Download Crest Audio GT Technical information

C E N T U RY S E R I E S
SP TC GT
O WNER ’ S M ANUAL
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 201.909.8700 FAX 201.909.8744
http://www.crestaudio.com
Crest Audio Inc.
100 Eisenhower Dr., Paramus NJ 07652 USA
TEL: 201.909.8700 FAX: 201.909.8744
http://www.crestaudio.com
Printed in USA
TABLE
OF
CONTENTS
Feature Overview
2
A brief description of design, features and functions.
Wiring Conventions
3
Contains diagrams indicating how connectors for Crest consoles are wired.
Power Supply
4
A brief description of the rack-mountable Century Series consoles power supplies.
Power Connections
5
A brief description of Crest console power connections.
System Connections
6
Contains diagrams illustrating conventional system connections.
SP Input Module
8
Profiles the SP input module.
TC Input Module
10
Profiles the TC input module.
GT Input Module
12
Profiles the GT input module.
GT Stereo Input Module
14
Profiles the GT stereo input module.
SP/TC Group Module
17
Profiles the SP/TC group module.
GT Group Module
18
Profiles the GT group module.
Matrix Module
21
Profiles the matrix module.
SP/TC Master Section
23
Profiles the SP/TC master section.
GT Master Section
25
Profiles the SP/TC master section.
Technical Information
Appendix A
Includes dimensions, specifications, console access details,
user options, console block diagram, and rear panel layout.
Glossary
Appendix B
The specific details of console operation are described here.
Schematics
Appendix C
Lists available schematics for SP/TC/GT Console Modules & Power Supply
PAGE 1
CENTURY SERIES
SP / TC / GT
Feature Overview
The SP / TC / GT features listed below
are common to all Century Series Consoles.
• SSM/PMI High quality preamplifiers on balanced microphone/line inputs and on all balanced outputs for uncompromised audio quality and reliability. All IC’s within the audio
path are socket mounted for easy upgrade or service.
• Full facility return sections includes Gain Control to handle a
wide range of input levels, High and Low frequency EQ, Aux
Sends, full Bus assignment section and level, pan, PFL and
Mute controls.
• 48 Volt switchable phantom power on all microphone inputs.
• Mute system on input channels is designed to mute both preand post-fader signals including those Aux sends used as monitors. When muted, PFL circuitry, Peak and Dynamic Signal
Present LED indicators remain fully operational. This is a feature not available on many consoles at any cost.
• Optional transformers available on all microphone inputs and
on Group, Left/Right, Mono, and Matrix outputs.
• Full Bus assignment section on input and group sections
allow for independent assignment to the Mono Clean Bus in
addition to the Stereo and sub group sections of the console.
The Mono Clean Bus allows for any input or return signal to
be assigned to the Mono output without first having to pass
through a group.
• Dynamic Signal Present and multiple-sample-point peak indicator LED’s are used on all input sections of the console as
well as on all primary outputs.
• Mono/Stereo PFL and AFL system. When a stereo module is
used, the signal is monitored in stereo while mono modules are
monitored in mono. Selected outputs may be monitored in
mono or as stereo pairs.
• 8 Auxiliary Mix buses for use as effect and monitor sends.
Aux Send circuitry has front panel Pre/Post fader switching.
Pre fader signals have internal jumpers to select between a Pre
EQ or post EQ signal (Standard) source.
• Standard frame sizes include 24, 32, 40, 44 and 52 position,
with a 64 position frame available on special order. Consoles
may be ordered as 4 subgroup (8 Module Positions used
including Master Section) or 8 subgroup (12 Module Positions
used including Master Section) versions.
• Any frame size may be ordered short loaded for later expansion.
• Direct access to Group Mix Bus allows expander mixers to
be easily patched into the console.
PAGE 2
• External power supply with optional shared load parallel
power supply for uncompromised reliability.
• The EQ section includes an EQ IN switch with LED and a
80Hz High Pass filter switch.
• Optional Matrix modules available.
• Optional Stereo Input modules available.
• Comprehensive Talkback section allows access to all primary
console outputs. Additional access provided to an external
location such as an on-stage monitor mixer system. External
signals can also be assigned into the talkback system including
Oscillator and Pink Noise source inputs.
• Left/Right summing switches to Aux 1-2 and Aux 3-4 allow
for simple setups of overdub mixes by allowing Left/Right signals to be blended with Auxiliary mixes when used in recording applications. In contracting applications, this feature allows
these Aux outputs to act as additional distribution amplifiers
for the Left/Right signals.
CENTURY SERIES
SP / TC / GT
Wiring Conventions
Since the same connectors are used throughout the professional audio industry, it is important to know how the connectors for
Crest’s Century SP, TC, and GT consoles are wired. The wiring is as follows.
OUTPUT XLR
PIN 1
PIN 2
PIN 3
PIN 2
PIN 3
PIN 1
2
3
1
INPUT XLR
PIN 1 = GROUND
PIN 2 = POSITIVE
PIN 3 = NEGATIVE
TIP - SEND
RING - NEGATIVE
RING - RETURN
SLEEVE - GROUND
SLEEVE - GROUND
INSERT
INPUT
TIP - POSITIVE
Input Plug Polarities
Insert Plug Polarities
TIP - POSITIVE
TIP - POSITIVE
RING - GROUND
SLEEVE - GROUND
OUTPUT
OUTPUT
SLEEVE - GROUND
Output Plug Polarity - TRS
Output Plug Polarity - Tip/Sleeve
PAGE 3
CENTURY SERIES
SP / TC / GT
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. The model and frame size of your particular console
determines which of the two supplies should be used. SP, TC, and GT consoles use power supplies as follows: Consoles with
frame sizes of 24 or 32 modules use supply model XCVA04; consoles with frame sizes of 40, 44, 52, or 64 modules use supply
model XCVA06.
Press to Reset
+20V +48V
ON
4A
C O N S O L E S
-20V +24V
Power Supply
POWER OUT
2 1
5 4 3
7 6
Pin
Pin
Pin
Pin
Pin
Pin
Pin
1
2
3
4
5
6
7
+24V
+20V
Analog
Analog
Digital
+48V
-20V
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CONSOLE
G RO UND
AVIS : RISQUE DE CHOC ÉLECTRIQUE—NE PAS OUVRIR
CHASSIS
GROUND
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:
POWER OUT
A division of Crest Audio Inc.
100 Eisenhower Dr.
Paramus, New Jersey 07652 USA
MAXIMUM AC IN:
XCVA04: 415 WATTS
XCVA06: 825 WATTS
Model XCVA04
± 20V @ 4
+ 24V @ 4
+ 48V @ 1
+ 24V @ 6
± 20V @ 6
S/N
Model XCVA06
Supply Identification
Twin Supply Operation
The type of power supply can be identified by the model number shown on the back of the chassis and panel label..
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.
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.
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.
Power Supply
Model
Max Current
Draw @ 120V
Max Current
Draw @ 240V
XCVA04
XCVA06
7 Amps
9 Amps
4 Amps
5 Amps
Serial Number Tag
Model Number
S/N
Model XCPS-40
±20V @ 4
+24V @ 4
+48V @ 1A
+24V @ 6A
±20V @ 6A
Model XCVA06
PAGE 4
CENTURY SERIES
SP / TC / GT
Power Connections
The connections to and from the power supply vary depending
on your specific configuration. Before setting up the console,
always check to make sure the AC voltage marked on the
power supply agrees with the local supply. Always connect the
console to the power supply before switching on the power
supply. Do not run the power supply if it is not connected to
the console.
Multiple power supplies can be daisy-chained to provide failsafe protection in the event of a supply failure. When two or
more supplies are used, both power supplies run all the time. In
the event of supply failure, the remaining power supply(s) will
take over the entire load.
NOTE: Although both of the multi-pin connectors on the back
of the power supply are labeled “POWER OUT”, it is necessary (and acceptable) to link two power supplies together as
shown in the diagram below.
ADDITIONAL NOTE: The multi-conductor cable used for
power supply-to-power supply connection is different than that
used for a conventional power supply-to-console connection,
and must be specified when the second power supply is
ordered.
Ground Link
To Console
POWER OUT
2 1
5 4 3
7 6
Pin
Pin
Pin
Pin
Pin
Pin
Pin
1
2
3
4
5
6
7
+24V
+20V
Analog
Analog
Digital
+48V
-20V
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CONSOLE
GROUND
AVIS : RISQUE DE CHOC ÉLECTRIQUE—NE PAS OUVRIR
CHASSIS
GROUND
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:
POWER OUT
A division of Crest Audio Inc.
100 Eisenhower Dr.
Paramus, New Jersey 07652 USA
MAXIMUM AC IN:
XCVA04: 415 WATTS
XCVA06: 825 WATTS
Model XCVA04
± 20V @ 4
+ 24V @ 4
+ 48V @ 1
+ 24V @ 6
± 20V @ 6
S/N
To AC Mains
Model XCVA06
Interface Cable
POWER OUT
2 1
5 4 3
7 6
Pin
Pin
Pin
Pin
Pin
Pin
Pin
1
2
3
4
5
6
7
+24V
+20V
Analog
Analog
Digital
+48V
-20V
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CONSOLE
GROUND
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:
POWER OUT
A division of Crest Audio Inc.
100 Eisenhower Dr.
Paramus, New Jersey 07652 USA
Model XCVA04
± 20V @ 4
+ 24V @ 4
+ 48V @ 1
+ 24V @ 6
± 20V @ 6
CHASSIS
GROUND
MAXIMUM AC IN:
XCVA04: 415 WATTS
XCVA06: 825 WATTS
S/N
Model XCVA06
To AC Mains
PAGE 5
CENTURY SERIES
SP / TC / GT
System Connections
The console is the hub of a sound system and because it controls most of the variables within a system, proper connection and
component relationships are vital to assure accurate operation and results. The following diagrams illustrate conventional system
connections.
Balanced Line Inputs
Input Processing,
via Input Module
Insert Send and Return
Connections
Keyboards,
Samplers,
Drum Machines
External Mixer
Input via Group Bus In
C ENTURY
Balanced Mic Inputs
10
0
C ENTURY
10
0
5
PAGE 6
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Input Connections
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CENTURY SERIES
SP / TC / GT
From Aux 5-8 out
In
Signal Processors
Aux 1-4 out to
monitor amplifiers
MATRIX A OUT
MONO OUT
RIGHT OUT
LEFT OUT
GROUP OUT
GROUP OUT
GROUP OUT
GROUP OUT
INSERT A
MONO INSERT
RIGHT INSERT
LEFT INSERT
GROUP INSERT
GROUP INSERT
GROUP INSERT
GROUP INSERT
GROUP INSERT
MATRIX B OUT
MONITOR L OUT
AUX 3 OUT
AUX 1 OUT
INSERT B
MONITOR R OUT
EFX RETURN
EFX RETURN
EFX RETURN
EFX RETURN
EFX RETURN
GROUP OUT
AUX 4 OUT
AUX 2 OUT
-10
-10
-10
-10
-10
EXT TB OUT
STR PGM IN
AUX 7 OUT
AUX 5 OUT
+4
+4
+4
+4
+4
EXT TB IN
OSC/PINK IN
AUX 8 OUT
AUX 6 OUT
BUS IN
BUS IN
BUS IN
BUS IN
BUS IN
Groups
Master
To effects returns
Out
Aux Connections
Local Monitor L
Local Monitor R
7001 Professional Power Amplifier
Clip/Limit
Signal
Temp/DC
Active
-6
-10
-3
-6
-10
-15
-3
-15
-1
-30
-80
0dB
Ch A
-1
-30
-80
0dB
Ch B
Center
Out
From Local
Monitor Out
Left Out
Right Out
8001 Professional Power Amplifier
8001 Professional Power Amplifier
C ENTURY
Clip/Limit
Clip/Limit
Signal
Signal
Temp/DC
Temp/DC
Active
Active
-6
-10
-6
-10
-3
-15
-6
-3
-10
-15
-1
-30
-80
0dB
Ch A
-6
0dB
-80
Ch B
0dB
Ch A
Input Channel
Direct Outs
feed to remote
mixer/recorder
-3
-15
-1
-30
-80
-10
-3
-15
-1
-30
-1
-30
-80
0dB
Ch B
Matrix Outputs
to remote
location, mixer,
or recorder
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Headphone Outputs:
1 under armrest,
1 in Master Module
Output Connections
PAGE 7
CENTURY SERIES
SP / TC / GT
4
5
1•3
6
3
8
1
9
0
4
10
5
2•4
6
3
7
2
8
1
9
LINE Switch
3•4
POST
LINE
4
5
5
6
7
3
1
9
30
5
4
GAIN
20
10
0
6
6
3
7
2
10
8
1
6
60
10
5
4
7
2
9
0
4
5
80Hz High Pass Switch
7
8
1
HF
8
6
2
8
Adjusts input gain for proper signal level.
10
3
9
0
Reduces all low frequency content at a 12db per octave rate
referenced to 80Hz (-3db point).
10
8
Four Band Fixed Equalizer
PRE
16
16
- 0 +
HM
8
AUX SENDS
PAN
8
16
LM
8
8
16
MUTE
MONO
16
- 0 +
LF
8
8
16
16
AUX Level 1•3 / 2•4
Adjusts audio level of a mix for use as a monitor or an effect
send. The signal source for this mix may be selected pre or
post fader by an associated switch.
3- 4
7- 8
1•3
6
7
2
1
0
4
1
8
PEAK
9
AUX ASSIGNMENT 3•4 Switch
SIG
PFL
Selects the Aux 1•3 and Aux 2•4 signal sources between post
and pre fader positions.
2•4
6
3
7
2
8
1
9
AUX 5 - 8 Individual Level Controls
10
0
3•4
0
POST
4
5
5
6
PRE/POST Switch
8
2
1
9
10
0
4
5
6
6
3
Selects the Aux 5 through 8 signal sources between pre and
post fader positions.
