Crate Mixer Mini CMX32

In order to achieve maximum performance fromyour new Crate Audio Mixer we recommend that

you read this user’s guide prior to its use.

User’s Guidefor the

CRATE AUDIO

CMX32

Stereo Console Mixer

2

THIS EQUIPMENT HAS BEEN DESIGNED ANDENGINEERED TO PROVIDE SAFE AND RELIABLEOPERATION. IN ORDER TO PROLONG THE LIFEOF THE UNIT AND PREVENT ACCIDENTAL DAM-AGES OR INJURY, PLEASE FOLLOW THESE PRE-CAUTIONARY GUIDELINES:

CAUTION: TO REDUCE THE RISK OF ELECTRICSHOCK, DO NOT OPEN CHASSIS; DO NOTDEFEAT OR REMOVE THE GROUND PIN OF THEPOWER CORD; CONNECT ONLY TO A PROPERLYGROUNDED AC POWER OUTLET.

WARNING: TO REDUCE THE RISK OF FIRE ORELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIP-MENT TO RAIN OR MOISTURE.

CAUTION: NO USER-SERVICEABLE PARTSINSIDE. REFER SERVICING TO QUALIFIED SER-VICE PERSONNEL.

CAUTION: OUR AMPLIFIERS ARE CAPABLE OFPRODUCING HIGH SOUND PRESSURE LEVELS.CONTINUED EXPOSURE TO HIGH SOUND PRES-SURE LEVELS CAN CAUSE PERMANENT HEAR-ING IMPAIRMENT OR LOSS. USER CAUTION ISADVISED AND EAR PROTECTION IS RECOM-MENDED IF UNIT IS OPERATED AT HIGH VOLUME.

CAUTIONRISK 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"

= =

PRECAUCIONRIESGO DE CORRIENTAZO

NO ABRA

PRECAUCION PARA DISMINUOIR EL RIESGO DE CORRIENTAZONO ABRA LA CUBIERTA

NO HAY PIEZAS ADENTRO QUE EL USARIO PUEDO REPARARDEJE TODO MANTENIMIENTO A LOS TECHNICOS CALIFICADOS

ATTENTIONRISQUE D'ELECTROCUTION

NE PAS OUVRIR

ATTENTION: POUR REDUIRE D'ELECTROCUTION NE PASENLEVER LE COUVERCLE. AUCUNE PIECE INTERNE N'EST REPRABLEPAR L'UTILISATEUR. POUR TOUTE REPARATION, S'ADRESSER A UN

TECHNICIEN QUALIFIE.

VORSICHTELEKTRISCHE SCHLAGGEFAHR

NICHT OFFENEN

VORSICHT: ZUR MINIMIERUNG ELEKTRISCHER SCHLAGGEFAHR NICHTDEN DECKEL ABENHMEN. INTERNE TEILE KONNEN NICHT VOM

BENUTZER GEWARTET WERDEN. DIE WARTUNG IS QUALIFIZIERTEMWARTUNGSPERSONAL ZU UBERLASSEN.

ESTE APARATO HA SIDO DISENADO Y CON-STRUIDO PARA PROVEER ANOS DE OPERACIONSEGURA Y CONFIABLE. PARA PROLONGAR LAVIDA DE ESTA UNIDAD E IMPEDIR DANOS ACCI-DENTALES POR FAVOR SIGA ESTAS INSTRUC-CIONES PREVENTIVAS:

PRECAUCION: PARA DISMINUIR EL RIESGO DEDESCARGAS ELÉLECTRICAS: (1) NO ABRA LACUBIERTA, (2) NO ES RECOMENDABLEREMOVER O DESACTIVAR LA PATA DEL POLO ATIERRA DEL CABLE DE CORRIENTE, CONECTECORRECTAMENTE A UNA TOMA DE CORRIENTEA TIERRA.

ADVERTENCIA: PARA EVITAR DESCARGASELECTRICAS O PELIGRO DE INCENDIO, NO DEJEESTE APARATO EXPUESTO A LA LLUVIA OHUMEDAD.

