M7CL Specifications General Specifications
Internal: 44.1 kHz, 48 kHz M7CL-48: 50kg (110.23lbm) Sampling Frequency External: 44.1 kHz (–10%) to 48 kHz (+6%)
Analog Input Characteristics
Input Level Input Terminals GAIN Actual Load For Use With Connector Impedance Nominal Sensitivity *1 Nominal Max. Before Clip
INPUT 1-48
* 1. Sensitivity is the lowest level that will produce an output of +4 dBu (1.23 V) 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 with latch are balanced. (1=GND, 2=HOT, 3=COLD) * In these specifications, 0 dBu = 0.775 Vrms. * All input AD converters are 24bit linear, 128 times oversampling. * +48V DC (phantom power) is supplied to INPUT (1-48 or 1-32), ST IN 1L-4R, OMNI IN 1-8 and TALKBACK XLR type connectors via each individual software controlled switches.
Analog Output Characteristics
Output Level Output Terminals Actual Source For Use With GAIN SW *3 Connector Impedance Nominal Nominal Max. Before Clip
OMNI OUT 1-16
* 1. XLR-3-32 type connectors are balanced. (1=GND, 2=HOT, 3=COLD) * 4. The position of the level control is 10 dB lowered from Max. * 2. PHONES stereo phone jack is unbalanced. (Tip=LEFT, Ring=RIGHT, Sleeve=GND) * In these specifications, 0 dBu = 0.775 Vrms. * 3. There are switches inside the body to preset the maximum output level. * All output DA converters are 24 bit, 128 times oversampling.
Digital Input & Output Characteristics
Terminal Format Data Length Level Audio Connector 2TR OUT DIGITAL *1 AES/EBU AES/EBU Professional Use *1 24 bit RS422 — XLR-3-32 type (Balanced) *2 EtherSound
* 1. The channel status of 2TR OUT DIGITAL is described on page 294. * 2. XLR-3-32 type connectors are balanced. (1=GND, 2=HOT, 3=COLD) * 3. IN, OUT
Control I/O Characteristics
Terminal Format Level Connector NETWORK IEEE802.3 RJ-45 3rd Port
* 1. 4pin=HOT, 3pin=COLD, Lamp rating 5 W, Voltage control by software
Printed in Japan P.O. BOX1, Hamamatsu Japan www.yamahaproaudio.com This document is printed on *All specifications are subject to change without notice. *All trademarks and registered trademarks are property of their respective owners. chlorine-free (ECF) paper with soy ink. LPA588 (P10022293) The World's Most Popular Digital Mixer Goes Remote
The M7CL digital mixing console featuring output via remote EtherSound connected stage enhancements and is a free upgrade for current Set Up an M7CL-48ES System in Minutes Yamaha’s groundbreaking Centralogic™ users, and the family has grown to include the box units that can be located as required for It really is this simple: just connect the console to the stage interface has become a standard for intuitive M7CL-48ES with built-in plug-and-play optimum convenience and minimum analog boxes, set the stage box DIP switches, and auto-configuration does the rest. You’ll be ready to roll in a matter of minutes. operation, flexible control, and superior sound networking to as many as three Yamaha signal degradation. quality in the highly competitive field of live SB168-ES stage boxes. So now you have a The Yamaha M7CL series: still the most EtherSound OUT IN SB168-ES OUT M7CL-48ES sound reinforcement. Now here’s some great choice between the M7CL-32 and M7CL-48 with user-friendly digital mixing consoles available, IN SB168-ES OUT news for current and future M7CL users: direct-to-console analog connectivity, or the now with improved functionality and a model that SB168-ES IN firmware version 3.0 provides significant M7CL-48ES with primary analog input and makes remote I/O easier than ever.
2 3 Sends on Fader in M7CL V3 Editor Additional Recall Safe parameters VCM Effects are now available ST IN 1-4 are now available for talkback Direct Sends on Fader Version3 Keeps Sends on Fader functionality in the M7CL V3 Editor software Additional Input Patch, Output Patch, Direct Top-class VCM compression, equalization, and tape saturation simulation It is now possible to use the console’s stereo access from the M7CL provides remote console-independent Sends on Fader operation so Out Patch, and Insert Out Patch Recall Safe effects from Yamaha’s “K’s Lab” division are now standard: Comp inputs for talkback as well as the mono inputs, knobs in Sends on Fader the M7CL Ahead that, for example, an engineer could make stage monitor parameters provide unprecedented setup 276/276s, Comp 260/260s, Equalizer 601 and OpenDeck. maximizing compatibility between the mode adjustments from a tablet PC while standing in front of the monitors. flexibility and control. M7CL-48ES and other M7CL consoles. Direct Sends on Fader access Nothing stands still in the world of from the M7CL knobs in Sends live sound, and once again the on Fader mode gives the M7CL leaps ahead of the curve. operator more options for a smoother, more efficient M7CL firmware Version 3.0 is based on valuable workflow. feedback Yamaha has received from dedicated There’s More … professionals in the field, delivering enhancements that The features listed here are just a can significantly improve workflow and efficiency in few of the enhancements provided by Version 3. real-world applications.
The Extended M7CL Family – Ready to Meet New Challenges
Specifically designed for use with SB168-ES EtherSound stage boxes, the 48 high-performance head amps onboard allow analog microphone and line signals to be directly hooked up to M7CL-48ES replaces the 48 internal head amps of the M7CL-48 with two EtherSound the console. Ideal where analog infrastructure is already installed. ports that provide plug-and-play connection to up to three SB168-ES units.
• 48 mono microphone/line inputs, 4 stereo inputs, and 3 Mini-YGDAI card slots (a total of 56 mixing channels). • 16 mix buses, LCR bus, 8 matrix channels, and 8 DCAs assignable to 16 • Two EtherSound ports for easy omni outputs. auto-configured connection to as many • Virtual effect and EQ rack: up to 4 simultaneous multi-effect processors; as three SB168-ES stage boxes in up to 8 simultaneous 31-band graphic EQs. daisy-chain or ring configuration. A third • Centralogic™ interface: central, logical, and intuitive. port is provided for permanent • Dual power modes: use the built in power supply, or add an external connection to a computer. PW800W power supply unit (optional) for failsafe dual-supply operation. • 48 mono and 4 stereo inputs (a total of 56 mixing channels), 16 mix buses, LCR bus, 8 matrix channels, and 8 DCAs *Photo shows console with optional MBM7CL meter bridge installed. • 8 assignable omni inputs and outputs, and 3 Mini-YGDAI card slots. • Virtual effect and EQ rack: up to 4 simultaneous multi-effect processors; up to 8 simultaneous 31-band graphic EQs. *Photo shows console with • Centralogic™ interface: central, logical, optional MBM7CL meter bridge installed. 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. All the features and performance of the M7CL-48, but with fewer input channels for optimum integration and economy in applications that don’t require more than 32 inputs.
