Yamaha M7cl stagemix v1.5 User manual

This document is printed on

chlorine-free (ECF) paper with soy ink.

Printed in Japan

www.yamahaproaudio.com

(P10018224)LPA513

*All specifications are subject to change without notice.

*All trademarks and registered trademarks are property of their respective owners.

Centralogic™ Brings It All Together

Yamaha’s Centralogic™ interface takes the most direct approach to giving you maximum operational ease and efficiency in a digital console.

Rather that trying to simulate the feel and workflow of an analog mixer, Centralogic™ goes straight to the heart of the matter, simplifying

digital operation to the point where it is actually as intuitive as analog … if not easier. A touch-panel display combined with Yamaha’s

acclaimed selected channel concept and a straightforward navigation system – no layers, one-function physical controls, and all digital

controls can be accessed through just two main display screens – lets you focus in on any operation directly and instantly. In fact, the

entire 32-channel or 48-channel console can quite easily be operated from the 44.2-centimeter-wide (that’s a little over 17 inches)

Centralogic™ section alone.

Easy Digital At Last

Digital mixing consoles are certainly not new, but the evolution toward a truly intuitive, easy-to-use interface has been long and at times

fraught with growing pains. If you’ve been delaying a move to digital because of interface or operational issues, the wait is over. The

Yamaha M7CL Digital Mixing Console offers professional digital console performance and features for live sound in a 32- or 48-channel

system that can actually be easier to use than a conventional analog console. It sounds great, too.

M7CL 32M7CL

High-resolution Effects

Yamaha digital effects are highly regarded in the professional

sound field for a very good reason: they are simply the best. The

M7CL gives you an outstanding range of top-quality effects from

ambience and echo to modulation and distortion. Whether you

simply need to add a touch of natural-sounding reverb or

manipulate a sound for other-worldly effect, the M7CL offers

everything you need built in and ready to roll. The M7CL also

comes with Yamaha’s superlative Add-on Effects REV-X package,

providing some of the best, most natural-sounding ambience

effects available anywhere.

Standard or Flex15 GEQ

The M7CL’s standard graphic EQ modules offer a full 31 bands for

precise response shaping and feedback control. If your application

requires even more EQ capability than the standard EQ modules

provide, the M7CL offers Flex15 GEQ: each GEQ module functions

as two 31-band units with 15-bands available at a time. You can

use up to 16 channels of Flex15 GEQ!

Direct EQ Control

The M7CL makes adjusting any of the 31 bands on the graphic

equalizer modules direct and easy. Simply touch the EQ unit you

want to adjust in the virtual on-screen rack, touch one of the band

selectors, then use the 8 Centralogic™ faders to directly adjust the

corresponding EQ bands. Other convenient-control features

include the ability to instantly reset any band to nominal simply

by pressing the appropriate [ON] key.

Two Approaches to

Total Access

Adjusting M7CL input and output levels is easy since

individual 100-millimeter motor faders are provided for

each channel. You have two ways to access the other mix

controls – via the Selected Channel display or the

Overview display. In fact, you can access the entire

console via just these two displays – no need to flip

through endless pages and menus to find the function

you need. Here’s how …

Virtual Effect and GEQ Rack

Effects and graphic equalization are indispensable for most live sound applications, and having them built in is one of the many attractive

features that only digital consoles can provide. The problem, sometimes, is finding them. Not so in the M7CL: just touch the RACK button on

the display and the virtual effect and EQ rack pops right up for instant, easy access. A few quick touches on the screen and you can easily

patch effects or graphic EQ into any channel and output. Another touch or two and you can get right inside the effects for detailed editing.

The M7CL lets you use up to 8 signal processors simultaneously – normally that’s up to 4 effects and 4 graphic EQ units. But since the

effect units can also function as graphic EQs, you can use more EQ units if you don’t need all 4 effects.

Overview

The Overview display – the console’s default display – gives you a standard view of the 8

channels selected via the Centralogic™ navigation keys. These keys, arranged in an exact replica

of the 8-channel channel groups on the console, let you instantly bring any group of 8 channels

to the central controls with a single button-press. You can then touch any row of controls on the

display screen to focus on them – pan, or bus send, for example – and adjust via the

corresponding multi-function encoders immediately below the display. It really is that simple,

and armed with the information you have read in this brochure so far you should be able to

perform a basic mix on the M7CL without even having to open the manual.

Selected Channel

To adjust pan for a channel, for example, simply press the channel’s [SEL] key and rotate the console’s physical PAN control. The same

applies to preamp gain, dynamics, high-pass filter, EQ, and bus send control. Adjustments are clearly shown on the display as you make

them, and if you press any of the Selected Channel encoders the Selected Channel display will appear, showing you the current status of

all mix parameters for the currently selected channel. You can also zoom in on any of the on-screen parameters for in-depth control by

simply touching the parameter on the screen. When you’re focused on an individual parameter the multi-function encoders below the

display screen adjust the corresponding parameters in the display.

Overview Selected Channel

M7CL 54 M 7 C L

The Time To Go Digital Is Now

If you’re planning to build or upgrade a mid-size sound system – installed or portable – now’s the time to move up to a top-performance,

easy-operation digital system based on the M7CL. This is one digital mixing console that lets you concentrate on sound without being

overwhelmed by the technology.

