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SL24SL40SL56

Revision 176-00024

SERIESSTUDIO / LIVE

Owners Manual

Introduction

Sound Quality and In-Line FlexibilityThere 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 reinforcement or studio recording, ultimately the choice of a console always focuses onsound quality and signal routing flexibility. These were primary design considerations for the new S/L series consoles fromCarvin.

SoundCarvin’s S/L consoles feature the ultimate Analog Devices SSM2017 mic/line preamp (on each

channel). Other major console manufacturers sometimes offer this pre-amp as anupgrade option. In order to preserve the pristine signal quality of theS/L’s preamp circuits throughout the signal path, Carvin utilizedsurface mount P.C. technology with expensive high qualitysurface mount components and high slew rate op-amps. The S/L’s ingenious design features extremelylarge ground traces, double sided, plated-throughFR4 military spec circuit boards and other designaspects normally found in only the most expensive world classconsoles. As a result, the S/L series consoles offer some of the finest EIN,headroom, cross-talk and S/N specs of any console regardless of size or price! The S/L’s 4-band EQ section features two semi-parametric mid band and EQ in/out switching, as well as Lo-cut switching. The sweetsound of this EQ cannot be overstated. Carvin spent a great deal of time and effort to ensure that the delicate subtleties of theincoming signals are not disturbed by the EQ section, but that the character and flavor of the original signal be enhanced. Thewarmth & intensity of the new S/L consoles from Carvin are startling! Respective of any other console you may have been con-sidering (for either live sound or recording), Carvin promises you will not find a better sounding console!

Signal Routing and CapabilitiesLike any exceptional recording console, the S/L consoles offer advanced In-Line signal routing. The S/L consoles easily meet

both pre and post production studio requirements, as well as offering additional ruggedness and special routing capabilitiesnormally reserved for live sound mixing. If you are an experienced sound engineer, we invite you to review the signal routingand flexibility of this console for either application. Carvin is always eager to answer any questions you may have regardingthe S/L console and how it will solve your specific needs. Even if you are just a novice, be assured the intelligent design andflexibility of the new S/L series consoles will meet all your sound needs and will allow you to discover aspects of your mixesyou may not have even considered.The channel format of the S/L consoles offers some unique features and capabilities. Just a few (for your consideration) are as follows:1) Phase Switch (per channel): Most mixes neglect the very important aspect of proper phase. When utilizing multiple micro-phones and signal sources, it is imperative that the final mixed signal be properly “in-phase”. The sound in the room and oneach microphone may be dynamic and lively, but when the final mix is accomplished the sound can become dull and lackingbrilliance. The close proximity of multiple microphones recording the same source can result in a mix that sounds muddy orboxey. The channel phase switch on each mic channel ensures that your mixes will remain as brilliant and lively as the originalinstrument. 2) Channel Tape Switch - This function allows you to quickly configure your console for multi-track mixdown. By pressing theTAPE switch, your multi-track tape returns signal flow through the normal channel signal path for EQ, effects and basic postproduction mixdown.

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Studio Live Consoles

3) Tape Selection for Buses 5 & 6 and 7 & 8 (depending upon the selection of the Input Tape Switch) allows interconnectingeither the tape input signal or the mic input to these buses. Depending upon the configuration of your console, this switch willallow for individual bus routing for quick overdubbing while simultaneously setting up the stereo control room mix. For mostrecording situations, the input tape switch will be routing the mic signal through the channel and then (from the direct output)to the multi-track tape deck. The output of the multi-track tape deck is then fed back into the tape inputs of the channel andthe tape switches will be depressed for buses 5&6 (for the studio headphone mixes) and for buses 7&8 for tape monitoringand stereo control room monitoring. In this configuration, punch-ins are a snap and a quick rough tape mix is automatic. TheS/L consoles can accomplish just about any special signal routing requirement you may have. But, there is one aspect of thetape switch that is not normally considered. On the S/L console, you can use the channel tape input as a line input! You canthen select the tape switch and route the signal to the stereo bus 7&8. From the 7&8 stereo bus output, you can select the L/Rswitch to route the signal back to the console’s L/R master faders. This this feature will configure your 24 input console to a48 input console (more if you have a 40 or 56 channel) with 24 mic pre’s and 24 additional line -ins! Yet another fantastic andunique feature of the Carvin S/L series consoles!

4) Channel Solo & PFL - The S/L consoles are capable of both solo and PFL (Pre Fader Listen) monitoring. For live applica-tions you may wish to configure your console for PFL (especially while setting up the system). But, you may decide that youprefer to have the function of the S/L’s “solo-in-place” as you progress with your mix. Solo-in-place means that you can moni-tor the exact level as it is placed in the stereo field. The ability to quickly configure your console for either type of monitoring isboth unique and yet another advanced feature of the S/L series consoles.

The above features are only a few of the unique options offered by the S/L console yet there are so many advanced capabilitiessuch as:

Aux send switching to the XLR balanced outputs (for balanced signal sends especially useful for live sound reinforcement)Stereo Subgroup to L/R interconnectsControl Room to Studio Output selectionFully isolated power supply utilizing a heavy-duty Speakon™ cable

We simply cannot explain all the configurations and capabilities of these extremely versatile consoles in this short introduc-tion. We encourage you to read the manual and if you have questions call and allow our product experts help direct you to theadvanced features available with the S/L series. Without a doubt Carvin’s new S/L consoles represent a significant advance-ment in home studio as well as live sound mixing. The fact that they are value priced is just another bonus you receive fromyour new Carvin S/L series console.

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RECEIVING INSPECTION—read before getting started

INSPECT YOUR MIXER FOR ANY DAMAGE which may have occurred during shipping. If any damage is found,please notify the shipping company and CARVIN immediately. SAVE THE CARTON & ALL PACKING MATERIALS. In the event you have to re-ship your unit, the S/L consolewill only be accepted in our factory designed shipping carton or damage could result in which CARVIN and the ship-ping company are not responsible for. SAVE YOUR INVOICE. It will be required for warranty service if needed in the future. SHIPMENT SHORTAGE. If you find items missing, they may have been shipped separately. Please allow severaldays for the rest of your order to arrive before inquiring.RECORD THE SERIAL NUMBER on the enclosed warranty card and on this manual for your records. Keep yourportion of the card and return the portion with your name and comments to us.

For the new ownerCongratulations on your selection of a Carvin product “The Professional's Choice.” Your S/L series consoledemonstrates Carvin's commitment to producing the highest quality & most sophisticated engineering in the audioindustry today. Its wide acceptance and use by industry professionals illustrates the basis for Carvin's recognitionas “The Professional's Choice.”

Professionalism can only be measured from the results people achieve through their efforts and knowledge. It isnot something that automatically happens when buying new or more sophisticated equipment. Rather, it's whatyou do with the equipment and how well you do it that ultimately makes the point. We are certain your newCARVlN console will deliver the performance necessary for you to achieve solid results, and ultimately enjoy a highdegree of professionalism.

To compliment your new console and help you acquire that knowledge, we've included this manual. All of theinformation 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 consoleaccurately and in “plain English”. But, if you have any questions that are not answered here, please call us at ourtoll free numbers. Our sales staff is well versed in the technical aspects of our products and are waiting to assistyou with any questions you may have. We sincerely wish to ensure your complete satisfaction and enjoyment withyour 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 have always helped us improve and further develop our products. We sincerelywelcome any comments or ideas you may have.

Please, send in the warranty card. Although it is not absolutely necessary to ensure warranty protection, it willallow us to better know how you are using our equipment while keeping a ready reference for our files. Sending inthe warranty card also helps us to mail literature and information that may be of interest to you as a professionalmusician. Let us know where you are so we can keep in touch!

In this manual there are diagrams and descriptions to aid you in understanding your new console. So, with thismanual in hand, you hold the key to proper operation and the ability to achieve professional results.

May you enjoy many years of success and fun with your new CARVIN console!

TOLL FREE (800)-854-2235

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For your records, you may wish to record the following information.

Serial No._____________________ Invoice Date_______________

Quick set up - Before power is turned on.

1) Be sure the SLP5600 power supply and AC cord is correct for your region (120 Volt or 230 volt).

2) Use only a grounded (3 prong) power outlet to prevent a shock hazard. This also provides the qui-etest grounding for your mixer.

3) Zeroing the console knobs and switches insures the current status of your mixer and reduces sur-prises when initially plugging in instruments and microphones.

Zeroing procedure:Channel - Turn all EQ gain controls to their center positions.

Turn the mic-pre gain controls to their full counter-clockwise position.Turn all auxiliary send controls counter-clockwise to “0”.Place channel faders to the down position.Place all channel switches to the up position.

Master - Place all master and group faders to the down position.Turn all control room levels counter clockwise to “0”Turn all Auxiliary send master levels counter clockwise to “0”.Turn all stereo return levels counter clockwise to “0”.

4) The SL mixer series uses an external power supply, the SLP5600.AC power is connected to the SLP5600 and is in turn connected tothe mixer via a 4 wire Speakon™ cable. If an alternate Speakon™cable is to be used, be sure it is a 4 wire cable. Not all Speakon™cables have 4 wires.

5) After connecting your power supply and zeroing the console, turn on the mixer via the red powerswitch on the SLP5600 power supply. Test the mixer by plugging a microphone into a channel XLRinput, turn up the gain control at the top of the channel and turn up the channels fader. While talkinginto the microphone, the channel meters should be showing signal. Some adjustment to the gain con-trol and fader may be needed to see the signal on the channel meters. Now assign the channel to anyof the master groups or Left-Right via the channel assignment switches 1-2, 3-4, 5-6, 7-8, or L-R.After adjusting the corresponding master fader, the master meters should be showing signal.

This is a very simple turn on/setup procedure. However, be sure to read the entire manual. Note;some features or setup connections may help in your situation because most of the S/L console fea-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

PRE1-2

C

L R

-15

0

+15

1k

200 5k

800 2kFREQ

0 10

5

0 10

5

0 10

5

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5 55

-15

0

+15

-15

LOW0

+15

HIMID

500

80 2k

200 1k

-15

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+15

LOWMID

MUTE

SOLO

LOWCUT

PK

3

65

4

1

2

FREQ

PAN

7 8

C

PAN

PREFADw/EQ

ETAP 6-5

ETAP

NIQE

ETAP

ESAHP

PRE 43 -

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 2a) Receiving Inspectionb) For the new ownerc) Before power is turned on

1. Mixer Overview . . . . . . . . . . . . . .pg 7

2. Installation . . . . . . . . . . . . . . . . .pg 7

3. Input Channel Section . . . . . . . . . .pg 8

4. Master Section . . . . . . . . . . . . . .pg 11Master I/O sectionLeft, Right, and Groups Control MastersStereo Returns & Tape IN/OUTAuxiliary Send Masters

5. Standard Studio Mixer Setups . . . .pg 14

6. Standard Live Mixer Setups . . . . .pg 17

7. Using the Inserts . . . . . . . . . . . . .pg 22Standard InsertingInsert as Direct Mic-pre Out

8. Meter Bridge . . . . . . . . . . . . . . .pg 23

9. Power Supply . . . . . . . . . . . . . . .pg 24

10. Cable Connections . . . . . . . . . . .pg 25

11. Block Diagram . . . . . . . . . . . . .pg 26

12. General Specifications . . . . . . . .pg 27

Appendixes

B. Schematics . . . . . . . . . . . . .pgs 28-33

C. Console Dimensions . . . . . . . . . .pg 34

D. Glossary of Terms . . . . . . . . .pgs 35-37

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1. Mixer OverviewThe S/L series mixing consoles are designed for Studio and Live performances. S/L series consoles allow the user to performmulti-track recording where the tracks equal the number of channels for the mixer; either 24, 40, or 56. This ability is due to theDual In-line channel format used on the S/L series. Dual In-line channels provide a mixing path for the microphones or otherinput devices to be recorded, a mixing path for the individual channel outputs to a recording device’s inputs and finally a mixingpath for the output of the recording device. Live performances benefit from the S/L’s AUX sends that can be used for monitormixes 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) pre/post fader. • 4 stereo returns w/ Aux 1 & 2 sends, pan and level.• 8 master groups w/ L-R, assignment and pan, mute and solo.• Comprehensive master control room section with separate studio controls. • Specially designed high current headphone outputs.

2. Installations

7

The S/L series console dimensions are in Appendix B for table size and custom installments. A good installation will keep inmind placement proximity to potential noise sources and positioning the mixer where the sound can be heard clearly from theaudience’s perspective. The outboard SLP5600 AC power supply is also a consideration when installing a console of this caliber. The AC power for the

mixer and the rest of the sound system needs to first of all, have the capacity to power the system. Be sure power amps and otherhigh power portions of the system are on large enough and, if possible, separate breakers. It’s possible to lose one or two poweramps in a large system and deal with a 3-6 dB drop in output but if the power amp takes the mixing console with it, you’ve losteverything. Also, with AC power try to avoid using the same power outlets used by stage lighting. The performance lights typi-cally require large amounts of power and produce heavy AC power spikes when switched on and off. These lights and many ban-quet room lights can be on solid state dimmer controllers, which produce noisy spikes on their AC power lines. These noises canonly cause headaches for a sound system and nightmares for a recording studios because some of the spikes are emitted andcan’t be taken out by power conditioners.

The placement of the mixing console in live sound situations is often misunderstood. Especially when a promoter or banquetdirector sees the console as taking up valuable floor space or as an eye sore at a fancy show. The placement of the mixing con-sole is very important in hearing the performance from the perspective of the listeners. The placement for routing cables is fairlyobvious, avoid large power transformers, air conditioners and lighting rigs! Note: the best sound location in a room will be nearthe console because that’s where the mix is created.

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3. Input Channel section1. 48V PHANTOM POWER SWITCHThis switch provides phantom power for condenser mics in groups of 8 channels. This allows other channel groups to remainnon-powered for instruments and dynamic mics that don’t require phantom power. The 48V switch should not be engaged whenusing sources that do not use phantom power.

2. CHANNEL DIRECT OUTThe DIRECT OUT is a 1/4” TRS (Tip/Ring/Sleeve) balanced output. The DIRECT OUT provides an output of the channel (postfader) unaffected by the pan or assignments. This is typically used for multi-track recording where each channel feeds a trackon the recorder. The DIRECT OUT can also be used for sending a channel to an effects unit and to return the effects unit toanother channel for mixing.

3. CHANNEL TAPE INThe TAPE IN is a 1/4” TRS (Tip/Ring/Sleeve) balanced input. The TAPE IN input jack makes up the alternate input path in thedual in-line format of the S/L series consoles. This is typically used as a return from a multi-track recorder. The TAPE IN signalcan be accessed via the tape switch, through the Aux 7-8 tape switch or through the Aux 5-6 tape switch.

4. LINE INThe LINE IN is a 1/4” TRS (Tip/Ring/Sleeve) balanced input. The LINE IN connectors are for connecting balanced and unbal-anced instruments, mics and line level sources such as drum machines or keyboards.

5. MIC INThe MIC IN is an XLR balanced input. These Mic inputs are for connecting professional low impedance microphones. +48V Phantom power isprovided via the grouped phantom power switch for condenser mics requiring phantom power.

6. INSERTThe INSERT is a 1/4” TRS (Tip/Ring/Sleeve) Tip send and a ring return break point. The INSERT jack is typically used for inserting an effectsunit, compressor and/or equalizer at the beginning of the channel’s signal path. In the S/L series, the insert point is located post mic pre-ampand tape in (depending on the tape switch position) and before the EQ and AUX sends. With an insert cable (1/4” TRS on one end and dual 1/4”TS “Tip/Sleeve” on the other ends), the TRS end is used at the mixer’s insert jack and the corresponding tip TS (Tip/Sleeve) plug goes to theunits input and the corresponding TS (Tip/Sleeve) plug goes in the units output. To use the INSERT jack as a direct output for an alternate multi-track recording output, use a 1/4” TS (Tip/Sleeve) cable and insert to the first “click” (1/2 insert). Then connect the other end of the cable to aninput on a multi-track recorder. For detailed information on channel insert set up, please see section 7 Using the Insert Jacks on Pg 22

24

PHANTOMPOWER

17-24

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TT

3. Input Channel section continued.

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7. GAIN CONTROLThe GAIN control adjusts the gain of the channels high gain microphone pre-amplifier. This pre-amplifier is designed for professional lowimpedance microphones. Monitor the gain level with the PEAK LED. If the LED is constantly lit, decrease the amount of gain. If distortion ispresent, decrease your gain until it is eliminated. The GAIN control is also the level control for the LINE IN. Using both MIC IN and LINE INinputs at the same time is possible with some deterioration in common mode rejection. To set the gain for optimum signal-to-noise, auditionyour audio source and turn the GAIN control up until the PEAK LED starts to flash. The PEAK LED should not be constantly lit but occasionalpeaking is OK. Repeat this with each channel. Different mics will require different levels of GAIN.

8. PHASE SWITCHThe PHASE switch reverses the polarity of the input signal to compensate for phase differences due to microphone placement or incorrect wiringof input cables. This switch should be released (up position) for normal operation.

9. TAPE SWITCHThe TAPE switch provides the Dual In-line channel format. It should be viewed as an input tape switch. In the up position, the MIC and LINEinputs are feeding the channel’s EQ, sends and fader with assignments. The TAPE IN goes to the TAPE 5-6 and TAPE (AUX 7-8) switches. Inthe down position, the routing is “flipped” where the TAPE IN has the EQ, sends and fader with assignments and the mic line inputs are routedto the TAPE 5-6 and TAPE(AUX 7-8) switches. In a recording situation, the switch up position provides the tracking mode and the down posi-tion provides the mix down mode.

