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Yamaha MG10XU 10-Input Stereo Mixer with Effects
- "D-PRE" Mic preamps with an inverted Darlington circuit
- Metal chassis with XLR balanced outputs
- Built-in SPX digital effects, bi-directional USB, one-knob compressors
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This item Yamaha MG10XU 10-Input Stereo Mixer with Effects
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|Item Dimensions||5.2 x 15.75 x 14.17 in||5.16 x 14.33 x 12.28 in||3.46 x 8.78 x 11.81 in||9.1 x 3.3 x 13.3 in||5.94 x 12.76 x 15.51 in||6.1 x 8 x 2.5 in|
MG SERIES MIXERS
For more than a century, Yamaha has been building a legacy of superior craftsmanship and innovation exemplified in all of our products, from an unrivaled catalog of world-class musical instruments to touring-grade professional audio. Now in its third incarnation, the MG Series embodies this pursuit of design excellence, and incorporates some of the same technologies developed for use in high-end professional consoles, including studio-quality preamps, powerful digital processing, and a rugged, reliable construction. With an intuitive, easy-to-use interface, the MG Series boasts an extensive lineup of compact mixing consoles with models ranging from six to twenty channels, suitable for a diverse range of users and applications. For installed, recording, or live music settings, the solid construction and flexible design of these consoles lets you shape your sound with confidence, continually delivering peak performance and a level of sound quality and reliability unrivaled in its class.
HEAD OF THE CLASS
Yamaha has always strived to provide sound engineers with the purest possible signal instead of added processing or color to give it a "signature" sound, and the MG Series is no exception. Embracing this philosophy of transparent sound, these mixing consoles deliver a level of sonic purity and sound quality that is unmatched in their class. Everything you do as a sound engineer is dependent on the quality of your preamps, which determines the direction your mix will take, and ultimately how good it is going to sound. MG Series mixing consoles feature Yamaha's studio-grade discrete class-A D-PRE preamps, which utilize an inverted Darlington circuit comprising two cascading transistors in a configuration that provides more power with lower impedance.
BUILT TO LAST
For gigging, recording, and installed applications alike, your console can be subjected to a wide range of environmental conditions and hazards. Excessive humidity, unstable power supplies, and the rigors of road travel in general can take a serious toll on a mixing console, often causing expensive, time-consuming repairs, and reducing its lifespan. The MG Series has been redesigned with an emphasis on durability, incorporating practical features that offer greater flexibility while ensuring peak performance for many years to come.
D-PRE (Discrete Class-A Mic Preamps)
Delivering fat, natural sounding bass and smooth, soaring highs, with very low distortion, D-PRE preamps possess an impressively wide frequency range that allow them to handle signal from any audio source without overly amplifying any specific elements of the sound. Having such a pure sonic platform to build on will ultimately save you time and effort by eliminating the need for excessive EQing or additional effects processing in order to "fix" your mix.
Built-in SPX Digital Effects
For musical and non-musical applications alike, effects processing adds polish and professionalism to the mix. The MG X / XU models features Yamaha's acclaimed SPX digital multi-effect processor, offering a comprehensive suite of 24 editable digital effects perfect for enhancing your mix, whether adding depth to a speaking engagement or breathing new color and atmosphere into a live band performance. In particular, the high-quality reverb and delay expand the spatial quality of the sound with remarkable realism and naturalness.
Built to last, MG Series mixers feature a rugged, impact-resistant, powder-coated metal chassis, offering an unrivaled level of durability. With a sleek design contoured for optimal convection cooling, the internal layout separates the power supply from the analog circuitry for superior noise reduction, and further extends the life of the components inside. To further ensure reliable performance, knob control placement above the surface of the chassis diverts any impact or pressure on the knobs to the chassis itself and not the circuit board or components underneath.
Compression plays an essential role in just about any recording or sound reinforcement environment by altering the level of dynamics of an audio signal when you need livelier guitars, punchier bass lines, a tighter snare, or a cleaner vocal sound. However, it can take countless hours to master the complexities of even the most basic outboard compression units and use them effectively. Originally a Yamaha innovation, 1-knob compressors are now an industry standard that gives you instant access to optimized compression settings via a single rotary control.
