CMX-1668/2468/32688 Bus Mixing Console

Transcription

CMX-1668/2468/3268 8 Bus Mixing Console
6
6
6
4
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
80
80
HIGH
15
15
80
HIGH
15
15
FREQ
80
HIGH
15
15
FREQ
80
HIGH
15
15
FREQ
80
HIGH
15
15
FREQ
80
HIGH
15
15
FREQ
80
HIGH
15
15
FREQ
80
HIGH
15
15
FREQ
80
HIGH
15
15
FREQ
80
HIGH
15
15
FREQ
80
HIGH
15
15
FREQ
15
15
20
15
15
15
15
0
800
8K
800
8K
HI/
MID
800
8K
HI/
MID
800
8K
HI/
MID
800
8K
HI/
MID
800
8K
HI/
MID
800
8K
HI/
MID
800
8K
HI/
MID
800
8K
HI/
MID
800
8K
HI/
MID
800
8K
HI/
MID
800
8K
HI/
MID
800
8K
HI/
MID
800
8K
HI/
MID
PRE
800
8K
HI/
MID
6
15
15
15
FREQ
160
1.6K
15
15
FREQ
160
1.6K
LO/
MID
15
15
15
15
FREQ
15
15
15
AUX 1
160
1.6K
LO/
MID
15
15
15
15
FREQ
15
15
15
FREQ
15
15
15
15
15
FREQ
15
15
15
15
15
FREQ
15
15
15
15
15
FREQ
15
15
15
15
15
FREQ
15
15
15
15
15
FREQ
15
15
15
15
15
FREQ
15
15
15
15
15
FREQ
15
15
15
15
15
FREQ
15
15
15
15
15
FREQ
15
15
15
15
R EVEN
ODD L
15
15
15
15
15
AUX 1
160
15
15
LOW
0
10
0
10
AUX 2
0
10
AUX 2
0
10
AUX 2
0
10
AUX 2
0
10
AUX 2
0
10
AUX 2
0
10
AUX 2
0
10
AUX 2
0
10
AUX 2
0
10
AUX 2
0
10
AUX 2
15
15
AUX 1
0
10
AUX 2
15
15
AUX 1
0
10
AUX 2
3
15
0
2
0
0
2
2
4
4
4
2
0
2
7
7
7
7
7
7
10
10
10
10
10
10
15
15
15
15
20
20
20
20
15
20
15
20
15
20
15
20
20
STAND BY
POWER
4
7
10
15
DC 12V
6
7
10
ON
OFF
SOLO
CONTROL ROOM
MONO
1 2
3 4
3 4
5 6
5 6
7 8
7 8
MUTE
AUX 1
10
AUX 2
4
2
4
7
10
15
R EVEN
6
4
2
4
7
AUX RETURN
15
1
LOW
2
3
4
5
6
L R
L R
L R
L R
L R
L R
1 2
1 2
1 2
1 2
1 2
1 2
3 4
3 4
3 4
3 4
3 4
3 4
TALK BACK
MUTE
SOLO
0
AUX 2
2
CONTROL
L ROOM R
6
0
2
4
GROUP 8
2
0
2
4
4
2
0
2
6
4
2
0
GROUP 7
6
4
2
4
GROUP 6
6
4
2
4
GROUP 5
6
0
2
4
1.6K
LO/
MID
15
LOW
0 1
L R
L R
FREQ
1.6K
LO/
MID
15
LOW
AUX 1
160
1.6K
LO/
MID
15
LOW
AUX 1
160
1.6K
LO/
MID
15
LOW
AUX 1
160
1.6K
LO/
MID
15
LOW
AUX 1
160
1.6K
LO/
MID
15
LOW
AUX 1
160
1.6K
LO/
MID
15
LOW
AUX 1
160
1.6K
LO/
MID
15
LOW
AUX 1
160
1.6K
LO/
MID
15
LOW
AUX 1
160
1.6K
LO/
MID
15
LOW
AUX 1
160
1.6K
LO/
MID
15
LOW
AUX 1
160
1.6K
LO/
MID
15
LOW
AUX 1
160
1.6K
LO/
MID
15
LOW
3
VU
10
20
15
1 2
160
LOW
5
MIX-R
GROUP 4
2
0
2
BALANCE
8K
4
2
0
10
6
4
2
PRE
0
GROUP 3
GROUP 2
GROUP 1
15
10
AUX 2
10
HI/
MID
ODD L
15
FREQ
LO/
MID
7
CMX-1668 MIXING CONSOLE
15
6
0
10
15
15
FREQ
BALANCE
800
15
AUX 1
4
HIGH
15
FREQ
0
HI/
MID
15
LOW
15
80
HIGH
15
FREQ
15
20
SIGNAL
LOW
MIC
/LINE
TAPE
80
HIGH
15
FREQ
3
LINE
MIC
/LINE
TAPE
80
HIGH
15
FREQ
2
HIGH
AUX 2
15
FREQ
0 1
PEAK
SIGNAL
HIGH
M
60
24 16
MIC
20
LINE
MIC
/LINE
TAPE
PEAK
SIGNAL
E
N
LI
LI
LI
LI
LI
LI
LI
LI
LI
LI
LI
LI
LI
60
24 16
MIC
20
LINE
TRIM
M
AUX 1
80
HIGH
3
VU
IC
60
24 16
MIC
20
LINE
MIC
/LINE
TAPE
PEAK
SIGNAL
E
N
IC
60
24 16
MIC
20
LINE
MIC
/LINE
TAPE
TRIM
M
5
MIX-L
8BUS CONSOLE
16
PEAK
SIGNAL
E
N
IC
60
24 16
MIC
20
LINE
MIC
/LINE
TAPE
TRIM
M
CH OUT
TAPE IN
20
15
PEAK
SIGNAL
E
N
IC
60
24 16
MIC
20
LINE
MIC
/LINE
TAPE
TRIM
M
20
14
PEAK
SIGNAL
E
N
IC
60
24 16
MIC
20
LINE
MIC
/LINE
TAPE
TRIM
M
20
13
PEAK
SIGNAL
E
N
IC
60
24 16
MIC
20
LINE
MIC
/LINE
TAPE
TRIM
M
20
12
PEAK
SIGNAL
E
N
IC
60
24 16
MIC
20
LINE
MIC
/LINE
TAPE
TRIM
M
20
11
PEAK
SIGNAL
E
N
IC
60
24 16
MIC
20
LINE
MIC
/LINE
TAPE
TRIM
M
20
10
PEAK
SIGNAL
E
N
IC
60
24 16
MIC
20
LINE
MIC
/LINE
TAPE
TRIM
M
20
9
PEAK
SIGNAL
E
N
IC
60
24 16
MIC
20
LINE
MIC
/LINE
TAPE
TRIM
M
20
8
PEAK
SIGNAL
E
N
IC
60
24 16
MIC
20
LINE
MIC
/LINE
TAPE
TRIM
M
20
7
PEAK
SIGNAL
E
N
IC
60
24 16
MIC
20
LINE
MIC
/LINE
TAPE
TRIM
M
20
6
PEAK
SIGNAL
E
N
IC
60
24 16
MIC
20
MIC
/LINE
TAPE
TRIM
M
20
5
PEAK
SIGNAL
E
N
IC
IC
60
24 16
MIC
LINE
TRIM
M
20
4
PEAK
SIGNAL
E
N
20
3
PEAK
TRIM
M
IC
LI
20
2
PEAK
SIGNAL
LI
1
LI
20
20
7
2
4
7
15
E
N
15
0
2
4
20
2
0
2
4
4
2
0
2
6
4
2
0
4
6
4
2
2
4
6
4
0
2
4
6
2
0
2
4
4
2
0
2
6
4
2
0
4
6
4
2
2
4
6
4
0
2
4
6
2
0
2
4
4
2
0
2
6
4
2
0
4
6
4
2
2
4
6
4
0
2
4
4
2
0
2
2
4
2
0
0
6
4
2
2
TRIM
6
4
4
10
5 6
5 6
5 6
5 6
5 6
5 6
7 8
7 8
7 8
7 8
7 8
7 8
SOLO
AUX 1/2
10
AUX 2
TO MIX
AUX 3/4
0
0
10
AUX 3
0
10
PRE AUX 3
0
10
PRE AUX 3
0
10
PRE AUX 3
0
10
PRE AUX 3
0
10
PRE AUX 3
0
10
PRE AUX 3
0
10
PRE AUX 3
0
10
PRE AUX 3
0
10
PRE AUX 3
0
10
PRE AUX 3
0
10
PRE AUX 3
0
10
PRE AUX 3
0
10
PRE AUX 3
0
10
PRE AUX 3
10
10
0
0
10
PRE AUX 3
AUX 5/6
PRE
ODD L
R EVEN
ODD L
BALANCE
0
0
10
AUX 4
0
0
10
AUX 4
0
10
AUX 5
0
10
AUX 4
0
10
AUX 5
0
10
AUX 4
0
10
AUX 5
0
10
AUX 4
0
10
AUX 5
0
10
AUX 4
0
10
AUX 5
0
10
AUX 4
0
10
AUX 5
0
10
AUX 4
0
10
AUX 5
0
10
AUX 4
0
10
AUX 5
0
10
AUX 4
0
10
AUX 5
0
10
AUX 4
0
10
AUX 5
0
10
AUX 4
0
10
AUX 5
0
10
AUX 4
0
10
AUX 5
0
10
AUX 4
0
10
AUX 5
0
10
AUX 4
0
10
AUX 5
R EVEN
ODD L
BALANCE
R EVEN
ODD L
BALANCE
R EVEN
ODD L
BALANCE
R EVEN
ODD L
BALANCE
0
R EVEN
10
AUX 7/8
MIX-B OUT
BALANCE
10
AUX 4
GRP 1/2
0
10
AUX 5
0
10
AUX 5
LEVEL
0
10
LEVEL
0
10
LEVEL
0
10
LEVEL
0
10
LEVEL
0
10
LEVEL
0
10
GRP 3/4
10
STUDIO OUT
AUX SEND
0
0
10
AUX 6
0
10
AUX 6
0
10
AUX 6
0
10
AUX 6
0
10
AUX 6
0
10
AUX 6
0
10
AUX 6
0
10
AUX 6
0
10
AUX 6
0
10
AUX 6
0
10
AUX 6
0
10
AUX 6
0
10
AUX 6
0
10
AUX 6
0
10
AUX 6
ST 3
ST 1
10
AUX 6
PEAK
PEAK
SIGNAL
0
0
10
PRE/
POST
SHIFT
7/8
PAN
0
10
PRE/
POST
SHIFT
7/8
MIX-B
PAN
0
10
PRE/
POST
SHIFT
7/8
MIX-B
PAN
0
10
PRE/
POST
SHIFT
7/8
MIX-B
PAN
0
10
PRE/
POST
SHIFT
7/8
MIX-B
PAN
0
10
PRE/
POST
SHIFT
7/8
MIX-B
PAN
0
10
PRE/
POST
SHIFT
7/8
MIX-B
PAN
0
10
PRE/
POST
SHIFT
7/8
MIX-B
PAN
0
10
PRE/
POST
SHIFT
7/8
MIX-B
PAN
0
10
PRE/
POST
SHIFT
7/8
MIX-B
PAN
0
10
PRE/
POST
SHIFT
7/8
MIX-B
PAN
0
10
PRE/
POST
SHIFT
7/8
MIX-B
PAN
0
10
PRE/
POST
SHIFT
7/8
MIX-B
PAN
0
10
PRE/
POST
SHIFT
7/8
MIX-B
PAN
0
10
PRE/
POST
PAN
HIGH
R
L
R
L
LEVEL
R
L
LEVEL
R
L
LEVEL
R
L
LEVEL
R
L
LEVEL
R
L
LEVEL
R
L
LEVEL
R
L
LEVEL
R
L
LEVEL
R
L
LEVEL
R
L
LEVEL
R
L
LEVEL
R
L
LEVEL
0
0
10
SPLIT EQ
HI/LO EQ
TO MON
0
10
SPLIT EQ
HI/LO EQ
TO MON
SOURCE
0
10
SPLIT EQ
HI/LO EQ
TO MON
SOURCE
0
0
0
0
0
0
0
0
0
0
0
MUTE
MUTE
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
15
MIX L/R
0
0
10
SPLIT EQ
10
SPLIT EQ
POST
AUX 4
0
ODD L
1/2
R EVEN
ODD L
MUTE 10
1/2
5
3/4
R EVEN
ODD L
0
MUTE 10
1/2
5
3/4
R EVEN
ODD L
0
MUTE 10
1/2
5
3/4
R EVEN
ODD L
0
MUTE 10
1/2
5
3/4
R EVEN
ODD L
0
MUTE 10
1/2
5
3/4
R EVEN
ODD L
0
MUTE 10
1/2
5
3/4
R EVEN
ODD L
0
MUTE 10
1/2
5
3/4
R EVEN
ODD L
0
MUTE 10
1/2
5
3/4
R EVEN
ODD L
0
MUTE 10
1/2
5
3/4
R EVEN
ODD L
0
MUTE 10
1/2
5
3/4
R EVEN
ODD L
0
MUTE 10
1/2
5
3/4
R EVEN
ODD L
0
MUTE 10
1/2
5
3/4
R EVEN
ODD L
0
MUTE 10
1/2
5
3/4
0
0
0
10
LEVEL
0
10
LEVEL
0
10
LEVEL
0
10
LEVEL
0
10
LEVEL
0
10
LEVEL
10
0
TO MIX
TO MIX
TO MIX
TO MIX
TO MIX
TO MIX
TO MIX
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
LEVEL
SOURCE
0
EXTERNAL
POST
AUX 4
0
10
BALANCE
CH
R EVEN
ODD L
HEADPHONES
10
BALANCE
R EVEN
ODD L
PAN
R EVEN
ODD L
PAN
R EVEN
ODD L
PAN
R EVEN
ODD L
PAN
R EVEN
ODD L
PAN
R EVEN
ODD L
PAN
R EVEN
ODD L
PAN
R EVEN
ODD L
PAN
0
R EVEN
10
CONTROL ROOM
0
PHONES
L R
1 2
MUTE
1/2
3 4
3 4
5 6
5 6
7 8
7 8
10
10
10
10
10
10
10
10
10
10
10
5
5
5
5
5
5
5
5
5
5
5
CONTROL
ROOM
1/2
5
3/4
0
R EVEN
R EVEN
MUTE 10
MIX-B
3/4
0
0
MUTE
0
0
0
0
0
0
0
0
0
0
MUTE
AUX 3-4
5
5/6
5
7/8
10
5/6
5
7/8
10
5/6
5
7/8
10
5/6
5
7/8
10
5/6
5
7/8
10
5/6
5
7/8
10
5/6
5
7/8
10
5/6
5
7/8
10
5/6
5
7/8
10
5/6
5
7/8
10
5/6
5
7/8
10
5/6
5
5/6
5
7/8
10
5/6
5
5/6
5
7/8
10
5/6
SOLO
SOLO
5
5
5
5
5
10
10
10
10
10
15
15
15
15
15
15
15
15
15
15
15
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
40
5
40
5
40
5
40
5
40
40
40
5
40
40
40
40
5
AUX 5-6
10
15
15
15
15
15
15
15
15
15
15
15
7/8
15
10
15
7/8
15
10
15
10
7/8
10
10
0
0
15
10
10
10
10
10
AUX 7-8
20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
20
L/R
20
10
2-TRACK
MUTE
PAN
5
3/4
LEVEL
TO MIX
HI/LO EQ
TO MON
FLIP SW
CH
PAN
1 2
MUTE 10
0
10
15
10
ODD L
R EVEN
5
LEVEL
MIX-B
15
AUX 3
10
L R
10
MIX
15
LOW
15
AUX 3
R
ODD L
ODD L
GRP 7/8
SIGNAL
15
LOW
L
FLIP SW
CH
PAN
MUTE
LEVEL
SOURCE
FLIP SW
CH
PAN
MUTE
MIX-B
PAN
R
HI/LO EQ
TO MON
SOURCE
FLIP SW
CH
PAN
10
SPLIT EQ
HI/LO EQ
TO MON
SOURCE
FLIP SW
CH
PAN
10
SPLIT EQ
HI/LO EQ
TO MON
SOURCE
FLIP SW
CH
PAN
10
SPLIT EQ
HI/LO EQ
TO MON
SOURCE
FLIP SW
CH
PAN
10
SPLIT EQ
HI/LO EQ
TO MON
SOURCE
FLIP SW
CH
PAN
10
SPLIT EQ
HI/LO EQ
TO MON
SOURCE
FLIP SW
CH
PAN
10
SPLIT EQ
HI/LO EQ
TO MON
SOURCE
FLIP SW
CH
PAN
10
SPLIT EQ
HI/LO EQ
TO MON
SOURCE
FLIP SW
CH
PAN
10
SPLIT EQ
HI/LO EQ
TO MON
SOURCE
FLIP SW
CH
PAN
10
SPLIT EQ
HI/LO EQ
TO MON
SOURCE
FLIP SW
CH
PAN
10
SPLIT EQ
HI/LO EQ
TO MON
SOURCE
FLIP SW
CH
PAN
10
SPLIT EQ
HI/LO EQ
TO MON
SOURCE
FLIP SW
CH
PAN
MUTE
ON
15
SHIFT
7/8
MIX-B
LEVEL
0
FLIP SW
MUTE
HIGH
15
L
LEVEL
GRP 5/6
MUTE
PRE/
POST
SHIFT
7/8
MIX-B
10
MUTE
L/R
L/R
20
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
40
SOLO 40
SOLO 40
SOLO 40
SOLO 40
SOLO 40
SOLO 40
SOLO 40
SOLO 40
SOLO 40
SOLO 40
SOLO 40
SOLO 40
SOLO 40
SOLO 40
SOLO 40
SOLO
16
ST 2
ST 4
GROUP 1
GROUP 2
GROUP 3
GROUP 4
GROUP 5
GROUP 6
GROUP 7
GROUP 8
L MIX R
EXTERNAL
MONO
10
Contents
Contents
1. Introduction..............................................................................................................................1
2. Unpacking and Installation .......................................................................................................1
3. Features ...................................................................................................................................2
4. Precautions ..............................................................................................................................3
5. Control Panel
