Peavey Power Supply GT User Manual
C ENTURY SERIES  
SP TC GT  
O
WNER’S MANUAL  
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TABLE OF  
C
O NTENTS  
Feature Overview  
A brief description of design, features and functions.  
2
3
W iring Conventions  
Contains diagrams indicating how connectors for Crest consoles are wired.  
Power Supply  
A brief description of the rack-mountable Century Series consoles power supplies.  
4
5
6
Power Connections  
A brief description of Crest console power connections.  
System Connections  
Contains diagrams illustrating conventional system connections.  
SP Input Module  
Profiles the SP input module.  
8
TC Input Module  
Profiles the TC input module.  
1 0  
GT Input Module  
Profiles the GT input module.  
1 2  
GT Stereo Input Module  
Profiles the GT stereo input module.  
1 4  
SP/ TC Group Module  
Profiles the SP/TC group module.  
1 7  
GT Group Module  
Profiles the GT group module.  
1 8  
Matrix Module  
Profiles the matrix module.  
2 1  
2 3  
SP/ TC Master Section  
Profiles the SP/TC master section.  
GT Master Section  
Profiles the SP/TC master section.  
2 5  
Technical Information  
Includes dimensions, specifications, console access details,  
user options, console block diagram, and rear panel layout.  
Appendix A  
Glossary  
The specific details of console operation are described here.  
Appendix B  
Appendix C  
Schematics  
Lists available schematics for SP/TC/GT Console Modules & Power Supply  
PAGE 1  
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SP / TC / GT  
C
ENTURY SERIES  
Fea t ur e Over view  
The SP / TC / GT features listed below  
are common to all Century Series Consoles.  
• SSM/PMI High quality preamplifiers on balanced micro-  
phone/line inputs and on all balanced outputs for uncompro-  
mised 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 pre-  
and post-fader signals including those Aux sends used as mon-  
itors. When muted, PFL circuitry, Peak and Dynamic Signal  
Present LED indicators remain fully operational. This is a fea-  
ture 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.  
• 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.  
• Dynamic Signal Present and multiple-sample-point peak indi-  
cator LED’s are used on all input sections of the console as  
well as on all primary outputs.  
• Optional Matrix modules available.  
• Optional Stereo Input modules available.  
• 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.  
• 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.  
• 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.  
• Left/Right summing switches to Aux 1-2 and Aux 3-4 allow  
for simple setups of overdub mixes by allowing Left/Right sig-  
nals to be blended with Auxiliary mixes when used in record-  
ing applications. In contracting applications, this feature allows  
these Aux outputs to act as additional distribution amplifiers  
for the Left/Right signals.  
• 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 expan-  
sion.  
• Direct access to Group Mix Bus allows expander mixers to  
be easily patched into the console.  
PAGE 2  
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SP / TC / GT  
C
ENTURY SERIES  
W ir ing Convent ions  
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.  
INP UT XLR  
OUTPUT XLR  
PIN 1  
PIN 2  
PIN 3  
PIN 2  
PIN 3  
PIN 1  
PIN 1 = GROUND  
PIN 2 = POSITIVE  
PIN 3 = NEGATIVE  
TIP - POSITIVE  
TIP - SEND  
RING - NEGATIVE  
SLEEVE - GROUND  
RING - RETURN  
SLEEVE - GROUND  
Input Plug Polarities  
Insert Plug Polarities  
TIP - POSITIVE  
TIP - POSITIVE  
RING - GROUND  
SLEEVE - GROUND  
SLEEVE - GROUND  
Output Plug Polarity - Tip/Sleeve  
Output Plug Polarity - TRS  
PAGE 3  
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SP / TC / GT  
C
ENTURY SERIES  
Cent ur y S er ies Cons ole P ower S upply  
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  
C
O
N
S
O
L
E
S
4A  
-20V +24V  
Power Supply  
CAUTION  
POWER OUT  
POWER OUT  
RISK OF ELECTRIC SHOCK  
DO NOT OPEN  
CONSOLE  
GROUND  
CHASSIS  
GROUND  
2
1
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.  
4
7
3
6
MAXIMUM AC IN:  
XCVA04: 415 WATTS  
XCVA06: 825 WATTS  
5
ATTENTION! POUR ÉVITER LE RISQUE D'INCENDIE OU DE CHOC  
ÉLECTRIQUE, NE PLACEZ PAS CET APPAREIL SOUS LA PLUIE OU  
L'HUMIDITÉ  
Á
Model XCVA04  
± 20V @ 4  
+ 24V @ 4  
+ 48V @ 1  
Pin  
Pin  
Pin  
Pin  
Pin 5 Digital  
Pin +48V  
Pin -20V  
1
+24V  
+20V  
Designed  
&
manufactured in the USA by:  
2
3
4
Analog  
Analog  
S/N  
6
7
A division of Crest Audio Inc.  
100 Eisenhower Dr.  
Paramus, New Jersey 07652 USA  
Supply Identification  
Twin Supply Operation  
The type of power supply can be identified by the model num- When twin supplies are in use for automatic back-up, then the  
ber shown on the back of the chassis and panel label..  
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  
Console and Power Supply Grounding  
the circuit, the breaker or fuse will trip causing loss of power Console chassis ground is electrically connected to audio  
to the console. Note the maximum current draw specifications ground, pin 1 of XLR connectors and 1/4" sockets and to the  
at right. Be sure that the circuit to which you connect the sup- terminal 'CONSOLE GROUND' at the rear of the power sup-  
ply can handle the draw.  
ply. The AC third wire connection in the power supply cable  
The power switch on the supply front panel is also a circuit connects the metal chassis of the power supply to safety  
breaker, there is no power fuse. Should the supply ever shut ground. This connection should never be disturbed. Hazardous  
down, or trip at start up, simply push the switch to the off posi- voltages exist inside the power supply which require the case  
tion and then on again.  
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 con-  
figured within a complete sound system the grounding require-  
ments 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 electri-  
cal engineer.  
Ground Linking  
S a fe t y Co n s id e r a t io n s -  
Each new power supply is shipped with the AC third wire  
ground connected to the console chassis ground. The connec-  
tion is made at the rear of the power supply unit. This is neces-  
sary for safety reasons so that exposed metal parts are ground-  
ed. 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.  
Power Supply  
Model  
Max Current  
Draw @ 120V  
Max Current  
Draw @ 240V  
XCVA04  
XCVA06  
7 Amps  
9 Amps  
4 Amps  
5 Amps  
Serial Number Tag  
S/N  
+48V @ 1A  
+24V @ 6A  
±20V @ 6A  
Model Number  
XCVA06  
Model  
PAGE 4  
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SP / TC / GT  
C
ENTURY SERIES  
P ower Connect ions  
The connections to and from the power supply vary depending NOTE: Although both of the multi-pin connectors on the back  
on your specific configuration. Before setting up the console, of the power supply are labeled “POWER OUT”, it is neces-  
always check to make sure the AC voltage marked on the sary (and acceptable) to link two power supplies together as  
power supply agrees with the local supply. Always connect the shown in the diagram below.  
console to the power supply before switching on the power  
supply. Do not run the power supply if it is not connected to ADDITIONAL NOTE: The multi-conductor cable used for  
the console.  
power supply-to-power supply connection is different than that  
used for a conventional power supply-to-console connection,  
Multiple power supplies can be daisy-chained to provide fail- and must be specified when the second power supply is  
safe protection in the event of a supply failure. When two or ordered.  
more supplies are used, both power supplies run all the time. In  
the event of supply failure, the remaining power supply(s) will Ground Link  
take over the entire load.  
To Console  
CAUTION  
POWER OUT  
RISK OF ELECTRIC SHOCK  
DO NOT OPEN  
CONSOLE  
GROUND  
CHASSIS  
GROUND  
2
5
1
4
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.  
3
MAXIMUM AC IN:  
XCVA04: 415 WATTS  
XCVA06: 825 WATTS  
6
7
ATTENTION! POUR ÉVITER LE RISQUE D'INCENDIE OU DE CHOC  
ÉLECTRIQUE, NE PLACEZ PAS CET APPAREIL SOUS LA PLUIE OU  
L'HUMIDITÉ  
Á
Model XCVA04  
S/N  
+ 48V @ 1  
Pin  
Pin  
Pin  
Pin  
1
2
3
4
+24V  
+20V  
Analog  
Analog  
Designed  
&
manufactured in the USA by:  
POWER OUT  
+ 24V @ 6  
Pin 5 Digital  
Pin +48V  
Pin -20V  
± 20V @ 6  
6
A division of Crest Audio Inc.  
100 Eisenhower Dr.  
Paramus, New Jersey 07652 USA  
Model XCVA06  
7
To AC Mains  
To AC Mains  
Interface Cable  
CAUTION  
POWER OUT  
RISK OF ELECTRIC SHOCK  
DO NOT OPEN  
CONSOLE  
GROUND  
CHASSIS  
GROUND  
2
1
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.  
4
3
5
MAXIMUM AC IN:  
XCVA04: 415 WATTS  
XCVA06: 825 WATTS  
6
7
ATTENTION! POUR ÉVITER LE RISQUE D'INCENDIE OU DE CHOC  
ÉLECTRIQUE, NE PLACEZ PAS CET APPAREIL SOUS LA PLUIE OU  
L'HUMIDITÉ  
Á
S/N  
+ 48V @ 1  
+ 24V @ 6  
± 20V @ 6  
Pin  
Pin  
Pin  
Pin  
1
2
3
4
+24V  
+20V  
Analog  
Analog  
Designed  
&
manufactured in the USA by:  
POWER OUT  
Pin 5 Digital  
Pin +48V  
Pin -20V  
6
A division of Crest Audio Inc.  
