Crest audio CPM 2462 SPECIFICATIONS

CPM™2462 Operations Manual

For more information on other great Crest products, go to your local Crest dealer or online at www.crestaudio.com.

Operating Guide

Intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s
enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

Intended to alert the user of the presence of important operating and maintenance (servicing)
instructions in the literature accompanying the product.

CAUTION: Risk of electrical shock — DO NOT OPEN!
CAUTION: To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside. Refer

servicing to qualified service personnel.

WARNING: To prevent electrical shock or fire hazard, do not expose this appliance to rain or moisture. Before
using this appliance, read the operating guide for further warnings.

Este símbolo tiene el propósito, de alertar al usuario de la presencia de “(voltaje) peligroso” sin ais­lamiento dentro de la caja del producto y que puede tener una magnitud suficiente como para constituir
riesgo de descarga eléctrica.

Este símbolo tiene el propósito de alertar al usario de la presencia de instruccones importantes sobre la
operación y mantenimiento en la información que viene con el producto.

PRECAUCION: Riesgo de descarga eléctrica ¡NO ABRIR!
PRECAUCION: Para disminuír el riesgo de descarga eléctrica, no abra la cubierta. No hay piezas útiles dentro.

Deje todo mantenimiento en manos del personal técnico cualificado.

ADVERTENCIA: Para evitar descargas eléctricas o peligro de incendio, no deje expuesto a la lluvia o humedad
este aparato Antes de usar este aparato, Iea más advertencias en la guía de operación.

Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur la présence d’une tension dangereuse
pouvant être d’amplitude suffisante pour constituer un risque de choc électrique.

Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur qu’il ou qu’elle trouvera d’importantes
instructions concernant l’utilisation et l’entretien de l’appareil dans le paragraphe signalé.

ATTENTION: Risques de choc électrique — NE PAS OUVRIR!

ATTENTION: Afin de réduire le risque de choc électrique, ne pas enlever le couvercle. Il ne se trouve à l’intérieur

aucune pièce pouvant être reparée par l’utilisateur. Confiez I’entretien et la réparation de l’appareil à un réparateur
Peavey agréé.

AVERTISSEMENT: Afin de prévenir les risques de décharge électrique ou de feu, n’exposez pas cet appareil à la
pluie ou à l’humidité. Avant d’utiliser cet appareil, lisez attentivement les avertissements supplémentaires de ce
manuel.

Dieses Symbol soll den Anwender vor unisolierten gefährlichen Spannungen innerhalb des Gehäuses
warnen, die von Ausreichender Stärke sind, um einen elektrischen Schlag verursachen zu können.

Dieses Symbol soll den Benutzer auf wichtige Instruktionen in der Bedienungsanleitung aufmerksam
machen, die Handhabung und Wartung des Produkts betreffen.

VORSICHT: Risiko — Elektrischer Schlag! Nicht öffnen!
VORSICHT: Um das Risiko eines elektrischen Schlages zu vermeiden, nicht die Abdeckung enfernen. Es befinden

sich keine Teile darin, die vom Anwender repariert werden könnten. Reparaturen nur von qualifiziertem
Fachpersonal durchführen lassen.

ACHTUNG: Um einen elektrischen Schlag oder Feuergefahr zu vermeiden, sollte dieses Gerät nicht dem Regen
oder Feuchtigkeit ausgesetzt werden. Vor Inbetriebnahme unbedingt die Bedienungsanleitung lesen.

2

3

IIMMPPOORRTTAANNTT SSAAFFEETTYY IINNSSTTRRUUCCTTIIOONNSS

WWAARRNNIINNGG::

When using electrical products, basic cautions should always be followed, including the following:

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any of the ventilation openings. Install in accordance with manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves or other apparatus (including amplifiers)
that produce heat.

9. Do not defeat the safety purpose of the polarized or 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 plug. The wide blade or third prong is
provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the
obsolete outlet.

10. Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point
they exit from the apparatus.