■48 or 32 mono microphone/line inputs, 4 stereo inputs, and 3 mini-YGDAI card slots (a total of 56 or 40 mixing channels).

■16 mix buses, LCR bus, 8 matrix channels, and 8 DCAs assignable to 16 omni outputs.

■Virtual effect and EQ rack: up to 4 simultaneous multi-effect processors; up to 8 simultaneous 31-band graphic EQs.

■Centralogic™ interface: central, logical, and intuitive.

■Dual power modes: use the built in power supply, or add an external PW800W power supply unit (optional) for failsafe dual-supply operation.

■Compact and lightweight: 48 channels in the space and weight normally required for 24.

DIGITAL MIXING CONSOLE M7CL-48

DIGITAL MIXING CONSOLE M7CL-32

M 7 C L 76 M 7 C L

Easy-access Channel Controls

All M7CL channel controls are conveniently organized in just three

categories according to operational frequency and importance:

physically controls for all channels that are always immediately visible

and accessible, physical and display controls that provide direct access

to the parameters of the currently selected channel or channel group,

and “in-depth” parameters that reside just one level below the main

display screens. A combination of this highly logical approach to

control organization and a revolutionary interface design, the M7CL

makes comprehension and operation of even advanced mixing

functions easier than ever.

■Channel Faders

The channel faders are the controls you’ll use most for just about

all mixing applications, and that’s why the M7CL provides

independent full-length (100-millimeter) motor faders for all mono

and stereo input channels as well as stereo/mono masters. You

can see all channel faders at all times, and simply reach out and

grab any that you want to adjust. Each channel fader also has an

[ON] key, a [CUE] key for cue monitoring, and a [SEL] key that

assigns that channel to the Selected Channel controls (see below).

Each input channel also has a 6-segment level meter for easy

visual level monitoring.

■Centralogic™ Navigation & Physical Controls

The 8 Centralogic™ faders are of the same type as the primary

channel faders, with the same [ON], [CUE], and [SEL] keys and

level meters. Simply press the appropriate Centralogic™ navigation

key to bring control of any group of 8 input channel faders to the

Centralogic™ controls and Overview display. The multi-function

encoders at the top of each Centalogic™ control strip are used to

control the parameters you “focus” on by touching the appropriate

area of the Overview display.

■Selected Channel & Touch-panel Display Controls

Accessing the mix and processing functions for each channel is

easy, too: either press the [SEL] key of the channel you want to

control and use the appropriate Selected Channel encoder to adjust

as required, or use the touch-panel display and Centralogic™

controls as described above. Both methods give you easy access to

the following parameters, and more:

• HA

Adjusts input-channel head amplifier (preamplifier) gain. Here’s

where you match the channel’s input sensitivity to the source

microphone or line input. HA gain is recallable like almost all of

the console’s other settings.

Touch the HA section of the display to access the +48V phantom

power and phase settings.

• PAN

Pan control for mono input channels; balance control for stereo

channels or mix channels assigned as pairs.

Touch the PAN section of the display to access the TO STEREO

and TO MONO ON/OFF settings.

• DYNAMICS 1 and DYNAMICS 2

DYNAMICS 1 adjusts gate threshold level for input channels, or

compressor threshold level for mix, matrix, or stereo/mono

channels. DYNAMICS 2 adjusts compressor threshold level for

input channels. In either case the actual parameter controlled

depends on the dynamics processor selected from the well-stocked

dynamics library provided – including de-esser for advanced vocal

processing. Although initially set up for gate + compressor

processing, you can also use dual compressors.

Touch the DYNAMICS 1 or DYNAMICS 2 section of the display to

access the remaining comp and gate parameters as well as the

DYNAMICS preset library.

• HPF

Adjusts high-pass filter cutoff frequency for input channels.

• EQ

This very versatile 4-band parametric EQ section affords

extraordinary equalization control and quality for all inputs and

buses.

Touch the EQ section of the display to access the -∞~ +24dB

ATT (level adjust) function.

• MIX / MATRIX

These are the send controls for the console’s 16 mix buses and 8

matrices. Depending on your application you can think of them as

auxiliary, monitor, effect send, or group controls. AUX SEND

(VARI) pre-attenuator and pre/post-fader modes are provided for

auxiliary send applications, and a GROUP (MIX) mode is provided

for convenient group send operation. There’s also an INPUT TO

MATRIX mode that lets you send the input channel signals directly

to the matrix.

Variable Direct Outputs

In addition to the bus outputs the M7CL provides direct outputs with

selectable pre-EQ or pre-HPF output points. It also features variable-

level direct output capability that can be used to optimally feed stereo

or multitrack recording gear. Although the M7CL is basically a live

sound console, the ability to conveniently make high-quality “off-the-

board” recordings can be a great advantage.

Easy Channel Identification

Although this is an easy feature to overlook, it is vitally important for

fast, error-free operation, particularly for live sound mixing. Channel

names and icons appear at the top and bottom of every channel in the

Overview display, and by simply touching one you can select one of

the preset names provided or enter your own via the convenient on-

screen keyboard. There’s even an excellent selection of icons you can

choose from for easy visual identification of the source type.