100 Eisenhower Dr.  
Paramus, New Jersey 07652 USA  
Model XCVA06  
7
PAGE 5  
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SP / TC / GT  
C
ENTURY SERIES  
S ys t em Connect ions  
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  
Keyboards,  
Samplers,  
Input Processing,  
Drum Machines  
via Input Module  
Insert Send and Return  
Connections  
External Mixer  
Input via Group Bus In  
C
ENTURY  
Balanced Mic Inputs  
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
C ENTURY  
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
0
1
0
1
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
0
0
0
3
4
6
3
4
6
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
Input Connections  
PAGE 6  
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SP / TC / GT  
C
ENTURY SERIES  
From Aux 5-8 out  
Aux 1-4 out to  
monitor amplifiers  
In  
MATRIX  
INSERT  
A
A
OUT  
MONO OUT  
RIGHT OUT  
LEFT OUT  
GROUP OUT  
GROUP OUT  
GROUP OUT  
GROUP OUT  
GROUP OUT  
MONO INSERT  
RIGHT INSERT  
LEFT INSERT  
GROUP INSERT  
GROUP INSERT  
GROUP INSERT  
GROUP INSERT  
GROUP INSERT  
MATRIX  
INSERT  
B
B
OUT  
MONITOR  
MONITOR  
L
R
OUT  
OUT  
AUX  
AUX  
3
4
OUT  
OUT  
AUX  
AUX  
1
2
OUT  
OUT  
EFX RETURN  
EFX RETURN  
EFX RETURN  
EFX RETURN  
EFX RETURN  
-1  
0
-1  
0
-1  
0
-1  
0
-1  
0
EXT TB OUT  
EXT TB IN  
STR PGM IN  
OSC/ PINK IN  
AUX  
AUX  
7
8
OUT  
OUT  
AUX  
AUX  
5
6
OUT  
OUT  
+4  
+4  
+4  
+4  
+4  
Signal Processors  
BUS IN  
BUS IN  
BUS IN  
BUS IN  
BUS IN  
Groups  
Mas ter  
To effects returns  
Out  
Aux Connections  
Local Monitor L  
Local Monitor R  
7001 Professional Power Amplifier  
Clip/Limit  
Signal  
Temp/DC  
Active  
-6  
-6  
-10  
-3  
-10  
-3  
-15  
-30  
-80  
-15  
-30  
-80  
-1  
0dB  
-1  
Ch B 0dB  
Ch  
A
Center  
Out  
From Local  
Monitor Out  
Right Out  
Left Out  
8001 Professional Power Amplifier  
8001 Professional Power Amplifier  
Clip/Limit  
Signal  
C ENTURY  
Clip/Limit  
Signal  
Temp/DC  
Active  
Temp/DC  
Active  
-6  
-6  
-6  
-6  
-3  
-10  
-3  
-10  
-3  
-10  
-15  
-3  
-10  
-15  
-30  
-80  
-15  
-30  
-80  
-15  
-30  
1  
Ch A 0dB  
1  
Ch B 0dB  
-1  
Ch A 0dB  
-1  
Ch B 0dB  
-30  
-80  
-80  
Input Channel  
Direct Outs  
feed to remote  
mixer/recorder  
Matrix Outputs  
to remote  
location, mixer,  
or recorder  
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
1
2
5
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
3
4
6
0
0
0
Headphone Outputs:  
1 under armrest,  
1 in Master Module  
Output Connections  
PAGE 7  
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SP / TC / GT  
C
ENTURY SERIES  
5
1 • 3  
S P Input M odule  
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.  
LINE Switch  
Selects between the Balanced XLR Microphone Input con-  
nector and the Balanced Line Input 1/4" TRS connector.  
LINE  
+4 8 V  
PAD  
6
7
8
3
4 8 V Phantom Power Switch  
Turns on 48V Phantom Power, required by certain micro-  
phones for proper operation.  
2
8
9
1
0
10  
5
4
6
GAIN  
30  
20  
3
7
2
8
10  
1
9
PAD Switch  
Introduces a -15 dB attenuation to the mic input signal.  
0
10  
6
60  
5
4
6
3
7
8 0  
2
8
GAIN Control  
Adjusts input gain for proper signal level.  
1
9
0
10  
5
4
6
3
7
8 0 Hz High Pass Switch  
Reduces all low frequency content at a 12db per octave rate  
referenced to 80Hz (-3db point).  
2
8
1
9
-
0
+
0
10  
HF  
8
8
PRE  
AUX SENDS  
Four Band Fixed Equalizer  
16  
16  
-
-
-
0
0
0
+
+
+
HM  
8
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.  
8
PAN  
16  
8
16  
LM  
8
EQ IN Switch  
Inserts the EQ section into the input channel signal. An asso-  
ciated LED illuminates when the switch is down.  
MUTE  
16  
16  
MONO  
L- R  
1 - 2  
LF  
8
8
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.  
16  
16  
3 - 4  
5 - 6  
7 - 8  
AUX ASSIGNMENT 3 • 4 Switch  
Selects the first two Aux level controls between the Aux 1•3  
mix bus and the Aux 2•4 mix bus.  
EQ IN  
PFL  
1
5
1 • 3  
4
3
6
7
8
9
PEAK  
SIG  
2
1
0
POST/ PRE Switch  
Selects the Aux 1•3 and Aux 2•4 signal sources between post  
and pre fader positions.  
10  
5
2 • 4  
4
3
6
7
8
9
2
1
0
10  
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.  
3 • 4  
0
POST  
5
5
6
7
4
3
6
7
5
2
8
9
PRE/ POST Switch  
Selects the Aux 5 through 8 signal sources between pre and  
post fader positions.  
1
0
10  
10  
5
4
3
6
7
2
8
1
0
9
20  
PAN CONTROL  
Positions the channel image between the left (odd) and right  
(even) channel assignment.  
10  
5
4
3
6
7
2
8
30  
40  
9
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.  
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SP / TC / GT  
Rea r Connect ions  
C
ENTURY SERIES  
MONO Bus Assign Switch  
Assigns the post-fader input signal directly to the Mono Clean  
bus.  
Direct Out  
This jack provides the direct output signal  
(post fader & post mute) from the associat-  
ed 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 con-  
trol.  
DIR OUT  
Insert  
This jack allows for the insertion of an  
effect or signal processor into the audio path  
of the associated input channel.  
INSERT  
Bal Line In  
This jack accepts balanced and unbalanced  
line level inputs and delivers it into the  
associated input channel.  
BAL LINE IN  
PFL Switch  
Bal Mic In  
Samples the channel’s signal pre-fader and allows for monitor-  
ing 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 posi-  
tion, the Peak LED indicating circuit remains fully operational  
by illuminating at a much higher intensity than its use as a PFL  
status indicator.  
BALMIC IN  
This connector accepts balanced micro-  
phone inputs for the associated input chan-  
nel.  
PEAK LED Indicator  
Illuminates RED when any of the points monitored come with-  
in 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 vary-  
ing in intensity.  
1 0 0 mm 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.)  
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SP / TC / GT  
C
ENTURY SERIES  
5
1 • 3  
TC Input M odule  
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.  
LINE Switch  
Selects between the Balanced XLR Microphone Input con-  
nector and the Balanced Line Input 1/4" TRS connector.  
6
7
8
LINE  
+48V  
PAD  
3
2
8
9
4 8 V Phantom Power Switch  
Turns on 48V Phantom Power, required by certain micro-  
phones for proper operation.  
1
0
10  
5
4
6
3
7
GAIN  
3 0  
2 0  
2
8
1
9
PAD Switch  
Introduces a -15 dB attenuation to the mic input signal.  
10  
0
10  
5
6
6 0  
4
6
3
7
2
8
8 0  
Ø
GAIN Control  
Adjusts input gain for proper signal level.  
1
9
0
10  
5
4
6
3
7
Polarity Reverse Switch  
Inverts the polarity of both the microphone and line inputs.  
2
8
1
9
0
10  
-
0
+
HF  
8
8
8 0 Hz High Pass Switch  
Reduces all low frequency content at a 12db per octave rate  
referenced to 80Hz (-3db point).  
PRE  
AUX SENDS  
16  
16  
3 HM  
6
1 .5  
PAN  
1K  
HF Equalizer Control  
Boosts or cuts high frequency content at 10kHz.  
400  
400  
8K  
LM  
1
MUTE  
MID EQ Level and Sweep Controls  
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.  
250  
2K  
100  
-
MONO  
L- R  
1 - 2  
0
+
LF  
8
8
16  
16  
3 - 4  
LF Equalizer Control  
Boosts or cuts low frequency content at 80Hz.  
5 - 6  
7 - 8  
EQ IN Switch  
Inserts the EQ section into the input channel signal. An asso-  
ciated LED illuminates when the switch is down.  
EQ IN  
PFL  
1
5
1 • 3  
4
3
6
7
8
9
PEAK  
SIG  
2
1
0
AUX Level 1 • 3 / 2 • 4  
10  
5
2 • 4  
4
3
6
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.  
7
8
9
2
1
0
10  
3 • 4  
0
AUX ASSIGNMENT 3 • 4 Switch  
Selects the first two Aux level controls between the Aux 1•3  
mix bus and the Aux 2•4 mix bus.  
