cs12 monitor full
Contents
1. D PUSH TO GND LIFT Insert Point 1 4 TRS Jack Socket Gauge Unbalanced Nominal Input Output level OdBu Tip Insert Send Ring Insert Return Sleeve Ground Output Impedance 75 Ohm Input Impedance gt 10 kOhm The GROUND LIFT switch isolates both the Microphone Input and the Split connector from the console ground It may be ofuse when the split connector is feeding a front of house console when there is a great danger of ground loops being formed gt lt SIGNAL HOT X DOOOOOOOOO DO POY SIGNAL COLD LINE INPUT GROUND O Q GROUND MIC INPUT LIFT SWITCH SPLIT OUTPUT aH SIGNAL INSERT d GROUND SIGNAL COLD GROUND LR INPUT XLR 18 CS12M OPERATION MANUAL MONO INPUT MODULE BLOCK DIAGRAM 209 to 70 MG 10dB to 20dBhmm 4 BAND EQUALISER 4 CU 4 PFL ENS ERIS BUS 1 IDENTICAL TO 2 THROUGH 12 NPUT LINE BUS 7 IDENTICAL TO BUS 1 i BUS 7L SIMILAR TO 9L AND 11L 66 BUS 8 SIMILAR TO2. E 22 ox m AFL AFL 1 e _ O 28 OO Each output module supports two monitor send outputs The monitor sends are identical other than for the fact that the final six sends can be switched to stereo operation METER A 12 segment peak reading bargraph meter which indicates the monitor send output level BUS PEAK An led which illuminates when mix summing amplifier is within 3dB of clipping It means that the bus signal level 1s very high and in danger of being distorted The input signals feeding the send should be reduced either by pulling down their faders or by reducing the module input gain T B ENABLE This switch preselects talkback from the master module to the monitor send output To speak to the output the talkback key on the master module must be depressed Note that talkback 1s injected after the MUTE so that if the monitor output is muted it is still possible to speak to the artist REV This switch reverses the phase strictly the polarity of the monitor send output and may be useful on occasions when feedback 15 troublesome INSERT Although there is no front panel control associated with the INSERT POINT it is a significant part of the signal path With no plug inserted the signal is passed through normalled to
3. NU RHYTHM GUITAR USING IN EAR MONITORING PA LEFT KEYBOARD GUITAR CABINET gt S RADIO TRANSMITTERS 2 lt gt 22 5 OO KEYBOARD KEYBOARD SAX amp WEDGE EFFECT UNITS ee 4 BASSIST MONITOR DRUMMER CONSOLE emensus DRUM WEDGE BASS WEDGE OC F ncussiON PERCUSSION WEDGE BASS CABINET POSITIONING THE WEDGES It may sound obvious but if an artist 1s to properly hear a monitor feed then they must be located within the primary soundfield of the speaker and located close to it because ofthe high ambient stage levels It 15 equally important to prevent the monitor feed from going where it is not wanted such as into the microphones and from this it follows that the wedges should be placed within the dead area of any nearby microphone s response For this reason microphones with a cardiod response are recommended rather than omnidirectional microphones Feedback may still be a problem and a first line of defence 15 to use the PHASE polarity reversal switch associated with the monitor send This will cause the direct microphone signal and the monitor signal to cancel assuming that this 1s not already happening due a phase reversal somewhere else in the system thereby increasing the margin before feedbac
4. ON OO Press the 48V switch on the input module if phantom power 15 required for a condenser mic or DI box INPUT GAIN Select hi gain on channel 1 by having the GAIN switch in the UP position fora Turn up INPUT GAIN control on channel 1 until the signal present led 1s on but not so high that the peak led 1s on when speaking into the microphone 6 CS12M OPERATION MANUAL Turn up rotarv fader channel 1 to the OdB calibration rotary 0 point Make sure the MUTE switch is neither pressed illuminated gt PAK e Turn the control for monitor send 1 to around number 7 3 3 Push up the faderonoutputmodule1to _ 0 10 1 9 OdB point 4 1 9 7 _ 7 4 0 10 5 33 gt g pu 2 8 L 4 6 2 8 10 e 20 e NEMPE To O O 40 lt gt 2 e e e 2 Look for signal on the group output meter by speaking into microphone The level should be around 6dB with occassional flashing of the red leds The BUS PEAK leds should not flash Ifthe level 1s too low then re adjust the input gain control on the input module Ideally the input fader should remain close to the OdB point with the SIGNAL PRESENT led ON The PEAK led should not be indica
5. maintenance adjustments or repairs to the Equipment iv The End User has used the Equipment for such purposes as DDA recommends with only such operating supplies as meet DDA s specifications or approval and otherwise in all respects in accordance with DDA s recommendations Defects arising as a result of the following are not covered by this Warranty Faulty or negligent handling chemical or electro chemical or electrical influences accidental damage Acts of God neglect deficiency in electrical power air conditioning or humidity control Benefit of this Warranty may not be assigned by the End User End Users who are consumers should note that their rights under this Warranty are in addition to and do not affect any other rights to which they may be entitled against the seller of the Equipment DDA shall not be liable for any damage caused to persons or property due to lt Incorrect usage of the Equipment i Other equipment attached to the Equipment which is not approved by DDA ii Modifications made by non authorised persons or by using non recommended parts or incorrectly made In no circumstances shall DDA be liable for any indirect or consequential costs damages or losses including loss of business profits operating time or otherwise arising out of the use or inability to use the product whether or not the likelihood of damage was advised to DDA or its distributor Fuses and filament lamps are specifically
6. 8 9 10 11 12 These controls adjust the signal level to the individual monitor sends Thus to send more signal to Monitor Send 2 simply turn up the control Note that these monitor sends normally receive the POST FADE signal and that the PRE switch must be pressed to obtain a pre fade signal Monitor sends 7 through 12 can be used as stereo sends by pressing the STEREO switch on the output module and in this case the odd numbered control for example number 7 will be used to pan the mono signal across the stereo output The even numbered control for example number 8 will be used as the level control PRE 1 6 This sends a prefade signal to Monitors 1 through 6 Normally internal link 7 will be installed giving a pre fade postmute signal Removing link 7 and inserting link 8 allows a pre equaliser signal to be sent PRE 7 10 This sends a prefade signal to Monitors 7 through 10 Normally internal link 3 will be installed giving a pre fade postmute signal Removing link 3 and inserting link 4 allows a pre equaliser signal to be sent PRE 11 12 This sends a prefade signal to Monitors 11 and 12 Normally internal link 5 will be installed giving a pre fade post mute signal Removing link 5 and inserting link 6 allows a pre equaliser signal to be sent CS12M OPERATION MANUAL THE CHANNEL FADER lt When pressed this mutes the POST FADE signal and any SF POST FADE monitor sends PE
7. BUS 1 9 1 LF HF BUS 8R SIMILAR TO BUS 10R AND 12 TALKBACK SPLIT ES GROUND E m INPUT MODULE CHANNEL FADER 2 Em 10 x Ig oe NS 2 SIGNAL PRESENT INSERT POINT 99 2 4 PRE 1 m 22 E POST PRE PRE 2 7 tear m V2 1 LEVEL PAN B 111 12 V LEVEL PAN th 5 PRE PRE 2 1 uve 12 4128 MONO INPUT MODULE 19 THESTEREO INPUT MODULE orv i c HF 0 102 6 6 STEREO 20 The stereo input module contains a high quality balanced input stage thatis used for the microphone and line input signals This stage 1s followed by a High Pass Filter Equaliser and Insert Point before the signal 1s passed through the channel fader to become available for the monitor send buses The pre equaliser and the pre fader signals can also be used to feed the monitor sends depending upon the operational circumstances A total of 12 Monitor Sends are available 6 of which can be switched for stereo operation the two level controls forming a PAN and LEVEL pair PEAK and SIGNAL PRESENT leds assist in setting the pre fade signal level and the signal may be metered and listened to using the PFL facility The stereo input module allows stereo mic or line level signals to be fed from for