Comprehensive Setup Libraries

Yamaha’s concept of using “libraries” to store presets for major

console functions means you have extensive resources to draw on

when setting up effects, parametric EQ, graphic EQ, or dynamics

processing. You can load an appropriate preset and use it as is or

tweak it to optimally match the source – examples: you might load a

vocal compressor preset from the dynamics library and then adjust the

threshold, or load a kick-drum EQ preset and nudge the center

frequency to match the instrument actually being used. Of course you

can also save your edited versions of the presets for easy recall

whenever they’re needed again.

Versatile Monitoring and Monitor Mixing

Touch the MONITOR button on the display for full access to all of the

M7CL monitor functions, from monitor source selection through

talkback and oscillator controls. A headphone jack and level control

are conveniently located on the console’s front panel. There’s also a

dedicated talkback mic input and level control, but any of the input

channels can be assigned to talkback operation for convenient system

testing. And of course independent physical [CUE] buttons are

provided with each fader for instant, error-free cue monitoring.

Straightforward Connections & Patching

The M7CL rear panel looks pretty much like the rear panel on an

analog console, with individual balanced inputs for each of the

console’s input channels. All outputs are patched to the 16 OMNI OUT

connectors (the main stereo L and R outputs are patched to OMNI

OUT 15 and 16 by default). All you have to do is plug in your sources

and output system and you’re ready to mix. If you need a different

routing arrangement re-routing is easily accomplished via the M7CL’s

straightforward digital patching interface, so you can set up the signal

flow your application requires in a matter of minutes.

Sends On Fader

When working on a monitor mix, touch the SENDS ON FADER button

on the display to instantly assign the selected mix bus sends to the

faders so you can visually confirm send levels and adjust them with

precision that only full-length linear faders can provide. Touch the

SENDS ON FADER button again and you’re right back at the main mix.

Metering

Accurate fast-response metering for all channels and buses is easily

accessible via the M7CL display. A variety of metering points can also

be selected so you have comprehensive visual monitoring of signal

levels throughout the entire console.

Programmable LED Dimmer

LED visibility depends to a large extend on ambient light conditions,

and there are times when a brightly lit console can interfere with the

audience’s enjoyment of a performance. To accommodate a wide

range of lighting and performance situations the M7CL provides two

LED brightness levels. To accommodate a wide range of lighting and

performance situations the M7CL allows the brightness of the screen,

panel indicators, and lamps to be adjusted individually, and two

brightness setups can be memorized for instant recall.

Advanced Mixing Functions Made Easy

M7CL 98 M 7 C L

Store and Recall Up to 300 Scenes

A “scene” is a complete snapshot of all the console’s settings, and the

M7CL’s 301-scene scene memory lets you store up to 300 complete

scenes for instant recall whenever they’re needed. This makes it a

snap to reset the entire console for band changes or difference scenes

in a theatrical performance, for example. You could also store basic

setups for a number of different types of shows your system may be

required to handle, then recall and tweak the settings as required.

■Recall Focus and Recall Safe Functions

The M7CL takes scene functionality to a new level with recall

focus and recall safe functions: recall focus lets you specify the

parameters to be recalled with each scene, while recall safe works

from the other perspective, allowing you to specify parameters

that are not to be recalled with a scene. There are actually two

kinds of recall safe: global recall safe specifies parameters than

will not be changed when any scene is recalled, and scene-specific

safe parameters that will not be changed when a specified scene is

recalled. You could, for example, use global recall safe to prevent

any scene recall operation from changing a critical overall EQ

setting, or use safe parameter settings to prevent the vocal channel

fader setting from being changed by recall of a specific scene.

USB Memory for Convenient Data Management

and Portability

Standard USB memory sticks can be plugged into the M7CL USB port

for convenient storage and recall of a range of data: scenes, patches,

user libraries, channel names, preferences … essentially all system

data. In addition to providing a secure backup, this makes it easy to

transfer data between the console and the M7CL Editor application

running on your personal computer, or directly between M7CL

consoles. You can program the console’s settings using the M7CL

Editor on a computer in your hotel room or on the tour bus – wherever

you don’t have access to the console itself – and simply transfer those

settings from your USB memory to the console at the venue.

Unlimited Channel Linking

There will undoubtedly be times when you’ll want to link a pair of

faders to handle stereo signals, or perhaps even link more channels for

simultaneous operation. The M7CL lets you link as many channels

together as you like, and even deselect parameters that you don’t want

to be linked. You might want to link a number of channels together

but retain individual control over the channel EQ, for example. You

can quickly and easily create as many pairs or linked groups as you

application requires.

DCA Groups

While linked channel faders are directly adjusted via the channel

faders themselves, the levels of channels assigned to a DCA group are

controlled from one of the console’s DCA faders in the Centralogic™

control area. Any number of channel faders can be assigned to any of

the console’s 8 DCA faders. This is not only convenient for central

single-fader control of channel groups, but it also means you don’t

have to use any of the console’s bus resources for channel grouping.

