Carvin SM162 manual Full Insert, Eight Track System, Half Insert, Four Track System, MIC Channels

TAPE DECKS AND EXTERNAL EFFECTS INSERTS AND DIRECT OUTS

MULTI TRACK RECORDING

The basic hook up is simple, using four (or two stereo) RCA cables plug the TAPE OUT on the mixer into the tape deck’s inputs, and the mixer’s TAPE IN into the tape deck’s outputs. Using the master L - R level control in conjunction with the tape deck’s input recording level control, both the desired recording level can be adjusted and the master left right output listening level can be adjusted. Then the TAPE IN level control on the mixer can be adjusted to hear the tape decks playback out the master left and right line outputs.

NOTE: If the tape deck is in recording mode, be sure to have the TAPE IN control turned down. This will reduce possible feedback through the tape deck.

When using an effects processor, plug a cable from one of the two effects send 1/4”phone outputs on the mixer, into the input jack on the effects processor. Then for the return, plug one (or both for stereo) of the L/R EFFECTS RETURN 1/4” phone inputs, on the mixer, into the outputs on the effects processor. Using the channel EFF 1 or EFF 2 sends and the master send 1 or 2 set the output send level going to the effects processor. Then using the return 1 or 2 level controls, set the desired amount of effect heard in the master left right outputs.

(TAPE OUT)

1	EFFECTS	EFFECTS MASTER		TAPE
	2	1	L

L

L R

1 2

TAPE

FULL INSERT

As described under the 1-8 MIC CHANNEL FEA- TURES the insert jack is a Tip Ring Sleeve (TRS) 1/4” phone jack, where the tip is the send, the ring is the return, and the sleeve is ground. When used as an insert point or in full insert mode the chan- nel is opened up to allow an external piece of equipment to be inserted into the channels signal path. The channel signal, coming from the microphone preamplifier, will be forced to go through the external equipment before it can continue back through the channel re-entering before the channel tone controls. Most external equipment is not set up for the TRS plug directly, so an adapter cable is required. The adapter cable will have on one end the TRS plug and two mono plugs , either male or female, on the other end. The two plugs each have the ground connected to the sleeve and one has the return on its tip and the other has the send on its tip. This allows the send to be connected to the input of the external equipment and the return to its output complet-

FULL INSERT

LINE

		1	MIC Pre-Amp
			PIN 2 (+)
			PIN 3 (–)
MIC
			GAIN
	INSERT
GAIN 4		5 6
3		7
2		8
1		9
	0	10
HI	3	- 0 + 3
6		6
9		9
	12	12
MID	3	- 0 + 3
6		6
9		9
	12	12
LOW3 - 0 + 3
6		6

99

12 12

TIP: SEND

RING: RETURN

SLEEVE: GROUND

INSERT JACK

STEREO PLUG

The following will explain the 8 and 4 track recording system diagrams using the Studio Mate as the recording console.

THE EIGHT TRACK SYSTEM

The eight track system is the more difficult of these two systems. The difficulty is having to repatch the 8 track’s output connections in order to mix down to the final two track. In the recording stage of an 8 track recording session (see the top diagram on page 11) , the inserts of the 8 mic/line channels can be used to give 8 individual dry outputs for the 8 tape inputs of the recorder. The “dry” means when using the insert as an output there is no EQ available, but only the original signal only boosted by the microphone preamplifier. In order to listen to the tracks while in the recording stage the stereo channels can be used for playback listen- ing of the 8 recorded channels. With this arrangement a complete 8 track recording session can be done. Even scratch two track mix downs can be done through the stereo channels to the left right tape outputs on the mixer. When all the tracks are recorded to tape and ready for mix down, the 8 track machine outputs can be repatch to the line inputs on the 8 mic\line channels. This will provide individual effects sends and EQ on each track while mixing the 8 tracks down to 2 tracks through the left right tape out on the mixer. Also the stereo channels can be used for extra inputs such as midi equipment like keyboards, or drum modules which may not be on the 8 track.

