Yamaha MW12CX, MW12C User Manual

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Owner’s Manual Bedienungsanleitung Mode d’emploi Manual de instrucciones

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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:

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)

BLUE : NEUTRAL BROWN : LIVE

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 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.

* 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. Modiﬁcations 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 requirements 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 operation 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 interference, 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 distribute 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 distributed by Yamaha Corporation of America or its subsidiaries.

MW12CX/MW12C Owner’s Manual

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:

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

• 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.

Water warning

• 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 you notice any abnormality

• 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:

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.

• 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.

Location

• 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.

•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 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.

Connections

• 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. 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.

(5)-4

MW12CX/MW12C Owner’s Manual

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 Owner’s Manual applies to both the MW12CX and MW12C. The main difference between the two models is that the MW12CX includes digital effects while the

MW12C has no internal effects.

* In this 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 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.

MW12CX/MW12C Owner’s 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 systems. 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.

Features

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 directions—from the mixer to the computer, and vice-versa—via the USB connection (44.1 kHz or 48 kHz sampling frequency).

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 AI4 DAW Software Supplied (page 7)

Cubase AI4 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 connect 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)

A 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 AI4 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...........................................5

Features...........................................................5

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

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

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

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

Cubase AI4 System Requirements..................6

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

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

1. Installing Cubase AI4...................................7

2. Connecting to the MW mixer .......................7

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

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

5. Recording with Cubase AI4 .......................10

6. Mixing with Cubase AI4 .............................13

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

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

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

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

Master Control Section ..................................18

Digital Effect...................................................20

Rear Input/Output Section .............................20

Digital Effect Program List .............................21

Jack List.........................................................21

Troubleshooting .................................22

Specifications .....................................90

Electrical Specifications .................................90

General Specifications...................................90

Analog Input Specifications............................91

Analog Output Specifications.........................91

Digital Input/Output Specifications.................91

Dimensional Diagrams...................................92

Block Diagram and Level Diagram ................93

About the accessory disk..................94

SOFTWARE LICENSE AGREEMENT

...94

MW12CX/MW12C Owner’s Manual

Introduction

NOTE

Before Turning on the Mixer

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

CAUTION

Connect the power adaptor to the AC ADAPTOR IN

connector ( turn the fastening ring clockwise ( connection.

Plug the power adaptor into a standard household

power outlet.

CAUTION

different adaptor may result in equipment damage, overheating, or ﬁre.

q) on the rear of the mixer, and then

w) to secure the

• 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.

Computer System Requirements

Windows Vista

Computer

OS Windows Vista

CPU

Memory 1 GB or more

Windows-based computer with built-in USB interface

1 GHz or higher Intel Core/Pentium/Celeron processor

Windows XP

Computer

OS Windows XP Professional/XP Home Edition

CPU

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

Windows-based computer with built-in USB interface

750 MHz or higher Intel Core/Pentium/Celeron processor

Macintosh

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 AI4 System Requirements

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. If you do not plan

CAUTION

to use the mixer again for a long while, please be sure to unplug the adaptor from the wall outlet.

NOTE

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.

Windows

OS Windows XP Professional/XP Home Edition CPU 1.4 GHz or higher Intel Pentium processor Memory 512 MB or more Audio

Interface Hard Disk 400 MB or more

Windows DirectX compatible

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

•A DVD driver is required for installation.

•To activate your software license, install the application while the computer is connected to the internet.

MW12CX/MW12C Owner’s Manual

Mixer Basics

Quick Guide

Mixer Basics

This quick setup and operation guide covers everything from installing the Cubase AI4 software to using Cubase AI4 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 AI4 software.

Step

1 2 3

Step

Installing Cubase AI4

IMPORTANT !

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 manual 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 “CubaseAI4.msi”.

Follow the on-screen instructions to install the Cubase AI4 software.

NOTE

• When installing Cubase AI4, you will need a working internet connection to register your Cubase AI4. 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.

Connecting to the MW mixer

Turn the power to the MW mixer and all gear that is to be connected to the MW

Connect the MW mixer to your computer

using the supplied USB cable. mixer off/standby (except the computer), and set the channel faders, STEREO OUT Master fader, and REC OUT fader to their minimum settings.

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 MW mixer or computer does hang up, turn the power to both devices off and then on again, and restart the computer.

Channel fader

REC OUT fader

STEREO OUT Master fader

CAUTION

• Be sure to wake the computer from sleep/suspended/standby mode before making a connection 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 mixer’s power on or off, or connecting or disconnecting 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

CAUTION

all the way down.

NOTE

Disconnect the USB cable when using the MW mixer without the computer.

MW12CX/MW12C Owner’s Manual

Mixer Basics

NOTE

Quick Guide

Be sure to turn the MW mixer PHANTOM switch on when using phantom-powered condenser microphones.

Although electric guitars and basses can be connected directly to the mixer’s inputs, the sound is likely to be thin and possibly noisy. For best results with these types of instruments use a DI box (direct box) or amp simulator between the instrument and the mixer.