Mute Groups

Mute grouping is another feature that can be great advantage in live-

sound applications. Any number of channels can be muted or un-

muted via assigned User Defined Keys (see below). Up to 8 mute

groups can be specified.

Channel Copy, Move and Clear

Features like these add significantly to the attraction of digital

technology for live sound. The Channel Copy function lets you copy

the parameters from any one channel to any number of other

channels, Channel Move swaps the parameters between two specified

channels, and Channel Clear clears all parameters of the specified

channels. All of these capabilities can dramatically streamline the

process of setting up the console or modifying the console settings.

Bus Setup

Each of the M7CL mix buses can be quickly assigned for mono or

stereo operation. You also have a choice of pre/post-attenuator or

pre/post-fader or variable send, and pre/post-pan settings for fixed

send. Pre-EQ send can be an advantage when using the mix buses to

feed an in-ear monitor system, for example.

Output Port Delay and Phase

Another feature that makes the M7CL a valuable asset for many live

sound systems is built-in output delay and phase adjustment facilities

on each output port. This lets you set up precise speaker distance

compensation without the need for bulky, expensive external

compensation equipment.

Bus Cascade Capability

The M7CL allows full bus cascading – including the CUE bus – for

easy system expansion using a second M7CL console or a wide range

of other console types.

User Defined Keys

As their name suggests, the 12 M7CL User Defined Keys can be user-

defined to perform a range of handy functions. You could assign one

for tap-tempo input of delay times, others to jump to specific display

screens, or to control specified mute groups as described above. An

innovative User Defined Key function is “Set by SEL”, with which the

channel [SEL] keys perform a range of alternate functions if pressed

while the assigned User Defined Key is held: reset the defaults for that

channel, turn phantom power on or off, set the channel fader to

nominal … and more. Although you can set them up as required, the

User Defined Keys have the following pre-assigned default functions:

keys 1 through 8 select the corresponding mix buses for the SENDS

ON FADER function, keys 9 and 10 are the mute masters for mute

groups 1 and 2, key 11 clears all cue settings, and key 12 is talkback.

Library

Name Number Total

Scene Memory Preset 1 + User 300 301

Input EQ Library Preset 40 + User 159 199

Output EQ Library Preset 3 + User 196 199

Dynamics Library Preset 40 + User 154 199

Effect Library Preset 48 + User 151 199

GEQ Library Preset 1 + User 198 199

Beyond Basic Operation … When You Need In-depth Control

Advanced Access Management

In many applications it is desirable to prevent unauthorized access to

the console, or restrict access to a limited set of functions. Limiting

access is a great way to prevent “accidents” during critical live

performances, for example, and can minimize the need for direct

supervision of inexperienced operators. Or you might have spent hours

with an analyzer setting up the EQ to precisely tune the system for the

room, and you probably won’t want those settings changed under any

circumstances. The M7CL’s access management features can be a

significant advantage for overall system administration.

■Password or USB Key Access

User access can be controlled either via passwords or USB

memory keys. The administrator can assign specific functions to

each unique password or key, so the user only has to log onto the

console with the assigned password on insert the USB key to

begin operation at the assigned level. USB memory keys can be

easily created either directly via the console or a computer

running the M7CL Editor applications software. USB memory

keys are particularly handy because they can also be used to store

the user’s scenes and other preferences.

Multiple Security Levels Make Operation Safe and Easy For Any Operator

M7CL 1110 M 7 C L

M7CL Editor Software

The M7CL Editor application for Windows operating systems gives you off-line programming access to all console parameters. You can set

up and edit console parameters anywhere you can use your personal computer – in the office, on the road, in your hotel. A comprehensive

graphical interface makes locating and editing parameters easy, and you can download setups from the computer to the console either by

directly connecting the computer to the console via an Ethernet cable, or by saving the data to a USB memory stick that can then be

plugged into the console’s USB port. You can even control the console from the computer in real time while connected via Ethernet.

■Overview

The Overview display offers a convenient view

of the mix parameters for 16 channels or mix

buses at a time.

■Selected Channel

Similar to the Selected Channel display on the

console, this display provides comprehensive

access to all parameters for the selected

channel. Multiple “Additional Views” for other

channels can be opened simultaneously.

■Group/Link

Channel linking can quickly and efficiently

accomplished on the console itself, but if you

need to create channel link or group setups

offline, the M7CL Editor makes the task easy.

■Rack

The M7CL Editor Rack display is essentially the

same as the console display, allowing smooth,

intuitive effect assignment and editing.

■Library

The M7CL Editor allows convenient data library

management, too: shown here is the effect

library display, complete with high-quality

REV-X ambience effects.

■Scene

You also have full access to scene functions

with the M7CL Editor, including the focus and

recall safe functions that allow exceptional

control over the parameters that will be

included and excluded when a scene is recalled.

MBM7CL Meter Bridge

Although the M7CL has comprehensive metering facilities built in

(simply touch the meter section on the display for full-screen total-

system visual monitoring), the optional MBM7CL Meter Bridge fits

right above the console’s display and provides high-visibility level

monitoring while allowing the display to be used for other

operations.

