Audio Control CM3-750D 3-Channel High Power Dual Mode Power User Manual

CM Series Ampliers

CM2-750, CM3-750, CM4-750

2, 3, 4 CHANNEL, LOW IMPEDANCE / 70V / 100V

POWER AMPLIFIERS

OPTIONAL DANTE PORT

FOR RESIDENTIAL AND COMMERCIAL APPLICATIONS

Installation Manual

Important Safety

Instructions

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any ventilation openings. In-

stall in accordance with the manufacturer’s

instructions.

8. Do not install near any heat sources such

as radiators, heat registers, stoves, or

other apparatus (including ampliers) that

produce heat.

9. Protect the power cord from being walked

on or pinched particularly at plugs, conve-

nience receptacles, and the point where

they exit from the apparatus.

10. Only use attachments/accessories speci-

ed by the manufacturer.

11. Unplug this apparatus during lightning

storms or when unused for long periods of

time.

12. Refer all servicing to qualied service

personnel. Servicing is required when

the apparatus has been damaged in any

way, such as power-supply cord or plug is

damaged, liquid has been spilled or objects

have fallen into the apparatus, the appara-

tus has been exposed to rain or moisture,

does not operate normally, or has been

dropped.

13. This apparatus shall not be exposed to

dripping or splashing, and no object lled

with liquids, such as vases or glasses, shall

be placed on the apparatus.

The lightning ash with arrowhead

symbol within an equilateral triangle

is intended to alert the user to the

presence of uninsulated “dangerous voltage”

within the product’s enclosure, that may be

of sucient magnitude to constitute a risk of

electric shock to persons.

The exclamation point within an

equilateral triangle is intended to alert

the user of the presence of import-

ant operating and maintenance (servicing)

instructions in the literature accompanying the

appliance.

Caution: to reduce the risk of electric shock,

do not remove the top cover. There are no

user-serviceable parts inside. Refer servicing to

qualied personnel.

This equipment has been tested and found

to comply with the limits for a Class B digital

device, pursuant to part 15 of the FCC Rules.

These limits are designed to provide reasonable

protection against harmful interference in a

residential installation.

This equipment generates, uses, and can radi-

ate radio frequency energy and, if not installed

and used in accordance with the instructions,

may cause harmful interference to radio com-

munications. However, there is no guarantee

that interference will not occur in a particular

installation.

If this equipment does cause harmful interfer-

ence to radio or television reception, which can

be determined by turning the equipment o

and on, the user is encouraged to try to correct

the interference by one or more of the follow-

ing measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equip-

ment and the receiver.

• Connect the equipment into an outlet on

a circuit dierent from that to which the

receiver is connected.

• Consult the dealer or an experienced radio/

TV technician for help.

CAUTION: Changes or modications to this

device not expressly approved by AudioControl

Inc. could void the user’s authority to operate

the equipment under FCC rules.

Recycling notice: If the time comes

and this apparatus has fullled its

destiny, do not throw it out into the

trash. It has to be carefully recycled

for the good of mankind, by a facility specially

equipped for the safe recycling of electronic

apparatii. Please contact your local or state

recycling leaders for assistance in locating a

suitable nearby recycling facility. Or, contact us

and we might be able to repair it for you.

Important Safety Instructions

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Table of Contents

Important Safety Instructions ...... 2

Table of Contents ................ 3

Introduction ..................... 4

Features ........................ 4

Complimentary Features .......... 6

Quick View ...................... 7

Front Panel ..................... 7

Rear Panel ...................... 7

Getting Started .................. 8

Installation Examples ............. 8

Front Panel Features .............. 13

Rear Panel Features ............. 15

Speaker and Wiring Impedance ..... 18

12 Volt Trigger Ins and Outs ........ 19

Ventilation ...................... 21

Internet Connectivity and Control ... 22

Acoustics ....................... 36

Equalization ..................... 37

Advanced Discussions ............. 40

Troubleshooting ................. 42

Block Diagram ................... 44

Specications ................... 45

Service ......................... 46

The Warranty .................... 47

The Crossover Two-Step ........... 52

Based on a dream-sequence involving the technical writer, the 1978

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Flowery Marketing Introduction

Congratulations!

If you are reading this user’s manual then it is

likely that you are involved in the installation

of an AudioControl CM Series amplier. This

amplication product was designed to allow

the user to maximize the performance of any

distributed audio speaker system, whether

you are using traditional low impedance (LoZ)

or 70/100 volt (HiZ) speaker systems…or both.

The AudioControl CM Series ampliers were

designed to optimize the performance of to-

day’s residential and commercial architectural

speakers systems, including in-wall, in-ceiling,

pendants, invisible, plus high performance

outdoor audio systems. Great sound in your

backyard and elsewhere is amazing!

The CM Series ampliers are unique in the

realm of 70-volt options because they oer

DSP control and signal matrixing capabil-

ities developed by AudioControl for their

award-winning Director Series ampliers. Fea-

tures like ethernet control, analog and digital

inputs, full DSP capabilities including graphic

and parametric equalization, crossover lters,

speaker proles plus audio matrixing, make

these a truly special family of ampliers.

AudioControl’s engineers have matched these

unique features around an amplier platform

that is designed to maximize power output

levels, with minimal heat dissipation, making

the CM Series “one cool customer” which is

critical in the rack design of many systems.

AudioControl has long been known for “Mak-

ing Good Sound Great,” so maximum audio

performance was a key design element for the

CM Series. While some companies consider

whole house audio just for background sound,

our approach is to deliver an amazing audio

performance of music throughout the entire

system.

The CM Series ampliers are designed and

manufactured in the USA by AudioControl,

the only electronics company in the world

that specializes in ampliers, equalizers,

signal processors and audio analyzers. Our

passion for high quality, meticulous attention

to detail, and pro sound heritage shows itself

in the dozens of awards we have won for our

designs, products, and service over the past

four decades.

Introduction

This is a professional installer’s manual and

covers all members of AudioControl’s CM Se-

ries family, and is designed to assist in getting

the optimum performance out of this unique

product. The CM Series models are similar in

operation, aside from the number of inputs,

outputs and channel counts, and this manual

covers all models. We assume this product is

being professionally installed by someone who

is experienced with multi-channel ampliers,

70 volt installation practices, and Ethernet

protocol, as this unit will require an ethernet

connection during setup. Your friend with an

“awesome set of tools” is probably not the

best candidate to install these units.

Now, as when we began, our greatest satisfac-

tion is our reputation for sonic excellence and

reliability among people just like you through-

out the world. We hope you enjoy the ride!

Features

Here are some of the features that make the

USA designed and manufactured AudioCon-

trol CM series ampliers very unique, unlike

any other amplier solutions:

• Dual Mode Amplication - The unique

CM series ampliers are designed to play

into either high impedance 70V or 100V

speakers at 750 watts, or into traditional

4 or 8 ohm speakers at 625 watts per

channel. A simple selector switch allows

the user to change the channel output

independently to best match up with the

speaker system.

• High Power Levels - The CM Series has

the ability to produce 750 watts of power

into all channels, into a 70 Volt load.

Optionally the constant wattage design

of the CM ampliers can also produce

625 watts per channel into either 4 or 8

ohm loads allowing it to operate as an

excellent amplier for traditional LoZ

speaker systems.

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Features

• Flexible Input Options - Most ampli-

ers are equipped with only unbalanced

inputs. The CM Series is a “swiss army

knife” of ampliers, so it is equipped with

both types of analog audio inputs. In ad-

dition, we have equipped the CM series

with inputs for digital audio sources so

you can easily interface your favorite

digital streams without a hodgepodge of

wiring terminations. The high-resolution

digital inputs accept 32-96 kHz, 16/24-bit

digital signals. There are 2 mic input

channels as well, to take full advantage

of the SDS feature in certain applica-

tions.

• Powerful DSP Control - The CM Series

was designed to operate with Audio-

Control’s legendary DSP controls. Users

have the ability to select speaker proles,

adjust graphic and parametric equaliza-

tion controls, plus assign hi-pass and low-

pass crossover settings allowing the user

to optimize each output channel. For

example, channel 1 is for satellites and

channel 2 could power subwoofers! Ad-

ditionally, presets, volume level controls

and full matrixing functions are available

to allow users maximum operation from

one single chassis.

• Dante Spoken Here - The CM Series

can be ordered with an optional Dante

port which will allow connectivity with

any other Dante-equipped device over a

network using a single Cat-5 cable. This

allows the CM series to share hi-res audio

with other Dante-enabled ampliers

from AudioControl and others. Cabling is

kept very simple and connectivity is solid.

If you have any questions about audio

capabilities, Dante technology was used

at the recent Grammy awards so great

sound is the goal!

• So Cool…. The CM Series was designed

to not only be a top performing amplier

but is also designed to be a cool custom-

er. A unique GaN design from Audio-

Control allows the CM series to deliver

maximum power to each output channel

while allowing the units to operate at

moderate temperature levels. This allows

users lots of installation exibility when

it comes to installing the CM series in

rack applications. You can actually rack 4

units on top of each other!

• Take Control With The CM Series - The

IP equipped CM series allows a user to

control the system via Telnet commands

or via control drivers/proles from

3rd party automation companies like

Crestron, Control 4, Elan and RTI. With

this level of control, users can control

and query almost all the functions, mute

zones, change source inputs, recall EQ

presets, check line voltage, display pro-

tection logs, and even trigger an email

if something goes wrong. This is a great

way to provide an extra layer of service

and monitoring for your customers.

