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Reference Manual Using the Function Tree

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an on-screen display or function.

EN
 Contents

Contents EQ and Dynamics ..................................................................... 55

About EQ and dynamics ................................................................................. 55
Using EQ ........................................................................................................ 55
How to Use This Reference Manual ................................................................... 1 Using dynamics .............................................................................................. 58
Using the EQ or Dynamics libraries ................................................................. 62
Function Tree ............................................................................ 4
Grouping and linking .............................................................. 63
SELECTED CHANNEL section ...................................................... 6 About DCA groups and Mute groups.............................................................. 63
About the SELECTED CHANNEL section ............................................................ 6 Using DCA groups .......................................................................................... 63
Operations in the SELECTED CHANNEL section................................................. 6 Using mute groups ......................................................................................... 65
SELECTED CHANNEL VIEW screen..................................................................... 7 Channel Link function..................................................................................... 69
Copying, moving, or initializing a channel ...................................................... 72
Centralogic section ................................................................. 11
About the Centralogic section......................................................................... 11 Scene memory ......................................................................... 76
Operations in the Centralogic section ............................................................. 11 About scene memories ................................................................................... 76
OVERVIEW screen ........................................................................................... 12 Using scene memories .................................................................................... 76
Editing scene memories .................................................................................. 81
Input and output patching..................................................... 15 Using the Global Paste function ...................................................................... 84
CL console internal patching and Dante audio network patching.................... 15 Using the Focus function ................................................................................ 86
Changing the output patch settings ............................................................... 16 Using the Recall Safe function ......................................................................... 87
Changing the input patch settings.................................................................. 19 Using the Fade function.................................................................................. 90
Inserting an external device into a channel ..................................................... 21 Outputting a control signal to an external device in tandem with
Directly outputting an INPUT channel............................................................. 23 scene recall (GPI OUT).......................................................................... 92
Recording or playing back using DAW on a computer .................................... 25 Playing back an audio file that links to a scene recall ....................................... 93

Input channels ........................................................................ 27 Monitor and Cue functions ..................................................... 95

Signal flow for input channels ......................................................................... 27 About the Monitor and Cue functions ............................................................ 95
Specifying the channel name and icon............................................................ 28 Using the Monitor function............................................................................. 96
Making HA (Head Amp) settings ..................................................................... 30 Using the Cue function ................................................................................... 99
Sending a signal from an input channel to the STEREO/MONO buses............. 35 Operating the Cue function .......................................................................... 100
Sending a signal from an input channel to a MIX/MATRIX bus........................ 39
Correcting delay between channels (Input Delay) ........................................... 44 Talkback and Oscillator......................................................... 103
Channel library operations .............................................................................. 45 About the Talkback and Oscillator functions ................................................. 103
Using Talkback.............................................................................................. 103
Output channels ..................................................................... 46 Using the Oscillator function......................................................................... 105
Signal flow for output channels....................................................................... 46
Specifying the channel name and icon............................................................ 47 Meters.................................................................................... 108
Sending signals from MIX channels to the STEREO/MONO bus ...................... 48 Operations in the METER screen ................................................................... 108
Sending signals from MIX channels and STEREO/MONO channels to Using an MBCL meter bridge (optional) on the CL3 or CL1 console ............. 110
MATRIX buses ...................................................................................... 51
Correcting delay between channels (Output Delay) ........................................ 54
Channel library operations .............................................................................. 54

2 Reference Manual
 Contents

Graphic EQ, effects, and Premium Rack ............................... 111 Other functions ..................................................................... 186
About the virtual rack ................................................................................... 111 About the SETUP screen................................................................................ 186
Virtual rack operations .................................................................................. 112 Word clock and slot settings ......................................................................... 188
Graphic EQ operations.................................................................................. 115 Using cascade connections ........................................................................... 190
About the internal effects.............................................................................. 119 Basic settings for MIX buses and MATRIX buses ............................................ 192
Using the Premium Rack ............................................................................... 127 Specifying the brightness of the touch screen, LEDs, channel name displays,
Using the graphic EQ, effect, and Premium Rack libraries.............................. 134 and lamps .......................................................................................... 193
Setting the date and time of the internal clock.............................................. 194
I/O rack and external head amp .......................................... 135 Setting the network address ......................................................................... 194
Using an I/O rack .......................................................................................... 135 Initializing the unit to factory default settings................................................ 195
Remotely controlling an I/O rack................................................................... 135 Adjusting the detection point of the touch screen (Calibration function) ...... 196
Using an external head amp ......................................................................... 139 Adjusting the faders (Calibration function).................................................... 197
Fine-tuning the input and output gain (Calibration function)........................ 198
MIDI....................................................................................... 144 Adjusting the channel color (Calibration function) ........................................ 199
MIDI functionality on the CL series console ................................................... 144 Dante audio network settings ....................................................................... 201
Basic MIDI settings........................................................................................ 144 Using GPI (General Purpose Interface) .......................................................... 205
Using Program Changes to recall scenes and library items ............................ 147
Using Control Changes to control parameters............................................... 150 Appendices ............................................................................ 211
Using Parameter Changes to control parameters........................................... 152 EQ Library List............................................................................................... 211
DYNAMICS Library List ................................................................................. 212
User settings (Security) ........................................................ 153 Dynamics Parameters.................................................................................... 214
User Level settings ........................................................................................ 153 Effect Type List.............................................................................................. 216
Preferences ................................................................................................... 163 Effects Parameters......................................................................................... 217
USER DEFINED keys ...................................................................................... 164 Premium Rack Processor Parameters ............................................................. 229
USER DEFINED knobs.................................................................................... 166 Effects and tempo synchronization ............................................................... 231
Assignable encoders...................................................................................... 167 Parameters that can be assigned to control changes ..................................... 232
Custom fader bank ....................................................................................... 168 NRPN parameter assignments....................................................................... 234
Master fader ................................................................................................. 169 Mixing parameter operation applicability...................................................... 238
Console Lock ................................................................................................ 170 Functions that can be assigned to USER DEFINED keys.................................. 243
Saving and loading setup data to and from a USB flash drive ........................ 172 Functions that can be assigned to USER DEFINED knobs ............................... 246
Loading a file from the USB flash drive .......................................................... 173 Functions that can be assigned to the assignable encoders ........................... 247
Formatting a USB flash drive ......................................................................... 175 MIDI Data Format......................................................................................... 248
Warning/Error Messages ............................................................................... 255
Recorder................................................................................ 176 Electrical characteristics................................................................................. 257
About the USB memory recorder .................................................................. 176 Mixer Basic Parameters ................................................................................. 258
Assigning channels to the input and output of the recorder .......................... 176 MIDI Implementation Chart.......................................................................... 259
Recording audio to a USB flash drive............................................................. 178 Index ............................................................................................................ 260
Playing back audio files from a USB flash drive .............................................. 180
Editing the title list ........................................................................................ 182
Using the CL console with Nuendo Live ........................................................ 183

3 Reference Manual
 Function Tree

Function Tree SEND TO/SEND FROM 41, 52 MONITOR

TO STEREO/MONO 49 MONITOR 96
Page numbers in parentheses ( ) are the page numbers of the 8ch 49 CUE 101
Owner’s Manual (booklet). CH1-48 50 MONITOR 97
CH49-72/ST IN 50
Main OSCILLATOR 106
OUTPUT 50
SELECTED CHANNEL 6 TALKBACK 104
OVERVIEW 12
FUNCTION ACCESS AREA (20) LIBRARY
METER
CHANNEL LIBRARY 45
INPUT METER 108
EQ LIBRARY 62
CHANNEL PARAMETER OUTPUT METER 108
DYNAMICS LIBRARY 62
PATCH/NAME 16, 29, 48
GEQ LIBRARY 134
GAIN/PATCH 31
EFFECT LIBRARY 134 SETUP
1ch 31
Portico5033/Portico5043/U76/Opt-2A/ USER SETUP 186
8ch 32 134
EQ-1A/DynamicEQ LIBRARY PREFERENCE 163
CH1-48 32
DANTE INPUT PATCH LIBRARY 136 USER DEFINED KEYS SETUP 164
CH49-72/ST IN 32
OUTPUT Indication only USER DEFINED KEY SETUP (List) 165
INPUT DELAY 44 USER DEFINED KNOBS SETUP 166
RACK
8ch 44 USER DEFINED KNOB SETUP (List) 166
VIRTUAL RACK 112
CH1-48 45 ASSIGNABLE ENCODER SETUP 167
RACK MOUNTER 113
CH49-72/ST IN 45 CUSTOM FADER BANK/MASTER FADER 168
GEQ EDIT 115
DELAY SCALE 44 FADER ASSIGN SELECT 169
GEQ LINK 116
INSERT/DIRECT OUT 21
EFFECT RACK 119 USER LEVEL/CREATE USER KEY 153
1ch 21, 23
CREATE KEY 155
8ch 22, 24 EFFECT EDIT 122
SAVE KEY 160
HPF/EQ 55 EFFECT TYPE 123
PREMIUM RACK 127 LOGIN 156
1ch 55
SAVE/LOAD 172
8ch 56 PREMIUM RACK MOUNTER 128
CH1-48 57 WORD CLOCK/SLOT SETUP 188
PREMIUM RACK EDIT 129
CH49-72/ST IN 57 I/O RACK (Tab) 135 CASCADE IN/OUT PATCH 190, 192
OUTPUT 57 OUTPORT SETUP 18
I/O RACK (Popup) 137
DYNAMICS 58 MIDI/GPI 144, 205
DANTE INPUT PATCH 136
1ch 58 MIDI SETUP 145
DANTE SETUP 136
KEY IN SOURCE SELECT 61 PROGRAM CHANGE 147
EXTERNAL HA RACK 141
8ch 60 CONTROL CHANGE 150
EXTERNAL HA EDIT 142
CH1-48 61 GPI 206
EXTERNAL HA PORT SELECT 142
CH49-72/ST IN 61
FADER START 209
OUTPUT 61

4 Reference Manual
 Function Tree

SETUP Others
BUS SETUP 192 CONFIRMATION 163
CONSOLE LOCK 170 SOFT KEYBORD (21)
DATE/TIME 194 LOGIN 156
NETWORK 194
DANTE SETUP 201 Startup Menu
MODE SELECT 195
INITIALIZE ALL MEMORIES 195
SCENE
INITIALIZE CURRENT MEMORIES 195
SCENE LIST 78
TOUCH SCREEN CALIBRATION 196
GLOBAL PASTE 84
INPUT PORT TRIM 198
FADE TIME 90
SONG SELECT 94 OUTPUT PORT TRIM 198
SLOT OUTPUT TRIM 199
FOCUS RECALL 86
FADER CALIBRATION 197
CHANNEL COLOR CALIBRATION 199
RECORDER
USB 176
NOTE
NUENDO LIVE 183 • The explanations in this reference manual will use the CL5.
• In the case of the CL3/CL1, some screens will not show
channels and faders that do not exist on those models.
CH JOB
CH LINK MODE 70
DCA GROUP ASSIGN 63
MUTE GROUP ASSIGN 65
RECALL SAFE MODE 87
CH COPY MODE 72
CH MOVE MODE 73
CH DEFAULT MODE 75

PATCH
22, 24, 98, 102,
PORT SELECT
137, 191
19, 114, 169,
CH SELECT
170, 177

5 Reference Manual
 SELECTED CHANNEL section

2.
SELECTED CHANNEL section Press one of the knobs in the SELECTED CHANNEL section.
Press a knob in the SELECTED CHANNEL section to display the SELECTED CHANNEL VIEW
screen for the currently-selected channel. If you leave this screen displayed, you will always be able
This chapter explains how to use the SELECTED CHANNEL section and the SELECTED CHANNEL
to view the settings in the screen while operating the knobs in the SELECTED CHANNEL
VIEW screen to control the selected channel.
section.
NOTE
About the SELECTED CHANNEL section If you have turned on the option “POPUP APPEARS WHEN KNOB(S) PRESSED” on the
PREFERENCE tab (accessed by pressing the SETUP button, then the USER SETUP button),
The SELECTED CHANNEL section located to the left of the display corresponds to the mixer module pressing a knob repeatedly will open or close the popup window (1 ch).
on a conventional analog mixer, and enables you to manually adjust all the major parameters of the
currently-selected channel. Even if a different screen is selected, the knobs in the SELECTED CHANNEL section will always
Operations in this section will affect the channel that was most recently selected by its [SEL] key. If you affect the currently-selected channel. In this case, a window indicating the value of that parameter
have assigned an ST IN channel or STEREO channel to a single channel strip, either the L or the R will appear on screen when you operate a knob.
channel will be selected, and the major parameters for L and R channels will be linked. You can use the
knobs on the panel to control mix parameters such as head amp gain, HPF/EQ settings, the threshold
setting of the dynamics processors, pan/balance settings, and send levels to the MIX/MATRIX buses.

Operations in the SELECTED CHANNEL section

Follow the steps below to perform operations in the SELECTED CHANNEL section.

1. Use a [SEL] key to select the channel you want to control.

To select an INPUT, ST IN, STEREO, or MONO channel, press the appropriate [SEL] key in the
INPUT section, ST IN section, or STEREO/MONO MASTER section of the top panel.
To select a MIX or MATRIX channel, use the Channel number
Bank Select keys to recall the desired channel to Channel name
the Centralogic section, and then press the [SEL]
key for the desired channel.
The number and name of the currently-selected
channel is shown in the channel select field
located in the Function Access Area of the touch
screen.
NOTE
• If an ST IN channel or STEREO channel has been assigned to a single channel strip, you can
switch between L and R by repeatedly pressing the same [SEL] key.
3. Use the knobs in the SELECTED CHANNEL section and the buttons on the
• You can also switch channels by pressing the channel select field located in the Function Access SELECTED CHANNEL VIEW screen to edit the parameters of the selected channel.
Area. Press the left side of the field to select the preceding channel. Press the right side of the
field to select the next channel.

6 Reference Manual
 SELECTED CHANNEL section

SELECTED CHANNEL VIEW screen If the destination bus channels are two mono channels:
1

2
3

1 SEND knob
Sets the send level to the corresponding bus.

2 PRE indicator
Indicates the type of the corresponding bus. If the type is VARI [PRE EQ] or VARI [PRE FADER],
and if the PRE button on the MIX SEND 8ch screen is turned ON, this PRE indicator will be
turned on.

3 ON button
Switches the send signal to the corresponding bus on or off.

If the destination bus is a stereo channel:

1

2
SEND field 1 3
In this field, you can view the send level from the channel to each MIX/
MATRIX bus, switch the on/off status of the send signals, and switch between
pre and post.
1 SEND/PAN knob
1 Tabs The right-hand knob adjusts the level of the signal sent to a pair of bus channels (even-numbered
Enable you to select a group of 16 output bus channels to be displayed and odd-numbered). The left-hand knob adjusts the pan and balance of the same signal.
in the SEND field.
• MIX1–16 tab.............................. displays MIX buses 1–16.
2 PRE indicator
Indicates the type of the corresponding bus.
• MIX17–24/MATRIX tab ......... displays MIX buses 17–24 and
MATRIX buses 1–8. 3 ON button
Press the right-hand button to switch on or off the signal sent to two bus channels.
The view and the function of the knobs and buttons in the SEND field vary NOTE
depending on whether a pair of bus channels (odd-numbered and even- • If the type of the destination bus is set to FIXED, controllers 2–3 mentioned above will not be
numbered) are comprised of two mono channels or a stereo channel. displayed.
• Press the SEND LEVEL knob or PAN knob on screen to open the SEND 8ch popup window.

7 Reference Manual
 SELECTED CHANNEL section

■ GAIN/PATCH field 2 ST/MONO button

This field enables you to make HA (head amp) analog gain settings, and view the operational status of Switches the on/off status of a signal sent from the
the head amp. channel to the STEREO/MONO bus.
2
If an INPUT/MIX channel is set to LCR mode, the LCR
1 GAIN knob 2 button appears in location 2.
Sets the analog gain of the head amp.
The LCR button is an overall on/off switch for the signals
For a channel to which the head amp has not been sent from the channel to the STEREO/MONO bus.
patched, a gray circle appears, instead of the knob. Press
the knob to open the GAIN/PATCH 1ch popup window. 1
When a MATRIX, STEREO, or MONO channel is selected:
If the Gain Compensation function is turned on, an
indicator appears, showing the level of the signal output 1 BALANCE knob
to the audio network. 3 4 If the signal on the selected channel is stereo, the
2 OVER indicator BALANCE knob will appear, enabling you to adjust the
volume balance for the left and right channels. If the 1
Warns you when the signal is clipping.
channel signal is monaural, a gray circle will appear in
3 +48V indicator this location.
Indicates the phantom power on or off status for the head amp. Press the knob to open the TO STEREO 8ch popup
window.
4 Ø (Phase) indicator
Indicates the input phase setting for the head amp. ■ INPUT DELAY field
NOTE This field enables you to view the delay settings. 1
• For output channels, and for input channels to which the head amp has not been patched, a gray
circle will appear instead of knob 1, and indicator 3 will be disabled. 1 ON indicator
• For channels for which digital gain has been selected in the PREFERENCE screen, the digital Indicates the on/off status of the delay. If the delay is off, 2
GAIN knob for the digital domain will appear instead of knob 1. the indicator will not be displayed.
If the Gain Compensation function is turned on, an indicator will appear, showing the level of the
signal output to the audio network. 2 Delay time
The delay value is displayed by milliseconds (ms) and also by currently-selected scale. If the scale
■ PAN/BALANCE field uses units of ms, the value in the bottom row will not be displayed. Only the ms value appears in
This field enables you to switch the on/off status of the signal sent from the selected channel to the the middle row.
STEREO/MONO bus, and adjust the pan and balance. Press this field to open the INPUT DELAY 8ch popup window.
The view and the function of the controllers in this field vary depending on the type of the selected
channel. ■ HPF field (input channels only)
This field enables you to set the HPF. 2
When an input channel or MIX channel is selected: 1 HPF knob 1
1 TO STEREO PAN knob Sets the HPF cutoff frequency.
Sets the pan position of a signal routed to the STEREO 2 ON button
bus. Switches the HPF on or off.
1 2
Press the knob to open the STEREO/MONO 8ch popup
window. If the ST IN channel is selected, you can specify If an output channel is selected, a gray circle will appear in location 1, and button 2 will be hidden.
whether to view the PAN knob or the BALANCE knob in
this popup window. For a MIX channel, the PAN knob
will appear if the signal is mono, and the BALANCE
knob will appear if the signal is stereo.

8 Reference Manual
 SELECTED CHANNEL section

■ EQ parameter field ■ EQ graph field

This field displays the 4-band EQ parameter settings. This field graphically indicates the approximate response of the EQ. Press this field to open the HPF/
EQ 1ch popup window, in which you can set the attenuator, HPF and EQ.
1 Q knob
Indicates the Q for each band.
If the HIGH band filter type is set to LPF or H. SHELF (high-
shelving), or the LOW band filter type is set to L. SHELF (low-
shelving), the Q knob will not be displayed. Only the filter type
name will be displayed.

■ DYNAMICS 1/DYNAMICS 2 field

This field enables you to view and set the Dynamics 1/2 parameters.
1 2

1 2 3
NOTE
3
• Fully rotating the HIGH band Q knob on the panel counter-clockwise while pressing and holding
it down will set the filter type to LPF. Fully rotating the Q knob clockwise while pressing and
holding it down will set the filter type to high-shelving.
• Fully rotating the LOW band Q knob on the panel clockwise while pressing and holding it down
will set the filter type to low-shelving. 4
• If an output channel has been selected, fully rotating the LOW band Q knob on the panel counter-
clockwise while pressing and holding it down will set the filter type to HPF. 1 OVER indicator
• You can also switch the filter type on the LPF/EQUALIZER 1ch popup window. Warns you when the signal is clipping.
2 FREQUENCY knob 2 Level meter
Sets the center frequency (or cutoff frequency) for each band. Displays the output signal level (green) and the amount of gain reduction (orange) when the
Dynamics is on. The current threshold setting is shown as a white vertical line.
3 GAIN knob
Sets the amount of cut/boost for each band. 3 Threshold
Indicates the threshold setting.
NOTE
• If the HIGH band filter type is set to LPF, you can switch LPF on or off using the HIGH band GAIN 4 Parameters
knob on the panel.
Indicate the values of parameters that vary depending on the currently-selected dynamics type.
• If the LOW band filter type is set to HPF, you can switch HPF on or off using the LOW band GAIN
knob on the panel. Press this field to open the DYNAMICS 1/DYNAMICS 2 1ch popup window, in which you can
• Press each knob to open the HPF/EQ 1ch popup window. make detailed parameter settings.

9 Reference Manual
 SELECTED CHANNEL section

■ INSERT field ■ FADER field

This field enables you to make insert settings. 1 This field enables you to view and make settings for the channel on/
off status and the level.
1 Popup button 2
Press this button to open the INSERT/DIRECT OUT 1ch 2 1 Fader
popup window. Displays the current level.
Use the faders on the top panel to set the levels. 3
2 ON button 4 3 1
Switches the insert on or off. 2 Level indicator
Displays the current level setting by numerical value. If the
3 RACK EDIT popup button
signal is clipping at any point in the channel, the ΣCLIP indicator will light.
Appears if an effect or Premium Rack is inserted. Press this button to display the edit screen for
the inserted rack. 3 ON button
Switches the channel status on or off. The button is linked with the corresponding [ON] key on
4 IN indicator
the top panel.
Appears if a port has been assigned to the insert-in patch. It lights when the signal is sent to the
insert-in. ■ DCA/MUTE field
This field enables you to view and select the DCA or mute group to which
1
■ DIRECT OUT field
the channel is assigned.
This field enables you to make insert settings.
1 Tabs
1 Popup button
Select DCA or mute as a group to set. Press the selected tab once again 3
Press this button to open the INSERT/DIRECT OUT 1ch
to open the DCA/MUTE GROUP ASSIGN MODE popup window.
popup window. The Direct Out level value will appear below 1 2
the button. When the DCA group tab is selected:
2 ON button 2 DCA group select buttons 2
Switches the Direct Out on or off. Select the DCA group to which the channel is assigned.

■ RECALL SAFE field 3 Mute group indicators

This field enables you to make Recall Safe settings. Indicate the mute group to which the channel is assigned.
1
1 Popup button 3
Press this button to open the RECALL SAFE popup window. When the mute group tab is selected:
2
2 ON button 4 Mute group select buttons
Select the mute group to which the channel is assigned. 5
Switches the Recall Safe status on or off.

3 PARTIAL indicator NOTE

If the dimmer level is set to the mute group, this button lights
Lights only if some of the channel parameters are set to Recall Safe. orange.

5 SAFE button 6 4
Temporarily removes the channel from the mute group.

6 DCA group indicators

Indicate the DCA group to which the channel is assigned.

10 Reference Manual
 Centralogic section

Centralogic section Operations in the Centralogic section

Follow the steps below to perform operations in the Centralogic section.
This chapter explains how to use the Centralogic section and the OVERVIEW screen to simultaneously
control up to eight channels. 1. Use the Bank Select keys in the Centralogic section to select the channels or DCA
groups that you want to control.
When you press a Bank Select key, the LED of that key will light. The touch screen will display the
About the Centralogic section OVERVIEW screen, and the parameters of the eight channels you selected will appear.
The Centralogic section is located below the touch screen, and lets you recall and simultaneously NOTE
control a set of up to eight input channels, output channels, or DCA groups. Use the Bank Select keys When the SELECTED CHANNEL VIEW screen is displayed, you can switch to the OVERVIEW
in the Centralogic section to select the channels that you want to control. screen by pressing any of the multifunction knobs 1–8. This is convenient if you want to quickly
switch to the OVERVIEW screen while leaving the same channels or DCA groups selected for
control.

2. Use the faders and [ON] keys in the Centralogic section to adjust the level of the
group of up to eight selected channels and switch them on or off.
NOTE
• The bottom line of the OVERVIEW screen shows the channels or DCA groups that can be
controlled by the faders, [ON] keys and [CUE] keys in the Centralogic section.
• The top line of the OVERVIEW screen shows the channels that can be controlled by multifunction
knobs 1–8 in the Centralogic section.

3. Use the fields on the OVERVIEW screen and the multifunction knobs to adjust the
parameters for the group of up to eight channels.

Bank Select keys

If you press one of the Bank Select keys, the channels or DCA groups corresponding to that key will be
assigned to the Centralogic section, and can be controlled using the faders, [ON] keys, and [CUE] keys
in the Centralogic section.

11 Reference Manual
 Centralogic section

OVERVIEW screen ■ GAIN/PATCH field

This field enables you to make HA (head amp) analog or digital gain settings and view the operational
status of the head amp.
The view and the function of the controllers in this field vary depending on the type of the selected
channel.

If the head amp is patched:

2
1 GAIN knob 1 3
Sets the analog gain of the head amp. 4
• Press this field to assign the GAIN knob to the corresponding
knob in the Centralogic section, which enables you to adjust the gain. If the Gain
Compensation function is turned on, an indicator appears, showing the level of the signal
output to the audio network.
• If the GAIN knob has been assigned to a knob in the Centralogic section, press the knob to open
the GAIN/PATCH 8ch popup window.
2 OVER indicator
Lights when the signal at the input port or from the rack output exceeds the full scale level. This
indicator is available only if an input channel is selected.

3 +48V indicator
Indicates the phantom power (+48V) on or off status for the head amp. This indicator is not
displayed unless the head amp is patched to the channel.

4 Ø (Phase) indicator
Indicates the input phase setting for the head amp. This indicator is available only if an input
channel is selected.
NOTE
• If the slot is not connected to the head amp, the patch and the type of the MY card will be
displayed.
• If GAIN KNOB FUNCTION is set to DIGITAL GAIN in the PREFERENCE screen, the digital GAIN
■ CHANNEL NAME field knob will appear instead of knob 1, and indicator 3 will not be displayed.
This field appears at the top and bottom of the screen and displays the channel number, name, and icon If the Gain Compensation function is turned on, an indicator appears, showing the level of the
for the currently-selected eight channels. The name of the currently-selected channel is highlighted. signal output to the audio network.

: Selected channel If the slot is patched:

The slot name will appear.
: Unselected channel
If the rack is connected:
NOTE The patch and module name will appear.
If you have retained a specific channel (that is controlled by the faders or knobs in the Centralogic
section) by pressing and holding down the corresponding Bank Select key, the channel name
display at the top of the channel strip graphic may differ from the name displayed at the bottom If the output is connected:
of the same channel strip. Only the patch will appear.

12 Reference Manual
 Centralogic section

■ INPUT DELAY field ■ SEND field

This field displays the delay status for the input channel. If an output channel has been selected, this This field displays the send level, send on/off status, and pre/post settings for 16
field will be blank. Press this field to open the INPUT DELAY 8ch popup window. buses.
To select the 16 destination buses, use the [MIX 1–16] or [MIX 17–24/MATRIX]
1 key in the SELECTED CHANNEL section on the panel.
To adjust the send level for each bus, use the SEND knob in the SELECTED
CHANNEL section on the panel.
This field varies depending on the type of the destination bus.
1 DELAY ON/OFF indicator
Indicates the on/off status of the delay. If the destination bus is VARI (mono):
The knob color and scale color indicate the send on/off and pre/post status. If
■ INSERT/DIRECT OUT field the send is off, the knob color turns gray. With the post setting, the knob scale
This field enables you to make insert and Direct Out settings. Press this field to open the INSERT/ color turns black.
DIRECT OUT 8ch popup window.

1
2

1 INSERT ON/OFF indicator

Indicates the insert on/off status. If the destination bus is VARI (stereo):
2 DIRECT OUT ON/OFF indicator (input channels only) If a pair of buses (odd-numbered and even-numbered) are in stereo, the left-
Indicates the Direct Out on/off status. hand knob will function as the PAN knob, and the right-hand knob will function
as the SEND knob.
■ EQ field
This field graphically indicates the approximate response of the EQ.
Press this field to open the HPF/EQ 1ch popup window, in which
you can set the HPF and EQ.
NOTE
If DCA or monitor has been selected, this field will be blank.

■ DYNAMICS 1/2 field If the destination bus is set to FIXED:

This field displays the threshold value and meter for Dynamics 1/2. The SEND ON/OFF button will appear instead of each knob.
Press this field to open the DYNAMICS 1/2 1ch popup window.
NOTE
If DCA or monitor has been selected, this field will be blank.

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 Centralogic section

■ TO STEREO/MONO field ■ DCA group field

This field displays the on/off status and pan/balance setting of the signal sent to the STEREO/MONO A DCA group (1–16) to which the channel is assigned is displayed on the first or second row in this
bus. field.
If you press this field, the knob will be assigned to the corresponding knob in the Centralogic section. Press this field to open the DCA/MUTE GROUP ASSIGN MODE popup window.
If you press the field once again, the TO STEREO/MONO 8ch popup window will appear.
This field varies depending on the type of the selected channel.

When an input channel or MIX channel is selected:

1 ■ Mute group field

2 A mute group (1–8) to which the channel is assigned is displayed on the third row in this field. If the
channel has been temporarily removed from the mute group, “S” (Safe) will appear on the third row.
If the dimmer level has been set for a mute group, the color of the characters changes from red to
1 TO STEREO PAN knob orange.
Sets the pan position of a signal routed to the STEREO bus. Press this field to open the DCA/MUTE GROUP ASSIGN MODE popup window.
Press the knob to open the STEREO/MONO 8ch popup window. If the ST IN channel is selected,
you can specify whether to view the PAN knob or the BALANCE knob in this window. For a MIX
channel, the PAN knob will appear if the signal is mono, and the BALANCE knob will appear if
the signal is stereo.
2 ST/MONO indicator
Indicates the status of a signal sent to the STEREO/MONO bus.
If an input or MIX channel is set to LCR mode, the LCR indicator will 2
be displayed in location 2.

When a MATRIX channel (monaural) or MONO channel is selected:

The ΣCLIP indicator appears, indicating that the signal is clipping at some point in the channel.

For a stereo MATRIX channel or STEREO channel, the BALANCE knob appears, indicating the
balance of the left/right channels.

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 Input and output patching

Input and output patching Input patching

CL series consoles and I/O racks feature two types of patching: Dante audio network patching and CL
This chapter explains how to edit the input patching and output patching, how to connect inserts, and console internal patching.
how to use direct outputs. For Dante audio network patching, you will use the DANTE INPUT PATCH popup window. In this
window, you can patch CL console and I/O rack inputs. Sixty-four (64) channels can be input from a
Dante audio network to a CL series console. You can choose up to 64 channels from maximum of 512
CL console internal patching and Dante audio channels (logical value) of Dante audio network signals. Select the I/O racks (within 64 channels) that
you want to control from the CL series console.
network patching Then, route the input signals (that were patched in the DANTE INPUT PATCH popup window) to
The following diagram shows the signal flow through the CL series console, I/O racks, and Dante audio channels on the CL series console. To do this, choose input ports from DANTE 1–64 in the GAIN/
network. PATCH popup window.
NOTE
I/O rack I/O rack
ID #1
By default, DANTE 1–64 are assigned to input channels 1–64.
ID #3
Dante Network
Up to 512 channels I/O rack
(logical value)
Output patching
Dante-MY16-AUD ID #2
Use the OUTPORT SETUP popup window to patch CL console’s output channels and Dante audio
SW
network. In this window, assign output channel signals to DANTE 1–64 ports.
Dante
64/512 NOTE
patching
By default, MIX 1–24 are assigned to DANTE 1–24, MATRIX 1–8 are assigned to DANTE 25–32,
STEREO L/R are assigned to DANTE 33/34, and MONO is assigned to DANTE 35.
OMNI MY MY MY “Dante” (ports)
8 16 16 16 64
Next, patch the output signals from DANTE 1–64 (assigned in the OUTPORT SETUP popup window)
CL internal to I/O rack outputs. Use the I/O RACK OUTPUT PATCH popup window to make these assignments.
INPUT PATCH patching

CL series console

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 Input and output patching

Changing the output patch settings In the PATCH/NAME popup window you can change the channel name, icon, and output port
assigned to each output channel. The window includes the following items.
To change the patching, you can either select the output port that will be the output destination of each
output channel, or you can select the output channel that will be the output source for each output port. 3 4 5

Selecting the output port for each output channel

1
1. Use the Bank Select keys in the Centralogic section to access the OVERVIEW screen
containing the output channel for which you want to assign the output port.

Channel number/Channel name

2

1 PATCH button
Indicates the port that is patched to the input or output channel. Press this button to enable the
PATCH tab at the bottom of the screen. The PORT SELECT popup window will appear, enabling
you to select the network and port.

2 Channel select button

Selects the channel to set.
NOTE
Switching channels on this screen will not affect the channel selection on the console.

2. In the top part of the screen, press the channel number/channel name field to 3 Channel icon button
access the PATCH/NAME popup window. Indicates the icon and color that are currently selected for the corresponding channel. Press this
button to enable the ICON tab at the bottom of the screen. The CH COLOR/ICON popup
window will appear, enabling you to select the color, icon, and channel name.

4 Channel number display box

Indicates the channel number. This item cannot be changed.

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 Input and output patching

5 Channel name edit box Selecting the output channel for each output port
Indicates the currently-specified channel. Press the inside of this box to enable the NAME tab at
the bottom of the screen. The SOFT KEYBOARD popup window will appear, enabling you to edit 1. In the Function Access Area, press the SETUP button to access the SETUP screen.
the channel name.
OUTPORT SETUP button
6 Category
Selects the type of the port you want to display on the screen.

7 Port select buttons

Enable you to select a port in the current category. To cancel the selection, press the same button
once again.

3. Use the output port select tabs and the output port select buttons to specify the
output port that will be assigned to that channel.
If the output port select buttons are not shown at the bottom of the window, press the PATCH tab.

4. Use the Bank Select keys and the [SEL] keys to switch the output channels being
controlled, and specify their output ports in the same way.

5. When you have finished making settings, press the “x” symbol located in the upper
right to close the window.
You will return to the OVERVIEW screen.

2. In the SYSTEM SETUP field located in the center of the screen, press the OUTPORT
SETUP button to open the OUTPUT PORT popup window.

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 Input and output patching

In the OUTPORT SETUP popup window, you can assign the source channel for each output port. 6 DELAY button
This popup window includes the following items. Switches the output port delay on or off.
2 7 Ø (Phase) button
Switches the phase of the signal assigned to the output port between normal phase (black) and
reverse phase (yellow).
1 8 GAIN knob
3 Adjusts the output gain of the output port. To adjust this value, press the knob on screen to select
4 it, and then operate multifunction knobs 1–8. Rotate the knob to set the value in the range of –96
to +24 dB in 1.0 dB steps. Rotate the knob while pressing and holding it down to set the value in
5 0.1 dB steps. The current value appears immediately below the knob.

6 9 Level meter
7 Indicates the level of the signal assigned to the output port.
8 0 Output port select tabs
Switch the output ports controlled in the popup window in groups of up to eight ports. Tabs are
categorized into three groups: DANTE, SLOT, and PATCH VIEW. To display tabs in the desired
group, press the group name button located at the right or left end of the bottom row.
9
3. Use the output port select tabs at the bottom of the popup window to select the
output port you want to control.
The tabs correspond to the following output ports.
0
• DANTE 1–8, 9–16, 17–24, 25–32, 33–40, 41–48, 49–56, 57–64
1 Slot number/Card type These tabs control the output channels of the Dante connectors.
If an output channel of slot 1–3 is selected for operations, this area indicates the slot number and • SLOT1 1–8, 9–16
the type of I/O card installed in that slot. • SLOT2 1–8, 9–16
• SLOT3 1–8, 9–16
2 DELAY SCALE button
These tabs enable you to control output channels 1–8 and 9–16 of slots 1–3 respectively.
Press this button to open the DELAY SCALE popup window, in which you can select the unit for
the delay time. • OMNI 1–8
This tab enables you to control OMNI jacks 1–8.
3 Output port
• DIGITAL OUT
This is the type and number of the output port to which the channel is assigned.
This tab enables you to control the L/R channels of the DIGITAL OUT connector.
4 Channel select popup button • PATCH VIEW1
Enables you to select the channel that you want to assign to the output port. The name of the • PATCH VIEW2
currently-selected channel is displayed. These tabs display lists of patches.
5 Delay time knob
Sets the delay time of the output port. Press this knob to select it, and then use multifunction
4. To assign a channel to an output port, press the channel select popup window for
that port.
knobs 1–8 to adjust the settings. The millisecond delay time value is indicated above the knob,
and the delay time value in the units selected in the DELAY SCALE popup window is indicated
below the knob.
NOTE
If you have selected ms (millisecond) as the scale, the delay time value will not appear above the
knob.

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 Input and output patching

The CH SELECT popup window will appear. This popup window includes the following items. 5. Use the channel select tabs and the channel select buttons to select the source
channel, and press the CLOSE button.
You will return to the OUTPORT SETUP popup window.
NOTE
If PATCH CONFIRMATION is ON, a confirmation dialog box will appear when you attempt to
change the patch settings. If STEAL PATCH CONFIRMATION is ON, a confirmation dialog box
will appear when you attempt to change a location that is already patched elsewhere.

6. Make settings for delay, phase, and output gain as necessary.

7. Repeat steps 3–6 to assign channels to other output ports.
2 8. When you have finished making settings, click the “x” symbol in the upper right of
1 the window to return to the previous screen.

Changing the input patch settings

This section explains how to change the patching of each input channel.

1 Category select list 1. Use the Bank Select keys in the Centralogic section to access the OVERVIEW screen
Selects the category of channel shown in the popup window. The categories correspond to the for the input channel to which you want to assign the input source.
following channels. They vary depending on the output port type.
• MIX/MATRIX.................................. MIX 1–MIX 24, MATRIX 1–MATRIX 8
• ST/MONO/MONI/CUE ................. STEREO L, STEREO R, MONO(C), MONI L, MONI R,
MONI C, CUE L, CUE R
• DIRECT OUT 1–32......................... CH1–CH32 Direct Outs
• DIRRECT OUT 33–64.................... CH33–CH64 Direct Outs
• DIRECT OUT 65–72 ...................... CH65–CH72 Direct Outs
• INSERT OUT 1–32.......................... CH1–CH32 Insert-outs
• INSERT OUT 33–64 ....................... CH33–CH64 Insert-outs
• INSERT OUT 65–72 ....................... CH65–CH72 Insert-outs
• INSERT OUT MIX/MATRIX ....... Insert-outs for MIX1-MIX24, MATRIX 1-MATRIX8
• INSERT OUT ST/MONO .............. Insert-outs for STEREO L, STEREO R, and MONO (C)
• CASCADE MIX/MATRIX............. MIX1–MIX24, MATRIX1–MATRIX8
• CASCADE ST/MONO/CUE.......... STEREO L, STEREO R, MONO(C), CUE L, CUE R
NOTE
In the case of the CL3/CL1, channels that do not exist on those models will not be shown.

2 Channel select buttons

Select the channel to be assigned to the output port you selected in step 3.

2. In the top part of the screen, press the channel number/channel name field to
access the PATCH/NAME popup window.

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 Input and output patching

In the PATCH/NAME popup window you can view and change the channel name, icon, channel • EFFECT RACK......... FX1L(A)–FX8R(B)
color, and input port assigned to each input channel. • PREMIUM RACK.... PR1L(A)–PR2R(B)
2 3 5 Input port select buttons
Assign an input port to the currently-selected input channel.

6 Tabs
1 Enable you to switch between items.

3. Access the input port selection screen of the PATCH/NAME popup window, and
then use the input port select tabs and input port select buttons to select an input
port.
NOTE
If PATCH CONFIRMATION is ON, a confirmation dialog box will appear when you attempt to
5 change the patch settings. If STEAL PATCH CONFIRMATION is ON, a confirmation dialog box
will appear when you attempt to change a location that is already patched elsewhere.

4. When you have finished making settings, press the “x” symbol located in the upper
right to close the window.
4 You will return to the OVERVIEW screen.
NOTE
You can also select input ports from the HA/PATCH popup window.

6 5. Repeat step 2–4 to assign input ports for other channels.

1 Input port button

Indicates the currently-selected input port. If you press this button when selecting an icon or
changing the channel name, you will return to the input port select screen.

2 Icon button
Indicates the icon that is selected for the corresponding channel. When you press this button, a
screen will appear in which you can select an icon or sample name.

3 Channel name input box

Indicates the name that is assigned to the corresponding channel. When you press this field, a
keyboard window allowing you to assign a name will appear.
4 Category select list
Selects the category of input port shown in the popup window. The categories correspond to the
following input ports. They vary depending on the channel type.
• DANTE1–32 ..............DANTE1–DANTE32
• DANTE33–64 ............DANTE33–DANTE64
• OMNI/PB OUT.........OMNI1–OMNI8, PB OUT(L), PB OUT(R)
• SLOT1 .........................SLOT1(1)–SLOT1(16)
• SLOT2 .........................SLOT2(1)–SLOT2(16)
• SLOT3 .........................SLOT3(1)–SLOT3(16)

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 Input and output patching

Inserting an external device into a channel 3 INSERT ON/OFF button

Switches the insert on or off.
If desired, you can insert an effect processor or other external device into the signal path of an INPUT, To change the currently-selected insert point, press one of the three blocks that does not contain
MIX, MATRIX, STEREO, or MONO channel. When doing so, the type of input/output port used for any buttons.
the insertion and the location of the insert-out/in points can be specified individually for each channel.

1. As desired, connect your external equipment to an OMNI IN/OUT jack or to an

I/O card installed in slots 1–3.
NOTE
If you install a digital I/O card in a slot and digitally connect an external device, you must
synchronize the word clock of the CL console and the external device (see page 188). NOTE
You can set the I/O ports to function as an insert for each block.
2. Use the Bank Select keys in the Centralogic section to access the OVERVIEW screen
4 APPLY TO ALL INPUT button (input channels only)
for the channel to which you want to assign the input source.
Specifies whether the insert position/Direct Out position will be applied to all input channels.
3. Press the INSERT/DIRECT OUT field to access the INSERT/DIRECT OUT popup 5 APPLY TO ALL OUTPUT button (output channels only)
window.
Specifies whether the insert position settings will be applied to all output channels.
In the INSERT/DIRECT OUT popup window, you can view or change the type of input/output
port used for insertion and the location at which insertion will occur. There are two variations of ■ INSERT IN HA field
this popup window; one-channel and eight-channel. This field will appear if you have selected an input port (that features a head amp) as the insert-in.
Each window view includes the following items.
6 7 8

INSERT/DIRECT OUT popup window (1ch)

3

6 +48V button
1 Switches head amp phantom power (+48V) on or off.
2 7 A.GAIN knob
Indicates the analog gain setting for the head amp. Press this knob so that you will be able to use
the multifunction knob to adjust the gain.

8 HA meter
Displays the level of the HA input signal.
4 5

1 INSERT OUT button

Press this button to open the PORT SELECT popup window, in which you can select an output
port. The name of the currently-selected port appears on the button.

2 INSERT IN button
Press this button to open the PORT SELECT popup window, in which you can select an input
port. The name of the currently-selected port appears on the button.

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 Input and output patching

INSERT/DIRECT OUT popup window (8ch) 4. Access either the one-channel or the eight-channel INSERT/DIRECT OUT popup
window, and then press the INSERT OUT popup button.
The PORT SELECT popup window will appear, allowing you to select the output port used for
insert-out. The window includes the following items.
1

2
3
4
2

1 Channel select button

Selects the channel to set. The channel icon, color, and number appear on the button.
1 Category select list
2 INSERT OUT button Selects the category of output port shown in the popup window. The categories correspond to the
Press this button to open the PORT SELECT popup window, in which you can select an output following output ports. They vary depending on the channel type.
port. The name of the currently-selected port appears on the button. • OMNI .......................................... OMNI1–OMNI8
3 INSERT ON/OFF button • SLOT1 ......................................... SLOT1(1)–SLOT1(16)
Switches the insert on or off. The currently-specified insert point setting appears above the • SLOT2 ......................................... SLOT2(1)–SLOT2(16)
button. • SLOT3 ......................................... SLOT3(1)–SLOT3(16)
4 INSERT IN button • GEQ RACK ................................ GEQ1L(A)–GEQ16R(B) (MIX, MATRIX, STEREO, and
MONO channels only)
Press this button to open the PORT SELECT popup window, in which you can select an input
port. The name of the currently-selected port appears on the button. You can also view the insert- • EFFECT RACK.......................... FX1L(A)–FX8R(B)
in level by checking the indicator located to the right of the port button (that is displayed as an • PREMIUM RACK..................... PR1L(A)–PR8R(B)
option).
2 Output port select buttons
These buttons assign the output port that will be used as insert-out for the currently-selected
channel.
NOTE
If a rack in which a GEQ or Premium Rack is mounted is specified as the insert-out or insert-in,
the other patch point will automatically be assigned to the same rack. Also, insert mode will
automatically be switched on. Additionally, if you defeat the insert-out or insert-in of a rack in
which a GEQ or Premium Rack is mounted, the other patch point will automatically be defeated
and at the same time insert mode will automatically be switched off.

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 Input and output patching

5. Use the output port select tabs and the output port select buttons to specify the Directly outputting an INPUT channel
output port that will be used as insert-out, and press the CLOSE button.
You will return to the INSERT/DIRECT OUT popup window. The signal of an INPUT channel can be output directly from an OUTPUT jack on the I/O rack, from
the desired OMNI OUT jack, or from the output channel of a desired slot.
6. Press the INSERT IN popup button.
The PORT SELECT popup window will appear, allowing you to select the input port used for
1. Connect your external device to an OMNI OUT jack, OUTPUT jack, or to an I/O card
installed in slot 1–3.
insert-in. The tabs correspond to the following input ports.
• OMNI.......................................... OMNI1–OMNI8 NOTE
If you install a digital I/O card in a slot and digitally connect an external device, you must
• SLOT1 ......................................... SLOT1(1)–SLOT1(16)
synchronize the word clock of the CL console and the external device (see page 188).
• SLOT2 ......................................... SLOT2(1)–SLOT2(16)
• SLOT3 ......................................... SLOT3(1)–SLOT3(16) 2. Use the Bank Select keys in the Centralogic section to access the OVERVIEW screen
• GEQ RACK ................................ GEQ1L(A)–GEQ16R(B) that includes the input channel that you want to output directly.
(MIX, MATRIX, STEREO, and MONO channels only)
• EFFECT RACK ......................... FX1L(A)–FX8R(B)
3. Press the INSERT/DIRECT OUT field to access the INSERT/DIRECT OUT popup
window.
• PREMIUM RACK .................... PR1L(A)–PR2R(B)
There are two variations of this popup window; one-channel and eight channel. Each window
7. Specify the input port you will use for insert-in, and press the CLOSE button. view includes the following items.

8. Press the INSERT ON/OFF button to turn it ON. INSERT/DIRECT OUT popup window (1ch)
In this state, insert-out/in is enabled. Adjust the input/output levels of your external device if
necessary.
NOTE
• If you have selected the OMNI IN jack on the CL console
as the input port for insert-in, make the HA settings in the
INSERT IN HA field.
• Even if the INSERT ON/OFF button is OFF, the signal
selected for insert-out will continue to be sent.

9. If you want to change the insert-out/in position, access the one-channel INSERT/
1
DIRECT OUT popup button, and press one of the three INSERT fields.
The INSERT field you pressed will be enabled.
4
10. When you have finished making all settings, press the “x” symbol located in the
upper right to close the window.
You will return to the OVERVIEW screen. 2 3 5
11. As desired, make insert settings for other channels as well. 1 DIRECT OUT field
Enables you to make settings for direct output. Press one of four fields to choose PRE HPF
(immediately before the HPF), PRE EQ (immediately before the EQ) or PRE FADER
(immediately before the fader), or POST ON (immediately after the [ON] key) as the direct
output position.

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 Input and output patching

2 DIRECT OUT PATCH button 4. Access either the one-channel or the eight-channel INSERT/DIRECT OUT popup
Press this button to open the PORT SELECT popup window, in which you can select a Direct Out window, and press the DIRECT OUT popup button.
output port. The name of the currently-selected port appears on the button. The PORT SELECT popup window will appear, allowing you to select the output port used for
direct output. The window includes the following items.
3 DIRECT ON button
Switches the Direct Out on or off.

4 DIRECT OUT LEVEL knob

Indicates the output level of the Direct Out. Press this knob to control the level using the
multifunction knob.

5 APPLY TO ALL INPUT button (input channels only)

Specifies whether the insert point/Direct Out point settings will be applied to all input channels. 2

INSERT/DIRECT OUT popup window (8ch) 1

1 Category select list

Selects the category of output port shown in the popup window. The categories correspond to the
following output ports. They vary depending on the channel type.
• OMNI/REC ............... OMNI1–OMNI8, REC IN(L), REC IN(R)
1 • SLOT1 ........................ SLOT1(1)–SLOT1(16)
2 • SLOT2 ........................ SLOT2(1)–SLOT2(16)
• SLOT3 ........................ SLOT3(1)–SLOT3(16)
3
• DANTE1–32.............. DANTE1–DANTE32
• DANTE33–64............ DANTE33–DANTE64
2 Output port select buttons
1 DIRECT ON/OFF button These buttons assign the output port used for direct output of the currently-selected INPUT
Switches the Direct Out on or off. The currently-selected Direct Output point is indicated above channel.
the button.
5. Use the output port select tabs and the output port select buttons to specify the
2 DIRECT OUT PATCH button output port that will be used for direct output, and press the CLOSE button.
Press this button to open the PORT SELECT popup window, in which you can select a Direct Out You will return to the INSERT/DIRECT OUT popup window.
output port. The name of the currently-selected port will appear on the button.

3 DIRECT OUT LEVEL knob

Indicates the output level of the Direct Out. Press this knob to control the level using the
multifunction knob.

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 Input and output patching

6. Press the DIRECT OUT ON/OFF button to turn it ON. Recording or playing back using DAW on a
In this state, direct output is enabled. Adjust the input level of your external device as necessary.
computer
NOTE
With the factory settings, all are turned off. If you plan to add DAW software, such as Steinberg Nuendo, to an audio network that includes a CL
console and I/O racks, you must use Dante Virtual Soundcard (DVS) driver software. DVS works as an
7. If you want to change the position of the direct output, access the one-channel audio interface, making it possible to transmit signals between a DAW and an audio network (that
INSERT/DIRECT OUT popup button, and press one of the DIRECT OUT fields. includes a CL series console and I/O racks). In this way, you will be able to make multi-track recordings
The DIRECT OUT field you pressed will be enabled. of live performances or use live recordings that were made a day earlier for a virtual sound check.
This section explains how to perform the setup to add DAW software to an audio network.
8. If you want to adjust the level of the direct output, access either the one-channel
or the eight-channel INSERT/DIRECT OUT popup window, and operate the DIRECT
OUT LEVEL knob.
Required devices and software
• CL series console; I/O rack
9. When you have finished making all settings, click the “x” symbol located in the • A computer (Windows or Mac) equipped with an Ethernet port that supports a Giga-bit Ethernet
upper right to close the window. (GbE) network; DAW software
You will return to the OVERVIEW screen. • A GbE-compatible network switch
• CAT5e cable
10. As desired, make direct output settings for other channels as well.
• Dante Virtual Soundcard driver software
• Dante Controller control software
NOTE
You must have a license ID to use Dante Virtual Soundcard. The license ID is included in the CL
unit package.
The latest information about the Dante Virtual Soundcard and the Dante Controller is available at
the following website:
http://www.yamahaproaudio.com/

Using Nuendo Live

Steinberg’s Nuendo Live DAW software can be used with the CL series console, taking advantage of
functionality that makes them work well together. For details, refer to “Using the CL console with
Nuendo Live” on page 183.

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Word clock settings Setting up Dante Controller

In a Dante network, the master device supplies accurate word clock to other devices on the network. If Connect the network port on the computer to a GbE-compatible network switch. Configure the
the master device is removed from the network or breaks down, another device will automatically take computer to obtain an IP address automatically (this is the default setting).
over as the clock master. You must make the following settings for Dante Controller.
To make this setting, in the Function Access Area, press the SETUP button, then WORD CLOCK/ • For multi-track recording: Patch audio signals from the I/O rack to DVS for multi-track recording.
SLOT SETUP button to access the WORD CLOCK/SLOT SETUP popup window. • For virtual sound check: Patch audio signals in such a way that they will be output from the computer
to the Dante audio network, then routed to the channels on the CL console.

Please refer to the Dante Controller manual for more information about operations and settings of the
Dante Controller.

Setting up DAW software

You must make driver settings in your DAW software. In the device setting window, select “Dante
Virtual Soundcard-ASIO” (for Windows PC) or “Dante” (for Mac).
Some DAW software may require internal patching with the driver. For more information, refer to the
DAW software manual.
If you’re using Nuendo Live DAW software, see also “Using the CL console with Nuendo Live” on
page 183.

Audio recording and playback

After you have made the driver settings in your DAW software, you can record and play back audio.
For multi-track recording, set the input ports for tracks in DAW software to the ports that receive audio
signals from the I/O rack.
For a virtual sound check, you must route recorded audio signals to the input channels on the CL
NOTE
If you have changed the settings, you must turn the power to the CL series console and I/O racks
console. To do so, use Dante Controller to patch the signals so that the signals will be output from the
off and then back on. DAW software to DANTE 1–64 on the CL console. It may be convenient for you later if you store two
sets of the DANTE INPUT PATCH settings in the library: one set for routing audio signals from the
I/O rack, and another set for routing audio signals from DAW software. In this way, you will be able to
Setting up Dante Virtual Soundcard switch between patch settings without starting Dante Controller. In addition, you will be able to patch
Install a Dante Virtual Soundcard (DVS) and the a specific channel (such as a vocal) to the I/O rack to monitor during a virtual sound check.
Dante Controller in a computer that you want to
use for audio recording.
Then, connect the GbE-compatible network port
on the computer to a GbE-compatible network
switch. Configure the computer to obtain an IP
address automatically (this is the default setting).
Before you start DVS, select the desired audio
format (e.g., 48kHz, 24-bit) and Dante latency.
(Select a higher latency value to maintain network
stability during the use of many channels.) For
Advanced settings, select the number of channels
to be used for recording and playback (the default is 8 x 8). Please refer to the Dante Virtual Soundcard
User’s Guide for more information on the ASIO setting (Windows).

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 Input channels

Input channels STEREO channel

These channels are used to process stereo signals. When the CL series console is in the default state, the
This chapter explains various operations for input channels. input signal from the EFFECT RACK 1–8 is assigned.
M
O
N
MIX ST O MATRIX CUE
1 2 2324 L R (C) 1 2 7 8 L R

Signal flow for input channels ST IN 1L–8R

PRE EQ
METER
EQ OUT
METER
DYNA1OUT
METER
DYNA2OUT
METER
PRE FADER
METER
LEVEL/
POST ON
METER
PAN/BAL

LR MONO
POST PAN L
POST PAN R
TO MONO TO ST PAN MODE
ST L
PRE HPF GR METER GR METER DCA1-16 ON MONO(C)
METER GATE COMP DELAY LCR TO LCR
The input channels comprise the section that processes signals received from the I/O racks, rear panel 16
Digital
GAIN
HPF ATT
4BAND
EQ
DUCK
EXPAND
COMPAND
DE-ESSER
Max
1000ms
ST R

INPUT PATCH
CSR
COMP
input jacks, or slots 1–3, and sends them to the STEREO bus, MONO bus, MIX buses, or MATRIX OSCILLATOR
PRE HPF PRE EQ POST EQ
KEYIN CUE
Keyin Filter
PRE FADER POST ON

Keyin PAN LINK

buses. There are two types of input channels, as follows. All parameters for L and R are
Self PRE EQ
Self POST EQ
MIX21-24 OUT
To MIX
MIX1,3...23
SAME as INPUT1-72{64,48} MIX2,4...24
ST IN 1L-4R POST EQ
linked to each other (except for
Ø (phase), Digital GAIN, Delay,
and PAN). To MATRIX MATRIX1,3...7
SAME as INPUT1-72{64,48}

MONO channel MATRIX2,4...8

(PRE FADER)PFL / (POST ON)AFL / POST PAN L ON CUE L

These channels are used to process monaural signals. When the CL series console is in the default state, (PRE FADER)PFL / (POST ON)AFL / POST PAN R ON CUE R

the input signal from the Dante connector is assigned.

M

MIX ST
O
N
O MATRIX CUE
• INPUT PATCH
1 2 .
.
.2324 L R (C) 1 2 .
.
.7 8 L R
Assigns input signals to the input channels.
CH 1-72{64,48}
To RACKIN PATCH
To OUTPUT PATCH
INSERT POINT • Ø (phase)
POST ON INSERT OUT DIRECT OUT 1-72{64,48}
CH INSERT OUT PRE HPF / PRE EQ / PRE FADER/POST ON ON LEVEL
1-72{64,48}
CH INSERT IN
PRE FADER INSERT OUT
PRE EQ INSERT OUT
To OUTPUT PATCH
Switches the phase of the input signal.
1-72{64,48} PAN POST PAN L
POST PAN R
PRE EQ EQ OUT DYNA1OUT DYNA2OUT PRE FADER POST ON
TO MONO TO ST PAN MODE
PRE HPF
METER
METER METER METER
GR METER
METER
GR METER
METER
LEVEL/
DCA1-16
METER LR MONO ST L

MONO(C)
• DIGITAL GAIN
GATE COMP ON LCR TO LCR

72
Digital
GAIN
HPF
INSERT
ATT
4BAND
EQ
DUCK
EXPAND
COMPAND
DE-ESSER
INSERT DELAY
Max
1000ms
INSERT

CSR
ST R Attenuates/boosts the level of the input signal.
{64, COMP
48} PRE HPF PRE EQ POST EQ PRE FADER POST ON
KEYIN CUE
PRE EQ PRE FADER POST ON
• HPF (High Pass Filter)
INPUT PATCH

OSCILLATOR INSERT OUT Keyin Filter INSERT OUT INSERT OUT

Keyin PAN LINK
Self PRE EQ MIX1,3...23
ON ON
Self POST EQ
MIX21-24 OUT
CH[1-8,9-16,17-24,25-32,33-40,41-48, 49-56, 57-64, 65-72]POST EQ(CL5)
To MIX
FIXED
POST ON
ON ON MIX2,4...24 This is a high pass filter that cuts the region below the specified frequency.
CH[1-8,9-16,17-24,25-32,33-40,41-48, 49-56, 57-64]POST EQ(CL3) To MIX
CH[1-8,9-16,17-24,25-32,33-40,41-48]POST EQ(CL1) POST PAN L ON ON
FIXED
STEREO POST PAN R ON ON
• 4 BAND EQ (4 band equalizer)
To MIX ON ON LEVEL
PRE EQ / PRE FADER / POST ON
VARI ON ON LEVEL A parametric EQ with four bands: HIGH, HIGH MID, LOW MID, and LOW.
To MIX ON ON LEVEL
PRE EQ / PRE FADER / POST ON
VARI PAN
STEREO

ON MATRIX1,3...7
• DYNAMICS 1
To MATRIX ON LEVEL
PRE EQ / PRE FADER / POST ON
VARI ON ON LEVEL MATRIX2,4...8 This is a dynamics processor that can be used for gating, ducking, expander, or compressor.
To MATRIX ON ON LEVEL
PRE EQ / PRE FADER / POST ON
VARI PAN

(PRE FADER)PFL / (POST ON)AFL / POST PAN L

STEREO
ON CUE L
• DYNAMICS 2
CUE R
(PRE FADER)PFL / (POST ON)AFL / POST PAN R ON
This is a dynamics processor that can be used as a compressor, compander, or de-esser.
• INPUT DELAY
Corrects input signal delay. You can specify up to 1000ms.
• LEVEL/DCA 1–16
Adjusts the input level of the channel.
• ON (on/off)
Turns the input channel on or off. If this is off, the corresponding channel will be muted.
• PAN
Adjusts the panning of signals sent from the input channel to the STEREO bus. For the STEREO
channel, you can switch between PAN and BALANCE. The BALANCE parameter adjusts the
volume balance of the left/right signals sent from the STEREO channel to the STEREO bus. You
can turn on PAN LINK in the BUS SETUP popup window so that the setting of the PAN
parameter will also be applied to signals sent to two MIX or MATRIX buses that are set to stereo.

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 Input channels

• LCR (Left/Center/Right) Specifying the channel name and icon

Sends the input channel signal to the STEREO bus/MONO bus as a three-channel signal that
consists of the L/R channel plus the center channel. On the CL series unit, you can specify the on-screen name and icon for each input channel. This section
explains how to specify the channel name and icon.
• MIX ON/OFF (MIX send on/off)
This is an on/off switch for signals sent from the input channel to MIX buses 1–24. 1. Access the OVERVIEW screen that includes the input channel for which you want
• MATRIX LEVEL 1–24 (MATRIX send levels 1–24) to specify the channel name and icon.
Adjusts the send level of signals sent from the input channel to VARI type MIX buses 1–24. As the
position from which the signal is sent to the MIX bus, you can choose from the following: Channel number/Channel name field
immediately before EQ, pre-fader, or post-fader.
• MATRIX ON/OFF (MATRIX send on/off)
This is an on/off switch for signals sent from the input channel to MATRIX buses 1–8.
• MATRIX LEVEL 1–8 (MATRIX send levels 1–8)
Adjusts the send level of the signal sent from the input channel to MATRIX buses 1–8. As the
position from which the signal is sent to the MATRIX bus, you can choose from the following:
immediately before the EQ, pre-fader, or post-fader.
• INSERT (MONO channels only)
You can patch the desired output/input ports to insert an external device such as an effect
processor. For the position of the insert-out/insert-in point, you can choose immediately before
the EQ, immediately before the fader, or immediately after the [ON] key.
• DIRECT OUT (MONO channels only)
You can patch this to any output port to send out the input signal directly from the corresponding
output port. For the position of the direct output, you can choose immediately before the HPF,
immediately before the EQ, immediately before the fader, or immediately after the [ON] key.
• METER
Meters the input channel level. You can switch the position at which the level is detected
(see page 109).

2. Access the PATCH/NAME popup window by pressing the channel number/channel

name field of the channel to which you want to assign the channel name and icon.

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 Input channels

This popup window contains the following items: 3. Press the desired channel icon button.
2 3 The lower part of the popup window will change as follows.

1 PATCH button 1 Channel color select buttons

Indicates the currently-patched port. Press this button to enable the PATCH tab at the bottom of Select a channel color. Pressing the button will immediately apply the change.
the screen. The PORT SELECT popup window will appear, enabling you to select the network and 2 Icon select buttons
port. Select a channel icon. Pressing the button will immediately apply the change.
2 Channel icon button 3 Sample name setup buttons
Indicates the icon and color that are currently selected for the corresponding channel. Press this Select a preset sample name. You can edit the name on the NAME tab later.
button to enable the ICON tab at the bottom of the screen. The CH COLOR/ICON popup
window will appear, enabling you to select the color, icon, and channel name. 4. Use the icon select buttons to select the icon you want to use for the channel.
3 Channel name edit box The selected icon will appear on the icon button in the upper part of the window.
Indicates the currently-specified channel. Press the inside of this box to enable the NAME tab at
the bottom of the screen. The SOFT KEYBOARD popup window will appear, enabling you to edit 5. To edit the channel name based on a sample name, use the sample name setup
the channel name. buttons to select a sample name.
The sample name you selected will be entered in the channel name field in the upper part of the
4 Tabs window.
Use these tabs to switch between items. To enter the channel name directly, proceed to Step 6.
NOTE
You can also add or edit characters in the channel name field after you have entered the sample
name. If you want to quickly assign channel names that consist of a common name plus a
consecutive number, such as “Vocal 1” or “Vocal 2,” enter a sample name first, and then add a
number.

29 Reference Manual
 Input channels

6. If you want to enter a channel name directly (or edit a sample name that has been Making HA (Head Amp) settings
entered), press the channel name field in the upper part of the window.
The keyboard window will appear in the lower part of the screen, allowing you to enter or edit the This section explains how to make HA (Head Amp) related settings (phantom power on/off, gain,
characters. phase) for each input channel.

Setting the analog gain

1. To adjust only the HA analog gain, use the GAIN knob in the SELECTED CHANNEL
section.

2. To edit detailed parameter settings such as phantom power on/off or phase, use
the Bank Select keys in the Centralogic section to access the OVERVIEW screen that
includes the input channel for which you want to adjust the head amp.

HA/PHASE field

7. Use the [SEL] keys to switch input channels, and specify the icon or channel name
for other channels in the same way.
When the PATCH/NAME popup window is displayed, you can use the [SEL] keys to switch the
channel to be controlled.

8. When you finish your data input, press the × symbol in the upper right of the
window.
NOTE
Press the TAB button to switch to the next channel. You can also press the ENTER button to close
the popup window in the same way as using the “x” symbol.

3. Press the HA/PHASE field of the channel for which you want to adjust the head
amp. The GAIN/PATCH popup window will appear.
This popup window features four types of view. Use the tabs near the bottom of the window to
select one of these four views. Each window view includes the following items.

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 Input channels

GAIN/PATCH popup window (1 ch) • Gain compensation meter

Indicates the level of the signal output to the audio network after gain compensation.
1 8
3 INPUT PORT button
Indicates the port that is assigned to the channel. Press the button to display the PATCH popup
window, in which you can select a port to patch.

4 Icon/Channel name button

Indicates the channel number, icon, and name. Press this button to access the PATCH/NAME
popup window, in which you can patch the input port and specify the channel name.

5 Ø (Phase) button
Switches between normal and reverse phase settings of signals input from the head amp.

6 D. GAIN (digital gain) knob

2 3 4 5 6 7 Indicates the digital gain value. Use the multifunction knob to adjust the level.

1 Channel icon/Channel number/Channel name indicator 7 Digital gain meter

Displays the channel icon, channel number, and channel name. Indicates the level after digital gain.

2 HA section 8 GC ALL ON button/GC ALL OFF button

Appears if the head amp is patched to the input channel. This section enables you to operate the Switch Gain Compensation on or off for all input channels simultaneously.
following HA-related controllers:
• +48V button
Switches head amp phantom power (+48V) on or off.
• A.GAIN (analog gain) knob
Indicates the analog gain of the head amp. Use the multifunction knob to adjust the level. If the
Gain Compensation function is turned on, an indicator will appear, showing the position of the
analog gain when the function is turned on.
• HA meter
Displays the level of the HA input signal.
NOTE
• If a slot is patched to the channel, this section 2 will display the type of the slot/MY card and slot
meter instead.
• If a rack is patched to the channel, this section 2 will display the rack type and the effect type.
• If nothing is patched, section 2 will be blank.
• GC (Gain Compensation) ON/OFF button
Turns the Gain Compensation (gain correction function) on or off. If the Gain Compensation
function is turned on, the level of the signal output from the I/O rack to the audio network will
be stabilized. For example, if the FOH console and the monitoring console are sharing the input
signal from the I/O rack, and if the analog gain is adjusted on the FOH console, this function will
prevent the level of the signal received on the monitoring console from fluctuating. If the Gain
Compensation function is turned off, the analog gain and digital gain will return to the level that
was obtained when you turned on the function. Therefore, the level on the digital network will
remain the same.

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 Input channels

GAIN/PATCH popup window (8ch) 6 GC (Gain Compensation) button

Switches the Gain Compensation function on or off for that channel.

7 Ø (Phase) button
Switches between normal and reverse phase settings for the head amp.
1
8 D. GAIN (digital gain) knob
Indicates the digital gain value. Press this knob so that you will be able to use the multifunction
2 knob to adjust the gain.
3 9 Digital gain meter
Indicates the level after digital gain.
4

5 GAIN/PATCH popup window

6
(1-48, 49-72/ST IN(CL5), 49-64/ST IN(CL3), ST IN(CL1))
7 This window displays the head amp settings of the corresponding input channels. Here you can also
adjust the head amp gain in groups of the selected eight channels by using the multifunction knobs in
8 the Centralogic section.

9 2 1 2 1

3
1 Channel select button
Indicates the channel icon, number, and name. When you press this button, the corresponding
channel will become a target for operations in the SELECTED CHANNEL section, and the
corresponding [SEL] key will light.

2 PATCH button
Press this button to display the PORT SELECT popup window to patch the input port to the input
channel.

3 +48V button
This button will appear for the input channel to which the head amp has been patched. Press the
button to switch phantom power (+48V) on or off.
NOTE 1 Parameter select buttons
If the slot (for which the connection to the head amp is not recognized) is patched, the type of the Select one of the following parameters to view in the window.
mini-YGDAI card will be displayed.
• ANALOG GAIN........................ Analog gain
4 A.GAIN (analog gain) knob • DIGITAL GAIN ........................ Digital gain
Indicates the analog gain of the head amp. Press this knob so that you will be • PATCH ........................................ Patch selection
able to use the multifunction knob to adjust the gain.
If the Gain Compensation function is turned on, an indicator will appear, 2 GC ALL ON/GC ALL OFF buttons
showing the position of the analog gain when the function is turned on. Switch Gain Compensation on or off for all input channels simultaneously.

5 Level meter 3 Channel select button

Indicates the input signal level. Selects the channel. You can select multiple channels simultaneously.

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 Input channels

■ If you press the ANALOG GAIN parameter select button: ■ If you press the PATCH parameter select button:

2
1 3 1
4

1 GAIN knob 1 PATCH button

Indicates the analog gain setting for each channel. Press this knob to control the gain value using Press this button to open the PORT SELECT popup window, in which you can select an input port
the multifunction knob. If the Gain Compensation function is turned on, an indicator will appear, to patch to the channel.
showing the position of the analog gain when the function is turned on.
4. Access either the 1ch or 8ch GAIN/PATCH popup window.
2 OVER indicator
Lights when a signal at the input port or from the rack output exceeds the full scale level. This 5. Use the on-screen buttons or the multifunction knobs to edit the head amp gain,
indicator is available only if an input channel is selected. phase, and phantom power on/off settings.
NOTE
3 +48V indicator
• The PAD will be switched on or off internally when the HA gain is adjusted between +17 dB and
Indicates the +48V on/off status for each channel. +18 dB.
• Keep in mind that noise may be generated when using phantom power if there is a difference
4 Ø (Phase) indicator
between the Hot and Cold output impedance of an external device connected to the INPUT jack.
Indicates the phase setting for each channel. • The GAIN knob, +48V button, and Ø button are valid only on channels for which the assigned
NOTE input port is an INPUT jack on the I/O rack, the OMNI IN on the CL unit, or a slot that is connected
If the input channel is patched to a slot for which the connection to the head amp is not to an external head amp device (e.g., Yamaha AD8HR or SB168-ES).
recognized, the knob 1 will be replaced with the slot/port number of the patch destination. In
addition, the indicator 3 will not be displayed. 6. Perform the same operations for other input channels as desired.
If the input channel is patched to the VIRTUAL RACK, the knob 1 will be replaced with the port If you are viewing the 1 ch GAIN/PATCH popup window, you can also use the [SEL] keys to
ID of the rack. switch the channel for editing.
If nothing is patched to the input channel, the knob 1 will be replaced with a dotted line “----”.
If you are viewing the 8 ch GAIN/PATCH popup window, you can use the Bank Select keys in the
Centralogic section to switch the channels being controlled in groups of eight.
■ If you press the DIGITAL GAIN parameter select button:
7. When you finish editing, press the × symbol in the upper right of the window.
2
1
3

1 GAIN knob
Indicates the digital gain setting for each channel. Press this knob to control the gain value using
the multifunction knob.

2 OVER indicator
Lights when a signal at the input port or from the rack output exceeds the full scale level. This
indicator is available only if an input channel is selected.
3 Ø (Phase) indicator
Indicates the phase setting for each channel.

33 Reference Manual
 Input channels

Setting the Gain Compensation function Adjusting the digital gain

If you are using an I/O rack (such as an Rio3224-D) on a Dante network, you can maintain the constant If the Gain Compensation function is turned on, digital gain will be used to adjust the level of the signal
level of signal output to the audio network by using the Gain Compensation function. If the FOH input to the CL’s input channels.
console and the monitoring console are sharing an I/O rack, or if you are performing digital recording Follow the steps below:
via Dante connections, using this function will maintain the signal output at a constant level from the
I/O rack to the network even if the analog gain value on the I/O rack is changed. 1. Press the [SEL] key for the input channel that you want to control.

To do so, follow the steps below: 2. Press one of the knobs in the SELECTED CHANNEL section.
The SELECTED CHANNEL VIEW screen for the selected channel will appear.
1. Sets the analog gain as described previously.
3. Press the GAIN field.
2. Press one of the knobs in the SELECTED CHANNEL section. The GAIN/PATCH popup window will appear.
The SELECTED CHANNEL VIEW screen for the selected channel will appear.

3. Press the GAIN field in the SELECTED CHANNEL VIEW screen.

The GAIN/PATCH popup window will appear.

4. Press the GC button located to the right of the A. GAIN knob.

4. Use multifunction knob 8 to adjust the D. GAIN parameter.

NOTE
• Press the SETUP button, then the USER SETUP button, select the PREFERENCE tab, and then
set the GAIN KNOB FUNCTION to DIGITAL GAIN. You will be able to adjust the digital gain value
by using the GAIN knob on the corresponding channel strip or the GAIN knob in the SELECTED
When the function is turned on, the button will light. Press the button once again to turn it off. CHANNEL section.
• You can also operate the digital gain by assigning INPUT GAIN → DIGITAL GAIN to a USER
If you adjust the analog gain value while the Gain Compensation function is turned on, the input DEFINED knob, or by assigning an ALTERNATE function to a USER DEFINED key.
level from the head amp will change accordingly. However, the level of the signal output to the
audio network will automatically be corrected to the level obtained when you turned the function
on. Under this condition, if you turn gain compensation off while in this state, the analog gain and
the compensated gain of the I/O rack will return to the settings that were in effect when you
turned gain compensation on. Therefore, the signal level on the audio network will remain the
same.

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 Input channels

Relationship between analog and digital gain while Gain Sending a signal from an input channel to the
Compensation is on STEREO/MONO buses
If Gain Compensation is on, adjusting the analog gain by a specific amount will cause the I/O rack to
output to the audio network a signal that is attenuated by the same amount. Therefore, the signals on This section explains how to send a signal from an input channel to the STEREO bus or MONO bus.
the audio network will maintain a constant corrected level in the digital domain. The STEREO bus and MONO bus are used mainly to send signals to the main speakers. There are two
For example, assume that the analog gain value has been set to +30 dB and Gain Compensation is now ways to send signals to the STEREO bus or MONO bus: ST/MONO mode and LCR mode. You can
turned on. Under this condition, if you raise the analog gain value to +45 dB, the level of the signal sent select the mode individually for each channel. These two modes differ as follows.
to the audio network will stay at +30 dB (that is, attenuated by –15 dB).
■ ST/MONO mode
This mode sends signals from the input channel to the STEREO bus and to the MONO bus
independently.
• Signals sent from an input channel to the STEREO bus and to the MONO bus can be switched on or
off individually.
• The panning of a signal sent from an input channel to the STEREO bus L/R is controlled by the TO
At this time, the gain of each signal input to the CL series unit will be adjusted by the digital gain ST PAN knob. (Signals sent to the MONO bus are not affected by this knob.)
parameter of the CL series console. If the FOH console and the monitoring console are sharing one I/ • The left/right volume balance of a signal sent from an ST IN channel to the STEREO bus is controlled
O rack, adjusting the analog gain on the FOH console will not affect the input level on the monitoring by this knob. (Signals sent to the MONO bus are not affected by this knob.)
console, because the level of the signal on the audio network is maintained at a constant level. If PAN/BALANCE mode is set to PAN, you will be able to adjust the pan position of signals sent to
However, please note that if the signal is distorted due to a high level of analog gain, you must first turn the STEREO bus L/R individually (see page 37).
the Gain Compensation function off, set the gain to an appropriate input level, and then turn the
function back on. If you try to lower the analog gain level while the Gain Compensation function is on, ■ LCR mode
the signal on the audio network will be amplified by the same amount due to the Gain Compensation This mode sends input channel signals to three buses (STEREO (L/R) and MONO (C)) simultaneously.
function, and the signal will remain distorted. • Signals sent from an input channel to the STEREO bus and MONO bus will be switched on or off
collectively.
NOTE
You can perform this operation by assigning the Gain Compensation on/off function to one of the • The CSR (Center Side Ratio) knob specifies the level ratio between signals sent from an input
USER DEFINED keys. channel to the STEREO (L/R) bus and to the MONO (C) bus.
• The TO ST PAN knob/BALANCE knob specifies the level of signals sent from an input channel to
the STEREO (L/R) bus and MONO (C) bus.
NOTE
If you want to monitor the signal of the STEREO bus or MONO bus through headphones or
similar devices, press the MONITOR button in the Function Access Area to select “LCR” as the
monitor source before you continue with the following procedure.

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 Input channels

1. Make sure that an input source is connected to the input channel you are adjusting. TO STEREO/MONO popup window (8ch)
Set the phantom power, gain, and phase of the head amp to obtain the optimum
Here you can control the on/off and pan/balance settings of signals sent from input channels to the
input signal.
STEREO (L/R) bus and MONO (C) bus, in groups of eight channels.
2. Use the Bank Select keys in the Centralogic section to access the OVERVIEW screen
that includes the input channel from which you want to send the signal to the
STEREO/MONO bus. 1

2
3

5
6

1 Channel select button

Selects the channel. You can select multiple channels simultaneously.

2 Mode LEDs
3 MODE (ST/MONO/LCR mode select) button
Press this button repeatedly to toggle between ST/MONO and LCR. The LED of the currently-
selected mode will light.

STEREO/MONO field 4 ST/MONO buttons

These buttons are individual on/off switches for signals sent from each channel to the STEREO
bus/MONO bus when the MONO button is set to ST/MONO mode.
3. In the STEREO/MONO field, press a knob to select the channel you want to adjust,
and then press the knob once again to access the TO STEREO/MONO popup 5 Σ clipping indicator
window. Lights to indicate a signal is clipping at some point in the channel.

6 TO ST PAN/TO ST BALANCE knob

In the TO STEREO/MONO popup window you can control signals that is sent from an input channel For MONO channels, this acts as a PAN knob that adjusts the left/right panning of signals sent to
to the STEREO/MONO bus. This popup window features four views. Use the tabs near the bottom of the STEREO bus. For STEREO channels, this acts as a PAN knob, and also as a BALANCE knob
the window to select one of the four views. Each window view includes the following items. that adjusts the volume of the left and right signals sent to the STEREO bus. To adjust the value,
press the knob to select it, and then operate the corresponding multifunction knob.

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 Input channels

TO STEREO/MONO popup window

(CH1-48, CH49-72/ST IN(CL5), CH49-64/ST IN(CL3), ST IN(CL1))
Adjusts the status of a signal sent from the corresponding input channel to the STEREO/MONO bus.
7
You can also adjust the pan or balance setting in groups of eight selected channels.

7 PAN/BALANCE MODE button 1

2
Switches the knob function of the TO ST PAN/TO ST BALANCE knob on the STEREO channel. 3
4
If the ST/MONO/LCR mode select button is set to LCR mode, the following button and knob are
displayed instead of the ST/MONO button 4.

8 LCR button
This button is an overall on/off button for signals sent from a channel to the STEREO bus and
MONO bus. If this button is off, no signal will be sent from the corresponding input channel to
the STEREO bus or MONO bus.
1 Channel select button
9 CSR knob Selects the channel. You can select multiple channels simultaneously.
Adjusts the relative level of signals sent from the channel to the STEREO (L/R) bus and to the
2 Σ clipping indicator
MONO (C) bus, in the range of 0–100%. To adjust the value, press the knob to select it, and then
Lights to indicate a signal is clipping at some point in the channel.
operate the corresponding multifunction knob. (see page 38)
3 TO ST PAN/TO ST BALANCE knob
Adjusts the panning or balance.
To adjust the value, press the knob to select it, and then operate the corresponding multifunction
knob.
If the signal reaches the overload point at any meter detection point in that channel, the indicator
to the right of the knob will light.
4 ST/MONO indicators
If a channel is set to ST/MONO mode, these indicators will individually indicate the on/off status
of signals sent from the channel to the STEREO bus/MONO bus.
If a channel is set to LCR mode, the LCR indicator will be displayed in this location. The LCR
indicator indicates the on/off status of all signals sent from that channel to the STEREO bus/
MONO bus.