POST  
5
5
6
7
4
3
6
7
5
2
8
9
1
0
POST/ PRE Switch  
Selects the Aux 1•3 and Aux 2•4 signal sources between post  
and pre fader positions.  
10  
1 0  
5
4
3
6
7
2
8
1
0
9
2 0  
10  
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.  
5
4
3
6
7
8
3 0  
4 0  
PRE/ POST Switch  
Selects the Aux 5 through 8 signal sources between pre and  
post fader positions.  
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SP / TC / GT  
Rea r Connect ions  
C
ENTURY SERIES  
PAN CONTROL  
Positions the channel image between the left (odd) and right  
(even) channel assignment.  
Direct Out  
This jack provides the direct output signal  
(post fader & post mute) from the associat-  
ed 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 indi-  
cators. The LED illuminates when the channel is muted from  
the local mute switch or mute scene masters.  
DIR OUT  
Insert  
This jack allows for the insertion of an  
effect or signal processor into the audio path  
of the associated input channel.  
INSERT  
MONO Bus Assign Switch  
Assigns the post-fader input signal directly to the Mono Clean  
bus.  
Bal Line In  
This jack accepts balanced and unbalanced  
line level inputs and delivers it into the  
associated input channel.  
BAL LINE IN  
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 con-  
trol.  
Bal Mic In  
BALMIC IN  
This connector accepts balanced micro-  
phone inputs for the associated input chan-  
nel.  
PFL Switch  
Samples the channel’s signal pre-fader and allows for monitor-  
ing 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 posi-  
tion, 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 with-  
in 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 vary-  
ing in intensity.  
1 0 0 mm 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  
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SP / TC / GT  
C
ENTURY SERIES  
GT Input M odule  
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  
Selects between the Balanced XLR Microphone Input con-  
nector and the Balanced Line Input 1/4" TRS connector.  
6
7
8
LINE  
+48V  
PAD  
3
2
8
9
4 8 V Phantom Power Switch  
Turns on 48V Phantom Power, required by certain micro-  
phones for proper operation.  
1
0
10  
5
4
6
3
7
GAIN  
20  
2
8
30  
1
9
10  
PAD Switch  
Introduces a -15 dB attenuation to the mic input signal.  
0
10  
6
6 0  
5
4
6
3
7
8 0  
Ø
2
8
GAIN Control  
Adjusts input gain for proper signal level.  
1
9
0
10  
5
4
6
3
7
2
8
8 0 Hz High Pass Switch  
Reduces all low frequency content at a 12db per octave rate  
referenced to 80Hz (-3db point).  
PEAK  
1
9
0
10  
4
HF  
10  
AUX 8  
DIRECT  
3
PRE  
Polarity Reverse Switch  
Inverts the polarity of both the microphone and line inputs.  
2K  
20K  
AUX SENDS  
PAN  
HM  
1 .5  
3
6
1K  
PEAK/ SHELVE HF Switch  
Used for switching the high frequency EQ between the nor-  
mal shelving setting to a peak setting.  
400  
400  
8K  
LM  
1
250  
MUTE  
Four-Band Sweep Equalizer Controls  
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.  
2K  
100  
150  
MONO  
L- R  
LF  
3
100  
6
1 - 2  
800  
40  
3 - 4  
5 - 6  
7 - 8  
PEAK  
PEAK/ SHELVE LF Switch  
Used for switching the low frequency EQ between the nor-  
mal shelving setting to a peak setting.  
EQ IN  
PFL  
1
5
4
1 • 3  
6
6
3
2
7
8
9
PEAK  
SIG  
1
EQ IN Switch  
Inserts the EQ section into the input channel signal. An asso-  
ciated LED illuminates when the switch is down.  
0
10  
5
2 • 4  
4
3
7
8
9
2
1
0
10  
AUX Level 1 • 3 / 2 • 4  
3 • 4  
0
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.  
A
POST  
B
C
D
5
5
6
7
4
6
7
5
3
2
8
9
1
AUX ASSIGNMENT 3 • 4 Switch  
Selects the first two Aux level controls between the Aux 1•3  
mix bus and the Aux 2•4 mix bus.  
0
4
10  
10  
5
6
3
7
2
8
1
9
2 0  
SAFE  
0
10  
POST/ PRE Switch  
Selects the Aux 1•3 and Aux 2•4 signal sources between post  
and pre fader positions.  
5
4
6
SCENE  
MUTE  
SELECT  
3
7
8
3 0  
4 0  
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.  
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SP / TC / GT  
C
ENTURY SERIES  
Aux 8 Direct Switch  
Scene Mute Assignments  
Removes the Aux 8 signal from the Aux 8 bus and assigns to Assign the input channel to any of the four scene mute groups.  
the direct out 1/4" connector on the rear panel.  
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.  
Scene Mute Safe Switch  
Disables any selected scene mute assignments. An associated  
green LED indicates the channel is in a safe state.  
PAN CONTROL  
Positions the channel image between the left (odd) and right  
(even) channel assignment.  
Rea r Connect ions  
MUTE Switch with LED  
Direct Out  
This jack provides the direct output signal  
(post fader & post mute) from the associat-  
Mutes the channel and all send functions. This switch does not  
affect the PFL switch or the Peak and Signal Present LED indi-  
cators. The LED illuminates when the channel is muted from  
the local mute switch.  
ed input channel.  
DIR OUT  
Insert  
This jack allows for the insertion of an  
effect or signal processor into the audio path  
MONO Bus Assign Switch  
Assigns the input signal directly to the Mono Clean bus.  
INSERT  
of 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 con-  
trol.  
Bal Line In  
This jack accepts balanced and unbalanced  
line level inputs and delivers it into the  
associated input channel.  
BAL LINE IN  
Bal Mic In  
BALMIC IN  
This connector accepts balanced micro-  
phone inputs for the associated input chan-  
nel.  
PFL Switch  
Samples the channel’s signal pre-fader and allows for monitor-  
ing 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 posi-  
tion, 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 with-  
in 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 vary-  
ing in intensity.  
1 0 0 mm 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  
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SP / TC / GT  
C
ENTURY SERIES  
GT S t er eo Input M odule  
The GT Stereo Input Module is essentially two GT Input  
Modules fit into one module space. This module is very use-  
ful for accepting remote feeds, effects inputs and other sig-  
nals that require stereo handling.  
+4 8 V  
LINE  
4 8 V Phantom Power Switch  
Turns on 48V Phantom Power for both L and R XLR inputs,  
required by certain microphones for proper operation.  
XLR  
PAD  
3
2 0  
2
8
3 0  
LINE Switch  
1
9
1 0  
0
10  
Selects between the Balanced XLR Microphone Input con-  
nector and the Balanced Line Input 1/4" TRS connector for  
both L and R channels.  
5
6
7
8
4
6
6
6 0  
3
7
2 0  
GAIN  
3 0  
2
8
1
9
1 0  
0
10  
5
6
6 0  
XLR PAD Switch  
Introduces a -20 dB drop to the mic input signal for both L  
and R XLR inputs.  
4
6
3
7
2
8
8 0  
Ø
1
9
0
10  
5
4
6
5
10  
3
7
L GAIN & R GAIN Controls  
Adjusts input gain for proper signal level for both L and R  
inputs.  
3
2
8
15  
1
9
0
10  
1K  
20K  
HF  
MONO  
O
+
W ID  
8
8
8 0 Hz High Pass Switch  
For both input channels, reduces all low frequency content at  
a 12db per octave rate referenced to 80Hz (-3db point).  
16  
16  
STR  
REV  
1K  
3
BAL  
600  
5
Polarity Reverse Switch  
300  
8K  
MID  
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.  
O
+
MUTE  
8
8
MONO  
L- R  
16  
16  
150  
300  
Three-Band Equalizer Controls  
100  
6
1 - 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.  
1K  
40  
O
3 - 4  
5 - 6  
7 - 8  
LF  
+
8
8
16  
16  
EQ IN  
PFL  
1
5
4
1 • 3  
6
3
2
7
8
9
PEAK  
SIG  
1
EQ IN Switch  
0
10  
5
Inserts the EQ section into both L and R input channel sig-  
nals at once. An associated LED illuminates when the switch  
is down.  
2 • 4  
4
6
3
7
8
9
2
1
0
1 0  
POST  
0
AUX Level 1 • 3 / 2 • 4  
A
B
C
D
STEREO  
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.  
5
5
6
7
4
5
3
2
8
1
9
0
4
10  
10  
5
6
7
6
3
7
2
8
1
9
POST/ PRE Switch  
Selects the Aux 1•3 and Aux 2•4 signal sources between post  
and pre fader positions.  
2 0  
SAFE  
0
10  
5
SCENE  
MUTE  
SELECT  
4
6
3
7
8
3 0  
4 0  
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.  
PAGE 14  
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SP / TC / GT  
C
ENTURY SERIES  
AUX 5 - 8 Individual Level Controls  
SIGNAL PRESENT LED  
Adjusts audio level of a mix for use as a monitor or an effect Constantly displays level activity of the input channel by vary-  
send. The signal source for these mixes may be selected pre or ing in intensity.  
post fader by an associated switch.  
1 0 0 mm Fader  
Used for control of all outputs of the channel except those Aux  
W ID(TH) Control  
When used together with the BAL control, the WID control output sections selected by switch to a pre fader position. (The  
provides a unique way to configure stereo panning. When Insert output level is not affected by the fader position.)  
turned all the way counter-clockwise, this control convention-  
Scene Mute Assignments  
ally assigns the left signal to the left (odd) channel assignment,  
Assign the input channel to any of the four scene mute groups.  
and the right signal to the right (even) channel assignment.  
