Dynacord cms 600 3 инструкция

Page 1

CMS3CMS 600-3 COMPACT MIXING SYSTEMOwner‘s Manual | Bedienungsanleitung

Page 2

CMS3102.2 Input StereoSince most features – AUX/MON controls and channel faders – of the STEREO INPUTS are virtually identical to the ones of the MONO

Page 3 — CONTENTS

CMS311achieved at the 0 dB mark. The control offers level reduction of -10 dB and an amplification of +20 dB. This range allows the connection of most

Page 5 — 1 Introduction

CMS313The two effect programs are equally suitable for live performance or recording applications and can be used separately or together. For testing,

Page 7

CMS3152.4 AUXGenerally, the AUX channel is used for the connection of an additional, external FX unit. Depending on the setting of the AUX 1/2 POST bu

Page 9 — NDICATOR

CMS31738 — MASTER LED-DISPLAYThe CMS offers two 10-segment LED-chains for optical monitoring the output levels of the L/R master signals. The indi-cat

Page 11

CMS31947 — PHONESThis control sets the volume of the headphones connected.CAUTION: Make sure to set the control to its minimum position before connect

Page 13 — FFEKT RETURN FADER

CMS320Menu modePress the MENU/ENTER rotary encoder in effect mode to enter the menu mode. In menu mode the display indicates the function being execut

Page 14

CMS3213 Display & functionsThe CMS includes a premium OLED display. Compared to general LC displays the OLED display is brighter, has a greater c

Page 15 — 2.6 MASTER with GEQ

CMS322MENU STRUCTUREEDIT FX 1 / FX 2This dialog allows editing effect parameters for effect unit FX 1 or FX 2. The available parameters will vary de-p

Page 16

CMS323This dialog is used to change the user preset‘s descrip-tion. Turn the MENU/ENTER rotary encoder to the left or right to edit the highlighted ch

Page 17 — OF MASTER B

CMS324Turn the MENU/ENTER rotary encoder to highlight an en-try in the left column of the FX Control Setup dialog. Press the MENU/ENTER rotary encoder

Page 18

CMS325ed, pressing the MENU/ENTER rotary encoder resets the CMS to its factory settings. If NO has been selected, all parameters stay unchanged and th

Page 19

CMS3264 DIGITAL AUDIO INTERFACEThe USB 2.0-Port of the CMS serves as digital audio inter-face for the connection of a PC or Apple Macintosh (Mac). Th

Page 20 — 2.8 Rear panel

CMS3274.3 Status displayIn effect mode, the display of the CMS shows the status information of the DIGITAL AUDIO INTERFACE.4.4 PC-MIDI-InterfaceThe CM

Page 21 — 3 Display & functions

CMS3284.6 Example of usage (Recording)In the following application, your PC/Mac is used for recording while the CMS functions as premium A/D con-verte

Page 22 — Set FX Name

CMS3295 Setting up a standard PA5.1 CablingThe mains supply cord comes with the CMS. The quality of all other cables lies in your responsibility. Car

Page 23 — FX Control Setup

CMS33CONTENTSINTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Scope of Delivery, Unpacking and Inspection . . . 5Wa

Page 24 — Device Setup

CMS330between the two speaker “clusters” – the more compact the sound.4. Try to avoid the positioning of the main loudspeak-ers behind the imaginary l

Page 25 — 3.3 Effects

CMS331MONITOR MIX1. Set the MON fader located in the master section to the -5 dB mark.2. Set the MON controls of all input channels accord-ing to your

Page 26 — 4 DIGITAL AUDIO INTERFACE

CMS3326 Setup examples6.1 CMS with D-Lite activeoneIllustration 6-1: CMS with D-Lite activeone (2 x D 8A, 1 x PowerSub 212) as main PA, 1 x D 8A used

Page 27

CMS3336.2 CMS with D-Lite activetwoIllustration 6-2: CMS with D-Lite activetwo (2 x D 8A + 2 x PowerSub 112) as main PA, 1 x D 8A used as monitor

Page 28 — LIVE-RECORDING OF EVENTS

CMS3346.3 CMS with D-Lite activefourIllustration 6-3: CMS with D-Lite activefour (2 x D 11A + 2 x PowerSub 212) as main PA, 1 x D 11A used as monitor

Page 29 — 5 Setting up a standard PA

CMS3356.4 CMS with Xa-2 systemIllustration 6-4: CMS with Xa-2 system (2 x FX 12, 4 x FX20, 2 x Xa 4000) as main PA, 1 x D 8A used as monitorXa 4000Xa

Page 30 — 5.3 Soundcheck

CMS3366.5 CMS with CORUS-Evolution systemIllustration 6-5: CMS with CORUS-Evolution system (2 x C 25.2, 2 x Sub 2.18, 2 x LX 3000, 1 x DSP 260) as mai

Page 32 — 6 Setup examples

CMS338WICHTIGE SICHERHEITSHINWEISE1. Lesen Sie diese Hinweise.2. Heben Sie diese Hinweise auf.3. Beachten Sie alle Warnungen.4. Richten Sie sich nach

Page 34

CMS34IMPORTANT SAFETY INSTRUCTIONS1. Read these instructions.2. Keep these instructions.3. Heed all warnings.4. Follow all instructions.5. Do not use

Page 35 — 6.4 CMS with Xa-2 system

CMS3402 Bedienelemente und Anschlüsse2.1 Input MonoHINWEIS: Achten Sie bitte darauf, dass vor dem Anschluss von Signalquellen die jeweiligen Kanalreg

Page 36 — LX 3000 LX 3000

CMS341HINWEIS: Betreiben Sie bitte keine E-Gitarre bzw. E-Bass mit passiver Elektronik und hochohmigem Ausgang direkt an einem Mischpult LINE-Eingang.

Page 37

CMS3425 — KLANGREGELUNG (HI-, MID-, LO-REGLER)Die Klangregelung erlaubt eine sehr umfangreiche und effektive Beeinflussung des Eingangssignals innerha

Page 38 — WICHTIGE SERVICEHINWEISE

CMS3439 — PAN-REGLERDieser Regler bestimmt die räumliche Position des Eingangssignals im Stereobild. In Mittelstellung wird das Signal zu gleichen Tei

Page 39 — 1 Einführung

CMS3442.2 Input StereoViele Funktionsgruppen wie AUX-Regler, MON-Regler und Fader sind im Stereo-Eingang identisch zum Mono-Eingang aufgebaut und wurd

Page 40 — 2.1 Input Mono

CMS34515 — TRIM LINE CD-REGLERMit diesem Regler wird das Signal an den Klinken-Eingängen bzw. Cinch-Eingängen im Stereokanal an den internen Ar-beitsp

Page 41 — Z-SCHALTER

CMS3462.3 FX 1/2Das CMS ist mit zwei unabhängig regelbaren 24bit-Stereo-Effektteilen FX 1 und FX 2 ausgestattet. Die beiden Effektteile sind völlig id

Page 42

CMS3472. Mit der DOWN-Taste (links) schalten Sie die Presets in absteigender Reihenfolge durch, mit der UP-Taste (rechts) in aufsteigender Reihenfolge

Page 44

CMS3492.4 AUXDer Kanalzug AUX kann beliebig zum Monitoring oder als FX Send (bei Wahl von AUX POST) betrieben werden. Zusätz-lich ist AUX auf dem Aufn

Page 45

CMS351 IntroductionBecause of its comprehensive set of integrated features – like equalizer and effects units – the Compact Mixing System DYNACORD CM

Page 47

CMS35138 — MASTER-AUSSTEUERUNGSANZEIGEDie Aussteuerungsanzeige des CMS besteht aus zwei LED-Ketten für den rechten bzw. linken Kanal mit je 10 LEDs pr

Page 49 — 2.6 MASTER mit GEQ

CMS35346 — PHONES-BUCHSEDiese Stereo-Klinkenbuchse (6,3 mm) ist für Kopfhörer von 32 bis 600 Ohm geeignet. Hier kann das PFL-Signal abgehört werden, w

Page 50

CMS3542.7 DISPLAY mit Funktions-Tasten52 — DISPLAY MIT 4 FUNKTIONSTASTENZum Schutz vor Verkratzen ist das Displayglas bei Auslieferung mit einer Folie

Page 51

CMS35556 — NETZSCHALTER (POWER)Netzschalter zum Ein- und Ausschalten des Gerätes. Das Gerät ist betriebsbereit, wenn das Display aufleuchtet. Achten S

Page 52

CMS3563 Display & FunktionenDas CMS ist mit einem hochwertigen OLED-Display ausgestattet. Im Vergleich zu üblichen LC-Displays sind OLED-Dis-play

Page 53

CMS357MENÜ-BAUMEDIT FX1/FX2 MENUDieser Dialog erlaubt es, bestimmte Parameter des im Effektteil FX 1 bzw. FX 2 gewählten Effekts zu editieren. Die zur

Page 54 — 2.8 Rückseite

CMS358Im Set FX Name Dialog kann die Bezeichung des User Presets eingegeben werden. Drehen Sie den MENU/EN-TER-Drehencoder nach links oder rechts, um

Page 55 — ETZSCHALTER (POWER)

CMS359Im FX Control Setup Dialog kann durch Drehen des MENU/ENTER-Drehencoders ein Eintrag in der linken Spalte markiert und durch Drücken des MENU/EN

Page 56 — 3 Display & Funktionen

CMS362 Controls, Indicators and Connections2.1 Input MonoHINT: When connecting signal sources, please make sure to set the corresponding channel fade

Page 57

CMS360Play 11-12 at STDBYUm im STANDBY-Betrieb des CMS über den Eingang 11-12 (bzw. CD 3-4) Hintergrundmusik einspielen zu können, wählen Sie hier den

Page 58

CMS3614 DIGITAL AUDIO INTERFACEDie USB 2.0-Schnittstelle dient als digitale Audio-Schnitt-stelle des CMS für einen PC oder Mac. Das DIGITAL AU-DIO IN

Page 59 — Display Brightness 100%

CMS3624.3 Funktionsanzeige im DisplayDas Display des CMS zeigt in der Effekt-Betriebsart Sta-tusinformationen des DIGITAL AUDIO INTERFACE an.4.4 PC-MI

Page 60 — 3.3 Effekte

CMS363HINWEIS: Sollen MIDI-Daten mit der Medienwiedergabe von Windows an externen Geräten wiedergegeben wer-den, müssen Sie in der Windows-Systemsteue

Page 61

CMS364E-Gitarre) nur gering oder gar nicht auf die Beschallungs-anlage gegeben werden. Umgekehrt klingen Aufnahmen, die nur über ein Raummikrofon gema

Page 62

CMS3655 Aufbau einer Standard-PA5.1 VerkabelungDas Netzkabel haben Sie mit dem CMS erhalten. Für alle anderen Kabel sind Sie selbst verantwortlich un

Page 64 — CMS 1000-3)

CMS367Kanälen nur bei sehr hohen Dynamikspitzen auf-leuchtet. Bei häufigem Aufleuchten drehen Sie die FX-Regler in allen beteiligten Eingangskanälen i

Page 65 — 5 Aufbau einer Standard-PA

CMS3686 Aufbaubeispiele6.1 CMS mit D-Lite activeoneAbbildung 6-1: CMS mit D-Lite activeone (2 x D 8A, 1 x PowerSub 212) als Haupt-PA, zusätzlich 1 x

Page 66

CMS3696.2 CMS mit D-Lite activetwoAbbildung 6-2: CMS mit D-Lite activetwo (2 x D 8A + 2 x PowerSub 112) als Haupt-PA, zusätzlich 1 x D 8A für den Moni

Page 67 — ETZTE KORREKTUREN

CMS37HINT: Please, do not connect E-guitars or E-basses with passive, high impedance outputs directly to a LINE input. The LINE inputs of the CMS – li

Page 68 — 6 Aufbaubeispiele

CMS3706.3 CMS mit D-Lite activefourAbbildung 6-3: CMS mit D-Lite activefour (2 x D 11A + 2 x PowerSub 212) als Haupt-PA, zusätzlich 1 x D 11A für den

Page 71 — 6.4 CMS mit Xa-2 System

CMS3737 SpecificationsProperty CMS 600-3Order No. F01U213891DC-CMS600-3-UNIVChannels 4 +2 + 2 MIC/Line-Mono 4 MIC/Line-Mono / USB-Stereo (Super C

Page 72

CMS374Device in rated condition, unity gain (MIC gain 20 dB), all faders position 0 dB, all pots in mid position, master fader +6 dB, unless otherwise

Page 75 — 7.1 Dimensions

CMS377Trademarks. • Microsoft, Windows, Windows XP, Windows Vista and Windows 7 are either registered trademarks or trademarks of Microsoft Corporatio

Page 78

CMS38sound. You should use the natural reproduction as an orientation mark and rely on your musically trained ear. The moderate use of the MID control

Page 79

DYNACORD12000 Portland Avenue South, Burnsville, MN 55337, USA Europe, Africa, and Mid

Page 80 — DYNACORD

CMS3911 — PFLEngaging the PFL button routes the audio signal to the headphones bus, so that it is present at the phones output con-nector. The meter i

English

Руководстве по эксплуатации Dynacord CMS 600-3 — вам приходилось его терять? Поскольку вы попали сюда, наверняка с вами это случилось. Но вы не единственный человек, сталкивающийся с проблемами с хранением руководства по эксплуатации всех домашних устройств. Ниже несколько советов, касающихся того, зачем собирать руководства по эксплуатации.

