Carvin CX1272 Clip Indicator, Graphic Equalizer DSP Return 1 Level Control, Tape Jacks, Power LED

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switch is pushed in, then this knob controls the input to the right mono plug is plugged into these jacks, the stereo mix is discon-

power amp.nected from the graphic EQ and internal power amplifier allowing

the new signal, that was plugged into the jack, to go through the 14. SEND 1 LEVEL CONTROL-INTERNAL DSP graphic EQ and to the internal power amplifier. In the insert mode

The Send 1 control is the master input volume for the internal using a stereo (tip ring sleeve), the ring is the send and the tip is

effects. This volume receives its signals from the EFF 1&2 control the return. The typical use of these jacks is for the insertion of a

on the channels. The typical use of effects send is to adjust for compressor or other outboard gear between the master preamp

maximum input to the internal effects before clipping (see DSP clip and the power amp. LED)

25. CLIP INDICATOR

The red CLIP LED indicators will start to flash when the power amp has reached its maximum output. Occasional flashing caused by lower bass frequencies is OK. However, consistent flashing caused from higher frequencies may damage high frequency drivers (exces- sive distortion). This will not damage the amp.

26. THE GRAPHIC EQUALIZER

15. DSP RETURN 1 LEVEL CONTROL

The RETURN 1 is the master stereo level control for the internal digital effects processor which is fed back into the L/R stereo mix.

Asmall amount of effects is also sent to the monitor mix.

16. RETURN 2 LEVEL CONTROL

The return 2 control is the stereo effects and tape return volume con- trol. It receives its input from both the L/R tape rtn RCA jacks and the L/R 1/4” effects return jacks. This volume controls the return level being fed back into the master L/R stereo mix. A mono return into the stereo mix can be achieved by simply feeding the mono signal into both Left and right return jacks. The stereo return can also be used as another input to the stereo mix for a keyboard or other stereo gear.

20. TAPE JACKS

The RCA jacks are Ideal for using a cassette deck. The Left/Right Tape Send RCA jacks deliver the main mix output pre the graphic EQ. If the Insert jacks are being used, the Tape Send jacks are a way to access the main mix.

The Left/Right Tape Return are RCA inputs to the RETURN 2 & TAPE level control. These tape return jacks can also be used for returning another effects processor or instrument.

21. DSP EFFECTS SELECTOR

Select from 16 different effects that include: Flange, Reverb, Echo- Reverb, & Chorus-Reverb.

26

11

12

22

21

15

23

27

25

24

Each mixer has two nine band graphic EQ’s (equalizer). The graph- ic EQ’s are dedicated to the left and right outputs following (or post) the insert jacks of the mixer. The 9 band Graphic EQ’s pro- vide a wide degree of tonal flexibility.

Adjusting:

When the sliders are in their center detent position, they do not affect the audio signal. When a slider is raised or lowered from the center position, it boost and cuts respectively the level of a narrow frequency band assigned to that particular slider. It is recom- mended that all sliders are set in their center position before equal- izing your tone. Typically low frequency feedback is in the 125 and 250 Hz range while high feedback is in the 2k and 4k Hz range. Occasionally one frequency (slider) of the equalizer will have to be pulled down to stop feedback. If many of the sliders have to be pulled down to stop feedback, the placement of the speakers with respect to the microphones may need to be reconsidered. As much as possible, try to have the main speaker facing away from and in front of the microphones not on stage behind them. The graphic EQ is mainly used to “equalize” the response of the main room and reduce feedback from microphones. Don’t be afraid to use the Graphic EQ, but take care not to over-adjust. Here are some tonal reference ranges for the individual sliders to help relate the frequencies in hertz to perceived tonal changes:

-the 63 Hz slider effects deep sub bass levels. -the 125 Hz is typical bass adjustments.

-the 250, 500 and 1K Hz are for low mid and high mid adjustments. -the 2K and 4K Hz are for lower treble adjustments.

-the 8K and 16K Hz are for the very high treble adjustments.

27. PROTECT LED INDICATOR

The red PROTECT LED provides the operator with information about the status of the power amps. The PROTECT LED can come on under 3 different conditions (when this happens both channels are muted by disconnecting the output speaker relays);

1)During power-up, the amplifier stays in a muted state for approx. 3 sec until it determines that everything is function- ing normally (no output shorts or over temp conditions).

2)When the output load draws excessive current or a direct short is detected caused by a shorted speaker cable or speaker system. Reset this condition by turning the amp off for two seconds and then on again. Check for shorted cables and the total speaker system impedance connected to each channel (2 ohms minimum per channel).

3)Overheating is usually determined when the amp stops in the middle of a performance and the PROTECT LED is on. If this is the cause, leave the amp on for the fan to cool the amp down. The amp will automatically reset within 1 to 3 min- utes.

The PROTECT LED will turn off when ready. Check for the following conditions; a) The rear intake air is restricted from outside air, b) Intake air is extremely warm, c) Excessive speaker load (try other speakers or remove speakers if you have more than one connected to each channel). Again, the minimum impedance is 2 ohms per channel.

