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Crest Audio CPM 2462 Operating Manual
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Crest Audio CPM 2462 Operating Manual

Rack-mountable recording and sound reinforcement mixer
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CPM
2462 Operations Manual
Operating Guide

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Summary of Contents for Crest Audio CPM 2462

  • Page 1 ™ 2462 Operations Manual Operating Guide...
  • Page 2 Intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. Intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.
  • Page 3 W W A A R R N N I I N N G G : : S S A A V V E E T T H H E E S S E E I I N N S S T T R R U U C C T T I I O O N N S S ! !
  • Page 4 ENGLISH 2462 ™ Rack-Mountable Recording and Sound Reinforcement Mixer II. INTRODUCTION Thank you for purchasing the Crest Performance CPM 2462. The CPM 2462 was design to not only ™ provide maximum versatility and performance for live sound applications, but also to excel when used for recording.
  • Page 5 Since we are dealing with one serious mixer, the format for this guide will be laid out in the following order for simplicity: Table of Contents Introduction (You’re reading it now.) III. Break It Down Power Rear Panel INs and OUTs Input Channels VII.
  • Page 6 Input Channel Reading the diagram from left to right (standard signal flow) you’ll find: a mic input, line input, input pad switch, polarity switch and gain control. From there the signal passes through the insert jack and through the low, mid and high EQ’s. The mid EQ center frequency is adjustable from 40 Hz to 1.2 kHz.
  • Page 7 Channels 9-16 and 17-24 co-exist in on the CPM 2462. Channels 9-14 are mono mic input channels similar to channels 2-8 but with a fixed frequency mid EQ control and without the direct out and insert. However, occupying the same space are stereo line inputs 17-22. A switch on each of these channels determines whether these channels work independently or whether the mic input is muted and the line inputs are routed (mono) through the full featured channel strips 9-14.
  • Page 8 GROUPS 1-4 OUTPUTS The next mix is the Group mix. Groups 1-4 are slightly different than Groups 5 and 6. Groups 1-4 have their own assign switches and faders similar to the input channels. Each group (1-4) features a PFL switch, Left (L) switch, Right (R) switch, and a master fader. The switches assign the group signal to the particular bus.
  • Page 9 AUX 1 AND 2 OUTPUTS Aux 1 and 2 is a pre-fader stereo mix ideal for monitor applications. As mentioned in the previous section, Groups 5 and 6 can be sent to this Aux mix by adjusting the separate level controls see number 54, page 18.
  • Page 10 The Tape Output jacks (stereo RCA) carry the Main Left/Right signal allowing you to tape the Main L/R mix on a stereo deck. The Tape Input jacks (both 1/4" and RCA stereo pairs) provide a means to monitor the tape output from your deck on either headphones and/or control room speakers. This will only happen when the following conditions are met: no input channel or group PFL switches are activated, the AUX 1-2 2 TRK switch is in the 2 TRK position and the L/R switch is in the down position.
  • Page 11 REMOVABLE AC POWER CORD This receptacle is for the IEC line cord (included), which provides AC power to the unit. Connect the line cord to this connector and to a properly grounded AC supply. Damage to the equipment may occur if an improper line voltage is used (see voltage marking on unit).
  • Page 12 MASTER L/R INSERT IN/OUT (See page 11) These two 1/4" stereo (TRS) jacks allow an external device to be inserted into each of the signal paths, pre-fader in the Master L/R channel. The tip has the send signal. The ring is the return input.