4. Access the eight-channel TO STEREO/MONO popup window.

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 Input channels

5. Use the MODE button to select either ST/MONO mode or LCR mode for each 10. In the TO STEREO/MONO popup window, use the TO ST PAN knob to set the
channel. panning of signals sent from the input channel to the STEREO bus and MONO (C)
bus.
6. In the MASTER section on the top panel, make sure that the [ON] key for the If the CSR knob is set to 0%, operating the TO ST PAN knob of an INPUT channel will change
STEREO channel/MONO channel is turned on, and then raise the fader to an the level of signals sent to the STEREO (L/R) bus and MONO (C) bus, as shown in the following
appropriate level. diagram. In this case, the TO ST PAN knob operates as a conventional PAN knob, and no signal
is sent to the MONO (C) bus.
7. In the INPUT section on the top panel, make sure that the [ON] key is turned on
for the input channel you want to control, and then raise the fader to an
appropriate position.

Signal level
Signal sent to the STEREO (L) bus
The subsequent steps will differ depending on whether ST/MONO mode or LCR mode was selected
for the channel in step 5.
Signal sent to the STEREO (R) bus
■ Channels for which ST/MONO mode is selected

8. In the TO STEREO/MONO popup window, use the STEREO/MONO button to turn L C R

the signal sent from the input channel to the STEREO bus/MONO bus on or off. TO ST PAN knob
For a channel that is set to ST/MONO mode, signals sent to the STEREO bus and to the MONO
bus can be switched on or off individually. Operating the TO ST BALANCE knob of a STEREO channel will change the level of signals sent
from the STEREO L/R channels to the STEREO (L/R) bus and MONO (C) bus, as shown in the
9. In the TO STEREO/MONO popup window, use the TO ST PAN knob to set the following diagram. In this case, the TO ST PAN knob operates as a conventional BALANCE knob,
panning of a signal sent from the input channel to the STEREO bus. and no signal is sent to the MONO (C) bus.
■ Channels for which LCR mode is selected

8. In the TO STEREO/MONO popup window, use the LCR button to turn signals sent

Signal level
from the input channel to the STEREO bus/MONO bus on or off collectively. Signal sent from the STEREO (L) channel to
the STEREO (L) bus
For a channel that is set to LCR mode, signals sent to the STEREO bus and to the MONO bus are
switched on or off collectively.

9. In the TO STEREO/MONO popup window, use the CSR knob to adjust the level
difference between signals sent from that channel to the STEREO (L/R) bus and to
L C R
the MONO (C) bus. TO ST BALANCE knob

Signal level Signal sent from the STEREO (R) channel to

the STEREO (R) bus

L C R
TO ST BALANCE knob

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 Input channels

If the CSR knob is set to 100%, operating the INPUT TO ST PAN knob will change the level of Sending a signal from an input channel to a MIX/
signals sent to the STEREO (L/R) bus and MONO (C) bus, as shown in the following diagram.
MATRIX bus
This section explains how to send a signal from an input channel to MIX buses 1–24 and MATRIX
Signal sent to the MONO (C) bus buses 1–8.
Signal level

The MIX buses are used mainly for the purpose of sending signals to foldback speakers on stage, or to
Signal sent to the STEREO (L) bus effect processors. The MATRIX buses are used to produce a mix that is independent of the STEREO
bus or MIX buses, and is typically sent to a master recorder or to a backstage monitoring system.
Signal sent to the STEREO (R) bus You can send a signal from an input channel to a MIX/MATRIX bus in the following three ways.

■ Using the SELECTED CHANNEL section

L C R
PAN knob With this method, you use the knobs in the SELECTED CHANNEL section to adjust the send levels to
the MIX/MATRIX buses. When using this method, signals sent from a specific input channel to all
MIX/MATRIX buses can be adjusted collectively.
Operating the TO ST BALANCE knob of an ST IN channel will change the level of signals sent
from the STEREO L/R channels to the STEREO (L/R) bus and MONO (C) bus, as shown in the ■ Using the Centralogic section
following diagram. With this method, you use the multifunction knobs in the Centralogic section to adjust the level of
signals sent to the MIX/MATRIX buses. When using this method, the signals sent from eight
consecutive input channels to a specific MIX/MATRIX bus can be adjusted simultaneously.
Signal sent from the ST IN (L) channel to
Signal level

the MONO (C) bus ■ Using the faders (SENDS ON FADER mode)
With this method, you switch the CL series unit to SENDS ON FADER mode, and use the faders on the
Signal sent from the ST IN (L) channel to top panel to adjust the level of signals sent to the MIX/MATRIX buses. When using this method, signals
the STEREO (L) bus sent from all input channels to a specific MIX/MATRIX bus can be adjusted simultaneously.

Using the SELECTED CHANNEL section

L C R
TO ST BALANCE knob This section explains how to use the knobs in the SELECTED CHANNEL section to adjust the send
levels of signals sent from a specific input channel to all MIX/MATRIX buses.

1. Make sure that an output port is assigned to each MIX/MATRIX bus to which you
Signal sent from the ST IN (R) channel to want to send signals, and that your monitor system, external effect processor, or
Signal level

the MONO (C) bus other device is connected to the corresponding output port.

Signal sent from the ST IN (R) channel to

2. Use the [SEL] keys on the top panel to select the input channels that will send
the STEREO (R) bus
signals to the MIX/MATRIX buses.

L C R
TO ST BALANCE knob

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 Input channels

3. Press a knob in the SELECTED CHANNEL section to access the SELECTED CHANNEL
VIEW screen.

If necessary, you can specify two adjacent odd/even-numbered MIX/MATRIX buses as a stereo
bus and link the main parameters.
If the send-destination MIX/MATRIX bus is assigned as stereo, the left knob of the two adjacent
TO MIX/MATRIX SEND LEVEL knobs will operate as the TO MIX/MATRIX PAN knob. (If
BALANCE mode is selected in the TO STEREO/MONO popup window, it will operate as a
BALANCE knob).

For a MONO channel, the right knob will adjust the common send level to the two MIX/MATRIX
buses, and the left knob will adjust the panning between the two MIX/MATRIX buses. Rotating
the left TO MIX/MATRIX SEND LEVEL knob counter-clockwise will increase the amount of
signal sent to the odd-numbered MIX/MATRIX bus, and rotating it clockwise will increase the
amount sent to the even-numbered MIX/MATRIX bus.
For a STEREO channel, if BALANCE mode has been selected on the TO STEREO/MONO popup
4. In the TO MIX/MATRIX field on screen, make sure that the MIX1–16 button or window, the right knob adjusts the common send level for the two MIX/MATRIX buses, and the
MIX17–24/MATRIX button is turned on. left knob adjusts the volume balance of the left and right signals sent to the two MIX/MATRIX
buses. Rotating the left TO MIX/MATRIX SEND LEVEL knob counter-clockwise will increase
The TO MIX/TO MATRIX field displays the corresponding knobs and buttons. If this button is
the amount of signal sent from the L-channel to the odd-numbered MIX/MATRIX bus, and
off, press the button to turn it on.
rotating it clockwise will increase the amount sent from the R-channel to the even-numbered
MIX buses can be either a FIXED type that features a fixed send level, or a VARI type that features MIX/MATRIX bus. If PAN mode has been selected in the TO STEREO/MONO popup window,
a variable send level. The MATRIX buses are all VARI type. You can switch between FIXED and the left knob will function as the PAN knob. The right knob function will be the same as in
VARI types for each two adjacent odd/even-numbered MIX buses. To do so, press the SETUP BALANCE mode.
button, the USER SETUP button, and then the BUS SETUP button to open the BUS SETUP
popup window. 5. Make sure that the TO MIX/MATRIX SEND ON/OFF button is turned on for the
If the send-destination MIX bus is a FIXED type, a circle ( ) is displayed instead of the TO MIX send-destination MIX bus.
SEND LEVEL knob. In this case, you cannot adjust the send level. If this button is off, press the button on screen to turn it on.

6. In the SELECTED CHANNEL section, use the MIX/MATRIX SEND LEVEL knobs to
adjust the send levels to the MIX/MATRIX buses.
NOTE
If you want to monitor the signal being sent to a specific MIX/MATRIX bus, use the Bank Select
keys in the Centralogic section to access the corresponding MIX/MATRIX channel, and then
If the send-destination MIX bus is a VARI type, or if the send-destination is a MATRIX bus, the press the appropriate [CUE] key in the Centralogic section.
TO MIX SEND LEVEL knob will be displayed in the same color as the corresponding knob in the
SELECTED CHANNEL section. In this case, you can use the corresponding knob in the 7. You can use the [SEL] keys on the top panel to switch input channels and control
SELECTED CHANNEL section to adjust the send level. the send level to all MIX/MATRIX buses in the same way.

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 Input channels

Using the Centralogic section 4. Use multifunction knobs 1–8 to adjust the send level of signals sent from the (up
to) eight input channels to the selected MIX/MATRIX bus.
You can use the multifunction knobs in the Centralogic section to adjust the send level of signals sent
from eight consecutive input channels to a specific MIX/MATRIX bus. If necessary, you can use the Bank Select keys to switch the input channels that you want to assign
to the Centralogic section, and adjust the send levels from other input channels to the selected
1. Make sure that an output port is assigned to each MIX/MATRIX bus to which you MIX/MATRIX bus.
want to send signals, and that your monitor system, external effect, or other device NOTE
is connected to the corresponding output port. If you want to monitor a signal being sent to a specific MIX/MATRIX bus, use the Bank Select
keys to assign the corresponding MIX channel to the Centralogic section, and then press the
2. Use the Bank Select keys in the Centralogic section to access the OVERVIEW screen [CUE] key for that MIX/MATRIX channel.
that includes the input channel that you want to control.
In the OVERVIEW screen, you can use the TO MIX/TO MATRIX field to adjust the send levels 5. If you want to make detailed settings for MIX/MATRIX sends, press the TO MIX/
to the MIX/MATRIX bus. MATRIX SEND LEVEL knob inside the bold frame once again.
When you press the currently-selected TO MIX/MATRIX SEND LEVEL knob a second time, the
MIX SEND popup window or the MATRIX SEND popup window will appear. This window
includes the following items.
41 2 3 41 2 3

5 5
6 6
7 7
8 8
9 9
0 0

1 ALL PRE button

Sets the send point to “PRE.” (The send point is the point at which signals are sent from all send-
source channels — including the input and output channels — to the selected send destination.)
At this time, the PRE/POST button will light.

2 ALL POST button

Sets the send point to “POST.” (The send point is the point at which signals are sent from all send-
3. Press the TO MIX/MATRIX SEND LEVEL knob for the desired send-destination MIX/ source channels — including the input and output channels — to the selected send destination.)
MATRIX bus. At this time, the PRE/POST button will turn off.
A bold frame will appear around all TO MIX/MATRIX SEND LEVEL knobs for that MIX/ 3 SEND FROM button
MATRIX bus. Press this button to switch to the “SEND from 8ch” popup window.

4 Send destination indicator

Indicates the currently-selected send destination.

5 Send destination select buttons

Select MIX/MATRIX buses as the send destination.

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 Input channels

6 Channel select button The knob for the mode selected here will appear.
Selects the send-source channel that you wish to control. The current channel icon, number, and
color appear on the button, and the channel name appears immediately below the button.

7 PRE/POST button
Switches the send point of each send-source channel between PRE and POST. If the button is on,
the send point is set to PRE.

8 SEND ON/OFF button

Switches the send of each send-source channel on or off.

9 SEND PAN/BALANCE knob

Sets the panning or balance of signals sent to the stereo send destination. If the send destination
is set to monaural or FIXED, this knob will not appear.
If the send source is monaural, this knob functions as a PAN knob.

0 SEND LEVEL knob

Indicates the level of signals sent to the selected send destination. Press this knob to control the
level using the multifunction knobs.
If the send destination is set to FIXED, only a gray circle will appear.

6. Use the TO MIX/MATRIX SEND ON/OFF buttons to switch signals sent from the
input channels to the currently-selected MIX/MATRIX bus on or off.

7. If necessary, use the PRE buttons to select the send point of a signal that is sent
If the send source is stereo, you can use the PAN/BALANCE mode from each input channel to a VARI type MIX/MATRIX bus.
setting in the TO STEREO/MONO popup window to select whether NOTE
PAN/BALANCE will function as a PAN or BALANCE knob. • If the PRE button is on, you can also select PRE EQ (immediately before the EQ) or PRE FADER
(immediately before the fader) for each MIX/MATRIX bus. This setting is made in the BUS SETUP
popup window (see page 192).
• The PRE button is not displayed for FIXED type MIX buses.

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 Input channels

Using the faders (SENDS ON FADER mode) 4. Use the MIX/MATRIX bus selection buttons in the Function Access Area to select
the send-destination MIX/MATRIX bus.
You can use the faders on the top panel to adjust signals that are sent from all input channels to a specific
MIX/MATRIX bus. NOTE
• Alternatively, press a SEND LEVEL knob in the SELECTED CHANNEL section to display a
1. Make sure that an output port is assigned to each MIX/MATRIX bus to which you popup window from which you can select a MIX/MATRIX bus.
want to send signals, and that your monitor system, external effect, or other device • You can also select a MIX/MATRIX bus by using the Bank Select keys and the [SEL] keys in the
is connected to the corresponding output port. Centralogic section. If you select the MIX buses or MATRIX buses by pressing the [SEL] keys,
the setting of the MIX/MTRX ON FADER switch button will be changed automatically.
2. In the Function Access Area, press the SENDS ON FADER button. • If you press the currently-selected MIX/MATRIX bus select button again, cue monitoring will be
turned on for the related MIX/MATRIX channel. This method is convenient if you want to monitor
The CL series unit will switch to SENDS ON FADER mode. The most recently selected group of a signal that is being sent to the selected MIX/MATRIX bus.
MIX/MATRIX buses will be assigned to the Centralogic section. The faders in the Channel Strip
section and Master section will move to indicate the send level of signals that are routed from each 5. Use the faders in the Channel Strip section on the top panel to adjust the send level
channel to the currently-selected MIX/MATRIX bus. of signals routed from the input channels to the selected MIX/MATRIX bus.
NOTE
In SENDS ON FADER mode, the Function Access Area in the display will show the buttons that You can assign the SENDS ON FADER function to a USER DEFINED key. This lets you quickly
enable you to switch between MIX ON FADER mode and MATRIX ON FADER mode, and the switch to SENDS ON FADER mode for a specific MIX/MATRIX bus, and quickly switch back
buttons that enable you to select the destination MIX/MATRIX buses. again.

6. Repeat steps 4–5 to adjust the send level for other MIX/MATRIX buses in the same
way.

7. When you have finished adjusting the MIX/MATRIX send levels, press the “x”
symbol in the Function Access Area.
The Function Access Area display will return to its prior state, and the CL console will exit SENDS
ON FADER mode and return to normal mode.

3. Press the MIX/MTRX ON FADER switch button repeatedly to select MIX1–16 or

MIX17–24/MATRIX.
In this way, you can use the MIX/MATRIX bus select buttons to specify the destination MIX/
MATRIX buses.

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 Input channels

Correcting delay between channels (Input Delay) INPUT DELAY (8ch)

This section explains how to correct delay between input channels by using Input Delay function. 1
This function is useful when you want to correct the phase variance, caused by microphone locations
on the stage, to add depth to the sound by using phase variance, or to correct a delay (a gap) that may
exist between video and audio that are sent from a site for broadcast on TV. 2

1. Use the [SEL] keys on the top panel to select the input channel that will send
signals to the MIX/MATRIX bus. 3

2. Press a knob in the SELECTED CHANNEL section to access the SELECTED CHANNEL
VIEW screen.
INPUT DELAY field
1 DELAY SCALE button
Press the button to display the DELAY SCALE popup window, in which you can select the unit
for the delay time.

You can select one of the four delay scales: meter (meter/sec), feet (feet/sec), sample (number of
samples), and ms (millisecond).
2 Channel select button
Lights to indicate the currently-selected input channel. Press the button to select the channel.

3 Delay setting knob (input channels only)

Indicates the channel delay value. You can use the multifunction knob to adjust it. You can view
the current value immediately above the knob (in unit of ms) and below the knob (in the
currently-selected scale). If ms (millisecond) has been selected for the DELAY SCALE, nothing
3. Press the INPUT DELAY field to access the INPUT DELAY popup window. will appear above the knob.
In the INPUT DELAY popup window you can set the on/off status and the value of the input
channel delay. This popup window features three types of view. Use the tabs near the bottom of
the window to select one of four views. Each window view includes the following items.

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 Input channels

INPUT DELAY (CH1-48, CH49-72/ST IN(CL5), Channel library operations

CH49-64/ST IN(CL3), ST IN(CL1)) Channel libraries include “INPUT CHANNEL LIBRARY,” which enables you to store and recall various
1 parameters (including the head amp settings) for input channels.
To recall a library, press the corresponding LIBRARY button in the SELECTED CHANNEL VIEW
screen.
2
3 LIBRARY button

For details on using the library, refer to the “Using the library” section in the separate Owner’s Manual.

1 DELAY SCALE button

Press the button to display the DELAY SCALE popup window, in which you can select the unit
for the delay time.

2 Channel select button

Lights to indicate the currently-selected input channel. Press the button to select the channel.

3 Delay setting knob (input channels only)

Indicates the channel delay value. Press this knob to adjust the value using the multifunction
knob. You can view the current value immediately above the knob (in unit of ms) and below the
knob (in the currently-selected scale).
NOTE
If ms (millisecond) has been selected for the DELAY SCALE, nothing will appear to the right of the
knob.

4. Access the INPUT DELAY (8ch) popup window.

5. Use the on-screen buttons and the multifunction knobs to set the delay.

6. Perform the same operations for other input channels as desired.

If you are viewing the 8ch INPUT DELAY popup window, you can use the Bank Select keys in the
Centralogic section to switch the channels being controlled in groups of eight.
7. When you finish editing, press the × symbol in the upper right of the window.

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 Output channels

Output channels STEREO channel/MONO (C) channel

Each of these channels processes the signal sent from the input channels to the STEREO bus or MONO
This chapter explains output channels (MIX channels, MATRIX channels, STEREO channels, MONO (C) bus, and send it to the corresponding output port or MATRIX bus. If input channels are in LCR
channels). mode, the STEREO (L/R) channels and the MONO (C) channel can be used together as a set of three
output channels.
M
O
N
ST
Signal flow for output channels MIX
1 2 2324
O MATRIX
L R (C) 1 2 7 8
CUE
L R

STEREO L,R,MONO(C)
INSERT POINT
The output channel section takes the signals sent from the input channels to the various buses, To RACKIN PATCH
To OUTPUT PATCH STEREO
POST ON INSERT OUT
PRE FADER INSERT OUT
INSERT OUT L,R,MONO(C) PRE EQ INSERT OUT
processes them with EQ and dynamics, and sends them to output ports or other buses. The following STEREO
INSERT IN L,R,MONO(C)
PRE EQ EQ OUT DYNA OUT PRE FADER POST ON
types of output channels are provided. METER METER METER METER METER
GR METER LEVEL BAL
ON STEREO OUT
INSERT COMP L,R,MONO(C)
4BAND INSERT INSERT To OUTPUT PATCH
ATT COMPAND
EQ To MONITOR SELECT
EXPAND

MIX channels PRE EQ

PRE EQ POST EQ
Keyin
PRE FADER
INSERT OUT PRE FADER
Self PRE EQ/Self POST EQ/MIX21-24 OUT/
POST ON
INSERT OUT
POST ON

INSERT OUT
ST(L,R,MONO(C)) POST EQ
These channels process signals sent from input channels to MIX buses, and output them to the CUE ON
(PRE FADER)PFL / (POST ON)AFL

corresponding output port, MATRIX bus, STEREO bus, or MONO (C) bus. MATRIX1,3...7 LEVEL ON
PRE FADER / POST ON To MATRIX
MATRIX2,4...8 LEVEL ON VARI
M
O LEVEL ON To MATRIX
PRE FADER / POST ON
MIX ST ON MATRIX CUE PAN/BAL
VARI
STEREO
1 2 2324 L R (C) 1 2 7 8 L R

MIX 1-24
INSERT POINT
To RACKIN PATCH POST ON INSERT OUT
To OUTPUT PATCH MIX PRE FADER INSERT OUT
INSERT OUT 1-24 PRE EQ INSERT OUT
MIX
INSERT IN 1-24 PRE EQ
METER
EQ OUT
METER
DYNA OUT
METER
PRE FADER
METER
POST ON
METER
MATRIX channel
GR METER LEVEL BAL
INSERT 4BAND
COMP
INSERT
ON
INSERT MIX OUT1-24
(21-24)To KEYIN
To RACKIN PATCH
These channels process the signals sent from input channels, MIX channels, and STEREO/MONO
ATT COMPAND
EQ
EXPAND
PRE FADER
To OUTPUT PATCH
To MONITOR SELECT channels to MATRIX buses, and send them to the corresponding output ports.
PRE EQ POST EQ INSERT OUT PRE FADER POST ON
PRE EQ Keyin POST ON
Self PRE EQ/Self POST EQ/MIX21-24 OUT/ INSERT OUT M
INSERT OUT O
MIX(1-8,9-16,17-24) POST EQ N
CUE ON ST
(PRE FADER)PFL / (POST ON)AFL MIX O MATRIX CUE
1 2 2324 L R (C) 1 2 7 8 L R
MATRIX1,3...7 LEVEL ON To MATRIX
PRE FADER / POST ON
MATRIX2,4...8 LEVEL ON VARI MATRIX 1-8
INSERT POINT
LEVEL ON To MATRIX To RACKIN PATCH POST ON INSERT OUT
PRE FADER / POST ON To OUTPUT PATCH MATRIX PRE FADER INSERT OUT
PAN/BAL VARI INSERT OUT 1-8 PRE EQ INSERT OUT
STEREO PAN/BAL
PAN MODE TO ST TO MONO LR MONO MATRIX
ST L
INSERT IN 1-8
PRE EQ EQ OUT DYNA OUT PRE FADER POST ON
MONO(C) TO LCR METER METER METER METER METER
LCR
GR METER LEVEL BAL
ST R POST ON ON
COMP MATRIX OUT 1-8
CSR INSERT 4BAND INSERT INSERT To OUTPUT PATCH
ATT COMPAND
EQ To MONITOR SELECT
EXPAND
PRE FADER
PRE EQ POST EQ INSERT OUT PRE FADER POST ON
PRE EQ Keyin POST ON
INSERT OUT Self PRE EQ/Self POST EQ/MIX21-24 OUT/ INSERT OUT
MATRIX1-8 POST EQ
CUE ON
(PRE FADER)PFL / (POST ON)AFL

• 4 BAND EQ (4 band equalizer)

A parametric EQ with four bands: HIGH, HIGH MID, LOW MID, and LOW.
• DYNAMICS 1
This is a dynamics processor that can be used as a compressor, expander, or compander.
• LEVEL
Adjusts the output level of the channel.
• ON (on/off)
Turns the output channel on or off. If this is off, the corresponding channel will be muted.

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 Output channels

• MATRIX ON/OFF (MATRIX send on/off) Specifying the channel name and icon
This is an on/off switch for signals sent from the MIX channels, STEREO (L/R) channel, or
MONO (C) channel to each MATRIX bus. This section explains how to specify the channel name and icon for each output channel.
• MATRIX (MATRIX send level) 1. Use the Bank Select keys in the Centralogic section to access the OVERVIEW screen
Adjusts the send level of signals sent from the MIX channels, STEREO (L/R) channel, or MONO that includes the output channel for which you want to specify the channel name
(C) channel to each MATRIX bus 1–8. For the position from which the signal will be sent to the and icon.
MATRIX bus, you can choose either immediately before the fader, or immediately after the [ON]
key. Channel number/Channel name field
If the send-destination MATRIX bus is set to stereo, you can use the PAN knob to adjust the
panning between the two MATRIX buses. If the send-source is a stereo MIX channel or the
STEREO channel, use the BALANCE knob to adjust the volume balance of the left and right
channels sent to the two MATRIX buses.
• INSERT
You can patch the desired output/input ports to insert an external device such as an effect
processor. You can switch the insert-out and insert-in locations.
• METER
Indicates the level of the output channel.
You can switch the position at which the level is detected.
• KEY IN (MIX channels 21–24 only)
You can send the output signals of MIX channels 21–24 to dynamics processors and use them as
key-in signals to control the dynamics.
• RACK IN PATCH
Patches the output signal of an output channel to an input of the rack.
• OUTPUT PATCH
Assigns an output port to an output channel.
• MONITOR SELECT
Selects the output signal of an output channel as a monitor source.

2. Access the PATCH/NAME popup window by pressing the channel number/channel

name field of the channel to which you want to assign the channel name and icon.

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 Output channels

2 3 Sending signals from MIX channels to the STEREO/

MONO bus
This section explains how to send a signal from a MIX channel to the STEREO bus or MONO bus.
1 There are two ways to send signals to the STEREO bus or MONO bus: ST/MONO mode and LCR
mode. You can select the mode individually for each channel. Features of each mode are the same as for
input channels.

1. Use the Bank Select keys in the Centralogic section to access the OVERVIEW screen
that includes the MIX channel from which you want to send the signal to the
STEREO/MONO bus.

4
Follow the steps for the input channels (see page 29).

STEREO/MONO field

2. In the STEREO/MONO field, press a knob to select the channel you want to adjust,
and then press the knob once again to access the TO STEREO/MONO popup
window.
In the TO STEREO/MONO popup window, you can control a signal that is sent from the MIX
channel to the STEREO/MONO bus. This popup window features four types of view. Use the tabs
near the bottom of the window to select one of the four views. These windows include the
following items.

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 Output channels

TO STEREO/MONO popup window (8ch) If the ST/MONO/LCR mode select button is set to LCR mode, the following button and knob are
displayed instead of the ST/MONO button (4).
You can control the on/off and pan/balance settings of the signal sent from MIX channels to the
STEREO (L/R) bus and MONO (C) bus, in groups of eight channels.
7

1
8
2
3

4 7 LCR button
This button is an overall on/off button for signals sent from a channel to the STEREO bus and
5 MONO bus. If this button is off, no signals will be sent from the corresponding input channel to
6 the STEREO bus or MONO bus.
8 CSR knob
Adjusts the relative level of signals sent from the channel to the STEREO (L/R) bus and to the
MONO (C) bus, in the range of 0–100%. To adjust the value, press the knob to select it, and then
operate the corresponding multifunction knob.
1 Channel select button
Selects the channel. You can select multiple channels simultaneously.

2 Mode LEDs
3 MODE (ST/MONO/LCR mode select) button
Press this button repeatedly to toggle between ST/MONO and LCR. The LED of the currently-
selected mode will light.

4 ST/MONO buttons
These buttons are individual on/off switches for signals that are sent from each channel to the
STEREO bus/MONO bus when the MONO button is set to ST/MONO mode.

5 Σ clipping indicator
Lights to indicate a signal is clipping at some point in the channel.

6 TO ST PAN/TO ST BALANCE knob

If the type of the MIX channel signal is MONO, this knob will function as a PAN knob that adjusts
the left and right pan position of the signal sent to the STEREO bus. If the type of MIX channel
signal is STEREO, this knob will function as a BALANCE knob that adjusts the volume level
balance of left and right signals sent to the STEREO bus. To adjust the value, press the knob to
select it, and then operate the corresponding multifunction knob.

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 Output channels

TO STEREO/MONO popup window (CH1-48, 3. Access the eight-channel TO STEREO/MONO popup window.
CH49-72/ST IN(CL5), CH49-64/ST IN(CL3), ST IN(CL1), OUTPUT) 4. Use the MODE button to select either ST/MONO mode or LCR mode for each
This window displays the status of signals sent from the corresponding channel to the STEREO bus/ channel.
MONO bus. You can also adjust the pan or balance setting in groups of eight selected channels.
5. In the MASTER section on the top panel, make sure that the [ON] key for the
STEREO channel/MONO channel is turned on, and then raise the fader to an
1 appropriate level.
2
3
6. Press one of the Output Bank Select Keys in the Centralogic section so that the MIX
4 channels you want to control are recalled to the Centralogic section.

7. Make sure that the [ON] keys for those channels are on, and use the fader in the
Centralogic section to raise the master level of the MIX channel to an appropriate
position.

The subsequent steps will differ depending on whether ST/MONO mode or LCR mode was selected
for the channel in step 4.

■ Channels for which ST/MONO mode is selected

8. In the TO STEREO/MONO popup window, use the STEREO/MONO button to turn

a signal sent from the MIX channel to the STEREO bus/MONO bus on or off.
For a channel that is set to ST/MONO mode, signals sent to the STEREO bus and to the MONO
bus can be switched on/off individually.
1 Channel select button
Selects the channel. You can select multiple channels simultaneously. 9. In the TO STEREO/MONO popup window, use the TO ST PAN knob to set the
panning of a signal sent from the MIX channel to the STEREO bus.
2 Σ clipping indicator
Lights to indicate a signal is clipping at some point in the channel. ■ Channels for which LCR mode is selected

3 TO ST PAN/TO ST BALANCE knob 8. Make sure that the LCR button is turned on in the TO STEREO/MONO popup
Adjusts the panning and balance. window.
To adjust the value, press the knob to select it, and then operate the corresponding multifunction Channels for which the LCR button is off will not send a signal to the STEREO bus or MONO bus.
knob.
If the signal level reaches the overload point at any meter detection point in that channel, the Σ 9. In the TO STEREO/MONO popup window, press the CSR knob to select it, and use
clipping indicator to the right of the knob will light. multifunction knobs 1–8 to adjust the level difference between signals sent from
that channel to the STEREO (L/R) bus and to the MONO (C) bus.
4 ST/MONO indicator The CSR knob settings are the same as for input channels.
If a channel is set to ST/MONO mode, these indicators will individually indicate the on/off status
of signals sent from the channel to the STEREO bus/MONO bus. 10. In the TO STEREO/MONO popup window, press the TO ST PAN knob to select it,
If a channel is set to LCR mode, the LCR indicator is displayed in this location. The LCR indicator and use multifunction knobs 1–8 to adjust the panning of signals sent from the
indicates the on/off status of all signals sent from that channel to the STEREO bus/MONO bus. MIX channel to the STEREO (L/R) bus and MONO (C) bus, and the level balance of
signals sent to the MONO (C) bus and STEREO (L/R) bus.
Refer to page 38 for details on how the signal level sent from an LCR mode MIX channel to each
bus will change according to the operation of the TO ST PAN knob.

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 Output channels

Sending signals from MIX channels and STEREO/ 4. Press a knob in the SELECTED CHANNEL section to access the SELECTED CHANNEL
VIEW screen.
MONO channels to MATRIX buses
This section explains how to send a signal from a MIX or STEREO/MONO channel to MATRIX buses
1–8. You can do this in either of the following two ways.

■ Using the SELECTED CHANNEL section

With this method, you use the knobs in the SELECTED CHANNEL section to adjust the send levels to
the MATRIX buses. This method allows you to simultaneously control signals sent from a specific MIX,
STEREO (L/R), or MONO (C) channel to all MATRIX buses.

■ Using the Centralogic section

With this method, you use the multifunction knobs in the Centralogic section to adjust the send levels
to the MATRIX buses. This method allows you to simultaneously control signals sent from up to eight
MIX, STEREO (L/R), or MONO (C) channels to a specific MATRIX bus.

Using the SELECTED CHANNEL section

Use the knobs in the SELECTED CHANNEL section to adjust the send level of signals sent from the
desired MIX, STEREO (L/R) or MONO (C) channel to all MATRIX buses.

1. Make sure that an output port is assigned to the MATRIX bus to which you want
to send signals, and that an external device is connected.

2. Using the Bank Select keys in the Centralogic section, assign the desired MIX 5. Make sure that the TO MATRIX SEND ON/OFF button is turned on for the send-
channels or the STEREO/MONO channels to the Centralogic section. destination MATRIX bus.
If this button is off, press the button on screen to turn it on.
3. Use the [SEL] keys in the Centralogic section to select the channels that will send
signals to the MATRIX buses. 6. In the SELECTED CHANNEL section, use the MIX/MATRIX SEND LEVEL knobs to
You can also use the [SEL] key in the MASTER section to directly select the STEREO/MONO adjust the send levels to the MATRIX buses.
channels.
NOTE
If you want to monitor the signal being sent to a specific MATRIX bus, use the Bank Select keys
in the Centralogic section to access the corresponding MIX/MATRIX channel, and then press the
appropriate [CUE] key in the Centralogic section.

7. Use the Bank Select keys and the [SEL] keys in the Centralogic section to switch
channels, and adjust the send level from other channels to the MATRIX buses in
the same way.

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 Output channels

Using the Centralogic section 4. Use multifunction knobs 1–8 to adjust the send level of the signals sent from up to
eight MIX channels or the STEREO/MONO channels to the selected MATRIX bus.
This method lets you use the multifunction knobs (in the Centralogic section) to simultaneously adjust
the send levels from the eight channels selected in the Centralogic section to the desired MATRIX bus. If necessary, you can use the Bank Select keys and the [SEL] keys in the Centralogic section to
switch the send-source channel.
1. Make sure that an output port is assigned to the MATRIX bus to which you want NOTE
to send signals, and that your external device is connected to the corresponding • If you want to monitor signals being sent to a specific MATRIX bus, use the Bank Select keys to
output port. access the corresponding MATRIX channel in the Centralogic section, and then press the [CUE]
key for that MATRIX channel.
2. Use the Bank Select keys in the Centralogic section to access the OVERVIEW screen • If you again press the currently-selected MATRIX bus select button, cue monitoring will be turned
that includes the channels (MIX channels or STEREO/MONO channels) that you on for the related MATRIX channel. This method is convenient if you want to monitor a signal that
want to control. is being sent to the selected MATRIX bus.
In the OVERVIEW screen, you can use the TO MATRIX field to adjust the send levels to the
MATRIX bus.
5. If you want to make detailed settings for MATRIX sends, press the TO MATRIX
SEND LEVEL knob inside the bold frame once again.
When you press the currently-selected TO MATRIX SEND LEVEL knob a second time, the
MATRIX SEND popup window will appear. The window includes the following items.
4 1 2 3

5
6

7
8
9

1 ALL PRE button

Sets the send point to “PRE.” (The send point is the point at which signals are sent from all send-
3. Press the TO MATRIX SEND LEVEL knob for the desired send-destination MATRIX source channels — including the input and output channels — to the selected send destination.)
bus.
A bold frame will appear around all TO MATRIX SEND LEVEL knobs for that MATRIX bus. 2 ALL POST button
Sets the send point to “POST.” (The send point is the point at which signals are sent from all send-
source channels — including the input and output channels — to the selected send destination.)
3 SEND FROM button
Press this button to switch to the “SEND from 8ch” popup window.

4 Send destination indicator

Indicates the currently-selected send destination.

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 Output channels

5 Send destination select buttons The knob for the mode selected here will appear.
Select MIX/MATRIX buses as the send destination.

6 Channel select button

Selects the send-source channel that you wish to control. The current channel icon, number, and
color appear on the button, and the channel name appears immediately below the button.

7 PRE/POST button
Switches the send point of each send-source channel between PRE and POST. If the button is on,
the send point is set to PRE.

8 SEND ON/OFF button

Switches the send of each send-source channel on or off.

9 SEND PAN/BALANCE knob

Sets the panning or balance of signals sent to the stereo send destination. If the send destination
is set to monaural or FIXED, this knob will not appear.
If the send source is monaural, this knob functions as a PAN knob. 0 SEND LEVEL knob
Indicates the level of signals sent to the selected send destination. Press this knob to control the
level using the multifunction knobs.

6. Use the TO MATRIX SEND ON/OFF buttons to switch signals sent from the MIX and
STEREO/MONO channels to the currently-selected MATRIX bus on or off.

7. If necessary, use the PRE buttons to select the send point of a signal that is sent
from each input channel to the MATRIX bus.

8. Repeat steps 3–6 to adjust the send level for other MATRIX buses in the same way.

If the send source is stereo, you can use the PAN/BALANCE mode
setting in the TO STEREO/MONO popup window to select whether
PAN/BALANCE will function as a PAN or BALANCE knob.

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 Output channels

Correcting delay between channels (Output Delay)

This section explains how to correct delay between output channels by using the Output Delay
function.
This Output Delay function is useful when you want to correct the timing of output signals sent to
speakers that are located at a distance from each other.
Output delay settings are made in the OUTPORT SETUP popup window, which will appear when you
press the OUTPORT SETUP button from the SETUP screen.
For details on operations in the OUTPORT SETUP screen, refer to “Selecting the output channel for
each output port” on page 17.

Channel library operations

Channel libraries include “OUTPUT CHANNEL LIBRARY button
LIBRARY,” which enables you to store and recall various
parameters (including the head amp settings) for output
channels.
To recall the library, while an output channel is selected,
press the LIBRARY button on the SELECTED CHANNEL
VIEW screen.

For details on using the library, refer to the “Using libraries” section in the separate Owner’s Manual.

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 EQ and Dynamics

EQ and Dynamics HPF/EQ popup window (1ch)

This lets you view and edit all EQ parameters of the currently-selected channel. This is convenient if
This chapter explains the EQ (equalizer) and dynamics that are provided on each channel of the CL you want to make detailed EQ settings for a specific channel.
series console. 8 D 1 2 3 4 5

About EQ and dynamics 6 0

9
A
Each input channel and output channel on a CL series console provides a four-band EQ and dynamics. B
7
EQ can be used on all input channels and all output channels. An attenuator is provided immediately
before the EQ, allowing you to attenuate the level of the input signal so that the GAIN setting for EQ
will not cause the signal to clip. Input channels also provide a high-pass filter that is independent of the C E
EQ.
Input channels provide two dynamics processors: Dynamics 1 can be used as a gate, ducking device,
compressor, or expander, while Dynamics 2 can be used as a compressor, hard compander, soft
compander, or de-esser. Output channels provide one dynamics processor, which can be used as a I
compressor, expander, hard compander, or soft compander. F
G
Using EQ H

This section explains the four-band EQ that is provided on input channels and output channels.

1. Use the Bank Select keys in the 1 LIBRARY button

Centralogic section to access the Press this button to open the EQ Library popup window.
OVERVIEW screen that includes 2 DEFAULT button
the channel for which you want to
Press this button to reset all EQ/filter parameters to the initial values.
control the EQ.
The EQ field shows the response of the 3 COPY button
EQ. In this OVERVIEW screen, you can EQ field All EQ parameter settings will be stored in buffer memory.
edit the parameter by using the EQ
knobs in the SELECTED CHANNEL 4 PASTE button
section. Press this button to paste the setting in buffer memory to the current EQ. If no valid data has been
stored in the buffer memory, nothing will happen.

5 COMPARE button
Press this button to swap between the current EQ settings and the data stored in buffer memory.
2. If you want to edit while watching the ATT/HPF/EQ parameter values, press the EQ If no valid data has been stored in the buffer memory, nothing will happen.
field in the OVERVIEW screen to access the HPF/EQ popup window.
In the HPF/EQ popup window, you can edit the EQ and high-pass filter parameters and switch 6 Channel icon/Channel number/Channel name
them on/off. This area indicates the icon, number and name of the currently-selected channel.
This popup window features five types of views. Each window view includes the following items. 7 LOW SHELVING ON/OFF button
Turn on this button to select the shelving-type filter for the LOW band.

8 HPF ON/OFF button (input channels only)

Turn on this button to select the high pass filter for the LOW band.

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 EQ and Dynamics

9 EQ FLAT button HPF/EQ popup window (8ch)

Press this button to reset the GAIN parameters of all EQ band to 0 dB. This window displays the input channel or output channel EQ settings in groups of eight channels
0 HIGH SHELVING ON/OFF button simultaneously.
Turn on this button to select the shelving type filter for the HIGH band. Use the knobs in the SELECTED CHANNEL section to edit the EQ settings. You can adjust the HPF
settings of all eight channels displayed.
A LPF ON/OFF button
Turn on this button to select the low pass filter for the HIGH band.

B EQ ON/OFF button 1
Switches the EQ on or off.
2
C EQ type select button
Switches between TYPE I (an algorithm used in previous Yamaha digital mixers) and TYPE II (an
3
algorithm that reduces interference between bands).

D EQ graph 4
This graph displays real-time parameter values for the EQ and filter.

E EQ IN/OUT level meters 5

Indicate the peak level of signals before and after the EQ. For a stereo channel, these meters
indicate the level of both the L and R channels.
1 Channel select button
F ATT knob Selects the channel that you want to control. The current channel icon and number appear on the
Indicates an attenuation amount before the signal enters the EQ. Press this knob to adjust the button, and the channel name appears immediately below the button.
value using the multifunction knob.
2 EQ graph
G HPF FREQUENCY knob (input channels only) This graph displays the parameter values for the EQ and filter. The currently-selected EQ type
Indicates the cutoff frequency of the HPF. Press this knob to adjust the value using the appears below the graph.
multifunction knob.
3 EQ ON/OFF button
H HPF ON/OFF button (input channels only) Switches the EQ on or off. The Σ clipping indicator (located to the right above the button) lights
Switches the HPF on or off. if the input signal is clipping.
I EQ parameter setting knobs 4 HPF FREQUENCY knob
Indicate the Q, FREQUENCY, and GAIN parameters for the LOW, LOW MID, HIGH MID, and Indicates the cutoff frequency of the HPF. Press this knob to adjust the value using the
HIGH bands. Press these knobs to control the parameter values using the multifunction knobs. multifunction knob.
NOTE
• If shelving type has been selected for the LOW band, or if HPF is selected for the output
5 HPF ON/OFF button
channels, the LOW band Q parameter will not appear. Switches the HPF on or off.
• If shelving type has been selected for the HIGH band, or if LPF is selected, the HIGH band Q
parameter will not appear.

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 EQ and Dynamics

EQ popup window (CH1-48, CH49-72/ST IN(CL5), 4. If you want to use the high-pass filter on an input channel, operate the HPF knob
or HPF ON/OFF button in the HPF/EQ popup window.
CH49-64/ST IN(CL3), ST IN(CL1), OUTPUT)
Input channels provide a high-pass filter that is independent of the four-band EQ. The HPF ON/
This window displays the corresponding input channels (or output channels) simultaneously. This page
OFF button switches the high-pass filter on or off, and the HPF knob adjusts the cutoff frequency.
is only for display, and does not allow the parameters to be edited. It is useful when you need to quickly
check multiple EQ settings, or when you want to copy and paste EQ settings between distant channels. NOTE
• Output channels do not feature a high-pass filter that is independent of the EQ. However, you can
turn on the high-pass filter button on the popup window to use the LOW band EQ as a high-pass
1 filter.
• For both input channels and output channels, you can turn on the low-pass filter button to use the
2 HIGH band EQ as a low-pass filter.

5. If you want to copy EQ settings to another channel, or initialize the EQ settings,

use the tool buttons in the HPF/EQ popup window.
For details on how to use these buttons, refer to “Using the tool buttons” in the separate Owner’s
Manual.
NOTE
• EQ settings can be saved and recalled at any time using the dedicated library. You can also take
advantage of a wide variety of presets suitable for various instruments or situations.
• You can also access the SELECTED CHANNEL VIEW screen, and use the knobs in the
SELECTED CHANNEL section to edit the EQ and high-pass filter (see page 8).
• Even when the HPF/EQ popup window is displayed, you can use the knobs in the SELECTED
CHANNEL section to control the EQ.

1 Channel select button

Selects the channel that you want to control in the SELECTED CHANNEL section. The current
channel icon, number, and color appear on the button.

2 EQ graph
Indicates the total frequency response of the EQ or filter.

3 Tabs
Use these tabs to select a channel that you want to view on the screen.

3. Access the HPF/EQ popup window (1ch), and then press the EQ ON button to
enable the EQ.
If the HPF/EQ popup window (1ch) is displayed, you will be able to edit all of the EQ parameters.

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 EQ and Dynamics

Using dynamics DYNAMICS 1/2 popup window (1ch)

This window displays only the currently-selected channel. All dynamics parameters can be viewed and
Input channels feature two dynamics processors; output channels feature one dynamics processor.
edited. This is convenient if you want to make detailed dynamics settings for a specific channel.
1. Use the Bank Select keys to access the OVERVIEW screen that includes the channel 8 1 2 3 4 5
for which you want to control the dynamics.
The DYNAMICS 1/2 field displays the dynamics on/off status and the amount of gain reduction.
6
0

C
Dynamics 1 field
B
Dynamics 2 field
9 A

1 LIBRARY button
2. In the OVERVIEW screen, press the DYNAMICS 1/2 field to access the DYNAMICS Press this button to open the DYNAMICS Library popup window.
1/2 popup window.
2 DEFAULT button
In the DYNAMICS 1/2 popup window, you can edit the dynamics settings and turn the processor
Press this button to reset all dynamics parameters to the initial values.
on or off.
This popup window features five types of views. Each window view includes the following items. 3 COPY button
All dynamics parameter settings will be stored in buffer memory.

4 PASTE button
Press this button to apply the settings in buffer memory to the current dynamics. If no valid data
has been stored in the buffer memory, nothing will happen.

5 COMPARE button
Press this button to swap between the current dynamics settings and the data stored in buffer
memory. If no valid data has been stored in the buffer memory, nothing will happen.

6 Channel icon/Channel number/Channel name

This area indicates the icon, number, and name of the currently-selected channel.

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 EQ and Dynamics

7 Dynamics type buttons • GATE or DUCKING:

Enable you to select the dynamics type. You can choose from the following dynamics types.
• Dynamics 1 for an input channel
GATE, DUCKING, COMPRESSOR, EXPANDER

• COMPRESSOR or EXPANDER:

• COMPANDER-H or COMPANDER-S:

• Dynamics 2 for an input channel

COMPRESSOR, COMPANDER-H, COMPANDER-S, DE-ESSER

• DE-ESSER:

• Dynamics 1 for an output channel 0 Dynamics IN/OUT level meters, GR meter

COMPRESSOR, EXPANDER, COMPANDER-H, COMPANDER-S These meters indicate the peak level of the signals before and after the dynamics processing, and
the amount of gain reduction. For a stereo channel, these meters indicate the level of both the L
and R channels.

A KEY IN SOURCE select button

Press this button to display the KEY IN SOURCE popup window, in which you can select a key-
in signal that will trigger the dynamics.

B KEY IN FILTER parameter area (Displayed only for GATE or DUCKING)

Enables you to make various settings for a filter that lets the key-in signal pass.
• Filter select buttons .................. Select the type of filter from HPF, BPF, or LPF. To disable the
8 Dynamics graph filter, press the button that is turned on.
This graph displays the input/output response of the dynamics processors. • Q knob......................................... Indicates the filter Q. You can adjust the value by using the
9 Dynamics parameter setting knobs multifunction knob.
Indicate the dynamics parameter values. You can adjust the values by using the multifunction • FREQUENCY knob .................. Indicates the filter cutoff frequency. You can adjust the value by
knobs. using the multifunction knob.
The type of parameters will vary depending on the currently-selected dynamics type. C KEY IN CUE button
Enables you to cue-monitor the signal that has been selected as the KEY IN SOURCE signal. Cue
will be canceled if you have selected a dynamics type that does not feature this button, or if you
move to a different screen.

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 EQ and Dynamics

DYNAMICS 1/2 popup window (8ch) If GATE is selected as the dynamics type, the indicator status means the following:
This window displays the settings for eight channels, including the currently-selected channel. You can
switch between eight-channel groups such as 1–8 and 9–16. Compared to the one-channel display, Gate status
Red Yellow Green Off (dark)
fewer parameters can be controlled. This window is convenient if you want to adjust the threshold or
certain other parameters while watching the adjacent channels to the left and the right. On/Off status On On On Off

1 2 3 4 5 Open/Close status Close Open Open —

Amount of gain
30 dB or more less than 30 dB 0 dB —
reduction
6
8 Dynamics graph
7 This graph displays the dynamics parameter values. The currently-selected dynamics type
8 appears below the graph. Press the graph to access the DYNAMICS 1ch popup window for that
channel.

9 THRESHOLD knob
9
Indicates the threshold value for the dynamics. You can use the corresponding multifunction
knobs to adjust the value.
0
0 DYNAMICS ON/OFF button
Switches dynamics on or off.
1 LIBRARY button
2 DEFAULT button
3 COPY button
4 PASTE button
5 COMPARE button
These buttons are the same as those on the DYNAMICS 1ch popup window.

6 Channel select button

Selects the channel that you want to control. The current channel icon and number appear on the
button, and the channel name appears immediately below the button.

7 DYNAMICS OUTPUT meters, GR meter

These meters indicate the output levels of signals after dynamics processing, and the amount of
gain reduction. If GATE is selected as the dynamics type, a three-step indicator appears,
indicating the open/close status of the gate.

Type = Any type other than GATE

Type = GATE

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 EQ and Dynamics

DYNAMICS 1/2 popup window (CH1-48, CH49-72/ST IN(CL5), 3. Access the DYNAMICS 1/2 popup window (1 ch), and press the DYNAMICS ON
button to enable the dynamics processor.
CH49-64/ST IN(CL3), ST IN(CL1), OUTPUT)
This window enables you to make settings of the global dynamics parameters for the corresponding 4. To select a key-in signal, proceed as follows.
channel.
4-1. In the DYNAMICS 1/2 popup window (1 ch), press the KEY IN SOURCE button to
1 2 3 4 5 access the KEY IN SOURCE SELECT popup window.

KEY IN SOURCE SELECT pop-up window

6
7

4-2. Select the key-in signal. You can choose one of the following signals.
8
• SELF PRE EQ ............................. The pre-EQ signal of the same channel
1 LIBRARY button • SELF POST EQ .......................... The post-EQ signal of the same channel
2 DEFAULT button • MIX OUT 21–24 ....................... Output signals of MIX channels 21–24
3 COPY button • CH1–72 POST EQ, ST IN1L–8R POST EQ, MIX1–24 POST EQ,
4 PASTE button MTRX1–8 POST EQ, ST L/R, MONO POST EQ
5 COMPARE button ........................... The post-EQ signal of the corresponding channel *1
These buttons are the same as those in the DYNAMICS 1ch popup window. *1. The selectable signals are limited to the corresponding eight-channel group.
6 Channel select button NOTE
Selects the channel that you want to control. The current channel icon, number, threshold, and In the case of the CL3/CL1, channels that do not exist on those models will not be shown.
color appear on the button. 4-3. Press the CLOSE button to close the popup window.
7 Dynamics parameter area
This area displays the dynamics type and various meters. Press the area to access the DYNAMICS 5. If you want to copy dynamics settings to another channel, or initialize the
1ch popup window of that channel. dynamics settings, use the tool buttons in the popup window.
If DUCKING, EXPANDER, COMPANDER (-H/-S), or DE-ESSER has been selected as the NOTE
dynamics type, the type appears near the top of this area. • Dynamics settings can be saved and recalled at any time using the dedicated library. You can
The lower part of this area displays meters that indicate the levels of signals after dynamics also take advantage of a wide variety of presets suitable for various instruments or situations.
processing, the GR meter, and the threshold (a numeric value). If the dynamics processor is any • You can also access the SELECTED CHANNEL VIEW screen, and use the knobs in the
SELECTED CHANNEL section to edit the dynamics settings (see page 9).
type other than GATE, the threshold setting is indicated as a vertical line.
• Even when the DYNAMICS 1/2 popup window is displayed, you can use the knobs in the
8 Tabs SELECTED CHANNEL section to control the dynamics.
Use these tabs to select a channel that you want to view on the screen.

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 EQ and Dynamics

Using the EQ or Dynamics libraries

You can use dedicated libraries to store and recall EQ and dynamics settings.

EQ library LIBRARY button

There is an “INPUT EQ LIBRARY” that lets you store and recall EQ
settings for input channels, and an “OUTPUT EQ LIBRARY” that lets you
store and recall EQ settings for output channels.
To recall settings from a library, press the LIBRARY tool button in the
HPF/EQ popup window.
NOTE
• You can recall 199 different settings from both the input EQ library and output EQ library. Forty
(40) of the input library items are read-only presets, and three (3) of the output library items are
read-only presets.
• For details on how to access the HPF/EQ popup window, refer to “Using EQ” on page 55.

Dynamics library
Use the “Dynamics Library” to store or recall dynamics settings. All of the dynamics processors on CL
series units use this dynamics library. (However, the available types will differ between an input
channel’s Dynamics 1 and Dynamics 2, and an output channel’s Dynamics 1. You cannot recall a type
that cannot be selected.)
To recall an item from the dynamics library, press the LIBRARY tool button in the DYNAMICS 1/2
popup window.
NOTE
• You can recall 199 different settings from the library. Forty-one (41) of these are read-only
presets.
• For details on how to access the DYNAMICS 1/2 popup window, refer to “Using dynamics” on
page 58.
For details on using the EQ and dynamics libraries, refer to the “Using the library” section in the
separate Owner’s Manual.

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 Grouping and linking

■ Selecting channels to belong to a specific DCA group

Grouping and linking
1. In the Function Access Area, press the CH JOB
This chapter explains the DCA Group and Mute Group functions that enable you to control the level button.
or muting of multiple channels together, the Channel Link function that links the parameters of The CH JOB button lets you perform grouping,
multiple channels, and the operations that enable you to copy or move parameters between channels. linking, and copying operations between channels.
When you press this button, the Function Access Area
will change as follows. DCA GROUP button
About DCA groups and Mute groups
CL series consoles feature sixteen DCA groups and eight mute groups that enable you to control the
2. Press the DCA GROUP button to access the
DCA/MUTE GROUP ASSIGN MODE popup
level of multiple channels simultaneously.
window.
DCA groups enable you to assign input channels to sixteen groups, so that the Centralogic section
In the DCA/MUTE GROUP ASSIGN MODE popup
faders 1–8 can be used to control the level of all channels in each group. A single DCA fader will control
window, if the DCA GROUP ASSIGN button has been
the level of all input channels belonging to the same DCA group while maintaining the level difference
selected, select the channels to be assigned to the DCA
between the channels. This provides a convenient way in which drum mics, for example, can be
group. This popup window includes the following
grouped.
items.
Mute groups enable you to use USER DEFINED keys [1]–[16] to mute or unmute multiple channels in
a single operation. You can use this to cut out multiple channels simultaneously. Mute groups 1–8 can
be used with both input channels and output channels. Both types of channels can exist in the same 1
group.

2
Using DCA groups
This section explains how to assign input channels to the sixteen DCA groups and use the faders in the 3
Centralogic section to control them.

Assigning channels to a DCA group 4

There are two ways to assign a channel to a DCA group.
• You can select a specific DCA group first and then specify the channels to be assigned to the group, or
• You can select a specific channel and then specify the DCA group to which it should be assigned.
NOTE
• DCA groups can be used only with input channels.
• DCA group settings are saved as part of the scene.

1 CLEAR ALL button

Clears all channels that are assigned to the currently-selected DCA group.

2 DCA GROUP ASSIGN/MUTE GROUP ASSIGN buttons

Toggle between the DCA GROUP ASSIGN popup window and the MUTE GROUP ASSIGN
popup window.

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3 DCA group assign field ■ Selecting the DCA groups to which a specific channel will belong
This area displays the channels assigned to the currently-selected DCA group.
While this window is displayed, press the [SEL] key for the channel that you want to assign to the 1. Press a [SEL] key to select the input channel for which you want to make
DCA group. The on-screen fader for that channel will turn yellow and the channel will be assignments.
assigned to the DCA group. Press the same [SEL] key once again if you want to remove the
channel from the group.
2. Press a knob in the SELECTED CHANNEL section to access the SELECTED CHANNEL
VIEW screen.
4 DCA group select button On this screen you can view all mix parameters for the currently-selected channel.
Selects the DCA group that you want to assign.
NOTE
3. Use the DCA group select buttons to select the DCA group(s) to
which the currently-selected channel will be assigned (multiple
• In the case of the CL3/CL1, faders that do not exist on those models will not be shown.
• If the [DCA 1–8] key or [DCA 9–16] key has been selected in the Centralogic section, you can
selections are allowed).
access the DCA/MUTE GROUP ASSIGN MODE popup window by pressing the [SEL] key twice
in rapid succession.
In this case, the DCA/MUTE GROUP ASSIGN MODE popup window will appear with the
corresponding DCA GROUP 1–16 button selected for that DCA group.

3. Use the DCA GROUP 1–16 buttons to select the DCA group to which you want to
assign channels.

4. Use the [SEL] keys in the INPUT section or ST IN section to select the channels that
you want to assign to the group (multiple selections are allowed).
The [SEL] keys of the assigned channels will light, and the corresponding channels will be
highlighted in yellow in the DCA group assign field of the window.
To cancel an assignment, press a lit [SEL] key once again to make it go dark.

5. Assign channels to other DCA groups in the same way. 4. Select the DCA group(s) for other channels in the same way.
NOTE
You can assign a single channel to more than one DCA group. In this case, the value will be the
sum of the levels of all assigned DCA group faders.

6. When you finish making assignments, press the CLOSE button to close the popup
window, and press the × symbol in the Function Access Area (CH JOB display).
You will return to the previous screen. The DCA/MUTE GROUP field of the OVERVIEW screen
indicates the DCA group(s) to which each channel is assigned. Numbers that are lit yellow in the
upper and middle rows of this field indicate the DCA groups to which that channel belongs.

NOTE
You can also access the DCA/MUTE GROUP ASSIGN MODE popup window by pressing the
DCA/MUTE GROUP field in the OVERVIEW screen.

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Controlling DCA groups Using mute groups

Use the faders in the Centralogic section to control DCA groups.
This section explains how to assign channels to mute groups and use the USER DEFINED keys to
control them.
1. Assign input channels to DCA groups.

2. Using the faders in the Channel Strip section or Master section on the top panel, Assigning channels to mute groups
adjust the relative balance between the input channels that belong to the DCA
As with the DCA group, there are the following two ways to assign channels to mute groups.
group you want to use.
• You can select a specific mute group first and then specify the channels to be assigned to the group, or
3. In the Centralogic section, press the [DCA 1–8] or [DCA 9–16] Bank Select key to • You can select a specific channel and then specify the mute group to which it should be assigned.
make it light so that you will be able to control the desired DCA groups in the
Centralogic section. ■ Selecting the channels that will belong to a specific mute group

4. Operate the Centralogic section fader corresponding to the DCA group that you 1. In the Function Access Area, press the CH JOB
want to use. button.
The level of the channels assigned to that DCA group will change while preserving the level The Function Access Area will change as follows.
differences you established in step 2.
2. Press the MUTE GROUP button to access the
NOTE DCA/MUTE GROUP ASSIGN MODE popup
The input faders will not operate at this time. window.
MUTE GROUP button
5. To switch a DCA group on/mute, press the [ON] key for that DCA group in the
Centralogic section.
When you press an [ON] key in the Centralogic section to make the key indicator go dark, the
channels assigned to that DCA group will be muted (the same state as when the faders are lowered
to the –∞ dB position).

6. To cue-monitor a DCA group, press the [CUE] key for that DCA group in the
Centralogic section.
When you press the [CUE] key in the Centralogic section to make the key indicator light, the
[CUE] keys for the channels assigned to that DCA group will blink, and cue monitoring will be
enabled. For more information about cue, refer to “Using the Cue function” on page 99.
NOTE
You can also press the [DCA], [DCA 1–8], or [DCA 9–16] key in the Channel Strip section to select
the DCA group that you want to control.

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In this popup window you can select the channels that will be assigned to each mute group. The 6 MUTE GROUP MASTER button
popup window includes the following items. Switches the corresponding mute group on or off.

7 DIMMER LEVEL knob

1 Sets the dimmer level for the corresponding mute group when the dimmer function is enabled.
NOTE
• In the case of the CL3/CL1, faders that do not exist on those models will not be shown.
2 • If the dimmer level is set to any level other than –∞ dB, and the corresponding MUTE GROUP
MASTER button is turned on, this button will light orange.

3 3. Use the MUTE GROUP 1–8 buttons to select the mute group to which you want to
assign channels.
5

4
4. Press the [SEL] key for the input channels/output channels that you want to assign
(multiple selections are allowed).
The [SEL] keys for the assigned channels will light, and the corresponding channels will be
6 highlighted in red in the mute group assign field of the window. To cancel an assignment, press a
7 lit [SEL] key once again to make it go dark.

5. Assign channels to other mute groups in the same way.

NOTE
You may assign a single channel to more than one mute group.
1 CLEAR ALL button
Clears all channels that are assigned to the currently-selected mute group. 6. When you finish making assignments, press the CLOSE button to close the popup
window, and press the × symbol in the Function Access Area (CH JOB display).
2 DCA GROUP ASSIGN/MUTE GROUP ASSIGN buttons
You will return to the previous screen. The DCA/MUTE GROUP field of the OVERVIEW screen
Toggle between the DCA GROUP ASSIGN popup window and the MUTE GROUP ASSIGN
indicates the mute group(s) to which each channel is assigned. Numbers that are lit red in the
popup window.
lower row of this field indicate the mute groups to which that channel belongs.
3 Mute group assign field
This area displays the channels assigned to the currently-selected mute group.
While this window is displayed, press the [SEL] key for the channel that you want to assign to the
mute group. The on-screen fader for that channel will turn red and the channel will be assigned
to the mute group. Press the same [SEL] key once again if you want to remove the channel from
the group.
NOTE
If the MUTE SAFE button is on, this field displays the channels that are targets for mute safe (that If the dimmer level is set to any level other than –∞ dB, and the corresponding MUTE GROUP
is, excluded from the mute groups). The operation procedure to apply or cancel mute safe to the MASTER button is turned on, these numbers will light orange.
channels is the same as that for assigning or removing channels to or from a mute group. The on- For a channel for which the Mute Safe function (see page 69) has been turned on, an “S”
screen faders of the assigned channels will turn green. indicator will light up green at the right end of the bottom row.

4 Mute group select button

Selects the mute group that you want to assign.

5 MUTE SAFE button

Use this button if you want to temporarily exclude a specific channel from all mute groups. The
mute group assign field displays the channels that are temporarily excluded from the mute groups.
For more information on mute safe, “Using the Mute Safe function” on page 69.

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■ Selecting the mute groups to which a specific channel will belong Using mute groups
To control mute groups, you can use the MUTE GROUP MASTER buttons in the MUTE GROUP
1. Press the [SEL] key for the input channel/output channel that you want to assign.
ASSIGN popup window. In addition, it may prove convenient if you assign the Mute On/Off function
2. Press a knob in the SELECTED CHANNEL section to access the SELECTED CHANNEL for a mute group 1–8 to a USER DEFINED key.
VIEW screen.
1. In the Function Access Area, press the SETUP button to access the SETUP screen.
In this screen you can view the mix parameters for the currently-selected channel.

3. Use the mute group select buttons to select the mute group(s) to
which the currently-selected channel will be assigned (multiple
selections are allowed).

4. Select the mute group(s) for other channels in the same way.

2. In the upper left of the screen, press the USER SETUP button to access the USER
SETUP popup window.
This popup window enables you to limit available functionality by user, and also to make system-
wide settings. This window includes several pages, which you can switch between using the tabs
located at the bottom of the window.

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3. Press the USER DEFINED KEYS tab to select the USER DEFINED KEYS page.
The USER DEFINED KEYS page enables you to assign functions to USER DEFINED keys [1]–
[16].

USER DEFINED key popup button

6. In the same way, assign the Mute On/Off function for another mute group to a
different USER DEFINED key.

7. When you finish assigning functions to USER DEFINED keys, press the × symbol to
close the USER DEFINED KEYS page.

8. In the Function Access Area, press the SETUP button to close the SETUP screen.

9. To mute a mute group, press the USER DEFINED key [1]–[16] that has been
assigned to the desired mute group.
4. Press the popup button for the USER DEFINED key to which you want to assign the The LED of the USER DEFINED key will light, and all channels that belong to the selected mute
Mute On/Off function. group will be muted. At this time, the [ON] keys for the muted channels will blink. You can turn
The USER DEFINED KEY SETUP popup window will appear. on multiple USER DEFINED keys to mute multiple mute groups.

5. Choose “MUTE MASTER” in the FUNCTION column, and choose “MUTE GROUP x” 10. To defeat muting for a mute group, press the USER DEFINED key that you lit in step
(where “x” is the mute group number) in the PARAMETER 1 column. 9.
Then, press the OK button.
NOTE
To select an item in each column, use / buttons or the multifunction knobs. When you press Even if a channel is assigned to a mute group, it will not be affected by operations of the USER
the OK button, the Mute On/Off function for the specified mute group will be assigned to the DEFINED key if the [ON] key for that channel is already turned off to begin with.
USER DEFINED key that you selected in step 4, and you will return to the USER DEFINED KEYS
page.

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Using the Mute Safe function Channel Link function

Specific channels that belong to a mute group can be temporarily excluded from mute group operations
Channel Link is a function that links the operation of parameters such as fader and EQ between input
(Mute Safe).
channels.
1. In the Function Access Area, press the CH JOB button. The parameters to be linked can be selected from the following choices.
• Head amp settings
2. Press the MUTE GROUP button to access the DCA/MUTE GROUP ASSIGN MODE • Digital gain settings
popup window. • HPF settings
3. Press the MUTE SAFE button. • EQ settings
• Dynamics 1 settings
• Dynamics 2 settings
• Insert on and insert point settings
• Direct Out on, Direct Out level, and Direct Out point settings
• Send levels and PRE/POST settings of signals sent to MIX buses
• On/off status of signals sent to MIX buses
4. Press a [SEL] key to select the channel(s) that you want to exclude from mute • Send levels and PRE/POST settings of signals sent to MATRIX buses
groups (multiple selections are allowed). • On/off status of signals sent to MATRIX buses
The [SEL] key will light, and the corresponding channel in the mute group assign field of the • Fader operations
window will be highlighted in green. You can cancel the Mute Safe status by pressing a lit [SEL] • [ON] key operations
key once again to make it go dark. • TO STEREO/MONO setting
Channels that are set to Mute Safe will not be affected when you mute a mute group to which that • DELAY setting
channel belongs.
• DCA GROUP ASSIGN setting
• MUTE GROUP ASSIGN and MUTE SAFE settings

Two or more input channels that are linked are called a “link group.” There is no limit on the number
of link groups you can create, or on the number or combination of input channels that can be included
in these link groups. You can select the types of parameters to be linked for each link group.

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Linking the desired input channels 1 Channel display field

This section explains how to link specific parameters of input channels. When you create a link group, the corresponding channels will be highlighted. If there are two or
more link groups, each group is shown in a different color.
NOTE
Channel link settings are saved as part of the scene. NOTE
Left and right of the ST IN channel are always linked.
1. In the Function Access Area, press the CH JOB 2 LINK PARAMETERS field
button.
Use the buttons in this field to select the parameters that you want to link. You can do this
independently for each link group.
2. Press the CH LINK button to open the CH LINK
CH LINK button
MODE popup window. 3 SEND PARAMETERS field
In this popup window you can view the channels that are If you have turned on the MIX ON, MIX SEND, MATRIX ON, or MATRIX send buttons in the
linked and specify the parameters that will be linked. The LINK PARAMETER field, use the buttons in this field to specify the send-destination bus(es).
window includes the following items.
NOTE
NOTE In the case of the CL3/CL1, faders that do not exist on those models will not be shown.
You can also access this window by simultaneously
pressing and then releasing the [SEL] keys of two or more 3. Use the buttons in the LINK PARAMETERS field to select the parameter(s) that will
channels that will be linked. be linked (multiple selections are allowed).
The table below lists the parameters you can select in the LINK PARAMETERS field.
HA Head amp settings
HPF HPF settings
DIGITAL GAIN Digital gain settings
EQ EQ settings
1 DYNAMICS 1, 2 Dynamics 1 and 2 settings
INSERT Insert settings
DIRECT OUT Direct Out settings
MIX SEND Send levels of signals sent to MIX buses
2 MIX ON On/off status of signals sent to MIX buses
MATRIX SEND Send levels of signals sent to MATRIX buses
MATRIX ON On/off status of signals sent to MATRIX buses
FADER Fader operations
DCA DCA group assignment
3
CH ON Channel on/off
MUTE Mute group assignment
TO STEREO On/off status of signals sent to STEREO/MONO buses
DELAY Channel delay settings

NOTE
• If you link Dynamics 1 or 2 for two or more input channels, the parameter values will be linked,
but the key-in signals are not linked. For details about dynamics, see “EQ and Dynamics” on
page 55.
• If you turn on the EQ button or DYNAMICS 1/2 button, library recall operations will also be linked.
• The HA analog gain setting and the fader operation will be linked and will maintain the same
relative level difference between the channels.

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4. If you turned on the MIX ON, MIX SEND, MATRIX ON, or MATRIX SEND buttons in You can also perform the operations from step 5 on screen.
step 3, use the buttons in the SEND PARAMETERS field to specify the bus(es) for
which you want operations to be linked (multiple selections are allowed). 5. To link channels, press the channel display field.
The table below lists the buttons you can select in the SEND PARAMETERS field. The CH LINK SET popup window will appear.
MIX 1–24 MIX buses 1–24
MATRIX 1–8 MATRIX buses 1–8

NOTE
If nothing is selected in the SEND PARAMETERS field, the send on/off and send level
parameters will not be linked.

5. To link channels, hold down the [SEL] key for the link-source input channel and
press the [SEL] key for the link-destination channel.
At this time, the values of the parameters you selected in steps 3 and 4 will be copied from the
link-source to the link-destination channel. Subsequent operations of the parameters you selected
in steps 3 and 4 will be linked between channels that belong to the same link group.
The current link status is displayed in the channel display field of the window.
NOTE
• If you want to link three or more channels, hold down the link-source [SEL] key and successively
press the [SEL] key for each channel you want to add to the link group.
• When you press the [SEL] key for a channel (that belongs to a link group) to make it light, the
[SEL] keys of all channels that belong to the same link group will blink.
• If you link an input channel to a ST IN channel, parameters that do not exist for a ST IN channel
will be ignored. 6. Select a channel that you want to link.
6. If you want to add a new channel to an existing link group, hold down any [SEL]
key within the group and press the [SEL] key for the channel that you want to add
to the group.
NOTE
If the link-destination channel is already assigned to another link group, the channel will be
removed from the previous group and added to the newly assigned group.
7. To confirm the link, press the LINK
7. To remove a channel from a link group, hold down any [SEL] key in the same link button in the lower left of the screen.
group, and press the [SEL] key for the channel that you want to remove. An alphabetical character that indicates the link
NOTE group will appear on the selected channel
You can also remove all linked channels from the same link group temporarily. This can be helpful button.
if you want to edit parameters that are linked to each other while maintaining the same relative
NOTE
level differences. For example, this may be the case for parameters such as the HA analog gain
If you use CL5 settings data on the CL3/CL1, or CL3 settings data on the CL1, buttons will be
and fader, or if you want to change the level balance between channels that belong to the same
shown crossed-out if they are assigned to a channel that does not exist on that model.
link group. While pressing and holding down the [SEL] key for the desired linked channel, adjust
the parameter value.
While you are holding down the [SEL] key, the HA analog gain and fader values will not be linked.
8. In the same way, link other channels as you wish.
(However, you cannot temporarily cancel this link during the “fading” phase of a recalled scene.)
9. When you have finished linking channels, press the CLOSE button.

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Copying, moving, or initializing a channel 1 SOURCE CH field

This field displays the copy-source channel. While this window is displayed, press a [SEL] key on
You can copy or move mix parameters between channels, or restore the parameters of a specific channel the top panel to select a channel. The field will indicate the selected channel.
to their default settings.
Before selection After selection

Copying the parameters of a channel

You can copy the mix parameter settings of a channel to another channel. When you execute the copy
operation, the settings will overwrite the parameters of the copy-destination.
You can copy between the following combinations of channels.
• Between input channels
• Between the STEREO L/R channel and MONO channel
• Between MIX channels
• Between MATRIX channels

1. In the Function Access Area, press the CH JOB button to

If the copy source is a MIX/MATRIX channel, buttons will
access the CH JOB menu.
appear so you will be able to select parameters to copy.
2. Press the COPY button to access the CH COPY MODE
popup window. If these buttons are turned on, the following parameters will be
copied:
This popup window enables you to copy channel settings. The • COPY TARGET
window contains the following items. Selected channel module parameters + SEND parameters for
the signals sent to the selected channel
COPY button
• MODULE PARAMETERS
Selected channel module parameters
• WITH MIX SEND
SEND parameters of signals sent to the selected channel
2 DESTINATION CHs field
This field displays the copy-destination channel. After you
select the copy source, if you select a copy-destination channel
by pressing its [SEL] key (multiple selections are allowed), this
field will display the selected channel.
NOTE
In the case of the CL3/CL1, faders that do not exist on those
models will not be shown.

3 COPY button
Executes the copy operation. After selecting the copy-source channel and copy-destination
channel(s), press this button to execute the copy operation.

1 4 2 3 4 CLOSE button
Press this button to close the popup window and return to the previous screen.

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3. To select the copy-source channel, press the corresponding [SEL] key to make it Moving the parameters of a channel
light.
The settings of a specific input channel can be moved to a different input channel. When you execute a
The corresponding channel is highlighted in the SOURCE CH field of the window. Move operation, the numbering of the channels between the move-source and move-destination will
When you choose the copy-source channel, the DESTINATION CHs field is automatically move forward or backward by one.
bolded, allowing you to select the copy-destination.
Move
If you want to re-select the copy-source channel, press the SOURCE CH field.
NOTE 1 2 3 4 5
Copy settings can be made only in the order of “copy-source” → “copy-destination.”

4. To select the copy-destination channel(s), press the corresponding [SEL] key(s) to

make it light (multiple selections are allowed).
1 5 2 3 4
The corresponding channel(s) are highlighted in the DESTINATION CHs field of the window.
The channels that can be selected will depend on the channel you selected in step 3. Move by one.
If you want to defeat all of the selected copy-destination channels, press the DESTINATION CHs
field. You can move settings between the following combinations of channels.
• Between input channels
5. If you have selected a MIX/MATRIX channel as the copy-source, use the buttons in
• Between ST IN channels
the COPY TARGET field to select the parameters you want to copy.
1. In the Function Access Area, press the CH JOB button
6. To execute the copy, press the COPY button.
to access the CH JOB menu.
The copy will be executed, and the settings will overwrite the parameters of the copy-destination
channel(s). After the copy has been executed, the SOURCE CH field and DESTINATION CHs 2. Press the MOVE button to access the CH MOVE
field will be empty. MODE popup window.

7. To close the CH COPY MODE popup window, press the CLOSE button.

MOVE button

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This popup window lets you move channel settings. 3 MOVE button
Executes a move operation. After selecting the move-source channel and move-destination
channel, press this button to execute the move.

4 CLOSE button
Press this button to close the popup window and return to the previous screen.

3. To select the move-source channel, press the corresponding [SEL] key to make it
light.
1 2
The corresponding channel is highlighted in the SOURCE CH field of the window.
When you select the move-source channel, the DESTINATION CH field will automatically be
bolded, allowing you to select the move-destination.
3 If you want to re-select the move-source channel, press the SOURCE CH field.
NOTE
4 Settings for the Move operation can be made only in the order of “move-source” → “move-
destination.”

1 SOURCE CH field 4. To select the move-destination channel, press the corresponding [SEL] key to make
This field indicates the move-source channel. While this window is displayed, press a [SEL] key it light.
on the top panel to select an input channel. This field will indicate the selected channel. The corresponding channel is highlighted in the DESTINATION CH field of the window. The
You can move settings between monaural input channels, or between ST IN channels. channels that can be selected will depend on the channel you selected in step 3.
If you want to defeat the selected move-destination channel, press the DESTINATION CH field.
2 DESTINATION CH field
This field indicates the move-destination channel. After you select the move source, if you select a 5. To execute the move, press the MOVE button.
move-destination input channel by pressing its [SEL] key, this field will display the selected channel.
The settings of all channels between the move-source and move-destination will shift toward the
If you want to change the move-source channel, press the [SEL] key for the desired input channel.
move-source by one channel, and the channel settings will move from the move-source to the
move-destination. When the Move has been executed, the SOURCE CH field and
DESTINATION CH field will be empty.

6. To close the CH MOVE MODE popup window, press the CLOSE button.

NOTE
In the case of the CL3/CL1, faders that do not exist on those models will not be shown.

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Initializing the parameters of a channel 3. To select the channel(s) to be initialized, press the corresponding [SEL] key to make
it light (multiple selections are allowed).
You can restore the parameters of a channel to an initialized state. This operation can be performed on
any channel(s). The corresponding channel(s) are highlighted in the TARGET CHs field of the window.
If you want to de-select all of the selected channels, press the TARGET CHs field.
1. In the Function Access Area, press the CH JOB
button to access the CH JOB menu. 4. To execute the initialization, press the DEFAULT button.
The parameters of the selected channel(s) will be initialized.
2. Press the DEFAULT button to access the CH After initialization, the TARGET CHs field will be empty (nothing is selected).
DEFAULT MODE popup window.
5. To close the CH DEFAULT MODE popup window, press the CLOSE button.
This popup window enables you to initialize parameters.

DEFAULT button

1 TARGET CHs field

This field indicates the channel selected for initialization. While this window is displayed, press a
[SEL] key on the top panel to select an input channel (multiple selection is allowed). The field will
indicate the selected channel(s). Press the same [SEL] key once again to de-select the channel(s).
NOTE
In the case of the CL3/CL1, faders that do not exist on those models will not be shown.

2 DEFAULT button
After selecting the channel, press this button to execute the initialization operation.

3 CLOSE button
Press this button to close the popup window and return to the previous screen.

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Scene memory Using scene memories

This chapter explains how to perform scene memory operations. Storing and recalling scenes
To store the current mix settings as a scene in memory and recall it later, you can use the keys in the
SCENE MEMORY/MONITOR section on the top panel, or you can use the SCENE LIST window.
About scene memories
On CL series consoles, you can assign a name to a set of mix parameter and input/output port patch ■ Using the keys in the SCENE MEMORY/MONITOR section
settings, and store the mix settings in memory (and later recall them from memory) as a “scene.”
1. Use the controllers on the top panel or the buttons on the touch screen to set the
Each scene is assigned a number in the range of 000–300. Scene 000 is a read-only scene used to
mix parameters as desired.
initialize the mix parameters. Scenes 001–300 are writable scenes.
Each scene contains the position of the top panel faders and [ON] key status, as well as the following 2. Use the SCENE MEMORY [INC]/[DEC] keys to
parameters. select the store-destination scene number.
• Input/output port patching
• Bus settings The number of the currently-selected scene appears in
the SCENE field in the Function Access Area. When
• Head amp settings
you select a new scene number, the number will blink.
• EQ settings This blinking indicates that the displayed scene
• Dynamics 1 and 2 settings number is different from the currently-loaded scene
• Rack (GEQ/effect/Premium Rack) settings number.
• Pan/balance settings
• Insert/Direct Out settings 1 2 2
• On/off status and send level of signals sent to MIX buses
• On/off status and send level of signals sent to MATRIX buses
4
• DCA group settings
3
• Mute group settings
• Channel link settings This field always displays general information about the scene. You can press this field to access
the SCENE LIST window, in which you can view and edit additional settings for the scene.
1 Scene number
Indicates the number of the currently-selected scene.

2 R symbol (READ ONLY)/Protect symbol

Read-only scenes are indicated by an R symbol (READ ONLY) displayed here. Write-protected
scenes are indicated by a Protect symbol.
3 Scene title
Indicates the title of the currently-selected scene.

4 E symbol (EDIT symbol)

This symbol appears when you edit the mix parameters for the currently-loaded scene.
This symbol indicates that you must execute the Store operation if you want to keep the changes
you made.

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NOTE 5. Press the SCENE MEMORY [STORE] key or the STORE button located in the lower
• If you press and hold down either of the SCENE MEMORY [INC]/[DEC] keys, the scene number part of the SCENE STORE popup window.
will count up or down continuously. The SCENE STORE popup window will close, and a dialog box will ask you to confirm the Store
• If you press the SCENE MEMORY [INC] and [DEC] keys simultaneously, the SCENE field
operation.
indication will return to the number of the currently-loaded scene.
• You cannot store data to a scene number for which the Protect symbol or R symbol is displayed.