PRECAUCION: NO HAY PIEZAS ADENTRO QUEEL USUARIO PUEDE REPARAR. DEJE TODO MAN-TENIMIENTO A LOS TÉCNICOS CALIFICADOS.

PRECAUCION: NUESTROS AMPLIFICADORESPUEDEN PRODUCIR NIVELES DE PRESION DESONIDO ALTO. EXPOSICION CONTINUADA A LOSNIVELES DE PRESION DE SONIDO ALTO PUEDECAUSA DANO PERMANENTE A SU OIDO. ESACONSEJADO QUE USE PRECAUCION ALUSUARIO Y ES RECOMENDADO PROTECCIONPARA LOS OIDOS SI LA UNIDAD ES OPERADA AVOLUMEN 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 PUB-LICATION 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 DAYSLOW RESPONSE IN HOURS SLOW RESPONSE IN HOURS SLOW RESPONSE IN HOURS

90 8 97 3 105 192 6 100 2 110 1/295 4 102 1 - 1 1/2 115 1/4 or less

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 Audio Stereo Console Mixer. In order to derive themost benefit from the mixer, and to fully understand and appreciate its flexibility and versatility, pleasefamiliarize yourself with the mixer by reading through this User’s Guide prior to its use.

Thank You, from Crate Audio.

Table of Contents:

CMX32 Stereo Console Mixer

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

About This Manual . . . . . . . . . . . . . . . . . . . . . . . . .3

The Mono Input Channels . . . . . . . . . . . . . . . . . . . .4

The Stereo Input Channels . . . . . . . . . . . . . . . . . . . .5

The Master Section . . . . . . . . . . . . . . . . . . . . . . . .6,7

Applications:

Basic Mono Operation . . . . . . . . . . . . . . . . . . . . .8

Home Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

DJ Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

House of Worship Installation . . . . . . . . . . . . . . .11

Separating Vocals and Instruments . . . . . . . . . . . .12

External Effects and Recorders . . . . . . . . . . . . . . .13

Equalization Diagrams . . . . . . . . . . . . . . . . . . . . . .14

Differences in Cable Types . . . . . . . . . . . . . . . . . . .14

Gain Level Diagram . . . . . . . . . . . . . . . . . . . . . . . .15

System Block Diagram . . . . . . . . . . . . . . . . . . . . . .15

Technical Specifications . . . . . . . . . . . . . . .back cover

3

Introduction:

In the world of professional sound reinforcement and audio reproduction there is noroom for compromise. It is absolutely vital that the emotions of a performance are projectedto your audience, not just sounds. Your new Crate Audio CMX32 Stereo Console Mixer is apowerful tool which allows you to successfully bridge the gap between performers and audi-ence without losing any of the “life” of the performance in the process. No matter what yourparticular application, your Crate Audio mixer is ready to meet the challenge with a level ofperformance and control unequaled by its competition.

Crate Audio mixers are the result of our many years of experience with high-performanceaudio equipment combined with our extensive research and development procedures and guid-ed by our inherent love of musical performances. Each mixer is built using a variety of innova-tive construction methods making it truly reliable and incredibly roadworthy. Its diverse featuresoffer you an extremely high degree of versatility and flexibility regardless of application and it isdesigned to keep you constantly in total control of your performing environment, always withthe best possible sound.

Features:

Crate Audio mixers combine the latest technology with contemporary styling and flexiblefeatures. Exceptionally low noise, incredible headroom and outstanding features make theCrate Audio mixer perfect for use on stage, in the home studio, or for “institutional” use. Thisunique mixer offers stereo Tape In and Out jacks, switchable Phantom Power, a level-control-lable Headphones jack, dual 5-step LED ladders, and more. Each of the three mono inputchannels offers you the choice of balanced XLR Low-Z or balanced 1/4" Hi-Z Input jacks, aMic/Line input gain selector switch, two bands of equalization, a Low Cut switch, a Pan con-trol, and an Aux send. Gain controls and peak LEDs for each mono channel allow for opti-mum signal-to-noise ratios. An Insert jack is provided on channels 1 and 2 for connectingexternal signal processors. Two stereo line-level input channels are provided for additional flex-ibility. Every channel features a PFL (pre-fader listen) switch for increased versatility and control.