Руководстве по эксплуатации Dynacord CMS 600-3 это определенный вид технической документации, являющейся неразлучным элементом каждого устройства, которое мы приобретаем. Они отличаются между собой количеством информации, которую можно найти на тему данного устройства: напр. Dynacord CMS 600-3. Конечно же, если производитель считает что необходимо передать нам большее количество информации, касающейся устройства Dynacord CMS 600-3, то стоит ее хоть раз прочитать — в начале, сразу же после покупки данной вещи. Однако мы считаем, что инструкции должны заключать самую важную, наиболее необходимую информацию о Dynacord CMS 600-3, так, чтобы не отнимать желания пользователя прочесть ее уже в самом начале. Несомненно, если устройство Dynacord CMS 600-3 имеет много продвинутых функций, неизбежно большое количество информации в содержании этого документа.

Które из информации в инструкции Dynacord CMS 600-3 необходимо обязательно прочитать?

• Информацию, касающуюся правильного использования и ухода за устройством Dynacord CMS 600-3 — нам необходимо ознакомиться с основными правилами, чтобы в случае проблем с устройством сервисный центр не отказал нам в гарантийном обслуживании, из-за неправильного использования
• Информация, касающаяся самых частых проблем с Dynacord CMS 600-3 и способы их решения
• Информация, касающаяся гарантии устройства Dynacord CMS 600-3 и ближайших сервисных центров, способных починить устройство в соответствии с рекомендациям производителя Dynacord

Как хранить инструкции дома?

Хорошей идеей является предназначение одного ящика, в котором бы хранилась инструкция Dynacord CMS 600-3 а также всех других домашних устройств которыми мы пользуемся. Тогда значительно легче вам будет ее найти, чем искать в родных коробках, которые наверняка уже выбросили вы, или другие домочадцы. Раз в год достаточно просмотреть ящик и выбросить инструкции, которые касаются устройств, которыми вы уже не пользуетесь. Таким образом вы избежите хранения ненужных документов, а останутся только актуальные. Вы можете также скачать и распечатать инструкцию Dynacord CMS 600-3 чтобы разместить ее в своем ящике.

