User’s Guide
for the
CRATE AUDIO
CMX62
Stereo Console Mixer
In order to achieve maximum performance from
your new Crate Audio Mixer we recommend that
you read this user’s guide prior to its use.
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CMX62 Stereo Console Mixer
Introduction:
In the world of professional sound reinforcement and audio reproduction there is no
room for compromise. It is absolutely vital that the emotions of a performance are projected
to your audience, not just sounds. Your new Crate Audio CMX62 Stereo Console Mixer is a
powerful tool which allows you to successfully bridge the gap between performers and audi-
ence without losing any of the “life” of the performance in the process. No matter what your
particular application, your Crate Audio mixer is ready to meet the challenge with a level of
performance and control unequaled by its competition.
Crate Audio mixers are the result of our many years of experience with high-performance
audio equipment combined with our extensive research and development procedures and guid-
ed by our inherent love of musical performances. Each mixer is built using a variety of innova-
tive construction methods making it truly reliable and incredibly roadworthy. Its diverse features
offer you an extremely high degree of versatility and flexibility regardless of application and it is
designed to keep you constantly in total control of your performing environment, always with
the best possible sound.
Features:
Crate Audio mixers combine the latest technology with contemporary styling and flexible
features. Exceptionally low noise, incredible headroom and outstanding features make the
Crate Audio mixer perfect for use on stage, in the home studio, or for “institutional” use. This
unique mixer offers stereo Tape In and Out jacks with Level controls, switchable Phantom
Power, a level-controllable Headphones jack, dual 12-step LED ladders with Peak indicators,
and more. Each of the six mono input channels offers you the choice of balanced XLR Low-Z
or balanced 1/4" Hi-Z Input jacks, three bands of equalization, a Low Cut switch, a Pan con-
trol, a pre/post switchable Aux send and an Effects send. Gain controls for each mono channel
and signal and peak LEDs for all channels allow for optimum signal-to-noise ratios. High-qual-
ity sliding faders allow smooth and precise control over each channel’s output. Two stereo
line-level input channels are provided for additional flexibility. Every channel features a Group/
Main L/R assign switch and a PFL (pre-fader listen) switch for increased versatility and control.
The stereo channels feature a +4/-10dBv input sensitivity switch to accomodate a wide range of
input signals.
The color-coded knobs help you know at a glance if you’re reaching for a Level knob, an
EQ control, a Pan pot or Master slider.
These mixers are adaptable for mounting in a standard 19” rack if so desired. Your Crate
Audio dealer has the optional rack-mount ears for the mixer.
About this Manual:
This manual is the compilation of many hours of discussions with engineers, musicians,
experts in the field of sound reproduction and novices. While we strive to provide as compre-
hensive and informative a manual as possible, we realize we cannot convey every application
imaginable or answer every possible question. We have endeavored to cover as much as is
practical in this owner’s manual and have provided suggested wiring diagrams for you to use
as a starting point for your application.
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CMX62 Stereo Console Mixer
The Mono Input Channels (1 – 6):
1
2
3
MIC IN: An XLR jack for balanced Low-Z mic inputs. When using a condenser mic,
the Phantom Power switch (#63, rear panel - page 7) must be activated.
LINE: A Tip/Ring/Sleeve 1/4” jack for balanced Hi-Z mics, instruments, drum machines,
and similar high impedance line level signals.
1
INSERT: A Tip/Ring/Sleeve 1/4” jack for adding an external signal processor to the
channel. The wiring diagram for this jack is shown on page 13. Applications informa-
tion is shown on pages 8 – 13.
2
3
4
5
6
7
GAIN: Adjusts the input signal level. Proper setting causes the Peak LED (#13) to flash
at strong input signals.
HIGH: Controls the high frequency level for the channel. Allows 15dB @ 12kHz.
Shelving type.
MID: Controls the middle frequency level for the channel. Allows 15dB @ 800Hz.
Bandpass type.
LOW: This controls the low frequency level for the channel. Allows 15dB @ 70Hz.
Shelving type.
•Additional EQ information is on page 14.
4
5
8
9
LOW CUT: Reduces the low frequency output of the channel at a rate of 18dB per
octave at 75Hz. Active in the up position.
