Crest Audio CPM 2462, Operating Manual

Page 1: ...CPM 2462 Operations Manual For more information on other great Crest products go to your local Crest dealer or online at www crestaudio com Operating Guide ...

Page 2: ...ole est utilisé dans ce manuel pour indiquer à l utilisateur la présence d une tension dangereuse pouvant être d amplitude suffisante pour constituer un risque de choc électrique Ce symbole est utilisé dans ce manuel pour indiquer à l utilisateur qu il ou qu elle trouvera d importantes instructions concernant l utilisation et l entretien de l appareil dans le paragraphe signalé ATTENTION Risques d...

Page 3: ...cturer or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over 14 Unplug this apparatus during lightning storms or when unused for long periods of time 15 Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liqu...

Page 4: ...tputs 2 balanced XLR Four mono subgroups 1 through 4 One stereo subgroup pair 5 and 6 Phase and pad switches on 1 and 2 Mute switch clip LED and signal present LED on all input channels Switchable low cut filter on Channels 3 8 Smooth 60 mm left and right master faders PFL on all input channels and subgroups Stereo headphone and control room outputs Balanced mono output XLR with separate level con...

Page 5: ...hen needed We are certain your CPM 2462 will provide you with a pleasurable mixing experience III BREAK IT DOWN Before we jump right in let s break the CPM 2462 down into smaller units so we can observe them individually It s good that you get an understanding of these units before we begin hooking up external equipment This is a basic explanation of signal flow described in the order at which a s...

Page 6: ...ddition of the low cut filter switchable and the deletion of the pad and polarity switches If you are mixing a device that may need a switchable pad and or polarity such as a bass drum it is recommended to place them on Channels 1 and 2 Also the mid EQ center frequency is adjustable from 100 Hz to 3 kHz The block diagram below is typical of Channels 3 8 and reflects the differences mentioned above...

Page 7: ...grams showing these channels help show how this routine works NOTE These additional stereo line input add tremendous versatility to the CPM 2462 by providing eight stereo inputs in addition to the 16 mic inputs MIXES When we speak of the various mixes on the CPM 2462 we are basically speaking of the resultant signals from the various buses found at the CPM 2462 outputs Let s take a look at the ind...

Page 8: ...master fader The following block diagram shows Groups 1 and 2 typical of 3 and 4 GROUPS 5 AND 6 OUTPUTS CHANNELS 9 16 Groups 5 and 6 do not have faders like Groups 1 4 Groups 5 and 6 are meant to provide a stereo signal 5 Left and 6 Right to be placed on any of the following buses Groups 1 2 Groups 3 4 Main Left Right and the Aux 1 2 All buses are selectable by switch except for the Aux 1 2 bus Th...

Page 9: ...hannel controls for the respective Aux channel The following block diagram shows the Aux 3 4 5 and 6 signal flow HEADPHONE AND CONTROL ROOM OUTPUTS The last section is the Headphone Control Room section The purpose of this area is to provide the headphone output and control room output as well as determine what mix is present at those outputs This section also provides the Tape In Out functions of...

Page 10: ...channel or group the CPM 2462 automatically switches to monitor it This disables the ability to hear the AUX 1 2 2 TRK and Main Left Right mixes through the headphone or control room outputs The following block diagram shows the signal flow of the Headphone Control Room section With the CPM 2462 broken down into subsections it is much easier to route signals throughout the mixer and obtain the var...

Page 11: ...l patchbay of the CPM 2642 where all inputs and outputs except the HEADPHONE OUTPUT can be found The actual input channel connections are described in section VI Input Channels After proper power has been supplied to the CPM 2642 the next step is to connect any outboard equipment such as recording devices effects units equalizers and power amps This section describes the optimum method for connect...

Page 12: ...with a pair of parallel RCA connectors 10 MAIN OUT RCA These outputs duplicate the MASTER L R main unbalanced output with a pair of RCA connectors for convenient connection to a tape machine input 11 GROUP 1 6 OUTPUTS These six unbalanced 0 dBu 2 k Ohm 1 4 TS outputs provide the signals from GROUP 1 6 12 AUX 1 2 OUTPUTS Each of the two AUX1 2 master mix channels has a 0 dBu 2 k Ohm 1 4 unbalanced ...

Page 13: ...o the signal path between the MIC LINE TAPE inputs and before the EQ The tip has the send signal the ring is the return input A switch in the jack normally connects the send to the return until a plug is inserted 17 DIRECT OUTPUT This is a 1 4 TS post fader post mute pre pan unbalanced channel output ideal for a tape send 18 PAD SWITCH CHANNEL 1 AND 2 ONLY The Pad Switch attenuates the microphone ...

Page 14: ...hat varies the low frequency levels 15 dB Corner frequency is 80 Hz 25 AUX 1 2 These controls adjust the level of the channel pre fader signal that is added to AUX 1 2 mix Unity gain is at the center detente position and 10 dB of gain in the full clockwise position 26 AUX 3 5 AUX 4 6 These two controls adjust the level of the channel post fader signal that is added to either AUX 3 4 or AUX 5 6 mix...

