Internal DSP Effects Program Chart


EFF #		DESCRIPTION		EFF #			DESCRIPTION
1	BYPASS	No audio output		66	DLY& REV 33mS Predelay Percussion Plate 3.9s
2	DELAY	33mS w/ 11% regeneration		67	DLY& REV 55mS Predelay Vocal Plate 0.5s
3	DELAY	33mS w/ 17% regeneration		68	DLY& REV 55mS Predelay Vocal Plate 0.7s
4	DELAY	33mS w/ 25% regeneration		69	DLY& REV 55mS Predelay Vocal Plate 1.3s
5	DELAY	33mS w/ 32% regeneration		70	DLY& REV 55mS Predelay Vocal Plate 2.4s
6	DELAY	33mS w/ 44% regeneration		71	DLY& REV 55mS Predelay Vocal Plate 3.1s
7	DELAY	55mS w/ no regeneration		72	DLY& REV 55mS Predelay Vocal Plate 3.9s
8	DELAY	55mS w/ 11% regeneration		73	DLY& REV 89mS Predelay Small Room				0.5s
9	DELAY	55mS w/ 17% regeneration		74	DLY& REV 89mS Predelay Small Room				0.7s
10	DELAY	55mS w/ 25% regeneration		75	DLY& REV 89mS Predelay Small Room				1.3s
11	DELAY	55mS w/ 32% regeneration		76	DLY& REV 89mS Predelay Small Room				2.4s
12	DELAY	55mS w/ 44% regeneration		77	DLY& REV 89mS Predelay Small Room				3.1s
13	DELAY	89mS w/ no regeneration		78	DLY& REV 89mS Predelay Small Room				3.9s
14	DELAY	89mS w/ 11% regeneration		79	DLY& REV 100mS PredelayMedium Room					0.5s
15	DELAY	89mS w/ 17% regeneration		80	DLY& REV 100mS PredelayMedium Room					0.7s
16	DELAY	89mS w/ 25% regeneration		81	DLY& REV 100mS PredelayMedium Room					1.3s
17	DELAY	89mS w/ 32% regeneration		82	DLY& REV 100mS PredelayMedium Room					2.4s
18	DELAY	89mS w/ 44% regeneration		83	DLY& REV 222mS PredelayMedium Room					3.1s
19	DELAY	100mS w/ no regeneration		84	DLY& REV 222mS PredelayMedium Room					3.9s
20	DELAY	100mS w/ 17% regeneration		85	DLY& REV 333mS PredelayLarge Room 0.5s
21	DELAY	100mS w/ 25% regeneration		86	DLY& REV 333mS PredelayLarge Room 0.7s
22	DELAY	100mS w/ 44% regeneration		87	DLY& REV 444mS PredelayLarge Room 1.3s
23	DELAY	222mS w/ no regeneration		88	DLY& REV 444mS PredelayLarge Room 2.4s
24	DELAY	222mS w/ 37% regeneration		89	DLY& REV 555mS PredelayLarge Room 3.1s
25	DELAY	333mS w/ no regeneration		90	DLY& REV 555mS PredelayLarge Room 3.9s
26	DELAY	333mS w/ 37% regeneration		91	CHORUS	Slow & Shallow
27	DELAY	444mS w/ no regeneration		92	CHORUS	Medium & Shallow
28	DELAY	444mS w/ 37% regeneration		93	CHORUS	Fast & Shallow
29	DELAY	555mS w/ no regeneration		94	CHORUS	Slow & Deeper
30	DELAY	555mS w/ 37% regeneration		95	CHORUS	Medium & Deeper
31	REVERB	Percussion Plate 0.5s decay		96	CHORUS	Fast & Deeper
32	REVERB	Percussion Plate 0.7s decay		97	CHORUS	Slow & Deep
33	REVERB	Percussion Plate 1.3s decay		98	CHORUS	Medium & Deep
34	REVERB	Percussion Plate 2.4s decay		99	CHORUS	Slow & Really Deep
35	REVERB	Percussion Plate 3.1s decay		100	CHORUS	Medium & Really Deep
36	REVERB	Percussion Plate 3.9s decay		101	CHORUS#91 33mS Predelay			Percussion Plate 1.3s
37	REVERB	Vocal Plate	0.5s decay	102	CHORUS#92 33mS Predelay			Percussion Plate 2.4s
38	REVERB	Vocal Plate	0.7s decay	103	CHORUS#93 33mS Predelay			Percussion Plate 3.1s
39	REVERB	Vocal Plate	1.3s decay	104	CHORUS#94 33mS Predelay			Percussion Plate 3.9s
40	REVERB	Vocal Plate	2.4s decay	105	CHORUS#95		55mS Predelay Vocal Plate			0.5s
41	REVERB	Vocal Plate	3.1s decay	106	CHORUS#96		55mS Predelay Vocal Plate			0.7s
42	REVERB	Vocal Plate	3.9s decay	107	CHORUS#97		55mS Predelay Vocal Plate			1.3s
43	REVERB	Small Room	0.5s decay	108	CHORUS#98		55mS Predelay Vocal Plate			2.4s
44	REVERB	Small Room	0.7s decay	109	CHORUS#99		55mS Predelay Vocal Plate			3.1s
45	REVERB	Small Room	1.3s decay	110	CHORUS#100		55mS Predelay Vocal Plate			3.9s
46	REVERB	Small Room	2.4s decay	111	FLANGE	Slow & 6mS depth
47	REVERB	Small Room	3.1s decay	112	FLANGE	Medium & 6mS depth
48	REVERB	Small Room	3.9s decay	113	FLANGE	Fast & 6mS depth
49	REVERB	Medium Room	0.5s decay	114	FLANGE	Slow & 13mS depth
50	REVERB	Medium Room	0.7s decay	115	FLANGE	Medium &13mS depth
51	REVERB	Medium Room	1.3s decay	116	FLANGE	Fast &13mS depth
52	REVERB	Medium Room	2.4s decay	117	FLANGE	Slow & 24mS depth
53	REVERB	Medium Room	3.1s decay	118	FLANGE	Medium & 24mS depth
54	REVERB	Medium Room	3.9s decay	119	FLANGE	Slow & 40mS depth
55	REVERB	Large Room	0.5s decay	120	FLANGE	Medium & 40mS depth
56	REVERB	Large Room	0.7s decay	121	FLANGE#111		55mS Predelay Percussion Plate 1.3s
57	REVERB	Large Room	1.3s decay	122	FLANGE#112		55mS Predelay Percussion Plate 2.4s
58	REVERB	Large Room	2.4s decay	123	FLANGE#113		55mS Predelay Percussion Plate 3.1s
59	REVERB	Large Room	3.1s decay	124	FLANGE#114		55mS Predelay Percussion Plate 3.9s
60	REVERB	Large Room	3.9s decay	125	FLANGE#115		55mS Predelay Vocal Plate			0.5s
61	DLY& REV 33mS Predelay Percussion Plate 0.5s			126	FLANGE#116		55mS Predelay Vocal Plate			0.7s
62	DLY& REV 33mS Predelay Percussion Plate 0.7s			127	FLANGE#117		55mS Predelay Vocal Plate			1.3s
63	DLY& REV 33mS Predelay Percussion Plate 1.3s			128	FLANGE#118		55mS Predelay Vocal Plate			2.4s

