Midas M32R User manual

Download

User Manual

DIGITAL RACK MIXER M32R

Digital Console for Live and Studio with 40 Input Channels, 16 Midas PRO Microphone Preampliers and 25 Mix Buses

2 DIGITAL RACK MIXER M32R User Manual

Table of Contents

Precautions ................................................................... 10

Introduction.................................................................. 11

1. Control Surface ........................................................ 12

1.1 Channel Strip - Input Channels .................................... 12

1.2 Channel Strip - Group/Bus Channels ......................... 13

1.3 Cong/Preamp .................................................................. 14

1.4 Gate ........................................................................................14

1.5 Dynamics ............................................................................. 14

1.6 Equaliser ............................................................................... 15

1.7 Main Bus ............................................................................... 16

1.8 Recorder ............................................................................... 16

1.9 Main Display (Summary) ................................................ 17

1.10 Monitor ............................................................................... 19

1.11 Talkback .............................................................................. 20

1.12 Assign .................................................................................. 21

1.13 Fader Layer ........................................................................22

2. Main Display ............................................................23

2.1 Main Display - Top Section ............................................ 23

2.2 Meters ................................................................................... 27

2.3 Routing ................................................................................. 28

2.4 Library ................................................................................... 32

2.5 Eects ................................................................................... 32

2.6 Setup ..................................................................................... 34

2.7 Monitor .................................................................................36

2.8 Scenes ................................................................................... 36

2.9 Mute Group.........................................................................39

2.10 Utility ................................................................................... 39

2.11 Internal Eects ................................................................. 40

3. Rear Panel................................................................. 50

3.1 MONITOR / CONTROL ROOM OUT ............................. 50

3.2 AC / POWER ........................................................................50

3.3 XLR OUT 1-8 ........................................................................ 50

3.4 XLR IN 1-16 ........................................................................... 50

3.5 Klark Teknik DN32-USB ................................................... 51

3.6 REMOTE CONTROL ........................................................... 51

3.7 MIDI ....................................................................................... 51

3.8 ULTRANET ............................................................................ 51

3.9 AES50 .................................................................................... 51

3.10 AUX IN / OUT .................................................................... 51

4. Appendices ..............................................................52

4.1 Appendix A: Technical Specications ........................52

4.2 Appendix B: MIDI Operation ........................................ 53

4.3 Appendix C: Dimensions ...............................................56

4.4 Appendix D: Block Diagram .......................................... 58

4.5 Appendix E: Service Information ................................ 59

4.6 Appendix F: Glossary .......................................................59

3 DIGITAL RACK MIXER M32R User Manual

9. Do not defeat the safety purpose of the polarized

20. Please keep the environmental aspects of battery

Important Safety Instructions

Terminals marked with this symbol carry electrical current of sucient magnitude

to constitute risk of electric shock. Use only high-quality professional speaker cables with ¼" TS or twist-locking 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 service 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.

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.

18. Do not install in a conned space, such as a book case or similar unit.

19. Do not place naked ame sources, such as lighted candles, on the apparatus.

disposal in mind. Batteries must be disposed-of at a battery collection point.

21. Use this apparatus in tropical and/or moderate climates.

LEGAL DISCLAIMER

Music Tribe 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 and Coolaudio are trademarks or registered trademarks of Music Tribe Global Brands Ltd. © Music Tribe Global Brands Ltd. 2018 All rights reserved.

LIMITED WARRANTY

For the applicable warranty terms and conditions and additional information regarding Music Tribe’s Limited Warranty, please see complete details online at musictribe.com/warranty.

4 DIGITAL RACK MIXER M32R User Manual

9. No elimine o deshabilite nunca la conexión a tierra

18. No instale esta unidad en un espacio muy reducido,

Instrucciones de seguridad

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 profesionales y de alta calidad con conectores TS de 6,3 mm o de bayoneta prejados. 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.

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.

tal como encastrada en una librería o similar.

19. No coloque objetos con llama, como una vela encendida, sobre este aparato.

20. Tenga presentes todas las advertencias relativas al reciclaje y correcta eliminación de las pilas. Las pilas deben ser siempre eliminadas en un punto limpio y nunca con el resto de la basura orgánica.

21. Use este aparato en rangos de temperatura moderados y/o tropicales.

NEGACIÓN LEGAL

Music Tribe 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 y Coolaudio son marcas comerciales o marcas registradas de Music Tribe Global Brands Ltd. © Music Tribe Global Brands Ltd. 2018 Reservados todos los derechos.

GARANTÍA LIMITADA

Si quiere conocer los detalles y condiciones aplicables de la garantía así como información adicional sobre la Garantía limitada de Music Tribe, consulte online toda la información en la web musictribe.com/warranty.

5 DIGITAL RACK MIXER M32R User Manual

9. Ne supprimez jamais la sécurité des prises bipolaires

d’équipements pour le recyclage, veuillez contacter votre

Consignes de sécurité

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

constituer un risque d’électrocution. Utilisez uniquement des câbles d’enceintes professionnels de haute qualité avec ches Jack mono 6,35 mm ou ches à verrouillages déjà installées. Touteautre installation ou modication doit être eectuée 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).

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

mairie ou votre centre local de collecte des déchets.

18. N’installez pas l’appareil dans un espace conné tel qu’une bibliothèque ou meuble similaire.

19. Ne placez jamais d’objets enammés, tels que des bougies allumées, sur l’appareil.

20. Gardez à l’esprit l’impact environnemental lorsque vous mettez des piles au rebus. Les piles usées doivent être déposées dans un point de collecte adapté.

21. Utilisez l’appareil dans un climat tropical et/ou modéré.

DÉNI LÉGAL

Music Tribe 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 et Coolaudio sont des marques ou marques déposées de Music Tribe Global Brands Ltd. © Music Tribe Global Brands Ltd. 2018 Tous droits réservés.

GARANTIE LIMITÉE

Pour connaître les termes et conditions de garantie applicables, ainsi que les informations supplémentaires et détaillées sur la Garantie Limitée de Music Tribe, consultez le site Internet musictribe.com/warranty.

6 DIGITAL RACK MIXER M32R User Manual

Erdungskontakt dient Ihrer Sicherheit. Falls das

18. Installieren Sie das Gerät nicht in einer beengten

Fotos oder Aussagen verlassen haben. Technische Daten,

Wichtige Sicherheitshinweise

Vorsicht

Die mit dem Symbol markierten

Anschlüsse führen so viel Spannung, dassdie Gefahr eines Stromschlags besteht. Verwenden Sie nur hochwertige, professionelle Lautsprecherkabel mit vorinstallierten 6,35 mm MONO-Klinkensteckern oder Lautsprecherstecker mit Drehverriegelung. Alle anderen Installationen oder Modikationen sollten nur von qualiziertem Fachpersonal ausgeführt 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ziertem 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ziertes 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

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ziertem 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.

Umgebung, zum Beispiel Bücherregal oder ähnliches.

19. Stellen Sie keine Gegenstände mit oenen Flammen, etwa brennende Kerzen, auf das Gerät.

20. Beachten Sie bei der Entsorgung von Batterien den Umweltschutz-Aspekt. Batterien müssen bei einer Batterie-Sammelstelle entsorgt werden.

21. Verwenden Sie das Gerät in tropischen und/oder gemäßigten Klimazonen.

HAFTUNGSAUSSCHLUSS

Music Tribe übernimmt keine Haftung für Verluste, die Personen entstanden sind, die sich ganz oder teilweise auf hier enthaltene Beschreibungen,

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 und Coolaudio sind Warenzeichen oder eingetragene Warenzeichen der Music Tribe Global Brands Ltd. © Music Tribe Global Brands Ltd. 2018 Alle Rechte vorbehalten.

BESCHRÄNKTE GARANTIE

Die geltenden Garantiebedingungen und zusätzliche Informationen bezüglich der von Music Tribe gewährten beschränkten Garantie nden Sie online unter musictribe.com/warranty.

7 DIGITAL RACK MIXER M32R User Manual

de duas palhetas e um terceiro dente de ligação à terra.

18. Não instale em lugares connados, tais como

Instruções de Segurança Importantes

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 de alta qualidade com plugues TS de ¼" ou plugues com trava de torção 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

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.

estantes ou unidades similares.

19. Não coloque fontes de chama, tais como velas acesas, sobre o aparelho.

20. Favor, obedecer os aspectos ambientais de descarte de bateria. Baterias devem ser descartadas em um ponto de coletas de baterias.

21. Use este aparelho em climas tropicais e/ou moderados.

LEGAL RENUNCIANTE

O Music Tribe 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 Electronic, TC Helicon, Behringer, Bugera e Coolaudio são marcas ou marcas registradas do Music Tribe Global Brands Ltd. © Music Tribe Global Brands Ltd. 2018 Todos direitos reservados.

GARANTIA LIMITADA

Para obter os termos de garantia aplicáveis e condições e informações adicionais a respeito da garantia limitada do Music Tribe, favor vericar detalhes na íntegra através do website musictribe.com/warranty.

8 DIGITAL RACK MIXER M32R User Manual

9. ニ極式プラグおよびアースタイプ

18. ブックケースなどのような、閉じたス

をお願いします。電池は、かならず電池回

安全にお使いいただくために

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（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。

¼" TS 標準

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

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。

(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。

ペースには設置しないでください。

19. 本機の上に点火した蝋燭などの裸火

を置かないでください。

20. 電池廃棄の際には、環境へのご配慮

収場所に廃棄してください。

21. 本機器は熱帯気候および / または温

帯気候下でご使用ください。

法的放棄

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、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。

Music Tribe

Lake、Tannoy、Turbosound、TC Electronic、 TC Helicon、Behringer、Bugera および Coolaudio

は Music Tribe Global Brands Ltd. の商標または登録商標です。

2018

無断転用禁止。

限定保証

適用される保証条件と保証に関する概要については、オンライン上

musictribe.com/warranty にて詳細をご確認

ください。

Music Tribe の限定

9 DIGITAL RACK MIXER M32R User Manual

11.

不负任何责任。技术参数和外观若有更改,

其他的重要信息

带有此标志的终端设备具有强大的电流, 存在触电危险。仅限

使用带有的高品质专业扬声器线。所有的安装或调整均须由合格的专业人员进行。

此标志提醒您, 产品内存在未

绝缘的危险电压, 有触电危险。

此标志提醒您查阅所附的重要

的使用及维修说明。请阅读有

关手册。

小心

为避免触电危险, 请勿打开机

顶盖 (或背面挡板)。设备内没有可供用户维修使用的部件。请将维修事项交由合格的专业人员进行。

小心

为避免着火或触电危险, 请勿

将此设备置于雨淋或潮湿中。此设备也不可受液体滴溅, 盛有液体的容器也不可置于其上, 如花瓶等。

¼'' TS 或扭锁式插头

请只使用厂家指定的附属设备和

配件。

12. 请只使用厂家

指定的或随货销售的手推车, 架子, 三角架, 支架和桌子。若使用手推车来搬运设备, 请注意安全放置设备, 以避免手推车和设

备倾倒而受伤。

13. 遇闪电雷鸣或长期不使用本设备时,

请拔出电源插头。

14. 所有维修均须由合格的维修人员进

行。设备受损时需进行维修, 例如电源线或电源插头受损, 液体流入或异物落入设备内, 设备遭雨淋或受潮, 设备不能正常运作或被摔坏。

15. 本设备连接电源时一定要有接地

保护。

16. 若电源插头或器具

耦合器用作断电装置, 应当保证它们处于随时可方便操作状态。

17. 本产品仅适用于海

2000 米以下地区, 本产

拔

品仅适用于非热带气候条件下。

法律声明

对于任何因在此说明书提到的全部或部份描述、图片或声明而造成的损失,

恕不另行通知。所有的商标均为其各自所有者的财产。

Midas, Klark Teknik, Lab Gruppen,

Music Tribe

Lake, Tannoy, Turbosound, TC Electronic, TC Helicon, Behringer, Bugera Global Brands Ltd.

和 Coolaudio 是 Music Tribe

公司的商标或注册商标。

保修条款

有关音乐集团保修的适用条款及其它相关信息, 请登陆看完整的详细信息。

musictribe.com/warranty 网站查

小心

维修说明仅是给合格的专业维

修人员使用的。为避免触电危险, 除了使用说明书提到的以外, 请勿进行任何其它维修。所有维修均须由合格的专业人员进行。

1. 请阅读这些说明。

2. 请妥善保存这些说明。

3. 请注意所有的警示。

4. 请遵守所有的说明。

5. 请勿在靠近水的地方使用本产品。

6. 请用干布清洁本产品。

7. 请勿堵塞通风口。安装本产品时请遵

照厂家的说明。

8. 请勿将本产品安装在热源附近,

如暖气片, 炉子或其它产生热量的设备 (包括功放器)。

9. 请勿移除极性插头或接地插头的安全

装置。接地插头是由两个插塞接点及一个接地头构成。若随货提供的插头不适合您的插座, 请找电工更换一个合适的插座。

10. 妥善保护电源线, 使其不被践踏或刺

破, 尤其注意电源插头、多用途插座及设备连接处。

10 DIGITAL RACK MIXER M32R User Manual

Precautions

Before installing, setting up or operating this equipment make sure you have read and fully understand all of this section and the ‘IMPORTANT SAFETY INSTRUCTIONS’ at the front of this manual.

This equipment is supplied by a mains voltage that can cause electric shock injury! The following must be observed in order to maintain safety and electromagnetic compatibility (EMC) performance.

Safety warnings

Signal 0V is connected internally to the chassis. To completely isolate this equipment from the AC mains, while observing full

safety precautions (see ‘Power’ on page xiii), switch o the isolator switch (above the mains power sockets on rear of control centre) and then switch o the mains at the three mains outlets. Unplug the three mains leads from the rear of the control centre. For details of how to remove Volex locking type plug, see ‘Power’ below.

To avoid electrical shock do not remove covers.

General precautions

In the event of ground loop problems, disconnect the signal screen at one end of the connecting cables. Note that this can only be done when the equipment is used within a balanced system.

Do not remove, hide or deface any warnings or cautions.

Power

The system power supplies contain LETHAL VOLTAGES greatly in excess of the mains voltage and its rails can produce extremely large currents that could burn out equipment and wiring if shorted.

The internal power supplies are of the switch mode type that automatically sense the incoming mains voltage and will work where the nominal voltage is in the range 100 VAC to 240 VAC.

Each mains inlet is to be sourced from its own separate wall-mounted mains outlet socket.

Otherwise, their mains sources must be suitably distributed so as to meet local safety regulations.

A Volex locking type plug is tted on each supplied mains cable, which plugs into a mains IEC connector on the unit. When tted properly the Volex plug locks into place, preventing it from working loose, or being inadvertently knocked loose or pulled out. To t a Volex plug, insert it into the mains IEC connector and push it in until it locks in place. Then, check to make sure it is locked in place. To remove it, release its locking device and then pull it out. When tting or removing a Volex plug, always hold the plug itself and never use the cable, as this may damage it.

During operation, a minimum of two of its three mains inlets must be connected and supplying power.

When removing the equipment’s electric plugs from the outlets, always hold the plug itself and not the cable. Pulling out the plug by the cable can damage it.

Never insert or remove an electric plug with wet hands. Do not connect/disconnect a mains power connector to/from the M32 Control

Centre while power is being applied to it. Switch the power o rst. Before switching the M32 Control Centre on or o, make sure that all monitor

loudspeaker power ampliers are turned o or muted.

Handling the equipment

Completely isolate the equipment electrically and disconnect all cables from the equipment before moving it.

When lifting or moving the equipment, always take its size and weight into consideration. Use suitable lifting equipment or transporting gear, or sucient additional personnel.

Do not insert your ngers or hands in any gaps or openings on the equipment, for example, vents.

Do not press or rub on the sensitive surface of the GUI screens. If the glass of the GUI screen is broken, liquid crystals shouldn’t leak through the

break due to the surface tension of the thin layer and the type of construction of the LCD panel. However, in the unlikely event that you do make contact with this substance, wash it out with soap.

Installation

Before installing the equipment: Make sure the equipment is correctly connected to the protective earth

conductor of the mains voltage supply of the system installation through the mains leads

Power to the equipment must be via a fused spur(s) Power plugs must be inserted in socket outlets provided with protective earth

contacts. The electrical supply at the socket outlets must provide appropriate over-current protection

Both the mains supply and the quality of earthing must be adequate for the equipment

Before connecting up the equipment, check that the mains power supply voltage rating corresponds with the local mains power supply. The rating of the mains power supply voltage is printed on the equipment.

Location

Ideally a cool area is preferred, away from power distribution equipment or other potential sources of interference.

Do not install the equipment in places of poor ventilation. Do not install this equipment in a location subjected to excessive heat, dust or

mechanical vibration. Allow for adequate ventilation around the equipment, making sure that its fans and vents are not obstructed. Whenever possible, keep the equipment out of direct sunlight.

Do not place the equipment in an unstable condition where it might accidentally fall over.

Make sure that the mains voltage and fuse rating information of the equipment will be visible after installation.

Ensure that all underside vents are left clear during operation.

11 DIGITAL RACK MIXER M32R User Manual

Audio connections

To ensure the correct and reliable operation of your equipment, only high quality, balanced, screened, twisted pair audio cable should be used.

XLR connector shells should be of metal construction so that they provide a screen when connec ted to the control centre and, where appropriate, they should have Pin 1 connected to the cable screen.

Electrostatic discharge (ESD) precautions

Observe full electrostatic discharge (ESD) — also known as ‘anti-static’— precautions when

carrying out procedures in this manual that are accompanied by the ESD Susceptibility Symbol (shown above). This caution symbol shows you that ESD damage may be caused to items unless proper ESD precautions are taken, which include the following practices:

• Keep the work area free from plastic, vinyl or styrofoam

• Wear an anti-static wrist strap

• Discharge personal static before handling devices

• Ground the work surface

• Avoid touching ESD-sensitive devices.

Radio frequency interference—Class A device

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.

Electric elds

Caution: In accordance with Part 15 of the FCC Rules & Regulations, “… changes

or modications not expressly approved by the party responsible for compliance could void the user’s authority to operate the equipment.”

Should this product be used in an electromagnetic eld that is amplitude modulated by an audio frequency signal (20 Hz to 20 kHz), the signal to noise ratio may be degraded. Degradation of up to 60 dB at a frequency corresponding to the modulation signal may be experienced under extreme conditions (3 V/m, 90% modulation).

Safety equipment

Never remove, for example, covers, housings or any other safety guards. Do not operate the equipment or any of its parts if safety guards are ineective or their eectiveness has been reduced.

Optional equipment

Unless advised other wise, optional equipment must only be installed by service personnel and in accordance with the appropriate assembly and usage regulations.

Special accessories

To comply with part 15 of the FCC Rules, any special accessories (that is, items that cannot be readily obtained from multiple retail outlets) supplied with this equipment must be used with this equipment; do not use any alternatives as they may not full the RF requirement.

Introduction

Welcome to the M32R Digital Console 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 allows you to get up and running right away.

The M32R combines a control surface with streamlined workow, extensive I/O and signal processing into a compact desktop form factor. Employing awardwinning Midas PRO Series microphone preampliers and the custom-designed Midas PRO motorised faders that are rated for one million cycles, along with a daylight-viewable TFT screen, the control surface is designed to allow immediate access to critical functions with total and automatic recall of settings. Extensive onboard I/O includes 40 A/D and 24 D/A Cirrus Logic converters, 96 bi-directional channels over SuperMAC AES50, stereo AES/EBU out, 16 channels of ULTRANET personal monitoring and 32 x 32 channels of recording over USB.

Abundant analogue connectivity is provided by 16 Midas PRO Series digitallycontrollable microphone preamps, six line-level auxiliary inputs and outputs, eight XLR outputs, stereo monitoring outs on XLR/TRS and dual phones outputs. Each of the 16 microphone inputs can accept balanced or unbalanced mic- or line-level signals, and include switchable phantom power, 72 dB gain range and maximum +23 dBu level before clip. A separate external microphone input and the internal talkback mic allow communication to various destinations.

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. Motorised faders, recallable mic preamps, programmable routing and the ability to save and recall entire scenes make set or programme changes quick and simple. A top panel USB connector enables system data to be stored, or a board mix to be recorded directly to external ash or hard drives.

The Input section is home to eight high-resolution 100 mm motorised faders, providing control over channels 1-32, Aux inputs/USB playback/FX returns. A separate section of eight motorised faders controls DCA groups 1-8, bus masters 1-8 and 9-16, as well as matrices 1-6. The channel editing section provides tangible controls for instant access to the selected channel’s gain, dynamics, EQ and other functions.

A main ve inch-wide, high-contrast colour display provides information for editing pertinent parameters of the ac tive function or eect. Relevant parameters are quickly recalled to the display for editing via ‘VIEW’ buttons in each subsection. Each channel also features a small, customisable LCD screen for track name, number, colour and source graphic.

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

Transmit up to 32 channels of audio to and from a computer using the Klark Teknik DN32 USB audio interface.

The M32R integrates seamlessly with other M32 consoles, the Midas DL16 digital stagebox and the Behringer P-16 personal monitoring system for a complete live, studio and installed sound solution.

Control the mixer from a distance with the free application for iPad* or with editing and remote control software connected via Ethernet. The M32R’s ease of use, intuitive workow, diverse feature set and integration with other equipment make it an ideal centrepiece for installed and production sound in any setting.

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 is a trade mark of Apple Inc.

12 DIGI TAL RACK MIXER M32R User Manual

1. Control Surface

1.1 Channel Strip - Input Channels

(1)

(2)

(3)

(4)

(5)

(6)

(1) SEL Button

Press to select an input or bus (depending on which layer is active) and allow it to be edited by the Channel Strip and Main Display.

(2) Channel Meter

This displays the signal level of the input or bus, depending on which layer is active. The COMP and GATE LEDs light to indicate that compression and/or noise gate are active.

(3) SOLO Button

Press to send the channel to the solo bus.

(4) Scribble Strip

Information such as channel number, input source and a graphic icon are displayed here.

(5) MUTE Button

Press to mute the channel.

(6) Fader

Use the Midas PRO Motor Fader to adjust the channel output volume. In Sends on Faders mode channel faders represent the send level from channels to the currently selected output bus (see next page).

13 DIGI TAL RACK MIXER M32R User Manual

1.2 Channel Strip - Group/Bus Channels

(1)

(2)

(3)

(4)

(5)

(6)

(7)

(8) (9)

(1) SEL Button

Press to select a DCA or bus (depending on which layer is active) and allow it to be edited by the Channel Strip and Main Display.

(2) Channel Meter

This displays the signal level of the DCA or bus, depending on which layer is active. The PRE LED lights to indicate that the bus is sourced pre-fader, while the COMP LED lights to indicate that compression is active.

(3) SOLO Button

Press to send the channel to the solo bus.

