Midas M32C User Manual

M32C DIGITAL RACK MIXER

Digital Rack Mixer for Installed and Live Sound Applications with
40 Input Channels and 25 Mix Buses

User Manual

A50-00000-00000

2 M32C DIGITAL RACK MIXER User Manual 3 M32C DIGITAL RACK MIXER User Manual

Important Safety
Instructions

LEGAL DISCLAIMER

LIMITED WARRANTY

Table of Contents

1. Callouts ..................................................................... 11

2. Hookup .....................................................................12

3. Select Knob Functions ............................................ 14

4. FX Descriptions ........................................................16

5. Topic Guide .............................................................. 24

5.1 Firmware updates ............................................................. 24

5.2 Remote control ..................................................................24

5.3 Recording a 2-track directly

with theconsole .......................................................................24

5.4 Saving and recalling scenes .......................................... 24

5.5 How do I add one of the

8 internal e ects to the sound? ........................................... 25

6. USB Interface Operation Guide ..............................26

6.1 Con guring the DN32-USB card

for use in theconsole .............................................................. 26

6.2 Con guring the PC to Interface

withtheDN32-USB Card ........................................................29

6.3 DN32-USB Speci cations ............................................... 31

7. Sp ec i cations ........................................................... 32

8. Block Diagram ..........................................................33

9. M32C MIDI Implementation ...................................34

Terminals marked withthis symbol
carryelectrical currentof su cient

magnitude to constitute risk of electric
shock. Useonly high-quality commercially-available
speaker cables with plugs pre-installed. Allother
installation or modi cation should be performed only by
quali edpersonnel.

This symbol, wherever it appears,

alertsyou to the presence of uninsulated

dangerous voltage inside the
enclosure-voltage that may be su cient to constitute a
risk ofshock.

This symbol, wherever it appears,

alertsyou to important operating and

maintenance instructions in the
accompanying literature. Please read the manual.

Caution

To reduce the risk of electric shock, donot

remove the top cover (or the rear section).
No user serviceable parts inside. Refer servicing to
quali ed personnel.

Caution

To reduce the risk of  re or electric shock,

do not expose this appliance to rain and
moisture. The apparatus shall not be exposed to dripping
or splashing liquids and no objects  lled with liquids,
suchas vases, shall be placed on the apparatus.

Caution

These service instructions are for use

by quali ed ser vice personnel only.
Toreduce the risk of electric shock do not perform any
servicing other than that contained in the operation
instructions. Repairs have to be performed by quali ed
servicepersonnel.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in

accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as
radiators, heat registers, stoves, or other apparatus
(including ampli ers) that produce heat.

9. Do not defeat the safety purpose of the polarized
or grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding-type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. Ifthe
provided plug does not  t into your outlet, consult an
electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.

11. Use only attachments/accessories speci ed by
themanufacturer.

12. Use only with the
cart, stand, tripod, bracket,
or table speci ed by the
manufacturer, orsold with
the apparatus. When a cart
is used, use caution when
moving the cart/apparatus
combination to avoid

injury from tip-over.

13. Unplug this apparatus during lightning storms or
when unused for long periods of time.

14. Refer all servicing to quali ed service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power supply cord or plug
is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed
to rain or moisture, does not operate normally, or has
beendropped.

15. The apparatus shall be connected to a MAINS socket
outlet with a protective earthing connection.

16. Where the MAINS plug or an appliance coupler is
used as the disconnect device, the disconnect device shall
remain readily operable.

17. Correct disposal of this
product: This symbol indicates that
this product must not be disposed
of with household waste,
according to the WEEE Directive
(2012/19/EU) and your national

law. This product should be taken
to a collection center licensed for the recycling of waste
electrical and electronic equipment (EEE). The
mishandling of this type of waste could have a possible
negative impact on the environment and human health
due to potentially hazardous substances that are generally
associated with EEE. At the same time, your cooperation
in the correct disposal of this product will contribute to
the e cient use of natural resources. For more
information about where you can take your waste
equipment for recycling, please contact your local city
o ce, or your household waste collection service.

MUSIC Group accepts no liability for any loss which
may be su ered by any person who relies either
wholly or in part upon any description, photograph,
or statement contained herein. Technical speci cations,
appearances and other information are subject
to change without notice. All trademarks are the
property of their respective owners. MIDAS, KLARK
TEKNIK, LAB.GRUPPEN, LAKE, TANNOY, TURBOSOUND,
TC ELECTRONIC, TC-HELICON, BEHRINGER, BUGERA,
DDA and TC APPLIED TECHNOLOGIES are trademarks
or registered trademarks of MUSIC Group IP Ltd.
© MUSIC Group IP Ltd. 2015 All rights reserved.

For the applicable warranty terms and conditions
and additional information regarding MUSIC Group’s
Limited Warranty, please see complete details online at
music-group.com/warranty.

4 M32C DIGITAL RACK MIXER User Manual 5 M32C DIGITAL RACK MIXER User Manual

Instrucciones de
seguridad

NEGACIÓN LEGAL

GARANTÍA LIMITADA

Consignes de sécurité

DÉNI LÉGAL

GARANTIE LIMITÉE

Las terminales marcadas con este símbolo
transportan corriente eléctrica de

magnitud su ciente como para constituir
un riesgo de descarga eléctrica. Utilice solo cables de
altavozde alta calidad con clavijas TSde6,3mm
pre-instaladas (puedeadquirirlos en comercios
especializados en audio). Cualquierotra instalación o
modi cación debe ser realizada únicamente por un
técnico cuali cado.

Este símbolo, siempre que aparece,

leadvierte de la presencia de voltaje

peligroso sin aislar dentro de la caja;
estevoltaje puede ser su ciente para constituir un riesgo
dedescarga.

Este símbolo, siempre que aparece,

leadvierte sobre instrucciones operativas

y de mantenimiento que aparecen en la
documentación adjunta. Por favor, lea el manual.

Atención

Para reducir el riesgo de descarga

eléctrica, no quite la tapa (o la parte
posterior). No hay piezas en el interior del equipo que
puedan ser reparadas por el usuario. Si es necesario,
póngase en contacto con personal cuali cado.

Atención

Para reducir el riesgo de incendio o

descarga eléctrica, no exponga este
aparato a la lluvia, humedad o alguna otra fuente que
pueda salpicar o derramar algún líquido sobre el aparato.
Nocoloque ningún tipo de recipiente para líquidos sobre
el aparato.

Atención

Las instrucciones de servicio deben

llevarlas a cabo exclusivamente personal
cuali cado. Para evitar el riesgo de una descarga eléctrica,
no realice reparaciones que no se encuentren descritas
en el manual de operaciones. Lasreparaciones deben ser
realizadas exclusivamente por personalcuali cado.

1. Lea las instrucciones.

2. Conserve estas instrucciones.

3. Preste atención a todas las advertencias.

4. Siga todas las instrucciones.

5. No use este aparato cerca del agua.

6. Limpie este aparato con un paño seco.

7. No bloquee las aberturas de ventilación. Instale el

equipo de acuerdo con las instrucciones del fabricante.

8. No instale este equipo cerca de fuentes de calor
tales como radiadores, acumuladores de calor, estufas u
otros aparatos (incluyendo ampli cadores) que puedan
producir calor.

9. No elimine o deshabilite nunca la conexión a tierra
del aparato o del cable de alimentación de corriente.
Unenchufe polarizado tiene dos polos, uno de los cuales
tiene un contacto más ancho que el otro. Una clavija con
puesta a tierra dispone de tres contactos: dos polos y la
puesta a tierra. El contacto ancho y el tercer contacto,
respectivamente, son los que garantizan una mayor
seguridad. Si el enchufe suministrado con el equipo no
concuerda con la toma de corriente, consulte con un
electricista para cambiar la toma de corriente obsoleta.

10. Coloque el cable de suministro de energía de manera
que no pueda ser pisado y que esté protegido de objetos
a lados. Asegúrese de que el cable de suministro de
energía esté protegido, especialmente en la zona de la
clavija y en el punto donde sale del aparato.

11. Use únicamente los dispositivos o accesorios
especi cados por el fabricante.

12. Use únicamente la
carretilla, plataforma,
trípode, soporte o mesa
especi cados por el
fabricante o suministrados
junto con el equipo.
Altransportar el equipo,
tenga cuidado para evitar

daños y caídas al tropezar con algún obstáculo.

13. Desenchufe el equipo durante tormentas o si no va a
utilizarlo durante un periodo largo.

14. Confíe las reparaciones únicamente a servicios
técnicos cuali cados. La unidad requiere mantenimiento
siempre que haya sufrido algún daño, si el cable de
suministro de energía o el enchufe presentaran daños,
sehubiera derramado un líquido o hubieran caído objetos
dentro del equipo, si el aparato hubiera estado expuesto
a la humedad o la lluvia, si ha dejado de funcionar de
manera normal o si ha sufrido algún golpe o caída.

15. Al conectar la unidad a la toma de corriente eléctrica
asegúrese de que la conexión disponga de una unión
atierra.

16. Si el enchufe o conector de red sirve como único
medio de desconexión, éste debe ser accesiblefácilmente.

17. Cómo debe deshacerse de
este aparato: Este símbolo indica
que este aparato no debe ser
tratado como basura orgánica,
según lo indicado en la Directiva
WEEE (2012/19/EU) y a las

normativas aplicables en su país.
En lugar de ello deberá llevarlo al punto limpio más
cercano para el reciclaje de sus elementos eléctricos/
electrónicos (EEE). Al hacer esto estará ayudando a
prevenir las posibles consecuencias negativas para el
medio ambiente y la salud que podrían ser provocadas por
una gestión inadecuada de este tipo de aparatos. Además,
el reciclaje de materiales ayudará a conservar los recursos
naturales. Para más información acerca del reciclaje de
este aparato, póngase en contacto con el Ayuntamiento
de su ciudad o con el punto limpio local.

MUSIC Group no admite ningún tipo de responsabilidad
por cualquier daño o pérdida que pudiera sufrir
cualquier persona por con ar total o parcialmente
en la descripciones, fotografías o a rmaciones
contenidas en este documento. Las especi caciones
técnicas, imágenes y otras informaciones contenidas
en este documento están sujetas a modi caciones
sin previo aviso. Todas las marcas comerciales que
aparecen aquí son propiedad de sus respectivos
dueños. MIDAS, KLARK TEKNIK, LAB.GRUPPEN, LAKE,
TANNOY, TURBOSOUND, TC ELECTRONIC, TC-HELICON,
BEHRINGER, BUGERA, DDA y TC APPLIED TECHNOLOGIES
son marcas comerciales o marcas registradas
de MUSIC Group IP Ltd. © MUSIC Group IP Ltd.
2015 Reservados todos los derechos.

Si quiere conocer los detalles y condiciones aplicables
de la garantía así como información adicional sobre la
Garantía limitada de MUSIC Group, consulte online toda la
información en la web music-group.com/warranty.

Les points repérés par ce symbole portent
une tension électrique su sante pour

constituer un risque d’électrocution.
Utilisez uniquement des câbles d’enceintes de haute
qualité disponibles dans les points de vente avec les
connecteurs Jack mono 6,35 mm déjà installés.
Touteautre installation ou modi cation doit être
e ec tuée uniquement par un personnel quali é.

Ce symbole avertit de la présence d’une

tension dangereuse et non isolée à

l’intérieur de l’appareil - elle peut
provoquer des chocs électriques.

Attention

Ce symbol signale les consignes

d’utilisation et d’entre ! Tien importantes
dans la documentation fournie. Lisez les consignes de
sécurité du manuel d’utilisation de l’appareil.

Attention

Pour éviter tout risque de choc électrique,

ne pas ouvrir le capot de l’appareil ni
démonter le panneau arrière. L’intérieur de l’appareil
ne possède aucun élément réparable par l’utilisateur.
Laissertoute réparation à un professionnel quali é.

Attention

Pour réduire les risques de feu et de choc

électrique, n’exposez pas cet appareil à la
pluie, à la moisissure, aux gouttes ou aux éclaboussures.
Ne posez pas de récipient contenant un liquide sur
l’appareil (un vase par exemple).

Attention

Ces consignes de sécurité et d’entretien

sont destinées à un personnel quali é.
Pouréviter tout risque de choc électrique, n’e ectuez
aucune réparation sur l’appareil qui ne soit décrite par le
manuel d’utilisation. Les éventuelles réparations doivent
être e ectuées uniquement par un technicien spécialisé.

1. Lisez ces consignes.

2. Conservez ces consignes.

3. Respectez tous les avertissements.

4. Respectez toutes les consignes d’utilisation.

5. N’utilisez jamais l’appareil à proximité d’un liquide.

6. Nettoyez l’appareil avec un chi on sec.

7. Veillez à ne pas empêcher la bonne ventilation de

l’appareil via ses ouïes de ventilation. Respectezles
consignes du fabricant concernant l’installation
del’appareil.

8. Ne placez pas l’appareil à proximité d’une source
de chaleur telle qu’un chau age, une cuisinière ou tout
appareil dégageant de la chaleur (y compris un ampli
depuissance).

9. Ne supprimez jamais la sécurité des prises bipolaires
ou des prises terre. Les prises bipolaires possèdent deux
contacts de largeur di érente. Leplus large est le contact
de sécurité. Les prises terre possèdent deux contacts plus
une mise à la terre servant de sécurité. Si la prise du bloc
d’alimentation ou du cordon d’ali-mentation fourni ne
correspond pas à celles de votre installation électrique,
faites appel à un électricien pour e ectuer le changement
de prise.

10. Installez le cordon d’alimentation de telle façon
que personne ne puisse marcher dessus et qu’il soit
protégé d’arêtes coupantes. Assurez-vous que le cordon
d’alimentation est sufsamment protégé, notamment au
niveau de sa prise électrique et de l’endroit où il est relié à
l’appareil; cela est également valable pour une éventuelle
rallonge électrique.