11. Note for UK only: If the colors of the wires in the mains lead of this unit do not correspond with the terminals in your
plug‚ proceed as follows:

a) The wire that is colored green and yellow must be connected to the terminal that is marked by the letter E‚ the earth
symbol‚ colored green or colored green and yellow.

b) The wire that is colored blue must be connected to the terminal that is marked with the letter N or the color black.
c) The wire that is colored brown must be connected to the terminal that is marked with the letter L or the color red.

12. Only use attachments/accessories provided by the manufacturer.

13. Use only with a cart, stand, 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.

14. Unplug this apparatus during lightning storms or when unused for long periods of time.

15. 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 objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

16. Never break off the ground pin. Write for our free booklet “Shock Hazard and Grounding.” Connect only to a power
supply of the type marked on the unit adjacent to the power supply cord.

17. If this product is to be mounted in an equipment rack, rear support should be provided.

18. Exposure to extremely high noise levels may cause a permanent hearing loss. Individuals vary considerably in suscep­tibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise
for a sufficient time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the
following permissible noise level exposures:

Duration Per Day In Hours Sound Level dBA, Slow Response

890
692
495
397
2100

1 1⁄

2

102

1105

1

⁄

2

110

1

⁄4or less 115

According to OSHA, any exposure in excess of the above permissible limits could result in some hearing loss. Ear plugs or protectors to the
ear canals or over the ears must be worn when operating this amplification system in order to prevent a permanent hearing loss, if exposure
is in excess of the limits as set forth above. To ensure against potentially dangerous exposure to high sound pressure levels, it is
recommended that all persons exposed to equipment capable of producing high sound pressure levels such as this amplification system be
protected by hearing protectors while this unit is in operation.

SSAAVVEE TTHHEESSEE IINNSSTTRRUUCCTTIIOONNSS!!

CPM™2462

Rack-Mountable Recording and Sound Reinforcement Mixer

II. INTRODUCTION

Thank you for purchasing the Crest Performance CPM™2462. The CPM 2462 was design to not only
provide maximum versatility and performance for live sound applications, but also to excel when
used for recording. To begin, let’s identify these features.

* Sixteen input channels with XLR mic inputs EQ, pan, aux and group assign controls
* Eight additional stereo line inputs (17-24)
* Four different types of input channel configurations for outstanding versatility

* Universal chassis design allowing rackmount or desktop placement
* Very-low-noise mic inputs (XLR) with gain trim on all input channels
* Smooth, 60 mm fader on each channel and Groups 1-4
* Phantom power with separate defeat switches for Channels 1-2 and 3-16
* Channels 1-8 optimized for 8-track recording (direct output)
* Insert (in/out) jacks on Channels 1-8
* Six aux outputs (2 balanced XLR)
* Four mono subgroups (1 through 4)
* One stereo subgroup pair (5 and 6)
* Phase and pad switches on (1 and 2)
* Mute switch, clip LED and signal present LED on all input channels
* Switchable low cut filter on Channels 3-8
* Smooth, 60 mm left and right master faders
* PFL on all input channels and subgroups
* Stereo headphone and control room outputs
* Balanced mono output (XLR) with separate level control
* Balanced stereo L/R output (XLR)
* Unbalanced stereo L/R output (1/4")
* Left and right master inserts (1/4")
* Stereo tape in (1/4" or RCA) and tape out (RCA) jacks
* Stereo control room outputs (1/4")

As you can see, this mixer is packed with features. Obviously, we can only begin to describe the
infinite hookup configurations and applications of which the CPM 2462 is capable. We will, however,
explain each feature and suggest some common uses as we go along. As you use the CPM 2462
always keep in mind that the capabilities of this mixer are mostly limited to the imagination.

Now, let’s talk a bit about how this manual is set up and the format you can expect to encounter on
the following pages.

