There is just a mic pre with 10dB pad, one pan selector and a summing amp into the stereo tape outs.For a better experience, please enable JavaScript in your browser before proceeding.Since there doesnt seem to be much information on the internet regarding these units (although there is a fair bit on the more famous DJ mixer, the Bozak CMA 10-2DL) I figured I would post some info and photos of the unit I have.
Bozak CMA 10-2 stereo mixer. Each of the 10 channels can either be mono or stereo (mono is pin 3 hot, stereo is left channel pin 3 and right channel pin 2). From here the signal goes straight to 2 x unbalanced stereo tape outs (pre EQ and pre master gain) on connections (looking at photos on the internet, these also were sometimes RCA connections). There are also 2 x XLR (unbalanced) master outputs which are post the highlow shelving EQ and post L and R master gain control. Reading up on some history of Bozak mixers, the first models were the CMA 6-1 and CMA 10-1 which were mono 6 and 10 channel orchestral mixers developed in the 50s. The CMA10-2 came after these but before the famous DJ mixer, the CMA 10-2DL which first came about in the early 70s. Based on this, I would have a guess that this mixer was made sometime in the late 60s. Bozak Cma 10 2Dl Transfer Manuals Or BrochuresUnfortunately, the mixer didnt come with any documentation in the way of manuals or brochures. That is one cool mixer I tried to find docs on it but came up dry. Sorry. But.super cool. The rotary knobs on each channel appear to work like a volume fader rather than controlling the preamp gain. From what I can tell the preamp gain is fixed, which is fine for most microphones but using a high sensitivity condenser like a Rode NT1 (as I found out when recording medium-loud vocals) would distort on moderately loud sources and turning the rotary knob to minimal doesnt change the level of distortion. There is a -10dB pad switch for each channel just above the mic input connector which helps control this but I have to use an external pad for some loud sources to control the level of distortion - though I wouldnt say its an unpleasant distortion but important to be able to tame it when needed. Overall the pres sound real good, definitely has a sort of hi-fi 60s sound (reminded me of something like Bob Dylans Blonde on Blonde). Glyn Johns mic setup on the drum kit (stereo SDC overheads and an EV RE320 on the kick) and instantly a great, natural sound. The plan is to use the Bozak for tracking AND mixing, if all goes well, would probably sell the mixer I was using previously in this setup, the Yamaha RM804. A couple comments from some in-the-know good people: Great Sound Reinforcement mixer from the early 70s. WARNING: PIN THREE HOT, pin two may not be connected on unbalanced line inputs. I dont think it can hold a candle to the audio performance of a modern Mackie or Yamaha mixer, but its a tank. The one that I was familiar with was kind of bare bones in terms of features, but really well built. I like the comparison to the Altec 1567a, its from the same era in terms of simple and minimal circuitry design.
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