The MG102C is an ideal mixer for basic music production or live sound applications that require high sound quality from a relatively small number of input sources. While remarkably compact and lightweight, no compromises have been made in sound quality. It even has built-in channel compressors that, although easy to operate, can significantly enhance the quality of your mixes. An optional adaptor allows mounting on a microphone stand for easy access and convenient positioning on stage.
Small but Sophisticated
Many real-world mixing applications only involve a few channels, so a small mixer is the obvious choice. But no matter how simple the setup, you'll always want first-rate audio quality and processing capability. The MG102C is the ideal choice for small m...
Small but Sophisticated
Many real-world mixing applications only involve a few channels, so a small mixer is the obvious choice. But no matter how simple the setup, you'll always want first-rate audio quality and processing capability. The MG102C is the ideal choice for small music production or live sound applications, offering sonic quality that will satisfy the most critical listener, surprising flexibility and ease-of-use, and some advanced features you normally wouldn't find in this type of compact mixer. So whether you need a compact main mixer, or a secondary utility mixer for a larger application, don't overlook this performance-packed model.
Flexible 8 or 10 Input Channel Configurations
The MG102C has a total of 10 input channels comprised of two mono microphone/line channels and four stereo line channels. Two of the stereo channel can be used as mono microphone inputs, providing a total of four microphone inputs when necessary. Gain trim covers a wide -60dB ~ -16dB range for microphone input, and -34dB ~ +10dB for line input.
Comprehensive, Easy-access Connector Panel
Top-mounted input and output connectors make setting up and re-patching your system quick and easy. Featuring high-quality Neutrik™ balanced XLR connectors on both 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 channel on the MG82CX provide phone jack and pin jack connectors for compatibility with a wide range of sources. The two 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.
Four High-performance Microphone Preamplifiers with Switchable Phantom Power
Microphone preamplifiers are critical in any mixer, and a performance bottleneck in many. That's why pros often spend thousands of dollars on just a single channel of microphone pre-amplification. 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 four microphone preamps also 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 four channels.
Built-in Channel Compressors
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. You won't find built-in channel compression on too many other mixers in this class, but in the MG102C you have Yamaha's innovative one-knob compression feature on mono input channels 1 and 2. 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.
3-band Channel EQ and High-pass Filter
Building a truly useful, musical-sounding channel equalizer is no easy task, but Yamaha has decades of experience in building pro consoles to draw on, and you reap the benefits in the MG-series mixers. On the MG102C, Channels 1, 2, 3/4, and 5/6 feature full 3-band equalizers with LOW, MID, and HIGH controls, while channel 7/8 and 9/10 have 2-band EQ for smooth equalization of stereo sources.
The MG102C has AUX send controls on all channels that adjust the level of the signal sent from the corresponding channel to the output in the master section. This signal can also be sent to external effect processors via the AUX SEND jack. A RETURN control in the master section adjusts the level of the signal returned from external processors via the RETURN jacks.
Stereo, Control Room, Monitor, and Headphone Outputs
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. They may be compact, but these mixers offer plenty of connectivity for a wide range of applications.
Bright Meters for Visual Level Monitoring
Accurate visual level monitoring can help you achieve maximum signal-to-noise ratio without distortion. The MG mixer's bright, easy-to-read multi-segment LED meters make it easy to control system levels for optimum overall performance.
Lightweight, Portable Design
The MG102C weighs only 1.5 kilograms (3.3 pounds). That's small enough to pop into your briefcase or shoulder bag and easily take with you anywhere. But the performance you'll get at the studio, club, outdoors, or anywhere you choose to use these fine mixers is far from lightweight.
Optional Mic Stand Mount
The MG102C can be mounted on a microphone stand for optimal positioning and easy access using the optional BMS-10A Mic Stand Adaptor. This can be particularly handy when using the mixer as sub-mixer for drums or as a cue box in recording situations.
All switches, controls, and displays have been designed and laid out for intuitive access and smooth, reliable operation with positive tactile and visual feedback.
Audio & Video
|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 and Noise||-128 dBu Equivalent Input Noise/-100 dBu Residual Output Noise 20 Hz - 20 kHz, Rs = 150 O, Input Gain = Maximum|
|Input Connectors||MIC: 4, LINE: 2 mono + 4 stereo, CH INSERT: 2, RETURN: 1 stereo, 2TR IN: 1 stereo|
|Output Connectors||ST: 1, AUX SEND: 1, CH INSERT: 2, REC: 1 stereo, MONITOR: 1 stereo, Phone: 1|
|Input HPF||CH 1-2 and CH 3/4-5/6, 80Hz, 12dB/oct|
|CH EQ (MONO) ±15 dB (Max.)||High||10 k Hz: shelving|
|Mid||2.5 k Hz: peaking|
|Low||100 k 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 1-2|
|LED Level Meter / Pre Monitor Level||2 x 7 points LED meter (PEAK, +6, +3, 0,-5, -10, -20 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-10: AC 38VCT, 0.62A,Cable Length = 3.6m|
|Power Consumption||21 W|
|Dimensions (W x H x D)||256.6 mm x 62.2 mm x 302.5 mm 346.2 mm|
|Net Weight||1.5 kg|
|Options||Microphone Stand Adaptor (BMS-10A)|