Download Yamaha M7CL-48ES Specifications
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M7CL Specifications General Specifications Sampling Frequency Internal: 44.1 kHz, 48 kHz External: 44.1 kHz (–10%) to 48 kHz (+6%) <M7CL-32/48> 44.1 kHz (–2.5%) to 48 kHz (+2.5%) <M7CL-48ES> Net Weight M7CL-48: 50kg (110.23lbm) M7CL-32: 42kg (92.59lbm) M7CL-48ES: 46kg (101.41lbm) Signal Delay Fader Fader Resolution Less than 2.5 ms INPUT or OMNI IN to OMNI OUT (@Fs = 48 kHz) 100mm motorized x62 (46) +10 to –138, –�dB (1024 steps/100 mm) Power Requirements (wattage) M7CL-48: 300 W, 100V 50/60Hz M7CL-32: 250 W, 100V 50/60Hz M7CL-48ES: 150 W, 100V 50/60Hz Maximum Voltage Gain M7CL-32/48: 86 dB INPUT 1-48 to OMNI OUT M7CL-48ES: 86 dB OMNI IN 1-8 to OMNI OUT 1-8 Power Requirements (voltage and hertz) Crosstalk (@1kHz) M7CL-32/48/48ES -100dB*, -80dB Adjacent input Channels M7CL-32/48/48ES -100dB*, -80dB Input to output �*Crosstalk is measured with a 30 dB/octave filter @22 kHz US/Canada: 120V 60Hz Japan: 100V 50/60Hz China: 110–240V 50/60Hz Operation free-air Temperature Range +10 °C to +35 °C Storage Temperature Range –20 °C to +60 °C Included Accessories Owner’s Manual, Dust cover, Power cord, Cord clamp Optional Accessories Meter Bridge MBM7CL, Mini-YGDAI cards *, Gooseneck Lamp LA1L Power Supply PW800W, Power Supply Link Cable PSL360 Dimensions(W×H×D) M7CL-48/48ES 1,274 (50 2/8) × 286 (11 2/8) × 701 (27 5/8) mm(in) M7CL-32 1,060 (41 6/8) × 286 (11 2/8) × 701 (27 5/8) mm(in) * Refer to the Yamaha professional audio website for information on supported I/O cards. http://www.yamahaproaudio.com/ Korea: 220V 60Hz Other: 110–240V 50/60Hz Analog Input Characteristics Input Terminals GAIN For Use With Nominal 3 kΩ 50-600Ω Mics & 600Ω Lines –82dBu (61.6 µV) 3 kΩ 50-600Ω Mics & 600Ω Lines –82dBu (61.6 µV) 3 kΩ 50-600Ω Mics & 600Ω Lines –62 dB INPUT 1-48 <M7CL-48> INPUT 1-32 <M7CL-32> +10 dB ST IN 1-4 [L,R] <M7CL-32/48> OMNI IN 1-8 <M7CL-48ES> +10 dB –62 dB –60 dB TALKBACK Input Level Actual Load Impedance –16 dB Sensitivity *1 –10dBu (245 µV) –10dBu (245 µV) Nominal Connector Max. Before Clip –62dBu (0.616 mV) –42dBu (6.16 mV) +10dBu (2.45 µV) XLR-3-31 type (Balanced) *2 +30dBu (24.5 µV) –62dBu (0.616 mV) –42dBu (6.16 mV) +10dBu (2.45 µV) +30dBu (24.5 µV) –70dBu (0.245 µV) –60dBu (0.775µV) –40dBu (7.75 µV) –26dBu (38.8 µV) –16dBu (0.123 µV) +4dBu (1.23 µV) XLR-3-31 type (Balanced) *2 XLR-3-31 type (Balanced) *2 * 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 Terminals Actual Source Impedance For Use With Nominal OMNI OUT 1-16 <M7CL-32/48> OMNI OUT 1-8 <M7CL-48ES> 75 kΩ 600 Ω Lines PHONES 15 kΩ Output Level GAIN SW *3 Nominal Max. Before Clip +24 dB (default) +4 dBu (1.23 V) +24 dBu (12.28 V) +18 dB –2 dBu (616 mV) +18 dBu (6.16 V) 75 mW *4 150 mW 65 mW *4 150 mW 8 Ω Phones — 40 Ω Phones * 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. Connector XLR-3-32 type (Balanced) *1 Stereo Phone Jack (TRS) (Unbalanced) *2 Digital Input & Output Characteristics Terminal 2TR OUT DIGITAL *1 AES/EBU EtherSound <M7CL-48ES> Format Data Length Level Audio Connector AES/EBU Professional Use *1 24 bit RS422 — XLR-3-32 type (Balanced) *2 EtherSound 24 bit 100Base-TX 48ch Input/24ch Output @48kHz etherCON *3 * 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 NETWORK IEEE802.3 3rd Port <M7CL-48ES> MIDI WORD CLOCK IN OUT IN OUT LAMP 1(32ch), 2(48ch) RJ-45 — MIDI — DIN Connector 5P TTL/75 Ω TTL/75 Ω RS422 REMOTE <M7CL-32/48> USB HOST Connector Level BNC Connector D-Sub Connector 9P (Male) — 0 V – 12 V XLR-4-31 type *1 USB 1.1 — A type USB Connector * 1. 4pin=HOT, 3pin=COLD, Lamp rating 5 W, Voltage control by software P.O. BOX1, Hamamatsu Japan www.yamahaproaudio.com *All specifications are subject to change without notice. *All trademarks and registered trademarks are property of their resp ective owners. This document is printed on chlorine-free (ECF) paper with soy ink. Printed in Japan M7CL-48ES / M7CL-48 / M7CL-32 The World's Most Popular Digital Mixer Goes Remote 2 The M7CL digital mixing console featuring enhancements and is a free upgrade for current output via remote EtherSound connected stage Yamaha’s groundbreaking Centralogic™ users, and the family has grown to include the box units that can be located as required for interface has become a standard for intuitive M7CL-48ES with built-in plug-and-play optimum convenience and minimum analog 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 sound reinforcement. Now here’s some