• 32 mono microphone/line inputs, 4 stereo inputs, and 3 Mini-YGDAI card slots (a total of 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. need for bulky analog snakes while minimizing the length of microphone cables for optimum audio SB168-ES 16-in/8-out EtherSound Stage Box performance. The SB168-ES is also easy to set up, The SB168-ES is a 3U-size remote stage box that providing significant time and cost savings. provides 16 channels of analog input – each with its *Photo shows console with optional MBM7CL meter bridge installed. own top-performance head amp – and 8 channels of SB168-ES firmware version 1.1 and EtherSound module analog output. Multiple units can be used firmware version C16 are required for full functionality with simultaneously. Digital EtherSound signal the M7CL-48ES. For details and updates see the Yamaha
transmission to and from the console eliminates the pro audio web page at: http://www.yamahaproaudio.com/ Three SB168-ES units can be comfortably mounted in a compact rack.
* When three SB168-ES units are mounted in the same rack with no space in between, please set their fan speeds to HIGH. 4 5 Virtual Effect and GEQ Rack
M7CL consoles give you an outstanding range of high-resolution effects and graphic equalizers onboard.
Just touch the RACK button on the M7CL 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 Centralogic as graphic EQs, you can use more EQ units if you don’t need all 4 effects. Built-in effects range from ambience and echo to modulation and distortion, plus Yamaha’s superlative REV-X Total Access for Absolute Control package for some of the most natural-sounding ambience effects available anywhere. The standard 31-band graphic EQ modules are directly adjustable via physical controllers, and Yamaha’s touch-panel based Centralogic™ interface simplifies digital operation to the point where it is Flex15GEQ modules allow GEQ to be applied to up to 16 actually as intuitive as analog … if not easier. All mix controls other than the individual motor faders channels at once! More effect and GEQ details are provided on the following page. provided for each channel can be accessed via just two displays: Overview or Selected Channel.
VCM Effects Deliver Analog Smoothness and Warmth
Version 3.0 brings a selection of previously optional VCM effects to the M7CL platform, providing truly musical performance and subtleties that simple digital simulations cannot even approach.
These compressor and EQ effects, now standard features of all Version 3 M7CL consoles, faithfully capture the unique sound and saturation of analog circuitry with VCM technology that actually models individual analog circuit components, right down to the last resistor and capacitor. All VCM effects are sonically fine-tuned by leading engineers, and feature carefully selected parameters that can be precisely controlled via a simple, refined interface.
Compressor 276 Recreate the fast response, frequency characteristics, and Overview Selected Channel tube-amp saturation of the most in-demand analog The Overview display – the console’s default display – gives you a standard view To adjust pan for a channel, for example, simply press the channel’s [SEL] key compressors for studio use. of the 8 channels selected via the Centralogic™ navigation keys. These keys, and rotate the console’s physical PAN control. The same applies to preamp gain, Compressor 260 arranged in an exact replica of the 8-channel channel groups on the console, let dynamics, high-pass filter, EQ, and bus send control. Adjustments are clearly Features faithful modeling of the solid-state VCA and RMS you instantly bring any group of 8 channels to the central controls with a single shown on the display as you make them, as is the status of all mix parameters for detection circuitry of the late 70's for live sound reinforcement button-press. You can then touch any row of controls on the display screen to the currently selected channel. You can zoom in on any of the on-screen applications. focus on them – pan, or bus send, for parameters for in-depth control by simply touching the parameter on the screen. Equalizer 601 example – and adjust via the corresponding When you’re focused on a parameter the multi-function encoders below the Delivers the unique characteristics of 70's analog EQ circuitry, multi-function encoders immediately below display screen adjust the corresponding parameters in the display. featuring comprehensive graphical editing capability. the display. You should be able to perform OpenDeck a basic mix on the M7CL without even VCM technology recreates classic tape compression and having to open the manual. saturation with extraordinary realism.
6 7 Sophisticated Sonic Control Streamlined Operation
The M7CL’s extraordinarily intuitive control interface receives a lot of attention, A streamlined, efficient workflow is essential to delivering the best sound under any conditions. but the sound of these fine consoles is outstanding as well. M7CL consoles give you the tools you need to make the most of any situation. After all, it really is all about the sound.
Versatile Channel Module Functions Efficient Interface and Control Functions
HA Gain EQ Centralogic™ Navigation & Physical Controls Easy Channel Identification Adjusts gain of the console’s class-leading input-channel head amplifiers over a This very versatile 4-band parametric The 8 Centralogic™ faders are of the same type as the primary channel faders. Channel names and icons appear at the 72-dB range. HA gain is recallable like almost all of the console’s other settings. EQ section affords extraordinary Simply press the appropriate Centralogic™ navigation key to bring control of top and bottom of every channel in the Touch the HA section of the display to access the +48V phantom power and equalization control and quality for all any group of 8 input channel faders to the Centralogic™ controls and Overview display, and by simply touching phase settings. inputs and buses. Switchable Type I Overview display. The multi-function encoders at the top of each Centalogic™ one you can select one of the preset and Type II EQ algorithms let you control strip are used to control the parameters you “focus” on by touching the names provided or enter your own via the choose the type of EQ response that appropriate area of the Overview display. convenient onscreen keyboard. There’s DYNAMICS 1 and DYNAMICS 2 best suits the application. even an excellent selection of icons you DYNAMICS 1 adjusts gate threshold level for input channels, or compressor can choose from for easy visual
threshold level for mix, matrix, or stereo/mono channels. DYNAMICS 2 adjusts Original Channel Link Relative Channel Link User Defined Keys identification of the source type. compressor threshold level for input channels. In either case the actual Relative Level The 12 User Defined Keys can be assigned to perform a range of handy parameter controlled depends on the dynamics processor selected from the Channel Link V2 functions. You could assign one for tap-tempo input of delay times, others to well-stocked dynamics library provided – gates, compressors, expanders, and There will undoubtedly be times when jump to specific display screens, to control specified mute groups, or to DCA and Mute Groups even de-essers for advanced vocal processing. Although initially set up for gate you’ll want to link a pair of faders to activate talkback, for example. An innovative User Defined Key function is “Set The levels of channels assigned to a DCA + compressor processing, you can also use dual compressors. handle stereo signals, or perhaps even by SEL”, with which the channel [SEL] keys perform a range of alternate group are controlled from one of the link more channels for simultaneous functions if pressed while the assigned User Defined Key is held: reset the console’s DCA faders in the Centralogic operation. The M7CL lets you link as defaults for that channel, turn phantom power on or off, set the channel fader ™ control area. Any number of channel many channels together as you like, and even deselect parameters that you to nominal … and more. faders can be assigned to any of the console’s 8 DCA faders. Mute grouping is don’t want to be linked. You can even create links with offsets in level. another feature that can be a great advantage in live sound applications. Any number of channels can be muted or unmuted via assigned User Defined Keys. Up to 8 mute groups can be specified. MIX / MATRIX Send controls for the 16 mix buses and 8 matrices that can be used as auxiliary, monitor, effect send, or group controls depending on whether the AUX Straightforward Connections & Patching SEND (VARI) pre-attenuator or pre/post-fader mode or the GROUP (FIXED) The M7CL-32 and M7CL-48 rear panels have individual balanced inputs for mode is selected. There’s also an INPUT TO MATRIX mode that lets you send each of the console’s input channels. All outputs are patched to the 16 OMNI the input channel signals directly to the matrix. OUT connectors. 