The color-coded knobs help you know at a glance if you’re reaching for an EQ control, aPan pot or a level control.

About this Manual:

This manual is the compilation of many hours of discussions with engineers, musicians,experts in the field of sound reproduction and novices. While we strive to provide as compre-hensive and informative a manual as possible, we realize we cannot convey every applicationimaginable or answer every possible question. We have endeavored to cover as much as ispractical in this owner’s manual and have provided suggested wiring diagrams for you to useas a starting point for your application.


4

The Mono Input Channels (1 – 3):

1

2

3

5

4

6

8

9

7

10

12

11

1 MIC/LINE: A combination jack: an XLR jack for balanced Low-Z mic inputs and aTip/Ring/Sleeve 1/4” jack for balanced Hi-Z mics, instruments, drum machines,and similar high impedance line level signals. When using a condenser mic, thePhantom Power switch (#29, page 6) must be activated.

2 INSERT: A Tip/Ring/Sleeve 1/4” jack for adding an external signal processor to thechannel. The wiring diagram for this jack is shown on page 13. Applications infor-mation is shown on pages 8 – 13.

3 GAIN: Adjusts the input signal level. Proper setting causes the Peak LED (#9) toflash at strong input signals.

4 LINE/MIC: To properly match the channel’s input sensitivity to the input signallevel set this switch to the Line position (switch up) when using a line level signal(keyboards, drum machines, etc.) and the Mic position (switch down) when usinga mic level signal.

5 HIGH: Controls the high frequency level for the channel. Allows ±15dB @ 12kHz.Shelving type.

6 LOW: This controls the low frequency level for the channel. Allows ±15dB @70Hz. Shelving type.•Additional EQ information is on page 14.

7 LOW CUT: Reduces the low frequency output of the channel at a rate of 18dB peroctave at 75Hz. Active in the up position.

8 AUX: Controls the level of the signal sent from the channel to the Aux output jack(#22). Use as a monitor send or as an effects loop send (see page 13).

9 PEAK LED: Illuminates when the input signal level is within 6dB of clipping.Proper setting of the Gain control (#3) will cause this LED to flash only on stronginput signals.

10 PAN: Divides the signal proportionally between the left and right channels of theMain L/R fader (#33).

11 PFL: This switch, when depressed, sends the channel’s signal to the Monitor mas-ter control (#34). The Output LED Meters (#30) are also switched to monitor thispre-fader signal. The PFL LED (#27) illuminates to indicate that the Headphones(#23), Monitor (#25) and LED Meters (#30) are now responding to the PFL selec-tion.

12 LEVEL: Controls the level of the signal sent to the Main L/R fader (#33).


5

The Stereo Input Channels (4 – 7):

13 LEFT/MONO: A Tip/Sleeve 1/4” jack for instruments, drummachines, tape/CD channels and similar signals. For stereoinputs use this jack for the left channel input and the Rightjack (#14) for the right channel input. For mono inputs use thisjack only.

14 RIGHT: A Tip/Sleeve 1/4” jack for instruments, drummachines, tape/CD channels and similar signals. For stereoinputs use this jack for the right channel input and theLeft/Mono jack (#13) for the left channel input. For monoinputs use the Left/Mono jack (#13) only.

15 AUX: Controls level of signal sent from the channel to the Auxoutput jack (#22). Use as a monitor send or an effects loopsend.

16 +4/-10 SWITCH: This sets the input sensitivity of the channelto either +4dBv for use with professional equipment (such asDAT players, mic preamps, etc.) or -10dBv for use with semi-pro equipment (such as tape decks, CD players, etc.).

17 BAL: Divides the signal proportionally between the left andright channels of the Main L/R fader (#33).

18 PFL: This switch, when depressed, sends the channel’s signalto the Monitor master control (#34). The Output LED Meters(#30) are also switched to monitor this pre-fader signal. ThePFL LED (#27) illuminates to indicate that the Headphones(#23), Monitor (#25) and LED Meters (#30) are now respond-ing to the PFL selection.

