SUB MIX
SUB 1 SUB 2
STEREO MASTERS
MAIN
0
8
4
4
8
–12
+12
125 250 500631K 2K 4K 8K
16K
OUT
L
PFL
L R
MON
SUB 2
A
CNTRL RM LEVEL
PHONES
2
1
0 10
9
8
7
654
3
C / TAPE
MAIN
R
0
8
4
4
8
–12
+12
125 250 500631K 2K 4K 8K
16K
OUT
+10
50
40
30
20
10
5
0
L/3 R/4
2
1
0 10
9
8
7
654
3
SUB 1 MON 1
2
1
0 10
9
8
7
654
3
2
1
0 10
9
8
7
654
3
EFF 1 BEFF 2
LR
0
2
1
0 10
9
8
7
654
3
2
1
0 10
9
8
7
654
3
MIC48V
1 2
SUB
1 2
(1-4)
STEREO
RETURNS
2
1
0 10
9
8
7
654
3
LR
0
MUTE
MON
SENDS
MON 1
SENDS
2
1
0 10
9
8
7
654
3
2
1
010
9
8
7
654
3
MON 2
16
IN
+10
50
40
30
20
10
5
0
+10
50
40
30
20
10
5
0
+10
50
40
30
20
10
5
0
+10
50
40
30
20
10
5
0
IN
15141312111098765432
HI
LOW
LINE
MIC
PAN
EFF
2
EFF
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
1
(1)L R(2)
PFL
PK
10
50
40
30
20
10
5
0
L-R
1-2
+
1
1
MUTE
3
6
9
12 12
9
6
3
0
300
100 5K
2K
700
MID
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
2
3
6
9
12 12
9
6
3
0
MID
3
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
4
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
5
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
6
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
7
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
8
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
9
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
10
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
11
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
12
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
13
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
14
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
15
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
16
LINE
MIC
PAN
2
1
MON
2
MON
1
0
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
PK
10
5
0
3
6
9
12 12
9
6
3
0
MID
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
L-R
1-2
L-R
1-2
L-R
1-2
L-R
1-2
L-R
1-2
L-R
1-2
L-R
1-2
L-R
1-2
L-R
1-2
L-R
1-2
L-R
1-2
L-R
1-2
L-R
1-2
L-R
1-2
L-R
1-2
PAN
MUTE
STEREO
MAIN
SUBS
SELECT
LEFT
RIGHT
PWR
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
300
100 5K
2K
700
300
100 5K
2K
700
300
100 5K
2K
700
300
100 5K
2K
700
300
100 5K
2K
700
300
100 5K
2K
700
300
100 5K
2K
700
300
100 5K
2K
700
300
100 5K
2K
700
300
100 5K
2K
700
300
100 5K
2K
700
300
100 5K
2K
700
300
100 5K
2K
700
300
100 5K
2K
700
300
100 5K
2K
700
50
40
30
20
10
50
40
30
20
10
50
40
30
20
10
50
40
30
20
10
50
40
30
20
10
50
40
30
20
10
50
40
30
20
10
50
40
30
20
10
50
40
30
20
10
50
40
30
20
10
50
40
30
20
10
50
40
30
20
10
50
40
30
20
10
50
40
30
20
10
50
40
30
20
10
LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW
HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI
2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
(1)L R(2) (1)L R(2) (1)L R(2) (1)L R(2) (1)L R(2) (1)L R(2) (1)L R (2) (1)L R(2) (1)L R(2) (1)L R (2) (1)L R(2) (1)L R(2) (1)L R(2) (1)L R(2) (1)L R(2)
Large 21 - 30
+ Chorus 31 - 40
+ Delay 41 - 50
+ Flange 51 - 60
Gated 61 - 70
71 - 80
Ambiance
DELAYS30-500ms 81 - 99
BYPASS 0
REVERBSmall 1 - 10
Medium 11 - 20
127 DIGITAL EFFECTS
16 BIT DIGITAL AUDIO
METERS
5 5
+ + + + + + + + + + + + + + +
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
-20
-15
-12
+3
+6
CLIP
0
-9
-6
-3
MON 1 EFF 1 EFF 2
BAL SENDS
LEFT/3 RIGHT/4 MAIN
R
POWER
L
SENDS
C
CNTRL
STEREO RETURNS
TAPE SEND
L R
B
A
15
MON 2
RM
LAMP
12V
16
MIC MIC
SUB 1 PHONESSUB 2
14
MIC13MIC12MIC11MIC10MIC9MIC8MIC7MIC6MIC5MIC4MIC3MIC2MIC
1
LINE
MIC
LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE
INSERT
DIR /
INSERT
DIR /
INSERT
DIR /
INSERT
DIR /
INSERT
DIR /
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DIR /
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DIR /
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DIR /
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DIR /
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DIR /
DX1642
DX MIXER
OPERATION MANUAL
Manual No. 96-16420
Revision 1.0
Mar. 1994
Made in USA
1-800-854-2235
HELPLINE
1-800-854-2235