																																																EFFECTS PROCESSOR
LINE				LINE				LINE				LINE				LINE				LINE				LINE				LINE				1			EFFECTS				EFFECTS		MASTER			TAPE OUT
																																				2			1		L
																																			L														P O W E R
			1				2				3				4				5				6				7				8													L			R
																																1				2			2		R
																																			R									TAPE IN											MULTI-TRACK RECO
																																												PHANTOM POWER					Studio Mate
MIC				MIC				MIC				MIC				MIC				MIC				MIC				MIC							RETURN				SEND		LINEOUT
																																L				L				L				L				PHONES						SM162
																																MONO				MONO			MONO					MONO
	INSERT				INSERT				INSERT				INSERT				INSERT				INSERT				INSERT				INSERT
GAIN 4		5	6	GAIN 4		5	6	GAIN 4		5	6	GAIN 4		5	6	GAIN 4		5	6	GAIN 4		5	6	GAIN 4		5	6	GAIN 4		5	6	R				R				R				R							MAIN
3			7	3			7	3			7	3			7	3			7	3			7	3			7	3			7																			L		R
2			8	2			8	2			8	2			8	2			8	2			8	2			8	2			8	INPUT 9 –10				INPUT 11 –12				INPUT 13 –14				INPUT 15 –16							+12dB
1			9	1			9	1	0		9	1			9	1			9	1			9	1	0		9	1			9																					+ 6dB
	0		10		0		10				10		0		10		0		10		0		10				10		0		10																					+ 3dB
HI		- 0 + 3		HI		- 0 + 3		HI		- 0 + 3		HI		- 0 + 3		HI		- 0 + 3		HI		- 0 + 3		HI		- 0 + 3		HI		- 0 + 3		HI		- 0 + 3		HI		- 0 + 3		HI		- 0 + 3		HI		- 0 + 3
	3				3				3				3				3				3				3				3				3				3				3				3							0dB
6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6					–3dB
9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9					–6dB
	12		12		12		12	12			12		12		12		12		12		12		12	12			12		12		12		12		12		12		12		12		12		12		12					–9dB
MID		- 0 + 3		MID		- 0 + 3		MID		- 0 + 3		MID		- 0 + 3		MID		- 0 + 3		MID		- 0 + 3		MID	3 - 0 + 3			MID		- 0 + 3		MID	3 - 0 + 3			MID		- 0 + 3		MID	3 - 0 + 3			MID		- 0 + 3
	3				3				3				3				3				3								3								3								3						–12dB
6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6				–15dB
9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9
																																																			–18dB
	12		12		12		12	12			12		12		12		12		12		12		12	12			12		12		12		12		12		12		12		12		12		12		12
LOW		- 0 +			3	- 0 +		LOW		- 0 +		LOW		- 0 +		LOW		- 0 +		LOW		- 0 +			3	- 0 +		LOW		- 0 +		LOW		- 0 +		LOW		- 0 +		LOW		- 0 +		LOW		- 0 +
	3		3				3		3		3		3		3		3		3		3		3				3		3		3		3		3		3		3		3		3		3		3		MASTERS
6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6	6			6
9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9	9			9	4	5	6	7	4	5	6
	12		12		12		12	12			12		12		12		12		12		12		12	12			12		12		12		12		12		12		12		12		12		12		12	3				3		7
																																																2			8 82 TRACK8				OUTPUTS
EFF 14				EFF 14				EFF 14				EFF 14				EFF 14				EFF 14				EFF 14				EFF 14				EFF 14				EFF 14				EFF 14				EFF 14
		5	6			5	6			5	6			5	6			5	6			5	6			5	6			5	6			5	6			5	6			5	6			5	6	1		10	9	1		9
3			7	3			7	3			7	3			7	3			7	3			7	3			7	3			7	3			7	3			7	3			7	3			7	0				0		10
2			8	2			8	2			8	2			8	2			8	2			8	2			8	2			8	2			8	2			8	2			8	2			8	SEND 1				RETURN 1			INPUTS
1			9	1			9	1			9	1			9				9	1			9	1			9	1			9	1			9	1			9	1			9	1			9	4	5	6			5
	0		10		0		10		0		10		0		10	1/20			10		0		10		0		10		0		10		0		10		0		10		0		10		0		10					8 4TRACK6
																																																3			7	3		7
EFF 2		5	6	EFF 2		5	6	EFF 2		5	6	EFF 2		5	6	EFF 2		INSERTEFF 2						EFFDIRECT2EFF 2							OUTEFF 2				6	EFF 2		5	6	EFF 2		5	6	EFF 2		5	6	2			8	2		8
	4				4				4				4				4	5	6		4	5	6		4	5	6		4	5	6		4	5			4				4				4

(TAPE IN)

SEND

TAPE OUTTAPE IN

ing the insert loop back to the channel.