(4) Scribble Strip

Information such as channel number, input source and a graphic icon are displayed here.

(5) MUTE Button

Press to mute the channel.

(6) COMP

The COMP indicator will illuminate when compression is being applied to the stereo output mix.

(7) CLR SOLO Button

Press to clear all sources assigned to the solo bus.

(8) Bus Faders

Use the Midas PRO Fader to adjust the channel volume or bus sends in Sends on Faders mode. The faders will automatically display the current status as

layers and functions are changed.

(9) Fader

Use the Midas PRO Fader to adjust the output of the main bus.

14 DIGI TAL RACK MIXER M32R User Manual

1.3 Cong/Preamp

(1) (2) (3)

(4) (5) (6) (7)

(1) GAIN Rotary Control

On a microphone preamplier, input gain varies the amount of amplication applied to the microphone. Adjust the preamp gain for the selected channel with the GAIN rotary control.

(2) LED Display

The LED display in the Cong/Preamp section illustrates the signal input level for the selected channel. This is shown as a value between 0 dB and

-30 dB. When there is a signal present, but below -30 dB, the SIG LED is lit. When the signal exceeds 0 dB the CLIP LED illuminates.

Please note that, when pressing the VIEW button, the signal input level displayed on the Main Display shows a value of between 0 dB and -60 dB.

(3) FREQUENCY Rotary Control

The FREQUENCY rotar y control selects the frequency at which the low cut lter begins to lter unwanted frequencies for the selected channel. The lter is engaged by pressing the LOW CUT button (see below).

Please note that the low cut lter is only available for the 32 primary input channels.

(4) 48 V

Phantom power is a method for transmitting DC electric power through microphone cables to operate microphones that contain ac tive electronic circuitry. It is most commonly used with condenser microphones, though many active direct boxes also use it. The technique is also used in other applications where power supply and signal communication take place over the same wires. Press the 48 V button to apply phantom power on the selected channel’s physical input.

(5) Ø

An audio signal’s ‘phase’ refers to its position in a point of time along the waveform cycle, with each cycle being 360°. Press the Ø button to reverse the selected channel’s phase by 180°. This can be useful when using the reverse phase function to cancel noise across more than one channel.

(6) LOW CUT

Press the LOW CUT button to engage the low cut lter for the selected channel.

Please note that the low cut lter is only available for the 32 primary input channels.

(7) VIEW

Press the VIEW button to access more detailed parameters on the Main Display. See the section Main Display - cong for more details.

1.4 Gate

(1)

(2)

(3) (4)

(1) THRESHOLD Rotary Control

A noise gate is a device that is used to control the volume of an audio signal. Often used in conjunction with a compressor (see DYNAMICS), which attenuate signals above a certain threshold, noise gates attenuate signals that register below the threshold. By turning the THRESHOLD rotary control, the audio level at which the gate aects the signal can be controlled.

(2) LED Display

The LED display illustrates when the Gate is functioning for the selected channel by illuminating the red G ATE LED at the bottom of the display.

(3) GATE

Pressing the GATE button engages the noise gate for the selected channel.

(4) VIEW

Press the VIEW button to access more detailed parameters on the Main Display. See the section Main Display - gate for more details.

1.5 Dynamics

(1)

(3) (4)

(2)

(1) THRESHOLD Rotary Control

Dynamic Range Compression, or just Compression is a device that is used to control the volume of an audio signal. Often used in conjunction with a noise gate (see GATE), which attenuate signals below a certain threshold, compressors attenuate signals that register above the threshold. By turning the THRESHOLD rotary control, the audio level at which the compressor aects the signal can be controlled.

15 DIGITAL RACK MIXER M32R User Manual

(2) LED Display

The LED display illustrates when the Dynamics are functioning for the selected channel by illuminating the red COMP LED. The level of attenuation that is being applied to the signal is shown as a value between 0 dB and -30 dB.

Please note that, when pressing the VIEW button, the attenuation level displayed on the Main Display shows a value of between 0 dB and -60 dB.

(3) COMP

Pressing the COMP button engages the compressor for the selected channel.

(4) VIEW

Press the VIEW button to access more detailed parameters on the Main Display. See the section Main Display - dyn for more details.

1.6 Equaliser

(1) (2) (3) (4)

(7)

(5)

(1) MODE Select Button and Display

Pressing the MODE button cycles through each of the EQ modes for the currently selec ted frequency range. Each of the modes and the frequency ranges to which they apply are listed below:

HCUT

A high-cut function which attenuates signals above the selected frequency.

HSHV

A high-shelving function which boosts or attenuates signals above the selected frequency. Only available with the HIGH 2 - HIGH setting.

VEQ

A bell lter that provides a more ‘Vintage EQ’ sound. Available on all frequency settings.

PEQ

A bell lter that provides a classic ‘Parametric EQ’ sound. Available on all frequency settings.

(6)

LSHV

A low-shelving function which boosts or attenuates signals below the selected frequency. Only available with the LOW 2 - LOW setting.

LCUT

A low-cut function which attenuates signals below the selected frequency.

NOTE: Low-Cut and High-Cut Modes do not have Gain and Width settings.

(2) WIDTH Rotary Control

The WIDTH rotary control determines the span of frequencies around that specied by the FREQUENCY rotary control, which will be aected by adjusting the GAIN control.

(3) FREQUENCY Rotary Control

Select the specic frequency to be adjusted with the FREQUENCY rotary control. Each frequency can be adjusted between 20 Hz and 20 kHz. The equaliser provides four discreet lter bands for input channels and even six discreet bands for buses and matrices as follows:

7 - Individual Band Frequencies HIGH A band intended for high frequencies, with access to HCUT, HSHV, VEQ and

PEQ EQ modes. HI MID A band intended for high-mid frequencies, with access to VEQ and

PEQ EQ modes. LO MID A band intended for low-mid frequencies, with access to VEQ and

PEQ EQ modes. LOW A band intended for low frequencies, with access to LCUT, LSHV, VEQ and

PEQ EQ modes. HIGH 2

Press HIGH and HI MID concurrently to access the HIGH 2 band of any bus equaliser.

LOW 2

Press LOW and LO MID concurrently to access the LOW 2 band of any bus equaliser.

(4) GAIN Rotary Control

Boost or attenuate the selected frequency by turning the GAIN rotary control. The selected equaliser band is inactive when the Gain control is in the centre position (0 dB).

(5) EQ Button

Engages the EQ function for the selected channel.

(6) VIEW

Press the VIEW button to access more detailed parameters on the Main Display. See the sec tion Main Display - eq for more details.

16 DIGITAL RACK MIXER M32R User Manual

1.7 Main Bus

(1) (2)

(3)

(1) LEVEL Rotary

Adjust the overall send level to the Mono Bus with the LEVEL rotary control.

(2) PAN/BAL Rotary

When the selected channel is assigned to the Stereo Bus, the PAN/BAL rotary control adjusts the left to right positioning of the audio signal.

(3) MONO

Press the MONO button to assign the selected channel to the Main Mono/ Centre Bus.

(4) ST

Press the ST select button to assign the selected channel to the Main Stereo Bus.

(5) VIEW

Press the VIEW button to access more detailed parameters on the Main Display. See the section Main Display - main for more details.

(4) (4)

1.8.1 Operation

The M32R oers functionality for playing back uncompressed stereo WAV les, and for recording any stereo signal in the console directly onto USB stick or compatible USB hard drive. Note - multi-channel recording is only available via the DN32-USB card.

To record to a USB stick, perform the following steps:

1. Plug a FAT-formatted (FAT12, FAT16, FAT32) USB stick into the USB port as illustrated above.

2. Press the VIEW button in the RECORDER panel. This will then display a graphic representation of an analogue tape deck on the Main Display home tab.

3. On the cong tab you can selec t the source of the recording , the default being the main L & R outputs.

4. Press the fth push encoder, labelled Record.

5. To adjust the volume during playback, press the AUX IN/USB button next to the input channel faders, and adjust the volume using AUX faders 7 & 8.

1.8 Recorder

(1)

(2)

(3)

(1) USB Port

Connect a USB stick to install rmware updates and to record per formances.

(2) ACCESS

The ACCESS LED illuminates to indicate that a USB stick is in place and is being written to or read from.

(3) VIEW

Press the VIEW button to open the USB Recorder pages on the Main Display.

1.8.2 Firmware Updates

The M32R rmware can easily be updated by per forming the following steps:

• Download the new console rmware from the M32R 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 USB View button depressed while switching the console on.

While booting, the M32R 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 M32R from booting regularly. Switch the console o and back on without holding the USB View button to boot the console with the existing rmware.

The USB socket is not suitable for other non-memory USB devices like keyboards, mice, lamps, etc.

17 DIGITAL RACK MIXER M32R User Manual

1.9 Main Display (Summary)

(1)

(2)

(3) (3)

(4) (5)

(1) DISPLAY SCREEN

The controls in this section are used in conjunction with the colour screen in order to navigate and control the graphical elements it contains.

By including dedicated push encoders that correspond to the adjacent controls on the screen, as well as including cursor buttons, the user can quickly navigate and control all of the colour screen’s elements.

The colour screen contains various displays that give visual feedback for the operation of the console, and also allow the user to make various adjustments not provided for by the dedicated hardware controls.

(2) MAIN/SOLO METERS

This triple 24-segment meter displays the audio signal level output from the main bus, as well as the main centre or solo bus of the console.

(3) SCREEN SELECTION BUTTONS

These 10 illuminated buttons allow the user to immediately navigate to any of the eight master screens that address dierent sections of the console, plus the Mute Group and Utility functions. The sections that can be navigated are:

HOME

The HOME screen contains an overview of the selected input or output channel, and oers various adjustments not available through the dedicated top-panel controls.

The HOME screen contains the following separate tabs:

home: General signal path for the selected input or output channel. cong: Allows selection of the signal source/destination for the

channel, conguration of insert point, and other settings. gate: Controls and displays the channel gate eect beyond those

oered by the dedicated top-panel controls. dyn: Dynamics - controls and displays the channel dynamics eect

(compressor) beyond those oered by the dedicated top-panel controls. eq: Controls and displays the channel EQ eect beyond those oered by

the dedicated top-panel controls. sends: Controls and displays for channel sends, such as sends metering

and send muting. main: Controls and displays for the selected channel’s output.

METERS

The METERS screen displays dierent groups of level meters for various signal paths, and is useful for quickly ascertaining if any channels need level adjustment. Since there are no parameters to adjust for the metering displays, none of the metering screens contain any ‘bottom of the screen’ controls that would normally be adjusted by the six push encoders.

The METERS screen contains the following separate screen tabs, each containing level meters for the relevant signal paths: channe l, mix bus, aux/fx, in/out and rta.

ROUTING

The ROUTING screen is where all signal patching is done, allowing the user to route internal signal paths to and from the physical input/output connectors located on the console’s rear panel.

The ROUTING screen contains the following separate tabs: home: Allows patching of physical inputs to the 32 input channels and

aux inputs of the console. ou t 1-16: Allows patching of internal signal paths to the console’s

8 rear panel XLR outputs. aux out: Allows patching of internal signal paths to the console’s six

rear panel ¼" / RCA auxiliary outputs. p16 o ut : Allows patching of internal signal paths to the 16 outputs of

the console’s 16-channel P16 ULTRANET output. card out: Allows patching of internal signal paths to the 32 outputs of

the expansion card. aes50 -a: Allows patching of internal signal paths to the 48 outputs of

the rear panel AES50-A output. aes50 -b: Allows patching of internal signal paths to the 48 outputs of

the rear panel AES50-B output. xlr out: Allows the user to congure the XLR outs on the rear of the

console in blocks of four, from either local inputs, the AES streams, or expansion card.

18 DIGITAL RACK MIXER M32R User Manual

LIBRARY

The LIBRARY screen allows loading and saving of commonly-used setups for the channel inputs, eects processors, and routing scenarios.

The LIBRARY screen contains the following tabs:

channel: This tab allows the user to load and save commonly used combinations of the channel processing, including dynamics and EQ.

eects: This tab allows the user to load and save commonly used eects processor presets.

routing: This tab allows the user to load and save commonly used signal routings.

EFFECTS

The EFFECTS screen controls various aspects of the eight eects processors. On this screen the user can select specic types of eec ts for the eight internal eects processors, congure their input and output paths, monitor their levels, and adjust the various eects parameters.

The EFFECTS screen contains the following separate tabs:

home: The home screen provides a general overview of the virtual eects rack, displaying what eect has been inserted in each of the eight slots, as well as displaying input/output paths for each slot and the I/O signal levels.

fx 1-8: These eight duplicate screens display all of the relevant data for the eight separate eects processors, allowing the user to adjust all parameters for the selected eect.

SETUP

The SETUP screen oers controls for global, high-level functions of the console, such as display adjustments, sample rates & synchronisation, user settings, and network conguration.

The SETUP screen contains the following separate tabs:

global: This screen oers adjustments for various global preferences of how the console operates.

cong: This screen oers adjustments for sample rates and synchronisation, as well as conguring high-level settings for signal path buses.

remote: This screen oers dierent controls for setting up the console as a control surface for various DAW recording software on a connected computer. It also congures the MIDI Rx/Tx preferences.

network : This screen oers dierent controls for attaching the console to a standard Ethernet network. (IP address, Subnet Mask, Gateway.)

scribble strip: This screen oers controls for various customisation of the console’s LCD scribble strips.

preamps: Shows the analogue gain for local mic inputs (XLR at the rear) and phantom power, including setup from remote stage boxes (e.g. DL16) connected via AES50.

card: This screen selects the input/output conguration of the installed interface card.

MONITOR

Pressing the MONITOR but ton has the same eect as pressing the VIEW button in the MONITOR panel, and is covered in detail in the MONITOR section below.

SCENES

Pressing the SCENES button accesses the M32R’s automation functions. This screen is covered in detail in the SCENES section of the

MAIN DISPLAY chapter.

MUTE GRP

The MUTE GRP screen allows for quick assignment and control of the console’s six mute groups, and oers two separate functions:

Mutes the active screen during the process of assigning channels to mute groups. This ensures that no channels are accidentally muted during the assignment process during a live performance.

It oers an additional interface for muting/unmuting the groups in addition to the dedicated mute group buttons at the bottom of the console.

UTILITY

The UTILITY screen is a supplemental screen designed to work in conjunction with the other screens that may be in view at any particular moment. The UTILITY screen is never seen by itself, it always exists in the context of another screen, and typically brings up copy, paste and library or customisation func tions. For example:

• When you are adjusting the EQ of a channel, pressing the UTILITY

button will oer copying, pasting or loading func tionality, or saving of EQ settings

• Pressing the UTILITY button while editing a channel’s

CONFIG/PREAMP screen will oer copying, saving or loading

preamp congurations

NOTE: Pressing the UTILITY button while holding the channel Select button is a shortcut to editing the channel’s scribble strip display icon, naming or colour.

• On the ROUTING screen, pressing UTILITY will oer the ability to load

or save dierent presets of routing scenarios

• On the CUES, SCENES, SNIPPETS, PARAM SAFE and CHAN SAFE pages,

pressing UTILITY also oers dierent levels of import/export functions: Cues: Utility allows importing or exporting complete Show data,

including all Cues, Scenes, Snippets and Safes to attached USB media. Scenes: Utility oers selecting a number of scenes for exporting or

importing on attached USB media. Snippets: Utility oers selecting a number of snippets for exporting or

importing on attached USB media. Param Safes/Chan Safes: Utility allows setting/resetting the Safe

ags for a complete column of entries at once.

(4) PUSH ENCODERS

These six push encoders are used to adjust the various elements located directly above them. Each of the six encoders can be pushed inward to activate a button-press function. This function is useful when controlling elements that have a dual on/o status that is best controlled by a button, as opposed to a variable state that is best adjusted by a rotary control.

(5) UP/DOWN/LEFT/RIGHT NAVIGATION CONTROLS

The LEFT and RIGHT controls allow for left-right navigation among the dierent pages contained within a screen set. A graphical tab display shows which page you are currently on. On some screens there are more parameters present than can be adjusted by the six push encoders underneath. In these cases, use the UP and DOWN buttons to navigate through any additional layers contained on the screen page. The LEFT and RIGHT buttons are sometimes used to conrm or cancel conrmation pop-ups.

Please refer to the MAIN DISPLAY chapter for more information on these topics.

19 DIGITAL RACK MIXER M32R User Manual

1.10 Monitor

(1) (2) (3) (4)

(1) MONITOR LEVEL Rotary Control

Adjust the level of the monitor outputs with the MONITOR LEVEL rotary control. This will be the output device connected to the sockets in the MONITOR / CONTROL ROOM OUT section on the rear panel.

(2) PHONES LEVEL Rotary Control

Adjust the level of the signal through the headphones or other output devices connected via the headphone jack sockets located under the front of the console.

(3) MONO

Press the MONO button to monitor the audio signal in mono.

(4) DIM

Press the DIM button to reduce the monitor volume by a predened amount. The amount of attenuation can be dened via the Main Display when the VIEW button is pressed.

(5) VIEW

Press the VIEW button to access more detailed parameters on the Main Display.

1.10.1 Operation

The MONITOR section shares a Main Display screen with the TALKBACK section. On this screen, only the monitor tab contains functionality which relates to the MONITOR section. This tab controls various console options relating to the solo bus, as well as the console’s control room outputs. These options include various solo settings, speaker dimming, speaker delay, and a selection of sources for the control room output.

To adjust the settings on the monitor tab, perform the following steps:

1. Adjust the rst push encoder to change the gain of the monitor signal. This digital stage occurs as a rst preliminary level control, before the top panel’s analogue-based monitor level control. A display above the push encoder shows the currently set gain value in dB.

• A multi-segment level meter is displayed on the Main Display to allow

for proper gain staging of the monitor signal.

2. Adjust the second push encoder to scroll through the various solo methods available to the console when audio is routed to the solo bus. Available options include:

• Exclusive (last): In this mode, pressing another SOLO button

disengages the previous solo

• Solo Follows Select: When this method is selected, the audio of the

currently selec ted channel will automatically be sent to the solo bus. Since a user will often select a channel to adjust its dedicated DSP controls, this method is useful because the audio of the channel will now already be feeding he solo bus where it can be monitored with headphones in a live sound environment

• Select Follows Solo: When this method is selected, any channel that is

soloed will automatically become the currently selected channel

• Ch Solo AFL: The channel and select button do not have any correlation

to each other. When a channel’s SOLO button is pressed, its audio is sent to the solo bus in ‘after-fader-listen’ mode, reecting the current level of the channel fader and any channel DSP that has been applied. The default setting for input channels is o for ‘pre-fader-listen’.

• MixBus Solo AFL: Selecting this method will set the mix bus solo to

post-fader

• DCA Solo AFL: Selecting this method will set the DCA solo to post-fader

• Use DIM for PFL: Selecting this option will apply DIM to all PFL signals

• Use Master Fader: This allows the main fader/MUTE button to control

the solo/mon output.

3. Tap the second encoder to select and assign the currently chosen solo option.

4. Turn the third encoder to adjust the amount of digital delay that is applied to the control room signal path. The display on the screen will show the current amount of delay in feet, metres and milliseconds.

5. Tap the third encoder to toggle the delay function on or o.

TIP: The delay function is useful for aligning the sound of audio monitored through headphones, or speakers used at front-of-house position with audio that is coming from the stage location.

By delaying the control room audio, it can be brought into alignment with the slightly-delayed audio that has to travel from the stage to the front-ofhouse position.

6. Adjust the fourth encoder to set the amount of volume reduction that occurs when the control room bus has its DIM function enabled. The amount of volume reduction ranges from -40 dB to 0 dB (no change).

7. Tap the fourth encoder to toggle the DIM function on or o.

8. Turn the f th encoder to adjust the volume trim for the source currently feeding the control room bus, allowing it to be level matched with the SOLO bus. The amount of trim can be adjusted from -20 dB to +20 dB.

9. Tap the fth encoder to toggle the control room between mono and stereo operation. This is very useful in a studio context for checking how a mix sounds when played back on a mono speaker such as a cock radio.

10. Adjust the sixth encoder to select what specic signal source to monitor in the control room. Choices include:

• O (no source) in the control room, when no SOLO is active

• LR Bus

• LR + C/M

• LR PFL (Pre-Fade Listen)

• LR AFL (After-Fade Listen)

• Auxiliary returns 5/6

• Auxiliary returns 7/8 (USB Recorder).

11. Tap the sixth encoder to activate the signal source that has been chosen.

20 DIGITAL RACK MIXER M32R User Manual

1.11 Talkback

(1) (1) (3)

(1) & (2) - TALK A / B

Select the destination of the Talkback mic signal with either the TALK A or TALK B buttons. Press the VIEW button in the MONITOR section to edit the

Talkback routing for A and B.

(3) TALK LEVEL Rotary Control

Adjust the level of the Talkback volume with the TALK LEVEL rotary control.

1.11.1 Operation talkback Tab

The TALKBACK screen oers various adjustments for the talkback paths of the console, such as destination of the talkback signal and more.

To adjust the various settings on the talkback tab, perform the following steps:

1. The screen displays a multi-segment level meter showing the strength of the talkback signal as it has currently been set. It also displays a multi-segment gain reduction meter, showing the user how much compression has been automatically applied to the talkback signal.

2. Tap the rst push encoder to enable the talkback circuit. The internal/ external talkback microphone will now transmit audio to the talkback path’s assigned destination.

3. Adjust the third encoder to set the gain of the talkback signal. This is an additional gain stage that follows the initial gain stage set by the top panel TALK LEVEL control.

4. Tap the third encoder to toggle on/o the talkback circuits ‘auto-dim’ function. This function is useful in a studio setting, and will automatically dim the control room outputs when the talkback circuit is active. This prevents the talkback microphone from picking up too much sound from the nearby studio monitors.

6. Tap the fourth encoder to activate any talkback destination when it is currently selected. Multiple talkback destinations can be selected, allowing the talkback signal to reach many destinations at the same time.

7. Tap the fth encoder to toggle the dedicated top-panel talkback buttons between latching and non-latching operation.

oscillator Tab

The oscilla tor tab oers controls for the console’s onboard oscillator, a very handy tool that can be used for setting up PA systems and testing various signal ow paths without the need for a live source feeding a microphone. Settings include oscillator type, frequency, volume and routing destinations.

To adjust the various settings on the oscillator tab, perform the following steps:

1. Adjust the rst push encoder to set the level of the onboard oscillator.

2. Tap the rst encoder to toggle the oscillator on or o.

• The Main Display shows a multi-segment level meter that shows

the current level of the oscillator.

3. Adjust the second encoder to set the frequency of the primary onboard oscillator.

4. Adjust the third encoder to set the frequency of the alternate onboard oscillator.

5. Tap the third encoder to alternate between Sine F1 and Sine F2.

6. Adjust the fourth encoder to select the type of oscillator to be used. Choices include:

• Sine Wave

• Pink Noise

• White Noise.

