Crest audio LMX OWNER'S MANUAL

CENTURY SERIES

LMx

OWNER’S MANUAL

Congratulations on your purchase of a Century Series console. All of us at Crest Audio in Paramus, New Jersey, USA, support your decision, knowing your console contains the finest combination of design and manufacture in the industry.

While your new Century Series console is one of the most feature-packed available, great effort has been put into making it simple to operate.

This manual explains the functions of your new console, how they operate and how they relate to each other. If properly cared for, your new console will provide you with trouble-free, sonically accurate mixing clear into the next Century and beyond.

Please keep the following contact information on hand:

Crest Audio Customer Service Dept.

100 Eisenhower Drive

Paramus NJ 07652 USA

tel [phone] fax [phone] http://www.crestaudio.com

Crest Audio Inc.

100 Eisenhower Dr., Paramus NJ 07652 USA

TEL: [phone] FAX: [phone]

http://www.crestaudio.com

Printed in USA

TABLE OF CONTENTS

LMx

LMx

LMx

LMx

LMx

LMx

LMx

Feature Overview	2
A brief description of the LMx design, features and functions.
System Connections	3
Contains diagrams illustrating conventional system connections.
Wiring Conventions	5
Contains diagrams indicating how connectors for Crest consoles are wired.
Power Supply	6
A brief description of the rack-mountable Century Series consoles power supply.
Power Connections	7
A brief description of Crest console power connections.
Console Cooling	7
A brief description of the dual-fan cooling setup.
Input Module	8
Profiles the LMx input module.
The module and rear panel are illustrated and described.

LMx	Group Module	10
	Profiles the LMx group module.
	The module and rear panel are illustrated, and described.
LMx
	Stereo 21R/22L Module	12
	Profiles the LMx console stereo 21R/22L module.
	The module and rear panel are illustrated, and described.
LMx
	Master Module	14
	Profiles the LMx console master module.
	The module and rear panel are illustrated, and described.
LMx
	Meter Bridge	16
	This section profiles the LMx meter bridge.
	Each type of meter is illustrated and described.
LMx
	Operation	18
	Describes special features: Global Level/Pan, Solo system, Monitor outputs,
	Stereo Input, Channel Input Mic split, Line Inputs, Sub-grouping.
LMx
	Technical Information	Appendix A
	Includes dimensions, specifications, console access details,
	user options, console block diagram, and rear panel layout.

LMx

LMx

Glossary

Appendix B

The specific details of console operation are described here, alphabetically.

Schematics

Appendix C

Lists available LMx console and power supply schematics.

PAGE 1

LMX	CENTURY SERIES

Feature Overview

•SSM/PMI High quality devices on balanced microphone/line inputs and on all outputs for uncompromised audio quality and reliability. All IC’s within the audio path are socket mounted for easy upgrade or service.

•A signal path completely free of electrolytic capacitors; all internal audio connections are gold plated.

•Pad switches on XLR inputs allow preamplifiers to accept signals from -62 to +7 dBu on mic and -44 to +10 dBu line.

•Separate 1/4" insert send and return jacks are provided for patching outboard equipment.

•Passive microphone splitters with ground lift switches on every microphone input.

•Switchable 48 Volt phantom power on all microphone inputs; optional transformers available on all microphone inputs and primary outputs.

•EQ section includes an EQ ON switch with LED and a 100Hz High Pass filter switch. Four sweepable bands (LF-40- 800Hz, LMF-100Hz-2kHz, HMF-400Hz-8kHz, HF-1.5k- 20kHz) are supplied with bell curves, providing full frequency control with generous overlap. The HF and LF bands are selectable between Peaking and Shelving via internal jumpers.

•5-LED display on input modules, logically placed next to the fader, provides accurate monitoring of pre-fader input levels.

•Input channels have level sends for the 22 output buses, with dual concentric controls provided for buses 1-16 and single controls for buses 18-20 and 21L/22R. These controls may function as either 11 stereo sends with level and pan, 22 discrete mono sends, or any desired combination of the two modes. Global mono or stereo configuration for each bus is determined by pushing a single button on the corresponding output module.

•FET-controlled “soft” Mute switches on each input module, which cut every selected send and output. Each input may be assigned to any or all of the eight Mute Groups, and assignments are clearly indicated by associated status LEDs. Engaging the Safe switch defeats the module’s group mute function without changing the console setup.

