Owner’s Manual EN
FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference.
Explanation of Graphical Symbols The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. C AUTI O N RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep this manual in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: Power supply/Power cord Water warning • Only use the voltage specified as correct for the device.
Handling caution Backup battery • When turning on the AC power in your audio system, always turn on the power amplifier LAST, to avoid speaker damage. When turning the power off, the power amplifier should be turned off FIRST for the same reason. • Do not insert your fingers or hands in any gaps or openings on the device (vents). • Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.
Contents 1. Introduction 9 Making HA (Head Amp) gain settings ..................44 Thank you ................................................................... 9 Sending an input channel signal to the STEREO bus .........................................47 An overview of the M7CL........................................... 9 Differences between the M7CL-48 and M7CL-32... 11 The M7CL’s channel structure ................................ 13 5.
Contents 10. EQ and Dynamics 105 14. Talkback / Oscillator 149 About EQ and dynamics ........................................ 105 About the talkback and oscillator functions ........149 Using EQ ................................................................. 105 Using talkback ........................................................149 Using dynamics ...................................................... 108 Using the oscillator ................................................
Contents Console lock ........................................................... 201 Locking the console ........................................... 201 Unlocking the console ....................................... 201 Using a USB storage device to save/load data.... 202 Saving the M7CL’s internal data on a USB storage device .............................. 202 Loading a file from a USB storage device ......... 203 Editing the files saved on a USB storage device ..............................
Chapter 1 Introduction Introduction 1 Thank you Thank you for purchasing the Yamaha M7CL digital mixing console. In order to take full advantage of the M7CL’s superior functionality and enjoy years of trouble-free use, please read this manual before you begin using the product. After you have read the manual, keep it in a safe place. An overview of the M7CL The M7CL is a digital mixing console with the following features.
An overview of the M7CL ■ Cascade connections in the digital domain A second M7CL unit or a digital mixer such as the Yamaha PM5D connected via a digital I/O card installed in a slot can be cascade-connected in the digital domain. Of the MIX buses, MATRIX buses, STEREO/MONO buses, and CUE bus, up to twenty-four buses can be cascaded individually.
Differences between the M7CL-48 and M7CL-32 Differences between the M7CL-48 and M7CL-32 1 Introduction The M7CL is available in two models; the M7CL-48 and the M7CL-32. These models differ as follows. ■ M7CL-48 This model provides 48 INPUT jacks and 48 INPUT channels. INPUT jacks 1–32 are located at the right side of the rear panel, and INPUT jacks 33–48 are located at the left side of the rear panel.
Differences between the M7CL-48 and M7CL-32 ■ M7CL-32 This model provides 32 INPUT jacks and 32 INPUT channels. INPUT jacks 1–32 are located at the right side of the right panel, just as on the M7CL-48 model, but there are no INPUT jacks at the left side of the rear panel. 1 1 INPUT jacks 1–32 The channel strip for INPUT channels 1–32 is located in the left side of the front panel, just as on the M7CL-48 model, but there is no channel strip for INPUT channels in the right side.
The M7CL’s channel structure The M7CL’s channel structure ● STEREO channel / MONO channel ■ Input channels This section processes an input signal and sends it to various buses (STEREO, MONO, MIX, MATRIX). There are two types of input channel, as follows. ● INPUT channels 1–32 {1–48} These channels are used to process monaural signals. By default, the input signals from the monaural analog input jacks (INPUT jacks 1–32 {INPUT jacks 1–48}) are assigned to these channels.
About the MIX bus types (VARI / FIXED) • About word clock • Conventions in this manual• About the firmware version About the MIX bus types (VARI / FIXED) The sixteen MIX buses provided on the M7CL can be assigned either as VARI or FIXED types in pairs of adjacent odd-numbered/even-numbered buses (→ p. 212). Each type has the following characteristics. ● VARI ● FIXED This type allows the send level of the signal sent from the input channels to the MIX bus to be varied.
Chapter 2 Panels and controls Top panel The top panel of the M7CL is divided into the following sections. 2 Panels and controls This chapter explains the names and functions of each part of the M7CL. Display section (P. 18) SELECTED CHANNEL section (P. 17) INPUT section (P. 16) Meter bridge (option) (P. 17) SCENE MEMORY/ MONITOR section (P. 19) INPUT section (P. 16) ST IN (Stereo Input) section (P. 16) Centralogic section (P. 19) USER DEFINED KEYS section (P. 20) STEREO/MONO MASTER section (P.
Top panel ■ INPUT section ■ ST IN (Stereo Input) section In this section you can control the main parameters of monaural input channels 1–32 {1–48}. In this section you can control the principal parameters for the stereo ST IN channels 1–4. With the exception that the object of control will alternate between the L and R channels each time you press the [SEL] key, these controls operate in the same way as for the INPUT channels.
Top panel ■ Meter bridge (option) 1 MIX meters These indicate the level of MIX channels 1–16. B MATRIX meters These indicate the level of MATRIX channels 1–8. 2 Panels and controls If an optional MBM7CL meter bridge is installed, the MIX/MATRIX channel levels can be monitored at all times. The monitoring position can be selected from PRE EQ (immediately before attenuator), PRE FADER (immediately before the fader), or POST ON (immediately after the [ON] key).
Top panel ■ Display section This is a touch screen that you can operate by touching the surface of the screen. A USB connector is provided on the right side of the display. 2 1 1 Display (touch screen) This display shows the information you need to operate the M7CL, and lets you make system-wide settings and control mix parameters for input and output channels. Since this is a touch screen, you can use your finger on the screen to select menus or set parameters.
Top panel ■ Centralogic section 1 2 3 1 Multi-function encoders According to the type of screen that is currently selected, these encoders control the knobs selected in the touch screen. B [SEL] key These keys select the channel to be controlled. When you press this key to make the LED light, that channel will be selected for control in the SELECTED CHANNEL section and in the touch screen. C [CUE] key These keys select the channel to be cue-monitored. If cue is on, the LED will light.
Top panel ■ USER DEFINED KEYS section These keys execute the functions that have been assigned by the user. 1 User defined keys [1]–[12] These keys execute the functions that have been assigned by the user (scene changes, switching the talkback or internal oscillator on/off, etc.). 1 ■ STEREO/MONO MASTER section In this section you can control the principal parameters of the STEREO/MONO channels. 1 2 1 [SEL] key This key selects the channel to be controlled.
Top panel ■ NAVIGATION KEYS section NOTE • If you press and hold a navigation key for two seconds or longer, that key will blink. At this time, only the object of control for the Centralogic section will be changed to the corresponding channels and fixed. If you press a different navigation key while the first key is blinking, only the object of control in the touch screen will be changed. E [ST IN] key This key selects ST IN channels 1–4. F [DCA] key This key selects the DCA groups.
Rear panel Rear panel 3 1 K M J 98 7 6 5 L 3 4 2 1 1 M7CL-48 4 1 1 INPUT jacks 1–32 {1–48} These are balanced XLR-3-31 female input jacks for inputting analog audio signals from line level devices or microphones. Nominal input level is -62 dBu to +10 dBu. Male XLR plug D OMNI OUT jacks 1–16 These are XLR-3-32 male output jacks that output analog audio signals. These are used mainly to output the signals of MIX channels or MATRIX channels. Nominal output level is +4 dBu.
Rear panel G WORD CLOCK IN/OUT connectors These are BNC connectors used to transmit/receive word clock signals to/from an external device. The WORD CLOCK IN connector is internally terminated by 75 ohms. I ETHERNET connector This connector allows the M7CL to be connected via a CAT3 (transmission speed up to 10 Mbps) or CAT5 (transmission speed up to 100 Mbps) Ethernet cable to a Windows computer.
Under the front pad Under the front pad 1 2 3 4 1 PHONES LEVEL knob Adjusts the level of the signal that is output from the PHONES OUT jack. B PHONES OUT (headphone output) jack This headphone jack lets you monitor the MONITOR OUT or CUE signal. C TALKBACK jack This is a balanced XLR-3-31 jack to which a talkback mic can be connected. You can make settings in the screen to supply +48V phantom power to this jack. This is used to send instructions from the mixer operator to the desired output channel.
Chapter 3 Basic operation of the M7CL Basic operations in the top panel / touch screen This section explains the basic procedures you can perform in the M7CL’s top panel and touch screen. In general, you will operate the M7CL using the appropriate combination of the operations explained here. Pressing the touch screen Place your fingertip on a button, knob, or field in the touch screen, and press lightly.
Basic operations in the top panel / touch screen • The on-screen user interface Multifunction encoder operations Multifunction encoders 1–8 are used to operate the knobs selected for operation in the touch screen (→ p. 27). When you press to select a knob that can be controlled by the multifunction encoders, a thick line appears around it.
The on-screen user interface Faders / Knobs Faders in the screen are used mainly for visual confirmation of the levels of the corresponding channels, and will move in tandem when you operate the top panel faders. The current value is also shown in numerical form immediately below the fader. List windows The following type of window will appear when you need to select items from a list, such as a list of user-defined keys.
The on-screen user interface • Viewing the touch screen Popup windows When you press a button or field for a specific parameter in a screen, a window showing detailed parameters or lists will appear. This type of window is called a “popup window.” Tool buttons There are three types of popup window, “1 ch” windows that show only a specific channel, “8 ch” windows that show the currently selected group of eight channels, and “ALL” windows that show all channels in a single view.
Viewing the touch screen NOTE • Do not disconnect the USB connector while the “ACCESS” indication is shown here. Doing so may damage the data on the USB storage device. Main area The contents of the main area will change depending on the function that is currently selected. Mixing operations will involve mainly the following two types of screen. ■ SELECTED CHANNEL VIEW screen This screen shows all the mix parameters for the currently selected channel.
Entering names Entering names On the M7CL you can assign a name to each input channel, output channel, and DCA group, and assign a title to scene and library data when saving it. To assign a name, you will use the keyboard window shown in the screen. 1 Access the screen for assigning a name. The illustration shown below is an example of the SCENE STORE window used to enter a scene title or comment.
Using the tool buttons Using the tool buttons In some popup windows, the title bar at the top of the window contains tool buttons for additional functions. You can use these buttons to access related libraries or copy parameters from one channel to another channel. This section explains how to use the tool buttons. Using libraries In the ATT/HPF/EQ, DYNAMICS 1/2, GEQ, and EFFECT popup windows, the following tool buttons are shown. 1 2 3 4 5 This section explains basic operations for libraries.
Using the tool buttons 2 Select the channel (EQ/dynamics) or rack 1 2 (GEQ/effect) for which you want to recall settings. The method of selecting a channel or rack will depend on the type of popup window that is displayed. [ATT/HPF/EQ popup window (1 ch)] [DYNAMICS 1/2 popup window (1 ch)] Use the panel [SEL] keys or the channel select button in the function access area to select a channel.
Using the tool buttons If you use the channel number / channel name buttons in the 8 ch/ALL popup window, you can select multiple channels by selecting a region. In this case, the same library data will be recalled to all of the selected channels. 1 List This shows the data saved in the library. A highlighted line indicates that it is selected for operations. Readonly data is indicated by an R symbol.
Using the tool buttons 5 Press the RECALL button. 4 Turn one of the multifunction encoders to select the store-destination library number. HINT • You can make settings so that a dialog box will ask you to confirm the Recall operation. For details on this setting, refer to p. 198. NOTE • You can’t store to a library number that contains read-only data (indicated by an R symbol). 5 When you’ve selected the store-destination, press the STORE button.
Using the tool buttons 1 Open a popup window that provides the tool buttons. 2 In the upper part of the popup window, press the LIBRARY button to access the library. Initializing settings Heres how you can return the EQ/dynamics settings of the currently selected channel or the effect settings of a rack to their default state. A GEQ can be initialized by the FLAT button in the screen. 1 Open a popup window that provides the tool buttons.
Using the tool buttons Copying/pasting settings Here’s how the EQ/dynamics settings of the currently selected channel or the GEQ/effect settings of a rack can be copied to a buffer memory and pasted to another channel or rack. Copy/paste operations are restricted to the following combinations.
Using the tool buttons 5 To compare the first set of settings with the current settings (the second set), press the COMPARE button. You will return to the first set of settings. At this time, the second set of settings will be held in the buffer memory.
M7CL Owner’s Manual
Chapter 4 Connections and setup This chapter explains how to make audio input/output connections, and how to perform the setup required when starting the M7CL for the first time. 4 Connections and setup Connections ■ Analog input connections MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System SONG SCENE REC INPUT jacks 1–32 {1–48} are used mainly to connect microphones or monaural line-level devices.
Connections ■ Analog output connections Monitor speakers (foldback) PW800W power supply Power cable Monitor speakers Main speakers To the OMNI OUT jacks 1–16, you can patch the output signals from output channels (MIX, MATRIX, STEREO (L/R), MONO (C)), monitor signals (MONITOR OUT L/R/C channel), and the direct out signals of INPUT channels 1–32 {1–48}. When the M7CL is in the default state, the signals of the following channels are patched to each output port.
Connections ■ Digital input/output connections CD recorder Connections and setup 4 Digital I/O card Speaker processor (e.g., Yamaha DME64N) Main speakers Use the 2TR OUT DIGITAL jack to send the M7CL’s internal signals to an external digital audio device. When the M7CL is in the default state, the output signal of the STEREO channel is patched to the 2TR OUT DIGITAL jack, and can be used to record the main mix onto a CD recorder or other device.