11. Utilisez exclusivement des accessoires et des
appareils supplémentaires recommandés par lefabricant.

12. Utilisez
exclusivement des
chariots, des diables,
desprésentoirs, despieds
et des surfaces de
travail recommandés
par le fabricant ou

livrés avec le produit.
Déplacezprécautionneusement tout chariot ou diable
chargé pour éviter d’éventuelles blessures en cas dechute.

13. Débranchez l’appareil de la tension secteur en cas
d’orage ou si l’appareil reste inutilisé pendant une longue
période de temps.

14. Les travaux d’entretien de l’appareil doivent
être e ectués uniquement par du personnel qualié.
Aucunentretien n’est nécessaire sauf si l’appareil est
endommagé de quelque façon que ce soit (dommagessur
le cordon d’alimentation ou la prise par exemple), siun
liquide ou un objet a pénétré à l’intérieur du châssis,
si l’appareil a été exposé à la pluie ou à l’humidité, s’il ne
fonctionne pas correctement ou à la suite d’une chute.

15. L’appareil doit être connecté à une prise secteur
dotée d’une protection par mise à la terre.

16. La prise électrique ou la prise IEC de tout appareil
dénué de bouton marche/arrêt doit rester accessible
enpermanence.

17. Mise au rebut appropriée de
ce produit: Ce symbole indique
qu’en accord avec la directive DEEE
(2012/19/EU) et les lois en vigueur
dans votre pays, ce produit ne doit
pas être jeté avec les déchets

ménagers. Ce produit doit être
déposé dans un point de collecte agréé pour le recyclage
des déchets d’équipements électriques et électroniques
(EEE). Une mauvaise manipulation de ce type de déchets
pourrait avoir un impact négatif sur l’environnement et la
santé à cause des substances potentiellement
dangereuses généralement associées à ces équipements.
En même temps, votre coopération dans la mise au rebut
de ce produit contribuera à l’utilisation e cace des
ressources naturelles. Pour plus d’informations sur
l’endroit où vous pouvez déposer vos déchets

d’équipements pour le recyclage, veuillez contacter votre
mairie ou votre centre local de collecte des déchets.

MUSIC Group ne peut être tenu pour responsable pour
toute perte pouvant être subie par toute personne
se  ant en partie ou en totalité à toute description,
photographie ou a rmation contenue dans ce
document. Les caractéristiques, l’apparence et d’autres
informations peuvent faire l’objet de modi cations
sans noti cation. Toutes les marques appartiennent à
leurs propriétaires respectifs. MIDAS, KLARK TEKNIK,
LAB.GRUPPEN, LAKE, TANNOY, TURBOSOUND,
TC ELECTRONIC, TC-HELICON, BEHRINGER, BUGERA,
DDA et TC APPLIED TECHNOLOGIES sont des marques
ou marques déposées de MUSIC Group IP Ltd.
© MUSIC Group IP Ltd. 2015 Tous droits réservés.

Pour connaître les termes et conditions de garantie
applicables, ainsi que les informations supplémentaires
et détaillées sur la Garantie Limitée de MUSIC Group,
consultez le site Internet music-group.com/warranty.

6 M32C DIGITAL RACK MIXER User Manual 7 M32C DIGITAL RACK MIXER User Manual

Wichtige
Sicherheitshinweise

HAFTUNGSAUSSCHLUSS

BESCHRÄNKTE GARANTIE

Instruções de Segurança
Importantes

LEGAL RENUNCIANTE

GARANTIA LIMITADA

Vorsicht

Die mit dem Symbol markierten

Anschlü sse fü hren so viel Spannung,
dass die Gefahr eines Stromschlags besteht.
Verwenden Sie nur hochwertige, im Handel
erhältliche Lautsprecherkabel mit vorinstallierten
6,3 mm TSSteckern. Alle anderen Installationen
oder Modi kationen sollten nur von quali ziertem
Fachpersonal ausgefü hrt werden.

Achtung

Um eine Gefährdung durch Stromschlag

auszuschließen, darf die Geräteabdeckung
bzw. Geräterückwand nicht abgenommen werden.
ImInnern des Geräts be nden sich keine vom Benutzer
reparierbaren Teile. Reparaturarbeiten dürfen nur von
quali zier tem Personal ausgeführt werden.

Achtung

Um eine Gefährdung durch Feuer bzw.

Stromschlag auszuschließen, darf dieses
Gerät weder Regen oder Feuchtigkeit ausgesetzt werden
noch sollten Spritzwasser oder tropfende Flüssigkeiten
in das Gerät gelangen können. Stellen Sie keine mit
Flüssigkeit gefüllten Gegenstände, wie z. B. Vasen,
aufdasGerät.

Achtung

Die Service-Hinweise sind nur durch

quali zier tes Personal zu befolgen.
Umeine Gefährdung durch Stromschlag zu vermeiden,
führen Sie bitte keinerlei Reparaturen an dem Gerät
durch, die nicht in der Bedienungsanleitung beschrieben
sind. Reparaturen sind nur von quali ziertem
Fachpersonaldurchzuführen.

1. Lesen Sie diese Hinweise.

2. Bewahren Sie diese Hinweise auf.

3. Beachten Sie alle Warnhinweise.

4. Befolgen Sie alle Bedienungshinweise.

5. Betreiben Sie das Gerät nicht in der Nähe vonWasser.

6. Reinigen Sie das Gerät mit einem trockenen Tuch.

7. Blockieren Sie nicht die Belüftungsschlitze. Beachten

Sie beim Einbau des Gerätes die Herstellerhinweise.

8. Stellen Sie das Gerät nicht in der Nähe von
Wärmequellen auf. Solche Wärmequellen sind z. B.
Heizkörper, Herde oder andere Wärme erzeugende Geräte
(auch Verstärker).

9. Entfernen Sie in keinem Fall die
Sicherheitsvorrichtung von Zweipol- oder geerdeten
Steckern. Ein Zweipolstecker hat zwei unterschiedlich
breite Steckkontakte. Ein geerdeter Stecker hat zwei
Steckkontakte und einen dritten Erdungskontakt.
Derbreitere Steckkontakt oder der zusätzliche
Erdungskontakt dient Ihrer Sicherheit. Falls das

mitgelieferte Steckerformat nicht zu Ihrer Steckdose
passt, wenden Sie sich bitte an einen Elektriker, damit die
Steckdose entsprechend ausgetauscht wird.

10. Verlegen Sie das Netzkabel so, dass es vor
Tritten und scharfen Kanten geschützt ist und nicht
beschädigt werden kann. Achten Sie bitte insbesondere
im Bereich der Stecker, Verlängerungskabel und an
der Stelle, an der das Netzkabel das Gerät verlässt,
aufausreichendenSchutz.

11. Das Gerät muss jederzeit mit intaktem Schutzleiter
an das Stromnetz angeschlossen sein.

12. Sollte der Hauptnetzstecker oder eine
Gerätesteckdose die Funktionseinheit zum Abschalten
sein, muss diese immer zugänglich sein.

13. Verwenden Sie nur Zusatzgeräte/Zubehörteile,
dielaut Hersteller geeignet sind.

14. Verwenden
Sie nur Wagen,
Standvorrichtungen,
Stative, Halter oder Tische,
die vom Hersteller benannt
oder im Lieferumfang
des Geräts enthalten

sind. Falls Sie einen
Wagen benutzen, seien Sie vorsichtig beim Bewegen
der Wagen- Gerätkombination, umVerletzungen durch
Stolpern zuvermeiden.

15. Ziehen Sie den Netzstecker bei Gewitter oder wenn
Sie das Gerät längere Zeit nicht benutzen.

16. Lassen Sie alle Wartungsarbeiten nur von
quali zier tem Service-Personal ausführen. EineWartung
ist notwendig, wenn das Gerät in irgendeiner Weise
beschädigt wurde (z. B. Beschädigung des Netzkabels oder
Steckers), Gegenstände oder Flüssigkeit in das Geräteinnere
gelangt sind, das Gerät Regen oder Feuchtigkeit ausgesetzt
wurde, das Gerät nicht ordnungsgemäß funktioniert oder
auf den Boden gefallen ist.

17. Korrekte Entsorgung dieses
Produkts: Dieses Symbol weist
darauf hin, das Produkt
entsprechend der WEEE Direktive
(2012/19/EU) und der jeweiligen
nationalen Gesetze nicht

zusammen mit Ihren
Haushaltsabfällen zu entsorgen. DiesesProdukt sollte bei
einer autorisierten Sammelstelle für Recycling elektrischer
und elektronischer Geräte (EEE) abgegeben werden.
Wegen bedenklicher Substanzen, diegenerell mit
elektrischen und elektronischen Geräten in Verbindung
stehen, könnte eine unsachgemäße Behandlung dieser
Abfallart eine negative Auswirkung auf Umwelt und
Gesundheit haben. Gleichzeitig gewährleistet Ihr Beitrag
zur richtigen Entsorgung dieses Produkts die e ektive
Nutzung natürlicher Ressourcen. Fürweitere
Informationen zur Entsorgung Ihrer Geräte bei einer
Recycling-Stelle nehmen Sie bitte Kontakt zum
zuständigen städtischen Büro, Entsorgungsamt oder zu
Ihrem Haushaltsabfallentsorgerauf.

MUSIC Group übernimmt keine Haftung für Verluste,
die Personen entstanden sind, die sich ganz oder
teilweise auf hier enthaltene Beschreibungen,
Fotos oder Aussagen verlassen haben. Technische Daten,
Erscheinungsbild und andere Informationen können
ohne vorherige Ankündigung geändert werden.
Alle Warenzeichen sind Eigentum der jeweiligen
Inhaber. MIDAS, KLARK TEKNIK, LAB.GRUPPEN,
LAKE, TANNOY, TURBOSOUND, TC ELECTRONIC,
TC-HELICON, BEHRINGER, BUGERA, DDA und TC APPLIED
TECHNOLOGIES sind Warenzeichen oder eingetragene
Warenzeichen der MUSIC Group IP Ltd. © MUSIC Group
IP Ltd. 2015 Alle Rechte vorbehalten.

Die geltenden Garantiebedingungen und zusätzliche
Informationen bezüglich der von MUSIC Group
gewährten beschränkten Garantie  nden Sie online unter
music-group.com/warranty.

Aviso!

Terminais marcados com o símbolo

carregam corrente elétrica de magnitude
su ciente para constituir um risco de choque elétrico.
Use apenas cabos de alto-falantes comercialmente
disponíveis de alta qualidade com plugues TS de ¼ "
pré-instalados. Todas as outras instalações e modi cações
devem ser efetuadas por pessoas quali cadas.

Este símbolo, onde quer que o encontre,

alerta-o para a leitura das instruções de

manuseamento que acompanham o
equipamento. Por favor leia o manual de instruções.

Atenção

De forma a diminuir o risco de choque

eléctrico, não remover a cobertura
(ouasecção de trás). Não existem peças substituíveis por
parte do utilizador no seu interior. Para esse efeito recorrer
a um técnico quali cado.

Atenção

Para reduzir o risco de incêndios ou

choques eléctricos o aparelho não deve ser
exposto à chuva nem à humidade. Além disso, não deve
ser sujeito a salpicos, nem devem ser colocados em cima
do aparelho objectos contendo líquidos, tais como jarras.

Atenção

Estas instruções de operação devem ser

utilizadas, em exclusivo, por técnicos de
assistência quali cados. Para evitar choques eléctricos
não proceda a reparações ou intervenções, que não as
indicadas nas instruções de operação, salvo se possuir as
quali - cações necessárias. Para evitar choques eléctricos
não proceda a reparações ou intervenções, que não as
indicadas nas instruções de operação. Só o deverá fazer se
possuir as quali cações necessárias.

1. Leia estas instruções.

2. Guarde estas instruções.

3. Preste atenção a todos os avisos.

4. Siga todas as instruções.

5. Não utilize este dispositivo perto de água.

6. Limpe apenas com um pano seco.

7. Não obstrua as entradas de ventilação. Instale de

acordo com as instruções do fabricante.

8. Não instale perto de quaisquer fontes de calor
tais como radiadores, bocas de ar quente, fogões de
sala ou outros aparelhos (incluindo ampli cadores)
que produzam calor.

9. Não anule o objectivo de segurança das  chas
polarizadas ou do tipo de ligação à terra. Uma  cha
polarizada dispõe de duas palhetas sendo uma mais larga
do que a outra. Uma  cha do tipo ligação à terra dispõe

de duas palhetas e um terceiro dente de ligação à terra.
A palheta larga ou o terceiro dente são fornecidos para
sua segurança. Se a  cha fornecida não encaixar na sua
tomada, consulte um electricista para a substituição da
tomada obsoleta.

10. Proteja o cabo de alimentação de pisadelas ou
apertos, especialmente nas  chas, extensões, e no local
de saída da unidade. Certi que -se de que o cabo eléctrico
está protegido. Veri que particularmente nas  chas, nos
receptáculos e no ponto em que o cabo sai doaparelho.

11. O aparelho tem de estar sempre conectado à rede
eléctrica com o condutor de protecção intacto.

12. Se utilizar uma  cha de rede principal ou uma
tomada de aparelhos para desligar a unidade de
funcionamento, esta deve estar sempre acessível.

13. Utilize apenas ligações/acessórios especi cados
pelofabricante.

14. Utilize apenas com
o carrinho, estrutura,
tripé, suporte, ou mesa
especi cados pelo
fabricante ou vendidos
com o dispositivo.
Quandoutilizar um

carrinho, tenha cuidado ao
mover o conjunto carrinho/dispositivo para evitar danos
provocados pela terpidação.