•Output EQ - Each of the Group Output modules incorporates a dedicated stereo EQ section with three overlapping swept bands (40Hz - 1kHz, 300Hz - 8kHz, 1kHz - 20kHz ), odd & even EQ In/Out switching with status LEDs, and switchable High Pass Filters with a corner frequency sweepable from 20Hz to 400Hz.

•Input for Room Ambience Microphones - Dedicated Stereo Mic Input section (located on the upper part of the Stereo 21L/22R output module), allows routing of room ambience microphones to in-ear monitoring systems. Includes a lownoise dual preamplifier with gain control, pad, polarity reverse switch, phantom power switch, mic/line input switch, stereo input EQ section with two overlapping swept bands, EQ in/out switching, and a 100Hz roll-off High Pass Filter.

During quieter pauses between performances, an integrated compressor-gate automatically opens the room ambience microphones. When the performance resumes, the auto-control processor gradually engages compression over a wide range, smoothly reducing ambience level in proportion to the increase in stage sound until mics are gated off at nominal performance level. All eleven output modules have individual dual concentric level controls (switchable for mono or stereo mode) to feed the Stereo Mic inputs into the Monitor outputs.

•The L/R to Group section, located on each Group Output module, can be used to re-matrix the 21L/22R output’s mix back into any or all of the other ten stereo or twenty mono outputs. A second subgroup feature allows any or all signals on the first 20 mono/10 stereo buses to be assigned to the L/R Master module, providing the flexibility required for alternate use as an FOH console. The two subgroup modes are interlocked to prevent inadvertent feedback loops.

•Line In with Level controls, On/Off switching and Solo switching on each of the ten Group Output modules. The line inputs can be used as summing inputs or simple effects returns.

•Full-size meter bridge with large, sunlight-visible mechanical VU meters. Metering provided for all 22 output buses plus the stereo solo bus. Meters are solid state LED illuminated.

•Master Section provides a full bandwidth (20Hz - 20kHz) oscillator, pink noise generator, headphone output level control, monitor on/off switch, and Talkback functions. A 100mm fader is featured for main monitor level. Adjoining the fader are switches to select monitor source. Source options are either external stereo, or summing of the monitor output to mono, and selecting a mix of all input faders for routing to the monitor output.

•A Volume Foot Pedal (and rear panel connection jack) are provided. The foot pedal connects in series with the Monitor Output fader.

•Comprehensive, logic-controlled Solo system.

-Normal and input priority modes

-Choice of summing and ‘last pressed’ mode

-Choice of PFL and AFL audio in stereo

•52 and 64 module position frames, constructed of pre-plat- ed 14-gauge steel. Any frame size may be ordered short loaded for later expansion.

•UL/CE-approved external power supply over-designed with ample current reserves. For the ultimate in fail-safe reliability, a back-up power supply can be linked to the primary supply with only an inexpensive jumper cable. External switching is not needed.

PAGE 2

CENTURY SERIES

LMX

System Connections

Proper connection and component relationships are vital to assure accurate operation and results. The following diagrams illustrate conventional system connections.

				ODD	ODD	ODD
				OUT	OUT	OUT
	LEFT		ODD
			OUT
	MONITOR
	RT
		SND	SND	SND	SND	SND
		INSERT	INSERT	INSERT	INSERT	INSERT
		BAL	BAL	BAL	BAL	BAL
		RTN	TRN	TRN	TRN	TRN
	LEFT
	ALT MON		EVEN
	RT			EVEN	EVEN	EVEN
			OUT	OUT	OUT	OUT
	IN	SND	SND	SND	SND	SND
									6001 Professional Power Amplifier
	EXT TB	INSERT	INSERT	INSERT	INSERT	INSERT		Clip/Limit
	OUT							Signal
		BAL	BAL	BAL	BAL	BAL		Temp/DC
IN		RTN	RTN	RTN	RTN	RTN		Active
							-6		-6
-						-10	-3	-10	-3
BAL						-15		-15
MIC	STR		STR			-30	-1	-30	-1
-	MIC		MIC			-80	0dB	-80	0dB
OUT							Ch A		Ch B
	IN		IN
	L		R						6001 Professional Power Amplifier
								Clip/Limit
								Signal
								Temp/DC
							-6	Active	-6
						-10
							-3	-10	-3
						-15		-15
						-30	-1	-30	-1
						-80	0dB	-80	0dB
							Ch A		Ch B
	Master	L / R