10. LOW CUT SWITCHThe LOW CUT switch is a 12dB/Octave high pass filter with a corner frequency of 75Hz. Using the LOW CUT feature helps elim-inate unwanted low frequencies. Use the LOW CUT filter to reduce “rumbling” and “boom” noises picked up from mic standsor hollow body acoustic/electric guitars. This filter can also help tighten bass response by turning up the LOW EQ control whileusing the LOW CUT switch.

11. EQ HIGH CONTROL The High control is an active shelving type of tone control with a corner frequency of 12KHz. The ±15 dB boost and cut pro-vides an overall 30 dB range of powerful EQ control.

12. EQ HI MID LEVEL AND FREQUENCY CONTROLSThe HI MID level and FREQ controls comprise a semi-parametric or sweepable mid equalizer. The level control provides ±15dB boost and cut with the middle position (center detent) at OdB. The frequency being manipulated is controlled by the fre-quency control. The FREQ control sets the center frequency for this “bell curve” designed tone control. The HI MID FREQ con-trol ranges from 500Hz to 5KHz. Cutting and boosting frequencies improperly can cause an “un-natural” sound to your vocalsor instruments. Only use these controls to overcome the limitations of the Microphones and room effects to achieve a naturalsound for the entire performance or recording.

13. EQ LOW MID LEVEL AND FREQUENCY CONTROLSThe LOW MID level and FREQ controls comprise a semi-parametric or sweepable mid equalizer. The level control provides ±15dB boost and cut with the middle position (center detent) at OdB. The frequency being manipulated is controlled by the FREQcontrol. The FREQ control sets the center frequency for this for this “bell curve” designed tone control. The LOW MID FREQcontrol ranges from 80Hz to 2KHz. Cutting and boosting frequencies improperly can cause an “unnatural” sound to your vocalsor instruments. Only use these controls to overcome the limitations of the microphones and room effects to achieve a naturalsound for the entire performance or recording.

14. EQ LOW The LOW control is an active shelving type of tone control with a corner frequency of 80Hz. The ±15 dB boost and cut providesan overall 30 dB range of powerful deep bass EQ control.

15. EQ IN SWITCH In the down position, the EQ IN SWITCH routes the audio through the channel’s EQ (High, both Mid’s, and the low controls). Inthe up position, the EQ IN SWITCH bypasses the EQ section but leaves the LOW CUT switch active in the circuit. The EQ INSWITCH is great for comparing the “flat” to EQ sounds.

16. CHANNEL AUX 1 & AUX 2 PRE SENDSThe AUX 1 & AUX 2 controls are pre EQ, pre mute and pre fader sends. These controls are designed as uninterrupted moni-toring feeds for stage monitor or in studio tracking. The AUX 1- AUX 2 PRE signal is post INSERT in order to get the benefitsof an inserted channel effect such as a compressor.

17. AUX 3 - 4 PRE SWITCHThe Aux 3 - 4 PRE switch in the up position places AUX 3 and AUX 4 send controls post EQ and post fader (working the same as AUX 5 andAUX 6). In the down position AUX 3 and AUX 4 send controls, are pre EQ, pre mute and pre fader (working the same as AUX 1 and AUX 2).

7/8

GAIN

HIGH

AUX

PRE1-2

-15

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200 5k

800 2kFREQ

0 10

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500

80 2k

200 1k

-15

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LOWCUT

3

65

4

1

2

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7 8

C

PAN

PREFADw/EQ

ETAP 6-5

ETAP

NIQE

ETAP

ESAHP

PRE 43 -

7

8

9

10

15

11

14

12

13

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18. CHANNEL AUX 3 AND AUX 4 PRE OR POST SENDSThe AUX 3 and AUX 4 level controls (with the Aux 3 - 4 PRE switch in) provides a total of 4 PRE monitor controls when used with AUX 1 andAUX 2 (4 monitor mixes). With the Aux 3 - 4 PRE switch out, AUX 3 and AUX 4 can be used with AUX 5 and AUX 6 as effects sends for a totalof 4 post sends.

19. TAPE 5 - 6 SWITCHThe TAPE 5 - 6 switch is linked to the TAPE switch at the top of the channel. Here the alternate input (the input not going to the fader) can besourced to AUX 5 and AUX 6. This is used primarily in recording during tracking to provide playback to the studio musicians.

20. CHANNEL AUX 5 AND AUX 6 POST SENDSThe AUX 5 and AUX 6 sends are post EQ and post Fader sends when the TAPE 5-6 switch is up. The AUX 5 and AUX 6 sends are designed foreffects sends or any other fader tracking sends needed. See Tape 5-6 switch for it’s tape input effects on AUX 5 and AUX 6.

21. CHANNEL AUX 7/8 TAPE SWITCHThe 7/8 TAPE switch is linked to the TAPE switch at the top of the channel. Here the alternate input (the input not going to the fader) can besourced to the stereo pair of AUX 7 and AUX 8. This is used primarily in recording during tracking to provide playback mixing for the controlroom and to the studio musicians.

22. CHANNEL AUX 7/8 PRE FAD W/ EQ SWITCHThe PRE FAD w/ EQ switch in the up position places the stereo pair of AUX 7 and AUX 8 controls post EQ and post fader for use as effects sends.In the down position, the stereo pair of AUX 7 and AUX 8 controls are post EQ, pre mute and pre fader for stereo in-ear monitor sends or a stereodrum monitor send. This switch only works when the AUX 7/8 TAPE switch is in the up position.

23. CHANNEL AUX 7-8 PRE OR POST STEREO SENDSThe stereo pair of AUX 7 and AUX 8 level controls are post EQ and post fader sends when the TAPE and PRE FAD w/ EQ switchesare up. The stereo pair is made up of the 7/8 level control and the 7/8 pan control which pans between the two send AUX 7and AUX 8. The stereo pair of AUX 7 and AUX 8 sends are designed for effects sends or any other fader tracking send needed.See TAPE switch for its tape input effects on AUX 7 and AUX 8.

24. PAN This is the channel’s main PAN control. It allows the channel’s signal to be place anywhere in the stereo field from left to rightwith the center detent being centered. The PAN control in the studio is typically used for adjusting the stereo field for eachchannel, but it is also used for assigning channels to individual buses. The later is typical for live mixing where certain chan-nels are grouped to a single bus for sub group mixing. See Standard Live mixer set-ups for more details on sub mixing.

25. PEAK, SOLO, AND MUTE INDICATORS The RED PEAK LED indicator is pre-fader and post EQ. A constantly lit LED indicates the signal probably needs a reductionin the GAIN control to prevent input overloading. The GREEN SOLO LED indicates the solo switch has been pressed on thechannel. The RED MUTE LED indicates the MUTE switch has been pressed on the channel.

26. MUTE SWITCH The MUTE switch turns off the channel at the fader. All sends which are pre fader will not be muted. This is extremely usefulwhen you need to mute channels but can’t afford to lose fader settings.

27. SOLO SWITCH The SOLO switch allows the operator to monitor each channel. The SOLO switch can be set for either “PFL mode” (Pre FaderListen) or “SOLO after fader” where the channel’s pan position is heard when soloed. The switch to change the SOLO modeis found in the CONTROL MASTERS section of the console. See Master Section for more information.

28. ASSIGNMENT SWITCHESThese switches assign the channels’ signal to the group faders (8 buses) for sub-mixing and to the Left & Right faders in theMaster Section. Each channel can be assigned to the 1-2, 3-4, 5-6, 7-8, and L-R Faders in stereo pairs. This feature allowsthe operator to group certain channels (such as the channels used to mic an entire drum kit) and assign them to one pair ofthe master faders in the 1-2, 3-4 sub group. This sub-mixing feature decreases the number of channel faders that need to beadjusted. See Standard Live mixer setups for more details on sub mixing.

29. CHANNEL FADER The channel FADER control is the final level control of the channel before the PAN control. The Fader has a 0dB marker fornominal setting of the channel. For typical mixing the 0dB position provides the lowest noise and highest headroom for thechannel. The Fader has an added 12dB of gain for signals that need an extra boost in the mix, however pushing the faderabove the 0db marker should be done in moderation. The channels have plenty of headroom but the proper adjustment shouldbe made at the channel’s input or GAIN control. Be aware of the signals and fader settings so you don’t over-drive the bus ordegrading the channel’s signal by over-driving the faders. The meter bridge and direct outputs are sourced after the fader.

7/8

AUX

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L R

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MUTE

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PK

3

65

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7 8

C

PAN

PREFADw/EQ

ETAP 6-5

ETAP

PRE 43 -

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+12

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Master I/O SectionNote: All XLR connectors follow the Standard of:1- Ground 2- Non-inverting (hot) 3- Inverting (cold)All master 1/4” jacks are unbalanced TS (Tip/Sleeve) withthe exception of the control room and Studio Right jacks usedfor PHONES.

1. POWER CONNECTORThe Speakon™ power connector is used to bring the DCpower into the console from the 2 rack space SLP5600 powersupply. A standard 4 wire Speakon™ cable is required.

2. INSERTS LEFT-RIGHT, GROUPS 1-8The Master Inserts are 1/4” TRS pre fader inserts. The TRS is the same as the channel inserts with Tip Send-Ring Return. These inserts areperfect when only a limited number of compressors are available. The Inserts are especially good for unbalanced graphic EQ’s and other unbal-anced gear desired on the outputs because it will not effect the XLR balanced outputs.

3. GROUP 1-8 XLR outputs The Group 1-8 XLR outputs are electronically balanced connectors for the 1-8 Groups. The Group 1-4 XLR’s are also used by AUX 1-4 via theAUX 1-4 FLIP switches.

4. LEFT and RIGHT XLR and 1/4” CONNECTORSThese XLR connectors are balanced outputs of the Right and Left master outputs. The 1/4” connectors are unbalanced outputs of the sameL-R signals.

5. TAPE IN and OUT RCA’sStereo RCA jacks are provided for connecting a tape recorder or CD player. The levels of these jacks are controlled by the corresponding TAPEIN and TAPE OUT controls in the master section.

6. AUX SEND 1/4” OUTPUTSEight 1/4” unbalanced output connectors correspond to the AUX SENDS controls in the master section. Aux 1-4 outputs are also used by theGroup 1-4 masters via the AUX 1-4 Flip switches.

7. STEREO AUX RETURNS 1/4” inputsFour 1/4” unbalanced stereo pairs (8 inputs) correspond to the 4 STEREO Return controls in the master section. If only one side (right orleft) is used, the jacks are wired so the signal will be supplied to both the right and left path of the stereo return. This allows all the stereo fea-tures to work properly with a mono return.

8. CONTROL ROOM 1/4” OUTPUTS (CONTROL L-R, PHONES)The 1/4” unbalance control room outputs provide individual left and right out for the control room section of the console. The right side isalso configured as a TRS L/R stereo connection for headphones, when nothing is plugged into the left side. The PHONE connection is ideallysuited for live situations. The individual outputs provide an ideal studio monitoring system connection. Both outputs are designed with dis-crete high current output circuitry for driving headphones and performance studio amplifiers.

9. STUDIO 1/4” OUTPUTS (STUDIO L-R, PHONES)The 1/4” unbalance STUDIO outputs provide individual left and right out for the STUDIO section of the master. The right side is also config-ured as a TRS L/R stereo connection for headphones when nothing is plugged into the left side. The PHONE connection is ideally suited forlive situations. The individual outputs provide an ideal studio monitoring system connection. Both outputs are designed with discrete highcurrent output circuitry for driving headphones and performance studio amplifiers.

Left, Right and Groups

10. POWER LED Verifies power is being supplied to the mixer and the mixer is on.

11. LEFT and RIGHT FADERSThe LEFT and RIGHT FADERS get their signal only from the channel L-R assignment switches, Stereo Returns and the Group 1-8 L-R assign-ment switches. These faders are post L-R master INSERTS and provide the level adjustments for the left and right XLR and 1/4” outputs.

12. GROUP FADERSEach GROUP FADER gets its signal from the corresponding channel group assignment switch. These faders are post Group master INSERTS,and provide the level adjustments for the corresponding Group XLR output.

4. Master Section

1

LEFT

AUXSEND 5

L R

IN

OUT

6 7 8

1 2 3 4

AUXRETURN

POWER

GROUPS2 3 4 5 6 7 8

L R1 2

L R3

L R4

L R

INSERTS

1 2 3 4 5 6 7 8 L R

RIGHT

CONTROLL-R

STUDIOL-R

PH

ON

ES

PH

ON

ES

TAPE

11

1

3

46

6

7

2

12

Control Masters

13. GROUP MUTE’SThe Group MUTE switch mutes the Group signal pre Fader and post insert.This means the group output and L-R assignment are muted, but not thesend on the insert. The corresponding RED Mute LED indicates the Grouphas been muted.

14. GROUP SOLOThe GROUP SOLO is an in place SOLO located after of the group PAN circuit.

15. GROUP L-R AND PANThe Group L-R Assignment switch is located after the PAN circuit allowingthe group output to be assigned to either the left, the right, or any PAN set-ting of both masters.

16. GROUP PEAK LED’SThe Group PEAK LED indicates the group is within 3db of clipping. The PEAKLED is located pre fader post insert in order to indicate the peaking level ofthe summing bus or insert return when the group insert is used.

17. SOLO LEVELThe SOLO level controls the volume of the SOLO bus heard through the control room (and channel PFL when used). The SOLO level also affectsthe measured level seen on the L-R meters when something is soloed. This is why the SOLO is center detented to provide a unity gain locationfor the solo circuit in order to indicate the desired soloed material correctly on the meters. For normal solos the meters indicate stereo in placematerial, when using the channel PFL mode the meters indicate in mono the pre fader material on both meters.

18. SOLO LED The SOLO led lights up when one or more solo switches have been pressed. The SOLO LED also indicates the control room and master L-Rmeters are monitoring the pressed SOLO switches.

19. CHANNEL LISTEN MODE & PFL MODE INDICATORThe channel listen mode switch provides the option of changing the channel SOLO switches from normally post PAN, stereo in-place solo switchesto pre fader PFL switches used in live applications. The PFL MODE led indicates the channels are in PFL mode.

20. CONTROL ROOM LEVELThe CONTROL ROOM level adjusts the level of CONTROL ROOM outputs. Thisis the master level when using the control room output for studio monitorsor when using the control room right output for PHONES.

21. CONTROL ROOM SELECTION SWITCHES Use these switches to select what is heard through the control room outputs. When selected these switcheswill be heard at the outputs. The switches perform as follows:

AUX 7-8: listens to the final output of the AUX 7-8 masters.TAPE IN: listens to the post TAPE IN level input.AUX 1-2: listens to the final output of the AUX 1-2 masters.

MONO: creates a control room left/right summed mono output on the control room outputs.L-R: listens to the final output LEFT and RIGHT masters.

TO STUDIO: Inputs the control room output to the Studio output.

22. STUDIO LEVELThe STUDIO level adjusts the level of STUDIO outputs. This is the master level when using the STUDIO outputs for a studio playback system orwhen using the STUDIO right output for PHONES.

23. STUDIO SELECTION SWITCHES Use these switches to select what is heard through the STUDIO outputs. When selected these switches will add together at the outputs.The switches perform as follows: (Also see TO STUDIO above under the control room selection switches.)

AUX 7-8: listens to the final output of the AUX 7-8 masters.AUX 1-2: listens to the final output of the AUX 1-2 masters.

L-R: listens to the final output LEFT and RIGHT masters.

PAN PAN PAN PAN PAN PAN PAN PAN

L-R L-R L-R L-R L-R L-R L-R L-R

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

1 2 3 4 5 6 7 8 L R

C

L R

C

L R

C

L R

C

L R

C

L R

C

L R

C

L R

C

L R

PK PKPK PK PK PK PK PK

R1 2 3 4 5 6 7 8 L

POWER

oo

0

12

6

+12

+ 6

24

30

40

50

oo

0

12

6

+12

+ 6

24

30

40

50

oo

0

12

6

+12

+ 6

24

30

40

50

oo

0

12

6

+12

+ 6

24

30

40

50

oo

0

12

6

+12

+ 6

24

30

40

50

oo

0

12

6

+12

+ 6

24

30

40

50

oo

0

12

6

+12

+ 6

24

30

40

50

oo

12

+12

+ 9

30

40

60

+ 6

+ 3

0

6

20

50

3

oo

12

+12

+ 9

30

40

+ 6

+ 3

0

6

20

50

3

12

+12

+ 9

24

+ 6

+ 3

0

6

18

3

oo

30

40

50

CONTROL MASTERSSTUDIO

AUX 1-2

AUX 7-8

L-RCHANNEL

LISTENMODE

TAPE IN

MONOAUX 1-2

AUX 7-8

L-R

SOLO

PFL MODE

CONTROLROOM

SOLO

0 10

5

0 10

5

+6

0

oo

TOSTUDIO

10

15

16

17

18

20

22

21 23

19

14

13

Note:You can use both theControl Room outputs andthe Studio outputs forheadphone monitoring.

13

Auxiliary Send Masters24. AUX SENDS 1-6 CONTROLS & PFLThese are the Master levels for Auxiliary Sends. Each has its own PFL switchto monitor the AUX send buses pre fader.

25. AUX 1-4 FLIP SWITCHESThe AUXiliary FLIP switches on AUX send 1-4 are for the purpose of providingXLR balanced outputs for these auxiliaries. This is especially useful for balancedmonitor sends. When the switch is down, the output of the auxiliary is sent tothe corresponding group XLR output and meter bridge feed. At the same time, the affected group output is fed to the auxiliaries 1/4” output jack.No other operation is affected.

26. AUX SENDS 7/8 CONTROL & L-R SWITCHThe AUX SENDS 7/8 CONTROL is a stereo master level for both the AUX Send 7 and 8. The output of AUX 7-8 level can be sent to the L-R mas-ters via the L-R switch providing a route for secondary channel inputs to get to the main L-R mix.