great choice between the M7CL-32 and M7CL-48 with user-friendly digital mixing consoles available, news for current and future M7CL users: direct-to-console analog connectivity, or the now with improved functionality and a model that firmware version 3.0 provides significant M7CL-48ES with primary analog input and makes remote I/O easier than ever. Set Up an M7CL-48ES System in Minutes It really is this simple: just connect the console to the stage boxes, set the stage box DIP switches, and auto-configuration does the rest. You’ll be ready to roll in a matter of minutes. EtherSound OUT M7CL-48ES IN SB168-ES SB168-ES SB168-ES OUT IN OUT IN 3 Version3 Keeps the M7CL Ahead 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 Sends on Fader functionality in the M7CL V3 Editor software provides remote console-independent Sends on Fader operation so that, for example, an engineer could make stage monitor adjustments from a tablet PC while standing in front of the monitors. Additional Input Patch, Output Patch, Direct Out Patch, and Insert Out Patch Recall Safe parameters provide unprecedented setup flexibility and control. Top-class VCM compression, equalization, and tape saturation simulation effects from Yamaha’s “K’s Lab” division are now standard: Comp 276/276s, Comp 260/260s, Equalizer 601 and OpenDeck. It is now possible to use the console’s stereo inputs for talkback as well as the mono inputs, maximizing compatibility between the M7CL-48ES and other M7CL consoles. Nothing stands still in the world of live sound, and once again the M7CL leaps ahead of the curve. M7CL firmware Version 3.0 is based on valuable feedback Yamaha has received from dedicated professionals in the field, delivering enhancements that can significantly improve workflow and efficiency in real-world applications. Direct Sends on Fader access from the M7CL knobs in Sends on Fader mode Direct Sends on Fader access from the M7CL knobs in Sends on Fader mode gives the operator more options for a smoother, more efficient workflow. There’s More … The features listed here are just a few of the enhancements provided by Version 3. The Extended M7CL Family – Ready to Meet New Challenges Specifically designed for use with SB168-ES EtherSound stage boxes, the M7CL-48ES replaces the 48 internal head amps of the M7CL-48 with two EtherSound ports that provide plug-and-play connection to up to three SB168-ES units. 48 high-performance head amps onboard allow analog microphone and line signals to be directly hooked up to the console. Ideal where analog infrastructure is already installed. • 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 auto-configured connection to as many as three SB168-ES stage boxes in omni outputs. • Virtual effect and EQ rack: up to 4 simultaneous multi-effect processors; 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 *Photo shows console with optional MBM7CL meter bridge installed. bus, 8 matrix channels, and 8 DCAs • 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. • Centralogic™ interface: central, logical, *Photo shows console with 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. SB168-ES 16-in/8-out EtherSound Stage Box The SB168-ES is a 3U-size remote stage box that provides 16 channels of analog input – each with its own top-performance head amp – and 8 channels of analog output. Multiple units can be used simultaneously. Digital EtherSound signal transmission to and from the console eliminates the need for bulky analog snakes while minimizing the length of microphone cables for optimum audio performance. The SB168-ES is also easy to set up, providing significant time and cost savings. *Photo shows console with optional MBM7CL meter bridge installed. SB168-ES firmware version 1.1 and EtherSound module firmware version C16 are required for full functionality with the M7CL-48ES. For details and updates see the Yamaha 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 Centralogic Total Access for Absolute Control ™ Yamaha’s touch-panel based Centralogic™ interface simplifies digital operation to the point where it is actually as intuitive as analog … if not easier. All mix controls other than the individual motor faders provided for each channel can be accessed via just two displays: Overview or Selected Channel. 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. Built-in effects range from ambience and echo to modulation and distortion, plus Yamaha’s superlative REV-X 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 Flex15GEQ modules allow GEQ to be applied to up to 16 channels at once! More effect and GEQ details are provided on the following page. 