8. Example Keyboards Stereo Overhead drum microphones Stereo snare drum microphones Audience ambient microphones for in hear use Effect returns CS12M OPERATION MANUAL 48V Provides 48 volt phantom power for a condenser microphone or D I box The 48V ON switch on master module must be ON for phantom power to operate Optional balancing transformers may be fitted to the Mic Line Inputs GAIN RANGE The gain control is a wide range rotary potentiometer which is active on both Mic and Line Inputs With Mic selected the gain can be adjusted from 15dB to 65dB For Line inputs the adjustment is from 10dB to 20dB HI LO GAIN Pressing this inserts an attenuator into the input circuit and alters the range of gain adjustment available This should be pressed when high level or line level signals are connected to the channel through line input jack Note that if a Jack is not inserted into the line input socket then the XLR connector may be used as the line input The TRS jack could also be used as a microphone input although this 1s not recommended and phantom power will not be available REV Pressing this reverses the phase or more correctly the polarity of the left input signal If a sound source 15 picked up by more than one microphone and there 15 a phase or polarity difference between the microphones then the signal may be completely or partially cancelled leading to a very thin sound
9. Phase or polarity reversal can be used to correct the situation In some instances the cancellation induced by using polarity reversal can be used constructively to eliminate spill from one microphone to another although care is required when trying this On the stereo input reverse switch can be used to compensate for opposing microphone techniques for example 2 mics on the top and bottom of a snare drum 80Hz This inserts an 80Hz highpass filter with a rolloff of 18dB per octave into the signal path after the input amplifier This may be used to eliminate unwanted low frequency noises transmitted to the microphone through a floorstand for example STEREO INPUT MODUE 21 3 0 6 6 HI 900 MID 9 6 9 12 15 250 LO JS MID 3 9 L EQ THE EQUALISER The equaliser is a 4 band design with shelving high and low sections in addition to two swept mid frequency sections sections have a range of 15dB HF A shelving high frequency equaliser operating at 10kHz which can be used to boost or cut the high frequency content of the signal HI MID A peaking equaliser which can be used to boost or cut signal within the frequency range 900Hz tol 4kHz with a Q of 1 4 LO MID A peaking equaliser which can be used to boost or cut signal within the frequency range 70Hz to 2 2kHz with a Q of 1 4 LF shelving low frequency equaliser operating at 100Hz which can be used to
10. a slave The BUS LINK facility is located on the rear ofthe frame below the master module Access is made by removing the BUS LINK panel to expose a connector with a handle Pull this connector away from the console and plug in the appropriate end of the linking cable depending upon whether the console is to be a master or a slave Similar action should be taken on the second console using the other end of the linking cable If a console is to be a master then use the master end of the bus link cable which maintains the link between the input and the output modules The cable then connects the input modules from the slave console onto the master console buses If a console 15 to be a slave console then use the slave end of the cable which breaks the link between the input and output modules and connects the input modules over to the buses of the master console The master and output modules of this console are now disabled The ground cable should always be connected to both consoles using the ground studs on the rear panels of the consoles When linked operation is no longer required the link cable should be removed from both consoles and the original connectors replaced It is strongly recommmended that the cover plates are then replaced to prevent the ingress of electromagnetic interference BUS LINK PORT a BUS LINK PORT GROUND STUD INPUT BUS OUTPUT BUS INPUT BUS OUTPUT BUS MASTER CONSOLE SLAVE CONSOLE The above illustrati
11. controls has an identification pad associated with it This can be written on to assist in identifying the purpose of the sends LITTLITE M CONNECTORS Two 4 pin LITTLITE lamps can be plugged in here to illuminate the console PFL 18 18 48 These leds indicate presence ofthe 18 volt rail 18 volt rail and the 48 volt rail When the console is powered all three should be illuminated ON This illuminates when the 48 volt supply 1s available to the input modules The recessed switch can be used to switch off the 48 volts if the front of house console 15 being used to feed the phantom power With the 48 volts switched off their is no possibility of any noise due to accidental operation of the phantom power switch on a module THE MASTER MODULE 31 NEUTRIK 0000000000606 e e e PFL AFL PFL MASTER INPUT O PFE 49 3 2 2 3 3 4 4 5 5 AFL 101 2 3 3 4 4 5 5 32 TALKBACK MICROPHONE INPUT The talkback microphone should be plugged in here Ifa phantom powered microphone is used internal link 1 must be installed It is also possible to plug other signals in here such as an oscillator It is also possible to feed an input from the front of house console so that the FOH engineer could talk to the sends Make sure that the level from the oscillator or the FOH console is at a suitable level around 50dBu It may b
12. excluded from this warranty This notice does not affect your statutory rights WARRANTY 23 Declaration of Conformity The Manufacturer of the Products covered by this Declaration is EVI Audio Klark Teknik Building Walter Nash Road Kidderminster Worcestershire DY11 7HJ The Directives Covered by this Declaration 89 336 EEC Electromagnetic Compatibility Directive amended by 92 31 amp 93 68 EEC 73 23 EEC Low Voltage Equipment Directive amended by 93 68 EEC The Products Covered by this Declaration Model 53 Mixing Console Model 58 Mixing Console Model CS12M Mixing Console The Basis on which Conformity is being Declared The products identified above comply with the protection requirements of the EMC Directive and with the principal elements of the safety objectives of the Low Voltage Directive and the manufacturer has applied the following standards EN 55013 1990 Limits and methods of measurement of radio disturbance characteristics of Broadcast Receivers and Associated Equipment EN55020 1988 Sound and Television Broadcast Receivers and Associated Equipment Electromagnetic Compatibil ity EN 60065 1994 Safety requirements for mains operated electronic related apparatus for household and similar general use The technical documentation required to demonstrate that the products meet the require ments of the Low Voltage Directive has been compiled by the signatory below and is availab
13. isolation monitor engineer then has much clearer idea of what the artist is receiving and consequently can adjust the mix much more precisely In fact the monitor engineer may have his own in ear system allowing auditioning of precisely the same signal as 15 sent to an artist In ear monitoring uses the good fit of the earpieces to provide a high degree of attenuation to external sounds In top flight systems the earpieces can be custom moulded to the exact shape of an artist s ear Bone conduction will obviously not allow sounds to be completely attenuated but it will be sufficient to enable a monitor mix to be accurately heard while attenuating other sounds It can be expected that the monitor sound will now be at a lower level than that coming from a wedge Some artists notably bass players and drummers like to feel the sound sometimes referred to as trouser flapping and this is one area where in ear monitoring cannot compete In these instances a sub woofer can be supplied feeding the low frequencies to the performer For a drummer the sub woofer could be placed under the drum riser while a bass player could stand close to or even upon his instrument s loudspeaker cabinet It is even possible to buy a drum stool with built in loudspeaker One of the great advantages of radio links 1s the mobility they bestow and a combination of in ear monitoring with a radio microphone allows a performer to go virtually anywhere within a pe
14. level or the following equipment normally a power amplifier has an input sensitivity unsuited to the console output OUTPUT MODULE 29 OUTPUT MODULE CONNECTOR AND PIN DEFINITIONS INSERT Send Output 3 Pin Male XLR type Balanced O 7 Nominal Output Level 16dBu to 66dBu Pin2 Signal ve Hot Pin3 Signal ve Cold Pin 1 Ground Output Impedance lt 75 Ohm e Insert Point 4 TRS Jack Socket A Gauge unbalanced Nominal Input Output level INSERT Tip Insert Send Q 8 Ring Insert Return Sleeve Ground Output Impedance 75 Ohm Input Impedance gt 10 kOhm er 30 CS12M OPERATION MANUAL THEMASTER MODULE The master module allows the monitor sends to be checked by using the solo system either through a local wedge loudspeaker or headphones No signal will be heard until a solo 15 requested LITTLITE LITTLITE When setting up a monitor send the recommended method of working 15 to first of all AFL the monitor send output Input channels can then be PFLed without releasing the output solo due to the input priority system When input solo 15 released the output solo will once again be heard Thus an overall monitor send can be continuously checked and adjustments made to input channels by pressing only the solo forthe input channel IDENT PADS Each horizontal row of input send