Scene mute combines with the module’s local mute button, and  
When adjusted to the ‘twelve o’clock’ position, left and right  
actuates the local mute LED.  
signals are panned straight up the middle, effectively summing  
Scene Mute Safe Switch  
them to mono. When this knob is turned all the way clockwise,  
the left and right signals are ‘flip-flopped’, left being assigned Disables any selected scene mute assignments. An associated  
to the right (even) side, and the right side being assigned to the green LED indicates the channel is in a safe state.  
left (odd) side.  
BAL Control  
Positions the entire channel image between the left (odd) and  
right (even) channel assignment. Together with the WID con-  
trol, this gives total control of the stereo image.  
Rea r Connect ions  
Direct Out  
This jack provides the direct output signal  
(post fader & post mute) from the associated  
input channel.  
INSERT L  
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 indi-  
cators. The LED illuminates when the channel is muted from  
the local mute switch.  
Insert  
This jack allows for the insertion of an effect  
or signal processor into the audio path of the  
associated input channel.  
INSERT R  
MONO Bus Assign Switch  
Assigns the input signal directly to the Mono Clean bus.  
BAL LINE IN L  
Bal Line In  
This jack accepts balanced and unbalanced  
line level inputs and delivers it into the asso-  
ciated input channel.  
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 with-  
in the stereo image as controlled by the Pan control.  
BAL LINE IN R  
Bal Mic In  
This connector accepts balanced microphone  
inputs for the associated input channel.  
BAL MIC IN L  
BAL MIC IN R  
PFL Switch  
Samples the channel’s signal pre-fader and allows for monitor-  
ing 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 posi-  
tion, 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 with-  
in 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  
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SP / TC / GT  
C
ENTURY SERIES  
4
6
GROUP  
+9  
+6  
+3  
0
-3  
-6  
-9  
-1 2  
-1 5  
-1 8  
PAN  
6 LEVEL  
5
4
3
1
7
8
9
2
0
10  
MUTE  
PFL  
GAIN  
2
5
4
6
3
1
7
PEAK  
SIG  
2
8
9
0
10  
EFX RETURN  
PAN  
- 0 +  
HF  
8
8
16  
16  
- 0 +  
LF  
8
8
MUTE  
16  
16  
MONO  
L- R  
MONO  
L- R  
1 - 2  
3 - 4  
5 - 6  
7 - 8  
PFL  
2
1 • 3  
5
5
4
6
3
1
7
PEAK  
SIG  
2
8
9
0
10  
6
10  
2 • 4  
4
3
1
7
2
8
9
0
10  
3 • 4  
POST  
5
1 0  
PAN  
2 0  
6 LEVEL  
5
4
3
7
8
3 0  
4 0  
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SP / TC / GT  
Group Peak & Signal LED’s  
C
ENTURY SERIES  
S P / TC Gr oup M odules  
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.  
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.  
Group Fader  
Controls the final output signal of the group.  
Group Meter  
Monitors the post-fader output of the group via a ten-segment  
LED array.  
Rea r Connect ions  
Group Out  
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 Insert  
GROUP OUT  
This jack allows for the insertion of an effect  
or signal processor into the audio path of the  
associated group.  
Effect Return EQ  
Alters the effect return signal pre-fader via two fixed-frequen-  
cy (10kHz and 80 Hz) controls.  
GROUP INSERT  
EFX Return  
Effect Return Assignments  
Assign the post-pan, post fader, effect return signal to the mix  
bus.  
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  
Effect Aux Levels  
Controls the level of effect return signal sent to Auxes 1-4.  
EFX RETURN  
connector accepts a balanced signal at +4dB  
level and delivers the signal to the EFX  
return section of the group.  
Aux 3 • 4 Switch  
Switches the Effect Aux Levels between 1•2 and 3•4.  
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 out-  
put 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 out-  
puts.  
Group PFL  
Allows for Pre Fader Listening of the group signal  
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SP / TC / GT  
C
ENTURY SERIES  
GT Gr oup M odule  
GROUP  
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.  
+9  
+6  
+3  
0
-3  
-6  
-9  
Group Meter  
Monitors the post-fader output of the group via a ten-segment  
LED array.  
-1 2  
-1 5  
-1 8  
PAN  
Matrix Levels (A, B)  
Adjusts the level of group signal sent to the respective  
matrix.  
A
5
4
6
3
1
7
2
2
8
9
LEVEL  
0
10  
6
5
4
6
3
1
7
8
9
B
5
4
Effect Return Gain  
Controls the gain on the signal returning from the attached  
effect  
2
3
1
7
8
0
10  
9
0
10  
MUTE  
PFL  
MATRIX  
Effect Return EQ  
Alters the effect return signal pre-fader via two fixed-fre-  
quency (10kHz and 80 Hz) controls.  
GAIN  
5
1
4
6
3
7
8
9
PEAK  
SIG  
2
1
0
10  
EFX RETURN  
PAN  
Effect Return Assignments  
Assign the post-pan, post fader, effect return signal to the  
mix bus.  
- 0 +  
HF  
8
8
16  
16  
- 0 +  
LF  
8
Effect Aux Sends  
Controls the level of effect return signal sent to Auxes 1-4.  
8
MUTE  
16  
16  
MONO  
L- R  
Aux 3 • 4 Switch  
Switches the Aux Levels between 1•3 and 2•4.  
MONO  
L- R  
1 - 2  
GROUP  
XLR  
MATRIX  
POST  
Pre/ Post Switch  
Selects the effect return signal between pre and post Effect  
Level Control.  
3 - 4  
FADER  
REVERSE  
5 - 6  
Effect Pan  
Adjust the proportion of effect return signal being sent to the  
Left (odd) and Right (even) mix buses.  
7 - 8  
PFL  
1
1 • 3  
5
5
4
6
3
1
7
PEAK  
SIG  
2
8
9
Effect Level  
Adjusts the final effect return signal level.  
0
10  
6
2 • 4  
4
3
1
7
2
8
Effect Mute  
Mutes the effect return signal.  
9
0
10  
3 • 4  
POST  
Effect PFL  
Allows for Pre Fader Listening of the effect return signal.  
A
B
C
D
5
Effect Peak & Signal LED’s  
The red LED indicates that the effect signal is within 3dB of  
the clipping point.  
10  
PAN  
The green LED constantly displays the level of signal activity  
by varying in intensity.  
2 0  
SAFE  
LEVEL  
SCENE  
MUTE  
EFX  
5
4
6
3
7
8
9
2
Group Pan  
Used to position group image between the Left and Right  
output assignments.  
3 0  
4 0  
RETURN  
Group Mute  
Mutes the group signal except for the group insert send.  
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SP / TC / GT  
Rea r Connect ions  
C
ENTURY SERIES  
Group Assignments  
Assigns the group signal to the Left, Right, and or Mono out-  
puts.  
Group Out  
This connector carries the post-fader output  
signal from the associated group module.  
Group XLR  
Turns on the balanced XLR output.  
Group Insert  
GROUP OUT  
Matrix Pre/ Post  
Switches the Matrix sends between pre and post-fader settings.  
This jack allows for the insertion of an effect  
or signal processor into the audio path of the  
associated group.  
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  
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.  
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.  
EFX RETURN  
The green LED constantly displays the level of group signal  
activity by varying in intensity.  
-1 0  
+4  
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.  
Group Fader  
Controls all post-fader group signal outputs.  
EFX Return Scene Mute  
BUS IN  
Assignments  
Assign the EFX return signal to any of the four scene mute  
groups. Scene mute combines with the effect’s local mute but-  
ton, and actuates the local mute LED.  
EFX Return Scene Mute Safe Switch  
Disables all selected EFX scene mute assignments. An associ-  
ated green LED indicates the return is in a safe state.  
PAGE 19  
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SP / TC / GT  
C
ENTURY SERIES  
MATRIX  
+9  
+6  
+3  
0
4
-3  
-6  
-9  
-1 2  
-1 5  
-1 8  
5
4
3
7
2
8
1
9
0
1
GROUPS 1 -4  
5
1
2
4
6
3
7
GROUPS 5 -8  
5
2
8
5
4
6
6
6
1
9
3
7
0
1
2
2
2
8
5
4
6
1
9
3
7
0
1
1
1
2
8
5
6
7
8
4
1
9
3
7
0
1
8
MATRIX AUX IN  
1
9
0
MAINS  
5
4
5
L
4
6
3
7
3
7
8
2
8
1
9
1
9
0
0
1
5
4
6
5
R
3
4
6
7
3
7
2
8
2
8
1
9
1
9
0
1
0
1
MUTE  
MONO  
5
4
6
3
7
8
9
2
1
0
1
5
4
6
3
7
8
9
2
1
0
1
TB ENB  
STR  
PGM IN  
LEFT  
|
MONO  
|
RIGHT  
PFL  
1
5
5
5
4
6
6
6
3
7
PEAK  
SIG  
2
8
1
9
0
1
1
1
2
3
4
4
3
7
2
8
1
9
0
4
0
3
7
2
8
1
9
0
5
5
4
6
3
7
2
8
1
9
1 0  
0
1
GROUPS 1 -4  
GROUPS 5 -8  
5
5
2 0  
4
6
3
7
2
8
1
9
3 0  
4 0  
7
PAGE 20  
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SP / TC / GT  
C
ENTURY SERIES  
M a t r ix M odule  
SIGNAL PRESENT LED  
Constantly displays level activity of the matrix by varying in  
intensity.  