PW800W Power Supply Unit

For many applications you can simply plug the M7CL directly into

a convenient AC outlet and use the built-in power supply. But you

should consider the external PW800W Power Supply Unit in

situations where maximum regulation and reliability are required.

When a PW800W unit is added the internal power supply and the

PW800W provide redundant failsafe operation.

Options

Rear Panel

Mini-YGDAI Expansion Cards

The M7CL has 3 expansion slots on the rear panel that accept a

wide range of optional Yamaha mini-YGDAI I/O cards that can be

used to add analog and/or digital input and output capability in a

range of formats. You could add mini-YGDAI cards to connect to

an MTR for direct multitrack recording, or to connect an Aviom

personal monitoring system, for example. You can even use mini-

YGDAI cards to bus-cascade the M7CL with other consoles for

significantly expanded input/output capacity.

Option Input/Output mini-YGDAI slot x3

mini-YGDAI card Name Function Input Output The number of Available cards

MY8-AE AES/EBU 8In 8Out 3

MY8-AT ADAT 8In 8Out 3

MY8-TD TASCAM 8In 8Out 3

MY4-AD Analog In 4In — 3

MY8-AD24 Analog In 8In — 3

MY8-AD96 Analog In 8In — 3

MY4-DA Analog Out — 4Out 3

Yamaha MY8-DA96 Analog Out — 8Out 3

MY8-ADDA96 Analog In/Out 8In 8Out 3

MY8-AE96 AES/EBU 8In 8Out 3

MY8-AE96S AES/EBU 8In 8Out 3

MY16-AT ADAT 16In 16Out 3

MY16-TD TASCAM 16In 16Out 3

MY16-AE AES/EBU 16In 16Out 3

MY16-C Cobra 16In 16Out 3

MY16-mLAN mLAN 16In 16Out 3

AVIOM 16/o-Y1 AVIOM A-Net — 16Out 3

AuviTran AVY16-ES EtherSound 16In 16Out 3

Audio-Service MYMADI64 MADI 48In 48Out 1set (3)

PW800W Front

PW800W Rear

M7CL-32

M7CL-48

M7CL 1312 M 7 C L

701

130

216

286

340: MBM7CL

(option)

160: PSL360

(option)

701

130

216

286

340: MBM7CL

(option)

160: PSL360

(option)

1,060 1,274

+48V MASTER

+48V

TALKBACK

INPUT INPUT

SELECT

INPUT

PATC H

[TALKBACK TAL KB AC K

OSCILLATOR

CASCADE IN

CASCADE OUT

MIX 1-16

CH 1-32 {48}

INSERT OUT 1-32 {48}

INSERT IN 1-32 {48}

CH INSERT IN 1-32 {48}

MIX INSERT IN 1-16

STEREO INSERT IN L,R,MONO(C)

PHONES LEVEL

MATRIX INSERTIN 1-8

INPUT]

[INPUT]

[ST IN]

[SLOT]

SLOT1

SLOT2

SLOT3

ST IN L

ST IN R

[1L-4R]

[1-32 {48}]

TAL KB ACK

GAIN

INPUT 12

GAIN/TRIM

METER

INPUT TB

INPUT

1-32 {48}

INSERT POINT

INSERT

POST PANL

POST PANR

POST ON

4BAND

PRE FADER INSERTOUT

PRE EQ INSERT OUT

ST IN

1L-4R

SLOT1 1-16

PRE HPF

PRE HPF PRE EQ POSTEQ

PRE EQ PRE FADER POSTON

POSTON

PANLINK

MIX1,3... 15

MIX2,4... 16

MATRIX1,3...7

MATRIX2,4...8

LRMONO TO MONO TO ST

TO LCR

PRE FADER

METER

METER METER

To MIX POSTON

POSTPAN L

PRE EQ / PRE FADER / POST ON

POSTPAN R

To MIX

ToMATRIX

To MIX

ToMIX

FIXED

VARI

FIXED

STEREO

VARI

STEREO

VARI

STEREO

METER

GR METER

KEYIN CUE

GR METER

METER

LEVEL/

DCA 1-8

METER METER

BAL

POST PANL

POST PANR PANMODE ST L

ST R

LEVEL

BAL

SLOT2 1-16

SLOT3 1-16

SLOT2 1-16

SLOT1 1-16

RACK1 OUT

RACK2 OUT

RACK3 OUT

RACK4 OUT

RACK5 OUT

RACK6 OUT

RACK7 OUT

RACK8 OUT

A(L) / B (R)

A (L) / B (R)

A(L) / B (R)

INPUT 1-32 {48}

METER

METER METER METER METER

LEVEL

MATRIX CUE

CASCADE

SELECT

Sine Wave

Pink Noise

Burst Noise

LR MONO

METER

INSERT

POST ON

MONO(C)

ST L

ST R

PAN

LEVEL

HPF LPF

MIX ST

LEVEL

LEVEL/

DCA1-8

METER

ToCASCADE IN

ToMONITOR

SELECT

SLOTIN

METER METER METER

SLOTIN SLOTIN

RACK

PATC H

RACK1

RACK2 (same as RACK1)

RACK3 (same as RACK1)

RACK4 (same as RACK1)