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. Outstanding Effects and Effect Control Features for Optimum Monitoring High Resolution Effects controlled via the Centralogic™ faders. Other convenient control features Yamaha digital effects are highly regarded in the professional sound field for a include the ability to instantly reset any band to nominal simply by pressing very good reason: they are simply the best. Whether you need to add a touch the appropriate [ON] key. SENDS ON FADER Monitor/Cue level control via Mono/Stereo Faders V2 of reverb or manipulate a sound for other-worldly effect, the M7CL offers When working on a monitor mix, touch the Sends on Fader button on the You have a choice of everything built in and ready to roll. The M7CL also comes with Yamaha’s display to instantly assign the selected mix bus sends to the faders so you can controlling Monitor/Cue level superlative REV-X package for some of the best ambience effects available Waves SoundGrid System visually confirm send levels and adjust them with full-length fader precision. using either the Mono or anywhere, and a selection of VCM effects that deliver truly musical analog An external plug-in platform GUI Plug-in Sends on Fader works for the matrix sends as well. Stereo fader and the Monitor compression, saturation, and EQ. Effects Version 3 adds new Sends on Fader functionality: press a Mix Send knob in Level encoder. For many developed specifically for live sound. MultiRack the Sends on Fader mode to select the corresponding mix bus for speedy engineers the fader provides With a WSG-Y16 interface card installed in SoundGrid Server one of the M7CL expansion slots, the access to mix send levels. If you currently use User Defined Keys to jump to better visual level indication, Standard or Flex15GEQ Waves MultiRack application running on a Sends on Faders, this new feature will free up precious User Defined Keys for for more precise, comfortable The M7CL’s standard graphic EQ modules offer a full 31 bands for precise laptop computer, and a Waves SoundGrid Network Switch even faster operation. adjustment. control. If your application requires more EQ capability than the standard EQ Server, sound engineers can deploy multiple modules provide, the M7CL offers Flex15GEQ modules that function as two instances of renowned Waves plug-ins in MIDI OUT Waves 31-band units with 15-bands available at a time. You can use up to 16 the live sound environment, with extremely WSG-Y16 Sends on Fader in M7CL V3 Editor V3 Bus Setup channels of Flex15GEQ! low latency. M7CL and SoundGrid scene M7CL SLOT With the Version 3.0 firmware Sends on Fader functionality is now available in Each of the M7CL mix buses can be quickly assigned for mono or stereo recall can be linked via a simple MIDI the M7CL V3 Editor. This could allow a monitor engineer to use a tablet PC to operation. Pre-EQ send is also available, and this can be an advantage when connection. remotely adjust the send level of an on-stage monitor, for example. using the mix buses to feed an in-ear monitor system, for example. Direct EQ Control Any of the 31 bands on the graphic equalizer modules can be directly Visit the Waves Live website for more information: http://www.waveslive.com/
8 9 Digital Advantages M7CL-48ES Features
Digital technology is impressive, but is only meaningful if applied with focus and care. The M7CL-48ES adds EtherSound stage box connectivity for state-of-the-art system layout Yamaha delivers maximum digital value with features that really make a difference. and signal routing capability, while retaining superior M7CL efficiency, functionality, and sound.
Onboard EtherSound and 3rd Port Analog Insert via OMNI I/O Memory & Recall Where the original M7CL-48 has 48 analog inputs, the M7CL-48ES has a total Although the 48 analog inputs are replaced by EtherSound ports, the of three EtherSound ports: two for connection to as many as three Yamaha M7CL-48ES retains eight OMNI inputs and eight OMNI outputs that can be SB168-ES EtherSound stage boxes in either daisy chain or ring configuration. used for direct analog connection. These provide an ideal way to insert Store and Recall Up to 300 Scenes Recall Focus and Recall Safe Functions The 3rd port allows permanent connection to a computer while the stage outboard processors and other equipment. boxes are connected in ring mode. A “scene” is a complete snapshot of all the console’s settings, and the M7CL Recall focus lets you specify the parameters to be recalled with each scene, lets you store up to 300 complete scenes for instant recall whenever they’re while recall safe allows you to specify parameters that are not to be recalled needed. This makes it a snap to reset the entire console for band changes, for with a scene. There are actually two kinds of recall safe: global recall safe example. You could also store basic setups for different types of shows, then specifies parameters than will not be changed when any scene is recalled, and recall and tweak the settings as required. scene-specific safe parameters that will not be changed when a specified scene is recalled. You Global Paste V2 could use global recall safe to Global Paste allows simultaneous editing of parameters on multiple scenes, prevent any scene recall eliminating the need to recall and edit individual scenes. If you need to make operation from changing a last minute changes to HA or EQ settings in all scenes because a fill-in critical overall EQ setting, or use musician is bringing different safe parameter settings to instruments to a particular Ch1 EQ parameters Ch1 EQ changed prevent the vocal channel fader Auto-configuration for Data Compatibility with show, for example, Global on Scene 001 on Scene 002 setting from being changed by Plug-and-Play Convenience All M7CL Consoles Paste will have the job done in recall of a specific scene. no time. Ch1 EQ changed To set up a basic daisy-chain system all you need to do is connect the The M7CL-48ES is compatible with backup data created by the M7CL-32 and on Scene 003 M7CL-48ES to the SB168-ES stage boxes via appropriate cables and turn on M7CL-48 consoles, so time and effort you’ve spent creating finely-tuned Channel Library V2 the power. The ES Monitor software is not required. Everything is configured setups for the M7CL-32 or M7CL-48 won’t be wasted. automatically, and you don’t even have to set or worry about the order of the The Channel Library is a memory bank that stores channel parameter settings ID numbers of the SB168-ES units used. Switch a few settings and setting up Ch1 EQ changed such as dynamics and EQ. Store your most frequently used parameter settings on Scene 010 a ring network is just as easy. for fast, efficient setup.
