User Manual

M32
Digital Console for Live and Studio with 40 Input Channels,
32 MIDAS Microphone Preamplifiers and 25 Mix Buses
2 M32 User Manual

Table of Contents
Precautions...................................................................... 4
Introduction.................................................................... 5
1. Control Surface........................................................... 6
1.1 Channel Strip - Input Channels....................................... 6
1.2 Channel Strip - Group/Bus Channels............................ 7
1.3 Config/Preamp..................................................................... 8
1.4 Gate........................................................................................... 8
1.5 Dynamics................................................................................ 9
1.6 Equaliser.................................................................................. 9
1.7 Bus Sends.............................................................................. 10
1.8 Main Bus................................................................................ 11
1.9 RECORDER............................................................................ 11
1.10 Main Display (Summary)............................................... 12
1.11 Monitor................................................................................ 13
1.12 Talkback............................................................................... 15
1.13 Show Control..................................................................... 16
1.14 Assign................................................................................... 18
1.15 Mute Groups.................................................................... 19
2. Main Display............................................................. 20
2.1 Main Display - Top Section............................................. 20
2.2 Meters.................................................................................... 24
2.3 Routing..................................................................................25
2.4 Setup...................................................................................... 28
2.5 Library.................................................................................... 31
2.6 Effects.................................................................................... 32
2.7 Mute Group......................................................................... 33
2.8 Utility...................................................................................... 33
2.9 Internal Effects....................................................................34
3. Rear Panel.................................................................44
3.1 MONITOR / CONTROL ROOM OUT..............................44
3.2 AC / POWER.........................................................................44
3.3 XLR OUT 1-16.......................................................................44
3.4 XLR IN 1-32...........................................................................44
3.5 KLARK TEKNIK DN32-USB...............................................44
3.6 REMOTE CONTROL............................................................44
3.7 MIDI........................................................................................ 45
3.8 AES / EBU OUT.................................................................... 45
3.9 ULTRANET............................................................................. 45
3.10 AES50................................................................................... 45
3.11 AUX IN / OUT..................................................................... 45
4. Appendices...............................................................46
4.1 Appendix A: Technical Specifications.........................46
4.2 Appendix B: MIDI Operation.........................................48
4.3 Appendix C: Dimensions................................................ 50
4.4 Appendix D: Block Diagram........................................... 52
4.5 Appendix E: Service Information................................. 53
4.6 Appendix F: Glossary........................................................54
3 M32 User Manual

Important Safety 9. Do not defeat the safety purpose of the polarized 20. Please keep the environmental aspects of battery
Instructions or grounding-type plug. A polarized plug has two blades disposal in mind. Batteries must be disposed-of at a
with one wider than the other. A grounding-type plug battery collection point.
has two blades and a third grounding prong. The wide 21. Use this apparatus in tropical and/or
blade or the third prong are provided for your safety. If the moderate climates.
provided plug does not fit into your outlet, consult an
electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or LEGAL DISCLAIMER
pinched particularly at plugs, convenience receptacles, Music Tribe accepts no liability for any loss which
Terminals marked with this symbol carry
and the point where they exit from the apparatus. may be suffered by any person who relies either
electrical current of sufficient magnitude
to constitute risk of electric shock. 11. Use only attachments/accessories specified by wholly or in part upon any description, photograph,
Use only high-quality professional speaker cables with the manufacturer. or statement contained herein. Technical specifications,
¼" TS or twist-locking plugs pre-installed. All other appearances and other information are subject to
12. Use only with the
installation or modification should be performed only change without notice. All trademarks are the property
cart, stand, tripod, bracket,
by qualified personnel. of their respective owners. Midas, Klark Teknik,
or table specified by the
Lab Gruppen, Lake, Tannoy, Turbosound, TC Electronic,
This symbol, wherever it appears, manufacturer, or sold with
TC Helicon, Behringer, Bugera and Coolaudio are
alerts you to the presence of uninsulated the apparatus. When a cart
trademarks or registered trademarks of Music Tribe
dangerous voltage inside the is used, use caution when
Global Brands Ltd. © Music Tribe Global Brands Ltd.
enclosure - voltage that may be sufficient to constitute a moving the cart/apparatus
2018 All rights reserved.
risk of shock. combination to avoid
injury from tip-over.
This symbol, wherever it appears,
alerts you to important operating and
13. Unplug this apparatus during lightning storms or LIMITED WARRANTY
when unused for long periods of time.
maintenance instructions in the For the applicable warranty terms and conditions
accompanying literature. Please read the manual. 14. Refer all servicing to qualified service personnel. and additional information regarding Music Tribe’s
Servicing is required when the apparatus has been Limited Warranty, please see complete details online at
Caution damaged in any way, such as power supply cord or plug musictribe.com/warranty.
To reduce the risk of electric shock, do not is damaged, liquid has been spilled or objects have fallen
remove the top cover (or the rear section). into the apparatus, the apparatus has been exposed
No user serviceable parts inside. Refer servicing to to rain or moisture, does not operate normally, or has
qualified personnel. been dropped.
Caution 15. The apparatus shall be connected to a MAINS socket
To reduce the risk of fire or electric shock, outlet with a protective earthing connection.
do not expose this appliance to rain and 16. Where the MAINS plug or an appliance coupler is
moisture. The apparatus shall not be exposed to dripping used as the disconnect device, the disconnect device shall
or splashing liquids and no objects filled with liquids, remain readily operable.
such as vases, shall be placed on the apparatus.
17. Correct disposal of this
Caution product: This symbol indicates that
These service instructions are for use this product must not be disposed
by qualified service personnel only. of with household waste,
To reduce the risk of electric shock do not perform any according to the WEEE Directive
servicing other than that contained in the operation (2012/19/EU) and your national
instructions. Repairs have to be performed by qualified law. This product should be taken
service personnel. to a collection center licensed for the recycling of waste
electrical and electronic equipment (EEE). The
1. Read these instructions.
mishandling of this type of waste could have a possible
2. Keep these instructions. negative impact on the environment and human health
3. Heed all warnings. due to potentially hazardous substances that are generally
4. Follow all instructions. associated with EEE. At the same time, your cooperation
in the correct disposal of this product will contribute to
5. Do not use this apparatus near water.
the efficient use of natural resources. For more
6. Clean only with dry cloth. information about where you can take your waste
7. Do not block any ventilation openings. Install in equipment for recycling, please contact your local city
accordance with the manufacturer’s instructions. office, or your household waste collection service.
8. Do not install near any heat sources such as 18. Do not install in a confined space, such as a book
radiators, heat registers, stoves, or other apparatus case or similar unit.
(including amplifiers) that produce heat. 19. Do not place naked flame sources, such as lighted
candles, on the apparatus.
4 M32 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 Handling the equipment

Signal 0V is connected internally to the chassis. Completely isolate the equipment electrically and disconnect all cables from the
To completely isolate this equipment from the AC mains, while observing full equipment before moving it.
safety precautions (see ‘Power’ on page xiii), switch off the isolator switch When lifting or moving the equipment, always take its size and weight into
(above the mains power sockets on rear of control centre) and then switch off consideration. Use suitable lifting equipment or transporting gear, or sufficient
the mains at the three mains outlets. Unplug the three mains leads from the additional personnel.
rear of the control centre. For details of how to remove Volex locking type plug, Do not insert your fingers or hands in any gaps or openings on the equipment,
see ‘Power’ below. for example, vents.
To avoid electrical shock do not remove covers. Do not press or rub on the sensitive surface of the GUI screens.
General precautions 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
In the event of ground loop problems, disconnect the signal screen at one end of
the LCD panel. However, in the unlikely event that you do make contact with this
the connecting cables. Note that this can only be done when the equipment is
substance, wash it out with soap.
used within a balanced system.
Do not remove, hide or deface any warnings or cautions. Installation
Before installing the equipment:
Power
Make sure the equipment is correctly connected to the protective earth
The system power supplies contain LETHAL VOLTAGES greatly in excess of the
conductor of the mains voltage supply of the system installation through the
mains voltage and its rails can produce extremely large currents that could burn
mains leads
out equipment and wiring if shorted.
Power to the equipment must be via a fused spur(s)
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 Power plugs must be inserted in socket outlets provided with protective earth
range 100 VAC to 240 VAC. contacts. The electrical supply at the socket outlets must provide appropriate
over-current protection
Each mains inlet is to be sourced from its own separate wall-mounted mains
outlet socket. Both the mains supply and the quality of earthing must be adequate for
the equipment
Otherwise, their mains sources must be suitably distributed so as to meet local
safety regulations. 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
A Volex locking type plug is fitted on each supplied mains cable, which plugs into
power supply voltage is printed on the equipment.
a mains IEC connector on the unit. When fitted properly the Volex plug locks into
place, preventing it from working loose, or being inadvertently knocked loose or Location
pulled out. To fit a Volex plug, insert it into the mains IEC connector and push it in
Ideally a cool area is preferred, away from power distribution equipment or other
until it locks in place. Then, check to make sure it is locked in place. To remove it,
potential sources of interference.
release its locking device and then pull it out. When fitting or removing a Volex
plug, always hold the plug itself and never use the cable, as this may damage it. Do not install the equipment in places of poor ventilation.
During operation, a minimum of two of its three mains inlets must be connected Do not install this equipment in a location subjected to excessive heat, dust or
and supplying power. mechanical vibration. Allow for adequate ventilation around the equipment,
making sure that its fans and vents are not obstructed. Whenever possible,
When removing the equipment’s electric plugs from the outlets, always hold the
keep the equipment out of direct sunlight.
plug itself and not the cable. Pulling out the plug by the cable can damage it.
Do not place the equipment in an unstable condition where it might accidentally
Never insert or remove an electric plug with wet hands.
fall over.
Do not connect/disconnect a mains power connector to/from the M32 Control
Make sure that the mains voltage and fuse rating information of the equipment
Centre while power is being applied to it. Switch the power off first.
will be visible after installation.
Before switching the M32 Control Centre on or off, make sure that all monitor
Ensure that all underside vents are left clear during operation.
loudspeaker power amplifiers are turned off or muted.
5 M32 User Manual

Audio connections Introduction

To ensure the correct and reliable operation of your equipment, only high quality, Welcome to the M32 Digital Console User manual! After years of intense
balanced, screened, twisted pair audio cable should be used. development, we are proud to offer a mixer that combines tremendous power
XLR connector shells should be of metal construction so that they provide a and flexibility with a very user-friendly layout and intuitive workflow that allows
screen when connected to the control centre and, where appropriate, they you to get up and running right away.
should have Pin 1 connected to the cable screen. The M32 combines a control surface with streamlined workflow, extensive I/O
and signal processing into a compact desktop form factor. Employing award-
Electrostatic discharge (ESD) precautions
winning MIDAS PRO Series microphone preamplifiers and the custom-designed
Observe full electrostatic discharge (ESD) — also known as MIDAS PRO motorised faders that are rated for one million cycles, along with a
‘anti-static’— precautions when carrying out procedures in daylight-viewable TFT screen, the control surface is designed to allow immediate
this manual that are accompanied by the ESD Susceptibility access to critical functions with total and automatic recall of settings. Extensive
Symbol (shown above). This caution symbol shows you that ESD damage may onboard I/O includes 40 A/D and 24 D/A Cirrus Logic converters, 96 bi-directional
be caused to items unless proper ESD precautions are taken, which include the channels over SuperMAC AES50, stereo AES/EBU out, 16 channels of Ultranet
following practices: personal monitoring and 32 x 32 channels of recording over USB.
• Keep the work area free from plastic, vinyl or styrofoam Abundant analogue connectivity is provided by 32 MIDAS PRO Series digitally-
• Wear an anti-static wrist strap controllable microphone preamps, six line-level auxiliary inputs and outputs,
• Discharge personal static before handling devices 16 XLR outputs, stereo monitoring outs on XLR/TRS and dual phones outputs.
Each of the 32 microphone inputs can accept balanced or unbalanced mic- or
• Ground the work surface
line-level signals, and include switchable phantom power, 72 dB gain range and
• Avoid touching ESD-sensitive devices. maximum +23 dBu level before clip. A separate external microphone input and
the internal talkback mic allow communication to various destinations.
Radio frequency interference—Class A device
Dual AES50 Ethernet jacks that employ KLARK TEKNIK SuperMAC technology
This equipment has been tested and found to comply with the limits for a Class A
contribute 96 x 96 signals to the total count of 168 x 168 accessible sources and
digital device, pursuant to Part 15 of the FCC Rules.
destinations. Motorised faders, recallable mic preamps, programmable routing
These limits are designed to provide reasonable protection against harmful and the ability to save and recall entire scenes make set or programme changes
interference when the equipment is operated in a commercial environment. This quick and simple. A top panel USB connector enables system data to be stored,
equipment generates, uses, and can radiate radio frequency energy and, if not or a board mix to be recorded directly to external flash or hard drives.
installed and used in accordance with the instruction manual, may cause harmful
The Input section is home to 16 high-resolution 100 mm motorised faders,
interference to radio communications.
providing control over channels 1-16, 17-32, Aux inputs/USB playback/FX
Operation of this equipment in a residential area is likely to cause harmful returns. A separate section of eight motorised faders controls DCA groups
interference in which case the user will be required to correct the interference at 1-8, bus masters 1-8 and 9-16, as well as matrices 1-6. The channel editing
his own expense. section provides tangible controls for instant access to the selected channel’s
gain, dynamics, EQ and other functions. A custom-assignable section allows
Electric fields
certain control functions to be mapped directly to a set of dedicated rotary
Caution: controls and buttons.
In accordance with Part 15 of the FCC Rules & Regulations, “… changes A main seven inch-wide, high-contrast colour display provides information
or modifications not expressly approved by the party responsible for for editing pertinent parameters of the active function or effect.
compliance could void the user’s authority to operate the equipment.” Relevant parameters are quickly recalled to the display for editing via
Should this product be used in an electromagnetic field that is amplitude ‘VIEW’ buttons in each subsection. Each channel also features a small,
modulated by an audio frequency signal (20 Hz to 20 kHz), the signal to noise customisable LCD screen for track name, number, colour and source graphic.
ratio may be degraded. Degradation of up to 60 dB at a frequency corresponding A virtual FX rack offers eight true-stereo (16 mono) multi-effects processors,
to the modulation signal may be experienced under extreme conditions (3 V/m, with over 60 effects models that eliminate the need for any additional outboard
90% modulation). gear. Four high-quality effects such as delay, chorus and reverb can run
concurrently with eight channels of 31-band graphic equalisation.
Safety equipment
Transmit up to 32 channels of audio to and from a computer using the
Never remove, for example, covers, housings or any other safety guards. Do not
KLARK TEKNIK DN32 USB audio interface.
operate the equipment or any of its parts if safety guards are ineffective or their
effectiveness has been reduced. The M32 integrates seamlessly with other M32 consoles, the MIDAS DL16 digital
stagebox and the Behringer P-16 personal monitoring system for a complete live,
Optional equipment studio and installed sound solution.
Unless advised otherwise, optional equipment must only be installed by Control the mixer from a distance with the free iPad application, or with editing
service personnel and in accordance with the appropriate assembly and and remote control software connected via Ethernet. The M32’s ease of use,
usage regulations. intuitive workflow, diverse feature set and integration with other equipment
make it an ideal centrepiece for installed and production sound in any setting.
Special accessories
Continue through this User Manual to learn all about the functionality
To comply with part 15 of the FCC Rules, any special accessories (that is, that this powerful mixer has to offer. We also recommend that you check
items that cannot be readily obtained from multiple retail outlets) supplied with midasconsoles.com to make sure you have the latest firmware installed, as we
this equipment must be used with this equipment; do not use any alternatives as release frequent updates.
they may not fulfil the RF requirement.
6 M32 User Manual

1. Control Surface

1.1 Channel Strip - Input Channels

(5)

(1) (6)
(7)
(8)
(9)

(2)

(3) (10)

(4)

(1) REM - DAW Remote Button (7) SOLO Button

Press this button to enable remote control of your Digital Audio Workstation Press to send the channel to the solo bus.
software using the Group/Bus fader section controls. This section can (8) Scribble Strip
emulate HUI or Mackie Control Universal communication with your DAW.
Information such as channel number, input source and a graphic icon are
Layer Select Buttons displayed here.
(2) INPUTS 1-16 / INPUTS 17-32 (9) MUTE Button
Pressing one of these buttons selects either the channel 1-16 layer, or the Press to mute the channel.
channel 17-32 layer. (10) Fader
(3) AUX IN / USB Use the MIDAS PRO Motor Fader to adjust the channel output volume.
Press to select the Aux In / USB Recorder and FX 1-4 Returns layer. In Sends on Faders mode channel faders represent the send level from
channels to the currently selected output bus (see next page).
(4) BUS MAST
Press to bring up all the 16 Bus Master channels.
Individual Channel Strip Controls
Each of the above layers operates in a similar way by use of the
following controls:
(5) 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.
(6) 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.
7 M32 User Manual

1.2 Channel Strip - Group/Bus Channels

(6)
(7)
(1) (8)
(9)
(10)
(11)
(12)

(2)
(3)
(5)

(4)

(1) FADER FLIP - SENDS ON FADER Button (3) BUS 1-8 / 9-16
Press to activate the M32’s Sends on Fader function. This function aids with Press one of these buttons to select either the Bus 1-8 layer or the
the level setting of channels sent to any of the 16 Mix Buses. It is only for Bus 9-16 layer.
channels assigned to Mix Buses 1-16, and does not work for DCA groups, (4) MTX 1-6 / MAIN C
main or matrix buses. The Sends on Fader function works in two convenient
Press to select the Aux In / USB channel layer.
ways to cover the most obvious situations in a live environment:
Individual Channel Strip Controls
When preparing a monitor mix for a specified musician
Each of the above layers operates in a similar way by use of the
• Select the monitor bus (BUS 1-8 or BUS 9-16) that feeds the musician’s
following controls:
stage monitor
(6) SEL Button
• Press the Sends on Fader button, which will then flash
Press to select a DCA or bus (depending on which layer is active) and allow it
• Select one of the three input channel layers (INPUTS 1-16, INPUTS 17-32,
to be edited by the Channel Strip and Main Display.
AUX IN / USB or BUS MAST)
(8) Channel Meter
• As long as Sends on Fader is active all faders in the input channels section
correspond to the send levels on the selected monitor mix bus. 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,
When checking or editing where a selected input signal while the COMP LED lights to indicate that compression is active.
is to be sent (10) SOLO Button
• Select the input channel in the left-hand section Press to send the channel to the solo bus.
• Press the Sends on Fader button, which will then flash (11) Scribble Strip
• Select either bus channel layer (BUS 1-8 or BUS 9-16) Information such as channel number, input source and a graphic icon are
• The bus faders now represent the send levels of the selected input channel. displayed here.
TIP: Sends on Fader can also be used for conveniently sending Bus or (12) MUTE Button
Main M/C signals to Matrices. Press to mute the channel.
Layer Select Buttons (5) Fader
(2) GROUP DCA 1-8 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
Press this button to select the Group DCA layer.
layers and functions are changed.
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 different 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 M32 User Manual

Main (4) 48 V
(6) SEL Button Phantom power is a method for transmitting DC electric power through
Press to select the Main bus for editing. microphone cables to operate microphones that contain active electronic
circuitry. It is most commonly used with condenser microphones,
(7) COMP
though many active direct boxes also use it. The technique is also used in
The COMP indicator will illuminate when compression is being applied to other applications where power supply and signal communication take place
the stereo output mix. over the same wires. Press the 48 V button to apply phantom power on the
(9) CLR SOLO Button selected channel’s physical input.
Press to clear all sources assigned to the solo bus. (5) Ø
(10) SOLO Button An audio signal’s ‘phase’ refers to its position in a point of time along the
Press to solo the main bus. 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
(11) Scribble Strip
reverse phase function to cancel noise across more than one channel.
Customisable information relating to the main bus are displayed here.
(6) LOW CUT
(12) MUTE Button
Press the LOW CUT button to engage the low cut filter for the
Press to mute the main bus. selected channel.
(5) Fader Please note that the low cut filter is only available for the 32 primary
Use the MIDAS PRO Fader to adjust the output of the main bus. input channels.
(12) MUTE Button (7) VIEW
Press to mute the main bus. Press the VIEW button to access more detailed parameters on the
(5) Fader Main Display. See the section Main Display - config for more details.
Use the MIDAS PRO Fader to adjust the output of the main bus.
1.4 Gate
1.3 Config/Preamp (1) (2)
(1) (2) (3)

