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OWNER‘S MANUAL
BEDIENUNGSANLEITUNG
MODE D‘EMPLOI
CMS 1000/1600/2200
COMPACT MIXING SYSTEM
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CONTENTS SAFETY- AND SERVICE INSTRUCTIONS ....................... 3 IMPORTANT SAFETY INSTRUCTIONS ....................... 3 IMPORTANT SERVICE INSTRUCTIONS ....................... 3 DESCRIPTIONS ....................... 4 UNPACKING AND WARRANTY ....................... 4 INSTALLATION AND CONNECTIONS ....................... 4 INPUT MONO ....................... 5 INPUT STEREO ....................... 10 EFFECT 1/2 ....................... 13 AUX3&4 ....................... 15 M
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IMPORTANT SAFETY INSTRUCTIONS The lightning fl ash with arrowhead symbol, within an equilateral triangle is intended to alert the user to the presence of uninsulated „dangerous voltage“ within the product’s enclosure that may be of suffi cient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintance (servicing) instructions in the literature accompanyin
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DESCRIPTIONS In a world of plethora and mass production, quality, functionality and design are more important than ever. We at DYNACORD design and manufacture fi rst-class products – “Made in Germany”– that provide positive experiences through real world- optimized detail solutions. They are built to please you for a long time. The highest degree of customer satisfaction is our supreme ambition. Because of their comprehensive set of integrated features – like equalizer and effects units – the Co
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INPUT MONO 1. MIC Electronically balanced XLR-type inputs for the connection of low impedance microphones like the ones featured in state-of-the-art studio and live mixing consoles. This type of input stage provides extraordinary low noise signal conversion at an extremely low distortion rate (typical <0.002%) even in the high frequency range. Generally, any type of microphone can be connected as long as its pin assignment is in accordance to the diagram as shown below. When condenser micro
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INPUT MONO 3. INSERT Stereo phone jack with breaker function and with the low impedance output being assigned to the tip (send) and the high impedance input (return) to the ring. This jack allows the connection of external FX units, compressors, limiters, EQs, de-noisers, etc. into the corresponding channel’s signal path. The insertion point is post gain controls, Lo-Cut fi lters, and voicing stage but pre sound shaping section and channel faders. You have to use a stereo phone plug (Y-cord)
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INPUT MONO 5. LO CUT 80 Hz When the LO CUT switch is engaged, frequencies below 80 Hz are 5 attenuated (18dB octave slope). In most cases it is good advice to 0 use the LO CUT fi lter with microphone channels, since it effi ciently -5 suppresses popping sounds, rumbling noise and low-frequency -10 feedback. The only exceptions are kick drum and bass. Sometimes -15 it can be also very effective to combine the LO CUT fi lter with the -20 voicing fi lter, for instance to provide vocals with more
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INPUT MONO Adjustments in the MID frequency range are certainly the most effective way to shape the sound. As a matter of fact, determining the correct center frequency is not always as easy as it seems. Here is one method – amongst others – how to quickly fi nd the right setting of the parametric EQ for your application: Setting Instructions: 1. Slightly lower the channel fader to avoid feedback. 2. Position the MID rotary control in the range of +9dB … +15dB. 3. Play the desired sound sourc
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INPUT MONO 10. PAN This control determines the position of the connected sound source within the stereo image. When the control is set at its center position, the audio signal is fed with equal levels to the L and R master busses. The PAN control section is designed to maintain the essential sound pressure level, no matter at what position within the stereo image the PAN control is set to. 11. MUTE The MUTE button mutes the input signal post fader, including all AUX sends. PFL and Signal/P
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INPUT STEREO Since most features – AUX controls, input connection and channel faders – of the STEREO INPUTS are virtually identical to the ones of the MONO INPUTS we will not discuss their functioning in detail again. Thus, in the following we only point out the differences and like to ask you to refer to the analogous paragraphs within this owner’s manual describing the MONO INPUTS. 15.MIC Like their monaural counterparts, the stereo input channels incorporate extensive circuitry and el
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INPUT STEREO 18. LINE TRIM Control for matching incoming line level signals to the mixer’s operating level. The total adjustment range is 30dB. Unity gain – no amplifi cation (0 dB) – is achieved at the 0dB mark. The control offers level reduction of –10dB or amplifi cation of +20dB. This range allows the connection of most professional, semi professional, and hi-fi sound sources. For further details on how to set the LINE TRIM control, please refer to the description of gain controls in