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 Overview Selected Channel 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 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, 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 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 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 focus on them – pan, or bus send, for parameters for in-depth control by simply touching the parameter on the screen. example – and adjust via the corresponding When you’re focused on a parameter the multi-function encoders below the multi-function encoders immediately below display screen adjust the corresponding parameters in the display. the display. You should be able to perform a basic mix on the M7CL without even having to open the manual. 6 Recreate the fast response, frequency characteristics, and tube-amp saturation of the most in-demand analog compressors for studio use. Compressor 260 Features faithful modeling of the solid-state VCA and RMS detection circuitry of the late 70's for live sound reinforcement applications. Equalizer 601 Delivers the unique characteristics of 70's analog EQ circuitry, featuring comprehensive graphical editing capability. OpenDeck VCM technology recreates classic tape compression and saturation with extraordinary realism. 7 Sophisticated Sonic Control Streamlined Operation The M7CL’s extraordinarily intuitive control interface receives a lot of attention, but the sound of these fine consoles is outstanding as well. After all, it really is all about the sound. A streamlined, efficient workflow is essential to delivering the best sound under any conditions. M7CL consoles give you the tools you need to make the most of any situation. 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 threshold level for mix, matrix, or stereo/mono channels. DYNAMICS 2 adjusts Original Channel Link Relative Channel Link User Defined Keys can choose from for easy visual identification of the source type. parameter controlled depends on the dynamics processor selected from the Relative Level Channel Link V2 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 compressor threshold level for input channels. In either case the actual The 12 User Defined Keys can be assigned to perform a range of handy functions. You could assign one for tap-tempo input of delay times, others to 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 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 visually confirm send levels and adjust them with full-length fader precision. using either the Mono or Sends on Fader works for the matrix sends as well. Stereo fader and the Monitor Version 3 adds new Sends on Fader functionality: press a Mix Send knob in Level encoder. For many the Sends on Fader mode to select the corresponding mix bus for speedy engineers the fader provides access to mix send levels. If you currently use User Defined Keys to jump to better visual level indication, Sends on Faders, this new feature will free up precious User Defined Keys for for more precise, comfortable even faster operation. adjustment. Sends on Fader in M7CL V3 Editor V3 Bus Setup 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. superlative REV-X package for some of the best ambience effects available Waves SoundGrid System anywhere, and a selection of VCM effects that deliver truly musical analog An external plug-in platform compression, saturation, and EQ. developed specifically for live sound. GUI MultiRack Standard or Flex15GEQ The M7CL’s standard graphic EQ modules offer a full 31 bands for precise control. If your application requires more EQ capability than the standard EQ one of the M7CL expansion slots, the Waves MultiRack application running on a laptop computer, and a Waves SoundGrid instances of renowned Waves plug-ins in 31-band units with 15-bands available at a time. You can use up to 16 the live sound environment, with extremely channels of Flex15GEQ! low latency. M7CL and SoundGrid scene Any of the 31 bands on the graphic equalizer modules can be directly Network Switch Server, sound engineers can deploy multiple modules provide, the M7CL offers Flex15GEQ modules that function as two Direct EQ Control Plug-in Effects SoundGrid Server With a WSG-Y16 interface card installed in 8 Features for Optimum Monitoring