CPM™ 2462 Operations Manual Operating Guide For more information on other great Crest products, go to your local Crest dealer or online at www.crestaudio.com.
Intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. Intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. CAUTION: Risk of electrical shock — DO NOT OPEN! CAUTION: To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside.
IMPORTANT SAFETY INSTRUCTIONS WARNING: When using electrical products, basic cautions should always be followed, including the following: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. Do not block any of the ventilation openings. Install in accordance with manufacturer’s instructions.
ENGLISH CPM™2462 Rack-Mountable Recording and Sound Reinforcement Mixer II. INTRODUCTION Thank you for purchasing the Crest Performance CPM™2462. The CPM 2462 was design to not only provide maximum versatility and performance for live sound applications, but also to excel when used for recording. To begin, let’s identify these features.
Since we are dealing with one serious mixer, the format for this guide will be laid out in the following order for simplicity: I. II. III. IV. V. VI. VII. VIII. IX. X. Table of Contents Introduction (You’re reading it now.
Input Channel Reading the diagram from left to right (standard signal flow) you’ll find: a mic input, line input, input pad switch, polarity switch and gain control. From there the signal passes through the insert jack and through the low, mid and high EQ’s. The mid EQ center frequency is adjustable from 40 Hz to 1.2 kHz. The signal for the PFL is taken at this point in the signal chain when the PFL switch is selected for the channel.
Channels 9-16 and 17-24 co-exist in on the CPM 2462. Channels 9-14 are mono mic input channels similar to channels 2-8 but with a fixed frequency mid EQ control and without the direct out and insert. However, occupying the same space are stereo line inputs 17-22. A switch on each of these channels determines whether these channels work independently or whether the mic input is muted and the line inputs are routed (mono) through the full featured channel strips 9-14.
GROUPS 1-4 OUTPUTS The next mix is the Group mix. Groups 1-4 are slightly different than Groups 5 and 6. Groups 1-4 have their own assign switches and faders similar to the input channels. Each group (1-4) features a PFL switch, Left (L) switch, Right (R) switch, and a master fader. The switches assign the group signal to the particular bus. For instance, if you group the various drums of a drum kit into Group 1, pressing the Group 1 (L) switch would send that group mix to the Left bus.
AUX 1 AND 2 OUTPUTS Aux 1 and 2 is a pre-fader stereo mix ideal for monitor applications. As mentioned in the previous section, Groups 5 and 6 can be sent to this Aux mix by adjusting the separate level controls see number 54, page 18. The Aux/MIX B Master section provides an Aux 1 level control, an Aux 2 level control. The following block diagram shows the Aux 1 and 2 signal flow. AUX 1 (B) L AUX 3, 4, 5 AND 6 OUTPUTS Aux 3, 4, 5 and 6 are quite simple in structure.
The Tape Output jacks (stereo RCA) carry the Main Left/Right signal allowing you to tape the Main L/R mix on a stereo deck. The Tape Input jacks (both 1/4" and RCA stereo pairs) provide a means to monitor the tape output from your deck on either headphones and/or control room speakers. This will only happen when the following conditions are met: no input channel or group PFL switches are activated, the AUX 1-2 2 TRK switch is in the 2 TRK position and the L/R switch is in the down position.
1. REMOVABLE AC POWER CORD This receptacle is for the IEC line cord (included), which provides AC power to the unit. Connect the line cord to this connector and to a properly grounded AC supply. 2 Damage to the equipment may occur if an improper line voltage is used (see voltage marking on unit). Never remove or cut the ground pin of the line cord plug. This unit is supplied with a properly rated line cord. When lost or damaged, replace this cord with one of the proper ratings. 1 2.
7. MASTER L/R INSERT IN/OUT (See page 11) These two 1/4" stereo (TRS) jacks allow an external device to be inserted into each of the signal paths, pre-fader in the Master L/R channel. The tip has the send signal. The ring is the return input. A switch in the jack normally connects the send to the return until a plug is inserted. 8. CONTROL ROOM L/R OUTPUT These two 0 dBu/10 k Ohm, unbalanced 1/4" (TS) outputs provide the signal to drive the control room monitors.
CHANNEL 1 AND 2 SUPER MIC/LINE CHANNELS (BACK PANEL CONNECTIONS) 19 14 15 20 14. MICROPHONE INPUT This XLR balanced input is for a low impedance microphone or (through –20 dB pad) for a high level, high impedance line source. Pin 2 is the positive input. Phantom power is available and is described in number 63. 15. LINE INPUT The Line Input is a 1/4" (TRS) balanced line-level input for high level signals. The tip is the positive input.
CHANNEL 1 AND 2 (FRONT PANEL FEATURES) 20. GAIN The GAIN control varies the gain of the channel input to allow a wider input dynamic range. The GAIN adjustment range is +10 dB to +50 dB or –10 dB to +30 dB when either –20 dB pad or the LINE INPUT (15) is used. Proper adjustment of the input gain will maximize the signal to noise ratio. It can be set by depressing the PFL switch (35) and adjusting for a 0 dB level at the R meter. 21.
