CDC Console Software features, as you would expect from Cadac, a comprehensive cue-based automation system, which is capable of storing hundreds of Cues within each Show file and there can be a number of Show files in a single Project.
When using the console automation each Cue contains every setting and parameter value for every input and output channel in the console. Due to the dynamic nature of live events, the sound engineer will need the ability to intervene in the recall process as changes to the programme occur in real time.
With Cue Preview the engineer can recall, amend and store individual scenes during a show in an offline preview mode allowing changes to be made “on the fly” during the show. The Cue Ripple functions allows a channel’s individual parameters to be “rippled through” any, or all cues, to make global changes to a show file mid show.
The Project files can be exported or imported via USB key.
Feature Summary
The CDC five features fixed format local I/O consisting of 8 AES3 inputs and 8 AES3 outputs, alongside 16 fully programmable mic inputs and 8 analogue outputs.
The CDC five also comes pre configured with two pairs of MegaCOMMS ports as standard on the rear of the console. These ports allow connection to a combination of MegaCOMMS equipped stage boxes, network bridges and router. Each pair of ports is capable of transmitting 128 bi-directional channels of 96 kHz / 24-bit audio.
Cadac also offers three fixed format stageboxes, with MegaCOMMS connectivity, which provide inputs and outputs remotely from the console. These include the CDC I/O 3216, which has 32 mic inputs and 16 analogue outputs and the CDC MC AES3 that provides a total of 18 AES3 inputs / outputs, plus the larger CDC I/O 6448 which features 64 mic inputs and 48 analogue outputs.
Feature Summary
There are a total of up to 64 busses of which up to 62 are configurable when in Monitor Mode. All of the user definable busses can be assigned as any combination of auxiliaries, groups, stereo auxes, stereo groups or matrix outputs depending upon the application with a simple touch of the screen.
The bus sends can be individually set as pre EQ, pre fader or post fader, and pre or post VCA. To help workflow the busses can be renamed from the pre-set library or with user defined names by using the soft keyboard.
Feature Summary
CDC Console Software provides the ability to create Custom Fader Layers or CLFs. These layers, or groups, can be made up of any mixture of inputs, busses, VCAs and Monitor faders, and can either be deployed on the left or right hand side of the main fader bank as required, with any remaining channels on this bank still accessible either via swiping or via the regular layer buttons, additionally custom layers can also be deployed on the 4 fader master section of the CDC six or CDC seven-s. VCA groups will also unfold as per the VCA page when accessed via the CFL.
Each CFL can be named and colour coded. Members of the CFL are selected by dragging and dropping from the relevant input, bus, VCA or Monitor page on the large 23.5” screen. Access to the CFL is done via the System Control Screen, and the Custom Fader Layer display can be viewed and edited on the screen by assigning it to one of the hardware user assignable buttons.
Feature Summary
To take advantage of the Dugan Automixer plugin on Waves – when using a Waves server – there is a Dugan post fade Insert point, with an auto-patch function, allowing easy setup of the Dugan Automixer on the console.
The Waves Dugan Automixer plugin automatically controls the gains of multiple microphones in real time, dramatically reducing feedback, studio noise and comb filtering from adjacent microphones. It maintains a consistent system gain, even when multiple speakers are talking simultaneously, and makes perfectly matched crossfades, without any signal compression, and without a noise gate that may cause unwanted sonic artefacts.
Feature Summary
The dynamics processing has been designed to provide a broad scope of possibilities to maximise the creative potential. The input dynamics consists of a gate and dual-mode compressor with side chain filtering, with a choice of both classic or vintage modes of operation. Output dynamics processing features compression and limiting.
Control is achieved by simple touch access which will populate the screen with only relevant, concise control and visual information. The need to fiddle with sub menus or small, confusing graphics found on other digital consoles has been removed by the use of large touch friendly icons, thereby increasing the overall speed of operation and improving the workflow.
Feature Summary
There are 16 stereo on-board effects units including various types of reverb, delay and modulation effects. These have been specially designed by our own software engineers to provide a pallet of superlative room, hall and plate reverb simulations, comprehensive tap-delay effects and rich, luscious modulation programs.
The 16 stereo effect “slots”, each with reverb, modulation and delay elements, can be used simultaneously and freely configured by the user. The 3 elements within each effect slot can be arranged in either series or parallel, and in any order, using a simple and intuitive ‘drag and drop’ method. Effects can be patched as inserts on any channel, or in-line on an aux send/return basis.