5-1. Mono Input Section ................................................................................................................4
5-2. Stereo Input Section................................................................................................................9
5-3. Aux Return Section...............................................................................................................12
5-4. Aux Send Section.................................................................................................................13
5-5. Group Section .....................................................................................................................14
5-6. Master Section .....................................................................................................................15
5-7. Control Room and Mono Section...........................................................................................16
5-8. Talkback and Headphone Section .........................................................................................18
5-9. Master LED Section ..............................................................................................................20
5-10. Master Bridge ....................................................................................................................21
6. Rear Panel Connectors
6-1. Input Section Connectors ......................................................................................................22
6-2. Output Section Connectors ...................................................................................................24
7. Wiring
7-1. General Wiring Procedures ..................................................................................................27
7-2. Initial Wiring Considerations ................................................................................................27
7-3. Audio Wiring ......................................................................................................................28
7-4. Shielding.............................................................................................................................28
8. Point to Remember .................................................................................................................29
9. Audio Connectors ...................................................................................................................30
10. Grounding on the Road ........................................................................................................31
11. Application Examples ...........................................................................................................33
11-1. Applications-1 ...................................................................................................................35
11-2. Applications-2 ...................................................................................................................36
11-3. Applications-3 ...................................................................................................................37
13. Block and Level Diagram ......................................................................................................38
12. Specifications
12-1. General Specifications........................................................................................................39
12-2. Input/Output Specifications ................................................................................................40
OFFICE :
653-5 BANGHAK-DONG, DOBONG-KU, SEOUL, KOREA
TEL : 82-2-2289-8140~8, FAX : 82-2-2289-8149
Home Page : http://www.inter-m.com
E-mail : [email protected]
8 BUS MIXING CONSOLE
Introduction
Thank you for purchasing a CMX 8Bus SERIES Mixing Console. The CMX 8Bus Series provides an excellent
balance of operability, functionally and ease of use. In order to take full advantage of the CMX 8Bus Series
capabilities and enjoy years of trouble - free use, please read this manual carefully.
Unpacking and Installation
Although it is neither complicated to install nor difficult to operate your set, a few minutes of your time is
required to read this manual for a properly wired installation and becoming familiar with its many features
and how to use them.
Please take a great care in unpacking your set and do not discard the carton and other packing materials.
They may be needed when moving your set and are required if it ever becomes necessary to return your set
for service. Never place the unit near radiators, in front of heating vents, to direct sun light, in excessive
humid or dusty location to avoid early damage and for your years of quality entertainment. Connect your
complementary components as illustrated in the following page.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK.
DO NOT REMOVE COVER (OR BACK).
This symbol is 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.
This symbol is intended to alert the user to the
presence of important operation and maintenance (servicing) instructions in the literature
accompanying the appliance.
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
WARNING
To prevent fire or shock hazard, do not
expose the unit to rain or moisture.
Caution: To prevent electric shock do not use this (polarized) plug
with an extension cord, receptacle or other outlet unless
the blades can be fully inserted to prevent blade exposure.
Attentions: Pour prévenir les chocs électriques ne pas utiliser cette
fiche polarisée avec un prolongateur, une prise de
courant on une autre sortie de courant, sauf si les
lames peuvent étre insérées à fond sans en laisser
aucune partie à découvert.
CMX-1668/2468/3268
1
Features
- 16/24/32 CHANNELS MONO INPUTS
CMX-1668, 2468, 3268 Mixing Console provideds 16, 24, 32 channels of mono input that can be mixed
down to a Stereo Mix, 8 Groups, 8 Aux sends.
- 4 CHANNELS STEREO INPUTS
These mixing consoles provides 4 channels of stereo channel input that can be mixed down to a Stereo Mix,
8 Groups, 8 Aux sends.
- 8 AUX SENDS, 6 STEREO AUX RETURNS
8 AUX SENDS systems and 6 STEREO AUX RETURN systems are provided. Even when two 1-in/2-out effect
devices are connected, two more AUX SEND systems are still available for use.
- 4 BAND EQ WITH SWEEPABLE HIGH-MID, LOW-MID RANGE BAND
All mono input channels include 4 band equalizer with sweepable high-mid and low-mid range frequency.
- XLR CONNECTOR AND 1/4” TRS CONNECTOR
XLR type connectors are provided for MIC jacks and 1/4” TRS connectors are provided for the LINE and
TAPE IN jacks.
- 8 GROUP MIXING BUSES
8 Group mixing buses, each with its own Master Fader, ON/OFF Switch to Stereo Mix Buses.
- TAPE INPUT
You can connect the outputs of your multi-track recorder.
- INPUT CH INSERT I/O JACK and DIRECT OUT JACK
INPUT CH INSERT I/O jack and DIRECT OUT jack are provided on each channel, allowing you to connect
effect devices independently for each channel.
- MASTER INSERT I/O
INSERT I/O connector are provided on GROUP OUTPUT 1~8, STEREO MIX OUT and MONO OUTPUT,
allowing you to connect sub mixer or other sound device independently for each output.
- SOLO SWITCH
It is handy for spot-checking the presence and quality of individual inputs while setting up, recording and
mixing. SOLO does not interrupt the eight main Master, the L/R Mix OUT or the AUX sends, and can be
used at any time without affecting the recording process.
- 10 DOT LED DISPLAY
10-DOT LED Meter illuminated for precise visidual level monitoring.
2 point input level indicators on all input channel.
Especially status of Main Mix L/R Master be showed by analog VU Meter.
- 100mm FADER
For easy set up, Input, group master fader is used by Smooth and noise reduction 100-mm faders.
- AC 12V LAMP CONNECTOR
A BNC type LAMP connector is provided on the right hand side of the mixing console panel, allowing you
to operate the mixer conveniently under dark condition.
- External Power Supply
This system is used by high capacity, high performance external power supply with current limiter.
2
CMX-1668/2468/3268
Precautions
- A VOID EXCESSIVE HEAT, HUMIDITY, DUST AND VIBRATION
Keep the unit away from locations where it is likely to be exposed to high temperatures or humidity-such as
near radiators, stoves, etc. Also avoid locations which are subject to excessive dust accumulation or vibration which could cause mechanical damage.
- AVOID PHYSICAL SHOCKS
Strong physical shocks to the unit can cause damage. Handle it with care.
- DO NOT OPEN THE CASE OR ATTEMPT REPAIRS OR MODIFICATIONS YOURSELF
This product contains no user-serviceable parts. Refer all maintenance to qualified Inter-M service personnel. Opening the case and/or tampering with internal circuitry voids the warranty.
- ALWAYS POWER OFF BEFORE MAKING CONNECTIONS
Always turn the power OFF before connecting or disconnecting cables. This is important to prevent damage
to the unit itself as well as other connected equipment.
- HANDLE CABLES CAREFULLY
Always plug and unplug cables-including the AC power cord-by gripping the connector, not the cord.
- CLEAN WITH A SOFT DRY CLOTH
Never use solvents such as benzine or thinner to clean the unit. Wipe clean with a soft, dry cloth.
