Peavey CEX-4La Phase Coherent 4-Way Crossover Owner's manual

Peavey CEX-4La Phase Coherent 4-Way Crossover Owner's manual
OPERATING INSTRUCTIONS
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“dangerous voltage” within the product's enclosure that may be
A of sufficient magnitude to constitute a risk of electric shock to
persons.
Intended to alert the user to the presence of important operating
and maintenance (servicing) instructions in the literature accom-
panying the product.
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CAUTION: To reduce the risk of electric shock, do not remove cover. No
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СЕХ” 41а
PHASE COHERENT
4-WAY CROSSOVER
FENEY
A I TEC TURAL
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COU S T1! C SP
TABLE OF CONTENTS
INTRODUCTION TO CEX-4{"" PHASE COHERENT 4-WAY CROSSOVER .. 112444144444 AL A ee eee LL LE See Se ee es 3
OVERVIEW AND GENERAL FEATURES NE 3
PART 1. PANEL LAYOUTS
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PART 2. THE USER INTERFACE
A. Getting Started eee 4
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C. Abbreviations KK A eee ee 5
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4. Delay Function ........ 1100000110 A AA AA AA RAA AAA AE LEA RS ESA RE Re NE AE AE ESS 7
5 Mute Function ......1111 0111 LL A LA A A A ae ae 8
6. Invert Function © a aaa RRA 8
PART 3. DESCRIPTIONS OF THE BASIC CONFIGURATIONS
(Guided tours of configuration displays)
A. In “A” 4-Way ....110 210000 LA AL AA NRA AAA RAA AA ee RAR AE SAR AR Et ER NA EE EE ESS ES 8
В. In “A” 3-Way + 2nd LF ee RES 9
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D. In “A” 3-Way + 2nd HF ..... 12210040 LA LAS LA AL AA RAA A A SNA ARE Set EE RES RS eee 9
E. In “A” 3-Way + BP eee 9
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G. In A” 2-MWay ee 11
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PART 4. MEMORY/PRESET
A. Staring and Naming Presets oe 13
В. Recalling Presets ... eee 13
С. System Exclusive Dump and Load Functions .... 10001400 0 LL A aa A eee ee ea ee tee ee 13
D. MIDI Program Change Enable/Disable ....... AL NAN Le AAA a eee eee eee tt EE ee eee ee 14
E. Setting the МИ! Сбаппе! .............. RAA A NRA AAA ES SSSR ANNEE RARE EE ter 14
PART 5. LIM/EQ
A Limiters ....... LL LL LL NA AR AA A AA AREA 14
PART 6. SECURITY LOCK 1111111101 LL A LL LA LA Re A A A AAA RAR A ARR AE LAS RS Re eee AE et 16
PART 7. REINITIALIZATION 1.111111 1 1 LL LL LL LR A RL A NA A A AA A AAA RL Re A ARR RAR ARR ARR eee 16
PART 8 SPECIFICATIONS oe 17
PART 9 MIDI SPECIFICATIONS... 1111111101 A Нар ННННое о 17
BLOCK DIAGRAM © © 111 A LR RAA AAA RAA L AR RAR A AR A Re AN ER RSS AREAS ARR ERA 19
LIMITED WARRANTY © A BACK COVER
CAUTION BLOCK AE BACK COVER
INTRODUCTION TO THE CEX-4L™ PHASE COHERENT 4-WAY CROSSOVER
Your new CEX-4L™ is a fully programmable, completely
digital four way crossover. The CEX-4L may also be configured
to dual two-way mono, two-way stereo, or three-way with a
fourth output as an additional low, mid, high, or full range out-
put. The CEX-4L provides full time alignment capability with up
to 650ms of pre-delay that may be allocated to the two balanc-
ed inputs, and up to 10ms of output delay on each individual
output.
The CEX-4L has both a digital limiter and equalization
available on each output. The limiters can be individually enabl-
ed and have adjustable sensitivity and the option of linking multi-
ple limiters so that they track. Constant directivity horn equaliza-
tion, one band parametric equalization or low and high frequen-
cy shelving equalization can be selected to enhance the out-
put signal.
The CEX-4L has been designed with ease of setup and
functionality in mind. The control panel is simple and straightfor-
ward with labeled buttons for the various features and a 20 x
2 LCD display to visually indicate precise system adjustment.
A “data entry knob” has been included for rapid system ad-
justment, and there are also increment and decrement ( “up”
and “down” buttons for slower, more accurate adjustment.
The CEX-4L filter frequencies can be set in two ways in
the crossover mode. In the normal mode, the crossover fre-
quency between two outputs is entered. In the special mode,
the low-cut and high-cut frequencies are individually set. This
second mode allows the crossover points to be underlapped
or overlapped and allows for special configurations such as two
way mono with three time aligned high frequency horns.
In addition to the crossover configuration, the CEX-4L also
functions as a Delay Line with the following variations: one delay
line with 4 taps; two delay lines, one with 3 taps and the other
with 1; two delay lines, each with 2 taps, totaling 675ms of delay.
Each delay line output includes low and high-cut filters.
Perfect time alignment is often sought after in the design
of studio monitors and even sound reinforcement enclosures,
but is not always practical due to the varying physical dimen-
sions of horns, woofers, etc. Designing for the most
discriminating sound engineers and realizing the benefits of time
alignment, we have included 10ms of delay on each of the four
outputs just for the purpose of driver alignment within the
system. This built-in delay dedicated to system alignment is ad-
justable in 20.8 microsecond or approximately 1/4“ steps.
The CEX-4L has six selectable crossover filter types: 4th
and 8th order Linkwitz-Riley, 4th and 8th order Butterworth, and
Ath and 8th order Bessel (linear phase), offering total control
and precise driver/trequency range matching. The 8th order
filters approach the proverbial “brick wall” with a 48 dB/oc-
tave slope.
Your CEX-4L Phase Coherent 4-Way Crossover will
prove extremely useful in a variety of audio environments. In
order to get the most out of your CEX-4L, we urge you to read
this manual thoroughly.
OVERVIEW AND GENERAL FEATURES
e Four-way mono crossover.
e Three-way mano crossover with the 4th output as an
additional low, mid, high, or bandpass output.
Two-way mono or stereo crossover.
48KHz sample rate.
24 bit internal processing.
64 times over sampled A-D.
Up to 650ms of pre-delay time memory that can be
allocated to the two inputs.
Up to 10ms of delay on each output for driver time-
alignment (adjustable in 20.8 microsecond or 1/4”
Increments).
e Two balanced inputs.
Four balanced outputs.
Selectable filter types
4th and 8th order Linkwitz-Riley
4th and 8th order Butterworth
4th and 8th order Bessel
Limiter on each output
Selectable equalization on each output
Delay line mode with four taps (up to 675ms of delay).
Low and high cut filters.
20 x 2 rear illuminated LCD display for clear viewing.
Special adjustable Constant Directivity horn EQ.
Two 5-segment input LED arrays.
Relay on/oft transient muting.
Selectable polarity reversal and output muting on each
output.
e Stores up to 50 complete setups, each with its own 15
character label.
e Built in security lock: When enabled, all parameters can
be examined, but cannot be changed without entry of
access code.
® Remote operation via digital interface.
PART 1. PANEL LAYOUTS
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A. Front Panel
(1) LED Meters for Inputs A and B:
Hlumination of the red LED indicates that the input
signal is within 6dB of clipping. Adjust source
signal to allow the red LED to illuminate only on
program peaks. Continuous illumination of the red
LED means there is a risk of audible distortion.
* FUNCTION KEYS (2-9)
(2) Master Key
Used to access selection of system configurations,
crossover filter types, constant directivity horn EQ,
constant directivity EQ level, and display view angle.
(3) Frequency Key
Used to access selection of high cut, low cut, and
crossover points.
