Cooper Sound CS306 User manual

645 Main Street, Suite C
Morro Bay
CA
Phone: [phone]
Fax: [phone]
,
http://www.coopersound.com
93442-2273
USA
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Cover Page
CS306 PROFESSIONAL AUDIO MIXER
OPERATOR’S MANUAL

CS306
Cooper Sound Systems, Inc.
TABLE OF CONTENTS
INPUT CHANNEL DESCRIPTION…………………………...……………....……….1
OUTPUT MODULE DESCRIPTION………………………………………..………....2
REAR PANEL DESCRIPTION………………………………………..…….………….3
BLOCK DIAGRAM..……………………………………….…………………………….4
STEREO MODULE (OPTIONAL)………………...………………………….………...5
PIN OUTS...............................................................................................................6
SPECIFICATIONS
SPECIFICATIONS……………………………………..………………......…………7,8
OPERATION & APPLICATION NOTES.………………………………........……9,10
APPLICATION NOTES
REMOTE ROLLS….....……………………………….……………………………….11
COMMUNICATIONS IN……………………………………………..............……….12
CABLE WIRING…………………….………………………………………………….13
WARRANTY……………………………………………………………………………14
Table of Content
Table of Content

1
2
3
5
6
7
8
9
4
10
11
12
13
14
1
3
4
2
METER BRIDGE (audio)
1. DYN/PH: Dynamic or phantom power (48 v)
Dynamic is no power.
2. Mic/Line: Microphone or line level in. Switching to line
automatically turns off mic power.
3. ø: Audio phase; N = normal phase,
R = reverse phase
4. Pad: Attenuator to reduce either mic or
line input levels
INPUT CHANNEL
1. Gain: Mic/line preamp gain
2. HP 1: High pass filter (see specs)
3. HP 2: High pass filter (see specs)
4. O/L: Near overload indicator
5. PFL: Pre fade listen
6-9. A,B,C,D: Channel to mix bus assigns: L (left),
R (right) indicate monitor & pan pot
assignment (center position is off)
10. LIM+LED: The limiter is a symmetrical peak
detecting type & is completely out
of circuit when switched off.
The LED indicates limiter action.
11. Thres: Limiter threshold: Clockwise = lower
threshold
12. Pan (switch): Switching the pan switch to the left
disengages the panpot. Crosstalk is
therefore minimized and the output
levels will remain equal.
13. Pan (pot): (L) = A & or C
(R) = B & or D
14. Channel fader
INPUT MODULE
MODEL CS306
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June 2006

1
2
3
5
6
7
8
9
4
24
25
12
13
1
3
4
2
26
27
18
19
16
17
11
10
14
15
22
23
21
20
Meters:
1. Controls LED brightness. Use lowest
setting possible to conserve current
consumption.
2. B. TST: Battery test (see specs)
3. PK/VU: The mixer is configured for either VU
or Peak response meters.
PK: The reference tone is at -8 dB
VU: The reference tone is at 0 dB.
4. OL: ‘Overload’ - Indicates near clip level. This
LED has a slower release time than the
others.
MONITOR 2
1. Level: Monitor 2 gain adjustment
2-5. A,B,C,D Assigns busses to Monitor 2 output
6-9. Master Faders: ABCD - Normally left at maximum for
optimum headroom & signal to noise ratio.
10. Level (monitor 1):Gain adjustment
11. PL: Private line assign to Monitor 1
12. COMM: Communications return (talkback) to Monitor
1 only (See application note for 2 returns)
The multiturn trimmer above this Switch
adjusts the level.
13. MIC: Internal slate mic & gain adjustment
14. TAPE/DIR : (monitor 1) Tape or Direct to Monitor 1
15. M/ST/MS : (monitor 1) M = mono, ST = stereo, MS = mid-side
Any combination selected by switches
(16-19) can be monitored in mono, stereo
or mid-side.
16-19. SOLO/OFF/ON Any combination of busses can be
A,B,C,D: monitored. ‘SOLO’ disconnects the other
busses to the Monitor 1 output - Solo
mono’s the signal to the headphone out.
‘ON’ - In stereo mode the busses are
assigned to either (L) left or (R) right.
20. Power: Internal or external power (center off)
(LED: Turns off at minimum input voltage.)
21,23. Returns: Trim pots (multiturn) to adjust return (tape)
level to Monitor 1 and the meters
22. TAPE/DIR : (meters) Tape/Direct: Meters indicate the return
signals.
OSCILLATOR SECTION
24. OSC: Internal oscillator: Up = on, Down = momentary on.
Trimmer (multiturn) above adjusts level
25. Slate: Slate mic on
26. PL: Private line to Monitors 1 & 2. The level is
adjusted by the multiturn trimmer above. (See #11)
27. Roll: Remote control for many types of recorders (see
separate application note).
Up = Roll; Down = Stop/Pause
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OUTPUT MODULE
MODEL CS306

