CX263 : Zone Mixer

482.6mm / 19"

Cloud CX263 front view

44mm

/ 1 3 /

4

"

(1U)

Cloud CX263 rear view

General Description

The Cloud CX263 is an easy-to-use, three-zone, rack-mounting

(1U) audio mixer. It combines simple control of background music with versatile microphone paging for up to three separate areas. It is suitable for use in many types of premises, including pubs, bars, clubs, shops, offices, hotels, etc.

The CX263 has six stereo line inputs and two microphone inputs.

It has three separate zone outputs, in each of which one of the line inputs and the microphone inputs may be mixed together. Separate user controls for music source selection, and music and individual mic levels are provided for each zone. One of the zone outputs is stereo, making it suitable for driving a main public area where music fidelity is more important. Bose® EQ cards may be fitted to any or all of the three outputs.

The CX263 is directly compatible with Cloud PM Series paging microphones. Alternatively, Mic 1 input may be configured to suit most OEM paging systems: paging may be activated by voice (VOX) or short-to-ground access connections, and Mic 1 may be configured to have priority over Mic 2 to prevent announcement clashes.

Additionally, one line input may be set to have priority over any other selected to facilitate connection of a digital sound store or similar device.

Music level only, or music level and source selection may be controlled remotely in each zone if wished, using Cloud standard remote control plates. The CX263 may also be fitted with an optional RS-232 serial control interface; as well as allowing remote music control, the interface’s command set includes remote control of other unit functions.

• Provides music and paging in three zones

• Front panel controls for music source, music level and Mic 1/

Mic 2 level in each zone

• Six (unbalanced) stereo line inputs with individual gain controls

• Two balanced mic inputs – 15 V phantom power available on

either or both

• 100 Hz hi-pass filter on both mic inputs

• Sensitivity (rear panel) and HF/LF EQ adjustment (front panel)

for each mic input

• Three electronically-balanced zone outputs, one stereo, two

mono

• HF/LF music EQ adjustment on each zone output

• Paging priority control on Mic 1 input via short-to-ground

access connection or VOX triggering

• Mic 1 may be selected to have priority over Mic 2

• Selectable LINE 6 priority per zone, with choice of release times

• Music Mute control input (NO or NC) for interface to

emergency system

• Compatible with standard Cloud remote control panels: RL-1

(music level) and RSL-6 (music level and source selection)

• Optional RS-232 port for serial remote control of:

- Music level

- Music source

- Mic 1 zone access

- Mic 1 muting per-zone or globally

- Mic 2 global muting

- Music Mute control

• Optional Bose ® EQ cards available

• 1U 19” rack mounting unit

System Example

MUSIC SOURCES

(all stereo) iPOD

DOCK

MUSIC

SERVER

DTV BOX

SAT BOX

CD

PLAYER

JUKEBOX

FROM EXTERNAL

CONTROL SYSTEM

(e.g. Crestron, AMX, etc.)

FROM FIRE

CONTROL PANEL

PAGING MIC

ADDITIONAL MIC

2

2

2

2

2

2

LINE 1

LINE 2

LINE 3

LINE 4

LINE 5

LINE 6

MIC 1 IN

MIC 1 ACCESS

MIC 2 IN REMOTE

ZONE 1

L

R

ZONE 2

REMOTE

ZONE 3

REMOTE

RS-232 SERIAL REMOTE

MUSIC MUTE

AMPLIFIERS

The example shows a CX263 used to provide music, announcements and paging in three separate areas (zones) of a premises such as a retail outlet. Area 1 is wired for stereo music, and can set its own music source and volume by means of the local RSL-6 remote control

(optional). Areas 2 and 3 are mono only; Area 2 is fitted with an RL-1 remote control panel which allows local control of music level in that zone. Music sources and levels could be set from the front panel of the mixer itself if preferred.

ZONE 1

RSL-6

ZONE 2

RL-1

ZONE 3

Paging to any zone is achieved using a paging mic (such as the Cloud

PM4) connected to Mic 1 input; this would typically be located somewhere other than within any zone. Additional announcements to any zone can be made from the separate microphone connected at Mic 2 input.

Note that the jukebox is shown connected to Line input 6; if Line

6 Priority is enabled in the mixer, then whenever the jukebox is in use it will always be heard in Zone 1, regardless of the music source setting.