• Self Resetting Protection Features -

Protection features for the CM Series

are extensive and include thermal, short

circuit, clipping, ultrasonic and DC oset

among others. If the fault is removed,

the unit resets. Plus, it can send you an

email if something happens.

• Pacic Northwest Heritage - Like all

AudioControl ampliers, the CM series

ampliers were conceived, designed and

manufactured in the USA at our amazing

audio technodrome in the Pacic North-

west. We are very proud of that fact but

what is more important is the care we

craft in at every step, and the extensive

knowledge we have in all aspects of the

product. With this in mind we support

the CM Series with an industry leading,

conditional ve year warranty.

• Audio Legends - Whenever our amplier

engineers and DSP engineers visit and

hob-nob with their fellow audio wizards

at trade shows and audio conferences,

there is an audible and reverent hush

as they enter the room. They are asked

to sign autographs on tee shirts, pets,

photos, and (at the end of the evening)

on heavy bills from restaurants and

bars. They are included in many seles

taken by their adoring fans and industry

colleagues. At technical documentation

conferences, the manual writer is often

ceremonially debagged and thrown

into the hotel swimming pool by fellow

technical writers.

Complimentary Features

Features continued

• Expansive input array: Analog unbal-

anced inputs, balanced inputs, micro-

phone preamp stage, digital inputs

and an optional Dante card.

• Exceptional high power outputs with

independent LoZ and HiZ exibility

and up to 750 watts per channel of

prodigious output power

• Enhanced conguration and control:

On board web page oers complete

control over each input and output

setup and operational parameters

to dene an immersive audio experi-

ence in any residential, outdoor, com-

mercial and touring space. Graphic

and parametric EQs, highpass/low-

pass/bandpass ltering, trim control,

input sensitivity – the works!

• Matrix: dynamic input routing to any

output via web control or third party

control.

• Eciency: Harnessing new technolo-

gies of gallium nitride as power devic-

es, the amp exceeds 95% eciency in

its Class D conguration. Nothing like

it on the planet! With that eciency,

you get some cool operation (rela-

tively speaking of course as it is 3000

watts!)

• 3rd Party control: Seamlessly inte-

grating into common third-party

control systems.

• Dante Spoken Here: 16x16 Dante

inputs and outputs with the optional

card, oers system integration be-

tween other AudioControl CM and

Director series ampliers, as well as

integration into 3rd party control

systems.

• Speaker proles: On board speaker

prole, ready to go out of the box –

major brands at your nger tips to

speed up the install to get the great-

est sound!

• Loop outputs: Allows daisy chaining

for unbalanced, balanced and digital

inputs.

• Digital Outputs: Full preamp con-

trolled digital output to send down-

stream to other AudioControl amps

– signal routing, EQ, volume control

– all the goods you need.

• Master 12v trigger: Turn on and o in

the good old analog way.

• 12v output: Oers a method to create

Failover trigger via the 12v output

where, if power loss is encountered

with this main system, the line goes

low which can trigger another backup

amplier running o a generator for

critical public address systems.

• Front to Back cooling: Conforming

to standard commercial practice,

cooling is forced air from the front to

back.

• Grouping: run channels in tandem

with source switching and volume

control.

• Stackable with other CM series and

AudioControl amps.

• Signal sensing allows for trouble-free

operation.

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Quick View

Front Panel

4. Zone Status LED

5. Zone Level LED Ladder

6. Rack Mount Ears

10. Output Conguration Switch

11. Zone Triggers

12. Main Triggers

13. Digital Inputs Coax/Optical with

signal-present LEDs

14. Digital Coaxial Outputs

15. Master Reset

16. Dante Connection (optional)

17. Ethernet Connection

Rear Panel

1. AC Power Switch

2. AC Input

3. 1-2 Mode Switch Mic/Line

4. Analog Coaxial Inputs

5. Analog Input Terminals

6. Signal Present LEDs

7. Analog Coaxial Loop Outputs

8. Analog Loop Output Terminals

9. Speaker Level Output Terminals

1. Power LED

2. Protection LED

3. Ethernet Status LEDs

1110 12 13 14 15 16 17

21 5 76 83 4

Getting Started

1. Turn o power to all com-

ponents before making any

connections.

2. When making connections, des-

ignate red RCA plugs as right, and

designate white, black, or grey plugs

as left. This is a good idea for all sig-

nal connections made in your audio

system. The key is consistency. Stick

with the same color coding and you’ll

reduce possible problems.

3. Whenever possible, keep power

cords away from signal cables to pre-

vent induced hum. This is especially

important if you bundle the cables to

keep the installation neat looking.

4. Use quality interconnect cables. We

know from experience that really

cheap cables can cause a multitude

of problems. They tend to break

inside or corrode, causing a loss of

signal or hum. They also have poor

shielding.

5. If you need to run the RCA audio

cables more than 20 feet, consider

using an active balanced line driver

for the signals. This will provide

better noise rejection against nasty

things like hum, spikes, local talk

radio, and metaphysical paranormal

phenomena, etc. The AudioControl

balanced line driver components

(BLD-10, BLR-10 and BLX-10) are an

excellent way to send audio over long

distances with standard Cat-5 wiring.

Check them out at audiocontrol.com.

6. If you are using the digital inputs,

and running higher resolution sam-

ple rates (96 kHz), use high-quality

digital interconnect cables.

Getting Started

7. Dance in a fairy circle at midnight, on

the rst full moon of the new year.

Ask Queen Mab for the IP address.

8. Connect the unit to the network with

an Ethernet cord, preferably one in

good condition without a broken tab

or covered in honey or Marmite®.

9. Open your favorite internet browser

and open the web server within the

unit. It will show all features and

controls of the unit.

Installation Examples

The next pages show some typical instal-

lations of the three dierent ampliers

in this series: CM2-750, CM3-750, and

the CM4-750. These include a mixture of

channels running 70V speakers and chan-

nels running low impedance speakers. A

system using the optional Dante card is

also shown.

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Installation Examples

CM2-750 Installation with 70V speakers

CM2-750 Installation with 70V speakers and

subwoofers

70V Speakers

Taps 50W or less Taps 50W or less

Set both switches UP

for Mode A = 70V

70V Speakers

Sonos 2Sonos 1

Analog

Out

Digital

Out

70V Speakers

Taps 50W or less

Subwoofers

4 Ohms combined

Switch 1 UP for Mode A = 70V

Switch 2 DOWN for Mode B = Low impedance

Sonos 2Sonos 1

Analog

Out

Digital

Out

Installation Examples

CM3-750 Installation with 70V speakers and

subwoofers

Taps 50W or less

70V Speakers

Taps 50W or less

Subwoofers

4 Ohms combined

Sonos 2

Mic

Sonos 1

Digital

Out

Set Switch

to Mic

Source 3

Analog

Out

Analog

Out

Switch 1 and 2 UP for Mode A = 70V

Switch 3 DOWN for Mode B = Low impedance

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Installation Examples

CM4-750 Installation with 70V speakers and

subwoofers

Sonos 2

Mic

Sonos 1

Digital

Out

Set Switch

to Mic

Taps 50W or less

70V Speakers

Taps 50W or less

Subwoofers

4 Ohms combined

Subwoofers

4 Ohms combined

Source 3

Analog

Out

Analog

Out

Switch 1,2 UP for Mode A = 70V

Switch 3,4 DOWN for B = Low impedance

CM4-750 Installation of 2 units with the optional

Dante Port

CM2-750, CM3-750, CM4-750 rear panel dierences

Sonos 1 Sonos 2 Source 3 Source 5

Source 4

Digital

Out

Analog

Out

Analog

Out

Analog

Out

Analog

Out

Dante port option installed

Speaker Connections

Dante port option installed

Network Connection Cat5

CM2

CM3

CM4

This illustration shows the

rear panel dierences be-

tween the 3 ampliers. Each

channel has its own speaker

output terminal pair, a zone

status LED, a mode switch

and zone trigger terminal

pair.

Installation Examples

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Front Panel

Front Panel Features

1. Power LED – This dual color LED indi-

cates when the unit is in standby, on,

or o.

Red: the unit is in standby mode

and is ready to be turned on

via Ethernet or 12V triggering

Blue: the unit is on

OFF: the unit is powered o

2. Protection LED – This red LED will

illuminate briey during turn on/o

phases, and if a fault is detected in any

amplier or the power supply (such

as overheating, over-current, or DC

oset). If a fault is detected, then the

unit will go into its protection mode to

prevent any damage to loudspeakers,

and to allow cooling.

3. Ethernet LEDs – These indicate the

status, readiness, and willingness, of

the Ethernet communications protocol

to (getting all technical for a moment)

strut its funky stu. The green LED

glows when the Ethernet is connected

and operational, and the yellow LED

blinks during data activity.

4. Zone Status LED – This dual-color

LED indicates when the zone is in fault

mode, active, or in standby.

Red: The zone has detected a fault,

such as a DC oset or a load

short circuit

Blue: The zone is active

OFF: The zone is in standby

5. Zone Level LEDs – These three LEDs

light from the bottom to the top

depending on the zone’s output level

(-33, -20, -10 dBFS).

The 2-channel CM2-750 amplier

is shown here. The 3 and 4 channel

models have LEDs displays for each

channel.