ENGLISH

4

Since we are dealing with one serious mixer, the format for this guide will be laid out in the following
order for simplicity:

I. Table of Contents
II. Introduction (You’re reading it now.)
III. Break It Down
IV. Power
V. Rear Panel INs and OUTs
VI. Input Channels
VII. Master Control Section
VIII. Block Diagram of Signal Flow
IX. Recommended Hookup Diagrams
X. Specifications and Warranty

Each section begins with a small statement describing what the section is about and what you
should expect to learn from its content. Beginning in Section IV you will find descriptions of the
numbered features as well as a diagram showing the features’ physical location on your CPM 2462.
Simply match the number of the description to the number on the associated diagram to help you
locate it.

It is important that you carefully read this guide in its entirety. Pay special attention to the notes and
cautions throughout. If possible, keep this manual with your unit to use as reference when needed.
We are certain your CPM 2462 will provide you with a pleasurable mixing experience.

III. BREAK IT DOWN

Before we jump right in, let’s break the CPM 2462 down into smaller units so we can observe them
individually. It’s good that you get an understanding of these units before we begin hooking up
external equipment. This is a basic explanation of signal flow described in the order at which
a signal progresses through each section of the CPM 2462.

BUSES

Buses are the paths at which your CPM 2462 routes signal throughout its circuitry. Viewing the
CPM 2462 Block Diagram on page 20 the buses can be easily identified. Towards the center of the
drawing you will see 3 groups of vertical lines with black dots throughout. These are the buses
of your CPM 2462. There are essentially 16 buses in which audio signal is passed throughout the
CPM 2462. These busses include: Main(L/R), Groups1-6, Aux 1-6 and PFL.

INPUT CHANNELS

From a signal flow standpoint, it all begins at the channel input stage. The following block diagram
shows the topology and basic signal flow of the Input Channels 1 and 2. These two channels have
special features and differ from Channels 3-8.

5

Reading the diagram from left to right (standard signal flow) you’ll find: a mic input, line input, input
pad switch, polarity switch and gain control. From there the signal passes through the insert jack
and through the low, mid and high EQ’s. The mid EQ center frequency is adjustable from 40 Hz to

1.2 kHz. The signal for the PFL is taken at this point in the signal chain when the PFL switch is
selected for the channel. The signal also continues on to the fader, mute switch, direct
out and pan controls. Finally, the signal is sent to the various buses as determined by the assign
switches. Channels 1 and 2 can send signal to the following buses: Main(L/R), Groups 1-4,
Aux 1-6, and PFL.

Channels 3-8 are identical to Channels 1 and 2 with the following exceptions: the addition of the low
cut filter (switchable) and the deletion of the pad and polarity switches. If you are mixing a device
that may need a switchable pad and/or polarity, such as a bass drum, it is recommended to place
them on Channels 1 and 2. Also, the mid EQ center frequency is adjustable from 100 Hz to 3 kHz.
The block diagram below is typical of Channels 3-8 and reflects the differences mentioned above.
Channels 3-8 can send signal to the following buses: Main(L/R), Groups 1-4, Aux 1-6, and PFL/Solo.
Channels 9-16 are designed to accommodate stereo line inputs. These channels eliminate the
tape in, tape input select switch, mid-sweep control of the EQ, direct out and insert jacks. Added to
Channels 9-16 are a line input select switch, separate line and mic level controls and a stereo pair
of 1/4" input jacks. The block diagram below is typical of Channels 9-14. Channels 9-14 can send
signal to the following buses: Main(L/R), Groups 1-6, Aux 1-6, and PFL.

6

Input Channel

Channels 9-16 and 17-24 co-exist in on the CPM 2462. Channels 9-14 are mono mic input channels
similar to channels 2-8 but with a fixed frequency mid EQ control and without the direct out and
insert. However, occupying the same space are stereo line inputs 17-22. A switch on each of these
channels determines whether these channels work independently or whether the mic input is muted
and the line inputs are routed (mono) through the full featured channel strips 9-14. The line input
channels have their own subgroup (group 5-6) that can in turn be routed to the other subgroups or
to L/R.