KEYIN CUE

EFFECT CUE

KEYIN ST IN1L-4R

RACK 5-8 OUT L / R

KEYIN CUE

SELECT

EFFECT CUE

SELECT

DEFINE

MIX

(MAX : 8ch)

KEYIN CH1-32 {48}

PHONES OUT LR

SLOT1

[PHONES]

[SLOT]

[OMNI OUT] (1-16)

[2TR OUT DIGITAL]

STEREO OUT L,R

MONITOR L

MONITOR R

MONITOR MONO (C)

STEREO OUT

MIX OUT1-16

MATRIX OUT1-8

MONO (C)

L,R

STEREO OUT MONO (C)

STEREO OUT L,C,R

SLOT2

SLOT3

MIX CASCADE OUT 1-16

CUE CASCADE OUT L,R

DIRECT OUT 1-32 {48}

OUTPUT

PATC H

OUTPUT

PATC H

OUTPUT

PATC H

MIX OUT 1-16

STEREO OUT L,R,MONO (C)

MATRIX OUT 1-8

MONITOR OUT L,R, MONO(C)

MIX INSERT OUT 1-16

STEREO INSERT OUT L,R,MONO (C)

STEREO OUT L,R,MONO (C)

MONITOR OUT L,R,MONO(C)

MIX OUT 1-16

STEEREO OUT L,R,MONO (C)

MONITOR OUT L,R,MONO(C)

MATRIX OUT 1-8

MIX OUT 1-16

DIRECT OUT 1-32 {48}

MATRIX INSERT OUT 1-8

CH INSERT OUT 1-32 {48}

STEREO CASCADE OUT L,R,MONO (C)

MATRIX CASCADE OUT 1-8

RACK6 (same as RACK5)

RACK7 (same as RACK5)

RACK8 (same as RACK5)

MIX OUT

1-16

MATRIX OUT

1-8

STEREO OUT

L,R,MONO (C)

STEREO

INSERT OUT

L,R,MONO (C)

MATRIX

INSERT OUT

1-8

INSERT OUT

1-32 {48}

MIX

INSERT OUT

1-16

RACK1 IN

RACK2 IN

RACK3 IN

RACK4 IN

RACK5 IN

RACK6 IN

RACK7 IN

RACK8 IN

A(L ) / B (R)

A(L) / B (R)

A(L) / B(R)

A(L) / B (R)

METER

METER METER

METER

32 {48}

METER

RACK IN

RACK IN A

RACK IN A RACKOUT A

RACK OUT

RACK OUT B

RACK OUT L

RACK OUT R

RACK IN

RACK IN B

RACK IN L

RACK IN R

RACK IN B

RACK OUT

RACK OUT A

RACK OUT B

31BandGEQ

Flex15GEQ

EFFECT

RACK5

EFFECT CUE

{48}

ToRACKIN PATCH

ToOUTPUT PATCH CH

PRE HPF

(PRE FADER)PFL / (POST ON)AFL/POST PAN L

(PRE FADER)PFL/(POST ON)AFL / POST PANL

ToCHINSERT IN

ToMIX INSERT IN

ToSTEREO INSERT IN

ToMATRIX INSERT IN

(PRE FADER)PFL/(POST ON)AFL / POST PAN R

(PRE FADER)PFL / (POST ON)AFL/POST PAN R

INSERT OUT

PRE EQ EQ OUT DYNA1OUT PRE FADER

KEYIN CUE PRE FADER

PRE FADER POST ON

POST PANR

POST PANL

PANMODE

PANLINK

MIX1,3...15

MIX2,4...16

MATRIX1,3...7

MATRIX2,4...8

CUE L

CUE R

PRE EQ / PRE FADER / POST ON

DYNA2OUT

PRE EQPRE HPF

Keyin

Self PRE EQ

Self POST EQ

MIX13-16 OUT

CH[1-8,9-16,17-24,25-32]POST EQ {32}

CH[1-8,9-16,17-24,25-32,33-40,41-48]POST EQ{48}

Keyin

Self PRE EQ

Self POST EQ

MIX13-16 OUT

STCH 1L-4R POST EQ

PRE EQ

INSERT OUT

POSTEQ

ATT

To MIX

ToMIX

ToMATRIX

ToMIX

To MIX

VARI

FIXED

STEREO

VARI

STEREO

VARI

STEREO

GATE

DUCK

EXPAND

COMP

COMPAND

DE-ESSER

HPF

GR METER GRMETER

PRE HPE

PRE EQ

INSERT

PATC H

RACK1 OUT

A(L) / B (R)

RACK2 OUT

A(L) / B (R)

RACK3 OUT

A(L) / B (R)

RACK4 OUT

A(L) / B (R)

RACK5 OUT

A(L) / B(R)

RACK6 OUT

A(L) / B (R)

RACK7 OUT

A(L) / B (R)

RACK8 OUT

A(L) / B (R)

STCH 1L-4R

OUTPUTS

ATT

HPF

EQ OUT DYN A1OUT DYN A 2OUT

4BAND

GATE

DUCK

EXPAND

COMP

COMPAND

DE-ESSER

KeyinFilter

LCR

CSR

MONO(C)