15. new frequency by 3 AdB You will reach a point where pulling down individual frequencies no longer works as there are many frequencies causing the howl round simultaneously This 1 the time to call ita day and move onto the next monitor feed using the same procedure The input channel High Pass Filters can also be used to clean up the sound and assist in preventing feedback by reducing vocal popping and any sound transmitted through the stage and up the microphone stand Remember that their effect will be heard on all the monitor sends that the microphone 15 routed to A feedback safety margin should always be left as there will be a major difference between the sound check and the actual performance This margin will allow the monitors to be turned up as and when the stage performance swings into life without the risk of feedback 48 CS12M OPERATION MANUAL RECOMMENDED AUXILIARY EQUIPMENT The following items of equipment referred to in the preceding articles may be of use when setting up a monitor system Klark Teknik DN360 Graphic Equaliser This 1s a dual channel 30 band graphic equaliser offering 12dB of boost and cut in one third octave steps between 25Hz and 20kHz Klark Teknik DN3600 Programmable Graphic Equaliser This 1s similar to the DN360 but offers digital control and storage of up to 66 equalisation programs Klark Teknik DN6000 Audio Analyser This incorporates a Pink Noise Generator and will be found useful for identifyi
16. of the fader Q Associated with peaking equalisers the Q 15 the factor which describes how wide the peak or trough of enhancement is The smaller the Q the wider the bandwidth of the equaliser will be Typically a fixed equaliser will have a Q of about 1 5 equating to a bandwidth of about 1 octave 52 CS12M OPERATION MANUAL QUASI BALANCED An arrangement whereby a bus 15 terminated with a differential input The bus however 15 not truly balanced instead a bus common 15 used to pick up any interference which will also be picked up by the true bus The interference then appears as a common mode signal at the mixing amplifier RETURN Any signal that is sent out of the console and is returned after some form of processing ROUTING The sending ofa signal to a bus normally by pressing a switch Signal can be routed to several buses simultaneously if required SCRIBBLE STRIP An area ofthe console reserved for the user to write on usually in order to identify channel usage SEND The output from a channel insert point 1s called the 1nsert send SHELVING EQ This means that the response of the equaliser becomes constant after the turnover or corner frequency has been passed Thus a high frequency shelving equaliser operating at 10kHz will have a rising response as the frequency approaches 1 0kHz but will be flat after 10kHz This is normally used on the high and low frequency sections ofan equaliser SIDEFILL A mix usually in
17. the PRETI or pre equaliser signal to be sent PRE 11 12 This sends a prefade signal to Monitors 11 and 12 Normally link 5 will be installed giving the pre fade post cut signal Removing link 5 and inserting link 6 allows the pre equaliser signal to be sent CS12M OPERATION MANUAL THE CHANNEL FADER When pressed this mutes the POST FADE signal and FH POST FADE monitor sends PEAK LEVEL sio LEVEL PEL This rotary control adjusts the post fade signal level within the module Any monitor send receiving the post fade signal will be dependent upon this fader STEREO PEAK This illuminates when the signal level 1s too high and close to being clipped Clipping 1s a severe form of distortion and indicates that the input gain ofthe module should be reduced SIG This illuminates in the presence of signal and may be a useful diagnostic aid in the event of any problems PFL This allows the module signal to be listened to in isolation on the monitoring system If pressed when an output AFL 15 active the output will be muted so that the input can be heard When the input PFL 1s released the output AFL will be returned to the local monitor This 15 known as input priority SIEREO INPUT MODULE 25 SIEREO INPUT CONNECTOR AND PIN DEFINITIONS Mic Line Input 3 Pin Female XLR type Balanced Pin 2 Hot Nominal Input Level 16dBu to 66dBu Pin 2 Signal ve Hot Pin 3 S
18. the cancellation induced by using polarity reversal can be used constructively to eliminate spill from one microphone to another although care 1s required when trying this S0Hz This inserts an 80Hz highpass filter with a rolloff of 18dB per octave into the signal path after the input amplifier This may be used to eliminate unwanted low frequency noises transmitted to the microphone through a floorstand for example MONO INPUT MODULE 13 THE EQUALISER s 102 6 6 The equaliser 15 a 4 band design with shelving high and low sections in addition to two swept mid frequency sections sections have a range of 15dB HF A shelving high frequency equaliser operating at 10kHz which can be used to boost or cut the high frequency content of the signal HI MID A peaking equaliser which can be used to boost or cut signal within the frequency range 470Hz to 1 5kHz with a of 1 4 LO 70 MID 3 9 3 d LO MID 12 A peaking equaliser which can be used to boost or cut signal imus within the frequency range 70Hz to 2 2kHz with a Q of 1 4 LF A shelving low frequency equaliser operating at 100Hz which can be used to boost or cut the low frequency content ofthe signal EQ This switch inserts the equaliser into the signal path If the equaliser 1s not required then noise and distortion although very low can be minimised by ensuring that the equaliser 15 not switched into circuit If the equaliser 15 used
19. the insert return Ifa plug is inserted the signal must travel out from the module through some external device and back through the insert return This allows any signal processing on the monitor send to be done within the console allowing it to be soloed and checked by the monitor engineer before being sent to its destination The insert point 1s located before the fader so that as the fader 15 reduced any noise from the external unit will be reduced proportionally CS12M OPERATION MANUAL STEREO OUTPUT MODULES 7 12 ONLY Depressing this switch changes the monitor sends located on the output modules from two mono into one stereo send The output controls remain the same however the input module controls become level and pan pair rather than two level controls MUTE This switch mutes the monitor output although talkback if selected will still be available to the output AFL This enables the monitor send to be soloed If an input solo 1s active it will take precedence over the output solo Indication of an active input solo 15 given on the master module Solos can be listened to on the local monitor outputs or on the headphone output When working in stereo both AFL switches on an output module must be pressed to hear the stereo output FADER This controls the level ofthe monitor send output Operation close to the OdB point 15 expected and any significant deviation from this means either that the bus signals are the wrong
20. then an immediate comparison between the unequalised and equalised sound 15 made possible by using this switch INSERT Although there 15 no front panel control the insert point follows the equaliser With nothing plugged into the insert jack signal 1s simply passed through to the channel fader When a Jack 15 inserted the signal path 1s broken and signal 15 forced to flow through an external device before returning to the module The insert return signal is used to operate the PEAK and SIG leds 14 CS12M OPERATION MANUAL EQUALISATION AND FILTER RESPONSES MONO INPUT MODULE HIGH PASS FILTER HI MID EQUALISER LO MID EQUALISER HF LF EQUALISER 4 9 6 PAN 3 7 8 1 9 4 5 6 LEVEL Lo 3 16 THE MONITOR SENDS 1 12 There are 12 monitor sends six of which can be used as stereo pairs or individual mono sends sends are post fade until a PRE switch 15 pressed There are three PRE switches covering sends 1 6 7 10 and finally 11 12 MONITOR SENDS 1 2 3 4 5 6 7