3. Press the SCENE MEMORY [STORE] key.

The SCENE STORE popup window will appear, allowing you to assign a title or comment to the
scene.
1 2
6. To execute the Store operation, press the OK button.
The current mix settings will be stored to the scene number you selected in step 2. When the Store
operation is complete, the scene number in the Function Access Area will stop blinking. If you
want to cancel the Store operation, press the CANCEL button instead of the OK button.
NOTE
You can make settings such that the Store Confirmation dialog box will not appear (see
page 163). In this case, pressing the SCENE MEMORY [STORE] key once will display the
SCENE STORE popup window as usual, and pressing it once again will execute the Store
operation. Alternatively, you can rapidly press the SCENE MEMORY [STORE] key twice to store
without seeing the SCENE STORE popup window.

7. To recall a stored scene, use the SCENE MEMORY [INC]/[DEC] keys to select the
scene number that you want to recall.
The number of the currently-selected scene appears in the SCENE field of the Function Access
Area.

8. Press the SCENE MEMORY [RECALL] key.

A dialog box will ask you to confirm the Recall operation.
1 SCENE TITLE field
Press this field to select it, and then enter a title for the scene (maximum 16 characters). 9. To execute the Recall operation, press the OK button.
2 COMMENT field The scene you selected in step 7 will be recalled. If you want to cancel the Recall operation, press
the CANCEL button instead of the OK button.
Press this field to select it, and then enter a comment for the scene. You can use this as a
memorandum for each scene (maximum 32 characters).

4. Assign a title or comment to the scene as desired.

For details on entering text, refer to “Entering names” in the separate Owner’s Manual.

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■ Using the SCENE LIST window 5 Write-protect

Indicates the Write Protect on/off status. Press this button to write-protect the scene. A lock icon
1. Use the controllers on the top panel or the buttons on the touch screen to set the will appear. Press it again to cancel write protection.
mix parameters as desired.
6 Current scene
2. Press the SCENE field in the Function Access Area. The currently-selected scene (that is, the current scene) is highlighted in blue in the list. If you
The SCENE LIST window will appear, in which you can perform various scene-related press another scene number in the list, the list will scroll and that scene will become the current
operations. The window includes the following items. scene.

1 7 SCENE SELECT knob

Use the multifunction knobs to select a scene. You can view the currently-selected scene number
immediately below the SCENE SELECT knob.
2
8 MULTI SELECT button
5 You can select consecutive multiple scenes by turning on this button and rotating the
4 multifunction knob. If this button is off, you can still select consecutive multiple scenes by
3 rotating the multifunction knob while pressing and holding it down.

9 LAST SCENE button

6 Press this button to select the scene that was recalled most recently.

0 STORE SCENE popup button

Press this button to display the STORE SCENE popup window, which will enable you to assign a
name to a scene and store it.

A STORE UNDO button

Undoes the Store operation. This button is valid only immediately after you perform an
Overwrite-store operation.
7
B RECALL SCENE button
8 Recalls the currently-selected scene.

C RECALL UNDO button

90 A B C D Undoes the Recall operation. This button is valid only immediately after you perform a Recall
operation.
1 Scene list
D Page switching tabs
This area lists various data about the scenes stored in memory.
Switch views on the right side of the scene list.
2 NO./TITLE buttons
Press these buttons to sort the listed scenes by number or title. Press the same button repeatedly 3. To store a scene, rotate one of the multifunction knobs to select the store-
to toggle between ascending order and descending order. destination scene number.

3 Scene number NOTE

• You can select multiple scene numbers as the store-destination. To do so, press the MULTI
Indicates the current scene number. SELECT button to turn it on, and then rotate a multifunction knob. Alternatively, rotate the
4 Scene title multifunction knob while pressing and holding it down.
• If you selected multiple scenes as the store-destination, the same contents will be stored in all
Indicates the scene title. Press this title to display the SCENE TITLE EDIT popup window, in selected scene numbers. This is convenient if you want to create several variations based on the
which you can edit the title. same mix settings.
• You can also use the SCENE MEMORY [INC]/[DEC] keys to select scene numbers.

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4. Press the STORE button. Using USER DEFINED keys to recall

The SCENE STORE popup window will appear, allowing you to assign a title or comment to the You can use the USER DEFINED keys to recall a selected scene with a single keystroke, or to step
scene. through the scenes. To do this, you must first assign a scene recall operation to a USER DEFINED key.
The following recall operations can be assigned to a USER DEFINED key.
5. Assign a title or comment to the scene as desired.
• INC RECALL
6. Press the STORE button located at the bottom of the SCENE STORE popup window. Immediately recalls the scene for the number that follows the currently-loaded scene.
The SCENE STORE popup window will close, and a dialog box will ask you to confirm the Store • DEC RECALL
operation. Immediately recalls the scene for the number that precedes the currently-loaded scene.

7. To execute the Store operation, press the OK button. NOTE

If no scene is stored in the number that precedes or follows the currently-loaded scene, the
The current mix settings will be stored to the scene number you selected in step 3. If you want to closest scene number in which a scene is stored will be recalled.
cancel the Store operation, press the CANCEL button instead of the OK button.
• DIRECT RECALL
8. If you want to cancel the overwrite-store operation that you just performed, press Directly recalls the scene number that you assigned to the USER DEFINED key. When you press
the STORE UNDO button. a USER DEFINED key to which this function is assigned, the assigned scene will be recalled
Immediately after overwrite-storing a scene, you can use the STORE UNDO button to undo immediately.
(cancel) the scene store operation that was executed most recently. When you press the STORE
UNDO button, a dialog box will ask you to confirm the Undo operation. Press the OK button if To assign one of these functions to a USER DEFINED key so that a scene can be recalled in a single
you want to execute the Undo operation. After executing the Undo operation, you can press the keystroke, proceed as follows.
STORE UNDO button once again to Redo (re-execute) the Store operation.
NOTE
1. In the Function Access Area, press the SETUP button to access the SETUP screen.
• The STORE UNDO button is available only immediately after overwrite-storing.
• You can also assign the function of the STORE UNDO button to a USER DEFINED key
2. In the upper left of the screen, press the USER SETUP button to access the USER
(see page 164). SETUP popup window.
This window includes several pages, which you can switch between using the tabs located at the
9. To recall a scene, rotate one of the multifunction knobs to select the store-source bottom of the window.
scene number.

10. Press the RECALL button.

A dialog box will ask you to confirm the Recall operation.

11. To execute the Recall operation, press the OK button.

The scene you selected in step 9 will be recalled. If you want to cancel the Recall operation, press
the CANCEL button instead of the OK button.

12. If you want to cancel the Recall operation that you just performed, press the
RECALL UNDO button.
A dialog box will ask you to confirm the Undo operation. Press the OK button if you want to
execute the operation. After undoing the recall, you can press the RECALL UNDO button once
again to Redo (re-execute).
NOTE
• You can also assign the function of the RECALL UNDO button to a USER DEFINED key
(see page 164).
• You can also use MIDI messages (Program Changes) to recall scenes (see page 147).

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3. Press the USER DEFINED KEYS tab to select the USER DEFINED KEYS page. 5. In the FUNCTION column, select “SCENE.”
The USER DEFINED KEYS page enables you to assign functions to USER DEFINED keys [1]– Proceed as follows, depending on the function you want to assign.
[16].
• To assign INC RECALL or DEC RECALL
Choose “INC RECALL” or “DEC RECALL” in the PARAMETER 1 column.
• To assign DIRECT RECALL
Choose “DIRECT RECALL” in the PARAMETER 1 column, and choose “SCENE #xxx” (xxx is
the scene number) in the PARAMETER 2 column.

6. When you have finished making settings, press the OK button to close the popup
window.
If desired, assign scene-recall functions to other USER DEFINED keys in the same way.

7. Press the USER DEFINED key to which you want to assign a recall function.
The corresponding scene will be recalled.

4. Press the popup button for the USER DEFINED key to which you want to assign a
function.
The USER DEFINED KEY SETUP popup window will appear.

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Editing scene memories 1 COMMENT sort button

Sorts scenes in alphabetical order of the comments in the COMMENT field. Each time you press
This section explains how to sort the scenes stored in scene memory, edit their titles, and copy and paste this button, the list will alternate between ascending and descending order.
them.
2 COMMENT field
Press this field to open the SCENE COMMENT EDIT popup window, in which you can enter
Sorting and renaming scene memories comments for the scene.

1. Press the SCENE field in the Function Access Area. 3 STATUS field
The SCENE LIST window will appear, in which you can perform various operations related to Indicators in this field indicate the setting status of the FOCUS, FADE TIME, PLAYBACK
scene memory. You can use tabs to switch the view of the right half of the SCENE LIST window (playback link), and GPI (General Purpose Interface) functions. (The Playback Link function
between four different fields (COMMENT/FOCUS/FADE TIME/PLAYBACK LINK). plays a desired song in a specified time duration after a scene is recalled.)

4 TIME STAMP sort button

Sorts scenes in chronological order based on the date and time in the TIME STAMP field. Each
time you press this button, the list will alternate between ascending and descending order.

5 TIME STAMP field

Indicates the date and time the scene was stored.

6 CURRENT SETTING field

Specifies the content that will be saved by the next scene store operation. Changes made here are
2. Press the COMMENT tab at the bottom of the SCENE LIST window. immediately reflected on the CL series console.
The COMMENT field will appear in the right half of the SCENE LIST window.
1 4
3. To select a scene number, rotate one of the multifunction knobs on the top panel.
The line highlighted in blue in the scene list indicates the scene currently selected for operations.

4. To sort the list, press one of the column headers “NO.”, “TITLE,” “COMMENT,” or
“TIME STAMP” at the top of the scene list and COMMENT field.
The list will be sorted as follows, according to the column title you press.
1 2 3 4

1 NO.
5 Sorts the list in order of scene number.
3
2 2 TITLE
Sorts the list in numerical/alphabetical order of title.

3 COMMENT
Sorts the list in numerical/alphabetical order of comments.

6 4 TIME STAMP
Sorts the list in order of date of creation.
NOTE
By pressing the same location again, you can change the sorting order (ascending or
descending).

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5. If you want to edit the title or comment of a scene, press the TITLE field or 6 UNDO button
COMMENT field of the scene to access the SCENE TITLE EDIT or SCENE COMMENT Cancels the most recent scene memory paste, clear, cut, or insert operation and restores the
EDIT popup window. previous state.
NOTE
You cannot edit the title or comment of a read-only scene or a write-protected scene.
2. Perform the desired editing operation.
For more information about the procedure, refer to the corresponding explanations that follow.
6. To enable/disable the protect setting, press the protect symbol.
A protect symbol is displayed for write-protected scenes. These scenes cannot be overwritten. Copying and pasting a scene
NOTE You can copy a scene into buffer memory, and then paste it to a different scene number.
The R symbol for scene number 000 cannot be disabled.
NOTE
7. Use the tool buttons to edit the scene memory. The Global Paste function enables you to copy any channel or any parameter settings for the
current scene, then paste the data into any single or multiple scenes in memory (see page 84).
For details, refer to the section “Scene memory editing” that follows.
1. Press the SCENE field in the Function Access Area.
Scene memory editing The SCENE LIST window will appear.
The scenes stored in scene memory can be copied and pasted to other scene numbers, or cleared
(erased).
2. Rotate one of the multifunction knobs to select the copy-source scene number, and
then press the COPY button.
1. Press the SCENE field in the Function Access Area. A dialog box will ask you to confirm the Copy operation.
The SCENE LIST window will appear, in which you can perform various operations for scene
memory. You can edit scene memories using the buttons located in the upper part of the SCENE
LIST window.
The function of each button is described below.

1 2 3 4 5 6
3. To execute the copy, press the OK button.
The scene you selected in step 2 will be saved in buffer memory.

1 COPY button NOTE

• Be aware that if you copy or cut another scene before you paste, the newly copied or cut scene
Press this button to copy the scene to buffer memory.
will overwrite the scene in the buffer memory.
2 PASTE button • You cannot select multiple scenes as the copy-source.
Press this button to overwrite the selected scene with the scene in buffer memory.
4. Rotate one of the multifunction knobs to select the paste-destination scene
3 CLEAR button number, and then press the PASTE button.
Press this button to erase the selected scene. A dialog box will ask you to confirm the Paste operation.

4 CUT button
Press this button to delete the selected scene and copy it to buffer memory.

5 INSERT button
Press this button to insert the scene copied to buffer memory into the selected scene number. The
numbers of the subsequent scenes will be incremented by one.

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NOTE Cutting a scene

• You can select multiple paste-destination scenes. To do so, press the MULTI SELECT button to
turn it on, and then rotate a multifunction knob. Alternatively, rotate the multifunction knob while
This section explains how to cut a scene.
pressing and holding it down. In this case, the same content will be pasted to all selected scenes. When you cut a scene, the numbers of the subsequent scenes will be decremented accordingly. You can
• A copied scene can also be inserted (see page 84). paste or insert a cut scene at the desired location.
• If nothing has been stored in the buffer memory, the PASTE button will be unavailable.
1. Press the SCENE field in the Function Access Area.
5. To execute the paste operation, press the OK button. The SCENE LIST window will appear.
The scene stored in the buffer memory will be pasted to the scene number you selected in step 4.
If you want to cancel the Paste operation, press the CANCEL button instead of the OK button. 2. Rotate one of the multifunction knobs to select the scene number that you want
to cut, and then press the CUT button.
Clearing a scene A dialog box will ask you to confirm the Cut operation.

1. Press the SCENE field in the Function Access Area.

The SCENE LIST window will appear.

2. Rotate one of the multifunction knobs to select the scene number that you want
to clear, and then press the CLEAR button.
A dialog box will ask you to confirm the Clear operation. NOTE
If the scene list has been sorted in any other way than by number (in the “NO.” column), the CUT
button will be unavailable.

3. To execute the Cut operation, press the OK button.

The scene(s) you selected in step 2 will be cut, and the numbers of the subsequent scenes will be
decremented accordingly. At this time, the scene that was cut will be stored in buffer memory.

NOTE NOTE
Read-only scenes or write-protected scenes cannot be cut.
You may select multiple scenes to be cleared. To do so, press the MULTI SELECT button to turn
it on, and then rotate a multifunction knob. Alternatively, rotate the multifunction knob while
pressing and holding it down. 4. If desired, you can paste (see page 82) or insert the cut scene (that was held in the
buffer memory).
3. To execute the Clear operation, press the OK button. NOTE
The scene number(s) you selected in step 2 will be cleared. If you want to cancel the Clear Be aware that if you copy or cut another scene before you paste or insert, the newly copied or
operation, press the CANCEL button instead of the OK button. cut scene will overwrite the scene in the buffer memory.

NOTE
Read-only scenes or write-protected scenes cannot be cleared.

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Inserting a scene Using the Global Paste function

You can insert a scene held in buffer memory at a desired scene number location.
“Global Paste” is a function that lets you copy and paste settings for the desired channel or parameter
from the current scene to scene data in memory (multiple selections are allowed). This can be
1. Press the SCENE field in the Function Access Area.
convenient if you want to apply changes (that you made to the current scene) to multiple scenes that
The SCENE LIST window will appear. have already been stored.
2. Perform the Copy operation (see page 82) or Cut operation so that the scene you NOTE
want to insert is placed in buffer memory. The Global Paste function will be available for a user if the SCENE LIST STORE/SORT
parameter is turned on in his or her user level settings.
NOTE
You cannot copy or cut multiple scenes as the source. 1. In the Function Access Area, press the SCENE field to access the SCENE LIST
window.
3. Rotate one of the multifunction knobs to select the insert-destination scene
number, and then press the INSERT button. 2. Press the GLOBAL PASTE button located in the lower right of the SCENE LIST
window to open the GLOBAL PASTE window.
A dialog box will ask you to confirm the Insert operation.
This window enables you to select the copy-source channels/parameters and specify the paste-
destination scene data.

NOTE
• If you select multiple scenes as the insert-destination, the same scene will be inserted the
selected number of times.
• If the scene list has been sorted in any way other than by number (in the “NO.” column), the 1
INSERT button will be unavailable. 2
• If nothing has been stored in the buffer memory, the INSERT button will be unavailable.
• The INSERT button will also be unavailable if the Insert operation would cause the number of
stored scenes to exceed 300.

4. To execute the Insert operation, press the OK button.

The scene stored in buffer memory will be inserted at the scene number you selected in step 3. If
you selected multiple scenes as the insert-destination, the same scene will be inserted multiple
times starting at the scene number you selected.
Scenes that were stored in subsequent numbers following that location will be updated and
increase by the number of scenes that were inserted.

1 SET BY SEL button

Turn on this button to add a channel by using the corresponding [SEL] key.

2 CLEAR ALL button/SET ALL button

The CLEAR ALL button clears all of the selected channels. The SET ALL button selects all
channels simultaneously.
NOTE
In the case of the CL3/CL1, faders that do not exist on those models will not be shown.

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3. Use the tabs to select one of the following as the type of item you want to copy. INSERT Insert on/off status and insert point
INPUT Input channel and its parameters INSERT PATCH Insert in/out patch settings
OUTPUT Output channel and its parameters FADER Fader level
RACK GEQ/effect/Premium rack CH ON On/off status of [ON] keys
PATCH/NAME Input/output patch, channel name Mode, TO ST/TO LCR on/off status, CSR, pan/balance settings (MIX 1–
TO STEREO/BAL
24 only)
DCA DCA group
MONO TO MONO on/off status (MIX 1-24 only)
4. Select the copy-source channel or parameter. MATRIX SEND Send level, pan, and PRE/POST of the signal sent to a MATRIX bus
MATRIX ON Send on/off to a MATRIX bus
The view will vary depending on the tab you select.
WITH SEND FROM SEND parameters of the send-source signal that will be sent to a
You cannot select different parameters from different channels. SOURCE CHs channel
To select a channel, press the corresponding [SEL] key on the top panel.
• RACK tab
• INPUT tab Enables you to choose from GEQ RACK, EFFECT RACK, or PREMIUM RACK. You can select
Select an input channel in the upper left area, and select its parameter in the lower left area. an individual rack for each effect used in dual mode.
You can select the following parameters.
• PATCH/NAME tab
ALL All input channel parameters You can select the following parameters.
INPUT PATCH Input patch settings
INPUT PATCH All input channel patches, insert in/out patches, Direct Out patches
NAME Channel name, icon, and channel color
HA Settings for the head amp assigned to the corresponding input channel OUTPUT PATCH All output channel patches, insert in/out patches
INPUT NAME Channel names, icons, and colors for all input channels
DELAY Input delay settings
OUTPUT NAME Channel names, icons, and colors for all output channels
HPF HPF settings
DIGITAL GAIN Digital gain settings for the corresponding input channel HA Analog gain, phantom power on/off status, Gain Compensation settings
CH LINK Channel link settings
EQ EQ settings
DYNA 1 Dynamics 1 settings (including KEY IN SOURCE and KEY IN FILTER)
DYNA 2 Dynamics 2 settings (including KEY IN SOURCE)
• DCA tab
MIX SEND Send level, pan, and PRE/POST of the signal sent to a MIX bus
You can select either ALL or LEVEL/ON. If ALL is selected, all parameters will be copied. If
MATRIX SEND Send level, pan, and PRE/POST of the signal sent to a MATRIX bus
LEVEL/ON is selected, the master level and [ON] key on/off status will be copied. You can select
FADER Fader level
copy-source items for each DCA group 1–16 individually.
CH ON On/off status of [ON] keys
INSERT Insert on/off status and insert point
5. In the DESTINATION SCENE area, select the range of paste-destination scenes.
INSERT PATCH Insert in/out patch settings Scenes specified between FROM and TO (inclusive) become the paste destination. Use
DIRECT OUT Direct Out on/off, Direct Out level, Direct Out point and patch settings multifunction knob 7 to specify the FROM value, and multifunction knob 8 to specify the TO
MIX ON Send on/off to a MIX bus value.
MATRIX ON Send on/off to a MATRIX bus
TO STEREO Mode, TO ST/TO LCR on/off status, CSR, pan/balance settings
6. Press the PASTE button.
MONO TO MONO on/off status The selected items of the current scene will be pasted to the scene(s) in memory.
A progress bar will be displayed as the data is being pasted.
• OUTPUT tab During the paste operation, the STOP button will appear. Press the STOP button if you want to
Select an output channel in the upper left area, and select its parameter in the lower left area. abort the operation. In that case, part of data will be pasted and you will be unable to undo the
You can select the following parameters. operation.
ALL All output channel parameters
OUTPUT PATCH Output patch settings
NAME Channel name, icon, and channel color
EQ EQ settings
DYNA 1 Dynamics 1 settings (including KEY IN SOURCE and KEY IN FILTER)

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Using the Focus function 3. Press the SET button for the scene you want to set.
The FOCUS RECALL popup window will appear. The window contains the following items.
“Focus” is a function that lets you specify the parameters that will be updated when you recall a scene.
This function is useful if you want to recall only the input channel settings of a specific scene.
1
NOTE
In contrast to Focus, the CL series console features a “Recall Safe” function that enables you to
exclude specific channels and parameters from recall operations. However while the Focus
function is specified for each scene, Recall Safe settings are applied to all scenes.

1. Press the SCENE field in the Function Access Area.

The SCENE LIST window will appear, in which you can perform various operations for scene
memory.
2
2. Press the FOCUS tab at the bottom of the SCENE LIST window.
The FOCUS field will appear in the right half of the SCENE LIST window.
3

1 CLEAR ALL button

Clears all the settings.

■ Focus channel display field

Indicates the target channel for a Recall operation. The view of this field is the same as that in the
RECALL SAFE popup window.
To add channels as the target, turn the SET BY SEL button 2 on, and then press the corresponding
[SEL] keys for the desired channels.
2 SET BY SEL button
Turn on this button to add a channel by using the corresponding [SEL] key.
NOTE
In the case of the CL3/CL1, channels that do not exist on those models will not be shown.
The FOCUS field enables you to make settings for the Focus function.
The buttons in this field correspond to the scene list shown on the left side of the SCENE LIST ■ Channel focus parameter display field
window. Enables you to select parameters for each channel that will be affected by Recall operations. You can use
The CURRENT SETTING field lets you make Focus settings that will be used the next time you the same procedure as that in the RECALL SAFE popup window.
perform a Scene Store operation. 3 FOCUS button
Switches the Focus Recall function on or off.

■ GLOBAL FOCUS PARAMETER field

Indicates the parameters and racks that will be affected by Recall operations for any scene. Procedures
and contents are the same as those in the RECALL SAFE MODE popup window.

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4. Follow the procedure starting with step 2 in the “Using the Recall Safe function” Using the Recall Safe function
section to make settings.
“Recall Safe” is a function that excludes only specific parameters/channels (DCA groups) from Recall
5. If you want to cancel the specified restrictions so that all parameters will be subject operations. Unlike the Focus settings (see page 86), which you can apply to individual scenes, the Recall
to recall, turn on the ALL button. Safe settings are globally applied to all scenes.
If the ALL button is on, all other buttons for that scene will be turned off. Turning on any other
button will turn off the ALL button. 1. In the Function Access Area, press the CH JOB
button to access the CH JOB popup window.
6. Recall a scene for which you have made Focus settings.
If any buttons other than ALL are turned on for the scene, only the parameters related to those
2. Press the RECALL SAFE button to access the
RECALL SAFE MODE popup window.
buttons will be recalled. If the ALL button is turned on for the scene, all parameters for the scene
will be updated. RECALL SAFE button
In this popup window, you can make settings for the
NOTE
Recall Safe function. The window contains the
• Scenes for which Focus settings are made are marked by a “FOCUS” indicator in the STATUS
field of the SCENE LIST window.
following items.
• You can use the Focus function in conjunction with the Recall Safe function. Channels or
parameters that are excluded from Recall operations by either Focus or Recall Safe will not be
recalled.

2 14

3
5
6
9

7 8

1 CLEAR ALL button/SET ALL button

The CLEAR ALL button turns off (disables) the Recall Safe function (that is currently set for
individual channels) and the Global Recall Safe function simultaneously. The SET ALL button
turns on (enables) these functions simultaneously.
NOTE
If you press the CLEAR ALL button, the Recall Safe function will temporarily be disabled.
However, the selection of parameters that would be affected by the Recall Safe function will not
change.

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2 Safe channel display section 9 Safe parameter select button (excluding DCA groups)
Indicates the channels currently specified for the Recall Safe function. Selects Recall Safe parameters for the selected channel.
The button indication varies depending on the channel type, as follows:
3 SET BY SEL button
Enables you to use the [SEL] keys on the panel to select channels that will be affected by the Recall • Input channel
Safe function. Turn this button on, and then press the [SEL] key for the channel to which you want
to apply Recall Safe. The on-screen fader of the corresponding channel will turn green (all
parameters for the channel will be affected by the Recall Safe function), or turn blue (some
parameters for the channel will be affected by the Recall Safe function). Press the same [SEL] key
once again to de-select the channel. NOTE
ST IN channels do not feature INSERT, INSERT PATCH, or DIRECT OUT button.
All parameters are affected by Recall Safe on these channels.
• MIX channel

Some parameters are affected by Recall Safe on these channels.

Recall Safe has been canceled on these channels.

• MATRIX channel

4 GLOBAL RECALL SAFE display section

Indicates the parameters and racks that will be affected by the Recall Safe function for all scenes.
Press this section to open the GLOBAL RECALL SAFE popup window.

5 Channel select button • STEREO channel

Selects the channel for which you want to set the Recall Safe function.
NOTE
Switching channels using this button will not affect the channel selection on the top panel.

6 Selected channel display • MONO channel

This area indicates the icon, number, color, and name of the currently-selected channel.

7 APPLY TO ALL INPUT button (input channels only)

Turn on this button to apply the Recall Safe parameter selection for one input channel to all other
input channels.
This can be convenient if you want to apply Recall Safe to the same parameters for all input If Recall Safe is turned on for global parameters, the safe parameter select buttons of the selected
channels. channel will light green, as follows.
8 APPLY TO ALL OUTPUT button (output channels only)
Turn on this button to apply Recall Safe parameter selection for one output channel to all other
output channels.
This can be convenient if you want to apply Recall Safe to the same parameters for all output
channels. The example shown in this illustration indicates that the INPUT PATCH, INSERT PATCH, and
DIRECT OUT parameters have been set to Safe by the INPUT PATCH Global parameter settings.
In the same way, turning on the Global parameters INPUT NAME, OUTPUT PATCH, and
OUTPUT NAME will cause the corresponding safe parameters of each channel to light green.

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On-screen buttons and corresponding parameters apply to the following channels: 3. To select the channel or DCA group that will be affected by Recall Safe operations,
press the corresponding [SEL] key.
STEREO/
Input MIX MATRIX The corresponding channel or DCA group will be enclosed by a white frame in the CH RECALL
Button name Corresponding parameter MONO
channel channel channel SAFE field. (However, this white frame does not mean that the Recall Safe setting is now enabled.)
channel
WITH MIX SEND Send level to the MIX bus O The selected channel or DCA groups 1–8 or 9–16 will be recalled to the SAFE PARAMETER
WITH MATRIX SEND Send level to MATRIX bus O
SELECT field.
ALL All parameters O O O O NOTE
HA HA-related settings O If the CH RECALL SAFE field’s SET BY SEL button is on, Recall Safe will be enabled when you
press the [SEL] key, and the corresponding channel or DCA group will be highlighted in the CH
HPF HPF settings O
RECALL SAFE field. You can select parameters as described in step 4 even after turning Recall
EQ EQ settings O O O O Safe on.
DYNA 1 Dynamics 1 settings O O O O
DYNA 2 Dynamics 2 settings O 4. If you want to enable Recall Safe for specific parameters of the selected channel or
MIX SEND Send level to MIX bus O DCA group, make the following settings in the SAFE PARAMETER SELECT field.
MATRIX SEND Send level to MATRIX bus O O O NOTE
FADER Fader settings O O O O • Simply selecting a parameter in step 4 does not enable Recall Safe. To turn Recall Safe on or off,
you must also perform the operation described in step 5 (see page 90).
CH ON [ON] key settings O O O O
• While the APPLY TO ALL INPUT button (or the APPLY TO ALL OUTPUT button) is on, operations
On/off setting for STEREO bus in the SAFE PARAMETER SELECT field will apply to all input channels (or output channels).
TO ST O O
assignment, PAN, etc.
On/off setting for MONO bus
• If an input channel is selected:
MONO O O Use the buttons in the lower part of the SAFE PARAMETER SELECT field (except for the “ALL”
assignment
button) to select the parameters that will be subject to Recall Safe (multiple selections are
INPUT PATCH Input Patching O
allowed). If you want all parameters to be subject to Recall Safe, turn on the ALL button (this is
DIGITAL GAIN Digital gain settings O
the default setting).
INSERT Insert on/off O*1 O O O
• If a ST IN channel is selected:
INSERT PATCH Insert patch settings *1 O O O
O Use the same steps as those for an input channel. (Different buttons will be displayed.)
DIRECT OUT Direct Out settings O*1 • If a MIX channel is selected:
MIX ON MIX Send On/Off O Use the buttons in the lower part of the SAFE PARAMETER SELECT field (except for the “ALL”
MATRIX ON MATRIX Send On/Off O O O button) to select the parameters that will be subject to Recall Safe (multiple selections are
DELAY Delay settings O allowed).
NAME Channel name O O O O In addition, you can use the WITH MIX SEND button displayed in the lower left of the field to
OUTPUT PATCH Output Patching O O O enable Recall Safe for the on/off status and send level of signals sent from input channels to MIX
O buses.
BAL BLANCE parameter settings O
(stereo only) If you want all parameters shown in the lower part of the field to be subject to Recall Safe, turn on
the ALL button (this is the default setting).
*1. ST IN channels do not feature these buttons.
• If a MATRIX channel is selected:
0 Safe parameter select button (DCA) Use the same steps as those for a MIX channel. (Different types of buttons will be displayed.)
Enables you to select parameters for a DCA group that will be affected by Recall Safe operations.
If the ALL button is on, all DCA master parameters will be subject to Recall Safe. If LEVEL/ON • If a DCA group is selected:
is on, the DCA master level and on/off status will be subject to Recall Safe. If you press a [SEL] key for a DCA group, all parameters for the DCA groups (selected from DCA
groups 1–8 and DCA groups 9–16) will be displayed simultaneously. For the parameters that will
be subject to Recall Safe, you can select either “ALL” or “LEVEL/ON” (fader position and on/off
status of the [ON] key). Recall Safe will be enabled when you make this selection.

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If you want all parameters of the DCA group to be subject to Recall Safe, turn on the ALL button. Using the Fade function
Unlike when a channel is selected, Recall Safe will be enabled for that DCA group the moment
you turn on either the LEVEL/ON button or the ALL button. “Fade” is a function that smoothly changes the faders of specified channels and DCA groups to their
new values over a specified duration when you recall a scene. The settings of the Fade function are made
5. To enable Recall Safe for the selected channel, turn on the SAFE button in the SAFE independently for each scene.
PARAMETER SELECT field. (If you have selected a DCA group, turn on either the
LEVEL/ON button or the ALL button.) 1. Press the SCENE field in the Function Access Area.
Channels or DCA groups for which Recall Safe is enabled will be highlighted in the CH RECALL The SCENE LIST window will appear, in which you can perform various operations for scene
SAFE field. memory.

6. To enable Recall Safe for global parameters, turn on the buttons in the GLOBAL
RECALL SAFE field.
These buttons correspond to the following parameters.
INPUT PATCH All input patches
INPUT NAME All input channel names
OUTPUT PATCH All output patches
OUTPUT NAME All output channel names 2. Press the FADE TIME tab at the bottom of the SCENE LIST window.
HA All I/O racks, and HA-related parameters for external head amps You can use tabs to switch the right half of the SCENE LIST window among three different fields.
CH LINK All channel link group settings In this case, press the tab to make the FADE TIME field appear.
GEQ RACK
Apply Recall Safe to GEQ racks 1–16, Effect racks 1–8, Premium Racks
EFFECT RACK
1–8 individually.
PREMIUM RACK
PANEL SNAPSHOT Fader bank selections, Master fader assignments

NOTE
If a dual-type GEQ rack or Premium Rack has been selected, you can apply Recall Safe to rack
2
A and B individually. For other racks, the Recall Safe setting for racks A and B will be linked. 1

7. When you have finished making settings, press the CLOSE button to close the
popup window. Then perform a Recall operation.
Only the selected DCA group channels and parameters will be excluded from Recall operations.
Channel Link (see page 69) and bus settings are not subject to Recall Safe. They will always be 3
reproduced in the recalled scene.
This means that if Recall Safe is enabled for one of several channels included in a link group or
one of two channels set to stereo, the parameter settings of that channel may differ from those of
the other channel(s). In such cases, the applicable parameter will be automatically re-linked the
next time it is operated. 4
You can globally apply Recall Safe to channel links by using the global parameter.
NOTE
• You can use the Recall Safe function along with the Focus function (see page 86). Channels or 1 SET popup button
parameters that are excluded from Recall operations by either Focus or Recall Safe will not be Press this button to open the FADE TIME popup window, in which you can select a channel for
recalled.
which you want to use the Fade function, and specify the fade time (the duration of time over
• If you perform a Recall operation while holding down a [SEL] key, the Recall Safe settings for the
corresponding channel will temporarily be enabled for that Recall operation.
which the fader will reach its new value).

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2 FADER button 4. Press the [SEL] keys for the desired channels or DCA groups to select the channels
Enables or disables the Fade function for each scene. or DCA groups to which the Fade effect will be applied (multiple selections are
allowed).
3 FADE TIME display
The [SEL] keys for the selected channels or DCA groups will light, and those channels or DCA
This area indicates the fade time specified for each scene. groups will be highlighted green in the channel display field of the popup window. You can cancel
4 CURRENT SETTING field the selection by pressing the lit [SEL] key once again to turn it off.
Specifies the content that will be saved by the next scene store operation. Changes made here are
immediately reflected on the CL series console.
5. Use the multifunction knob that corresponds to the FADE TIME knob to adjust the
fade time.
3. Press the SET button to access the FADE TIME popup window. The range is 0.0 sec – 60.0 sec.
In this popup window you can select the channels to which Fade will be applied, and adjust the When you have finished setting the fade time, press the CLOSE button to close the FADE TIME
fade time. popup window.

1 3 4 NOTE
The fade time you specify here is used for all channels and DCA groups selected in step 4.

6. To enable the Fade function, press the FADE button.

You can turn the Fade function on or off individually for each scene.
NOTE
Scenes for which Fade settings are made are marked by a “FADE” indicator in the STATUS field
of the SCENE LIST window.

7. Recall a scene for which the Fade function is turned on.

2 The faders will begin to move immediately after Recall occurs, and will reach the values of the
recalled scene over the course of the specified fade time.
NOTE
• The Fade function settings can be applied individually even if faders are linked by Channel Link.
• You can stop a fade effect by holding down a [SEL] key while you stop the corresponding moving
1 Channel display field fader.
• If you recall the same scene while faders are moving, the faders of all channels or DCA groups
The channels or DCA groups to which Fade is applied are highlighted.
will move immediately to their target positions.
2 FADE TIME knob
Sets the fade time. You can adjust the fade time using the corresponding multifunction knob.

3 SET ALL button

Press this button to apply the Fade effect to all faders of that scene.

4 CLEAR ALL button

Press this button to cancel the Fade effect for all faders of that scene.
NOTE
In the case of the CL3/CL1, faders that do not exist on those models will not be shown.

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Outputting a control signal to an external device 1 Output control signal select buttons
These specify the control signal will be output from each GPI OUT.
in tandem with scene recall (GPI OUT) Pressing a button repeatedly will switch between the following functions.
A contol signal can be output to an external device connected to the GPI connector of the CL series • –––– (OFF) ................ Nothing will be output.
console when you recall a specific scene. Proceed as follows. • TRIGGER .................. A trigger will be output when the scene is recalled.
NOTE • TALLY ........................ A tally will be output when the scene is recalled.
For more information on the GPI OUT settings, refer to “Using GPI OUT” on page 207.
2 CURRENT SETTING field
1. Press the SCENE field in the Function Access Area. Specifies the content that will be saved by the next scene store operation. Changes made here are
The SCENE LIST window will appear, in which you can perform various operations for scene immediately reflected on the CL series console.
memory.
3. For each scene, specify the control signal that you want to output to each GPI OUT
port.

4. Recall the scene for which you want to output GPI OUT signals.
When you recall the scene, the control signals will be output to the external device connected to
the GPI OUT connector.

2. Press the GPI OUT tab at the bottom of the SCENE LIST window.
The GPI OUT field will appear.

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Playing back an audio file that links to a scene You can use tabs to switch the right half of the SCENE LIST window among three different fields.
In this case, press the tab to make the PLAYBACK LINK field appear.
recall
You can also specify an audio file that you want to play back from a USB flash drive when a specific
scene is recalled. This can be convenient if you want an effect sound or BGM to be played automatically 2
in a specific scene.
Follow the steps below to link a scene recall with audio file playback.
NOTE
1
• Save audio files for playback in the SONGS folder within the YPE folder. If you save them in the
root directory or in other folders, you will be unable to specify them for playback. When an audio
file is played, the path in the TITLE LIST screen will indicate \YPE\SONGS\.
• You cannot play audio files during recording or in recording standby mode.
• A specified audio file will be played back only once, regardless of the playback mode settings.
• Audio file names must be eight characters plus three extension characters. If you change the file 3
name after specifying the file for playback, or if you delete or copy the file repeatedly, the specified
file may become unrecognizable in rare cases.

1. Connect a USB flash drive containing the audio files to the USB connector.

2. Press the SCENE field in the Function Access Area. 4

The SCENE LIST window will appear, in which you can perform various operations related to
scene memory.
1 PLAY button
Sets the Playback Link function’s on/off status for each scene.

2 Song select popup button

Press this button to open the SONG SELECT popup window, in which you can select a song and
set the offset time (time duration from scene recall until the start of playback). Also, the title of
3. Press the PLAYBACK LINK tab at the bottom of the SCENE LIST window. the selected song will appear on the button.

3 Offset time display

Indicates the time duration from scene recall until the start of playback of the specified audio file.
Set the offset time in the SONG SELECT popup window.
4 CURRENT SETTING field
Specifies the content that will be saved by the next scene store operation. Changes made here are
immediately reflected on the CL series console.

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4. Press the song select popup button for a scene to which you want to link the audio 7 OFFSET knob
file. The SONG SELECT popup window will appear. You can use the multifunction knob to set the time duration from scene recall until the start of
In this popup window, you can select an audio file you want to link with the scene, and set the audio file playback.
offset time.
8 Scroll knob
2 3 Use the multifunction to scroll the list.

5. Press the screen or use the multifunction knobs to select a file that you want to link
1 to a scene.

6. If desired, use the corresponding multifunction knobs to set the offset (the time
4 duration until the start of audio file playback).
5
The offset value can be adjusted in the range of 0.0–99.0 in 0.5 sec steps.

7. Press the OK button.

6 7 The popup window will close and the unit will return to the SCENE LIST popup window. At this
time, the title or file name of the selected song will appear in the center of the song list.
If you select the CANCEL button instead of the OK button, your settings will be discarded and
the unit will return to the SCENE LIST popup window.

8. Press the PLAY button to turn on the link to the audio file.
The PLAY button will light in the LINK field. The PLAY indicator will appear in the STATUS field
8 on the COMMENT tab.

9. Repeat steps 4–8 to link audio files to other scenes.

1 Change directory button 10. Recall a scene to which an audio file has been linked.
Press this button to move to the next higher level. After the offset time duration has elapsed, the specified audio file will play one time.
NOTE NOTE
You cannot move to levels higher than \YPE\SONGS\. • After a scene has been recalled and until the offset time has elapsed, a countdown will appear in
the Function Access Area.
2 PATH indicator
• If another song is playing during a scene recall, the song playback will stop when the scene is
This area indicates the current directory path. It will indicate only the \YPE\SONGS\ level. recalled, regardless of the offset time setting.
3 SONG TITLE/FILE NAME switch buttons
Switch between the song title list and the file name list.

4 SONG TITLE list button

5 ARTIST list button
Press these buttons to sort the audio file list (at the current directory level) by song title and artist
name respectively.

6 List
Displays the name of the folder or audio file, artist name, and audio file time duration. You can
select an audio file by pressing the folder name or audio file name.

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Monitor and Cue functions • MONITOR SELECT

Selects the monitor source.

This chapter explains the Monitor and Cue functions of CL series consoles. • METER
Detects and indicates the level of the monitor signal or cue signal.
• DIMMER
About the Monitor and Cue functions Attenuates the monitor/cue signal by a fixed amount.
The Monitor function lets you audition various outputs through your nearfield monitors or • MONITOR LEVEL
headphones. Below the front pad of the CL series console is a PHONES Out jack for monitoring, which Adjusts the output level of the MONITOR OUT L/R/C channels. If PHONES LEVEL LINK is ON,
enables you to monitor the monitoring source signal at any time. By assigning the MONITOR OUT L/ this setting will also affect the level at the PHONES Out jack.
R/C channels to the desired output jacks, you can also monitor the same signal through external • MONITOR FADER
speakers. Use the STEREO MASTER fader or MONO MASTER fader to adjust the output level of the
You can select the following signals as the monitor source. MONITOR OUT L/R/C channels. MONITOR FADER is positioned in series with MONITOR
• STEREO channel output signal LEVEL. If PHONES LEVEL LINK is ON, this setting will also affect the level at the PHONES Out
• MONO channel output signal jack.
• STEREO + MONO channel output signal • ON (on/off)
• OMNI IN 1–2, 3–4, 5–6, 7–8 channel input signal (for monitoring a two channnel pair) Switches the Monitor function on or off.
• RECORDER PLAYBACK output signal • DELAY (Monitor delay)
• A combination of up to eight MIX, MATRIX, STEREO, or MONO channel output signals, Delays monitor signals. The Delay function is disabled if cue signals are being output.
RECORDER PLAYBACK output signals, and OMNI IN 1–2, 3–4, 5–6, 7–8 input signals
• PHONES LEVEL (Headphone level)
The Cue function enables you to check an individual channel or DCA group by temporarily monitoring Adjusts the output level at the PHONES Out jack.
it via MONITOR OUT or PHONES. When you press the [CUE] key on the top panel, the cue signal of • PHONES LEVEL LINK (Headphone Level Link function)
the corresponding channel or DCA group is sent as the monitor output from the selected output port. If this function is turned on, the MONITOR LEVEL knob will adjust the level of signals sent to
NOTE the PHONES Out jack.
The cue signal is sent to the same output destination as the monitor signal. Be aware that for this • CUE INTERRUPTION (Cue Interruption function)
reason, the cue signal will no longer be sent to the connected monitor speakers if you turn off the
If this function is turned on, pressing the [CUE] key on the top panel will cause the cue signal of
Monitor function. However, the cue signal will always be sent to the PHONES Out jack.
the corresponding channel or DCA group to be sent as the monitor output from the selected
output port. With the factory default settings, this function is turned on.
The following diagram shows the cue/monitor signal flow.
Turn it off if you do not want to output cue signals to the monitoring speakers or headphones.
MONITOR DELAY AUTO BYPASS
CUE TRIM CUE ON
(INPUT/OUTPUT/DCA)
MONO CUE OUT ON DELAY
CUE L BUS
CUE L METER CUE L
(MAX:1000ms) CUE OUT L To OUTPUT PATCH

CUE R BUS
CUE R METER CUE R
DELAY CUE OUT R To OUTPUT PATCH
(MAX:1000ms)

CUE LOGIC PHONES

LEVEL LINK DELAY
(MAX:1000ms) PHONES L To PHONES OUT

DELAY PHONES R To PHONES OUT

OMNI IN 1/2 (MAX:1000ms)
OMNI IN 3/4
OMNI IN 5/6
OMNI IN 7/8 MONO
PLAYBACK OUT MONITOR OUT L
MONITOR L METER MONITOR L DELAY To OUTPUT PATCH
MONITOR SELECT

STEREO OUT L,R (MAX:1000ms)

DIMMER

STEREO OUT MONO(C) MONITOR OUT R

MONITOR R METER MONITOR R DELAY To OUTPUT PATCH
STEREO OUT L,C,R (MAX:1000ms)
MONITOR OUT MONO(C)
OMNI IN 1/2
MONITOR MONO(C) METER MONITOR MONO(C) DELAY To OUTPUT PATCH
(MAX:1000ms)
OMNI IN 3/4 ON
OMNI IN 5/6 ON +MONO(C) An output port delay becomes invalid by
OMNI IN 7/8 assigning a monitor out to the output port.
PLAYBACK OUT DEFINE CUE INTERRUPTION
MIX TALKBACK ON MONITOR MONITOR
STEREO OUT L,R (MAX:8ch) MONITOR DIMM ON LEVEL FADER
STEREO OUT MONO(C)
MIX OUT1-24
MATRIX OUT1-8

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Using the Monitor function 2 SOURCE SELECT field

Selects the monitor source. If DEFINE has been selected in this field, access the MONITOR
This section explains how to select the desired monitor source, and monitor it from the PHONES Out popup window to specify the source channel.
jack or external monitor speakers.
3 DIMMER field
1. Connect your monitor system to the OMNI OUT jacks or 2TR OUT DIGITAL jack on Enables you to make settings for the Dimmer function, which temporarily attenuates monitor
the rear panel. signals.
Monitor signals can be sent to any desired output jack or output channel. To monitor through • DIMMER LEVEL knob
headphones, make sure that your headphones are connected to the PHONES Out jack below the Adjusts the amount by which the monitor signals will be attenuated when the dimmer is on.
front pad.
• DIMMER ON button
2. In the Function Access Area, press the MONITOR button to access the MONITOR Turn on this button to enable the dimmer and attenuate the monitor signal.
screen.
4 MONITOR FADER field
In the MONITOR screen, the MONITOR field lets you check the current monitor settings, and Enables you to set and view the monitor fader that adjusts the monitor level.
turn monitoring on or off.
The MONITOR screen contains the following items. • MONITOR FADER LEVEL knob
Adjusts the monitor fader level. Pressing this knob will enable you to use the multifunction knob
2 3 4 5 in the Centralogic section to adjust the level.
• FADER ASSIGN display
This area displays the type of faders that are currently assigned to the monitor fader. Indicator
assignments are as follows:
• ---- ................................................ No assignment
• MASTER A................................. Master A only
6 • MASTER A+ .............................. Master A, Master B, Custom Fader bank
1 • MASTER B ................................. Master B only
7
• MASTER B+............................... Master B, Custom fader bank
• CUSTOM .................................... A single fader in the Custom fader bank
8
• CUSTOMs .................................. Multiple faders in the Custom fader bank
5 Meter field
Indicates the output level of Monitor Out channels L, R, and C. Press this field to open the
MONITOR popup window.

6 MONITOR OUTPUT button

Switches Monitor Out on or off.

7 PHONES LEVEL LINK button

If this is on, the MONITOR FADER LEVEL knob will adjust the level of signals sent to the
PHONES Out jack.
1 MONITOR popup display button
8 MONO MONITOR button
Enables you to access the MONITOR popup window, in which you can make detailed monitor
Turn on this button to switch monitor signals to mono.
settings.

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3. Press the popup button or the meter field to open the MONITOR popup window. ■ DIMMER field
In the MONITOR popup window you can make detailed settings for monitoring. The popup This field enables you to make settings for the Dimmer function, which temporarily attenuates monitor
window includes the following items. signals.

3 B 2 DIMMER knob
2 4 6 7 8 Adjusts the amount by which monitor signals will be attenuated when the Dimmer function is on.

3 DIMMER ON/OFF button

Switches the Dimmer function on or off.
9
4 TALKBACK DIMMER LEVEL knob
Adjusts the amount by which monitor signals will be attenuated when talkback is on.

1 D 5 TALKBACK DIMMER ON/OFF indicator

Indicates the on/off status of the dimmer function for talkback.

6 PHONES LEVEL LINK button

E Enables you to link the signal level at the PHONES Out jack to the monitor signal level. Turn on
this button to adjust the level of signals sent to the PHONES Out jack by using the MONITOR
FADER LEVEL knob (0) or the fader (A) to which this knob function has been assigned.

7 CUE INTERRUPTION button

Press this button to interrupt the cue signal with the monitor signal. If this button is on and the
cue is enabled, the cue signal will be sent to the monitor output. With the factory default settings,
this function is turned on. If you do not wish to send the cue signal to the monitor output, switch
this button off.

8 MONO MONITOR button

5 A 0 C Turn on this button to switch the monitor output signal to mono.

9 MONITOR OUTPUT button

■ SOURCE SELECT field
Switches the monitor output on or off.
This field enables you to select the source signal to the MONITOR bus.
1 Source selection buttons ■ MONITOR FADER field
Select one of the following as the signal source that will be output to the MONITOR bus.
0 MONITOR FADER LEVEL knob
STEREO L/R STEREO L/R channel signals Indicates the monitor level. Press this knob so that you will be able to control the monitor level by
MONO (C) MONO channel signal using the multifunction knob in the Centralogic section.
LCR STEREO L/R + MONO channel signals
OMNI 1–2 – 7–8 OMNI IN jacks 1–8 signals (per two channels)
A FADER ASSIGN indicator
Indicates the fader(s) to which the monitor level is assigned. Indicator assignments are as follows:
PB OUT Recorder’s PLAYBACK OUT signals
DEFINE The signal(s) selected in the ASSIGN field MASTER A MASTER A fader only
MASTER A+ MASTER A, as well as MASTER B fader and Custom fader bank
MASTER B MASTER B fader only
MASTER B+ MASTER B, as well as Custom fader bank
CUSTOM One of the Custom fader bank faders
CUSTOMs Multiple Custom fader bank faders

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■ MONITOR DELAY field 5. To specify a port as the output destination for monitor signals L, C, and R, press
This field enables you to specify the monitor delay setting by which the monitor out signal is delayed. one of the output select buttons (L/R/C) in the meter field to open the PORT
SELECT popup window. In this window, choose from the following monitor signal
B AUTO BYPASS button output destinations (multiple selections are allowed).
Turn this on to automatically bypass monitor delay when the cue is on.

C MONITOR DELAY knob

Indicates the currently-specified delay time. The millisecond value is indicated above the knob,
and the delay time value in currently-selected units and the currently-selected scale type are
indicated below the knob. However, if you have selected ms as the scale, the delay time value will
not appear above the knob.
Press this knob and you will be able to use the multifunction knob to adjust the value.

■ Meter field
This field indicates the monitor output level.

D Meters
Indicates the output level of the monitor L/R/C channels.

E MONITOR OUT PATCH button

Press this button to open the PORT SELECT popup window, in which you can select an output
port to patch to the monitor out L/R/C channels.
DANTE 1–64 Output channels 1–64 to audio network
4. Use the buttons of the SOURCE SELECT field to select a monitor source. OMNI1–8 OMNI OUT jacks 1–8
In the SOURCE SELECT field you can select only one monitor source. However, if you have DIGI OUT L/R DIGITAL OUT jack on the CL unit
selected DEFINE, you can use the ASSIGN field to specify multiple monitor sources. SLOT1–1 – SLOT3–16 Output channels 1–16 of an I/O card installed in slots 1–3

The following table shows the monitor sources that you can select in the ASSIGN field. When you have selected an output port, press the CLOSE button to close the popup window.
MIX 1–24 Output signals of MIX channels 1–24 In the same way, specify the output ports for MONITOR OUT L, R, and C.
MTRX 1–8 MATRIX buses 1–8 output signals NOTE
STEREO STEREO L/R channel output signals • If desired, you can specify output ports only for MONITOR OUT L and R to monitor through two
speakers.
MONO (C) MONO channel output signal
• If you have not specified an output port for MONITOR OUT C, selecting the MONO (C) button or
OMNI 1–2 – OMNI 7–8 OMNI IN jacks 1–8 input signals (per two channels) LCR button as the monitor source will automatically cause the MONO channel signal to be
PB OUT Recorder’s PLAYBACK OUT signals distributed to MONITOR OUT L/R.

NOTE 6. To enable monitoring, press the OUTPUT button to turn it on.

You can select a maximum of eight monitor sources in the ASSIGN field. If you select eight The monitor source you selected in step 4 will be sent to the output destination you specified in
monitor sources, no further selections will be possible. Please turn off the buttons for unneeded step 5.
sources.
NOTE
The PHONES Out jack will always output the monitor signal, regardless of whether the OUTPUT
button is on or off.

7. To control the monitor fader, press the Bank Select [STEREO] key in the Centralogic
section, and then operate the monitor fader.

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8. To adjust the monitor level, use the MONITOR LEVEL knob located in the SCENE Using the Cue function
MEMORY/MONITOR section of the top panel.
If PHONES LEVEL LINK is ON, use the MONITOR LEVEL knob and the monitor fader, as well
as the PHONES LEVEL knob to adjust the monitor level when monitoring through headphones. About CUE groups
Cue signals on the CL series console can be categorized into the following four groups.
9. Make settings for Dimmer, Delay, and Monaural as desired.
1 INPUT CUE group
NOTE
The cue signals of input channels make up this group. To enable Cue for this group, press the
Monitor on/off operations, selection of the monitor source, and dimmer on/off operations can also
be assigned to USER DEFINED keys (see page 164).
[CUE] key for any input channel to turn Cue on.

Input channel [CUE] key

NOTE
If input channels or ST IN channels are assigned to the Centralogic section, you can also use the
[CUE] keys in the Centralogic section to enable Cue for this group.

2 DCA CUE group

The cue signals of DCA groups make up this group. To enable Cue for this group, assign the DCA
groups to the Centralogic section and press a [CUE] key in the Centralogic section to turn Cue on.

Centralogic section [CUE] key

(when controlling DCA groups)

3 OUTPUT CUE group

The cue signals of output channels make up this group. To switch Cue on or off for this group,
press the [CUE] key in the Master section, or assign MIX channels or MATRIX channels to the
Centralogic section and press a [CUE] key in the Centralogic section.

[CUE] key in the Master section

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 Monitor and Cue functions

Operating the Cue function

This section explains how to use the [CUE] key for a channel or DCA group to monitor cue signals.
NOTE
Cue signals are sent to the same output destination as monitor signals. Be aware that for this
reason, cue signals will not be sent to the connected monitor speakers if you turn off the Monitor
[CUE] key in the Centralogic section function. However, the PHONES Out jack below the front pad will always output cue signals
(when controlling MIX channels or MATRIX channels) regardless of the Monitor on/off setting. See “Using the Monitor function” on page 96 for details
about the Monitor function.

1. In the Function Access Area, press the MONITOR button to access the MONITOR
screen.
The CUE field on the MONITOR screen enables you to check the current cue settings, and turn
Cue on or off.
NOTE
If STEREO/MONO channels are assigned to the Centralogic section, you can also use the [CUE]
2 3
keys in the Centralogic section to enable Cue for this group.

4 Other CUE group

4
These cue signals are operated via buttons displayed on the touch 1
screen. This group is enabled if you turn on the CUE button in the 5
EFFECT popup window or the PREMIUM popup window, or if
you turn on the KEY IN CUE button in the DYNAMICS 1 popup
window. This group will automatically be disabled when you exit On-screen CUE button
the corresponding popup window.
You cannot turn on cue monitoring between different groups simultaneously. Normally, the
group to which the most recently-pressed [CUE] key (or on-screen CUE/KEY IN CUE button)
belongs will take priority, and the [CUE] keys for the previously-selected group will be defeated.
However, if you have switched the cue signal group in a specific order, the state of the [CUE] keys
for the previously-selected group will be restored when the current cue signal is defeated.
The following illustration shows the
priority of the [CUE] keys. After you Other CUE group
have switched groups from lower to
upper levels, if you then defeat cue for
INPUT CUE group
the upper group, the previous [CUE]
key status of the group immediately
below will be restored. DCA CUE group
For example, if you switch groups in the 1 CUE popup display button
order of OUTPUT CUE group → DCA OUTPUT CUE group Enables you to access the CUE popup window, in which you can make detailed cue settings.
CUE group → INPUT CUE group →
2 CUE MODE buttons
Other CUE group, you can then
Select the cue mode. You can select MIX CUE mode (all selected channels will be cued), or LAST
successively defeat the [CUE] keys
CUE mode (only the channel selected most recently will be cued).
(CUE/KEY IN CUE buttons) to successively restore the [CUE] key status of the previously-
selected group. 3 INPUT/DCA/OUTPUT CUE field
Indicates the settings for input cue, DCA cue, and output cue. Press this field to open the CUE
popup window.

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4 CUE OUTPUT button ■ DCA CUE section

Switches the cue output on or off. This section enables you to make settings related to DCA cue.
5 CLEAR CUE button 4 Cue point select button
Cancels all cue selections simultaneously. If MIX CUE mode has been selected, all selected Sets the cue point for the DCA group to PRE PAN (immediately before PAN) or POST PAN
channels will be cleared. (immediately after PAN).

2. Press the CUE popup display button or the INPUT/DCA/OUTPUT CUE field to open 5 DCA TRIM knob
the CUE popup window. Indicates the monitor level of cue signals from a DCA group. Use the multifunction knob to adjust
The popup window includes the following items. the level.

1 2 4 7 A 6 UNITY button
Turn on this button to monitor signals at the same volume level that was obtained when the
master level for each DCA group was set to 0 dB (unity gain).

B
■ OUTPUT CUE section
This section enables you to make settings related to output channel cue.
7 Cue point select button
9 Sets the cue point for the output channel to PFL (immediately before fader) or AFL (immediately
after fader).
0
8 PFL TRIM knob
3 5 6 8 Indicates the monitor levels when PFL is selected. Press this knob so that you will be able to use
the multifunction knob to adjust the level.
1 CUE MODE buttons
Select one of the following two cue modes: 9 ACTIVE CUE indicator
Lights to indicate the type of cue currently being monitored (input: blue, DCA: yellow, output:
• MIX CUE orange).
All selected channels will be mixed and auditioned.
0 CLEAR CUE button
• LAST CUE
Press this button to clear all cue selections simultaneously.
Only the most recently selected channel will be auditioned.
A Meter section
■ INPUT CUE field
Indicates the output level of the L/R channel cue signal. Press the CUE OUT PATCH button below
This field enables you to make settings related to the input channel cue. the meter to open the PORT SELECT popup window, in which you can select an output port to
patch to the cue output L/R/C channels.
2 Cue point select button
Sets the cue point to PFL (immediately before fader), AFL (immediately after fader), or POST B CUE OUTPUT button
PAN (immediately after PAN). Switches cue output on or off.
NOTE
Be aware that if you turn on the POST PAN button, you will be unable to monitor signals sent to
the MONO bus from an input channel in LCR mode.

3 PFL TRIM knob

Indicates the monitor levels when PFL is selected. Use the multifunction knob to adjust the level.

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3. Use the buttons in the CUE MODE section to specify what will happen when An abbreviation for the CUE group or CUE button that is currently turned on appears above the
multiple [CUE] keys within the same CUE group are turned on. cue meters.
Select the MIX CUE button or LAST CUE button. The abbreviations displayed for the cue meters have the following meaning.
NOTE IN INPUT CUE group
[CUE] keys belonging to different CUE groups cannot be turned on simultaneously. The CUE DCA DCA CUE group
group to which the last-pressed [CUE] key belongs will be turned on, allowing only the signals of
OUT OUTPUT CUE group
that group to be monitored.
CUE button in the EFFECT and PREMIUM RACK popup windows
EFFECT
4. Use the buttons and knobs of the INPUT field, DCA field, and OUTPUT CUE field to (Other CUE groups)
specify the output position and output level for each CUE group. KEY IN CUE button in the DYNAMICS 1 popup window
KEY IN
(Other CUE groups)
Refer to the explanation for each item in step 2, and make the desired settings.

5. To specify a port as the output destination for cue signals L and R, press one of the
CUE OUTPUT buttons (L/R) in the meter field to open the PORT SELECT popup
window, and choose from the following monitor signal output destinations
(multiple selections are allowed).

CUE meter

NOTE
• When using the MIX/MATRIX bus select buttons in the SENDS ON FADER popup window, you
can press the selected button once again to turn on Cue for the corresponding MIX/MATRIX
channel (see page 43).
• If you want cue operations and channel select operations to be linked, open the USER SETUP
popup window, choose the PREFERENCE tab, and then turn on “[CUE] → [SEL] LINK”
(see page 163).

7. To adjust the cue signal level, use the MONITOR LEVEL knob located in the SCENE
MEMORY/MONITOR section on the top panel.
DANTE 1-64 Output channels 1–64 to audio network
If PHONES LEVEL LINK is ON, you can use both the MONITOR LEVEL knob and the PHONES
OMNI1–8 OMNI OUT jacks 1–8 LEVEL knob to adjust the cue signal level when monitoring through headphones.
DIGI OUT L/R DIGITAL OUT jack on the CL unit
SLOT1–1 – SLOT3–16 Output channels 1–16 of an I/O card installed in slots 1–3 8. To defeat cue, press the currently-on [CUE] key once again.
You can press the CLEAR CUE button in the Meter field of the CUE popup window to clear all
When you have selected an output port, press the CLOSE button to close the popup window.
cue selections.
6. Press the [CUE] key for a desired channel or DCA group to turn it on. NOTE
The cue signal of the corresponding channel will be sent to the output destination specified in step • If you press the CUE meter in the Function Access Area, all cue selections will be cleared.
5. • All cue selections will be cleared if you switch between MIX CUE mode and LAST CUE mode in
the CUE MODE section.
The background of the cue meter in the Function Access Area will turn blue, indicating the cue • You can also assign the function of the CLEAR CUE button to a USER DEFINED key
output level. (see page 164).

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 Talkback and Oscillator

Talkback and Oscillator Using Talkback

The Talkback function sends the signal (that is input at the input jacks) to the desired bus.

About the Talkback and Oscillator functions 1. In the Function Access Area, press the MONITOR button to access the MONITOR
screen.
Talkback is a function that sends the signal of a mic connected to the TALKBACK jack to the desired
In the MONITOR screen, the TALKBACK field enables you to check the current talkback
bus. This is used mainly to convey instructions from the operator or sound engineer to the performers
settings, and turn talkback on or off.
and staff. If necessary, you can also use a mic connected to an INPUT jack on the I/O rack or the OMNI
IN jack on the CL unit for talkback. If you want to view or edit the talkback settings in greater detail, use the TALKBACK popup
window described in step 2 and subsequent steps.
CL series consoles also feature an oscillator that can output a sine wave or pink noise to the desired bus,
so that you will be able to check external equipment or to test the acoustical response of the room or
hall.
The diagram below shows the signal flow of the talkback and oscillator signals.
O
M
N
MIX ST O MATRIX CUE
1 2 .
.
.23 24 L R (C) 1 2 .
.
.7 8 L R

CASCADE IN

SLOT1 1-16
SLOT2 1-16
SLOT3 1-16
CASCADE
IN
SELECT

+48V MASTER
+48V
ON
HA
+48V
METER TALKBACK
[TALKBACK TALKBACK 1
2
+
- AD
TB INPUT
DANTE IN 1-64
3 ON
INPUT] INPUT 1
OMNI IN 1-8 INPUT
TALKBACK SELECT
LEVEL

DANTE
IN OSCILLATOR OSC
METER METER
LEVEL ON
DANTE
[DANTE] INPUT 64
Sine Wave
Pink Noise
HPF LPF
Burst Noise

HA
+48V
METER
[OMNI IN] OMNI IN 1
2
+
- AD
3
[1-8] GAIN/TRIM
8

1 2 3 4 5

1 TALKBACK popup display button

Enables you to access the TALKBACK popup window, in which you can make detailed talkback
settings.

2 TALKBACK IN field
• +48V indicator .......................... Indicates the on/off status of the +48V phantom power
supplied to the TALKBACK jack.
• Input level meter ....................... Meters the level of signals after the input gain at the
TALKBACK jack.

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3 INPUT TO TALKBACK field ■ INPUT TO TALKBACK field

• INPUT TO TALKBACK patch button This field enables you to route a signal from a mic (connected to a normal input jack) to talkback.
.......................... Press the button to open the PORT SELECT popup window, in
which you can patch a desired input port to an input port to
3 INPUT TO TALKBACK patch button
patch to talkback. The selected port name will appear on the Press the button to open the PORT SELECT popup window, in which you can select an input port.
button. 4 +48V button
• INPUT GAIN knob.................. Sets the input gain of the selected port. This is an on/off switch for the phantom power (+48V) supplied to the selected input port.
• Input level meter....................... Indicates the level of signals after the input gain.
NOTE
4 TALKBACK ASSIGN field This button will not appear if no input port is selected.
An indicator lights to indicate the currently-selected output destination of the talkback signal. 5 ANALOG GAIN knob
5 TALKBACK ON button Indicates the analog gain setting for the selected input port. Press this knob so that you will be able
Switches talkback on or off. to use the multifunction knob to adjust the gain.

6 Level meter
2. Press the TALKBACK popup display button or the ASSIGN field to open the
Indicates the input level of a mic connected to the selected input port.
TALKBACK popup window.
In this popup window you can make detailed settings for talkback. 7 GC button
Indicates the on/off status of the Gain Compensation (gain correction) function. The button will
3 54 6 7 8 9 appear if the input jack of the I/O rack is patched.

8 Level meter
Indicates the level after Gain Compensation. It will appear if the input jack of the I/O rack is
1 patched.
2 9 TALKBACK ON/OFF button
Switches talkback on or off.

■ ASSIGN field

0 Channel select buttons

Enable you to select a channel on which the talkback signal is sent.
0
A CLEAR ALL button
Press this button to clear all selections.
A
3. Connect a mic to the TALKBACK jack on the front panel, and then rotate the
TALKBACK GAIN knob to adjust the input sensitivity of the mic signal.
■ TALKBACK IN field The meter in the TALKBACK IN field indicates the input level of the mic connected to the
This field enables you to make settings for the TALKBACK jack on the front panel. TALKBACK jack. If you want phantom power (+48V) to be supplied to the TALKBACK jack,
turn on the +48V button located in the TALKBACK IN field.
1 +48V button
Switches on or off the phantom power (+48V) supplied to the TALKBACK jack. 4. If you want to use an input jack other than the TALKBACK jack as supplementary
input for talkback, follow the steps below.
2 TALKBACK level meter
Indicates the input level of the mic connected to the TALKBACK jack. 4-1. Press the INPUT TO TALKBACK patch button in the INPUT TO TALKBACK field to
open the PORT SELECT popup window.

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4-2. Press the button for the input that you want to use for talkback to turn the button Using the Oscillator function
indicator on.
You can select only one input at a time. You can send a sine wave or pink noise from the internal oscillator to the desired bus.

4-3. Press the CLOSE button to close the popup window. 1. In the Function Access Area, press the MONITOR button to access the MONITOR
Use the INPUT TO TALKBACK field GAIN knob and level meter to adjust the input level screen.
of the connected mic. In the MONITOR screen, the OSCILLATOR field lets you check the current oscillator settings,
NOTE and turn the oscillator on or off.
The PAD will be switched on or off internally when the HA gain is adjusted between +17 dB and If you want to view or edit the oscillator settings in greater detail, use the OSCILLATOR popup
+18 dB. window described in step 2 and subsequent steps.
Keep in mind that noise may be generated when using phantom power if there is a difference
between the Hot and Cold output impedance of an external device connected to the INPUT jack.

5. Press a button in the ASSIGN field to specify the bus(es) to which the talkback
signal will be sent (multiple selections are allowed).
NOTE
You can press the CLEAR ALL button to defeat all selections.

6. To enable talkback, press the TALKBACK ON button to turn it on.

The TALKBACK ON button will alternately turn on or off each time you press the button (Latch
operation).
While talkback is on, signals from the TALKBACK jack and the selected INPUT jack will be
output to the destination buses.
NOTE 1
• You can also assign talkback on/off or an ASSIGN change to a USER DEFINED key. In this case,
you can select either a Latch operation or an Unlatch operation (the function will be enabled only 2
while you continue holding down the key) (see page 164).
• When talkback is on, you can use the talkback dimmer to lower the monitor levels other than the
talkback signal (see page 97).

3 4 5

1 OSCILLATOR popup display button

Enables you to access the OSCILLATOR popup window, in which you can make detailed
oscillator settings.

2 OSCILLATOR LEVEL field

Indicates the frequency and level of the currently-selected oscillator. A meter in this field indicates
the output level of the oscillator.
Press the LEVEL knob to adjust the oscillator level using the multifunction knob.
3 OSCILLATOR MODE field
Indicates the currently-selected oscillator mode. Pressing the MODE button repeatedly will
switch modes.

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4 OSCILLATOR ASSIGN field Mode = SINE WAVE

An indicator lights to indicate the currently-selected oscillator output destination (input channels
or buses). Use the tabs on the left to select channels or buses to display.
NOTE
In the case of the CL3/CL1, channels that do not exist on those models will not be shown.
• LEVEL knob.............. Indicates the output level of the sine wave.
5 OSCILLATOR OUTPUT button
• FREQ knob................ Indicates the frequency of the sine wave.
Turns the oscillator output on or off.

2. Press the popup button or the ASSIGN field to open the OSCILLATOR popup Mode = PINK NOISE
window.
In this popup window, you can make detailed settings for the oscillator.
1 2

5 • LEVEL knob.............. Indicates the output level of the pink noise.

• HPF knob................... Indicates the cutoff frequency of the HPF that processes pink noise.
Use the button below the knob to switch the HPF on or off.
4
• LPF knob.................... Indicates the cutoff frequency of the LPF that processes pink noise.
Use the button below the knob to switch the LPF on or off.

Mode = BURST NOISE

• LEVEL knob, HPF knob, and

LPF knob.................... Same as in PINK NOISE mode.
• WIDTH...................... Indicates the length of noise being output intermittently.
1 OSCILLATOR MODE buttons • INTERVAL ................ Indicates the length of silence between noise bursts.
Select one of the following three oscillator operating modes:
Level
SINE WAVE When the oscillator is turned on, a sine wave will be output continuously. INTERVAL
Pink noise output
PINK NOISE When the oscillator is turned on, pink noise will be output continuously.
WIDTH
BURST NOISE When the oscillator is turned on, pink noise will be output intermittently.

2 Parameter field
Enables you to set the oscillator parameters. The controllers and their functions in this field vary
depending on the selected mode. You can adjust the values by using the multifunction knobs.

Time
Turn BURST NOISE button is on.

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 Talkback and Oscillator

3 ASSIGN section
Enables you to select a channel to which the oscillator signal will be sent. Press one of the three
tabs located at the bottom of the screen, then press the button(s) for the channel(s) in this section
(multiple selections are allowed).
You can press the CLEAR ALL button to defeat all selections.
NOTE
In the case of the CL3/CL1, channels that do not exist on those models will not be shown.

4 Meter section
Indicates the oscillator output level.

5 OSCILLATOR OUTPUT button

Turns the oscillator on or off.

3. Press a button in the MODE field to select the type of signal you want to output.

4. Use the knobs and buttons in the parameter field to adjust the oscillator
parameters.
The displayed parameters will differ depending on the oscillator selected in the MODE field. The
knobs shown in the parameter field can be operated using the corresponding multifunction
knobs.

5. Press a button in the ASSIGN field to specify the input channel(s) or bus(es) to
which the oscillator signal will be sent (multiple selections are allowed).

6. To enable the oscillator, press the OUTPUT button to turn it on.

The oscillator signal will be sent to the input channel or bus you selected in step 5. When you press
the button again, the oscillator will turn off.

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 Meters

Meters INPUT METER screen

This screen shows the meters and faders for all input channels.
This chapter explains the METER screen that shows the input and output level meters for all channels,
and operations related to the optional MBCL meter bridge.

Operations in the METER screen

By accessing the METER screen, you can view the input and output levels of all channels on the screen,
and switch the level meter’s metering points (the points in the signal route at which the level is
detected).

1. In the Function Access Area, press the METER field to access the METER screen.

NOTE
In the case of the CL3/CL1, channels that do not exist on those models will not be shown.

OUTPUT METER screen

This screen shows the meters and faders for all output channels.

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 Meters

INPUT/OUTPUT tabs Centralogic fader display

Use these tabs to switch between the INPUT METER screen and OUTPUT METER screen. This area displays the level of the faders currently set in the Centralogic section.

Input level and meter display

METERING POINT field
This area displays the meter and fader for each input channel.
Select one of the following as the metering point at which the level will be detected.
1
2 ■ For INPUT METER
3
4 • PRE HPF.................... Immediately before the HPF
• PRE FADER .............. Immediately before the fader
• POST ON................... Immediately after the [ON] key

■ For OUTPUT METER

• PRE EQ ...................... Immediately before the EQ
5 • PRE FADER .............. Immediately before the fader
• POST ON................... Immediately after the [ON] key
NOTE
On the CL3 or CL1 console, the metering point for output channels will also affect the optional
1 Channel number meter bridge (MBCL).
Indicates the channel number.

2 Σ clipping indicator PEAK HOLD button

Lights to indicate that a signal is clipping at some point in the channel. Turn on this button to hold the peak level indication on each meter. Turn off this
button to clear the peak hold indication.
3 OVER indicator
Lights if the signal is clipping at the input section of the input channel. 2. If necessary, press a meter point select button to switch the
4 Meter metering point.
Indicates the input level of the input channel. The metering point for the level meters can be set independently for input channels and output
channels.
5 Fader
The input level is indicated by the fader position and a numeric value (in dB) that appears 3. If you want the peak levels of the level meter to be held, press the PEAK HOLD
immediately below the fader. button to turn it on.
NOTE PEAK HOLD button on/off operations will affect both input channels and output channels as well
Press any part of the meter area to assign the corresponding fader bank to the Centralogic as the MBCL meter bridge. When you turn this button off, the peak level indications that had
section. been held will be cleared.
NOTE
You can also assign the PEAK HOLD button on/off function to a USER DEFINED key
(see page 164).

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 Meters

Using an MBCL meter bridge (optional) on the CL3

or CL1 console
If the optional meter bridge (MBCL) is installed on the CL3 or CL1 console, you will always be able to
view the output levels of MIX, MATRIX, STEREO, MONO, and CUE channels.
The MBCL meters indicate the MIX channel and MATRIX channel output levels in 12-segment steps
(OVER, –3 dB, –6 dB, –9 dB, –12 dB, –15 dB, –18 dB, –24 dB, –30 dB, –40 dB, –50 dB, –60 dB).
You can select the metering point (the point at which the level is detected) from the following choices.
For information on how to change the metering point, refer to the section “Operations in the METER
screen” on page 108.
• PRE EQ .......................Immediately before the EQ
• PRE FADER ...............Immediately before the fader
• POST ON ...................Immediately after the [ON] key

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 Graphic EQ, effects, and Premium Rack

Graphic EQ, effects, and Premium Rack GEQ

RACK IN GEQ RACK1(GEQ1) INSERT IN
PATCH
PATCH (INPUT CH)
MIX METER RACK IN METER RACK OUT
INSERT OUT 31BandGEQ OMNI IN 1-8
This chapter explains how to use the built-in graphic EQ, effects, and Premium Rack. 1-24 SLOT1 1-16
STEREO METER RACK IN A METER RACK OUT A
SLOT2 1-16
INSERT OUT METER RACK IN B METER RACK OUT B
SLOT3 1-16
L,R,MONO(C)
GEQ1 IN Flex15GEQ FX1-8 OUT
MATRIX A(L)/B(R)
About the virtual rack INSERT OUT
1-8 GEQ2-16 IN
A(L)/B(R)

PR 1-8 OUT
A(L)/B(R) GEQ RACK2-16(GEQ2-16) (same as GEQ RACK1) A(L)/B(R) CH INSERT IN 1-72{64,48}
To CH INSERT IN

CL series consoles enable you to use the built-in graphic EQ (subsequently abbreviated as “GEQ”) and 72

EFFECT
effects/processors to modify signals. You can use two types of GEQ: 31BandGEQ which enables you to RACK IN
PATCH
EFFECT RACK1(FX1)
INSERT IN
freely adjust thirty-one bands (frequency regions), and Flex15GEQ which enables you to adjust any METER RACK IN METER RACK OUT PATCH
(OUTPUT CH)
24
MIX INSERT IN 1-24
To MIX INSERT IN
31BandGEQ STEREO INSERT IN L,R,MONO(C)
fifteen of thirty-one bands. You can also use 54 different effect types. The CL series consoles feature MIX OUT
1-24
OMNI IN 1-8
3
To STEREO INSERT IN

METER RACK IN A METER RACK OUT A SLOT1 1-16 MATRIX INSERT IN 1-8
Premium Rack, which employs VCM technology. This technology models analog circuitry on a MATRIX OUT METER RACK IN B METER RACK OUT B SLOT2 1-16 8
To MATRIX INSERT IN

SLOT3 1-16
component level to faithfully reproduce amazing analog sounds. The Premium Rack offers six types of 1-8 Flex15GEQ
METER RACK IN L METER RACK OUT L GEQ1-16
STEREO OUT
processors. L,R,MONO(C) METER RACK IN R METER RACK OUT R OUT
A(L)/B(R)
CH EFFECT
In order to use a GEQ, effect, or Premium Rack, you must mount the GEQ, effect, or Premium Rack in INSERT OUT FX1 IN EFFECT CUE
FX1 OUT
1-72{64,48} A(L)/B(R)
each virtual rack, and patch the input and output of that rack to the desired signal route. In other words, A(L)/B(R)

FX2-8 IN
the operation is just as though you had installed a signal processor or effect device in an actual rack, A(L)/B(R)
EFFECT RACK2-8(FX2-8) (same as EFFECT RACK1) FX2-8 OUT
A(L)/B(R)

and used patch cords to connect it. You can mount a GEQ instance in each of the sixteen racks 1–16,
PREMIUM
an effect rack instance in each of the eight racks 1–8, and a Premium Rack instance in each of the eight RACK IN
PATCH
PREMIUM RACK1(PR1)

racks 1–8. METER RACK IN L METER RACK OUT L

METER RACK IN R METER RACK OUT R
Up to two channels of input and output can be used for each rack. (However if the “31BandGEQ” is PROCESSOR
PR1 IN EFFECT CUE
mounted in a rack, there will be only one channel each for input and output.) A(L)/B(R)
PR1 OUT
A(L)/B(R)

The figure below shows the signal flow for the virtual racks. PR2-8 IN
A(L)/B(R)
PREMIUM RACK2-8 (same as PREMIUM RACK1) PR2-8 OUT
A(L)/B(R)

NOTE
The CL console provides a rack for mounting an I/O rack (such as an Rio series), external head
amps (Yamaha AD8HR, SB168-ES, etc.) as well as the virtual rack for GEQ, effects and Premium
Rack. For details, see “I/O rack and external head amp” on page 135.

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 Graphic EQ, effects, and Premium Rack

Virtual rack operations 2 Rack mount popup button

Press this button to open the RACK MOUNTER popup window, in which you can select the type
This section explains how to mount a GEQ or effect in the virtual rack, and patch the input and output of the rack you want to mount.
of the rack as an example.

1. In the Function Access Area, press the RACK button to access the VIRTUAL RACK
window.

3 SAFE toggle button

Switches Recall Safe on or off for the rack. Racks with Recall Safe on will be excluded from Recall
operations.

4 INPUT PATCH button

Press this button to open the CH SELECT popup window, in which you can select the path of the
signal patched to the rack input. The selected path will appear on the button.

2. In the upper part of the VIRTUAL RACK window, press the GEQ 1–8, GEQ 9–16, or
EFFECT tab to access the GEQ or EFFECT field. If the type is EFFECT, two buttons (L/R) will appear. If the type is Flex15GEQ, two buttons (A/B)
will appear. If the type is 31BandGEQ, one button will appear.
1 1
5 OUTPUT PATCH button
Press this button to open the CH SELECT popup window, in which you can select the path of the
signal patched to the rack output. The selected path will appear on the button.

If the type is EFFECT, two buttons (L/R) will appear. If the type is Flex15GEQ, two buttons (A/B)
will appear. If the type is 31BandGEQ, one button will appear.
NOTE
For the CL3/CL1, the INPUT PATCH/OUTPUT PATCH fields will be shown crossed-out if a
channel that does not exist on that model has been specified.

6 Rack container
23 4 6 5 23 4 6 5 Indicates the contents of the rack. This container varies depending on the rack type you selected
in the RACK MOUNTER popup window.
1 Rack tabs
Selects the type of rack you want to display on the screen. Choose from GEQ 1–8 and GEQ 9–16
(GEQ rack), EFFECT (effect rack), PREMIUM (Premium Rack), I/O RACK, and EXTERNAL
HA (external head amp rack).