(4) Level Key
Used to access the input and output levels.
(5) Delay Key
Used to access the selection of input pre-delays
and output delays.
(6) Memory Key
Used to name, store, and recall presets, and ac-
cess MIDI communication functions.
(7) LIM/EQ Key
Used to access output limiters and equalization.
(8) Mute Key
Used to access the output mutes.
(9) Invert Key
Used to access selection of output polarity.
(10 & 11) Increment (A) and Decrement (¥) Keys
Used to increase (4) or decrease (W) the
displayed value or to toggle between different
system parameters. A quick press-and-release of
either key will change the displayed value
paramenter by one increment. Holding either key
down will continuously increase or decrease the
displayed value until released.
(12 & 13) Upper and Lower Softkeys
These keys initiate commands or cursor
movements which appear in some function
displays.
(14) Main Display Window
Large 20 x 2 LCD display with variable view angle
adjustment for easy visibility.
(15) Data Knob
Used to rapidly change system parameters or to
rapidly increase (clockwise) / decrease
(counterclockwise) the displayed value.
(16) Power On/Off Switch
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B. Rear Panel
(17 & 18) Crossover Inputs (A,B)
Assignment of the inputs is determined by the
system configuration.
(19 - 22) Crossover Outputs (4-1)
Assignment of the outputs is determined by the
system configuration.
PART 2. THE USER INTERFACE
A. Getting Started
The User Interface section is provided to introduce and
familiarize you with using the CEX-4L. Read through the Defini-
tions and Abbreviations, then follow through the Guided Tour
of the Various Display Modes. In this Guided Tour we will
describe the functions of the various parameters and then
demonstrate how they are selected to create a custom
configuration.
There are some basic facts about the CEX-4L User Interface
that you should note:
When the CEX-4L is first turned on, the following display will
appear:
Peavey Electronics
CEX-4L Version X.XX
The version indicates the version of firmware installed in the
CEX-4L.
(23) Serial Control Interface Input Port
Used to receive digital control information.
(24) Serial Control Interface Out/Thru Port
Used to echo data from the serial control input ex-
cept when the CEX-4L is transmitting stored set-
tings to other units.
After several seconds, the following display will appear and will
stay in the display until a button is pressed.
Peavey CEX-4L
Preset Label
The preset label is the 15 character label that the user stored
with the active system configuration (Preset).
The System Configuration determines exactly which displays
will appear under each of the other functions, so it should be
selected first.
The CEX-4L has 8 Function keys. Each Function key accesses
a set of display pages. For example, the Level function key
allows access to the display pages for setting the input and out-
put level controls. Pressing the particular function key will step
through the Functions’ display pages. When the last display
page is shown, the display pages will repeat or “loop” back
to the first display. Because the displays are “looped”, you may
exit a function from anv particular display page. The display
page which is last shown under a particular function will be the
display which appears first when re-entering that function.
The CEX-4L automatically tests the Digital Signal Processor IC
and the Audio Memory each time the unit is powered up. If
no errors occur, the test is transparent and the second sign-on
display
Peavey CEX-4L
Preset Label
will appear. If however the display shows:
NUM OF ERROR:XXXXXX
a hardware problem has developed. Do not continue to operate
the unit and return it to a Peavey Service Center for repair.
B. Definitions: Configuration, Preset
Configuration (System Configuration): The CEX-4L has 11 basic
configurations. These configurations establish the assignments
of the inputs and outputs of the crossover. Example: 2 way,
3 way, 2 way stereo, etc. Each configuration can be customiz-
ed for a specific amplifier speaker system and stored as a
preset.
Preset: A preset is a storage location in memory that holds a
complete system configuration program. This program consists
of the preset name, the basic system configuration, and all the
user adjustable function parameters. There are 50 Preset loca-
tions in the processor's memory within the CEX-4L.
C. Abbreviations
X-Over— Crossover
CD Horn—Constant Directivity Horn
LF—Low Frequency
MF—Mid Frequency
HF—High Frequency
VHF—Very High Frequency
BP—Band Pass
M—Mono
DLY—Delay
LVL—Level
D. The Various Functions
(Creating a Custom Configuration)
The CEX-4L operates on a page-type system designed to easily
address its many advanced functions. These pages will be refer-
red to as displays throughout this manual. Within a particular
display, parameters can be selected and/or edited using the
Increment (A) and Decrement (¥) (10 & 11) keys, the Softkeys
(12 & 13), and the Data knob (15).
For our example we will create a configuration to operate a pair
of 3-way enclosure cabinets and a sub cabinet.
1 Master Function
a. System Configuration
The first step in creating a custom configuration
is to select one of the 11 System Configurations.
Press the Master (2) key until the System Соп-
figuration display appears.
SYS CONFIGURATION
IN A” 4-WAY
This display indicates which configuration is
presentiy active.
Press either the Increment (10) key, the Decre-
ment (11) key, or use the Data (15) knob to
scroll through the System Configurations. (You
will notice that after you get to the end of the
list, it loops back around to the beginning.) The
speaker system we will use as an example is a
3-way system with an additional sub cabinet.
The configuration that best suites this example is
(IN A” 3 WAY + 2ND LF).
EXECUTE: SYS CONFIG
IN “A” 3-WAY + 2ND LF
The Execute display appears whenever a con-
figuration other than the active configuration has
been selected.
Press the Upper (EXECUTE) (12) Softkey to ac-
tivate the new configuration. The display will
briefly show:
CHANGE EXECUTED
OUTPUTS ARE MUTED
After a couple of seconds, the following display
will appear:
EXECUTE: SET FREQ BY
Crossover pt (Norm)
Pressing the Upper “EXECUTE” softkey again
will select the normal crossover mode where the
frequency is set by selecting the crossover
points. If however you have a special application
where you want to underlap or overlap the
crossover points, press the Increment or Decre-
ment keys (10 & 11) or turn the Data (15) knob
to select:
EXECUTE: SET FREQ BY
Lo-Hi cut (Special)
Executing this selection will aliow you to set the
low-cut and high-cut frequencies for each
output.
In the event you wish to abort the change of
configuration, press any key except the Incre-
ment/ Decrement (10 & 11) and Softkeys {12 & 13).
The EXECUTE/ ABORT display will appear.
EXECUTE: Change of
ABORT: Configuration
Pressing the Lower (ABORT) (13) Softkey will
ABORT the change.
CHANGE ABORTED
b. Selecting Crossover Filter Types
The CEX-4L offers six different Filter choices.
The filter type can easily be changed while
listening to determine which filter is best for your
system. Filter type is saved as part of a Preset.
4th order Linkwitz-Riley: (24 dB per octave
slope) The two outputs are in phase at the
crossover frequency 6dB down. When added,
they add back to flat.
4th order Butterworth: (24 dB per octave slope)
The two outputs are in phase at the crossover
frequency 3dB down. When added, they form a
3d8 peak at the crossover point.
Ath order Bessel: (24 dB per octave slope) This
IS a linear phase filter with the two outputs 3d8
down at the crossover frequency.
8th order Linkwitz-Riley: Same as above except
with 48 dB per octave slope.
8th order Butterworth: Same as above except
with 48 dB per octave slope.
8th order Bessel: Same as above except with
48 dB per octave slope.
Press the Master (2) key until the Crossover
Filter Type display appears. Using the Incre-
ment/Decrement (10 & 11) keys or the Data (15)
knob, select the desired Filter Type. For our ex-
ample, we will select a 4th order Linkwitz-Riley.
X-OVER FILTER TYPE
4th LINKWITZ-RILEY
. Setting the View Angle
Because the CEX-4L may have to be viewed
from a variety of angles, the LCD contrast may
be adjusted to provide comfortable visibility.
1. Press the Master (2) key several times until
the view angle display appears.