15. Desligue este dispositivo durante as trovoadas
ou quando não for utilizado durante longos períodos
detempo.

16. Qualquer tipo de reparação deve ser sempre
efectuado por pessoal quali cado. É necessária uma
reparação sempre que a unidade tiver sido de alguma
forma dani cada, como por exemplo: no caso do cabo
de alimentação ou  cha se encontrarem dani cados;
naeventualidade de líquido ter sido derramado ou
objectos terem caído para dentro do dispositivo; no caso
da unidade ter estado exposta à chuva ou à humidade;
seesta não funcionar normalmente, ou se tiver caído.

17. Correcta eliminação deste
produto: este símbolo indica que
o produto não deve ser eliminado
juntamente com os resíduos
domésticos, segundo a Directiva
REEE (2012/19/EU) e a legislação

nacional. Este produto deverá
ser levado para um centro de recolha licenciado para a
reciclagem de resíduos de equipamentos eléctricos e
electrónicos (EEE). O tratamento incorrecto deste tipo
de resíduos pode ter um eventual impacto negativo
no ambiente e na saúde humana devido a substâncias
potencialmente perigosas que estão geralmente
associadas aos EEE. Ao mesmo tempo, a sua colaboração
para a eliminação correcta deste produto irá contribuir
para a utilização e ciente dos recursos naturais. Paramais
informação acerca dos locais onde poderá deixar o seu
equipamento usado para reciclagem, é favor contactar
os serviços municipais locais, a entidade de gestão de
resíduos ou os serviços de recolha de resíduosdomésticos.

O MUSIC Group não se responsabiliza por perda alguma
que possa ser sofrida por qualquer pessoa que dependa,
seja de maneira completa ou parcial, de qualquer
descrição, fotogra a, ou declaração aqui contidas.
Dados técnicos, aparências e outras informações estão
sujeitas a modi cações sem aviso prévio. Todas as
marcas são propriedade de seus respectivos donos.
MIDAS, KLARK TEKNIK, LAB.GRUPPEN, LAKE, TANNOY,
TURBOSOUND, TC ELEC TRONIC, TC-HELICON, BEHRINGER,
BUGERA, DDA e TC APPLIED TECHNOLOGIES são
marcas ou marcas registradas do MUSIC Group IP Ltd.
© MUSIC Group IP Ltd. 2015 Todos direitos reservados.

Para obter os termos de garantia aplicáveis e condições e
informações adicionais a respeito da garantia limitada do
MUSIC Group, favor veri car detalhes na íntegra através
do website music-group.com/warranty.

8 M32C DIGITAL RACK MIXER User Manual 9 M32C DIGITAL RACK MIXER User Manual

安全にお使いいただくために

限定保証

法的放棄

其他的重要信息

保修条款

法律声明

注意

感電の.恐れがありますので、カ
バーや その他の部品を取り外

したり、開けたりしないでください。高品
質なプロ用スピーカーケーブル（¼" TS 標準
ケーブルおよびツイストロッキングプラ
グケーブル）を使用してください。

注意

火事および感電の危険を防ぐ

ため、本装置を水分や湿気の
あるところには設置しないで下さい。装置
には決して水分がかからないように注意
し、花瓶など水分を含んだものは、装置の
上には置かないようにしてください。

注意

このマークが 表 示されている

箇所には、内部に高圧電流が
生じています。手を触れると感電の恐れが
あります。

注意

取り扱いとお手入れ の方法に

ついての重要な説明が付属の
取扱説明書に記載されています。ご使用の
前に良くお読みください。

注意

1. 取扱説明書を通してご覧ください。

2. 取扱説明書を大切に保管してくだ

さい。

3. 警告に従ってください。

4. 指示に従ってください。

5. 本機を水の近くで使用しないでくだ

さい。

6. お手入れの際は常に乾燥した布巾を使

ってくだ さい 。

7. 本機は、取扱説明書の指示に従い、

適切な換気を妨げない場所に設置してく
ださい。取扱説明書に従って設置してくだ
さい。

8. 本機は、電気ヒーターや温風機器、

ストーブ、調理台やアンプといった熱源か
ら離して 設 置 してください 。

9. ニ極式プラグおよびアースタイプ

(三芯)プラグの安全ピンは取り外さないで
ください 。ニ極式プラグにはピンが二本つ
いており、そのうち一本はもう一方よりも幅
が広くなっています。アースタイプの三 芯プ
ラグにはニ本のピンに加えてアース用のピ
ンが一本ついています。これらの幅の広い
ピン、およびアースピンは、安全のためのも
のです。備え付けのプラグが、お使いのコン
セントの形 状と異 なる場合は、電器技師に
相談してコンセントの交換をして下さい。

10. 電源コードを踏みつけたり、挟んだり

しないようご注 意ください。電源コードや
プラグ、コンセント及び製 品との接 続には
十分にご注意ください。

11. すべての装置の接地(アース)が確保

されていることを確認して下さい。

12. 電源タップや

電源プラグは電
源遮断機として利
用されている場合
には、これが直ぐ
に操作できるよう
手元に設置して下
さい。

13. 付属品は本機製造元が指定したもの

のみをお使いください。

14. カートスタンド、三脚、ブラケット、

テーブルなどは、本機製造元が指定したも
の、もしくは本 機の 付属 品となるもののみ
をお使いください。カートを使用しての運
搬の際は、器具の落下による怪我に十分ご
注意ください。

15. 雷雨の場合、もしくは長 期間ご 使用に

ならない 場 合は、電源プラグをコンセント
から抜いてください。

16. 故障の際は当社指定のサービス技術

者にお問い合わせください。電源コードも
しくはプラグの損 傷、液体の装置内への浸
入、装置の上に物が落下した場合、雨や湿
気に装置が晒されてしまった場合、正常に
作動しない場合、もしくは装置を地 面 に落
下させてしまった場合など、いかなる形で
あれ装置に損傷が加わった場合は、装置
の修理・点検を受けてください。

17. 本製品に電源コード

が付属されている場合、
付属の電源コードは本製
品以外ではご使用いただ
けません。電源コードは
必ず本製品に付属された
電源コードのみご使用く
ださい。

ここに含ま れ る記 述、写真、意見の全体
または一部に依拠して、いかなる人が損
害を生じさせた場合にも、MUSIC Group
は一切の賠 償 責任を負いません。技術
仕様、外観およびその他の情報は予
告なく変更になる場合があります。商
標はすべて、それぞれの所有者に帰属し

MIDAS、KLARK TEKNIK、LAB.GRUPPEN、

ます。

LAKE、TAN NOY、TURBOSOUND、TC ELECTRONIC、
TC-HELICON、BEHRINGER, BUGERA、DDAおよび
TC APPLIED TECHNOLOGIESはMUSIC Group IP Ltd.

の商標または登録商標です。© MUSIC Group

IP Ltd. 2015無断転用禁止。

適用される保証条件とMUSIC Groupの限定
保証に関する概要については、オンライン
上music-group.com/warrantyにて詳細をご確
認ください 。

ࣝధ൦ಗ঄ᄋጽቬ᝻ܭЧధ
ܹᄋႄุߜڛᝐႄԁᬘǎᬎ
Ώၺࣝధ ¼ '' TSᩛତ݁

ᄋᰵַ᠐˅ˋܧ٩ጴǎధᄋ߸ᜊួ
஠ڪᮍႁՍಬᄋ˅ˋցᤊᛢǎ

൦ಗ঄ଣᧉ১ַаߜڛఴ
ፑᎇᄋԁᬘႄԎధᝐႄԁᬘǎ

൦ಗ঄ଣᧉ১ಋ󰪀ᬅᄋ᧙᜷
ᄋΏၺԤ፦οឮ௛ǎឱ󰪀឵ధ
Угǎ

࠶

˟ᥙГᝐႄԁᬘឱӉ఼

ᮈᄧᑁ᭨૖ౝǎ᝻ܭа෦
ధԼΚၺ፦οΏၺᄋᦋǎឱ࠳፦ο
ᮋႁՍಬᄋ˅ˋցᤊᛢǎ

࠶

˟ᥙГᅍ༣ᝐႄԁᬘឱӉ

࠳൦᝻ܭᎷᭂ๹໾ິ˘ǎ
൦᝻ܭ˸ˁԼԫ๰͵໠ຶᄪధ๰͵ᄋࠕ
٩˸ˁԼᎷЦʾݡᔊၬ኏ǎ

࠶

፦οឮ௛௨ፍՍಬᄋ˅ˋ፦

οցΏၺ ᄋǎ˟ᥙГᝐႄԁ
ᬘᬕΏၺឮ௛˻ଣ҃ᄋܲឱӉᤊᛢ
ͶЦ߳፦οǎధ፦οڪᮍႁՍಬᄋ˅
ˋցᤊᛢǎ

1. ឱ󰪀឵ᤉឮ௛ǎ

2. ឱݱؔεߜᤉឮ௛ǎ

3. ឱญధᄋ᝞ᇩǎ

4. ឱᥗ߷ధᄋឮ௛ǎ

5. ឱӉڛ᭦ᤄබᄋڢஶΏၺశַǎ

6. ឱၺࣱ࣌ຎพశַǎ

7. ឱӉ܅܌ᤱ᮴Աǎ߸ᜊశַ௒ឱᥗ

ཱིԉࠓᄋឮ௛ǎ

8. ឱӉ࠳శַ߸ᜊڛམ຺ᬅᤄ

ݡ఍ජྠ༰ߖЦ߳ၸམ᧛ᄋ᝻ܭ
Ӌ઻ҫ஋٩ǎ

9. ឱӉሩᬕ౞মତ݁଍ڢତ݁ᄋ߸М

ᜊᎷǎ଍ڢତ݁௨ႁˑ˕ତ܌଍གྷԤʸ˕
଍ڢ݁౟ǎᔫᬥ᠏ଣΚᄋତ݁ˁᤡՍ১
ᄋତឱႄࢻట૲ʸ˕Սᤡᄋତǎ

10. ݱؔεઑႄ຺ጴΏЦˁᜃ᡼ᢇ҉

ᆢࡀЦญႄ຺ତ݁Ǎܴၺ᤮ତԤ᝻ܭ
ᤍ଍ܬǎ

11. ឱԷΏၺԉࠓ૊ࠁᄋᬅ࡜᝻ܭ֘

ᦢǎ

12. ឱԷΏၺԉࠓ

૊ࠁᄋᬥ᠏ᩚ
׭ᄋଏᢽ౷ߖ
ʽᝉ౷஄౷֘ಹ
ߖǎᔫΏၺଏᢽ
౐ୄᤃ᝻ܭឱญ
߸М஋Ꮇ᝻ܭ
ᥙГଏᢽ֘᝻

ܭϛωᏬԫǎ

13. ᥆󰩧ႄᭈᲟ󰩤ఱˁΏၺశ᝻ܭ௒

ឱફѤႄ຺ତ݁ǎ

14. ధ፦οڪᮍႁՍಬᄋ፦οցᤊ

ᛢǎ᝻ܭԫ૰௒ᭋᤊᛢ፦οΔݡႄ຺ጴ
ႄ຺ତ݁ԫ૰๰͵ุЛྮᗁЛ᝻ܭ
а᝻ܭᥔᭂ๹ԫ໾᝻ܭˁᑠ൥ࣣᤃͼ
ᜃ୒گǎ

15. శ᝻ܭᤍ଍ႄ຺௒ʸࠁ᜷ధ଍ڢ

εઑǎ

16. ᔫႄ຺ତ݁٩Ч

ᏺՍ٩ၺͼளႄᜊᎷ
ε᝾߳ܬᬥ௒Լ
ஶΨ୳ͼ࿅ঘǎ

17. శַᤡၺ๓

ફ2000ዜʿڢӞశ
ַᤡၺ᭥མࣝජό౏
ʿǎ

ࠬͶڃڛ൦ឮ௛˻ଣ҃ᄋМᦋ
ᦋଢᤙǍڐྠܧ௛Ꮼᤶᄋ૰݀

MUSIC Groupˁ᠈Ͷ᠋ǎ઀సԡஞ֘ܲ

᜻ᔫధటஉিˁԴᛢᤱᅽǎధᄋ׹ಗڪ
˟ЦՋᒮధᏩᄋ᠊ǎ

MIDAS, KLARK TEKNIK,
LAB.GRUPPEN, LAKE, TANNOY, TURBOSOUND,
TC ELECTRONIC, TC-HELICON, BEHRINGER,
BUGERA, DDA

֘TC APPLIED TECHNOLOGIES௨

MUSIC Group IP Ltd.ОՄᄋ׹ಗญг׹ಗǎ
© MUSIC Group IP Ltd. 2015ྡీధǎ

ధУᮄˮᬸڅεοᄋᤡၺ౏൝ԤЦ߳ᄲУ
θ্ឱᄇᬇmusic-group.com/warrantyᎫቤಋ
ᄻߺ஠ᄋឡጻθ্ǎ

10 M32C DIGITAL RACK MIXER User Manual 11 M32C DIGITAL RACK MIXER User Manual

Introduction

Welcome to the M32C user manual! After years of intense development, weare
proud to o er a mixer that combines tremendous power and  exibility with a
very user-friendly layout and intuitive work ow that allow you to get up-and­running right away.

The M32C is a robust-yet-streamlined mixer that features all of the basic
functionality and processing of the MIDAS M32 console in a smaller form fac tor.
When paired with our DL16 digital stagebox and either the M32-Mix app for
iPad* or M32-Edit editor for PC/Mac*, the M32C becomes the centerpiece of a
highly- exible mixing system for both portable and  xed-install applications.

Dual AES50 Ethernet jacks that employ KLARK TEKNIK SuperMAC technology
contribute 96 x 96 signals to the total count of 168 x 168 accessible sources and
destinations. The ability to save and recall entire scenes makes set or program
changes quick and simple. A front panel USB connector enables system data to be
stored or a board mix to be recorded directly to external  ash or hard drives.