6. Rack Mount Ears – The unit comes

supplied with removable rack mount

ears. These allow the unit to be rack

mounted in a standard 19” wide rack,

with a 2U height. Use standard rack

mount screws and washers to secure

the unit in a rack. The unit does not

have to be supported at the rear if the

rack is located in a xed location.

To remove the rack ears (making the

unit 17” wide), rst unplug the power

cord, and then locate and undo the

four screws securing each ear to the

side of the chassis, and remove the

ears. Replace the screws securely back

into the chassis. Do not remove any of

the other screws from the chassis or

top cover. There are hazardous voltag-

es inside the unit. Keep the rack ears

in a safe place. While on the subject

of good advice, don’t forget to phone

your mom regularly and keep in touch

with people who love you. Our tech

support team do get lonely at times.

12 4653

Front Panel

LED Function Table

LED Color Description

Red the unit is in standby mode

Blue the unit is on

O the unit is powered o, or all the lights are o in town

Red the unit has detected a fault and is in protect mode*

O the unit is operating normally, or it is powered o

ZONE LEDs Color Description

Blue -10 dBFS zone output level

Blue -20 dBFS zone output level

Blue -33 dBFS zone output level

Blue/Red

Blue or Red ash shows technical writer’s heartbeat –

this is normal, except when the Seahawks are playing

Red

The zone has detected a fault, or a smooth-jazz saxo-

phone solo, and is in protect mode

Blue The zone is active

O The zone is in standby

*The protection LED also comes on for a short time during power up or down

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Rear Panel

Rear Panel Features

When rack-mounting the unit,

make sure that the power cord

and the AC power switch remain

readily accessible.

1. AC Power Switch – This switch shuts

o the main AC power. Normally the

only time you need to turn this o is

if the system is going to be shut down

for an extended period of time. Use

the Ethernet or master trigger inputs

to switch the unit between standby

and on.

Also turn the power switch o during

lightning storms, wind storms with

frequent power outages, or when a

giant metal space robot is heading for

the power station again. They do that

a lot.

2. AC Input – Connect the supplied AC

power cord securely to this input. Plug

the other end into an AC mains outlet

of the correct voltage rating for your

unit. They are either 100 -120 VAC (50

– 60 Hz) or 220 – 240 VAC (50 – 60 Hz);

look at the check box to see how your

unit has been congured. The voltage

setting is not user-settable. This unit

is a class 1 device, do not defeat the

safety ground connection or use a

power cord that does not have the

safety ground pin.

3. 1-2 Input Mode Switch – If the analog

inputs are line-level, leave this in

the OUT position. If they are micro-

phone-level, push this IN. (Check the

position of this switch if your levels

seem too low, or too high.) Check your

hair as well, so you will always look

fabulous.

4. Analog Inputs – These are analog RCA

inputs. Analog signals enter here from

audio sources such as CD players, DVD

players, and TV outputs, or micro-

phones, and may be selected to play

in a zone, or both zones at once, and

the digital outputs. This extraordinary

exibility is made possible by taking

ballet lessons from an early age, and

the unit’s web server interface menu.

5. Analog Input Terminals – These ana-

log inputs use terminal blocks, if you

prefer things that way. They may be

wired balanced or unbalanced.

6. Signal Present LEDs – These light

whenever analog signals are present at

the inputs.

7. Analog Loop Outputs – These analog

outputs are copies of the analog input

signals. They can be used to send the

analog input signals to other compo-

nents in your system.

1110 12 13 14 15 16 17

21 5 76 83 4

Rear Panel

8. Analog Loop Output Terminals –

These are balanced analog outputs

(like XLRs) using terminal blocks.

9. Speaker Outputs – Each channel has a

2-pin connector that allows easy con-

nection of loudspeakers. The LEDs will

light when each zone is active.

10. Mode A/B – The unit can run a 70V

line or 8 ohm speaker in Mode A, or

1ooV bridged line or 4 ohm speaker in

Mode B. The 2-channel amplier has

2 switches as shown. The 3-channel

model has 3 switches, and the 4-chan-

nel model has 4, in French, this is 4.

UP for Mode A = 70V or 8 Ohm

DOWN for Mode B = 100V Bridged or 4 Ohm

11. Zone Trigger Input – The individual

zones can be turned on by applying a

+12Vdc trigger voltage to these inputs.

12. Main Trigger – If you are not using the

Ethernet connection to turn the unit

on, then you can use this 3-pin block

connector to turn on the unit or place

it into standby mode. For example,

an external device such as one of our

glorious AudioControl home theater

receivers could turn on the unit when it

is turned on.

If you are not using the Ethernet con-

nection to turn on the unit, and there

is no trigger voltage present at any of

these trigger inputs, then the unit will

be in standby, with zones muted.

13. Digital Inputs – There are two co-

axial and two optical digital inputs:

A and B. The Signal Present LEDs light

up whenever a digital input signal is

present.

The digital signals are transferred

directly to the advanced DSP section,

and are then available to a zone or

both zones at the same time. The

digital inputs are selected for any zone

using the unit’s web page interface.

14. Digital Outputs – These two S/PDIF

digital outputs use standard RCA coax-

ial connectors.

The digital signals from each of these

outputs can be a copy of any zone’s

input pair (converted internally from

analog to digital), or a copy of the

digital inputs. This is selectable using

the unit’s web page interface. For an

example, these outputs can be sent to

the digital inputs of another unit.

1110 12 13 14 15 16 17

21 5 76 83 4

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

15. Master Reset – If things are not going

well, for example you are unable to

communicate with the unit, press and

hold down this button for more than

3 seconds. This will reset the inter-

nal Ethernet settings and other odd

things, and hopefully lead you along

the pathway to Ethernet communi-

cations once again. Warning: Do not

do this while turning on the power

switch, because all ash memory will

be erased, and the milk in your fridge

will go bad. In this case you will have

inquire from our ne lads in technical

support about the latest rmware le.

16. Dante Port – This port allows connec-

tion to the optional Dante card via

CAT5.

17. Ethernet LAN Port – This standard

port allows the unit to be connected to

a 10BaseT network via CAT5 cabling.

the unit can then be controlled using

its internal web server, accessible

through standard and popular (and

some unpopular) web browsers. No

external software is required to run

the unit. See the section on Internet

Connectivity and Control for detailed

information.

Speaker Connections

Establish a standard connection color

code and stick with it. One conductor of

the speaker wire is normally marked by

a dierent color (silver versus copper) or

there is a ribbing on one side. Typically this

marked conductor is used for the positive

(+) speaker leads. Some wires have pos-

itive and negative printed right onto the

wire jacket.

Match the polarity markings on the unit

with the polarity markings on your

speakers. If the wiring is incorrect then the

speakers will be out-of-phase, with a

noticeable decrease in the bass response

and less than goodly-sounding.

Almost Done With The Rear Panel

CM2

CM3

CM4

Mode Switch

Set the mode switch per channel

to be Mode A for running 70V or 8

ohm speakers, and Mode B for 100V

bridged or 4 ohm speakers.

Bridged Mono Speaker Connection:

In this mode, the input signals are

combined in mono, and the power

from two channels is combined to

drive a single, more powerful, speaker.

When bridging to an 8 ohm speaker

the channel must be set to Mode A.

When bridging to a 100V speaker, set

the channel to Mode B.

The speaker impedance should be

8 Ohms minimum in bridged mono

operation.

To set the zone output for bridged

mode in the unit’s web server, go to

the amplier settings click the check

to select which zones are bridged.

Speaker and Wiring Impedance

Wire Gauge Run Length

25’ 50’ 100’ 250’ 500’

24 GA 1.3Ω 2.6Ω 5.1Ω 12.8Ω 25.7Ω

22 GA 0.8Ω 1.6Ω 3.24Ω 8.1Ω 16.0Ω

20 GA 0.5Ω 1.0Ω 2.0Ω 5.0Ω 10.1Ω

18 GA 0.3Ω 0.6Ω 1.28Ω 3.2Ω 6.4Ω

16 GA 0.2Ω 0.4Ω 0.8Ω 2.0Ω 4.0Ω

14 GA 0.1Ω 0.25Ω 0.5Ω 1.26Ω 2.5Ω

12 GA 0.08Ω 0.16Ω 0.32Ω 0.8Ω 1.6Ω

Speaker Wire Resistance:

Wire Gauge versus Run Length

ues in portions of their frequency range,

and speakers that are rated at unusual

impedances, for example 3.5 Ohms. The

unit is tolerant of lower impedance loads,

however, all good designs use some mar-

gin of error.

Your choice of speaker wire gauge and the

length of the runs, also aects the speaker

impedance load presented to the ampli-

ers. As you can see in this table, even fairly

short speaker runs can have signicant

resistance if you use a smaller wire gauge.

This can be a benet if you are paralleling

lots of speakers. The wire itself acts as

an impedance limiter, since the amplier

cannot see a speaker load lower than the

resistance of the wire. The downside of

this wire resistance is that you waste some

part of the total power available to the

speakers.