19 FADER: Controls the level of the signal sent to the Main L/Rfader (#33).


16

18

15

17

19

15

17

19

16

18

13

14

6

The Master Section:


22 23

20 21

2425

26

27

30

31

32

33

34

2829

20 POWER: Use this switch to turn the mixer on(“–” depressed) and off.

21 POWER CONNECTOR: Fasten the threaded col-lar of the supplied AC power supply to this con-nector. Align the pins of the power supply withthose of the connector, press into place, thentighten the threaded collar onto the connectorsecurely.

22 AUX: Sends the Aux signals to an external device.The mix at this jack is determined by the setting ofeach channel’s Aux control (#8, #15).

23 HEADPHONES: Normal operation: monitors theMain L/R signals. When one or more of the PFLbuttons are depressed the signal at this jack isswitched to monitor only the PFL selection(s). Thesignal level at this jack is controlled by theMonitor master control (#34).

24 MAIN OUTS: These balanced jacks send theMain L/R output signals to the house amplifier(s).(See pages 8-12.) The signal level at these jacks iscontrolled by the Main L/R fader (#33).

25 MONITOR OUTS: These balanced jacks sendthe Monitor output signals to the local referencemonitor amplifier(s). (See pages 8-12.) The signallevel at these jacks is controlled by the Monitormaster control (#34).

26 TAPE IN/TAPE OUT: Connect to the record andplay jacks of an external tape deck. (See page 13.)

27 PFL LED: This LED illuminates when any of thePFL switches are depressed, indicating that theMeter (#30) is monitoring a PFL selection.

28 POWER LED: This LED illuminates when themixer is plugged into an AC source and thePower switch (#20) is at the On position (“–”depressed).

29 PHANTOM POWER: When using any condens-er microphone that requires phantom powerslide this switch to the On position (switch up).NOTE: Turn the master faders and monitor con-trols down to minimum when turning the phan-tom power on and off to avoid transient signalsfrom entering your amplifier(s).

7


The Master Section (continued):

22 23

20 21

2425

26

27

30

31

32

33

34

2829

30 METER: This dual 5-stage LED metermonitors the Main L/R output signalsunder normal conditions. If any of thePFL switches are depressed, the PFL LED(#27) will illuminate and the meters willmonitor the PFL source(s). The Peak LEDswill illuminate whenever the output sig-nal is near clipping. If this happens,reduce the master faders until the PeakLEDs no longer flash.

31 TAPE IN: Depress the left Tape In switchto send the signal from the Tape In jacks(#26) to the Monitor master control (#34).Depress the right Tape In switch to sendthe signal from the Tape In jacks (#26) tothe Main L/R fader (#33).

32 AUX: Depress this switch to send the sig-nal from the Aux controls (#8, #15) to theMonitor master control (#34).

33 MAIN L/R FADER: Controls the Mainmaster signal level sent to the MainLeft/Right jacks (#24).

34 MONITOR: Controls the level of the sig-nal sent to the Monitor jacks (#25) and tothe Headphones jack (#23).

Applications: Basic Mono Operation:

This example shows how the mixer and one stereo power amplifier* may be used to run both the house speakersand the stage monitors.

Connect a signal cable between the mixer’s Left Main Output jack and the power amp’s Channel 1 Input jack (A).Connect another signal cable between the mixer’s Aux output jack and the amp’s Channel 2 Input jack (B). A graphic equal-izer may be included in the signal chain as shown.

Connect a speaker cable between the power amp’s Channel 1 Speaker Output and the house speakers (C). Connectanother speaker cable between the amp’s Channel 2 Speaker Output and the monitor speakers (D).

Use the mixer’s Main L/R Fader to adjust the house volume level and the Aux controls to adjust the level of the mixgoing to the monitors.

*Two mono amplifiers may be used in place of the stereo power amplifier.

Please note that the sample connections shown in the Applications sections are NOT absolute mandates as to how to connect your soundsystem. They are merely intended to provide a springboard from which you may launch the system that will best suit your particular needs.