AUX: Controls the level of the signal sent from the channel to the Aux Out master con-
trol (#49). Use as a monitor send (Pre/Post switch, #10, in the “Pre” position) or as an
effects loop send (Pre/Post switch, #10, in the “Post” position).
6
7
8
10 PRE/POST: The signal sent by the Aux control (#9) can be set to either pre-fader (switch
in the “Pre” position) or post-fader (switch in the “Post” position).
9
10
11 EFF: Controls the level of the signal sent from the channel to the Eff Out master control
(#50). Use as an effects loop send.
11
12 PAN: Divides the signal proportionally between the left and right channels of the Main
L/R fader (#60) or the Group 1/2 faders (#59), depending on the setting of the Grp / L/R
switch (#16).
12
17
13
14
15
13 PEAK LED: Illuminates when the input signal level is within 6dB of clipping. Proper set-
ting of the Gain control (#4) will cause this LED to flash only on strong input signals.
14 -20dB LED: Illuminates when the input signal level is above -20dBv. This serves as a
“signal present” LED.
16
15 PFL: This switch, when depressed, sends the channel’s signal to the Monitor master
control (#51). The Output LED Meters (#57) are also switched to monitor this signal,
which is pre-fader. The PFL LED (#55) illuminates to indicate that the Headphones
(#39), Monitor (#42) and LED Meters (#57) are now responding to the PFL selection.
16 GRP / L/R: This switch determines whether the signal is sent to the Group 1/2 master
faders (#59) or the Main L/R master fader (#60).
17 FADER: Controls the level of the signal sent to either the Group 1/2 faders (#59) or the
Main L/R fader (#60), depending on the setting of the Grp / L/R switch (#16).
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CMX62 Stereo Console Mixer
The Stereo Input Channels (7 – 10):
18 LEFT/MONO: A Tip/Sleeve 1/4” jack for instruments, drum machines, tape/CD chan-
nels and similar high impedance signals. For stereo inputs use this jack for the left
channel input and the Right jack (#19) for the right channel input. For mono inputs
use this jack only.
19 RIGHT: A Tip/Sleeve 1/4” jack for instruments, drum machines, tape/CD channels
and similar high impedance signals. For stereo inputs use this jack for the right chan-
nel input and the Left/Mono jack (#18) for the left channel input. For mono inputs use
the Left/Mono jack (#18) only.
20 HIGH: Controls the high frequency level for the channel. Allows 15dB @ 12kHz.
Shelving type.
19
21 MID: Controls the middle frequency level for the channel. Allows 15dB @ 800Hz.
Bandpass type
22 +4/-10 SWITCH: This sets the input sensitivity of the channel to either +4dBv for use
with professional equipment (such as DAT players, mic preamps, etc.) or -10dBv for
use with semi-pro equipment (such as tape decks, CD players, etc.).
23 LOW: This controls the low frequency level for the channel. Allows 15dB @ 70Hz.
Shelving type.
20
•Additional EQ information is on page 14.
24 AUX: Controls the level of the signal sent from the channel to the Aux Out master
control (#49). Use as a monitor send (Pre/Post switch, #25, in the “Pre” position) or
as an effects loop send (Pre/Post switch, #25, in the “Post” position).
22
25
21
25 PRE/POST: The signal sent by the Aux control (#24) can be set to either pre-fader
23
(switch in the “Pre” position) or post-fader (switch in the “Post” position).
26 EFF: Controls the level of the signal sent from the channel to the Eff Out master con-
24
26
trol (#50). Use as an effects loop send.
27 BAL: Divides the signal proportionally between the left and right channels of the
Main L/R fader (#60) or the Group 1/2 faders (#59), depending on the setting of the
Grp / L/R switch (#31).
28 PEAK LED: Illuminates when the input signal level is within 6dB of clipping. Proper
setting of the input signal level and the +4/-10 switch (#22) will cause this LED to
flash only on strong input signals.
27
28
29
30
29 -20dB LED: Illuminates when the input signal level is above -20dBv. This serves as a
“signal present” LED.
31
30 PFL: This switch, when depressed, sends the channel’s signal to the Monitor master
control (#51). The Output LED Meters (#57) are also switched to monitor this signal,
which is pre-fader. The PFL LED (#55) illuminates to indicate that the Headphones
(#39), Monitor (#42) and LED Meters (#57) are now responding to the PFL selection.