A Waves interface card is fitted as standard which provides direct, low latency connectivity to the Waves MultiRack server, allowing any Waves plug-ins to be used together with the console’s own DSP effect options. The Waves GUI is displayed on the console’s touchscreen for viewing and editing.
Feature Summary
All the input and output channels feature 6 band EQ, comprising a four band fully parametric section and variable low and high pass filters.
All 6 bands can be independently switched in and out or the whole EQ can be bypassed with a master EQ bypass. The LF and HF bands of the EQ feature a Bell/Shelf option, and the EQ can be configured to either emulate the response and behaviour of the classic J-Type analogue filters, or to provide 4-band fully parametric operation on a per – channel basis.
All output channels feature a 1/3rd octave GEQ in addition to the 6-band EQ.
Feature Summary
In large MegaCOMMS audio networks where there are multiple consoles networked via a CDC MC Router, the gain compensation is automatically applied by the CDC MC Router.
The CDC MC Router ensures that any adjustment in gain from the master console has zero effect upon the gain, or audio quality, of any other console in the same MegaCOMMS audio network. All this is done automatically and with out any need for any direct input from any of the consoles on the network.
Feature Summary
All output busses feature 4-band fully parametric EQ, plus variable HPF and LPF plus a 1/3 octave GEQ.
All parametric and graphic EQ’s can be used simultaneously, without any concern about available processing power or tonality compromise. GEQ parameters can be easily viewed on the 23.5” touch screen in the form of a virtual GEQ, and adjustments made quickly using the consoles 100mm faders.
Additional features include GEQ in/out, an “instant flat” switch and a bypass function for individual GEQ filters.
Feature Summary
The flush mounted, optically bonded, 23.5 inch 16:9 true HD LCD touch screen provides the engineer with an exceptionally clean and intuitive graphical user interface (GUI).
The channel selection is a simple case of swiping the screen to move the channels seamlessly either left or right. Once the desired channel is reached a touch of the screen brings up the clear, logical GUI of the required function. No layers to navigate, or pointing devices to operate, thereby reducing the learning curve to a minimum and enabling fast setup and operation.
The CDC Console Software has many intuitive, time saving features such as the Move Channels function. This allows Input channels to be inserted in any position or replace existing channels, either singularly or in groups, by simply selecting and then dragging and dropping to the desired location in the Channel Settings page.
Feature Summary
For decades Cadac’s analogue mic-amps have been considered by many to be the premium mic-amp in the live sound industry. Cadac’s digital consoles proudly bear the hallmark of their analogue origins which can be traced back beyond the now legendary J-Type to those classic Cadac consoles from the golden age of recording studios.
Cadac’s digital audio performance actually improves upon its analogue forebears. An astonishingly wide dynamic range and low noise floor has been achieved through a combination of unique analogue emulating algorithms and the latest 24-bit / 96 kHz Delta Sigma AD/DA converters. The result is the classic Cadac sound – clean, transparent, and ready to adapt to any musical style.
Feature Summary
A unique Cadac feature is Monitor Mode. This has been developed to tackle the specific requirements of the monitor engineer, which is often an after-thought on many of today’s digital consoles.
When Monitor Mode is enabled, it gives the engineer the ability to access up to 62 user-assignable busses – depending on the console – and their respective contribution channels in ‘sends on fader’ mode, with a single touch of the screen. This allows fast and easy mixing of a large number of monitor feeds.
Add to this the ‘Mix Focus’ feature, which when enabled means that when any mix is ‘flipped’ into sends on faders mode, the console will only present the user with the channels that are contributing to the selected mix. This negates the need to navigate through all of the inputs.
It is also possible to select an input channel and ‘flip’ the outputs onto the faders, allowing a single channel to be sent to multiple destinations simultaneously via the faders.
A further level of control has been added by the introduction of ‘bus VCAs’, meaning each individual bus has 16 VCAs to control the level of its members within each bus. This allows the engineer to mix on VCAs when in fader flip for unparalleled control!
Whilst in monitor mode, when a mix is flipped to faders, if EQ is required the GEQ can be accessed instantly with a single press on the screen. Ideal when speed is of the essence!
All this, combined with the incredibly low latency, makes the CDC series a formidable weapon of choice for the discerning monitor engineer!