CMX-1668/2468/3268
3
Front Panel Controls
1. MONO INPUT SECTION
1
2
PEAK
SIGNAL
E
N
3
M
IC
LI
TRIM
60
24 16
MIC
4
20
LINE
MIC
/LINE
TAPE
5
FLIP
6
80
15
FREQ
800
8K
HI/
MID
7
15
15
FREQ
160
1.6K
LO/
MID
15
15
LOW
15
10
AUX 2
0
10
AUX 3
0
PRE
10
8
AUX 4
0
10
AUX 5
0
10
AUX 6
0
10
PRE/
POST
SHIFT
7/8
4
CMX-1668/2468/3268
4. MIC/LINE INPUT SELECTOR
This switch selects the input connector for the channel.
When MIC (
) is selected, the input signal will be taken Mic connector (Balanced XLR type).
When LINE (
) is selected, the input signal will be taken LINE connector (Balanced phone jack).
5. MIC/LINE OR TAPE INPUT SELECTOR (FLIP SWITCH)
This switch selects the input connector for the channel.
When MIC/LINE (
) is selected, the input signal will be
taken Mic/Line connector (Balanced XLR type).
When TAPE (
) is selected, the input signal will be taken TAPE connector (Balanced phone jack).
15
AUX 1
0
2. SIGNAL INDICATOR
This indicator detects signal level after the EQ. It will light
green at -10dB.
Signal indicator is not going through MIX B Section.
3. TRIM CONTROL
According to the level of the input signal, use this knob to
adjust the input to an appropriate level.
The best balance of S/N and dynamic range will be
achieved if you adjust the TRIM control so that the (1)
peak indicator lights occasionally.
HIGH
15
1. PEAK INDICATOR
This indicator detects peak level after the EQ. It will light
red at 3dB before clipping to warn that clipping level has
nearly been reached.
Peak indicator is not going through MIX B Section.
9
10
6. HIGH-PASS FILTER SWITCH
This switch turns on/off a high-pass filter that cuts the
signal below 80Hz at 18dB/octave. By using the highpass filter, you can reduce or get rid of minimizing room
rumble, mic pop-ping noise, traffic noise, wind noise and
other unwanted low-frequency noises.
7. 4 BAND EQ CONTROLS
(HIGH, HI-MID, LOW-MID, LOW)
This is a 4-band equalizer with center frequencies,
range, and type as shown below. The frequency
response is flat when the knob is in the center position.
1) HIGH: 12kHz, ± 15dB shelving type
LOW: 80Hz, ± 15dB shelving type
2) HI-MID: 800Hz~8kHz (variable),
± 15dB peaking type
3) LOW-MID: 160Hz~1.6kHz (variable), ± 15dB peaking type
8. AUX 1~8 CONTROLS
This knobs control the level of the signals sent to AUX buses.
- The AUX 1 ~ AUX 4 controls are pre-fader, and the signal levels sent to the AUX 1 ~ AUX 4 buses will
be unaffected by the channel fader setting.
- The AUX 5/AUX 7 and AUX 6/AUX 8 controls will be affected by the POST/PRE SELECT SWITCH and
SHIFT 7/8 SIGNAL SELECT SWITCH setting.
9. AUX 5~8 POST/PRE SELECT SWITCH
- Post (
, RELEASED SWITCH):
Selects post-fader signal from the point in the channel after the MUTE OFF. Because signal feeding this
position will be subject to any adjustments to that channels inputs fader, this position is usually preferred for effects or echo mixes.
- Pre (
, DEPRESSED SWITCH):
Pre-Fader signal is taken from the stage preceding the fader EQ, so it is not affected by the channel’s fader.
10. AUX 5~8 SIGNAL SELECT SWITCH (SHIFT)
This SHIFT 7/8 SWITCH connects the two level controls (as a pair) to either AUX 5 & 6 sends or to AUX
7 & 8 sends.
When this switch turns on, the AUX signal will be shifted from AUX 5/AUX 6 to AUX 7/AUX 8.
In this case, you can adjust AUX 7/AUX 8 signal with AUX 5/AUX 6 controls.
CMX-1668/2468/3268
5
MIX-B
PAN
L
12
R
LEVEL
0
11
13
10
SPLIT EQ
HI/LO EQ
TO MIX-B
14
SOURCE
FLIP SW
CH
15
PAN
ODD L
R EVEN
MUTE
10
16
1/2
17
5
3/4
0
19
5
5/6
10
7/8
15
L/R
20
30
40
SOLO
16
6
CMX-1668/2468/3268
18
11. PAN CONTROL FOR MIX-B
The PAN control routes the channel’s MIX-B signal across
the left and right MIX-B buses.
12. LEVEL CONTROL FOR MIX-B
The LEVEL control sets the level of the channel sent to the
MIX-B buses. The gain structure of the circuit (like the
AUX send 1-6 circuit) includes extra amplification.
13. SPLIT EQ SELECTOR
Each channel strip has a dual signal path with extremely
flexible switching. This allows either the mic/line input or
tape return inputs to be routed through either the channel
fader path or MIX-B with separate EQ and monitoring.
The SPLIT switch in the MIX-B section sprits the EQ section
of the channel when depressed. In the up-position, all
four sections of EQ remain, if engaged, in the primary
channel signal path feeding the channel fader and the 8plus 2 buses. In this mode there is no equalization in the
MIX-B path.
When SPLIT switch is depressed, the HI and LO shelving
sections of the EQ are removed from the channel signal
and inserted into the MIX-B signal path. The HI-MID and
LO-MID parametric sections of the EQ remain, if
engaged, in the channel signal path. The SPLIT function
allows you to EQ the channel’s signal and its MIX-B signal separated.
14. SOURCE SWITCH
When the MIX-B SOURCE switch is up, MIX-B receives its input from the FLIP switch(5). Remember, the
FLIP switch alternates MIC/LINE or TAPE to channel strip and to MIX-B.
- With TAPE as an input (SOURCE up to select the FLIP switch, and MIC/LINE or TAPE switch in the up
position), the MIX-B section functions as a tape monitor sub-mix, allowing you to listen to the inputs
and outputs of your multi-track recorder as you record. This is the most common use of the MIX-B section, during tracking and overdubbing.
- With MIC/LINE as an input (SOURCE up to select the FLIP switch, and MIC/LINE or TAPE switch in the
down position), MIX-B becomes an additional input to add tracks or effects during a mix-down.
- With CHANNEL as an input (SOURCE down in CHANNEL position), MIX-B taps its signal from the
channel strip, just before the channel fader.
15. PAN CONTROL
This control adjusts the stereo position of the signal between the stereo L/R buses, and also between odd
and even pairs of Buses 1 through 8.
This control allows you to place the channel’s input signal within the stereo image by assigning more or
less of the signal to the left or right sub-master controls.
Turning the Pan control to the left (odd/L) of center moves the apparent source toward the left channel
and Group 1, 3, 5 ,7 buses, turning it to the right moves the source toward the right channel and Group
2, 4, 6, 8 buses.
16. CHANNEL MUTE SWITCH
When this switch is off, the signal of each channel will be sent to the MAIN MIX L/R buses, the Group
1~8 buses and AUX 1~8 buses.
When this switch is on, the output signal to each bus will be muted completely. This switch should be
turned on for unused channels.
The channel’s mute switch does not affect the channel’s insert output, direct output.
17. BUS ASSIGN SWITCH
When these switchs are engaged, the channel’s input signal can be routed to the 8 group busses.
In conjunction with selecting the group routing, the position of the channel’s pan control determines if a
signal is routed to Group 1 or 2, 3 or 4, 5 or 6, Group 7 or 8 and/or Mix L or R. If the pan control is
panned left, it will be routed Group 1, 3, 5,7 and/or Mix L; if the pan control is panned right, the signal
will appear at Group 2, 4, 6, 8 and/or Mix R.
18. CHANNEL FADER
The100-mm audio taper fader controls the output level of the channel that is fed to the Mix master and
Sub Group masters. The channel fader should optimally be set near the “o” level when all other controls
are set to their normals.
19. SOLO SWITCH
The channel SOLO switch assigns the output of the channel PAN control to the stereo solo buses.
SOLO does not interrupt the eight sub-masters, the L/R Mix OUT or the AUX sends, and can be used at
any time without affecting the recording process.
SOLO is handy for spot-checking the presence and quality of individual input while setting up, recording
and mixing. The channel SOLO function is normally post fader/post mute.
CMX-1668/2468/3268
7
Modification
These modification instructions are for use by qualified personal only.
- AUX Send 1~4 modification
This modification changes the option point of all “pre” AUX sends from pre-EQ to post-EQ.
It must be done on each channel. For example, if you have a 24 channel modification must be done
on all 24 input channel. See below figure.
1) Remove power cable
2) Remove jumper at J17/PRE & J108/PRE
3) Add a jumper at J77/POST & J109/POST
4) Repeat for of all input channels
- MIX-B modification
This modification changes the option point of the MIX-B from pre-EQ to post-EQ.
It must be done on each channel. For example, if you have a 24 channel modification must be done
on all 24 input channel. See below figure.
1) Remove power cable
2) Remove jumper at J104/PRE
3) Add a jumper at J121/POST
4) Repeat for of all input channels
Mono Input PC Board Drawing
8
CMX-1668/2468/3268
2. STEREO INPUT SECTION
1
2
PEAK
SIGNAL
HIGH
15
15
3
1. PEAK INDICATOR
This indicator detects peak level after the EQ. It will light
red at 3dB before clipping to warn that clipping level has
nearly been reached.
2. SIGNAL INDICATOR
This indicator detects signal level after the EQ. It will light
green at -10dB.
LOW
15
15
AUX 1
0
10
PRE
AUX 2
0
10
5
BALANCE
ODD L
4
R EVEN
6
L R
1 2
3 4
7
5 6
7 8
8
MUTE
9
SOLO
10
0
10
ST 1
3. EQ CONTROLS (HIGH, LOW)
This is a 2-band frequency fixed equalizer with center
frequencies, range, and type as shown below.
HIGH: 12kHz, ± 15dB shelving type
LOW: 80Hz, ± 15dB shelving type
4. AUX SEND CONTROLS
This knobs controls the level of the signals sent to Aux buses.
- The AUX 1 & 2 controls on the STEREO channel 1 & 3
PANEL are pre-fader, and the signal levels sent to the
AUX 1 & 2 buses will be unaffected by the channel
fader setting.
- The AUX 3 & 4 controls on the STEREO 2 & 4 PANEL
are post-fader, and the signal levels sent to the AUX 3
& 4 buses will be affected by the channel fader setting.
5. BALANCE CONTROL
This control adjusts the balance or the L/R position of the
stereo input signal.
Turning the BALANCE control to the left of center moves
the apparent source toward the MAIN MIX L and Group
1, 3, 5, 7 buses, turning it ti the right moves the source
toward the MAIN MIX R and Group 2, 4, 6, 8 buses.
6. L/R (STEREO) SWITCH
When this switch is on, the signal of each channel will be
sent to the MAIN MIX L/R buses. When this switch is off,
the output signal to MAIN MIX L/R buses will be muted.
7. GROUP SELECTOR (GROUP BUS ASSIGN SWITCH)
When these switches are on, the signal of each channel
will be sent to the 8 GROUP buses.
These switches is arranged in two columns.
Odd numbered, Left (Group 1, 3, 5, 7) and even numbered, Right (Group 2, 4, 6, 8) indicating which ”side”
of the BALANCE control they will be assigned to.
CMX-1668/2468/3268
9
8. CHANNEL MUTE SWITCH
When this switch is engaged, the signal of each stereo channel will be muted in the MAIN MIX L/R buses, the Group1~8 buses and AUX 3~4 buses.
The channel MUTE switch does not affect the pre-position of the AUX 1 & 2 signal on the STEREO 1, 3
PANEL, but, it affect the post-position of the AUX3 & 4 signal on the STEREO 2, 4 PANEL.
9. CHANNEL SOLO SWITCH
The channel SOLO switch assigns the output of the channel PAN control to the stereo solo buses.
10. CHANNEL FADER
This fader controls the output level of the input channel signal, determining the volume balance between
channels. The channel fader should be lowered for unused channels.
PAD SWITCH (STEREO INPUT SENSITIVITY SELECT)
If you select STEREO INPUT SENSITIVITY to either -10dB or +4dB.
Look at the STEREO INPUT PC Board. The PAD SWITCH is setted -10dB position initially on STEREO
INPUT PC Board.
This switch selects the appropriate gain for the input signal level.
The sensitivity is -10dB when the switch is slided toward left hand side, and +4dB when it is slided
toward right hand side.
10
CMX-1668/2468/3268
CMX-1668/2468/3268
11
3. AUX RETURN SECTION
1. L/R (STEREO) SWITCH
When this switch is on, the signal of each AUX RETURN
will be sent to the MIX L/R buses. When this switch is off,
the output signal to MIX L/R buses will be muted.
1
1
L R
2. GROUP SELECTOR (GROUP BUS ASSIGN SWITCH)
When these switches are on, the signal of each AUX
RETURN will be sent to the 8 GROUP buses.