A virtual FX rack o ers 8 true-stereo (16 mono) multi-e ects processors,
withover 60FX models that eliminate the need for any additional outboard gear.
4high-quality e ects such as delay, chorus and reverb can run concurrently with
8channels of 31-band graphic equalization.

The built-in USB interface card enables streaming of up to 32 tracks to and from a
computer for recording, mixing and mastering purposes.

Continue through this user manual to learn all about the functionality
that this powerful mixer has to o er! We also recommend that you check
midasconsoles.com to make sure you have the latest  rmware installed as we
release frequent updates.

*iPad and Mac are tr ademarks of Apple I nc.

1. Callouts

(1) USB input allows connection of USB  ashdrives for  rmware updates,

loading/saving scenes and show  les, and playing back or recording
WAV  les.

(2) DATA/USB LED lights to indicate that a  ashdrive has been connected and

that the data has been successfully accessed.

(3) DISPLAY shows the M32C model name after power-up, and displays

relevant information when editing scenes and setup menus.

(4) NETWORK LINK LEDs will light green to indicate proper sync, light red to

indicate a sync error, and remain unlit when no connection is present.

(5) SELECT knob navigates the display menus and edits setup parameters.

See the SELECT Knob Functions section for details.

(6) POWER button turns the unit on and o .

(7) DN32-USB interface card allows up to 32 channels of bidirectional audio to

be transmitted to and from a computer.

(8) ETHERNET connector allows full OSC-based remote control of the M32C.

(9) MIDI IN/OUT allows the unit to send and receive MIDI commands via

standard 5-pin DIN cables.

(10) ULTRANET connector sends 16 channels of audio to a P16 monitoring

system.

(11) AES50 A and B connectors allow 96 channels of bidirectional audio for

connection to DL16 digital snakes or other M32 family products. Shielded
CAT-5e cable should always be used for AES50 connections between M32
and DL16 units.

(12) MONITORING OUTPUT jacks allow connection of active monitor speakers via

balanced or unbalanced ¼ " cables.

(13) TALKBACK input accepts a dynamic microphone via ¼ " TRS jack. Adjust the

gain with the adjacent TRIM knob.

(1)

(7)

(3)(2) (4) (5)

(6)

(8) (9) (10) (11) (12) (13)

12 M32C DIGITAL RACK MIXER User Manual 13 M32C DIGITAL RACK MIXER User Manual

2. Hookup

Basic Connections

Cabling for all AES50 connections between M32C and DL16/DL32 stageboxes:

• Shielded CAT-5e cable, Ethercon terminated cable ends (recommended)

• Maximum cable length 100 meters (330 feet)

Multiple Stage Setup with M32C, DL16 snake and P16 Personal Monitor System

DL32

P16D

TRS

TRS

TRS

B3031A Studio monitors

Turbosound iQ15 and iQ18S
speakers with Ultranet connectivity

P16-D Distributor

P16
Ultranet

IEM

Bass Player

IEM

Guitarist

Phones

Drummer

POWERPLAY P16-M Digital Personal Mixers

Turbosound M12
active speakers

Vocal 1

Keyboardist

Voc 1 Floor wedges

Vocal 1

IEM

P16
Ultranet

P16-D Distributor

IEM IEM

2nd Guitarist

IEM IEM

Background Vocal 1

Percussionist

Keyboards Percussion

Background Vocal 2

Background Vocal 3

Spare

IEM

P16M

AES50
Supermac

Control room with M32 Editor to run both stage setups from one
location through the M32C.

AES50
Supermac

Active Studio Monitors

Analogue balanced TRS

TRS

Talkback mic

14 M32C DIGITAL RACK MIXER User Manual 15 M32C DIGITAL RACK MIXER User Manual

3. Select Knob Functions

The SELECT knob serves several functions on the M32C. The following table describes the SELECT knob behavior in each of the available scenarios.

Action

Funct ional Descr iption

Scene Select Mode (Hold the SELECT knob depressed for 2 seconds)

Display >“Scene” in bold

>Current scene number
>Next scene number and name (small) to be loaded on GO

Short press Recalls the selected Scene from M32C internal memory “GO”

> behavior depends on Scene set tings/preferences (remote controlled via
editing software)
> Scene safes can only be set /reset remotely
> Scenes/Shows f rom USB drives can only be accessed remotely
>A complete show can be loaded from an at tached USB drive into the internal
memory using Setup Mode

Rotate Preselec ts the next Scene

Setup Mode (Press SELECT knob to access menu)

Rotate and press Select and enter the Setup pages:

1. Lo ad Show

2. Contrast

3. LEDs

4. Clock Rate

5. Sync

6. IP Address

7. IP (Subnet) Mask

8. IP Gateway

9. Lo ck

1. Load Show Load show from root director y of attached USB drive
>display 3 rows:

-Load Show

-Exit

-Show Files
>Exit leads bac k to Setup Mode root level
>Turn cloc kwise to scroll through a list of show  les found in USB root direc tory,
push to load selec ted show and return to Setup Mo de root level

2. Contrast LCD contrast
> Rotate to adjust 0 -100
> Press to con rm and exit

3. LEDs LED brightness
> Rotate to adjust 0 -100
> Press to con rm and exit

4. Clock Rate Select the internal Sample Clock Rate
> Rotate to adjust 4 4.1 or 48 kHz (change requires to reboot the M32C)
> Press to con rm and exit

5. Sync Choose Clock Synchronisation source
> Rotate to selec t INT (internal), AES50 (Port) A, or AES50 (Por t) B
> Press to con rm and exit

6. IP Address Select the IP Address for M32C
> Rotate to adjust the  r s t triplet (0-255)
> Press to con rm
> Rotate to adjust the second triplet (0-255)
> Press to con rm
> Rotate to adjust the third triplet (0-255)
> Press to con rm
> Rotate to adjust the fourth triplet (0-255)
> Press to con rm and exit

Action

Funct ional Descr iption

7. IP Mask Select the IP Subnet Mask for M32C
> Rotate to adjust the  r s t triplet (0-255)
> Press to con rm
> Rotate to adjust the second triplet (0-255)
> Press to con rm
> Rotate to adjust the third triplet (0-255)
> Press to con rm
> Rotate to adjust the fourth triplet (0-255)
> Press to con rm and exit

8. IP Gateway Select the IP Gateway for M32C
> Rotate to adjust the  r s t triplet (0-255)
> Press to con rm
> Rotate to adjust the second triplet (0-255)
> Press to con rm
> Rotate to adjust the third triplet (0-255)
> Press to con rm
> Rotate to adjust the fourth triplet (0-255)
> Press to con rm and exit

9. Lock Locks the M32C
>Display “Lock Cancel”
>Press to cancel locking
> Rotating clockwise turns the display f rom Green to Red backlight and
shows “LOCKED”
>Press and hold the SELEC T knob for 5 seconds in order to exit Locked mode

16 M32C DIGITAL RACK MIXER User Manual 17 M32C DIGITAL RACK MIXER User Manual

4. FX Descriptions

FX Descriptions

Here is a list and brief description of the e ects available on the M32.
WhenStereoand Dual versions of an e ect are o ered, use the Stereo version
when the left and right signal are to be altered together (e.g. on linked stereo
channels or buses), or Dual when you want to dial di erent settings for the left
and right signal. See the Topic Guide for instructions on how to add e ects to a
channel orbus.

Stereo Precision Limiter

Stereo Precision Limiter allows you to set a precise volume limit,
ensuringdistortion-free, optimal signal integrity. Use the M32’s Stereo Precision
Limiter to boost quiet signals or preventing clipping while preserving the level of
“hot”signals.

AUTOGAIN activates an additional long-term gain correction, allowing automatic
gain scaling of varying input level ranges. STEREO LINK applies limiting to both
channels equally when activated. INPUT GAIN provides up to 18 dB of gain to
the input signal prior to limiting. OUTPUT GAIN sets the  nal gain level of the
processed signal. SQUEEZE adds compression to the signal to add punch and a
slight distortion depending on the amount you dial in. ATTACK sets the attack
time, ranging from 0.05 mS to 1 mS. RELEASE adjusts the release time from

0.05mS to 1.04 seconds. KNEE adjusts the soft limiting threshold point from hard
limiting (0 dB) to maximum soft limiting (10 dB).

Stereo Delay

Stereo Delay provides independent control of left and right delay (echo)
timesand features high and low pass  lters for enhanced tone shaping of the
delayed signals. Use the Stereo Delay to give your mono signals a wide presence
in the stereo  eld.

The MIX control lets you blend the source signal and the delayed signal.
TIMEadjusts the master delay time up to three seconds. LO CUT adjusts the low
frequency cut, allowing lower frequencies to remain una ected by the delay.
HI CUT adjusts the high frequency cut, allowing higher frequencies to remain
una ected by the delay. FACTOR L sets the delay on the left channel to rhythmic
fractions of the master delay time. FACTOR R sets the delay on the right channel
to rhythmic fractions of the master delay time. OFFSET LR adds a delay di erence
between the lef t and right delayed signals. The FEED LO CUT/HI CUT adjusts  lters
in the feedback paths. FEED L and FEED R control the amount of feedback for
the left and right channels. MODE sets the feedback mode: Mode ST sets normal
feedback for both channels, X crosses feedbacks between left and right channels.
M creates a mono mix within the feedback chain. 

Triple Delay

Sometimes called a 3-Tap Delay, the Triple Delay provides three delay stages with
independent frequency, gain, and pan controls. Create time-based echo e ects
with the Triple Delay to increase the sense of stereo separation.

TIME BASE sets the master delay time, which is also the delay time for the  rst
stage. GAIN BASE sets the gain level of the  rst stage of the delay. PAN BASE sets
the position of the  rst delay stage in the stereo  eld. LO CUT sets the frequency
at which the source signal can begin passing through the delay. HI CUT sets the
frequency at which the source signal no longer passes through the delay. X-FEED
indicates that stereo cross-feedback of the delays is active. MONO activates
a mono mix of both channels for the delay input. FEED adjusts the amount of
feedback. FACTOR A controls the amount of delay time in the second stage of
the delay. GAIN A controls the gain level of the second delay stage. PAN A sets
the position of the second delay stage in the stereo  eld. FACTOR B controls the
amount of delay time in the third stage of the delay. GAIN B controls the gain
level of the third delay stage. PAN B sets the position of the third gain stage in the
stereo  eld.

Hall, Ambience, Rich Plate, Room, Chamber Reverb

These 5 reverb emulations are inspired by the Lexicon 480L. Hall simulates the
reverberation that occurs when sound is recorded in medium to large-sized
concert halls. Ambience creates a customizable virtual acoustic space to add
warmth and depth without coloring the direct sound.

The PRE DELAY slider controls the amount of time before the reverb is heard
following the source signal. DECAY controls the amount of time it takes for the
reverb to dissipate. SIZE controls the perceived size of the space being created by
the reverb. The DAMP slider adjusts the decay of the high frequencies within the
reverb tail. DIFF(usion) controls the initial re ection density, and LEVEL controls
the e ect output.

LO and HI CUT allow the frequencies a ected by the reverb to be narrowed.
BASSMULT(iplier) controls the low frequency build-up. SPREAD emphasizes
the stereo e ect of the reverb. SHAPE adjusts the contour of the reverberation
envelope. MOD SPEED controls the reverb tail modulation rate and TAIL GAIN
adjusts the volume of the reverb tail. The Rich Plate and Room reverbs allow the
stereo ECHO DELAY and the delay FEEDBACK to be adjusted independently for
each side. The Chamber reverb allows the stereo REFL(ection) DELAY and GAIN to
be adjusted independently.

Reverse Reverb

Reverse Reverb takes the trail of a reverb, turns it around, and places it in front
of the sound source. Use the swelling crescendo of the Reverse Reverb to add an
ethereal quality to vocal and snare tracks. (Inspired by the Lexicon 300/480L)

Adjusting the PRE DELAY knob adds up to 200 milliseconds of time before the
reverb follows the source signal. The DECAY knob adjusts the time it takes for
the reverb to completely dissipate. RISE controls how quickly the e ect builds
up. DIFF(USION) controls the initial re ec tion density. SPREAD controls how the
re ection is distributed through the envelope of the reverb. The LO CUT knob sets
a low frequency beneath which the source signal will not pass through the reverb.
The HiSvFr/HiSvGn knobs adjust a Hi-Shelving  lter at the input of the reverb e ect.

Gated Reverb

This e ect was originally achieved by combining a reverb with a noise gate.
Ourgated reverb creates the same impression by a special shaping of the reverbtail.

Gated Reverb is especially e ective for creating a 1980s-style snare sound or to
enlarge the presence of a kick drum. (Inspired by the Lexicon 300/480L)

PRE DELAY controls the amount of time before the reverberation is heard following
the source signal. DECAY controls the amount of time it takes for the reverb to
dissipate. ATTACK controls how fast the re ection density builds up. DENSITY shapes
the reverb decay tail. The higher the density, the greater the number of sound
re ections. SPREAD controls how the re ection is distributed through the envelope
of the reverb. The LO CUT knob sets the frequency beneath which the source signal
will not pass through the reverb. The HiSvFr/ HiSvGn knobs adjust a Hi-Shelving  lter
at the input of the reverb e ect. DIFF(USION) controls the initial re ec tion density.

Plate Reverb

A plate reverb was originally created by sending a signal through a transducer
to create vibrations on a plate of sheet metal which were then picked up as an
audio signal. Our algorithm simulates that sound with high initial di usion and a
bright colored sound. M32’s Plate Reverb will give your tracks the sound heard on
countless hit records since the late 1950s. (Inspired by the Lexicon PCM-70)

PRE DELAY controls the amount of time before the reverberation is heard
following the source signal. DECAY controls the amount of time it takes for the
reverb to dissipate. SIZE adjusts the size of the virtual room created by the reverb
e ect. The DAMP knob adjusts the decay of high frequencies within the reverb
tail. DIFF(USION) controls the initial re ection density. The LO CUT knob sets the
frequency beneath which the source signal will not pass through the reverb.
The HI CUT knob sets the frequency above which the source signal will not pass
through the reverb. The BASS MULT(IPLIER) knob adjusts the decay time of the

bass frequencies. XOVER controls the crossover point for bass. MOD DEPTH and
SPEED control the intensity and speed of the reverb tail modulation.

