Midas M32R LIVE User manual

User Manual
DIGITAL RACK MIXER M32R
Digital Console for Live and Studio with 40 Input Channels,
32 MIDAS Microphone Preampliers and 25 Mix Buses

2DIGITAL RACK MIXER M32R User Manual 3DIGITAL RACK MIXER M32R User Manual
Table of Contents
Precautions................................................................... 10
Introduction.................................................................. 11
1. Control Surface ........................................................ 12
1.1 Channel Strip - Input Channels .................................... 12
1.2 Channel Strip - Group/Bus Channels......................... 13
1.3 Cong/Preamp .................................................................. 14
1.4 Gate........................................................................................ 14
1.5 Dynamics............................................................................. 14
1.6 Equaliser............................................................................... 15
1.7 Main Bus............................................................................... 16
1.8 Recorder............................................................................... 16
1.9 Main Display (Summary) ................................................ 17
1.10 Monitor............................................................................... 19
1.11 Talkback..............................................................................20
1.12 Assign.................................................................................. 21
1.13 Fader Layer........................................................................ 22
2. Main Display ............................................................23
2.1 Main Display - Top Section............................................23
2.2 Meters................................................................................... 27
2.3 Routing.................................................................................28
2.4 Library................................................................................... 32
2.5 Eects ................................................................................... 32
2.6 Setup..................................................................................... 33
2.7 Monitor.................................................................................36
2.8 Scenes...................................................................................36
2.9 Mute Group.........................................................................39
2.10 Utility................................................................................... 39
2.11 Internal Eects .................................................................40
3. Rear Panel.................................................................50
3.1 MONITOR / CONTROL ROOM OUT .............................50
3.2 AC / POWER ........................................................................50
3.3 XLR OUT 1-8........................................................................ 50
3.4 XLR IN 1-16...........................................................................50
3.5 KLARK TEKNIK DN32-USB .............................................. 51
3.6 REMOTE CONTROL........................................................... 51
3.7 MIDI ....................................................................................... 51
3.8 ULTRANET............................................................................ 51
3.9 AES50 .................................................................................... 51
3.10 AUX IN / OUT .................................................................... 51
4. Appendices .............................................................. 52
4.1 Appendix A: Technical Specications........................ 52
4.2 Appendix B: MIDI Operation ........................................ 53
4.3 Appendix C: Dimensions ...............................................56
4.4 Appendix D: Block Diagram.......................................... 58
4.5 Appendix E: Service Information................................59
4.6 Appendix F: Glossary....................................................... 59
Terminals marked withthis symbol
carryelectrical currentof sucient
magnitude to constitute risk of electric
shock. Useonly high-quality commercially-available
speaker cables with plugs pre-installed. Allother
installation or modication should be performed only by
qualiedpersonnel.
This symbol, wherever it appears,
alertsyou to the presence of uninsulated
dangerous voltage inside the
enclosure-voltage that may be sucient to constitute a
risk ofshock.
This symbol, wherever it appears,
alertsyou to important operating and
maintenance instructions in the
accompanying literature. Please read the manual.
Caution
To reduce the risk of electric shock, donot
remove the top cover (or the rear section).
No user serviceable parts inside. Refer servicing to
qualied personnel.
Caution
To reduce the risk of re or electric shock,
do not expose this appliance to rain and
moisture.The apparatus shall not be exposed to dripping
or splashing liquids and no objects lled with liquids,
suchas vases, shall be placed on the apparatus.
Caution
These service instructions are for use
by qualied service personnel only.
Toreduce the risk of electric shock do not perform any
servicing other than that contained in the operation
instructions. Repairs have to be performed by qualied
servicepersonnel.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8. Do not install near any heat sources such as
radiators, heat registers, stoves, or other apparatus
(including ampliers) that produce heat.
9. Do not defeat the safety purpose of the polarized
or grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding-type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. Ifthe
provided plug does not t into your outlet, consult an
electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.
11. Use only attachments/accessories specied by
themanufacturer.
12. Use only with the
cart, stand, tripod, bracket,
or table specied by the
manufacturer, orsold with
the apparatus.When a cart
is used, use caution when
moving the cart/apparatus
combination to avoid
injury from tip-over.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. Refer all servicing to qualied service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power supply cord or plug
is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed
to rain or moisture, does not operate normally, or has
beendropped.
15. The apparatus shall be connected to a MAINS socket
outlet with a protective earthing connection.
16. Where the MAINS plug or an appliance coupler is
used as the disconnect device, the disconnect device shall
remain readily operable.
17. Correct disposal of this
product:This symbol indicates that
this product must not be disposed
of with household waste,
according to theWEEE Directive
(2012/19/EU) and your national
law.This product should be taken
to a collection center licensed for the recycling of waste
electrical and electronic equipment (EEE).The
mishandling of this type of waste could have a possible
negative impact on the environment and human health
due to potentially hazardous substances that are generally
associated with EEE. At the same time, your cooperation
in the correct disposal of this product will contribute to
the ecient use of natural resources. For more
information about where you can take your waste
equipment for recycling, please contact your local city
oce, or your household waste collection service.
MUSIC Group accepts no liability for any loss which
may be suered by any person who relies either
wholly or in part upon any description, photograph,
or statement contained herein.Technical specications,
appearances and other information are subject
to change without notice. All trademarks are the
property of their respective owners. MIDAS, KLARK
TEKNIK, LAB.GRUPPEN, LAKE,TANNOY, TURBOSOUND,
TC ELECTRONIC,TC-HELICON, BEHRINGER, BUGERA,
DDA andTC APPLIED TECHNOLOGIES are trademarks
or registered trademarks of MUSIC Group IP Ltd.
© MUSIC Group IP Ltd. 2015 All rights reserved.
For the applicable warranty terms and conditions
and additional information regarding MUSIC Group’s
LimitedWarranty, please see complete details online at
music-group.com/warranty.
Important Safety
Instructions
LEGAL DISCLAIMER
LIMITED WARRANTY

4DIGITAL RACK MIXER M32R User Manual 5DIGITAL RACK MIXER M32R User Manual
Las terminales marcadas con este símbolo
transportan corriente eléctrica de
magnitud suciente como para constituir
un riesgo de descarga eléctrica. Utilice solo cables de
altavozde alta calidad con clavijasTSde6,3mm
pre-instaladas (puedeadquirirlos en comercios
especializados en audio). Cualquierotra instalación o
modicación debe ser realizada únicamente por un
técnico cualicado.
Este símbolo, siempre que aparece,
leadvierte de la presencia de voltaje
peligroso sin aislar dentro de la caja;
estevoltaje puede ser suciente para constituir un riesgo
dedescarga.
Este símbolo, siempre que aparece,
leadvierte sobre instrucciones operativas
y de mantenimiento que aparecen en la
documentación adjunta. Por favor, lea el manual.
Atención
Para reducir el riesgo de descarga
eléctrica, no quite la tapa (o la parte
posterior). No hay piezas en el interior del equipo que
puedan ser reparadas por el usuario. Si es necesario,
póngase en contacto con personal cualicado.
Atención
Para reducir el riesgo de incendio o
descarga eléctrica, no exponga este
aparato a la lluvia, humedad o alguna otra fuente que
pueda salpicar o derramar algún líquido sobre el aparato.
Nocoloque ningún tipo de recipiente para líquidos sobre
el aparato.
Atención
Las instrucciones de servicio deben
llevarlas a cabo exclusivamente personal
cualicado. Para evitar el riesgo de una descarga eléctrica,
no realice reparaciones que no se encuentren descritas
en el manual de operaciones. Lasreparaciones deben ser
realizadas exclusivamente por personalcualicado.
1. Lea las instrucciones.
2. Conserve estas instrucciones.
3. Preste atención a todas las advertencias.
4. Siga todas las instrucciones.
5. No use este aparato cerca del agua.
6. Limpie este aparato con un paño seco.
7. No bloquee las aberturas de ventilación. Instale el
equipo de acuerdo con las instrucciones del fabricante.
8. No instale este equipo cerca de fuentes de calor
tales como radiadores, acumuladores de calor, estufas u
otros aparatos (incluyendo amplicadores) que puedan
producir calor.
9. No elimine o deshabilite nunca la conexión a tierra
del aparato o del cable de alimentación de corriente.
Unenchufe polarizado tiene dos polos, uno de los cuales
tiene un contacto más ancho que el otro. Una clavija con
puesta a tierra dispone de tres contactos: dos polos y la
puesta a tierra. El contacto ancho y el tercer contacto,
respectivamente, son los que garantizan una mayor
seguridad. Si el enchufe suministrado con el equipo no
concuerda con la toma de corriente, consulte con un
electricista para cambiar la toma de corriente obsoleta.
10. Coloque el cable de suministro de energía de manera
que no pueda ser pisado y que esté protegido de objetos
alados. Asegúrese de que el cable de suministro de
energía esté protegido, especialmente en la zona de la
clavija y en el punto donde sale del aparato.
11. Use únicamente los dispositivos o accesorios
especicados por el fabricante.
12. Use únicamente la
carretilla, plataforma,
trípode, soporte o mesa
especicados por el
fabricante o suministrados
junto con el equipo.
Altransportar el equipo,
tenga cuidado para evitar
daños y caídas al tropezar con algún obstáculo.
13. Desenchufe el equipo durante tormentas o si no va a
utilizarlo durante un periodo largo.
14. Confíe las reparaciones únicamente a servicios
técnicos cualicados. La unidad requiere mantenimiento
siempre que haya sufrido algún daño, si el cable de
suministro de energía o el enchufe presentaran daños,
sehubiera derramado un líquido o hubieran caído objetos
dentro del equipo, si el aparato hubiera estado expuesto
a la humedad o la lluvia, si ha dejado de funcionar de
manera normal o si ha sufrido algún golpe o caída.
15. Al conectar la unidad a la toma de corriente eléctrica
asegúrese de que la conexión disponga de una unión
atierra.
16. Si el enchufe o conector de red sirve como único
medio de desconexión, éste debe ser accesiblefácilmente.
17. Cómo debe deshacerse de
este aparato: Este símbolo indica
que este aparato no debe ser
tratado como basura orgánica,
según lo indicado en la Directiva
WEEE (2012/19/EU) y a las
normativas aplicables en su país.
En lugar de ello deberá llevarlo al punto limpio más
cercano para el reciclaje de sus elementos eléctricos/
electrónicos (EEE). Al hacer esto estará ayudando a
prevenir las posibles consecuencias negativas para el
medio ambiente y la salud que podrían ser provocadas por
una gestión inadecuada de este tipo de aparatos. Además,
el reciclaje de materiales ayudará a conservar los recursos
naturales. Para más información acerca del reciclaje de
este aparato, póngase en contacto con el Ayuntamiento
de su ciudad o con el punto limpio local.
MUSIC Group no admite ningún tipo de responsabilidad
por cualquier daño o pérdida que pudiera sufrir
cualquier persona por conar total o parcialmente
en la descripciones, fotografías o armaciones
contenidas en este documento. Las especicaciones
técnicas, imágenes y otras informaciones contenidas
en este documento están sujetas a modicaciones
sin previo aviso.Todas las marcas comerciales que
aparecen aquí son propiedad de sus respectivos
dueños. MIDAS, KLARKTEKNIK, LAB.GRUPPEN, LAKE,
TANNOY, TURBOSOUND,TC ELECTRONIC,TC-HELICON,
BEHRINGER, BUGERA, DDA yTC APPLIED TECHNOLOGIES
son marcas comerciales o marcas registradas
de MUSIC Group IP Ltd. © MUSIC Group IP Ltd.
2015 Reservados todos los derechos.
Si quiere conocer los detalles y condiciones aplicables
de la garantía así como información adicional sobre la
Garantía limitada de MUSIC Group, consulte online toda la
información en la web music-group.com/warranty.
Instrucciones de
seguridad
NEGACIÓN LEGAL
GARANTÍA LIMITADA
Les points repérés par ce symbole portent
une tension électrique susante pour
constituer un risque d’électrocution.
Utilisez uniquement des câbles d’enceintes de haute
qualité disponibles dans les points de vente avec les
connecteurs Jack mono 6,35 mm déjà installés.
Touteautre installation ou modication doit être
eectuée uniquement par un personnel qualié.
Ce symbole avertit de la présence d’une
tension dangereuse et non isolée à
l’intérieur de l’appareil - elle peut
provoquer des chocs électriques.
Attention
Ce symbol signale les consignes
d’utilisation et d’entre !Tien importantes
dans la documentation fournie. Lisez les consignes de
sécurité du manuel d’utilisation de l’appareil.
Attention
Pour éviter tout risque de choc électrique,
ne pas ouvrir le capot de l’appareil ni
démonter le panneau arrière. L’intérieur de l’appareil
ne possède aucun élément réparable par l’utilisateur.
Laissertoute réparation à un professionnel qualié.
Attention
Pour réduire les risques de feu et de choc
électrique, n’exposez pas cet appareil à la
pluie, à la moisissure, aux gouttes ou aux éclaboussures.
Ne posez pas de récipient contenant un liquide sur
l’appareil (un vase par exemple).
Attention
Ces consignes de sécurité et d’entretien
sont destinées à un personnel qualié.
Pouréviter tout risque de choc électrique, n’eectuez
aucune réparation sur l’appareil qui ne soit décrite par le
manuel d’utilisation. Les éventuelles réparations doivent
être eectuées uniquement par un technicien spécialisé.
1. Lisez ces consignes.
2. Conservez ces consignes.
3. Respectez tous les avertissements.
4. Respectez toutes les consignes d’utilisation.
5. N’utilisez jamais l’appareil à proximité d’un liquide.
6. Nettoyez l’appareil avec un chion sec.
7. Veillez à ne pas empêcher la bonne ventilation de
l’appareil via ses ouïes de ventilation. Respectezles
consignes du fabricant concernant l’installation
del’appareil.
8. Ne placez pas l’appareil à proximité d’une source
de chaleur telle qu’un chauage, une cuisinière ou tout
appareil dégageant de la chaleur (y compris un ampli
depuissance).
9. Ne supprimez jamais la sécurité des prises bipolaires
ou des prises terre. Les prises bipolaires possèdent deux
contacts de largeur diérente. Leplus large est le contact
de sécurité. Les prises terre possèdent deux contacts plus
une mise à la terre servant de sécurité. Si la prise du bloc
d’alimentation ou du cordon d’ali-mentation fourni ne
correspond pas à celles de votre installation électrique,
faites appel à un électricien pour eectuer le changement
de prise.
10. Installez le cordon d’alimentation de telle façon
que personne ne puisse marcher dessus et qu’il soit
protégé d’arêtes coupantes. Assurez-vous que le cordon
d’alimentation est sufsamment protégé, notamment au
niveau de sa prise électrique et de l’endroit où il est relié à
l’appareil; cela est également valable pour une éventuelle
rallonge électrique.
11. Utilisez exclusivement des accessoires et des
appareils supplémentaires recommandés par lefabricant.
12. Utilisez
exclusivement des
chariots, des diables,
desprésentoirs, despieds
et des surfaces de
travail recommandés
par le fabricant ou
livrés avec le produit.
Déplacezprécautionneusement tout chariot ou diable
chargé pour éviter d’éventuelles blessures en cas dechute.
13. Débranchez l’appareil de la tension secteur en cas
d’orage ou si l’appareil reste inutilisé pendant une longue
période de temps.
14. Les travaux d’entretien de l’appareil doivent
être eectués uniquement par du personnel qualié.
Aucunentretien n’est nécessaire sauf si l’appareil est
endommagé de quelque façon que ce soit (dommagessur
le cordon d’alimentation ou la prise par exemple), siun
liquide ou un objet a pénétré à l’intérieur du châssis,
si l’appareil a été exposé à la pluie ou à l’humidité, s’il ne
fonctionne pas correctement ou à la suite d’une chute.
15. L’appareil doit être connecté à une prise secteur
dotée d’une protection par mise à la terre.
16. La prise électrique ou la prise IEC de tout appareil
dénué de bouton marche/arrêt doit rester accessible
enpermanence.
17. Mise au rebut appropriée de
ce produit: Ce symbole indique
qu’en accord avec la directive DEEE
(2012/19/EU) et les lois en vigueur
dans votre pays, ce produit ne doit
pas être jeté avec les déchets
ménagers. Ce produit doit être
déposé dans un point de collecte agréé pour le recyclage
des déchets d’équipements électriques et électroniques
(EEE). Une mauvaise manipulation de ce type de déchets
pourrait avoir un impact négatif sur l’environnement et la
santé à cause des substances potentiellement
dangereuses généralement associées à ces équipements.
En même temps, votre coopération dans la mise au rebut
de ce produit contribuera à l’utilisation ecace des
ressources naturelles. Pour plus d’informations sur
l’endroit où vous pouvez déposer vos déchets
d’équipements pour le recyclage, veuillez contacter votre
mairie ou votre centre local de collecte des déchets.
MUSIC Group ne peut être tenu pour responsable pour
toute perte pouvant être subie par toute personne
se ant en partie ou en totalité à toute description,
photographie ou armation contenue dans ce
document. Les caractéristiques, l’apparence et d’autres
informations peuvent faire l’objet de modications
sans notication.Toutes les marques appartiennent à
leurs propriétaires respectifs. MIDAS, KLARKTEKNIK,
LAB.GRUPPEN, LAKE,TANNOY,TURBOSOUND,
TC ELECTRONIC,TC-HELICON, BEHRINGER, BUGERA,
DDA etTC APPLIED TECHNOLOGIES sont des marques
ou marques déposées de MUSIC Group IP Ltd.
© MUSIC Group IP Ltd. 2015Tous droits réservés.
Pour connaître les termes et conditions de garantie
applicables, ainsi que les informations supplémentaires
et détaillées sur la Garantie Limitée de MUSIC Group,
consultez le site Internet music-group.com/warranty.
Consignes de sécurité
DÉNI LÉGAL
GARANTIE LIMITÉE

