citronic CMA Series Compact Mixers User Manual

citronic CMA Series Compact Mixers

Product Information

• Model: CMA-series Compact Mixers with FX/BT/USB
• Item References: 170.862UK, 170.864UK, 170.866UK
• User Manual Version: 1.0

Product Usage Instructions

• Safety and Caution:
  Before operating the mixer, please read the manual carefully to avoid damage due to misuse. To prevent electric shock, do not expose any components to rain or moisture. In case of liquid entry, stop using it immediately, allow the unit to dry out, and have it checked by qualified personnel before further use. Avoid impacts, extreme pressure, or heavy vibration in the case.

• Placement:
  Place the mixer on a stable, flat surface away from liquids and moisture. Ensure proper ventilation around the unit to prevent overheating.

• Cleaning:
  Regularly clean the mixer using a soft, dry cloth. Avoid using harsh chemicals or solvents that may damage the surface or components of the mixer.

• Console Layout:
  The CMA-series mixer features mono input channels for balanced microphones or line/instrument inputs. Additionally, there is a stereo input for playback devices or line-level instruments. The preamps have a low-noise architecture for optimal signal quality.

• Channel Inputs:
  The mixer provides XLR or 6.3mm jack combo sockets for channel inputs. XLR connections are for balanced microphones, while 6.3mm plugs are for line-level instruments. Make sure to connect the inputs correctly as per the provided wiring instructions

Mono Input Channels:

1. Combo Input: Connect a balanced microphone via XLR or a line level/instrument input via a 6.3mm plug. Ensure proper wiring for balanced or unbalanced connections.
2. +48V Phantom Power: Press this button to enable phantom power for condenser microphones and DI boxes connected via XLR inputs. Do not use phantom power with unbalanced XLR connectors.
3. SIG LED: Green indicator LED that lights up when a signal is present.
4. GAIN Control: Adjust the gain level based on the input signal to prevent distortion or overloading.

FAQ (Frequently Asked Questions)

• Q: Can I use +48V phantom power with unbalanced XLR connectors?
  A: No, it is not recommended to use phantom power with unbalanced XLR connectors as it may cause issues.

• Q: How should I clean the mixer?
  A: Clean the mixer using a soft, dry cloth. Avoid using harsh chemicals or solvents that can damage the surface or components.

Introduction

Thank you for choosing a Citronic CMA-series mixer as part of your professional sound system. This product has been developed to provide a wide range of facilities for professional and reliable sound reinforcement. Please read and keep this manual to achieve the best results from your purchase and avoid damage through misuse.

SAFETY SYMBOL AND MESSAGE CONVENTIONS

1. CAUTION
   RISK OF ELECTRIC SHOCK DO NOT OPEN

2. AVIS
   RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

• This symbol indicates that dangerous voltage constituting a risk of electric shock is present within this unit
• This symbol indicates that there are important operating and maintenance instructions in the literature accompanying this unit.

Warning

• To prevent the risk of fire or electric shock, do not expose any components to rain or moisture. If liquids enter the housing, stop using it immediately, allow the unit to dry out, and have it checked by qualified personnel before further use.
• Avoid impact, extreme pressure, or heavy vibration to the case.
• No user-serviceable parts inside – Do not open the case – refer all servicing to qualified service personnel.

Safety

• Use the 5Vdc power adaptor supplied or equivalent.
• Avoid ingress of water or particles into any part of the housing. If liquids are spilled on the console, stop using it immediately, allow the unit to dry out, and have checked by qualified personnel before further use

Placement

• Keep the console out of direct sunlight and away from heat sources.
• Do not place heavy objects on top of the control surface
• Allow adequate space for airflow and keep the console away from dampness or dust.

Cleaning

• Use a soft cloth with a neutral detergent to clean the housing as required.
• A soft brush can be used to clear debris from between controls without damaging them
• Do not use solvents for cleaning the unit.

Console layout

• Each CMA compact mixing console has a bank of mono input channels that can accept a balanced microphone input or switchable line/instrument input. There is also a stereo input for playback devices or line-level instruments.
• All preamps have studio-grade, low-noise architecture for the cleanest possible path throughout the signal chain. The console layout is set out in distinct sections to simplify operation.
• The following pages are divided up into these stages to explain the details and function of each control.