(3) (4)
(4) (5) (6) (7) (1) THRESHOLD Rotary Control
(1) GAIN 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),
On a microphone preamplifier, input gain varies the amount of amplification
which attenuate signals above a certain threshold, noise gates attenuate
applied to the microphone. Adjust the preamp gain for the selected channel
signals that register below the threshold. By turning the THRESHOLD
with the GAIN rotary control.
rotary control, the audio level at which the gate affects the signal can
(2) LED Display be controlled.
The LED display in the Config/Preamp section illustrates the signal input (2) LED Display
level for the selected channel. This is shown as a value between 0 dB and
The LED display illustrates when the Gate is functioning for the selected
-30 dB. When there is a signal present, but below -30 dB, the SIG LED is lit.
channel by illuminating the red GATE LED at the bottom of the display.
When the signal exceeds 0 dB the CLIP LED illuminates.
(3) GATE
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. Pressing the GATE button engages the noise gate for the selected channel.
(3) FREQUENCY Rotary Control (4) VIEW
The FREQUENCY rotary control selects the frequency at which the low Press the VIEW button to access more detailed parameters on the
cut filter begins to filter unwanted frequencies for the selected channel. Main Display. See the section Main Display - gate for more details.
The filter is engaged by pressing the LOW CUT button (see below).
Please note that the low cut filter is only available for the 32 primary
input channels.
9 M32 User Manual

1.5 Dynamics 1.6 Equaliser

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

(7)
(2) (3) (4)
(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
affects the signal can be controlled.
(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 (5) (6)
and -30 dB.
(1) MODE Select Button and Display
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. Pressing the MODE button cycles through each of the EQ modes for the
currently selected frequency range. Each of the modes and the frequency
(3) COMP
ranges to which they apply are listed below:
Pressing the COMP button engages the compressor for the selected channel.
HCUT
(4) VIEW
A high-cut function which attenuates signals above the selected frequency.
Press the VIEW button to access more detailed parameters on the
HSHV
Main Display. See the section Main Display - dyn for more details.
A high-shelving function which boosts or attenuates signals above the
selected frequency. Only available with the HIGH 2 - HIGH setting.
VEQ
A bell filter that provides a more ‘Vintage EQ’ sound. Available on all
frequency settings.
PEQ
A bell filter that provides a classic ‘Parametric EQ’ sound. Available on all
frequency settings.
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.
10 M32 User Manual

(2) WIDTH Rotary Control 1.7 Bus Sends

The WIDTH rotary control determines the span of frequencies around that
specified by the FREQUENCY rotary control, which will be affected by (1) (2)
adjusting the GAIN control.
(3) FREQUENCY Rotary Control
Select the specific 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 filter 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 (3)
bus equaliser.
(4) GAIN Rotary Control (1) Rotary Controls 1-4
Boost or attenuate the selected frequency by turning the GAIN rotary Bus Sends are selected in banks of four with the Select Buttons (see below).
control. The selected equaliser band is inactive when the Gain control is in The rotary controls adjust each of the four buses currently selected.
the centre position (0 dB). (2) Select Buttons 1-4, 5-8, 9-12 & 13-16
(5) EQ Button Select one of the banks of Bus Sends with either of the Select buttons on the
Engages the EQ function for the selected channel. right of the panel. The bank that is currently selected will be highlighted on
the Main Display.
(6) VIEW
(3) VIEW
Press the VIEW button to access more detailed parameters on the
Main Display. See the section Main Display - eq for more details. Press the VIEW button to access more detailed parameters on the
Main Display. See the section Main Display - sends for more details.
11 M32 User Manual

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

(1)
(3)

(2)
(4)

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
(5) a graphic representation of an analogue tape deck on the Main Display
home tab.
3. On the config tab you can select the source of the recording , the default
(1) LEVEL Rotary being the main L & R outputs.
Adjust the overall send level to the Mono Bus with the LEVEL rotary control. 4. Press the fifth push encoder, labelled Record.
(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.
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
1.9 RECORDER faders 7 & 8.
(1)

(2) (3)
(1) USB Port
Connect a USB stick to install firmware updates and to record performances.
(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.
Operation
The M32 offers functionality for playing back uncompressed stereo WAV
files, and for recording any available signal in the console directly onto USB
stick or compatible USB hard drive.
12 M32 User Manual

1.10 Main Display (Summary) METERS

The METERS screen displays different groups of level meters for various
(1) signal paths, and is useful for quickly ascertaining if any channels need
(2) 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
(3) containing level meters for the relevant signal paths: channel, 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:
(4) (5) home: Allows patching of physical inputs to the 32 input channels and
aux inputs of the console.
(1) DISPLAY SCREEN
out 1-16: Allows patching of internal signal paths to the console’s 16
The controls in this section are used in conjunction with the colour screen in rear panel XLR outputs.
order to navigate and control the graphical elements it contains.
aux out: Allows patching of internal signal paths to the console’s six
By including dedicated push encoders that correspond to the adjacent rear panel ¼” / RCA auxiliary outputs.
controls on the screen, as well as including cursor buttons, the user can
p16 out: Allows patching of internal signal paths to the 16 outputs of
quickly navigate and control all of the colour screen’s elements.
the console’s 16-channel P16 Ultranet output.
The colour screen contains various displays that give visual feedback for
card out: Allows patching of internal signal paths to the 32 outputs of
the operation of the console, and also allow the user to make various
the expansion card.
adjustments not provided for by the dedicated hardware controls.
aes50-a: Allows patching of internal signal paths to the 48 outputs of
(2) MAIN/SOLO METERS
the rear panel AES50-A output.
This triple 24-segment meter displays the audio signal level output from the
aes50-b: Allows patching of internal signal paths to the 48 outputs of
main bus, as well as the main centre or solo bus of the console.
the rear panel AES50-B output.
(3) SCREEN SELECTION BUTTONS
xlr out: Allows the user to configure the XLR outs on the rear of the
These eight illuminated buttons allow the user to immediately navigate console in blocks of four, from either local inputs, the AES streams, or
to any of the eight master screens that address different sections of the expansion card.
console. The sections that can be navigated are:
SETUP
HOME
The SETUP screen offers controls for global, high-level functions of the
The HOME screen contains an overview of the selected input or output console, such as display adjustments, sample rates & synchronisation,
channel, and offers various adjustments not available through the dedicated user settings, and network configuration.
top-panel controls.
The SETUP screen contains the following separate tabs:
The HOME screen contains the following separate tabs:
global: This screen offers adjustments for various global preferences of
home: General signal path for the selected input or output channel. how the console operates.
config: Allows selection of the signal source/destination for the config: This screen offers adjustments for sample rates and
channel, configuration of insert point, and other settings. synchronisation, as well as configuring high-level settings for signal
gate: Controls and displays the channel gate effect beyond those path buses.
offered by the dedicated top-panel controls. remote: This screen offers different controls for setting up the console
dyn: Dynamics - controls and displays the channel dynamics effect as a control surface for various DAW recording software on a connected
(compressor) beyond those offered by the dedicated top-panel controls. computer. It also configures the MIDI Rx/Tx preferences.
eq: Controls and displays the channel EQ effect beyond those offered by network: This screen offers different controls for attaching the console
the dedicated top-panel controls. to a standard Ethernet network. (IP address, Subnet Mask, Gateway.)
sends: Controls and displays for channel sends, such as sends metering scribble strip: This screen offers controls for various customisation of
and send muting. the console’s LCD scribble strips.
main: Controls and displays for the selected channel’s output. 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 configuration of the installed
interface card.
13 M32 User Manual

LIBRARY (4) PUSH ENCODERS

The LIBRARY screen allows loading and saving of commonly-used setups for These six push encoders are used to adjust the various elements located
the channel inputs, effects processors, and routing scenarios. directly above them. Each of the six encoders can be pushed inward to
The LIBRARY screen contains the following tabs: activate a button-press function. This function is useful when controlling
elements that have a dual on/off status that is best controlled by a button, as
channel: This tab allows the user to load and save commonly used
opposed to a variable state that is best adjusted by a rotary control.
combinations of the channel processing, including dynamics and EQ.
(5) UP/DOWN/LEFT/RIGHT NAVIGATION CONTROLS
effects: This tab allows the user to load and save commonly used effects
processor presets. The LEFT and RIGHT controls allow for left-right navigation among the
different pages contained within a screen set. A graphical tab display
routing: This tab allows the user to load and save commonly used
shows which page you are currently on. On some screens there are
signal routings.
more parameters present than can be adjusted by the six push encoders
EFFECTS underneath. In these cases, use the UP and DOWN buttons to navigate
The EFFECTS screen controls various aspects of the eight effects processors. through any additional layers contained on the screen page. The LEFT
On this screen the user can select specific types of effects for the eight and RIGHT buttons are sometimes used to confirm or cancel confirmation
internal effects processors, configure their input and output paths, monitor pop-ups.
their levels, and adjust the various effects parameters. Please refer to the MAIN DISPLAY chapter for more information on
The EFFECTS screen contains the following separate tabs: these topics.
home: The home screen provides a general overview of the virtual
effects rack, displaying what effect has been inserted in each of the 1.11 Monitor
eight slots, as well as displaying input/output paths for each slot and
the I/O signal levels.
fx1-8: These eight duplicate screens display all of the relevant data for
the eight separate effects processors, allowing the user to adjust all
parameters for the selected effect.
(1)
MUTE GRP
The MUTE GRP screen allows for quick assignment and control of the
console’s six mute groups, and offers 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. (2)
It offers 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 (3)
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 (4)
customisation functions. For example:
• When you are adjusting the EQ of a channel, pressing the UTILITY
button will offer copying, pasting or loading functionality, or saving of (5)
EQ settings
• Pressing the UTILITY button while editing a channel’s
CONFIG/PREAMP screen will offer copying, saving or loading (1) MONITOR LEVEL Rotary Control
preamp configurations
Adjust the level of the monitor outputs with the MONITOR LEVEL rotary
NOTE: Pressing the UTILITY button while holding the channel Select button is a control. This will be the output device connected to the sockets in the
shortcut to editing the channel’s scribble strip display icon, naming or colour. MONITOR / CONTROL ROOM OUT section on the rear panel.
• On the ROUTING screen, pressing UTILITY will offer the ability to load (2) PHONES LEVEL Rotary Control
or save different presets of routing scenarios
Adjust the level of the signal through the headphones or other output
• On the CUES, SCENES, SNIPPETS, PARAM SAFE and CHAN SAFE pages, devices connected via the headphone jack sockets located under the front of
pressing UTILITY also offers different levels of import/export functions: the console.
• Cues: Utility allows importing or exporting complete Show data, (3) MONO
including all Cues, Scenes, Snippets and Safes to attached USB media.
Press the MONO button to monitor the audio signal in mono.
• Scenes: Utility offers selecting a number of scenes for exporting or
(4) DIM
importing on attached USB media.
Press the DIM button to reduce the monitor volume by a predefined
• Snippets: Utility offers selecting a number of snippets for exporting or
amount. The amount of attenuation can be defined via the Main Display
importing on attached USB media.
when the VIEW button is pressed.
• Param Safes/Chan Safes: Utility allows setting/resetting the Safe
flags for a complete column of entries at once.
14 M32 User Manual

(5) VIEW 3. Tap the second encoder to select and assign the currently chosen
Press the VIEW button to access more detailed parameters on the solo option.
Main Display. 4. Turn the third encoder to adjust the amount of digital delay that is
Operation applied to the control room signal path. The display on the screen will
show the current amount of delay in feet, metres and milliseconds.
The MONITOR section shares a Main Display screen with the TALKBACK
section. On this screen, only the monitor tab contains functionality which 5. Tap the third encoder to toggle the delay function on or off.
relates to the MONITOR section. This tab controls various console options TIP: The delay function is useful for aligning the sound of audio monitored
relating to the solo bus, as well as the console’s control room outputs. These through headphones, or speakers used at front-of-house position with
options include various solo settings, speaker dimming, speaker delay, and a audio that is coming from the stage location.
selection of sources for the control room output. By delaying the control room audio, it can be brought into alignment with
To adjust the settings on the monitor tab, perform the following steps: the slightly-delayed audio that has to travel from the stage to the front-of-
1. Adjust the first push encoder to change the gain of the monitor signal. house position.
This digital stage occurs as a first preliminary level control, before the 6. Adjust the fourth encoder to set the amount of volume reduction
top panel’s analogue-based monitor level control. A display above the that occurs when the control room bus has its DIM function enabled.
push encoder shows the currently set gain value in dB. The amount of volume reduction ranges from -40 dB to 0 dB
• A multi-segment level meter is displayed on the Main Display to (no change).
allow for proper gain staging of the monitor signal. 7. Tap the fourth encoder to toggle the DIM function on or off.
2. Adjust the second push encoder to scroll through the various solo 8. Turn the fifth encoder to adjust the volume trim for the source currently
methods available to the console when audio is routed to the solo bus. feeding the control room bus, allowing it to be level matched with the
Available options include: SOLO bus. The amount of trim can be adjusted from -20 dB to +20 dB.
• Exclusive (last): In this mode, pressing another SOLO button 9. Tap the fifth encoder to toggle the control room between mono and
disengages the previous solo stereo operation. This is very useful in a studio context for checking how
• Solo Follows Select: When this method is selected, the audio of a mix sounds when played back on a mono speaker such as a cock radio.
the currently selected channel will automatically be sent to the solo 10. Adjust the sixth encoder to select what specific signal source to monitor
bus. Since a user will often select a channel to adjust its dedicated in the control room. Choices include:
DSP controls, this method is useful because the audio of the • Off (no source) in the control room, when no SOLO is active
channel will now already be feeding he solo bus where it can be
• LR Bus
monitored with headphones in a live sound environment
• 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.

• 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,
reflecting the current level of the channel fader and any channel
DSP that has been applied. The default setting for input channels is
off 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.
15 M32 User Manual

1.12 Talkback 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 first push encoder to enable the talkback circuit. The internal/
external talkback microphone will now transmit audio to the talkback
(1) 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/off the talkback circuits ‘auto-
dim’ function. This function is useful in a studio setting, and will
(2) 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.
5. Adjust the fourth encoder to scroll through the various talkback
destinations, which include:
(3)
• Mix Bus 1-16
• LR Bus
• Centre/Mono Bus.
(4)
6. Tap the fourth encoder to activate any talkback destination when it
is currently selected. Multiple talkback destinations can be selected,
(5) allowing the talkback signal to reach many destinations at the same
time.
7. Tap the fifth encoder to toggle the dedicated top-panel talkback
buttons between latching and non-latching operation.
(1) EXT MIC Port
8. Turn the sixth encoder to adjust the brightness of the lamp that is
Connect a microphone to the console via a standard XLR cable. The output
connected to the console’s rear panel lamp connector.
carries 48 V phantom power, allowing the use of condenser or dynamic
microphones. 9. Tap the sixth encoder to toggle the attached lamp on or off.
(2) TALK LEVEL Rotary Control oscillator Tab
Adjust the level of the Talkback volume with the TALK LEVEL rotary control. The oscillator tab offers controls for the console’s onboard oscillator, a very
handy tool that can be used for setting up PA systems and testing various
(3) / (4) TALK A / B
signal flow paths without the need for a live source feeding a microphone.
Select the destination of the Talkback mic signal with either the TALK A Settings include oscillator type, frequency, volume and routing destinations.
or TALK B buttons. Press the VIEW button to edit the Talkback routing for
To adjust the various settings on the oscillator tab, perform the
A and B.
following steps:
(5) VIEW
Press the VIEW button to access more detailed parameters on the
Main Display.
Operation
talkback Tab
The TALKBACK screen offers 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. Adjust the first push encoder to set the level of the onboard oscillator.
2. Tap the first encoder to toggle the oscillator on or off.
• 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.
16 M32 User Manual

6. Adjust the fourth encoder to select the type of oscillator to be used. HOME
Choices include: The SHOW CONTROL screen’s home tab shows a general overview of the Cues
• Sine Wave that have been configured in the console, along with their custom names and
• Pink Noise what parameters are included in each Cue.
• White Noise. 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.
7. Tap the fourth encoder to engage the selected oscillator type.
Up to 500 Cue entries can be stored in the M32 at any time.
8. Adjust the sixth encoder to select a destination for the onboard
For a setting where these events are used heavily and are critical (such as a
oscillator. Choices include:
theatre performance), this would be a good screen to leave on at all times so
• Mix Bus 1-16 that the console operator can be completely sure what Cue the console currently
• Main L Bus resides on, and what Cue will come up next when the GO button is pressed.
• Main R Bus To adjust the various Cue settings on the home tab, perform the following steps:
• Main L+R Bus
• Main Centre / Mono
• Matrix Outputs 1-6.
9. Tap the sixth encoder to assign the selected oscillator destination.

1.13 Show Control

The SHOW CONTROL section on the control surface can be used to select,
activate and navigate saved Cues, Scenes or Snippets, depending on the selected
preference on SETUP/global.

1. Rotate the first push encoder to scroll among the available Cues in the list,
which is displayed on the left side of the Main Display.
2. Tap the first push encoder to go to the currently selected Cue in the list,
switching the console to the state it was in when that Cue was stored.
3. Turn the second push encoder to select a Cue in the list to be skipped when
cycling through Cues using the LAST and NEXT buttons.
LAST - navigates to the previous scene.
4. Tap the second push encoder to complete the skip command on the currently
NEXT - navigates to the next scene.
selected Cue. That Cue will now be skipped when scrolling through the list.
UNDO - undoes the previous action.
5. Turn the third push encoder to scroll back through recent changes.
NOW - navigates to the current scene.
6. Tap the third push encoder to undo the recent change.
VIEW - This give you access to more detailed parameters of the SCENES
7. Turn the fourth encoder to select a slot to save a new Cue.
function via the Main Display.
8. Tap the fourth push encoder to complete the save operation. The console’s
The SCENES screen on the Main Display allows setup for saving and recalling
current state will be overwritten on the Cue number that was selected with
different memory scenes of the M32. The comprehensive recallability of the
the push encoder.
console (including gain settings for the digitally-controlled mic preamps) is one
of the most powerful aspects of the console. 9. Turn the sixth rotary to select which aspects of the console’s routing are
excluded from a Cue change, and will be unaffected by any Cue changes that
The SCENES screen contains the following separate tabs:
occur. Routing choices that can be made safe include:
home: This screen contains a general overview of the scenes contained
• Routing
in the console, along with their custom names and what parameters are
included in each scene. • Output Patch
scenes: This screen allows the user to configure, edit and rename the • Mic Preamp Gain (HA, short for Head-Amplifier)
individual scenes. • Configuration
snippets: This screen allows for the editing of the new ‘Snippets’ • Channel Processing
functionality. • Mix Buses
param safe: This screen configures which console parameters are and are • Effects
not saved or switched with the console scenes.
• Talkback.
chan safe: This screen configures which console channels are and are not
10. Tap the sixth push encoder to select any of the above choices as the encoder
changed when a console scene change occurs.
rotation is used to select them. Multiple categories can be selected at the
MIDI: This screen allows the console to associate different scenes with same time.
incoming and outgoing MIDI messages, allowing the console’s scene
changes to control or be controlled by external MIDI equipment.
17 M32 User Manual

Utility Utility
Pressing the UTILITY button to the right of the Main Display changes the bottom Pressing the UTILITY button to the right of the Main Display changes the bottom
of the home tab to the following configuration: of the snippets tab to the following configuration:

Each of the functions on this layer can be controlled with the adjacent push Each of the functions on this layer can be controlled with the adjacent push
encoder as follows: encoder as follows:
Copy - Allows the user to make a copy of the currently-selected Cue. Copy - Allows the user to make a copy of the currently-selected Snippet.
Edit Cue - Allows the user to edit the currently-selected Cue. Paste - Pastes a Snippet from the virtual clipboard.
Add Cue - Adds a new Cue into the current Showfile. Edit - Allows the user to edit the currently-selected Snippet.
Delete - Deletes the currently-selected Cue. Delete - Deletes the currently-selected Snippet.
Import Show - Imports a Showfile from a connected USB drive. Import Snippets - Imports the selected Snippet(s) from a connected
PLEASE NOTE that this will replace the existing Showfile, so this should USB drive.
be saved beforehand. Export Snippets - Exports the selected Snippet(s) to a connected
Export Show - Exports the current Showfile to a connected USB drive. USB drive.
SCENES PARAMETER SAFE
Use the Load, Save and Edit functions by pressing the adjacent push encoder to The SHOW CONTROL screen’s param safe tab configures which of the M32’s
load, save and edit the scenes. The Scenes Safe function works in a similar way parameters are or are not saved or switched with the console scenes. This is very
to the PARAMETER SAFE function, though only applies to specific scenes. useful when the operator has certain parameters of which they wish to remain
Utility in control, and would never want to have altered during a scene change, for
example the mic pre gains on the input channels.
Pressing the UTILITY button to the right of the Main Display changes the bottom
of the scenes tab to the following configuration: To adjust the various settings on the param safe tab, perform the
following steps:
1. Turn any of the first 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 first four push encoders to select the console areas that have
Each of the functions on this layer can be controlled with the adjacent push been selected with the push encoders. In each of the four columns, multiple
encoder as follows: console areas can be selected an isolated from scene changes.
Copy - Allows the user to make a copy of the currently-selected Scene. The following areas of the M32 can be isolated from scene changes, and are
divided up into four columns on the Main Display:
Paste - Pastes a Scene from the virtual clipboard.
Column 1: Input Channels
Edit - Allows the user to edit the currently-selected Scene.
• HA (Head Amp / Microphone Preamp)
Delete - Deletes the currently-selected Scene.
• Configuration
Import Scenes - Imports a Scene from a connected USB drive.
• Channel EQ
Export Scenes - Exports a Scene to a connected USB drive.
• Channel Gate / Compressor
SNIPPETS
• Channel Insert
The M32 has a new flexible structure called ‘Snippets’, which allows for setting
selective parameters and channel filters for storage. Recalling a Snippet will • Channel Groups
exclusively affect the stored bits of information, leaving the remaining console • Fader, Pan, Mute, Mix Ons.
status untouched. This allows to surgically introduce specific bits of automation Column 2: Input Channels
into the current mix status. Up to 100 Snippets can be stored at any time. Use the
• Mix Sends 1-16.
Load, Save and Edit functions by pressing the adjacent push encoder to load,
save and edit the Snippet. Column 3: Mix Buses
A Snippet can be focused on any specific selection of parameters a user may • Mix Sends 1-16
find suitable, such as EQ, Insert, Fader, Mute, Send levels, etc. A Snippet will also • Configuration
be focused on a random selection of channels (inputs, returns or any mixes). • EQ
When loading this Snippet only the previously stored information will replace the
• Compressor
respective console parameters, while the rest remains as is.
• Insert
• Groups
• Fader, Pan, Mute, Matrix Ons.
18 M32 User Manual

