Carvin_Studio_Live_Manual_&_Schematics电路图.pdf

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1、SL24 SL40 SL56 Revision 1 76-00024 SERIES STUDIO / LIVE Owners Manual RadioFans.CN 收音机爱 好者资料库 Introduction Sound Quality and In-Line Flexibility There are a multitude of considerations that a sound engineer must weigh when choosing the right console. Whether the console will be used for live sound r

2、einforcement or studio recording, ultimately the choice of a console always focuses on sound quality and signal routing flexibility. These were primary design considerations for the new S/L series consoles from Carvin. Sound Carvins S/L consoles feature the ultimate Analog Devices SSM2017 mic/line p

3、reamp (on each channel). Other major console manufacturers sometimes offer this pre-amp as an upgrade option. In order to preserve the pristine signal quality of the S/Ls preamp circuits throughout the signal path, Carvin utilized surface mount P.C. technology with expensive high quality surface mou

4、nt components and high slew rate op- amps. The S/Ls ingenious design features extremely large ground traces, double sided, plated-through FR4 military spec circuit boards and other design aspects normally found in only the most expensive world class consoles. As a result, the S/L series consoles off

5、er some of the finest EIN, headroom, cross-talk and S/N specs of any console regardless of size or price! The S/Ls 4- band EQ section features two semi-parametric mid band and EQ in/out switching, as well as Lo-cut switching. The sweet sound of this EQ cannot be overstated. Carvin spent a great deal

6、 of time and effort to ensure that the delicate subtleties of the incoming signals are not disturbed by the EQ section, but that the character and flavor of the original signal be enhanced. The warmth some features or setup connections may help in your situation because most of the S/L console fea-

7、tures are not clear cut Studio or Live functions. 5 7/8 GAIN HIGH AUX SOLO 1-2 3-4 5-6 7-8 L-R PRE 1-2 C LR -15 0 +15 1k 2005k 8002k FREQ 010 5 010 5 010 5 010 5 010 5 010 5 010 5 555 -15 0 +15 -15 LOW 0 +15 HI MID 500 802k 2001k -15 0 +15 LOW MID MUTE SOLO LOW CUT PK 3 6 5 4 1 2 FREQ PAN 78 C PAN P

8、RE FAD w/EQ ETAP6-5 ETAP NIQE ETAP ESAHP PRE43- 12 +12 + 9 24 + 6 + 3 0 6 18 3 oo 30 40 50 Set your channel controls as shown. TABLE OF CONTENTS Introduction . . . . . . . . . . . . . . . . . . .pg 2 a) Receiving Inspection b) For the new owner c) Before power is turned on 1. Mixer Overview . . . .

9、. . . . . . . . . .pg 7 2. Installation . . . . . . . . . . . . . . . . .pg 7 3. Input Channel Section . . . . . . . . . .pg 8 4. Master Section . . . . . . . . . . . . . .pg 11 Master I/O section Left, Right, and Groups Control Masters Stereo Returns either 24, 40, or 56. This ability is due to the

10、 Dual In-line channel format used on the S/L series. Dual In-line channels provide a mixing path for the microphones or other input devices to be recorded, a mixing path for the individual channel outputs to a recording devices inputs and finally a mixing path for the output of the recording device.

11、 Live performances benefit from the S/Ls AUX sends that can be used for monitor mixes or effects processing. The SL consoles are equipped with : 24, 40, 56 channel frames. Low noise mic-pre amps EIN=128dB min. 4 band, dual mid sweep, Channel EQ. 8 auxiliary sends: 2 pre, 2 pre/post, 2 post, (stereo)

12、 pre/post fader. 4 stereo returns w/ Aux 1 where the mixers TAPE INs are receiving the multi-tracks 1-8 outputs and the mixers DIRECT OUTs are going directly to the multi-tracks inputs 1-8. Tracks 9-16 are setup using a patch bay with the normal connection (with nothing plugged in the front ) produc

