CARVIN CX420 User manual
CX MONO MIXERS
CX420 and CX630
OPERATION MANUAL
Manual No. 76-00630
Revision 1.1
Made in USA
1-800-854-2235
CX630
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GRAPHIC EQ
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+12
125 250 50063 1K 2K 4K 8K 16K
MAIN
PHANTOM
MONITOR REVERB
EFFSEND TAPE EFF RTN
TAPE RETURN
TAPE SEND
SEND MONITOR MAINAMP PATCH
EFFECTS
RETURN
POWER
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010
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HELPLINE
1-800-854-2235
8:30 To 4:30 Monday-Friday
Pacific Standard Time
USA
Record the serial number of your CX Mixer in the space provided below:
Serial No._________________ Invoice Date________________
12340 World Trade Drive
San Diego, CA 92128
619-487-1600
19 i
Call Toll-Free 800-854-2235 if you need help with your CARVIN product. If you need to return
it for service, our service department. will issue a Service Number so that we can expect your
shipment. Write the Service Number on the carton and be sure to include a full description of
every problem. Pack in its original carton using all its packing material. Return by UPS pre-
paid. Units returned with physical damage, missing parts, or damage from improper service
are not serviceable.
REPAIRS UNDER WARRANTY (1Year)
There is no charge for service under warranty. However, shipping is to be paid both ways by
the customer.
REPAIRS OUT OF WARRANTY
If your warranty has expired, call us for the current flat rate service charge which includes
parts, labor and testing to bring your unit up to factory specifications.
SERVICING IN YOUR AREA
You may select your own service center or have your own qualified technician work on the unit
at your own expense. This will not void the warranty unless damage was done because of
improper servicing. Under the ONE YEAR WARRANTY, Carvin will ship parts pre-paid to you
or your technician provided the defective part(s) are first returned for our inspection. If you do
not have a qualified service person, we ask that you do not involve yourself in servicing the
unit.
EXTENDED WARRANTY
An extended warranty is available beyond the normal one year period. Please call 1-800-854-
2235 for more information.
LIMITED WARRANTY
Your Carvin Professional Series Product is guaranteed against failure for ONE YEAR. Carvin
will service the unit and supply all parts at no charge to the customer provided the unit is under
warranty. CARVIN DOES NOT PAY FOR PARTS OR SERVICING OTHER THAN OUR
OWN. This warranty is extended to the original purchaser only and is not transferable. THIS
WARRANTY DOES NOT INCLUDE FAILURES CAUSED BY INCORRECT USE, INADE-
QUATE CARE OF THE UNIT, OR NATURAL DISASTERS. A COPY OF THE ORIGINAL
INVOICE IS REQUIRED TO VERIFY YOUR WARRANTY. Carvin takes no responsibility for
any horn driver or speaker damaged by this unit. This warranty is in lieu of all other warranties,
expressed or implied. No representative or person is authorized to represent or assume for
Carvin any liability in connection with the sale or servicing of Carvin products. No liability is
assumed for damage due to accident, abuse, lack of reasonable care, loss of parts, or failure
to follow Carvin’s directions. CARVIN SHALL NOT BE LIABLE FOR INCIDENTAL OR CON-
SEQUENTIAL DAMAGES.
In the interest of creating new products and improving existing ones, Carvin is continually researching the latest state of the
art audio design methods, and modern packaging and production techniques. Thus, Carvin reserves the right to make
changes in its products and specifications without notice or obligation.
1-800-854-2235
(619) 487-1600 M-F 8 to 4:30
INSPECT YOUR CX MIXER FOR ANY DAMAGE which may have occurred
during shipping. If any damage is found, notify the shipping company and call
CARVIN immediately.
SAVE THE CARTON & ALL PACKING MATERIALS. In the event you have to
reship your mixer, always use the original carton and packing material. This will
provide the best possible protection for the mixer during shipment. CARVIN and
the shipping company are not liable for any damage caused by improper pack-
ing.
SAVE YOUR INVOICE. It will be required for warranty servicing of your unit.
Always check the invoice against the items you have received.