Column 4: Console To adjust the various settings on the MIDI tab, perform the following steps:
• Configuration 1. Turn the first push encoder to select a Cue to edit.
• Solo 2. Turn the third push encoder to select what type of MIDI event is transmitted
• Routing by the console when a scene change is issued. The choices include:
• Output Patch. • Off (no MIDI event)
CHANNEL SAFE • MIDI Program Change
The SHOW CONTROL screen’s chan safe tab configures which console channels • MIDI Control Change
are and are not changed when a scene change occurs. This allows the user to • Note.
protect certain channels from ever changing during a scene change, giving them 3. Push encoders 4, 5 and 6 adjust the channel, number and value or velocity,
as much control as possible for key audio sources. where applicable.
For example, in a theatre context, the console operator may have dialled in just The Main Display shows the MIDI data associated with the currently
the right EQ and compressor settings, and channel volume for the voice of the selected screen.
lead actor, and does not want to have them altered when the console changes
scenes and alters various other parameters. 1.14 Assign
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 M32 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 Rotary Controls 1-4
• Mix 1-6. Assign the four rotary controls to various parameters for instant access to
commonly used functions. Details can be found on the Main Display by pressing
Column 5: Main / Matrix / Groups
the VIEW button (see below).
• Matrix 1-6
LCD Displays
• LR Bus
These displays provide quick reference to the assignments of the active layer of
• Centre / Mono Bus custom controls.
• DCA Groups 1-8. Buttons 5-12
Column 6: Effects Slots Assign the eight buttons to various parameters for instant access to commonly
• FX 1-8. used functions. Details can be found on the Main Display by pressing the VIEW
MIDI button (see below).
The MIDI tab on the SHOW CONTROL screen allows the console to associate SET Buttons A, B, C
different Cues with incoming and outgoing MIDI messages, allowing the The currently active set, A, B or C, is indicated by a radio button and an amber
console’s scene changes to control or be controlled by external MIDI equipment. outline on the main display.
For instance, the user could configure the console to issue a MIDI Program Change Press the left (1st) push-encoder to toggle through the sets, and press the right
message as each new Cue is recalled, with the outgoing MIDI message triggering (6th) push-encoder for opening the corresponding edit page.
a MIDI-equipped lighting controller. Alternatively, you may use the page left and right buttons below the main
Conversely, the user could configure the console to change Cues in response display, for navigating between the tabs.
to an incoming MIDI Program Change message, allowing the console to VIEW
switch to a new audio scene when a new scene is recalled on a MIDI-equipped
This gives you more detailed access to the ASSIGN functions via the Main Display.
lighting controller.
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.
19 M32 User Manual

The ASSIGN screen contains the following separate tabs: 3. Adjust the third push encoder to scroll through a list of parameter categories
home: This screen provides a general overview of the 12 assigned controls to which the selected assignable control can be mapped. Choices for the
for all three control sets at the same time. buttons include:
set A: This screen allows assignment of different console parameters to the • Not Assigned
12 custom controls for Set A. • Jump to Page
set B: Works as described above, but for custom controls Set B • Mute Channel
set C: Works as described above, but for custom controls Set C • Inserts
HOME • Effect 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.
The ASSIGN screen’s home tab provides a visual overview of the 12 assigned
5. Where applicable, tap/select the fourth, fifth and sixth push encoders to
controls for all three sets at the same time.
assign the specific parameter.
The home tab offers visual feedback of the controls that have been assigned
to all three sets of custom controls, without having to bank between the three 1.15 Mute Groups
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 different 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 specific
custom control that was highlighted on the home tab screen.
SET A, B & C

Use these buttons to select and activate or deactivate one of the user-defined
Mute Groups.
The MUTE GRP screen allows for quick assignment and control of the console’s
six mute groups, and offers two separate functions:
1. It disables the buttons in the MUTE GROUPS section during the process
of assigning channels to mute groups. This ensures that no channels are
accidentally muted during the assignment process in a live performance.
2. It offers an alternative interface for muting or unmuting the mute groups
while the dedicated mute group buttons on the console’s control surface
are blocked.
The set A, B & C tabs allow mapping of specific console parameters to the eight
assignable buttons and four assignable rotary controls. Using these screens the When activated, the MUTE GRP screen only covers the bottom portion of the
user can map the exact parameters that are most useful to them to the desired Main Display, allowing the middle portion to continue displaying the usual
controls, in the desired order. screen content.
To adjust the various settings on the set A, B & C tabs, perform the following To assign channels to one of the six mute groups, perform the following steps:
steps: 1. Press the MUTE GRP screen selection button to switch the main display to
1. Adjust the first push encoder to select the colour used for the LCD screens the Mute Groups view.
within that set. 2. Press and hold the desired mute group button on the lower right-hand side
2. Adjust the second push encoder to select to which of the 12 assignable of the console’s control surface.
controls in the appropriate set you wish to map a parameter. 3. While holding the mute group button, press the SEL button of any input or
output channel, on any layer, that you wish to assign to that mute group.
20 M32 User Manual

4. When you have assigned all of the desired channels to the mute group, home
release the dedicated Mute Group button. The home tab of the HOME screen displays a general signal path for the currently
NOTE: The individual channel MUTE buttons will remain fully functional during selected input or output channel. It visually displays various parameters of the
the assignment process, only the mute group buttons are blocked. input, gate, insert point, EQ, dynamics, output path and buses.
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 push encoder of a currently-muted group to unmute the mute
group.
3. When finished working with mute groups, tap the MUTE GRP screen
selection button to exit the MUTE GRP screen. The entire screen will again
display its full set of controls for the current page.

2. Main Display
The home tab contains the following parameters (divided into two pages)
that can be adjusted using the six push encoders.
2.1 Main Display - Top Section Page 1
The top section of the Main Display permanently covers useful status 1. Turn the first push encoder to adjust the input gain (trim) of
information. The top left corner shows the selected channel number, its user- the channel.
assigned name and the selected icon. The next block shows the current scene
2. Tap the first encoder to link the channel with its adjacent channel.
number and name in amber, as well as the next upcoming scene. The centre
section displays the playback file name along with elapsed and remaining time, 3. Adjust the second encoder to set the threshold of the channel
and a recorder status icon. The next block to the right has four segments to noise gate.
show the status of the AES50 ports A and B, the Card slot, and the audio clock 4. Tap the second encoder to toggle the channel noise gate in/out of the
synchronisation source and sample rate. Small green square indicators show signal path.
proper connectivity. The rightmost block shows the console time, which can be 5. Adjust the third encoder to toggle the channel’s insert point between
set under Setup - Config. pre-fader and post-fader status.
2.1.1 Home 6. Tap the third encoder to toggle the channel insert in/out of the
signal path.
The HOME screen contains a high-level overview of the selected input or output
channel, and offers various adjustments not available through the dedicated 7. Adjust the fourth encoder to toggle the channel dynamics between
top-panel encoders. pre-EQ and post-EQ status.
The HOME screen is divided into the following tabs: 8. Tap the fourth encoder to toggle the channel EQ in/out of the
signal path.
home: General signal path for the selected input or output channel.
9. Adjust the fifth encoder to set the threshold of the channel compressor.
config: Allows selection of signal source/destination for the channel,
configuration of insert point, and other settings. 10. Tap the fifth encoder to toggle the channel compressor in/out of the
signal path.
gate: Controls and displays the channel gate effect beyond those offered by
the dedicated top-panel encoders. 11. Adjust the sixth encoder to pan the selected channel within the main
stereo output.
dyn: Controls and displays the channel dynamics effect (compressor) beyond
those offered by the dedicated top-panel encoders. 12. Tap the sixth encoder to assign the selected channel to the main
stereo output.
eq: Controls and displays the channel EQ effect beyond those offered by the
dedicated top-panel encoders. Page 2
sends: Controls and displays the channels sends, such as sends metering and 1. Adjust the first push encoder to select the console channel currently
sends muting. controlled by the HOME screen.
main: Controls and displays the selected channel’s output. 2. Tap the first encoder to toggle +48V phantom power on/off for the
currently selected input.
3. Tap the second encoder to toggle the phase flip on/off for the currently
selected channel.
4. Adjust the third encoder to select to which of the eight DCA groups the
currently selected channel will be assigned.
5. Tap the third encoder to assign the currently selected channel to the
selected DCA group.
21 M32 User Manual

6. Adjust the fourth encoder to select to which of the six mute groups the gate
currently selected channel will be assigned.
7. Tap the fourth encoder to assign the currently selected channel to the
selected mute group.
8. Tap the fifth encoder to toggle solo on/off 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/off for the currently
selected channel.
config

The gate tab displays all aspects of the channel noise gate, and allows for very
deep control of the gate effect. Whereas the top panel’s dedicated GATE section
allows control of the gate’s threshold and in/out status, the gate tab offers 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 first push encoder to set the input threshold of the gate.
2. Tap the first encoder to toggle the noise gate in/out of the signal path.
3. Adjust the second encoder to set the range of a ‘ducking effect applied
The configuration tab allows selection of signal source/destination for the
to the channel.
channel, configuration of insert point, and other settings, as well as configuration
of the channel delay. 4. Tap the second encoder to toggle the ducker effect in/out of the
signal path.
The config tab of input channels 1-32 contains the following parameters
that can be adjusted using the six push encoders: 5. Adjust the third encoder to set the attack time of the onset of the noise
gate effect.
1. Turn the first push encoder to adjust the input gain (trim) of
the channel. 6. Adjust the fourth encoder to set the hold time of the noise gate effect.
2. Tap the first encoder to allow linking of the channel to the 7. Adjust the fifth encoder to set the release time of the noise gate,
adjacent channel. controlling how quickly the gate opens up and lets the signal through.
3. Adjust the second encoder to set the low-cut frequency of the channel. Page 2
4. Tap the second encoder to toggle the low-cut filter in/out of the 1. Push encoders 1 & 2 function the same on pages 1 & 2.
signal path. 2. Adjust the fourth encoder to set the frequency of the key filter that can
5. Adjust the third encoder to scroll among all of the possible sources for be used to trigger the noise gate.
the channel. 3. Tap the fourth encoder to toggle the key filter on/off, allowing a specific
6. Tap the third encoder to select the currently highlighted source and frequency to control the gate.
assign it to the channel. 4. Adjust the fifth encoder to set the steepness of the EQ slope used in the
7. Adjust the fourth encoder to set the amount of digital line delay applied key filter.
to the channel. 5. Tap the fifth encoder to send the key source to the solo bus, allowing
8. Tap the fourth encoder to toggle the delay in/out of the signal path. the key source to be monitored and evaluated.
9. Adjust the fifth encoder to toggle the channel insert between pre- and 6. Adjust the sixth encoder to select the specific key source to be used.
post-EQ/compressor. Choices include ‘Self’ (the channel’s own signal), as well as any other
input/output of the console.
10. Tap the fifth encoder to toggle the channel insert in/out of the
signal path. 7. Tap the sixth encoder to assign the selected key source to the gate.
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.
22 M32 User Manual

dyn 8. Tap the fourth encoder to switch between Linear and Logarithmic
modes for the compressor. Following are some brief descriptions of
those different 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 effect of the compressor and
thus provides the most forgiving solution, being tolerant of differing
timing settings and signal material. This makes it the best choice
for general compression use and overall dynamic control of complex
The dynamics tab displays all aspects of the channel compressor, and allows for
musical signals.
very deep control of the effect. Whereas the top panel’s dedicated compressor
section allows control of the threshold and in/out status, the dyn tab offers many LINEAR: In this mode, the rate if gain change is constant (as set by the
more controls. This tab can be accessed directly by pressing the VIEW button in timing controls). Therefore the greater the signal dynamic excursion,
the top panel DYNAMICS section. the longer the compressor will take to complete a gain change.
Also, since the total time that the compressor spends in attack or decay
The dyn tab contains the following parameters that can be adjusted using
is proportional to the size of the gain excursion, the harmonic content
the six push encoders:
of the compression artefact will seem to reduce in frequency content,
Page 1 the louder the signal excursion. This type of compressor is useful for
1. Adjust the first push encoder to set the input threshold of generating dynamic sound effects because the sonic character of the
the compressor. compressor is much more affected by time control settings and signal
2. Tap the first encoder to toggle the compressor in/out of the signal path. material than the exponential type.
3. Adjust the second encoder to set the ratio of the compressor. 9. Adjust the fifth encoder to set the release time of the compressor.
4. Tap the second control to switch the channel dynamics effect between 10. Adjust the sixth encoder to set the makeup gain of the compressor;
compression and expansion. useful when the compression effect has reduced the overall signal level
of the channel too much.
5. Adjust the third encoder to set the attack time of the compressor effect.
Page 2
6. Tap the third encoder to switch the compressor between Peak and RMS
(root mean squared) mode, where the average level of the signal is 1. Push encoders 1 & 2 function the same on pages 1 & 2.
evaluated more than any specific peak of the channel material. 2. Adjust the third encoder to set the steepness of the compressor knee
• PEAK: A peak-sensing compressor responds to the instantaneous angle between five separate settings. Adjust this control to switch
level of the peak signal. While providing tighter peak control, between a harder sounding, or more transparent compressor effect.
peak sensing might yield very quick changes in gain reduction, 3. Tap the third encoder to move the compressor effect before or after the
more evident compression, or sometimes even distortion. EQ in the channel signal path.
This mode is suitable for control/limiting of dynamic material. 4. Adjust the fourth encoder to set the frequency of the key filter that can
• RMS: In this mode, the compressor applies an average function be used to trigger the compressor.
on the input signal before its level is compared to the threshold. 5. Tap the fourth encoder to toggle the key filter on/off, allowing a specific
This allows a more relaxed compression that also more closely frequency to control the compressor.
relates to our perception of loudness. Sharp dynamic transients
6. Adjust the fifth encoder to set the steepness of the EQ slope used in
will be less affected in this mode. This mode is good for controlling
the compressor.
levels in a mix.
7. Tap the fifth encoder to send the key source to the solo bus, allowing
7. Turn the fourth encoder to adjust the hold time of the compressor.
the key source to be monitored and evaluated.
• Hold time is a parameter not often found on commercial units, but
8. Adjust the sixth encoder to select the specific key source to be used,
is very useful. If a compressor is set to use a very fast attack/release
Choices include ‘Self’ (the channel’s own signal), as well as any other
time, audible distortion can occur, because the compressor is trying
input/output of the console.
to work on individual waveform cycles of the signal instead of the
sound envelope as a whole. The Hold parameter works around this 9. Tap the sixth encoder to assign the selected key source to
issue by providing a short delay. This delay prevents the compressor the compressor.
from releasing until a certain period of time has elapsed.
23 M32 User Manual

eq sends

The eq tab displays all aspects of the channel EQ, and also displays a detailed The sends tab displays and controls all aspects of the channel sends to the 16 mix
visual graphic of the current EQ curve. This tab can also be accessed directly by buses. Compared to the dedicated top panel send controls, this screen offers
pressing the VIEW button on the top panel EQUALISER section. additional functions, such as send muting and simultaneous metering of the
1. If the currently selected channels is an input, the channel EQ contains four selected channel’s 16 sends. This tab can also be accessed directly by pressing the
bands, with various aspects of each band adjusted by push encoders 2-5. VIEW button in the top panel SENDS section.
2. If the currently selected channel is a bus, the channel EQ contains six bands, The sends tab contains the following parameters that can be adjusted using
with various aspects of each band adjusted by encoders 1-6. the six push encoders:
3. On the EQ screen, the various push encoders are always tied to the various EQ Page 1
bands, and the Up/Down navigation controls are used to toggle whether the 1. Adjust the first push encoder to set the level for the first send of the
four/six push encoders adjust: currently selected four-send group.
• Gain 2. Tap the first encoder to mute the first send of the currently selected
• Frequency four-send group.
• Width 3. Repeat the process with the next three encoders for the remaining
three sends in the currently selected four-send group.
• EQ mode.
4. Adjust the sixth encoder to select which four sends to control with the
Page 1 (Gain)
rotary controls, shifting focus two sends at a time.
1. Adjust the first push encoder to set the frequency of the channel
5. Tap the sixth encoder to select which four sends to control with the
low-cut filter.
rotary controls, shifting focus four at a time.
2. Tap the first encoder to toggle the low-cut filter in/out of the signal path.
Page 2
3. Adjust the second encoder to boost/cut the gain of the low band.
1. Adjust the first push encoder to select from where in the signal chain
4. Adjust the third encoder to boost/cut the gain of the low-mid band. the send is tapped, for the first two sends of the currently focused four
5. Adjust the fourth encoder to boost/cut the gain of the high-mid band. sends. Options include:
6. Adjust the fifth encoder to boost/cut the gain of the high band. • Pre-EQ
7. Tap the sixth encoder to toggle the EQ in/out of the signal path. • Post-EQ
Page 2 (Frequency) • Pre-fader
1. Works as above, but the push encoders now adjust the frequency centre • Post-fader
points for the different EQ bands. • Sub-group.
Page 3 (Width) 2. Adjust the third encoder to perform the same operation for the second
1. Works as above, but the push encoders now adjust the bandwidth for the two sends of the currently focused four sends.
different EQ bands. Use a narrow slope for working with a specific frequency, 3. Adjust the sixth encoder to select which four sends to control with the
or use a broader slope for general tone-shaping. rotary controls, shifting focus two sends at a time.
Page 4 (Mode) 4. Tap the sixth encoder to select which four sends to control with the
1. Works as above, but the push encoders now adjust the EQ mode for each EQ rotary controls, shifting focus four at a time.
band. Choices include:
• Low cut
• Low shelf
• Parametric EQ
• Vintage EQ
• High shelf
• High cut.
24 M32 User Manual

main • 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 effects returns.

in/out
• The 32 input channels
• The eight auxiliary returns
• The six auxiliary sends
• The two rear panel digital outputs
The main tab displays and controls all aspects of the main bus assignments. • Monitor outputs
The main tab contains the following parameters that can be adjusted using • The 16 rear panel analogue outputs
the six push encoders: • The P16 Ultranet outputs.
1. Adjust the first push encoder to pan the selected channel within the
main stereo output. rta
2. Tap the first encoder to assign the selected channel to the main The rta tab shows details of the M32’s Real Time Analyser - a real-time spectrum
stereo output. 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
3. Turn the second encoder to adjust the level of the currently selected
are displayed on the Main Display, and can be used in a variety of applications.
channel within the mono (centre) bus.
The frequency resolution of both analysers is 100 bands, with constant relative
4. Tap the second encoder to assign the selected channel to the mono bandwidth from 20 Hz to 20 kHz. Hence they are three times more detailed than
output signal path. Use this function when crafting an LCR mix, typical third-of-an-octave RTAs. Both graphs can be visualised in a separate
as opposed to a mono or stereo mix. Meter screen, on top of each channel parametric EQ and on the FX rack graphic
5. Tap the fifth encoder to solo/unsolo the currently selected channel. EQ screens.
6. Adjust the sixth encoder to set the fader level for the currently
RTA Source
selected channel.
7. Tap the sixth encoder to mute/unmute the currently selected channel.