13、ing the same setup as with tracks 1-8. Using the patch bay allows the busses to be used instead of the direct outs for inputs to the multi-track recorder. This allows multiple channels to be mixed down to one or two busses using less tracks. With the patch bay, compressors, gates or effects can also

14、 be patched (optional to using the insert jacks) covering multiple channels with one unit. The final channel setup shown in Figure 5-3shows the same 16 channels with the inputs from the mics and instruments being recorded. see figure 5-3 on page 16 15 TAPE IN MIC LINE IN DIRECT OUT PHANTOM POWER INS

15、ERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT PHANTOM PO

16、WER INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT 7654321 8 1514131211109

17、 16 1-89-16 DIRECT OUT 12V LIGHT CHANNEL DIRECT OUT TO MULTI-TRACK INPUT TAPE IN MIC LINE IN DIRECT OUT PHANTOM POWER INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN INSERT TAPE IN MIC LINE IN DIRECT OUT INS

18、ERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT PHANTOM POWER INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE

19、 IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT 7654321 8 1514131211109 16 1-89-16 DIRECT OUT 12V LIGHT PATCH FOR GROUPS TO TAPE MULTI-TRACK RECORDER TAPE IN MIC LINE IN DIRECT OUT PHANTOM POWER INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MI

20、C LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT PHANTOM POWER INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAP

21、E IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT TAPE IN MIC LINE IN DIRECT OUT INSERT 7654321 8 1514131211109 16 1-89-16 DIRECT OUT 12V LIGHT CHANNEL TAPE IN FRO

22、M MULTI-TRACK OUTPUT TAPE IN DIRECT OUT LINE IN MIC IN 1 LEFT AUX SEND5 LR IN OUT 678 1234 AUX RETURN POWER GROUPS 2345678 LR 12 LR 3 LR 4 LR INSERTS 12345678LR RIGHT CONTROL L-R STUDIO L-R PHONESPHONES TAPE GROUP 1-8 OUT BACK OF PATCH BAY (normally through) FRONT OF PATCH BAY CHANNEL MICROPHONE AND

23、 INSTRUMENT INPUTS PATCH CABLE FIGURE 5-3 For illustration, the connections have been separated into three parts. This illustration is intended to show the same thing as figure 5-2with multiple channels. 16 The following section describes aspects of using the S/L console in live sound reinforcement.

24、 Because live sound reinforce- ment is so diverse in set-up requirements and connections, this section will only discuss aspects of a live system setup and focus on the features of the S/L series console. The features covered in the following are: Auxiliary sends Recording a live show to 2 track Sub

25、 mixing with groups A Live sound system The Sound Check AUXILIARY SENDS The S/L consoles feature 8 auxiliary sends with several switchable routing possibilities. For live sound, the main tasks for the auxiliary sends are stage monitor sends, effects sends and specialty sub mixes. For stage monitor s

26、ends, the S/L console is capable of having 6 pre-fader sends. This is made up of the pre-fader AUX 1 and 2 sends, the AUX 3 and 4 sends in pre fader mode (via the PRE switch down) and the AUX 7/8 sends in the pre-fader / post EQ mode (via the PRE w/EQ switch down). In many cases, the AUX 1-2 sends a

27、nd AUX 3-4 sends in the pre fader mode will pro- vide the typical 4 monitor sends. Here the 4 monitors would break down as 3 individual front-of-stage monitors (center, left and right) and a monitor mix for the drummer (rear stage). The Auxiliary 1-4 sends are especially designed for this setup with

28、 the PRE switches on the channel and the FLIP switches on the AUX SEND 1-4 masters. The FLIP switches, on the AUX SEND 1-4 masters make the 1-4 Groups XLR balanced outputs available to these sends. The XLR balanced outputs provide better noise rejection and better Signal level when using long cable

29、runs, like with XLR “snakes” going from the mixer to the stage. In turn for using these XLRs for the SENDs, the Group 1-4 outputs are now available at the 1-4 send 1/4” out- puts. For effects sends, S/L consoles can pro- vide 6 post fader effects sends. These are made up of the AUX 3 and 4 sends in

