Carvin C2444U Sound Check, Channel Connections And Sub-Mixing, Master Outputs, Connecting Up

SOUND CHECK

In a live sound reinforcement system, the input signals to the mixer will come from the micro- phones and instruments. Each microphone or instrument 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 for the best overall control of the instruments as they are mixed together and then amplified by the system. The mixer can be operated on the stage or from a remote loca- tion in the audience 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 mixed from the audience’s per- spective. NOTE: Most snake cables are not designed for speaker connections.

THE SOUND CHECK

The sound check takes some skill but mostly patience from the performers and especially “you” the system operator. If you get frustrated during the sound check, 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 performers 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 a graphic equalizer solves most major monitor feed- back problems. Now for a sound check with the performers. First set the level of each performer individually and in cases where a performer has multiple microphones such as drummers, set each drum mic individually then the drum set as a whole. This is also a good time to make some channel EQ control adjustments to tailor the sound of the individual performers and instruments. After setting each individual, have the performers run through a song. Don’t hesitate to stop the performers if something needs to be adjusted or a performer or microphone needs to be heard solo again. Remember the sound check is not a rehearsal but a system check. It is always a good idea for the operator to have a microphone to inform the performers of what is needed during the sound check. If a monitor system is being used, the operator’s microphone should only be directed through the monitors when addressing the on stage performers, especially if something needs to be checked during the show.

CHANNEL CONNECTIONS AND SUB-MIXING

CONNECTING UP

The XLR Mic inputs are balanced low impedance inputs. +48V Phantom power for condenser mics is available in channel groups of eight. This enables the user to group all mics that require phantom power together, leaving the rest of the channels available for dynamic microphones or line inputs. The XLR Mic inputs and balanced 1/4” Line inputs on each chan- nel can be used simultaneously, however the two signals will be controlled by the channel GAIN control. Adjust the level of the instruments to bal- ance the mix. For stereo instruments, such as keyboards or drum machines, use two consecutive channels to connect the Left and Right