2.2 Meters

Depending on the application the analyser input signal can be taken from the
selected channel itself, any other pre-defined 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
The METERS screen displays different groups of level meters for various signal may come from a dedicated measuring mic input channel. Select the source
paths on the console, and is useful for quickly ascertaining if any channels need signal using the sixth push encoder.
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 Solo Priority
below) contain any ‘bottom-of-screen’ controls that would normally by adjusted When switched on, the selected RTA source signals will be replaced with the
by the six push encoders. monitor solo bus whenever a channel solo is active.
The METERS screen contains the following separate screen tabs, each containing TIP: This option might be useful, if you wish to analyse a group of channels
level meters for the following signal paths: concurrently, or if you have a fixed signal on the RTA that needs to be replaced only
temporarily with some other channel’s signal.
channel
• Level meters and fader levels for the 32 input channels. Pre / Post
The analysers can tap their input signals from pre- or post-EQ, allowing you to
mix bus
see the impact of your EQ in that channel. Tap the fifth push encoder to toggles
• Level meters, fader levels and gain reduction meters for the 16 bus masters between the two.
• Level meters, fader levels and gain reduction meters for the six
matrix outputs
25 M32 User Manual

Gain aes50-b: Allows patching of internal signal paths to the 48 outputs of the
When engaged, the Auto Gain function simplifies adjusting the analyser rear-panel AES50-B output.
views and ensuring meaningful readings. In most cases it should be switched xlr out: Allows patching of internal signal paths to the XLR out connections
on. When switched off, the RTA gain can be set manually using the push on the rear.
encoder, which may be necessary for comparing absolute frequency band None of the ROUTING screen’s tabs contain a secondary level of functions. When
levels between different channels. Tap the fourth push encoder to engage the routing audio, the Up/Down navigation controls do not need to be used.
Auto Gain function.
home
EQ Overlay
The ROUTING screen’s home tab allows the user to patch the M32’s physical
When using the analysers on top of the channel EQ plot or over the graphic rear-panel inputs to the 32 input channels and auxiliary inputs of the console.
EQ screens, the meter’s opacity can be adjusted to your liking. Something around
As a default, the M32 maps its 32 rear-panel analogue inputs to the respective 32
50% is typically a good starting point. Turn it down to 0% with the fifth push
channel inputs that are accessed on input fader layers one and two, and maps the
encoder if you don’t need to see the RTA on top of the channel EQ or graphic
rear-panel line-level (auxiliary) inputs to the third input fader level.
EQ screens.
However, the home tab of the ROUTING screen can be used to change this
RTA On Channel EQ View default assignment and cross-patch different physical inputs to different
The channel EQ RTA function will always display the respective channel’s channel inputs, in banks of eight channels at a time. This allows the user to
frequency distribution, independent from the RTA Source definition. Use the EQ create a custom layer of channel inputs that differs from the order that the
Overlay control for adjusting the amount of RTA on top of the EQ plot. Default sources are plugged into the rear panel, and is easier than physically re-patching
preferences when opening any channel EQ view can be set to ‘Pre-EQ’ (off is audio cables.
Post-EQ) and ‘Spectrograph’ (off is bar graph). They can however be overruled on To assign various inputs to the M32’s input channels, perform the following steps:
the respective EQ page. 1. Adjust the first push encoder to select which 8-channel audio input source
feeds input channels 1-8 of the console. As the control is rotated, the
RTA On Graphic EQ View
currently selected input will be highlighted in the vertical list of choices.
The Graphic EQ RTA function will always display the respective FX slot’s frequency
2. When the desired 8-channel source is selected, push the first push encoder
distribution, independent from the RTA Source definition, unless the ‘Use RTA
to connect the currently selected 8-channel source. The selected source now
Source’ mark is ticked. Use the EQ Overlay control for adjusting the amount of RTA
feeds input channels 1-8 of the console.
on top of the GEQ sliders. Default preferences when opening any GEQ view can
be set to ‘Post-GEQ’ (off is pre-graphic EQ) and ‘Spectrograph’ (off is bar graph). 3. Input choices that can be assigned include:
They can however be overruled on the respective GEQ page. • Local 1-8
• Local 9-16
2.3 Routing • 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
The ROUTING screen is where all signal patching is done, allowing you to route • AES50-B 25-32
internal signal paths to and from the physical input/output connectors located • AES50-B 33-40
on the M32’s rear panel. • AES50-B 41-48
The ROUTING screen contains the following separate tabs: • Card 1-8
home: Allows patching of physical inputs to the 32 input channels and • Card 9-16
auxiliary inputs of the console.
• Card 17-24
out 1-16: Allows patching of internal signal paths to the console’s 16 rear-
• Card 25-32.
panel XLR outputs.
4. To assign an 8-channel source from the other input channels of the console
aux out: Allows patching of internal signal paths to the console’s six rear-
(9-16, 17-24, 25-32), simply repeat the process above, using the other four
panel ¼"/RCA auxiliary outputs.
push encoders on the same screen.
p16 out: Allows patching of internal signal paths to the 16 outputs of the
5. Choices for Aux 1-4 include:
console’s 16-channel P16 Ultranet output.
• Aux Ins
card out: Allows patching of internal signal paths to the 32 outputs of the
DN32-USB card. • Local 1-2
aes50-a: Allows patching of internal signal paths to the 48 outputs of the • Local 1-4
rear-panel AES50-A output. • Local 1-6
26 M32 User Manual

• AES50A 1-2 • PreFdr

• AES50A 1-4 • PreFdr +M
• AES50A 1-6 • Post Fader.
• AES50B 1-2 6. Tap the fifth encoder to assign the selected signal tap point.
• AES50B 1-4 7. Turn the sixth encoder to adjust the amount of digital line delay applied to
• AES50B 1-6 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 different
• Card 1-2
units of measurement: feet, metres and milliseconds.
• Card 1-4
8. Tap the sixth encoder to toggle delay on/off. The Delay label illuminates
• Card 1-6. when the delay is inserted into the signal path.
out 1-16 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
The ROUTING screens out 1-16 tab allows the user to patch the M32’s various
near the stage, and a second set of speakers is located further back within the
internal signal paths to the 16 analogue XLR outputs that are located on the
audience. By applying an appropriate amount of delay only to the speakers
console’s rear panel.
located near the stage, the audience hears the audio from all speakers at
The M32 allows for many different kinds of output signal paths, and this screen the same time, ensuring maximum time-alignment and sound quality. The
is where these outputs are assigned to a physical rear panel output, so that the M32 assumes an operating temperature of 20°C/68°F when calculating the
signal path can be patched to their eventual destination, such as front-of-house delay times.
PA speakers or a powered stage monitor.
To assign the various output paths to the rear panel XLR outputs, perform the aux out
following steps: The ROUTING screen’s aux out tab allows the user to patch an internal signal
1. Adjust the first push encoder to select to which of the 16 rear panel analogue path (such as a mix output used as an effects send) to the six separate ¼"/RCA
outs you wish to assign an output signal path. auxiliary outputs.
2. Adjust the third encoder to select an output path category. These include: 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:
• Off
1. Feeding an external effects processor when the internal effects
• Main (LRC) Mix
are insufficient.
• Mix Bus Outputs
2. Patching a specific console signal path to an outboard recorder.
• Matrix Outputs
3. Feeding the analogue or digital audio inputs of a nearby video recorder.
• Direct Outs
To make an assignment as described above, perform the following steps:
• Monitor.
1. Adjust the first push encoder to select to which auxiliary outputs to assign a
3. Adjust the fourth encoder to select a specific output path, including: source. Choices include
• Off • Aux Out 1
• Main L • Aux Out 2
• Main R • Aux Out 3
• Main C/M • Aux Out 4
• Any of the 16 Mix Outputs • Aux Out 5
• Any of the six Matrix Outputs • Aux Out 6
• Any of the 32 Direct Outputs • AES/EBU (Digital) Out L
• Any of the eight Auxiliary Outputs • AES/EBU (Digital) Out R.
• Any of the FX Direct Outputs 2. Adjust the third encoder to select for coarse range:
• Monitor L • Insert
• Monitor R • Main (LRC)
• Talkback. • Mix Bus
4. Tap the fourth encoder to assign the selected output path, • Matrix
completing the process.
• Direct Out
5. Adjust the fifth encoder to select the signal tap point for the output
• Monitor.
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 3. Adjust the fourth encoder to select a specific signal path to feed the selected
tap points include: physical output. Choices include:
• IN/LC • Insert Point
• IN/LC +M • Main L
• PreEQ • Main R
• PreEQ +M • Main C/M
• PostEQ • Any of the 16 Mix Outputs
• PostEQ +M • Any of the six Matrix Outputs
27 M32 User Manual

• Any of the 32 Direct Outputs • Monitor L

• Any of the eight Auxiliary Outputs • Monitor R
• Any of the FX Direct Outputs • Talkback.
• Monitor L 4. Tap the fourth encoder to assign the selected output path,
• Monitor R completing the process.
• Talkback. 5. Adjust the fifth encoder to select the signal tap point for the output
assignment. This determines where in the audio signal path the source
4. Tap the fourth encoder to assign the selected output path, completing the
is ‘tapped’ as it is sent to the P16 output. The available signal tap
process.
points include:
5. Adjust the fifth encoder to select the signal tap point for the output
• IN/LC
assignment. Choices include:
• IN/LC +M
• IN/LC
• PreEQ
• IN/LC +M
• PreEQ +M
• PreEQ
• PostEQ
• PreEQ +M
• PostEQ +M
• PostEQ
• PreFdr
• PostEQ +M
• PreFdr +M
• PreFdr
• Post Fader.
• PreFdr +M
6. Tap the fifth encoder to complete the signal tap point assignment.
• Post Fader.
6. Tap the fifth encoder to complete the signal tap point assignment. card out
The ROUTING screen’s card out tab allows the user to patch various signal paths
p16 out
to the physical inputs and outputs on the DN32-USB card. The card’s signal path
The ROUTING screen’s p16 out tab allows the user to route various console signal provides 32 channels of inputs and 32 channels of outputs. The 32 card inputs can
paths to the rear panel P16 Ultranet output. This output allows for 16 channels be used as alternative sources for the two input fader layers, switchable in banks
of audio to be sent, in digital form, to various accessories such as a personal of eight.
monitoring distribution box.
To assign an output path to the option card, perform the following steps:
Using the p16 out routing screen, the user can configure the P16 output to carry
1. Adjust the first push encoder to select an 8-channel signal path that will be
not only the main LR mix, but also various audio ‘stems’ of audio material sources
sent to the first eight channels of the card. Choices include:
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 • Local 1-8 • AES50-B 25-32
personal mix of these musical stems, all delivered from the FOH position to stage • Local 9-16 • AES50-B 33-40
over a single Ethernet cable.
• Local 17-24 • AES50-B 41-48
To select which audio signals are sent to the P16 bus, perform the
• Local 25-32 • Card 1-8
following steps:
• AES50-A 1-8 • Card 9-16
1. Adjust the first push encoder to select for which of the 16 channels in the P16
bus you wish to select an audio source. • AES50-A 9-16 • Card 17-24
2. Adjust the third encoder to select a category of audio source to send to the • AES50-A 17-24 • Card 25-32
currently selected P16 channel. These categories include: • AES50-A 25-32 • Out 1-8
• Insert • AES50-A 33-40 • Out 9-16
• Main (LRC) • AES50-A 41-48 • P16 1-8
• Mix Bus • AES50-B 1-8 • P16 9-16
• Matrix • AES50-B 9-16 • Aux 1-6/Mon.
• Direct Out • AES50-B 17-24
• Monitor.
2. Tap the first encoder to assign the selected output path,
3. Adjust the fourth encoder to select which specific signal path to feed to the completing the process.
currently selected P16 output. Choices include:
3. Repeat the process with encoders 2-4 to select output paths for the other
• Off 24 channels or card outputs.
• Main L
aes50-a / aes50-b
• Main R
The ROUTING screens aes50-a and aes50-b tabs allow the user to patch
• Main C/M
various console output paths to the outputs of the dual AES50 connectors. These
• Any of the 16 Mix Outputs connectors can feed other AES50-equipped devices, such as a digital stage box or
• Any of the six Matrix Outputs standalone multi-track recorder.
• Any of the 32 Direct Outputs The M32 contains two separate AES50 connectors, labelled A and B. These dual
• Any of the eight Auxiliary Outputs connectors allow for an increased level of flexibility in networking the console to
various AES50-based equipment.
• Any of the FX Direct Outputs
28 M32 User Manual

Each of the two AES50 tabs contains the same following sets of parameters that • AES50-B 29-32
• AES50-B 25-28
can be adjusted. To assign various console signal paths to the AES50 connectors,
perform the following steps: • AES50-B 33-36 • AES50-B 37-40
1. Adjust the first push encoder to select an 8-channel signal path that • AES50-B 41-44 • AES50-B 45-48
will be sent to the first eight channels of the AES50 connector’s output.
Choices include: • Card 1-4 • Card 5-8
• Card 9-12 • Card 13-16
• Local 1-8 • AES50-B 25-32
• Card 17-20 • Card 21-24
• Local 9-16 • AES50-B 33-40
• Card 25-28 • Card 29-32
• Local 17-24 • AES50-B 41-48
• Out 1-4 • Out 5-8
• Local 25-32 • Card 1-8
• Out 9-12 • Out 13-16
• AES50-A 1-8 • Card 9-16
• P16 1-4 • P16 4-8
• AES50-A 9-16 • Card 17-24
• P16 9-12 • P16 13-16
• AES50-A 17-24 • Card 25-32
• Aux 1-4 • Aux 5-6/Mon
• AES50-A 25-32 • Out 1-8
• Auxin 1-4. • Auxin 5-6/TB.
• AES50-A 33-40 • Out 9-16
• AES50-A 41-48 • P16 1-8
• AES50-B 1-8 • P16 9-16
2.4 Setup
The SETUP screen offers various controls for global, high-level functions of
• AES50-B 9-16 • Aux 1-6/Mon. the M32, such as display adjustments, sample rates and synchronisation, user
• AES50-B 17-24 settings, and network configuration.
The SETUP screen contains the following separate tabs:
2. Tap the first encoder to connect the currently selected signal path to the
global: This screen offers adjustments for various global preferences of how
AES50 pathway.
the console operates.
3. Repeat the above process for the other five sets of 8-channel AES50 outputs.
config: This screen offers adjustments for sample rates and synchronisation,
The aes50-b tab works exactly the same as the aes50-a tab, but instead selects as well as configuring high-level settings for signal path buses.
sources sent to the output of the console’s AES50-B connector.
remote: This screen offers different controls for setting up the console as a
xlr out control surface for various DAW recording software packages on a connected
computer.
The ROUTING screen’s xlr out tab, much like the out 1-16 tab, allows the user to
patch the M32’s various internal signal paths to the 16 analogue XLR outputs that network: This screen offers different controls for attaching the console to a
are located on the console’s rear panel. This tab, however, allows the XLR outputs standard Ethernet network.
to be patched in blocks of four, rather than individually. Also, on this screen it is scribble strips: This screen offers controls for various aspects of the
only possible to route the signal to its absolute destination, rather than choosing console’s DCA groups.
the signal path. The available destinations will differ depending on the block preamps: This screen allows the gain on each of the individual input
selected. Destinations include: channels’ preamps to be adjusted.
Block 1-4 / Block 9-12 Block 5-8 / Block 13-16 card: This screen selects the input/output configuration.
None of the SETUP screen’s tabs contain a secondary level of functionality, so the
• Local 1-4 • Local 5-8
UP/DOWN navigation controls do no need to be used for these screens.
• Local 9-12 • Local 13-16
global
• 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 The SETUP screen’s global tab allows the user to adjust various global controls
• AES50-B 17-20 • AES50-B 21-24 of the console, such as display brightness and contrast, the panning mode used
by channels, text languages, and more.
29 M32 User Manual

To make adjustments to the global screen, perform the following steps: 4. Adjust the second encoder to select the digital sample rate of the console.
1. Adjust the first push encoder to select various console settings for pop-up Choices include:
messages and assorted preferences. • 44.1 kHz
2. Tap the first encoder to turn the currently selected setting on or off. • 48 kHz.
3. Adjust the second encoder to select settings for linked console channels. 5. Tap the second encoder to assign the currently selected sample rate.
4. Tap the second encoder to turn the currently selected setting on or off. TIP: Note that the sample rate of the console will be the same sample rate for
5. Adjust the third encoder to set the console’s panning mode, which affects any audio recorded to the onboard stereo USB recorder, as well as the sample
how channel panning is performed in the stereo field. The two choices are: rate output by the AES/EBU connector that may get patched into an outboard
recorder. Thus, it is often beneficial to select a sample rate that is appropriate for
• LR+M: This is the default mode of the console. In this mode, channels
the medium on which the recorded audio will be used.
can be panned between left and right mix outputs, as well as assigned
to the separate mono mix bus. In this mode the Centre/Mono bus is not If the programme material being recorded is audio only with no video
affected by the pan control component, it usually makes sense to set a sample rate of 44.1 kHz. This will
ensure that any audio that is recorded is compatible with the 44.1 kHz sample
• LCR: In this mode, the signal is panned from left to right. This behaviour
rate of commercial audio CDs.
is emulated by the faders on the Main tab, which is more intuitive
than on other consoles. Note that in this mode, the definition of If the programme material being recorded is audio that is meant to accompany
‘mono’ changes, since the setup is no longer mono, but rather a setup video, it makes sense to set a sample rate of 48 kHz. This will ensure that any
consisting of Left/Centre/Right audio recorded is compatible with the 48 kHz sample rate of the various audio
formats used on a video DVD.
6. CUE: / SCN: / SNP: Toggle between these settings to control which of the
three is displayed on the external editing software. 6. Adjust the third encoder to set the word clock synchronisation of the console
to its internal digital clock, or slave to an external digital clock. Choices for
7. Adjust the fourth encoder to set the brightness of the various LED lights on
the clock signal include:
the M32, within a range of 1-100.
• Internal clock
8. Adjust the fifth encoder to set the brightness of the Main Display, within a
range of 1-100. • External clock from the AES50-A port
9. Adjust the sixth encoder to set the contrast of the individual LCD screens • External clock from the AES50-B port
(channel display) above each input and output channel, within a range • Card.
of 1-100. Note that the graphics at the top of the screen will always display a green
LED when the console has achieved proper ‘digital lock’, from either its own
config
internal clock or a valid external clock.
7. Tap the fourth encoder to cycle through the different settings for the
console’s internal date and time settings.
8. Adjust the fourth encoder to set the value for the currently selected date/
time setting.
9. Adjust the fifth encoder to select the console’s ‘Bus Pre-Configuration’.
This setting allows the mix bus outputs to be configured in various
combinations of:
• Pre-fader, variable output auxiliary sends
• Fixed-output subgroups
• Post-fader, variable output auxiliary sends.
Choices include:
The SETUP screen’s config tab allows adjustment of various audio-related • Eight pre-fader auxiliary sends, eight post-fader auxiliary sends,
settings, such as the console’s base sample rate and use of an internal or external no subgroups
digital clock. It also offers choices for high-level global settings for how signal • Eight pre-fader auxiliary sends, four post-fader auxiliary sends,
path buses operate. four subgroups
To adjust the various settings of the config tab, perform the following steps: • Six pre-fader auxiliary sends, four post-fader auxiliary sends,
1. Adjust the first push encoder to select between Console, Show Data, and six subgroups
Libraries for initialisation. • Four pre-fader auxiliary sends, four post-fader auxiliary sends,
2. Tap the first encoder to initialise the console back to its factory state. eight subgroups
• The message, “Do you really want to initialize ALL settings?” • Ten pre-fader auxiliary sends, six post-fader auxiliary sends,
will appear. Use the Left navigation control to cancel the operation, no subgroups.
or the Right navigation control to confirm. 10. Tap the fifth encoder to assign the currently selected configuration.
3. The console’s current firmware version is displayed in the first column of the As the configuration is selected, a display on the right-hand side of the Main
Main Display. Display changes to show the currently selected configuration.
• If/when a firmware update is available for the console, the user simply
needs to download the new firmware file to the root level of a USB stick.
The USB button has to be pressed while booting up, and when the
console displays “waiting for USB” on the main screen insert the
USB stick.
30 M32 User Manual

remote 7. Tap the sixth encoder to toggle the currently selected MIDI option on
or off. This can be useful if you want to ensure that any connected MIDI
transmitters cannot interfere with the console.
NOTE: For more detailed information about MIDI,
see Appendix B: MIDI Operation.
network