Hall Reverb

Classic Hall Reverb simulates the reverberation that occurs w hen sound is
recorded in medium to large-sized concer t halls. Use the Hall Reverb to give your
mix a lush, three-dimensional quality that will make your performance sound
larger than life. (Inspired by the Lexicon Hall)

The PRE DELAY slider controls the amount of time before the reverberation is
heard following the source signal. DECAY controls the amount of time it takes for
the reverb to dissipate. SIZE controls the perceived size of the space being created
by the reverb e ect. The DAMP slider adjusts the decay of high frequencies within
the reverb tail. DIFF(usion) controls the initial re ection density. SHAPE adjusts
the contour of the reverberation envelope. 

Vintage Room

Vintage Room simulates the reverberation that occurs when sound is recorded in
a small room. When you want to add a bit of warmth and just a touch of reverb,
M32’s Vintage Room breathes life into close-miced guitar and drum tracks.
(Inspired by the Quantec QRS)

The VU meter displays the input and output levels. Set the early re ection times
for the left and right channel with ER DELAY L and ER DELAY R. ER LEVEL sets the
loudness of the early re ection level. REV DELAY controls the amount of time before
the reverberation is heard following the source signal. HI/LOW MULTIPLY adjusts the
decay time of the high and bass frequencies. TIME shows the duration of the reverb
e ect. ROOM SIZE adjusts the size of the room e ect being created incrementally
from small to large. HIGH CUT sets the frequency above which the source signal
does not pass through the reverb. DENSITY manipulates the re ection density in the
simulated room. (This slightly changes the reverb decay time). LOW CUT sets the
frequency below which the source signal does not pass through the reverb.

Vintage Reverb

Based on the legendary EMT250, M32’s Vintage Reverb delivers shimmering
bright reverb that won’t drown out or overpower your live or recorded tracks.
UseVintage Reverb to sweeten vocals and snare drums without sacri cing clarity.

When layer 1 is selected, the  rst slider on the left sets the reverb time from
4milliseconds to 4.5 seconds. Slider 2 controls the low frequency multiplier
decay time. Slider 3 controls the high frequency multiplier decay time. Slider 4
controls the amount of modulation in the reverb tail. When layer two is selected,
slider1adjusts the pre delay. Slider 2 selects the low cut frequency. Slider 3
selects the Hi Cut frequency. Slider 4 adjusts the output level of the reverb.

18 M32C DIGITAL RACK MIXER User Manual 19 M32C DIGITAL RACK MIXER User Manual

When Layer 1 is selected, the far left encoder push button allows you to select
between virtual front and rear outputs. Rear is suitable for drums due to it being
less re ective. Front is well-suited for vocals and other dynamic instruments.
TheVintage button enables the simulation of the input transformers.

Stereo/Dual Tube Stage/Overdrive

Tube Stage/Overdrive is a versatile e ect capable of emulating a variety of
modern and classic tube preamps. Available in stereo and dual-mono versions,
use Tube Stage/Overdrive to dial in warm and fuzzy sounds from subtle to
fullysaturated.

DRIVE adjusts the amount of harmonics being driven by the e ect. EVEN and ODD
adjust the amount of even and odd harmonics. GAIN adjusts the output gain of
the e ect. LO CUT sets the input frequency below which the source signal will not
pass through the e ect. HI CUT sets the input frequency above which the input
signal will not pass through the e ect. BASS GAIN/FREQ adjust a low shelving
 lter at the output of the e ect. TREBLE GAIN/FREQ adjust a high shelving  lter at
the output of the e ect.

Stereo Imager

A Stereo Imager is typically used to control the placement of a signal within the
stereo  eld during mixdown or mastering. Modeled af ter the BEHRINGER Edison
rack unit, M32’s Stereo Imager will lend a professional quality to your live and
recording performances.

The BALANCE knob allows you to emphasize the mono or stereo components
of the input signal. The mono and stereo signals can be panned independently
with the MONO PAN and STEREO PAN knobs. OUT GAIN is used to compensate for
level changes resulting from the e ect. The phase can also be shifted using the
shelving knobs. Select the frequency and bandwidth (Q) using the corresponding
knobs, then adjust the gain with the SHV GAIN knob.

Rotary Speaker

Rotary Speaker emulates the sound of a Leslie rotating speaker. M32’s Rotary
Speaker provides more  exibility than its electro-mechanical counterpart,
andcan be used with a variety of instruments, and even vocals, to create a
whirling, psychedelic e ect.

The LO SPEED and HI SPEED knobs adjust the rotational speed of the
SLOWandFAST Speed selection, and can be toggled with the FAST button.
TheACCEL(eration) knob adjusts how quickly the speed increases and decreases
from the Slow mode to the Fast mode. The rotation e ect can also be disengaged
with the STOP button, which will stop the movement of the speakers.

DISTANCE adjusts the distance between the Rotary speakers and the
virtualmicrophone.

Chorus / Stereo Chorus

Chorus samples the input, slightly detunes it and mixes it with the original
signal to produce a somewhat thicker, shimmering sound. Use it to thicken up
background vocals, or to double the sound of brass and woodwind instruments.

Where as DELAY L/R set the total amount of delay for the left and right channel,
WIDTH determines the amount of modulated delay. SPEED sets the modulation
speed. MIX adjusts the balance of the dry and wet signals. You can further sculpt
the sound by trimming some of the low and high end from the e ected signal
with the LO and HI CUT knobs. Additionally, the PHASE knob can tweak the
phase o set of the LFO between left and right channel and the SPREAD knob
adjusts how much of the left channel is mixed into the right and vice versa.
Finally,theWAVE knob blends between the “Danish-style” digital triangular
chorus sound and the classic analog sine wave.

Flanger / Stereo Flanger

The Flanger emulates the phase-shifting sound (comb- ltering)
originallycreated by applying pressure against the  ange of the reel on a tape
recorder. This e ect creates a unique “wobbly” sound that is quite dramatic when
used on vocals and instruments.

The controls of this e ect are nearly identical to the Chorus e ect block.
Additionally, the FEEDBACK can be adjusted with positive and negative amounts
and also band-limited with the FEED HC (high-cut) and FEED LC (low-cut) knobs.

Stereo Phaser

A Stereo Phaser, or phase shifter, applies multiple STAGES of modulated  lters to
the input signal to create a “notch” in the frequency response, and then applies
a MIX with the original for a “swirling” e ect. Use M32’s Stereo Phaser to add a
“spaced-out” sound to vocal or instrument tracks.

SPEED adjusts the LFO rate and DEPTH sets the LFO modulation depth.
The BASE knob adjusts the frequency range of the modulated  lters.

Theresonance is adjusted with the RESO knob. The WAVE knob shapes the
symmetry of the LFO waveform and PHASE dials in an LFO phase di erence
between the lef t and right channel. The modulation source can also be the signal
envelope, which produces vowel-like opening and closing tones. The ENV MOD
knob adjusts how much this e ect takes place (positive and negative modulation
is possible), and the ATTACK, HOLD and RELEASE knobs all tailor the response of
this feature.

Tremolo / Panner

Stereo Tremolo creates an up and down volume change at a constant and even
tempo just like the guitar amps of yesteryear. Use M32’s Stereo Tremolo to add a
unique “surf-music” texture to a vocal or instrument track.

SPEED adjusts the LFO rate and DEPTH sets the amount of modulation.
PHASEcanbe used to set an LFO phase di erence between the left and right
channel, which can be used for panning e ects. The WAVE knob blends the LFO
waveform between triangular and square shape. The signal envelope, shaped by
ATTACK, HOLD and RELEASE, can be used to modulate the LFO speed (ENV SPEED)
and the LFO modulation depth (ENV DEPTH).

Stereo / Dual Pitch

Pitch shifting is of ten used in two di erent ways. One is to set the Mix knob lower
and only use the Cent knob to make a small o set in pitch between the wet and
dry tones. This results in a “voice doubling” e ect that thickens the overall sound
in a more subtle way. The extreme use of the e ect is to turn the Mix knob fully­clockwise so the entire signal is e ected. This way, the signal can be shifted into
other keys up to an octave above or below the original. When used on a voice,
this results in a “chipmunk” sound or a low Darth Vader e ect.

When the SEMI and CENT knobs are set at 12:00, the pitch is not altered.
Makingadjustments by semitone will have a very pronounced e ect,
whereaschanges to the CENT knob will be very minor. The DELAY knob creates a
time di erence between the wet and dry sound. The LO and HI CUT knobs allow
the e ected signal to be band-limited. The Dual Pitch e ect allows the left and
right channels to be adjusted independently, and allows GAIN compensation and
panning of the two channels.

Stereo / Dual Guitar Amp

Modeled after the Tech 21 SansAmp, the Stereo / Dual Guitar Amp simulates the
sound of plugging into a real guitar amp. From shimmering cleans to saturated
crunch, M32’s Stereo / Dual Guitar Amp allows an electric guitar player to sound
great without using an amp on stage.

The PREAMP knob adjusts the amount of input gain prior to the band-speci c
distortion adjustment. BUZZ adjusts the low-end breakup, PUNCH adjusts
the midrange distortion, and CRUNCH tailors the high-frequency content and
distortion for smooth or cutting notes. The DRIVE knob simulates the amount
of power amp distortion from a tube amp. The LOW and HIGH knobs allow
EQ adjustment independent of distortion content, and the overall output is
controlled by the LEVEL knob. The CABINET simulation can be bypassed if the
guitarist is already using a real cab, which allows the e ect to function like a
boost or distortion pedal. The Dual Guitar Amp allows the left and right channels
to be adjusted independently.

Wave Designer

Wave Designer is a powerful tool for adjusting signal transients and dynamics,
such as attack and sustain. Use it to make a snare drum really “crack” in the
mix or level out volume inconsistencies of slap bass tracks. (Inspired by the SPL
Transient Designer)

Adjusting the ATTACK knob can add punch or tame overly dynamic signals.
Increasing the SUSTAIN knob acts in a similar way as a compressor, allowing the
peaks to carry longer before decay. The e ect can also be used to reduce the
sustain for a more staccato sound. The GAIN knob compensates for level changes
caused by the e ect.

Stereo Exciter / Dual Exciter

Exciters increase presence and intelligibility in live sound applications, and are
indispensable for adding clarity, air and harmonic overtones in the recording
studio. This e ect is particularly useful for  lling out the sound in di cult rooms
and for producing a more natural live/recorded sound. (Inspired by the famous
Aphex Aural Exciter)

Set the frequency of the side-chain  lter with the TUNE knob, and further shape
the  lter slope with the PEAK and ZERO FILL knobs. Turning the TIMBRE knob
left of center adds more odd harmonics, while turning it right of center adds
more even harmonics. Adjust the harmonic content added to the signal with
the HARMONICS knob, and blend in the e ected signal with the MIX knob.
Engagethe SOLO MODE to isolate only the audio resulting from the e ect so you
can hear exactly what you’re adding to the mix.

Stereo Enhancer / Dual Enhancer

M32’s Enhancers are so called “Psycho EQs”. They can enhance the signal
spectrum in bass, midrange and high frequencies but they di er from traditional
equalizers. When you need to generate maximum punch, clarity and detail,
without turning up the overall volume, our enhancers are the solution.
(Inspiredby the SPL Vitalizer)

Adjust the BASS, MID and HI GAIN knobs to add or reduce content in those
spectrums. The BASS and HI FREQuencies can be speci cally selected, while the
MID Q (bandwidth) can be adjusted instead. The OUT GAIN knob compensates for
changes in level resulting from the e ect, and the SPREAD knob (Stereo version
only) emphasizes the stereo content for a wider mix. Engage the SOLO MODE
to isolate only the audio resulting from the e ect so you can hear exactly what
you’re adding to the mix.

20 M32C DIGITAL RACK MIXER User Manual 21 M32C DIGITAL RACK MIXER User Manual

Mood Filter

The Mood Filter uses an LFO generator and an auto-envelope generator to control
a VCF (voltage-controlled  lter), as well as a side chain function where the
channel B signal controls the envelope of channel A. When applied to electronic
instruments, the Mood Filter can be used to emulate the natural sound of
acoustic instruments. (Inspired by the MiniMoog)

This  lter can be modulated with the signal’s envelope using the ENV MOD
(withpositive and negative amounts), ATTACK and RELEASE knobs, or the LFO
can modulate the  lter. The WAVE knob selects between 7 di erent wave forms
– triangular, sine, saw plus, saw minus, ramp, square, and random. The PHASE
can be o set by up to 180 degrees. The SPEED knob adjusts the rate of the LFO
and the DEPTH adjusts the amount of LFO modulation. Adjust the resonance of
the  lter until self-oscillation with the RESO(nance) knob. BASE adjusts the range
of the  lter from 20 Hz to 15 kHz. The MODE switch selects between low pass
(LP), high-pass (HP), band-pass (BP) and Notch. Use the MIX knob to blend the
e ected signal with the dry sound. With the 4 POLE switch engaged, therewill
be a steeper slope than the OFF (2 pole) setting. The DRIVE knob adjusts the
level and can also introduce an overdrive e ect (as with real analogue  lters)
ifpushed hard. In Sidechain mode, only the left input signal is processed and
fed to both outputs. The envelope of the right input signal can be used as a
modulationsource.

