Related Manuals for EVI Audio CS12M
Summary of Contents for EVI Audio CS12M
- Page 1 CS12M OPERATION MANUAL KLARK TEKNIK GROUP KLARK TEKNIK BUILDING, WALTER NASH ROAD, KIDDERMINSTER. WORCESTERSHIRE. DY11 7HJ. UNITED KINGDOM. TEL: (44) (01562) 741515 FAX: (44) (01562) 745371...
- Page 2 CS12M OPERATION MANUAL...
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Page 3: Table Of Contents
Safety precautions ................ 5 Transport ..................5 CS12M quickstart ................ 6 CS12M specification..............10 CS12M dimensions and wieghts ..........11 The mono input module ............. 12 The stereo input module ............20 The output module ..............28 The master module..............31 The power supply .............. -
Page 4: Introduction
INTRODUCTION The DDA CS12M is a ‘Truly’ affordable medium format Stage Monitor audio mixing console, allowing a cost-effective upgrade from the dual FOH/Monitor mixing scenario, often seen during smaller performances. CS12M, available with between 16 and 40 inputs, also opens up the possibilities of using Stereo In Ear Monitoring to applications previously restricted by finance. -
Page 5: Safety Precautions
SAFETY PRECAUTIONS IMPORTANT - PLEASE READ BEFORE INSTALLING YOUR CS12M CONSOLE Strong sources of electromagnetic radiation e.g. high power cabling, video monitors and radio transmitters may cause degradation of the audio quality due to induced voltages in the chassis and connection leads. Site the console away from such sources. -
Page 6: Cs12M Quickstart
Power amplifier with mains cord and signal cable. Loudspeaker with connecting cable. Headphones. CS12M console with power supply. First of all make sure that the power supply is suitable for connection to your local supply and then connect the console to the power supply. - Page 7 If the input level is too high then reduce the gain with the INPUT GAIN control. If the power amplifier and loudspeaker are connected to this output you will then hear yourself from the loudspeaker (beware of feedback). CS12M QUICKSTART...
- Page 8 GAIN, INPUT FADER or OUTPUT FADER are adjusted. Plug headphones into the headphone socket located below the armrest and turn up the volume to hear the selected AFL (or PFL) signal. Congratulations — it’s all working the way it should. CS12M OPERATION MANUAL...
- Page 9 This drawing illustrates the simple quick start set up. POWER AMPLIFIER LOUDSPEAKER MONITOR SEND 1 PSU INPUT CHANNEL 1 XLR OUTPUT XLR INPUT CS12M CS12M QUICKSTART...
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Page 10: Cs12M Specification
-128.7dBu ref 150 ohms Maximum output level: +20dBu into a bridging load Maximum input level: +30dBu Input Impedance: >2kohm Output impedance: <75R Signal present threshold: -21dBu Peak led threshold: 3dB below clipping Power consumption: < 300 Watts CS12M OPERATION MANUAL... -
Page 11: Cs12M Dimensions And Wieghts
CS12M DIMENSIONS AND WEIGHTS CONSOLE WEIGHTS AND DIMENSIONS (Unpacked) (Packed) Dimensions 22kg/48.5lbs 30kg/66.1lbs 104 x 65 x 30 cms 40.9 x 25.6 x 11.8 inches 26.6kg/58.7lbs 40kg/88.2lbs 129 x 65 x 30 cms 50.8 x 25.5 x 11.8 inches 31.2kg/68.8lbs 50kg/110.2lbs... -
Page 12: The Mono Input Module
PAN and LEVEL pair. PEAK and SIGNAL PRESENT leds assist in setting the pre-fade signal level and the signal may be metered and listened to using the 100Hz PFL facility. LEVEL LEVEL LEVEL MUTE + 10 PEAK LEVEL CS12M OPERATION MANUAL... - Page 13 THE MONO INPUT MODULE +48V Provides 48 volt phantom power for a condenser microphone, or D.I. box. The 48V ON switch on the master module must be ON for phantom power to operate. Optional balancing transformers may be fitted to the Mic/Line Inputs. GAIN POTENTIOMETER The gain control is a wide range rotary potentiometer which is active on both Mic and Line Inputs.