6DIGITAL RACK MIXER M32R User Manual 7DIGITAL RACK MIXER M32R User Manual
Vorsicht
Die mit dem Symbol markierten
Anschlüsse führen so viel Spannung,
dass die Gefahr eines Stromschlags besteht.
Verwenden Sie nur hochwertige, im Handel
erhältliche Lautsprecherkabel mit vorinstallierten
6,3 mmTSSteckern. Alle anderen Installationen
oder Modikationen sollten nur von qualiziertem
Fachpersonal ausgeführt werden.
Achtung
Um eine Gefährdung durch Stromschlag
auszuschließen, darf die Geräteabdeckung
bzw. Geräterückwand nicht abgenommen werden.
ImInnern des Geräts benden sich keine vom Benutzer
reparierbarenTeile. Reparaturarbeiten dürfen nur von
qualiziertem Personal ausgeführt werden.
Achtung
Um eine Gefährdung durch Feuer bzw.
Stromschlag auszuschließen, darf dieses
Gerät weder Regen oder Feuchtigkeit ausgesetzt werden
noch sollten Spritzwasser oder tropfende Flüssigkeiten
in das Gerät gelangen können. Stellen Sie keine mit
Flüssigkeit gefüllten Gegenstände, wie z. B.Vasen,
aufdasGerät.
Achtung
Die Service-Hinweise sind nur durch
qualiziertes Personal zu befolgen.
Umeine Gefährdung durch Stromschlag zu vermeiden,
führen Sie bitte keinerlei Reparaturen an dem Gerät
durch, die nicht in der Bedienungsanleitung beschrieben
sind. Reparaturen sind nur von qualiziertem
Fachpersonaldurchzuführen.
1. Lesen Sie diese Hinweise.
2. Bewahren Sie diese Hinweise auf.
3. Beachten Sie alleWarnhinweise.
4. Befolgen Sie alle Bedienungshinweise.
5. Betreiben Sie das Gerät nicht in der Nähe vonWasser.
6. Reinigen Sie das Gerät mit einem trockenenTuch.
7. Blockieren Sie nicht die Belüftungsschlitze. Beachten
Sie beim Einbau des Gerätes die Herstellerhinweise.
8. Stellen Sie das Gerät nicht in der Nähe von
Wärmequellen auf. SolcheWärmequellen sind z. B.
Heizkörper, Herde oder andere Wärme erzeugende Geräte
(auchVerstärker).
9. Entfernen Sie in keinem Fall die
Sicherheitsvorrichtung von Zweipol- oder geerdeten
Steckern. Ein Zweipolstecker hat zwei unterschiedlich
breite Steckkontakte. Ein geerdeter Stecker hat zwei
Steckkontakte und einen dritten Erdungskontakt.
Derbreitere Steckkontakt oder der zusätzliche
Erdungskontakt dient Ihrer Sicherheit. Falls das
mitgelieferte Steckerformat nicht zu Ihrer Steckdose
passt, wenden Sie sich bitte an einen Elektriker, damit die
Steckdose entsprechend ausgetauscht wird.
10. Verlegen Sie das Netzkabel so, dass es vor
Tritten und scharfen Kanten geschützt ist und nicht
beschädigt werden kann. Achten Sie bitte insbesondere
im Bereich der Stecker,Verlängerungskabel und an
der Stelle, an der das Netzkabel das Gerät verlässt,
aufausreichendenSchutz.
11. Das Gerät muss jederzeit mit intaktem Schutzleiter
an das Stromnetz angeschlossen sein.
12. Sollte der Hauptnetzstecker oder eine
Gerätesteckdose die Funktionseinheit zum Abschalten
sein, muss diese immer zugänglich sein.
13. Verwenden Sie nur Zusatzgeräte/Zubehörteile,
dielaut Hersteller geeignet sind.
14. Verwenden
Sie nurWagen,
Standvorrichtungen,
Stative, Halter oderTische,
die vom Hersteller benannt
oder im Lieferumfang
des Geräts enthalten
sind. Falls Sie einen
Wagen benutzen, seien Sie vorsichtig beim Bewegen
derWagen-Gerätkombination, umVerletzungen durch
Stolpern zuvermeiden.
15. Ziehen Sie den Netzstecker bei Gewitter oder wenn
Sie das Gerät längere Zeit nicht benutzen.
16. Lassen Sie alleWartungsarbeiten nur von
qualiziertem Service-Personal ausführen. EineWartung
ist notwendig, wenn das Gerät in irgendeinerWeise
beschädigt wurde (z. B. Beschädigung des Netzkabels oder
Steckers), Gegenstände oder Flüssigkeit in das Geräteinnere
gelangt sind, das Gerät Regen oder Feuchtigkeit ausgesetzt
wurde, das Gerät nicht ordnungsgemäß funktioniert oder
auf den Boden gefallen ist.
17. Korrekte Entsorgung dieses
Produkts: Dieses Symbol weist
darauf hin, das Produkt
entsprechend derWEEE Direktive
(2012/19/EU) und der jeweiligen
nationalen Gesetze nicht
zusammen mit Ihren
Haushaltsabfällen zu entsorgen. DiesesProdukt sollte bei
einer autorisierten Sammelstelle für Recycling elektrischer
und elektronischer Geräte (EEE) abgegeben werden.
Wegen bedenklicher Substanzen, diegenerell mit
elektrischen und elektronischen Geräten inVerbindung
stehen, könnte eine unsachgemäße Behandlung dieser
Abfallart eine negative Auswirkung auf Umwelt und
Gesundheit haben. Gleichzeitig gewährleistet Ihr Beitrag
zur richtigen Entsorgung dieses Produkts die eektive
Nutzung natürlicher Ressourcen. Fürweitere
Informationen zur Entsorgung Ihrer Geräte bei einer
Recycling-Stelle nehmen Sie bitte Kontakt zum
zuständigen städtischen Büro, Entsorgungsamt oder zu
Ihrem Haushaltsabfallentsorgerauf.
MUSIC Group übernimmt keine Haftung für Verluste,
die Personen entstanden sind, die sich ganz oder
teilweise auf hier enthaltene Beschreibungen,
Fotos oder Aussagen verlassen haben.Technische Daten,
Erscheinungsbild und andere Informationen können
ohne vorherige Ankündigung geändert werden.
AlleWarenzeichen sind Eigentum der jeweiligen
Inhaber. MIDAS, KLARKTEKNIK, LAB.GRUPPEN,
LAKE,TANNOY, TURBOSOUND,TC ELECTRONIC,
TC-HELICON, BEHRINGER, BUGERA, DDA und TC APPLIED
TECHNOLOGIES sind Warenzeichen oder eingetragene
Warenzeichen der MUSIC Group IP Ltd. © MUSIC Group
IP Ltd. 2015 Alle Rechte vorbehalten.
Die geltenden Garantiebedingungen und zusätzliche
Informationen bezüglich der von MUSIC Group
gewährten beschränkten Garantie nden Sie online unter
music-group.com/warranty.
Wichtige
Sicherheitshinweise
HAFTUNGSAUSSCHLUSS
BESCHRÄNKTE GARANTIE
Aviso!
Terminais marcados com o símbolo
carregam corrente elétrica de magnitude
suciente para constituir um risco de choque elétrico.
Use apenas cabos de alto-falantes comercialmente
disponíveis de alta qualidade com pluguesTS de ¼"
pré-instalados.Todas as outras instalações e modicações
devem ser efetuadas por pessoas qualicadas.
Este símbolo, onde quer que o encontre,
alerta-o para a leitura das instruções de
manuseamento que acompanham o
equipamento. Por favor leia o manual de instruções.
Atenção
De forma a diminuir o risco de choque
eléctrico, não remover a cobertura
(ouasecção de trás). Não existem peças substituíveis por
parte do utilizador no seu interior. Para esse efeito recorrer
a um técnico qualicado.
Atenção
Para reduzir o risco de incêndios ou
choques eléctricos o aparelho não deve ser
exposto à chuva nem à humidade. Além disso, não deve
ser sujeito a salpicos, nem devem ser colocados em cima
do aparelho objectos contendo líquidos, tais como jarras.
Atenção
Estas instruções de operação devem ser
utilizadas, em exclusivo, por técnicos de
assistência qualicados. Para evitar choques eléctricos
não proceda a reparações ou intervenções, que não as
indicadas nas instruções de operação, salvo se possuir as
quali-cações necessárias. Para evitar choques eléctricos
não proceda a reparações ou intervenções, que não as
indicadas nas instruções de operação. Só o deverá fazer se
possuir as qualicações necessárias.
1. Leia estas instruções.
2. Guarde estas instruções.
3. Preste atenção a todos os avisos.
4. Siga todas as instruções.
5. Não utilize este dispositivo perto de água.
6. Limpe apenas com um pano seco.
7. Não obstrua as entradas de ventilação. Instale de
acordo com as instruções do fabricante.
8. Não instale perto de quaisquer fontes de calor
tais como radiadores, bocas de ar quente, fogões de
sala ou outros aparelhos (incluindo amplicadores)
que produzam calor.
9. Não anule o objectivo de segurança das chas
polarizadas ou do tipo de ligação à terra. Uma cha
polarizada dispõe de duas palhetas sendo uma mais larga
do que a outra. Uma cha do tipo ligação à terra dispõe
de duas palhetas e um terceiro dente de ligação à terra.
A palheta larga ou o terceiro dente são fornecidos para
sua segurança. Se a cha fornecida não encaixar na sua
tomada, consulte um electricista para a substituição da
tomada obsoleta.
10. Proteja o cabo de alimentação de pisadelas ou
apertos, especialmente nas chas, extensões, e no local
de saída da unidade. Certique-se de que o cabo eléctrico
está protegido.Verique particularmente nas chas, nos
receptáculos e no ponto em que o cabo sai doaparelho.
11. O aparelho tem de estar sempre conectado à rede
eléctrica com o condutor de protecção intacto.
12. Se utilizar uma cha de rede principal ou uma
tomada de aparelhos para desligar a unidade de
funcionamento, esta deve estar sempre acessível.
13. Utilize apenas ligações/acessórios especicados
pelofabricante.
14. Utilize apenas com
o carrinho, estrutura,
tripé, suporte, ou mesa
especicados pelo
fabricante ou vendidos
com o dispositivo.
Quandoutilizar um
carrinho, tenha cuidado ao
mover o conjunto carrinho/dispositivo para evitar danos
provocados pela terpidação.
15. Desligue este dispositivo durante as trovoadas
ou quando não for utilizado durante longos períodos
detempo.
16. Qualquer tipo de reparação deve ser sempre
efectuado por pessoal qualicado. É necessária uma
reparação sempre que a unidade tiver sido de alguma
forma danicada, como por exemplo: no caso do cabo
de alimentação ou cha se encontrarem danicados;
naeventualidade de líquido ter sido derramado ou
objectos terem caído para dentro do dispositivo; no caso
da unidade ter estado exposta à chuva ou à humidade;
seesta não funcionar normalmente, ou se tiver caído.
17. Correcta eliminação deste
produto: este símbolo indica que
o produto não deve ser eliminado
juntamente com os resíduos
domésticos, segundo a Directiva
REEE (2012/19/EU) e a legislação
nacional. Este produto deverá
ser levado para um centro de recolha licenciado para a
reciclagem de resíduos de equipamentos eléctricos e
electrónicos (EEE). O tratamento incorrecto deste tipo
de resíduos pode ter um eventual impacto negativo
no ambiente e na saúde humana devido a substâncias
potencialmente perigosas que estão geralmente
associadas aos EEE. Ao mesmo tempo, a sua colaboração
para a eliminação correcta deste produto irá contribuir
para a utilização eciente dos recursos naturais. Paramais
informação acerca dos locais onde poderá deixar o seu
equipamento usado para reciclagem, é favor contactar
os serviços municipais locais, a entidade de gestão de
resíduos ou os serviços de recolha de resíduosdomésticos.
O MUSIC Group não se responsabiliza por perda alguma
que possa ser sofrida por qualquer pessoa que dependa,
seja de maneira completa ou parcial, de qualquer
descrição, fotograa, ou declaração aqui contidas.
Dados técnicos, aparências e outras informações estão
sujeitas a modicações sem aviso prévio. Todas as
marcas são propriedade de seus respectivos donos.
MIDAS, KLARKTEKNIK, LAB.GRUPPEN, LAKE,TANNOY,
TURBOSOUND, TC ELECTRONIC, TC-HELICON, BEHRINGER,
BUGERA, DDA eTC APPLIED TECHNOLOGIES são
marcas ou marcas registradas do MUSIC Group IP Ltd.
© MUSIC Group IP Ltd. 2015Todos direitos reservados.
Para obter os termos de garantia aplicáveis e condições e
informações adicionais a respeito da garantia limitada do
MUSIC Group, favor vericar detalhes na íntegra através
do website music-group.com/warranty.
Instruções de Segurança
Importantes
LEGAL RENUNCIANTE
GARANTIA LIMITADA

8DIGITAL RACK MIXER M32R User Manual 9DIGITAL RACK MIXER M32R User Manual
注意
感電の.恐れがありますので、カ
バーやその他の部品を取り外
したり、開けたりしないでください。高品
質なプロ用スピーカーケーブル（¼" TS標準
ケーブルおよびツイストロッキングプラ
グケーブル）を使用してください。
注意
火事および感電の危険を防ぐ
ため、本装置を水分や湿気の
あるところには設置しないで下さい。装置
には決して水分がかからないように注意
し、花瓶など水分を含んだものは、装置の
上には置かないようにしてください。
注意
このマークが表示されている
箇所には、内部に高圧電流が
生じています。手を触れると感電の恐れが
あります。
注意
取り扱いとお手入れの方法に
ついての重要な説明が付属の
取扱説明書に記載されています。ご使用の
前に良くお読みください。
注意
1. 取扱説明書を通してご覧ください。
2. 取扱説明書を大切に保管してくだ
さい。
3. 警告に従ってください。
4. 指示に従ってください。
5. 本機を水の近くで使用しないでくだ
さい。
6. お手入れの際は常に乾燥した布巾を使
ってください 。
7. 本機は、取扱説明書の指示に従い、
適切な換気を妨げない場所に設置してく
ださい。取扱説明書に従って設置してくだ
さい。
8. 本機は、電気ヒーターや温風機器、
ストーブ、調理台やアンプといった熱源か
ら 離して 設 置してください 。
9. ニ極式プラグおよびアースタイプ
(三芯)プラグの安全ピンは取り外さないで
ください 。ニ極式プラグにはピンが二本つ
いており、そのうち一本はもう一方よりも幅
が広くなっています。アースタイプの三 芯プ
ラグにはニ本のピンに加えてアース用のピ
ンが一本ついています。これらの幅の広い
ピン、およびアースピンは、安全のためのも
のです。備え付けのプラグが、お使いのコン
セントの形 状と異なる場合は、電器技師に
相談してコンセントの交換をして下さい。
10. 電源コードを踏みつけたり、挟んだり
しないようご注意ください。電源コードや
プラグ、コンセント及び製品との接続には
十分にご注意ください。
11. すべての装置の接地(アース)が確保
されていることを確認して下さい。
12. 電源タップや
電源プラグは電
源遮断機として利
用されている場合
には、これが直ぐ
に操作できるよう
手元に設置して下
さい。
13. 付属品は本機製造元が指定したもの
のみをお使いください。
14. カートスタンド、三脚、ブラケット、
テーブルなどは、本機製造元が指定したも
の、もしくは 本 機の 付属 品となるもの のみ
をお使いください。カートを使用しての運
搬の際は、器具の落下による怪我に十分ご
注意ください。
15. 雷雨の場合、もしくは長 期 間ご使 用に
ならない場合は、電源プラグをコンセント
から抜いてください。
16. 故障の際は当社指定のサービス技術
者にお問い合わせください。電源コードも
しくはプラグの損傷、液体の装置内への浸
入、装置の上に物が落下した場合、雨や湿
気に装置が晒されてしまった場合、正常に
作動しない場合、もしくは装置を地 面に落
下させてしまった場合など、いかなる形で
あれ装置に損傷が加わった場合は、装置
の修理・点検を受けてください。
17. 本製品に電源コード
が付属されている場合、
付属の電源コードは本製
品以外ではご使用いただ
けません。電源コードは
必ず本製品に付属された
電源コードのみご使用く
ださい。
ここに含まれる記 述、写真、意見の全体
または一部に依拠して、いかなる人が損
害を生じさせた場合にも、MUSIC Group
は一切の賠償責任を負いません。技術
仕様、外観およびその他の情報は予
告なく変更になる場合があります。商
標はすべて、それぞれの所有者に帰属し
ます。
MIDAS、KLARK TEKNIK、LAB.GRUPPEN、
LAKE、TANNOY、TURBOSOUND、TC ELECTRONIC、
TC-HELICON、BEHRINGER, BUGERA、DDAおよび
TC APPLIED TECHNOLOGIESはMUSIC Group IP Ltd.
の商標または登録商標です。© MUSIC Group
IP Ltd. 2015無断転用禁止。
適用される保証条件とMUSIC Groupの限定
保証に関する概要については、オンライン
上music-group.com/warrantyにて詳細をご確
認ください。
安全にお使いいただくために
限定保証
法的放棄
ࣝధ൦ಗ঄ᄋጽቬ᝻ܭЧధ
ܹᄋႄุߜڛᝐႄԁᬘǎᬎ
Ώၺࣝధ ¼''TSᩛତ݁
ᄋᰵַ᠐˅ˋܧ٩ጴǎధᄋ߸ᜊួ
஠ڪᮍႁՍಬᄋ˅ˋցᤊᛢǎ
൦ಗ঄ଣᧉ১ַаߜڛఴ
ፑᎇᄋԁᬘႄԎధᝐႄԁᬘǎ
൦ಗ঄ଣᧉ১ಋ󰪀ᬅᄋ᧙᜷
ᄋΏၺԤ፦οឮ௛ǎឱ󰪀឵ధ
Угǎ
࠶
˟ᥙГᝐႄԁᬘឱӉ఼
ᮈᄧᑁ᭨૖ౝǎ᝻ܭа෦
ధԼΚၺ፦οΏၺᄋᦋǎឱ࠳፦ο
ᮋႁՍಬᄋ˅ˋցᤊᛢǎ
࠶
˟ᥙГᅍ༣ᝐႄԁᬘឱӉ
࠳൦᝻ܭᎷᭂ๹໾ິ˘ǎ
൦᝻ܭ˸ˁԼԫ๰͵໠ຶᄪధ๰͵ᄋࠕ
٩˸ˁԼᎷЦʾݡᔊၬ኏ǎ
࠶
፦οឮ௛௨ፍՍಬᄋ˅ˋ፦
οցΏၺᄋǎ˟ᥙГᝐႄԁ
ᬘᬕΏၺឮ௛˻ଣ҃ᄋܲឱӉᤊᛢ
ͶЦ߳፦οǎధ፦οڪᮍႁՍಬᄋ˅
ˋցᤊᛢǎ
1. ឱ󰪀឵ᤉឮ௛ǎ
2. ឱݱؔεߜᤉឮ௛ǎ
3. ឱญధᄋ᝞ᇩǎ
4. ឱᥗ߷ధᄋឮ௛ǎ
5. ឱӉڛ᭦ᤄබᄋڢஶΏၺశַǎ
6. ឱၺࣱ࣌ຎพశַǎ
7. ឱӉ܅܌ᤱ᮴Աǎ߸ᜊశַ௒ឱᥗ
ཱིԉࠓᄋឮ௛ǎ
8. ឱӉ࠳శַ߸ᜊڛམ຺ᬅᤄ
ݡ఍ජྠ༰ߖЦ߳ၸམ᧛ᄋ᝻ܭ
Ӌ઻ҫ஋٩ǎ
9. ឱӉሩᬕ౞মତ݁଍ڢତ݁ᄋ߸М
ᜊᎷǎ଍ڢତ݁௨ႁˑ˕ତ܌଍གྷԤʸ˕
଍ڢ݁౟ǎᔫᬥ᠏ଣΚᄋତ݁ˁᤡՍ১
ᄋତឱႄࢻట૲ʸ˕Սᤡᄋତǎ
10. ݱؔεઑႄ຺ጴΏЦˁᜃ᡼ᢇ҉
ᆢࡀЦญႄ຺ତ݁Ǎܴၺ᤮ତԤ᝻ܭ
ᤍ଍ܬǎ
11. ឱԷΏၺԉࠓ૊ࠁᄋᬅ࡜᝻ܭ֘
ᦢǎ
12. ឱԷΏၺԉࠓ
૊ࠁᄋᬥ᠏ᩚ
׭ᄋଏᢽ౷ߖ
ʽᝉ౷஄౷֘ಹ
ߖǎᔫΏၺଏᢽ
౐ୄᤃ᝻ܭឱญ
߸М஋Ꮇ᝻ܭ
ᥙГଏᢽ֘᝻
ܭϛωᏬԫǎ
13. ᥆󰩧ႄᭈᲟ󰩤ఱˁΏၺశ᝻ܭ௒
ឱફѤႄ຺ତ݁ǎ
14. ధ፦οڪᮍႁՍಬᄋ፦οցᤊ
ᛢǎ᝻ܭԫ૰௒ᭋᤊᛢ፦οΔݡႄ຺ጴ
ႄ຺ତ݁ԫ૰๰͵ุЛྮᗁЛ᝻ܭ
а᝻ܭᥔᭂ๹ԫ໾᝻ܭˁᑠ൥ࣣᤃͼ
ᜃ୒گǎ
15. శ᝻ܭᤍ଍ႄ຺௒ʸࠁ᜷ధ଍ڢ
εઑǎ
16. ᔫႄ຺ତ݁٩Ч
ᏺՍ٩ၺͼளႄᜊᎷ
ε᝾߳ܬᬥ௒Լ
ஶΨ୳ͼ࿅ঘǎ
17. శַᤡၺ๓
ફ2000ዜʿڢӞశ
ַᤡၺ᭥མࣝජό౏
ʿǎ
ࠬͶڃڛ൦ឮ௛˻ଣ҃ᄋМᦋ
ᦋଢᤙǍڐྠܧ௛Ꮼᤶᄋ૰݀
MUSIC Groupˁ᠈Ͷ᠋ǎ઀సԡஞ֘ܲ
᜻ᔫధటஉিˁԴᛢᤱᅽǎధᄋ׹ಗڪ
˟ЦՋᒮధᏩᄋ᠊ǎMIDAS, KLARK TEKNIK,
LAB.GRUPPEN, LAKE, TANNOY, TURBOSOUND,
TC ELECTRONIC, TC-HELICON, BEHRINGER,
BUGERA, DDA֘TC APPLIED TECHNOLOGIES௨
MUSIC Group IP Ltd.ОՄᄋ׹ಗญг׹ಗǎ
© MUSIC Group IP Ltd. 2015ྡీధǎ
ధУᮄˮᬸڅεοᄋᤡၺ౏൝ԤЦ߳ᄲУ
θ্ឱᄇᬇmusic-group.com/warrantyᎫቤಋ
ᄻߺ஠ᄋឡጻθ্ǎ
其他的重要信息
保修条款
法律声明

