Making the Most Of Your Mixer

1-2. Balanced, Unbalanced—What’s the Difference?

In a word: “noise.” The whole point of balanced lines is noise rejection, and it’s something they’re very good at. Any length of wire will act as an antenna to pick up the random electromagnetic radiation we’re constantly surrounded by: radio and TV signals as well as spurious electromagnetic noise generated by power lines, motors, electric appliances, computer monitors, and a variety of other sources. The longer the wire, the more noise it is likely to pick up. That’s why balanced lines are the best choice for long cable runs. If your “studio” is basically conﬁned to your desktop and all connections are no more than a meter or two in length, then unbalanced lines are ﬁne—unless you’re surrounded by extremely high lev- els of electromagnetic noise. Another place balanced lines are almost always used is in microphone cables. The reason for this is that the output signal from most microphones is very small, so even a tiny amount of noise will be relatively large, and will be ampliﬁed to an alarming degree in the mixer’s high- gain head ampliﬁer.

To summarize:

Microphones:	Use balanced lines.
Short line-level runs:	Unbalanced lines are ﬁne if you’re in a relatively noise-free environment.
Long line-level runs:	The ambient electromagnetic noise level will be the ultimate deciding factor, but
	balanced is best.

■How Do Balanced Lines Reject Noise?

Skip this section if technical details make you queasy.

Balanced lines work on the principle of “phase cancellation”: if you add two identical signals out of phase (i.e. one signal is inverted so its peaks coincide with the troughs in the other signal), the result is … nothing. A ﬂat line. The signals cancel each other out.

Normal-phase signal.

No signal.

(Phase cancellation)

Reverse-phase signal.

A balanced cable has three conductors:

1)A ground conductor which carries no signal, just the “ground” or “0” reference against which the signal in the other conductors ﬂuctuates.

2)A “hot” or “+” conductor which carries the normal-phase audio signal.

3)A “cold” or “–” conductor which carries the reverse-phase audio signal.

While the desired audio signals in the hot and cold conductors are out of phase, any noise induced in the line will be exactly the same in both conductors, and thus in phase. The trick is that the phase of one signal is reversed at the receiving end of the line so that the desired audio signals become in- phase, and the induced noise suddenly ﬁnds itself out of phase. The out-of-phase noise signal is effec- tively canceled while the audio signal is left intact. Clever, eh?

Normal-phase signal + normal-phase noise.

Desired signal with no noise.

Normal-phase signal + reverse-phase noise.

MG16/4, MG12/4

12/4 specifications

The Yamaha 12/4 mixer is a compact yet powerful audio mixing console that has gained popularity among musicians, audio engineers, and sound technicians. Renowned for its versatility and robust build, this mixer is ideal for both live sound and studio applications.

One of the standout features of the Yamaha 12/4 is its 12-channel configuration, which includes four microphone inputs with high-quality preamps. These preamps are designed to capture audio with remarkable clarity and low noise levels, making them perfect for a variety of sound sources, from vocals to instruments. The four XLR inputs are complemented by additional line-level inputs, offering flexibility to connect multiple devices.

Each channel on the Yamaha 12/4 mixer is outfitted with a three-band equalizer, allowing users to shape their sound effectively. The EQ provides control over low, mid, and high frequencies, enabling precise adjustments to tailor the mix to specific requirements. This level of control is particularly beneficial for live performances, where quick tweaks can significantly enhance the audio experience.

The mixer also includes an onboard effects processor with a range of digital effects, such as reverb and delay, adding depth and dimension to the sound. This feature is a valuable asset for performers looking to enrich their live sound without the need for external effects units.

In terms of connectivity, the Yamaha 12/4 offers various outputs, including main outputs and auxiliary sends. These outputs allow for simple routing of audio signals to speakers, monitors, or recording devices. The auxiliary sends can be utilized for stage monitoring or for sending signals to external processors, enhancing the mix's overall versatility.

The design of the Yamaha 12/4 is both user-friendly and compact, making it an ideal choice for smaller venues and mobile setups. Its lightweight chassis and robust construction ensure durability during transport and frequent use, while clearly labeled controls facilitate ease of use for both novice and experienced operators.

In conclusion, the Yamaha 12/4 mixer combines quality, functionality, and versatility in a compact form, making it an excellent choice for audio professionals looking for a reliable mixing solution. With its high-quality preamps, flexible EQ, digital effects, and robust build, the Yamaha 12/4 stands out as a valuable tool for anyone in the sound industry, whether in the studio or on stage.