1 2
3 4
2
5 6
7 8
3
ODD L
R EVEN
BALANCE
4
0
LEVEL
10
3. BALANCE CONTROL
This control direct the signal coming from the AUX
RETURN level control into the left and/or right channels.
Turning the BALANCE control to the left of center moves
the apparent source toward the left channel.
Turning it to the right moves the source toward the right
channel.
Centering the control makes the apparent source centered between the channels.
4. LEVEL CONTROL
This control adjusts the input levels from the effect units etc.
Connected to the L/MONO, R jacks of AUX RETURN 1~6
are sent to the MIX L/R buses, and 8 Group buses.
If a plug is inserted into only the L/MONO jack, the same signal will be sent to L/R BALANCE control.
10
12
CMX-1668/2468/3268
4. AUX SEND SECTION
1
1. MUTE SWITCH
When this switch is engaged, the signal from each
respective AUX send will be muted to the corresponding
AUX send connector.
MUTE
2
SOLO
0
LEVEL
10
3
TO MIX
MUTE
2. SOLO SWITCH
When you wish to monitor the output signals being sent
to AUX SEND 1~6, press the appropriate switch.
3. LEVEL CONTROL
The AUX SEND master adjusts the overall mix level on
each respective AUX buses. The signal sent is the
summed total of the individual sends on each input channel routed to a particular AUX SEND.
SOLO
ODD L
PAN
R EVEN
CMX-1668/2468/3268
13
5. GROUP SECTION
1
TO MIX
2
MUTE
3
SOLO
L
PAN
1. TO MIX SWITCH
When this switch is on, the signal of each GROUP will be
sent to the STEREO MIX L/R buses.
2. MUTE SWITCH
When this switch is on, the signal of each Group will be
not sent to the Group connectors.
3. SOLO SWITCH
When you wish to monitor the output signals being sent
to Group 1~8, press the appropriate switch.
R
4
4. PAN CONTROL
This control adjusts the panning of the GROUP signal
sent to the STEREO MIX L/R buses.
10
5. LEVEL CONTROL
This fader adjust the final level of the combined signals
from all channels, and send them to the GROUP output
jacks.
The GROUP 1~8 level meters allow you to monitor the
GROUP outputs.
5
0
5
10
5
15
20
30
40
GROUP 1
14
CMX-1668/2468/3268
6. MASTER SECTION
1
TO MIX
2
0
10
MIX-B OUT
0
3
10
STUDIO OUT
1. TO MIX SWITCH
When this switch is on, the signal of MIX-B will be sent to
the STEREO MIX L/R buses.
2. MIX-B CONTROL
This control adjust the MIX-B final level of the combined
signals from all channels, and send them to the MIX-B
output jacks.
3. STUDIO OUT CONTROL
This is a stereo level control for the studio.
This circuit monitors the left/right SOLO buses.
MUTE
4
10
10
5
5
0
0
5
5
10
10
15
15
20
20
30
30
40
40
5
4. MIX L/R MUTE SWITCH
When this switch is off, the signal of MIX L/R will be sent
to the MIX L/R connectors. When this switch is on, the MIX
L/R output signal to MIX L/R connectors will be muted.
5. MIX L/R MASTER FADER
These 100-mm faders adjust the final level of the combined signals from all channels, and send them to the
MIX L/R output jacks. The MIX L/R level meters allow you
to monitor the MIX L/R outputs.
Rated output (Nominal) level is achieved with the fader
set at ”0” on the scale.
L MIX R
CMX-1668/2468/3268
15
7. CONTROL ROOM and MONO SECTION
MIX L/R
1
MIX-B
2. CONTROL ROOM CONTROL
This is a stereo level control for the studio monitor.
This circuit monitors the left/right SOLO buses.
2-TRACK
EXTERNAL
0
10
CONTROL ROOM
2
10
5
0
5
10
3
15
20
30
40
MONO
14
16
1. SOURCE SELECTOR SWITCH
The control room monitors and the studio playback monitors are both controlled from this console.
A bank of switches selects the stereo sources available to
the speakers from L/R MIX, MIX-B, 2-TRACK and EXTERNAL. You can select any combination of signal source.
CMX-1668/2468/3268
3. MONO FADER
This 100-mm faders adjust the final level of the combined
signals from solo buses, and send them to the MONO
output jacks.
Rated output (Nominal) level is achieved with the fader
set at ”0” on the scale.
CMX-1668/2468/3268
17
8. TALKBACK/HEADPHONE SECTION
TALK BACK
1
AUX 1/2
AUX 3/4
AUX 5/6
2
AUX 7/8
GRP 1/2
GRP 3/4
1. TALKBACK MICROPHONE INPUT CONNECTOR
This input connector is used to input microphone signals
for announcements from the mixer operator. The nominal
input signal level is -50dB and is designed for dynamic
microphones. Please note that this input has no phantom
power connection and will not operate condenser microphones that require it.
2. ASSIGN SWITCHES (AUX 1~8, GROUP 1~8, MIX)
These switches select the buses routing of the talkback
microphone’s signal.
These switches will stay engaged once the buttons are
pushed, so it is necessary to disengage them if a different
signal routing is required.
GRP 5/6
GRP 7/8
3
MIX
3. ON/OFF SWITCH
When this switch is on, the signal of the TALKBACK will be
sent to the AUX 1~8, GROUP 1~8, and the MIX L/R buses.
ON
4. LEVEL CONTROL
This control adjust the signal level of the TALKBACK input.
0
LEVEL
10
HEADPHONES
0
PHONES
4
5
10
6
MONITOR
MIX-B
5. HEADPHONES OUTPUT JACK (1/4” TRS STEREO JACK)
These jacks (tip=left, ring=right, sleeve=GND) may be connected to external power amplifiers for headphone distribution, or you can plug our phones directly into the jack.
Use only stereo phones!
When a mono connector is plugged into the stereo connector, it connects both sides of the headphone amplifier
to a single load. In any professional audio system, accidents can happen and will have built in protection circuits to assure that momentary problems will not cause
failure. However, this circuit will fail in 2-3 minutes if this
caution is not observed.
AUX 3-4
AUX 5-6
(O)
7
AUX 7-8
(1/4" Phone 3 Section Connector)
EXTERNAL
(X)
18
CMX-1668/2468/3268
6. PHONES GAIN
The PHONE GAIN control sets the level at the HEADPHONE jack.
7. HEADPHONE MONITOR SELECTOR
This contains a stereo level control for the headphones outputs, a stereo SOLO switch, six push buttons to
select from the following signal source: MONITOR, MIX-B, AUX SENDS 3 & 4, AUX SENDS 5 & 6, AUX
SENDS 7 & 8, and EXTERNAL.
You can select any combination of source.
The AUX SENDS 3 & 4, 5 & 6 and AUX SENDS 7 & 8 switches are connected directly from the outputs
of their respective circuits.
CMX-1668/2468/3268
19
9. MASTER LED SECTION
CMX-1668 MIXING CONSOLE
GROUP 1
GROUP 2
GROUP 3
GROUP 4
GROUP 5
GROUP 6
GROUP 7
GROUP 8
6
6
6
6
6
6
6
6
6
6
4
4
4
4
4
4
4
4
4
4
2
2
2
2
2
2
2
2
2
2
0
0
0
0
0
0
0
0
0
0
2
2
2
2
2
2
2
2
2
2
4
4
4
4
4
4
4
4
4
4
7
7
7
7
7
7
7
7
7
7
10
10
10
10
10
10
10
10
10
10
15
15
15
15
15
15
15
15
15
15
20
20
20
20
20
20
20
20
20
20
L MONITOR
R
DC 12V
STAND BY
POWER
ON
OFF
SOLO
MONITOR
MONO
1
2
3
4
5
6
7
1. GROUP OUTPUT LEVEL INDICATOR (8 GROUPS)
A vertical row of ten light-emitting diodes shows the continuous output level of Group output.
For optimum signal-to-noise ratio, try to adjust all levels so that program material is usually at or around
0 VU, with occasional but mot steady excursions to the +3, or over the level segments.
2. MONITOR OUTPUT INDICATOR
A vertical row of ten light-emitting diodes shows the continuous output level of MONITOR or MONO.
Each indicator is calibrated in volume units, such that 0dB corresponds to an output of 1.23 volts, which
is +4dBu a standard in the industry.
3. METER SELECT SWITCH
This switch selects whether MONITOR or MONO will be monitored.
- MONITOR (
, RELEASED SWITCH) LED meter displays the output levels of the CONTROL ROOM
output jacks.
- MONO (
, DEPRESSED SWITCH) LED meter displays the output levels of the MONO output jacks.
4. STAND-BY INDICATOR
This indicator lights when the power switch is turned on.
5. SOLO INDICATOR
This indicator lights when the SOLO switch is turned on.
6. LAMP CONNECTOR
A BNC type socket is provided on the right hand side of the mixing console panel to accommodate a
flexible swan-neck lamp, and allow operation of the board under dark conditions. This lamp is available
from many professional sound dealers and attaches without tools.
The voltage at the socket is 12V DC at a maximum of 250 mili-amperes.
7. POWER SWITCH
This switch turns the power ON/OFF. When in the “ON” position, the power indicator will light.
20
CMX-1668/2468/3268
10. METER BRIDGE
6
6
6
4
4
4
2
2
2
0
0
0
2
2
4
4
7
7
7
10
10
10
15
15
15
20
20
20
1
2
20
2
4
3
CH OUT
TAPE IN
15
7
5
3
0 1
2
3
20
15
7
5
3
0 1
VU
VU
MIX-L
MIX-R
2
3
8BUS CONSOLE
1
2
1. CHANNEL INPUT LEVEL INDICATOR
A vertical row of ten light-emitting diodes shows the continuous output level of input channel.
For optimum signal-to-noise ratio, try to adjust all so that program material is usually at or around 0 VU,
with occasional but mot steady excursions to the +3, or over the level segments.
2. ANALOG VU METER
For convenient, MIX out is used by analog VU meter.
CMX-1668/2468/3268
21
Rear Panel Controls
1. INPUT SECTION CONNECTORS
1
1
MIC
2
MIC
3
MIC
4
MIC
5
6
MIC
7
MIC
8
MIC
9
MIC
MIC
2
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
3
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
4
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
INSERT I/0
RETURN
SEND
5
DIRECT
0dB
DIRECT
0dB
1. BALANCED LOW-Z MIC INPUT CONNECTORS
A 3-pin XLR-type (“Cannon”) connector is used for balanced low impedance microphone inputs.
(1: sleeve, 2: hot, 3: cold)
Microphones of 50-600Ω line level devices can be connected here.
When the PHANTOM switch is turned on, DC +48V will be supplied to pins 2 and 3 of these connectors.
It is important that, during operation or testing of the mixer, all channel faders remain fully down whenever the mic input is not properly terminated with a microphone or equivalent 150-ohm source.
An open mic invites the introduction of high noise levels which could produce lower quality sound or an
incorrect test measurement.
2
PHASE (Normal)
1. GND
2. ( + )
3. ( )
2
1
+48V
1
2
0V
GROUND
PHASE (Reverse)
3
1. GND
2. ( )
3. ( + )
MIC Input Jack Pin
22
CMX-1668/2468/3268
+48V
3
3
Phantom Power
2. PHANTOM POWER SWITCH
When is the “ON” position, 48V DC phantom power will be provided between pin 2 and pin 3 of the
XLR-type jack. If you do not need phantom power, be sure to turn this to the ”OFF” position.
3. BALANCED LINE INPUT CONNECTORS
A standard 1/4” phone jack is used for balanced or unbalanced line level signals.
Examples of line level signals include most electronic keyboards, synthesizers, turn-tables (with appropriate
pre-amps), tape decks and the line outputs from other mixers. All input channel controls, including the variable GAIN control, affect the LINE input. Maximum input level before pre-amp clipping is 12V or +24dB.
TIP(Hot)
SLEEVE(GND)
RING(COLD)
4. INPUT CHANNEL INSERT
These are input/output jacks located between the head-amplifier and the high pass filter.
The nominal input level and impedance is 0dB/600Ω, and the nominal output level and impedance is
0dB/10kΩ.
These jacks allow you to own graphic equalizers, compressors, noise filters, or other devices.
INSERT OUT
INSERT IN
5. DIRECT OUT CONNECTORS
These are unbalanced 1/4” phone jacks which output the post-fader signal independently from each
input channel.
The channel strip’s output signal is always available at the DIRECT OUT connector.
Using it does not interrupt the normal signal flow through the channel.
Nominal level and Impedance is 0dB/10kΩ.
