English
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The discrete microphone preamps in the input channels offering
audio quality of the very finest, a 60 dB gain range, and
extremely low levels of noise and THD, set new standards in
professional mixing equipment, whilst phantom power
(switchable in groups of six channels), 3-band semi-parametric
EQs with sweepable mids, 4 Aux Sends, PFL and Mute,
dust-protected ALPS faders, 2 x 7-band graphic EQs, two
feedback filters and four stereo line channels are only a few
of the professional features.
Two independently-controllable, 24/48 bit stereo digital effects
devices offer a total of 198 presets optimized for live use but
delivering studio quality. The room and plate reverb, echo
reverb, chorus reverb, mono / stereo delay and a host of other
special effects are easily selected using the Up/Down keys.
Preferred presets can be stored in programming mode and are
then instantly available the next time you switch the CMS on.
One global (or else two individual) foot switch(es) can be used
to turn the effects devices on and off singly (or collectively).
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All 6 / 12 / 18 (respectively) mic inputs of the CMS 1000 / CMS 1600 / CMS 2200 are equipped with
XLR- (Mic) and jack (Line) sockets as well as a common Gain control with a range of 60 dB. This
makes it possible to introduce even line level signals through the XLR Mic inputs.
A channel break allows you to connect additional devices, such as compressors and gates, on a
channel-by-channel basis using the Insert sockets. A switchable Lo Cut filter permits the elimination
of low-frequency noise in the sub-80 Hz region. The 3-band tone controls section comprises a
semi-parametric equalizer with a sweepable Mid, the range of which is 100 Hz to 8 kHz. The Lo
shelving EQ has its 3 dB down point (corner frequency) at 60 Hz, whilst that of the Hi shelving EQ
is 12 kHz, the boost/cut being +/- 15 dB in each case. In all, four aux busses are provided to permit you
to ply the two internal effects devices with signals independently as well as two separately controllable
monitor busses. AUX 1 and AUX 2 control the level of the post-fader signal sent to the two internal
effects devices, FX 1 and FX 2. AUX 3 and AUX 4 are set pre-fader to allow the creation of independent
monitor mixes, but can be switched post-fader, if preferred, for the control of additional effects devices
in the sum.
All channels offer MUTE and PFL switches as well as level control meters with Signal Present and Peak
LEDs. Ultra high-quality ALPS faders control the Volume of the individual channels and are remarkable
for their extremely high attenuation values.
The four Mic / Stereo Line channels offer separate Mic Gain and Line Trim controls instead of the
Lo Cut and Vocal Voicing filter in the mono channels and offer a full dual-channel implementation.
Stereo signals from keyboards and samplers therefore take up no more than one of the available
channel strips each. The mixing of stereo line and microphone signals is also unproblematic.
In the master, all the control elements are laid out clearly in sections, in a configuration based
on practical experience.The Return level of the integrated effects devices (FX 1 and FX 2), the Send
level for AUX 3 and AUX 4, as well as the Stereo Master, are all implemented as faders. The 2 x 7-
band graphic equalizer can be switched instantly between the Master and AUX 3 + AUX 4.
Separate AUX 1 and AUX 2 Send controls allow the control of additional effects devices — parallel
to the internal effects or solo.
Systems for neighbouring rooms, side fills or even active sub-woofers can be driven via the separately
controllable Mono Out, which can be switched pre- or post-fader. There is a useful Standby switch for
programme pauses that does not affect the 2-track Return path, allowing material on tape or CD to be
routed to the master or else AUX 3 and AUX 4. All the XLR outputs are electronically balanced and
wired in such a way that operation via relay is not accompanied by clicks and pops.
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If there is no need for EQ in the master section for the main system
or room equalization, the integrated 2 x 7-band graphic equalizer
can be looped into the monitor busses at the push of a button,
making it available to AUX 3 and AUX 4 for the provision of an opti-
mized foldback mix. LEDs indicate clearly the current selection.
AUX 3 and AUX 4 are equipped with a switchable Anti-Feedback
filter in the master, offering continuous control from 80 Hz to 7.7 kHz.
In the event that less-than-ideal microphone placements or excessive
volume levels provoke feedback, it can be zapped swiftly and with
laser-like precision.
This filter, which can be switched into the signal path of any of the
Mic / Line channels, is designed to rescue particularly ‘thin’ voices
from the main mix. An asymmetric filter structure deliberately
emphasizes the fundamentals in the vocals and lifts them transpa-
rently into the foreground through decent shelving. This type of
‘fundamental equalization’cannot be produced with any standard EQ.
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Compact Mixing System CMS 1000 /
CMS 1600 and Powered Speaker
System D-LITE 2000.
D12
D12
AM12
(Aux 3)
Typical configuration for Entertainer
and smaller Live Bands but alt-
hough, in the best way suitable for
fixed installation in schools, restau-
rants or pubs.
CMS1000 / CMS1600
PowerSub315
Compact Mixing System CMS 1000 /
CMS 2200 with D-Lite speaker
components driven by light weight
LX 2200 power amplifiers in active
2-way mode.
D12-3
D12-3
AM12
(Aux3)
M15
(Aux4)
Complete system dedicated for
typical live applications and mid-
sized events.
DSP244
2 x LX2200
CMS1600 / CMS2200
Sub118
Sub118
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Compact Mixing System CMS 1600 /
CMS 2200 and Sound Reinforce-
ment System Xa-2.
Fx12
2 x Fx20
Fx12
2 x Fx20
M15
(Aux4)
Complete setup for typical Top-40
Bands and medium sized events,
but fits although perfect for perma-
nent installation in theatres, clubs
and larger pubs suitably.
