MG24/14 FX (Church Production, Jan/Feb 2005)

By D. Scott Kramer

When churches and/or ministries consider the purchase of a mixing console, they should always consider three things: What is the feature-to-cost ratio? How is the sound quality? Is the mixing console durable? For most of us involved in ministry, we're faced with the challenge of finding equip-ment that meets these criteria yet remains within a realistic price range. Additionally, we cannot overlook or underestimate the need for audio equipment that is capable of enduring the rigors of youth ministry programs, on-going outreach events and the constant "revolving door" of front-of-house audio personnel. Most ministries will not be making a major audio mixer purchase every other year, and for that reason, they need equipment to perform above and beyond the proverbial "call of duty". For several years now, Yamaha has offered mixing consoles, which in my opinion, fit this bill. The Yamaha MG24/14 FX is no exception. It offers a plethora of features in an affordable, attractive and durable package.

Channel Input/Output Section
The Channel Input/Output section of the MG24/14 FX is found on the back of the console and is configured in the traditional manner. There are 16 mono mic/line inputs and four stereo inputs. The 16 mono mic/line inputs offer XLR and ¼-inch connectors. When both an XLR and ¼-inch cable are connected, the channel defaults to the ¼-inch (line) input. More convenient patching would obviously be accomplished had a channel mic/line switch been installed. For the addition of outboard gear, the mono channels offer a ¼-inch insert point. Phantom power is also available to the mono channels via two top-panel on/off switches. The Stereo channels (17 through 24) feature ¼-inch connectors and additional RCA connectors for inputs 21 through 24. Additional inputs include one set of analog two-track inputs with RCA connectors. I've found that most ministries appreciate the ability to run multiple media playback devices and it's nice to have these additional RCA inputs apart from the main channels.

Master Input/Output Section
Some extra consideration clearly went into the design of this section. Featured are stereo XLR outputs, ¼-inch stereo sub outputs, a mono out via XLR and stereo record outputs utilizing RCA connec-tors. The stereo sub outputs are actually a mirror of the main stereo outs and the mono output can double as a master control for a sub-woofer system. Also included are four ¼-inch group outputs, four ¼-inch group inserts, six ¼-inch aux sends and two ¼-inch effect sends. Rounding out the I/O section are ¼-inch stereo inserts for the main stereo bus and a ¼-inch footswitch input for the Effect Two Tap Delay. Audio personnel will appreciate the ability to add additional outboard gear to this section. If a limiter is needed on the mains, for instance, it's nice to have the inserts there as an option.

Channel Control Block
The channel strips for the first 16 channels are identical and offer some flexible mixing options. For immediate input attenuation, a 26-db pad switch is at the top of each of the sixteen channels. Follow-ing is the rotary gain control and High-Pass filter switch. This switch, when turned on, will immediately cut frequencies below 80 Hz. This is a great feature for eliminating the low-end rumble that creeps into microphones from an HVAC system or the unwanted plosives from a lavalier microphone. I've found this feature to be essential for proper live recording of church services.

Each of the first sixteen channels features a three-band equalizer. The high EQ is a fixed 10 kHz shelving EQ. The mid EQ is variable from 250 Hz to 5 kHz. The low EQ is fixed at a 100 Hz shelf. All three bands feature a +/-15 dB gain control.

Immediately following the EQ section are the six AUX sends. AUX 1,2,3 and 4 have two PRE switches available to select whether the pre-fader or post-fader signal is sent to the bus. AUX 5 & 6 may be switched between AUX 5 & 6 sends and Effects 1 & 2. The two Effect control knobs send signal to the on-board effect processors when the AUX 5, AUX 6 switch is turned off (or up). The AUX section of the MG24 should satisfy the monitoring and effect requirements of most mid-size venues.

Following the AUX sends are the panning controls which adjust the signal's pan positioning into the Group 1-2 bus pair, into the Group 3-4 bus pair, and into the Stereo bus's L and R lines. Next is the channel ON switch. When turned on, these switches light up in an eye-catching yellow-orange hue. When turned off, the signal to the group and stereo buses is muted.

The bottom portion of the mixer surface begins with the PFL (pre-fade listen) Switch. When turned on, a portion of the switch illuminates (a nice amenity) allowing the user to monitor the signal with head-phones. Following the PFL switch are Peak (red) and Signal (green) indicator lights. Next are the group switches, which allow the signal to be routed into either group 1-2 or group 3-4. Above the individual channel faders is a stereo buss switch, which when turned on, sends the signal to the stereo bus.