The SETUP screen’s remote tab allows the M32 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:
The SETUP screen’s network tab contains settings used when connecting the
1. Tap the first push encoder to enable the M32’s REM - DAW REMOTE button
M32 to a standard Ethernet network. The user can set parameters such as using
on the control surface. This switches various console hardware, such as
a fixed IP address, or having one assigned, as well as setting up Ethernet and
the bus faders, to control computer DAW software instead of the console’s
subnet mask settings.
internal audio path.
To set the network address for the console, perform the following steps:
2. Adjust the second encoder to select the specific control surface protocol
used, in conjunction with the target DAW software. Choices include: 1. Adjust the first push encoder to select which specific network field to adjust.
Choices include:
• Mackie Crtl: Use this protocol to control any DAW software that is
compatible with a Mackie Control hardware surface • IP address
• HUI: Use this protocol to control any DAW software that is compatible • Subnet Mask
with an HUI hardware control surface, such as Pro Tools • Gateway.
• Midi CC: Use this protocol to control software via MIDI. More detailed 2. Adjust encoders 2, 3, 4 and 5 to set the four numerical fields to be adjusted
information can be found in Appendix B: MIDI Operation. for the selected network field.
3. Tap the second encoder to assign the currently selected control 3. Tap the sixth encoder to assign the adjusted settings.
surface protocol.
scribble strip
4. Adjust the fifth encoder to select whether the remote function uses the MIDI
IN and MIDI OUT sockets, the card’s MIDI, or RTP (Real Time Protocol) MIDI.
5. Tap the fifth encoder to confirm the selection.
6. Turn the sixth encoder to adjust various MIDI-based operations for the
console. Choices include:
• MIDI In/Out: This toggles the MIDI input and output on or off
• Card MIDI: Allows MIDI transmission through the DN32-USB card
• RTP (Real-Time Transport Protocol): This toggles on or off the console’s
ability to interface with an Ethernet-based MIDI system
• Rx PrgC: Toggles on or off the console’s ability to receive
Program Change messages
• Tx PrgC: Toggles on or off the console’s ability to send Program
Change messages The SETUP screen’s scribble strips tab allows customisation for all of the M32’s
• Rx Fader: Toggles on or off the console’s ability to receive channel LCD displays, including Aux, FX, Buses, Matrices and DCAs.
Fader messages On the scribble strips tab the user can make useful adjustments, such as
• Tx Fader: Toggles on or off the console’s ability to send Fader messages assigning real names to the selected channel (such as ‘drums’ or ‘backing
• Rx Mute: Toggles on or off the console’s ability to receive vocals’), as well as assigning colours to them that are then reflected on the
Mute messages console’s channel LCD screens.
• Tx Mute: Toggles on or off the console’s ability to send Mute messages To adjust the various LCD display settings, perform the following steps:
• Rx Pan: Toggles on or off the console’s ability to receive Pan messages 1. Adjust the first push encoder to select which of the channels you wish
to edit.
• Tx Pan: Toggles on or off the console’s ability to send Pan messages
2. Adjust the second encoder to set the colour for the currently selected
• X/OSC: Open Sound Control, toggles on or off the console’s ability to
channel’s scribble strip.
communicate with the iPad application.
31 M32 User Manual

3. Tap the second encoder to invert the colour. 2.5 Library

4. Adjust the third encoder to select the graphic icon for the selected channel.
A large variety of clip-art is available to represent various input sources and
output destinations.
5. Adjust the fourth encoder to select a name from a list of common preset
names (snippets) for the currently selected channel.
6. Tap the fourth encoder to assign the currently highlighted text to the
currently selected channel’s scribble strip.
7. Tap the fifth encoder to edit the text assigned to the currently selected
channel’s scribble strip.
8. Adjust the fifth encoder to scroll through the available characters that can be
used to name the currently selected channel’s scribble strip.
9. Tap the fifth encoder to select the currently highlighted character.
10. Adjust the sixth encoder to scroll between the available character sets. The LIBRARY screen allows loading and saving of commonly used setups for the
channel inputs, effects processors and routing scenarios.
11. Tap the sixth encoder to exit the text editor and save the current parameters
to the currently selected channel’s scribble strip. The LIBRARY screen contains the following separate tabs:
channel: This tab allows the user to load and save commonly used
preamps combinations of the channel DSP effects.
effects: This tab allows the user to load and save commonly used effects
processor presets.
routing: This tab allows the user to load and save commonly used
signal routings.
channel
The LIBRARY screen’s channel tab allows you to load and save commonly used
combinations of the channel DSP effects. 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 first push encoder to select which specific elements of the
This screen allows controlling all accessible preamps from the console, including input channel can be recalled when loading an input channel preset.
local and AES50 remote preamps, irrespective of any console’s channel Choices include:
assignments. The UP/DOWN navigation buttons switch between the two layers of • Head Amp (Microphone Preamplifier)
preamps. Pressing the push encoders will activate the phantom power. Turning • Configuration
the first push encoder will select from the banks of eight, pressing it will confirm
• Gate
the selection.
• Compressor
card • Equalizer
This screen selects the input/output configuration. Use the second push encoder • Sends.
to select between the following presets:
2. Tap the first encoder to turn the currently selected element on or off in the
• 32in / 32out recall list.
• 16in / 16out 3. Adjust the second encoder to scroll among a list of input channel presets.
• 32in / 8out 4. Tap the second encoder to load the currently highlighted preset and make it
• 8in / 32out active on the currently selected console channel.
• 8in / 8out 5. Adjust the third encoder to scroll among a list of channel preset slots to save
• 2in / 2out. 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.
32 M32 User Manual

effects home
The LIBRARY screen’s effects tab allows you to load and save presets for the
various onboard effects processors.
To adjust the various settings on the effects tab, perform the following steps:
1. Adjust the first push encoder to select which of the eight effects slots to load
or save a preset.
• As you navigate among the eight effects slots the specific effect
processor loaded into each slot will display on the screen as both a
name and an icon.
2. 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 The EFFECTS screen’s home tab provides a high-level overview of the eight
M32’s signal routings. This can be useful for repeating specific routing scenarios effects processor slots, giving the user at-a-glance feedback on the effects they
that occur over and over on a regular basis, such as when using the console for a have assigned to the slots, the console source and destination for each processor,
weekly club gig or worship service. and the input/output levels for each processor.
To adjust the various settings on the routing tab, perform the following steps: To make adjustments on the EFFECTS screen’s home tab, perform the
1. Adjust the first push encoder to select which specific console signal paths following steps:
will be recalled when loading a routing preset. Choices include: 1. Adjust the first push encoder to select the input source for the currently
• Channel Inputs highlighted effects block. Signal path choices include:
• Analog Out • Insert Send
• Auxiliary Out • Mix Bus 1-16.
• P16 (Ultranet) Out 2. Tap the first encoder to assign the currently selected input source.
• Card Out 3. Adjust the second encoder to select the input source for the right side of the
• AES50 Out. currently highlighted effects block.
2. Tap the first encoder to turn the currently selected element on or off in the 4. Tap the second encoder to assign the currently selected input source.
recall list. TIP: To configure an effect as mono input and stereo output, set both input
3. To save and load presets, as well as import/export them, follow the same sources to the same signal path
procedure as detailed in the LIBRARY screen channel tab. 5. Tap the third and fourth encoders to mute the currently selected effect.
6. Adjust the fifth encoder to scroll among the different audio effects available.
2.6 Effects Choices include:
The EFFECTS screen controls various aspects of the eight internal effects
processors. On this screen the user can select specific types of effects for the Hall Reverb Delay + Chamber M/S Fair Comp
eight internal processors, configure their input and output paths, monitor their
levels, and adjust the various effect parameters. Ambience Chorus + Chamber Dual Fair Comp
The first four slots can be Insert and Side-Chain effects, and the slots five to eight Rich Plate Reverb Flanger + Chamber Leisure Comp
are Insert only. Additionally these slots can only hold some effects excluding
Room Reverb Delay + Chorus Dual Leisure Comp
reverbs and other power-intensive effects. They also have different selections for
the input sources. Chamber Reverb Delay + Flanger Ultimo Comp
The EFFECTS screen contains the following separate tabs: Plate Reverb Modulation Delay Dual Ultimo Comp
home: The home tab provides a general overview for all eight effects
Vintage Reverb Dual Graphic EQ Dual Enhancer
processors, displaying what effect has been inserted in each of the eight
slots, as well as displaying input/output paths for each slot, and the I/O Vintage Room Stereo Graphic EQ Stereo Enhancer
signal levels.
Gated Reverb Dual TruEQ Dual Exciter
fx1-8: These eight duplicate screens display all relevant data for the right
separate effects processors, allowing the user to adjust all parameters for Reverse Reverb Stereo TruEQ Stereo Exciter
the selected effect. Stereo Delay Dual DeEsser Stereo Imager
Triple Delay Stereo DeEsser Edison EX1
Rhythm Delay Stereo Xtec EQ1 Sound Maxer
Stereo Chorus Dual Xtec EQ1 Dual Guitar Amp
33 M32 User Manual

3. While holding the mute group button, press the SEL button on any input or
Stereo Flanger Stereo Xtec EQ5 Stereo Guitar Amp
output channel, on any layer, that you wish to assign to the mute group.
Stereo Phaser Dual Xtec EQ5 Dual Tube Stage 4. When you have assigned all the desired channels to the mute group, release
Dimension-C Wave Designer Stereo Tube Stage the dedicated mute group button. The individual channel MUTE buttons will
resume their normal function.
Mood Filter Precision Limiter Dual Pitch Shifter
To use the MUTE GRP screen to mute or unmute the groups, perform the
Rotary Speaker Combinator Stereo Pitch following steps:
Tremolo / Panner Dual Combinator 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.
Suboctaver Fair Comp
2. Tap the encoder of a currently mute group to unmute that group.
7. Tap the fifth encoder to assign the selected effect to the currently 3. When finished working with mute groups, tap the MUTE GRP button to exit
highlighted effects slot. the screen. The Main Display will again show its full set of controls for the
current page.
8. Adjust the sixth encoder to scroll among the eight effects slots to select one
for editing.
2.8 Utility
9. Tap the sixth encoder to go to the edit page for the currently highlighted
The UTILITY screen is a supplemental screen designed to work in conjunction
effects slot.
with the other screens that may be in view at any particular moment.
fx1-8 The UTILITY screen is never seen by itself; it always exists in the context of
another screen.
The EFFECTS screen’s fx 1-8 tabs allow you to edit the parameters for the specific
effect processor assigned to the corresponding effects slot. 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,
In order to more closely simulate the look and feel of the outboard processors
showing you for which screen it is providing other utilities. For most screens,
that are no longer necessary with a digital console, the individual effects
pressing the UTILITY button simply acts as a short cut to a page that can be
processor screen provides a graphical representation of the effects processor’s
navigated to by other means. In a few cases, a utility page provides extra
real world physical counterpart. This provides greater ease of use for the user
functionality not seen anywhere else.
than a simple text list of parameters.
The UTILITY screen selection button works in the following manner with other
To make adjustments on the EFFECTS screen’s editing tab, perform the
screens on the console:
following steps:
1. Adjust the six push encoders to change the various effects parameters HOME Screen
shown at the bottom of the screen. Pressing the UTILITY button while on any of the tabs on the HOME page will
2. Use the Up/Down navigation controls to switch the push encoders to a take the user to the channel tab of the LIBRARY screen.
second, third or fourth set of parameters for effects that contain more than
six adjustable parameters. METERS Screen
3. When the effects processor has been edited to your satisfaction, push the There are no Utility functions on any of the METERS screen’s tabs.
sixth encoder to go back to the EFFECTS screen’s home tab.
ROUTING Screen
4. See the Main Display - Internal Effects section for more details on
Pressing the UTILITY button while on any of the ROUTING screen’s tabs takes
specific effects and parameters.
the user to the routing tab of the LIBRARY screen.
TIP: For the Graphics EQ effects, tap the first push encoder to implement the
‘Graphics EQ on Faders’ function. This allows you to boost or cut the different SETUP Screen
EQ bands using the eight console output faders, eight faders at a time, with the With the exception of the scribble strips tab, there are no Utility functions on
relevant EQ bands displayed on the channel LCD screens. any of the SETUP screen’s tabs.
For the scribble strips tab, pressing the UTILITY button provides an interface
2.7 Mute Group for assigning a custom colour, name and icon to the currently selected input or
The M32’s MUTE GRP screen allows for quick assignments and control of the output channel.
console’s six mute groups, and offers two separate functions:
• Adjust and tap the six push encoders to assign a colour, name and icon to
1. It mutes the active screen during the process of assigning channels to mute the currently selected input or output channel. Tap the sixth encoder to save
groups. This ensures that no channels are accidentally muted during the changes and exit.
assignment process of a live performance.
2. It offers an additional interface for muting or unmuting the mute LIBRARY Screen
groups in addition to the dedicated mute group buttons on the console’s There are no Utility functions on any of the LIBRARY screen’s tabs.
control surface.
EFFECTS Screen
When activated, the MUTE GRP screen only covers the bottom portion of the
Main Display, allowing the middle portion to continue displaying its usual Pressing the UTILITY button while on any of the EFFECTS screen’s tabs takes the
screen content. user directly to the effects tab of the LIBRARY screen.
To assign channels to one of the six mute groups, perform the following steps: RECORDER Screen
1. Press the MUTE GRP button to switch the Main Display to the mute Pressing the UTILITY button while on either of the RECORDER screen’s tabs
groups view. takes the user directly to the select USB drive folder/file page of the RECORDER
2. Press and hold the desired mute group button (1-6) on the lower right-hand screen’s config tab.
corner of the console.
34 M32 User Manual

MONITOR Screen Ambience

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 different scenes in the
scene list. Adjust and tap the six push encoders to perform these functions. More Ambience creates a customisable virtual acoustic space in which to place the
information can be found in the SHOW CONTROL section. elements of a mix. Use Ambience to add warmth and depth without colouring
the direct sound. Inspired by the Lexicon Ambience Algorithm.
ASSIGN Screen PRE DELAY sets the time before the reverb follows the source signal. DECAY
There are no Utility functions on any of the ASSIGN screen’s tabs. adjusts the time it takes for the reverb to completely dissipate. SIZE controls the
room size emulation. DAMPING controls the high-frequency decay within the
2.9 Internal Effects reverb tail. DIFFUSE controls the initial echo density. The level sets the volume
output of the affected signal. LO CUT affects the low frequency cut, allowing
lower frequencies to remain unaffected by the reverb. HI CUT affects the high
frequency cut, allowing higher frequencies to remain unaffected by the reverb.
MOD adjusts the level of reverb decay modulation. TAIL GAIN adjusts the volume
of the reverb tail.
Rich Plate Reverb

The M32 contains over 60 internal effects that can be applied to each of the input
channels, either as inserts or as sends and returns. Access the internal effects by Rich Plate Reverb was originally created by sending a signal through a transducer
pressing the EFFECTS button next to the Main Display. The functionality for each to create vibrations on a plate of sheet metal which were then picked up as an
of the effects is detailed below. audio signal. Our algorithm simulates that sound with high initial diffusion and a
bright-coloured sound. Inspired by the Lexicon Plate Reverb.
Hall 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 effect. The DAMP slider adjust the decay of high frequencies within
the reverb tail. DIFF(usion) controls the initial reflection density.
LO CUT and HI CUT function as Low- and High-Cut filters. BASSMULT multiplies
the bass frequencies and MOD SPEED adjusts the speed of the effect’s
modulation. SHAPE adjust the contour of the reverberation envelope.
Classic Hall Reverb simulates the reverberation that occurs when sound is The SPIN parameter sets the amount of random modulation for the reverb tail.
recorded in medium- to large-sized convert halls. Use the Hall Reverb to give your The parameters Echo / EchoFeed set the parameters of a feedback delay at
mix a lush , three-dimensional quality that will make your performance sound the input of the reverb (independant for both input channels). Echo sets the
larger than life. Inspired by the Lexicon Hall. delaytime and EchoFeed the amount of feedback (positive or negative). This
The PRE DELAY slider controls the amount of time before the reverberation allows to further increase the reflection density of the reverb.
is heard following the source signal. DECAY controls the amount of time it
takes for the reverb to dissipate. SIZE controls the perceived size of the space Room Reverb
being created by the reverb effect. The DAMP slider adjust the decay of high
frequencies within the reverb tail. DIFF(usion) controls the initial reflection
density. SHAPE adjust the contour of the reverberation envelope.
LO CUT and HI CUT function as Low- and High-Cut filters. BASSMULT multiplies
the bass frequencies and MOD SPEED adjusts the speed of the effect’s
modulation. SHAPE adjust the contour of the reverberation envelope.

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.
35 M32 User Manual

The PRE DELAY slider controls the amount of time before the reverberation Vintage Reverb
is heard following the source signal. DECAY controls the amount of time it
takes for the reverb to dissipate. SIZE controls the perceived size of the space
being created by the reverb effect. The DAMP slider adjust the decay of high
frequencies within the reverb tail. DIFF(usion) controls the initial reflection
density. SHAPE adjust the contour of the reverberation envelope.
Chamber Reverb

Based on the legendary 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 sacrificing clarity.
When Layer 1 is selected, the first 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
Chamber Reverb simulates the reverberation found in medium sized spaces,
adjusts the pre-delay. Slider 2 selects the low-cut frequency. Slider 3 selects the
somewhere between the intimacy of a small room, and the grandeur of a large
hi-cut frequency. Slider 4 selects adjusts the output level of the reverb.
hall. Inspired by the Lexicon Chamber Reverb.
Pressing the first push encoder on Layer 1 will switch the reverb algorithm to
The PRE DELAY slider controls the amount of time before the reverberation
emulate the perceived position of the reverb in the virtual space. The same
is heard following the source signal. DECAY controls the amount of time it
control on Layer 2 will change the reverb algorithm to give a warmer, more
takes for the reverb to dissipate. SIZE controls the perceived size of the space
‘vintage’ sound.
being created by the reverb effect. The DAMP slider adjust the decay of high
frequencies within the reverb tail. DIFF(usion) controls the initial reflection Vintage Room
density. SHAPE adjust the contour of the reverberation envelope.
Plate Reverb

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.
A plate reverb was originally created by sending a signal through a transducer
Inspired by the Quantec QRS.
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 diffusion and The VU meter displays the input and output levels. Set the early reflection times
a bright-coloured sound. The M32’s Plate Reverb will give your tracks the sound for the left and right channel with ER DELAY L and ER DELAY R. ER LEVEL sets
heard on countless hit records since the late 1950s. Inspired by the Lexicon PCM-70. the loudness of the early reflection level. REV DELAY controls the amount of time
before the reverberation is heard following the source signal. LEVEL controls the
PRE DELAY controls the amount of time before the reverberation is heard
volume of the reverb. Pressing the second push encoder will engage the FREEZE
following the source signal. DECAY controls the amount of time it takes for the
function which takes the incoming audio and loops it indefinitely.
reverb to dissipate. SIZE adjusts the size of the virtual room created by the reverb
effect. The DAMP push encoder adjusts the decay of high frequencies within the HI/LO MULTIPLY adjusts the decay time of the high and bass frequencies.
reverb tail. DIFF(usion) controls the initial reflection density. LEVEL controls the DECAY shows the duration of the reverb effect. ROOM SIZE adjusts the size of
volume of the reverb. the room effect being created incrementally from small to large. HIGH CUT sets
the frequency above which the source signal does not pass through the reverb.
The LO CUT push encoder sets the frequency beneath which the source signal will
DENSITY manipulates the reflection density in the simulated room. (This slightly
not pass through the reverb. The HI CUT push encoder sets the frequency above
changes the reverb decay time.) LOW CUT sets the frequency below which the
which the source signal will not pass through the reverb. BASS MULT(iplier)
source signal does not pass through the reverb.
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 Gated Reverb
modulation. MOD SPEED controls the speed of the reverb tail modulation.