Connecting Microphones and/or Instruments.

For details on making connections refer to the “Setup” section on page 15 and the “Front & Rear Panels” section on page 16.

USB cable

Step

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 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.

Observe the following precautions when

CAUTION

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 condenser 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—STEREO 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’s internal speaker. For details on how to make the setting refer to the “The recorded sound is too low in level.” in the “Troubleshooting” 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.

Balanced Cables and Unbalanced Cables

Tw o types of cables can be used to connect microphones, electronic instruments, and other audio sources to the mixer’s inputs, as well as to connect the mixer’s 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 signals 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

Microphone cable Balanced is best.

Short line-level cables

Long line-level cables Balanced is best.

Unbalanced cable is ﬁne in a relatively noise-free environment.

Connector Types

XLR Connectors

This 3-pin connector is resistant to externally induced noise, and is used primarily for balanced connections. 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.

MW12CX/MW12C Owner’s Manual

Phone Connectors

Phone connectors are available in mono and stereo versions. 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 connector 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 example.

Mixer Basics

(Min)

(Max)

INPUT

OUTPUT

Quick Guide

Step

Adjusting Level and Tone

Level Adjustment

The ﬁrst step is to set the level controls on

all instruments and other sources appropriately.

Adjust 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.

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.

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 ﬁlter” allows only signals above a certain frequency to pass. Conversely, signals below that “cutoff frequency” are attenuated. When an MW highpass ﬁlter is turned 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 transmitted via the microphone stand. It is 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. 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.

GAIN control

PEAK indicator

ON switch

PFL switch

REC switch

MONITOR switch

Equalizer Tips

The best advice that can be given regarding equalization while recording is simply to use as little equalization as possible. 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.

Channel fader

REC OUT fader

PHONES control

MW12CX/MW12C Owner’s Manual

Mixer Basics

Quick Guide

Step

This section describes the procedure for recording to the Cubase AI4 software we installed earlier via the MW mixer.

NOTE

Recording with Cubase AI4

For details on operation of the Cubase AI4 software refer to the pdf-format manual provided with the software.

Cubase AI4 Setup

Launch Cubase AI4.

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].

NOTE

• If you speciﬁed a ﬁle destination when installing the Cubase AI4 software, launch the application from that location.

• Create a Cubase AI4 shortcut or alias on your desktop so you can easily launch the program when required.

Select [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 box 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 window, and click [OK]. Skip ahead to step 6, below.

NOTE

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 computer’s CPU.

On 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.

MW12CX/MW12C Owner’s Manual

Mixer Basics

Project window

Tr ansport panel

Mixer window

Quick Guide

The ASIO Direct Sound Full Duplex Setup

dialog box will be displayed. Check only the input port and output port [USB Audio CODEC] checkbox.

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.

NOTE

If the [Port System Name] ﬁeld does not change, close and restart the Cubase AI4, then open the Device Setup window.

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].

NOTE

Recorded Cubase AI4 data is stored as a “project ﬁle”.

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.

MW12CX/MW12C Owner’s Manual

Mixer Basics

Clipping indicator

Ruler

Stop

Record

Start

Rewind

Forward

Recording results

Quick Guide

Preparing to Record

Click 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.

[Record Enable] button Track list

Play the instrument to be recorded, and

adjust the MW mixer’s GAIN control, channel faders and REC OUT fader so that the Clipping indicator never light.

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 cursor (the vertical black line) to that position.

Inspector

Input routing

NOTE

You will normally use a stereo track when recording synthesizers, and a monaural track when recording vocals or guitar.

Click 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.

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.

Recording and Playback

Click 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.

MW12CX/MW12C Owner’s Manual

Play the part.

When you ﬁnish recording the track, click

the Transport panel [Stop] button.

Mixer Basics

Quick Guide

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 master 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.

NOTE

• 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 playback 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/USB control and the PHONES control.

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

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.

To record additional material on a different

track, select a new track and repeat the record procedure.

NOTE

You can monitor the sound being recorded and a previously recorded sound simultaneously while recording (MONITOR MIX). Refer to “E 2TR IN/USB” on page 19 for details.

Level meter Bus level meter

Step

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 2

Mixing with Cubase AI4

Launch Cubase AI4 and open a project ﬁle.

Click the [Start] button on the Transport Panel.

While listening to playback, drag the channel 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 it’s 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 Owner’s Manual

Mixer Basics

Quick Guide

Drag the pan controls on the top of the

channel strips left and right to set the stereo 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 cleanersounding mixes by spreading the instruments out across the sound stage so that they don’t “get in each other’s 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 balanced throughout the sound stage in a well-balanced manner.

When the ﬁnal mix adjustments have

been made, go to the [File] menu and select [Export] → [Audio Mixdown].

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.

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.

NOTE

For further details refer to the pdf manual provided with the Cubase AI4 software.

It’s 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.

Click [Export].

Progress of the mixdown operation will be shown in a progress window. When the progress window closes the mixdown is complete.