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• If nothing is mounted: 3. To mount a GEQ or effect in the rack, press the rack mount button for that rack.
The RACK MOUNTER popup window will appear.
1 2 1 2

Press this area to open the RACK MOUNTER popup window, in which you can select the GEQ
or effect that will be mounted in the rack.
• If 31BandGEQ is mounted:

3 4 5 3 4 5

1 Rack number
This area indicates the settings for each band, GEQ on/off status, and input/output level. Press this
This indicates the number of the selected rack.
area to open the GEQ EDIT popup window, in which you can modify the GEQ settings.
• If Flex15GEQ is mounted: 2 Virtual rack
This area indicates the GEQ or effect selected via the MODULE SELECT buttons.

3 MODULE SELECT
Use these buttons to select the GEQ or effect that will be mounted in the rack. Each button has
the following function.
This area indicates the settings for each band, the GEQ on/off status, and the input and output • BLANK button .......................... Removes the GEQ or effect currently mounted in the rack; the
levels for A and B respectively. Press this area to open the GEQ EDIT popup window, in which rack will be empty.
you can modify the GEQ settings for A and B. • 31BandGEQ button.................. Mounts a 31BandGEQ in the rack.
• If an effect is mounted (EFFECT rack only): • Flex15GEQ button.................... Mounts a Flex15GEQ in the rack.
This area indicates the effect type, number of inputs and outputs, bypass on/off status, and the • EFFECT button ......................... Mounts an effect in the rack.
input/output level. Press this area to open the EFFECT EDIT popup window, in which you can
modify the effect settings. NOTE
Input/output patching will be defeated if you change the item mounted in a rack.

4 CANCEL button
Cancels the changes you made in the RACK MOUNTER popup window, and closes the window.
7
5 OK button
Applies the changes you made in the RACK MOUNTER popup window, and closes the window.
7 Link indicator
NOTE
Indicates that an odd-numbered rack and even-numbered rack of the 31BandGEQ, or A and B of
• Be aware that if you remove a GEQ or effect that was mounted in a rack and close the window,
the Flex15GEQ are linked each other. all edits to the parameter settings for that GEQ or effect will be discarded. If you have not yet
closed the window, you can recover the parameter settings by mounting the same GEQ or effect
once again.
• You can also display the RACK MOUNTER popup window by pressing a vacant rack in the GEQ/
EFFECT field.

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4. Use the MODULE SELECT buttons to select the item you want to mount, and press 2 Channel select buttons
the OK button. Use these buttons to select the input source.

5. To select the input source for a rack, press the INPUT PATCH button for that rack. 3 CLOSE button
The CH SELECT popup window will appear, allowing you to select the input source for the rack. Closes the popup window.
Switch the tabs as necessary, and select the input source that you want to use. NOTE
When you select an input source in the CH SELECT popup window, a dialog box will ask you for In the case of the GEQ, if the insert-in is selected, the other patch point will automatically be
confirmation. To confirm the operation, press the OK button. assigned to the same rack. Also, insert mode will automatically be switched on. Additionally, if
you defeat the insert-out or insert-in of a GEQ, the other patch point will automatically be
NOTE defeated and at the same time insert mode will automatically be switched off. For more
• You have the option of making settings so that the confirmation dialog box will not appear information on insert-in/out, see “Inserting an external device into a channel” on page 21.
(see page 163).
• Normally you can specify two channels of input for each rack. However if you have selected 6. To select the output source for a rack, press the OUTPUT button for that rack.
31BandGEQ, only one channel can be used.
The CH SELECT popup window will appear, allowing you to select the output destination for the
rack. Switch the list items as necessary, and select the output destination that you want to use.
When you select an output destination in the CH SELECT popup window, a dialog box will ask
you to confirm the change. To confirm the change, press the OK button.
NOTE
• You can make settings such that the confirmation dialog box will not appear (see page 163).
• Normally you will be able to specify two channels of output for a rack, but if the 31BandGEQ is
selected only one channel can be used.

1 3 2
1 Category select list
Selects the category of channel shown in the popup window.
• OUT CH ............................................ MIX 1–24, MATRIX 1–8 *1
• ST/MONO......................................... STEREO L/R, MONO *1
• INSERT OUT 1–32.......................... CH 1–32 *1
• INSERT OUT 33–64 ....................... CH 33–64 *1 1 3
• INSERT OUT 65–72 ....................... CH 65–72 *1
• INSERT OUT MIX/MATRIX ....... MIX 1–24, MATRIX 1–8 1 Category select list
• INSERT OUT ST/MONO .............. STEREO L/R, MONO Selects the category of channel shown in the popup window.
• CH 1–32 ...................................... CH 1–32 *1
*1. Not displayed for GEQ 1–16 RACK.
• CH 33–64.................................... CH 33–64 *1
NOTE • CH 65–72.................................... CH 65–72 *1
In the case of the CL3/CL1, channels that do not exist on those models will not be shown.

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• INSERT IN 1–32 ....................... CH 1–32 *1 Graphic EQ operations

• INSERT IN 33–64..................... CH 33–64 *1
• INSERT IN 65–72..................... CH 65–72 *1
About the graphic EQ
• INSERT IN MIX/MATRIX..... MIX 1–24, MATRIX 1–8
The CL series console enables you to mount a GEQ in GEQ racks 1–16 and patch it to the insert-out
• INSERT IN ST/MONO............ STEREO L/R, MONO
and insert-in of a MIX/MATRIX channel or STEREO/MONO channel. You can also mount it in
*1. Not displayed for GEQ 1-16 RACK. EFFECT racks 1–8 (FX 1–8) and patch it to the insert-out/in of an input channel, MIX/MATRIX
channel or STEREO/MONO channel. The gain of each band can be adjusted using the faders and [ON]
NOTE
• In the case of the CL3/CL1, channels that do not exist on those models will not be shown.
keys in the Centralogic section.
• If you use CL5 settings data on the CL3/CL1, or CL3 settings data on the CL1, buttons will be The following two types of GEQ are provided.
shown crossed-out if they are assigned to a channel that does not exist on that model.
■ 31BandGEQ
2 Channel select buttons
This is a monaural 31-band GEQ. Each band is 1/3 octave INPUT OUTPUT
Use these buttons to select the output destination. wide, the adjustable gain range is ±15 dB, and the gain of
Rack

3 CLOSE button all thirty-one bands can be adjusted.

31BandGEQ
Closes the popup window. If a 31BandGEQ is mounted in a rack, one channel of input
and output can be used for that rack.
7. To switch Recall Safe on/off for each rack, press the SAFE button for that rack.
If Recall Safe is turned on for a rack, the contents and parameters of that rack will not change ■ Flex15GEQ
when a scene is recalled. For more information on Recall Safe, “Using the Recall Safe function” This is a monaural 15-band GEQ. Each band is 1/3 octave INPUT OUTPUT
Rack
on page 87. wide, and the adjustable gain range is ±15 dB. The
Flex15GEQ enables you to adjust the gain for any fifteen of Flex15GEQ (A)
NOTE the same bands as the thirty-one bands of the 31bandGEQ. Flex15GEQ (B)
The type of GEQ or effect mounted in each rack, its parameter settings, and the input-source and
(Once you have used up fifteen bands of adjustment, you
output-destination settings are saved as part of the scene.
will not be able to adjust the gain of another band until you reset a previously-adjusted band to the flat
setting.)
A rack for which the Flex15GEQ is selected will have two Flex15GEQ units (shown as “A” and “B”
respectively) mounted in that rack, and will allow two channels of input and output. If you mount a
Flex15GEQ in each rack, you will be able to use up to sixteen GEQ units simultaneously.

Inserting a GEQ in a channel

This section explains how to insert a GEQ into the selected channel for use.

1. Refer to steps 1–6 in the “Virtual rack operations” on page 112 section to mount a
GEQ in a rack and set its input source and output destination.
The rack shown in the GEQ field indicates the approximate GEQ settings and the input and
output levels. A rack in which a Flex15GEQ is mounted will show information for two GEQ units
(A and B).
NOTE
If you are using a stereo source, you can mount a Flex15GEQ, or mount two 31BandGEQ units
in adjacent odd-numbered/even-numbered racks. This will let you link the two GEQ units in a later
step.

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2. In the GEQ field, press the rack in which you mounted the GEQ. 3. If you are using a stereo source, link the two GEQ units.
The GEQ popup window will appear, allowing you to edit the GEQ parameters. You will be able to use the GEQ LINK button if you have selected a 31BandGEQ or Flex15GEQ
for adjacent odd-numbered/even-numbered racks. When you turn this button on, the following
NOTE
The popup windows for the 31BandGEQ and the Flex15GEQ are nearly identical. However, the
popup window will appear. To enable linking, press any button other than CANCEL. The popup
Flex15GEQ individually displays two GEQ units (A and B) mounted in a single rack. window contains the following items.
2 3 4 5 6

1
2
3

1 GEQ x➞y button (“x” and “y” are the rack number, or the rack number and
alphabetical character A or B)
The parameters of “x” will be copied to “y,” and then linked.

2 GEQ y➞x button

1
The parameters of “y” will be copied to “x,” and then linked.
1 Rack select tabs 3 RESET BOTH button
Switch among GEQ 1–8 or among GEQ 9–16. For a rack in which a Flex 15 GEQ is mounted, the The parameters of both will be initialized, and then linked.
tabs will be split as xA and xB (x is the rack number).
4 CANCEL button
2 INPUT button Cancels the link and closes the popup window.
Opens the CH SELECT popup window, in which you can select the input source of the rack. The When you link GEQ units, a symbol will appear in the GEQ field to indicate the linked status.
operating procedure is the same as for the INPUT PATCH button in the GEQ field.

3 OUTPUT button
Opens the CH SELECT popup window, enabling you to select the output destination of the rack.
The operating procedure is the same as for the OUTPUT PATCH button in the GEQ field.

4 GEQ LINK button

Links adjacent GEQ units.
In the case of a 31bandGEQ, the GEQ units in adjacent odd-numbered/even-numbered racks will
4. Press the GEQ ON/OFF button to turn the GEQ on.
be linked. In the case of a Flex15GEQ, the GEQ(A) and GEQ(B) within the same rack will be After you have turned the GEQ on, adjust the bands of the GEQ.
linked. For details on GEQ operations, refer to the following section “Using the 31BandGEQ” on
page 117, or “Using the Flex15GEQ” on page 118.
NOTE
The GEQ LINK button is shown only if linking is possible. NOTE
You can view the input and output levels of the GEQ in the rack in the GEQ field.
5 FLAT button
Returns all bands of the currently selected GEQ to 0 dB.

6 GEQ ON/OFF button

Switches the currently-selected GEQ on or off.

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Using the 31BandGEQ The buttons in the FADER ASSIGN field correspond to the following groups of bands.
You will use the Centralogic section’s faders 1–8 and [ON] keys to control the 31BandGEQ. 20–100 Eight bands 20.0 Hz–100 Hz
63–315 Eight bands 63.0 Hz–315 Hz
1. Refer to steps 1–6 in the “Virtual rack operations” section on page 112 to mount a 200–1k Eight bands 200 Hz–1.00 kHz
31BandGEQ in a rack and set its input source and output destination.
630–3.15k Eight bands 630 Hz–3.15 kHz
The rack in which the 31BandGEQ is mounted will show the approximate settings and input and
2k–10k Eight bands 2.00 kHz–10.0 kHz
output levels.
4k–20k Eight bands 4.00 kHz–20.0 kHz
2. In the GEQ field, press the rack in which you mounted the 31BandGEQ. When you press one of these buttons, the faders for the bands selected on screen will turn white,
The GEQ popup window will appear. In the GEQ popup window you can use the tabs to switch and the numbers of the corresponding faders in the Centralogic section will be displayed. Now
among the eight racks. you can use the faders in the Centralogic section to control the band.
NOTE
The above operation is possible even if the Centralogic section is locked. When you turn off the
button in the FADER ASSIGN field, it will return to the locked state.

1
5. Operate the faders in the Centralogic section.
The corresponding frequency region will be boosted or cut.
NOTE
2 When a fader in the Centralogic section is set to the center (flat) position, the corresponding [ON]
key indicator will turn off. This indicates that the corresponding band is not being modified. If you
raise or lower the fader even the slightest amount, the [ON] key will light, indicating that this band
has been modified. If you press a lit [ON] key to make it go dark, the corresponding band will
3 immediately return to the flat state.

6. Repeat steps 4 and 5 to adjust each band.

NOTE
1 EQ graph If you switch the display to a different screen or rack, the fader assignments in the Centralogic
Indicates the approximate response of the current 31BandGEQ. section will forcibly be defeated. However, if you once again display the same rack, the group of
bands you had previously been controlling will automatically be assigned to the faders.
2 Faders
Indicate the amount of boost and cut for each band of the 31BandGEQ. The actual values are 7. When you have finished making settings, turn off the buttons in the FADER ASSIGN
shown in the numerical boxes below. field.
The faders and [ON] keys in the Centralogic section will return to their previous function.
3 FADER ASSIGN field
In this field you can select the group of bands that will be controlled by the Centralogic section’s NOTE
faders. When you close the GEQ popup window, the buttons in the FADER ASSIGN field automatically
turn off.
3. Press the GEQ ON/OFF button to turn the 31BandGEQ on.
8. If you want to copy the currently-displayed 31BandGEQ settings to the GEQ of
4. Press one of the buttons in the FADER ASSIGN field to select the group of bands another rack, or to initialize the settings, you can do so using the tool buttons at
you will control using the Centralogic section’s faders. the top of the popup window.
For details on how to use these buttons, refer to “Using the tool buttons” in the separate Owner’s
Manual.
NOTE
• Only 31BandGEQ settings that use fifteen bands or less can be copied to a Flex15GEQ.
• GEQ settings can be saved and recalled at any time using the dedicated library.

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Using the Flex15GEQ When you press one of these buttons, the faders for the bands selected on the touch screen will
turn white, and the numbers of the corresponding faders in the Centralogic section will be
You will use the Centralogic section’s faders 1–8 and [ON] keys to control the Flex15GEQ.
displayed. Now you can use the faders in the Centralogic section to control the band.
1. Refer to steps 1–6 in the “Virtual rack operations” section on page 112 to mount a NOTE
Flex15GEQ in a rack and set its input source and output destination. The above operation is possible even if the Centralogic section is locked. When you turn off the
A rack in which a Flex15GEQ is mounted will show information for two GEQ units (A and B). button in the FADER ASSIGN field, the faders will return to the locked state.

5. Operate the faders in the Centralogic section.

For each of a Flex15GEQ’s two GEQ units (A and B), a maximum of fifteen bands can be controlled.
The AVAILABLE BANDS parameter box in the FADER ASSIGN field indicates the real-time
number of additional bands that can be controlled in the current GEQ. If you have used all fifteen
NOTE bands, you will have to return one of these bands to the flat position before you can operate any
If you mount a Flex15GEQ, two monaural 31BandGEQ units will be placed in a single rack. other band.
However, only up to fifteen bands can be adjusted for each unit.

2. Press the rack in which you mounted the Flex15GEQ.

The GEQ popup window for GEQ(A) or GEQ(B) will appear.

NOTE
• The [ON] key will light if you raise or lower a fader even the slightest amount. This indicates that
the corresponding band has been modified.
• To quickly return a boosted or cut band to the flat position, press the corresponding [ON] key in
the Centralogic section to make it go dark.

6. Repeat steps 4 and 5 to adjust up to fifteen bands.

NOTE
If you switch the display to a different screen, the fader assignments in the Centralogic section
will forcibly be defeated. However if you once again display the same rack, the group of bands
you had previously been controlling will automatically be assigned to the faders.

7. When you have finished making settings, turn off the buttons in the FADER ASSIGN
This window is the same as that for the 31BandGEQ, except that the AVAILABLE BANDS field.
parameter box indicates the real-time number of additional bands (maximum 15) that can be The faders and [ON] keys in the Centralogic section will return to their previous function.
controlled in the current GEQ.
NOTE
For a rack in which a Flex15GEQ is mounted, the rack switch tabs will be split as xA and xB (x is
When you close the GEQ popup window, the buttons in the FADER ASSIGN field automatically
the rack number). turn off.

3. Press the GEQ ON/OFF button to turn the Flex15GEQ on. 8. If you want to copy the currently-displayed Flex15GEQ settings to the GEQ of
another rack, or to initialize the settings, you can do so using the tool buttons at
4. Press one of the buttons in the FADER ASSIGN field to select the group of bands
the top of the popup window.
you will control using the Centralogic section’s faders.
For details on how to use these buttons, refer to “Using the tool buttons” in the separate Owner’s
For details on the bands corresponding to each button in the FADER ASSIGN field, refer to step
Manual.
4 of “Using the 31BandGEQ” on page 117.
NOTE
GEQ settings can be saved and recalled using the dedicated library.

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About the internal effects ■ STEREO type effects

INPUT L EFFECT L L RETURN
The internal effects of the CL series console can be mounted in EFFECT racks 1–8, and patched to an
output channel’s output or input channel’s input, or inserted into a channel. For each effect mounted in INPUT R EFFECT R R RETURN
a rack, you can choose one of 54 types of effect.
With the default settings, the signals from MIX channels 17–24 are input to racks 1–8, and from the ■ MIX type effects
racks are then output to ST IN 1–8 (L/R).
INPUT L L RETURN
NOTE EFFECT
INPUT R R RETURN
Some effect types can be mounted only in racks 1, 3, 5 or 7.
If a signal is assigned to only one input of a two-input effect, it will be processed as mono-in/stereo-out
To use an internal effect via send and return, assign the output of a MIX channel. to the input of the regardless of whether a Stereo effect type or Mix effect type is selected. However, please note that this
effect, and assign the output of the effect to an input channel. In this case, the corresponding output will not apply to COMP276, COMP276S, COMP260, COMP260S, EQUALIZER601, and OPENDECK.
channel is used as a master channel for the effect send, and the input channel is used as an effect return L RETURN
INPUT
channel. L or R EFFECT
R RETURN
Rack 1
EFFECT
Using an internal effect via send and return
Rack 2
This section explains how to use a MIX bus as an effect send bus and a ST IN channel as an effect return
EFFECT
channel, so that the effect can be used in a send and return configuration.
OUTPUT PATCH

INPUT PATCH

Output of the Input of the input NOTE

output channel channel • If you want to use a MIX bus as an effect send bus, select “VARI” as the bus type. This will allow
Rack 7 you to adjust the send level separately for each input channel.
• If you want to use the input to an effect in stereo, it can be convenient to assign the send
EFFECT
destination MIX bus to stereo. (For details on bus assignments, see page 48.)
Rack 8
EFFECT 1. Follow steps 1–3 described in “Virtual rack operations” on page 112, to mount an
effect in a rack.
Alternatively, you can assign the input and output of the internal effect to the insert-out/in of a desired The rack in which an effect is mounted will indicate the effect type used by that effect, the number
channel (except for a ST IN channel), so that the effect is inserted into that channel. of inputs and outputs, and the levels before and following the effect.

Insert-out of a Insert-in of a
EFFECT
desired channel* desired channel*

* Excluding a ST IN channel

The internal effects are categorized into two groups: “STEREO type” (2-in/2-out) effects that process
the L/R channel input signals independently, and “MIX type” (1-in/2-out) effects that mix the two
channels before processing them.
If signals are assigned to both the L and R inputs of an effect, the way in which the L/R channels are
processed will depend on whether a Stereo effect type or a Mix effect type is selected, as follows.

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2. Press the INPUT L button to open the CH SELECT popup window, and select a MIX 2 OUTPUT L/R buttons
channel as the input source for the rack. Press these buttons to open the CH SELECT popup window. The operating procedure is the same
For details on the CH SELECT popup window, refer to step 5 of “Virtual rack operations” on as for the OUTPUT button in the GEQ field.
page 112. The output of the MIX channel you are using as the effect send is now assigned to the
3 Input/output meters
L input of the effect.
Indicate the level of the signals before and after the effect.
If you are using a stereo source, assign the L/R signals of the stereo MIX channel to the L/R inputs
of the rack. 4 MIX BAL. knob
This knob adjusts the balance between the original sound and the effect sound included in the
3. Press the OUTPUT L button to open the CH SELECT popup window, and select the output signal from the effect. If you press this knob to select it, you will be able to adjust it using
L input of the desired ST IN channel as the output-destination for the rack. the corresponding multifunction knob.
For details on the CH SELECT popup window, refer to step 6 of “Virtual rack operations” on
page 112. The L input of the ST IN channel used as the effect return channel is now assigned to 5. As necessary, use the multifunction knob to adjust the MIX BAL. knob.
the L output of the effect. Adjusts the balance between the original sound and the effect sound included in the output signal
If you are using the output of the effect in stereo, assign the R input of the same ST IN channel to from the effect. This parameter is provided for all effect types.
the R output of the rack in the same way. If you are using the effect via send and return, set this to 100% (effect sound only).
NOTE NOTE
You can select more than one output destination for the effect. For more information on setting the effect parameters, see “Editing the internal effect parameters”
on page 122.
4. Press the rack in which you mounted the effect.
The EFFECT popup window will appear, allowing you to edit the effect parameters. 6. To adjust the effect send level of an input channel, use the Bank Select keys in the
Centralogic section to access the OVERVIEW screen that includes the input channel
2 you want to control.

3
1

1 INPUT L/R buttons

Press these buttons to open the CH SELECT popup window. The operating procedure is the same
as for the INPUT button in the GEQ field.

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7. Make sure that a MIX bus is selected as the send-destination in the TO MIX/TO 2. Press the INPUT L button to open the CH SELECT popup window, and select the
MATRIX field. insert-out of a channel as the input-source.
If a MATRIX bus has been selected as the send-destination (the field indicates “TO MATRIX”), For details on the CH SELECT popup window, refer to step 5 of “Virtual rack operations” on
use the SELECTED CHANNEL VIEW screen’s TO MIX/TO MATRIX button to switch to a MIX page 112. Insert-out is now assigned to the L input of the effect.
bus.
3. Press the OUTPUT L button to open the CH SELECT popup window, and select the
8. Press the TO MIX SEND LEVEL knob that corresponds to the desired MIX bus, and insert-in of the same channel as the output-destination.
turn the multifunction knob to adjust the send level of the signal sent from each For details on the CH SELECT popup window, refer to step 6 of “Virtual rack operations” on
channel to the MIX bus. page 112. Insert-in is now assigned to the L output of the effect.
In this state you can adjust the send level of the signal sent from the input channel to the internal If you are inserting an effect into a channel that handles a stereo source, assign the R channel
effect. Adjust the send level of other input channels in the same way. insert-out/insert-in to the R input and output.
If you press the selected knob once again, the MIX SEND popup window (8 ch) for the send-
destination MIX bus will appear. This popup window contains on/off switches for the signals sent 4. Use the Bank Select keys in the Centralogic section to access the OVERVIEW screen
from each channel to the corresponding bus, and lets you select the send point (PRE or POST) for the channel into which you inserted the effect.
(see page 41).
5. Press the INSERT/DIRECT OUT field to access the INSERT/DIRECT OUT popup
NOTE window.
At this time, you make sure that the send level from the ST IN channel you selected in step 3 to
the corresponding MIX bus is set to 0. If you raise this send level, the output of the effect will be Make sure that the rack you inserted into the input and output ports is selected. For more
returned to the input of the same effect, possibly causing oscillation. information on insert-out/in, see “Inserting an external device into a channel” on page 21.

9. To adjust the master level of the effect send, call up the MIX channel you specified 6. Turn on the INSERT ON/OFF button for the channel into which you inserted the
as the input-source of the rack in step 2 to the Centralogic section, and adjust the effect.
corresponding fader. If it is off, press the button to turn it on. In this state, effect insertion is enabled for the
Set the level as high as possible without allowing the post-effect signal to reach the overload point. corresponding channel.
NOTE 7. In the Function Access Area, press the RACK button to access the VIRTUAL RACK
The input and output levels of the effect are shown by the input/output meters in the upper right window, and use the EFFECT tab to display the EFFECT field.
of the EFFECT popup window.
8. Press the effect rack that you inserted into the channel. The EFFECT popup window
10. To adjust the effect return level, operate the ST IN channel that you selected as the
will appear.
output-destination for the rack in step 3.
In this popup window you can edit the effect parameters.

Inserting an internal effect into a channel 9. Select the effect type and edit the effect parameters.
This section explains how to insert an effect into a channel by assigning the input/output of the internal For details on editing the effect parameters, refer to “Editing the internal effect parameters.”
effect to the input/output of the desired channel (except for a ST IN channel). NOTE
• The levels before and after the effect are shown by the input and output meters in the upper right
1. Follow steps 1–3 described in “Virtual rack operations” on page 112, to mount an of the EFFECT popup window.
effect in a rack. • Adjust the effect send master level and the effect parameters so that the signal does not reach
The rack in which an effect is mounted will indicate the effect type used by that effect, the number the overload point at the input or output stage of the effect.
of inputs and outputs, and the levels before and after the effect.
10. Using the fader of the channel you selected as the rack’s output destination in step
3, adjust the level as appropriate.

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Editing the internal effect parameters 1 INPUT L/R buttons

This section explains how to change the effect type and edit the parameters. Press these buttons to open the CH SELECT popup window.

2 OUTPUT L/R buttons

1. Follow steps 1–3 described in “Virtual rack operations” on page 112, to mount an
Press these buttons to open the CH SELECT popup window.
effect in a rack.
A rack in which an effect is mounted will show the following information. 3 Effect type field
Displays the effect title, the name of the type that is used, and a graphic. The number of input and
1 2
output channels (1 IN/2 OUT or 2 IN/2 OUT) of this effect is also shown. Press this field to open
the EFFECT TYPE popup window, in which you can select the effect type.

4 EFFECT CUE button

Enables you to cue-monitor the output of the currently-displayed effect. This Cue function is
1 Effect title/type valid only while this screen is displayed. The cue will be canceled automatically when you switch
This area indicates the effect title, the name of the type that is used, and a graphic. The number of to a different screen.
input/output channels (1 IN/2 OUT or 2 IN/2 OUT) of this effect is also shown. 5 Special parameter field
2 Input/output meters Indicates special parameters that are specific to some effect types.
Indicate the level of the signals before and after the effect. 6 BYPASS button
Temporarily bypasses the effect.
2. Press the rack in which the effect you want to edit is mounted.
The EFFECT popup window will appear, allowing you to edit the effect parameters. In the 7 Input/output meters
EFFECT popup window you can use the tabs to switch among the eight racks (EFFECT 1 – Indicate the level of the signals before and after the effect.
EFFECT 8).
8 Effect parameter field
3 42 5 This area indicates parameters for the currently-selected effect type. When you press a knob in
this field, you will be able to use the multifunction knobs to control the corresponding horizontal
row of knobs.
6
You can also make fine adjustments by rotating a knob while pressing and holding it down.
9 Rack select tabs
7 Use these tabs to switch among EFFECT 1–8.
1

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3. To change the effect type, press the effect type field to open the EFFECT TYPE ■ TEMPO
popup window. This field appears if a tempo-type or modulation-type effect is selected.
Press a new effect type to select it.
1 MIDI CLK button
If you turn this button on, the BPM parameter of that effect will
be set to match the tempo of the MIDI timing clock being input
from the MIDI port.
1

■ PLAY/REC
This field appears if FREEZE is selected as the effect type.

1 PLAY button/REC button

Enable you to record (sample) and play back when using the
freeze effect. For detailed operations, see “Using the Freeze 1
effect” on page 126.

■ SOLO
This field appears if M.BAND DYNA. or M.BAND COMP. is selected 1 2
as the effect type.
1 HIGH/MID/LOW buttons
NOTE
Allow only the selected frequency band to pass (multiple
• You can also change the effect type by recalling a library setting.
• Effect types “HQ.PITCH” and “FREEZE” can be used only in rack 1, 3, 5, or 7. Also, even if you
selections are allowed).
copy these two effect types, you will not be able to paste them to rack 2, 4, 6, or 8. 2 Gain reduction meters
Indicate the amount of gain reduction for each band.
4. To edit the effect parameters, press a knob in the effect parameter field to select
it, and turn the corresponding multifunction knob.
NOTE ■ Gain reduction meter 1
For details on the parameters of each effect type, refer to the Appendices (see page 217).
This field appears if Comp276/276S or Comp260/260S is selected as
the effect type.
5. Edit the settings in the special parameter field as necessary.
For some effect types, parameters such as the following will appear in the special parameter field. 1 Gain reduction meters
Indicate the amount of gain reduction applied by the
compressor.

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■ Type Using the Tap Tempo function

This field is displayed when Equalizer601 is selected as the effect type. “Tap tempo” is a function that lets you specify the delay time of a delay effect or the modulation speed
1
1 Type buttons of a modulation effect by striking a key at the desired interval.
Select one of two equalizer types that feature different effects. To use the Tap function, you must first assign Tap Tempo to a USER DEFINED key, and then operate
2 that USER DEFINED key.
DRIVE emulates changes in frequency response of analog circuits,
creating a driven sound that enhances analog characteristics by adding
some distortion.
1. In the Function Access Area, press the SETUP button to access the SETUP screen.

CLEAN emulates changes in frequency response that are typical of analog circuits, creating a clear
non-distorted sound that is inherently digital.
2 FLAT button
This button resets the gain of all bands to 0dB.

6. If you want to monitor the output signal of the currently-displayed effect, press the
EFFECT CUE button to turn it on.
NOTE
If the Cue mode is set to MIX CUE, all channels for which the CUE key is turned on will be
monitored. However, only the output signal of the effect will be monitored if you turn on the
EFFECT CUE button. (The [CUE] keys that had been turned on until then will be temporarily
defeated.)

7. If you want to bypass the currently-displayed effect, press the BYPASS button to
turn it on.

8. If you want to copy the currently-displayed effect settings to the effect of another
rack, or to initialize the settings, you can do so using the tool buttons at the top of
the popup window.
For details on how to use these buttons, refer to “Using the tool buttons” in the separate Owner’s
Manual.
2. In the upper left of the screen, press the USER SETUP button to access the USER
NOTE SETUP popup window.
Effect settings can be stored and recalled using the effect library.

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This window includes several pages, which you can switch between using the tabs located at the 4. Press the popup button for the USER DEFINED key to which you want to assign the
bottom of the window. Tap Tempo function.
The USER DEFINED KEY SETUP popup window will appear.

5. Select “TAP TEMPO” in the FUNCTION column, select “CURRENT PAGE” in the
PARAMETER 1 column, and press the OK button.
Use the / buttons to select an item in each column. Press the OK button. The Tap Tempo
function will be assigned to the USER DEFINED key that you selected in step 4, and you will
return to the USER DEFINED KEY SETUP page.

3. Press the USER DEFINED KEYS tab to select the USER DEFINED KEYS page.
The USER DEFINED KEYS page enables you to assign functions to USER DEFINED keys [1]–
[16].

NOTE
• If you specify “CURRENT PAGE” in the PARAMETER 1 column, the Tap Tempo function can be
used for the currently-displayed effect (rack).
• If you specify “RACK x” (x=1–8) in the PARAMETER 1 column, you will be able to use the Tap
Tempo function only for a specific effect (rack).
• For more information on USER DEFINED keys, see “USER DEFINED keys” on page 164.

6. In the Function Access Area, press the RACK button to access the VIRTUAL RACK
window, and then use the EFFECT tab to display the EFFECT field.

7. Press the rack in which the effect you want to control is mounted.
The EFFECT popup window will appear.

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8. Press the effect type field to open the EFFECT TYPE Using the Freeze effect
popup window, and select an effect type that
This section explains how to use the “FREEZE” effect type, which provides the functionality of a simple
includes the BPM parameter.
sampler. When this effect type is selected, you can perform operations on screen to record (sample) and
The BPM parameter is included in delay-type and play back a sound.
modulation-type effects, and can be used to specify the delay
time or modulation speed. 1. In the Function Access Area, press the RACK button to access the VIRTUAL RACK
NOTE window, and then use the EFFECT tab to display the EFFECT field.
For details on the parameters of each effect type, refer to the
Appendices (see page 217). 2. Mount an effect in rack 1, 3, 5, or 7.
NOTE
Effect types “FREEZE” and “HQ.PITCH” can be used only in rack 1, 3, 5, or 7.

3. Press the rack in which the effect you want to control is mounted.
The EFFECT popup window will appear.
9. Set the SYNC parameter to ON.
4. Press the effect type field to open the EFFECT TYPE popup window, and select
10. At the desired tempo, repeatedly press the USER DEFINED key to which you “FREEZE.”
assigned the Tap Tempo function. If the “FREEZE” effect type is selected, a PLAY button, REC button, and progress bar will appear
The average interval (BPM) at which you press the key will be calculated, and that value will be in the special parameter field.
applied to the BPM parameter.

The average interval will be input to the parameter.

(the average of a, b, and c)

a b c

1 3 2

1 PLAY button
First tap Second tap Third tap Fourth tap 2 REC button
3 Progress bar
NOTE
NOTE
• If the average value is outside the range of 20–300 BPM, it will be ignored.
As an alternative to switching the effect type, you can also recall settings that use the “FREEZE”
• If you turn on the MIDI CLK button in the special parameter field, the BPM parameter value will
effect type from the effect library.
change in relation to the tempo of the MIDI timing clock received from the MIDI port.

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5. To begin recording (sampling), press the REC button and then press the PLAY Using the Premium Rack
button.
The procedure to set up the I/O patches for the rack are the same as those for the effect rack.
The signal being input to the effect will be recorded. The bar reflects the current recording (see page 119)
progress. When a fixed time has elapsed, the buttons will automatically turn off.
NOTE 1. In the Function Access Area, press the RACK button to access the VIRTUAL RACK
You can adjust the parameters in the window to make detailed settings for recording time, the way window.
in which recording will begin, and the way in which the sample will play back. For details on the
parameters, refer to the Appendices (see page 226). 2. In the upper part of the VIRTUAL RACK window, press the PREMIUM tab to display
the PREMIUM RACK field.
6. To play back the recorded sample, press the PLAY button.
NOTE
The sampled content will be erased if you record another sample, change the effect, or turn off
the power to the CL unit.

Using the Premium Rack

About the Premium Rack

The CL series console features processors that faithfully emulate meticulously-selected vintage analog
processors, and a newly-developed Premium Rack, as well as graphic EQs and built-in effects. The
Premium Rack employs VCM technology, which models analog circuitry on a component level to
faithfully reproduce and fine-tune amazing analog sounds.
The Premium Rack offers six types of processors.
Name Outline
Portico 5033 Models RND’s analog 5-band EQ.
Portico 5043 Models RND’s analog compressor/limiter.
U76 Models a typical vintage compressor/limiter.
Opt–2A Models a classic vacuum tube (optical type) compressor.
EQ–1A Models a classic vacuum tube passive-type vintage EQ.
Newly-developed EQ that features a dynamically changing gain and enables you to
Dynamic EQ
control the cut/boost amount in relation to the input level.

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3. To mount a Premium Rack in the rack, press the RACK MOUNT button for that rack. The U76 occupies two rack spaces. Other processors occupy one rack space. If you mount a two-
The PREMIUM RACK MOUNTER popup window will appear. space Premium Rack processor in the rack, you will be unable to mount any more processors
below those rack spaces. Also, you cannot mount a two-space processor in an even-numbered
rack.

5. Press the INPUT L button to open the CH SELECT popup window, and select the
insert-out of a channel as the input-source.
For details on the CH SELECT popup window, refer to step 5 of “Virtual rack operations” on
page 112. Insert-out is now assigned to the L input of the processor.

6. Press the OUTPUT L button to open the CH SELECT popup window, and select the
insert-in of the same channel as the output-destination.
For details on the CH SELECT popup window, refer to step 6 of “Virtual rack operations” on
4. Use the MODULE SELECT buttons to select the item you want to mount, and press page 112. Insert-in is now assigned to the L output of the processor.
the OK button.
If you are inserting a processor into a channel that handles a stereo source, assign the R channel
There are two ways to mount each processor: insert-out and insert-in to the R input and output of the processor.
• DUAL ..........................The processor is used on two mono channels.
• STEREO......................The processor is used on one stereo channel. 7. Use the Bank Select keys in the Centralogic section to access the OVERVIEW screen
for the channel into which you want to insert the processor.
The DUAL button and STEREO button indicate how many rack space units are occupied by the
Premium Rack processor.
8. Press the INSERT/DIRECT OUT field to access the INSERT/DIRECT OUT popup
window.
Make sure that the rack you inserted in the input and output ports is selected. For details on Insert
Out/In, refer to “Inserting an external device into a channel” on page 21.

9. Turn on the INSERT ON/OFF button for the channel into which you inserted the
processor.
If it is off, press the button to turn it on. In this state, processor insertion is enabled for the
corresponding channel.

10. In the Function Access Area, press the RACK button to access the VIRTUAL RACK
window, and use the PREMIUM tab to display the PREMIUM RACK field.

11. Press the processor rack that you inserted into the channel to open the Premium
Rack popup window.
In this popup window you can edit the processor parameters.

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12. Adjust the parameters. ■ Portico 5033

For details on editing the parameters, refer to the next section “Editing the Premium Rack Portico 5033 is a processor that emulates a 5-band analog EQ developed by Rupert Neve Designs
parameters.” (RND). 5033EQ features a unique tone control response. It inherited the history of the “1073,” which
was praised as one of the greatest devices developed by Mr. Rupert Neve. Yamaha’s VCM technology
NOTE
Adjust the digital gain and the processor parameters so that the signal does not reach the
has modeled the EQ to the last detail, including the input/output transformer that was designed by Mr.
overload point at the input or output stage of the processor. Rupert Neve himself. As a result, this processor model produces musically high-quality sound even
when bypassed. Its response features unique effects. For example, if the Lo setting is cut, the low range
13. Using the fader of the channel you selected as the rack’s output destination in becomes tight, and if the Hi setting is raised, the desired range will be boosted without hurting your
step 6, adjust the level as appropriate. ears.

Editing the Premium Rack parameters

Each Premium Rack window includes the following items:
1 2 3

5
3
1

2 7

4
4 6
1 ASSIST button
Press this button to open a window in which you can assign the parameters to the multifunction 1 ALL BYPASS button
knobs for control. Switches EQ bypass on or off. Even when EQ bypass is on, the signal will pass through the input/
output transformer and amp circuits.
2 LIBRARY button
Press the button to open the Library popup window for each Premium Rack. 2 TRIM knob
Adjusts the input gain of the effect.
3 DEFAULT button
Restores the default parameter setting. 3 LF/LMF/MF/HMF/HF Frequency knobs
Adjust the frequency for each band.
4 Multifunction knob access field
Indicates the name and value of the parameters that are assigned to the multifunction knobs. 4 LF/LMF/MF/HMF/HF Gain knobs
Adjust the amount of boost or cut for each band.
To switch the parameter to control, press the knob in the window.
NOTE 5 LMF/MF/HMF Q knobs
• If the ASSIST button is on, you will be able to easily identify the parameters that are currently Adjust the Q (steepness) of each band. The higher the Q value, the narrower the range in which
available for editing, and the parameters that will be available for editing after you select them. you can control the gain for the band.
• You can adjust the parameter in finer steps by turning a multifunction knob while pressing and
holding it down.

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6 LMF/MF/HMF IN button 3 FB button

Turn LMF/MF/HMF EQ on or off respectively. Switches the gain reduction method between FF (Feed-Forward) circuit and FB (Feed-Back)
circuit. The button will light when FB circuit is selected.
7 LF/HF IN button
The FF circuit is used in most contemporary compressors. This type is useful when you want to
Turn LF and HF EQ on or off simultaneously.
apply compression thoroughly while maintaining a consistent tonal color.
8 Graph The FB circuit is used in vintage compressors. This type is suitable when you want to apply a
Indicates the graphical EQ response. smooth compression while adding a tonal color that is characteristic to the device.

■ Portico 5043 4 GAIN REDUCTION meter

Indicates the amount of gain reduction.
Portico 5043, like Portico 5033, is a processor that emulates RND’s analog compressor.The actual 5043
Compressor is equipped with the same input/output transformer as that of the 5033 EQ, delivering a 5 THRESHOLD knob
natural, analog-like tonality and effect. It enables you to obtain a range of results from hard Adjusts the threshold at which compression starts to be applied.
compression to natural sound, and is suitable for a broad range of audio sources ranging from drums
to vocals. The most notable feature of this model is that you can switch the gain reduction type. You can 6 RATIO knob
choose either an FF (Feed-Forward) circuit type (which is the current mainstream), or an FB (Feed- Adjusts the compression ratio. Fully rotate the knob clockwise to switch to the limiter.
Back) circuit which was typically used in vintage compressors. This allows you to create sounds with
various characteristics as appropriate for your applications. 7 ATTACK knob
Adjusts the compressor’s attack time.
1 2 3 4
8 RELEASE knob
Adjusts the compressor’s release time.

9 GAIN knob
Adjusts the output gain.

5 6 7 8 9

1 IN button
Turns the compressor’s bypass on or off. When the compressor is bypassed, the button indicator
will turn off. However, even if the compressor is bypassed, the signal will pass through the input/
output transformer and amp circuits.

2 INPUT meter
Indicates the input signal level.
One meter appears in DUAL mode, and two meters appear in STEREO mode.

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■ U76 6 OUTPUT knob

U76 is a processor that emulates a popular vintage compressor used in a wide range of situations. This Adjusts the output level.
processor does not provide the threshold parameter that is found on conventional compressors. If you have adjusted the amount of gain reduction by changing the INPUT level, the level of
Instead, the intensity of compression is determined by the balance between the input gain and the audible volume will also change. In this case, use the OUTPUT knob to adjust the volume level.
output gain. The “All mode” setting for the RATIO parameter allows you to create a heavily-compressed
sound that is typical of this model. It produces an aggressive tonal character with a rich addition of ■ Opt–2A
overtones. Opt–2A is a processor that emulates a popular vintage model of tube opto compressors. It features
1 2 smooth compression produced using optical components such as a photocell and a light source to
control the level. It also features beautiful high-range overtones created by the warm distortion typical
of tube circuits, resulting in elegant and sophisticated sounds.

3 4 5 6

1 INPUT knob 1 2 3 4
Adjusts the input level. As the input level gets higher, more compression is applied.
1 GAIN knob
2 ATTACK knob Adjusts the output level.
Adjusts the compressor’s attack time. Fully rotate the knob clockwise to set the fastest attack time.
2 PEAK REDUCTION knob
3 RELEASE knob Adjusts the compression amount of the signal.
Adjusts the compressor’s release time. Fully rotate the knob clockwise to set the fastest release
time. 3 RATIO knob
Adjusts the compression ratio.
4 RATIO switch buttons
Use these five buttons to set the compression ratio. 4 METER SELECT knob
Switches the meter display.
A button with the higher number will raise the compression ratio more. Pressing the ALL button
selects All mode, in which the RATIO will become high, and sharp compression with a faster GAIN REDUCTION indicates the amount of gain reduction when the compressor is operating.
release time will be applied, creating substantially-distorted aggressive sound. With –18 dB as the reference level of the output signal, the OUTPUT +10 and OUTPUT +4
settings respectively will cause the value +10 dB or +4 dB from this reference level to be shown as
5 METER switch buttons “0VU” on the meter.
Switch the meter display.
• GR.....................Indicates the amount of gain reduction applied by the compressor.
• +4/+8 ................Each meter uses –18 dB as the reference level of the output signal, and indicates
“0VU” for the value of the reference level added by +4 dB or +8 dB.
• OFF...................Turns off the meter display.

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■ EQ–1A 7 (HIGH) BOOST knob

EQ-1A is a processor that emulates a famous passive-type vintage EQ. It features a unique style of Sets the amount of boost applied to the frequency band specified by the HIGH FREQUENCY
operation, allowing you to individually boost and attenuate (cut) each of two frequency ranges (high knob.
and low). The frequency response is utterly unlike that of a conventional EQ, and is a uniquely
8 (HIGH) ATTEN knob
distinctive characteristic of this model. The input/output circuits and vacuum tubes produce a tonal
character that is highly musical and well-balanced. Sets the amount of attenuation applied to the frequency band specified by the ATTEN SEL knob.

3 4 5 7 8 9 9 (HIGH) ATTEN SEL knob

Switches the frequency region attenuated by the ATTEN knob.

■ Dynamic EQ
Dynamic EQ is a newly-developed equalizer that does not emulate any specific model of equalizer. The
sidechain has a filter that extracts the same frequency band as the EQ. This allows you to apply EQ in
the same way as you might apply a compressor or expander to a specific frequency region, causing the
EQ gain to vary dynamically only when a specific frequency region of the input signal becomes too high
or too low. For example you could use this on a vocal sound as a de-esser, so that EQ is applied to a
specific frequency band only when sibilance or high-frequency consonants reach an unpleasant level,
thus preserving a natural sound that does not impair the original tonal character. Two full-band
Dynamic EQs are provided, enabling you to process a wide range of audio sources.

1 2 6

1 IN switch
Turns the processor on or off. C
When the switch is off, the signal will bypass the filter section, but pass through the input/output
transformer and amp circuits.
1
2 LOW FREQUENCY knob 3
Sets the frequency of the low range filter. 4
3 (LOW) BOOST knob 6
Sets the amount of boost applied to the frequency band specified by the LOW FREQUENCY
knob. 5

4 (LOW) ATTEN knob 9

Sets the amount of attenuation applied to the frequency band specified by the LOW
FREQUENCY knob.
0

5 BAND WIDTH knob

Sets the width of the frequency band controlled by the high range filter. 28 A 7B
As you rotate the knob toward the right (Broad), the band will become wider and the peak level
will decrease. This affects only the response of the boost. 1 BAND ON/OFF button
Turns each band on or off.
6 HIGH FREQUENCY knob
Sets the frequency of the high range filter. This affects only the response of the boost.

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2 SIDECHAIN CUE button B THRESHOLD meter

Press this button on to monitor the sidechain signal sent to the CUE bus. At this time, the graph Indicates the sidechain signal level in relation to the threshold level.
indicates the filter response for the sidechain.
C Graph area
3 SIDECHAIN LISTEN button Displays the equalizer response.
Turn this button on to output the sidechain signal (linked to the dynamics) to the bus (such as a In most cases, this area displays the reference EQ graph that indicates the frequency and intensity,
STEREO bus or MIX/MATRIX bus) to which the insert channel signal is sent. At this time, the and the dynamic EQ graph that indicates the dynamically-changing EQ responses.
graph indicates the response of the sidechain filters.

4 FILTER TYPE buttons

Switch the type of the main bus equalizers and sidechain filters. Main bus EQ and sidechain filter
will link as follows:
Dynamic EQ graph
FILTER TYPE Reference EQ graph
(Low Shelf) (Bell) (Hi Shelf)
Main EQ Low Shelf Bell Hi Shelf
Sidechain filter LPF BPF HPF If SIDECHAIN CUE or SIDECHAIN LISTEN is on, this area displays the sidechain filter
response.
5 FREQUENCY knob
Sets the frequency band that will be controlled by the equalizer and sidechain filter.

6 Q knob
Sets the Q value (steepness) of the equalizer and sidechain filter.
As you rotate this knob clockwise, the frequency range to which the equalizer or sidechain filter Sidechain filter graph
is applied will become wider.

7 THRESHOLD knob
Specifies the threshold at which the processor will begin taking an effect.

8 RATIO knob
Sets the boost/cut ratio relative to the input signal.
Rotating the knob clockwise will set the ratio for boost, and counter-clockwise for cut. Fully
rotating the knob in either direction will create the maximum effect.

9 ATTACK/RELEASE buttons
Enable you to select one of the three settings as the attack/release time for compression or boost.
Select FAST for a faster attack and faster release. Select SLOW for a faster attack and slower
release. Select AUTO to automatically adjust the attack/release time depending on the frequency
ranges.
0 MODE buttons
Specify whether the processor is triggered when the sidechain signal level exceeds the threshold
value (ABOVE), or when the level does not reach the threshold value (BELOW).

A EQ GAIN meter
Indicates the dynamically-changing EQ gain.

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Using the graphic EQ, effect, and Premium Rack

libraries
■ GEQ library
Use the “GEQ library” to store and recall GEQ settings. All GEQ units used in the CL series console can
reference this GEQ library. (However, the 31BandGEQ and Flex15GEQ are different types. You cannot
recall a GEQ library item of a different type.)
200 items can be recalled from the library. Number 000 is read-only data for initialization, and the
remaining library numbers can be freely read or written.
To recall an item from the GEQ library, press the LIBRARY button located at the top of the GEQ popup
window.

NOTE
• Store and recall operations are performed on individual racks. It is not possible to store or recall
the two Flex15GEQ units individually.
• To access the GEQ popup window, press the rack in the GEQ field.

■ Effect library
Use the “Effect library” to store and recall effect settings. 199 items can be recalled from the effect
library. Library items 1–27 are read-only presets, and correspond to effect types 1–27 respectively.
Other library item numbers can be freely read and written.
To recall an item from the effect library, press the LIBRARY button located at the top of the EFFECT
popup window.

■ Premium Rack library

You can use the Premium Rack library to store and recall Premium Rack settings. The library contains
101 items (from #000 through #100). Item #000 is a preset. All library items other than #000 can be
freely read and written.
To recall an item from the Premium Rack library, press the LIBRARY button located at the top of the
popup window for the corresponding type.

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I/O rack and external head amp The I/O RACK field includes the following items.
1 2
This chapter explains how to use an I/O rack or an external head amp that is connected to the CL series
console.

Using an I/O rack

CL series consoles enable you to remotely control channel parameters of an I/O rack (such as an Rio
series product) connected to the Dante connector.
For details on connecting the CL series console to an I/O rack, refer to the “Connecting to I/O racks”
section in the separate Owner’s Manual.

Remotely controlling an I/O rack

You can use a CL series console to control an I/O rack that is connected to the console’s Dante
connector.

1. Connect the CL series console to an I/O rack unit.

For details, refer to the “Connecting to I/O racks” and “Quick Guide” sections in the separate
Owner’s Manual.

2. In the Function Access Area, press the RACK button to access the VIRTUAL RACK
screen. 1 Display switch button
Press this button to scroll the entire screen so that the corresponding I/O rack will be listed at the
top of the window. Use this button if you want to view an I/O rack that is currently hidden outside
the screen. If you press and hold down the button, all LEDs for the corresponding I/O rack will
blink.

2 ID/Model name display

Indicates the ID number and model name of the I/O rack, and also the on/off status of the master
+48V phantom power on the connected device.

3. At the top of the VIRTUAL RACK window, press the I/O RACK tab to display the
I/O RACK field.

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■ HA parameter display 4. Press the DANTE INPUT PATCH button to set up the input ports for the I/O rack.
This area indicates the head amp settings on the I/O rack in groups of eight ports. Press this area to open The DANTE INPUT PATCH popup window will appear. This popup window includes the
the I/O RACK HA popup window, in which you can make detailed head amp settings. following items.
5 1 2
4
3
6

3 Analog GAIN knob

Indicates the analog gain setting. This item is only for display, and cannot be edited.

4 +48V indicator
Indicates the phantom power (+48V) on or off status for each port.
3
5 OVER indicator
Warns you when the input signal is clipping.

6 HPF indicator
Indicates the high pass filter on or off status for each port.

7 DANTE INPUT PATCH button

Press this button to open the DANTE INPUT PATCH popup
7 window, in which you can select any of 64 channels that will be
input from the audio network to the console.
1 LIBRARY button
Enables you to store or recall the DANTE INPUT PATCH setting to or from the library. You can
8 DANTE SETUP button store ten types of parameter settings.
Press this button to open the DANTE SETUP popup window, in
8 which you can make settings for the audio network.
2 AUTO SETUP button
Automatically patches the devices in ascending order of unit ID number, according to the settings
of the currently-connected I/O racks.
9 PATCH FROM THIS CONSOLE button Press the button to display a confirmation popup dialog to confirm the execution of auto
Press this button to configure Dante patches from Dante patching. Press the OK button to execute auto patching. Otherwise, press CANCEL to return to
9
Controller software. the previous screen.
If this button is on, the DANTE INPUT PATCH and DANTE 3 Port select buttons
OUTPUT PATCH settings can be edited from the CL series console.
Press one of the buttons to open the PORT SELECT popup window.
If it is off, DANTE patching cannot be edited.
Dante Device ID number (hexadecimal) and channel number (decimal) appear
If this button is turned On, the button is always effective regardless in the upper row on the button.
of the On/Off status of the PATCH FROM THIS CONSOLE
The first eight characters of the channel label (Dante Audio Channel Label) for
buttons on other CL series units on the network.
each port appears in the lower row on the button.
NOTE If no patch has been assigned, the upper row will indicate “---” and the lower row will indicate
If this button is Off and you try to modify Dante patches or related nothing.
data, the message “This Operation is Not Allowed” will appear at
the bottom of the screen.

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NOTE 7. To remotely control a head amp on the I/O rack, press the rack in which the I/O
• If you have connected a third-party device, the upper row will indicate “???” and the channel rack has been mounted.
number (decimal). The I/O RACK HA popup window will appear. In this window, you can remotely control the head
• If no Dante Audio Channel Label has been specified, the lower row will indicate nothing.
amp on the I/O rack from the CL series console by using the on-screen knobs and buttons or the
• You can set the Dante Audio Channel Label using Audinate “Dante Controller” software. For the
latest information, refer to the Yamaha pro audio website.
multifunction knobs on the top panel.
http://www.yamahaproaudio.com/ 7
5. Press the AUTO SETUP button.
A confirmation popup dialog will appear to confirm the execution of auto patching. Press the OK 1
button to execute auto patching.
2
6. If you want to edit individual patches, press the port select button.
3
The PORT SELECT popup window appears.
4

1 +48V MASTER
Indicates the on/off status of the I/O rack master phantom power. (Switching this on or off is
performed on the I/O rack itself.)
2
2 +48V button
Switches phantom power on or off for each channel.

3 GAIN knob
Indicates the gain of the head amp on the I/O rack. To adjust the value, press the knob to select it,
and use multifunction knobs 1–8. The level meter located immediately to the right of the knob
shows the input level of the corresponding port.
1 3
4 GC button
1 I/O rack list Switches on or off the Gain Compensation function that keeps the constant signal level on the
Enables you to select the I/O rack for which you want to set the input port. audio network.

2 Port select buttons 5 FREQUENCY knob/HPF button

Select the input port. These controllers switch on or off the high-pass filter built in the head amp of the I/O rack, and
adjust its cutoff frequency. If you press the FREQUENCY knob to select it, you will be able to
3 CLOSE button adjust it using the corresponding multifunction knob.
Completes the setting and closes the popup window.
6 Displayed port switch tabs
These tabs switch the port that is displayed in the I/O RACK HA popup window.

7 GC ALL ON button/GC ALL OFF button

Switch Gain Compensation on or off for all input channels simultaneously.

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8. In the displayed port switch tabs area, press the OUTPUT tab. 10. In the same way, specify the channels that you want to output to other OUTPUT
The following screen will appear. ports.

11. To remotely control the I/O rack’s head

amp from an input channel of the CL
series console, use the Bank Select keys
in the Centralogic section to access the HA/PHASE field
OVERVIEW screen that includes the
channel for which you want to control
the head amp.

9. Press the OUTPUT 1 channel select button.

The PORT SELECT popup window will appear.

12. Press the HA/PHASE field of the channel for which you want to adjust the I/O rack’s
head amp. The GAIN/PATCH popup window will appear.

1 3
1 List display
Enables you to select the Dante port to which the signal you want to output is assigned.

2 Port select buttons

Specify the output channel that will be routed to the output port.

3 CLOSE button 13. When you finish making settings, press the “x” symbol to close the popup window.
Completes the settings and closes the popup window.

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Using an external head amp CL5

Audio signal
If an I/O card (such as an MY16-ES64 card) supports the remote protocol of an external head amp in
the CL’s slot, you will be able to remotely control from the CL console some parameters of the external Remote signal
head amp (Yamaha SB168-ES or AD8HR), such as phantom power (+48V) on/off status, gain, and HPF.
For details on the I/O card settings, refer to the owner’s manual for the I/O card.

Connecting the CL series console to an AD8HR

To remotely control the AD8HR from the CL series console, install an MY16-ES64 EtherSound card in
Slot 1 on the CL unit, then use an Ethernet cable to connect the CL unit to the NAI48-ES. Then, connect MY16-EX MY16-EX MY16- ES64
the HA REMOTE connector on the NAI48-ES to the HA REMOTE 1 connector on the AD8HR using
an RS422 D-sub 9-pin cable. This connection enables you to remotely control the AD8HR from the CL
series console.
To transmit audio signals (input to the AD8HR) to the CL series console, connect the DIGITAL OUT
A (or B) connector on the AD8HR to the AES/EBU connector on the NAI48-ES using a D-sub 25-pin
AES/EBU cable. Signals will be sent or received between the NAI48-ES and the CL series console via
the MY16-ES64 card. NAI48-ES
Alternatively, you can use a “daisy chain” connection to remotely control multiple AD8HR units HA REMOTE connector
simultaneously. To do this, connect the AD8HR’s HA REMOTE 2 connector to the second AD8HR’s
DIGITAL
HA REMOTE 1 connector. If you use the NAI48-ES, you can connect up to six AD8HR units. In this OUT A
case, to input AD8HR’s audio signals into the CL series console, install two MY16-EX cards on the CL connector HA REMOTE 1 connector
unit since each slot on the CL unit accepts up to 16 channel signals. Then, connect each two of the third AD8HR 1
and subsequent AD8HRs to each AES/EBU connector using a D-sub 25-pin AES/EBU cable.
HA REMOTE 2 connector

DIGITAL OUT A
connector HA REMOTE 1 connector
AD8HR 2
HA REMOTE 2 connector

DIGITAL OUT A connector HA REMOTE 1 connector

AD8HR 3
HA REMOTE 2 connector

Up to six units

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Connecting the CL series console to an SB168-ES ■ Ring connection

To remotely control the SB168-ES from the CL series console, install an MY16-ES64 EtherSound card CL5
in Slot 1 on the CL, then use an Ethernet cable to connect the CL to the SB168-ES. This connection Audio signal
enables you to remotely control the SB168-ES from the CL series console.
Remote signal
Alternatively, you can use a daisy chain or ring connection and install two MY16-EX expansion cards
in the slots on the CL unit to remotely control up to three SB168-ES units simultaneously.
NOTE
Remote control data will be received and transmitted only at Slot 1 on the CL series console.

■ Daisy chain connection

CL5 MY16- MY16- MY16-
ES64 EX EX
Audio signal

Remote signal

OUT

IN
SB168-ES
MY16- MY16- MY16- OUT
ES64 EX EX

IN
OUT SB168-ES
OUT

IN IN
SB168-ES SB168-ES
OUT OUT

IN
NOTE
SB168-ES
Please refer to the SB168-ES Owner’s Manual for information on setting up the MY16-ES64/
OUT MY16-EX cards and EtherSound network.

IN
SB168-ES

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Remotely controlling an external head amp The EXTERNAL HA field includes the following items.
You can remotely control from the CL series console an external head amp (“external HA”) connected 5 6
via MY16-ES64 or NAI48-ES.

1. Connect the CL series console to an external HA.

For details, refer to the “Using an external head amp” on page 139 section and the owner’s manual
of your external HA.

2. In the Function Access Area, press the RACK button to access the VIRTUAL RACK
window.

2 3 4

1 EXTERNAL HA field
Indicates the state of the connected external HA.
3. In the upper part of the VIRTUAL RACK window, press the EXTERNAL HA tab to
display the EXTERNAL HA field. 2 ID/Model name/+48V master
Displays information for the external HA mounted in the rack. The ID number is automatically
assigned in order of the connected devices from 1 to six. This field also enables you to view the
on/off status of the master phantom power.

3 Virtual racks
This section accommodates up to six racks in which remotely-controllable external HA units can
be mounted. If an external HA is mounted, this field will indicate the HA settings (GAIN setting,
and on/off status of the phantom power and HPF). Press a rack to open the EXTERNAL HA
popup window.

4 EXTERNAL HA PORT SELECT popup button

Press this button to open the EXTERNAL HA PORT SELECT popup window, in which you can
specify the input ports to which the external HA mounted in the rack will be connected.

5 VIEW switch buttons

Switch the virtual rack display between SB168-ES and AD8HR. Select the view according to the
connected device.

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6 COMM PORT switch buttons

Specifies whether the external HA connected to the slot will be controlled remotely. Select
“SLOT1” if you want to remotely control the external HA. 1

4. To specify the input ports for an external HA, press the EXTERNAL HA PORT SELECT 2
popup button for that rack. 3
The EXTERNAL HA PORT SELECT popup window will appear. The popup window includes the
following items.
1 4

1 +48V MASTER
If an external HA is connected, the on/off status of the master phantom power is shown here.
(Switching this on or off is performed on the external HA itself.)

2 +48V button
Switches phantom power on or off for each channel.

3 GAIN knob
Indicates the gain level of the external HA. To adjust the value, press the knob to select it, and use
multifunction knobs 1–8. The level meter located immediately to the right of the knob shows the
input level of the corresponding port.

4 FREQUENCY knob/HPF button

These controllers switch on or off the high-pass filter built into the external HA, and adjust its
cutoff frequency. If you press the FREQUENCY knob to select it, you will be able to adjust it using
1 PORT SELECT buttons the corresponding multifunction knob.
Specify the input ports to which the external HA is connected.
5 Rack select tabs
5. Use the PORT SELECT buttons to specify the input ports to which the audio output Enable you to select the rack displayed in the EXTERNAL HA popup window.
of the external HA is connected. NOTE
When you have finished making settings, press the CLOSE button to close the popup window. • If you connect an additional AD8HR, the setting for this AD8HR will be used. These knobs and
buttons are displayed in the EXTERNAL HA popup window even if an AD8HR is not connected,
NOTE
allowing you to create and store a scene even while the AD8HR is not connected.
If an external HA is connected to one of the slots on the CL series console, you must specify an
• Error messages related to the SB168-ES will not be displayed. In addition, you will be unable to
appropriate input port manually. If this is set incorrectly, the external HA will not be detected
set the EtherSound parameters. Use the AVS-ESMonitor software application for these
correctly when you patch input ports to input channels.
functions.
6. To remotely control an external HA, press the rack in which the external HA you
want to control is mounted.
The EXTERNAL HA popup window will appear. Here you can remotely control the external HA
by using the on-screen knobs and buttons on the CL series console or the knobs on the top panel.

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7. To remotely control the external HA from 9. Press the PATCH button, and select the input port assigned to the external HA.
an input channel of the CL series console, With these settings, you will be able to use the external HA in the same way as the head amp on
use the Bank Select keys to access the the I/O rack or the CL unit. For details about the GAIN/PATCH popup window, refer to “Making
OVERVIEW screen that includes the HA/PHASE field HA (Head Amp) settings” on page 30.
channel on which you want to control
the HA.

8. Press the HA/PHASE field of the channel on which you want to control the external
HA. The GAIN/PATCH popup window will appear.

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MIDI Basic MIDI settings

You can select the type of MIDI messages the CL series console will transmit and receive, the MIDI port
This chapter explains how to transmit MIDI messages from an external device to the CL series console that will be used, and the MIDI channel.
to control the CL console’s parameters, and how to send out MIDI messages from the CL console as you
operate the unit. 1. In the Function Access Area, press the SETUP button to access the SETUP screen.

MIDI functionality on the CL series console

The CL series console can use MIDI to perform the following operations:

■ Program Change transmission and reception

When you execute a specific event (scene/effect library recall) on the CL series console, a Program
Change message (a number that is assigned to the event) can be transmitted to an external device.
Conversely, the corresponding event can be executed when a Program Change message is received from
an external device.

■ Control Change transmission and reception

When you execute a specific event (fader, knob, or key operation) on the CL series console, the
corresponding Control Change message can be transmitted to an external device. Conversely, events
can be executed when Control Change messages are received from an external device. This allows you
to record fader and key operations on a MIDI sequencer or other external device, and play them back
later.

■ Parameter Change (SysEx) transmission and reception

When specific events (fader, knob, or key operations, changes in system settings or user settings) are
executed, “Parameter Change” SysEx (system exclusive) messages can be transmitted to an external
device. Conversely, events can be executed when Parameter Changes are received from an external 2. In the center of the screen, press the MIDI/GPI button to access the MIDI/GPI
device. popup window.
Using this capability, CL operations can be recorded and played back on a MIDI sequencer or other This window includes several pages, which you can switch among using the tabs located at the
external device. In addition, changes in system and user settings can be received and executed by bottom of the window.
another CL console.
NOTE
You can select the port used for transmission and reception of MIDI messages from the rear
panel MIDI IN/OUT connectors or an I/O card installed in a slot 1. All of the functionality described
in this section will be available on the port you select.

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3. Press the MIDI SETUP tab to access the MIDI SETUP page. • OMNI ......................... If this button is on, Program Changes on all MIDI channels will be
In the MIDI SETUP page you can select the type of MIDI messages that will be transmitted and transmitted and received in Single mode. Multi mode transmission/
received, and choose the port that will be used. This page includes the following items. reception and Single mode transmission are disabled.
• BANK ......................... If this button is on, Bank Select messages can be transmitted and
received in Single mode. (Bank Select messages switch the group of
Program Change messages to be used.)
4 CONTROL CHANGE field
Enables you to switch MIDI Control Change message transmission and reception on or off.
1
• Tx ................................ Switches Control Change transmission on or off.
• Rx ................................ Switches Control Change reception on or off.
• ECHO ......................... Switches on or off echo output of Control Change messages (If this
2 3
function is on, Control Change messages received from an external
device will be retransmitted without modification.).
4 5
5 CONTROL CHANGE MODE field
6 Enables you to select the Control Change transmission/reception mode.
• NRPN ......................... If this button is on, the CL mix parameters will be transmitted/received
7 as NRPN messages on one MIDI channel (NRPN mode).
• TABLE button........... If this button is on, the CL mix parameters will be transmitted/received
as Control Change messages on one MIDI channel (TABLE mode).
6 PARAMETER CHANGE field
Enables you to turn SysEx (system exclusive) messages on or off. (These special messages are used
1 PORT/CH field
to change the CL parameters.)
Enables you to select the port and MIDI channel that will be used to transmit and receive MIDI
messages. • Tx ................................ Switches Parameter Change transmission on or off.
• Tx PORT/Tx CH.......Press these buttons to open popup windows in which you can • Rx ................................ Switches Parameter Change reception on or off.
respectively select a port and MIDI channel to transmit MIDI messages. • ECHO ......................... Switches on or off echo output of Parameter Change messages (If this
• Rx PORT/Rx CH.......Press these button to open popup windows in which you can respectively function is on, Parameter Change messages received from an external
select a port and MIDI channel to receive MIDI messages. device will be retransmitted without modification.).

2 PROGRAM CHANGE field 7 OTHER COMMAND field

Enables you to switch MIDI Program Change message transmission and reception on or off. Switches on or off echo output of other messages (If this function is on, other messages received
from an external device will be retransmitted without modification.).
• Tx .................................Switches Program Change transmission on or off.
• Rx.................................Switches Program Change reception on or off.
• ECHO..........................Switches on or off echo output of Program Change messages (If this
function is on, Program Change messages received from an external
device will be retransmitted without modification.).
3 PROGRAM CHANGE MODE field
Enables you to select the Program Change transmit/receive mode.
• SINGLE.......................If this button is on, Program Changes will be transmitted and received
on a single MIDI channel (Single mode).
• MULTI ........................If this button is on, Program Changes will be transmitted and received
on multiple MIDI channels (Multi mode).

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4. To specify the port that will be used to transmit or receive each type of MIDI 6. To specify the channel on which MIDI messages will be transmitted or received,
message, press the transmit (Tx) or receive (Rx) port select popup button. press the channel select popup button.
The MIDI SETUP popup window for selecting the port will appear. Operations in this window The MIDI SETUP popup window for selecting the channel will appear. Operations in this
are the same for both transmission (Tx) and reception (Rx). This window includes the following window are the same for both transmission (Tx) and reception (Rx). This window includes the
items. following items.
1 2 1

1 TERMINAL field 1 CH field

Enables you to select the port that will transmit or receive MIDI messages. Enables you to select CH1–CH16 as the channel that will transmit or receive MIDI messages.
You can choose from the following items.
7. Select the channel.
NONE No port will be used.
Use the / buttons to select an item. Press the OK button to confirm the selected channel and
MIDI MIDI IN (Rx) and OUT (Tx) connectors on the rear panel close the MIDI SETUP popup window.
SLOT1 A card that supports serial transmission and is installed in Slot 1 on the rear panel
NOTE
• Alternatively, you can select the channel by pressing the desired channel in the field or by rotating
2 PORT NO. field one of the multifunction knobs.
If you select SLOT 1 in the TERMINAL field, choose port number 1–8 in this field. (The number • When transmitting or receiving Parameter Changes, the channel number you specify here is used
of available ports will vary depending on the card that is installed.) The currently-available card as the device number (a number that identifies the transmitting or receiving unit).
is valid only for port 1.
8. Turn transmission/reception on or off for each MIDI message.
5. Specify the type of port and the port number.
NOTE
Use the / buttons to select an item. Press the OK button to confirm the selected port and • For details on using Program Change messages, refer to “Using Program Changes to recall
close the MIDI SETUP popup window. scenes and library items,” below.
NOTE • For details on using Control Change messages, refer to “Using Control Changes to control
Alternatively, you can select a port by pressing the desired port name in the field, or by pressing parameters” on page 150.
the field to highlight it and then rotating one of the multifunction knobs to select the port.

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Using Program Changes to recall scenes and library This page includes the following items.

items
The CL series console lets you assign a specific event (scene recall or effect library recall) to each
Program Change number, so that when this event is executed on the CL console, a Program Change
1 2
message of the corresponding number will be transmitted to an external device. Conversely, the
corresponding event can be executed when a Program Change message is received from an external
device.

1. Connect the CL series console to an external device.

The following illustration shows an example of using the MIDI IN/OUT connectors to transmit
and receive MIDI messages.
3

MIDI IN MIDI OUT MIDI IN MIDI OUT

5
External device 4
6

1 PROGRAM CHANGE
Switches Program Change transmission and reception on or off. This setting is linked with the
CL5
PROGRAM CHANGE section on the MIDI SETUP page.
• Tx ................................ Turn this button on to transmit corresponding Program Change
2. In the Function Access Area, press the SETUP button to access the SETUP screen. messages when events on the list are executed.
• Rx ................................ Turn this button on to execute corresponding events when Program
3. In the center of the screen, press the MIDI/GPI button to access the MIDI/GPI Change messages are received.
popup window. • ECHO ........................ Turn this button on to transmit Program Change messages that are
received from an external device.
4. Press the MIDI SETUP tab to access the MIDI SETUP page, then select the port and
MIDI channel on which Program Changes will be transmitted and received, as 2 PROGRAM CHANGE MODE field
described in “Basic MIDI settings” on page 144. Enables you to select the Program Change transmit/receive mode. This setting is linked with the
PROGRAM CHANGE MODE section on the MIDI SETUP page.
5. Press the PROGRAM CHANGE tab to access the PROGRAM CHANGE page.
3 List
On the PROGRAM CHANGE page, you can specify how Program Changes will be transmitted
Shows the event (scene recall or library recall) assigned to each MIDI channel and MIDI Program
and received, and choose the event (scene recall or effect library recall) that will be assigned to
Change number. The list shows the following items.
each program number.
• CH/BANK ................. If “CH” appears as the column heading instead of “BANK,” the column
indicates the MIDI channel (1–16) on which Program Changes are
transmitted/received. If Program Change transmission and reception is
in Single mode and the BANK button is on, this will be labeled “BANK,”
and the numerical value in this column will correspond to the bank
number (1–128).
• NO............................... Indicates the program number 1–128.

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• PROGRAM CHANGE EVENT • When the BANK button is on:

...............................Indicates the type/number/title of the event assigned to each channel The CH indication in the list will change to BANK (bank number), and Bank Select (Control
(bank number) or program number. Press an individual event display Change #0, #32) and Program Change messages can be transmitted and received. This can be
area to access the MIDI PROGRAM CHANGE popup window, in which convenient if you want to control more than 128 events on a single MIDI channel.
you can select the event that you want to assign. When Bank Select and then Program Change messages (in that order) are received on the Rx
channel, the event assigned to that bank number and program number in the list will be executed.
4 Scroll knob
When you execute a specific event on the CL series console, Bank Select and Program Change
Press this knob to scroll the list using the multifunction knob.
messages for the bank number and program number assigned to that event will be transmitted on
5 CLEAR ALL button the Tx channel. (If the same event is assigned more than once in the list, the lowest-numbered
Press this button to erase all events from the list. bank number and program number will be transmitted.)
NOTE
6 INITIALIZE ALL button
• The settings of the OMNI and BANK buttons are ignored in Multi mode.
Press this button to restore all event assignments on the list to their default state. • If the BANK button is on and only a Program Change on an applicable MIDI channel is received,
the last-selected bank number will be used.
6. Use the buttons in the PROGRAM CHANGE MODE field to select the Program • If the BANK button is on, the OMNI button can also be turned on at the same time. In this case,
Change transmission/reception mode. Bank Select and Program Change messages of all MIDI channels will be received.
You can select one of the following two Program Change transmission/reception modes.
7. Use the buttons in the PROGRAM CHANGE field to turn transmission and reception
• Multi mode (when the MULTI button is on): on or off, and make settings for echo output.
Program changes of all MIDI channels will be transmitted and received. (The transmit/receive
This field includes the following items.
channel specified in the MIDI SETUP page will be ignored.)
• Tx button ................... Switches Program Change transmission on or off.
When a Program Change is received, the event assigned to the corresponding MIDI channel and
program number in the list will be executed. • Rx button ................... Switches Program Change reception on or off.
When you execute the specified event on the CL series console, the Program Change of the • ECHO button............ Selects whether incoming Program Changes are echoed-out from the
corresponding MIDI channel and program number in the list will be transmitted. MIDI transmission port.

• Single mode (when the SINGLE button is on):

Only Program Changes of the transmit (Tx) and receive (Rx) channels specified in the MIDI
SETUP page will be transmitted and received.
When a Program Change on the Rx channel is received, the event assigned to that program
number of the corresponding channel in the list will be executed.
When you execute the specified event on the CL series console, the Program Change of the
corresponding program number will be transmitted on the Tx channel shown in the list. (If an
event is assigned to more than one program number on the same channel, the lowest-numbered
program number will be transmitted.)
If you turn on the OMNI button/BANK button in Single mode, operation will change as follows.
• When the OMNI button is on:
Program changes of all MIDI channels will be received. However, regardless of the MIDI channel
that is received, the event assigned to the corresponding program number of the Rx channel will
be executed. Turning on the OMNI button will not change the operation for Program Change
transmission.

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8. To change the event assignment for each program number, press the desired event 9. Use the TYPE field to select the type of event you want to assign, and use the
in the list. DESTINATION field and LIBRARY NUMBER/LIBRARY NAME field to select the scene
The MIDI PROGRAM CHANGE popup window will appear. In this window, you can specify the or library number that will be recalled.
event assigned to each program number. This popup window includes the following items. Use the / buttons to select an item. Press the OK button to confirm the change and close the
MIDI PROGRAM CHANGE popup window.
1 2 3
NOTE
• You can also select the desired event, scene, or library in this field by pressing it.
• If you press an item in the field to highlight it, you will be able to rotate any of the multifunction
knobs to select the event, scene, or library.

10. Assign events to other program numbers in the same way.

With these settings, executing the specified event on the CL series console will cause the
corresponding Program Change (or Bank Select and Program Change) messages to be
transmitted to an external device.
When an external device transmits Program Change (or Bank Select and Program Change)
messages on the appropriate channel, the event assigned to that program number of the
corresponding MIDI channel (or bank number) will be executed.
NOTE
• You can use the CLEAR ALL button to erase all assignments to program numbers. The
INITIALIZE ALL button will return all program number assignments to their default state.
• Assignments to program numbers are maintained as settings for the entire system, rather than
for individual scenes.
• In Single mode, if the same event is assigned to more than one program number on a Tx channel,
only the lowest program number will be transmitted. (If the BANK button is on, only the program
1 TYPE field number of the lowest bank number will be transmitted.)
Enables you to select the type of event. • In Multi mode, if the same event is assigned to more than one MIDI channel and more than one
The following table lists the events you can select. program number, only the lowest program number on each MIDI channel will be transmitted.

NO ASSIGN No assignment
SCENE Scene memory recall operations
EFFECT Effect library recall operations
PREMIUM RACK Premium Rack library recall operations

2 DESTINATION field
Enables you to select the scene or library item to recall. If EFFECT or PREMIUM RACK is
selected in the TYPE field, the rack number will be shown. If SCENE is selected, this will indicate
“---”, and is not used.

3 LIBRARY NUMBER/LIBRARY NAME field

Enables you to choose the library that you want to recall.
If you selected SCENE or EFFECT in the TYPE field, the LIBRARY NAME field will appear. If
you selected PREMIUM RACK in the TYPE field, the LIBRARY NUMBER will appear.

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Using Control Changes to control parameters

You can use MIDI Control Change messages to control specified events (fader/knob operations, [ON]
key on/off operations etc.) on the CL series console. This capability can be used to record fader and key 1 2
operations on a MIDI sequencer or other external device, and play back this data later.
You can use Control Changes to control events in either of the following two ways.

■ Using Control Changes

This method uses typical Control Changes (control numbers 1–31, 33–95, 102–119). You can freely
assign an event to each control number.

■ Using NRPN (Non Registered Parameter Number) 3

This method uses a special type of Control Change messages called NRPN.
NRPN uses Control Change numbers 99 and 98 to specify the MSB (Most Significant Byte) and LSB
(Least Significant Byte) of the parameter number, and subsequently-transmitted Control Change
messages of Control Change number 6 (or 6 and 38) to specify the value of that parameter. 4
6
The event assigned to each combination of MSB and LSB is pre-defined, and cannot be changed. 5
NOTE
For details on the events assigned to NRPN messages, refer to the Appendices (see page 234).
1 CONTROL CHANGE field
1. Connect the CL series console to an external device. Enables you to switch Control Change transmission/reception on or off, and specify whether
Control Changes will be echoed out. This setting is linked with the CONTROL CHANGE field
2. In the Function Access Area, press the SETUP button to access the SETUP screen. on the MIDI SETUP page.
3. In the center of the screen, press the MIDI/GPI button to access the MIDI/GPI 2 CONTROL CHANGE MODE field
popup window. Enables you to select the Control Change transmission/reception mode. This setting is linked
with the CONTROL CHANGE MODE field on the MIDI SETUP page.
4. Press the MIDI SETUP tab to access the MIDI SETUP page, then select the port and
MIDI channel on which Control Changes will be transmitted and received, as 3 List
described in “Basic MIDI settings” on page 144. Shows the event (fader/knob pattern, [ON] key on/off operation, etc.) assigned to each control
number.
5. Press the CONTROL CHANGE tab to access the CONTROL CHANGE page. • NO. .................. Indicates the Control number. You can use Control numbers 1–31, 33–95, and
On the CONTROL CHANGE page, you can specify how Control Changes will be transmitted and 102–119.
received, and specify the event (fader/knob operation, [ON] key on/off operation, etc.) assigned • CONTROL CHANGE EVENT
to each control number. This page includes the following items.
................... Indicates and enables you to select the type of event assigned to each control
number. When you press an event, the MIDI CONTROL CHANGE popup
window will appear, allowing you to change the control number assignment.
4 CLEAR ALL button
Press this button to clear all event assignments on the list.

5 INITIALIZE ALL button

Press this button to restore all event assignments on the list to their default state.

