24 DIGITAL RACK MIXER M32R User Manual 25 DIGITAL RACK MIXER M32R User Manual
con g
The con guration tab allows selection of signal source/destination for the
channel, con guration of insert point, and other settings, as well as con guration
of the channel delay.
The con g tab of input channels 1-32 contains the following parameters
that can be adjusted using the six push encoders:
1. Turn the rst push encoder to adjust the input gain (trim) of
the channel.
2. Tap the rst encoder to allow linking of the channel to the
adjacent channel.
3. Adjust the second encoder to set the low-cut frequency of the channel.
4. Tap the second encoder to toggle the low-cut lter in/out of the
signal path.
5. Adjust the third encoder to scroll among all of the possible sources for
the channel.
6. Tap the third encoder to select the currently highlighted source and
assign it to the channel.
7. Adjust the fourth encoder to set the amount of digital line delay applied
to the channel.
8. Tap the fourth encoder to toggle the delay in/out of the signal path.
9. Adjust the fth encoder to toggle the channel insert between pre- and
post-EQ/compressor.
10. Tap the fth encoder to toggle the channel insert in/out of the
signal path.
11. Adjust the sixth encoder to scroll among the signal path choices for the
insert point.
12. Tap the sixth encoder to assign the selected signal path to the
insert point.
NOTE: Mix Bus channels do not have Gain, Low Cut, Phantom, Phase,
Source and Delay. But they do have a macro feature for setting all channel send
taps to the selected bus at once. As an example, this can be used for switching
all sends from Pre Fader to Post Fader or for ensuring that all channel taps
are consistent.
gate
The gate tab displays all aspects of the channel noise gate, and allows for very
deep control of the gate e ect. Whereas the top panel’s dedicated GATE section
allows control of the gate’s threshold and in/out status, the gate tab o ers many
more controls. This tab can be accessed directly by pressing the VIEW button in
the top panel GATE section.
The gate tab contains the following parameters, divided among two pages,
that can be adjusted using the six push encoders:
Page 1
1. Adjust the rst push encoder to set the input threshold of the gate.
2. Tap the rst encoder to toggle the noise gate in/out of the signal path.
3. Adjust the second encoder to set the range of a ‘ducking e ect applied
to the channel.
4. Tap the second encoder to toggle the ducker e ect in/out of the
signal path.
5. Adjust the third encoder to set the attack time of the onset of the noise
gate e ect.
6. Adjust the fourth encoder to set the hold time of the noise gate e ect.
7. Adjust the fth encoder to set the release time of the noise gate,
controlling how quickly the gate opens up and lets the signal through.
Page 2
1. Push encoders 1 & 2 function the same on pages 1 & 2.
2. Adjust the fourth encoder to set the frequency of the key lter that can
be used to trigger the noise gate.
3. Tap the fourth encoder to toggle the key lter on/o , allowing a speci c
frequency to control the gate.
4. Adjust the fth encoder to set the steepness of the EQ slope used in the
key lter.
5. Tap the fth encoder to send the key source to the solo bus, allowing
the key source to be monitored and evaluated.
6. Adjust the sixth encoder to select the speci c key source to be used.
Choices include ‘Self’ (the channel’s own signal), as well as any other
input/output of the console.
7. Tap the sixth encoder to assign the selected key source to the gate.
dyn
The dynamics tab displays all aspects of the channel compressor, and allows for
very deep control of the e ect. Whereas the top panel’s dedicated compressor
section allows control of the threshold and in/out status, the dyn tab o ers many
more controls. This tab can be accessed directly by pressing the VIEW button in
the top panel DYNAMICS section.
The dyn tab contains the following parameters that can be adjusted using
the six push encoders:
Page 1
1. Adjust the rst push encoder to set the input threshold of
the compressor.
2. Tap the rst encoder to toggle the compressor in/out of the signal path.
3. Adjust the second encoder to set the ratio of the compressor.
4. Tap the second control to switch the channel dynamics e ect between
compression and expansion.
5. Adjust the third encoder to set the attack time of the compressor e ect.
6. Tap the third encoder to switch the compressor between Peak and RMS
(root mean squared) mode, where the average level of the signal is
evaluated more than any speci c peak of the channel material.
• • PEAK: A peak-sensing compressor responds to the instantaneous
level of the peak signal. While providing tighter peak control, peak
sensing might yield very quick changes in gain reduction, more
evident compression, or sometimes even distortion. This mode is
suitable for control/limiting of dynamic material.
• • RMS: In this mode, the compressor applies an average function
on the input signal before its level is compared to the threshold.
This allows a more relaxed compression that also more closely
relates to our perception of loudness. Sharp dynamic transients
will be less a ected in this mode. This mode is good for controlling
levels in a mix.
7. Turn the fourth encoder to adjust the hold time of the compressor.
• • Hold time is a parameter not often found on commercial units,
but is very useful. If a compressor is set to use a very fast attack/
release time, audible distortion can occur, because the compressor
is trying to work on individual waveform cycles of the signal
instead of the sound envelope as a whole. The Hold parameter
works around this issue by providing a short delay. This delay
prevents the compressor from releasing until a certain period of
time has elapsed.
8. Tap the fourth encoder to switch between Linear and Logarithmic
modes for the compressor. Following are some brief descriptions of
those di erent modes:
LOG: This mode is used in many well-respected compressors and is the
natural result of more recent analogue units employing logarithmic
side chains and resistor/capacitor time constants. The exponential/
dB law has some interesting characteristics. Firstly the time taken to
complete a compression event tends to stay the same however large
the dynamic signal excursion is. Also, since the peak rate of gain change
increases with dynamic excursion, the resulting harmonic content due
to compress tends to follow the loudness of the signal in a way that
the ear expects. This helps to mask the e ect of the compressor and
thus provides the most forgiving solution, being tolerant of di ering
timing settings and signal material. This makes it the best choice
for general compression use and overall dynamic control of complex
musical signals.
LINEAR: In this mode, the rate if gain change is constant (as set by the
timing controls). Therefore the greater the signal dynamic excursion,
the longer the compressor will take to complete a gain change.
Also, since the total time that the compressor spends in attack or decay
is proportional to the size of the gain excursion, the harmonic content
of the compression artefact will seem to reduce in frequency content,
the louder the signal excursion. This type of compressor is useful for
generating dynamic sound e ects because the sonic character of the
compressor is much more a ected by time control settings and signal
material than the exponential type.
9. Adjust the fth encoder to set the release time of the compressor.
10. Adjust the sixth encoder to set the makeup gain of the compressor;
useful when the compression e ect has reduced the overall signal level
of the channel too much.
Page 2
1. Push encoders 1 & 2 function the same on pages 1 & 2.
2. Adjust the third encoder to set the steepness of the compressor knee
angle between ve separate settings. Adjust this control to switch
between a harder sounding, or more transparent compressor e ect.
3. Tap the third encoder to move the compressor e ect before or after the
EQ in the channel signal path.
4. Adjust the fourth encoder to set the frequency of the key lter that can
be used to trigger the compressor.
5. Tap the fourth encoder to toggle the key lter on/o , allowing a speci c
frequency to control the compressor.
6. Adjust the fth encoder to set the steepness of the EQ slope used in
the compressor.
7. Tap the fth encoder to send the key source to the solo bus, allowing
the key source to be monitored and evaluated.
8. Adjust the sixth encoder to select the speci c key source to be used,
Choices include ‘Self’ (the channel’s own signal), as well as any other
input/output of the console.
9. Tap the sixth encoder to assign the selected key source to
the compressor.
