Phonic Celeus 200 User manual
User's Manual
Manual del Usuario
CELEUS 200
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CELEUS 200
English
MAKING CONNECTIONS
Front Panel
1. XLR Jacks
These jacks accept XLR inputs for balanced signals. They
can be used in conjunction with microphones – such as
professional condenser, dynamic or ribbon microphones
– with standard XLR male connectors. With low noise
preampliers, these inputs serve for crystal clear sound
replication.
NB. When using an unbalanced microphone, please ensure phantom power
is switched o. However, when using condenser microphones the phantom
power should be activated.
2. Stereo Channel Inputs
The CELEUS 200 features 2 stereo input channels
(channels 3 and 4), the inputs of which dier slightly to the
mono channels. Each channel includes two ¼" TRS phone
jacks ideal for use with keyboards, drum machines and
electric guitars.
If you wish to use a mono device on a stereo input, simply
plug the device’s ¼” phone jack into the left (mono) input jack
and leave the right input bare. The signal will be duplicated
to the right due to the miracle of 'jack normalizing'.
Channels 1 and 2 also
includes line-level inputs,
conveniently located on
the rear of the CELEUS
200 mixer, that can double
as a single stereo channel
if needed. The "L" port is
routed to channel 1 while
"R" is routed to channel 2.
Stereo channels can also be used with return signals
from external digital sources. Channel 3 doubles as the
Bluetooth channel, while channel 4 also works with the on
board USB playback module. When channels are used for
these signals, the stereo inputs are eectively disengaged.
3. EFX Output
These 1/4" TS phone jack is the nal output of the EFX mix,
as controlled by the individual EFX rotary controls found
on each channel. This can be used to feed any number of
external signal processors. The signal can then be returned
to the CELEUS 200 through a stereo line input channel.
4. Main Output Connectors
These balanced XLR connections will send the nal stereo
line level signal sent from the main mix. These outputs can
be connected to an amplier for sending the signal out to
speakers, or directly to active speakers.
5. Control Room Output Connectors
These 1/4” TS phone jack outputs are fed from the Control
Room / Phones mix as controlled by the Control Room /
Phones level control. This output has extensive use, as it
can be used to feed the signal from the mixer to an active
monitor, for the monitoring of the audio signal from within a
booth, among many other possible uses.
6. Tape In (L and R)
These inputs accommodate RCA cables from such devices
as tape, CD and MP3 players. The line from this feed is
directed to the Tape In mix and controlled by the Tape In /
USB Audio level control.
7. Record Out (L and R)
As with the Tape In ports, these outputs will accommodate
RCA cables, able to be fed to a variety of recording
devices. This may include cassette recorders or even
laptop computers. Phonic suggests the use of a y-cable
for connection of consumer electronics that feature mini-
stereo jacks.
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Rear Panel
8. USB Connector
This USB-B connection is for the USB computer interface.
Use the included USB cable to connect this to your
computer's USB port.
9. DC Power Input
This standard DC power input port is for connection of the
included power supply. Please use the included power
supply only as using the incorrect voltage can cause
irreversible damage to the mixer.
10. Headphones Jack
This stereo output port, found on the
very front of the mixer, is suited for use
with headphones, allowing monitoring
of the mix. The audio level of this output
is controlled using the Phones/Control
Room control on the front panel.
CONTROLS AND SETTINGS
11. Phantom Power Switch
When this switch is in the on position, it activates +48V
of phantom power for XLR microphone inputs, allowing
condenser microphones to be used on these channels.
Activating Phantom Power will be accompanied by an
illuminated LED above the mic input. Before turning Phantom
Power on, turn all level controls to a minimum to avoid the
possibility of a ghastly popping sound from the speakers.
NB. Phantom Power should be used in conjunction with balanced
microphones. When Phantom Power is engaged, single ended
(unbalanced) microphones and instruments should not be used
on the Mic inputs. Phantom Power will not cause damage to most
dynamic microphones, however if unsure, the microphone’s user
manual should be consulted.
12. Power Switch
This switch is used to turn the mixer on and o. Ensure you
turn all level controls down before activating. This ensures
no audio is inadvertently sent through your system.
Channel Controls
13. PAD Button
The PAD button is used to
attenuate the input signal by 25
dB. This should only be pushed
in when using line-level input
devices.
14. Gain Control
This controls the sensitivity of the input signal of the Line/
Microphone input of the rst and second input channels.
The gain should be adjusted to a level that allows the
maximum use of the audio, while still maintaining the
quality of the feed. This can be accomplished by adjusting
it to a level that will allow the peak indicator occasionally
illuminate.
15. Compressor Control and Indicator
This controls the onboard compressor function on channel
1. Turning this control up towards the 12 o’clock position will
adjust the threshold and ratio of the compressor at varying
degrees. Once you reach the 12 o’clock position, the
control will then adjust the compression settings along with
an onboard expander (or, in other words, a 'compander').