6 Scroll knob
Scrolls the contents of the list. You can use a multifunction knob to operate this.

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6. Use the buttons in the CONTROL CHANGE MODE field to select the Control 1 MODE field
Change transmission/reception mode. Enables you to select the type of event.
You can choose one of the following two modes for Control Change transmission/reception.
2 PARAMETER 1/2 field
• NRPN mode (when the NRPN button is on): In conjunction with the MODE field, this field specifies the type of event.
Various mix parameters on the CL series console will be transmitted and received on a single
MIDI channel as NRPN messages. If you select this mode, the assignments on the list will be NOTE
• The list shown is the same for all models of the CL series.
ignored.
For the CL3/CL1, the display will indicate “Cannot Assign!” if you specify a parameter that does
• TABLE mode (when the TABLE button is on): not exist on that model.
Various mix parameters on the CL series console will be transmitted and received on a single • If NRPN mode is selected as the Control Change transmission/reception mode, the settings in
MIDI channel as Control Change messages. this window are ignored.
• For details on the events that can be assigned to Control Changes, refer to the Appendices
NOTE (see page 232).
The channel on which Control Changes are transmitted and received is specified by the PORT/
CH field on the MIDI SETUP page (see page 145). 9. In the order of the MODE field ➔ PARAMETER1 field ➔ PARAMETER2 field, specify
the type of event you want to assign.
7. Use the buttons in the CONTROL CHANGE field to turn transmission and reception
Use the / buttons to select an item. Press the OK button to confirm the change and close the
on or off, and make settings for echo output.
MIDI CONTROL CHANGE popup window.
Each button has the following function.
NOTE
• Tx button....................Switches Control Change transmission on or off.
• You can also press the desired event in the field to select it.
• Rx button....................Switches Control Change reception on or off. • If you press an item in the field to highlight it, you will be able to rotate one of the multifunction
• ECHO button ............Selects whether incoming Control Changes will be echoed out from the knobs to select an event.
MIDI transmit port.
10. Assign events to other control numbers in the same way.
8. To change the event assignment for each control number, press the corresponding When you operate the parameters you assigned on the CL series console, Control Change
event. messages will be transmitted to external devices. Similarly, if the corresponding Control Change
The MIDI CONTROL CHANGE popup window will appear. In this window you can specify the messages are sent from an external device on the appropriate channel, the parameters assigned to
event assigned to each control number. The window contains the following items. those control numbers will change.
NOTE
• You can use the CLEAR ALL button to erase all assignments to control numbers. The INITIALIZE
ALL button will return all control number assignments to their default state.
• Assignments to control numbers are maintained as settings for the entire system, rather than for
individual scenes.

1 2

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Using Parameter Changes to control parameters

On the CL series console, you can use a type of system exclusive messages called “Parameter Changes”
to control specific events (fader/knob operations, [ON] key on/off operations, system and user settings,
etc.) as an alternative to using Control Changes or NRPN messages.
For details on the Parameter Changes that can be transmitted and received, refer to “MIDI data format”
in the Appendices.

1. Connect the CL series console to an external device.

2. In the Function Access Area, press the SETUP button to access the SETUP screen.

3. In the center of the screen, press the MIDI/GPI button to access the MIDI/GPI
popup window.

4. Press the MIDI SETUP tab to access the MIDI SETUP page, and select the port and
MIDI channel on which Parameter Changes will be transmitted and received, as
described in “Basic MIDI settings” on page 144.
NOTE
• Parameter changes include a “device number” that specifies the transmitting or receiving device.
The transmit (Tx) channel and receive (Rx) channel specified on the MIDI SETUP page are used
as the device number.
• Please be aware that if the device number included in the transmitted Parameter Change does
not match the device number of the receiving CL console, the message will be ignored.
• Do not turn Parameter Change and Control Change transmission/reception on at the same time.
Otherwise, a large amount of data will flood the MIDI port and may cause overflows or other
problems.

5. Use the Tx button and Rx button in the PARAMETER CHANGE field to turn on
Parameter Change transmission/reception.
In this state when you operate specific parameters on the CL console, the corresponding
Parameter Change messages will be transmitted. If valid Parameter Change messages are
transmitted from an external device, the parameters assigned to those Parameter Changes will be
controlled.

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User settings (Security) Privileges for each user are as follows.

Editing user setup User authentication
This chapter explains the following settings and operations: the User Level settings that restrict access data, such as USER Editing User Password Editing key
Logged-in user
to the parameters by certain users, the Console Lock function that temporarily denies access to the DEFINED keys and Level settings setting comments Create Overwrite-
Preferences new save
console, the Preference settings that customize the operating environment, and Save/Load operations
using a USB flash drive. Available Available
(Can edit the (Cannot edit the user
settings for level, since the adminis-
Administrator Available — Available —
User Level settings Administrator
and for Guest.)
trator can always perform
all operations. Can edit
User Level settings allow you to restrict the parameters that can be operated by each user, or to change the settings for Guest.)
the settings of USER DEFINED keys and preference settings for each user. Settings for each user can be Power user Available Available Available Available Available Available
stored as a “user authentication key” inside the console or together on a USB flash drive, allowing users Normal user
User Available
to be switched easily. This can be convenient in the following situations. (User without N/A
Available Available Available — (Excluding User
Power User (Viewing only)
• Unintended or mistaken operation can be prevented. privileges)
Level settings)
• The range of functionality operable by an outside engineer (guest engineer) can be limited. N/A
Guest Available — Available — —
• In situations in which multiple operators alternate with each other, output settings etc. can be (Viewing only)
locked to prevent unintended operations.
• Preferences of each operator can easily be switched. Setting the Administrator password
With the factory settings, the Administrator password is not set, meaning that anyone can log in with
User types and user authentication keys
Administrator privileges and perform all operations. If you want to restrict the operations of other
There are three types of user, as follows. To operate the CL series console, you must log-in as a user. users, you must specify an Administrator password.
• Administrator ...........The administrator of the CL console can use all of its functionality. Only
one set of Administrator settings is internally maintained in the console. 1. In the Function Access Area, press the SETUP button to access the SETUP screen.
The Administrator can create user authentication keys for other users.
• Guest ................A Guest can use only the range of functionality permitted by the Administrator.
Only one set of Guest settings is maintained inside the console.
• User...................A User can use only the range of functionality permitted by the Administrator.
User settings are saved internally or on a USB flash drive as user authentication
keys. Multiple sets of user settings (up to ten in internal memory) can be saved,
each with the desired user name. A User who has Power User privileges can
create or edit user authentication keys with a specified user level.

When a user logs in, the user settings for that user are applied. User settings include the following
information.
• Password (except for Guest)
• User Level settings (except for Administrator)
• Preferences
• USER DEFINED keys
• USER DEFINED knobs
• Assignable encoders
• Custom fader bank
• MASTER fader

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2. Press the PASSWORD CHANGE button. Creating a user authentication key

A keyboard window will appear, allowing you to enter a password. You can create a user authentication key and save it on a USB flash drive or in the console’s internal
memory. A user authentication key can be created only by an Administrator or Power User. The user
level can be specified when the authentication key is created, but the USER DEFINED key settings and
preference settings will be carried over from the user who is currently logged-in.

1. To create a user authentication key on a USB flash drive, connect a USB flash drive
to the USB connector.
If you want to save the user authentication key in internal memory, simply proceed to step 2.

2. In the Function Access Area, press the SETUP button to access the SETUP screen.

3. Enter the password in the NEW PASSWORD field, then enter the same password in
the RE-ENTER PASSWORD field for verification, and finally press the OK button.
The password can be up to eight characters. If the two passwords that were entered match, the
Administrator password will be set.
For details on entering a password, refer to “Entering names” in the separate Owner’s Manual.

3. Press the CREATE USER KEY button.

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The CREATE USER KEY popup window will appear. 4. When you have specified the user name, comment, password, power user
privileges on/off, and user rights, press the CREATE button.
2 3 4
The CREATE KEY popup window will appear.

5. If you want to create a user authentication key in the console’s internal memory,
press a button in the CREATE TO INTERNAL STORAGE field.
1 USER NAME You can store ten keys in the console’s internal memory.
Indicates the user name of up to eight characters. Press this area to access a keyboard window, in
which you can enter the user name.
6. If you want to create a user authentication key on your USB flash drive, press the
PATH button in the CREATE TO USB STORAGE field.
2 COMMENT NOTE
Enables you to specify and view a comment of up to 32 characters about the user. Press this area The file name of the user authentication key will be specified as the current user name, and its
to access a keyboard window, in which you can enter the comment. location will be specified as the root directory.

3 PASSWORD 7. Press the CREATE TO button.

Enables you to specify a password of up to eight characters. Press this area to access a keyboard
The user authentication key will be created in the location specified in step 5 or step 6.
window, in which you can enter the password.

4 POWER USER
Specifies whether Power User privileges will be granted to this user.

5 ACCESS PERMISSION
These settings specify the range of operations that the user can perform. For details on each item,
refer to page 161.
NOTE
In the case of the CL3/CL1, faders that do not exist on those models will not be shown.

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Logging-in 2. Press the log-in button to open the LOGIN popup window.
To operate the CL series console, you must log in as the Administrator, Guest, or a User.
User settings for the Administrator and Guest are saved in the console itself. However, to log in as a User
you must either select a key that is saved in the console itself, or connect the USB flash drive in which
a user authentication key has been saved. If you use a user authentication key on a USB flash drive, you
will continue as the logged-in user even if you remove the USB flash drive after logging-in.
NOTE
If the power is turned off and then on again, the console will generally start up in the log-in state
in which the power was turned off. If a user password has been assigned, you will need to enter
the password. However if you cancel the input, you will be forcibly logged-in as Guest.

■ Logging-in as Administrator

1. In the Function Access Area, press the SETUP button to access the SETUP screen.

3. Press the ADMINISTRATOR button, and then press the LOGIN button.
If no Administrator password has been set, you will simply be logged-in. If a password has been
set, a keyboard window will appear, allowing you to enter the password.

4. Enter the password and press the OK button.

If the password was incorrect, a message of “WRONG PASSWORD” will appear near the bottom
of the screen.

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■ Logging-in as Guest ■ Logging-in as a User

To log-in as a User, you will use a user authentication key saved in the console or on a USB flash drive.
1. In the Function Access Area, press the SETUP button to access the SETUP screen. If using a USB flash drive, you may also log-in using a user authentication key created on a different CL
series console.
2. Press the log-in button to open the LOGIN window.

With a user authentication key stored in the console

1. In the Function Access Area, press the SETUP button to access the SETUP screen.

2. Press the log-in button to open the LOGIN window.

3. Press the GUEST button, and then press the LOGIN button.

3. In the LOAD FROM INTERNAL STORAGE field, choose the user authentication key
with which you want to log in, and press the LOAD button.

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If no password has been set, you will simply be logged-in. If a password has been set, a keyboard 3. Press the log-in button to open the LOGIN window.
window will appear, allowing you to enter the password.

4. Enter the password and press the OK button.

If the password was incorrect, a message of “WRONG PASSWORD” will appear near the bottom 4. In the LOAD FROM USB STORAGE field, click the (LOAD .CLU FILE) popup button.
of the screen. The SAVE/LOAD popup window will appear, and the files and directories saved on the USB flash
drive will be displayed. User authentication keys will have a file name similar to “User name.CLU”.
With a user authentication key stored in a USB flash drive

1. Connect the USB flash drive to the USB connector.

2. In the Function Access Area, press the SETUP button to access the SETUP screen.

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5. Rotate the multifunction knob to select the user authentication key for the user as Changing the password
whom you want to log in.
Follow the steps below to change the password of the logged-in user. A change in the Administrator
For details about loading files from the USB flash drive, refer to “Loading a file from the USB flash password is updated immediately. A change in a User password will be discarded if the user simply logs
drive” on page 173. out. The change must be applied to the user authentication key before the user logs-out. The Guest
account does not have a password.
6. Press the LOAD button.
If no password has been set, you will simply be logged-in. If a password has been set, a keyboard 1. In the Function Access Area, press the SETUP button to access the SETUP screen.
window will appear, allowing you to enter the password.
NOTE
2. Press the PASSWORD CHANGE button.
• If you have selected a user authentication key that was created on a different CL series console, A keyboard window will appear, allowing you to enter a password.
a keyboard window will appear, allowing you to enter the Administrator password of the CL series
console that you will be using. (If the Administrator passwords are identical, this window will not
appear.) When you enter the correct Administrator password, another keyboard window will
appear, allowing you to enter the password for the selected user.
• If you re-save the user authentication key, you will not be asked for the Administrator password
the next time. Refer to “Editing a user authentication key” on page 160.

3. Enter the current password and press the OK button.

When you enter the correct password, a keyboard window will appear, allowing you to enter the
new password.

4. Enter the new password in the NEW PASSWORD field, then enter the same
7. Enter the password and press the OK button. password in the RE-ENTER PASSWORD field for verification, and finally press the
OK button.
If the password was incorrect, a message of “WRONG PASSWORD” will appear near the bottom
of the screen. If the two passwords that were entered match, the new password will be set.

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Editing a user authentication key The SAVE KEY popup window will appear.
If you are logged-in as a user, you can edit your USER DEFINED keys, preference settings, comments
and password, and save them onto your user authentication key. If you are logged-in as a Power User,
you can also change the user level.

1. Log-in as a user, and edit the USER DEFINED keys (see page 164) and Preference
settings (see page 163).
If you are logged-in as a Power User, you can also change the user level.

2. In the Function Access Area, press the SETUP button to access the SETUP screen.

4. Press the save-destination button, and then press the SAVE TO button.

5. If you selected the same location as the current user authentication key, a dialog
box will ask you to confirm that you want to overwrite that user authentication
key; press OK.

3. Press the SAVE KEY button.

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Changing the user level 2. Press the USER SETUP button to access the USER SETUP popup window.
You can view or change the user level. 8
• Administrator ...........The Administrator does not have a user level setting, but can change the
user level setting of the Guest account.
• Guest ...........................The Guest can view the user level setting of the Guest account, but
cannot change it.
• Normal user ...............A normal user can view the user level setting of his or her User account,
but cannot change it.
• Power User .................A power user can view and change his or her User account.

1. In the Function Access Area, press the SETUP button to access the SETUP screen. 1 2

3 6

4 7

3. Press the USER LEVEL tab to access the USER LEVEL page.
If you are logged-in as the Administrator, you can switch to the USER LEVEL for GUEST page,
and view or change the user level of the Guest account.
This page includes the following items.
1 CH OPERATION
Here you can specify (for each channel) the operations that will be permitted for input channels,
output channels, and DCA groups. The settings will apply to the currently selected channel.
Settings for currently-selected channels will be displayed below the CH OPERATION section.
Use the panel [SEL] keys or the Selected Channel field in the Function Access Area to select the
channel for which you want to make settings.
• HA ............................... Restricts operation of the HA (Head Amp) patched to that channel.
• PROCESSING........... Restricts operation of all signal processing parameters for that channel
(excluding the fader, [ON] key, and send level).
• FADER/ON ............... Restricts operation of that channel’s fader, [ON] key, and send level.
• SET BY SEL ............... If this button is on, you can press the [SEL] key on the panel to enable or
disable the above-mentioned HA, PROCESSING, and FADER/ON
restrictions of the corresponding channel.

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2 CURRENT SCENE 7 SYSTEM SETUP

Specifies the operations that can be performed on the current scene memory. Specifies the system setup operations that can be performed.
• INPUT PATCH/NAME ........... Restricts operations for input channel patching and names. • MIXER SETUP
• OUTPUT PATCH/NAME....... Restricts operations for output channel patching and names. • OUTPORT SETUP
• BUS SETUP................................ Restricts operations for bus setup. • MIDI/GPI
• GEQ RACK/EFFECT RACK/PREMIUM RACK
8 SET ALL/CLEAR ALL button
........................................ Restricts operations for the racks. Press this area to open the Permits/clears all items.
RACK USER LEVEL popup window, in which you can set this
restriction. However, there will be no restriction on operating 4. Specify the user level by pressing the button for each item that will be permitted.
the MIDI CLK button displayed for delay-type and
modulation-type effects, or the PLAY/REC button displayed 5. When you have finished making settings, close the popup window and press the
for the FREEZE effect. SETUP button in the Function Access Area.
• MUTE GROUP ASSIGN/MASTER
........................................ Restricts operations for mute group assignment and mute
group master.
NOTE
In the case of the CL3/CL1, faders that do not exist on those models will not be shown.

3 SCENE LIST
Specifies the operations that can be performed on scene memories.
• STORE/SORT operations
• RECALL operations

4 LIBRARY LIST
Specifies the operations that can be performed on libraries.
• STORE/CLEAR operations
• RECALL operations
5 FILE LOAD
Specifies the types of file that can be loaded from USB flash drives. The user authentication key
contains the user level, USER DEFINED keys, and Preference settings. Other data is saved in an
“ALL” file.
• USER SETUP (USER DEFINED keys and Preference settings)
• SYSTEM SETUP/MONITOR SETUP
• CURRENT SCENE
• SCENE LIST
• LIBRARY LIST
6 MONITOR SETUP
Specifies the monitor setup operations that can be performed.
• OSCILLATOR
• TALKBACK

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Preferences • PATCH CONFIRMATION

If this ON button is lit, a confirmation message will appear when you edit an input patch or output
Follow the steps below to make various settings for the CL console operating environment, such as how patch.
popup windows appear, and whether [SEL] key operations will be linked. These settings are changed
• STEAL PATCH CONFIRMATION
for the user who is logged-in, but if you are logged-in as the Administrator, you will also be able to
If this ON button is lit, a confirmation message will appear when you edit an input or output patch
change the Guest settings.
item that is already patched to a port.
1. In the Function Access Area, press the SETUP button to access the SETUP screen. 3 LOCALE SETUP field
Enables you to select the language used in Help files. Select “EN” to display Help files in English.
2. Press the SETUP button to open the USER SETUP popup window.
4 ERROR MESSAGE field
Enables you to specify whether certain error messages should be displayed.
• DIGITAL I/O ERROR
1 If this ON button is lit, an error message will appear when a digital I/O error occurs.
• MIDI I/O ERROR
If this ON button is lit, an error message will appear when a MIDI I/O error occurs.
2 5 PANEL OPERATION field
Enables you to make settings for options related to panel operation.
5 • AUTO CHANNEL SELECT
Specifies whether the corresponding channel will be selected when you operate the [ON] key or
3 fader for the channel. You can set this parameter separately for INPUT (input channels) and
OUTPUT (output channels).
4 • [CUE]  [SEL] LINK
Specifies whether channel selection will be linked with cue operations. If the LINK button is on,
channels for which cue operations were performed will be selected.
• [FADER BANK]  [SEL] LINK
Specifies whether channel selection will be linked with fader bank selection. You can set this
parameter separately for INPUT (input channels), OUTPUT (output channels), and CUSTOM
3. Press the PREFERENCE tab to access the PREFERENCE page. (Custom fader bank).
If you are logged-in as the Administrator, you can also switch to the PREFERENCE for GUEST If the LINK button is on, and you select the corresponding fader bank, the channel in that bank
page and make preference settings for the Guest account. that was selected most recently will be selected, and its [SEL] key will light.
This page includes the following items. • IDENTIFY I/O RACK PORT BY [SEL]
1 STORE/RECALL field Specifies whether to enable a function that allows you to identify the I/O rack port connected to
a channel by pressing the [SEL] key for that channel.
Enables you to turn on or off options related to scene store/recall operations.
If this ON button is lit, pressing a [SEL] key on the panel will cause the signal indicator to flash
• STORE CONFIRMATION for the port of the I/O rack that is assigned to the corresponding channel by the INPUT PATCH/
• RECALL CONFIRMATION OUTPUT PATCH settings.
If these ON buttons are lit, a confirmation message will appear when you perform a Store or Recall
operation respectively. • POPUP APPEARS WHEN KNOB(S) PRESSED
Specifies whether pressing a knob in the SELECTED CHANNEL section while the SELECTED
2 PATCH field CHANNEL VIEW screen is displayed will cause a popup window (1 ch) to appear. If the ON
Enables you to turn on or off options related to patch operations. button is lit, a popup window (1 ch) will open (or close) whenever you press a knob.

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NOTE USER DEFINED keys

If you press the SEND or PAN knob, a popup window (8 ch) will open.
This section explains how to assign the desired functions to the USER DEFINED keys in the USER
• GAIN KNOB FUNCTION
DEFINED KEYS section on the top panel, and press these keys to execute the defined function.
Specifies what will happen when you operate the GAIN knob in the SELECTED CHANNEL
section on the panel. When the ANALOG GAIN button is lit, you can adjust analog gain on the This assignment procedure will define the USER DEFINED keys for the user who is currently logged-
head amp. When the DIGITAL GAIN button is lit, you can adjust digital gain on the console. in, but if you are logged-in as the Administrator, you can also make USER DEFINED key settings for
the Guest account.
• SCENE UP/DOWN
Specifies what the SCENE MEMORY [INC]/[DEC] keys will do when pressed in the SCENE 1. In the Function Access Area, press the SETUP button to access the SETUP screen.
popup windows.
When the SCENE +1/–1 button is lit, pressing the [INC] or [DEC] key will increment or 2. Press the USER SETUP button to access the USER SETUP popup window.
decrement the scene number.
When the LIST UP/DOWN button is lit, pressing the [INC] or [DEC] key will scroll the list
upward or downward.
• LIST ORDER
Specifies the order in which scene memories and library items will appear on the list.
When the NORMAL button is lit, the list appears in ascending numerical order. When the
REVERSE button is lit, the list appears in descending numerical order.
• NAME DISPLAY
Specifies the content of the channel name display on the top panel.
When the NAME ONLY button is lit, only the channel name appears. When the FULL
FUNCTION button is lit, the channel name display also indicates knob assignment information
and fader level.

4. Use the buttons on screen to make Preference settings.

5. When you have finished making settings, close the popup window and press the
SETUP button in the Function Access Area.

3. Press the USER DEFINED KEYS tab to select the USER DEFINED KEYS page.
If you are logged-in as the Administrator, you can also select the USER DEFINED KEYS for
GUEST page to make USER DEFINED key settings for the Guest account.
The sixteen buttons on screen corresponds to USER DEFINED keys [1]–[16] on the top panel.
The name of function or parameter assigned to each key appears to the right of the corresponding
on-screen button. If nothing is assigned to the key, an indication of “---” will appear next to the
button.

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4. Press the button corresponding to the USER DEFINED key to which you want to Using the Alternate function
assign a function.
If you assign the Alternate function (ALTERNATE FUNCTION) to a USER DEFINED key, you will be
The USER DEFINED KEY SETUP window will appear. In this window you can select a function able to switch parameters on or off by operating the knobs in the SELECTED CHANNEL section while
to assign to the USER DEFINED key, and select optional parameters. pressing and holding down the USER DEFINED key.
The console enters Alternate mode when you press and hold down the USER DEFINED key to which
the Alternate function has been assigned (the key will light).

The Alternate function features two options: LATCH and UNLATCH.

If you select UNLATCH, Alternate mode is turned on only while you are pressing and holding down
the USER DEFINED key. If you select LATCH, you will be able to turn Alternate mode on or off by the
key presses. You do not need to hold down the key.
NOTE
• The console exits Alternate mode when you switch the display between the OVERVIEW screen
and the SELECTED CHANNEL VIEW screen, or when you open a popup window.
• In Alternate mode, “ALT” will be displayed in the user name field of the Function Access Area.

In Alternate mode, the following knobs change their behavior.

• [GAIN] knob
Rotate the knob to adjust the digital gain value. If DIGITAL GAIN has been selected for HA
KNOB FUNCTION on the PREFERENCE page in the USER SETUP popup window, rotate this
knob to adjust the analog gain value of the head amp.
NOTE • [MIX/MATRIX] knob
The list shown is the same for all models of the CL series. Rotate this knob to switch between PRE and POST for the corresponding send signal.
For the CL3/CL1, the display will indicate “Cannot Assign!” if you specify a parameter that does Press this knob to switch the corresponding send signal on or off.
not exist on that model.
• [HPF] knob
5. Make sure that the FUNCTION field is enclosed by a frame, then use the / Press this knob to switch the high pass filter on or off.
buttons in the lower part of the field or the multifunction knobs on the top panel
• [DYNAMICS 1] knob
to select the function you want to assign.
Press this knob to switch DYNAMICS 1 on or off.
For details on the assignable functions and their parameters, refer to “Functions that can be
assigned to USER DEFINED keys” on page 243. • [DYNAMICS 2] knob
Press this knob to switch DYNAMICS 2 on or off.
6. If the selected function has parameters, press the PARAMETER 1 or 2 field to move NOTE
the frame, and select parameters 1 and 2 in the same way. In Alternate mode, all knobs in the SELECTED CHANNEL section other than those knobs
mentioned above will be disabled.
7. Press the OK button to close the USER DEFINED KEY SETUP window.

8. Assign the desired functions to other USER DEFINED keys in the same way.

9. To execute an assigned function, press the corresponding USER DEFINED [1]–[16]

key on the panel.

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USER DEFINED knobs

This section explains how to assign the desired functions to the USER DEFINED knobs in the USER
DEFINED KNOBS section on the top panel, and press these knobs to execute the defined function.
This assignment procedure will define the USER DEFINED knobs for the user who is currently logged-
in, but if you are logged-in as the Administrator, you can also make USER DEFINED knob settings for
the Guest account.

1. In the Function Access Area, press the SETUP button to access the SETUP screen.

2. Press the USER SETUP button to access the USER SETUP popup window.

NOTE
The list shown is the same for all models of the CL series.
For the CL3/CL1, the display will indicate “Cannot Assign!” if you specify a parameter that does
not exist on that model.
5. Make sure that the FUNCTION field is enclosed by a frame, then use the /
buttons in the lower part of the field or the multifunction knobs on the top panel
to select the function you want to assign.
For details on the assignable functions and their parameters, refer to “Functions that can be
assigned to USER DEFINED knobs” on page 246.

6. If the selected function has parameters, press the PARAMETER 1 or 2 field to move
the frame, then select parameters 1 and 2 in the same way.

7. Press the OK button to close the USER DEFINED KNOB SETUP window.
3. Press the USER DEFINED KNOBS tab to select the USER DEFINED KNOBS page.
8. Assign the desired functions to other USER DEFINED knobs in the same way.
If you are logged-in as the Administrator, you can also select the USER DEFINED KNOBS and
ASSIGNABLE ENCORDER for GUEST page to make USER DEFINED knob settings for the 9. To execute an assigned function, press the corresponding USER DEFINED [1]–[4]
Guest account. knob on the panel.
The four on-screen buttons correspond to USER DEFINED knobs [1]–[4] on the top panel. The
name of function or parameter assigned to each key appears to the right of the corresponding on-
screen button. If nothing is assigned to the knob, an indication of “---” will appear next to the
About TOUCH AND TURN
button. The TOUCH AND TURN function is assigned to the USER DEFINED [4] knob by
default. If this function is assigned to one of the USER DEFINED knobs, you can
4. Press the button corresponding to the USER DEFINED knob to which you want to press a desired knob on the touch screen and then use the USER DEFINED knob to
assign a function. immediately operate that on-screen knob.
The USER DEFINED KNOB SETUP window will appear. In this window you can select a At this time, a pink frame is shown around the knob in the touch screen, indicating
function to assign to the USER DEFINED knob, and select optional parameters. that you can operate that knob.

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Assignable encoders 4. Press the button in the ASSIGNABLE ENCODER field.

The ASSIGNABLE ENCODER SETUP popup window will appear.
You can assign the desired function to the GAIN/PAN/ASSIGN knob on the fader strip of each channel,
and control the function using the knob.

1. In the Function Access Area, press the SETUP button to access the SETUP screen.

2. Press the USER SETUP button to access the USER SETUP popup window.

5. Use the / buttons in the lower part of the field or the multifunction knobs on
the top panel to select the function you want to assign.
For details on the assignable functions and their parameters, refer to “Functions that can be
assigned to the assignable encoders” on page 247.
NOTE
SELECTED SEND is the default setting. It functions as the send to the MIX/MATRIX channel that
is selected for SENDS ON FADER in the Function Access Area.

3. Press the USER DEFINED KNOBS tab to select the USER DEFINED KNOBS page. 6. Press the OK button to close the ASSIGNABLE ENCODER SETUP window.
If you are logged-in as the Administrator, you can also select the USER DEFINED KNOBS and
ASSIGNABLE ENCODER for GUEST page to make assignable knob settings for the Guest
7. Press the [GAIN/PAN/ASSIGN] key on the top panel repeatedly
to select ASSIGN.
account.
The CL3 and CL1 feature one [GAIN/PAN/ASSIGN] key. Therefore, the
function of all GAIN/PAN/ASSIGN knobs will change simultaneously.
On the CL5, you can switch the knob function in block A (left side) and
block C/Master fader section (right side) independently by using the
corresponding [GAIN/PAN/ASSIGN] keys.
NOTE
This assignment does not apply to the multifunction knobs in the Centralogic section, since these
knobs are used to control on-screen parameters.

8. Operate the GAIN/PAN/ASSIGN knob on each fader strip.

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Custom fader bank 2 MASTER button

Press this button to set channels that will be controlled by the faders in the Master fader section.
Groups that organize channels routed to the top-panel faders are called “fader banks.”
There are input and output channel banks, as well as custom fader banks. Custom fader banks enable 3 Block indicators
you to select various combinations of channels, regardless of channel types. This section explains how Display the graphics of the block and faders that are the current target for editing.
to set up a custom fader bank. The graphics vary depending on the console model.
CL5: A (16 faders), B, C, MASTER
1. In the Function Access Area, press the SETUP button to access the SETUP screen. CL3: A (16 faders), B, MASTER
2. Press the USER SETUP button to access the USER SETUP popup window. CL1: A (8 faders), B, MASTER

■ FADER field
4 Fader select button
1 Selects the target fader. Press this button to select it, then press the [SEL] keys on the top panel to
add the corresponding channels to the selected fader bank.

5 Fader assign popup button

3 2 Opens the Fader assign select popup window, in which you can change the channel assigned to
the fader.

6 CLEAR ALL button

6 Clears the current fader bank assignment. Pressing this button will open a confirmation dialog
4 box. Press OK to clear the assignment. Otherwise, press CANCEL to return to the previous screen
without changing the setting.
5
4. Use the Bank Select keys to recall the fader settings to the top panel for the
channels you want to add to the custom fader bank.

5. Press the bank select button for the custom fader bank you
want to set up.

3. Press the CUSTOM FADER tab to access the CUSTOM FADER BANK/MASTER FADER
page.
If you are logged-in as the Administrator, you can also select the CUSTOM FADER BANK/ 6. In the FADER field, press the number button for the fader
MASTER FADER for GUEST page to set up a custom fader bank for the Guest account. you want to set up.
This page includes the following items.

■ CUSTOM FADER BANK/MASTER FADER field

1 Bank select buttons 7. On the top panel, press the [SEL] key of the channel that you
Enable you to select a custom fader bank to which you want to assign a group of channels. want to assign to that fader number.
The number and name of the custom fader banks vary depending on the console model.
CL5: A1, A2, B1, C1, C2, C3, C4, C5, C6
CL3: A1, A2, A3, B1, B2 The name of the selected channel will appear on the fader assign select
CL1: A1, B1, B2, B3, B4 popup button.

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8. To assign channels to other faders, repeat steps 5 through 7. Master fader

9. If necessary, select channels by pressing the fader assign select popup buttons. You can set channels that will be controlled by the two faders in the Master fader section.

1. In the Function Access Area, press the SETUP button to access the SETUP screen.

2. Press the USER SETUP button to access the USER SETUP popup window.

Use the list in the left column to select the desired channel group, then use the buttons in the right
column to select channels.
When you have finished selecting the channels, press the CLOSE button.

3. Press the CUSTOM FADER tab to access the CUSTOM FADER BANK/MASTER FADER
page.
If you are logged-in as the Administrator, you can also select the CUSTOM FADER BANK/
MASTER FADER for GUEST page to edit the master fader settings for the Guest account.

4. Press the MASTER button.

The master faders will appear in the FADER field.

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Console Lock
You can temporarily prohibit console operations in order to prevent unwanted operation. This setting
completely disables operations of the panel and touch screen, so that controllers cannot be operated by
an accidental touch or by an unauthorized third party while the operator is taking a break.
If a password is set for the currently logged-in user, that password will be used for the Console Lock
function.
NOTE
• If you have forgotten the password, refer to “Initializing the unit to the factory default settings” in
the separate Owner’s Manual.
• The Guest cannot set a password.
• Even while the console is locked, you can operate the console from an external device via MIDI
or CL Editor as usual.

Locking the console

1. In the Function Access Area, press the SETUP button to access the SETUP screen.

5. Press the fader assign select popup button for the fader you want to edit.

Use the list in the left column to select the desired channel group, then use the buttons in the right
column to select channels. When you have finished selecting the channels, press the CLOSE 2. Press the CONSOLE LOCK button.
button.

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If you are logged-in as a user for whom a password is set, a keyboard window will appear, allowing Unlocking the console
you to enter the password.
1. Press the CONSOLE LOCK screen.
If you are logged-in as a user for whom no password is set, the console will be unlocked.
If you are logged-in as a user for whom a password is set, a keyboard window will appear, allowing
you to enter the password.

2. Enter the password for the logged-in user, and press the OK button.
The console will be unlocked, you will return to the SETUP screen, and the controllers will be
operable once again.

Specifying the CONSOLE LOCK screen image

If an image file has been saved on the USB flash drive, you can view that image on the CONSOLE LOCK
screen.
In the SAVE/LOAD popup window, specify the image file that you want to display, and then load it
from the USB flash drive. For details about loading files from the USB flash drive, refer to “Loading a
file from the USB flash drive” on page 173.
NOTE
Supported image file format is BMP in 800 x 600 pixels and 16/24/32-bit, but they will be
3. Enter the password for the logged-in user, and press the OK button. converted into 16-bit for display.
The CONSOLE LOCK screen will appear, the Console Lock function will be enabled, and all
controllers (excluding the MONITOR LEVEL knob) will become inoperable.

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Saving and loading setup data to and from a USB 2. Press the SAVE/LOAD button to access the SAVE/LOAD popup window.

flash drive
This section explains how to connect a commercially-available USB flash drive to the USB connector
located to the right of the display, and use it to save or load internal settings of the CL series console and
user authentication keys.
NOTE
• Operation is guaranteed only for USB flash drives.
• The operation of USB flash drives with capacities of up to 32GB has been verified. (However, this
does not necessarily guarantee the operation of all USB flash drives.) The FAT16 and FAT32
formats are supported. A USB flash drive with a capacity of 4GB or larger will be formatted in
FAT32, and a USB flash drive with a capacity of 2GB or smaller will be formatted in FAT16.
NOTICE
An ACCESS indicator appears in the Function Access Area while data is being accessed (saved,
loaded, or deleted). During this time, do not disconnect the USB plug or power-off the CL unit.
Doing so may damage the data in the flash drive.

Saving the CL console’s internal data on a USB flash drive

All of the CL series console’s internal data (excluding the data contained in a user authentication key)
can be saved on a USB flash drive as a setting file. The saved file will have an extension of “.CLF”.

1. In the Function Access Area, press the SETUP button to access the SETUP screen.
3. If necessary, press the directory icon and change the directory.
To move to the next higher level, press the arrow button in the PATH field.

4. Press the SAVE button.

A keyboard window will appear, allowing you to enter a file name and comment.

5. Enter a file name or comment, and press the SAVE button.

When the file has finished being saved, the popup window showing the save progress indication
and the type of data will close.
NOTE
• If you are going to overwrite a file or save a file with the same name in the same folder, a dialog
will ask you to confirm the overwrite.
• You can enter a comment of up to 32 characters.
• You may enter a file name of more than eight characters. However, the drive name, path name,
and file name are limited to a total of 256 characters. If you exceed this limit, you will be unable
to save the file. If an error message appears at the bottom of the screen, shorten the file name
and try saving the file again.

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Loading a file from the USB flash drive 5. Press the OK button to begin loading the file.
When the file has finished being loaded, the popup window showing the loading progress and the
Follow the steps below to load CL settings file (extension .CLF) from the USB flash drive into the CL type of data will close. If you cancel this procedure while it is in progress, data up to the
series console. cancellation point will still be loaded.
You can use the same procedure to load the following files as well as setting files. Some setting data may not be loaded, depending on the USER LEVEL setting during the load
Extension Type Contents of file operation.
.CLF ALL CL console internal setting file
.CLU KEY CL console user authentication key Editing the files saved on the USB flash drive
.XML XML XML file for displaying Help This section explains how to perform editing operations such as sorting the files and directories on the
.TXT TEXT Text file for displaying Help USB flash drive, editing the file names or comments, copying, and pasting.
Image file for display in the CONSOLE LOCK screen (256 or more
.BMP BMP
colors, uncompressed bitmap format) ■ File editing

NOTICE 1. In the Function Access Area, press the SETUP button to access the SETUP screen.
Some data may contain settings that will cause the console to output signals immediately after
the data is loaded. Therefore, before loading data, turn off the power to the equipment connected 2. Press the SAVE/LOAD button to access the SAVE/LOAD popup window.
to the CL series console and/or lower the volume of such equipment so that there will not be a The list will show the files and sub-directories that have been saved.
problem even if a signal is output from the CL console.
5 123 4 6
1. In the Function Access Area, press the SETUP button to access the SETUP screen.

2. Press the SAVE/LOAD button to access the SAVE/LOAD popup window.

8 9 0 C A B

1 COPY button
Copies a file into buffer memory (a temporary holding area).
3. To select the file that you want to load, press the name of the desired file in the file
2 PASTE button
list, or rotate the corresponding multifunction knob on the panel.
Pastes the file from buffer memory.
The highlighted line in the file list indicates the file that is selected for operations.
3 DELETE button
4. Press the LOAD button. A confirmation dialog box will appear. Deletes the selected file.

4 MAKE DIR button

Creates a new directory.

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5 PATH NOTE
Indicates the name of the current directory. Press the arrow button to move to the next higher The DANTE SETUP settings SECONDARY PORT and CONSOLE ID will not be changed even
level. If the current directory is the top level, the arrow button is dimmed. if the “WITH DANTE SETUP AND I/O RACK” button is on.

6 VOLUME NAME/FREE SIZE 3. Perform the desired editing operation.

Indicates the volume name and the amount of free space on the USB flash drive. For details on the procedure, refer to the explanations that follow.
If the USB flash drive is write-protected, a protect symbol will appear in the VOLUME NAME
field. ■ Sorting files and editing file names/comments

7 File list 1. To sort the files, press one of the headings “FILE NAME,” “COMMENT,” “READ
This area lists the files that are saved on the USB flash drive. ONLY,” “TYPE,” or “TIME STAMP” at the top of each column on the file list.
The highlighted line indicates the file selected for operations. The list will be sorted as follows, according to the column heading you press.
The file list contains the following items. When you press the item name at the top of each column,
it will turn orange, and the list will be sorted by that item. Each time you press the item name, the 1 2 3 4 5
sorting order will alternate between ascending and descending order.
• FILE NAME ...............Indicates the file name or directory name, and shows an icon indicating
its type.
• COMMENT ...............The comment added to the CL console setting file is displayed here. Press 1 FILE NAME
this area to open a keyboard window that enables you to enter a Sort the list in numerical/alphabetical order of the file names.
comment for the file. 2 COMMENT
• READ ONLY..............A lock symbol in this column indicates that the corresponding file is Sort the list in numerical/alphabetical order of the comment.
protected. You can press this area to enable or disable the protect setting.
• TYPE ...........................ALL indicates a file containing CL internal settings, KEY indicates a user 3 READ ONLY
authentication key, XML indicates a Help file, BMP indicates a bitmap Sort the list by Write Protect on/off status.
image file, MP3 indicates an MP3 file, and [DIR] indicates a directory.
4 TYPE
• TIME STAMP............Indicates the date and time at which the file was modified most recently. Sort the list by file type.
8 File selection knob 5 TIME STAMP
Selects a file on the file list. You can operate this knob using the multifunction knob. Sort the list by date and time of update.
9 SAVE button NOTE
Saves all of the CL console internal settings together (see page 172). By pressing the same location again, you can change the direction (ascending order or
descending order) in which the list is sorted.
0 LOAD button
Loads the selected CL setting file (see page 173). 2. If you want to edit the file name or comment, press the FILE NAME field or
COMMENT field of each file to access the keyboard window.
A CREATE USER KEY button
Creates a user authentication key (see page 153). 3. Enter a file name or comment, and press the RENAME button or SET button.
B FORMAT button
Initializes the USB flash drive (see page 175).
4. To turn the protect setting on or off, press the READ ONLY field for the file.
A protect symbol is displayed for write-protected files. These files cannot be overwritten.
C WITH DANTE SETUP AND I/O RACK button
NOTE
If this is off, the DANTE SETUP and I/O rack settings will be omitted when a settings file is You cannot edit the file name or comment of a write-protected file.
loaded.

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■ Copying and pasting a file Formatting a USB flash drive

Follow the steps below to copy a desired file into buffer memory, and then paste it with a different file
name. Follow the steps below to format a USB flash drive.
A USB flash drive with a capacity of 4GB or larger will be formatted in FAT32, and a USB flash drive
1. Turn the multifunction knob to select the copy-source file, and press the COPY with a capacity of 2GB or smaller will be formatted in FAT16.
button.
The highlighted line in the file list indicates the file that is selected for operations. 1. In the Function Access Area, press the SETUP button to access the SETUP screen.

2. If necessary, press the directory icon and change the directory. 2. Press the SAVE/LOAD button to access the SAVE/LOAD popup window.
To move to the next higher level, press the arrow button in the PATH field.

3. Press the PASTE button.

A keyboard window will appear, allowing you to enter the file name.

4. Enter the file name, and press the PASTE button.

NOTE
You cannot use a file name that already exists when you paste a file.

■ Deleting a file

1. Rotate the multifunction knob to select a file to delete, then press the DELETE
button.
A dialog box will ask you to confirm the Delete operation.

2. To execute the Delete operation, press the OK button.

NOTE
You cannot delete a protected file.

■ Creating a directory

1. If necessary, press the directory icon and change the directory. 3. Press the FORMAT button.
To move to the next higher level, press the arrow button in the PATH field. A keyboard window will appear, allowing you to enter the volume name that will be applied after
formatting.
2. Press the MAKE DIR button.
A keyboard window will appear, allowing you to enter a directory name. 4. Enter a volume name, and press the FORMAT button.
A dialog box will ask you to confirm the Format operation.
3. Enter the name of the directory you want to create, then press the MAKE button.
NOTE 5. To execute the Format operation, press the OK button.
You cannot create a directory using a directory name that already exists.

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Recorder Assigning channels to the input and output of the

recorder
This chapter explains the functionality and operation of the recorder.
Follow the steps below to patch the desired channels to the input and output of the USB memory
recorder. You can patch any desired output channel or the direct output of an INPUT channel to the
recorder input, and you can patch the recorder output to any desired input channel.
About the USB memory recorder
1. In the Function Access Area, press the RECORDER button to access the RECORDER
The CL series console features a USB memory recorder function that lets you easily record internal
screen.
signals to a USB flash drive, or play back audio files recorded on a USB flash drive.
As the file format for recording, the CL series console supports MP3 (MPEG-1 Audio Layer-3). For 2. Press the USB tab.
playback, it supports MP3 as well as WMA (Windows Media Audio) and AAC (MPEG-4 AAC) files. On this screen you can assign signals to the input and output of the USB memory recorder, and
However, DRM (Digital Rights Management) is not supported. perform recording and playback operations.
By using the USB memory recorder, the output from the STEREO bus or a MIX bus can be recorded to
a USB flash drive, or background music or sound effects saved on a USB flash drive can be played back
via an assigned input channel.

■ Signal flow for the USB memory recorder

MIX1-24
RECORDER PLAYBACK
MATRIX1-8 INPUT L L OUT
INPUT1-72*
STEREO L/R USB memory
recorder
MONO ST IN 1L1R-8L8R
R R
INPUT1-72*
DIRECT OUT

* CL3: INPUT1-64, CL1: INPUT1-48

NOTE
• Recording and playback cannot be done simultaneously.
• The signal being recorded cannot be input to an INPUT channel.

1 2 3 4 8 7 6 5
1 RECORDER INPUT L/R buttons
Press these buttons to open the CH SELECT popup window, in which you can select the signals
patched to the recorder’s L/R input channels.

2 RECORDER INPUT GAIN knob

Sets the level of the signal input to the recorder.

3 RECORDER INPUT CUE button

Press this button to audition the signal input to the recorder.
NOTE
You cannot turn on this button and the PLAYBACK OUTPUT CUE button simultaneously.

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4 Meters • ST R+C ....................... STEREO channel R mixed with the MONO (C) channel
Indicate the level of the signals input to the recorder. • MONO........................ MONO channel
5 PLAYBACK OUTPUT L/R buttons • CH1–72 ...................... Direct output of an INPUT channel 1–72
Press these buttons to open the CH SELECT popup window, in which you can select the signals NOTE
patched to the recorder’s L/R output channels for playback. In the case of the CL3/CL1, channels that do not exist on those models will not be shown.

6 PLAYBACK OUTPUT GAIN knob 4. Use the category list and the port select buttons to select the channel that you
Sets the level of the signal output to the recorder. want to patch to the USB memory recorder output.
7 PLAYBACK OUTPUT CUE button If you select a channel to which another port is already patched, a dialog box will ask you to
confirm the patch change. Press the OK button in the dialog box.
Press this button to audition the signal output from the recorder.
NOTE 5. When you have finished assigning the channel, press the CLOSE button.
You cannot turn on this button and the RECORDER INPUT CUE button simultaneously. You will return to the RECORDER screen.
8 Meters
Indicate the level of the signals output from the recorder.
6. Assign a channel to the other input in the same way.
NOTE
3. To assign channels to the recorder inputs, press the CH INPUT popup button L or R. The USB memory recorder always records and plays back in stereo. If you want to record in
The CH SELECT popup window will appear. monaural, with the same signal for left and right, you must assign both of the recorder inputs to
the same channel.

7. To assign channels to the recorder outputs, press the PLAYBACK OUT popup
button L or R.
The CH SELECT popup window will appear.

2
1

2
1
1 Category list
Enables you to select the type of channels.

2 Channel select buttons

Select the channels that will be patched to the USB memory recorder’s inputs.
• MIX 1–24....................MIX channels 1–24 1 Category List
• MTRX 1–8..................MATRIX channels 1–8 Enables you to select the type of channels.
• ST L/R .........................STEREO channel L/R
• ST L+C ........................STEREO channel L mixed with the MONO (C) channel

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2 Channel select buttons Recording audio to a USB flash drive

Select the channels that will be patched to the USB memory recorder’s outputs, from the following
choices. You can record the signal of the desired output channels as an audio file (MP3) onto the USB flash drive
• CH1–72....................................... INPUT channels 1–72 inserted in the USB connector located to the right of the display.
• STIN 1L/1R–STIN 8L/8R ........ ST IN channels 1–8 L/R 1. In the Function Access Area, press the RECORDER button to access the RECORDER
NOTE screen.
In the case of the CL3/CL1, channels that do not exist on those models will not be shown.
2. Press the USB tab.
8. Use the category list and the channel select buttons to select the channel that you
want to patch to the USB memory recorder output.
If you select a channel to which another signal is already patched, a dialog box will ask you to
confirm the patch change. Press the OK button in the dialog box.
NOTE
You can patch multiple channels to the recorder output.

9. When you have finished assigning the channel, press the CLOSE button.
You will return to the RECORDER screen.

10. Assign a channel to the other output in the same way.

1
2 C
B

7 8 9 0 A 34 5 6

■ TRANSPORT field
This field enables you to control recording and playback of a song.
1 Current song
Indicates the currently-selected song’s track number, title and artist name. The following
indicators will appear during playback or recording.

2 Elapsed time display

Indicates the elapsed playback time of the current song during playback, and the elapsed
recording time during recording.

3 Remaining time display

Indicates the remaining playback time of the current song during playback, and the available
recording time during recording.

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4 Current song format If this button is off, the recorder will stop after playback of the current song is complete (unless
Indicates the file format information for the current song (the file being recorded). there are no subsequent songs that are marked with a PLAY check symbol).

5 REC RATE button 3. Connect a USB flash drive with sufficient free capacity to the USB connector.
Switches the recording rate. The FREE SIZE field indicates the amount of free capacity. When you connect a USB flash drive
6 Display switch button to the USB connector, a YPE folder and a SONGS folder within that YPE folder will be created
automatically in the root directory of the USB flash drive.
Switches between displaying and hiding the INPUT and OUTPUT fields at the bottom of the song
list. The files created by recording operations will be saved in the above SONGS folder, or in the
currently-selected folder below that level.
7 REW button
Moves the playback point to the beginning of the current song and stops playback. If the playback ■ Directory structure of a USB flash drive
point has already been located at the beginning, the point will move to the beginning of the YPE folder
preceding song that has been checked for playback.
Root directory
8 STOP button
Places the recorder in stop mode. Songs folder

9 PLAY button
Changes the recorder mode as follows:
Song (audio file)
Stop mode → Playback mode, then starts playback from the playback point
Playback mode → Stop mode
Recording mode → Recording standby mode
Recording standby mode → Recording mode
0 FF button
Moves the playback point to the beginning of the next song that is marked with a PLAY check
symbol.

A REC button
Places the recorder in recording standby mode. 4. Assign the desired channels to the input and output of the USB memory recorder
(see page 176).
NOTE
You can also assign the function of each button to a USER DEFINED key (see page 164).
5. To monitor the signal being recorded, raise the fader for the channel(s) that are
■ PLAY MODE field patched to the input of the recorder.
This field enables you to specify how the recorder will behave when playback of the current song is The level meter on the RECORDER screen shows the signal level before and after the recorder. If
complete. necessary, use the GAIN knob in the RECORDER INPUT field to adjust the input level to the
recorder.
B SINGLE button
NOTE
If this button is on, the recorder will stop after playback of the current song is complete. • The signal being recorded will not be output from the recorder output jacks (PLAYBACK OUT).
If this button is off, the recorder will play the next song on the list after playback of the current • Operating the GAIN knob will not affect the level of the signal being output to other ports from the
song is complete. corresponding output channel.

C REPEAT button 6. Press the REC RATE field in the lower right of the screen, then select the bit rate
If this button is on, after playback of the current song is complete, the recorder will play the first for the audio file that will be recorded.
song on the list that is marked with a PLAY check symbol (unless there are no subsequent songs You can choose 96 kbps, 128 kbps, or 192 kbps. Higher bit rates will improve the audio quality,
that are marked with a PLAY check symbol). but will increase the size of the data.

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NOTE Playing back audio files from a USB flash drive

The word clock rate at which the CL series console is currently operating will automatically be
selected as the sampling rate for the audio file. You can play back audio files that have been saved on your USB flash drive. In addition to files that were
recorded on the CL series console, you can also play files that were copied from your computer to the
7. Press the REC (●) button located at the bottom of the screen. USB flash drive.
You will use the transport section to perform record, play, and stop operations for the recorder. The three types of file format that can be played are MP3 (MPEG-1 Audio Layer-3), WMA (Windows
Media Audio), and AAC (MPEG-4 AAC). The playable sampling rates are 44.1 kHz and 48 kHz. The
8. To start recording, press the PLAY/PAUSE ( ) button in the lower part of the supported bit rate ranges from 64 kbps to 320 kbps.
screen.
During recording, the REC (●) button and the PLAY/PAUSE ( ) button will light. The TIME 1. Connect a USB flash drive that contains the audio files to the USB connector.
field will indicate the elapsed time.
NOTE
If you want to play back an audio file, you must save it in the SONGS folder within the YPE folder,
9. To stop recording, press the STOP (■) button. or in a folder you have created below the SONGS folder. Files located in other folders and files of
The audio file will be saved to the USB flash drive. unsupported formats will not be recognized.
NOTE
• In the default state, the recorded audio file will be saved in the SONGS folder within the YPE
2. In the Function Access Area, press the RECORDER button to access the RECORDER
folder. However, you may also specify a folder of a level below the SONGS folder. screen.
• The recorded file will be given a default title and file name. You can change this later. 35 4 1
10. To audition the recorded content, proceed as follows.
10–1. Press the PLAY/PAUSE ( ) button.
The recorded content will be played back via the input channel you specified in step 3. 2
10–2. To stop playback, press the STOP (■) button.

A
0

6 7 8 9

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■ Title list • Subdirectory ............. Press this button to move to the corresponding sub-directory.
This list enables you to perform operations related to the songs and directories that are saved on the
USB flash drive.
1 Selected song NOTE
The currently-selected song is highlighted in blue in the title list. If you select another song, the • If you select a folder in this way, that folder will automatically be selected as the recording
destination.
list will scroll to display the title of that song in the center of the list.
• The folders that can be selected are restricted to the SONGS folder inside the YPE folder, and
2 Status indicator folders located below the SONGS folder.
• The CL series console can recognize a file name that is a maximum of 64 single-byte characters.
Displays a symbol to indicate whether the currently-selected file is playing or paused.
If the file name is longer than this, the desired file may not play correctly.
: Playing, : Paused • A maximum of 300 songs can be managed in a single directory. A maximum of 64 subdirectories
can be managed.
3 Track number
Indicates the file number on the list. 4. Use the multifunction knob or press the on-screen file name to select the desired
4 Sub-directory file.
Indicates each song’s track number, the name of upper level directory, and whether a sub-
directory exists (in the case that the directory has been selected).
5. Press a button in the PLAY MODE field to select the playback mode.
You can choose from the following four playback modes.
5 PLAY check symbol
SINGLE REPEAT
Enables you to select multiple files that will be played back consecutively. Mode
button button
6 SELECT knob On On The currently-selected song will play repeatedly until you stop playback.
Use the multifunction knob to switch the current song. (The title list will scroll up or down.) On Off The currently-selected song will play once and then stop.
Starting with the currently-selected song on the title list, songs will play
7 NOW PLAYING button Off On back consecutively until the last song. Then, playback will return to the
Press this button to always select the currently-playing song on the list. first song and will continue until you stop playback.
Starting with the currently-selected song in the title list, songs will play
8 MOVE UP/MOVE DOWN buttons Off Off
back consecutively, and playback will stop at the last song on the list.
Sort the current song list in descending or ascending order.

9 Display switch buttons 6. If you have selected a consecutive playback mode in step 5, press the PLAY check
Switch between the SONG TITLE display and the FILE NAME display on the list. symbol column for each song you want to play.
When performing consecutive playback, the files marked with a check symbol will be played.
0 SAVE LIST button
Saves the order of the current title list and PLAY check symbol setting as a playlist. 7. Press the PLAY/PAUSE ( ) button.
A RELOAD button The song you selected in step 4 will begin playing.
Loads the playlist that was saved most recently. Use this button to revert the current playlist you NOTE
are editing back to the previous setting. • The USB memory recorder can play back audio files that feature a sampling rate of 44.1 kHz or
48 kHz.
3. You can use the change directory button on screen and the folder icon in the NO. • Even if the sampling rate at which the CL series console is operating differs from the sampling
column to view a content list of the folder that includes the desired file. rate of the audio file being played, the SRC (Sampling Rate Converter) function will automatically
convert the rate so that the file will be played back correctly.
If the directory on the USB flash drive is displayed: • If the REPEAT button is on, playback will continue until you stop playback.
• Upper level .................Press this button to move up to the directory that is one level higher than
the current one. 8. To stop playback, press the STOP (■) button.

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Editing the title list 6 SONG TITLE/FILE NAME button

Enables you to select either song title or file name to be displayed in the SONG TITLE/FILE
You can change the order of the audio files shown in the title list, and edit the titles or artist names. NAME field.

1. Connect a USB flash drive containing audio files to the USB connector. 3. Use the No. button and the change directory button on screen to view a list of the
contents of the folder that contains the desired file.
2. In the Function Access Area, press the RECORDER button to access the RECORDER
screen. 4. If you want to edit a title in the title list, press the SONG TITLE/FILE NAME EDIT
3 4 button. If you want to edit the artist name, press the ARTIST EDIT button.
A popup window will appear, allowing you to edit the text.
NOTE
• If the title or artist name contains characters that cannot be displayed, these characters will be
converted into for display.
• The title and the artist name can be edited only for MP3 format audio files.
1
2 5. Edit the title or artist name.
A maximum of 128 single-byte characters (64 double-byte characters) can be input for both the
title and for the artist name. If the text cannot be shown completely in the input field, the text will
5 scroll horizontally.

6. Press the OK button to close the popup window.

6
7. If necessary, use the SONG TITLE/FILE NAME SORT button, ARTIST SORT button,
and MOVE UP/MOVE DOWN buttons on screen to change the order of the title list.
Use the following buttons to change the order of the title list.
• SONG TITLE/FILE NAME SORT button
Press this button to sort the title list in numerical → alphabetical order by title/file name. Pressing
the button repeatedly will alternate between ascending and descending order.
• ARTIST SORT button
Press this button to sort the title list in numerical → alphabetical order by artist name. Pressing the
1 SONG TITLE/FILE NAME EDIT button button repeatedly will alternate between ascending and descending order.
Enables you to edit the title of the song selected in the list.
• MOVE UP/MOVE DOWN buttons
2 ARTIST EDIT button Press these buttons to move the track number of the file currently-selected in the title list upward
Enables you to edit the artist name of the song selected in the list. or downward by one.
• SAVE LIST button
3 SONG TITLE/FILE NAME SORT button
Press this button to store the title list order and playback selections to a USB flash drive. You
Sorts the list in alphabetical order of the title.
should perform this operation if you want the title list to be preserved even after you disconnect
4 ARTIST SORT button the USB flash drive or turn off the power to the console.
Sorts the list in alphabetical order of the artist name. Since these settings are stored for each folder, a confirmation dialog box will ask you whether you
want to save them when you attempt to select a different folder.
5 SAVE LIST button
Saves the list sorting data to a USB flash drive.

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Using the CL console with Nuendo Live The following example shows Dante Controller settings for patching I/O rack channels 1–16 to
DVS.
The CL series consoles can operate in an integrated manner with Steinberg’s Nuendo Live DAW
software.
In addition to the equipment and software mentioned in “Recording or playing back using DAW on a
computer” on page 25, the “CL Extension” software which integrates the CL series and Nuendo Live can
be installed in your computer, allowing you to operate Nuendo Live from the CL series console to easily
perform multi-track recording operations.
Here we explain how to operate Nuendo Live from the CL series console.

Preparing the project

Make the following settings as described in “Recording or playing back using DAW on a computer” on
page 25.

1. Setting up Dante Virtual Soundcard

Specify the audio format, network settings, and ASIO driver settings so that Dante Virtual
Soundcard (DVS) can be used.

2. Setting up Dante Controller

Use Dante Controller to patch between the I/O rack and DVS, and between DVS and the CL series
console. Assign the signals from the I/O rack to the various input ports of DVS.
NOTE
Separately, route the signals from I/O racks to the channels on the CL series console. (see
page 135)
In this case, the DANTE INPUT PATCH settings of the CL series console must be switched when
changing between multi-track recording and multi-track playback. Switching will be easy if
you’ve stored the respective settings in the DANTE INPUT PATCH LIBRARY (see page 136).

3. Setting up Nuendo Live

When you start Nuendo Live and create a new project, a track for each channel specified for DVS
will be created automatically. In addition, the tracks will automatically use the channel names and
color information as specified on the CL series console.
Make the following settings in Nuendo Live.
• In Setup button → Audio System, select DVS as the driver.
NOTE
For details on the settings of each software program, refer to the manual for that software.

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Recording into a project 6 Location information display

This displays information for the current location of the Nuendo Live project. You can press the
1. In the Function Access Area, press the RECORDER button to access the RECORDER button at the right to switch the time display format.
screen.
■ Transport field
2. Press the Nuendo Live tab in the upper right of the screen. Here you can operate the transport of Nuendo Live.
The Nuendo Live screen will appear.
7 GO TO PROJECT START button
Returns the location to the start of the project.

8 GO TO PREVIOUS MARKER button

Returns the location to the previous marker.
1
9 GO TO NEXT MARKER button
Advances the location to the next marker.
2
0 GO TO PROJECT END button
Advances the location to the end of the project.

A CYCLE button
3 Turns repeat on/off for the project.

B STOP button
4 Stops playback/recording of the project.
F
5 C PLAY button
G Starts playback of the project.
6 D RECORD button
Starts/stops recording of the project.

E EASY RECORDING button

7 8 9 0 A B C D E H
Immediately starts recording all tracks.
The screen shows the following items. Pressing this button will reset the current location to the end point of the latest recording, place
1 Nuendo meter display field all tracks in recording mode, start recording, and then display and lock the recording panel.
Recording will start retroactively by the specified time duration (default: 10 seconds).
This shows the channel levels of Nuendo Live.
F ADD MARKER button
2 PEAK CLEAR button
Adds a marker to the project at the current location.
Clears the peak levels indicated by the peak hold function.
G RECALL LINK button
3 Marker list field
Specifies whether a marker will be created when you recall a scene. If this function is turned on,
Lists the marker information recorded in the current Nuendo Live project.
the button will be lit.
The markers can be selected by pressing the on-screen list or by using the multifunction knobs.
H Record lock button
4 Nuendo Live SETUP button Turns recording status lock on/off.
This button will be used in future updated versions. It has no function in V1.1 or earlier.
This prevents recording from being accidentally stopped during recording.
5 DANTE INPUT PATCH button NOTE
Press this to access the DANTE INPUT PATCH screen (see page 136). Transport functions can also be controlled from USER DEFINED keys. (see page 164)

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3. Press the EASY RECORDING button to start recording. Playing a multi-track project
4. When you have finished recording, press the record lock button and then the STOP 1. In the Nuendo Live screen, press the DANTE INPUT PATCH button.
button.
2. Assign the signals from Nuendo Live to the desired DANTE1–DANTE64 ports.
For example, press the PORT SELECT button for DANTE1.
The PORT SELECT popup window will appear.

3. In the list at the left, select the DVS you’re using with Nuendo Live, and select the
port that you want to assign to DANTE1.

4. Press the + button located in the upper part of the screen to switch to DANTE2,
and assign a DVS port to it in the same way.

5. When you have finished making settings, press the CLOSE button to exit the
screen.

6. Press the “X” symbol in the upper right of the DANTE INPUT PATCH window to
close it.
NOTE
If you’ve saved the DANTE INPUT PATCH settings in the library, it will be easy to switch the
settings on the CL series console (see page 136).

7. In the Nuendo Live screen, press the START button.

8. Operate the channels so that sound is output.

9. To stop playback, press the STOP button.

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3 COMMENT EDIT popup button

Other functions Press this button to open the COMMENT EDIT popup window, in which you can enter
comments that will be displayed in the comment area (●).
This chapter explains various functions of CL series consoles that are not covered in other chapters.
4 PASSWORD CHANGE popup button
Press this button to open the PASSWORD CHANGE popup window, in which you can change
About the SETUP screen the password.

The SETUP screen enables you to set various parameters that apply to the entire CL console. To access 5 SAVE KEY popup button
the SETUP screen, press the SETUP button in the Function Access Area. The screen contains the Enables you to overwrite (save) the user authentication key. Press this button to open the SAVE
following items. KEY popup window. (see page 160)
1 3 2 54 6 7
■ STORAGE field
This field enables you to create, save, or load a user authentication key.

6 CREATE USER KEY popup button

Press this button to open the CREATE USER KEY popup window, in which you can create a new
user authentication key.

7 SAVE/LOAD popup button

8
Press this button to open the SAVE/LOAD popup window, in which you can save or load user
authentication keys and console files.
A
B
■ SYSTEM SETUP field
9 D This field enables you to make various settings that globally apply to the CL console.
0
E 8 +48V MASTER button
C G Switches the console’s master +48V master phantom power on or off. When this button is off,
+48V phantom power for all the head amps turns off.
F
NOTE
If this button is off, phantom power will not be supplied even if the +48V button of each channel
is on.

9 WORD CLOCK/SLOT SETUP popup button

Press this button to open the WORD CLOCK/SLOT SETUP popup window, in which you can
H I J make word clock settings and various settings for each slot.
■ CURRENT USER field
0 CASCADE popup button
This field enables you to make various user-related settings.
Press this button to open the CASCADE popup window, in which you can make patch settings
1 USER SETUP popup button for cascade connections.
Press this button to open the USER SETUP popup window, in which you can make various A OUTPORT SETUP popup button
settings for each user.
Press this button to open the OUTPUT PORT popup window, in which you can make output port
2 CURRENT USER popup button settings.
Press this button to open the LOG IN popup window, in which you can switch log-in users. B MIDI/GPI popup button
Press this button to open the MIDI/GPI popup window, in which you can make MIDI and GPI-
related settings.

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C DANTE SETUP button ■ CONTRAST/BRIGHTNESS field

Press this button to open the DANTE SETUP popup window. This window enables you to make This field enables you to set the LCD brightness and contrast.
various audio network settings (console ID setting; SECONDARY PORT functionality setting;
audio bit rate; latency setting; DANTE device ID and device type settings for devices controlled H BANK A/BANK B buttons
via the I/O RACK screen). Select a bank to which you want to save the brightness and contrast settings. You can save two
different settings in bank A and B, and switch between them if desired.
■ BUS SETUP field
I CONTRAST NAME knob
This field enables you to make bus-related settings.
Adjusts the contrast of the channel name display.
D BUS SETUP popup button
J BRIGHTNESS NAME knob
Press this button to open the BUS SETUP popup window, in which you can make MIX bus/ BRIGHTNESS CH COLOR knob
MATRIX bus-related settings. BRIGHTNESS SCREEN knob
BRIGHTNESS PANEL knob
■ DATE/TIME popup button
BRIGHTNESS LAMP knob
Press this button to open the DATE/TIME popup window, in which you can set the date and time. These knobs enable you to adjust the brightness of the channel name display, channel color,
display, top panel LEDs, and the lamp connected to the LAMP connector.
■ NETWORK popup button
Press this button to open the NETWORK popup window, in which you can set the network address.

■ Indicator field
This field displays various information about the console’s status.

E BATTERY indicator
Indicates the status of the internal battery.
NOTE
The LOW or NO indication will appear if the battery runs down. In this case, immediately contact
your Yamaha dealer or a Yamaha service center listed at the end of the operating manual
(separate document) to have the backup battery replaced.

F POWER SUPPLY indicator

Indicates the currently-running power supply: INT (internal) or EXT (PW800).

G Version indicator
Indicates the version number of the main CPU, sub CPU, and DANTE module.

■ CONSOLE LOCK button

This button executes the Console Lock function. If the console password has been set, pressing this
button will open the AUTHORIZATION popup window. Enter the correct password to execute
Console Lock.
If the console password has not been set, pressing this button will execute the Console Lock
immediately.

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Word clock and slot settings This popup window contains the following items.

“Word clock” refers to the clock that provides the basis of timing for digital audio signal processing. To
send and receive digital audio signals between devices, those devices must be synchronized to the same
word clock. If digital audio signals are transferred in an unsynchronized state, the data may not be 1 3
transmitted or received correctly, and noise may be present in the signal, even if the sampling rates are
the same.
Specifically, you must first decide which device will transmit the reference word clock for the entire 2
system (the word clock master), and then set the remaining devices (the word clock slaves) so that they
synchronize to the word clock master.
If you wish to use the CL series console as a word clock slave that is synchronized to the word clock
supplied from an external device, you must specify the appropriate clock source (the port through
which the word clock is obtained).
This section explains how to select the clock source that the CL series console will use.

1. In the Function Access Area, press the SETUP button to access the SETUP screen.

■ MASTER CLOCK SELECT field

1 Master clock frequency display

Indicates the frequency (44.1 kHz or 48 kHz) of the currently-selected master clock. If the unit is
not synching to the master clock, “UNLOCK” will appear.
NOTE
If sample rate pull-up/down has been specified in the Dante
Controller application, this area indicates the change in the
sample rate as a percentage, such as –4.0%, –0.1%, +4.0%,
4.1667%, etc.

2 Master clock select buttons

Use the buttons to select the clock source that you want to use as the word clock master from the
following options:
• INT 48 k
• INT 44.1 k
The CL console internal clock (sampling rate 48 kHz or 44.1 kHz) will be the clock source.
2. In the SYSTEM SETUP field at the center of the screen, press the WORD CLOCK/ • WORD CLOCK IN
SLOT SETUP button to open the WORD CLOCK/SLOT SETUP popup window. The word clock supplied from the WORD CLOCK IN jack on the rear panel of the console will
be used as the clock source.
• DANTE 48 k
• DANTE 44.1 k
The word clock supplied from the Dante jack on the rear panel of the console will be used as the
clock source.

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• SLOT 1–3 ■ SLOT SETUP field

The word clock supplied via a digital I/O card installed in a console slot will be used as the clock This field enables you to make various settings related to the MY slots on the rear panel of the console.
source. Word clock can be selected in pairs for each slot.
3 Clock status display 3
Indicates the status of synchronization with the master clock for each clock source. Each indicator 1 2
is explained below: 4

• LOCK (light blue) 1 Card name

Indicates that a clock synchronized with the selected clock source is being input. If an external Indicates the type of card installed in the slot. If nothing is installed, “----” will appear.
device is connected to the corresponding connector or slot, input/output is occurring properly
between that device and the CL series console. If the sampling frequency is close, this status may 2 SRC buttons
be displayed even if not synchronized. The SRC (Sampling Rate Converter) function can be switched on or off for a slot in which an MY
card (MY8-AE96S) that features the SRC function is installed. If another type of card is installed,
• LOCK, BUT NOT SYNC’ED (yellow)
or if no card is installed, no SRC button will appear.
A valid clock is being input, but is not synchronized with the selected clock source. If an external
device is connected to the corresponding connector, input/output cannot occur correctly between 3 FREQUENCY display
that device and the CL series console. Indicates the sampling frequency of input signals if the installed card can detect the substatus of
• SRC ON (green) input signals, such as an AES/EBU card. If another type of card is installed, or if no card is
This is a special status applied only to SLOT 1–3, indicating that the corresponding channel’s SRC installed, “----” will appear.
(Sampling Rate Converter) is enabled. This means that even if the signal is not synchronized, 4 EMPHASIS STATUS display
normal input/output with the CL series console is occurring.
Indicates the emphasis information of input signals if the installed card can detect the substatus
• UNLOCK (red) of input signals, such as an AES/EBU card. If another type of card is installed, or if no card is
A valid clock is being input, but the CL series console is not synchronized to the selected clock. installed, “----” will appear.
If an external device is connected to the corresponding connector, it will be unable to
communicate properly with the CL console. 3. In the MASTER CLOCK SELECT field, select a clock source.
• UNKNOWN (black) 4. To close the WORD CLOCK/SLOT SETUP popup window, press the “x” symbol
This indicates that the clock status cannot be detected because no external device is connected or located in the upper right.
because there is no valid clock input. You will be able to select this connector/slot, but successful
You will return to the SETUP screen.
synchronization cannot occur until a valid connection is established.
If the indicator for the port selected as the clock source has turned light blue, and the clock 5. To close the SETUP screen, press the SETUP button in the Function Access Area.
frequency appears in the upper left of the MASTER CLOCK SELECT field, this indicates that the
CL series console is operating correctly with the new clock.
NOTE
• If the indicator for the selected clock does not turn light blue, make sure that the external device
is correctly connected, and that the external device is set to transmit clock data.
• Noise may occur at the output jacks when the word clock setting is changed. To protect your
speaker system, be sure to turn down the power amp volume before changing the word clock
setting.
• If you attempt to select a channel (for which SRC is on) as the word clock source, a message will
appear, warning you that the sampling rate converter will be disabled.

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Using cascade connections Operations on a cascade slave CL unit

Using multiple CL series consoles, or a CL console and an external mixing console (such as a Yamaha 1. In the Function Access Area, press the SETUP button to access the SETUP screen.
PM5D) in a cascade connection enable buses to be shared among the devices. This can be convenient
if you want to use an external mixer to increase the number of inputs. 2. In the SYSTEM SETUP field located in the center of the SETUP screen, press the
This section explains cascade connections and operation, using an example in which two CL units are CASCADE button to open the CASCADE popup window.
connected in a cascade configuration. This window enables you to select an I/O port used for cascade connections. The window consists
of two pages: The CASCADE IN PATCH page and the CASCADE OUT PATCH page. To switch
About cascade connections pages, press the corresponding tab at the bottom of the window.
To cascade two CL series consoles, you must first install digital I/O cards in the appropriate slots, and 3. Press the CASCADE OUT PATCH tab to access the CASCADE OUT PATCH page.
connect the output ports of the sending unit (the cascade slave) to the input ports of the receiving unit
In this screen you can select the slot and output port that will output each bus.
(the cascade master).
The following illustration shows an example in which three eight-channel digital I/O cards for each unit
are installed in the cascade slave CL unit and in the cascade master CL unit. The DIGITAL OUT jacks
of the sending unit are connected to the DIGITAL IN jacks of the receiving unit.
2

Audio signals of Audio signals of

unit A A+B 3
DIGITAL DIGITAL
OUT IN

CL A CL B

(Cascade slave) (Cascade master)

1
Digital I/O card

In this example, up to twenty four buses chosen from MIX bus 1–24, MATRIX bus 1–8, STEREO bus
(L/R), MONO (C) bus, and CUE bus (L/R) can be shared, and the mixed signals transmitted from the
cascade master CL unit. (If you use three 16-ch digital I/O cards, all buses can be shared among the
devices.)
1 OUT PATCH buttons (CASCADE OUT PATCH section)
You must specify bus assignments for each or channel on each CL unit. Separate procedures are
Enable you to select the output port for cascade connections for each of MIX 1–24, MATRIX 1–
outlined below for the cascade slave and the cascade master.
8, STEREO L/R, MONO, and CUE L/R buses. Press the button to open the PORT SELECT popup
NOTE window, in which you can select a port.
• If you are making a cascade connection between the CL unit and the PM5D, you can use the CL
unit as the cascade slave by setting the PM5D’s CASCADE IN PORT SELECT to a slot. However, 2 CASCADE LINK MODE buttons
only the audio signals will be cascaded, and the control signals cannot be linked. Specify whether cue operations or scene store/recall operations will be linked on the CL series
• You can also use an AD/DA card to make cascade connections with an analog mixer. consoles in a cascade connection.
• There is no limit to the number of units that can be cascade-connected, but the signal delay at
the cascade slave will increase in accordance with the number of units from the cascade master. 3 CASCADE COMM PORT buttons
Specify the communication port used for transmitting and receiving link information when cue
operations or scene store/recall operations are linked on the CL series consoles in a cascade
connection.

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4. Press the port select popup button for the bus for which you want to assign the NOTE
port. Control signals for cascade link and MIDI messages cannot share the same port. If you select a
The PORT SELECT popup window will appear. port that is already specified for transmission/reception of MIDI messages, a dialog box will ask
whether it is OK to cancel the existing settings.
7–2. Use the CASCADE LINK MODE buttons to select the item that you want to link.
You can choose from the following items.
• OFF
No link operation
• CUE
2 The following cue-related parameters and events will be linked.
• Cue enable/disable
• Cue mode (MIX CUE or LAST CUE)
1
• Cue point settings for input channels and output channels
• ALL
All linkable parameters and events (including cue-related parameters) will be linked.
• Cue-related parameters and events (see above)
• Scene recall operations
• Scene store operations
This popup window contains the following items.
• DIMMER (MONITOR screen) operations
1 Slot select list • Panel LED and display brightness (SETUP screen) operations
Selects slot 1–3. • Master mute group operations
2 Port select buttons
8. To close the PORT SELECT popup window, press the CLOSE button.
Select the port of the specified slot.

5. Use the slot select list and port select buttons to select the desired slot and output
ports, and then press the CLOSE button.
The port will be assigned to the selected bus.

6. Repeat steps 4 and 5 to assign ports to other buses.

NOTE
You cannot assign two or more buses to the same output port. If you select a port to which a
signal route has already been assigned, the previous assignment will be canceled.

7. If you want to use the Cascade Link function to link parameters and events
between two CL consoles, proceed as follows.
7–1. Use the CASCADE COMM PORT field to select the port that will transmit and
receive control signals for cascade link.
You can choose from the following items.
• NONE...........No link operation
• MIDI ............Use MIDI port
• SLOT1 ..........Use SLOT1

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Operations on the cascade master CL unit Basic settings for MIX buses and MATRIX buses
1. In the Function Access Area, press the SETUP button to access the SETUP screen. This section explains how to change the basic settings for MIX buses and MATRIX buses, such as
switching between stereo and monaural, and selecting the position from which the signal of an input
2. In the SYSTEM SETUP field located in the center of the SETUP screen, press the channel will be sent.
CASCADE button to open the CASCADE popup window. The settings you make in the following procedure will be saved as part of the scene.

3. Press the CASCADE IN PATCH tab to access the CASCADE IN PATCH page. 1. In the Function Access Area, press the SETUP button to access the SETUP screen.

4. Press the port select popup button for the bus to which you want to assign a port. 2. In the center right of the SETUP screen, press the BUS SETUP button to open the
The PORT SELECT popup window will appear. BUS SETUP popup window.
In the BUS SETUP popup window you can make various settings for MIX buses and MATRIX
5. Use the slot select list and port select buttons to select the desired slot and input buses.
ports, and then press the CLOSE button.
The port will be assigned to the selected bus. 1 2 4 1 3 4

6. Repeat steps 4 and 5 to assign ports to other buses.

If desired, you can assign two or more buses to the same input port.

7. If you want to link specific parameters or events between two CL series consoles,
proceed as follows.
7–1. Use the CASCADE LINK PORT field to specify the port that will transmit and receive
control signals for the cascade link.
The items you can select are the same as in the CASCADE OUT PATCH popup window
(see page 190).
NOTE
Control signals for the cascade link and MIDI messages cannot share the same port. If you select
a port that is already specified for transmission/reception of MIDI messages, a dialog box will ask
whether it is OK to cancel the existing settings.
MIX 1–16 page MIX BUS 17–24/MATRIX BUS page
7–2. In the CASCADE COMM LINK field, select the same link items as those for the
cascade slave. The items you can select are the same as in the CASCADE OUT
1 SIGNAL TYPE switch buttons
PATCH popup window (see page 190).
Select how signals are processed for every adjacent pair of buses. Select either STEREO (stereo
8. To close the PORT SELECT popup window, press the CLOSE button. signal) or MONOx2 (monaural signal x 2).
In this state, the bus signals of the cascade slave will be sent via the slot to the buses of the cascade 2 Bus type/send point select buttons (MIX bus only)
master, and the combined signals of both buses will be output from the cascade master. If the For every adjacent pair of buses, you can select the bus type and (for vari-type) the send point.
Cascade Link function is enabled, the specified operations or parameter changes performed on These buttons correspond to the following parameters.
either CL series console will be followed by the other CL console.
Button Bus type Pre-fader send point
VARI [PRE EQ] VARI Immediately before the EQ
VARI [PRE FADER] VARI Immediately before the fader
FIXED FIXED ---

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3 Send point select buttons (MATRIX bus only) Specifying the brightness of the touch screen,
Select the pre-fader send point. These buttons correspond to the following parameters.
LEDs, channel name displays, and lamps
Button Pre-fader send point
Follow the steps below to specify the brightness of the touch screen, top panel LEDs, channel name
PRE EQ Immediately before the EQ
displays, and lamps connected to the rear panel LAMP connectors.
PRE FADER Immediately before the fader
1. In the Function Access Area, press the SETUP button to access the SETUP screen.
4 PAN LINK button
This button appears only if two adjacent buses are paired in stereo. If the button is on, the pan 2. In the field located in the right of the bottom row of the SETUP screen, press the
setting of signals sent from input channels to the corresponding two buses will link with the BANK A or BANK B button.
STEREO bus pan setting. You can save two different brightness settings in bank A and B, and switch between them rapidly
if desired.
3. Use the MIX BUS SETUP/MATRIX BUS SETUP tabs to view either the MIX buses or
the MATRIX buses.

4. Use the buttons in the SIGNAL TYPE field to specify whether each bus will function
as STEREO (main parameters will be linked for two adjacent odd-numbered/even-
numbered buses) or MONOx2 (use as two monaural channels).
3. Use the multifunction knobs to set the following parameters.
5. Use the buttons of the PRE FADER SEND POINT/BUS TYPE field to select the CONTRAST field
position from which the signal of the input channel will be sent. • NAME......................... Adjusts the contrast of the characters in the channel name displays on
In the case of a MIX bus, you can use this field to switch the type of bus (VARI or FIXED). the top panel.