7. Tap the fourth encoder to engage the selected oscillator type.

8. Adjust the sixth encoder to select a destination for the onboard oscillator. Choices include:

• Mix Bus 1-16

• Main L Bus

• Main R Bus

• Main L+R Bus

• Main Centre / Mono

• Matrix Outputs 1-6.

9. Tap the sixth encoder to assign the selected oscillator destination.

5. Adjust the fourth encoder to scroll through the various talkback destinations, which include:

• Mix Bus 1-16

• LR Bus

• Centre/Mono Bus.

21 DIGITAL RACK MIXER M32R User Manual

1.12 Assign

1.12.1 Buttons 1-8

Assign the eight buttons to various parameters for instant access to commonly used functions. Details can be found on the Main Display by pressing the VIEW button (see below).

1.12.2 VIEW

This gives you more detailed access to the ASSIGN functions via the Main Display. The ASSIGN screen allows setup for the four user-assignable rotary controls and

the eight user-assignable buttons. Using this screen the console operator can assign three sets of 12 custom controls to be available for adjustment at all times.

Note: The M32R only has 8 Assign buttons, and no rotary controls. However, the software still supports custom-assignable rotary control.

The ASSIGN screen contains the following separate tabs: home: This screen provides a general overview of the 12 assigned controls

for all three control sets at the same time.

set A: This screen allows assignment of dierent console parameters to the 12 custom controls for Set A.

set B: Works as described above, but for custom controls Set B set C: Works as described above, but for custom controls Set C

HOME

The ASSIGN sc reen ’s home tab provides a visual overview of the 12 assigned controls for all three sets at the same time.

The home tab oers visual feedback of the controls that have been assigned to all three sets of custom controls, without having to bank between the three sets one-by-one, or relying on abbreviated syntax shown in the custom control’s dedicated LCD displays.

To adjust the various settings on the home tab, perform the following steps:

1. Turn any of the push encoders 1-5 to move screen focus to dierent custom-assignable rotary controls and buttons in the A, B and C sets. The controls currently selected with each of the four rotary controls are highlighted with an orange outline.

2. Tap any of the push encoders 1-5 to switch to the edit screen for the specic custom control that was highlighted on the home tab screen.

SET A, B & C

The set A, B & C tabs allow mapping of specic console parameters to the eight assignable buttons and four assignable rotary controls. Using these screens the user can map the exact parameters that are most useful to them to the desired controls, in the desired order.

To adjust the various settings on the set A, B & C tabs, perform the following steps:

1. Adjust the rst push encoder to select the colour used for the LCD screens within that set. This is not applicable for the M32R since there are no LCD screens in the Assign section.

2. Adjust the second push encoder to select to which of the 12 assignable controls in the appropriate set you wish to map a parameter.

3. Adjust the third push encoder to scroll through a list of parameter categories to which the selected assignable control can be mapped. Choices for the buttons include:

• Not Assigned

• Jump to Page

• Mute Channel

• Inserts

• Eect Button

• MIDI

• Remote.

• Choices for the rotary controls include:

• Not Assigned

• Panorama

• Sends

• Dynamics

• FX Parameters

• MIDI

• Remote.

4. Tap the third push encoder to select the desired type of parameter.

5. Where applicable, tap/select the fourth, fth and sixth push encoders to assign the specic parameter.

22 DIGITAL RACK MIXER M32R User Manual

1.13 Fader Layer

(6)

(7)

(1)

(8)

(2) (3)

(9)

(5)(4)

(1) INPUTS 1-8 / 9-16 / 17-24 / 35-32

Pressing one of these buttons selects either the channel 1-8 layer, the channel 9-16 layer, the channel 17-24 layer, or the channel 25-32 layer on the left-most eight fader strips.

(2) AUX IN / USB

Press to select the Aux In / USB Recorder layer on the left-most eight fader strips.

(3) FX RET

Press to select the eects return layer on the left-most eight fader strips.

(4) BUS 1-8 / 9-16

Press one of these buttons to select either the Bus 1-8 layer or the Bus 9-16 layer on the left-most eight fader strips.

(5) FADER FLIP - SENDS ON FADER Button

Press to activate the M32R’s Sends on Fader function. This function aids with the level setting of channels sent to any of the 16 Mix Buses. It is only for channels assigned to Mix Buses 1-16, and does not work for DCA groups, main or matrix buses. The Sends on Fader function works in two convenient ways to cover the most obvious situations in a live environment:

When preparing a monitor mix for a specied musician

• Select the monitor bus (BUS 1-8 or BU S 9-16) that feeds the

musician’s stage monitor

• Press the Sends on Fader button, which will then ash

• Select one of the three input channel layers (INPUTS 1-16,

INPUTS 17-32, AUX IN / USB or BUS MAST)

• As long as Sends on Fader is active all faders in the input channels

section correspond to the send levels on the selec ted monitor mix bus.

When checking or editing where a selected input signal is to be sent

• Select the input channel in the left-hand section

• Press the Sends on Fader button, which will then ash

• Select either bus channel layer (BUS 1-8 or B US 9 -16)

• The bus faders now represent the send levels of the selected

input channel.

TIP: Sends on Fader can also be used for conveniently sending Bus or Main M/C signals to Matrices.

(6) EM - DAW Remote Button

Press this button to enable remote control of your Digital Audio Workstation software using the Group/Bus fader section controls. This section can emulate HUI or Mackie Control Universal communication with your DAW.

(7) GROUP DCA 1-8

Press this button to select the Group DCA layer. A DCA group is a grouping function, made possible by the console’s

digital operation, where individual input channels can be grouped together and controlled with a single output fader on the right-hand side of the console. Unlike the traditional sub-grouping function found on analogue consoles, a DCA group does not combine the dierent input channels into a common sub-mix. Instead, the individual input channels still retain their original routing characteristics, but their level adjustments are commonly controlled.

(8) BUS 1-8 / 9-16

Press one of these buttons to select either the Bus 1-8 layer or the Bus 9-16 layer on the right-most eight fader strips.

(9) MATRIX MAIN C

Press to select the Matrix and Main C layer on the right-most eight fader strips.

23 DIGITAL RACK MIXER M32R User Manual

2. Main Display

2.1 Main Display - Top Section

The top section of the Main Display permanently covers useful status information. The top left corner shows the selected channel number, its user-assigned name and the selected icon. The next block shows the current scene number and name in amber, as well as the next upcoming scene. The centre section displays the playback le name along with elapsed and remaining time, and a recorder status icon. The next block to the right has four segments to show the status of the AES50 ports A and B, the Card slot, and the audio clock synchronisation source and sample rate. Small green square indicators show proper connectivity. The rightmost block shows the console time, which can be set under Setup - Cong.

2.1.1 Home

The HOME screen contains a high-level overview of the selected input or output channel, and oers various adjustments not available through the dedicated top-panel encoders.

The HOME screen is divided into the following tabs:

home: General signal path for the selected input or output channel. cong: Allows selection of signal source/destination for the channel,

conguration of insert point, and other settings. gate: Controls and displays the channel gate eect beyond those oered by

the dedicated top-panel encoders. dyn: Controls and displays the channel dynamics eect (compressor) beyond

those oered by the dedicated top-panel encoders. eq: Controls and displays the channel EQ eect beyond those oered by the

dedicated top-panel encoders. sends: Controls and displays the channels sends, such as sends metering and

sends muting. main: Controls and displays the selected channel’s output.

home

The home tab of the HOME screen displays a general signal path for the currently selected input or output channel. It visually displays various parameters of the input, gate, insert point, EQ, dynamics, output path and buses.

The home tab contains the following parameters (divided into two pages) that can be adjusted using the six push encoders.

Page 1

1. Turn the rst push encoder to adjust the input gain (trim) of the channel.

2. Tap the rst encoder to link the channel with its adjacent channel.

3. Adjust the second encoder to set the threshold of the channel noise gate.

4. Tap the second encoder to toggle the channel noise gate in/out of the signal path.

5. Adjust the third encoder to toggle the channel’s insert point between pre-fader and post-fader status.

6. Tap the third encoder to toggle the channel insert in/out of the signal path.

7. Adjust the fourth encoder to toggle the channel dynamics between pre-EQ and post-EQ status.

8. Tap the fourth encoder to toggle the channel EQ in/out of the signal path.

9. Adjust the fth encoder to set the threshold of the channel compressor.

10. Tap the fth encoder to toggle the channel compressor in/out of the signal path.

11. Adjust the sixth encoder to pan the selected channel within the main stereo output.

12. Tap the sixth encoder to assign the selected channel to the main stereo output.

Page 2

1. Adjust the rst push encoder to select the console channel currently controlled by the HOME screen.

2. Tap the rst encoder to toggle +48V phantom power on/o for the currently selected input.

3. Tap the second encoder to toggle the phase ip on/o for the currently selected channel.

4. Adjust the third encoder to select to which of the eight DCA groups the currently selec ted channel will be assigned.

5. Tap the third encoder to assign the currently selec ted channel to the selected DCA group.

6. Adjust the fourth encoder to select to which of the six mute groups the currently selec ted channel will be assigned.

7. Tap the fourth encoder to assign the currently selected channel to the selected mute group.

8. Tap the fth encoder to toggle solo on/o for the currently selected channel.

9. Turn the sixth encoder to adjust the fader level for the currently selected channel.

10. Tap the sixth encoder to toggle mute on/o for the currently selected channel.

24 DIGITAL RACK MIXER M32R User Manual

cong

The conguration tab allows selection of signal source/destination for the channel, conguration of inser t point, and other settings, as well as conguration of the channel delay.

The cong tab of input channels 1-32 contains the following parameters that can be adjusted using the six push encoders:

1. Turn the rst push encoder to adjust the input gain (trim) of the channel.

2. Tap the rst encoder to allow linking of the channel to the adjacent channel.

3. Adjust the second encoder to set the low-cut frequency of the channel.

4. Tap the second encoder to toggle the low-cut lter in/out of the signal path.

5. Adjust the third encoder to scroll among all of the possible sources for the channel.

6. Tap the third encoder to select the currently highlighted source and assign it to the channel.

7. Adjust the fourth encoder to set the amount of digital line delay applied to the channel.

8. Tap the fourth encoder to toggle the delay in/out of the signal path.

9. Adjust the fth encoder to toggle the channel inser t between pre- and post-EQ/compressor.

10. Tap the fth encoder to toggle the channel insert in/out of the signal path.

11. Adjust the sixth encoder to scroll among the signal path choices for the insert point.

12. Tap the sixth encoder to assign the selected signal path to the insert point.

NOTE: Mix Bus channels do not have Gain, Low Cut, Phantom, Phase, Source and Delay. But they do have a macro feature for setting all channel send taps to the selected bus at once. As an example, this can be used for switching all sends from Pre Fader to Post Fader or for ensuring that all channel taps are consistent.

gate

The gate tab displays all aspects of the channel noise gate, and allows for very deep control of the gate eect. Whereas the top panel’s dedicated GATE section allows control of the gate’s threshold and in/out status, the gate tab oers many more controls. This tab can be accessed directly by pressing the VIEW button in the top panel GATE section.

The gate tab contains the following parameters, divided among two pages, that can be adjusted using the six push encoders:

Page 1

1. Adjust the rst push encoder to set the input threshold of the gate.

2. Tap the rst encoder to toggle the noise gate in/out of the signal path.

3. Adjust the 2nd encoder to select between a gate, ducker, or 3 types of expander.

4. Adjust the third encoder to set the attack time of the onset of the noise gate eect.

5. Adjust the fourth encoder to set the hold time of the noise gate eect.

6. Adjust the fth encoder to set the release time of the noise gate, controlling how quickly the gate opens up and lets the signal through.

7. Adjust the 6th encoder to determine the range of signal reduction.

Page 2

1. Push encoders 1 & 2 func tion the same on pages 1 & 2.

2. Adjust the fourth encoder to set the frequency of the key lter that can be used to trigger the noise gate.

3. Tap the fourth encoder to toggle the key lter on/o, allowing a specic frequency to control the gate.

4. Adjust the fth encoder to set the steepness of the EQ slope used in the key lter.

5. Tap the fth encoder to send the key source to the solo bus, allowing the key source to be monitored and evaluated.

6. Adjust the sixth encoder to select the specic key source to be used. Choices include ‘Self ’ (the channel’s own signal), as well as any other input/output of the console.

7. Tap the sixth encoder to assign the selected key source to the gate.

25 DIGITAL RACK MIXER M32R User Manual

dyn

The dynamics tab displays all aspects of the channel compressor, and allows for very deep control of the eect. Whereas the top panel’s dedicated compressor section allows control of the threshold and in/out status, the dyn tab oers many more controls. This tab can be accessed directly by pressing the VIEW button in the top panel DYNAMICS section.

The dyn tab contains the following parameters that can be adjusted using the six push encoders:

Page 1

1. Adjust the rst push encoder to set the input threshold of the compressor.

2. Tap the rst encoder to toggle the compressor in/out of the signal path.

3. Adjust the second encoder to set the ratio of the compressor.

4. Tap the second control to switch the channel dynamics eect between compression and expansion.

5. Adjust the third encoder to set the attack time of the compressor eect.

6. Tap the third encoder to switch the compressor bet ween Peak and RMS (root mean squared) mode, where the average level of the signal is evaluated more than any specic peak of the channel material.

• PEAK: A peak-sensing compressor responds to the instantaneous

level of the peak signal. While providing tighter peak control, peak sensing might yield very quick changes in gain reduction, more evident compression, or sometimes even distortion. This mode is suitable for control/limiting of dynamic material.

• RMS: In this mode, the compressor applies an average function

on the input signal before its level is compared to the threshold. This allows a more relaxed compression that also more closely relates to our perception of loudness. Sharp dynamic transients will be less aected in this mode. This mode is good for controlling levels in a mix.

7. Turn the fourth encoder to adjust the hold time of the compressor.

• Hold time is a parameter not often found on commercial units,

but is very useful. If a compressor is set to use a very fast attack/ release time, audible distor tion can occur, because the compressor is trying to work on individual waveform cycles of the signal instead of the sound envelope as a whole. The Hold parameter works around this issue by providing a short delay. This delay prevents the compressor from releasing until a certain period of time has elapsed.

8. Tap the fourth encoder to switch between Linear and Logarithmic modes for the compressor. Following are some brief descriptions of those dierent modes:

LOG: This mode is used in many well-respected compressors and is the natural result of more recent analogue units employing logarithmic side chains and resistor/capacitor time constants. The exponential/ dB law has some interesting characteristics. Firstly the time taken to complete a compression event tends to stay the same however large the dynamic signal excursion is. Also, since the peak rate of gain change increases with dynamic excursion, the resulting harmonic content due to compress tends to follow the loudness of the signal in a way that the ear expects. This helps to mask the eec t of the compressor and thus provides the most forgiving solution, being tolerant of diering timing settings and signal material. This makes it the best choice for general compression use and overall dynamic control of complex musical signals.

LINEAR: In this mode, the rate if gain change is constant (as set by the timing controls). Therefore the greater the signal dynamic excursion, the longer the compressor will take to complete a gain change. Also, since the total time that the compressor spends in attack or decay is proportional to the size of the gain excursion, the harmonic content of the compression artefact will seem to reduce in frequency content, the louder the signal excursion. This type of compressor is useful for generating dynamic sound eects because the sonic character of the compressor is much more aected by time control settings and signal material than the exponential type.

9. Adjust the fth encoder to set the release time of the compressor.

10. Tap the 5th encoder to engage the “auto” function, which automatically optimizes advanced parameters such as attack, hold and release.

11. Adjust the sixth encoder to set the makeup gain of the compressor; useful when the compression eect has reduced the overall signal level of the channel too much.

Page 2

1. The 1st encoder still engages and adjusts the threshold.

2. Adjust the 2nd encoder to set the mix of the compressor. Normally this would be set to 100%, but by reducing the mix level, an eect called ‘parallel compression’ can be achieved, allowing some of the signal to pass through uncompressed.

3. Adjust the third encoder to set the steepness of the compressor knee angle between ve separate settings. Adjust this control to switch between a harder sounding, or more transparent compressor eect.

4. Tap the third encoder to move the compressor eect before or after the EQ in the channel signal path.

5. Adjust the fourth encoder to set the frequency of the key lter that can be used to trigger the compressor.

6. Tap the fourth encoder to toggle the key lter on/o, allowing a specic frequency to control the compressor.

7. Adjust the fth encoder to set the steepness of the EQ slope used in the compressor.

8. Tap the fth encoder to send the key source to the solo bus, allowing the key source to be monitored and evaluated.

9. Adjust the sixth encoder to select the specic key source to be used, Choices include ‘Self ’ (the channel’s own signal), as well as any other input/output of the console.

10. Tap the sixth encoder to assign the selected key source to the compressor.

26 DIGITAL RACK MIXER M32R User Manual

The eq tab displays all aspects of the channel EQ, and also displays a detailed visual graphic of the current EQ curve. This tab can also be accessed directly by pressing the VIEW button on the top panel EQUALISER section.

1. If the currently selected channels is an input, the channel EQ contains four bands, with various aspects of each band adjusted by push encoders 2-5.

2. If the currently selected channel is a bus, the channel EQ contains six bands, with various aspects of each band adjusted by encoders 1-6.

3. On the EQ screen, the various push encoders are always tied to an aspect of the frequency adjustment, and the Up/Down navigation controls are used to toggle between the 4 bands. The 6th encoder also toggles which band is active.

• Adjust the 1st encoder to set the low cut frequency.

• Tap the 1st encoder to engage the low cut.

• Adjust the 2nd encoder to adjust the frequency for the selected

band. All 4 bands can be shif ted between 20 Hz and 20 kHz, so the band labeled ‘Low’ can actually be used to adjust mids, etc.

• Tap the 2nd encoder to determine whether the RTA operates as a

bar graph or spectrograph.

• Adjust the 3rd encoder to set the amount of cut or boost for the

selected band.

• Tap the 3rd encoder to set the RTA as pre or post, depending if

you want to monitor the incoming signal or the eects of the EQ adjustment.

• Adjust the 4th encoder to set the bandwidth (Q) of the selected

band. This is only available if the band is set to PEQ or VEQ.

• Tap the 4th encoder to reset the selected EQ band.

• Adjust the 5th encoder to determine the mode of the selected

band. The following options are available:

• Low cut

• Low shelf

• PEQ (standard parametric)

• VEQ (vintage style)

• High shelf

• High cut

• Tap the 5th encoder to reset all of the EQ bands.

• Adjust the 6th encoder to select the frequency band.

• Tap the 6th encoder to activate the EQ.

sends

The sends tab displays and controls all aspects of the channel sends to the 16 mix buses. Compared to the dedicated top panel send controls, this screen oers additional functions, such as send muting and simultaneous metering of the selected channel’s 16 sends. This tab can also be accessed directly by pressing the VIEW button in the top panel BUS SEND section.

The sends tab contains the following parameters that can be adjusted using the six push encoders:

Page 1

1. Adjust the rst push encoder to set the level for the rst send of the currently selected four-send group.

2. Tap the rst encoder to mute the rst send of the currently selected four-send group.

3. Repeat the process with the nex t three encoders for the remaining three sends in the currently selected four-send group.

4. Adjust the sixth encoder to select which four sends to control with the rotary controls, shifting focus two sends at a time.

5. Tap the sixth encoder to select which four sends to control with the rotary controls, shifting focus four at a time.

Page 2

1. Adjust the rst push encoder to select from where in the signal chain the send is tapped, for the rst two sends of the currently focused four sends. Options include:

• Pre-EQ

• Post-EQ

• Pre-fader

• Post-fader

• Sub-group.

2. Adjust the third encoder to perform the same operation for the second two sends of the currently focused four sends.

3. Adjust the sixth encoder to select which four sends to control with the rotary controls, shifting focus two sends at a time.

4. Tap the sixth encoder to select which four sends to control with the rotary controls, shifting focus four at a time.

27 DIGI TAL RACK MIXER M32R User Manual

main

The main tab displays and controls all aspects of the main bus assignments.

The main tab contains the following parameters that can be adjusted using the six push encoders:

1. Adjust the rst push encoder to pan the selected channel within the main stereo output.

2. Tap the rst encoder to assign the selected channel to the main stereo output.

3. Turn the second encoder to adjust the level of the currently selected channel within the mono (centre) bus.

4. Tap the second encoder to assign the selected channel to the mono output signal path. Use this function when craf ting an LCR mix, as opposed to a mono or stereo mix.

5. Tap the fth encoder to solo/unsolo the currently selected channel.

6. Adjust the sixth encoder to set the fader level for the currently selected channel.

7. Tap the sixth encoder to mute/unmute the currently selected channel.

2.2 Meters

mix bus

• Level meters, fader levels and gain reduction meters for the 16 bus masters

• Level meters, fader levels and gain reduction meters for the six

matrix outputs

• Level meters, fader levels and gain reduction meters for the stereo main bus

and the mono bus.

aux/fx

• Level meters for the six auxiliary sends

• Level meters and fader levels for the eight auxiliary returns

• Level meters and fader levels for the four stereo eects returns.

in/out

The 32 input channels The eight auxiliary returns

• The six auxiliary sends

• The two rear panel digital outputs

• Monitor outputs

• The 16 rear panel analogue outputs

• The P16 ULTRANET outputs.

rta

The rta tab shows details of the M32’s Real Time Analyser - a real-time spectrum analyser that displays details of the audio signal on the selected signal path. The M32 features both bar graph and spectrograph with a 10-second window, that are displayed on the Main Display, and can be used in a variety of applications. The frequency resolution of both analysers is 100 bands, with constant relative bandwidth from 20 Hz to 20 kHz. Hence they are three times more detailed than typical third-of-an-octave RTAs. Both graphs can be visualised in a separate Meter screen, on top of each channel parametric EQ and on the FX rack graphic EQ screens.

RTA Source

Depending on the application the analyser input signal can be taken from the selected channel itself, any other pre-dened channel or dynamically depending on monitor source signals (i.e. Main/Solo). When EQ-ing a main PA system for example, the Graphic EQ may be inserted in Main LR, while the analyser signal may come from a dedicated measuring mic input channel. Select the source signal using the sixth push encoder.

The METERS screen displays dierent groups of level meters for various signal paths on the console, and is useful for quickly ascertaining if any channels need level adjustment. Since there are no parameters to adjust for the metering displays, none of the metering screens (with the exception of the rta tab; see below) contain any ‘bottom-of-screen’ controls that would normally by adjusted by the six push encoders.

The METERS screen contains the following separate screen tabs, each containing level meters for the following signal paths:

channel

• Level meters and fader levels for the 32 input channels.

Solo Priority

When switched on, the selected RTA source signals will be replaced with the monitor solo bus whenever a channel solo is active.