29. CHANNEL FADER This smooth 60 mm logarithmic, channel output level control (ranges from -97 to +10 dB) sets the level sent to the L/R, Group 1/2 and Group 3/4 master channels when selected. The reference setting for this control is “0 dB” — unity gain position. 30. MUTE This switch mutes all AUX 1-4 sends, L/R, Group 1/2, Group 3/4 and Solo L/R busses for the channel. 31. MUTE/CLIP RED LED This red LED normally serves as a clip indicator (2 dB below clipping).
CHANNEL 9 — 16 AND 17 — 24 (BACK PANEL CONNECTIONS) 37. 38. MICROPHONE INPUT The MICROPHONE INPUT is an XLR balanced input for a low impedance microphone. Pin 2 is the positive input. STEREO LINE INPUT These two 1/4" (TS) unbalanced line inputs LEFT/MONO and RIGHT are for high level, line signals. If there is no 1/4" jack plugged into the RIGHT input, the signal from the LEFT/MONO jack is applied to both L and R inputs.
44. AUX 3/5, AUX 4/6 AUX 3/5 adjusts the level of the channel’s LEFT post-fader signal that is added to either AUX 3 or AUX 5 mix according to the AUX 3/4 – AUX 5/6 switch position. AUX 4/6 adjusts the level of the channel’s RIGHT post-fader signal that is added to either AUX 4 or AUX 6 mix according to the AUX 3/4 – AUX 5/6 switch position. Unity gain is at the center detent position and +10 dB of gain is at the full clockwise position. 45.
52. AUX 1-2 MASTERS These controls set the levels of the AUX 1-2 channels sent to the output connectors. It ranges from (–)infinity, to unity gain at the center detent position (reference setting), to +6 dB at full clockwise. 53. GROUP 5/6 ASSIGNMENT SWITCHES These switches connect the Group 5/6 signal to MASTER L/R, GROUP 1/2 and GROUP 3/4 buses. 54. GROUP 5/6 TO AUX 1 and AUX 2 CONTROLS These two rotary controls set the level of the GROUP 5/6 signal sent to AUX 1 and AUX 2.
WARNING: If phantom power is used do not connect unbalanced dynamic microphones or other devices that cannot handle this voltage. Some wireless mic receivers may be damaged. Consult their manuals. The Line Input jacks (15 and 40) are not connected to the 48V supply and are safe for all input sources.
VIII.
RSM™ 4062 Block Diagram 21
X. CPM 2642 SPECIFICATIONS CPM 2642 Rack-Mountable Recording and Sound Reinforcement Console Input Specifications Input Input Imped. (Ohms) Min. Microphone Channels 1 — 16 Input Pot Setting Gain, dB Min.** Input Levels, dBu* Nom. Max.*** -28 XLR: Pin 1 Ground Pin 2 (+), Max. Gain +50 dB -70 Min. Gain -30 -10 +12 Pin 3 (-) Max. Gain +30 dB -50 -30 -8 XLR: Pin 1 Ground Pin 2 (+) Min. Gain -10 dB -10 +10 +32 Max.Gain +30 dB Min. Gain -10 dB -50 -30 -8 -10 +10 +32 20 k Max.
Output Specifications Output Nom./Min. Load Impedance (Ohms) Output Level dBu* Balance/ Unbalanced Nom. Max.
Output S/N Ratio, dB Master L/R, (Ref: Nom. Out level=+4 dBu) Aux 1-2 (Ref: Nom. Out Level=+4 dBu Group 1 to 4 (Ref: Nom. Out Lvel=0dBu) Group 5 to 6 (Ref: Nom. Out Level=0 dBu) Aux 3 to 6 (Ref: Nom. Out Level=0 dBu) Test Conditions -95 -90 -88 -78 -90 All Faders down Master Fader Nom./Chan. Fader down All Faders Nom: Min. Gain All Faders Nom: Max. Gain Channel Muted -93 -90 -91 -78 -93 All Controls down Master control Nom./Chan. control down All Controls Nom: Min. Gain All Controls Nom: Max.
CPM 2642 Channel 1 and 2 Mid 12 EQMid EQ RSM1642 Channel Audio Precision +20 +17.5 +15 +12.5 +10 +7.5 +5 d B r +2.5 +0 -2.5 -5 -7.5 -10 -12.5 -15 -17.5 -20 20 50 100 200 500 1k Hz Color Line Style Thick Data Axis Cyan Solid 1 Anlr.Ampl Left Cyan Solid 1 Anlr.Ampl Left Cyan Solid 1 Anlr.
CPM 2642 Ch.
CPM 2642 Channel Shelving EQ and LC Filter 30
CPM 2642 Channel 15 Mid 31
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CREST AUDIO LIMITED WARRANTY Effective Date: November 1, 2000 What This Warranty Covers Your Crest Audio Warranty covers defects in material and workmanship in Crest Audio products purchased and serviced in the U.S.A.
Features and specifications subject to change without notice. Crest Audio Inc. • 16-00 Pollitt Drive • Fair Lawn, NJ 07410 USA Telephone: 201.909.8700 • Fax: 201.475.4677 • www.crestaudio.com ©2003 Printed in the U.S.A.
