Carvin PA620 manual Live Sound System, DSP Effects Selector

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 micro- phones and instruments on the stage. Each microphone or instru- ment to be amplified by the P.A. system must be connected to one of the mixer’s inputs. If you have enough channels, try to mic each stage instrument. This allows for the best overall sound control of the instruments as they are mixed together and then amplified by the P.A. system. This will also provide the ability to record your performace with all instruments in the mix via the TAPE OUT RCA jacks.

THE SOUND CHECK

The sound check takes some skill, but mostly patience from the performers and especially you the system operator. If you get frus- trated during the sound check the performers can lose confidence and the sound may suffer due to things missed in the sound check. The basic sound check follows this format: First test all micro-

phones and other input devices (direct boxes, etc.) before the per- formers are included in the sound check. A good thing to also check here is feedback in the monitors from the microphones. Good positioning of the monitors and the use of the graphic equal- izer solves most major monitor feedback problems. Now for a sound check with the performers. First set the level of each per- former individually and in cases where a performer has multiple microphones, such as with a drummer, set each drum mic individ- ually then the drum set as a whole. This is also a good time to make some channel tone control adjustments to tailor the sound of the individual performers and instruments. Next after setting each individual, have the performers run through a song or a portion of the show. Don’t hesitate to stop the performers if something needs to be adjusted or if an individual performer or microphone needs to be heard solo again. Remember the sound check is not a rehears- al, but a system check, a time to work the bugs out of the system so the show can go smoothly.

DSP EFFECTS FOOTSWITCH

TAPE AND CD IN - OUT

MAIN		PHANTOM	PK	EFFECT		SELECT	PARAMETER
4 5	6	POWER
				4	5 6	REVERB	CHORUS	5	6
3	7
2	8			3	7		4		7
				2	8		3		8
1	9
0	10			1	9	ECHO	2	1	9
				0	10		FLANGE		10

MONITOR TAPE IN 24-BIT EFFECTS PROCESSING

4	5 6	3	4	5 6	SELECT	ECHO	REVERB	CHORUS	FLANGE
3	7			7		REGEN	DAMPING	REV LEVEL	SPEED
2	8	2		8
1	9	1	0	9	PARAM	TIME	DECAY	DEPTH	DEPTH
0	10			10

PA620

DIGITAL EFFECTS

LINE OUT	TAPE		SPEAKER
	EFFECTS
IN	OUT
MAIN MONITOR	FOOT	1	2

Use Carvin’s FS22 footswitch to remote- ly turn effects on and off.

MAIN		PHANTOM	PK	EFFECT		SELECT	PARAMETER
4 5	6	POWER
				4	5 6	REVERB	CHORUS	5	6
3	7
2	8			3	7		4		7
				2	8		3		8
1	9
0	10			1	9	ECHO	2	1	9
				0	10		FLANGE		10

MONITOR TAPE IN 24-BIT EFFECTS PROCESSING

4	5 6	3	4	5 6	SELECT	ECHO	REVERB	CHORUS	FLANGE
3	7			7		REGEN	DAMPING	REV LEVEL	SPEED
2	8	2		8
1	9	1	0	9	PARAM	TIME	DECAY	DEPTH	DEPTH
0	10			10

PA620

DIGITAL EFFECTS

LINE OUT	TAPE		SPEAKER
	EFFECTS
IN	OUT
MAIN MONITOR	FOOT SW	1	2

R/L		R/L
TAPE	TAPE
OUT		IN

The 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 RTN’s into the tape deck’s outputs. This can pro- vide the means to record a performance or play pre-recorded music through the mixer.

FS22

TWO-TRACK RECORDER

DSP EFFECTS SELECTOR

MAIN
4 5 6
3	7
2	8
1	9
0	10

MONITOR
4	5 6
3	7
2	8
1	9
0	10

PHANTOM

POWER

TAPE IN

4	5 6
3	7
2	8
1	9
0	10

PK	EFFECT		SELECT	PARAMETER
	4	5 6	REVERB	CHORUS	5	6
	3	7		4		7
	2	8		3		8
	1	9		2	1	9
	0	10	ECHO	FLANGE		10
		24-BIT EFFECTS PROCESSING

SELECT	ECHO	REVERB	CHORUS	FLANGE
	REGEN	DAMPING	REV LEVEL	SPEED
PARAM	TIME	DECAY	DEPTH	DEPTH

The PA410 and PA620 effects offer a wide array of effect possibilities. Use the SELECT control to dail in your desired effect. Use the PARAMETER control to change characteristics about that effect. For a detailed description of each EFFECT and PARAMETER please see

11. DSP EFFECTS SELECTOR.