Connections ■ Installing an option card Before you install I/O cards in slots 1–3, you must check the Yamaha website to determine whether the card is compatible with the M7CL, and to verify the total number of Yamaha or third-party cards that can be installed in combination with that card. Yamaha website: http://www.yamahaproaudio.com/ To install an optional mini-YGDAI card, proceed as follows. 1 Make sure that the power is turned off.
Setting up to use the M7CL Setting up to use the M7CL This section explains the setup required when starting up the M7CL for the first time. We will also discuss basic operations for sending an input channel signal out from the STEREO bus so that you can check the connections. Turn on the power of the M7CL, and recall (load) the default setting scene (scene number 000).
Setting up to use the M7CL 1 In the function access area, press the SETUP button to access the SETUP screen. In the SETUP screen you can make settings that apply to the entire M7CL. 3 In the WORD CLOCK SELECT field, select the clock source. In the WORD CLOCK SELECT field, use the buttons to select the clock source you want to use as the word clock master. ● When using clock data from a digital audio signal as the clock source Press a valid two-channel button for the corresponding slot.
Setting up to use the M7CL For example if you want to make head amp settings for INPUT jack 7, press the [SEL] key of the channel strip for INPUT channel 7. [SELECTED CHANNEL section] 1 [INPUT section channel strip] 1 4 Connections and setup 3 1 [HA] encoder When you press one of the encoders in this section, the SELECTED CHANNEL VIEW screen will appear in the touch screen. [SELECTED CHANNEL VIEW screen] 1 1 [SEL] key B Level meter When you press the [SEL] key, the key LED will light.
Setting up to use the M7CL 4 While performing on the mic or instrument, turn the [HA] encoder of the SELECTED CHANNEL section to adjust the gain of the currently selected channel. Adjust the level as high as possible without allowing the OVER segment of the channel strip level meter to light when the mic or instrument is being played loudly. When you turn the [HA] encoder in the SELECTED CHANNEL section, the knob in the HA field of the SELECTED CHANNEL VIEW screen will move in tandem with the encoder.
Setting up to use the M7CL Sending an input channel signal to the STEREO bus This section explains how to adjust the gain to set the level of the signal sent from an input channel to the STEREO bus, and adjust the pan/balance so that the signal can be monitored from external speakers connected to the STEREO channel. The following procedure lets you check whether the connections from the mic or instrument to the main speakers are appropriate.
Setting up to use the M7CL 5 In the STEREO/MONO MASTER section, HINT make sure that the [ON] key of the STEREO channel is on, and raise the STEREO channel fader to 0 dB. • The signal being output from the STEREO channel can also be monitored using headphones connected to the PHONES OUT jack located below the front pad (→ p. 142). 7 To adjust the pan/balance of the signal sent from the input channel to the STEREO bus, turn the [PAN] encoder of the SELECTED CHANNEL section.
Setting up to use the M7CL 3 In the Centralogic section, verify that the [ON] of the corresponding input channel is on. 4 In the STEREO/MONO MASTER section, make sure that the [ON] key of the STEREO channel is on, and raise the STEREO channel fader to 0 dB. 5 In the Centralogic section, raise the fader of the corresponding input channel to an appropriate volume. 4 Connections and setup In this state, you should now hear sound from the speaker system that is patched to the STEREO channel.
M7CL Owner’s Manual
Chapter 5 Input channel operations This chapter explains operations for input channels (INPUT channels and ST IN channels). The input channels are the section that processes the signals received from the rear panel input jacks or slots 1–3, and sends them to the STEREO bus, MONO bus, MIX buses, and MATRIX buses. There are two types of input channel, as follows. ■ INPUT channels 1–32 {1–48} These channels are used to process monaural signals.
Signal flow for input channels ● INPUT PATCH ● LCR (Left/Center/Right) This assigns an input signal to the input channel. Switches the phase of the input signal. This sends the signal of the input channel as a three-channel output (the MONO (C) channel and the L/R channels) to the STEREO bus / MONO bus. ● HPF (High Pass Filter) ● MIX ON/OFF (MIX send on/off) ● ø (Phase) This is a high pass filter that cuts the region below the specified frequency.
Specifying the channel name and icon Specifying the channel name and icon On the M7CL, the name and icon shown in the screen can be specified for each input channel. Here we will explain how to specify the channel name and icon. 1 Use the navigation keys to access the OVERVIEW screen containing the input channel whose channel name / icon you want to assign. 3 To select the icon for that channel, press the icon button. The lower part of the popup window will change as follows.
Specifying the channel name and icon 6 If you want to enter a channel name directly (or edit the sample name that was entered), press the channel name field in the upper part of the window. The keyboard window will appear in the lower part of the window, allowing you to enter or edit the characters. For details on how to use the keyboard window, refer to p. 30. 7 Use the [SEL] keys to switch input chan- nels, and specify the icon or channel name for other channels in the same way.
Making HA (Head Amp) settings Making HA (Head Amp) settings This section explains how to make HA (Head Amp) related settings (phantom power on/off, gain, phase) for each input channel. can do so by using the HA encoder of the SELECTED CHANNEL section. (p. 17) 2 If you want to edit detailed parameters such as phantom power on/off or phase, use the navigation keys to access the OVERVIEW screen that includes the input channel whose HA you want to edit.
Making HA (Head Amp) settings [HA/PATCH popup window (8 ch)] 1 Channel select button Here you can make HA-related settings for a group of eight channels. This indicates the channel number, the icon selected for that channel, and the channel name. When you press this button, that channel will be selected for operations, and the corresponding [SEL] key will light. 1 B GAIN knob This indicates the gain of the head amp assigned to the channel.
Sending the signal from an input channel to the STEREO/MONO buses Sending the signal from an input channel to the STEREO/MONO buses This section explains how to send the signal of an input channel to the STEREO bus or MONO bus. The STEREO bus and MONO bus are used mainly to send signals to the main speakers. There are two ways to send signals to the STEREO bus or MONO bus; ST/MONO mode and LCR mode. You can select the mode individually for each channel. These modes differ in the following ways.
Sending the signal from an input channel to the STEREO/MONO buses 1 Channel select button [TO STEREO/MONO popup window (ALL)] This shows the icon, channel number, and channel name for the channel. When you press this button, that channel will be selected for operations, and the corresponding [SEL] key will light. The screen shows the status of the signals sent from all input channels to the STEREO bus / MIX bus. Here you can also adjust the pan or balance in groups of the selected eight channels.
Sending the signal from an input channel to the STEREO/MONO buses 7 In the INPUT section or ST IN section of the If the CSR knob is set to 0%, operating the TO ST PAN knob of an INPUT channel will change the level of the signals sent to the STEREO (L/R) bus and MONO (C) bus as shown in the following diagram. In this case, the TO ST PAN knob operates as a conventional PAN knob, and no signal is sent to the MONO (C) bus.
Sending the signal from an input channel to the STEREO/MONO buses Operating the TO ST BALANCE knob of a ST IN channel will change the level of the signals sent from the ST IN L/R channels to the STEREO (L/R) bus and MONO (C) bus as shown in the following diagram.
Sending the signal from an input channel to a MIX bus Sending the signal from an input channel to a MIX bus This section explains how to send the signal from an input channel to MIX buses 1–16. MIX buses are used mainly for the purpose of sending signals to foldback speakers on stage, or to effect processors. You can send a signal from an input channel to a MIX bus in the following three ways.
Sending the signal from an input channel to a MIX bus D TO MIX SEND ON/OFF button This is an on/off switch for the signal sent from the input channel to MIX bus. An indication of “PRE” in black characters on a white background is shown above these buttons only if PRE (pre-fader) is selected as the position from which the signal is sent from the input channel. This indication is not shown for POST (post-fader). (For details on how to switch between PRE and POST → p. 64).
Sending the signal from an input channel to a MIX bus Using the Centralogic section Here’s how you can use the multifunction encoders of the Centralogic section to adjust the send level of the signals sent from eight consecutive input channels to a specific MIX bus. 3 Press the TO MIX SEND LEVEL knob for the desired send-destination MIX bus. A bold frame will appear around all TO MIX SEND LEVEL knobs for that MIX bus.
Sending the signal from an input channel to a MIX bus D PRE button This button switches the position at which the signal is sent from the input channel to a VARI type MIX bus. The signal is sent from the post-fader position when this button is off, and from the pre-fader position when this button is on. E TO MIX SEND ON/OFF button These are on/off switches for the signal sent from the input channels to the MIX bus.
Sending the signal from an input channel to a MIX bus tion or ST IN section to adjust the send level from the input channels to the selected MIX bus. HINT • You can assign the SENDS ON FADER function to a userdefined key. This lets you quickly switch to SENDS ON FADER mode for a specific MIX bus, and quickly switch back again. 5 Repeat steps 3–4 to adjust the send level for other MIX buses in the same way.
Sending the signal from an input channel to the MATRIX buses Sending the signal from an input channel to the MATRIX buses This section explains how to send the signal from an input channel to MATRIX buses 1–8. The MATRIX buses are used to produce a mix that is independent of the STEREO bus or MIX buses, mainly for sending to a master recorder or to the monitor system for the musicians. You can send a signal from an input channel to the MATRIX buses in the following two ways.
Sending the signal from an input channel to the MATRIX buses If the send-destination MATRIX bus is assigned as stereo, the left knob of the two adjacent TO MATRIX SEND LEVEL knobs will operate as the TO MATRIX PAN knob (for a ST IN channel, it will operate as the TO MATRIX BALANCE knob). Using the Centralogic section Here’s how you can use the multifunction encoders of the Centralogic section to adjust the send level of the signals sent from eight consecutive input channels to a specific MATRIX bus.
Sending the signal from an input channel to the MATRIX buses 4 Use multifunction encoders 1–8 to adjust the send level of the signals sent from the up to eight input channels to the selected MATRIX bus. If necessary, you can use the navigation keys to switch the input channels that are assigned to the Centralogic section, and adjust the send levels from other input channels to the selected MATRIX bus.
Chapter 6 Output channel operations This chapter explains operations for output channels (MIX channels, MATRIX channels, STEREO channel, MONO channel). Signal flow for output channels ■ MIX channels 1–16 These channels process the signals sent from input channels to MIX buses, and output them to the corresponding output port, MATRIX bus, STEREO bus, or MONO (C) bus. When the M7CL is in the default state, the following output ports are assigned.
Signal flow for output channels M O MIX 1 2 ··· 1516 N ST O MATRIX CUE L R (C) 1 2 ··· 7 8 L R STEREO L,R,MONO(C) To RACKIN PATCH To OUTPUT PACH STEREO INSERT POIN PRE FADER INSERT OUT INSERT OUT L,R,MONO (C) PRE EQ INSERT OUT STEREO INSERT IN L,R,MONO (C) PRE EQ EQ OUT INSERT ATT COMP COMPAND EXPAND 4BAND EQ PRE EQ POST EQ PRE EQ INSERT OUT POST ON METER PRE FADER METER DYNA OUT METER METER GR METER METER LEVEL BAL STEREO OUT L,R,MONO (C) ON INSERT PRE FADER INSERT OUT PRE FADER Keyin
Specifying the channel name and icon Specifying the channel name and icon This section explains how to specify the name and icon that will be displayed in the screen for each output channel. 1 Use the navigation keys to access the OVERVIEW screen that includes the output channel whose channel name and icon you want to specify. 3 To select the icon for the channel, press the icon button. The lower part of the popup window will change as follows.
Specifying the channel name and icon • Sending signals from MIX channels to the STEREO/MONO bus 6 If you want to enter a channel name directly (or edit the sample name that was entered), press the channel name field in the upper part of the window. The keyboard window will appear in the lower part of the window, allowing you to enter or edit the characters. For details on how to use the keyboard window, refer to p. 30.
Sending signals from MIX channels to the STEREO/MONO bus 1 Use the navigation keys to access the OVERVIEW screen that includes the MIX channel you want to send to the STEREO/ MONO bus. C STEREO/MONO buttons These buttons are individual on/off switches for the signal that is sent from each channel to the STEREO bus / MONO bus when the MONO button is set to ST/ MONO mode.
Sending signals from MIX channels to the STEREO/MONO bus 1 Channel select button This indicates the channel number, the icon selected for that channel, and the channel name. When you press this button, that channel will be selected for operations, and the corresponding [SEL] key will light. B TO ST PAN/BALANCE knob For monaural MIX channels, this acts as the PAN knob that adjusts the left/right panning of the signal sent to the STEREO bus.
Sending signals from MIX channels and STEREO/MONO channels to MATRIX buses Sending signals from MIX channels and STEREO/MONO channels to MATRIX buses This section explains how to send the signal from a MIX or STEREO/MONO channel to MATRIX buses 1–8. You can do this in either of the following two ways. ■ Using the SELECTED CHANNEL section In this method, you use the encoders of the SELECTED CHANNEL section to adjust the send levels to the MATRIX buses.
Sending signals from MIX channels and STEREO/MONO channels to MATRIX buses HINT • If PRE is selected as the position from which the signal is sent to a MATRIX bus, the signal will be sent from the pre-fader position regardless of the setting in the BUS SETUP screen. 5 Make sure that the TO MATRIX SEND ON/ OFF button is turned on for the send-destination MATRIX bus.
Sending signals from MIX channels and STEREO/MONO channels to MATRIX buses the send level of the signals sent from up to eight MIX channels or the STEREO/MONO channels to the selected MATRIX bus. If necessary, you can use the navigation keys and the [SEL] keys of the Centralogic section to switch the send-destination channel.