outputs from the instru-

	1				2			3			4			5			6			7 PHANTOM 8						9			10				11				12				13			14			15PHANTOM16												GROUPS											EFFSW 1-2 PHONES											ment. Then use the PAN
LINE				LINE			LINE			LINE			LINE			LINE			LINE		POWER				LINE			LINE				LINE				LINE				LINE			LINE			LINE		POWER																														L
																						1-8																										9-16
																																																				1						2		3							4
																																																																									TAPE OUT								controls		on	the		two
MIC				MIC			MIC			MIC			MIC			MIC			MIC					MIC	MIC			MIC				MIC				MIC				MIC			MIC			MIC					MIC	MON 1				MON 2					MON 3				MON 4
																																																																								L					R R
INSERT				INSERT			INSERT			INSERT			INSERT			INSERT			INSERT			INSERT			INSERT			INSERT				INSERT				INSERT				INSERT			INSERT			INSERT			INSERT			EFF 1					EFF 2				3L		RETURN			3R							TAPE IN				MONO				channels to pan hard left
																																																																									RTN 4
																																																																																	and right for a stereo
			LO			LO			LO			LO			LO			LO			LO			LO			LO				LO				LO				LO			LO			LO			LO			LO	+12																					12+					POWER			mix. If a pair of individ-
0		50	CUT	0	50	CUT	0	50	CUT	0	50	CUT	0	50	CUT	0	50	CUT	0	50	CUT	0	50	CUT	0	50	CUT	0		50	CUT	0		50	CUT	0		50	CUT	0	50	CUT	0	50	CUT	0	50	CUT	0	50	CUT	8																					8					EQ 1	EQ 2
																																																				4																					4
	GAIN			GAIN			GAIN			GAIN			GAIN			GAIN			GAIN			GAIN			GAIN				GAIN				GAIN				GAIN			GAIN			GAIN			GAIN			GAIN			0																					0
			HI	0		HI	0		HI	0		HI	0		HI	0		HI	0		HI	0		HI	0		HI				HI				HI				HI	0		HI	0		HI	0		HI	0		HI	84																					84				LEFT /		RIGHT /
																																																				±12																					12-				MON 1		MON 2		ual channels are not
- 15	+ 15		1k	- 15	+ 15	1k	- 15	+ 15	1k	- 15	+ 15	1k	- 15	+ 15	1k	- 15	+ 15	1k	- 15	+ 15	1k	- 15	+ 15	1k	- 15	+ 15	1k	- 15	+ 15		1k	- 15	+ 15		1k	- 15	+ 15		1k	- 15	+ 15	1k	- 15	+ 15	1k	- 15	+ 15	1k	- 15	+ 15	1k																					CONCERT SERIES
	FREQ			FREQ			FREQ			FREQ			FREQ			FREQ			FREQ			FREQ			FREQ				FREQ				FREQ				FREQ			FREQ			FREQ			FREQ			FREQ
		100 5k		0	100 5k		0	100 5k		0	100 5k		0	100 5k		0	100 5k		0	100 5k		0	100 5k		0	100 5k				100 5k				100 5k				100 5k		0	100 5k		0	100 5k		0	100 5k		0	100 5k																												C1644
			MID			MID			MID			MID			MID			MID			MID			MID			MID				MID				MID				MID			MID			MID			MID			MID	+12																					12+								available,		one		of	the
- 15	+ 15			- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15			- 15	+ 15			- 15	+ 15			- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15		8																					8
																																																				4																					4					PEAK
		LOW		0	LOW		0	LOW		0	LOW		0	LOW		0	LOW		0	LOW		0	LOW		0	LOW				LOW				LOW				LOW		0	LOW		0	LOW		0	LOW		0	LOW		0																					0
																																																				4																					4			+18
																																																				8																					8
- 15	+ 15			- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15			- 15	+ 15			- 15	+ 15			- 15	+ 15		- 15	+ 15		- 15	+ 15		- 15	+ 15		±12																					12-			+12					stereo	returns			in	the
	5		MON		5	MON		5	MON		5	MON		5	MON		5	MON		5	MON		5	MON		5	MON		5		MON		5		MON		5		MON		5	MON		5	MON		5	MON		5	MON			63		125			250	500			1K		2K			4K		8K 16K									+6
			1			1			1			1			1			1			1			1			1				1				1				1			1			1			1			1						24-BIT DUAL STEREO EFFECTS																						0
																																																																															-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		0	10		0	10		0	10		0	10				PK			5		EFFECTS 1OFF										REG	4 5			6 7			-12
			MON			MON			MON			MON			MON			MON			MON			MON			MON				MON				MON				MON			MON			MON			MON			MON				3	4		6	7	3			3						NA							-18					master section can be
	3 OFF 3		2/3	3 OFF 3		2/3	3 OFF 3		2/3	3 OFF 3		2/3	3 OFF 3		2/3	3 OFF 3		2/3	3 OFF 3		2/3	3 OFF 3		2/3	3 OFF 3		2/3		3 OFF 3		2/3		3 OFF 3		2/3		3 OFF 3		2/3	3 OFF 3		2/3	3 OFF 3		2/3	3 OFF 3		2/3	3 OFF 3		2/3			2					8	6			6	R						3			8
6			6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6		6	6			6	6			6	6			6	6		6	6		6	6		6	6		6		MUTE		1				9	9			9	EV						2			9			-24