7

Channels 15-16 and 23-24 are nearly identical to their next door neighbors except that channels 15
and 16 are full stereo channels. When stereo line channels 23 or 24 are routed through 15 or 16,
the stereo signal is maintained. In all of the stereo line channels 17-24, the rotary line level control is
used as the mix control when assigned to group 5-6 or as an input trim control when routed through
channels 9-16. The diagrams showing these channels help show how this routine works.

NOTE: These additional stereo line input add tremendous versatility to the CPM 2462 by providing
eight stereo inputs in addition to the 16 mic inputs.

MIXES

When we speak of the various mixes on the CPM 2462 we are basically speaking of the resultant
signals from the various buses found at the CPM 2462 outputs. Let’s take a look at the individual
output sections.

Main Stereo L/R and Mono Outputs

The first and most common section is the master L/R/Mono output section. In this section the
CPM 2462 provides separate Left and Right outputs (both balanced XLR and unbalanced 1/4").
Each signal goes through a final pre-fader insert jack to allow for the placement of master effects in
the master L/R signal chain. In addition, the Left and Right signals are also mixed (L+R) to create a
balanced (XLR) Mono signal. All three outputs are controlled by the master Left and Right faders.
The Mono output is also controlled by its own level control, the Mono Out Level. Use this control to
adjust the level of the Mono Out and use the master Left and Right faders to adjust the balance
as desired. The following block diagram shows the master L/R/Mono output section.

8

GROUPS 1-4 OUTPUTS

The next mix is the Group mix. Groups 1-4 are slightly different than Groups 5 and 6. Groups 1-4
have their own assign switches and faders similar to the input channels. Each group (1-4) features
a PFL switch, Left (L) switch, Right (R) switch, and a master fader. The switches assign the group
signal to the particular bus. For instance, if you group the various drums of a drum kit into Group 1,
pressing the Group 1 (L) switch would send that group mix to the Left bus. How much of that signal
present on the Left bus is determined by the group’s master fader. The following block diagram
shows Groups 1 and 2 (typical of 3 and 4).

GROUPS 5 AND 6 OUTPUTS (CHANNELS 9-16)

Groups 5 and 6 do not have faders like Groups 1-4. Groups 5 and 6 are meant to provide a stereo
signal (5-Left and 6-Right) to be placed on any of the following buses: Groups 1/2, Groups 3/4, Main
Left/Right and the Aux 1-2. All buses are selectable by switch except for the Aux 1/2 bus. The output
of Groups 5 and 6 to the Aux 1-2 is controlled by two separate rotary level controls. Groups 5 and 6
are not PFL selectable unless they are assigned to Groups 1/2, Groups 3/4, Main Left/Right or the
level is adjusted to pass the signal to the Aux 1-2. PFL can be selected from within those areas. The
following block diagram shows the Groups 5 and 6.

AUX 1 AND 2 OUTPUTS

Aux 1 and 2 is a pre-fader stereo mix ideal for monitor applications. As mentioned in the
previous section, Groups 5 and 6 can be sent to this Aux mix by adjusting the separate level
controls see number 54, page 18. The Aux/MIX B Master section provides an Aux 1 level
control, an Aux 2 level control.

9

AUX 1 (B) L

AUX 3, 4, 5 AND 6 OUTPUTS

Aux 3, 4, 5 and 6 are quite simple in structure. Each signal is routed to its respective output.
Levels on these Aux mixes are controlled by the individual input channel controls for the
respective Aux channel. The following block diagram shows the Aux 3, 4, 5 and 6 signal flow.

HEADPHONE AND CONTROL ROOM OUTPUTS

The last section is the Headphone/Control Room section. The purpose of this area is to provide
the headphone output and control room output as well as determine what mix is present at
those outputs. This section also provides the Tape In/Out functions of the CPM 2462. Up to this
point we haven’t discussed the PFL function very much. Since these are monitored in the
headphones and/or control room mixes they are included here as well. Both levels are
determined by the Headphone/Control Room Level control.