Speakers, like other resistors, when wired

in parallel “show” lower values than the

individual components. Here are two

examples for calculating speakers wired in

parallel:

Calculating Impedance

For three 8 Ohm speakers wired in

parallel (pluses connected to pluses)

the impedance is 1/8 + 1/8 + 1/8 = 3/8

Then take the inverse or 8/3 = 2.66 Ω

For two 8 Ohm speakers wired in

parallel (pluses connected to pluses)

the impedance is 1/8 + 1/8 = 2/8

Then take the inverse or 8/2 = 4 Ω

Often the real world is more complicated

than theory, and for speakers this is the

case. An eight Ohm speaker is not eight

Ohms at all frequencies. Plus passive

crossover networks add their own chang-

ing conditions. Be aware of speakers that

have signicant dips from “nominal” val-

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

12 Volt Trigger Ins and Outs

The unit has four ways you can bring it

from standby to turn on and be ready to

serve. In addition, you can use the triggers

from the unit to turn on more units or oth-

er components as well. All this exibility

can be a little daunting, so the table below

should make it a tad clearer:

Method How

Triggered

1 Ethernet

2 Jumped Phoenix

connector

Contact closure on

Phoenix connector

12 volt input on

Phoenix

connector

5 Zone Triggers

The following details apply if you do not

want to use the Ethernet web server to

turn on the unit.

Main Trigger 3-pin connector

To remotely turn on the unit, use either

a contact closure between the Trigger

Input and the +12V output, or an external

+12V trigger between the Trigger In and

GND terminals. The +12V output is not

designed to power other pieces of equip-

ment or jump start your car.

Pinout:

GND - Ground

+12V - Constant +12V Output

Trig. In - +12V Trigger Input

Power Up Process: When a +3 to +12V

signal is sensed at the trigger input of the

3-pin connector, all the zones will be held

in standby for about 2 seconds until the

power supplies have fully charged and

performed their self-tests. During this

short process, the front panel Power and

Protection LEDs will be red. Once this is

complete, the Power LED will turn blue

and the Protection LED will turn o.

Power Down Process: As soon as a

Zero Volt signal is sensed at the master

trigger inputs, all zones will be muted and

placed in standby. The front panel Power

LED will remain on, as the main power

supplies will be still energized.

If the master trigger Inputs remain at

Zero Volts for 2 seconds, the main power

supplies will shut o; the front panel Pow-

er LED will change from blue to red. The

Protection LED will ash red once during

the power-down process.

The trigger input is biased towards

ground. This keeps the unit in standby

when nothing is connected.

If you are not using master triggering or

the Ethernet connection, then you must

install a short wire link from the +12V

output to the trigger input. To put the unit

into standby, remove the link.

Always ON or Signal Sensing:

From factory, a jumper wire connects

the constant +12V output and Trigger

Input in order for the amp to turn on.

Only disconnect the jumper if you plan

to use an external 12v trigger.

To trigger ON with a contact closure:

Connect the contact closure between

+12V and Trigger Input.

To trigger OFF with a contact closure:

Connect a 1 kΩ resistor between +12V

and Trigger Input.

Connect the contact closure between

Trigger Input and GND

To use an external 12V trigger:

Connect the external ground to the

unit’s Trigger GND .

Connect an external +12V output volt-

age to the unit’s Trigger Input

To use Zone triggers:

Zones can be turned on with +12 VDC

and ground connections. The Zone

turn-on is sensitive down to +4 VDC.

12 Volt Trigger (continued)

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Ventilation

This may be as good a time as any to have

“the talk” about ventilation. The units

feature cool-running ecient switch mode

power supplies and Class D ampliers, and

they are equipped with thermally con-

trolled fans. They are still multi-channel

ampliers, and therefore require plenty of

ventilation to properly cool.

Please be advised that no more

than 4 units may be stacked

together. Any more than that, then

a rack space above and below is

required for adequate ventilation.

Review the heat load specica-

tions and ensure that your rack

room meets these requirements.

If the amplier should overheat, a thermal

sensor will put the channel into protection

mode, allowing the heatsink to cool down.

Once the amplier has cooled to a safe

operating temperature, the channel will

reactivate. If this occurs often, identify the

cause of the problem and take corrective

action, for example:

Provide additional ventilation

Do not install in a sealed location

with limited or no airow

Install a fan in the rack

Make sure that the ampliers are not

overloaded with speaker impedances

below the recommended minimum

Check that there are no short circuits

in the speaker cables or speakers.

Note: Each zone will shut o inde-

pendently when a short circuit is

detected.

Ideal Spacing 1U rack space or more

above and below each pair

No more than four units can be stacked

without a rack space between them.

Allow 1U rack space or more above and

below each stack of four.

Internet Connectivity and Control

Setting up the unit is a breeze. Just plug it

in to an existing network and let the DHCP

server assign the unit amplier an IP

address. You should take note of the unit’s

MAC address there on the back at this

time – maybe write down the last couple

of values. After the amp has taken an IP

address from the DHCP server (give it a

few seconds), you can scan for the unit’s

MAC address across the network using

your favourite network scanner – like Fing

or Angry IP Scanner. After you have the

unit’s IP address, type it into your browser

and the unit’s web page will open up.

Other than connecting to the browser

for initial set up, conguration and EQ

settings, you will be able to control the

amplier via Telnet. This is done through

the telnet port 23.

Control Using a Browser

For Microsoft operating systems:

There are multiple ways to connect to the

unit. The simplest way is to connect the

unit via the Ethernet port to a network

with a DHCP server. The unit will obtain a

local address from the DHCP server.

If no DHCP server has been enabled in

your network, or you would like to directly

connect to the unit, use an Ethernet cable

and connect the two devices together.

The default IP address of the unit is

192.168.0.249 when a DHCP server is

unavailable, so in order to connect to the

unit , you will need to give your computer

a static IP address.

In your Windows based computer, change

your computer’s IP address to a static

address of 192.168.0.x – where x is a value

between 1 through 254, but not using 249.

If you don’t know where to start to nd

out how to give your computer a static IP

address, please consult the Interwebs.

Be sure not to use a static IP address for

your computer that is in use by another

device – an IP address should be unique

across the local network – if it is not, you

are going to have a bad time.

Important Note:

DCHP is default for the unit. However,

if a DCHP server is not found, the unit’s

default IP address is 192.168.0.249.

If you aren’t using DCHP and plan to

assign static addresses, individually set

the IP address by connecting directly

to the unit with a computer rst. Never

allow two devices with the same IP

address on the network.

Internet Connectivity and Control

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Internet Connectivity and Control

For Apple/Mac Desktops and Laptops:

Your easiest method for connecting

with a Mac is to directly connect to the

unit. The default IP address of the unit is

192.168.0.249 so in order to connect to

the unit, you will need to give your com-

puter a static IP address.

Change your Mac’s IP address to a static

address of 192.168.0.x – where x is a value

between 1 through 254, but not using 249.

If you don’t know where to start to nd

out how to give your computer a static IP

address, please consult the Interwebs.

Be sure not to use a static IP address for

your computer that is in use by another

device – an IP address should be unique

across the local network – if it is not you’re

going to have another bad time.

Communications Options

The unit’s web server has lots of commu-

nications options you can play about with

to your own delight or at your peril. If you

know what you are doing, then you will

feel right at home.

Here are a few notes:

Server Gateway must be specied in order

to access the SNTP time server, likewise

for your email alerts to function properly.

DNS must be specied as well for the

SNTP and SMTP functions to work –

8.8.8.8 (Default) or 8.8.4.4 are public DNS

servers that the good folks at Google have

enabled for you to use.

Control Via Telnet Commands

To control the CM series ampliers in an

automation network, you will need nerves

of steel, nice hair, and a controller that

can send and receive telnet commands

and responses.

The command and response structures of

the controls provided via telnet are in sim-

ple human language. Power on is simply

“power1” followed by a carriage return to

end the command.

Command feedback is conrmed by an

echo of the command, followed by a

carriage return, then another statement

of “01” followed by the command string,

then a carriage return and a line feed

to end the response string. If there is a

value-change like volume up, then the

conrmation response will include the

new value at the end of the string.

Telnet Session Length:

Sending a command to the CM Series

amplier opens a telnet session – nothing

tricky, just send it a command and it will

respond. The session will remain open for

4 hours, and then close. If another com-

mand is received within that 4 hours, then

the clock restarts. The session will close 4

hours from the time of the last command

received. If your automation system treats

such activity as dropping o the network,

then pinging it in the early AM every day is

probably a good practice.

Control Command Examples:

Increment volume by 1, in Zone 3, where

volume before the command is 51:

Command: Z3vol+<CR>

Response: Z3vol+<CR>

01Z3vol52<CR><LF>

To turn on main power:

Command: power1<CR>

Response: power1<CR>

01power1<CR><LF>

To mute or turn Zone 2 o:

Command: Z2o<CR>

Response: Z2o<CR>

01Z2o<CR><LF>

Note:

The query ZONEON? returns a description

of the on state of all the zones, where

each zone is separated by a space. 1

equals on, and 0 equals o. So if zones 2

and 3 are on and all the other zones are o

the information will be displayed like: 0 1

1 0 0 0 . Also note that the last two values

in position 9 and 10 are reecting the state

of the digital outputs. The response to the

query ZONEOFF? will return the oppo-

site values if zones 2 and 3 are o as it is

conrming that the zones are o so that

value is positive: 1 0 0 1 1 1. Please visit our

delightful website for further information

and a splendid table of control commands:

www.audiocontrolpro.com

(As things in the fast-paced world of

technical documentation are constantly

changing, visiting our website is one way

to make sure you have the latest informa-

tion.)