M7CL Owner’s Manual
Chapter 7 Operations in the SELECTED CHANNEL section This chapter explains how you can use the SELECTED CHANNEL section and the SELECTED CHANNEL VIEW screen to control the selected channel. About the SELECTED CHANNEL section 7 Operations in the SELECTED CHANNEL section The SELECTED CHANNEL section located at the left of the display corresponds to a mixer module of a conventional analog mixer, and allows you to manually adjust all the major parameters of the currently selected channel.
About the SELECTED CHANNEL VIEW screen About the SELECTED CHANNEL VIEW screen When you press one of the encoders in the SELECTED CHANNEL section, the SELECTED CHANNEL VIEW screen will appear in the touch screen. The SELECTED CHANNEL VIEW screen shows most of the parameters of the channel currently selected by its [SEL] key. This screen lets you check the settings being controlled by the encoders of the SELECTED CHANNEL section. The SELECTED CHANNEL VIEW screen contains the following items.
About the SELECTED CHANNEL VIEW screen • Operations in the SELECTED CHANNEL section I EQ graph field This shows the response of the EQ/HPF. J INSERT field (INPUT, MIX, MATRIX, STEREO, M FADER field Here you can view the input/output level of the channel, and switch it on/off. and MONO channels only) The signal route for insertion in the channel can be switched on/off here. N DCA field (input channels only) Here you can select the DCA group to which that channel is assigned.
Operations in the SELECTED CHANNEL section Subsequent operations will differ depending on the parameters you want to adjust. ● Adjusting the send level to a MIX bus or MATRIX bus Use the TO MIX/TO MATRIX field when you want to send the signal from an INPUT/ST IN channel to a MIX bus, or from an INPUT, ST IN, MIX, or STEREO channel to a MATRIX bus.
Operations in the SELECTED CHANNEL section ● Making HA settings (input channels only) ● Setting the pan/balance To control the head amp (HA) assigned to an INPUT/ST IN channel, you will use the [HA] encoder of the SELECTED CHANNEL section and the HA field of the SELECTED CHANNEL VIEW screen. The HA field includes the following items.
Operations in the SELECTED CHANNEL section ● Changing the output patching (output channels only) To change the output patching of an output channel in the SELECTED CHANNEL VIEW screen, use the popup button in the PATCH field. When you press the popup button, the PATCH/NAME popup window will appear, allowing you to select the output port and specify the channel name and icon. (For details on the popup window → p. 98).
Operations in the SELECTED CHANNEL section C EQ ON/OFF button Switches the EQ on/off. To edit the EQ, switch the EQ ON/OFF button on, and use the EQ [Q], EQ [FREQUENCY], and EQ [GAIN] knobs of the SELECTED CHANNEL section to adjust the cue, center frequency, and the amount of boost/cut. If you want to edit more detailed parameters, or recall existing settings from the library, press any EQ or HPF knob or a location within the EQ graph field to access the EQ popup window.
Operations in the SELECTED CHANNEL section ● Turning a channel on/off Use the FADER field to switch the channel on/off in the SELECTED CHANNEL VIEW screen. This field includes the following items. 2 1 3 To assign the channel to a DCA group, turn on the desired DCA button 1–8 (multiple selections are allowed). To check the channels that are assigned to each DCA group, press the DCA popup button to open the DCA/MUTE GROUP ASSIGN MODE popup window. (For details on the popup window → p. 114).
Chapter 8 Operations in the Centralogic section This chapter explains how you can use the Centralogic section and the OVERVIEW screen to control up to eight channels at once. About the Centralogic section The Centralogic section located below the touch screen lets you recall and simultaneously control a set of up to eight input channels, output channels, or DCA groups. Use the navigation keys of the NAVIGATION KEYS section to select the channels that will be controlled.
About the OVERVIEW screen About the OVERVIEW screen The OVERVIEW screen simultaneously shows the main parameters for the (up to) eight channels currently assigned to the Centralogic section. When you use the navigation keys to select the eight channels that will be assigned to the Centralogic section, the touch screen will display the OVERVIEW screen for those channels. (The [DCA] key is an exception to this.) The OVERVIEW screen contains the following items.
About the OVERVIEW screen K DCA/MUTE GROUP field This shows the DCA group (input channels only) and mute group to which each channel belongs. F DYNAMICS 1 field G DYNAMICS 2 field (input channels only) L Channel number / Channel name field This shows the number, channel name, and icon for the up to eight channels that are currently selected for operation in the Centralogic section (except for the multifunction encoders).
Operations in the Centralogic section Operations in the Centralogic section This section explains how you can use the Centralogic section and the OVERVIEW screen to simultaneously control the parameters of up to eight channels. 1 Use the navigation keys of the NAVIGATION KEYS section to select the channels or DCA groups that you want to control. When you press a navigation key, the LED of that key will light.
Operations in the Centralogic section ● Making Dynamics 1/2 settings In the OVERVIEW screen, you can use the DYNAMICS 1/ DYNAMICS 2 fields to make Dynamics 1/2 settings for each channel. These fields include the following items.
Operations in the Centralogic section ● Adjusting the send levels from a channel to all MIX buses / MATRIX buses In the OVERVIEW screen, you can use the TO MIX / TO MATRIX field to send signals from a channel to the MIX buses and MATRIX buses. This field includes the following items. These knobs will adjust the panning between two buses that are set to stereo. (For a stereo channel, they will adjust the volume balance of the left and right channels sent to the two buses.
Operations in the Centralogic section ● Adjusting the pan/balance (INPUT, ST IN, STEREO, and MIX channels only) ● Assigning a channel to a DCA group or Mute group In the OVERVIEW screen, you can use the TO STEREO/ MONO field to switch the on/off status and adjust the pan/ balance of the signal sent from each channel to the STEREO/MONO buses. The following items are shown in the TO STEREO/MONO field.
Fixing the channels or DCA groups of the Centralogic section Fixing the channels or DCA groups of the Centralogic section If desired, you can fix the channels or DCA groups controlled by the faders, [ON] keys, meters, [CUE] keys, and [SEL] keys of the Centralogic section, and switch between groups of eight channels for control in the OVERVIEW screen. In this case, the multifunction encoders will control a different set of eight channels than the Centralogic section’s faders and [ON] keys.
Chapter 9 Input/output patching This chapter explains how to edit the input patch and output patch settings, and how to use insert connections and direct output.
Changing the output patch settings ● RACK The input ports of rack 1–8 will be displayed. HINT • For details on the GEQ, refer to p. 161. ● Selecting the output channel for each output port Here’s how you can select the output channel that will be the output source for each output port. 1 In the function access area, press the SETUP button to access the SETUP screen. E Output port select buttons These buttons assign an output port to the currently selected output channel.
Changing the output patch settings ...........The delay time is shown as a distance in feet, calculated as the speed of sound (1127.26 feet/s) at an air temperature of 20 °C (68 °F) multiplied by the delay time (seconds). • SAMPLE .........The delay time is shown as a number of samples. If you change the sampling frequency at which the M7CL operates, the number of samples will change accordingly. • msec ...........The delay time is shown in units of milliseconds.
Changing the output patch settings • Changing the input patch settings 5 Use the channel select tabs and the channel select buttons to select the source channel, and press the CLOSE button. You will return to the OUTPUT PORT popup window. HINT • If PATCH CONFIRMATION is ON, a confirmation dialog box will appear when you attempt to change the patch settings. If STEAL PATCH CONFIRMATION is ON, a confirmation dialog box will appear when you attempt to change a location that is already patched elsewhere.
Changing the input patch settings • ST IN...............L/R channels of ST IN jacks 1–4 will be displayed. • SLOT 1–SLOT 3 ...........Input channels 1–16 of slots 1–3 will be displayed. • RACK..............The output ports of rack 1–8 will be displayed. E Input port select buttons These buttons assign an input port to the currently selected input channel. F Tabs Use these tabs to switch between thems.
Inserting an external device into a channel Inserting an external device into a channel If desired, you can insert an effect processor or other external device into the signal path of an INPUT, MIX, MATRIX, STEREO, or MONO channel. When doing so, the type of input/output port used for the insertion and the location of the insertion in/out can be specified individually for each channel. 1 As desired, connect your external equipment to the I/O card(s) in slots 1–3.
Inserting an external device into a channel 4 Access either the one-channel or the eight- channel INSERT/DIRECT OUT popup window, and press the INSERT OUT popup button. The OUTPUT PORT SELECT popup window will appear, allowing you to select the output port used for insert-out. The window includes the following items. 6 Press the INSERT IN popup button. The INPUT PORT SELECT popup window will appear, allowing you to select the input port used for insert-in.
Directly outputting an INPUT channel Directly outputting an INPUT channel The signal of an INPUT channel can be directly output from a desired OMNI OUT jack or from an output channel of the desired slot. For example, signals can be sent via a digital I/O card installed in a slot to an external digital recorder, so that a live recording can be made without being affected by mixing operations within the M7CL.
Directly outputting an INPUT channel 4 Access either the one-channel or the eight- channel INSERT/DIRECT OUT popup window, and press the DIRECT OUT popup button. The OUTPUT PORT SELECT popup window will appear, allowing you to select the output port used for direct output. The window includes the following items. 6 Press the DIRECT OUT ON/OFF button to turn it ON. In this state, direct output is enabled. Adjust the input level of your external device as necessary.
M7CL Owner’s Manual
Chapter 10 EQ and Dynamics This chapter explains the EQ (equalizer) and dynamics that are provided on each channel of the M7CL. About EQ and dynamics Each input channel and output channel of the M7CL provides a four-band EQ and dynamics. EQ can be used on all input channels and all output channels. An attenuator is provided immediately before the EQ, allowing you to adjust the level of the input signal. Input channels also provide a high-pass filter that is independent of the EQ.
Using EQ C FLAT button This button resets the GAIN parameters of all bands to the default value (0.0 dB). If you press this button, a confirmation dialog box will appear. L D HIGH shelving button If this button is on, the HIGH band EQ will function as a shelving-type EQ. In this case, the HIGH band Q knob is not shown. E Low pass filter button If this button is on, the HIGH band EQ will function as a low-pass filter.
Using EQ [EQ popup window (ALL)] This window displays all input channels (or output channels) at once. This page is only for display, and does not allow the parameters to be edited. It is useful when you need to quickly check the EQ settings for all channels, or when you want to copy/paste EQ settings between distant channels. 4 If you want to use the high-pass filter on an input channel, operate the HPF knob or HPF ON/OFF button in the ATT/HPF/EQ popup window.
Using dynamics Using dynamics Input channels provide two dynamics processors, and output channels provide one dynamics processor. 1 Use the navigation keys to access the • Output channels OVERVIEW screen for the channel whose dynamics you want to control. DYNAMICS 1 COMPRESSOR EXPANDER The DYNAMICS 1/2 field shows the dynamics on/off status and the amount of gain reduction.
Using dynamics H KEY IN FILTER button (only for GATE and C Dynamics graph This mini-graph displays the approximate response of the dynamics processor. DUCKING) This field lets you apply a filter to the key-in signal. As the filter to use, choose either a HPF (high pass filter), BPF (band pass filter), or LPF (low pass filter). If all of these buttons are off, no filter will be applied.
Using dynamics 4 To select a key-in signal, proceed as follows. 1 In the DYNAMICS 1 (2) popup window (1 ch), press the KEY IN SOURCE button to access the KEY IN SOURCE SELECT popup window. 5 If you want to copy dynamics settings to another channel, or initialize the dynamics settings, use the tool buttons of the popup window. For details on how to use these buttons, refer to “Using the tool buttons” (→ p. 31). HINT • Dynamics settings can be saved/loaded at any time using the dedicated library (→ p.
Using the EQ or Dynamics libraries Using the EQ or Dynamics libraries You can use dedicated libraries to store and recall EQ and dynamics settings. EQ library Dynamics library There is an “INPUT EQ LIBRARY” that lets you store/ recall EQ settings for input channels, and an “OUTPUT EQ LIBRARY” that lets you store/recall EQ settings for output channels. To recall settings from a library, press the LIBRARY tool button in the ATT/HPF/EQ popup window.
M7CL Owner’s Manual
Chapter 11 Grouping and linking This chapter explains the DCA Group and Mute Group functions that let you control the level or muting of multiple channels together, the Channel Link function that links the parameters of multiple channels, and the operations that let you copy or move parameters between channels. About DCA Groups and Mute Groups The M7CL provides eight DCA groups and eight mute groups that let you control the level of multiple channels simultaneously.
Using DCA groups 2 Press the DCA GROUP button to access the DCA/MUTE GROUP ASSIGN MODE popup window. In the DCA/MUTE GROUP ASSIGN MODE popup window you can select the channels to be assigned to DCA groups. The popup window includes the following items. 1 4 5 Assign channels to other DCA groups in the same way. HINT • You may assign a single channel to more than one DCA group. In this case, the value will be the sum of the levels of all assigned DCA faders.
Using DCA groups 3 Use the DCA group select buttons to select the DCA group(s) to which the currently selected channel will be assigned (multiple selections are allowed). 4 Select the DCA group(s) for other channels in the same way. Controlling DCA groups Use the faders of the Centralogic section to control DCA groups. 1 Assign input channels to DCA groups.
Using mute groups Using mute groups This section explains how to assign channels to mute groups and use the user-defined keys to control them. 1 Channel display field Assigning channels to mute groups To assign channel to mute groups, you can either select a specific mute group and then assign channels to that mute group, or you can select a specific channel and then specify the mute groups to which it will belong.
Using mute groups Controlling mute groups To use mute groups, you must first assign the Mute On/Off function for a mute group 1–8 to a user-defined key, and then operate that user-defined key. DCA/MUTE GROUP field 1 In the function access area, press the SETUP button to access the SETUP screen. ● Selecting the mute groups to which a specific channel will belong 1 Press the [SEL] key of the input channel / output channel that you want to assign.