SHIPMENT SHORTAGE. If you find some items missing, it may be that they
were shipped separately. Please allow several days for the rest of your order to
arrive before inquiring. If you determine (after allowing an appropriate amount of
time) you have not received all the items you ordered, please call CARVIN.
RECEIVING INSPECTION
FOR THE NEW OWNER
WARRANTY AND SERVICE INFORMATION
Congratulations on your selection of CARVIN products: “The Professional’s
Choice.” Your new CX series mixer demonstrates CARVIN’s commitment to
producing the highest quality and most sophisticated engineering in the audio
industry today. Its wide acceptance and use by industry professionals illustrates
the basis for CARVIN’s recognition as “The Professional’s Choice.”
The CX series mixers were designed with the desire to pack as many high per-
formance features into the smallest package we could, without sacrificing the
quality of any one of the features or the mixer. The CX630 features a full func-
tion 6 channel mixer, a nine band graphic equalizer and a 200 Watt power ampli-
fier (100 Watts per speaker output into 8 ohms). The CX420 is a 4 channel ver-
sion of the CX630 with a 150 Watt power amplifier (75 Watts per speaker output
into 8 ohms). Each CX series mixer is the size of a 5 space rackmount unit, sur-
rounded by a 3/4” poplar plywood cabinet covered with Duratuff™ carpeting,
making the CX mixer road worthy and ready for a show anywhere.
If you would like to comment on any features or the performance of your new
mixer, please feel free to contact us. Comments from our customers have
helped us to improve and further develop our products and our business.
May you enjoy many years of success and fun with your new CARVIN mixer!
Carvin’s toll free number: 800-854-2235
17 2
R16 Resistor, 10K, 1/4W, ±5% 50-10045
R17 Resistor, 10K, 1/4W, ±5% 50-10045
R18 Resistor, 4.70K, 1/4W, ±5% 50-47035
R19 Resistor, 4.70K, 1/4W, ±5% 50-47035
R20 Resistor, 22Ω, 1/2W, ±5% 52-22015
R21 Resistor, 22Ω, 1/2W, ±5% 52-22015
R30 Resistor, 47K, 1/4W, ±5% 50-47045
R31 Resistor, 2.2K, 1/4W, ±5% 50-22035
R32 Resistor, 33K, 1/4W, ±5% 50-33045
R33 Resistor, 27K, 1/4W, ±5% 50-27045
R34 Resistor, 33K, 1/4W, ±5% 50-33045
R35 Resistor, 10K, 1/4W, ±5% 50-10045
R36 Resistor, 10K, 1/4W, ±5% 50-10045
R37 Resistor, 10K, 1/4W, ±5% 50-10045
R38 Resistor, 10K, 1/4W, ±5% 50-10045
R39 Jumper, 0Ω, Carbon, 0 50-00035
R40 Jumper, 0Ω, Carbon, 0 50-00035
R41 Resistor, 150K, 1/4W, ±5% 50-15055
R42 Resistor, 470Ω, 1/4W, ±5% 50-47025
R43 Resistor, 470Ω, 1/4W, ±5% 50-47025
R44 Resistor, 150K, 1/4W, ±5% 50-15055
R45 Resistor, 470Ω, 1/4W, ±5% 50-47025
R46 Resistor, 33K, 1/4W, ±5% 50-33045
R47 N/U
R48 Jumper, 0Ω, Carbon, 0 50-00035
R49 Resistor, 150K, 1/4W, ±5% 50-15055
R50 Resistor, 470Ω, 1/4W, ±5% 50-47025
R51 Resistor, 4.70K, 1/4W, ±5% 50-47035
R52 Resistor, 47K, 1/4W, ±5% 50-47045
R53 Resistor, 100Ω, 1/4W, ±5% 50-10025