CUE R

CUE L

ToOUTPUT PATCH

ToRACKIN PATCH

INSERT POINT

4 BAND

METER

LEVEL

METERMETER

Keyin

INSERT

LEVEL

METER METER

PRE EQ

INSERT OUT

INSERT

CUE ON

ST L

PAN

ST R

ToRACKIN PATCH

ToOUTPUT PATCH

CUE TRIM

(INPUT / OUTPUT / DCA)

ToOUTPUT PACH

INSERT POIN

GR METER

COMP

COMPAND

EXPAND

DYNA OUT

EQ OUT

LEVEL BAL ON

POST ON

POST

4BAND

PRE EQ

ATT INSERT

PRE FADER

PRE FADER PRE FADER

INSERT OUT

METER

INSERT

LEVEL ON

LEVEL

PAN

PRE EQ

POSTEQ

INSERT

Keyin PRE FADER

MATRIX1-8POST EQ

(PRE FADER)PFL / (POST ON) AFL

PRE FADER

INSERT OUT

LEVEL

INSERT

POST

POST ON

PRE EQ

INSERT OUT

CUE ON

MONO

MONITOR L

CUE LOGIC PHONES

LEVEL LINK

CUE ON

DELAY

(MAX:600ms)

DELAY

TALKBACKON

An output port delay becomes invalid by

assigning a monitor out to the output port

+MONO (C)

MONITOR DIMM ON

MONITOR R

MONITOR MONO (C)

CUE L

CUE R

ATT 4BAND

EQ OUT DYNAOUT

GR METER

PRE FADER

METER

METER METER METER METER

CUE ON

MATRIX2,4...8

MATRIX1,3...7

PRE EQ POST EQ

METER METER METER

METER

MONO(C)

MATRIX1,3...7

MATRIX2,4...8

PRE EQ

POST EQ

PRE FADER

INSERT OUT

(PRE FADER)PFL / (POST ON) AFL

PRE FADER / POST ON

EQ OUT

GR METER

DYNA OUT

COMP

COMPAND

EXPAND

PRE FADER

ToOUTPUT PATCH

OSC

L R(C) L R

SLOT 1 1-16

SLOT 2 1-16

SLOT 3 1-16

LCR TO LCR

TO MONO TOST

CSR

ToOUTPUT PATCH

DIRECT OUT 1-32 {48}

INSERT OUT 1-16

INSERT IN 1-16

STEREO

INSERT OUT L,R,MONO(C)

STEREO

INSERT IN L,R,MONO(C)

MATRIX OUT 1-8

STEREO OUT

L,R,MONO(C)

MATRIX

INSERT OUT 1-8

MONITOR LEVEL

PHONES L

PHONES R

MONITOR OUT L

MONITOR OUT R

MONITOR OUT MONO(C)

MATRIX

INSERT IN 1-8

MIX OUT1-16

1 2 1516

1 2 7 8

MIX CASCADE OUT 1-16

MATRIX CASCADE OUT1-8

CUE CASCADE OUT LR

STEREO CASCADE OUT L,R,MONO(C)

PRE FADER INSERTOUT

PRE EQ INSERT OUT

MIX

VARI

STEREO

POST ON

POST ONPRE FADER

To MATRIX

PANMODE TO ST

TO LCR LCR

CSR

VARI

To MATRIX

Self PRE EQ / Self POST EQ / MIX13-16 OUT/

MIX(1-8,9-16)POST EQ

ATT

(13-16)ToKEYIN

ToRACKIN PATCH

ToOUTPUT PATCH

ToMONITOR SELECT

ToOUTPUT PATCH

ToMONITOR SELECT

ToOUTPUT PATCH

ToPHONES OUT

ToOUTPUT PATCH

ToMONITOR SELECT

TO MONO PAN

LR MONO

POSTON

STEREO L,R,MONO(C)

MATRIX 1-8

CUE L

CUE R

PRE FADER INSERTOUT

PRE EQ INSERT OUT

PRE EQ

INSERT OUT

INSERT POINT

PRE FADER INSERTOUT

PRE EQ INSERT OUT

METER

SLOT2OUT

SLOT3OUT

OMINI OUT

2TR OUT

SLOT1OUT

Tip

ST IN1 L,R

ST IN2 L,R

ST IN3 L,R

ST IN4 L,R

ST IN1 L,R

ST IN2 L,R

ST IN3 L,R

ST IN4 L,R

Ring

Sleeve

METER

ATT

DIT AES / EBU

TRIM

ATT TR I M

METER

DELAY

(MAX:600ms)

DELAY

(MAX:600ms)

DELAY

(MAX:600ms)

Keyin

Self PRE EQ / Self POST EQ / MIX13-16 OUT /

ST(L,R,MONO (C)) POST EQ

(PRE FADER)PFL / (POST ON) AFL

PRE FADER / POST ON

ToMATRIX

VARI

STEREO

VARI

COMP

COMPAND

EXPAND

Self PRE EQ / Self POST EQ / MIX13-16 OUT/

DIMMER

MONITOR SELECT

···

■M7CL-48/M7CL-32 Block Diagram

Block DiagramM7CL Specifications

Dimensions

General Specifications

Sampling Frequency Internal: 44.1kHz, 48kHz

External: 44.1kHz (-10%) to 48kHz (+6%)