9			9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9			9	9			9	9			9	9		9	9		9	9		9	9		9					0		10		MON 1			MON 2		ERB					1			10			-30
MON 2			3	MON 2		3	MON 2		3	MON 2		3	MON 2		3	MON 2		3	MON 2		3	MON 2		3	MON 2		3	MON 2			3	MON 2			3	MON 2			3	MON 2		3	MON 2		3	MON 2		3	MON 2		3								EFFECTS 2
	5	MONMON			5 MONMON			5 MONMON			5 MONMON			5 MONMON			5 MONMON			5 MONMON			5 MONMON			5 MONMON			5	MONMON			5	MONMON			5	MONMON			5 MONMON			5 MONMON			5 MONMON			5 MONMON				PK		4 5 6					3 OFF 3								REGN	4 5			6 7						dB
			4			4			4			4			4			4			4			4			4				4				4				4			4			4			4			4				3				7	6			6							3			8					L R			used.
			ALT			ALT			ALT			ALT			ALT			ALT			ALT			ALT			ALT				ALT				ALT				ALT			ALT			ALT			ALT			ALT			2					8	9			9	R
																																																							1				9					EV						2			9
	0	10	EFF2	0	10	EFF2	0	10	EFF2	0	10	EFF2	0	10	EFF2	0	10	EFF2	0	10	EFF2	0	10	EFF2	0	10	EFF2		0	10	EFF2		0	10	EFF2		0	10	EFF2	0	10	EFF2	0	10	EFF2	0	10	EFF2	0	10	EFF2		MUTE			0		10		MON 1			MON 3		ERB					1			10
	3 OFF 3		EFF	6 3 OFF 3		EFF	6 3 OFF 3		EFF	6 3 OFF 3		EFF	6 3 OFF 3		EFF	6 3 OFF 3		EFF	6 3 OFF 3		EFF	6 3 OFF 3		EFF	6 3 OFF 3		EFF		3 OFF 3		EFF		3 OFF 3		EFF		3 OFF 3		EFF	6 3 OFF 3		EFF	6 3 OFF 3		EFF	6 3 OFF 3		EFF	6 3 OFF 3		EFF	SOURCE RETURN								TO MONITORS					SELECT							PARAMETER
6			61/2			61/2			61/2			61/2			61/2			61/2			61/2			61/2			61/2	6			61/2	6			61/2	6			61/2			61/2			61/2			61/2			61/2		EFF2			SELECT
9			9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9		9	9			9	9			9	9			9	9		9	9		9	9		9	9		9		MON4				PARAM
EFF 1		EFF 2		EFF 1 EFF 2			EFF 1 EFF 2			EFF 1 EFF 2			EFF 1 EFF 2			EFF 1 EFF 2			EFF 1 EFF 2			EFF 1 EFF 2			EFF 1 EFF 2			EFF 1		EFF 2		EFF 1		EFF 2		EFF 1		EFF 2		EFF 1 EFF 2			EFF 1 EFF 2			EFF 1 EFF 2			EFF 1 EFF 2
	C		PAN		C	PAN		C	PAN		C	PAN		C	PAN		C	PAN		C	PAN		C	PAN		C	PAN		C		PAN		C		PAN		C		PAN		C	PAN		C	PAN		C	PAN		C	PAN		RETURN					TAPE IN										MONITORS											MONO
																																																						5					5								5			5				5					5
	L R			L R			L R			L R			L R			L R			L R			L R			L R				L R				L R				L R			L R			L R			L R			L R
1		SIG		2	SIG		3	SIG		4	SIG		5	SIG		6	SIG		7	SIG		8	SIG		9	SIG		10		SIG		11		SIG		12		SIG		13	SIG		14	SIG		15	SIG		16	SIG		0		10				0	10	0			10			0	10			0			10	0		10			0	10
																																																					RTN 3					RTN 4			MON 1				MON 2							MON 3			MON 4
	PEAK				PEAK			PEAK			PEAK			PEAK			PEAK			PEAK			PEAK			PEAK			PEAK				PEAK				PEAK				PEAK			PEAK			PEAK			PEAK
+12			MUTE +12				+12		MUTE +12				+12		MUTE +12			MUTE +12			MUTE +12				+12		MUTE +12					+12			MUTE +12					+12		MUTE +12			MUTE +12			MUTE +12				++12			LEFT			12			LEFT	12			LEFT			12				LEFT		+12					PFL
						MUTE						MUTE												MUTE							MUTE								MUTE												MUTE
																																																																															PHONES
																																																																															5
+6				+6			+6			+6			+6			+6			+6			+6			+6			+6				+6				+6				+6			+6			+6			+6			+6			RIGHT					RIGHT				RIGHT							RIGHT			+6
			PFL			PFL			PFL			PFL			PFL			PFL			PFL			PFL			PFL				PFL				PFL				PFL			PFL			PFL			PFL			PFL						6										6
0				0			0			0			0			0			0			0			0			0				0				0				0			0			0			0			0					0										0								0
-6			1-2	-6		1-2	-6		1-2	-6		1-2	-6		1-2	-6		1-2	-6		1-2	-6		1-2	-6		1-2	-6			1-2	-6			1-2	-6			1-2	-6		1-2	-6		1-2	-6		1-2	-6		1-2	0			PFL						PFL				PFL							PFL			--6				0	10
																																																				-6					-6										-6											L-R
-12			3-4 -12			3-4 -12			3-4 -12			3-4 -12			3-4 -12			3-4 -12			3-4 -12			3-4	-12		3-4 -12				3-4 -12				3-4 -12				3-4 -12			3-4 -12			3-4 -12			3-4 -12			3-4
																																																				--1212					-12			-12						-12								-12				MONO
-24			L-R -24			L-R -24			L-R -24			L-R -24			L-R -24			L-R -24			L-R -24			L-R	-24		L-R -24				L-R -24				L-R -24				L-R	-24		L-R -24			L-R	-24		L-R	-24		L-R	-24					-24			-24						-24								-24
-30				-30			-30			-30			-30			-30			-30			-30			-30			-30				-30				-30				-30			-30			-30			-30			-24																										MON
																																																				--3030					-30			-30						-30								-30		1-2
-50				-50			-50			-50			-50			-50			-50			-50			-50			-50				-50				-50				-50			-50			-50			-50			--5050					-50			-50						-50								-50				MON3-4