- Page 14 When a jack is inserted the signal path is broken and signal is forced to flow through an external device before returning to the module. The insert return signal is used to operate the PEAK and SIG leds. CS12M OPERATION MANUAL...
- Page 15 EQUALISATION AND FILTER RESPONSES HIGH PASS FILTER HI MID EQUALISER LO MID EQUALISER HF/LF EQUALISER MONO INPUT MODULE...
- Page 16 This sends a prefade signal to Monitors 11 and 12. Normally internal link 5 will be installed giving a pre fade post mute LEVEL signal. Removing link 5 and inserting link 6 allows a pre equaliser signal to be sent. LEVEL CS12M OPERATION MANUAL...
- Page 17 THE CHANNEL FADER MUTE When pressed this mutes the POST FADE signal and any POST FADE monitor sends. LEVEL This rotary control adjusts the post fade signal level within the module. Any monitor send receiving the post fade signal will be dependent upon this fader. PEAK This illuminates when the signal level is too high and close to being clipped.
- Page 18 PUSH SIGNAL + (HOT) SIGNAL - (COLD) LINE INPUT GROUND GROUND MIC INPUT SPLIT OUTPUT LIFT SWITCH SEND PUSH RETURN SIGNAL + (HOT) INSERT GROUND SIGNAL - (COLD) GROUND OUTPUT XLR INPUT XLR CS12M OPERATION MANUAL...
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Page 19: Input Module
MONO INPUT MODULE BLOCK DIAGRAM 4 BAND EQUALISER freq. 20dB to 70dB GAIN -10dB to 20dB RANGE BUS 1 (IDENTICAL TO 2 THROUGH 12) 15dB INPUT (LINE) BUS 7 (IDENTICAL TO BUS 1) BUS 7L (SIMILAR TO 9L AND 11L) BUS 8 (SIMILAR TO BUS 1) PHASE BUS 8R (SIMILAR TO BUS 10R AND 12R... -
Page 20: The Stereo Input Module
The stereo input module allows stereo mic or line level signals to be fed from, for Example: Keyboards. Stereo Overhead drum microphones. Stereo snare drum microphones. Audience ambient microphones for in-hear use. Effect returns. LEVEL LEVEL LEVEL MUTE + 10 PEAK LEVEL STEREO CS12M OPERATION MANUAL... - Page 21 +48V Provides 48 volt phantom power for a condenser microphone, or D.I. box. The 48V ON switch on the master module must +48V be ON for phantom power to operate. Optional balancing transformers may be fitted to the Mic/Line Inputs. GAIN RANGE The gain control is a wide range rotary potentiometer which is active on both Mic and Line Inputs.
- Page 22 If the equaliser is used then an immediate comparison between the unequalised and equalised sound is made possible by using this switch. CS12M OPERATION MANUAL...
- Page 23 EQUALISATION AND FILTER RESPONSES HIGH PASS FILTER HI MID EQUALISER LO MID EQUALISER HF/LF EQUALISER STEREO INPUT MODULE...
- Page 24 This sends a prefade signal to Monitors 11 and 12. Normally link 5 will be installed giving the pre fade post cut signal. LEVEL Removing link 5 and inserting link 6 allows the pre equaliser signal to be sent. CS12M OPERATION MANUAL...
- Page 25 THE CHANNEL FADER MUTE When pressed this mutes the POST FADE signal and any POST FADE monitor sends. LEVEL This rotary control adjusts the post fade signal level within the module. Any monitor send receiving the post fade signal will be dependent upon this fader. PEAK This illuminates when the signal level is too high and close to being clipped.
