When fitted, the cover protects the entire control surface. The mono channels additionally have TRS jack insert points, and phantom power for the mic inputs is switched in three groups, for mic inputs , and Phono connectors are used for the two-track inputs and outputs, with two further sets of phonos provided to allow CD players or other music players to be fed through the mixer. These last two break the connection between the main mix output and the power amp input, allowing for some interesting routing options of which more later.
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When fitted, the cover protects the entire control surface. The mono channels additionally have TRS jack insert points, and phantom power for the mic inputs is switched in three groups, for mic inputs , and Phono connectors are used for the two-track inputs and outputs, with two further sets of phonos provided to allow CD players or other music players to be fed through the mixer.
These last two break the connection between the main mix output and the power amp input, allowing for some interesting routing options of which more later. All the jack sockets are robust metal-chassis types and, with the exception of the insert points and headphone out, are either balanced or ground-compensated as necessary.
Using the display and data knob, these filters can be switched off, or set to one of two preset values. Channel Hopping Not much going on here! To conserve space, the faders are 70mm types rather than full-throw mm ones. Dedicated faders are provided for the aux, monitor and FX returns in the master section. All the channels have two effects sends routed to the two internal effects engines, plus two aux sends which are switchable in the master section to pre- or post-fader, and two pre-fader monitor sends.
These also have mute and PFL buttons; in this case, PFL sends the mono master signal to the headphone bus independently of the master fader setting, making it possible to check the entire mix without feeding it to the front of house speakers.
Master Section Overall, the master-section controls have been kept simple, with output controls arranged along the top right of the control panel for the two effects sends, two-track in and out, the Master B output which can be switched pre- or post the master fader, and which can be collapsed to mono , and the headphone output.
By patching the various master or monitor outputs to the power-amp inputs, it is possible to reconfigure the mixer so that its internal amplifiers drive, for example, monitor speakers rather than the FOH system, while its main mix outputs feed an external amp or active front-of-house speakers.
There are also four rotary controls to send the effects to any of the aux or monitor mixes. An band stereo graphic equaliser using 40mm faders also resides in the master section.
This can be switched to operate on the main mix or either of the two monitor sends, again via the display and data knob. Pressing it again opens the relevant edit window. The editing process for any of the 99 effects is comparable with that of stompboxes, in terms of complexity, with only four parameters per effect; you can name and save any of your own edited effects.
Being able to tap in tempos via the button below the data wheel was also very useful. Mate For Life? Most have built-in effects these days, while lightweight, Class-D amplifiers are fast becoming the rule rather than the exception. Pros Lightweight and easy to use. Solid German engineering.
The XLR microphone input is equipped with an extremely high quality, ultra-low noise, discrete preamp. The Line Input and Channel Insert are implemented as jack sockets. The Gain can be controlled in the range dB. Optimized for ease-of-use, the 3-band semi-parametric equalizer makes it possible even for unpracticed users to perform the requisite corrections swiftly and intuitively. With their extended buss structures, the CMS3 mixers offer very flexible configuration options.
Dynacord CMS 1600-3 Manuals
By integrating a high-quality mixer, two digital effects processors of studio grade, a graphic equalizer and also a professional digital interface to PC or Mac, the CMS mixers represent the ideal solution for a large number of demanding applications in the audio sector. The mixing section starts with 16 lowest noise, discrete microphone preamps. The two effects processors offer factory presets, including the already legendary PowerMate-reverbs. A TAP key allows precise setting of delay times. Further, each preset can be edited and stored to 20 User memories. An additional MIDI interface allows integration of instruments, such as keyboards. A license for Steinbergs Cubase software is part of the package.
Dynacord Powermate 1600-3
DYNACORD CMS 1600-3