METERS

Whenever possible, try to group all related instruments or mics near each other on the mixer. For example: put all drum mics on channels 1 through 8, guitars, bass and keyboards on 9 through 16, and vocals on 17 through

24.This will make mixing, channel assigning and sub-mixing easier to manage.

SUB-MIXING

The 4 bus section on the C44 mixers can be used for main outputs, sur- round outputs, side fills, outputs to a multi-track recorder, etc. but the most common use is for sub mixing. Sub grouping is the process of assigning multiple channels to a sub group fader in the master section. This is usu- ally done to decrease the number of faders needed to adjust a group of channels. For example: a drum kit with 6 or more microphones mixed in mono can be assigned to a sub-mix fader. If the drums need to be adjusted in the main mix, only one group fader needs to be adjusted instead of 6 channel faders. The individual microphones all use different fader set- tings, so it is important to get a balanced mix of the entire drum kit during the sound check. The drum sub-group fader is then assigned to the L-R main faders. For a mono mix, use the channel pan controls to pan the audio “hard left” and the audio will only be assigned to sub- group fader 1 or 3. Panning “hard right” will bus the audio to sub-mix faders 2 or 4. Always keep channel and sub group faders higher than the master L-R faders. Using the L-R fader or sub group fader to boost the level of a week channel signal can result in excess noise.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 L R