Number of SB168-ES units ID #1 ID #2 ID #3 Three 1&7 2&7 3&8 Daisy Two 1&7 2&8 Chain One 1&8 Three 1&5 2&5 3&6 Access and Data Management Ring Two 1&5 2&6 One 1&6
Simple SB168-ES switch settings allow a variety of Multi-level Access Control USB Memory for Convenient Data Management and configurations. In many applications it is desirable to prevent unauthorized access to the Portability console, or restrict access to a limited set of functions. The M7CL’s access Standard USB memory sticks can be plugged into the M7CL USB port for management features can be a significant advantage for overall system convenient storage and recall of a range of data: scenes, patches, user administration. 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, Three Slots for USB Key Access or directly between M7CL consoles. User access can be controlled via USB memory keys with passwords. The Flexible System Expansion administrator can assign specific functions to each unique key, so the user The M7CL-48ES retains the three Mini-YGDAI expansion slots of the only has to log onto the console with the USB key containing the password to M7CL-32/48, so expandability is not reduced in any way. The expansion slots begin operation at the assigned level. can be used to add analog or digital I/O, versatile Aviom personal monitoring systems, direct live recording capability via high-performance Dante digital media networking, the ability to use multiple external processing plug-ins via the AES/ EBU TDIF Waves SoundGrid system, and more. HD/ SD-SDI Analog
10 11 M7CL V3 Editor Options
The M7CL V3 Editor application provides off-line programming access to all console parameters. Optional expansion cards and other add-ons allow M7CL consoles to be customized for seamless integration Setups can be downloaded from the computer to the console either via direct Ethernet connection or a USB memory stick. with just about any system or application.
Mini-YGDAI Expansion Cards Dante-MY16-AUD by Audinate M7CL consoles have 3 expansion slots on the rear panel that The Dante-MY16-AUD card instantly accept a wide range of optional Yamaha Mini-YGDAI cards that Dante-enables your M7CL. Each can be used to add analog and/or digital I/O or networking Dante-MY16-AUD card provides 16 capability in a range of formats. You could add Mini-YGDAI bidirectional audio channels (16 channels cards to connect to an MTR for direct multitrack recording, or to at 48 kHz) and full Dante network audio connect an Aviom personal monitoring system, for example. You redundancy over Gigabit Ethernet. can even use Mini-YGDAI cards to bus-cascade the M7CL with other consoles for significantly expanded input/output capacity. The expansion cards described here are just part of a WSG-Y16 by Waves Overview Selected Channel Group/Link comprehensive, growing lineup. For complete, up-to-date information on the current Mini-YGDAI card lineup visit A true breakthrough for live sound, the The Overview display offers a convenient view of the Similar to the Selected Channel display on the console, Channel linking can quickly and efficiently Yamaha’s pro audio website at: http://www.yamaproaudio.com/ WSG-Y16 lets FOH and monitor engineers mix parameters for 16 channels or mix buses at a this display provides comprehensive access to all accomplished on the console itself, but if you run multiple simultaneous instances of the time. In Version 3 Sends on Fader functionality is also parameters for the selected channel. Multiple “Additional need to create channel link or group setups same Native Waves plug-ins used in available via the editor's Overview display. Views” for other channels can be opened simultaneously. offline, the M7CL V3 Editor makes the task easy. MBM7CL Meter Bridge recording studios and mixing rooms the Although the M7CL has comprehensive metering facilities built in, the world over. 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. 16/o-Y1 by Aviom The Aviom16/o-Y1 A-Net Card provides a direct digital interface between Yamaha PW800W Power Supply Unit digital products and Aviom's Pro16 series For many applications you can simply plug the M7CL directly into a convenient AC outlet and use the built-in power personal monitor mixing systems, supply. The external PW800W Power Supply Unit can be added when maximum regulation and reliability are required including the A-16II and A-16R Personal (the internal power supply and the Mixers. PW800W provide redundant failsafe operation). MY16-AE by Yamaha Library Scene Each MY16-AE card adds 16 channels of The M7CL V3 Editor allows convenient data You also have full access to scene functions with the M7CL PSL360 Power Supply Link Cable LA1L Gooseneck Lamp AES/EBU format digital input and output, Rack library management, too. V3 Editor, including the focus and recall safe functions that allowing direct connection to a range of PW800W external power supply unit requires PSL360 The LA1L brightness parameter can be controlled from The M7CL V3 Editor Rack display is essentially allow exceptional control over the parameters that will be professional digital audio devices. link cable to connect with M7CL. the Centralogic display and memorized to the A/B banks. the same as the console display, allowing included and excluded when a scene is recalled. smooth, intuitive effect assignment and editing.
M7CL-48ES System example EtherSound / Aviom / Waves M7CL-32/48 System example Aviom / Dante
Plug-in GUI Aviom A-16II Live Recording Plug-in Effects Aviom A-16II M7CL V3 Editor Waves Steinberg External Insert (Studio Manager) MultiRack Waves Aviom A-16D Pro Aviom A-16II Nuendo Aviom A-16D Pro Aviom A-16II AVS-ESMonitor SoundGrid Server Aviom A-16II Outboard Personal Monitor Effects Aviom A-16II Personal Monitor
Network Switch Network Switch SB168-ES
SB168-ES Audinate MY8- Aviom Dante-MY16-AUD ADDA96 16/o-Y1 NETWORK 3rd Waves Aviom SB168-ES WSG-Y16 16/o-Y1 SLOT SLOT EtherSound Redundant Stage Box Analog Stage Box OUT M7CL-32/48 Analog Wiring M7CL-48ES PC (Steinberg Nuendo) EtherSound NEXO NXAMP Digigram LX6464 IN with NXES104 Live Recording • A simple system that makes full use of existing analog infrastructure. • Versatile, high-performance live recording via Audinate’s Dante-MY16-AUD card. • SB168-ES units ring connected for redundancy. • Aviom devices provide a clean, simple personal monitoring system. • Smooth upgrade from an analog console. Card slots provide room for further expansion. • MY8-ADDA96 card allows convenient insertion of outboard effects. • Digigram LX6464 allows 48-channel live recording to Steinberg NUENDO DAW software. • Waves WSG-Y16 card and MULTIRACK make a variety of plug-in effects available. • Aviom personal monitoring devices can be easily added.