Stereo Returns & Tape IN/OUT

27. STEREO RETURN LEVEL AND PANThe stereo return level is the main level control for the return. The stereo return PAN works as a balance control for Stereo inputs and as a PANcontrol for mono inputs.

28. STEREO RETURN AUX 1 AND AUX 2 SENDSThe Stereo return AUX 1 and AUX 2 send controls allow the returns to be fed to the monitor mixes. These Aux sends are created from summingthe left and right pre-level return signals. Because they are pre-level, they can be controlled independently of the signal going to the main leftright mix.

29. STEREO RETURN MUTE AND SOLOEach stereo return contains a MUTE and a SOLO switch. The MUTE is equivalent to a L-R assignment on the channels, except it works in thereverse action. The MUTE switch is post the PAN and LEVEL controls. The SOLO switch is an in-place stereo solo, placed in the same locationas the MUTE (post PAN and LEVEL).

30. TAPE OUT LEVEL AND SOURCE SWITCH.The TAPE OUT level provides an on board control for the RCA tape output. The level is limited to adding a maximum of +6db to the originalsignal going out in order to prevent overdriving the recording equipment used. The L-R or AUX 7-8 source switch is provided to allow the record-ing of a live performance from the main L-R house mix or an independent mix through the AUX 7-8 sends.

31. TAPE IN LEVELThis adjusts the level of the signal coming from RCA TAPE IN jacks.

32. TAPE IN L-R AND AUX 1-2 SWITCHESThese switches allow playback of the RCA TAPE IN signal through the main L-R mix and/or the AUX 1-2 monitor mixes.

STEREO RETURNS

4 TAPEOUT

MUTE

AUX1-2

TAPEIN

L-RAUX 7-8

SOLO

L-R

3MUTE

SOLO

2MUTE

SOLO

1MUTE

PAN

AUX 2

SOLO

AUX 1

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

C

L R

C

L R

C

L R

C

L R

PAN

AUX 2

AUX 1

PAN

AUX 2

AUX 1

PAN

AUX 2

AUX 1

+6

0

oo

+6

0

oo

AUX SENDS

654321 7/8

L-RPFL0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

PFL PFL PFL PFL PFL

FLIP FLIP FLIP FLIP

TO GRP 1XLR

TO GRP 2XLR

TO GRP 3XLR

TO GRP 4XLR

24

30

27

25

26

31

3228

The following section describes two of the morecommon Studio recording setups. These setupsare not the only setups you can use, many of theconnections described here can be combined andcustomized to provide the best setup for you.The first Setup is based on the In-Line recordingmethod and the second setup is based on the Splitrecording method.

In-Line Recording Setup.

The S/L series consoles are designed for In-linerecording. In-line recording is where each mixer channel can handle a mic input, a direct output to a multi-track and a tape return input fromthe multi-track. This is due to the dual in-line channel format of the S/L series console. The dual In-line channel is made up of two individualchannel signal paths, a minor path for monitoring and a main, full featured path for tracking and final mix down. These two signal paths aresourced by two inputs at the MIC input (including LINE IN) and the TAPE IN. With the use of the TAPE switch, either of the two input paths canflow through either of the two signal paths.

When the TAPE switch is OUT, the MIC/LINE IN goes through the main signal path providing access to: the channel insert, the EQ section, allthe Auxiliaries, the Fader, the DIRECT OUTPUT and Bus assignments. The tape input goes through the minor path, which can beaccessed via the Aux 7-8 “TAPE” switch or the Aux 5-6 “TAPE 5-6” switch. This is the typical setup for tracking (recording instru-ments to the multi-track unit’sindividual tracks), where a mic isplugged into the channel’s XLR

MIC input. Then via the channel DIRECTOUTPUT, the mic is recorded on one track of therecording unit. At the same time on the chan-nel, the output of the recording unit can be mon-itored via the tape input and the Aux 7-8 TAPEswitch.

When the TAPE switch is IN the inputs are flippedand the tape input goes through the main path

and the MIC goes through theminor path. This is the typicalsetup for mix down (where all therecorded tracks are mixed to a

stereo mix). The MIC input can be used as aninput in the mix down to add more effectsreturns and/or midi tracks to the stereo mix.Figure 5-1 shows a block diagram of the chan-nel and the modes of the TAPE switch. Whenthe TAPE switch is fully understood, it canbecome a very powerful recording tool.

Figure 5-2 shows channel input connections forthe In-line format. Here the mic and line inputsare both used in the example, but typically oneor the other would be used. In the example themulti-track recorder is showing the inputs andoutputs of one track. The rest of the tracks wouldbe setup on the other channels in the samemanner. One of the key points here is that theseconnections can be left connected in both thetracking and mix down modes because theTAPE switches re-patch the inputs for the twomodes internally.

MULTI-TRACK RECORDER

TAPEIN

MIC

LINEIN

DIRECTOUT

PHANTOMPOWER

INSERT

16 9-16

TRACKOUTPUT

TRACKINPUT

TAPE IN

MIC IN

LINE IN

DIRECT OUT

Figure 5-2

TAPE IN

MA

ST

ER

S

AU

XIL

IAR

IES

4 BANDCHANNEL EQ

CONTROLS

PAD

MIC-PRE FADER

CHANNEL

line pad(-11dB)

MIC

LINE AUXSENDS

TAPE

DIRECT OUT

AUX TAPESWITCHS

INSERT

Figure 5-15. Standard Studio Mixer Setups

14

Split Recording Setup.

The Split recording method has many different looks depending on the mixing consoles setup and features. The basic concept of split record-ing is simply using a different channel or bus for mixing than was used for tracking. The complication comes with how the features of themixer are used. If the mixer has direct outputs, then the channel used for tracking goes direct to the recorder’s inputs and another channel isused for the recorders playback through the mixer. If the channel does not have direct outputs, then the channel output goes through thebusses to the recorders inputs. If there are more tracks and inputs than channels, then the channels have to be patched for mic and instru-ments to track. For playback and mixing, the channels are patched for tape outputs.

With S/L consoles, some split recording is done when there are less tracks on the recorder than on the console or multiple channels aredesired to be recorded to one or two tracks. In these cases, the Groups are used to sub-mix banks of channels down to one or two tracks.The same In-line setup is used, except that the direct outputs going to the desired tracks to get the sub mixed signals are patched to the out-puts of the groups being used for sub mixing the channels. Even in this setup patching is greatly reduced with the S/L console because thetape returns can remain in the channels and only 8 direct outs and 8 recorder inputs need to be going through a patch bay for patching to thegroup outputs. The best recording setup has the least possible patching and interconnection.

Figure 5-3 shows a simple combination of in-line and split recording setups using a patch bay like the Carvin PB48 patch bay . The setupshows a typical 16 channel recording system. The first 8 channels are connected with the in-line method; where the mixer’s TAPE IN’s arereceiving the multi-tracks 1-8 outputs and the mixers DIRECT OUT’s are going directly to the multi-tracks inputs 1-8. Tracks 9-16 are setupusing a patch bay with the normal connection (with nothing plugged in the front ) producing the same setup as with tracks 1-8. Using thepatch bay allows the busses to be used instead of the direct out’s for inputs to the multi-track recorder. This allows multiple channels to bemixed down to one or two busses using less tracks. With the patch bay, compressors, gates or effects can also be patched (optional to usingthe insert jacks) covering multiple channels with one unit. The final channel setup shown in Figure 5-3 shows the same 16 channels with theinputs from the mics and instruments being recorded.see figure 5-3 on page 16

15

TAPEIN

MIC

LINEIN

DIRECTOUT

PHANTOMPOWER

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

PHANTOMPOWER

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

7654321 8 1514131211109 161-8 9-16

DIRECTOUT

12VLIGHT

CHANNEL DIRECT OUT

TO MULTI-TRACK INPUT

TAPEIN

MIC

LINEIN

DIRECTOUT

PHANTOMPOWER

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

PHANTOMPOWER

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

7654321 8 1514131211109 161-8 9-16

DIRECTOUT

12VLIGHT

PATCH FOR GROUPS TO TAPE

MULTI-TRACK RECORDER

TAPEIN

MIC

LINEIN

DIRECTOUT

PHANTOMPOWER

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

PHANTOMPOWER

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

7654321 8 1514131211109 161-8 9-16

DIRECTOUT

12VLIGHT

CHANNEL TAPE IN FROM MULTI-TRACK OUTPUT

TAPE IN

DIRECTOUT

LINE IN

MIC IN

1

LEFT

AUXSEND 5

L R

IN

OUT

6 7 8

1 2 3 4

AUXRETURN

POWER

GROUPS2 3 4 5 6 7 8

L R1 2

L R3

L R4

L R

INSERTS

1 2 3 4 5 6 7 8 L R

RIGHT

CONTROLL-R

STUDIOL-R

PH

ON

ES

PH

ON

ES

TAPE

GROUP 1-8OUT

BACK OF

PATCH BAY(normally through)

FRONT OF

PATCH BAY

CHANNEL MICROPHONE AND INSTRUMENT INPUTS

PATCHCABLE

FIGURE 5-3For illustration, the connections have been separated into threeparts. This illustration is intended to show the same thing asfigure 5-2 with multiple channels.

16

The following section describes aspects of using the S/L console in live sound reinforcement. 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 andfocus on the features of the S/L series console. The features covered in the following are:

Auxiliary sendsRecording a live show to 2 trackSub mixing with groupsA Live sound systemThe Sound Check

AUXILIARY SENDS

The S/L consoles feature 8 auxiliary sends with several switchable routing possibilities. For live sound, the main tasks for theauxiliary sends are stage monitor sends, effects sends and specialty sub mixes.

For stage monitor sends, the S/L console is capable of having 6 pre-fader sends. This is made up of the pre-fader AUX 1 and2 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 EQmode (via the PRE w/EQ switch down). In many cases, the AUX 1-2 sends and 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 andright) and a monitor mix for the drummer (rear stage). The Auxiliary 1-4 sends are especially designed for this setup with thePRE switches on the channel and the FLIP switches on the AUX SEND 1-4 masters. The FLIP switches, on the AUX SEND 1-4masters make the 1-4 Group’s XLR balanced outputs available to these sends. The XLR balanced outputs provide better noise

rejection and better Signal level whenusing long cable runs, like with XLR“snakes” going from the mixer to thestage. In turn for using these XLR’s forthe SENDs, the Group 1-4 outputs arenow available at the 1-4 send 1/4” out-puts.For effects sends, S/L consoles can pro-

vide 6 post fader effects sends. Theseare made up of the AUX 3 and 4 sendsin post fader mode (via the PRE switchup), AUX 5 and 6 post fader sends andAUX 7/8 send in the post fader mode (viathe PRE w/EQ switch up). In most sys-tems with 4 monitor mixes, AUX 5 and6 will provide the typical 2 effects sendswith AUX 7/8 open for two more effectssends.

For specialty sub mixes, the TAPEinputs can provide additional inputs forlive shows when channeled through theAUX 7/8 send (via the AUX 7/8 TAPEswitch in the down position) and in themaster section by the AUX 7/8 L-Rswitch. These inputs, in this configu-ration have no EQ, so it is best theseinput signals are used with the stereoreturns.

6. Standard live mixer setups

17

7/87/87/8

AUX

PRE1-2

C

L R

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

-15

LOW0

+15

80 2k

200 1k

PK

3

65

4

1

2

FREQ

PAN

7 8

C

PAN

PREFADw/EQ

ETAP 6-5

ETAP

NIQE

PRE 43 -

AUX

PRE1-2

C

L R

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

-15

LOW0

+15

80 2k

200 1k

PK

3

65

4

1

2

FREQ

PAN

7 8

C

PAN

PREFADw/EQ

ETAP 6-5

ETAP

NIQE

PRE 43 -

AUX

PRE1-2

C

L R

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

-15

LOW0

+15

80 2k

200 1k

PK

3

65

4

1

2

FREQ

PAN

7 8

C

PAN

PREFADw/EQ

ETAP 6-5

ETAP

NIQE

PRE 43 -

AUX 1- MONITOR MIX 1




Power Amp

Power Amp

Power Amp

Power Amp

4 MONITOR MIXES USING AUX 1-4

AUX SENDS

654321 7/8

L-RPFL0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

PFL PFL PFL PFL PFL

FLIP FLIP FLIP FLIP

TO GRP 1XLR

TO GRP 2XLR

TO GRP 3XLR

TO GRP 4XLR

AUX MASTER SENDS

18

RECORDING A LIVE SHOW TO 2 TRACK WITH 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 stereosend pair of AUX 7/8 provides (via the PRE w/ EQ switch down) an independent stereo mix with PAN for live recording. Thisindependent post EQ send allows a completely separate mix to be sent to a 2-track recorder. Use either the AUX 7/8 Sends orthe RCA TAPE OUT for the connection of a two track recorder. The TAPE OUT switch determins which outputs will receive thestereo mix. The AUX 7/8 PAN can also be extremely useful to send two discrete submixes to the L-R audio inputs of a videorecorder. 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 TAPEOUT

MUTE

AUX1-2

TAPEIN

AUXSEND

L-R

L-RAUX 7-8

SOLO

L-R

5

L R

IN

OUT

CONTROL MASTERSSTUDIO

AUX 1-2

AUX 7-8

L-RCHANNEL

LISTENMODE

TAPE IN

MONOAUX 1-2

AUX 7-8

L-R

SOLO

3MUTE

SOLO

2MUTE

SOLO

1MUTE

PAN

AUX 2

SOLO

AUX 1

PFL

PFL MODE

CONTROLROOM

SOLO

6 7 8

1 2 3 4

AUXRETURN

GROUPS2 3 4 5 6 7 8

L R1 2

L R3

L R4

L R

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

C

L R

C

L R

C

L R

C

L R

PAN

AUX 2

AUX 1

PAN

AUX 2

AUX 1

PAN

AUX 2

AUX 1

PFL PFL PFL PFL PFL

+6

0

oo

+6

0

oo

+6

0

oo

INSERTS

FLIP FLIP FLIP FLIP

RIGHT

TO GRP 1XLR

TO GRP 2XLR

TO GRP 3XLR

TO GRP 4XLR

TOSTUDIO

CONTROLL-R

STUDIOL-R

PH

ON

ES

PH

ON

ES

TAPE

7/87/8

GAIN

HIGH

AUX

SOLO

1-2

3-4

5-6

7-8

PRE1-2

C

L R

-15

0

+15

1k

200 5k

800 2kFREQ

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

5 55

-15

0

+15

-15

LOW0

+15

HIMID

500

80 2k

200 1k

-15

0

+15

LOWMID

MUTE

SOLO

LOWCUT

PK

3

65

4

1

2

FREQ

PAN

7 8

C

PAN

PREFADw/EQ

ETAP 6-5

ETAP

NIQE

ETAP

ESAHP

PRE 43 -

+12

+ 9

+ 6

+ 3

0

6

3

GAIN

HIGH

AUX

SOLO

1-2

3-4

5-6

7-8

PRE1-2

C

L R

15

0

+15

1k

200 5k

00 2kFREQ

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

5 55

15

0

+15

15

LOW0

+15

HIMID

500

80 2k

00 1k

15

0

+15

LOWMID

MUTE

SOLO

LOWCUT

PK

3

65

4

1

2

FREQ

PAN

7 8

C

PAN

PREFADw/EQ

EAP 6-5

ETAP

NIQE

ETAP

ESAHP

RE 43 -

+12

+ 9

+ 6

+ 3

0

6

3

7/8

0 10

5

7 8

C

PAN

PREFADw/EQ

ETAP7/8

0 10

5

7 8

C

PAN

PREFADw/EQ

ETAP

TWO-TRACKTAPE 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 channels 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 masters. The advantage is beingable 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, the4 individual microphones are adjusted for each drum, then adjusted as a group for leveling each drum for a total drum set sound. Later whenthe 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 drum 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 forreaching distant listeners and surround sound speakers for effects when the L-R masters are used for the Left and 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/Lconsole. The inputs are mostly mics, but because the console is distant from the stage, these mics and other inputs will be traveling througha “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 1/4” out-puts of the keyboard to balanced XLR outputs for the console. Often the “direct box” will also “ground” isolate the instrument from the consolein order to reduce hum and ground noise.

The next section of Figure 6-4 is the “front-of-house” rack usually containing compressors, effects units and graphic EQ’s. These units areused at the inserts of the channels and at the master inserts for compressing vocals and drums, adding EQ or gates to background vocals anddrums. Also, in the “front-of-house” rack will be the main graphic EQ’s for room equalization on the house speakers. The 6 XLR outputs con-nected at the 1-4 XLR GROUP OUTPUTS and LEFT/RIGHT master outputs are for four stage monitor mixes via the AUX 1-4 FLIP switches. TheLEFT and RIGHT master FADERS control the left and right main speaker clusters. The main mix may be in stereo or mono with the left and rightcontrol for room balancing. Typically a room’s seating arrangement cannot be not setup properly for a true stereo performance. But having con-trol over the two sides of the stage and even a separate feed for subwoofers can help the sound engineer control room acoustics and feedback.The four monitors are pre fader AUX 1-4 stage monitors going through the on-stage rack of graphic equalizes for feedback reduction. Often insimpler systems, the monitors do not get the attention needed to help the performers do their best on the stage. Whenever possible, test outthe monitors and be sure the power level of the monitors is adequate for the expected stage level of the performance. A good monitor systemmakes the performers comfortable and therefore more focused on their best performance.