Using mute groups 5 Choose “MUTE MASTER” in the FUNCTION column, and choose “MUTE GROUP x” (where “x” is the mute group number) in the PARAMETER 1 column. Then press the OK button. To select an item in each column, use ↑/↓ buttons or the multifunction encoders. When you press the OK button, the Mute On/Off function for the specified mute group will be assigned to the user-defined key you selected in step 4, and you will return to the USER DEFINED KEYS page.
Using mute groups Using the Mute Safe function If necessary, specific channels belonging to a mute group can be temporarily excluded from mute group operations (Mute Safe). 1 In the function access area, press the CH JOB button. 2 Press the MUTE GROUP button to access the DCA/MUTE GROUP ASSIGN MODE popup window. 1 2 1 Channel display field When the MUTE SAFE button is on, channels that are temporarily excluded from the mute group are highlighted in this field.
The Channel Link function The Channel Link function Channel Link is a function that links the operation of parameters such as fader and EQ between input channels. The parameters to be linked can be selected from the following choices.
The Channel Link function 3 Use the buttons of the LINK PARAMETER field to select the parameter(s) that will be linked (multiple selections are allowed). The table below lists the parameters you can select in the LINK PARAMETER field.
Copying, moving, or initializing a channel Copying, moving, or initializing a channel You can copy or move mix parameters between channels, or restore the parameters of a specific channel to their default settings. Copying the parameters of a channel You can copy the mix parameter settings of a channel to another channel. When you execute the copy operation, the settings will overwrite the parameters of the copy-destination. You can copy between the following combinations of channels.
Copying, moving, or initializing a channel 6 To execute the copy, press the COPY but- 1 ton. 2 The copy will be executed, and the settings will overwrite the parameters of the copy-destination channel(s). After the copy has been executed, the SOURCE CH field and DESTINATION CHs field will return to an unset state. 7 To close the CH COPY MODE popup window, press the CLOSE button. 1 SOURCE CH field Moving the parameters of a channel This indicates the move-source channel.
Copying, moving, or initializing a channel Initializing the parameters of a channel If desired, you can restore the parameters of a channel to an initialized state. This operation can be performed on any channel(s). 1 In the function access area, press the CH JOB button to access the CH JOB menu. CLEAR button 2 Press the CLEAR button to access the CH CLEAR MODE popup window. This popup window lets you initialize parameters.
Chapter 12 Scene memory This chapter explains how to perform scene memory operations. About scene memories Using scene memories 12 Scene memory On the M7CL, the mix parameter settings and input/output port patching can be assigned a name and stored into memory (and later recalled from memory) as a “scene.” Each scene is assigned a number in the range of 000–300. Scene 000 is a read-only scene used for initializing the mix parameters, and scenes 001–300 are writable scenes.
Using scene memories 1 23 5 B COMMENT field Press this field to select it, and enter a comment for the scene. You can use this as a memorandum for each scene (maximum 32 characters). HINT • The title and comment can be edited later (→ p. 130). 4 1 SCENE field This field always displays general information about the scene. You can press this field to access the SCENE LIST window, where you can view and edit more detailed settings for the scene.
Using scene memories ● Using the SCENE LIST window 1 Use the pad controls of the top panel or the buttons in the touch screen to set the mix parameters as desired. 2 Press the SCENE field in the function access area. The SCENE LIST window will appear, where you can perform various scene-related operations. The window includes the following items. 1 HINT • You can select multiple scene numbers as the store-destination.
Using scene memories Recalling a scene Here’s how to recall a stored scene from scene memory. You can recall a scene either by using the keys of the top panel SCENE MEMORY / MONITOR section, or by using the SCENE LIST window. 1 ● Using the keys of the SCENE MEMORY/ MONITOR section 1 Use the SCENE MEMORY [▲]/[▼] keys to select the scene number that you want to recall. The number of the currently selected scene is shown in the SCENE field of the function access area.
Using scene memories Using user-defined keys to recall You can use the user-defined keys to directly recall a selected scene with a single keystroke, or to step through the scenes. To do this, you must first assign a scene recall operation to a user-defined key. The following recall operations can be assigned to a user-defined key. 3 Press the USER DEFINED KEYS tab to select the USER DEFINED KEYS page. The USER DEFINED KEYS page lets you assign functions to user defined keys [1]–[12].
Editing scene memories Editing scene memories This section explains how to sort the scenes stored in scene memory, edit their titles, and copy/ paste them. HINT Sorting and renaming scene memories You can use a dedicated window to sort scene memories in alphabetical order of their titles or in order of the date on which they were created. You can also edit their titles. 1 Press the SCENE field in the function access area.
Editing scene memories K STATUS field This field indicates the status of each scene. For scenes for which something other than the ALL button is selected in the Focus function (→ p. 135), and for scenes in which the Fade function is enabled (→ p. 139), the “FOCUS” and “FADING” indications will respectively be lit. 5 If you want to edit the title or comment of a scene, press the TITLE field or COMMENT field of the scene to access the SCENE TITLE EDIT or SCENE COMMENT EDIT popup window.
Editing scene memories Scene memory editing Copying/pasting a scene The scenes stored in scene memory can be copied/pasted to other scene numbers, or cleared (erased). Here’s how to copy a scene into buffer memory, and then paste it to a different scene number. 1 Press the SCENE field in the function 1 Press the SCENE field in the function access area. The SCENE LIST window will appear, where you can perform various operations for scene memory.
Editing scene memories OK button. The scene stored in the buffer memory will be pasted to the scene number you selected in step 4. If you decide to cancel the Paste operation, press the CANCEL button instead of the OK button. NOTE • Be aware that when you paste to a scene number in which a scene has already been stored, the existing scene will be overwritten. • Read-only scenes or write-protected scenes cannot be pasted. Clearing a scene Here’s how to clear a specified scene.
Editing scene memories Cutting a scene Here’s how to cut one or more scenes. When you cut a scene, the scenes of subsequent numbers will move forward. If you cut a single scene, you’ll be able to paste or insert it at the desired location. 1 Press the SCENE field in the function access area. The SCENE LIST window will appear. 2 Turn any one of the multifunction encoders to select the scene number that you want to cut, and press the CUT button. A dialog box will ask you to confirm the Cut operation.
Using the Focus function Using the Focus function “Focus” is a function that lets you specify the parameters that will be updated when you recall a scene. For example, it is convenient to use this if you want to recall only the input channel settings of a certain scene. HINT • As a function similar to Focus, there is also a “Recall Safe” function that lets you select channels and parameters to be excluded from recall operations (→ p. 136).
Using the Recall Safe function Using the Recall Safe function “Recall Safe” is a function that excludes only specific parameters/channels (DCA groups) from Recall operations. This differs from the Focus settings (→ p. 135) made for individual scenes in that Recall Safe settings are common to all scenes.
Using the Recall Safe function ● If an input channel is selected ● If a MIX channel is selected Use the buttons in the lower part of the SAFE PARAMETER SELECT field (except for the “ALL” button) to select the parameters that will be subject to Recall Safe (multiple selections are allowed). If you want all parameters to be subject to Recall Safe, turn on the ALL button (this is the default setting). These buttons correspond to the following parameters.
Using the Recall Safe function 6 To turn on Recall Safe for global parame- NOTE • If the ALL button is on, all buttons will be turned off except for the WITH MIX SEND button located in the lower part of the SAFE PARAMETER SELECT field. • You can switch the WITH MATRIX SEND button on/off while the ALL button is left on. ● If a DCA group is selected If you press any of the [SEL] keys of the DCA groups, the parameters for DCA groups 1–8 will be shown simultaneously.
Using the Fade function Using the Fade function “Fade” is a function that smoothly changes the faders of specified channels and DCA groups to their new values over a specified duration when you recall a scene. The settings of the Fade function are made independently for each scene. 1 Press the SCENE field in the function access area. The SCENE LIST window will appear, where you can perform various operations for scene memory. B SET buttons These buttons display the FADE TIME popup window.
Using the Fade function 5 Use the multifunction encoders corre- sponding to the FADE TIME knobs to adjust the fade time. The range is 0.0 sec – 60.0 sec. When you’ve finished making settings, press the CLOSE button to close the FADE TIME popup window. HINT • The fade time you specify here is used for all channels and DCA groups selected in step 4. 6 To enable the Fade function, press the FADING button. The Fade on/off setting is made individually for each scene.
Chapter 13 Monitor/Cue This chapter explains the M7CL’s monitor/cue functions. About the monitor/cue functions The Monitor function lets you audition various outputs through your nearfield monitors or headphones. Below the M7CL’s front pad there is a PHONES OUT jack for monitoring, and this jack always lets you monitor the signal that is selected as the monitoring source.
Using the Monitor function Using the Monitor function This section explains how to select the desired monitor source, and monitor it from the PHONES OUT jack or external monitor speakers. 1 Connect your monitor system to the rear F OUTPUT button Turns the monitor output on/off. panel OMNI OUT jacks, 2TR OUT DIGITAL jack, or an I/O card installed in a slot. The monitor signal can be sent to any desired output jack or output channel.
Using the Monitor function • TALKBACK DIMMER knob ...........This adjusts the amount by which the monitor signal will be attenuated when talkback is on. You can use multifunction encoder 5 to control this. This operation can also be performed in the TALKBACK DIMMER field of the MONITOR screen. 4 Use the buttons of the SOURCE SELECT field to select a monitor source. In the SOURCE SELECT field you can select only one monitor source.
Using the Monitor function HINT • If desired, you can specify output ports only for MONITOR OUT L and R, and monitor through two speakers. • If you have not specified an output port for MONITOR OUT C, selecting the MONO (C) button or LCR button as the monitor source will automatically cause the MONO channel signal to be distributed to MONITOR OUT L/R. 6 To enable monitoring, press the OUTPUT button to turn it on.
Using the Cue function Using the Cue function This section explains how to use the M7CL’s Cue function. About cue groups The M7CL’s cue signals can be categorized into the following four groups. STEREO/MONO channel [CUE] key 1 INPUT CUE group The cue signals of input channels make up this group. To enable Cue for this group, press the [CUE] key of any INPUT channel or ST IN channel to turn Cue on.
Operating the Cue function Operating the Cue function This section explains how you can use the [CUE] key of a desired channel or DCA group to monitor the Cue signal. NOTE • The cue signal is sent to the same output destination as the monitor signal. Be aware that for this reason, the cue signal will not be sent to the connected monitor speakers if you turn off the Monitor function. However, PHONES OUT jack under the front pad will always output the cue signal regardless of the Monitor on/off setting.
Operating the Cue function • DCA TRIM knob ...........Adjusts the level of cue output from a DCA group in a range of -20 dB– +10 dB. You can operate this knob using multifunction encoder 4. • DCA UNITY button ...........If this button is on, pressing the [CUE] key of a DCA group will always monitor the corresponding DCA group at unity gain (the same level at when the fader in the Centralogic section is at 0 dB).
Operating the Cue function 7 To defeat Cue, press the currently-on [CUE] key once again. You can press the CLEAR CUE button in the Meter field to clear all Cue selections. HINT • If you press the CUE meter in the function access area, all Cue selections will be cleared. • All Cue selections will be cleared if you switch between MIX CUE mode and LAST CUE mode in the CUE MODE section. • You can also assign the same function as the CLEAR CUE button to a user-defined key (→ p. 200).
Chapter 14 Talkback / Oscillator This chapter explains how to use talkback and oscillator. About the talkback and oscillator functions Talkback is a function that sends the signal of a mic connected to the TALKBACK jack to the desired bus. This is used mainly to convey instructions from the mixing engineer to the performers or staff. If necessary, a mic connected to INPUT jacks 1–32 {1–48} can also be used for talkback.
Using talkback 2 Press the popup button or the ASSIGN field to open the TALKBACK popup window. In this popup window you can make detailed settings for talkback. 1 2 4 4 If you want to use an INPUT jack 1–32 {1– 48} as supplementary input for talkback, proceed as follows. 1 Press the INPUT TO TALKBACK field INPUT select button to open the INPUT PORT SELECT popup window. 2 Of the IN 1–32 (1–48) buttons, press the button for the input you want to use for talkback, making it light.
Using the oscillator Using the oscillator Here’s how to send a sine wave or pink noise from the internal oscillator to a desired bus. 1 In the function access area, press the MONITOR button to access the MONITOR screen. In the MONITOR screen, the OSCILLATOR field lets you check the current oscillator settings, and turn the oscillator on/off. If you want to view or edit the oscillator settings in greater detail, use the OSCILLATOR popup window described in step 2 and following.
Using the oscillator 4 Use the knobs and buttons in the parameter field to adjust the oscillator parameters. The displayed parameters will differ depending on the oscillator selected in the MODE field. The knobs shown in the parameter field can be operated using the corresponding multifunction encoders. The following table shows the available oscillator types and the parameters displayed for each type.
Chapter 15 Meters This chapter explains the METER screen that shows the input/output level meters for all channels, and operations relating to the optional MBM7CL meter bridge. Operations in the METER screen By accessing the METER screen, you can view the input/output levels of all channels in the screen, or switch the level meter’s metering points (the points in the signal route at which the level is detected).
Operations in the METER screen In the METER screen you can view the following information for each channel. 1 2 If necessary, you can press a metering point select button to switch the metering point. The metering point for the level meter can be specified independently for input channels and output channels. You can choose the following metering points. ● Input channels 2 • PRE HPF........ Immediately before the high-pass filter • PRE FADER ... Immediately before the fader • POST ON .......