* For this system it is necessary to turn Auto Configure OFF and use the AVS-ESMonitor application to set up the patches. 12 13 14 Dimensions Block Diagram M7CL - 48ES
M O N MIX ST O MATRIX CUE 1 2 ...1516 L R (C) 1 2 ... 7 8 L R CASCADE OUT MIX CASCADE OUT1-16
18 (6/8) To OUTPUT PATCH CASCADE IN To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH STEREO CASCADE OUT L,R,MONO(C) SLOT1 1-16 To OUTPUT PATCH SLOT2 1-16 To OUTPUT PATCH SLOT3 1-16 CASCADE To OUTPUT PATCH IN MATRIX CASCADE OUT1-8 To OUTPUT PATCH +48V MASTER SELECT To OUTPUT PATCH To OUTPUT PATCH +48V ON To OUTPUT PATCH CUE CASCADE OUT LR To OUTPUT PATCH HA +48V To OUTPUT PATCH METER TALKBACK 2 [TALKBACK TALKBACK + INPUT TB 1 - AD 1,274 (502/8) 3 ES IN 1-48 ON
with Option INPUT INPUT] OMNI IN 1-8 INPUT TALKBACK SELECT MIX 1-16 GAIN INSERT POINT OSC To RACKIN PATCH POST ON INSERT OUT OSCILLATOR To OUTPUT PATCH MIX PRE FADER INSERT OUT LEVEL METER ON INSERT OUT 1-16 PRE EQ INSERT OUT ES IN Sine Wave MIX INPUT INSERT IN 1-16 METER Pink Noise PRE EQ EQ OUT DYNA OUT PRE FADER POST ON PATCH HPF LPF METER METER METER METER METER Burst Noise [EtherSound] EtherSound ES IN GR METER LEVEL 48 ON 1-48 COMP (13-16)To KEYIN INSERT 4BAND INSERT INSERT MIX OUT1-16 To RACKIN PATCH ATT COMPAND INSERT POINT EQ To OUTPUT PATCH CH 1-48 PRE HPF / PRE EQ / PRE FADER / POST ON ON LEVEL DIRECT OUT 1-48 EXPAND To RACKIN PATCH POST ON INSERT OUT To OUTPUT PATCH To MONITOR SELECT PRE FADER POST ON To OUTPUT PATCH CH PRE FADER INSERT OUT PRE EQ POST EQ PRE FADER POST ON PRE EQ INSERT OUT INSERT OUT INSERT OUT INSERT OUT 1-48 PRE EQ Keyin CH PAN POST PAN L INSERT OUT Self PRE EQ/Self POST EQ/MIX13-16 OUT/ HA INSERT IN 1-48 POST PAN R MIX(1-8,9-16) POST EQ PRE EQ EQ OUT DYNA1OUT DYNA2OUT PRE FADER POST ON CUE ON +48V PAN MODE METER METER METER METER METER METER METER LR MONO TO MONO TO ST ST L (PRE FADER)PFL / (POST ON)AFL [OMNI IN] 2 LEVEL/ + PRE HPF GR METER GR METER MATRIX1,3...7 LEVEL ON To MATRIX OMNI IN 1 - AD DCA1-8 ON MONO(C) PRE FADER / POST ON 3 METER GATE COMP LCR TO LCR [1-8] GAIN/TRIM INSERT 4BAND INSERT INSERT MATRIX2,4...8 LEVEL ON VARI OMNI IN HPF ATT DUCK COMPAND ST R EQ 1-8 48 EXPAND DE-ESSER CSR LEVEL ON To MATRIX COMP POST ON PRE FADER / POST ON PRE HPF PRE EQ POST EQ PRE FADER PAN VARI KEYIN CUE POST ON STEREO PAN PRE EQ PRE FADER PAN MODE TO ST TO MONO INSERT OUT Keyin Filter INSERT OUT INSERT OUT ST L LR MONO 3 Keyin PAN LINK
5 340:MBM7CL Self PRE EQ MONO(C) ° ON MIX1,3...15 TO LCR LCR To CASCADE IN Self POST EQ To MIX POST ON
25 (1) SELECT (option)
286 (112/8) MIX13-16 OUT MIX2,4...16 To MONITOR FIXED ON ST R POST ON 8 216 (85/8) CH[1-8,9-16,17-24,25-32,33-40,41-48]POST EQ{48} ° SELECT CSR To MIX POST PAN L ON FIXED ON SLOTIN SLOTIN SLOTIN STEREO POST PAN R 130 (52/8) 102 (4 1/8) METER METER METER ON LEVEL STEREO L,R,MONO(C) To MIX PRE EQ / PRE FADER / POST ON To RACKIN PATCH INSERT POINT SLOT1 VARI ON LEVEL POST ON INSERT OUT 16 SLOT1 1-16 To OUTPUT PATCH STEREO PRE FADER INSERT OUT 111 (4 3/8) 370 146 To MIX ON LEVEL INSERT OUT L,R,MONO(C) PRE EQ INSERT OUT [SLOT] SLOT2 PRE EQ / PRE FADER / POST ON (14 5/8) (5 6/8) SLOT2 1-16 PAN STEREO 185 (7 2/8) 168: PSL360 16 VARI INSERT IN L,R,MONO(C) STEREO PRE EQ EQ OUT DYNA OUT PRE FADER POST ON 701 (27 5/8) (option) SLOT3 METER METER METER METER METER 16 SLOT3 1-16 ON LEVEL MATRIX1,3...7 To MATRIX PRE EQ / PRE FADER / POST ON GR METER LEVEL BAL ON LEVEL MATRIX2,4...8 ON STEREO OUT RACK1 OUT VARI COMP A(L)/B(R) INSERT 4BAND INSERT INSERT L,R,MONO(C) ATT COMPAND To OUTPUT PATCH RACK2 OUT To MATRIX ON LEVEL EQ To MONITOR SELECT Unit:mm (in) PRE EQ / PRE FADER / POST ON EXPAND A(L)/B(R) VARI PAN PRE FADER POST ON STEREO PRE EQ POST EQ INSERT OUT PRE FADER POST ON RACK3 OUT Keyin INSERT OUT (PRE FADER)PFL / (POST ON)AFL / POST PAN L ON CUE L PRE EQ A(L)/B(R) INSERT OUT Self PRE EQ/Self POST EQ/MIX13-16 OUT/ ST(L,R,MONO(C)) POST EQ RACK4 OUT (PRE FADER)PFL / (POST ON)AFL / POST PAN R ON CUE R A(L)/B(R) CUE ON RACK5 OUT (PRE FADER)PFL / (POST ON)AFL A(L)/B(R) MATRIX1,3...7 LEVEL ON PRE FADER / POST ON To MATRIX RACK6 OUT ST IN 1L-4R BAL POST PAN L POST PAN R MATRIX2,4...8 LEVEL ON VARI A(L)/B(R) PRE EQ EQ OUT DYNA1OUT DYNA2OUT PRE FADER POST ON PAN MODE LR MONO TO MONO TO ST RACK7 OUT METER METER METER METER METER METER ST L LEVEL/ LEVEL ON To