THE SOUND CHECK

The sound check takes some skill but mostly patience from the performers and especially you the system operator. If you get frustrated duringthe sound check, the performers can lose confidence and the sound may suffer due to things missed in the sound check. The basic sound checkfollows this format: First test all microphones and other input devices (direct boxes, etc.) before the performers 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 a graphicequalizer solves most major monitor feedback problems. Now for a sound check with the performers. First set the level of each performer indi-vidually and in cases where a performer has multiple microphones, such as with drummers, set each drum mic individually then the drum setas a whole. This is also a good time to make some channel tone control adjustments to tailor the sound of the individual performers and instru-ments. After setting each individual, have the performers run through a song. Don’t hesitate to stop the performers if something needs to beadjusted or if a performer or microphone needs to be heard solo again. Remember the sound check is not a rehearsal, but a system check. Itis 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 amonitor system is being used, the mixer operator’s microphone should only be heard through the monitors when addressing the on stage per-formers, especially if something needs to be checked during the show. If the sound check is allowed to run through its full course, the systemshould run smoothly at show time.

19

INSERTTO

PATCH BAY

PHANTPOWE

INSEINSERTINSERTINSERTINSERTINSERTINSERTINSERT

PHANTOMPOWER

INSERTINSERTINSERTINSERTINSERTINSERTINSERTINSERT

7654321 8 1514131211109 161-8 9-

12VLIGHT

GAIN

TAPE4 554 55 4 55

PHASEPHASEPHASE

4 55

1K

225 4K

800 2K

4 55

1K

225 4K

800 2K

4 55

PHASEPHASEPHASE

FREQFREQ

1K

225 4K

800 2K

4 55

80

1K

225 4K

800 2K

4 55

PHASEPHASE

FREQFREQ

GAINGAINGAINGAINGAINGAINGAIN

TAPETAPETAPETAPETAPETAPETAPE

8765

87654321

GAIN

TA

0

1K

4 55

0

1K

4 55

0

1K

4 55

PHPHASEPHASE

0

1K

4 55

0

1K

4 55

0

1K

4 55

PHASEPHASEPHASE

4 55

0

4 55

PHASEPHASEGAINGAINGAINGAINGAINGAINGAIN


11109

161514131211109

CHANNEL MICROPHONE AND INSTRUMENT INPUTS

R600

UNBAL

BAL.

ON

OFF

CGL800

CHANNEL 20

-30 +6

THRES

20

10 230

120

50RATIO

0

-30 +6

OUTPUT

20

10 230

120

50GATE

TH6

12

BYPASS

CHANNEL 10

-30 +6

THRES

20

10 230

120

50RATIO

0

-30 +6

OUTPUT GATE

SOFT

INPUTCLIP

TH6

12

RELEASE

10MS

120MS

0

-30 +6

THRES

20

10 230

120

50RATIO

0

-30 +6

OUTPUT

20

10 230

120

50GATE

SOFTTH6

12

RELEASE

10MS

0

-30 +6

THRES

20

10 230

120

50RATIO

0

-30 +6

OUTPUT

20

10 230

120

50GATE

SOFTTH6

12

RELEASE

10MS

0

-30 +6

THRES

20

10 230

120

50RATIO

0

-30 +6

OUTPUT

20

10 230

120

50GATE

SOFTTH6

12

RELEASE

10MS

0

-30 +6

THRES

20

10 230

120

50RATIO

0

-30 +6

OUTPUT

20

10 230

120

50GATE

SOFTTH6

12

RELEASE

10MS

0

-30 +6

THRES

20

10 230

120

50RATIO

0

-30 +6

OUTPUT

20

10 230

120

50GATE

SOFTTH6

12

RELEASE

10MS

0

-30 +6

THRES

20

10 230

120

50RATIO

0

-30 +6

OUTPUT

20

10 230

120

50GATE

SOFTTH6

12

RELEASE

10MS

CHANNEL 3 CHANNEL 4 CHANNEL 5 CHANNEL 6 CHANNEL 7 CHANNEL 8

OUTPUTCLIP

0

-30 +6

BYPASS

INPUTCLIP

OUTPUTCLIP BYPASS

INPUTCLIP

OUTPUTCLIP BYPASS

INPUTCLIP

OUTPUTCLIP BYPASS

INPUTCLIP

OUTPUTCLIP BYPASS

INPUTCLIP

OUTPUTCLIP BYPASS

INPUTCLIP

OUTPUTCLIP BYPASS

INPUTCLIP

OUTPUTCLIP

0

-30 +6

THRESHOLD RATIO

20

10 230

120

50 100

10 200

ATTACK

20

10 230

120

50

GATE

100

10 200

RELEASE

TH 3 6

BYPASS

INPUTCLIP OUTPUTCLIP

SOFT

RELEASE

10MS

120MS

CHANNEL 1

9 12 15

0

5

10

OUTPUT

GATE

0

-30 +6

THRESHOLD RATIO

20

10 230

120

50 100

10 200

ATTACK

20

10 230

120

50

GATE

100

10 200

RELEASE

TH 3 6

BYPASS

INPUTCLIP OUTPUTCLIP

CHANNEL 2

9 12 15

0

5

10

OUTPUT

GATE PWR

ON

OFF

CGL200

ON

INPUT CLIPOUTPUT

EFF 1 EFF 2

EFF1 EFF2

BYPASS EFF2EFF1

STEREO

EDIT

VALUE

STEREO

543

21

0 1098

76 54

321

0 10987

6

SAVE

(SHIFT)

(COMPARE)

(GLOBAL)

XP2TWO ENGINE DSP EFFECTS PROCESSOR

ON

INPUT CLIPOUTPUT

EFF 1 EFF 2

EFF1 EFF2

BYPASS EFF2EFF1

STEREO

EDIT

VALUE

STEREO

FOUR ENGINE DSP EFFECTS PROCESSORXP4

CLIP

EFF 3 EFF 4

EFF3 EFF4

BYPASS EFF4EFF3

EDIT

VALUE

STEREO1/2

54321

0 10987

6 543

21

0 10987

6

INPUT OUTPUT3/4

543

21

0 1098

76 54

321

0 10987

6

STEREOSAVE SAVE

(SHIFT)(SHIFT)

(COMPARE)

(GLOBAL)

(COMPARE)

(GLOBAL)

FRONT OF HOUSE RACK WITH PATCH BAY ,EFFECTS, COMPRESSORS, AND EQ

GROUP AND MASTER INSERT TO PATCH BAY

HOUSE SPEAKERS

LEF

Professional Amplifier Series



D.I.BOX

EQ2030

ON

OFF

CHANNEL TWO

0dB

+15

–1525 31.5 40

–3

+3

–6

+6

50 63 80 100 125 160 200 250 315 400 500 630 800 1K 1.25K 1.6K 2K 2.5K 3.15K 4K 5K 6.3K 8K 10K 12.5K 16K 20K

0dB

+15

–1525 31.5 40

–3

+3

–6

+6

50 63 80 100 125 160 200 250 315 400 500 630 800 1K 1.25K 1.6K 2K 2.5K 3.15K 4K 5K 6.3K 8K 10K 12.5K 16K 20KEQ IN

10K

6K 45K

35K

25K

20

10 230

120

50

dB +6

0

GAIN

PEAK

HI CUTHz

LOW CUTHz

CHANNEL ONE

EQ IN

10K

6K 45K

35K

25K

20

10 230

120

50

dB +6

0

GAIN

PEAK

HI CUTHz

LOW CUTHz

Figure 6-4

20

1

LEFT

AUXSEND 5

L R

IN

OUT

6 7 8

1 2 3 4

AUXRETURN

POWER

GROUPS2 3 4 5 6 7 8

L R1 2

L R3

L R4

L R

INSERTS

1 2 3 4 5 6 7 8 L R

RIGHT

20 21PHANTOM

POWER

INSERTINSERTINSERTINSERTINSERTINSERTINSERTINSERT

2322191817 2417-24

12VLIGHT

CONTROLL-R

STUDIOL-R

PH

ON

ES

PH

ON

ES

TAPE

STEREO RETURNS

4 TAPEOUTMUTE

TAPEIN

L-RAUX 7-8

SOLO

1 2 3 4 5 6 7 8

3MUTE

SOLO

2MUTE

SOLO

1MUTE

PAN

SOLO

AUX 1

L R

5

0 10

5

5

0 10

5

0 10

5

0 10

5

0 10

5

0 10

5

C

L R

C

L R

C

L R

C

L R

PAN

AUX 1

PAN

AUX 1

PAN

AUX 1

+6

0

oo

+6

0

oo

GAIN

TAPE4 554 55 4 55

PHASEPHASEPHASE

1K

4 55

1K

225 4K

800 2K

4 55

1K

225 4K

800 2K

4 55

PHASEPHASEPHASE

1K

4K

2K

55

1K

225 4K

800 2K

4 55

PHASEPHASEGAINGAINGAINGAINGAINGAINGAIN


24232221

R1 2 3 4 5 6 7 8 L2423222120191817


POWER

PROTECT

SIGNAL

CLIP

SIGNAL

CLIP

CHANNEL ONE CHANNEL TWO

12

34

56

7891112

1315

17

1922

3050

0 dB

10

12

34

56

7891112

1315

17

1922

3050

0 dB

10


12

34

56

7891112

1315

17

1922

3050

0 dB

10

12

34

56

7891112

1315

17

1922

3050

0 dB

10


12

34

56

7891112

1315

17

1922

3050

0 dB

10

12

34

56

7891112

1315

17

1922

3050

0 dB

102000 Watt Power Amp

DCM2000


POWER

PROTECT

SIGNAL

CLIP

SIGNAL

CLIP


12

3

45

67

8911

1213

151719

2230

500 dB

10

12

3

45

67

8911

1213

151719

2230

500 dB

10


12

3

45

67

8911

1213

151719

2230

500 dB

10

12

3

45

67

8911

1213

151719

2230

500 dB

10


12

3

45

67

8911

1213

151719

2230

500 dB

10

12

3

45

67

8911

1213

151719

2230

500 dB


DCM2000


POWER

PROTECT

SIGNAL

CLIP

SIGNAL

CLIP


12

3

4

56

7891112

1315

17

19

2230

500 dB

10

12

3

4

56

7891112

1315

17

19

2230

500 dB

10


12

3

4

56

7891112

1315

17

19

2230

500 dB

10

12

3

4

56

7891112

1315

17

19

2230

500 dB

10


12

3

4

56

7891112

1315

17

19

2230

500 dB

10

12

3

4

56

7891112

1315

17

19

2230

500 dB


DCM2000

MONITORS

nd RIGHT 4 MONITORS

MAIN AND MONITOR EQ

POWER

PROTECT

SIGNAL

CLIP


12

34

56

7891112

13

050

0 dB

10

12

34

56

7891112

1315

17

1922

3050

0 dB

10


12

34

56

7891112

13

050

0 dB

10

12

34

56

7891112

1315

17

1922

3050

0 dB

10


12

34

56

7891112

13

050

0 dB

10

12

34

56

7891112

1315

17

1922

3050

0 dB


DCM2000

POWER

PROTECT

SIGNAL

CLIP


12

3

45

67

8911

1213

050

0 dB

10

12

3

45

67

8911

1213

151719

2230

500 dB

10


12

3

45

67

8911

1213

050

0 dB

10

12

3

45

67

8911

1213

151719

2230

500 dB

10


12

3

45

67

8911

1213

050

0 dB

10

12

3

45

67

8911

1213

151719

2230

500 dB


DCM2000

POWER

PROTECT

SIGNAL

CLIP


12

3

4

56

7891112

13

050

0 dB

10

12

3

4

56

7891112

1315

17

19

2230

500 dB

10


12

3

4

56

7891112

13

050

0 dB

10

12

3

4

56

7891112

1315

17

19

2230

500 dB

10


12

3

4

56

7891112

13

050

0 dB

10

12

3

4

56

7891112

1315

17

19

2230

500 dB


DCM2000

EQ2030

ON

OFF

CHANNEL TWO

0dB

+15

–1525 31.5 40

–3

+3

–6

+6

50 63 80 100 125 160 200 250 315 400 500 630 800 1K 1.25K 1.6K 2K 2.5K 3.15K 4K 5K 6.3K 8K 10K 12.5K 16K 20K

0dB

+15

–1525 31.5 40

–3

+3

–6

+6


10K

6K 45K

35K

25K

20

10 230

120

50

dB +6

0

GAIN

PEAK

HI CUTHz

LOW CUTHz

CHANNEL ONE

EQ IN

10K

6K 45K

35K

25K

20

10 230

120

50

dB +6

0

GAIN

PEAK

HI CUTHz

LOW CUTHz

EQ2030

ON

OFF

CHANNEL TWO

0dB

+15

–1525 31.5 40

–3

+3

–6

+6

50 63 80 100 125 160 200 250 315 400 500 630 800 1K 1.25K 1.6K 2K 2.5K 3.15K 4K 5K 6.3K 8K 10K 12.5K 16K 20K

0dB

+15

–1525 31.5 40

–3

+3

–6

+6


10K

6K 45K

35K

25K

20

10 230

120

50

dB +6

0

GAIN

PEAK

HI CUTHz

LOW CUTHz

CHANNEL ONE

EQ IN

10K

6K 45K

35K

25K

20

10 230

120

50

dB +6

0

GAIN

PEAK

HI CUTHz

LOW CUTHz

EQ2030

ON

OFF

CHANNEL TWO

0dB

+15

–1525 31.5 40

–3

+3

–6

+6

50 63 80 100 125 160 200 250 315 400 500 630 800 1K 1.25K 1.6K 2K 2.5K 3.15K 4K 5K 6.3K 8K 10K 12.5K 16K 20K

0dB

+15

–1525 31.5 40

–3

+3

–6

+6


10K

6K 45K

35K

25K

20

10 230

120

50

dB +6

0

GAIN

PEAK

HI CUTHz

LOW CUTHz

CHANNEL ONE

EQ IN

10K

6K 45K

35K

25K

20

10 230

120

50

dB +6

0

GAIN

PEAK

HI CUTHz

LOW CUTHz

21

Half insert(insert Direct out)The half insert connection creates a send signal without break-

ing the channels signal path. The insert in this mode is no longerused as an insert but it becomes what is called an “insert directout”. The advantage of an insert direct out is the signal at thispoint has only traveled through one amplifier stage resultingin the quietest and lowest distortion possible in the console.This is popular when recording tracks in the studio because theEQ and fader may not be needed and can be added in the mix-down. If an insert is needed on the same channel, special cablingis required to perform both functions. The half insertion con-nects 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 theplug connects to the tip of the jack, the internal jack switch willopen and the channel’s signal path will be broken. The con-nection will still function as a direct out but the channel’s signalwill stop at the insert and not continue on to the rest of the chan-nel and the masters. The result of the half insert is multiple out-puts for use in multi-track recording.

Full insertThe insert jack is a Tip/Ring/Sleeve (TRS) 1/4” phone jack

where the tip is the send, the ring is the return and the sleeveis the ground. When used as an insert point or in full insertmode, the channel is opened up to allow an external pieceof equipment to be inserted into the channels signal path.The channel signal coming from the TAPE switch, whetherit is the MIC (up position) or the TAPE IN (down position),will be forced to go through the external equipment beforeit can continue back through the channel. The signal “re-enters” before the low cut filter and continuing on to the chan-nel EQ controls. Most external equipment is not set up forthe TRS plug directly, so a special insert cable is required.The insert cable will have on one end the TRS (stereo) plugand two mono (TS) plugs (or jacks) on the other end. Thetwo plugs each have the ground connected to the sleeve. Onehas the return on its tip and the other has the send on its tip.This allows the send to be connected to the input of the exter-nal equipment and the return to its output completing the insertloop back to the channel. One advantage of using the insertjack is with compressors. With a compressor at this pointin the channel signal path, the input signal can be compressedreducing the need to adjust the faders during a show.

MIC Pre-Amp

PIN 2 (+)

PIN 3 (–)

GAIN

FULL INSERT

SEND

TO EFFECTS

STEREO PLUG

INSERT JACK

RETURN

TIP: SEND SIGNAL

SLEEVE: GROUND

RING: RETURN SIGNAL

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

15

-15

0

+15

1K

225 4K

800 2K

4 55

-15

0

+15

-15

0

+15

PHASE

HIGH

FREQ

HIMID

LOWMID

GAIN

TAPE

LOWCUT

PAN

TIPRING

TIP

RING

TAPE Pre-Amp

TAPESWITCH

MONO PLUG

INSERT JACK

TO RECORDER

TIP: SIGNAL

SLEEVE: GROUN

MIC Pre-Amp

PIN 2 (+)

PIN 3 (–)

GAIN

HALF INSERT

TAPEIN

MIC

LINEIN

DIRECTOUT

INSERT

15

-15

0

+15

1K

225 4K

800 2K

4 55

-15

0

+15

-15

0

+15

PHASE

HIGH

FREQ

HIMID

LOWMID

GAIN

TAPE

LOWCUT

PAN

TIPRING

TIP

RING

TAPE Pre-Amp

TAPESWITCH

7. Using the inserts

22

23

RJ45 meter bridge connector removal

..

S/L Series Power SupplyS L P - 5600

..


..


120VAC 60Hz300VA

AMP

10

The SL series consoles use the SLP5600 external power supply. The SLP5600 power supply is a two space rackmountable power supply which provides the required DC voltages for the SL series.

Power RequirementsIt is best to supply the SLP5600 with its own dedicated circuit. This reduces possible loss of power to the consoleif other circuit breakers are over loaded and tripped. The SLP5600 is supplied with a 6 AMP circuit breaker locatedon the rear panel. Should this breaker trip, turn off the power switch on the front panel and press in the black andwhite tab on the breaker. The circuit breaker is a thermal metal breaker, so it may not turn on immediately after trip-ping. Continue pressing every few seconds until the breaker latches. Now turn on the power again, if the breakertrips again, check for the proper cable connections.