HELPFUL HINTS

13

18

16

17

19

14

20

 

 

 

 

 

22. DSP INPUT CLIP LED

17. MONITOR OUT

 

 

 

 

The DSP CLIP LED indicates the send level to the internal effects is

The Monitor line out jack is the monitor mix from the monitor mas-

too high. To prevent clipping, adjust SEND 1 level control down until

ter level control. This is a line level output to drive an external

the clipping LED stops flashing. The individual channel EFF 1 & 2 also

power amplifier.

 

 

 

 

controls this level.

1) FEEDBACK: To reduce feedback, the placement of the speakers with

respect to the microphones may need to be reconsidered. As much as

possible, try to have the main speaker facing away from and in front of

the microphones not on stage behind them. The graphic EQ may be

used to reduce feedback from microphones. See 26. THE GRAPHIC

EQUALIZER

2) SOUND HEARD ONLY ON LEFT SIDE: Check power amp selection

18. LEFT/RIGHT OUT

The Left/Right line out jacks are post graphic EQ line output jacks for the stereo mix. The same signals are also being fed to the internal power amplifier. Note: If the insert jacks are being used for patching or if the power amp switch is being used, then that new signal will also be present on the corresponding Left/Right Line Out jack. The stereo mix may still be accessed at the RCA Tape Send jacks if need- ed.

19. INSERT JACKS

The Left/Right INSERT jacks are pre-graphic EQ, pre-power amp, and normalized to the stereo mix L/R MAIN level control. When a

23. POWER LED

The Power LED indicates when the mixer is powered up.

24.PHANTOM POWER SWITCH AND LED

The Phantom power switch turns on the microphone phantom power in the channel XLR jacks. This power is used for supplying a bias voltage to condenser microphones. The LED indicates the phantom power is turned on. The phantom power will not damage dynamic microphones.

switch. Switch out for stereo mode, switch in for main/monitor mode.

3) No High Frequencies: Check the channel tone controls and EQ set-

tings. The tweeters or midrange drivers may have been damaged or blown

from feedback or overpowering.

4) Main House AC breaker trips : at high output levels, high powered

amps require separate circuit breakers (120V:20A, 230V:10A) for deliver-

ing their full power. Most 120V homes have only 15 amp breakers you may

simply be running too much power

5) The Amp’s rear circuit breaker trips: Full power at 2Ω (4Ω bridged)

can cause the amps circuit breaker to trip. This is normal with high pow-

ered amps because they can deliver more than their full rated output if

the clip LED flashes.

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Contents Replacement Parts List for circuit cards Description Carvin # QTYInternal Signal Routing CX OverviewShelving EQ with Active Tone Circuits HeadroomMIC Channel Features Master Section FeaturesCX672, CX872 & CX1272 Controls Clip Indicator Protect LED IndicatorPower LED Phantom Power Switch and LEDStereo Live Sound System Speaker ConnectionDSP Effects Tape Decks and External EffectsMono PA with Monitors Stereo PA with External Monitor System

CX1272 specifications

The Carvin CX1272 is a versatile and powerful audio mixing console designed for various professional sound reinforcement applications. Known for its high-quality audio performance and user-friendly interface, the CX1272 is a favorite among musicians, sound engineers, and event organizers alike.

One of the standout features of the CX1272 is its 12 microphone inputs, each equipped with premium-quality preamps that deliver exceptional sound clarity and warmth. These preamps provide an impressive headroom, making them suitable for a wide range of sound sources, from vocals to instruments. Additionally, each channel includes a 3-band EQ, allowing users to sculpt their sound effectively for any performance setting.

The CX1272 is designed with flexibility in mind. It offers a total of 12 outputs, including main outputs, auxiliary sends, and sub-group outputs. This arrangement is ideal for live performances where monitoring and effects routing are crucial. The auxiliary sends are particularly useful for creating monitor mixes for performers on stage, enhancing the overall performance experience.

A significant technological feature of the CX1272 is its built-in digital effects processor. This integrated system provides a range of effects, such as reverb, delay, and chorus, which can be applied to individual channels or the main mix. This eliminates the need for external effects processors, making the CX1272 a compact and efficient solution for live sound applications.

The console also benefits from robust construction, featuring a durable chassis designed to withstand the rigors of touring and live performances. Its intuitive layout and clear labeling ensure that sound engineers can work quickly under pressure, making adjustments during performances seamlessly.

In terms of connectivity, the CX1272 includes a variety of input and output options, ensuring compatibility with a wide range of audio equipment. The XLR, TRS, and RCA inputs provide flexibility for various audio sources, while the balanced outputs minimize interference and noise for cleaner sound transmission.

Overall, the Carvin CX1272 is a powerful mixer that blends quality, flexibility, and durability. Whether for live performances, studio recordings, or event productions, its advanced features and solid construction make it a reliable choice for audio professionals. With its user-friendly design and high performance, the CX1272 continues to be a popular option for those looking to deliver outstanding sound.
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