8:30 To 4:30 Monday-Friday
Pacific Standard Time
USA
CARVIN
619-747-1710
Record the serial number of your DX Mixer in the space provided below:
Serial No._________________ Invoice Date________________
RECEIVING INSPECTION
INSPECT YOUR DX MIXER FOR ANY DAMAGE which may have occurred during ship-
ping. If any damage is found, notify the shipping company and call CARVIN immediately.
SAVE THE CARTON & ALL PACKING MATERIALS. In the event you have to reship
your mixer, always use the original carton and packing material. This will provide the best
possible protection for your unit during shipment. CARVIN and the shipping company are
not liable for any damage caused by improper packing.
SAVE YOUR INVOICE. It will be required for warranty servicing of your unit. Always
check your invoice against the items you have received.
SHIPMENT SHORTAGE. If you find items missing, it may be that they were shipped
separately. Please allow several days for the rest of your order to arrive before inquiring.
If you determine (after allowing an appropriate amount of time) you have not received all
the items you ordered, please call CARVIN.
Carvin’s USA toll free number: 800-854-2235
TABLE OF CONTENTS
P A G E
RECEIVING INSPECTION ................................................................. i
TABLE OF CONTENTS .................................................................... ii
FOR THE NEW OWNER ................................................................. 1
QUICK START UP .......................................................................... 2
CHANNEL FEATURES ..................................................................... 3
MASTER SECTION CONNECTORS ................................................... 7
MASTER SECTION FEATURES ......................................................... 9
INTERNAL DSP EFFECTS PROCESSOR ............................................ 13
SETTING UP YOUR SOUND SYSTEM .............................................. 15
SAMPLE MIXER CONFIGURATIONS ............................................... 19
BLOCK DIAGRAMS ....................................................................... 25
DX MIXER PARTS LIST ................................................................. 27
DX MIXER TECHNICAL SPECIFICATIONS ....................................... 33
WARRANTY INFORMATION .......................................................... 34
FOR THE NEW OWNER
Congratulations on your selection of CARVlN products: “The Professional’s
Choice.” Your new DX series console demonstrates CARVIN’s commitment to
producing the highest quality & most sophisticated engineering in the audio
industry today. Its wide acceptance and use by industry professionals illustrates
the basis for CARVIN’s recognition as “The Professional’s Choice.”
Professionalism can only be measured by people from the results they achieve
through their efforts and knowledge. It is not something that automatically happens when buying a new or more sophisticated console. Rather, it’s what you
do with the equipment and how well you do it that ultimately makes the point.
We are certain your new CARVlN console will deliver the performance necessary for you to achieve solid results, and ultimately enjoy a high degree of professional gain and enjoyment.
To compliment your new console and help you acquire that knowledge, we’ve
included this manual. All of the information you need to be up and running is
right here! You’ll find using this manual easy and convenient. We’ve gone to
great lengths to make it so. We’ve attempted to present the technical aspects of
your new console accurately and in “plain English”. But, if you have any questions that are not answered here, please call us at our toll free number. Our
sales staff is well versed in the technical aspects of our products and are waiting
to assist you with any questions you may have. We sincerely wish to ensure
your complete satisfaction and enjoyment with your new console.