MIDI OUT Waves WSG-Y16 M7CL SLOT Visit the Waves Live website for more information: http://www.waveslive.com/ 9 Digital Advantages M7CL-48ES Features Digital technology is impressive, but is only meaningful if applied with focus and care. Yamaha delivers maximum digital value with features that really make a difference. The M7CL-48ES adds EtherSound stage box connectivity for state-of-the-art system layout and signal routing capability, while retaining superior M7CL efficiency, functionality, and sound. Memory & Recall Store and Recall Up to 300 Scenes A “scene” is a complete snapshot of all the console’s settings, and the M7CL 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, for example. You could also store basic setups for different types of shows, then recall and tweak the settings as required. Recall Focus and Recall Safe Functions Recall focus lets you specify the parameters to be recalled with each scene, Onboard EtherSound and 3rd Port Analog Insert via OMNI I/O 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 The 3rd port allows permanent connection to a computer while the stage outboard processors and other equipment. boxes are connected in ring mode. while recall safe allows 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 Global Paste V2 Global Paste allows simultaneous editing of parameters on multiple scenes, eliminating the need to recall and edit individual scenes. If you need to make last minute changes to HA or EQ settings in all scenes because a fill-in musician is bringing different instruments to a particular show, for example, Global could use global recall safe to prevent any scene recall operation from changing a critical overall EQ setting, or use safe parameter settings to Ch1 EQ parameters on Scene 001 Ch1 EQ changed on Scene 002 Paste will have the job done in no time. Ch1 EQ changed on Scene 003 prevent the vocal channel fader setting from being changed by recall of a specific scene. Channel Library V2 The Channel Library is a memory bank that stores channel parameter settings Ch1 EQ changed on Scene 010 such as dynamics and EQ. Store your most frequently used parameter settings for fast, efficient setup. Auto-configuration for Plug-and-Play Convenience Data Compatibility with All M7CL Consoles 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 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 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 ID numbers of the SB168-ES units used. Switch a few settings and setting up a ring network is just as easy. Daisy Chain Access and Data Management Multi-level Access Control Ring In many applications it is desirable to prevent unauthorized access to the USB Memory for Convenient Data Management and 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 Number of SB168-ES units Three Two One Three Two One ID #1 ID #2 ID #3 1&7 1&7 1&8 2&7 2&8 3&8 1&5 1&5 1&6 2&5 2&6 3&6 Simple SB168-ES switch settings allow a variety of configurations. to providing a secure backup, this makes it easy to transfer data between the USB Key Access User access can be controlled via USB memory keys with passwords. The administrator can assign specific functions to each unique key, so the user only has to log onto the console with the USB key containing the password to begin operation at the assigned level. console and the M7CL Editor application running on your personal computer, or directly between M7CL consoles. Three Slots for Flexible System Expansion The M7CL-48ES retains the three Mini-YGDAI expansion slots of the M7CL-32/48, so expandability is not reduced in any way. The expansion slots 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 Waves SoundGrid system, and more. 10 AES/ EBU TDIF HD/ SD-SDI Analog 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 Overview Selected Channel Group/Link WSG-Y16 by Waves 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 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 available via the editor's Overview display. Views” for other channels can be opened simultaneously. offline, the M7CL V3 Editor makes the task easy. run multiple simultaneous instances of the same Native Waves plug-ins used in 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). Rack The M7CL V3 Editor Rack display is essentially Scene The M7CL V3 Editor allows convenient data You also have full access to scene functions with the M7CL library management, too. V3 Editor, including the focus and recall safe functions