3
2
1
4
9
10
13
12
11
5
6
7
8
LEFT TO RIGHT
1. MONI 2: Monitor 2 output - For mono headphones (or mono wireless
communications)
2. FUSE: 2.5 A (5 x 20 mm)
3. PWR: External power Pin 1 = Negative DC, Pin 3 = Battery charge
(positive), Pin 4 = Positive DC (see specifications)
4. Balanced outs (XLR): A,B,C,D
5. In/Out: Balanced outputs and balanced (tape) returns (AB: in/out,
CD: in/out)
6. COMM In: Communications input to Monitor 1 (balanced, line level)
7. ROLL: Remote control for various recorders
8. ACC: Not used. Machined for a DB9 connector.
9. Unbalanced outs (DB9): A,B,C,D
10. MIX Bus IN: A,B,C,D (current input, see specifications)
11. XLR Inputs: Balanced (mic or line level)
12. Jacks: Channel direct outs, post fader (unbalanced)
13. Channel outs: Pre fade channel outputs (+4dBU balanced) for multitrack recording
CH. 7 & 8 are the A & B mix bus balanced outputs
REAR PANEL
MODEL CS306
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June 2006

+4dBu
phase
2
3
Pad
mic
power
post fade jack
channel outs
pan
pot
pan
switch
osc./slate
unbalanced out
DB9
monitors
& meter buffers
balanced out
master
XLR & video
PFL
M/ST/MS PL
comm
PL
ABCD monitor 2
dir/tape drivers
batt test
returns
Meters
DB25
CS306 block diagram
mic
line
+4dBu AB out
only
DB25
(CH 7,8)
pre amp
HP1 & 2
channel
fader
OL
Lim.
A
B
C
D
PFL
xfmer
driver
dir/tape
returns
assign/
solo
AC
BD
Monitor 1
L
R
AB C D
ABC D
PFL
XLR
prefade
Mono Inputs
Outputs
bus assign
123
1 = HP 1
2 = HP 2
3 = HP 1 + HP 2
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June 2006
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BLOCK DIAGRAM
MODEL CS306

1 2
pre amp
HP1 & 2
channel
fader
OL
Lim.
pan
pot
AB C D
bus assign
pre fader
pre amp
HP1 & 2
channel
fader
pan
pot
pre fader
MS
limiter
link
A
B
C
D
post fader
post fader
stereo block diagram
A
B
C
D
OL
Lim.
CH 1/3/5
CH 2/4/6
CH
link
CH out (1/3/5)
CH out (2/4/6)
post jack
post jack
PFL
PFL
STEREO INPUT CHANNEL
Any pair of mono channels can be converted to stereo pairs.*
The cosmetic difference is that the Pan out switches are
replaced with Link & MS Decode switches with LEDs above.
1. Link: Both channels (odd & even) are linked together with one
stereo fader on the odd channel - the even channel fader is
disconnected from the circuit. ‘Link on’ also links the two
limiters.
2. MS DEC: MS Decode - The even channel output is inverted to bus B
only. Both pan pots should be centered. With equal gain,
the M/S mic configuration is decoded to 50%.
Odd channel = mid, Even channel = side.
The result will be:
A bus = M + S = L, B bus = M - S = R
The stereo image width can be changed by altering the gain
of one channel.
Note: A & B assign switches should be on for both channels.
C & D busses are now pre pan pot (& inverter), allowing a non decoded MS
mic configuration to be recorded, pre or post fader to C & D busses.
MS mic configuration can also be recorded via the pre fader channel outs.
Note: For decoding MS to the monitor only - see output section.
*A retrofit kit is available.
CSST-STEREO MODULE
MODEL CS306
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June 2006

