Carvin MX2488 User Manual

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SSSSppppeeeecccciiiiffffiiiiccccaaaattttiiiioooonnnnss Specifications 4-1

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Receiving Inspection

INSPECT YOUR MX2488 FOR ANY DAMAGE which may have occurred during shipping. 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 amp, 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.

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For the New Owner

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The CARVIN MX2488 are full function audio mixing consoles. They are designed to serve both as a control center for an eight track recording studio or for live sound reinforcement mixing. Their signal routing capabilities, low noise spec's and interconnect functions are targeted directly to professional recording applications. But, because of their rugged construction and additional "live reinforcement" features, the MX2488 double duty as very effective live sound reinforcement consoles.

This manual will deal with both of these applications, while attempting to present the various technical aspects of the consoles in an easy to read and understand format. Because the ultimate performance of your console depends a great deal upon the operator and the installation of the console, much of this manual centers around "user oriented" diagrams and explanations. Therefore, the content of this manual deals with explaining the features, various connections and technical aspects of the MX2488 to assure you the best possible performance from your studio or live performance situation.

Additional sections deal with some of the aspects of operating a sound system in general. Sections involving Bi-amping and Tri-amping as well as suggestions for maintaining and operating a sound system are included.

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familiar with professional recording or live consoles, you may wish to skip to Section #1 (MX2488 Control Descriptions). This section contains the basic information about the features, various rear panel connections and technical specifications of the MX2488. It contains all the important information needed to be up and running for the more technically inclined user.

found under "Rear Panel Connections" listed in Section #1-6 and #1-7 "MX2488 CONTROL DESCRIPTIONS".

with the use of your new console and how to get in contact with CARVIN should you encounter any problems.

greater detail about the front and rear panel peatures common to both units. Each of the features are numbered and correspond with a numbered picture that will direct you to the feature described. Also, each number assigned to a feature will correspond to the numbering included in Section #1 (MX2488 Control Descriptions) for additional reference to a feature.

We recommend that you read the entire Operation Manual. However, if you are

The appropriate descriptions of the MX2488's external power supply can be

Section #2 ( Getting Started Using Your New Carvin Console ) This section deals

Section #3 ( Getting To Know the Features Of The MX2488 Consoles ) goes into

Section #4 ( Recording With The MX2488 ) offers information on interconnecting tape recorders in a typical 8-track studio application. It deals

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with setting gain levels, operating the studio, as well as monitoring and mixdown suggestions.

Section #5 ( Live Sound Mixing With The MX2488 ) offers information on connections appropriate when using the console as the control center for live

sound reinforcement. It deals with setting up main and monitor mixes and related information that might be needed to achieve the best possible perfomance in live sound reinforcement.

Section #6 ( Bi-Amping & Tri-Amping ) covers the basic differences between conventional and Bi-Amped sound systems. Differences between Bi-Amping and

Tri-Amping and information covering the use of an active crossover in a Bi/TriAmp situation is covered.

Section #7 ( Suggestions For Efficien t Set-Up & Quality Sound ) covers special information related to operating a studio using the MX2488 console as a control

center. It also covers information on operating a live sound system and special considerations that will help organize a performance.

Section #9 ( Servicing & Technical Information ) includes the technical specifications, circuit schematics, harness & block diagrams as well as component

layouts and listings. This section is designed to be a detailed overview of the design and construction of the console. And, should the MX2488 ever need servicing, this section should provide all the veeded information for your service technician.

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The MX2488 was engineered and subsequently constructed using up-to-date and uncompromised materials. They represent the culmination of several years of research and surveys of the professional sound community for the features thtat are most important in a small production studio. Every detail of the console received extensive scrutiny. CARVIN researched the most efficient metering, monitoring and interfacing as well as state-of-the-art production techniques to achieve the reliability and remarkable performance of the MX2488. The oberall design of the console was focused on providing the versatility to accommodate many different applications. And, its rugged construction, spec's and features accomplish this goal with ease. It is excellent for concert sound reinforcement as well as stage monitoring, television production, theatrical productions and multitrack recording.

The MX2488 was subjected to an exhaustive program of field and laboratory testing. The net result provided the information to fine tune the features and performance of the consoles. Every aspect of this testing was scrutinized including panel layout, color schemes, exterior dimensions and aesthetics. So, although the MX2488 is an extremely sophisticated console, it remains unclutteded and sensibly organized, and we feel this is important. It makes complicated mixdown's and signal routing a breeze to accomplish!

Recording basic tracks, overdubbing sessions and final mixdown are all

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handled with ease. Signals are automatically routed to appropriate sections of the console for each recording operation. One of the key features of the MX2488 , but not found on many P.A. "recording" consoles is an independant control room monitor mixer with buss/tape sourve selection. This section makes buss interconnects (for overdubbing) and sub-group effects routing extremely easy.