Using the MBM7CL meter bridge (option) Using the MBM7CL meter bridge (option) If the optional meter bridge (MBM7CL) is installed in the M7CL, you will always be able to view the output levels of MIX channels 1–16 and MATRIX channels 1–8. The MBM7CL’s meters show the MIX channel and MATRIX channel output levels in 12-segment steps (OVER, -3dB, -6dB, -9dB, -12dB, -15dB, -18dB, -24dB, -30dB, -40dB, -50dB, -60dB).
M7CL Owner’s Manual
Chapter 16 Graphic EQ and effects This chapter explains how to use the built-in graphic EQ and effects, and how to perform remote control operations via the dedicated protocol to control an external head amp (Yamaha AD8HR) from the M7CL. About the virtual rack The M7CL lets you use the built-in graphic EQ (subsequently abbreviated as “GEQ”) and effects to modify signals.
About the virtual rack Virtual rack operations This section explains how to mount a GEQ or effect in the virtual rack, and patch the input/output of the rack. 1 In the function access area, press the RACK button to access the VIRTUAL RACK window. 2 C RACK MOUNT button This displays the RACK MOUNT popup window, where you can select an item to mount in the rack. Each of these buttons corresponds to the rack shown at the right. D SAFE button This button switches Recall Safe on/off for the rack.
About the virtual rack C MODULE SELECT Use these buttons to select the GEQ or effect that will be mounted in the rack. Each button has the following function. • BLANK button ...........Removes the GEQ or effect currently mounted in the rack; the rack will be empty. 1 • 31 Band GEQ button ...........Mounts a 31 Band GEQ in the rack. • Flex15GEQ button ...........Mounts a Flex15GEQ in the rack. 2 • EFFECT button ...........Mounts an effect in the rack. However, effects cannot be mounted in racks 1–4.
About the virtual rack 7 To switch Recall Safe on/off for each rack, HINT press the SAFE button for that rack. • You have the option of making settings so that the confirmation dialog box does not appear (→ p. 198). • You can specify multiple output destinations for a rack. • Normally you will be able to specify two channels of output for a rack, but if the 31 Band GEQ is selected only one channel can be used.
Graphic EQ operations Graphic EQ operations About the graphic EQ Inserting a GEQ in a channel The M7CL lets you mount a GEQ in racks 1–8 and patch it to the insert-out/in of a channel. The gain of each band can be adjusted using the Centralogic section’s faders and [ON] keys. The following two types of GEQ are provided. • 31 Band GEQ ...........This is a monaural 31-band GEQ. Each band is 1/3 octave wide, the adjustable gain range is ±15 dB, and the gain of all thirty-one bands can be adjusted.
Graphic EQ operations 3 Press the OUTPUT button to open the INPUT CH SELECT popup window where you can select the output-destination for the rack, and choose the insert-in to which you want to assign the output of the GEQ (multiple selections are allowed). The insert-in will be assigned to the output of the GEQ. (For details on the INPUT CH SELECT popup window → p. 158).
Graphic EQ operations 6 In the function access area, press a RACK button to open the VIRTUAL RACK window, and use the GEQ/EFFECT tabs to select the GEQ/EFFECT field. 7 Press the GEQ rack that you want to insert into the channel; the GEQ/EFFECT popup window will appear. 8 Press the GEQ ON/OFF button to turn the GEQ on. Using the 31 Band GEQ You will use the Centralogic section’s faders 1–8 and [ON] keys to control the 31 Band GEQ. 1 As described in “Virtual rack operations” (→ p.
Graphic EQ operations F OUTPUT button This button displays the INPUT CH SELECT popup window, where you can select the output destination of the rack. G GEQ LINK button This button links adjacent GEQ units. In the case of a 31 Band GEQ, the GEQ units in adjacent odd-numbered/even-numbered racks will be linked. HINT • If you switch the display to a different screen or rack, the fader assignments of the Centralogic section will forcibly be defeated.
Graphic EQ operations Using the Flex15GEQ You will use the Centralogic section’s faders 1–8 and [ON] keys to control the Flex15GEQ. A rack in which a Flex15GEQ is mounted will show information for two GEQ units (A and B). 3 4 F GEQ ON/OFF button Switches the currently selected Flex15GEQ on/off. You can make settings independently for the two GEQ units (A and B) in the rack.
Graphic EQ operations 6 Repeat steps 4 and 5 to adjust up to fifteen bands. HINT • If you switch the display to a different screen or rack, the fader assignments of the Centralogic section will forcibly be defeated. However if you once again display the same rack, the group of bands you had previously been controlling will automatically be assigned to the faders. 7 When you’ve finished making settings, turn off the buttons of the FADER ASSIGN field.
About the internal effects About the internal effects The M7CL’s internal effects can be mounted in racks 5–8, and patched to an output channel’s output or input channel’s input, or inserted into a channel. For each effect mounted in a rack, you can choose one of 48 types of effect. With the default settings, the signals from MIX channels 13–16 are input to racks 5–8, and from the racks are then output to ST IN 1–4 (L/R). NOTE • The internal effects cannot be mounted in racks 1–4.
About the internal effects Using an internal effect via send/return HINT • You can select more than one output destination for the effect. Here we will explain how to use a MIX bus as an effect send bus and a ST IN channel as an effect return channel, so that the effect can be used in a send/return configuration. 4 In the GEQ/EFFECT field, press the rack in which you mounted the effect. The GEQ/EFFECT popup window will appear, allowing you to edit the parameters of the GEQ or effect.
About the internal effects 6 To adjust the effect send level of an input channel, use the navigation keys to access the OVERVIEW screen that includes the input channel you want to control. HINT • The input/output levels of the effect are shown by the input/ output meters at the upper right of the GEQ/EFFECT popup window. 10 To adjust the effect return level, operate the ST IN channel you selected as the outputdestination for the rack in step 3.
About the internal effects Inserting an internal effect into a channel Here we will explain how to insert an effect into a channel by assigning the input/output of the internal effect to the input/output of the desired channel (except for a ST IN channel). INSERT ON/OFF button 1 As described in “Virtual rack operations” (→ p. 158) steps 1–3, mount an effect in a rack.
About the internal effects C Input/output meters These indicate the level of the signals before and after the effect. 9 Select the effect type and edit the effect parameters. For details on editing the effect parameters, refer to “Editing the internal effect parameters” that follows. HINT • The levels before and after the effect are shown by the input/ output meters at the upper right of the GEQ/EFFECT popup window.
About the internal effects C Effect type field This shows the effect title, the name of the type that is used, and a graphic. The number of input/output channels (1 IN/2 OUT or 2 IN/2 OUT) of this effect is also shown. When you press this field, the EFFECT TYPE popup window will appear, allowing you to select the effect type. D EFFECT CUE button This button cue-monitors the output of the currently displayed effect. This cue function is valid only while this screen is displayed.
About the internal effects 6 If you want to monitor only the output sig- nal of the currently displayed effect, press the EFFECT CUE button to turn it on. HINT • Even if the Cue mode is set to MIX CUE mode (in which all channels whose [CUE] keys are on will be mixed for monitoring), only the output signal of the effect will be monitored when you turn on the EFFECT CUE button. (The [CUE] keys that had been turned on until then will be temporarily defeated.
About the internal effects User defined keys popup buttons 7 Press the rack in which the effect you want to control is mounted. The GEQ/EFFECT popup window will appear. 8 Press the effect type field to open the EFFECT TYPE popup window, and select an effect type that includes the BPM parameter. The BPM parameter is included in delay-type and modulation-type effects, and can be used to specify the delay time or modulation speed.
About the internal effects Using the Freeze effect Here’s how to use the “FREEZE” effect type, which provides the functionality of a simple sampler. When this effect type is selected, you can perform operations in the screen to record (sample) and play back a sound. 1 In the function access area, press the RACK button to access the VIRTUAL RACK window, and use the GEQ/EFFECT tab to display the GEQ/EFFECT field. 2 Mount an effect in rack 5 or rack 7.
Using the graphic EQ and effect libraries Using the graphic EQ and effect libraries You can use dedicated libraries to store and recall graphic EQ and effect settings. ● GEQ library ● Effect library Use the “GEQ library” to store and recall GEQ settings. All GEQ units used in the M7CL can reference this GEQ library. (However, the 31 Band GEQ and Flex15GEQ are different types. You cannot recall a GEQ library item of a different type.) 200 items can be recalled from the library.
Using an external head amp Using an external head amp If you connect an external head amp that supports remote control via a dedicated protocol (Yamaha AD8HR) to the M7CL’s REMOTE connector, you will be able to remotely control parameters such as the phantom power (+48V), gain, and HPF of each channel from the M7CL. External head amp connections Here we will give the example of connecting the Yamaha AD8HR.
Using an external head amp Remotely controlling an external head amp Here’s how an external head amp (subsequently referred to as the “external HA”) connected to the REMOTE connector can be remotely controlled from the M7CL. C Virtual racks These are six racks in which remotely controllable external HA units can be mounted. If an external HA is mounted, its settings (GAIN setting and phantom power on/off) are shown. When you press a rack, the EXTERNAL HA popup window for that rack will appear.
Using an external head amp 6 To remotely control an external HA, press the rack in which the external HA you want to control is mounted. The EXTERNAL HA popup window will appear. Here you can remotely control the external HA by using the knobs and buttons in the M7CL’s display or the encoders of the top panel. 7 To remotely control the external HA from an input channel of the M7CL, use the navigation keys to access the OVERVIEW screen that includes the channel whose HA you want to control.
M7CL Owner’s Manual
Chapter 17 MIDI This chapter explains how MIDI messages can be transmitted from an external device to control the M7CL’s parameters, and conversely how operations on the M7CL can be transmitted as MIDI messages. MIDI functionality on the M7CL The M7CL can use MIDI to perform the following operations.
Basic MIDI settings Basic MIDI settings Here’s how to select the type of MIDI messages the M7CL will transmit and receive, the MIDI port that will be used, and the MIDI channel. 1 In the function access area, press the 1 PORT/CH field SETUP button to access the SETUP screen. MIDI button Here you can select the port and MIDI channel that will be used to transmit and receive MIDI messages. If MIDI messages are being transmitted or received, the SIGNAL indicators at the top of this area will light.
Basic MIDI settings F CONTROL CHANGE field Here you can make settings for control change transmission/reception. • Tx button........Switches control change transmission on/off. • Rx button .......Switches control change reception on/off. 2 1 • ECHO button ...........Selects whether incoming control changes will be echoed out from the MIDI transmit port. • NRPN button ...........
Basic MIDI settings • Using program changes to recall scenes and library items 1 CH field Select CH 1–CH 16 as the channel that will be used to transmit or receive MIDI messages. 8 Turn transmission/reception on or off for each MIDI message. HINT 7 Select the channel. • For details on using program changes, refer to “Using program changes to recall scenes and library items,” below. Use the ↑/↓ buttons to select an item.
Using program changes to recall scenes and library items Here you can switch program change transmission/ reception on/off, and specify whether program changes will be echoed out. This setting is linked with the PROGRAM CHANGE field of the MIDI SETUP page. B PROGRAM CHANGE MODE field Here you can select the program change transmit/ receive mode. This setting is linked with the PROGRAM CHANGE MODE field of the MIDI SETUP page.
Using program changes to recall scenes and library items 7 Use the buttons of the PROGRAM CHANGE field to turn transmission and reception on/ off, and make settings for echo output. This field includes the following items. ● Tx button Switches program change transmission on/off. ● Rx button Switches program change reception on/off. event you want to assign, and use the LIBRARY NAME field to select the scene/ library number that will be recalled. Use the ↑/↓ buttons to select an item.
Using control changes to control parameters Using control changes to control parameters You can use MIDI control change messages to control specified events (fader/encoder operations, [ON] key on/off operations etc.) on the M7CL. This capability can be used to record fader and key operations on a MIDI sequencer or other external device, and play back this data later. You can use control changes to control events in either of the following two ways.
Using control changes to control parameters 6 Use the buttons of the CONTROL CHANGE MODE field to select the control change transmission/reception mode. NOTE • If NRPN mode is selected as the control change transmission/reception mode, the settings in this window are ignored. You can choose one of the following two modes for control change transmission/reception.
Using parameter changes to control parameters Using parameter changes to control parameters On the M7CL, you can use a type of system exclusive messages called “parameter changes” to control specific events (fader/encoder operations, [ON] key on/off operations, etc.) as an alternative to using control changes or NRPN messages. For details on the parameter changes that can be transmitted and received, refer to “MIDI data format” in the appendix. 1 Connect the M7CL to your external device.
M7CL Owner’s Manual
Chapter 18 User settings (Security) This chapter explains the User Level settings that allow restrictions on the parameters that can be operated by each user, the Console Lock function that temporarily disables operation of the console, the Preferences settings that allow the operating environment to be customized, and Save/Load operations using USB storage devices.
User Level settings Privileges for each user are as follows.
User Level settings Creating a user authentication key Here’s how to create a user authentication key and save it on a USB storage device. A user authentication key can be created only by an Administrator or Power User. The user level can be specified when the authentication key is created, but the user-defined key settings and preference settings will be carried over from the user who is currently logged-in. 1 Connect a USB storage device to the USB connector.
User Level settings 2 Press the log-in button to open the LOGIN window. ● Logging-in as a User To log-in as a User, you will use a user authentication key saved on a USB storage device. You may also log-in using a user authentication key created on a different M7CL console. 1 Connect a USB storage device to the USB connector. 3 Press the LOGIN button for ADMINISTRATOR. If no Administrator password has been set, you will simply be logged-in.
