Dynacord CMS 1000 User Manual
INPUT STEREO
Since most features – AUX controls, input connection and channel faders – of the STEREO INPUTS are
virtually identical to the ones of the MONO INPUTS we will not discuss their functioning in detail again. Thus, in
the following we only point out the differences and like to ask you to refer to the analogous paragraphs within
this owner’s manual describing the MONO INPUTS.
virtually identical to the ones of the MONO INPUTS we will not discuss their functioning in detail again. Thus, in
the following we only point out the differences and like to ask you to refer to the analogous paragraphs within
this owner’s manual describing the MONO INPUTS.
15.MIC
Like their monaural counterparts, the stereo input channels incorporate extensive circuitry and electronically
balanced XLR-type connectors for the connection of low impedance microphones. No matter if your setup is
more microphone-oriented or you have more line level sound sources to connect, you can always use the full
amount of input channels.
Dependable on its setting, the high-quality MIC input in the stereo channel is capable of handling levels between
-60dBu … +11dBu. Low-level circuitry architecture and phantom power (+48V) ability of this XLR-type input are
mainly aimed at the connection of microphones, making it not necessarily suitable for connecting Line level
appliances, like mixers, effects units, etc. Please use the provided LINE inputs instead. General functions and
usage of MIC inputs were already discussed in detail for monaural channels.
Like their monaural counterparts, the stereo input channels incorporate extensive circuitry and electronically
balanced XLR-type connectors for the connection of low impedance microphones. No matter if your setup is
more microphone-oriented or you have more line level sound sources to connect, you can always use the full
amount of input channels.
Dependable on its setting, the high-quality MIC input in the stereo channel is capable of handling levels between
-60dBu … +11dBu. Low-level circuitry architecture and phantom power (+48V) ability of this XLR-type input are
mainly aimed at the connection of microphones, making it not necessarily suitable for connecting Line level
appliances, like mixers, effects units, etc. Please use the provided LINE inputs instead. General functions and
usage of MIC inputs were already discussed in detail for monaural channels.
16. STEREO INPUT L/MONO R
Electronically balanced inputs for the connection of musical instruments with stereo output, like keyboards,
drum machines, E-guitars and E-basses with an active output as well as all other equivalent sound sources with
high level outputs, like additional mixing consoles, FX units, CD players, etc. The stereo LINE input is meant
for balanced or unbalanced sound sources with levels between –20dBu and +30dBu. For the connection of
external devices you can use monaural or stereo phone plugs, which are in accordance to the diagram below. If
the external appliance is equipped with a balanced output stage, using balanced cables and plugs is preferable,
since this type of connection provides improved shielding against HF interference and external noise.
Electronically balanced inputs for the connection of musical instruments with stereo output, like keyboards,
drum machines, E-guitars and E-basses with an active output as well as all other equivalent sound sources with
high level outputs, like additional mixing consoles, FX units, CD players, etc. The stereo LINE input is meant
for balanced or unbalanced sound sources with levels between –20dBu and +30dBu. For the connection of
external devices you can use monaural or stereo phone plugs, which are in accordance to the diagram below. If
the external appliance is equipped with a balanced output stage, using balanced cables and plugs is preferable,
since this type of connection provides improved shielding against HF interference and external noise.
In case you want to connect a monaural sound source to a stereo input channel, you just have to plug it into the
L/MONO input. The signal gets internally routed to both channels.
L/MONO input. The signal gets internally routed to both channels.
17. GAIN MIC
Control for adjusting the MIC inputs’ sensitivity, providing the possibility to optimally match the incoming signals
with the mixer’s internal operation level. The GAIN MIC control in the stereo channel is only active for the XLR-
type input.
For further information about setting and functioning of these controls, please refer to the chapter GAIN of the
MONO INPUT description within this manual.
Control for adjusting the MIC inputs’ sensitivity, providing the possibility to optimally match the incoming signals
with the mixer’s internal operation level. The GAIN MIC control in the stereo channel is only active for the XLR-
type input.
For further information about setting and functioning of these controls, please refer to the chapter GAIN of the
MONO INPUT description within this manual.
CAUTION: The GAIN MIC controls of all inactive microphone inputs should always be set to its minimum
position. Otherwise the noise of any microphone input that is not in use gets added to the audio signal of the
corresponding LINE input, which could lead to unnecessary extra noise at the main output, becoming clearly
audible in program breaks.
position. Otherwise the noise of any microphone input that is not in use gets added to the audio signal of the
corresponding LINE input, which could lead to unnecessary extra noise at the main output, becoming clearly
audible in program breaks.
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