8
1
20
PAN CONTROL
30
Positions the channel image between the left (odd) and right
(even) channel assignment.
9
0
4
10
5
7
6
3
7
2
8
1
9
0
4
10
5
40
8
6
3
7
2
8
1
9
0
10
PRE
AUX SENDS
PAN
PAGE 8
10
7
2
Adjusts audio level of a mix for use as a monitor or an effect
send. The signal source for these mixes may be selected pre
or post fader by an associated switch.
5
7
3
Selects the first two Aux level controls between the Aux 1•3
mix bus and the Aux 2•4 mix bus.
POST/PRE Switch
10
5
Inserts the EQ section into the input channel signal. An associated LED illuminates when the switch is down.
L- R
EQ IN
3
EQ IN Switch
1- 2
5- 6
5
Controls the cut or gain of four fixed frequencies (10 kHz,
2.7kHz, 300Hz, 80Hz) within the input signal only when the
EQ IN switch is depressed.
16
- 0 +
4
Introduces a -15 dB attenuation to the mic input signal.
GAIN Control
8
1
- 0 +
7
6
3
80
Turns on 48V Phantom Power, required by certain microphones for proper operation.
PAD Switch
9
0
Selects between the Balanced XLR Microphone Input connector and the Balanced Line Input 1/4" TRS connector.
48V Phantom Power Switch
8
2
PAD
The SP input module is the most straightforward of the
Century Series. While it shares many features with more
complex input modules, the SP input module is simple in
design and operation.
10
0
+48V
SP Input Module
7
2
MUTE Switch with LED
Mutes the channel and all send functions. This switch does
not affect the PFL switch or the Peak and Signal Present LED
indicators, The LED illuminates when the channel is muted
from the local mute switch.
CENTURY SERIES
SP / TC / GT
MONO Bus Assign Switch
Rear Connections
Direct Out
Assigns the post-fader input signal directly to the Mono Clean
bus.
This jack provides the direct output signal
(post fader & post mute) from the associated input channel.
Bus Assign Switches (L/R, 1-8)
Assigns the post Pan Signals to the mix bus in odd/even pairs.
Pan controls assignment between these two mix buses with
extreme left pan assigning signal exclusively to the odd mix
bus and extreme right pan assigning signal exclusively to the
even mix bus. When the pan is in its center position, signal is
fed equally to the odd (left) and even (right) mix bus. When
used in stereo applications, the channel signal may be located
anywhere within the stereo image as controlled by the Pan control.
DIR OUT
Insert
INSERT
Bal Line In
BAL LINE IN
PFL Switch
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 Left/Right meters, 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 operational
by illuminating at a much higher intensity than its use as a PFL
status indicator.
This jack allows for the insertion of an
effect or signal processor into the audio path
of the associated input channel.
BAL MIC IN
This jack accepts balanced and unbalanced
line level inputs and delivers it into the
associated input channel.
Bal Mic In
This connector accepts balanced microphone inputs for the associated input channel.
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.
SIGNAL PRESENT LED
Constantly displays level activity of the input channel by varying in intensity.
100mm Fader
Used for control of all outputs of the channel except those Aux
output sections selected by switch to a pre fader position. (The
Insert Output level is not affected by the fader position.)
PAGE 9
CENTURY SERIES
SP / TC / GT
4
5
1•3
6
3
7
2
8
1
9
0
4
10
5
2•4
6
3
7
2
8
1
9
LINE Switch
3•4
POST
LINE
4
5
5
6
7
3
1
9
10
0
5
4
6
6
3
GAIN
20
7
2
30
8
1
10
6
60
10
5
4
80
7
2
9
0
4
10
5
8
1
HF
9
0
Inverts the polarity of both the microphone and line inputs.
10
80Hz High Pass Switch
8
Reduces all low frequency content at a 12db per octave rate
referenced to 80Hz (-3db point).
PRE
16
16
3 HM
6
1.5
1K
400
AUX SENDS
PAN
LM
1
250
MUTE
MONO
2K
100
- 0 +
LF
8
L- R
8
1- 2
16
3- 4
16
EQ IN Switch
EQ IN
5
1•3
6
7
2
SIG
9
0
4
1
PFL
PEAK
8
1
3
Adjusts audio level of a mix for use as a monitor or an effect
send. The signal source for this mix may be selected pre or
post fader by an associated switch.
2•4
6
7
2
8
1
9
10
0
3•4
0
POST
4
5
5
6
7
3
1
4
5
3
Selects the Aux 1•3 and Aux 2•4 signal sources between post
and pre fader positions.
20
AUX 5 - 8 Individual Level Controls
7
2
8
1
9
0
4
10
5
7
6
3
7
2
30
8
1
9
0
4
40
10
5
8
6
3
7
2
8
1
9
0
10
PRE
AUX SENDS
Selects the first two Aux level controls between the Aux 1•3
mix bus and the Aux 2•4 mix bus.
10
6
6
AUX ASSIGNMENT 3•4 Switch
POST/PRE Switch
9
10
0
PAGE 10
5
8
2
Inserts the EQ section into the input channel signal. An associated LED illuminates when the switch is down.
AUX Level 1•3 / 2•4
10
5
Control the degree of boost or cut of Mid Frequency content
and reference frequency. The outer knobs control the center
frequency which is variable between the frequencies printed
on the chassis. The inner knob adjusts the boost or cut.
Boosts or cuts low frequency content at 80Hz.
7- 8
4
MID EQ Level and Sweep Controls
LF Equalizer Control
5- 6
3
HF Equalizer Control
Boosts or cuts high frequency content at 10kHz.
8K
400
Adjusts input gain for proper signal level.
Polarity Reverse Switch
7
2
8
8
6
3
Introduces a -15 dB attenuation to the mic input signal.
GAIN Control
8
1
Ø
- 0 +
7
6
3
Turns on 48V Phantom Power, required by certain microphones for proper operation.
PAD Switch
9
0
Selects between the Balanced XLR Microphone Input connector and the Balanced Line Input 1/4" TRS connector.
48V Phantom Power Switch
8
2
PAD
The TC input module is the intermediate input module in the
Century Series. It is essentially the same as the SP except for
the sweepable mids on the EQ section and a polarity reverse
switch.
10
0
+48V
TC Input Module
Adjusts audio level of a mix for use as a monitor or an effect
send. The signal source for these mixes may be selected pre
or post fader by an associated switch.
PRE/POST Switch
Selects the Aux 5 through 8 signal sources between pre and
post fader positions.
CENTURY SERIES
SP / TC / GT
PAN CONTROL
Rear Connections
Direct Out
Positions the channel image between the left (odd) and right
(even) channel assignment.
This jack provides the direct output signal
(post fader & post mute) from the associated input channel.
MUTE Switch with LED
Mutes the channel and all send functions. This switch does not
affect the PFL switch or the Peak and Signal Present LED indicators. The LED illuminates when the channel is muted from
the local mute switch or mute scene masters.
MONO Bus Assign Switch
DIR OUT
Insert
INSERT
Assigns the post-fader input signal directly to the Mono Clean
bus.
Bus Assign Switches (L/R, 1-8)
Assigns the post Pan Signals to the mix bus in odd/even pairs.
Pan controls assignment between these two mix buses with
extreme left pan assigning signal exclusively to the odd mix
bus and extreme right pan assigning signal exclusively to the
even mix bus. When the pan is in its center position, signal is
fed equally to the odd (left) and even (right) mix bus. When
used in stereo applications, the channel signal may be located
anywhere within the stereo image as controlled by the Pan control.
This jack allows for the insertion of an
effect or signal processor into the audio path
of the associated input channel.
Bal Line In
BAL LINE IN
BAL MIC IN
This jack accepts balanced and unbalanced
line level inputs and delivers it into the
associated input channel.
Bal Mic In
This connector accepts balanced microphone inputs for the associated input channel.
PFL Switch
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 Left/Right meters, 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 operational
by illuminating at a much higher intensity than its use as a PFL
status indicator.
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.
SIGNAL PRESENT LED
Constantly displays level activity of the input channel by varying in intensity.
100mm Fader
Used for control of all outputs of the channel except those Aux
output sections selected by switch to a pre fader position. (The
Insert Output level is not affected by the fader position.)
PAGE 11
CENTURY SERIES
SP / TC / GT
4
5
1•3
6
3
7
2
8
1
9
0
4
10
5
2•4
6
3
7
2
8
1
9
10
0
POST
4
5
5
6
1
9
10
0
5
4
GAIN
6
6
3
7
2
30
60
10
5
4
7
6
3
80
7
2
1
9
0
4
10
5
8
6
3
7
2
9
0
10
HF
4
AUX 8
DIRECT
10
3
PRE
2K
1.5
AUX SENDS
PAN
6
1K
Inverts the polarity of both the microphone and line inputs.
PEAK/SHELVE HF Switch
400
8K
MUTE
Used for switching the high frequency EQ between the normal shelving setting to a peak setting.
MONO
Four-Band Sweep Equalizer Controls
LM
400
1
250
2K
100
150
LF
3
100
There are two knobs for each of the four bands. The outer
knobs control the center frequency which is variable between
the frequencies printed on the chassis. The inner knob adjusts
the boost or cut. The center frequencies are printed on the
chassis around the outer knob.
L- R
6
1- 2
800
40
3- 4
5- 6
PEAK
7- 8
PEAK/SHELVE LF Switch
EQ IN
4
5
1
1•3
6
3
7
2
4
10
5
3
Inserts the EQ section into the input channel signal. An associated LED illuminates when the switch is down.
2•4
6
7
2
8
1
Used for switching the low frequency EQ between the normal shelving setting to a peak setting.
EQ IN Switch
SIG
9
0
PFL
PEAK
8
1
9
AUX Level 1•3 / 2•4
10
0
3•4
0
A
POST
4
5
5
6
B
7
3
1
5
C
8
2
4
D
5
10
Selects the first two Aux level controls between the Aux 1•3
mix bus and the Aux 2•4 mix bus.
SAFE
20
POST/PRE Switch
SCENE
MUTE
SELECT
30
6
6
3
7
2
8
1
9
0
4
10
5
7
6
3
7
2
8
1
9
0
4
40
10
5
8
6
3
7
2
8
1
9
0
10
AUX 8
DIRECT
PRE
AUX SENDS
Adjusts audio level of a mix for use as a monitor or an effect
send. The signal source for this mix may be selected pre or
post fader by an associated switch.
AUX ASSIGNMENT 3•4 Switch
9
10
0
PAGE 12
Reduces all low frequency content at a 12db per octave rate
referenced to 80Hz (-3db point).
Polarity Reverse Switch
20K
3 HM
Adjusts input gain for proper signal level.
80Hz High Pass Switch
8
1
Introduces a -15 dB attenuation to the mic input signal.
GAIN Control
8
Ø
PEAK
PAD Switch
9
0
6
Turns on 48V Phantom Power, required by certain microphones for proper operation.
8
1
10
48V Phantom Power Switch
8
2
PAD
20
Selects between the Balanced XLR Microphone Input connector and the Balanced Line Input 1/4" TRS connector.
7
3
+48V
The GT input Module is the most feature-filled within the
Century Series. Designed for demanding FOH applications,
the GT Series retains the simplicity of the whole Crest
Console line while offering all the features of a high-end unit.
LINE Switch
3•4
LINE
GT Input Module
Selects the Aux 1•3 and Aux 2•4 signal sources between post
and pre fader positions.
AUX 5 - 8 Individual Level Controls
Adjusts audio level of a mix for use as a monitor or an effect
send. The signal source for these mixes may be selected pre
or post fader by an associated switch.
CENTURY SERIES
SP / TC / GT
Aux 8 Direct Switch
Scene Mute Assignments
Removes the Aux 8 signal from the Aux 8 bus and assigns to
the direct out 1/4" connector on the rear panel.
Assign the input channel to any of the four scene mute groups.
Scene mute combines with the module’s local mute button, and
actuates the local mute LED.
PRE/POST Switch
Selects the Aux 5 through 8 signal sources between pre and
post fader positions.
PAN CONTROL
Scene Mute Safe Switch
Disables any selected scene mute assignments. An associated
green LED indicates the channel is in a safe state.
Positions the channel image between the left (odd) and right
(even) channel assignment.
Rear Connections
Direct Out
MUTE Switch with LED
Mutes the channel and all send functions. This switch does not
affect the PFL switch or the Peak and Signal Present LED indicators. The LED illuminates when the channel is muted from
the local mute switch.
DIR OUT
Insert
MONO Bus Assign Switch
Assigns the input signal directly to the Mono Clean bus.
Bus Assign Switches (L/R, 1-8)
Assigns the post Pan Signals to the mix bus in odd/even pairs.
Pan controls assignment between these two mix buses with
extreme left pan assigning signal exclusively to the odd mix
bus and extreme right pan assigning signal exclusively to the
even mix bus. When the pan is in its center position, signal is
fed equally to the odd (left) and even (right) mix bus. When
used in stereo applications, the channel signal may be located
anywhere within the stereo image as controlled by the Pan control.
This jack provides the direct output signal
(post fader & post mute) from the associated input channel.
INSERT
This jack allows for the insertion of an
effect or signal processor into the audio path
of the associated input channel.
Bal Line In
BAL LINE IN
BAL MIC IN
This jack accepts balanced and unbalanced
line level inputs and delivers it into the
associated input channel.
Bal Mic In
This connector accepts balanced microphone inputs for the associated input channel.
PFL Switch
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 Left/Right meters, 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 operational
by illuminating at a much higher intensity than its use as a PFL
status indicator.
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.
SIGNAL PRESENT LED
Constantly displays level activity of the input channel by varying in intensity.
100mm Fader
Used for control of all outputs of the channel except those Aux
output sections selected by switch to a pre fader position. (The
Insert output level is not affected by the fader position.)