SEND RETURN TO EFFECTS

TWO-TRACK

TAPE RECORDER

MONO IN L OUT R

EFFECTS PROCESSOR

STEREO LIVE SOUND SYSTEM

HALF INSERT

The half insert connection creates a send signal without breaking the channels signal path. The insert in this mode is no longer used as an insert but it becomes what is called an “insert direct out”. An insert direct out functions as a normal direct out, but the plug has to be half inserted and if an insert is needed on the same channel, some fancy cabling is required to perform both func- tions. The half insertion connects the tip of the plug being inserted to the ring of the jack, see the fig. If the jack is fully inserted, to where the tip of the plug connects to the tip of the jack, the inter- nal jack switch will open and the channel’s signal path will be broken. The connection will still func-

1/2 INSERT	TIP: SIGNAL
	SLEEVE: GROUND

LINE

1	MIC Pre-Amp
	PIN 2 (+)
	PIN 3 (–)
MIC
	GAIN

INSERT JACK

INSERT

GAIN 4 5 6

3 7

28

1	9
0	10
HI 3	- 0 + 3
6	6	MONO PLUG
9	9

The Studio Mate mixer is not only a studio recording mixer, it can also be a great live sound, PA system mixer or a sub mixer. As a sub mixer, the Studio Mate could add extra channels or work as a monitor mixer. Here the main focus will be using the Studio Mate as the main mixer in a basic live sound system.

In a live sound reinforcement or a public address system (P.A. System), the input signals to the mixer will come from the microphones and instruments on the stage. Each microphone or instrument to be amplified by the P.A. system must be connected to one of the mixing console inputs. It is preferred to have as many of the stage instruments as possible plugged into the mixer. This allows the best overall sound control of the instru- ments as they are mixed together and then amplified by the P.A. system. The mixer can be operated on the stage or from a remote location in front of the stage using a snake cable to bring the signals from the stage to the mixer. The advantage of the remote operation allows the performance to be monitored and mixed from the audience’s perspective.

tion as a direct out, but the channel’s signal will stop at the insert and not continue on to the rest of the channel and the masters, unless the insert is being used as described in the FULL INSERT section above with a TRS plug. The result of the half insert is multiple outputs are created for use in multi-track recording.

1212 MID 3 - 0 + 3

6	6
9	9

12 12 LOW3 - 0 + 3

6 6

99

12 12

TO RECORDER

THE FOUR TRACK SYSTEM

The four track system is much simpler in connection than the 8 track recorder. The connection and operation may be simpler, but any time the number of recording tracks is reduced, more thought has to go into recording each track. The four track system also provides more options when connecting to the mixer. A similar connection to the 8 track can be done with the 4 track inputs connected to channels 1-4 inserts (1/2 inserted for direct outs) and the 4 track outputs connected to channels 5-8 LINE inputs providing playback and mix down without repatching. The diagram on page 12 is another way to connect a four track record- ing system. The choice here was to have the left and right masters be two of the 4 track inputs. This in enables the rest of the channels to be mixed into the left right outputs for recording on the 4 track machine. Then two 1/2 insert directs are used for the other two inputs on the four track recorder. These would probably be tracks requiring EQ and effects added in the final mix down. Then when ready to mix down to the two track machine the switch is easy using the four channels with the out- puts of the four track recorder, in this case channels 5-8. The pluses of this 4 track layout are: at any time a 4 track to 2 track mix down can be performed, and while recording the 4 tracks the EQ and added effects

8 TRACK MIXDOWN

MULTI-TRACK RECORDER

8 TRACK OUTPUTS

EFFECTS PROCESSOR

send levels of the 2 track mix down can be adjusted on channels 5-8.