The Matrix Module allows the creation of an independent mix  
using the Main outputs (and an External Input) as signal  
sources.  
1 0 0 mm Fader  
Used for control of all outputs of the channel. (The Insert out-  
put level is not affected by the fader position.)  
Matrix AUX IN Controls  
Controls level of external balanced input signals.  
L & R MAINS Controls  
Controls level of post fader L & R signals from main section.  
Rea r Connect ions  
MONO MAINS Control  
Controls the level of post fader Mono signal from main sec-  
tion.  
Matrix Out  
This connector delivers a balanced signal  
from the matrix module.  
STR PGM IN Control  
Controls level of Stereo Program being input into the matrix.  
(These switches do not function on the SP/TC Consoles)  
Matrix Insert  
This jack allows for the insertion of an effect  
or signal processor into the audio path of the  
MATRIX OUT  
matrix output.  
LEFT/ MONO/ RIGHT Switches  
Selects which main section signals are introduced into the  
matrix. (These switches do not function on the SP/TC  
Consoles)  
MTX INSERT  
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  
Adjusts the level of Group signals 1-4 introduced into the  
matrix.  
Aux In 2  
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.  
AUX IN 1  
AUX IN 2  
MUTE Switch with LED  
Mutes the output. This switch does not affect the PFL switch  
or the Peak and Signal Present LED indicators.  
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 illuminat-  
ing at a much higher intensity than its use as a PFL status indi-  
cator.  
PEAK LED Indicator  
Illuminates RED when any of the points monitored come with-  
in 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  
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SP / TC / GT  
C
ENTURY SERIES  
9
1
9
LEFT  
RIGHT  
0
4
10  
6
0
4
10  
6
5
5
5
2
4
LEV  
4
6
+9  
+6  
+3  
0
+9  
+6  
+3  
0
3
7
3
7
3
7
2
8
2
8
2
8
1
9
1
9
1
9
LAMP DIM  
+20  
0
10  
0
10  
0
10  
AFL1  
AFL2  
AFL3  
AFL4  
-3  
-3  
-2 0  
DC  
-6  
-6  
MONO  
L- R  
POW ER  
+48  
-9  
-9  
+24  
-1 2  
-1 5  
-1 8  
-1 2  
-1 5  
-1 8  
AFLON  
5
AFLON  
5
GROUPS  
AUX  
PFL ON  
5
6
7
8
4
6
4
6
1 •  
2
HEADPHONES  
3
3
7
7
2
8
2
8
3 •  
4
1
9
1
9
0
4
10  
6
0
4
10  
6
5
5
3
7
3
7
2
8
2
8
5
4
6
1
9
1
9
3
7
0
10  
0
10  
2
8
1
9
0
10  
AFL5  
AFL6  
AFL5  
AFL6  
PHONES  
5
ON  
4
6
3
AFL ON  
AUX  
AFL ON  
AUX  
7
2
8
TALK BACK  
CONTROL  
1
9
MASTERS  
MASTERS  
0
10  
LOCAL  
MONITOR  
PFL  
DEFEAT  
MUTE  
MUTE  
MUTE  
DIM  
MONO  
MONO  
MONO  
MUTE  
PFL ON  
MONITOR  
CONTROL  
LEFT  
PFL  
RIGHT  
PFL  
MONO  
PFL  
5
5
1
2
5
6
3
4
4
6
4
PEAK  
SIG  
PEAK  
SIG  
PEAK  
SIG  
3
3
7
7
2
8
2
8
1
9
1
9
0
4
10  
6
0
4
10  
6
0
0
0
5
5
LEV  
4
6
3
7
3
7
3
7
2
8
2
8
2
8
1
9
1
9
1
9
0
10  
0
10  
0
10  
AFL1  
AFL2  
AFL3  
AFL4  
MONO  
L- R  
1 5  
2 0  
1 5  
2 0  
1 5  
2 0  
AFLON  
5
AFLON  
5
GROUPS  
AUX  
5
6
7
8
4
6
4
6
1 •  
2
3
3
7
7
2
8
2
8
3 •  
4
3 0  
3 0  
3 0  
1
9
1
9
0
4
10  
6
0
4
10  
6
5
5
3
7
3
7
4 0  
5 0  
40  
4 0  
5 0  
2
8
2
8
1
9
1
9
5 0  
0
10  
0
10  
AFL5  
AFL6  
AFL5  
AFL6  
ON  
A
PAGE 22  
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SP / TC / GT  
C
ENTURY SERIES  
S P / TC M a s t er S ect ion  
L/ R/ Mono Peak & Signal LED’s  
Red LEDs indicate the signal is within 3dB of clipping point.  
Left & Right Meters  
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.  
L/ R/ Mono Faders  
Adjust final signal level of the Right, Left and Mono outputs.  
Power Indicators  
These four LED’s indicate the status of the four types of power  
used by Century Series Consoles.  
Talkback Mic Input  
Allows a microphone to be plugged in for use with the talk-  
back system. This jack is located next to the headphone jack on  
the front-right of the console under the arm rest.  
Headphone J ack  
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 head-  
phone jack is located underneath the hand rest on the right-  
front part of the console.  
Rea r Connect ions  
Mono Out  
Delivers balanced post-fader signal containing all signals  
assigned to the Mono Clean Bus.  
Headphone Level Control  
Controls signal level delivered to the two headphone jacks.  
Right Out  
Delivers a balanced post-fader signal containing all signals  
assigned to the right output.  
Local Monitor Level Control  
Controls signal level delivered to the local monitor outputs.  
PFL Defeat  
Disables PFL function to the local monitor, permitting local  
monitor output to function as an additional left/right output.  
Left Out  
Delivers a balanced post-fader signal containing all signals  
assigned to the left output.  
Dim Switch  
Introduces -12 dB attenuation into local monitor output. Local  
monitors are automatically dimmed when Talkback is engaged.  
Mono Insert  
This jack allows for the insertion of a signal processor into the  
path of the mono sub-mix.  
Mono Switch  
Switches local monitor from stereo mode to mono mode.  
Right Insert  
This jack allows for the insertion of an effect or signal proces-  
sor into the audio path of the right sub-mix.  
Local Monitor Mute  
Mutes the local monitor signal output.  
Left Insert  
Aux Master Controls  
Controls final output signal level of eight auxiliary outputs.  
This jack allows for  
the insertion of an  
effect or signal  
processor into the  
Aux AFL Switches  
MONO OUT  
RIGHT OUT  
LEFT OUT  
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.  
audio path of the  
left sub-mix.  
MONO INSERT  
RIGHT INSERT  
LEFT INSERT  
Monitor Out  
(R&L)  
Talkback Level Control  
Controls the level of talkback signal output, and dims the local  
monitor, whether or not the Dim switch has been pressed.  
MONITOR L OUT  
AUX 3 OUT  
AUX 4 OUT  
AUX 1 OUT  
AUX 2 OUT  
These two connec-  
tors deliver a bal-  
anced signal from  
the left and right  
local monitor.  
MONITOR  
R
OUT  
Talkback Assignment Switches  
Assign the talkback signal to the outputs, groups and or auxes.  
Talkback On/ Off Switch  
Turns the talkback system on and off.  
AUX 7 OUT  
AUX 6 OUT  
AUX 5 OUT  
AUX 8 OUT  
Aux 1 -8 Out  
These eight connec-  
tions provide the  
balanced output sig-  
nals from their  
respective auxiliary  
buses.  
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.  
L/ R/ Mono PFL Switches  
Allow for Pre Fader Listening of the Right, Left and Mono  
output signals.  
