Crate Amplifiers CSM8, CSM12, CSM24, CSM16 User Manual
In order to achieve maximum performance from
your new Crate Pro Audio Mixer we recommend
that you read this user’s guide prior to its use.
User’s Guide
for the
CRATE PRO AUDIO
CSM8/12/16/24
Console Mixer
2
THIS EQUIPMENT HAS BEEN DESIGNED AND
ENGINEERED TO PROVIDE SAFE AND RELIABLE
OPERATION. IN ORDER TO PROLONG THE LIFE
OF THE UNIT AND PREVENT ACCIDENTAL DAMAGES OR INJURY, PLEASE FOLLOW THESE PRECAUTIONARY GUIDELINES:
CAUTION: TO REDUCE THE RISK OF ELECTRIC
SHOCK, DO NOT OPEN CHASSIS; DO NOT
DEFEAT OR REMOVE THE GROUND PIN OF THE
POWER CORD; CONNECT ONLY TO A PROPERLY
GROUNDED AC POWER OUTLET.
WARNING: TO REDUCE THE RISK OF FIRE OR
ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE.
CAUTION: NO USER-SERVICEABLE PARTS
INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
CAUTION: OUR AMPLIFIERS ARE CAPABLE OF
PRODUCING HIGH SOUND PRESSURE LEVELS.
CONTINUED EXPOSURE TO HIGH SOUND PRESSURE LEVELS CAN CAUSE PERMANENT HEARING IMPAIRMENT OR LOSS. USER CAUTION IS
ADVISED AND EAR PROTECTION IS RECOMMENDED IF UNIT IS OPERATED AT HIGH VOLUME.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER.
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
"IT IS NECESSARY FOR THE USER TO REFER TO THE INSTRUCTION MANUAL"
“ES NECESARIO QUE EL USUARIO SE REFIERA AL MANUAL DE INSTRUCCIONES.”
"REFERREZ-VOUS AU MANUAL D'UTILISATION"
"UNBEDINGT IN DER BEDIENUNGSANLEITUNG NACHSCHLAGEN"
EXPLANATION OF GRAPHICAL SYMBOLS:
EXPLICACION DE SIMBOLOS GRAFICOS:
"DANGEROUS VOLTAGE"
“VOLTAJE PELIGROSO”
"DANGER HAUTE TENSION"
"GEFAHLICHE SPANNUNG"
=
=
PRECAUCION
RIESGO DE CORRIENTAZO
NO ABRA
PRECAUCION PARA DISMINUOIR EL RIESGO DE CORRIENTAZO
NO ABRA LA CUBIERTA
NO HAY PIEZAS ADENTRO QUE EL USARIO PUEDO REPARAR
DEJE TODO MANTENIMIENTO A LOS TECHNICOS CALIFICADOS
ATTENTION
RISQUE D'ELECTROCUTION
NE PAS OUVRIR
ATTENTION: POUR REDUIRE D'ELECTROCUTION NE PAS
ENLEVER LE COUVERCLE. AUCUNE PIECE INTERNE N'EST REPRABLE
PAR L'UTILISATEUR. POUR TOUTE REPARATION, S'ADRESSER A UN
TECHNICIEN QUALIFIE.
VORSICHT
ELEKTRISCHE SCHLAGGEFAHR
NICHT OFFENEN
VORSICHT: ZUR MINIMIERUNG ELEKTRISCHER SCHLAGGEFAHR NICHT
DEN DECKEL ABENHMEN. INTERNE TEILE KONNEN NICHT VOM
BENUTZER GEWARTET WERDEN. DIE WARTUNG IS QUALIFIZIERTEM
WARTUNGSPERSONAL ZU UBERLASSEN.
