The Yamaha mixer uses a D-Cable to power itself. Plug in the cable to the mixer before connected it to an outlet. This is to avoid potential electrical shock.

Once you have confirmed that the cable is seated properly on both ends, turn on the mixer. At this point, nothing should be plugged in yet.

This fader controls the master volume of all inputs on this mixer. It is best practice to turn the fader down to nothing, then turning it on in order to avoid sending an unwanted signal to the camera. You know the STEREO is on when the square button is illuminated.

Ensure that these inputs are turned off and set to nothing. Check if the red ST button is pushed in and that the 1-2 gray button is NOT pushed in.

1. Make sure these two buttons are not pushed in. If a microphone input is too loud, we may turn on PAD on a case by case basis. PAD lowers volume by 26 dB at the source.
2. Set Gain +20 (All the way to the left) This value may change on a case-by-case basis. The gain controls how sensitive a signal is. Usually it is a balancing act between GAIN and the Faders to ensure that a clean signal is going through but still able to be controlled by the main fader.
3. Set COMP to 0 (OFF)
4. Reset HIGH/MID/LOW EQs to point straight up to NOON (12 o'clock)
5. Set AUX 1 to point straight up to NOON (12 o'clock) For inputs 1-3, PRE should NOT be pushed in.
6. AUX2/FX set to 0 (OFF)
7. Set PAN to point straight up to NOON (12 o'clock).

Depending on how many consoles you are using for a broadcast, plug in the consoles starting with 1. Typically, the primary commentator or play-by-play is input 1. Color commentary is input 2 and a spare on input 3.

There is no need to have all consoles set up. Set up only what you expect to use.

In order for the headend to speak with the commentators through their headsets, a microphone will be plugged in to input 4. The microphone will be mostly a wireless one unless there is no clear line of sight between the headend and commentary. If there is no line of sight, then an XLR cable will be used.

1. Set GAIN to the gray area near 9-10 o'clock.
2. Set COMP to 0
3. Set HIGH/MID/LOW EQ to point straight up towards NOON (12 o'clock)
4. Set AUX1 to around 9 o'clock. PUSH IN PRE
5. AUX2/FX set to 0 (OFF)
6. PAN set to straight up NOON (12 o'clock)
7. Turn ON
8. Make sure 1-2 and ST are NOT pushed in.
9. Fader should be off.

Use the 1/4" to MALE XLR adapter to connect directly into a commentator console's IFB IN.

Plug in headphones using a 1/4" adapter. Set phones volume to a comfortable level, but not too soft or too loud as it may cause confusion while adjusting audio levels.

Test each announcer console by having someone put on the headset and pressing the ON button on the console.

1. Turn on the audio
2. Slowly raise the fader to 0. Stop at a comfortable level. If that level is between INFINITY and -20 dB, then LOWER THE GAIN knob. If the GAIN is already set to the lowest setting, press the PAD button, then continue to raise the fader until you reach 0 dB. If you reach 0 dB but the signal is too soft, you can slowly start to raise GAIN, one notch at a time until it is comfortable, however, do not go higher than 9 o'clock. The more sensitive the GAIN is, the more background noise is captured.

Using an XLR cable, plug in to the STEREO L XLR Output and plug in in to the XLR Input of a Camera. As of writing this tutorial, it is not known what settings to use on the camera itself.