Channel inputs

• Channel inputs are provided as XLR or 6.3mm jack on combo sockets.
• If an XLR is plugged in, this will be connected at a low impedance (microphone) level.
• If a 6.3mm plug is used, this will be connected a high impedance (line) level.
• The connections for these inputs are assigned as shown below.

Mono input channels

1. Combo input: Connect a balanced microphone via XLR connection or a line level (or instrument) input via 6.3mm plug. An unbalanced XLR can be connected provided that +48V phantom power is not used. Wired as follows.

2. +48V phantom Press this button in to enable +48V phantom power to the pair of XLRs and the LED indicator will light. This provides power to some condenser microphones and DI boxes. Do not use phantom power with unbalanced XLR connectors. (this does apply to any jack inputs)
   Channel controls

3. SIG LED A green indicator LED that illuminates when the signal is present

4. GAIN Adjust this to match the input signal level to be suitable for the channel.

   • Increase this setting if the input source is quiet.
   • Reduce this setting if the channel is overloading or sounds distorted.

5. LOW CUT Preset filter for removing the lowest frequencies on microphones to avoid handling noise or pops from close vocals.

6. HIGH EQ This control can boost or cut the high frequencies by ±15dB (noon position is zero)

7. LO EQ This control can boost or cut the low frequencies by ±15dB (noon position is zero)

8. FX This control regulates the amount of the channel signal that is fed to the DSP effects section, varying the amount of effect.

9. STEREO All mono channels are pre-set to the center of the stereo field by MODE default (equal left & right). Pressing this button in “hard pans” the 2 mono channels left & right as a stereo pair.

10. VOL Moving this control clockwise increases the (volume) level of the signal to the output. Stereo inputs

11. L/MONO Line level 6.3mm jack input. Left side of the stereo input, or will default to mono if connected alone (i.e. without a right side input)

12. RIGHT Line level 6.3mm jack input for the right side of stereo input.

13. LIVE 3.5mm stereo line (or aux) input for mp3 player, smartphone, etc

14. VOL Rotary Volume control for L+R 6.3mm line channel with signal LED.

15. VOL Rotary Volume control for stereo 3.5mm line channel with signal LED.
    Bluetooth Wireless Receiver & MP3 Player
    CMA-series mixers have a Bluetooth receiver and USB mp3 audio player/recorder

16. MP3 VOL Volume control for USB mp3 playback with signal LED

17. BT PAIR Press this button to activate the Bluetooth receiver. (see below Operation section for pairing procedure)

18. BT VOL Volume control for the Bluetooth receiver with signal LED

19. USB port Connect USB flash drive to play or record tracks on the media.
    Connecting to a PC using a USB A to A lead will present the mp3 input and main output as a 2-way stereo plug-and-play USB audio interface. This should appear in your PC software as an input/output option.

20. Display The top part of the LED display shows USB playback or record status and time.

21. Controls 4 button control panel for track playback and recording

    • = Previous track = Next track
    • = Play/Pause REC = Record
      (recorded tracks are stored on the USB flash drive as numbered files) DSP Effects
      CMA-series mixers have an internal 24-bit DSP processor for audio effects, as detailed in the DSP Table in the appendix of this manual.