PAGE 23  
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SP / TC / GT  
C
ENTURY SERIES  
16  
16  
LEFT  
RIGHT  
DIM  
MONO  
MUTE  
+9  
+6  
+3  
0
+9  
+6  
+3  
0
3
4
7
8
LAMP DIM  
+20  
MONO  
L- R  
-3  
-3  
TB MIC  
-2 0  
DC  
AUX  
1 • 2  
-6  
-6  
POW ER  
PFLON  
+48  
AUX  
3 • 4  
-9  
-9  
AUX  
MUTES  
AUX  
MUTES  
MONITOR  
CONTROL  
+24  
-1 2  
-1 5  
-1 8  
-1 2  
-1 5  
-1 8  
MATRIX  
A- B  
PFLON  
EXT  
OSC  
HEADPHONES  
5
1
2
5
3
4
BAL  
4
6
4
6
5
5
5
5
6
4
6
3
3
4
6
4
A
7
7
A
B
A
B
EXTTB  
INPUT  
3
3
3
7
8
7
7
2
8
2
8
2
2
8
2
8
1
9
1
9
1
9
1
9
1
9
0
4
10  
6
0
4
10  
6
0
4
10  
0
4
10  
6
0
4
10  
6
5
5
5
5
LEV  
LEV  
4
6
4
6
5
5
5
3
7
3
7
6
7
B
4
6
3
7
3
7
3
3
7
3
7
3
7
2
8
2
8
2
8
2
8
2
8
2
8
2
8
2
8
1
9
1
9
1
9
1
9
0
10  
0
10  
1
9
1
9
0
10  
0
10  
1
9
1
9
0
10  
0
10  
0
10  
0
10  
EXTTB  
OUTPUT  
MUTE  
PFL  
AFL1  
AFL2  
AFL3  
AFL4  
MATRIX  
PHONES  
MATRIX  
MATRIX  
MONO  
L- R  
GAIN  
5
5
4
6
4
6
3
3
7
7
AUX SCENE  
ACTIVE  
AUX SCENE  
ACTIVE  
2
8
2
8
AFLON  
5
AFLON  
5
PEAK  
SIG  
GROUPS  
1
9
1
9
0
10  
0
10  
AUX  
1 • 2  
- 0  
+
+
HF  
LOCAL  
MONITOR  
5
6
7
8
4
6
4
6
STEREO  
PROGRAM IN  
8
8
8
3
3
7
7
1
2
5
6
2
8
2
8
3 • 4  
5 • 6  
7 • 8  
1
9
1
9
16  
16  
16  
0
4
10  
6
0
4
10  
6
PFL  
DEFEAT  
- 0  
LF  
5
LEV  
5
5
4
6
3
7
8
3
7
3
7
2
8
2
8
2
8
DIM  
MATRIX  
A
1
9
1
9
1
9
16  
0
10  
0
10  
0
10  
MONO  
MUTE  
3
4
7
8
1 • 2  
3 • 4  
B
AFL5  
AFL6  
AFL5  
AFL6  
MONO  
L- R  
AUX  
1 • 2  
ON  
PFLON  
AUX  
3 • 4  
AFL ON  
AUX  
AFL ON  
AUX  
AUX  
MUTES  
AUX  
MUTES  
MONITOR  
CONTROL  
BLEND  
TALK BACK  
CONTROL  
MATRIX  
A- B  
L/  
R
TO AUXES  
MASTERS  
MASTERS  
5
A
4
6
EXT  
OSC  
3
7
2
8
5
5
1
2
5
5
3
4
BAL  
4
6
4
6
1
9
3
3
7
7
0
10  
EXTTB  
INPUT  
2
8
2
8
1
9
1
9
MUTE  
MUTE  
PFL  
MUTE  
MUTE  
0
4
10  
6
0
4
10  
6
5
5
LEV  
LEV  
4
6
4
6
3
7
3
7
3
7
3
7
MONO  
MONO  
2
8
2
8
2
8
2
8
1
9
1
9
1
9
1
9
PEAK  
SIG  
0
10  
0
10  
0
10  
0
10  
EXTTB  
OUTPUT  
MUTE  
PFL  
AFL1  
AFL2  
AFL3  
AFL4  
MATRIX  
POST  
MATRIX  
POST  
MATRIX  
POST  
MATRIX  
MASTERS  
MONO  
L- R  
MONO  
PFL  
MUTE  
LEFT  
PFL  
RIGHT  
PFL  
AFLON  
5
AFLON  
5
PEAK  
SIG  
GROUPS  
AUX  
1 • 2  
5
6
7
8
PFL  
4
6
4
6
STEREO  
PROGRAM IN  
3
3
7
7
PEAK  
SIG  
PEAK  
SIG  
PEAK  
SIG  
PEAK  
SIG  
2
8
2
8
3 • 4  
5 • 6  
7 • 8  
1
9
1
9
0
4
10  
6
0
4
10  
6
5
LEV  
5
5
5
4
B
7
4
6
6
0
0
0
3
7
3
7
3
7
3
2
8
2
8
2
8
2
8
9
MATRIX  
A
1
9
1
9
1
9
1
0
10  
0
10  
0
10  
0
10  
1 • 2  
3 • 4  
B
AFL5  
AFL6  
AFL5  
AFL6  
A
B
C
D
1 5  
2 0  
1 5  
2 0  
1 5  
2 0  
ON  
AFL ON  
AUX  
AFL ON  
AUX  
BLEND  
TALK BACK  
CONTROL  
L/  
R
TO AUXES  
MASTERS  
MASTERS  
5
A
4
6
3
7
2
8
3 0  
3 0  
3 0  
1
9
0
10  
AUX  
MUTE  
MUTE  
PFL  
MUTE  
MUTE  
4 0  
5 0  
4 0  
5 0  
4 0  
5 0  
SCENE MUTE  
MASTERS  
MONO  
MONO  
PEAK  
SIG  
MATRIX  
POST  
MATRI
MATRIX  
MATRIX  
MASTERS  
PAGE 24  
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SP / TC / GT  
C
ENTURY SERIES  
GT M a s t er S ect ion  
This master section is the control center for most of the GT’s  
advanced functions.  
Aux Master Controls  
Controls final output signal level of the auxiliary outputs.  
Aux AFL Switches  
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.  
Left & Right Meters  
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.  
External Oscillator Switch  
Turns on the internal oscillator or accepts signal from the1/4"  
TRS Oscillator input jack.  
Talkback Mic Input  
External Talkback Input Switch  
Selects the external talkback input XLR as an input signal to  
the talkback section and overrides the Oscillator.  
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.  
Stereo Program Balance  
Adjusts balance of stereo signal from Stereo Program input.  
Power Indicators  
These four LED’s indicate the status of the four types of power  
used by Century Series Consoles.  
Stereo Program Level  
Controls final output signal level of the Stereo Program.  
Headphone J ack  
Talkback Level Control  
Controls the level of the selected talkback source.  
Delivers right and left output, unless a PFL switch is  
depressed. Whenever any signal is in PFL mode, the head-  
phone jack will deliver that signal. An additional headphone  
jack is located beneath the hand rest on the right-front part of  
the console.  
External Talkback Output Switch  
Turns on the external talkback XLR.  
Stereo Program Mute  
Mutes the output of the stereo program.  
Headphone Level Control  
Controls the signal level delivered to the headphone jacks.  
Stereo Program PFL  
Allows Pre Fader Listening of the Stereo Program signal.  
L, R & Mono Matrix Sends  
Controls level of Right, Left and Mono signals sent to the two  
matrices.  
Talkback Assignment Switches  
Assigns talkback signal to outputs, groups, auxes, or matrices.  
Local Monitor Level Control  
Controls level of signal delivered to the monitor outputs.  
Blend Level  
Controls level of L & R signal blended to assigned auxes.  
Auxiliary Mutes  
Mutes the respective auxiliary signals.  
Blend Assignment Switches  
Assigns the Left and Right signals to the respective auxes.  
PFL Defeat  
Disables PFL function to the local monitor, allowing local  
monitor output to function as an additional left/right output.  
Talkback On/ Off Switch  
Turns the talkback system on and off, and dims local monitor,  
whether or not Dim switch has been pushed.  
Dim Switch  
This switch introduces a -12 dB attenuation into the local mon-  
itor and headphone outputs.  
Matrix Master Levels (A&B)  
Controls the final output level of the respective matrix.  
Matrix Master Mutes (A&B)  
Mutes the respective matrix signal.  
Mono Switch  
Switches the local monitor and headphone outputs from their  
standard stereo mode to a mono mode.  
Matrix Master PFL (A&B)  
Allows Pre-Fader Listening of the respective matrix signal.  
Stereo Program In Gain  
Adjusts the gain of the Stereo Program In signal.  
Scene Mute Master Switches  
Turn on and off the four scene mutes.  
Stereo Program In EQ  
Two-band fixed frequency (10kHz and 80Hz) EQ that affects  
the Stereo Program In signal.  
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.  
Stereo Program In Assignments  
Assigns the Stereo Program to the associated buses.  
Local Monitor Mute  
Mutes the local monitor signal output.  
(Continued)  
PAGE 25  
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SP / TC / GT  
C
ENTURY SERIES  
GT M a s t er S ect ion (cont 'd)  
Rea r Connect ions  
L&R Mono Assignment Switches  
Assign the Left and Right signals to the Mono output..  
Matrix Out (A&B)  
These two connectors deliver a balanced signal from the asso-  
ciated matrix master.  
L/ R/ Mono Matrix Post Switches  
Switches the Left, Right and Mono matrix signals between pre  
and post fader.  
Mono Out  
This connector delivers a balanced post-fader signal containing  
all signals assigned to the Mono Clean Bus.  
L/ R/ Mono PFL Switches  
Allow for Pre-Fader Listening of the Left, Right and Mono  
signals respectively.  
Right Out  
This connector delivers a balanced post-fader signal containing  
all signals assigned to the right output.  
L/ R/ Mono Peak & Signal LED’s  
The red LED indicates that the signal is within 3dB of the clip-  
Left Out  
ping point. The green LED constantly displays the level of sig- This connector delivers a balanced post-fader signal containing  
nal activity by varying in intensity.  
all signals assigned to the left output.  
L/ R/ Mono Faders  
Matrix Insert (A&B)  
Adjust final output signal level of Right, Left and Mono out- This jack allows for the insertion of an effect or signal proces-  
puts.  
sor into the audio path of the associated matrix.  
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 proces-  
sor into the audio path of the right sub-mix.  
Left Insert  
This jack allows for the insertion of an effect or signal proces-  
sor into the audio path of the left sub-mix.  
MATRIX A OUT  
MONO OUT  
RIGHT OUT  
LEFT OUT  
Monitor Out (R&L)  
These two connectors deliver a balanced signal from the left  
and right local monitor.  
INSERT A  
MONO INSERT  
RIGHT INSERT  
LEFT INSERT  
Aux 1 -8 Out  
These eight connections provide the balanced output signals  
from their respective auxiliary buses.  
MATRIX B OUT  
MONITOR L OUT  
MONITOR R OUT  
AUX 3 OUT  
AUX 4 OUT  
AUX 1 OUT  
AUX 2 OUT  
Ext. Talkback Out  
This connector provides an external balanced signal from the  
selected talkback source.  
INSERT B  
Ext. Talkback In  
This connector accepts a balanced signal which is assignable to  
any of the locations in the talkback system.  