that included and excluded when a scene is recalled. smooth, intuitive effect assignment and editing. M7CL-48ES System example Plug-in GUI M7CL V3 Editor (Studio Manager) AVS-ESMonitor Network Switch Each MY16-AE card adds 16 channels of allow exceptional control over the parameters that will be the same as the console display, allowing Waves MultiRack MY16-AE by Yamaha Library EtherSound / Plug-in Effects Aviom A-16D Pro Waves SoundGrid Server Personal Monitor Aviom / Waves AES/EBU format digital input and output, PSL360 Power Supply Link Cable LA1L Gooseneck Lamp PW800W external power supply unit requires PSL360 The LA1L brightness parameter can be controlled from link cable to connect with M7CL. the Centralogic display and memorized to the A/B banks. allowing direct connection to a range of professional digital audio devices. M7CL-32/48 System example Aviom A-16II Live Recording Aviom A-16II Steinberg Nuendo Aviom / Dante Aviom A-16II External Insert Aviom A-16D Pro Outboard Effects Aviom A-16II Personal Monitor Aviom A-16II Aviom A-16II Network Switch SB168-ES SB168-ES NETWORK 3rd Waves WSG-Y16 SLOT Aviom 16/o-Y1 Audinate Dante-MY16-AUD MY8ADDA96 SB168-ES EtherSound OUT M7CL-48ES EtherSound IN Redundant Stage Box PC (Steinberg Nuendo) Digigram LX6464 Aviom 16/o-Y1 SLOT M7CL-32/48 Analog Wiring Analog Stage Box NEXO NXAMP 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 8° 1,274 (50 2/8) ° 35 with Option 25 (1) 130 (5 2/8) Unit:mm (in) Dimensions 18 (6/8) 1,274 (50 2/8) 340: MBM7CL (option) 286 (11 2/8) 216 (8 5/8) 25 (1) 130 (5 2/8) 18 (6/8) 1,060 (41 6/8) 340: MBM7CL (option) 286 (11 2/8) 216 (8 5/8) 160: PSL360 (option) 25 (1) 130 (5 2/8) MATRIX INSERT OUT 1-8 STEREO INSERT OUT L,R,MONO (C) MIX INSERT OUT 1-16 CH INSERT OUT 1-32 {48} STEREO OUT L,R,MONO (C) MATRIX OUT 1-8 MIX OUT 1-16 [SLOT] [ST IN] [1L-4R] RACK1 METER RACK OUT A METER RACK OUT B METER RACK OUT RACK2 (same as RACK1) Flex15GEQ METER RACK IN A METER RACK IN B 31BandGEQ METER RACK IN METER METER METER To CASCADE IN SELECT GAIN/TRIM RACK7 (same as RACK5) RACK8 (same as RACK5) RACK7 IN A (L) / B (R) RACK8 IN A (L) / B (R) EFFECT CUE METER RACK OUT L METER RACK OUT R METER RACK OUT A METER RACK OUT B METER RACK OUT RACK6 (same as RACK5) EFFECT METER RACK IN L METER RACK IN R Flex15GEQ METER RACK IN A METER RACK IN B 31BandGEQ RACK5 RACK4 (same as RACK1) METER RACK IN RACK6 IN A (L) / B (R) RACK5 IN A (L) / B (R) RACK4 IN A (L) / B (R) RACK3 (same as RACK1) RACK3 IN A (L) / B (R) METER RACK OUT A METER RACK OUT B RACK2 (same as RACK1) Flex15GEQ METER RACK OUT To CASCADE IN SELECT GAIN/TRIM GAIN/TRIM GAIN/TRIM RACK1 31BandGEQ METER RACK IN METER RACK IN A METER RACK IN B 16 16 AD AD AD TALKBACK GAIN AD SLOTIN SLOTIN SLOTIN METER METER METER +48V +48V +48V +48V 16 RACK SLOT3 SLOT2 ON RACK2 IN A (L ) / B (R) RACK1 IN A (L ) / B (R) RACK IN PATCH 3 2 3 2 3 2 3 2 SLOT1 ST IN R 1 ST IN L 1 1 INPUT TALKBACK INPUT RACK8 (same as RACK5) +48V MASTER RACK7 (same as RACK5) RACK8 IN A(L)/B(R) EFFECT CUE METER RACK OUT L METER RACK OUT R METER RACK OUT A METER RACK OUT B RACK6 (same as RACK5) EFFECT METER RACK IN L METER RACK IN R Flex15GEQ METER RACK IN A METER RACK IN B METER RACK OUT RACK7 IN A(L)/B(R) RACK6 IN A(L)/B(R) RACK5 IN A(L)/B(R) RACK5 31BandGEQ METER RACK IN RACK4 (same as RACK1) 1 AD RACK4 IN A(L)/B(R) +48V 16 16 16 RACK SLOT3 SLOT2 + - SLOTIN SLOTIN SLOTIN +48V TALKBACK GAIN AD RACK3 (same as RACK1) RACK2 IN A(L)/B(R) 3 48 + - RACK3 IN A(L)/B(R) [INPUT] [1-32 {48}] [TALKBACK INPUT] MATRIX INSERT OUT 1-8 STEREO INSERT OUT L,R,MONO(C) MIX INSERT OUT 1-16 CH INSERT OUT 1-48 STEREO OUT L,R,MONO(C) RACK1 IN A(L)/B(R) 2 3 +48V To MONITOR SELECT METER HA METER HA HA METER HA METER To MONITOR SELECT METER HA METER ES IN METER HA INPUT TB 8 48 CH INSERT OUT 1-48 CH INSERT IN 1-48 ST IN 1L-4R INPUT PATCH RACK8 OUT A (L) / B (R) RACK7 OUT A (L) / B (R) RACK6 OUT A (L) / B (R) RACK5 OUT A(L) / B (R) RACK4 OUT A (L) / B (R) RACK3 OUT A (L) / B (R) RACK2 OUT A (L) / B (R) RACK1 OUT A (L) / B (R) SLOT1 1-16 SLOT2 1-16 SLOT3 1-16 INSERT IN PATCH 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) SLOT3 1-16 SLOT2 1-16 SLOT1 1-16 ST IN 1L-4R INPUT 1-32 {48} 8 3 To MATRIX INSERT IN To STEREO INSERT IN To MIX INSERT IN To CH INSERT IN Keyin Self PRE EQ Self POST EQ MIX13-16 OUT STCH 1L-4R POST EQ OUTPUT PATCH OUTPUT PATCH DIRECT OUT 1-32 {48} MIX OUT 1-16 STEREO OUT L,R,MONO (C) MATRIX OUT 1-8 MONITOR OUT L,R,MONO (C) MIX OUT 1-16 STEEREO OUT L,R,MONO (C) MATRIX