MATRIX A(L)/B(R) PRE HPF GR METER GR METER PRE FADER / POST ON DCA1-8 ON MONO(C) PAN VARI RACK8 OUT METER GATE COMP LCR TO LCR STEREO 4BAND A(L)/B(R) HPF ATT DUCK COMPAND EQ ST R 8 EXPAND DE-ESSER CSR COMP PRE HPF PRE EQ POST EQ PRE FADER POST ON INSERT KEYIN CUE IN Keyin Filter MATRIX 1-8 PAN LINK INSERT POINT PATCH Keyin To RACKIN PATCH Self PRE EQ POST ON INSERT OUT OMNI IN 1-8 To MIX ON MIX1,3...15 To OUTPUT PATCH MATRIX PRE FADER INSERT OUT Self POST EQ POST ON INSERT OUT 1-8 PRE EQ INSERT OUT SLOT1 1-16 MIX13-16 OUT FIXED ON MIX2,4...16 SLOT2 1-16 ST IN 1L-4R POST EQ MATRIX SLOT3 1-16 To MIX INSERT IN 1-8 POST PAN L ON PRE EQ EQ OUT DYNA OUT PRE FADER POST ON METER METER METER METER FIXED ON METER STEREO POST PAN R RACK GR METER LEVEL ON RACK ON LEVEL COMP MATRIX OUT 1-8 IN To MIX PRE EQ / PRE FADER / POST ON INSERT 4BAND INSERT INSERT ATT COMPAND To OUTPUT PATCH PATCH VARI ON LEVEL EQ EXPAND To MONITOR SELECT To MIX ON LEVEL PRE FADER POST ON RACK1 PRE EQ POST EQ INSERT OUT PRE FADER INSERT OUT POST ON PRE EQ / PRE FADER / POST ON Keyin VARI BAL PRE EQ METER RACK IN METER RACK OUT STEREO INSERT OUT Self PRE EQ/Self POST EQ/MIX13-16 OUT/ MATRIX1-8 POST EQ 31BandGEQ CUE ON MIX OUT To MATRIX ON LEVEL MATRIX1,3...7 (PRE FADER)PFL / (POST ON)AFL 1-16 PRE EQ / PRE FADER / POST ON VARI ON LEVEL MATRIX2,4...8 METER RACK IN A METER RACK OUT A To MATRIX ON LEVEL METER RACK IN B METER RACK OUT B PRE EQ / PRE FADER / POST ON Flex15GEQ VARI BAL MATRIX OUT RACK1 IN RACK1 OUT STEREO A(L)/B(R) 1-8 A(L)/B(R) (PRE FADER)PFL / (POST ON)AFL / POST PAN L ON CUE L CUE TRIM RACK2 IN (PRE FADER)PFL / (POST ON)AFL / POST PAN R ON CUE R (INPUT/OUTPUT/DCA) RACK2 (same as RACK1) RACK2 OUT MONO A(L)/B(R) A(L)/B(R) CUE L METER CUE L
STEREO OUT CH INSERT IN 1-48 METER CUE R RACK3 IN RACK3 OUT To CH INSERT IN KEYIN CUE ON CUE R L,R,MONO(C) A(L)/B(R) RACK3 (same as RACK1) KEYIN CUE KEYIN CH1-48 A(L)/B(R) 48 KEYIN ST IN1L-4R SELECT MIX INSERT IN 1-16 To MIX INSERT IN RACK4 IN RACK4 OUT RACK4 (same as RACK1) 16 ON A(L)/B(R) A(L)/B(R) STEREO INSERT IN L,R,MONO(C) To STEREO INSERT IN EFFECT CUE CH EFFECT CUE RACK 5-8 OUT L/R SELECT INSERT OUT 3 RACK5 MATRIX INSERT IN 1-8 To MATRIX INSERT IN CUE ON 1-48 PHONES 8 CUE LOGIC LEVEL LINK METER RACK IN METER RACK OUT DELAY PHONES L 31BandGEQ (MAX:600ms) To PHONES OUT OUTPUTS OMNI IN1/2 Tip DELAY PHONES R To PHONES OUT MIX MIX CASCADE OUT 1-16 PHONES OUT LR DA Ring OMNI IN3/4 INSERT OUT METER RACK IN A METER RACK OUT A STEREO CASCADE OUT L,R,MONO(C) 2 [PHONES] (MAX:600ms) 1-16 METER RACK IN B METER RACK OUT B MATRIX CASCADE OUT 1-8 Sleeve OMNI IN5/6 OMNI IN7/8 Flex15GEQ CUE CASCADE OUT L,R PHONES LEVEL MONO STEREO OUT L,R METER MONITOR OUT L DIRECT OUT 1-48 MONITOR L MONITOR L DELAY To OUTPUT PATCH METER RACK IN L METER RACK OUT L MIX OUT 1-16 DELAY METER SLOT1OUT (MAX:600ms) OUTPUT SLOT1 STEREO OUT MONO(C) R
METER RACK IN R METER RACK OUT R STEREO OUT L,R,MONO(C) (MAX:600ms) E 1 6 STEREO OUT L,C,R METER MONITOR R DELAY MONITOR OUT R PATCH R SELECT To OUTPUT PATCH MONITOR R M EFFECT MATRIX OUT 1-8 METER SLOT2OUT STEREO DELAY ATT TRIM O (MAX:600ms) SLOT2 OMNI IN1/2 M T MONITOR OUT L,R,MONO(C) (MAX:600ms) [SLOT] I INSERT OUT EFFECT CUE 1 6 I METER MONITOR MONO(C) DELAY MONITOR OUT MONO(C) RACK5 IN RACK5 OUT CH INSERT OUT 1-48 OMNI IN3/4 MONITOR MONO(C) D To OUTPUT PATCH L,R,MONO(C) SLOT3OUT N A(L)/B(R) DELAY METER (MAX:600ms) A(L)/B(R) MIX INSERT OUT 1-16 OMNI IN5/6 O (MAX:600ms) SLOT3 ON STEREO INSERT OUT L,R,MONO(C) 1 6 M TALKBACK ON +MONO(C) MATRIX INSERT OUT 1-8 OMNI IN7/8 DEFINE RACK6 IN RACK6 (same as RACK5) RACK6 OUT STEREO OUT MONITOR DIMM ON An output port delay becomes invalid by A(L)/B(R) A(L)/B(R) MIX assigning a monitor out to the output port. ATT TRIM L,R MONITOR MONITOR OUTPUT METER OMNI OUT 2 (MAX:8ch) DELAY DA + LEVEL FADER MATRIX RACK7 IN - 1 [OMNI OUT] (1-8) STEREO OUT INSERT OUT RACK7 (same as RACK5) RACK7 OUT PATCH (MAX:600ms) 8 3 MONO(C) A(L)/B(R) A(L)/B(R) 1-8 MIX OUT1-16 ATT TRIM RACK8 IN MATRIX OUT1-8 RACK8 (same as RACK5) RACK8 OUT OUTPUT DELAY METER 2TR OUT A(L)/B(R) A(L)/B(R) DIT PATCH (MAX:600ms) 2 AES/EBU [2TR OUT DIGITAL]
ATT OUTPUT DELAY METER ES OUT PATCH (MAX:600ms) 2 4 EtherSound [EtherSound] Dimensions Block Diagram M7CL - 32/48
M O N