M15
(Mono)
M15
(Aux3)
2 x Xa4000
CMS1600 / CMS2200
A stable, latching metal lid is provided for the safe transportation of
the device, precluding the need for a flight case, whilst the panel
running the width of the device at the front and the ergonomic side
cheeks allow for easy and unproblematic handling.
The optionally available RMK-CMS rack-mounting kit permits the
CMS 1000 to be used in the rack. The same kit allows the integration
of either device into the control room table. For secure operation on
particularly dark stages or in dark control rooms, a socket is provided
for the connection of a 12V (up to 5W) gooseneck lamp.
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CMS 1000
CMS 1600
CMS 2200
Channels (Mono + Stereo)
6 + 4
12 + 4
18 + 4
Power Consumption
Dimensions, (WxHxD), mm
Weight
max. 60 W
510.5x138x484.7
9.2 kg
max. 70 W
669.5x138x484.7
11.9 kg
max. 80 W
828.5x138x484.7
14,6 kg
MIC Gain (Mono)
MIC Gain (Stereo)
0 dB … +60 dB
10 dB … +60 dB
Stereo Line Trim
-10dB … +20dB
THD+N at 1kHz, MBW=80kHz
MIC input to Main L/R output, +16 dBu, typical
Frequency Response, -3dB ref. 1kHz
Any input to any Mixer output
Crosstalk, 1kHz
< 0.005%
15Hz … 55kHz
Fader and AUX-Send attenuation
Channel to channel
CMR, MIC input, 1kHz
> 85 dB
> 80 dB
> 80 dB
Input Sensitivity, all level controls in max. position
MIC input
LINE Input (Mono)
-74 dBu (155 µV)
-54 dBu (1.55 mV)
-34 dBu (15.5 mV)
LINE Input (Stereo)
Maximum Level, mixing desk
MIC inputs
Mono Line inputs
Stereo Line inputs
All other inputs
+ 21 dBu
+ 41 dBu
+ 30 dBu
+ 21 dBu
+ 14 dBu
+ 21 dBu
Record Send output
All other outputs
Input Impedances
MIC
Insert Return
2 Track Return
2 k Ohms
2.2 k Ohms
8 k Ohms
All other inputs
> 15 k Ohms
Output Impedances
Record Send
Phones
1 kOhm
47 Ohms
75 Ohms
All other outputs
Noise, Channel inputs to
Main L/R outputs, A-weighted
Residual Noise, Master fader down
Bus Noise, Master fader 0 dB, Channel fader down
Mix Noise, Master fader 0 dB, Channel fader 0 dB,
Channel gain unity
CMS 1000 / CMS 1600 / CMS 2200
-96 dBu / -96 dBu / -96 dBu
-91 dBu / -90 dBu / -89 dBu
-83 dBu / -83 dBu / -83 dBu
-130 dBu
Equivalent Input Noise, MIC Input, A-weighted, 150 W
Equalization
LO Shelving
15 dB / 60 Hz
15 dB / 100 Hz ... 8 kHz
12 dB / 2.4 kHz
15 dB / 12 kHz
MID Peaking, mono inputs
MID Peaking, stereo inputs
HI Shelving
Master EQ, 2x7-band, 63, 125, 400, 1k, 2k5, 6k, 12k Hz
10 dB / Q=2.0
Mains Voltage
100 V – 240 V
Mains Frequency
50Hz – 60 Hz
Warranty
36 months
Optional
RMK-CMS (Rack-Mount-Kit CMS)
Gooseneck Lamp, 12V/2,4W, 12“, XLR
Replacement bulb, 12V/5W
FS11 (Footswitch)
113 014
112 700
350 278
110 693
Americas
Bosch Communications Systems USA:
12000 Portland Ave South
Burnsville, MN 55337, USA
Phone: 1-800-392-3497
Fax: 1-800-955-6831
Canada:
France:
Phone: 1-866-505-5551
Fax: 1-866-336-8467
Latin America: Phone: 1-952-887-5532
Fax: 1-952-736-4212
Europe, Africa & Middle-East
Germany: Bosch Communications Systems
EVI Audio GmbH
EVI Audio France S.A.
Parc de Courcerin
UK:
beyerdynamic UK Ltd.
17 Albert Drive
Hirschberger Ring 45
Allée Lech Walesa
Burgess Hill
D-94315 Straubing, Germany
Phone: +49 9421 706-0
Fax: +49 9421 706-265
F 77185 Lognes, France
Phone: +33 1-6480-0090
Fax: +33 1-6006-5103
West Sussex RH15 9TN, UK
Phone: +44 1444 258 258
Fax: +44 1444 258 444
Asia & Pacific Rim
Japan:
EVI Audio Japan Ltd.
China:
Telex EVI Audio (Shanghai) Ltd.
Room 2210-2215
Tower B, Far East International Plaza
No. 317, Xianxia Road
Shanghai, China, PC: 200051
Phone: +86 (21) 6235-1677
Fax: +86 (21) 6235-1676
Hong Kong:
Telex EVI Audio (HK) Ltd.
Unit 5,1/F,Topsail Plaza
11 On Shum Street
Shek Mun,Shatin HK
Phone: +852 2351-3628
Fax: +852 2351-3329
Singapore: Telex Pte. Ltd.
3015A Ubi Road 1, 05-10
5-3-8 Funabashi, Setagaya-Ku
Tokyo, Japan 156-0055
Phone: +81 3-5316-5020
Fax: +81 3-5316-5031
Kampong Ubi Industrial Estate
Singapore 408705
Phone: +65 6746-8760
Fax: +65 6746-1206
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