XLR 3M & XLR 3F
Pin 1 = Ground
Pin 2 = High
Pin 3 = Low
Monitor 1 Monitor 2
1/4” stereo jack (max. load = 25!per channel) 1/4” mono jack (max. load = 25!)
Tip = Left Tip = Signal
Ring = Right Sleeve = Ground
Sleeve = Ground
Direct Out Comm. In
(post fader) TQG3M
1/4” mono jack Tip = Signal Pin 1 = Ground
Sleeve = Ground Pin 2 = High
Pin 3 = Low
Mix Bus In Video 10 pin:
DB9 1 = Ground
2 = D 1 + A,C out
3 = C 2 - A,C out
4 = A
5 = B 3 + B,D out
(current input, see specifications) 4 - B,D out
Outputs 5 + B,D in
DB9 1 = Ground 6 - B,D in
2 = A
3 = B 7 + A,C in
4 = C 8 - A,C in
5 = D
9 Ground
10 Ground
Roll (See application note) Channel Outputs DB25
TQG 5M Pin 1 = -10 v (Nagra) Pin Pin
Pin 2 = Stop (Nagra) Ch. 1 Hot 24 Ch. 5 Hot 18
Pin 3 = Pause/Stop (DATs) Cold 12 Cold 6
Pin 4 = Common (DATs) Ground 25 Ground 19
Pin 5 = Record (DATs)
Ch. 2 Hot 10 Ch. 6 Hot 4
Cold 23 Cold 17
Power Ground 11 Ground 5
XLR-4M Pin 1 = Ground (-)
Pin 2 = N/C Ch. 3 Hot 21 A Out Hot 15
Pin 3* = Battery charge (+) Cold 9 (Ch. 7) Cold 3
Pin 4 = External power in (+) Ground 22 Ground 16
*Do not connect if rechargeable
batteries are not installed. CH. 4 Hot 7 B Out Hot 1
Cold 20 (Ch. 8) Cold 14
Ground 8 Ground 2
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June 2006
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PIN OUTS
MODEL CS306

General: (0 dBu = .775v RMS)
Dimensions: 11.5” x 10.8” x 4.0” (292 x 274 x 102 mm)
Weight with no batteries: 9.5 lbs. (4.3 kg)
Overall distortion (THD + N): < 0.01% (0.003% typ.)
Equivalent input noise: (150!20-20 kHz) -129 dBu
(150!‘A’ WT’D) -131 dBu
Standard Configuration:
All XLR-3 audio connectors are Pin 2 hot.
Levels are set as specifications.
Meter types should be specified at time of purchase.
Power Requirements:
External: 10v - 18 v operating range
Internal: 8 ‘AA’ cells
Consumption !500 mA at 12v DC, 6 watts
Estimated battery life with: NP1, Nicad > 4.5 hours
NP1, Nmh > 7.5 hours
8 AA alkaline cells > 3.5 hours
(Nicad AA cells are !1/3 the capacity of alkaline cells)
Battery test: +13.5v DC = +2
+12v DC = 0
+11v DC = -2
+10v DC = -4 (change batteries)
+9v DC = -6 (minimum)
Power on LED: Turns off when the voltage is 9v or less
Power cut off voltage: 8 v DC (internal supply switches off)
48v Phantom: 48v +/- 1v
System Power Connections and Precautions:
RE: (+) chassis equipment
Analog Nagras must have a separate supply, with no common power supply connections to the
mixer or other (-) chassis equipment.
SPECIFICATIONS
MODEL CS306
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June 2006