21. 3 4 5 6 These controls adjust the signal levelto the individual monitor sends Thus to send more signal to Monitor Send 2 simply turn up the control Note that these monitor sends normally receive the POST FADE signal and that the PRE switch must be pressed to obtain a pre fad A mono sum ofthe left and right inputs are always fed to monitor sends 1 6 MON 7 8 9 10 11 12 These controls adjust the signal levelto the individual monitor sends Thus to send more signal to Monitor Send 7 simply turn up the control Note that these monitor sends normally receive the POST FADE signal and that internal links exist to change this to either ofthe pre fade signals A mono sum of left and right inputs are fed to monitor sends 7 8 or 9 10 or 11 12 if they are selected as mono sends Monitor sends 7 through 12 can be used as stereo sends by pressing the STEREO switch on the output module In this case the stereo input signal 1s fed to the bus pair via the level and pan controls The even numbered control for example number will be used as the level control PRE 1 6 This sends a prefade signal to Monitors 1 through 6 Normally internal link 7 will be installed giving a pre fade post mute signal Removing link 7 and inserting link 8 allows a pre equaliser signal to be sent PRE 7 10 This sends a prefade signal to Monitors 7 through 10 Normally link 3 will be installed giving the pre fade post cut signal Removing link 3 and inserting link 4 allows
22. 3 Pin Male XLR type Balanced Nominal Output Level 6dB 2 Signal ve Hot Pin3 Signal ve Cold Pin 1 Ground Output Impedance lt 75 Ohms Power Input 6 Pin Male XLR N C 2 18V 3 18V 4 OV 5 48V 6 Chassis Ground Post This 15 bonded to the console chassis Note that Pin of all XLR connectors and the sleeves of all jack connectors are taken to chassis is not externally available CS12M OPERATION MANUAL MASTER MODULE BLOCK DIAGRAM ddd Hi 3NOHdO IOIM 2931340 S3NOHdaQV3H JOT OIOS 2031241 OTOS 9001 O1OS 109100 1 12 9001 A 2 19 97 V OTOS 1 YOLINOW 1V201 av 4 0 a elOLINOIN WOOT eo 3 IYCIOIN el3lS vIA 15 4313 401 SN OL 419 sna 1 5018 OL YVIIWIS 8 504 111 GNV 16 OL 14 1519 OL WOILNAGI Z sna 2 OL WOULNIGI 1 sna 14 22 MASTER MODULE BUS LINKING Bus linking enables a pair of CSI2M consoles to be used in a master slave configuration Normally a rear mounted connector will link the input modules to the output modules within a console This connector can be removed and replaced by a bus linking cable which performs differently depending upon whether the console is to be a master or
23. AK LEVEL SG LEVEL PFL This rotary control adjusts the post fade signal level within the module Any monitor send receiving the post fade signal 65 will be dependent upon this fader PEAK This illuminates when the signal level is too high and close to being clipped Clipping is a severe form of distortion and indicates that the input gain of the module should be reduced SIG This illuminates in the presence of signal and may be a useful diagnostic aid in the event of any problems PFL This allows the module signal to be listened to in isolation on the monitoring system If pressed when an output AFL 15 active the output will be muted so that the input can be heard When the input PFL 15 released the output AFL will be returned to the local monitor This 15 known as input priority MONO INPUT MODULE 17 MONO INPUT CONNECTOR AND PIN DEFINITIONS Mic Line Input 3 Pin Female XLR type Balanced Pin 2 Hot Nominal Input Level 16dBu to 66dBu Pin 2 Signal ve Hot Pin 3 Signal ve Cold Pin Ground Input Impedance gt 2kOhm Split Output 3 Pin Male XLR type Balanced Pin 2 Hot Nominal Output Level 16dBu to 66dBu Pin 2 Signal ve Hot Pin 3 Signal ve Cold Pin 1 Ground Line Input 1 4 TRS Jack Socket Gauge Balanced Nominal Input Level 16dBu to 14dBu Tip Signal Hot Ring Signal ve Cold Sleeve Ground Input Impedance gt 10
24. CS12M Operators Manual Klark Teknik Building Walter Nash Road Kidderminster Worcestershire DY11 7HJ Tel 44 0 1562 741515 Fax 44 0 1562 745371 Email info uk telex com Website www ddaconsoles com CS12M Operators Manual O Telex Communications UK Limited In line with the company s policy of continual improvement specifications and function maybe subject to change without notice This Operator Manual was correct at the time of writing E amp OE Contents 4 Phe CAI ONS ccce 5 MET ATG 5 6 CSI2M specca O 10 CS12M dimensions and THE MONO Input Mod le oto tes beate ae N 2 The stereo input module 20 DULTHOQUIG 28 3 37 Installation SUI 38 ABe ee Aree e LU PIE PERS 4 Recommended auxiliary equipment 49 EOS Sy aetates 50 NY ER LEVER 55 D claration 56 The information in this manual has been carefully verified and is believed to be correct however DDA reserves the right to modify the product described in this manual at any time This document may not be copied or reproduced by any method whatsoever whether in part or in w
25. Ground is not externally available on the console Pin 1 ofall XLR style connectors is connected to chassis The sleeve of all jack connectors is connected to chassis The chassis ground is effectively forming a continuous shield covering the electronics and the cable carrying the signal between them Ground lift switches are provided on the microphone inputs and split outputs so that when the console is used in conjunction with a front of house FOH console and there are any grounding problems then isolation can be achieved between the grounding systems Ifthe ground lift is operative then phantom power should be supplied from the front of house console and the master phantom switch on the CS 12Monitor console can be switched off POW ER AM PLF ER POW ER SUPPLY CONSOLE 18V 18V cow 48V 18V CON 48V 487 LJ OV a 0V f m PN 1 CON PN 1 AC 1 GROUND sTUD POW ER COM PANY GROUND POW GROUND 40 CS12M OPERATION MANUAL TUTORIAL The role of the monitor console 15 fundamentally different from that of the front of house console in that it must produce a large number of distinct mixes of equal relative importance In contrast the front of house console produces one main mix wi
26. Operating Level 4dBu with a unity gain structure Frequency Response 20Hz 20kHz 0 5dB any input to any output at a gain lt SOdB EQ range HF 15dB 10kHz shelving Hi Mid 15dB 470Hz 15kHz 1 4 Lo Mid 15dB 70Hz 2 2kHz Q 1 4 LF 15dB 100Hz shelving Hi Pass Filter S0Hz 18dB octave roll off Channel Mute Attenuation gt 90dB IkHz Input Monitor Send Attenuation gt 85dB IkHz Distortion 0 005 1kHz any input to any output at a gain lt SOdB Noise 82dBu 24 channels routed and muted EIN 127 5dBu ref 200 ohms EIN 128 7dBu ref 150 ohms Maximum output level 204 into a bridging load Maximum input level 30dBu Input Impedance gt 2kohm Output impedance lt 75R Signal present threshold 21dBu Peak led threshold 3dB below clipping Power consumption lt 300 Watts 10 CS12M OPERATION MANUAL CS12M DIMENSIONS WEIGHTS 1547 00mmY 60 91 40 1298 00mm 51 10 32CH 1049 00mm 41 30 24CH e 800 00mm 31 50 16CH E A MASTER AND OUTPUT MODULE AREA SE DPA ciu J 0 7 ELTE 6 Y E 11 9mm 50 0mm 124 0 4 88 0 47 1 97 565 0mm 22 24
27. and listened to using the PFL facility CS12M OPERATION MANUAL THE MONO INPUT MODULE 48 Provides 48 volt phantom power for a condenser microphone or D I box The 48V ON switch on the master module must be ON for phantom power to operate Optional balancing transformers may be fitted to the Mic Line Inputs GAIN POTENTIOMETER The gain control 15 a wide range rotary potentiometer which is active on both Mic and Line Inputs With Hi gain selected the gain can be adjusted from 15dB to 65dB For Lo gain inputs the adjustment is from 10dB to 20dB HI LO GAIN Pressing this inserts an attenuator into the input circuit and alters the range of gain adjustment available This should be pressed when high level or line level signals are connected to the channel through the line input jack Note that if a jack is not inserted into the line input socket then XLR connector may be used as the line input The TRS jack could also be used as a microphone input although this 1s not recommended and phantom power will not be available REV Pressing this reverses the phase or more correctly the polarity ofthe input signal If a sound source is picked up by more than one microphone and there is a phase or polarity difference between the microphones then the signal may be completely or partially cancelled leading to a very thin sound Phase or polarity reversal can be used to correct the situation In some instances
28. boost or cut the low frequency content of the signal This switch inserts the equaliser into the signal path Ifthe equaliser 15 not required then noise and distortion although very low can be minimised by ensuring that the equaliser is not switched into circuit If the equaliser 15 used then an immediate comparison between the unequalised and equalised sound 1s made possible by using this switch 22 512 OPERATION MANUAL EQUALISATION AND FILTER RESPONSES HIGH PASS FILTER HI MID EQUALISER LO MID EQUALISER HF LF EQUALISER STEREO INPUT MODULE 23 456 PAN y 8 LO 4 5 6 LEVEL 1 L 0 10 5 LEVEL 4 6 10 3 7 2 8 1 9 0 10 D 5 4 9 amp 113 7 2 8 1 L O 10 R 5 LEVEL 4 6 123 7 24 THE MONITOR SENDS 1 12 There are 12 monitor sends six of which can be used as stereo pairs All sends are post fade until a PRE switch 15 pressed There are three PRE switches covering sends 1 6 8 10 and finally 11 12 MON 1 2