ESTE APARATO HA SIDO DISENADO Y CONSTRUIDO PARAPROVEER ANOS DE OPERACION
SEGURA Y CONFIABLE. PARA PROLONGAR LA
VIDA DE ESTA UNIDAD E IMPEDIR DANOS ACCIDENTALES POR FAVOR SIGA ESTAS INSTRUCCIONES PREVENTIVAS:
PRECAUCION: PARA DISMINUIR EL RIESGO DE
DESCARGAS ELÉLECTRICAS: (1) NO ABRA LA
CUBIERTA, (2) NO ES RECOMENDABLE
REMOVER O DESACTIVAR LA PATA DEL POLO A
TIERRA DEL CABLE DE CORRIENTE, CONECTE
CORRECTAMENTE A UNA TOMA DE CORRIENTE
A TIERRA.
ADVERTENCIA: PARA EVITAR DESCARGAS
ELECTRICAS O PELIGRO DE INCENDIO, NO DEJE
ESTE APARATO EXPUESTO A LA LLUVIA O
HUMEDAD.
PRECAUCION: NO HAY PIEZAS ADENTRO QUE
EL USUARIO PUEDE REPARAR. DEJE TODO MANTENIMIENTO A LOS TÉCNICOS CALIFICADOS.
PRECAUCION: NUESTROS AMPLIFICADORES
PUEDEN PRODUCIR NIVELES DE PRESION DE
SONIDO ALTO. EXPOSICION CONTINUADA A LOS
NIVELES DE PRESION DE SONIDO ALTO PUEDE
CAUSA DANO PERMANENTE A SU OIDO. ES
ACONSEJADO QUE USE PRECAUCION AL
USUARIO Y ES RECOMENDADO PROTECCION
PARA LOS OIDOS SI LA UNIDAD ES OPERADA A
VOLUMEN ALTO.
THE CHART BELOW SHOWS THE U.S. GOVERNMENT’S OCCUPATIONAL SAFETY AND HEALTH ADMINISTRATION (OSHA) REGULATIONS WHICH WERE IN EFFECT AT THE TIME OF THIS PUBLICATION FOR PERMISSIBLE NOISE EXPOSURE, PER 29CFR1910.95, TABLE G-16:
ACCORDING TO OSHA, ANY EXPOSURE IN EXCESS TO THESE AMOUNTS LISTED ABOVE COULD RESULT IN SOME HEARING LOSS.
SOUND LEVEL DBA, DURATION PER DAY SOUND LEVEL DBA, DURATION PER DAY SOUND LEVEL DBA, DURATION PER DAY
SLOW RESPONSE
IN HOURS SLOW RESPONSE IN HOURS SLOW RESPONSE IN HOURS
90 8 97 3 105 1
92 6 100 2 110 1/2
95 4 102 1 - 1 1/2 115 1/4 or less
CSM8/12/16/24 Console Mixer
Congratulations.
You have selected one of the finest pieces of audio reproduction equipment available for use on stage,
in the home studio, or for “institutional” use: a Crate Pro Audio Stereo Console Mixer. In order to derive
the most benefit from the mixer, and to fully understand and appreciate its flexibility and versatility, please
familiarize yourself with the mixer by reading through this User’s Guide prior to its use.
And Thank You, from
Table of Contents:
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . .page 3
Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
About This Manual . . . . . . . . . . . . . . . . . . . . . . . . . . .3
The Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . .4
The Master Section . . . . . . . . . . . . . . . . . . . . . . . . . .5,6
Equalization Diagrams . . . . . . . . . . . . . . . . . . . . . . . . .7
Differences in Cable Types . . . . . . . . . . . . . . . . . . . . . .7
Applications
Connecting External Effects . . . . . . . . . . . . . . . . . .8
Basic Mono Operation . . . . . . . . . . . . . . . . . . . . .9
Basic Stereo Operation . . . . . . . . . . . . . . . . . . . .10
DJ Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
House of Worship Installation . . . . . . . . . . . . . . .12
Separating Vocals and Instruments . . . . . . . . . . . .13
System Block Diagram . . . . . . . . . . . . . . . . . . . . . . . .14
Gain Level Diagram . . . . . . . . . . . . . . . . . . . . . . . . . .15
Technical Specifications . . . . . . . . . . . . . . . . .back cover
3
CSM8/12/16/24 Console Mixer
Introduction:
In the world of professional sound reinforcement and audio reproduction there is no
room for compromise. It is absolutely vital that the emotions of a performance are projected
to your audience, not just sounds. Your new Crate Pro Audio CSM8/12/16/24 Console Mixer
is a powerful tool which allows you to successfully bridge the gap between performers and
audience without losing any of the “life” of the performance in the process. No matter what
your particular application, your Crate Pro Audio mixer is ready to meet the challenge with a
level of performance and control unequaled by its competition.