OUT 1-8 MONITOR OUT L,R,MONO (C) DIRECT OUT 1-32 {48} MIX OUT 1-16 STEREO OUT L,R,MONO (C) MATRIX OUT 1-8 MONITOR OUT L,R, MONO (C) CH INSERT OUT 1-32 {48} MIX INSERT OUT 1-16 STEREO INSERT OUT L,R,MONO (C) MATRIX INSERT OUT 1-8 MIX CASCADE OUT 1-16 STEREO CASCADE OUT L,R,MONO (C) MATRIX CASCADE OUT 1-8 CUE CASCADE OUT L,R To MATRIX INSERT IN To STEREO INSERT IN To MIX INSERT IN OUTPUT PATCH (PRE FADER)PFL/(POST ON)AFL / POST PAN R To CHINSERT IN 4BAND EQ SLOT3OUT METER METER ES OUT 2TR OUT PRE EQ / PRE FADER / POST ON PRE EQ / PRE FADER / POST ON POST PAN R POST PAN L POST ON INSERT PAN LEVEL PAN ON BAL POST PAN L POST PAN R TO MONO TO ST TO LCR POST PAN L POST PAN R TO MONO TO ST PAN LINK CSR LCR PRE EQ / PRE FADER / POST ON PRE EQ / PRE FADER / POST ON POST PAN R POST PAN L POST ON DELAY (MAX:600ms) SLOT3OUT SLOT2OUT SLOT1OUT METER 2TR OUT ATT ATT ATT TRIM 2 16 TRIM 16 16 16 TRIM 2 EFFECT CUE METER OMNI OUT METER METER METER PRE FADER KEYIN CUE PRE EQ / PRE FADER / POST ON PHONES OUT LR DELAY (MAX:600ms) (MAX:600ms) DELAY (MAX:600ms) DELAY DELAY (MAX:600ms) ON VARI STEREO ON To MATRIX VARI To MATRIX PRE EQ / PRE FADER / POST ON To MIX VARI STEREO VARI To MIX FIXED STEREO To MIX FIXED To MIX GATE COMP DUCK COMPAND EXPAND DE-ESSER COMP KEYIN CUE Keyin Filter PRE FADER METER LEVEL/ DCA 1-8 ON ON ON ON LEVEL LEVEL BAL LEVEL LEVEL BAL LEVEL LEVEL ON ON ON ON ON ON POST ON PAN LINK CSR LCR LR MONO DIT DA DA AES / EBU 3 2 SLOT3 SLOT2 SLOT1 1 PHONES LEVEL MATRIX2,4...8 MATRIX1,3...7 MIX2,4...16 MIX1,3...15 PAN MODE KEYIN CUE SELECT CUE R CUE L MATRIX2,4...8 MATRIX1,3...7 MIX 2,4... 16 MIX 1,3... 15 [SLOT] [PHONES] EFFECT CUE SELECT TO LCR PAN MODE [2TR OUT DIGITAL] [OMNI OUT] (1-16) Sleeve Tip Ring RACK 5-8 OUT L / R KEYIN CH1-32 {48} KEYIN ST IN1L-4R ON POSTON METER ON ON ON ST R ON ON ST R M O L R (C) 1 2 ··· 7 8 STEREO OUT L,R STEREO OUT MONO (C) MIX OUT1-16 MATRIX OUT1-8 ST IN1 L,R ST IN2 L,R ST IN3 L,R ST IN4 L,R L R N ST O MATRIX CUE DEFINE MIX (MAX:8ch) DEFINE MIX (MAX : 8ch) STEREO OUT L,R STEREO OUT MONO (C) STEREO OUT L,C,R ST IN1 L,R ST IN2 L,R ST IN3 L,R ST IN4 L,R MONO (C) ST L ST R MONO (C) ST L MIX 1 2 ··· 1516 STEREO OUT L,R STEREO OUT MONO(C) MIX OUT1-16 MATRIX OUT1-8 OMNI IN1/2 OMNI IN3/4 OMNI IN5/6 OMNI IN7/8 STEREO OUT L,R STEREO OUT MONO(C) STEREO OUT L,C,R OMNI IN1/2 OMNI IN3/4 OMNI IN5/6 OMNI IN7/8 MONO(C) ST L ST R MONO(C) ST L To OUTPUT PATCH OSC METER CUE R LEVEL ON LEVEL ON LEVEL ON LEVEL PAN LEVEL ON ON LEVEL ON ON ON ON ON SLOT 1 1-16 SLOT 2 1-16 SLOT 3 1-16 CASCADE IN SELECT [EtherSound] [2TR OUT DIGITAL] [OMNI OUT] (1-8) [SLOT] DIRECT OUT 1-32 {48} POST ON METER LR MONO LEVEL POST ON INSERT OUT ON ON 1 CASCADE IN 3 2 HPF LPF EtherSound AES/EBU + - SLOT3 SLOT2 SLOT1 PHONES LEVEL [PHONES] EFFECT CUE SELECT CUE L PRE EQ / PRE FADER / POST ON DIT DA DA RACK 5-8 OUT L/R KEYIN CH1-48 KEYIN ST IN1L-4R CUE R KEYIN CUE SELECT VARI STEREO ON To MATRIX 24 2 MATRIX2,4...8 CUE L MATRIX1,3...7 LEVEL LEVEL BAL LEVEL ON ON LEVEL BAL ON ON LEVEL LEVEL ON ON ON ON MIX1,3...15 MIX2,4...16 Tip Ring Sleeve TO LCR PAN MODE ON PAN LINK CSR LCR LR MONO CUE R ON POST ON POST ON METER MATRIX2,4...8 LEVEL PAN ON CUE L MATRIX1,3...7 LEVEL LEVEL ON LEVEL PAN LEVEL ON ON ON ON ON ON Sine Wave Pink Noise Burst Noise PRE FADER PRE FADER INSERT OUT POST ON 8 POST PAN L POST PAN R TO MONO TO ST PAN MODE MIX2,4...16 BAL TO LCR MIX1,3...15 LEVEL PAN LINK CSR LCR POST PAN L POST PAN R TO MONO TO ST ON To OUTPUT PATCH OSC METER ON OSCILLATOR ATT PRE FADER METER LEVEL/ DCA1-8 INSERT 16 PAN DIRECT OUT 1-48 LEVEL ON ON 16 ATT TRIM POST ON POST ON INSERT OUT 16 2 ATT TRIM ATT TRIM To MATRIX PRE EQ / PRE FADER / POST ON VARI VARI STEREO To MIX VARI To MIX FIXED STEREO To MIX FIXED To MIX GATE COMP DUCK COMPAND EXPAND DE-ESSER COMP KEYIN CUE Keyin Filter DYNA1OUT EQ OUT DYNA 2OUT METER METER METER GR METER GR METER PRE EQ POST EQ ATT (PRE FADER)PFL/(POST ON)AFL / POST PAN L PRE HPF HPF PRE EQ METER (PRE FADER)PFL / (POST ON)AFL/POST PAN R STEREO INSERT IN L,R,MONO (C) OUTPUTS PRE EQ INSERT OUT SLOT1OUT SLOT2OUT METER OMNI OUT METER DYNA1OUT DYNA2OUT EQ OUT METER METER METER GR METER GR METER PRE EQ POST EQ ATT 4BAND EQ 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} PRE HPF HPF PRE EQ METER INSERT METER METER PRE HPF / PRE EQ / PRE FADER / POST ON DELAY (MAX:600ms) OUTPUT PATCH INSERT POINT POST ON INSERT OUT PRE FADER INSERT OUT PRE EQ INSERT OUT ON DELAY (MAX:600ms) OUTPUT PATCH DELAY (MAX:600ms) DELAY (MAX:600ms) DELAY (MAX:600ms) PHONES OUT LR EFFECT CUE KEYIN CUE PRE EQ / PRE FADER / POST ON DELAY (MAX:600ms) (PRE FADER)PFL / (POST ON)AFL/POST PAN L PRE HPF METER MATRIX INSERT IN 1-8 To MATRIX OUTPUT PATCH OUTPUT PATCH PRE EQ / PRE FADER / POST ON PRE EQ / PRE FADER / POST ON POST PAN R POST PAN L POST ON PRE FADER To MATRIX PRE EQ / PRE FADER / POST ON VARI VARI STEREO To MIX VARI To MIX FIXED STEREO To MIX FIXED To MIX ON Keyin Self PRE EQ Self POST EQ MIX13-16 OUT ST IN 1L-4R POST EQ GATE COMP DUCK COMPAND EXPAND DE-ESSER COMP KEYIN CUE Keyin Filter (PRE FADER)PFL / (POST ON)AFL / POST PAN L PRE HPF METER CH INSERT IN 1-32 {48} STCH 1L-4R 32 {48} MIX INSERT IN 1-16 16 8 32 {48} 4BAND EQ PRE EQ POST EQ ATT (PRE FADER)PFL / (POST ON)AFL / POST PAN R PRE HPF HPF PRE FADER METER LEVEL/ DCA1-8 PRE EQ / PRE FADER / POST ON DYNA1OUT EQ OUT DYNA2OUT METER METER METER GR METER GR METER VARI STEREO ON CH INSERT OUT 1-32 {48} CH INSERT IN 1-32 {48} To RACKIN PATCH To OUTPUT PATCH CH 1-32 {48} INPUT SELECT To MATRIX ON PRE EQ METER PRE EQ / PRE FADER / POST ON PRE EQ / PRE FADER / POST ON POST PAN R POST PAN L POST ON PRE FADER PRE FADER INSERT OUT LEVEL HPF LPF POST ON METER LR MONO INSERT ON Sine Wave Pink Noise Burst Noise OSCILLATOR PRE FADER METER LEVEL/ DCA1-8 ON INSERT To MATRIX PRE EQ / PRE FADER / POST ON VARI VARI STEREO To MIX VARI To MIX FIXED STEREO To MIX FIXED To MIX GATE COMP DUCK COMPAND EXPAND DE-ESSER COMP KEYIN CUE Keyin Filter DYNA1OUT EQ OUT DYNA2OUT METER METER METER GR METER GR METER (PRE FADER)PFL / (POST ON)AFL / POST PAN R MIX CASCADE OUT 1-16 STEREO CASCADE OUT L,R,MONO(C) MATRIX CASCADE OUT 1-8 CUE CASCADE OUT L,R DIRECT OUT 1-48 MIX OUT 1-16 STEREO OUT L,R,MONO(C) MATRIX OUT 1-8 MONITOR OUT L,R,MONO(C) CH INSERT OUT 1-48 MIX INSERT OUT 1-16 STEREO INSERT OUT L,R,MONO(C) MATRIX INSERT OUT 1-8 OUTPUTS 4BAND EQ PRE EQ POST EQ ATT PRE HPF / PRE EQ / PRE FADER / POST ON VARI STEREO ON PRE HPF METER MATRIX INSERT IN 1-8 TALKBACK INPUT TB INPUT 1-32 {48} ST IN 1L-4R RACK8 OUT A(L)/B(R) RACK7 OUT A(L)/B(R) RACK6 OUT A(L)/B(R) RACK5 OUT A(L)/B(R) 3 8 PRE EQ INSERT OUT INSERT PRE EQ METER POST ON INSERT OUT PRE FADER INSERT OUT PRE EQ INSERT OUT Keyin Self PRE EQ Self POST EQ MIX13-16 OUT CH[1-8,9-16,17-24,25-32,33-40,41-48]POST EQ{48} PRE HPF HPF INSERT POINT ON (PRE FADER)PFL / (POST ON)AFL / POST PAN L PRE HPF METER To RACKIN PATCH To OUTPUT PATCH CH 1-48 INPUT SELECT CH INSERT IN 1-48 RACK3 OUT A(L)/B(R) 48 MIX INSERT IN 1-16 RACK4 OUT 16 STEREO INSERT IN L,R,MONO(C) A(L)/B(R) RACK2 OUT A(L)/B(R) RACK1 OUT A(L)/B(R) OMNI IN 1-8 SLOT1 1-16 SLOT2 1-16 SLOT3 1-16 INSERT IN PATCH 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) SLOT3 1-16 SLOT2 1-16 SLOT1 1-16 OMNI IN 1-8 ES IN 1-48 INPUT PATCH ES IN 1-48 OMNI IN 1-8 TALKBACK L R CUE To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH CUE ON ON ON ON MONO MONO MIX 1-16 ON ON ON 4BAND EQ VARI INSERT CUE L MONO MONO MONITOR MONO (C) MONITOR R MONITOR L CUE R CUE TRIM (INPUT / OUTPUT / DCA) CUE ON MATRIX INSERT IN 1-8 To RACKIN PATCH To OUTPUT PATCH MATRIX INSERT OUT 1-8 MATRIX 1-8 ATT 4BAND EQ METER CUE L METER MONITOR MONO (C) METER MONITOR R METER MONITOR L METER CUE R BAL LEVEL PRE FADER METER INSERT CUE LOGIC TALKBACK ON MONITOR DIMM ON MONITOR MONITOR LEVEL FADER ON +MONO (C) PHONES LEVEL LINK (PRE FADER) PFL / (POST ON) AFL PRE FADER PRE FADER INSERT OUT Keyin Self PRE EQ / Self POST EQ / MIX13-16 OUT/ MATRIX1-8 POST EQ COMP COMPAND EXPAND EQ OUT DYNA OUT METER METER GR METER PRE EQ POST EQ PRE EQ INSERT OUT INSERT PRE EQ METER INSERT POINT POST ON INSERT OUT PRE FADER INSERT OUT PRE EQ INSERT OUT VARI STEREO To MATRIX (PRE FADER) PFL / (POST ON) AFL ON LEVEL PRE FADER / POST ON PRE FADER / POST ON To MATRIX VARI ON ON LEVEL LEVEL PAN MATRIX2,4...8 ON POST ON INSERT OUT MONITOR OUT R MONITOR OUT MONO (C) To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To PHONES OUT MONITOR OUT L PHONES R PHONES L CUE ON To OUTPUT PATCH To MONITOR SELECT To OUTPUT PATCH To MONITOR SELECT (13-16)To KEYIN To RACKIN PATCH To OUTPUT PATCH To MONITOR SELECT To OUTPUT PATCH To OUTPUT PATCH To PHONES OUT MATRIX OUT 1-8 POST ON An output port delay becomes invalid by assigning a monitor out to the output port DELAY (MAX:600ms) DELAY (MAX:600ms) STEREO OUT L,R,MONO (C) POST ON MIX OUT1-16 POST ON POST ON METER INSERT DELAY (MAX:600ms) LCR PAN LR MONO CSR POST ON METER POST ON INSERT OUT DELAY (MAX:600ms) MONITOR OUT MONO(C) MONITOR OUT R To OUTPUT PATCH To PHONES OUT MONITOR