29. e necessary to use an attenuator TALKBACK LEVEL This adjusts the gain ofthe talkback microphone amplifier TALKBACK This latching switch enables talkback to any monitor output where it is pre selected METERS A pair of peak reading meters indicating the PFL AFL levels Input PFL will be displayed on the left meter AFL signals from mono sends will display on both meters while AFL from stereo sends will have their left right levels displayed It is necessary to have both AFL buttons on a stereo send pressed to see the left and right signals or else only one or other will be displayed INPUT An led indicating that an input solo PFL 1s active PFL A level control to adjust the audio level of input solos PFL Note that this does not affect the meter readings AFL A level control to adjust the audio level of output solos AFL Note that this does not affect the meter readings The AFL and PFL level controls can be used to adjust the volume of input and output solos so that they match one and other CS12M OPERATION MANUAL 5 4 5 5 LOCAL MONITOR 35 40 50 m MASTER MODULE PHONES A rotary fadercontrolling the signal level fed to the headphone socket This output is suitable for driving headphones with an impedance of 100 ohms or greater The headphone output
30. gt CONSOLE WEIGHTS AND DIMENSIONS Unpacked Packed Dimensions 16 22kg 48 5lbs 30 66 1165 104 x 65 x 30 cms 40 9 25 6 x 11 8 inches 24 26 6kg 58 7lbs 40kg 88 2lbs 129 x 65 x 30 cms 50 8 x 25 5 x 11 8 inches 32 31 2kg 68 8lbs 50 110 21 6 154 x 65 x 30 cms 60 6 x 25 6 x 11 8 inches 40 35 8kg 79 lbs 60kg 132 3lIbs 180x 62 x 40 cms 70 9 x 24 4 x 15 7 inches POWER SUPPLY DIMENSIONS This is a 2U high rack mounting box with a depth of 172mm 6 75 PSU Weight 5 1116 CS12M DIMENSIONS AND WEIGHTS 11 THE MONO INPUT MODULE HF n a a G A p 12 The mono input module contains a high quality balanced input stage thatis used for the microphone and line input signals This stage 15 followed by a High Pass Filter Equaliser and Insert Point before the signal is passed through the channel fader to become available for the monitor send buses The pre equaliser and the pre fader signals can also be used to feed the monitor sends depending upon the operational circumstances A total of 12 Monitor Sends are available 6 of which can be switched for stereo operation the two level controls forming a PAN and LEVEL pair PEAK and SIGNAL PRESENT leds assist in setting the pre fade signal level and the signal may be metered
31. he line input would not be sensitive enough DIM This reduces the monitor level by a preset amount usually 20dB in DDA products DIRECT OUTPUT This refers to the individual output of a channel which is available even ifthe channel is not routed EBO Electronically Balanced Output 50 CS12M OPERATION MANUAL Equaliser or Tone Control FOLDBACK This 15 the signal which 15 usually fed to the artists headphones GROUND SENSING OUTPUT An output stage where any ground noise is injected into the feedback loop in such a way that it appears in phase on the amplifier output As the ground should be the reference for the following stage if 1t is moving and the signal is moving in the same way then no net signal results GROUP OUTPUT An output usually routed to a multitrack tape recorder input This output 1s derived from a bus and one group output stage 1s required for each bus HF High Frequency HIGH PASS FILTER HPF A filter which cuts out frequencies below its operating frequency It can be used to filter out rumble picked up by a microphone for example IN EAR MONITORING A monitoring system using specially designed earphones as opposed to loudspeakers INSERT POINT Sometimes referred to as a patch point This 1s an interruption to the signal path to allow insertion ofa signal processing device INTERMISSION PLAYBACK This allows a signal to be played out from the master outputs of the console with the ma
32. hole without the written permission of DDA O Copyright 1998 DDA All rights reserved DOC02 CS 12 B INTRODUCTION The DDA CS12M is a Truly affordable medium format Stage Monitor audio mixing console allowing a cost effective upgrade from the dual FOH Monitor mixing scenario often seen during smaller performances CS 12M available with between 16 and 40 inputs also opens up the possibilities of using Stereo In Ear Monitoring to applications previously restricted by finance ALL DDA CS12M consoles include A customer specified number of mono input modules each with wide range Mic or Line level input section a 4 band Equaliser 12 full time monitor sends and separate channel level control 4 stereo inputs Pre Post fader selection switches for added flexibility Front Panel switchable Mono or Stereo monitor send selection e A Semi Modular construction allowing user option setability and future proof maintenance possibilities Built in Mic Splitter on all inputs e 13 Long Throw faders on all monitor outputs and local stereo output Extensive output control allowing individual selection of output phase talkback selection AFL Solo and Mute e Full Output Metering with the unique Bus Peak indication Full console linkability allowing any two CS12M consoles to be used as one Global 48 volt phantom power disable allowing complete and control of microphones from the FOH positi
33. ignal ve Cold Pin 1 Ground Input Impedance gt 2 Split Output 3 Pin Male XLR type Balanced Pin 2 Hot Nominal Output Level 16dBu to 66dBu Pin 2 Signal ve Hot Pin 3 Signal ve Cold Pin Ground Q LINE Line Input 1 4 TRS Jack Socket Gauge Balanced RIGHT Nominal Input Level 16dBu to 14dBu LINE Tip Signal ve Hot Ring Signal ve Cold Sleeve Ground Input Impedance gt 10 kOhm PUSH TO GND LIFT The GROUND LIFT switch isolates both the Microphone Input and the Split connector from the console ground It may be of use when the split connector 15 feeding a front of house console when there is a great danger of ground loops being formed WOW Ww wow wow ww RRS eene lt SIGNAL HOT 50506 POO 050505060060 SIGNAL COLD LINE INPUT GROUND Q GROUND MIC INPUT LIFT SWITCH SPLIT OUTPUT H SIGNAL HOT SIGNAL COLD GROUND LR INPUT XLR 26 CS12M OPERATION MANUAL SIEREO INPUT MODULE BLOCK DIAGRAM 3 aand _ C STEREO INPUT MODULE 27 THE OUTPUT MODULE BUS 000000000000 REVERSE 2 m 29 rm
34. in 3 as the hot pin When going from balanced input to balanced output this 15 of little consequence but when unbalanced signals such as those found on the insert points are used then phase reversal can result The CS12MONITOR and all DDA products are wired PIN 2 HOT ATTENTION CABLES This product should only be used with high quality screened twisted pair audio cables terminated with metal bodied 3 pin XLR connectors The cable shield should be connected to Pin 1 Any other cable type or configuration for the audio signals may result in degraded performance due to electromagnetic interference ELECTRIC FIELDS Should this product be used in an electromagnetic field that is amplitude modulated by an audio frequency signal 20Hz 20 7 the signal to noise ratio may be degraded Degradation of up to 60dB at a frequency corresponding to the modulation signal may be experienced under extreme conditions 3V m 90 modulation No permanent damage or degradation of performance will be caused by these conditions INSTALLATION GUIDE 39 CSI2M GROUNDING The following illustration shows the grounding system of the CS 1 2Monitor console There are several points to note as follows For safety reasons the power company ground is bonded to the power supply chassis and connected through to the chassis of the console This should never be disconnected There 15 no direct connection between chassis and 0 Volts Audio Ground 0 Volts Audio
35. is located below the armrest at the front ofthe console PHONES PRE Pressing this allows the headphone output level to be adjusted independently of the local monitor output In the normal position UP the heaphone feed 15 post fader and post mute and therefore depends on the local monitor fader and mute MONO This allows the monitoring system to be switched to mono combining the left and right signals This may be used to check the mono compatibility of a stereo send or where only one local monitor speaker 15 in use MUTE This will mute the local monitor outputs when pressed Note that the headphone output will also be muted by this switch unless selected PRE LOCAL MONITOR FADER A linear fader controlling the level of the local wedge loudspeaker An external amplifier 15 required to drive the local monitor loudspeaker Note that unlike the remainder ofthe faders on the console this fader has OdB at the top Note that the headphones will also be controlled by this fader when selected POST This gives the possibility of using the headphones rotary level control to preset a level and then using the fader as a headphone level control as required 23 CONNECTORS AND PIN DEFINITIONS LEFT MONITOR OUTPUT RIGHT MONITOR OUTPUT e 4 MADE IN ENGLAND 34 Monitor Output