22. Preset selector Rotate until the required preset is shown and press to select that preset

23. PARA1 Parameter 1 of the preset – see appendix (the adjusted value is stored for that preset)

24. PARA2 Parameter 2 of the preset – see appendix (the adjusted value is stored for that preset)

25. Display The lower part of the LED display shows the DSP preset number & MAIN OUT VU meter

26. DSP EFX VOL Master DSP effects volume control
    Output Section

27. PHONES Headphones level to 6.3mm stereo PHONES output

28. MAIN OUT Master volume control for L+R XLR outputs

29. MAIN L/R Main balanced Left + Right outputs

30. FOOT SW Connect a momentary footswitch to mute/unmute the DSP effects

31. PHONES Connect Headphones via 6.3mm stereo jack (32Ω min)

Setting Up

• Connect microphones to the Mic / Line / Instrument combo inputs (1) via XLR, ensuring that the +48V button (2) is pressed in for any condenser microphones or D.I. boxes that require phantom power to operate.
• (the +48V button activates phantom power to XLR inputs in pairs. If a microphone does not require phantom power, enabling it will not damage the microphone, but you must ensure that the XLR is wired as a balanced connection. i.e. separate +, -, and GND connections to avoid damage to the mixer)
• For line inputs (such as CD, mp3 player, laptop, digital keyboard, etc.) or instrument inputs (such as an electric guitar), connect these via a 6.3mm jack plug to the combo inputs (1)
• For stereo line level signals, such as CD or mp3 players, computer sound cards, or electronic keyboards, connect these via a 6.3mm jack plug to the stereo inputs (11, 12) or if the input device is mono, just connect to the L/MONO input (11). The stereo channel has its volume control (14)
• A further stereo AUX input (13) is provided on a 3.5mm jack for connecting a stereo line level audio source, such as an mp3 player, smartphone, tablet, or laptop. This is governed by its volume control (15)
• If headphones are to be used for monitoring the main output, connect these to the PHONES 6.3mm stereo jack (31) and turn the PHONES control (27) down fully before listening to the headphones, gradually turning this control up to the required level to avoid damage to hearing.
• Connect the MAIN OUT L + R XLR outputs (29) to the receiving amplifier or recording device.
• Finally, connect the supplied in-line adaptor to the USB-C power inlet on the rear panel and the plug-top to a suitable mains outlet, ensuring the correct mains supply voltage.
• Before switching power on, it is advised to turn all volume controls fully down to avoid any loud noises through the connected speakers or recording equipment.

Operation

• Turn the MAIN OUT control (28) fully down and press the POWER button on the rear panel and the POWER LED on the top panel will light.
• Check the output of any channel by starting with its VOL (10, 14, 15, 18) and FX (8) turned fully down. HIGH and LOW EQ controls should all be set in the mid position (noon).
• Turn up the MAIN OUT or PHONES (28, 27) part way and listen whilst playing the signal (or speaking into the microphone) and gradually increase its VOL control. Stop when the desired output level is reached.
• Avoid aiming the microphone or instrument pickup towards the loudspeaker(s), which can cause feedback, which is a loud whistling or howling sound caused when a mic or pickup hears its output.
• To adjust the tone characteristics of a Mic, Line, or Instrument input signal, the high and low-frequency content can be individually cut or boosted using the HIGH and LOW EQ controls (6, 7)
• Turning the HIGH control clockwise from noon boosts the high frequencies (treble) for a brighter sound and turning it anticlockwise cuts them for a duller sound.
• Turning the LOW control clockwise from noon boosts the low frequencies (bass) for a thicker sound and turning it anticlockwise cuts them for a thinner sound.
• Boosting these too much can increase the chance of feedback, whereas cutting can sometimes help to reduce feedback, so experimentation is often necessary.
• Adding some DSP presets to a mic or instrument can create a spatial or rotating effect. To add the effect, turn the DSP EFX control up (26) and gradually increase the FX control (8) on the input channel.
• There are 99 pre-set types available by rotating and pressing the preset selector (22) including digital reverbs, delays, and modulation effects. Each effect has 2 adjustable parameters (23, 24) to enable you to tailor the effect as required. Experimentation is advised to achieve the best results from this section.
• See the previous “DSP Effects” section and appendix for details about the DSP effects.
• If a smartphone or tablet is to be connected as a wireless music source, press the BT PAIR button (17) and it will flash blue rapidly.
• Search on the smartphone or tablet for a device called “Citronic” and select to connect for audio playback. The BT PAIR button (17) will be lit blue constantly when paired successfully.
• When a track is being, the BT PAIR button will flash slowly. Turn up the BT VOL control (18) to hear the track being played. Pressing the BT PAIR button again will disable the Bluetooth receiver.
• Turn down the MAIN OUT volume control before powering down to avoid loud noises through connected equipment.