This effect 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 effective for creating a 1980’s-style snare sound,
or to enlarge the presence of a kick drum. Inspired by the Lexicon 300/480L.
36 M32 User Manual

PRE DELAY controls the amount of time before the reverberation is heard Triple Delay
following the source signal. DECAY controls the amount of time it takes for the
reverb to dissipate. ATTACK controls how fast the reflection density builds up.
DENSITY shapes the reverb decay tail. The higher the density, the greater the
number of sound reflections. SPREAD controls how the reflection 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 high-
shelving filter and the input of the reverb effect. DIFF(usion) controls the initial
reflection density. Sometimes called a 3-Tap Delay, the Triple Delay provides three delay stages with
independent frequency, gain and pan controls. Create time-based echo effects
Reverse Reverb 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 first stage.
GAIN BASE sets the gain level of the first stage of the delay. PAN BASE sets the
position of the first delay stage in the stereo field. 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.
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 FACTOR A controls the amount of delay time in the second stage of the delay.
ethereal quality to vocal and snare drum tracks. Inspired by the Lexicon 300/480L. 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 field. FACTOR B controls
Adjusting the PRE DELAY push encoder adds up to 200 milliseconds before the
the amount of delay time in the third stage of the delay. GAIN B controls the gain
reverb follows the source signal. The DECAY push encoder adjusts the time it
in the third stage of the delay. PAN B sets the position of the third stage of the
takes for the reverb to completely dissipate. RISE controls how quickly the effect
delay in the stereo field.
builds up. DIFF(usion) controls the initial reflection density. SPREAD controls
how the reflection is distributed through the reverb envelope. The LO CUT Rhythm Delay
push encoder sets the frequency beneath which the source signal will not pass
through the reverb. HiSvFr / HiSvGn push encoders adjust a high-shelving filter
and the input of the reverb effect.
Stereo Delay

The Rhythm Delay, or 4-Tap Delay, provides four delay stages with independent
frequency, gain and pan controls. Create time-based echo effects 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 first stage.
Stereo Delay provides independent control of left and right delay (echo) times, GAIN BASE sets the gain level of the first stage of the delay. LO CUT sets the
and features high- and low-pass filters for enhanced tone-shaping of the delayed frequency at which the source signal can begin passing through the delay.
signals. Use the Stereo Delay to give your mono signals a wide presence in the HI CUT sets the frequency at which the source signal can no longer pass through
stereo field. 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.
The MIX control lets you blend the source signal and the delayed signal.
FEEDBACK adjusts the amount of feedback. SPREAD adjusts the perceived
TIME adjusts the master delay time up to three seconds. LO CUT adjusts the low
stereo placing of the echoes.
frequency cut, allowing lower frequencies to remain unaffected by the delay.
HI CUT adjusts the high frequency cut, allowing higher frequencies to remain FACTOR A controls the amount of delay time in the second stage of the delay.
unaffected by the delay. FACTOR L sets the delay time on the left channel to GAIN A controls the gain in the second stage of the delay. FACTOR B controls
rhythmic fractions of the master delay time. FACTOR R sets the delay time on the the amount of delay time in the third stage of the delay. GAIN B controls the
right channel to rhythmic fractions of the master delay time. OFFSET LR adds a gain in the third stage of the delay. FACTOR C controls the amount of delay time
delay difference between the left and right delayed signals. The FEED LO CUT/ in the fourth stage of the delay. GAIN C controls the gain in the fourth stage of
HI CUT adjusts filters in the feedback paths. FEED L and FEED R control the delay.
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.
37 M32 User Manual

Stereo Chorus The WAVE push encoder shapes the symmetry of the LFO waveform, and PHASE
dials in an LFO phase difference between the left 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 effect takes place (positive and negative modulation is possible),
and the ATTACK, HOLD and RELEASE push encoders all tailor the response of
this feature.
Dimension-C
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 Chorus samples the input, slightly detunes it and mixes it with the original
the balance of dry and wet signals. You can further sculpt the sound by trimming signal to produce a somewhat thicker, shimmering sound. Use it to thicken up
some of the low- and high-end of the affected signal with the LO CUT and background vocals, or to double the sound of brass and woodwind instruments.
HI CUT push encoders. Additionally the PHASE push encoder can tweak the Inspired by the Roland Dimension D.
phase offset of the LFO between left and right channels, and the SPREAD push
Turning the first push encoder to toggle the output signal between Mono and
encoder adjusts how much of the left channel is mixed into the right, and vice
STereo. Pressing the first encoder turns the effect on or off. Pressing the second
versa. Finally the WAVE push encoder blends between the ‘Danish’ style digital
encoder turns dry mode on or off. Pressing the third, fourth or fifth push encoders
triangular chorus sound and the classic analogue sine wave.
engages the chorus effect with increasing intensity.
Stereo Flanger
Mood Filter

The Flanger emulates the phase-shifting sound (comb-filtering) originally

The Mood Filter uses an LFO generator and an auto-envelope generator to
created by applying pressure against the flange of the reel on a tape recorder.
control a VCF (voltage-control filter), as well as a side-chain function, where the
This effect creates a unique ‘wobbly’ sound that is quite dramatic when used on
channel B signal controls the envelope of channel A. When applied to electronic
vocals and instruments.
instruments, the Mood Filter can be used to emulate the natural sound of
The controls of this effect are nearly identical to the controls on the Chorus effect acoustic instruments. Inspired by the MiniMoog.
block. Additionally, the FEEDBACK can be adjusted with positive and negative
This filter can be modulated with the signal’s envelope using the ENV MOD
amounts, and also band-limited with the FEED HC (high-cut) and FEED LC (low
(with positive and negative amounts), ATTACK and RELEASE push encoders,
cut) push encoders.
or the LFO can modulate the filter. The WAVE push encoder selects between
Stereo Phaser seven different waveforms - triangular, sine, saw plus, saw minus, ramp,
square and random. The PHASE can be offset 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 filter until self-oscillation with the
RESO(nance) push encoder. BASE adjusts the range of the filter 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 affected 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
A Stereo Phaser, or phase shaper, applies multiple STAGES of modulated filters to can also introduce an overdrive effect (as with real analogue filters) if pushed
the input signal to create a ‘notch’ in the frequency response, and then applies a hard. In Side-chain mode, only the left input signal is processed and fed to both
MIX with the original for a ‘swirling’ effect. Use the M32’s Stereo Phaser to add a outputs. The envelope of the right input signal can be used as a modulation
‘spaced-out’ sound to vocal or instrumental tracks. source. Applying the SIDE CHAIN function ensures that the parameters of the
effect are changed based on an external stimulus signal.
SPEED sets the LFO rate and DEPTH sets the LFO modulation depth.
The BASE push encoder adjusts the frequency range of the modulation filters.
The resonance is adjusted with the RESO push encoder. STAGES determines the
number of times the audio signal is processed by the effect. MIX determines how
much of the affected signal is present in the output audio.
38 M32 User Manual

Rotary Speaker Delay + Chamber

Rotary Speaker emulates the sound of a Leslie rotating speaker. The M32’s Rotary Here we have combined Delay and Chamber reverb, so that a single device can
Speaker provides more flexibility than its electro-mechanical counterpart, and supply a variety of delay settings, plus add just the right amount of reverb to
can be used with a variety of instruments, and even vocals, to create a whirling, the selected signal. This device only uses one effects slot. Inspired by the Lexicon
psychedelic effect. PCM 70.
The LO SPEED and HI SPEED push encoders adjust the rotation speed of the Use the BALANCE push encoder to adjust the ration between delay and reverb.
Slow and Fast speed selection, and can be toggled with the FAST button. Low frequencies can be excluded with the LO CUT push encoder, and MIX
The ACCEL(eration) push encoder adjust how quickly the speed increases adjust how much of the effect is added to the output signal. The TIME push
and decreases from the Slow mode to the Fast mode. The rotation effect can encoder adjusts the delay time for the left channel delay, and PATTERN sets
also be disengaged with the STOP button, which will stop the movement of the delay ratio for the right channel delay. Adjust the FEEDBACK and trim some
the speakers. high frequencies with the FEED HC (high-cut) push encoder. The XFEED push
DISTANCE adjust the perceived distance between the speakers and the virtual encoder allows you to send the delay sound to the reverb effect, so instead of
microphone. BALANCE sweeps between low and high frequencies in the running completely parallel, the reverb affects the echoes to a selected degree.
output signal. MIX determines how much of the affected signal is present in the The PREDELAY push encoder determines the delay before the reverb affects
output audio. the signal. The DECAY push encoder adjusts how quickly the reverb fades.
SIZE controls how large or small the simulated space (room, cathedral, etc.).
Tremolo / Panner The DAMPING push encoder determines the decay of high frequencies within
the reverb tail.
Chorus + Chamber

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.
Taking up only one FX slot, the Chorus + Chamber effect combines the shimmer
SPEED adjusts the LFO rate, and DEPTH sets the amount of modulation.
and doubling characteristics of a studio-grade chorus with the sweet sound of a
PHASE can be used to set an LFO phase difference between the left and right
traditional chamber reverb. Inspired by the Lexicon PCM 70.
channels, which can be used for panning effects. The WAVE push encoder blends
the LFO waveform between triangular and square shapes. The signal envelope , The BALANCE push encoder adjusts the balance between chorus and reverb.
shaped by ATTACK, HOLD and RELEASE, can be used to modulate the LFO speed Low frequencies can be excluded with the LO CUT push encoder, and the MIX
(ENV SPD) and the LFO modulation depth (ENV DPTH). push encoder adjusts how much of the effect is added to the signal. SPEED,
DELAY and DEPTH adjust the rate, delay and modulation depth of the chorus.
Suboctaver The LFO PHASE between the left and right channels can be offset 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
affects 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.
Flanger + Chamber
The Octave Effect 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 first push encoder toggles the effect for each layer on or off.
The second encoder increases the amount of the affected 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 fifth encoders adjust the level for each of the
Add the mind-bending, filter-sweeping effect of a state-of-the-art flanger to the
individual lower octaves. To navigate between the two layers, use the up and
elegant sweetening of a traditional chamber reverb - all in one FX slot. Inspired by
down navigational controls.
the Lexicon PCM 70.
39 M32 User Manual

The BALANCE push encoder adjusts the balance between flanger and reverb. Modulation Delay
Low frequencies can be excluded with the LO CUT push encoder, and the MIX
push encoder adjusts how much of the effect is added to the signal. SPEED,
DELAY and DEPTH adjust the rate, delay and modulation depth of the flanger.
FEEDback can be adjusted by positive and negative amounts. The LFO PHASE
between the left and right channels can be offset by up to 180°. The PREDELAY
push encoder determines the delay before the reverb affects 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. 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
Delay + Chorus one, dreamy-sounding effect.
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 effect
is present in the output signal. Navigate to layer two by using the navigational
control buttons. Use the PAR / SER function 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 difference
between the two modes since in this case only the modulated reverb is audible.)
This combination effect merges a user-definable delay (echo) with a studio-
quality chorus, sure to fatten up even the skinniest track. Uses only one FX slot. On layer one Time adjusts the time of the delay, whereas Feed controls how
Inspired by the TC Electronic D-Two. many echoes follow the input signal. Lo Cut and Hi Cut are, as the names
suggest, low cut and high cut filters for the affected signal. On both, Mix dictates
The TIME push encoder adjusts the delay time, and the PATTERN push encoder
how much of the affected signal is sent to the output bus.
sets the delay ratio for the right channel and negative values activate a cross
feedback between the two channels. The FEEDHC push encoder adjusts the delay On layer two Depth controls the depth of the chorus effect, Rate controls the
high-cut frequency, while FEEDBACK adjusts the number of repeats. The X-FEED speed of the modulation, and Decay controls the length of time after the initial
control allows you to send the delay sound to the chorus effect. The BALANCE signal where the effect is present. Damping reduces the level of the higher
push encoder adjusts the ratio between delay and chorus. SPEED, DELAY and frequencies in the output.
DEPTH adjust the rate, delay and modulation depth of the chorus. The right The type of reverb can be switched by pressing either of the third, fourth or fifth
channel LFO PHASE can be offset by up to 180°, and WAVE adjusts the chorus push encoders.
character by shaping the LFO waveform from sine wave to triangular wave. Use
the MIX push encoder to blend the affected signal with the dry sound. Dual Graphic EQ / Stereo Graphic EQ / Dual TruEQ /
Stereo TruEQ
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 effect only takes
up one FX slot. Inspired by the TC Electronic D-Two.
The TIME push encoder adjusts the delay time, and the PATTERN push encoder
sets the delay ratio for the right channel and negative values activate 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 effect. 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 offset by up to 180°, and FEED (positive and negative
amounts) adjusts the feedback effect. Use the MIX push encoder to blend the
affected signal with the dry sound.
40 M32 User Manual

There are four standard graphic EQs that provide 31 bands of adjustment Stereo Xtec EQ1 / Dual Xtec EQ1
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 effect that adjacent frequency bands have on one
another. On a standard EQ, when neighbouring bands are boosted together,
the resulting effect is magnified 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.

Virtually indescribable, recording engineers claim the Pultec EQP-1a 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 effective. 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,
Graphic EQ without frequency response correction. but for the higher frequencies. HI BANDWIDTH adjusts the width of the high-
frequency boost curves.
Stereo Xtec EQ5 / Dual Xtec EQ5

Graphic EQ with frequency response correction.

Dual DeEsser / Stereo DeEsser

Pultec simply wrote the book on passive equalisation. By digitally “rebuilding”

every aspect of the original Pultec classic, 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
De-essing is an audio effect designed to reduce the amount of excessive sibilance the Transformer emulation on or off, giving a warmer sound. GAIN determines
in an audio signal, usually when dealing with the human voice. The Dual DeEsser how much of the source signal passes through the effect, and ACTIVE toggles the
accurately and seamlessly removes sibilance from audio tracks. EQ in or out of the signal path.
The Lo-Band and Hi-Band controls select which portion of the audio spectrum
is affected by the DeEsser on each channel. By increasing the amount of
reduction, the level to which the de-essing affects the input signal can be
controlled. By pressing the first and third push encoders, the effect can be
targeted specifically at male or female voices.
With the Stereo DeEsser, toggle between Stereo and M/S modes by pressing the
fifth push encoder.
41 M32 User Manual

Wave Designer On the first layer, Mix adjusts the overall effect on the input signal (100% equals
full compression) and Active enables or bypasses the effect. Attack/Release
adjusts the envelope times for the compressors of all five 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.
Wave Designer is a powerful tool for adjusting signal transients and dynamics
X-Over adjusts the boundary frequencies of the five frequency bands. Negative
such as attack and sustain. Use it to make a snare drum really crack in the
values result in more ‘resolution’ in the lower frequencies and positive values
mix, or level out volume inconsistencies of slap bass tracks. Inspired by the SPL
increase resolution in the upper frequencies. The slope or steepness of the band
Transient Designer.
separation filters can be adjusted between 12 dB and 48 dB. Ratio sets the
Adjusting the ATTACK push encoder can add punch or tame overly-dynamic compression Ratio for all five bands (1.1 – 10, Limiter). SBC Meter switches
signals. Increasing SUSTAIN acts in a similar way to a compressor, allowing the between SBC gain correction and compressor gain reduction displays.
peaks to carry longer before decaying. The effect can also be used to reduce the
On layer two, Threshold adds a relative offset threshold to all individual
sustain for a more staccato sound. The GAIN push encoder compensates for level
band thresholds. This allows adjusting compression amount for all bands
changes caused by the effect.
simultaneously. Gain adjusts overall output gain. Peak Meter toggles between
Precision Limiter compressor peak reduction and band peak-meter displays. Band Sel selects
one out of the five 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
affected by Band Reset.
Fair Comp / M/S Fair Comp / Dual Fair Comp
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 final gain
level of the processed signal. SQUEEZE adds compression to the signal to add
punch and a slight distortion depending on the amount you dial in. ATTACK sets
the attack time, ranging from 0.05 ms to 1 ms. RELEASE adjusts the release time
from 0.05 ms to 1.04 seconds. KNEE adjusts the soft limiting threshold point
from hard limiting (0 dB) to maximum soft limiting (10 dB).
Stereo Combinator / Dual Combinator

The Fairchild 670 tube compressor not only achieves record bids in high-
end vintage gear auctions, it also delivers some of the finest colourations in
compressor history. 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.
The Combinator is an amazing five-band compressor that emulates famous INPUT GAIN determines how much of the input signal passes through the effect.
broadcasting and mastering compressors. A highly complex processor, ACTIVE toggles the effect in or out of the signal path. THRESHOLD determines
the Combinator utilises automatic parameter control that produces stunning and how loud the signal has to be before compression is applied. TIME switches the
“inaudible” results. compression’s release time. BIAS changes the simulated tube bias algorithm.
Makeup-gain for each frequency band will automatically be adjusted by the OUT GAIN affects the gain of the output signal.
Spectral Balance Control (SBC) function, to maintain a balanced audio spectrum.
42 M32 User Manual

Stereo Leisure Comp / Dual Leisure Comp Dual Enhancer / Stereo Enhancer

The M32’s Enhancers are so called ‘Psycho EQs’. They can enhance the signal
spectrum in bass, midrange and high frequencies, but they differ 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.
The immaculate tube signal path in Teletronix’s LA-2A Levelling Amplifier has left
Adjust the BASS, MID and HI GAIN push encoders to add or reduce content in
its exceptional clarity, its rich and warm compression on countless albums of the
those spectrums. The BASS and HI FREQ(uencies) can be specifically selected,
past decades. The ultra-smooth optical attenuator is closely modelled in our LA
while the MID Q (bandwidth) can be adjusted instead. The OUT GAIN push
COMPRESSOR. It provides breezing, natural and effortlessly musical compression.
encoder compensates for changes in level resulting from the effect, and SPREAD
Inspired by Teletronix LA-2A.
(stereo version only) emphasises the stereo content for a wider mix. Engage the
GAIN determines how much of the input signal passes through the effect. SOLO MODE to isolate only the audio resulting from the effect so you can hear
ACTIVE toggles the effect in or out of the signal path. COMP/LIMIT determines exactly what you’re adding to the mix.
whether the effect acts as a compressor or a limiter. OUTPUT GAIN affects the
gain of the output signal. Increasing PEAK REDUCTION means that only the Dual Exciter / Stereo Exciter
signal peaks are reduced in level.
Stereo Ultimo Comp / Dual Ultimo Comp

Exciters increase presence and intelligibility in live sound applications, and are
indispensable for adding clarity, air and harmonic overtones in the recording
studio. This effect is particularly useful for filling out the sound in difficult 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 filter with the TUNE push encoder, and
further shape the filter slope with the PEAK and ZERO FILL controls. Turning the
When Urei released the 1176LN Limiting Amplifier in the late 60s, it broke new TIMBRE push encoder left of centre adds more odd harmonics, while turning it
ground. Field Effect Transistors employed were just invented and the 1176 was right of centre adds more even harmonics. Adjust the harmonic content added to
one of the first audio processors to benefit from this new technology. Our digital the signal with the HARMONICS push encoder, and blend in the affected signal
reincarnation, ULTIMO COMPRESSOR, is based on the early Rev. E model and with the MIX push encoder. Engage the SOLO MODE to isolate only the audio
authentically captures the smooth character of the original class-A output stage resulting from the effect so you can hear exactly what you’re adding to the mix.
and its FET’s legendary Fast Attack. Inspired by Urei 1176LN.
Stereo Imager
INPUT GAIN, OUT GAIN, ATTACK, RELEASE and RATIO all work as per standard
compressor functions. With the Dual Compressor, functions for each of the
channels are split between Layers 1 and 2.

A Stereo Imager is typically used to control the placement of a signal within the
stereo field during mixdown or mastering. The M32’s Stereo Imager will lend a
professional quality to your live and recorded performances.
43 M32 User Manual

The BALANCE push encoder allows you to emphasise the mono and stereo and the overall output is controlled by the LEVEL push encoder. The CABINET
components of the input signal. The mono and stereo signals can be panned simulation can be bypassed if the guitarist is already using a real cabinet, which
independently with the MONO PAN and STEREO PAN controls. OUT GAIN is allows the effect to function like a boost or distortion pedal. The Dual Guitar Amp
used to compensate for level changes resulting from the effect. The phase can allows the left and right channels to be adjusted independently.
also be shifted using the shelving push encoders. Select the frequency and
bandwidth (Q) using the corresponding push encoders, then adjust the gain with Dual Tube Stage / Stereo Tube Stage
SHV GAIN.
Edison EX1

The Edison EX1 is an unbelievably powerful 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 finished
master. Inspired by the Behringer Edison EX1.
St Spread increases the perceived width of the audio field over which the Tube Stage / Overdrive is a versatile effect capable of emulating a variety of
signal is present. Balance simply adjusts the levels between the left and modern and classic tube amps. Available in stereo and dual-mono versions,
right channels, and Center Dist moves the audio source back and forth in the use Tube Stage / Overdrive to dial in warm and fuzzy sounds from subtle to
perceived audio field. LMF Spread further adjusts the stereo depth by increasing fully-saturated.
or decreasing the perceived spaciousness of the output signal. DRIVE adjusts the amount of harmonics being driven by the effect. EVEN and
ODD adjusts the amount of even and odd harmonics. GAIN adjusts the output
Sound Maxer
gain of the effect. LO CUT sets the input frequency below which the source
signal will not pass through the effect. HI CUT sets the input frequency above
which the signal will not pass through the effect. BASS GAIN/FREQ adjusts a
low-shelving filter at the output of the effect. TREBLE GAIN/FREQ adjusts a
high-shelving filter at the effect’s output.
Dual Pitch Shifter / Stereo Pitch
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 effects and equalisers.
Inspired by Sonic Maximizer 482i.
Use LO CONTOUR to determine the curve on which the PROCESS control is
effective. GAIN determines how much of the input signal passes through the
effect. Selecting either of the ACTIVE functions activates the effect for either of
the two stages.
Dual Guitar Amp / Stereo Guitar Amp

Pitch sifting is often used in two different ways; one is to set the MIX control
lower and only use the CENT control to make a small offset in pitch between
the wet and dry tones. This results in a ‘voice doubling’ effect that thickens the
overall sound in a more subtle way. The extreme use of this effect is to turn
the MIX control fully-clockwise so that the full sound is affected. This way,
Modelled after the Tech 21 SansAmp, the Stereo / Dual Guitar Amp simulates the the signal can be shifted into other keys up to an octave above or below the
sound of plugging into a real guitar amp. From shimmering cleans to saturated original key. When used on a voice, it results in a ‘chipmunk’ sound or a low,
crunch, the M32’s Stereo / Dual Guitar Amp allows an electric guitar player to ‘Darth Vader’ effect.
sound great without using an amp on stage.
When the SEMI and CENT push encoders are set to 12:00, the pitch is not altered.
The PREAMP push encoder adjusts the amount of input gain prior to the Making adjustments by semitone will have a very pronounced effect, whereas
band-specific distortion adjustment. BUZZ adjusts the low-end breakup, changes to the CENT control will be very minor. The DELAY control creates a
PUNCH adjusts the midrange distortion, and CRUNCH tailors the high-frequency time difference between the wet and dry sounds. The LO CUT and HI CUT push
content and distortion for smooth or cutting notes. The DRIVE push encoder encoders allows the affected signal to be band-limited. The Dual-Pitch effect
simulates the amount of power amp distortion from a tube amp. The LOW and allows the left and right channels to be adjusted independently, and allows gain
HIGH push encoders allow EQ adjustment independent of distortion content, compensation and panning of the two channels.
44 M32 User Manual

3. Rear Panel 3.3 XLR OUT 1-16

3.1 MONITOR / CONTROL ROOM OUT

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

Outputs 1-16
Send audio to external equipment using XLR cables. Outputs 15 and 16 by
default carry the main stereo bus signals.
(1) External Lamp Socket
3.4 XLR IN 1-32
Connect an external lamp via a standard 12 V / 5 W socket.
(2) / (3) XLR Left & Right Sockets
Connect a pair of studio monitors using standard XLR cables.
(4) BAL / UNBAL Left & Right Jack Sockets
Connect a pair of studio monitors using standard ¼" cables.
Inputs 1-32
3.2 AC / POWER Connect audio sources via XLR cables.