Похожие инструкции

CMS3
2
CMS3
CONTENTS
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Scope of Delivery, Unpacking and Inspection . . .
Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Installation and Connections . . . . . . . . . . . . . . . .
HF-Interference . . . . . . . . . . . . . . . . . . . . . . . . . . .
CONTROLS, INDICATORS AND CONNECTIONS . . . . . . . . . . .
Input Mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Input Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
FX 1/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
AUX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MASTER with GEQ . . . . . . . . . . . . . . . . . . . . . . . .
DISPLAY with function keys . . . . . . . . . . . . . . . . .
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DISPLAY & FUNCTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . .
Effect mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Menu mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DIGITAL AUDIO INTERFACE . . . . . . . . . . . . . . . . . . . .
Installing the USB driver . . . . . . . . . . . . . . . . . . . .
Cubase LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Status display . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PC-MIDI-Interface . . . . . . . . . . . . . . . . . . . . . . . . .
Examples of usage (Playback) . . . . . . . . . . . . . . .
Example of usage (Recording) . . . . . . . . . . . . . . .
MIDI tone generator and multi-effect unit . . . . . .
SETTING UP A STANDARD PA . . . . . . . . . . . . . . . . . . . . . .
Cabling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Soundcheck . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
SETUP EXAMPLES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CMS with D-Lite activeone . . . . . . . . . . . . . . . . . .
CMS with D-Lite activetwo . . . . . . . . . . . . . . . . . .
CMS with D-Lite activefour . . . . . . . . . . . . . . . . . .
CMS with Xa-2 system . . . . . . . . . . . . . . . . . . . . .
CMS with CORUS-Evolution system . . . . . . . . . . .
SPECIFICATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . .
INHALT
5
5
5
5
5
6
6
10
12
15
15
15
19
20
21
21
21
25
26
26
26
27
27
27
28
28
29
29
29
30
32
32
33
34
35
36
73
75
76
39
39
39
39
40
40
44
46
49
49
49
54
54
56
56
56
60
61
61
61
62
62
63
63
64
65
65
65
66
68
68
69
70
71
72
73
75
76
3
CMS3
IMPORTANT SAFETY INSTRUCTIONS
The lightning flash with arrowhead symbol, within an equilateral
triangle is intended to alert the user to the presence of uninsulated
„dangerous voltage“ within the product’s enclosure that may be of
sufficent magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to
alert the user to the presence of important operating and
maintance (servicing) instructions in the literature accompanying
the appliance.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
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 cover any ventilation openings. Install in accordance with the manufacture’s instructions.
Do not install near heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or the grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the third prong are provided for your safety. I the provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
Only use attachments/accessories specified by the manufacturer.
Use only with the cart, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving
the cart/apparatus combination to avoid injury from tip-over.
Unplug this apparatus during lightning storms or when unused for a long period of time.
Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or
plug is damaged, liquid has been spilled or orbjects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate
normally, or has been dropped.
Do not expose this equipment to dripping or splashing and ensure that no objects filled with liquids, such as vases, are placed on the equipment.
To completely disconnect this equipment from the AC Mains, disconnect the power supply cord plug from the AC receptacle.
The mains plug of the power supply cord shall remain readily operable.
No naked flame sources, such as lighted candles, should be placed on the apparatus.
The product should be connected to a mains socket outlet with a protective earthing connection.
IMPORTANT SERVICE INSTRUCTIONS
CAUTION: These servicing instructions are for use by qualified personnel only. To reduce the risk of electric shock, do not
perform any servicing other than that contained in the Operating Instructions unless you are qualified to do so. Refer
all servicing to qualified service personnel.
1.
2.
3.
4.
5.
6.
7.
8.
Security regulations as stated in the EN 60065 (VDE 0860 / IEC 65) and the CSA E65 - 94 have to be obeyed when servicing the appliance.
Use of a mains separator transformer is mandatory during maintenance while the appliance is opened, needs to be operated and is connected to the mains.
Switch off the power before retrofitting any extensions, changing the mains voltage or the output voltage.
The minimum distance between parts carrying mains voltage and any accessible metal piece (metal enclosure), respectively between the mains poles has to be 3 mm and
needs to be minded at all times. The minimum distance between parts carrying mains voltage and any switches or breakers that are not connected to the mains
(secondary parts) has to be 6 mm and needs to be minded at all times.
Replacing special components that are marked in the circuit diagram using the security symbol (Note) is only permissible when using original parts.
Altering the circuitry without prior consent or advice is not legitimate.
Any work security regulations that are applicable at the locations where the appliance is being serviced have to be strictly obeyed. This applies also to any regulations
about the work place itself.
All instructions concerning the handling of MOS-circuits have to be observed.
NOTE:
SAFETY COMPONENT (MUST BE REPLACED BY ORIGINAL PART)
Due to line current harmonics, we recommend that you contact your supply authority before connection.
4
CMS3
1 Introduction
Because of its comprehensive set of integrated features
– like equalizer and effects units – the Compact Mixing
System DYNACORD CMS 600-3 is a professional mixer offering an optimized all-in-one solution for basically any
application. The CMS console is quickly set up. Complicated rack configuration and interference-prone wiring of
several single components cease to apply.
The mixer’s ergonomic console shape and clearly structured controls provide perfect overview for instant access
at all times. Also during the transport you will quickly
learn to appreciate the CMS’s superiority: compact
dimensions and a very low weight. However, if you would
rather like to install your CMS in a 19” rack shelf, no problem. The only thing you have to do is to replace the
plastic side panels by a pair of metal rack mount ears.
Through its multiple functions, its high dynamic capacity,
and extremely low-noise design in combination with its
24-bit Dual-Stereo effect unit and the USB 2.0 DIGITAL
AUDIO INTERFACE, the CMS is best equipped for universal use.
1.1 Scope of Delivery, Unpacking and
Inspection
•
•
•
•
•
1 CMS
1 Owner‘s Manual (this document)
1 Mains Cord (2 meters)
1 Warranty Certificate including Safety Instructions
1 DVD with USB driver, documentation, software,...
Open the packaging and take out the CMS. Remove the
FX unit display‘s protective foil. Inspect the CMS‘s enclosure for damages that might have occured during transportation. Each CMS is examined and tested in detail
before leaving the manufacturing site to ensure that it arrives in perfect condition at your place. Please inform the
transport company immediately if the CMS shows any
damage. Being the addressee, you are the only person
who can claim damages in transit. Keep the cardboard
box and all packaging materials for inspection by the
transport company. Keeping the cardboard box including
all packing materials is also recommended, if the CMS
shows no external damages.
CAUTION:
1.3 Installation and Connections
Do not cover the ventilation louvers in the bottom plate
of the appliance. Always place the CMS on an even surface to allow for sufficient airflow during the operation.
Before establishing the mains supply connection, please
make sure that the device matches the voltage and frequency of your local mains supply. Check the label next
to the mains switch.
HINT: Using original Neutrik connectors is recommended for optimal audio quality.
1.4 HF-Interference
This equipment has been tested and found to comply
with the limits for a Class B digital device, pursuant to
Part 15 of the FCC Rules. These limits are designed to
provide reasonable protection agains harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if
not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment
does cause harmful interference to radio or televsion reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct
the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna
• Increase the separation between the equipment and receiver
• Connect the equipment into an outlet on a circuit different from that
to which the receiver is connected
• Consult the dealer or an experienced radio/TV technician for help
Do not ship the CMS in any other than its
original packaging.
Packing the CMS like it was packed by the manufacturer
guarantees optimum protection from transport damage.
1.2 Warranty
Visit www.dynacord.com for warranty information.
5
CMS3
2 Controls, Indicators and
Connections
2.1 Input Mono
HINT: When connecting signal sources, please make sure to set the corresponding channel faders
or at least the master faders to their minimum positions or engage the STANDBY switch.
This will save you, your audience, and the equipment from extensive wear from unpleasant
pops.
1 - MIC
Electronically balanced XLR-type inputs for the connection of low impedance microphones like the
ones featured in major studio and live mixing consoles. This type of input stage provides extraordinary
low noise signal conversion at an extremely low distortion rate (typical < 0.002%) even in the high frequency range. Generally, any type of microphone can be connected as long as its pin assignment is in
accordance to the diagram shown below. When condenser microphones are connected, you have to
press the PHANTOM POWER button, which is located in the input section. The microphone gets its
operating voltage (+48 V DC) through the mixer. PHANTOM POWER is activated/deactivated for all 6
MIC inputs together.
Illustration 2-1: Microphon input
The MIC input accepts levels between -60 dBu and +11 dBu – depending on the setting of the corresponding gain control. Because of the low impedance and the switchable PHANTOM POWER the XLR
input is preferred for MIC applications. Because of the higher level and impedance matching the LINE
input should be preferred for connecting further mixers, effect units, keyboards etc.
2 - LINE
Electronically balanced inputs for the connection of electronic instruments, such as keyboards, drum
machines, E-guitars and E-basses with an active output, as well as all other high level signal sources,
like additional mixers, FX units, CD players, etc. The LINE input accepts levels between -40 dBu and
+31 dBu. The connection of balanced or unbalanced signal sources is established through monaural
or stereo phone plugs, assigned according to the diagram below. If the device that you want to connect
has a balanced output stage, the use of balanced cables with stereo phone plugs is preferable. This
type of connection is greatly insensitive to the induction of external noise or HF interference.
Illustration 2-2: Unbalanced or balanced assignment of line input
UNBALANCED
COLD
HOT
Do not connect identical signal sources to LINE and MIC inputs at the same time, since the signals
would interfere with each other, resulting in level reduction.
6
CMS3
HINT: Please, do not connect E-guitars or E-basses with passive, high impedance outputs directly to a LINE input.
The LINE inputs of the CMS – like the Line level inputs of mixers from other manufacturers – are designed
for the connection of the relatively low source impedance of electronic instruments. The reproduction of the
instrument’s original sound characteristics will be unsatisfactory. Connect those instruments using a special
transformer or pre-amplifier with very high input impedance. Musical instruments with an active electronic
output (battery-powered) can be connected without any problems.
3 - GAIN CONTROL
Rotary control for adjusting a MIC/LINE input’s sensitivity. These controls let you optimally adjust the incoming signals
to the mixer’s internal operation level. Cautious adjusting offers the benefits of an improved S/N-ratio and provides you
with the full bandwidth of the CMS’s outstanding sound capabilities. On the XLR-type connectors an amplification of
10 dB is achieved when the control is set all the way to the left and +60 dB when the control is set all the way to the
right.
Especially when dealing with very low input levels – during vocal recordings and when the speaker is located in a distance – the high gain is extremely profitable. Using the LINE input, the signal is generally attenuated by -20 dB while
maintaining the total adjustment range of 50 dB. The LINE input’s unity gain – no amplification (0 dB) – is achieved at
the 20 dB mark. The following is meant as a short note for your assistance on how to determine the right input level:
GAIN setting instructions:
1.
2.
3.
4.
Set the gain control and the corresponding channel fader to their minimum values.
Connect the desired sound source (microphone, musical instrument, etc.) to the desired MIC or LINE input.
Start the reproduction of the sound source at the highest volume level to be expected – respectively sing or speak
as loud as possible directly (short distance) into the microphone.
While playing the sound source or singing into the microphone, adjust the input level using the gain control, so
that during the loudest passages the PK LED is just not lit, but the SIG present LED lights constantly. This is the
basic channel setting, leaving you with at least 6 dB of headroom, i.e. you have at least a range of 6 dB before signal clipping occurs. In case you intend to make further adjustments to the channel’s EQ setting, you should perform steps 3. and 4. again afterwards, since changes in the sound shaping section also have an influence on the
channel’s overall level.
4 - LO CUT 80 HZ
When the LO CUT switch (available in channel 1 to 4) is engaged, frequencies below 80 Hz are attenuated (18 dB octave
slope). In most cases using the LO CUT filter with microphone channels is a good advice, since it efficiently suppresses
popping sounds, rumbling noise and low-frequency feedback. The only exceptions are kick drum and acoustic bass. Activating the LO CUT and raising the bass level (LO EQ) provides you with a richer sound, without additional rumbling or
popping noise. Another welcome side effect is, that the power amplifier and the connected loudspeakers do not get