The stereo channels (17-24) are nearly identical to the 16 mono channels with just a few exceptions. These exceptions include the absence of a PAD switch and the addition of a balance control. As a side note, the balance control becomes a panning control for the stereo channels when running in mono mode. The most significant difference between the stereo and mono channels is the EQ section. The stereo channels offer four bands of fixed EQ. These bands include a Hi EQ 10 kHz Shelf, a Hi Mid peak-ing EQ at 3 kHz, a Low Mid EQ peaking at 800 Hz, and a Low EQ shelf at 100 Hz.

Master Block Section
The Stereo / Mono and Group Sections include a stereo master fader, a mono fader, a stereo sub out and the group (1 through 4) faders. Each of these faders has a corresponding AFL (after fade listen) switch, which offers convenient headphone monitor-ing of each output. Each of the group faders also has a corresponding pan control and a "To Stereo" switch that allows muting of the group faders. The mono fader also offers a much-welcomed addition of a controllable low-pass filter. This LPF has a cutoff frequency dial that is adjustable between 80 Hz and 120 Hz. This will allow a degree of low frequency shaping if using the Mono output to drive a separate subwoofer system.

The send and return section features the master level controls for the Aux send and returns. Aux 1 through 6 and Effects 1 and 2 each has a master level con-trol and corresponding AFL switch. The return section adjusts levels of the input from the Return 1 and 2 jacks and in turn, allows the level to be fed into the stereo bus and/or Aux busses 1 through 4.There are also two PFL switches (one for each return section).

The MG24/14 FX has two SPX digital multi effect processors built-in. There is a program select switch that allows selection of the type of effect. The ef-fects sound good and include your standard reverbs, delays, modulation effects, pitch change, tremolo, vocal doubler, distortion and tap delay. There is Tap button that allows the user the ability to set the time of the interval between the delay signals (only available on the Tap Delay setting). There are Aux pre controls (two sets) that allow the effect to be routed in the Aux buses 1 through 4. The switches for both effect processors include effect On/Off, PFL, Group routing (1-2, 3-4) and Stereo. There are also two master faders for overall effect level sent to the group and / or stereo buses.

Rounding out the master block section are the volume controls for the headphones, a two-track input section, a meter section and a talkback section. The LED meter section allows visual metering of the stereo, PFL-AFL, and group levels. There is also a talk-back section with a top-panel XLR jack for connection of a microphone. The talkback signal can be routed to the Aux 1-4 bus and / or the stereo bus. Finally, there is also 1.2-volt lamp jack for connection to a surface illuminating lamp.

The MG24/14 FX In Use
As I had mentioned earlier, the MG24/14 FX is an attractive board. Upon taking the mixer out of the box, I first noticed the wooden side panels (nice touch) and an overall sturdy construction. I've had the opportunity to mix on other manufacturers' comparable 24-channel boards and the MG24 is noticeably sturdier. The control knobs however, are made of plastic, so you wouldn't want to exert an inordinate amount of pressure on them.

The MG24's EQ section sounded smooth while adjust-ing the EQ for both a dynamic microphone and my keyboard synthesizer. The mixer's EQ should be adequate for most instruments and vocal needs. I was glad to see individual insert jacks on each channel. If I were to use the board in a live church service and the speaker was using a lavalier mic, I'd want to insert a parametric EQ on that channel. Most lavaliere mics need the extra EQ shaping that only a four-band fully sweepable EQ can give.

As I reviewed this board, it quickly became apparent that this mixer would suit the needs of most small to mid-size churches. It would also find a nice home within the youth groups of any church. The design is straight-ahead and could quickly be learned by staff and volunteers. The number of inputs, flexible routing, monitoring options, built-in processors and overall ease of use gives the mixer a broad appeal. One of the most attractive things however, was the price. The retail price of the board is $1,099 with a likely street price of about $899.

If your ministry needs a feature packed/easy-to-use mixer at a great price, the Yamaha MG24/14 FX is worth serious consideration.

The Yamaha MG-series mixing consoles features eight models ranging in size from a small 8-channel/2-bus unit right up to a more robust 32-channel/14-bus type with built-in effects.

D. Scott Kramer is the owner / operator of Electric Station Studios is Germantown Hills, IL. He is also the former technical director of Grace Presbyterian Church in Peoria, IL. Grace is a 2,300 member church offering a weekly television and radio ministry.