Floor Wedge Connection

						Receivers for
						In-Ear Monitors
				ODD	ODD	ODD
				OUT	OUT	OUT
	LEFT		ODD
	MONITOR		OUT
	RT
		SND	SND	SND	SND	SND
		INSERT	INSERT	INSERT	INSERT	INSERT
		BAL	BAL	BAL	BAL	BAL
		RTN	TRN	TRN	TRN	TRN
	LEFT
	ALT MON		EVEN
	RT			EVEN	EVEN	EVEN
			OUT	OUT	OUT	OUT
	IN	SND	SND	SND	SND	SND
	EXT TB	INSERT	INSERT	INSERT	INSERT	INSERT
	OUT
		BAL	BAL	BAL	BAL	BAL
IN		RTN	RTN	RTN	RTN	RTN
-
BAL
MIC	STR		STR
-
OUT	MIC		MIC
	IN		IN
	L		R
						Transmitters for
						In-Ear Monitors
	Master	L / R

Stereo In-Ear Monitor Connection

PAGE 3

LMX	CENTURY SERIES

System Connections (cont'd)

In
DIR	DIR	DIR		DIR	DIR
OUT	OUT	OUT		OUT	OUT
SND	SND	SND		SND	SND
INSERT	INSERT	INSERT		INSERT	INSERT
BAL	BAL	BAL		BAL	BAL
RTN	RTN	RTN		RTN	RTN
LINE IN	LINE IN	LINE IN		LINE IN	LINE IN
BAL	BAL	BAL		BAL	BAL
Signal Processors
PIN 1	PIN 1	PIN 1		PIN 1	PIN 1
LIFT	LIFT	LIFT		LIFT	LIFT
	IN	IN	IN	IN	IN
	-	-	-	-	-
	BAL	BAL	BAL	BAL	BAL
	MIC	MIC	MIC	MIC	MIC
	-	-	-	-	-
	OUT	OUT	OUT	OUT	OUT
Out

Insert Send/Return Connection

Front of House

Console

DIR OUT	DIR OUT	DIR OUT	DIR OUT
					ODD
					OUT
					DIR	DIR	DIR	DIR
					OUT	OUT	OUT	OUT
INSERT SEND	INSERT SEND	INSERT SEND	INSERT SEND
				SND
				INSERT	SND	SND	SND	SND
BAL INSERT RTN	BAL INSERT RTN	BAL INSERT RTN	BAL INSERT RTN		INSERT	INSERT	INSERT	INSERT
				BAL
				TRN	BAL	BAL	BAL	BAL
					RTN	RTN	RTN	RTN
BAL LINE IN	BAL LINE IN	BAL LINE IN	BAL LINE IN		EVEN LINE IN	LINE IN	LINE IN	LINE IN
					OUT BAL	BAL	BAL	BAL
BAL MIC IN	BAL MIC IN	BAL MIC IN	BAL MIC IN		PIN 1	PIN 1	PIN 1	PIN 1
				SND	LIFT	LIFT	LIFT	LIFT
				INSERT
				BAL
				RTN
						IN	IN	IN
						-	-	-
						BAL	BAL	BAL
						MIC	MIC	MIC
						-	-	-
						OUT	OUT	OUT

From Stage

Microphones

Microphone Splitting

PAGE 4

CENTURY SERIES

LMX

Wiring Conventions

Since the same connectors are used throughout the professional audio industry, it is important to know how the connectors for Crest consoles are wired. Wiring is as follows:

INPUT XLR

OUTPUT XLR

PIN 1

1		PIN 3
	3	PIN 2
2

PIN 1 = GROUND

PIN 2 = POSITIVE

PIN 3 = NEGATIVE

TIP - POSITIVE

RING - NEGATIVE

SLEEVE - GROUND

INPUT

PIN 2

PIN 3

PIN 1

Input / Return Plug Polarities

TIP - POSITIVE RING - NEGATIVE SLEEVE - GROUND

OUTPUT

TIP - LEFT

RING - RIGHT

SLEEVE - COMMON

Headphone

Output / Send Plug Polarities

Connector: Headphone Output

PAGE 5

LMX	CENTURY SERIES

Century Series Console Power Supply

Century Series consoles use a separate rack-mountable power supply which provides the specific voltages used by each console. Crest Audio’ Century Series makes use of two different power supplies. Both frame sizes (52 & 64 space) of the LMx console should only be used with the Model XCVA06 Power Supply.