“polluted” with unnecessary low-pitched interference. Your audience will be thankful for the use of the LO CUT filter,
too, since in this way they can enjoy a truly clear, natural, and powerful sound performance.
Illustration 2-3: LO CUT filter
5 - EQ SECTION
The mixer’s EQ section allows very differentiated shaping of the incoming audio signal within miscellaneous frequency
bands. Turning one of the EQ level controls to the right boosts/amplifies the corresponding frequency range while turning it to the left lowers/attenuates the signal of that specific frequency band. Before you begin to alter the sound, all EQ
controls should be set to their neutral position, i.e. their marker points straight up (locked in place). Try not to set the
EQ controls to extreme positions. Usually, minor changes are totally sufficient and produce the best results in the overall
7
CMS3
sound. You should use the natural reproduction as an orientation mark and rely on your musically
trained ear. The moderate use of the MID control is the best remedy to avoid acoustical feedback. Especially in this frequency range you should try to avoid excessive enhancement. Lowering the level
more or less in this band will provide you with high amplification rates without feedback. Use the LO
control according to your pleasing, to add more “punch” to the sound of a kick drum or “body” to the
vocals. Use the HI control in the same way to provide cymbals and the human voice with more treble
and a more transparent sound.
The MID control is active in a comparably wide frequency band around 2.4 kHz. With most microphones this is the critical range, where a slight attenuation offers excellent results.
Illustration 2-4: LO/MID/HI filters
6 - FX
The FX control allows adjusting individual amounts of the input signals to be routed to the integrated
FX 1 and the FX 2 effects units. The signal path is split post volume fader – post fader – so that the
fader setting also influences the amount of the signal that is fed to the FX units. Using the FX controls
lets you easily assign an effect for groups of musical instruments or vocals. To determine the desired
intensity of each effect, you should start with the control set at the center and make individual adjustments from there on. Please monitor the PK LEDs in the FX 1/2 channels. The indicator should only
light briefly at the occurrence of high program peaks. If the indicator is constantly lit, you should lower
the send levels of those channels where the program peaks occur. For further information, please read
the paragraphs about the FX 1/2 units.
7 - AUX
The AUX control is primarily meant for establishing an independent monitor mix. The AUX mix is available as output channel at the DIGITAL AUDIO INTERFACE. The AUX routing dialog in the menu allows
determining whether the signals are split pre or post fader, or using the AUX as FX 2, see page 23 for
details. The selected mode is indicated by LEDs, see page 15.
8 - MON
The MON control is primarily meant for establishing an independent monitor mix. The signal routing is
always PRE FADER. Additionally the MON channel is available at the DIGITAL AUDIO INTERFACE (channel USB 4).
9 - PAN
This control determines the position of the connected sound source within the stereo image. When
this control is set at its center position, the audio signal is fed with equal levels to the L and R master
busses. The PAN control section is designed to maintain the essential sound pressure level, no matter
at what position within the stereo image the PAN control is set to.
10 - MUTE
The MUTE button mutes the input signal post fader, including all AUX/MON sends. PFL and Signal/
Peak stay functional.
HINT: Use the MUTE button for muting temporarily not used input channels without changing the
settings of the FX/AUX/MON controls and the channel fader.
8
CMS3
11 - PFL
Engaging the PFL button routes the audio signal to the headphones bus, so that it is present at the phones output connector. The meter instrument in the master section is simultaneously switched, so that the left LED-chain indicates the
level of the actually chosen channel (in dBu), which allows optimally matching the level of the signal source. The phones
output volume does not dependent on the setting of the corresponding channel fader (Pre Fader Listen), which provides
the possibility to listen to or shape the sound of the selected audio signal, without need to include it in the master mix.
12 - SIG / PK INDICATOR
The signal-peak indicator plays a key role when setting input levels. Unlike the mixers of many other manufacturers that
either only provide a peak indicator or no channel indicator at all, the PK (peak) LED of the CMS provides optical indication of the risk of occurring overdrive before you would actually hear the distortion over the connected speaker systems. As outlined in the setting instructions, the Signal-LED should blink in the rhythm of the incoming signal. If this is
not the case, you have to increase the gain. If the PK LED, on the other hand, blinks frequently or lights continuously,
the corresponding channel is likely to enter clipping and you have to turn the gain control a bit to the left. The SignalLED lights at levels 30 dB below clipping while the peak LED lights at a level of 6 dB below the occurrence of overdrive.
Keeping an eye on the indicator during a performance is also a good idea, because some very dynamically performing
members of a band or changing keyboard setups can easily lead to channel clipping, resulting in the degradation of the
overall sound.
13 - FADER
The channel faders set the volume of the corresponding channels, establishing an accurately proportioned mix. The
channel faders should be positioned within the range of -5 dB to 0 dB, leaving you with a degree of control that allows
the precise matching of relative big differences in the channels’ level settings. The overall volume is set through the use
of the master faders. Even though the channel faders offer an additional amplification of +10 dB, we would like to advise
you to exceed the +5 dB mark only in very few exceptional cases. If the CMS’s summing bus gets “overloaded” with too
many “high level” input channels, despite its special gain structure, the summing amplifier could be driven into clipping.
Once you register, that some channel faders are set above the 0 dB marking, lowering the setting of each channel fader
by about -5 dB and increasing the overall output level by elevating the master faders is the wiser solution. The proportion
of the mix and the overall volume stay the same while the risk of clipping is banished.
9
CMS3
2.2 Input Stereo
Since most features – AUX/MON controls and channel faders – of the STEREO INPUTS are virtually
identical to the ones of the MONO INPUTS we will not discuss their functioning in detail again. Thus,
in the following we only point out the differences and like to ask you to refer to the analogous paragraphs within this owner’s manual describing the mono inputs.
HINT: The stereo inputs 5-6 and 7-8 are designed as so-called Super Channels. This means a MIC
and LINE input is available at this stereo inputs, like in the mono inputs. So, depending on
the application, the Super Channels can be used for a mono signal or a stereo signal of the
DIGITAL AUDIO INTERFACE (USB).
14 - STEREO INPUT L/MONO R
Electronically balanced inputs for the connection of musical instruments with stereo output, like keyboards, drum machines, E-guitars and E-basses with an active output as well as all other equivalent
sound sources with high level outputs, like additional mixing consoles, FX units, CD players, etc. The
stereo LINE input is meant for balanced or unbalanced sound sources with levels between -20 dBu and
+30 dBu.
Using phone plugs
For the connection of external devices to inputs 9-10 or 11-12 you can use monaural or stereo phone
plugs, which are in accordance to the diagram below. If the external appliance is equipped with a balanced output stage, using balanced cables and plugs is preferable, since this type of connection provides improved shielding against HF induction and external noise.
In case you want to connect a monaural sound source to a stereo input channel, you just have to plug
it into the L/MONO input. The signal gets internally routed to both channels.
Illustration 2-5: Unbalanced or balanced assignment of phone plus
UNBALANCED
COLD
HOT
Using RCA plugs
The RCA inputs CD 1-2 and CD 3-4 are connected in parallel to the phone inputs LINE 9-10 or LINE 1112. Do not connect signal sources to phone and RCA inputs at the same time.
Illustration 2-6: RCA inputs CD 1-2 and 3-4
Using the DIGITAL AUDIO INTERFACE (USB)
When using the DIGITAL AUDIO INTERFACE two stereo signals are available at USB 1-2 (input 5-6) or
USB 3-4 (input 7-8). Do not connect signal sources to the MIC or LINE of this stereo inputs when using
the DIGITAL AUDIO INTERFACE for playback. See page 15 for more details about the DIGITAL AUDIO
INTERFACE.
Illustration 2-7: DIGITAL AUDIO INTERFACE
DIGITAL AUDIO
INTERFACE
15 - TRIM LINE CD
These rotary controls are for matching the incoming line level signals (phone or RCA) to the operating
level of the CMS. The total adjustment range is 30 dB. Unity gain – no amplification (0 dB) – is
10
CMS3
achieved at the 0 dB mark. The control offers level reduction of -10 dB and an amplification of +20 dB. This range allows
the connection of most professional, semi professional, and hi-fi sound sources. For further details on how to set the
TRIM LINE CD control, please refer to the description of the GAIN control in monaural channels.
16 - EQ SECTION
The EQ section of the input stereo is identical to the EQ section of the input mono. For more details on the functioning
of these controls, please refer to the Input Mono section of this owner’s manual.
17 - FX
These control determines the amount of the summed L and R signal that is sent POST-FADER to the FX summing bus.
For more details on the functioning of these controls, please refer to the Input Mono section of this owner’s manual.
18 - AUX
These control determines the amount of the summed L and R signal that is sent to the AUX summing bus. Depending
on the setting in the AUX Routing dialog in the menu the signal gets split pre or post fader. For more details on the functioning of these controls, please refer to the Input Mono section of this owner’s manual.
19 - MON
These controls determine the amount of the summed L and R signal that is sent to the MON summing bus. The signal
gets always split pre fader. For more details on the functioning of these controls, please refer to the Input Mono section
of this owner’s manual.
20 - BAL
The function of the BAL control of the stereo channels is equivalent to the PAN control’s function of the monaural channels. If you turn the rotary control all the way to the right, the right signal is outputted to the right output while the signal
of the left channel is muted. When the control is set to its center position, the L/R signals are present with their equal
intensity on the corresponding outputs. Whenever stereo sound sources are connected to a stereo input, you should
leave the BAL control at the center position or make only minor adjustments in either direction. In case a monaural
sound source is connected, the BAL controls function absolutely identical to the PAN controls of the monaural input
section.
21 - MUTE
The MUTE button mutes the input signal post fader, including all AUX/MON sends. PFL and Signal/Peak stay operational.
HINT: Use the MUTE button for muting temporarily not used input channels without changing the settings of the
FX/AUX/MON controls and the channel fader.
22 - PFL
Engaging the PFL button routes the stereophonic signal to the headphones bus. You are able to listen to the audio signal
via the PHONES output. The meter instrument in the master section is simultaneously switched, so that the left LEDchain indicates the level of the actually chosen channel (in dBu), which allows optimally matching the level of the signal
source.
You can assign as many channels as you want to the phones summing bus at the same time. The volume levels of the
individual signals are not affected by the setting of the corresponding channel faders (Pre Fader Listen). This gives you
the opportunity to set the level and the EQ of a channel, without the need to include it in the master mix, i.e. you can
leave the channel fader down or even engage the MUTE button.
23 - SIG/PK
The stereo SIG/PK indicator function provides independent analysis of left and right channel audio signals. The respective highest level reading is indicated, assuring that neither one is already driven into clipping. For further information
on how to use this indicator most efficiently, please refer to the description of the monaural channel’s identical feature.
24 - FADER
The channel fader is used to simultaneously adjust both levels (volumes) of the stereo signal. Functioning and specifications are totally similar to the monaural channel fader, as previously described in the Input Mono section.
11
CMS3
2.3 FX 1/2
The CMS offers two independently controllable, identically configured 24-bit stereo effect units – FX 1
and FX 2. Each unit provides 100 program presets, which are selected by the use of the UP/DOWN
buttons. Parameters of presets can be edited and stored as User Preset (101 - 120), see page 22 for
details. The 100 presets are divided into groups according to their different effect structure, as shown
on a printed listing. The programs within each preset group are sorted in ascending order, where higher numbers provide the same FX type with increased intensity. Presets 1 - 20 offer high quality reverberation effect programs that are equally suitable for live performance, recording studio or home
recording applications. Program numbers 21 - 40 provide mixed effect types of echo+reverb and chorus while the numbers 41 - 60 offer different delay effects. The last group from 61 - 100 provides different doubling effects presets as well as special delay and reverb programs. During the initialization
of the FX units (when switching on the power of the CMS), preset 05 (BRIGHT HALL, Large Hall 3) is
selected for the FX 1 while the FX 2 unit is set to preset 55 (MONO DELAY, 230 ms 40%). These two
effects are similarly suitable for live performances and recording applications. This is the factory-preset configuration that can be changed any time.
AUX PRE/POST
In the default AUX PRE/POST mode the FX control of the input channels are used for both effect units
FX 1 and FX 2, see illustration 2-8.
AUX to FX 2
For the independent usage of the effect units FX 1 and FX 2 the AUX to FX 2 mode can be selected. In
this mode the AUX signal is used as dedicated FX 2 signal. This means the function of the AUX controls,
the FX controls and the signal flow to the effect units changes, see illustration 2-8. The AUX to FX 2
mode is selected via the menu, see page 23 for details.