If you would like to comment on features or performance of your new console,
please feel free to contact us. Comments from our customers has helped us
improve and further develop our products and our business.
Please, send in the warranty card. Although it is not absolutely necessary to
ensure warranty protection, it will allow us to better know how you are using our
equipment while keeping a ready reference for our files. Sending in the warranty
card also helps us to mail out literature and information that may be of interest to
you as a professional musician. Let us know where you are so we can keep in
touch!
In this manual there are plenty of diagrams and descriptions to aid you in understanding your new console. So, with this manual in hand you hold the key to
proper operation of your new console, and to achieve truly professional results.
May you enjoy many years of enjoyment, success, and fun with your new
CARVIN console!
Carvin’s toll free number: 800-854-2235
QUICK STA RT UP
If you’re like most new owners, you’re probably in a hurry to plug your DX mixer
in and use it. Here are some brief instructions to get you going quickly. With the
mixer unplugged, turn the unit off and complete the following procedures:
CONNECTING AC POWER TO YOUR MIXER (Non-Powered Models Only)
Check and change if necessary the
AC Line Voltage to the proper voltage. The AC Line Voltage is listed
on the fuse holder in the AC connect
receptacle. To change the AC operating voltage remove and rotate the
fuse holder so that the desired voltage reads right side up. Use only a grounded (3 prong) power outlet to prevent a
shock hazard. This gives the quietest grounding for your mixer. Powered mod -
els do not offer 120/240 voltage switching. They must be ordered for the
appropriate line voltage.
CONNECTING INPUTS TO YOUR MIXER
For low level balanced devices such as microphones, plug into the
balanced MIC XLR input. Use a 3 conductor shielded mic cable. For
high output level devices such as Tape Recorders, CD’s, Keyboards
and Wireless mic receivers, plug into the LINE 1/4” input jacks. Use a
2 conductor shielded cable.
CONNECTING OUTPUTS FROM YOUR MIXER
Connect the L E F T / 3 and R I G H T / 4 balanced XLR outputs
to the balanced XLR inputs on your power amp. If your
power amp can not accommodate balanced XLR connections, there are unbalanced 1/4” phone jacks on the rear of
your D X Series mixer (except powered models).
TURNING YOUR MIXER ON
Adjust all faders and gain controls of your mixer to the off position. Adjust
all EQ tone controls—Hi, MID and LOW and the 9 Band Graphic EQ to
their center positions. Adjust all the Channel P A N Assign controls to
their center positions. Turn the mixer’s power switch to the on position
and check that the power indicator LED illuminates. Your mixer is now on
and ready to operate.
SETTING YOUR CHANNEL LEVELS
Bring up the level of the LINE MIC gain control until the channel peak
indicator LED PK illuminates, then back off this control by one number. It
is normal for the peak indicator to occasionally flash during use. Set the
L - R / 1 - 2 switch to the L-R STEREO MASTERS . Bring up the channel
fader level to a nominal setting of “0”, this is Unity Gain for the channel
fader.
SETTING YOUR MASTER LEVELS
Bring up the STEREO MASTER faders to the desired volume level, and
monitor the levels by depressing the L / R button in the M E T E R S s e l e c t
block.
120-240 VAC
50-60 Hz 140VA
FUSE
2 Amp Fuse
Toll Free 1-800-854-2235
MADE
AUS
IN THE
TO CHANGE OPERATING
VOLTAGE UNPLUG POWER
CORD AND REMOVE AND
ROTATE FUSE HOLDER.
240V
120V
115V
230V
SER. NO. 000000
POWER
LINE
MIC
INSERT
DIR /
LEFT/3 RIGHT/4 MAIN
CNTRL
RM
SUB 1 PHONESSUB 2
PFL
PK
10
10
0
5
L-R
1-2
+
MUTE
5
MON
MAIN L R
1 2
SUB
1 2
METERS
4. GAIN CONTROL - The best way to use this control
is to start by rotating the gain control fully counterclock-
wise. Then while source material is active, bring up the
gain control until the peak indicator illuminates and then
back off until the peak PK indicator just stops flashing.