Press to Reset

ON	+20V	+48V	6A
C O N S O L E S
Power Supply	-20V	+24V

POWER OUT

2 1
5 4 3
7 6
Pin 1 +24V
Pin 2 +20V
Pin 3	Analog	POWER OUT
Pin 4	Analog
Pin 5 Digital
Pin 6	+48V
Pin 7	-20V

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

AVIS : RISQUE DE CHOC ÉLECTRIQUE—NE PAS OUVRIR

WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT

EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE.

ATTENTION! POUR ÉVITER LE RISQUE D'INCENDIE OU DE CHOC ÉLECTRIQUE, NE PLACEZ PAS CET APPAREIL SOUS LA PLUIE OU Á L'HUMIDITÉ

Designed & manufactured in the USA by:

A division of Crest Audio Inc. 100 Eisenhower Dr.

Paramus, New Jersey 07652 USA

CONSOLE	CHASSIS
G RO U N D	GROUND

ModelS/NXCVA04

± 20V @ 4

+24V @ 4

+48V @ 1

+24V @ 6

± 20V @ 6

Model XCVA06

MAXIMUM AC IN: XCVA04: 415 WATTS XCVA06: 825 WATTS

Supply Identification

The type of power supply can be identified by the model number shown on the back of the chassis and panel label..

Power Requirements

The Century Series power supplies have certain electrical requirements to operate properly. If possible the power supply should be connected to a dedicated circuit. Should any other appliance on the same circuit draw enough current to overload the circuit, the breaker or fuse will trip causing loss of power to the console. Note the maximum current draw specifications at right. Be sure that the circuit to which you connect the supply can handle the draw.

The power switch on the supply front panel is also a circuit breaker, there is no power fuse. Should the supply ever shut down, or trip at start up, simply push the switch to the off position and then on again.

Ground Linking

Safety Considerations - Each new power supply is shipped with the AC third wire ground connected to the console chassis ground. The connection is made at the rear of the power supply unit. This is necessary for safety reasons so that exposed metal parts are grounded. In the event of a live conductor making contact with the console chassis or the power supply chassis then the current will flow to ground without a safety hazard arising. Note that when the console is disconnected from the power supply the chassis ground connection to AC third wire ground is broken and safety protection is lost. For uninterruptible grounding, in a fixed installation for example, make a connection directly to the console chassis from the safety ground. Disconnect the ground link on the rear of the power supply. This disconnects console ground from power supply AC third wire ground which would otherwise create a hum-loop.

Twin Supply Operation

When twin supplies are in use for automatic back-up, then the ground links on both supplies should be fitted.

In a situation where the safety ground to the console chassis has been connected and the ground path via the power supply is causing a hum-loop, then disconnect the ground links on BOTH power supplies.

Console and Power Supply Grounding

Console chassis ground is electrically connected to audio ground, pin 1 of XLR connectors and 1/4" sockets and to the terminal 'CONSOLE GROUND' at the rear of the power supply. The AC third wire connection in the power supply cable connects the metal chassis of the power supply to safety ground. This connection should never be disturbed. Hazardous voltages exist inside the power supply which require the case to be grounded. When rack-mounted, the power supply ground may transfer to the rack case thru the front fixing screws, though this connection is not reliable. When a console is configured within a complete sound system the grounding requirements may call for the ground link to be disconnected. This is permissible only when an alternative ground path has been provided. If in doubt seek the advice of an experienced electrical engineer.

	Serial Number Tag			Model XCPS-40
			S/N	±20V @ 4
				+24V @ 4
				+48V @ 1A
				+24V @ 6A
	Model Number			±20V @ 6A
				Model XCVA06
	Power Supply	Max Current		Max Current
	Model	Draw @ 120V		Draw @ 240V
	XCVA06		9 Amps	5 Amps

PAGE 6

CENTURY SERIES

LMX

Power Connections

The LMx’s UL/CE-approved power supply is over-designed with ample current reserves. Multiple power supplies can be daisychained to provide fail-safe protection in the event of a supply failure. For the ultimate in fail-safe reliability, a back-up power supply can be linked to the primary supply with only a jumper cable. External switching is not needed. Both power supplies run all the time. In the event of supply failure, the remaining power supply(s) will take over the entire load.