R54 Resistor, 150K, 1/4W, ±5% 50-15055
R55 Resistor, 10K, 1/4W, ±5% 50-10045
R60 Resistor, 2.4K, 1/4W, ±5% 50-24035
R61 Resistor, 150K, 1/4W, ±5% 50-15055
R62 Resistor, 2.2K, 1/4W, ±5% 50-22035
R63 Resistor, 220K, 1/4W, ±5% 50-22055
R64 Resistor, 2.2K, 1/4W, ±5% 50-22035
R65 Resistor, 300K, 1/4W, ±5% 50-30055
R66 Resistor, 2.4K, 1/4W, ±5% 50-24035
R67 Resistor, 180K, 1/4W, ±5% 50-18055
R68 Resistor, 2.2K, 1/4W, ±5% 50-22035
R69 Resistor, 360K, 1/4W, ±5% 50-36055
R70 Resistor, 2.0K, 1/4W, ±5% 50-20035
R71 Resistor, 130K, 1/4W, ±5% 50-13055
R72 Resistor, 2.2K, 1/4W, ±5% 50-22035
R73 Resistor, 110K, 1/4W, ±5% 50-11055
R74 Resistor, 2.2K, 1/4W, ±5% 50-22035
R75 Resistor, 110K, 1/4W, ±5% 50-11055
R76 Resistor, 1.8K, 1/4W, ±5% 50-18035
R77 Resistor, 91K, 1/4W, ±5% 50-91045
R78 Resistor, 10K, 1/4W, ±5% 50-10045
R79 Resistor, 150K, 1/4W, ±5% 50-15055
R80 Resistor, 470Ω, 1/4W, ±5% 50-47025
R81 Resistor, 4.70K, 1/4W, ±5% 50-47035
R82 Resistor, 1K, 1/4W, ±5% 50-10035
R83 Resistor, 4.70K, 1/4W, ±5% 50-47035
R90 Resistor, 350Ω, 10W, ±10% 56-35010
R91 Resistor, 350Ω, 10W, ±10% 56-35010
R92 Jumper, 0Ω, Carbon, 0 50-00035
R93 Jumper, 0Ω, Carbon, 0 50-00035
R94 Jumper, 0Ω, Carbon, 0 50-00035
R95 Resistor, 680Ω, 1/4W, ±5% 50-68025
R96 Resistor, 15K, 1/4W, ±5% 50-15045
R97 Resistor, 22K, 1/4W, ±5% 50-22045
R98 Resistor, 22K, 1/4W, ±5% 50-22045
R99 Resistor, 10K, 1/4W, ±5% 50-10045
R100 Resistor, 33K, 1/4W, ±5% 50-33045
R101 Resistor, 680Ω, 1/4W, ±5% 50-68025
R102 Resistor, 15K, 1/4W, ±5% 50-15045
R103 Resistor, 22K, 1/4W, ±5% 50-22045
S1 Switch DPDT Push PC Mtg 25-02201
S4 Switch DPDT Push PC Mtg 25-02201
U1 100V/100W DMOS Audio Amp 60-72940
U2 100V/100W DMOS Audio Amp 60-72940
All “B” Reference Designators are 0 ohm jumpers.
If you’re like most new owners, you’re probably in a hurry to plug your CX mixer
in and use it. Here are some brief instructions to get you going quickly. With the
mixer unplugged and turned off complete the following procedures:
1. CONNECTING AC POWER TO YOUR MIXER
• Check the rear panel to make sure the mixer received uses the proper AC
Line Voltage. (USA 120VAC, Europe 240 VAC ...etc.)
• Use only a grounded (3 prong) power outlet to prevent a shock hazard. This
gives the quietest grounding for your mixer.
2. CONNECTING SPEAKERS
• For connecting speakers, use the two 1/4” speaker jacks on the rear panel.
These jacks are controlled by the main level control on the front panel. The
speaker cables should be non-shielded and at least 18 gauge(AWG) wire.
For speaker cable runs of over 20 feet 16 gauge wire is recommended.
NOTE: Do not run your speakers through microphone cables,
guitar cables, or multi-conductor microphone junction boxes or
“snakes” as they are sometimes referred to. This wire is normal-
ly shielded and of a very light gauge causing a substantial loss of
power and oscillations at high frequencies in the amplifier. All
speaker wires must be non-shielded.
