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User Manual Klark Teknik Building Walter Nash Road

1. THE GROUP OUTPUT MODULE Each Group Output Module contains a Group Output stage an Auxiliary Output stage and also a Stereo Input for use for example with external effects devices The group and auxiliary outputs are electronically balanced and may optionally be transformer balanced The stereo input can be routed to the stereo mix the centre bus or the group buses Insert points are provided in the group and auxiliary send signal paths allowing the connection of external processing devices such as limiter compressor units A twelve segment led meter reads the signal present on the Group output It is post fade and post cut and therefore will show no signal if the fader is down or the group is muted The group outputs can be used in their own right as console outputs to be fed to loudspeaker systems or tape machine inputs They can also be sub mixed onto the main left right and centre buses of the console creating the ability to control the level of several input channels onto the main buses with one group fader 29 STEREO INPUT SECTION This is a high line level stereo input that can be routed to the left right centre and group buses of the console It could be used to bring a tape machine into the console without tying up two modules or the output of a
2. MATRIX CONNECTOR OPTIONAL DIC x INSERT R2 x C4 ME 220N 2 zm zd 3 TLO72 AUXS SP2 1 c1 7 564 32 1 1 2 RE R7 75R 1000 11 33P 0 2 Bs 2 680K 16 0 2 gt 33P 0 2 3 yucs V 3 S 2 VR1 2 R3 SP1 1 R5 C3 TN 1 R10 33P 0 2 R9 LED15 USREF 3 t 7 EA 5552 467 ER ecd ti MED 18 NE5532 758 1000 R12 9 9 1670 2 L D 72 100K 10K 5h 12 OPCUE 10K R13 CONS 1 EFT INSERT R26 LEFT E BE i WIRT MIX 4K7 SP4 SWAY 10K 5 4 32 1 IN er S FADER BUFFER 12 53 0 2 AE c V MIXL 22 220N OH i NESS R39 C19 3 3 WA IC4A Bos M i i 1 ep R
3. NS SEND MIX 2 MIXL MIXR Samoan LKOS 100P 16 0 j AUXILIARY 9 CU K2 iN LK16 Ll 92 PRET 77 o IPCUEI L D8 o 2PSUJ 1N4148 1N4148 E PCUE PRE2 LAUS INS RET 10K 2PSUJ R93 1 1 R73 05 DEA F R47 IN4T48 PEAK OP 30 EDS 0 JUDO 15K 1 RED R48 1 2 2 EN E A 10 LA 1 RE n 1 V 5 2 5 4 5
4. 10K PC1384 50 Od cud W MIDDX TW3 2 ENGLAND ize REV Date ot 2 V LEDS V LEDS V LEDS 025 055 045 E 18V 18V 18V 2 LED9S LED5S v LEDS RED GRN LED12S LED11S 1 0105 1 085 LED6S 045 0355 LED2S LED1S _ DIS RED RED RED GRN GRN GRN GRN GRN GRN GRN 18V 412 WF ili Up J W xp gt w w w x w w w w w w w w w w 1 1 1 1 1 1 1 1 CIS 5 6 7 8 0 1 2 ES 4 5 6 2 229 gt 235 IC1S ARV D D D D D D D D D D D D AG 4 LP 270K 9 8 zi 6 5 4 2 2 2 0 V LEDS VT D 2 0 21dB 6 C ADJ 2 5 4 1 9 251 n 5 5 Al 8 500R W MEI iI 1 4 R4S V LEDS V LEDS 10K 5 59 R6S 47K 10K go V LEDS 100 16VLP rs Ves RI
5. 6015 m 1 4JACKSL on 5 gt on LED15 a oF o 14 n 1 MTX2 Aa MTX3 4 MTX5 MTX6
6. FHVROP N18 R18 10K AUX INSERT 2 220 10K gt 3 R8 C6 AUX6 10K 88 Ct sil 2 655 c9 33P we 225 1 R7 758 1000 R15 1 L1 680K 16V0 2 E 3 J AUX6 v t IC3A 75R 100U 0H SSP 5 14 132 1 vi 05 v AKT 8 5532 16V0 2 4 84 2 2 R3 065 1 R10
7. METEROFF 14 hi 14 14 TN 14 o 7 SOLOMTR R102 TR MON 10K R103 R2 1111 E 12 R3 R107 Pp OK x R113 10K 14 RMON 10K R144 100K mo OPCUEDC 48 14 8 3 p D D D 9 5 4 5 D 0 T 8 R94 OPCUE 18V 2 Pi 1 T F RPB
8. 1K6 AX A DDA HOUNSLOW MIDDX TW3 2 ENGLAND itle 410 Sheet 1 of 2 R157 sw7 MIX POST MONO X POST R 5 1 R9 4 3 TK gt 20 i OON T 7R LI 100K LI LK20 PRE M1 15 42 2 R96 1 4148 100N 10K202 C LJ 09K gt OST L 41252 70 276 22K 1 03 0 LK5 22 5 AUX1 5 AUX3 LK21 gt E gt E PRE L2 1222 TOK OK LK22 2 PRE R2 NA R75 RIZ EE AUX2 3 AUX4 lt V o l V3 R152
9. MIX BUS sotoLoaie LEFTSOLOMETER Poue E MIX i 1 ges UR TAPE 1 ne MONO TAPE INPUT _ LEFT econo OUTPUT M L s RIGHT METER dm yes MONO econo oureur Eod FN CENTRE serr 0 L 6 n d PEAK E RIGHT L R TO CENTRE MONITOR OUTPUT 5 B opr xD Lf Hh lHt M MONO CENTRE L A gt ls opr or 159 7 S AUXILIARY OUTPUT 5 real 2 RH AFL AFL AUXILIARY OUTPUT 6 5 MODULE LINK POSITIONS INPUT LINKS 3 1 LINKS 1 2 GROUP OUTPUT LINKS 1 8 LINKS 9 10 12 15 LINKS 16 18 MASTER MIX LINKS 5 LINKS 3 4 LINKS 1 2 CENTRE MIX LINKS 5 5 LINKS 2 3 44 THE POWER SUPPLY The PSU350 power supply for the console is a free standing unit and operates from either 230V or 120V AC 50 60Hz Optional metalwork allows the unit to be mounted in a 19 inch rack occupying 2U of space and clearance should be allowed in the rack such that sufficient cooling can take place 2U above the unit is suggested For 100V operation the PSU350J must be used The outputs are rated as follows 18V at 3 0 A
10. m MATR CONNECTOR d 16 LAST CS3 COMMS MASTER CENTRE MIX OPTIONAL WWKCROUND V 108 LAST SW Swe CSS COMMS MASTER 2 OF U AL ING LAST VR VR3 Size Document Number REV gt S TRG C CD1269 2 amp PC1384 2 Date January 23 1996 Sheet 1 of 2 TALKB M ACK SPT 48V R182 5 R103 7 010 2 10K OVI 011 OVI R102 2K2 2105 24 gt RMON zs MONITOR VOLUME AKT 478 R180 47R MONITOR LEFT MONITOR R AUX1 2 R110 d lAUXT 111 10K P AUX2 8112 ud O R113 AUX4 2PSUJ 8114 R115 y A R116 MIXL 8117 R118 10K Ri19 10K R120 10K R12 10K R123 10K Riza 10K R125 10K R126 ONES ON On On 06
11. AFL After Fade Listen For listening to post fade signals those controlled by the channel fader AUXILIARY SENDS These are extra signal paths out of the console which are separate from the main mix and group outputs Each auxiliary output is like a separate mixer and can be controlled independently of the main faders They are used to provide special mixes to artists as they are recording normally called FOLDBACK or as a signal to be sent to an effect such as a reverberation or delay device BUS This is the term used to describe the summing or mixing of a number of signals A number of signals routed to the same bus will appear as one signal at the output of the bus mixing amplifier BUS TRIM A control used to adjusted the level of all signals going to a Group Output CHANNEL PATH The path used by the signal going to tape in an in line console D I Direct Inject is an input used for high level devices such as keyboards where the line input would not be sensitive enough DIM This reduces the monitor level by a preset amount usually 20dB in DDA products DIRECT OUTPUT This refers to the individual output of a channel which is available even if the channel is not routed EBO Electronically Balanced Output EQ Equaliser or Tone Control 46 FOLDBACK This is the signal which is usually fed to the artists headphones GROUND SENSING OUTPUT An output stage where any ground noise is injected into the feedback loop in
12. 18 REMOVE IF TRANSFORMER USED ON GROUP OUTPUT 19 REMOVE IF TRANSFORMER USED ON GROUP OUTPUT Used to bypass the transformer position 20 MATRIX BUS ASSIGNMENT OPTION The above links will not normally require to be altered unless the console is reconfigured for any reason 33 MONO NPUTS CONNECTORS AND PIN ASSIGNMENTS Group Output 3 Pin Male XLR Type Balanced Nominal Output Level 4dBu Pin 2 Signal Hot Pin 3 Signal ve Cold Pin 1 Ground Output Impedance 75 Ohm Auxiliary Output 3 Pin Male XLR Type Balanced Nominal Output Level 44 Pin 2 Signal ve Hot Pin 3 Signal ve Cold Pin 1 Ground Output Impedance 75 Ohm Stereo Inputs TRS Jack Socket A Gauge Balanced Nominal Input Level 4dBu Tip Signal ve Hot Ring Signal ve Cold Sleeve Ground Input Impedance gt 10 kOhm Insert Points TRS Jack Socket Gauge Unbalanced Nominal Input Level 2dBu Tip Insert Send Ring Insert Return Sleeve Ground Output Impedance 75 Ohm Input Impedance gt 10 kOhm 34 LEFT MONO RIGHT BALANCE M STEREO INPUT MIX GROUP MODULE BLOCK DIAGRAM LEFT RIGHT GROUP 1 GROUP 2 Groups GROUP 4 AUXILIARY 1 AUXILIARY 2 AUXILIARY a AUXILIARY
13. RING INNERS NORMAL FROM EFFECT FRAME INSERT POINT 10 BALANCED OR UNBALANCED Relating to a home stereo system unbalanced operation is the norm with the ground being used as the signal return path This can be prone to interference especially with the longer cable lengths used in professional applications To counter this balanced operation is usually preferred where the signal send and return use two individual signal wires which will normally have an overall screen Thus XLRs have 3 pins two for the balanced signal and one for ground which is now used for screening purposes rather than as a signal return path It is common practise to have the ground connected at one end of a cable only to reduce the risk of ground loops which can induce hum and interference into the wanted audio signal When jacks are used they must be of the TRS Tip Ring Sleeve type to carry a balanced circuit The internal electronics of the console are unbalanced therefore every balanced input must have a balanced to unbalanced input stage and every balanced output must have an unbalanced to balanced output stage These stages also modify the level of the signal such that the internal console signal is optimised for noise and distortion INTERCONNECTION A number of points require to be addressed when connecting inputs and outputs together if either or both are unbalanced The crucial points are grounding and how the screen is connected The followi
14. 10 PCUEDC R148 VR11 47 7K en NI ES US e 2 O DOA AUX5 Jo 222259 2PSUJ 7 oz 517 2 CU 14 1 euis 5 4 V V 5 H R155 10K 15K OUNSLOW MIDDX TW3 2EB ENGLAND BUSREF C STEREO INPUT REV lt gt KS 1 AUX N
15. 7 MTX8 a PLI V LED 5 Pk 1 LEDS GRN FI ox LED4 4 14 14 VAN 52214 N VIN cS scu mo OS Mo 5 5 w 09 O00 S9 AUX2 A 1 1 4 RPB AUXT 1 3 5 7 9 1 1 1 1 1 2 2 2 2 2 3 3 Ci OI OOo o R72 R102 22K j EE d Mon Ra gt FHVROP c AUX SEND 6 CONG NC3MAHL 19 220F Y C21 4 100U 2 16 0 2 i Sy ICBA 4 52 NE5532 1 R52 ik SUP10 LK17 IN R53 tered R58 C 4K3 NE5532 D2 2 4 856
16. Auxiliaries 5 and 6 may be switched for use as a stereo pair if required AUX 1 AUX 2 Controls the level of the channel signal fed to Auxiliaries 1 and 2 This signal is mono and normally pre fader Link Options Link 3 is normally installed causing the signal fed to auxiliaries 1 and 2 to be pre fade although it will mute if the channel is muted Link 4 will make the signal pre equaliser and independent of the mute Link 5 will enable the auxiliaries to send post fader signal Link 10 allows auxiliaries 1 and 2 to be fed from an output of the pre switch and links 8 and 9 will then determine which pre signal is selected Link 8 is normally installed giving a pre fade post cut signal Link 9 will give a pre equaliser feed N 4 tH 2 Y G 4 lt les AUX 3 AUX 4 Controls the level of the channel signal fed to Auxiliaries 3 and 4 PRE Normally this operates on auxiliaries 3 and 4 to change them from a mono post fade feed to a mono pre fade feed Link Options Links 6 and 7 determine the pre feed fade Link 6 is normally installed giving a pre fade post cut signal If link 7 is installed the PRE feed will be pre equaliser If link 10 is installed the PRE button will affect auxiliaries 1 and 2 If link 12 is installed the PRE button will affect auxiliaries 5 and 6 AUX 5 AUX 6 Controls the level of the channel signal fed to Auxiliary 5 and Auxiliary 6 Link Option