TIP: This option might be useful, if you wish to analyse a group of channels concurrently, or if you have a xed signal on the RTA that needs to be replaced only temporarily with some other channel’s signal.

28 DIGITAL RACK MIXER M32R User Manual

Pre / Post

The analysers can tap their input signals from pre- or post-EQ, allowing you to see the impact of your EQ in that channel. Tap the fth push encoder to toggles between the two.

Gain

When engaged, the Auto Gain function simplies adjusting the analyser views and ensuring meaningful readings. In most cases it should be switched on. When switched o, the RTA gain can be set manually using the push encoder, which may be necessary for comparing absolute frequency band levels between dierent channels. Tap the fourth push encoder to engage the Auto Gain function.

EQ Overlay

When using the analysers on top of the channel EQ plot or over the graphic EQ screens, the meter’s opacity can be adjusted to your liking. Something around 50% is typically a good starting point. Turn it down to 0% with the fth push encoder if you don’t need to see the RTA on top of the channel EQ or graphic EQ screens.

RTA On Channel EQ View

The channel EQ RTA function will always display the respective channel’s frequency distribution, independent from the RTA Source denition. Use the EQ Overlay control for adjusting the amount of RTA on top of the EQ plot. Default preferences when opening any channel EQ view can be set to ‘Pre-EQ’ (o is Post-EQ) and ‘Spectrograph’ (o is bar graph). They can however be overruled on the respective EQ page.

RTA On Graphic EQ View

The Graphic EQ RTA function will always display the respective FX slot’s frequency distribution, independent from the RTA Source denition, unless the ‘Use RTA Source’ mark is ticked. Use the EQ Overlay control for adjusting the amount of RTA on top of the GEQ sliders. Default preferences when opening any GEQ view can be set to ‘Post-GEQ’ (o is pre-graphic EQ) and ‘Spectrograph’ (o is bar graph). They can however be overruled on the respective GEQ page.

2.3 Routing

The ROUTING screen is where all signal patching is done, allowing you to route internal signal paths to and from the physical input/output connec tors located on the M32R’s rear panel.

The ROUTING screen contains the following separate tabs:

home: Allows patching of physical inputs to the 32 input channels and auxiliary inputs of the console.

ou t 1-16: Allows patching of internal signal paths to the console’s 8 rear-panel XLR outputs.

aux out: Allows patching of internal signal paths to the console’s six rear-panel ¼“/RCA auxiliary outputs.

p16 o ut : Allows patching of internal signal paths to the 16 outputs of the console’s 16-channel P16 ULTRANET output.

card out: Allows patching of internal signal paths to the 32 outputs of the DN32-USB card.

aes50 -a: Allows patching of internal signal paths to the 48 outputs of the rear-panel AES50-A output.

aes50 -b: Allows patching of internal signal paths to the 48 outputs of the rear-panel AES50-B output.

xlr out: Allows patching of internal signal paths to the XLR out connections on the rear.

None of the ROUTING screen’s tabs contain a secondary level of functions. When routing audio, the Up/Down navigation controls do not need to be used.

home

The ROUTING sc reen’s home tab allows the user to patch the M32R’s physical rear-panel inputs to the 32 input channels and auxiliary inputs of the console.

As a default, the M32R maps its 16 rear panel inputs to the rst 16 channel inputs that are accessed on input fader layers one and two, and maps the rear-panel line-level (auxiliary) inputs to the ‘Aux In 1-6 / USB REC’ fader level.

However, the home tab of the ROUTING screen can be used to change this default assignment and cross-patch dierent physical inputs to dierent channel inputs, in banks of eight channels at a time. This allows the user to create a custom layer of channel inputs that diers from the order that the sources are plugged into the rear panel, and is easier than physically re-patching audio cables.

To assign various inputs to the M32R’s input channels, perform the following steps:

1. Adjust the rst push encoder to select which 8-channel audio input source feeds input channels 1-8 of the console. As the control is rotated, the currently selected input will be highlighted in the vertical list of choices.

2. When the desired 8-channel source is selected, push the rst push encoder to connect the currently selected 8-channel source. The selected source now feeds input channels 1-8 of the console.

3. Input choices that can be assigned include:

• Local 1-8

• Local 9-16

• Local 17-24

• Local 25-32

• AES50-A 1-8

• AES50-A 9-16

• AES50-A 17-24

• AES50-A 25-32

• AES50-A 33-40

• AES50-A 41-48

• AES50-B 1-8

• AES50- B 9 -16

• AES50 -B 17-24

• AES50-B 25-32

• AES50-B 33-40

• AES50-B 41-48

• Card 1-8

• Card 9-16

• Car d 17-24

• Card 25-32.

29 DIGITAL RACK MIXER M32R User Manual

4. To assign an 8-channel source from the other input channels of the console (9-16, 17-24, 25-32), simply repeat the process above, using the other four push encoders on the same screen.

5. Choices for Aux 1-4 include:

• Aux Ins

• Local 1-2

• Local 1-4

• Local 1-6

• AES50A 1-2

• AES50A 1-4

• AES50A 1-6

• AES50B 1-2

• AES50B 1-4

• AES50B 1-6

• Car d 1-2

• Card 1-4

• Card 1-6.

out 1-16

The ROUTING screens o ut 1-16 tab allows the user to patch the M32R’s various internal signal paths to the 8 analogue XLR outputs that are located on the console’s rear panel.

The M32R allows for many dierent kinds of output signal paths, and this screen is where these outputs are assigned to a physical rear panel output, so that the signal path can be patched to their eventual destination, such as front-of-house PA speakers or a powered stage monitor.

To assign the various output paths to the rear panel XLR outputs, per form the following steps:

1. Adjust the rst push encoder to select to which of the 8 rear panel analogue outs you wish to assign an output signal path.

2. Adjust the third encoder to select an output path category. These include:

• O

• Main (LRC) Mix

• Mix Bus Outputs

• Matrix Outputs

• Direct Outs

• Moni tor.

3. Adjust the fourth encoder to select a specic output path, including:

• O

• Main L

• Main R

• Main C/M

• Any of the 16 Mix Outputs

• Any of the six Matrix Outputs

• Any of the 32 Direct Outputs

• Any of the eight Auxiliary Outputs

• Any of the FX Direct Outputs

• Monitor L

• Monitor R

• Talkback.Tap the fourth encoder to assign the selected output path,

completing the process.

• Adjust the fth encoder to select the signal tap point for the

output assignment. This determines where in the audio signal path the source is ‘tapped’ as it is sent to the physical rear panel output. The available signal tap points include:

• IN/LC

• IN/LC +M

• PreEQ

• PreEQ +M

• PostEQ

• PostEQ +M

• PreFdr

• PreFdr +M

• Post Fader.

4. Tap the fth encoder to assign the selected signal tap point.

5. Turn the sixth encoder to adjust the amount of digital line delay applied to the output path as it is sent to the rear panel physical output. As the amount of delay is adjusted, the current delay time is displayed in three dierent units of measurement: feet, metres and milliseconds.

6. Tap the sixth encoder to toggle delay on/o. The Delay label illuminates when the delay is inserted into the signal path.

TIP: Applying a delay to an output signal is typically done when the console is used in a ‘multi-zone’ PA speaker setup, where some PA speakers are located near the stage, and a second set of speakers is located further back within the audience. By applying an appropriate amount of delay only to the speakers located near the stage, the audience hears the audio from all speakers at the same time, ensuring maximum time-alignment and sound quality. The M32 assumes an operating temperature of 20°C/68°F when calculating the delay times.

aux out

The ROUTING sc reen’s aux out tab allows the user to patch an internal signal path (such as a mix output used as an eects send) to the six separate ¼"/RCA auxiliary outputs.

Since these six outputs can have a wide variety of signal paths assigned to them, they can be used for a wide variety of tasks, such as:

1. Feeding an external eects processor when the internal eects are insucient.

2. Patching a specic console signal path to an outboard recorder.

3. Feeding the analogue or digital audio inputs of a nearby video recorder.

To make an assignment as described above, perform the following steps:

1. Adjust the rst push encoder to select to which auxiliary outputs to assign a source. Choices include

• Aux Out 1

• Aux Out 2

• Aux Out 3

• Aux Out 4

• Aux Out 5

• Aux Out 6

• AES/EBU (Digital) Out L

• AES/EBU (Digital) Out R.

2. Adjust the third encoder to select for coarse range:

• Insert

• Main (LRC)

• Mix Bus

• Matrix

• Direct Out

• Moni tor.

30 DIGITAL RACK MIXER M32R User Manual

3. Adjust the fourth encoder to select a specic signal path to feed the selected physical output. Choices include:

• Insert Point

• Main L

• Main R

• Main C/M

• Any of the 16 Mix Outputs

• Any of the six Matrix Outputs

• Any of the 32 Direct Outputs

• Any of the eight Auxiliary Outputs

• Any of the FX Direct Outputs

• Monitor L

• Monitor R

• Talkback.

4. Tap the fourth encoder to assign the selected output path, completing the process.

5. Adjust the fth encoder to select the signal tap point for the output assignment. Choices include:

• IN/LC

• IN/LC +M

• PreEQ

• PreEQ +M

• PostEQ

• PostEQ +M

• PreFdr

• PreFdr +M

• Post Fader.

6. Tap the fth encoder to complete the signal tap point assignment.

7. Tap the 6th encoder to enter iQ Setup

• Adjust the 1st encoder to select a P16 channel.

• Adjust the 3rd encoder to select the iQ speaker assigned to the

selected channel. Press the encoder to conrm.

• Adjust the 4th encoder to select an EQ Preset, then press the

encoder to conrm.

• Adjust the 5th encoder to select a Sound Prole that the iQ speaker

will model, then press the encoder to conrm.

• Press the 6th encoder again to return to the P16 tab.

p16 out

The ROUTING sc reen’s p16 out tab allows the user to route various console signal paths to the rear panel P16 ULTRANET output. This output allows for 16 channels of audio to be sent, in digital form, to various accessories such as a personal monitoring distribution box.

Using the p16 o ut routing screen, the user can congure the P16 output to carry not only the main LR mix, but also various audio ‘stems’ of audio material sources from a bus send mix, such as a stereo drum mix, stereo keyboards, guitars, bass, vocals, etc. Musicians on stage would then be free to each craft their own personal mix of these musical stems, all delivered from the FOH position to stage over a single Ethernet cable.

To select which audio signals are sent to the P16 bus, perform the following steps:

1. Adjust the rst push encoder to select for which of the 16 channels in the P16 bus you wish to select an audio source.

2. Adjust the third encoder to select a category of audio source to send to the currently selected P16 channel. These categories include:

• Insert

• Main (LRC)

• Mix Bus

• Matrix

• Direct Out

3. Monitor.Adjust the fourth encoder to select which specic signal path to feed to the currently selected P16 output. Choices include:

• O

• Main L

• Main R

• Main C/M

• Any of the 16 Mix Outputs

• Any of the six Matrix Outputs

• Any of the 32 Direct Outputs

• Any of the eight Auxiliary Outputs

• Any of the FX Direct Outputs

• Monitor L

• Monitor R

• Talkback.

4. Tap the fourth encoder to assign the selected output path, completing the process.

5. Adjust the fth encoder to select the signal tap point for the output assignment. This determines where in the audio signal path the source is ‘tapped’ as it is sent to the P16 output. The available signal tap points include:

• IN/LC

• IN/LC +M

• PreEQ

• PreEQ +M

• PostEQ

• PostEQ +M

• PreFdr

• PreFdr +M

• Post Fader.

6. Tap the fth encoder to complete the signal tap point assignment.

card out

The ROUTING sc reen’s card out tab allows the user to patch various signal paths to the physical inputs and outputs on the DN32-USB card. The card’s signal path provides 32 channels of inputs and 32 channels of outputs. The 32 card inputs can be used as alternative sources for the two input fader layers, switchable in banks of eight.

31 DIGITAL RACK MIXER M32R User Manual

To assign an output path to the option card, perform the following steps:

1. Adjust the rst push encoder to select an 8-channel signal path that will be sent to the rst eight channels of the card. Choices include:

• Local 1-8 • AES50-B 25-32

• Local 9-16 • AES50-B 33-40

• Local 17-24 • AES50-B 41-48

• Local 25-32 • Card 1-8

• AES50-A 1-8 • Card 9-16

• AES50-A 9-16 • Car d 17-24

• AES50-A 17-24 • Card 25-32

• AES50-A 25-32 • Out 1-8

• AES50-A 33-40 • Out 9 -16

• AES50-A 41-48 • P16 1-8

• AES50-B 1-8 • P16 9-16

• AES50- B 9 -16 • Aux 1-6/Mon.

• AES50 -B 17-24

2. Tap the rst encoder to assign the selected output path, completing the process.

3. Repeat the process with encoders 2-4 to select output paths for the other 24 channels or card outputs.

aes50-a / aes50-b

The ROUTING screens aes50-a and aes50-b tabs allow the user to patch various console output paths to the outputs of the dual AES50 connectors. These connectors can feed other AES50-equipped devices, such as a digital stage box or standalone multi-track recorder.

The M32R contains two separate AES50 connectors, labelled A and B. These dual connectors allow for an increased level of exibility in networking the console to various AES50-based equipment.

Each of the two AES50 tabs contains the same following sets of parameters that can be adjusted. To assign various console signal paths to the AES50 connectors, perform the following steps:

1. Adjust the rst push encoder to select an 8-channel signal path that will be sent to the rst eight channels of the AES50 connector’s output. Choices include:

• Local 1-8 • AES50-B 25-32

• Local 9-16 • AES50-B 33-40

• Local 17-24 • AES50-B 41-48

• Local 25-32 • Card 1-8

• AES50-A 1-8 • Card 9-16

• AES50-A 9-16 • Car d 17-24

• AES50-A 17-24 • Card 25-32

• AES50-A 25-32 • Out 1-8

• AES50-A 33-40 • Out 9 -16

• AES50-A 41-48 • P16 1-8

• AES50-B 1-8 • P16 9-16

• AES50- B 9 -16 • Aux 1-6/Mon.

• AES50 -B 17-24

xlr out

The ROUTING sc reen’s xlr out tab, much like the ou t 1-16 tab, allows the user to patch the M32R’s various internal signal paths to the 8 analogue XLR outputs that are located on the console’s rear panel. This tab, however, allows the XLR outputs to be patched in blocks of four, rather than individually. Also, on this screen it is only possible to route the signal to its absolute destination, rather than choosing the signal path. The available destinations will dier depending on the block selected. Destinations include:

Block 1-4 / Block 9-12 Block 5-8 / Block 13-16

• Local 1-4 • Local 5-8

• Local 9-12 • Local 13-16

• Local 17-20 • Local 21-24

• Local 25-28 • Local 29-32

• AES50-A 1-4 • AES50-A 5-8

• AES50-A 9-12 • AES50-A 13-16

• AES50-A 17-20 • AES50-A 21-24

• AES50-A 25-28 • AES50-A 29-32

• AES50-A 33-36 • AES50-A 37-40

• AES50-A 41-44 • AES50-A 45-48

• AES50-B 1-4 • AES50-B 5-8

• AES50- B 9 -12 • AES50-B 13-16

• AES50 -B 17-20 • AE S50 -B 21-24

• AES50-B 25-28 • AES50-B 29-32

• AES50-B 33-36 • AES50 -B 37- 40

• AES50-B 41-44 • AES50-B 45-48

• Card 1-4 • Card 5-8

• Card 9-12 • Card 13-16

• Car d 17-20 • Ca rd 21-24

• Card 25-28 • Car d 29-32

• Out 1-4 • Out 5-8

• Out 9 -12 • Out 13-16

• P16 1-4 • P16 4-8

• P16 9-12 • P16 13-16

• Aux 1-4 • Aux 5-6/Mon

• Auxin 1-4. • Auxin 5-6/TB.

2. Tap the rst encoder to connect the currently selected signal path to the AES50 pathway.

3. Repeat the above process for the other ve sets of 8-channel AES50 outputs.

The aes50 -b tab works exactly the same as the ae s50-a tab, but instead selects sources sent to the output of the console’s AES50-B connector.

32 DIGI TAL RACK MIXER M32R User Manual

2.4 Library

The LIBRARY screen allows loading and saving of commonly used setups for the channel inputs, eects processors and routing scenarios.

The LIBRARY screen contains the following separate tabs:

channel: This tab allows the user to load and save commonly used combinations of the channel DSP eects.

eects: This tab allows the user to load and save commonly used eects processor presets.

routing: This tab allows the user to load and save commonly used signal routings.

channel

The LIBRARY scre en’s channel tab allows you to load and save commonly used combinations of the channel DSP eects. For example, once you have dialled in a combination of EQ and compression that works well for a particular singer, you can save the channel DSP chain as a preset for later recall.

To adjust the various settings on the channel tab, perform the following steps:

1. Adjust the rst push encoder to select which specic elements of the input channel can be recalled when loading an input channel preset. Choices include:

• Head Amp (Microphone Preamplier)

• Conguration

• Gate

• Compressor

• Equalizer

• Sends.

2. Tap the rst encoder to turn the currently selec ted element on or o in the recall list.

3. Adjust the second encoder to scroll among a list of input channel presets.

4. Tap the second encoder to load the currently highlighted preset and make it active on the currently selected console channel.

5. Adjust the third encoder to scroll among a list of channel preset slots to save the current state of the currently selected console channel.

6. Tap the third encoder to save the currently selected channel’s state to the currently selected preset slot.

• When the third encoder is tapped, a preset naming screen appears

Adjust and tap encoders 4-6 to apply a custom name to the preset before saving it, then tap the sixth encoder to complete the save process.

7. Tap the fourth encoder to delete a preset from the currently highlighted preset slot.

eects

The LIBRARY screen’s eects tab allows you to load and save presets for the various onboard eects processors.

To adjust the various settings on the eects tab, perform the following steps: Adjust the rst push encoder to select which of the eight eects slots to load or

save a preset. As you navigate among the eight eects slots the specic eect processor loaded

into each slot will display on the screen as both a name and an icon. To save and load presets, as well as import/export them, follow the same

procedure as detailed in the LIBRARY screen channel tab.

routing

The LIBRARY screen’s routing tab allows you to load and save presets of the M32R’s signal routings. This can be useful for repeating specic routing scenarios that occur over and over on a regular basis, such as when using the console for a weekly club gig or worship service.

To adjust the various settings on the routing tab, perform the following steps:

1. Adjust the rst push encoder to select which specic console signal paths will be recalled when loading a routing preset. Choices include:

• Channel Inputs

• Analog Out

• Auxiliary Out

• P16 (ULTRANET) Out

• Card Out

• AES50 Out.

2. Tap the rst encoder to turn the currently selec ted element on or o in the recall list.

3. To save and load presets, as well as import/export them, follow the same procedure as detailed in the LIBRARY screen channel tab.

2.5 Eects

The EFFECTS screen controls various aspects of the eight internal eects processors. On this screen the user can select specic types of eects for the eight internal processors, congure their input and output paths, monitor their levels, and adjust the various eect parameters.

The rst four slots can be Insert and Side-Chain eects, and the slots ve to eight are Insert only. Additionally these slots can only hold some eects excluding reverbs and other power-intensive eects. They also have dierent selections for the input sources.

The EFFECTS screen contains the following separate tabs:

home: The home tab provides a general overview for all eight eects processors, displaying what eect has been inserted in each of the eight slots, as well as displaying input/output paths for each slot, and the I/O signal levels.

fx 1-8: These eight duplicate screens display all relevant data for the right separate eects processors, allowing the user to adjust all parameters for the selected eect.

33 DIGITAL RACK MIXER M32R User Manual

home

The EFFECTS sc reen’s home tab provides a high-level overview of the eight eects processor slots, giving the user at-a-glance feedback on the eects they have assigned to the slots, the console source and destination for each processor, and the input/output levels for each processor.

To make adjustments on the EFFECTS scre en’s home tab, perform the following steps:

1. Adjust the rst push encoder to select the input source for the currently highlighted eects block. Signal path choices include:

• Insert Send

• Mix Bus 1-16.

2. Tap the rst encoder to assign the currently selected input source.

3. Adjust the second encoder to select the input source for the right side of the currently highlighted eects block.

4. Tap the second encoder to assign the currently selected input source.

TIP: To congure an eect as mono input and stereo output, set both input sources to the same signal path

5. Tap the third and fourth encoders to mute the currently selected eect.

6. Adjust the fth encoder to scroll among the dierent audio eects available. Choices include:

Hall Reverb Delay + Chamber M/S Fair Comp Ambience Chorus + Chamber Dual Fair Comp Rich Plate Reverb Flanger + Chamber Leisure Comp Room Reverb Delay + Chorus Dual Leisure Comp Chamber Reverb Delay + Flanger Ultimo Comp Plate Reverb Modulation Delay Dual Ultimo Comp Vintage Reverb Dual Graphic EQ Dual Enhancer Vintage Room Stereo Graphic EQ Stereo Enhancer Gated Reverb Dual TruEQ Dual Exciter Reverse Reverb Ste reo TruE Q Stereo Exciter Stereo Delay Dual DeEsser Stereo Imager Tri ple D elay Stereo DeEsser Edison EX1 Rhythm D elay Stereo Xtec EQ1 Sound Maxer Stereo Chorus Dual Xtec EQ1 Dual Guitar Amp Stereo Flanger Stereo Xtec EQ5 Stereo Guitar Amp Stereo Phaser Dual Xtec EQ5 Dual Tube Stage Dimension-C Wave Designer Stereo Tube St age Mood Filter Precision Limiter Dual Pitch Shif ter Rotary Speaker Combinator Stereo Pitch Tremolo / Panner Dual Combinator Suboctaver Fair Comp

7. Tap the fth encoder to assign the selected eect to the currently highlighted eects slot.

8. Adjust the sixth encoder to scroll among the eight eects slots to select one for editing.

9. Tap the sixth encoder to go to the edit page for the currently highlighted eects slot.

fx1-8

The EFFECTS sc reen’s f x 1-8 tabs allow you to edit the parameters for the specic eect processor assigned to the corresponding eects slot.

In order to more closely simulate the look and feel of the outboard processors that are no longer necessary with a digital console, the individual eects processor screen provides a graphical representation of the eects processor’s real world physical counterpart. This provides greater ease of use for the user than a simple text list of parameters.

To make adjustments on the EFFECTS screen’s editing tab, perform the following steps:

1. Adjust the six push encoders to change the various eects parameters shown at the bottom of the screen.

2. Use the Up/Down navigation controls to switch the push encoders to a second, third or fourth set of parameters for eects that contain more than six adjustable parameters.

3. When the eects processor has been edited to your satisfaction, push the sixth encoder to go back to the EFFECTS screen’s home tab.

4. See the Main Display - Internal Eects section for more details on specic eects and parameters.

TIP: For the Graphics EQ eects, tap the rst push encoder to implement the ‘Graphics EQ on Faders’ function. This allows you to boost or cut the dierent EQ bands using the eight console output faders, eight faders at a time, with the relevant EQ bands displayed on the channel LCD screens.