Specifications

Model

| CMA- 6| CMA- 8|

CMA- 10

---|---|---|---
Power supply| 5Vdc 1A min. (USB-C adaptor included)
Power consumption max.| 5W
Effects| 99 program DSP (2 parameter controls)
DSP sample rate| 48khz (24-bit)
Audio source| Bluetooth receiver, USB mp3 player/recorder
Bluetooth version| v5.1 (+BR+EDR+BLE)
USB version| v1.1 audio (mp3/wav/ape/flac)
EQ: low| ±15dB @ 80Hz
EQ: high| ±15dB @ 12kHz
Phantom power| +48V switchable in pairs (XLR inputs only)
Frequency response| 20Hz – 22kHz (±1dB)
Input level| Mic +10dBu max. / Line +22dBu max.
Input impedance| Balanced XLR 2k Ohm, Balanced TRS jack 10k Ohm
THD +N| <0.05% @ 1kHz
Noise| EIN -122dBu (22Hz – 22kHz)
CMRR| >75dB (Mic 1kHz)
Sensitivity| XLR -60 to +10dBu, TRS jack -20 to +20dBu, Stereo -20 to +14dBu
Crosstalk: stereo| >80dB (1kHz fader shutoff)
Outputs| Left + Right balanced XLR, Headphones 6.3mm jack
Max. output level| XLR +22dBu, TRS +20dBu
Mono inputs| 2 x combo XLR/jack| 4 x combo XLR/jack| 6 x combo XLR/jack
Stereo inputs| L+R 6.3mm jacks + stereo 3.5mm jack
Dimensions| 183 x 182 x 60mm| 232 x 183 x 60mm| 282 x 183 x 60mm
Weight| 0.875kg| 1.125kg| 1.395kg

Disposal:
The “Crossed Wheelie Bin” symbol on the product means that the product is classed as Electrical or Electronic equipment and should not be disposed of with other household or commercial waste at the end of its useful life. The goods must be disposed of according to your local council guidelines.

• Hereby, AVSL Group Ltd. declares that the radio equipment types 170.875UK, 170.876UK, and 170.877UK comply with
  Directive 2014/53/EU

• The full text of the EU declaration of conformity for 170.875UK is available at the following internet address:
  http://www.avsl.com/assets/exportdoc/1/7/170875UK%20CE.pdf

• The full text of the EU declaration of conformity for 170.876UK is available at the following internet address:
  http://www.avsl.com/assets/exportdoc/1/7/170876UK%20CE.pdf

• The full text of the EU declaration of conformity for 170.877UK is available at the following internet address:
  http://www.avsl.com/assets/exportdoc/1/7/170877UK%20CE.pdf

Errors and omissions excepted. Copyright© 2021. AVSL Group Ltd. Unit 2-4 Bridgewater Park, Taylor Rd. Manchester. M41 7JQ AVSL (EUROPE) Ltd, Unit 3D North Point House, North Point Business Park, New Mallow Road, Cork, Ireland.