This provides the maximum usable gain for the input. If
the signal is too strong the red LED peak PK indicator
will light. Rotate the LINE / MIC gain control counterclockwise until the PK light just goes out. Setting the
input gain controls just below the peak threshold will set
the input gain to deliver just the right level to the channel. It is alright if the peak indicator occasionally flash-
es during use, as it is set to come on at -6dB below
clipping. Rotating the LINE / MIC gain control excessively counterclockwise beyond the point at which the
PK light goes out will drop the signal too much and you
may not have enough gain, or the noise floor (hiss)
may become audible. Once this adjustment has been made you should not
need to adjust this control again unless the signal changes at the source.
5-8 CHANNEL EQ - The Channel Equalizer is a very precise set of tone con-
trols. The H I or “Treble” control is at the top of the Channel Equalizer controls.
The M I D and MID sweep controls are in the center. And, the L O W or bass
control is at the bottom of this array. Use these
knobs to modify the tone of the signal feeding
this particular channel. It is most important that
you know that the flat (or neutral) setting for
each EQ control is “0” or (center detent). If you
have any doubt about how to set the them then
always set the channel EQ controls flat (i.e.
“ 0 ” ) .
How a tone control works is basically similar to
a volume control. The difference being that a
tone control literally controls the volume of a
specified frequency range. For instance, the H I, or treble control, when turned
up will increase the volume of the high frequencies (at a l2kHz frequency shelf).
Likewise, the L O W, or bass, control adjusts the volume at a 80Hz frequency
shelf and therefore can be used to either
emphasize or quiet the low range of an input
signal. The M I D has a variable frequency
range from 300Hz to 5KHz this allows you to
fine tune the mid-range frequencies. This is
especially useful as the mid-range is usually
the most critical “problem range”. The EQ
controls allow you to adjust the volume ±12dB
at their center frequencies. Direct connection
of electric guitars usually sound best with full
MID cut (-12dB) at 500Hz, and full treble “ H I”
boost (+12dB). Experimentation is in order.
Usually these controls are used as a means of compensating for the imperfect
response of various microphones in order to achieve the most natural sounding
CHANNEL FEAT U R E S
1. LINE INPUT JACK - This 1/4” phone jack is designed
to accept unbalanced line or low level signals. This input
will accept both high and low impedance input signals. It
is sensitive enough to directly accept the output of a guitar or similar instrument with out the need for external
direct input boxes or preamplifiers, yet will also accept
line level signals such as pre amp outputs from amplifiers or keyboard systems.
2. XLR MIC INPUT - The XLR input is designed for balanced low impedance (microphone) input signals. This
allows for long microphone cable runs without significant
signal or high frequency loss. The input channel consists of a balanced differential amplifier which works to cancel externally generated noise. The XLR connector is wired as per the industry standard, pin one is
ground, pin two is high (positive signal) and pin three is low (negative signal).
Phantom power is available on every XLR microphone input. This will allow you
to run condenser microphones directly off of your DX Series mixer. A switch
located in the master section will allow you to engage the phantom power.
NOTE: Make sure the phantom power is switched off before connecting or disconnecting microphones to your mixer. It is recommended that you allow the
phantom power to discharge for about 10 seconds before making any microphone connections.
3. DIRECT/INSERT JACK - The channel patch jack allows you access to that
channel for inserting different effects or signal processing equipment. Usually
this jack is used with such signal processing equipment as compressors,
limiters, delays, EQ’s, etc. These
devices can help with many problem
situations requiring special attention.
For instance, if you have a vocal input
requiring a very precise equalization (tone shaping) you may wish to “patch in” a
more elaborate equalizer than the standard tone controls found on the channels. This would allow you the ability to affect that particular channel without
affecting adjacent channels.