- Page 26 PUSH SIGNAL + (HOT) SIGNAL - (COLD) LINE INPUT GROUND GROUND MIC INPUT SPLIT OUTPUT LIFT SWITCH SEND PUSH RETURN SIGNAL + (HOT) INSERT GROUND SIGNAL - (COLD) GROUND OUTPUT XLR INPUT XLR CS12M OPERATION MANUAL...
- Page 27 STEREO INPUT MODULE BLOCK DIAGRAM STEREO INPUT MODULE...
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Page 28: The Output Module
“within the console”, allowing it to be soloed and checked by the monitor engineer before being sent to its destination. The insert point is located before the fader so that as the fader is reduced any noise from the external unit will be reduced proportionally. CS12M OPERATION MANUAL... - Page 29 STEREO (OUTPUT MODULES 7-12 ONLY) Depressing this switch changes the monitor sends located on the output modules from two mono into one stereo send. The output controls remain the same, however, the input module controls become level and pan pair rather than two level controls. MUTE This switch mutes the monitor output although talkback, if selected, will still be available to the output.
- Page 30 Ground Output Impedance: < 75 Ohm Insert Point: " TRS Jack Socket, ‘A’ Gauge, unbalanced Nominal Input/Output level: 0dBu Tip : Insert Send Ring : Insert Return Sleeve: Ground Output Impedance: <75 Ohm Input Impedance: >10 kOhm CS12M OPERATION MANUAL...
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Page 31: The Master Module
THE MASTER MODULE The master module allows the monitor sends to be checked by using the solo system, either through a local wedge loudspeaker or headphones. No signal will be heard until a solo is requested. When setting up a monitor send the recommended method of working is to first of all AFL the monitor send output. - Page 32 A level control to adjust the audio level of output solos (AFL). Note that this does not affect the meter readings. The AFL and PFL level controls can be used to adjust the volume of input and output solos so that they match one and other. CS12M OPERATION MANUAL...
- Page 33 PHONES A rotary fadercontrolling the signal level fed to the headphone socket. This output is suitable for driving headphones with an impedance of 100 ohms or greater. The headphone output is located below the armrest at the front of the console. PHONES PRE Pressing this allows the headphone output level to be adjusted independently of the local monitor output.
- Page 34 1 N / C Note that Pin 1 of all XLR connectors 2 +18V and the sleeves of all jack connectors are 3 -18V taken to chassis. 0V is not externally 4 0V available. 5 +48V MADE IN ENGLAND CS12M OPERATION MANUAL...
- Page 35 MASTER MODULE BLOCK DIAGRAM MASTER MODULE...
- Page 36 BUS LINKING Bus lin king enables a pair of CS12M consoles to be used in a master/slave configuration. Normally a rear mounted connector will link the input modules to the output modules within a console. This connector can be removed and replaced by a bus linking cable which performs differently depending upon whether the console is to be a master or a slave.
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Page 37: The Power Supply
THE POWER SUPPLY The interface type power supply for the console is a back mounted unit and operates from either 230V or 120V AC, 50-60Hz, occupying 2U of space. Clearance should be allowed in the rack such that sufficient cooling can take place — 2U above the unit is suggested. -
Page 38: Installation Guide
WIRING The console uses three different connector styles:- TRS jack sockets, XLR male connectors and XLR female connectors. 1/4 INCH TRS “A” GAUGE JACK PLUG MALE FEMALE OUTPUT XLR-3 INPUT XLR-3 CS12M OPERATION MANUAL... - Page 39 The cables used should be of as high a quality as possible. Many installation problems can be traced back to poor or faulty cables and connectors. As mentioned before there are two different conventions for the wiring of XLR connectors. The international convention uses pin 2 as the hot pin while the older American convention uses pin 3 as the hot pin.
- Page 40 PI N 1 PI N 1 G RO U N D STU D PO W ER CO M PA N Y G RO U ND PO W ER CO M PA N Y G RO UN D CS12M OPERATION MANUAL...