Safety GroundThe SLP5600 is supplied with a third wire safety ground connected to the power cord. This should never bedefeated. Along with providing the best grounding for the console, the safety ground prevents the possibility ofelectrical shock if a live wire comes into contact with the chassis. If grounds need to be lifted due to ground loopnoises, only lift grounds on signal cables not on the AC power cords.

Mixer ConnectionThe SLP5600 is supplied with a ten foot four conductor Speakon™ cable. This can bereplaced with any 16 ga. or higher 4 conductor Speakon™ cable 25 ft or under. TheSpeakon™ connector is a twist and lock system providing a secure connection at alltimes.

Fan CoolingThe SLP5600 is internally fan cooled. The fan cooling system automatically turns onwhen needed for cooling. On the larger consoles this fan system may remain on con-tinuously for maximum cooling and uninterrupted operation.

Power IndicationThere are three forms of indication that the power supply is on and functioning nor-mally. First is the lighted power switch which lights when turned on. Second is thegreen LED in the master section of the mixer labeled “power” which indicates the mixer is being supplied with theproper voltages. Third is the internal power supply LEDs which can be seen through the front panel vent holes.These LEDs are Red for ±18V, Green for +48V and Yellow for the fan on mode.

9. SLP5600 power supply

24

SPECIFICATIONS

AC INPUT

Power required 300 VAMaximum of 3 Amps120 VAC

DC OUTPUT

+48 Volt .5 Amps+18 Volt 3 Amps- 18 Volt 3 Amps

10. Cable connections used on the S/L series console

Balanced XLRs are used for the channel MICinputs, the group outputs and the master leftright outputsThese all follow the standard:PIN 1 is groundPIN 2 is positive (in phase)PIN 3 is negative (out of phase or inverting)

Balanced 1/4” TRS phone jacks are used for thechannel direct outputs, the channel tape inputs,and the channel line inputs.These follow the standard of:TIP is positive (in phase)RING is negative (out of phase or inverting) SLEEVE is ground

Unbalanced 1/4” TS phone jacks are used forthe master auxiliary send outputs, the left con-trol room outputs, left studio output, the leftand right return inputs and the master left andright 1/4” outputs.These follow the standard of:TIP is positive (in phase)SLEEVE is ground

1/4” TRS phone jacks are used for the channelinserts and the master/Group inserts.These follow the standard of:TIP is send (mixer output)RING is return (mixer input)SLEEVE is ground

1/4” TRS phone is used for the control roomright output and the studio right output. If theleft output is in use these right outputs willfunction normal as TS outputs like the left out-puts. If the left has nothing plugged into thejack then these right jacks operate as head-phones with:TIP is rightRING is left SLEEVE is ground

SLEEVE RING TIP

SLEEVE

RING

TIP

SLEEVE TIP

SLEEV

TIP

SLEEVE RING TIP

SLEEVE

RING

TIP

SLEEVE RING TIP

SLEEVE

RING

TIP

PIN 1

PIN 2PIN 3

25

SL B

LOCK

DIA

GRAM

26

11. Block Diagram

12. Studio / Live series consoles specs & accesories

All specs measured on (56 Channels Frame)20-20kHz, Rs=150Ω, RL=600Ω.unless otherwise noted._

Total Harmonic Distortion Channel Fader @ nominalMaster Output = +14Dbu

Frequency 20 - 20kHz @ 1kHz+10DBu Mic Input <.006 % .002 %

0 DBu Mic Input <.006 % .002 %-20 DBu Mic Input <.008 % .003 %+10DBu Tape Input <.006 % .006 %

0 DBu Tape Input <.015 % .015 %

MIC IN to Direct out +14Dbu <.003 % .002 %_

Frequency ResponseChannel mic in to Master out = 10Hz - 60kHz ±1DBMaster out > 10Hz - 100kHz +1DB -3DB_

Hum and Noise(input gain @ maximum, input sensitivity -55DB)Equivalent input noise <-128 DBuResidual output noise < -106 DBuMaster fad nom. one ch nom. < -70 DBuCommon mode rejection < -76 DBu @1kHz

CrosstalkAdjacent channels < -80DBu @ 1kHzMic - master output L to R < -65DBu @ 10kHz

Voltage Gain Mic in to master output > 84DBTape in to master output > 30DBMic in to direct out > 77DB

Channel EQLow Cut 12DB /octave75HzHIGH: Shelving ±15DB @ 12kHzHI MID: Peaking ±15DB @ 200 - 5kHz, Q = 0.67LO MID: Peaking ±15DB @ 80 - 2kHz, Q = 0.67LO : Shelving ± 15DB @ 75Hz

Channel Peak indicatorsFull brightness @ -3DB < clip

Phantom Power +48V available at all balance XLR microphone inputs

AccesoriesAN24 Touring caseAN40 Touring caseAN56 Touring caseG12V 12V XLR lightSLP5600 120v Spare Power SupplySP10 10’ Speakon™ power cableSP25 25’ Speakon™ power cableSL-88001 8 channel input cardSL-88004 main output cardSL-88005 main meter bridge cardSL-88006 channel meter bridge card

27contact Carvin at 800-854-2235 to order, or visit www.carvin.com

B. Schematics

28

S/L

Chan

nel S

chem

atic

12340 World Trade Drive

MASTER CONTROL PANEL

San Diego, CA 92128(619) 487-1600

Speakon 4-Pole

BUSS 1 INSERT

ERIC PETERSEN

ERIC PETERSEN

FAX 487-6629

8 BUSS MIXER

GROUP 1 FADER

REVISED BY:

LEFT INSERT

Green small

SEND LEVEL

LEFT FADER

SEND LEVEL

SEND LEVEL

SEND LEVEL

AUX SND 1

AUX SND 5

AUX SND 7

AUX SND 8

AUX SND 1

AUX SND 2

AUX SND 3

AUX SND 4

AUX SND 5

AUX SND 6

AUX SND 8

AUX SND 7

PFL CNTRL

470µF 25V470µF 25V PFL CNTRL

APPROVED:

DRAWN BY:

PFL CNTRL

PFL CNTRL

470µF 25V470µF 25V

4.7Ω 1/2W

4.7Ω 1/2W

AUX 7 OUT

AUX 8 OUT

AUG 25 98

LEFT OUT

TIP-SEND

TIP-SEND

3 0 - 8 8 0 0 4

8 0 - 8 8 0 0 4

+18VDC IN

-18VDC IN

RIGHT G

RIGHT G

PHANTOM

-18VDC IN

+18VDC IN

PHANTOM

-18VDC IN

+18VDC IN

AUX 8 P

AUX 7 P

BUSS 1

50KBx2

BUSS 8

BUSS 7

BUSS 6

BUSS 5

BUSS 4

BUSS 3

BUSS 2

BUSS 1

SOLO L

SOLO R

- 1 8 V D C

+18VDC

+18VDC

+18VDCLEFT G

LEFT G

- 1 8 V D C

+18VDC - 1 8 V D C

JUMPER

LEFT G

A GND

A GND

A GND

A GND

A GND

A GND

A GND

A GND

A GND

A GND

A GND

A GND

PFL L

PFL R

A16.A

A16.B

A53.A

A53.B

A11.B

A24.B

P21.A

P21.B

A15.A

A15.B

S11.A

GROUP 1

A10.A

A10.B

A14.AA17.A

A14.B A17.B RIGHT

P17.B

P17.A

DATE:

DATE:

ASSY.

DATE:

ARVIN

S11.B

S21.A

S31.B

S21.B

S31.C

H10.A

A29.B

H16.A

H16.B

H17.G

H17.H

S31.D

H11.B

H11.C

H11.D

H11.A

H11.G

H11.H

H11.F

H11.E

A GND

A GND

A11.A

INV L

INV R

INV L

INV R

POWER

POWER

A3.B

H5.B

H5.C

H5.D

H5.A

H5.G

H5.H

H5.F

H5.E

R163R167

R168

LEFT

LEFT

LEFT

R434

R271

R112

R115

MUTE

5.6K

5.6K

R259

H1.B

H1.C

H1.D

H1.A

H1.G

H1.H

H1.F

H1.E

C117C121

H4.B

H4.C

H4.D

H4.A

H4.G

H4.H

H4.F

H4.E

H2.B

H2.C

H2.D

H2.A

H3.B

H3.D

H3.C

H3.A

LEFT

C109

H6.A

H6.B

REV:

REV:

C139

C141

S8.A

S8.B

H7.

G

H7.

H

MUTE4.7K

R286

R287

R288

PEAK

4.7KR304

S1.B

S1.A

S5.B

S5.A

330P

R335

R381

C170C171

R391

R390

R412330P

C184

R416

R417

A3.A

R124

C192

4.7K

R433

R436

R438

SND1

R317

R365

R454

R166

4 . 7 K

S7.B

FLIP

SUB1

S7.A

FLIPBUS1

SND1

BUS1

4.7K

A4.B

C130

4 . 7 K

R102

C154

10K

10K10K

10K

39PC58

C6139P

C60

50KP11

12K

39PC50

50K

39PC51

C52

J28

J27

39PC86

R12

R10

R13

R11

39PC40

39PC46

50K

10K

R83

C41

C35

PAN

10K

10K

2 2 KR68

R87

R59R61

R62

39PC17

C2239P

C21

50K

12K

R75

R76

R77

R80

39PC27

39PC28

C30

39PC29

50K

R82R84

R85R88

39PC31

39PC32

C34 39PC33

50K10K

P15

PFL

J31

NO:

PCB

NO:

39P

39P

J41

C43

2 2 KR95

2 2 KR96

D21D31

47K

10K

10K

J44

10K

39P 10K

R45

2 4 K

2 4 K

2 4 K

2 4 K

GND

QC1

R66 10K

10K

J18

J17

J15

C14

6 . 8 K

1 0 K

1 0 K

6 . 8 K

OS1

J11

1 0 K

1 0 K

R18

2 2 K

4 7 Ω

4 7 Ω

4 7 Ω

4 7 Ω

4 7 Ω

4 7 Ω

4 7 Ω

4 7 Ω

4 7 Ω

4 7 Ω

4 7 Ω

C90

C91

R35

47K

R39

47K

C96

R63

39P

R67

2 2 K

C39

R7

4

47

K

10K

39P

R2

P9

P1

10

cw

cw

1 0

R4

R5

R9

cw

2 2 µ F

cw

cw

J1

22µF

cw

10

cw

10

cw

1 0

2 2 µ F

Q1

1K

2+2-

1+1-

R8

C210

C7

10

B5 B6

10

D9

10

10

2 2 µ F

1 0

–

+

+

+

–

+

+

–

+

+

+

123

–

+

–

+

–

+

–

+ –

+

+

+

–

+

–

+

123

–

+

+

+

–

+

+

–

+

+

+

+ –

+

+

–

+

+

+

+

–

+

+

+

+

+

C

+

+

+

–

+

+

–

+

+

++

+

+

+

+

–

+

+

+

C

39P

C176

+

39P

C197

+

R106

C199

10K

39P

6 . 8 K

6 . 8 K

PFL

L - R

AUX 5 OUT

SENDS 1 - 4 IDENTICAL

BUSSES 1 - 8 ARE IDENTICAL

SND 6 IDENTICAL

- 1 8 V D C +18VDC

RIGHT BUSS IS IDENTICAL

NOT ON 5 - 8

EXCEPT 5-8 ( NO FLIP SW. )

D

15OCT99

29

S/L Master Section Schematic

STUDIO OUT R ( PHONES )

CNTRL OUT R

STUDIO OUT LEVEL

CTRL.RM-STUDIO

CNTRL LEVEL

CNTRL LEVEL

CNTRL OUT L

10K x6 Comm

10K x6 Comm

STUDIO LEFT

TAPE OUT R

SOLO LEVEL

SOLO LEVEL

TAPE OUT L

TAPE IN R

AUX 8 OUT

AUX 7 OUT

RIGHT OUT

RTN LEVEL

RTN LEVEL

AUX SND 1 AUX SND 2

AUX 8 OUT

AUX 7 OUT

RIGHT OUT

PFL CNTRL

AUX SND 2

AUX SND 1

TAPE IN L

PFL CNTRL

RIGHT OUT TAPE OUT

TAPE OUT

LEFT OUT

LEFT OUT

PFL MODE

PFL MODE

LEFT OUT

TAPE IN

TAPE IN

RTN 1 L

RTN 1 R

CNTRL L

CNTRL R

CNTRL L

CNTRL R

RIGHT G

RIGHT G

AUX 8 P

AUX 7 P

-18VDC IN+18VDC IN

TAPE L

TAPE R

+18VDC

B50Kx2

LEFT G

LEFT G

- 1 8 V D C

+1

8V

DC

-18

VD

C

SOLO L

SOLO R

. 0 0 1 µ F

- 1 8 V D C

- 1 8 V D C

+18VDC

- 1 8 V D C

+18VDC

TAPE L

TAPE R

- 1 8 V D C

+18VDC

- 1 8 V D C

+18VDC

+1

8V

DC

-18

VD

C

+1

8V

DC

-18

VD

C

+1

8V

DC

-18

VD

C

A52.B

A52.A

P29.A

P29.B

J43.C

A45.A

P30.A

P30.B

J43.A

P19.A

P19.B

A57.B

A20.B

A20.A

P20.A

P20.B

A44.A

A44.B

RETURN TO AUX SND 2

P31.A

P31.B

50KX2P18.B

50KX2P18.A

S50.A

S49.A

S49.B

LIS L LIS R

S50.D

S48.B

S10.A

S41.A

S41.B

A45.B

S19.B

S29.A

S19.A

S29.B

S51.B

S45.BS46.B

S47.B

S52.B

S53.B

S54.B

S51.A

S52.A

S53.A

S54.A

S45.AS46.A

S47.A

P35.A

P35.B

S10.C

S10.D

PFL L

H20.B

H20.A

A19.A

A99.A

A19.B

A54.B

R97.F

R98.F

R97.E

R98.E

R97.A

R98.A

R16.F

R17.F

R16.A

R17.A

R16.C

R17.B

S48.A

J43.B

J43.D

A56.A

A56.B

S50.B

A58.A

A58.B

PFL R

PFL L

A99.B

A GND

.047u

A57.A

PFL RS50.C

INV L

INV R

H20.C H20.F

H20.D

H20.E

H20.G

H20.H

SND2

SND1

SND2

SND1

PFL+

PFL+

C137

C138

C126

C127

R222

R223C128

C129

A2.AA5.A

A2.B

A5.B

C132

C133

R100

R218

R339

RETURN TO AUX SND 1

C116

C118

C119

C120

R250 R251

R248R247

R264

R265

R24

9

4.7K

M O N O

S9.A

S9.B

5.6

K5

.6K

R202

R201

R212

R213

10

0K

R227

C157

C158

R32

6

R33

8

R352

C159

R369

C166

R111

C17

2

22

µF

C17

3

22

µF

R396

C179

R397

C180

R103

R104

R268

R405

R406

R40

7R

408

R400

C182

R409

C183

R410

R411

PFL+

R315

4 . 7 K3 6 0 k R269

R270

R312

R313 R314

C194C195

100k

470Ω

C196 R404

A9.B

A9.A

R192

R209R235

R236

10

0K

C11

4

22

µF

C11

5

22

µF

C13

1

22

µF

C13

4

22

µF

C13

5

22

µF

C13

6

22

µF

C174

C175

R32

10K

50K

50K

R52

R33 22K

R34 22K

39P

50K

50K

39P

39P39P

C12

R15

50K

39PC13

R42

50K

39PC18

R43

R44

10K

R27

10K

R29

39PC20

C44

C45

47Ω

47Ω

50K

50K

R99

22K22K

10K 39P

50K

10K 39P

50K

50K10K50K

10K

P36 P37

22K

22K

J10

J40

39PC36

39PC37

D40

R30

Q11

Q12

Q13

Q14

PAN

2 2 K

2 2 K

2 2 K

39P

10K

12K

R60

PFL 39P

10K

22

K

22

K

39P

10K

12K

39P

47K

10K

R64

10K

39P

10K

39P

10K

10K

10K

10K

10

K1

0K

39P

10K

39P

10K

10K

47K

D42

D43

D45

D39 PFL

10Ω

R79

39P

10K

10K

R26

10K

R28

4 7 0

4 7 0

2 2 K

2 2 K

1 0 K

1 0 K

47Ω

47Ω

R25

R19

Q10

Q15

Q16

10K

10K

39P

C19

39PC24

J25

10K

R23

10K

R24

R31

R41

J45R

56

J26

Q17

Q18

Q19

Q20

R58

R72

4 7 K

4 7 K

4 7 Ω

4 7 Ω

R4047K

2 2 K

1 0 K

1 0 K

C71

C81

J9

cw

cw

1 0

1 0

cw

cw

1 0

1 0

C8cw

cw

1 0

1 0

cw

cw

1 0

1 0

10

10

cw

cw

cwcw

cw

cw

R6

R7

cw

cw

R1

R3

Q9

1 K

1 K

1 K

1 K

10

10

1 0

1 0

–

+

–

++

+–

+

+

+

+

+

–

+

+

–

+

+

–

+

+

–

+

+

+

+

–

+

+

–

+

–

+

+

+

+

+

–

+

–

+

+

+

–

+

–

+

–

+

+

–

+

–

+

+ +

–

+

+

–

+

+

–

+

+

–

+

+

–

+

–

+

+

–

+

–

+

+

+

+ +

+ +

+ +

+

+

+

+

TO METER

TO METER

TO METER BRIDGE

( PHONES )

RETURNS 1 - 4 ARE IDENTICAL

30

1µF

35V

1 µF

35V

10K

µF 6

3V

10K

µF 6

3V

79

18

78

18

C6

C5

C2

C1

D4

D5

D2

D3

Q2

Q1

++

++

J1

2+

2-1

+1-

H1

.A

H1.