10 DIGITAL RACK MIXER M32R User Manual 11 DIGITAL RACK MIXER M32R User Manual
Precautions
Before installing, setting up or operating this equipment make sure you have read and fully understand all of this section and the
‘IMPORTANT SAFETY INSTRUCTIONS’ at the front of this manual.
This equipment is supplied by a mains voltage that can cause electric shock injury!
The following must be observed in order to maintain safety and electromagnetic compatibility (EMC) performance.
Audio connections
To ensure the correct and reliable operation of your equipment, only high quality,
balanced, screened, twisted pair audio cable should be used.
XLR connector shells should be of metal construction so that they provide a
screen when connected to the control centre and, where appropriate, they
should have Pin 1 connected to the cable screen.
Electrostatic discharge (ESD) precautions
Observe full electrostatic discharge
(ESD) — also known as ‘anti-static’— precautions when
carrying out procedures in this manual that are accompanied
by the ESD Susceptibility Symbol (shown above). This caution symbol shows
you that ESD damage may be caused to items unless proper ESD precautions are
taken, which include the following practices:
•• Keep the work area free from plastic, vinyl or styrofoam
•• Wear an anti-static wrist strap
•• Discharge personal static before handling devices
•• Ground the work surface
•• Avoid touching ESD-sensitive devices.
Radio frequency interference—Class A device
This equipment has been tested and found to comply with the limits for a Class A
digital device, pursuant to Part 15 of the FCC Rules.
These limits are designed to provide reasonable protection against harmful
interference when the equipment is operated in a commercial environment.
This equipment generates, uses, and can radiate radio frequency energy and,
if not installed and used in accordance with the instruction manual, may cause
harmful interference to radio communications.
Operation of this equipment in a residential area is likely to cause harmful
interference in which case the user will be required to correct the interference at
his own expense.
Electric elds
Caution:
In accordance with Part 15 of the FCC Rules & Regulations, “… changes
or modications not expressly approved by the party responsible for
compliance could void the user’s authority to operate the equipment.”
Should this product be used in an electromagnetic eld that is amplitude
modulated by an audio frequency signal (20 Hz to 20 kHz), the signal to noise
ratio may be degraded. Degradation of up to 60 dB at a frequency corresponding
to the modulation signal may be experienced under extreme conditions (3 V/m,
90% modulation).
Safety equipment
Never remove, for example, covers, housings or any other safety guards. Do not
operate the equipment or any of its parts if safety guards are ineective or their
eectiveness has been reduced.
Optional equipment
Unless advised otherwise, optional equipment must only be installed by
service personnel and in accordance with the appropriate assembly and
usage regulations.
Special accessories
To comply with part 15 of the FCC Rules, any special accessories (that is, items
that cannot be readily obtained from multiple retail outlets) supplied with this
equipment must be used with this equipment; do not use any alternatives as
they may not full the RF requirement.
Introduction
Welcome to the M32 Digital Console User manual! After years of intense
development, we are proud to oer a mixer that combines tremendous power
and exibility with a very user-friendly layout and intuitive workow that allows
you to get up and running right away.
The M32 combines a control surface with streamlined workow, extensive I/O
and signal processing into a compact desktop form factor. Employing award-
winning MIDAS PRO Series microphone preampliers and the custom-designed
MIDAS PRO motorised faders that are rated for one million cycles, along with a
daylight-viewable TFT screen, the control surface is designed to allow immediate
access to critical functions with total and automatic recall of settings. Extensive
onboard I/O includes 40 A/D and 24 D/A Cirrus Logic converters, 96 bi-directional
channels over SuperMAC AES50, stereo AES/EBU out, 16 channels of ULTRANET
personal monitoring and 32 x 32 channels of recording over USB.
Abundant analogue connectivity is provided by 16 MIDAS PRO Series digitally-
controllable microphone preamps, six line-level auxiliary inputs and outputs,
eight XLR outputs, stereo monitoring outs on XLR/TRS and dual phones outputs.
Each of the 16 microphone inputs can accept balanced or unbalanced mic- or
line-level signals, and include switchable phantom power, 72 dB gain range and
maximum +23 dBu level before clip. A separate external microphone input and
the internal talkback mic allow communication to various destinations.
Dual AES50 Ethernet jacks that employ KLARK TEKNIK SuperMAC technology
contribute 96 x 96 signals to the total count of 168 x 168 accessible sources and
destinations. Motorised faders, recallable mic preamps, programmable routing
and the ability to save and recall entire scenes make set or programme changes
quick and simple. A top panel USB connector enables system data to be stored,
or a board mix to be recorded directly to external ash or hard drives.
The Input section is home to eight high-resolution 100 mm motorised faders,
providing control over channels 1-32, Aux inputs/USB playback/FX returns.
A separate section of eight motorised faders controls DCA groups 1-8, bus
masters 1-8 and 9-16, as well as matrices 1-6. The channel editing section
provides tangible controls for instant access to the selected channel’s gain,
dynamics, EQ and other functions. A custom-assignable section allows certain
control functions to be mapped directly to a set of dedicated rotary controls and
buttons.
A main ve inch-wide, high-contrast colour display provides information
for editing pertinent parameters of the active function or eect. Relevant
parameters are quickly recalled to the display for editing via ‘VIEW’ buttons in
each subsection. Each channel also features a small, customisable LCD screen for
track name, number, colour and source graphic.
A virtual FX rack oers eight true-stereo (16 mono) multi-eects processors, with
over 60 eects models that eliminate the need for any additional outboard gear.
Four high-quality eects such as delay, chorus and reverb can run concurrently
with eight channels of 31-band graphic equalisation.
Transmit up to 32 channels of audio to and from a computer using the
KLARK TEKNIK DN32 USB audio interface.
The M32 integrates seamlessly with other M32 consoles, the MIDAS DL16 digital
stagebox and the BEHRINGER P-16 personal monitoring system for a complete
live, studio and installed sound solution.
Control the mixer from a distance with the free application for iPad* or with
editing and remote control software connected via Ethernet. The M32’s ease of
use, intuitive workow, diverse feature set and integration with other equipment
make it an ideal centrepiece for installed and production sound in any setting.
Continue through this User Manual to learn all about the functionality
that this powerful mixer has to oer. We also recommend that you check
midasconsoles.com to make sure you have the latest rmware installed, as we
release frequent updates.
*iPad is a trademark of Apple Inc.
Safety warnings
Signal 0V is connected internally to the chassis.
To completely isolate this equipment from the AC mains, while observing full
safety precautions (see ‘Power’ on page xiii), switch o the isolator switch
(above the mains power sockets on rear of control centre) and then switch o
the mains at the three mains outlets. Unplug the three mains leads from the
rear of the control centre. For details of how to remove Volex locking type plug,
see ‘Power’ below.
To avoid electrical shock do not remove covers.
General precautions
In the event of ground loop problems, disconnect the signal screen at one end of
the connecting cables. Note that this can only be done when the equipment is
used within a balanced system.
Do not remove, hide or deface any warnings or cautions.
Power
The system power supplies contain LETHAL VOLTAGES greatly in excess of the
mains voltage and its rails can produce extremely large currents that could burn
out equipment and wiring if shorted.
The internal power supplies are of the switch mode type that automatically sense
the incoming mains voltage and will work where the nominal voltage is in the
range 100 VAC to 240 VAC.
Each mains inlet is to be sourced from its own separate wall-mounted mains
outlet socket.
Otherwise, their mains sources must be suitably distributed so as to meet local
safety regulations.
A Volex locking type plug is tted on each supplied mains cable, which plugs into
a mains IEC connector on the unit. When tted properly the Volex plug locks into
place, preventing it from working loose, or being inadvertently knocked loose or
pulled out. To t a Volex plug, insert it into the mains IEC connector and push it in
until it locks in place. Then, check to make sure it is locked in place. To remove it,
release its locking device and then pull it out. When tting or removing a Volex
plug, always hold the plug itself and never use the cable, as this may damage it.
During operation, a minimum of two of its three mains inlets must be connected
and supplying power.
When removing the equipment’s electric plugs from the outlets, always hold the
plug itself and not the cable. Pulling out the plug by the cable can damage it.
Never insert or remove an electric plug with wet hands.
Do not connect/disconnect a mains power connector to/from the M32 Control
Centre while power is being applied to it. Switch the power o rst.
Before switching the M32 Control Centre on or o, make sure that all monitor
loudspeaker power ampliers are turned o or muted.
Handling the equipment
Completely isolate the equipment electrically and disconnect all cables from the
equipment before moving it.
When lifting or moving the equipment, always take its size and weight into
consideration. Use suitable lifting equipment or transporting gear, or sucient
additional personnel.
Do not insert your ngers or hands in any gaps or openings on the equipment,
for example, vents.
Do not press or rub on the sensitive surface of the GUI screens.
If the glass of the GUI screen is broken, liquid crystals shouldn’t leak through the
break due to the surface tension of the thin layer and the type of construction of
the LCD panel. However, in the unlikely event that you do make contact with this
substance, wash it out with soap.
Installation
Before installing the equipment:
Make sure the equipment is correctly connected to the protective earth
conductor of the mains voltage supply of the system installation through the
mains leads
Power to the equipment must be via a fused spur(s)
Power plugs must be inserted in socket outlets provided with protective earth
contacts. The electrical supply at the socket outlets must provide appropriate
over-current protection
Both the mains supply and the quality of earthing must be adequate for
the equipment
Before connecting up the equipment, check that the mains power supply voltage
rating corresponds with the local mains power supply. The rating of the mains
power supply voltage is printed on the equipment.
Location
Ideally a cool area is preferred, away from power distribution equipment or other
potential sources of interference.
Do not install the equipment in places of poor ventilation.
Do not install this equipment in a location subjected to excessive heat, dust or
mechanical vibration. Allow for adequate ventilation around the equipment,
making sure that its fans and vents are not obstructed. Whenever possible,
keep the equipment out of direct sunlight.
Do not place the equipment in an unstable condition where it might accidentally
fall over.
Make sure that the mains voltage and fuse rating information of the equipment
will be visible after installation.
Ensure that all underside vents are left clear during operation.

12 DIGITAL RACK MIXER M32R User Manual 13 DIGITAL RACK MIXER M32R User Manual
1. Control Surface
1.1 Channel Strip - Input Channels
(1)
(2)
(3)
(4)
(5)
(6)
1.2 Channel Strip - Group/Bus Channels
(6)
(7)
(1)
(2)
(3)
(4)
(5)
(8) (9)
(1) SEL Button
Press to select an input or bus (depending on which layer is active) and allow
it to be edited by the Channel Strip and Main Display.
(2) Channel Meter
This displays the signal level of the input or bus, depending on which layer
is active. The COMP and GATE LEDs light to indicate that compression and/or
noise gate are active.
(3) SOLO Button
Press to send the channel to the solo bus.
(4) Scribble Strip
Information such as channel number, input source and a graphic icon are
displayed here.
(5) MUTE Button
Press to mute the channel.
(6) Fader
Use the MIDAS PRO Motor Fader to adjust the channel output volume.
In Sends on Faders mode channel faders represent the send level from
channels to the currently selected output bus (see next page).
(1) SEL Button
Press to select a DCA or bus (depending on which layer is active) and allow it
to be edited by the Channel Strip and Main Display.
(2) Channel Meter
This displays the signal level of the DCA or bus, depending on which layer is
active. The PRE LED lights to indicate that the bus is sourced pre-fader, while
the COMP LED lights to indicate that compression is active.
(3) SOLO Button
Press to send the channel to the solo bus.
(4) Scribble Strip
Information such as channel number, input source and a graphic icon are
displayed here.
(5) MUTE Button
Press to mute the channel.
(6) COMP
The COMP indicator will illuminate when compression is being applied to the
stereo output mix.
(7) CLR SOLO Button
Press to clear all sources assigned to the solo bus.
(8) Bus Faders
Use the MIDAS PRO Fader to adjust the channel volume or bus sends in
Sends on Faders mode. The faders will automatically display the current
status as layers and functions are changed.
(9) Fader
Use the MIDAS PRO Fader to adjust the output of the main bus.