DSP Effects Presets & Parameters

No

| Name| Para 1|

Para 2

---|---|---|---
1| KTV Echo 3| Dly Time| Decay Time
2| KTV Echo 2| Dly Time| Decay Time
3| KTV Echo 1| Repeat| Decay Time
4| Bright Hall Mid| Pre-Delay| Decay Time
5| Bright Room Mid| Pre-Delay| Decay Time
6| Plate Mid| Pre-Delay| Decay Time
7| Mono Delay 220| Repeat| Delay Time
8| Stereo Delay 220| Repeat| Delay Time
9| Ping Pong Delay 220| Repeat| Delay Time
10| Tape Delay 220| Repeat| Delay Time
11| Modulation Delay| Depth| Delay Time
12| Chorus Slow| Depth| Speed
13| Chorus Fast| Depth| Speed
14| Flanger Light| Depth| Speed
15| Flanger Heavy| Depth| Speed
16| Distortion FX| Drive| Gain
17| Wah Wah| Depth| Speed
18| Tremolo| Depth| Speed
19| Pitch Shift| Cent| Key
20| Chorus + Room| Speed| Decay Time
21| Chorus + Hall| Speed| Decay Time
22| Delay + Chorus| Speed| Delay Time
23| Delay + Flanger| Speed| Delay Time
24| Delay + Chorus + Room| daytime| Decay Time
25| Delay + Chorus + Hall| daytime| Decay Time
26| Bright Hall Small| Pre-Delay| Decay Time
27| Bright Hall Large| Pre-Delay| Decay Time
28| Warm Hall Small| Pre-Delay| Decay Time
29| Warm Hall Mid| Pre-Delay| Decay Time
30| Warm Hall Large| Pre-Delay| Decay Time
31| Bright Room Small| Pre-Delay| Decay Time
32| Bright Room Large| Pre-Delay| Decay Time
33| Warm Room Small| Pre-Delay| Decay Time
34| Warm Room Mid| Pre-Delay| Decay Time
35| Warm Room Large| Pre-Delay| Decay Time
36| Plate Small| Pre-Delay| Decay Time
37| Plate Large| Pre-Delay| Decay Time
38| Reverb + Gate Short| Gate Time| Decay Time
39| Reverb + Gate Mid| Gate Time| Decay Time
40| Reverb + Gate Long| Gate Time| Decay Time
41| Doubling Small| daytime| Decay Time
42| Doubling Mid| daytime| Decay Time
43| Doubling Large| daytime| Decay Time
44| Early Reflections Small| Pre-Delay| Decay Time
45| Early Reflections Mid| Pre-Delay| Decay Time
46| Early Reflections Large| Pre-Delay| Decay Time
47| Slap Short| None| Delay Time
48| Slap Mid| None| Delay Time
49| Slap Long| None| Delay Time
50| Mono Delay 60| Repeat| Delay Time
---|---|---|---
51| Mono Delay 100| Repeat| Delay Time
52| Mono Delay 150| Repeat| Delay Time
53| Mono Delay 300| Repeat| Delay Time
54| Mono Delay 500| Repeat| Delay Time
55| Mono Delay 600| Repeat| Delay Time
56| Mono Delay 800| Repeat| Delay Time
57| Mono Delay 1000| Repeat| Delay Time
58| Mono Delay 1200| Repeat| Delay Time
59| Mono Delay 1400| Repeat| Delay Time
60| Mono Delay 1800| Repeat| Delay Time
61| Mono Delay 2500| Repeat| Delay Time
62| Mono Delay 3000| Repeat| Delay Time
63| Mono Delay 3500| Repeat| Delay Time
64| Stereo Delay 60| Repeat| Delay Time
65| Stereo Delay 100| Repeat| Delay Time
66| Stereo Delay 150| Repeat| Delay Time
67| Stereo Delay 300| Repeat| Delay Time
68| Stereo Delay 500| Repeat| Delay Time
69| Stereo Delay 600| Repeat| Delay Time
70| Stereo Delay 800| Repeat| Delay Time
71| Stereo Delay 1000| Repeat| Delay Time
72| Stereo Delay 1200| Repeat| Delay Time
73| Stereo Delay 1400| Repeat| Delay Time
74| Stereo Delay 1800| Repeat| Delay Time
75| Ping Pong Delay 60| Repeat| Delay Time
76| Ping Pong Delay 100| Repeat| Delay Time
77| Ping Pong Delay 150| Repeat| Delay Time
78| Ping Pong Delay 300| Repeat| Delay Time
79| Ping Pong Delay 500| Repeat| Delay Time
80| Ping Pong Delay 600| Repeat| Delay Time
81| Ping Pong Delay 800| Repeat| Delay Time
82| Ping Pong Delay 1000| Repeat| Delay Time
83| Ping Pong Delay 1200| Repeat| Delay Time
84| Ping Pong Delay 1400| Repeat| Delay Time
85| Ping Pong Delay 1800| Repeat| Delay Time
86| Tape Delay 60| Repeat| Delay Time
87| Tape Delay 100| Repeat| Delay Time
88| Tape Delay 150| Repeat| Delay Time
89| Tape Delay 300| Repeat| Delay Time
90| Tape Delay 500| Repeat| Delay Time
91| Tape Delay 600| Repeat| Delay Time
92| Tape Delay 800| Repeat| Delay Time
93| Tape Delay 1000| Repeat| Delay Time
94| Echo 1 100| Repeat| Delay Time
95| Echo 1 400| Repeat| Delay Time
96| Echo 2 100| daytime| Decay Time
97| Echo 2 400| daytime| Decay Time
98| Echo 3 100| daytime| Decay Time
99| Echo 3 400| daytime| Decay Time

Errors and omissions excepted. Copyright© 2021.

• AVSL Group Ltd. Unit 2-4 Bridgewater Park, Taylor Rd. Manchester. M41 7JQ
• AVSL (EUROPE) Ltd, Unit 3D North Point House, North Point Business Park, New Mallow Road, Cork, Ireland.

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