Feature Summary
There are 16 VCA groups and 8 mute groups with OLED displays for assignment labelling. Cadac’s unique approached to the user interface means that creating these user definable groups has been made incredibly intuitive. Any input can be assigned to any VCA or MUTE group, or to multiple groups, with a simple touch of the screen. Both the input and the groups can be named using the labels from the console’s library or by using the on-screen keyboard.
The CDC Console Software features enhanced VCA navigation with VCA unfolding. This allows the members of the selected VCA to be deployed on the faders, giving instant access to all of the inputs’ control parameters. In addition, whilst a VCA is ‘unfolded’ all 16 labelled VCA select buttons remain on the screen, allowing the user to jump from one VCA group directly to another, without reverting to the VCA master page – fewer button-presses, faster workflow.
To give a clear picture of the structure of the VCA groups all 16 can be easily viewed on an overview screen, showing all of the members of each VCA along with their post-fade input meters. Clearly displaying your entire mix – at a glance!
Feature Summary
A major contributor as to why Cadac digital consoles sound so clean and transparent is the attention paid to latency management – a major factor in digital audio performance and over looked by a majority of other digital consoles. It has to be remembered that all digital audio takes time to process, and that differences in latency of less than 0.1ms will have a hugely detrimental effect on audio quality.
When combining signals with different paths and processing most digital consoles will be summing multiple signals, which will be partly out of phase. Cadac digital consoles have an extensive automatic latency management system which manages all internal routing and associated processing latency, resulting in all audio samples being synchronised before summing and providing absolute phase coherency at all outputs.
Feature Summary
The Cadac CDC five with its 48 input channels and 24 assignable busses, is the latest addition to the Cadac digital console line. The compact CDC five gives sound engineers access to Cadac’s unique user experience and legendary audio performance at a very competitive price point.
Based on an evolution of Cadac’s ‘high agility’ operating system, the CDC five has all the benefits of an intuitive operating system and faster work flow all on a single 23.5” screen.
The new CDC five follows the same form factor and user interface as the CDC six and CDC seven-s. The most noticeable difference between the CDC five and its larger siblings is the lack of a stand alone 6.5” screen. The GUI of this control screen can be accessed with a swipe down action on the large 23.5” (or via a hard button to the left of the screen). There are also a number of hard buttons to the left of the screen to aid navigation when this screen is in use.
Another major differentiation is the number of user definable buttons on the surface which further increases the configurability of the workflow. The CDC five has 2 banks of 10 buttons – which are double layered – on either side of the fader tray, giving a total of 40 user buttons, along with a unique to CDC five set up screen. in comparison the CDC six and seven-s both have a single bank of 8 buttons – which are also dual layered – to the right of the faders.
As the CDC five has been conceived as a “single box solution” it has an internal PSU – with the option of external redundant supply in the form of the PSU4800. Every effort has been put into the design of the supply to ensure that the audio quality is not compromised in anyway. Another obvious feature of this “single box solution” is the increase of local I/O to 16 analogue inputs, complimenting the 8 analogue outputs and 8 digital inputs and outputs.
Although the CDC five has been designed to be the cost effective entry level Cadac, there has been no concessions when it comes to the feature set – or audio quality. As with the rest of the range the CDC five comes with an integrated 64 x 64 Waves interface, the same industry leading total through-system propagation and the identical features found within the CDC Console Software OS.
The CDC fives takes the CDC six and seven-s’ audio performance, and distinctive UI, to a price point not seen before on a touch screen Cadac, making it not only an exceptional but also a competitive alternative in the general-purpose mixing console market.
Hardware Overview
Feature Summary
Based on an evolution of Cadac’s ‘high agility’ operating system, the CDC five has all the benefits of an intuitive operating system and faster work flow all on a single 23.5” screen.
For further information about the feature set of the five, click on the features below:
Cadac’s analogue mic-amps have been universally acclaimed as the premium mic-amp in the industry. The design brief for a digital console was simple and consistent with the brand’s ethos for over 50 years – audio first.
Cadac’s digital consoles bear the hallmark of their analogue origins which can be traced back beyond the now legendary J-Type to those classic consoles of the golden age of recording studios. The audio performance still retains its traditional wide dynamic range and low noise floor through a combination of unique analogue emulating algorithms and the latest 24-bit / 96 kHz Delta Sigma AD/DA converters.
