For applications requiring up to 12 input channels the MG124CX offers stunning MG-series sound plus an extra margin of signal-routing versatility. The MG124CX features a high-performance digital multi-effect processor built-in, giving you everything you need in one compact, powerful package.
The MG124CX both has a total of 12 input channels - four mono microphone/line inputs and four stereo line inputs. Two of the stereo line inputs can also function as mono microphone inputs, giving you up to six simultaneous mono microphone inputs when needed. Gain trim covers a wide -60dB ~ -16dB range for microphone input, and -34dB ~ +10dB for line input.
Top-mounted input and output connectors make setting up and re-patching your system quick and easy. Both models feature high quality Neutrik™ balanced XLR connectors on all four mono microphone/line channels and two of the stereo channels. The XLR-equipped stereo channels can accept mono microphone input either via the XLR or phone jack connectors. The remaining stereo channels provide phone jack and pin jack connectors for compatibility with a wide range of sources. The four mono input channels also feature insert I/O connectors that let you patch external signal processing gear into those channels as required. Separate pin-jack 2TR inputs are provided to accept the output from a CD player or similar stereo source.
The microphone preamplifiers in any mixer are critical to its overall performance. The microphone preamps built into the MG mixers inherit technology from Yamaha's top-line professional consoles, and have been painstakingly designed to deliver superior sonic performance with any dynamic or condenser microphone. All six microphone preamps feature switchable phantom power so you can take advantage of the natural, extended response of high-quality condenser microphones. A single switch turns phantom power on or off for all microphone channels.
Built-in channel dynamics is usually only found on high-end (and very expensive) consoles. The MG124CX features Yamaha's innovative one-knob compression feature on mono input channels 1 through 4. This advanced feature can be a tremendous advantage in achieving great vocal sound. It can also be used to refine the sound of bass, guitar, and other sources. Conventional audio compressors with their threshold, ratio, knee, makeup gain and other controls can be complex and time-consuming to set appropriately for a given source. Yamaha's one-knob compressor eliminates the need for an engineering degree with a single control that lets you simply dial in the amount of compression you want.
Yamaha has decades of experience in building truly useful, musical equalization into successful pro consoles, and the channel equalizers in MG-series mixers carry on without compromise. Channels 1, 2, 3, 4, 5/6, and 7/8 feature full 3-band equalizers with LOW, MID, and HIGH controls, while 9/10 and 11/12 have 2-band EQ for smooth equalization of stereo sources.
In addition to the main stereo bus the MG124CX features a stereo group bus and outputs that can be used for convenient channel grouping. Assign switches for the stereo and group buses are located next to each channel fader.
All input channels feature illuminated channel ON switches chat can be used to individually add or remove channels from the mix without having to change the positions of the channel faders. The effect channel on the MG124CX also has it's own ON switch.
The MG124CX has pre/post switchable AUX sends on all channels as well as EFFECT send controls that adjust the level of the signal sent to the mixer's internal multi-effect system. Master send controls are also provided, as are RETURN level controls for the AUX and STEREO busses.
Located above the mixer's master controls, on the convenient easy-access connector panel, are the main stereo output connectors, phone-jack monitor output connectors, pin-jack recording outputs, and a stereo headphone jack. These versatile mixers offer plenty of connectivity for a wide range of applications.
Accurate visual level monitoring can help you achieve maximum signal-to-noise ratio without distortion. The MG mixer's bright, easy-to-read 12-segment LED meters make it easy to control system levels for optimum overall performance.
Channel and master level control is accomplished via reliable, high-performance 60-millimeter linear faders that provide smooth, noise-free operation. An important advantage of linear faders is that they provide a direct visual indication of relative level settings.
In spite of the fact that they offer 12 channels, four buses, and a wealth of advanced features, the MG124CX is small and light enough (only 2.9 kilograms or 6.4 pounds ) to be tucked under an arm and set up just about anywhere. This remarkable mixer provides significant space savings along with huge performance benefits.
All switches, controls, and displays have been designed and laid out for intuitive access and smooth, reliable operation with positive tactile and visual feedback.
The MG124CX's includes an astonishing amount of SPX signal processing power. It incorporates a versatile digital multi-effect processor that provides a range of reverb, delay, modulation, and distortion programs you can use to refine and define your sound. Each of the 16 effect programs has a number of editable parameters as well as effect on/off switching capability and return level control. If you need to keep both hands free to play an instrument or perform other operations, an optional footswitch can be connected to the mixer's effect footswitch jack for convenient on/off switching.
From the initial design to final manufacturing, all production processes for the Yamaha MG series mixing console are performed entirely inside the company. Moreover, every product that comes off our production line must pass strict quality controls using the sophisticated test instruments. Thus, all of this enables us to deliver the highest quality products to you.
|Total Harmonic Distortion||Less than 0.1 % (THD+N) 20 Hz - 20 kHz @ +14 dBu (ST OUT)|
|Frequency Response||0, +1, -3 dB 20 Hz - 20 kHz @ +4 dBu (ST OUT)|
|Hum & Noise||-128 dBu Equivalent Input Noise/ -98 dBu Residual Output Noise 20 Hz - 20 kHz, Rs = 150 Ω, Input Gain = Maximum|
|Input Connectors||MIC: 6, LINE: 4 mono + 4 stereo, CH INSERT: 4, AUX RTN: 1 stereo, 2TR IN: 1|
|Output Connectors||ST: 2, AUX SEND: 1, EFFECT SEND: 1, CH INSERT: 4, REC: 1 stereo, MONITOR: 1 stereo, GROUP: 2 Phone: 1|
|Crosstalk||-70 dB @ 1 kHz|
|Phantom Power||+ 48 V|
|Input HPF||CH 1-4, CH 5/6-7/8, 80Hz, 12dB/oct|
|CH EQ (MONO) ±15 dB (Max.)||High||10 k Hz: shelving|
|Mid||2.5 k Hz: peaking|
|Low||100 Hz: shelving|
|CH EQ (STEREO) ±15 dB (Max.)||High||10 k Hz: shelving|
|Low||100 Hz: shelving|
|Compressor (COMP)||Control x 1 (Gain/Threshold/Ratio), CH 1-4|
|Internal Digital Effect||16 PROGRAM, PARAMETER control Foot Switch (Digital Effect, on/off)|
|LED Level Meter / Pre Monitor Level||2 x 12 points LED meter (PEAK, +10, +6, +3, 0, -3, -6, -10, -15, -20, -25, -30 dB) PEAK lights if the signal comes within 3 dB of the clipping level.|
|Peak Indicator||Red LED turns on when post EQ (ST CH: or post Mic HA) signal reaches -3dB below clipping (17dBu).|
|Power Supply Adapter||PA-20: AC 35VCT, 0.94A, Cable Length = 3.6m|
|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|
|Options||Foot Switch (FC-5)|