PAGE 13
CENTURY SERIES
SP / TC / GT
4
5
1•3
6
3
7
2
8
1
9
0
4
10
5
2•4
6
3
7
2
8
1
9
10
0
+48V
STEREO
4
5
1
9
10
10
0
6
6
3
GAIN
20
5
4
60
7
2
30
8
1
10
9
0
6
60
5
4
7
4
10
5
7
8
1
9
0
20K
HF
O +
8
6
2
15
8
10
3
3
1K
9
0
10
MONO
WID
16
1K
STR
REV
3
BAL
600
5
MID
O +
MUTE
8
8
16
MONO
16
150
6
1- 2
1K
40
3- 4
LF
O +
8
5- 6
8
7- 8
16
16
EQ IN
4
5
3
1
1•3
6
7
2
4
10
5
7
2
8
1
9
10
0
POST
0
STEREO
4
5
5
6
7
3
1
9
4
5
10
7
2
8
1
9
0
4
SAFE
10
5
7
6
3
7
2
8
1
9
0
4
5
8
6
7
2
8
1
9
0
10
MONO
STR
WID
REV
SCENE
MUTE
SELECT
20
30
40
10
3
PAGE 14
5
6
6
3
B
D
10
0
A
C
8
2
The equalization controls in this module act upon both L and
R stereo channels at once. The upper band is a fixed shelving
EQ with one control knob. The middle and low frequency EQ
bands are set up as sweep EQ’s: the lower knob controls the
gain or cut as in the fixed EQ; while the upper knob controls
the center frequency adjusted by the inner knob. These center
frequencies are printed on the chassis around the upper knob.
Inserts the EQ section into both L and R input channel signals at once. An associated LED illuminates when the switch
is down.
2•4
6
3
For both input channels, inverts the polarity of both the
microphone and line inputs. An internal jumper selects
between Left channel only or both Left & Right channels.
EQ IN Switch
SIG
9
0
PFL
PEAK
8
1
For both input channels, reduces all low frequency content at
a 12db per octave rate referenced to 80Hz (-3db point).
Three-Band Equalizer Controls
L- R
300
100
Adjusts input gain for proper signal level for both L and R
inputs.
Polarity Reverse Switch
8K
300
L GAIN & R GAIN Controls
80Hz High Pass Switch
8
16
XLR PAD Switch
Introduces a -20 dB drop to the mic input signal for both L
and R XLR inputs.
8
1
5
7
6
2
Ø
Selects between the Balanced XLR Microphone Input connector and the Balanced Line Input 1/4" TRS connector for
both L and R channels.
10
3
80
LINE Switch
8
2
30
Turns on 48V Phantom Power for both L and R XLR inputs,
required by certain microphones for proper operation.
7
3
20
6
5
6
The GT Stereo Input Module is essentially two GT Input
Modules fit into one module space. This module is very useful for accepting remote feeds, effects inputs and other signals that require stereo handling.
48V Phantom Power Switch
POST
LINE
XLR
PAD
GT Stereo Input Module
AUX Level 1•3 / 2•4
Adjusts audio level of a mix for use as a monitor or an effect
send. The signal source for this mix may be selected pre or
post fader by an associated switch. The left channel is sent to
the odd Auxes, and the right channel is sent to the even
Auxes.
POST/PRE Switch
Selects the Aux 1•3 and Aux 2•4 signal sources between post
and pre fader positions.
STEREO Switch
AUX 5-8 Individual Level Controls normally send a summed
(L+R) signal to the AUX outputs. When the STEREO switch
is depressed, AUX 5 and 6 become a ‘right’ send and ‘left’
send respectively. This can be used for a stereo effects send.
CENTURY SERIES
SP / TC / GT
AUX 5 - 8 Individual Level Controls
SIGNAL PRESENT LED
Adjusts audio level of a mix for use as a monitor or an effect
send. The signal source for these mixes may be selected pre or
post fader by an associated switch.
Constantly displays level activity of the input channel by varying in intensity.
WID(TH) Control
Used for control of all outputs of the channel except those Aux
output sections selected by switch to a pre fader position. (The
Insert output level is not affected by the fader position.)
When used together with the BAL control, the WID control
provides a unique way to configure stereo panning. When
turned all the way counter-clockwise, this control conventionally assigns the left signal to the left (odd) channel assignment,
and the right signal to the right (even) channel assignment.
When adjusted to the ‘twelve o’clock’ position, left and right
signals are panned straight up the middle, effectively summing
them to mono. When this knob is turned all the way clockwise,
the left and right signals are ‘flip-flopped’, left being assigned
to the right (even) side, and the right side being assigned to the
left (odd) side.
100mm Fader
Scene Mute Assignments
Assign the input channel to any of the four scene mute groups.
Scene mute combines with the module’s local mute button, and
actuates the local mute LED.
Scene Mute Safe Switch
Disables any selected scene mute assignments. An associated
green LED indicates the channel is in a safe state.
BAL Control
Rear Connections
Direct Out
Positions the entire channel image between the left (odd) and
right (even) channel assignment. Together with the WID control, this gives total control of the stereo image.
MUTE Switch with LED
Mutes the channel and all send functions. This switch does not
affect the PFL switch or the Peak and Signal Present LED indicators. The LED illuminates when the channel is muted from
the local mute switch.
INSERT L
Insert
INSERT R
MONO Bus Assign Switch
Assigns the input signal directly to the Mono Clean bus.
BAL LINE IN L
Bus Assign Switches (L/R, 1-8)
Assigns the post Pan Signals to mix bus in odd/even pairs. Pan
controls assignment between these two mix buses with extreme
left pan assigning signal exclusively to the odd mix bus and
extreme right pan assigning signal exclusively to the even mix
bus. When the pan is in its center position, signal is fed equally
to the odd (left) and even (right) mix bus. When used in stereo
applications, the channel signal may be located anywhere within the stereo image as controlled by the Pan control.
PFL Switch
This jack provides the direct output signal
(post fader & post mute) from the associated
input channel.
BAL LINE IN R
This jack allows for the insertion of an effect
or signal processor into the audio path of the
associated input channel.
Bal Line In
This jack accepts balanced and unbalanced
line level inputs and delivers it into the associated input channel.
Bal Mic In
This connector accepts balanced microphone
inputs for the associated input channel.
BAL MIC IN L
BAL MIC IN R
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 Left/Right meters, 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 operational
by illuminating at a much higher intensity than its use as a PFL
status indicator.
PEAK/PFL 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.
PAGE 15
CENTURY SERIES
SP / TC / GT
4
5
6
3
7
2
GROUP
8
1
9
0
+9
4
10
5
6
3
+6
2•4
7
2
+3
3
8
1
9
0
10
0
-3
3•4
-6
POST
-9
-12
-15
-18
PAN
4
5
3
6LEVEL
7
2
8
1
9
0
10
MUTE
5
4
6
3
GAIN
7
2
8
1
10
EFX RETURN
- 0+
HF
8
PAN
8
16
PFL
SIG
9
0
2
PEAK
16
- 0+
LF
8
8
16
MUTE
16
MONO
L- R
MONO
L- R
1- 2
3- 4
5- 6
7- 8
4
5
6
3
1•3
7
2
8
1
9
0
4
2
PFL
PEAK
SIG
10
5
6
3
2•4
10
7
2
8
1
9
0
10
3•4
POST
5
PAN
10
20
4
5
6LEVEL
3
7
2
8
1
9
0
10
MUTE
2
PFL
PEAK
SIG
EFX RETURN
PAN
PAGE 16
30
40
CENTURY SERIES
SP / TC / GT
SP/TC Group Modules
Group Peak & Signal LED’s
Since there are only minor differences between the SP and TC
input modules, these two models share the same group module.
An eight bus console will have eight of these modules where a
four bus console will only have four. The number of the group
is indicated on the PFL switch.
The red LED indicates that the group signal is within 3dB of
the clipping point. The green LED constantly displays the level
of signal activity by varying in intensity.
Group Fader
Controls the final output signal of the group.
Group Meter
Rear Connections
Group Out
Monitors the post-fader output of the group via a ten-segment
LED array.
This connector carries the post-fader output
signal from the associated group module.
Effect Return Gain
Controls the gain on the signal returning from an attached
effect.
GROUP OUT
Effect Return EQ
Alters the effect return signal pre-fader via two fixed-frequency (10kHz and 80 Hz) controls.
GROUP INSERT
Effect Return Assignments
Assign the post-pan, post fader, effect return signal to the mix
bus.
Effect Aux Levels
Controls the level of effect return signal sent to Auxes 1-4.
Aux 3•4 Switch
Switches the Effect Aux Levels between 1•2 and 3•4.
EFX RETURN
Group Insert
This jack allows for the insertion of an effect
or signal processor into the audio path of the
associated group.
EFX Return
These two connectors allow for effect signals
to be brought back into the board. The 1/4"
TRS jack accepts a balanced or unbalanced
signal at -10 dB level and delivers the signal
to the EFX return section. The female XLR
connector accepts a balanced signal at +4dB
level and delivers the signal to the EFX
return section of the group.
Pre/Post Switch
Selects the effect return signal between pre and post Effect
Level Control, for use with Aux's.
Effect Pan
Adjust the proportion of effect return signal being sent to the
Left (odd) and Right (even) mix buses.
Effect Level
Adjusts the final effect return signal level.
Effect Mute
Mutes the effect return signal.
Effect PFL
Allows for Pre Fader Listening of the effect return signal.
Effect Peak & Signal LED’s
The red LED indicates that the effect signal is within 3dB of
the clipping point. The green LED constantly displays the level
of signal activity by varying in intensity.
Group Pan
Used to position group image between the Left and Right output assignments
Group Mute
Mutes the group signal, except for the group insert send.
Group Assignments
Assigns the group signal to the Left, Right, and/or Mono outputs.
Group PFL
Allows for Pre Fader Listening of the group signal
PAGE 17
CENTURY SERIES
SP / TC / GT
4
5
6
3
GROUP
8
1
9
0
+9
4
10
5
6
3
+6
2•4
7
2
+3
1 3
7
2
8
1
9
0
0
10
-3
3•4
-6
POST
-9
Monitors the post-fader output of the group via a ten-segment
LED array.
-15
-18
PAN
5
A
6
3
7
2
8
1
9
0
10
5
4
4
5
LEVEL
7
2
3
7
2
1
9
0
10
9
10
Adjusts the level of group signal sent to the respective
matrix.
Effect Return Gain
8
1
8
Matrix Levels (A, B)
6
3
B
6
0
The GT group module has many of the same features as the
SP/TC group module. Primarily it is the Matrix Section and
the Scene Mute controls that separate this group module from
the SP/TC. An eight bus console will have eight of these
modules where a four bus console will only have four. The
number of the group is indicated on the PFL switch.
Group Meter
-12
4
GT Group Module
MUTE
Controls the gain on the signal returning from the attached
effect
MATRIX
Effect Return EQ
5
4
GAIN
6
3
PFL
1
Alters the effect return signal pre-fader via two fixed-frequency (10kHz and 80 Hz) controls.
7
2
PEAK
8
1
9
0
SIG
10
- 0+
EFX RETURN
HF
8
PAN
8
16
16
- 0+
8
16
Assign the post-pan, post fader, effect return signal to the
mix bus.
Effect Aux Sends
LF
8
Effect Return Assignments
MUTE
16
Aux 3•4 Switch
MONO
MONO
L- R
L- R
GROUP
XLR
MATRIX
POST
1- 2
3- 4
Controls the level of effect return signal sent to Auxes 1-4.
Switches the Aux Levels between 1•3 and 2•4.
FADER
REVERSE
Pre/Post Switch
Selects the effect return signal between pre and post Effect
Level Control.
5- 6
Effect Pan
7- 8
4
5
6
3
1
1•3
7
2
PEAK
8
1
SIG
9
0
4
Adjust the proportion of effect return signal being sent to the
Left (odd) and Right (even) mix buses.
PFL
Effect Level
10
5
6
3
2•4
10
7
2
8
1
Effect Mute
9
0
10
Mutes the effect return signal.
3•4
POST
Effect PFL
A
B
Allows for Pre Fader Listening of the effect return signal.
5
Effect Peak & Signal LED’s
C
D
PAN
SAFE
4
5
LEVEL
6
3
7
2
8
1
9
0
Adjusts the final effect return signal level.
10
SCENE
MUTE
EFX
RETURN
10
20
30
40
MUTE
The red LED indicates that the effect signal is within 3dB of
the clipping point.
The green LED constantly displays the level of signal activity
by varying in intensity.
Group Pan
Used to position group image between the Left and Right
output assignments.
Group Mute
1
PFL
PEAK
SIG
EFX RETURN
PAN
PAGE 18
Mutes the group signal except for the group insert send.
CENTURY SERIES
SP / TC / GT
Group Assignments
Rear Connections
Group Out
Assigns the group signal to the Left, Right, and or Mono outputs.
This connector carries the post-fader output
signal from the associated group module.
Group XLR
Turns on the balanced XLR output.
Matrix Pre/Post
GROUP OUT
Switches the Matrix sends between pre and post-fader settings.
Fader Reverse w/LED
Swaps functions between the Effect Level control and the
group fader; i.e., one becomes the other and vice versa.
GROUP INSERT
Group PFL
Allows for Pre Fader Listening of the Group signal.
Group Peak & Signal LED’s
The red LED indicates that the group signal is within 3dB of
the clipping point.
The green LED constantly displays the level of group signal
activity by varying in intensity.
Group Fader
EFX RETURN
-10
+4
Controls all post-fader group signal outputs.
EFX Return Scene Mute
Assignments
BUS IN
Group Insert
This jack allows for the insertion of an effect
or signal processor into the audio path of the
associated group.
EFX Return
These two connectors allow for effect signals
to be brought back into the board. The 1/4"
TRS jack accepts a balanced or unbalanced
signal at -10 dB level and delivers the signal
to the EFX return section. The female XLR
connector accepts a balanced signal at +4dB
level and delivers the signal to the EFX
return section of the group.