The illustration shows channels 1-4 assigned to a sub-mix fader

MASTER OUTPUTS

DCM1000

∞

∞

2

∞

∞

+

+

4

-

-

EQ2015

1

2

3

4

5

6

7 PHANTOM 8

9

10

11

12

13

14

15PHANTOM16

GROUPS

EFFSW 1-2 PHONES

LINE

LINE

LINE

LINE

LINE

LINE

LINE

POWER

LINE

LINE

LINE

LINE

LINE

LINE

LINE

POWER

L

1-8

9-16

1

2

3

4

TAPE OUT

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MON 1

MON 2

MON 3

MON 4

L

R R

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

EFF 1

EFF 2

3L

RETURN

3R

TAPE IN

MONO

RTN 4

			LO					LO					LO					LO					LO					LO						LO					LO					LO					LO						LO					LO						LO						LO				LO						LO		+12														12+			POWER
																																																																																				8														8			EQ 1	EQ 2
0	50		CUT		0	50		CUT		0	50		CUT		0	50		CUT		0	50		CUT		0	50		CUT		0	50		CUT		0	50		CUT		0	50		CUT			0	50		CUT		0		50	CUT		0		50	CUT			0		50	CUT			0	50		CUT		0		50	CUT		0		50	CUT			4
GAIN					GAIN					GAIN					GAIN					GAIN					GAIN					GAIN					GAIN					GAIN						GAIN					GAIN					GAIN						GAIN						GAIN					GAIN					GAIN						0														0
0					0					0					0					0					0					0					0					0						0					0					0						0						0					0					0						4														4			LEFT /	RIGHT /
			HI					HI					HI					HI					HI					HI					HI					HI					HI						HI					HI					HI						HI						HI					HI					HI			8														8
																																																																																				±12														12-			MON 1	MON 2
- 15	+ 15			1k	- 15	+ 15			1k	- 15	+ 15			1k	- 15	+ 15			1k	- 15	+ 15			1k	- 15	+ 15			1k	- 15	+ 15			1k	- 15	+ 15			1k	- 15	+ 15				1k	- 15	+ 15			1k	- 15	+ 15			1k	- 15	+ 15				1k	- 15	+ 15				1k	- 15	+ 15			1k	- 15	+ 15			1k	- 15	+ 15				1k														CONCERT SERIES
FREQ					FREQ					FREQ					FREQ					FREQ					FREQ					FREQ					FREQ					FREQ						FREQ					FREQ					FREQ						FREQ						FREQ					FREQ					FREQ
0		100		5k	0		100		5k	0		100		5k	0		100		5k	0		100		5k	0		100		5k	0		100		5k	0		100		5k	0		100			5k	0		100		5k	0		100		5k	0		100			5k	0		100			5k	0		100		5k	0		100		5k	0		100			5k	+12														12+			C1644
			MID					MID					MID					MID					MID					MID					MID					MID					MID						MID					MID					MID						MID						MID					MID					MID
- 15	+ 15				- 15	+ 15				- 15	+ 15				- 15	+ 15				- 15	+ 15				- 15	+ 15				- 15	+ 15				- 15	+ 15				- 15	+ 15					- 15	+ 15				- 15	+ 15				- 15	+ 15					- 15	+ 15					- 15	+ 15				- 15	+ 15				- 15	+ 15					8														8
																																																																																				4														4
0		LOW			0		LOW			0		LOW			0		LOW			0		LOW			0		LOW			0		LOW			0		LOW			0		LOW				0		LOW			0		LOW			0		LOW				0		LOW				0		LOW			0		LOW			0		LOW				0														0			PEAK
																																																																																				4														4			+18
																																																																																				8														8
- 15	+ 15				- 15	+ 15				- 15	+ 15				- 15	+ 15				- 15	+ 15				- 15	+ 15				- 15	+ 15				- 15	+ 15				- 15	+ 15					- 15	+ 15				- 15	+ 15				- 15	+ 15					- 15	+ 15					- 15	+ 15				- 15	+ 15				- 15	+ 15					±12														12-			+12
	5		MON			5		MON			5		MON			5		MON			5		MON			5		MON			5		MON			5		MON			5		MON				5		MON			5		MON			5		MON				5		MON				5		MON			5		MON			5		MON				63		125		250	500			1K	2K	4K	8K	16K					+6
				1					1					1					1					1					1					1					1					1						1					1					1						1						1					1					1						24-BIT DUAL STEREO EFFECTS														0