DISPLAY VIEW ANGLE
3
2. Using the Increment/Decrement (10 & 11)
keys, adjust the viewing angle for maximum
comfort and clarity. There are eight different
viewing angles, here we have selected 3 as
a sample viewing angle.
. Setting Delay Distance Units
Delay Distance Units English
This display allows the selection of either English
or metric distance units in the delay displays
(Part 2, Section 4). When English units are
selected, the delay distance is in feet or inches.
When metric units are selected, the delay
distance is in meters ог centimeters.
Use either the increment/decrement keys or the
data knob to change the selection.
Frequency Function
The Frequency Function allows access to setting all
of the crossover frequencies as well as the low-cut
and high-cut frequencies. The selected values are
saved as part of a Preset,
For our example we will use a low-cut frequency of
40 Hz, a low to mid frequency of 300 Hz, a mid to
high frequency of 1200 Hz, and a high-cut fre-
quency of 18 kHz.
Press the Frequency (3) key and ane of the fre-
quency display pages will appear. Press the Fre-
quency (3) key to scroll through the displays until
the Low-Cut Frequency display appears.
IN “A” LOW-CUT FREQ
3 WAY OFF
Use the Increment/Decrement (10 & 11) keys or
the Data (15) to select the desired low-cut
frequency.
IN “A” LOW-CUT FREQ
3-WAY AOHz
Press the Frequency (3) key once to advance to
the next display.
IN “AU 3W X-OVER FREQ
FROM LF TO MF 500Hz
Again using the Increment/Decrement (10 & 11)
keys or the Data (15) knob, select the desired low
to mid crossover frequency.
IN “A” 3W X-OVER FREQ
FROM LF TO MF 300Hz
Press the Frequency (3) key again to advance to
the next display.
IN “A” 3W X-OVER FREQ
FROM MF TO HF 1.5K
Use the Increment/Decrement (10 & 11) keys or
the Data (15) knob to select the desired mid to
high crossover frequency.
IN “A” 3W X-OVER FREQ
FROM MF TO HF 1.2K
Press the Frequency (3) key once more to
advance to the next display.
IN “A HIGH-CUT FREQ
3-WAY 8.0K
Use the increment/Decrement (10 & 11) keys to
select the desired high cut frequency.
IN “A” HIGH-CUT FREQ
3-WAY 18 kHz
The crossover frequencies and low/high cut fre-
quencies have now been established for our
aanfiniiratinn
Level Function
This function accesses the input and output Level
settings. When setting the levels, set the Input
Level first.
To set the Input Level, connect the balanced Out-
put from your mixer to Input “A”. Set the Level on
your mixer to the anticipated maximum and then
use the Increment/ Decrement (10 & 11) keys or
the Data (15) knob to increase or decrease the
Level until the LED meter is illuminating red only
on program peaks. Illumination of the red LED in-
dicates that the input signal is within 6 dB of clipp-
ing. Continuous illumination of the red LED means
there is a risk of audible distortion.
Press the Level (4) key until the Input Level display
appears.
INPUT “A” LVL 0
(3-WAY)
Turn the volume on your amplifiers all of the way
up, then adjust the Output Levels on the CEX-4L to
balance the system.
Press the Level (4) key to advance to the next
display.
OUTPUT 1 LVL 0
(LF 3-WAY IN A”)
Output 1 is the low frequency output.
Press the Level (4) key to advance to the next
display.
OUTPUT 2 LVL 0
(MF 3-WAY IN “A")
Output 2 is the mid frequency output.
Press the Level (4) key to advance to the next
display.
OUTPUT 3 LVL 0
(HF 3-WAY IN “A”)
Output 3 is the high frequency output.
Press the Level (4) key to advance to the next
display.
OUTPUT 4 LVL 0
(LF 3-WAY IN “A")
Output 4 is the 2nd low frequency output.
Delay Function
The Delay Function accesses the input and/or out-
put delays. Delay settings are stored as part of a
Preset.
*Input Pre-Delay
In situations where the loudspeakers are out in
front of the original sound source (for instance a
choral group), the amplified sound will reach the
audience before the original sound. Using pre-
delay, you can delay the amplified sound such that
sound from the speakers reach the audience at the
same time or slightly after the live sound. This can
be achieved by measuring the distance between
the original sound source and the loudspeakers
and selecting a pre-delay to match. The delay can
be fine tuned by listening.
"Output Delay
Output delay is used to align the individual drivers
in a loudspeaker system to achieve optimal time
alignment.
Method 1.
Measure the difference between the drivers
(see diagram 1) and set the delays according
to the measured distances between the depths
of the drivers.
Diagram 1
+
Delay LF by approximately “d' distance
Method 2.
First use method 1 to set the delay time, then
proceed with method 2 to fine adjust the
delay. In this method, two drivers at a time are
aligned. Input a sine wave at the crossover fre-
quency, and invert the polarity of one output.
While listening on axis of the speaker system,
adjust the delay time back and forth a small
amount until the null point is found. (The
signals from the two drivers will cancel causing
a drop in volume.) Return the output polarity to
normal and you shouid notice the on axis level
increase. Repeat this procedure until ail drivers
have been aligned.
Method 3.
Use an analyzer that measures delay and fre-
quency response to set the delays.
Note: Because the crossover filters also add a
slight delay, the optimal delay time may
change slightly if you select a different filter
type.
Press the Delay (5) key until the Input
Pre-delay display appears.
INPUT “A” PRE-DELAY
Oms (0 FEET)
Press the Delay (5) key to scroll through the next
four displays.
OUTPUT 1 DELAY LF “A”
0.00ms (0.0 INCHES)
This is the first low frequency output Delay.
OUTPUT 2 DELAY MF “A”
0.00ms ( 0.0 INCHES)
This is the mid frequency output Delay.
OUTPUT 3 DELAY HF “A”
0.00ms ( 0.0 INCHES)
This is the high frequency output Delay.
OUTPUT 4 DELAY LF “A”
0.00ms ( 0.0 INCHES)
This is the second low frequency output Delay.
Mute Function
Any of the four outputs of the CEX-4L can be
muted. Whenever a new System Configuration is
selected, the outputs are muted automatically. The
Mute status is also stored as part of a Preset.
Press the Mute (8) key to view the current status of
the output Mutes.
OUTPUT 1 LF “A”
IS MUTED
To activate output 1 press the Increment/Decre-
ment (10 & 11) key.
OUTPUT 1 LF A”
IS ACTIVE
*Caution: When unmuting the outputs, make sure
that the configuration which is active is compatible
with the actual speakers which are connected,
otherwise driver damage could occur.
Invert Function
The invert function allows the polarity of each
CEX-4L output to be inverted. This is useful in set-
ting output delays for time alignment (see Delay
Function) or in correcting reversed driver wiring.
The status of the output polarity is stored as part of
a Preset.
Press the Invert (9) key to scroll through the
polarity displays. The Increment/Decrement (10 & 11)
keys are used to change the status of the polarity
for each output.
OUTPUT 3 HF “A”
POLARITY IS NORMAL
PART 3. DESCRIPTIONS OF THE BASIC
CONFIGURATIONS
(Guided tours of configuration
displays)
This section is designed to familiarize you with the 11 basic con-
figurations and their unique displays.
A. In “A” 4-Way
This configuration is a standard four-way crossover
with outputs 1, 2, 3, and 4 assigned to the low,
mid, high, and very high frequencies respectively.
Input “A” is used as a mono source for ail four of
the outputs.
Select and activate the (IN “A” 4-WAY)
configuration.
*Crossover point and low/high cut frequency
displays
IN “A” LOW-CUT FREQ
4-WAY 60HZ
Select the desired low-cut frequency point.
IN “A” 4W X-OVER FREQ
FROM LF TO MF 800Hz
Select the desired low to mid frequency crossover
point.
IN “A” 4W X-OVER FREQ
FROM MF TO HF 1.6K
Select the desired mid to high frequency crossover
point.