And, you achieve your objective of fine tuning that particular vocal. The jack is configured: Tip to return and Ring to
send.
To use the D I R / P A T C H for a
direct channel output, insert
the plug only halfway into the
jack.
Carvin offers the A P 1 cable which is a 6” adapter which plugs into the
DIR/PATCH giving a 1/4” jack for the “Send” and a 1/4” jack for the “Receive”
portions of the Patch feature.
1
2
3
1
1
LINE
MIC
INSERT
DIR /
HI
LOW
LINE
MIC
1010
9
8
7
654
3
2
3
6
9
12 12
9
6
3
0
3
6
9
12 12
9
6
3
0
1
3
6
9
12 12
9
6
3
0
500
300 5K
3K
1.6K
MID
4
5
6
7
8
Gnd
Direct Out
HALF INSERT
(No Signal Interuption)
GndRtn
Send
FULL INSERT
(Signal Interuption)
INSERT
DIR /
+15
+10
+5
0
-5
-10
-15
20 100 1K 10K 20K
dB
Frequency/Hz
HI CONTROL CUT & BOOST
+15
+10
+5
0
-5
-10
-15
20 100 1K 10K 20K
dB
Frequency/Hz
LOW CONTROL CUT & BOOST
response of the sources you are mixing. If
you find yourself making excessive adjustments with these controls you may want to try
using either a
d i f f e r e n t
m i c r o p h o n e
or a different
mic location.
Making an
i n s t r u m e n t
sound as nat-
ural as possible through the use of your Channel Equalizer
is part of the overall art of professional mixing
and recording.
9-12 MONITOR and EFFECTS BUS SENDS - The input channel’s monitor and effects
send controls are simply volume controls for setting up four “side mixes” which are independent of the main mix. They are used to set up mixes for stage monitors and various
effects units. Each channel has two monitor send controls (MON 1& MON 2). These
control the volume of that channel’s signal in the MON 1& MON 2 monitor mixes. The
monitor level control on each channel adjusts the relative volume of that channel in the
overall monitor mix. So, it is possible that you could set up a monitor mix that is entirely
different from the main mix. For instance, you might have a vocal “out front”, or louder,
in the MON 1 mix to allow a singer to concentrate on their vocals while feeding a relatively low level of that same vocal to the main mix. Since stage monitors are typically
right next to the microphones, they are usually the mix most susceptible to feedback during a performance. Because of this we recommended that you use caution when
adjusting monitor levels during a live performance. It takes a certain amount of “feel” to
set up a good monitor mix without getting ringing or outright feedback. However, with
experimentation and practice you will soon be able to get consistently good monitor
mixes. The MON 1& MON 2signals are taken “pre fader” so that the channel fader has
no effect on the signal level sent to the monitor mixes.
The EFF 1 a n dEFF 2 controls send the channel signal to two more “side mixes” for use
in feeding effects devices such as the internal DSP unit or
outboard effects. The “Effects Send” signals are taken “post
fader”. This means that when the channel fader is reduced,
so is the effects signal. The EFF 2control feeds the internal
DSP system. By raising this control, you will send the channel’s signal to the internal Digital Reverb unit. However, the
DSP effect will not be heard until the DSP return control
(effects return RTN A) is raised (see the System Master
Section). The internal DSP return is automatically defeated
when an outboard processor is plugged in the RTN A j a c k .
13. PAN CONTROL - The P A N control allows you to set
the relative volume level of each channels send to the L / 3
and R / 4 master stereo outputs or to the Sub 1 and Sub 2
Sub Mixes, depending on the position of the L - R / 1 - 2s e l e c t o r
switch. Panning the channel all the way left will send the
signal only to the L / 3 stereo master or the SUB 1 m a s t e r ;
panning hard right will send signal only to the R / 4 s t e r e o
master or the SUB 2m a s t e r .