24-bit /192kHz 2-in/2-out USB Audio
MG Series mixing consoles feature flexible digital connectivity for quick and easy highresolution playback of digital content. Simply connect to your PC via USB, or to your iPhone / iPad (2 or later) using Apple's Camera Connection Kit / Lightning to USB Camera Adapter. The USB protocol uses asynchronous data transfer. Audio data is transferred based on highly precise audio clock signal from the MG, for high quality recording and playback.
High Quality Sound Op-amp
The head amp determines sound quality, and op-amp integrated circuits are one of the most important parts in the head amp circuit. MG Series mixers feature new, high-quality, custom made MG01 op-amps that we developed in cooperation with the semiconductor manufacturer. Although many other Op-amps prioritize electrical design and efficiency, we worked directly with the semiconductor manufacturer to focus on sound quality first. MG01 op-amps feature redesigned circuitry in which even the internal components and wiring have been optimized, and use materials such as high-quality silicon wafers and copper wire to achieve superb resolution.
Top Customer Reviews
i have also used it a bit to record. hooked it up USB directly to my mac book with logic pro. worked immediately with no issues.
What I liked best about this board were the instructions: they were idiot proof. This was the first mixing board I have ever purchased, and the included diagram showed me what to plug into which port, and which dials to turn. I went from box to playing using it in under 30 minutes.
You will need a fair amount of cables when using a board, so keep your cables in kind when buying a board.
I think some of the "less positive" reviewers maybe had unrealistic expectations of a super small form-factor, sub-$120 mixer. It fits a need and; that comes down to what is does have. The signal to noise ratio is fantastic as far as I can subjectively tell. It also has dual (stereo), balanced XLR outputs. Effects are well done, although admittedly, I don't really use them (especially in pre-production). As far as "no midrange EQ", there is no substitute for a hardware based knob but, if you know how to work the high/low EQs alongside the gain and master volume, you can in-fact, somewhat "tweak the mids" and this shouldn't be a deal breaker for an experienced sound person. You can tell the minute you explore the unit, that it is well made and uses high quality components.
All things said, in my opinion, it is a two channel, podcasting mixer. I have two Shure SM7B microphones and a Focusrite Scarlett 2i2 connected to this mixer for small studio interviews. I am confident saying that I would challenge any sound professional to come up with a better sounding setup for the money. You can spend 10x as much for an insignificant bump up in quality.
As a side note, I've used this setup with Adobe Audition/Premiere, Audacity and Garage Band (although with Garage Band, I was using a Shure SM-57 as a guitar mic) and again, it exceeded my expectations.
There is one (to me) strange quirk in this mixer, which I find a little detrimental to playback, and may be a big issue for any recording done through this device. Basically, where I'm used to "Monitor/Phones" level control to come after (that is, be influenced by) the Stereo level control, in this mixer, they are completely independent. Further, the level sent to the computer via USB is not affected by either the Stereo level or Monitor/Phones level... and there's no control for changing the signal source for the meter (which always shows the stereo bus AFTER the stereo level control). So... there's no way to adjust the level of what's being recorded that preserves the mix, and no way to meter the signal sent to the converters. A glance at the block diagram makes all this clear if you're looking for it.
Of course, one can (and should) monitor post-USB levels in the DAW. But I like to have the pre conversion analog information as well, and also to be able to have the device I'm twiddling be able to meter the effect of that twiddling. I'm not sure if I'll ever use this mixer to record anything that needs live adjustments of level or mix, so I'm not particularly concerned about the lack of ability to adjust the level of the whole mix before being sent to USB... but I would be if this was primarily a recording device. By "concerned" I don't mean it would necessarily be a deal breaker - but it would be something I'd want to investigate thoroughly before choosing this mixer.
So, overall, a great device for the price for my purposes!
Most Recent Customer Reviews
I will not restate how great this board is because all the good reviews are true.Read more
However, there have been a few jam sessions where I wished that I had bought...Read more