Technical Specifications

Line Inputs

Frequency Response

Distortion

Sensitivity

Input Gain Control

Input Impedance

Headroom

Noise

Equalisation

Microphone Input

Frequency Response

Distortion

Line Inputs

Frequency Response

Distortion

Sensitivity

Input Gain Control

Input Impedance

Headroom

Noise

Equalisation

Microphone Input

Frequency Response

Distortion

Gain Range

Input Impedance

Common Mode Rejection

Headroom

Noise

Equalisation

Outputs

Output

Minimum load impedance

Maximum output level

General

Power Input

Fuse Rating

Fuse Type

Dimensions (w x h x d)

Weight

20 Hz - 20 kHz, +0, -0.3 dB

<0.05% typical, 20 Hz - 20 kHz

100 mV (-17.8 dBu) to 1.5 V (+6 dBu)

24 dB range

48 kΩ

>20 dB

<-84 dBu rms typical @ 0 dB gain, 20 Hz - 22 kHz

LF: ±10 dB @ 50 Hz, HF: ±10 dB @ 10kHz

<0.05% typical, 20 Hz – 22 kHz

20 Hz - 20 kHz, +0, -0.3 dB

<0.05% typical, 20 Hz - 20 kHz

100 mV (-17.8 dBu) to 1.5 V (+6 dBu)

24 dB range

48 kΩ

>20 dB

<-84 dBu rms typical @ 0 dB gain, 20 Hz - 22 kHz

LF: ±10 dB @ 50 Hz, HF: ±10 dB @ 10kHz

<0.05% typical, 20 Hz – 22 kHz

10 dB to 50 dB

>2 kΩ (balanced)

>70 dB @ 1 kHz

>20 dB

-128 dB EIN, 20 Hz -22 kHz (ZS 150 Ω)

LF: ±10 dB @ 100 Hz, HF: ±10 dB @ 5 kHz

0 dBu (775 mV) balanced

1.2 kΩ

+20 dBu

230 V/115 V ±10%

T100 mA 230 V, T200 mA 115 V

20 mm x 5 mm 250 V

482.6 mm x 44 mm (1U) x 152.5 mm

2.15 kg

Graphs

r

B +0

-5

-10

+15

+10

+5

Mic EQ Curves r

B

-10

-15

+0

-5

+15

+10

+5

-20

-25

-30

-35

-40

-45

-50

50 100 200 500

Hz

1k 2k 5k 10k 20k

Music EQ Curves

50 100 200 500

Hz

1k 2k 5k 10k 20k

+1 d

B r

+0

-1

-2

+3

+2

Mic Frequency Response

+5

-5

-15

-25

-35

-45

-55

20 50 100 200 500

Hz

1k 2k 5k 10k 20k

Music Frequency Response

50 100 200 500

Hz

1k 2k 5k 10k 20k

Mic THD+N Measured over 80kHz BW

0.02

% 0.01

0.005

0.002

0.1

0.05

0.02

% 0.01

0.005

0.1

0.05

0.002

200 500 1k

Hz

2k 5k 10k 20k

Music THD+N Measured over 80kHz BW

50 100 200 500

Hz

1k 2k 5k 10k 20k

Block Diagram

LINE 2

LINE 3

LINE 4

LINE 1

LINE 5

LINE 6

R

GAIN

L

MIC 1 ACCESS CONT ACTS

MIC 1 INPUT

GAIN

3

2

1

PHANT OM

J1

OFF

ON

EQ

RELEASE

TIME

J3

3s 6s

NO JUMPER=12s

100Hz

MIC 2 INPUT

GAIN

3

2

1

PHANT OM

J2

OFF

ON

EQ 100Hz

LINE 6

PRIORITY

J8: ZONE 2

J9: ZONE 3

J10: ZONE 1

OFF ON

J16: ZONE 3

J17: ZONE 2

J18: ZONE 1

AV O

ACC

GATE

PRIORITY

GATE

EQ

SEE

DET AIL

A

FROM

OTHER

CHANNEL

VCA

OPTIONAL

REMOTE

(RSL-6)