36. k occurs There are phase reverse switches located on the input modules and their use 15 best restricted to correcting the polarity of any microphones that are out ot phase with respect to the others Where reversing the send polarity does not give enough level before feedback there is a technique known as Ringing Out that can be used to increase the feedback margin TUTORIAL 47 RINGING OUT Ringing out uses an equaliser usually a one third octave graphic type located in the feed to the monitor loudspeaker The monitor send insert point can be used for this purpose allowing the effect of any equalisation to be checked through the AFL system With the stage set up as for the performance go through one send at a time doing the following Turn up a monitor send until feedback occurs with someone speaking into a microphone routed to that send Using an audio spectrum analyser locate the howl round frequency and reduce the level at that frequency on the graphic equaliser by 3 4dB Ifa spectrum analyser is unavailable you can boost the frequencies one at a time on the graphic equaliser to find the ones the cause feedback at a low boost setting they can then be reduced in gain as in the previous method Increase the monitor level until feedback then re occurs with someone speaking into the microphone If it occurs at the same frequency pull it down by a few more decibels on the equaliser If ata different frequency then pull down this
37. le for inspection by the relevant enforcement authorities The CE mark was first applied in 1996 Signed G M Squires Authority Product Support Manager Date Ist January 1997 Attention The attention of the specifier purchaser installer or user is drawn to special measures and limitations to use which must be observed when these products are taken into service to maintain compliance with the above directives Details of these special measures and limitations to use are available on request and are also contained product manuals 54
38. ll prefer to send the phantom power from his console If phantom power 1s not required on the CS12M console it can be switched off completely using the recessed switch the master module Thus 1f any ofthe input phantom switches are pressed accidentally there will be no thump or click while the master power is off 42 CS12M OPERATION MANUAL Ifanartist does not receive correct foldback or monitor mix then performance ofthat artist may suffer consequently the foldback or monitor mix is much more important than might at first be imagined The balance of the performer to the rest of the ensemble in the monitor mix must be correct otherwise pitching difficulties may be encountered while a lack of ambience or reverberation can also affect the amount of life that a performer is able to inject into a performance It is also easier to follow abeat when the rhythm instruments are in mono Traditional monitoring relies on stage mounted loudspeakers usually fed from mono signal sources and although supplying the artists with the required foldback there are many drawbacks Not leastis the high level of sound on stage which can interfere with the front of house sound and introduce feedback In ear monitoringwas developed in the late 1980 s to overcome some ofthe problems inherent with traditional stage monitoring practices Usually a number of Wedge Monitor Speakers are used one positioned in front of each artist and fed with a mix adjusted to the
39. ll taken from a post fade stereo send Insert Points The monitor outputs are equipped with insert points allowing the insertion of equalisers and other equipment into the monitor output signal path This has a great advantage over the more conventional approach of placing this equipment in between the monitor output and the power amplifier as it allows the effect to be monitored by the engineer It can thus be accurately set up without the need for semaphore signals from the stage area Meters monitor outputs are metered to show the level from that output Peak meters give a truer indication of the actual signal level and this means that the signal can be run hotter than with VU meters improving the signal to noise ratio of the console Auxiliary Functions The monitor console may also have to perform other functions including splitting the microphone feeds from the stage to send to the front of house console as well as the monitor console Ifthis was not the case two microphones would be required one feeding the front of house console and the other feeding the monitor console Every input module in the CS12M has a second XLR which carries the output of a microphone splitter which is integral with the module A ground lift switch is provided to assist with any problems that may arise when the split output 15 used The CS12Mconsole has the ability to feed phantom power to the microphones although often the front of house engineer wi
40. mises Ifthe console has to be moved regularly then we suggest that you purchase a foam lined flight case available from your distributor if you cannot purchase one locally Only use the power supply and cables provide Your warranty 1s invalidated 1f other supplies or cables are used Ifyou experience any problem with the local mains or during thunder storms switch offthe power supply and unplug it from the mains supply SAFETY PRECAUTIONS 5 512 QUICKSTART For this you should have following items available Microphone and cable Power amplifier with mains cord and signal cable Loudspeaker with connecting cable Headphones CS12M console with power supply First of all make sure that the power supply 15 suitable for connection to your local supply and then connect the console to the power supply Connect your loudspeaker s to the amplifier and set the volume control s to a low level Connect the microphone into channel 1 and the power amplifier into Monitor Send 1 Output Switch ON the console BEFORE switching on the power amplifier Check that the leds on the master module illuminate for the 18V and 48V power rails If phantom power 15 required for PSU SIATUS your microphone then ensure that the 48V ON led is illuminated If not use a blunt non conducting 418V instrument such as a pencil or pen to push switch 18V which is located under the panel 48V
41. nels Saxophone A Saxophone B Direct Inject A total of 29 inputs are being used and therefore the console 15 likely to be at least a 32 input version This still leaves a few spare channels in the event of an additional input being required There are three wedges on stage which will use 3 of the mono sends on the console The vocalist guitarist and keyboard player have all elected to use stereo in ear monitoring thereby using a total of 6 sends combined to give three stereo sends The drummer is going to use a mono wired in ear feed in addition to his wedge At least one ofthe mono sends 15 used to feed an effect unit such as a reverberation device which is returned into the monitor console for sending to the monitor feeds As you can see it does not take long to use all the monitor outputs but with careful planning the number of sends could be reduced if really necessary by sending one output to more than one destination The drummer may for example want the same feed on his wedge as on his in ear monitor 46 CS12M OPERATION MANUAL There are many possible variations on this theme and it is therefore very difficult to give hard and fast rules as to how the console 15 best used As shown above sometimes stereo monitoring 15 not required and this releases another send on the console for use on another monitor mix FOH CONSOLE pee 11 PIECE BAND USING WEDGES AND IN EAR MONITORING MAIN VOCAL USING IN EAR MONITORING
42. ng feedback frequencies It may also be used for setting up the front of house system RECOMMENDED AUXILIARY EQUIPMENT 49 GLOSSARY This section provides a simple explanation of some ofthe terms used when describing the console features A GAUGE JACK This is a 1 4 jack which has a large tip diameter compared with a B gauge jack which has a smaller diameter tip and 1s usually found in broadcast use Both types could be described as TRS Tip Ring Sleeve and it is the A Gauge that is used on DDA product AFL After Fade Listen For listening to post fade signals those controlled by a fader AUXILIARY SENDS These are extra signal paths out of the console which are separate from the main mix and group outputs Each auxiliary output 15 like a separate mixer and can be controlled independently of the main faders They are used to provide special mixes to artists as they are recording normally called FOLDBACK or as a signal to be sent to an effect such as a reverberation or delay device BUS This is the term used to describe the summing or mixing ofa number of signals number of signals routed to the same bus will appear as one signal at the output of the bus mixing amplifier BUS TRIM A control used to adjusted the level of all signals going to a Group Output CHANNEL PATH The path used by the signal going to tape in an in line console D I Direct Inject is an input used for high level devices such as keyboards where t