D

H1

.B

4.7

K

+18

VD

C

-18V

DC

± 18

V

R3

D1

PH

AN

TOM

PW

R

H1.

C

PH

AN

TOM

PW

R

22µF

160

V

470µ

F 5

0V

C1

2

C1

1R9 1K

+TIP

31C

NP

N F

lat

Q3

22µF

160

VC

9

+

MJL

2119

4 N

PN

Q4

Q6

Q7

TIP

31C

NP

N F

lat

Q5

0.22

Ω 3

WR

4

R1

R2

0.22

Ω 3

WR

7

R5

R6

470 µ

F 5

0V

C8

+

47

0Ω

R8

D9

22µF

50vC7

D8

470µ

F 5

0V

C1

0+

QC

1

H2

.A

H2.

D

H2

.B

H2.C

H3

.A

H3.

D

H3

.B

H3.C

+18

VD

C

-18

VD

C

5.6

KPH

AN

TOM

R1

0

D1

2

Dar

lingt

on N

PN

1000

µF 3

5V

10Ω

.5W

-18V

DC

0.0

47

H4

.B

H4

.A

10

0V

4.7

K

R1

7R

18

Q9

D1

4

22

K

R2

0R

16

R1

9

FAN

C1

5

C1

6

R2

1

R1

1

Q81K

+

+

D1

5

D1

6

+18

VD

C

-18

VD

C

5.6

K

FAN

LE

DR

12

D1

7

C4

C3

+ +

QC

2

QC

3

QC

4

C1

4

+

.04

7u

.04

7u

.04

7u

PL1

N E

L

D6

R1

3

MJL

2119

4 N

PN

Q1

0

MJL

2119

3 P

NP

Q1

1

TIP

32

C2N

5550

NP

N

Q1

2

2N54

00 P

NP

Q1

3

R2

4

1K R2

5

1K

Z1

Z2

Z3

Z4

1234

0 W

orld

Tra

de D

rive

San

Die

go,

CA

92

128

(858

) 48

7-16

00FA

X 4

87-6

629

RE

VIS

ED

BY

:

AP

PR

OV

ED

:

DR

AW

N B

Y:

DAT

E:

DAT

E:

AS

SY.

DAT

E:

AR

VIN

RE

V:

RE

V:

NO

:

PC

B

NO

:CS

LP 5

600

GE

OR

GE

DR

EY

ER

30

-88

00

8

80

-88

00

8

ER

IC P

ET

ER

SE

N

PO

WE

R S

UP

PLY

S/L

MIX

ER

SE

RIE

S

29

AP

R9

9

470µ

F 5

0VC

18

+

470µ

F 5

0V

C1

9

+

A1.

A

2–

3+

1

8 4

NEGPO

S

R2

8R

29

R3

0R

31

0.22

Ω 3

WR

32

0.22

Ω 3

WR

33

22µF

50V

C1

3

22µF

50V

C1

7

QC

5 A

13

AU

G9

9

A

A1.

B

6–

5+

7

Zen

er 4

7V

Z5

15

V-7

91

5

1Ω

1Ω

1Ω

1Ω

1Ω

1Ω

1Ω

1Ω

LIG

HT

NEU

T

GND LIV

E

22

KΩ

N/U

Zen

er 9

.1V

Zen

er 1

3V

Zen

er 9

.1V

Zen

er 1

3V 68

0Ω

10

0Ω

31

SLP5

600 P

ower

Sup

ply S

chem

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1234

0 W

orld

Tra

de D

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MA

ST

ER

AN

D 8

CH

AN

NE

LS

San

Die

go,

CA

92

128

LE

D

ME

TE

R

BR

IDG

E

(619

) 48

7-16

00FA

X 4

87-6

629

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

RE

VIS

ED

BY

:E. P

ET

ER

SE

N

E. P

ET

ER

SE

N

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

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mal

l

Gre

en s

mal

l

Gre

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mal

l

Gre

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mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

AP

PR

OV

ED

:

DR

AW

N B

Y:

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

30-8

8005

28S

EP

98

ME

TE

R L

ME

TE

R R

ME

TE

R

11

ME

TE

R

12

ME

TE

R

13

ME

TE

R

14

ME

TE

R

15

ME

TE

R

16

ME

TE

R

17

ME

TE

R

18

+1

5V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

DAT

E:

DAT

E:

AS

SY.

DAT

E:

AR

VIN

H3

.A

H3.

D

H3.

C

H3

.B

H3

.E

H3.

F

H3.

G

H3.

H

A55

.C

A55

.D

A55

.B

A55

.A

A58

.A

A58

.B

A58

.C

A58

.D

A59

.D

A59

.B

A59

.A

A59

.C

A49

.B

A49

.A

A49

.C

A49

.D

A50

.B

A50

.A

A50

.C

A50

.D

A51

.B

A51

.A

A51

.C

A51

.D

A52

.B

A52

.A

A52

.C

A52

.D

A53

.B

A53

.A

A53

.C

A53

.D

A54

.B

A54

.A

A54

.C

A54

.D

47

Ω

A4.

A

A4.

B

A4.

D

A4.

C

A5.

B

A5.

A

A5.

D

A5.

C

A6.

B

A6.

A

A6.

C

A6.

D

A7.

A

A7.

B

A7.

D

A7.

C

A8.

A

A8.

B

A8.

D

A8.

C

A9.

A

A9.

B

A9.

D

A9.

C

A10

.A

A10

.B

A10

.D

A10

.C

A11

.A

A11

.B

A11

.D

A11

.C

A12

.A

A12

.B

A12

.D

A12

.C

A13

.A

A13

.B

A13

.D

A13

.C

A14

.A

A14

.B

A14

.D

A14

.C

A15

.A

A15

.B

A15

.D

A15

.C

A16

.A

A16

.B

A16

.D

A16

.C

A17

.A

A17

.B

A17

.D

A17

.C

A18

.A

A18

.B

A18

.D

A18

.C

A19

.A

A19

.B

A19

.D

A19

.C

A20

.A

A20

.B

A20

.D

A20

.C

A21

.A

A21

.B

A21

.D

A21

.C

A22

.A

A22

.B

A22

.D

A22

.C

A23

.A

A23

.B

A23

.D

A23

.C

A24

.A

A24

.B

A24

.D

A24

.C

RE

V:

RE

V:

22µF

22µF 22

µF R49

22µF

R50

22µF

R51

22µF R

52

22µF

R79

22µF

R80

22µF R

81

22µF R

82

22µF

R83

22µF R

84

22µF R

85

22µF

R86

22µF

R87

22µF

R88

22µF

H2

.A

H2.

D

H2

.E

H2.

C

H2.

F

H2

.B

H2.

G

H2.

H

A56

.C

A56

.D

A56

.B

A56

.A

A57

.B

A57

.A

A57

.D

A57

.C

CL

IPC

LIP

RE

F1

RE

F1

A1.

B

A1.

A

A1.

C

A1.

D

A2.

B

A2.

A

A2.

C

A2.

D

A3.

B

A3.

A

A3.

C

A3.

D

CL

IP

2

1.0

K

56

0Ω

33

0Ω

27

0Ω

15

0Ω

10

0Ω

47

Ω

22

Ω

RE

F2

RE

F2

RE

F2

D1

0

D1

1

D1

2

D2

2

D1

5

D1

6

D1

7

D1

8

D1

9

D2

0

D2

1

D1

3

D1

4

D2

3

D2

4

D3

4

D2

7

D2

8

D2

9

D3

0

D3

1

D3

2

D3

3

D2

5

D2

6

D3

5

D3

6

D4

6

D3

9

D4

0

D4

1

D4

2

D4

3

D4

4

D4

5

D3

7

D3

8

D4

7

D4

8

D5

8

D5

1

D5

2

D5

3

D5

4

D5

5

D5

6

D5

7

D4

9

D5

0

D5

9

D6

0

D7

0

D6

3

D6

4

D6

5

D6

6

D6

7

D6

8

D6

9

D6

1

D6

2

D7

1

D7

2

D8

2

D7

5

D7

6

D7

7

D7

8

D7

9

D8

0

D8

1

D7

3

D7

4

D8

3

D8

4

D9

4

D8

7

D8

8

D8

9

D9

0

D9

1

D9

2

D9

3

D8

5

D8

6

D9

5

D9

6

D3

D4

D5

D6

D7

D8

D9

D1

D2

CL

IP

2C

LIP

2

CL

IP

2C

LIP

2

CL

IP

2C

LIP

2

CL

IP

2

RE

F2

RE

F2

RE

F2

RE

F2

RE

F2

NO

:

PC

B

NO

:

Q1

0

MM

L

MM

R

MM

7

MM

8

MM

5

MM

6

MM

3

MM

4

MM

2

MM

1

CM

7

CM

8

CM

4

CM

3

CM

1

CM

2

CM

5

CM

6

R45

100K

sm

t 1/4

wM

ET

ER

11

C3

2R46

100K

sm

t 1/4

wM

ET

ER

12

C3

3R47

100K

sm

t 1/4

wM

ET

ER

13

C3

4

R48

100K

sm

t 1/4

wM

ET

ER

14

C3

5

100K

sm

t 1/4

wM

ET

ER

15

C3

6

100K

sm

t 1/4

wM

ET

ER

16

C3

7

100K

sm

t 1/4

wM

ET

ER

17

C3

8

100K

sm

t 1/4

wM

ET

ER

18

C2

1

100K

sm

t 1/4

w

ME

TE

R 1 C

22

100K

sm

t 1/4

w

ME

TE

R 2

C2

3

100K

sm

t 1/4

w

ME

TE

R 3 C

24

100K

sm

t 1/4

w

ME

TE

R 4

C2

5

100K

sm

t 1/4

w

ME

TE

R 5

C2

6

100K

sm

t 1/4

w

ME

TE

R 6 C

27

100K

sm

t 1/4

w

ME

TE

R 7

C2

8

100K

sm

t 1/4

w

ME

TE

R 8

C2

9

100K

sm

t 1/4

w

ME

TE

R L

C3

0

100K

sm

t 1/4

w

ME

TE

R R

MM

1

MM

2

MM

3

MM

4

MM

6

MM

5

MM

7

MM

8

MM

L

MM

R

CM

4

CM

1

CM

2

CM

3

CM

8

CM

7

CM

6

CM

5

+1

8

+1

2

-1

2

-1

8

-24

-30

+1

8

+1

2

-1

2

-1

8

-24

-30

R10 R11

2+

18

2+

12

2-

12

2-

18

15

K

6.8

K

3.3

K

1.5

K

R12 R13

2-24

2-30

R1 R2 R3 R4 R5 R6 R7 R8 R9

Q1

1

Q1

2Q

13

Q1

4Q

15

Q1

6Q

17

Q1

8

2+

18

2+

12

2+

18

2+

12

2-

12

2-

18

2-24

2-30

2+

18

2+

12

2-

12

2-

18

2-24

2-30

2+

18

2+

12

2-

12

2-

18

2-24

2-30

2+

18

2+

12

2-

12

2-

18

2-24

2-30

2+

18

2+

12

2-

12

2-

18

2-24

2-30

2+

18

2+

12

2-

12

2-

18

2-24

2-30

Q9

1314

10 11

1314

10 11

12

6 721

4 5

14

1

8 9

-4

-8

1 2 1 2 1 2

+8

6 7 6 7 6 7

+4

-4

-8

1 2 1 2 1 2

+8

6 7 6 7 6 7

+4

2-

4

2-

8

1 2 1 2 1 2

2+

8

6 7 6 7 6 7

2+

4

2-

4

2-

8

2 1 12 12

2+

8

4 5 6 7 6 7

2-

4

2-

8

2 1 2 1 2 1

2+

8

4 5 4 5 4 5

2+

4

2-

4

2-

8

2 1 2 1 2 1

2+

8

4 5 4 5 4 5

2+

4

2-

4

2-

8

2 1 2 1 2 1

2+

8

4 5 4 5 4 5

2+

4

2-

4

2-

8

2 1 2 1 2 1

2+

8

4 5 4 5 4 5

2+

4

2-

4

2-

8

2 1 2 1 2 1

2+

8

4 5 4 5 4 5

2+

4

2-

4

2-

8

2 1 2 1 2 1

2+

8

4 5 4 5 4 5

2+

4

C

+ +

+

+

+

+ +

+

+ + +

+ +

+

+

+

+

1 2

6 7 8 94 5

– +– +– + – +

1 2

6 7 8 94 5

– +– +– + – +

14

13

8 9

4 510 11

– +– +

– +

– +

13 14

10 11 6 78 9

– +– +– + – +

2 13

4 5

6 7

10 11

– +

– +

– + – +

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

2-

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +1314

10 116 7 4 5 4 5 8 9

– + – +

8–

9+

14

10–

11+

13

– +– +

8–

9+

14

10–

11+

13

– +– + – +– +

2-

0

14 13

8 96 7 6 7 6 7 10 11

– + – +

8–

9+

14

10–

11+

13

– + – +

8–

9+

14

10–

11+

13

– + – + – + – +

2-

0

14 13

8 96 7 6 7 6 7 10 11

– + – +

8–

9+

14

10–

11+

13

– + – +

8–

9+

14

10–

11+

13

– + – + – + – +

2-

0

14 13

8 96 7 6 7 6 7 10 11

– + – +

8–

9+

14

10–

11+

13

– + – +

8–

9+

14

10–

11+

13

– + – + – + – +

2-

0

14 13

8 96 7 6 7 6 7 10 11

– + – +

8–

9+

14

10–

11+

13

– + – +

8–

9+

14

10–

11+

13

– + – + – + – +

2-

0

14 13

8 96 7 6 7 6 7 10 11

– + – +

8–

9+

14

10–

11+

13

– + – +

8–

9+

14

10–

11+

13

– + – + – + – +

2-

0

14 13

8 96 7 6 7 6 7 10 11

– + – +

8–

9+

14

10–

11+

13

– + – +

8–

9+

14

10–

11+

13

– + – + – + – +

R14

68Ω smt 1/4w

R1568Ω smt 1/4w

R16

68Ω smt 1/4w

R17

68Ω smt 1/4w

R1868Ω smt 1/4w

R1968Ω smt 1/4w

R2068Ω smt 1/4w

R21

68Ω smt 1/4w +1

5V

DC

H1.

D

H1

.E

H1.

C

H1.

F

H1.

G

H1.

H

+15

VD

C

-15V

DC

-15V

DC

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

H1

.A

H1

.B

H4

.B

H4.

C

H4

.A

H4.

D

H4

.E

H4.

F

H5

.B

H5.

C

H5

.A

H5.

D

H5

.E

H5.