CMX-1668/2468/3268
23
2. OUTPUT SECTION CONNECTORS
2
6
AUX RETURN 4dB
5L/
MONO
R
1L/
MONO
2L/
MONO
R
R
CONTROL ROOM
2L/
MONO
8
STUDIO OUT 4dB
4dB
3
MIX-B OUT 4dB
AUX SEND 4dB
6L/
MONO
R
3L/
MONO
4L/
MONO
17
R
R
9
10
11
12
13
14
15
16
4L/
MONO
1
2
3
4
5
6
7
8
L
3L/
MONO
R
L
R
L
R
1
2
3
4
5
6
7
9
8
GROUP
MASTER/
TAPE
OUTPUTS
18
19
20
10
21
22
23
24
2-TRACK
STEREO IN 10dB~ 4dB
1L/
MONO
7
EXTERNAL
OUTPUT
4dB
L
MIX
R
MONO
INSERT
0dB
R
R
R
1
12
11
R
4
5
1. 4 STEREO INPUT JACKS
These are unbalanced 1/4” phone jacks which input a stereo source with a nominal input and impedance of +4dB -10dB/600Ω.
If a plug is inserted only in L/MONO, the same signal will be sent to both the L and R buses.
2. 6 AUX RETURN JACKS
These are unbalanced 1/4” phone jacks with a nominal level and impedance of +4dB/10kΩ.
These jacks are usually used to receive the audio returned from an effect unit such as reverb or delay,
but they can also be used as supplementary inputs.
If a plug is inserted only in L/MONO, the same signal will be sent to both the L and R buses.
These allow you to return signal from outboard devices, either in stereo pairs or mono phonically (many
popular effects processors provide a single mono input but have a pair of stereo outputs).
In practice, you’ll probably want to use the Auxiliary returns to bring in signal from connected effects
processors. If the effects processors have stereo outputs, they should be connected to both the left and
right Auxiliary return inputs so that their stereo integrity is retained. If they have mono outputs, you can
route them to either the left or right inputs and then use the Auxiliary return Balance control to adjust the
relative level of each paired signal.
3. 8 AUX SEND JACKS
These are unbalanced 1/4” phone jacks with a nominal output and impedance of +4dB/600Ω.
The AUX SEND output signal is the sum of all of the input channel AUX SENDS.
4. 8 GROUP OUTPUT JACKS
These connectors deliver the main GROUP output signal to the power amplifiers which will drive the
main house speakers in a sound reinforcement system.
These are electronically balanced outputs with a rated level/impedance of +4dB/600Ω. Each group
output connector is connected another 2 jacks, parallelly.
(GROUP1 // GROUP 9 // GROUP 17, GROUP2 // GROUP 10 // GROUP 18,
GROUP3 // GROUP 11 // GROUP 19, GROUP4 // GROUP 12 // GROUP 20,
GROUP5 // GROUP 13 // GROUP 21, GROUP6 // GROUP 14 // GROUP 22,
GROUP7 // GROUP 15 // GROUP 23, GROUP8 // GROUP 16 // GROUP 24)
24
CMX-1668/2468/3268
5. 8 GROUP OUTPUT & MIX OUT, MONO OUT INSERT
These 1/4” TRS connectors provide an unbalanced insert patch point before the GROUP MASTER FADER.
The INSERT-IN line accepts a 0dB/600Ω signal and the INSERT-OUT line delivers a 0dB signal capable
of driving a 10k-ohm load impedance.
The GROUP INSERT inputs are convenient way of patching in a device such as a compressor/limiter for
use on an entire group of instruments.
6. CTRL ROOM CONNECTOR
These are unbalanced 1/4” phone jack with a nominal output and impedance of +4dB/600Ω.
This is where you connect your control room monitor amplifier inputs.
7. STUDIO OUT CONNECTOR
These are unbalanced 1/4” phone jack with a nominal output and impedance of +4dB/600Ω.
This is where you connect your studio monitor amplifier inputs.
8. MIX-B OUT CONNECTOR
The MIX-B jacks are 1/4” TRS unbalanced, with tip high, and ring and sleeve tied together as ground,
nominal level +4dB/600Ω. These jacks make the MIX-B signal available for external patching.
9. 2-TRACK IN CONNECTOR
The 2-TRACK IN jacks are 1/4” TRS unbalanced, with tip high, and ring and sleeve tied together to
ground. Usually, you will have the 2TRACK INPUT connected to the output of your 2-Track master
record.
10. EXTERNAL INPUT CONNECTOR
The EXTERNAL INPUT jacks are 1/4” TRS unbalanced, with tip high, and ring and sleeve tied together
to ground. These inputs offer you the ability to listen to two mono or stereo sources directly, without
patching through input channels.
11. MIX OUT CONNECTOR
These connectors transmit the MIX L/R outputs to the power amplifiers and/or the processing gear.
These XLR type outputs have a rated level of +4dB and impedance of 600 ohms.
12. MONO OUTPUT CONNECTOR
These XLR type outputs have a rated level of +4dB and impedance of 600 ohms.
The MONO OUT can be used for simple recording of a live performance, for driving a sub power
amplifier, or to check for phase cancellation.
PHASE (Normal)
1. GND
2. ( + )
3. ( )
2
1
PHASE (Reverse)
3
1. GND
2. ( )
3. ( + )
Group Out Jack Pin
CMX-1668/2468/3268
25
POWER
MODEL NO. CMX-1668
8BUS MIXING CONSOLE
16
14
15
14
13
13
13. TAPE RETURN INPUT CONNECTOR
The connections to and from your multi-track recorder are on the rear panel of the 8 Bus Series.
There are 16, 24, 32 Tape Return jacks and 24 Sub-master. The Tape Return jacks are 1/4” TRS balanced, with tip wired to high (+), ring to low (-) and sleeve to ground.
14. DC POWER INPUT CONNECTOR
Your 8 Bus console should ONLY be powered by the appreciate Inter-M 8 Bus Power Supply (RS-3200).
26
CMX-1668/2468/3268
General Wiring Procedures
To
of the
the excellent
excellent signal
signaltotonoise
noiseratio
ratioand
andlow
lowdistortion
distortionofofAVLEX
AVLEXEX
consoles
To take full advantage of
consoles
care care
must
must
be taken
to ensure
incorrect
installation
and
wiring
doesnot
notdegrade
degradethe
theperformance
performance of
of the desk.
be taken
to ensure
thatthat
incorrect
installation
and
wiring
does
desk.
Hum,
Hum, buzz,
buzz, instability
instability and
and Radio
Radio Frequency
Frequency interference
interference can
can usually
usually be
be traced
traced to
to earth
earth loops
loops and
and inferior
inferior
earthing
earthing systems.
systems. In
In some
some areas,
areas, especially
especially heavily
heavily industrial
industrial areas,
areas, the
the incoming
incoming mains
mains earth
earth will
will not
not be
be
adequate
adequate and
and aa separate
separate technical
technical earth
earth for
for all
all the
the audio
audio equipment
equipment must
must be
be supplied.
supplied. However,
However, check
check with
with
your
your local
local electricity
electricity supply
supply company
company to
to ensure
ensure that
that safety
safety regulations
regulations are
are not
not infringed
infringed or
or negated.
negated.
The
The successful,
successful, hum
hum free,
free, installation
installation of
of aa system
system requires
requires forethought,
forethought, and
and the
the establishment
establishment of
of aa set
set of
of
ground
ground rules,
rules, which
which must
must be
be consistently
consistently adhered
adhered to
to at
at all
all stages
stages of
of installation.
installation.
Initial Wiring Considerations
- For optimum performance, it is essential for the earthing system to be clean and noise free, as all signal
are referenced to this earth. A central point should be decided on for the main earth point system, and all
earths should be ‘star fed’ from this point. It is common electrical practice to ‘daisy chain’ the earths to all
electrical outlets but this method is unsuitable for audio installations. The preferred method is to run an
individual earth wire from each outlet, back to the system star point to provide a safety earth screen reference for each piece of equipment.
A separate earth wire should also be run from each equipment rack and area, to the star point. This may
or may not be used depending on circumstances, but it is easier to install in the first place, than later when
problems arise.
The location of the star point should be convenient, easily accessible place preferably at the chassis of the
console, or in the main equipment rack.
- Install separate ‘clean’ and ‘dirty’ mains outlets, wired individually back to the incoming mains distribution
box. Use the ‘clean’ supply for all audio equipment and the ‘dirty’ supply for all lighting, vending
machines etc. Never mix the two systems.
- If necessary, to provide sufficient isolation from mains borne interference, install an isolating transformer.
This should be provided with a Faraday Shield which must be connected with earth.
- Never locate the incoming mains distribution box near audio equipment, especially tape recorders, which
are very sensitive to electro-magnetic fields.
- Ensure that all equipment racks are connected to earth, via a separate wire back to the star point.
- Equipment which has unbalanced inputs and outputs may need to be isolated from the rack to prevent
earth loops.
CMX-1668/2468/3268
27
Audio Wiring
Noise
Noise immunity
immunity isis improved
improved significantly
significantly by
by the
the use
use of
of low
low impedance
impedance sources,
sources, such
such as
as good
good quality
quality profesprofessional
sional microphones
microphones or
or the
the outputs
outputs from
from most
most modern
modern audio
audio equipment.
equipment. Avoid
Avoid cheaper
cheaper high
high impedance
impedance
microphones,
microphones, which
which may
may suffer
suffer from
from interference
interference over
over long
long cable
cable runs,
runs, even
even with
with well-made
well-made cables.
cables.
Having
Having provided
provided all
all equipment
equipment with
with power
power and
and earthing
earthing connections,
connections, consideration
consideration must
must be
be given
given to
to the
the
method
method of
of providing
providing audio
audio interconnection
interconnection and
and adequate
adequate screening
screening of
of those
those interconnections.
interconnections. This
This must
must be
be
done
done in
in aa logical
logical sequence
sequence to
to avoid
avoid problems
problems and
and assist
assist in
in the
the localization
localization of
of problem
problem equipment.
equipment.
-- Connect
Connect the
the control
control room
room monitor
monitor system
system to
to the
the console
console outputs
outputs and
and check
check for
for any
any hum,
hum, buzz,
buzz, or
or RFI.
RFI. Only
Only
when
when you
you are
are satisfied
satisfied with
with the
the quietness
quietness of
of the
the console
console and
and the
the monitor
monitor system
system should
should you
you proceed
proceed with
with
the
the next
next step.
step.
-- Connect
Connect the
the multi
multi track
track tape
tape recorder,
recorder, via
via the
the noise
noise reduction
reduction system,
system, ifif in
in use,
use, and
and again
again check
check that
that the
the
system
system isis clean.
clean.
-- Connect
Connect stereo
stereo tape
tape records,
records, studio
studio monitors
monitors aux
aux sends
sends one
one at
at aa time,
time, checking
checking and
and isolating
isolating any
any connecconnection
tion which
which degrades
degrades performance.
performance.
-- Connect
Connect all
all other
other peripheral
peripheral devices.
devices.
-- Connect
Connect all
all microphone
microphone lines.
lines.
By
By following
following this
this sequence
sequence much
much time
time and
and future
future trouble
trouble will
will be
be saved,
saved, and
and the
the result
result will
will be
be aa quiet,
quiet, stable
stable
system.
system.
Shielding
Audio equipment is supplied with a variety of input and output configurations, which must be taken into
consideration when deciding where the screen connections should be made. There are three sources of
unwanted signal being impressed on the screen, which are as follows;
- Extraneous electrostatic or electromagnetic fields.
- Noise and interference on the earth line.
- Capacitive coupling between the screen and signal wires.
To minimize the adverse affects of the unwanted coupling to the signal wires, it is important that the screen
is connected at one end only, i.e. the screen must not carry any signal current. Any signal on the wires within the screen will be capacitively coupled to the screen. This current will ultimately be returned to the source
of the signal, either directly, if the screen is connected at the signal source end, or indirectly via the earthing
system, if the signal is connected at the signal destination end. The indirect connection will cause an
increase in high frequency cross-talk, and should be avoided wherever possible.
Therefore, in general, always connect the shield only at the signal source end. in high RF areas, the screen
can also be connected to earth via a 0.01µF capacitor. This will present a short circuit at RF frequencies,
thus lowering effective shield impedance to ground. However, at low audio frequencies the reactance of the
capacitor will be sufficiently high not to cause an earth loop problem.
28
CMX-1668/2468/3268
Points to Remember
- In all cases, use good quality twin screened audio cable. Check for instability at the output.
- Always connect both conductors at both ends, and ensure that the screen is only connected at one end.
- Do not disconnect the mains earth from each piece of equipment. This is needed to provided both safety
and screen returns to the system star point.
- Equipment which has balanced inputs and outputs may need to be electrically isolated from the equipment
rack and/or other equipment, to avoid earth loops.