NOTE

Wave ﬁles created by mixdown can be directly played back using the Windows Media Player, or iTunes on a Macintosh computer.

MW12CX/MW12C Owner’s Manual

Reference

Setup

Reference

Bass

Guitar

Synthesizer

Powered Speakers

Foot Switch

(YAMAHA FC5)

Recorder

Microphone

Effect Processor

(exciter)

CD Player

Effect Processor

Headphones

Personal Computer

MW12CX

Powered Monitor

Speaker

MW12CX/MW12C Owner’s Manual

Powered Monitor

Speakers

Reference

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

1 MIC Input Jacks (CHs 1 to 4, 5/6, 7/8)

These are balanced XLR-type microphone input jacks (1:Ground; 2:Hot; 3:Cold).

2 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 to these jacks.

3 LINE Input Jacks (CHs 5/6 to 11/12)

These are unbalanced phone-jack stereo line inputs.

4 LINE Input Jacks (CHs 9/10, 11/12)

These are unbalanced stereo RCA pin jacks.

NOTE

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 at the same time. Please connect to only one jack on each channel.

5 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 (CHs 1 to 4). The INSERT jacks are ideal for connecting 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).

NOTE

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

B C

Channels

1 to 4

(Monaural)

Channels

5/6 and 7/8

(Stereo)

Channels

9/10 and 11/12

(Stereo)

B C

MW12CX/MW12C Owner’s Manual

MW12CX

To the INSERT I/O jack

Sleeve (Ground)

Ring: IN

Tip: OUT

The signal output from the INSERT jacks is reverse-phased. This should not be a problem

CAUTION

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.

Tip: OUT

Tip: IN

To the output jack of

the external processor

Reference

Front & Rear Panels

6 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 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.

7 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

3).

8 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.

NOTE

Avoid setting the compression too high, as the the higher average output level that results may lead to feedback.

9 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.

0 Equalizer (HIGH, MID, and LOW)

This three-band equalizer adjusts the channel’s high, mid, and low frequency bands. Channels 9/10 and 11/12 have two bands: high and low. Setting the knob to the ▼ position produces a 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

HIGH Shelving 10 kHz

LOW Shelving 100 Hz

Maximum

Cut/Boost

9 lights

±15 dBMID Peaking 2.5 kHz

B AUX PRE Switch

Selects whether the pre-fader or the post-fader signal is fed to the AUX (AUX1) bus. If the switch is on ( ), the mixer sends the pre-fader signal (the signal immediately prior to the Channel fader (AUX1) output is not affected by the fader. If the switch is off ( ) the mixer sends the post-fader signal to the AUX (AUX1) bus.

I) to the AUX (AUX1) bus, so that AUX

C 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 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.

I. On stereo chan-

D 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 to 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.

NOTE

On channels where this knob provides both PAN and BAL control (channels 5/6 and 7/8), 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.

E ON Switch

Turn this switch on to send the signal to the buses. The switch lights orange when on.

F 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 the PHONES and MONITOR OUT jacks for monitoring.

I signal is output to

G REC Switch

This switch assigns the channel’s signal to the REC L and R buses.

NOTE

To send the signal to the REC bus engage the ON switch ( ).

A AUX (AUX1) Control

Adjusts the level of the signal sent from the channel to the AUX (AUX1) bus. The knob should generally be set close to the ▼ position. On stereo channels, the signals from the L (odd) and R (even) channels are mixed and sent to the AUX (AUX1) bus.

NOTE

To send the signal to the buses set the ON switch to on ( ).

H ST Switch

This switch assigns the channel’s signal to the Stereo L and R buses.

NOTE

To send the signal to the Stereo bus engage the ON switch ( ).

I Channel Fader

Adjusts the level of the channel signal. Use these faders to adjust the balance between the various channels.

NOTE

Set the fader sliders for unused channels all the way down to minimize noise.

MW12CX/MW12C Owner’s Manual

Reference

Front & Rear Panels

Master Control Section

1 2TR IN 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.

NOTE

• Select where you want to send the signal using the

2TR IN/USB switch E, 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.

2 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.

3 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.

MW12CX

4 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.).

NOTE

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.

5 SEND Jacks

•AUX (AUX1)

This is an impedance balanced* TRS phone jack that outputs the signals from AUX (AUX1) bus. You can use this jack, for example, to connect to an effect unit, cue box, or other monitoring 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.

6 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 to a recording device when you wish to record mixer’s stereo output while using the STEREO OUT Master fader level control.

• XLR jacks

XLR-type balanced output jacks.

• LINE jacks

TRS phone-jack type balanced outputs.

H for

* 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.

MW12CX/MW12C Owner’s Manual

7 MONITOR OUT Jacks

Connect these impedance-balanced* TRS phone jacks to your monitor system.

NOTE

The signal output by these jacks is determined by the MONITOR switch D, the 2TR IN/USB E, and the PFL switches on the input channels.