The LED that accompanies this control will light up when
the compressor is triggered.
16. TREBLE (High Frequency) Control
This control is used to give a shelving boost or cut of ±15
dB to high frequency (12 KHz) sounds. This will adjust
the amount of treble included in the audio of the channel,
adding strength and crispness to sounds such as guitars,
cymbals and synthesizers.
17. MID (Middle Frequency) Control
This control is used to provide a peaking style of boost and
cut to the level of middle frequency (2.5 KHz) sounds at a
range of ±15 dB. Changing middle frequencies of an audio
feed can be rather dicult when used in a professional
audio mix, as it is usually more desirable to cut middle
frequency sounds rather than boost them, soothing overly
harsh vocal and instrument sounds in the audio.
18. BASS (Low Frequency) Control
This control is used to give a shelving boost or cut of ±15
dB to low frequency (80 Hz) sounds. This will adjust the
amount of bass included in the audio of the channel, and
bring more warmth and punch to drums and bass guitars.
19. EFX Control
This control alters the signal level that is sent to the EFX
output, which can be used in conjunction with external
signal processors (this signal of which can be returned to
mixer via the stereo return inputs), or simply as additional
auxiliary outputs for any means required. This control also
adjusts the level of audio that is sent to the built-in digital
eect panel.
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20. Pan / Balance Controls
This alternates the degree or level
of audio that the left and right side
of the main mix should receive. On
mono channels, the PAN control
will adjust the level that the left and
right should receive (pan), where as
on a stereo channel, adjusting the
BAL control will attenuate the left
or right audio signals accordingly
(balance).
21. Peak & Signal Indicators
These LEDs will light up when
signals reach certain levels. The
Signal LED on the right will light up
when an any audio signal is present
on the channel. The indicator on
the left (Peak) will light up when
the channel hits high peaks, 6 dB
before overload occurs.
It is best to adjust the channel level
control so as to allow the Peak
indicator to light up on regular
intervals only. This will ensure a
greater dynamic range of audio.
22. Channel Level Control
This control will alter the signal level that is sent from the
corresponding channel to the main mix.
23. +4 / -10 Buttons
These buttons, located on
stereo channels, are used
adjust the input sensitivity of
the corresponding channel,
which will adapt the mixer to
external devices dependeing
on their operating levels. If the input source is -10 dBu
(consumer audio standard), it is best to engage the switch,
giving the signal a slight boost. If the input source is +4
dbV (professional audio standard) the button should be
disengaged. If you are unsure of the source’s operating
level, leave the switch disengaged until you test the
source’s signal level.
24. 'BT' and 'USB Player' buttons
Located on channels 3 and 4, these
buttons enable their corresponding
channels to be used for their
respective digital audio signals.
The BT button allows channel 3
to be used for the Bluetooth audio
streaming function, while the USB
Player button allows channel 4 to
control the signal from the onboard
USB audio player.
Digital Eect Processor
25. Program Control
This control will allow users
to select one of the 16 built-in
digital eects of the CELEUS
analog mixer. The eect
names that correspond with the
numbers can be found on the
top of the mixer’s face, or in the
digital eect table.
26. Eects On Button and
Indicator
Pushing this button will turn the
built-in eect processor on and
o. When the eect processor
is activated, the corresponding
LED will light up to indicate so.
27. Parameter Control
Turning this control will adjust
the one main parameter of the
selected eect. Each eect’s
parameter can be found on the
digital eect table.
28. EFX RTN Control
This control adjusts the nal output level of the DFX
processor as sent to the main mix. For more EFX in your
signal ('wet'), turn this control up and your channels' level
controls down. For 'dryer' audio, turn the individual channel
level controls up and reduce the EFX control.
29. "To Phones / Control Room" Button
This button will allow you to send your EFX signal to the
Headphone and Control Room mixes for monitoring.
30. EFX Send Control
This is the nal level control for the EFX Send mix. Your
EFX mix is created by using the individual EFX controls
found on input channels 1 through 4.
Main Section
31. Tape In/USB Audio Control
This control adjusts the incoming signal from both the RCA
"Tape In" jacks and the USB audio interface return signal.
The signals are then sent to the main mix. If there are input
signals from both the USB interface and the Tape In, the
two signals are combined and controlled simultaneously.
32. Tape In/USB To Phones/Control Room Button
Pushing this button in will send your Tape In/USB signal to
the Headphone and Control Room mixes for monitoring.
33. Phones/Control Room Control
This level control determines the nal output level of both
the Headphone jack as well as the stereo Control Room
outputs. The default signal for this mix is the main mix
unless the "EFX TO MAIN" or "TAPE IN/USB TO MAIN"
buttons are engaged.
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38. USB Port
Connect your USB ash drive to this input. Once a drive
is connected, the les will initiate and the main menu will
appear on screen. Users are advised to format their USB
memory sticks with a FAT-32 le system. This connector
can also be used to connect to your PC to take advantage of
the onboard storage.
