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 uninterpretable 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.
Samples the channel's signal pre-fader and allows for monitoring within the master section of the console. This signal is not affected by the Mute Switch. When depressed, the signal level can be seen on the output 12 meter, and heard via the mixer's headphone or local monitor output.
When this PFL Switch is depressed, the channel PEAK LED indicator illuminates at a lower intensity. When used as a status indicator of switch position, the Peak LED indicating circuit remains fully Opera
tional by illuminating at a much higher intensity than when indicating PFL status.
PEAK LED Indicator
Illuminates RED when any of the points monitored come within 3db of the clipping point. Signal is sampled after the input preamplifier stage, after the EQ section, and after the fader. This LED also serves as a PFL ON indicator, but at a much lower intensity than when it is used to indicate clipping.
LM-20 (LM-8+4) INPUT MODULE
This module serves as the input module for LM-20 and the now discontinued LM-8+4. The only difference between the two is the factory default settings on the dual concentric sends.For the LM-20 the sends are set for level/level Opera
tion. For an LM- 8+4 the sends are set for level/pan Opera
Used Crest Audio
Not all audio components are created equally. Crest Audio has always striven to produce components which embody the finest audio quality and most rugged physical construction‚??regardless of cost.
This design philosophy results in products which always exceed the audio specifications and physical demands of their target application.
Crest Audio components could be designed with lower cost in mind, but now without sacrificing the excellence of our brand has come to represent. This difference is clearly audible when placing our products in A/B comparisons with competitors.
Hands-on industry experience and research invests every aspect of the Crest Audio enterprise. Our engineering efforts are driven by a mandate to create products tailored to clearly defined applications and which apply proven technologies to well-researched user needs.
Such real-world input ensures responsive product development and results in audio components with intelligent feature-sets, transparent user-interfaces, and intuitive control surfaces.
Engineering is meaningless without quality construction. Crest Audio insists upon superior build quality employing the finest chassis design, components, mechanical construction, assembly, and quality control.
We are so certain about the quality of our products that we offer five-year warranty protection in the U.S. and many other countries.
Expert customer service and the industry's finest technical support complete the experience of owning and using Crest Audio products‚??trusted by professionals the world over.
- Fresnels are typically 8-, 6- or 4-inch, referring to the diameter of the lens. This light is named after Augustin-Jean Fresnel who invented the distinctive Fresnel lens which has a 'stepped' appearan. Used . ce instead of the 'full' or 'smooth' appearance of other lenses. The stepped nature of the lens causes a corresponding pattern of circles of light, so Fresnel lenses are usually 'stippled' on. Used . the flat side. This pattern of small bumps helps to break up the light passing into the lens to smooth out its eventual pattern.
Fresnels use a spherical reflector, with the filament of the bulb ...Delay
- Delay is an audio effect which records a signal or sound and then plays it back after a period of time. The delayed signal may be played back multiple times or looped back into the recording again to . Used . create the sound of a repeating decaying echo. Unlike reverb, which uses reflected sound to produce many echos, delay has greater control over the number of times the sound is echoed. . Used . ...Lighting Control Console
- Lighting control consoles (also called lighting boards or lighting desks) are electronic devices used in theatrical lighting design to control multiple lights at once. They are used throughout the ent. Used . ertainment industry and are normally placed at the FOH position or in a control booth. All lighting control consoles can control dimmers which, in turn, control the brightness of the lights. . Used . Many modern consoles can also control intelligent lights (lights that can move and change colors), fog machines and hazers, and other special effects devices. Consoles communicate with the dimmers and other de...Wings and Processors
- Wings and processors are used to extend the capabilities of lighting control consoles. Wings usually add faders, bump buttons, displays, and other functions to the console while processors consolidate. Used . , alter, redirect or synchronize the signals coming to and from the console. Consoles often have wings designed specifically for use with that console, but processors are more generalized.. Used . ...Cue
- Generally, a lighting board operator has a cue sheet for each scene, which is a diagram of the board with the faders in their positions as determined by the lighting designer. The operator sets the fa. Used . ders into their positions based on the cue sheets. Typically during a cue, the operator sets the next scene. Then, the operator makes the transition between the scenes using the cross-fader.. Used . ...
Used Audio Mixers
Audio mixers, or sound consoles, are electronic sound mixing boards used to combine two or more audio signals, before directing them to the output channels connected to the device.
Sound consoles do a great deal more than just combining different audio signals ‚?? they allow users to optimize the sound output in a number of ways ‚?? adjusting various sound levels, enhancing sound with special effects and equalization etc, allowing for unmatched control over the end product.
When there is a need for high quality sound control and output, audio mixers are an essential item for audio team. Mixing desks are used on stage in live concerts to combine the sound input from various musical instruments in to a stereo master mix. For TV and movie studios, sound consoles are essential to combine the various sounds from the numerous different microphones that will be used.
Audio mixers are available in a wide range of different shapes, sizes and designs, beginning with smaller units designed for portability, right up to the enormous sound consoles used in recording studios. The term audio mixer actually refers to any kind of sound mixing board, whereas a sound console is usually a device which sits permanently on a desk.
Technicians usually differentiate audio mixers according to how many channels they have. Fairly standard in the recording industry is the 12-channel mixer, in which you can hook up a total of 12 input sources. Sound consoles can also be more specified ‚?? for example, a 24 x 4 x 2 mixer has 24 inputs, 4 sub-group channels and 2 output channels.