3.5 KLARK TEKNIK DN32-USB

(1)

DN32 USB
Transmit up to 32 channels of audio to and from a computer using the DN32 USB
(2) audio interface.

3.6 REMOTE CONTROL

(1) Power On / Off

Turn the console on and off with the On / Off switch.
(2) IEC Power Socket
Connect the console to a mains power supply via the standard IEC
power socket.
(1) (2)
(1) USB
Connect to a PC for remote control operation via USB.
(2) ETHERNET
Connect to a PC for remote control operation via Ethernet.
45 M32 User Manual

3.7 MIDI 3.9 ULTRANET

MIDI IN / OUT Connect to a personal monitoring system (e.g. the Behringer P16) via
Send and receive MIDI information via standard 5-pin DIN cables. Ethernet cable.

3.8 AES / EBU OUT 3.10 AES50

Send digital audio via 3-pin AES/EBU XLR cable. Transmit up to 96 channels in and out via Ethernet cables.

3.11 AUX IN / OUT

(1)

(2) (3)
Connect to and from external equipment via ¼" or RCA cables.
46 M32 User Manual

4. Appendices

4.1 Appendix A: Technical Specifications

Processing
Input Processing Channels 32 Input Channels, 8 Aux Channels, 8 FX Return Channels
Output Processing Channels 8 / 16
16 aux buses, 6 matrices, main LRC 100
Internal Effects Engines (True Stereo / Mono) 8 / 16
Internal Show Automation (structured Cues / Snippets) 500 / 100
Internal Total Recall Scenes (incl. Preamplifiers and Faders) 100
Signal Processing 40-Bit Floating Point
A/D Conversion (8-channel, 96 kHz ready) 24-Bit, 114 dB Dynamic Range A-weighted*
D/A Conversion (stereo, 96 kHz ready) 24-Bit, 120 dB Dynamic Range A-weighted*
I/O Latency (Console Input to Output) 0.8 ms
Network Latency (Stage Box In > Console > Stage Box Out) 1.1 ms
* A-weighted figures are typically ~3 dB better

Connectors
MIDAS PRO Series Microphone Preamplifier (XLR) 32
Talkback Microphone Input (XLR) 1
RCA Inputs / Outputs 2/2
XLR Outputs 16
Monitoring Outputs (XLR / ¼” TRS Balanced) 2/2
Aux Inputs/Outputs (¼” TRS Balanced) 6/6
Phones Output (¼” TRS) 2 (Stereo)
Digital AES/EBU Output (XLR) 1
AES50 Ports (KLARK TEKNIK SuperMAC) 2
Expansion Card Interface 32 Channel Audio Input / Output
ULTRANET P-16 Connector (No Power Supplied) 1
MIDI Inputs / Outputs 1/1
USB Type A (Audio and Data Import / Export) 1
USB Type B, rear panel, for remote control 1
Ethernet, RJ45, rear panel, for remote control 1

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 +20 dBu output) < 0.03% unweighted
Input Impedance (Unbalanced / Balanced) 10 kΩ / 10 kΩ
Non-Clip Maximum Input Level +23 dBu
Phantom Power (Switchable per Input) +48 V
Equivalent Input Noise @ +45dB gain (150 Ω source) -125 dBu 22 Hz-22 kHz unweighted
CMRR @ Unity Gain (Typical) > 70 dB
CMRR @ 40 dB Gain (Typical) > 90 dB
47 M32 User Manual

Input/Output Characteristics
Frequency Response @ 48 kHz Sample Rate 0 dB to -1 dB 20 Hz – 20 kHz
Dynamic Range, Analogue In to Analogue Out 106 dB 22 Hz - 22 kHz unweighted
A/D Dynamic Range, Preamplifier and Converter (Typical) 109 dB 22 Hz - 22 kHz unweighted
D/A Dynamic Range, Converter and Output (Typical) 109 dB 22 Hz - 22 kHz unweighted
Crosstalk Rejection @ 1 kHz, Adjacent Channels 100 dB
Output level, XLR Connectors (Nominal / Maximum) +4 dBu / +21 dBu
Output Impedance, XLR Connectors (Unbalanced / Balanced) 50 Ω / 50 Ω
Input impedance, TRS Connectors (Unbalanced / Balanced) 20 kΩ / 40 kΩ
Non-Clip Maximum Input Level, TRS Connectors +21 dBu
Output Level, TRS (Nominal / Maximum) +4 dBu / +21 dBu
Output Impedance, TRS (Unbalanced / Balanced) 50 Ω / 50 Ω
Phones Output Impedance / Maximum output Level 40 Ω / +21 dBu (Stereo)
Residual Noise Level, Out 1-16 XLR Connectors, Unity Gain -85 dBu 22 Hz-22 kHz unweighted
Residual Noise Level, Out 1-16 XLR Connectors, Muted -88 dBu 22 Hz-22 kHz unweighted
Residual Noise Level, TRS and Monitor out XLR Connectors -83 dBu 22 Hz-22 kHz unweighted

Display
Main Screen 7” TFT LCD, 800 x 480 Resolution, 262k Colours
Channel LCD Screen 128 x 64 LCD with RGB Colour Backlight
Main Meter 24 Segment (-57 dB to Clip)

Power
Switch-Mode Power Supply Auto-Ranging 100-240 VAC (50/60 Hz) ± 10%
Power Consumption 120 W

Physical
Standard Operating Temperature Range 5°C – 40°C (41°F – 104°F)
Dimensions 891 x 612 x 256 mm (35.1 x 23.9 x 10.1”)
Weight 24.5 kg (53.9 lbs)
48 M32 User Manual

4.2 Appendix B: MIDI Operation MIDI TX > Scenes

Every scene can be assigned one specific MIDI command/event.  Each time the
MIDI RX > Scenes
scene is loaded the MIDI command will be sent out once. Possible choices for MIDI
Whenever Program Change messages in the range 1-100 are received on MIDI commands/events to be found on Scenes View/MIDI page:
CH01, the corresponding scene of the M32 internal show memory will be loaded.
• Off > no message will be sent upon scene load
This requires the following preconditions: 
• Program Change > select the MIDI Channel and the Program Number (using
SETUP / remote knobs 4/5 at the main display)
• MIDI In/Out check marks must be set according to the connection on which • Control Change > select the MIDI Channel, Controller number and
MIDI input will be accepted (via physical MIDI connectors on M32 or S16, or value (using knobs 4-6 at the main display)
via DN32-USB card)
• Note > select the MIDI Channel, Note number and velocity (using knobs 4-6
• MIDI In/Out check mark must be set for “Enable MIDI Scene Recall”. at the main display).
SETUP / global Will send out a Note On command directly followed by the same
• When tick mark “Confirm Pop-Ups” / “Scene Load” is active, MIDI scene Note Off command.
recalls will only become active after manual confirmation
• If you prefer activating scenes via MIDI Program Changes immediately,
un-check the “Confirm Pop-Ups” / “Scene Load” tick mark.
SHOW CONTROL VIEW / home
• Valid scenes must be stored in the internal M32 show file. 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.

Permanent MIDI Assignments Overview (Remote Off)

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) / off (0), toggle latching
Faders 1 CC0-79 0-127 Value 95 = 0dB
Mute 2 CC0-79 on (127) / off (0), toggle latching
Pan 2 CC0-79 0-127 Value 64 = Pan Mid

MIDI TX MIDI Ch Controller Value Comment

Mute Groups 2 CC80-85 on (127) / off (0), toggle latching
Faders 1 CC80-79 0-127 Value 95 = 0dB
Mute 2 CC80-79 on (127) / off (0), toggle latching
Pan 3 CC80-79 0-127 Value 64 = Pan Mid

MIDI RX > Assign • For Program Changes only the channel is specified, and the encoder rotation
Whenever assignable controls are set up for transmitting MIDI commands, determines the program number
reception of that same command (status or continuous) will be reflected on the Buttons 5-12 > can be operated in two modes, ‘MIDI Push’ (non-latching)
respective assignable control element (button light, encoder LED collar). for momentary commands, or ‘MIDI Toggle’ (latching) for static commands.
MIDI TX > Assign MIDI Push
The assignable MIDI commands have been restricted to some generic elements: Can be assigned to sending control changes, program changes or notes
Encoders 1-4 > can be assigned to sending control changes, program changes Parameters are currently ‘Channel’ and ‘Value’
or notes. For CC and Note commands ‘Value’ 0…127 = controller number/note number,
• Parameters are currently ‘Channel’ and ‘Value’ and the button momentarily toggles the controller value/note-on velocity 
• For CC and Note commands ‘Value’ = controller number/note number, and To 127 (depressed/released]
the encoder rotation determines the controller value/note-on velocity
49 M32 User Manual

For Program Changes ‘Value’ 0…127 = program/preset number, that will be sent The MIDI commands assigned to the ASSIGN controls can be transferred to and
upon pressing the button. from stage via AES50 using the S16 stage box MIDI I/O.
MIDI Toggle MIDI RX/TX > Remote
Can be assigned to sending control changes or notes Enables a specific form of bi-directional MIDI communication for remote
Parameters are currently ‘Channel’ and ‘Value’ 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
For CC and Note commands ‘Value’ 0…127 = controller number/note number,
CC (raw) controllers (see SETUP / remote)
and the button toggles the controller value/note-on velocity
MIDI CC (raw) selected and Remote is enabled+active, the group section controls
Between value/velocity 127 and 0 with every operation.
will transmit/receive the following messages:
PLEASE NOTE: HUI selected and Remote is enabled+active, then the group fader section and
The ASSIGN section also reflects/displays reception of the same MIDI commands buttons will emulate the HUI control surface protocol, i.e. for ProTools.
that are selected for transmission SELECT/SOLO 1-8 buttons will select or solo the corresponding track in the DAW,
in banks of eight tracks

MIDI RX MIDI Ch Controller Comment

Group 1-8 SELECT 1 Note 64-71 on (127) / off (0), push non-latching
Group 1-8 SOLO 1 CC 32-39 on (127) / off (0), toggle latching
Group 1-8 MUTE 1 CC 40-47 on (127) / off (0), toggle latching
Sends On Fader 1 CC 48 on (127) / off (0), toggle latching
Group DCA 1-8 1 Note 72 on (127) / off (0), push non-latching
BUS 1-8 1 Note 73 on (127) / off (0), push non-latching
BUS 9-16 1 Note 74 on (127) / off (0), push non-latching
MTX 1-6 1 Note 75 on (127) / off (0), push non-latching
GROUP Faders 1 CC0-7 0-127

Sends On Fader = enables touch-writing a fader automation on selected track, Sends On Fader = enables touch-writing a fader automation on selected track,
track automation mode in DAW must be ‘touch’, (latching) 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 Use the layer buttons to determine the function assigned to the MUTE 1-8
buttons, the LED displays indicate that function. buttons, the LED displays indicate that function.
• Group DCA 1-8 = allows movement of the bank selection of tracks in a DAW, • Group DCA 1-8 = allows movement of the bank selection of tracks in a DAW,
(push non-latching) (push non-latching)
• BUS 1-8 = allows the setting of DAW tracks to ‘Record Ready’, • BUS 1-8 = allows the setting of DAW tracks to ‘Record Ready’,
(push non-latching) (push non-latching)
• BUS 9-16 = enables use of MUTE buttons for track mute in • BUS 9-16 = enables use of the MUTE buttons for track mute in
the DAW, (latching) the DAW, (latching)
• MTX 1-6 = enables use of MUTE buttons for transport controls in • MTX 1-6 = enables use of the MUTE buttons for transport controls in
the DAW, (latching). 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
50 M32 User Manual

4.3 Appendix C: Dimensions

Front View

Top View

612
51 M32 User Manual

Rear View

Side View
 52

Midas M32 Block Diagram MIX BUS MAIN MATRIX SOLO

Revision 1, 2014-06-27, JD USB RECORDER OSCILLATOR
USB 1 2 15 16 L R C 12 56 LR MIX 1–16
REC MEMORY
LEVEL PINK NOISE GAIN GENERATE
WHITE NOISE FADER
USB USB MEMORY USB INSERT INSERT
SINE WAVE MUTE
REC RECORDER PLAY MIX 1-16
COMP/ 6-BAND COMP/
DSP EXPAN EQ EXPAN OUT
PATCH
Pre EQ Post EQ Pre Fader Post Fader
USB CH 1–32 EQ
PLAY
USB GAIN
REC SOLO KEY-IN
M32 User Manual

FADER Post Fader

INSERT INSERT PAN (LR) LCR GAIN
FX 1-8 OUT (L / R) MUTE stereo mute Matrix 1,3,5 MUTE
8x2 ATT DELAY LOW GATE/ COMP/ 4-BAND COMP/ Post Fader
CUT DUCK EXPAN EQ EXPAN mute Matrix 2,4,6
FX 1-8 IN (L / R) 32 mono Post Fader
8x2 GAIN
Pre EQ Post EQ Pre Fader Post Fader Post Pan
MIX 1-16 INSERT RETURN stereo
EQ EQ LCR
16 stereo PAN (LR)
MIX 1-16 INSERT SEND INSERT RETURN Post Fader
16 32 KEY-IN KEY-IN PAN (LCR)
MUTE GAIN mono
MATRIX 1-6 INSERT RETURN Mix 1,3...15 mute
6 INSERT SEND Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan L
32 mute PAN (LCR)
Mix 2,4...16 stereo
MATRIX 1-6 INSERT SEND Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan R
6 PRE LOW CUT OUT SOLO
MAIN LRC INSERT RETURN 32
3 Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan L
MAIN LRC INSERT SEND POST FADER OUT Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan R
3 32
4.4 Appendix D: Block Diagram

PATCH CUE
MAIN LRC
MIX 1-16 OUT GAIN
16 AUX Returns 1–8 FADER
FADER INSERT INSERT MUTE
MATRIX 1-6 OUT AUX Returns 7–8 by default on USB Play LCR
6 PAN (LR) COMP/ 6BAND COMP/ MAIN LRC
MUTE stereo EXPAN OUT
MAIN LRC OUT 4BAND EXPAN EQ
3 ATT
8
EQ
MAIN LRC PRE EQ OUT mono Pre EQ Post EQ Pre Fader Post Fader
3 Post Fader Post Pan EQ
Pre EQ Pre Fader
stereo
SOLO KEY-IN
MONITOR LR OUT
2
PAN (LCR) Post Fader
MONITOR SOURCE IN MUTE GAIN
2 Mix 1,3...15 mute GAIN
Pre EQ/Pre Fader/Post Fader/Post Pan L mute MUTE
Matrix 1,3,5
MONITOR L+C/R+C OUT Mix 2,4...16 mute Post Fader
2 Pre EQ/Pre Fader/Post Fader/Post Pan R mute Matrix 2,4,6
SOLO Post Fader
Pre EQ/Pre Fader/Post Fader/Post Pan L
Pre EQ/Pre Fader/Post Fader/Post Pan R

MATRIX
1-6
STEREO FX RETURNS 1 L/R – 8 L/R GAIN
FADER
FADER INSERT INSERT MUTE
PAN (LR) LCR COMP/ COMP/ MATRIX 1-6
MUTE stereo 6BAND
PHANTOM I/O EXPAN EQ EXPAN OUT
+48V PATCH
mono Post Fader
INPUT 8x2 Pre EQ Post EQ Pre Fader
A/D Pre Fader Post Fader Post Pan EQ
(1-32) 40 stereo
SOLO KEY-IN
AUX PAN (LCR) Post Fader
A/D MUTE GAIN
RETURN Mix 1,3...15 mute
(1-6) Pre Fader/Post Fader/Post Pan L
Mix 2,4...16 mute
Pre Fader/Post Fader/Post Pan R
MONITOR PHONES
SOLO
OUT
AES-50 A Pre Fader/Post Fader/Post Pan L GAIN
(48ch IN) Pre Fader/Post Fader/Post Pan R PHONES
OUT
AES-50 B
(48ch IN) MONITOR SOURCE IN
2
GAIN EFFECTS 1-8 MONO GAIN
DELAY D/A OUT 1-16 D/A MONITOR L
16 GAIN DELAY
SLOT OUT
(32ch IN) GAIN EFFECT
FX IN L FX OUT L +
D/A
DIM

6 AUX OUT 1-6 31 BAND GEQ GAIN

AES-50 A FX IN R 31 BAND GEQ FX OUT R DELAY D/A MONITOR R
SOLO / SOURCE OUT
(48ch OUT)
GAIN
AES/EBU OUT MONITOR LR OUT
AES-50 B
(48ch OUT) 6 TALKBACK
GAIN
16 P16 BUS +48V GAIN ON L+C/R+C MIX
SLOT (16ch)
(32ch OUT) A/D COMP
+ L+C OUT
16 MONITOR LR OUT R+C OUT
8
+
2
16
53 M32 User Manual

4.5 Appendix E: Service Information

This appendix contains routine service information for the M32 Digital Console.