30、post fader mode (via the PRE switch up), AUX 5 and 6 post fader sends and AUX 7/8 send in the post fader mode (via the PRE w/EQ switch up). In most sys- tems with 4 monitor mixes, AUX 5 and 6 will provide the typical 2 effects sends with AUX 7/8 open for two more effects sends. For specialty sub mix

31、es, the TAPE inputs can provide additional inputs for live shows when channeled through the AUX 7/8 send (via the AUX 7/8 TAPE switch in the down position) and in the master section by the AUX 7/8 L-R switch. These inputs, in this configu- ration have no EQ, so it is best these input signals are use

32、d with the stereo returns. 6. Standard live mixer setups 17 7/87/87/8 AUX PRE 1-2 C LR 010 5 010 5 010 5 010 5 010 5 010 5 010 5 -15 LOW 0 +15 802k 2001k PK 3 6 5 4 1 2 FREQ PAN 78 C PAN PRE FAD w/EQ ETAP6-5 ETAP NIQE PRE43- AUX PRE 1-2 C LR 010 5 010 5 010 5 010 5 010 5 010 5 010 5 -15 LOW 0 +15 80

33、2k 2001k PK 3 6 5 4 1 2 FREQ PAN 78 C PAN PRE FAD w/EQ ETAP6-5 ETAP NIQE PRE43- AUX PRE 1-2 C LR 010 5 010 5 010 5 010 5 010 5 010 5 010 5 -15 LOW 0 +15 802k 2001k PK 3 6 5 4 1 2 FREQ PAN 78 C PAN PRE FAD w/EQ ETAP6-5 ETAP NIQE PRE43- AUX 1- MONITOR MIX 1 AUX 2- MONITOR MIX 2 AUX 3- MONITOR MIX 3 AU

34、X 4- MONITOR MIX 4 Power Amp Power Amp Power Amp Power Amp 4 MONITOR MIXES USING AUX 1-4 AUX SENDS 6543217/8 L-RPFL 010 5 010 5 010 5 010 5 010 5 010 5 010 5 PFLPFLPFLPFLPFL FLIPFLIPFLIPFLIP TO GRP 1 XLR TO GRP 2 XLR TO GRP 3 XLR TO GRP 4 XLR AUX MASTER SENDS 18 RECORDING A LIVE SHOW TO 2 TRACK WITH

35、 AUX 7/8 For specialty sub mixes, like recording a live show to a 2 track recorder, the S/L consoles feature a stereo send pair. The stereo send pair of AUX 7/8 provides (via the PRE w/ EQ switch down) an independent stereo mix with PAN for live recording. This independent post EQ send allows a comp

36、letely separate mix to be sent to a 2-track recorder. Use either the AUX 7/8 Sends or the RCA TAPE OUT for the connection of a two track recorder. The TAPE OUT switch determins which outputs will receive the stereo mix. The AUX 7/8 PAN can also be extremely useful to send two discrete submixes to th

37、e L-R audio inputs of a video recorder. Panning hard left and hard right can separate the main speakers and other important channels from background music. This is useful in video post production. AUX SENDS 654321 STEREO RETURNS 7/8 1 LEFT 4 TAPE OUT MUTE AUX 1-2 TAPE IN AUX SEND L-R L-R AUX 7-8 SOL

38、O L-R 5 LR IN OUT CONTROL MASTERS STUDIO AUX 1-2 AUX 7-8 L-R CHANNEL LISTEN MODE TAPE IN MONOAUX 1-2 AUX 7-8 L-R SOLO 3 MUTE SOLO 2 MUTE SOLO 1 MUTE PAN AUX 2 SOLO AUX 1 PFL PFL MODE CONTROL ROOM SOLO 678 1234 AUX RETURN GROUPS 2345678 LR 12 LR 3 LR 4 LR 010 5 010 5 010 5 010 5 010 5 010 5 010 5 010