User Level settings 3 Enter the current password and press the OK button. For details on entering a password, refer to “Entering names” (→ p. 30). When you enter the correct password, a keyboard window will appear, allowing you to enter the new password. 7 Enter the password and press the OK button. For details on entering a password, refer to “Entering names” (→ p. 30). If the password was incorrect, a message of “WRONG PASSWORD” will appear in the bottom of the screen.
User Level settings Editing a user authentication key If you are logged-in as a user, you can edit your userdefined keys and preference settings, and overwrite (save) them onto your user authentication key. If you are loggedin as a Power User, you can also change the user level. Changing the user level Here’s how to view or change the user level. • For the Administrator ........... There is no such setting for the Administrator himself, but the setting for the Guest account can be changed.
User Level settings 3 Press the USER LEVEL tab to access the USER LEVEL page. If you are logged-in as the Administrator, you can switch to the USER LEVEL for GUEST page, and view or change the user level of the Guest account. This page includes the following items. 1 CH OPERATION Here you can specify (for each channel) the operations that will be permitted for input channels, output channels, and DCA groups. The settings will apply to the currently selected channel.
Preferences Preferences Here’s how you can make various settings for the M7CL’s operating environment, such as how popup windows appear, and whether SEL key operations will be linked. These settings are changed for the user who is logged-in, but if you are logged-in as the Administrator, you will also be able to change the Guest settings. 1 In the function access area, press the SETUP button to access the SETUP screen.
Preferences ● POPUP APPEARS WHEN PRESSING KNOBS Specifies whether pressing a knob of the SELECTED CHANNEL section when the SELECTED CHANNEL VIEW screen is shown will cause a popup window (1 ch) to appear. If this button is on, a popup window (1 ch) will appear (or close) whenever you press a knob. ● SCENE UP/DOWN This specifies what the SCENE MEMORY [▲]/[▼] keys will do when pressed in the SCENE screen. You can choose one of the following two operations. • SCENE +1/-1 ...........
User-defined keys User-defined keys Here’s how you can assign the desired functions to the user defined keys in the USER DEFINED section of the top panel, and press these keys to execute the defined function. This assignment procedure will define the user-defined keys for the user who is currently loggedin, but if you are logged-in as the Administrator, you can also make user-defined key settings for the Guest account. 1 In the function access area, press the SETUP button to access the SETUP screen.
Console lock Console lock You can temporarily prohibit console operations in order to prevent unwanted operation. This setting completely disables operations of the panel and touch screen, so that controls cannot be operated by an accidental touch or by an unauthorized third party while the operator is taking a break. If a password is set for the currently logged-in user, that password will be used for the Console Lock function.
Using a USB storage device to save/load data Using a USB storage device to save/load data This section explains how you can connect a commercially-available USB storage device to the USB connector located at the right side of the display, and use it to save or load internal settings of the M7CL or user authentication keys. NOTE • The M7CL can handle FAT32, FAT16, or FAT12 file systems, but if you format the storage device from the M7CL it will be formatted as FAT16. Long file names are not supported.
Using a USB storage device to save/load data Loading a file from a USB storage device 4 Press the LOAD button, and a confirmation dialog box will appear. Here’s how to load a M7CL setting file (.M7C) from the USB storage device on which it was saved. 1 In the function access area, press the SETUP button to access the SETUP screen. SAVE/LOAD button 5 Press the OK button to begin loading the file.
Using a USB storage device to save/load data 123 4 5 6 • FILE TYPE...... Files that contain M7CL internal settings are shown as “ALL,” user keys as “KEY,” other files as “???”, and directories as [DIR]. • TIME STAMP ........... This shows the date and time at which the file was last modified. NOTE 7 • The file list can display only up to one hundred items. H File selection knob This knob selects a file shown in the file list. You can operate this knob using multifunction encoder 1.
Using a USB storage device to save/load data HINT • By pressing the same location again, you can change the direction (ascending or descending) in which the list is sorted. 4 If you want to edit the file name or com- ment, press the FILE NAME field or COMMENT field of each file to access the keyboard window. For details on entering text, refer to “Entering names” (→ p. 30). 4 If necessary, press the directory icon and change the directory.
Using a USB storage device to save/load data ● Creating a directory 1 2 Press the SAVE/LOAD button to access the SAVE/LOAD popup window. In the function access area, press the SETUP button to access the SETUP screen. 2 Press the SAVE/LOAD button to access the SAVE/LOAD popup window. 3 If necessary, press the directory icon and change the directory. To move to the next higher level, press the arrow button in the PATH field. 4 Press the MAKE DIR button.
Chapter 19 Other functions This chapter explains other functionality of the M7CL not covered elsewhere. About the SETUP screen In the SETUP screen you can make various settings that apply to the entire M7CL. To access the SETUP screen, press the SETUP button in the function access area. The screen contains the following items. 2 E CASCADE button Use this button to access the CASCADE popup window, where you can make settings for cascade connections (→ p. 210).
About the SETUP screen • Word Clock and Slot settings • BATTERY........This indicates the voltage of the internal backup battery. This will indicate OK if operation is normal, or LOW or NO if the voltage is low. NOTE N BRIGHTNESS field Here you can control the brightness of the screen, panel, and lamps. The corresponding multifunction encoder can be used to operate the knobs that control the brightness. You can also use the BANK A/B buttons to save two different sets of brightness settings (→ p. 215).
Word Clock and Slot settings C CHANNEL This area shows the channel numbers of the digital I/O card(s) installed in slots 1–3. D FREQUENCY (Clock frequency) This indicates the clock frequency of the signal being input to each channel of the digital I/O card, in sets of two channels. E SRC (Sampling Rate Converter) These buttons are on/off switches (in two groups of two channels) for the sampling rate converters that automatically convert an external clock frequency to match the M7CL.
Using cascade connections Using cascade connections By cascade-connecting two or more M7CL units or an M7CL with an external mixer (such as the Yamaha PM5D) you can share the buses. For example this is convenient when you want to use an external mixer to increase the number of inputs. Here we will explain cascade connections and operation, using an example in which two M7CL units are cascade-connected.
Using cascade connections 4 Press the port select popup button for the bus whose port you want to assign. The OUTPUT PORT SELECT popup window will appear. Operations on the cascade master M7CL 1 In the function access area, press the SETUP button to access the SETUP screen. 1 2 In the SYSTEM SETUP field located in the 2 center of the SETUP screen, press the CASCADE button to open the CASCADE popup window. 3 Press the CASCADE IN PATCH tab to access the CASCADE IN PATCH page.
Basic settings for MIX buses and MATRIX buses Basic settings for MIX buses and MATRIX buses This section explains how to change the basic settings for MIX buses and MATRIX buses, such as switching between stereo and monaural, and selecting the position from which the signal is sent from an input channel. The settings you make in the following procedure are saved as part of the scene. 1 In the function access area, press the SETUP button to access the SETUP screen.
Setting the date and time of the internal clock 6 As desired, turn the buttons of the PAN LINK field on/off. In the PAN LINK field you can specify whether the panning of the signal sent from an input channel to the stereo bus will be linked with operations of the INPUT TO ST PAN knob.
Setting the network address Setting the network address Here’s how to set the network address that will be required when you use the M7CL’s Ethernet connector to connect it to a Windows computer. NOTE • The cue signal is sent to the same output destination as the monitor signal. Be aware that for this reason, if you turn off the Monitor function, the cue signal will no longer be sent to the connected monitor speakers. However, the cue signal will always be sent to the PHONES OUT jack.
Specifying the brightness of the touch screen, LEDs, and lamps Specifying the brightness of the touch screen, LEDs, and lamps Here’s how to specify the brightness of the touch screen, top panel LEDs, and lamps connected to the rear panel LAMP connectors. 1 In the function access area, press the SETUP button to access the SETUP screen. 2 In the BRIGHTNESS field located in the right of the bottom row in the SETUP screen, press the BANK A or BANK B button.
Initializing the M7CL’s internal memory Initializing the M7CL’s internal memory If an error occurs in the M7CL’s internal memory, or if you have forgotten the password, you can use the following procedure to initialize the internal memory. CAUTION • The entire contents of memory will be lost if you initialize the internal memory. Proceed with the following operation only if you are very sure you want to do this. 1 While holding down the SCENE MEMORY [STORE] key of the panel, turn on the power.
Adjusting the detection point of the touch screen (Calibration function) Adjusting the detection point of the touch screen (Calibration function) Here’s how to correctly align the positions of the LCD display and the touch screen. 1 While holding down the SCENE MEMORY [STORE] key of the panel, turn on the power. After the opening screen, the following startup menu screen will appear. 3 Press the START button. A confirmation dialog box will appear. 4 Press the OK button in the dialog box.
Adjusting the faders (Calibration function) Adjusting the faders (Calibration function) Depending on the environment in which you use the M7CL, discrepancies may occur in the motion of the motor faders. You can use the Calibration function to correct these discrepancies. 1 While holding down the SCENE MEMORY [STORE] key of the panel, turn on the power. After the opening screen, the following startup menu screen will appear. 5 Press the OK button in the dialog box.
Adjusting the input/output gain (Calibration function) Adjusting the input/output gain (Calibration function) If necessary, you can make fine adjustments to the input/output gain. 1 While holding down the SCENE MEMORY [STORE] key of the panel, turn on the power. • OUTPUT PORT TRIM (Fine adjustment of the output ports) ........... Access the OUTPUT PORT TRIM window, and make fine adjustments to the gain of the specified analog output port in 0.01 dB steps.
Adjusting the input/output gain (Calibration function) 220 M7CL Owner’s Manual
Appendices EQ Library List Parameter Title 01 Bass Drum 1 LOW L-MID H-MID HIGH PEAKING PEAKING PEAKING H.SHELF G +3.5 dB –3.5 dB 0.0 dB +4.0 dB F 100 Hz 265 Hz 1.06 kHz 5.30 kHz Q 02 Bass Drum 2 1.25 10.0 0.90 — PEAKING PEAKING PEAKING LPF G +8.0 dB –7.0 dB +6.0 dB ON F 80.0 Hz 400 Hz 2.50 kHz 12.5 kHz Q 03 Snare Drum 1 0.0 dB +3.0 dB +4.5 dB 132 Hz 1.00 kHz 3.15 kHz 5.00 kHz 1.25 4.5 0.11 — L.SHELF PEAKING PEAKING PEAKING G +1.5 dB –8.5 dB +2.
EQ Library List • DYNAMICS Library List # Parameter Title 25 Male Vocal 1 Chorus & Harmo PEAKING +2.0 dB +3.5 dB 2.00 kHz 6.70 kHz 0.11 4.5 0.56 0.11 PEAKING PEAKING PEAKING H.SHELF G +2.0 dB –5.0 dB –2.5 dB +4.0 dB F 170 Hz 236 Hz 2.65 kHz 6.70 kHz 0.11 10.0 5.6 — PEAKING PEAKING PEAKING PEAKING G –1.0 dB +1.0 dB +1.5 dB +2.0 dB F 118 Hz 400 Hz 2.65 kHz 6.00 kHz 0.18 0.45 0.56 0.14 L.SHELF PEAKING PEAKING H.SHELF G –7.0 dB +1.5 dB +1.5 dB +2.
DYNAMICS Library List 9 Title Compander (S) Type COMPANDER-S Parameter 11 A. Dr. BD A. Dr. BD COMPRESSOR COMPANDER-H 13 A. Dr. SN A. Dr. SN COMPRESSOR EXPANDER 15 A. Dr. Tom COMPANDER-S EXPANDER 17 A. Dr. OverTop E. B. Finger COMPANDER-S COMPRESSOR –10 3.5 Attack (ms) 25 Attack (ms) Out gain (dB) 0.0 E. B. Slap COMPRESSOR 19 Syn. Bass COMPRESSOR 9 Out gain (dB) 3.
DYNAMICS Library List # 29 30 31 32 33 Title SamplingPerc Sampling BD Sampling SN Hip Comp Solo Vocal1 Type COMPANDER-S COMPRESSOR COMPRESSOR COMPANDER-S COMPRESSOR Parameter COMPRESSOR COMPRESSOR Click Erase EXPANDER 0 ∞ Attack (ms) Out gain (dB) Announcer COMPANDER-H Limiter1 COMPANDER-S COMPRESSOR Attack (ms) 0 Out gain (dB) 0.0 18 Knee hard Release (ms) 319 Threshold (dB) –14 Threshold (dB) –18 3.
Dynamics Parameters Dynamics Parameters Input channels provide DYNAMICS section 1 and DYNAMICS section 2. Output channels provide DYNAMICS section 1. An input channel’s DYNAMICS section 1 provides the following four types: GATE, DUCKING, COMPRESSOR, and EXPANDER. An input channel’s DYNAMICS section 2 provides the following four types: COMPRESSOR, COMPANDER-H (Compander Hard), COMPANDER-S (Compander Soft), and DE-ESSER.
Dynamics Parameters ■ COMPRESSOR The COMP processor attenuates signals above a specified THRESHOLD by a specified RATIO. The COMP processor can also be used as a limiter, which, with a RATIO of ∞:1, reduces the level to the threshold. This means that the limiter’s output level never actually exceeds the threshold. Parameter Range Description THRESHOLD (dB) –54 to 0 (55 points) This determines the level of input signal required to trigger the compressor. RATIO 1.0:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2.