Reference

Playback

signal

Recording

signal

2TR IN/ USB

2TR IN/USB control

STEREO OUT Master fader

MONITOR/ PHONES controls

STEREO

bus

REC OUT/USB

MONITOR OUT/PHONES jacks

ST switch

REC switch

REC OUT fader

REC bus

Front & Rear Panels

8 PHONES Jack

Connect a pair of headphones to this TRS phone jack. The PHONES jack outputs the same signal as the MONITOR OUT jacks.

9 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-powered condenser microphones.

NOTE

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.

CAUTION

• 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 recommend that you turn all output controls (STEREO 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.

0 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

Adjusts the level at which the signal received at the RETURN jacks (L (MONO) and R) is sent to the STEREO L/R bus.

NOTE

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.

D MONITOR/PHONES

• MONITOR Switch

If this switch is set to REC ( ), 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 ( ), 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.

E 2TR 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 to the STEREO L/R bus.

The following illustration shows how the switch settings correspond to the signal selection.

Switches

PFL

ON — — PFL

OFF

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

itor playback signal and the signal being recorded separately. For MONITOR MIX turn on the REC and ST switches of the corresponding channels.

MONITOR/

PHONES

STEREO

REC

2TR IN/USB

TO STEREO STEREO (+ 2TR IN/USB)

TO MONITOR

TO STEREO REC

TO MONITOR REC (+ 2TR IN/USB)

MONITOR MIX Signal Flow

Signals output via the

MONITOR/PHONES jacks

STEREO + 2TR IN/USB

A Master SEND

• Master AUX (AUX1) Control

Adjusts the signal level sent to the AUX (AUX1) SEND jack.

• Master EFFECT (AUX2) Control

Adjusts the level of the signal sent to the EFFECT (AUX2) bus.

NOTE

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.

B POWER Indicator

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

C Level Meter

This LED meter displays the level of the signal selected by the MONITOR switch switch. The “0” segment corresponds to the nominal output level. The PEAK segment lights red when the output reaches the clipping level.

D, 2TR IN/USB switch E and PFL

NOTE

If the input channel PFL switch is on ( ), then only the PFL output from that channel is sent to the C-R OUT jacks, PHONES jacks, and level meter.

F REC OUT Fader

Adjusts the signal level sent to the REC OUT jacks and the USB connector.

G ST Switch

If this switch is on ( ), the signals are sent to the STEREO L/R bus via the REC OUT fader

F. The REC L signal goes

to Stereo L and the REC R signal goes to Stereo R.

H STEREO OUT Master Fader

Adjusts the signal level sent to the STEREO OUT jacks.

MW12CX/MW12C Owner’s Manual

Reference

Front & Rear Panels

Digital Effect * Only the MW12CX has digital effects.

1 FOOT 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.

MW12CX

2 PROGRAM Dial

Selects one of the 16 internal effects. See page 21 for details about the internal effects.

3 PARAMETER Control

Adjusts the parameter (depth, speed, etc.) for the selected effect. The last value used with each effect type is saved.

NOTE

When you change to a different effect type, the mixer automatically restores the value that was previously used with the newly selected effect (regardless of the current position of the PARAMETER Control knob). These parameter values are reset when the power is turned off.

4 AUX Control

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

NOTE

The EFFECT RTN fader does not affect the level of the signal sent to the AUX bus.

5 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.

NOTE

The ON switch lights and the internal effect unit is active by default when the power is initially turned on.

6 PFL Switch

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

7 EFFECT RTN Fader

Adjusts the signal level sent from the internal digital effect unit to the STEREO bus.

Rear Input/Output Section

1 2

MW12CX/MW12C Owner’s Manual

1 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

CAUTION

not plan to use the mixer for a while, be sure to unplug the AC adaptor from the wall outlet.

2 AC ADAPTOR IN Connector

Connect the supplied power adaptor to this connector (see page 6).

3 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

CAUTION

the way down.

Reference

Front & Rear Panels

Digital Effect Program List

No Program Parameter Description

1 REVERB HALL 1 REVERB TIME

2 REVERB HALL 2 REVERB TIME

3 REVERB ROOM 1 REVERB TIME

4 REVERB ROOM 2 REVERB TIME

5 REVERB STAGE 1 REVERB TIME

6 REVERB STAGE 2 REVERB TIME

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

8 DRUM 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.

12 CHORUS 2 LFO Frequency

13 FLANGER LFO Frequency

14 PHASER LFO Frequency

15 AUTO WAH LFO Frequency

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.

Reverb simulating a large space such as a concert hall.

Reverb simulating the acoustics of a small space (room).

Reverb simulating a large stage.

The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time.

A sweeping pitched effect. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time.

Phase modulation produces a cyclical phasing effect. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time.

A wah-wah effect with cyclical ﬁlter modulation. The PARAMETER control adjusts the frequency of the LFO* that modulates the delay time.

Jack List

Input and Output Jacks Polarities Conﬁgurations

OUTPUTINPUT

MIC INPUT, STEREO OUT

LINE INPUT (CH1 to 4) REC OUT, STEREO OUT, MONITOR OUT, AUX (AUX1), EFFECT (AUX2)*

INSERT

PHONES

RETURN LINE INPUT (CH5/6 to 11/12)

* These jacks will also accept connection to monaural phone Connectors. If you use monaural phone connectors,

the connection will be unbalanced.