IN “A” 4W X-OVER FREQ
FROM HF TO VHF 15KHz
Select the desired high to very high frequency
crossover point.
IN “A” HIGH-CUT FREQ
4-WAY OFF
Select the desired high-cut frequency point.
*The Input and Output Level displays
In this configuration, Input “A” is a mono source
for the four outputs. Qutputs 1, 2, 3, and 4 are
assigned to the low, mid, high, and very high fre-
quencies respectively.
INPUT “A” LVL 0
(4-WAY)
OUTPUT 1 LVL 0
(LF 4-WAY IN “A")
OUTPUT 2 LVL 0
(MF 4WAY IN “A")
OUTPUT 3 LVL 0
(HF 4-WAY IN “A")
OUTPUT 4 LVL 0
(VHF 4-WAY IN <A”)
*The Delay displays
INPUT “A” PRE-DELAY
Oms (0 Feet)
QUTPUT 1 DELAY LF “A”
0.00ms (0.0 inches)
OUTPUT 2 DELAY MF “A”
0.00ms (0.0 Inches)
OUTPUT 3 DELAY HF “A”
0.00ms (0.0 inches)
OUTPUT 4 DELAY VHF “A”
0.00ms (0.0 Inches)
Input “A” can have a pre-delay of up to 650ms in
1ms increments. Each output can be delayed up
to 10ms in 20.8us increments.
B. IN “A” 3-WAY + 2ND LF
This configuration is a standard 3-way crossover
with outputs 1, 2, and 3 assigned to low, mid,
and high frequencies respectively. Output 4 is
used as an additional low frequency output. Input
“A” is a mono source for all four of the outputs.
Select and activate the (IN “A” 3WAY + 2ND LF)
configuration
*Crossover Point and Low/High-Cut
Frequency Displays
IN “A” LOW-CUT FREQ
3-WAY 60Hz
Select the desired low-cut frequency point.
IN “A” 3W X-OVER FREQ
FROM LF TO MF 800Hz
Select the desired low to mid frequency crossover
point.
IN “A” 3W X-OVER FREQ
FROM MF TO HF 1.5K
Select the desired mid to high frequency crossover
point.
IN “A” HIGH-CUT FREQ
3-WAY 15kHz
Select the desired high cut frequency point.
*The Input and Output Level Displays
In this configuration, Input “A” is a mono source
for the four outputs. Outputs 1, 2, and 3 are
assigned to the low, mid, and high frequencies
respectively. Output 4 is used as an additional low
frequency output.
INPUT “A” LVL 0
(3-WAY)
OUTPUT 1 LVL 0
(LF 3-WAY IN A”)
OUTPUT 2 LVL 0
(MF 3-WAY IN “A")
OUTPUT 3 LVL O
(HF 3-WAY IN A”)
OUTPUT 4 LVL O
(LF 3-WAY IN A”)
*The Delay Displays
INPUT “A” PRE-DELAY
Oms ( O Feet)
QUTPUT 1 DELAY LE “A”
0.00ms ( 0.0 Inches)
OUTPUT 2 DELAY MF “A”
0.00ms ( 0.0 Inches)
QUTPUT 3 DELAY HF “A”
0.00ms ( 0.0 Inches)
OUTPUT 4 DELAY LF “A”
0.00ms ( 0.0 Inches)
IN “A” 3-WAY + 2ND MF
This configuration is a standard 3-way crossover
with outputs 1, 2, and 3 assigned to the low, mid,
and high frequencies respectively. Input “A” is a
mono source for all four outputs. It is identical to
(IN “A” 3-WAY + 2ND LF) except that Output 4
is used as an additional mid frequency output.
(See Part 3; Section B.)
IN “A” 3-WAY + 2ND HF
This configuration is a standard 3-way crossover
with outputs 1, 2, and 3 assigned to the low, mid,
and high frequencies respectively. Input “A” is a
mono source for all four outputs. It is identical to
(IN “A” 3-WAY + 2ND LF) except that Output 4
Is used as an additional high frequency output.
An additional CD Horn EQ is provided for the
2ND high frequency output (Out 4) (See Part 3;
Section B).
IN “A” 3-WAY + BP
This configuration is a standard 3-way crossover
with outputs 1, 2, and 3 assigned to the low, mid,
and high frequencies respectively. Input “A” 1s
used as a mono source for all four outputs. lt is
identical to (IN “A” 3-WAY + 2ND LF) except
that Output 4 is used as a bandpass (ful! range)
output with a separate set of low and high-cut
frequencies.
Select and activate the (IN “A” 3-WAY + BP)
configuration.
*Crossover Point and Low/High-Cut
Frequencies Displays
IN “A” LOW-CUT FREQ
3-WAY OFF
Select the desired low-cut frequency paint.
IN “A” 3W X-OVER FREQ
FROM LF TO MF 500Hz
Select the desired low to mid frequency
crossover point.
IN “A” 3W X-OVER FREQ
FROM MF TO HF 1.6K
Select the desired mid to high frequency
crossover point,
IN “A” HIGH-CUT FREQ
3-WAY 8.0K
Select the desired high-cut frequency point.
IN “M” LOW-CUT FREQ
3-WAY 8.0K
Select the desired low-cut frequency point for Out-
put 4 (Bandpass).
IN “MM” HIGH-CUT FREQ
3-WAY 18kHz
Select the desired high-cut frequency point for
Output 4 (Bandpass).
*The Input and Output Level Displays
In this configuration, Input “A” is the source for
all 4 outputs.
INPUT “A” LVL 0
(3-WAY)
OUTPUT 1 LVL 0
(LF 3-WAY IN “A”
OUTPUT 2 LVL 0
(MF 3-WAY IN “A")
OUTPUT 3 LVL 0
(HF 3-WAY IN “A”
OUTPUT 4 LVL 0
(BP 3-WAY IN “M”)
*The Delay Displays
INPUT “A” PRE-DELAY
Oms (0 Feet)
INPUT ‘M’ PRE-DELAY
Oms (0 Feet)
OUTPUT 1 DELAY LF “A”
0.00ms (0.0 Inches)
OUTPUT 2 DELAY MF “A”
0.00ms (0.0 Inches)
OUTPUT 3 DELAY HF “A”
0.0ms (0.0 Inches)
OUTPUT 4 DELAY BP “M'
0.0ms (0.0 Inches)
Input “A” and “M” can have a pre-delay of up to
650ms in 1ms increments. Each output can be
delayed up to 10ms in 20.8us increments.
Е. IN “A” 3-WAY IN “B’’ BP
This configuration is a standard 3-way crossover
with outputs 1, 2, and 3 assigned to the low, mid,
and high frequencies respectively. It is identical to
(IN “A” 3-WAY + BP) except that Input “A” is
used as a source for Outputs 1, 2, and 3 only
and Input “B’ is used as a source for Output 4.
Qutput 4 is a Bandpass (full range) output with
separate low-cut and high-cut frequencies.
Select and activate the (IN “A” 3-WAY IN “B” BP)
configuration.
*Crossover Point and Low/High-Cut
Frequency Displays
IN “A” LOW-CUT FREQ
3-WAY 60Hz
Select the desired low-cut frequency.
IN “A” 3W X-OVER FREQ
FROM LF TO MF 800Hz
Select the desired low to mid frequency
crossover point.
IN “A” 3W X-OVER FREQ
FROM MF TO HF 1.5K
Select the desired mid to high frequency
crossover point,
IN “A” HIGH-CUT FREQ
3-WAY 15kHz
Select the desired high-cut frequency point.
IN “B” LOW-CUT FREQ
3WAY BOkHz
Select the desired low-cut frequency for the
Bandpass output
IN “B” HIGH-CUT FREQ
3-WAY OFF
Select the desired high-cut frequency for the
Bandpass output.