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INPUT STEREO 23. MUTE The MUTE button mutes the input signal post fader, including all AUX sends. PFL and Signal/Peak stay operational. 24. PFL Engaging the PFL button sums the stereophonic audio signal of the corresponding input channel and routes the resulting monaural signal to the headphones bus. You are able to listen to the audio signal via the phones output. The meter instrument in the master section is simultaneously switched, so that the left LED-chain indicates the level (in dBu
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EFFECTS 1/2 FX1/FX2 The CMS offers two independently controllable, identically confi gured 24-bit stereo effect units – FX1 and FX2. Each unit provides 99 program presets, which can be selected by means of the UP/DOWN buttons. The 99 presets are divided into groups according to their different effect structure, as printed on the CMS and shown in the following listing. FX1/FX2 1.......10 11.......20 21......30 31......40 41......50 51......60 61......99 REVERB REVERB ECHO CHORUS DELAY DELAY S
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EFFECTS 1/2 29. DISPLAY The display always indicates the actual selected program number of the corresponding FX unit. The display screen is covered with a protective foil to prevent it from being damaged during shipment. Please remove the foil. 30. UP/DOWN The UP/DOWN buttons are for selecting effect presets. Pressing and holding one of these lets you scroll through the program numbers. 31/32. FX1/2 to AUX3/4 These controls allow adding the output signal of FX1 or FX2 to the monitoring c
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AUX3&4 / MASTER Generally, the AUX3/4 channel is used for monitoring purposes. Depending on the setting of the AUX3/4 POST buttons, it is also possible to confi gure the bus for the connection of an additional, external FX unit. 37. AUX3/4 OUT This output provides connection for monitor power amplifi ers, active speaker systems or external FX units. Using the AUX3/4 fader allows setting the output level of this electronically balanced output in a wide range up to +20dBu. The AUX3/4 OUT – lik
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AUX3&4 / MASTER 42. PFL Through this button you can route the pre AUX3/4 fader signal to the headphones bus. The signal is outputted for listening via the headphones output. The setting of the AUX3/4 fader is not relevant for the signal’s volume (PRE FADER LISTEN). The meter instrument in the master section is simultaneously switched, so that the left LED-chain indicates the level (in dBu) of the actually chosen AUX channel. 43. AUX3/4 VOLUME This fader controls the summed audio signal at
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MASTER 46. MASTER LED-DISPLAY The CMS offers two 12-segment LED-chains for indication of left and right channel output levels. The indication range of the LED-meter is 40dB, indicating the levels (in dBu) that are present at the master outputs. The meter’s 0dB mark is referenced to a 0dBu output signal at the mixer output. Please mind that the signal indicated by the Master LED display is pre equalizer. The master display is automatically switched to PFL-indication, once a PFL- button is eng
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MASTER 51. MONO OUTPUT At this electronically balanced monaural output the summed L/R master audio signal is present and can be used for additional monitoring, side fi ll and “next door” or Mono-PA applications as well as for the connection of a delay-line or subwoofer. The MONO OUTPUT – like any other XLR-type outputs on the CMS – is switched via output relay with a delay of approx. two seconds after the mixer has been powered on, which prevents power-on noise when switching the mixer on o
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MASTER 57. 2TRACK to MASTER This control is used to add the 2TRACK signal to the main mix; post fader of the master controls. Caution: When setting the level of the device that is connected to the 2TRACK RETURNS – e. g. CD player, tape deck, etc. – always begin with the 2TRACK to MASTER control set at its minimum setting; all the way counterclockwise. Otherwise, depending on the output quality of the connected sound source, the outputted level can instantly “hit the top”. 58. 2TRACK to AUX
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REAR PANEL POWER Mains switch to turn the CMS on or off. The CMS is operational once the POWER LED lights and outputs are activated through automatic switching of the output relays. Please make sure to set the master faders to their minimum position or engage the STANDBY switch before switching the power on. This will save you, your audience, and the equipment from unnecessary stress from unwanted loud signals or even worse from acoustic feedback. Please, proceed in the following order when