Pin 1: Ground Pin 2: Hot (+) Pin 3: Cold (-)

Tip: Hot (+) Ring: Cold (-) Sleeve: Ground

Tip: Output Ring: Input Sleeve: Ground

Tip: L Ring: R Sleeve: Ground

Tip: Hot Sleeve: Ground

Ring

TipSleeve

XLR Connector

TRS Phone Connector

Phone Connector

MW12CX/MW12C Owner’s Manual

Reference

Troubleshooting

The MW mixer won’t turn on.

The system doesn’t work properly.

No sound.

❑ Is the included adaptor properly plugged into both the mixer and an appropriate AC wall

outlet?

❑ 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. 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.

❑ 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?

❑ 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].

The recorded sound is too low in level.

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 AI4 application assigned properly?

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

❑ 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 AI4 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.

MW12CX/MW12C Owner’s Manual

Reference

Troubleshooting

The level meter doesn’t show the output signal level.

The sound is intermittent or distorted.

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

❑ Is the PEAK indicator flashing read?

You might have to lower GAIN control or channel fader levels to avoid distortion.

❑ 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.

❑ 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.) run-

ning 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 performance 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.”

There is a delay when playing a software synthesizer via a MIDI keyboard (latency).

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 performance. Refer to your computer’s owner’s manual for information on installing and setting up extra memory.

❑ Check the URL listed below for the latest information.

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

MW12CX/MW12C Owner’s Manual

Reference

Speciﬁcations

■ Electrical Speciﬁcations

Frequency Response STEREO OUT GAIN: min (CHs 1–7/8)

MONITOR OUT, REC OUT1

Total Harmonic Distortion (THD + N)

Hum & Noise

Hum & Noise are measured with a 6 dB/ octave ﬁlter @ 12.7 kHz; equivalent to a 20 kHz ﬁlter with inﬁnite dB/octave attenuation.

Crosstalk (1 kHz) Adjacent Input CHs 1–4 -70

Maximum voltage gain (1 kHz)

All faders and controls are maximum when measured. PAN/BAL: panned hard left or hard right

Phantom Voltage MIC no load 48 V

CH INPUT 1–4 MIC EIN (Equivalent Input Noise): Rs = 150 Ω, GAIN: maximum -128

INPUT GAIN: maximum

MIN TYP MAX UNIT

REC OUT2

EFFECT/AUX

(AUX1, 2*) SEND

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

STEREO OUT STEREO OUT, REC OUT fader at nominal level and all chan-

REC OUT2

EFFECT/AUX

(AUX1, 2*) SEND

STEREO OUT STEREO OUT, REC OUT fader and one CH fader at nominal

REC OUT2

STEREO OUT Residual Output Noise -98

Input to Output STEREO L/R, CHs 1–4, PAN: panned hard left or right -70

Rs = 150 Ω

Rs = 150 Ω RETURN to STEREO OUT 16

Rs = 600 Ω 2TR IN to STEREO OUT 27.8

20 Hz–20 kHz Nominal output level @1 kHz Input: CHs 1 to 11/12, RETURN, 2TR IN

nels’ ST and REC switches off.

Master EFFECT/AUX (AUX1, 2) control at nominal level and all CH EFFECT/AUX (AUX1, 2) controls at minimum.

level.

MIC to CH INSERT OUT 60 MIC to STEREO OUT MIC to REC OUT2 MIC to REC to ST 94 MIC to REC OUT1 72.2 MIC to MONITOR OUT, ST TO MONITOR 84 MIC to PHONES OUT 83 MIC to AUX (AUX1*) SEND PRE 76 MIC to AUX (AUX1*) SEND POST, EFFECT (AUX2*) SEND 86 CH 5/6, 7/8 LINE to STEREO OUT CH 5/6, 7/8 LINE to REC OUT2 CH 5/6, 7/8 AUX (AUX1*) SEND PRE 47 CH 5/6, 7/8 LINE to AUX (AUX1*) SEND POST, EFFECT

(AUX2*) SEND CH 9/10, 11/12 to STEREO OUT CH 9/10, 11/12 to REC OUT2

RETURN to EFFECT (AUX2*) SEND 9

-3.0 0.0 1.0 dB

0.1 %

-88

-81

dBu

-64

■ General Speciﬁcations

USB Audio Input/Output: 44.1/48 kHz Input HPF CHs 1–7/8, 80 Hz, 12 dB/oct Input equalization

±15 dB maximum Tu rn over/roll-off frequency of shelving: 3 dB blow maximum variable level.