LINE			LINE			LINE			LINE			LINE			LINE			LINE			LINE			1		EFFECTS			EFFECTS		MASTER		TAPE OUT
																											2		1		L
																										L
		1			2			3			4			5			6			7			8										L		R
																								1			2		2		R
																										R							TAPE IN
																																	PHANTOM POWER
MIC			MIC			MIC			MIC			MIC			MIC			MIC			MIC					RETURN			SEND		LINEOUT
																								L			L			L			L
																								MONO			MONO		MONO				MONO
	INSERT			INSERT			INSERT			INSERT			INSERT			INSERT			INSERT			INSERT
GAIN 4		5 6	GAIN 4		5 6	GAIN 4		5 6	GAIN 4		5 6	GAIN 4		5 6	GAIN 4		5 6	GAIN 4		5 6	GAIN 4		5 6	R			R			R			R
3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7
2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	INPUT 9 –10			INPUT 11 –12			INPUT 13 –14			INPUT 15 –16
1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9
	0	10		0	10		0	10		0	10		0	10		0	10		0	10		0	10
HI	3 - 0 + 3		HI	3 - 0 + 3		HI	3 - 0 + 3		HI	3 - 0 + 3		HI	3 - 0 + 3		HI	3 - 0 + 3		HI	3 - 0 + 3		HI	3 - 0 + 3		HI	3 - 0 + 3		HI	3 - 0 + 3		HI	3 - 0 + 3		HI	3 - 0 + 3
6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6
9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9
	12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12
MID	3	- 0 + 3	MID	3	- 0 + 3	MID	3 - 0 + 3		MID	3	- 0 + 3	MID	3 - 0 + 3		MID	3	- 0 + 3	MID	3 - 0 + 3		MID	3	- 0 + 3	MID	3 - 0 + 3		MID	3	- 0 + 3	MID	3 - 0 + 3		MID	3	- 0 + 3
6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6
9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9
	12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12
LOW		- 0 +		3	- 0 +	LOW		- 0 +	LOW		- 0 +	LOW		- 0 +	LOW		- 0 +		3	- 0 +	LOW		- 0 +	LOW		- 0 +	LOW		- 0 +	LOW		- 0 +	LOW		- 0 +
	3	3			3		3	3		3	3		3	3		3	3			3		3	3		3	3		3	3		3	3		3	3
6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6
9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9
	12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12

	P O W E R					TWO-TRACK
						TAPE RECORDER
	Studio Mate
PHONES						SM162
		MAIN		R
		L
		+12dB
			+ 6dB
			+ 3dB
			0dB
			–3dB
			–6dB
			–9dB
		–12dB				keyboards
		–15dB
		–18dB
						sequencers
	MASTERS					computer audio outs
4	5	6	3	4	5	6
3		7				7
2		8	2			8

THE MIC CHANNELS

EFF 14 5 6 EFF 14 5 6 EFF 14 5 6 EFF 14 5 6 EFF 14 5 6 EFF 14 5 6 EFF 14 5 6 EFF 14 5 6 EFF 14 5 6 EFF 14 5 6 EFF 14 5 6 EFF 14 5 6

1	9	1	0	9
0	10			10

The (XLR) balanced low impedance mic inputs can handle +15 dB levels with the gain control at minimum. These balanced inputs should be used whenever possible, because this format will ensure the best possible performance and lowest noise when operating with long cable lengths, such as with a snake. However, many times an unbalanced output (1/4 inch phone plug) from an instrument needs to be plugged into the mixer. In this case use the line inputs on these channels. If the snake cable is only equipped with XLR inputs use a XLR to 1/4” adapter or a “Direct box” to get through the snake.

THE STEREO CHANNELS

STEREO LIVE SOUND SYSTEM DIAGRAM

4 TRACK STUDIO DIAGRAM

4 TRACK RECORDER

4 TRACK INPUTS

Where ever stereo line levels are present such as with CD players, keyboards, and stereo guitar preamplifiers, the stereo channels should be used. The stereo channels allow the user to control the stereo input with one set of controls. The result being equal adjust- ment to both the left and right signals. The stereo channels are also great as glorified effects returns or for multiple stereo background music mixes. If the mic/line channels are all filled, the stereo chan- nels can be used as extra mono channels by plugging into only the left inputs.