17. post cut signal Link 9 will give a pre equaliser feed AUX3 Controls the level of the channel signal fed to Auxiliary 3 4 Controls the level ofthe channel signal fed to Auxiliary 4 PRE Normally this operates on auxiliaries 3 and 4 to change them from a post fade feed to a pre fade feed Link Options Links 6 and 7 determine the pre feed fade Link 6 is normally installed giving a pre fade post cut signal If link 7 is installed the PRE feed will be pre equaliser If link 10 is installed the PRE button will affect auxiliaries 1 and 2 If link 12 is installed the PRE button will affect auxiliaries 5 and 6 AUX 5 AUX 6 Controls the level of the channel signal fed to Auxiliary 5 and Auxiliary 6 Link 11 is normally installed giving auxiliaries 5 and 6 a post fader feed Link Options If link 12 is installed the feed will depend on the PRE switch If link 13 is installed the feed will be pre equaliser If link 14 is installed the feed will be pre fade post cut ROUTING AND STATUS 23 L R LCR This changes the pan pot into a left centre right pan pot The signal now pans between left and centre or right and centre It is not possible therefore to have signal on the left and right buses simultaneously from one module if LCR mode is selected With the pan pot in the centre position there will only be signal on the centre output PAN When PAN is set to centre in L R mode equal levels are sent to the left right
18. 000 15 000 10 000 5 0000 0 0 5 000 10 00 15 00 20 00 20 100 1k 10k 20k 15 INSERT POINTS Insert points allow the signal path in the module to be broken and for an effect device such as a compressor to be inserted With no jack inserted signal is normalled through to the insert return point but when a jack is inserted this path 15 broken and the signal from the jack is forced out of the module through the effect unit and back through the insert return to join the main signal path again AUXILIARIES Auxiliary outputs can have many uses and it is probably simplest to consider the auxiliaries as additional mixing buses They can be used to send signal to an effect unit such as a reverberation device or to develop another mix for use as foldback or monitoring Each auxiliary has a master level control which equates to the master faders of the console This controls the output level of the auxiliary and the individual channel levels can be adjusted from the controls located on the modules Signals to the auxiliary sends can be switched pre or post fader In pre fade mode the auxiliary signal will only depend upon the position of the auxiliary send pot but in post mode the signal will depend both upon the channel fader position and the position of the auxiliary pot DIRECT OUTPUTS Direct outputs can be used to
19. 18dBu Peak LED On 3dB below clipping Mute Attenuation gt 95dB Signal to Noise Ratio gt 76dB ref 4dBu measured with 16 inputs faders at OdB unity gain equaliser in Maximum Power Consumption 200W Current demand for 18V 18V rails 16 4 2 1 4 Amps 24 4 2 1 8 Amps 32 4 2 2 2 Amps 40 4 2 2 6 Amps AUDIO PRECISION CS3HFLF AMPL dBu vs FREQ Hz 08 SEP 95 14 33 58 20 000 15 000 THE HIGH LOW FREQUENCY EQUALISER RESPONSE 10 000 5 0000 20 100 1k 10k 20k AUDIO PRECISION CS3MID AMPL dBu vs FREQ Hz 08 SEP 95 14 40 12 20 000 15 000 ids THE MID FREQUENCY EQUALISER RESPONSE 50000 SHOWING VARIATION IN Q 0 0 5 000 10 00 15 00 20 00 20 100 1k 10k 20k AUDIO PRECISION CS3MID2 AMPL dBu vs FREQ Hz 08 SEP 95 15 08 23 20 000 Ap 15 000 THE MID FREQUENCY EQUALISER RESPONSE SHOWING FREQUENCY RANGE 10 000 5 0000 10 00 15 00 20 00 A TECHNICAL PRIMER Before any console is switched on many decisions will have been made with regard to what channels the signal sources will appear on and in fact this may even have influenced the build of the console Some operators favour all the micr
20. 22 m 6 2 TOR 100U P 16 0 2 Il C20 220P R54 10K FHVROP D AIID A GROUP OUT WAY CON7 R94 OPT XFMR _NC3MAHL 10k 123456 C36 220P P C38 LKTB Ico 100U 2 42 NES 02 Um gt 00 T 3K3 5 T R95 T 1 2 e O C R96 4 L3 10 R101 AKS 777 55 A 5 5932 C39 100U V R109 Vit 16V0 2 9 C37 220P 10R C44 220 25V0 2 10 T cd cas R110 220 25V0 2 BE V t PAN BUFFER V 1 7 11072 R86 qu C30 e p MXL l MAE 1000 4 160 2 R77 R87 MIXR opu 100K Dop R R75 5K6 33P 9 gt R76 VR f Vr 4PSUJ 3K6 5 DO C32 s TA 100U J 16V0 2 R88 Ne MIXC 33 R80 Ris 100K 3B 1 3K6 C35 1000 16 0 2 R85 100K POST R C SON DDA HOUNSLOW MIDDX TW3 2 ENGLAND LED Title 19 CS3 GROUP OUTPUT R Size Document Number REV CD1266 3 amp PC1382 3 A Date January 23 1996 Sheet 1 of 1 AA ad KALAA LINE GAIN c5 R117 4
21. 4 AUXILIARY 5 AUXILIARY 6 SOLO IN PLACE soto INPUT SOLO 1P CUE CONTROL CUE CONTROL MONO TH 1 3 4 AFL osoo AFL INSERT CUT MONO GROUP OUTPUT oer 2 GROUP ME PRIM PAN MIx AUXILIARY OUTPUT 22 90 oer 2 THE MASTER MODULE Stereo Master module contains the main stereo and centre outputs two Auxiliary master outputs the monitoring section and m talkback microphone input In addition an XLR connector is oO og provided for a gooseneck light if the console is to be operated under A sO low or poor lighting conditions maximum power 5 Watts at 12V AR E Insert points are provided pre fader in the left right and centre output signal paths Plugging in jack automatically breaks normal signal path to insert the external equipment The Stereo Mix Group and Auxiliary outputs have a nominal 54 Je operating level of 44 and can be transformer balanced EH js The three led bargraph meters follow the output of the stereo mix LJ under normal operating conditions If PFL AFL button is WO pressed the left meter shows the level of the sol
22. amp 4 2 s Beg gt TOOU 2 R24 77 3 LK2 1 2 O Y ses LJ 1N AUX SEND V R82 vie R25 AK3 10R 45 33 220 25V0 2 TOOU 16 0 2 gt le C34 R83 220 25 0 2 5 FHVROP 14 _BWAY 123456 O TOOU 2 R68 77 3K3 LK4 1 2 LEN OE SP10 1N gt R69 4K3 LEFT MIX OUT 1000 16 0 2 LED18 22 Tom GRN Swa mW uo R84 15K R85 4PSUJ 15K LPOST RPOST FHVROP 15 SWAY NC3MAHL 123456 E o 1 02 3K3 LK6 1 2 12 LJ V d IN T 9 E V L R81 NES RIGHT MIX UT amp yo GND U 2 GROUND A USE WITH PC1383 2 er SEE ALSO CD1268 2 R R148 is c69 Bie DDA HOUNSLOW MIDDX TW3 2EB ENGLAND LED LED21 Title IC IC13 Sw Swe CS3 MASTER MODULE VR VR3 Size Document Number REV E 5 Hs TRIS CD1267 2 PC1383 2 B Date May 1996 Sheet 1 of 2 VR2A 10KA x2 Y MHRL LINK TO TALKBACK PCUE SOLOMTR OPCUE
23. controls the auxiliary output level AFL This allows the auxiliary signal to be previewed The post fade auxiliary signal is used and therefore it is dependent on the position of the output level control There is a pre fader auxiliary insert point allowing the introduction of an effect unit or similar into the auxiliary signal path 40 MASTER MODULE LINKS MASTER MIX CIRCUIT BOARD LINK FUNCTION FACTORY FITTED NOTES REMOVE IF TRANSFORMER USED ON AUX 5 OUTPUT REMOVE IF TRANSFORMER 2 USED AUX 5 OUTPUT y 3 REMOVE IF TRANSFORMER Y USED ON LEFT MIX OUTPUT Used to bypass 4 REMOVE IF TRANSFORMER transformer position USED ON LEFT MIX OUTPUT REMOVE IF TRANSFORMER USED ON RIGHT MIX OUTPUT REMOVE IF TRANSFORMER USED ON RIGHT MIX OUTPUT CENTRE MIX CIRCUIT BOARD LINK FUNCTION FACTORY FITTED NOTES REMOVE IF TRANSFORMER USED AUX 6 OUTPUT 3 REMOVE IF TRANSFORMER Y USED ON AUX 6 OUTPUT Used to bypass 4 REMOVE IF TRANSFORMER y transformer position USED ON CENTRE MIX OUTPUT REMOVE IF TRANSFORMER USED ON CENTRE MIX OUTPUT The above links will not normally require to be altered unless the console is reconfigured for any reason 41 NSER NSERT CONNECTORS AND PIN DEFINITIONS Left and Right Outputs 3 Pin XLR type Balanced Nominal Output Level 4dBu fA 2 Pin 2 Signal Hot
24. defective components Any components replaced will become the property of DDA Any Equipment or component returned will be at the risk of the End User whilst in transit both to and from the Distributor and postage and or freight charges must be prepaid This Warranty shall only be available 1 i Equipment has been properly installed in accordance with the instructions contained in this manual i The End User has notified the Distributor or in writing within 14 days of the defect appearing iil No persons other than authorised representatives of DDA or the Distributor have effected any replacement of parts maintenance adjustments or repairs to the Equipment iv The End User has used the Equipment for such purposes as DDA recommends with only such operating supplies as meet DDA s specifications or approval and otherwise in all respects in accordance with DDA s recommendations Defects arising as a result of the following are not covered by this Warranty Faulty or negligent handling chemical or electro chemical or electrical influences accidental damage Acts of God neglect deficiency in electrical power air conditioning or humidity control Benefit of this Warranty may not be assigned by the End User End Users who are consumers should note that their rights under this Warranty are in addition to and do not affect any other rights to which they may be entitled against the seller of the Equipment
25. feed effects devices or even the inputs to a multitrack tape recorder The Direct Output is post fader post cut and therefore its level depends on the channel fader Only the signal going through the module is available on the direct output and no mixing with signals from other channels can take place inside the console ROUTING AND PANNING Routing switches allow the signal to be sent to the various mix buses within the console In addition to the groups it is possible to send to the L R or stereo mix bus and the mono or centre bus A pan control allows the signal to be panned or spread across a pair of groups or the stereo mix creating a stereo signal from a mono one The pan control effectively splits the signal into left and right components with their amplitudes depending upon the rotation of the pan control In the centre position equal levels should be sent to both left and right or odd and even groups If panned hard left then the left signal should be 3dB higher than with the pan control in the centre position while there should be no signal on the right side This situation is reversed with a hard right pan The pan control can also be switched into LCR mode and rather than panning from left to right the pan will now work between left centre and centre right With the pan in the centre position then signal will only appear on the centre output 16 THE SOLO SYSTEM The solo system can often be one of the more complex aspects of a cons