3. CONNECTING INPUTS TO YOUR MIXER
• For low level balanced devices such as microphones, plug into the balanced
MIC inputs using an XLR shielded microphone cable.
• For high level unbalanced devices such as Tape Recorders and Keyboards
plug into the LINE input jacks using a 1/4” phone shielded cable.
4. TURNING YOUR MIXER ON
• Adjust all channel and master level controls to the off position
(fully counter clockwise).
• Adjust all “EQ” tone controls, the channel’s Hi, Mid, and Lo and the master 9
Band Graphic EQ, to their center detent position.
• Turn the mixer on by the rear panel power switch and watch for the power
LED to come on.
Your mixer is now ready to operate.
QUICK START UP
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5
# DESCRIPTION CARVIN# QTY
Switch Cap Grey Extended 07-01603 7
Knob 11 D shaft (COLOR) 07-120-- ---
Front Panel PCB (6 Chan) 80-0630-1 1
POWER TRANSFORMER 15-15070B 1
Accutronics™REVERB TANK 70-00821 2
SPEAKER JACK PCB 80-0630-3 1
POWER AMP PCB 80-0630-2 1
Yellow
Green
DrkGrey
20
25
28
Color Knob Code
1.
2.
3.
4.
5.
6.
7.
MAINTENANCE
To bring back the new look, your CX mixer can be washed with mild detergent
and/ or a warm damp soft cloth. This will remove normal dust and oil from the
front and back panels. Never spray cleaners or detergents directly at the unit.
The mixer’s are virtually sealed from outside dust and dirt, but it is recommend-
ed to keep the mixer free from dust, dirt, and moisture as much as possible.
THREE BAND
CHANNEL TONE
CONTROLS
PAD
-20dB
PAD SWITCH
HI MID LOW
MIC
PRE
CHANNEL
LEVEL CHANNEL
EFF SND
CHANNEL
MONITOR
LEVEL
MAIN
MON
EFF
EFFECTS
SUMMING AMP
EFFECTS
SENDLEVEL
MAIN LEFT
SUMMING AMP
ANDLEVEL
EFFECTS SEND
GAINSTAGE
MAIN
LINEOUT
NINE BAND
GRAPHIC
EQUILIZER
EFFECTS
SEND
TO INTERNAL
REVERBTANK
MONITOR
SUMMING AMP
MONITOR
LINEOUT
LEFT
AMP PATCH
EFF INPUT
TAPE RTN
RETURN
FOR INTERNAL
REVERBTANK
LEFT
TAPEOUT
TO INTERNAL
POWER AMP
REV.TO
MONITOR
1155 Industrial Ave.
Escondido, CA 92029
619-747-1710
FAX 747-9065
CX 630 & CX420
BLOCK DIAGRAM
PtN
CHANNEL
linepad
(-26dB)
15 4
6. CHANNEL EFFECTS/REVERB LEVEL CONTROL
The EFF/REV level control adjusts the volume of the channel going to the
effects send master control, and the internal reverb tank. The effects control is
post channel level. This means adjustments in the channel’s EQ or level con-
trols will be affecting the effects send of that chan-
nel.
7-9. CHANNEL TONE CONTROLS
Each channel features three tone controls LO, MID,
and HI. The LO and HI controls are shelving type
tone controls with corner frequencies at 100Hz and
10KHz respectively. The shelving means, the for
the LO control, all frequencies from 100Hz down to
the lowest frequency the mixer can handle are all
boosted when the knob is turned clockwise and cut
when turned counter-clockwise from the center
position. For the HI control the shelving means all
the frequencies from 10kHz and up to the upper
limit of the mixer are all boosted when the knob is
turned clockwise and cut when turned counter-
clockwise from the center position. The MID control
is a band pass type of tone control with the center
frequency set at 1.5KHz. The band pass means a
middle section of frequences centered around 1.5kHz, but not over lapping the
HI and LO controls, is boosted when the knob is turned clockwise and cut when
turned counter-clockwise from the center position.
Familarity with the channel tone controls:
The three tone controls can add brightness, clairity, and control to the channel’s
input signal. Here are some tonal references for these tone controls.