The following block diagram shows the Aux 1 and 2 signal flow.

The Tape Output jacks (stereo RCA) carry the Main Left/Right signal allowing you to tape the Main
L/R mix on a stereo deck. The Tape Input jacks (both 1/4" and RCA stereo pairs) provide a means to
monitor the tape output from your deck on either headphones and/or control room speakers. This
will only happen when the following conditions are met: no input channel or group PFL switches are
activated, the AUX 1-2 2 TRK switch is in the 2 TRK position and the L/R switch is in the down
position. Incidentally, the Aux 1 and 2 (MIX B) can be heard by switching the AUX 1-2 2 TRK switch
to the AUX 1-2 position. By placing the L/R switch in the up position, the Main Left/Right signal can
be heard regardless of the AUX 1-2 2 TRK switch position.

NOTE: When a PFL switch is selected on any channel or group, the CPM 2462 automatically
switches to monitor it. This disables the ability to hear the AUX 1-2, 2 TRK and Main Left/Right
mixes through the headphone or control room outputs.

The following block diagram shows the signal flow of the Headphone/Control Room section. With
the CPM 2462 broken down into subsections it is much easier to route signals throughout the
mixer and obtain the various mixes and sub-mixes that you desire. Use this section, along with
the overall CPM 2462 Block Diagram on page 20 as a reference throughout the remainder of this
guide.

10

IV. POWER

This section describes the application of AC power to your CPM 2462. It will describe the proper AC
power connections and the process for properly turning your mixer on and off. The CPM 2462 is
powered by an internal transformer and built-in, linear power supply rated at 40VA. The AC feed to
the mixer is accomplished by a standard IEC line cord and a line POWER switch located on the
back panel.

11

1. REMOVABLE AC POWER CORD

This receptacle is for the IEC line cord
(included), which provides AC power to the
unit. Connect the line cord to this connector
and to a properly grounded AC supply.

Damage to the equipment may occur if an
improper line voltage is used (see voltage marking on unit). Never remove or cut the ground pin of
the line cord plug. This unit is supplied with a properly rated line cord. When lost or damaged,
replace this cord with one of the proper ratings.

2. POWER SWITCH

Place this switch in the (|) position to apply power to CPM 2462. Return it to the (O) position
to turn the CPM 2642 off. It is recommended that the unit be turned off while patching and/or
applying power to external equipment to be used in conjunction with the CPM 2642. The
Power LED (3) will illuminate when power has been applied and the unit is on.

3. POWER LED

Located on the front, right corner of the CPM 2642, this
LED will illuminate when power is applied to the CPM 2642,
indicating the unit is on.

V. REAR PANEL INS AND OUTS

This section describes the rear panel patchbay of the CPM 2642 where all inputs and outputs
(except the HEADPHONE OUTPUT) can be found. The actual input channel connections are
described in section VI, Input Channels.

After proper power has been supplied to the CPM 2642 the next step is to connect any outboard
equipment such as recording devices, effects units, equalizers, and power amps. This section
describes the optimum method for connecting your outboard devices to your mixer. All connections
should be made with the power turned off on all associated units including the CPM 2642. Always
use high quality cables and connectors to ensure optimum performance and minimal noise.

4. MASTER L/R OUTPUTS

Each of the Master L/R channels has an
0 dBu/2 k Ohm, 1/4" unbalanced output and a
+4 dBu/ 600 Ohm, XLR balanced output. The
unbalanced and balanced outputs can be used
simultaneously.

5. MONO OUTPUT

The Mono Output is a +4 dBu/600 Ohm, XLR
balanced output. MONO OUT mixes the post-fader L
and R signals. The output signal level is affected by
the L-R master faders as well as its own MONO
LEVEL CONTROL (6).

6. MONO LEVEL CONTROL

This control adjusts the level on the MONO
OUTPUT (5). Unity gain is at the center detente
position and +6 dB of gain in the full clockwise
position maximum.

1

3

3

5

6

2

4

7