26. mode and the centre bus will then be fed with the centre output of the pan pot without the MONO button being pressed MONO This feeds the post fade group signal to the mono or centre bus of the console when pressed In LCR mode the centre output of the pan pot will be replaced by the post fader signal if this switch is pressed In L R mode the centre output will not receive a signal until this switch is pressed Allows the post fader pre cut group signal to be soloed Thus the AFL level indicated on the solo meter will depend upon the group fader but not on the CUT switch There is a pre fader group insert point allowing an effect unit or similar to be introduced into the signal path 32 LINK lt lt lt oe o GROUP MODULE LINKS FUNCTION BUS 1 TO GROUP OUTPUT BUS 2 TO GROUP OUTPUT BUS 3 TO GROUP OUTPUT BUS 4 TO GROUP OUTPUT BUS 5 TO GROUP OUTPUT BUS 6 TO GROUP OUTPUT BUS 7 TO GROUP OUTPUT BUS 8 TO GROUP OUTPUT AUX 1 BUS TO AUX OUTPUT AUX 2 BUS TO AUX OUTPUT NOT USED AUX 3 BUS TO AUX OUTPUT AUX 4 BUS TO AUX OUTPUT AUX 5 BUS TO AUX OUTPUT AUX 6 BUS TO AUX OUTPUT FACTORY FITTED zi xiziziziziz izizi 2 212 2 NOTES Depends upon the module position Position 1 illustrated Depends upon the module position Position 1 illustrated 17 REMOVE IF TRANSFORMER USED ON AUX OUTPUT REMOVE IF TRANSFORMER USED ON AUX OUTPUT
27. position is expected to be close to the OdB mark Ifthe fader is significantly lower than this then the input signal is too high and either the input gain control near the top of the module should be reduced or the MIC LINE switch pressed to select the line input If this action is not taken distortion may result If the fader has to be pushed above the OdB point then this indicates that the input signal is low and that the input gain should be increased or the MIC LINE switch set for microphone operation If this action is not taken the signal may contain more noise than necessary 25 E CONNECTORS AND PIN DEFINITIONS Mic Input 3 Pin Female XLR type Balanced Nominal Input Level 16dBu to 66dBu SER Pin 2 Signal ve Hot Pin 3 Signal ve Cold Pin 1 Ground Input Impedance gt 2 kOhm Line Input 1 4 TRS Jack Socket Gauge Balanced Nominal Input Level 16dBu to 14dBu Tip Signal Hot Ring Signal Cold 3 Sleeve Ground EMOTE Input Impedance gt 10 kOhm Insert Point 1 4 TRS Jack Socket A Gauge Unbalanced Nominal Input Output level 2dBu Tip Insert Send Ring Insert Return Sleeve Ground Output Impedance lt 75 Ohm Input Impedance gt 10 kOhm Direct Output 1 4 TRS Jack Socket A Gauge Unbalanced Nominal Output level 2dBu Tip Signal Ring Ground Sleeve Ground Output Impedance lt 7
28. 2 47 High Frequency 47 high frequency equaliser 22 high level 47 High Pass Filter 14 47 I innering 10 INPUT CUE 39 insert point 16 22 29 36 47 return 16 intermission playback 17 38 47 L L R TO CENTRE 39 L R 38 L R LCR 24 LCR 24 32 panning 18 led 25 led meter 29 LEVEL 30 31 40 LF 22 47 line input 9 47 low frequency 47 equaliser 22 Low Pass Filter 14 47 M master 47 fader 18 level 16 level control 18 METER 31 METERS 39 MIC 14 MIC LINE 14 22 25 microphone level 47 microphones 14 MID 22 middle frequency equaliser 22 MIX 24 30 32 37 39 MONITOR LEVEL 38 SOURCE 38 MONITORING 38 monitoring section 36 MONO 2A 30 32 38 mono input 10 N normalled 10 16 normalling 10 18 OUTPUT CUE 39 output transformer 11 P PAN 24 32 Pan 48 Pot 48 Panoramic Potentiometer 48 parametric 22 45 Parametric EQ 48 peak 25 led 18 peaking 15 Peaking EQ 48 PFL 25 30 36 39 48 phantom 14 22 PHONES ON 38 POSITION 19 post cut 29 fade 23 24 29 31 32 40 46 fader 16 23 32 39 POWER 19 PRE 23 Pre Fade Listen 48 pre fader 30 Q Q 15 22 48 R Return 48 RING 9 Routing 48 ROUTING AND STATUS 24 S screening 11 scribble strip 5 Send 49 shelving 15 EQ 49 shield 11 SIGNAL 25 signal return 11 SIP 49 Slate 49 sleeve 9 SOLO 39 IN PLACE 39 49 LEVEL 39 solo meter 39 stereo bus 18 input 10 30 master module 36 mix 29 47 output sec
29. 29 C13 TN 2 BUSREF 3 7 E VC 75R 1001 BUSREF E UE AR T EROR 16 0 758 5 V R30 R149 2K4 20 R49 BUS PEAK sass 33P 0 2 R40 56K 2 d 1 1000 R31 4 16V0 2 10K 2 4 WC IC7A R41 2 011 R48 1 10K RECORD ee 4 TLO72 1O0aBVv de LEDI3 fx amm V W RED DUALPHONO R50 R51 C35 4 Es 27K 2M2 220 V R37 2 2 CON6 R150 T 4JACKSL RIGHT E 2M7 INSERT RIGHT MIX UT 10 SP6 5 ep 4 132 1 1N FADER JFFE C15 PA LZ ssp 9 2 4 E 21 MXR Eo 33p Wo 220N m 55 MA 77 ROS 2 R33 SP5 7 1 835 C16 UN 6 BUSREF 3 t 7 758 NE5532 4K7 5 ier 18 r NE5532 758 c22 VA PF VA da 8 33P 0 2 R45 x b RFDR R54 c 100R 56K BUS PEAK 9K1 TOOU t C37 16V0 2 10K R46 em 10K TON 012 R53 Z p 1 RPEAK 2 5 CON16 Li 7072 10K m 4 13 LPOST 1 4148 15K 21 SSCS buss Bust 1 7 bus2 R55 R56 C36 bus6 3 bus 47K 2M2 220 bus d TAWAY ROTOP d FHVROP CONi3 7 3456
30. 5 Ohm Remote Connector 1 Ground 2 Mute Input Grounding this pin mutes or cuts the channel 3 Mute Output This is grounded when the CUT switch is depressed SIGNAL 11 NSERT 26 XLR 48V REMOTE ERES HPF EXTERNAL CUT OUT EXTERNAL CUT IN INPUT MODULE BLOCK DIAGRAM MONO LEFT RIGHT GROUP 1 GROUP 2 GROUP 3 GROUP 4 AUXILIARY 1 AUXILIARY 2 AUXILIARY 3 AUXILIARY 4 AUXILIARY 5 AUXILIARY 6 SOLO IN PLACE OUTPUT SOLO INPUT SOLO IP CUE CONTROL OP CUE CONTROL LF HF INSERT DIRECT MONO re LCR FREQ l CUT EQUALISER FADER 2 3 SOLO 4 CUT 1 INPUT SOLO AUX CUT POST 1 2 T AUX1 PREEQ 1 2 n CUT PRE 1 2 AUX 2 PRE AUX 3 PRE i SIGNAL PEAK AUX 4 PRE 1 AUX5 POST 1 2 1 2 AUX 6 PRE 1 2 INPUT MODULE LINKS FUNCTION FACTORY FITTED NOTES 1 AUXILIARY PRE CUT FUNCTION AUXILIARY PRE CUT FUNCTION RE 2 TO AUX 1 2 PRE 1 TO AUX 1 2 N PRE 2 TO AUX 5 6 DIRECT OUTPUT POST FADE DIRECT OUTPUT PRE EQ The above links will not normally req
31. CS3 User Manual Klark Teknik Building Walter Nash Road Kidderminster Worcestershire 11 7HJ Tel 44 0 1562 741515 Fax 44 0 1562 745371 Email info uk telex com Website www ddaconsoles com CS3 Service Manual Telex Communications UK Limited In line with the company s policy of continual improvement specifications and function maybe subject to change without notice This Operator Manual was correct at the time of writing E amp OE CONTENTS DECLARATION OF CONFORMITY ee us 4 SAFETY PRECAUTIONS ereenn 5 TRANSPORT WARRANTY ee itan PE 6 BPPOIEPICNTIONS MM Le 7 A TECHNICAL PRIMER 9 AN DVERVIEW OPATHE CONSOLDE E deti 14 INSTALLATION hector soto renidet 19 rout CaL ar iut ue 20 THE INPUT MODULE 5 reer in 21 INPUT MODULE BLOCK DIAGRAM ebd tet ted 2 INPUT MODULE LINKS bare buda 28 THE GROUP CUT PM 29 GROUP MODULBDI
32. DDA shall not be liable for any damage caused to persons or property due to 1 Incorrect usage of the Equipment i Other equipment attached to the Equipment which is not approved by Modifications made by non authorised persons or by using non recommended parts incorrectly made In no circumstances shall DDA be liable for any indirect or consequential costs damages or losses including loss of business profits operating time or otherwise arising out of the use or inability to use the product whether or not the likelihood of damage was advised to DDA or its distributor Fuses and filament lamps are specifically excluded from this warranty This notice does not affect your statutory rights SPECIFICATIONS Frequency Response 20Hz 20kHz 14 Equaliser in circuit any input to any output Maximum Input Level Mic Input OdBu 30dBu when line switch is depressed Line Input 30dBu Maximum Output Level Better than 26dBu on all balanced outputs into 10kohms Better than 24dBu on all balanced outputs into 600 ohms Better than 20dBu on all unbalanced outputs into 10kohms Microphone Input EIN 127 5dBu ref 200 ohms 128 7dBu ref 150 ohms 129 7dBV ref 200 ohms 130 9dBV ref 150 ohms Microphone Input Distortion Maximum gain 20dB out 0 007 at 1kHz Minimum gain 20dB out 0 003 at 1kHz Line Input Distortion Maximum gain 20dB out 0 005 Minimum gain 204 out 0 003 Signal Present LED On at
33. ETEROFF PEEL CPOST 3 1 V LED V LED V LED C21 R185 5 R48 C23 100K 02 04 100 5 18 18 16V0 2 75R 100U 1600 2 ___ 015 v LED ED 2 1 4148 EE ed EN 012 LEDI1 LEDIO LEDS LED7 LED6 LED3 1 2 SBE RED RED RED GRN GRN R49 J111 gt 18V 12 NF Fs 4 9k1 gt gt 850 M x N 10K Dr p 1 1 1 BUFFER 851 c29 5 6 7 2 3 5 22K 220 7 5 5 Ico ae 25 9 2 2 g BA683A LED 5 9 LED V 1 9 0 0 21 AD DJ 2 4 I 5 1 4N R54 L D 10K RIGHT METER R55 5 47K 631 V LED 109 16VLP C30 V LED 8 V LED 202 50VLP 8058 1 2 3 BUSS 48 e OPCUE 3 OPCUEDC R70 8055 Pe 2 5 BUSA 9 sip 76 VALED CON20 Buss BUSREF V 872 Vit mn 9 Ipost BUS 13 14 18V PEs y i CPOST BUST eer IR 034 rpost 81 PLI 10R Jt C36 22 WITU bus8 bust MXR BN 220 Saute USE WITH PC1384 2 bus 19 9 E OV TR 25V0 2 SEE DAT 2 A buss MX AUKE 21 22 t zie SEE ALSO CD1270 2 busb bus4 d 5e 26 5 220 PI LAST R AUXA d27 28 vimm c C35 LAST C SOIL 29 30 ey gt s RR LAST CON DDA HOUNSLOW MIDDX 2EB ENGLAND MATRIX CONNECTOR ELE e pid b
34. K7 L 10K R12 24K 15K 02 04 4 4 1434148 1N4148 1 01 R13 R ets C4 gt 24K 24K 680P 1N4148 1 R5 6 4 32 11 258737 R113 4K7 vi 7 33 K 2 64 N NE GAIN SP201 o R31 V14 SE 7 5 7KS 331 15K D202 D204 A TP R21 24K NOTE IF 201 R214 CHAN R210 AND ARE NOT 1K AND FI GAIN 20 OR 10 R205 258757 53 qs I NES532 75R 100U 16 0 2 MID EQ PRESE L EQOP MONIO MIO IN O BdB OCTAV JOC R1 R220 20K VR2B R221 R222 1K6 1K6 c2102 If
35. NRS decenti ina 33 GROUP MODULE BLOCK DIAGRAM uut unida odii 35 THE MASTER MODULE teet bet reete tent bottled 36 MASTER MODULE LINKS sitet dto laces NS ot Cua 41 MASTER MODULE BLOCK rbi 43 MODULE T INKPOSUBIONS 44 THEPOWERSUBPLY ae uct cael ta adel ai 45 GLOSSA esa nce LM ha a 46 INDEX dC 50 The information in this manual has been carefully verified and is believed to be correct however Mark IV Professional Audio reserves the right to modify the product described in this manual at any time This document may not be copied or reproduced by any method whatsoever whether in part or in whole without the written permission of Mark IV Professional Audio Copyright 1996 Mark IV Professional Audio Group rights reserved Manual Version 9601 MARK IV AUDIO Declaration of Conformity Console Engineering The Directives Covered by this Declaration 89 336 EEC Electromagnetic Compatibility Directive amended by 92 31 EEC amp 93 68 EEC The Products Covered by this Declaration Model CS3 Mixing Console The Basis on which Conformity is being Declared The Products named above and hence the Variants ther