6. As desired, turn the buttons in the PAN LINK field on or off. BRIGHTNESS field
In the PAN LINK field, you can specify whether the panning of the signal routed from an input • NAME......................... Adjusts the brightness of the channel name displays on the top panel.
channel to the stereo bus will be linked with operation of the INPUT TO ST PAN knob (if the • CH COLOR ............... Adjusts the brightness of the channel colors on the top panel.
input channel’s SIGNAL TYPE is set to STEREO and BUS TYPE is set to VARI). • SCREEN..................... Adjusts the brightness of the touch screen. If the brightness is set to lower
• If the PAN LINK button is on: than level 2, the CL will start up next time with a brightness setting of 2
If the send-destination bus is stereo, the PAN knob that appears in the location of the SEND so that you will be able to see the screen.
LEVEL knob on the screens for input channels will be linked with the INPUT TO ST PAN knob. • PANEL........................ Adjusts the brightness of the top panel LEDs. If the optional MBCL
meter bridge is installed on the CL3/CL1, this knob setting will also
• If the PAN LINK button is off:
affect the LEDs on the meter bridge.
The PAN knob that appears in the location of the SEND LEVEL knob on the screens for input
channels can be operated independently of the INPUT TO ST PAN knob. NOTE
If the AD8HR is connected, the brightness of the AD8HR’s LEDs will also change.

• LAMP.......................... Adjusts the brightness of the lamps connected to the rear panel LAMP
jacks.

4. If desired, switch between banks A and B and make settings for the other bank in
the same way.
Now you can switch between the BANK A and BANK B buttons to change the brightness of the
touch screen, LCD, channel name displays, and lamps in a single operation. You can also assign
this parameter to a USER DEFINED key, and press that key to switch between banks A and B.

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Setting the date and time of the internal clock Setting the network address
This section explains how to set the date and time of the CL console’s internal clock, and how to select This section explains how to set the network address that will be required when you use the
the date and time display format. NETWORK connector on the CL series console to connect it to a computer.
The date and time you specify here will affect the time stamp used when saving a scene. NOTE
Only the Administrator can change network settings.
1. In the Function Access Area, press the SETUP button to access the SETUP screen.
1. In the Function Access Area, press the SETUP button to access the SETUP screen.
2. Press the DATE/TIME button located in the bottom row of the SETUP screen to
open the DATE/TIME popup window. 2. In the lower part of the SETUP screen, press the NETWORK button to access the
NETWORK popup window.

1 3

This popup window includes the following items. 2

1) DATE
4
Specifies the date of the internal clock.

2) TIME
Specifies the time of the internal clock.
1 IP ADDRESS
3) FORMAT Specifies an address that identifies an individual device on the Internet or LAN network.
Specifies the format in which the time of the internal clock is displayed. 2 GATEWAY ADDRESS
Specifies an address that identifies a device (gateway) that converts data between different media
3. In the FORMAT field, press the MODE buttons several times to select the desired
or protocols to allow communication within the network.
format for date and time display.
You can select from the following display formats. 3 SUBNET MASK
• Date Within the IP address used in the network, this defines the bits that are used for the network
MM/DD/YYYY (Month/Day/Year) address that distinguishes the network.
DD/MM/YYYY (Day/Month/Year) 4 MAC ADDRESS
YYYY/MM/DD (Year/Month/Day) Indicates the MAC (Machine Access Control) address, which identifies a host in a network. This
address is for display only, and cannot be edited.
• Time
24-Hour (hours shown in the range of 0–23) NOTE
12-Hour (hours shown from 0am–11am, and 0pm– 11pm) The NETWORK connector on the CL series console transmits data via either 100BASE-TX
(transmission speed: maximum 100 Mbps) or 10BASE-T (transmission speed: max 10 Mbps).
4. Use multifunction knobs 1–6 on the top panel to specify the current date and time.
3. Press the on-screen knob or the multifunction knobs on the top panel to specify
5. When you have finished making settings, press the OK button. the address.
The date, time, and display format you specified will be finalized, and the popup window will If you plan to connect the CL series console to your computer in a one-to-one connection, we
close. If you press the CANCEL button or the “x” symbol instead of the OK button, your changes recommend that you use the following default values. Make sure that the IP address and Gateway
will be discarded and the popup window will close. address do not match the addresses of any other device on the network.

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IP address: 192.168.0.128 or similar

Gateway address: 192.168.0.1 or similar
Subnet mask: 255.255.255.0 or similar

For details on settings related to connecting to a LAN, refer to the CL Editor Installation Guide.

4. When you have finished making settings, press the OK button.

The changes will be finalized, and the popup window will close. If you press the CANCEL button
or the “x” symbol instead of the OK button, your changes will be discarded and the popup window
will close.

5. Restart the CL series console.

NOTE
NETWORK settings will not be changed even if you initialize the CL series console.

Initializing the unit to factory default settings

If an error occurs in the CL console internal memory, or if you forget the password and cannot operate
the unit, you can use the following procedure to initialize the internal memory.
NOTICE
The entire memory will be deleted if you initialize the internal memory! 2. Press one of the following buttons, depending on the type of initialization you
want to perform.
Proceed with the following operation only if you are very sure you want to delete the entire memory.
• INITIALIZE ALL MEMORIES
The entire memory, including scene memories and libraries, will be returned to factory default
1. While holding down the SCENE MEMORY [STORE] key on the panel, turn on the
settings.
power to the CL unit.
After the opening screen, the following startup menu screen will appear. • INITIALIZE CURRENT MEMORIES
The contents of memory — except for scene memories and libraries — will be returned to its
factory default settings.

3. A dialog box will ask you to confirm the initialization. Press the INITIALIZE button.
A dialog box will ask you to reconfirm the operation.

4. Press the OK button in the confirmation dialog box.

The Initialization operation starts.
NOTE
Do not press any buttons until initialization is complete.

5. A message indicates that the initialization process is complete. Press the EXIT
button.
The CL unit will start up in normal operating mode.
NOTE
Alternatively, you can continue operation by selecting a different menu instead of pressing the
EXIT button.

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Adjusting the detection point of the touch screen The TOUCH SCREEN CALIBRATION MODE screen will appear, allowing you to calibrate the
touch screen.
(Calibration function)
Follow the steps below to correctly align the positions of the LCD display and the touch screen.

1. While holding down the SCENE MEMORY [STORE] key on the panel, turn on the
power to the CL unit.
After the opening screen, the following startup menu screen will appear.

NOTE
If you cannot start calibration by pressing the button, press the SCENE MEMORY [INC]/[DEC]
key to select TOUCH SCREEN CALIBRATION, and then press the [STORE] key to start.

3. Press the START button.

A confirmation dialog box will appear.

4. Press the OK button in the dialog box.

A cross-shaped cursor will appear in the screen.

2. Press the TOUCH SCREEN CALIBRATION button.

5. This cursor will appear a total of three times. Press each location of the cursor at
which it appears.
NOTE
To set the detection points accurately, press the cross-shaped cursor from the position and
posture in which you normally operate the unit.

6. Press the EXIT button.

The CL unit will start up in normal operating mode.
NOTE
Alternatively, you can continue operation by selecting a different menu instead of pressing the
EXIT button.

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Adjusting the faders (Calibration function) 5. Press the OK button in the dialog box.

Depending on the environment in which you use the CL series console, discrepancies may occur in the 6. Each of the specified faders will move to the target positions in the following
motion of the motor faders. You can use the Calibration function to correct these discrepancies. sequence. Manually adjust the faders to the correct positions.
NOTE 1 –∞ (all the way down)
For information about adjusting the input gain or the detection point of the touch screen, refer to 2 –20 dB
the appropriate sections in this chapter. 3 0 dB
1. While holding down the SCENE MEMORY [STORE] key on the panel, turn on the
4 +10 dB (all the way up)
power to the CL unit.
7. After you adjust the fader position, press the [NEXT] button.
After the opening screen, the following startup menu screen will appear.
The process will proceed to the next fader position.

8. Repeat steps 6–7 to adjust the faders for positions 1 through 4.

After the positions are corrected, automatic motorized calibration will start.

9. When calibration is complete and if the RESTART button has not appeared, press
the APPLY button.
The calibration settings will be saved in internal memory. If the RESTART button appears,
calibration has failed. Press the RESTART button to execute calibration once again.

10. Press the EXIT button.

The CL unit will start up in normal operating mode.
NOTE
Alternatively, you can continue operation by selecting a different menu instead of pressing the
EXIT button.

2. Press the FADER CALIBRATION button.

The FADER CALIBRATION MODE screen will appear, enabling you to adjust the faders.
The specified faders in the channel strip section, Centralogic section, and Master section will be
semi-automatically calibrated. This window will also appear if a problem is detected in the fader
settings while the CL is starting up.

3. Press a [SEL] key to specify the faders that you want to calibrate.
Faders for which a problem was detected at start-up will already be selected.

4. Press the START button.

A confirmation dialog box will appear.

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Fine-tuning the input and output gain (Calibration • INPUT PORT TRIM (Fine adjustment of the analog input gain)
Access the INPUT PORT TRIM window, and make fine adjustments to the gain of the specified
function) analog input port in 0.1 dB steps.
If necessary, you can make fine adjustments to the input and output gain.

1. While holding down the SCENE MEMORY [STORE] key on the panel, turn on the
power to the CL unit.
After the opening screen, the following startup menu screen will appear.

• OUTPUT PORT TRIM (Fine adjustment of the output port gain)

Access the OUTPUT PORT TRIM window, and make fine adjustments to the gain of the specified
analog output port in 0.01 dB steps.

2. In the MODE SELECT field, select the item you want to adjust, and then press the
button.
The corresponding setting screen will appear.
You can make the following three gain adjustments for analog input and output.

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• SLOT OUTPUT TRIM (Fine adjustment of the slot output port gain) Adjusting the channel color (Calibration function)
Access the SLOT OUTPUT TRIM window, and make fine adjustments to the gain of the output
ports of the specified slot in 0.01 dB steps. If necessary, you can adjust the channel color.

1. While holding down the SCENE MEMORY [STORE] key on the panel, turn on the
power to the CL unit.
After the welcome screen, the following startup menu screen will appear.

3. Press an on-screen knob to select it, and then use the corresponding multifunction
knob to adjust the value.
If you press the RESET ALL button provided in each screen, all settings in the screen will be reset
to 0 dB.
The factory settings are also 0 dB. 2. Press the CHANNEL COLOR CALIBRATION button.

4. Press the EXIT button.

The CL unit will start up in normal operating mode.
NOTE
Alternatively, you can continue operation by selecting a different menu instead of pressing the
EXIT button.

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The CHANNEL COLOR CALIBRATION MODE screen will appear, allowing you to adjust the 6. When you have finished adjusting the color, press the APPLY button located on the
channel color. right of the window to confirm the change.

NOTE
The APPLY button appears only if you change the RGB values.

7. To reset all channel color indicators to the factory default setting, press the RESET
ALL button.

8. Press the EXIT button.

The CL unit will start up in normal operating mode.
NOTE
Alternatively, you can continue operation by selecting a different menu instead of pressing the
NOTE
EXIT button.
In the case of the CL3/CL1, channels that do not exist on those models will not be shown.

3. Press a [SEL] key on the top panel to select the indicator for which you want to
adjust the color.
NOTE
Only one channel can be selected at a time.

4. Press one of the color buttons on screen to select the desired color.
All channel color indicators turn the selected color. The currently-selected color button on screen
will be surrounded by a white frame.

5. While comparing the color of the selected channel’s indicator with the color of the
other channel indicators (for which the [SEL] keys are turned off), use the three
right-most multifunction knobs to adjust the color.
The RGB values in the RGB ADJUSTMENT field change accordingly.

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Dante audio network settings This popup window contains the following items.

You will use the CL series console to make Dante audio network settings for the console itself and the 1 2 3 4
I/O rack connected to the Dante connector on the CL unit. This section explains how to make Dante
audio network settings.

1. In the Function Access Area, press the SETUP button to access the SETUP screen.

5 8 6 7
1 CONSOLE ID select buttons
Set the IDs for CL series consoles.
If five or more CL units are connected to a network, but you plan not to assign IDs to some of the
units, press the currently-selected button on each of those units to clear the ID.

2 SECONDARY PORT select buttons

Specify how the Dante audio network is configured.
2. In the DANTE field at the center of the screen, press the DANTE SETUP button to
open the DANTE SETUP popup window. 3 BIT select buttons
Enable you to set audio bit rate to 24-bit or 32-bit.

4 Latency select buttons

Enable you to set the Dante audio network latency to 0.25 ms, 0.5 ms, 1.0 ms, or 5.0 ms.
The latency setting varies depending on the network connection method and size. For details,
refer to “Setting the Dante audio network latency” on page 203.
NOTE
Settings 3 and 4 are shared in common with the I/O racks.

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■ RACK ID ASSIGN field Operation when editing the DANTE SETUP

Specifies which multiple I/O racks and Dante-enabled devices will be used. • When the DANTE SETUP is edited, the ACCESS indicator will light until the edited settings have
For example, you can change the assignments between RACK ID and UNIT ID, select desired I/O racks been applied to the console.
from nine or more I/O racks, and change the I/O rack type to edit off-line. Editing the following items will cause the ACCESS indicator to light.
5 RACK NO. list • Parameters in the DANTE SETUP screen
Selects the RACK ID. • Parameters in the WORD CLOCK screen
• Changes to DANTE INPUT PATCH, Library operations, and Auto Setup button operations
6 UNIT ID list
• Parameters in the OUTPUT tab of the I/O RACK screen
Selects the device UNIT ID that will be assigned to the RACK ID selected in the RACK NO. list.
You will need to power-cycle the console in order for changes in DANTE SETUP to take effect,
7 DEVICE TYPE list
but you must wait for the ACCESS indicator to go dark before you turn off the power.
Specifies the type of device selected in the UNIT ID list.
If you select a DEVICE TYPE that is listed as (w/RECALL), the data stored in the CL series
console will be reflected in the I/O rack when you restart the CL series console and when you • You will need to power-cycle the console after changing the SECONDARY PORT settings in the
perform a scene recall. DANTE SETUP screen, or after changing the ID of the CL series console or an I/O rack. Proceed as
follows.
NOTE
• In cases where an I/O rack is being shared between multiple CL series consoles, and that I/O
rack was set to (w/RECALL) from one CL series console, you must not specify (w/RECALL) from Changing the SECONDARY PORT setting
another CL series console for that I/O rack.
• The settings that are shared in common with the I/O racks (BIT/LATENCY/W.CLOCK) will reflect 1. Disconnect the Ethernet cables from the DANTE connector of the CL series console
the settings of the CL series console whose CONSOLE ID is set to #1. and the I/O racks.
• The HA etc. of the I/O rack can also be operated from a CL series console that is not set to (w/
RECALL). NOTE
If you’re changing the SECONDARY PORT setting, you must also change the method of
8 MOUNT/UNMOUNT button connection between the CL series console and the I/O racks. For example if the connections
Mounts/unmounts the I/O rack unit that communicates with the CL series console. Select the used for the REDUNDANT setting are left as they are when you change the setting to DAISY
RACK NO that you want to mount; then select the UNIT ID and DEVICE TYPE and press the CHAIN, it will become impossible to send and receive audio. Be sure to disconnect the cables
MOUNT button to mount the I/O rack. A maximum of eight units with a UNIT ID can be before you change the setting.
mounted on one CL series console.
2. Check the REDUNDANT setting of the CL series console and the DIP switch settings
NOTE of the I/O rack.
If there are I/O rack units or Dante devices in addition to the eight units you’ve specified and
mounted, they will be automatically mounted in RACK NO #9 through #24. 3. Power-cycle the CL series console and the I/O rack units.
DVS will be mounted in #9 or later.

9 REFRESH button 4. After waiting for approximately one minute, first connect the Ethernet cable to the
DANTE connector of the I/O rack; then after waiting for approximately 20 seconds,
Updates the list of devices in the Dante audio network to the latest information.
connect the Ethernet cable to the DANTE connector of the CL series console.

If a device (that was previously set up) does not exist on the current Dante audio network, a yellow
“Virtual” indicator will appear to the right, below the corresponding device name in the RACK ID list.
If devices on the network belong to different DEVICE TYPEs but share the same UNIT ID, a red
“Conflict” indicator will appear to the right, below the corresponding device names in the RACK ID
list.
If multiple devices share the same UNIT ID, a yellow “Duplicate” indicator will appear to the right,
below the corresponding device names in the RACK ID list.

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Changing the ID ■ Connection examples and latency settings

Daisy chain connections
1. Power-off the CL series console. Simple 64-in/48-out

2. Power-cycle the I/O rack units.

3
3. After waiting for approximately one minute, turn on the power of the CL series 2
console.
2
NOTE 3
• If you are unable to turn off the power of the CL series console, disconnect the Ethernet cable
from the DANTE connector of the I/O racks, and power-cycle the I/O racks while they are
disconnected from the network. Then wait approximately one minute and connect the Ethernet
cable.
• The SECONDARY PORT and CONSOLE ID settings will not be changed even if you initialize the
CL series console.

Setting the Dante audio network latency 1 1

An appropriate latency setting for signals transmitted over a Dante audio network varies depending on
the network connection method and size. This section explains how to set an appropriate latency
setting depending on the connection method of Dante-enabled devices that are connected to the CL 3 hops = 0.25 ms 3 hops = 0.25 ms
series console.

■ Relationship between the switches and the number of hops

Daisy chain connections
An appropriate latency setting on a Dante audio network varies depending on the number of hops in
FOH and monitor consoles are sharing 64-in/48-out.
the network. One hop is the step from one router (switch) to the next. You count the number of hops
starting from the master device to the most distant device (assuming that all devices are connected in
series).
4
Switches mean network switches and routers, as well as switches built into CL series consoles and I/O
racks. Set the latency value based on the number of hops. The following table shows typical latency 3 2
settings based on the number of hops.
Number of hops Latency (ms) 2
Up to 3 0.25 3
Up to 5 0.5
Up to 10 1.0
11 or more (or if a problem occurs) 5.0

NOTE
1 1
• Depending on network conditions, you may want to raise the latency value even if the number of
hops is small.
• If a problem occurs, select 5.0 ms so that you will be able to identify whether the latency setting
is the cause of the problem. 4 hops = 0.5 ms 3 hops = 0.25 ms

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Redundant connections Daisy chain connections

Simple 64-in/48-out 256-ch HA remote (maximum size)

9
3
8
3
4
7

6 4

4
1 2 2
3

4 hops = 0.5 ms 2

1 1

Redundant connections
FOH and monitor consoles are sharing 64-in/48-out.
9 hops = 1.0 ms 4 hops = 0.5 ms

1 2

4 hops = 0.5 ms

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Redundant connections Using GPI (General Purpose Interface)

Two consoles are sharing 256-ch HA remote (maximum size)
The rear panel GPI (General Purpose Interface) connector can be used as an input/output connector.
This connector provides five GPI IN ports and five GPI OUT ports. For example you can use an
external switch to control internal parameters of the CL series console or to switch scenes. Conversely,
operations or scene changes performed on the CL series console can send control signals to an external
device.
4

Using GPI IN
5
You can use the GPI IN ports of the GPI connector to control the parameters of the CL series console
from an external device. For example, you could use an external switch to turn the CL series console’s
Talkback on/off, operate the Tap Tempo function, or switch scenes.

1. Connect an external device to the CL series console’s GPI connector.

3
2. In the function access area, press the SETUP button to access the SETUP screen.

2
1

5 hops = 0.5 ms

3. Press the MIDI/GPI button.

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The MIDI SETUP screen will appear. The screen shows the following items.
1 GPI IN status indicator
This indicates the status of the voltage being input to the GPI IN port.

2 POLARITY MODE select button

This button selects the polarity of the GPI IN port.
............ (Low active) When operating an on/off-type parameter, it will become active
when the switch is grounded.
............ (High active) When operating an on/off-type parameter, it will become active
when the switch is opened or when a high-level voltage is input.
3 GPI IN SETUP popup button
Press this button to open the GPI IN SETUP popup window.
The button shows the name of the currently selected function or parameter.

5. Specify the POLARITY MODE for each port.

For each port, select either low-active or high-active as appropriate for the specifications of the
external device you’re using.

6. To assign the function or parameter that you want to control, press the GPI IN
SETUP popup button.
The GPI IN SETUP popup window will appear.
4. Press the GPI tab.
The GPI screen will appear.

3
1
2

NOTE
The items that can be selected are the same as for the USER DEFINED keys.

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7. In each field, select the desired function or parameter. Using GPI OUT
NOTE The GPI OUT ports of the GPI OUT connector allow you to control an external device by performing
• With latched operation, the function will switch between active and inactive each time a trigger is operations on the CL series console.
input from the external switch. In this case, we recommend that you use a non-locking type of
external switch. 1. Connect an external device to the CL series console’s GPI connector.
• With unlatched operation, the function will be active only while the signal from the external switch
is at the high level or low level. In this case, you may use either a non-locking or a locking type 2. In the function access area, press the SETUP button to access the SETUP screen.
of external switch as appropriate for your needs.
3. Press the MIDI/GPI button.
8. When you have finished making settings, press the OK button.
The MIDI/GPI screen will appear.
You will return to the GPI screen.

9. Repeat steps 4 through 7 to specify functions and parameters for other ports.
NOTE
Settings in the GPI screen are common to all scenes. They can be saved as SETUP data.

4. Press the GPI tab.

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The GPI screen will appear. 5. Specify the POLARITY MODE for each port.
3 4 For each port, select either low-active or high-active as appropriate for the specifications of the
external device you’re using.

6. To assign the function or parameter that you want to control, press the GPI OUT
1 SETUP popup button.
To assign the function or parameter that you want to control, press the GPI OUT SETUP popup
2 button.

1 GPI OUT status indicator

This indicates the status of the voltage that is being output from each GPI OUT port.
You can assign the following functions.
2 POLARITY MODE select button
This button selects the polarity of the GPI OUT port. Function Parameter CL console operation

............(Low active) Grounded when the GPI OUT port is active. NO ASSIGN --- No assignment
CUE ON Turn on the [CUE] key of the selected channel
............(Low active) Open when the GPI OUT port is active. DCA ONLY Turn on the DCA [CUE] key
CUE ACTIVE
INPUT ONLY Turn on the [CUE] key of an input channel
OUTPUT ONLY Turn on the [CUE] key of an output channel
3 GPI OUT SETUP popup button
The function assigned to GPI IN port 1–5
Press this button to open the GPI OUT SETUP popup window. GPI IN ACTIVE IND. PORT 1–PORT 5
becomes active
The button shows the name of the currently selected function or parameter. POWER ON --- The power of the CL series console is turned on
4 TEST button USER DEF. USER DEFINED KEY 1– The function assigned to the USER DEFINED
KEY ACTIVE IND. USER DEFINED KEY 16 key becomes active
While this is on, the corresponding GPI OUT port will be active and will output a control signal.

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 Other functions

Using FADER START The following items are displayed.

Make FADER START settings if you want a device connected to a GPI OUT port to operate in tandem 1
with fader operations.

1. Connect an external device to the CL series console’s GPI connector.

2. In the function access area, press the SETUP button to access the SETUP screen.
2
3. Press the MIDI/GPI button.
The MIDI/GPI screen will appear.

5 6 7

1 CLEAR ALL button

Press this button to clear all selections.

■ OUTPUT DESTINATION field

2 GPI OUT1–GPI OUT5 buttons

Select the GPI OUT port for which you want to make settings.

3 Fader indicator
4. Press the FADER START tab to access the FADER START screen. This indicates the selected fader. Use the [SEL] keys of the console panel to select a fader.
NOTE
In the case of the CL3/CL1, channels that do not exist on those models will not be shown.

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 Other functions

■ THRESHOLD field The following illustration shows how the signal that is output from the GPI OUT port will change in
each fader mode when a fader is operated. In this example, UPSTROKE in the THRESHOLD field is
4 UPSTROKE/DOWNSTROKE set to –60.00, and DOWNSTROKE is set to –∞. (This illustration shows the case in which is
These specify the level that will be the threshold for outputting a trigger signal. A trigger signal selected as the polarity of the GPI OUT port. If the polarity is , the polarity of the output signal
will be output when the fader exceeds the UPSTROKE level, or when the fader falls below the will be reversed.)
DOWNSTROKE level. If FADER TALLY is selected as the fader mode, UPSTROKE and
DOWNSTROKE specify the level range for which a trigger signal will be output. You can use the
multifunction knobs to operate these parameters.
NOTE
• The THRESHOLD values specified by the UPSTROKE/DOWNSTROKE knobs are common to
all GPI OUT ports. However, you can individually choose the channel (fader) for each GPI OUT
port.
• Only the UPSTROKE value will be valid if MODE is set to FADER START, and only the
DOWNSTROKE value will be valid if MODE is set to FADER STOP. If MODE is set to FADER
TALLY, both the UPSTROKE and DOWNSTROKE values will be valid.

■ MODE field FADER

Here you can select the mode of fader operation that will be the trigger for signal output from the START
GPI OUT port.
250 msec
You can choose from the following fader modes. FADER
STOP
5 FADER START
250 msec
A trigger signal 250 msec long will be output when the fader of the selected channel moves
upward through the specified UPSTROKE level (–∞ to +10.0 dB) from a point below it.

6 FADER STOP FADER

A trigger signal 250 msec long will be output when the fader of the selected channel reaches the TALLY

specified DOWNSTROKE level (–∞ to +10.0 dB).

NOTE
7 FADER TALLY At the high level, the output signal of the port will be open. If the receiving device requires high
A trigger signal will be output when the fader of the selected channel moves upward through the level, take it from the +5V power supply pin. However in this case, the amount of current is limited;
specified UPSTROKE level (–∞ to +10.0 dB) from a point below it. This signal will be held until for details, refer to the “Input/output characteristics” section in the separate Owner’s Manual.
the fader reaches the specified DOWNSTROKE level (–∞ to +10.0 dB) or until that GPI OUT
port receives a different trigger. 5. For each GPI OUT port, specify the channel that will cause the external device to
operate, and the type of operation.

6. When you have finished making settings, click the “x” symbol located in the upper
right to close the FADER MODE screen.

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 Appendices

Appendices # Title
LOW
Parameter
L-MID H-MID HIGH
# Title
LOW
Parameter
L-MID H-MID HIGH
PEAKING PEAKING PEAKING H.SHELF L.SHELF PEAKING PEAKING H.SHELF
G +3.0 dB 0.0 dB +2.5 dB +0.5 dB G –3.5 dB –2.0 dB 0.0 dB +2.0 dB
EQ Library List 10 E. Bass 2
F 112 Hz 112 Hz 2.24 kHz 4.00 kHz
21 A. G. Stroke 2
F 300 Hz 750 Hz 2.00 kHz 3.55 kHz
Q 0.10 5.0 6.3 — Q — 9.0 4.5 —
Parameter
# Title PEAKING PEAKING PEAKING H.SHELF L.SHELF PEAKING PEAKING PEAKING
LOW L-MID H-MID HIGH
G +3.5 dB +8.5 dB 0.0 dB 0.0 dB G –0.5 dB 0.0 dB 0.0 dB +2.0 dB
PEAKING PEAKING PEAKING H.SHELF 11 Syn. Bass 1 22 A. G. Arpeg. 1
F 85.0 Hz 950 Hz 4.00 kHz 12.5 kHz F 224 Hz 1.00 kHz 4.00 kHz 6.70 kHz
G +3.5 dB –3.5 dB 0.0 dB +4.0 dB
01 Bass Drum 1 Q 0.10 8.0 4.5 — Q — 4.5 4.5 0.125
F 100 Hz 265 Hz 1.06 kHz 5.30 kHz
PEAKING PEAKING PEAKING H.SHELF L.SHELF PEAKING PEAKING H.SHELF
Q 1.25 10.0 0.90 —
G +2.5 dB 0.0 dB +1.5 dB 0.0 dB G 0.0 dB –5.5 dB 0.0 dB +4.0 dB
PEAKING PEAKING PEAKING LPF 12 Syn. Bass 2 23 A. G. Arpeg. 2
F 125 Hz 180 Hz 1.12 kHz 12.5 kHz F 180 Hz 355 Hz 4.00 kHz 4.25 kHz
G +8.0 dB –7.0 dB +6.0 dB ON
02 Bass Drum 2 Q 1.6 8.0 2.2 — Q — 7.0 4.5 —
F 80.0 Hz 400 Hz 2.50 kHz 12.5 kHz
L.SHELF PEAKING PEAKING H.SHELF PEAKING PEAKING PEAKING PEAKING
Q 1.4 4.5 2.2 —
G –6.0 dB 0.0 dB +2.0 dB +4.0 dB G –2.0 dB –1.0 dB +1.5 dB +3.0 dB
PEAKING PEAKING PEAKING H.SHELF 13 Piano 1 24 Brass Sec.
F 95.0 Hz 950 Hz 3.15 kHz 7.50 kHz F 90.0 Hz 850 Hz 2.12 kHz 4.50 kHz
G –0.5 dB 0.0 dB +3.0 dB +4.5 dB
03 Snare Drum 1 Q — 8.0 0.90 — Q 2.8 2.0 0.70 7.0
F 132 Hz 1.00 kHz 3.15 kHz 5.00 kHz
PEAKING PEAKING PEAKING H.SHELF PEAKING PEAKING PEAKING PEAKING
Q 1.25 4.5 0.11 —
G +3.5 dB –8.5 dB +1.5 dB +3.0 dB G –0.5 dB 0.0 dB +2.0 dB +3.5 dB
L.SHELF PEAKING PEAKING PEAKING 14 Piano 2 25 Male Vocal 1
F 224 Hz 600 Hz 3.15 kHz 5.30 kHz F 190 Hz 1.00 kHz 2.00 kHz 6.70 kHz
G +1.5 dB –8.5 dB +2.5 dB +4.0 dB
04 Snare Drum 2 Q 5.6 10.0 0.70 — Q 0.11 4.5 0.56 0.11
F 180 Hz 335 Hz 2.36 kHz 4.00 kHz
PEAKING PEAKING PEAKING H.SHELF PEAKING PEAKING PEAKING H.SHELF
Q — 10.0 0.70 0.10
G +2.0 dB –5.5 dB +0.5 dB +2.5 dB G +2.0 dB –5.0 dB –2.5 dB +4.0 dB
PEAKING PEAKING PEAKING PEAKING 15 E. G. Clean 26 Male Vocal 2
F 265 Hz 400 Hz 1.32 kHz 4.50 kHz F 170 Hz 236 Hz 2.65 kHz 6.70 kHz
G +2.0 dB –7.5 dB +2.0 dB +1.0 dB
05 Tom-tom 1 Q 0.18 10.0 6.3 — Q 0.11 10.0 5.6 —
F 212 Hz 670 Hz 4.50 kHz 6.30 kHz
PEAKING PEAKING PEAKING PEAKING PEAKING PEAKING PEAKING PEAKING
Q 1.4 10.0 1.25 0.28
G +4.5 dB 0.0 dB +4.0 dB +2.0 dB G –1.0 dB +1.0 dB +1.5 dB +2.0 dB
L.SHELF PEAKING PEAKING H.SHELF 16 E. G. Crunch 1 27 Female Vo. 1
F 140 Hz 1.00 kHz 1.90 kHz 5.60 kHz F 118 Hz 400 Hz 2.65 kHz 6.00 kHz
G –2.0 dB 0.0 dB 0.0 dB +3.0 dB
06 Cymbal Q 8.0 4.5 0.63 9.0 Q 0.18 0.45 0.56 0.14
F 106 Hz 425 Hz 1.06 kHz 13.2 kHz
PEAKING PEAKING PEAKING H.SHELF L.SHELF PEAKING PEAKING H.SHELF
Q — 8.0 0.90 —
G +2.5 dB +1.5 dB +2.5 dB 0.0 dB G –7.0 dB +1.5 dB +1.5 dB +2.5 dB
L.SHELF PEAKING PEAKING H.SHELF 17 E. G. Crunch 2 28 Female Vo. 2
F 125 Hz 450 Hz 3.35 kHz 19.0 kHz F 112 Hz 335 Hz 2.00 kHz 6.70 kHz
G –4.0 dB –2.5 dB +1.0 dB +0.5 dB
07 High Hat Q 8.0 0.40 0.16 — Q — 0.16 0.20 —
F 95.0 Hz 425 Hz 2.80 kHz 7.50 kHz
L.SHELF PEAKING PEAKING H.SHELF PEAKING PEAKING PEAKING PEAKING
Q — 0.50 1.0 —
G +5.0 dB 0.0 dB +3.5 dB 0.0 dB G –2.0 dB –1.0 dB +1.5 dB +3.0 dB
L.SHELF PEAKING PEAKING H.SHELF 18 E. G. Dist. 1 29 Chorus & Harmo
F 355 Hz 950 Hz 3.35 kHz 12.5 kHz F 90.0 Hz 850 Hz 2.12 kHz 4.50 kHz
G –4.5 dB 0.0 dB +2.0 dB 0.0 dB
08 Percussion Q — 9.0 10.0 — Q 2.8 2.0 0.70 7.0
F 100 Hz 400 Hz 2.80 kHz 17.0 kHz
L.SHELF PEAKING PEAKING H.SHELF PEAKING PEAKING PEAKING H.SHELF
Q — 4.5 0.56 —
G +6.0 dB –8.5 dB +4.5 dB +4.0 dB G –0.5 dB 0.0 dB +3.0 dB +6.5 dB
L.SHELF PEAKING PEAKING H.SHELF 19 E. G. Dist. 2 30 Total EQ 1
F 315 Hz 1.06 kHz 4.25 kHz 12.5 kHz F 95.0 Hz 950 Hz 2.12 kHz 16.0 kHz
G –7.5 dB +4.5 dB +2.5 dB 0.0 dB
09 E. Bass 1 Q — 10.0 4.0 — Q 7.0 2.2 5.6 —
F 35.5 Hz 112 Hz 2.00 kHz 4.00 kHz
PEAKING PEAKING PEAKING H.SHELF PEAKING PEAKING PEAKING H.SHELF
Q — 5.0 4.5 —
G –2.0 dB 0.0 dB +1.0 dB +4.0 dB G +4.0 dB +1.5 dB +2.0 dB +6.0 dB
20 A. G. Stroke 1 31 Total EQ 2
F 106 Hz 1.00 kHz 1.90 kHz 5.30 kHz F 95.0 Hz 750 Hz 1.80 kHz 18.0 kHz
Q 0.90 4.5 3.5 — Q 7.0 2.8 5.6 —

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 Appendices

# Title
Parameter DYNAMICS Library List # Title Type Parameter Value
LOW L-MID H-MID HIGH Threshold (dB) –24
L.SHELF PEAKING PEAKING H.SHELF # Title Type Parameter Value Ratio ( :1) 3
Threshold (dB) –26 Attack (ms) 9
G +1.5 dB +0.5 dB +2.0 dB +4.0 dB 10 A. Dr. BD COMPRESSOR
32 Total EQ 3 Range (dB) –56 Out gain (dB) 5.5
F 67.0 Hz 850 Hz 1.90 kHz 15.0 kHz
1 Gate GATE Attack (ms) 0 Knee 2
Q — 0.28 0.70 —
Hold (ms) 2.56 Release (ms) 58
PEAKING PEAKING PEAKING PEAKING
Decay (ms) 331 Threshold (dB) –11
G +3.5 dB –10.0 dB +3.5 dB 0.0 dB Threshold (dB) –19 Ratio ( :1) 3.5
33 Bass Drum 3
F 118 Hz 315 Hz 4.25 kHz 20.0 kHz Range (dB) –22 Attack (ms) 1
11 A. Dr. BD COMPANDER-H
Q 2.0 10.0 0.40 0.40 2 Ducking DUCKING Attack (ms) 93 Out gain (dB) –1.5
L.SHELF PEAKING PEAKING PEAKING Hold (ms) 1.20 S Width (dB) 7
G 0.0 dB +2.0 dB +3.5 dB 0.0 dB Decay (ms) 6.32 S Release (ms) 192
34 Snare Drum 3 Threshold (dB) –11 Threshold (dB) –17
F 224 Hz 560 Hz 4.25 kHz 4.00 kHz
Range (dB) –53 Ratio ( :1) 2.5
Q — 4.5 2.8 0.10
3 A. Dr. BD GATE Attack (ms) 0 Attack (ms) 8
L.SHELF PEAKING PEAKING H.SHELF 12 A. Dr. SN COMPRESSOR
Hold (ms) 1.93 Out gain (dB) 3.5
G –9.0 dB +1.5 dB +2.0 dB 0.0 dB
35 Tom-tom 2 Decay (ms) 400 Knee 2
F 90.0 Hz 212 Hz 5.30 kHz 17.0 kHz
Threshold (dB) –8 Release (ms) 12
Q — 4.5 1.25 — Range (dB) –23 Threshold (dB) –23
PEAKING PEAKING PEAKING H.SHELF 4 A. Dr. SN GATE Attack (ms) 1 Ratio ( :1) 2
G +4.5 dB –13.0 dB +4.5 dB +2.5 dB Hold (ms) 0.63 Attack (ms) 0
36 Piano 3 13 A. Dr. SN EXPANDER
F 100 Hz 475 Hz 2.36 kHz 10.0 kHz Decay (ms) 238 Out gain (dB) 0.5
Q 8.0 10.0 9.0 — Threshold (dB) –8 Knee 2
PEAKING PEAKING PEAKING H.SHELF Frequency (kHz) 2.00 Release (ms) 151
5 De-Esser DE-ESSER
G –5.5 dB +1.5 dB +6.0 dB 0.0 dB Type HPF Threshold (dB) –8
37 Piano Low Q 1.6 Ratio ( :1) 1.7
F 190 Hz 400 Hz 6.70 kHz 12.5 kHz
Threshold (dB) –8 Attack (ms) 11
Q 10.0 6.3 2.2 — 14 A. Dr. SN COMPANDER-S
Ratio ( :1) 2.5 Out gain (dB) 0.0
PEAKING PEAKING PEAKING PEAKING
Attack (ms) 30 Width (dB) 10
G –5.5 dB +1.5 dB +5.0 dB +3.0 dB 6 Comp COMPRESSOR
38 Piano High Out gain (dB) 0.0 Release (ms) 128
F 190 Hz 400 Hz 6.70 kHz 5.60 kHz Knee 2 Threshold (dB) –20
Q 10.0 6.3 2.2 0.10 Release (ms) 250 Ratio ( :1) 2
L.SHELF PEAKING PEAKING H.SHELF Threshold (dB) –23 Attack (ms) 2
15 A. Dr. Tom EXPANDER
G –1.5 dB 0.0 dB +1.0 dB +3.0 dB Ratio ( :1) 1.7 Out gain (dB) 5.0
39 Fine-EQ Cass Attack (ms) 1 Knee 2
F 75.0 Hz 1.00 kHz 4.00 kHz 12.5 kHz 7 Expand EXPANDER
Q — 4.5 1.8 — Out gain (dB) 3.5 Release (ms) 749
Knee 2 Threshold (dB) –24
PEAKING PEAKING PEAKING H.SHELF
Release (ms) 70 Ratio ( :1) 2
G –4.0 dB –1.0 dB +2.0 dB 0.0 dB
40 Narrator Threshold (dB) –10 Attack (ms) 38
F 106 Hz 710 Hz 2.50 kHz 10.0 kHz 16 A. Dr. OverTop COMPANDER-S
Ratio ( :1) 3.5 Out gain (dB) –3.5
Q 4.0 7.0 0.63 — Attack (ms) 1 Width (dB) 54
8 Compander (H) COMPANDER-H
Out gain (dB) 0.0 Release (ms) 842
Width (dB) 6 Threshold (dB) –12
Release (ms) 250 Ratio ( :1) 2
Threshold (dB) –8 Attack (ms) 15
17 E. B. Finger COMPRESSOR
Ratio ( :1) 4 Out gain (dB) 4.5
Attack (ms) 25 Knee 2
9 Compander (S) COMPANDER-S
Out gain (dB) 0.0 Release (ms) 470
Width (dB) 24
Release (ms) 180

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 Appendices

# Title Type Parameter Value # Title Type Parameter Value # Title Type Parameter Value
Threshold (dB) –12 Threshold (dB) –17 Threshold (dB) –8
Ratio ( :1) 1.7 Ratio ( :1) 1.5 Ratio ( :1) 2.5
Attack (ms) 6 Attack (ms) 76 Attack (ms) 26
18 E. B. Slap COMPRESSOR 26 Strings3 COMPRESSOR 34 Solo Vocal2 COMPRESSOR
Out gain (dB) 4.0 Out gain (dB) 2.5 Out gain (dB) 1.5
Knee hard Knee 2 Knee 3
Release (ms) 133 Release (ms) 186 Release (ms) 331
Threshold (dB) –10 Threshold (dB) –18 Threshold (dB) –9
Ratio ( :1) 3.5 Ratio ( :1) 1.7 Ratio ( :1) 1.7
Attack (ms) 9 Attack (ms) 18 Attack (ms) 39
19 Syn. Bass COMPRESSOR 27 BrassSection COMPRESSOR 35 Chorus COMPRESSOR
Out gain (dB) 3.0 Out gain (dB) 4.0 Out gain (dB) 2.5
Knee hard Knee 1 Knee 2
Release (ms) 250 Release (ms) 226 Release (ms) 226
Threshold (dB) –9 Threshold (dB) –13 Threshold (dB) –33
Ratio ( :1) 2.5 Ratio ( :1) 2 Ratio ( :1) 2
Attack (ms) 17 Attack (ms) 58 Attack (ms) 1
20 Piano1 COMPRESSOR 28 Syn. Pad COMPRESSOR 36 Click Erase EXPANDER
Out gain (dB) 1.0 Out gain (dB) 2.0 Out gain (dB) 2.0
Knee hard Knee 1 Knee 2
Release (ms) 238 Release (ms) 238 Release (ms) 284
Threshold (dB) –18 Threshold (dB) –18 Threshold (dB) –14
Ratio ( :1) 3.5 Ratio ( :1) 1.7 Ratio ( :1) 2.5
Attack (ms) 7 Attack (ms) 8 Attack (ms) 1
21 Piano2 COMPRESSOR 29 SamplingPerc COMPANDER-S 37 Announcer COMPANDER-H
Out gain (dB) 6.0 Out gain (dB) –2.5 Out gain (dB) –2.5
Knee 2 Width (dB) 18 Width (dB) 18
Release (ms) 174 Release (ms) 238 Release (ms) 180
Threshold (dB) –8 Threshold (dB) –14 Threshold (dB) –9
Ratio ( :1) 3.5 Ratio ( :1) 2 Ratio ( :1) 3
Attack (ms) 7 Attack (ms) 2 Attack (ms) 20
22 E. Guitar COMPRESSOR 30 Sampling BD COMPRESSOR 38 Limiter1 COMPANDER-S
Out gain (dB) 2.5 Out gain (dB) 3.5 Out gain (dB) –3.0
Knee 4 Knee 4 Width (dB) 90
Release (ms) 261 Release (ms) 35 Release (ms) 3.90 s
Threshold (dB) –10 Threshold (dB) –18 Threshold (dB) 0
Ratio ( :1) 2.5 Ratio ( :1) 4 Ratio ( :1) ∞
Attack (ms) 5 Attack (ms) 8 Attack (ms) 0
23 A. Guitar COMPRESSOR 31 Sampling SN COMPRESSOR 39 Limiter2 COMPRESSOR
Out gain (dB) 1.5 Out gain (dB) 8.0 Out gain (dB) 0.0
Knee 2 Knee hard Knee hard
Release (ms) 238 Release (ms) 354 Release (ms) 319
Threshold (dB) –11 Threshold (dB) –23 Threshold (dB) –18
Ratio ( :1) 2 Ratio ( :1) 20 Ratio ( :1) 3.5
Attack (ms) 33 Attack (ms) 15 Attack (ms) 94
24 Strings1 COMPRESSOR 32 Hip Comp COMPANDER-S 40 Total Comp1 COMPRESSOR
Out gain (dB) 1.5 Out gain (dB) 0.0 Out gain (dB) 2.5
Knee 2 Width (dB) 15 Knee hard
Release (ms) 749 Release (ms) 163 Release (ms) 447
Threshold (dB) –12 Threshold (dB) –20 Threshold (dB) –16
Ratio ( :1) 1.5 Ratio ( :1) 2.5 Ratio ( :1) 6
Attack (ms) 93 Attack (ms) 31 Attack (ms) 11
25 Strings2 COMPRESSOR 33 Solo Vocal1 COMPRESSOR 41 Total Comp2 COMPRESSOR
Out gain (dB) 1.5 Out gain (dB) 2.0 Out gain (dB) 6.0
Knee 4 Knee 1 Knee 1
Release (ms) 1.35 S Release (ms) 342 Release (ms) 180

* At fs=44.1 kHz

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 Appendices

Dynamics Parameters ■ DUCKING

Ducking is commonly used for voice-over applications in which the background music level is reduced
Input channels provide DYNAMICS section 1 and DYNAMICS section 2. Output channels provide automatically when an announcer speaks. When the KEY IN source signal level exceeds the specified
DYNAMICS section 1. THRESHOLD, the output level is attenuated by a specified amount (RANGE).
An input channel’s DYNAMICS section 1 provides the following four types: Parameter Range Description
GATE, DUCKING, COMPRESSOR, and EXPANDER. THRESHOLD (dB) –54 to 0 (55 points)
This determines the level of trigger signal (KEY IN)
required to activate ducking.
An input channel’s DYNAMICS section 2 provides the following four types: This determines the amount of attenuation when
RANGE (dB) –70 to 0 (71 points)
ducking is activated.
COMPRESSOR, COMPANDER-H (Compander Hard), COMPANDER-S (Compander Soft),
This determines how soon the signal is ducked once
and DE-ESSER. ATTACK (ms) 0–120 (121 points)
the ducker has been triggered.
An output channel’s DYNAMICS section 1 provides the following four types: This determines how long ducking remains active
44.1kHz: 0.02 ms – 2.13 sec
HOLD (ms) once the trigger signal has fallen below the
COMPRESSOR, EXPANDER, COMPANDER-H (Compander Hard), and COMPANDER-S 48kHz: 0.02 ms – 1.96 sec (160 points)
THRESHOLD level.
(Compander Soft). This determines how soon the ducker returns to its
44.1kHz: 6 ms – 46.0 sec normal gain once the trigger signal level drops below
DECAY (ms)
48kHz: 5 ms – 42.3 sec (160 points) the threshold. The value is expressed as the duration
■ GATE required for the level to change by 6 dB.
A gate attenuates signals below a set THRESHOLD level by a specified amount (RANGE).
Parameter Range Description • I/O Characteristics • Time Series Analysis
This determines the level at which the gate effect is Input Signal Output Signal
THRESHOLD (dB) –72 to 0 (73 points)
applied.

Output Level

Output Level
Input Level
HOLD
This determines the amount of attenuation when the THRESHOLD ATTACK DECAY
RANGE (dB) –∞, –69 to 0 (71 points)
gate closes.
This determines how fast the gate opens when the
ATTACK (ms) 0–120 (121 points)
signal exceeds the threshold level.
44.1kHz: 0.02 ms – 2.13 sec This determines how long the gate stays open once THRESHOLD
HOLD (ms) RANGE RANGE
48kHz: 0.02 ms – 1.96 sec (160 points) the trigger signal has fallen below the threshold.
This determines how fast the gate closes once the
44.1kHz: 6 ms – 46.0 sec
DECAY (ms) hold time has expired. The value is expressed as the
48kHz: 5 ms – 42.3 sec (160 points)
duration required for the level to change by 6 dB.
Input Level Time Time

• I/O Characteristics • Time Series Analysis

Input Signal Output Signal
Output Level

Output Level
Input Level

HOLD
THRESHOLD ATTACK DECAY

THRESHOLD
RANGE RANGE

Input Level Time Time

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 Appendices

■ COMPRESSOR ■ EXPANDER
The COMP processor attenuates signals above a specified THRESHOLD by a specified RATIO. The An expander attenuates signals below a specified THRESHOLD by a specified RATIO.
COMP processor can also be used as a limiter, which, with a RATIO of ∞:1, reduces the level to the
Parameter Range Description
threshold. This means that the limiter’s output level never actually exceeds the threshold.
This determines the level of input signal required to
THRESHOLD (dB) –54 to 0 (55 points)
Parameter Range Description trigger the expander.

This determines the level of input signal required to 1.0:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2.0:1,
THRESHOLD (dB) –54 to 0 (55 points) RATIO 2.5:1, 3.0:1, 3.5:1, 4.0:1, 5.0:1, 6.0:1, This determines the amount of expansion.
trigger the compressor.
8.0:1, 10:1, 20:1, ∞:1 (16 points)
1.0:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2.0:1, This determines the amount of compression, that is,
RATIO 2.5:1, 3.0:1, 3.5:1, 4.0:1, 5.0:1, 6.0:1, the change in output signal level relative to change This determines how soon the expander returns to its
8.0:1, 10:1, 20:1, ∞:1 (16 points) in input signal level. ATTACK (ms) 0–120 (121 points) normal gain once the trigger signal level exceeds the
threshold.
This determines how soon the signal will be
ATTACK (ms) 0–120 (121 points) compressed once the compressor has been This determines how soon the signal is expanded
triggered. 44.1kHz: 6 ms – 46.0 sec once the signal level drops below the threshold. The
RELEASE (ms)
48kHz: 5 ms – 42.3 sec (160 points) value is expressed as the duration required for the
This determines how soon the compressor returns to level to change by 6 dB.
44.1kHz: 6 ms – 46.0 sec its normal gain once the trigger signal level drops
RELEASE (ms) OUT GAIN (dB) 0.0 to +18.0 (181 points) This sets the expander’s output signal level.
48kHz: 5 ms – 42.3 sec (160 points) below the threshold. The value is expressed as the
duration required for the level to change by 6 dB. This determines how expansion is applied at the
OUT GAIN (dB) 0.0 to +18.0 (181 points) This sets the compressor’s output signal level. threshold. For higher knee settings, expansion is
KNEE Hard, 1–5 (6 points)
applied gradually as the signal falls below the
This determines how compression is applied at the specified threshold, creating a more natural sound.
threshold. For higher knee settings, compression is
KNEE Hard, 1–5 (6 points)
applied gradually as the signal exceeds the specified
threshold, creating a more natural sound. • I/O Characteristics • Time Series Analysis
(KNEE= hard, (RATIO= ∞:1)
• I/O Characteristics • Time Series Analysis OUT GAIN= 0.0dB)
(KNEE= hard, OUT (RATIO= ∞:1)
Input Signal Output Signal
GAIN=0.0dB)

Output Level

Output Level
Input Level
THRESHOLD ATTACK RELEASE
Input Signal Output Signal
Output Level

Output Level
Input Level

THRESHOLD ATTACK RELEASE

RATIO THRESHOLD

THRESHOLD

Input Level Time Time

RATIO

Input Level Time Time

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 Appendices

■ COMPANDER HARD (COMPANDER-H), COMPANDER SOFT (COMPANDER-S) Effect Type List

The hard and soft companders combine the effects of the compressor, expander and limiter.
Title Type Description
Output Level

REV-X Hall REV-X HALL New reverb algorithm that delivers dense and rich reverberation, smooth decay,
and provides a spaciousness and depth that enhances the original sound.
REV-X Room REV-X ROOM
Choose from three types depending on your location and needs; REV-X HALL,
REV-X Plate REV-X PLATE REV-X ROOM, and REV-X PLATE.
THRESHOLD
Reverb Hall REVERB HALL Concert hall reverberation simulation with gate
Reverb Room REVERB ROOM Room reverberation simulation with gate
Input Level Reverb Stage REVERB STAGE Reverb designed for vocals, with gate
0dB
WIDTH Reverb Plate REVERB PLATE Plate reverb simulation with gate

The companders function differently at the following levels: Stereo Reverb ST REVERB Stereo reverb
Early Ref. EARLY REF. Early reflections without the subsequent reverb
1 0 dB and higher ................................ Functions as a limiter.
Gate Reverb GATE REVERB Gated early reflections
2 Exceeding the threshold ................. Functions as a compressor.
Reverse Gate REVERSE GATE Gated reverse early reflections
3 Below the threshold and width ..... Functions as an expander.
Mono Delay MONO DELAY Simple mono delay
The hard compander has an expansion ratio of 5:1, while the soft compander has an expansion ratio of
Stereo Delay STEREO DELAY Simple stereo delay
1.5:1. The expander is essentially turned off when the width is set to maximum. The compressor has a
Mod.Delay MOD.DELAY Simple repeat delay with modulation
fixed knee setting of 2.
Delay LCR DELAY LCR 3-tap (left, center, right) delay
* The gain is automatically adjusted according to the ratio and threshold values, and can be increased by up to 18 dB.
* The OUT GAIN parameter enables you to compensate for the overall level change caused by the compression and Echo ECHO Stereo delay with crossed left/right feedback
expansion processes. Chorus CHORUS Chorus

Parameter Range Description Flange FLANGE Flanger

This determines the level at which compression is Proprietary Yamaha effect that produces a richer and more complex modulation
THRESHOLD (dB) –54 to 0 (55 points) Symphonic SYMPHONIC
applied. than normal chorus

1.0:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2.0:1, Phaser PHASER 16-stage stereo phase shifter
RATIO 2.5:1, 3.0:1, 3.5:1, 4.0:1, 5.0:1, 6.0:1, This determines the amount of compression. Dyna.Flange DYNA.FLANGE Dynamically controlled flanger
8.0:1, 10:1, 20:1 (15 points)
Dyna.Phaser DYNA.PHASER Dynamically controlled phase shifter
This determines how soon the signal is compressed
ATTACK (ms) 0–120 (121 points) or expanded once the compander has been HQ. Pitch HQ.PITCH Mono pitch shifter, producing stable results
triggered. Dual Pitch DUAL PITCH Stereo pitch shifter
This determines how soon the compressor or Tremolo TREMOLO Tremolo
expander returns to the normal gain once the trigger
44.1kHz: 6 ms – 46.0 sec Auto Pan AUTO PAN Auto-panner
RELEASE (ms) signal level drops below or exceeds the threshold
48kHz: 5 ms – 42.3 sec (160 points)
respectively. The value is expressed as the duration Rotary ROTARY Rotary speaker simulation
required for the level to change by 6 dB.
Ring Mod. RING MOD. Ring modulator
OUT GAIN (dB) –18.0 to 0.0 (181 points) This sets the compander’s output signal level.
Mod.Filter MOD.FILTER Modulated filter
This determines how far below the threshold
WIDTH (dB) 1–90 (90 points) expansion will be applied. The expander is activated Dyna.Filter DYNA.FILTER Dynamically controlled filter
when the level drops below the threshold and width.
Rev+Chorus REV+CHORUS Reverb and chorus in parallel
RevChorus REVCHORUS Reverb and chorus in series
■ DE-ESSER
Rev+Flange REV+FLANGE Reverb and flanger in parallel
This detects and compresses only the sibilants and other high-frequency consonants of the vocal.
RevFlange REVFLANGE Reverb and flanger in series
Parameter Range Description Rev+Sympho. REV+SYMPHO. Reverb and symphonic in parallel
THRESHOLD –54 to 0 (55 points) Threshold level at which the de-esser effect applies. RevSympho. REVSYMPHO. Reverb and symphonic in series
FREQUENCY 1kHz–12.5kHz (45 points) Cutoff frequency of the filter used to detect the high frequencies. RevPan REVPAN Reverb and auto-pan in series
TYPE HPF, BPF Type of filter used to detect the frequency band. Delay+Er. DELAY+ER. Delay and early reflections in parallel
Q 10.0–0.10 (41 points) Q (steepness) of the filter when TYPE is BPF. DelayEr. DELAYER. Delay and early reflections in series

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Title Type Description Effects Parameters

Delay+Rev DELAY+REV Delay and reverb in parallel
DelayRev DELAYREV Delay and reverb in series ■ REV-X HALL, REV-X ROOM, REV-X PLATE
DistDelay DISTDELAY Distortion and delay in series Newly-developed two input, two output reverb algorithm. Delivers dense and rich reverberation,
Multi Filter MULTI FILTER 3-band parallel filter (24 dB/octave) smooth decay, and provides a spaciousness and depth that enhances the original sound. Choose from
Freeze FREEZE Simple sampler three types depending on your location and needs; REV-X HALL, REV-X ROOM, and REV-X PLATE.
Distortion DISTORTION Distortion
Parameter Range Description
Amp Simulate AMP SIMULATE Guitar amp simulation
REV TIME 0.28–27.94 s *1 Reverb time
This compressor emulates the characteristics of an analog compressor that has
Comp276 COMP276 INI. DLY 0.0–120.0 ms Initial delay before reverb begins
become a sought-after classic in recording studios.
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
Comp276S COMP276S This is a stereo model of COMP276.
LO. RATIO 0.1–1.4 Low-frequency reverb time ratio
This compressor emulates the characteristics of a compressor/limiter of the latter
Comp260 COMP260 LO.FREQ 22.0 Hz–18.0 kHz Frequency point for LO.RATIO setting
1970s that has become a sought-after classic for live SR.
DIFF. 0–10 Reverb diffusion (left–right reverb spread)
Comp260S COMP260S This is a stereo model of the COMP260.
ROOM SIZE 0–28 Size of room
This equalizer emulates the characteristics of an analog equalizer of the 1970s. It
Equalizer601 EQUALIZER601 DECAY 0–53 Gate closing speed
can be used to obtain a sense of drive.
This is a tape saturation effect that emulates the tape compression produced by HPF THRU, 22.0 Hz–8.00 kHz High-pass filter cutoff frequency
OpenDeck OPENDECK
two open-reel tape recorders: a recording deck and a reproduction deck. 1.00 kHz–18.0 kHz,
LPF Low-pass filter cutoff frequency
THRU
M.Band Dyna. M.BAND DYNA. Multi-band dynamics processor
M.Band Comp M.BAND COMP Multi-band compressor *1. These values are for when the effect type is REV-X HALL and the ROOM SIZE=28. The range will differ
depending on the effect type and ROOM SIZE setting.

■ REVERB HALL, REVERB ROOM, REVERB STAGE, REVERB PLATE

One input, two output hall, room, stage, and plate reverb simulations, all with gates.
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
LO. RATIO 0.1–2.4 Low-frequency reverb time ratio
DIFF. 0–10 Reverb diffusion (left–right reverb spread)
DENSITY 0–100% Reverb density
E/R DLY 0.0–100.0 ms Delay between early reflections and reverb
Balance of early reflections and reverb
E/R BAL. 0–100%
(0% = all reverb, 100% = all early reflections)
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency
GATE LVL OFF, –60 to 0 dB Level at which gate kicks in
ATTACK 0–120 ms Gate opening speed
HOLD *1 Gate open time
DECAY *2 Gate closing speed

*1. 0.02 ms–2.13 s (fs=44.1 kHz), 0.02 ms–1.96 s (fs=48 kHz)

*2. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)

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■ STEREO REVERB ■ GATE REVERB, REVERSE GATE

Two input, two output stereo reverb. One input, two output early reflections with gate, and early reflections with reverse gate.
Parameter Range Description Parameter Range Description
REV TIME 0.3–99.0 s Reverb time TYPE Type-A, Type-B Type of early reflection simulation
REV TYPE Hall, Room, Stage, Plate Reverb type ROOMSIZE 0.1–20.0 Reflection spacing
INI. DLY 0.0–100.0 ms Initial delay before reverb begins LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live)
HI. RATIO 0.1–1.0 High-frequency reverb time ratio INI. DLY 0.0–500.0 ms Initial delay before reverb begins
LO. RATIO 0.1–2.4 Low-frequency reverb time ratio DIFF. 0–10 Reflection diffusion (left–right reflection spread)
DIFF. 0–10 Reverb diffusion (left–right reverb spread) DENSITY 0–100% Reflection density
DENSITY 0–100% Reverb density HI. RATIO 0.1–1.0 High-frequency feedback ratio
Balance of early reflections and reverb (0% = all reverb, 100% = all early ER NUM. 1–19 Number of early reflections
E/R BAL. 0–100%
reflections) FB GAIN –99 to +99% Feedback gain
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency

■ MONO DELAY
■ EARLY REF. One input, one output basic repeat delay.
One input, two output early reflections.
Parameter Range Description
Parameter Range Description DELAY 0.0–2730.0 ms Delay time
S-Hall, L-Hall, Random, Feedback gain (plus values for normal-phase feedback, minus values for
TYPE Type of early reflection simulation FB. GAIN –99 to +99%
Revers, Plate, Spring reverse-phase feedback)
ROOMSIZE 0.1–20.0 Reflection spacing HI. RATIO 0.1–1.0 High-frequency feedback ratio
LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live) HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency
INI. DLY 0.0–500.0 ms Initial delay before reverb begins LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency
DIFF. 0–10 Reflection diffusion (left–right reflection spread) SYNC OFF/ON Tempo parameter sync on/off
DENSITY 0–100% Reflection density NOTE *1 Used in conjunction with TEMPO to determine DELAY
ER NUM. 1–19 Number of early reflections
*1. (Max. value depends on tempo setting)
FB GAIN –99 to +99% Feedback gain
HI. RATIO 0.1–1.0 High-frequency feedback ratio
■ STEREO DELAY
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency Two input, two output basic stereo delay.
Parameter Range Description
DELAY L 0.0–1350.0 ms Left channel delay time
DELAY R 0.0–1350.0 ms Right channel delay time
Left channel feedback (plus values for normal-phase feedback, minus
FB. G L –99 to +99%
values for reverse-phase feedback)
Right channel feedback (plus values for normal-phase feedback, minus
FB. G R –99 to +99%
values for reverse-phase feedback)
HI. RATIO 0.1–1.0 High-frequency feedback ratio
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency
SYNC OFF/ON Tempo parameter sync on/off
NOTE L *1 Used in conjunction with TEMPO to determine left channel DELAY
NOTE R *1 Used in conjunction with TEMPO to determine right channel DELAY

*1. (Maximum value depends on the tempo setting)

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■ MOD.DELAY ■ ECHO
One input, two output basic repeat delay with modulation. Two input, two output stereo delay with crossed feedback loop.
Parameter Range Description Parameter Range Description
DELAY 0.0–2725.0 ms Delay time DELAY L 0.0–1350.0 ms Left channel delay time
Feedback gain (plus values for normal-phase feedback, minus values for DELAY R 0.0–1350.0 ms Right channel delay time
FB. GAIN –99 to +99%
reverse-phase feedback) FB.DLY L 0.0–1350.0 ms Left channel feedback delay time
HI. RATIO 0.1–1.0 High-frequency feedback ratio FB.DLY R 0.0–1350.0 ms Right channel feedback delay time
FREQ. 0.05–40.00 Hz Modulation speed Left channel feedback gain (plus values for normal-phase feedback, minus
FB. G L –99 to +99%
DEPTH 0–100% Modulation depth values for reverse-phase feedback)
WAVE Sine/Tri Modulation waveform Right channel feedback gain (plus values for normal-phase feedback,
FB. G R –99 to +99%
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency minus values for reverse-phase feedback)

LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency Left to right channel feedback gain (plus values for normal-phase feedback,
LR FBG –99 to +99%
minus values for reverse-phase feedback)
SYNC OFF/ON Tempo parameter sync on/off
Right to left channel feedback gain (plus values for normal-phase feedback,
DLY.NOTE *1 Used in conjunction with TEMPO to determine DELAY RL FBG –99 to +99%
minus values for reverse-phase feedback)
MOD.NOTE *2 Used in conjunction with TEMPO to determine FREQ HI. RATIO 0.1–1.0 High-frequency feedback ratio
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency
*1. (Maximum value depends on the tempo setting)
*2. LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency
SYNC OFF/ON Tempo parameter sync on/off
NOTE L *1 Used in conjunction with TEMPO to determine DELAY L

■ DELAY LCR NOTE R *1 Used in conjunction with TEMPO to determine DELAY R

NOTE FBL *1 Used in conjunction with TEMPO to determine FB. D L
One input, two output 3-tap delay (left, center, right).
NOTE FBR *1 Used in conjunction with TEMPO to determine FB. D R
Parameter Range Description
*1. (Maximum value depends on the tempo setting)
DELAY L 0.0–2730.0 ms Left channel delay time
DELAY C 0.0–2730.0 ms Center channel delay time
DELAY R 0.0–2730.0 ms Right channel delay time
FB. DLY 0.0–2730.0 ms Feedback delay time
■ CHORUS
LEVEL L –100 to +100% Left channel delay level Two input, two output chorus effect.
LEVEL C –100 to +100% Center channel delay level Parameter Range Description
LEVEL R –100 to +100% Right channel delay level FREQ. 0.05–40.00 Hz Modulation speed
Feedback gain (plus values for normal-phase feedback, minus values for AM DEPTH 0–100% Amplitude modulation depth
FB. GAIN –99 to +99%
reverse-phase feedback)
PM DEPTH 0–100% Pitch modulation depth
HI. RATIO 0.1–1.0 High-frequency feedback ratio
MOD. DLY 0.0–500.0 ms Modulation delay time
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency
WAVE Sine, Tri Modulation waveform
LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency
SYNC OFF/ON Tempo parameter sync on/off
SYNC OFF/ON Tempo parameter sync on/off
NOTE *1 Used in conjunction with TEMPO to determine FREQ.
NOTE L *1 Used in conjunction with TEMPO to determine DELAY L
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
NOTE C *1 Used in conjunction with TEMPO to determine DELAY C
LSH G –12.0 to +12.0 dB Low shelving filter gain
NOTE R *1 Used in conjunction with TEMPO to determine DELAY R
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
NOTE FB *1 Used in conjunction with TEMPO to determine FB. DLY
EQ G –12.0 to +12.0 dB EQ (peaking type) gain
*1. (Maximum value depends on the tempo setting) EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12.0 to +12.0 dB High shelving filter gain

*1.

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■ FLANGE ■ PHASER
Two input, two output flange effect. Two input, two output 16-stage phaser.
Parameter Range Description Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth DEPTH 0–100% Modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time Feedback gain (plus values for normal-phase feedback, minus values for
FB. GAIN –99 to +99%
Feedback gain (plus values for normal-phase feedback, minus values for reverse-phase feedback)
FB. GAIN –99 to +99%
reverse-phase feedback) OFFSET 0–100 Lowest phase-shifted frequency offset
WAVE Sine, Tri Modulation waveform PHASE 0.00–354.38 degrees Left and right modulation phase balance
SYNC OFF/ON Tempo parameter sync on/off STAGE 2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages
NOTE *1 Used in conjunction with TEMPO to determine FREQ. SYNC OFF/ON Tempo parameter sync on/off
NOTE *1 Used in conjunction with TEMPO to determine FREQ.
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12.0 to +12.0 dB Low shelving filter gain LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency LSH G –12.0 to +12.0 dB Low shelving filter gain
EQ G –12.0 to +12.0 dB EQ (peaking type) gain HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
EQ Q 10.0–0.10 EQ (peaking type) bandwidth HSH G –12.0 to +12.0 dB High shelving filter gain
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency *1.
HSH G –12.0 to +12.0 dB High shelving filter gain

*1.
■ DYNA.FLANGE
Two input, two output dynamically controlled flanger.
■ SYMPHONIC
Parameter Range Description
Two input, two output symphonic effect. SOURCE INPUT, MIDI Control source: input signal or MIDI Note On velocity
Parameter Range Description SENSE 0–100 Sensitivity
FREQ. 0.05–40.00 Hz Modulation speed DIR. UP, DOWN Upward or downward frequency change
DEPTH 0–100% Modulation depth DECAY *1 Decay speed
MOD. DLY 0.0–500.0 ms Modulation delay time OFFSET 0–100 Delay time offset
WAVE Sine, Tri Modulation waveform Feedback gain (plus values for normal-phase feedback, minus values for
FB.GAIN –99 to +99%
SYNC OFF/ON Tempo parameter sync on/off reverse-phase feedback)
NOTE *1 Used in conjunction with TEMPO to determine FREQ. LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency

LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency LSH G –12.0 to +12.0 dB Low shelving filter gain

LSH G –12.0 to +12.0 dB Low shelving filter gain EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency

EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency EQ G –12.0 to +12.0 dB EQ (peaking type) gain

EQ G –12.0 to +12.0 dB EQ (peaking type) gain EQ Q 10.0–0.10 EQ (peaking type) bandwidth

EQ Q 10.0–0.10 EQ (peaking type) bandwidth HSH F 50.0 Hz–16.0 kHz High shelving filter frequency

HSH F 50.0 Hz–16.0 kHz High shelving filter frequency HSH G –12.0 to +12.0 dB High shelving filter gain

HSH G –12.0 to +12.0 dB High shelving filter gain *1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)

*1.

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■ DYNA.PHASER ■ DUAL PITCH

Two input, two output dynamically controlled phaser. Two input, two output pitch shifter.
Parameter Range Description Parameter Range Description
SOURCE INPUT, MIDI Control source: input signal or MIDI Note On velocity PITCH 1 –24 to +24 semitones Channel #1 pitch shift
SENSE 0–100 Sensitivity FINE 1 –50 to +50 cents Channel #1 pitch shift fine
DIR. UP, DOWN Upward or downward frequency change Channel #1 level (plus values for normal phase, minus values for reverse
LEVEL 1 –100 to +100%
*1 phase)
DECAY Decay speed
PAN 1 L63 to R63 Channel #1 pan
OFFSET 0–100 Lowest phase-shifted frequency offset
DELAY 1 0.0–1000.0 ms Channel #1 delay time
Feedback gain (plus values for normal-phase feedback, minus values for
FB.GAIN –99 to +99% Channel #1 feedback gain (plus values for normal-phase feedback, minus
reverse-phase feedback) FB. G 1 –99 to +99%
values for reverse-phase feedback)
STAGE 2, 4, 6, 8, 10, 12, 14, 16 Number of phase shift stages
MODE 1–10 Pitch shift precision
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
PITCH 2 –24 to +24 semitones Channel #2 pitch shift
LSH G –12.0 to +12.0 dB Low shelving filter gain
FINE 2 –50 to +50 cents Channel #2 pitch shift fine
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
Channel #2 level (plus values for normal phase, minus values for reverse
HSH G –12.0 to +12.0 dB High shelving filter gain LEVEL 2 –100 to +100%
phase)
*1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz) PAN 2 L63 to R63 Channel #2 pan
DELAY 2 0.0–1000.0 ms Channel #2 delay time
Channel #2 feedback gain (plus values for normal-phase feedback, minus
FB. G 2 –99 to +99%
values for reverse-phase feedback)
■ HQ. PITCH
SYNC OFF/ON Tempo parameter sync on/off
One input, two output high-quality pitch shifter. *1
NOTE 1 Used in conjunction with TEMPO to determine Channel #1 delay
Parameter Range Description NOTE 2 *1 Used in conjunction with TEMPO to determine Channel #2 delay
PITCH –12 to +12 semitones Pitch shift
*1. (Maximum value depends on the tempo setting)
FINE –50 to +50 cents Pitch shift fine
DELAY 0.0–1000.0 ms Delay time
Feedback gain (plus values for normal-phase feedback, minus values for
FB. GAIN –99 to +99%
reverse-phase feedback) ■ TREMOLO
MODE 1–10 Pitch shift precision Two input, two output tremolo effect.
SYNC OFF/ON Tempo parameter sync on/off
Parameter Range Description
NOTE *1 Used in conjunction with TEMPO to determine DELAY
FREQ. 0.05–40.00 Hz Modulation speed
*1. (Maximum value depends on the tempo setting) DEPTH 0–100% Modulation depth
WAVE Sine, Tri, Square Modulation waveform
SYNC OFF/ON Tempo parameter sync on/off
NOTE *1 Used in conjunction with TEMPO to determine FREQ.
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency
LSH G –12.0 to +12.0 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12.0 to +12.0 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12.0 to +12.0 dB High shelving filter gain

*1.

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■ AUTOPAN ■ RING MOD.

Two input, two output autopanner. Two input, two output ring modulator.
Parameter Range Description Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed SOURCE OSC, SELF Modulation source: oscillator or input signal
DEPTH 0–100% Modulation depth OSC FREQ 0.0–5000.0 Hz Oscillator frequency
DIR. *1 Panning direction FM FREQ. 0.05–40.00 Hz Oscillator frequency modulation speed
WAVE Sine, Tri, Square Modulation waveform FM DEPTH 0–100% Oscillator frequency modulation depth
SYNC OFF/ON Tempo parameter sync on/off SYNC OFF/ON Tempo parameter sync on/off
*2 FM NOTE *1 Used in conjunction with TEMPO to determine FM FREQ
NOTE Used in conjunction with TEMPO to determine FREQ.
LSH F 21.2 Hz–8.00 kHz Low shelving filter frequency *1.
LSH G –12.0 to +12.0 dB Low shelving filter gain
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency
EQ G –12.0 to +12.0 dB EQ (peaking type) gain ■ MOD.FILTER
EQ Q 10.0–0.10 EQ (peaking type) bandwidth
Two input, two output modulation filter.
HSH F 50.0 Hz–16.0 kHz High shelving filter frequency
HSH G –12.0 to +12.0 dB High shelving filter gain Parameter Range Description
FREQ. 0.05–40.00 Hz Modulation speed
*1. LR, LR, LR, Turn L, Turn R
*2. DEPTH 0–100% Modulation depth
PHASE 0.00–354.38 degrees Left-channel modulation and right-channel modulation phase difference
TYPE LPF, HPF, BPF Filter type: low pass, high pass, band pass
OFFSET 0–100 Filter frequency offset
■ ROTARY
RESO. 0–20 Filter resonance
One input, two output rotary speaker simulator. LEVEL 0–100 Output level
Parameter Range Description SYNC OFF/ON Tempo parameter sync on/off
ROTATE STOP, START Rotation stop, start NOTE *1 Used in conjunction with TEMPO to determine FREQ
SPEED SLOW, FAST Rotation speed (see SLOW and FAST parameters)
*1.
SLOW 0.05–10.00 Hz SLOW rotation speed
FAST 0.05–10.00 Hz FAST rotation speed
DRIVE 0–100 Overdrive level
ACCEL 0–10 Acceleration at speed changes
■ DYNA.FILTER
LOW 0–100 Low-frequency filter Two input, two output dynamically controlled filter.
HIGH 0–100 High-frequency filter Parameter Range Description
SOURCE INPUT, MIDI Control source: input signal or MIDI Note On velocity
SENSE 0–100 Sensitivity
DIR. UP, DOWN Upward or downward frequency change
DECAY *1 Filter frequency change decay speed
TYPE LPF, HPF, BPF Filter type
OFFSET 0–100 Filter frequency offset
RESO. 0–20 Filter resonance
LEVEL 0–100 Output Level

*1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)

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■ REV+CHORUS ■ REV+FLANGE
One input, two output reverb and chorus effects in parallel. One input, two output reverb and flanger effects in parallel.
Parameter Range Description Parameter Range Description
REV TIME 0.3–99.0 s Reverb time REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins INI. DLY 0.0–500.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0–10 Spread DIFF. 0–10 Spread
DENSITY 0–100% Reverb density DENSITY 0–100% Reverb density
REV/CHO 0–100% Reverb and chorus balance (0% = all reverb, 100% = all chorus) REV/FLG 0–100% Reverb and flange balance (0% = all reverb, 100% = all flange)
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency
FREQ. 0.05–40.00 Hz Modulation speed FREQ. 0.05–40.00 Hz Modulation speed
AM DEPTH 0–100% Amplitude modulation depth DEPTH 0–100% Modulation depth
PM DEPTH 0–100% Pitch modulation depth MOD. DLY 0.0–500.0 ms Modulation delay time
MOD. DLY 0.0–500.0 ms Modulation delay time Feedback gain (plus values for normal-phase feedback, minus values for
FB. GAIN –99 to +99%
WAVE Sine, Tri Modulation waveform reverse-phase feedback)

SYNC OFF/ON Tempo parameter sync on/off WAVE Sine, Tri Modulation waveform
*1 SYNC OFF/ON Tempo parameter sync on/off
NOTE Used in conjunction with TEMPO to determine FREQ.
NOTE *1 Used in conjunction with TEMPO to determine FREQ.
*1.
*1.

■ REVCHORUS
■ REVFLANGE
One input, two output reverb and chorus effects in series.
One input, two output reverb and flanger effects in series.
Parameter Range Description
REV TIME 0.3–99.0 s Reverb time Parameter Range Description

INI. DLY 0.0–500.0 ms Initial delay before reverb begins REV TIME 0.3–99.0 s Reverb time

HI. RATIO 0.1–1.0 High-frequency reverb time ratio INI. DLY 0.0–500.0 ms Initial delay before reverb begins

DIFF. 0–10 Spread HI. RATIO 0.1–1.0 High-frequency reverb time ratio

DENSITY 0–100% Reverb density DIFF. 0–10 Spread

Reverb and chorused reverb balance DENSITY 0–100% Reverb density

REV.BAL 0–100%
(0% = all chorused reverb, 100% = all reverb) Reverb and flanged reverb balance
REV.BAL 0–100%
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency (0% = all flanged reverb, 100% = all reverb)

LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency

FREQ. 0.05–40.00 Hz Modulation speed LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency

AM DEPTH 0–100% Amplitude modulation depth FREQ. 0.05–40.00 Hz Modulation speed

PM DEPTH 0–100% Pitch modulation depth DEPTH 0–100% Modulation depth

MOD. DLY 0.0–500.0 ms Modulation delay time MOD. DLY 0.0–500.0 ms Modulation delay time

WAVE Sine, Tri Modulation waveform Feedback gain (plus values for normal-phase feedback, minus values for
FB. GAIN –99 to +99%
reverse-phase feedback)
SYNC OFF/ON Tempo parameter sync on/off
WAVE Sine, Tri Modulation waveform
NOTE *1 Used in conjunction with TEMPO to determine FREQ.
SYNC OFF/ON Tempo parameter sync on/off
*1. NOTE *1 Used in conjunction with TEMPO to determine FREQ.

*1.

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■ REV+SYMPHO. ■ REVPAN
One input, two output reverb and symphonic effects in parallel. This is a 1-in/2-out series-connected reverb and auto-pan effect.
Parameter Range Description Parameter Range Description
REV TIME 0.3–99.0 s Reverb time REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins INI. DLY 0.0–500.0 ms Initial delay before reverb begins
HI. RATIO 0.1–1.0 High-frequency reverb time ratio HI. RATIO 0.1–1.0 High-frequency reverb time ratio
DIFF. 0–10 Spread DIFF. 0–10 Spread
DENSITY 0–100% Reverb density DENSITY 0–100% Reverb density

REV/SYM 0–100% Reverb and symphonic balance (0% = all reverb, 100% = all symphonic) Reverb and panned reverb balance
REV.BAL 0–100%
(0% = all panned reverb, 100% = all reverb)
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency
FREQ. 0.05–40.00 Hz Modulation speed FREQ. 0.05–40.00 Hz Modulation speed
DEPTH 0–100% Modulation depth DEPTH 0–100% Modulation depth
MOD. DLY 0.0–500.0 ms Modulation delay time DIR. *1 Panning direction
WAVE Sine, Tri Modulation waveform WAVE Sine, Tri, Square Modulation waveform
SYNC OFF/ON Tempo parameter sync on/off SYNC OFF/ON Tempo parameter sync on/off
NOTE *1 Used in conjunction with TEMPO to determine FREQ. *2
NOTE Used in conjunction with TEMPO to determine FREQ.
*1. *1. LR, LR, LR, Turn L, Turn R
*2.