Control via Telnet Commands

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Set up via the Web Page

Using a browser, type in the IP address of

the unit to navigate to the web page on

any device. The web page is responsive -

meaning it will auto size to your screen. If

you have a small phone, the layout adjusts

to that size, and is touch sensitive. If you

are using a computer, the web page is

sized according to your browser size.

Through this interface, you will congure

all the parameters of the unit.

The initial view of the web page shown

below illustrates the current state of the

unit.

To change global settings, click on the

“gear” icon in the top right of the page.

To change zone settings, click on the caret

(the “>” icon) to expand the selections.

Simply clicking on an option will expand

the adjustable parameters. These congu-

ration options allow you to customize the

unit’s performance to match your system

design.

Set up via the Web Pge

Global Settings menu

Clicking the caret expands the

menu options for each Zone or

Digital Input

Global Standby: This is basically a main

power-o where the amp, power sup-

ply and DSP are shut down. Power up

from this state is about 10 seconds.

ID: Pressing this button will cause the two

Ethernet lights to ash in tandem on

the front and back of the physical unit.

This is useful if there are multiple units

in operation, and you want to make

sure you are adjusting the right one.

Set up via the Web Page

Global Standby ID (Identify)

Zone 1

Zone 2

Zone 3

Zone 4

Digital A

Digital B

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Zone Settings

Zone Standby: This turns only this zone’s

amplier on and o, which allows for a

quick time to power output - meaning

set this to on and in less than 500ms

or so, you’ll have sound. No boot-up

time to worry about. It’s important to

note that if you are relying on signal

sense, you should have both global on

and zone channel on to respond to the

signal input.

Zone Name: The zone name can be

changed by typing in this box. As you

do this, a small tick mark appears at

the right. Remember to click on it to

save your changes, or they will be lost.

Up to 30 characters and spaces are

available to express yourself.

Expand: Click here to bring up more op-

tions for this zone.

Mute: Click here to quickly mute or

unmute the output from this zone

during accordion/harmonica/yodelling

smooth jazz solos.

Input Source: Click here to select the

input source to play in this zone. We

have thoughtfully included Pink Noise

which we hope you nd useful when

setting volumes and calibrations of

each zone.

The name of each input source can be

changed using the Global Settings/

Input Sources menu, and the changes

(when saved) will appear here.

Zones which are assigned to the same

group will share the same input source,

as described on the next exciting page

of our story.

The optional Dante cards show up in

the Input Sources menu as a local card

and a remote card, and each has its

own choices from a drop down menu.

Zone Settings

Zone Standby On Volume Input Meter TrimZone Name Group

Mute

Expand

Max Volume Volume SliderInput Source Group Lock

Zone Settings

Group: Each zone can be assigned to a

group using this drop-down menu that

appears as if by magic. Choose a group

for your zone to belong to, from 1 to

8, or just leave it on GRP if you are not

using this feature.

Group Lock: If the zone is assigned to a

group, click here to make this feature

work.

A warning message will appear:

“Proceeding will set the volume of all

the zones in the group (that also have

group lock engaged) to the minimum

of them.” You are then given the op-

portunity to continue, or go home and

rethink your life.

For example, if zones 1, 2 , and 3 are

assinged to group 1, select Group Lock

for each of these three zones. Each

group lock button will turn orange

when engaged. The volume will

change to the current lowest volume.

Any future changes to the volume of 1,

2, or 3 will change the volume of all in

that group.

The input source will also change to be

the same for each zone in this group.

On Volume: Sets the zone volume to a

specic value at startup, if the volume

was at a higher level than what is

dened here. If lower, then the lower

value is used at startup.

Max Volume: Sets the maximum volume

level of the zone.

Input Meter: This was designed to hyp-

notize little kittens and the eect is

quite adorable as the music goes up

and down.

Volume: The volume slider is used to set

the volume in the zone.

Trim: This trims the levels of the zone

output. The range of adjustment

is suitable for balancing SPL in

grouped zones, for example, 3 sets

of speakers grouped for a living

room. It will also serve as a way to

limit volume in a particular zone if,

for some reason, you don’t want to

use the maximum volume setting.

Input levels can be set using the

Global Settings\Input Sources menu.

Zone Standby On Volume Input Meter TrimZone Name Group

Mute

Expand

Max Volume Volume SliderInput Source Group Lock

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Zone Options

Speakers: Here you can set your speak-

er prole. The speaker prole is

an optimized settings le that the

speaker manufacturer has designed to

maximize the speakers performance

with the unit.

X-Over: Here you can set the Low Pass,

Band Pass, and High Pass crossover

lters to control the frequencies being

sent to your speakers.

EQ: In this section, you can control both

the graphic and parametric EQ lters

to dial in your speaker’s performance.

Speakers

Speaker Calibration Prole: Each Speaker

Prole contains equalization and high

pass / lowpass that have been carefully

chosen by certain speaker manufactur-

ers as the best curve for that particular

speaker model when used with the

unit. The speaker prole is applied in

the background, and you will not see

the EQ sliders move. With the speaker

prole applied, you can still adjust the

graphic EQ to ne tune the response

to the room, and / or client preferenc-

es. Each output zone can be assigned a

dierent speaker prole to accommo-

date dierent models. Speaker proles

for 70v speakers and 8ohm subs come

pre-loaded in the amplier. If you’re

using standard 8ohm speakers, you

can download the latest prole from

one of our Director ampliers and load

them into your CM amp.

We will be expanding our speaker

partners in the future, please watch

our website for the latest information.

X-Over

Along the bottom are 3 dierent lter

buttons that allow you to quickly

choose a design for your system,

either to set up protection from low

and high frequencies, set up a 2-way

crossover with a subwoofer and mids/

highs, or set up a bandpass lter. The

lters should be chosen slowly, with

considerable forethought and care,

possibly while mulling things over in

your favorite comfy chair, with a cup

of tea and a plate of delicious buttered

crumpets. As each lter type is chosen

by pressing one of the three types, the

current high pass and low pass fre-

quencies are shown in the adjustable

boxes just above.

To prevent over-stress of speakers by

Expand Speakers X-Over EQ

sending frequencies lower than they

are physically able to handle, try and

roll o the low frequencies. For most

inwall speakers, we recommend a

setting of 40 Hz or higher. Contrary to

popular thought, higher often sounds

better for this low frequency lter.

Similarly, to save the tweeters, be con-

servative with the setting of the higher

frequencies. It could save you a service

call.

As there is a plethora of power

available (do not be fooled by the

unit’s lightweight appearance) you

can set up a 2-way crossover with a

subwoofer playing the lows, and a

pair of speakers paying the mids and

highs. Enable the Low Pass Mode lter

and bridge-mono the output from one

zone for your subwoofer. It will just

receive the low frequencies (in mono)

and receive the combined power

from both channels. Then use another

zone’s channel pair in stereo with

the High Pass mode selected for that

zone, to power the speakers playing

the mids and highs. Select the same

input channel for both zones. See the

system diagrams for a picture of this,

or see the video on our website of our

technical support engineers perform-

ing an interpretive dance in our audio

rumpus room.

EQ Ramblin’s

Equalization of each zone’s sonic

goodness aects both channels within

each zone. Please see a later section

for a discussion of the methods and

benets of equalization. Equalization

can be very powerful, however it takes

some work to adjust properly, and

like cosmetic makeup, it can easily be

over-done. It is much easier and more

accurate, if you have some instrumen-

tation/audio analysis gear. Please see

our website for details of our ne au-

dio analyzer products that will take the

guesswork out of successfully setting

the EQ in each zone.

Graphic EQ

Adjustment of the graphic EQ of the

selected zone is done by dragging the

EQ sliders to the desired position, or

by clicking where you want the posi-

tion/ value to be, or by clicking the +/-

buttons. Note that the sliders can be

moved down as well as up, and this is

not a sign of weakness. Click “Unlock”

to adjust the stero channels separate-

ly.

There are some presets available using

the large button at the bottom of this

menu. Once you have the EQ settings

just the way you like them, you must

save the settings as user presets (using

SAVE) or reset things to zero (RESET).

Zone Options

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Zone Options

You can save dierent settings to

dierent user memories and see which

one the clients like. Their taste may be

dierent than yours.

Bass and Treble: Just when you would be

forgiven for thinking “wow, that’s a lot

of EQ exibility,” wait.. there’s more.

At no extra charge, two of the sliders

oer bass and treble EQ adjustment of

the shelving kind. Shelving EQ, used

in combination with the graphic EQ

and parametric EQ, gives you the ne

opportunity to upset things royally, or

to be the better person, with kindness

and EQ moderation for all. Start with

the graphic EQ at, apply a bit of

shelving bass or treble EQ, and see

how that sounds. Maybe that will do.

Parametric EQ

In addition (or subtraction) to the

graphic EQ sliders, there are 8 sepa-

rate parametric equalizers per zone,

for the ultimate in room-acoustics

problem solving (or problem creating).

Each parametric EQ has adjustments

for the frequency, octave width, and

the level boost or cut. For an example

of their use, if a certain frequency

sets all the kitchen teacups rattling, a

narrow-width lter can be tried at the

teacup-rattling-onset-frequency, with

a cut in the level.

Once you have the EQ settings just

the way you like them, you must save

the settings, or you will lose them. Go

back to the Graphic EQ area and use

the SAVE button.

Loud

Select this for each zone to give a

pleasing low-frequency boost at lower

listening levels.