18 (6/8) MIX ST O MATRIX CUE 1 2 ···1516 L R (C) 1 2 ··· 7 8 L R CASCADE OUT MIX CASCADE OUT 1-16 To OUTPUT PATCH CASCADE IN To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH STEREO CASCADE OUT L,R,MONO(C) SLOT 1 1-16 To OUTPUT PATCH SLOT 2 1-16 To OUTPUT PATCH SLOT 3 1-16 CASCADE To OUTPUT PATCH IN MATRIX CASCADE OUT1-8 To OUTPUT PATCH SELECT +48V MASTER To OUTPUT PATCH To OUTPUT PATCH +48V ON To OUTPUT PATCH CUE CASCADE OUT LR To OUTPUT PATCH HA +48V To OUTPUT PATCH METER
1,274 (502/8) TALKBACK 2 INPUTTB [TALKBACK TALKBACK 1 AD 3 INPUT 1-32 {48} ON INPUT] INPUT ST IN 1L-4R INPUT TALKBACK SELECT MIX 1-16 GAIN To RACKIN PATCH INSERT POINT OSC To OUTPUT PATCH MIX POST ON INSETR OUT OSCILLATOR PRE FADER INSETR OUT METER INSERT OUT 1-16 LEVEL ON PRE EQ INSETR OUT HA Sine Wave MIX +48V INPUT INSERT IN 1-16 PRE EQ METER Pink Noise EQ OUT DYNA OUT PRE ADERF POST ON AD PATCH HPF LPF METER METER METER METER METER 2 Burst Noise INPUT 1 INPUT GR METER LEVEL 3 1-32 {48} To OUTPUT PATCH ON (13-16)To KEYIN [INPUT] GAIN/TRIM INSERT COMP INSERT 4 BAND INSERT MIX OUT1-16 To RACKIN PATCH ATT COMPAND INSERT POINT LEVEL DIRECT OUT 1-32 {48} EQ To OUTPUT PATCH [1-32 {48}] CH 1-32 {48} ON EXPAND To RACKIN PATCH POST ON INSETR OUT PRE HPF / PRE EQ / PREADER F / POST ON To MONITOR SELECT PRE FADER INSETR OUT PRE FADER POST ON To OUTPUT PATCH PRE EQ POST EQ PRE FADER POST ON CH PRE EQ INSETR OUT Keyin INSERT OUT INSERT OUT INSERT OUT 1-32 {48} PRE EQ PAN POST PAN L Self PRE EQ / Self POST EQ / MIX13-16 OUT/ CH INSERT OUT AD HA POST PAN R MIX(1-8,9-16)POST EQ INSERT IN 1-32 {48} DYNA1OUT PRE FADER CUE ON +48V PRE EQ EQ OUT DYNA2OUT POST ON PAN MODE METER METER METER METER METER METER METER LR MONO TO MONOT O ST ST L (PRE FADER)PFL / (POST ON)AFL LEVEL/ 2 DCA1-8 PRE HPF GR METER GR METER MATRIX1,3...7 LEVEL ON To MATRIX ST IN L 1 ON MONO(C) PRE FADER / POST ON METER TO LCR 3 GATE COMP LCR MATRIX2,4...8 LEVEL ON VARI GAIN/TRIM HA INSERT 4BAND INSERT INSETR ST R ST IN DUCK COMPAND [ST IN] +48V METER HPF ATT EQ 1L-4R EXPAND DE-ESSER LEVEL 32 CSR ON To MATRIX PRE FADER / POST ON [1L-4R] 2 {48} COMP POST ON PAN 340: MBM7CL 1 AD PRE HPF PRE EQ POST EQ PRE FADER VARI KEYIN CUE STEREO ST IN R 3 PRE EQ PRE FADER PAN MODE PAN 286 (112/8) POST ON TO STTO MONO LR MONO 25 (1) GAIN/TRIM INSERT OUT Keyin Filter INSERT OUT ST L 216 (85/8)
(option) INSERT OUT Keyin PAN LINK Self PRE EQ MIX1,3...15 MONO(C) TO LCR To CASCADE IN Self POST EQ To MIX POST ON ON LCR SELECT MIX13-16 OUT ON MIX2,4...16 ST R To MONITOR FIXED POSTON SELECT 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} CSR 130 (52/8) ON To MIX POST PAN L ON FIXED SLOTIN SLOTIN SLOTIN STEREO POST PAN R ON METER METER METER To MIX ON LEVEL STEREO L,R,MONO(C) PRE EQ / PREADER F / POST ON To RACKIN PATCH INSERT POIN LEVEL To OUTPUTA PCH SLOT1 SLOT1 1-16 VARI ON STEREO POST ON INSETR OUT 16 PRE FADER INSETR OUT 160: PSL360 LEVEL INSERT OUT L,R,MONO(C) To MIX PRE EQ INSETR OUT 701 (27 5/8) [SLOT] SLOT2 PRE EQ / PREADER F / POST ON PAN STEREO SLOT2 1-16 VARI (option) 16 ON INSERT IN L,R,MONO(C) STEREO PRE EQ EQ OUT DYNA OUT PRE FADER POST ON METER METER METER ON LEVEL SLOT3 SLOT3 1-16 METER METER 16 To MATRIX LEVEL MATRIX1,3...7 PRE EQ / PREADER F / POST ON ON GR METER LEVEL BAL RACK1 OUT STEREO OUT VARI MATRIX2,4...8 ON LEVEL COMP L,R,MONO(C) A (L)/ B (R) INSERT 4BAND INSERT INSERT To OUTPUT PATCH ATT COMPAND RACK2 OUT To MATRIX EQ To MONITOR SELECT PRE EQ / PREADER F / POST ON PAN EXPAND A (L) / B (R) VARI PRE EQ POST EQ PRE FADER POST ON 18 (6/8) RACK3 OUT STEREO INSERT OUT PRE FADER INSERT OUT POST ON PRE EQ Keyin A (L)/ B (R) ON CUE L (PRE FADER)PFL / (POST ON)AFL/POSTAN P L INSERT OUT Self PRE EQ / Self POST EQ / MIX13-16 OUT / RACK4 OUT ST (L,R,MONO(C)) POST EQ ON CUE R CUE ON A (L)/ B (R) (PRE FADER)PFL / (POST ON)AFL/POSTAN P R (PRE FADER)PFL / (POST ON)AFL RACK5 OUT MATRIX1,3...7 A (L)/ B (R) LEVEL ON BAL POST PAN L PRE FADER / POST ONTo MATRIX RACK6 OUT STCH 1L-4R MATRIX2,4...8 EQ OUT DYNA 1OUT DYNA 2OUT POST PAN R LEVEL ON A (L)/ B (R) PRE EQ PRE FADER POST ON VARI TO MONOT O ST PAN MODE METER METER METER METER METER METER LR MONO ST L RACK7 OUT LEVEL ON To MATRIX A (L)/ B (R) PRE HPF GR METER GR METER LEVEL/ PRE FADER / POST ON DCA 1-8 ON MONO(C) PAN VARI TO LCR RACK8 OUT METER GATE COMP LCR STEREO 4BAND ST R A (L)/ B (R) HPF ATT DUCK COMPAND EQ 8 EXPAND DE-ESSER CSR COMP 1,060 (416/8) PRE HPF PRE EQ POST EQ PRE FADER POS TON INSERT KEYIN CUE Keyin Filter MATRIX 1-8 IN To RACKIN PATCH Keyin PAN LINK INSERT POINT PATCH To OUTPUT PATCH Self PRE EQ MATRIX POST ON INSETR OUT ON MIX1,3 ... 