Bus In
This connector accepts a balanced signal at
+4dB level, and then sums it with all the
other signals assigned to the associated
groups.
Assign the EFX return signal to any of the four scene mute
groups. Scene mute combines with the effect’s local mute button, and actuates the local mute LED.
EFX Return Scene Mute Safe Switch
Disables all selected EFX scene mute assignments. An associated green LED indicates the return is in a safe state.
PAGE 19
CENTURY SERIES
SP / TC / GT
4
5
MATRIX
7
2
8
1
9
0
+9
+6
4
1
5
7
2
8
1
0
9
0
-3
4
-6
1
5
7
2
-9
8
1
9
0
4
-15
1
5
7
2
8
1
9
0
5
1
6
7
3
1
1
GROUPS 1-4
GROUPS 5-8
8
2
4
9
5
7
2
4
5
2
6
3
8
1
9
7
0
8
1
4
9
0
1
5
MATRIX AUX IN
6
6
3
1
5
6
3
1
2
4
6
3
-18
0
3
6
3
-12
4
2
6
3
+3
1
6
3
7
2
8
1
9
0
1
MAINS
4
5
4
L
6
7
3
8
2
1
4
5
7
2
0
9
4
1
5
8
6
3
7
8
1
9
4
8
2
8
1
7
0
R
6
3
7
6
1
9
1
0
5
3
2
9
0
1
1
5
6
MONO
3
MUTE
7
2
8
1
9
0
4
1
5
6
7
3
8
2
1
9
1
0
TB ENB
STR
PGM IN
LEFT
|
MONO
|
RIGHT
4
5
7
2
PEAK
8
1
SIG
9
0
4
PFL
1
6
3
1
5
2
6
3
10
7
2
8
1
9
0
4
5
1
5
3
6
3
0
7
2
8
1
9
0
4
1
5
4
6
3
5
7
2
8
1
9
0
10
1
GROUPS 1-4
GROUPS 5-8
4
5
5
6
3
2
8
1
9
0
4
1
5
30
6
6
3
7
2
8
1
9
0
4
1
5
7
6
3
7
2
8
1
9
0
4
3
PAGE 20
20
7
1
5
8
6
7
40
CENTURY SERIES
SP / TC / GT
Matrix Module
SIGNAL PRESENT LED
The Matrix Module allows the creation of an independent mix
using the Main outputs (and an External Input) as signal
sources.
Constantly displays level activity of the matrix by varying in
intensity.
Matrix AUX IN Controls
Used for control of all outputs of the channel. (The Insert output level is not affected by the fader position.)
Controls level of external balanced input signals.
100mm Fader
L & R MAINS Controls
MONO MAINS Control
Rear Connections
Matrix Out
Controls the level of post fader Mono signal from main section.
This connector delivers a balanced signal
from the matrix module.
Controls level of post fader L & R signals from main section.
STR PGM IN Control
MATRIX OUT
Controls level of Stereo Program being input into the matrix.
(These switches do not function on the SP/TC Consoles)
LEFT/MONO/RIGHT Switches
This jack allows for the insertion of an effect
or signal processor into the audio path of the
matrix output.
MTX INSERT
Selects which main section signals are introduced into the
matrix. (These switches do not function on the SP/TC
Consoles)
Aux In 1
This connector accepts a balanced signal at
+4dB level, and then sums it with all the other
signals in the matrix output.
GROUPS 1-4 Controls
Aux In 2
Adjusts the level of Group signals 1-4 introduced into the
matrix.
This connector accepts a balanced signal at
+4dB level, and then sums it with all the other
signals in the matrix output.
GROUPS 5-8 Controls
Adjusts the level of Group signals 5-8 introduced into the
matrix.
Matrix Insert
AUX IN 1
MUTE Switch with LED
Mutes the output. This switch does not affect the PFL switch
or the Peak and Signal Present LED indicators.
AUX IN 2
TB ENABLE Control
Injects the talkback signal from the Master section into the
matrix.
PFL Switch
Samples the matrix 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 Left/Right meters, and heard via the mixer’s
headphone or local monitor output. When this PFL Switch is
depressed, the PEAK LED illuminates at a lower intensity.
When used as a status indicator of switch position, the Peak
LED indicating circuit remains fully operational by illuminating at a much higher intensity than its use as a PFL status indicator.
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 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.
PAGE 21
CENTURY SERIES
SP / TC / GT
3
LEFT
RIGHT
+9
+9
+6
+6
+3
+3
0
0
-3
-3
-6
-6
-9
-9
-12
-12
-15
-15
-18
-18
8
1
4
5
2
6
+48
4
7
1
9
DC
POWER
4
6
9
AFL3
AFL4
AFLON
PFL ON
4
5
5 6
3
8
10
4
5 6
4
7
8
1
8
10
4
5 6
8
7
2
8
1
9
0
10
3• 4
9
0
3
9
0
1• 2
7
8
6
1
AUX
7
5 6
1
7
2
5 6
3
2
GROUPS
2
9
0
4
3
7
3
10
9
0
10
PHONES
4
7
8
1
9
0
AFL5
AFL5
AFL6
AFL6
ON
5 6
3
2
10
AFL ON
AFL ON
AUX
MASTERS
TALK BACK
CONTROL
AUX
MASTERS
LOCAL
MONITOR
PFL
DEFEAT
MUTE
MUTE
MUTE
DIM
MONO
MONO
LEFT
RIGHT
MONO
MUTE
PFL ON
MONITOR
CONTROL
PFL
3
8
1
0
4
2
4
10
5
4
6
3
7
2
8
1
10
5
6
PFL
PFL
PEAK
PEAK
PEAK
SIG
SIG
SIG
AFL3
AFL2
AFL4
0
15
15
15
20
20
20
30
30
30
40
40
40
50
50
50
9
0
AFL1
0
8
1
10
0
LEV
7
2
9
0
4
3
8
1
9
MONO
9
0
2
6
7
0
8
1
10
5
7
2
9
3
3
5 6
3
7
2
4
10
MONO
L- R
AFLON
4
AFLON
5
5 6
3
8
1
10
4
5 6
3
6
8
1
9
0
7
8
1
7
2
7
2
9
0
GROUPS
5 6
3
7
2
4
10
AUX
1• 2
3• 4
9
0
10
4
5 6
3
8
7
2
8
1
9
0
10
AFL5
AFL5
AFL6
AFL6
ON
AFL ON
AUX
MASTERS
PAGE 22
10
MONO
AFLON
1
1
9
0
AFL2
2
5 6
8
1
AFL1
LEV
7
L- R
+24
HEADPHONES
4
6
2
10
0
5
3
8
10
+20
5
2
8
1
4
10
3
7
0
9
0
2
-20
8
1
10
3
7
2
9
0
LAMP DIM
3
7
2
AFL ON
AUX
MASTERS
TALK BACK
CONTROL
CENTURY SERIES
SP / TC / GT
SP/TC Master Section
Left & Right Meters
L/R/Mono Peak & Signal LED’s
Monitors the post-fader output of the Left & Right channels,
and any PFL’d or AFL‘d signals, via a ten-segment LED array.
The green LED indicates the level of signal activity by varying
in intensity.
Power Indicators
L/R/Mono Faders
These four LED’s indicate the status of the four types of power
used by Century Series Consoles.
Adjust final signal level of the Right, Left and Mono outputs.
Headphone Jack
Allows a microphone to be plugged in for use with the talkback system. This jack is located next to the headphone jack on
the front-right of the console under the arm rest.
Delivers right and left output, unless a PFL or AFL switch is
depressed. Whenever any signal is in PFL or AFL mode the
headphone jack will deliver that signal. An additional headphone jack is located underneath the hand rest on the rightfront part of the console.
Headphone Level Control
Controls signal level delivered to the two headphone jacks.
Local Monitor Level Control
Red LEDs indicate the signal is within 3dB of clipping point.
Talkback Mic Input
Rear Connections
Mono Out
Delivers balanced post-fader signal containing all signals
assigned to the Mono Clean Bus.
Right Out
Controls signal level delivered to the local monitor outputs.
Delivers a balanced post-fader signal containing all signals
assigned to the right output.
PFL Defeat
Left Out
Disables PFL function to the local monitor, permitting local
monitor output to function as an additional left/right output.
Dim Switch
Introduces -12 dB attenuation into local monitor output. Local
monitors are automatically dimmed when Talkback is engaged.
Mono Switch
Switches local monitor from stereo mode to mono mode.
Delivers a balanced post-fader signal containing all signals
assigned to the left output.
Mono Insert
This jack allows for the insertion of a signal processor into the
path of the mono sub-mix.
Right Insert
Local Monitor Mute
This jack allows for the insertion of an effect or signal processor into the audio path of the right sub-mix.
Mutes the local monitor signal output.
Left Insert
Aux Master Controls
This jack allows for
the insertion of an
effect or signal
processor into the
audio path of the
left sub-mix.
Controls final output signal level of eight auxiliary outputs.
Aux AFL Switches
Switch the eight auxiliary outputs to After Fader Listening
mode, via the normal PFL signal path. The AUXes can be
monitored as stereo pairs if both AFL switches are depressed.
If only one is depressed, that AUX is monitored in mono.
Talkback Level Control
Monitor Out
(R&L)
Assign the talkback signal to the outputs, groups and or auxes.
These two connectors deliver a balanced signal from
the left and right
local monitor.
Talkback On/Off Switch
Aux 1-8 Out
Turns the talkback system on and off.
These eight connections provide the
balanced output signals from their
respective auxiliary
buses.
Controls the level of talkback signal output, and dims the local
monitor, whether or not the Dim switch has been pressed.
Talkback Assignment Switches
L/R/Mono Mute Switches
Mute outputs of the Left, Right and Mono signals respectively.
L/R Mono Assignment Switches
Assign the Left and Right signals to the Mono output.
MONO OUT
RIGHT OUT
LEFT OUT
MONO INSERT
RIGHT INSERT
LEFT INSERT
MONITOR L OUT
AUX 3 OUT
AUX 1 OUT
MONITOR R OUT
AUX 4 OUT
AUX 2 OUT
AUX 7 OUT
AUX 5 OUT
AUX 6 OUT
AUX 8 OUT
L/R/Mono PFL Switches
Allow for Pre Fader Listening of the Right, Left and Mono
output signals.
PAGE 23
CENTURY SERIES
SP / TC / GT
16
2
LEFT
RIGHT
+9
+9
+6
+6
+3
+3
0
0
-3
-3
-6
-6
-9
-9
3
LAMP DIM
+20
-18
-18
A
8
1
AUX
1•2
AUX
MUTES
+24
0
10
4
5 6
B
7
2
10
4
5 6
MATRIX
10
4
5 6
B
5
4
GAIN
4
8
2
8
8
5
5 6
16
10
4
5 6
MUTE
AUX
1•2
PFLON
MONITOR
CONTROL
10
4
5 6
5 •6
8
5
7
7 •8
8
1
0
10
LEV
6
2
8
9
0
4
3
9
MATRIX
B
10
A
AFL5
AFL5
1 •2
AFL6
AFL6
3 •4
ON
AFL ON
AFL ON
AUX
MASTERS
BLEND
AUX
MASTERS
L/R TO AUXES
4
3
8
1
4
3
0
10
LEV
6
8
9
5
7
MUTE
MUTE
MUTE
MONO
8
1
PFL
MONO
9
PEAK
10
0
10
LEV
6
2
10
0
10
4
3
7
1
9
0
5
2
8
1
9
4
3
7
2
8
1
MUTE
4
6
9
0
10
5
3
7
2
4
7
1
9
0
2
6
A
6
8
EXTTB
INPUT
8
1
10
5
5
3
2
BAL
7
2
9
0
4
3
7
2
3
5 6
TALK BACK
CONTROL
4
EXT
OSC
1
5 6
1 •2
3 •4
7
1
10
AUX
STEREO
PROGRAM IN
9
0
2
9
MONO
7
3
8
1
0
L- R
L- R
GROUPS
8
6
2
7
5 6
1
7
MONO
MATRIX
A- B
MONO
PEAK
2
9
0
4
3
7
3
AUX
3•4
EXTTB
OUTPUT
MUTE
AFLON
8
PFL
DEFEAT
LF
8
AUX
MUTES
9
10
0
SIG
4
3
1
- 0+
16
4
AFL4
10
LOCAL
MONITOR
DIM
7
AFL3
AFL2
AFLON
16
8
3
AFL1
2
6
7
1
9
LEV
6
8
10
0
5
2
PFL
5
16
4
3
7
1
9
LEV
6
8
10
0
5
2
9
0
HF
1
9
4
3
7
7
2
10
- 0+
4
6
8
10
0
5
5 6
1
9
8
1
4
3
10
3
8
1
0
1
8
EXTTB
INPUT
9
10
2
8
BAL
8
2
6
7
PHONES
7
2
5
3
7
1
0
2
9
0
6
3
AUX
MUTES
MATRIX
A- B
5 6
2
10
3
7
1
10
MATRIX
AUX SCENE
ACTIVE
4
5 6
2
9
0
4
3
8
1
10
MATRIX
AUX SCENE
ACTIVE
8
9
0
4
3
7
1
7
2
8
3
9
0
1
5 6
2
8
3
9
0
A
7
B
7
1
10
5 6
4
3
1
9
0
MONITOR
CONTROL
EXT
OSC
4
2
8
2
9
0
A
7
3
8
1
5 6
1
PFLON
AUX
3•4
AUX
MUTES
PFLON
2
9
3
4
3
MUTE
L- R
8
TB MIC
DC
POWER
+48
-15
7
MONO
7
4
-20
-12
5 6
16
MONO
HEADPHONES
4
8
DIM
-15
3
PFL
DEFEAT
LF
8
16
-12
2
16
- 0+
6
SIG
AFL1
AFL2
EXTTB
OUTPUT
MUTE
AFL3
AFL4
AFLON
L- R
PEAK
5
5 6
2
8
1
10
4
5 6
3
7
8
1
9
0
7
10
10
4
5 6
3
3 •4
8
9
10
4
5
LEV
6
3
7
2
1
7 •8
1 •2
AFL6
3 •4
0
BLEND
L/R TO AUXES
ON
15
15
TALK BACK
CONTROL
20
20
20
30
30
30
40
40
40
5
A
6
8
9
MUTE
PFL
PEAK
SIG
LEFT
RIGHT
MONO
B
C
10
AUX
MUTE
MONO
MATRIX
POST
9
10
D
7
0
MATRIX
POST
8
A
3
MATRIX
POST
B
6
7
0
15
1
MUTE
5
1
AFL ON
AUX
MASTERS
4
3
B
2
PAGE 24
SIG
SIG
0
A
4
MONO
SIG
0
MATRIX
10
AFL5
MUTE
PFL
PEAK
PEAK
2
9
0
AFL6
AUX
MASTERS
MUTE
PFL
PFL
PEAK
8
AFL5
AFL ON
PEAK
SIG
7
0
MONO
5 •6
8
2
1
PFL
1 •2
9
0
RIGHT
MATRIX
MASTERS
AUX
STEREO
PROGRAM IN
8
1
6
2
7
5 6
2
9
0
4
3
7
LEFT
MATRIX
POST
GROUPS
SIG
4
3
MATRIX
POST
MONO
PFL
AFLON
MATRIX
POST
MATRIX
MASTERS
MUTE
50
50
50
SCENE MUTE
MASTERS
CENTURY SERIES
SP / TC / GT
GT Master Section
Aux Master Controls
This master section is the control center for most of the GT’s
advanced functions.