Page 15: ...from the Master L R mix default to the PFL mix It also connects the PFL signal to the R meter to aid the setting of the input gain and is not affected by the mute switch position Depressing any one of the PFL switches illuminates the corresponding channel PFL yellow LED and simultaneously activates a blinking 1 Hz yellow master LED in the master PFL section 34 ASSIGNMENT SWITCHES L R Group 1 2 Gro...

Page 16: ... input on the corresponding input channel 9 16 is muted and the line signal is routed through that channel On channels 9 14 the signal is summed mono On channels 15 and 16 the stereo signal is maintained 41 LINE INPUT LEVEL The line input level control adjusts the stereo line input from infinity to unity gain at the center detent and to 6 dB at the full clockwise position When assigned to group 5 ...

Page 17: ... connectors ranges from 97 to 10 dB The reference setting for these controls is 0 dB unity gain position 47 MASTER GROUP 1 4 R ASSIGNMENT SWITCH Each R ASSIGNMENT SWITCH assigns the Group post fader signal to the Master R channel 48 MASTER GROUP 1 4 L ASSIGNMENT SWITCH Each L ASSIGNMENT SWITCH assigns the Group post fader signal to the Master L channel 49 PFL The PFL switch connects the Group 1 4 ...

Page 18: ...hen one of the PFL switches on any channel or Group is engaged these outputs listen to the PFL mono signal in both headphones 56 HEADPHONE CR LEVEL CONTROL This control adjusts the level of the stereo Headphone and Control room outputs 57 L R AUX 1 2 2TRK SELECTORS These two switches select which source signal L R AUX 1 2 or 2TRK input is to be monitored on the headphone and CR outputs when none o...

Page 19: ...unbalanced dynamic microphones or other devices that cannot handle this voltage Some wireless mic receivers may be damaged Consult their manuals The Line Input jacks 15 and 40 are not connected to the 48V supply and are safe for all input sources 19 ...

Page 20: ...20 CPM 2462 Block Diagram VIII ...

Page 21: ...21 RSM 4062 Block Diagram ...

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Page 25: ...ound with pad 30 dB Bal Pin 2 Channels 1 2 20 k Min Gain 10 10 32 Pin 3 10 dB Line Max Gain 50 30 8 1 4 TRS Channels 30 dB Bal Tip 1 8 20 k Min Gain 10 10 32 Ring 10 dB Sleeve Ground Line L Mono R Channel 20 k Max Gain 6 0 22 Unbal 1 4 TS 9 16 6 dB Tip Sleeve Ground 1 4 TS Two Track 10 k N A 0 0 24 Unbal Tip Tape Sleeve Ground 0 dBu 0 775V RSM Minimum input level Sensitivity is the smallest signal...

Page 26: ...0 22 Unbalanced Tip Sleeve Ground 1 4 TRS Headphones 8 14 8 Unbalanced Tip Left 22 No load Ring Right Sleeve Ground 26 Gain Mic Input to Channel Insert Send Variable 10 dB to 50 dB Mic Input to Channel Direct Output Ch 1 to 8 Variable 20 dB to 60 dB Mic Input to Group 1 to 4 or L R out 70 dB Mic Input to Master L R through Group 1 to 4 80 dB Frequency Response Mic Input to L R Master 20 Hz to 20 k...

Page 27: ... Channel controls down Aux 3 to 6 90 Channel Controls Nom Min Gain Ref Nom Out Level 0 dBu 78 Channel Controls Nom Max Gain 93 Channel Muted Hum and Noise with filter 22 Hz to 22 kHz Crosstalk 1 kHz 20 Hz to 20 kHz Channel 85 85 Adjacent Input Channel 75 60 L to R 75 60 Odd to Even Group 1 thru 4 Common Mode Rejection Ratio C M R R MIC Input 70 dB Typical 1 kHz Max Gain 60 dB Typical 20 Hz to 20 k...

Page 28: ...or Line Style Thick Data Axis Cyan Solid 1 Anlr Ampl Left Cyan Solid 1 Anlr Ampl Left Cyan Solid 1 Anlr Ampl Left 20 20 17 5 15 12 5 10 7 5 5 2 5 0 2 5 5 7 5 10 12 5 15 17 5 d B r 20 20k 50 100 200 500 1k 2k 5k 10k Hz CPM 2642 Channel 1 and 2 Mid EQ ...

Page 29: ...29 CPM 2642 Ch 3 8 Mid EQ ...

Page 30: ...30 CPM 2642 Channel Shelving EQ and LC Filter ...

Page 31: ...31 CPM 2642 Channel 15 Mid ...

Page 32: ...78 NOTES ...

Page 33: ...NOTES ...

Page 34: ...NOTES ...

Page 35: ...nty Crest Audio will pay the return shipping charges How To Get Warranty Service 1 Take the defective item and your sales receipt or other proof of date of purchase to your Authorized Crest Audio Dealer or Authorized Crest Audio Service Center OR 2 Ship the defective item prepaid to Crest Audio 100 Eisenhower Dr Paramus NJ 07652 Include a detailed description of the problem together with a copy of...

Page 36: ...ures and specifications subject to change without notice Crest Audio Inc 16 00 Pollitt Drive Fair Lawn NJ 07410 USA Telephone 201 909 8700 Fax 201 475 4677 www crestaudio com 2003 Printed in the U S A 8 03 ...