* The Input and Output Level Displays
In this configuration, Input “A” is the source for
outputs 1, 2, and 3. Input “B" is the source for
Output 4.
INPUT “A” LVL 0
(3-WAY)
INPUT “B” LVL 0
(BANDPASS)
OUTPUT 1 LVL ©
(LF 3-WAY IN “A”)
OUTPUT 21VL ©
(MF 3-WAY IN “A”)
OUTPUT 3 LVL 0
(HF 3-WAY IN A”)
OUTPUT 4 LVL 0
(BP 3-WAY IN “B")
* The Delay Displays
INPUT “A” PRE-DELAY
Oms ( O Feet)
INPUT “B'” PRE-DELAY
Oms ( O Feet)
OUTPUT 1 DELAY LF “A”
0.00ms ( 0.0 Inches)
OUTPUT 2 DELAY MF “A”
0.00ms ( 0.0 Inches)
QUTPUT 3 DELAY HF “A”
0.0ms ( 0.0 Inches)
QUTPUT 4 DELAY BP 'B”
0.0ms ( 0.0 Inches)
Input “A” and “B” can have a cumulative pre-
delay of up to 650ms in 1ms increments. Each
output can be delayed up to 10ms in 20.8us
increments.
G. IN “A” 2-WAY
This configuration is a standard dual 2-way
crossover with Outputs 1 and 2 assigned to the
low and high frequencies of the first 2-way
crossover and Qutputs 3 and 4 assigned to the
low and high frequencies of the second 2-way
crossover. Input “A” Is used as a Mono source
for both pairs of outputs.
Select and activate the (IN “A” 2-WAY)
configuration.
*Crossover Points and Low/High-Cut Displays
IN “A” LOW-CUT FREQ
2-WAY OFF
Select the low-cut frequency for the first 2-way
crossover.
IN “A” 2W X-OVER FREQ
FROM LF TO HF 500Hz
Select the low to high frequency crossover point
for the first 2-way crossover.
IN "A" HIGH-CUT FREQ
2-WAY 1.5K
Select the high-cut frequency for the first 2-way
crossover.
IN “M” LOW-CUT FREQ
2-WAY 1.5K
Select the low-cut frequency for the second 2-way
crossover.
IN M’ 2W X-OVER FREQ
FROM LF TO HF 8.0K
Select the low to high frequency crossover point
for the secand 2-way crossover.
INM” HIGH-CUT FREG
2-WAY 18kHz
Select the high-cut frequency for the second
2-way crossover.
*The Input and Output Level Displays
In this configuration Input “A” is the mono source
for the four outputs. Outputs 1 and 2 are the low
and high frequencies of the first 2-way crossover,
outputs 3 and 4 are the low and high frequencies
of the second 2-way crossover,
INPUT “A” LVL 0
(2-WAY)
OUTPUT 1 LVL e
(LF 2-WAY IN A”)
OUTPUT 2 LVL 0
(HF 2-WAY IN “A”
OUTPUT 3 LVL 0
(LF 2-WAY IN “M'
OUTPUT 4 LVL 0
/UE 9 MAY INL CRAY
*The Delay Displays
INPUT “A” PRE-DELAY
Oms ( O Feet)
INPUT “M” PRE-DELAY
Oms ( O Feet)
OUTPUT 1 DELAY LF “A”
0.00MS — (0.0 INCHES)
OUTPUT 2 DELAY HF “A”
0.00ms ( 0.0 Inches)
OUTPUT 3 DELAY LF “M”
0.00ms ( 0.0 Inches)
OUTPUT 4 DELAY HF “M"
0.00ms ( 0.0 Inches)
Input “A” and “M” (mono) can have a pre-delay
of up to 650ms in 1ms increments. Each output
can be delayed up to 10ms in 20.8us increments.
IN “A 8 B” 2-WAY (Stereo 2-way)
This configuration is a standard dual 2-way
crossover with outputs 1 and 2 assigned to the
low and high frequencies of the first 2-way
crossover, and outputs 3 and 4 assigned to the
low and high frequencies of the second 2-way
crossover. It is identical to the (IN “A” 2-WAY)
configuration except that Input “A” is the source
for the first 2-way crossover and Input ‘“B”’ is the
source for the second 2-way crossover. The level
of each input is individually adjustable. The “A”
and *‘B’’ inputs can have a cumulative pre-delay
of up to 650ms in 1ms increments. Each output
can be delayed up to 10ms in 20.8us increments.
(SEE PART 3 G)
DLY IN “A” — 1, 2, 3, 4
This configuration is a four-channel delay line with
delay times up to 675ms. Each output is a band-
pass (full range) output with selectable low and
high-cut frequency points and individual level
control.
Select and activate the (DLY IN “A” — 1, 2, 3, 4)
configuration.
'Low and High-Cut Frequency Displays
QUTPUT 1 LOW-CUT FREQ
DELAY “A” OFF
Select the low-cut frequency point for delay line
Output 1.
QUTPUT 1 HIGH-CUT FREQ
DELAY “A” OFF
Select the high-cut frequency point for delay line
Output 1. Outputs 2, 3, and 4 also have selectable
low/high-cut frequency point delays.
*The Input and Output Level Displays
In this configuration, Input “A” 1s a mono source
for the four outputs. Outputs 1, 2, 3, and 4 are
delay line bandpass (full range) outputs.
INPUT “A” LVL 0
(DELAY)
QUTPUT 1 LVL О
(DELAY IN A”)
OUTPUT 2 LVL 0
(DELAY IN A")
OUTPUT 3 LVL 0
(DELAY IN “A”
OUTPUT 4 LVL 0
(DELAY IN A”)
*The Delay Displays
OUTPUT 1 DELAY “A”
Oms ( О Feet)
OUTPUT 2 DELAY “A”
Oms ( O Feet)
QUTPUT 3 DELAY “A”
Oms ( О Feet)
OUTPUT 4 DELAY “A”
Oms ( О Feet)
The Delay line configuration offers individual
output delays of up to 675ms per output in
1ms increments.
DLY “A” — 1, 2, 3 “B” — 4
This configuration is a four channel delay line with
delay times up to 675ms allocated between Inputs
“A” and “B”. Each output is a bandpass (full
range) output with selectable low and high-cut fre-
quency points and individual level control. It is
identical to the (DLY IN "A" — 1, 2, 3, 4) con-
figuration except that Input “A” is the source for
Outputs 1, 2, and 3 and Input ‘B’ is the source
for Output 4. (SEE PART 3; I)
DLY “A” > 1, 2, “B” — 3,4
This configuration is a four channel delay line with
delay times up to 675ms allocated between In-
puts “A” and “B”. Each output is a bandpass
(full range) output with selectable low and high-cut
frequency points and individual control. It is iden-
tical to the (DLY IN “A” — 1, 2, 3, 4) configura-
tion except that Input “A” is the source for Out-
puts 1 and 2 and Input “B” is the source for Out-
puts 3 and 4. (SEE PART 3; 1)
PART 4. MEMORY/PRESET
A.
Storing and Naming Presets
(A Guided Tour)
After creating a custom configuration, alí of the
settings that comprise that custom configuration
can be stored as a preset. This feature can be
used in a touring system to store parameters for
configurations used in different sized venues. It
can also be used in fixed installations to store dif-
ferent input/output gain settings or delay settings
for different applications.
Press the MEMORY (6) key until the store display
appears:
STORE: PRESET 1
— Preset Label
Use either the Increment/Decrement (10 & 11)
keys or the Data (15) knob to select a preset
location in which to store your new configuration.
For our example, let's choose preset location 50.