It is important to remember that all equipment which is connected to the mains it a potential source of hum
and interference and may radiate both electrostatic or electromagnetic radiation. In addition, the mains will
also act as a carrier for many forms of RF interference generated by electric motors, air-conditioning units,
thyristor light dimmers etc. Unless the earth system is clean, all attempts to improve hum noise levels will be
futile. In extreme cases there will be no alternative but to provide a completely separate and independent
‘technical earth’ to replace the incoming ‘noisy earth’.
However, always consult your local electricity supply authority to ensure that safety regulations are not
being infringed.
CMX-1668/2468/3268
29
Audio Connectors
Two different types of audio connectors are used, 3-pin XLR and 1/4” there pole (‘A’ gauge) jacks. These
are used in several configurations as shown below.
Hot (+ve)
2
Hot (+ve)
Cold (-ve)
Cold (-ve)
3
Screen
1
Sleeve
Balanced Input
Sleeve
Screen
Return
Ring
Send
Insert Points
Tip
Sleeve
Ring
Tip
Line Input
3 Pole (Stereo) Jack
Hot (+ve)
Cold (-ve)
Screen
Sleeve
Ring
Tip
Headphones
Left Signal
Right Signal
Ground
Unbalanced
Input/Output
AUX Send
Seeve
Tip
2 Pole (Mono) Jack
Signal
Ground
24
30
CMX-1668/2468/3268
Grounding on the Road
Many of the above procedures are difficult to use on the road. For example, the telescoping shield concept
is nearly impossible to use on a portable cable. Similarly, it is a difficult and time consuming process to
search for a water pipe ground every time the system is moved from one performance to another. Yet
portable systems can be extremely complex, and may have major grounding problems. The telescoping
shield concept can be extended to portable systems by installing a ”ground lift switch” on the output of each
device, and on the inputs of devices after the mixer. Since microphones are not grounded except through
the mixer, there is on need for an input ground lift switch on most mixers. The diagram below shows a typical ground lift switch installation. By judicious use of these switches, each piece of equipment can be AC
grounded for safety without causing ground loops.
Because of leakage currents from equipment in the audio system, and in the house, some noise currents can
ride on the AC ground wire and are able to enter the audio system. This problem is usually most noticeable
with sensitive equipment such as the mixer.Lifting the AC ground at the mixer can often solve this problem.
However, lifting the AC ground on the mixer also lifts the AC ground on the microphone chassis, causing a
safety hazard. Try connecting the mixer and any other sensitive equipment to other AC circuits. The only
other apparent solution to this problem is to eliminate the noise on the AC ground, which is not an easy
task. Since it has its own ground, a portable AC power distribution system connected to the house service
entrance may be the most effective way to avoid all AC noises. Such a system can be designed and constructed by a qualified electrician; check local electrical codes before each use.
USE OF GROUND LIFT SWITCH
Balanced Portable Cable with Shield Intact
Devices with Balanced Inputs & Outputs
Ground Lift Switch
Installed in Box or
on Rack Panel
Main AC Ground
Perhaps the best answer to portable system grounding problems, PFI, EMI, and AC noise, is to develop a
versatile grounding scheme. Ground lift switches and adapters, and a portable AC power distribution system allow different grounding techniques to be tried easily and quickly when a problem occurs.
CMX-1668/2468/3268
31
CONNECTOR AND CABLE CONFIGURATIONS
REMOTE DEVICE
DESCRIPTION
REMOTE SIDE OF CABLE
(Connector Type)
CABLE
White(Red)/HIGH
Black/LOW
2
2
A. XLR**
3
3
Shield/GND
(XLR)
1
1
Floating or Balanced
low impedance: most
professional equipment
line in and line out,
microphones.
White(Red)/HIGH
Black/LOW
2
T
R
S
3
B. TRS PHONE
Shield/GND
(XLR)
1
White(Red)/HIGH
Black/LOW
2
Unbalanced
C. STANDARD
low impedance: some PHONE
professional equipment
and microphones.
T
S
3
Shield/GND
(XLR)
1
White(Red)/HIGH
Black/LOW
2
T
S
D. STANDARD
PHONE
3
Shield/GND
Unbalanced
high impedance: most
hi-fi equipment.
(XLR)
1
White(Black)/HIGH
T
Unbalanced
high impedance: most
hi-fi equipment.
E. SHIELD/GND
PHONE
S
S
T
Shield/GND
(Standard Phone)
Connector and cable configurations recommended for use with the CMX-8 Bus Series.
These cables are based on the use of auxiliary equipment that is isolated from the AC power mains.
26
32
CMX-1668/2468/3268
Applications Examples
1. PA and Sound Reinforcement
From a features standpoint, 8 Bus Series consoles are easy to configure for public address and sound
reinforcement applications, whether you are mixing the house, stage monitors or both at once. Use the
L/R main mix buses and your main L/R outputs as your main signal path.
If you want a headphone cue mix, either patch the Control Room outputs to a suitable headphone amplifier
or select MONITOR as the source for phones.
This will allow you to listen to any source you can select for the CONTROL ROOM.
You can also use the solo buses as headphone cue. If you prefer, you can modify the solo circuits for PFL (pre
fader listen).
You should normally use the L/R Mix buses as your Main or House feed. Patch out from the L/R outputs into
the input to your amp stack (usually your House graphic equalizer). Any of the AUX buses can be used to
feed a stage monitor mix.
Set the AUX sends in each channel to PRE and patch the AUX send outputs to the appropriate amplifiers.
If you need to provide a simultaneous mix for a stereo recording, use the MIX-B buses.
- FOLLOW THIS SENSITIVITY ADJUSTMENT PROCEDURE FOR EACH CHANNEL IN USE
1) Assign signal to channel fader:
If channel will be used with a microphone, MIC/LINE switch should be up & MIC/LINE, TAPE switch
should be up.
If channel will be used with line input, MIC/LINE switch should be down & MIC/LINE, TAPE switch
should be up.
2) Set channel strip controls as follows:
TRIM pot all the way counterclockwise
AUX SEND controls all the way counterclockwise
LOW-CUT switch either on or off (on recommended for mic inputs)
Channel fader at UNITY
PAN pot hard left or right
SOLO switch on (for monitoring)
3) The channel’s -10dB Led should light. The L/R main meters will show the actual internal operating level. Now you will optimize levels.
4) Adjust the TRIM control clockwise to get peaks that regularly hit 0dB on the L/R meters.
5) If you use EQ, adjust the TRIM control after EQ controls set up.
6) Repeat Steps 1-4 on the next channel that is being used.
CMX-1668/2468/3268
33
2. Recording System
The recording process can be as simple as one microphone recorded on a monaural tape record.
As in the PA sound reinforcement system shown previously, balanced microphones are plugged directly
into the channel XLR input connectors, while unbalanced electronic instrument outputs (synthesizers,etc.)
are connected via a balancing transformer type direct box. Compressors are connected at the insert
jacks of the vocal mic channels, the AUX SENDS and RETURN connectors are connected to a high-quality stereo plate reverb unit. The PHONES OUT connectors feed separate headphone amplifiers providing
two different headphone cue mixes for the performers. The CONTROL ROOM OUT and STUDIO OUT
connectors feed the monitor system, and the GROUP OUT & TAPE IN connectors feed the 4-channel
multi-track recorder.
- FOLLOW THIS SENSITIVITY ADJUSTMENT PROCEDURE FOR EACH CHANNEL IN USE
1) Assign signal to channel fader:
If channel will be used with a microphone, MIC/LINE switch should be up & MIC/LINE, TAPE switch
should be up.
If channel will be used with line input, MIC/LINE switch should be down & MIC/LINE, TAPE switch
should be up.
If channel will be used with a tape input, MIC/LINE or TAPE switch should be down.
2) Set channel strip controls as follows:
TRIM pot all the way counterclockwise
AUX SEND controls all the way counterclockwise
LOW-CUT switch either on or off (on recommended for mic inputs)
Channel fader at UNITY
PAN pot hard left or right
SOLO switch on (for monitoring)
3) If the channel is being used for a tape input during mix-down, roll and already-recorded track from
your recorder.
4) The channel’s -10dB Led should light. The L/R main meters will show the actual internal operating level.
Now you will optimize levels.
5) Adjust the TRIM control clockwise to get peaks that regularly hit 0dB on the L/R meters.
6) If you use EQ, adjust the TRIM control after EQ controls set up.
7) Repeat Steps 1-5 on the next channel that is being used.
34
CMX-1668/2468/3268
Applications-1
PA & SOUND REINFORCEMENT CONNECTION
Reverb 2
IN
OUT
Reverb 1
DAT or Cassette Deck
IN
OUT
Keyboard or other line level input
OUT
Stage Monitors
12
PROT
CLIP
20dB
11 10 9
8
40dB
6
5
4
1
8
7
6
40dB
5
4
20dB
PROT
CLIP
3
2
22
29
54
POWER
0
11 10 9
13
15
17
19
POWER AMPLIFIER
3
2
22
29
54
12
M 2000
7
13
15
17
19
1
0
M-SERIES (Amplifier)
P-SERIES (Amplifier)
EQ-9231 GRA PHIC EQUA LIZER
PEAK
12
LO-CUT
12
OFF
ON
0
0
LEFT
EQ
12
12
25
32
40
50
63
80
100
125
160
200
250
315
400
500
630
800
1K
1.25K 1.6K
2K
2.5K 3.15K
4K
5K
6.3K
8K
10K 12.5K 16K
20K
POWER
OFF
ON
20
LEVEL
PEAK
12
LO-CUT
ON
12
OFF
ON
RIGHT
0
0
12
12
OFF
EQ
OFF
ON
20
25
32
40
50
63
80
100
125
160
200
250
315
400
500
630
800
1K
1.25K 1.6K
2K
2.5K 3.15K
4K
5K
6.3K
8K
10K 12.5K 16K
20K
LEVEL
EQ-9231 (Graphic Equalizer)
Some as AUX Send 6
Vocal
Microphones
RS-3200 POWER SUPPLY
POWER
ON
OFF
ON
ON
RS-3200 (POWER SUPPLY)
16
15
14
13
12
11
10
8BUS MIXING CONSOLE
POWER
9
8
7
TAPE RETURN
6
5
4
3
2
1
MADE IN KOREA
DO NOT OPEN
MODEL NO. CMX-1668
S N
www.inter-m.com
CAUTION
DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE.
AVIS; RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR.