■ REVSYMPHO. ■ DELAY+ER.
One input, two output reverb and symphonic effects in series. One input, two output delay and early reflections effects in parallel.
Parameter Range Description Parameter Range Description
REV TIME 0.3–99.0 s Reverb time DELAY L 0.0–1000.0 ms Left channel delay time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins DELAY R 0.0–1000.0 ms Right channel delay time
FB. DLY 0.0–1000.0 ms Feedback delay time
HI. RATIO 0.1–1.0 High-frequency reverb time ratio
Feedback gain (plus values for normal-phase feedback, minus values for
DIFF. 0–10 Spread FB. GAIN –99 to +99%
reverse-phase feedback)
DENSITY 0–100% Reverb density HI. RATIO 0.1–1.0 High-frequency feedback ratio
Reverb and symphonic reverb balance Delay and early reflections balance
REV.BAL 0–100% DLY/ER 0–100%
(0% = all symphonic reverb, 100% = all reverb) (0% = all delay, 100% = all early reflections)
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency
FREQ. 0.05–40.00 Hz Modulation speed S-Hall, L-Hall, Random,
TYPE Type of early reflection simulation
DEPTH 0–100% Modulation depth Revers, Plate, Spring
MOD. DLY 0.0–500.0 ms Modulation delay time ROOMSIZE 0.1–20.0 Reflection spacing
WAVE Sine, Tri Modulation waveform LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live)
SYNC OFF/ON Tempo parameter sync on/off INI. DLY 0.0–500.0 ms Initial delay before reverb begins
*1 DIFF. 0–10 Spread
NOTE Used in conjunction with TEMPO to determine FREQ.
DENSITY 0–100% Reverb density
*1. ER NUM. 1–19 Number of early reflections
SYNC OFF/ON Tempo parameter sync on/off
NOTE L *1 Used in conjunction with TEMPO to determine left channel DELAY L
NOTE R *1 Used in conjunction with TEMPO to determine right channel DELAY R
NOTE FB *1 Used in conjunction with TEMPO to determine FB. DLY

*1. (Maximum value depends on the tempo setting)

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■ DELAYER. ■ DELAY+REV
One input, two output delay and early reflections effects in series. One input, two output delay and reverb effects in parallel.
Parameter Range Description Parameter Range Description
DELAY L 0.0–1000.0 ms Left channel delay time DELAY L 0.0–1000.0 ms Left channel delay time
DELAY R 0.0–1000.0 ms Right channel delay time DELAY R 0.0–1000.0 ms Right channel delay time
FB. DLY 0.0–1000.0 ms Feedback delay time FB. DLY 0.0–1000.0 ms Feedback delay time
Feedback gain (plus values for normal-phase feedback, minus values for Feedback gain (plus values for normal-phase feedback, minus values for
FB. GAIN –99 to +99% FB. GAIN –99 to +99%
reverse-phase feedback) reverse-phase feedback)
HI. RATIO 0.1–1.0 High-frequency feedback ratio DELAY HI 0.1–1.0 Delay high-frequency feedback ratio
Delay and early reflected delay balance DLY/REV 0–100% Delay and reverb balance (0% = all delay, 100% = all reverb)
DLY.BAL 0–100%
(0% = all early reflected delay, 100% = all delay) HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency REV TIME 0.3–99.0 s Reverb time
S-Hall, L-Hall, Random, INI. DLY 0.0–500.0 ms Initial delay before reverb begins
TYPE Type of early reflection simulation
Revers, Plate, Spring REV HI 0.1–1.0 High-frequency reverb time ratio
ROOMSIZE 0.1–20.0 Reflection spacing DIFF. 0–10 Spread
LIVENESS 0–10 Early reflections decay characteristics (0 = dead, 10 = live) DENSITY 0–100% Reverb density
INI. DLY 0.0–500.0 ms Initial delay before reverb begins SYNC OFF/ON Tempo parameter sync on/off
DIFF. 0–10 Spread NOTE L *1 Used in conjunction with TEMPO to determine left channel DELAY L
DENSITY 0–100% Reverb density
NOTE R *1 Used in conjunction with TEMPO to determine right channel DELAY R
ER NUM. 1–19 Number of early reflections NOTE FB *1 Used in conjunction with TEMPO to determine FB. DLY
SYNC OFF/ON Tempo parameter sync on/off
*1. (Maximum value depends on the tempo setting)
NOTE L *1 Used in conjunction with TEMPO to determine left channel DELAY L
NOTE R *1 Used in conjunction with TEMPO to determine right channel DELAY R
■ DELAYREV
NOTE FB *1 Used in conjunction with TEMPO to determine FB. DLY
One input, two output delay and reverb effects in series.
*1. (Maximum value depends on the tempo setting)
Parameter Range Description
DELAY L 0.0–1000.0 ms Left channel delay time
DELAY R 0.0–1000.0 ms Right channel delay time
FB. DLY 0.0–1000.0 ms Feedback delay time
Feedback gain (plus values for normal-phase feedback, minus values for
FB. GAIN –99 to +99%
reverse-phase feedback)
DELAY HI 0.1–1.0 Delay high-frequency feedback ratio
Delay and delayed reverb balance
DLY.BAL 0–100%
(0% = all delayed reverb, 100% = all delay)
HPF THRU, 21.2 Hz–8.00 kHz High-pass filter cutoff frequency
LPF 50.0 Hz–16.0 kHz, THRU Low-pass filter cutoff frequency
REV TIME 0.3–99.0 s Reverb time
INI. DLY 0.0–500.0 ms Initial delay before reverb begins
REV HI 0.1–1.0 High-frequency reverb time ratio
DIFF. 0–10 Spread
DENSITY 0–100% Reverb density
SYNC OFF/ON Tempo parameter sync on/off
NOTE L *1 Used in conjunction with TEMPO to determine left channel DELAY L
NOTE R *1 Used in conjunction with TEMPO to determine right channel DELAY R
NOTE FB *1 Used in conjunction with TEMPO to determine FB. DLY

*1. (Maximum value depends on the tempo setting)

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■ DISTDELAY ■ FREEZE
One input, two output distortion and delay effects in series. One input, two output basic sampler.
Parameter Range Description Parameter Range Description
DST1, DST2, OVD1, In MANUAL mode, recording is started by pressing the REC and PLAY
DST TYPE Distortion type (DST = distortion, OVD = overdrive)
OVD2, CRUNCH REC MODE MANUAL, INPUT buttons. In INPUT mode, Record-Ready mode is engaged by pressing the
DRIVE 0–100 Distortion drive REC button, and actual recording is triggered by the input signal.

MASTER 0–100 Master volume Recording delay. For plus values, recording starts after the trigger is
REC DLY –1000 to +1000 ms
received. For minus values, recording starts before the trigger is received.
TONE –10 to +10 Tone control
In MOMENT mode, the sample plays only while the that the PLAY button is
N. GATE 0–20 Noise reduction MOMENT, CONTI., pressed. In CONT mode, playback continues once the PLAY button has
PLY MODE
SYNC OFF/ON Tempo parameter sync on/off INPUT been pressed. The number of times the sample plays is set using the LOOP
*1
NUM parameter. In INPUT mode, playback is triggered by the input signal.
DLY.NOTE Used in conjunction with TEMPO to determine DELAY
Input trigger level (i.e., the signal level required to trigger recording or
MOD.NOTE *2 Used in conjunction with TEMPO to determine FREQ. TRG LVL –60 to 0 dB
playback)
DELAY 0.0–2725.0 ms Delay time Once playback has been triggered, subsequent triggers are ignored for the
TRG MASK 0–1000 ms
Feedback gain (plus values for normal-phase feedback, minus values for duration of the TRG MASK time.
FB. GAIN –99 to +99%
reverse-phase feedback) START *1 Playback start point in milliseconds
HI. RATIO 0.1–1.0 High-frequency feedback ratio END *1 Playback end point in milliseconds
FREQ. 0.05–40.00 Hz Modulation speed LOOP *1 Loop start point in milliseconds
DEPTH 0–100% Modulation depth LOOP
0–100 Number of times the sample plays
Distortion and delay balance NUM
DLY.BAL 0–100%
(0% = all distortion, 100% = all delayed distortion) PITCH –12 to +12 semitones Playback pitch shift
*1. (Maximum value depends on the tempo setting) FINE –50 to +50 cents Playback pitch shift fine
*2. MIDI TRG OFF, C1–C6, ALL PLAY button can be triggered by using MIDI Note on/off messages.
START
0–131000 Playback start point in samples
[SAMPLE]
END
■ MULTI FILTER [SAMPLE]
0–131000 Playback end point in samples
Two input, two output 3-band multi-filter (24 dB/octave). LOOP
0–131000 Loop start point in samples
[SAMPLE]
Parameter Range Description
TYPE 1 LPF, HPF, BPF Filter 1 type: high pass, low pass, band pass *1. 0.0–5941.0 ms (fs=44.1 kHz), 0.0 ms–5458.3 ms (fs=48 kHz)
FREQ. 1 28.0 Hz–16.0 kHz Filter 1 frequency
LEVEL 1 0–100 Filter 1 level
RESO. 1 0–20 Filter 1 resonance ■ DISTORTION
TYPE 2 LPF, HPF, BPF Filter 2 type: high pass, low pass, band pass One input, two output distortion effect.
FREQ. 2 28.0 Hz–16.0 kHz Filter 2 frequency
Parameter Range Description
LEVEL 2 0–100 Filter 2 level
DST1, DST2, OVD1,
RESO. 2 0–20 Filter 2 resonance DST TYPE Distortion type (DST = distortion, OVD = overdrive)
OVD2, CRUNCH
TYPE 3 LPF, HPF, BPF Filter 3 type: high pass, low pass, band pass DRIVE 0–100 Distortion drive
FREQ. 3 28.0 Hz–16.0 kHz Filter 3 frequency MASTER 0–100 Master volume
LEVEL 3 0–100 Filter 3 level TONE –10 to +10 Tone
RESO. 3 0–20 Filter 3 resonance N. GATE 0–20 Noise reduction

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■ AMP SIMULATE ■ COMP276S

One input, two output guitar amp simulator. This effect emulates the characteristics of analog compressors that are widely used in recording studios.
Parameter Range Description
It produces a thick, strong frame sound suitable for drums and bass. You can link and control the L and
*1 R channel parameters.
AMP TYPE Guitar amp simulation type
DST1, DST2, OVD1, Parameter Range Description
DST TYPE Distortion type (DST = distortion, OVD = overdrive)
OVD2, CRUNCH INPUT –180 to 0 dB Adjusts the input level
DRIVE 0–100 Distortion drive OUTPUT –180 to 0 dB Adjusts the output gain
MASTER 0–100 Master volume RATIO 1:2, 4:1, 8:1, 12:1, 20:1 Ratio of the compressor
BASS 0–100 Bass tone control ATTACK 0.022–50.4 ms Attack time of the compressor
MIDDLE 0–100 Middle tone control RELEASE 10.88–544.22 ms Release time of the compressor
TREBLE 0–100 High tone control Automatically corrects output gain reduction when the compressor is
MAKE UP OFF, ON
N. GATE 0–20 Noise reduction applied
CAB DEP 0–100% Speaker cabinet simulation depth When the HPF in the side chain of the compressor is turned on, the
SIDE HPF OFF, ON compression applied to the low range will be weakened, thus emphasizing
EQ F 100 Hz–8.00 kHz EQ (peaking type) frequency the low range.
EQ G –12.0 to +12.0 dB EQ (peaking type) gain
EQ Q 10.0–0.10 EQ (peaking type) bandwidth ■ COMP260
*1. STK-M1, STK-M2, THRASH, MIDBST, CMB-PG, CMB-VR, CMB-DX, CMB-TW, MINI, FLAT This effect emulates the characteristics of mid 70’s compressors/limiters that are the standard for live
SR. You can control two monaural channels independently. You can also link several parameters via
stereo links.
■ COMP276 Parameter Range Description
This effect emulates the characteristics of analog compressors that are widely used in recording studios. THRE.1 –60 to 0.0 dB Threshold of CH compressor
It will produce a thick, strong frame sound suitable for drums and bass. You can control two monaural KNEE1 SOFT, MEDIUM, HARD Knee of CH1 compressor
channels independently. ATTACK1 0.01–80.0 ms Attack time of CH1 compressor
Parameter Range Description RELEASE1 6.2–999 ms Release time of CH1 compressor
INPUT 1 –180 to 0 dB Adjusts the CH1 input level RATIO1 1.0–500, ∞ Ratio of CH1 compressor
OUTPUT 1 –180 to 0 dB Adjusts the CH1 output gain OUTPUT1 –20 to 40 dB Adjusts the CH1 output gain
RATIO 1 2:1, 4:1, 8:1, 12:1, 20:1 Ratio for CH1 compressor THRE.2 –60 to 0.0 dB Threshold of CH2 compressor
ATTACK 1 0.022–50.4 ms Attack time for CH1 compressor KNEE2 SOFT, MEDIUM, HARD Knee of CH2 compressor
RELEASE1 10.88–544.22 ms Release time for CH1 compressor ATTACK2 0.01–80.0 ms Attack time of CH2 compressor
Automatically corrects output gain reduction when CH1 compressor is RELEASE2 6.2–999 ms Release time of CH2 compressor
MAKE UP1 OFF, ON
applied RATIO2 1.0–500, ∞ Ratio of CH2 compressor
When the HPF in the side chain of the CH1 compressor is turned on, the OUTPUT2 –20 to 40 dB Adjusts the CH2 output gain
SIDEHPF1 OFF, ON compression applied to the low range will be weakened, thus emphasizing Links CH1 and CH2 as a stereo pair. THRE., KNEE, ATTACK, RELEASE, and
the low range. ST LINK OFF, ON
RATIO parameters are linked; OUTPUT parameter is not linked
INPUT 2 –180 to 0 dB Adjusts the CH2 input level
OUTPUT 2 –180 to 0 dB Adjusts the CH2 output gain ■ COMP260S
RATIO 2 2:1, 4:1, 8:1, 12:1, 20:1 Ratio of CH2 compressor
This effect emulates the characteristics of mid 70’s compressors/limiters that are the standard for live
ATTACK 2 0.022–50.4 ms Attack time of CH2 compressor
SR. You can link and control the L and R channel parameters.
RELEASE2 10.88–544.22 ms Release time of CH2 compressor
Automatically corrects output gain reduction when the CH2 compressor is Parameter Range Description
MAKE UP2 OFF, ON
applied THRE. –60 to 0.0 dB Threshold of the compressor
When the HPF in the side chain of the CH2 compressor is turned on, the KNEE SOFT, MEDIUM, HARD Knee of the compressor
SIDEHPF2 OFF, ON compression applied to the low range will be weakened, thus emphasizing ATTACK 0.01–80.0 ms Attack time of the compressor
the low range.
RELEASE 6.2–999 ms Release time of the compressor
RATIO 1.0–500, ∞ Ratio of the compressor
OUTPUT –20 to 40 dB Adjusts the output gain

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■ EQUALIZER601 ■ OPENDECK
This effect emulates the characteristics of 70’s analog equalizers. Re-creating the distortion of typical It emulates the tape compression created by two open reel tape recorders (a recording deck and a
analog circuits will add drive to the sound. playback deck.) You can change the sound quality by adjusting various elements, such as the deck type,
Parameter Range Description
tape quality, playback speed, etc.
LO TYPE HPF-2/1, LSH-1/2 Type of EQ1 Parameter Range Description
LO F 16.0 Hz to 20.0 kHz Cut-off frequency of EQ1 Swss70, Swss78, Swss85,
REC DEC Selects the recording deck type
LO G –18.0 to +18.0 dB Gain of EQ1 Amer70

MID1 Q 0.50–16.0 Q of EQ2 Adjusts the input level of the recording deck. As you raise the level, tape
REC LVL –96.0 to +18.0 dB compression is generated, which narrows the dynamic range and distorts
MID1 F 16.0 Hz to 20.0 kHz Center frequency of EQ2 the sound
MID1 G –18.0 to +18.0 dB Gain of EQ2 REC HI –6.0 to +6.0 dB Adjusts the high range gain of the recording deck
MID2 Q 0.50–16.0 Q of EQ3 REC BIAS –1.00 to +1.00 Adjusts the bias of the recording deck
MID2 F 16.0 Hz to 20.0 kHz Center frequency of EQ3 Swss70, Swss78, Swss85,
REPR DEC Selects the playback deck type
MID2 G –18.0 to +18.0 dB Gain of EQ3 Amer70
INPUT –18.0 to +18.0 dB Input gain REPR LVL –96.0 to +18.0 dB Adjusts the output level of the playback deck
OUTPUT –18.0 to +18.0 dB Output gain REPR HI –6.0 to +6.0 dB Adjusts the high range gain of the playback deck
MID3 Q 0.50–16.0 Q of EQ4 REPR LO –6.0 to +6.0 dB Adjusts the low range gain of the playback deck
MID3 F 16.0 Hz to 20.0 kHz Center frequency of EQ4 When you adjust the REC LVL, the REPR LVL reflects the change,
MAKE UP Off, On maintaining the relative output level. You can change the amount of
MID3 G –18.0 to +18.0 dB Gain of EQ4
distortion without changing the output level.
MID4 Q 0.50–16.0 Q of EQ5
TP SPEED 15ips, 30ips Selects the tape speed
MID4 F 16.0 Hz to 20.0 kHz Center frequency of EQ5
TP KIND Old, New Selects the tape type
MID4 G –18.0 to +18.0 dB Gain of EQ5
HI TYPE LPF-2/1, HSH-1/2 Type of EQ6 ■ M.BAND DYNA.
HI F 16.0 Hz to 20.0 kHz *1 Cut-off frequency of EQ6
Two input, two output 3-band dynamics processor, with individual solo and gain reduction metering
HI G –18.0 to +18.0 dB Gain of EQ6
for each band.
LO SW OFF, ON Switches EQ1 on/off
Parameter Range Description
MID1 SW OFF, ON Switches EQ2 on/off
L-M XOVER 21.2 Hz–8.00 kHz Crossover frequency between the low and mid bands
MID2 SW OFF, ON Switches EQ3 on/off
M-H XOVER 21.2 Hz–8.00 kHz Crossover frequency between the mid and high bands
MID3 SW OFF, ON Switches EQ4 on/off
SLOPE –6 dB, –12 dB Filter slope
MID4 SW OFF, ON Switches EQ5 on/off
LOW GAIN –12.0 dB to +12.0 dB Low band gain
HI SW OFF, ON Switches EQ6 on/off
MID GAIN –12.0 dB to +12.0 dB Mid band gain
Selects the equalizer type. The CLEAN equalizer provides non-distorted,
clear, typical digital sound, emulating variations in frequency response in HI. GAIN –12.0 dB to +12.0 dB High band gain
TYPE CLEAN, DRIVE the analog circuits. The DRIVE equalizer provides distorted, driven sound TOTAL –72.0 dB to +12.0 dB Overall gain
that enhances analog flavor, emulating changes in frequency response in
the analog circuits. CEILING –6.0 dB to 0.0 dB, OFF Restricts the output so that it will not exceed the specified level
CMP.THRE –24.0 dB to 0.0 dB Threshold of the compressor
*1. 16.0 Hz to 20.0 kHz (LPF-1, LPF-2), 1.0 kHz to 20.0 kHz (HSH-1, HSH-2)
CMP.RAT 1:1 to 20:1 Ratio of the compressor
CMP.ATK 0–120 ms Attack time of the compressor
CMP.REL *1 Release time of the compressor
CMP.KNEE 0–5 Knee of the compressor
CMP.BYP OFF/ON Bypasses the compressor
EXP.THRE –54.0 dB to –24.0 dB Threshold of the expander
EXP.RAT 1:1 to 5:1 Ratio of the expander
EXP.REL *1 Release time of the expander
EXP.BYP OFF/ON Bypasses the expander
LIM.THRE –12.0 dB to 0.0 dB Threshold of the limiter
LIM.ATK 0–120 ms Attack time of the limiter

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Parameter Range Description Premium Rack Processor Parameters

LIM.REL *1 Release time of the limiter
LIM.KNEE 0–5 Knee of the limiter
■ Portico5033
LIM.BYP OFF/ON Bypasses the limiter
This models an analog 5-band EQ made by the RND company.
Positive (+) values lower the threshold of the high band and raise the
PRESENCE –10 to +10 threshold of the low band. Negative (–) values do the opposite. If this is Parameter Range Description
set to 0, the high, mid, and low bands will be affected in the same way.
Turns bypass on/off for the EQ. Even in the bypassed state, the signal will
LOOKUP 0.0–100.0 ms Lookup delay ALL BYPASS OFF, ON
pass through the input/output transformers and the amp circuit.
MAKE UP OFF/ON Automatically adjusts the output level TRIM –12.0 to 12.0 dB Input gain
*1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz) LF FREQ 30.00 to 300.0 Hz Center frequency of the LF band
LF GAIN –12.0 to 12.0 dB Gain of the LF band
LMF IN OFF, ON Switches the LMF band on/off
■ M.BAND COMP LMF Q 0.70 to 5.00 Q of the LMF band

Two input, two output 3-band compressor, with individual solo and gain reduction metering for each LMF FREQ 50.00 to 400.0 Hz Center frequency of the LMF band

band. LMF GAIN –12.0 to 12.0 dB Gain of the LMF band

MF IN OFF, ON Switches the MF band on/off
Parameter Range Description
MF Q 0.70 to 5.00 Q of the MF band
L-M XOVER 21.2 Hz–8.00 kHz Crossover frequency between the low and mid bands
MF FREQ 330.0 to 2500 Hz Center frequency of the MF band
M-H XOVER 21.2 Hz–8.00 kHz Crossover frequency between the mid and high bands
MF GAIN –12.0 to 12.0 dB Gain of the MF band
SLOPE –6 dB, –12 dB Filter slope
HMF IN OFF, ON Switches the HMF band on/off
LOW GAIN –12.0 dB to +12.0 dB Low band gain
HMF Q 0.70 to 5.00 Q of the HMF band
MID GAIN –12.0 dB to +12.0 dB Mid band gain
HMF FREQ 1.80k to 16.0k Hz Center frequency of the HMF band
HI. GAIN –12.0 dB to +12.0 dB High band gain
HMF GAIN –12.0 to 12.0 dB Gain of the HMF band
TOTAL –72.0 dB to +12.0 dB Overall gain
LF/HF IN OFF, ON Switches the LF/HF bands on/off
CEILING –6.0 dB to 0.0dB, OFF Restricts the output so that it will not exceed the specified level
HF FREQ 2.50k to 25.0k Hz Center frequency of the HF band
LOW THRE –54.0 dB to 0.0 dB Threshold of the low band compressor
HF GAIN –12.0 to 12.0 dB Gain of the HF band
LOW RAT 1:1 to 20:1 Ratio of the low band compressor
LOW ATK 0–120 ms Attack time of the low band compressor
LOW REL *1 Release time of the low band compressor
■ Portico5043
LOW KNEE 0–5 Knee of the low band compressor
This models an analog compressor/limiter made by the RND company.
LOW BYP OFF/ON Bypasses the low band compressor
MID THRE –54.0 dB to 0.0 dB Threshold of the mid band compressor Parameter Range Description
MID RAT 1:1 to 20:1 Ratio of the mid band compressor Turns bypass on/off for the compressor. When bypassed, the button will
IN OFF, ON be unlit. However even in the bypassed state, the signal will pass through
MID ATK 0–120 ms Attack time of the mid band compressor the input/output transformers and the amp circuit.
MID REL *1 Release time of the mid band compressor FB OFF, ON Switches between feed-forward type and feed-back type.
MID KNEE 0–5 Knee of the mid band compressor THRESHOLD –50.0 to 0.0 dB Threshold level
MID BYP OFF/ON Bypasses the mid band compressor RATIO 1.10 : 1 to 28.9 : 1, LIMIT Compression ratio
HI. THRE –54.0 dB to 0.0 dB Threshold of the high band compressor ATTACK 20 to 75 ms Attack time
HI. RAT 1:1 to 20:1 Ratio of the high band compressor RELEASE 100 ms to 2.50 sec Release time
HI. ATK 0–120 ms Attack time of the high band compressor GAIN –6.0 to 20.0 dB Output level
HI. RAT *1 Release time of the high band compressor
HI. KNEE 0–5 Knee of the high band compressor
HI. BYP OFF/ON Bypasses the high band compressor
LOOKUP 0.0–100.0 ms Lookup delay
MAKE UP OFF/ON Automatically adjusts the output level

*1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)

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■ U76 ■ Dynamic EQ
This models a well-known vintage compressor/limiter used in a wide range of situations. This is a newly developed equalizer that dynamically changes the EQ gain in response to the input
Parameter Range Description
signal, controlling the amount of EQ cut or boost in a way similar to a compressor or expander.
INPUT –96.0 to 0.0 dB Input level Parameter Range Description
OUTPUT –96.0 to 0.0 dB Output level BAND ON/OFF OFF, ON Turns the corresponding band on/off
Attack time of the compressor. Turning this all the way to the right produces If this is on, the sidechain signal that controls the dynamics will
ATTACK 5.50 to 0.10 ms SIDECHAIN CUE OFF, ON
the fastest attack. be sent to the CUE bus for monitoring.
Release time of the compressor. Turning this all the way to the right produces If this is on, the sidechain signal that is linked to the dynamics
RELEASE 1100.0 to 56.4 ms
the fastest release. SIDECHAIN LISTEN OFF, ON will be output to the bus (such as the STEREO bus or a MIX/
RATIO ALL, 4, 8, 12, 20 Switches the compression ratio. Pressing ALL produces the strongest effect. MATRIX bus) to which the inserted channel is being sent.

METER OFF, +4, +8, GR Switches the meter display FILTER TYPE Low Shelf, Bell, Hi Shelf Switches the type of equalizer and sidechain filter
FREQUENCY 20.0 to 20.0k Hz Frequency controlled by the equalizer and sidechain filter
Q 15.0 to 0.50 Q of the equalizer and sidechain filter
THRESHOLD –80.0 to 10.0 dB Threshold value at which processing begins to apply
■ Opt-2A
RATIO ∞ : 1 to 1 : 1.50 Sets the boost/cut ratio relative to the input signal.
This processor emulates a well-known vintage model of vacuum tube opto compressor.
Specifies whether the processor will operate when the
Parameter Range Description MODE BELOW, ABOVE sidechain signal exceeds the threshold setting (ABOVE) or
when it falls below the threshold setting (BELOW)
GAIN –56.0 dB to 40.0 dB Output level
Attack time/release time for when compression or boost is
PEAK REDUCTION –48.0 dB to 48.0 dB Amount of gain reduction ATTACK/RELEASE FAST, SLOW, AUTO
applied
RATIO 2.00 to 10.00 Compression ratio
OUTPUT+10, GAIN REDUCTION,
METER SELECT Switches the meter display
OUTPUT+4

■ EQ-1A
This processor emulates a vintage EQ that’s considered a classic example of a passive EQ.
Parameter Range Description
LOW FREQUENCY 20, 30, 60, 100 Hz Frequency range of the low range filter
(LOW) BOOST 0.0 to 10.0 Boost amount of the low range filter
(LOW) ATTEN 0.0 to 10.0 Attenuation amount of the low range filter
HIGH FREQUENCY 3k, 4k, 5k, 8k, 10k, 12k, 16k Hz Frequency range of the high range filter
(HIGH) BOOST 0.0 to 10.0 Boost amount of the high range filter
(HIGH) BAND WIDTH 0.0 to 10.0 Band width of the high range filter
(HIGH) ATTEN SEL 5k, 10k, 20k Hz Frequency range attenuated by the high range filter
(HIGH) ATTEN 0.0 to 10.0 Attenuation amount of the high range filter
Turns the processor on/off. If this is off, the filter section
IN OFF, ON will be bypassed, but the signal will pass through the
input/output transformers and the amp circuit.

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Effects and tempo synchronization Example 2:

When SYNC=ON, DELAY=250 ms, NOTE=8th note, you change TEMPO from 120 to 121
Some effects of the CL series can be synchronized with the tempo. There are two such types of effect; DELAY = NOTE x 4 x (60 / new TEMPO)
delay-type effects and modulation-type effects. For delay-type effects, the delay time will change = (1/8) x 4 x (60/121)
according to the tempo. For modulation-type effects, the frequency of the modulation signal will
= 0.2479 (sec)
change according to the tempo.
= 247.9 (ms)
Thus, the TEMPO will change from 250 ms to 247.9 ms.
Parameters related to tempo synchronization
*a Rounded values are used for the calculation results.
The following five parameters are related to tempo synchronization.
1) SYNC 2) NOTE 3) TEMPO 4) DELAY 5) FREQ.
Ranges of the NOTE and TEMPO values
SYNC: .................................This is the on/off switch for tempo synchronization.
The ranges of the NOTE and TEMPO values are limited by the ranges of the DELAY or FREQ. values.
NOTE and TEMPO: .........These are the basic parameters for tempo synchronization.
You cannot set NOTE or TEMPO values that would cause DELAY or FREQ. to exceed their maximum
DELAY and FREQ.: ..........DELAY is the delay time, and FREQ. is the frequency of the possible values when synchronized to tempo. This limitation also applies even when SYNC is OFF.
modulation signal. These directly affect the way in which the effect
sound will change. DELAY is relevant only for delay-type effects, and
FREQ. is relevant only for modulation-type effects. Special characteristics of the TEMPO parameter
The TEMPO parameter has the following characteristics that are unlike other parameters.
How the parameters are related • It is a common value shared by all effects
Tempo synchronization calculates the DELAY (or FREQ.) value*a from the TEMPO and NOTE. • You cannot stored it to or recall it from the Effects Library. (You can store it to and recall it from a
Scene.)
This means that the TEMPO value may not necessarily be the same when an effect is recalled as when
Turn SYNC ON
that effect was stored. Here is an example.
Change NOTE → DELAY (or FREQ.) will be set
Store the effect: TEMPO=120  Change TEMPO to 60  Recall the effect: TEMPO=60
In this case, the DELAY (or FREQ.) value is calculated as follows.
Normally when you change the TEMPO, the DELAY (or FREQ.) will be re-set accordingly. However if
DELAY (or FREQ.) = NOTE x 4 x (60/TEMPO) the DELAY (or FREQ.) were changed, the effect would sound differently when recalled than when it
Change TEMPO → DELAY (or FREQ.) will be set was stored. To prevent the effect from changing in this way between store and recall, the CL series does
not update the DELAY (or FREQ.) value when an effect is recalled, even if the TEMPO is no longer the
In this case, the DELAY (or FREQ.) value is calculated as follows.
same as when that effect was stored.
DELAY = NOTE x 4 x (60/TEMPO) sec
FREQ. = (TEMPO/60) / (NOTE x 4) Hz
* The NOTE parameter is calculated based on the following values.
= 1/48 = 1/24 = 1/16 = 1/12 = 3/32 = 1/8 = 1/6
Example 1:
When SYNC=ON, DELAY=250 ms, TEMPO=120, you change NOTE from 8th note to quarter = 3/16 = 1/4 = 3/8 = 1/2 = 3/4 = 1/1 = 2/1
note
DELAY = new NOTE x 4 x (60/TEMPO)
= (1/4) x 4 x (60/120)
= 0.5 (sec)
= 500 ms
Thus, the DELAY will change from 250 ms to 500 ms.

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Parameters that can be assigned to control changes Mode Parameter 1 Parameter 2

MATRIX 1 POINT – MATRIX 8 POINT
Mode Parameter 1 Parameter 2 MATRIX 1 ON – MATRIX 8 ON
NO ASSIGN — 0 MIX TO MATRIX MATRIX 1 LEVEL H – MATRIX 8 LEVEL H MIX 1–MIX 24
CH 1–CH 72*1 MATRIX 1 LEVEL L – MATRIX 8 LEVEL L
INPUT
STIN1L–STIN8R MATRIX 1/2 PAN – MATRIX 7/8 PAN
FADER H MIX 1–MIX 24 MATRIX 1 POINT – MATRIX 8 POINT
OUTPUT MATRIX 1–MATRIX 8 MATRIX 1 ON – MATRIX 8 ON
STEREO L–MONO(C)
STEREO TO MATRIX MATRIX 1 LEVEL H – MATRIX 8 LEVEL H STEREO L–MONO(C)
INPUT CH 1–CH 72*1
MATRIX 1 LEVEL L – MATRIX 8 LEVEL L
STIN1L–STIN8R
FADER L MATRIX 1/2 PAN – MATRIX 7/8 PAN
MIX 1–MIX 24
OUTPUT MATRIX 1–MATRIX 8 ON
STEREO L–MONO(C) LOW Q

INPUT CH 1–CH 72*1 LOW FREQ

STIN1L–STIN8R LOW GAIN
CH ON MIX 1–MIX 24 LOW MID Q
OUTPUT MATRIX 1–MATRIX 8
LOW MID FREQ
STEREO L–MONO(C)
LOW MID GAIN
PHASE INPUT CH 1–CH 72*1
STIN1L–STIN8R HIGH MID Q CH 1–CH 72*1
INPUT EQ
HIGH MID FREQ STIN1L–STIN8R
INPUT CH 1–CH 72*1
HIGH MID GAIN
INSERT MIX 1–MIX 24
OUTPUT MATRIX 1–MATRIX 8 HIGH Q
STEREO L–MONO(C) HIGH FREQ
DIRECT OUT ON CH 1–CH 72*1 HIGH GAIN
*1 LPF ON
PAN/BALANCE INPUT CH 1–CH 72
STIN1L–STIN8R LOW TYPE
MIX 1–MIX 24 HIGH TYPE
BALANCE OUTPUT MATRIX 1–MATRIX 8 CH 1–CH 72*1
STEREO L–STEREO R INPUT ATT INPUT
STIN1L–STIN8R
TO STEREO ON CH 1–CH 72*1 ON CH 1–CH 72*1
STIN1L–STIN8R INPUT HPF
FREQ STIN1L–STIN8R
TO MONO ON CH 1–CH 72*1 ON
STIN1L–STIN8R
LOW Q
ON CH 1–CH 72*1 LOW FREQ
LCR STIN1L–STIN8R
CSR LOW GAIN
MIX 1–MIX 24
MIX 1 ON – MIX24 ON LOW MID Q
MATRIX 1 ON – MATRIX 8 ON LOW MID FREQ
MIX 1 POINT – MIX 24 POINT LOW MID GAIN
MATRIX 1 POINT – MATRIX 8 POINT HIGH MID Q MIX 1–MIX 24
MIX 1 LEVEL H – MIX 24 LEVEL H *1 OUTPUT EQ HIGH MID FREQ MATRIX 1–MATRIX 8
MIX/MATRIX SEND CH 1–CH 72 STEREO L–MONO(C)
MIX 1 LEVEL L – MIX 24 LEVEL L STIN1L–STIN8R HIGH MID GAIN
MATRIX 1 LEVEL H – MATRIX 8 LEVEL H HIGH Q
MATRIX 1 LEVEL L – MATRIX 8 LEVEL L HIGH FREQ
MIX 1/2 PAN – MIX 23/24 PAN HIGH GAIN
MATRIX1/2 PAN – MATRIX7/8 PAN LOW TYPE
TO STEREO ON HIGH TYPE
MIX TO STEREO TO MONO ON MIX 1–MIX 24 LOW HPF ON
PAN HIGH LPF ON

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Mode Parameter 1 Parameter 2 Mode Parameter 1 Parameter 2

MIX1-MIX24 ON A
OUTPUT ATT OUTPUT MATRIX1-MATRIX8 ON B
STEREO L-MONO(C) GEQ Rack1–16
GAIN A 1 – GAIN A 31
ON
GAIN B 1 – GAIN B 31
ATTACK
BYPASS
THRESHOLD PREMIUM RACK A Rack1–8
PARAM 1 H – PARAM 64 L
RANGE
BYPASS
HOLD H PREMIUM RACK B Rack1–8
PARAM 1 H – PARAM 64 L
HOLD L CH 1–CH 72*1
INPUT DYNAMICS1 ON
DECAY/RELEASE H STIN1L–STIN8R
DCA FADER H DCA 1–DCA 16
DECAY/RELEASE L
FADER L
RATIO
MUTE MASTER ON MASTER 1–MASTER 8
KNEE/WIDTH
CH 1–CH 72*1
GAIN H
STIN1L–STIN8R
GAIN L MIX 1–MIX 24
ON MATRIX 1–MATRIX 8
RECALL SAFE ON STEREO L–MONO(C)
ATTACK
GEQ RACK 1A–16B
THRESHOLD EFFECT RACK 1A–8B
RELEASE H PREMIUM RACK 1A–8B
RELEASE L DCA 1–DCA16
INPUT DYNAMICS2 CH 1–CH 72*1
RATIO STIN1L–STIN8R *1. CL3: CH1-CH64, CL1: CH1-CH48
GAIN H
GAIN L
KNEE/WIDTH
FILTER FREQ
ON
ATTACK
THRESHOLD
RELEASE H MIX 1–MIX 24
OUTPUT DYNAMICS1 RELEASE L MATRIX 1–MATRIX 8
RATIO STEREO L–MONO(C)
GAIN H
GAIN L
KNEE/WIDTH
BYPASS
EFFECT MIX BALANCE Rack1–8
PARAM 1 H – PARAM 32 L

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NRPN parameter assignments Parameter From (HEX) To (HEX) Parameter From (HEX) To (HEX)
INPUT 0BCC 0C13 LOW TYPE 11EA 11F1
INPUT57-64 EQ
Parameter From (HEX) To (HEX) INSERT ON MIX1-20, MATRIX, HIGH TYPE 11F2 11F9
0C2C 0C49
INPUT 0000 0057 STEREO LR INPUT57-64 HPF FREQ 11FA 1201
FADER MIX1-20, MATRIX, MIX9 SEND 0C4A 0CA1 MIX1/2 1202 1209
0060 007D MIX10 SEND 0CAA 0D01
STEREO LR INPUT57-64 to MIX1/2- MIX3/4 120A 1211
MIX9 SEND 007E 00D5 MIX11 SEND 0D0A 0D61 7/8 PAN MIX5/6 1212 1219
MIX10 SEND 00DE 0135 INPUT to MIX9-16 PRE/ MIX12 SEND 0D6A 0DC1 MIX7/8 121A 1221
MIX11 SEND 013E 0195 POST MIX13 SEND 0DCA 0E21 MATRIX5/6 1222 1229
INPUT57-64 to
MIX12 SEND 019E 01F5 MIX14 SEND 0E2A 0E81 MATRIX5/6, 7/8 PAN MATRIX7/8 122A 1231
INPUT to MIX9-16 LEVEL MIX15 SEND 0E8A 0EE1
MIX13 SEND 01FE 0255 INPUT57-64 to STEREO ON 1232 1239
MIX14 SEND 025E 02B5 MIX16 SEND 0EEA 0F41 INPUT57-64 RECALL
ON 123A 1241
MIX15 SEND 02BE 0315 MATRIX1 SEND 0F4A 0FA1 SAFE
MIX16 SEND 031E 0375 INPUT to MATRIX1-4 MATRIX2 SEND 0FAA 1001 INPUT57-64 to MONO ON 1242 1249
MATRIX1 SEND 037E 03D5 PRE/POST MATRIX3 SEND 100A 1061 RATIO 124A 1259
INPUT49-64
INPUT to MATRIX1-4 MATRIX2 SEND 03DE 0435 MATRIX4 SEND 106A 10C1 KNEE/WIDTH 125A 1269
DYNAMICS1
LEVEL MATRIX3 SEND 043E 0495 MIX1 SEND 10CA 10D1 GAIN 126A 1279
MATRIX4 SEND 049E 04F5 MIX2 SEND 10D2 10D9 INPUT49-64 reserved 127A 1289
MATRIX1 SEND 04FE 0513 MIX3 SEND 10DA 10E1 DYNAMICS2 FILTER FREQ 128A 1299
MATRIX2 SEND 0514 0529 INPUT57-64 to MIX1-8 MIX4 SEND 10E2 10E9 INPUT65-72, STIN5-8
ON 129A 12A9
MATRIX3 SEND 052A 053F LEVEL MIX5 SEND 10EA 10F1 RECALL SAFE
MATRIX4 SEND 0540 0555 MIX6 SEND 10F2 10F9 ON 1304 1381
MIX1-20, STEREO LR to
MATRIX LEVEL MATRIX5 SEND 0556 056B MIX7 SEND 10FA 1101 LOW Q 1382 13FF
MATRIX6 SEND 056C 0581 MIX8 SEND 1102 1109 LOW FREQ 1400 147D
MATRIX7 SEND 0582 0597 MATRIX5 SEND 110A 1111 LOW GAIN 147E 14FB
MATRIX8 SEND 0598 05AD INPUT57-64 to MATRIX6 SEND 1112 1119 LOW MID Q 14FC 1579
INPUT 05B6 060D MATRIX5-8 LEVEL MATRIX7 SEND 111A 1121 LOW MID FREQ 157A 15F7
ON MIX1-20, MATRIX, MATRIX8 SEND 1122 1129 LOW MID GAIN 15F8 1675
0616 0633 EQ INPUT, MIX1-20, HIGH MID Q 1676 16F3
STEREO LR MIX1 SEND 112A 1131
MIX9 SEND 0634 068B MIX2 SEND 1132 1139 MATRIX, STEREO LR HIGH MID FREQ 16F4 1771
MIX10 SEND 0694 06EB MIX3 SEND 113A 1141 HIGH MID GAIN 1772 17EF
MIX11 SEND 06F4 074B INPUT57-64 to MIX1-8 MIX4 SEND 1142 1149 HIGH Q 17F0 186D
MIX12 SEND 0754 07AB ON MIX5 SEND 114A 1151 HIGH FREQ 186E 18EB
INPUT to MIX9-16 ON HIGH GAIN 18EC 1969
MIX13 SEND 07B4 080B MIX6 SEND 1152 1159
MIX14 SEND 0814 086B MIX7 SEND 115A 1161 ATT 196A 19C1
MIX15 SEND 0874 08CB MIX8 SEND 1162 1169 HPF ON 19E8 1A65
MIX16 SEND 08D4 092B MATRIX5 SEND 116A 1171 LPF ON 1A66 1AE3
MATRIX1 SEND 0934 098B INPUT57-64 to MATRIX6 SEND 1172 1179 ON 1AE4 1B3B
MATRIX2 SEND 0994 09EB MATRIX5-8 ON MATRIX7 SEND 117A 1181 ATTACK 1B44 1B9B
INPUT to MATRIX1-4 ON THRESHOLD 1BA4 1BFB
MATRIX3 SEND 09F4 0A4B MATRIX8 SEND 1182 1189 INPUT DYNAMICS1
MATRIX4 SEND 0A54 0AAB MIX1 SEND 118A 1191 RANGE 1C04 1C5B
MATRIX1 SEND 0AB4 0AC9 MIX2 SEND 1192 1199 HOLD 1C64 1CBB
MATRIX2 SEND 0ACA 0ADF MIX3 SEND 119A 11A1 DECAY/RELEASE 1CC4 1D1B
MATRIX3 SEND 0AE0 0AF5 INPUT57-64 to MIX1-8 MIX4 SEND 11A2 11A9 INPUT DYNAMICS2 ON 1D24 1DA1
MIX1-20, STEREO LR to MATRIX4 SEND 0AF6 0B0B PRE/POST MIX5 SEND 11AA 11B1 ATTACK 1DA2 1E1F
MATRIX ON MATRIX5 SEND 0B0C 0B21 MIX6 SEND 11B2 11B9 THRESHOLD 1E20 1E9D
MATRIX6 SEND 0B22 0B37 MIX7 SEND 11BA 11C1 MIX1-20, MATRIX, RELEASE 1E9E 1F1B
MATRIX7 SEND 0B38 0B4D MIX8 SEND 11C2 11C9 STEREO LR DYNAMICS1 RATIO 1F1C 1F99
MATRIX8 SEND 0B4E 0B63 MATRIX5 SEND 11CA 11D1 GAIN 1F9A 2017
MIX1-8 to STEREO ON MIX TO ST 0B64 0B6B INPUT57-64 to MATRIX6 SEND 11D2 11D9 KNEE/WIDTH 2018 2095
PHASE INPUT 0B6C 0BC3 MATRIX5-8 PRE/POST MATRIX7 SEND 11DA 11E1 PAN/BALANCE INPUT 2096 20ED
MATRIX8 SEND 11E2 11E9

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Parameter From (HEX) To (HEX) Parameter From (HEX) To (HEX) Parameter From (HEX) To (HEX)
MIX9/10 20F6 214D MIX1 SEND 25C4 25D3 ON 27C4 27C9
INPUT to MIX9/10-15/16 MIX11/12 2156 21AD MIX2 SEND 25D4 25E3 GAIN1 27CA 27CF
PAN MIX13/14 21B6 220D MIX3 SEND 25E4 25F3 GAIN2 27D0 27D5
MIX15/16 2216 226D INPUT65-72, STIN5-8 to MIX4 SEND 25F4 2603 GAIN3 27D6 27DB
INPUT to MATRIX1/2, MATRIX1/2 2276 22CD MIX1-8 PRE/POST MIX5 SEND 2604 2613 GAIN4 27DC 27E1
3/4 PAN MATRIX3/4 22D6 232D MIX6 SEND 2614 2623 GAIN5 27E2 27E7
MATRIX1/2 2336 234B MIX7 SEND 2624 2633 GAIN6 27E8 27ED
MIX1-20, STEREO LR to MATRIX3/4 234C 2361 MIX8 SEND 2634 2643 GAIN7 27EE 27F3
MATRIX PAN MATRIX5/6 2362 2377 MIX1/2 2644 2653 GAIN8 27F4 27F9
MATRIX7/8 2378 238D INPUT65-72, STIN5-8 to MIX3/4 2654 2663 GAIN9 27FA 27FF
MIX1-8 to STEREO PAN MIX TO ST 238E 2395 MIX1/2-7/8 PAN MIX5/6 2664 2673 GAIN10 2800 2805
MIX1-20, MATRIX, MIX7/8 2674 2683 GAIN11 2806 280B
BALANCE 2396 23B3
STEREO LR BYPASS 26B4 26BB GAIN12 280C 2811
MATRIX1 SEND 23B4 23CE MIX BALANCE 26BC 26C3 GAIN13 2812 2817
MATRIX2 SEND 23D0 23EA PARAM1 26C4 26CB GAIN14 2818 281D
MATRIX3 SEND 23EC 2406 PARAM2 26CC 26D3 GAIN15 281E 2823
GEQ RACK1A-3B
MIX, STEREO LR, MONO MATRIX4 SEND 2408 2422 PARAM3 26D4 26DB GAIN16 2824 2829
to MATRIX PRE/POST MATRIX5 SEND 2424 243E PARAM4 26DC 26E3 GAIN17 282A 282F
MATRIX6 SEND 2440 245A PARAM5 26E4 26EB GAIN18 2830 2835
MATRIX7 SEND 245C 2476 PARAM6 26EC 26F3 GAIN19 2836 283B
MATRIX8 SEND 2478 2492 PARAM7 26F4 26FB GAIN20 283C 2841
MATRIX1 SEND 2494 2498 PARAM8 26FC 2703 GAIN21 2842 2847
MATRIX2 SEND 249A 249E PARAM9 2704 270B GAIN22 2848 284D
MATRIX3 SEND 24A0 24A4 PARAM10 270C 2713 GAIN23 284E 2853
MIX21-24, MONO to MATRIX4 SEND 24A6 24AA PARAM11 2714 271B GAIN24 2854 2859
MATRIX ON MATRIX5 SEND 24AC 24B0 PARAM12 271C 2723 GAIN25 285A 285F
MATRIX6 SEND 24B2 24B6 PARAM13 2724 272B GAIN26 2860 2865
MATRIX7 SEND 24B8 24BC PARAM14 272C 2733 GAIN27 2866 286B
MATRIX8 SEND 24BE 24C2 PARAM15 2734 273B GAIN28 286C 2871
MIX1 SEND 24C4 24D3 EFFECT RACK1-8
PARAM16 273C 2743 GAIN29 2872 2877
MIX2 SEND 24D4 24E3 PARAM17 2744 274B GAIN30 2878 287D
MIX3 SEND 24E4 24F3 PARAM18 274C 2753 GAIN31 287E 2883
INPUT65-72, STIN5-8 to MIX4 SEND 24F4 2503 PARAM19 2754 275B FADER MIX21-24, MONO 28E4 28E8
MIX1-8 LEVEL MIX5 SEND 2504 2513 PARAM20 275C 2763 MIX1 SEND 28EA 2929
MIX6 SEND 2514 2523 PARAM21 2764 276B MIX2 SEND 292A 2969
MIX7 SEND 2524 2533 PARAM22 276C 2773 MIX3 SEND 296A 29A9
MIX8 SEND 2534 2543 PARAM23 2774 277B INPUT1-56, STIN1-4 to MIX4 SEND 29AA 29E9
MIX1 SEND 2544 2553 PARAM24 277C 2783 MIX1-8 LEVEL MIX5 SEND 29EA 2A29
MIX2 SEND 2554 2563 PARAM25 2784 278B MIX6 SEND 2A2A 2A69
MIX3 SEND 2564 2573 PARAM26 278C 2793 MIX7 SEND 2A6A 2AA9
INPUT65-72, STIN5-8 to MIX4 SEND 2574 2583 PARAM27 2794 279B MIX8 SEND 2AAA 2AE9
MIX1-8 ON MIX5 SEND 2584 2593 PARAM28 279C 27A3 MATRIX5 SEND 2AEA 2B29
MIX6 SEND 2594 25A3 PARAM29 27A4 27AB INPUT1-56, STIN1-4 to MATRIX6 SEND 2B2A 2B69
MIX7 SEND 25A4 25B3 PARAM30 27AC 27B3 MATRIX5-8 LEVEL MATRIX7 SEND 2B6A 2BA9
MIX8 SEND 25B4 25C3 PARAM31 27B4 27BB MATRIX8 SEND 2BAA 2BE9
PARAM32 27BC 27C3

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Parameter From (HEX) To (HEX) Parameter From (HEX) To (HEX) Parameter From (HEX) To (HEX)
MATRIX1 SEND 2BEA 2BEE ON 325E 3262 INPUT1-56, STIN1-4 to MATRIX5/6 37AA 37E9
MATRIX2 SEND 2BF0 2BF4 LOW Q 3264 3268 MATRIX5/6, 7/8 PAN MATRIX7/8 37EA 3829
MATRIX3 SEND 2BF6 2BFA LOW FREQ 326A 326E MATRIX1/2 382A 382E
MIX21-24, MONO to MATRIX4 SEND 2BFC 2C00 LOW GAIN 3270 3274 MIX21-24, MONO to MATRIX3/4 3830 3834
MATRIX LEVEL MATRIX5 SEND 2C02 2C06 LOW MID Q 3276 327A MATRIX1/2-7/8 PAN MATRIX5/6 3836 383A
MATRIX6 SEND 2C08 2C0C LOW MID FREQ 327C 3280 MATRIX7/8 383C 3840
MATRIX7 SEND 2C0E 2C12 LOW MID GAIN 3282 3286 MIX9-24 to STEREO PAN MIX TO ST 3842 3851
MATRIX8 SEND 2C14 2C18 MIX21-24, MONO EQ HIGH MID Q 3288 328C ON 3852 3857
ON MIX21-24, MONO 2C2A 2C2E HIGH MID FREQ 328E 3292 GAIN1 3858 385D
MIX1 SEND 2C30 2C6F HIGH MID GAIN 3294 3298 GAIN2 385E 3863
MIX2 SEND 2C70 2CAF HIGH Q 329A 329E GAIN3 3864 3869
MIX3 SEND 2CB0 2CEF HIGH FREQ 32A0 32A4 GAIN4 386A 386F
INPUT1-56, STIN1-4 to MIX4 SEND 2CF0 2D2F HIGH GAIN 32A6 32AA GAIN5 3870 3875
MIX1-8 ON MIX5 SEND 2D30 2D6F HPF ON 32AC 32B0 GAIN6 3876 387B
MIX6 SEND 2D70 2DAF LPF ON 32B2 32B6 GAIN7 387C 3881
MIX7 SEND 2DB0 2DEF LOW TYPE 3440 347F GAIN8 3882 3887
INPUT1-56, STIN1-4 EQ
MIX8 SEND 2DF0 2E2F HIGH TYPE 3480 34BF GAIN9 3888 388D
MATRIX5 SEND 2E30 2E6F MIX, MATRIX, STEREO LOW TYPE 34C0 34E2 GAIN10 388E 3893
INPUT1-56, STIN1-4 to MATRIX6 SEND 2E70 2EAF LR, MONO EQ HIGH TYPE 34E4 3506 GAIN11 3894 3899
MATRIX5-8 ON MATRIX7 SEND 2EB0 2EEF LOW TYPE 3508 3517 GAIN12 389A 389F
INPUT65-72, STIN5-8 EQ
MATRIX8 SEND 2EF0 2F2F HIGH TYPE 3518 3527 GAIN13 38A0 38A5
MIX9-24 to STEREO ON MIX TO ST 2F36 2F45 INPUT65-72, STIN5-8 GAIN14 38A6 38AB
FREQ 3528 3537
INSERT MIX21-24, MONO 2F46 2F4A HPF GAIN15 38AC 38B1
DIRECT OUT INPUT65- GEQ RACK4A-6B
MIX1 SEND 2F4C 2F8B ON 3538 353F GAIN16 38B2 38B7
72
MIX2 SEND 2F8C 2FCB GAIN17 38B8 38BD
MATRIX5 SEND 3540 354F
MIX3 SEND 2FCC 300B GAIN18 38BE 38C3
MIX4 SEND 300C 304B INPUT65-72, STIN5-8 to MATRIX6 SEND 3550 355F
GAIN19 38C4 38C9
INPUT1-56, STIN1-4 to
MATRIX5-8 LEVEL MATRIX7 SEND 3560 356F
MIX1-8 PRE/POST MIX5 SEND 304C 308B GAIN20 38CA 38CF
MATRIX8 SEND 3570 357F
MIX6 SEND 308C 30CB GAIN21 38D0 38D5
MATRIX5 SEND 3580 358F
MIX7 SEND 30CC 310B GAIN22 38D6 38DB
MIX8 SEND 310C 314B INPUT65-72, STIN5-8 to MATRIX6 SEND 3590 359F
GAIN23 38DC 38E1
MATRIX5-8 ON MATRIX7 SEND 35A0 35AF
MATRIX5 SEND 314C 318B GAIN24 38E2 38E7
MATRIX8 SEND 35B0 35BF
INPUT1-56, STIN1-4 to MATRIX6 SEND 318C 31CB GAIN25 38E8 38ED
MATRIX5-8 PRE/POST MATRIX5 SEND 35C0 35CF
MATRIX7 SEND 31CC 320B GAIN26 38EE 38F3
MATRIX8 SEND 320C 324B INPUT65-72, STIN5-8 to MATRIX6 SEND 35D0 35DF
GAIN27 38F4 38F9
MATRIX5-8 PRE/POST MATRIX7 SEND 35E0 35EF
ON 324C 324F GAIN28 38FA 38FF
DCA13-16 MATRIX8 SEND 35F0 35FF
FADER 3252 3255 GAIN29 3900 3905
BALANCE MIX21-24 (,MONO) 3258 325C INPUT65-72, STIN5-8 to MATRIX5/6 3600 360F
GAIN30 3906 390B
MATRIX5/6, 7/8 PAN MATRIX7/8 3610 361F
GAIN31 390C 3911
INPUT1-56, STIN1-4 HPF FREQ 3640 367F
LCR INPUT1-64, STIN1-4, ON 3912 3969
ON 3680 3684 MIX1-16 CSR 396A 39C1
ATTACK 3686 368A
DIRECT OUT INPUT1-64 ON 39C2 3A01
THRESHOLD 368C 3690
MIX21-24, MONO INPUT1-56, STIN1-4 TO
RELEASE 3692 3696 ON 3A02 3A41
DYNAMICS1 STEREO
RATIO 3698 369C ON 3A42 3A4D
GAIN 369E 36A2 DCA1-12
FADER 3A4E 3A59
KNEE/WIDTH 36A4 36A8 MUTE MASTER ON 3A5A 3A61
MIX1/2 36AA 36E9 RECALL SAFE ON 3A66 3B05
INPUT1-56, STIN1-4 to MIX3/4 36EA 3729
MIX1/2-7/8 PAN MIX5/6 372A 3769
MIX7/8 376A 37A9

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Parameter From (HEX) To (HEX) Parameter From (HEX) To (HEX) Parameter From (HEX) To (HEX)
EXTERNAL GAIN1 3B06 3B0B ON 3CD6 3D05 MIX, MATRIX, STEREO
ATT 3F34 3F56
INPUT GAIN 1 3B0F 3B15 SLOT OUT DELAY TIME HIGH 3D06 3D35 LR, MONO EQ
EXTERNAL GAIN2 3B16 3B1B TIME LOW 3D36 3D65 INPUT65-72, STIN5-8 TO
ON 3F58 3F67
STEREO
INPUT GAIN 2 3B1F 3B25 ON 3D66 3D6D
INPUT65-72, STIN5-8,
EXTERNAL GAIN3 3B26 3B2B OMNI OUT DELAY TIME HIGH 3D76 3D7D ON 3F68 3F7F
MIX17-24 TO MONO
INPUT GAIN 3 3B2F 3B35 TIME LOW 3D86 3D8D
LCR IN65-72, STIN5-8, ON 3F80 3F97
EXTERNAL GAIN4 3B36 3B3B ON 3D96 3D97
MIX17-24 CSR 3F98 3FAF
INPUT GAIN 4 3B3F 3B45 DIGITAL OUT DELAY TIME HIGH 3D98 3D99
RATIO 3FB0 3FBF
EXTERNAL GAIN5 3B46 3B4B TIME LOW 3D9A 3D9B INPUT65-72, STIN5-8
KNEE/WIDTH 3FC0 3FCF
INPUT GAIN 5 3B4F 3B55 RATIO 3D9C 3DD3 DYNAMICS1
INPUT1-48, STIN1-4 GAIN 3FD0 3FDF
EXTERNAL GAIN6 3B56 3B5B KNEE/WIDTH 3DD4 3E0B
DYNAMICS1 INPUT65-72, STIN5-8 reserved 3FE0 3FEF
INPUT GAIN 6 3B5F 3B65 GAIN 3E0C 3E43
DYNAMICS2 FILTER FREQ 3FF0 3FFF
EXTERNAL GAIN7 3B66 3B6B INPUT1-48, STIN1-4 reserved 3E44 3E7B
INPUT GAIN 7 3B6F 3B75 DYNAMICS2 FILTER FREQ 3E7C 3EB3
EXTERNAL GAIN8 3B76 3B7B ON 3EB4 3EB7
INPUT GAIN 8 3B7F 3B85 GAIN1 3EB8 3EBB
EXTERNAL +48V 1 3B86 3B8B GAIN2 3EBC 3EBF
INPUT +48V 1 3B8F 3B95 GAIN3 3EC0 3EC3
EXTERNAL +48V 2 3B96 3B9B GAIN4 3EC4 3EC7
INPUT +48V 2 3B9F 3BA5 GAIN5 3EC8 3ECB
EXTERNAL +48V 3 3BA6 3BAB GAIN6 3ECC 3ECF
INPUT +48V 3 3BAF 3BB5 GAIN7 3ED0 3ED3
EXTERNAL +48V 4 3BB6 3BBB GAIN8 3ED4 3ED7
INPUT +48V 4 3BBF 3BC5 GAIN9 3ED8 3EDB
HA
EXTERNAL +48V 5 3BC6 3BCB GAIN10 3EDC 3EDF
INPUT +48V 5 3BCF 3BD5 GAIN11 3EE0 3EE3
EXTERNAL +48V 6 3BD6 3BDB GAIN12 3EE4 3EE7
INPUT +48V 6 3BDF 3BE5 GAIN13 3EE8 3EEB
EXTERNAL +48V 7 3BE6 3BEB GAIN14 3EEC 3EEF
INPUT +48V 7 3BEF 3BF5 GAIN15 3EF0 3EF3
GEQ RACK7A-8B
EXTERNAL +48V 8 3BF6 3BFB GAIN16 3EF4 3EF7
INPUT +48V 8 3BFF 3C05 GAIN17 3EF8 3EFB
EXTERNAL HPF1 3C06 3C0B GAIN18 3EFC 3EFF
INPUT HPF1 3C0F 3C15 GAIN19 3F00 3F03
EXTERNAL HPF2 3C16 3C1B GAIN20 3F04 3F07
INPUT HPF2 3C1F 3C25 GAIN21 3F08 3F0B
EXTERNAL HPF3 3C26 3C2B GAIN22 3F0C 3F0F
INPUT HPF3 3C2F 3C35 GAIN23 3F10 3F13
EXTERNAL HPF4 3C36 3C3B GAIN24 3F14 3F17
INPUT HPF4 3C3F 3C45 GAIN25 3F18 3F1B
EXTERNAL HPF5 3C46 3C4B GAIN26 3F1C 3F1F
INPUT HPF5 3C4F 3C55 GAIN27 3F20 3F23
EXTERNAL HPF6 3C56 3C5B GAIN28 3F24 3F27
INPUT HPF6 3C5F 3C65 GAIN29 3F28 3F2B
EXTERNAL HPF7 3C66 3C6B GAIN30 3F2C 3F2F
INPUT HPF7 3C6F 3C75 GAIN31 3F30 3F33
EXTERNAL HPF8 3C76 3C7B
INPUT HPF8 3C7F 3C85
INPUT1-56, STIN1-4 TO
ON 3C86 3CC5
MONO
MIX1-16 TO MONO ON 3CC6 3CD5

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Mixing parameter operation applicability

This table indicates which settings affect the behavior of each input channel and output channel parameter.
It also indicates whether or not they can be linked as stereo, and whether or not they are relevant to the RECALL SAFE, GLOBAL PASTE, and USER LEVEL settings, and a channel library.

■ Input channels
RECALL SAFE, FOCUS RECALL, GLOBAL PASTE*8 Channel
Parameter Stereo*1 CHANNEL LINK USER LEVEL
Library
ALL Parameter Select button
Gain O*10 HA*10 O HA, GLOBAL HA HA O
Gain Compensation O HA O HA, GLOBAL HA HA O
HA
+48V O HA, GLOBAL HA HA O
Phase O HA, GLOBAL HA HA O
Digital Gain O*10 DIGITAL GAIN*10 O DIGITAL GAIN HA O
Name, Icon, Color O INPUT NAME, GLOBAL INPUT NAME INPUT NAME O
Input Patch O INPUT PATCH, GLOBAL INPUT PATCH INPUT PATCH
Out Patch O INPUT INSERT PATCH, GLOBAL INPUT PATCH INPUT PATCH
In Patch O INPUT INSERT PATCH, GLOBAL INPUT PATCH INPUT PATCH
Insert +48V, Gain, Gain Compensation INPUT INSERT PATCH, GLOBAL HA HA
On INPUT INSERT O INPUT INSERT INPUT PROCESSING O
Point INPUT INSERT O INPUT INSERT INPUT PROCESSING O
Out Patch O INPUT DIRECT OUT, GLOBAL INPUT PATCH INPUT PATCH
Direct Out On, Level DIRECT OUT O INPUT DIRECT OUT INPUT PROCESSING O
Point DIRECT OUT O INPUT DIRECT OUT INPUT PROCESSING O
HPF O INPUT HPF O INPUT HPF INPUT PROCESSING O
Att O INPUT EQ O INPUT EQ INPUT PROCESSING O
EQ O INPUT EQ O INPUT EQ INPUT PROCESSING O
Key-In Source O INPUT DYNA1 INPUT PROCESSING
Dynamics1 Key-In Filter O INPUT DYNAMICS1 O INPUT DYNA1 INPUT PROCESSING O
Others O INPUT DYNAMICS1 O INPUT DYNA1 INPUT PROCESSING O
Key-In Source O INPUT DYNA2 INPUT PROCESSING
Dynamics2
Others O INPUT DYNAMICS2 O INPUT DYNA2 INPUT PROCESSING O
On O INPUT MIX ON*2 O INPUT MIX ON*7 INPUT FADER/ON*4 O
Level O INPUT MIX SEND*2 O INPUT MIX SEND*7 INPUT FADER/ON*4 O
To Mix
Pan/Balance *11 O *7 *4 O
O INPUT MIX SEND INPUT FADER/ON
Pre/Post O INPUT MIX SEND*2 O INPUT MIX SEND*7 INPUT PROCESSING*4 O
On O INPUT MATRIX ON*3 O INPUT MATRIX ON*7 INPUT FADER/ON*4 O
Level O INPUT MATRIX SEND*3 O INPUT MATRIX SEND*7 INPUT FADER/ON*4 O
To Matrix
Pan/Balance *11 O *7 *4 O
O INPUT MATRIX SEND INPUT FADER/ON
Pre/Post O INPUT MATRIX SEND*3 O INPUT MATRIX SEND*7 INPUT PROCESSING*4 O
ms O*10 INPUT DELAY*10 O INPUT DELAY INPUT PROCESSING O
DELAY
ON O INPUT DELAY O INPUT DELAY INPUT PROCESSING O
To Stereo O TO STEREO O INPUT TO ST INPUT PROCESSING O
To Mono O TO STEREO O INPUT TO MONO INPUT PROCESSING O

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RECALL SAFE, FOCUS RECALL, GLOBAL PASTE*8 Channel

Parameter Stereo*1 CHANNEL LINK USER LEVEL
Library
ALL Parameter Select button
Pan/balance O*11 O INPUT TO ST INPUT FADER/ON O
Pan Mode O O *5 INPUT PROCESSING O
On O TO STEREO O *5 INPUT PROCESSING O
LCR CSR O TO STEREO O *5 INPUT PROCESSING O
Mode O TO STEREO O *5 INPUT PROCESSING O
On O INPUT CH ON O INPUT CH ON INPUT FADER/ON O
Fader O*10 INPUT FADER*10 O INPUT FADER INPUT FADER/ON O
Mute Assign O INPUT MUTE O *5 MUTE GROUP ASSIGN O
DCA Assign O INPUT DCA O *5 DCA GROUP ASSIGN O
Fade Time, On O*6 O *9 STORE O*6
Channel Link O GLOBAL CH LINK
Cue O
Key In Cue
Mute Safe O
Recall Safe, Focus Recall, Global Paste O

*1 These parameters can be linked between L and R of ST IN channels 1–8.

*2 Applies to parameters for which the MIX channel 1–24 individual Send Parameter setting and the item in the table are both enabled.
*3 Applies to parameters for which the MATRIX channel 1–8 individual Send Parameter setting and the item in the table are both enabled.
*4 These parameters are available if “FADER/ON” or “PROCESSING” for the Send source channel is set to ON. At that time, “WITH SEND” for the Send destination channel must also be set to ON.
*5 Applicable to parameters that function only when ALL is selected.
*6 Applicable only to On/Off.
*7 Valid when assigned to either a Send source channel or a Send destination channel.
*8 Settings marked GLOBAL in this table apply to all channels; these settings are GLOBAL RECALL SAFE, FOCUS PARAMETER, and GLOBAL PASTE for PATCH/NAME.
*9 Applies to ALL only when using GLOBAL PASTE, and only to ON/OFF.
*10 Operates differentially
*11 Balance only

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■ MIX Channels

Linked for a RECALL SAFE, FOCUS RECALL, GLOBAL PASTE *8, *12 Channel
Parameter USER LEVEL
stereo pair ALL Parameter Select button Library
Name, Icon, Color O MIX NAME, GLOBAL OUTPUT NAME OUTPUT NAME O
Output Patch O MIX OUTPUT PATCH, GLOBAL OUTPUT PATCH OUTPUT PATCH
Out Patch O MIX INSERT PATCH, GLOBAL OUTPUT PATCH OUTPUT PATCH
In Patch O MIX INSERT PATCH, GLOBAL OUTPUT PATCH OUTPUT PATCH
Insert +48V, Gain, Gain Compensation O MIX INSERT PATCH, GLOBAL HA MIX PROCESSING
On O O MIX INSERT MIX PROCESSING O
Point O O MIX INSERT MIX PROCESSING O
Att O O MIX EQ MIX PROCESSING O
EQ O O MIX EQ MIX PROCESSING O
Key-In Source O MIX DYNA1 MIX PROCESSING
Dynamics1
Others O O MIX DYNA1 MIX PROCESSING O
On O O MIX MATRIX ON*7 MIX FADER/ON*4 O
Level O*13 O MIX MATRIX SEND*7 MIX FADER/ON*4 O
To Matrix
*7
Pan/Balance O O MIX MATRIX SEND MIX FADER/ON*4 O
Pre/Post O O MIX MATRIX SEND*7 MIX PROCESSING*4 O
To Stereo O O MIX TO ST MIX PROCESSING O
To Mono O O MIX MONO MIX PROCESSING O
Pan/Balance O*11 O MIX TO ST, TO ST/BAL (GLOBAL PASTE ONLY) MIX FADER/ON O
On O O *5 MIX PROCESSING O
LCR CSR O O *5 MIX PROCESSING O
Mode O O *5 MIX PROCESSING O
On O O MIX CH ON MIX FADER/ON O
Fader O O MIX FADER MIX FADER/ON O
On O WITH MIX SEND, WITH SEND FROM SOURCE CHs WITH MIX SEND*4
Level O WITH MIX SEND, WITH SEND FROM SOURCE CHs WITH MIX SEND*4
From Input
Pan/Balance O*11 WITH MIX SEND, WITH SEND FROM SOURCE CHs WITH MIX SEND*4
Pre/Post O WITH MIX SEND, WITH SEND FROM SOURCE CHs WITH MIX SEND*4
Mute Assign O O *5 MUTE GROUP ASSIGN O
*6
Fade Time, On O O *9 STORE O*6
Cue O
Mute Safe O
Recall Safe, Focus Recall, Global Paste O
*4 These parameters are available if “FADER/ON” or “PROCESSING” for the Send source channel is set to ON. At that time, “WITH SEND” for the Send destination channel must also be set to ON.
*5 Applicable to parameters that function only when ALL is selected.
*6 Applicable only to On/Off.
*7 Valid when they are set for either the Send source channel or Send destination channel.
*8 Settings marked GLOBAL in this table apply to all channels; these settings are GLOBAL RECALL SAFE, FOCUS PARAMETER, and GLOBAL PASTE for PATCH/NAME.
*9 Applies to ALL only when using GLOBAL PASTE, and only to ON/OFF.
*11 Balance only
*12 For GLOBAL PASTE, the MIX, MATRIX, STEREO, and MONO settings of each channel will be set in common as the OUTPUT.
*13 Linked only for stereo MATRIX

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■ MATRIX Channels

Linked for a RECALL SAFE, FOCUS RECALL, GLOBAL PASTE *8, *12 Channel
Parameter USER LEVEL
stereo pair ALL Parameter Select button Library

Name, Icon, Color O MATRIX NAME,GLOBAL OUTPUT NAME OUTPUT NAME O

Output Patch O MATRIX OUTPUT PATCH, GLOBAL OUTPUT PATCH OUTPUT PATCH
Out Patch O MATRIX INSERT PATCH, GLOBAL OUTPUT PATCH OUTPUT PATCH
In Patch O MATRIX INSERT PATCH, GLOBAL OUTPUT PATCH OUTPUT PATCH
Insert +48V, Gain, Gain Compensation O MATRIX INSERT PATCH, GLOBAL HA MATRIX PROCESSING
On O O MATRIX INSERT MATRIX PROCESSING O
Point O O MATRIX INSERT MATRIX PROCESSING O
Att O O MATRIX EQ MATRIX PROCESSING O
EQ O O MATRIX EQ MATRIX PROCESSING O
Key-In Source O MATRIX DYNA1 MATRIX PROCESSING
Dynamics1
Others O O MATRIX DYNA1 MATRIX PROCESSING O
Balance O O MATRIX BAL, TO ST/BAL (GLOBAL PASTE ONLY) MATRIX FADER/ON O
On O O MATRIX CH ON MATRIX FADER/ON O
Fader O O MATRIX FADER MATRIX FADER/ON O
On O WITH MATRIX SEND, WITH SEND FROM SOURCE CHs WITH MATRIX SEND*4
From Input Level O WITH MATRIX SEND, WITH SEND FROM SOURCE CHs WITH MATRIX SEND*4
From Mix
*11
From Stereo/Mono Pan/Balance O WITH MATRIX SEND, WITH SEND FROM SOURCE CHs WITH MATRIX SEND*4
Pre/Post O WITH MATRIX SEND, WITH SEND FROM SOURCE CHs WITH MATRIX SEND*4
Mute Assign O O *5 MUTE GROUP ASSIGN O
Fade Time, On O*6 O *9 STORE O*6
Cue O
Mute Safe O
Recall Safe, Focus Recall, Global Paste O

*4 These parameters are available if “FADER/ON” or “PROCESSING” for the Send source channel is set to ON. At that time, “WITH SEND” for the Send destination channel must also be set to ON.
*5 Applicable to parameters that function only when ALL is selected.
*6 Applicable only to On/Off
*7 Valid when they are set for either the Send source channel or Send destination channel.
*8 Settings marked GLOBAL in this table apply to all channels; these settings are GLOBAL RECALL SAFE, FOCUS PARAMETER, and GLOBAL PASTE for PATCH/NAME.
*9 Applies to ALL only when using GLOBAL PASTE, and only to ON/OFF.
*11 Balance only
*12 For GLOBAL PASTE, the MIX, MATRIX, STEREO, and MONO settings of each channel will be set in common as the OUTPUT.

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■ STEREO, MONO Channels

Linked for a RECALL SAFE, FOCUS RECALL, GLOBAL PASTE *8, *12 Channel
Parameter USER LEVEL
stereo pair ALL Parameter Select button Library
Name, Icon, Color O STEREO, MONO NAME, GLOBAL OUTPUT NAME OUTPUT NAME O
Output Patch O STEREO, MONO OUTPUT PATCH, GLOBAL OUTPUT PATCH OUTPUT PATCH
Out Patch O STEREO, MONO INSERT PATCH, GLOBAL OUTPUT PATCH OUTPUT PATCH
In Patch O STEREO, MONO INSERT PATCH, GLOBAL OUTPUT PATCH OUTPUT PATCH
Insert +48V, Gain, Gain Compensation STEREO, MONO INSERT PATCH, GLOBAL HA STEREO, MONO PROCESSING
On O O STEREO, MONO INSERT STEREO, MONO PROCESSING O
Point O O STEREO, MONO INSERT STEREO, MONO PROCESSING O
Att O O STEREO, MONO EQ STEREO, MONO PROCESSING O
EQ O O STEREO, MONO EQ STEREO, MONO PROCESSING O
Key-In Source O STEREO, MONO DYNA1 STEREO, MONO PROCESSING
Dynamics1
Others O O STEREO, MONO DYNA1 STEREO, MONO PROCESSING O
On O O STEREO, MONO MATRIX ON*7 STEREO, MONO FADER/ON*4 O
Level O*13 O STEREO, MONO MATRIX SEND*7 STEREO, MONO FADER/ON*4 O
To Matrix
Pan/Balance O O *7 *4 O
STEREO, MONO MATRIX SEND STEREO, MONO FADER/ON
Pre/Post O O STEREO, MONO MATRIX SEND*7 STEREO, MONO PROCESSING*4 O
Balance O O STEREO, MONO BAL, TO ST/BAL (GLOBAL PASTE ONLY) STEREO, MONO FADER/ON O
On O O STEREO, MONO CH ON STEREO, MONO FADER/ON O
Fader O O STEREO, MONO FADER STEREO, MONO FADER/ON O
Mute Assign O O *5 MUTE GROUP ASSIGN O
Fade Time, On O*6 O *9 STORE O*6
Cue O
Mute Safe O
Recall Safe, Focus Recall, Global Paste O
*4 These parameters are available if “FADER/ON” or “PROCESSING” for the Send source channel is set to ON. At that time, “WITH SEND” for the Send destination channel must also be set to ON.
*5 Applicable to parameters that function only when ALL is selected.
*6 Applicable only to On/Off.
*7 Valid when they are set for either the Send source channel or Send destination channel.
*8 Settings marked GLOBAL in this table apply to all channels; these settings are GLOBAL RECALL SAFE, FOCUS PARAMETER, and GLOBAL PASTE for PATCH/NAME.
*9 Applies to ALL only when using GLOBAL PASTE, and only to ON/OFF.
*12 For GLOBAL PASTE, the MIX, MATRIX, STEREO, and MONO settings of each channel will be set in common as the OUTPUT.

■ DCA
RECALL SAFE, FOCUS RECALL, GLOBAL PASTE
Parameter USER LEVEL
ALL Parameter Select button
Name, Icon, Color O *5 DCA MASTER
On O DCA LEVEL/ON DCA MASTER
Fader O DCA LEVEL/ON DCA MASTER
Fade Time, On O *9 STORE
Input DCA Assign DCA GROUP ASSIGN
*5 Applicable to parameters that function only when ALL is selected.
*9 Applies to ALL only when using GLOBAL PASTE, and only to ON/OFF.

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Functions that can be assigned to USER DEFINED keys FUNCTION PARAMETER 1 PARAMETER 2 Explanation
DYNAMICS LIBRARY
FUNCTION PARAMETER 1 PARAMETER 2 Explanation INPUT EQ LIBRARY
NO ASSIGN — — No assignment. OUTPUT EQ LIBRARY
Toggle ALTERNATE FUNCTION each time it is LIBRARY EFFECT LIBRARY
LATCH —
ALTERNATE pressed.
GEQ LIBRARY
FUNCTION Switch to ALTERNATE FUNCTION only while
UNLATCH — INPUT CH LIBRARY
pressed.
Toggle between the brightness settings stored OUTPUT EQ LIBRARY
BRIGHTNESS BANK CHANGE —
in A and B. Portico5033 LIBRARY
CH ON SPECIFIC CH *4) Switch the CH ON/OFF. Portico5043 LIBRARY
INC Increment or decrement the selected channel PREMIUM RACK U76 LIBRARY
—
CH SELECT DEC number. LIBRARY Opt-2A LIBRARY
SPECIFIC CH *1) Select a channel from list 1). EQ-1A LIBRARY
MASTER — DynamicEQ LIBRARY
SENDS ON FADER — INPUT PATCH
CH 1-16 {CL5/CL3/CL1} OUTPUT PATCH
CH17-32 {CL5/CL3/CL1} INPUT INSERT PATCH
PATCH EDITOR
CH33-48 {CL5/CL3/CL1} OUTPUT INSERT PATCH
CH49-64 {CL5/CL3} CL EDITOR DIRECT OUT PATCH
Access the corresponding screen of CL Editor.
CH65-72 {CL5} CONTROL PATCH LIST
OVERVIEW ST IN RACK
MIX1-16 GEQ 1–16
MIX17-24 EFFECT 1–8
MATRIX PREMIUM 1A
RACK EDITOR
STEREO/MONO PREMIUM 1B
DCA :
CL EDITOR
A1 {CL5/CL3/CL1} Access the corresponding screen of CL Editor. PREMIUM 8A
CONTROL
A2 {CL5/CL3} PREMIUM 8B
A3 {CL3} INPUT METER
METER
B1 {CL5/CL3/CL1} OUTPUT METER
B2 {CL3/CL1} DCA GROUP
B3 {CL1} GROUP/LINK MUTE GROUP
CUSTOM FADER BANK B4 {CL1} CHANNEL LINK
C1 {CL5} SCENE MEMORY
C2 {CL5} RECALL SAFE
SCENE
C3 {CL5} FADE TIME
C4 {CL5} FOCUS RECALL
C5 {CL5} CLEAR CUE
CUE
C6 {CL5} SPECIFIC CH *2) CUE the channel selected from list 2).
SELECTED CHANNEL —

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FUNCTION PARAMETER 1 PARAMETER 2 Explanation FUNCTION PARAMETER 1 PARAMETER 2 Explanation

EFFECT RACK1–8 MONITOR ON — Switch MONITOR on/off.
PREMIUM RACK1A While holding down this key, press the SEL key
of a MIX or MATRIX channel to switch the
EFFECT PREMIUM RACK1B
assignment on/off. During this time, the [SEL]
BYPASS : LED will be lit if assign is ON, or dark if OFF.
PREMIUM RACK8A SELECTED CH ASSIGN — The assignment setting made while holding
down this key will be stored. Pressing the key
PREMIUM RACK8B again will recall the stored setting. Settings can
Toggle the function of the GAIN knob be stored in multiple keys to facilitate rapid
LATCH — (ANALOG GAIN/DIGITAL GAIN). Lit when assignment switching.
DIGITAL GAIN is selected. STEREO L/R
MONITOR
Assign the function of the GAIN knob MONO(C)
GAIN KNOB (ANALOG GAIN/DIGITAL) to DIGITAL GAIN
FUNCTION only while held down. LCR
UNLATCH — * However if the GAIN KNOB FUNCTION is PB OUT
switched to DIGITAL GAIN in the PREFERENCE
SOURCE SELECT OMNI1-2 Recall the selected signal to the monitor.
screen etc., this will remain lit until the next
time it is pressed. OMNI3-4
GEQ FREQ INC Adds or removes a frequency bank in the GEQ OMNI5-6
—
BANK DEC EDIT screen. OMNI7-8
LATCH Toggle the GPI OUT function. Lit when active. DEFINE
GPI OUT PORT1–PORT5
UNLATCH Make GPI OUT active only while pressed. MUTE GROUP 1
Opens and closes the HELP pop-up window. : — Switch MUTE GROUP MASTER on/off.
Operating the controllers on the panel MUTE
MASTER MUTE GROUP 8
HELP — — (excluding faders), or controllers on the screen,
while holding down this key will display the Turns all MUTE GROUP MASTER settings on/off
ALL MUTE —
related information. together.
SELECTED CH VIEW — Displays the SELECTED CHANNEL VIEW screen. GO TO PROJECT START
OVERVIEW — Displays the OVERVIEW screen. GO TO PREV MARKER
HOME REWIND
Each press of the key will alternately display the
TOGGLE — SELECTED CHANNEL VIEW screen and the FAST FORWARD
OVERVIEW screen.
GO TO NEXT MARKER
Turns the meter’s peak hold function on/off. Lit Operate the transport functions of Nuendo
METER PEAK HOLD ON — TRANSPORT GO TO PROJECT END
when on. Live.
NUENDO
PROGRAM CHANGE PGM 0–128 LIVE CYCLE
CC 1–31, 33–95, STOP
CONTROL CHANGE
102–119 START
MIDI Transmit the corresponding MIDI message.
NOTE ON C-2 (0) REC
NOTE ON : EASY RECORDING
NOTE ON G 8 (127) Clear the peak indicators of the Nuendo Live
PEAK CLEAR —
screen.
OSCILLATOR ON — Switch the OSC on/off.
While holding down this key, press a SEL key of
a channel to switch the assignment on/off.
SELECTED CH ASSIGN —
OSCILLATOR During this time, the [SEL] LED will be lit if
assign is ON, or dark if OFF.
Assign the oscillator to the channel selected
DIRECT ASSIGN *1)
from list 1).