32
31 GRP / L/R: This switch determines whether the signal is sent to the Group 1/2 master
faders (#59) or the Main L/R master fader (#60).
32 FADER: Controls the level of the signal sent to either the Main L/R fader (#60) or the
Group 1/2 faders (#59), depending on the setting of the Grp / L/R switch (#31).
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CMX62 Stereo Console Mixer
The Master Section:
33 AUX RET: Returns the stereo or mono signal from an external device.
Stereo devices use both the Left and Right jacks; mono devices use
only the Left jack.
34 EFF RET: Returns the effected signal from an external effects device. Stereo
devices use both the Left and Right jacks; mono devices use only the Left
jack.
33
34
35
35 TAPE IN/TAPE OUT: Connect to the record and play jacks of an exter-
40
41
nal tape deck. (See page 13.)
36 AUX OUT: Sends the Aux signals to an external device. The mix at this
36
38
37
jack is determined by the setting of each channel’s Aux control (#9, #24).
37 MONO: The signal at this jack is a summed mono version of the Main L/R
signals. The level at this jack is controlled by the Mono master control (#58).
42
39
38 EFF OUT: Sends the Effect signal to an external effects device. The mix
at this jack is determined by the setting of each channel’s Eff control
(#11, #26).
44
46
39 HEADPHONES: Normal operation: monitors the Main L/R or Group
1/2 signals, depending on the setting of the Grp / L/R master switch
(#52). When one or more of the PFL or AFL buttons are depressed the
signal at this jack is switched to monitor only the PFL selection(s). The
signal level at this jack is controlled by the Monitor master control (#51).
43
45
55 56
47
49
51
48
57
40 MAIN OUTS: These balanced jacks send the Main L/R output signals
to the house amplifier(s). (See pages 8-12.) The signal level at these
jacks is controlled by the Main L/R fader (#60).
50
41 GROUP OUTS: These balanced jacks send the Group 1/2 output sig-
nals to the house amplifier(s). (See pages 8-12.) The signal level at
these jacks is controlled by the Group 1/2 fader (#59).
52
54
42 MONITOR OUTS: These balanced jacks send the Monitor output sig-
nals to the local reference monitor amplifier(s). (See pages 8-12.) The sig-
nal level at these jacks is controlled by the Monitor master control (#51).
43 AUX RTN: Controls the signal level sent from the Aux Rtn jacks (#34)
53
58
to the Main L/R bus.
44 AUX PFL: This switch, when depressed, sends the signal from the Aux
Rtn jacks (#33) to the Monitor master control (#51). The Output LED
Meters (#57) are also switched to monitor this signal, which is pre-level
control. The PFL LED (#55) illuminates to indicate that the
Headphones (#39), Monitor (#42) and LED Meters (#57) are now
responding to the PFL selection.
59
60
45 EFF RTN: Controls the signal level sent from the Aux Rtn jacks (#33) to
the Main L/R bus.
46 EFF PFL: This switch, when depressed, sends signal from the Eff Rtn
jacks (#34) to the Monitor master control (#51). The Output LED
Meters (#57) are also switched to monitor this signal, which is pre-level
control. The PFL LED (#55) illuminates to indicate that the
Headphones (#39), Monitor (#42) and LED Meters (#57) are now
responding to the PFL selection.
47 TAPE IN: Controls the level of the signal from the Tape In jacks (#35)
to the Main L/R bus. To avoid feedback, this control must be rotated
fully counter clockwise (“0” position) when using both sets of Tape In
and Out jacks during recording.
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CMX62 Stereo Console Mixer
The Master Section (continued):
48 TAPE IN PFL: This switch, when depressed, sends the signal from
the tape In jacks (#35) to the Monitor master control (#51). The
Output LED Meters (#57) are also switched to monitor this signal,
which is pre-level control. The PFL LED (#55) illuminates to indi-
cate that the Headphones (#39), Monitor (#42) and LED Meters
(#57) are now responding to the PFL selection.
55 PFL LED: This LED illuminates when any of the PFL or the AFL
switches are depressed, indicating that the Meter (#57) is monitor-
ing a PFL selection.
56 POWER LED: This LED illuminates when the mixer is plugged into
an AC source and the Power switch (#62, rear panel) is at the On
position (“–” depressed).