Input: Reference: -8 PPM, 0 VU (XLR’s are Pin 2 high)
Mic In: Minimum input level -80 dBu (Z in 1.4k !)
Maximum input, line position (no pad) +30 dBu (Z in 10k !)
Pad 15 dB Z in "600 !
Mic/Line 40 dB Z in "10k !
Combined 55 dB Z in "10k !
High Pass Filters: HP 1 70 Hz 12 dB/oct.
HP 2 110 Hz 12 dB/oct.
HP1 & HP2 180Hz 12 dB/oct.
Direct out (post-fader): -8 dBu, Zout = 47!
Channel Outs: +4 dBu, balanced, Zout = 100!
O/L indicator: -3 dB MOL
Limiter: Threshold Variable 0 PPM to M.O.L. (+4 PPM typ.)
Attack 1 ms
Release 150 ms
(M.O.L. = maximum output level = 25 dBu on XLR outs, +19 dBu on unbalanced outs)
Pan Pots: Center = -3 dB
All specifications are measured with the pan pots panned either L or R or switched out.
Output: Reference: -8 PPM, 0 VU (XLR’s are Pin 2 high)
XLR & 10-pin balanced outputs: (A,B,C,D) +4 dBu, Zout "100!
DB 9 unbalanced outputs: (A,B,C,D) -2 dBu, Zout "100!
Monitor 1 out: 0 dBu no load
0 dBu 60!load
Maximum load is 25!for each output.
Monitor 2 out: 0 dBu no load
-8 dBu 60!load
Maximum load is 25!.
Tape return (balanced): -14 dBu to +19 dBu Zin = 10k !
Communication in (balanced): -14 dBu to +19 dBu Zin = 10k !
Mix bus in - current input - series resistor: 10k !-8 dBu (-10 dBV)
(needs series resistors) 20k !-2 dBu
40k !+4 dBu
Oscillator frequency: 500 HZ
Signal (M.O.L.) to noise of output section:
(Dynamic range)
(Channel faders off, masters at max): -115 dB 20-20 kHZ
Warning: The monitor outputs of this mixer are capable of driving low-impedance headphones at a very high
level. Before headphones are in use, set all monitor levels to minimum. Prolonged listening at high
volumes might affect your hearing.
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June 2006
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SPECIFICATIONS
MODEL CS306

Inputs:
XLR in: Balanced input. Nominally Pin 2 high (Pin 3 - low, Pin 1 - ground)
Mic Power: Mic power off. For example, dynamic and radio microphones. Phantom power =
positive DC voltage on both Pins 2 and 3, set for 48v.
Phase: It is important that the phase of the microphones are matched to avoid phase
cancellation. Absolute phase throughout the system should also be maintained.
Pad: Effective in both mic and line positions. For typical SPL (sound pressure
levels) pads are not necessary due to the high system headroom. The use of pads
will degrade the signal to noise ratio if used within the range of the microphone gain
trim.
HP Filters: Sharp roll-off to reduce microphone handling noise and other low frequency
disturbances. It is recommended to use these for dialogue recording as the
bandwidth of interest normally exceeds 100 Hz.
PFL: Selects prefade listen. All other inputs to Monitor 1 will be disconnected (except
private line and communication in).
Channel Fader: For optimum headroom and versatility it is best to operate the channel fader around
the zero point. Therefore, the microphone preamp gain trim should be adjusted
during rehearsals with the channel fader at ‘0’ so that the average program level will
modulate the meter to ‘0’ dB. During the take, the channel fader may be used for
controlling the channel gain.
O/L LED: Nominally set for 3 dB below M.O.L. (maximum output level) with the channel fader
at ‘0’. Occasional flash of the indicator on peaks is not a problem. If the indicator is
consistently on, microphone preamp gain should be reduced.
Direct Out: Post fader. (eg; feed to playback systems or a direct feed to multi-track recorders)
Output Section:
Monitor 1 Section: Main phones out, on the front panel.
Solo, Off, On
Any combination of busses can now be monitored.
Selected busses can be monitored in mono, stereo or M/S.
To facilitate checking of busses, it is recommended to assign the main monitor
requirements to the ‘on’ position and spot check by soloing the other inputs. This is
quicker than assigning the mains to solo as there is no need to switch off the other
busses.
Note: ‘On’ function - when more than two busses are selected, the signal level
will increase to the headphones. Turn down phones level if necessary - especially
when using the line up tone (osc.).
Monitor Pots 1 & 2: To adjust level to phones 1 & 2. Caution: It is recommended to set the ‘phones’ pot
at minimum before wearing headphones. Then increase the level to suit personal
preference. The minimum total load (impedance) per side is 25!.
OPERATIONAL & APPLICATION NOTES
MODEL CS306
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June 2006