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FUNCTION PARAMETER 1 PARAMETER 2 Explanation FUNCTION PARAMETER 1 PARAMETER 2 Explanation

Memorize the currently selected screen (hold SET [+48V]
down the key for two seconds or longer), or
SET [Ø]
display the last-memorized screen (press and
BOOKMARK release the key within two seconds). Popup SET [INSERT ON] Hold down this key and press SEL to switch it
screens can also be memorized. In the case of a SET [DIRECT OUT ON] on/off.
rack, the number of that rack is also During this time, the [SEL] LED will be lit if on
PAGE memorized. SET [PRE SEND]
SET BY SEL — or dark if off.
CHANGE SET [TO STEREO] If SET [PRE SEND] is selected, “SEND ON
Memorize the above BOOKMARK with the
BOOKMARK with “SEL” — FADER” mode is engaged while you are
addition of the SEL status. SET [TO MONO]
holding down the [SEL] key.
PREVIOUS PAGE SET [TO LCR]
— Display the previous/next page.
NEXT PAGE SET [GAIN
CLOSE POPUP — Close the displayed popup window. COMPENSATION]
PLAY/PAUSE, STOP, While holding down this key, press a knob in
SET DEFAULT
FF/NEXT, Display the previous/next page. — — the Selected Channel or Centralogic section to
VALUE
REW/PREVIOUS, REC reset it to the default value.
Shortcut function for STOP → REC → PLAY. SET While holding down this key, press a [SEL] key
Recording will be initiated in a single action. If NOMINAL — — to set the fader of that channel to nominal
TRANSPORT VALUE level.
AUTO REC this is executed during recording, the file being
recorded will first be closed, and then LATCH Switch TALKBACK on/off.
recording will continue with a new file. TALKBACK ON
UNLATCH Turn TALKBACK on while pressed.
RECORDER Start recording immediately without entering
REC & START While holding down this key, press a SEL key of
record-ready mode.
an OUTPUT channel to switch the assignment
NO ASSIGN The specified audio file will be played once on/off. During this time, the [SEL] LED will be
from the beginning. Audio files to be played lit if assign is ON, or dark if OFF.
(TITLE 1)
should be saved in the SONGS folder inside the TALKBACK SELECTED CH ASSIGN — The assignment setting made while holding
YPE folder. Please note that a file cannot be down this key will be stored. Pressing the key
DIRECT PLAY
specified if it is saved in the root directory or in again will recall the stored setting. Settings can
: any other folder. When you execute playback, be stored in multiple keys to facilitate rapid
the path in the TITLE LIST screen will move to assignment switching.
\YPE\SONGS\.
Assign TALKBACK to the channel selected from
INC RECALL — Recall the scene of the next existing number. DIRECT ASSIGN *3)
list 3).
Recall the scene of the previous existing Use the tap tempo function in the displayed
REC RECALL — CURRENT PAGE —
number. screen.
TAP TEMPO
SCENE Directly recall the scene of the specified Use the tap tempo function for the specified
DIRECT RECALL SCENE #000–#300 EFFECT RACK1–8 —
number. effect.
RECALL UNDO — Execute RECALL UNDO.
STORE UNDO — Execute STORE UNDO. *1) CL5: CH1–CH72, CL3: CH1–CH64, CL1: CH1–CH48, ST IN 1L–ST IN 8R, MIX1–MIX24, MTRX1–MTRX8,
ST L, ST R, MONO(C)
If INPUT or ST IN is selected, switch the *2) CL5: CH1–CH72, CL3: CH1–CH64, CL1: CH1–CH48, ST IN 1–ST IN 8, MIX1–MIX24, MTRX1–MTRX8,
SEND
MIX1-16/MIX17-24, function of the Selected Channel section’s send
ENCODER — STEREO, MONO(C)
MATRIX encoders from TO MIX1-16/TO MIX17-24,
MODE *3) MIX1–MIX24, MTRX1–MTRX8, ST L, ST R, MONO(C)
MATRIX.
*4) CL5: CH1–CH72, CL3: CH1–CH64, CL1: CH1–CH48, ST IN 1–ST IN 8, MIX1–MIX24, MTRX1–MTRX8,
Switches the MIX ON FADER function for the
MIX1–MIX24 STEREO, MONO(C), DCA1–DCA16
selected MIX on and off.
Switches the MATRIX ON FADER function for
MTRX1–MTRX8
the selected MATRIX on and off.
SENDS ON Switches the MIX ON FADER function on and
MIX ON FADER —
FADER off.
Switches the MATRIX ON FADER function on
MATRIX ON FADER
and off.
Switches the SENDS ON FADER function on
SENDS ON FADER
and off.

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Functions that can be assigned to FUNCTION PARAMETER 1 PARAMETER 2

EXTERNAL HA GAIN1–GAIN8 *10)
USER DEFINED knobs HPF FREQUENCY *4)
I/O RACK GAIN1–GAIN32 *11)
FUNCTION PARAMETER 1 PARAMETER 2
INPUT DELAY DELAY TIME *3)
NO ASSIGN
ANALOG GAIN
LAMP INPUT GAIN *4)
DIGITAL GAIN
PANEL
CTRL 1–CTRL 31
BRIGHTNESS SCREEN
MIDI CONTROL CHANGE CTRL 33–CTRL 95
CH COLOR
CTRL 102–CTRL 119
NAME
DIMMER LEVEL
INPUT PFL TRIM
TALKBACK DIMMER LEVEL
CUE DCA TRIM MONITOR
MONITOR DELAY
OUTPUT PFL TRIM
MONITOR FADER
THRESHOLD
LEVEL
RANGE
SINE WAVE FREQUENCY
RATIO
HPF
ATTACK OSCILLATOR
LPF
HOLD *2)
DYNAMICS1 WIDTH
DECAY
INTERVAL
RELEASE
DELAY TIME
OUTGAIN OUTPUT PORT *12)
GAIN
KNEE
TO MIX LEVEL MIX1–MIX24 *3)
WIDTH *13)
TO MATRIX LEVEL MATRIX1–MATRIX8 *7)
THRESHOLD
TO MIX PAN MIX1/2–MIX23/24 *3)
RATIO
TO MATRIX PAN MATRIX1/2–MATRIX7/8 *7)
FREQUENCY
PAN/BAL
ATTACK TO ST/MONO *5)
DYNAMICS2 *4) CSR
RELEASE
TOUCH AND TURN
OUTGAIN
KNEE *2) SELECTED CH, CL5: CH1–CH72, CL3: CH1–CH64, CL1: CH1–CH48, ST IN 1–ST IN 8, MIX1–MIX24,
WIDTH MTRX1–MTRX8, STEREO, MONO (C)
ATT *3) SELECTED CH, CL5: CH1–CH72, CL3: CH1–CH64, CL1: CH1–CH48, ST IN 1L–ST IN 8R
*4) SELECTED CH, CL5: CH1–CH72, CL3: CH1–CH64, CL1: CH1–CH48, ST IN 1–ST IN 8
LOW Q
*5) SELECTED CH, CL5: CH1–CH72, CL3: CH1–CH64, CL1: CH1–CH48, ST IN 1L–ST IN 8R, MIX1–MIX24
LOW FREQUENCY *7) SELECTED CH, CL5: CH1–CH72, CL3: CH1–CH64, CL1: CH1–CH48, ST IN 1L–ST IN 8R, MIX1–MIX24,
LOW GAIN ST L, ST R, MONO (C)
LOW MID Q *10) # 1–# 6
*11) # 1–# 8
LOW MID FREQUENCY *12) DANTE 1–DANTE64, OMNI 1–OMNI 8, SLOT1 1–SLOT1 16, SLOT2 1–SLOT2 16, SLOT3 1–SLOT3 16,
EQ LOW MID GAIN *2) DIGITAL OUT L, DIGITAL OUT R
HIGH MID Q *13) SELECTED CH, MIX1–MIX24, MTRX1–MTRX8, STEREO, MONO (C)
HIGH MID FREQUENCY
HIGH MID GAIN
HIGH Q
HIGH FREQUENCY
HIGH GAIN

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Functions that can be assigned to the

assignable encoders
PAN GAIN ASSIGN FUNCTION PARAMETER 1 PARAMETER 2 *1 Preference setting and the state of the ALTERNATE function will determine whether this will be analog gain or
digital gain.
PAN
O PAN/BALANCE *2 The send destination that is the target of Sends On Fader will be selected.
BAL *3 Preference setting and the state of the ALTERNATE function will determine whether turning the encoder will switch
O ANALOG GAIN A.GAIN *1 the PRE/POST setting of the corresponding send or will switch the corresponding send on/off when pressed.
O DIGITAL GAIN D.GAIN *1 *4 Preference setting and the state of the ALT function will determine whether pressing the encoder will switch the
high-pass filter on/off.
MIX1-MTRX8
O SELECTED SEND *2 *5 Preference setting and the state of the ALT function will determine whether pressing the encoder will switch
Depends on status
DYNAMICS 1 on/off.
O MIX1 SEND MIX1 *3 *6 Preference setting and the state of the ALT function will determine whether pressing the encoder will switch
O MIX2 SEND MIX2 *3 DYNAMICS 2 on/off.
O MIX3 SEND MIX3 *3
O MIX4 SEND MIX4 *3
O MIX5 SEND MIX5 *3
O MIX6 SEND MIX6 *3
O MIX7 SEND MIX7 *3
O MIX8 SEND MIX8 *3
O MIX9 SEND MIX9 *3
O MIX10 SEND MIX10 *3
O MIX11 SEND MIX11 *3
O MIX12 SEND MIX12 *3
O MIX13 SEND MIX13 *3
O MIX14 SEND MIX14 *3
O MIX15 SEND MIX15 *3
O MIX16 SEND MIX16 *3
O MIX17 SEND MIX17 *3
O MIX18 SEND MIX18 *3
O MIX19 SEND MIX19 *3
O MIX20 SEND MIX20 *3
O MIX21 SEND MIX21 *3
O MIX22 SEND MIX22 *3
O MIX23 SEND MIX23 *3
O MIX24 SEND MIX24 *3
O MATRIX1 SEND MTRX1 *3
O MATRIX2 SEND MTRX2 *3
O MATRIX3 SEND MTRX3 *3
O MATRIX4 SEND MTRX4 *3
O MATRIX5 SEND MTRX5 *3
O MATRIX6 SEND MTRX6 *3
O MATRIX7 SEND MTRX7 *3
O MATRIX8 SEND MTRX8 *3
O HPF FREQUENCY HPF *4
O DYNAMICS1 THRESHOLD THRE1 *5
O DYNAMICS2 THRESHOLD THRE2 *6

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MIDI Data Format 0vvvvvvv vv Control Value (0-127) If [NRPN] is selected

STATUS 1011nnnn Bn Control change STATUS 1011nnnn Bn Control change
This section explains the format of the data that the CL series is able DATA 20 Control number (32) DATA 01100010 62 NRPN LSB
to understand, send, and receive. 0vvvvvvv vv Control Value (0-127) 0vvvvvvv vv Parameter number LSB
If [TABLE] is selected STATUS 1011nnnn Bn Control change *
DATA 01100011 63 NRPN MSB
1 CHANNEL MESSAGE STATUS 1011nnnn Bn Control change
0vvvvvvv vv Parameter number MSB
DATA 0nnnnnnn nn Control number (1-5, 7-31, 33-37, 38-95,
102-119) * STATUS 1011nnnn Bn Control change *
1.1 NOTE OFF (8n)
0vvvvvvv vv Control Value (0-127) DATA 00000110 06 Data entry MSB
Reception * Numbers 0, 32, and 96–101 cannot be used. 0vvvvvvv vv Parameter data MSB
These messages are echoed to MIDI OUT if [OTHER COMMAND ECHO] is ON. * Control number 6, 38 can be used. STATUS 1011nnnn Bn Control change *
They are received if [Rx CH] matches, and used to control effects.
Equation for converting a Control Value to parameter data DATA 00100110 26 Data entry LSB
STATUS 1000nnnn 8n Note off message paramSteps = paramMax – paramMin + 1; 0vvvvvvv vv Parameter data LSB
DATA 0nnnnnnn nn Note number add = paramWidth / paramSteps; * The STATUS byte of the second and subsequent messages need not
mod = paramWidth – add * paramSteps;
0vvvvvvv vv Velocity (ignored) curValue = paramSteps * add + mod / 2;
be added during transmission. Reception must occur correctly
whether or not the status byte is omitted.
(1) If the assigned parameter has fewer than 128 steps
1.2 NOTE ON (9n) paramWidth = 128; rxValue = Control value;
(2) If the assigned parameter has 128 or more but less than 16,384 steps
1.4 PROGRAM CHANGE (Cn)
Reception
These messages are echoed to MIDI OUT if [OTHER COMMAND ECHO] is ON. paramWidth = 16384; Reception
They are received if [Rx CH] matches, and used to control effects. If [PROGRAM CHANGE ECHO] is ON, bank select messages will also be echoed
(2-1) When High and Low data is received from MIDI OUT.
STATUS 1001nnnn 9n Note on message rxValue = Control value(High) * 128 + Control value(Low); If SINGLE CH is selected, these messages are received if [PROGRAM CHANGE Rx] is
DATA 0nnnnnnn nn Note number ON and the [Rx CH] matches. However if [OMNI] is ON, these messages are received
0vvvvvvv vv Velocity (1-127:on, 0:off) (2-2) When only Low data is received regardless of the channel. When these messages are received, scene memory, effect
rxValue = (curValue & 16256) + Control value(Low);
librarya nd premium rack library are recalled according to the settings of the
1.3 CONTROL CHANGE (Bn) [PROGRAM CHANGE EVENT LIST].
(2-3) When only High data is received
Two types of CONTROL CHANGE can be transmitted and received; [NRPN] (Non- rxValue = Control value(High) * 128 + (curValue & 127); Transmission
Registered Parameter Numbers) and freely-assigned [TABLE] (1CH x 110) messages. If [PROGRAM CHANGE Tx] is ON, these messages are transmitted according to the
Select either [TABLE] or [NRPN]. (3) If the assigned parameter has 16,384 or more but less than 2,097,152 [PROGRAM CHANGE Table] settings when scene memory, effect library and
steps premium rack library are recalled.
Reception
paramWidth = 2097152; If SINGLE CH is selected, these messages are transmitted on the [Tx CH] channel.
These messages are echoed to MIDI OUT if [CONTROL CHANGE ECHO] is ON.
If the recalled scene memory, effect library and premium rack library has been assigned
If [TABLE] is selected, these messages are received when [CONTROL CHANGE Rx] is
(3-1) When High, Middle, and Low data is received to more than one PROGRAM NUMBER, the lowest-numbered PROGRAM NUMBER
ON and [Rx CH] matches, and will control parameters according to the settings of the
rxValue = Control value(High) * 16384 + Control value(Middle) * 128 + Control value(Low); for each MIDI channel will be transmitted.
[CONTROL CHANGE EVENT LIST]. For the parameters that can be assigned, refer
PROGRAM CHANGE messages are not used for transmission to CL Editor because
to “Parameters that can be assigned to control changes” on page 232.
(3-2) When only Low data is received there is no guarantee that the contents of the assignment tables will match.
If [NRPN] is selected, these messages are received when [CONTROL CHANGE Rx] is rxValue = (curValue & 2097024) + Control value(Low); (PARAMETER CHANGE messages are always used.)
ON and the [Rx CH] matches; the four messages NRPN control number (62h, 63h) and
You can choose either MULTI MIDI CH or SINGLE CH.
DATA ENTRY control number (06h, 26h) are used to control the specified parameter. (3-3) When only Middle data is received
rxValue = (curValue & 2080895) + Control value(Middle) * 128; If SINGLE is selected
Transmission
You can choose the Rx CH, OMNI CH, and Tx CH.
If [TABLE] is selected, and if [CONTROL CHANGE Tx] is ON when you operate a
(3-4) When only High data is received You can choose whether a bank select message will be added.
parameter that is assigned in the [CONTROL CHANGE EVENT LIST], these
rxValue = (curValue & 16383) + Control value(High) * 16384; A bank of up to 16 can be specified.
messages will be transmitted on the [Tx CH] channel. For the parameters that can be
assigned, refer to “Parameters that can be assigned to control changes” on page 232. If MULTI is selected
(3-5) When only Middle and Low data is received The Rx and Tx channels will be the same.
If [NRPN] is selected, and if [CONTROL CHANGE Tx] is ON when you operate a rxValue = (curValue & 2080768) + Control value(Middle) * 128 + Control value(Low);
specified parameter, the four messages NRPN control number (62h, 63h) and DATA The assignment table will use the settings for each MIDI channel. Bank select messages
ENTRY control number (06h, 26h) are transmitted on the [Tx CH] channel. For the will not be added.
(3-6) When only High and Low data is received
parameters that can be assigned, refer to “Parameters that can be assigned to control rxValue = (curValue & 16256) + Control value(High) * 16384 + Control value(Low); You can make settings for up to sixteen MIDI channels.
changes” on page 232.
STATUS 1100nnnn Cn Program change
CONTROL CHANGE messages are not used for transmission to CL Editor because (3-7) When only High and Middle data is received
DATA 0nnnnnnn nn Program number (0-127)
there is no guarantee that the contents of the assignment tables will match. rxValue = (curValue & 127) + Control value(High) * 16384 + Control value(Middle) * 128;
(PARAMETER CHANGE messages are always used.)
CONTROL CHANGE numbers 0 and 32 are for selecting banks. if ( rxValue > paramWidth)
rxValue = paramWidth;
STATUS 1011nnnn Bn Control change param = ( rxValue–mod / 2) / add;
DATA 00 Control number (00)

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2 SYSTEM REALTIME MESSAGE < MMC DEFERED PLAY > Module Name(mm) Data Number(dd)
Reception EQP-1A LIB “EQ-1A___” *20)
2.1 SONG SELECT (F3) If the [DEVICE NO.] matches or is 7F, receives this message and starts playback. DynamicEQ LIB “DYNAEQ__” *20)
Dante Input Patch LIB “DANTEIN_” *23)
Reception STATUS 11110000 F0 System exclusive message
Mixer Setup “MIXERSET” Fix (512)
Select the track number shown in the TITLE LIST screen of the USB memory recorder. ID No. 01111111 7F Real time System exclusive
Outport Setup “OUT_PORT” Fix (512)
STATUS 11110011 F3 Song select Device ID 0ddddddd dd Destination (00-7E, 7F:all call)
Monitor Setup “MONITOR_” Fix (512)
Song number 0sssssss ss Song number (0-127) COMMAND 00000110 06 Machine Control Command(MCC) sub-id
MIDI Setup “MIDI_SET” Fix (512)
00000011 03 Deferred Play(MCS)
Lib Number “LIB_NUM_” Fix (512)
EOX 11110111 F7 End of exclusive
2.2 TIMING CLOCK (F8) Program Change Table “PRGMCHG_” Fix (512)
< MMC RECORD STROBE > Control Change Table “CTRLCHG_” Fix (512)
Reception
Preference (Current) “PREF_CUR” Fix (512)
This message is used to control effects. This message is transmitted twenty-four times Reception
Preference (Admin) “PREF_ADM” Fix (512)
per quarter note. If the [DEVICE NO.] matches or is 7F, receives this message, and if stopped, starts
recording. Preference (Guest) “PREF_GST” Fix (512)
Echoing of this message depends on the OTHER item in the ECHO settings.
User Defined Keys (Current) “UDEF_CUR” Fix (512) include Knob, Encoder
STATUS 11111000 F8 Timing clock STATUS 11110000 F0 System exclusive message
User Defined Keys (Admin) “UDEF_ADM” Fix (512) include Knob, Encoder
ID No. 01111111 7F Real time System exclusive
User Defined Keys (Guest) “UDEF_GST” Fix (512) include Knob, Encoder
Device ID 0ddddddd dd Destination (00-7E, 7F:all call)
2.3 ACTIVE SENSING (FE) Machine Control Command(MCC) sub-id
Custom Fader Bank (Current) “CFAD_CUR” Fix (512)
COMMAND 00000110 06 Custom Fader Bank (Admin) “CFAD_ADM” Fix (512)
Reception 00000110 06 Record strobe
Custom Fader Bank (Guest) “CFAD_GST” Fix (512)
Once this message has been received, MIDI communication will be initialized (e.g., EOX 11110111 F7 End of exclusive
User Level (Current) “UKEY_CUR” Fix (512)
Running Status will be cleared) if no message is received for an interval of 400 ms.
< MMC PAUSE > User Level (Guest) “UKEY_GST” Fix (512)
This message is not subject to echoing.
Reception *1) 0–300 Scene Number (0 Request Only),
STATUS 11111110 FE Active sensing *2) 1–199 Input EQ Library Number (1–40 Request Only)
If the [DEVICE NO.] matches or is 7F, receives this message, and if playing, pauses.
*3) 1–199 Output EQ Library Number (1–3 Request Only)
STATUS 11110000 F0 System exclusive message *4) 1–199 Dynamics Library Number (1–41 Request Only)
2.4 SYSTEM RESET (FF)
ID No. 01111111 7F Real time System exclusive *5) 0–199 GEQ Library Number (0 Request Only)
Reception Device ID 0ddddddd dd Destination (00-7E, 7F:all call) *6) 1–199 Effect Library Number (1–27 Request Only)
When this message is received, MIDI communication will be initialized (e.g., Running COMMAND 00000110 06 Machine Control Command(MCC) sub-id *7) 512–583 Input 1-72,
Status will be cleared). Pause(MCS) *8) 584–599 STIN 1L-8R,
00001001 09
This message is not subject to echoing. *9) 768–791 MIX 1-24,
EOX 11110111 F7 End of exclusive
*10) 1024–1031 MATRIX 1-8,
STATUS 11111111 FF System reset *11) 1280–1282 STEREO L-C,
3.2 BULK DUMP *12) 512–530 GEQ 1-19, 531–538 EFFECT GEQ 1-8,
*13) 512–519 EFFECT 1-8,
3 SYSTEM EXCLUSIVE MESSAGE This message is used to send or receive the contents of various memories stored within
*14) 512 Current Data,
the unit.
*15) 768 Current Data with Recall Safe,
3.1 MMC The basic format is as follows.
*16) 8192 Store Undo Data, 8193 Recall Undo Data, 8194 Clear Undo Data,
< MMC STOP > Command rx/tx Function *17) 0–199 Input CH Library Number (0 Request Only),
F0 43 0n 3E cc cc 19 mm … mm dd rx/tx BULK DUMP DATA *18) 0–199 Output CH Library Number (0 Request Only),
Reception *19) 512–527 Premium Rack 1A, 1B, 2A, … 8A, 8B
dd … ee F7
If the [DEVICE NO.] matches or is 7F, receives this message and stops. *20) 0–100 Each Premium Effect Library Number (0 Request Only)
F0 43 2n 3E 19 mm … mm dd dd F7 rx BULK DUMP REQUEST
STATUS 11110000 F0 System exclusive message *21) 1536–1607 Input 1-72 (for Dynamics2),
Real time System exclusive The CL series uses the following data types for a bulk dump. *22) 1608–1623 STIN 1L-8R (for Dunamics2),
ID No. 01111111 7F
*23) 0-10 Dante Input Patch Library Number (0 Request Only)
Device ID 0ddddddd dd Destination (00-7E, 7F:all call) Module Name(mm) Data Number(dd)
COMMAND 00000110 06 Machine Control Command(MCC) sub-id SCENE LIB “SCENE___” *1) *14) *15) *16) Data is lost when you write to the preset library.
00000001 01 Stop(MCS) INPUT EQ LIB “INEQ____” *2) *7) *8) The unique header (Model ID) identifies whether the device is a CL series.
EOX 11110111 F7 End of exclusive OUTPUT EQ LIB “OUTEQ___” *3) *9) *10) *11) To calculate the check sum, add the bytes starting with the byte after BYTE COUNT
Dynamics LIB “DYNA____” *4) *7) *8) *9) *10) *11) *21) *22) (LOW) and ending with the byte before CHECK SUM, take the binary complement,
< MMC PLAY >
INPUT CH LIB “INCHNNL_” *17) *7) *8) and set bit 7 to 0.
Reception OUTPUT CH LIB “OUTCHNNL” *18) *9) *10) *11) CHECK SUM = (-sum)&0x7F
If the [DEVICE NO.] matches or is 7F, receives this message and starts playback. GEQ LIB “GEQ_____” *5) *12) Bulk Dumps can be received at any time, and can be transmitted at any time when a
STATUS 11110000 F0 System exclusive message EFFECT LIB “EFFECT__” *6) *13) Bulk Dump Request is received.
ID No. 01111111 7F Real time System exclusive Premium Effect “PEFFECT_” *19) A Bulk Dump is transmitted on the [Rx CH] channel in response to a Bulk Dump
Device ID 0ddddddd dd Destination (00-7E, 7F:all call) Portico5033 LIB “P5033___” *20) Request.
COMMAND 00000110 06 Machine Control Command(MCC) sub-id Portico5043 LIB “P5043___” *20) In the data portion, seven words of 8-bit data are converted into eight words of 7-bit
00000010 02 Play(MCS) U76 LIB “U76_____” *20) data.
EOX 11110111 F7 End of exclusive Opt-2A LIB “OPT-2A__” *20)

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[Conversion from actual data to bulk data] 4 PARAMETER CHANGE details 4.1.3 Data category
d[0-6]: actual data Data Category Name
b[0-7]: bulk data
b[0] = 0; 4.1 CURRENT SCENE, SETUP, BACKUP, USER SETUP 0x01 00000001 Current Scene /Setup/Backup/
User Setup Data
for( I=0; I<7; I++){ 4.1.1 Format (PARAMETER CHANGE)
if( d[I]&0x80){
b[0] |= 1<<(6-I); Receive 4.2 FUNCTION CALL – LIBRARY STORE, RECALL –
} Data will be received when [PARAMETER CHANGE Rx] is on and the Device number
of both [Rx CH] and SUB STATUS are matched. The data will be echoed when 4.2.1 Format (PARAMETER CHANGE)
b[I+1] = d[I]&0x7F;
} [PARAMETER CHANGE ECHO] is on. The corresponding parameter will be changed Receive
immediately the data is received. Data will be received when [PARAMETER CHANGE Rx] is on and the Device number
[Recovery from bulk data to actual data] of both [Rx CH] and SUB STATUS are matched. The data will be echoed when
Transmission
d[0-6]: actual data [PARAMETER CHANGE ECHO] is on. The corresponding parameter will be changed
b[0-7]: bulk data Data will be transmitted with the [Device Number] in [Tx CH] when [PARAMETER
CHANGE Tx] is on and the parameter is not registered on the [CONTROL CHANGE immediately the data is received.
for( I=0; I<7; I++){
b[0] <<= 1; EVENT LIST]. Transmission
d[I] = b[I+1]+(0x80&b[0]); Data will be transmitted with the [Device Number] (MIDI CH) in [Tx CH] when
STATUS 11110000 F0 System exclusive message
} [PARAMETER CHANGE Tx] is on.
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel) STATUS 11110000 F0 System exclusive message
3.3 PARAMETER CHANGE GROUP ID 00111110 3E Digital mixer ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
Reception MODEL ID 00010010 19 CL Series SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
This message is echoed if [PARAMETER CHANGE ECHO] is ON. DATA Category 0ccccccc cc GROUP ID 00111110 3E Digital mixer
This message is received if [PARAMETER CHANGE Rx] is ON and [Rx CH] matches DATA 0eeeeeee eh Element no High. MODEL ID 00010010 19 CL Series
the Device number included in the SUB STATUS. When a PARAMETER CHANGE is DATA CATEGORY 00000000 00 OTHER DATA
0eeeeeee el Element no Low.
received, the specified parameter will be controlled. When a PARAMETER REQUEST
0iiiiiii ih Index no High. FUNCTION NAME 01001100 "L" (ASCII CODE)
is received, the current value of the specified parameter will be transmitted as a
PARAMETER CHANGE with its Device Number as the [Rx CH]. 0iiiiiii il Index no Low. 01101001 "i" (ASCII CODE)
0ccccccc ch Channel no High. 01100010 "b" (ASCII CODE)
Transmission
0ccccccc cl Channel no Low. 0fffffff ff (ASCII CODE)
If [PARAMETER CHANGE Tx] is ON, and you edit a parameter for which CONTROL
CHANGE transmission has not been enabled, a PARAMETER CHANGE will be 0ddddddd dd Data 0fffffff ff (ASCII CODE)
transmitted with the [Tx CH] as its device number. : : 0fffffff ff (ASCII CODE)
In response to a PARAMETER REQUEST, a PARAMETER CHANGE will be EOX 11110111 F7 End of exclusive 0fffffff ff (ASCII CODE)
transmitted with [Rx CH] as its device number. 0fffffff ff (ASCII CODE)
Command rx/tx Function MODULE NAME 0mmmmmmm mm (ASCII CODE)
4.1.2 Format (PARAMETER REQUEST)
F0 43 1n 3E 19 … F7 rx/tx CL series native parameter change 0mmmmmmm mm (ASCII CODE)
RARAMETER CHANGE Receive
0mmmmmmm mm (ASCII CODE)
F0 43 3n 3E 19 … F7 rx/tx CL series native parameter request Data will be received when [PARAMETER CHANGE Rx] is on and the Device number
of both [Rx CH] and SUB STATUS are matched. The data will be echoed when 0mmmmmmm mm (ASCII CODE)
PARAMETER REQUEST
[PARAMETER CHANGE ECHO] is on. The corresponding parameter will be changed 0mmmmmmm mm (ASCII CODE)
via PARAMETER CHANGE immediately the data is received. 0mmmmmmm mm (ASCII CODE)
System exclusive message 0mmmmmmm mm (ASCII CODE)
STATUS 11110000 F0
Manufacture’s ID number (YAMAHA) 0mmmmmmm mm (ASCII CODE)
ID No. 01000011 43
n=0-15 (Device number=MIDI Channel) DATA 0nnnnnnn nh Number High
SUB STATUS 0001nnnn 3n
Digital mixer 0nnnnnnn nl Number Low
GROUP ID 00111110 3E
CL Series 0ccccccc ch Channel High
MODEL ID 00010010 19
0ccccccc cl Channel Low
DATA Category 0ccccccc cc
Element no High. EOX 11110111 F7 End of exclusive
DATA 0eeeeeee eh
0eeeeeee el Element no Low.
0iiiiiii ih Index no High. 4.2.2 Function Name
0iiiiiii il Index no Low. Function Name
0ccccccc ch Channel no High. Store “LibStr__”
0ccccccc cl Channel no Low. Recall “LibRcl__”
EOX 11110111 F7 End of exclusive Unknown Factor Store “LibUnStr”
Unknown Factor Recall “LibUnRcl”
Store Undo (only Score) “LibStrUd”
Recall Undo (only Scene) “LibRclUd”

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4.2.3 Module Name Function Number Channel*1) tx/rx 0mmmmmmm mm (ASCII CODE)
Module Name Dynamics LIB 0 *1) *2) *3) *4) *8) tx 0mmmmmmm mm (ASCII CODE)
Scene “SCENE___” INPUT CH LIB 0 *1) tx 0mmmmmmm mm (ASCII CODE)
Input EQ “INEQ____” OUTPUT CH LIB 0 *2) *3) *4) tx 0mmmmmmm mm (ASCII CODE)
Output EQ “OUTEQ___” GEQ LIB 0 *6) tx DATA 0sssssss sh number -source start High
Dynamics “DYNA____” EFFECT LIB 0 *7) tx 0sssssss sl number -source start Low
Input CH “INCHNNL_” Premium Effect LIB 0 *9) tx 0eeeeeee eh number -source end High
Output CH “OUTCHNNL”
Dante Input Patch LIB 0 *5) tx 0eeeeeee el number -source end Low
GEQ “GEQ_____”
“LibStrUd” SCENE 0 0 0ddddddd dh number -destination start High
Effect “EFFECT__”
“LibRclUd” SCENE 0 0 0ddddddd dl number -destination to start Low
Portico5033 “P5033___”
Portico5043 “P5043___” *1) 0:CH1 – 71:CH72 EOX 11110111 F7 End of exclusive
U76 “U76_____” 72:ST IN 1L – 87:ST IN 8R
Opt-2A “OPT-2A__” *2) 256:MIX 1 – 279:MIX 24
4.3.2 Function Name
*3) 512:MATRIX 1 – 519: MATRIX 8
EQP-1A “EQ-1A___”
*4) 1024:STEREO L – 1026:STEREO C Function Name
DynamicEQ “DYNAEQ__”
*5) 512:will be used if the recalling or storing data is only one. Copy “LibCpy__”
Dante Input Patch “DANTEIN_” *6) 0: GEQ1A, 1: GEQ1B, 2: GEQ2A, … 36: GEQ19A, 37:GEQ19B Paste “LibPst__”
38: EFFECT GEQ1A, 39: EFFECT GEQ1B, Clear “LibClr__”
Function Number Channel*1) tx/rx 40: EFFECT GEQ2A, … 52: EFFECT GEQ8A, 53: EFFECT GEQ8B
Cut “LibCut__”
“LibStr__” SCENE 1-300 *5) tx/rx *7) 0:Effect1- 7:Effect8
Insert “LibIns__”
*8) 1280:CH1 – 1351:CH72
INPUT EQ LIB 41-199 *1) tx/rx Edit Undo “LibEdtUd”
1352:ST IN 1L – 1367:ST IN 8R
OUTPUT EQ LIB 4-199 *2) *3) *4) tx/rx *9) 0: Premium Rack 1A, 1: Premium Rack 1B,
Dynamics LIB 42-199 *1) *2) *3) *4) *8) tx/rx 2: Premium Rack 2A, … 14: Premium Rack 8A, 15: Premium Rack 8B
4.3.3 Module Name
INPUT CH LIB 1-199 *1) tx/rx
Module Name Function
OUTPUT CH LIB 1-199 *2) *3) *4) tx/rx 4.3 FUNCTION CALL – LIBRARY EDIT –
SCENE LIB “SCENE___” Copy, Paste, Clear, Cut, Insert, EditUndo
GEQ LIB 1-199 *6) tx/rx 4.3.1 Format (PARAMETER CHANGE) INPUT EQ LIB “INEQ____” Clear Only
EFFECT LIB 28-199 *7) tx/rx
Receive OUTPUT EQ LIB “OUTEQ___” Clear Only
Premium Effect LIB 1-100 *9) tx/rx Dynamics LIB “DYNA____” Clear Only
Data will be received when [PARAMETER CHANGE Rx] is on and the Device number
Dante Input Patch LIB 1-10 *5) tx/rx of both [Rx CH] and SUB STATUS are matched. The data will be echoed when INPUT CH LIB “INCHNNL_” Clear Only
“LibUnStr” SCENE 1-300 0 tx [PARAMETER CHANGE ECHO] is on. The corresponding memory/library will be OUTPUT CH LIB “OUTCHNNL” Clear Only
INPUT EQ LIB 41-199 0 tx changed immediately the data is received. GEQ LIB “GEQ_____” Clear Only
OUTPUT EQ LIB 4-199 0 tx Transmission EFFECT LIB “EFFECT__” Clear Only
PARAMETER CHANGE will be sent in reply to Request. If [PARAMETER CHANGE Portico5033 LIB “P5033___” Clear Only
Dynamics LIB 42-199 0 tx
ECHO] is on, the message will be sent as it is. Portico5043 LIB “P5043___” Clear Only
INPUT CH LIB 1-199 0 tx
U76 LIB “U76_____” Clear Only
OUTPUT CH LIB 1-199 0 tx STATUS 11110000 F0 System exclusive message Opt-2A LIB “OPT-2A__” Clear Only
GEQ LIB 1-199 0 tx ID No. 01000011 43 Manufacture’s ID number (YAMAHA) EQP-1A LIB “EQ-1A___” Clear Only
EFFECT LIB 28-199 0 tx SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel) DynamicEQ LIB “DYNAEQ__” Clear Only
Premium Effect LIB 1-100 0 tx GROUP ID 00111110 3E Digital mixer Dante Input Patch LIB “DANTEIN_” Clear Only
Dante Input Patch LIB 1-10 0 tx MODEL ID 00010010 19 CL Series
“LibRcl__” SCENE 0-300 *5) tx/rx DATA CATEGORY 00000000 00 OTHER DATA
INPUT EQ LIB 1-199 *1) tx/rx FUNCTION NAME 01001100 "L" (ASCII CODE)
OUTPUT EQ LIB 1-199 *2) *3) *4) tx/rx 01101001 "i" (ASCII CODE)
Dynamics LIB 1-199 *1) *2) *3) *4) *8) tx/rx 01100010 "b" (ASCII CODE)
INPUT CH LIB 0-199 *1) tx/rx 0fffffff ff (ASCII CODE)
OUTPUT CH LIB 0-199 *2) *3) *4) tx/rx 0fffffff ff (ASCII CODE)
GEQ LIB 0-199 *6) tx/rx 0fffffff ff (ASCII CODE)
EFFECT LIB 1-199 *7) tx/rx 0fffffff ff (ASCII CODE)
Premium Effect LIB 0-100 *9) tx/rx 0fffffff ff (ASCII CODE)
Dante Input Patch LIB 0-10 *5) tx/rx MODULE NAME 0mmmmmmm mm (ASCII CODE).
“LibUnRcl” SCENE 0 *5) tx 0mmmmmmm mm (ASCII CODE)
INPUT EQ LIB 0 *1) tx 0mmmmmmm mm (ASCII CODE)
OUTPUT EQ LIB 0 *2) *3) *4) tx 0mmmmmmm mm (ASCII CODE)

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4.4 FUNCTION CALL – LIBRARY ATTRIBUTE – 4.4.2 Format (PARAMETER REQUEST) 4.5 EXIST LIBRARY RANGE
4.4.1 Format (PARAMETER CHANGE) Receive 4.5.1 Format (PARAMETER CHANGE)
The PARAMETER CHANGE will be sent with Device number [Rx CH] immediately
Receive the data is received. Transmission
Data will be received when [PARAMETER CHANGE Rx] is on and the Device number When CL series receives Library Exist request command from outside, the answer will
of both [Rx CH] and SUB STATUS are matched. The data will be echoed when STATUS 11110000 F0 System exclusive message be sent back with the following Parameter change.
[PARAMETER CHANGE ECHO] is on. The corresponding memory/library title will ID No. 01000011 43 Manufacture’s ID number (YAMAHA) This packet shows smallest library number range that exists and not read only. Top
be changed immediately the data is received. SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel) number is requested number or more.
Transmission GROUP ID 00111110 3E Digital mixer -Example-
PARAMETER CHANGE will be sent in reply to Request. If [PARAMETER CHANGE MODEL ID 00010010 19 CL Series SCENE is stored 5,6,7,10,100 and 101
ECHO] is on, the message will be sent as it is. DATA CATEGORY 00000000 00 OTHER DATA Request Number: 0
STATUS 11110000 F0 System exclusive message FUNCTION NAME 01001100 "L" (ASCII CODE) Data : Valid, Top Number : 5, End Number 7
ID No. 01000011 43 Manufacture’s ID number (YAMAHA) 01101001 "i" (ASCII CODE) Request Number: 8
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel) 01100010 "b" (ASCII CODE) Data : Valid, Top Number : 10, End Number 10
GROUP ID 00111110 3E Digital mixer 01000001 "A" (ASCII CODE) Request Number: 11
MODEL ID 00010010 19 CL Series 01110100 "t" (ASCII CODE) Data : Valid, Top Number : 100, End Number 101
DATA CATEGORY 00000000 00 OTHER DATA 01110010 "r" (ASCII CODE) Request Number: 102
Data : Invalid, Top Number : 0, End Number 0
FUNCTION NAME 01001100 "L" (ASCII CODE) 01100010 "b" (ASCII CODE)
01101001 "i" (ASCII CODE) 01110100 "t" (ASCII CODE)
STATUS 11110000 F0 System exclusive message
01100010 "b" (ASCII CODE) MODULE NAME 0mmmmmmm mm (ASCII CODE)
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
01000001 "A" (ASCII CODE) 0mmmmmmm mm (ASCII CODE) SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
01110100 "t" (ASCII CODE) 0mmmmmmm mm (ASCII CODE) GROUP ID 00111110 3E Digital mixer
01110010 "r" (ASCII CODE) 0mmmmmmm mm (ASCII CODE) MODEL ID 00010010 19 CL Series
01100010 "b" (ASCII CODE) 0mmmmmmm mm (ASCII CODE) DATA CATEGORY 00000000 00 OTHER DATA
01110100 "t" (ASCII CODE) 0mmmmmmm mm (ASCII CODE) FUNCTION NAME 01001100 "L" (ASCII CODE)
MODULE NAME 0mmmmmmm mm (ASCII CODE) 0mmmmmmm mm (ASCII CODE) 01101001 "i" (ASCII CODE)
01100010 "b" (ASCII CODE)
0mmmmmmm mm (ASCII CODE) 0mmmmmmm mm (ASCII CODE)
01000101 "E" (ASCII CODE)
0mmmmmmm mm (ASCII CODE) DATA 0nnnnnnn nh Scene/Library number High
01111000 "x" (ASCII CODE)
0mmmmmmm mm (ASCII CODE) 0nnnnnnn nl Scene/Library number Low
01101001 "i" (ASCII CODE)
0mmmmmmm mm (ASCII CODE) 0eeeeeee eh Element High 01110011 "s" (ASCII CODE)
0mmmmmmm mm (ASCII CODE) 0eeeeeee el Element Low 01110100 "t" (ASCII CODE)
0mmmmmmm mm (ASCII CODE) 0iiiiiii ih Index High MODULE NAME 0mmmmmmm mm (ASCII CODE)
0mmmmmmm mm (ASCII CODE) 0iiiiiii il Index Low
DATA 0nnnnnnn nh Scene/Library number High 0ccccccc ch Channel High 0mmmmmmm mm (ASCII CODE)
0mmmmmmm mm (ASCII CODE)
0nnnnnnn nl Scene/Library number Low 0ccccccc cl Channel Low
0mmmmmmm mm (ASCII CODE)
0eeeeeee eh Element High EOX 11110111 F7 End of exclusive
0mmmmmmm mm (ASCII CODE)
0eeeeeee el Element Low 4.4.3 Module Name 0mmmmmmm mm (ASCII CODE)
0iiiiiii ih Index High (ASCII CODE)
Module Name Number 0mmmmmmm mm
0iiiiiii il Index Low 0mmmmmmm mm (ASCII CODE)
SCENE LIB “SCENE___” 0-300 (0:response only)
0ccccccc ch Channel High DATA 0sssssss ss Data Status ( 0:Invalid data,1:Valid Data )
INPUT EQ LIB “INEQ____” 1-200 (1-40:response only)
0ccccccc cl Channel Low OUTPUT EQ LIB “OUTEQ___” 1-200 (1-3:response only) 0nnnnnnn nh Request Number High
0000dddd dd Data28~31bit 0nnnnnnn nl Request Number Low
Dynamics LIB “DYNA____” 1-200 (1-41:response only)
0ddddddd dd Data21~27bit 0ttttttt th Top Number High
INPUT CH LIB “INCHNNL_” 0-200 (0:response only)
0ttttttt tl Top Number Low
0ddddddd dd Data14~20bit OUTPUT CH LIB “OUTCHNNL” 0-200 (0:response only)
0eeeeeee eh End Number High
0ddddddd dd Data7~13bit GEQ LIB “GEQ_____” 0-200 (0:response only)
0eeeeeee el End Number Low
0ddddddd dd Data0~6bit EFFECT LIB “EFFECT__” 1-200 (1-27:response only)
EOX 11110111 F7 End of exclusive
Portico5033 LIB “P5033___” 0-100 (0:response only)
EOX 11110111 F7 End of exclusive
Portico5043 LIB “P5043___” 0-100 (0:response only)
U76 LIB “U76_____” 0-100 (0:response only)
Opt-2A LIB “OPT-2A__” 0-100 (0:response only)
EQP-1A LIB “EQ-1A___” 0-100 (0:response only)
DynamicEQ LIB “DYNAEQ__” 0-100 (0:response only)
Dante Input Patch LIB “DANTEIN_” 0-10 (0:response only)

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4.5.2 Format (PARAMETER REQUEST) 4.6 FUNCTION CALL – COLLECTION STORE – Module Name
Receive User Defined Keys (Admin) “UDEF_ADM”
4.6.1 Format (PARAMETER CHANGE)
The PARAMETER CHANGE will be sent with Device number [Rx CH] immediately User Defined Keys (Guest) “UDEF_GST”
the data is received. Transmission Custom Fader Bank (Current) “CFAD_CUR”
Data will be transmitted with the [Device Number] in [Tx CH] when [PARAMETER Custom Fader Bank (Admin) “CFAD_ADM”
STATUS 11110000 F0 System exclusive message CHANGE Tx] is on. Custom Fader Bank (Guest) “CFAD_GST”
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
STATUS 11110000 F0 System exclusive message User Level (Current) “UKEY_CUR”
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
ID No. 01000011 43 Manufacture’s ID number (YAMAHA) User Level (Guest) “UKEY_GST”
GROUP ID 00111110 3E Digital mixer
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
MODEL ID 00010010 19 CL Series
DATA CATEGORY 00000000 00 OTHER DATA
GROUP ID 00111110 3E Digital mixer 4.7 FUNCTION CALL – MODULE –
MODEL ID 00010010 19 CL Series
FUNCTION NAME 01001100 "L" (ASCII CODE) 4.7.1 Format (PARAMETER CHANGE)
DATA CATEGORY 00000000 00 OTHER DATA
01101001 "i" (ASCII CODE)
FUNCTION NAME 01001100 "C" (ASCII CODE) Receive
01100010 "b" (ASCII CODE)
01101001 "o" (ASCII CODE) Data will be received when [PARAMETER CHANGE Rx] is on and the Device number
01000101 "E" (ASCII CODE) of both [Rx CH] and SUB STATUS are matched. The data will be echoed when
01100010 "l" (ASCII CODE)
01111000 "x" (ASCII CODE) [PARAMETER CHANGE ECHO] is on. The corresponding effect will function
01010101 "U" (ASCII CODE)
01101001 "i" (ASCII CODE) immediately the data is received (depending on the effect type).
01101110 "n" (ASCII CODE)
01110011 "s" (ASCII CODE)
01010011 "S" (ASCII CODE) STATUS 11110000 F0 System exclusive message
01110100 "t" (ASCII CODE)
01110100 "t" (ASCII CODE) ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
MODULE NAME 0mmmmmmm mm (ASCII CODE)
01110010 "r" (ASCII CODE) SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
0mmmmmmm mm (ASCII CODE)
MODULE NAME 0mmmmmmm mm (ASCII CODE)
0mmmmmmm mm (ASCII CODE) GROUP ID 00111110 3E Digital mixer
0mmmmmmm mm (ASCII CODE)
0mmmmmmm mm (ASCII CODE) MODEL ID 00010010 19 CL Series
0mmmmmmm mm (ASCII CODE)
0mmmmmmm mm (ASCII CODE) DATA CATEGORY 00000000 00 OTHER DATA
0mmmmmmm mm (ASCII CODE)
0mmmmmmm mm (ASCII CODE) FUNCTION NAME 01001101 "M"
0mmmmmmm mm (ASCII CODE)
0mmmmmmm mm (ASCII CODE)
0mmmmmmm mm (ASCII CODE) 01101111 "o"
0mmmmmmm mm (ASCII CODE)
0mmmmmmm mm (ASCII CODE) 01100100 "d"
DATA 0nnnnnnn nh Request Number High
0mmmmmmm mm (ASCII CODE) 01000110 "F"
0nnnnnnn nl Request Number Low
DATA 0nnnnnnn nh Number High 01111000 "x"
EOX 11110111 F7 End of exclusive
0nnnnnnn nl Number Low 01010100 "T"
0ccccccc ch Channel High
01110010 "r"
4.5.3 Module Name 0ccccccc cl Channel Low
01100111 "g"
Module Name Number EOX 11110111 F7 End of exclusive
MODULE NAME 0mmmmmmm mm (ASCII CODE)
SCENE LIB “SCENE___” 1-300
0mmmmmmm mm (ASCII CODE)
INPUT EQ LIB “INEQ____” 41-200 4.6.2 Function Name
OUTPUT EQ LIB “OUTEQ___” 4-200 0mmmmmmm mm (ASCII CODE)
Function Number tx/rx 0mmmmmmm mm (ASCII CODE)
Dynamics LIB “DYNA____” 42-200
“ColUnStr” Setup 0 tx
INPUT CH LIB “INCHNNL_” 1-200 0mmmmmmm mm (ASCII CODE)
User Defined Key 0 tx
OUTPUT CH LIB “OUTCHNL” 1-200 0mmmmmmm mm (ASCII CODE)
GEQ LIB “GEQ_____” 1-200 Program Change 0 tx 0mmmmmmm mm (ASCII CODE)
EFFECT LIB “EFFECT__” 55-200 Control Change 0 tx 0mmmmmmm mm (ASCII CODE)
Portico5033 LIB “P5033___” 1-100
DATA 0eeeeeee ee Effect number (0:RACK1 - 7:RACK8)
Portico5043 LIB “P5043___” 1-100
4.6.3 Module Name 0ppppppp pp Release:0, Press:1
U76 LIB “U76_____” 1-100
Module Name EOX 11110111 F7 End of exclusive
Opt-2A LIB “OPT-2A__” 1-100
EQP-1A LIB “EQ-1A___” 1-100 Mixer Setting “MIXERSET”
DynamicEQ LIB “DYNAEQ__” 1-100 Outport Setting “OUT_PORT” 4.7.2 Module Name
Dante Input Patch LIB “DANTEIN_” 1-10 Monitor Setting “MONITOR_”
Module Name Number
MIDI Setting “MIDI_SET”
Freeze Play button “FRZPLAY_” 0:RACK1, 2:RACK3, 4:RACK5, 6:RACK7
Lib Number “LIB_NUM_”
Freeze Record button “FRZREC__” 0:RACK1, 2:RACK3, 4:RACK5, 6:RACK7
Program Change Table “PRGMCHG_”
Control Change Table “CTRLCHG_” This will not work when the Effect Type is different.
Preference (Current) “PREF_CUR”
Preference (Admin) “PREF_ADM”
Preference (Guest) “PREF_GST”
User Defined Keys (Current) “UDEF_CUR”

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4.8 FUNCTION CALL – CHANNEL – 4.9 LEVEL METER DATA

4.8.1 Pair ON/OFF Trigger Format (PARAMETER CHANGE) 4.9.1 Format (PARAMETER CHANGE)
Receive When transmission is enabled by receiving Request for Level Meter, the corresponding
metering data will be sent in every 50 millisecond for 10 seconds. If metering
Data will be received when [PARAMETER CHANGE Rx] is on and the Device number
information is expected to be continuously sent, Request is needed to be sent in at least
of both [Rx CH] and SUB STATUS are matched. The data will be echoed when
every 10 seconds.
[PARAMETER CHANGE ECHO] is on.
Receive
STATUS 11110000 F0 System exclusive message
The data will be echoed when [PARAMETER CHANGE ECHO] is ON.
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel) Transmission
GROUP ID 00111110 3E Digital mixer When transmission is enabled by receiving Request, the corresponding metering data
MODEL ID 00010010 19 CL Series will be sent in constant interval for a given period of time (The interval and time will
DATA CATEGORY 00000000 00 OTHER DATA vary depending on devices). When rebooted or port setting is changed, the
FUNCTION NAME 01000011 "C" transmission will be disabled.
When [PARAMETER CHANGE ECHO] is on, the message will be sent as it is.
01101000 "h"
01101100 "l" STATUS 11110000 F0 System exclusive message
01010000 "P" ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
01101001 "i" SUB STATUS 0001nnnn 1n n=0-15 (Device number=MIDI Channel)
01110010 "r" GROUP ID 00111110 3E Digital mixer
01000011 "C" MODEL ID 00010010 19 CL Series
01110000 "p" DATA CATEGORY 00100001 21 REMOTE LEVEL METER
MODULE NAME 0mmmmmmm mm (ASCII CODE) DATA 0mmmmmmm mm ADDRESS UL
0mmmmmmm mm (ASCII CODE) 0mmmmmmm mm ADDRESS LU
0mmmmmmm mm (ASCII CODE) 0mmmmmmm mm ADDRESS LL
0mmmmmmm mm (ASCII CODE) 0ddddddd dd Data1
0mmmmmmm mm (ASCII CODE) : :
0mmmmmmm mm (ASCII CODE) EOX 11110111 F7 End of exclusive
0mmmmmmm mm (ASCII CODE)
0mmmmmmm mm (ASCII CODE) 4.9.2 Format (PARAMETER REQUEST)
DATA 0sssssss sh Source Channel Number H *1)
0sssssss sl Source Channel Number L *1) Receive
0ddddddd dh Destination Channel Number H *1) Data will be received when [PARAMETER CHANGE Rx] is on and the Device number
of both [Rx CH] and SUB STATUS are matched. The data will be echoed when
0ddddddd dl Destination Channel Number L *1)
[PARAMETER CHANGE ECHO] is on. the corresponding metering data will be sent
EOX 11110111 F7 End of exclusive
via [Rx CH] in constant interval for a given period of time (The interval and time will
vary depending on devices).
4.8.2 Module Name When Address UL = 0x7F is received, all metering data transmission will be
immediately stopped [disabled].
Module Name
Pair On (with Copy) “PAIRONCP” Transmission
Pair On (with Reset Both) “PAIRONRS” When [PARAMETER CHANGE ECHO] is on, the message will be sent as it is.
Pair Off “PAIROFF_” STATUS 11110000 F0 System exclusive message
ID No. 01000011 43 Manufacture’s ID number (YAMAHA)
*1) 0 :CH1 - 71:CH72
SUB STATUS 0011nnnn 3n n=0-15 (Device number=MIDI Channel)
256 :MIX 1 - 279:MIX 24
GROUP ID 00111110 3E Digital mixer
512 :MATRIX 1 - 519: MATRIX 8
MODEL ID 00010010 19 CL Series
DATA CATEGORY 00100001 21 REMOTE LEVEL METER
DATA 0mmmmmmm mm ADDRESS UL
0mmmmmmm mm ADDRESS LU
0mmmmmmm mm ADDRESS LL
0ccccccc ch Count H
0ccccccc cl Count L
EOX 11110111 F7 End of exclusive

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Warning/Error Messages Message Meaning

Overwriting was not possible because the file on the USB flash
Message Meaning File Protected!
drive is write-protected.
xxx Parameters Copied. Parameter xxx was copied to the copy buffer. Flash Memory Initializing Finished. Memory initialization has been completed.
xxx Parameters Initialized. Parameter xxx was initialized. Help File Not Found! The help file has not been loaded.
xxx Parameters Pasted. Parameter xxx was pasted from the copy buffer. Illegal Address! The IP address or Gateway address setting is invalid.
Parameter xxx was exchanged with the contents of the copy Communication via the Network connector is not possible
xxx Parameters Swapped with Copy Buffer.
buffer. because the MAC address setting has been damaged for some
Illegal MAC Address! Cannot Use Network.
ALTERNATE FUNCTION: Turned off! ALTERNATE FUNCTION was turned off. reason. Please contact your Yamaha service center listed at the
end of the Owner’s Manual (separate document).
The Monitor Define function allows a maximum of eight sources
Assignment is Restricted to Max. 8 Sources! The USB flash drive could not be accessed because its format is
to be selected, but you attempted to assign more than eight. Illegal Storage Format!
invalid or unsupported.
In the USER DEFINED KEYS popup of the CL3/CL1, you attempted
Cannot Assign! KEY IN CUE was defeated because you switched from the
to edit an item that cannot be edited for that model. KEY IN CUE: Turned Off.
DYNAMICS 1/2 popup window to a different screen.
Cannot Bookmark This Popup. This popup window cannot be bookmarked.
Loading Aborted. Loading from USB flash drive was aborted.
Cannot Paste! Cannot paste the character string.
Loading Finished. Finished loading from USB flash drive.
Cannot Recall to Different Parameter Type! You attempted to recall a library of a different type.
Low Battery! The backup battery voltage is low.
Cannot Recall! Failed to recall a scene memory or library.
The number of songs that can be managed by the USB memory
Maximum Number of Audio Files Exceeded!
You attempted to select a channel that cannot be operated due to recorder has been exceeded.
Cannot Select This Channel.
your user level or some other reason.
All data has been initialized because the data in internal backup
Cannot Store! Failed to store a scene memory or library. Memory Error! All Memories were memory has been lost, due to failure of the backup battery or
Initialized. some other reason. Please contact your Yamaha service center
Cannot Undo! You pressed the [UNDO] button when Undo was not available. listed at the end of the operating manual (separate document).
Couldn’t Access File. File on the USB flash drive could not be accessed for some reason. MIDI: Data Framing Error! An inappropriate signal is being input to the MIDI input port.
Couldn’t Write File. File could not be saved from the USB flash drive. MIDI: Data Overrun! An inappropriate signal is being input to the MIDI input port.
Current User Changed. [xxx] Current user was changed to [xxx]. MIDI: Rx Buffer Full! Too much data is being received at the MIDI input port.
You attempted to delete a directory, but failed because there were MIDI: Tx Buffer Full! To much data is being transmitted from the MIDI output port.
Directory Not Empty!
files remaining in the directory.
In the RECORDER screen, it is not possible to move to a level
EDITOR: Data Framing Error! No Access From Recorder!
Invalid signals are being exchanged with CL Editor. higher than \YPE\SONGS\.
EDITOR: Data Overrun!
A copy-source channel was not selected in the GLOBAL PASTE
EDITOR: Rx Buffer Full! Too much data is being received at the CL Editor input port. No channel selected.
screen.
Too much data is being transmitted from the CL Editor output Your operation has been ignored because there is no parameter
EDITOR: Tx Buffer Full! No Controllable Knob.
port. that corresponds to the knob you operated.
CUE was defeated because you switched from the RACK screen to No Corresponding Help Items. The corresponding section was not found in the Hlep file.
EFFECT CUE: Turned Off.
a different screen.
No ID3 Tag exists. You can not edit. The music file cannot be edited because it has no ID3 tag.
External HA data could not be recalled, because the state of
External HA Connection Conflict! connections to the external HA has changed since the scene was No Response from External HA. No response from an external AD8HR.
stored.
No Response from I/O RACK. The I/O rack is not responding.
The following operation has not been performed yet because the
File Access is Busy! Page Bookmarked. The current screen or popup has been bookmarked.
USB flash drive is being accessed.

The USB flash drive already contains a file/directory with the same Password Changed. The password has been changed.
File Already Exists!
name as the one you are attempting to save, rename, or create. CUE was cancelled for PB OUT because you switched from the
PB OUT CUE: Turned Off.
File Error [xx]! Internal file access error RECORDER screen to another screen.

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 Appendices

Message Meaning Message Meaning

Audio file link playback is not possible because recording is in Sync Error! [xxx] The CL series console is not synchronized to the [xxx] signal.
PlayBack Failed: Recorder is Busy!
progress.
Tap operation was ignored because the TAP TEMPO button is not
Tap Operation Ignored.
You attempted to edit in the DANTE PATCH screen at a time when displayed in the screen.
Please wait, Dante patch is proceeding now.
patching was not possible.
This operation has been ignored because the current user does
This Operation is Not Allowed.
The cooling fan of the internal power supply has stopped. If a not have permission.
malfunction has occurred, please contact your Yamaha service
Power Supply Fan has Malfunctioned! Loading is not possible because the bitmap file is too large. The
center listed at the end of the operating manual (separate Too Large Files! Loading Failed.
document). maximum supported file size is 307,256 Bytes.

Processing Aborted. Processing was interrupted. Copying 31BandGEQ and comparing it to Flex15GEQ has failed
Too Many Bands Used! Cannot Compare.
because more than 15 bands are included in the copy source.
When specifying the user password, the password was not
Re-Enter Password! Copying and pasting 31BandGEQ to Flex15GEQ has failed
entered a second time. Too Many EQ Bands Used! Cannot Paste!
because more than 15 bands are included in the copy source.
RECORDER: CODEC Error [0x%08X] ! A codec error occurred in the RECORDER screen.
Power consumption of the I/O cards installed in the slots has
Total Slot Power Capability Exceeded!
Operation of the button was cancelled because time is required exceeded the rated value.
Recorder Busy: Operation Aborted!
for recorder processing.
The file you attempted to load from the USB flash drive is of an
Unsupported File Format!
CUE was cancelled for RECORDER IN because you switched from unsupported format.
RECORDER IN CUE: Turned Off.
the RECORDER screen to another screen.
Save or Load operations are unavailable because the USB memory
USB Currently Active for Recorder function!
Removed from the Channel Link group. The channel was removed from the link group. recorder is recording or playing.

Saving Aborted. Saving to the USB flash drive has been interrupted. The recorder cannot operate, since mixer scene memory or library
USB Currently Active for SAVE or LOAD!
data is being saved to or loaded from the USB flash drive.
Saving Finished. Finished saving to USB flash drive.
Recording/playback stopped because time is required for USB
No data has been stored in the scene you attempted to recall, or USB Memory Busy: Recorder Stopped!
SCENE #xxx is Empty! flash drive processing.
the data has been damaged so that it cannot be recalled.
Can’t save the RECORDER playlist because there is insufficient free
SCENE #xxx is Protected! You attempted to overwrite (store) a protected scene. USB Memory Full !
space on the USB flash drive.
SCENE #xxx is Read Only! You attempted to overwrite (store) a read-only scene. Recorder processing was halted because the USB flash drive
USB Memory Full! Recorder Stopped.
capacity ran out while the USB memory recorder was operating.
Scene Playback Link Canceled! The audio playback link for the scene was cancelled.
USB Memory is Protected! The USB flash drive’s Protect setting is turned on.
SLOT x: Data Framing Error! Invalid signals are being input from the SLOT x input port.
USB Memory Unmounted! Recorder Recorder processing was halted because the USB flash drive was
SLOT x: Data Overrun! Invalid signals are being input from the SLOT x input port.
Stopped. disconnected while the USB memory recorder was operating.
SLOT x: Rx Buffer Full! Too much data is being received at the SLOT x input port.
USB over current Error! Disconnect USB The USB device was disconnected because of excessive USB
SLOT x: Tx Buffer Full! Too much data is being sent from the SLOT x output port. device. current.

Some songs were not identified. Songs that have not been Recorder was halted because synchronization to the word clock
Some Song Files Are Unidentified. Word Clock Error! Recorder Stopped!
specified might be used for DIRECT PLAY or PLAY BACK LINK. was lost.

The file specified for SCENE LINK or DIRECT PLAY assigned to a Wrong Audio File Format! The format of the audio file is invalid.
Song File Not Found!
USER DEFINED key does not exist.
Wrong Password! The password you input was incorrect.
STAGEMIX: Data Framing Error!
Invalid signals are being exchanged with StageMix. The CL series console cannot synchronize because the source
STAGEMIX: Data Overrun!
Wrong Word Clock! selected by MASTER CLOCK SELECT in the WORD CLOCK screen
STAGEMIX: Rx Buffer Full! Too much data is being received at the StageMix input port. is not appropriate.

Too much data is being transmitted from the StageMix output You Cannot Create User Key. The current user does not have permission to create a user key.
STAGEMIX: Tx Buffer Full!
port.

The file could not be saved because there is insufficient space on

Storage Full!
the USB flash drive.

Storage Not Found! The USB flash drive could not be recognized.

Storage Not Ready! Access is not possible because the USB flash drive is not ready.

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 Appendices

Electrical characteristics * Hum & Noise are measured with A-weight filter.

All faders are nominal when measured. Output impedance of signal generator:150ohms ■ Dynamic Range. Fs= 44.1 kHz or 48 kHz
Input Output RL Conditions Min. Typ. Max. Unit
■ Frequency Response. Fs= 44.1 kHz or 48 kHz @20 Hz–20 kHz, referenced OMNI IN 1-8 OMNI OUT 1-8 600 Ω AD + DA, GAIN: –6dB 108 dB
to the nominal output level @1 kHz — OMNI OUT 1-8 600 Ω DA Converter 112 dB
Input Output RL Conditions Min. Typ. Max. Unit * Dynamic Range are measured with A-weight filter.
OMNI OUT 1-8 600 Ω –1.5 0.0 0.5
OMNI IN 1-8 GAIN: +66dB dB
PHONES 8Ω –3.0 0.0 0.5 ■ Sampling Frequency
Parameter Conditions Min. Typ. Max. Unit
■ Gain Error. Fs= 44.1 kHz or 48 kHz @1 kHz Fs= 44.1 kHz
Fs= 45.9375 kHz (44.1 kHz +4.1667%)
Input Output RL Conditions Min. Typ. Max. Unit Fs= 44.1441 kHz (44.1 kHz +0.1%)
Fs= 44.0559 kHz (44.1 kHz –0.1%)
Input level : –62 dBu , GAIN : +66 dB
Frequency Fs= 42.336 kHz (44.1 kHz –4.0%)
 Output level +4.0 dBu (Typ.) –200 +200 ppm
OMNI IN 1-8 OMNI OUT 1-8 600 Ω –2.0 0 2.0 Range Fs= 48 kHz
Input level : +10 dBu , GAIN : –6 dB External Clock
Fs= 50 kHz (48 kHz +4.1667%)
 Output level +4.0 dBu (Typ.)
dB Fs= 48.048 kHz (48 kHz +0.1%)
Full scale output, Output level : Fs= 47.952 kHz (48 kHz –0.1%)
OMNI OUT 1-8 600 Ω –0.5 0 0.5
+24.0 dBu (Typ.) Fs= 46.080 kHz (48 kHz –4.0%)
Internal OSC
–30 dBFs, phones level control : max. DIGITAL IN Fs= 44.1 kHz
PHONES 8Ω –0.5 0 0.5 Jitter of PLL 10 ns
 Output level 0 dBu (Typ.) DIGITAL IN Fs= 48 kHz
Word Clock : Int 44.1 kHz 44.1
Frequency kHz
■ Total Harmonic Distortion. Fs= 44.1 kHz or 48 kHz Word Clock : Int 48 kHz 48
Word Clock : Int 44.1 kHz
Input Output RL Conditions Min. Typ. Max. Unit Internal Clock Accuracy –50 +50 ppm
Word Clock : Int 48 kHz
+4 dBu @20 Hz–20 kHz, GAIN: +66dB 0.1
OMNI IN 1-8 OMNI OUT 1-8 600 Ω Word Clock : Int 44.1 kHz 4.429
+4 dBu @20 Hz–20 kHz, GAIN: –6dB 0.05 Jitter ns
Word Clock : Int 48 kHz 4.069
OMNI OUT 1-8 600 Ω Full Scale Output @1 kHz 0.02 %
Internal OSC Full Scale Output @1 kHz, PHONES Level
PHONES 8Ω 0.2
Control: Max.

* Total Harmonic Distortion is measured with a 18 dB/octave filter @80 kHz

■ Hum & Noise. Fs= 44.1 kHz or 48 kHz, EIN= Equivalent Input Noise
Input Output RL Conditions Min. Typ. Max. Unit
Rs= 150 Ω, GAIN: +66dB –128
Master fader at nominal level and one EIN
Ch fader at nominal level. –62
OMNI IN 1-8 OMNI OUT 1-8 600 Ω
Rs= 150 Ω, GAIN: –6dB
Master fader at nominal level and one –84 –79
Ch fader at nominal level.
dBu
Rs= 150 Ω, GAIN: –6dB
All INPUTs OMNI OUT 1-8 600 Ω Master fader at nominal level and all –70
OMNI IN 1-8 in faders at nominal level.
— OMNI OUT 1-8 600 Ω Residual Output Noise, ST Master Off –88
Residual Output Noise, PHONES Level
— PHONES 8Ω –88
Control Min.

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 Appendices

Mixer Basic Parameters Function Parameter ■ Output Function

Type: Gate/Ducking/Comp/Expander Function Parameter
Threshold= Gate: –72 dB to 0 dB
■ Libraries Others: –54 dB to 0 dB
Attenuator –96 dB to 0 dB
Frequency= 20 Hz to 20 kHz
Name Number Total Ratio= 1:1 to ∞:1
Gain= –18 dB to +18 dB
Scene Memory Preset 1 + User 300 301 Attack= 0 msec to 120 msec
Q= 0.10 to 10.0
Input CH Library Preset 1 + User 199 200 Hold= 48 kHz: 0.02 msec to 1.96 sec 4Band Equalizer
44.1 kHz: 0.02 msec to 2.13 sec Low Shelving (Low Band)
Output CH Library Preset 1 + User 199 200
Decay= 48 kHz: 5 msec to 42.3 sec High Shelving, LPF (High Band)
Input EQ Library Preset 40 + User 159 199
44.1 kHz: 6 msec to 46.1 sec Type I/Type II
Output EQ Library Preset 3 + User 196 199 Dynamics 1
Releace= 48 kHz: 5msec to 42.3 sec Insert Insert Point: Pre EQ/Pre Fader/Post On
Dynamics Library Preset 41 + User 158 199 44.1 kHz: 6 msec to 46.1 sec Type: Comp/Expander/Compander H/Compander S
Effect Library Preset 27 + User 172 199 Range= Gate: –∞ dB to 0 dB Threshold= –54 dB to 0 dB
GEQ Library Preset 1 + User 199 200 Ducking: –70 dB to 0 dB
Ratio= 1:1 to ∞:1
Premium Rack Library Gain= 0.0 dB to +8dB Compander: 1:1 to 20:1
Portico5033 Knee= Hard to 5 (soft)
Portico5043 Attack= 0 msec to 120 msec
U76 Preset 1 + User 199 200 Key In: Self Pre EQ/Self Post EQ/Mix Out21-24 Release= 48 kHz: 5 msec to 42.3 sec
Ch1-STIN8R (8ch block) Dynamics 1
Opt-2A 44.1 kHz: 6msec to 46.1 sec
EQ-1A Key In Filter: HPF/LPF/BPF Gain= –18 dB to 0 dB, 0 dB to + 18 dB
DynamicEQ Type: Comp/De-Esser/Compander H/Compander S Knee= Hard to 5 (soft)
Dante Input Patch Library Preset 1 + User 10 11 Threshold= –54 dB to 0 dB Key In: Self Pre EQ/Self Post EQ/Mix Out21-24 MIX24/
Ratio= 1:1 to ∞:1 MTRX1-8/STIN LR/MONO(C) (8ch block)
■ Input Function Compander: 1:1 to 20:1 Width= 1 dB to 90 dB
Function Parameter Attack= 0 msec to 120 msec Fader Level: 1024 steps, ∞, –138 dB to +10 dB
Phase Normal/Reverse Release= 48 kHz: 5 msec to 42.3 sec On On/Off
44.1 kHz: 6 msec to 46.1 sec
Digital Gain –96 dB to +24 dB Pan/Balance Position L63 to R63
Dynamics2 Gain= –18 dB to 0 dB, 0 dB to +18 dB
Slope= 12 dB/Oct Mute Group 8 Groups
HPF Knee= Hard to 5 (soft)
Frequency= 20 Hz to 600 Hz Mix to Matrix Matrix Send Point: Pre Fader/Post On
Key In: Self Pre EQ/Self Post EQ/Mix Out21-24
Attenuator –96 dB to 0 dB Stereo to Matrix Level: 1024 steps, ∞, –138 dB to +10 dB
Ch1-STIN8R (8ch block)
Frequency= 20 Hz to 20 kHz Width= 1 dB to 90 dB Level= 0 to –96dB (1 dB step)
Oscillator
Gain= –18 dB to +18 dB On/Off= Software control
Frequency= 1.0 KHz to 12.5KHz
4 Band Q= 0.10 to 10.0 TYPE= HPF, BPF
Equalizer Low Shelving (Low Band)
■ Output Port
Q= 0.10 to 10.0
High Shelving, LPF (High Band) Fader Level: 1024 steps, ∞, –138 dB to +10 dB Function Parameter
Type I/Type II On On/Off Out Port Delay 0 msec to 1000 msec
Insert Insert Point: Pre EQ/Pre Fader/Post On Position L63 to R63 Out Port Phase Normal/Reverse
Pan/Balance
Direct Out Direct Out Point: Pre HPF/Pre EQ/Pre Fader/Post On Pan Mode: Pan/Balance Gain –96 to +24 dB
DCA Group 16 Groups
Mute Group 8 Groups ■ Processor
24 sends
Function Parameter
Fix/Variable can be set each two mixes
Mix Send GEQ 31 bands x 16(24) or 15 bands x 32(48) systems
Mix Send Point: Pre EQ/Pre Fader/Post On
Effects Stereo In/Stereo Out multi effector x 8 systems
Level: 1024 steps, ∞, –138 dB to +10 dB
Premium Rack Stereo(Dual) In/Stereo(Dual) Out Premium Rack x
8 Sends Parameter 8 systems
Matrix Send Matrix Send Point: Pre EQ/Pre Fader/Post On
Level: 1024 steps, ∞, –138 dB to +10 dB
LCR Pan CSR= 0% to 100%
DELAY 0 ms to 1000 msec

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 YAMAHA [ Digital Mixing Console ] Date: 1 Mar. 2012
Model: CL5/CL3/CL1 MIDI Implementation Chart Version: 1.0

Function... Transmitted Recognized Remarks

Basic Default 1–16 1–16

Memorized
Channel Changed 1–16 1–16

Default X 1, 3
Mode Messages X X Memorized
Altered ************** X

Note 0–127 0–127

True Voice
Number X X

Note On O 9nH, v=0,127 O 9nH, v=1-127

Velocity Effect Control
Note Off X O

After Key’s X X
Touch Ch’s X X
Pitch
X X
Bend

0,32 O O Bank Select

6,38 O O Data Entry
Control
98,99 O O NRPN LSB,MSB
M

Change
1-31,33-95, 102- O O Assignable Cntrl

259
119

Prog O 0–127 O 0–127

Assignable
Change :True# ************** 0–300

System Exclusive O *1 O *1,*2

:Song Pos. X X
Common :Song Sel. X O Recorder Control
:Tune X X

System :Clock X O
Effect Control
Real Time :Commands X X
IDI Implementation Chart

:All Sound Off X X

:Reset All Cntrls X X
Aux :Local ON/OFF X X
Messages :All Notes OFF X X
:Active Sense X O
:Reset X O

*1 Bulk Dump/Request and Parameter Change/Request.

Notes
*2 MMC

Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO O: Yes

Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO X: No
Appendices

Reference Manual
 Appendices

Index F M R
Factory set........................................................ 195 Master fader.................................................... 169 Recall Safe function.......................................... 87
A Fade function..................................................... 90 MATRIX buses................................... 39, 51, 192 Recall scenes.............................................. 79, 147
Assignable encoders ....................................... 167 Focus function................................................... 86 MBCL meter bridge (optional) .................... 110
Functions that can be assigned................. 247 Function Tree...................................................... 4 METER screen................................................ 108 S
Audio file (links to a scene recall) .................. 93 Meters .............................................................. 108 Scene memory .................................................. 76
G MIDI ................................................................ 144 Editing ........................................................... 81
C Gain .................................................................... 30 MIDI Data Format......................................... 248 Security ............................................................ 153
Calibration function.............. 196, 197, 198, 199 Analog gain.................................................... 30 MIDI Implementation Chart ....................... 259 SELECTED CHANNEL section....................... 6
Cascade connections ...................................... 190 Digital gain .................................................... 34 MIX buses ................................................. 39, 192 SELECTED CHANNEL VIEW screen............ 7
Centralogic section........................................... 11 Gain Compensation ................................... 34, 35 MIX channels SETUP screen ................................................. 186
Channel Global Paste function ....................................... 84 Sending to MATRIX buses.......................... 51 Slot.................................................................... 188
Copying, moving, initializing ..................... 72 GPI.................................................................... 205 Sending to STEREO/MONO bus ............... 48 STEREO/MONO buses............................. 35, 48
Channel color................................... 29, 193, 199 Graphic EQ...................................................... 111 Mixer Basic Parameters................................. 258 STEREO/MONO channels
Channel library ........................................... 45, 54 Libraries ....................................................... 134 Mixing parameter operation applicability.. 238 Sending to MATRIX buses ......................... 51
Channel Link..................................................... 69 Operations ................................................... 115 Monitor function ....................................... 95, 96
Channel name displays .................................. 193 Grouping............................................................ 63 Mute groups................................................ 63, 65 T
Console Lock................................................... 170 Talkback .......................................................... 103
Control Changes H N Title list ............................................................ 182
Control parameters .................................... 150 HA (Head Amp) ............................................... 30 Network address ............................................ 194 TOUCH AND TURN.................................... 166
Cue function................................................ 95, 99 NRPN parameter assignments..................... 234 Touch screen................................................... 193
Operating..................................................... 100 I Nuendo Live ................................................... 183
Custom fader bank ......................................... 168 I/O rack ............................................................ 135 U
Remotely controlling.................................. 135 O USB flash drive
D Initialize ........................................................... 195 Oscillator ................................................. 103, 105 Formatting .................................................. 175
Dante audio network ............................... 15, 201 Input channels................................................... 27 Output channels................................................ 46 Loading a file .............................................. 173
DAW .................................................................. 25 Channel library ............................................. 45 Channel library ............................................. 54 Playing back audio files............................. 180
DCA groups ...................................................... 63 Channel name and icon............................... 28 Channel name and icon ............................... 47 Recording audio ......................................... 178
Directly outputting........................................... 23 Sending to MIX/MATRIX bus ................... 39 Output Delay ..................................................... 54 Saving and loading setup data.................. 172
Dynamics..................................................... 55, 58 Sending to STEREO/MONO buses ........... 35 Output patch...................................................... 16 USB memory recorder................................... 176
Libraries ......................................................... 62 Input Delay ........................................................ 44 OVERVIEW screen .......................................... 12 USER DEFINED keys.................................... 164
DYNAMICS Library List............................... 212 Input patch ........................................................ 19 Functions that can be assigned................. 243
Dynamics Parameters .................................... 214 Inserting ............................................................. 21 P USER DEFINED knobs................................. 166
Internal clock................................................... 194 Parameter Changes........................................ 152 Functions that can be assigned................. 246
E Internal effects................................................. 119 Parameters that can be assigned to User Level settings.......................................... 153
Effect................................................................. 111 control changes ............................................. 232
Libraries ....................................................... 134 L Patching.............................................................. 15 V
Effect Type List ............................................... 216 Lamps ............................................................... 193 Pink frame (TOUCH AND TURN)............ 166 Virtual rack ..................................................... 111
Effects and tempo synchronization ............. 231 LEDs ................................................................. 193 Preferences...................................................... 163 Operations................................................... 112
Effects Parameters .......................................... 217 Linking ............................................................... 63 Premium Rack................................................ 127
Electrical characteristics ................................ 257 Libraries ...................................................... 134 W
EQ ....................................................................... 55 Premium Rack Processor Parameters......... 229 Warning/Error Messages .............................. 255
Libraries ......................................................... 62 Program Changes........................................... 147 Word clock...................................................... 188
EQ Library List................................................ 211
External device.................................................. 21
External head amp.................................. 135, 139

260 Reference Manual

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