User manual CARVIN SM162

[. . . ] This symbol is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN This symbol is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. LIMITED WARRANTY Your Carvin product is guaranteed against failure for ONE YEAR unless otherwise stated. Carvin will service and supply all parts at no charge to the customer providing the unit is under warranty. Carvin assumes no responsibility for horn drivers or speakers damaged by this unit. This warranty does not cover, and no liability is assumed, for damage due to: natural disasters, accidents, abuse, loss of parts, lack of reasonable care, incorrect use, or failure to follow instructions. [. . . ] The pluses of this 4 track layout are: at any time a 4 track to 2 track mix down can be performed, and while recording the 4 tracks the EQ and added effects send levels of the 2 track mix down can be adjusted on channels 5-8. TAPE OUT TAPE IN HALF INSERT TWO-TRACK TAPE RECORDER MONO IN L OUT R 1/2 INSERT LINE TIP: SIGNAL SLEEVE: GROUND EFFECTS PROCESSOR STEREO LIVE SOUND SYSTEM The Studio Mate mixer is not only a studio recording mixer, it can also be a great live sound, PA system mixer or a sub mixer. As a sub mixer, the Studio Mate could add extra channels or work as a monitor mixer. Here the main focus will be using the Studio Mate as the main mixer in a basic live sound system. System), the input signals to the mixer will come from the microphones and instruments on the stage. 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. 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 performance to be monitored and mixed from the audience's perspective. The half insert connection creates a send signal without breaking the channels signal path. The insert in this mode is no longer used as an insert but it becomes what is called an "insert direct out". An insert direct out functions as a normal direct out, but the plug has to be half inserted and if an insert is needed on the same channel, some fancy cabling is required to perform both functions. The half insertion connects the tip of the plug being inserted to the ring of the jack, see the fig. If the jack is fully inserted, to where the tip of the plug connects to the tip of the jack, the internal jack switch will open and the channel's signal path will be broken. The connection will still function as a direct out, but the channel's signal will stop at the insert and not continue on to the rest of the channel and the masters, unless the insert is being used as described in the FULL INSERT section above with a TRS plug. The result of the half insert is multiple outputs are created for use in multi-track recording. 8 TRACK MIXDOWN MULTI-TRACK RECORDER 1 PIN 2 (+) PIN 3 (­) MIC MIC Pre-Amp GAIN 8 TRACK OUTPUTS INSERT JACK INSERT GAIN 456 3 7 2 8 1 9 0 10 HI -0+ 3 3 6 6 9 12 MID 6 9 3 12 -0+ 3 6 9 9 EFFECTS PROCESSOR MONO PLUG LINE LINE LINE LINE LINE LINE LINE LINE 1 EFFECTS 2 L EFFECTS 1 MASTER L TAPE OUT POWER L R 2 2 R TAPE IN PHANTOM POWER SEND LINEOUT PHONES 1 2 3 4 5 6 7 8 1 R RETURN TWO-TRACK TAPE RECORDER SM162 12 12 LOW - 0 + 3 3 6 6 9 12 12 9 MIC MIC MIC MIC MIC MIC MIC MIC L MONO Studio Mate L MONO L MONO L MONO INSERT GAIN 456 3 7 2 8 1 9 0 10 HI -0+ 3 3 6 6 9 12 MID 6 9 3 12 -0+ 3 6 9 MID 6 9 9 INSERT GAIN 456 3 7 2 8 1 9 0 10 HI -0+ 3 3 6 6 9 12 3 12 -0+ 3 6 9 12 12 -0+ 3 3 6 9 12 12 MID 6 9 9 INSERT GAIN 456 3 7 2 8 1 9 0 10 HI -0+ 3 3 6 6 9 12 3 12 -0+ 3 6 9 MID 6 9 9 INSERT GAIN 456 3 7 2 8 1 9 0 10 HI -0+ 3 3 6 6 9 12 3 12 -0+ 3 6 9 MID 6 9 9 INSERT GAIN 5 4 6 3 7 2 8 1 9 0 10 HI -0+ 3 3 6 6 9 12 3 12 -0+ 3 6 9 MID 6 9 9 INSERT GAIN 456 3 7 2 8 1 9 0 10 HI -0+ 3 3 6 6 9 12 3 12 -0+ 3 6 9 MID 6 9 9 INSERT GAIN 5 