Another key to the Cadac sound is the attention paid to latency management – a major factor in digital audio performance and overlooked by a majority of other digital consoles.
All digital consoles take time to process audio. When combining signals with different paths and processing, most digital consoles when summing the multiple signals will be partly out of phase. Cadac digital consoles have an extensive automatic latency management system which manages all internal routing and associated processing latency, which means that all audio samples are synchronised before summing, resulting in absolute phase coherency at all outputs.
All Cadac digital consoles use Cadac’s own MegaCOMMS audio digital protocol. This results in a latency of under 0.4 milliseconds from analogue inputs on stage, through the console to analogue outputs on stage, making it perfect for in-ear monitoring. All inputs and all outputs are time aligned to sample accuracy – no matter the routing or where they are located in the network.
Feature Summary
Cadac’s MegaCOMMS digital audio network has been designed to meet the requirements of the most challenging applications. MegaCOMMS is a robust, TDM (time division multiplex) system. Control data is embedded within the data stream, so that no audio channels have to be sacrificed for this purpose. The high bandwidth available means that the current implementation of MegaCOMMS can carry 128 channels of 24-bit, 96 kHz audio, plus control data, plus clock, bi-directionally, up to 150 metres via a pair of RG-6 coaxial cables.
In addition to audio and control data, MegaCOMMS provides for accurate, phase-aligned clock distribution, by embedding timing markers in the data stream. This allows reliable, low-jitter synchronisation of all hardware elements within a network.
The simplest implementation of a MegaCOMMS network is the straightforward console-stagebox configuration. In this application, the console provides the clock and the stagebox synchronises itself once the connections are made. Total through-system propagation delay for this system, including all console processing and A-D / D-A conversions is an astonishing 37 samples (@ 96 kHz), or just under 400us. This compares with the many millisecond propagation delays usually found in most other similar systems.
For larger, true audio networks, a MegaCOMMS router is required which provides low-jitter clock synchronisation and flexible routing capability for up to 3072 channels of 24-bit, 96 kHz audio. The addition of a router into a system only adds an additional sample (approximately 10us) of propagation delay. MegaCOMMS is also capable of providing automatic fail-over to redundant spare connections, so providing peace-of-mind for critical applications. Most Cadac MegaCOMMS devices (consoles, large-format stageboxes and network bridges) support dual-redundant connections, with automatic seamless change-over in the event of cable failure.
The hardware “hub” for a large-scale network is the Cadac MegaCOMMS router – the CDC MC Router. This device has 12 pairs (send and return) of MegaCOMMS ports, easily identifiable from glowing colour coded BNC sockets. The MegaCOMMS router can connect up to 12 MegaCOMMS devices, and a MegaCOMMS device can be a console, stagebox or network bridge.
The CDC MC Router in conjunction with its control software, NetCOMMS, allows the fast and intuitive creation of powerful MegaCOMMS networks. Via a PC via using a simple graphical user interface Router maps can be created, edited and saved before uploading to the CDC MC Router via the Ethernet connection or as part of a wireless network.
The CDC MC Router also has the useful function of providing “gain compensation” in that if any of the connected mic amps have their analogue gain adjusted, the router will automatically compensate for the change in audio level to any and all other devices connected. This gain compensation process takes just a single sample (about 10us.) for the router to make the necessary adjustment, and so is completely inaudible in operation. This facility allows a stagebox’s analogue inputs to be shared between a number of consoles, and for multiple consoles to be connected to a common set of I/O in order to provide multiple mixing systems or multiple fully dual-redundant systems. In these large scale applications, the MegaCOMMS router provides clock for all consoles and I/O devices.
Cadac have also designed network bridging devices to enable MegaCOMMS to connect to other protocols. The network bridges feature dual-redundant power supplies and dual-redundant connections to other MegaCOMMS units, as well as asynchronous sample-rate conversion to other popular protocols such as MADI (AES10), via the CDC MC MADI Newtork Bridge, and DANTE via the CDC MC Dante Network Bridge.
MegaCOMMS networks are clocked at 96 kHz, but Cadac do provide for SRC (sample rate convertor) to other clock speeds and conversion to more widely adopted protocols such as MADI and Dante.
Example of a MegaCOMMS Network
The CDC MC Router provides the dynamic routing capability for the MegaCOMMS network. The 2U unit has 12 pairs of MegaCOMMS ports which can handle an audio network of 3072 channels.