Signal Delay Less than 2.5ms INPUT to STEREO A, B

(@Sampling frequency = 48kHz)

Fader 100mm motorinzed x62 (46)

Touch Screen LCD 800 x 600 dot TFT LCD

Total Harmonic Distortion* INPUT to STEREO A

Input Gain=Minimum, PAD=ON Less than 0.05% 20Hz to 20kHz @+4dBu into 600Ω

Master fader at nominal level and

one input fader at nominal level

Frequency Response INPUT to STEREO A

Input Gain=Max, PAD=Off 0.5, -1.5dB 20Hz to 20kHz @+4dBu into 600Ω

Master fader at nominal level and

one input fader at nominal level

Dynamic Range 110dB typ. DA Converter (STEREO A)

Input Gain=Minimum, PAD=ON 108dB typ. AD+DA (to STEREO A)

Master fader at nominal level and

one input fader at nominal level

Hum & Noise** -128dBu typ. Equivalent Input Noise

Input Gain=Max, PAD=Off -86dBu residual output noise (STEREO A)

Master fader at nominal level and STEREO Master off

one input fader at nominal level

Maximum Voltage Gain 86dB INPUT1-48 to Each Output

Crosstalk (@1kHz) -80dB adjacent input channels

(INPUT1-48, ST IN 1-4 [L, R], OMNI OUT 1-16)

Phantom Power 48V

Dimensions (W x H x D mm) M7CL-32: 1,060 x 286 x 701 (Included MBM7CL: 340)

M7CL-48: 1,274 x 286 x 701 (Included MBM7CL: 340)

Net Weight M7CL-32: 42kg

M7CL-48: 50kg

Power Requirements AC100~240V 50Hz/60Hz

Power Consumption M7CL-32: 250W

M7CL-48: 300W

Operation free-air Temperature Range

+10˚C to +35˚C

Storage Temperature Range -20˚C to +60˚C

*Total Harmonic Distortion is measured with a 18dB/octave filter @80kHz

**Hum & Noise is measured with 6dB/octave filter @12.7kHz; Equivalent to a 20kHz filter with infinite dB/octave

attenuation.

Analog Input Characteristics

Input Terminals GAIN

Actual Load Impedance

For Use With Nominal Input Level

Connector

Sensitivity

*1 Nominal Max. Before Clip

INPUT 1-32 <M7CL-32> -62dB 3kΩ50-600ΩMics & 600ΩLines -82dBu (61.6μV) -62dBu (0.616mV) -42dBu (6.16mV) XLR-3-31 type (Balanced) *2

INPUT 1-48 <M7CL-48> +10dB -10dBu (245mV) +10dBu (2.45V) +30dBu (24.5V)

ST IN 1-4 [L, R] -62dB

3kΩ50-600ΩMics & 600ΩLines -82dBu (61.6μV) -62dBu (0.616mV) -42dBu (6.16mV) XLR-3-31 type (Balanced) *2

+10dB -10dBu (245mV) +10dBu (2.45V) +30dBu (24.5V)

TALKBACK -60dB

3kΩ50-600ΩMics & 600ΩLines -70dBu (0.245mV) -60dBu (0.775mV) -40dBu (7.75mV) XLR-3-31 type (Balanced) *2

-16dB -26dBu (38.8mV) -16dBu (0.123V) +4dBu (1.23V)

*1. Sensitivity is the lowest level that will produce an output of +4dBu (1.23V) or the nominal output level when the unit is set to maximum gain. (all faders and level controls are maximum position.)

*2. XLR-3-31 type connectors are balanced. (1 = GND, 2 = HOT, 3 = COLD) *3. In these specifications, 0dBu = 0.775 Vrms. *4. All input AD converters are 24bit linear, 128times oversampling.

*5. +48V DC (phantom power) is supplied to INPUT (1-48), ST IN 1L-4R, TALKBACK XLR type connectors via each individual software controlled switches.

Analog Output Characteristics

Output Terminals

Actual Source Impedance

For Use With Nominal GAIN SW *5 Output Level

Connector

Nominal Max. Before Clip

OMNI OUT 1-16 75Ω600ΩLines +24dB (default) +4dBu (1.23 V) +24dBu (12.28V) XLR-3-32 Type (Balanced) *1

+18dB -2dBu (616mV) +18dBu (6.16V)

PHONES 15Ω8ΩPhones – 75mW *6 150mW

Stereo Phone Jack (TRS) (Unbalanced) *2

40ΩPhones – 65mW *6 150mW

*1. XLR-3-32 type connectors are balanced. (1 = GND, 2 = HOT, 3 = COLD) *2. PHONES stereo phone jack is unbalanced. (Tip = LEFT, Ring = RIGHT, Sleeve = GND) *3. In these specifications, 0dBu = 0.775 Vrms.

*4. All output DA converters are 24bit, 128times (@48kHz) oversampling. *5. There are switches inside the body to preset the maximum output level. *6. The position of the level control is 10dB lowered from Max.

Digital Output Characteristics

Terminal Format Data Length Level Connector