CAUTION; TO REDUCE THE RISK OF ELECTRIC SHOCK,
AUX RETURN 4dB
1
2
MIC
3
MIC
4
MIC
5
MIC
6
MIC
MIC
7
MIC
8
MIC
9
MIC
10
MIC
11
12
MIC
13
MIC
14
MIC
15
MIC
16
MI
CONTROL ROOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
INSERT I/0
MIX-B OUT 4dB
AUX SEND 4dB
6L/
MONO
R
L
2L/
MONO
3L/
MONO
4L/
MONO
17
18
19
20
21
22
23
24
R
R
R
R
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
R
L
R
L
R
1
2
3
4
5
6
7
8
GROUP
MASTER/
TAPE
OUTPUTS
2-TRACK
1L/
MONO
2L/
MONO
3L/
MONO
4L/
MONO
R
R
R
R
EXTERNAL
OUTPUT
4dB
INSERT
0dB
INSERT I/0
RETURN
SEND
L
R
MIX
MONO
RETURN
SEND
DIRECT
0dB
DIRECT
0dB
STUDIO OUT 4dB
R
1L/
MONO
STEREO IN 10dB~ 4dB
INSERT
0dB
4dB
5L/
MONO
MIC
PHANTOM
INSERT
0dB
DIRECT
0dB
PEAK
12
LO-CUT
12
ON
0
0
OFF
LEFT
EQ
12
12
ON
20
25
32
40
50
63
80
100
125
160
200
250
315
400
500
630
800
1K
1.25K 1.6K
2K
2.5K 3.15K
4K
5K
6.3K
8K
10K 12.5K 16K
20K
IN
POWER
OFF
LEVEL
PEAK
12
LO-CUT
ON
12
ON
0
0
12
12
OFF
RIGHT
OFF
EQ
ON
20
25
32
40
50
63
80
100
125
160
200
250
315
400
500
630
800
1K
1.25K 1.6K
2K
2.5K 3.15K
4K
5K
6.3K
8K
10K 12.5K 16K
20K
OFF
PEAK
12
LO-CUT
12
LEVEL
OFF
ON
0
0
LEFT
EQ
12
12
EQ-9231 (Graphic Equalizer)
25
32
40
50
63
80
100
125
160
200
250
315
400
500
630
800
1K
1.25K 1.6K
2K
2.5K 3.15K
4K
5K
6.3K
8K
10K 12.5K 16K
20K
LEVEL
PEAK
LO-CUT
OFF
ON
0
RIGHT
0
OFF
EQ
12
OFF
ON
20
12
11 10
9
8
13
12
6
22
SIG
50
63
80
100
125
160
200
250
315
400
500
630
800
1K
1.25K 1.6K
2K
2.5K 3.15K
4K
5K
6.3K
8K
10K 12.5K 16K
20K
LEVEL
OUT
ON
4
3
OFF
2
1
54
0
PROT
CLIP
SIG
POWER
IN
R-SERIES
(Amplifier)
Any Line
Level Input
40
5
29
CLIP
32
POWER
6
22
PROT
0
25
EQ-9231
(Graphic Equalizer)
CHANNEL 2
7
19
3
2
1
8
17
4
19
54
9
15
5
29
11 10
13
7
15
17
CN-9102 DUAL CHANNEL COMPRESSOR LIMITER WITH GATE
-25
-20
-15
-12
-9
-1 0
-2 0
-6
-5
-3
-2
-30
-1
50ms
-25
-20
-15
-10
10: 1
-2 0dBu
THRESHOL D
∞:1
1: 1
RATIO
150
ms
150 150
ms ms
-6
-4
-2
0
+2
CHANNEL A
0 dB
500ms
6: 1
1: 1
+10
-4 0dBu
-4
4: 1
0
-3 0
GAIN REDUCTION (dB)
INPUT/OUTPUT LEVEL (dB)
GAIN REDUCTION (dB)
-30
+10
2 s -1 0
HA RD
SOFT
BYPA SS
COMP
INPUT
OUTPUT
+4
-30
+6
STEREO
LINK
CH A
-2 0
MA STER
300ms
-30
-2 5
OFF
-1 0dB
-4 5
-1 5 100
ms
1.5s
-25
-1 0
-20
-15
-12
20ms
ATTACK
50ms
3 s
REL EASE
-2 0
+20
OUTPUT
20ms
THRESHOL D
2 s
DUA L
MONO
-6
-5
-2 0dBu
THRESHOL D
-3
-2
-30
-1
500ms
-25
-20
150 150
ms ms
20ms
0. 1ms
RATIO
ATTACK
50ms
2 s -1 0
3 s
REL EASE
-15
-10
+20
12
20dB
40dB
11 10 9
8
7
13
15
17
19
6
5
4
3
2
1
0
OUT
-20
-15
-12
-9
-6
-1 0
-5
-4
-3
-2
-30
-1
50ms
4: 1
-25
500ms
-20
-10
-15
-6
HA RD
SOFT
6: 1
1: 1
+10
10: 1
∞:1
1: 1
150
ms
150 150
ms ms
-4
-2
0
+2
CHANNEL A
0 dB
0
-2 0dBu
THRESHOL D
GAIN REDUCTION (dB)
GAIN REDUCTION (dB)
-25
-2 0
-4 0dBu
2 s -1 0
+10
BYPA SS
COMP
INPUT
OUTPUT
+4
-30
+6
STEREO
LINK
CH A
-2 0
MA STER
300ms
-30
-2 5
OFF
-1 0dB
-4 5
1.5s
-1 5 100
ms
-25
-20
-1 0
-15
-12
50ms
ATTACK
3 s
-2 0
REL EASE
+20
20ms
THRESHOL D
OUTPUT
2 s
DUA L
MONO
-6
∞:1
1: 1
THRESHOL D
-4
-3
-2
-30
-1
500ms
-25
150 150
ms ms
20ms
0. 1ms
2 s -1 0
50ms
ATTACK
3 s
+10
-2 0
REL EASE
-20
-15
-10
-6
-4
CHANNEL B
0 dB
HA RD
SOFT
150
ms
RATIO
POWER
INPUT
OUTPUT
-5
50ms
6: 1
1: 1
+10
-2 0dBu
-4 0dBu
RATE
-9
4: 1
0
-3 0
10: 1
20ms
0. 1ms
RATIO
+20
OUTPUT
GATE
-2
0
+2
+4
-2 5
OFF
-1 0dB
-4 5
-1 5 100
ms
-20
-15
-12
-9
-1 0
-6
-5
-3
-2
-30
-1
50ms
500ms
-25
-20
-15
-10
10: 1
∞:1
1: 1
RATIO
150
ms
150 150
ms ms
-6
-4
-2
0
+2
CHANNEL A
0 dB
6: 1
1: 1
+10
GAIN REDUCTION (dB)
-4
4: 1
0
-2 0dBu
THRESHOL D
2 s -1 0
+10
HA RD
SOFT
BYPA SS
COMP
INPUT
OUTPUT
+4
-30
+6
STEREO
LINK
CH A
-2 0
MA STER
300ms
-30
-2 5
OFF
-1 0dB
-4 5
-1 5 100
ms
1.5s
-25
-1 0
-20
-15
20ms
ATTACK
50ms
3 s
REL EASE
-2 0
+20
OUTPUT
THRESHOL D
20ms
RATE
GATE
2 s
DUA L
MONO
-9
-6
-5
-2 0dBu
THRESHOL D
∞:1
1: 1
RATIO
-3
-2
-30
-1
-25
HA RD
SOFT
0. 1ms
150 150
ms ms
20ms
ATTACK
50ms
+10
2 s -1 0
3 s
REL EASE
-2 0
-20
-15
-10
-6
-4
CHANNEL B
0 dB
500ms
150
ms
+20
OUTPUT
POWER
INPUT
OUTPUT
-4
50ms
6: 1
1: 1
+10
-4 0dBu
-12
4: 1
0
-3 0
10: 1
0. 1ms
+6
300ms
1. 5s
20ms
2 s
RATE
M 2000
POWER AMPLIFIER
POWER
12
11 10 9
8
7
13
15
17
19
6
5
4
22
29
54
40dB
20dB
CLIP
PROT
3
2
1
0
M/P-SERIES
(Amplifier)
RATE
Digital Delay
GAIN REDUCTION (dB)
-25
-2 0
-4 0dBu
IN
2 s
+4
-1 5 100
ms
GATE
OUT
-3 0
OUT
1. 5s
20ms
THRESHOL D
Noise Gate
-30
IN
+6
300ms
-30
BYPA SS
COMP
+2
-1 0dB
GATE
Studio Monitors
CLIP
0
-2 5
OFF
OUT
22
29
54
-3 0
-2
-30
-4 5
THRESHOL D
OUTPUT
GATE
PROT
-30
-4
BYPA SS
COMP
+10
-2 0
-6
CHANNEL B
0 dB
HA RD
SOFT
150
ms
∞:1
1: 1
POWER
INPUT
OUTPUT
-4
50ms
6: 1
1: 1
+10
-4 0dBu
RATE
-9
4: 1
0
-3 0
10: 1
0. 1ms
Stereo Compressor
Studio Monitors
ON
12
12
CHANNEL 1
POWER
OFF
ON
20
12
-2
0
+2
+4
IN
+6
300ms
-30
-2 5
OFF
-1 0dB
BYPA SS
COMP
-4 5
-1 5 100
ms
THRESHOL D
1. 5s
20ms
2 s
RATE
GATE
Mono Compressor
Control Room Monitor
CMX-1668/2468/3268
35
Applications-2
OVER DUBBING CONNECTION
3
IN
12
CHANNEL 1
11 10
9
8
13
12
6
8
5
3
1
54
0
Tape Deck
R-SERIES (Amplifier)
2
IN
Tape Deck
OUT
1
RS-3200 POWER SUPPLY
POWER
ON
OFF
IN
RS-3200 (POWER SUPPLY)
Tape Deck
OUT
24
23
18
17
16
15
14
8BUS MIXING CONSOLE
POWER
13
12
11
TAPE RETURN
10
9
8
7
2
1
MADE IN KOREA
DO NOT OPEN
MODEL NO. CMX-2468
S N
www.inter-m.com
CAUTION
ON
Vocal
Microphones
AUX RETURN 4dB
1
2
MIC
7
MIC
MIC
8
MIC
9
10
MIC
MIC
11
MIC
12
MIC
13
14
MIC
15
MIC
16
MIC
MIC
17
MIC
18
MIC
23
MI
24
4dB
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
INSERT I/0
R
L
3L/
MONO
4L/
MONO
17
18
19
20
21
22
23
24
R
R
R
R
9
10
11
12
13
14
15
16
1L/
MONO
2L/
MONO
3L/
MONO
4L/
MONO
1
2
3
4
5
6
7
8
R
R
R
R
DIRECT
0dB
Any Line
Level Input
OUT
-20
-15
-12
-9
-1 0
-6
-5
-4
-3
-2
-30
-1
50ms
4: 1
500ms
-25
-20
-15
-10
6: 1
1: 1
+10
10: 1
∞:1
1: 1
RATIO
150
ms
150 150
ms ms
-6
-4
-2
0
+2
CHANNEL A
0 dB
0
-2 0dBu
THRESHOL D
GAIN REDUCTION (dB)
GAIN REDUCTION (dB)
-25
-2 0
2 s -1 0
+10
HA RD
SOFT
BYPA SS
COMP
INPUT
OUTPUT
+4
-30
+6
STEREO
LINK
CH A
-2 0
MA STER
300ms
-30
-2 5
OFF
-1 0dB
-4 5
-1 5 100
ms
1.5s
-25
-1 0
-20
-15
20ms
ATTACK
50ms
3 s
REL EASE
-2 0
+20
OUTPUT
THRESHOL D
20ms
RATE
GATE
2 s
DUA L
MONO
-9
-6
-5
-2 0dBu
THRESHOL D
∞:1
1: 1
RATIO
-3
-2
-30
-1
-25
HA RD
SOFT
0. 1ms
150 150
ms ms
20ms
ATTACK
50ms
+10
2 s -1 0
3 s
REL EASE
-2 0
-20
-15
-10
-6
-4
CHANNEL B
0 dB
500ms
150
ms
+20
OUTPUT
POWER
INPUT
OUTPUT
-4
50ms
6: 1
1: 1
+10
-4 0dBu
-12
4: 1
0
-3 0
10: 1
0. 1ms
-2
0
+2
+4
IN
+6
300ms
-30
-2 5
OFF
-1 0dB
BYPA SS
COMP
-4 5
-1 5 100
ms
THRESHOL D
1. 5s
20ms
2 s
RATE
GATE
Mono Compressor
36
CMX-1668/2468/3268
L
R
1
2
3
4
5
6
7
8
GROUP
MASTER/
TAPE
OUTPUTS
2-TRACK
EXTERNAL
OUTPUT
4dB
L
MIX
R
MONO
Vocal
Microphones
Guitar
Effects
Box
-4 0dBu
R
INSERT
0dB
OUT
-3 0
L
ON
ON
ON
Vocal
Microphones
-30
R
RETURN
SEND
DIRECT
0dB
AUX SEND 4dB
6L/
MONO
2L/
MONO
INSERT
0dB
INSERT I/0
RETURN
SEND
DIRECT
0dB
MIX-B OUT 4dB
R
1L/
MONO
STEREO IN 10dB~ 4dB
INSERT
0dB
STUDIO OUT 4dB
5L/
MONO
MIC
PHANTOM
Reverb 1
IN
OFF
2
29
SIG
ON
4
22
CLIP
POWER
6
19
PROT
0
OUT
CHANNEL 2
7
17
4
3
2
1
54
9
15
5
22
29
11 10
13
7
15
17
19
PROT
CLIP
SIG
POWER
Applications-3
MULTI-TRACK MIXING CONNECTION
1
IN
12
CHANNEL 1
11 10
9
8
12
13
6
8
CHANNEL 2
7
5
22
3
OFF
2
29
1
54
SIG
ON
4
19
CLIP
PROT
0
POWER
6
17
4
3
2
1
54
9
15
5
22
29
11 10
13
7
15
17
19
0
PROT
CLIP
SIG
POWER
Tape Deck
R-SERIES (Amplifier)
OUT
2
IN
Reverb
OUT
Tape Deck
IN
OUT
3
Digital Delay
IN
Vocal
Microphones
IN
OUT
Tape Deck
ON
ON
OUT
24
23
18
17
16
15
14
8BUS MIXING CONSOLE
POWER
11
10
9
TAPE RETURN
8
5
4
3
2
1
MADE IN KOREA
DO NOT OPEN
MODEL NO. CMX-2468
S N
www.inter-m.com
CAUTION
DAT or Cassette Deck
AUX RETURN 4dB
1
2
MIC
3
MIC
4
MIC
PHANTOM
PHANTOM
PHANTOM
LINE
LINE
LINE
5
MIC
4PHANTOM
8
MIC
9
MIC
MIC
10
MIC
11
MIC
14
MIC