Controls final output signal level of the auxiliary outputs.
Left & Right Meters
Switch the eight auxiliary outputs to After Fader Listening
mode, via normal PFL signal path. AUXes can be monitored as
stereo pairs if both AFL switches are depressed. If only one is
depressed, that AUX is monitored in mono.
Monitors the post-fader output of the Left & Right channels,
and any PFL’d signals, via a ten-segment LED array.
Lamp Dim Control
Controls the intensity of the lighting devices plugged into the
XLR sockets on the light bar.
Talkback Mic Input
Allows for a gooseneck microphone to be plugged in for use
with the talkback system. An additional Talkback Mic Input
jack can be found next to the headphone jack on the front-right
of the console under the arm rest.
Aux AFL Switches
External Oscillator Switch
Turns on the internal oscillator or accepts signal from the1/4"
TRS Oscillator input jack.
External Talkback Input Switch
Selects the external talkback input XLR as an input signal to
the talkback section and overrides the Oscillator.
Stereo Program Balance
Power Indicators
Adjusts balance of stereo signal from Stereo Program input.
These four LED’s indicate the status of the four types of power
used by Century Series Consoles.
Stereo Program Level
Headphone Jack
Talkback Level Control
Delivers right and left output, unless a PFL switch is
depressed. Whenever any signal is in PFL mode, the headphone jack will deliver that signal. An additional headphone
jack is located beneath the hand rest on the right-front part of
the console.
Controls the level of the selected talkback source.
Headphone Level Control
Mutes the output of the stereo program.
Controls the signal level delivered to the headphone jacks.
Stereo Program PFL
L, R & Mono Matrix Sends
Allows Pre Fader Listening of the Stereo Program signal.
Controls level of Right, Left and Mono signals sent to the two
matrices.
Talkback Assignment Switches
Local Monitor Level Control
Blend Level
Controls level of signal delivered to the monitor outputs.
Controls level of L & R signal blended to assigned auxes.
Auxiliary Mutes
Blend Assignment Switches
Mutes the respective auxiliary signals.
Assigns the Left and Right signals to the respective auxes.
PFL Defeat
Talkback On/Off Switch
Disables PFL function to the local monitor, allowing local
monitor output to function as an additional left/right output.
Turns the talkback system on and off, and dims local monitor,
whether or not Dim switch has been pushed.
Dim Switch
Matrix Master Levels (A&B)
This switch introduces a -12 dB attenuation into the local monitor and headphone outputs.
Controls the final output level of the respective matrix.
Mono Switch
Mutes the respective matrix signal.
Switches the local monitor and headphone outputs from their
standard stereo mode to a mono mode.
Stereo Program In Gain
Adjusts the gain of the Stereo Program In signal.
Stereo Program In EQ
Two-band fixed frequency (10kHz and 80Hz) EQ that affects
the Stereo Program In signal.
Stereo Program In Assignments
Assigns the Stereo Program to the associated buses.
Controls final output signal level of the Stereo Program.
External Talkback Output Switch
Turns on the external talkback XLR.
Stereo Program Mute
Assigns talkback signal to outputs, groups, auxes, or matrices.
Matrix Master Mutes (A&B)
Matrix Master PFL (A&B)
Allows Pre-Fader Listening of the respective matrix signal.
Scene Mute Master Switches
Turn on and off the four scene mutes.
Aux Scene Mute On/Off Switch
Turns the Aux Scene Mute system on and off.
L/R/Mono Mute Switches
Mute outputs of Left, Right and Mono signals respectively.
Local Monitor Mute
Mutes the local monitor signal output.
(Continued)
PAGE 25
SP / TC / GT
CENTURY SERIES
GT Master Section (cont'd)
L&R Mono Assignment Switches
Rear Connections
Matrix Out (A&B)
Assign the Left and Right signals to the Mono output..
These two connectors deliver a balanced signal from the associated matrix master.
L/R/Mono Matrix Post Switches
Switches the Left, Right and Mono matrix signals between pre
and post fader.
L/R/Mono PFL Switches
Allow for Pre-Fader Listening of the Left, Right and Mono
signals respectively.
L/R/Mono Peak & Signal LED’s
Mono Out
This connector delivers a balanced post-fader signal containing
all signals assigned to the Mono Clean Bus.
Right Out
This connector delivers a balanced post-fader signal containing
all signals assigned to the right output.
The red LED indicates that the signal is within 3dB of the clipping point. The green LED constantly displays the level of signal activity by varying in intensity.
Left Out
L/R/Mono Faders
Matrix Insert (A&B)
Adjust final output signal level of Right, Left and Mono outputs.
This jack allows for the insertion of an effect or signal processor into the audio path of the associated matrix.
This connector delivers a balanced post-fader signal containing
all signals assigned to the left output.
Mono Insert
This jack allows for the insertion of a signal processor into the
path of the mono sub-mix.
Right Insert
This jack allows for the insertion of an effect or signal processor into the audio path of the right sub-mix.
MATRIX A OUT
MONO OUT
RIGHT OUT
LEFT OUT
INSERT A
MONO INSERT
RIGHT INSERT
LEFT INSERT
Left Insert
This jack allows for the insertion of an effect or signal processor into the audio path of the left sub-mix.
Monitor Out (R&L)
These two connectors deliver a balanced signal from the left
and right local monitor.
Aux 1-8 Out
MATRIX B OUT
MONITOR L OUT
AUX 3 OUT
AUX 1 OUT
These eight connections provide the balanced output signals
from their respective auxiliary buses.
Ext. Talkback Out
INSERT B
MONITOR R OUT
AUX 4 OUT
AUX 2 OUT
This connector provides an external balanced signal from the
selected talkback source.
Ext. Talkback In
This connector accepts a balanced signal which is assignable to
any of the locations in the talkback system.
EXT TB OUT
STR PGM IN
AUX 7 OUT
AUX 5 OUT
Stereo Program In
This jack accepts an unbalanced stereo line level signal for use
as warm-up or break music.
EXT TB IN
OSC/PINK IN
AUX 6 OUT
AUX 8 OUT
Oscillator / Pink Noise In
This connector accepts a balanced or unbalanced signal from
an oscillator or pink noise generator. This signal is assignable
via the talkback assignment switches.
PAGE 26
GT TC SP
Appendix A
Technical
Information
CENTURY SERIES
SP / TC / GT
General Specifications SP Console
Architect’s & Engineer’s
Specifications - SP Console
The following are the technical specifications for the Century
SP console.
The following text should be used when specifying a Century
SP in a bid or proposal.
Frequency Response
+0.0, -0.5dB, 20Hz to 20 kHz (referenced to 1kHz)
Total Harmonic Distortion
Mic input to Group output
20Hz to 20 kHz at +15dBu
<0.01%
Noise (22Hz to 22kHz)
Mic EIN
Mix Bus Output Noise (20 ch routed)
Aux Bus Output Noise (20 ch routed)
-129 dBu
- 80 dBu
- 80 dBu
Crosstalk (Measured at 1kHz)
Channel Mute
Channel Fader Attenuation
Channel Routing
Channel Aux Send Attenuation
>102 dB
> 96 dB
> 85 dB
> 93 dB
Input/Output Impedances
Mic Input
Line Input
Outputs
4kΩ balanced
>10kΩ balanced
140Ω balanced
Input/Output Levels (0VU = +4 dBu, 1.23V RMS)
Mic Input Sensitivity
+ 4 to -62 dBu
Line Input Sensitivity
+ 12 to -38 dBu
Input Insertion Point Level
+ 4 dBu
Output Insertion Point Level
- 2 dBu
Nominal Output Level
+ 4 dBu
Maximum Balanced Output Level
+28 dBu
Configurations
SP Consoles are available in the following configurations:
Four Subgroup
16, 24, 32, 36, 44, or 56 inputs
Eight Subgroup
12, 20, 28, 32, 40, or 52 inputs
Optional stereo input modules and matrix modules are available.
APPENDIX A
The live sound console shall be constructed in a modular fashion and be
housed in a steel frame with molded plastic side panel/carrying handles.
The console shall be black with white labeling and utilize XLR lighting
device connectors. The console shall have an XLR talkback mic connector
and a headphone jack. These shall be located beneath the far right side of
the armrest.
All microphone inputs shall be electronically balanced and accessed via 3pin XLR connectors and have an EIN of -129 dBm. All line inputs shall be
electronically balanced and accessed via 1/4" TRS jacks. The insert points
shall be via 1/4" TRS jacks.
Each input channel shall have: a +48 volt phantom power switch, a -15 dB
mic pad switch, a 80Hz high pass filter switch, and 4-band fixed EQ
(80Hz, 300Hz, 2.7kHz, 10kHz) with an EQ In switch. Each input channel
shall also have: a FET controlled (10 millisecond ramp) mute switch with
LED, sub-group assignment switches, a L/R assignment switch, a dedicated mono assignment switch, a dynamic signal present LED and peak LED,
a PFL switch, and a 100mm long throw fader. Each input channel shall
have eight auxiliary sends which shall be controlled via six knobs and
three switches.The aux sends shall have a pre/post fader switch for every
four sends. The aux sends shall be selectable pre or post fader.
The console shall be available in four or eight bus configurations. Each
group module shall have a ten-segment LED meter array. The effect return
section of each group module shall have a gain control, a two-band fixed
EQ, sub-group assignment switches, a L/R assignment switch, a dedicated
mono assignment switch, two aux send controls, a pan control, a level control, a dynamic signal present LED and peak LED, and a PFL switch. The
remainder of the group module shall have a pan control, an FET controlled
(10 millisecond ramp) mute switch with LED, assignment switches for:
mono and L/R. A PFL switch, dynamic signal present LED and peak LED,
and a 100mm long throw fader shall also be provided on the group module.
The master section shall be four modules in width and have the following
features: eight aux master controls with associated AFL switches, a
100mm long throw fader for each of the three master outputs and a comprehensive talkback system.
The power supply shall be housed in a 14 ga. steel chassis that shall occupy two 19" rack spaces. The power supply shall have the ability to be
daisy-chained to additional power supplies to provide a fail-safe operating
environment. Connection of two or more power supplies shall not require
additional interface hardware other than the provided cable.
The live sound console shall be: the Crest Audio Century SP.
CENTURY SERIES
SP / TC / GT
General Specifications TC Console
Architect’s & Engineer’s
Specifications - TC Console
The following are the technical specifications for the Century
TC console.
The following text should be used when specifying a Century
TC in a bid or proposal.
Frequency Response
+0.0, -0.5dB, 20Hz to 20 kHz (referenced to 1kHz)
Total Harmonic Distortion
Mic input to Group output
20Hz to 20 kHz at +15dBu
<0.01%
Noise (22Hz to 22kHz)
Mic EIN
Mix Bus Output Noise (20 ch routed)
Aux Bus Output Noise (20 ch routed)
-129 dBu
- 80 dBu
- 80 dBu
Crosstalk (Measured at 1kHz)
Channel Mute
Channel Fader Attenuation
Channel Routing
Channel Aux Send Attenuation
>102 dB
> 96 dB
> 85 dB
> 93 dB
Input/Output Impedances
Mic Input
Line Input
Outputs
4kΩ balanced
>10kΩ balanced
140Ω balanced
Input/Output Levels (0VU = +4 dBu, 1.23V RMS)
Mic Input Sensitivity
Line Input Sensitivity
Input Insertion Point Level
Output Insertion Point Level
Nominal Output Level
Maximum Balanced Output Level
+ 4 to -62 dBu
+ 12 to -38 dBu
+ 4 dBu
- 2 dBu
+ 4 dBu
+28 dBu
Configurations
TC Consoles are available in the following configurations:
Four Subgroup
16, 24, 32, 36, 44, or 56 inputs
Eight Subgroup
12, 20, 28, 32, 40, or 52 inputs
Optional stereo input modules and matrix modules are available.
The live sound console shall be constructed in a modular fashion and
be housed in a steel frame with molded plastic side panel/carrying handles. The console shall be black with white labeling and utilize XLR
lighting device connectors. The console shall have an XLR talkback
mic connector and a headphone jack. These shall be located beneath the
far right side of the armrest.
All microphone inputs shall be electronically balanced and accessed via
3-pin XLR connectors and have an EIN of -129 dBm. All line inputs
shall be electronically balanced and accessed via 1/4" TRS jacks. The
insert points shall be via 1/4" TRS jacks.
