Carvin CX1272 manual Stereo Live Sound System, Speaker Connection, DSP Effects

STEREO 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 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 sound control of the instruments as they are mixed together and then amplified by the P.A. system. The mixer can be operated on the stage or from a remote location in front of the stage using a snake cable to bring the signals from the stage to the mixer. The advantage of the remote operation allows the per- formance to be monitored and mixed from the audience’s perspec- tive.

		SPEAKER CONNECTION
4 SPEAKER SYSTEM	SPEAKERS			8 SPEAKER SYSTEM	SPEAKERS
	RIGHT	LEFT			RIGHT LEFT
2Ω per channel	Ω	Ω		2Ω per channel
	4	4			4Ω	4Ω
	MINIMUM IMPEDANCE				MINIMUM IMPEDANCE
	250 250 WATTS				250 250 WATTS
MAIN	USA		MONITOR	MAIN		MONITOR
OR			OR	OR	USA	OR
STEREO LEFT			STEREO RIGHT	STEREO LEFT		STEREO RIGHT

4Ω SPEAKER 4Ω SPEAKER 8Ω SPEAKER 8Ω SPEAKER

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

4Ω SPEAKER 4Ω SPEAKER 8 Ω SPEAKER

8 Ω SPEAKER

8 Ω SPEAKER

DSP EFFECTS

8 Ω SPEAKER

8 Ω SPEAKER

8 Ω SPEAKER

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. It is always a good idea for the mixer 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 mixer operator’s microphone should only be heard through the monitors when addressing the on stage performers, especially if something needs to be checked during the show. If the sound

4	5	6	POWER AMPS
3		7		MONO &										CX1272
2		8
				MAIN L / R
1		9		MONITOR
0		10						DIGITAL EFFECTS PROCESSOR
MAIN															2	3
4	5 6			5 6	4	5 6			5		REVERB		1				4		ECHO
			4				CLIP 4			6		3	4					5	REV
3		7	3	7	3		7	3		7		2						6
2		8	2	8	2		8	2		8		1						1
1		9	1	9	1		9	1		9			2	1	4	3		2
											FLANGE								CHORUS
0		10	0	10	0	10		0		10
											REV								REV
MONITOR			RTN 2 &		SEND 1			RETURN 1					SELECT

TAPE

Select from Reverb, Flange, Chorus, and Echo. Écho delays with reverb includes delay times of 50,100, 150, 250, 350, and 500 milliseconds.

TAPE DECKS AND EXTERNAL EFFECTS

check is allowed to run through its full course, the system should run smoothly at show time.

4	5	6	POWER AMPS
2		8			MONO &											CX1272
3		7			MAIN L / R
1		9			MONITOR
0		10								DIGITAL EFFECTS PROCESSOR
MAIN																	2
4	5	6	4	5	6		4	5	6 CLIP 4		5	6		REVERB	4	1		3 4		ECHO
						3							7		3				5	REV
3		7	3		7				7	3					2				6
2		8	2		8	2			8	2			8		1				1
															2	1		3	2
1		9	1		9	1			9	1			9	FLANGE			4			CHORUS
0		10	0		10		0		10	0		10
MONITOR			RTN 2 &				SEND 1			RETURN 1				REV	SELECT					REV
			TAPE
		INSERT					RTN 2
		PRE EQ												TAPE				POWER
													RETURN
																		PROTECT
LEFT			RIGHT		LEFT				RIGHT
/MONO		/MONITOR															LEFT			RIGHT
																			CLIP

	TAPE	PHANTOM
POST EQ	SEND
LINE OUT	EFF SND 2	POWER

The basic hook up is simple, using four (or two stereo) RCA cables. Plug the TAPE SEND on the mixer into the tape deck’s inputs and the mixer’s TAPE RTN’s into the tape deck’s outputs. With an external effects processor, plug a 1/4” cable from the EFF SEND output on the mixer into the input jack on the effects processor. Then from the outputs of the effects processor, plug one or both (for stereo) cables into the

L/R EFFECTS RETURN.

	TWO-TRACK
TAPE IN	TAPE RECORDER	TAPE OUT

L OUT R MONO IN

AUX EFFECTS PROCESSOR