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Page 41: Tutorial
The CS12M allows six of the monitor sends to be switched for either mono or stereo operation. - Page 42 Every input module in the CS12M has a second XLR which carries the output of a microphone splitter which is integral with the module. A ground lift switch is provided to assist with any problems that may arise when the split output is used.
- Page 43 If an artist does not receive the correct foldback or monitor mix then the performance of that artist may suffer, consequently the foldback or monitor mix is much more important than might at first be imagined. The balance of the performer to the rest of the ensemble in the monitor mix must be correct otherwise pitching difficulties may be encountered while a lack of ambience or reverberation can also affect the amount of life that a performer is able to inject into a performance.
- Page 44 Add some reverberation - a dry sound is very unnatural. As a starting point try using the large room or small hall settings at 1.6 seconds reverberation with the sibilance taken out. Reverberation can be of great benefit when assisting those with pitching difficulties. CS12M OPERATION MANUAL...
- Page 45 Try to maximise the signal into the system without overloading it. Retain line of site paths between transmitters and receivers for best reception. The last two points will help maintain the signal to noise ratio of the wireless link. There is a psycho-acoustic phenomenon whereby the person making a sound perceives that sound as quieter than another person hearing it (the Stapedius muscle reflex).
- Page 46 The drummer may for example want the same feed on his wedge as on his in ear monitor. CS12M OPERATION MANUAL...
- Page 47 There are many possible variations on this theme and it is therefore very difficult to give hard and fast rules as to how the console is best used. As shown above sometimes stereo monitoring is not required and this releases another send on the console for use on another monitor mix.
- Page 48 A feedback safety margin should always be left as there will be a major difference between the sound check and the actual performance. This margin will allow the monitors to be turned up as and when the stage performance swings into life without the risk of feedback. CS12M OPERATION MANUAL...
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Page 49: Recommended Auxiliary Equipment
RECOMMENDED AUXILIARY EQUIPMENT The following items of equipment referred to in the preceding articles may be of use when setting up a monitor system. Klark Teknik DN360 Graphic Equaliser This is a dual channel 30 band graphic equaliser offering 12dB of boost and cut in one third octave steps between 25Hz and 20kHz. -
Page 50: Glossary
This reduces the monitor level by a preset amount, usually 20dB in DDA products. DIRECT OUTPUT This refers to the individual output of a channel which is available even if the channel is not routed. Electronically Balanced Output. CS12M OPERATION MANUAL... - Page 51 Equaliser or Tone Control. FOLDBACK This is the signal which is usually fed to the artists headphones. GROUND SENSING OUTPUT An output stage where any ground noise is injected into the feedback loop in such a way that it appears in phase on the amplifier output. As the ground should be the reference for the following stage, if it is moving and the signal is moving in the same way then no net signal results.
- Page 52 The smaller the Q the wider the bandwidth of the equaliser will be. Typically a fixed Q equaliser will have a Q of about 1.5 equating to a bandwidth of about 1 octave. CS12M OPERATION MANUAL...
- Page 53 QUASI BALANCED An arrangement whereby a bus is terminated with a differential input. The bus however is not truly balanced, instead a bus common is used to pick up any interference which will also be picked up by the true bus. The interference then appears as a common mode signal at the mixing amplifier.
- Page 54 The most common is a three pin version, although there are types with more pins for other purposes. In fact XLR is derived from eXtra Low Resistance ! CS12M OPERATION MANUAL...
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Page 55: Warranty
WARRANTY If within a period of three years from the date of delivery of the equipment to the End User it shall prove defective by reason only of faulty materials and/or workmanship (but not faulty design) to such an extent that the effectiveness and/or the usability thereof is materially affected, the Equipment or the faulty component shall be returned to the Distributor or DDA and subject to the following conditions the Distributor or DDA will repair or at its option replace the defective components. -
Page 56: Declaration Of Conformity
The Products Covered by this Declaration. Model CS3 Mixing Console. Model CS8 Mixing Console. Model CS12M Mixing Console. The Basis on which Conformity is being Declared The products identified above comply with the protection requirements of the EMC Directive and with...
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