49 AUX OUT: Controls the level of the signal sent to the Aux Out jack
57 METER: This dual 12-stage LED meter monitors the Main L/R out-
put signals under normal conditions – if any of the PFL / AFL
switches are depressed, the PFL LED (#55) will illuminate and the
meters will monitor the PFL source(s). The Peak LEDs will illumi-
nate whenever the output signal is near clipping. If this happens,
reduce the master faders until the Peak LEDs no longer flash.
(#36).
50 EFFECTS OUT: Controls the level of the signal sent to the Eff Out
jack (#38).
51 MONITOR: Controls the level of the signal sent to the Monitor
jacks (#42).
58 MONO: Controls the level of the signal at the Mono jack (#37).
52 GRP / L/R: This switch determines whether the Monitor section is
This signal is a mono summed version of the Main L/R signals.
monitoring the Main L/R output or the Group 1/2 output.
59 GROUP 1/2 FADERS: Control the Group 1 and 2 master signal
53 GROUP TO L/R: This switch, when depressed, sends the Group
levels sent to the Group 1 and 2 jacks (#41).
1/2 signal to the Main L/R fader (#60).
60 MAIN L/R FADER: Controls the Main master signal level sent to
54 AFL: This switch, when depressed, sends the Group 1/2 post-fader
the Main Left/Right jacks (#40).
signal to the Monitor master control (#51).
The Rear Panel:
61
64
63
62
61 POWER CONNECTOR: Fasten the threaded collar of
the supplied AC power supply to this connector.
Align the pins of the power supply with those of the
connector, press into place, then tighten the threaded
collar onto the connector securely.
phantom power to the appropriate channel. Phantom
power is only available if the Master On/Off switch
(#64) is in the On position. The numbers below the
switches correspond to channels 1 – 6 of the mixer.
64 MASTER ON/OFF: This switch turns the phantom
power supply on and off. This switch must be on for
the channel DIP switches (#63) to function.
62 POWER: Use this switch to turn the mixer on (“–”
depressed) and off.
63 PHANTOM POWER: When using any condenser
microphone that requires phantom power use the tip
of a small screwdriver to slide the corresponding DIP
switch to the On position (switch down). This applies
NOTE: Turn the master faders and monitor controls down
to minimum when turning the phantom power on
and off to avoid transient signals from entering your
amplifier(s).
7
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CMX62 Stereo Console Mixer
Applications: Basic Mono Operation:
This example shows how the mixer and one stereo power amplifier* may be used to run both the house speakers
and the stage monitors.
Connect a signal cable between the mixer’s Mono jack and the power amp’s Channel 1 Input jack (A). Connect anoth-
er signal cable between the mixer’s Aux Out jack and the amp’s Channel 2 Input jack (B). A graphic equalizer may be
included in the signal chain as shown.
Connect a speaker cable between the power amp’s Channel 1 Speaker Output and the house speakers (C). Connect
another speaker cable between the amp’s Channel 2 Speaker Output and the monitor speakers (D).
Use the mixer’s Main L/R Fader to adjust the house volume level and the Aux controls to adjust the level of the mix
going to the monitors.
*Two mono amplifiers may be used in place of the stereo power amplifier.
Please note that the sample connections shown in the Applications sections are NOT absolute mandates as to how to connect your sound
system. They are merely intended to provide a springboard from which you may launch the system that will best suit your particular needs.
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CMX62 Stereo Console Mixer
Applications: Home Studio:
In this example the Main L/R outputs are connected to a computer through a compressor. The Monitor outputs are
connected to the monitor power amp which drives the studio monitors. The output of the computer may be connected to
the stereo channel 9/10 of the mixer and the remaining audio sources may be connected to the various other inputs as
shown. With this type of setup you will need to establish two different buses. Use the Main L/R bus to send a signal to the
computer for recording and the Group 1/2 bus for signals to be monitored, but not recorded.
Start with all of the channel Grp/L/R switches set to GRP, the Group 1/2 AFL switch depressed, and the the Group to
L/R switch in the out position. In this state you can play along with the computer, but not record (for practicing a take). Start
the playback on the computer and play along with its output. When you are ready to record another instrument, set that
instrument’s channel Grp/L/R switch to L/R and depress its PFL switch. Now you can monitor both the Group (monitor) mix
and the channel you wish to record without having any bleed between the two.