Global Settings

By clicking on the Gear icon, you access

your global conguration options.

Amplier:

Here you can rename the unit, set Sig-

nal Sense on or o, lock the system, and

check zone status.

Keep an eye on the AC status, and the

system temperature. Make sure there is

plenty of clean, dry, and healthy airow

around the unit.

Rename the unit by typing in the box,

then clicking the check mark.

Setting signal sense is done by simply

toggling the button. System Locking is

also a toggle but requires you to enter

in a system password. Once system is

locked, control over parameters can

only be done with the password you

entered here, so make sure to write it

down, or you will be snookered.

System State shows you which mode

the zone is set to, and will warn you

if any of the zones are experiencing a

fault.

Using the check box to Bridge channels

connects the outputs together, creating

a mono output for your bridged speak-

ers.

Checking the box for Stereo Opera-

tion links the selected outputs so they

always play a stereo image, and their

controls are grouped together.

DANTE Conguration:

Here is where you scan for other Au-

dioControl Dante-enabled products, as

well as set your device ID to work with

other Dante-enabled CM units in an

automated environment. Pretty simple

over all, to get started: open the Dante

Conguration option in the Settings

area, set the IDs for each amp, then

choose “Look for other devices.” This

will populate the input selection menus

with the various AudioControl REMOTE

Dante CM and Directors series amps

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Global Settings

input selection arrays. This means that

inputs on those other device (other than

the one you are working with – hence

the REMOTE part here) are available to

your local amp. Pretty great!

As we mentioned above, the world

rst agnostic 3rd party automation

system integration of Dante routing

is done here too. Just set the rst CM

Series Dante-enabled unit that you

log into as #1. The unit will scan for

other Dante devices and make sure

that the sought-after position of #1

isn’t taken. If the all clear has been

obtained, henceforth, this device will

now be known as #1 (along with the

MAC address). Set your other Dante CM

amps with ID 2, ID 3, etc. This desig-

nation will enable remote control over

Dante routing through these CM series

amps via 3rd party automation systems

like Crestron/Control 4, Elan and others!

Very cool!

Input Sources:

This option allows you to rename the

input sources to something witty and

charming. Click on the small check mark

that appears at the right in each box, to

save your changes. (Do this before re-

naming the next input, or your changes

will not be saved.) The new names will

then appear in each Zone’s list of inputs.

You also have the option to change the

input voltage sensitivity. Common AVR

outputs are in the 1V to 2V range - best

bet is to simply use 1.5Vrms.

SDS Signal Detection Switch:

SDS allows for dynamic automated

source switching for event-based audio

signals such doorbells, voice-enabled

products, paging systems etc. You

can dene which zones are part of the

output group that will switch to the SDS

input. The SDS input can be any input

to the unit, and is perfectly congurable

to suit your needs. Volumes are relative

to the current zone volumes where they

can be oset - louder or quieter than

the zone’s current volume setting.

For an example, imagine an installation

where SDS is enabled in Zones 1, 2,

and 3, and these volumes are set at 68,

70 and 56. If you want the SDS input

to play slightly louder than the active

content, then adding a +5 oset will

cause the announcement volume to

be 5% louder than that entertainment

content. It is a super-exible, fully

automatic signal sensing switch with a

switch time of less than 200 ms!

Delay:

This is where you can adjust the time

delay in 5 millisecond increments be-

tween the zones, or send the unit back

in time to yourself, and amaze all the

friends you used to hang out with.

Network:

This is where you enter in all your

network conguration settings if you

are setting up manually. If automatic,

there’s not much to do here other than

ensure the DHCP button is selected.

If you are having trouble connecting,

the default IP address of the unit

192.168.0.249. You can connect manu-

ally peer to peer to troubleshoot.

Global Settings

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Speaker Proles:

We often add new models to the

Speaker Partners Program database.

These can be downloaded from

audiocontrolpro.com and uploaded to

the unit using the LOAD option.

Firmware:

Update your rmware here. But make

sure you make a back up of your setting

le below, just in case.

Settings Files:

Here you can back up the setting of

the unit; all parameters are stored to a

single external le.

It is important to save each zone con-

guration settings to a user memory.

If you do not need to have multiple EQ

memories for recall, it is still neces-

sary for the zone congurations to be

saved should the power go out. The

Save function in the graphics EQ sec-

tion of each zone, saves the EQ signal

processing settings for that zone as

user presets.

This Global EXPORT button allows you

to save the settings for all zones, as an

overal snapshot of the unit settings. All

the graphic and parametric equaliz-

er settings as well as any crossover

setting will be retained in the exported

le. You can import or export these

settings for back up purposes or for

making a template that can be repeat-

edly used and shared between jobs.

Global Settings

Acoustics

Audio reviewers and system owners

spend much time critically appraising

speakers and other audio components.

Unfortunately, a phenomenon that has a

very large eect upon sound is not easily

judged or changed. That eect is the

ACOUSTICS of the environment in which

you are listening.

Room acoustics is a complicated subject

about which hefty textbooks have been

written, and entire galaxies have gone to

war over. We simply want you to be aware

of a few basics that have a direct eect on

real time audio analysis.

As you probably learned in high school,

sound travels in waves. In an audio

system, these waves are created by the

speakers. Like waves in a pond created by

a splash, sound waves emanate from the

transducers (speakers) and spread out into

the room. If your room were innitely big,

that’s all there would be to it. But just as

waves in a pond reach the bank and reect

back, sound waves bounce o walls, ceil-

ings, and oors, reecting, reinforcing and

canceling each other as shown here:

Since sound is energy, the way it reects

depends upon the angle of the surface,

the type of material and the frequency of

the sound wave. Because your listening

position is likely to be towards the back

of the Free Field (waves shown in the

diagram), you also get part of the reect-

ed Reverberant Field as well.

Now we add the next set of complications:

Dierent frequencies of sound have dier-

ent wavelengths (a function of frequency

and the speed of sound). Each frequency’s

wavelength contributes dierently to the

Free and Reverberant Fields because they

are dierent sizes. For example, a 32 Hz

bass note has a wavelength of 35 feet,

while a 16,000 Hz note has a wavelength

just under a tenth of an inch. Tiny treble

waves can be caught and neutralized by

draperies, carpeting, upholstered furniture

and gangs of indolent Persian cats…while

gigantic bass waves simply slosh back and

forth in the room.

Another set of variables is the shape and

volume of your listening room. Large

rooms require more bass energy to excite

waves within them. Small rooms need less

energy, but reect it dierently. And then

there’s the fact that most rooms don’t

have four walls anymore, but open into

dining rooms, lofts, cathedral ceilings, etc.

All of this means that predicting sound

interaction patterns is very dicult due to

the irregularities of the room shape.

As you can see, room acoustics is an

important but complicated subject. To

learn more about room acoustics, get a

copy of AudioControl’s Technical Paper

107, “Small Room Acoustics De-Mythol-

ogized”. You can download this paper

from www.audiocontrolpro.com (search

“De-mythologized”) or if you’re still into

the printed page, call us and we’ll mail

you a copy. The overall point that we’re

trying to make is that the various rooms

in a home function as gigantic mechanical

equalizers, boosting or cutting certain

frequencies depending on size, shape, vol-

ume, acoustic treatment and the position

of the speakers.

Acoustics

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Equalization

Benets of Equalization

Rarely is the room and room decor

designed to get the most out of the

audio system. In fact, almost always the

opposite is the case where the speaker

positions and sizes are dictated by some

factors which are actually contrary to

good sound. This real world situation is

where equalization can provide great

benets.

Speaker positions, furniture, and general

room layouts may cause peaks in the

frequency response. Fortunately these

peaks can be tamed by judicious equal-

ization. Also, it may be that the client has

specic tastes, such as being the most

interested in hearing voices such as cricket

broadcasts, and you can tailor the sound

to these tastes. Remember there are

memories in the unit, and you could use

dierent settings via the memories for

dierent sources.

At all times, though, the laws of physics

are hard to violate, although we do try our

best. Equalization cannot make terrible

acoustics sound terric, only better. If the

room has a tile oor and glass walls for

example, the best case results will still be

pretty bad by most measures. Further,

while equalization can do wonders to help

a less than perfect speaker, nothing will

make a mediocre speaker sound fabu-

lous. In other words, for best results, start

with good speakers and reasonable room

acoustics, if possible.

Note: For the absolutely

best results, the

equalizer

controls on the unit should be

adjusted with a real time

analyzer such

as the AudioControl

Industrial SA-4100i.

Please visit www.audiocontrolpro.com

to look at more

analysis products.

Equalizing the System

Before proceeding with equalizing the sys-

tem, it is a good idea to make sure every-

thing is connected and working properly.

You know how to check connections, and

here are some reminders specic to the

unit, as well as the steps to equalize.

1. Turn on the system. The Power light on

the left front panel will turn on.

2. Connect to this specic CM unit over

the network by entering its unique IP

address into a browser (Firefox, Safari,

Chrome are preferred).

3. Make sure the unit is turned on, and

turn o signal sense in the global

settings page on the browser. On

the front panel all zone status lights

should start red and then turn to blue.

4. If any are not blue, check the web

page to see if you need to unmute any

zones.

5. Play the internal pink noise through

the system into the zones you are

going to adjust.

6. Assuming you have wireless network

access, now grab your trusty real time

analyzer (RTA) and go into the zone

you wish to adjust.