STORE: PRESET 50
— Preset Label
Press the Lower (—) (13) Softkey to advance the
cursor. The cursor will now be flashing under the
first letter of the preset name. The name can be
15 characters in length. For example, we will
name Preset 50: “3-way enclosure”. Using the
Increment/Decrement (10 & 11) keys or the
Data (15) knob, select the desired letters for each
digit. To advance the cursor, press the Lower
(—) (13) Softkey. If you want to go back to
change the previous digit, then repeatedly press
the Lower (—) (13) Softkey and the cursor will
return to the beginning. When you have finished,
the display should show:
STORE: PRESET 50
— 3-WAY ENCLOSURE
NOTE: When saving to a Preset location, all informa-
tion previously stored in that location will be
erased and replaced by the new configuration.
Press the Upper (STORE) (12) Softkey and the
display will briefly show:
STORE COMPLETE
Your new configuration has now been saved.
The name that you stared with the preset will
also appear in the display that remains after
power on.
Recalling Presets (A Guided Tour)
Press the MEMORY (6) key until the Recall display
appears:
RECALL: PRESET 42
— Preset Label
Using the Increment/Decrement (10 & 11) keys or
the Data (15) knob, select the preset to be
recalled. For our example we will recall preset 4.
RECALL: PRESET 4
— Preset Label
Press the Upper (RECALL) (12) Softkey and the
display will momentarily show
RECALL COMPLETE
Preset 4 configuration is now active.
System Exclusive Dump and Load
Functions
Preset data can be transmitted or received by the
CEX-4L using a MIDI system exclusive dump or
load. This is useful for permanent storage of
presets or for transferring information from one
CEX-4L to another. In the following example, two
CEX-4L crossovers are being used to assemble a
stereo 4-way system. A system configuration with
carefully chosen function parameters has been
stored into Preset location number 8 in the first
CEX-4L. The two units are connected as shown in
Diagram 2.
Diagram 2
Sending Unit
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DEVICE EUASLANT TO SUBRAAS J OF PART 15 OF "CC ALLES INTERN ALE
To transfer the Preset data to the second CEX-4L:
Use the MEMORY (6) key on each CEX-4L to be
sure they are both set to the same channel. (See
Section E below)
Press the MEMORY (6) key on the first CEX-4L
until the SYSEX DUMP display appears.
DUMP: PRESET 1
Via MIDI SYS EX
Using the Increment/Decrement (10 811) keys
and/or the Data (15) knob, select the desired
preset(s) to be dumped. For-our example, select
Preset 8.
DUMP: PRESET 8
Via MIDI SYS EX
Press the Upper (DUMP) (12) Softkey. The
display of both CEX-4L crossovers will briefly
show:
MIDI SYS EX DUMP
IN PROGRESS
Preset 8 has now been transmitted to the second
CEX-4L.
* Note, select:
1-50 to dump an individual preset. Active to
dump only the Active preset. ALL to dump all
50 presets.
If the MIDI display did not appear in the receiving
CEX-4L:
1. Check to be sure that the MIDI cable is con-
nected as shown above.
2 Be sure that both units are set to the same
MIDI channel.
MIDI Program Change Enable/Disable
In the CEX-4L, presets can be recalled by MIDI
Program Change. To enable or disable the MIDI
Program Change, press the STORE (6) key until
the Receive MIDI Program Change display
appears.
RECEIVE MIDI
PG CHG N
The cursor will be flashing under the status. Use
the Increment/Decrement (10 & 11) keys to
change the status (Y or N). *Note: The CEX-4L
comes from the factory with the MIDI Program
Change disabled.
Setting the MIDI Channel
(A Guided Tour)
Press the MEMORY (6) key until the MIDI channel
display appears.
— MIDI: CHANNEL OMNI
— 1 OFF
The Upper (+) (12) or Lower (—) (13) Softkeys
will toggle the cursor between the Channel
number or the Omni status. Use the Incre-
ment/Decrement (10 & 11) keys to change the
Channel number or Omni status. For our exam-
ple, select Channel number 12, OMNI “OFF”.
— MIDI: CHANNEL OMNI
> 12 OFF
The CEX-4L is now set to receive program
changes on MIDI Channel 12.
Turning the OMNI mode on allows the CEX-4L to
receive MIDI messages on all MIDI channels.
(The MIDI channel is ignored.)
*Note: When transmitting program changes to
the CEX-4L, be sure to enable MIDI program
change.
PART 5. LIM/EQ
LIMITERS
Limiters are available on each of the four outputs
of the CEX-4L.
Press the LIM/EQ key until the following display
appears.
- LIMITRI Off [|
+ LNK = N SEN =0 dBV
The limiters have three user selectable parameters
that can be adjusted in the display snow above:
Limiter On/Off, Link Y/N, and Sensitivity. To select
a parameter to change, press either the top (+)
‘or bottom (—) soft key.
* Limiter On/Off
Turning the limiter on activates the output limiter
as long as the output is not muted. Turn limiter 1
on by moving the cursor below “Off” and then
pressing either the up or down keys or using the
data knob.
— LIMITRT On [1--]
+ LNK=N SEN =0 dBV
Notice that in addition to Off changing to On, that
a “1” appeared inside the brackets in the top
right corner of the display. The area inside the
brackets shows the status of the 4 limiters. The
“1” that appeared in the first position indicates
that the limiter for output 1 is on. The dashes in
the second, third, and fourth positions indicate
that those output limiters are off. When a limiter is
on and when it goes into limiting, the display will
change from the limiter's number to an asterisk (*).
e LIMITR1 On [*-—-]
+ LNK = N SEN =0 dB
If a ‘1’ did not appear in the display when the
limiter was turned on, check to see of output 1 is
muted.
* Link Y/N
The link control on the limiter allows 2 or more of
the output limiters to work in tandem. For exam-
ple, let's assume that the limiters on outputs 1
and 2 are “on” and that link is set to “Yes” on
both limiters. If output 1 (the low freguency out-
put) goes into limiting, then output 2 will also go
into limiting by the same amount. Linking the
limiters maintains the balance between the out-
puts. There are times, though, when it may be
better not to link the output limiters. For example,
you may not want the kick drum, which may
cause the low frequency output limiter to limit, to
also drop the volume of the mids and highs.
* Sensitivity
The sensitivity control on the limiter establishes the
maximum output level of that output. So, if the
sensitivity is set to 0 dBV (1V RMS), then the max-
imum output signal from that output after the at-
tack time will be equivalent in amplitude to a 1V
RMS sine wave. If the sensitivity was set to
+6 dBV, the output would be equivalent in
amplitude to a 1V RMS sine wave. If the sensitivi-
ty was set to +6 dBV, the output would be
equivalent to a 2V RMS sine wave. If you set
limiter sensitivity to the same level as the cor-
responding power amplifier input sensitivity, then
the amplifier should be able to produce its max-
imum output power, but should be protected from
sustained clipping.
* Level
When the output limiter is “on,” the function of
the output level control, accessing by pressing the
LEVEL button, changes slightly. The leve! contral
functions as a prelimiter volume control with a
+12 dB range. This allows for small adjustments
of the output level without affecting the point
where limiting occurs. The optimum setting for this
control is at 0 dB.
* Qutput Equalization
The CEX-4L has 3 types of output equalization:
CD horn EQ, parametric, and low and high fre-
quency shelving tone controls. Each of these 3
types is available on every output.
Press the LIM/EQ button until the display shown
below appears.
OUT1 EQ Off
* CD Horn EQ
Press either the up or down key or use the data
knob to select the CD HORN EQ as shown
below.
+
QUT1 EQ Horn
— LEVEL = 0
The CD Horn EQ provides a 6 dB per octave
high frequency emphasis useful with high frequen-
Cy horns. As the level is increased, the top end of
the band remains at the same level, and low and
mid frequencies are reduced in level as show in
Diagram 3.
Diagram 3
High Frequency Output
off/0dB | | 15К
+5 dB
+10 dB
+15 dB
To adjust the CD HORN EQ, press either of the
side arrow softkeys to move the cursor to the
level setting.