The CDC MC Router in conjunction with its control software, NetCOMMS, allows the fast and intuitive creation of powerful MegaCOMMS networks. Via a PC via using a simple graphical user interface Router maps can be created, edited and saved before uploading to the CDC MC Router via the Ethernet connection or as part of a wireless network.
The CDC MC Router also handles gain compensation between consoles, automatically compensating for adjustments in gain, up to ± 20 dB, from the master console without affecting the gain, or audio quality, of any other console in the same network.
Below is a diagram showing the potential network capability of the CDC MC Router:
The above diagram has 128 analogue inputs shared between four consoles, which can be configured either as four discrete mixing systems, or two redundant console pairs. The example also shows audio distributed to remote broadcast and recording facilities via MegaCOMMS to MADI and Dante network bridges. The CDC MC Router provides gain compensation for all audio streams should any analogue input gains be adjusted during the performance, and can be pre-programmed with up to eight different routing maps, which can be selected from remote switching panel. All RG-6 coaxial cables can be up to 150 metres and the optical link up to 2 kilometres.
This video provides an overview of the CDC MC Router that provides the routing capability for the MegaCOMMS network
Feature Summary
The consoles come preconfigured with fixed format local I/O consisting of 8 AES3 inputs and 8 AES3 outputs, alongside up to sixteen fully programmable mic inputs and 8 analogue outputs.
Cadac also offers three fixed format stageboxes, with MegaCOMMS connectivity, which provide inputs and outputs remotely from the console. These include the CDC I/O 3216, which has 32 mic inputs and 16 analogue outputs and the CDC MC AES3 that provides a total of 18 AES3 inputs / outputs, plus the larger CDC I/O 6448 which features 64 mic inputs and 48 analogue outputs.
Two stageboxes can be connected directly to the rear of the console but up to eleven MegaCOMMS units can be added via the CDC MC Router, creating a much larger audio network.
The CDC Console Software automatically detects the I/O units, and patching is simply achieved by a touch on the screen. Each input / output on the unit can be “flashed” from the console making identification incredibly easy on the stage.
Feature Summary
The CDC I/O 6448 is an 11U fixed configuration stagebox featuring 64 highly acclaimed Cadac mic-amps and 48 analogue XLR outputs. The stagebox is connected to the console using Cadac’s MegaCOMMS network protocol allowing the I/O unit to be located up to 150 meters from the mixer. The CDC I/O 6448 has two pairs of MegaCOMMS send and receive ports on the rear for redundancy.
The Cadac mic-press can be controlled remotely from the console along with output assignments. To complete the user interface there is signal present, clip and phantom power indication plus mute indication for the outputs. Larger networks can be created by using the MegaCOMMS CDC MC Router which can connect up to 12 MegaCOMMS devices within one network.
For that extra peace of mind there is also the option for adding an additional power supply to safe guard against PSU failure.
This video provides an overview of the CDC I/O 6448 stagebox
Feature Summary
CDC I/O 3216 is a 4U fixed configuration unit featuring 32 mic / line analogue inputs and 16 XLR analogue outputs. The stagebox is connected to the console by using Cadac’s propriety low latency MegaCOMMS audio network protocol. The CDC I/O 3216 can be located up to 150 metres (492 feet) away from the console using just a pair of co-axial cables.
All functions of the mic-pre’s can be controlled remotely from the console. The comprehensive front-panel indicators include signal present, clip and phantom power status. There is also mute indication featured on all CDC I/O 3216 outputs.
This video provides an overview of the CDC I/O 3216 stagebox
Feature Summary
The 2U CDC MC AES3 Stagebox provides a total of 18 AES3 inputs / outputs via 4, 25-way D-Sub connectors and 2 XLR connectors, making a total of 36 audio inputs and outputs. All of the inputs, which are transformer isolated, and outputs have SRC on a connector to connector basis; 44.1 kHz, 48 kHz and 96 kHz (192 kHz on inputs only) with conversion to 96 kHz.
The unit can also be synchronised with an external Word clock (3V3 and 5V0), AES11 or via its own internal clock.
The unit features redundant PSUs as standard.
Feature Summary
The CDC five can be part of a much larger, integrated audio network.
The CDC MC Dante and MADI bridges allow these third party audio network protocols to be seamless integrated in to the MegaCOMMS network.