7. Place the microphone in the middle of

the area of listening at the height of

the typical listener’s head.

8. In general, use the equalizer con-

trols to lower peaks in the frequency

response rst. Peaks obscure the

surrounding sounds and lowering the

peaks will unleash overshadowed

sounds. There is more information in

the next section on equalization and

AudioControl has factory training,

called Train in the Rain where we

explore this subject in depth.

You can save dierent settings to dierent

user preset memories for each zone and

see which one the clients like.

Parametric and Graphic

Equalization

The graphic equalization controls in the

unit are selected to correspond with the

characteristics of wall and ceiling speak-

ers, and as such are very eective. Graphic

controls are the easiest to tune and pro-

vide a “graphic” representation of what

the adjustments are. Parametric equaliza-

tion requires selecting the frequency, the

bandwidth of the control, as well as the

level of adjustment, not an easy task to

get correct. In general, parametric equal-

ization is valuable for very large areas of

change or very narrow areas.

Parametric equalization in the unit is most

likely best used for taming very narrow

peaks. Do not use for very narrow dips as

these dips are likely caused by cancella-

tions and will not respond to equalization

boost.

Here is an introduction to each of the

graphic control frequencies and what their

aect is on music.

45 Hz — Low bass. This is about the

lowest frequency which in-wall, ex-

tension and small bookshelf speakers

can achieve. Boosting it too far might

cause problems, even though the

unit’s subsonic lter cuts frequencies

below your adjustment point. But if

your speakers can take it, a mild boost

will enhance bass instruments such as

Fender bass, kick drum, oor toms,

timpani and double bass viols.

150 Hz — High bass. There’s a lot of bass

information at this frequency. In fact,

most modern music is mixed to en-

hance this area of the frequency spec-

trum. 150Hz also determines the depth

of male vocals and contains reverber-

ant information which contributes to

the spaciousness of sound. Boosting

150Hz can add “POW!” and impact to

bass or it can make the sound “bonky”

and “boomy”. This is a critical adjust-

ment with small or in-wall speakers.

Experiment with it.

300 Hz and 700 Hz — High and low mid-

range. These controls directly aect

the sound of instruments and vocals.

These bands also determine the

speaker’s presence (whether the music

sounds far away or close in). Small

speakers often produce too much mid-

range, so these controls can be turned

down slightly during your initial experi-

mentation. Consider reducing 700Hz

if you are only using your extension

speakers for background music.

2500 Hz — Treble. Female vocals and the

“edge” of instruments such as guitars,

snare drums, saxes, violins, etc. are

found in this range. If accentuated too

much (by boosting this control) sounds

in the 2500Hz range can seem harsh

and fatiguing to the ear due to exces-

sive output by the speaker or because

of live, reective room acoustics.

12 kHz — High treble. The ne detail,

texture and sheen of music is found

here. The breathiness of vocals, the

“sheen” of cymbals, the high over-

tones of piano and strings. Actually,

there’s audible music information up

to 20,000Hz on some CDs and most

adult’s hearing is still pretty good at

15,000Hz. We’ve chosen 12,000Hz be-

cause it provides more useful control

to compensate for room acoustics and

common small-speaker deciencies.

Parametric and Graphic EQ

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Subsonic and Tweeter protection lters

Subsonic and Tweeter

Protection Filters

The Subsonic (aka High Pass) lter and

Tweeter Protection (aka Low Pass) lter

are adjusted on the X-OVER section of the

web page. Their function is to make the

speakers sound better, play louder, and

last longer.

All speakers have frequency response

limitations. For the best performance, we

want to operate speakers in their linear

zone, that is the frequencies where their

sound reproduction is not compromised

by mechanical limitations.

If you do operate speakers near or at their

mechanical limits, sound is compromised

and parts of the speakers are stressed and,

in some cases, heat up shortening its life.

In other words, both the tweeter protec-

tion and subsonic lter are very important

tools. Experiment with higher subsonic

lters, and lower tweeter protection

settings, than you might think from the

published specications of the speaker.

If you do these experiments with higher/

lower settings, most likely, you will nd

the system actually sounds much better

than pushing the frequency limits. For

sure the speaker will be less stressed and

last longer.

Presets

In the Graphics EQ section of each zone,

there are preset memories, if you wish to

try dierent congurations. When saving

a memory as a User preset, you are saving

that zone’s settings (equalization and

lters).

Advanced Discussions

In Wall Volume Controls

What happens to the in-wall volume con-

trol if the amplier power is greater than it

can handle?

It will not be pretty but then again no

one will die. Typically, the magnetics

of the volume control will be over

taxed, saturate and thereby become a

lower impedance than rated. This will

encourage the unit amplier to put

out even more power, possibly putting

the amp into protection. If not this

extreme, there is an excellent chance

the volume control saturation will

damage the sound quality. The upshot

is use a volume control with a margin

of safety.

Installation of multiple units

Can you stack units of the unit on top

of each other without an air space in

between?

You can stack a maximum of 4 units

on top of one another, and allow a free

rack space above and below.

Ideally, 2 units can be stacked with a

free space above and below, as this

will improve the ventilation to the

units.

May you daisy chain or y-cord audio and

power trigger connections?

Daisy chaining audio is easy as there

are Loop output jacks, which can be

used to drive the next amplier.

For power control, it is easiest to have

an Ethernet connection to each unit.

The 12 volt mini jacks are powered to

turn on another unit when the main

unit is on (not standby). If you need

more than 15 milliamps current on the

12 volt output, use a relay to prevent

over loading the unit. (The unit itself

only takes 1 milliamp to turn on.)

What are the power requirements and

BTU outputs of the unit?

More detailed information is shown in

the specications section. In general,

we feel a conservative, real life design

criteria is 1/8th power. This will be

a quite loud listening level for most

rooms and assumes all zones driven

at the same time. You will be amazed

at how cool the unit is at this level.

One rule does not t all situations, so

apply your knowledge of the particular

circumstances involved. Also, see the

section below on unique rooms and

SPL.

How many units may I put on one 15

amp breaker?

It depends. Since you are limited to

1500 watts per device by most codes,

there should be a separate 15 amp

circuit for each unit.

The circumstances where the unit

draws maximum power are very

rare outside of an engineering lab.

Maximum power is using a sine wave

input which has at least a third higher

energy density than music. This would

mean that all channels are operating

at maximum, an unlikely situation

even during a really fun party. Even

more unlikely is all channels on multi-

ple units operating at full output.

You know the system better than we

do, so it is your decision. If the only

use is background music, then the

one-eighth power in the specications

is a reasonable (actually conserva-

tive) power draw. Of course, you will

want to include a margin of safety for

unusual circumstances. And in the

nal analysis, you have to do what the

electrical inspector tells you to do.

Advanced Discussions

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

What should I use the “Trim” controls in

the browser for?

The Trim controls are an easy-to-ac-

cess level setting control which you

can use while in the zone. The Trim

controls allow minor not major adjust-

ments.

Unique Rooms and SPL in Large Areas

Are there any special considerations for

bathrooms?

Bathrooms are irregular rooms, rooms

within a room, with high ambient

background noise, often with noise

masking type of ambient sound, highly

reective, and often fairly large. If

you pause and think about that for a

moment, these are some of the more

challenging rooms.

Commercial noise masking systems

rely on “white noise” which sounds

remarkably like a bathroom exhaust

fan and like the sound of water in a

shower-both of which are louder than

the background noise level in the other

parts of the house. So if the client

wants to rock out in the bathroom,

and particularly the shower, you need

to have speakers very near to them.

Modern day larger bathrooms need

more than two speakers for these

reasons.

What about large rooms as well as

rooms where the listener is far from the

speakers?

Typical in-wall speakers are designed

to be near the listener. In common

rooms with eight foot ceilings and

other usual dimensions, in-wall speak-

ers typically are not much more than

eight feet from the listener. In large

mansions, the game changes. Twenty

foot ceilings are normal and typical

speakers are too far away to provide

the client much SPL (sound pressure

level). There are in-wall speakers

designed for these longer “throw” dis-

tances. In general, larger rooms with

more height require more speakers

and speakers with tighter “directivity”

to get party-level SPL. In this case,

also, size matters and bigger speakers

are better.

Advanced Discussions

Troubleshooting

Many problems can be eliminated by

re-checking the wiring and settings of the

unit. If a problem cannot be solved using

the guide below, please call the AudioCon-

trol team for further assistance, or e-mail

us at [email protected]

1. No Sound

a. Verify the Power LED is Blue.

b. Verify Protection LED is O.

c. Verify Zone Status LED is Blue.

d. Verify that the correct input has

been selected in the web server

menus

e. Verify the source unit is operating.

f. Check the speaker connector plugs

on the rear panel are secure.

g. Unplug the power cord and check

the AC Power Fuse on the rear

panel.

2. Protection LED is o, but none of

the Zone Status LEDs are on:

a. Defeat the signal-sense circuits

using the signal sense switch on

the unit’s web page. All of the zone

status LEDs should turn on. If they

do not, call AudioControl’s custom-

er service.

b. Verify the source unit is operating.

c. Increase the preamp volume if sig-

nal sense is engaged, or just going

steady.

3. Channel Status LED is Red:

a. Check speaker leads for a short.