14 DIGITAL RACK MIXER M32R User Manual 15 DIGITAL RACK MIXER M32R User Manual
1.3 Cong/Preamp
(1) GAIN Rotary Control
On a microphone preamplier, input gain varies the amount of amplication
applied to the microphone. Adjust the preamp gain for the selected channel
with the GAIN rotary control.
(2) LED Display
The LED display in the Cong/Preamp section illustrates the signal input
level for the selected channel. This is shown as a value between 0 dB and
-30 dB. When there is a signal present, but below -30 dB, the SIG LED is lit.
When the signal exceeds 0 dB the CLIP LED illuminates.
Please note that, when pressing the VIEW button, the signal input level
displayed on the Main Display shows a value of between 0 dB and -60 dB.
(3) FREQUENCY Rotary Control
The FREQUENCY rotary control selects the frequency at which
the low cut lter begins to lter unwanted frequencies for the
selected channel. The lter is engaged by pressing the LOW CUT button
(see below).
Please note that the low cut lter is only available for the 32 primary
input channels.
(4) 48 V
Phantom power is a method for transmitting DC electric power through
microphone cables to operate microphones that contain active electronic
circuitry. It is most commonly used with condenser microphones, though
many active direct boxes also use it. The technique is also used in other
applications where power supply and signal communication take place
over the same wires. Press the 48 V button to apply phantom power on the
selected channel’s physical input.
(5) Ø
An audio signal’s ‘phase’ refers to its position in a point of time along the
waveform cycle, with each cycle being 360°. Press the Øbutton to reverse
the selected channel’s phase by 180°. This can be useful when using the
reverse phase function to cancel noise across more than one channel.
(6) LOW CUT
Press the LOW CUT button to engage the low cut lter for the
selected channel.
Please note that the low cut lter is only available for the 32 primary
input channels.
(7) VIEW
Press the VIEW button to access more detailed parameters on the
Main Display. See the section Main Display - cong for more details.
1.4 Gate
(1) THRESHOLD Rotary Control
A noise gate is a device that is used to control the volume of an audio
signal. Often used in conjunction with a compressor (see DYNAMICS),
which attenuate signals above a certain threshold, noise gates attenuate
signals that register below the threshold. By turning the THRESHOLD
rotary control, the audio level at which the gate aects the signal
can be controlled.
(2) LED Display
The LED display illustrates when the Gate is functioning for the selected
channel by illuminating the red GATE LED at the bottom of the display.
(3) GATE
Pressing the GATE button engages the noise gate for the selected channel.
(4) VIEW
Press the VIEW button to access more detailed parameters on the Main
Display. See the section Main Display - gate for more details.
1.5 Dynamics
(1) THRESHOLD Rotary Control
Dynamic Range Compression, or just Compression is a device that is used
to control the volume of an audio signal. Often used in conjunction with a
noise gate (see GATE), which attenuate signals below a certain threshold,
compressors attenuate signals that register above the threshold. By turning
the THRESHOLD rotary control, the audio level at which the compressor
aects the signal can be controlled.
(1) (2) (3)
(4) (5) (6) (7)
(1)
(3) (4)
(2)
(1)
(2) (3) (4)
(2) LED Display
The LED display illustrates when the Dynamics are functioning for the selected
channel by illuminating the red COMP LED. The level of attenuation that is
being applied to the signal is shown as a value between 0 dB and -30 dB.
Please note that, when pressing the VIEW button, the attenuation level
displayed on the Main Display shows a value of between 0 dB and -60 dB.
(3) COMP
Pressing the COMP button engages the compressor for the selected channel.
(4) VIEW
Press the VIEW button to access more detailed parameters on the Main
Display. See the section Main Display - dyn for more details.
1.6 Equaliser
(1) MODE Select Button and Display
Pressing the MODE button cycles through each of the EQ modes for the
currently selected frequency range. Each of the modes and the frequency
ranges to which they apply are listed below:
HCUT
A high-cut function which attenuates signals above the selected frequency.
HSHV
A high-shelving function which boosts or attenuates signals above the
selected frequency. Only available with the HIGH 2 - HIGH setting.
VEQ
A bell lter that provides a more ‘Vintage EQ’ sound. Available on all
frequency settings.
PEQ
A bell lter that provides a classic ‘Parametric EQ’ sound. Available on all
frequency settings.
LSHV
A low-shelving function which boosts or attenuates signals below the
selected frequency. Only available with the LOW 2 - LOW setting.
LCUT
A low-cut function which attenuates signals below the selected frequency.
NOTE: Low-Cut and High-Cut Modes do not have Gain and Width settings.
(2) WIDTH Rotary Control
The WIDTH rotary control determines the span of frequencies around that
specied by the FREQUENCY rotary control, which will be aected by
adjusting the GAIN control.
(3) FREQUENCY Rotary Control
Select the specic frequency to be adjusted with the FREQUENCY
rotary control. Each frequency can be adjusted between 20 Hz and 20 kHz.
The equaliser provides four discreet lter bands for input channels and even
six discreet bands for buses and matrices as follows:
7 - Individual Band Frequencies
HIGH
A band intended for high frequencies, with access to HCUT, HSHV, VEQ and
PEQ EQ modes.
HI MID
A band intended for high-mid frequencies, with access to VEQ and
PEQ EQ modes.
LO MID
A band intended for low-mid frequencies, with access to VEQ and
PEQ EQ modes.
LOW
A band intended for low frequencies, with access to LCUT, LSHV,VEQ and
PEQ EQ modes.
HIGH 2
Press HIGH and HI MID concurrently to access the HIGH 2 band of
any bus equaliser.
LOW 2
Press LOW and LO MID concurrently to access the LOW 2 band of any
bus equaliser.
(4) GAIN Rotary Control
Boost or attenuate the selected frequency by turning the GAIN rotary
control. The selected equaliser band is inactive when the Gain control is in
the centre position (0 dB).
(5) EQ Button
Engages the EQ function for the selected channel.
(6) VIEW
Press the VIEW button to access more detailed parameters on the
Main Display. See the section Main Display - eq for more details.
(1) (2) (3) (4)
(5) (6)
(7)

16 DIGITAL RACK MIXER M32R User Manual 17 DIGITAL RACK MIXER M32R User Manual
1.7 Main Bus
(1) LEVEL Rotary
Adjust the overall send level to the Mono Bus with the LEVEL rotary control.
(2) PAN/BAL Rotary
When the selected channel is assigned to the Stereo Bus, the PAN/BAL
rotary control adjusts the left to right positioning of the audio signal.
(3) MONO
Press the MONO button to assign the selected channel to the Main Mono/
Centre Bus.
(4) ST
Press the ST select button to assign the selected channel to the
Main Stereo Bus.
(5) VIEW
Press the VIEW button to access more detailed parameters on the
Main Display. See the section Main Display - main for more details.
1.8 Recorder
(1) USB Port
Connect a USB stick to install rmware updates and to record performances.
(2) ACCESS
The ACCESS LED illuminates to indicate that a USB stick is in place and is
being written to or read from.
(3) VIEW
Press the VIEW button to open the USB Recorder pages on the Main Display.
1.8.1 Operation
The M32 oers functionality for playing back uncompressed stereo WAV les,
and for recording any available signal in the console directly onto USB stick or
compatible USB hard drive.
To record to a USB stick, perform the following steps:
1. Plug a FAT-formatted (FAT12, FAT16, FAT32) USB stick into the USB port
as illustrated above.
2. Press the VIEW button in the RECORDER panel. This will then display a
graphic representation of an analogue tape deck on the Main Display
home tab.
3. On the cong tab you can select the source of the recording , the
default being the main L & R outputs.
4. Press the fth push encoder, labelled Record.
5. To adjust the volume during playback, press the AUX IN/USB button
next to the input channel faders, and adjust the volume using AUX
faders 7 & 8.
(1) (2)
(3) (4) (4)
(1)
(2)
(3)
1.9 Main Display (Summary)
(2)
(1)
(4) (5)
(3) (3)
(1) DISPLAY SCREEN
The controls in this section are used in conjunction with the colour screen in
order to navigate and control the graphical elements it contains.
By including dedicated push encoders that correspond to the adjacent
controls on the screen, as well as including cursor buttons, the user can
quickly navigate and control all of the colour screen’s elements.
The colour screen contains various displays that give visual feedback for
the operation of the console, and also allow the user to make various
adjustments not provided for by the dedicated hardware controls.
(2) MAIN/SOLO METERS
This triple 24-segment meter displays the audio signal level output from the
main bus, as well as the main centre or solo bus of the console.
(3) SCREEN SELECTION BUTTONS
These eight illuminated buttons allow the user to immediately navigate
to any of the eight master screens that address dierent sections
of the console. The sections that can be navigated are:
HOME
The HOME screen contains an overview of the selected input or output
channel, and oers various adjustments not available through the dedicated
top-panel controls.
The HOME screen contains the following separate tabs:
home: General signal path for the selected input or output channel.
cong: Allows selection of the signal source/destination for the
channel, conguration of insert point, and other settings.
gate: Controls and displays the channel gate eect beyond those
oered by the dedicated top-panel controls.
dyn: Dynamics - controls and displays the channel dynamics eect
(compressor) beyond those oered by the dedicated top-panel controls.
eq: Controls and displays the channel EQ eect beyond those oered by
the dedicated top-panel controls.
sends: Controls and displays for channel sends, such as sends metering
and send muting.
main: Controls and displays for the selected channel’s output.
METERS
The METERS screen displays dierent groups of level meters for various
signal paths, and is useful for quickly ascertaining if any channels need
level adjustment. Since there are no parameters to adjust for the metering
displays, none of the metering screens contain any ‘bottom of the screen’
controls that would normally be adjusted by the six push encoders.
The METERS screen contains the following separate screen tabs, each
containing level meters for the relevant signal paths: channel, mix bus,
aux/fx, in/out and rta.
ROUTING
The ROUTING screen is where all signal patching is done, allowing the
user to route internal signal paths to and from the physical input/output
connectors located on the console’s rear panel.
The ROUTING screen contains the following separate tabs:
home: Allows patching of physical inputs to the 32 input channels and
aux inputs of the console.
out 1-16: Allows patching of internal signal paths to the console’s
16 rear panel XLR outputs.
aux out: Allows patching of internal signal paths to the console’s six
rear panel ¼" / RCA auxiliary outputs.
p16 out: Allows patching of internal signal paths to the 16 outputs of
the console’s 16-channel P16 ULTRANET output.
card out: Allows patching of internal signal paths to the 32 outputs of
the expansion card.
aes50-a: Allows patching of internal signal paths to the 48 outputs of
the rear panel AES50-A output.
aes50-b: Allows patching of internal signal paths to the 48 outputs of
the rear panel AES50-B output.
xlr out: Allows the user to congure the XLR outs on the rear of the
console in blocks of four, from either local inputs, the AES streams,
or expansion card.

18 DIGITAL RACK MIXER M32R User Manual 19 DIGITAL RACK MIXER M32R User Manual
LIBRARY
The LIBRARY screen allows loading and saving of commonly-used setups for
the channel inputs, eects processors, and routing scenarios.
The LIBRARY screen contains the following tabs:
channel: This tab allows the user to load and save commonly used
combinations of the channel processing, including dynamics and EQ.
eects: This tab allows the user to load and save commonly used
eects processor presets.
routing: This tab allows the user to load and save commonly used
signal routings.
EFFECTS
The EFFECTS screen controls various aspects of the eight eects processors.
On this screen the user can select specic types of eects for the eight
internal eects processors, congure their input and output paths,
monitor their levels, and adjust the various eects parameters.
The EFFECTS screen contains the following separate tabs:
home: The home screen provides a general overview of the virtual
eects rack, displaying what eect has been inserted in each of the
eight slots, as well as displaying input/output paths for each slot and
the I/O signal levels.
fx1-8: These eight duplicate screens display all of the relevant data for
the eight separate eects processors, allowing the user to adjust all
parameters for the selected eect.
SETUP
The SETUP screen oers controls for global, high-level functions of the
console, such as display adjustments, sample rates & synchronisation,
user settings, and network conguration.
The SETUP screen contains the following separate tabs:
global: This screen oers adjustments for various global preferences of
how the console operates.
cong: This screen oers adjustments for sample rates and
synchronisation, as well as conguring high-level settings for signal
path buses.
remote: This screen oers dierent controls for setting up the console
as a control surface for various DAW recording software on a connected
computer. It also congures the MIDI Rx/Tx preferences.
network: This screen oers dierent controls for attaching the console
to a standard Ethernet network. (IP address, Subnet Mask, Gateway.)
scribble strip: This screen oers controls for various customisation of
the console’s LCD scribble strips.
preamps: Shows the analogue gain for local mic inputs (XLR at the
rear) and phantom power, including setup from remote stage boxes
(e.g. DL16) connected via AES50.
card: This screen selects the input/output conguration of the installed
interface card.
MONITOR
Pressing the MONITOR button has the same eect as pressing the VIEW
button in the MONITOR panel, and is covered in detail in the MONITOR
section below.
SCENES
Pressing the SCENES button accesses the M32’s automation functions.
This screen is covered in detail in the SCENES section of the
MAIN DISPLAY chapter.
MUTE GRP
The MUTE GRP screen allows for quick assignment and control of the
console’s six mute groups, and oers two separate functions:
Mutes the active screen during the process of assigning channels to
mute groups. This ensures that no channels are accidentally muted
during the assignment process during a live performance.
It oers an additional interface for muting/unmuting the groups
in addition to the dedicated mute group buttons at the bottom of
the console.
UTILITY
The UTILITY screen is a supplemental screen designed to work
in conjunction with the other screens that may be in view at any
particular moment. The UTILITY screen is never seen by itself, it always
exists in the context of another screen, and typically brings up copy,
paste and library or customisation functions. For example:
•• When you are adjusting the EQ of a channel, pressing the UTILITY
button will oer copying, pasting or loading functionality, or saving of
EQ settings
•• Pressing the UTILITY button while editing a channel’s
CONFIG/PREAMP screen will oer copying, saving or loading
preamp congurations
NOTE: Pressing the UTILITY button while holding the channel Select button is a
shortcut to editing the channel’s scribble strip display icon, naming or colour.
•• On the ROUTING screen, pressing UTILITY will oer the ability to load
or save dierent presets of routing scenarios
•• On the CUES, SCENES, SNIPPETS, PARAM SAFE and CHAN SAFE pages,
pressing UTILITY also oers dierent levels of import/export functions:
Cues: Utility allows importing or exporting complete Show data,
including all Cues, Scenes, Snippets and Safes to attached USB media.
Scenes: Utility oers selecting a number of scenes for exporting or
importing on attached USB media.
Snippets: Utility oers selecting a number of snippets for exporting or
importing on attached USB media.
Param Safes/Chan Safes: Utility allows setting/resetting the Safe
ags for a complete column of entries at once.
(4) PUSH ENCODERS
These six push encoders are used to adjust the various elements located
directly above them. Each of the six encoders can be pushed inward to
activate a button-press function. This function is useful when controlling
elements that have a dual on/o status that is best controlled by a button,
as opposed to a variable state that is best adjusted by a rotary control.
(5) UP/DOWN/LEFT/RIGHT NAVIGATION CONTROLS
The LEFT and RIGHT controls allow for left-right navigation among the
dierent pages contained within a screen set. A graphical tab display
shows which page you are currently on. On some screens there are
more parameters present than can be adjusted by the six push encoders
underneath. In these cases, use the UP and DOWN buttons to navigate
through any additional layers contained on the screen page. The LEFT
and RIGHT buttons are sometimes used to conrm or cancel conrmation
pop-ups.
Please refer to the MAIN DISPLAY chapter for more information on
these topics.
1.10 Monitor
(1) MONITOR LEVEL Rotary Control
Adjust the level of the monitor outputs with the MONITOR LEVEL rotary
control. This will be the output device connected to the sockets in the
MONITOR / CONTROL ROOM OUT section on the rear panel.
(2) PHONES LEVEL Rotary Control
Adjust the level of the signal through the headphones or other output
devices connected via the headphone jack sockets located under the front of
the console.
(3) MONO
Press the MONO button to monitor the audio signal in mono.
(4) DIM
Press the DIM button to reduce the monitor volume by a predened
amount. The amount of attenuation can be dened via the Main Display
when the VIEW button is pressed.
(5) VIEW
Press the VIEW button to access more detailed parameters on the
Main Display.
1.10.1 Operation
The MONITOR section shares a Main Display screen with the TALKBACK section.
On this screen, only the monitor tab contains functionality which relates to the
MONITOR section. This tab controls various console options relating to the solo
bus, as well as the console’s control room outputs. These options include various
solo settings, speaker dimming, speaker delay, and a selection of sources for the
control room output.
To adjust the settings on the monitor tab, perform the following steps:
1. Adjust the rst push encoder to change the gain of the monitor signal.
This digital stage occurs as a rst preliminary level control, before the
top panel’s analogue-based monitor level control. A display above the
push encoder shows the currently set gain value in dB.
•• A multi-segment level meter is displayed on the Main Display to allow
for proper gain staging of the monitor signal.
2. Adjust the second push encoder to scroll through the various solo
methods available to the console when audio is routed to the solo bus.
Available options include:
•• Exclusive (last): In this mode, pressing another SOLO button
disengages the previous solo
•• Solo Follows Select: When this method is selected, the audio of the
currently selected channel will automatically be sent to the solo bus.
Since a user will often select a channel to adjust its dedicated DSP
controls, this method is useful because the audio of the channel will
now already be feeding he solo bus where it can be monitored with
headphones in a live sound environment
•• Select Follows Solo: When this method is selected, any channel that is
soloed will automatically become the currently selected channel
•• Ch Solo AFL: The channel and select button do not have any correlation
to each other. When a channel’s SOLO button is pressed, its audio is sent
to the solo bus in ‘after-fader-listen’ mode, reecting the current level
of the channel fader and any channel DSP that has been applied.
The default setting for input channels is o for ‘pre-fader-listen’.
•• MixBus Solo AFL: Selecting this method will set the mix bus solo to
post-fader
•• DCA Solo AFL: Selecting this method will set the DCA solo to post-fader
•• Use DIM for PFL: Selecting this option will apply DIM to all PFL signals
•• Use Master Fader: This allows the main fader/MUTE button to control
the solo/mon output.
3. Tap the second encoder to select and assign the currently chosen
solo option.
4. Turn the third encoder to adjust the amount of digital delay that is
applied to the control room signal path. The display on the screen will
show the current amount of delay in feet, metres and milliseconds.
5. Tap the third encoder to toggle the delay function on or o.
TIP: The delay function is useful for aligning the sound of audio monitored
through headphones, or speakers used at front-of-house position with audio
that is coming from the stage location.
By delaying the control room audio, it can be brought into alignment with
the slightly-delayed audio that has to travel from the stage to the front-of-
house position.
6. Adjust the fourth encoder to set the amount of volume reduction
that occurs when the control room bus has its DIM function enabled.
The amount of volume reduction ranges from -40 dB to 0 dB
(no change).
7. Tap the fourth encoder to toggle the DIM function on or o.
8. Turn the fth encoder to adjust the volume trim for the source currently
feeding the control room bus, allowing it to be level matched with the
SOLO bus. The amount of trim can be adjusted from -20 dB to +20 dB.
9. Tap the fth encoder to toggle the control room between mono and
stereo operation. This is very useful in a studio context for checking how
a mix sounds when played back on a mono speaker such as a cock radio.
10. Adjust the sixth encoder to select what specic signal source to monitor
in the control room. Choices include:
•• O (no source) in the control room, when no SOLO is active
•• LR Bus
•• LR + C/M
•• LR PFL (Pre-Fade Listen)
•• LR AFL (After-Fade Listen)
•• Auxiliary returns 5/6
•• Auxiliary returns 7/8 (USB Recorder).
11. Tap the sixth encoder to activate the signal source that has been chosen.
(1) (2) (3) (4)