39、 5 010 5 010 5 010 5 010 5 010 5 010 5 010 5 010 5 010 5 010 5 010 5 010 5 010 5 C LR C LR C LR C LR PAN AUX 2 AUX 1 PAN AUX 2 AUX 1 PAN AUX 2 AUX 1 PFLPFLPFLPFLPFL +6 0 oo +6 0 oo +6 0 oo INSERTS FLIPFLIPFLIPFLIP RIGHT TO GRP 1 XLR TO GRP 2 XLR TO GRP 3 XLR TO GRP 4 XLR TO STUDIO CONTROL L-R STUDIO

40、 L-R PHONESPHONES TAPE 7/87/8 GAIN HIGH AUX SOLO 1-2 3-4 5-6 7-8 PRE 1-2 C LR -15 0 +15 1k 2005k 8002k FREQ 010 5 010 5 010 5 010 5 010 5 010 5 010 5 555 -15 0 +15 -15 LOW 0 +15 HI MID 500 802k 2001k -15 0 +15 LOW MID MUTE SOLO LOW CUT PK 3 6 5 4 1 2 FREQ PAN 78 C PAN PRE FAD w/EQ ETAP6-5 ETAP NIQE

41、ETAP ESAHP PRE43- +12 + 9 + 6 + 3 0 6 3 GAIN HIGH AUX SOLO 1-2 3-4 5-6 7-8 PRE 1-2 C LR 15 0 +15 1k 2005k 002k FREQ 010 5 010 5 010 5 010 5 010 5 010 5 010 5 555 15 0 +15 15 LOW 0 +15 HI MID 500 802k 001k 15 0 +15 LOW MID MUTE SOLO LOW CUT PK 3 6 5 4 1 2 FREQ PAN 78 C PAN PRE FAD w/EQ EAP6-5 ETAP NI

42、QE ETAP ESAHP RE43- +12 + 9 + 6 + 3 0 6 3 7/8 010 5 78 C PAN PRE FAD w/EQ ETAP 7/8 010 5 78 C PAN PRE FAD w/EQ ETAP TWO-TRACK TAPE RECORDER RCA TAPE OUT OR AUX 7/8 OUT Video Recorder SUB MIXING WITH THE GROUPS For live sound reinforcement, the 8 Groups are mainly used for mixing sub groups of channe

43、ls and providing alternate master outputs for sur- round sound mixes, center clusters and extension speakers systems. Sub mixing with the Groups is where several channels with a common- ality are assigned on the channel to a Group (or Group pair for stereo). Then the Group is assigned to the L-R mas

44、ters. The advantage is being able to adjust the group with one fader (or two faders for stereo). This would be used for a drum set using multiple mics. In sound check, the 4 individual microphones are adjusted for each drum, then adjusted as a group for leveling each drum for a total drum set sound.

45、 Later when the full band is playing, the drum set can be brought up and down with the one Group fader without disturbing the channel faders. Also, sub-mixing can bring the advantage of one Group insert for control over several channels. This is where one compressor can be inserted to cover a full d

46、rum set reducing the number of compressors needed. The Groups are also equipped to perform as master outputs. Here is where the Groups help support center clusters, extension speakers for reaching distant listeners and surround sound speakers for effects when the L-R masters are used for the Left an

47、d Right speakers. A LIVE SOUND SYSTEM. Figure 6-4 shows a typical live setup with the S/L console. All of the outboard gear is shown here in order to show its integration into the S/L console. The inputs are mostly mics, but because the console is distant from the stage, these mics and other inputs

48、will be traveling through a “snake” cable. A snake is a cable carrying all connections to and from the stage to the console. Typically, a snake will only accept XLR bal- anced connections. This is why the Keyboard is shown connected through a “direct box” (Carvin DB3) which converts the unbalanced 1

49、/4” out- puts of the keyboard to balanced XLR outputs for the console. Often the “direct box” will also “ground” isolate the instrument from the console in order to reduce hum and ground noise. The next section ofFigure 6-4 is the “front-of-house” rack usually containing compressors, effects units and graphic EQs. These units are used at the inserts of the channels and at the master inserts for compressing vocals and drums, adding EQ or gates to background vocals and drums. Also, in the “front-of-house” rack will be the main graphic EQs for room equalization on the house spea