Illustration 2-8: Signal flow in default AUX PRE/POST mode (left) or AUX to FX 2 mode (right)
SELECTING A PRESET
Illustration 2-9: Effect mode
PLAY 11-12
MIDI
BRIGHT HALL
5
Large Hall 3
FX1
PEAK AUX
MONO DELAY
55
230 ms 40%
FX2
To select a preset, pleace proceed as follows:
1.
Below the display there are two buttons for each effect unit.
2.
Use the DOWN button (left) of an effect unit to decrease the number of the active preset. Use
the UP button (right) of an effect unit to increase the number of the active preset.
3.
Keeping a button pressed continuously lets you step quickly through the program numbers.
4.
Press the UP and DOWN button simultaneously to select the first preset of the next effect group.
12
CMS3
The two effect programs are equally suitable for live performance or recording applications and can be used separately
or together. For testing, evaluating and selecting effect programs, please also refer to the preset table on page 25, which
provides detailed description of all effect presets. This listing contains all preset names together with the corresponding
effect structure, field of application, and frequency characteristics. Take your time to test all presets and select the ones
that are best suited for your specific application.
25 - FX 1/2 FOOTSW.
Phone jack for the connection of an optionally available DYNACORD FS 11 (DC-FS11) footswitch to switch the effect
mode of the internal FX units on or off. To accomplish this function, the FX 1 and FX 2 ON switches have to be engaged.
HINT: The function of the footswitch can be edited via the Footswitch Ctrl. entry in the FX Control Setup dialog,
see page 23 for details.
26 - FX 1/2 TO MON
These controls allow adding the output signal of FX 1 or FX 2 to the MON channel. Experience has revealed that the
effect level in the monitor mix has to be lower than the level in the master mix, since the distance between monitor
speakers and artists is much shorter.
27 - FX ON
This switch switches an internal FX unit on and the green LED lights. Please keep in mind that you can also use an external footswitch or a connected MIDI device for the switching of the FX unit. In this case, the LED also shows the actual
operational status of the FX unit. If you want to use a footswitch (or MIDI device), the FX ON switch has to be engaged
first. The corresponding FX unit is activated and you can use the footswitch (or MIDI device) to switch the selected effect program on or off.
28 - PK LED
These indicators signal if the internal FX units or the FX 1/2 SENDS signals are on the verge of clipping. To achieve an
adequate S/N ratio, please adjust the FX units’ input level as follows:
FX input level setting instructions:
1.
2.
3.
4.
5.
Establish a “dry” mix – without effect settings – according to the previous descriptions.
Position the effect return fader of the corresponding effect channel at the -5 dB mark.
Use the UP/DOWN buttons to select the desired FX program preset.
Press the FX ON switch.
Play (start the reproduction of) the sound source connected to the desired input channel and adjust the desired
amount of the FX signal, using the FX controls of this input channel. Repeat this step for all input channels that
you want to include in your effect mix.
6.
Monitor the Peak LED so that it only lights frequently at highly dynamic signal peaks. When clipping occurs,
reduce the FX controls in the channels.
7.
Use the FX to MON control to add the effect mix to the monitor mix. Use the Effekt Return faders to add the
desired amount of the FX signal to the master mix.
In case you are using a different effect setting for the second FX unit, you have to repeat steps 2 - 7, respectively. Pay
some attention to the peak indicators when operating your CMS to be able to quickly interact when the signal levels
exceed the normal range and enter clipping.
29 - EFFEKT RETURN FADER
These stereo faders are used to determine the effect amount added to the master mix. In case you have to set these
faders at a position above the +5 dB mark, please check if the FX unit’s input signals are adjusted properly. Otherwise
use the FX controls to increase the input levels.
13
CMS3
14
CMS3
2.4 AUX
Generally, the AUX channel is used for the connection of an additional, external FX unit. Depending on the setting of the
AUX 1/2 POST button, it is also possible to configure the bus for monitoring purposes. Additionally the AUX channel is
available at the DIGITAL AUDIO INTERFACE (channel USB 3).
30 - AUX SEND
This output provides connection for an external FX unit or, when used for monitoring, a power amplifier or active stage
monitor speaker systems. Using the AUX fader allows setting the output level in a wide range up to +20 dBu. The AUX
SEND is designed in Ground Sensing technology to prevent the induction of external noise, even with long cables. Use
balanced cables for the connection of external components whenever it is possible.
31 - AUX PRE/POST/TO FX 2
The current mode of the AUX channel is indicated by this LEDs. Please refer to page page 23 for more details about the
available modes.
32 - MUTE
The MUTE button mutes the AUX output signal.
33 - AUX FADER
This fader controls the summed audio signal at the AUX output. When used for monitoring, this fader lets you control
the volume of the monitor system. When using the DIGITAL AUDIO INTERFACE for recording this fader also controls the
volume of the sent channel USB 3. See page 26 for details about using the DIGITAL AUDIO INTERFACE.
2.5 MON
34 - MONITOR
This output provides connection for an power amplifier or active stage monitor speaker systems. The MONITOR output
is designed in Ground Sensing technology to prevent the induction of external noise, even with long cables. Use balanced cables for the connection of external components whenever it is possible. Additionally the MON channel is available at the DIGITAL AUDIO INTERFACE (channel USB 4).
35 - MUTE
The MUTE button mutes the MON output signal.
36 - MON FADER
This fader controls the summed audio signal at the MONITOR output. When using the DIGITAL AUDIO INTERFACE as
output, this fader also controls the volume of sent channels USB 4.
2.6 MASTER with GEQ
37 - USB 2.0 DIGITAL AUDIO INTERFACE
The USB interface of the CMS is a USB B (female) connector. Please refer to chapter “DIGITAL AUDIO INTERFACE” on
page 26 for more details.
15
CMS3
16
CMS3
38 - MASTER LED-DISPLAY
The CMS offers two 10-segment LED-chains for optical monitoring the output levels of the L/R master signals. The indication range of the LED-meter is 40 dB, indicating the levels that are present at the master outputs in dBu. The meter’s
0 dB mark is referenced to a 0 dBu output signal at the mixer output. As soon as a PFL button is engaged, the PFL LED
lights. The meter instrument in the master section is simultaneously switched, so that the left LED-chain indicates the
level of the actually chosen channel (in dBu). The right LED-chain indicates the level of the summed post-fader master
output.
39 - STANDBY
Pressing the STANDBY switch mutes the output signals at the MASTER A OUTPUTS L/R, MASTER B OUTPUTS L/R, AUX
SEND and MONITOR outputs. The outputs REC SEND L/R and record channels of the DIGITAL AUDIO INTERFACE are
still operational. The STANDBY LED lights indicating that stand-by mode is engaged and that input channel signals are
not output via the speaker systems.
HINT: It is possible to playback the signal of stereo input 11-12 in standby mode. Therefore the entry Play 11-12 at
STDBY in the Device Setup menu must be enabled, see page 24 for details.
40 - MASTER L/R FADER
Level controls to adjust the output signals of the left and right master outputs (MASTER A OUTPUTS L/R).
CAUTION:
Please, make sure to set the input channel faders or at least the master faders to their minimum position, or to engage the STANDBY switch, before connecting an external sound source to an input of the
CMS. This will save you, your audience, and the equipment from unnecessary stress.
41 - MASTER A OUTPUTS L/R
The mixer’s electronically balanced XLR (or unbalanced phone jacks) main outputs carrying the post master fader L/R
signals for connection of the main PA. The MASTER outputs are switched via output relay with a delay of approx. two
seconds after the mixer has been powered on, which prevents power-on noise when switching the mixer on or off.
Please also refer to the chapter “Setting up a standard PA system”.
42 - MASTER B OUTPUTS L/R
At the MASTER B OUTPUTS the L/R master audio signal is present that can be used for additional monitoring, side fill
and “next door” applications, or for the connection of a delay-line or subwoofer. The output is pre/post- and also stereo/
mono-switchable.
43 - MASTER B
This control allows adjusting the level of the MASTER B output. The signal levels at MASTER A OUTPUTS L/R and MASTER B OUTPUTS L/R are identical if the MASTER B control is set to the position „5“ and the PRE/POST switch is set to
POST.
44 - PRE/POST OF MASTER B
When PRE is selected the MASTER B is outputted pre master faders and pre GEQ, i.e. the level at the MASTER B OUTPUTS is independent from the master faders settings. When POST is selected the MASTER B is outputted post master
faders, i.e. the level at the MASTER B OUTPUTS depends on the setting of the master faders. Controlling a connected
Sub’s level via master fader makes sense when using an active subwoofer, so in this case select POST. For monitoring
applications, e.g. side fill on the stage, using the pre-fader setting seems more reasonable.
45 - STEREO/MONO OF MASTER B
When STEREO is selected the MASTER L/R signal is not changed and outputted in stereo. When MONO is selected the
MASTER L/R signal is summed and outputted in mono at MASTER B L and also MASTER B R. Using MONO is recommended when mono subwoofers are connected to MASTER B outputs.
46 - PHONES
Stereo phone jack (6.3 mm) for the connection of headphones with an impedance of 32 to 600 ohms. The audio signals
of the channels with PFL buttons engaged is outputted via this connector. The phones output presents the master A L/
R signal when there is no PFL button engaged. As the output is protected against short circuit, headphones or in ear
monitor systems with an impedance below 32 ohms can be connected. In this case the maximum reachable volume is
reduced.
17
CMS3
18
CMS3
47 - PHONES
This control sets the volume of the headphones connected.
CAUTION:
Make sure to set the control to its minimum position before connecting headphones. Permanent hearing loss may occur if headphones are used at high volume.
48 - REC SEND L/R
These RCA-type connectors carry the pre fader master L/R signal. The signal is not affected by the setting of the master
faders and therefore mostly used for the connection of MD or flash recorders for recording purposes. This connector
can be used for permanent installation purposes also. Use the REC SEND & USB OUT control to adjust the output level,
the maximum level is 20 dBu.
49 - REC SEND & USB OUT
This control allows adjusting the volume at the REC SEND outputs or, when used, the level of the DIGITAL AUDIO INTERFACE output channels.
50 - 9-BAND STEREO GRAPHIC EQUALIZER
The master channel employs a 9-band stereo equalizer. The EQ’s insert point is post master fader and pre MASTER A
outputs. Nine frequency bands offering 10 dB amplification/attenuation allow shaping the overall sound to meet your
personal preferences or to optimally match it to the acoustic conditions of different locations.
GEQ setting instructions:
The frequency ranges as well as the characteristics of the EQ faders are very praxis-oriented. In case you want to have
a clear and highly intelligible sound, which, as a side effect, provides the cymbals with more crisp, you should raise the
levels of the 12 kHz or 6.3 kHz band a bit. If the MIDs are nasaling you should attenuate the mid range (500 Hz to 2 kHz)
by some decibels. To provide the kick drum with more punch you have to boost the low frequency range, using the 63 Hz
or the 125 Hz controls. In case the overall sound is undefined with too much bass, lowering the levels of these two frequency bands will solve the problem.
However, especially with equalization you should be aware of the fact that in most cases less adjustments provide better
results. Thus, your first choice should be to establish the mix using only the input channel controls and see if you get a
satisfactory result.
51 - USB INTERFACE
These indicators are to inform you about the actual operational state of the CMS‘s DIGITAL AUDIO INTERFACE.
REC PEAK LED
The REC PEAK indicator lights red when for at least one of the four recording channels the risk of clipping exists. Reduce
the output level of the affected channel by lowering the setting of the AUX or MON fader or the REC SEND & USB OUT
control (Master).
HINT: The REC PEAK warning appears also when the DIGITAL AUDIO INTERFACE connected to a PC/Mac is used
for playback purposes only. In this case the warning can be ignored.
ACTIVE LED
The ACTIVE indicator signals that the USB connection between CMS and PC/Mac is active and the DIGITAL AUDIO INTERFACE is ready for operation.
2.7 DISPLAY with function keys
52 - DISPLAY WITH FOUR FUNCTION KEYS
Effect mode
In effect mode the display indicates the selected preset number of each effect unit. Use the four function keys below
the display for selecting the preset number.
19
CMS3
Menu mode
Press the MENU/ENTER rotary encoder in effect mode to enter the menu mode. In menu mode the display indicates the
function being executed for each function key.
53 - MENU/ENTER
Use the MENU/ENTER rotary encoder in menu mode for menu navigation. In effect mode the MENU/ENTER rotary encoder has no function.
54 - TAP
If a delay effect is used the delay time can be adjusted to the beat by pressing the TAP button multiple times. The yellow
LED indicates the delay time set. The function of this button can be configured using the TAP Button Ctrl. parameter,
please refer to the section “FX Control Setup” on page 23 for details.
2.8 Rear panel
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE.
AVIS:
RISQUÉ DE CHOC ELECTRIQUE - NE PAS OUVRIR
MIDI IN
MIDI OUT
POWER
THIS CLASS B DIGITAL APPARATUS COMPLIES WITH
CANADIAN ICES-003. CET APPAREIL NUMÉRIQUE
DE LA CLASSE B EST CONFORME À LA NORME
NMB-003 DU CANADA.
ON
55
56
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES.
OPERATION IS SUBJECT TO THE FOLLOWING TWO
CONDITIONS: 1. THIS DEVICE MAY NOT CAUSE HARMFUL
INTERFERENCE, AND 2. THIS DEVICE MUST ACCEPT ANY
INTERFERENCE RECEIVED, INCLUDING INTERFERENCE
THAT MAY CAUSE UNDESIRED OPERATION.
57
55 - MAINS CONNECTOR
The CMS receives its power supply via the lockable Mains input. Only the provided power cord may be used. Connect
the CMS only to a mains network, which corresponds to the requirements indicated on the type plate.
HINT: Press the yellow button at the plug to disconnect the power cord.
56 - POWER