20 DIGITAL RACK MIXER M32R User Manual 21 DIGITAL RACK MIXER M32R User Manual
1.11 Talkback
(1) & (2) - TALK A / B
Select the destination of the Talkback mic signal with either the TALK A or
TALK B buttons. Press the VIEW button in the MONITOR section to edit the
Talkback routing for A and B.
(3) TALK LEVEL Rotary Control
Adjust the level of the Talkback volume with the TALK LEVEL rotary control.
1.11.1 Operation
talkback Tab
The TALKBACK screen oers various adjustments for the talkback paths of the
console, such as destination of the talkback signal and more.
To adjust the various settings on the talkback tab, perform the
following steps:
1. The screen displays a multi-segment level meter showing the strength
of the talkback signal as it has currently been set. It also displays a
multi-segment gain reduction meter, showing the user how much
compression has been automatically applied to the talkback signal.
2. Tap the rst push encoder to enable the talkback circuit. The internal/
external talkback microphone will now transmit audio to the talkback
path’s assigned destination.
3. Adjust the third encoder to set the gain of the talkback signal. This is
an additional gain stage that follows the initial gain stage set by the top
panel TALK LEVEL control.
4. Tap the third encoder to toggle on/o the talkback circuits ‘auto-dim’
function. This function is useful in a studio setting, and will
automatically dim the control room outputs when the talkback circuit
is active. This prevents the talkback microphone from picking up too
much sound from the nearby studio monitors.
5. Adjust the fourth encoder to scroll through the various talkback
destinations, which include:
•• Mix Bus 1-16
•• LR Bus
•• Centre/Mono Bus.
6. Tap the fourth encoder to activate any talkback destination when it
is currently selected. Multiple talkback destinations can be selected,
allowing the talkback signal to reach many destinations at the
same time.
7. Tap the fth encoder to toggle the dedicated top-panel talkback
buttons between latching and non-latching operation.
8. Turn the sixth encoder to adjust the brightness of the lamp that is
connected to the console’s rear panel lamp connector.
9. Tap the sixth encoder to toggle the attached lamp on or o.
oscillator Tab
The oscillator tab oers controls for the console’s onboard oscillator, a very
handy tool that can be used for setting up PA systems and testing various
signal ow paths without the need for a live source feeding a microphone.
Settings include oscillator type, frequency, volume and routing destinations.
To adjust the various settings on the oscillator tab, perform the following steps:
1. Adjust the rst push encoder to set the level of the onboard oscillator.
2. Tap the rst encoder to toggle the oscillator on or o.
•• The Main Display shows a multi-segment level meter that shows
the current level of the oscillator.
3. Adjust the second encoder to set the frequency of the primary
onboard oscillator.
4. Adjust the third encoder to set the frequency of the alternate onboard
oscillator.
5. Tap the third encoder to alternate between Sine F1 and Sine F2.
6. Adjust the fourth encoder to select the type of oscillator to be used.
Choices include:
•• Sine Wave
•• Pink Noise
•• White Noise.
7. Tap the fourth encoder to engage the selected oscillator type.
8. Adjust the sixth encoder to select a destination for the
onboard oscillator. Choices include:
•• Mix Bus 1-16
•• Main L Bus
•• Main R Bus
•• Main L+R Bus
•• Main Centre / Mono
•• Matrix Outputs 1-6.
9. Tap the sixth encoder to assign the selected oscillator destination.
(1) (1) (3)
1.12 Assign
1.12.1 Buttons 1-8
Assign the eight buttons to various parameters for instant access to commonly
used functions. Details can be found on the Main Display by pressing the VIEW
button (see below).
1.12.2 VIEW
This gives you more detailed access to the ASSIGN functions via the Main Display.
The ASSIGN screen allows setup for the four user-assignable rotary controls and
the eight user-assignable buttons. Using this screen the console operator can
assign three sets of 12 custom controls to be available for adjustment at all times.
The ASSIGN screen contains the following separate tabs:
home: This screen provides a general overview of the 12 assigned controls
for all three control sets at the same time.
set A: This screen allows assignment of dierent console parameters to
the 12 custom controls for Set A.
set B: Works as described above, but for custom controls Set B
set C: Works as described above, but for custom controls Set C
HOME
The ASSIGN screen’s home tab provides a visual overview of the 12 assigned
controls for all three sets at the same time.
The home tab oers visual feedback of the controls that have been assigned
to all three sets of custom controls, without having to bank between the three
sets one-by-one, or relying on abbreviated syntax shown in the custom control’s
dedicated LCD displays.
To adjust the various settings on the home tab, perform the following steps:
1. Turn any of the push encoders 1-5 to move screen focus to dierent custom-
assignable rotary controls and buttons in the A, B and C sets. The controls
currently selected with each of the four rotary controls are highlighted with
an orange outline.
2. Tap any of the push encoders 1-5 to switch to the edit screen for the specic
custom control that was highlighted on the home tab screen.
SET A, B & C
The set A, B & C tabs allow mapping of specic console parameters to the
eight assignable buttons and four assignable rotary controls. Using these
screens the user can map the exact parameters that are most useful to them
to the desired controls, in the desired order.
To adjust the various settings on the set A, B & C tabs, perform the
following steps:
1. Adjust the rst push encoder to select the colour used for the LCD screens
within that set.
2. Adjust the second push encoder to select to which of the 12 assignable
controls in the appropriate set you wish to map a parameter.
3. Adjust the third push encoder to scroll through a list of parameter categories
to which the selected assignable control can be mapped. Choices for the
buttons include:
•• Not Assigned
•• Jump to Page
•• Mute Channel
•• Inserts
•• Eect Button
•• MIDI
•• Remote.
•• Choices for the rotary controls include:
•• Not Assigned
•• Panorama
•• Sends
•• Dynamics
•• FX Parameters
•• MIDI
•• Remote.
4. Tap the third push encoder to select the desired type of parameter.
5. Where applicable, tap/select the fourth, fth and sixth push encoders to
assign the specic parameter.

22 DIGITAL RACK MIXER M32R User Manual 23 DIGITAL RACK MIXER M32R User Manual
1.13 Fader Layer
(1) INPUTS 1-8 / 9-16 / 17-24 / 35-32
Pressing one of these buttons selects either the channel 1-8 layer, the
channel 9-16 layer, the channel 17-24 layer, or the channel 25-32 layer on the
left-most eight fader strips.
(2) AUX IN / USB
Press to select the Aux In / USB Recorder layer on the left-most eight
fader strips.
(3) FX RET
Press to select the eects return layer on the left-most eight fader strips.
(4) BUS 1-8 / 9-16
Press one of these buttons to select either the Bus 1-8 layer or the Bus 9-16
layer on the left-most eight fader strips.
(5) FADER FLIP - SENDS ON FADER Button
Press to activate the M32’s Sends on Fader function. This function aids
with the level setting of channels sent to any of the 16 Mix Buses. It is
only for channels assigned to Mix Buses 1-16, and does not work for DCA
groups, main or matrix buses. The Sends on Fader function works in two
convenient ways to cover the most obvious situations in a live environment:
When preparing a monitor mix for a specied musician
•• Select the monitor bus (BUS 1-8 or BUS 9-16) that feeds the
musician’s stage monitor
•• Press the Sends on Fader button, which will then ash
•• Select one of the three input channel layers (INPUTS 1-16,
INPUTS 17-32, AUX IN / USB or BUS MAST)
•• As long as Sends on Fader is active all faders in the input channels
section correspond to the send levels on the selected monitor
mix bus.
When checking or editing where a selected input signal is to
be sent
•• Select the input channel in the left-hand section
•• Press the Sends on Fader button, which will then ash
•• Select either bus channel layer (BUS 1-8 or BUS 9-16)
•• The bus faders now represent the send levels of the selected
input channel.
TIP: Sends on Fader can also be used for conveniently sending Bus or Main M/C
signals to Matrices.
(6) EM - DAW Remote Button
Press this button to enable remote control of your Digital Audio Workstation
software using the Group/Bus fader section controls. This section can
emulate HUI or Mackie Control Universal communication with your DAW.
(7) GROUP DCA 1-8
Press this button to select the Group DCA layer.
A DCA group is a grouping function, made possible by the console’s
digital operation, where individual input channels can be grouped
together and controlled with a single output fader on the right-hand
side of the console. Unlike the traditional sub-grouping function found
on analogue consoles, a DCA group does not combine the dierent input
channels into a common sub-mix. Instead, the individual input channels still
retain their original routing characteristics, but their level adjustments are
commonly controlled.
(8) BUS 1-8 / 9-16
Press one of these buttons to select either the Bus 1-8 layer or the Bus 9-16
layer on the right-most eight fader strips.
(9) MATRIX MAIN C
Press to select the Matrix and Main C layer on the right-most eight
fader strips.
(9)
(5)(4)
(1)
(6)
(7)
(8)
(2)
(3)
2. Main Display
2.1 Main Display - Top Section
The top section of the Main Display permanently covers useful
status information. The top left corner shows the selected channel number,
its user-assigned name and the selected icon. The next block shows the
current scene number and name in amber, as well as the next upcoming scene.
The centre section displays the playback le name along with elapsed and
remaining time, and a recorder status icon. The next block to the right has
four segments to show the status of the AES50 ports A and B, the Card slot,
and the audio clock synchronisation source and sample rate. Small green square
indicators show proper connectivity. The rightmost block shows the console time,
which can be set under Setup - Cong.
2.1.1 Home
The HOME screen contains a high-level overview of the selected input or output
channel, and oers various adjustments not available through the dedicated
top-panel encoders.
The HOME screen is divided into the following tabs:
home: General signal path for the selected input or output channel.
cong: Allows selection of signal source/destination for the channel,
conguration of insert point, and other settings.
gate: Controls and displays the channel gate eect beyond those oered by
the dedicated top-panel encoders.
dyn: Controls and displays the channel dynamics eect (compressor) beyond
those oered by the dedicated top-panel encoders.
eq: Controls and displays the channel EQ eect beyond those oered by the
dedicated top-panel encoders.
sends: Controls and displays the channels sends, such as sends metering and
sends muting.
main: Controls and displays the selected channel’s output.
home
The home tab of the HOME screen displays a general signal path for the currently
selected input or output channel. It visually displays various parameters of the
input, gate, insert point, EQ, dynamics, output path and buses.
The home tab contains the following parameters (divided into two pages)
that can be adjusted using the six push encoders.
Page 1
1. Turn the rst push encoder to adjust the input gain (trim) of
the channel.
2. Tap the rst encoder to link the channel with its adjacent channel.
3. Adjust the second encoder to set the threshold of the channel
noise gate.
4. Tap the second encoder to toggle the channel noise gate in/out of the
signal path.
5. Adjust the third encoder to toggle the channel’s insert point between
pre-fader and post-fader status.
6. Tap the third encoder to toggle the channel insert in/out of the
signal path.
7. Adjust the fourth encoder to toggle the channel dynamics between
pre-EQ and post-EQ status.
8. Tap the fourth encoder to toggle the channel EQ in/out of the
signal path.
9. Adjust the fth encoder to set the threshold of the channel compressor.
10. Tap the fth encoder to toggle the channel compressor in/out of the
signal path.
11. Adjust the sixth encoder to pan the selected channel within the main
stereo output.
12. Tap the sixth encoder to assign the selected channel to the main
stereo output.
Page 2
1. Adjust the rst push encoder to select the console channel currently
controlled by the HOME screen.
2. Tap the rst encoder to toggle +48V phantom power on/o for the
currently selected input.
3. Tap the second encoder to toggle the phase ip on/o for the currently
selected channel.
4. Adjust the third encoder to select to which of the eight DCA groups the
currently selected channel will be assigned.
5. Tap the third encoder to assign the currently selected channel to the
selected DCA group.
6. Adjust the fourth encoder to select to which of the six mute groups the
currently selected channel will be assigned.
7. Tap the fourth encoder to assign the currently selected channel to the
selected mute group.
8. Tap the fth encoder to toggle solo on/o for the currently
selected channel.
9. Turn the sixth encoder to adjust the fader level for the currently
selected channel.
10. Tap the sixth encoder to toggle mute on/o for the currently
selected channel.

24 DIGITAL RACK MIXER M32R User Manual 25 DIGITAL RACK MIXER M32R User Manual
cong
The conguration tab allows selection of signal source/destination for the
channel, conguration of insert point, and other settings, as well as conguration
of the channel delay.
The cong tab of input channels 1-32 contains the following parameters
that can be adjusted using the six push encoders:
1. Turn the rst push encoder to adjust the input gain (trim) of
the channel.
2. Tap the rst encoder to allow linking of the channel to the
adjacent channel.
3. Adjust the second encoder to set the low-cut frequency of the channel.
4. Tap the second encoder to toggle the low-cut lter in/out of the
signal path.
5. Adjust the third encoder to scroll among all of the possible sources for
the channel.
6. Tap the third encoder to select the currently highlighted source and
assign it to the channel.
7. Adjust the fourth encoder to set the amount of digital line delay applied
to the channel.
8. Tap the fourth encoder to toggle the delay in/out of the signal path.
9. Adjust the fth encoder to toggle the channel insert between pre- and
post-EQ/compressor.
10. Tap the fth encoder to toggle the channel insert in/out of the
signal path.
11. Adjust the sixth encoder to scroll among the signal path choices for the
insert point.
12. Tap the sixth encoder to assign the selected signal path to the
insert point.
NOTE: Mix Bus channels do not have Gain, Low Cut, Phantom, Phase,
Source and Delay. But they do have a macro feature for setting all channel send
taps to the selected bus at once. As an example, this can be used for switching
all sends from Pre Fader to Post Fader or for ensuring that all channel taps
are consistent.
gate
The gate tab displays all aspects of the channel noise gate, and allows for very
deep control of the gate eect. Whereas the top panel’s dedicated GATE section
allows control of the gate’s threshold and in/out status, the gate tab oers many
more controls. This tab can be accessed directly by pressing the VIEW button in
the top panel GATE section.
The gate tab contains the following parameters, divided among two pages,
that can be adjusted using the six push encoders:
Page 1
1. Adjust the rst push encoder to set the input threshold of the gate.
2. Tap the rst encoder to toggle the noise gate in/out of the signal path.
3. Adjust the second encoder to set the range of a ‘ducking eect applied
to the channel.
4. Tap the second encoder to toggle the ducker eect in/out of the
signal path.
5. Adjust the third encoder to set the attack time of the onset of the noise
gate eect.
6. Adjust the fourth encoder to set the hold time of the noise gate eect.
7. Adjust the fth encoder to set the release time of the noise gate,
controlling how quickly the gate opens up and lets the signal through.
Page 2
1. Push encoders 1 & 2 function the same on pages 1 & 2.
2. Adjust the fourth encoder to set the frequency of the key lter that can
be used to trigger the noise gate.
3. Tap the fourth encoder to toggle the key lter on/o, allowing a specic
frequency to control the gate.
4. Adjust the fth encoder to set the steepness of the EQ slope used in the
key lter.
5. Tap the fth encoder to send the key source to the solo bus, allowing
the key source to be monitored and evaluated.
6. Adjust the sixth encoder to select the specic key source to be used.
Choices include ‘Self’ (the channel’s own signal), as well as any other
input/output of the console.
7. Tap the sixth encoder to assign the selected key source to the gate.
dyn
The dynamics tab displays all aspects of the channel compressor, and allows for
very deep control of the eect. Whereas the top panel’s dedicated compressor
section allows control of the threshold and in/out status, the dyn tab oers many
more controls. This tab can be accessed directly by pressing the VIEW button in
the top panel DYNAMICS section.
The dyn tab contains the following parameters that can be adjusted using
the six push encoders:
Page 1
1. Adjust the rst push encoder to set the input threshold of
the compressor.
2. Tap the rst encoder to toggle the compressor in/out of the signal path.
3. Adjust the second encoder to set the ratio of the compressor.
4. Tap the second control to switch the channel dynamics eect between
compression and expansion.
5. Adjust the third encoder to set the attack time of the compressor eect.
6. Tap the third encoder to switch the compressor between Peak and RMS
(root mean squared) mode, where the average level of the signal is
evaluated more than any specic peak of the channel material.
•• PEAK: A peak-sensing compressor responds to the instantaneous
level of the peak signal. While providing tighter peak control, peak
sensing might yield very quick changes in gain reduction, more
evident compression, or sometimes even distortion. This mode is
suitable for control/limiting of dynamic material.
•• RMS: In this mode, the compressor applies an average function
on the input signal before its level is compared to the threshold.
This allows a more relaxed compression that also more closely
relates to our perception of loudness. Sharp dynamic transients
will be less aected in this mode. This mode is good for controlling
levels in a mix.
7. Turn the fourth encoder to adjust the hold time of the compressor.
•• Hold time is a parameter not often found on commercial units,
but is very useful. If a compressor is set to use a very fast attack/
release time, audible distortion can occur, because the compressor
is trying to work on individual waveform cycles of the signal
instead of the sound envelope as a whole. The Hold parameter
works around this issue by providing a short delay. This delay
prevents the compressor from releasing until a certain period of
time has elapsed.
8. Tap the fourth encoder to switch between Linear and Logarithmic
modes for the compressor. Following are some brief descriptions of
those dierent modes:
LOG: This mode is used in many well-respected compressors and is the
natural result of more recent analogue units employing logarithmic
side chains and resistor/capacitor time constants. The exponential/
dB law has some interesting characteristics. Firstly the time taken to
complete a compression event tends to stay the same however large
the dynamic signal excursion is. Also, since the peak rate of gain change
increases with dynamic excursion, the resulting harmonic content due
to compress tends to follow the loudness of the signal in a way that
the ear expects. This helps to mask the eect of the compressor and
thus provides the most forgiving solution, being tolerant of diering
timing settings and signal material. This makes it the best choice
for general compression use and overall dynamic control of complex
musical signals.
LINEAR: In this mode, the rate if gain change is constant (as set by the
timing controls). Therefore the greater the signal dynamic excursion,
the longer the compressor will take to complete a gain change.
Also, since the total time that the compressor spends in attack or decay
is proportional to the size of the gain excursion, the harmonic content
of the compression artefact will seem to reduce in frequency content,
the louder the signal excursion. This type of compressor is useful for
generating dynamic sound eects because the sonic character of the
compressor is much more aected by time control settings and signal
material than the exponential type.
9. Adjust the fth encoder to set the release time of the compressor.
10. Adjust the sixth encoder to set the makeup gain of the compressor;
useful when the compression eect has reduced the overall signal level
of the channel too much.
Page 2
1. Push encoders 1 & 2 function the same on pages 1 & 2.
2. Adjust the third encoder to set the steepness of the compressor knee
angle between ve separate settings. Adjust this control to switch
between a harder sounding, or more transparent compressor eect.
3. Tap the third encoder to move the compressor eect before or after the
EQ in the channel signal path.
4. Adjust the fourth encoder to set the frequency of the key lter that can
be used to trigger the compressor.
5. Tap the fourth encoder to toggle the key lter on/o, allowing a specic
frequency to control the compressor.
6. Adjust the fth encoder to set the steepness of the EQ slope used in
the compressor.
7. Tap the fth encoder to send the key source to the solo bus, allowing
the key source to be monitored and evaluated.
8. Adjust the sixth encoder to select the specic key source to be used,
Choices include ‘Self’ (the channel’s own signal), as well as any other
input/output of the console.
9. Tap the sixth encoder to assign the selected key source to
the compressor.