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

Internal Digital Effect (Only MW12CX)

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

Power Supply Adaptor PA-20 AC 35 VCT, 0.94 A, Cable Length = 3.6 m Power Consumption 30 W Dimensions (W x H x D) 346.2 mm x 86.1 mm x 436.6 mm Net Weight 3.2 kg (MW12CX), 3 kg (MW12C)

All faders are nominal if not speciﬁed. Output impedance of signal generator: 150 ohms

* The MW12CX feature is described ﬁrst, followed by the MW12C feature in brackets: MW12CX (MW12C)

MW12CX/MW12C Owner’s Manual

CHs 1–7/8 HIGH: 10 kHz (shelving)

MID: 2.5 kHz (peaking) LOW: 100 Hz (shelving)

CH 9/10–11/12 HIGH: 10 kHz (shelving)

LOW: 100 Hz (shelving)

CHs 5/6, 7/8) reaches -3 dB below clipping (+17 dBu). 16 PROGRAM, PARAMETER control

Foot Switch (Digital Effect On/Off)

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

■ Analog Input Speciﬁcations

Input Connectors Gain

CH INPUT MIC (CHs 1–4)

CH INPUT LINE (CHs 1–4)

ST CH MIC INPUT (CHs 5/6, 7/8)

ST CH LINE INPUT (CHs 5/6, 7/8)

ST CH INPUT

(CHs 9/10, 11/12)

CH INSERT IN (CHs 1–4)

RETURN (L, R) — 10kΩ

2TR IN (L, R) — 10kΩ

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

-60 dB

-16 dB

-34 dB

+10 dB

-60 dB

-16 dB

-34 dB

+10 dB

— 10kΩ

Input

Impedance

3kΩ

10kΩ

3kΩ

10kΩ

Appropriate

Impedance

50–600Ω

Mics

600Ω Lines

50–600Ω

Mics

600Ω Lines

Sensitivity *

-80 dBu

(0.078 mV)

-36 dBu

(12.3 mV)

-54 dBu

(1.55 mV)

-10 dBu

(245 mV)

-80 dBu

(0.078 mV)

-36 dBu

(12.3 mV)

-54 dBu

(1.55 mV)

-10 dBu

(245 mV)

-30 dBu

(24.5 mV)

-20 dBu

(77.5 mV)

-12 dBu

(195 mV)

-26 dBV

(50.1 mV)

Nominal

Level

-60 dBu

(0.775 mV)

-16 dBu

(123 mV)

-34 dBu

(15.5 mV)

+10 dBu

(2.45 V)

-60 dBu

(0.775 mV)

-16 dBu

(123 mV)

-34 dBu

(15.5 mV)

+10 dBu

(2.45 V)

-10 dBu

(245 mV)

0 dBu

(0.775 V)

+4 dBu (1.23 V)

-10dBV

(0.316V)

Max. before

Clipping

-40 dBu

(7.75 mV)

+4 dBu

(1.23 V)

-14 dBu

(155 mV)

+30 dBu

(24.5 V)

-40 dBu

(7.75 mV)

-6 dBu

(389 mV)

-14 dBu

(155 mV)

+30 dBu

(24.5 V)

+10 dBu

(2.45 V)

+20 dBu

(7.75 V)

+24 dBu

(12.3 V)

+10dBV

(3.16 V)

Reference

Specifications

Connector Speciﬁcations

XLR-3-31 type (balanced [1 = GND, 2 = HOT, 3 = COLD])

TRS phone jack (balanced [Tip = HOT, Ring = COLD, Sleeve = GND])

XLR-3-31 type (balanced [1 = GND, 2 = HOT, 3 = COLD])

Phone jack (unbalanced)

Phone jack (unbalanced) RCA pin jack

TRS phone Jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND])

Phone jack (unbalanced)

RCA pin jack

* 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

Output Connectors

STEREO OUT (L, R) 75Ω 600Ω Lines +4dBu (1.23 V) +24 dBu (12.3 V)

REC OUT2 (L, R) 150Ω 10kΩ Lines +4dBu (1.23 V) +20 dBu (7.75 V)

EFFECT/AUX (AUX1, 2*) SEND

CH INSERT OUT (CHs 1–4)

REC OUT1 (L, R) 600Ω 10kΩ Lines -10 dBV (0.316 V) +10 dBV (3.16 V) RCA pin jack

MONITOR OUT (L, R) 150Ω 10kΩ Lines +4 dBu (1.23 V) +20 dBu (7.75 V)

PHONES OUT 100Ω 40Ω Phones 3 mW 75 mW TRS phone jack

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

* The MW12CX feature is described ﬁrst, followed by the MW12C feature in brackets: MW12CX (MW12C)

Output

Impedance

150Ω 10kΩ Lines +4dBu (1.23 V) +20 dBu (7.75 V)

75Ω 10kΩ Lines 0 dBu (0.775 V) +20 dBu (7.75 V)

Appropriate

Impedance

Nominal Level

Max. before

clipping

Connector Speciﬁcations

XLR-3-32 type (balanced [1 = GND, 2 = HOT, 3 = COLD]) TRS phone jack (balanced [Tip = HOT, Ring = COLD, Sleeve = GND])

TRS phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND])

TRS phone jack (unbalanced [Tip = Out, Ring = In, Sleeve = GND])

TRS phone jack (impedance balanced [Tip = HOT, Ring = COLD, Sleeve = GND])

■ Digital Input/Output Speciﬁcations

Connector Format Data Length Connector Speciﬁcation

USB USB Audio 1.1 16 bit USB B type

MW12CX/MW12C Owner’s Manual

Reference

Specifications

■ Dimensional Diagrams

86.1

346.2

436.6

79.6

433.9

MW12CX

Unit: mm

* 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.