15 PRE FADER INSETR OUT SLOT1 1-16 Self POST EQ To MIX POST ON INSERT OUT 1-8 ON PRE EQ INSETR OUT SLOT2 1-16 MIX13-16 OUT FIXED MIX2,4 ... 16 SLOT3 1-16 STCH 1L-4R POST EQ MATRIX To MIX ON INSERT IN 1-8 PRE EQ EQ OUT DYNA OUT PRE FADER POST PAN L METER METER METER POSTMETER ON FIXED ON METER POST PAN R STEREO GR METER ON LEVEL RACK LEVEL ON MATRIX OUT 1-8 To MIX PRE EQ / PREADER F / POST ON COMP INSERT 4BAND INSERT INSERT To OUTPUT PATCH ON LEVEL ATT COMPAND VARI EQ To MONITOR SELECT EXPAND ON POST ON RACK IN RACK OUT To MIX LEVEL PRE FADER RACK RACK1 PRE EQ / PREADER F / POST ON BAL PRE EQ POST EQ PRE FADER POST ON METER Keyin INSERT OUT INSERT OUT IN VARI PRE EQ METER STEREO INSERT OUT Self PRE EQ / Self POST EQ / MIX13-16 OUT/ PATCH MATRIX1-8 POST EQ ON LEVEL CUE ON 31BandGEQ MATRIX1,3...7 To MATRIX PRE EQ / PREADER F / POST ON (PRE FADER)PFL / (POST ON)AFL RACK IN A METERRACK OUT A ON LEVEL RACK IN B METERRACK OUT B VARI MATRIX2,4...8 METER ON LEVELBAL METER To MATRIX PRE EQ / PREADER F / POST ON VARI RACK1 IN Flex15GEQ RACK1 OUT 340: MBM7CL MIX OUT ONSTEREO A (L ) / B (R) A (L) / B (R) 286 (112/8) 1-16 (PRE FADER)PFL/(POST ON)AFL / POSTPAN L CUE L 25 (1) ON CUE TRIM 216 (85/8) (option) RACK2 IN CUE R (INPUT / OUTPUT / DCA) RACK2 OUT (PRE FADER)PFL/(POST ON)AFL / POSTAN P R MONO RACK2 (same as RACK1) METERCUE L MATRIX OUT A (L ) / B (R) A (L) / B (R) CUE L METER 1-8 CHINSE RT IN 1-32 {48} CUE R RACK3 IN RACK3 OUT 32 {48} To CHINSERT IN ON CUE R
130 (52/8) RACK3 (same as RACK1) KEYIN CH1-32 {48} KEYIN CUE A (L)/ B (R) A (L) / B (R) KEYIN CUE KEYIN ST IN1L-4R SELECT MIX INSETR IN 1-16 16 To MIX INSERT IN STEREO OUT RACK4 IN RACK4 (same as RACK1) RACK4 OUT A (L)/ B (R) 3 STEREO INSETR IN L,R,MONO(C) ON L,R,MONO (C) A (L) / B (R) To STEREO INSETR IN EFFECT CUE CUE ON EFFECT CUE RACK 5-8 OUT L / R 8 SELECT CUE LOGIC PHONES MATRIX INSETR IN 1-8 160: PSL360 RACK IN RACK5 RACK OUT To MATRIX INSERT IN LEVEL LINK ST IN1 L,R 701 (27 5/8) CH METER METER ST IN2 L,R DELAY (option) INSERT OUT PHONES L To PHONES OUT 1-32 {48} 31BandGEQ ST IN3 L,R (MAX:600ms) RACK IN A RACK OUT A METER ST IN4 L,R DELAY PHONES R To PHONES OUT RACK IN B RACK OUT B OUTPUTS METER
Unit:mm (in) METER (MAX:600ms) STEREO OUT L,R MONO MIX METER MIX CASCADE OUT 1-16 Tip STEREO OUT MONO(C) STEREO CASCADE OUT L,R,MONO(C) MONITOR L INSERT OUT RACK IN L RACK OUT L PHONES OUT LR DA Ring STEREO OUT L,C,R METER Flex15GEQ MATRIX CASCADE OUT 1-8 2 [PHONES] MONITOR OUT L 1-16 METER Sleeve METER RACK IN R RACK OUT R CUE CASCADE OUT L,R (MAX:600ms)DELAY To OUTPUT PATCH METER METER ST IN1 L,R MONITOR L PHONES LEVEL ST IN2 L,R MONITOR OUT R DIRECT OUT 1-32 {48} METER (MAX:600ms)
OR SELECT MONITOR R ST IN3 L,R MONITOR R DELAY To OUTPUT PATCH STEREO EFFECT MIX OUT 1-16 ATT TRIM OUTPUT ST IN4 L,R INSERT OUT DELAY METER METER (MAX:600ms) EFFECT CUE STEREO OUT L,R,MONO(C) DIMMER MONITOR OUT MONO(C) RACK5 IN RACK5 OUT PATCH SLOT1 DEFINE MONITOR MONO(C) DELAY L,R,MONO (C) MATRIX OUT 1-8 (MAX:600ms) SLOT1OUT 16 MONITOR MONO(C) To OUTPUT PATCH A (L) / B (R) STEREO OUT MIX MONIT A(L) / B (R) SLOT2OUT L,R ON MONITOR OUT L,R, MONO (C) DELAY METER +MONO(C) (MAX: 8ch) TALKBACK ON An output pot rdelay becomes ivnalid by CH INSERT OUT 1-32 {48} (MAX:600ms) 16 SLOT2 [SLOT] STEREO OUT RACK6 IN assigning a monitor out to the outputt por RACK6 OUT METER MONITOR DIMM ON MATRIX RACK6 (same as RACK5) MIX INSERT OUT 1-16 DELAY SLOT3OUT MONO(C) A (L) / B (R) A (L) / B (R) MONITOR MONITOR STEREO INSERT OUT L,R,MONO(C) (MAX:600ms) SLOT3 INSERT OUT 16 MIX OUT1-16 LEVEL FADER 1-8 MATRIX INSERT OUT 1-8 RACK7 IN RACK7 OUT MATRIX OUT1-8 A (L) / B (R) RACK7 (same as RACK5) A (L) / B (R) DIRECT OUT 1-32 {48} ATT TRIM MIX OUT 1-16 METER OMNI OUT 2 OUTPUT DELAY DA RACK8 IN RACK8 OUT STEREO OUT L,R,MONO(C) 1 RACK8 (same as RACK5) (MAX:600ms) 16 [OMNI OUT](1-16) A (L) / B (R) A (L) / B (R) MATRIX OUT 1-8 PATCH 3 MONITOR OUT L,R,MONO(C)
MIX OUT 1-16 ATT TRIM DELAY METER 2TR OUT STEEREO OUT L,R,MONO(C) OUTPUT DIT AES / EBU [2TR OUT DIGIAL]T MATRIX OUT 1-8 PATCH (MAX:600ms) 2 MONITOR OUT L,R,MONO(C) 15