Also, should a console module be accidentally disabled, the LMx power supply is designed to ignore that one module, keeping the rest of the board fully operational.

To Console

		POWER OUT
2 1
5 4 3
7	6
Pin 1 +24V
Pin 2 +20V
Pin 3	Analog	POWER OUT
Pin 4	Analog
Pin 5 Digital
Pin 6 +48V
Pin 7	-20V

Interface Cable

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

AVIS : RISQUE DE CHOC ÉLECTRIQUE—NE PAS OUVRIR

WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT

EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE.

ATTENTION! POUR ÉVITER LE RISQUE D'INCENDIE OU DE CHOC ÉLECTRIQUE, NE PLACEZ PAS CET APPAREIL SOUS LA PLUIE OU Á L'HUMIDITÉ

Designed & manufactured in the USA by:

A division of Crest Audio Inc. 100 Eisenhower Dr.

Paramus, New Jersey 07652 USA

CONSOLE CHASSIS

GROUND GROUND

Model XCVA04

± S/N

20V @ 4

+24V @ 4

+48V @ 1

+24V @ 6

± 20V @ 6

Model XCVA06

MAXIMUM AC IN: XCVA04: 415 WATTS XCVA06: 825 WATTS

To AC Mains

		POWER OUT
2 1
5 4 3
7	6
Pin 1 +24V
Pin 2 +20V
Pin 3	Analog	POWER OUT
Pin 4	Analog
Pin 5 Digital
Pin 6 +48V
Pin 7	-20V

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

AVIS : RISQUE DE CHOC ÉLECTRIQUE—NE PAS OUVRIR

WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT

EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE.

ATTENTION! POUR ÉVITER LE RISQUE D'INCENDIE OU DE CHOC ÉLECTRIQUE, NE PLACEZ PAS CET APPAREIL SOUS LA PLUIE OU Á L'HUMIDITÉ

Designed & manufactured in the USA by:

A division of Crest Audio Inc. 100 Eisenhower Dr.

Paramus, New Jersey 07652 USA

CONSOLE	CHASSIS
G R O U N D	GROUND

Model XCVA04

± S/N

20V @ 4

+24V @ 4

+48V @ 1

+24V @ 6

± 20V @ 6

Model XCVA06

MAXIMUM AC IN: XCVA04: 415 WATTS XCVA06: 825 WATTS

To AC Mains

Console Cooling

A cooling fan configuration is included in all LMx consoles. Two fans (one at each end of the console) draw air in through the sides of the chassis (under the sidebars). Air is distributed through the chassis via a “vortex pan”, then proceeds up through the console modules, where the heated air exits the console chassis.

Once the console is powered up, cooling fans remain on. A rear panel switch permits the fans to be set at low, medium or high speeds.

There are no filters to change or clean. As with any console, use in dusty/unclean environments should be avoided.