NOTE: You should set your computer software so that it does not send the signal it is recording back through the computer’s audio outputs.
If this is not done a slapback delay could result due to the latency of the computer.
9
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CMX62 Stereo Console Mixer
Applications: DJ Setup:
In this example the mixer is connected to a stereo power amplifier which drives the house speakers.
Connect a pair of signal cables between the mixer’s Main Left and Right jacks and the stereo power amplifier’s* Channel
1 and Channel 2 Input jacks (A).
Connect a speaker cable between the power amp’s Channel 1 Speaker Output and one of the house speakers (B). Connect
another speaker cable between the power amp’s Channel 2 Speaker Output and the other house speaker (C).
Use the mixer’s Main L/R fader to adjust the house volume level. (To keep the turntable signals in true stereo, the Pan pots for
the left channels must be rotated fully counterclockwise and the Pan pots for the right channels must be rotated fully clockwise.
*Two matched mono amplifiers may be used in place of the stereo power amplifier.
10
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CMX62 Stereo Console Mixer
Applications: House of Worship:
In this example the mixer’s Main Outs are used for the sanctuary mix, the Aux outs are used for a platform mix, and a
mono signal is provided for the childcare room (or other remote location).
Connect signal cables between the mixer’s Main Left and Right jacks and the Input jacks of the sanctuary speakers’ stereo
power amp* (A). Connect another set of signal cable between the mixer’s Aux Out jack between the Input jack of the moni-
tor speakers’ power amp (B). Connect another signal cable between the mixer’s Mono Out jack and a powered speaker sys-
tem or an amplifier/speaker combination for the childcare room (C).
Connect speaker cables between the sanctuary power amp’s Speaker Outputs and the sanctuary speakers (D,E). Connect
another speaker cable between the monitor power amp’s Speaker Output and the platform monitor speakers (E,F).
Use the Main L/R fader to adust the level of the sanctuary speakers. Use the Aux controls to adjust the mix going to the
platform monitors. Use the Mono control to adjust the level of the signal sent to any remote location (childcare room, etc.).
*Two matched mono amplifiers may be used in place of the stereo power amplifier.
11
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CMX62 Stereo Console Mixer
Applications: Separating Vocals and Instruments:
In this example the Pan controls on all of the vocal mic channels are rotated fully clockwise to assign all vocal mics to
the right channel. The instrument channels are then all assigned to the left channel by rotating their Pan controls fully
counter clockwise. Two pairs of speakers are required: one for the vocals and another for the instruments. An additional
amplifier will drive the monitors. The vocal speakers should be placed on top of the instrument speakers to minimize inter-
ference between the sounds from the two sets of speakers.
Connect a pair of signal cables between the mixer’s Main Left and Right jacks and the house power amp’s Channel 1 and
Channel 2 Input jacks (A). Connect a signal cable between the mixer’s Aux Out jack and the monitor power amp’s Input jack (B).
Connect a speaker cable between the stereo power amp’s Channel 1 Speaker Output and the “instrument” speakers (C).
Connect another speaker cable between the power amp’s Channel 2 Speaker Output and the “vocal“ speakers (D). Connect a
third speaker cable between the monitor power amp’s Speaker Output and the monitor speakers (E). Use the mixer’s Main L/R
fader to adjust the house volume level and the Aux controls to adjust the level of the mix going to the monitors.
Depress all of the vocal and instrument channels’ Grp/L/R buttons. Depress the master Group to L/R button. Now you can
use the Group 1 fader to control the instrument submix to the Main L/R fader and the Group 2 fader for the vocal submix.
12
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CMX62 Stereo Console Mixer
Applications: External Effects and Recorders:
There are several ways to use the CMX62 with external signal processors (such as effects and delay units, limiters, etc.).
For example, any (or all) of the six mono channels may have its own processor patched in by use of the Insert jack (#3, page
4). Effects may also be patched in through the Aux or the Effects Out and Return jacks. Both the Aux and the Effects loops
will accommodate stereo as well as mono effects. The illustrations below show some of the different connections.
The signal level for the Aux/Effect sends is controlled by the setting of each channel’s Aux/Eff level controls. The Aux/Eff
Rtn level controls (#43/45, page 6) let you control how much of the effected signal is in the master mix.