26 DIGITAL RACK MIXER M32R User Manual 27 DIGITAL RACK MIXER M32R User Manual
eq
The eq tab displays all aspects of the channel EQ, and also displays a detailed
visual graphic of the current EQ curve. This tab can also be accessed directly by
pressing the VIEW button on the top panel EQUALISER section.
1. If the currently selected channels is an input, the channel EQ contains
four bands, with various aspects of each band adjusted by push
encoders 2-5.
2. If the currently selected channel is a bus, the channel EQ contains six
bands, with various aspects of each band adjusted by encoders 1-6.
3. On the EQ screen, the various push encoders are always tied to the
various EQ bands, and the Up/Down navigation controls are used to
toggle whether the four/six push encoders adjust:
•• Gain
•• Frequency
•• Width
•• EQ mode.
Page 1 (Gain)
1. Adjust the rst push encoder to set the frequency of the channel
low-cut lter.
2. Tap the rst encoder to toggle the low-cut lter in/out of the
signal path.
3. Adjust the second encoder to boost/cut the gain of the low band.
4. Adjust the third encoder to boost/cut the gain of the low-mid band.
5. Adjust the fourth encoder to boost/cut the gain of the high-mid band.
6. Adjust the fth encoder to boost/cut the gain of the high band.
7. Tap the sixth encoder to toggle the EQ in/out of the signal path.
Page 2 (Frequency)
1. Works as above, but the push encoders now adjust the frequency centre
points for the dierent EQ bands.
Page 3 (Width)
1. Works as above, but the push encoders now adjust the bandwidth
for the dierent EQ bands. Use a narrow slope for working with a
specic frequency, or use a broader slope for general tone-shaping.
Page 4 (Mode)
1. Works as above, but the push encoders now adjust the EQ mode for each
EQ band. Choices include:
•• Low cut
•• Low shelf
•• Parametric EQ
•• Vintage EQ
•• High shelf
•• High cut.
sends
The sends tab displays and controls all aspects of the channel sends to the
16 mix buses. Compared to the dedicated top panel send controls, this screen
oers additional functions, such as send muting and simultaneous metering of
the selected channel’s 16 sends. This tab can also be accessed directly by pressing
the VIEW button in the top panel BUS SEND section.
The sends tab contains the following parameters that can be adjusted using
the six push encoders:
Page 1
1. Adjust the rst push encoder to set the level for the rst send of the
currently selected four-send group.
2. Tap the rst encoder to mute the rst send of the currently selected
four-send group.
3. Repeat the process with the next three encoders for the remaining
three sends in the currently selected four-send group.
4. Adjust the sixth encoder to select which four sends to control with the
rotary controls, shifting focus two sends at a time.
5. Tap the sixth encoder to select which four sends to control with the
rotary controls, shifting focus four at a time.
Page 2
1. Adjust the rst push encoder to select from where in the signal chain
the send is tapped, for the rst two sends of the currently focused four
sends. Options include:
•• Pre-EQ
•• Post-EQ
•• Pre-fader
•• Post-fader
•• Sub-group.
2. Adjust the third encoder to perform the same operation for the second
two sends of the currently focused four sends.
3. Adjust the sixth encoder to select which four sends to control with the
rotary controls, shifting focus two sends at a time.
4. Tap the sixth encoder to select which four sends to control with the
rotary controls, shifting focus four at a time.
main
The main tab displays and controls all aspects of the main bus assignments.
The main tab contains the following parameters that can be adjusted using
the six push encoders:
1. Adjust the rst push encoder to pan the selected channel within the
main stereo output.
2. Tap the rst encoder to assign the selected channel to the
main stereo output.
3. Turn the second encoder to adjust the level of the currently selected
channel within the mono (centre) bus.
4. Tap the second encoder to assign the selected channel to the mono
output signal path. Use this function when crafting an LCR mix, as
opposed to a mono or stereo mix.
5. Tap the fth encoder to solo/unsolo the currently selected channel.
6. Adjust the sixth encoder to set the fader level for the currently
selected channel.
7. Tap the sixth encoder to mute/unmute the currently selected channel.
2.2 Meters
The METERS screen displays dierent groups of level meters for various signal
paths on the console, and is useful for quickly ascertaining if any channels
need level adjustment. Since there are no parameters to adjust for the
metering displays, none of the metering screens (with the exception of the
rta tab; see below) contain any ‘bottom-of-screen’ controls that would normally
by adjusted by the six push encoders.
The METERS screen contains the following separate screen tabs, each containing
level meters for the following signal paths:
channel
•• Level meters and fader levels for the 32 input channels.
mix bus
•• Level meters, fader levels and gain reduction meters for the 16 bus masters
•• Level meters, fader levels and gain reduction meters for the six
matrix outputs
•• Level meters, fader levels and gain reduction meters for the stereo main bus
and the mono bus.
aux/fx
•• Level meters for the six auxiliary sends
•• Level meters and fader levels for the eight auxiliary returns
•• Level meters and fader levels for the four stereo eects returns.
in/out
The 32 input channels
The eight auxiliary returns
•• The six auxiliary sends
•• The two rear panel digital outputs
•• Monitor outputs
•• The 16 rear panel analogue outputs
•• The P16 ULTRANET outputs.
rta
The rta tab shows details of the M32’s Real Time Analyser - a real-time
spectrum analyser that displays details of the audio signal on the selected
signal path. The M32 features both bar graph and spectrograph with a
10-second window, that are displayed on the Main Display, and can be used in a
variety of applications. The frequency resolution of both analysers is 100 bands,
with constant relative bandwidth from 20 Hz to 20 kHz. Hence they are three
times more detailed than typical third-of-an-octave RTAs. Both graphs can be
visualised in a separate Meter screen, on top of each channel parametric EQ and
on the FX rack graphic EQ screens.
RTA Source
Depending on the application the analyser input signal can be taken from the
selected channel itself, any other pre-dened channel or dynamically depending
on monitor source signals (i.e. Main/Solo). When EQ-ing a main PA system
for example, the Graphic EQ may be inserted in Main LR, while the analyser signal
may come from a dedicated measuring mic input channel. Select the source
signal using the sixth push encoder.
Solo Priority
When switched on, the selected RTA source signals will be replaced with the
monitor solo bus whenever a channel solo is active.
TIP: This option might be useful, if you wish to analyse a group of
channels concurrently, or if you have a xed signal on the RTA that needs to be
replaced only temporarily with some other channel’s signal.

28 DIGITAL RACK MIXER M32R User Manual 29 DIGITAL RACK MIXER M32R User Manual
Pre / Post
The analysers can tap their input signals from pre- or post-EQ, allowing you to
see the impact of your EQ in that channel. Tap the fth push encoder to toggles
between the two.
Gain
When engaged, the Auto Gain function simplies adjusting the analyser views
and ensuring meaningful readings. In most cases it should be switched on.
When switched o, the RTA gain can be set manually using the push encoder,
which may be necessary for comparing absolute frequency band levels
between dierent channels. Tap the fourth push encoder to engage the
Auto Gain function.
EQ Overlay
When using the analysers on top of the channel EQ plot or over the graphic
EQ screens, the meter’s opacity can be adjusted to your liking. Something around
50% is typically a good starting point. Turn it down to 0% with the fth push
encoder if you don’t need to see the RTA on top of the channel EQ or graphic
EQ screens.
RTA On Channel EQ View
The channel EQ RTA function will always display the respective channel’s
frequency distribution, independent from the RTA Source denition. Use the EQ
Overlay control for adjusting the amount of RTA on top of the EQ plot. Default
preferences when opening any channel EQ view can be set to ‘Pre-EQ’ (o is
Post-EQ) and ‘Spectrograph’ (o is bar graph). They can however be overruled on
the respective EQ page.
RTA On Graphic EQ View
The Graphic EQ RTA function will always display the respective FX slot’s frequency
distribution, independent from the RTA Source denition, unless the ‘Use RTA
Source’ mark is ticked. Use the EQ Overlay control for adjusting the amount of RTA
on top of the GEQ sliders. Default preferences when opening any GEQ view can be
set to ‘Post-GEQ’ (o is pre-graphic EQ) and ‘Spectrograph’ (o is bar graph). They
can however be overruled on the respective GEQ page.
2.3 Routing
The ROUTING screen is where all signal patching is done, allowing you to route
internal signal paths to and from the physical input/output connectors located
on the M32’s rear panel.
The ROUTING screen contains the following separate tabs:
home: Allows patching of physical inputs to the 32 input channels and
auxiliary inputs of the console.
out 1-16: Allows patching of internal signal paths to the console’s
16 rear-panel XLR outputs.
aux out: Allows patching of internal signal paths to the console’s six
rear-panel ¼“/RCA auxiliary outputs.
p16 out: Allows patching of internal signal paths to the 16 outputs of
the console’s 16-channel P16 ULTRANET output.
card out: Allows patching of internal signal paths to the 32 outputs of
the DN32-USB card.
aes50-a: Allows patching of internal signal paths to the 48 outputs of
the rear-panel AES50-A output.
aes50-b: Allows patching of internal signal paths to the 48 outputs of
the rear-panel AES50-B output.
xlr out: Allows patching of internal signal paths to the XLR out
connections on the rear.
None of the ROUTING screen’s tabs contain a secondary level of functions.
When routing audio, the Up/Down navigation controls do not need to be used.
home
The ROUTING screen’s home tab allows the user to patch the M32’s physical
rear-panel inputs to the 32 input channels and auxiliary inputs of the console.
As a default, the M32 maps its 32 rear-panel analogue inputs to the respective
32 channel inputs that are accessed on input fader layers one and two, and maps
the rear-panel line-level (auxiliary) inputs to the third input fader level.
However, the home tab of the ROUTING screen can be used to change this
default assignment and cross-patch dierent physical inputs to dierent
channel inputs, in banks of eight channels at a time. This allows the user to
create a custom layer of channel inputs that diers from the order that the
sources are plugged into the rear panel, and is easier than physically re-patching
audio cables.
To assign various inputs to the M32’s input channels, perform the
following steps:
1. Adjust the rst push encoder to select which 8-channel audio input
source feeds input channels 1-8 of the console. As the control is rotated,
the currently selected input will be highlighted in the vertical list of
choices.
2. When the desired 8-channel source is selected, push the rst
push encoder to connect the currently selected 8-channel source.
The selected source now feeds input channels 1-8 of the console.
3. Input choices that can be assigned include:
•• Local 1-8
•• Local 9-16
•• Local 17-24
•• Local 25-32
•• AES50-A 1-8
•• AES50-A 9-16
•• AES50-A 17-24
•• AES50-A 25-32
•• AES50-A 33-40
•• AES50-A 41-48
•• AES50-B 1-8
•• AES50-B 9-16
•• AES50-B 17-24
•• AES50-B 25-32
•• AES50-B 33-40
•• AES50-B 41-48
•• Card 1-8
•• Card 9-16
•• Card 17-24
•• Card 25-32.
4. To assign an 8-channel source from the other input channels of the
console (9-16, 17-24, 25-32), simply repeat the process above, using the
other four push encoders on the same screen.
5. Choices for Aux 1-4 include:
•• Aux Ins
•• Local 1-2
•• Local 1-4
•• Local 1-6
•• AES50A 1-2
•• AES50A 1-4
•• AES50A 1-6
•• AES50B 1-2
•• AES50B 1-4
•• AES50B 1-6
•• Card 1-2
•• Card 1-4
•• Card 1-6.
out 1-16
The ROUTING screens out 1-16 tab allows the user to patch the M32’s various
internal signal paths to the 16 analogue XLR outputs that are located on the
console’s rear panel.
The M32 allows for many dierent kinds of output signal paths, and this screen
is where these outputs are assigned to a physical rear panel output, so that the
signal path can be patched to their eventual destination, such as front-of-house
PA speakers or a powered stage monitor.
To assign the various output paths to the rear panel XLR outputs, perform
the following steps:
1. Adjust the rst push encoder to select to which of the 16 rear panel
analogue outs you wish to assign an output signal path.
2. Adjust the third encoder to select an output path category.
These include:
•• O
•• Main (LRC) Mix
•• Mix Bus Outputs
•• Matrix Outputs
•• Direct Outs
•• Monitor.
3. Adjust the fourth encoder to select a specic output path, including:
•• O
•• Main L
•• Main R
•• Main C/M
•• Any of the 16 Mix Outputs
•• Any of the six Matrix Outputs
•• Any of the 32 Direct Outputs
•• Any of the eight Auxiliary Outputs
•• Any of the FX Direct Outputs
•• Monitor L
•• Monitor R
•• Talkback.Tap the fourth encoder to assign the selected output path,
completing the process.
•• Adjust the fth encoder to select the signal tap point for the
output assignment. This determines where in the audio signal path
the source is ‘tapped’ as it is sent to the physical rear panel output.
The available signal tap points include:
•• IN/LC
•• IN/LC +M
•• PreEQ
•• PreEQ +M
•• PostEQ
•• PostEQ +M
•• PreFdr
•• PreFdr +M
•• Post Fader.
4. Tap the fth encoder to assign the selected signal tap point.
5. Turn the sixth encoder to adjust the amount of digital line delay applied
to the output path as it is sent to the rear panel physical output. As the
amount of delay is adjusted, the current delay time is displayed in three
dierent units of measurement: feet, metres and milliseconds.
6. Tap the sixth encoder to toggle delay on/o. The Delay label illuminates
when the delay is inserted into the signal path.
TIP: Applying a delay to an output signal is typically done when the console is used
in a ‘multi-zone’ PA speaker setup, where some PA speakers are located near the
stage, and a second set of speakers is located further back within the audience.
By applying an appropriate amount of delay only to the speakers located near the
stage, the audience hears the audio from all speakers at the same time, ensuring
maximum time-alignment and sound quality. The M32 assumes an operating
temperature of 20°C/68°F when calculating the delay times.
aux out
The ROUTING screen’s aux out tab allows the user to patch an internal signal
path (such as a mix output used as an eects send) to the six separate ¼"/RCA
auxiliary outputs.
Since these six outputs can have a wide variety of signal paths assigned to them,
they can be used for a wide variety of tasks, such as:
1. Feeding an external eects processor when the internal eects
are insucient.
2. Patching a specic console signal path to an outboard recorder.
3. Feeding the analogue or digital audio inputs of a nearby video recorder.
To make an assignment as described above, perform the following steps:
1. Adjust the rst push encoder to select to which auxiliary outputs to
assign a source. Choices include
•• Aux Out 1
•• Aux Out 2
•• Aux Out 3
•• Aux Out 4
•• Aux Out 5
•• Aux Out 6
•• AES/EBU (Digital) Out L
•• AES/EBU (Digital) Out R.
2. Adjust the third encoder to select for coarse range:
•• Insert
•• Main (LRC)
•• Mix Bus
•• Matrix
•• Direct Out
•• Monitor.

