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Quick Start Guide
MGP16X/MGP12X Owner’s Manual
14
Step 6 <Application>
Using the Ducker function
1. Connect a music player or device for playing
background music.
Connect the device to CH13/14 or CH15/16 on the MGP16X,
and to CH9/10 or CH11/12 on the MGP12X.
To connect an iPod/iPhone, use the USB terminal of the
MGP, and then set to the TO CH15/16 (TO CH11/12) switch
to USB ( ).
2. Turn on ( ) the DUCKER switch for each
channel you are using, and then adjust the
channel’s input to an appropriate level.
3. Connect the microphone to the SOURCE chan-
nel (MGP16X: CH8, MGP12X: CH4).
4. Adjust the input of the microphone to an
appropriate level.
5. Turn on ( ) the ON switch of the SOURCE
channel, and then raise the channel fader to
around “0” (nominal).
6. Play the background music, and listen to con-
firm that the sound volume automatically turns
down when you speak into the microphone.
NOTE
• The volume on the SOURCE channel is detected after fader
adjustment.
It is affected by the setting of ON switch and/or the channel
fader.
• If you want to make custom changes to the automatic sound
attenuation, refer to “About the Detailed Setting Mode” on
page 21.
Built-in digital effects
Your mixes can be further refined by adding ambience effects
such as reverb or delay.
The MGP’s internal effects can be used to add reverb or delay
to individual channels in the same way as external effects pro-
cessors.
Reverb and Delay Time
Small adjustments to the reverb/delay time can actually have a
significant effect on the sound. The optimum reverb time for a
piece of music will depend on the music’s tempo and density,
but as a general rule longer reverb times are good for ballads,
while shorter reverb times are more suited to up-tempo tunes.
Delay times can be adjusted to create a wide variety of
“grooves.” When adding delay to a vocal, for example, try set-
ting the delay time to dotted eighth notes (e.) corresponding to
the tune’s tempo.
Reverb Tone
Different reverb programs will have different “reverb tone” due
to differences in the reverb time of the high or low frequencies.
Too much reverb, particularly in the high frequencies, can
result in unnatural sound and interfere with the high frequen-
cies in other parts of the mix. It’s always a good idea to choose
a reverb program that gives you the depth you want without
detracting from the clarity of the mix.
Reverb Level
It’s amazing how quickly your ears can lose perspective and
fool you into believing that a totally washed-out mix sounds
perfectly fine. To avoid falling into this trap start with reverb
level all the way down, then gradually bring the reverb into the
mix until you can just hear the difference. Any more than this
normally becomes a “special effect.”
You don’t want reverb to dominate the mix unless you are try-
ing to create the effect of a band in a cave-which is a perfectly
legitimate creative goal if that’s the sort of thing you’re aiming
for.
2
1
1
3
5
4
2
5
TO CH15/16 (TO CH11/12) switch
DUCKER switches
GAIN control
ON switch
Channel fader
SOURCE channel
GAIN controls
CH13/14, CH15/16
(CH9/10, CH11/12)