PAGE 7

LMX	CENTURY SERIES

							5		9			LMx Input Module
						4		6				40 or 52 identical input modules are fitted.
PAD			LINE			3		7 10
					2			8				Module features are described ‘top down’.
Ø			+48			1		9
						0		10
			GAIN									PAD switch
		40				4	5	6	11
30						3		7 12
			50		2			8				Reduces the incoming audio level, before the pre-amp, by
						1		9
	20		70		L							approximately 15dB.
						0		10	13
					R	4	5	6
						3		7 14				LINE switch
EQ ON			100		2			8
	4					1		9
3			10									Input select.
						0		10
				HF		4	5	6	15			Default is MIC XLR.
1K5			20K			3		7 16
		2	3K		2			8				Press for LINE 1/4” JACK
1K						1		9
			HM			0		10				+48V switch
			6K			PRE
400			8K									Press for 48V Phantom power on MIC IN & OUT XLR s.
400						4	5	6	17
												(check also Master 48V switch)
250			1K			3		7
					2			8
100			2K	LM		1		9				Ø switch
						0		10
150						4	5	6	18
			300			3		7				Press to invert the phase of the selected input
100			600		2			8
						1		9				GAIN pot
40			800	LF		4	5	6	19
						0		10
						3		7				Range +20 to +70dB.
		PRE			2			8
					PAN	1		9
	4		6	1		0	5	10	20			100 switch
		5			LEV	4		6
3			7	2		3		7
2			8		2			8				Press for 100Hz high-pass filter
1			9			1		9
						0		10
	0		10									(INSERT POINT)
				3		PRE
	4	5	6
3			7	4					21			is located in the signal path, before the EQ section.
2			8			4	5	6
1			9			3		7	(L)			EQ section
L	0	5	10	5	2			8
R	4		6	6		1		9
3			7			0		10				Silent IN - OUT switch, with green LED indicator
2			8			4	5	6	22
1			9			3		7	(R)			The EQ section features dual-concentric pots
					2			8
	0		10									+/- dB adjust on inner control
		5		7		1		9
	4		6
				8		0		10		DIR		Frequency adjust on outer control
3			7
2			8					MUTE		OUT
1			9									HF section, bell curve type (internal shelving option)
	0		10
	PRE											Frequency range 1.5kHz to 20kHz
										BAL
		5		9				SOLO				HM section, ‘bell’ curve type (internal Q option)
	4		6							SND
3			7 10		PK					INSERT		Frequency range 400Hz to 8kHz
2			8
					+8					BAL
1			9						10			LM section, ‘bell’ curve type
					0					RTN
	0		10									Frequency range 100Hz to 2kHz
	4	5	6	11	-6
3			7 12		SIG					LINE IN		LF section, bell curve type (internal Q option)
2			8						5
1			9			1			0	BAL		Frequency range 40Hz to 800Hz.
L	0		10
				13
R	4	5	6									Refer to USER OPTIONS for EQ filter options.
3			7 14
2			8									MIX SEND CONTROLS
1	0		10						5	PIN 1
			9
	4	5	6	15	M					LIFT
					U							All MIX sends are with EQ. When PRE sends are desired
3			7 16		T
2			8		E							without EQ refer to USER OPTIONS
					G				10
1			9		R
	0		10		O							8 dual concentric pots for mixes 1 thru 16
					P				15		IN
	PRE
					U
					S						-	inner section = odd #
											BAL
		5		17					20		MIC	outer section = even #
3	4		6								-
			7			8					OUT	Unity gain at about 2 o'clock position #7.
2			8						30
1			9
	0		10
	4	5	6	18	SAFE
3			7
2			8
1			9
	0		10
	4	5	6	19
3			7
2			8							LMX	INPUT
1			9
PAN	0		10
PAGE 8

CENTURY SERIES

LMX

MIX SEND CONTROLS (cont'd)

Use the GLOBAL LEVEL/PAN switch on GROUP module to change to stereo mix configuration. There is a LEVEL-PAN switch for each pair of outputs. Each one changes all inputs at the same time.

In stereo mix configuration:	inner = level
	outer = pan.

Start with the PAN (outer) set to center position.

PRE switch

Mix sends are normally post fader. Use the PRE switch to select PRE FADER operation. When PRE is selected the send includes EQ treatment. Refer to USER OPTIONS for alternatives.

MIX SENDS 17 thru 22

6 single pots for control of 6 mixes. Normally each is a level control. Use GLOBAL LEVEL/PAN to change to stereo mix configuration. There is a GLOBAL switch for each pair of outputs. In ‘stereo’ mode start with PAN in the center position.

MUTE switch

Channel audio mute switch with indicator. Audio off = LED on. Normally all mix sends are muted at the same time. For alternatives refer to USER OPTIONS.

MUTE also responds to the MUTE GROUP system.

SOLO switch

Individual audio check switch with indicator. User choice of AFL or PFL source. Use MODE switch on Master module.

PFL = pre-fader, post EQ

AFL = post-fader, post-mute,

Headphones, SOLO meters and operator monitor stereo outputs all switch to follow any SOLO operation. SOLO PRIORITY controls are located on the MASTER module.

PEAK indicator

Responds 3dB before overload. Senses preamp, EQ and postfader levels.

INPUT METER

Shows audio level from -30dB to +8dB. Source normally prefader. Refer to USER OPTIONS for alternatives.

100mm FADER

controls all outputs except those switched to PRE.

MUTE GROUPS 1 - 8.

Each switch assigns the channel mute to a common mute bus. The indicator lights when pre-selected. Bus master switches are on the MASTER module. The regular mute switch LED shows the mute condition.

SAFE switch

Isolates the channel mute from ALL mute group buses.

Input Module Rear Panel

DIRECT OUTPUT connector

1/4" unbalanced jack, +4dBu, post fader. Carries the direct output signal (post mute) from the input channel.

