XLR Connector LINE INPUT (CHA to 4) Tip: Hot (+) REC OUT, STEREO OUT, MONITOR OUT, | Ring: Cold (-) AUX (AUX1), EFFECT (AUX2)* Sleeve: Ground Ring Tip: Output l INSERT Ring: Input 1e) Sleeve: Ground l \ - Sleeve Tip Tip:L PHONES Ring: R Sleeve: Ground TRS Phone Connector RETURN Tip: Hot EF LINE INPUT (CH5/6 to 11/12) Sleeve: Ground Sleeve Tip Phone Connector

• These jacks will also accept connection to monaural phone Connectors. If you use monaural phone connectors, the connection will be unbalanced. MWi2CX/MW12C_ Owners Manual

The MW mixer won't turn on.

ls the included adaptor properly plugged into both the mixer and an appropriate AC wall outlet? 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 MW mixer directly to a USB port on the computer. lf 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. Are your speaker cables connected properly, or are they shorted? Are the ON switch, ST switch, and REC switch for the channels you are using turned on? Are the volume controls of your sources, audio devices, applications software, computer operating system, etc., set at appropriate levels? ls 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

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

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

CODEC”. Is the sound output of the Cubase Al4 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 com- puter'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.”

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 maxi-

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 Al4 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. MW12CXMW12C Owner's Manual

Ad Peñcrence Troubleshooting The level meter Q Are the PFL switches for the channels you are not using turned on? doesn't show the output signal level. The sound is inter- Q Is the PEAK indicator flashing read? mittent or distorted. You might have to lower GAIN control or channel fader levels to avoid distortion. Q Are you applying the effects and compressor at an appropriate level? You might have to lower EFFECT RTN fader, ETTECT control and COMP control levels. Q Does the computer you are using meet the listed system requirements? Refer to “Computer System Requirements” on page 6 for details. Q Are any other applications, device drivers, or USB devices (scanners, printers, etc.) run- ning at the same time? Be sure to quit all applications you are not using. Q 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 performance of the computer you are using. You may experience intermittent playback if you exceed your computer's capabilities. Q Are you recording or playing long continuous sections of audio? The audio data processing capabilities of your computer will depend on a number of fac- tors including CPU speed and access to external devices. On Windows computers, changing some settings as outlined below can improve perfor- mance.

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 perfor- mance. 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 infor- mation. Q Try adding memory. Adding more RAM memory can significantly increase your computer's audio performance. Refer to your computer's owner's manual for information on installing and setting up extra memory. There is a delay Q Check the URL listed below for the latest information. when playing a soft- <http:/{www.yamahasynth.com/> ware synthesizer via a MIDI keyboard (latency). MWi2CX/MW12C Owners Manual XI

Er // Specifications H Electrical Specifications

MIN | TYP | MAX | UNIT

Frequency Response STEREO OUT | GAIN: min (CHS 17/8) REC OUT2| 20 Hz-20 kHz Nominal output level @1 kHz < AUX 29 SEND Input: CHS Fo 1 FE RETURN, 2TRIN 30/0010 | dB