43. on 4 CS12M OPERATION MANUAL SAFETY PRECAUTIONS IMPORTANT PLEASE READ BEFORE INSTALLING YOUR CS 12M CONSOLE Strong sources of electromagnetic radiation e g high power cabling video monitors and radio transmitters may cause degradation ofthe audio quality due to induced voltages in the chassis and connection leads Site the console away from such sources For the same reason it 15 advisable to site the power supply away from the console Electronic components are susceptible to conditions of excessive heat or extreme cold so take care not to use your console under such conditions Before powering up the console make sure that the power supply voltage selection matches the local mains supply Neverconnect or disconnect the power cable without switching off the power supply Similarly switch offthe console before removing or servicing modules Donotattempt to wipe clean the console with a cleaning liquid Most surfaces can be simply cleaned with a soft dry brush Should the chassis or channel ident strips need cleaning use only water or isopropyl alcohol Solvent based products should not be used as they may damage these parts Useawax based crayon to write on the scribble strips The use of adhesive backed tapes may damage the screen printing on the modules TRANSPORT It is recommend that you retain all the packing from your console should you ever need to return it for service or move the console to other pre
44. on shows how the link cable joins the input modules ofthe slave console to the output modules of the master console 36 CS12M OPERATION MANUAL THE POWER SUPPLY The interface type power supply for the console 15 a back mounted unit and operates from either 230V 120V 50 60 7 occupying 20 of space Clearance should be allowed in the rack such that sufficient cooling can take place 2U above the unit is suggested The outputs are rated as follows 18V at 4 0 Amps maximum 48V at 350mA maximum The outputs are electronically protected and the event of a shut down the supply must be switched off to reset it The positive and negative rails track so that 1f one fails the other will shut down to minimise any damage caused to the console The output cable is captive and 3 metres long DC Pinout 1 Not connected 2 18 Volts 3 18 Volts 4 0 Volts 5 48 Volts 6 Chassis The power supply carries the following approvals UL 95 and conforms to the EC Directive for Electromagnetic Compatibility Always connect the power supply to the console and the electricity supply before switching on Fusing 230V CSM02 0017 2 5 20mm S B Fuse LE C 120V 5 02 0016 2 5 20mm S B Fuse U L 100V CSM02 0006 3 15A 20mm S B Fuse PSU400J only POWER SUPPLY aT INSTALLATION GUIDE There are a number of points to consider when installing a mixing console Many of these points will have been addres
45. put PFL 15 selected while an output AFL 15 active the output AFL will be suspended When the input PFL is cancelled the output AFL 1s returned to the local monitor output This allows quick and intuitive operation with a useful reduction in the number of button pushes required Stereo or mono Before the advent of in ear monitoring mono monitor feeds were adequate With the introduction of in ear wireless systems stereo monitor mixes became a reality and this facility had to be available on the monitor console The CS12M allows six ofthe monitor sends to be switched for either mono or stereo operation Routing The routing on the monitor console is more akin to the auxiliary send facility of other consoles as it is usually done with rotary potentiometers and switches The potentiometers are used to create the mix to a monitor send or group output and a monitor console 15 likely to have a large number of knobs TUTORIAL 41 Pre Post fade The monitor feeds may be switched either pre or post fader With POST FADE selected then the sends will depend upon the channel fader With PRE selected links enable the sends to be sourced either pre equaliser or pre fade post cut The sends can all be operated either pre or post fade without a great deal of difference although it may be useful to switch a stereo send to PRE if for example it 1s to be used as a sidefill Alternatively the rest ofthe console could be switched to PRE and the sidefi
46. requirements of that artist Thus on a busy stage there could be as many as 16 wedges all carrying different mixes In addition there may even be sidefills to give coverage ofthe stage area with no wedges facilitating movement of the artists without losing their monitor feed It can be deduced that the stage under these circumstances can be a very noisy area with a great deal of interaction occurring between the different monitor mixes The monitor engineer may have to constantly adjust several monitor mixes in order to track an artist moving around the stage There are several problems here Health and safety whereby the artists are being subjected to high sound pressure levels Imprecision of the monitor mix actually received by the artist e The sound on stage increases the risk of feedback and will also spill to affect the front of house sound Distortion from the monitor loudspeakers entering the microphones which feed the front of house system which reduces the clarity of the sound While the monitor engineer has the ability to solo a monitor mix on his console this does not necessarily coincide with mix heard by an artist on stage who 15 probably receiving spills from other monitor mixes in addition the intended one In ear monitoring addresses these concerns by providing a barrier to external sounds thus enabling the artist to hear a much more precise monitor mix TUTORIAL 43 As mix 1s now heard in comparative
47. rer s model reference 15 an industry standard connector of high quality and 15 normally used for balanced signals primarily microphones and balanced outputs The most common is a three pin version although there are types with more pins for other purposes In fact XLR 15 derived from eXtra Low Resistance 54 CS12M OPERATION MANUAL WARRANTY If within a period of three years from the date of delivery ofthe equipment to the End User it shall prove defective by reason only of faulty materials and or workmanship but not faulty design to such an extent that the effectiveness and or the usability thereof is materially affected the Equipment or the faulty component shall be returned to the Distributor or DDA and subject to the following conditions the Distributor or DDA will repair or at its option replace the defective components Any components replaced will become the property of DDA Any Equipment or component returned will be at the risk of the End User whilst in transit both to and from the Distributor DDA and postage and or freight charges must be prepaid This Warranty shall only be available if Equipment has been properly installed in accordance with the instructions contained in this manual i End User has notified the Distributor DDA in writing within 14 days of the defect appearing ii No persons other than authorised representatives of DDA or the Distributor have effected any replacement of parts
48. rformance area This not only improves the lot of the monitor engineer by reducing the workload but also dramatically improves the quality ofthe monitor sound received by the artist improving in turn the quality of their performance As with everything in life there are a number of basic rules to be followed for optimum results and these can summarised as follows Never try and set up the system on a new user This 15 akin to equalising a monitor wedge with an artist standing in front of it They do not like it Always start with the simplest mix you think you can get away with and run the system as quietly as possible This way the artist can cue from the mix and blend into the ambient sound ofthe band Add more into the mix as you acquire confidence Add some reverberation a dry sound is very unnatural As a starting point try using the large room or small hall settings at 1 6 seconds reverberation with the sibilance taken out Reverberation can be of great benefit when assisting those with pitching difficulties 44 CS12M OPERATION MANUAL Try to maximise signal into the system without overloading it Retain line of site paths between transmitters and receivers for best reception The last two points will help maintain the signal to noise ratio ofthe wireless link There 15 a psycho acoustic phenomenon whereby the person making a sound perceives that sound as quieter than another person hearing it the Stapedius muscle reflex Thi