CONNECTING SPEAKERS & POWER AMPLIFIERS

Since the Studio Mate is a non-powered mixer (no internal ampli- fiers), an external power amplifier will have to be used to power the PA system speakers. When connecting the main power amplifiers,

1

LINE	LINE	LINE	LINE	LINE	LINE	LINE	LINE	EFFECTS	1	MASTER	TAPE
							1	2		L
								L			P O W E R
	1	2	3	4	5	6	7			L	R
							1	2	2	R

																	R					TAPE IN
																						PHANTOM POWER
MIC		MIC		MIC		MIC		MIC		MIC		MIC		MIC		RETURN			SEND	LINEOUT			Studio Mate
																L	L			L		L	PHONES	SM162
																MONO	MONO		MONO			MONO
INSERT		INSERT		INSERT		INSERT		INSERT		INSERT		INSERT		INSERT
GAIN 4	5 6	GAIN 4	5 6	GAIN 4	5 6	GAIN 4	5 6	GAIN 4	5 6	GAIN 4	5 6	GAIN 4	5 6	GAIN 4	5 6	R	R			R		R		MAIN
3	7	3	7	3	7	3	7	3	7	3	7	3	7	3	7								L	R
2	8	2	8	2	8	2	8	2	8	2	8	2	8	2	8	INPUT 9 –10	INPUT 11 –12			INPUT 13 –14		INPUT 15 –16		+12dB
1	9	1	9	1	9	1	9	1	9	1	9	1	9	1	9									+ 6dB
0	10	0	10	0	10	0	10	0	10	0	10	0	10	0	10									+ 3dB
HI 3	- 0 + 3	HI 3	- 0 + 3	HI 3	- 0 + 3	HI 3	- 0 + 3	HI 3	- 0 + 3	HI 3	- 0 + 3	HI 3	- 0 + 3	HI 3	- 0 + 3	HI 3 - 0 + 3	HI	3	- 0 + 3	HI 3	- 0 + 3	HI 3	- 0 + 3	0dB
6	6	6	6	6	6	6	6	6	6	6	6	6	6	6	6	6	6	6	6	6	6	6	6	–3dB

EXTERNAL

POWER AMP

2

LEFT RIGHT

4 TRACK OUTPUTS

LINE

LINE

LINE

LINE

LINE

LINE

LINE

EFFECTS

EFFECTS MASTER

TAPE OUT

1

2

1

L

L

P O W E R

TWO-TRACK

1

2

4

5

6

7

8

L

R

TAPE RECORDER

1

2

2

R

R

TAPE IN

PHANTOM POWER

MIC	MIC	MIC	MIC	MIC	MIC	MIC	MIC	RETURN	SEND	LINEOUT	Studio Mate
										PHONES	SM162
							L	L	L	L
							MONO	MONO	MONO	MONO
INSERT	INSERT	INSERT	INSERT	INSERT	INSERT	INSERT	INSERT

use the MASTER L - R LINE OUT jacks as the main outputs. When using a snake to feed the signals from the stage to the mixer, there are usually provisions for sending line output signals from the mixer to the stage. The (line level) MASTER L - R LINE OUT outputs can be plugged into these returns in the snake cable, and This will send the signal to the power amplifiers, usually placed on stage. Once the snake, or alternate means of cabling, carrying the signal has reached the stage, the connections are made to the power amplifier inputs. The power amp outputs can then be connected to the speakers.

Note: Speaker cables should be non-shielded and at least 16 gauge wire to prevent damage to the power amplifiers.