Crate Pro Audio mixers are the result of our interest in and experience with high-performance audio equipment, combined with our extensive research and development procedures,
and guided by our love of musical performances. Each mixer is built using a variety of innovative construction methods making it truly reliable and incredibly roadworthy. Its diverse features
offer you an extremely high degree of versatility and flexibility regardless of the application. The
mixer has been thoughtfully designed to keep you constantly in total control of your performing
environment, always with the best possible sound.
Features:
Crate Pro Audio CSM8/12/16/24 mixers combine the latest technology with contemporary
styling and flexible features. In addition, their exceptionally low noise, incredible headroom
make them perfect for use on stage, in the home studio, or for “institutional” use. Each of the
input channels offers you the choice of balanced XLR Low-Z or balanced 1/4" Hi-Z Input jacks,
an insert jack, a peak/signal LED, gain control, three bands of equalization, four fully-adjustable
aux sends, a pan control, mute and PFL switches, and a long range channel fader. The master
section offers left, right and mix XLR and 1/4” balanced output jacks, a PFL out jack, stereo
Tape In and Out jacks, four aux sends, two stereo aux returns with level and pan controls, dual
11-step LED meters, switchable Phantom Power, a Headphones jack with level control, PFL left,
right and mix selector switches, and four master faders: aux 1, left, right, and mix.
The color-coded knobs help you know at a glance if you’re reaching for a Level knob, an EQ
control, a Pan pot or Master slider.
About this Manual:
This manual is the compilation of many hours of discussions with engineers, musicians,
experts in the field of sound reproduction as well as novices, along with “hands-on” usage and
training. While we strive to provide as comprehensive and informative a manual as possible,
we realize we cannot convey every application imaginable or answer every possible question.
We have endeavored to cover as much as is practical in this owner’s manual and have provided suggested connection diagrams for you to use as a starting point for your application. Your
Crate Pro Audio dealer can assist you with additional information, or you can visit us on our
website at www.crateamps.com.
4
The Input Channels:
1
2
3
4
5
6
7
8
11
12
13
14
9
10
1. LOW Z INPUT: The signal output from a low impedance microphone or a low
impedance line level signal (such as a line out signal from an instrument amplifier) may be connected here by means of a shielded cable terminated with a
male XLR plug. Pin 2 = “+,” pin 3 = “–,” and pin 1 = shield.
2. HIGH Z INPUT: The signal output from a high impedance microphone or a line
level signal (such as an instrument, rhythm machine, tape deck, etc.) may be
connected here by means of a shielded cable terminated with a male 1/4” plug.
Tip = “+,” ring = “–,” and sleeve = shield.
3. INSERT: A signal processor may be connected here by means of a shielded
stereo signal cable or shielded “Y” cord. (See page 8.) Ring = send, tip = return,
and sleeve = ground.
4. PEAK/SIGNAL LED: This LED will illuminate green when a signal is present at
the High or Low Z inputs. When the signal nears clipping, the LED will illuminate red. (See Gain control, #5.)
5. GAIN: Use this control to set the input signal level for the channel. Adjust this
control so the peak LED (#4) flashes on strong signal peaks.
6. HIGH: Use this control to adjust the high frequency level for the channel. This
control allows for 15dB of cut or boost at 10kHz. Typical equalization diagrams
are shown on page 7.
7. MID: Use this control to adjust the midrange frequency level for the channel.
This control allows for 15dB of cut or boost at 2kHz. Typical equalization diagrams are shown on page 7.