8

BASS

(SPA1400, SPA2000)

MONITORS(UFM12H, UFM15H)

STEREO POWER AMP

GUITAR

DRUM MACHINE

OR SUB-MIX

HOUSE SPEAKERS(P12, P15, PE12, PE15, etc.)

EQUALIZER(LS2-215, LS3-231)

VOCAL MIC

EFFECTS, COMP./LIMITERS,

EQUALIZERS(SM1SP, SM4CL,

SM3PE etc.)

D.I. BOX

D.I. BOX

HEADPHONESAU

X O

UT

CH.1IN

CH.1IN

CH.1OUT

CH.2IN

CH.2IN

CH.2OUT

CH.1OUT

CH.2OUT

LEF

T O

UT

AB

DC

UNBAL. SIGNAL CABLEBAL. OR UNBAL. SIGNAL CABLESPEAKER CABLE

(Cable differences illustratedon page 14.)

in

out

L/Mono out

in

out

KEYBOARDR out

L out


Applications: Home Studio:

In this example the Main L/R outputs are connected to a computer through a compressor. The Monitor outputs areconnected to the monitor power amp which drives the studio monitors. The output of the computer may be connected tothe stereo channel 6/7 of the mixer and the remaining audio sources may be connected to the various other inputs asshown. With this type of setup you will need to establish two different buses. Use the Main L/R bus to send a signal to thecomputer for recording and the Aux bus for signals to be monitored, but not recorded.

Start with all of the channel level controls rotated fully counter clockwise, and the Aux switch in the Monitor MasterSection depressed. In this state you can adjust the mix with the channel Aux controls and play along with the computer, butnot record (for practicing a take). Start the playback on the computer and play along with its output. When you are ready torecord another instrument, turn up the main Level control for that channel. Now you can monitor both the Aux (monitor)mix and the channel you wish to record without having any bleed between the two.

NOTE: You should set your computer software so that it does not send the signal it is recording back through the computer’s audio outputs.If this is not done a slapback delay could result due to the latency of the computer.

9

(SPA1400, SPA2000)

STUDIO MONITORS(PE6, PE26I)

POWER AMP

DAT RECORDER/CD BURNER

KEYBOARD, DRUM MACHINE

COMPUTER

CH.1IN

CH.2IN

CH.2OUT

CH.1OUT



L&R MAIN OUTS

L&R MON OUTS

COMP./LIMITER(SM4CL)

R out

L out

R out

L out

R in L in

BASS

GUITAR

VOCAL MIC

EFFECTS, COMP./LIMITERS,

EQUALIZERS(SM1SP, SM4CL,

SM3PE etc.)

D.I. BOX

D.I. BOX

in

outin

out


1 0

Applications: DJ Setup:

In this example the mixer is connected to a stereo power amplifier which drives the house speakers.Connect a pair of signal cables between the mixer’s Main Left and Right jacks and the stereo power amplifier’s* Channel

1 and Channel 2 Input jacks (A). Connect a speaker cable between the power amp’s Channel 1 Speaker Output and one of the house speakers (B). Connect

another speaker cable between the power amp’s Channel 2 Speaker Output and the other house speaker (C). Use the mixer’s Main L/R fader to adjust the house volume level. (To keep the turntable signal in true stereo, the Pan pot for

the left channel must be rotated fully counterclockwise and the Pan pot for the right channel must be rotated fully clockwise.

*Two matched mono amplifiers may be used in place of the stereo power amplifier.

HEADPHONES



(SPA1400, SPA2000)STEREO POWER AMP

HOUSE SPEAKERS(P12, P15, PE12, PE15, etc.)


CH.1IN

CH.1IN

CH.1OUT

CH.2IN

CH.2IN

CH.2OUT

CH.1OUT

CH.2OUT

MA

IN O

UT

LE

FT

MA

IN O

UT

RIG

HT

A

CB

SETTINGS FORTURNTABLE

CHANNELPAN POTS

TURNTABLE

TURNTABLE

CD PLAYER

CASSETTE PLAYER

WIRELESSMIC


MINI MIXER(DJMX2)

WIRELESS MICRECEIVER

in

out

out

L out

R out

L out

R out

L out

R out


11

Applications: House of Worship:

In this example the mixer’s Main Outs are used for the sanctuary mix and the Aux outs are used for a platform mix.Connect signal cables between the mixer’s Main Left and Right jacks and the Input jacks of the sanctuary speakers’ stereo

power amp* (A). Connect another set of signal cable between the mixer’s Aux Out jack between the Input jack of the moni-tor speakers’ power amp (B).