15
MIC
16
MIC
17
MIC
18
MIC
23
MI
24
R
1L/
MONO
2L/
MONO
R
R
4dB
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
PHANTOM
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT
0dB
INSERT I/0
AUX SEND 4dB
L
3L/
MONO
4L/
MONO
17
18
19
20
21
22
23
24
R
R
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
R
L
R
L
R
1
2
3
4
5
6
7
8
GROUP
MASTER/
TAPE
OUTPUTS
2-TRACK
1L/
MONO
2L/
MONO
3L/
MONO
4L/
MONO
R
R
R
R
EXTERNAL
OUTPUT
4dB
INSERT
0dB
INSERT I/0
RETURN
SEND
L
R
MIX
MONO
RETURN
SEND
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
MIX-B OUT 4dB
R
STEREO IN 10dB~ 4dB
INSERT
0dB
STUDIO OUT 4dB
6L/
MONO
MIC
PHANTOM
LINE
5L/
MONO
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
DIRECT
0dB
INSERT
0dB
Stereo Reverb
OUT
IN
IN
-25
-20
-15
-12
-9
-1 0
-2 0
-6
-5
-3
-2
-30
-1
50ms
500ms
-25
-20
-15
-10
10: 1
-2 0dBu
THRESHOL D
∞:1
1: 1
RATIO
150
ms
150 150
ms ms
-6
-4
-2
0
+2
CHANNEL A
0 dB
6: 1
1: 1
+10
-4 0dBu
-4
4: 1
0
-3 0
GAIN REDUCTION (dB)
GAIN REDUCTION (dB)
-30
2 s -1 0
+10
HA RD
SOFT
BYPA SS
COMP
INPUT
OUTPUT
+4
-30
+6
STEREO
LINK
CH A
-2 0
MA STER
300ms
-30
-2 5
OFF
-1 0dB
-4 5
-1 5 100
ms
1.5s
-25
-1 0
-20
-15
20ms
ATTACK
50ms
3 s
REL EASE
-2 0
+20
OUTPUT
THRESHOL D
20ms
RATE
2 s
DUA L
MONO
-9
-6
-5
-2 0dBu
THRESHOL D
∞:1
1: 1
RATIO
-3
-2
-30
-1
500ms
-25
0. 1ms
150 150
ms ms
20ms
ATTACK
50ms
2 s -1 0
3 s
REL EASE
+10
-2 0
-20
-15
-10
-6
-4
CHANNEL B
0 dB
HA RD
SOFT
150
ms
+20
OUTPUT
GATE
Stereo Compressor
POWER
INPUT
OUTPUT
-4
50ms
6: 1
1: 1
+10
-4 0dBu
-12
4: 1
0
-3 0
10: 1
0. 1ms
-2
0
+2
+4
+6
300ms
-30
-2 5
OFF
-1 0dB
BYPA SS
COMP
-4 5
-1 5 100
ms
THRESHOL D
1. 5s
20ms
2 s
RATE
GATE
OUT
Processor
IN
OUT
OUT
-25
-20
-15
-12
-9
-1 0
-6
-5
-4
-3
-2
-30
-1
50ms
4: 1
-25
500ms
-20
-15
-10
-6
6: 1
1: 1
+10
10: 1
-2 0dBu
-4 0dBu
∞:1
1: 1
THRESHOL D
150
ms
150 150
ms ms
-4
-2
0
+2
CHANNEL A
0 dB
0
-2 0
-3 0
GAIN REDUCTION (dB)
GAIN REDUCTION (dB)
-30
2 s -1 0
+10
BYPA SS
COMP
HA RD
SOFT
INPUT
OUTPUT
+4
-30
+6
STEREO
LINK
CH A
-2 0
MA STER
300ms
-30
-2 5
OFF
-1 0dB
-4 5
1.5s
-1 5 100
ms
-25
-20
-1 0
-15
-12
50ms
ATTACK
3 s
-2 0
REL EASE
+20
20ms
THRESHOL D
OUTPUT
DUA L
MONO
2 s
-6
∞:1
1: 1
THRESHOL D
-4
-3
-2
-30
-1
-25
HA RD
SOFT
150 150
ms ms
20ms
0. 1ms
3 s
-15
-2 0
REL EASE
-10
-6
-4
-2
0
+2
+4
-2 5
OFF
-1 0dB
-4 5
+20
-1 5 100
ms
THRESHOL D
OUTPUT
GATE
OUT
-20
-15
-12
-9
-1 0
-6
-5
-4
-3
-2
-30
-1
50ms
4: 1
500ms
-25
-20
-15
-10
6: 1
1: 1
10: 1
-2 0dBu
THRESHOL D
∞:1
1: 1
RATIO
150
ms
150 150
ms ms
-6
-4
-2
0
+2
CHANNEL A
0 dB
0
+10
-4 0dBu
GAIN REDUCTION (dB)
GAIN REDUCTION (dB)
-25
-2 0
-3 0
2 s -1 0
+10
HA RD
SOFT
BYPA SS
COMP
INPUT
OUTPUT
+4
-30
+6
STEREO
LINK
CH A
-2 0
MA STER
300ms
-30
-2 5
OFF
-1 0dB
-4 5
-1 5 100
ms
1.5s
-25
-1 0
-20
-15
20ms
ATTACK
50ms
3 s
REL EASE
-2 0
+20
OUTPUT
THRESHOL D
20ms
RATE
GATE
2 s
DUA L
MONO
-9
-6
-5
-2 0dBu
THRESHOL D
∞:1
1: 1
RATIO
-3
-2
-30
-1
500ms
-25
0. 1ms
150 150
ms ms
20ms
ATTACK
50ms
2 s -1 0
3 s
REL EASE
+10
-2 0
-20
-15
-10
-6
-4
CHANNEL B
0 dB
HA RD
SOFT
150
ms
+20
OUTPUT
POWER
INPUT
OUTPUT
-4
50ms
6: 1
1: 1
+10
-4 0dBu
-12
4: 1
0
-3 0
10: 1
0. 1ms
-2
0
+2
+4
OUT
IN
1. 5s
20ms
2 s
RATE
Digital Delay
GATE
Noise Gate
-30
IN
+6
300ms
-30
BYPA SS
COMP
+10
2 s -1 0
50ms
ATTACK
-20
CHANNEL B
0 dB
500ms
150
ms
RATIO
POWER
INPUT
OUTPUT
-5
50ms
6: 1
1: 1
+10
-2 0dBu
-4 0dBu
RATE
-9
4: 1
0
-3 0
10: 1
20ms
0. 1ms
RATIO
IN
+6
300ms
-30
-2 5
OFF
-1 0dB
BYPA SS
COMP
-4 5
-1 5 100
ms
THRESHOL D
1. 5s
20ms
2 s
RATE
GATE
Mono Compressor
CMX-1668/2468/3268
37
Block Diagram
38
CMX-1668/2468/3268
Specifications..............................................
*0dB=0.775Vrms, 0dBV=1Vrms
Specifications
- GENERAL
Maximum Output Level
(0.5% THD at 1kHz)
+24dB (MIX L/R, GROUP OUT, MONO OUT) @600Ω
+20dB (DIRECT OUT, AUX SEND 1-8) @600Ω
+20dB (INSERT) @10kΩ
+20dB (CTRL ROOM, STUDIO OUT) @600Ω
More than 100mW (HEADPHONES) @40Ω
Output Level
0dB (@10kΩ): INSERT
0dB (@600Ω): DIRECT OUT
T.H.D
< 0.1% @+14dB 20Hz~20kHz
(MIX L/R, GROUP 1-8, MONO OUT, AUX SEND 1~8, CTRL ROOM, STUDIO OUT) @600Ω
Frequency Response
20Hz-20kHz, +1dB/-2dB
(MIX L/R, GROUP 1-8, MONO OUT, AUX SEND 1~8, CTRL ROOM, STUDIO OUT) @600Ω
Hum and Noise
(Average, Rs=150Ω)
-129dB equivalent input noise
-95dB residual noise
(MIX L/R, GROUP 1-8, MONO OUT, CTRL ROOM OUT, STUDIO OUT)
-88dB (MIX L/R, GROUP 1-8, MONO OUT, CTRL ROOM OUT, STUDIO OUT)
* Master fader at nominal level and all channel assign switch OFF.
Maximum Voltage Gain
84dB MIC IN to MIX L/R, GROUP OUT 1-8
76dB MIC IN to AUX SEND 1-4, AUX SEND 5-8(PRE)
86dB MIC IN to AUX SEND 5-8(POST)
90dB MIC IN to STUDIO OUT, CTRL ROOM OUT
84dB MIC IN to MONO OUT
44dB LINE IN to MIX L/R, GROUP OUT 1-8
36dB LINE IN to AUX SEND 1-4, AUX SEND 5-8(PRE)
46dB LINE IN to AUX SEND 5-8(POST)
50dB LINE IN to STUDIO OUT, CTRL ROOM OUT
44dB LINE IN to MONO OUT
34dB ST IN to MIX L/R, GROUP OUT 1-8
26dB ST 1, 3 IN to AUX 1, 2
36dB ST 2, 4 IN to AUX 3, 4
34dB ST IN to MONO OUT
6dB EXTERNAL IN to CTRL ROOM OUT
24dB 2-TRACK IN to CTRL ROOM OUT
70dB TALK BACK to MIX L/R, GROUP OUT 1-8
66dB TALK BACK to AUX 1-8
16dB AUX RETURN to MIX L/R, GROUP OUT 1-8
23.8dB TAPE RETURN to MIX-B L/R
Crosstalk (at 1kHz)
-70dB between input channels
-70dB between output channels
Gain Control (Input Channel)
44dB Variable (-60dB ~ -16dB)
Input Channel Equalization
±15dB Maximum Boost or Cut
HIGH: 12kHz shelving
MID-HI: 800Hz~8kHz peaking (Variable)
MID-LOW: 160Hz~1.6kHz peaking (Variable)
LOW: 80Hz shelving
* Turnover/roll off frequencies: located 3dB below maximum boost/cut
LED Meters
10 Segment LED
GROUP 1~8, MIX L/R or MONITOR L/R, CHANNEL INPUT
Analog type VU meter
MIX OUT L/R
Mono Channel, Stereo Input
Channel Indicators
Peak: An indicator for each channel turns on when the pre-channel fader signal is 3dB
below clipping.
Signal: An indicator for each channel turns on when the pre-channel fader signal is
-10dB below.
Phantom Power
+48V, DC
Power Source
External Power Supply: RS-3200
Weight
CMX-1668: 27kg/59.6lb, CMX-2468: 32.2kg/71lb, CMX-3268: 39.5kg/87lb
Dimensions
CMX-1668: 930(W) x 623(H) x 160(D) mm/36.6(W)x5(H)x24.5(D)in
CMX-1668/2468/3268
39
Specifications ..............................................0dB=0.775Vrms, 0dBV=1Vrms
- INPUT
Input
Connector
CH Mic
Input
Impedance
4kΩ
Nominal
Impedance
50~600Ω
Input
Nominal Level
-60dB
CH Line
10kΩ
600Ω
-20dB
Stereo Input
5kΩ
600Ω
-10dB
2-Track
External Input
AUX Return
10kΩ
10kΩ
10kΩ
600Ω
600Ω
600Ω
-10dBV
+4dB
+4dB
Channel Insert In
10kΩ
600Ω
0dB
Tape In
10kΩ
600Ω
-10dBV
Group Out
Insert In
10kΩ
600Ω
0dB
Talk Back
10kΩ
600Ω
-50dB
Output
Impedance
150Ω
150Ω
75Ω
75Ω
75Ω
150Ω
600Ω
Nominal
Impedance
600Ω
600Ω
600Ω
600Ω
600Ω
600Ω
10kΩ
Input
Nominal Level
+4dB
+4dB
+4dB
+4dB
+4dB
+4dB
0dB
600Ω
10kΩ
0dB
600Ω
100Ω
10kΩ
40Ω
0dB
3mW
Connector Type
XLR 3-31 Type
Balanced
Phone Jack (TRS)
T=Hot
R=Cold
S=GND
Unbalanced
Phone Jack
Unbalanced
Phone Jack
Unbalanced
Phone Jack
Phone Jack
T=Out
R=In
S=GND
Balanced
Phone Jack
Phone Jack
T=Out
R=In
S=GND
Unbalanced
XLR Jack
- OUTPUT
Output
Connector
MIX Out L/R
Group Out 1-8
CTRL Room Out
Studio Out
AUX Send 1-8
Mono Out
Channel Input
Insert Out
Group Out
MIX Out
Mono Out
Insert Out
Direct Out
Phones Out
Connector Type
XLR 3-32 Type
Balanced Phone Jack
Unbalance Phone Jack
Balanced XLR 3-32 Type
Phone Jack (TRS)
T=Out
R=In
S=GND
Phone Jack (TRS)
T=Out
R=In
S=GND
Stereo Phone Jack
* Specifications and design subject to change without notice for improvements.
40
CMX-1668/2468/3268
NOTE
MADE IN KOREA
9007979610

CMX-1668/2468/32688 Bus Mixing Console

Transcription

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