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"The audiences can be very loud, so I have to ride levels a lot. But there are only four main voices to deal with; I'm using compressors in the desk on all of them, all the performers can go from a whisper to a scream as I'm sure you're aware; the compressors are really smooth, I'm very impressed. It's the same with effects, I'm not using a whole lot for the show, a bit of delay and a couple of reverbs, but they all sound really nice. That's one of the key features of the desk - with a PA like this you can tell - the desk doesn't colour the sound at all."
"To me the desk appears like it has been designed by a sound engineer not by a software engineer. It works to the same logic I do, when you need something it's there."
"It's straight forward to use, sounds great and it's small size means it'll fit in more venues."
"The touch screen really speeds using the console up and there's no need for a separate mouse and keyboard. The full recall means that I can save to a USB key, come back to the same show weeks later, stick it in and away we go. Job done!"
"I'm very happy with the new console (M7CL) and believe Yamaha are the leading edge in digital desks."
"Quite simply, Yamaha digital desks are the best sounding desks on the market bar none at the moment."
"It's very easy to use, in fact it's almost like an analogue desk in digital format. We've trained up 10 people to use the desk and without exception, everyone walked away thinking it was a great piece of equipment. It normally takes about 5 minutes to get a handle on the desk, everything is right there in front of you."
"The M7CL is the one product I had to try. My first thought was that of comparing it to the PM1D and PM5D-RH, but naturally the price difference could have made me think that it should be considered as a toy … no way! It really has all I ever could need for this particular show and as well as delivering excellent audio quality and superb recall, it keeps rental costs for the producer down to a minimum and only takes away three seats from the theater's income."
"As soon as it was delivered I set it up for a musical, Nino D'Angelo's "Core Pazzo". A total of 21 DPA headsets, a couple of spares and a stereo pair of channels for all of the musical tracks, backed up on a stereo return from a PC on stage. Being a musical, my idea was to keep all channels in the "safe" mode for channel gains, eq, dynamics and matrix sends, all post fader. Since we are not using a monitor engineer, the man responsible for all the mics, Diego Jacuz (actually a sound engineer), has partial control of matrix mixes I was sending on stage; one for the main vocal, one for all the other singers and another one for the music tracks. These three matrixes go into a Yamaha 03D and are sent to the four monitor lines on stage. All graphic equalizing is done with the M7CL's onboard mono equalizers, three in fact. FOH has a stereo equalizer inserted into its path. The other four effects rack spaces are used for my effects in FOH."
"The touch screen and the "Central Logic" area is precious and practical and are definitely two advantages compared to the two previous models in matter of speed. Something else to keep in mind is that the 48 channels are all on one layer and at eye's reach at all times."
"So far we've done about 40 shows and I still haven't had any problem. I consider myself a sort of beta tester, being one of the first in Italy to use the M7CL and my feelings are very positive towards this product as they always have been for the PM1D and PM5D-RH. There are a few features that could be added to future software upgrades and I'm sure that after more users get their hands on the board they will contribute to these upgrades with their ideas as well. I am constructing a list of these features that will be object of correspondence between Yamaha and myself as I prefer to keep them as private as possible for now. I must say that two lamps could have been added to the package, but at least this time there is a dust cover, as opposed to the PM5D-RH package."