F

D219 D220 R91

+15

VD

C

-15V

DC

D217 D218 R92

+15

VD

C

-15V

DC

RE

F1

RE

F2

2+

4

2-0

2-12

2-18

2-24

2-30

GN

D

GN

D

80

-88

00

5

R9

0R

89

1K1K

Z1

9V

10K

sm

t 1/4

wR

57

10K

sm

t 1/4

wR

58

10K

sm

t 1/4

wR

59

10K

sm

t 1/4

wR

60

10K

sm

t 1/4

wR

69

10K

sm

t 1/4

wR

70

10K

sm

t 1/4

wR

71

10K

sm

t 1/4

w

R72

10K

sm

t 1/4

wR

73

10K

sm

t 1/4

wR

74

10K

sm

t 1/4

wR

75

10K

sm

t 1/4

wR

76

0.1µ

FC

11

+

0.1µ

FC

12

+

0.1µ

FC

13

+

0.1µ

FC

14

+

0.1µ

FC

15

+

0.1µ

FC

16

+

0.1µ

FC

17

+

0.1µ

FC

18

+

-15V

DC

-15V

DC

22µFC3

1+

10K

sm

t 1/4

wR

53 10K

sm

t 1/4

wR

54

10K

sm

t 1/4

w

R55

10K

sm

t 1/4

w

R56

10K

sm

t 1/4

wR

78

10K

sm

t 1/4

wR

77

22K

22K

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

ME

TE

R

1M

ET

ER

2

ME

TE

R

3M

ET

ER

4

ME

TE

R

5M

ET

ER

6

ME

TE

R

7M

ET

ER

8

-15V

DC 4

7Ω

A28

.B

A28

.A

A28

.C

A28

.D

A29

.A

A29

.B

A29

.C

A29

.D

A30

.A

A30

.B

A30

.D

A30

.C

A31

.B

A31

.A

A31

.C

A31

.D

A32

.B

A32

.A

A32

.C

A32

.D

A33

.B

A33

.A

A33

.C

A33

.D

A34

.A

A34

.C

A34

.D

A35

.B

A35

.A

A35

.C

A35

.D

A36

.B

A36

.A

A36

.C

A36

.D

A37

.A

A37

.C

A37

.D

A38

.B

A38

.A

A38

.C

A38

.D

A39

.B

A39

.A

A39

.C

A39

.D

A40

.B

A40

.A

A40

.C

A40

.D

A41

.B

A41

.A

A41

.C

A41

.D

A42

.B

A42

.A

A42

.C

A42

.D

A43

.B

A43

.A

A43

.C

A43

.D

A44

.B

A44

.A

A44

.C

A44

.D

A45

.B

A45

.A

A45

.C

A45

.D

A46

.B

A46

.A

A46

.C

A46

.D

A47

.B

A47

.A

A47

.C

A47

.D

A48

.B

A48

.A

A48

.C

A48

.D

A25

.B

A25

.A

A25

.C

A25

.D

A26

.B

A26

.A

A26

.C

A26

.D

A27

.B

A27

.A

A27

.C

A27

.D

CL

IP

1.0

K

56

0Ω

33

0Ω

27

0Ω

15

0Ω

10

0Ω

47

Ω

22

Ω

RE

F1

RE

F1

RE

F1

D1

06

D1

07

D1

08

D1

18

D1

11

D1

12

D1

13

D1

14

D1

15

D1

16

D1

17

D1

09

D1

10

D1

19

D1

20

D1

30

D1

23

D1

24

D1

25

D1

26

D1

27

D1

28

D1

29

D1

22

D1

31

D1

32

D1

42

D1

35

D1

36

D1

37

D1

38

D1

39

D1

40

D1

41

D1

34

D1

43

D1

44

D1

54

D1

47

D1

48

D1

49

D1

50

D1

51

D1

52

D1

53

D1

46

D1

55

D1

56

D1

66

D1

59

D1

60

D1

61

D1

62

D1

63

D1

64

D1

65

D1

57

D1

58

D1

67

D1

68

D1

78

D1

71

D1

72

D1

73

D1

74

D1

75

D1

76

D1

77

D1

69

D1

70

D1

79

D1

80

D1

90

D1

83

D1

84

D1

85

D1

86

D1

87

D1

88

D1

89

D1

81

D1

82

D1

91

D1

92

D9

9

D1

00

D1

01

D1

02

D1

03

D1

04

D1

05

D9

7

D9

8

CL

IPC

LIP

CL

IPC

LIP

CL

IP

RE

F1

RE

F1

RE

F1

RE

F1

RE

F1

R31 R32

+1

8

+1

2

-1

2

-1

8

15

K

6.8

K

3.3

K

1.5

K

R33 R34

-24

-30

R22 R23 R24 R25 R26 R27 R28 R29 R30

Q1

Q2

Q3

Q4

Q5

Q6

Q7

Q8

+1

8

+1

2

+1

8

+1

2

-1

2

-1

8

-24

-30

+1

8

+1

2

-1

2

-1

8

-24

-30

+1

8

+1

2

-1

2

-1

8

-24

-30

+1

8

+1

2

-1

2

-1

8

-24

-30

+1

8

+1

2

-1

2

-1

8

-24

-30

+1

8

+1

2

-1

2

-1

8

-24

-30

-4

-8

1 2 1 2 1 2

+8

6 7 6 7 6 7

+4

-4

-8

1 2 21 21

+8

6 7 4 5 4 5

-4

-8

1 2 1 2 1 2

+8

6 7 6 7 6 7

+4

-4

-8

2 1 2 1 2

+8

6 7 6 7

+4

-4

-8

2 1 2 1 2

+8

6 7 6 7

+4

-4

-8

1 2 1 2 1 2

+8

6 7 6 7 6 7

+4

-4

-8

1 2 1 2 1 2

+8

6 7 6 7 6 7

+4

-4

-8

1 2 1 2 1 2

+8

6 7 6 7 6 7

+4

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +1413

8 94 5 6 7 6 7 10 11

– + – +

10–

11+

13

8–

9+

14

– +– +

10–

11+

13

8–

9+

14

– +– + – +– +

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

0

13 14

10 114 5 4 5 4 5 8 9

– +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

0

13 14

10 114 5 4 5 4 5 8 9

– +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

R35 68Ω smt 1/4w

R3668Ω smt 1/4w

R37

68Ω smt 1/4w

R38

68Ω smt 1/4w

R3968Ω smt 1/4w

R4068Ω smt 1/4w

R4168Ω smt 1/4w

R42

68Ω smt 1/4w

-15V

DC

+4 0

-12

-18

-24

-30

GN

D

Z2

9V

0.1µ

FC

1

+

0.1µ

FC

2

+

0.1µ

FC

3

+

0.1µ

FC

4

+

0.1µ

FC

5

+

0.1µ

FC

6

+

0.1µ

FC

7

+

0.1µ

FC

8

+

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Red

sm

all

D2

02

D1

95

D1

96

D1

97

D1

98

D1

99

D2

00

D2

01

D1

93

D1

94

D2

03

D2

04

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Red

sm

all

D2

14

D2

07

D2

08

D2

09

D2

10

D2

11

D2

12

D2

13

D2

05

D2

06

D2

15

D2

16

0.1 µ

FC

9

+

0.1µ

FC

10

+

R43

68Ω smt 1/4w

R44

68Ω smt 1/4w

Red

sm

all

D1

21

Red

sm

all

D1

33

Red

sm

all

D1

45

A34

.B1

6 7

– +A

37.B

1

6 7

– +C

LIP

CL

IP

10K

sm

t 1/4

w

R94

10K

sm

t 1/4

w

R93

H7

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H7

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H7.

C

H7.

D

-15V

DC

+15

VD

C

GN

D

TE

ST

F F

30S

EP

99

CL

IP

CL

IP

2

32

S/ L

Met

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Sch

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ic

1234

0 W

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Tra

de D

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San

Die

go,

CA

92

128

LE

D

ME

TE

R

BR

IDG

E

(619

) 48

7-16

00FA

X 4

87-6

629

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

RE

VIS

ED

BY

:E. P

ET

ER

SE

N

E. P

ET

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SE

N

Gre

en s

mal

l

Gre

en s

mal

l

Gre

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mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

en s

mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

Gre

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mal

l

AP

PR

OV

ED

:

DR

AW

N B

Y:

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

28S

EP

98

ME

TE

R

11

ME

TE

R

12

ME

TE

R

13

ME

TE

R

14

ME

TE

R

15

ME

TE

R

16

ME

TE

R

17

ME

TE

R

18

+1

5V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

-15V

DC

DAT

E:

DAT

E:

AS

SY.

DAT

E:

AR

VIN

H3

.A

H3.

D

H3.

C

H3

.B

H3

.E

H3.

F

H3.

G

H3.

HA

55.C

A55

.D

A55

.B

A55

.A

A58

.C

A58

.D

A58

.B

A58

.A

47

Ω

A4.

A

A4.

B

A4.

D

A4.

C

A5.

B

A5.

A

A5.

D

A5.

C

A6.

B

A6.

A

A6.

C

A6.

D

A7.

A

A7.

B

A7.

D

A7.

C

A8.

A

A8.

B

A8.

D

A8.

C

A9.

A

A9.

B

A9.

D

A9.

C

A10

.A

A10

.B

A10

.D

A10

.C

A11

.A

A11

.B

A11

.D

A11

.C

A12

.A

A12

.B

A12

.D

A12

.C

A13

.A

A13

.B

A13

.D

A13

.C

A14

.A

A14

.B

A14

.D

A14

.C

A15

.A

A15

.B

A15

.D

A15

.C

A16

.A

A16

.B

A16

.D

A16

.C

A17

.A

A17

.B

A17

.D

A17

.C

A18

.A

A18

.B

A18

.D

A18

.C

A19

.A

A19

.B

A19

.D

A19

.C

A20

.A

A20

.B

A20

.D

A20

.C

A21

.A

A21

.B

A21

.D

A21

.C

A22

.A

A22

.B

A22

.D

A22

.C

A23

.A

A23

.B

A23

.D

A23

.C

A24

.A

A24

.B

A24

.D

A24

.C

RE

V:

RE

V:

22µF

22µF 22

µF R49

22µF

R50

22µF

R51

22µF R

52

22µF

R79

22µF R

80

22µF R

81

22µF R

82

22µF

R83

22µF R

84

22µF R

85

22µF

R86

22µF

H2

.A

H2.

D

H2

.E

H2.

C

H2.

F

H2

.B

H2.

G

H2.

H

A56

.C

A56

.D

A56

.B

A56

.A

A57

.B

A57

.A

A57

.D

A57

.C

A1.

B

A1.

A

A1.

C

A1.

D

A2.

B

A2.

A

A2.

C

A2.

D

A3.

B

A3.

A

A3.

C

A3.

D

2C

LIP

1.0

K

56

0Ω

33

0Ω

27

0Ω

15

0Ω

10

0Ω

47

Ω

22

Ω

RE

F2

RE

F2

RE

F2

D1

0

D1

1

D1

2

D2

2

D1

5

D1

6

D1

7

D1

8

D1

9

D2

0

D2

1

D1

3

D1

4

D2

3

D2

4

D3

4

D2

7

D2

8

D2

9

D3

0

D3

1

D3

2

D3

3

D2

5

D2

6

D3

5

D3

6

D4

6

D3

9

D4

0

D4

1

D4

2

D4

3

D4

4

D4

5

D3

7

D3

8

D4

7

D4

8

D5

8

D5

1

D5

2

D5

3

D5

4

D5

5

D5

6

D5

7

D4

9

D5

0

D5

9

D6

0

D7

0

D6

3

D6

4

D6

5

D6

6

D6

7

D6

8

D6

9

D6

1

D6

2

D7

1

D7

2

D8

2

D7

5

D7

6

D7

7

D7

8

D7

9

D8

0

D8

1

D7

3

D7

4

D8

3

D8

4

D9

4

D8

7

D8

8

D8

9

D9

0

D9

1

D9

2

D9

3

D8

5

D8

6

D9

5

D9

6

D3

D4

D5

D6

D7

D8

D9

D1

D2

2C

LIP

2C

LIP

2C

LIP

2C

LIP

2C

LIP

2C

LIP

2C

LIP

RE

F2

RE

F2

RE

F2

RE

F2

RE

F2

NO

:

PC

B

NO

:

MM

7

MM

8

MM

5

MM

6

MM

3

MM

4

MM

2

MM

1

CM

7

CM

8

CM

4

CM

3

CM

1

CM

2

CM

5

CM

6

R45

100K

sm

t 1/4

wM

ET

ER

11

C3

2R46

100K

sm

t 1/4

wM

ET

ER

12

C3

3R47

100K

sm

t 1/4

wM

ET

ER

13

C3

4

R48

100K

sm

t 1/4

wM

ET

ER

14

C3

5

100K

sm

t 1/4

wM

ET

ER

15

C3

6

100K

sm

t 1/4

wM

ET

ER

16

C3

7

100K

sm

t 1/4

wM

ET

ER

17

C3

8

100K

sm

t 1/4

wM

ET

ER

18

C2

1

100K

sm

t 1/4

w

ME

TE

R 1

C2

2

100K

sm

t 1/4

w

ME

TE

R 2

C2

3

100K

sm

t 1/4

w

ME

TE

R 3 C

24

100K

sm

t 1/4

w

ME

TE

R 4

C2

5

100K

sm

t 1/4

w

ME

TE

R 5

C2

6

100K

sm

t 1/4

w

ME

TE

R 6 C

27

100K

sm

t 1/4

w

ME

TE

R 7

C2

8

100K

sm

t 1/4

w

ME

TE

R 8

MM

1

MM

2

MM

3

MM

4

MM

6

MM

5

MM

7

MM

8

CM

4

CM

1

CM

2

CM

3

CM

8

CM

7

CM

6

CM

5

R10 R11

2+

18

2+

12

2-

12

2-

18

15

K

6.8

K

3.3

K

1.5

K

R12 R13

2-24

2-30

R1 R2 R3 R4 R5 R6 R7 R8 R9

Q1

1

Q1

2Q

13

Q1

4Q

15

Q1

6Q

17

Q1

8

2+

18

2+

12

2+

18

2+

12

2-

12

2-

18

2-24

2-30

2+

18

2+

12

2-

12

2-

18

2-24

2-30

2+

18

2+

12

2-

12

2-

18

2-24

2-30

2+

18

2+

12

2-

12

2-

18

2-24

2-30

2+

18

2+

12

2-

12

2-

18

2-24

2-30

2+

18

2+

12

2-

12

2-

18

2-24

2-30

1314

10 11

1314

10 11

12

6 71314

10 11

2-

4

2-

8

1 2 1 2 1 2

2+

8

6 7 6 7 6 7

2+

4

2-

4

2-

8

2 1 12 12

2+

8

4 5 6 7 6 7

2-

4

2-

8

2 1 2 1 2 1

2+

8

4 5 4 5 4 5

2+

4

2-

4

2-

8

2 1 2 1 2 1

2+

8

4 5 4 5 4 5

2+

4

2-

4

2-

8

2 1 2 1 2 1

2+

8

4 5 4 5 4 5

2+

4

2-

4

2-

8

2 1 2 1 2 1

2+

8

4 5 4 5 4 5

2+

4

2-

4

2-

8

2 1 2 1 2 1

2+

8

4 5 4 5 4 5

2+

4

2-

4

2-

8

2 1 2 1 2 1

2+

8

4 5 4 5 4 5

2+

4

C

+ +

+

+

+

+ +

+ + + +

+ +

+

+

1 2

6 7 8 94 5

– +– +– + – +

1 2

6 7 8 94 5

– +– +– + – +

14 13

8 9 4 510 11

– +– +– + – +

1 2

6 7 8 94 5

– +– +– + – +

2-

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +1314

10 116 7 4 5 4 5 8 9

– + – +

8–

9+

14

10–

11+

13

– +– +

8–

9+

14

10–

11+

13

– +– + – +– +

2-

0

14 13

8 96 7 6 7 6 7 10 11

– + – +

8–

9+

14

10–

11+

13

– + – +

8–

9+

14

10–

11+

13

– + – + – + – +

2-

0

14 13

8 96 7 6 7 6 7 10 11

– + – +

8–

9+

14

10–

11+

13

– + – +

8–

9+

14

10–

11+

13

– + – + – + – +

2-

0

14 13

8 96 7 6 7 6 7 10 11

– + – +

8–

9+

14

10–

11+

13

– + – +

8–

9+

14

10–

11+

13

– + – + – + – +

2-

0

14 13

8 96 7 6 7 6 7 10 11

– + – +

8–

9+

14

10–

11+

13

– + – +

8–

9+

14

10–

11+

13

– + – + – + – +

2-

0

14 13

8 96 7 6 7 6 7 10 11

– + – +

8–

9+

14

10–

11+

13

– + – +

8–

9+

14

10–

11+

13

– + – + – + – +

2-

0

14 13

8 96 7 6 7 6 7 10 11

– + – +

8–

9+

14

10–

11+

13

– + – +

8–

9+

14

10–

11+

13

– + – + – + – +

R14

68Ω smt 1/4w

R1568Ω smt 1/4w

R16

68Ω smt 1/4w

R17

68Ω smt 1/4w

R1868Ω smt 1/4w

R1968Ω smt 1/4w

R2068Ω smt 1/4w

R21

68Ω smt 1/4w +1

5V

DC

-15V

DC

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

+15

VD

C

H4

.B

H4.

C

H4

.A

H4.

D

H4

.E

H4.

F

H5

.B

H5.

C

H5

.A

H5.

D

H5

.E

H5.

F

D219 D220 R91

+15

VD

C

-15V

DC

D217 D218 R92

+15

VD

C

-15V

DC

RE

F1

RE

F2

2+

4

2-0

2-12

2-18

2-24

2-30

GN

D8

0-8

80

06

30-8

8006

R9

0

R8

9

1K

1K

Z1

9V

GND

10K

sm

t 1/4

wR

57

10K

sm

t 1/4

wR

58

10K

sm

t 1/4

wR

59

10K

sm

t 1/4

wR

60

10K

sm

t 1/4

wR

69

10K

sm

t 1/4

wR

70

10K

sm

t 1/4

wR

71

10K

sm

t 1/4

w

R72

10K

sm

t 1/4

wR

73

10K

sm

t 1/4

wR

74

10K

sm

t 1/4

wR

76

10K

sm

t 1/4

wR

75

0.1µ

FC

11

+

0.1µ

FC

12

+

0.1µ

FC

13

+0.