Mains switch to turn the CMS on or off. The CMS is operational when the display indicates the selected program numbers. Please make sure to set the master faders to their minimum position or engage the STANDBY switch before switching the power on. This will save you, your audience, and the equipment from unnecessary stress. In case additional
external equipment is connected to the CMS – e.g. power amps, FX units, EQs, etc. – please, proceed in the following
order when switching your equipment on:
1.
switch on the FX units
2.
switch on the CMS
3.
switch on external power amps
When switching the power off, please proceed in the opposite order.
57 - MIDI IN/OUT
The MIDI IN/OUT ports allow connecting MIDI devices to the CMS. Next to the PC MIDI interface controlling the effect
unit is possible via MIDI IN, please see page 23 for details.
20
CMS3
3 Display & functions
The CMS includes a premium OLED display. Compared to general LC displays the OLED display is brighter, has a greater
contrast ratio and a wider viewing angle.
3.1 Effect mode
The start screen appears after switching the CMS on. After a few seconds the default effect for FX 1 & FX 2 and
other system parameters are displayed.
Illustration 3-1: Effect mode
15
14
13
3
1
2
PLAY 11-12
MIDI
PEAK AUX
BRIGHT HALL
MONO DELAY
5
55
230 ms 40%
FX1
FX2
12 11 10
9
8
4
Number
Description
1
Play 11-12 indicator
2
MIDI indicator
3
PEAK indicator
4
Effect group of effect unit FX 2
5
Effect number of effect unit FX 2
6
Effect description of effect unit FX 2
7
Increases the effect number of effect unit FX 2 by one
8
Description of function key
5
9
Decreases the effect number of effect unit FX 2 by one
6
10
Increases the effect number of effect unit FX 1 by one
7
11
Description of function key
12
Decreases the effect number of effect unit FX 1 by one
13
Effect description of effect unit FX 1
14
Effect number of effect unit FX 1
15
Effect group of effect unit FX 1
Pressing the function keys below the display allows selecting an effect in a quick and easy way.
3.2 Menu mode
Press the MENU/ENTER rotary encoder in effect mode to
access the menu mode. When entering the menu mode
the main menu (see illustration 3-2) is indicated.
Illustration 3-2: Access the menu mode by pressing the MENU/
ENTER rotary encoder
In menu mode the MENU/ENTER rotary encoder and the
four function keys below the display are used for navigation and for selecting and editing parameters. Turn the
MENU/ENTER rotary encoder to the left or to the right to
move the cursor in the menu. Press the MENU/ENTER rotary encoder to select or execute the highlighted menu
item. If a menu entry was highlighted, the corresponding
dialog is opened. If a parameter was highlighted, the value is shown in inverse font and can be edited by turning
the MENU/ENTER rotary encoder. Press the MENU/ENTER rotary encoder again to apply the edited parameter
value. The bottom line of the display indicates the function for the four function keys. The following table describes some of the functions avialable in menu dialogs.
Table 3-4: Functions of the function keys
Function
Illustration 3-3: Main menu in menu mode
Main Menu
Edit FX 1
Edit FX 2
AUX Mode
FX Control Setup
BACK
Description
BACK
Returns to the next higher menu level.
ESC
Discards all edits in the dialog and returns to effect mode.
 or 
Move the cursor to the left or to the right.
SAVE
Opens the FX User Presets list to store the edited effect as an
user preset.
OK
Confirms the entry, e. g. when editing the name of an user preset.
ESC
21
CMS3
MENU STRUCTURE
Illustration 3-5: Menu structure of CMS
PLAY 11-12
MIDI
BRIGHT HALL
5
PEAK AUX
MONO DELAY
Main Menu
55
230 ms 40%
FX1
FX2
Edit FX 1
Device Setup
FX Control Setup
Footswitch Ctrl.
Edit FX 2
Display Brightness
TAP Button Ctrl.
Screensaver
FX Control Setup
Personalize
Device Setup
Show Device Name
FX1 MIDI Channel
Play 11-12 at STDBY
FX2 MIDI Channel
Factory Reset
MIDI PrgCh Count
Firmware Info
Illustration 3-7: FX User Presets dialog
This dialog allows editing effect parameters for effect
unit FX 1 or FX 2. The available parameters will vary depending on the effect type, see page 25 for details. Additionally a custom name can be assigned to the edited
effect and it can be stored as a user preset. Up to 20 user
presets can be created.
FX 1 User Presets
101:
102:
103:
104:
--EMPTY---EMPTY---EMPTY---EMPTY--
Illustration 3-6: Edit FX 1 dialog
BACK
ESC
Edit FX 1 BRIGHT HALL
Predelay
Reverb Decay
Diffusion
Low Cut
:
:
:
:
16ms
40
25
50Hz
Turn the MENU/ENTER rotary encoder to select the user
preset where the edited effect should be stored to. Press
the MENU/ENTER rotary encoder to open the Set FX
Name dialog.
Illustration 3-8: Set FX Name dialog
SAVE
BACK
ESC
Turn the MENU/ENTER rotary encoder to highlight an entry in the left column of the Edit FX Menu. Press the
MENU/ENTER rotary encoder to select the corresponding
value in the right column. Now turn the MENU/ENTER rotary encoder to edit the value. Press the MENU/ENTER rotary encoder again to return to the left column. Press the
SAVE function key to store the edited effect as an user
preset. The FX User Presets dialog appears.
22
Set FX Name
DEFGHIJK L MNOPQRST
L arge Hall 3
OK
BACK
CMS3
This dialog is used to change the user preset‘s description. Turn the MENU/ENTER rotary encoder to the left or
right to edit the highlighted character. Pressing the
MENU/ENTER rotary encoder accepts the desired symbol
and moves the cursor to the next character. Move the cursor to the left or to the right by pressing the  or  function keys. Select the  symbol or press the OK function
key to quit editing the name. Pressing the BACK function
key returns to the menu.
AUX MODE
This dialog allows matching the routing of the AUX
channel to your application. When opening the AUX Mode
dialog the currently activated routing is highlighted.
Turn the MENU/ENTER rotary encoder to select on of the
routing setting described below. Press the MENU/ENTER
rotary encoder to apply the selected setting. Pressing the
BACK function key returns to the menu. Pressing the ESC
function key discards all changes and returns to effect
mode.
Pre fader (PRE)
all AUX controls to their center position, the master mix
is also present on the monitor bus, giving you the opportunity to control the volume settings of each channel individually from the stage. The overall volume of the
monitor mix is set using the AUX fader in the master section. If you are using this option you should keep in mind
that all volume changes made with the channel faders
also apply to the monitor mix, leaving you with a higher
risk of acoustic feedback. The Post-Fader Monitoring
method provides the possibility of canceling channels of
some instruments – like kick or snare drum, which are in
fact already very loud on-stage – from the monitor mix by
turning the corresponding controls all the way to the left.
AUX to FX 2
Illustration 3-11: AUX Mode dialog (AUX to FX 2 mode)
AUX Mode
PRE
POST
to FX2
Illustration 3-9: AUX Mode dialog (pre mode)
FX1
FX
AUX
POST
AUX Mode
PRE
POST
to FX2
PRE
BACK
AUX
ESC
The audio signal that is present at the AUX control is
tapped pre volume fader and therefore not affected by
the fader’s setting. This mode is mainly used for monitoring. Pre-Fader Monitoring is especially preferable when
monitoring and master mix need to be completely different from each other, e.g. when the volume setting of particular musical instruments or vocals needs to be higher
or lower than in the master mix. In most cases the mixing
console is placed somewhere in the audience area (FOH)
and is being operated by an sound technician.
Post fader (POST)
Illustration 3-10: AUX Mode dialog (post mode)
AUX Mode
PRE
POST
to FX2
FX1
FX
ESC
BACK
FX1
FX
FX2
In this mode the AUX channel is used as FX 2 channel, so
the AUX controls allow adjusting individual amounts of
the input signals to be routed to the integrated FX 2
effects units. At the same time the FX controls allow
adjusting individual amounts of the input signals to be
routed to the integrated FX 1 effects units (see page 12
for details).
FX CONTROL SETUP
This dialog is used to configure the effect units FX 1 or
FX 2. Some parameters of the effect units can be controled via the MIDI interface, additionally this dialog is
used to select the default effect which is activated when
the CMS is switched on.
Illustration 3-12: FX Control Setup dialog
FX Control Setup
Footswitch Ctrl.
TAP-Button Ctrl.
FX1 Start Preset
FX2 Start Preset
ESC
POST
BACK
AUX
ESC
The audio signal that is present at the AUX control is
tapped post volume fader and therefore affected by the
fader’s setting. This mode is mainly used for establishing
FX- or special monitoring mixes. Using the POST-Fader
method is recommended when the mixer is also located
on the stage and you have to operate it yourself. Setting
23
CMS3
Parameter
Description
ENTER rotary encoder to apply the selected brightness.
Pressing the BACK function key returns to the menu.
Pressing the ESC function key returns to effect mode.
Footswitch Ctrl.
Select FX 1, FX 2 or FX 1+2 to control one or both effect
units using a footswitch.
Screensaver
TAP Button Ctrl.
Select FX 1, FX 2 or FX 1+2 to control the delay time of
one or both effect units using the TAP button.
Number of effect loaded after power on in effect unit FX 1
Table 3-13: FX Control Setup parameter
Number of effect loaded after power on in effect unit FX 2
FX1 MIDI Channel
Select the channel (1 to 16) to be used for controlling the
FX 1 effect unit via MIDI. Select Omni if commands from
all channels should be accepted. Select Off if the effect
unit should not be controlled via MIDI.
HINT:
Select different MIDI channels for effect
units FX 1 and FX 2 to control them independently with a programmable footswitch.
FX2 MIDI Channel
Select the channel (1 to 16) to be used for controlling the
FX 2 effect unit via MIDI. Select Omni if commands from
all channels should be accepted. Select Off if the effect
unit should not be controlled via MIDI.
HINT:
Select different MIDI channels for effect
units FX 1 and FX 2 to control them independently with a programmable footswitch.
MIDI PrgCh Count
Select the setting 0 - 127 if using MIDI devices that start
counting program change commands from 0. Select the
setting 1 - 128 if using MIDI devices that start counting
program change commands from 1.
Turn the MENU/ENTER rotary encoder to highlight an entry in the left column of the FX Control Setup dialog.
Press the MENU/ENTER rotary encoder to select the corresponding value in the right column. Now turn the
MENU/ENTER rotary encoder to edit the value and press
the MENU/ENTER rotary encoder again to apply the new
value. Table 3-16 lists the entries of the FX Control Setup
dialog. Pressing the BACK function key returns to the
menu. Pressing the ESC function key returns to effect
mode.
DEVICE SETUP
This dialog can be used for editing system parameters
and checking system properties. Some menu entries (e.g.
Display Brightness) can be edited in the Device Settings
dialog after pressing the MENU/ENTER rotary encoder.
Other entries (e.g. Firmware Info) will open another dialog when pressing the MENU/ENTER rotary encoder.
Illustration 3-14: Device Setup dialog
Device Setup
Display Brightness
Screensaver
Personalize
Show Device Name
BACK
Display Brightness
The currently set display brightness (from 0% to 100%) is
indicated in the right column. Press the MENU/ENTER rotary encoder to edit the value. Turn the MENU/ENTER rotary encoder to the left to decrease the display
brightness. Turn the MENU/ENTER rotary encoder to the
right to increase the display brightness. Press the MENU/
24
The currently set screensaver time interval is shown. After the time interval (from 10 seconds to 60 minutes) has
expired the screensaver is activated. Press the MENU/ENTER rotary encoder to edit the value. Turn the MENU/ENTER rotary encoder to the left to shorten the time
interval, or deactivate the screensaver by selecting Off.
Turn the MENU/ENTER rotary encoder to the right to extend the time interval. Press the MENU/ENTER rotary encoder to apply the selected setting. Pressing the BACK
function key returns to the menu. Pressing the ESC function key returns to effect mode.
Personalize
Press the MENU/ENTER rotary encoder to open the Set
Device Name dialog. This dialog is used to change the
CMS‘s name, which can be composed of a maximum of
18 symbols and consist of all letters A-Z, a-z, the numbers
0-9 and special characters.
Turn the MENU/ENTER rotary encoder to the left or right
to edit the highlighted character. Pressing the MENU/ENTER rotary encoder accepts the desired symbol and
moves the cursor to the next character. Move the cursor
to the left or to the right by pressing the  or  function
keys. Select the  symbol or press the OK function key to
quit editing the name.
Pressing the BACK function key returns to the menu.
Pressing the ESC function returns to effect mode.
Show Device Name
Press the MENU/ENTER rotary encoder to edit the setting. Select „On“ if the device name should be indicated
in the display. If „Off“ is selected the name is not indicated. Press the MENU/ENTER rotary encoder to apply the
selected setting.
Play 11-12 at STDBY
Select „enable“ if input 11-12 (CD 3-4) should be used for
playback of background music in STANDBY mode.
HINT: If Play 11-12 at STDBY is enabled a confirmation
prompt appears in the display when activating
STANDBY mode. Press the MENU/ENTER rotary
encoder to confirm.
If „disable“ is selected the signal received via input 11-12
is muted in STANDBY mode. Pressing the BACK function
key returns to the menu. Pressing the ESC function key
returns to effect mode.
Factory Reset
The CMS can be reset to factory settings. Pressing the
MENU/ENTER rotary encoder opens a clear user FX dialog
box that lets the user choose between YES or NO by turning the MENU/ENTER rotary encoder. Select YES if all
user effects should be cleared. Select NO if the user effects should not be cleared. Pressing the MENU/ENTER
rotary encoder opens a safety dialog box „Are you sure?“
that lets the user choose between YES or NO by turning
the MENU/ENTER rotary encoder. If YES has been select-
CMS3
ed, pressing the MENU/ENTER rotary encoder resets the
CMS to its factory settings. If NO has been selected, all
parameters stay unchanged and the display returns to the
menu. Pressing the BACK function key returns to the
menu. Pressing the ESC function key returns to effect
mode.
Table 3-15 lists all parameters that are affected by a reset.
Firmware Info
Press the MENU/ENTER rotary encoder to open the
Firmware Info dialog. This dialog shows the versions of
the firmwares that are actually installed in the CMS.
Pressing the BACK function key returns to the menu.
Pressing the ESC function key returns to effect mode.
Table 3-15: Factory settings
Parameter
Value
AUX Routing
PRE
Footswitch Ctrl.
FX 1+2
TAP Button Ctrl.
FX 1+2
5
55
FX 1 MIDI Channel
Off
FX 2 MIDI Channel
Off
MIDI PrgCh Count
1 - 128
Display Brightness
100%
Screensaver
Off
Device Name
CMS
Show Device Name
On (activated)
Play 11-12 at STDBY
Disable
3.3 Effects
Table 3-16: CMS effect presets
No.
Effect group