Dynamics Parameters ■ COMPANDER HARD (COMPANDER-H), COMPANDER SOFT (COMPANDER-S) Output Level The hard and soft companders combine the effects of the compressor, expander and limiter. THRESHOLD WIDTH 0dB Input Level The companders function differently at the following levels: 1 0 dB and higher . . . . . . . . . . . . . . . . . . Functions as a limiter. 2 Exceeding the threshold . . . . . . . . . . Functions as a compressor. 3 Below the threshold and width . . . . Functions as an expander.
Effect Type List Effect Type List Title 228 Type Description Reverb Hall REVERB HALL Concert hall reverberation simulation with gate Reverb Room REVERB ROOM Room reverberation simulation with gate Title Type REV+CHORUS Reverb and chorus in parallel Rev→Chorus REV→CHORUS Reverb and chorus in series Rev+Flange REV+FLANGE Reverb and flanger in parallel Rev→Flange REV→FLANGE Reverb and flanger in series Rev+Sympho. REV+SYMPHO.
Effects Parameters Effects Parameters One input, two output hall, room, stage, and plate reverb simulations, all with gates. Parameter REV TIME INI. DLY Range 0.3–99.0 s 0.0–500.0 ms Description Reverb time Initial delay before reverb begins ■ GATE REVERB, REVERSE GATE One input, two output early reflections with gate, and early reflections with reverse gate. Parameter TYPE Range Type-A, Type-B Description Type of early reflection simulation ROOMSIZE 0.1–20.
Effects Parameters ■ MOD. DELAY ■ ECHO One input, two output basic repeat delay with modulation. Parameter DELAY Range Description Two input, two output stereo delay with crossed feedback loop. 0.0–2725.0 ms Delay time Parameter DELAY L 0.0–1350.0 ms Left channel delay time –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) DELAY R 0.0–1350.0 ms Right channel delay time FB.DLY L 0.0–1350.0 ms Left channel feedback delay time FB.
Effects Parameters ■ FLANGE ■ PHASER Two input, two output flange effect. Parameter Range Two input, two output 16-stage phaser. Description Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth DEPTH 0–100% Modulation depth MOD. DLY 0.0–500.0 ms Modulation delay time –99 to +99% –99 to +99% Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback) FB. GAIN FB.
Effects Parameters ■ TREMOLO ■ DUAL PITCH Two input, two output tremolo effect. Parameter Range Two input, two output pitch shifter. Description Parameter Range Description FREQ. 0.05–40.
Effects Parameters ■ MOD. FILTER ■ DYNA. FILTER Two input, two output modulation filter. Parameter Range Description FREQ. 0.05–40.00 Hz Modulation speed DEPTH 0–100% Modulation depth PHASE 0.00–354.38 degrees Left-channel modulation and right-channel modulation phase difference TYPE LPF, HPF, BPF OFFSET RESO. Two input, two output dynamically controlled filter.
Effects Parameters ■ DYNA. PHASER ■ REV→CHORUS Two input, two output dynamically controlled phaser. Parameter Range Description One input, two output reverb and chorus effects in series. Parameter Range REV TIME 0.3–99.0 s SOURCE INPUT, MIDI INI. DLY 0.0–500.0 ms Initial delay before reverb begins SENSE 0–100 Sensitivity HI. RATIO 0.1–1.0 High-frequency reverb time ratio DIR. UP, DOWN Upward or downward frequency change DIFF.
Effects Parameters ■ REV→FLANGE ■ REV→SYMPHO. One input, two output reverb and flanger effects in series. Parameter Range Description One input, two output reverb and symphonic effects in series. REV TIME 0.3–99.0 s Reverb time Parameter INI. DLY 0.0–500.0 ms Initial delay before reverb begins REV TIME 0.3–99.0 s HI. RATIO 0.1–1.0 High-frequency reverb time ratio INI. DLY 0.0–500.0 ms Initial delay before reverb begins DIFF. 0–10 Spread HI. RATIO 0.1–1.
Effects Parameters ■ DELAY+ER. ■ DELAY→ER. One input, two output delay and early reflections effects in parallel. One input, two output delay and early reflections effects in series. Parameter Range Description Range Description 0.0–1000.0 ms Left channel delay time DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB. DLY 0.0–1000.
Effects Parameters ■ DELAY→REV One input, two output delay and reverb effects in parallel. Parameter Range Description One input, two output delay and reverb effects in series. Parameter Range Description DELAY L 0.0–1000.0 ms Left channel delay time DELAY L 0.0–1000.0 ms Left channel delay time DELAY R 0.0–1000.0 ms Right channel delay time DELAY R 0.0–1000.0 ms Right channel delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB. DLY 0.0–1000.0 ms Feedback delay time FB.
Effects Parameters ■ MULTI FILTER ■ STEREO REVERB Two input, two output 3-band multi-filter (24 dB/octave). Parameter Range Description Parameter Range Description REV TIME 0.3–99.0 s Reverb time REV TYPE Hall, Room, Stage, Plate Reverb type TYPE 1 LPF, HPF, BPF Filter 1 type: high pass, low pass, band pass FREQ. 1 28.0 Hz–16.0 kHz Filter 1 frequency LEVEL 1 0–100 Filter 1 level INI. DLY 0.0–100.0 ms Initial delay before reverb begins RESO. 1 0–20 Filter 1 resonance HI.
Effects Parameters ■ M.BAND COMP Two input, two output 3-band compressor, with individual solo and gain reduction metering for each band. Parameter Range Description LOW GAIN –96.0 to +12.0 dB Low band level MID GAIN –96.0 to +12.0 dB Mid band level HI. GAIN –96.0 to +12.0 dB High band level L-M XOVR 21.2 Hz–8.00 kHz Low/mid crossover frequency M-H XOVR 21.2 Hz–8.00 kHz Mid/high crossover frequency SLOPE –6 dB, –12 dB Filter slope CEILING –6.0 dB to 0.
Effects and tempo synchronization Effects and tempo synchronization Some of the M7CL’s effects allow you to synchronize the effect with the tempo. There are two such types of effect; delay-type effects and modulation-type effects. For delay-type effects, the delay time will change according to the tempo. For modulation-type effects, the frequency of the modulation signal will change according to the tempo.
Scene Memory/Effect Library to Program Change Table Scene Memory/Effect Library to Program Change Table Program Change# 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Scene/ Effect Preset# Scene 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026
Scene Memory/Effect Library to Program Change Table ■ Preset Bank/Ch# 3 Program Change# 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 242 Scene/ Effect Preset# Scene 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 28
Scene Memory/Effect Library to Program Change Table ■ Preset Bank/Ch# 13 ■ Preset Bank/Ch# 5 Program Change# 001 002 003 : 128 Scene/Effect Preset# No Assign Scene/Effect Preset# No Assign Scene/Effect Preset# No Assign No Assign Program Change# 001 002 003 : 128 Scene/Effect Preset# No Assign Program Change# 001 002 003 : 128 Scene/Effect Preset# No Assign ■ Preset Bank/Ch# 16 ■ Preset Bank/Ch# 8 Program Change# 001 002 003 : 128 Preset# ■ Preset Bank/Ch# 15 ■ Preset Bank/Ch# 7 Pro
Scene Memory/Effect Library to Program Change Table ■ Bank/Ch# _ Program Change# 244 Scene/ Effect User# Program Change# Scene/ Effect User# Program Change# 001 044 087 002 045 088 003 046 089 004 047 090 005 048 091 006 049 092 007 050 093 008 051 094 009 052 095 010 053 096 011 054 097 012 055 098 013 056 099 014 057 100 015 058 101 016 059 102 017 060 103 018 061 104 019 062 105 020 063 106 021 064 107 022 065 108 023 066 109 0
Parameters that can be assigned to control changes Parameters that can be assigned to control changes NO ASSIGN Parameter 1 Parameter 2 Mode Parameter 1 — 0 INPUT CH 1–CH 48 STIN1L–STIN4R OUTPUT MIX 1–MIX 16 MATRIX 1–MATRIX 8 STEREO L–MONO(C) INPUT CH 1–CH 48 STIN1L–STIN4R MATRIX 1 LEVEL L – MATRIX 8 LEVEL L OUTPUT MIX 1–MIX 16 MATRIX 1–MATRIX 8 STEREO L–MONO(C) MATRIX 1/2 PAN – MATRIX 7/8 PAN INPUT CH 1–CH 48 STIN1L–STIN4R OUTPUT MIX 1–MIX 16 MATRIX 1–MATRIX 8 STEREO L–MONO(C) INPUT
Parameters that can be assigned to control changes Mode Parameter 1 Parameter 2 ON ATTACK THRESHOLD RELEASE H INPUT DYNAMICS2 RELEASE L RATIO CH 1–CH 48 STIN1L–STIN4R GAIN H GAIN L KNEE/WIDTH FILTER FREQ ON ATTACK THRESHOLD RELEASE H OUTPUT DYNAMICS1 RELEASE L RATIO MIX 1–MIX 16 MATRIX 1–MATRIX 8 STEREO L–MONO(C) GAIN H GAIN L KNEE/WIDTH BYPASS EFFECT MIX BALANCE RACK5–8 PARAM 1 H – PARAM 32 L ON A GEQ ON B GAIN A 1 – GAIN A 31 RACK1–8 GAIN B 1 – GAIN B 31 ON DCA FADER H DCA 1–DCA 8 FADER
Control change parameter assignments Control change parameter assignments ■ PRESET Mode Parameter 1 Parameter 2 Control Change# Mode Parameter 1 Parameter 2 1 CH 1 64 CH 1 2 CH 2 65 CH 2 3 CH 3 66 CH 3 4 CH 4 67 CH 4 5 CH 5 68 CH 5 6 CH 6 69 CH 6 7 CH 7 70 CH 7 8 CH 8 71 CH 8 9 CH 9 72 CH 9 10 CH 10 73 CH 10 11 CH 11 74 CH 11 12 CH 12 75 CH 13 76 14 CH 14 77 CH 14 15 CH 15 78 CH 15 CH 16 79 CH 16 17 CH 17 80 CH 17 18 CH 18 81 CH 18
Control change parameter assignments Control Change# Mode Parameter 2 Control Change# 1 65 2 66 3 67 4 68 5 69 6 70 7 71 8 72 9 73 10 74 11 75 12 76 13 77 14 78 15 79 16 80 17 81 18 82 19 83 20 84 21 85 22 86 23 87 24 88 25 89 26 90 27 91 28 92 29 93 30 94 31 95 33 102 34 103 35 104 36 105 37 106 38 107 39 108 40 109 41 110 42 111 43 112 44 113 45 114 46 115 47 116 48 117 49 118 50 119 51 52 53 54 55 56 57
NRPN parameter assignments NRPN parameter assignments INPUT MIX, MATRIX, STEREO LR INPUT to Mix9–16, Matrix1-4 LEVEL MIX9 SEND MIX10 SEND MIX11 SEND MIX12 SEND MIX13 SEND MIX14 SEND MIX15 SEND MIX16 SEND INPUT TO MATRIX1 INPUT TO MATRIX2 INPUT TO MATRIX3 INPUT TO MATRIX4 007E 00DE 013E 019E 01FE 025E 02BE 031E 037E 03DE 043E 049E 00B5 0115 0175 01D5 0235 0295 02F5 0355 03B5 0415 0475 04D5 MATRIX1 SEND MATRIX2 SEND MATRIX3 SEND MATRIX4 SEND MATRIX5 SEND MATRIX6 SEND MATRIX7 SEND MATRIX8 SEND INPUT 04F
NRPN parameter assignments Parameter RACK5–8 (EFFECT) RACK1–3 (GEQ) FADER 250 BYPASS MIX BALANCE PARAM1 PARAM2 PARAM3 PARAM4 PARAM5 PARAM6 PARAM7 PARAM8 PARAM9 PARAM10 PARAM11 PARAM12 PARAM13 PARAM14 PARAM15 PARAM16 PARAM17 PARAM18 PARAM19 PARAM20 PARAM21 PARAM22 PARAM23 PARAM24 PARAM25 PARAM26 PARAM27 PARAM28 PARAM29 PARAM30 PARAM31 PARAM32 ON GAIN1 GAIN2 GAIN3 GAIN4 GAIN5 GAIN6 GAIN7 GAIN8 GAIN9 GAIN10 GAIN11 GAIN12 GAIN13 GAIN14 GAIN15 GAIN16 GAIN17 GAIN18 GAIN19 GAIN20 GAIN21 GAIN22 GAIN23 GAIN24
INPUT HPF FREQ From To (HEX) (HEX) 3640 3677 MONO(C) DYNAMICS1 ON ATTACK THRESHOLD RELEASE RATIO GAIN KNEE/WIDTH 3680 3686 368C 3692 3698 369E 36A4 3684 368A 3690 3696 369C 36A2 36A8 INPUT to MIX1–8, Matrix5–8 PAN MIX1–2 MIX3–4 MIX5–6 MIX7–8 INPUT TO MATRIX5, 6 INPUT TO MATRIX7, 8 36AA 36EA 372A 376A 37AA 37EA 36E1 3721 3761 37A1 37E1 3821 MONO(C) to Matrix1–8 PAN MATRIX1,2 MATRIX3, 4 MATRIX5, 6 MATRIX7, 8 382A 3830 3836 383C 382E 3834 383A 3840 MIX9–16 to STEREO ON MIX TO ST 3842 3849 ON
Mixing parameter operation applicability Mixing parameter operation applicability This table indicates how the behaviors of each of the input channel and output channel parameters are affected by Stereo, Link, Recall Safe, and User Level settings.