36. Pin 3 Signal ve Cold Pin 1 Ground Output Impedance lt 75 Ohm Mono Centre Output 3 Pin XLR type Balanced Nominal Output Level 44 Pin 2 Signal Hot amp Pin 3 Signal ve Cold N MKT fa we Pin 1 Ground Output Impedance lt 75 Ohm Tape Play Inputs Phono Sockets Ww Nominal Input Level 104 Tip Signal Hot 9 Sleeve Ground Input Impedance 240 kOhm Tape Record Outputs Phono Sockets Nominal Output Level 10dBV Tip Signal ve Hot Sleeve Ground Output Impedance 1k5 Ohm Insert Points 1 4 TRS Jack socket Gauge Unbalanced Nominal Input level 2dBu Tip Insert Send Ring Insert Return Sleeve Ground Output Impedance lt 75 Ohm Input Impedance gt 10 kOhm Monitor Outputs 3 Pin XLR type Balanced Headphone Output TRS Jack Socket A Gauge Pin 2 Signal ve Hot Nominal Output level 14dBu Pin 3 Signal ve Cold Tip Left Channel Pin 1 Ground Ring Right Channel Output Impedance 75 Ohm Sleeve Ground Nominal Output level 44 42 tv T B MIC TALKBACK n AUX 1 2 MASTER MODULE BLOCK DIAGRAM AUX 3 4 AUX 5 6
37. S V LEDS V LEDS 22K PRIS 5 5K uis T RED F 1 5 V PRE m 1 4 202 Lb 135 50VLP AK V S 625 2K2 DDA HOUNSLOW MIDDX TW3 2EB ENGLAND Title CS3 METER BOARD CENTRE METER Size Document Number A CD1275 1 amp PC1385 1 et Date January 25 1996 Sh 15 D2 D3 1N4002 1N4002 327 10K C2 E E 2200 oov She n 1N4002 C C4 4 100N gt 1 0 2 04 VAM Iw Va b EV M 4 ev CON1 070 100N 20 LJ 0 2 Bridge KLARK TEKNIK DDA DIVISION 2 o e Le C31 REY 550 65 0 2 Date January 23 IN N NA INC Ss 4 I NT NA
38. SSP R9 R11 a 220P 819 BUSREF EB 75R 7 d 10K ES AKT EN v 8 NE5532 10K R12 R16 R20 R74 OPCUEDC 10K R1 V 100K 47K AKT ash 10 553 mq NE5532 C10 d Es 5 823 ct 2PSUJ Cd 7 4 i li gt C66 CM PF 220 f 75R 100U 10K 1670 2 R13 C8 220 R17 R21 CONS CENTRE T 4JACKSL ul R26 E AKT el FHVROP CENTRE 7 INSERT FR CENTRE WIRI R58 WAY MIX 4K7 SWAY e R 123456 eg sse L2 COOGU c17 MIXC mE 5 3 o 5 4 132 iN SP9 bs xs A ica ES 55 t 2 4B R29 gt al R59 aa 3 es 400 3 M BUSREF 1 X R184 R38 1000 3 Hos 100U TT 15K 680K bo 16 0 2 ES 16V0 2 TN Vit y 618 R30 LF 067 LK5 10K p R36 C20 220 1 2 7 R32 US PEAK SSP R40 893 tok 56K 1 d m 10 18K 100U I 60 R64 C14 05 IC2B R37 16 0 2 10K oc 10K 1000 ad R35 R41 P J P 16V0 2 R31 7 t 10K 4K7 a 5 AT S 55 PRS x T1972 5 Ju NES532 e C28 CENTRE MIX OUT 15K E NN SP5 C68 6 IN O2 2209 758 1000 IH 47K 16 0 2 R33 834 24 TR6 861 2 2 720 ro oii E as 1N4148 J CaF es 8186 AKT RECON RED TOWAY 100K gt MHRLT M CFDRLEFT c CFDRRICHT 5 6 Wo M
39. The input modules contain the signal processing circuits that match external signals to the internal electronics of the console An input stage is followed by a filter and equalisation stage before the signal is passed through the fader to be routed to the various outputs of the console The equaliser can be used creatively to modify signals either because they contain unwanted sounds or because they need to be matched more closely to other sounds in the overall balance LCR EXPLAINED Three channel left centre right panning differs from the normal stereo panning arrangement in that where the conventional left right pan moves the signal across the stereo image LCR panning moves the signal between three distinct positions Using LCR panning gives a more spatial effect offers more control over vocals and effect positioning and really brings performances to life In LCR mode the pan pot acts as follows When panned hard left the signal is only fed to the left channel of the main output As the pan is rotated towards the centre the signal to the left decreases and the signal to the centre channel increases until at a dead centre the signal only goes to the centre output At this point no signal is fed to the right channel Rotating the pan pot further to the right decreases the centre feed while the right feed increases until at full clockwise rotation the signal is only on the right channel Soloists are typically mixed to the centre chan
40. a signal is sent from the master module to mute all other input modules Thus only the channel with the solo key pressed will be heard Output soloes will continue to operate as normal and will take priority over input soloes More than one channel can be SIPed at any one time TO CENTRE This mixes the post fader left and right outputs onto the centre output of the console 18 18 48 These 3 leds indicate the presence of the two power rails and the phantom voltage supply FADERS A stereo LEFT RIGHT fader and a CENTRE MONO fader are provided giving smooth control of the output signals HEADPHONES Stereo headphones with impedances from 100 ohms to 600 ohms may be plugged into the headphone socket This socket is located below the armrest and to the right hand side of the console 39 METERS The three meters indicate the levels of the left centre mono and right outputs of the console The left meter is additionally used to indicate solo levels in which case the remaining two meters will not indicate BUS PEAK LEDS m There are three leds to indicate peak level left centre and right buses 2 Any indication here will mean that the level from the input modules the groups if sub mixed into the main outputs or the stereo inputs is too high and should be reduced to avoid distortion THE AUXILIARY MASTER SECTION Auxiliary master 5 and 6 are locate here LEVEL This
41. any products operate at 4dBu while many newer semi professional products including some 1 inch multi track tape machines operate at 104 This leads to approximately a 12dB difference between signal levels as 10dBV equates to 7 8dBu PANNING When a signal is split across a stereo bus some compromise is involved regarding the levels sent to the buses for the following reasons Two identical signals when combined electrically will double in amplitude which is an increase of 6dB If the signals are fed through a stereo loudspeaker system then the acoustic summing and perceived effect is that the signal amplitude has increased by 3dB There is thus a 3dB difference between the two summing mechanisms 12 For console optimised for sound reinforcement the pan pot should be 3dB down in the centre position while for broadcasting where peak levels are important due to transmitter and land line overloading the pan pot should be 6dB down 4 5dB is often chosen because it is halfway between the extremes An error of 1 5dB is acceptable in most situations Splitting the signal across an LCR bus is similar as only two of the buses are active at any time If the signal is centrally panned then only the centre mono output is active The 3 pan pots are 3dB down in the centre position relative to fully left and right panned signal levels 13 AN OVERVIEW OF THE CONSOLE THE INPUT SECTION Channels to be used with microphones should have th
42. ar p Nay LN PAREM GN YEI pe FON X NONE o gt E NON Ney LY VALA 2 NC x 1 NOT USED U 2 DDA LTD UNIT 1 8 ROAD HOUNSLO DIAGRAM 120 2 PIN 5 Size Document Number 6 Date January 25 1 N E 5 AGE C ELEC SUN d Ku ky VN 2 S V NN J X rs LY XLR gt S Ke SWITCH N x d A P BENE N y e N Iw X DDA LTD UNIT 1 INWOOD BUSINESS PARK ON ROAD HOUNSLOW TW 2EB UJ E C LAO Ul Title CS3 PSU WIRING DIAGRAM 100V m 070 CANO E e Document Number REV c 22 r UU 2 T Chac f Sheet Dote February 2 1996
43. e input circuit and alters the range of gain adjustment available This should be pressed when high level or line level signals are connected to the channel through the line input jack Note that if a jack is not inserted into the line input socket then the XLR connector may be used as the line input The TRS jack could also be used as a microphone input although it is not recommended MONO R This cuts the LEFT input signal replacing it with the RIGHT input signal Thus the module carries the right input signal through the stereo signal path MONO L This cuts the RIGHT input signal replacing it with the LEFT input signal Thus the module carries the left input signal through the stereo signal path If both MONO L and MONO R are pressed together a mixed left right mono signal is fed through the stereo signal path of the module HF A high frequency equaliser providing 15dB of boost or cut at 12kHz MID A swept frequency equaliser providing 15dB of boost or cut The frequency is adjustable from 200Hz to 3k5Hz LF A low frequency equaliser providing 15dB of boost or cut at 80Hz 80Hz This inserts an 80Hz highpass filter with a rolloff of 18dB per octave into circuit after the input amplifier This may be used to eliminate unwanted low frequency noises transmitted to the microphone through a floorstand for example AUXILIARIES There are six auxiliary sends available on the CS3 with the outputs located on the master module
44. eir MIC LINE switches set in the MIC position Some microphones require phantom power and if this is the case then the 48V switch should be depressed This is likely to cause a loud click or thump and it is recommended that the switch is pressed with the channel fader closed It is also adviseable to plug the microphone in before switching on the phantom rather than to plug the microphone in with the phantom voltage already on FILTERS The High Pass Filter can be used to filter out LOW frequency sounds that are not part of the intended signal These sounds could include stage noise transmitted through a microphone stand air conditioning noise rumble from an underground railway system or even overflying aircraft Sometimes the filter frequency is selectable in order that as much of the interfering source can be removed with minimal damage to the intended signal A Low Pass Filter is an inverse of the high pass filter and it attenuates high frequency signals An example of this might be the line frequency whine from a television monitor located close to the console The following illustration shows the HIGH PASS filter response of the CS3 AUDIO PRECISION CS3HP AMPL dBu vs FREQ Hz 08 SEP 95 15 22 03 20 000 15 000 10 000 5 0000 0 0 5 000 10 00 15 00 20 00 20 100 1k 10k 20k 14 EQUALISATION The equaliser can be u