14. PEAK INDICATOR - Use the channel peak P K indicator to find the best setting
for the LINE/MIC gain control. The P K warning light will flash whenever a signal
exceeds a level of +12dBv anywhere within the channel. This light is used to warn
the operator whenever signal levels are so high that there is risk of distortion.
Whenever you see the P E A K LED flashing you should
reduce the setting of the LINE / MIC gain control, until
the LED just stops flashing. It is just as important to be
sure not to set the G A I N control too low. Setting the
channel gain too low will prevent you from achieving the
excellent signal-to-noise performance that the mixer is
capable of delivering. Note that the P E A K i n d i c a t o r
responds to overloading at the mic and line preamps, the
channel EQ, and the channel fader amp. Use this indicator to set the GAIN controls on all of the channels as
your first step whenever setting up a mix. Careful use of
these controls will assure you of a distortion, free mix
with the lowest possible noise.
15. THE PFL CONTROL - The channel P F L (“pre fader
listen”) switch allows you to solo audition each channel or
group of channels to the control room monitors (or
phones) without affecting the main mix. The P F L s w i t c h
lets you to hear only the channel (or channels) selected,
even though you may be sending many signals through
the mixer to the main mix. This is an extremely useful
mixing feature that will help you to fine tune the EQ on
individual sources, even during a performance. You can
also combine solos. This means that you can depress
one or more P F L switches in order to listen to combinations instruments to be sure their levels are good and
that they are blending well. Whenever you depress a
P F L switch the Peak LED will come on to indicate
that that channel is soloed. Also, whenever any chan-
nel or sub group is soloed, another master LED will light up in the System Master
Section to indicate that you are in a solo mode and that the normal control room feed
has been interrupted by the solo system.
16. CHANNEL ASSIGN SWITCH - This switch gives you the option of assigning a
channel to a sub mix or directly to the two-track output. Depressing this switch will
assign the channels output to the Sub Mixmaster faders, thus giving you the option
of grouping various channels as a side mix to the two-track.
17. THE MUTE SWITCH - When the channel M U T E switch is depressed the channels signal is totally removed from the system, including the monitor and effects side
mixes. The only control that is not muted is the P F L, thus allowing you to audition a
channel before folding it into the any of the active mixes.
18. THE CHANNEL FADER - The Channel Fader controls the volume of each
channel. It is accurately calibrated and adjusts the level of each channel as it is sent
to the sub mix, two-track, and effects mixes. A “normal” setting for the channel
faders would be between about -10 and +5 on the fader markings. This means that
usually you will be operating your channel faders relatively high compared to your
2 T R A C K faders. Keeping the channel faders high will help assure the most quiet
performance and best overall sound from your console.
PAN
EFF
2
EFF
1
MON
2
MON
1
0
10
109
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
1010
9
8
7
654
3
2
12 12
(1)L R(2)
9
10
11
12
13
(1)L R(2)
PFL
PK
10
50
40
30
20
10
0
5
L-R
1-2
+
1
MUTE
14
15
16
17
18
5
15
+15
+10
+5
0
-5
-10
-15
20 100 1K 10K 20K
dB
Frequency/Hz
MID CONTROL FREQ. SWEEP
+15
+10
+5
0
-5
-10
-15
20 100 1K 10K 20K
dB
Frequency/Hz
MID CONTROL CUT & BOOST
6
MASTER SECTION CONNECTORS
1. EFF1 AND EFF2 SENDS - These jacks are used to drive out-
board signal processors such as digital delays, reverb units,
chorus effects, etc. The Effects Send, E F F 1 and E F F 2, jacks
are used as an output from your console to drive the input of the
effect you desire to use. By adjusting your Channel EFF1 and
EFF2 Controls, and Master Section EFF1 and EFF2 Controls of your mixer you
can vary the output of the Effects Send to drive your effect with as much, or as
little signal as required for optimum performance.