																																																																																																						-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				0		10				0		10			0		10			0		10								EFFECTS 1							R EGNA
			MON					MON					MON					MON					MON					MON					MON					MON					MON						MON					MON					MON						MON						MON					MON					MON				PK	3	4 5 6		7	3 OFF 3							4 5	6 7			-12
3 OFF 3			2/3		3 OFF 3			2/3		3 OFF 3			2/3		3 OFF 3			2/3		3 OFF 3			2/3		3 OFF 3			2/3		3 OFF 3			2/3		3 OFF 3			2/3		3 OFF 3			2/3			3 OFF 3			2/3		3 OFF 3			2/3		3 OFF 3			2/3			3 OFF 3			2/3			3 OFF 3			2/3		3 OFF 3			2/3		3 OFF 3			2/3				2				8	6			6	R		3		8			-18
6			6		6			6		6			6		6			6		6			6		6			6		6			6		6			6		6			6			6			6		6			6		6			6			6			6			6			6		6			6		6			6			MUTE		1			9	9			9	EV		2		9			-24
9			9		9			9		9			9		9			9		9			9		9			9		9			9		9			9		9			9			9			9		9			9		9			9			9			9			9			9		9			9		9			9						0		10	MON 1			MON 2	ERB			1	10			-30
MON 2				3	MON 2				3	MON 2				3	MON 2				3	MON 2				3	MON 2				3	MON 2				3	MON 2				3	MON 2				3		MON 2				3	MON 2				3	MON 2				3		MON 2				3		MON 2				3	MON 2				3	MON 2				3						EFFECTS 2							RE
		MON					MON					MON					MON					MON					MON					MON					MON					MON						MON					MON					MON						MON						MON					MON					MON					PK			5			OFF						4 5	6 7				dB
	5		MON			5		MON			5		MON			5		MON			5		MON			5		MON			5		MON			5		MON			5		MON				5		MON			5		MON			5		MON				5		MON				5		MON			5		MON			5		MON					3	4		7	3			3		GN						L R
				4					4					4					4					4					4					4					4					4						4					4					4						4						4					4					4								6			6		A	3		8
			ALT					ALT					ALT					ALT					ALT					ALT					ALT					ALT						ALT					ALT					ALT						ALT						ALT					ALT					ALT						ALT			2				8	9			9	R		2		9
			EFF					EFF					EFF					EFF					EFF					EFF					EFF					EFF						EFF					EFF					EFF						EFF						EFF					EFF					EFF						EFF		MUTE		1			9					EV
0		10		2	0		10		2	0		10		2	0		10		2	0		10		2	0		10		2	0		10		2	0		10		2	0		10		2		0		10		2	0		10		2	0		10		2		0		10		2		0		10		2	0		10		2	0		10		2					0		10	MON 1			MON 3	ERB			1	10
3 OFF 3			EFF		3 OFF 3			EFF		3 OFF 3			EFF		3 OFF 3			EFF		3 OFF 3			EFF		3 OFF 3			EFF		3 OFF 3			EFF		3 OFF 3			EFF		3 OFF 3			EFF			3 OFF 3			EFF		3 OFF 3			EFF		3 OFF 3			EFF			3 OFF 3			EFF			3 OFF 3			EFF		3 OFF 3			EFF		3 OFF 3			EFF			SOURCE RETURN						TO MONITORS				SELECT		PARAMETER
			1/2					1/2					1/2					1/2					1/2					1/2					1/2					1/2					1/2						1/2					1/2					1/2						1/2						1/2					1/2					1/2			EFF2			SELECT			ECHO			REVERB		CHORUS		FLANGE
6			6		6			6		6			6		6			6		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			9			9			9			9		9			9		9			9			MON4			PARAM			REGEN			DAMPING		REV LEVEL			SPEED
EFF 1		EFF 2			EFF 1		EFF 2			EFF 1		EFF 2			EFF 1		EFF 2			EFF 1		EFF 2			EFF 1		EFF 2			EFF 1		EFF 2			EFF 1		EFF 2			EFF 1		EFF 2				EFF 1		EFF 2			EFF 1		EFF 2			EFF 1		EFF 2				EFF 1		EFF 2				EFF 1		EFF 2			EFF 1		EFF 2			EFF 1		EFF 2										TIME			DECAY		DEPTH			DEPTH
	C		PAN			C		PAN			C		PAN			C		PAN			C		PAN			C		PAN			C		PAN			C		PAN			C		PAN				C		PAN			C		PAN			C		PAN				C		PAN				C		PAN			C		PAN			C		PAN			RETURN				TAPE IN							MONITORS							MONO
																																																																																					5				5			5			5		5			5		5
L R					L R					L R					L R					L R					L R					L R					L R					L R						L R					L R					L R						L R						L R					L R					L R
1		SIG			2		SIG			3		SIG			4		SIG			5		SIG			6		SIG			7		SIG			8		SIG			9		SIG				10		SIG			11		SIG			12		SIG				13		SIG				14		SIG			15		SIG			16		SIG				0	10			0	10		0		10	0	10		0	10	0	10		0	10