AUX 7 OUT  
AUX 6 OUT  
AUX 5 OUT  
AUX 8 OUT  
EXT TB OUT  
EXT TB IN  
STR PGM IN  
OSC/ PINK IN  
Stereo Program In  
This jack accepts an unbalanced stereo line level signal for use  
as warm-up or break music.  
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  
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SP  
GT TC  
Ap p e nd ix A  
Te c hnic a l  
Info rm a tio n  
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SP / TC / GT  
C
ENTURY SERIES  
Gener a l S pecifica t ions -  
S P Cons ole  
Ar chit ect ’s & Engineer ’s  
Specifica t ions - SP Cons ole  
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.  
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.  
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%  
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.  
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  
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 dedicat-  
ed 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 con-  
trol, 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 mod-  
ule.  
Crosstalk (Measured at 1kHz)  
Channel Mute  
Channel Fader Attenuation  
Channel Routing  
>102 dB  
> 96 dB  
> 85 dB  
> 93 dB  
Channel Aux Send Attenuation  
Input/Output Impedances  
Mic Input  
Line Input  
4kΩ balanced  
>10kΩ balanced  
140Ω balanced  
Outputs  
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  
+ 4 to -62 dBu  
+ 12 to -38 dBu  
+ 4 dBu  
- 2 dBu  
+ 4 dBu  
+28 dBu  
Maximum Balanced Output Level  
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 com-  
prehensive talkback system.  
The power supply shall be housed in a 14 ga. steel chassis that shall occu-  
py 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.  
Configur a t ions  
SP Consoles are available in the following configurations:  
Four Subgroup  
Eight Subgroup  
16, 24, 32, 36, 44, or 56 inputs  
12, 20, 28, 32, 40, or 52 inputs  
Optional stereo input modules and matrix modules are available.  
The live sound console shall be: the Crest Audio Century SP.  
APPENDIX A  
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SP / TC / GT  
Ar chit ect ’s & Engineer ’s  
Specifica t ions - TC Cons ole  
C
ENTURY SERIES  
Gener a l Specifica t ions -  
TC Cons ole  
The following are the technical specifications for the Century The following text should be used when specifying a Century  
TC console.  
TC 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 han-  
dles. 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.  
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%  
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.  
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  
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 con-  
trolled 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 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.  
Crosstalk (Measured at 1kHz)  
Channel Mute  
Channel Fader Attenuation  
Channel Routing  
>102 dB  
> 96 dB  
> 85 dB  
> 93 dB  
Channel Aux Send Attenuation  
Input/Output Impedances  
Mic Input  
Line Input  
4kΩ balanced  
>10kΩ balanced  
140Ω balanced  
Outputs  
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  
+ 4 to -62 dBu  
+ 12 to -38 dBu  
+ 4 dBu  
- 2 dBu  
+ 4 dBu  
Maximum Balanced Output Level  
+28 dBu  
The master section shall be four modules in width and have the follow-  
ing 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.  
Configur a t ions  
TC Consoles are available in the following configurations:  
Four Subgroup  
Eight Subgroup  
16, 24, 32, 36, 44, or 56 inputs  
12, 20, 28, 32, 40, or 52 inputs  
The live sound console shall be: the Crest Audio Century TC.  
Optional stereo input modules and matrix modules are available.  
APPENDIX B  
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SP / TC / GT  
C
ENTURY SERIES  
Gener a l S pecifica t ions -  
GT Cons ole  
The following are the technical specifications for the Century  
GT console.  
Ar chit ect ’s & Engineer ’s  
Specifica t ions - GT Cons ole  
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.  
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%  
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.  
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  
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, HF-  
1.5k-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 assign-  
ment 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 con-  
trolled 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 selec-  
table 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 con-  
trol, 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 comprehen-  
sive talkback system, a talkback mic connection, a headphone jack, stereo  
program input control, and five scene mute master switches each with  
LED.  
Crosstalk (Measured at 1kHz)  
Channel Mute  
Channel Fader Attenuation  
Channel Routing  
>102 dB  
> 96 dB  
> 85 dB  
> 93 dB  
Channel Aux Send Attenuation  
Input/Output Impedances  
Mic Input  
Line Input  
4kΩ balanced  
>10kΩ balanced  
140Ω balanced  
Outputs  
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  
+ 4 to -62 dBu  
+ 12 to -38 dBu  
+ 4 dBu  
- 2 dBu  
+ 4 dBu  
Maximum Balanced Output Level  
+28 dBu  
Configur a t ions  
GT Consoles are available in the following configurations:  
The power supply shall be housed in a 14 ga. steel chassis that shall occu-  
py 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.  
Four Subgroup  
Eight Subgroup  
16, 24, 32, 36, 44, or 56 inputs  
12, 20, 28, 32, 40, or 52 inputs  
The live sound console shall be: the Crest Audio Century GT.  
Optional stereo input modules and matrix modules are available.  
APPENDIX A  
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SP / TC / GT  
C
ENTURY SERIES  
GT / TC / S P Block Dia gr a m  
CERSTAUDIO  
APPENDIX B  
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SP / TC / GT  
C
ENTURY SERIES  
APPENDIX A  
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SP / TC / GT  
C
ENTURY SERIES  
Rea r Views & Dim ens ions  
A
.75in.  
19mm  
Size  
24  
A
B
33.55" 31.80"  
43.15" 41.40"  
52.75" 51.00"  
57.55" 55.80"  
67.15" 65.40"  
81.55" 79.80"  
32  
40  
44  
52  
64  
Size  
24  
A
B
852mm  
808mm  
32  
1096mm 1052mm  
1340mm 1295mm  
1462mm 1417mm  
1706mm 1661mm  
2071mm 2027mm  
40  
44  
52  
64  
Crest Consoles Engineering,  
May 5, 1997  
1.5in./38mm  
B
APPENDIX A  
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SP / TC / GT  
C
ENTURY SERIES  
S P / TC/ GT US ER-OP TIONS  
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  
LOCATION  
M = Main board  
C = Connector  
M
M
M
M
C
OPTION TITLE  
FUNCTION  
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  
Pre Source (SRC)Mute  
Pre Source Select  
Matrix Post Mute? Y/N  
J8, Aux local Mute  
Talkback XLR +48V  
Group Outs  
Left/Right Outs  
Monitor Master  
Optional Modules  
Matrix Module  
GT Stereo In  
M
M
M
M
M
M
M
Cue (PFL switch)  
Polarity Reverse  
Aux 5-6 Select  
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  
Aux 7-8 Select  
SEL 1 Pre source L  
SEL 2 Pre source R  
Pre SRC (source) Mute?  
IM P ORTANT  
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 re-  
assigned. Please contact the Crest Audio Service Department for more information.  
APPENDIX A  
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SP / TC / GT  
C
ENTURY SERIES  
Cons ole Dis a s s em bly  
Though you shouldn’t have to disassemble the console, it is necessary to remove modules to change the jumper and switch set-  
tings associated with the internally selectable options. The following steps detail the tasks involved when taking the console  
apart.  
ONE • Open t he a r m r es t  
To properly remove one or many modules, the black painted  
armrest must first be opened. To do this, the two thumb-  
Opening the  
Armrest  
screws (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.  
TW O • Rem ove t op m odule s cr ew  
Once the armrest has been opened, there will be a single screw  
Thumbscrews  
holding each module in place. Remove the screw from the  
module(s) you want to remove.  
THREE • Rem ove r ea r s cr ews  
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.  
Upper Screw  
Light Bar  
DIR OUT  
DIR  
INS  
BA  
BAL OUT LEFT  
BAL OUT LEFT  
BAL OUT  
BAL OUT  
BAL OUT  
BAL OUT  
INSRT SND  
INSERT SEND  
INSERT SEND  
INSERT SEND  
INSERT SEND  
INSERT SEND  
INSERT SEND  
FOUR • Lift t he m odule(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.  
BAL INSRT RTN  
INSERT RETURN  
INSERT RETURN  
INSERT RETURN  
INSERT RETURN  
INSERT RETURN  
INSERT RETURN  
BAL LINE IN  
BA  
MONITOR  
MONITOR  
A
LEFT  
RETURN  
RETURN  
1
BAL OUT RIGHT  
MONITOR  
MONITOR  
B
LEFT  
BAL OUT RIGHT  
LIFT  
PIN  
LIF  
PIN  
1
BAL MIC IN  
BA  
B
RIGHT  
A
RIGHT  
2
INSERT SEND  
INSERT SEND  
BAL MIC OUT  
BA  
OSC IN  
EXT TB IN  
EXT TB OUT  
INSERT RETURN  
INSERT RETURN  
The flat-wires are removed by flipping the latches on the ends  
of the connectors. Once the tabs have been flipped the connec-  
tor should pull off easily.  
The ground wire (green) is a spade lug which pulls off.  
Lower Screw  
FIVE • P ut t ing it a ll ba ck t oget her  
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.  
IM P ORTANT  
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 re-  
assigned. Please contact the Crest Audio Service Department for more information.  
APPENDIX A  
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SP TC GT  
Ap p e nd ix B  
Glo ssa ry  
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SP / TC / GT  
C
ENTURY SERIES  
(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.  
GLOS S ARY  
The following glossary explains the features and functions  
found on Century Series front of house consoles.  