1µF

C1

4

+

0.1µ

FC

15

+

0.1µ

FC

16

+

0.1µ

FC

17

+

0.1µ

FC

18

+

-15V

DC

-15V

DC

22µFC3

1+

10K

sm

t 1/4

wR

53 10K

sm

t 1/4

wR

54

10K

sm

t 1/4

w

R55

10K

sm

t 1/4

w

R5622

K

22K

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Yello

w s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Gre

en s

mal

l

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

Red

sm

all

ME

TE

R

1M

ET

ER

2

ME

TE

R

3M

ET

ER

4

ME

TE

R

5M

ET

ER

6

ME

TE

R

7M

ET

ER

8

-15V

DC

47

Ω

A28

.A

A28

.B

A28

.D

A28

.C

A29

.B

A29

.A

A29

.D

A29

.C

A30

.B

A30

.A

A30

.C

A30

.D

A31

.B

A31

.A

A31

.C

A31

.D

A32

.B

A32

.A

A32

.C

A32

.D

A33

.B

A33

.A

A33

.C

A33

.D

A34

.A

A34

.C

A34

.D

A35

.B

A35

.A

A35

.C

A35

.D

A36

.B

A36

.A

A36

.C

A36

.D

A37

.A

A37

.C

A37

.D

A38

.B

A38

.A

A38

.C

A38

.D

A39

.B

A39

.A

A39

.C

A39

.D

A40

.B

A40

.A

A40

.C

A40

.D

A41

.B

A41

.A

A41

.C

A41

.D

A42

.B

A42

.A

A42

.C

A42

.D

A43

.B

A43

.A

A43

.C

A43

.D

A44

.B

A44

.A

A44

.C

A44

.D

A45

.B

A45

.A

A45

.C

A45

.D

A46

.B

A46

.A

A46

.C

A46

.D

A47

.B

A47

.A

A47

.C

A47

.D

A48

.B

A48

.A

A48

.C

A48

.D

A25

.B

A25

.A

A25

.C

A25

.D

A26

.B

A26

.A

A26

.C

A26

.D

A27

.B

A27

.A

A27

.C

A27

.D

CL

IP

1.0

K

56

0Ω

33

0Ω

27

0Ω

15

0Ω

10

0Ω

47

Ω

22

Ω

RE

F1

RE

F1

RE

F1

D1

06

D1

07

D1

08

D1

18

D1

11

D1

12

D1

13

D1

14

D1

15

D1

16

D1

17

D1

09

D1

10

D1

19

D1

20

D1

30

D1

23

D1

24

D1

25

D1

26

D1

27

D1

28

D1

29

D1

22

D1

31

D1

32

D1

42

D1

35

D1

36

D1

37

D1

38

D1

39

D1

40

D1

41

D1

34

D1

43

D1

44

D1

54

D1

47

D1

48

D1

49

D1

50

D1

51

D1

52

D1

53

D1

46

D1

55

D1

56

D1

66

D1

59

D1

60

D1

61

D1

62

D1

63

D1

64

D1

65

D1

57

D1

58

D1

67

D1

68

D1

78

D1

71

D1

72

D1

73

D1

74

D1

75

D1

76

D1

77

D1

69

D1

70

D1

79

D1

80

D1

90

D1

83

D1

84

D1

85

D1

86

D1

87

D1

88

D1

89

D1

81

D1

82

D1

91

D1

92

D9

9

D1

00

D1

01

D1

02

D1

03

D1

04

D1

05

D9

7

D9

8

CL

IPC

LIP

CL

IPC

LIP

CL

IP

RE

F1

RE

F1

RE

F1

RE

F1

RE

F1

R31 R32

+1

8

+1

2

-1

2

-1

8

15

K

6.8

K

3.3

K

1.5

K

R33 R34

-24

-30

R22 R23 R24 R25 R26 R27 R28 R29 R30

Q1

Q2

Q3

Q4

Q5

Q6

Q7

Q8

+1

8

+1

2

+1

8

+1

2

-1

2

-1

8

-24

-30

+1

8

+1

2

-1

2

-1

8

-24

-30

+1

8

+1

2

-1

2

-1

8

-24

-30

+1

8

+1

2

-1

2

-1

8

-24

-30

+1

8

+1

2

-1

2

-1

8

-24

-30

+1

8

+1

2

-1

2

-1

8

-24

-30

-4

-8

1 2 1 2 1 2

+8

6 7 6 7 6 7

+4

-4

-8

2 1 12 12

+8

4 5 6 7 6 7

-4

-8

1 2 1 2 1 2

+8

6 7 6 7 6 7

+4

-4

-8

2 1 2 1 2

+8

6 7 6 7

+4

-4

-8

2 1 2 1 2

+8

6 7 6 7

+4

-4

-8

1 2 1 2 1 2

+8

6 7 6 7 6 7

+4

-4

-8

1 2 1 2 1 2

+8

6 7 6 7 6 7

+4

-4

-8

1 2 1 2 1 2

+8

6 7 6 7 6 7

+4

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +1314

10 116 7 4 5 4 5 8 9

– + – +

8–

9+

14

10–

11+

13

– +– +

8–

9+

14

10–

11+

13

– +– + – +– +

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

0

13 14

10 114 5 4 5 4 5 8 9

– +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

0

13 14

10 114 5 4 5 4 5 8 9

– +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

0

13 14

10 114 5 4 5 4 5 8 9

– + – +

10–

11+

13

8–

9+

14

– + – +

10–

11+

13

8–

9+

14

– + – + – + – +

R35

68Ω smt 1/4w

R3668Ω smt 1/4w

R37

68Ω smt 1/4w

R38

68Ω smt 1/4w

R3968Ω smt 1/4w

R4068Ω smt 1/4w

R4168Ω smt 1/4w

R42

68Ω smt 1/4w

+4 0

-12

-18

-24

-30

GN

D

Z2

9V

GND

0.1µ

FC

1

+

0.1µ

FC

2

+

0.1µ

FC

3

+

0.1µ

FC

4

+

0.1µ

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34

C. Console Dimensions

S/L56

S/L40

S/L24

AFL (After Fade Listen)A function that allows the operator to monitor the post-fade signal in achannel independently of the main mix.

AssignTo route a signal to a particular signal path or combination of signal paths.

AttenuateTo reduce signal level.

Auxiliary SendAn output from the console comprising a mix of signals from the chan-nels derived independently of the left, right and group mixes.

Balanced A method of connecting audio signals using 3 wires. Two of the wirescarry the audio signal out of phase from each other allowing commonmode rejection of in phase noise that may be picked up on each wire.The third wire is the ground. The common use is with the XLR con-nectors on mics and mixer outputs. Also the 1/4” phone TRS(Tip/Ring/Sleeve) system is used for making balanced connections.

BandwidthThe band of frequencies that pass through a device with a loss of lessthan 3dB, expressed in Hertz.

CardioidCardioid refers to the heart-shape sensitivity pattern of some directionalmicrophones.

ChorusingAn effect available in some digital delay effects units and reverbs.Chorusing involves a number of moving delays and pitch shifting, usu-ally panned across a stereo field.

Clipping The onset of distortion in the signal path, usually caused by the peaksignal voltage being limited by the circuit’s power supply voltage.

CondenserAnother term for the electronic component generally known as a capac-itor. In audio, condenser usually refers to a type of microphone that usesa capacitor as the sound pickup element. Condenser microphones requireelectrical power to run internal amplifiers and maintain an electrical chargeon the capacitor. They are typically powered by internal batteries or “phan-tom power” supplied by an external source, such as a mixing console.

ConsoleA term for a sound mixer, usually a large desk-like mixer.

CueingIn broadcast, stage and post-production work to “cue up” a sound source(a record, a sound effect on a CD, a song on a tape) means to get itready for playback by making sure you are in the right position on the“cue,” or making sure the level and EQ are set properly. This requiresa special monitoring circuit that only the mixing engineer hears. It doesnot go out on the air or to the main mixing busses. This “cueing” cir-cuit is the same as the PFL feature on a mixer.

DATDigital Audio Tape, a tape-based digital recording format.

dB (see decibel)A ratio of two voltages or signal levels, expressed by the equationdB=20Log 10 (V 1 /V 2 ).

dBmA unit of measurement of audio signal level in an electrical circuitexpressed in decibel referenced to 1 milliwatt. The “m” in dBm stands

for “milliwatt.” In a circuit with an impedance of 600 ohms, this refer-ence (0dBm) corresponds to a signal voltage of 0.775 VRMS (because0.775 V across 600 ohms equals 1mw).

dBuA unit of measurement of audio signal level in an electrical circuit,expressed in decibel referenced to 0.775 VRMS into any impedance.Commonly used to describe signal levels within a modern audio system.

dBv A unit of measurement equal to the dBu but no longer in use. It wastoo easy to confuse a dBv with a dBV, to which it is not equivalent.

dBVA unit of measurement of audio signal level in an electrical circuit,expressed in decibel referenced to 1 VRMS across any impedance.Commonly used to describe signal levels in consumer equipment. Toconvert dBV to dBu, add 2.2dB.

Decibel (see dB)The dB is a ratio of quantities measured in similar terms using a loga-rithmic scale. Many audio system parameters measure over such a largerange of values that the dB is used to simplify the numbers. A ratio of1000V:1V=60dB. When one of the terms in the ratio is “an agreed uponstandard value” such as 0.775V, 1V or 1mw, the ratio becomes an absolutevalue, i.e., +4dBu, –10dBV or 0dBm.

DelayIn sound work, delay usually refers to an electronic circuit or effectsunit whose purpose it is to delay the audio signal for some short periodof time. Delay can refer to one short repeat, a series of repeats or thecomplex interactions of delay used in chorusing or reverb. Whendelayed signals are mixed back with the original sound, a great numberof audio effects can be generated, including phasing and flanging, dou-bling, Haas-effect positioning, slap or slap back, echo, regenerative echo,chorusing and hall-like reverberation. Signal time delay is central to manyaudio effects units.

DetentA point of slight physical resistance (a click) in the travel of a knob orslide control.

DI(direct injection)The practice of connecting an electric musical instrument directly to theinput of the mixing console rather than using a microphone into the con-sole.

Direct outputA post fader line level output from the input channel, bypassing the sum-ming amplifiers, typically for sending to individual tape tracks duringrecording.

DoublingA delay effect, where the original signal is mixed with a medium (20 to50 msec) delay.

DryUsually means without reverberation or without some other applied effectlike delay or chorusing.

Dynamic MicrophonesRefers to the class of microphones that generate electrical signals bythe movement of a coil in a magnetic field. Dynamic microphones donot require external power.

Dynamic rangeThe range between the maximum and minimum sound levels that a soundsystem can produce. It is usually expressed in decibels as the differ-ence between the level at just before peak clipping and the level of thenoise floor.

D. Glossary

35

EchoThe reflection of sound from a surface. Reverberation and echo are termsthat can be used interchangeably, but in pro audio a distinction is usu-ally made: echo is considered to be a distinct, recognizable repetition(or series of repetitions) of a word, note, phrase or sound, whereas rever-beration is a diffuse, continuously smooth decay of sound.

Effects unitAn external signal processors used to add reverb, delay, spatial or psy-choacoustic effects to an audio signal.

EIN (Equivalent Input Noise)A specification that helps measure the noise generation of a gain stage.

Equalizer (EQ)A device that allows the boosting or cutting of selected bands of fre-quencies in the signal path. In the form of tone controls or sliders.

FaderA linear control providing level adjustment

FeedbackThe “howling” sound caused by bringing a microphone too close to itsassociated loudspeaker.

FlangingA modulation effect. Before digital delay effects units, the flanging effectcould be accomplished by playing two tape machines in synchroniza-tion, then causing one tape to become slightly out of synch by rubbinga finger on the tape reel.

FOHAn acronym for Front Of House. Refers to the main stage to audiencesound system.

FrequencyThe number of times an event repeats itself in a given period. Frequencyis measured in units called Hertz (Hz). One Hertz is one repetition orcycle per second.

GainThe measure of how much a circuit amplifies a signal.

Gain stageAn amplification point in a signal path, either within a system or a singledevice.

Graphic EQA graphic equalizer uses slide pots for its boost/cut controls with itsfrequencies evenly spaced through the audio spectrum.

GroundAlso called earth. Ground is defined as the point of zero voltage in a cir-cuit or system, the reference point from which all other voltages are mea-sured. In electrical systems, ground connections are used for safetypurposes to keep equipment chassis and controls at zero voltage andto provide a safe path for errant currents. This is called a safety ground.Maintaining a good safety ground is always essential to prevent elec-trical shock. Follow manufacturer’s suggestions and good electrical prac-tices to ensure a safely grounded system. Never disable the safety groundto reduce ground loop noise problems.

Ground loopA ground loop occurs when the technical ground within an audiosystem is connected to the safety ground at more than one place. Twoor more connections will allow tiny currents to flow in the loops cre-ated, possibly inducing noise (hum) in the audio system. If you havenoise in your system due to ground loops, check your manual for wiringtips or call technical support. Never disable the safety ground to reducenoise problems.

Haas effectA psychoacoustic effect in which the time of arrival of a sound to theleft and right ears affects our perception of direction. If a signal is pre-sented to both ears at the same time at the same volume, it appears tobe directly in front of us. But if the signal to one ear, still at the samevolume, is delayed slightly (0 to 5 msec), the sound appears to be comingfrom the earlier (non-delayed) side.

Headroom The available signal range above the nominal level before clippingoccurs.

Hertz (Hz)Unit of measure for frequency of oscillation, equal to 1 cycle persecond.

Highpass filter A filter that rejects low frequencies.

ImpedanceThe A.C. resistance/capacitance/inductance in an electrical circuit.Impedance may not be purely resistance but is mesaured in ohms andis usually indicated by the omega symbol (Ω).

InsertA break point in the signal path to allow the connection of externaldevices, for instance signal processors.

Line levelA signal whose level falls between –10dBu and +30dBu.

MasterA control affecting the final output of a mixer. A mixer may have sev-eral master controls, which may be slide faders or rotary controls.

Mic levelThe typical level of a signal from a microphone. A mic level signal isgenerally below –30dBu.

Mic preamp (mic-pre)Short for microphone preamplifier. An amplifier that functions to bringthe very low signal level of a microphone (approximately –50dBu) upto line level (approximately 0dBu). Mic preamps often have their owngain control to properly set the volume for a particular source. Settingthe mic preamp gain correctly is an essential step in establishing goodnoise and headroom for your mix.

Monaural (MONO)Monaural has to do with a signal which, for purposes of communicat-ing- audio information, has been confined to a single channel. One micro-phone is a mono pickup; many microphones mixed to one channe is amono mix; a mono signal played through two speakers is still mono,since it only carries one channel of information. Several monaural sources,however, can be panned into a stereo mix. Monaural sound reinforce-ment is common for environments where stereo sound reinforcementwould provide an uneven reproduction to the listener.

MonitorIn sound reinforcement, monitor speakers (or monitor headphones orin-the-ear monitors) are those speakers used by the performers to hearthemselves. Monitor speakers are also called foldback speakers. In record-ing, the monitor speakers are those used by the production staff to listento the recording as it progresses.

Monitor send, also (foldback)A feed sent from the mixer back to the artist via loudspeakers or head-phones to enable them to monitor the sounds they are producing.

Noise floorThe residual level of noise in any system. In a well designed mixer, the

36

Noise floor will be a quiet hiss, which is the thermal noise generatedby bouncing electrons in the transistor junctions. The lower the noisefloor and the higher the headroom the more usable dynamic range asystem has.

Parametric EQA “fully” parametric EQ is an extremely powerful equalizer that allowssmooth, continuous control of each of the primary EQ parameters (fre-quency, gain, and band-width) in each section independently. “Semi”parametric EQs allow control of fewer parameters. Usually frequencyand gain (as they have a fixed bandwidth, but variable center frequencyand gain).

Pan (pot)Abbreviation of “panorama” controls levels sent to left and right out-puts.

Phantom power, +48VThe phantom power supply, available at the channel mic inputs, forcondenser microphones and active DI boxes that require power.

PeakingAn equalizer response curve affecting only a band of frequencies (i.e. based on a bandpass response).

PFL (pre-fade listen)A function that allows the operator to monitor the pre-fade signal ina channel independently of the main mix.

PhaseA term used to describe the relationship of two audio signals.In-phase signals reinforce each other, out-of-phase signals result incancellation.

PolarityA term used to describe the orientation of the positive and negativepoles of an audio connection. Normally connections are made withpositive to positive, negative to negative. If this is reversed, the resultwill be out-of-phase signals

Post-faderThe point in the signal path after the fader and therefore, affected byfader level.

Pre-faderThe point in the signal path before the master fader position and there-fore, unaffected by the fader level.

QA way of stating the bandwidth of a filter or equalizer section. An EQwith a Q of .5 is broad and smooth, while a Q of 10 gives a narrow,pointed response curve. To calculate the value of Q, you must knowthe center frequency of the EQ section and the frequencies at which theupper and lower skirts fall 3dB below the level of the center frequency.Q equals the center frequency divided by the difference between the upperand lower –3dB frequencies. A peaking EQ centered at 10kHz whose–3dB points are 7.5kHz and 12.5kHz has a Q of 2.

RCA phono jackAn RCA phono jack is an inexpensive connector (female) introducedby RCA and originally used to connect phonographs to radio receiversand phono preamplifiers. The phono jack was (and still is) widely usedon consumer stereo equipment and video equipment but is not gener-ally used in the professional and semiprofessional sound world.

Reverberation (reverb)The sound remaining in a room after the source of sound is stopped.It’s what you hear in a large room immediately after you’ve clapped yourhands. Reverberation and echo are terms that can be used inter-changeably, but by professional audio definitions a distinction is usu-ally made: reverberation is considered to be a diffuse, continuously

smooth decay of sound, whereas echo is a distinct, recognizable rep-etition of a note, phrase or sound.

RMSAn acronym for root mean square, a conventional way to measure ACvoltage and audio signal voltage. Most AC voltmeters are calibrated toread RMS volts. Other types of measurements include average volts,peak volts and peak-to-peak volts.

SendA term used to describe a secondary mix and output of the input sig-nals, typically used for foldback monitors, headphone monitors, or effectsdevices. Often mixers use the term Aux Send for Auxiliary Send.

ShelvingAn equalizer response affecting all frequencies above or below thebreak frequency (i.e. a highpass or lowpass derived response.)

SoloA solo circuit allows the engineer to listen to individual channels, busesor other circuits singularly or in combination with other soloed signals.

Stereo returnAn input specifically designed to receive the output of effects orother external processing devices

Sweep EQAn equalizer that allows you to “sweep” or continuously vary the fre-quency with a fixed Q.

TalkbackThe operator speaking to the artists or to tape via the auxiliary orgroup outputs.

TinnitusThe ringing in the ears that is produced with prolonged exposure to highvolumes. BE AWARE OF YOUR EXPOSURE OR PERMANENT EARDAMAGE WILL RESULT!

TransientA momentary rise in the signal level.

TRSAcronym for Tip-Ring-Sleeve, a scheme for connecting three conduc-tors through a single plug or jack. This would include 1 ⁄4" and 1 ⁄8"mini phone plugs and jacks. Since the plug or jack can carry two sig-nals and a common ground, TRS connectorsare often referred to as stereo or balanced plugs or jacks. Anothercommon TRS application is for insert jacks, used for insert an exter-nal processor into the signal path. Typically, the tip is send, ring is return,and sleeve is ground.

TSAcronym for Tip-Sleeve, a scheme for connecting two conductors througha single plug or jack. This would include 1 ⁄4" and 1 ⁄8" mini phone plugsand jacks. Sometimes called mono or unbalanced plugs or jacks. A 1⁄4”TS phone plug or jack is also called a standard phone plug or jack.

UnbalancedA method of audio connection which uses a single wire and theconductive shielding as the signal return. This method does not pro-vide the noise immunity of a balanced input.

Unity gainA circuit or system that has its voltage gain adjusted to be equal oneor unity. A signal will leave a unity gain circuit at the same level at whichit entered.

volumeElectrical or sound level in an audio system.

37

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