OUT L To PHONES OUT PHONES L To OUTPUT PATCH To MONITOR SELECT PHONES R POST ON POST ON METER INSERT DELAY (MAX:600ms) ON ON CUE ON INSERT POST ON INSERT OUT TO LCR MATRIX OUT 1-8 POST ON To OUTPUT PATCH To MONITOR SELECT (13-16)To KEYIN To RACKIN PATCH To OUTPUT PATCH To MONITOR SELECT An output port delay becomes invalid by assigning a monitor out to the output port. DELAY (MAX:600ms) DELAY (MAX:600ms) DELAY (MAX:600ms) DELAY (MAX:600ms) DELAY (MAX:600ms) STEREO OUT L,R,MONO(C) POST ON MIX OUT1-16 POST ON POST ON METER INSERT POST ON INSERT OUT ON LCR PAN LR MONO CSR INSERT POST ON INSERT OUT ON TO LCR POST ON METER POST ON INSERT OUT POST ON POST ON METER INSERT PAN MODE TO ST TO MONO LEVEL PRE FADER METER VARI STEREO To MATRIX To MATRIX PRE FADER INSERT OUT PRE FADER Keyin Self PRE EQ / Self POST EQ / MIX13-16 OUT / ST (L,R,MONO (C)) POST EQ COMP COMPAND EXPAND PRE FADER / POST ON PRE FADER / POST ON (PRE FADER) PFL / (POST ON) AFL EQ OUT DYNA OUT METER METER GR METER PRE EQ POST EQ PRE EQ INSERT OUT ATT PRE EQ METER INSERT LEVEL PRE FADER METER INSERT +MONO(C) BAL PRE FADER INSERT OUT PRE FADER Keyin Self PRE EQ / Self POST EQ / MIX13-16 OUT/ MIX(1-8,9-16)POST EQ COMP COMPAND EXPAND MONITOR FADER ON MATRIX1,3...7 CUE ON STEREO INSERT IN L,R,MONO (C) To RACKIN PATCH INSERT POIN To OUTPUT PACH STEREO POST ON INSERT OUT PRE FADER INSERT OUT INSERT OUT L,R,MONO (C) PRE EQ INSERT OUT LEVEL PAN LEVEL LEVEL MONITOR LEVEL DYNA OUT EQ OUT METER METER GR METER To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH To OUTPUT PATCH 4 BAND EQ LEVEL PHONES LEVEL LINK (PRE FADER)PFL / (POST ON)AFL TALKBACK ON MONITOR DIMM ON PRE EQ POST EQ PRE EQ INSERT OUT ATT PRE EQ METER INSERT STEREO L,R,MONO(C) ST R MONO (C) ST L MATRIX2,4...8 MATRIX1,3...7 CUE ON MIX INSERT IN 1-16 INSERT PRE FADER METER VARI STEREO To MATRIX PRE FADER PRE FADER INSERT OUT Keyin Self PRE EQ/Self POST EQ/MIX13-16 OUT/ MATRIX1-8 POST EQ COMP COMPAND EXPAND EQ OUT DYNA OUT METER METER GR METER PRE FADER / POST ON PRE FADER / POST ON To MATRIX VARI (PRE FADER)PFL / (POST ON)AFL ON PAN MODE TO ST TO MONO LEVEL PRE FADER METER VARI STEREO PRE FADER PRE FADER INSERT OUT Keyin Self PRE EQ/Self POST EQ/MIX13-16 OUT/ ST(L,R,MONO(C)) POST EQ COMP COMPAND EXPAND VARI To MATRIX To MATRIX INSERT PRE FADER / POST ON PRE FADER / POST ON (PRE FADER)PFL / (POST ON)AFL CUE LOGIC INSERT POINT To RACKIN PATCH POST ON INSERT OUT To OUTPUT PATCH MIX PRE FADER INSERT OUT INSERT OUT 1-16 PRE EQ INSERT OUT CUE CASCADE OUT LR MATRIX CASCADE OUT1-8 STEREO CASCADE OUT L,R,MONO (C) MIX CASCADE OUT 1-16 4BAND EQ LEVEL PRE FADER METER INSERT PRE FADER PRE FADER INSERT OUT Keyin Self PRE EQ/Self POST EQ/MIX13-16 OUT/ MIX(1-8,9-16) POST EQ COMP COMPAND EXPAND EQ OUT DYNA OUT METER METER GR METER PRE EQ POST EQ ATT METER MONITOR MONO(C) METER MONITOR R METER MONITOR L METER CUE R METER CUE L PRE EQ INSERT OUT INSERT PRE EQ METER INSERT POINT POST ON INSERT OUT PRE FADER INSERT OUT PRE EQ INSERT OUT CASCADE OUT MONITOR MONO(C) MONITOR R MONITOR L CUE R CUE L CUE TRIM (INPUT/OUTPUT/DCA) CUE ON MATRIX INSERT IN 1-8 MATRIX INSERT OUT 1-8 MATRIX 1-8 ON LEVEL LEVEL PAN ON ON LEVEL To RACKIN PATCH To OUTPUT PATCH 4BAND EQ PRE EQ POST EQ ATT MATRIX2,4...8 PRE EQ INSERT OUT INSERT PRE EQ METER INSERT POINT POST ON INSERT OUT PRE FADER INSERT OUT PRE EQ INSERT OUT LEVEL PAN LEVEL LEVEL 4BAND EQ PRE EQ POST EQ ATT MATRIX1,3...7 CUE ON STEREO INSERT OUT L,R,MONO(C) STEREO INSERT IN L,R,MONO(C) To RACKIN PATCH To OUTPUT PATCH STEREO L,R,MONO(C) ST R MONO(C) ST L MATRIX2,4...8 MATRIX1,3...7 PRE EQ INSERT OUT INSERT INSERT POINT To RACKIN PATCH POST ON INSERT OUT PRE FADER INSERT OUT To OUTPUT PATCH MIX PRE EQ INSERT OUT INSERT OUT 1-16 MIX INSERT IN 1-16 PRE EQ EQ OUT DYNA OUT METER METER METER GR METER MIX 1-16 CUE CASCADE OUT LR MATRIX CASCADE OUT1-8 STEREO CASCADE OUT L,R,MONO(C) MIX CASCADE OUT1-16 CASCADE OUT Block Diagram 160: PSL360 (option) MIX OUT 1-16 MATRIX OUT 1-8 RACK IN PATCH 1 2 SLOT1 OMNI IN [OMNI IN] [1-8] [SLOT] EtherSound [EtherSound] 1 ON CASCADE IN SELECT M O N O MATRIX L R (C) 1 2 ... 7 8 ST Block Diagram 701 (27 5/8) 168: PSL360 (option) 286 (11 2/8) 216 (8 5/8) 701 (27 5/8) 146 (5 6/8) 340:MBM7CL (option) 111 (4 3/8) 370 (14 5/8) 185 (7 2/8) 701 (27 5/8) TALKBACK INPUT [TALKBACK INPUT] +48V +48V MASTER SLOT1 1-16 SLOT2 1-16 SLOT3 1-16 MIX 1 2 ... 1516 MONITOR SELECT 14 102 (4 1/8) 18 (6/8) MONITOR SELECT Dimensions DIMMER CASCADE IN M7CL-32/48 DIMMER M7CL-48ES Unit:mm (in) 15