One of the most important considerations when analyzinga recording console is the quality of the input pre-amps and equalization capabilities. CARVIN refused to cut corners in these areas. Equivalent input noise is -128dB utilizing an ultralow noise differential mic pre-amp. THD is typically less than .03% @ 40dB gain, 0dBv from 20Hz to 20kHz. This quality spec is preserved throughout the console by carefull attention to grounding & gain structure. Each channel features three band continuously variable parametric equalization with bypass switching. This is a high performance, extremely quiet and musical sounding equalizer. It will handle the most critical of EQ needs making it a very effective tool i n compensating microphone responses for various mixes.

Each input of the MX2488 console features an input "Gain" control for both the line & mic inputs, four auxiliary mixing busses with pre/post switching, muting, soloing, and odd/even pan controls for sub-group routing. Each channel's volume control is a 100mm smooth operating "slider" type control for precise control of signal processing imaginable.

The ouput sections of the MX2488 features independent control room monitoring, made possible by the (2) Track Faders and "Pan" controls provided on each output channel. A "Tape" switch is provided at each output channel to allow the tape playback signal to feed the cue and control room mixes. This means that valuable input channels do not have to be used to return tape playback signals when doing overdubs. """"

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Some of the quality components used throughout the consoles include the professional signal connectors (3 pin & 1/4") and highly reliable ITT Schadow switches. Large professional VU meters are accurately driven by a well damped circuit and are easy to read. Long throw 100mm faders have a precise 15% audio taper for smooth fade-outs. They feature integral dust shields for smooth operation and long life. The rotary pots are optimally damped for smooth reliable operation. All of the knobs have easy to read pointers and are color coded b y function.

Construction of the MX2488 is modular, with individual circuit boards used for each channel and master strip. Virtually all hand wiring has been eliminated through the use of highly reliable circuit board and computer type ribbon cable. All circuits are engineered for lowest possible noise and extreme reliability. An internal heavy duty power supply spares the expence and inconveniece of a separate outboard supply and is located in such a way that system noise is not affected. Tight voltage regulation helps keep crosstalk low while current limiting protects the supply from accidental shorts. AC power is supplied to the mixer by way of a standard detachable international line cord with safety ground. The chassis is made of precision formed steel with long life pem-nut fasteners and a durable epoxy finish. One inch thick solid oak ends and a padded hand rest add to the good looks and overall aethetics of the MX2488 console.

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Every aspect of the MX project was analized to provide the best possible features, quality perfomance and versatility. The MX2488 addresses the mixing console needs of (8) track recording studios, live sound mixing, production studios, broadcast and sound mixing for film. It is an ultra-reliable state-of-theart console backed by CARVIN's commitment to excellence and extensive background in console engineering and design. We think you will agree that the MX2488's excellent design and advanced engineering make it truly the "Professional's Choice". We're very proud of its design and operation and are confident you will share our enthusiasm for the best-"The"

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"A SPECIAL MESSAGE TO THE NEW OWNER"

Congratulations on your selection of CARVIN products "The Proffesional's Choice." Your new "MX" 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 proffesionals illustrates the basis for CARVIN's recognition as "The Proffesional's Choice".

Professioanlism 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, its what you do with the equipment, and how well you do it that ultimately makes the point. We are certain your new CARVIN console will deliver the performance necessary for you to achieve solid results, and ultimately achieve a high degree of professioanal gain & enjoyment.

To compliment your new console and help you acquire that knowledge, we've included this maual. All the information you need to be up and running is right here! You'll find using this manual easy and pleasant. We've gone to great lenghts 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, please call us at our toll free numbers. Our sales staff is well versed in the technical aspects of each of our products and are eagerly willing to assist you with any problems 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 cantact us. Criticism and comments from our owners have helped us improve and further develop our products and our buisiness. We sincerely welcome any comments or ideas you may have.

Please send in the warrenty card. Although it is not necessary to ensure warranty protection, it will allow us to better know how you are using our equipment while keeping a ready reference to our files. And, it helps us mail out literature and information that may be of interest to you as a professional muscician. Let us know where you are so we can keep in touch!

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In this manual there are plenty of diagrams & descriptions to aid in understanding your new console. So, with this manual in hand you hold the key to properly understanding and operating your new console, and to achieve truely professional results.

May you enjoy many years of enjoyment, success, and fun with your new CARVIN console.