Adding one of the 8 internal eects

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:

• Press the “FX” menu button. 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.

• Adjust rotary encoder #1 and rotary encoder #2, selecting your desired bus

as the source for both the left and right inputs of the rst eect processor. By default, FX 1 is sourced from Bus 13.

• Adjust rotary encoder #5 to select a specic eect processor,

such as “Ambience”.

• Select the fader bank button labeled “RTN” on the left side of the console.

Bring the faders labeled FX1L and FX1R up to 0 dB in case they are not set to this value by default. In the initial setup, these returns are stereo linked and automatically send to the main LR bus, but it is also possible to send them to the other buses as well. For this, press the HOME button next to the screen while the return is selected, then go to the SENDS tab with the PAGE SELECT right button and adjust the send levels for the return to the other buses, or use the dedicated BUS SENDS controls.

34 DIGITAL RACK MIXER M32R User Manual

• Back on the EFFECTS page, press the PAGE SELECT right button to switch the

screen to the editor for the Ambience processor. The screen will switch to an editor page for the rst processor. Adjust the rotary encoders to tailor the eect to your liking.

• To apply the eect to assorted input channels, select an input channel,

then adjust its “Bus Send 13” knob to taste. As the bus send level is increased, more of the channel signal will be sent to the Ambience eect. Repeat this process with other channels you wish to send to the Ambience processor.

To apply an “insert” style eect:

• Press the “EFFECTS” menu button.

• 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 lef t side, but this will limit your use of reverbs and other processor-intensive eects.

• Adjust rotary encoder #6 to highlight one of the eects processors on the

right side; it will be surrounded by an orange outline.

• Adjust rotary encoder #1 and rotary encoder #2, selecting “Insert” as the

source for both the lef t and right inputs of the eect processor.

• Adjust rotary encoder #5 to select a specic eect processor, such as

“precision limiter”.

• Select the specic input or output channel you wish to use the inserted

eect on.

• Press the HOME button, then the PAGE SELECT right button to navigate to

the selected channel’s “Cong” screen.

• Adjust rotary control #6 to 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 try 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 inser ts on dierent channels or buses.

2.6 Setup

The SETUP screen oers various controls for global, high-level functions of the M32R, such as display adjustments, sample rates and synchronisation, user settings, and network conguration.

The SETUP screen contains the following separate tabs:

global: This screen oers adjustments for various global preferences of how the console operates.

cong: This screen oers adjustments for sample rates and synchronisation, as well as conguring high-level settings for signal path buses.

remote: This screen oers dierent controls for setting up the console as a control surface for various DAW recording software packages on a connected computer.

network: This screen oers dierent controls for at taching the console to a standard Ethernet network.

scribble strips: This screen oers controls for various aspects of the console’s DCA groups.

preamps: This screen allows the gain on each of the individual input channels’ preamps to be adjusted.

card: This screen selects the input/output conguration.

None of the SETUP screen’s tabs contain a secondary level of functionality, so the UP/DOWN navigation controls do no need to be used for these screens.

global

The SETUP sc reen’s global tab allows the user to adjust various global controls of the console, such as display brightness and contrast, sample rate, and the time and date.

To make adjustments in the global screen, perform the following steps:

1. Adjust the 1st encoder to select from the list of System Controls:

• Shutdown

• Reboot

• Update Firmware

2. Tap the 1st encoder to engage the selected function.

3. Adjust the 2nd encoder to select the sample rate and synchronization.

4. Tap the 2nd encoder to conrm your selection.

5. Adjust the 4th encoder to select an item to initialize.

6. Tap the 4th encoder to initialize your selection.

7. Adjust the 5th encoder to change the currently selected gure for the time or date.

8. Tap the 5th encoder to scroll through the entries for time and date.

9. Adjust the 6th encoder to change the LCD or LED brightness.

10. Tap the 6th encoder to alternate between LCD and LED brightness.

cong

The Cong tab allows a variety of global preferences to be selected. All of the adjustments are made with just 3 encoders.

1. Adjust the 1st encoder to scroll through the list of preferences.

2. Tap the 1st encoder to conrm the selec tion.

3. Adjust the 4th encoder to scroll through the list of Link and Pan preferences.

4. Tap the 4th encoder to conrm.

5. Adjust the 5th encoder to select a bus pre-conguration scheme. Note that individual channels and buses can be changed on the Sends screen.

6. Tap the 5th encoder to select the conguration.

remote

The SETUP sc reen ’s remote tab allows the M32R to be set up as a control surface for various DAW recording software on a connected computer. With its large complement of motorised faders, the console can act as an excellent controller, allowing the user to make level adjustments quickly and easily without using a mouse.

To adjust the various remote settings, perform the following steps:

1. Tap the 1st encoder to enable the console’s top panel Remote button. This switches various console hardware, such as the bus faders, to control computer DAW software instead of the console’s internal audio path.

2. Adjust the 2nd encoder to select the specic control surface protocol used,cin conjunction with the target DAW software. Choices include:

• Mackie Control: Use this protocol to control any DAW software that

is compatible with a Mackie Control hardware control surface.

• HUI: Use this protocol to control any D.A.W. software that is

compatible with a HUI hardware control surface, such as Pro Tools.

3. Tap the 2nd encoder to assign the currently selected control surface protocol.

4. Adjust the 5th encoder to select whether the remote function uses the MIDI In and OUT jacks or the DN32-USB card’s MIDI.

5. Tap the 5th encoder to conrm the selection.

35 DIGI TAL RACK MIXER M32R User Manual

6. Adjust the 6th encoder to adjust various MIDI-based operations for the console. Choices include:

• MIDI In/Out: This toggles the MIDI input and outputs for the

console on/o .

• Card MIDI: Allows MIDI transmission through the DN32-USB card.

• USB In/Out: This toggles the console’s USB ports on/o .

• RTP (Real-time Transport Protocol): This toggles on/o the

console’s ability to interface with an Ethernet-based MIDI system.

• Enable MIDI scene recall: This toggles on/o the console’s response

to incoming MIDI messages for switching console scenes.

7. Tap the 6th encoder to toggle the currently selected MIDI option on/o. This can be useful if you want to ensure that any connected MIDI transmitters cannot interfere with the console.

network

The SETUP sc reen ’s network tab contains settings used when connecting the M32R to a standard Ethernet network. The user can set parameters such as using a xed IP address, or having one assigned, as well as setting up Ethernet and subnet mask settings.

To set the network address for the console, perform the following steps:

1. Adjust the rst push encoder to select which specic network eld to adjust. Choices include:

• IP address

• Subnet Mask

• Gateway.

2. Adjust encoders 2, 3, 4 and 5 to set the four numerical elds to be adjusted for the selected network eld. Set an IP address which ts your network, normally 192.168.0.X. The IP address should be free within the network. Set your subnet mask according to your network, normally

255.255.255.0, and set your gateway if required.

3. Tap the sixth encoder to assign the adjusted settings.

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

PC:

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

the IP address of the M32R in the network and press connect.

• If the software has connected to the M32R you can also synchronize them

in 2 directions. Console -> PC means all settings in the M32R will be loaded into the M32-Edit software. 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 voila: you are connected and can control the M32R with your iPad.

scribble strip

The SETUP sc reen ’s scribble strips tab allows customisation for all of the M32R’s channel LCD displays, including Aux, FX, Buses, Matrices and DCAs.

On the scribble strips tab the user can make useful adjustments, such as assigning real names to the selected channel (such as ‘drums’ or ‘backing vocals’), as well as assigning colours to them that are then reected on the console’s channel LCD screens.

1. Adjust the 1st encoder to select the channel, bus, matrix, DCA group, etc. you wish to edit.

2. Adjust the 2nd encoder to set the color for the currently selected channel.

• The selected color will be shown in the LCD screen above the selected

channel’s fader. For example, if DCA#5 is assigned the color red, the LCD screen above output fader #5 will illuminate in red.

3. Adjust the 3rd encoder to select the graphical icon for the channel. A large variety of clip-art is available to represent various input sources and output destinations.

4. Adjust the 4th encoder to select a name from a list of common preset names (snippets), for the currently selec ted channel.

5. Tap the 4th encoder to assign the currently highlighted preset text (snippet) to the channel.

6. Tap the 5th encoder to edit the channel name. An edit screen will pop up.

7. Adjust the 4th encoder to shift the cursor position.

8. Tap the 4th encoder to issue a “backspace” command, deleting the currently highlighted character.

9. Adjust the 5th encoder to select a letter, number, or symbol to enter into the channel’s name eld.

10. Tap the 5th encoder to insert the currently highlighted letter, number, or symbol into the channel’s name eld.

11. Adjust the 6th encoder to select whether the text entry choices oer capitals, normal characters, or numbers and symbols.

12. Tap the 6th encoder to exit the editing page, and save the current parameters to the channel.

36 DIGITAL RACK MIXER M32R User Manual

preamps

The Preamps tab allows the digital trim to be adjusted for all local and AES50 channels.

1. Adjust the 1st encoder to select a block of 8 channels.

2. Adjust encoders 2-5 to set the preamp gain for the top or bottom row of inputs.

3. Tap encoders 2-5 to toggle phantom power on and o .

Note - Use the Layer Up and Down buttons to select the top or bottom row of inputs for editing.

4. Rotate the 6th encoder to select one of 4 checkboxes, then press the encoder to mark the box and activate that function.

Lock Stagebox prevents front panel adjustments to be made on a connected S16 digital snake.

HA Gain Split separates the channel gain (trim) from the head amp gain, allowing the FOH console and monitor console to operate their own local digital trims independently. Note that head amp gains can only be adjusted from the Setup/ preamps page and input channels with have digital trims only.

HA Remote allows console gains to be remote controlled by another console connected via AES50. This is particularly useful when operating an M32R unit as a stagebox.

2.7 Monitor

Pressing the MONITOR but ton has the same eect as presing the VIEW button in the MONITOR panel, and is covered in detail in the MONITOR section above.

2.8 Scenes

The SCENES screen on the Main Display allows setup for saving and recalling dierent memory scenes of the M32R. The comprehensive recallability of the console (including gain settings for the digitally-controlled mic preamps) is one of the most powerful aspects of the console.

The SCENES screen contains the following separate tabs:

home: This screen contains a general overview of the scenes contained in the console, along with their custom names and what parameters are included in each scene.

scenes: This screen allows the user to congure, edit and rename the individual scenes.

snippets: This screen allows for the editing of the new ‘Snippets’ functionality.

param safe : This screen congures which console parameters are and are not saved or switched with the console scenes.

chan safe: This screen congures which console channels are and are not changed when a console scene change occurs.

MIDI: This screen allows the console to associate dierent scenes with incoming and outgoing MIDI messages, allowing the console’s scene changes to control or be controlled by external MIDI equipment.

card

This screen selec ts the input/output conguration. Use the second push encoder to select between the following presets:

• 32in / 32out

• 16in / 16out

• 32in / 8out

• 8in / 32out

• 8in / 8out

• 2in / 2out.

37 DIGITAL RACK MIXER M32R User Manual

HOME

The SHOW CONTROL screen’s home tab shows a general overview of the Cues that have been congured in the console, along with their custom names and what parameters are included in each Cue.

A Cue is simply a single event (such as a Scene, Snippet or MIDI command) or a collection of events. These can be grouped together and stored for future recall. Up to 500 Cue entries can be stored in the M32 at any time.

For a setting where these events are used heavily and are critical (such as a theatre performance), this would be a good screen to leave on at all times so that the console operator can be completely sure what Cue the console currently resides on, and what Cue will come up next when the GO button is pressed.

To adjust the various settings on the home tab, perform the following steps:

1. Rotate the 1st encoder to scroll among the available scenes in the scenes list, which is displayed on the left side of the color screen.

2. Tap the 1st encoder to “go” to the currently selected scene in the list, switching the console to the state it was in when that scene was stored

3. Rotate the 2nd encoder to select a scene in the list to be “skipped” when cycling through scenes using the Prev and Next buttons.

4. Tap the 2nd encoder to complete the “skip” command on the currently selected scene. That scene will now be skipped when scrolling through the list.

5. Rotate the 3rd encoder to add a Cue to the list, and determine if it will be added as a completely new entry, or a subset of an existing cue. Tap the encoder to bring up the edit screen where the cue can be named.

6. Rotate the 4th encoder to scroll through the list of scenes and tap the encoder to select.

7. Rotate the 5th encoder to scroll through the list of snippets and tap the encoder to select.

8. Tap the 6th encoder to undo.

Utility

Pressing the UTILITY button to the right of the Main Display changes the bottom of the home tab to the following conguration:

Each of the functions on this layer can be controlled with the adjacent push encoder as follows:

Copy - Allows the user to make a copy of the currently-selected Cue. Edit Cue - Allows the user to edit the currently-selected Cue. Add Cue - Adds a new Cue into the current Showle. Delete - Deletes the currently-selected Cue. Import Show - Imports a Showle from a connected USB drive.

PLEASE NOTE that this will replace the existing Showle, so this should be

saved beforehand. Export Show - Exports the current Showle to a connected USB drive.

SCENES

Use the Load, Save and Edit functions by pressing the adjacent push encoder to load, save and edit the scenes. The Scenes Safe function works in a similar way to the PARAMETER SAFE function, though only applies to specic scenes.

Utility

Pressing the UTILITY button to the right of the Main Display changes the bottom of the scenes tab to the following conguration:

Each of the functions on this layer can be controlled with the adjacent push encoder as follows:

Copy - Allows the user to make a copy of the currently-selected Scene. Paste - Pastes a Scene from the virtual clipboard. Edit - Allows the user to edit the currently-selected Scene. Delete - Deletes the currently-selected Scene. Import Scenes - Imports a Scene from a connected USB drive. Export Scenes - Exports a Scene to a connected USB drive.

SNIPPETS

The M32R has a new exible structure called ‘Snippets’, which allows for setting selective parameters and channel lters for storage. Recalling a Snippet will exclusively aect the stored bits of information, leaving the remaining console status untouched. This allows to surgically introduce specic bits of automation into the current mix status. Up to 100 Snippets can be stored at any time. Use the Load, Save and Edit functions by pressing the adjacent push encoder to load, save and edit the Snippet.

A Snippet can be focused on any specic selection of parameters a user may nd suitable, such as EQ, Inser t, Fader, Mute, Send levels, etc. A Snippet will also be focused on a random selection of channels (inputs, returns or any mixes). When loading this Snippet only the previously stored information will replace the respective console parameters, while the rest remains as is.

38 DIGITAL RACK MIXER M32R User Manual

Utility

Pressing the UTILITY button to the right of the Main Display changes the bottom of the snippets tab to the following conguration:

Each of the functions on this layer can be controlled with the adjacent push encoder as follows:

Copy - Allows the user to make a copy of the currently-selected Snippet. Paste - Pastes a Snippet from the virtual clipboard. Edit - Allows the user to edit the currently-selected Snippet. Delete - Deletes the currently-selected Snippet. Import Snippets - Imports the selected Snippet(s) from a connected

USB drive. Export Snippets - Exports the selected Snippet(s) to a connected

USB drive.

PARAMETER SAFE

The SHOW CONTROL screen’s para m safe tab congures which of the M32R’s parameters are or are not saved or switched with the console scenes. This is very useful when the operator has certain parameters of which they wish to remain in control, and would never want to have altered during a scene change, for example the mic pre gains on the input channels.

To adjust the various settings on the param safe tab, perform the following steps:

1. Turn any of the rst four push encoders to navigate among the checkboxes

on the Main Display, which represent various console areas tat can be isolated from scene changes.

2. Tap any of the rst four push encoders to select the console areas that

have been selected with the push encoders. In each of the four columns, multiple console areas can be selected an isolated from scene changes.

The following areas of the M32R can be isolated from scene changes, and are divided up into four columns on the Main Display:

Column 1: Input Channels

• HA (Head Amp / Microphone Preamp)

• Conguration

• Channel EQ

• Channel Gate / Compressor

• Channel Insert

• Channel Groups

• Fader, Pan, Mute, Mix Ons.

Column 2: Input Channels

• Mix Sends 1-16.

Column 3: Mix Buses

• Mix Sends 1-16

• Conguration

• EQ

• Compressor

• Insert

• Groups

• Fader, Pan, Mute, Matrix Ons.

Column 4: Console

• Conguration

• Solo

• Routing

• Output Patch.

CHANNEL SAFE

The SHOW CONTROL screen’s chan safe tab congures which console channels are and are not changed when a scene change occurs. This allows the user to protect certain channels from ever changing during a scene change, giving them as much control as possible for key audio sources.

For example, in a theatre contex t, the console operator may have dialled in just the right EQ and compressor settings, and channel volume for the voice of the lead actor, and does not want to have them altered when the console changes scenes and alters various other parameters.

To adjust the various settings on the chan safe tab, perform the following steps:

1. Turn any of the six push encoders to navigate among the checkboxes on the Main Display, which represent various groups of channels that can be isolated from scene changes.

2. Tap any of the six encoders to select the console areas that have been highlighted with the push encoders. In each of the six columns, multiple console areas can be selected and isolated from scene changes.

The following areas of the M32R can be isolated from scene changes, and are divided up into six columns on the Main Display:

Column 1: Channels

• Input Channels 1-16

Column 2: Channels

• Input Channels 17-21.

Column 3: Buses

• Aux 1-8

• FX 1L through 4R.

Column 4: Returns

• Mix 1-6.

Column 5: Main / Matrix / Groups

• Matrix 1-6

• LR Bus

• Centre / Mono Bus

• DCA Groups 1-8.

Column 6: Eects Slots

• FX 1-8.

MIDI

The MIDI tab on the SHOW CONTROL screen allows the console to associate dierent Cues with incoming and outgoing MIDI messages, allowing the console’s scene changes to control or be controlled by external MIDI equipment.

For instance, the user could congure the console to issue a MIDI Program Change message as each new Cue is recalled, with the outgoing MIDI message triggering a MIDI-equipped lighting controller.

Conversely, the user could congure the console to change Cues in response to an incoming MIDI Program Change message, allowing the console to switch to a new audio scene when a new scene is recalled on a MIDI-equipped lighting controller.

39 DIGITAL RACK MIXER M32R User Manual

To adjust the various settings on the MIDI tab, perform the following steps:

1. Turn the rst push encoder to select a Cue to edit.

2. Turn the third push encoder to select what type of MIDI event is transmitted by the console when a scene change is issued. The choices include:

• O (no MIDI event)

• MIDI Program Change

• MIDI Control Change

• Note.

3. Push encoders 4, 5 and 6 adjust the channel, number and value or velocity, where applicable.

The Main Display shows the MIDI data associated with the currently selected screen.

2.9 Mute Group

The M32R’s MUTE GRP screen allows for quick assignments and control of the console’s six mute groups, and oers t wo separate functions:

1. It mutes the active screen during the process of assigning channels to mute groups. This ensures that no channels are accidentally muted during the assignment process of a live performance.

2. It oers an additional interface for muting or unmuting the mute groups in addition to the dedicated mute group buttons on the console’s control surface.

When activated, the MUTE GRP screen only covers the bottom portion of the Main Display, allowing the middle portion to continue displaying its usual screen content.

To assign channels to one of the six mute groups, per form the following steps:

1. Press the MUTE GRP button to switch the Main Display to the mute groups view.

2. Press and hold the desired mute group button (1-6) on the lower right-hand corner of the console.

3. While holding the mute group button, press the SEL button on any input or output channel, on any layer, that you wish to assign to the mute group.

4. When you have assigned all the desired channels to the mute group, release the dedicated mute group button. The individual channel MUTE buttons will resume their normal function.

To use the MUTE GRP screen to mute or unmute the groups, perform the following steps:

1. Tap any of the six push encoders to mute the corresponding group, and thus mute all channels that are assigned to that mute group.

2. Tap the encoder of a currently mute group to unmute that group.

3. When nished working with mute groups, tap the MUTE GRP button to exit the screen. The Main Display will again show its full set of controls for the current page.

HOME Screen

Pressing the UTILITY button while on any of the tabs on the HOME page will take the user to the channel tab of the LIBRARY screen.

METERS Screen

There are no Utility functions on any of the METERS screen’s tabs.

ROUTING Screen

Pressing the UTILITY button while on any of the ROUTING screen’s tabs takes the user to the routing tab of the LIBRARY screen.

SETUP Screen

With the exception of the scribble strips tab, there are no Utility functions on any of the SETUP screen’s tabs.

For the scribble strips tab, pressing the UTILITY button provides an interface for assigning a custom colour, name and icon to the currently selected input or output channel.

• Adjust and tap the six push encoders to assign a colour, name and icon

to the currently selected input or output channel. Tap the sixth encoder to save changes and exit.

LIBRARY Screen

There are no Utility functions on any of the LIBRARY screen’s tabs.

EFFECTS Screen

Pressing the UTILITY button while on any of the EFFECTS screen’s tabs takes the user directly to the eects tab of the LIBRARY screen.

RECORDER Screen

Pressing the UTILITY button while on either of the RECORDER screen’s tabs takes the user directly to the select USB drive folder/le page of the RECORDER screen’s cong tab.

MONITOR Screen

There are no Utility functions on any of the MONITOR screen’s tabs.

TALKBACK Screen

There are no Utility functions on any of the TALKBACK screen’s tabs.

SHOW CONTROL Screen

Pressing the UTILITY button while on any of the SCENES screen’s tabs provides an interface for copying, pasting, loading and saving dierent scenes in the scene list. Adjust and tap the six push encoders to perform these functions. More information can be found in the SHOW CONTROL section.

ASSIGN Screen

There are no Utility functions on any of the ASSIGN screen’s tabs.

2.10 Utility

The UTILITY screen is a supplemental screen designed to work in conjunction with the other screens that may be in view at any particular moment. The UTILITY screen is never seen by itself; it always exists in the context of another screen.

To reinforce this point, when the UTILITY screen selection button is pressed, it illuminates at the same time that another screen selection button is illuminated, showing you for which screen it is providing other utilities. For most screens, pressing the UTILITY button simply acts as a short cut to a page that can be navigated to by other means. In a few cases, a utility page provides extra functionality not seen anywhere else.

The UTILITY screen selection button works in the following manner with other screens on the console:

40 DIGITAL RACK MIXER M32R User Manual

2.11 Internal Eects

The M32R contains over 60 internal eects that can be applied to each of the input channels, either as inserts or as sends and returns. Access the internal eects by pressing the EFFECTS button next to the Main Display. The functionality for each of the eects is detailed below.

Note - for information on routing channels to the FX processors, see Chapter 2.5 Eects.

Hall Reverb

Rich Plate Reverb

Rich 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-coloured sound. Inspired by the Lexicon Plate Reverb.

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 adjust the decay of high frequencies within the reverb tail. DIFF(usion) controls the initial reection density.