45. eof listed above comply with the requirements of the above EU directives by meeting the following standards EN 55013 1990 EN 55020 Signed G M Squires Authority Product Support Manager Date 1st January 1997 Attention The attention of the specifier purchaser installer or user is drawn to special limitations to use which must be observed when these products are taken into service to maintain compliance with the above directives Details of these special measures and limitations to use are available on request and are also contained in product manuals SAFETY PRECAUTIONS IMPORTANT PLEASE READ BEFORE INSTALLING YOUR CONSOLE Strong sources of electromagnetic radiation e g high power cabling video monitors and radio transmitters may cause degradation of the audio quality due to induced voltages in the chassis and connection leads Site the console away from such sources For the same reason it is advisable to site the power supply away from the console Electronic components are susceptible to conditions of excessive heat or extreme cold so take care not to use your console under such conditions Before powering up the console make sure that the power supply voltage selection matches the local mains supply Never connect or disconnect the power cable without switching off the power supply Similarly switch off the console before removing or servicing modules Do not attempt to wipe clean the conso
46. f the console and is returned after some form of processing ROUTING The sending of a signal to a bus normally by pressing a switch Signal can be routed to several buses simultaneously if required 48 SCRIBBLE STRIP An area of the console reserved for the user to write on usually in order to identify channel useage SEND The output from a channel insert point is called the insert send SHELVING EQ This means that the response of the equaliser becomes constant after the turnover or corner frequency has been passed Thus a high frequency shelving equaliser operating at 10kHz will have rising response as the frequency approaches 10kHz but will be flat after 10kHz This is normally used on the high and low frequency sections of an equaliser SIP Solo in Place This mode cuts all the input channels that are not soloed SLATE The ability to talk to tape from the operating position of the console SWEEP FREQUENCY A control which selects a centre frequency to operate around Most often used with peaking equalisers but it can also be used to determine the roll off point of shelving EQs as well TRS JACK A Tip Ring Sleeve A gauge jack VCA Voltage Controlled Amplifier An amplifier whose gain can be controlled by a DC Voltage applied to its control port WRITING STRIP See scribble strip XLR The XLR in fact a specific manufacturer s model reference is an industry standard connector of high quality and is normally u
47. he sleeve is a common ground SLEEVE RING BN N 2 N SLEEVE CONNECTION AND CABLE CLAMP 1 4 INCH TRS A GAUGE JACK PLUG TIP CONNECTION RING CONNECTION A technique known as normalling or innering can be used to carry signal through jacks which have no plugs inserted The jack socket is equipped with spring terminals making contact with the tip ring and sleeve connections until a plug is inserted Signal wired to these sprung connections will normally connect to the tip ring and sleeve connections and an example of this is where the auxiliary left input is also used as a mono input by wiring it through to the right input connector LEFT NORMAL INPUT RING _INNERS NORMAL TIP NORMAL RING _INNERS NORMAL Thus mono input signal is fed to both left and right signal paths If a stereo input is required then the insertion of a jack plug into the right jack cuts off the signal from the left jack letting the right and left signals go the appropriate signal paths Another example is the insert jack where the tip and ring inner connections are wired together When the insert point is not in use signal fed to the tip is returned to the ring through the normalled connections then to proceed through the remainder of the module NORMAL lt nmmn EFFECT D m V
48. he stereo mix and associated functions such as monitoring 47 MIX PATH The path used by the signal going to the stereo mix PARAMETRIC EQ An equaliser section which has variable frequency level and Q PAN A pan control or Pan Pot or Panoramic Potentiometer is used to spread a mono signal across multiple buses PEAKING EQ In this form of equaliser the response is tailored to enhance a selected frequency relative to the frequencies above and below it Peaking equalisers are normally used as the mid sections of an equaliser Also known as bell shaped PFL Pre Fade Listen For listening to pre fade signals POST FADER A signal derived after a fader and therefore dependant upon the position of the fader PRE FADER A signal derived before a fader and therefore not dependant upon the position of the fader Q Associated with peaking equalisers the Q is the factor which describes how wide the peak or trough of enhancement is The smaller the Q the wider the bandwidth of the equaliser will be Typically a fixed Q equaliser will have a Q of about 1 5 equating to a bandwidth of about 1 octave QUASI BALANCED An arrangement whereby a bus is terminated with a differential input The bus however is not truly balanced instead a bus common is used to pick up any interference which will also be picked up by the true bus The interference then appears as a common mode signal at the mixing amplifier RETURN Any signal that is sent out o
49. his enables the part of the audio spectrum requiring adjustment to be targeted very precisely and reduces the effect on parts of the signal that require no modification LF A low frequency equaliser providing 15dB of boost or cut at 80Hz FILTER The Filter switch inserts a 80Hz highpass filter with a rolloff of 18dB per octave into circuit after the input amplifier This may be used to eliminate unwanted low frequency noises transmitted to the microphone through a floorstand for example Aninsert point is located after the EQ section allowing the introduction of an effect unit or similar into the signal path AUXILIARIES 22 There are six auxiliary outputs Additionally the channel direct output may be used to provide a dedicated auxiliary send 1 Controls the level of the channel signal fed to Auxiliary 1 This signal is normally pre fader AUX2 Controls the level of the channel signal fed to Auxiliary 2 This signal is normally pre fader Link Options Link 3 is normally installed causing the signal fed to auxiliaries 1 and 2 to be pre fade although they will mute if the channel is muted Link 4 will make the signal pre equaliser and independent of the mute Link 5 will enable the auxiliaries to send post fader signal Link 10 allows auxiliaries 1 and 2 to be fed from an output of the pre switch and links 8 and 9 will then determine which pre signal is selected Link 8 is normally installed giving a pre fade
50. istorted The signals routed to the group should be reduced in level by pulling their faders down or reducing the input gain of the routed channels THE AUXILIARY MASTER SECTION 1 OF 4 Each group output stage contains one auxiliary output section LEVEL This controls the auxiliary output level AFL This allows the auxiliary signal to be previewed The post fade auxiliary signal is used and therefore it is dependent on the position of the output level control There is an auxiliary insert point allowing the insertion of an effect unit into the auxiliary signal path pre the level control 31 AFL THE GROUP OUTPUT SECTION L R LCR This changes the pan pot from standard mode to LCR mode where the signal will pan between left and centre or right and centre CUT The CUT switch disables the channel signal path and is indicated by a led in the switch when the group is muted PAN This adjusts the relative levels of signal sent to the left and right outputs or the left centre and right outputs depending upon the selected pan mode when MIX is pressed FADER The fader controls the level of the group output As with the input module fader operation close to the OdB calibration point is expected and any large deviation from this would indicate that the signal from the modules feeding the group are too high or too low MIX When MIX is pressed the group signal is sent to the stereo mix The pan control can be switched to LCR
51. le with a cleaning liquid Most surfaces can be simply cleaned with a soft dry brush Should the chassis or channel ident strips need cleaning use only water or isopropyl alcohol Solvent based products should not be used as they may damage these parts Use a wax based crayon to write on the scribble strips The use of adhesive backed tapes may damage the screen printing on the modules TRANSPORT It is recommend that you retain all the packing from your console should you ever need to return it for service or move the console to other premises If the console has to be moved regularly then we suggest that you purchase a foam lined flight case available from your distributor if you cannot purchase one locally Only use the power supply and cables provide Your warranty is invalidated if other supplies or cables are used If you experience any problem with the local mains or during thunder storms switch off the power supply and unplug it from the mains supply WARRANTY If within a period of three years from the date of delivery of the equipment to the End User it shall prove defective by reason only of faulty materials and or workmanship but not faulty design to such an extent that the effectiveness and or the usability thereof is materially affected the Equipment or the faulty component shall be returned to the Distributor or DDA and subject to the following conditions the Distributor or will repair or at its option replace the
52. mode should be set for L R operation 1 2 3 4 Routes the post fade post pan if selected channel signal to output group 1 or 2 3 4 24 PFL The PFL button feeds the post insert return signal to the Monitor Section loudspeakers or headphones replacing the selected monitor source The main stereo and centre outputs of the console are not affected The led in the PFL switch will illuminate when the PFL function is active and PFL signals from different channels that are active simultaneously will be mixed together If Solo In Place mode is selected on the master module then all other channels on the console will be muted while only the channel initiating the solo will be heard This allows signals to be previewed exactly as they will appear in a mix but in isolation Note that this is no longer PFL PEAK This led light emitting diode indicates when the signal is getting close to clipping level If clipping occurs the signal will be severely distorted and the channel input gain should be reduced SIGNAL This led shows when signal is present in the channel and is simply a useful aid on occasions when no output can be found from the console It establishes that there is input signal and that maybe there is a routing or some other problem FADER The faderis the main signal level control for the channel and is a long throw type giving smooth control of the channel level Note that the fader is calibrated and the normal operating