+ QUT1 EQ Horn
— LEVEL = 0
Now use either the up or down keys or the data
know to change the EQ setting.
Diagram 4
Diagram for parametric
О
2 ОСЛАМЕ — -12 dB
+6 dB
0.1 OCTAVE
* Parametric EQ
Use the side arrow softkeys to position the cursor
below the current EQ type. Now select the
Parametric EQ as shown below.
OUT1 EQ Para-12.0
> FREQ = 60 Hz OCT=1.0
;
The parametric EQ is a 1 band EQ with ad-
justable frequency, bandwidth, and level. The
level has a range of +6 dB to -12 dB. The fre-
quency is adjustable from 20 Hz to 20 kHz and
the bandwidth is adjustable from .1 octave to 2
octaves. Use the side arrow softkeys to select the
parameter to change the selected parameter. The
diagram below shows the response of this filter.
* Tone Controls
The tone controls are traditional ist order low and
high frequency shelving controls with up to 6 dB
of boost and 12 dB of cut. Select TONE EQ type
by placing the cursor below the current EQ type
and by using either the up or down key or the
data knob. The disolav should annear as helow.
— OUT1 EQ Tone
— LF=-12.0 HF =-12.0
Adjust the low or high frequency shelving controls
by placing the cursor below the level to be
changed. Change the level of that filter using
either the up or down key or data knob. The
response of the filter is shown below.
Diagram 5
Diagram for tone
+608 CSS TS +o dB
0 dB 0 dB
7
LF HF
PART 6. SECURITY LOCK
The controls on the CEX-4L can be locked to prevent
unauthorized persons from making adjustments to the
crossover. When locked, an access code must be entered to
gain access to the controls. After the correct code has been
entered, all of the controls may be accessed until the power
is turned off. Each time the power is turned on, the access code
must be re-entered to adjust the unit.
Enable/Disable Lock or Change Access Code
With the CEX-4L turned off, press and hold the LIM/EQ and
Mute key and turn the power on. Hold the keys down until the
following display appears:
ENTER: ACCESS CODE
— 0000
*Note: The factory set access code is 0000.
Press the Upper (ENTER) (12) Softkey to enter the access code.
If the incorrect code is entered, the following display will
appear:
ACCESS DENIED
If the correct code is entered, the ENABLE/DISABLE LOCK
display will appear.
OK: SECURITY LOCK
IS: DISABLED
Use the Increment/Decrement (10 & 11) keys to change the
lock status. To change the Access Code, press the Upper (OK)
(12) Softkey and the following display will appear:
OK: CHANGE CODE TO:
— 0000
Use the Increment/Decrement (10 & 11) keys and the Lower
(>) (13) Softkey to select a new access code. When you have
finished selecting an access code, press the Upper (OK) (12)
Softkey.
*WARNING When you change the access code, be sure to
write it down and store it somewhere safe. The code must be
entered to adjust the crossover, change the access code, and
to turn the lock on or off.
Entering Access Code (Security Lack On)
When the Security Lock is enabled, attempting to change any
of the controls in the CEX-4L will cause the following display
to appear:
ENTER: ACCESS CODE
— 0000
Using the Increment/Decrement (10 & 11) keys and the Lower
(—) (13) Softkey, enter your Access Code. Pressing the Upper
(ENTER) (12) Softkey will enter the Access Code and allow nor-
mal access to the controls in the CEX-4L. If the incorrect Ac-
cess Code is entered, the display will momentarily show:
ACCESS DENIED
Then the Access Code display will reappear. If no keys are
pressed within the next 20 seconds, the display will return to
its normal display.
PART 7. REINITIALIZATION
Reinitializing the CEX-4L will replace all of your changes with
the factory settings. If you wish to keep any or all of your
changes, either save them via System Exclusive Dump or make
notes of the specific changes.
1. Turn the CEX-4L off.
2. While pressing and holding both the Master (2)
key and the MEMORY (6) key, turn the power
switch on.
3. Release the two keys. The following display should
appear:
MEMORY HAS BEEN
REINITIALIZED
The CEX-4L is now reinitialized.
*Note: The security lock must be disabled before the
memory can be reinitialized.
PART 8. SPECIFICATIONS
FREQUENCY RESPONSE
12 Hz to 20 kHz +1, 2 dB
TOTAL HARMONIC DISTORTION
Less than 0.015% at 1 kHz (2V RMS)
SIGNAL-TO-NOISE RATIO
Greater than 90 dB Broad band (filters off)
INPUT CMRR
(Common Mode Rejection Ratio) Greater than 60 dB at
1 kHz
MAXIMUM INPUT LEVEL
+25 dBu
MAXIMUM OUTPUT LEVEL
+24 dBm (600 ohms) 13V RMS; +25 dBu (Hi-Z load) 15V
RMS
FILTER TYPES
4th and 8th order Linkwitz-Riley
4th and 8th order Butterworth
4ih and 8th order Bessel
INPUT IMPEDANCE
20K ohms
OUTPUT IMPEDANCE
100 ohms
OUTPUT EQ TYPES
Constant Directivity Horn EQ:
Adjustable high frequency emphasis with up to 6
dB/octave slope
Parametric EQ:
Gain +6 dB to -12 dB;
Frequency 20 Hz to 20 kHz;
Bandwidth 1 to 2 octaves
Tone Controls:
Low frequency and high frequency shelving filters;
Gain +6 dB to -12 dB
CONSTANT DIRECTIVITY HORN EQ
Adjustable high frequency emphasis with up to
6 dB/octave slope
DELAY
Crossover mode:
Predelay: max delay 650ms*
step size 1ms
Output delay:
Max delay 10ms
step size 20.8 microseconds
Delay line mode:
Max delay each tap: 675ms*
step size 1ms
*Note: When both inputs A and B are used, the maximum
delay time is shared between the inputs.
Nata: AO dR = 775V
PART 9. MIDI SPECIFICATIONS
See Page 18
SYSTEM EXCLUSIVE COMMANDS
* The following format is used for all the MIDI System exclusive
commands in the Peavey CEX-4L.
FO 00 00 1B 05 ch cm DATA F7
Where:
FO = MIDI SYSTEM EXCLUSIVE COMMAND
(Status Byte)
00 00 1B = PEAVEY ELECTRONICS Manufacturers
1.D. code
05 = CEX-4L product 1.D. code
ch = MIDI Channel
cm = Command byte (See Table 1)
DATA = actual message data
F7 = SYSEX END OF EXCLUSIVE (Status Byte)
Table 1:
ON is the Exclusive Command
01 (01) = Load Preset (Sends) (Receives)
02 (02) = Dump Preset (Receives)
03 (03) = Load All Presets (Sends) (Receives)
04 (04) = Dump All Presets (Receives)
77 (119) = Start Display Test (Receives)
7A (122) = End MIDI Initiated Test (Receives)
7B (123) = Key Code of Pressed Key (Sends)
7C (124) = Start Key Test (Receives)
Each byte of data sent in messages 1 and 3 is broken
into nibbles and sent then as two bytes. The high nib-
ble is sent first.