Description
Preferable used with
01 - 10
Bright Hall
bright reverb, concert hall, church, cathedral
vocals, horn, strings
11 - 20
Bright Plate
bright plate, no audible reflections
piano, guitar, drums, vocals
21 - 30
Echo+Reverb
bright echo/reverb mix
specially for „Live“ vocals, strings, horns
31 - 33
34 - 36
Chorus
„light“ chorus
piano, guitar, bass, Rhodes, strings
„deep“ chorus
organ, piano, guitar, bass, Rhodes, strings
37 - 39
Chorus+Echo
„deep“ chorus with fading echo
organ, guitar strings
40
Flanger
real „late sixties“ jet flanger
drums, prcussion, bass, strings, vocals
41 - 50
Stereo Delay
L/R echoes
combined with a reverb effect well suited for vocals, horns, strings
51 - 60
Mono Delay
centered echoes, slowly fading (40% feedback)
combined with a reverb effect wel suited for vocals, horns, strings
61 - 70
Soft Hall
extremely smooth reverb, concert hall, church, cathedral
vocals, horns, strings, home recording
71 - 80
Soft Plate
smooth plate, no audible reflections
piano, guitar, drums, vocals, home recording
centered echoes, vastly fading (20% feedback)
fast fading slap back echoes for vocals, percussion. Combined with a
reverb effect well suited for vocals, horns, strings
doubling effect without coloration
vocals, horns, strings, organ
81 - 90
91 - 92
93 - 96
97- 98
99
100
Mono Delay
Doubling
Reverse
Slap-Back
doubling effects
snare drum, kick drum
reverse reverb
snare drum, kick drum
fast slap back echo without repeats
vocals, kick drum, snare drum
slow slap back echo without repeats
vocals, kick drum, snare drum
25
CMS3
4 DIGITAL AUDIO INTERFACE
The USB 2.0-Port of the CMS serves as digital audio interface for the connection of a PC or Apple Macintosh
(Mac). The DIGITAL AUDIO INTERFACE can be used as input or output device at the same time. When using a PC/
Mac with USB 2.0 interface up to four channels can be
transmitted simultaneously in any direction. When using
a PC/Mac with USB 1.1 interface up to two channels can
be transmitted simultaneously in any direction.
HINT: Using high grade USB 2.0 cables is recommended for optimal signal quality.
CAUTION:
We can accept no responsibility for any
loss of the data you record using this product onto other MIDI equipment in your system or onto storage devices such as hard
disk.
4.1 Installing the USB driver
Before connecting the CMS and your PC/Mac for the first
time via USB you have to install the needed USB driver
(located at the provided DVD) on the computer.
HINT: If you are unsure about how to perform basic
computer operations appearing in this manual,
please refer to the owner‘s manual that came
with your PC/Mac.
CAUTION:
1.
2.
3.
4.
Never attempt to play the enclosed DVD in
a conventional audio CD/DVD player, as
the resulting noise may damage your
speakers or your hearing.
You will be asked to connect the CMS to your PC
during the installation process, do not connect the
CMS before. Please cancel the Add Hardware
Wizard in Windows if it has already started.
Place the supplied DVD in your PC/Mac‘s drive.
Open the subdirectory, matching to the operating
system used, in the directory /Driver.
Execute the file „Setup.exe“ (PC) or
5.
6.
„Dynacord_USB-Audio_Driver.dmg“ (Mac) found in
the /CMS_600-3 directory. (Example: When using
Windows 32 Bit execute the file Setup.exe in directory /Driver/Windows/32Bit/CMS_600-3)
Select the language of the application.
Start installation of the USB driver for your operating system by clicking the corresponding button.
HINT: If you are not sure which Windows Operating
System is installed on your PC, click on Start >
Control Panel > System. In the„General“ tab the
Windows type is shown. For more information
read the documentation found in the directory
„Tips_Tricks“ at the supplied DVD.
7.
8.
9.
Choose your language at the language selection
dialog and click the OK button.
Click on the „Install driver“ button.
Follow the on-screen instructions.
HINT: Check www.dynacord.com for USB driver
updates and additional information regularly.
4.2 Cubase LE
For using the CMS with your PC/Mac, the Cubase LE software is included at the supplied DVD.
INSTALLATION
Execute following steps to install Cubase LE on your PC/
Mac.
1.
Place the supplied DVD in your PC/Mac‘s drive.
2.
Open the subdirectory, matching to the operating
system used, in the directory /Cubase.
3.
Execute the file Setup.exe (Windows) or
Cubase_LE.mpkg (Mac) to start installation of the
software.
CONFIGURATION
For using your CMS in the Cubase software execute following steps:
1.
Start the Cubase LE software.
2.
Select Devices > Configure Devices. The Configure
Devices dialog appears.
3.
Select VST-Audiosystem in the left section of the
dialog.
4.
Select the ASIO driver„ASIO for DYNACORD USB-
26
5.
AUDIO“.
Press the OK button.
HINT: For more information about using the software
read the documentation found in the directory
„ApplicationNotes“ at the supplied DVD or
open menu Help > Documentation in Cubase LE.
Illustration 4-1: Configuration of Cubase LE
CMS3
4.3 Status display
selection of suitable MIDI channels, see also “FX Control
Setup” on page 23 and the documentation of your software application.
In effect mode, the display of the CMS shows the status
information of the DIGITAL AUDIO INTERFACE.
Illustration 4-5: Sending MIDI data from a Master Keyboard to a
PC/Mac (illustration shows CMS 1000-3)
Illustration 4-2: DIGITAL AUDIO INTERFACE display
PLAY 11-12
MIDI
BRIGHT HALL
MONO DELAY
5
55
230 ms 40%
FX1
FX2
Table 4-3: USB status display
Display
Description
PEAK AUX,
PEAK MON,
PEAK MAS
For at least one of the four recording channels exists the
risk of clipping. Reduce the output level of the affected
channel by lowering the setting of the AUX or MON fader or
the REC SEND & USB OUT control (Master).
HINT:
The PEAK warning appears also when the
DIGITAL AUDIO INTERFACE connected to a
PC/Mac is used for playback purposes only.
In this case the warning can be ignored.
HINT: For sending MIDI data from your PC to the
CMS, open the Sounds and Audio Devices Properties in the Windows Control Panel. Select
DYNACORD USB-MIDI as Default Device for
MIDI music playback.
4.5 Examples of usage (Playback)
4.4 PC-MIDI-Interface
The CMS provides a full-featured PC-MIDI interface. So,
when you use an appropriate software application to
send MIDI data from the PC/Mac to the DIGITAL AUDIO
INTERFACE, the MIDI data is present at the MIDI OUT jack
on the rear of the CMS.
Illustration 4-4: Sending MIDI data from a PC/Mac to a
Synthesizer (illustration shows CMS 1000-3)
When the DIGITAL AUDIO INTERFACE is used as CMS input, the channels USB 1 and USB 2 are assigned to stereo
input 5-6. The channels USB 3 and USB 4 are assigned to
a stereo input 7-8.
HINT: If necessary, adjust the level of the input signal
in the playback software of your PC/Mac.
MUSIC PLAYBACK IN STEREO
The CMS functions as an external sound card of the PC/
Mac. In the system settings of your PC/Mac, select the
CMS (DYNACORD USB-AUDIO) as the playback device.
Audio signals are output from the PC/Mac through input
channels USB 1-2 of the CMS. You can use the fader to
control the volume, like it is explained in detail in the Input Stereo section on page 10.
DUAL STEREO PLAYBACK (DJ APPLICATION)
Vice versa, all MIDI data input via the MIDI IN jack are
passed through to the PC, for instance to be recorded
using a sequencer software application.
Keep in mind that the control data for the integrated
effects units, that for example can be remotely controlled
via MIDI footswitch, are transmitted to the PC as well.
Data error interpretation can be avoided through careful
The consistent 4-channel design of the DIGITAL AUDIO
INTERFACE allows to pre-listen the signal of the USB
channels 3-4 via headphones using the PFL button, while
the current song is output e. g. via USB channels 1-2. This
facilitates determining the fade-in point of the next song.
A setup consisting of PC/Mac, CMS and loudspeaker systems is all you need as a DJ to entertain your audience.
All common DJ applications can address the two stereo
USB channels (USB 1-2 and USB 3-4) via ASIO driver.
ASIO is a standard, which has been established in almost
all applications of multi-channel sound interfaces. The
ASIO driver was automatically installed together with installing the device driver, as described on page 26. For
assigning the sends to the playback channels of the CMS,
please mind the documentation of the software program
that you are using.
27
CMS3
4.6 Example of usage (Recording)
In the following application, your PC/Mac is used for
recording while the CMS functions as premium A/D converter, without the need for an external sound card.
LIVE-RECORDING OF EVENTS
The mixer master signal is transmitted to the PC on USB
channels 1-2 of the DIGITAL AUDIO INTERFACE. This is
the basic setting for a live recording of your event.
On USB channel 3 (or 4) the AUX (or MON) way is transmitted to the PC. If the AUX or MON ways are not yet reserved or occupied for monitoring, effect applications or
other purposes, you can use them instead to record two
additional signals, which then are available during postproduction of your recording. This, for example, provides
the possibility to enhance solo vocals or a solo instrument at specific passages so that they stand clearly in
front of the mix. For that, you need to assign respective
input channels to the AUX/MON bus using the AUX/MON
controls.
A very recommendable option is to use the two ways in
order to record the signals of a stereo microphone positioned in front of the stage. Recordings, which are fed
only from the PA mixer, are often disappointing, because
audience reactions are completely missing and the sound
does not reflect the live performance. That is because of
the fact that particularly in small venues the acoustic output or electrical signal of many musical instruments,
which by nature already have sufficient clout (such as
drums, electric guitar, etc.) gets reproduced only to a
slight degree or not at all via the public address system.
Conversely, sound recordings that only employ a room
microphone, very often sound indirect and especially the
vocals suffer from a lack of clearness and intelligibility.
The CMS offers the possibility to simultaneously record
both signal sources (mixer output and room microphone)
separate from each other. During post-production of the
recording you can comfortably match all tracks in proportion to each other.
HINT: Make sure that during recording the signals of
the room microphones are not included in the
PA mix to prevent feedback. Therefore, the faders of the „room channels“ have to be pulled all
the way down. The AUX way, nevertheless, has
to be operated in pre-fader mode in order to
feed the signal to the DIGITAL AUDIO INTERFACE.
4.7 MIDI tone generator and multieffect unit
As already explained, the CMS can be used to transfer
MIDI data for instance from a master keyboard to a PC/
Mac. Using appropriate software, such as a multi-track
recording application and suitable PlugIns (e.g. the supplied Cubase LE software), the entire world of most upto-date sounds is always at your disposal. Due to the
efficiency of today's laptops, it is no longer a problem to
expand your personal sound library even in Live-use with
sounds that, a few years ago, were only to be found on sophisticated studio synthesizers. Connect your master
28
keyboard to the MIDI IN jack and select the MIDI INTERFACE as input for the tone generator in the software
application. The computer-generated sounds are transmitted over one of the two USB stereo channel strips
back to the CMS. Using the faders, you can comfortably
adjust the volume level, as if you had connected a keyboard with built-in tone generator to the stereo line inputs.
Illustration 4-6: Using the PC/Mac as MIDI tone generator
(illustration shows CMS 1000-3)
The CMS offers similar options for the creation of sound
effects. The PC serves as an external, extremely powerful
multi-effects unit. Since the signal is fed from the AUX
way, the operation during mixing becomes as simple as
using the internal effects of the CMS. The AUX way should
be switched to post-mode. The effect signal generated in
the PC is again added to the overall mix via USB stereo
channels 1-2 or 3-4. The stereo channel faders serve as
FX-return controls.
Finally, it has to be mentioned that, depending on the
software and drivers, some of the options described can
also be used in parallel. For example, you can use the four
recording channels of the CMS for live recording and at
the same time play back music from the same PC, e. g. for
stage performances.
CMS3
5 Setting up a standard PA
5.1 Cabling
The mains supply cord comes with the CMS. The quality
of all other cables lies in your responsibility. Carefully
chosen high quality cables are the best precaution to prevent later problems during live operation. The following
wiring alternatives are recommended to provide trouble
free operation of your system.
LF-CABLES - BALANCED OR UNBALANCED?
For LF-cabling – all the low current wiring – your best
choice are balanced cables (2 signal conductors + ground
shielding) with XLR-type connectors or stereo phone
plugs. The cables should be step-on proof, shielded, and
never longer than really needed. Too many too long cables mostly lead to confusion and generate unnecessary
problems. Of course, connecting unbalanced cables with
monaural phone plugs to the CMS’s in- and outputs is
also possible and in most cases no interference will occur
because of its superb grounding managing system. Generally spoken, if you have the choice, a balanced LF-cable
CMS
is always the better solution. Today’s modern audio
equipment – like amplifiers, equalizers, FX units, mixing
consoles, and even some keyboards – offers balanced inand outputs. In a balanced signal path the cable screen
provides gapless connection of all metal parts, offering
efficient shielding against the induction of external noise.
The balanced cabling in conjunction with the commonmode rejection of the CMS’s input stage effectively eliminates even existing artifacts of interference. All inputs of
the CMS provide balanced audio connections and high
common-mode rejection. The mixing stage outputs –
AUX, MASTER, MONITOR, etc. – are laid out in GNDSENSING technology – a special pin assignment of the
output jacks, offering all advantages of the balanced signal transmission, but lets you also connect monaural
phone plugs without a problem. Nevertheless – as mentioned above – when longer cables are involved, using
stereo phone plugs and balanced cables are the better alternative. The diagrams below show the pin assignments
of plugs and cables that are used with the CMS.
Cable
MIC INPUT
Application
2 HOT (+)
2 HOT (+)
2
3 COLD (-)
3
2
1
1
All phone jack in/outputs
(except PHONES)
3
balanced connection of microphones
3 COLD (-)
unbalanced external equipment with
XLR-type in/output jacks
Cable connection phone to XLR-type, unbalanced
shield
hot
+
cold
-
2
3
1
balanced external equipment with
XLR-type in/output jacks