INSERT SEND/RETURN points

Send 1/4" - balanced jack, +4dBu

Return 1/4" - balanced jack

Insertion point is located in the signal path, before the EQ section.

LINE INPUT connector

Audio from the first twenty input modules is connected internally to the GROUP modules. Input 1 to Group 1 etc. This connection is direct, bypassing the Input module source selection and is buffered.

PIN 1 LIFT switch

This ground lift switch may be used to isolate pin1 of the mic XLR from console ground.

Unpressed = pin 1 grounded

Pressed = pin 1 lifted

MIC IN connector

Input to channel preamp. Electronic balanced, 4 kΩ input impedance, +48V phantom power available.

MIC OUT connector

Split from Mic In, direct connection, for connection to a second console, or other destination.

PAGE 9

LMX	CENTURY SERIES

		—									LMx Group Module
	GROUP
					3	4	5	6	7		All LMx models include 10 similar GROUP modules that are
	5		10		2				8		internally assigned to provide mix outputs 1 - 20 and associ-
3					1				9		ated functions. Module features are described ‘top down’.
				15		0		10
1K			20K		LINE INPUT						Stereo EQ
		O			FROM INPUT MODULE
	–		+	HF
8				8	L - R TO GROUP						For the mix outputs, +/- 16dB each band.
					L	4	5	6	ODD		HF bell curve center frequency: range 1k to 20kHz
					3				7
16			16		TO				EVEN		HF cut/boost with center detent
	1K		3		2				8
600					1				9		MID bell curve center freq.: range 300Hz to 8kHz
				5	R	0	5	10	ODD
						4		6			MID cut/boost with center detent
					3				7
300			8K		TO				EVEN
	–	O	+	MID	2				8		LF bell curve center frequency: range 40Hz to 1kHz
					1				9
8				8							LF cut/boost with center detent
						0		10
16			16								EQ ON switches with indicators
150			300		ODD		EVEN
100					GROUP TO						For odd and even group output. Allows EQ of either or both
				6
					L-R ASSIGN						sides.
40			1K				L
				LF
	–	O	+		ODD		EVEN				HPF (high pass filter) switches
8				8
							R				with indicators. For odd and even group outputs.
16			16
											Stereo HPF pot
	EQ ON
	HPF ON				INSERT SOLO						With cut off frequency range 20Hz to 400 Hz. Attenuation
											12dB/octave below cut-off frequency.
	80		100		INSERT ON						STEREO FEED
40
				200
20			400				LEV		PAN		Stereo input audio comes from the Stereo Master Module.
STEREO GRP EQ						TB ENB					Dual concentric level controls.
L			STEREO								Inner = STEREO INPUT to Odd # mix
R	4	5	6				Ø
				7							Outer = STEREO INPUT to Even # mix
3
2				8
1				9			DIM			ODD	A mono sum of the Stereo source is used. When the groups
	0		10							OUT
											are in Level-Pan mode then the source is mixed in stereo and
	ON
L				R							the controls are:
ODD	SOLO EVEN					MUTE					Inner = Level
							SIG				Outer = Balance.
	4		6						SND		Start with balance at mid-position.
		5				SOLO
3				7					INSERT
									TRN		ON switches with indicators
1				9
2				8					BAL
	0		10				10				For the odd and even side Stereo Input audio.
LINE INPUT
FROM INPUT MODULE											LINE INPUT from same # input ch.
										OUT
							5			EVEN
L - R TO GROUP							0				These dual concentric level controls add audio from the cor-
L	4	5	6	ODD
TO				EVEN							responding # channel Line Input to the group mixes. They are
3				7
2				8							unaffected by adjustments on the channel.
1				9
TO	0		10	EVEN			5				Inner pot = Odd # mix, outer pot = Even # mix.
	4		6
R		5		ODD					SND
3				7							LINE INPUT ON and SOLO switches
									INSERT
2				8
1				9			10
									BAL		with indicators. SOLO is PFL only. These sections are
									RTN
							15				defined as INPUT Solos for priority purposes. Refer to
							20				OPERATIONS for more about LINE INPUT.
							30				L-R TO GROUP
											Sub-grouping facility.
											Stereo mix 21L/22R is available on each group module.
											Left pots:	Inner = L to Odd # mix
												Outer = L to Even # mix
									LMX	GROUP	Right pots:	Inner = R to Odd # mix
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