The standard Waves interface card on the CDC five gives access to not only to the Waves plug-ins, but also the ability to perform a “virtual sound-check” and to record up to 64 audio tracks straight to your computer.
With Cadac Remote for the iPad, all of the key features of the console can be controlled from anywhere in the venue within reach of wireless router.
For more information click on the tabs.
The CDC MC MADI is a MADI to MegaCOMMS audio network bridge allowing the seamless integration of MADI audio streams into a MegaCOMMS audio network. The 1U unit can operate at 96 kHz or 48 kHz and can handle up to 64 inputs and outputs and is equipped with 128 channels of SRC as well as its own independent word clock.
The MC MADI comes as standard with dual PSUs ideal for mission critical applications. The MADI audio connections are handled via coaxial and optical. To aid with configuring the MegaCOMMS network the unit’s co-axial ports glow either red or blue for Rx (receive) or Tx (transmit) – a real boon for speeding up low light set-up.
This video provides an overview of the CDC MC MADI audio network bridge
Feature Summary
The CDC MC Dante is a 1U Dante to MegaCOMMS audio network bridge enabling Dante units to be incorporated in to the MegaCOMMS audio network. The unit can work at either 96 kHz or 48 kHz and can handle up to 64 inputs and outputs.
The MC Dante also has 128 channels of SRC as well as its own independent word clock with audio connections via coaxial plus dual PSUs as standard for extra peace mind when used in critical applications. As with the CDC MC MADI unit the co-axial ports glow either red or blue for Rx (receive) or Tx (transmit) – enabling fast and accurate configuring of the MegaCOMMS network especially in low light.
This video provides an overview of the CDC MC Dante audio network bridge
Feature Summary
The CDC five, CDC six and CDC seven-s feature an integrated Waves SoundGrid interface card which provides connectivity to Waves SuperRack.
This allows up to 64 channels of Waves studio-grade plug-ins to simultaneously run alongside the console’s own native effects options. Audio is streamed from the integrated interface card to the SoundGrid server, processed, and then streamed back to the console via Cat5e.
The Waves processing is patched in the same way as the existing Cadac I/O racks, and can be used as a send and return for effects processing, or alternatively can be patched and used as inserts, giving great flexibility.
The Waves interface can also be used to multi-track record or playback multi-tracks for a “virtual” sound check via a PC or Mac by using the Waves QRec App.
Each of the console’s input channels features two inputs. These can easily be configured as mic/playback and switching between them globally achieved at the touch of a screen.
Feature Summary
General Specifications CDC five
| Faders | 16 x 100mm motorised faders |
| Screens | 23.5″ 16:9 HD |
| PSU | 1 x internal PSU |
| (option to add second external 19″ 2U rackmount PSU with full redundancy | |
| Inputs | Up to 192 (inc local I/O) |
| Channels | 48 with full processing |
| Busses | 24 configurable in pairs as group/aux/st aux plus dedicated LCR, monitor LR, headphones LR and talkback |
| Matrix | Up to 67 x 48 with full processing |
| Outputs | Up to 192 (inc local I/O) |
| Graphic EQ | 32 band +/-16 dB on all 55 outputs |
| Internal FX | 16 high-resolution 96 kHz stereo effects processors |
| Local IO | 16 x XLR Mic Inputs (inc 48 V, PAD and 1 dB gain steps), 8x XLR Balanced outputs, 4 x XLR AES/EBU inputs and 4 x XLR AES/EBU outputs |
| Comms | 2 x Cadac MegaCOMMS |
| | |
| Audio Specification | |
| Sample Rate | 96 kHz |
| Processing Delay | Sub 0.4 millisecond latency through complete signal chain |
| Internal Processing | 40-bit floating point |
| ADC/DAC | 24-bit |
| Frequency Response | 20 Hz to 44 kHz + 0.5 / -1.5 dB |
| THD+N | better than 0.005% @unity gain, 10 dB input at 1 kHz |
| Channel Seperation | better than 90 dB |
| Residual Output Noise | < -90 dBu (20 Hz – 20 kHz) |
| MIC EIN | < -127 dB with 200 Ohm source impedance |
| Maximum Output | 21 dBu |
Dimensions:
Click to Open: CDC five drawing. pdf
712mm width x 766mm depth x 259.12mm height
Weight:
37kgs / 81.57lbs (approx)