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RECORDING FEATURES

* Eight track studio control center * Complete headphone Cue mixing facilities * Separate input & output channels with I/0 capabilities * Separate (8) X (2) monitor mixer * Three band sweepable parametric EQ with defeat per channel * Four auxiliary busses per channel with pre/post switching * Solo & mute on all input and output channels * Two effects returns with Panning & Soloing * Built-in Talkback system with Slate (incl. monitor dimming) * 100mm precise faders on each input & output channel * Studio mix outputs as well as control room outputs * Stacking inputs * Peak warning indicators per channel with peak stretching * Send/Recieve/Direct Outs/Line-in patch points on each channel * Microphone phantom power * Highly reliable fully regulated & protected power supply * Cue & Effects sends from output channels * Alternate metering of Cue and two track * Quick tape playback through monitors via "Tape" switch * Independent mic and line pre-amps * Totally modular internal construction * Excellent performance - Low Noise (input noise of 1128 dBv.) * +4dB or -10dB operating level capabilities (standard) * THD less than .03%

LIVE SOUND MIXING FEATURES

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* Eight Sub-Groups with solo and Mute * Four independent monitor mixes available * Headphone monitoring of Main or Monitor * Compact and extremely rugged for road use * Talkback to Monitors * 11 step unput gain controls for fast easy set-up * Channels and Outputs assignable to L&R Stereo Output * Channel patching on all output channels *XLR type, balanced, 600 ohm inputs & outputs

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* This switch will select between the microphone input and the line input at the rear of the console. Remember, the line input will accept signals many times the strength of the mic input and this switch must be properly selected, depending upon which input best suits the signal source. Mic inputs typically accept signals from -60dB to -20dB. Line inputs can accept "pre-amp" signals (i.e. line outputs of tape decks, effects, etc.) of up to 30 volts. You may have both the line and mic inputs connected at the same time. In a live situation this is a very effective way in which to select between a tape input or a mic input. For instance, if you wish to play a tape back during a break you may wish to have your tape deck inserted into the line inputs of an input already dedicated to a mic input. This will allow you to switch to the tape source by simply depressing the Mic/Line switch. The gain control directly below this switch controls the relative gain from either the mic or line source.

* The MX-2488's line inputs on channels #1 through #8 are normally used to playback signals from the multi-track recorder.

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The outputs of your (8) track or multi-track recorder

should be connected to the line inputs of channels #1

through #8.

Even when the Mic/Line switch is in the "Mic" position the line inputs inputs of channels 1 through 8 are paralleled to the tape monitor section of the console, By

depressing the "Tape" switches (directly above the Output Channel Faders Outputs #1 through #8), the signals appearing at the line inputs of channels #1 through #8 are routed to the (2) Track Monitor Faders through this interconnect

section. This allows you to listen to the "2-TRK Master" faders by simply depressing the "Tape" switches at the monitor section of the console. And, you are able to adjust the volume of the multi-track playback using the "2-TRK" monitor faders as well as "Pan" them through the stereo field using the "Pan" control directly above this fader.

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Usually the 2-Track monitor secction will be used to mix the

outputs (fed to the multi-track recorder) in the controlroom

as a basic "control room mix". When the "Tape" switches are

depressed you will be listening to the same exact levels and mix

as previously was set up for the control room mix, during recording.

(This assumes that the inputs and outputs of the multi-track recorder

have been properly calibrated and adjusted.) The line inputs of channels

#9 through #16 are free to accept any high level input signal and will

even accept direct inputs from guitar or bass.

* When the Mic/Line switch is selected to the "Line" position, the output of your multi-track recorder (Inputs channels #1 through #8) will be directed to the input of the channel. This allows you to go into a "Mixdown" mode, adding equalization and additional effects to each of your previously recorded tracks and subsequently route them directly to the 2-TRK Master outputs feeding your (2)-Track recorder.

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When routing signals through input channels #1 through

#8 for mixdown you will probably want to depress the

(L-R) "Left/Right " assignment switch to bypass the

subgroup output section of the console. Bypassing the

sub-group output section of the console and directly

routing the signals to the (2) Track provides the most

direct electrical path and the least possible noise. It also

makes the conversion to a "Mixdown Mode" extremely

easy.

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* The input gain control is very important for establishing the best signal-to-noise ratio performance of the console. This simply means that proper adjustment of this control will offer the lowest possible "hiss" or background electronic noise. The best way to use this control is to rotate it fully clockwise to the position marked as "10". This affords the maximum gain for the input. If the signal is too strong from either your microphone or line input the red "Peak" LED indicator just above the channel fader will light. This LED indicator will indicate a strong red light for a short period of time whenever the signal is too strong. Rotating the "Gain" control (One click at a time) counter-clockwise until the LED "Peak" indicator light just goes out will properly attenuate the signal, delivering just the right level to the channel. Rotating the "Gain" control edcessively counter-clockwise beyond the point at which the peak LED goes out will drop the signal too much and you may not have enough gain. This usually results in having to set the volume controls much higher making the floor noise of (hiss) level more apparant.

The best rule of thumb is to rotate the "Gain" control all the way to "10" and look to see if the peak LED is lighting while the source is active. If it is not, then no further adjustment is needed, However, if it is, then you should rotate hte control counter-clockwise until the peak LED just goes out. Once this adjustment

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