Functions that can be assigned to user-defined keys Functions that can be assigned to user-defined keys FUNCTION NO ASSIGN SCENE PARAMETER 1 — PARAMETER 2 Explanation — No assignment. INC RECALL — Recall the scene of the next existing number. DEC RECALL — Recall the scene of the previous existing number. DIRECT RECALL SCENE #000–#300 Directly recall the scene of the specified number. RECALL UNDO — Execute RECALL UNDO. STORE UNDO — Execute STORE UNDO. LATCH Switch TALKBACK on/off.
Functions that can be assigned to user-defined keys FUNCTION M7CL EDITOR CONTROL 254 PARAMETER 1 PARAMETER 2 MASTER — OVERVIEW CH1–16, 17–32, 33–48, ST IN, MIX, MATRIX, ST/MONO, DCA SELECTED CHANNEL — LIBRARY DYNAMICS LIBRARY, INPUT EQ LIBRARY, OUTPUT EQ LIBRARY, EFFECT LIBRARY, GEQ LIBRARY PATCH EDITOR INPUT PATCH, OUTPUT PATCH, INPUT INSERT PATCH, OUTPUT INSERT PATCH,DIRECT OUT PATCH, PATCH LIST RACK EDITOR RACK, RACK1–8 METER INPUT METER, OUTPUT METER GROUP/LINK DCA GROUP, MUTE GROUP
MIDI Data Format MIDI Data Format This section explains the format of the data that the M7CL is able to understand, send, and receive. 1 CHANNEL MESSAGE (8n) Reception These messages are echoed to MIDI OUT if [OTHER ECHO] is ON. They are received if [Rx CH] matches, and used to control effects. STATUS DATA 1000nnnn 8n Note off message 0nnnnnnn nn Note number 0vvvvvvv vv Velocity(ignored) 1.2 NOTE ON (9n) Reception These messages are echoed to MIDI OUT if [OTHER ECHO] is ON.
MIDI Data Format 1.4 PROGRAM CHANGE (Cn) Reception If [Program Change ECHO] is ON, bank select messages will also be echoed from MIDI OUT. If SINGLE CH is selected, these messages are received if [Program Change RX] is ON and the [Rx CH] matches. However if [OMNI] is ON, these messages are received regardless of the channel. When these messages are received, scene memory and effect library are recalled according to the settings of the [Program Change Table].
MIDI Data Format 3.2 PARAMETER CHANGE 4.1.2 Reception This message is echoed if [Parameter change ECHO] is ON. This message is received if [Parameter change RX] is ON and [Rx CH] matches the Device number included in the SUB STATUS. When a parameter change is received, the specified parameter will be controlled. When a parameter request is received, the current value of the specified parameter will be transmitted as a parameter change with its Device Number as the [Rx CH].
MIDI Data Format 4.2.2 4.3 Function call – library edit – Function Name FUNCTION NAME 4.3.1 Store Recall Unknown Factor Store Unknown Factor Recall Store Undo (only Scene) Recall Undo (only Scene) 4.2.3 “LibStr__” “LibRcl__” “LibUnStr” “LibUnRcl” “LibStrUd” “LibRclUd” Transmission Parameter Change Message will be sent in reply to Request. If [Parameter change ECHO] is on, the message will be sent as it is.
MIDI Data Format 4.4 Function call – library attribute – 0mmmmmmm 0mmmmmmm 0mmmmmmm 0nnnnnnn 0nnnnnnn 0eeeeeee 0eeeeeee 0iiiiiii 0iiiiiii 0ccccccc 0ccccccc 11110111 Format (Parameter change) Receive Data will be received when [Parameter change Rx] is on and the Device number of both [Rx CH] and SUB STATUS are matched. The data will be echoed when [Parameter change ECHO] is on. The corresponding memory/library title will be changed immediately the data is received.
MIDI Data Format 4.5.2 Format (Parameter request) DATA 0mmmmmmm 0mmmmmmm 0ccccccc 0ccccccc 11110111 Receive The Parameter change will be sent with Device number [Rx CH] immediately the data is received. STATUS ID No.
MIDI Data Format 4.8 Function call – Channe – 4.9 4.8.1 4.9.1 Format (Parameter change) When transmission is enabled by receiving Request for Level Meter, the corresponding metering data will be sent in every 50 millisecond for 10 seconds. If metering information is expected to be continuously sent, Request is needed to be sent in at least every 10 seconds.
Warning/Error Messages Warning/Error Messages Message Meaning Scene #xxx is Empty! No data has been stored in the scene you attempted to recall, or the data has been damaged so that it cannot be recalled. Scene #xxx is Protected! You attempted to overwrite (store) a protected scene. Scene #xxx is Read Only! You attempted to overwrite (store) a read-only scene. xxx Parameters Copied. Parameter xxx was copied to the copy buffer. xxx Parameters Initialized. Parameter xxx was initialized.
Warning/Error Messages Message REMOTE: Data Overrun! Meaning Invalid signals are being input to the REMOTE connector. REMOTE: Rx Buffer Full! Too much data is being received at the REMOTE connector. REMOTE: Tx Buffer Full! Too much data is being sent from the REMOTE connector. Saving Aborted. Saving to the USB storage device has been interrupted. SLOT x: Data Framing Error! Invalid signals are being input from the SLOT x input port.
Troubleshooting Troubleshooting 264 Power does not turn on, panel LEDs and the LCD display do not light ❍ Is the M7CL’s POWER switch turned on? ❍ If the power still does not turn on, contact your Yamaha dealer. Sound is not input ❍ ❍ ❍ ❍ ❍ ❍ ❍ ❍ ❍ Is the optional I/O card installed correctly? (→ p. 42) Is a signal being input from the external device? Is the input port patched to an input channel? (→ p. 98) Is the GAIN of the internal head amp or external head amp set to an appropriate level? (→ p.
Troubleshooting • General Specifications When you recall a scene, it takes a certain amount of time for the faders to stop ❍ Could you have specified a fade time? (→ p. 139) The panel LEDs or LCD display are too dark / too bright ❍ This can be adjusted in the SETUP screen. (→ p. 215) Signal level of a specific frequency is low ❍ Could the EQ gain be turned down excessively? ❍ Routing a signal through a GEQ or effect will delay it relative to other signals.
Input/output characteristics Input/output characteristics ❏ Analog Input Characteristics Input Terminals GAIN Actual Load Impedance For Use With Nominal 3 kΩ 50-600 Ω Mics & 600 Ω Lines 3 kΩ 50-600 Ω Mics & 600 Ω Lines 3 kΩ 50-600 Ω Mics & 600 Ω Lines –62 dB INPUT 1-48 INPUT 1-32 +10 dB –62 dB ST IN1-4 [L,R] +10 dB –60 dB TALKBACK –16 dB Input Level Sensitivity *1 Nominal Max. Before Clip –82 dBu (61.6 µV) –62 dBu (0.616 mV) –42 dBu (6.
Input/output characteristics • Channel Status of 2TR OUT DIGITAL byte bit Block Format 1 Mode 2-4 0 5 2 3 4 fixed/variable fixed Emphasis Fs Lock 6-7 1 field name 0 Sampling Frequency variable 0-3 Channel Mode 4-7 Users Bit Management 0-2 Use of AUX 3-7 Source 0-7 Multi Channel 0-1 Digital Audio Reference Signal 2 fixed fixed Sampling Frequency description 1 professional use 0 audio 0x4 off 0 lock 0x0 others 0x3 32 kHz 0x2 44.
Electrical characteristics Electrical characteristics All faders are nominal when measured. Output impedance of signal generator:150ohms ❏ Frequency Response Input Fs= 44.1 kHz or 48 kHz @20 Hz–20 kHz, referenced to the nominal output level @1 kHz Output OMNI OUT 1-16 INPUT 1-48 INPUT 1-32 PHONES OMNI OUT 1-16 ST IN 1-4 [L, R] PHONES ❏ Gain Error RL 600 Ω 8Ω 600 Ω 8Ω Conditions GAIN: Max. Min. Typ. Max. –1.5 0.0 0.5 –3.0 0.0 0.5 –1.5 0.0 0.5 –3.0 0.0 0.5 Min.
Other Functions Other Functions ❏ Libraries ❏ Output Function Name Number Scene Memory Preset 1 + User 300 Total 301 Function Attenuator Parameter –96 to +24 dB Input EQ Library Preset 40 + User 159 199 Frequency= 20 Hz to 20 kHz Output EQ Library Preset 3 + User 196 199 Gain= –18 dB to +18 dB Dynamics Library Preset 41 + User 158 199 Effect Library Preset 48 + Reserve 9 + User 142 199 GEQ Library Preset 1 + User 199 200 Parameter Normal/Reverse Attenuator –96 to +24 dB Slope= 1
Pin Assignment Pin Assignment 1 5 4 14 15 20 6 8 7 13 19 9 1 2 3 9 6 12 18 23 5 11 10 16 17 21 22 ❏ REMOTE 270 Pin Signal Name Pin Signal Name 1 GND 6 RX+ 2 RX– 7 RTS 3 TX– 8 CTS 4 TX+ 9 GND 5 N.
Dimensions Dimensions M7CL-48 168: PSL360 (option) 955: PSL360 (option) 340:MBM7CL (option) 286 216 370 701 35 ˚ 146 18 4 111 25 535 30 13 22 185 102 8˚ 672 130 297 442 144 124 1026 1274 M7CL-32 168: PSL360 (option) 955: PSL360 (option) 340:MBM7CL (option) 286 216 370 701 35 ˚ 146 18 4 111 25 13 30 124 83 442 672 130 144 812 Unit : mm 1060 Appendices 535 22 185 102 8˚ * Specifications and descriptions in this owner’s manual are for information purposes o
Installing the MBM7CL meter bridge (option) Installing the MBM7CL meter bridge (option) 1. Remove screw A from the rear of the M7CL’s touch screen, and remove the connector cover. 2. Remove screws B (two locations). 3. Loosen screws C (two locations) so that they protrude approximately 2 mm. 2 mm C Connector cover C 2 mm B A B M7CL main unit 4. Hook holes D of the MBM7CL’s attachment fixture over the M7CL’s screws C (two locations, at left and right). 5.
MIDI Implementation Chart MIDI Implementation Chart YAMAHA [ Digital Mixing Console ] Model M7CL MIDI Implementation Chart Transmitted Recognized Date :8-Aug-2005 Version : 1.0 Remarks Function...
Index Index Symbols B Controlling mute groups .............117 [DCA] key .................................... 21 Banks A/B .................................. 215 Copying the parameters of a channel................................122 [DYNAMICS 1] encoder .............. 17 BRIGHTNESS ........................... 215 Copying/pasting a file.................205 [DYNAMICS 2] encoder .............. 17 Brightness of the touch screen, LEDs, and lamps ....................... 215 Copying/pasting a scene....
Index Entering names ........................... 30 EQ ............................................. 105 EQ [FREQUENCY] encoders ...... 17 H HA (Head Amp) gain settings ...... 44 HA (Head Amp) settings .............. 55 EQ and dynamics ...................... 105 HA/PATCH popup window 1 ch........................................... 55 8 ch........................................... 56 ALL ........................................... 56 EQ library .................................. 111 Help .............
Index O S OMNI OUT jacks 1–16 ................ 22 T OUTPUT CUE ........................... 145 SCENE ........................................ 29 Clearing .................................. 133 Copying/pasting...................... 132 Cutting .................................... 134 Inserting.................................. 134 Recalling................................. 128 Storing .................................... 125 Output patch settings .................. 95 SCENE field ....................
Index V VARI ............................................ 14 VARI [PRE EQ] ......................... 212 VARI [PRE FADER] .................. 212 Version/Power supply field ........ 207 Virtual rack ................................ 157 W Warning ..................................... 262 Word clock........................... 14, 208 Word clock connections and settings ................................. 43 Appendices WORD CLOCK IN/OUT connectors ...................................
M7CL Owner’s Manual
M O MIX 1 2 ··· 1516 ■ M7CL-48/M7CL-32 Block Diagram To OUTPUT PATCH To OUTPUT PATCH CASCADE IN SELECT MIX 1-16 OSCILLATOR OSC METER AD Sine Wave Pink Noise Burst Noise INPUT PATCH INSERT POINT To RACKIN PATCH To OUTPUT PATCH CH INSERT OUT 1-32 {48} CH INSERT IN 1-32 {48} HA +48V PRE FADER INSERT OUT PRE EQ INSERT OUT GAIN/TRIM HA METER 2 AD 1 3 HPF 32 {48} INSERT ATT 4BAND EQ PRE HPF PRE EQ POST EQ PRE EQ INSERT OUT Keyin Self PRE EQ Self POST EQ MIX13-16 OUT CH[1-8,9-16,17-24,25-3
■ M7CL-48/M7CL-32 Level Diagram Analog Analog Digital GAIN dBu +30 +24 +20 dBFS 0 -10 +10 +4 0 -20 -10 -40 -20 -50 -30 -60 -40 -70 -50 -60 -70 -30 -80 -90 -100 -80 -110 -90 -120 -100 -130 -110 -140 -120 -150 -130 -160 -140 -170 -150 -180 -160 -190 -170 -180 -190 -200 -210 Digital AD INPUT PATCH φ Digital HPF INSERT ATT. EQ (x4) DYN 1 DYN 2 INSERT LEVEL DCA (x8) ON PAN BUS Adder INSERT ATT.
For details of products, please contact your nearest Yamaha representative or the authorized distributor listed below. Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd.
Yamaha Pro Audio global web site: http://www.yamahaproaudio.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2005 Yamaha Corporation This document is printed on chlorine free (ECF) paper with soy ink. WF02260 801POCP1.