53. mps maximum 48V at 350mA maximum The outputs are electronically protected and in the event of a shut down the supply must be switched off to reset it The positive and negative rails track so that if one fails the other will shut down to minimise any damage caused to the console The output cable is captive and 3 metres long DC Pinout 1 Not connected 2 18 Volts 3 18 Volts 4 0 Volts 5 48 Volts 6 Chassis The PSU350 power supply carries the following approvals CSA UL IEC95 and conforms to the EC Directive for Electromagnetic Compatibility Always connect the power supply to the console and the electricity supply before switching on To switch ON press the upper end of the power switch switch located on the front panel such that the red O is hidden from view Fusing 230V 5 02 0017 2 5 20mm S B Fuse LE C 120V CSMO02 0016 2 5A 20mm S B Fuse U L 100V CSMO02 0006 3 5 20mm S B Fuse PSU350J only REFER SERVICE AND REPAIR TO A QUALIFIED AND COMPETENT PERSON OR DEALER WARNING THIS SUPPLY MUST BE EARTHED 45 GLOSSARY This section provides a simple explanation of some of the terms used when describing the console features A GAUGE JACK This is a 1 4 jack which has a large tip diameter compared with a gauge jack which has a smaller diameter tip and is usually found in broadcast use Both types could be described as TRS Tip Ring Sleeve and it is the A Gauge that is used on DDA product
54. n effect device whether stereo or mono The input of the effect device would normally be fed from an auxiliary output of the console BALANCE Adjusts the relative left right levels of the return signal This is not to be confused with the balance referred to in the case of balanced inputs for example Note that if a mono signal is connected to the left input and nothing is plugged into the right input the signal will be sent to the left and right signal paths This saves a special cable having to be made or used for mono signal sources If a mono input is connected to the right input then only the right signal path will receive this signal FADER This is the level control for the return signal and adjusts the amount of level sent to the routed outputs L R Routes the return signal to the L R stereo mix Routes the return signal to the mono or centre mix The left and right signals are combined to mono for this 1 2 3 4 Routes the return signal to groups 1 and 2 or 3 and 4 PFL This allows the pre fade auxiliary return signal to be soloed The solo is pre fader and therefore will not depend on the position of the stereo input fader In effect it allows the input signal to be viewed on the solo meter and monitored 30 This meter indicates the level of the group output It has a VU characteristic BUS PEAK This indicates when the group mix bus level is very high and the signal is in danger of becoming d
55. n problems can be traced back to poor or faulty cables and connectors As mentioned before there are two different conventions for the wiring of XLR connectors The international convention uses pin 2 as the hot pin while the older American convention uses pin 3 as the hot pin When going from balanced input to balanced output this is of little consequence but when unbalanced signals such as those found on the insert points are used then phase reversal can result The CS3 and all DDA products are wired PIN 2 HOT ATTENTION CABLES This product should only be used with high quality screened twisted pair audio cables terminated with metal bodied 3 pin XLR connectors The cable shield should be connected to Pin 1 Any other cable type or configuration for the audio signals may result in degraded performance due to electromagnetic interference ELECTRIC FIELDS Should this product be used in an electromagnetic field that is amplitude modulated by an audio frequency signal 20Hz 20kHz the signal to noise ratio may be degraded Degradation of up to 60dB at a frequency corresponding to the modulation signal may be experienced under extreme conditions 3V m 9096 modulation No permanent damage or degradation of performance will be caused by these conditions 20 1 1 THE INPUT MODULE
56. nel while back up vocals an orchestra or a band can be wrapped around the soloist in stereo or panned across the three channels 21 48V Provides 48 volt phantom power for a condenser microphone or D I box Optional balancing transformers may be fitted on the Mic Line input GAIN The gain control is a wide range rotary potentiometer and is active on both Mic and Line Inputs With Mic selected the gain can be adjusted from 20dB to 70dB For Line inputs the adjustment is from 10dB to 20dB MIC LINE Switching this inserts an attenuator into circuit with the microphone line input and alters the range of gain adjustment available This should be pressed when high level or line level signals are connected to the channel through the line input jack Note that if a jack is not inserted into the line input socket then the XLR connector may be used as the line input EQUALISER The equaliser on the input module is a three band design incorporating a parametric mid range section and fixed frequency shelving high and low frequency sections HF A high frequency equaliser providing 15dB of boost or cut at 12kHz MID A parametric middle frequency equaliser providing 15dB of boost or cut The frequency is adjustable from 500Hz to 15kHz and the Q or bandwidth can be swept between the values of 0 7 and 4 5 In octave values this means 2 octaves at the widest low Q setting and about a third of an octave at the narrowest high Q setting T
57. ng table gives an indication of the connections under all possible cases Note that balanced means balanced and floating such as from a transformer while differential refers to an electronically balanced input or output which cannot float Output Input Screen See Note Unbalanced Unbalanced Source Unbalanced Balanced Source Unbalanced Differential Source Balanced Unbalanced Destination 1 Balanced Balanced Source Balanced Differential Destination 2 Differential Unbalanced Source 3 Differential Balanced Source Differential Differential Source The shield is connected to the destination earth point which is the opposite of normal practice because the signal wires being shielded are referenced to the input earth not the output earth 2 If the output transformer is centre tapped to earth the screen should be connected at the Source 11 3 When an active differential output is operated in unbalanced mode it is very important that the output current returns to earth via the shortest least reactive route Check for instability at the output A simple test to show the vulnerability of of any piece of equipment to earth currents has been proposed by John Windt in the June 1995 issue of the Journal of the Audio Engineering Society The test consists of passing a peak AC current of 100mA through the ground system of a piece of equipment and measuring the degradation in signal to noise ratio In its simplest form this would be at 50 60H
58. odd even buses with a 3dB drop relative to the fully clockwise or anticlockwise positions Setting the PAN control fully anticlockwise sends full level to the Left bus cutting the send to the Right bus Fully clockwise rotation sends full level to the Right bus cutting the feed to the Left bus CUT The CUT switch disables the channel signal path and is indicated by an led in the switch when the channel is muted When CUT all post fade auxiliary sends and routing assignments are muted in addition to the pre fade post cut sends MIX Routes the post fade post pan channel signal to the stereo mix bus or the left centre and right buses if LCR panning is selected MONO Routes the post fader signal to the mono or centre bus In L R pan mode with MIX selected no signal will be routed to the mono output if this switch is not depressed With the pan control in LCR mode and MIX selected the centre output of the pan pot is routed to the mono or centre bus without this button being pressed If the button is pressed the the pan pot output will be replaced by the post fade signal PAN Pressing this allows the output of the pan pot to be sent to the groups An odd andan even group should be used when panning across groups and the pan control will operate as described for the left and right buses above If this switch is not pressed then the selected groups will receive identical mono signals which are not dependent upon the pan pot position Pan
59. odification The output of the master fader is taken to the master meters for a visual indication of the console output level If a solo is selected on any module then the left meter will indicate the solo level and the monitoring will switch so that the solo can be heard The master module has provision for a tape return and this can be assigned through a level control to the L R and Mono outputs of the console or it can be assigned to the monitor system Tape to L R assigns the tape signal to the main buses AFTER the main fader giving an intermission playback facility independent of the master faders in the console THE GROUP OUTPUTS The group output stages are located on the group modules and have their own master faders to give overall control of the group level 17 The group output may be used either to feed tape recorder or to send to another destination such as a power amplifier If required the group can be sub mixed down onto the stereo bus of the console This makes it easier to control the level of all the channels assigned to the group as only the one master fader will alter the level of the entire group Individual faders on the channels can of course still be moved to alter the balance within the group The group output is almost identical to the main output having a group insert point a peak led a group fader and a balanced group output stage In addition there is a group meter a group CUT switch a group solo switch and a