LO CUT and HI CUT function as Low- and High-Cut lters. B ASSMULT multiplies the bass frequencies and MOD SPEED adjusts the speed of the eect’s modulation. SHAPE adjust the contour of the reverberation envelope.

The SPIN parameter sets the amount of random modulation for the reverb tail. The parameters Echo / EchoFeed set the parameters of a feedback delay at the input of the reverb (independant for both input channels). Echo sets the delaytime and EchoFeed the amount of feedback (positive or negative). This allows to further increase the reection density of the reverb.

Classic Hall Reverb simulates the reverberation that occurs when sound is recorded in medium- to large-sized convert 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.

LO CUT and HI CUT function as Low- and High-Cut lters. BASSMU LT multiplies the bass frequencies and MOD SPEED adjusts the speed of the eect’s modulation. SHAPE adjust the contour of the reverberation envelope.

Ambience

Room Reverb

Room Reverb 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, the M32’s Vintage Room breathes life into close-miked guitar and drum tracks.

Inspired by the Lexicon Room Reverb.

Ambience creates a customisable virtual acoustic space in which to place the elements of a mix. Use Ambience to add warmth and depth without colouring the direct sound. Inspired by the Lexicon Ambience Algorithm.

PRE DELAY sets the time before the reverb follows the source signal. DECAY adjusts the time it takes for the reverb to completely dissipate. SIZE controls the room size emulation. DAMPING controls the high-frequenc y decay within the reverb tail. DIFFUSE controls the initial echo density. The level sets the volume output of the aected signal. LO CUT aects the low frequency cut, allowing lower frequencies to remain unaected by the reverb. HI CUT aects the high frequency cut, allowing higher frequencies to remain unaected by the reverb. MOD adjusts the level of reverb decay modulation. TAIL GAIN adjus ts the volume of the reverb tail.

41 DIGITAL RACK MIXER M32R User Manual

Chamber Reverb

Chamber Reverb simulates the reverberation found in medium sized spaces, somewhere between the intimacy of a small room, and the grandeur of a large hall. Inspired by the Lexicon Chamber Reverb.

Plate Reverb

Vintage Reverb

Based on the legendar y EMT250, the 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 2 is selected, slider 1 adjusts the pre-delay. Slider 2 selects the low-cut frequency. Slider 3 selects the hi-cut frequency. Slider 4 selects adjusts the output level of the reverb.

Pressing the rst push encoder on Layer 1 will switch the reverb algorithm to emulate the perceived position of the reverb in the virtual space. The same control on Layer 2 will change the reverb algorithm to give a warmer, more ‘vintage’ sound.

Vintage Room

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-coloured sound. The 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 push encoder adjusts the decay of high frequencies within the reverb tail. DIFF(usion) controls the initial reection density. LEVEL controls the volume of the reverb.

The LO CUT push encoder sets the frequency beneath which the source signal will not pass through the reverb. The HI CUT push encoder sets the frequency above which the source signal will not pass through the reverb. BA SS MULT(iplier) push encoder adjusts the decay time of the bass frequencies. XOVER controls the crossover point for bass. MOD DEPTH controls the intensity of the reverb tail modulation. MOD SPEED controls the speed of the reverb tail modulation.

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, the M32’s Vintage Room breathes life into close-miked 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. LEVEL controls the volume of the reverb. Pressing the second push encoder will engage the FREEZE function which takes the incoming audio and loops it indenitely.

HI/LO MULTIPLY adjusts the decay time of the high and bass frequencies. DECAY 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.

42 DIGITAL RACK MIXER M32R User Manual

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 1980’s-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 reverb envelope. LEVEL controls the volume of the reverb. The LO CUT push encoder sets the frequency beneath which the source signal will not pass through the reverb. HiSvFr / HiSvGn push encoders adjust a highshelving lter and the input of the reverb eect. DIFF(usion) controls the initial reection density.

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 drum tracks. Inspired by the Lexicon 300/480L.

Adjusting the PRE DELAY push encoder adds up to 200 milliseconds before the reverb follows the source signal. The DECAY push encoder 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ection density. SPREAD controls how the reection is distributed through the reverb envelope. The LO CUT push encoder sets the frequency beneath which the source signal will not pass through the reverb. HiSvFr / HiSvGn push encoders adjust a high-shelving lter and the input of the reverb eect.

unaected by the delay. FACTOR L sets the delay time on the left channel to rhythmic frac tions of the master delay time. FACTOR R sets the delay time on the right channel to rhythmic fractions of the master delay time. OFFSET LR adds a delay dierence between the left 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 selects the feedback mode:

• ST sets normal feedback for both channels

• X crosses feedback 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 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 can no longer pass through the delay. X-FEED indicates that stereo cross-feedback of the delayed signals is active. MONO activates a mono mix of both channels for the delay input.

FEEDBACK 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 in the second stage of the delay. PAN A sets the position of the

second stage of the delay in the stereo eld. FAC TOR B controls the amount of delay time in the third stage of the delay. GAIN B controls the gain in the third stage of the delay. PAN B sets the position of the third stage of the delay in the stereo eld.

Rhythm Delay

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

The Rhythm Delay, or 4-Tap Delay, provides four 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 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. 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 can no longer pass through the delay. X-FEED indicates that stereo cross-feedback of the delayed signals is active. MONO activates a mono mix of both channels for the delay input. FEEDBACK adjusts the amount of feedback. SPREAD adjusts the perceived stereo placing of the echoes.

FACTOR A controls the amount of delay time in the second stage of the delay. GAIN A controls the gain in the second stage of the delay. FACTOR B controls

the amount of delay time in the third stage of the delay. GAIN B controls the gain in the third stage of the delay. FACTOR C controls the amount of delay time in the fourth stage of the delay. GAIN C controls the gain in the fourth stage of the delay.

43 DIGITAL RACK MIXER M32R User Manual

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.

Whereas DELAY L / R set the total amount of delay for the left and right channels, WIDTH L / R determines the amount of modulated delay taken from either the left or right channels. SPEED sets the modulation speed, MIX adjusts the balance of dry and wet signals. You can further sculpt the sound by trimming some of the low- and high-end of the aected signal with the LO CUT and HI CUT push encoders. Additionally the PHASE push encoder can tweak the phase oset of the LFO between left and right channels, and the SPREAD push encoder adjusts how much of the left channel is mixed into the right, and vice versa. Finally the WAVE push encoder blends between the ‘Danish’ style digital triangular chorus sound and the classic analogue sine wave.

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 controls on the Chorus eec t 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) push encoders.

Stereo Phaser

Dimension-C

Inspired by the Roland Dimension D.

Turning the rst push encoder to toggle the output signal between Mono and STereo. Pressing the rst encoder turns the eect on or o. Pressing the second encoder turns dry mode on or o. Pressing the third, fourth or fth push encoders engages the chorus eect with increasing intensity.

Mood Filter

The Mood Filter uses an LFO generator and an auto-envelope generator to control a VCF (voltage-control 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 push encoders, or the LFO can modulate the lter. The WAVE push encoder selects between seven dierent waveforms - triangular, sine, saw plus, saw minus, ramp, square and random. The PHASE can be oset by up to 180°. The SPEED push encoder adjusts the rate of the LFO, and DEPTH adjusts the amount of LFO modulation. Adjust the resonance of the lter until self-oscillation with the RESO(nance) push encoder. 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 push encoder to blend the aected signal with the dry sound. With the 4 POLE switch engaged there will be a steeper slope than the 2 POLE setting. The DRIVE push encoder adjusts the level, and can also introduce an overdrive eect (as with real analogue lters) if pushed hard. In Side-chain 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. Applying the SIDE CHAIN function ensures that the parameters of the eect are changed based on an external stimulus signal.

A Stereo Phaser, or phase shaper, 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 the M32’s Stereo Phaser to add a ‘spaced-out’ sound to vocal or instrumental tracks.

SPEED sets the LFO rate and DEPTH sets the LFO modulation depth. The BASE push encoder adjusts the frequency range of the modulation lters. The resonance is adjusted with the RESO push encoder. STAGES determines the number of times the audio signal is processed by the eect. MIX determines how much of the aected signal is present in the output audio.

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

44 DIGITAL RACK MIXER M32R User Manual

Rotary Speaker

Rotary Speaker emulates the sound of a Leslie rotating speaker. The 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 push encoders adjust the rotation speed of the Slow and Fast speed selection, and can be toggled with the FA ST button. The ACCEL(eration) push encoder adjust 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.

DIS TANCE adjust the perceived distance between the speakers and the virtual microphone. BALANCE sweeps between low and high frequencies in the output signal. MIX determines how much of the aected signal is present in the output audio.

Tremolo / Panner

Delay + Chamber

Here we have combined Delay and Chamber reverb, so that a single device can supply a variety of delay settings, plus add just the right amount of reverb to the selected signal. This device only uses one eects slot. Inspired by the

Lexicon PCM 70.

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

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

channels, which can be used for panning eects. The WAVE push encoder blends the LFO waveform between triangular and square shapes. The signal envelope , shaped by ATTACK, HOLD and RELEASE, can be used to modulate the LFO speed (ENV SPD) and the LFO modulation depth (ENV DPTH).

Suboctaver

The Octave Eect combines the input signal with a digitally synthesised sound one or two octaves below the original signal. This can be used to thicken up guitar sounds, or to add extra ‘punch’ to kick drums.

The controls for the Suboctaver are split between two discreet layers. Pressing the rst push encoder toggles the eect for each layer on or o. The second encoder increases the amount of the aected signal that is present in the output mix. The third encoder switches the range of the signal between LO, MID and HI. The fourth and fth encoders adjust the level for each of the individual lower octaves. To navigate between the two layers, use the up and down navigational controls.

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. Inspired by the Lexicon PCM 70.

The BALANCE push encoder adjusts the balance between chorus and reverb. Low frequencies can be excluded with the LO CUT push encoder, and the

MIX push encoder 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 the left and right channels can be oset by up to 180°, and WAVE adjusts the LFO waveform from a sine wave to a triangular wave. The PREDELAY push encoder determines the delay before the reverb aects the signal. The DECAY push encoder adjusts how quickly the reverb fades. SIZE controls the size of the simulated space (room, cathedral, etc.). The DAMPING push encoder determines the decay of high frequencies within the reverb tail.

45 DIGITAL RACK MIXER M32R User Manual

langer + Chamber

Add the mind-bending, lter-sweeping eect of a state-of-the-art anger to the elegant sweetening of a traditional chamber reverb - all in one FX slot. Inspired by

the Lexicon PCM 70.

The BALANCE push encoder adjusts the balance between anger and reverb. Low frequencies can be excluded with the LO CUT push encoder, and the MIX push encoder 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 by positive and negative amounts. The LFO PHASE between the lef t and right channels can be oset by up to 180°. The PREDELAY push encoder determines the delay before the reverb aects the signal. The DEC AY push encoder adjusts how quickly the reverb fades. SIZE controls the size of the simulated space (room, cathedral, etc.). The DAMPING push encoder determines the decay of high frequencies within the reverb tail.

Delay + Chorus

Delay + Flanger

This handy dynamic duo blends the ‘whoosh’ 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 push encoder adjusts the delay time, and the PATT ERN push encoder sets the delay ratio for the right channel and negative values ac tivate a cross feedback between the two channels. The FEEDHC push encoder adjusts the delay high-cut frequency, while FEEDBACK adjusts the number of repeats. The X-FEED control allows you to send the delay sound to the chorus eect. The BALANCE push encoder 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°, and FEED (positive and negative amounts) adjusts the feedback eect. Use the MIX push encoder to blend the aected signal with the dry sound.

Modulation Delay

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 push encoder adjusts the delay time, and the PATT ERN push encoder sets the delay ratio for the right channel and negative values ac tivate a cross feedback between the two channels. The FEEDHC push encoder adjusts the delay high-cut frequency, while FEEDBACK adjusts the number of repeats. The X-FEED control allows you to send the delay sound to the chorus eect. The BALANCE push encoder 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°, and WAVE adjusts the chorus character by shaping the LFO waveform from sine wave to triangular wave. Use the MIX push encoder to blend the aected signal with the dr y sound.

Combining echo and chorus (and in this case, reverb too) is the domain of the Modulation Delay. By combining the two, you can get the best of both worlds in one, dreamy-sounding eect.

The controls are separated onto two layers; layer one for the delay, and layer two for the chorus. Use Balance to sweep between how much of either eect is present in the output signal. Navigate to layer two by using the navigational control buttons. Use the PAR / SER func tion to switch between Parallel and Serial modes. In Parallel mode the input signal is routed both to the modulated delay and the reverb inputs. In Serial mode the modulated delay output is routed to the reverb input. (When balance is set to -100 there is no audible dierence between the two modes since in this case only the modulated reverb is audible.)

On layer one Time adjusts the time of the delay, whereas Feed controls how many echoes follow the input signal. Lo Cut and Hi Cut are, as the names suggest, low cut and high cut lters for the aected signal. On both, Mix dictates how much of the aected signal is sent to the output bus.

On layer two Depth controls the depth of the chorus eect, Rate controls the speed of the modulation, and Decay controls the length of time after the initial signal where the eect is present. Damping reduces the level of the higher frequencies in the output.

The type of reverb can be switched by pressing either of the third, fourth or fth push encoders.

46 DIGITAL RACK MIXER M32R User Manual

Dual Graphic EQ / Stereo Graphic EQ / Dual TruEQ / Stereo TruEQ

Graphic EQ w ith frequenc y response corr ection.

Dual DeEsser / Stereo DeEsser

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

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 neighbouring bands are boosted together, the resulting eect is magnied beyond what is visible from the positioning of the sliders.

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

De-essing is an audio eect designed to reduce the amount of excessive sibilance in an audio signal, usually when dealing with the human voice. The Dual DeEsser accurately and seamlessly removes sibilance from audio tracks.

The Lo-Band and Hi-Band controls select which portion of the audio spectrum is aected by the DeEsser on each channel. By increasing the amount of reduction, the level to which the de-essing aects the input signal can be controlled. By pressing the rst and third push encoders, the eect can be targeted specically at male or female voices.

With the Stereo DeEsser, toggle between Stereo and M/S modes by pressing the fth push encoder.

Stereo Xtec EQ1 / Dual Xtec EQ1

Graphic EQ w ithout frequ ency response co rrection.

Virtually indescribable, recording engineers claim this vintage EQ to be the “secret sauce” of sound enhancement. We analysed this classic to the core and created an exact physical model that reproduces the multi-faceted sound in painstaking detail. Even the transformers and tube output stage have been faithfully modelled. Inspired by Pultec EQP-1a.

LO FREQ determines the curve on which the left hand LO BOOST and LO ATT controls are eective. These controls can be used to either boost or attenuate the signal as required. HI FREQ, HI BOOST and HI ATT perform the same function, but for the higher frequencies. HI BANDWIDTH adjusts the width of the highfrequency boost curves.

47 DIGITAL RACK MIXER M32R User Manual

Stereo Xtec EQ5 / Dual Xtec EQ5

By digitally “rebuilding” every aspect of this classic EQ, we captured the very essence in our parametric equaliser XTEC EQ5. Our digital re-incarnation is based on the original model and authentically emulates the smooth character of the its rather unique components. Inspired by Pultec MEQ5.

LO FREQ, MID FREQ and HI FREQ all dictate at which frequencies the LO BOOST, MID CUT and HI BOOST push encoders work.

For all of the Xtec EQs, the TRANSFORMER function can be engaged to switch the Transformer emulation on or o, giving a warmer sound. GAIN determines how much of the source signal passes through the eect, and ACTIVE toggles the EQ in or out of the signal path.

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 AT TACK push encoder can add punch or tame overly-dynamic signals. Increasing SUSTAIN acts in a similar way to a compressor, allowing the peaks to carry longer before decaying. The eect can also be used to reduce the sustain for a more staccato sound. The GAIN push encoder compensates for level changes caused by the eect.

Precision Limiter

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 Combinator / Dual Combinator

The Combinator is an amazing ve-band compressor that emulates famous broadcasting and mastering compressors. A highly complex processor, the Combinator utilises automatic parameter control that produces stunning and “inaudible” results.

Makeup-gain for each frequency band will automatically be adjusted by the Spectral Balance Control (SBC) function, to maintain a balanced audio spectrum.

On the rst layer, Mix adjusts the overall eect on the input signal (100% equals full compression) and Active enables or bypasses the eect. Attack/Release adjusts the envelope times for the compressors of all ve bands. Auto sets program dependent release times (Release time value is ignored). SBC On activates ‘Spectral Balance Control’ which dynamically keeps the gain of all bands in balance (auto Make-up gain adjustment). SBC Speed sets the speed of the correction.

X-Over adjusts the boundary frequencies of the ve frequenc y bands. Negative values result in more ‘resolution’ in the lower frequencies and positive values increase resolution in the upper frequencies. The slope or steepness of the band separation lters can be adjusted between 12 dB and 48 dB. Ratio sets the compression Ratio for all ve bands (1.1 – 10, Limiter). SBC Meter switches between SBC gain correction and compressor gain reduction displays.

On layer two, Threshold adds a relative oset threshold to all individual band thresholds. This allows adjusting compression amount for all bands simultaneously. Gain adjusts overall output gain. Peak Meter toggles between compressor peak reduction and band peak-meter displays. Band Sel selects one out of the ve frequency bands, and Band Solo allows listening to the selected band (with the other four bands mute). Band Thr and Band Gain adjust the threshold and makeup-gain of the selected band. Band Lock disables compression for the selected band. Pressing the Band Reset encoder will disable Band Lock and reset Band Thr and Band Gain to zero for the selected band. Note that this is not dependant on Band Solo and neither is Solo mode aected by Band Reset.

This 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 prevent 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 set the nal gain

48 DIGITAL RACK MIXER M32R User Manual

Fair Comp / M/S Fair Comp / Dual Fair Comp

This classic tube compressor not only achieves record bids in high-end vintage gear auctions, it also delivers some of the nest colourations in compressor histor y. Two small trim VRs preset the control side chain action, a six-step switch determines the timing, and the two large Input and Threshold knobs adjust the levels. Our FAIR COMPRESSOR model is true to the original signal path, and conveniently provides models for dual, stereo-linked or M/S operation.

Inspired by Fairchild 670.

INPUT GAIN determines how much of the input signal passes through the eect. ACTIVE toggles the eect in or out of the signal path. THRESHOLD determines

how loud the signal has to be before compression is applied. TIME switches the compression’s release time. BIAS changes the simulated tube bias algorithm. OUT GAIN aects the gain of the output signal.

Stereo Ultimo Comp / Dual Ultimo Comp

This classic compressor was one of the rst audio processors to use Field Eect Transistors. Our digital reincarnation, ULTIMO COMPRESSOR, is based on the early Rev. E model and authentically captures the smooth character of the original class-A output stage and its FET’s legendary Fast Attack. Inspired by

Ure i 1176L N.

INPUT GAIN, OUT GAIN, AT TACK, RELEASE and RATI O all work as per standard compressor func tions. With the Dual Compressor, functions for each of the channels are split between Layers 1 and 2.

Dual Enhancer / Stereo Enhancer

Stereo Leisure Comp / Dual Leisure Comp

The immaculate tube signal path in this Levelling Amplier has left its exceptional clarity, its rich and warm compression on countless albums of the past decades. The ultra-smooth optical attenuator is closely modelled in our LA COMPRESSOR. It provides breezing, natural and eor tlessly musical compression. Inspired by Teletronix LA-2A.

GAIN determines how much of the input signal passes through the eect. ACTIVE toggles the eect in or out of the signal path. COMP/LIMIT determines

whether the eec t acts as a compressor or a limiter. OUTPUT GAIN aects the gain of the output signal. Increasing PEAK REDUCTION means that only the signal peaks are reduced in level.

The 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 EQs. 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 push encoders to add or reduce content in those spectrums. The BASS and HI FREQ(uencies) can be specically selected, while the MID Q (bandwidth) can be adjusted instead. The OUT GAIN push encoder compensates for changes in level resulting from the eect, and SPREAD (stereo version only) emphasises 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.

49 DIGITAL RACK MIXER M32R User Manual

Dual Exciter / Stereo 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 or recorded sound.

Inspired by the famous Aphex Aural Exciter.

Set the frequency of the side-chain lter with the TUNE push encoder, and further shape the lter slope with the PEAK and ZERO FILL controls. Turning the TIMBRE push encoder left of centre adds more odd harmonics, while turning it right of centre adds more even harmonics. Adjust the harmonic content added to the signal with the HARMONICS push encoder, and blend in the aected signal with the MIX push encoder. 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 Imager

Sound Maxer

The SOUND MAXER 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, which is often hidden when using some eects and equalisers.

Inspired by Sonic Maximizer 482i.

Use LO CONTOUR to determine the curve on which the PROCESS control is eective. GAIN determines how much of the input signal passes through the eect. Selecting either of the ACTIVE functions activates the eect for either of the two stages.

Dual Guitar Amp / Stereo Guitar Amp

A Stereo Imager is typically used to control the placement of a signal within the stereo eld during mixdown or mastering. The M32’s Stereo Imager will lend a professional quality to your live and recorded performances.

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

Edison EX1

The Edison EX1 is an unbelievably power ful psycho-acoustic processor, which allows you to completely manipulate all spatial parameters of the stereo image – such as width and depth – in a way never before possible. You can widen or narrow the stereo spread, bring instruments to the front or move them to the background, and make corrections to the stereo image – even on a nished master. Inspired by the Behringer Edison EX1.

St Spread increases the perceived width of the audio eld over which the signal is present. Balance simply adjusts the levels between the left and right channels, and Center Dist moves the audio source back and forth in the perceived audio eld. LMF Spread further adjusts the stereo depth by increasing or decreasing the perceived spaciousness of the output signal.

Modelled 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, the M32’s Stereo / Dual Guitar Amp allows an electric guitar player to sound great without using an amp on stage.

The PREAMP push encoder 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 push encoder simulates the amount of power amp distortion from a tube amp. The LOW and HIGH push encoders allow EQ adjustment independent of distor tion content, and the overall output is controlled by the LEVEL push encoder. The CABINET simulation can be bypassed if the guitarist is already using a real cabinet, 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.

50 DIGITAL RACK MIXER M32R User Manual

Dual Tube Stage / Stereo Tube Stage

Tube Stage / Overdrive is a versatile eect capable of emulating a variety of modern and classic tube amps. 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 adjusts 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 signal will not pass through the eect. BASS GAIN/FREQ adjusts a low-shelving lter at the output of the eect. TREBLE GAIN/FREQ adjusts a high-shelving lter at the eect’s output.

Dual Pitch Shifter / Stereo Pitch

3. Rear Panel

3.1 MONITOR / CONTROL ROOM OUT

(1)

(1) Talkback Microphone Input

Connect a talkback mic via standard XLR cable.