9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9					–6dB
12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12					–9dB
MID	- 0 +		MID	- 0 +		MID	- 0 +		MID	- 0 +		MID	- 0 +		MID	- 0 +		MID	- 0 +		MID	- 0 +		MID	- 0 +		MID	- 0 +		MID	- 0 +		MID	- 0 +
3		3	3		3	3		3	3		3	3		3	3		3	3		3	3		3	3		3	3		3	3		3	3		3				–12dB
6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6				–15dB
9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9
																																							–18dB
12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12
LOW	- 0 +		3	- 0 +		LOW	- 0 +		LOW	- 0 +		LOW	- 0 +		LOW	- 0 +		3	- 0 +		LOW	- 0 +		LOW	- 0 +		LOW	- 0 +		LOW	- 0 +		LOW	- 0 +
3		3			3	3		3	3		3	3		3	3		3			3	3		3	3		3	3		3	3		3	3		3			MASTERS
6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6
9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9		4	5	6	4	5	6
12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	3			7	3		7
																																				2			8	2		8
EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	1	0		9	1		9
3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7				10	0		10
2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8		SEND 1			RETURN 1
1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9		4	5	6	4	5	6
0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	3			7	3		7
EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	2			8	2		8
3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	1			9	1		9
2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8		0		10	0		10
1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9		SEND 2			RETURN 2
0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10		4	5	6	4	5 6
PAN			PAN			PAN			PAN			PAN			PAN			PAN			PAN			PAN			PAN			PAN			PAN			3
																																							7	3		7
																																				2			8	2		8
																																				1			9	1		9
L		R	L		R	L		R	L		R	L		R	L		R	L		R	L		R	L		R	L		R	L		R	L		R		0		10	0		10
																																					TAPE IN			HEADPHONE
LEVEL	5	6	4	5	6	LEVEL	5	6	LEVEL	5	6	LEVEL	5	6	LEVEL	5	6	4	5	6	LEVEL	5	6	LEVEL	5	6	LEVEL	5	6	LEVEL	5	6	LEVEL	5	6
4						4			4			4			4						4			4			4			4			4				4	5	6
3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7
2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	3			7
1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	2			8
0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	1	0		9
1			2			3			4			5			6			7			8			9-10 11-12 13-14 15-16															10
																																				L - R

PA CABINET PA CABINET

TWO-TRACK

TAPE RECORDER

GAIN 4	5	6	GAIN 4	5	6	GAIN 4	5	6	GAIN 4	5	6	GAIN 4	5	6	GAIN 4	5	6	GAIN 4	5	6	GAIN 4	5	6	R			R			R			R							MAIN
3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7															L		R
2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	INPUT 9 –10			INPUT 11 –12			INPUT 13 –14			INPUT 15 –16						+12dB
1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9																	+ 6dB
0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10																	+ 3dB
HI 3	- 0 + 3		HI 3	- 0 + 3		HI 3	- 0 + 3		HI 3	- 0 + 3		HI 3	- 0 + 3		HI 3	- 0 + 3		HI 3	- 0 + 3		HI 3	- 0 + 3		HI 3	- 0 + 3		HI 3	- 0 + 3		HI 3	- 0 + 3		HI 3	- 0 + 3
																																								0dB
6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6					–3dB
9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9
																																								–6dB
12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12
																																								–9dB
MID 3 - 0 + 3			MID 3	- 0 + 3		MID 3 - 0 + 3			MID 3	- 0 + 3		MID 3	- 0 + 3		MID 3	- 0 + 3		MID 3	- 0 + 3		MID 3	- 0 + 3		MID 3	- 0 + 3		MID 3	- 0 + 3		MID 3	- 0 + 3		MID 3 - 0 + 3
																																							–12dB
6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6				–15dB
9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9
																																							–18dB
12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12
LOW	- 0 +		3	- 0 +		LOW	- 0 +		LOW	- 0 +		LOW	- 0 +		LOW	- 0 +		3	- 0 +		LOW	- 0 +		LOW	- 0 +		LOW	- 0 +		LOW	- 0 +		LOW	- 0 +
3		3			3	3		3	3		3	3		3	3		3			3	3		3	3		3	3		3	3		3	3		3		MASTERS
6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6
9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	4	5	6	7	4	5	6
12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	12		12	3				3		7
																																				2			8	2		8
EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	EFF 14	5	6	1			9	1		9
3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	0		10		0		10
2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	SEND 1				RETURN 1
1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	4	5	6		4	5	6
0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	3			7	3		7
EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	EFF 24	5	6	2			8	2		8
3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	3		7	1			9	1		9
2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	2		8	0		10		0		10
1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	1		9	SEND 2				RETURN 2
0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	0		10	4	5 6			4 5		6
PAN			PAN			PAN			PAN			PAN			PAN			PAN			PAN			PAN			PAN			PAN			PAN						7
																																				3				3		7
																																				2			8	2		8
																																				1			9	1		9
L		R	L		R	L		R	L		R	L		R	L		R	L		R	L		R	L		R	L		R	L		R	L		R	0		10		0		10
																																				TAPE IN				HEADPHONE
LEVEL						LEVEL			LEVEL			LEVEL			LEVEL						LEVEL			LEVEL			LEVEL			LEVEL			LEVEL

keyboards sequencers computer audio outs

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