Each input channel shall have: a +48 volt phantom power switch, a -15
dB mic pad switch, a 80Hz high pass filter switch, a polarity reverse
switch and 4-band (LF-80Hz, LMF-100Hz-2kHz, HMF-400Hz-8kHz,
HF-10kHz) mid-sweepable EQ an EQ In switch. Each input channel
shall also have: a FET controlled (10 millisecond ramp) mute switch
with LED, sub-group assignment switches, a L/R assignment switch, a
dedicated mono assignment switch, a dynamic signal present LED and
peak LED, a PFL switch, and a 100mm long throw fader.
Each input channel shall have eight auxiliary sends which shall be controlled via six knobs and four switches. The aux sends shall have a
pre/post fader switch for every four sends. The aux sends shall be
selectable pre or post EQ and pre or post mute. There shall be an Aux 8
direct switch that shall allow the Aux 8 rotary knob to directly control
the output of the 1/4" direct out TRS jack.
The console shall be available in four or eight bus configurations. Each
group module shall have a ten-segment LED meter array. The effect
return section of each group module shall have a gain control, a twoband fixed EQ, sub-group assignment switches, a L/R assignment
switch, a dedicated mono assignment switch, two aux send controls, a
pan control, a level control, a dynamic signal present LED and peak
LED, and a PFL switch. The remainder of the group module shall have
a pan control, an FET controlled (10 millisecond ramp) mute switch
with LED, assignment switches for: mono and L/R. A PFL switch,
dynamic signal present LED and peak LED, and a 100mm long throw
fader shall also be provided on the group module.
The master section shall be four modules in width and have the following features: eight aux master controls with associated AFL switches, a
100mm long throw fader for each of the three master outputs and a
comprehensive talkback system.
The power supply shall be housed in a 14 ga. steel chassis that shall
occupy two 19" rack spaces. The power supply shall have the ability to
be daisy-chained to additional power supplies to provide a fail-safe
operating environment. Connection of two or more power supplies
shall not require additional interface hardware other than the provided
cable.
The live sound console shall be: the Crest Audio Century TC.
APPENDIX B
CENTURY SERIES
SP / TC / GT
General Specifications GT Console
Architect’s & Engineer’s
Specifications - GT Console
The following are the technical specifications for the Century
GT console.
Frequency Response
+0.0, -0.5dB, 20Hz to 20 kHz (referenced to 1kHz)
Total Harmonic Distortion
Mic input to Group output
20Hz to 20 kHz at +15dBu
<0.01%
Noise (22Hz to 22kHz)
Mic EIN
Mix Bus Output Noise (20 ch routed)
Aux Bus Output Noise (20 ch routed)
-129 dBu
- 80 dBu
- 80 dBu
Crosstalk (Measured at 1kHz)
Channel Mute
Channel Fader Attenuation
Channel Routing
Channel Aux Send Attenuation
>102 dB
> 96 dB
> 85 dB
> 93 dB
Input/Output Impedances
Mic Input
Line Input
Outputs
4kΩ balanced
>10kΩ balanced
140Ω balanced
Input/Output Levels (0VU = +4 dBu, 1.23V RMS)
Mic Input Sensitivity
Line Input Sensitivity
Input Insertion Point Level
Output Insertion Point Level
Nominal Output Level
Maximum Balanced Output Level
+ 4 to -62 dBu
+ 12 to -38 dBu
+ 4 dBu
- 2 dBu
+ 4 dBu
+28 dBu
Configurations
GT Consoles are available in the following configurations:
Four Subgroup
16, 24, 32, 36, 44, or 56 inputs
Eight Subgroup
12, 20, 28, 32, 40, or 52 inputs
Optional stereo input modules and matrix modules are available.
APPENDIX A
The following text should be used when specifying a Century GT
in a bid or proposal.
The live sound console shall be constructed in a modular fashion and be
housed in a steel frame with molded plastic side panel/carrying handles.
The console shall be black with white labeling and utilize XLR lighting
device connectors. The console shall have an XLR talkback mic connector
and a headphone jack. These shall be located beneath the far right side of
the armrest.
All microphone inputs shall be electronically balanced and accessed via 3pin XLR connectors and have an EIN of -129 dBm. All line inputs shall be
electronically balanced and accessed via 1/4" TRS jacks. The insert points
shall be via 1/4" TRS jacks.
Each input channel shall have: a +48 volt phantom power switch, a -15 dB
mic pad switch, a 80Hz high pass filter switch, a polarity reverse switch
and 4-band (LF-40-800Hz, LMF-100Hz-2kHz, HMF-400Hz-8kHz, HF1.5k-20kHz) sweepable EQ with peak/shelve switches on the high and low
controls and an EQ In switch. Each input channel shall also have: a FET
controlled (10 millisecond ramp) mute switch with LED, sub-group
assignment switches, a L/R assignment switch, a dedicated mono assignment switch, a dynamic signal present LED and peak LED, a PFL switch,
4 scene mute switches (A-D), scene mute safe switch with LED, and a
100mm long throw fader.
Each input channel shall have eight auxiliary sends which shall be controlled via six knobs and four switches. The aux sends shall have a
pre/post fader switch for every four sends. The aux sends shall be selectable pre or post EQ and pre or post mute. There shall be an Aux 8 direct
switch that shall allow the Aux 8 rotary knob to directly control the output
of the 1/4" direct out TRS jack.
The console shall be available in four or eight bus configurations. Each
group module shall have a ten-segment LED meter array. The effect return
section of each group module shall have a gain control, a two-band fixed
EQ, sub-group assignment switches, a L/R assignment switch, a dedicated
mono assignment switch, two aux send controls, a pan control, a level control, a dynamic signal present LED and peak LED, and a PFL switch. The
remainder of the group module shall have a pan control, an FET controlled
(10 millisecond ramp) mute switch with LED, assignment switches for:
mono, L/R, Group XLR and matrix post. It shall also have a fader reverse
switch with LED. A PFL switch, dynamic signal present LED and peak
LED, 4 scene mute switches (A-D), scene mute safe switch with LED, and
a 100mm long throw fader shall also be provided on the group module.
The master section shall be four modules in width and have the following
features: an 11x2 matrix, eight aux master controls with associated AFL
switches, eight aux scene mute switches with LED, a 100mm long throw
fader for each of the three master outputs, a fully assignable comprehensive talkback system, a talkback mic connection, a headphone jack, stereo
program input control, and five scene mute master switches each with
LED.
The power supply shall be housed in a 14 ga. steel chassis that shall occupy two 19" rack spaces. The power supply shall have the ability to be
daisy-chained to additional power supplies to provide a fail-safe operating
environment. Connection of two or more power supplies shall not require
additional interface hardware other than the provided cable.
The live sound console shall be: the Crest Audio Century GT.
LED
T
P
AMP
S
LINE
HPF
Century GT Block Diagram
CENTURY GT BLOCK DIAGRAM
CREST AUDIO
USER
OPTION
Ø
OSC IN
EXT TB IN
TB MIC
(FRONT)
TB MIC
(TOP PANEL)
PHONES
(FRONT)
PHONES
(TOP PANEL)
LOCAL
MON RIGHT
LOCAL
MON LEFT
MATRIX B
BAL OUT
INSERT
MATRIX A
BAL OUT
INSERT
SWITCH
TO PEAK
LEGENDS
BAL DRIVER
INPUT
PREAMP
GAIN
6 - 60DB
SIGNAL
PRESENT
PIN 2 HOT ON ALL XLRS
TIP IS SEND, RING RETURN ON ALL INSERTS
USER OPTIONS IMPLEMENTED WITH REMOVABLE SHUNTS
ROTARY
POT
P
XFORMER
OPTION
15dB
PAD
PAD
P
DIRECT OUT
INSERT
BAL LINE IN
BAL MIC IN
+48V
XFORMER
OPTION
MIC PRE
+48v
M
LF
L MID
H MID
1KHZ
OSC
PHONES
LEVEL
FET DIM
D
FREQ
FOUR BAND EQ
FET MUTE
XFORMER
OPTION
FADER
PEAK
LEVEL
GT INPUT MODULE
HF
M
OSC
EXT TB
OUT
EXT TB
IN
TB
LEVEL
MONO
MUTE
+10
PEAK
DIM
TB ON
PFL
DEFEAT
EXT TB
OUT
LOCAL
MON LEVEL
MATRIX B
MUTE
MATRIX A
MUTE
5-8
PRE
PFL
D
D
∑
∑
MATRIX
A B
RIGHT
LEFT
PFL MIX R
PFL DC
∑
PFL MIX L
TO L & R METERS
MATRIX B
MIX AMP
AUX
D
C
B
A
SCENE
MUTE MASTERS
AUXES
1-2 3-4 5-6 7-8
PFL
SW
PEAK
PFL LEFT
PFL DC
PFL RIGHT
SIGNAL
PRESENT
PEAK
∑
∑
PFL LEFT
PFL DC
YES
AUX
MUTE
L-R
AUX
3-4
AUX
1-2
PFL
X-FEED
FROM AUX 2
+10
PAN
B
M
M
MATRIX
SEND
A
GROUP
MUTE
FADER
REVERSE
EFX
LEVEL
MATRIX
POST
LEFT/RIGHT
BLEND TO
AUXES
PFL
NO
GROUP
XLR
MATRIX
SENDS
B
A
MONO
L (R)
MUTE
MATRIX
POST
FADER AMP
B
A
MONO
MUTE
MATRIX
POST
NO
STEREO
MUTE
GT MONO MODULE
POST
MUTE?
YES
NO
GT LEFT (RIGHT) MODULE
MUTE
AUX
POST
PAN
FADER AMP
AUX
SENDS
FADER
REVERSE
+10
FADER AMP
GT GROUP MODULE
1 OF 4 AUXES PER MODULE SHOWN
1-2, 5-6 ON LEFT, 3-4, 7-8 ON RIGHT
AFL
PFL
SAFE
AUX
3-4
AUX
MATRIX
1-2 3-4
A-B
PEAK
STEREO RETURN
ASSIGN
SWITCHES
MONO
M
AUX
SCENE
CONTROL?
PEAK
SIGNAL
PRESENT
PFL RIGHT
MONO BAL
MIX AMP
∑
NO
AUX
MIX AMP
∑
PFL RIGHT
PFL LEFT
PFL DC
L (R) BAL
MIX AMP
SIGNAL
PRESENT
PFL RIGHT
PFL LEFT
MUTE SCENES
A
B
C
D
EFX RTN
BUS ASSIGN
SWITCHES
PFL RIGHT
MATRIX A
MIX AMP
L-R
GROUP
BUS ASSIGN
SWITCHES
MONO
PEAK
SIGNAL
PRESENT
MONO L-R 1-2 3-4 5-6 7-8
GROUP
BAL
MIX AMP
∑
PFL RIGHT
PFL LEFT
PFL DC
PFL DC
PFL DC
RIBBON CABLES
PFL LEFT
SIGNAL
PRESENT
AUX 8
DIRECT
AUX
3-4
MUTE SCENES
A
B
C
D
BUS ASSIGN
SWITCHES
L-R 1-2 3-4 5-6 7-8
TB ASSIGN
SWITCHES
GRPS
MATRIX B
LEVEL
PFL
8
7
6
5
2-4
1-3
SAFE
MONO
MATRIX A
LEVEL
1-4
POST
MUTE
MONO L-R
PAN
PFL DC
PFL RIGHT
PFL LEFT
AUX 8
DIRECT
PRE
YES MUTE ?
M
FADER AMP
PRE SOURCE AMP
NO
FDR
PRE
SOURCE
EQ
EQ IN
GT MASTER MODULE
PEAK
PFL
YES
HF
LEVEL BAL
PEAK
SIGNAL
PRESENT
POST
MUTE?
YES
EFX EQ
LF
POST
MUTE?
LF
LF
HF
HF
GAIN
-10
GAIN
PEAK
SIGNAL
PRESENT
XFORMER
OPTION
XFORMER
OPTION
XFORMER
OPTION
XFORMER
OPTION
STEREO
RETURN
MONO
BAL OUT
INSERT
AUX
BAL OUT
L (R)
BAL OUT
INSERT
METER
EFX RETURN
BUS IN
GROUP
METER
INSERT
GROUP
BAL OUT
CENTURY SERIES
SP / TC / GT
GT / TC / SP Block Diagram
APPENDIX B
Side Dimensions
0.75"/1
9mm &
The following diagram illustrates the depth and height dimensions (from the side) for all Century SP / TC / GT consoles.