Meters Section:
VU Meter: Responds to the average program level. The internal oscillator should be set for ‘0’
VU on the meter. This will correspond to +4 dBu on the XLR outputs. As this is an
average responding meter, the peak program level will not be indicated. For digital
audio recorders the line up time on the recorder is set for -18 to -20 dB. The mixer
should still be set up for 0 VU = +4 dBu out. For peak reading meters, the mixer
should still be set up for -8 PPM = +4 dBu out. For feeding external equipment with
VU meters, the level should be set for ‘0’ VU on both the mixer and the outboard
equipment.
PPM Meter: Peak responding meter. The reference level for a 500 HZ sine wave is set for -8 dB
(+4 dBu on XLR outs). This corresponds to approximately ‘0’ VU, although the
difference between an average responding meter and a PPM meter will vary
according to program material.
Output Faders: These faders should be left at the maximum position (ie; ‘0’) for optimum headroom
All line-up tones etc., should be made with the faders in this position.
Power; Internal/External:
Switch to internal when using batteries. It is recommended to use alkaline AA cells.
Rechargeable (Nicad cells) may be used with reduced battery life. Pin 3 of power
XLR is the positive charger input. Pin 1 - negative.
Mix. Bus: These are inputs only. Another mixer output may be inserted at this point to increase
the number of input channels. Note: A resistor needs to be installed in line with each
input. An interface box is available (CSMB) with a ‘D’ connector and four XLR’s with
in line resistors.
Power Supply Suggestions:
An external AC to DC power supply may be connected to Pin 1 (-), Pin 4 (+) of the
XLR-4. The requirements are that output voltage is regulated and filtered, with a DC
voltage level of 12 to 18 volts and a current rating of > 1 Amp. We recommend using
a linear type supply or a very clean switching type. Some switching supplies can
output high frequency noise that can interfere with the internal DC-DC converter and
microphones that have internal converters.
Side Panels: 1/4” - 28 holes are provided for a handle or for mounting the mixer to a cart.
Note: Either the front or the rear holes may be used.
Screws can be up to 1” long (25.4 mm)
In addition, a small recorder tray can be fitted to the mixer.
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June 2006
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OPERATIONAL & APPLICATION NOTES
MODEL CS306

1
2
3
4
5
common 2
roll
stop
(pause)
A=momentary
B=latch
Slide switch on board E
TQG on rear panel
stop
common 1
Notes:
The two commons are isolated from each other & the chassis
(momentary)
(which allows,for example,a HHB recorder to be wired for Stop/Roll)
The polarity of Pins 1&2 do not matter
(however we recommend wiring pin 1 as negative to remain consistent with earlier versions)
see Layouts
Default = Momentary
(to rear of mixer)
Nagra 1V Nagra V
HHB
PD2/4/6
portadat
2
6
1
5
latch latch
5
3
momen.
6
2
1
record
2
4
3
record
3
4
5
PD2/4/6
stop pause
HHB
portadat
stop
pause
6
2
record
schottky diodes
TA5F
14
5
23
PD 2/4/6 HHB
1 2
3 4 5
6 7 8
1 2
3 4 5
6 7
8
jumper pins 7 & 8
to enable the remote
function.controlmini din 8 HRS
All solder view.
.
REMOTE ROLLS
MODEL CS306
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June 2006