MW12CX/MW12C Owner’s Manual

■ Block Diagram and Level Diagram

MONITOR OUT

LED METER

[0dBu]

+15V

[0dBu]

INV

[-6dBu]

MONITOR

[0dBu]

SUM

[0dBu]

SUM

[0dBu]

REC/

G1–2

BAL

[0dBu]

[-10dBu]

CH Fader

[0dBu]

2-Stage EQ

[-10dBu]

[0dBu]

PFL CTRL PFL R PFL L

REC R/GROUP 2 REC L/GROUP 1

STEREO R STEREO L

EFFECT *1 AUX *1

[0dBu]

PEAK

+48V

PHANTOM

SUM

REC/

REC OUT2/

L/1

REC/GROUP

Fader

[0dBu]

G1–2

PAN

CH Fader

[+4dBu]

GROUP OUT

R/2

SUM

[-6dBu]

AUX *1

[0dBu]

[-10dBu]

3-Stage EQ

TO STEREO

INV

[0dBu]

PRE

MID

LOW

INV

[-6dBu]

EFFECT

HIGH

[0dBu]

[+4dBu]

STEREO OUT

[0dBu]

[-10dBu]

STEREO Fader

[0dBu]

SUM

[0dBu]

REC/

G1–2

PFL

+15V

[0dBu]

BAL/PAN

[-10dBu]

CH Fader

[0dBu]

PEAK

3-Stage EQ

AUX *1

[-14dBu]

HIGH

MID

LOW

SUM

[-14dBu]

EFFECT

PRE

[-10dBV]

[-7.8dBu]

REC OUT1

STEREO/REC (GROUP)

PFL

3-Stage EQ

[+4dBu]

[-14dBu]

AUX *1

Reference

Specifications

0dBu

-20dBu

-10dBu

+10dBu

MONITOR OUT [+4dBu]

PHONES [3mW @ 40ohms]

MONITOR [Nominal:-6dB]

PHONES

STEREO OUT [+4dBu]

REC OUT 2 [-7.8dBu]

STEREO Master

[Nominal:-10dB]

REC OUT 1 [+4dBu]

REC Fader

[Nominal:-10dB]

AUX SEND *1 [+4dBu]

AUX SEND *1

[Nominal:-6dB]

RETURN

2TR IN

[Nominal:-6dB]

ST CH AUX *1

CH AUX *1

[Nominal:-6dB]

EFFECT RETURN

[Nominal:-10dB]

[-7.8dBu]

RETURN [+4dBu]

2TR IN [-10dBV]

CH Level

ST CH Level

-30dBu

[Nominal:-16dB]

DSP AUX

[Nominal:-6dB]

[Nominal:-10dB]

+20dBu

[3mW @ 40ohms]

PHONES

INV

PHONES

LED METER

SUM

[-14dBu]

EFFECT

PFL

PRE

HIGH

LOW

2-Stage EQ

[-6dBu]

[-16dBu]

+15V

INV

[-6dBu]

AUX SEND *1

[0dBu]

SUM

[-6dBu]

AUX SEND *1

[+4dBu]

[-6dBu]

EFFECT SEND *1

[0dBu]

[-14dBu]

AUX *1

EFFECT SEND *1

[+4dBu]

SUM

TO STEREO/TO MONITOR

2TR IN

[-6dBu]

USB

D-D+GND

LIN

LPF

[+4dBu]

USB

AUDIO

RIN

LPF

EFFECT RETURN

Vbus

(Bus Powered)

LPF

[0dBu]

[-10dBu]

[+4dBu]

PROGRAM

LPF

(1–16)

[-14dBu]

AUX

DIGITAL

EFFECT

PARAMETER

(DSP)

PFL

EFFECT

FUNCTION NAME

MODEL

MW12CX AUX

+15V

AUX2

AUX1

MW12C

MONITOR MIX

only MW12CX

+30dBu

Clip Level

COMP

HPF

[0dBu]

MIC

TH+GAIN

HPF

GAIN Trim

[16 to 60dB]

LINE

[-60 to -16dBu]

(CH1 to 4)

CH INPUT

INSERT

I/O

[-34 to +10dBu]

[0dBu]

HPF

[-34 to +10dBu]

[-60 to -16dBu]

MIC

[0dBu]

GAIN Trim

[-34 to +10dBu]

LINE L/MONO

(CH5/6, 7/8)

ST CH INPUT

[6 to 50dB]

[-34 to +10dBu]

LINE R

ST CH IN

[0dBu]

INV

[0dBu]

INV

SUM

LRR

[-10dBu]

