Determined to provide a service,
sound and product that will reflect well on both the client and Emerald
City Recording. It doesn't matter the size of your budget, the studio
supports and appreciates all audio projects.
The studio's goal and promise for
each project is to bring it"to the next level".
From recording to mixing,
digital audio editing and music mastering you can be assured that Emerald
City Recording has the experience, the engineer, the sound and the
equipment necessary to get your project right and completed on time.
Serving the Tampa, Clearwater, St. Petersburg Area
Emerald City Recording's clients represent
bands and recording artists, music companies, production companies and
labels from all over the state of Florida including
Tampa area, Clearwater, St. Petersburg,
Sarasota, Oldsmar, Brandon, Lakeland, Orlando, St. Pete Beach, Tarpon
Springs, New Port Richey, Palm Harbor, Spring Hill, Bradenton, Plant
City, Lutz, Wesley Chapel, Gainesville, Fort Myers, Fort Lauderdale,
Miami, Jacksonville, Tallahassee, West Florida, Central Florida, South
FL, North FL.
Since its introduction in 1975, the
patented Aphex Aural Exciter has been used on thousands of hit albums
successful musical tours. The Aural Exciter is a patented audio
process that recreates missing harmonics without generating
significant changes in the actual signal level.
Reproduced sound is audibly different than the original live sound because
of the loss in harmonic detail, often
sounding dull and lifeless. The Aural Exciter adds harmonics, restoring the
sounds natural brightness, clarity and presence, effectively improving
detail and intelligibility. Using the Aural Exciter on specific instruments
and/or in the final mix brings life back to the recording.
The Aural Exciter extends the high frequencies, unlike EQ's and other
brightness enhancers which only boost the high frequencies and alter the
overall tonal balance. The stereo image is enhanced with the Aural Exciter,
resulting in a greater perceived loudness without an introduction of noise
into the audio path due to increased gain. Vocals and instruments seem to
stand out, without raising individual volumes in the mix.
Big Bottom circuitry dynamically shapes the bass response in the 20Hz to
120Hz range, increasing the perception of low frequencies without boosting
the maximum peak output. The bass frequency response is dynamically
optimized to isolate and enhance the lowest bass frequencies to provide a
deeper and more resonant bass without overloading the sound system. Using
the patented Big Bottom tightens the bass, allowing low frequencies to
be more articulated and recognizable.
Built with recording and live sound applications in mind, the MG124CX is the
12 channel version from the MG series of
Yamaha mixers that come with built-in compressors and effects.
Typical to other
the MG124CX is divided into 5 different sections - the input/output section,
the channel section, built-in effects channel, the group section and the master
Channel 1 through 4 uses mono XLR Mic Inputs. Stereo channels 5 & 6
and then 7 & 8 use a stereo mic input. It should be noted that you will need special cabling if
you want to use the stereo channels for your mic inputs.
Below the mic inputs are the line
inputs...Channels 1 through 4 use balanced 1/4" jacks, stereo channels 5 & 6
through 11 & 12 use unbalanced stereo line inputs. Channels 9 & 10 through
11 & 12 have additional unbalanced RCA inputs.
Channels 1 through 4 have an insert send and
return for plugging in additional devices such as equalizers, compressors or
noise gates. These 1/4" jacks carry both the send and return signal so you
will need special cabling to plug in your external outboard equipment.
through 8 have a gain control which is used to adjust the input signal level
for the channels. Next to the gain control is a high pass filter that cuts
frequencies below 80hz.
Below the gain is the control knob for Yamaha's
built-in compressor. As the knob is turned to the right the compression
ratio increases while the output gain is automatically adjusted.
Next to the EQs is the peak indicator for the channels. The
peak indicator light will illuminate
red whenever the signal reaches 3db below clipping. The EQs are broken up
into highs, mids and lows. Channels 9 & 10 through 11 & 12 have only two
The auxiliary sends knobs on the channels adjusts the level of the
signal that is sent from the channel to the aux 1 bus and the auxiliary send
can be used to send the signal to an external device for processing. The
auxiliary pre switch selects whether the pre-fader or post-fader signal is
fed to the auxiliary bus.
The white effects control adjusts the level of the
signal sent from the channel to the effects bus...and is also known
auxiliary send 2 on this version of
The pan determines the stereo positioning. The balance
on channels 5 & 6 through 11 & 12 control the input that is received from
the mic or line Inputs on the stereo channels.
Make sure the ON switch is on
to send the signal to the buses. You'll probably end up uses these ON switches
as your channel mutes.
The PFL switch or pre-fader listen switch lets you
monitor the channel's pre-fader signal by routing the signal to the monitor
The 1 & 2 switch assigns the channel's signal to the
& 2 buses. The red ST switch assigns the channel's signal to the stereo
& right buses.
The channel fader adjusts the level of the channel's signal.
To the left of the level meter is the switch for the 48 volt
This switch toggles the phantom power off and on. When the switch is on the
mixer supplies phantom power to all of the channels so you will want to make
sure this switch is off if your microphone doesn't use phantom power. Since
the phantom power is on for all the channels when the switch is engaged you
may find an external phantom power supply box more flexible if you want to
use a mix of microphones when
The master sends & returns are below the switch
for the phantom power. You have 2 auxiliary sends and 2 auxiliary returns.
You will notice that there is a white effects knob in this section... the
white effects knob on the Yamaha MG124CX
nothing to do with the effects section and is actually the second auxiliary
In the master section...If the monitor switch is set to
group then the
output signal from group 1 & 2 are sent to the monitor output section...If
it is set to stereo than the signal from the stereo left & right are sent to
the monitor output section.
Yamaha MG124CX also has
an additional input for 2 track devices such as CD players or mp3 players.
If the 2 TR switch is set to monitor than the signal is routed to the
monitor output section. If the switch is set to stereo than the external
sound source is set to the stereo left & right buses.
Note - Emerald City Recording did not receive
any money for it's review of the Yamaha MG124CX but did keep the unit upon