39. Display
This display will display the track number currently being
played. It also oers play, pause and record indicators as
well as the current play/record time.
40. Play Button
Push this button to start and stop playback and recording
of the currently displayed track. Starting a track after it is
paused will resume the track from the point at which it was
paused (in both record and playback mode).
41. Back/Next Buttons
Pushing these buttons will allow users to skip back and
forwards between tracks. When the menu is activated,
these buttons are used to scroll through on screen options.
42. Stop/Menu Button
Push this button to stop playback or recording when
applicable. Push and hold the button to access the USB
recorder/player’s main menu.
34. Graphic Equalizer
This graphic equalizer allows you to adjust the frequency
response of the main signal, with a maximum of ±12 dB of
signal boost or cut for each of the frequencies.
35. Power Indicator
This indicator illuminates when power is activated.
36. Master L/R Level Controls
These rotary controls are the nal level control for the Master
Left and Right audio sends, sent to the Main Outputs on the
rear. When turned all the way up, the Main L/R controls
provide 10 dB of gain to the signal. When set all the way
down, the signal is eectively muted. These will also adjust
the nal output level of the signal sent through the USB
interface to the computer.
37. Level Meter
This dual 41 segment level meter gives an accurate indication
of when audio levels of the Main L/R signal reach certain
levels. The 0 dB indicator illuminates is approximately equal to
an output level of +4 dBu (balanced), and the PEAK indicator
illuminates about 1.5 dB before the signal is dynamically
clipped. To make the maximum use of audio, set the various
level controls so that it sits steadily around 0 dB to make full
use of audio, while still maintaining fantastic clarity.
USB Recorder Description
The USB Recorder’s source signal is taken directly from
each individual input channel. When playing audio, the
signal will pass through Channel 4 when the USB PLAYER
button is engaged. The CELEUS 200 supports playback of
WMA and MP3 les with bit rates of up to 320 kbit/s.
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43. Wireless Pairing Switch and Indicator
This switch turns the Bluetooth function of the CELEUS
200 on and o. The "WIRELESS READY" LED will light up
when a connection is established between most Bluetooth-
enabled Smartdevice and the CELEUS. The bluetooth
signal is fed through channel 3. Ensure the channel's "BT"
button is engaged on this channel. The CELEUS 200 will
appear as Phonic.BT in your device's bluetooth selection
menu.
44. +48V Indicator
This LED indicator will light up when Phantom Power is
activated on microphone inputs.
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Total Channels 4
Balanced Mono XLR Channels (Mic/Line) 2 (one with stereo line inputs)
Balanced Stereo Line Channels 2
2T Input Stereo RCA
Main L/R Stereo Output 2 x XLR
Control Room Output 2 x 1/4” TS
EFX Send 1 x 1/4” TS
Rec Out Stereo RCA
Phones Stereo TRS
USB Interface Stereo In/Out
USB Connector Type USB Type B
USB Audio Bitrate 16-bit
USB Audio Sampling Rate 48 kHz
USB Module Onboard Storage 70MB
Wireless Frequency (Streaming Audio) 2.4 GHz
Phones Level Control Yes
Main L/R Level Control 2 x Rotary
Metering 2 x 41
Phantom Power Supply +48V DC
Frequency Response (Mic input to any output)
20Hz - 60KHz +0/-1 dB
20Hz - 100KHz +0/-3 dB
Crosstalk (1KHz @ 0dBu, 20Hz to 20KHz bandwidth, channel in to main L/R outputs)
Channel fader down, other channels at unity <-90 dB
Noise (20Hz to 20KHz; measured at main output, Channels 1-3 unit gain; EQ at; all channels on main mix. Reference=+6dBu)
Master @ unity, channel fader down 80 dB
Master @ unity, channel fader @ unity -84 dBu
S/N ratio, ref to +4 >90 dB
Microphone Preamp E.I.N. (150 ohms terminated, max gain) <-129.5 dBm
THD (Any output, 1KHz @ +14dBu, 20Hz to 20KHz, channel inputs) <0.005%
CMRR (1 KHz @ -60dBu, Gain at maximum) 80 dB
Maximum Level
Mic Preamp Input +10 dBu
All Other Input +21 dBu
Balanced Output +28 dBu
Impedance
Mic Preamp Input 2 K ohms
All Other Input (except insert) 10 K ohms
RCA 2T Output 1.1 K ohms
Channel Equalization 3-band, +/-15dB
Low EQ 80Hz
Mid EQ 2.5 KHz
Hi EQ 12 kHz
Compressor 2
32/40-bit Digital Eect Processor 16 eects each with one adjustable parameter
Power Requirement 100-240 VAC, 50/60 Hz External
Dimensions (H x W x D) 87 x 250 x 341 mm (3.4” x 9.8” x 13.4”)
Weight 1.69 kg (3.7 lbs)
SPECIFICATIONS
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