Routine Maintenance
To help keep your M32 Digital Console unit in good working order and to make sure it gives you optimum performance, 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 off 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 off 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 collect 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.
54 M32 User Manual

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 Bank: A fixed number of channels displayed on a GUI screen.
a discrete signal, which is played back over a speaker system comprising five Bass: Lower frequencies in a signal.
speakers (three front and two rear) and a subwoofer (which is the ‘.1’ or LFE
Bay: One of the main control surface sections.
channel). See LFE.
Bus: A pathway down which one or more signals can travel.
μ: Micro- prefix symbol that represents 10-6 or one millionth.
C
A
Cat 5e: A specification for a type of cable used typically for Ethernet
A/D: Abbreviation for ‘analogue to digital’. The conversion of a continuous signal
computer networks.
into a numeric discrete sample sequence.
Channel: Single path taken by an audio signal (input or output) through the
AC: Abbreviation for ‘alternating current’.
control centre.
AES/EBU: Abbreviation for ‘Audio Engineering Society/European Broadcasting
Channel strip: Row of controls in traditional analogue layout used for the
Union’. See AES3.
shaping of a signal.
Acoustic feedback: A sound loop existing between an audio input and
Checkpoint: A patching data store point, created by clicking CHECKPOINT.
audio output that is amplified on each cycle. For example, a mic input signal
See Patching.
is amplified and passed to a loudspeaker. The output from the loudspeaker is
picked up the mic, which amplifies it again and passes it back to the loudspeaker, Click: A method of GUI operation, mainly for button operation and
and so on. selection purposes.
AES3: Also known as ‘AES/EBU’, this is a serial interface for transferring digital CMR: Abbreviation for ‘common mode rejection’. A measure of how well a
audio between devices. differential amplifier 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.
AES50: AES digital audio engineering standard. AES50 is a high resolution,
multi-channel audio interconnection (HRMAI). Rather than a network, it is a Comb filtering: Removal of signal components at a number of regularly
high-performance, point-to-point audio interconnection, although the auxiliary spaced frequencies.
data may operate as a true network, independently of the audio. HRMAI provides Compressor: A dynamics processor that reduces the level of any signal
a professional multi-channel audio interconnection that uses Cat 5e data cable exceeding a specified threshold volume.
and is compatible with Ethernet networks. Condenser microphone: A high quality mic that uses a capacitor to detect
AFL: Abbreviation for ‘after fader listen’. A function that allows the signal to be changes in the ambient air pressure, which it then converts into an electrical
monitored post-fader, that is, after it has been acted upon by the fader. signal. This type of mic requires power from a battery or external source.
Algorithm: In computing, a set of instructions for accomplishing a specific task. Control centre: The M32’s console, comprising control surface and GUI.
amp (A): Abbreviation for ‘ampere’. A unit of current. Control surface: Area on the control centre that houses all of the user’s
Anti-aliasing: When referring to digital images, a technique that avoids hardware controls, such as pushbuttons, control knobs, switches etc.
poor pixelation. Crossfade: To combine signals such that one channel or source fades out while
Area A: Primary input control area. another fades in, but maintaining an essentially constant programme volume.
Area B: A secondary input control area. Cursor: Generally, used to describe the ‘I’-shaped pointer on the GUI that
indicates a text insertion point. See Pointer.
Assignable controls: User-assignable controls that can be set up to operate
other functions. D
Auto safe: Prevents channel from accepting scene recall. D zone: Section in the input channel strip for controlling dynamic parameters.
Auto-mute: A function that automatically mutes the channel’s signal under D/A: Abbreviation for ‘digital to analogue’. The conversion of digital data to
certain conditions. analogue audio.
Auto-mute group: A function that automatically mutes a number of selected DARS: Abbreviation for ‘digital audio reference signal’.
channels under certain conditions.
Dashboard: A standard GUI screen display - usually on the master bay - that
Automation: 1. Memorization and playback of changes made to mixer settings. shows all channel meters (inputs, auxes, returns, masters etc.) all of the time.
2. An area on the master bay that controls these.
DAW: Abbreviation for ‘Digital Audio Workstation’. A digital audio workstation
Aux: Abbreviation for ‘auxiliary send’ or ‘aux send’. A designation for extra is an electronic system designed solely or primarily for recording, editing and
buses, typically used for sending signal to effects, headphone amps and other playing back digital audio.
destinations. See Bus.
dB: Symbol for ‘decibel’. A unit of measurement of the loudness of sound.
Aux send: See Aux. See dBu.
B 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
Balanced audio: A type of audio connection that uses the three leads in a cable,
of voltage based on 0.775 VRMS, which is the voltage at which you get 1 mV of
connector and jack as part of a phase-cancelling arrangement to boost the signal
power in a 600 ohm resistor. This used to be the standard impedance in most
and reduce noise.
professional audio circuits.
Band: In EQ, a range of frequencies.
DC: Abbreviation for ‘direct current’.
Bandwidth: In EQ, the width of a band, that is, the number of frequencies that
Delay: An effect by which a reproduction of a signal is played back later then
will be boosted/cut above and below a centre frequency.
its original.
55 M32 User Manual

Destination: The patch connector to which a signal is routed. See Patching. Graphic EQ: A form of EQ that has a number of faders for controlling the gain of
Device: A diagram(s) in the I/O tabs representing a physical rack unit, such as a the audio signal. The faders are set at frequency bands that are evenly-spaced
line I/O, mic splitter, DN9696, AES50 etc. See Patching. according to octaves.
DI: Abbreviation for ‘direct inject’ or ‘direct injection’. Signal is plugged directly GUI: Abbreviation for ‘graphical user interface’.
into the audio chain without using a microphone. GUI channel strip: Right section of a GUI screen that represents the processing
DI box: Device for matching signal level impedance of a source to mixer input. area of the input or output channel strip selected to the control surface.
Drag: A method of GUI operation, mainly for control adjustment. Also used for GUI menu: A menu selectable at either GUI screen by clicking the home button
selecting blocks of patch connectors during patching. (upper-left corner).
DSP: Abbreviation for ‘digital signal processing’ or ‘digital signal processor’. GUI screen: One of the M32’s two screens, which comprise the GUI.
Any signal processing done after an analogue audio signal has been converted
H
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 HPF: Abbreviation for ‘high pass filter’. A filter that removes lower frequencies
specifically designed for carrying out signal processing. from a signal, leaving the higher frequencies unaffected.
Hum: Undesirable low frequency tone present in a signal due to grounding
E problems or proximity to a power source.
E zone: Section in the input channel strip for controlling EQ parameters. Hz: Symbol for ‘Hertz’. A unit of frequency equal to one cycle of a sound wave
Effect: One of a number of audio processes that can be applied to a signal to per second.
modify it, such as reverb, flanging, phasing, delay etc.
I
Effects rack: A virtual rack of internal processors. See Virtual rack.
I zone: Area on the master bay that contains the operator-assignable
Envelope: 1. How a sound or audio signal varies in intensity over time.
effects controls.
2. The visual representation of such, usually shown on a graph in a GUI
channel strip. I/O: Abbreviation for ‘input/output’.
EQ: Abbreviation for ‘equaliser’ or ‘equalisation’. ID: Abbreviation for ‘identification’.
Equalisation: Adjusting the frequency response so that the levels Ident: Scale marking, or gradation, around a control knob to help indicate the
of all frequencies are equal or the same. Bass and treble controls are current setting and to assist in accurate adjustment.
equalisation controls. Impedance (Z): Opposition to the flow of alternating current in a circuit,
EtherCon®: A cable connector for data transfer interconnections, which is more measured in ohms.
robust than the basic RJ45.
K
F Kernel: For computers, the kernel is the central component of most
Fader: Slider-type device for precise adjustment of signal level or volume of operating systems.
a channel.
L
Fast strip: One of the strips in the input, mix and output fast zones. See Input
LCD select button: LCD button in the input fast strips and VCA groups, used for
fast strip, Mix fast strip, Output fast strip and Fast zone.
channel/group navigation and selection, and operator feedback.
Fast zone: An area on a bay that contains quick controls. See Input fast zone,
LFE: Abbreviation for ‘low frequency effects’. Typically, the ‘.1’ in ‘5.1 surround’ is
Mix fast zone, Output fast zone and Fast strip.
an LFE channel.
FB: Abbreviation for ‘front-back’. A term used in surround panning.
LFO: 1. Abbreviation for Low-Frequency Oscillation, an electronic signal which is
Feedback: See Acoustic feedback. usually below 20 Hz and creates a rhythmic pulse or sweep. This pulse or sweep
Filter: A device for removing frequencies above or below certain levels. is often used to modulate synthesizers, delay lines and other audio equipment in
FOH: Abbreviation for ‘front of house’. The area in a theatre used by the public. order to create effects used in the production of electronic music. 2. Abbreviation
Used to describe a control centre being used to control the sound that the for Low-Frequency Oscillator, the device itself which produces low-frequency
audience will hear (and not the performers’ monitor system). oscillation.
Frequency: The number of times that a sound wave’s cycle repeats within Linux: Also known as ‘Linux kernel’. Operating system kernel used by a family of
one second. Unix-like operating systems. See kernel.
Fricative: A consonant, such as ‘f’ or ‘s’, produced by the forcing of breath LS: Abbreviation for ‘left surround’. The left rear speaker in a 5.1
through a constricted passage. surround system.
From section: The leftmost area of the patching screen that contains the source M
patch connectors. See Patching.
MADI: Abbreviation for ‘multi-channel audio digital interface’.
G Master bay: Control area for masters, automation, comms, monitoring etc.
Gain: Another term for signal level. Also contains the primary navigation zone.
Gain reduction (compressor): Decrease in gain when input signal is above Masters: The three master channels (mono and stereo left and right) in the
threshold. See Gain. master bay.
GEQ: Abbreviation for ‘graphic equaliser’. See Graphic EQ. MB: Abbreviation for ‘megabyte’.
GEQ rack: A virtual rack of GEQs. See Virtual rack. MC: Abbreviation for ‘master controller’.
Granularity: A measure of the size of components or a description of the Meter: Visual device to indicate the level of a signal.
components comprising a system. Meters screen: One of the GUI screens. This is the default screen of the
master bay.
56 M32 User Manual

Mic: Abbreviation for ‘microphone’. Output: 1. The signal put out by a device. 2. The physical location of where a
Microphone: Device for converting sound waves into audio signals. device sends out a signal.
MIDI: Acronym for ‘musical instrument digital interface’. A digital signal system Output fast strip: One of 16 channel strips in the output fast zone. Provides
standard that facilitates integration of musical instruments, such as synthesizers detailed control of the currently selected outputs. See Output fast zone.
and guitars, with computers. Output fast zone: Control area for fast access to primary main output functions.
Mix: 1. A signal that contains a combination of signals, such as a pair of stereo Overload: A condition where the signal level is too high.
signals with numerous effects. 2. The act of creating such a combination. Overview: The main view in the GUI channel strip, which contains the control
3. A type of bus. See Bus. sections of the selected channel. This represents the associated channel strip on
Mix bay: Control area for outputs and groups. the control surface.
Mixer: 1. A console or other device that blends input signals into composite Overview screen: One of the GUI screens. This is the default screen of the
signals for output. 2. An engineer/technician who carries this out, especially mix bay.
during a live performance.
P
mm: Symbol for ‘millimetre’ (one thousandth of a metre).
PAN: Abbreviation for ‘panoramic’.
MON: Abbreviation for ‘monitor’, used to describe a control centre being used to
mix the signals sent to the stage monitor speakers. Panning: The left/right positioning of a signal across a stereo image.
Monitor: 1. Speaker(s) used for listening to a mix or live audio. 2. The act of Parameter: A setting whose value can be altered by the user.
listening to a mix or live audio. Parametric EQ: A type of EQ that allows all of the parameters of equalisation to
Monitor A: Primary monitor bus system. be changed, including centre frequency, boost/cut in gain and bandwidth.
Monitor B: Secondary monitor bus system. Patch: A temporary connection (physical or virtual) made between two audio
devices or inside one.
Monitors: Control area on the master bay for monitoring the A and B
signal paths. Patch connector: Any tab patching point, for example, an XLR connector, bus,
sidechain compressor etc. See Patching.
Mono: A single signal.
Patching: Also known as ‘soft patching’. The process of routing a channel/signal
Mute: Function that allows a channel’s signal to be silenced.
from a source to a destination(s).
Mute safe: Function that means a mute cannot be controlled by scene recall or
PCB: Abbreviation for ‘printed circuit board’.
auto-mutes.
PEQ: Abbreviation for ‘parametric equaliser’. See Parametric EQ.
N PFL: Abbreviation for ‘pre-fade listen’. A function that allows the signal to be
N/A: Abbreviation for ‘not applicable’. monitored pre-fader, that is, before it reaches the fader.
nm: Symbol for nanometre (one billionth of a metre). Phantom power: The power required for the operation of a condenser
Normalise: To boost the amplitude of a digital sound so that it is as high as it microphone when it is not supplied by internal batteries or a separate power
can be without clipping (0 dB). supply. This is supplied by the M32 Control Centre itself.
Normalisation: An automatic process whereby the gain of all program material Phase: A measurement (in degrees) of the time difference between
is adjusted so that the peak level will just arrive at 0 dB. two waveforms.
Normalised connection: Also known as ‘normalled connection’. A connection Pitch: A continuous frequency over time. Musical interpretation of an
that allows a signal to pass through it when no plug is inserted in it, but breaks audio frequency.
the connection when a plug is inserted. Pitch shift: Alteration of pitch or frequency, but without adjusting tempo.
Normalising: The process of making audio files the same volume. Point scene: Subdivision of a scene. See Scene.
NVRAM: Abbreviation for ‘Non-volatile random access memory’. this is the Pointer: 1. On the GUI, the pointer is the arrow-shaped object on the screen
general name used to describe any type of RAM that retains its information when that moves when the user moves the trackball or external mouse. 2. On a control
power is switched off. For example, flash memory. knob, it is the marking that, when used in conjunction with the ident around
edge of control knob, helps to indicate the setting.
O
POP: Abbreviation for ‘population’.
O/B: Abbreviation for ‘outside broadcast’.
POP group: A number of channels assigned to a group that has unfold and area
Oct: Abbreviation for ‘octave’. B controls. Provides an easy and quick method of manipulating and controlling
Octave: A difference in pitch where one tone has a frequency that is double or the numerous channels available on the M32 Control Centre.
half of the frequency of another tone. Post-: The point for accessing audio just after it leaves a specific channel
ohm (Ω): Unit of electrical resistance. component, for example, ‘post-fader’, where the audio is tapped from just after it
OpticalCon®: A cable connector for fibre optic cables. leaves the channel’s main level control.
OS: Abbreviation for ‘operating system’. Pre-: The point for accessing audio just before it reaches a specific module, for
example, ‘pre-EQ’, where the audio is tapped from just before it gets to a channel
OSC: Abbreviation for ‘oscillator’ or ‘oscillation’.
strip’s EQ.
Out of phase: 1. A signal, being similar to another in amplitude, frequency and
Primary navigation zone: Area in the master bay for mix and master bay GUI
wave shape, but offset in time by part of a cycle. 2. 180° out of phase or having
screen navigation and control. Also has a screen access section for fast access to
opposite polarity. See Phase.
GUI menu options.
Outboard: External, as in an ‘external device’.
Processing area: A display in a GUI channel strip showing a specific control
Outboard equipment: External equipment used with the M32 Control Centre, section. Accessed from the channel’s overview display. See Overview.
but that is not part of it.
PSU: Abbreviation for ‘power supply unit’.
57 M32 User Manual

Psychoacoustics: The study of the perception of sound, that is, how we Surround: Audio that has more that two speaker locations and, therefore,
listen, our psychological responses and the physiological effects on the human more than two channels. Also commonly termed ‘surround sound’.
nervous system. Synchronisation (sync): Coordination of timing between devices.
Pschycoacoustic noise: Noise that affects the physiology of the listener.
T
Q Tab: A ‘sheet’ in the From and To sections that contains a specific group of patch
Quick access button: Button for navigation/ selection of a channel/bus/ connectors. See Patching.
processing area. TFT: Abbreviation for ‘thin film transistor’.
R Threshold: Level at which dynamics processing will begin to operate.
RAM: Abbreviation for ‘Random access memory’. Tie line: A dedicated connection between two systems, typically between FOH
and MON positions.
Return: Auxiliary return or aux return. An extra input used for receiving a signal
from the output of an internal or external effect processor. See Bus. To section: The rightmost area of the Patching screen that contains the
destination patch connectors. See Patching.
Reverb: An effect where the ambience of a physical space is simulated. This is
done by copying a signal and replaying at regular intervals at ever decreasing Tooltip: The information box that appears next to the pointer when it passes
levels. The intervals are so close that each copy is not heard individually. over or pauses on items on certain GUI screens, such as the channels on the
Overview and Patching screens.
RMS: Abbreviation for ‘root-mean-square’. The square root of the mean of the
sum of the squares. Commonly used as the effective value of measuring a sine Touchpad: Also known as ‘trackpad’. An input device on a laptop PC for
wave’s electrical power. A standard in amplifier measurements. The effective controlling the on-screen pointer.
average value of an AC waveform. Track: Single stream of recorded audio data.
RS: Abbreviation for ‘right surround’. The right-hand rear speaker in a 5.1 Trackball: Device, located in the primary navigation zone, for GUI screen
surround system. navigation and control of the mix and master bays.
Treble: Higher frequencies in a signal.
S
TW: Abbreviation for ‘twin-wire’.
s: Symbol for ‘second’. A unit of time.
Scene: In automation, a set of mix settings for a particular part of a performance, U
for example, a play or song. Unbalanced audio: A type of audio connection that utilises only two of the
Sibilance: Energy from a voice, centred around 7 kHz, and caused by leads of a cable, connector and jack.
pronouncing ‘s’, ‘sh’ or ‘ch’ sounds. Unfold: Navigates the input channels of a group to the input bays.
Side chain: A special circuit that diverts a proportion of the main signal so that USB: Abbreviation for ‘universal serial bus’. A ‘plug and play’ interface that
it can be processed, as required. Compressors use the side chain to derive their provides a fast connection between a computer and peripherals, such as
control signals. keyboards, printers, scanners, digital cameras etc.
Signal flow: The path of a signal from one place to another.
V
SIP™: Abbreviation for ‘solo in place’.
VCA: Abbreviation for ‘variable control association’ (also ‘voltage
SIS: Abbreviation for ‘spatial imaging system’. Combines a central loudspeaker
controlled amplifier’).
cluster with a left-right system to form three discrete sound channels.
VCA fader: The fader control of a VCA group.
Snapshot: A captured group of mixer settings that reflect the state of the mixer
at a particular moment within a performance. This snapshot can then be recalled VCA group: A group of channels that are controlled globally, such as via
at the required moment in the performance/playback. their group’s fader and other controls. Provides an easy and quick method of
manipulating and controlling the numerous channels available on the M32
Solo: During monitoring, the isolation of one signal by silencing all other signals.
Control Centre.
Source: The patch connector from which a signal is patched. See Patching.
VGA: Abbreviation for ‘video graphics array’. A graphics display system for PCs
SPL: Abbreviation for ‘sound pressure level’. Given in decibels (dB), SPL is an developed by IBM.
expression of loudness or volume.
Virtual rack: A traditional 19” rack, represented on the GUI. A virtual rack will,
Splash screens: The GUI display during power up. typically, contain internal devices, such as effects and GEQs.
SRC: Abbreviation for ‘sample rate converter’. Volt (V): A unit of electrical potential differential or electromotive force.
SSD: Abbreviation for ‘solid-state disk’. Data storage device that uses non- Volume: General term for a signal’s loudness.
volatile memory to store data. Quicker than the conventional hard disk and less
susceptible to the failures associated with hard disk drives. W
Status indicator: A device specifically designed to show the condition of Window: A small self-contained panel that appears on the GUI, usually after
something. For example, an LED that shows whether a pushbutton is on or off, or selection of a specific control. Typically, contains a number of user-selectable
a meter showing the level of a signal. options or information in the form of a message or prompt.
Stereo: Two separate channels, left and right, used to give the listener the
X
perception of where the noise is coming from. Usually used with music to give a
fuller, more natural sound. X-over: Abbreviation for ‘crossover’.
Stereo image: The perception of the different sound sources coming from far XLR connector: High-quality three-pin audio connector, which is also used for
left, far right or anywhere in between. AES/EBU digital audio connections.
58 M32 User Manual

Other important information

Outras Informações
Important information Informations importantes
Importantes

1. Register online. Please register your new Music 1. Enregistrez-vous en ligne. Prenez le 1. Registre-se online. Por favor, registre seu novo
Tribe equipment right after you purchase it by visiting temps d’enregistrer votre produit Music Tribe aussi vite equipamento Music Tribe logo após a compra visitando
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simple online form helps us to process your repair claims d’enregistrer le produit en ligne nous permet de gérer nosso simples formulário online nos ajuda a processar seus
more quickly and efficiently. Also, read the terms and les réparations plus rapidement et plus efficacement. pedidos de reparos com maior rapidez e eficiência. Além
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correct mains voltage for your particular model. Faulty fuses
must be replaced with fuses of the same type and rating 3. Raccordement au secteur. Avant de relier 3. Ligações. Antes de ligar a unidade à tomada,
without exception. cet équipement au secteur, assurez-vous que la tension assegure-se de que está a utilizar a voltagem correcta para
secteur de votre région soit compatible avec l’appareil. o modelo em questão. Os fusíveis com defeito terão de
Veillez à remplacer les fusibles uniquement par des modèles ser substituídos, sem qualquer excepção, por fusíveis do
exactement de même taille et de même valeur électrique mesmo tipo e corrente nominal.
— sans aucune exception.

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ayudará a resolver cualquier incidencia que se presente a la können wir Ihre Reparaturansprüche schneller und
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eine Netzsteckdose anschließen, prüfen Sie bitte, ob Sie
3. Conexiones de corriente. Antes de enchufar die korrekte Netzspannung für Ihr spezielles Modell
este aparato a una salida de corriente, asegúrese de que dicha verwenden. Fehlerhafte Sicherungen müssen ausnahmslos
salida sea del voltaje adecuado para su modelo concreto. En durch Sicherungen des gleichen Typs und Nennwerts
caso de que deba sustituir un fusible quemado, deberá hacerlo ersetzt werden.
por otro de idénticas especificaciones, sin excepción.
59 M32 User Manual

Other important information

その他の重要な情報 其他的重要信息

1. ヒューズの格納部 / 電圧の選択: 1. 在线注册。 请购买 Music Tribe 产品后立即

ユニットをパワーソケットに接続する前に、 在 midasconsoles.com 网站注册。 网页上有简单
各モデルに対応した正しい主電源を使用し 的在线注册表格。 这有助于我们更快更有效
ていることを確認してください。ユニットに 率地处理您维修等事宜。 请阅读保修的相关
よっては、230 V と 120 V の 2 つの違うポジ 条款及条件。
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 2. 无法正常工作。 若您的 Music Tribe 产品
のヒューズは、絶対に適切な値のヒューズに 无法正常工作, 我们会为您尽快修复。 请联
交換されている必要があります。 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
2. 故障: Music Tribe ディーラーがお客様の 网站的 “ WHERE TO BUY ” 一栏下的所列出的子
お近くにないときは、midasconsoles.com の 公司或经销商。
“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 3. 电源连接。 将本设备连接电源前, 请确
クトすることができます。お 客様の国がリ 保使用的电压正确。 保险丝需要更换时,
ストにない場合は、同じ midasconsoles.com の 必须使用相同型号及定额的保险丝。
“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。
60 M32 User Manual

FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION
MIDAS
M32 DIGITAL CONSOLE

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

M32 DIGITAL CONSOLE

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

Important information:
Changes or modifications to the equipment not expressly approved by Music Tribe
can void the user’s authority to use the equipment.
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