Swap speaker connectors on rear to

see if the problem moves with the

wires.

b. If the unit is excessively hot, turn

down the volume and allow it to

cool o. The protection LED should

turn o after a short while. Verify

that any ventilation holes have not

become blocked.

c. The speaker impedance may be too

low. Use an ohmeter to measure

the impedance on the speaker

wires.

d. The slight periodic red ash on

the channel status is showing the

heartbeat of the unit, this is nor-

mal.

4. Speaker channels are cutting in and

out:

a. If using external volume controls,

check that they can handle the

power output.

b. Make sure the speaker impedance

is not less than 4 Ohms, or 8 Ohms

when used in bridged mono.

c. There may be a short in the wires.

Suspect a short if the problem hap-

pens only at the highest volumes.

5. Protection LED is Red:

a. Disconnect power from the unit

for 3 to 4 minutes and reconnect to

power.

b. Disconnect all speaker wires. If

it still turns red, and the unit has

cooled, something rather serious

has happened inside the unit. Call

AudioControl’s customer service.

Troubleshooting

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

6. Speaker Buzzing or Crackling at high

volume:

a. Reduce any preamplier/equalizer

low-frequency boost.

b. Turn o your “Sounds of the

Pacic Northwest” chainsaw and

bacon-frying CD.

7. There is no audio input signal, but

the Zone Status LEDs are still blue:

a. Check the signal-sense switches in

the unit’s web server tabs. If they

are not engaged, the zone status

LEDs will stay on as long as the

master trigger is enabled.

b. The zone status LEDs stays on for

2 minutes (depending on music

volume) after the audio signal has

stopped. This delay helps prevent

prematurely muting during quiet

passages or song changes.

8. The unit is on but you cannot trigger

it o

• The unit will stay on if either the

12v master trigger is on, or jum-

pered on.

9. Is an in-wall volume control rated at

100 Watts (continuous) adequate?

• That’s a heart felt no. Don’t. Please

don’t. There can be up to 750 watts

running out of the channel so use

an automation system to regulate

the volume at the source or in the

CM series DSP via automation

rather than after the amp/on the

speaker wires.

Troubleshooting

Block Diagram

Signal

Delay

Analog

Pass Thrus

5 - 8

Analog

Inputs

1 - 8

DAC

ADC

Parametric

Graphic EQ

High Pass /

Low Pass

Filters

Volume

Gain

Digital

Inputs

A - B

Limiter

Amplifier

Speaker

Outputs

1 - 4

S/PDIF

Outputs

A - B

Matrix

Dante

Inputs

1-16

(Optional)

Dante Outputs

1-16

(Optional)

Sum Stereo

Input

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Specications

CM4-750 CM3-750 CM2-750

Output Power

Per Channel 625 Was @ 8 Ohm, 625 Was @ 4 Ohm

Bridged Mono 1250 Was @ 8 Ohm

70V 750 Was

100V Bridged 1500 Was

Signal to Noise Rao >104 (A wtd, ref full

output, 8 Ohm)

> 104 (A wtd, ref full

output, 8 Ohm)

> 103 (A wtd, ref full

output, 8 Ohm)

Crosstalk > 85 dB @ 1 kHz

Damping Factor > 200

Gain 36 dB

Analog Input Sensivity 1 Vrms for full output, level at maximum

DAC Specicaons 32 – 96 kHz sample rate, 16/24 bit depth

AC Power Requirements

Standby <3 Was

Idle (main power on, all

channels o)

37 Was

All channels 1/8th power

(normal listening level)

476 Was 374 Was 274 Was

Full Power (*20 A residenal

service limited)

3000 Was 2250 Was 2250 Was

BTU/hr Output

Standby 10 BTU/hr

Idle (main power on, all

channels o)

116 BTU/hr

All channels 1/8th power 224 BTU/hr 176 BTU/hr 176 BTU/hr

Full Power (*20 A residenal

service limited)

1413 BTU/hr 1060 BTU/hr 1060 BTU/hr

Dimensions

Height 3.5” (2U)

Width (ears on) 19.0”

Width (ears o) 17.0”

Depth 15.5”

Weight 20 lb 19 lbs 18 lbs

Network Sengs

Default IP Address 192.168.0.249

Service

What to do if you need service

First, if you need service, it is probably

best to go and see a trained health care

professional.

If the unit needs service, then please

contact AudioControl, either by e-mail or

phone. We will verify if there is anything

wrong in the system that you can correct

yourself, or if it needs to be sent back to

our factory.

Please include the following items when

returning the unit:

1. A copy of your proof of purchase. No

originals please. We cannot guarantee

returning them to you.

2. A brief explanation of the trouble you

are having with the unit. (You’d be

surprised how many people forget

this.) If you can supply a really detailed

description of the problem, this would

be so much better, and our service

technicians may add you to their

Christmas Card list. Please include

any notes about the system and other

components you are using. Is it an

intermittent problem that only occurs

on the rst full moon of Spring?

3. A return street address. (No PO Boxes,

please).

4. A daytime phone number in case our

technicians have a question about the

problem you are having, or if they are

just feeling lonely.

5. Package the unit in the original

packaging if you still have it, and if the

cat hasn’t had three litters of kittens

in the box. Use great care and plenty

of good packing materials to protect

the unit and prevent it from moving

about inside the box. Do not use loose

materials like packing peanuts or real

peanuts.

You are responsible for the freight charges

to us, but we’ll pay the return freight back

as long as the unit is under warranty. We

match whatever shipping method you

use to send it to us, so if you return the

unit overnight freight, we send it back

overnight. We recommend United Parcel

Service (UPS) for most shipments.

Please do not return the unit to Audio-

Control if you have not received an RMA

number from our masterful customer

support team.

Phone 425-775-8461

[email protected]

support.audiocontrolpro.com

www.audiocontrolpro.com/contact-us

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

The Warranty

In just the same way as being covered in

honey and thrown into a dark pit full of

hungry woodchucks, people are scared of

warranties. Lots of ne print. Months of

waiting around. Well, fear no more. This

warranty is designed to make you rave

about AudioControl. It’s a warranty that

looks out for you and your client, plus

helps you resist the temptation to have

your friend Sparky, who’s “good with elec-

tronics,” try to repair your AudioControl

product. So go ahead, grab a cup of tea,

and carefully read through this warranty.

Our warranty has conditional conditions!

“Conditional” doesn’t mean anything

ominous. The Federal Trade Commission

tells all manufacturers to use the term to

indicate that certain conditions have to

be met before they’ll honor the warranty.

If you meet all of these conditions, Au-

dioControl will, at its discretion, perform

warranty service on any AudioControl

products that exhibit defects in materials

and/or workmanship during the warranty

on your product for ve (5) years from

the date you bought it, and we will x or

replace it, at our option, during that time.

Here are the conditional conditions:

1. You need to hold on to your sales

receipt! All warranty service requires

original sales receipt documentation.

The warranty only applies to the

original purchaser from an authorized

AudioControl dealer. Note: Products

purchased from unauthorized dealers

are not covered under warranty.

2. If an authorized AudioControl dealer

installs your AudioControl product,

the warranty is ve years, otherwise

the warranty is limited to one year.

3. Our warranty covers AudioControl

products that have been installed

according to the instructions in the

installation manual.

4. You cannot let anybody who isn’t:

(A) the AudioControl factory; or (B)

somebody authorized in writing by

AudioControl service your AudioCon-

trol product. If anyone other than (A),

or (B) messes with your AudioControl

product, the warranty is void.

5. The warranty is void if the serial num-

ber is altered, defaced or removed,

or if your product has been used

improperly. Now that may sound like

a big loophole, but here is what we

mean by this: Unwarranted abuse is:

(A) physical damage (don’t use your

product to level your dining room

table); (B) improper connections (120

volts into the RCA jacks can fry the

poor thing); (C) sadistic things! This

is the best product we know how to

build, but for example if you mount it

to the front bumper of your car, drop

it over the Niagara Falls or use it for

Clay Pigeon shooting practice, some-

thing will go wrong.

Assuming you conform to 1 through 5,

and it really isn’t all that hard to do, we

will have you send your product to us for

warranty service.

Please Remain Calm

Legalese Section

This is the only warranty issued by Audio-

Control. This warranty gives you specic

legal rights, and you may also have rights

that vary from state to state. Promises of

how well your AudioControl product will

work are not implied by this warranty.

Other than what we’ve said we’ll do in this

warranty, we have no obligation, express

or implied. We make no warranty of mer-

chantability or tness for any particular

purpose. Also neither we nor anyone else

who has been involved in the develop-

ment or manufacture of the unit will have

any liability of any incidental, consequen-

tial, special or punitive damages, includ-

ing but not limited to any lost prots or

damage to other parts of your system by

hooking up to the unit (whether the claim

is one for breach of warranty, negligence

of other tort, or any other kind of claim).

Some states do not allow limitations of

consequential damages.

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Installation Notes

Installation:

Installer:

Zone Room Source

1/2

3/4

5/6

7/8

1/2

3/4

5/6

7/8

Notes/Poems/Sagas/Odes

Installation Notes

Installation Manual

CM2-750, CM3-750, CM4-750

CM SERIES

Installation Notes

Hurrah, you are done!

Manual PN 913-154-0 Rev B

The Crossover Two-Step

Audio Control CM3-750D 3-Channel High Power Dual Mode Power Amplifier

Product's Documents

Installation Manual

Specifications

Audio Control CM3-750D Questions and Answers