MIDI Implementation Chart Mode: CEX-4L
Function Transmitted Recognized Remarks
Basic Default
Channel Channel 1-16 1-16 Memorized
Defauit 3 1.3
Mode Messages X X
Altered X X
Note
Number True Voice X X
Velocity Note ON X X
Note OFF X X
After Key's X X
Touch Ch's X X
Pitch Bender
Control
X X
Change
Prog
Change Tue# 0-49 0-49
System Exclusive 0 0
System: :Song Pos X X
:Song Sel X X
Common Tune X X
System :Clock X X
Real Time :Commands X X
AUX :Local ON/OFF X X
Mes- :All Notes Off X X
sages ¡Active Sense X X
:Reset X X
Notes
Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO X: Yes
Mode 3: OMNI OFF, POLY Mode 3: OMNI OFF, MONO 0: NO
BLOCK DIAGRAM OF THE CEX-4L
INPUT A
+
2 - | 7 ANTI ALIAS
e > — FILTER
Wa
y
INPUT LEVEL AD cena: LL
CONTROL CONVERTER PROCESSOR
Y 16 Bi
+
- OVERSAMPLING
= 7 ANTI ALIAS
> — > FILTER >>
OUTPUT LEVEL OUTPUT 1
CONTROL
RECONSTRUCTION
FILTER
18 Bit + D/A
” Conv
RECONSTRUCTION
FILTER
RECONSTRUCTION
FILTER
18 Bit + D/A
>» Conv
RECONSTRUCTION
FILTER
INPUT / OUTPUT CONNECTIONS:
The inputs and outputs on the CEX-4L are a "transformer like”
electronically balanced circuit. When used in an unbalanced
application be sure not to leave pin 2 or 3 on the XLR connector
unconnected. Both the high and low sides of the balanced line must
be connected for proper operation.
NOTE: * To prevent ground loops, the shield is best connected only at
one end. (The end with the best earth ground) In environments where
a strong RF field exists, the shield can be connected to ground at the
other end with a 0.001 mf ceramic disc capacitor.
* A 3 circuit 1/4" plug should only be used with equipment that has
balanced connections on a 3 circuit jack.
BALANCED
1 2
3 O A
©
XLR TO XLA
A т Ss RT
1 1 1 E Th |
eh)
XLR TO 14” * * $ *
UNBALANCED
1 2
A T T
3 A
e 1 J ama >
nd is s
LIMITED WARRANTY
Peavey Electronics Corporation warrants to the original purchaser of this new Architectural Acoustics® product
that it is free from defects in material and workmanship. If within one (1) year from date of purchase a properly
installed product proves to be defective and Peavey is notified, Peavey will repair or replace it at no charge. (Note:
Batteries and patch cords not covered.) “Original purchaser” means the customer for whom the product is
originally instailed.
Damage resulting from improper installation, interconnection of a unit or system of another manufacturer,
accident or unreasonable use, neglect or any other cause not arising from defects in material and workmanship is
not covered by this warranty. The warranty is valid only as to products purchased and installed in the United
States.
THIS LIMITED WARRANTY IS IN LIEU OF ANY AND ALL WARRANTIES, EXPRESSED OR IMPLIED,
INCLUDING THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR USE.
UNDER NO CIRCUMSTANCES WILL PEAVEY BE LIABLE FOR ANY LOST PROFITS, LOST SAVINGS,
INCIDENTAL DAMAGES OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE
THE PRODUCT, EVEN IF PEAVEY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. THIS
LIMITED WARRANTY IS THE ONLY EXPRESSED WARRANTY ON THIS PRODUCT, AND NO OTHER
STATEMENT, REPRESENTATION, WARRANTY, OR AGREEMENT BY ANY PERSON SHALL BE VALID OR
BINDING UPON PEAVEY.
Peavey’s liability to the original purchaser for damages for any cause whatsoever and regardless of the form of
action, is limited to the actual damages up to the greater of Five Hundred Dollars ($500) or an amount equal to
the purchase price of the product that caused the damage or that is the subject of or is directly related to the
cause of action. This limitation of liability will not apply to claims for personal injury or damage to real property or
tangible personal property allegedly caused by Peavey’s negligence. For information on service under this
warranty, call a Peavey customer service representative at
(601) 483-5376.
DANGER
EXPOSURE TO EXTREMELY HIGH NOISE LEVELS MAY CAUSE A PERMANENT HEARING LOSS INDIVIDUALS VARY CONSIDERABLY IN SUSCEPTIBILITY TU NOISE INDUCED HEARING LOSS BUT NEARLY
EVERYONE WILL LOSE SOME HEARING IF EXPOSED TO SUFFICIENTLY INTENSE NOISE FOR A SUFFICIENT TIME
“HE US GOVERNMENT'S OCCUPATIONAL SAFETY AND HEALTH ADMINISTRATION (QO5HAI HAS SPECIFIED THE FOLLOWING PERMISSIBLE NOISE LEVEL EXPOSURES
DURATION PER DAY IN HOURS SOUND LEVEL dBA, SLOW RESPONSE
X
97
E
97
100
1 102
1 105
110
115
AC 6 M
Cor less
ACCORDING TO OSHA. ANY EXPOSURE WN EXCESS OF THE ABOVE PERMISSIBLE LIMITS COLILD RESULT Ih SOME HEARING LOSS
EAR PLUGS OR PROTECTORS IN THE EAR CANALS OR OVER THE EARS MUST BE WORN WHEN OPERATING THIS AMPLIFICATION SYSTEM IN DRDER TO FREVENT A PERMANENT HEARING LOSS IF
EXPOSURE 1S IN EXCESS OF THE LIMITS AS SET FORTH ABOVE TO INSURE AGAINST POTENTIALLY DANGEROUS EXPOSURE TO HIGH SOUND PRESSURE LEVELS, IT 1S RECOMMENDED THAT ALL
ND PRESSLY VEL > CAT FEET Y HEAHING PAROTECIORS WHILE TSUNITIS
GAN: EOL IZER CONTROFEST AND/OR E
LOUCÉRÉAKER SYSTEMS EXTENDED DR
POWER GAN BE OPTAINED WITH VERY KE
ITIS ï
13 Meléépétié ca be cleaned E damp rag “the“vinyl
covering used on some units can be cleaned with a damp
tiv to a power supply SF thetype marxed oF thE
this product unit adjacent 19 1he power supply cord
“1
All safety and operating instructions should be retained
for luture relerence
Obey all cautions in the operating instructions andon the
Back of the uns
. All operating instructions should te followed
Tris praduct should nol be used near water. 1e a
pathtub. sink. swimming pool, wet basement. etc
Tris product should be located so that its posihon does
nol interfere with its proper ventilation. [t should not be
placed flat against a wall or placed in a bull in enclosure
that wilt impede the flow of cooling air.
This product should not be placed near a source of heat
such as a stove radiator or another heat producing
amplitier
Never break off the ground pin on ihe power supply cord
For more information on grounding write for our free
pooklet Shock Hazard and Grounding.”
Power supply cords should always be nandied caretuly
Never walk or place equipment on power supply cords
Periodically check cords for cuts or signs of stress,
especially at the plug and the point where the cord exits
the unit
The power supply cord should be unplugged when the
unit 1s to be unused tor long periods of ume
Ifthis product's to be mounted in an equipment rack. rear
support should be provided
гад. ог ar ammoma based housercld cleaner if
necessary.
Care should be taken so that objects ao not lail and
liquids are not spilled Inte the unit through the ventilation
holes ar any other openings.
This unit should be checked by a qualidied service
technician 1
A The power supply cord or plug has been damaged
B Anything has tallen or been spilied into the unit
C. The uni does not operate correctly.
D The urit has been dropped of the enclosure damaged
The user should rot to attempt to service this equipment
All service work should be done by a quahfied service
techmcian
©1991
FEE
ARCHITECTURAL ACOUSTICS®
Features and specifications subject to change without notice.
A Division of Peavey Electronics Corporation
711 A Street, P. O. Box 2898, Meridian, MS 39302-2898 / (601) 483-5376 / Telex: 504115 / Fax: (601) 484-4278
#80301459
Printed in U.S.A. 6/91
CEX™ 4La
Hardware Upgrade Version of CEX™ 4L
In an effort to enhance our products with new features, Peavey Electronics Architectural
Acoustics Division introduces the CEX™ 4La digital electronic crossover. Please note:
The CEX 4La has a choice of three equalization types. When 4th order filters are se-
lected, each output shall have the option of 3 EQ types. When 8th order filters are
selected, output 4 shall have EQ available.
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