TA3F
2
3
1
2
3
1
2
3
1
XLR 3 F
1K
1K
1K
1K
shields not connected
2
3
1
Balanced example
unbalanced example
comm. in
XLR 3 F
2
3
1
XLR 3 F
1K
1K
source
source
The communications input can be used with multiple inputs
(eg; two boom operators) by using a special adapter cable
(see below). The communication in connector is balanced.
Pin 2 = high, Pin 3 = low, Pin 1 = ground
The resistors (1% or less) in the diagram are necessary
to provide some isolation between two or more sources.
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June 2006
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COMMUNICATIONS IN - MULTIPLE INPUTS
MODEL CS306

1
2
3
1
2
3
1
2
3
Balanced out to balanced in.
XLR maleXLR female
Balanced out to unbalanced in. shield not connected.
1
2
3
Unbalanced out to balanced in.
Twisted pair cables should be used.
option:
(Common mode rejection depends on the output impedance)
A RC network(.01µ+51ohms) may be installed
from the shield to pin 1 to terminate RF.
option:
The Shield is connected at the source only to avoid ground loops.
Notes:
1
2
3
Unbalanced out to balanced in.
option:
R out
R out
Impedance matched for better common mode rejection
R out in the connector should match the op amp's R out.
CS104
unbalanced outs
Ro=100!
CS106
direct,insert & RCA outs
Ro=47!
CS208 v1 & v2
direct & insert outs
Ro=47!
unbalanced outs
Ro=94!
CS306
direct out (jacks)
Ro=47!
unbalanced outs
& channel outs
Ro=100!
(not tape out)
cables
rev 5/22/06
CABLE WIRING SUGGESTIONS
MODEL CS306
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June 2006

1. Warranty registration must be completed and mailed to Cooper Sound Systems, Inc. within
30 days of the date of purchase.
2. Cooper Sound Systems, Inc. warrants the materials and workmanship of this product for a
period of one year from the original date of purchase. If any defects are found in
the materials or workmanship, or if the product fails to function properly (as per the
specifications out-lined in the Operator’s Manual) within the specified warranty
period, Cooper Sound Systems, Inc. will repair or replace the product, at its option.
Please note the following:
A. Modifications made by the customer or a non-authorized service center will invalidate the warranty.
B. Damage caused to the unit by incorrect or improper usage (eg; utilization of incorrect power supply
or other improper connections) is not covered under this warranty.
C. To obtain factory service, call: Cooper Sound Systems, Inc. [phone] or FAX [phone]
D. All returns and service requests must have prior authorization.
E. Cooper Sound Systems, Inc. reserves the right to inspect any product which may be the subject of
any warranty claim, before repair or replacement is carried out. Cooper Sound Systems, Inc. may,
at its option, require proof of the original date of purchase (dated copy of original retail dealer’s
invoice). Final determination of warranty coverage lies solely with Cooper Sound Systems, Inc.
Products which do not meet the terms of this warranty will be repaired and returned C.O.D. with
billing for labor, materials ,return freight and insurance. Products repaired under warranty will be
returned via U.P.S. ground, freight prepaid, by Cooper Sound Systems, Inc. to any location within
the boundaries of the U.S.A. Outside the U.S.A., the products will be returned freight collect.
F. This warranty is extended to the original purchaser, and to anyone who may subsequently purchase
this product within the specified warranty period.
G. Cooper Sound Systems, Inc. does not authorize any third party, including any dealer or sales
representative to assume any liability on behalf of Cooper Sound Systems, Inc., or to make any
warranty for Cooper Sound Systems, Inc.
H. The above warranty is the only warranty given by Cooper Sound Systems, Inc. and is in lieu of all
other warranties. All implied warranties, including warranties of merchantability or fitness for any
particular purpose shall be strictly limited in duration to one year from the date of original purchase.
Upon the expiration of the warranty period (one year), Cooper Sound Systems, Inc. shall have no
further warranty obligation of any kind, expressed or implied. Cooper Sound Systems, Inc. shall in
no event be obligated for any incidental or consequential damages that may result from any defect,
or warranty claim of any kind, expressed or implied.
I. Cooper Sound Systems, Inc. reserves the right to modify the design of the equipment and to amend
specifications without prior notice.
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June 2006
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LIMITED WARRANTY
MODEL CS306

NOTES:
NOTES
MODEL CS306
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June 2006