The M7CL would typically be a good option, but before getting caught up in the equipment, step back and look at the
system overall. You can always upgrade or replace the
console in a few years but you'll probably be stuck with the cabling, connectivity and perhaps even the
speaker system for years to come. What you probably don't want to do is push for the cool
console and have it adversely affect other areas that will be very difficult to
address in the future. So first make sure you have the connectivity you need where you need it, with some extra for growth and unknowns, and the basic functionality you want is supported. Then look at the
speaker system and if it meets the needs.
Once you've gotten the connectivity and
speaker systems where you need them, then that will define some of the capabilities required of the
console. With that information you can really start looking at what
console works for the application. Put simply, design the
system and select the
console that fits rather than selecting a
console and designing the
system, or what you can do, around it. It is very easy and understandable to get caught up in the excitement of new gear but after the "new" wears off it is really about how it helps you do your job and not what it is.
I have had people
point out that in some theatrical applications one potential limitation of the
Yamaha M7CL is the number of inputs that can be controlled. You can add cards for a larger quantity of physical input and output ports but as far as control channels you are fixed at 32
mono and 4 stereo input channels on the M7CL-32 and 48
mono and 4 stereo input channels on the M7CL-48. In comparison, an LS9-32 can support the same mix buses as the M7CL but up to 64
mono input channels. This is the type of situation where knowing the actual I/O involved may be a factor in the
console selection.