Connect speaker cables between the sanctuary power amp’s Speaker Outputs and the sanctuary speakers (C,D). Connectanother speaker cable between the monitor power amp’s Speaker Output and the platform monitor speakers (E).

Use the Main L/R fader to adust the level of the sanctuary speakers. Use the Aux controls to adjust the mix going to theplatform monitors.

*Two matched mono amplifiers may be used in place of the stereo power amplifier.

(SPA1400, SPA2000)

PLATFORM MONITORS(UFM12H, UFM15H)

STEREO POWER AMPSTEREO POWER AMP

SANCTUARY SPEAKERS(P12, P15, PE12, PE15, etc.)


AU

X O

UT

CH.1IN

CH.1IN

CH.1OUT

CH.2IN

CH.2IN

CH.2OUT

CH.1OUT

CH.2OUT

MA

IN O

UT

LE

FT

MA

IN O

UT

RIG

HT

TA

PE

IN

AB

DC

(SPA1400, SPA2000)

EQUALIZER(LS1-131)

IN

IN

OUT

OUT

E

LAVALIER MIC

INSTRUMENT MIX

PULPIT MIC

SINGER'S MIC

R out

L out

TA

PE

OU

T

PLAYBACK

RECORD

R out

L outCD PLAYER

CASSETTE PLAYER

HEADPHONES




in

out


Applications: Separating Vocals and Instruments:

In this example the Pan controls on all of the vocal mic channels are rotated fully clockwise to assign all vocal mics tothe right channel. The instrument channels are then all assigned to the left channel by rotating their Pan controls fullycounter clockwise. Two pairs of speakers are required: one for the vocals and another for the instruments. An additionalamplifier will drive the monitors. The vocal speakers should be placed on top of the instrument speakers to minimize inter-ference between the sounds from the two sets of speakers.

Connect a pair of signal cables between the mixer’s Main Left and Right jacks and the house power amp’s Channel 1 andChannel 2 Input jacks (A). Connect a signal cable between the mixer’s Aux Out jack and the monitor power amp’s Input jack (B).

Connect a speaker cable between the stereo power amp’s Channel 1 Speaker Output and the “instrument” speakers (C).Connect another speaker cable between the power amp’s Channel 2 Speaker Output and the “vocal“ speakers (D). Connect athird speaker cable between the monitor power amp’s Speaker Output and the monitor speakers (E). Use the mixer’s Main L/Rfader to adjust the house volume level and the Aux controls to adjust the level of the mix going to the monitors.



(SPA1400, SPA2000)

MONITORS(UFM12H, UFM15H)

STEREO POWER AMP

INSTRUMENTSPEAKERS

VOCALSPEAKERS

(P12, P15, PE12, PE15, etc.)


AU

X O

UT CH.1

IN

CH.1IN

CH.1OUT

CH.2IN

CH.2IN

CH.2OUT

CH.1OUT

CH.2OUT

MA

IN O

UT

LE

FT

MA

IN O

UT

RIG

HT

AB

DC(SPA1400, SPA2000)

EQUALIZER(LS1-131)

IN

IN

OUT

OUT

E

VOCAL MICS

COMP./LIMITERS,EQUALIZERS

(SM4CL, SM3PE etc.)

in

out

INSTRUMENT MIXout

DRUM/PERCUSSION MIXout

in

out

SET ALL VOCALPAN POTS FULLY

CLOCKWISE

SET ALL INSTRUMENTPAN POTS FULLY

COUNTER CLOCKWISE

1 2


1 3

Applications: External Effects and Recorders:

There are several ways to use the CMX32 with external signal processors (such as effects and delay units, limiters, etc.).For example, either (or both) of the first two mono channels may have its own processor patched in by use of the Insert jack(#2, page 4). Effects may also be used by sending a signal from the Aux output jack into the processor, then from the proces-sor to one of the mixer’s stereo input channels. The illustrations below show some of the different connections.