Delay + Chamber

Here we have combined Delay and Chamber reverb, so a single device can provide
a variety of delay settings, plus add just the right type and amount of reverb to
the selected signal. This device only uses one FX slot. (The Reverb is Inspired by
the Lexicon PCM 70)

Use the BALANCE knob to adjust the ratio between delay and reverb.
Lowfrequencies can be excluded with the LO CUT knob, and the MIX adjusts
how much of the e ect is added to the signal. The TIME knob adjusts the delay
time for the left channel delay, and the PATTERN sets the delay ratio for the
right channel delay. Adjust the FEEDBACK and trim some high frequencies with
the FEED HC (high-cut) knob. The XFEED knob allows you to send the delay
sound to the reverb e ect, so instead of running completely parallel, the reverb
e ects the echos to a selected degree. The PREDELAY knob determines the
hesitation before the reverb a ects the signal. The DECAY knob adjusts how
quickly the reverb fades. The SIZE controls how large or small the simulated
space is (room,cathedral, etc.). The DAMPING knob determines the decay of high
frequencies within the reverb tail.

Chorus + Chamber

Taking up only one FX slot, the Chorus + Chamber e ect combines the shimmer
and doubling characteristics of a studio-grade Chorus with the sweet sound of a
traditional Chamber reverb. (Reverb is Inspired by the Lexicon PCM 70)

The BALANCE knob adjusts the balance between chorus and reverb. Low
frequencies can be excluded with the LO CUT knob, and the MIX knob adjusts
how much of the e ect is added to the signal. SPEED, DELAY and DEPTH adjust
the rate, delay, and modulation depth of the chorus. The LFO PHASE between lef t
and right channel can be o set by up to 180 degrees, and WAVE adjusts the LFO
waveform from a sine wave to triangular wave. The PREDELAY knob determines
the hesitation before the reverb a ec ts the signal. The DECAY knob adjusts how
quickly the reverb fades. The SIZE controls how large or small the simulated
space is (room, cathedral, etc.). The DAMPING knob determines the decay of high
frequencies within the reverb tail.

Flanger + Chamber

Add the mind-bending,  lter-sweeping e ect of a state-of-the-art Flanger to
the elegant sweetening of a traditional Chamber reverb—all in one FX slot.
(Reverbis Inspired by the Lexicon PCM 70)

The BALANCE knob adjusts the ratio between  anger and reverb. Low
frequencies can be excluded with the LO CUT knob, and the MIX knob adjusts
how much of the e ect is added to the signal. SPEED, DELAY and DEPTH adjust
the rate, delay, and modulation depth of the  anger. FEEDback can be adjusted
with positive and negative amounts. The PHASE can be o set by up to 180
degrees. The PREDELAY knob determines the hesitation before the reverb a ects
the signal. The DECAY knob adjusts how quickly the reverb fades. The SIZE
controls how large or small the simulated space is (room, cathedral, etc.). The
DAMPING knob determines the decay of high frequencies within the reverb tail.

Delay + Chorus

This combination e ect merges a user-de nable Delay (echo) with a studio­quality Chorus sure to fatten up even the “skinniest” track. Uses only one FX slot.
(Inspired by the TC Electronic D-Two)

The TIME knob adjusts the delay time, and the PATTERN knob sets the delay ratio
for the right channel and negative values activate a cross feedback between
the two channels. The FEEDHC knob adjusts the delay high-cut frequency,
whilethe FEEDBACK knob adjusts the number of repeats. The X-FEED knob allows
you to send the delay sound to the chorus e ect. The BALANCE knob adjusts
the ratio between delay and chorus. SPEED, DELAY and DEPTH adjust the rate,
delay,andmodulation depth of the chorus. The right channel LFO PHASE can be
o set by up to 180 degrees, and WAVE adjusts the chorus character by shaping
the LFO waveform from sine wave to triangular wave. Use the MIX knob to blend
the e ected signal with the “dry” sound.

Delay + Flanger

This handy dynamic duo blends the “woosh” of soaring jet planes with classic
Delay, and can be adjusted from mild to wild. This combination e ect only takes
up one FX slot. (Inspired by the TC Electronic D-Two)

The TIME knob adjusts the delay time, and the PATTERN knob sets the delay ratio
for the right channel and negative values activate a cross feedback between
the two channels. The FEEDHC knob adjusts the delay high-cut frequency,
whilethe FEEDBACK knob adjusts the number of repeats. The X-FEED knob
allows you to send the delay sound to the  anger e ect. The BALANCE knob
adjusts the ratio between delay and  anger. SPEED, DELAY and DEPTH adjust the
rate, delay, andmodulation depth of the  anger. The right channel LFO PHASE
can be o set by up to 180 degrees, and FEED (positive and negative amounts)
adjuststhe feedback e ect. Use the MIX knob to blend the e ected signal with
the “dry”sound.

Dual / Stereo GEQ

These are standard graphic equalizers that provide 31 bands of adjustment
between 20 Hz and 20 kHz. A master volume slider compensates for changes in
volume caused by the equalization. A maximum boost or cut of 15 dB is available
for each band.

Dual / Stereo TruEQ

The TruEQ incorporates a special algorithm that compensates for the gain
adjustment overlapping e ect that adjacent frequency bands have on one
another. On a standard EQ, when neighboring bands are boosted together,
theresulting e ect is magni ed beyond what is visible from the positioning of
thesliders.

Graphic e qualizer without f requency re sponse correc tion.

This compensated EQ will produce an adjustment that is identical to the actual
positioning of the sliders.

Graphic e qualizer with fre quency respon se correctio n.

Rhythm Delay

The Rhythm Delay provides 4 stages of delay with independently adjustable gain
and rate, allowing unique syncopation to be created in the layered repeats.

TIME BASE sets the master delay time, which is also the delay time for the  rst
stage. GAIN BASE sets the gain for the  rst stage. SPREAD positions the  rst delay
stage in the stereo  eld. A global FEEDBACK, LO and HI CUT adjustment are also
available. FACTOR A, B and C adjust the delay rate relative to the global TIME BASE
setting for the 2nd, 3rd and 4th stages respectively. Each stage also has its own
GAIN adjustment. MONO activates a mono mix of both channels for the delay
input. X-FEED indicates that stereo cross-feedback of the delays is active.

22 M32C DIGITAL RACK MIXER User Manual 23 M32C DIGITAL RACK MIXER User Manual

Modulation Delay

Modulation Delay combines three of the most used time modulation e ects
into one easy-to-operate unit, featuring true-stereo delay with a lush chorus,
topped o with three reverb models to choose from.

The BALANCE knob adjusts ratio of delay to reverb. The processor chain can
operate as serial where one e ect  ows into the next, or parallel where
each e ect is applied to the source signal independently. TIME, FEED (back),
LOW and HI CUT all a ect the delay. Modulation DEPTH and RATE are adjustable.
Three types of reverb are available – ambience, club and hall – with adjustable
DECAY and HI DAMP.

Dimensional Chorus

The Dimensional Chorus o ers the most user-friendly and classic sounds,
best described as “space” and “dimensional”. The 4 MODE buttons can
be engaged individually or simultaneously for light chorus or very thick,
exaggerated modulation. Adjust the 1st encoder to select mono or stereo
operation, and press the encoder to engage or bypass the e ec t.

Leisure Compressor

This model of a popular tube-based optical compressor provides natural and
e ortlessly musical compression, inspired by the Teletronix LA-2A. Simply adjust
the input GAIN and PEAK REDUCTION knob to dial in the amount of desired
compression, then adjust the OUTPUT GAIN knob for the desired output level.
The COMP setting will give a gentle compression ratio, whereas the LIMIT setting
results in a higher ratio.

Ultimo Compressor

The Ultimo Compressor is based on the Urei 1176LN Limiting Ampli er and
authentically captures the smooth character of the original class-A output stage
in its FET's legendary fast attack.

Start with the INPUT and OUTPUT knobs at the -24 position for unity gain and set
the ATTACK and RELEASE knobs fully counterclockwise. Select the compression
ratio, then raise the ATTACK knob to lightly compress the signal. Increase the ratio
for heavier compression and experiment with ATTACK, RELEASE and INPUT levels
to achieve your desired result. Compensate for overall level reduction with the
OUTPUT knob.

Fair Compressor

This model of a Fairchild 670 delivers some of the  nest colorations in compressor
history. Two small trim VRs, BIAS and BALANCE, preset the control side chain
action, a 6-step knob determines the timing, and the 2 large INPUT GAIN
and THRESHOLD knobs adjust the levels. There are models available for dual,
stereo-linked, or mid/side operation.

Combinator

The Combinator emulates famous broadcasting and mastering compressors,
utilizing automatic parameter control that produces very e ective yet
“inaudible” results.

The MIX knob allows some of the source signal to pass through una ected.
ATTACK and RELEASE have dedicated controls, and an Auto Release function can
be engaged. Global X-OVER, RATIO, THRESH(old) and GAIN controls are available.
Engage the Spectral Balance Control (SBC) to allow automatic gain balancing
between the audio bands and its SPEED control to determine how aggressively
the e ect works. The meters can also display band reduction or the SBC gain
balance, and can display peak outputs. The THRESH(old) and GAIN can be
adjusted for each band independently.

XTEC EQ1

Inspired by the Pultec EQP-1a, this passive equalizer is a very powerful tool for
sound enhancement.

GAIN allows compensation for level changes resulting from frequency
adjustments. Press the 1st encoder to engage or disengage the e ect. Select the
low frequency with the LO FREQ knob, adjust the amount of enhancement with
the LO BOOST, then adjust the attack with the LO ATT. The same adjustments are
available for the high frequencies.

XTEC EQ5

This Pultec emulation is a classic analog passive equalizer that o ers very
warm and musical frequency sculpting. Simply select the center frequency for
the 3 bands, then adjust how much low and high you want to boost and how
much midrange you want to cut.

Sub Octaver

The Sub Octaver provides two channels of sub harmonics generation, one or even
two octaves below the input signal.

Adjust the DIRECT knob to blend the “dry” signal with the lower octaves. Use the
RANGE switch to optimize the tracking by selecting the frequency range of the
input signal. The OCT1 and OCT2 knobs adjust how much 1 octave down and
2 octaves down content is included.

Edison EX1

The EDISON EX1+ is a remarkably e ective tool that allows manipulation of the
stereo  eld. The e ec t o ers stereo and mid/side input and output and a phase
correlation meter. Exaggerate the stereo  eld with the ST SPREAD knob and
adjust the ratio of mono to stereo content with the BALANCE knob. The CENTER
DIST knob allows the mono content to be panned. Compensate for level changes
with the OUTPUT GAIN knob.

Sound Maximizer

Inspired by the Sonic Maximizer 482i, this e ect restores natural brilliance and
clarity to any audio signal by adjusting the phase and amplitude integrity to
reveal more of the natural texture of the sound. LO CONTOUR adjusts the level
of phase-corrected low frequencies and PROCESS adjusts the level of phase­corrected high frequencies. GAIN compensates for level changes caused by
the e ect.

24 M32C DIGITAL RACK MIXER User Manual 25 M32C DIGITAL RACK MIXER User Manual

5. Topic Guide

5.1 Firmware updates

The M32C  rmware can easily be updated by performing the following steps:

• • Download the new console  rmware from the M32C product page onto the

root level of a USB thumb drive

• • Plug the USB thumb drive into the front panel USB connector while the

console is turned o

• • Hold the SELECT knob depressed while switching the console on.

While booting, the M32C will run a fully automatic  rmware update, which
will take 2-3 minutes longer than the regular boot sequence

When no update  le is available on the USB drive, or when it is corrupted,
theupdate mode will remain active, preventing the M32C from booting regularly.
Switch the console o and back on without holding the SELECT knob to boot the
console with the existing  rmware.

5.2 Remote control

The M32C hosts an Ethernet port on its rear panel which can be used to connect
and remote control it over a network via the M32-Mix on an iPad or the M32-Edit
application on a PC. To be able to do this the M32C has to be set up properly.

• • Enter Setup Mode by pressing and holding the SELECT knob.

• • Rotate the Select knob to select “6. IP Address.” Press the Select knob

tocon rm.

• • Set an IP address which  ts your network, normally 192.168.0.X.

Rotatethe Select knob to adjust the 1st triplet (0-255), then press to
con rm. Repeat this to enter the 2nd, 3rd and 4th triplet in the address.
The  nal press will exit.

• • Set your subnet mask according to your network, normally

255.255.255.0. Select setup page “7. IP Mask” and follow the same
procedure as the IP address.

• • Set your gateway, if required, by selecting Setup page “8. IP Gateway”

and following the same procedure described above.

Now get your iPad or remote PC into the same network and open the M32-Edit.

PC:

• • On the M32-Edit, choose setup on the right side and the network tab.

Enter the IP address of the M32C in the network and press connec t.

• • If the software has connected to the M32C you can also synchronise

them in 2 directions. Console -> PC means all settings in the M32C will
be loaded into the M32-Edit. PC -> Console means that all settings in
the M32-Edit will be written to the console.

M32-Mix

• • For the M32-Mix remote, open the program on your iPad (make sure the

iPad is connected to the same network as the console).

• • On the startup screen, a popup should appear. Enter the IP of the

console, press “Go Online”, et voilà: you are connected and can control
the M32C with your iPad.

5.3 Recording a 2-track directly with
theconsole

The M32C o ers the possibility to record a 2-track of your mix (or any other
selection of signals) directly onto a USB-stick/external USB hard disk:

• • Plug a FAT-formatted (FAT12, FAT16, FAT32) USB stick into the USB port

on the front panel.

• • In your M32-Mix or M32-Edit software, navigate to the Recorder screen.

• • On the con g tab you can select the source for the recording, default is

main L and R.

• • Press RECORD (encoder #5) to record your mix.

• • To adjust the volume during playback, use the virtual faders for Aux 7

and 8, which are assigned to USB playback by default.