MONITOR OUT, REC OUT1

Total Harmonic Distor- STEREO OUT | +14 dBu @ 20 Hz-20 kHz, Input GAIN Control at minimum 11% tion (THD + N) - Hum & Noise CH INPUT 1-4 MIC | EIN (Equivalent Input Noise): Rs = 150 Q, GAIN: maximum “128 STEREO OUT | STEREO OUT, REC OUT fader at nominal level and all chan- Hum & Noise are mea- REC OUT2 | nels’ ST and REC switches off. “88 TO eZ EFFECT/AUX | Master EFFECT/AUX (AUXT, 2) control ai nominal level and all 1 lou KHZ: equivalent to a 20 {AUX1, 2°) SEND | CH EFFECT/AUX (AUX1, 2) controls at minimum. kHz filter with infinite STEREO OUT | STEREO OUT, REC OUT fader and one CH fader at nominal dB/octave attenuation. REC OUT? | level. nu STEREO OUT | Residual Output Noise -98 Crosstalk (1 KHz) Adjacent Input | CHs 1-4 De Input to Output | STEREO LR, CHs 1-4, PAN: panned hard left or right “70 Maximum voltage gain RS = 150 Q | MIC to CH INSERT OUT 60 (1 kHz) INPUT GAIN: maximum [MIC to STEREO OÙT M Al faders and controls MIC 10 REC OUT2 are maximum when MIC to REC to ST 4 measured. MIC to REC OUT 722 PAN/BAL: panned MIC to MONITOR OUT. ST TO MONITOR 84 hard left or hard right MIC to PHONES OUT 83 MIC to AUX (AUX 1”) SEND PRE 7 MIC to AUX (AUX) SEND POST, EFFECT (AUX2') SEND 86 CH 5%6, 7/8 LINE to STEREO OUT 5 dB CH 5%6, 7/8 LINE to REC OUT2

CH 5%6, 7/8 LINE to AUX (AUX 1") SEND POST, EFFECT =

CH 9/10, 11/12 to STEREO OUT mn CH 9/10, 11/12 to REC OUT2 RS = 150 Q | RETURN to STEREO OUT 16 RETURN to EFFECT (AUX2') SEND 9 RS = 600 © | 2TR IN to STEREO OUT 278 Phantom Voltage MIC | no load 48 V H General Specifications USB Audio Input/Output: 44.1/48 KHz Input HPF CHs 1-7/8, 80 Hz, 12 dBoct Input equalization CHs 1-7/8 | HIGH: 10 kHz (shelving) MID: 2.5 kHz (peaking) 415 dB maximum LOW/: 100 Hz (shelving) Turn over/roll-off frequency of CH 9/10-11/12 | HIGH: 10 kHz (shelving) shehing:s dB blow maximum vari- LOW: 100 Hz (shelving) PEAK Indicator CHs 5/6, 7/8) reaches -3 dB below clipping (+17 dBu). Red LED turns on when post EQ signal (either post MIC HA or post EQ signal for Internal Digital Effect (Only MW12CX) 16 PROGRAM, PARAMETER control Foot Switch (Digital Effect On/Off) LED Level Meter Pre MONITOR Level | 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-20 | AC 35 VCT, 0.94 À, Cable Length = 3.6 m Power Consumption 30W Dimensions (W x H x D)

All faders are nominal it not specitied. Output impedance of signal generator: 150 ohms

• The MW12CX feature is described first, followed by the MW12C feature in brackets: MW12CX (MW12C) 90 MW12CX/MW12C Owner's Manual

• The MW12CX feature is described first, followed by the MW12C feature in brackets: MW12CX (MW12C) H Digital Input/Output Specifications Connector Format Data Length Connector Specification USB USB Audio 1.1 16 bit USB B type MWi2CX/MW12C Owner's Manual

• Specifications and descriptions in this owners 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. ED 20m i20 Owners Manual

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. + Make sure to install DAW software under the “Adminis- trator” account. + In order to install the software in the accessory disk, you'll need a working Internet connection. Make sure to fil in all required fields when installing. + If you are using a Macintosh computer, double-click the sr .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

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 CYAMAHA") 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) SHOWN 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.

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. MWi2CXMW12C Owner's Manual + 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 copyright notice and any other proprietary legends that were on the original copy of the SOFTWARE You may permanently transfer to a third party all your rights in the SOFTWARE only when you transfer this product together, provided that you do not retain any copies and the recipient reads and agrees to the terms of this Agreement.

+ 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.

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,

SOFTWARE You expressiy 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

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 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.

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. MWi2CX/MW12C Owners Manual WE

OTHER EUROPEAN COUNTRIES

Yamaha Corporation, Asia-Pacifie Music Marketing Group Nakazawa-cho 10-1 ka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2317 [ OCEANIA AUSTRALIA Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111 NEW ZEALAND Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099