60. oed signal There is also an unbalanced stereo output on phono connectors taken from before the mix insert points which can be used to feed a tape recorder or DAT machine for example The nominal operating level is 10dBV This allows the feed to the tape recorder to remain unaffected by any device connected to the master module insert ET points and to be independent of the master faders 36 COMMUNICATIONS TALKBACK MIC A microphone may be plugged in to this socket to provide talkback facilities to the output buses The microphone may be a dynamic type or by using an internal link for phantom powering may be a condenser microphone TB LEVEL This adjusts the level of the talkback microphone signal AUX 1 2 If 1 2 is pressed the talkback microphone signal is routed to the Auxiliary 1 and 2 buses ius AUX 3 4 0 If 3 4 is pressed the talkback microphone signal is routed to the Auxiliary 3 and 4 buses AUX 5 6 If 5 6 is pressed the talkback microphone signal is routed to the Auxiliary 5 and 6 buses MIX If pressed the talkback signal is routed to the L R and Mono centre buses BUS If pressed the
61. ole The intention is to allow signal to be previewed without affecting the outputs of the console other than the monitor output Solo can also be referred to as AFL PFL or SIP AFL or after fade listening gives the ability to listen to signals in isolation which are derived from a point after the channel fader PFL or pre fade listening allows signals derive from before the channel fader to be monitored Both AFL and PFL modes use dedicated buses which are switched through to the monitor outputs of the console when required SIP or Solo In Place operates very differently by cutting all the other signals routed to the main buses of the console allowing the selected signal to be heard in isolation THE MASTER MODULE The simplest signal path to follow is when the signal is routed to the stereo mix bus The mix outputs are located on the master module and contain an insert point a peak indicator a fader and a balanced output stage The insert point can be used to insert an effect device as is the case with the input module Note that the bus peak led comes before the insert point and therefore any gain introduced at the insert point will not be indicated by it A tape recorder output is also connected at the insert send point operating at 10dBV and unbalanced The master output is taken from after the master fader operates at a nominal level of 4dBu and is fully balanced If required the output can be run into an unbalanced load without any m
62. ophones to the left side of the console with other sources to the right while other people may prefer a layout more akin to the actual physical layout of the microphones and other signal sources A WORD ABOUT CONNECTORS Two types of connector are used to interface the console to external signals Firstly XLR type connectors are used for the microphone inputs These connectors have a large contact area andtherefore are very suitable for low level signals N e e 0 MALE XLR 3 FEMALE XLR 3 It is perhaps worth mentioning at this point that there are two different conventions for the wiring of XLR connectors The international convention uses pin 2 as the hot pin while the older American convention uses pin 3 as the hot pin When going from balanced input to balanced output this is of little consequence but when unbalanced signals such as those found on the insert points are used then phase reversal can result The CS3 and all DDA products are wired PIN 2 HOT 1 4 inch TRS jacks are used for high level signals such as the line inputs and the stereo return inputs These jacks are used in 3 different ways 1 To carry a balanced signal the line input for example 2 carry an unbalanced signal the direct output for example 3 carry an unbalanced signal in and out through the same connector at the same time the insert point for example The TIP is used to send signal while the RING receives signal T
63. pan control working with the MIX switches These allow the signal to be sub mixed onto either the stereo or the mono buses of the console and LCR panning can be selected If required signal could be taken from the group output at the same time as the group is subbed onto the L R and MONO mix buses but without independent level control THE AUXILIARY OUTPUTS The auxiliary master outputs are located on the same modules as the group outputs and have a simple signal path The signals on the auxiliary buses are mixed and then go through an auxiliary insert point before the master level control which is a rotary potentiometer rather than a fader The output of the level control goes to a balanced output stage There is no meter associated with the auxiliary outputs although they can be soloed to check the signal level STEREO INPUTS There is a stereo input associated with each group output This allows a line level stereo or mono signal to be fed into the console through a fader for level control to be balanced and then to be routed to the group buses or the main L R or Mono buses In the event of a large mix they may assist in creating the required number of inputs or if consoles are linked together then they may be used to carry the outputs of the slave console onto the buses of the master console The input jacks are wired such that if a mono signal is fed to the left input then it will also be routed to the right input through the normalling connection
64. r both of the left right signal paths un 4 tH 2 ac 4 lt les FADER The fader is the main signal level control for the channel and is a long throw type giving smooth control of the channel level Note that the fader 1s calibrated and the normal operating position 1s expected to be close to the OdB mark If the fader 15 significantly lower than this then the input signal is too high and either the input gain control near the top of the module should be reduced or the RANGE switch pressed to select the line input If this action is not taken distortion may result If the fader has to be pushed above the OdB point then this indicates that the input signal 15 low and that the input gain should be increased or the RANGE switch set for microphone operation If this action is not taken the signal may contain more noise than necessary CONNECTORS AND PIN DEFINITIONS Mic Line Input 3 Pin Female XLR type Balanced Nominal Input Level 16dBu to 66dBu Pin 2 Signal ve Hot Pin3 Signal ve Cold Pinl Ground Input Impedance gt 2 kOhm Line Input 1 4 TRS Jack Socket Gauge Balanced Nominal Input Level 6dBu to 14dBu Tip Signal Hot Ring Signal ve Cold Sleeve Ground Input Impedance gt 10 kOhm Remote Connector 1 Ground 2 Mute Input Grounding this pin mutes the channel 3 Mute Output Grounded when the CUT switch 1s depressed
65. s If links 17 18 are installed the feed will be pre equaliser If links 21 22 are installed the feed will be pre fade post cut The auxiliaries can be used to create additional mixes and in many cases these mixes will be sent to an effects device such as a reverberation unit Another major use of the auxiliaries is providing foldback to artists in order that they can hear other performers or a backing track perhaps Sometimes stereo foldback is preferred and auxiliaries 5 and 6 can be configured for stereo use It is even possible to send stereo foldback from the mono inputs by adjusting the levels sent to auxiliaries 5 and 6 When the levels are equal the image will appear central but by adjusting the relative levels of aux and 6 the image will appear to move away from centre ROUTING AND STATUS CUT The CUT switch disables the channel signal path and is illuminated by an led when the channel is muted When CUT all post cut auxiliary sends and routing assignments are muted BAL This alters the relative left and right levels of the stereo signal onto the left and right buses of the console It works as a pan control giving full attenuation of the unwanted side at extremes of travel MIX Routes the post fade post pan channel signal to the stereo mix bus MONO Routes the post fader mono signal to the mono or centre bus 1 or 2 3 4 Routes the post fade mono signal to output group 1 or 2 3 4 STEREO Routes post pan stereo
66. s of the jack sockets 18 INSTALLATION GUIDE There are a number of points to consider when installing a mixing console Many of these points will have been addressed before the console is even unpacked but it is worth repeating them again POSITION The console should be located in a convenient space commensurate with the use to which the console is being put Ideally a cool area is preferred not in close proximity to power distribution equipment or other potential sources of interference Provision should be made for some flat surface surrounding the console to prevent people using it as a table top One of the worst fates that can befall a console is for a cup of coffee to be tipped into it by someone resting it on the control surface POWER The power supply should be located as far from the console as the connecting cable will allow It should be set for the appropriate line voltage and plugged into the mains outlet using the supplied cable WIRING The console uses four different connector styles TRS jack sockets XLR male connectors XLR female connectors and phono connectors SLEEVE RING TIP 1 4 INCH TRS A GAUGE JACK PLUG TIP CONNECTION RING CONNECTION SLEEVE CONNECTION AND CABLE CLAMP PHONO SOCKETS 3 3 ee PHONO PLUG MALE XLR 3 FEMALE XLR 3 __ 19 The cables used should be of as high a quality as possible Many installatio
67. sed for balanced signals primarily microphones and balanced outputs The most common is a three pin version although there are types with more pins for other purposes In fact XLR is derived from eXtra Low Resistance 49 Symbols 48V 22 44 47 JOdBV 47 A gauge jack 49 AFL 31 32 36 39 40 46 After Fade 46 AUXILIARIES 16 auxiliary buses 18 insert point 18 31 40 master outputs 18 output section 31 output stage 29 outputs 16 23 return 30 send 23 46 AUXILIARY MASTER SECTION 40 B balance 18 30 balanced 11 signal 9 balancing transformers 22 bandwidth 15 22 48 bargraph meters 36 bus 37 46 peak 31 peak leds 40 trim 46 bus 29 mix 30 tapped 11 CENTRE MONO 38 channel insert point 49 path 46 clipping level 25 coffee 19 console outputs 29 CUT 24 32 D D I 22 46 dB 12 dBV 12 Index 50 DECIBELS 12 Differential 11 Dim 46 direct inject 46 output 9 23 46 DIRECT OUTPUTS 16 E EBO 46 effect unit 16 electronically balanced 29 output 46 EQ 46 equaliser 15 22 46 48 F fader 14 16 17 18 21 23 25 29 32 38 39 46 48 filter 22 47 frequency 14 FOLDBACK 46 G GAIN 22 gooseneck light 36 ground loops 11 sensing output 47 group buses 29 fader 18 insert point 18 32 level 17 meter 18 modules 17 output 47 output module 29 output stage 18 29 31 outputs 17 29 solo 18 H headphones 39 47 HF 2