Remarks:

Due to the FAT format of the stick, the  le size will be limited to 2 GB, which is
about 3 hours of stereo recording. Please test the recording capability of your USB
device before you do the “real stu ” as some sticks may not be supported or be
too slow. We also recommend you defragment your USB device prior to recording.
The recording will be done as 16-bit WAV  le with the selec ted sample frequency
of the console.

Please also note that it is possible that the speci cations of USB storage devices
may be changed by the manufacturer without any change in physical appearance
or noti cation.

5.4 Saving and recalling scenes

Follow the steps below to save and recall scenes in the console, allowing di erent
con gurations to be recalled at a later time.

• • Adjust all settings of the console so that all elements of the mix are

asdesired.

• • Select the Scenes menu in your remote software. The display will show

various controls for saving and recalling console scenes.

• • Press the rotary control labeled “Save Settings” to save the console’s

current con guration to the next available empty scene and label it with a
customname.

• • Adjust the console to the next desired con guration, and repeat the process

above as needed, saving additional scenes to additional empty slots.

• • To recall a scene, scroll through the list of saved scenes. A gray box will

indicate which item is currently selected. When the desired scene is selected,
press the “GO” button in the software and the console will switch to that
scene. All console parameters will switch to the state they were in when
saved to the scene that was just recalled.

5.5 How do I add one of the 8 internal e ects
to the sound?

There are two types of e ects that are commonly used:

• • “E ects Loop” (side chain) style e ects, where multiple channels all send

varying amounts of their signal to a common e ect, such as a reverb,
delay,or chorus.

• • “Insert” style e ects that are inserted in to the signal path of a single

channel of audio. Examples would be a graphic EQ,  lter, exciter,
ortubeemulator.

To apply an “E ects Loop” style e ect:

• • Select the “E ects” menu in either the M32-Mix or M32-Edit software.

Themain screen will show the FX home screen where di erent e ects
processors are assigned to the 8 processing slots.

• • Adjust rotary encoder #6 to highlight the  rst e ects processor; it will be

surrounded by an orange outline. You may also click or tap directly on the
desired processor to selec t.

• • Select your desired bus as the source for both the left and right inputs of the

 rst e ect processor.

• • Select a speci c e ect processor, suchas “Ambience”.

• • Adjust FX1L and FX1R up to 0 dB.

• • With the desired e ect highlighted, select the 'Edit' button beneath the 6th

encoder to adjust the e ect parameters.

• • Press the Home button again and tab over to the ‘sends’ page. Raisethe

virtual faders for the channels to which you want to add the e ect.
The higher you raise the fader, the more of that channel's signal will be sent
to the processor.

To apply an “insert” style e ect:

• • Select the “E ects” menu in either the M32-Mix or M32-Edit software.

• • As the e ects on the left side are also able to handle complex send e ects

like reverb, the slots on the right side shall be used for insert e ects like
limiter, graphic EQ, etc. You can also use insert e ects on the left side,
butthis will limit your use of reverbs and other processor-intensive e ects.

• • Select one of the e ects processors on the right side; it will be surrounded by

an orange outline.

• • Select a channel or bus to assign to the processor, then select “Ins” to assign

as an insert e ect.

• • Select a speci c e ect processor, such as “precision limiter”.

• • Navigate to the Home -> Con g screen.

• • Select the speci c processor you have applied the e ect to, in this case

“InsFX 5L”. Press the encoder to connect the selected insert e ect.

• • The Precision Limiter is now applied as an insert on the selected channel.

Sending more than one channel through the same insert e ect is, of course,
prohibited. There will be a warning when you tr y to insert an e ect slot that
has already been used as an insert on any other channel. Both sides of a dual
type e ect can be used as inserts on di erent channels or buses.

26 M32C DIGITAL RACK MIXER User Manual 27 M32C DIGITAL RACK MIXER User Manual

6. USB Interface Operation Guide

Host system requirements for DN32-USB interface
expansion card

Check the KLARK TEKNIK website at klarkteknik.com for updates of DN32-USB
 rmware or system requirements. Please  nd the recommended hardware/
software minimum con gurations in the speci cations section.

The KLARK TEKNIK DN32-USB High-Performance
32-Channel 24-Bit USB Audio Interface

The DN32-USB card provides 32 channel, bi-directional audio I/O via USB 2.0
to Mac or Windows PC. The simultaneous 32-in, 32-out audio channels enable
extremely powerful studio and live applications. You can run virtual live sound
checks or 32-track high-quality studio recordings, whileat the same time
remote operating your DAW via HUI/MackieControl emulation. Thehigh speed
24-bit signal transmission and ultra-low latency ASIO drivers and CoreAudio
compatibility even allow inserting audio plugins on your PC to perform advanced
outboard processing.

6.1 Con guring the DN32-USB card for use in
theconsole

The console will automatically detect the DN32-USB card during the regular boot
cycle, and it will display the card’s presence in several instances.

The green square in front of “C: USB” indicates that the card is installed and
working properly.

Con guration

After the console has fully booted up, you can access the Setup/Card screen in
your remote software to view the current channel count con guration.
Depending on your application, you may want to select an option other than the
maximum 32 x 32 channel count to preserve system resources.

This mode obviously allows the full potential of the interface to be tapped.
Notethat the computer needs to be able to handle that amount of concurrent I/O
stream without any glitches. Depending on its speed and memory con guration,
someoptimization for audio recording might be required.

It is also possible to run a virtual sound check of all 32 input channels by recording
them directly to a computer during a brief line check. The performers can leave
the stage while you play back the recorded instruments from the hard drive and
tweak the sound accordingly.

32 in / 32 out

Generally, the Card outputs may use any of the available signal sources in the
console (local or AES50) for recording independently. When the M32C is used in
a quasi in-line mode, the card with connected computer represents a classic tape
machine. In this case, the connected DL16 mic inputs would be selected to feed
the card outputs (see graphic), and all signals are run from the DL16’s preamps
directly to the multi-track recording machine (PC) and from there 1:1 back into
the console’s input channels.

When the console channel inputs are set to Card, the channel Gain control will be a
+/- 12 dB digital trim for the inter face card signal, without direct access to any head
amp - which is great for mixdown but would be an issue for recording. So, mixing
and monitoring can be done using the M32C input channel controls, but the ac tual

mic preamps must now be controlled from the Setup/preamps page, which gives
remote control to every one of the available preamps in the system. Use the Setup/
preamps page to make sure that phantom power is set as needed, and that there is a
reasonable amount of headroom for recording the preamp signals.

TIP: Sometimes it is more convenient to run the sound check while the preamps
are still connected to the M32C input channels. Once you are con dent about the
fundamental settings, you can switch the channel inputs to the DN32-USB Card
inputs for laying the tracks and monitoring the DAW outputs.

If you wish to switch back and forth between the two modes more frequently,
you could consider storing 2 routing scenes, ’DAW’ and ’preamps’. Make sure
Scene Safes are set in a way that all other parameters remain unchanged.

28 M32C DIGITAL RACK MIXER User Manual 29 M32C DIGITAL RACK MIXER User Manual

32 in / 8 out

This mode is tailored to suit a typical studio and overdub recording situation,
withmany input channels but only a few output channels for monitoring of
previously recorded takes.

8 in / 8 out and 2 in / 2 out

For very small recording sessions or overdubs with single sources like vocals,
reducing the channel I/O frees up more processing power and ensures stable
operation with small latency settings.

8 in / 32 out

This is a useful mode for utilizing the excellent audio engine and e ects
processing of the console during  nal mixdown of your project. All 32 tracks
would be fed from your DAW into the console where all the magic happens.
Thenonly 2-8 tracks of the complete mixdown would be sent back to the DAW.

16 in / 16 out

If you don’t actually need more than 16 concurrent input and output tracks to
be exchanged between the console and your PC, then this mode might be more
appropriate for you. First, it will slow the required bandwidth on the interface
down. Second, there will be no excessive I/O tracks in your DAW con guration
that might clutter your setup. Third, it allows you to run a fully-featured

zero-latency overdub setup, which would be impossible if signals were run
through the computer. In this case, the 16 input signals are put on channels
1-16, whilethe tape (card) returns are put on channels 17-32. The monitoring is
directly fed from Ch1-16 as usual, including all processing and e ects. It remains
independent from any computer audio latency, even though you can hear back all
the recorded tracks without any repatching.

6.2 Con guring the PC to Interface
withtheDN32-USB Card

Please watch klarkteknik.com for further advice on the software con guration of
DN32-USB interface card.

Windows: There is an ASIO high-performance driver available for

download, which is essential for low-latency audio on
Windows computers.

MacOS: The DN32-USB is CoreAudio compatible and thus works

with low-latency on Mac computers without any additional
driverinstallation.

Windows ASIO Driver

Download the M32C ASIO driver installer  les from midasconsoles.com.
Double-click on Setup.exe in the corresponding unpacked folder and follow the
instructions on the screen.

Driver Control Panels

Once the driver is installed, you can open the control panel by double-clicking on
the small tray icon. These screens will allow con guring the DN32-USB expansion
card in the M32C as an audio interface for your computer.

The ’Devices’ screen displays the card name and serial number. You can rename
the card if necessar y.

The ’Input Channels’ screen allows you to name each input channel for more
organized mixing.

30 M32C DIGITAL RACK MIXER User Manual 31 M32C DIGITAL RACK MIXER User Manual

The ’Output Channels’ screen allows you to name each output channel for more
organized mixing.

The ’Synchronisation’ screen allows manual selection of the sample rate and
clocksource.

The ’Settings’ screen allows the stream, ASIO, and WDM sound bu ers to be set.
Any detected drop outs will be documented as well, in which case a larger bu er
should be selected.

6.3 DN32-USB Speci cations

* depends on s ystem perf ormance and applicat ion

Expansion Card Fe atures:

Interface MIDI

Audio in put channels
24-Bit, 4 4.1/48 kHz

Audio out put channels
24-Bit, 4 4.1/48 kHz

HighSpee d USB 2.0 1 in x 1 out 32, 16, 8 or 2 32, 16, 8 or 2
DAW remote contro l Generic, HU I and Mackie Control e mulation

Expansion Car d Performance:

Interface Typical round-trip latency

HighSpee d USB 2.0 ~14 ms

Recommended Minimum Hardware:

Windows PC - Core 2 Duo CPU, 2 GHz

- USB 2.0 port

- 1 GB RAM

Mac - 1.5 GHz CPU

- USB 2.0 port

- 512 MB RAM

Recommended Operating Systems:

Windows: XP 32-Bit SP2 or higher, Win7 32-bit, Win7 64-bit, Win8 64-bit

(DN32-USBASIO drivers supplied)

MacOSX: 10.5 Leopard, 10.6 Snow Leopard, 10.7 Lion, 10.8 Mountain Lion
(CoreAudio compatible)

32 M32C DIGITAL RACK MIXER User Manual 33 M32C DIGITAL RACK MIXER User Manual

7. Speci cations

Processing

Number of processing channels 32 input channels, 8 aux channels,
8 FX return channels, 16 aux buses,
6 matrices, main LRC

Internal e ects engines, 8 / 16
true stereo / mono

Internal total recall scenes 100
(incl. preamp and fader)

Signal processing 40-bit  oating point
Network I/O latency 1.1 ms

(stagebox in > console processing*
> stagebox out)

Connectors

Talkback mic input, TRS 1 external (no phantom power)
Monitoring outputs 2

¼ " TRS balanced
AES50 ports, SuperMAC 2
Expansion card slot 32 channel audio input/output,

various standards
P-16 connector, 1

Ultranet (no power supplied)
MIDI inputs / outputs 1/1
Ethernet, RJ45, rear panel, 1

for remote control
USB Type A, front panel, 1

for audio and data
export/import

Talkb ack I nput

Maximum gain +50 dB
Maximum input level at unity gain +8 dBu
Input impedance 2 kΩ

Monitor Outputs

Maximum output level +21 dBu
Output impedance 50 Ω
Frequency response, +0 to -1 dB 20 Hz - 20 kHz
Output noise, 22 Hz - 22 kHz -83 dBu, unweighted
Distortion, 0 dBu output level, 1 kHz 0.02%

Indicators

LCD screen 128 x 64, LCD with RGB color
backlight

Status LEDs AES50 port A/B status, power LED,
Mute All button

Power

Switch-mode power supply Autorange 100-240 V (50/60 Hz)
Power consumption 40 W

Physical

Standard operating 5°C – 40°C (41°F – 104°F)
temperature range

Dimensions 483 x 300 x 50 mm (19 x 11.8 x 2")
Weight 3.5 kg (7.7 lbs)

*including all ch annel and bus process ing, excluding inser t effec ts and line delays

8. Block Diagram

OUT

MIX 1-16

Post Fader

FADER

MUTE

INSERT

Pre Fader

EQ

KEY-IN

COMP/

INSERT

MIX 1–16

SOLOMATRIX

1 2 5 6

L R C L R

MAIN

1 2 15 16

MIX BUS

GENERATE

GAIN

SINE WAVE

PINK NOISE

WHITE NOISE

OSCILLATOR

USB

PLAY

USB

MEMORY

RECORDER

USB MEMORY

REC

LEVEL

USB

REC

USB RECORDER

6-BAND

COMP/

EXPAN

EQ

EXPAN

DSP

PATCH

Pre EQ Post EQ

GAIN

CH 1–32

SOLO

Post Fader

MUTE

GAIN

Matrix 1,3,5

mute

stereo

LCR

PAN (LR)

FADER

MUTE

INSERT

INSERT

Post Fader

Post Fader

Matrix 2,4,6

mute

mono

COMP/

EXPAN

EQ

4-BAND

COMP/

EXPAN

DUCK

GATE/

CUT

LOW

DELAY

ATT

32

8 x 2

GAIN

Post Pan

Post Fader

Pre Fader

Pre EQ Post EQ

8 x 2

LCR

stereo

EQ

EQ

OUT

MAIN LRC

Post Fader

FADER

MUTE

INSERT

Pre Fader

EQ

COMP/

Post Fader

PAN (LR)