64DLY& REV 33mS Predelay Percussion Plate 2.4s

65DLY& REV 33mS Predelay Percussion Plate 3.1s

SETTING UP THE SOUND SYSTEM

This section is a brief overview of what it takes to hook up a sound system using a CX series mixer. The overview will include some of the different possible set- ups and some basics on how to mix live sound. If you are new to using mixers you should find this section very informative in helping you to operate your sound system properly. If you are experienced with mixers then you may find some of the information new or presented with a new approach that can help you as well. As always, experimentation is the key to success, so don’t be afraid to use the controls to get a feel for what they do.

1. INPUT CONNECTIONS FROM THE STAGE

For a live sound reinforcement 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 instruments as they are mixed together and then amplified by the P.A. system.

2. ON STAGE OPERATION

The CX Series mixers are small enough to have on the stage. The advantages to this are: a band member can operate the mixer so no extra person is needed; all the cables for microphones, instruments, and speakers are short and plug directly into the mixer; and there are no cables for the audience to trip over. The only disadvantages are the band member/mixer operator on stage doesn’t hear what the audience is hearing, and because the mixer operator is a band member he can not react fast to problems with the P.A. system such as feedback and sudden volume differences.

3. REMOTE TO STAGE OPERATION

Many times the mixer will be located a distance from the stage. This allows the performance to be monitored and mixed from the audience’s perspective. Monitoring at a distance from the stage usually means employing a multi-cable cable or more commonly referred to as a “Snake” (available from CARVIN). Each of the microphones and instruments are plugged into the snake box at the stage and the snake cable carries all these signals to the mixer. At the mixer the snake cable, which fans out to plugs corresponding to the jacks on the snake box, is plugged into the appropriate inputs and line level (pre-amp) outputs of the mixer. All snake cables are numbered, both on the snake box and the cable, to help keep track of which microphones are being plugged into which channels. It is a good idea at this point to label each of the console channels according to what instrument they will be controlling. This can be done with masking tape (Scotch brand #230 drafting tape) or another suitable ‘light’ sticking tape. The tape provides a replaceable surface to write on. The (XLR) balanced low imped- ance format will ensure you the best possible performance and lowest possible noise when operating with long cable lengths, such as a snake. However, many times an unbalanced output (1/4 inch phone plug type) from an instrument needs