4 6 3 7 2 8 1 9 0 10 HI -0+ 3 3 6 6 9 12 3 12 -0+ 3 6 9 12 12 -0+ 3 3 6 9 12 EFF 1 3 12 MID 6 9 9 INSERT GAIN 456 3 7 2 8 1 9 0 10 HI -0+ 3 3 6 6 9 12 3 12 -0+ 3 6 9 MID 6 9 9 R INPUT 9 ­ 10 R INPUT 11 ­ 12 R INPUT 13 ­ 14 R L INPUT 15 ­ 16 MAIN +12dB + 6dB HI 6 9 12 3 12 -0+ 3 6 9 MID 6 9 3 -0+ 3 6 9 HI 6 9 12 3 12 -0+ 3 6 9 MID 6 9 3 -0+ 3 6 9 HI 6 9 12 3 12 -0+ 3 6 9 MID 6 9 3 -0+ 3 6 9 HI 6 9 12 3 12 -0+ 3 6 9 3 -0+ + 3dB 3 6 9 0dB ­ 3dB ­ 6dB ­ 9dB ­12dB ­15dB ­18dB R TO RECORDER 12 12 LOW - 0 + 3 3 6 6 9 12 12 9 6 9 12 12 LOW - 0 + 3 3 6 6 9 12 12 9 12 12 LOW - 0 + 3 3 6 6 9 12 12 9 12 12 LOW - 0 + 3 3 6 6 9 12 12 9 12 12 LOW - 0 + 3 3 6 6 9 12 12 9 6 9 12 12 LOW - 0 + 3 3 6 6 9 12 12 9 12 12 LOW - 0 + 3 3 6 6 9 12 EFF 1 3 12 9 12 12 LOW - 0 + 3 3 6 6 9 12 12 9 12 12 LOW - 0 + 3 3 6 6 9 12 EFF 1 3 12 9 12 12 LOW - 0 + 3 3 6 6 9 12 12 9 3 2 1 MASTERS 456 7 8 9 3 2 1 456 7 8 9 keyboards sequencers computer audio outs THE MIC CHANNELS The (XLR) balanced low impedance mic inputs can handle +15 dB levels with the gain control at minimum. These balanced inputs should be used whenever possible, because this format will ensure the best possible performance and lowest noise when operating with long cable lengths, such as with a snake. However, many times an unbalanced output (1/4 inch phone plug) from an instrument needs to be plugged into the mixer. If the snake cable is only equipped with XLR inputs use a XLR to 1/4" adapter or a "Direct box" to get through the snake. EFF 1 5 4 6 3 7 EFF 1 5 4 6 3 7 EFF 1 5 4 6 3 7 EFF 1 5 4 6 3 7 EFF 1 5 4 6 3 7 EFF 1 5 4 6 3 7 456 7 EFF 1 5 4 6 3 7 456 7 EFF 1 5 4 6 3 7 456 7 EFF 1 5 4 6 3 7 0 10 0 10 STEREO LIVE SOUND SYSTEM DIAGRAM 4 TRACK STUDIO DIAGRAM 4 TRACK RECORDER THE STEREO CHANNELS Where ever stereo line levels are present such as with CD players, keyboards, and stereo guitar preamplifiers, the stereo channels should be used. The stereo channels allow the user to control the stereo input with one set of controls. The stereo channels are also great as glorified effects returns or for multiple stereo background music mixes. If the mic/line channels are all filled, the stereo channels can be used as extra mono channels by plugging into only the left inputs. 1211 13 15 17 19 22 30 50 10 9 8 7 6 5 4 3 2 1 0 dB CHANNEL PROTECT 1211 13 15 17 19 22 30 50 POWER 10 9 8 7 6 5 4 3 2 1 0 dB CHANNEL 4 TRACK INPUTS 4 TRACK OUTPUTS 1 2 EXTERNAL POWER AMP LINE LINE LINE LINE LINE LINE LINE LINE 1 EFFECTS 2 L EFFECTS 1 MASTER L TAPE OUT POWER L R 1 2 3 4 5 6 7 8 1 R 2 2 R LINE TAPE IN PHANTOM POWER SEND LINEOUT PHONES L MONO LINE LINE LINE LINE LINE LINE LINE 1 EFFECTS 2 L EFFECTS 1 MASTER L TAPE OUT POWER L R 2 2 R TAPE IN PHANTOM POWER SEND LINEOUT PHONES CONNECTING SPEAKERS & POWER AMPLIFIERS Since the Studio Mate is a non-powered mixer (no internal amplifiers), an external power amplifier will have to be used to power the PA system speakers. When connecting the main power amplifiers, use the MASTER L - R LINE OUT jacks as the main outputs. When using a snake to feed the signals from the stage to the mixer, there are usually provisions for sending line output signals from the mixer to the stage. [. . . ] EFFECTS SEND 1 AND 2 JACKS 5 10 16 The EFFECTS SEND 1 and 2 jacks are the output jacks for effects send 1 and 2 master controls. 21. LEFT AND RIGHT LINE OUT JACKS The LEFT and RIGHT LINE OUT jacks are post graphic EQ line output jacks for the stereo mix. INSERT JACK The insert jack is a Tip Ring Sleeve (TRS) 1/4" jack where the tip is the send, the ring is the return and the sleeve is ground. The insert point is after the input (MIC-pre) amplifier and before the channel EQ section (see the Block Diagram page 9 ). [. . . ]