The signal level for the Aux output jack is controlled by the setting of each channel’s Aux controls. Connecting a tape deck for recording and playback is accomplished as follows: Connect the Playback (Line Out) of the

deck to the mixer’s Tape In jacks. Connect the Record (Line In) of the deck to the mixer’s Tape Out jacks. If the tape playerdoes not have a level control, a preamp or stereo attenuator may be needed to adjust the level of the tape player’s output sig-nal. To avoid feedback keep the tape player’s output signal level at minimum when recording!


NOTE: When using the stereo channel as aneffects return, rotate its Aux control (#15) fullycounterclockwise to avoid feedback.

1 4

Equalization Diagrams:

Each mono input channel of the CMX32 has two bands of equalization which allows you to alter the tonal characteris-tics of the input signal. The EQs may be used to add “color” or to compensate for inadequacies of the original signal. Theyalso may be used to cut frequencies which cause unnatural sounds or to de-emphasize over-pronounced tones and toreduce acoustic feedback. Each EQ has a range of 30dB (+/-15dB).

The high EQ for each channel is a “shelving” type, with an action point (+6dB) at 2.5kHz, reaching maximum effect at12kHz and above.

The low EQ for each channel is a “shelving” type with an action point (+6dB) at 300Hz, reaching maximum effect at70Hz and below.

TIP = SIGNAL "+" (IN-PHASE)RING = SIGNAL "-" (OUT-OF-PHASE)SLEEVE = SHIELD

TIP RING

SLEEVE RING SLEEVE

BALANCED SIGNAL CABLE:

TIP

TIP = SIGNALSLEEVE = SHIELD

TIP

SLEEVESLEEVE

UNBALANCED SIGNAL CABLE:

TIP

TIP = SIGNAL "+" SLEEVE = SIGNAL "-"

TIP

SLEEVESLEEVE

*Speaker cables typically do not use or require a shield.

SPEAKER CABLE:

TIP

Differences in Cable Types:

This manual makes reference to different types of cables; in particular, balanced and unbalanced signal cables andspeaker cables. These are not the only types of cables associated with sound reinforcement, but they are similar enough toeach other to warrant a more descriptive explanation. The three 1/4”-terminated cables below may look alike at first, butupon closer examination their differences become apparent. These cables are illustrated below.

20

-10

0dB

+10

+20

+30

-2050 100 200 500 1k 2k 5k 10k 20k 40kHz

Care must be taken toavoid using SIGNAL cablesin place of SPEAKER cables

and vice-versa.

Signal cables aren’t madeto handle the power whichspeaker cables do; speakercables are not shielded and

pick up external signals,resulting in excessive hum

and buzzing.


1 5

System Block Diagram:

LEFT

RIG

HTAU

XPF

L L

PFL

R

LEFT

RIG

HTAU

XPF

L L

PFL

R

MIC

+48V

GAIN

MIC/LINE

LOW CUT

PEAK

LINE LEVEL

AUX

HIGH LOW23

CH. 1 CH. 1 – 3: 3:

PAN

INSERT (CH. 1 & 2 ONLY)

TR

POST

PRE

PFL

PFL CTL

TR EQ

+4/-10

LEVEL

AUX(a)

CH. 4,6:CH. 4,6:BAL

PFL(a)

PFL(b)PFL CTL

+4/-10

LEVEL

AUX(b)

BALCH. 5,6:CH. 5,6:

TAPEIN

TAPEIN

ON

OFF

ON

OFF

L

R

POST

PRE

POST

PRE

MAIN L/R

8dB PAD

8dB PAD

MAIN L

L

MONITORAUX TO

MONITOR

MAIN R

L

R

HEADPHONES

LED METERS

MONITOR

R

TAPEOUT

AUXOUT

PFLCTL PFL CTL

TAPE TOMONITOR

ON

OFF

ON

OFF

ON

OFF

ON

OFF

SUM

Gain Level Diagram:

+30

+10

+20

-10

0

-20

-40

-30

-60

-50

-70

-120 NOISE FLOOR -120dBdB

MAX MIC +13dB

MAX LINE +26dB +21dB+21dB

MAIN OUT+4dB

+15dB+3dB

-17dB-23dB

-13dB-7dB

MAX. INPUT - SET GAIN AS NECESSARY

ALL LEVELS @NOMINAL, GAINS @"10"

FULL GAINMIC -49dB

MIC -67dB

LINE -35dB

LINE -55dB

EQMIC

LINEFADER PAN

INSERTMASTERFADER


www.crateaudio.com

©2002 SLM Electronics, Inc. • A Division of St. Louis Music, Inc.1400 Ferguson Avenue • St. Louis, MO 63133 U.S.A.

18-357-01 • 02/02


Technical Specifications

Due to ongoing product development and improvement, the specificationscontained herein are subject to change without notice.

SYSTEM INPUTS3 mono mic/line and 2 stereo line input channels1 stereo tape return

CHANNELS 1-3Mic/Line 1 combination jack:

•3-pin “XLR” (balanced, pin 2 = “in phase”) Transformerless electronically balanced 1k ohm load impedance

•1 1/4” phone jack (balanced)10k ohm load impedance

CHANNELS 4-7High-Z Line 2 1/4” phone jacks

22k ohm load impedance

EQUIVALENT INPUT NOISETypically < -129dB @ 20 - 20k equivalent bandwidth unweight-ed with 200 ohm source impedance

COMMON MODE REJECTIONTypically -90dB min., -70dB @ 50Hz

PEAK INDICATORIndicates 6dB headroom remaining

MAXIMUM SIGNAL ACCEPTEDLow-Z Mic 3.46V RMS (13dBv)High-Z Line 15.9V RMS (26dBv)

CHANNEL GAINTypically 52dB adjustment range

CHANNEL INPUT SENSITIVITYLow-Z Mic All levels up: 8.7mV RMS max. (43dB gain)

Channel up only: 2.7mV RMS max. (53dB gain)All levels “+10”: .28mV RMS max. (73dB gain)

High-Z Line All levels up: 87mV RMS max. (23dB gain)Channel up only: 27mV RMS max. (33dB gain)All levels “+10”: 28mV RMS max. (53dB gain)

CHANNEL 1-3 EQ (ACTIVE)High +/-15dB @ 12kHz shelvingLow +/-15dB @ 70Hz shelving

TAPE INPUTSRCA jacks 15k ohm input impedanceMax. Sensitivity -20dBv (80mV RMS)Max. Input Accepted +30dBv (24.5V RMS)

AUX/EFFECTS OUT / TAPE OUT1/4” phone jacks +4dBv (1.23V RMS) @ High-Z nominal outputRCA jacks +4dBv (1.23V RMS) @ High-Z nominal output

PHANTOM POWER+48VDC applied to pins 2 and 3 of XLR inputs

LEFT & RIGHT OUTPUTSUnbalanced out @ 10k ohm load impedanceBalanced @ 3k ohm load impedance+4dBv (1.23V RMS) nominal output18dBv (6V RMS) max. output

DUAL OUTPUT LED INDICATORSType: 5 LED quasi-peakCalibration: Calibrated to indicate +0dBv @ 3rd LEDRange: -13dBv to +17dBvSignals Read: Left and Right Main Outs or PFL Bus

RESIDUAL NOISE90dB below 1.23V RMS min. with all levels down60dB below 1.23V RMS with Master Level up full and one chan-nel up full

TOTAL HARMONIC DISTORTION< 0.1% @ 1kHz input @ 5V RMS output (typically 0.05%) meas-ured from Mic In to Main Out (EQ flat) with Master @ nominal“0” setting (-10dB from max. gain), and Gain and Channel Levelat max. (At lower input signal levels, measurement is limited bythe noise floor)

SIZE AND WEIGHT2.2” H x 7.5” W x 9.1” D (59mm x 191mm x 231mm)5 lbs (2.3 kg)

POWER REQUIREMENTS16.8VAC x 2 @500mA

Crate Mixer Mini CMX32

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