68. sed to correct or alter the frequency spectrum of the channel signal In its simplest form there will be two sections giving high and low frequency boost and cut This is very similar to the tone controls found on home audio systems and adjustment will depend upon the difference between the source signal and the required sound The characteristics of the equaliser can sometimes be changed from peaking to shelving and this affects the way the extremes of the frequency ranges are adjusted A peaking section will when adjusted to boost a high a frequency signal boost the signal maximally at one frequency before its effect diminishes towards the audible limit A shelving section will modify all frequencies equally after the initial boost or cut Further scope for adjustment can be given with a mid frequency section which is always a peaking section Usually the frequency is adjustable along with the level of boost cut In some cases a or WIDTH control can also be fitted known as a parametric eqaliser This controls the bandwidth of the equaliser and allows the frequency correction to be more accurately targeted without affecting other parts of the spectrum Both boost and cut are available and this control could be used to notch out unwanted sounds rather than boosting wanted sounds The following illustration shows the mid range response of the CS3 equaliser at one frequency AUDIO PRECISION CS3MID1 AMPL dBu vs 08 SEP 95 14 58 37 20
69. selected by the following switches to feed the left right or centre outputs of the console L R The feeds the tape return signal onto the master left and right outputs of the console Note that this feed is injected after the master faders and the level is adjusted by the TAPE LEVEL control MONO This feeds the tape return signal onto the mono or centre output of the console Note that this feed is injected after the master faders and the level is adjustedby the TAPE LEVEL control The above facilities may be referred to as an intermission playback facility 38 AFL PFL SIP Selection of any SOLO AFL PFL SIP signal will override the monitor selection SOLO LEVEL This control allows the audio level of a soloed PFL AFL signal to be adjusted This will not affect the solo meter reading INPUT SOLO This led will indicate when a solo has been selected on an input to the console OUTPUT SOLO This led will indicate when a solo has been selected on an auxiliary output or group output Priority is given to an input solo If an output solo is active and an input solo is then activated the output solo cannot be heard for the duration of the input solo SOLO IN PLACE Solo In Place is a solo mode where the monitor system does not change over to listen to the solo bus For SIP mode to operate the monitor selection must be set to MIX The monitor system remains listening to the mix outputs and when a solo on an input module is requested
70. signal to the groups The odd groups 1 and 3 will carry the left signal while the even groups 2 and 4 will carry the right signal PFL The PFL button feeds the pre fade signal to the Monitor Section loudspeakers or headphones replacing the selected monitor source The main stereo and centre outputs of the console are not affected The led in the PFL switch will illuminate when the PFL function is active and PFL signals from different channels that are active simultaneously will be mixed together If Solo In Place mode is selected on the master module then all other channels on the console will be muted while only the channel initiating the solo will be heard This allows signals to be previewed exactly as they will appear in a mix but in isolation Note that this is no longer PFL un 4 tH 2 ac 4 lt les This led light emitting diode illuminates when the signal is close to clipping level If clipping occurs the signal will be severely distorted and the channel input gain should be reduced A single led is used to indicate the higher of the left and right signals SIGNAL This led shows when signal is present in the channel and is simply a useful aid on occasions when no output can be found from the console It establishes that there 15 input signal and that maybe there 15 a routing or some other problem A single led is used to indicate signal on either o
71. such a way that it appears in phase on the amplifier output As the ground should be the reference for the following stage if it is moving and the signal is moving in the same way then no net signal results GROUP OUTPUT An output usually routed to a multitrack tape recorder input This output is derived from a bus and one group output stage is required for each bus HF High Frequency HIGH PASS FILTER HPF A filter which cuts out frequencies below its operating frequency It can be used to filter out rumble picked up by a microphone for example INSERT POINT Sometimes referred to as a patch point This is an interruption to the signal path to allow for the insertion of a signal processing device INTERMISSION PLAYBACK This allows a signal to be played out from the master outputs of the console with the master faders closed thus preventing stage microphones or other signal sources from reaching the master outputs LF Low Frequency LINE INPUT An input designed to accept high level signals as opposed to microphone level signals The expected level is usually 4dBu but increasingly inputs and outputs are being designed so that they can be altered to operate at 10dBV which is now quite common operating level LOW PASS FILTER LPF This is the inverse of a HIGH PASS filter and is used to reduce frequencies above the operating frequency MASTER This normally refers to the main stereo output section which controls the level of t
72. talkback microphone signal is routed to all the group outputs TALKBACK This allows the talkback signal to pass to the selected destination When pressed the monitor output of the console will dim by 10dB to reduce the possibility of feedback In normal operation only this switch would be pressed when talkback is required while the routing switches would be left assigned to the required destinations 37 MONITORING MONITOR LEVEL This controls the level of the local monitor or headphone output PHONES ON Pressing this enables alternative monitoring through stereo headphones MONITOR SOURCE This switch selects the tape input as the source for the monitoring system when pressed L R This selects the Left Right outputs of the console to the monitoring system when MIX is the selected source Monitor Source UP CENTRE MONO This selects the centre bus to the monitoring system where it is mixed equally onto the left and right monitor signal paths If TAPE is selected the centre feed is cut off and no signal will indicate on the centre meter TAPE LEVEL This controls the level of the stereo tape return signal when
73. tion 47 return input 29 STEREO INPUT SECTION 30 sub mixed 18 29 Sweep Frequency 49 T TALKBACK 37 MIC 37 talkback microphone 36 TAPE LEVEL 38 TB GAIN 37 THE AUXILIARY OUTPUTS 18 TIP 9 transformer balanced 29 36 TRS 9 19 JACK 49 U unbalanced 11 signal 9 stereo output 36 V VCA 49 Voltage Controlled Amplifier 49 W WIDTH 15 WIRING 19 X XLR 9 11 19 20 22 36 49 52 53 DIAGRAMS 2 make o PE 3 GN aree ends ben d dde Ee eU iae 4 inda PUE 5 CS3 eDis eee 7 POTATO RR 8 T 9 GIN ZO OFZ UU 10 PO T1989 2 adsiduis 11 2 2 Inde Ud Cle is d 12 Sas co UT 13 POV BOA UM M 14 T 15 16 CD TAS 17 Sab e 18 A TID 19 a Se 1416651 20 CIRCUIT DIAGRAMS AND PRINTED CIRCUIT BOARD LAY ore S R2 C17 2 n 1 6 c10 3N3 R28 zi 75R R12 24K 22K
74. uire to be altered unless the console is reconfigured for any reason 28 DIDA cs3 Stereo Input Module N 4 tH 2 ac 4 lt m les The DDA CS3 stereo input module is designed to complement the mono input module and is capable of use with stereo input sources The Stereo input can be at either microphone low level or line high level and selection is made by using the RANGE switch Two versions of the CS3 Stereo Input module are available Two stereo and 2 mono inputs in a 4 way module Four stereo inputs in a 4 way module Due to power consumption restraints there is unfortunately a limit to the number of stereo inputs that can be accommodated within a CS3 frame the following guidelines should be observed E Regard a stereo input as 2 mono inputs Calculate the number of equivalent mono inputs e g 24 mono plus 4 stereo 32 equivalent mono inputs If the result is more than 40 then an extra PSU with autoswitchover or a higher capacity PSU eg will be required 48V Provides 48 volt phantom power for a condenser microphone or D I box GAIN The gain control is a wide range rotary potentiometer and is active on both Mic and Line Inputs With Mic selected the gain can be adjusted from 20dB to 70dB For Line inputs the adjustment is from 10dB to 20dB RANGE Pressing this inserts an attenuator into th
75. z although a more elaborate test could consist of a wide band frequency sweep from 20Hz to 200kHz as suggested by Cal Perkins in the same issue of the AES Journal Of course there are many different ground paths possible so it is necessary to try as many as possible such as pinl to pin 1 of any XLR connectors or to the jack sleeves or to the metalwork etc The results of this test are far from subtle with 30 50db reductions in signal to noise ratio quite commonly observed The scary thing is that this can actually represent a real world situation unlike a simple bench test measurement of noise which is usually taken in an idealised situation A well designed and implemented internal grounding method as found in the CS3 should ensure that there is negligible effect on performance DECIBELS dBs Many signal levels are quoted in dBs as this relates more to the perceived effect of the signals OdBm relates to a power level of 1mWatt into 600 ohms giving 0 775 Volt Normally 600 ohm impedances are not used and dBu are quoted meaning 0 775 Volt independent of impedance dBV are encountered more and more frequently and they are referenced to 1 V Thus there is a difference of 2 2dB between OdBu and OdBV When dBs are used without a suffix it simply means that they are a ratio of two readings and the absolute measurement is not important Thus the ratios in dBu s or dBV s are the same but absolute measurements are made to different reference levels M

User Manual Klark Teknik Building Walter Nash Road

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