Connecting a tape deck for recording and playback is accomplished as follows: Connect the Playback (Line Out) of the
deck to the mixer’s Tape In jacks. Connect the Record (Line In) of the deck to the mixer’s Tape Out jacks. The mixer’s Tape In
level control (#47, page 6) let you adjust the signal level from the tape deck. To avoid feedback keep the Tape In control at
minimum when recording!
13
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CMX62 Stereo Console Mixer
Equalization Diagrams:
Each input channel of the CMX62 has three bands of equalization which allows you to alter the tonal characteristics of
the input signal. The EQs may be used to add “color” or to compensate for inadequacies of the original signal. They also
may be used to cut frequencies which cause unnatural sounds or to de-emphasize over-pronounced tones and to reduce
acoustic feedback. Each EQ has a range of 30dB (+/-15dB).
The high EQ for each channel is a “shelving” type, with an action point (+6dB) at 2.5kHz, reaching maximum effect at
12kHz and above.
The middle EQ for each channel is a “peaking” type, which affects frequencies from 300Hz to 2.5kHz, centered on
800Hz.
The low EQ for each channel is a “shelving” type with an action point (+6dB) at 300Hz, reaching maximum effect at
70Hz and below.
+30
+20
+10
0dB
-10
-20
20
Hz
50
100
200
500
1k
2k
5k
10k
20k
40k
Differences in Cable Types:
This manual makes reference to different types of cables; in particular, balanced and unbalanced signal cables and
speaker cables. These are not the only types of cables associated with sound reinforcement, but they are similar enough to
each other to warrant a more descriptive explanation. The three 1/4”-terminated cables below may look alike at first, but
upon closer examination their differences become apparent. These cables are illustrated below.
BALANCED SIGNAL CABLE:
TIP
TIP
RING
TIP = SIGNAL "+" (IN-PHASE)
RING = SIGNAL "-" (OUT-OF-PHASE)
SLEEVE = SHIELD
SLEEVE
RING
SLEEVE
Care must be taken to
UNBALANCED SIGNAL CABLE:
avoid using SIGNAL cables
in place of SPEAKER cables
and vice-versa.
TIP
TIP
TIP = SIGNAL
SLEEVE = SHIELD
Signal cables aren’t made
to handle the power which
speaker cables do; speaker
cables are not shielded and
pick up external signals,
resulting in excessive hum
and buzzing.
SLEEVE
SLEEVE
SPEAKER CABLE:
TIP
TIP
TIP = SIGNAL "+"
SLEEVE = SIGNAL "-"
*Speaker cables typically do not use or require a shield.
SLEEVE
SLEEVE
14
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CMX62 Stereo Console Mixer
System Block Diagram:
MONO OUT
MONO
L
CH. 1 – 6:
+48V
L
MAIN L/R
PEAK
-20dB
EFF
TAPE
OUT
GROUP/ L/R
MIC
FADER
LOW CUT
2
3
EQ
AUX
POST
PRE
R
MAIN/GROUP
GAIN
HIGH MID LOW
R
LINE
R
PAN
T
L
PFL
MONITOR
INSERT
T
R
R
MONITOR
PFL CTL
HEADPHONES
GROUP TO L/R
LED METERS
EFF(a)
MAIN/GROUP
BAL
CH. 7,9:
FADER
GROUP 1
GROUP
1 OUT
EQ
AUX(a)
POST
+4/-10
PRE
HIGH MID LOW
PFL(a)
PEAK
-20dB
GROUP 2
AFL
EFF(b)
GROUP
2 OUT
PFL(b)
PFL CTL
FADER
BAL
CH. 8,10:
EQ
MAIN/GROUP
POST
PRE
+4/-10
PFL CTL
PFL CTL
HIGH MID LOW
AUX(b)
PFL CTL
AUX
EFF
AUX
OUT
SUM
SUM
L
AUX RTN
PFL
PFL
AUX RTN
R
EFF
OUT
PFL CTL
AUX RTN
EFX RTN
L
EFX RTN
R
PFL CTL
MAIN L/R
EFX RTN
L
PFL
TAPE
IN
R
Gain Level Diagram:
MIC
EQ
MASTER
FADER
FADER
PAN
LINE
+30
INSERT
+21dB
+21dB
MAX LINE +26dB
MAX MIC +13dB
+20
+10
0
MAX. INPUT - SET GAIN AS NECESSARY
+3dB
MAIN OUT
+4dB
+15dB
ALL LEVELS @NOMINAL,
-10
-20
-30
-40
-50
-60
-70
-7dB
GAINS @"10"
-13dB
-23dB
-17dB
LINE -35dB
FULL GAIN
MIC -49dB
LINE -55dB
MIC -67dB
-120
dB
NOISE FLOOR -120dB
15
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CMX62 Stereo Console Mixer
Technical Specifications
SYSTEM INPUTS
AUX/EFFECTS RETURNS / TAPE INPUTS
6 mono mic/line and 2 stereo line input channels
1 stereo aux return
1/4” phone jacks 15k ohm input impedance
RCA jacks 15k ohm input impedance
1 stereo effects return
1 stereo tape return
Max. Sensitivity -20dBv (80mV RMS)
Max. Input Accepted +30dBv (24.5V RMS)
CHANNELS 1-6
AUX/EFFECTS OUT / TAPE OUT
Low-Z Mic
1 3-pin “XLR” (balanced, pin 2 = “in phase”)
1/4” phone jacks +4dBv (1.23V RMS) @ High-Z nominal output
Transformerless electronically balanced
1k ohm load impedance
1 1/4” phone jack (balanced)
10k ohm load impedance
RCA jacks
+4dBv (1.23V RMS) @ High-Z nominal output
PHANTOM POWER
+48VDC applied to pins 2 and 3 of XLR inputs
High-Z Line
LEFT & RIGHT OUTPUTS
CHANNELS 7-14
High-Z Line
Unbalanced out @ 10k ohm load impedance
Balanced @ 3k ohm load impedance
+4dBv (1.23V RMS) nominal output
18dBv (6V RMS) max. output
2 1/4” phone jacks
22k ohm load impedance
EQUIVALENT INPUT NOISE
Typically < -129dB @ 20 - 20k equivalent bandwidth unweight-
ed with 200 ohm source impedance
DUAL OUTPUT LED INDICATORS
Type:
12 LED quasi-peak
COMMON MODE REJECTION
Typically -90dB min., -70dB @ 50Hz
Calibration:
Range:
Calibrated to indicate +4dBv @ 7th LED
-18dBv to +13dBv
Signals Read:
Left and Right Main Outs or Solo Bus
SIGNAL INDICATOR
Indicates signal present (-20dB)
RESIDUAL NOISE
90dB below 1.23V RMS min. with all levels down
60dB below 1.23V RMS with Master Level up full and one chan-
nel up full
PEAK INDICATOR
Indicates 6dB headroom remaining
MAXIMUM SIGNAL ACCEPTED
TOTAL HARMONIC DISTORTION
Low-Z Mic
High-Z Line
3.46V RMS (13dBv)
15.9V RMS (26dBv)
< 0.1% @ 1kHz input @ 5V RMS output (typically 0.05%) meas-
ured from Mic In to Main Out (EQ flat) with Master @ nominal
“0” setting (-10dB from max. gain), and Gain and Channel Level
at max. (At lower input signal levels, measurement is limited by
the noise floor)
CHANNEL GAIN
Typically 52dB adjustment range
CHANNEL INPUT SENSITIVITY
Low-Z Mic
All levels up: 8.7mV RMS max. (43dB gain)
SIZE AND WEIGHT
2.75” H x 11.625” W x 13” D (70mm x 295mm x 330mm)
11 lbs (5 kg)
Channel up only: 2.7mV RMS max. (53dB gain)
All levels “+10”: .28mV RMS max. (73dB gain)
All levels up: 87mV RMS max. (23dB gain)
Channel up only: 27mV RMS max. (33dB gain)
All levels “+10”: 28mV RMS max. (53dB gain)
High-Z Line
POWER REQUIREMENTS
16.8VAC x 2 @1A
CHANNEL EQ (ACTIVE)
High
Mid
Low
+/-15dB @ 12kHz shelving
+/-15dB @ 800Hz bandpass
+/-15dB @ 70Hz shelving
Due to ongoing product development and improvement, the specifications
contained herein are subject to change without notice.
©2002 SLM Electronics, Inc. • A Division of St. Louis Music, Inc.
1400 Ferguson Avenue • St. Louis, MO 63133 U.S.A.
18-348-01 • 02/02
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