49. s often accounts for the volume battles between musicians on stage In setting up your mix the ratio ofa voice to the backing mix for example will be much higher than you would normally expect Keep the backing mix low and the vocals well out in front Many singers more to used to working with wedges can be overcome by the power ofin ear monitoring Consequently they sing more quietly which although beneficial for their voice can sometimes lead to front of house gain problems The solution here is to turn the monitor level down either at the belt pack or at the input to the system Be aware that any adjustments made to the monitor mix will be clearly heard do not change the mix unless you absolutely have to Many thanks to Garwood Communications Ltd makers of the RADIO STATION In Ear Monitoring System for the above information TUTORIAL 45 TYPICAL SETUP The following illustration shows what might be the setup for a seven piece band Inputs to the console are as follows Vocal Microphone 3 Backing Vocal Microphones Guitar Cabinet Microphone Rhythm Guitar Direct Inject Bass Cabinet Microphone Keyboard 1 Direct Inject Feed Stereo Keyboard 2 Direct Inject Feed Stereo Keyboard 3 Direct Inject Feed Stereo 7 Drum Kit Microphones as follows Kick Snare Hi Hat Rack Toms Floor toms Overhead Mic Overhead Mic 5 Percussion Microphones as follows Conga Lo Conga Hi Bongos Sampler Overhead Mic Effect Return 2 chan
50. sed before the console 1s even unpacked but it 1s worth repeating them again POSITION The console should belocated in a convenient space commensurate with the use to which the console is being put Ideally a cool area 1s preferred not in close proximity to power distribution equipment or other potential sources of interference Provision should be made for some flat surface surrounding the console to prevent people using it as a table top One ofthe worst fates that can befall a console 15 for a cup of coffee to be tipped into it by someone resting it on the control surface POWER The power supply should be Located as far from the console as the connecting cable will allow It should be set for the appropriate line voltage and plugged into the mains outlet using the supplied cable WIRING The console uses three different connector styles TRS jack sockets XLR male connectors and XLR female connectors TIP CONNECTION RING CONNECTION 4 TI SLEEVE CONNECTION AND CABLE CLAMS SLEEVE 1 4 INCH TRS GAUGE JACK PLUG MALE FEMALE v 6 OUTPUT XLR 3 INPUT XLR 3 38 CS12M OPERATION MANUAL The cables used should be of as high a quality as possible Many installation problems can be traced back to poor or faulty cables and connectors As mentioned before there are two different conventions forthe wiring of XLR connectors The international convention uses pin 2 as the hot pin while the older American convention uses p
51. ster faders closed thus preventing stage microphones or other signal sources from reaching the master outputs IF Low Frequency GLOSSARY 5 LINEINPUT An input designed to accept high level signals as opposed to microphone level signals The expected level is usually 4dBu but increasingly inputs and outputs being designed so that they can be altered to operate at 10dBV which is now quite acommon operating level LOW PASS FILTER LPF This 15 the inverse of a HIGH PASS filter and 15 used to reduce frequencies above the operating frequency MASTER This normally refers to the main stereo output section which controls the level of the stereo mix and associated functions such as monitoring MIX PATH The path used by the signal going to the stereo mix PARAMETRIC EQ An equaliser section which has variable frequency level and Q PAN pan control or Pan Pot or Panoramic Potentiometer 15 used to spread a mono signal across multiple buses PEAKING EQ In this form of equaliser the response 15 tailored to enhance a selected frequency relative to the frequencies above and below it Peaking equalisers are normally used as the mid sections of an equaliser Also known as bell shaped PFL Pre Fade Listen For listening to pre fade signals POST FADER A signal derived after a fader and therefore dependant upon the position of the fader PRE FADER A signal derived before a fader and therefore not dependant upon the position
52. stereo used as a general monitor mix across the stage and provided by loudspeakers situated to the left and right of the stage area The sidefill mix 1s usually sourced from the stereo mix output of the monitor console SIP Solo in Place This is a solo mode which cuts all the input channels that are not soloed leaving the console monitor system listening to the stereo bus The mix bus now contains only signal from the soloed channel and therefore the SIP mode can be potentially dangerous to use in a live situation By comparison AFL and PFL usually work by switching the monitoring system to listen to the solo buses The mix bus signal 15 unchanged SLATE The ability to talk to tape from the operating position of the console GLOSSARY 53 SOLO The function of monitoring one input group or monitor output of the console in isolation SWEEP FREQUENCY A control which selects a centre frequency to operate around Most often used with peaking equalisers but it can also be used to determine the roll off point of shelving EQs as well TRS JACK A Tip Ring Sleeve A gauge Jack VCA Voltage Controlled Amplifier An amplifier whose gain can be controlled by a DC Voltage applied to its control port WEDGE The name given to an individual s monitoring loudspeaker due to its distinctive shape The baffle is angled to direct the sound up toward the players head WRITING STRIP See scribble strip XLR The XLR in facta specific manufactu
53. th several arguably less important mixes for sending to effect units The CS12M console has the capacity to produce 12 monitor mixes which are in effect the group outputs of the console Why the need for a monitor console in the first place Itis obviously very important for musicians playing together to be able to hear one and other Before the advent of large public address P A systems bands would have the instrument amplification behind them and everyone on stage would have the ability to hear at least arough mix of the sound As more and more instruments began to be put through increasingly large P A systems the soundfield on stage became less representative of what was really happening front and loudspeakers were required on stage to recreate the sound lost from the instrument amplifiers A refinement of this idea gave musicians individual monitor feeds by having their own loudspeaker which would be supplied with a mix adjusted to their specific requirements This loudspeaker 15 usually referred to as a wedge owing to its distinctive shape This comes about as a result of the directivity required ofthe speaker from its position close to the feet ofthe artist it 1s serving Itis important for the monitor engineer to have a local monitor usually a wedge allowing access to the mixes through the solo function whichis critical to the operation ofthe console To aid the engineer the solo system has input priority meaning that if an in
54. ting other than very occassionally If the input level 15 too high then reduce the gain with the INPUT GAIN control Ifthe power amplifier and loudspeaker are connected to this output you will then hear yourself from the loudspeaker beware of feedback 512 QUICKSTART 7 Do not attempt to plug microphones into these connectors They are used to plug LITTLITES into and will damage microphone Press the PFL key on the input module and observe the left hand meter on the master module It will show the pre fader signal from the input module This can only be changed by adjustment ofthe INPUT GAIN control Cancel the input PFL and press AFL on output module 1 to observe the output signal This will change if the INPUT GAIN INPUT FADER or OUTPUT FADER are adjusted Plug headphones into the headphone socket located below the armrest and turn up the volume to hear the selected AFL or PFL signal Congratulations it s all working the way it should LITTLITE LITTLITE PSU STATUS 18V 18 48V ON 4 5 6 3 2 8 1 9 0 10 TALKBACK L AFL R PFL AFL PFL MASTER INPUT PFL 19 1 2 2 PHONES PRE MONO LOCAL MONITOR CS12M OPERATION MANUAL This drawing illustrates simple quick start set up POWER AMPLIFIER LOUDSPEAKER MONITOR SEND 1 PSU INPUT CHANNEL 1 XLR OUTPUT XLR INPUT CS12M CS12M QUICKSTART CS12M SPECIFICATIONS Nominal
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