All information per
35°
T
HEIGH
KNOB
May 5, 1997
Crest Consoles Engineering,
/60mm
2.375"
2.25"/57mm
m
"/752m
29.625
2mm
1.25"/3
24.75"/ 717mm
28.0"/ 711mm
29.563" / 751mm
3mm
3.25"/8
m
/260m
m
10.25" 6.25"/159m
/29mm
1.125"
2.437"
62mm
9.5"
241mm
APPENDIX A
CENTURY SERIES
SP / TC / GT
Master
AUX 6 OUT
AUX 8 OUT
OSC/PINK IN
EXT TB IN
AUX 5 OUT
EXT TB OUT
AUX 1 OUT
AUX 7 OUT
MONITOR R OUT
INSERT B
AUX 3 OUT
LEFT OUT
LEFT INSERT
STR PGM IN
MONITOR L OUT
MATRIX B OUT
RIGHT INSERT
RIGHT OUT
AUX 2 OUT
MONO INSERT
INSERT A
AUX 4 OUT
MONO OUT
MATRIX A OUT
GROUP OUT
BUS IN
+4
-10
EFX RETURN
GROUP INSERT
GROUP OUT
BUS IN
+4
-10
EFX RETURN
GROUP INSERT
GROUP OUT
BUS IN
+4
-10
EFX RETURN
GROUP INSERT
GROUP OUT
GROUP OUT
BUS IN
+4
-10
EFX RETURN
GROUP INSERT
Groups
BUS IN
+4
-10
EFX RETURN
GROUP INSERT
GROUP OUT
BUS IN
+4
-10
EFX RETURN
GRP INSERT
GROUP OUT
BUS IN
+4
-10
EFX RETURN
GROUP INSERT
GROUP OUT
BUS IN
+4
-10
EFX RETURN
GROUP INSERT
AUX IN 2
AUX IN 2
AUX IN 1
MTX INSERT
MATRIX OUT
AUX IN 2
AUX IN 1
MTX INSERT
MATRIX OUT
AUX IN 2
AUX IN 1
MTX INSERT
MATRIX OUT
Matrix (optional)
AUX IN 1
MTX INSERT
MATRIX OUT
BAL INSERT RTN
BAL INSERT RTN
BAL MIC IN
BAL MIC IN
BAL LINE IN
INSERT SEND
INSERT SEND
BAL LINE IN
DIR OUT
DIR OUT
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
BAL MIC IN
BAL LINE IN
INSERT SEND
BAL INSERT RTN
BAL LINE IN
BAL MIC IN
INSERT SEND
BAL INSERT RTN
BAL LINE IN
BAL MIC IN
BAL INSERT RTN
BAL MIC IN
BAL LINE IN
DIR OUT
DIR OUT
INSERT SEND
DIR OUT
Inputs
BAL INSERT RTN
INSERT SEND
DIR OUT
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
DIR OUT
INSERT SEND
BAL INSERT RTN
BAL LINE IN
BAL MIC IN
DIR OUT
INSERT SEND
BAL INSERT RTN
BAL LINE IN
BAL MIC IN
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
INSERT R
BAL MIC IN L
BAL MIC IN R
INSERT R
BAL LINE IN L
BAL LINE IN R
BAL MIC IN L
BAL MIC IN R
INSERT SEND
BAL INSERT RTN
BAL LINE IN
BAL MIC IN
BAL MIC IN R
BAL MIC IN L
BAL LINE IN R
BAL LINE IN L
INSERT R
INSERT L
BAL MIC IN R
BAL MIC IN L
BAL LINE IN R
BAL LINE IN L
INSERT R
INSERT L
BAL MIC IN R
BAL MIC IN L
BAL LINE IN R
BAL LINE IN L
INSERT R
INSERT L
Stereo Inputs (optional)
BAL LINE IN R
BAL LINE IN L
INSERT L
INSERT L
DIR OUT
GT rear view shown
BAL MIC IN
BAL LINE IN
BAL INSERT RTN
INSERT SEND
DIR OUT
CENTURY SERIES
SP / TC / GT
Rear Views & Dimensions
A
.75in.
19mm
Size
24
32
40
44
52
64
A
33.55"
43.15"
52.75"
57.55"
67.15"
81.55"
Size
24
32
40
44
52
64
A
852mm
1096mm
1340mm
1462mm
1706mm
2071mm
B
31.80"
41.40"
51.00"
55.80"
65.40"
79.80"
B
808mm
1052mm
1295mm
1417mm
1661mm
2027mm
1.5in./38mm
Crest Consoles Engineering,
May 5, 1997
B
APPENDIX A
CENTURY SERIES
SP / TC / GT
SP/TC/GT USER-OPTIONS
SP, TC, and GT consoles are shipped having standard configuration unless specified at time of order. These are ways that the
console configuration may be varied after manufacture. The items listed are internal options selected by gold jumper links.
Default is marked with a line on the board and is usually pins 1&2 of the three pin header.
In addition there are links for module function assignment. Take care to not disturb these when using USER OPTION links.
MODULE
All Inputs
Group Outs
Left/Right Outs
Monitor Master
Optional Modules
Matrix Module
GT Stereo In
LOCATION
M = Main board
C = Connector
M
M
M
M
C
OPTION TITLE
FUNCTION
Pre Source (SRC)Mute
Pre Source Select
Matrix Post Mute? Y/N
J8, Aux local Mute
Talkback XLR +48V
Shipped with the option underlined
Aux sends with or without Mute
Pre & Post EQ
Send Group Post Mute Y/N
Fit links to enable local mutes
On or Off
M
M
M
M
M
M
M
Cue (PFL switch)
Polarity Reverse
Aux 5-6 Select
Aux 7-8 Select
SEL 1 Pre source L
SEL 2 Pre source R
Pre SRC (source) Mute?
PFL or AFL
L only or L+R
Mono sum Pre or Post Fader
Mono sum Pre or Post Fader
Pre EQ or Pre Fader
Pre EQ or Pre Fader
Yes or No
IMPORTANT
Output modules are pre-assigned at the Crest factory
These modules must always be installed in the correct positions. They are NOT interchangeable without being properly reassigned. Please contact the Crest Audio Service Department for more information.
APPENDIX A
CENTURY SERIES
SP / TC / GT
Console Disassembly
Though you shouldn’t have to disassemble the console, it is necessary to remove modules to change the jumper and switch settings associated with the internally selectable options. The following steps detail the tasks involved when taking the console
apart.
ONE • Open the armrest
Opening the
Armrest
To properly remove one or many modules, the black painted
armrest must first be opened. To do this, the two thumbscrews (see diagram at right) must be loosened from below.
Once these screws are loose, slide both of them a few inches to
the side (they will only move in one direction). Once the
screws have been moved the armrest will easily roll back
exposing the module screws beneath.
TWO • Remove top module screw
Once the armrest has been opened, there will be a single screw
holding each module in place. Remove the screw from the
module(s) you want to remove.
Thumbscrews
THREE • Remove rear screws
Upper Screw
On the back panel of the console there are two screws holding
each module in place (see diagram at right) Remove both
screws from each module you wish to remove.
FOUR • Lift the module(s) out
As you lift the module out of the chassis three wires must be
detached before the module can be completely removed: 2
flat-wires (ribbon cables) and one ground wire.
The flat-wires are removed by flipping the latches on the ends
of the connectors. Once the tabs have been flipped the connector should pull off easily.
Light Bar
BAL OUT
BAL OUT
BAL OUT
BAL OUT
BAL OUT LEFT
BAL OUT LEFT
INSERT SEND
INSERT SEND
INSERT SEND
INSERT SEND
INSERT SEND
INSERT SEND
INSERT RETURN
INSERT RETURN
INSERT RETURN
INSERT RETURN
INSERT RETURN
INSERT RETURN
MONITOR B LEFT
MONITOR A LEFT
RETURN 1
BAL OUT RIGHT
BAL OUT RIGHT
MONITOR B RIGHT
MONITOR A RIGHT
RETURN 2
INSERT SEND
INSERT SEND
INSERT RETURN
INSERT RETURN
OSC IN
EXT TB IN
EXT TB OUT
DIR OUT
DIR
INSRT SND
INSR
BAL INSRT RTN
BAL
BAL LINE IN
BAL
LIFT
PIN 1
LIFT
PIN
BAL MIC IN
BAL
BAL MIC OUT
BAL
The ground wire (green) is a spade lug which pulls off.
Lower Screw
FIVE • Putting it all back together
Re-assembling a Century Console is as easy as taking it apart, but only if you know where everything goes. If you are going to
be removing a number of modules, consider replacing the first before removing the second. Reversing the above steps should
result in the console being as well put together as it was when it left the factory.
IMPORTANT
Output modules are pre-assigned at the Crest factory
These modules must always be installed in the correct positions. They are NOT interchangeable without being properly reassigned. Please contact the Crest Audio Service Department for more information.
APPENDIX A
SP TC GT
Appendix B
Glossary
SP / TC / GT
CENTURY SERIES
GLOSSARY
The following glossary explains the features and functions
found on Century Series front of house consoles.
80Hz High Pass Switch
When depressed, this switch attenuates all low frequency content at a 12db per octave rate referenced to 80Hz. This control
is useful with live microphones, as it helps reduce undesirable
low frequency "rumble", usually is transmitted to the microphone by way of its microphone stand. High quality microphones employ internal shock mounts which lessen this problem, but it still remains to some degree. If this material is not
removed, the low frequency content tends to make the amplifier and speaker systems work harder.
100mm Fader See Fader
48 Volt Phantom Power
This switch turns on the +48V used to power some microphones. See XLR Microphone Input for more information.
(green) are typically used for effect sends. Each effect return
section has Aux 1-4 Send controls, which could be used for
adding effect return signal to the monitor mix. Internal jumpers
select between pre/post EQ.
Bus Assignment Switches
Wherever these switches occur, they assign the post Pan pot
signals to odd and even mix buses. The Pan pot controls
assignment between odd and even mix buses with extreme left
assigning signal exclusively to the odd mix bus and extreme
right the even mix bus. It is a common practice to assign all
effect return channels to a sub group channel. This enables the
overall amount of effect signal to be controlled from a single
fader location. Between musical numbers, it is possible to turn
off the effects with this group fader or group mute switch or to
vary the amount of overall effect return in reference to the dry
original signals, using the group fader control.
DC Power Indicators
This switch toggles the two upper Aux Send controls between
1,2 and 3,4. With the switch up, the two Send controls feed
Aux 1 and 2. With the switch down, the two controls feed Aux
3 and 4.
Each Century Series console uses a variety of electrical voltages which are fed to the console from the power supply. The
status of each operating voltage (+20, -20, +48, +24) is indicated by four LED’s on the master module. If the console ever
behaves abnormally, first check these LED’s to make sure that
the power supply is providing the proper voltages.
Auxiliary 8 Direct Switch
Dim Switch
This switch disconnects the Aux 8 level control from the Aux
8 mix bus and instead is used to control the Direct Output of
the channel. Normally the Direct Out jack is post-fader. When
the Aux 8 Direct switch is depressed the Aux 8 level control
assumes output control of the direct out signal. The Aux 8 control is fed pre-fader.
This GT Master Section switch produces a -12dB attenuation
in signal to the local monitor. This feature is useful for temporary lowering of local monitor levels without actually adjusting
any pots or faders. (Local monitors are automatically dimmed
when Talkback button is pressed.)
Auxiliary Bus
Each input module has an unbalanced 1/4 direct out jack. The
output from this jack is post-fader unless the AUXILIARY 8
DIRECT switch is depressed. When this switch is down the
output is controlled by the Aux 8 pot. See AUXILIARY 8
DIRECT for more information on that switch.
Auxiliary 3•4 Switch
The Aux Bus carries signal from the Aux Send controls to the
Aux outputs on the rear panel of the Master Section. A typical
setup would entail using the Aux 1-4 sends for monitor mixes
while Aux 5-8 are used for effect sends. If a separate monitor
mixer were being used, Auxes 1-4 could be used for additional
effect sends. Effects can be returned via the EFX Return section of the group modules or through spare input modules.
Auxiliary Mute Switches
The Master Section of the GT consoles have mute switches for
each Aux send. When depressed, this switch mutes the corresponding Aux Send Master. When the mute is engaged no signal leaves the associated Aux out jack and a red LED illuminates to the left of the switch. These mute switches are active
only if the Aux Mute Master switch on the Master Module is
depressed.
Direct Out Jack
Effect Auxiliary Level Control
See AUXILIARY SEND CONTROL
Effect Return EQ
Each effect return section has a two-band fixed EQ. These
High and Low frequency controls are centered at 10kHz and
80Hz respectively.
Effect Return Gain
This control adjusts the gain on the signal returning from the
effect. Use the effect return signal present and peak LED’s to
set the gain properly.
Auxiliary Pre/Post Switch
Effect Return Subgroup Assignments
See Pre/Post Fader Switches
Much like the switches on each input module, these switches
assign the corresponding effect return to any or all subgroups.
The Pan control operates in the same fashion, that is; extreme
left assigning signal exclusively to the odd mix bus and
extreme right the even mix bus.
Auxiliary Send Controls
All Century Series consoles employ eight Aux Sends per input
channel which send signal to the Aux Bus. These sends are
controlled via the six level controls on each input module. Aux
Sends 1-4 (orange) are typically used for monitor sends. These
are the two switchable Auxes; see AUXILIARY 3•4 SWITCH
for more info on toggling between 1,2 and 3,4. Aux Sends 5-8
APPENDIX B
EQ In Switch
This input module switch, when depressed, inserts the EQ section into the signal path and illuminates a green LED to the left
CENTURY SERIES
of the switch. With the switch in the up position, the input signal bypasses the EQ section and continues unmodified.
EQ Sections
These controls are used to modify the tonal quality of an audio
signal. All Century Series consoles have a four-band EQ section on each input module. The effect return sections, within
the group modules, have two-band EQ sections. Within an
input module, the EQ section will affect the signal only if the
EQ IN button is depressed.
EQ Control knobs - Fixed EQ:
When there is only one knob, it controls the boost or cut of a
fixed frequency range. The SP input modules and all effect
return sections have these single knob/fixed EQ controls.
EQ Control knobs - Sweep EQ:
When there are two knobs, the inner knob controls the boost or
cut as in the fixed EQ, while the outer knob controls the center
frequency adjusted by the inner knob. These center frequencies
are printed on the module around the outer knob. The GT input
module has the frequency sweep knobs on all four bands,
while the TC input module has them only on the mid-frequencies.
SP / TC / GT
Gain Control
This knob adjusts input gain circuitry for proper electrical
operation. Adjust this control by monitoring signal present
(green) LED for bright intensity, with peak (red) LED flashing
only occasionally when the loudest program material is present. When a PFL switch is depressed on an input channel, this
signal can be observed on the Left/Right monitor meters within
master module. When using this method for adjustment of the
Gain Control, normal signal level should be adjusted to show a
level between -9 VU and 0 VU. Constant distortion on an input
channel could mean that the input channel is being overdriven.
Check for improper input gain adjustment first.
Group Assignments
See BUS ASSIGNMENT SWITCHES
Group Meter
Located at the top of each subgroup module, this ten-segment
LED meter monitors the post-fader output of the group.