(2) BAL / UNBAL Left & Right Jack Sockets

Connect a pair of studio monitors using standard ¼" cables.

3.2 AC / POWER

(1)

(2)

(1) Power On / O

Turn the console on and o with the On / O switch.

(2) IEC Power Socket

Connect the console to a mains power supply via the standard IEC power socket.

(2)

Pitch sifting is often used in two dierent ways; one is to set the MIX control lower and only use the CENT control 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 this eect is to turn the MIX control fully-clockwise so that the full sound is aected. This way, the signal can be shifted into other keys up to an octave above or below the original key. When used on a voice, it results in a ‘chipmunk’ sound or a low, ‘Darth Vader’ eect.

When the SEMI and CENT push encoders are set to 12:00, the pitch is not altered. Making adjustments by semitone will have a very pronounced eect, whereas changes to the CENT control will be very minor. The DELAY control creates a time dierence between the wet and dry sounds. The LO CUT and HI CUT push encoders allows the a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.

3.3 XLR OUT 1-8

Outputs 1-8

Send audio to external equipment using XLR cables. Outputs 7 and 8 by default carry the main stereo bus signals.

3.4 XLR IN 1-16

In pu ts 1-16

Connect audio sources via XLR cables.

51 DIGITAL RACK MIXER M32R User Manual

3.5 Klark Teknik DN32-USB

DN32 USB

Transmit up to 32 channels of audio to and from a computer using the DN32 USB audio interface.

3.6 REMOTE CONTROL

ETHERNET

Connect to a PC for remote control operation via Ethernet. See chapter

2.6 Setup - Network for wireless connection details.

3.7 MIDI

3.9 AES50

Transmit up to 96 channels in and out via Ethernet cables.

3.10 AUX IN / OUT

Connect to and from external equipment via ¼” or RCA cables.

(1)

(2) (3)

(1) AUX In / Out 1-5 (2) Phono In / Out 5-6 (3) AUX In / Out 6

MIDI IN / OUT

Send and receive MIDI information via standard 5-pin DIN cables.

3.8 ULTRANET

Connect to a personal monitoring system (e.g. the Behringer P16) via Ethernet cable.

52 DIGITAL RACK MIXER M32R User Manual

4. Appendices

4.1 Appendix A: Technical Specications

Processing

Input Processing Channels 32 Input Channels, 8 Aux Channels, 8 FX Return Channels

Output Processing Channels 8 / 16 16 aux buses, 6 matrices, 100

main LRC Internal Eects Engines 8 / 16

(True Stereo / Mono) Internal Show Automation 500 / 100

(structured Cues / Snippets) Internal Total Recall Scenes 100

(incl. Preampliers and Faders) Signal Processing 40-Bit Floating Point A/D Conversion 24-Bit, 114 dB Dynamic Range,

(8-channel, 96 kHz ready) A-weighted* D/A Conversion 24-Bit, 120 dB Dynamic Range,

(stereo, 96 kHz ready) A-weighted* I/O Latency (Console Input to Output) 0.8 ms Network Latenc y (Stage Box In >

Console > Stage Box Out) 1.1 ms

Connectors

Midas PRO Series Microphone 16 Preamplier (XLR)

Talkback Microphone Input (XLR) 1 RCA Inputs / Outputs 2 / 2 XLR Outputs 8 Monitoring Outputs 2/2

(XLR / ¼" TRS Balanced) Aux Inputs/Outputs 6/ 6

(¼" TRS Balanced) Phones Output (¼" TRS) 1 (Stereo) AES50 Ports (Klark Teknik SuperMAC) 2 Expansion Card Interface 32 Channel Audio Input / Output ULTRANET P-16 Connector 1

(No Power Supplied) MIDI Inputs / Outputs 1 / 1 USB Type A 1

(Audio and Data Import / Export) USB Type B, rear panel, 1

for remote control Ethernet, RJ45, rear panel, 1

for remote control

Mic Input Characteristics

Design Midas PRO Series

THD+N (0 dB gain, 0 dBu output) < 0.01% unweighted THD+N (+40 dB gain, 0 dBu to < 0.03% unweighted

+20 dBu output) Input Impedance 10 kΩ / 10 kΩ

(Unbalanced / Balanced) Non-Clip Maximum Input Level +23 dBu Phantom Power (Switchable per Input) +48 V Equivalent Input Noise -125 dBu 22 Hz-22 kHz,

@ +45 dB gain (150 Ω source) unweighted CMRR @ Unity Gain (Typical) > 70 dB CMRR @ 40 dB Gain (Typical) > 90 dB

Input/Output Characteristics

Frequency Response @ 0 dB to -1 dB 20 Hz – 20 kHz 48 kHz Sample Rate

Dynamic Range, 106 dB 22 Hz - 22 kHz, Analogue In to Analogue Out unweighted

A/D Dynamic Range, 109 dB 22 Hz - 22 kHz, Preamplier and Converter (Typical) unweighted

D/A Dynamic Range, 109 dB 22 Hz - 22 kHz, Converter and Output (Typical) unweighted

Crosstalk Rejection @ 100 dB 1 kHz, Adjacent Channels

Output level, XLR Connectors +4 dBu / +21 dBu (Nominal / Maximum)

Output Impedance, XLR Connec tors 50 Ω / 50 Ω (Unbalanced / Balanced)

Input impedance, TRS Connectors 20 kΩ / 40 kΩ (Unbalanced / Balanced)

Non-Clip Maximum Input +21 dBu Level, TRS Connectors

Output Level, TRS +4 dBu / +21 dBu (Nominal / Maximum)

Output Impedance, 50 Ω / 50 Ω TRS (Unbalanced / Balanced)

Phones Output Impedance / 40 Ω / +21 dBu (Stereo) Maximum output Level

Residual Noise Level, -85 dBu 22 Hz-22 kHz, Out 1-16 XLR Connectors, Unity Gain unweighted

Residual Noise Level, -88 dBu 22 Hz-22 kHz, Out 1-16 XLR Connectors, Muted unweighted

Residual Noise Level, -83 dBu 22 Hz-22 kHz, TRS and Monitor out XLR Connectors unweighted

53 DIGI TAL RACK MIXER M32R User Manual

Display

Main Screen 5" TFT LCD, 800 x 480 Resolution, 262k Colours

Channel LCD Screen 128 x 64 LCD with RGB Colour Backlight

Main Meter 18 Segment (-45 dB to Clip)

Power

Switch-Mode Power Supply Auto-Ranging 100-240 VAC (50/60 Hz) ± 10%

Power Consumption 70 W

Physical

Standard Operating 5°C – 40°C (41°F – 104°F) Temperature Range

Dimensions 478 x 617 x 208 mm (18.8 x 24.3 x 8.2")

Weight 14.3 kg (31.5 lbs)

* A-weighted f igures are typi cally ~3 dB better

4.2 Appendix B: MIDI Operation

MIDI RX > Scenes

Whenever Program Change messages in the range 1-100 are received on MIDI CH01, thecorresponding scene of the M32R 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 M32 or S16, 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, MIDI scene

recalls will only become ac tive 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.

SHOW CONTROL VIEW / home

• Valid scenes must be stored in the internal M32R 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.

54 DIGITAL RACK MIXER M32R User Manual

Permanent MIDI Assignments Overview (Remote O)

MIDI RX MIDI Ch Controller Value Comment

Scenes 1 Program Change 1-100 Snippet 2 Program Change 1 -100 Cue 3-6 Program Change 0 -127 Ch3 -> Cue 1-127, Ch4 -> Cue 128-255, etc. Mute Groups 2 CC80-85 on (127) / o (0), toggle latching

Faders 1 CC0 -79 0-1 27 Value 95 = 0dB

Mute 2 CC0-7 9 on (127) / o (0), toggle latching

Pan 2 C C0-79 0-12 7 Value 64 = Pan Mid

MIDI TX MIDI Ch Controller Value Comment

Mute Groups 2 CC80-85 on (127) / o (0), toggle latching Faders 1 CC8 0-79 0 -127 Value 95 = 0dB Mute 2 CC80 -79 on (127) / o (0), toggle latching Pan 3 C C80 -79 0-127 Value 64 = Pan Mid

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

The assignable MIDI commands have been restricted to some generic elements: 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/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.

PLEASE NOTE:

The ASSIGN section also reects/displays reception of the same MIDI commands that are selected for transmission

The MIDI commands assigned to the ASSIGN controls can be transferred to and from stage via AES50 using the S16 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 M32 console.REMOTEcan be used in threemodes,MackieControl,HUIand rawMIDI CC (raw)controllers (see SETUP / remote)

55 DIGITAL RACK MIXER M32R User Manual

MIDI CC (raw) selected and Remote is enabled+active, thegroup section controls will transmit/receive the following messages:

MIDI RX MIDI Ch Controller Comment

Group 1-8 SELECT 1 No te 64 -71 on (127) / o (0), push non-latching Group 1-8 SOLO 1 CC 32-39 on (127) / o (0), toggle latching Group 1-8 MUTE 1 CC 40-47 on (127) / o (0), toggle latching Sends On Fader 1 CC 48 on (127) / o (0), toggle latching

Group DCA 1-8 1 Note 72 on (127) / o (0), push non-latching

BUS 1-8 1 Note 73 on (127) / o (0), push non-latching

BU S 9-1 6 1 N ote 74 on (127) / o (0), push non-latching

MTX 1- 6 1 N ote 75 on (127) / o (0), push non-latching

GROUP Faders 1 C C0-7 0 -127

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 eight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 movement of the bank selection of tracks

in a DAW, (push non-latching)

• BUS 1-8 = allows the setting of DAW tracks to ‘Record Ready’,

(push non-latching)

• BUS 9-16 = enables use of MUTE buttons for track mute in

the DAW, (latching)

• MTX 1-6 = enables use of 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 eight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 movement of the bank selection of tracks in a

DAW, (push non-latching)

• BUS 1-8 = allows the setting of DAW tracks to ‘Record Ready’,

(push non-latching)

• BUS 9-16 = enables use of the MUTE buttons for track mute in

the DAW, (latching)

• MTX 1-6 = enables use of the MUTE buttons for transport controls in

the DAW, (latching).

56 DIGITAL RACK MIXER M32R User Manual

4.3 Appendix C: Dimensions

Top View

57 DIGITAL RACK MIXER M32R User Manual

Rear View

Side View

58 DIGITAL RACK MIXER M32R User Manual

4.4 Appendix D: Block Diagram

PHONES

OUT

PHONES

OUT

MONITOR L

OUT

MONITOR R

OUT

MIX 1-16

FADER

MUTE

INSERT

COMP/

EXPAN

6-BAND

COMP/

EXPAN

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

USB RECORDER

REC

Post Fader

Pre Fader

Pre EQ Post EQ

GAIN

KEY-IN

SOLO

Post Fader

MUTE

GAIN

Matrix 1,3,5

mute

stereo

LCR

PAN (LR)

FADER

MUTE

INSERT

Post Fader

Matrix 2,4,6

mute

mono

COMP/

EXPAN

4-BAND

COMP/

EXPAN

DUCK

GATE/

CUT

LOW

DELAY

GAIN

Post Pan

Post Fader

Pre Fader

Pre EQ Post EQ

OUT

MAIN LRC

FADER

MUTE

INSERT

COMP/

6BAND

COMP/

INSERT

MAIN LRC

LCR

GAIN

PAN (LR)

FADER

EXPAN

stereo

MUTE

4BAND

ATT

Post Fader

PAN (LR)

PAN (LCR)

LCR

mono

stereo

mute

stereo

Mix 1,3...15

Mix 2,4...16

PAN (LCR)

GAIN

SOLO

MUTE

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 R

Post Fader

Pre Fader

Pre EQ Post EQ

mono

Post Pan

Post Fader

Pre Fader

Pre EQ

KEY-IN

Post Fader

MUTE

SOLO

GAIN

Matrix 1,3,5

Matrix 2,4,6

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

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

OUT

EXPAN

stereo

Post Fader

Pre Fader

Pre EQ Post EQ

mono

stereo

Post Pan

Post Fader

Pre Fader

KEY-IN

SOLO

Post Fader

GAIN

MONITOR

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 R

GAIN

D/A

DELAY

MONO

GAIN

MID

MONITOR SOURCE IN

FX OUT L

EFFECT

FX IN L

EFFECTS 1-8

OUT 1-16

D/A

GAIN

D/A

DELAY

SOLO / SOURCE

FX OUT R

31 BAND GEQ

FX IN R

AUX OUT 1-6

D/A

MONITOR LR OUT

L+C/R+C MIX

GAIN

+48V

TALKBACK

P16 BUS

AES/EBU OUT

L+C OUT

R+C OUT

COMP

A/D

(16ch)

MONITOR LR OUT

ATT

INSERT RETURN

INSERT SEND

PRE LOW CUT OUT

CH 1–32

323232

DSP

PATCH

8 x 2

FX 1-8 IN (L / R)

MIX 1-16 INSERT SEND

MIX 1-16 INSERT RETURN

MATRIX 1-6 INSERT SEND

MATRIX 1-6 INSERT RETURN

8 x 2

USB

REC

PLAY

FX 1-8 OUT (L / R)

Revision 1, 2014-06-27, JD

Midas M32R Block Diagram

POST FADER OUT

AUX Returns 1–8

PATCH CUE

MIX 1-16 OUT

MAIN LRC INSERT SEND

MAIN LRC INSERT RETURN

AUX Returns 7–8 by default on USB Play

MAIN LRC OUT

MATRIX 1-6 OUT

MAIN LRC PRE EQ OUT

MONITOR LR OUT

MONITOR SOURCE IN

MONITOR L+C/R+C OUT

GAIN

STEREO FX RETURNS 1 L/R – 8 L/R

8 x 2

I/O

PATCH

A/D

PHANTOM

+48V

(1-32)

INPUT

AUX

RETURN

(1-6)

(48ch IN)

AES-50 A

(48ch IN)

AES-50 B

DELAY

SLOT

GAIN

(32ch IN)

GAIN

AES-50 A

(48ch OUT)

AES-50 B

(48ch OUT)

GAIN

SLOT

(32ch OUT)

59 DIGITAL RACK MIXER M32R User Manual

4.5 Appendix E: Service Information

This appendix contains routine service information for the M32R Digital Console.

Routine Maintenance

To help keep your M32R Digital Console unit in good working order and to make sure it gives you optimum per formance, we recommend that you carry out the following about once every month.

• Clean the control centre, as detailed in ‘Cleaning the control centre’

(below)

• Check controls for freedom of operation. As the controls are

‘self-cleaning’, this operation will help to prevent them from sticking

• Check the functionality of all controls, that is, control knobs, faders,

pushbuttons, LEDs, etc.

• Check the functionality of equipment.

Cleaning The Control Centre

Switch o the control centre and electrically isolate it from the mains before cleaning.

Clean the control centre using a dry, lint-free cloth. Do not use harsh abrasives or solvents. When cleaning the equipment, take great care not to damage faders, pushbuttons etc.

Cleaning a GUI Screen

Switch o the control centre and electrically isolate it from the mains before cleaning.

Carefully wipe the surface of the GUI screen with a soft, lint-free cloth or screen wipe specially designed for the purpose. When cleaning the GUI screen, observe the following precautions:

• Avoid putting pressure on the screen

• Don’t use harsh abrasives, for example, paper towels

• Don’t apply liquids directly to the screen

• Don’t use ammonia-based cleaners and solvents, such as acetone.

If you are in doubt or have any queries about cleaning the GUI screens, contact Midas Technical Support.

Equipment Disposal

When this equipment has come to the end of it useful life, its disposal may come under the DIRECTIVE 2012/19/EU OF THE EUROPEAN PARLIAMENT AND OF THE COUNCIL of 27 January 2003 on waste electrical and electronic equipment (WEEE).

Hazardous substances in WEEE contaminate water, soil and air and ultimately put at risk our environment and health. The directive aims to minimize the impacts of WEEE on the environment during their lifetimes and when they become waste.

The WEEE directive addresses the disposal of products when they have reached the end of their life and contributes to the reduction of wasteful consumption of natural resources. This will help to reduce pollution,

and protect the environment and ourselves. If this equipment carries a ‘crossed-out wheelie bin’ (shown left), please do

not dispose of WEEE as unsorted municipal waste but collec t and dispose of in accordance with local WEEE legislation. The horizontal bar underneath indicates that the product was placed on the EU market after 13th August 2005.

For WEEE disposal see our website at midasconsoles.com for information.

4.6 Appendix F: Glossary

This glossary provides an explanation of the symbols, terms and abbreviations used in this manual.

5.1 surround: A surround sound system created from six channels that form a discrete signal, which is played back over a speaker system comprising ve speakers (three front and two rear) and a subwoofer (which is the ‘.1’ or LFE channel). See LFE.

μ: Micro- prex symbol that represents 10-6 or one millionth.

A/D: Abbreviation for ‘analogue to digital’. The conversion of a continuous signal into a numeric discrete sample sequence.

AC: Abbreviation for ‘alternating current’. AES/EBU: Abbreviation for ‘Audio Engineering Society/European Broadcasting

Union’. See AES3. Acoustic feedback: A sound loop existing between an audio input and

audio output that is amplied on each cycle. For example, a mic input signal is amplied and passed to a loudspeaker. The output from the loudspeaker is picked up the mic, which amplies it again and passes it back to the loudspeaker, and so on.

AES3: Also known as ‘AES/EBU’, this is a serial interface for transferring digital audio between devices.

AES50: AES digital audio engineering standard. AES50 is a high resolution, multi-channel audio interconnection (HRMAI). Rather than a network, it is a high-performance, point-to-point audio interconnection, although the auxiliary data may operate as a true network, independently of the audio. HRMAI provides a professional multi-channel audio interconnection that uses Cat 5e data cable and is compatible with Ethernet networks.

AFL: Abbreviation for ‘after fader listen’. A function that allows the signal to be monitored post-fader, that is, after it has been acted upon by the fader.

Algorithm: In computing, a set of instruc tions for accomplishing a specic task. amp (A): Abbreviation for ‘ampere’. A unit of current. Anti-aliasing: When referring to digital images, a technique that avoids

poor pixelation.

Area A: Primary input control area. Area B: A secondary input control area. Assignable controls: User-assignable controls that can be set up to operate

other functions.

Auto safe: Prevents channel from accepting scene recall. Auto-mute: A function that automatically mutes the channel’s signal under

certain conditions. Auto-mute group: A function that automatically mutes a number of selected

channels under certain conditions. Automation: 1. Memorization and playback of changes made to mixer settings.

2. An area on the master bay that controls these. Aux: Abbreviation for ‘auxiliary send’ or ‘aux send’. A designation for extra

buses, typically used for sending signal to eects, headphone amps and other destinations. See Bus.

Aux send: See Aux.

Balanced audio: A type of audio connection that uses the three leads in a cable, connector and jack as part of a phase-cancelling arrangement to boost the signal and reduce noise.

Band: In EQ, a range of frequencies. Bandwidth: In EQ, the width of a band, that is, the number of frequencies that

will be boosted/cut above and below a centre frequency.

60 DIGITAL RACK MIXER M32R User Manual

Bank: A xed number of channels displayed on a GUI screen. Bass: Lower frequencies in a signal. Bay: One of the main control surface sections. Bus: A pathway down which one or more signals can travel.

Cat 5e: A specication for a type of cable used typically for Ethernet computer networks.

Channel: Single path taken by an audio signal (input or output) through the control centre.

Channel strip: Row of controls in traditional analogue layout used for the shaping of a signal.

Checkpoint: A patching data store point, created by clicking CHECKPOINT. See Patching.

Click: A method of GUI operation, mainly for button operation and selection purposes.

CMR: Abbreviation for ‘common mode rejection’. A measure of how well a dierential amplier rejects a signal that appears simultaneously and in-phase at both input terminals. CMR is usually stated as a dB ratio at a given frequency.

Comb ltering: Removal of signal components at a number of regularly spaced frequencies.

Compressor: A dynamics processor that reduces the level of any signal exceeding a specied threshold volume.

Condenser microphone: A high quality mic that uses a capacitor to detect changes in the ambient air pressure, which it then converts into an electrical signal. This type of mic requires power from a battery or external source.

Control centre: The M32’s console, comprising control surface and GUI. Control surface: Area on the control centre that houses all of the user’s

hardware controls, such as pushbuttons, control knobs, switches etc. Crossfade: To combine signals such that one channel or source fades out while

another fades in, but maintaining an essentially constant programme volume. Cursor: Generally, used to describe the ‘I’-shaped pointer on the GUI that

indicates a text insertion point. See Pointer.

D zone: Section in the input channel strip for controlling dynamic parameters. D/A: Abbreviation for ‘digital to analogue’. The conversion of digital data to

analogue audio.

DARS: Abbreviation for ‘digital audio reference signal’. Dashboard: A standard GUI screen display - usually on the master bay - that

shows all channel meters (inputs, auxes, returns, masters etc.) all of the time. DAW: Abbreviation for ‘Digital Audio Workstation’. A digital audio workstation

is an electronic system designed solely or primarily for recording, editing and playing back digital audio.

dB: Symbol for ‘decibel’. A unit of measurement of the loudness of sound. See dBu.

dBu: A unit of measurement of sound used in professional audio. Derived from the decibel, where the ‘u’ stands for unloaded, this unit is an RMS measurement of voltage based on 0.775 VRMS, which is the voltage at which you get 1 mV of power in a 600 ohm resistor. This used to be the standard impedance in most professional audio circuits.

DC: Abbreviation for ‘direct current’. Delay: An eect by which a reproduc tion of a signal is played back later then

its original.

Destination: The patch connector to which a signal is routed. See Patching. Device: A diagram(s) in the I/O tabs representing a physical rack unit, such as a

line I/O, mic splitter, DN9696, AES50 etc. See Patching.

DI: Abbreviation for ‘direct inject’ or ‘direct injection’. Signal is plugged directly into the audio chain without using a microphone.

DI box: Device for matching signal level impedance of a source to mixer input. Drag: A method of GUI operation, mainly for control adjustment. Also used for

selecting blocks of patch connectors during patching. DSP: Abbreviation for ‘digital signal processing’ or ‘digital signal processor’.

Any signal processing done after an analogue audio signal has been converted into digital audio. Can be used to create, for example, compression, equalisation etc., of a digital signal. A digital signal processor is a piece of equipment specically designed for carrying out signal processing.

E zone: Section in the input channel strip for controlling EQ parameters. Eect: One of a number of audio processes that can be applied to a signal to

modify it, such as reverb, anging, phasing, delay etc.

Eects rack: A virtual rack of internal processors. See Virtual rack. Envelope: 1. How a sound or audio signal varies in intensity over time.

2. The visual representation of such, usually shown on a graph in a GUI channel strip.

EQ: Abbreviation for ‘equaliser’ or ‘equalisation’. Equalisation: Adjusting the frequenc y response so that the levels

of all frequencies are equal or the same. Bass and treble controls are equalisation controls.