  • Page 13 CHANNEL 1 AND 2 SUPER MIC/LINE CHANNELS (BACK PANEL CONNECTIONS) MICROPHONE INPUT This XLR balanced input is for a low impedance microphone or (through –20 dB pad) for a high level, high impedance line source. Pin 2 is the positive input. Phantom power is available and is described in number 63.
  • Page 14 CHANNEL 1 AND 2 (FRONT PANEL FEATURES) GAIN The GAIN control varies the gain of the channel input to allow a wider input dynamic range. The GAIN adjustment range is +10 dB to +50 dB or –10 dB to +30 dB when either –20 dB pad or the LINE INPUT (15) is used.
  • Page 15 CHANNEL FADER This smooth 60 mm logarithmic, channel output level control (ranges from -97 to +10 dB) sets the level sent to the L/R, Group 1/2 and Group 3/4 master channels when selected. The reference setting for this control is “0 dB” — unity gain position. MUTE This switch mutes all AUX 1-4 sends, L/R, Group 1/2, Group 3/4 and Solo L/R busses for the channel.
  • Page 16 CHANNEL 9 — 16 AND 17 — 24 (BACK PANEL CONNECTIONS) MICROPHONE INPUT The MICROPHONE INPUT is an XLR balanced input for a low impedance microphone. Pin 2 is the positive input. STEREO LINE INPUT These two 1/4" (TS) unbalanced line inputs LEFT/MONO and RIGHT are for high level, line signals.
  • Page 17 AUX 3/5, AUX 4/6 AUX 3/5 adjusts the level of the channel’s LEFT post-fader signal that is added to either AUX 3 or AUX 5 mix according to the AUX 3/4 – AUX 5/6 switch position. AUX 4/6 adjusts the level of the channel’s RIGHT post-fader signal that is added to either AUX 4 or AUX 6 mix according to the AUX 3/4 –...
  • Page 18 AUX 1-2 MASTERS These controls set the levels of the AUX 1-2 channels sent to the output connectors. It ranges from (–)infinity, to unity gain at the center detent position (reference setting), to +6 dB at full clockwise. GROUP 5/6 ASSIGNMENT SWITCHES These switches connect the Group 5/6 signal to MASTER L/R, GROUP 1/2 and GROUP 3/4 buses.
  • Page 19 WARNING: If phantom power is used do not connect 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.
  • Page 20 VIII. CPM 2462 Block Diagram...
  • Page 21 4062 Block Diagram ™...
  • Page 25 CPM 2642 SPECIFICATIONS CPM 2642 Rack-Mountable Recording and Sound Reinforcement Console Input Specifications Input Input Input Pot Input Levels, dBu* Bal/ Connector Imped. Setting - Min.** Nom. Max.*** UnBal. (Ohms) Gain, Min. XLR: Microphone Max. Gain Pin 1 Ground Channels +50 dB Bal.
  • Page 26 Output Specifications Nom./Min. Output Level dBu* Output Load Balance/ Connector Impedance Nom. Max. Unbalanced (Ohms) 1/4" TS: Unbalanced Tip (+) Master L/R Sleeve-Ground XLR: 2 k/600 +26/+24 Balanced Pin 1 Ground Pin 2 (+) Pin 3 (-) XLR: 2 k/600 +26/+24 Balanced Pin 1 Ground...
  • Page 27 Output S/N Ratio, dB Test Conditions All Faders down Master L/R, Master Fader Nom./Chan. Fader down (Ref: Nom. Out level=+4 dBu) All Faders Nom: Min. Gain All Faders Nom: Max. Gain Channel Muted All Controls down Aux 1-2 Master control Nom./Chan. control down (Ref: Nom.
  • Page 28 CPM 2642 Channel 1 and 2 Mid EQ Audio Precision RSM1642 Channel 12 Mid EQ +17.5 +12.5 +7.5 +2.5 -2.5 -7.5 -12.5 -17.5 Color Line Style Thick Data Axis Cyan Solid Anlr.Ampl Left Cyan Solid Anlr.Ampl Left Cyan Solid Anlr.Ampl Left...
  • Page 29 CPM 2642 Ch. 3 — 8 Mid EQ...
  • Page 30 CPM 2642 Channel Shelving EQ and LC Filter...
  • Page 31 CPM 2642 Channel 15 Mid...
  • Page 32 NOTES:...
  • Page 33 NOTES:...
  • Page 34 NOTES:...
  • Page 35 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.
  • Page 36 Features 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...