PAN (LCR)

mono

stereo

stereo

mute

mute

Mix 1,3...15

Mix 2,4...16

PAN (LCR)

GAIN

SOLO

MUTE

KEY-IN

KEY-IN

Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan L

Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan L

Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan R

Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan R

INSERT RETURN

INSERT SEND

PRE LOW CUT OUT

POST FADER OUT

323232

16

16

32

6

6

3

3

EXPAN

EQ

6BAND

COMP/

EXPAN

Pre EQ Post EQ

INSERT

MAIN LRC

mono

stereo

LCR

GAIN

Post Pan

PAN (LR)

Post Fader

FADER

MUTE

Pre Fader

EQ

4BAND

ATT

Pre EQ

AUX Returns 1–8

AUX Returns 7–8 by default on USB Play

8

6

3

3

16

KEY-IN

Post Fader

Post Fader

MUTE

SOLO

GAIN

Matrix 1,3,5

Matrix 2,4,6

mute

mute

mute

mute

stereo

Mix 1,3...15

Mix 2,4...16

PAN (LCR)

GAIN

MUTE

Pre EQ/Pre Fader/Post Fader/Post Pan L

Pre EQ/Pre Fader/Post Fader/Post Pan R

2

2

2

MATRIX 1-6

FADER

MUTE

INSERT

1-6

MATRIX

GAIN

COMP/

6BAND

COMP/

INSERT

LCR

PAN (LR)

FADER

MUTE

Post Fader

SOLO

Pre EQ/Pre Fader/Post Fader/Post Pan L

Pre EQ/Pre Fader/Post Fader/Post Pan R

STEREO FX RETURNS 1 L/R – 8 L/R

OUT

EXPAN

EQ

EXPAN

stereo

Post Fader

Pre Fader

EQ

Pre EQ Post EQ

mono

8 x 2

KEY-IN

SOLO

stereo

Post Pan

Post Fader

Pre Fader

Post Fader

MONITOR

mute

mute

Mix 1,3...15

Mix 2,4...16

PAN (LCR)

GAIN

SOLO

MUTE

Pre Fader/Post Fader/Post Pan L

Pre Fader/Post Fader/Post Pan L

Pre Fader/Post Fader/Post Pan R

Pre Fader/Post Fader/Post Pan R

38

I/O

PATCH

MONITOR L

OUT

D/A

DELAY

MONO

+

GAIN

MONITOR SOURCE IN

2

FX OUT L

EFFECT

FX IN L

EFFECTS 1-8

OUT 1-16 (virtual)

GAIN

GAIN

DELAY

16

MONITOR R

OUT

D/A

DELAY

MONITOR LR OUT

DIM

SOLO / SOURCE

FX OUT R

31 BAND GEQ

31 BAND GEQ

FX IN R

(16ch)

P16 BUS

AUX OUT 1-6 (virtual)

GAIN

6

16

L+C OUT

+

L+C/R+C MIX

ON

TALK

LEVEL

COMP

A/D

TRIM

Dyn. Mic Input TRS

TALKBACK

6

R+C OUT

+

MONITOR LR OUT

2

8

16

16

USB

USB

REC

PLAY

FX 1-8 IN (L / R)

FX 1-8 OUT (L / R)

MIX 1-16 INSERT SEND

MIX 1-16 INSERT RETURN

MATRIX 1-6 INSERT RETURN

PATCH CUE

MAIN LRC INSERT SEND

MATRIX 1-6 INSERT SEND

MAIN LRC INSERT RETURN

MIX 1-16 OUT

MATRIX 1-6 OUT

MAIN LRC OUT

MAIN LRC PRE EQ OUT

MONITOR LR OUT

MONITOR SOURCE IN

MONITOR L+C/R+C OUT

(48ch IN)

AES-50 A

(48ch IN)

AES-50 B

SLOT

(32ch IN)

AES-50 A

(48ch OUT)

AES-50 B

(48ch OUT)

SLOT

(32ch OUT)

34 M32C DIGITAL RACK MIXER User Manual 35 M32C DIGITAL RACK MIXER User Manual

9. M32C MIDI Implementation

MIDI RX > SCENES

Whenever program change messages in the range 1-100 are received on MIDI
CH01, the corresponding scene of the M32C internal show memory will be loaded.

This requires the following preconditions:

• • Setup / remote

> MIDI In/Out check marks must be set according to the connection on
which MIDI input will be accepted (via physical MIDI connectors on M32C or
DL16, or via DN32-USB Card)
> MIDI In/Out check mark must be set for “Enable MIDI Scene Recall”

• • Setup / global

> when tick mark “Con rm Pop-Ups” / “Scene Load” is active, also MIDI
scene recalls will only become active after manual con rmation
> if you prefer activating scenes via MIDI program changes immediately,
un-check the “Con rm Pop-Ups” / “Scene Load” tick mark

• • Scenes View / home

> valid scenes must be stored in the internal M32C show  le. It is not
possible to recall empty scenes.
> the scope of changes applied by a MIDI scene recall depends on the Scene
Safes, Parameter Safes and Channel Safes settings, same as with recalling
the scene locally.

MIDI TX > SCENES

Every scene can be assigned one speci c MIDI command/event. Each time the
scene is loaded the MIDI command will be sent out once. Possible choices for MIDI
commands/events to be found on Scenes View/MIDI page:

• • O > no message will be sent upon scene load

• • Program Change > select the MIDI Channel and the Program Number

(using knobs 4/5 at the main display)

• • Control Change > select the MIDI Channel, Controller number and value

(using knobs 4-6 at the main display)

• • Note > select the MIDI Channel, Note number and velocity (using knobs 4-6

at the main display) > will send out a Note On command directly followed by
the same Note O command

MIDI RX > ASSIGN

Whenever assignable controls are set up for transmitting MIDI commands,
reception of that same command (status or continuous) will be re ected on the
respective assignable control element (button light, encoder LED collar).

MIDI TX > ASSIGN

We restricted the user assignable MIDI commands to some generic elements,
in order to keep things simple enough:

• • Encoders 1-4 > can be assigned to sending control changes, program

changes or notes

> parameters are currently ‘Channel’ and ‘Value’
> for CC and Note commands ‘Value’ = controller number/note number,
and the encoder rotation determines the controller value/note-on velocity
> for Program Changes only the channel is speci ed, and the encoder
rotation determines the program number

• • Buttons 5-12 > can be operated in two modes, ‘MIDI Push’ (non-latching)

for momentary commands, or ‘MIDI Toggle’ (latching) for static commands

MIDI Push:

> can be assigned to sending control changes, program changes or notes
> parameters are currently ‘Channel’ and ‘Value’
> for CC and Note commands ‘Value’ 0…127 = controller number/note
number, and the button momentarily toggles the controller value/note-on
velocity to 127 (depressed)à0 (released]
> for Program Changes ‘Value’ 0…127 = program/preset number, that will
be sent upon pressing the button

MIDI Toggle:

> can be assigned to sending control changes or notes
> parameters are currently ‘Channel’ and ‘Value’
> for CC and Note commands ‘Value’ 0…127 = controller number/note
number, and the button toggles the controller value/note-on velocity
between value/velocity 127 and 0 with every operation

• • n.b.1) The ASSIGN section also re ects/displays reception of the same MIDI

commands that are selected for transmission

• • n.b.2) The MIDI commands assigned to the ASSIGN controls can be

transferred to and from stage via AES50 using the DL16 stage box MIDI I/O

MIDI RX/TX > REMOTE

Enables a speci c form of bi-directional MIDI communication for remote
controlling a computer DAW application using control elements of the M32C
console. REMOTE can be used in 3 modes, Mackie Control, HUI and raw MIDI CC
(raw) controllers (see Setup/remote)

• • MIDI CC (raw) selected and Remote is enabled+active, the group

section buttons

> will emit the following messages on Channel 01:
Group 1-8 SELECT = Note 64-71, on(127)/o (0), push non-latching
Group 1-8 SOLO = CC 32-39, on(127)/o (0), toggle latching
Group 1-8 MUTE = CC 40-47, on(127)/o (0), toggle latching
Sends On Fader = CC 48, on(127)/o (0), toggle latching
Group DCA 1-8 = Note 72, on(127)/o (0), push non-latching
BUS 1-8 = Note 73, on(127)/o (0), push non-latching
BUS 9-16 = Note 74, on(127)/o (0), push non-latching
MTX 1-6 = Note 75, on(127)/o (0), push non-latching
MIDI CC (raw) selected and Remote is enabled+active, then group section
faders 1-8
> will emit CC #0-7, value 0…127 messages on Channel 01

• • HUI selected and Remote is enabled+active, then the group fader section

and buttons will emulate the HUI control surface protocol, i.e. for ProTools.

> SELECT/SOLO 1-8 buttons will select or solo the corresponding track in the
DAW, in banks of 8 tracks
> Sends On Fader = enables touch-writing a fader automation on selected
track, track automation mode in DAW must be ‘touch’, (latching)
> use the layer buttons to determine the function assigned to the MUTE 1-8
buttons, the LED displays indicate that function

- Group DCA 1-8 = allows to move the bank selection of tracks in a DAW,

(push non-latching)

- BUS 1-8 = allows to set DAW tracks to ‘Record Ready’, (push non-latching)

- BUS 9-16 = enables using the MUTE buttons for track mute in the DAW,

(latching)

- MTX 1-6 = enables using the MUTE buttons for transport controls in the

DAW, (latching)

• • MACKIE CTRL selected and Remote is enabled+active, then the group fader

section and buttons will emulate the Mackie Control Universal protocol

> SELECT/SOLO 1-8 buttons will select or solo the corresponding track in the
DAW, in banks of 8 tracks
> Sends On Fader = enables touch-writing a fader automation on selected
track, track automation mode in DAW must be ‘touch’ or ‘latch’, (latching)
> use the layer buttons to determine the function assigned to the MUTE 1-8
buttons, the LED displays indicate that function

- Group DCA 1-8 = allows to move the bank selection of tracks in a DAW,

(push non-latching)

- BUS 1-8 = allows to set DAW tracks to ‘Record Ready’, (push non-latching)

- BUS 9-16 = enables using the MUTE buttons for track mute in the

DAW, (latching)

- MTX 1-6 = enables using the MUTE buttons for transport controls in the

DAW, (latching)

36 M32C DIGITAL RACK MIXER User Manual 37 M32C DIGITAL RACK MIXER User Manual

Other important information

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using our simple online form helps us to process your repair
claims more quick ly and e ciently. Also, read the terms and
conditions of our warrant y, ifapplicable.

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Alternatively, please submit an online warrant y claim at
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3. Power Connections. Before plugging the unit
into a power socket, please make sure you are using the
correct mains voltage for your particular model. Fault yfuses
must be replaced with fuses of the same typeand rating
without exception.

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dicha salida sea del voltaje adecuado para su modelo
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deberá hacerlo por otro de idénticas especi caciones,
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également nous faire par venir directement votre demande
de réparation sous garantie par Internet sur le site
midasconsoles. com AVANT de nous renvoyer le produit.

3. Raccordement au secteur. Avant de relier
cet équipement au secteur, assurez-vous que la tension
secteur de votre région soit compatible avec l’appareil.
Veillez à remplacer les f usibles uniquement par des modèles
exactement de même taille et de même valeur électrique
— sans aucune exception.

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Sollte Ihr Land nicht aufgelistet sein, prüfen Sie bitte,
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eine Netz steckdose anschließen, prüfen Sie bitte, obSie
die korrekte Netzspannung für Ihr spezielles Modell
verwenden. Fehlerhafte Sicherungen müssen ausnahmslos
durch Sicherungen des gleichen Typs und Nennwerts
ersetztwerden.

1. Registre-se online. Por favor, registre seu novo
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Casoseufornecedor MUSIC Group não esteja localizado
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o modelo em ques tão. Os fusíveis com defeito terão de
ser substituídos, sem qualquer excepção, por fusíveis do
mesmo tipo e corrente nominal.

1. ヒューズの格納部/電圧の選択:

ユ ニットを パワ ーソケ ット に 接 続 す る 前に 、
各モデルに対応した正しい主電源を使用し
ていることを確認してください。ユニットに
よっては 、230 Vと120 Vの2つの違うポジ
ションを切り替えて使う、ヒューズの格 納部
を備えているものがあります。正しくない値
のヒューズは 、絶対に適切な値のヒューズに
交換されている必要があります。

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ます。

Important information

Aspectos importantes

Informations importantes

Weitere wichtige
Informationen

Outras Informações
Importantes

その他の重要な情報

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其他的重要信息

39 M32C DIGITAL RACK MIXER User Manual38 M32C DIGITAL RACK MIXER User Manual

FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION

Responsible Part y Name: MUSIC Group Research

UK Limited

Address: Klark Industrial Park,

Walter Nash Road,
Kidderminster. Worcestershire.
DY11 7HJ. England.

Phone Number: [phone]

M32C DIGITAL RACK MIXER

complies with the FCC rules as mentioned in the following paragraph:

This equipment has been tested and found to comply with the limits for a Class A
digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to
provide reasonable protection against harmful interference when the equipment
is operated in a commercial environment. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with
the instruction manual, may cause harmful interference to radio communications.
Operation of this equipment in a residential area is likely to cause harmful
interference in which case the user will be required to correct the interference at his
own expense.

This equipment complies with Part 15 of the FCC Rules. Operation is subject to the
following two conditions:

(1) This device may not cause harmful inter ference, and
(2) This device must accept any interference received, including interference that
may cause undesired operation.

Important information:

Changes or modi cations to the equipment not expressly approved by MUSIC Group
can void the user’s authority to use the equipment.

M32C DIGITAL RACK MIXER

MIDAS

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