Cable connection phone to XLR-type, balanced
hot
+
cold
-
2
1
shield
All phone jack in/outputs
(except PHONES)
3
unbalanced external equipment with
phone jack in/output jacks
balanced external equipment with
phone jack in/output jacks
Standard phone-type, balanced
hot
+
cold
-
shield
5.2 Setting up
1.
2.
Place the CMS in a way that allows unobstructed
operation and connect the mains cord.
Try to locate the best position where you want to
place the loudspeaker systems. If possible, the
woofers should be placed on the floor while the Hi
cabinets’ most favorable position is above the Lo
cabinets, on the same vertical axis. It is important
that the lower edge of the Hi cabinets is approxi-
3.
mately at the same height level or slightly higher as
the heads of the audience. Either you use the pole
mounts to place the Hi cabinets on top of the
woofer cabinets or, in case this kind of installation
is not possible or you are not using woofer systems,
use the separate speaker pole-stands instead.
Do not place the left and the right speakers further
apart than necessary. The less distance there is
29
CMS3
4.
5.
6.
between the two speaker “clusters” – the more
compact the sound.
Try to avoid the positioning of the main loudspeakers behind the imaginary line of microphones. Otherwise, if you have to drive the system at higher
sound levels, the risk of feedback is very likely.
After you have installed all microphone stands and
all artists found their place, the best spot to install
the monitor speakers is up front facing the musicians and vocalists. Nevertheless, please check if a
microphone is directly pointing in the direction of a
monitor. In this case, change its position. You
should also be aware of the individual characteristics of the employed microphones.
Establish connections according to the setup examples. Make sure not to confuse the channels by accident.
7.
Connect all microphones preferably to the monaural inputs of the CMS and keyboards and other comparable sound sources to the rest of the available
inputs.
8.
Pull all faders down and engage the CMS’s
STANDBY switch to prevent unwanted feedback
noise.
9.
First, switch on all external devices, then the CMS
and at last power amplifiers and active speaker systems.
10. In case you have condenser microphones connected to the CMS, you can now turn on the phantom power by pressing the PHANTOM POWER
switch.
11. Activate the CMS’s operational mode through
pressing the STANDBY switch again.
5.3 Soundcheck
First, adjust the input levels of the microphones that are
connected to the mono inputs (MIC 1 to MIC 4) or stereo
inputs (MIC 5 or MIC6) of the CMS. Please proceed as follows:
1.
Set the corresponding GAIN controls and the channel faders to their lowest position.
2.
Speak or sing as loud as possible into the microphone.
3.
Use the GAIN control to adjust the level, so that
even at loud passages the red PK LED does not light
but the green SIG LED lights constantly.
Adjust the EQ of the input channels:
1.
Slide the channel fader and the master faders up a
bit, so that the sound coming from the main speakers is heard.
2.
Adjust the HI, MID and LOW controls, starting from
their centered position, until the sound matches
your personal taste.
3.
Repeat steps 1 - 2 for all input channels in use.
In case you are also using the stereo input channels LINE
9-10 or 11-12, you can adjust the levels in a similar way:
1.
Set the TRIM LINE CD controls and the channel
fader to their lowest setting.
2.
Play the corresponding sound source at the highest
volume that is to be expected during the performance.
3.
Use the TRIM LINE CD control to adjust the level, so
that even at loud passages the red PK LED is not lit
but the green SIG present LED lights constantly.
Adjust the EQ of the stereophonic input channels:
1.
Slide the channel fader and the master faders a bit
up, so that you can hear the sound through the
main speakers.
2.
Play the corresponding sound source.
3.
Starting from the center position, you can adjust
the HI, MID and LOW controls until the sound is to
your liking. Please, keep in mind that major alteration of the EQ-setting does not necessarily result in
the improvement of the overall sound. Especially
when sound shaping is concerned, less can be
30
4.
more.
Repeat steps 1-3 for all stereo input channels in
use.
If musical instruments are connected directly to the monaural inputs, follow the descriptions above describing the
adjustment of the microphones.
Make sure, that all channel faders, GAIN and TRIM LINE
CD controls of unused input channels are at their minimum setting. In this way you avoid unnecessary noise.
MASTER MIX
1.
2.
3.
Position the master faders in the range between
-30 dB and -20 dB.
Establish a basic mix, using the channel faders, so
that the individual sound levels relate to each other
according to your personal taste. The best range for
the channel faders to be set to is in the area of
-5 dB to 0 dB. In this way you are provided with
enough tolerance for later adjustments.
Use the master faders to adjust the overall volume.
EFFECTS
In case you are using the FX units, please proceed as follows:
1.
Set the EFFECT RETURN fader of the FX unit to the
-5 dB mark.
2.
Use the UP/DOWN buttons below the display to
select the desired effect preset.
3.
Press the FX ON button.
4.
Play the sound source of the desired input channel
and adjust the desired amount of the FX signal,
using the FX controls of this input channel. Repeat
this step for all input channels that you want to
include in your effect mix.
5.
Adjust the FX controls, so that the PK LED of the FX
unit only lights frequently at highly dynamic signal
peaks.
CMS3
MONITOR MIX
1.
2.
3.
Set the MON fader located in the master section to
the -5 dB mark.
Set the MON controls of all input channels according to your personal taste.
Use the FX 1/2 to MON control to add the effect mix
to the monitor mix, without influencing the master
mix. Normally, the monitor mix needs less FX than
the master mix.
FINE TUNING
Let the artists perform and check the sound of the system
from different angles and distances. If you come to the
conclusion that some corrections in the overall sound image are necessary, use the 9-band equalizer and match
the sound to your liking. By doing so, you should keep in
mind, that during the performance the sound is going to
be altered because the audience is present, which has a
major effect on the acoustical condition of the location,
the degree of first reflections, and the absorption of low
frequencies. If possible, you should check the “sound in
the house” during the performance and – if necessary –
adjust it to the changed conditions.
And for the rest, we like to wish you lots of fun and success with your new CMS mixer.
31
CMS3
6 Setup examples
6.1 CMS with D-Lite activeone
Illustration 6-1: CMS with D-Lite activeone (2 x D 8A, 1 x PowerSub 212) as main PA, 1 x D 8A used as monitor
32
CMS3
6.2 CMS with D-Lite activetwo
Illustration 6-2: CMS with D-Lite activetwo (2 x D 8A + 2 x PowerSub 112) as main PA, 1 x D 8A used as monitor
33
CMS3
6.3 CMS with D-Lite activefour
Illustration 6-3: CMS with D-Lite activefour (2 x D 11A + 2 x PowerSub 212) as main PA, 1 x D 11A used as monitor
34
CMS3
6.4 CMS with Xa-2 system
Illustration 6-4: CMS with Xa-2 system (2 x FX 12, 4 x FX20, 2 x Xa 4000) as main PA, 1 x D 8A used as monitor
Xa 4000
Xa 4000
35
CMS3
6.5 CMS with CORUS-Evolution system
Illustration 6-5: CMS with CORUS-Evolution system (2 x C 25.2, 2 x Sub 2.18, 2 x LX 3000, 1 x DSP 260) as main PA, 1 x D 11A used
as monitor
LX 3000
LX 3000
DSP 260
36
CMS3
37
CMS3
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
NOTE:
SAFETY COMPONENT (MUST BE REPLACED BY ORIGINAL PART)
38
CMS3
39
CMS3
UNBALANCED
COLD
HOT
40
CMS3
HINWEIS:
41
CMS3
42
CMS3
43
CMS3
UNBALANCED
COLD
HOT
44
CMS3
45
CMS3
PLAY 11-12
MIDI
BRIGHT HALL
PEAK AUX
MONO DELAY
55
230 ms 40%
FX2
46
CMS3
2.
3.
4.
47
CMS3
48
CMS3
49
CMS3
50
CMS3
51
CMS3
52
CMS3
53
CMS3
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE.
AVIS:
RISQUÉ DE CHOC ELECTRIQUE - NE PAS OUVRIR
MIDI IN
MIDI OUT
POWER
THIS CLASS B DIGITAL APPARATUS COMPLIES WITH
CANADIAN ICES-003. CET APPAREIL NUMÉRIQUE
DE LA CLASSE B EST CONFORME À LA NORME
NMB-003 DU CANADA.
ON
55
56
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES.
OPERATION IS SUBJECT TO THE FOLLOWING TWO
CONDITIONS: 1. THIS DEVICE MAY NOT CAUSE HARMFUL
INTERFERENCE, AND 2. THIS DEVICE MUST ACCEPT ANY
INTERFERENCE RECEIVED, INCLUDING INTERFERENCE
THAT MAY CAUSE UNDESIRED OPERATION.
57
54
CMS3
55
CMS3
1
15
14
13
3
2
PLAY 11-12
MIDI
PEAK AUX
BRIGHT HALL
MONO DELAY
5
55
230 ms 40%
FX1
FX2
12 11 10
9
8
4
Nummer
1
2
3
4
5
Effekt-Nummer von Effektteil FX 2
6
7
8
9
5
10
6
11
12
7
13
14
15
Main Menu
Edit FX 1
Edit FX 2
AUX Mode
FX Control Setup
BACK
56
ESC
BACK
ESC
 bzw. 
SAVE
OK
CMS3
MIDI
PEAK AUX
MONO DELAY
5
Main Menu
55
230 ms 40%
FX1
FX2
Edit FX 1
Device Setup
FX Control Setup
Footswitch Ctrl.
Edit FX 2
Display Brightness
TAP Button Ctrl.
Screensaver
FX Control Setup
Personalize
Device Setup
Show Device Name
FX1 MIDI Channel
Play 11-12 at STDBY
FX2 MIDI Channel
Factory Reset
MIDI PrgCh Count
Firmware Info
FX 1 User Presets
101:
102:
103:
104:
--EMPTY---EMPTY---EMPTY---EMPTY--
Edit FX 1 BRIGHT HALL
Predelay
Reverb Decay
Diffusion
Low Cut
SAVE
:
:
:
:
16ms
40
25
50Hz
BACK
BACK
ESC
Set FX Name
DEFGHIJK L MNOPQRST
L arge Hall 3
OK
BACK
57
CMS3
AUX Mode
PRE
POST
to FX2
AUX Mode
PRE
POST
to FX2
POST
BACK
BACK
ESC
AUX to FX 2
Abbildung 3-11: AUX to FX2-Modus im AUX Mode Dialog
AUX Mode
PRE
POST
to FX2
FX1
FX
AUX
POST
FX2
PRE
AUX
FX1
FX
AUX
BACK
FX2
ESC
AUX
ESC
58
FX1
FX
FX Control Setup
Footswitch Ctrl.
TAP-Button Ctrl.
FX1 Start Preset
FX2 Start Preset
ESC
CMS3
Footswitch Ctrl.
TAP Button Ctrl.
FX1 MIDI Channel
FX2 MIDI Channel
MIDI PrgCh Count
Device Setup
Display Brightness
Screensaver
Personalize
Show Device Name
BACK
59
CMS3
Wert
AUX Routing
PRE
Footswitch Ctrl.
FX 1+2
TAP Button Ctrl.
FX 1+2
5
55
FX 1 MIDI Channel
Off
FX 2 MIDI Channel
Off
MIDI PrgCh Count
1 - 128
Display Brightness
100%
Screensaver
Off
Device Name
CMS
Show Device Name
On
Play 11-12 at STDBY
Disable
3.3 Effekte
Tabelle 3-16: CMS Effekt-Presets
Nr.
Effektgruppe
01 - 10
Bright Hall
11 - 20
Bright Plate
Piano, Gitarre, Drums, Vocals
21 - 30
Echo+Reverb
31 - 33
34 - 36
Chorus
Choruseffekt „tief“
37 - 39
Chorus+Echo
Choruseffekt „tief“ mit Echoabklang
40
Flanger
Drums, Percussion, Bass, Strings, Vocals
41 - 50
Stereo Delay
51 - 60
Mono Delay
61 - 70
Soft Hall
71 - 80
Soft Plate
Piano, Gitarre, Drums, Vocals, Home-Recording
81 - 90
Mono Delay
91 - 92
93 - 96
97- 98
99
100
60
Doubling
Reverse
Slap-Back
Doubling Effekte
Snare, Kick Drum
Reverse Reverb Effekte
CMS3
HINWEIS:
2.
3.
4.
5.
6.
7.
HINWEIS:
3.
HINWEIS:
KONFIGURATION
1.
61
CMS3
PLAY 11-12
MIDI
BRIGHT HALL
MONO DELAY
5
55
230 ms 40%
FX1
FX2
PEAK AUX,
PEAK MON,
PEAK MAS
62
CMS3
HINWEIS:
63
CMS3
HINWEIS:
64
CMS3
Kabel
2 HOT (+)
2
3 COLD (-)
3
1
1
2
3
3 COLD (-)
Cable connection phone to XLR-type, unbalanced
shield
hot
+
cold
-
2
3
1
Cable connection phone to XLR-type, balanced
hot
+
cold
-
2
1
shield
3
+
cold
-
shield
2.
65
CMS3
3.
4.
5.
6.
66
4.
3.
CMS3
3.
67
CMS3
68
CMS3
69
CMS3
70
CMS3
Xa 4000
Xa 4000
71
CMS3
LX 3000
LX 3000
DSP 260
72
CMS3
7 Specifications
Property
CMS 600-3
Channels
4 +2 + 2
MIC/Line-Mono
4
MIC/Line-Mono / USB-Stereo (Super Channel)
2
2
Auxiliarys (AUX, MON)
Pre/Post switchable, Pre
+10 to +60 dB
TRIM LINE/CD (Stereo)
-10 to +20 dB
THD, at 1 kHz, MBW = 80 kHz
MIC input to Master A L/R outputs, +16 dBu, typical
< 0.005%
Frequency Response, -3 dB, ref. 1 kHz
Any input to any Mixer output
15 Hz to 70 kHz
Crosstalk, 1 kHz
Channel to Channel
< -80 dB
Mute and Standby switch attenuation
> 100 dB
Fader and FX/AUX/MON-Send attenuation
CMRR, MIC input, 1 kHz
Input Sensitivity, all level controls in max. position
MIC
-74 dBu (155 µV)
LINE (Mono)
-54 dBu (1.55 mV)
-34 dBu (15.5 mV)
-34 dBu (15.5 mV)
Maximum Level, mixing desk
MIC inputs
+12 dBu
Mono Line inputs
+31 dBu
+30 dBu
All other inputs
+22 dBu
All other outputs
+22 dBu
Input Impedances
MIC
2 kOhms
CD In
10 kOhms
All other inputs
> 15 kOhms
Output Impedances
Phones
All other outputs
Equivalent Input Noise, MIC input, A-weighted, 150 ohms
47 Ohms
75 Ohms (unbalanced), 150 Ohms (balanced)
-130 dBu
Noise, Channel inputs to Master A L/R outputs, A-weighted
Master fader down
-100 dBu
Master fader 0 dB, Channel fader down
-92 dBu
Master fader 0 dB, Channel fader 0 dB, Channel gain unity
-82 dBu
Equalization
LO Shelving
MID Peaking
HI Shelving
Master EQ 9-band
(63, 125, 250, 500, 1k, 2k, 4k, 6.3k, 12k Hz)
±15 dB / 60 Hz
±12 dB / 2.4 kHz
±15 dB / 12 kHz
±10 dB / Q = 1.5 to 2.5
Filter
LO-CUT, mono inputs
Display
f = 80 Hz, 18 dB/oct.
128 x 64 pixels, OLED
Effects
Type
Dual stereo 24/48-bit multi effects processors
Effects presets
100 Factory + 20 User, Tap-Delay
Remote control
Footswitch, MIDI
Digital Audio Interface
Channels
4 In / 4 Out
73
CMS3
Property
AD/DA Conversion
Sampling Rate
CMS 600-3
24-bit
44.1 / 48 / 88.2 / 96 kHz
PC Interface
USB2.0, Female Type B
MIDI Interface
5-pin DIN connector, In / Out
Protection
Mixer Outputs (Relay controlled)
AUX, MON, MASTER A L/R
Switching Mode Power Supply (µC controlled)
Phantom Power, switchable
Power Requirements (SMPS with auto range mains input)
Power Consumption, at 1/8 maximum output power, 4 Ohms
Safety Class
48 V DC
100 V to 240 V AC, 50 Hz to 60 Hz
35 W
I
Ambient Temperature Limits
+5 °C to +40 °C (40 °F to 105 °F)
Dimensions (W x H x D), mm
416.9 x 109.6 x 347.8
Rack-mount (7.5 HE):
483.0 x 99.1 x 332.6
Weight
Net Weight
Shipping Weight
Warranty
5.8 kg
7.8 kg
36 months
Optional Accessories
RMK-600-3 (Rack Mount Kit for CMS 600-3)
FS 11 (Footswitch with LED)
Carrying Bag for CMS 600-3
Device in rated condition, unity gain (MIC gain 20 dB), all faders position 0 dB, all pots in mid position, master fader +6 dB, unless otherwise
noted.
74
CMS3
7.1 Dimensions
75
CMS3
7.2 Block Diagram
76
CMS3
Trademarks.
• Microsoft, Windows, Windows XP, Windows Vista and Windows 7 are either registered trademarks or trademarks of Microsoft Corporation in the
United States and/or other countries
• Apple, Macintosh, Mac OS and Mac OS X are trademarks of Apple Inc., registered in the United States and other countries
• Cubase is a registered trademark of Steinberg Media Technologies GmbH. ASIO is a trademark of Steinberg Media Technologies GmbH
• Other company names, product names and logos in this document are the trademarks or registered trademarks of their respective owners
77
CMS3
Notes
78
CMS3
79
12000 Portland Avenue South, Burnsville, MN 55337, USA
Phone: +1 952/844-4051, Fax: +1 952/884-0043
www.dynacord.com
© Bosch Communications Systems
Europe, Africa, and Middle East only. For customer orders, contact Customer Service at:
+49 9421-706 0 Fax: +49 9421-706 265
Asia & Pacific only. For customer orders, contact Customer Service at:
+65 6571 2534 Fax: +65 6571 2699
For technical assistance, contact Technical Support at: +49 9421-706 0
05/2012
Specifications subject to change without notice.