Similar meters on the Master Section monitor Left and Right
outputs.
Group XLR Switch
EQ Sweep Control
This switch assigns the post fader group signal to the group out
XLR located on the rear panel of the group module.
See EQ SECTIONS
Headphone Jacks
External Talkback Input Switch
Located at the top of the master section and under the right
side of the hand rest, these jacks provide a pre-fader stereo
headphone level output of the Left and Right outputs. When
anything on the console is PFL’d or AFL‘d, the R+L output is
replaced by whatever is PFL’d/AFL‘d.
This switch disconnects the two regular talkback microphone
inputs and switches on the external talkback input XLR found
on the rear panel of the GT master section.
External Talkback Output Switch
This switch activates the external talkback output XLR. The
signal fed to the connector is the same signal being sent to the
talkback assignments.
Fader
The fader is used for primary level control of the channel,
except those Aux output sections selected to a pre-fader position. (The Insert output level is not affected by the fader position.)
Optimum noise performance is achieved when the fader is
operated near the 0 fader position and all gain controls are
properly set. This does not mean that all channels should be set
at 0 . Proper mixing requires varying of at least some of the
faders. The 0 point should be considered a reference, with all
volume changes taking place between the -10 and 0 reference
points at normal desired levels. For effect, faders may be operated below this level, provided no faders within the group or
master section are increased in level to compensate for the
input’s lower fader setting.
Fader Reverse Switch
This switch swaps roles between the Effect Return Level pot
and the Subgroup Fader. When depressed, this switch causes
the Effect Return Level to be controlled by the Subgroup fader,
and the Subgroup level to be controlled by the Effect Return
Level pot. If you want the control of the fader when setting
effect returns, this switch is particularly helpful. A red LED
indicator is provided to the left of the switch and illuminated
when the switch is depressed (reverse mode).
Headphone Level Control
This control adjusts the level of the signal fed to the two headphone jacks; located in the upper right portion of the master
section, just below arm rest on the far right side.
HF Peak/Shelve Switch
This switch is used for switching the high frequency EQ control between the normal shelving setting to a peak setting.
High Pass Switch
See 80Hz HIGH PASS SWITCH
HMF EQ Control
See EQ SECTIONS
Insert Jack
This jack allows you to access a point in the channel’s electrical circuit for inserting an external signal processor. The output
level of this connector is designed to drive the inputs of most
external signal processing equipment and to accept the resulting output signal. When a properly wired TRS plug is inserted
in this jack, the input signal path is broken after the gain stage
and high pass filter. The return signal is fed to a point just
before the EQ section. See the Connections and Conventions
section in the front of the manual for specific information on
plug polarity and signal assignments. (This jack could be used
to connect an effect with an unbalanced 1/4" connector; however, the signal path would be broken, leaving the remainder of
the input module unused, and the effected signal would need to
be returned to the console via an unused input channel. A
APPENDIX B
CENTURY SERIES
SP / TC / GT
stereo (TRS) plug can be used with the Tip & Ring tied together to access the channel signal pre-EQ).
Internal Oscillator
The GT master section has a 1 kHz internal oscillator. This
oscillator can be used as signal source to run tests, diagnostics
or calibrations. The oscillator can be assigned to all Groups,
Auxes and Matrices via the Talkback assignment switches.
Lamp Dim Control
This control adjusts the brightness of whatever lighting devices
are plugged into the XLR sockets on the light bar.
Left Meter
This ten segment LED meter normally displays the signal level
of the Left output. If any signal is in PFL mode, then this meter
displays that signal instead.
LF Peak/Shelve Switch
This switch is used for switching the low frequency EQ control
between the normal shelving setting to a peak setting.
Line Input Jack
This is a balanced, high impedance input which is designed to
accept both balanced and unbalanced line level inputs. To
select this input source, press the front panel LINE switch. See
the Connections and Conventions section in the front of the
manual for specific information on plug polarity and signal
assignments.
Line Switch
This switch, when depressed, selects the balanced Line Input
as opposed to the default balanced XLR Mic input.
Local Monitor Level Control
This control adjusts the level of the signal to the Local Monitor
Outputs on the back of the Master Section.
Matrix Level Control
These controls adjust the amount of group, L/R or Mono signal
fed to the respective matrix.
Matrix Master Control
These controls adjust the final signal level for the associated
matrix output.
Matrix Pre/Post Switch
This switch switches the group, L/R or Mono matrix send
between pre and post fader.
Mono Bus Assign Switch
Assigns the input signal directly to the Mono Clean bus. This
signal is unaffected by the position of the Pan Control, but is
controlled by the level position of the fader. Signal may be
assigned to this bus when you wish to assign this input signal
to the Mono output without going through the Stereo section of
the mixer. In addition to the many mono output uses, this output can be used as an additional Effect Send.
of input channel activity regardless of mute switch position.
The LED illuminates when the channel is muted, either from
the local mute switch or from any activated mute group.
Switch
See POLARITY REVERSE SWITCH
PAD Switch
This -15dB pad attenuates the signal presented to the first stage
of the input module. It is important to note that the Pad Switch
acts only upon the balanced XLR input signal; it has no effect
upon the 1/4" input signal.The input GAIN control should be
positioned somewhere within its center 80% of travel. In the
event that the Gain control is set in its lower 10% of travel, and
the Peak LED is indicating more than an occasional short illumination, the PAD Switch should be depressed and the Gain
re-adjusted as above. In the case where the GAIN control is set
to its upper range of travel (3 o’clock position or above) with
the PAD switch depressed, the Gain Control should initially be
lowered and the PAD switch released. The gain should then be
increased and adjusted as above.
Pan Control
When operating a stereo sound system or recording, this control positions the image anywhere within the stereo spectrum
when the Left/Right assignment switch is depressed. When
signal is being sent to a subgroup, the pan control acts as part
of the assignment system. Full counter clockwise assigns signal to the odd numbered mix bus and full clockwise assigns the
signal to the even numbered mix bus. Subgroups may also be
used as stereo pairs in which case this control functions the
same as when assigned to the Left/Right bus.
When the pan is in its center position, signal is fed equally to
the odd (left) and even (right) mix buses. When used in stereo
applications, the channel signal may be located anywhere within the stereo image as controlled by the Pan control.
PEAK LED Indicator
Illuminates RED when any of the points monitored come within 3db of its clipping point. Occasional quick blinking of this
LED is normal under proper operation; when this LED illuminates noticeably, a correction should be made in the level control feeding that position to a point where this illumination is
reduced to the normal occasional flashing. It should be noted
that certain musical instruments produce very high levels of
peak response that are far above the average output levels of
these instruments. These include portions of any drum kit, but
most notably the bass drum and snare drum. It is considered
almost normal practice on these instruments to set the input
gain control to a point when the Red Peak LED is just firing
with nearly every hit of the drum.
This LED also serves as a PFL ON indicator, but at a much
lower intensity than when it is used to indicate a near overload
condition.
Mute Switch
PFL Switch
Turns off all send functions (except insert send) of the module
including those being used as monitors. (Monitor Mute may be
defeated internally - See your service facility for further information.) This switch does not affect the PFL switch or the
Peak and Signal Present LED indicators, enabling monitoring
The PFL (Pre Fader Listen) switch enables the operator to listen to the channel signal before the fader or main channel level
control, allowing for monitoring within the master section of
the console. This signal IS NOT affected by the Channel Mute
Switch. When this switch is depressed, the signal level can be
APPENDIX B
CENTURY SERIES
SP / TC / GT
seen on the Left/Right/Monitor meters, and can be heard both
in the mixer’s headphone output and on the rear panel monitor
output of the console. When the PFL Switch is depressed, the
channel PEAK LED indicator illuminates at a low intensity.
When used as an indicator of switch position, the Peak LED
indicating circuit remains fully operational by illuminating at a
much higher intensity than its use as a status indicator.
Sweep Control See EQ SECTIONS
Talkback Assignment Switches
Phantom Power
Talkback Level Control
See 48V PHANTOM POWER
Polarity Reverse Switch
This switch is used on input channels to adjust between dissimilar microphone output polarity (see your microphone’s
instruction manual). It is also used to adjust phase cancellation
between microphones when more than one microphone is picking up the same acoustical signal (This should be kept to a
minimum with proper microphone placement).
Pre/Post Fader Switch
Switches the Aux signal sources between pre-fader and postfader positions. The pre-fader position is usually used for monitor sends, so that any movement of fader level does not affect
these outputs. This is desirable for monitors, since their levels
normally need to be operated independently of the main (frontof-house) system. When in the post-fader position, signal output level from the Aux sends will proportionally follow the
main signal level. The result is maintenance of an effect in proportion to the main signal level. When an input signal is faded
to 0dB, the post-fader Aux Send signals are also decreased to
0dB. In some cases, it may be desirable to derive effect sends
pre-fader for special effects, such as those generated by a vocal
doubler or harmonizer. The choice of switch position should be
determined by the actual situation; though as a general rule,
choose the pre-fader position for monitor sends and post-fader
position for effect sends.
Right Meter
This ten segment LED meter normally displays the signal level
of the Right output. If any signal is in PFL or AFL mode, then
this meter displays that signal instead.
Scene Mute Assignment Switch
Found on GT input and group modules, these switches assign
the input or EFX Return signal to one or more of the scene
mutes. These mutes are activated via the scene mute master
switches found on the master section.
Scene Mute Master Switches
Found on the GT Master Section, these switches activate the
four scene mutes.
Scene Mute Safe Switch w/LED
This switch, found beneath the Scene Mute Assignment
Switches, disables any selected scene mutes. A green LED
indicates that the Safe switch has been engaged.
Signal Present LED
This LED displays, in real time, the level activity of the channel by varying the intensity. Any illumination of this LED
indicates that a signal is present and is somewhere within the
usable operating level. Optimum operation is when this LED is
at a bright but varying intensity and following the channel’s
signal levels, with just an occasional short flash of the red peak
LED indicator.
These switches assign the talkback signal to the outputs and/or
auxes.
This knob controls the final level of the talkback signal, and
dims local monitor output, if Dim switch has not been pressed.
Talkback Microphone Input
Found on the master section (GT) and under the arm rest on
the right side, these balanced XLR inputs allow for a microphone or other balanced mic-level source to be connected to
the talkback system.
Talkback On Switch
This switch activates the entire talkback system including the
internal oscillator.
XLR Balanced Outputs
This output is designed to drive both balanced and unbalanced
input devices without adaptation. Signals are normally balanced on this output connector. The output is designed so that
if either pin 2 or pin 3 were intentionally shorted (as in connecting to an unbalanced input of your next stage of electronics) or accidentally shorted, the output level of the non-shorted
connector pin increases by 6db. This is an amount equal to the
normal loss of a balanced output when one pin of a balanced
output is shorted. The result is no need for external gain make
up.
XLR Microphone Input Connector
Balanced XLR Input is designed to receive professional Low
Impedance microphone signals. The input Gain controls on the
front panel adjusts for most input levels. In the event of excessive input levels, the front panel input pad switch should be
depressed. Front panel selection of 48 Volt Phantom power
enables most types of condenser microphones that require such
power to be used. (Note: most input devices can tolerate 48
Volt phantom power to be placed on their output terminals
(provided they are truly balanced) without causing damage to
the device. See your device’s operating manual for correct
operation. (If in doubt as to whether your non-condenser
microphone may be damaged by using Phantom Power, please
make sure that the front panel phantom power switch on that
input channel is in the off [out] position.)
This input may also be used for low level line input signals,
provided the source (instrument) is able to drive a 5k Ohm or
higher load. (See your instruments or electronics owner’s manual for output impedance.) When line output devices such as
tape players are plugged into the microphone input, special
care should be observed that the phantom power is turned off
on that channel, as damage may result. Because of this, it is
recommended that the 1/4" line input connector be used when
connecting a line level device. 48 Volt Phantom power is not
present on these input connectors, and the impedance of the
line input connector is high enough to accept any line level
device.
APPENDIX B
SP / TC / GT
APPENDIX B
CENTURY SERIES
CENTURY SERIES
SP / TC / GT
GT TC SP
Appendix C - Schematics
LOCATION
STANDARD INPUT MODULE
DESCRIPTION
SCHEMATIC #
1
N/A
04
GT INPUT MAIN PCB
2
76D1530
04
TC INPUT MAIN PCB
3
N/A
02
SP INPUT MAIN PCB
4
N/A
02
5
76D1920
02
STEREO INPUT
MAIN PCB (1 OF 2)
6
76D1919
01
STEREO INPUT
MAIN PCB (2 OF 2)
7
76D1919
01
8
N/A
01
9
N/A
03
10
N/A
01
11
N/A
04
12
N/A
04
13
N/A
03
14
N/A
04
15
N/A
04
16
76D1922
02
17
76D1921
01
STEREO INPUT MODULE
GROUP MODULE
INPUT CONNECTOR PCB
DWG # REV #
STEREO INPUT CONNECTOR
GROUP CONNECTOR PCB
GROUP MAIN PCB
LEFT / RIGHT
OUTPUT MODULE
LEFT / RIGHT CONNECTOR PCB
L/R MAIN PCB
MONO OUTPUT
MODULE
MONO CONNECTOR PCB
MONO MAIN PCB
MASTER CONTROL
MODULE
MASTER CONNECTOR PCB
MASTER MAIN PCB
MATRIX MODULE
MATRIX CONNECTOR PCB
MATRIX MAIN PCB
RIBBON CABLE
PIN OUT DIAGRAMS
RIBBON PIN OUTS
18
APPENDIX C
Crest Audio Inc.
100 Eisenhower Dr., Paramus NJ 07652 USA
TEL: 201.909.8700 FAX: 201.909.8744
http://www.crestaudio.com
Printed in USA
SP/TC/GT Owners Manual
Copyright © 1997 Crest Audio Inc.
v. 2.2 11/3/97 - D7000001
*D7000001*