2. BALANCED MONITOR SENDS - These two 1/4” phone jacks deliver a
Balanced line level signal to drive the inputs of your monitor
power amps. For optimum performance use balanced 1/4”
phone (Tip/Ring/Sleeve) patch cables. Using balanced connections will reduce cable hum and will allow 6dB more gain when
driving balanced inputs. By adjusting your Channel MON1 and
MON2 Controls, and Master Section MON1 and MON2 Controls of your unit you
can mix and vary the output of the Monitor Sends to drive your power amp to the
desired volume level.
3. TAPE SEND - The TAPE SEND RCA connectors are “pre-amp” outputs from
the 2-Track Master controls. These line level outputs may be used to drive a
tape deck for stereo recording while simultaneously using the
LEFT/3 and RIGHT/4 XLR outputs to drive you main power amps.
4. TAPE RETURN - These RCA connectors are pre-amp inputs
to the RTN C TAPE control. Use these jacks for playback of
stereo recordings. Use the RTN C TAPE to control the level of
this return to the 2-Track buss.
5. STEREO RETURNS - These 1/4” phone jacks are used to
receive the outputs of your effects devices. RTN A is used for
the optional internal DSP effects unit. By inserting into RTN A
with a 1/4” phone plug you automatically disable the internal
effects unit.
6. SUB 1 & SUB 2 OUTPUTS - These are your direct submix sends off of the SUB 1 & SUB 2, SUB MIX faders. By
using these outputs in conjunction with the L E F T / 3 &
R I G H T / 4 XLR outputs you can setup four independent sub
mixes for multi track recording.
7. LEFT & RIGHT OUTPUTS - These two
XLR jacks are balanced line level outputs from
the 2-Track Master controls. These pre-amp
outputs should be used to drive your power
amps for your main house system.
8. MONO MAIN OUTPUTS - This balanced XLR output contains the mix of
your DXs four sub mixes. Use this output to deliver a mono output to your
power amps when running mono systems.
12. AUXILIARY MASTER OUTPUTS - T h e r e
are an extra set of auxiliary master outputs located on the back panel of your D X series mixer
(non-powered models only). These are 1/4”
unbalanced equvilants to the XLR L E F T / 3,
R I G H T / 4 and M A I N outputs located on the top
panel.
9. PHONES & CONTROL ROOM - Use these two stereo jacks
to monitor the signal at various points in your mixer. The level of
this output is controlled by the PHONES CNTRL RM LEVEL
knob in the master section above the M A I N fader. To select
what you are listening to depress one or more of the selector
switches directly below the VU METERS.
10. 12V LAMP XLR CONNECTOR - The XLR connector labeled
12V LAMP (located at the very top right of the system master) is a
receptacle for a XLR type 12 volt Mini-Lamp. This light is used to
provide illumination for the console when it is used in low light con-
ditions. It operates on 12 volts and provides an excellent source of
light where house lighting is kept low. The mini-light is offered by
CARVIN and may be purchased for $25.00 (specify Model GX12V).
11. POWER ON/OFF SWITCH - This is the main AC power switch
for your D X mixer. When you flip this switch to the on position you
should notice that the power indicator LED illuminates. It is a good
practice to bring the main faders all the way down before turning the
console on.
13. MIDI IN & MIDI THRU - There are a set DIN type
MIDI connectors located on the back panel of your D X
Series mixer. These connectors give you the option of
controlling the internal DSP Multi Effects processor via
MIDI.
EFF 1 EFF 2
SENDS
MON 1
BAL SENDS
MON 2
TAPE SEND
L R
RL
STEREO RETURNS
B
A
SUB 1 SUB 2
LEFT/3 RIGHT/4 MAIN
CNTRL
RM
PHONES
LAMP
12V
POWER
MON 1 EFF 1 EFF 2
BAL SENDS
LEFT/3 RIGHT/4 MAIN
R
POWER
L
SENDS
C
CNTRL
STEREO RETURNS
TAPE SEND
L R
B
A
MON 2
RM
LAMP
12V
SUB 1 PHONESSUB 2
(CH 3) (CH 4)
MAIN
(MONO)
240V
230V
MASTER OUTPUTS
RIGHTLEFT
240V
230V
MIDI IN MIDI THRU
MIDI
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