Clip Level

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

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

Clip Level

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

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

L/MONO

ST CH INPUT

(CH9/10, 11/12)

[-10dBu]

[+4dBu]

RETURN

2TR IN

[-10dBV]

[-7.8dBu]

FOOT SW

EFFECT ON/OFF

CH IN LINE Gain:Min [+10dBu]

CH IN MIC Gain:Min [-16dBu]

0dBu

-20dBu

-10dBu

+20dBu

+30dBu

+10dBu

MW12CX/MW12C Owner’s Manual

CH IN LINE Gain:Max [-34dBu]

CH IN MIC Gain:Max [-60dBu]

-40dBu

-30dBu

-60dBu

-50dBu

About the accessory disk

NOTE

SPECIAL NOTICE

• The software included in the accessory disk and the copyrights thereof are under exclusive ownership by Steinberg Media Technologies GmbH.

• 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 Windows and Macintosh.

• Make sure to install DAW software under the “Administrator” account.

• 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 provided 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 AGREEMENT. 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 TECHNOLOGIES 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.

1. GRANT OF LICENSE AND COPYRIGHT

Yamaha hereby grants you the right to use one copy of the software program(s) and data (“SOFTWARE”) accompanying this Agreement. The term SOFTWARE shall encompass any updates to the accompanying software and data. The SOFTWARE is owned by STEINBERG, and is protected 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 SOFTWARE is on media where such backup copy is permitted. 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.

MW12CX/MW12C Owner’s Manual

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 SOFTWARE may not be removed nor may the electronic watermark be modiﬁed without permission of the copyright owner.

3. TERMINATION

This Agreement becomes effective on the day that you receive the SOFTWARE and remains effective until terminated. 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 warrants that the tangible media on which the SOFTWARE is recorded will be free from defects in materials and workmanship 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 PERMITTED BY LAW, YAMAHA EXPRESSLY DISCLAIMS ANY IMPLIED WARRANTIES ON THE TANGIBLE MEDIA, INCLUDING THE IMPLIED WARRANTIES OF MERCHANTABILITY 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 NONINFRINGEMENT OF THIRD PARTY RIGHTS. SPECIFICALLY, BUT WITHOUT LIMITING THE FOREGOING, YAMAHA DOES NOT WARRANT THAT THE SOFTWARE WILL MEET YOUR REQUIREMENTS, THAT THE OPERATION 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, INDIRECT, INCIDENTAL OR CONSEQUENTIAL DAMAGES, EXPENSES, LOST PROFITS, LOST DATA OR OTHER DAMAGES 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 governed 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, written or oral, regarding the subject matter of this Agreement. No amendment or revision of this Agreement will be binding unless in writing and signed by a fully authorized representative of Yamaha.

MW12CX/MW12C Owner’s Manual

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.

NORTH AMERICA

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

CENTRAL & SOUTH AMERICA

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

PAN AMA 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

EUROPE

THE UNITED KINGDOM

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

Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700

IRELAND

Danfay Ltd.

61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-2859177

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

GREECE

Philippos Nakas S.A. The Music House

147 Skiathou Street, 112-55 Athens, Greece Tel: 01-228 2160

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

FINLAND

F-Musiikki Oy

Kluuvikatu 6, P.O. Box 260, SF-00101 Helsinki, Finland Tel: 09 618511

NORWAY

Norsk ﬁlial av Yamaha Scandinavia AB

Grini Næringspark 1 N-1345 Østerås, Norway Tel: 67 16 77 70

ICELAND

Skifan HF

Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000

OTHER EUROPEAN COUNTRIES

Yamaha Music Central Europe GmbH

Siemensstraße 22-34, 25462 Rellingen, Germany Tel: +49-4101-3030

AFRICA

Yamaha Corporation, Asia-Paciﬁc Music Marketing Group

Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2312

MIDDLE EAST

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

ASIA

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

HONG KONG

Tom Lee Music Co., Ltd.

11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 2737-7688

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

PHILIPPINES

Yupangco Music Corporation

339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551

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

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

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: +81-53-460-2312

SY41

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

Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2445

Yamaha Web Site (English only)

http://www.yamahasynth.com/

Yamaha Manual Library

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

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

WJ95350 706POAP?.?-02B0

Printed in China

Yamaha MW12CX, MW12C User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

PRECAUTIONS

Introduction

Features

Contents

Before Turning on the Mixer

Computer System Requirements

Turning the Power On/OFF

Mixer Basics

Quick Guide

Installing Cubase AI4

Connecting to the MW mixer

Powering Up the System

Adjusting Level and Tone

Recording with Cubase AI4

Mixing with Cubase AI4

Reference

Setup

Front & Rear Panels

Channel Control Section

Master Control Section

Digital Effect * Only the MW12CX has digital effects.

Rear Input/Output Section

Digital Effect Program List

Jack List

Troubleshooting

■ Dimensional Diagrams

■ Block Diagram and Level Diagram

About the accessory disk

SOFTWARE LICENSE AGREEMENT