8 0 Hz High Pass Switch  
Bus Assignment Switches  
When depressed, this switch attenuates all low frequency con-  
tent 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 micro-  
phone by way of its microphone stand. High quality micro-  
phones employ internal shock mounts which lessen this prob-  
lem, but it still remains to some degree. If this material is not  
removed, the low frequency content tends to make the amplifi-  
er and speaker systems work harder.  
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.  
1 0 0 mm Fader See Fader  
4 8 Volt Phantom Power  
This switch turns on the +48V used to power some micro-  
phones. See XLR Microphone Input for more information.  
DC Power Indicators  
Each Century Series console uses a variety of electrical volt-  
ages which are fed to the console from the power supply. The  
status of each operating voltage (+20, -20, +48, +24) is indicat-  
ed 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 3 • 4 Switch  
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.  
Dim Switch  
Auxiliary 8 Direct Switch  
This GT Master Section switch produces a -12dB attenuation  
in signal to the local monitor. This feature is useful for tempo-  
rary lowering of local monitor levels without actually adjusting  
any pots or faders. (Local monitors are automatically dimmed  
when Talkback button is pressed.)  
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 con-  
trol is fed pre-fader.  
Direct Out J ack  
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 Bus  
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 sec-  
tion of the group modules or through spare input modules.  
Effect Auxiliary Level Control  
See AUXILIARY SEND CONTROL  
Effect Return EQ  
Auxiliary Mute Switches  
Each effect return section has a two-band fixed EQ. These  
High and Low frequency controls are centered at 10kHz and  
80Hz respectively.  
The Master Section of the GT consoles have mute switches for  
each Aux send. When depressed, this switch mutes the corre-  
sponding Aux Send Master. When the mute is engaged no sig-  
nal leaves the associated Aux out jack and a red LED illumi-  
nates to the left of the switch. These mute switches are active  
only if the Aux Mute Master switch on the Master Module is  
depressed.  
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.  
Effect Return Subgroup Assignments  
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 Pre/ Post Switch  
See Pre/Post Fader Switches  
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  
EQ In Switch  
This input module switch, when depressed, inserts the EQ sec-  
tion into the signal path and illuminates a green LED to the left  
APPENDIX B  
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SP / TC / GT  
C
ENTURY SERIES  
of the switch. With the switch in the up position, the input sig-  
nal bypasses the EQ section and continues unmodified.  
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 pre-  
sent. 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.  
EQ Sections  
These controls are used to modify the tonal quality of an audio  
signal. All Century Series consoles have a four-band EQ sec-  
tion 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.  
Group Assignments  
See BUS ASSIGNMENT SWITCHES  
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-frequen-  
cies.  
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  
This switch assigns the post fader group signal to the group out  
XLR located on the rear panel of the group module.  
EQ Sweep Control  
See EQ SECTIONS  
Headphone J acks  
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.  
External Talkback Input Switch  
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.  
Headphone Level Control  
This control adjusts the level of the signal fed to the two head-  
phone jacks; located in the upper right portion of the master  
section, just below arm rest on the far right side.  
Fader  
HF Peak/ Shelve Switch  
This switch is used for switching the high frequency EQ con-  
trol between the normal shelving setting to a peak setting.  
The fader is used for primary level control of the channel,  
except those Aux output sections selected to a pre-fader posi-  
tion. (The Insert output level is not affected by the fader posi-  
tion.)  
High Pass Switch  
See 80Hz HIGH PASS SWITCH  
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 oper-  
ated 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.  
HMF EQ Control  
See EQ SECTIONS  
Insert J ack  
This jack allows you to access a point in the channel’s electri-  
cal 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 result-  
ing 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; how-  
ever, 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  
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).  
APPENDIX B  
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SP / TC / GT  
C
ENTURY SERIES  
stereo (TRS) plug can be used with the Tip & Ring tied togeth- of input channel activity regardless of mute switch position.  
er to access the channel signal pre-EQ).  
The LED illuminates when the channel is muted, either from  
the local mute switch or from any activated mute group.  
Internal Oscillator  
The GT master section has a 1 kHz internal oscillator. This  
Switch  
oscillator can be used as signal source to run tests, diagnostics See POLARITY REVERSE SWITCH  
or calibrations. The oscillator can be assigned to all Groups,  
PAD Switch  
Auxes and Matrices via the Talkback assignment switches.  
This -15dB pad attenuates the signal presented to the first stage  
of the input module. It is important to note that the Pad Switch  
This control adjusts the brightness of whatever lighting devices acts only upon the balanced XLR input signal; it has no effect  
Lamp Dim Control  
are plugged into the XLR sockets on the light bar.  
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 illu-  
mination, 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  
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 the PAD switch depressed, the Gain Control should initially be  
between the normal shelving setting to a peak setting.  
lowered and the PAD switch released. The gain should then be  
increased and adjusted as above.  
Line Input J ack  
This is a balanced, high impedance input which is designed to  
Pan Control  
accept both balanced and unbalanced line level inputs. To When operating a stereo sound system or recording, this con-  
select this input source, press the front panel LINE switch. See trol positions the image anywhere within the stereo spectrum  
the Connections and Conventions section in the front of the when the Left/Right assignment switch is depressed. When  
manual for specific information on plug polarity and signal signal is being sent to a subgroup, the pan control acts as part  
assignments.  
of the assignment system. Full counter clockwise assigns sig-  
nal 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.  
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.  
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 with-  
in the stereo image as controlled by the Pan control.  
Matrix Level Control  
These controls adjust the amount of group, L/R or Mono signal  
fed to the respective matrix.  
PEAK LED Indicator  
Illuminates RED when any of the points monitored come with-  
in 3db of its clipping point. Occasional quick blinking of this  
LED is normal under proper operation; when this LED illumi-  
nates noticeably, a correction should be made in the level con-  
trol 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.  
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 out-  
put can be used as an additional Effect Send.  
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 infor-  
mation.) 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 lis-  
ten 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  
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SP / TC / GT  
C
ENTURY SERIES  
seen on the Left/Right/Monitor meters, and can be heard both signal levels, with just an occasional short flash of the red peak  
in the mixer’s headphone output and on the rear panel monitor LED indicator.  
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  
Sweep Control See EQ SECTIONS  
Talkback Assignment Switches  
These switches assign the talkback signal to the outputs and/or  
auxes.  
much higher intensity than its use as a status indicator.  
Talkback Level Control  
Phantom Power  
This knob controls the final level of the talkback signal, and  
dims local monitor output, if Dim switch has not been pressed.  
See 48V PHANTOM POWER  
Polarity Reverse Switch  
This switch is used on input channels to adjust between dissim-  
ilar microphone output polarity (see your microphone’s  
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 micro-  
instruction manual). It is also used to adjust phase cancellation  
phone or other balanced mic-level source to be connected to  
between microphones when more than one microphone is pick-  
ing up the same acoustical signal (This should be kept to a  
the talkback system.  
minimum with proper microphone placement).  
Talkback On Switch  
This switch activates the entire talkback system including the  
internal oscillator.  
Pre/ Post Fader Switch  
Switches the Aux signal sources between pre-fader and post-  
fader positions. The pre-fader position is usually used for mon-  
XLR Balanced Outputs  
itor 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 (front-  
of-house) system. When in the post-fader position, signal out-  
put level from the Aux sends will proportionally follow the  
main signal level. The result is maintenance of an effect in pro-  
portion 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.  
This output is designed to drive both balanced and unbalanced  
input devices without adaptation. Signals are normally bal-  
anced on this output connector. The output is designed so that  
if either pin 2 or pin 3 were intentionally shorted (as in con-  
necting to an unbalanced input of your next stage of electron-  
ics) 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 exces-  
sive 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.)  
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.  
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 man-  
ual 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.  
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 chan-  
nel 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  
APPENDIX B  
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SP / TC / GT  
C
ENTURY SERIES  
APPENDIX B  
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SP / TC / GT  
C
ENTURY SERIES  
SP  
GT TC  
Ap p e nd ix C - Sc he m a tic s  
LOCATION  
DESCRIPTION  
SCHEMATIC #  
1
DWG # REV #  
N/A  
STANDARD INPUT MODULE  
INPUT CONNECTOR PCB  
04  
04  
02  
02  
02  
GT INPUT MAIN PCB  
TC INPUT MAIN PCB  
SP INPUT MAIN PCB  
STEREO INPUT MODULE  
2
3
4
5
76D1530  
N/A  
N/A  
STEREO INPUT CONNECTOR  
76D1920  
STEREO INPUT  
MAIN PCB (1 OF 2)  
6
76D1919  
01  
STEREO INPUT  
MAIN PCB (2 OF 2)  
7
8
9
76D1919  
N/A  
01  
01  
03  
GROUP MODULE  
GROUP MAIN PCB  
GROUP CONNECTOR PCB  
N/A  
LEFT / RIGHT  
OUTPUT MODULE  
LEFT / RIGHT CONNECTOR PCB  
MONO CONNECTOR PCB  
10  
11  
N/A  
N/A  
01  
04  
L/R MAIN PCB  
MONO OUTPUT  
MODULE  
12  
13  
N/A  
N/A  
04  
03  
MONO MAIN PCB  
MASTER CONTROL  
MODULE  
MASTER CONNECTOR PCB  
MATRIX CONNECTOR PCB  
14  
15  
16  
17  
N/A  
04  
04  
02  
01  
MASTER MAIN PCB  
MATRIX MODULE  
MATRIX MAIN PCB  
N/A  
76D1922  
76D1921  
RIBBON CABLE  
PIN OUT DIAGRAMS  
RIBBON PIN OUTS  
18  
APPENDIX C  
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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*  
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