J1 1

MONO

STEREO

MUSIC

MUTE

OPTIONAL

SERIAL INTERF ACE

FRONT

PANEL

PRIORITY

ZONES 1-3

DET AIL A

VCA

SRC

J20: Z1

J22: Z2

J24: Z3

J19: Z1

J21: Z2

J23: Z3

RSL6

CDI-S200

SPEAKER

MODULE

+

ADDITIONAL JUMPERS

J4-6: BYP ASS MIC 1 ACCESS FOR

ZONES 1-3 RESPECTIVEL Y

J7: NORMALL Y OPEN/CLOSED

MUSIC MUTE CONT ACT SELECT

J12-15: BYP ASS EQ CARD

FITTINGS FOR INDIVIDUAL

J12:

J13:

J14:

J15:

ZONE 1 R

ZONE 1 L

ZONE 2

ZONE 3

OUTPUT

J20, 22, 24: FORCE FRONT P ANEL

SOURCE SELECTION

J20:

J22:

J24:

ZONE 1

ZONE 2

ZONE 3

J19, 21, 23: FORCE CDI-S200

SOURCE SELECTION WHEN

REMOTE.

J19:

J21:

J23:

ZONE 1

ZONE 2

ZONE 3

3

2

1

Architect’s and Engineer’s Specification

The mixer shall be equipped with six unbalanced stereo music inputs on rear panel phono sockets (RCA jacks), and two electronically balanced microphone inputs, one electronically balanced stereo

(L & R) output and two electronically balanced mono outputs, all on rear panel multipin connectors.

The mixer shall have three channels designated Zone 1, Zone 2 and

Zone 3. The channels shall be identical in design and features. The microphone inputs shall be mixed and summed with the music input selected in each channel separately. Each channel shall have its own front panel microphone level controls, one per microphone input.

The music input to each channel shall be selected by 6-position front panel rotary switches. It shall be possible to control the level of the music source independently of the microphone levels in each channel.

Each music microphone input shall also have a rear panel input sensitivity control. Independent 2-band equalisation adjustment shall be provided on the rear panel for the music signal in each mixer channel. Independent 2-band equalisation adjustment shall be provided on the front panel for each microphone input; the controls shall be covered by a removable plate fixed with screws. Phantom power shall be available at either or both microphone inputs when selected by internal jumpers.

A control input shall be provided to activate microphone input 1 by external contact closure, with separate routing to each mixer channel. It shall be possible to configure the mixer such that this function is overridden and microphone input 1 is always active.

It shall also be possible to configure the mixer to perform the following functions:

i) detection of a signal on microphone input 1 will automatically reduce the music level by 30 dB,

ii) detection of a signal on microphone input 1 will automatically override any signal on microphone input 2,

iii) one line input will automatically override all others in all channels, even if unselected.

Optional remote control panels shall be available to permit control of i) music level in any mixer channel; ii) music source selection and music level in any mixer channel; it shall be possible to retrofit these to the mixer at any time. The remote control panels shall connect via a rear panel multipin connector. It shall be possible to disable either the front panel music level or the music level and music source selection controls by moving internal jumpers. An external control input shall be provided to allow muting of the music source by a fire alarm or other external emergency system via isolated, ‘volt-free’ contacts, and this input shall be configurable to respond to either a short or open external circuit. An optional RS-232 serial control interface module shall be available; this shall be retrofittable internally and present a 9-pin Dsub connector on the rear panel. The RS-232 command set shall include commands to select music source and music level in each mixer channel, to mute either microphone input, to activate the routing of microphone 1 input to any mixer channel and to activate the external music muting function.

The mixer shall accept internal Bose® Series IIS plug-in equaliser cards to permit use with compatible Bose® loudspeakers. It shall be possible to fit these in any or all of the main or utility outputs.

The mixer shall be built in a 1U steel chassis for mounting in a standard 19” rack. The mixer will be fitted with a front-panel power switch with LED indication. Two mains supply variants shall be available: 230 V or 115 V. Mains supply shall be connected via a detachable IEC cable.

The mixer shall be the Cloud CX263; the optional remote control panels shall be the Cloud RL-1 (music level only) and the Cloud

RSL-6 (music level and source selection). The optional RS-232 serial remote control interface shall be the Cloud CDI-S200.

Issue_2.0

E&OE