	PEAK					PEAK					PEAK					PEAK					PEAK					PEAK					PEAK					PEAK					PEAK						PEAK					PEAK					PEAK						PEAK						PEAK					PEAK					PEAK					RTN 3				RTN 4			MON 1			MON 2		MON 3			MON 4
+12			MUTE +12					MUTE		+12			MUTE +12					MUTE +12					MUTE +12					MUTE +12					MUTE +12					MUTE		+12			MUTE +12						MUTE +12					MUTE +12					MUTE +12						MUTE +12						MUTE +12					MUTE +12					MUTE			+12	LEFT 12					LEFT 12				LEFT 12		LEFT			+12			PFL
																																																																																					RIGHT					RIGHT				RIGHT		RIGHT						PHONES
+6			PFL		+6			PFL		+6			PFL		+6			PFL		+6			PFL		+6			PFL		+6			PFL		+6			PFL		+6			PFL			+6			PFL		+6			PFL		+6			PFL			+6			PFL			+6			PFL		+6			PFL		+6			PFL			+6				6				6			6				+6			5
0			1-2		0			1-2		0			1-2		0			1-2		0			1-2		0			1-2		0			1-2		0			1-2		0				1-2		0			1-2		0			1-2		0				1-2		0				1-2		0			1-2		0			1-2		0				1-2		0		PFL		0		PFL		0		PFL	0	PFL			0			0	10
-6			3-4		-6			3-4		-6			3-4		-6			3-4		-6			3-4		-6			3-4		-6			3-4		-6			3-4		-6				3-4		-6			3-4		-6			3-4		-6				3-4		-6				3-4		-6			3-4		-6			3-4		-6				3-4		-6				-6			-6				-6				-6		L-R
-12					-12					-12					-12					-12					-12					-12					-12					-12						-12					-12					-12						-12						-12					-12					-12						-12			-12				-12			-12					-12		MONO
-24			L-R -24					L-R -24					L-R -24					L-R -24					L-R -24					L-R -24					L-R -24					L-R		-24			L-R -24						L-R -24					L-R -24					L-R -24						L-R -24						L-R -24					L-R -24					L-R			-24			-24				-24			-24					-24		MON
-30					-30					-30					-30					-30					-30					-30					-30					-30						-30					-30					-30						-30						-30					-30					-30						-30			-30				-30			-30					-30		1-2
-50					-50					-50					-50					-50					-50					-50					-50					-50						-50					-50					-50						-50						-50					-50					-50						-50			-50				-50			-50					-50		MON
																																																																																																					3-4
																																																																																																						METERS
1					2					3					4					5					6					7					8					9						10					11					12						13						14					15					16						1					2				3		4			L R

DCM1000

DCM1000

∞∞

1

-

EQ2030

-

DCM1000

∞∞

3

5

The main amps and speakers should contain an overall mix of all channels. The sub-group faders 1-4 can have certain chan- nels assigned to them before the mix arrives at the master L- R faders. This is known as sub-mixing and can improve the efficiency of mixing a large number of channels (see above).

The four independent monitor mixes should use the MON 1 through MON 4 sends. On the channel these sends are pre-EQ, pre-fader. The MONO output can be used for a main mono mix, a center mix or as a subwoofer output.

The sub group outputs can also be used as side or back fill speakers. Long rooms can have poor sound at the back of the room. Set up a set of back fill loudspeakers to fill in and add a digital delay to the main speakers to correct the time delay from front to back. This can improve the sound of the room considerably.

The diagram depicts a standard live sound system

1. Stereo EQ and power amp for the main speakers on the Left/Right outputs.

2. Stereo power amp and EQ for two monitor mixes on the MON 1 and MON 2 outputs.

3. Bridged power amp for a subwoofer on the MONO output.

4. Power amp for side fill or back of room fill on the Group outputs.

5. External effects processor in the EFF2 and EFF3 return loop.

4