8. LOW: Use this control to adjust the low frequency level for the channel. This
control allows for 15dB of cut or boost at 100Hz. Typical equalization diagrams
are shown on page 7.
9. AUX 1, AUX 2: Use these controls to set the channel’s output signal level at the
aux 1 and aux 2 send jacks (#17, page 5). These are pre-EQ, pre-fader, and are
typically used as monitor sends. Examples of some typical connection methods
are shown on pages 8–13.
10.AUX 3, AUX 4: Use these controls to set the channel’s output signal level at the
aux 3 and aux 4 send jacks (#17, page 5). These are post-EQ, post-fader, and
are typically used as effects loop sends. Examples of some typical connection
methods are shown on pages 8–13.
11.PAN: Use these controls to set the amount of the channel’s output signal sent to
the left and right master faders (#30, page 6) and the left and right balanced output jacks (#15, page 5).
12.MUTE: This switch, when depressed, mutes the channel’s output signal sent to the
left, right and mix master faders (#30, 31, page 6).
13.PFL: This switch, when depressed, sends the channel’s post-EQ, pre-fader signal
to the headphones jack (#28, page 6) and the PFL output jack (#18, page 5).
14.FADER: Use this control to set the channel‘s signal level output sent to the left,
right and mix master faders (#31, 32, page 6) and the aux 3 and aux 4 send jacks
(#17, page 5).
CSM8/12/16/24 Console Mixer
5
The Master Section:
15
16
18
17
20
22
25
26
24
27
28
29
30 31 32
23
21
19
15. LEFT, RIGHT AND MIX BALANCED OUTPUTS: Use
these jacks to send the mixer’s output signal(s) to the
house power amplifier(s) (see pages 9–13). For the XLR
jacks, pin 2 = “+,” pin 3 = “–,” and pin 1 = shield. For
the 1/4” jacks, tip = “+,” ring = “–,” and sleeve = shield.
16. TAPE IN/TAPE OUT JACKS: Use these jacks to connect
to the record and playback jacks of a cassette tape deck.
Because the tape in jacks are fed directly into the left
and right master faders, use the tape deck’s output level
control or an in-line attenuator to adjust the level of the
playback signal.
17. AUX SEND JACKS: Use these jacks to send the aux sig-
nals to your monitor amps and/or external effects. Aux 1
and 2 are sends only, while aux 3 and 4 can be used as
an effects loop along with the aux 3 and 4 return jacks
(#19). (See pages 8–13). The mix for each aux send jack
is set by the channel aux controls (#9, 10). The master
aux 1 fader (#30, page 6) sets the overall signal output
level for the aux 1 jack, while the aux 2, 3 and 4 send
controls (#24, page 6) set the overall signal output level
for the aux 2, 3 and 4 jacks.
18. PFL OUTPUT JACK: Use this jack to send the channel’s
PFL signal outputs to a studio monitor power
amp/speaker or to a headphone distribution box for
additional monitoring capabilities.
19. AUX RETURN JACKS: Use these jacks to return the
processed signal from an external effect into the master
mix. These jacks are stereo 1/4” connectors – ring =
right, tip = left, sleeve = shield.
20. POWER: This switch applies the power to the mixer. The
mixer is on when the top of the switch is depressed, off
when the bottom of the switch is depressed. The adjacent LED illuminates when the power is on.
21: OUTPUT LED METERS/PEAK INDICATORS: These LED
meters monitor the output signals sent to the balanced
output jacks (#15). The meter selector switch (#22)
determines whether the meters monitor the left and right
output signals or the aux 1 and mix output signals.
When the LEDs illuminate into the upper red areas, the
signals are near clipping and may need to be reduced to
avoid distortion.
22: METER SELECTOR SWITCH: When the switch is in the
out position, the LED meters (#21) monitor the left and
right output signals. When the switch is depressed, the
LED meters monitor the aux 1 and mix output signals.
CSM8/12/16/24 Console Mixer
(continued...–––––
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