Carvin C844 manual Stereo Live Sound System, Channel Connections and SUB-MIXING, Master Outputs

STEREO LIVE SOUND SYSTEM

In a live sound reinforcement system, the input signals to the mixer will come from the micro- phones and instruments. Each microphone or instrument to be amplified by the system must be connected to one of the mixing console inputs. It is preferred to have as many of the stage instru- ments as possible plugged into the mixer. This allows for the best overall control of the instru- ments as they are mixed together and then amplified by the system. The mixer can be operated on the stage or from a remote location 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 perspective. 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” 0 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 with 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 instru- ments. 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, espe- cially 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. 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 channel can be used simultaneously, however the two signals will be controlled by the single GAIN control. Adjust the level of the instruments to balance the mix. For stereo instruments, such as keyboards or drum machines, use two consecutive channels to connect the Left and Right outputs from the

instrument. Then use

	1				2				3				4				5				6				7 PHANTOM 8								9				10				11				12				13				14				15PHANTOM16										GROUPS					EFF SW 1-2 PHONES					the PAN controls on the
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				two channels to pan
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		hard left and right for a
																																																																									RTN 4
																																																																													stereo mix. If a pair of
			LO				LO				LO				LO				LO				LO				LO				LO				LO				LO				LO				LO				LO				LO				LO				LO	+12									12+		POWER		individual channels are
																																																																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									4
GAIN					GAIN				GAIN			GAIN					GAIN			GAIN					GAIN				GAIN				GAIN			GAIN				GAIN					GAIN				GAIN				GAIN				GAIN			GAIN				0									0
0			HI				HI				HI	0			HI				HI	0			HI				HI				HI				HI	0			HI	0			HI				HI				HI				HI				HI	0			HI	84									84		LEFT /	RIGHT /
																																																																±12									12-		MON 1	MON 2	not available, one of the
- 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					100 5k				100 5k	0		100 5k					100 5k	0		100 5k					100 5k				100 5k				100 5k	0		100 5k		0		100 5k					100 5k				100 5k				100 5k				100 5k	0		100 5k		+12									12+		C1644
			MID				MID				MID				MID				MID				MID				MID				MID				MID				MID				MID				MID				MID				MID				MID				MID														stereo	returns	in	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
0		LOW					LOW				LOW	0		LOW					LOW	0		LOW					LOW				LOW				LOW	0		LOW		0		LOW					LOW				LOW				LOW				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		master section can be
	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
																																																																												0
			1				1				1				1				1				1				1				1				1				1				1				1				1				1				1				1			24-BIT DUAL STEREO EFFECTS
																																																																												-6
0		10				10				10		0		10				10		0		10				10				10				10		0		10		0		10				10				10				10				10		0		10		PK		4 5	EFFECTS6 31OFF 3				REGN	4 5	6 7		-12
3	OFF	3	MON		OFF		MON		OFF		MON	3	OFF	3	MON		OFF		MON	3	OFF	3	MON		OFF		MON		OFF		MON		OFF		MON	3	OFF	3	MON	3	OFF	3	MON		OFF		MON		OFF		MON		OFF		MON		OFF		MON	3	OFF	3	MON		3		7	6	6		A	3	8		-18		used.
			2/3	6			2/3	6			2/3				2/3	6			2/3				2/3	6			2/3	6			2/3	6			2/3				2/3				2/3	6			2/3	6			2/3	6			2/3	6			2/3				2/3		2		8			R					-24
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
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		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3					EFFECTS 2
	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	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		A	3	8		L R
			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			10	2			10	2	0		10	2			10	2	0		10	2			10	2			10	2			10	2	0		10	2	0		10	2			10	2			10	2			10	2			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
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
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		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

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

PHONES

RIGHT

RIGHT

RIGHT

RIGHT

5

+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
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		0		0		0					0	0 10
-6		-6		-6		-6		-6		-6		-6		-6		-6		-6		-6		-6		-6		-6		-6		-6			PFL		PFL		PFL			PFL
																																-6		-6		-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
																																-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			MON3-4
																																												METERS
1		2		3		4		5		6		7			8	9		10		11		12		13 14				15		16		1	2		3				4			L R

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 pair of sub group faders in the master section. This is usually 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 stereo can be assigned to a pair sub-mix faders. If the drums need to be adjusted in the main mix, only group 2 faders need be adjusted instead of 6 channel faders. The individual microphones all use different fader settings, so it is important to get a balanced mix of the entire drum kit during the sound check. The drum sub-group faders are then assigned to the L-R main faders. If the drums are to be mixed mono, use the chan- nel 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.

The illustration shows channels 1-4 assigned to sub-mix faders 1 & 2. The final L-R mix is created by assigning the sub-mix faders to the L-R faders.

MASTER OUTPUTS

DCM1000

∞

∞

2

∞

∞

+

+

4

-

-

EQ2015

1

2

3

4

5

6

7 PHANTOM 8

9

10

11

12

13

14

GROUPS

EFF SW 1-2 PHONES

LINE

LINE

LINE

LINE

LINE

LINE

LINE

POWER

LINE

LINE

LINE

LINE

LINE

LINE

LINE

L

1-8

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

8

POWER

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

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

RIGHT /

HI

HI

HI

HI

HI

HI

HI

HI

HI

HI

HI

HI

HI

HI

HI

HI

8

8

±12

MON 1

MON 2

- 15

+ 15

1k

- 15

+ 15

1k

- 15

+ 15

1k

- 15

+ 15

1k

- 15

+ 15

1k

- 15

+ 15

1k

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+ 15

1k

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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

C1644

MID

MID

MID

MID

MID

MID

MID

MID

MID

MID

MID

MID

MID

MID

MID

MID

+12

12+

- 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
																																																																				EFFECTS 1
0		10	MON	0		10	MON	0		10	MON	0		10	MON	0		10	MON	0		10	MON	0		10	MON	0		10	MON	0		10	MON	0		10	MON	0		10	MON	0		10	MON	0		10	MON	0		10	MON	0		10	MON	0		10	MON	PK	3	4	5	6	3 OFF 3				REGN	4	5	6 7	-12
3	OFF	3		3	OFF	3		3	OFF	3		3	OFF	3		3	OFF	3		3	OFF	3		3	OFF	3		3	OFF	3		3	OFF	3		3	OFF	3		3	OFF	3		3	OFF	3		3	OFF	3		3	OFF	3		3	OFF	3		3	OFF	3						7	6		6		A			8	-18
			2/3				2/3				2/3				2/3				2/3				2/3				2/3				2/3				2/3				2/3				2/3				2/3				2/3				2/3				2/3				2/3		2			8				R		3			-24
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
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		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3		MON 2		MON 3						EFFECTS 2
																																																																PK			5			OFF			REG			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			4		6	3		3		N	4	5		L R
			4				4				4				4				4				4				4				4				4				4				4				4				4				4				4				4		3			7	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		RTN 3		RTN 4	MON 1		MON 2		MON 3	MON 4	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
+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			+6			+6				+6			+6				+6			+6			+6			+6					+6				+6				+6				+6				+6				+6				+6			+6								+6		5
		PFL			PFL				PFL			PFL				PFL			PFL			PFL			PFL					PFL				PFL				PFL				PFL				PFL				PFL				PFL			PFL			6		6		6
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 stereo loudspeakers 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 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 the use as side fill or back of room fill on the Group outputs.
5.	Effects processor in the EFF2 send, EFF3 stereo return loop.
4