30 DIGITAL RACK MIXER M32R User Manual 31 DIGITAL RACK MIXER M32R User Manual
3. Adjust the fourth encoder to select a specic signal path to feed the
selected physical output. Choices include:
•• Insert Point
•• Main L
•• Main R
•• Main C/M
•• Any of the 16 Mix Outputs
•• Any of the six Matrix Outputs
•• Any of the 32 Direct Outputs
•• Any of the eight Auxiliary Outputs
•• Any of the FX Direct Outputs
•• Monitor L
•• Monitor R
•• Talkback.
4. Tap the fourth encoder to assign the selected output path, completing
the process.
5. Adjust the fth encoder to select the signal tap point for the output
assignment. Choices include:
•• IN/LC
•• IN/LC +M
•• PreEQ
•• PreEQ +M
•• PostEQ
•• PostEQ +M
•• PreFdr
•• PreFdr +M
•• Post Fader.
6. Tap the fth encoder to complete the signal tap point assignment.
p16 out
The ROUTING screen’s p16 out tab allows the user to route various console signal
paths to the rear panel P16 ULTRANET output. This output allows for 16 channels
of audio to be sent, in digital form, to various accessories such as a personal
monitoring distribution box.
Using the p16 out routing screen, the user can congure the P16 output to carry
not only the main LR mix, but also various audio ‘stems’ of audio material sources
from a bus send mix, such as a stereo drum mix, stereo keyboards, guitars,
bass, vocals, etc. Musicians on stage would then be free to each craft their own
personal mix of these musical stems, all delivered from the FOH position to stage
over a single Ethernet cable.
To select which audio signals are sent to the P16 bus, perform the
following steps:
1. Adjust the rst push encoder to select for which of the 16 channels in
the P16 bus you wish to select an audio source.
2. Adjust the third encoder to select a category of audio source to send to
the currently selected P16 channel. These categories include:
•• Insert
•• Main (LRC)
•• Mix Bus
•• Matrix
•• Direct Out
3. Monitor.Adjust the fourth encoder to select which specic signal path to
feed to the currently selected P16 output. Choices include:
•• O
•• Main L
•• Main R
•• Main C/M
•• Any of the 16 Mix Outputs
•• Any of the six Matrix Outputs
•• Any of the 32 Direct Outputs
•• Any of the eight Auxiliary Outputs
•• Any of the FX Direct Outputs
•• Monitor L
•• Monitor R
•• Talkback.
4. Tap the fourth encoder to assign the selected output path, completing
the process.
5. Adjust the fth encoder to select the signal tap point for the output
assignment. This determines where in the audio signal path the source
is ‘tapped’ as it is sent to the P16 output. The available signal tap
points include:
•• IN/LC
•• IN/LC +M
•• PreEQ
•• PreEQ +M
•• PostEQ
•• PostEQ +M
•• PreFdr
•• PreFdr +M
•• Post Fader.
6. Tap the fth encoder to complete the signal tap point assignment.
card out
The ROUTING screen’s card out tab allows the user to patch various signal paths
to the physical inputs and outputs on the DN32-USB card. The card’s signal path
provides 32 channels of inputs and 32 channels of outputs. The 32 card inputs can
be used as alternative sources for the two input fader layers, switchable in banks
of eight.
To assign an output path to the option card, perform the following steps:
1. Adjust the rst push encoder to select an 8-channel signal path that will
be sent to the rst eight channels of the card. Choices include:
•• Local 1-8 •• AES50-B 25-32
•• Local 9-16 •• AES50-B 33-40
•• Local 17-24 •• AES50-B 41-48
•• Local 25-32 •• Card 1-8
•• AES50-A 1-8 •• Card 9-16
•• AES50-A 9-16 •• Card 17-24
•• AES50-A 17-24 •• Card 25-32
•• AES50-A 25-32 •• Out 1-8
•• AES50-A 33-40 •• Out 9-16
•• AES50-A 41-48 •• P16 1-8
•• AES50-B 1-8 •• P16 9-16
•• AES50-B 9-16 •• Aux 1-6/Mon.
•• AES50-B 17-24
2. Tap the rst encoder to assign the selected output path, completing the
process.
3. Repeat the process with encoders 2-4 to select output paths for the
other 24 channels or card outputs.
aes50-a / aes50-b
The ROUTING screens aes50-a and aes50-b tabs allow the user to patch
various console output paths to the outputs of the dual AES50 connectors.
These connectors can feed other AES50-equipped devices, such as a digital stage
box or standalone multi-track recorder.
The M32 contains two separate AES50 connectors, labelled A and B. These dual
connectors allow for an increased level of exibility in networking the console to
various AES50-based equipment.
Each of the two AES50 tabs contains the same following sets of parameters
that can be adjusted. To assign various console signal paths to the AES50
connectors, perform the following steps:
1. Adjust the rst push encoder to select an 8-channel signal path that
will be sent to the rst eight channels of the AES50 connector’s output.
Choices include:
•• Local 1-8 •• AES50-B 25-32
•• Local 9-16 •• AES50-B 33-40
•• Local 17-24 •• AES50-B 41-48
•• Local 25-32 •• Card 1-8
•• AES50-A 1-8 •• Card 9-16
•• AES50-A 9-16 •• Card 17-24
•• AES50-A 17-24 •• Card 25-32
•• AES50-A 25-32 •• Out 1-8
•• AES50-A 33-40 •• Out 9-16
•• AES50-A 41-48 •• P16 1-8
•• AES50-B 1-8 •• P16 9-16
•• AES50-B 9-16 •• Aux 1-6/Mon.
•• AES50-B 17-24
2. Tap the rst encoder to connect the currently selected signal path to the
AES50 pathway.
3. Repeat the above process for the other ve sets of 8-channel AES50
outputs.
The aes50-b tab works exactly the same as the aes50-a tab, but instead selects
sources sent to the output of the console’s AES50-B connector.
xlr out
The ROUTING screen’s xlr out tab, much like the out 1-16 tab, allows the user to
patch the M32’s various internal signal paths to the 16 analogue XLR outputs that
are located on the console’s rear panel. This tab, however, allows the XLR outputs
to be patched in blocks of four, rather than individually. Also, on this screen it is
only possible to route the signal to its absolute destination, rather than choosing
the signal path. The available destinations will dier depending on the block
selected. Destinations include:
Block 1-4 / Block 9-12 Block 5-8 / Block 13-16
•• Local 1-4 •• Local 5-8
•• Local 9-12 •• Local 13-16
•• Local 17-20 •• Local 21-24
•• Local 25-28 •• Local 29-32
•• AES50-A 1-4 •• AES50-A 5-8
•• AES50-A 9-12 •• AES50-A 13-16
•• AES50-A 17-20 •• AES50-A 21-24
•• AES50-A 25-28 •• AES50-A 29-32
•• AES50-A 33-36 •• AES50-A 37-40
•• AES50-A 41-44 •• AES50-A 45-48
•• AES50-B 1-4 •• AES50-B 5-8
•• AES50-B 9-12 •• AES50-B 13-16
•• AES50-B 17-20 •• AES50-B 21-24
•• AES50-B 25-28 •• AES50-B 29-32
•• AES50-B 33-36 •• AES50-B 37-40
•• AES50-B 41-44 •• AES50-B 45-48
•• Card 1-4 •• Card 5-8
•• Card 9-12 •• Card 13-16
•• Card 17-20 •• Card 21-24
•• Card 25-28 •• Card 29-32
•• Out 1-4 •• Out 5-8
•• Out 9-12 •• Out 13-16
•• P16 1-4 •• P16 4-8
•• P16 9-12 •• P16 13-16
•• Aux 1-4 •• Aux 5-6/Mon
•• Auxin 1-4. •• Auxin 5-6/TB.

32 DIGITAL RACK MIXER M32R User Manual 33 DIGITAL RACK MIXER M32R User Manual
2.4 Library
The LIBRARY screen allows loading and saving of commonly used setups for the
channel inputs, eects processors and routing scenarios.
The LIBRARY screen contains the following separate tabs:
channel: This tab allows the user to load and save commonly used
combinations of the channel DSP eects.
eects: This tab allows the user to load and save commonly used
eects processor presets.
routing: This tab allows the user to load and save commonly used
signal routings.
channel
The LIBRARY screen’s channel tab allows you to load and save commonly used
combinations of the channel DSP eects. For example, once you have dialled
in a combination of EQ and compression that works well for a particular singer,
you can save the channel DSP chain as a preset for later recall.
To adjust the various settings on the channel tab, perform the
following steps:
1. Adjust the rst push encoder to select which specic elements of the
input channel can be recalled when loading an input channel preset.
Choices include:
•• Head Amp (Microphone Preamplier)
•• Conguration
•• Gate
•• Compressor
•• Equalizer
•• Sends.
2. Tap the rst encoder to turn the currently selected element on or o in
the recall list.
3. Adjust the second encoder to scroll among a list of input
channel presets.
4. Tap the second encoder to load the currently highlighted preset and
make it active on the currently selected console channel.
5. Adjust the third encoder to scroll among a list of channel preset slots to
save the current state of the currently selected console channel.
6. Tap the third encoder to save the currently selected channel’s state to
the currently selected preset slot.
•• When the third encoder is tapped, a preset naming screen appears
Adjust and tap encoders 4-6 to apply a custom name to the preset
before saving it, then tap the sixth encoder to complete the
save process.
7. Tap the fourth encoder to delete a preset from the currently highlighted
preset slot.
eects
The LIBRARY screen’s eects tab allows you to load and save presets for the
various onboard eects processors.
To adjust the various settings on the eects tab, perform the following steps:
Adjust the rst push encoder to select which of the eight eects slots to load or
save a preset.
As you navigate among the eight eects slots the specic eect processor loaded
into each slot will display on the screen as both a name and an icon.
To save and load presets, as well as import/export them, follow the same
procedure as detailed in the LIBRARY screen channel tab.
routing
The LIBRARY screen’s routing tab allows you to load and save presets of the
M32’s signal routings. This can be useful for repeating specic routing scenarios
that occur over and over on a regular basis, such as when using the console for a
weekly club gig or worship service.
To adjust the various settings on the routing tab, perform the
following steps:
1. Adjust the rst push encoder to select which specic console signal
paths will be recalled when loading a routing preset. Choices include:
•• Channel Inputs
•• Analog Out
•• Auxiliary Out
•• P16 (ULTRANET) Out
•• Card Out
•• AES50 Out.
2. Tap the rst encoder to turn the currently selected element on or o in
the recall list.
3. To save and load presets, as well as import/export them, follow the
same procedure as detailed in the LIBRARY screen channel tab.
2.5 Eects
The EFFECTS screen controls various aspects of the eight internal eects
processors. On this screen the user can select specic types of eects for the
eight internal processors, congure their input and output paths, monitor their
levels, and adjust the various eect parameters.
The rst four slots can be Insert and Side-Chain eects, and the slots ve to eight
are Insert only. Additionally these slots can only hold some eects excluding
reverbs and other power-intensive eects. They also have dierent selections for
the input sources.
The EFFECTS screen contains the following separate tabs:
home: The home tab provides a general overview for all eight eects
processors, displaying what eect has been inserted in each of the eight
slots, as well as displaying input/output paths for each slot, and the I/O
signal levels.
fx1-8: These eight duplicate screens display all relevant data for
the right separate eects processors, allowing the user to adjust all
parameters for the selected eect.
home
The EFFECTS screen’s home tab provides a high-level overview of the eight
eects processor slots, giving the user at-a-glance feedback on the eects they
have assigned to the slots, the console source and destination for each processor,
and the input/output levels for each processor.
To make adjustments on the EFFECTS screen’s home tab, perform the
following steps:
1. Adjust the rst push encoder to select the input source for the currently
highlighted eects block. Signal path choices include:
•• Insert Send
•• Mix Bus 1-16.
2. Tap the rst encoder to assign the currently selected input source.
3. Adjust the second encoder to select the input source for the right side of
the currently highlighted eects block.
4. Tap the second encoder to assign the currently selected input source.
TIP: To congure an eect as mono input and stereo output, set both input
sources to the same signal path
5. Tap the third and fourth encoders to mute the currently selected eect.
6. Adjust the fth encoder to scroll among the dierent audio eects
available. Choices include:
Hall Reverb Delay + Chamber M/S Fair Comp
Ambience Chorus + Chamber Dual Fair Comp
Rich Plate Reverb Flanger + Chamber Leisure Comp
Room Reverb Delay + Chorus Dual Leisure Comp
Chamber Reverb Delay + Flanger Ultimo Comp
Plate Reverb Modulation Delay Dual Ultimo Comp
Vintage Reverb Dual Graphic EQ Dual Enhancer
Vintage Room Stereo Graphic EQ Stereo Enhancer
Gated Reverb Dual TruEQ Dual Exciter
Reverse Reverb Stereo TruEQ Stereo Exciter
Stereo Delay Dual DeEsser Stereo Imager
Triple Delay Stereo DeEsser Edison EX1
Rhythm Delay Stereo Xtec EQ1 Sound Maxer
Stereo Chorus Dual Xtec EQ1 Dual Guitar Amp
Stereo Flanger Stereo Xtec EQ5 Stereo Guitar Amp
Stereo Phaser Dual Xtec EQ5 Dual Tube Stage
Dimension-C Wave Designer Stereo Tube Stage
Mood Filter Precision Limiter Dual Pitch Shifter
Rotary Speaker Combinator Stereo Pitch
Tremolo / Panner Dual Combinator
Suboctaver Fair Comp
7. Tap the fth encoder to assign the selected eect to the currently
highlighted eects slot.
8. Adjust the sixth encoder to scroll among the eight eects slots to select
one for editing.
9. Tap the sixth encoder to go to the edit page for the currently
highlighted eects slot.
fx1-8
The EFFECTS screen’s fx 1-8 tabs allow you to edit the parameters for the specic
eect processor assigned to the corresponding eects slot.
In order to more closely simulate the look and feel of the outboard processors
that are no longer necessary with a digital console, the individual eects
processor screen provides a graphical representation of the eects processor’s
real world physical counterpart. This provides greater ease of use for the user
than a simple text list of parameters.
To make adjustments on the EFFECTS screen’s editing tab, perform the
following steps:
1. Adjust the six push encoders to change the various eects parameters
shown at the bottom of the screen.
2. Use the Up/Down navigation controls to switch the push encoders to a
second, third or fourth set of parameters for eects that contain more
than six adjustable parameters.
3. When the eects processor has been edited to your satisfaction, push
the sixth encoder to go back to the EFFECTS screen’s home tab.
4. See the Main Display - Internal Eects section for more details on
specic eects and parameters.
TIP: For the Graphics EQ eects, tap the rst push encoder to implement the
‘Graphics EQ on Faders’ function. This allows you to boost or cut the dierent
EQ bands using the eight console output faders, eight faders at a time, with the
relevant EQ bands displayed on the channel LCD screens.
2.6 Setup
The SETUP screen oers various controls for global, high-level functions of
the M32, such as display adjustments, sample rates and synchronisation, user
settings, and network conguration.
The SETUP screen contains the following separate tabs:
global: This screen oers adjustments for various global preferences of
how the console operates.
cong: This screen oers adjustments for sample rates and
synchronisation, as well as conguring high-level settings for signal
path buses.
remote: This screen oers dierent controls for setting up the console
as a control surface for various DAW recording software packages on a
connected computer.
network: This screen oers dierent controls for attaching the console
to a standard Ethernet network.
scribble strips: This screen oers controls for various aspects of the
console’s DCA groups.
preamps: This screen allows the gain on each of the individual input
channels’ preamps to be adjusted.
card: This screen selects the input/output conguration.
None of the SETUP screen’s tabs contain a secondary level of functionality, so the
UP/DOWN navigation controls do no need to be used for these screens.

34 DIGITAL RACK MIXER M32R User Manual 35 DIGITAL RACK MIXER M32R User Manual
global
The SETUP screen’s global tab allows the user to adjust various global controls
of the console, such as display brightness and contrast, the panning mode used
by channels, text languages, and more.
To make adjustments to the global screen, perform the following steps:
1. Adjust the rst push encoder to select various console settings for
pop-up messages and assorted preferences.
2. Tap the rst encoder to turn the currently selected setting on or o.
3. Adjust the second encoder to select settings for linked console channels.
4. Tap the second encoder to turn the currently selected setting on or o.
5. Adjust the third encoder to set the console’s panning mode,
which aects how channel panning is performed in the stereo eld.
The two choices are:
•• LR+M: This is the default mode of the console. In this mode,
channels can be panned between left and right mix outputs,
as well as assigned to the separate mono mix bus. In this mode the
Centre/Mono bus is not aected by the pan control
•• LCR: In this mode, the signal is panned from left to right.
This behaviour is emulated by the faders on the Main tab, which
is more intuitive than on other consoles. Note that in this mode,
the denition of ‘mono’ changes, since the setup is no longer mono,
but rather a setup consisting of Left/Centre/Right
6. CUE: / SCN: / SNP: Toggle between these settings to control which of the
three is displayed on the external editing software.
7. Adjust the fourth encoder to set the brightness of the various LED lights
on the M32, within a range of 1-100.
8. Adjust the fth encoder to set the brightness of the Main Display,
within a range of 1-100.
9. Adjust the sixth encoder to set the contrast of the individual LCD screens
(channel display) above each input and output channel, within a range
of 1-100.
cong
The SETUP screen’s cong tab allows adjustment of various audio-related
settings, such as the console’s base sample rate and use of an internal or external
digital clock. It also oers choices for high-level global settings for how signal
path buses operate.
To adjust the various settings of the cong tab, perform the following steps:
1. Adjust the rst push encoder to select between Console, Show Data,
and Libraries for initialisation.
2. Tap the rst encoder to initialise the console back to its factory state.
•• The message, “Do you really want to initialize ALL settings?” will
appear. Use the Left navigation control to cancel the operation,
or the Right navigation control to conrm.
3. The console’s current rmware version is displayed in the rst column of
the Main Display.
•• If/when a rmware update is available for the console, the user
simply needs to download the new rmware le to the root level
of a USB stick. The USB button has to be pressed while booting
up, and when the console displays “waiting for USB” on the main
screen insert the USB stick.
4. Adjust the second encoder to select the digital sample rate of the
console. Choices include:
•• 44.1 kHz
•• 48 kHz.
5. Tap the second encoder to assign the currently selected sample rate.
TIP: Note that the sample rate of the console will be the same sample rate
for any audio recorded to the onboard stereo USB recorder, as well as the
sample rate output by the AES/EBU connector that may get patched into an
outboard recorder. Thus, it is often benecial to select a sample rate that is
appropriate for the medium on which the recorded audio will be used.
If the programme material being recorded is audio only with no video
component, it usually makes sense to set a sample rate of 44.1 kHz. This will
ensure that any audio that is recorded is compatible with the 44.1 kHz sample
rate of commercial audio CDs.
If the programme material being recorded is audio that is meant to accompany
video, it makes sense to set a sample rate of 48 kHz. This will ensure that any
audio recorded is compatible with the 48 kHz sample rate of the various audio
formats used on a video DVD.
6. Adjust the third encoder to set the word clock synchronisation of the
console to its internal digital clock, or slave to an external digital clock.
Choices for the clock signal include:
•• Internal clock
•• External clock from the AES50-A port
•• External clock from the AES50-B port
•• Card.
Note that the graphics at the top of the screen will always display a green
LED when the console has achieved proper ‘digital lock’, from either its own
internal clock or a valid external clock.
7. Tap the fourth encoder to cycle through the dierent settings for the
console’s internal date and time settings.
8. Adjust the fourth encoder to set the value for the currently selected
date/time setting.
9. Adjust the fth encoder to select the console’s ‘Bus Pre-Conguration’.
This setting allows the mix bus outputs to be congured in various
combinations of:
•• Pre-fader, variable output auxiliary sends
•• Fixed-output subgroups
•• Post-fader, variable output auxiliary sends.
Choices include:
•• Eight pre-fader auxiliary sends, eight post-fader auxiliary sends,
no subgroups
•• Eight pre-fader auxiliary sends, four post-fader auxiliary sends,
four subgroups
•• Six pre-fader auxiliary sends, four post-fader auxiliary sends,
six subgroups
•• Four pre-fader auxiliary sends, four post-fader auxiliary sends,
eight subgroups
•• Ten pre-fader auxiliary sends, six post-fader auxiliary sends,
no subgroups.
10. Tap the fth encoder to assign the currently selected conguration.
As the conguration is selected, a display on the right-hand side of the Main
Display changes to show the currently selected conguration.
remote
The SETUP screen’s remote tab allows the M32 to be set up as a control surface
for various DAW recording software on a connected computer. With its large
complement of motorised faders, the console can act as an excellent controller,
allowing the user to make level adjustments quickly and easily without using
a mouse.
To adjust the various remote settings, perform the following steps:
1. Tap the rst push encoder to enable the M32’s REM - DAW REMOTE
button on the control surface. This switches various console hardware,
such as the bus faders, to control computer DAW software instead of the
console’s internal audio path.
2. Adjust the second encoder to select the specic control surface
protocol used, in conjunction with the target DAW software.
Choices include:
•• Mackie Ctrl: Use this protocol to control any DAW software that is
compatible with a Mackie Control hardware surface
•• HUI: Use this protocol to control any DAW software that is
compatible with an HUI hardware control surface, such as Pro Tools
•• Midi CC: Use this protocol to control software via MIDI.
More detailed information can be found in Appendix B:
MIDI Operation.
3. Tap the second encoder to assign the currently selected control
surface protocol.
4. Adjust the fth encoder to select whether the remote function uses
the MIDI IN and MIDI OUT sockets, the card’s MIDI, or RTP (Real Time
Protocol) MIDI.
5. Tap the fth encoder to conrm the selection.
6. Turn the sixth encoder to adjust various MIDI-based operations for the
console. Choices include:
•• MIDI In/Out: This toggles the MIDI input and output on or o
•• Card MIDI: Allows MIDI transmission through the DN32-USB card
•• RTP (Real-Time Transport Protocol): This toggles on or o the
console’s ability to interface with an Ethernet-based MIDI system
•• Rx PrgC: Toggles on or o the console’s ability to receive Program
Change messages
•• Tx PrgC: Toggles on or o the console’s ability to send Program
Change messages
•• Rx Fader: Toggles on or o the console’s ability to receive
Fader messages
•• Tx Fader: Toggles on or o the console’s ability to send
Fader messages
•• Rx Mute: Toggles on or o the console’s ability to receive
Mute messages
•• Tx Mute: Toggles on or o the console’s ability to send
Mute messages
•• Rx Pan: Toggles on or o the console’s ability to receive
Pan messages
•• Tx Pan: Toggles on or o the console’s ability to send Pan messages
•• X/OSC: Open Sound Control, toggles on or o the console’s ability to
communicate with the *iPad application.
7. Tap the sixth encoder to toggle the currently selected MIDI option on
or o. This can be useful if you want to ensure that any connected MIDI
transmitters cannot interfere with the console.
NOTE: For more detailed information about MIDI, see Appendix B:
MIDI Operation.