Fader: Slider-type device for precise adjustment of signal level or volume of a channel.

Fast strip: One of the strips in the input, mix and output fast zones. See Input fast strip, Mix fast strip, Output fast strip and Fast zone.

Fast zone: An area on a bay that contains quick controls. See Input fast zone, Mix fast zone, Output fast zone and Fast strip.

FB: Abbreviation for ‘front-back’. A term used in surround panning. Feedback: See Acoustic feedback. Filter: A device for removing frequencies above or below certain levels. FOH: Abbreviation for ‘front of house’. The area in a theatre used by the public.

Used to describe a control centre being used to control the sound that the audience will hear (and not the performers’ monitor system).

Frequency: The number of times that a sound wave’s cycle repeats within one second.

Fricative: A consonant, such as ‘f’ or ‘s’, produced by the forcing of breath through a constricted passage.

From section: The leftmost area of the patching screen that contains the source patch connectors. See Patching.

Gain: Another term for signal level. Gain reduction (compressor): Decrease in gain when input signal is above

threshold. See Gain.

GEQ: Abbreviation for ‘graphic equaliser’. See Graphic EQ. GEQ rack: A virtual rack of GEQs. See Virtual rack. Granularity: A measure of the size of components or a description of the

components comprising a system. Graphic EQ: A form of EQ that has a number of faders for controlling the gain of

the audio signal. The faders are set at frequency bands that are evenly-spaced according to octaves.

GUI: Abbreviation for ‘graphical user interface’. GUI channel strip: Right section of a GUI screen that represents the processing

area of the input or output channel strip selected to the control surface.

61 DIGITAL RACK MIXER M32R User Manual

GUI menu: A menu selectable at either GUI screen by clicking the home but ton (upper-left corner).

GUI screen: One of the M32’s two screens, which comprise the GUI.

HPF: Abbreviation for ‘high pass lter’. A lter that removes lower frequencies from a signal, leaving the higher frequencies unaected.

Hum: Undesirable low frequency tone present in a signal due to grounding problems or proximity to a power source.

Hz: Symbol for ‘Hertz’. A unit of frequency equal to one cycle of a sound wave per second.

I zone: Area on the master bay that contains the operator-assignable eects controls.

I/O: Abbreviation for ‘input/output’. ID: Abbreviation for ‘identication’. Ident: Scale marking, or gradation, around a control knob to help indicate the

current setting and to assist in accurate adjustment. Impedance (Z): Opposition to the ow of alternating current in a circuit,

measured in ohms.

Kernel: For computers, the kernel is the central component of most operating systems.

LCD select button: LCD button in the input fast strips and VCA groups, used for channel/group navigation and selection, and operator feedback.

LFE: Abbreviation for ‘low frequency eects’. Typically, the ‘.1’ in ‘5.1 surround’ is an LFE channel.

LFO: 1. Abbreviation for Low-Frequency Oscillation, an electronic signal which is usually below 20 Hz and creates a rhythmic pulse or sweep. This pulse or sweep is often used to modulate synthesizers, delay lines and other audio equipment in order to create eects used in the production of electronic music.

2. Abbreviation for Low-Frequency Oscillator, the device itself which produces

low-frequency oscillation. LS: Abbreviation for ‘left surround’. The left rear speaker in a

5.1 surround system.

MADI: Abbreviation for ‘multi-channel audio digital interface’. Master bay: Control area for masters, automation, comms, monitoring etc.

Also contains the primary navigation zone. Masters: The three master channels (mono and stereo left and right) in the

master bay.

MB: Abbreviation for ‘megabyte’. MC: Abbreviation for ‘master controller’. Meter: Visual device to indicate the level of a signal. Meters screen: One of the GUI screens. This is the default screen of the

master bay.

Mic: Abbreviation for ‘microphone’. Microphone: Device for converting sound waves into audio signals.

MIDI: Acronym for ‘musical instrument digital interface’. A digital signal system

standard that facilitates integration of musical instruments, such as synthesizers and guitars, with computers.

Mix: 1. A signal that contains a combination of signals, such as a pair of stereo signals with numerous eects. 2. The act of creating such a combination.

3. A type of bus. See Bus.

Mix bay: Control area for outputs and groups. Mixer: 1. A console or other device that blends input signals into composite

signals for output. 2. An engineer/technician who carries this out, especially during a live per formance.

mm: Symbol for ‘millimetre’ (one thousandth of a metre). MON: Abbreviation for ‘monitor’, used to describe a control centre being used to

mix the signals sent to the stage monitor speakers. Monitor: 1. Speaker(s) used for listening to a mix or live audio. 2. The act of

listening to a mix or live audio.

Monitor A: Primary monitor bus system. Monitor B: Secondary monitor bus system. Monitors: Control area on the master bay for monitoring the A and

B signal paths.

Mono: A single signal. Mute: Function that allows a channel’s signal to be silenced. Mute safe: Function that means a mute cannot be controlled by scene recall or

auto-mutes.

N/A: Abbreviation for ‘not applicable’. nm: Symbol for nanometre (one billionth of a metre). Normalise: To boost the amplitude of a digital sound so that it is as high as it

can be without clipping (0 dB). Normalisation: An automatic process whereby the gain of all program material

is adjusted so that the peak level will just arrive at 0 dB. Normalised connection: Also known as ‘normalled connection’. A connection

that allows a signal to pass through it when no plug is inserted in it, but breaks the connection when a plug is inserted.

Normalising: The process of making audio les the same volume. NVRAM: Abbreviation for ‘Non-volatile random access memory’. this is the

general name used to describe any type of RAM that retains its information when power is switched o. For example, ash memory.

O/B: Abbreviation for ‘outside broadcast’. Oct: Abbreviation for ‘octave’. Octave: A dierence in pitch where one tone has a frequency that is double or

half of the frequency of another tone.

ohm (Ω): Unit of electrical resistance. OS: Abbreviation for ‘operating system’. OSC: Abbreviation for ‘oscillator’ or ‘oscillation’. Out of phase: 1. A signal, being similar to another in amplitude, frequency and

wave shape, but oset in time by par t of a cycle. 2. 180° out of phase or having opposite polarity. See Phase.

Outboard: External, as in an ‘external device’. Outboard equipment: External equipment used with the M32 Control Centre,

but that is not part of it. Output: 1. The signal put out by a device. 2. The physical location of where a

device sends out a signal.

62 DIGITAL RACK MIXER M32R User Manual

Output fast strip: One of 16 channel strips in the output fast zone. Provides detailed control of the currently selected outputs. See Output fast zone.

Output fast zone: Control area for fast access to primary main output functions. Overload: A condition where the signal level is too high. Overview: The main view in the GUI channel strip, which contains the control

sections of the selected channel. This represents the associated channel strip on the control surface.

Overview screen: One of the GUI screens. This is the default screen of the mix bay.

PAN: Abbreviation for ‘panoramic’. Panning: The left/right positioning of a signal across a stereo image. Parameter: A setting whose value can be altered by the user. Parametric EQ: A type of EQ that allows all of the parameters of equalisation to

be changed, including centre frequency, boost/cut in gain and bandwidth. Patch: A temporary connection (physical or vir tual) made between two audio

devices or inside one. Patch connector: Any tab patching point, for example, an XLR connector, bus,

sidechain compressor etc. See Patching. Patching: Also known as ‘soft patching’. The process of routing a channel/signal

from a source to a destination(s).

PCB: Abbreviation for ‘printed circuit board’. PEQ: Abbreviation for ‘parametric equaliser’. See Parametric EQ. PFL: Abbreviation for ‘pre-fade listen’. A function that allows the signal to be

monitored pre-fader, that is, before it reaches the fader. Phantom power: The power required for the operation of a condenser

microphone when it is not supplied by internal batteries or a separate power supply. This is supplied by the M32 Control Centre itself.

Phase: A measurement (in degrees) of the time dierence between two waveforms.

Pitch: A continuous frequency over time. Musical interpretation of an audio frequency.

Pitch shift: Alteration of pitch or frequency, but without adjusting tempo. Point scene: Subdivision of a scene. See Scene. Pointer: 1. On the GUI, the pointer is the arrow-shaped object on the screen

that moves when the user moves the trackball or external mouse. 2. On a control knob, it is the marking that, when used in conjunction with the ident around edge of control knob, helps to indicate the setting.

POP: Abbreviation for ‘population’. POP group: A number of channels assigned to a group that has unfold and area

B controls. Provides an easy and quick method of manipulating and controlling the numerous channels available on the M32 Control Centre.

Pos t-: The point for accessing audio just af ter it leaves a specic channel component, for example, ‘post-fader’, where the audio is tapped from just after it leaves the channel’s main level control.

Pre-: The point for accessing audio just before it reaches a specic module, for example, ‘pre-EQ’, where the audio is tapped from just before it gets to a channel strip’s EQ.

Primary navigation zone: Area in the master bay for mix and master bay GUI screen navigation and control. Also has a screen access section for fast access to GUI menu options.

Processing area: A display in a GUI channel strip showing a specic control section. Accessed from the channel’s overview display. See Overview.

PSU: Abbreviation for ‘power supply unit’.

Psychoacoustics: The study of the perception of sound, that is, how we listen,

our psychological responses and the physiological eects on the human nervous system.

Pschycoacoustic noise: Noise that aects the physiology of the listener.

Quick access button: Button for navigation/ selection of a channel/bus/ processing area.

RAM: Abbreviation for ‘Random access memory’. Return: Auxiliary return or aux return. An extra input used for receiving a signal

from the output of an internal or external eect processor. See Bus. Reverb: An eect where the ambience of a physical space is simulated.

This is done by copying a signal and replaying at regular intervals at ever decreasing levels. The intervals are so close that each copy is not heard individually.

RMS: Abbreviation for ‘root-mean-square’. The square root of the mean of the sum of the squares. Commonly used as the eective value of measuring a sine wave’s electrical power. A standard in amplier measurements. The eec tive average value of an AC waveform.

RS: Abbreviation for ‘right surround’. The right-hand rear speaker in a

5.1 surround system.

s: Symbol for ‘second’. A unit of time. Scene: In automation, a set of mix settings for a particular part of a

performance, for example, a play or song. Sibilance: Energy from a voice, centred around 7 kHz, and caused by

pronouncing ‘s’, ‘sh’ or ‘ch’ sounds. Side chain: A special circuit that diverts a proportion of the main signal so that

it can be processed, as required. Compressors use the side chain to derive their control signals.

Signal ow: The path of a signal from one place to another. SIP: Abbreviation for ‘solo in place’. SIS: Abbreviation for ‘spatial imaging system’. Combines a central loudspeaker

cluster with a lef t-right system to form three discrete sound channels. Snapshot: A captured group of mixer settings that reect the state of the mixer

at a particular moment within a performance. This snapshot can then be recalled at the required moment in the performance/playback.

Solo: During monitoring, the isolation of one signal by silencing all other signals. Source: The patch connector from which a signal is patched. See Patching. SPL: Abbreviation for ‘sound pressure level’. Given in decibels (dB), SPL is an

expression of loudness or volume.

Splash screens: The GUI display during power up. SRC: Abbreviation for ‘sample rate converter’. SSD: Abbreviation for ‘solid-state disk’. Data storage device that uses non-

volatile memory to store data. Quicker than the conventional hard disk and less susceptible to the failures associated with hard disk drives.

Status indicator: A device specically designed to show the condition of something. For example, an LED that shows whether a pushbutton is on or o, or a meter showing the level of a signal.

Stereo: Two separate channels, left and right, used to give the listener the perception of where the noise is coming from. Usually used with music to give a fuller, more natural sound.

Stereo image: The perception of the dierent sound sources coming from far left, far right or anywhere in between.

63 DIGITAL RACK MIXER M32R User Manual

Surround: Audio that has more that two speaker locations and, therefore, more than two channels. Also commonly termed ‘surround sound’.

Synchronisation (sync): Coordination of timing between devices.

Tab: A ‘sheet’ in the From and To sections that contains a specic group of patch connectors. See Patching.

TF T: Abbreviation for ‘thin lm transistor’. Threshold: Level at which dynamics processing will begin to operate. Tie line: A dedicated connection between two systems, typically between

FOH and MON positions. To section: The rightmost area of the Patching screen that contains the

destination patch connectors. See Patching. Tooltip: The information box that appears next to the pointer when it passes

over or pauses on items on certain GUI screens, such as the channels on the Overview and Patching screens.

Touchpad: Also known as ‘trackpad’. An input device on a laptop PC for controlling the on-screen pointer.

Track: Single stream of recorded audio data. Trackball: Device, located in the primary navigation zone, for GUI screen

navigation and control of the mix and master bays.

Treble: Higher frequencies in a signal. TW: Abbreviation for ‘twin-wire’.

Unbalanced audio: A type of audio connection that utilises only two of the leads of a cable, connector and jack.

Unfold: Navigates the input channels of a group to the input bays. USB: Abbreviation for ‘universal serial bus’. A ‘plug and play’ interface

that provides a fast connection between a computer and peripherals, such as keyboards, printers, scanners, digital cameras etc.

VCA: Abbreviation for ‘variable control association’ (also ‘voltage controlled amplier’).

VCA fader: The fader control of a VCA group. VCA group: A group of channels that are controlled globally, such as via

their group’s fader and other controls. Provides an easy and quick method of manipulating and controlling the numerous channels available on the M32 Control Centre.

VGA: Abbreviation for ‘video graphics array’. A graphics display system for PCs developed by IBM.

Virtual rack: A traditional 19” rack, represented on the GUI. A virtual rack will, typically, contain internal devices, such as eects and GEQs.

Volt (V): A unit of electrical potential dierential or electromotive force. Volume: General term for a signal’s loudness.

Window: A small self-contained panel that appears on the GUI, usually after selection of a specic control. Typically, contains a number of user-selectable options or information in the form of a message or prompt.

X-ove r: Abbreviation for ‘crossover’. XLR connector: High-quality three-pin audio connec tor, which is also used for

AES/EBU digital audio connections.

64 DIGITAL RACK MIXER M32R User Manual

Other important information

Important information

1. Register online. Please register your new Music

Tribe equipment right after you purchase it by visiting behringer.com. Registering your purchase using our simple online form helps us to process your repair claims more quickly and eciently. Also, read the terms and conditions of our warranty, if applicable.

2. Malfunction. Should your Music Tribe Authorized Reseller not be located in your vic inity, you may contact the Music Tribe Authorized Fulller for your countr y listed under “Support” at behringer.com. Should your country not be listed, please check if your problem can be dealt with by our “Online Support” which may also be found under “Suppor t” at behringer.com. Alternatively, please submit an online warranty claim at behringer.com BEFORE returning the product.

3. Power Connections. Before plugging the unit into a power socket, please make sure you are using the correc t mains voltage for your par ticular model. Faulty fuses must be replaced with fuses of the same type and rating without exception.

Informations importantes

1. Enregistrez-vous en ligne. Prenez le

temps d’enregistrer votre produit Music Tribe aussi vite que possible sur le site Internet behringer.com. Le fait d’enregistrer le produit en ligne nous permet de gérer les réparations plus rapidement et plus ecacement. Prenez également le temps de lire les termes et conditions de notre garantie.

2. Dysfonctionnement. Si vous n’avez pas de revendeur Music Tribe près de chez vous, contactez le distributeur Music Tribe de votre pays : consultez la liste des distribu teurs de votre pays dans la page “Support ” de notre site Internet b ehringer.com. Si votre pays n’est pas dans la liste, essayez de résoudre votre problème avec notre “aide en ligne” que vous t rouverez également dans la se ction “Suppor t” du site behringer.com. Vous pouvez également nous faire parvenir direc tement votre demande de réparation sous garantie par Internet sur le site behringer. 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 fusibles uniquement par des modèles exactement de même taille et de même valeur électrique — sans aucune exception.

Outras Informações Importantes

1. Registre-se online. Por favor, registre seu novo

equipamento Music Tribe logo após a compra visitando o site behringer.com Registrar sua compra usando nosso simples for mulário online nos ajuda a proce ssar seus pedidos de reparos com maior rapidez e eciência. Além disso, leia nossos termos e condiçõe s de garantia, caso seja necessário.

2. Funcionamento Defeituoso.

Caso seu for necedor Music Tribe não esteja localizado nas proximidades, você pode contatar um distribuidor Music Tribe para o seu país lis tado abaixo de “Suporte” em behringer.com. Se seu país não estiver na lista, favor chec ar se seu problema pode ser resolvido com o nosso “Suporte Online” que também pode ser achado abaixo de “Suporte”em behringer.com. Alternativamente, favor enviar uma solicitação de garantia online em behringer.com ANTES da devolução do produto.

3. Ligações. Antes de ligar a unidade à tomada, assegure -se de que está a utilizar a voltagem correcta para o modelo em questão. Os fusíveis com defeito terão de ser substituídos, sem qualquer excepção, por fusíveis do mesmo tipo e cor rente nominal.

Aspectos importantes

1. Registro online. Le recomendamos que registre

su nuevo aparato Music Tribe justo después de su compra accediendo a la página web behringer.com. El re gistro de su compra a través de nuestro sencillo sistema online nos ayudará a resolver cualquier incidencia que se pres ente a la mayor brevedad po sible. Además, aproveche para le er los términos y condiciones de nuestra garantía, si es aplicable en su caso.

2. Averías. En el caso de que no exista un distribuidor Music

Tribe en las inmediaciones, puede ponerse en contac to con el distribuidor dentro del apartado “Support” de nuestra página web behringer.com. En caso de que su país no aparezca en ese listado, acceda a la sección “Online Support” (que también encontrará dentro del apar tado “Support” de nuestra página web) y compruebe si su problema aparece descrito y solucionado allí. De forma alternativa, envíenos a través de la página web una solicitud online de soporte en periodo de garantía ANTES de devolvernos el aparato.

3. Conexiones de corriente. Antes de enchufar este aparato a una salida de corriente, asegúrese de que dicha salida sea del voltaje adecuado para su modelo concreto. En caso de que deba sustituir un fusible quemado, deberá hacerlo por otro de idénticas especicaciones, sin excepción.

Music

Tribe de su país, que encontrará

Weitere wichtige Informationen

1. Online registrieren. Bitte registrieren Sie

Ihr neues Music Tribe-Gerät direkt nach dem Kau f auf der Website behringer.com. Wenn Sie Ihren Kauf mit unserem einfachen online Formular registrieren, können wir Ihre Reparaturansprüche schneller und ezienter bearbeiten. Lesen Sie bitte auch unsere Garantiebedingungen, falls zutreend.

2. Funktionsfehler. Sollte sich kein Music Tri be Händler in Ihrer Nähe benden, können Sie den Music Tri be Vertrieb Ihres Landes kontaktieren, der auf behringer. com unter „Support“ aufgeführt ist. Sollte Ihr Land nicht aufgelistet sein, prüfen Sie bitte, ob Ihr Problem von unserem „Online Support“ gelöst werden kann, den Sie ebenfalls auf behringer.com unter „Support“ nden. Alternativ reichen Sie bitte Ihren Garantieanspruch online auf behr inger.com ein, BEVOR Sie das Produkt zurücksenden.

3. Stromanschluss. Bevor Sie das Gerät an eine Netz steckdose anschließen, prüfen Sie bit te, ob Sie die korrekte Netzspannung für Ihr spezielles Modell verwenden. Fehlerhafte Sicherungen müssen ausnahmslos durch Sicherungen des gleichen Typs und Nennwerts ersetzt werden.

その他の重要な情報

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。

2. 故障: Music Tribe ディーラーがお客様の

お近くにないときは、midasconsoles.com の “Support” 内に列記されている、お客様の国の Music Tribe ディストリビューターにコンタクトすることができます。お客様の国がリストにない場合は、同じ midasconsoles.com の “Support” 内にある “OnlineSupport” でお客様の問題が処理できないか、チェックしてみてください。あるいは、商品を返送する前に、midasconsoles.com で、オンラインの保証請求を要請してください。

3. 電源接続: 電源ソケットに電源コードを

接続する前に、本製品に適切な電圧を使用していることをご確認ください。不具合が発生したヒューズは必ず電圧および電流、種類が同じヒューズに交換する必要があります。

65 DIGITAL RACK MIXER M32R User Manual

其他的重要信息

1. 在线注册。请购买 Music Tribe 产品后立即

在 midasconsoles.com 网站注册。网页上有简单的在线注册表格。这有助于我们更快更有效率地处理您维修等事宜。请阅读保修的相关条款及条件。

2. 无法正常工作。若您的 Music Trib e 产品无法正常工作, 我们会为您尽快修复。请联系您购买产品的销售商。若你所在地区没有

Music Tribe 销售商, 请联系 midasconsoles.com

网站的 “WHERETOBUY” 一栏下的所列出的子公司或经销商。

3. 电源连接。将本设备连接电源前, 请确保使用的电压正确。保险丝需要更换时, 必须使用相同型号及定额的保险丝。

66 DIGITAL RACK MIXER M32R USER MANUAL

FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION

DIGITAL RACK MIXER M32R

Responsible Party Name: Music Tribe Brands UK Ltd. Address: Klark Industrial Park,

Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ United Kingdom

Phone Number: +44 1562 732290

DIGITAL RACK MIXER M32R

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, pur suant 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 harmf ul interference in which case the user will be required to correct the interference at his own expense.

Important information:

Changes or modications to the equipment not expressly approved by Music Tribe can void the user’s authority to use the equipment.

Midas M32R User manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Precautions

Introduction

1. Control Surface

1.1 Channel Strip - Input Channels

1.2 Channel Strip - Group/Bus Channels

1.4 Gate

1.5 Dynamics

1.6 Equaliser

1.7 Main Bus

1.8 Recorder

1.9 Main Display (Summary)

1.10 Monitor

1.11 Talkback

1.12 Assign

1.13 Fader Layer

2. Main Display

2.1 Main Display - Top Section

2.2 Meters

2.3 Routing

2.4 Library

The EFFECTS screen controls various aspects of the eight internal eects processors. On this screen the user can select specic types of eects for the eight internal processors, congure their input and output paths, monitor their levels, and adjust the various eect parameters.

2.6 Setup

2.7 Monitor

2.8 Scenes

2.9 Mute Group

2.10 Utility

3. Rear Panel

3.1 MONITOR / CONTROL ROOM OUT

3.2 AC / POWER

3.3 XLR OUT 1-8

3.4 XLR IN 1-16

3.5 Klark Teknik DN32-USB

3.6 REMOTE CONTROL

3.7 MIDI

3.9 AES50

3.10 AUX IN / OUT

3.8 ULTRANET

4. Appendices

4.2 Appendix B: MIDI Operation

4.3 Appendix C: Dimensions

4.4 Appendix D: Block Diagram

4.5 Appendix E: Service Information

4.6 Appendix F: Glossary