36 DIGITAL RACK MIXER M32R User Manual 37 DIGITAL RACK MIXER M32R User Manual
network
The SETUP screen’s network tab contains settings used when connecting the
M32 to a standard Ethernet network. The user can set parameters such as using a
xed IP address, or having one assigned, as well as setting up Ethernet and
subnet mask settings.
To set the network address for the console, perform the following steps:
1. Adjust the rst push encoder to select which specic network eld
to adjust. Choices include:
•• IP address
•• Subnet Mask
•• Gateway.
2. Adjust encoders 2, 3, 4 and 5 to set the four numerical elds to be
adjusted for the selected network eld.
3. Tap the sixth encoder to assign the adjusted settings.
scribble strip
The SETUP screen’s scribble strips tab allows customisation for all of the M32’s
channel LCD displays, including Aux, FX, Buses, Matrices and DCAs.
On the scribble strips tab the user can make useful adjustments, such as
assigning real names to the selected channel (such as ‘drums’ or ‘backing
vocals’), as well as assigning colours to them that are then reected on the
console’s channel LCD screens.
To adjust the various LCD display settings, perform the following steps:
1. Adjust the rst push encoder to select which of the channels you wish
to edit.
2. Adjust the second encoder to set the colour for the currently selected
channel’s scribble strip.
3. Tap the second encoder to invert the colour.
4. Adjust the third encoder to select the graphic icon for the selected
channel. A large variety of clip-art is available to represent various input
sources and output destinations.
5. Adjust the fourth encoder to select a name from a list of common preset
names (snippets) for the currently selected channel.
6. Tap the fourth encoder to assign the currently highlighted text to the
currently selected channel’s scribble strip.
7. Tap the fth encoder to edit the text assigned to the currently selected
channel’s scribble strip.
8. Adjust the fth encoder to scroll through the available characters that
can be used to name the currently selected channel’s scribble strip.
9. Tap the fth encoder to select the currently highlighted character.
10. Adjust the sixth encoder to scroll between the available character sets.
11. Tap the sixth encoder to exit the text editor and save the current
parameters to the currently selected channel’s scribble strip.
preamps
This screen allows controlling all accessible preamps from the console, including
local and AES50 remote preamps, irrespective of any console’s channel
assignments. The UP/DOWN navigation buttons switch between the two layers of
preamps. Pressing the push encoders will activate the phantom power. Turning
the rst push encoder will select from the banks of eight, pressing it will conrm
the selection.
card
This screen selects the input/output conguration. Use the second push encoder
to select between the following presets:
•• 32in / 32out
•• 16in / 16out
•• 32in / 8out
•• 8in / 32out
•• 8in / 8out
•• 2in / 2out.
2.7 Monitor
Pressing the MONITOR button has the same eect as presing the VIEW button in
the MONITOR panel, and is covered in detail in the MONITOR section above.
2.8 Scenes
The SCENES screen on the Main Display allows setup for saving and recalling
dierent memory scenes of the M32. The comprehensive recallability of
the console (including gain settings for the digitally-controlled mic preamps) is
one of the most powerful aspects of the console.
The SCENES screen contains the following separate tabs:
home: This screen contains a general overview of the scenes contained
in the console, along with their custom names and what parameters are
included in each scene.
scenes: This screen allows the user to congure, edit and rename the
individual scenes.
snippets: This screen allows for the editing of the new
‘Snippets’ functionality.
param safe: This screen congures which console parameters are and
are not saved or switched with the console scenes.
chan safe: This screen congures which console channels are and are
not changed when a console scene change occurs.
MIDI: This screen allows the console to associate dierent scenes with
incoming and outgoing MIDI messages, allowing the console’s scene
changes to control or be controlled by external MIDI equipment.
HOME
The SHOW CONTROL screen’s home tab shows a general overview of the Cues
that have been congured in the console, along with their custom names and
what parameters are included in each Cue.
A Cue is simply a single event (such as a Scene, Snippet or MIDI command) or a
collection of events. These can be grouped together and stored for future recall.
Up to 500 Cue entries can be stored in the M32 at any time.
For a setting where these events are used heavily and are critical (such as a
theatre performance), this would be a good screen to leave on at all times so that
the console operator can be completely sure what Cue the console currently
resides on, and what Cue will come up next when the GO button is pressed.
To adjust the various Cue settings on the home tab, perform the following steps:
1. Rotate the rst push encoder to scroll among the available Cues in the list,
which is displayed on the left side of the Main Display.
2. Tap the rst push encoder to go to the currently selected Cue in the list,
switching the console to the state it was in when that Cue was stored.
3. Turn the second push encoder to select a Cue in the list to be skipped when
cycling through Cues using the LAST and NEXT buttons.
4. Tap the second push encoder to complete the skip command on the currently
selected Cue. That Cue will now be skipped when scrolling through the list.
5. Turn the third push encoder to scroll back through recent changes.
6. Tap the third push encoder to undo the recent change.
7. Turn the fourth encoder to select a slot to save a new Cue.
8. Tap the fourth push encoder to complete the save operation. The console’s
current state will be overwritten on the Cue number that was selected with
the push encoder.
9. Turn the sixth rotary to select which aspects of the console’s routing are
excluded from a Cue change, and will be unaected by any Cue changes that
occur. Routing choices that can be made safe include:
•• Routing
•• Output Patch
•• Mic Preamp Gain (HA, short for Head-Amplier)
•• Conguration
•• Channel Processing
•• Mix Buses
•• Eects
•• Talkback.
10. Tap the sixth push encoder to select any of the above choices as the encoder
rotation is used to select them. Multiple categories can be selected at the
same time.
Utility
Pressing the UTILITY button to the right of the Main Display changes the bottom
of the home tab to the following conguration:
Each of the functions on this layer can be controlled with the adjacent push
encoder as follows:
Copy - Allows the user to make a copy of the currently-selected Cue.
Edit Cue - Allows the user to edit the currently-selected Cue.
Add Cue - Adds a new Cue into the current Showle.
Delete - Deletes the currently-selected Cue.
Import Show - Imports a Showle from a connected USB drive.
PLEASE NOTE that this will replace the existing Showle, so this should be
saved beforehand.
Export Show - Exports the current Showle to a connected USB drive.
SCENES
Use the Load, Save and Edit functions by pressing the adjacent push encoder to
load, save and edit the scenes. The Scenes Safe function works in a similar way
to the PARAMETER SAFE function, though only applies to specic scenes.
Utility
Pressing the UTILITY button to the right of the Main Display changes the bottom
of the scenes tab to the following conguration:
Each of the functions on this layer can be controlled with the adjacent push
encoder as follows:
Copy - Allows the user to make a copy of the currently-selected Scene.
Paste - Pastes a Scene from the virtual clipboard.
Edit - Allows the user to edit the currently-selected Scene.
Delete - Deletes the currently-selected Scene.
Import Scenes - Imports a Scene from a connected USB drive.
Export Scenes - Exports a Scene to a connected USB drive.
SNIPPETS
The M32 has a new exible structure called ‘Snippets’, which allows for setting
selective parameters and channel lters for storage. Recalling a Snippet will
exclusively aect the stored bits of information, leaving the remaining console
status untouched. This allows to surgically introduce specic bits of automation
into the current mix status. Up to 100 Snippets can be stored at any time. Use the
Load, Save and Edit functions by pressing the adjacent push encoder to load,
save and edit the Snippet.
A Snippet can be focused on any specic selection of parameters a user may
nd suitable, such as EQ, Insert, Fader, Mute, Send levels, etc. A Snippet will also
be focused on a random selection of channels (inputs, returns or any mixes).
When loading this Snippet only the previously stored information will replace the
respective console parameters, while the rest remains as is.

38 DIGITAL RACK MIXER M32R User Manual 39 DIGITAL RACK MIXER M32R User Manual
Utility
Pressing the UTILITY button to the right of the Main Display changes the bottom
of the snippets tab to the following conguration:
Each of the functions on this layer can be controlled with the adjacent push
encoder as follows:
Copy - Allows the user to make a copy of the currently-selected Snippet.
Paste - Pastes a Snippet from the virtual clipboard.
Edit - Allows the user to edit the currently-selected Snippet.
Delete - Deletes the currently-selected Snippet.
Import Snippets - Imports the selected Snippet(s) from a connected
USB drive.
Export Snippets - Exports the selected Snippet(s) to a connected
USB drive.
PARAMETER SAFE
The SHOW CONTROL screen’s param safe tab congures which of the M32’s
parameters are or are not saved or switched with the console scenes. This is
very useful when the operator has certain parameters of which they wish to
remain in control, and would never want to have altered during a scene change,
for example the mic pre gains on the input channels.
To adjust the various settings on the param safe tab, perform the
following steps:
1. Turn any of the rst four push encoders to navigate among the checkboxes
on the Main Display, which represent various console areas tat can be
isolated from scene changes.
2. Tap any of the rst four push encoders to select the console areas that
have been selected with the push encoders. In each of the four columns,
multiple console areas can be selected an isolated from scene changes.
The following areas of the M32 can be isolated from scene changes, and are
divided up into four columns on the Main Display:
Column 1: Input Channels
•• HA (Head Amp / Microphone Preamp)
•• Conguration
•• Channel EQ
•• Channel Gate / Compressor
•• Channel Insert
•• Channel Groups
•• Fader, Pan, Mute, Mix Ons.
Column 2: Input Channels
•• Mix Sends 1-16.
Column 3: Mix Buses
•• Mix Sends 1-16
•• Conguration
•• EQ
•• Compressor
•• Insert
•• Groups
•• Fader, Pan, Mute, Matrix Ons.
Column 4: Console
•• Conguration
•• Solo
•• Routing
•• Output Patch.
CHANNEL SAFE
The SHOW CONTROL screen’s chan safe tab congures which console channels
are and are not changed when a scene change occurs. This allows the user to
protect certain channels from ever changing during a scene change, giving them
as much control as possible for key audio sources.
For example, in a theatre context, the console operator may have dialled in just
the right EQ and compressor settings, and channel volume for the voice of the
lead actor, and does not want to have them altered when the console changes
scenes and alters various other parameters.
To adjust the various settings on the chan safe tab, perform the following steps:
1. Turn any of the six push encoders to navigate among the checkboxes on
the Main Display, which represent various groups of channels that can be
isolated from scene changes.
2. Tap any of the six encoders to select the console areas that have been
highlighted with the push encoders. In each of the six columns, multiple
console areas can be selected and isolated from scene changes.
The following areas of the M32 can be isolated from scene changes, and are
divided up into six columns on the Main Display:
Column 1: Channels
•• Input Channels 1-16
Column 2: Channels
•• Input Channels 17-21.
Column 3: Buses
•• Aux 1-8
•• FX 1L through 4R.
Column 4: Returns
•• Mix 1-6.
Column 5: Main / Matrix / Groups
•• Matrix 1-6
•• LR Bus
•• Centre / Mono Bus
•• DCA Groups 1-8.
Column 6: Eects Slots
•• FX 1-8.
MIDI
The MIDI tab on the SHOW CONTROL screen allows the console to associate
dierent Cues with incoming and outgoing MIDI messages, allowing the
console’s scene changes to control or be controlled by external MIDI equipment.
For instance, the user could congure the console to issue a MIDI Program Change
message as each new Cue is recalled, with the outgoing MIDI message triggering
a MIDI-equipped lighting controller.
Conversely, the user could congure the console to change Cues in response
to an incoming MIDI Program Change message, allowing the console to
switch to a new audio scene when a new scene is recalled on a MIDI-equipped
lighting controller.
To adjust the various settings on the MIDI tab, perform the following steps:
1. Turn the rst push encoder to select a Cue to edit.
2. Turn the third push encoder to select what type of MIDI event is transmitted
by the console when a scene change is issued. The choices include:
•• O (no MIDI event)
•• MIDI Program Change
•• MIDI Control Change
•• Note.
3. Push encoders 4, 5 and 6 adjust the channel, number and value or velocity,
where applicable.
The Main Display shows the MIDI data associated with the currently
selected screen.
2.9 Mute Group
The M32’s MUTE GRP screen allows for quick assignments and control of the
console’s six mute groups, and oers two separate functions:
1. It mutes the active screen during the process of assigning channels to
mute groups. This ensures that no channels are accidentally muted during
the assignment process of a live performance.
2. It oers an additional interface for muting or unmuting the mute
groups in addition to the dedicated mute group buttons on the console’s
control surface.
When activated, the MUTE GRP screen only covers the bottom portion of the
Main Display, allowing the middle portion to continue displaying its usual
screen content.
To assign channels to one of the six mute groups, perform the following steps:
1. Press the MUTE GRP button to switch the Main Display to the mute
groups view.
2. Press and hold the desired mute group button (1-6) on the lower right-hand
corner of the console.
3. While holding the mute group button, press the SEL button on any input or
output channel, on any layer, that you wish to assign to the mute group.
4. When you have assigned all the desired channels to the mute group, release
the dedicated mute group button. The individual channel MUTE buttons will
resume their normal function.
To use the MUTE GRP screen to mute or unmute the groups, perform the
following steps:
1. Tap any of the six push encoders to mute the corresponding group, and thus
mute all channels that are assigned to that mute group.
2. Tap the encoder of a currently mute group to unmute that group.
3. When nished working with mute groups, tap the MUTE GRP button to exit
the screen. The Main Display will again show its full set of controls for the
current page.
2.10 Utility
The UTILITY screen is a supplemental screen designed to work in conjunction
with the other screens that may be in view at any particular moment.
The UTILITY screen is never seen by itself; it always exists in the context of
another screen.
To reinforce this point, when the UTILITY screen selection button is pressed, it
illuminates at the same time that another screen selection button is illuminated,
showing you for which screen it is providing other utilities. For most screens,
pressing the UTILITY button simply acts as a short cut to a page that can be
navigated to by other means. In a few cases, a utility page provides extra
functionality not seen anywhere else.
The UTILITY screen selection button works in the following manner with other
screens on the console:
HOME Screen
Pressing the UTILITY button while on any of the tabs on the HOME page will
take the user to the channel tab of the LIBRARY screen.
METERS Screen
There are no Utility functions on any of the METERS screen’s tabs.
ROUTING Screen
Pressing the UTILITY button while on any of the ROUTING screen’s tabs takes
the user to the routing tab of the LIBRARY screen.
SETUP Screen
With the exception of the scribble strips tab, there are no Utility functions on
any of the SETUP screen’s tabs.
For the scribble strips tab, pressing the UTILITY button provides an interface
for assigning a custom colour, name and icon to the currently selected input or
output channel.
•• Adjust and tap the six push encoders to assign a colour, name and icon
to the currently selected input or output channel. Tap the sixth encoder
to save changes and exit.
LIBRARY Screen
There are no Utility functions on any of the LIBRARY screen’s tabs.
EFFECTS Screen
Pressing the UTILITY button while on any of the EFFECTS screen’s tabs takes the
user directly to the eects tab of the LIBRARY screen.
RECORDER Screen
Pressing the UTILITY button while on either of the RECORDER screen’s tabs
takes the user directly to the select USB drive folder/le page of the RECORDER
screen’s cong tab.
MONITOR Screen
There are no Utility functions on any of the MONITOR screen’s tabs.
TALKBACK Screen
There are no Utility functions on any of the TALKBACK screen’s tabs.
SHOW CONTROL Screen
Pressing the UTILITY button while on any of the SCENES screen’s tabs provides
an interface for copying, pasting, loading and saving dierent scenes in the
scene list. Adjust and tap the six push encoders to perform these functions. More
information can be found in the SHOW CONTROL section.
ASSIGN Screen
There are no Utility functions on any of the ASSIGN screen’s tabs.