• LO affects the deep low bass tones and the typical bass tones.
• MID affects all the middle frequencies where the clairty of an average persons
spoken voice is mostly heard. Also the MID incompases the louder sometimes
harsher tones that can distort the over all sound of the system.
• HI affects the treble tones and very high treble tones bringing brightness and
brillance to the channel’s input.
Adjusting:
Use these controls to change the tonal shape of the input signal and in many
cases to reduce possible feedback from microphones near the mixer’s output
speakers. It is suggested the channel tone controls start out in their center
detent position where they do not effect the original incoming signal. Then, if
needed, turn the tone controls (boost,turn to the right, or cut, turn to the left) to
change the sound.
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REV
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LOW 0
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The basic hook up is simple, using four (or two stereo) RCA cables plug
the tape send on the mixer into the tape deck’s inputs, and the mixer’s
tape return’s into the tape deck’s outputs. This will of course be a mono
mix because the CX630 and CX420 are mono mixers, but for playing
back pre recorded stereo tapes this hookup allows both left and right
sides to be heard. For play back turn up the TAPE/ EFF RTN level con-
trol to the desired play back volume. For setting the recording level the
MAIN level control is used. Also, when recording turn down the TAPE/
EFF RTN level as feedback may occur through the tape deck.
With an effects processor, plug the EFFECTS SEND 1/4” phone output
on the mixer into the input jack on the effects processor, and plug the
EFFECTS RETURN 1/4” phone input on the mixer into the output jack
on the effects processor. Use the EFF SEND level control to adjust the
volume sent to the external effects unit, and use the TAPE/ EFF RTN
level control to adjust the return volume heard in the main mix.
MAIN
PHANTOM
MONITOR REVERB
EFF SEND TAPE EFF RTN TAPE RETURN
TAPE SEND
SEND MONITOR MAINAMP PATCH
EFFECTS
RETURN
POWER
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TAPE RECORDER
AUX EFFECTS PROCESSOR
OUT
MONO IN
OUT TAPE IN (MONO)
4. TAPE/EFFECTS RETURN LEVEL CONTROL
The TAPE/ EFF RTN is an effects or tape return volume control. It can receive
input from both the tape return RCA jacks and the 1/4” effects return jack. This
volume controls the return level being fed back into the main mix. The return
can also be used as just another input to the main mix for a keyboard or other
gear.
5. REVERB RETURN LEVEL CONTROL
The REVERB return level control is the volume control for the internal reverb
tank. This volume controls the amount of reverb heard in the main and monitor
mixes.
6. MONITOR LINE OUT JACK
The MONITOR LINE OUT jack is where the MONITOR master level control’s
signal can be accessed. This is a line level output and can be used to drive an
external power amplifier or it can be plugged into the AMP PATCH jack to drive
the graphic EQ and the internal power amplifier.
7. MAIN LINE OUT JACK
The MAIN LINE OUT jack is the post EQ output jack for the main mix. This out-
put is the same signal that is being feed to the internal power amplifier.
Note: If the AMP PATCH jack is being used for patching the monitor out to the
internal amplifier, then that new signal will also be present on the MAIN LINE
OUT jack. The original main mix may still be accessed at the RCA TAPE SEND
jacks in this case.
8. AMP PATCH JACK
The AMP PATCH jack is pre-graphic EQ and normalized to the main mix.
When something is plugged into this jack, the main mix is disconnected from the
graphic EQ and internal power amplifier and the new signal, that was plugged
into the jack, is now going through the graphic EQ and to the internal power
amplifier. Also this new signal appears at the MAIN LINE OUT jack. A typical
use for this jack is where power for monitor speakers is needed and a larger
external power amplifier is to be used for the main speakers. Here the monitor
line out jack can be plugged, or “patched” into the AMP PATCH jack for a pow-
ered monitor mix.
9. TAPE SEND AND TAPE RETURN RCA JACKS
The TAPE SEND RCA jacks deliver the main mix output pre the graphic EQ
uninterrupted by the status of the AMP PATCH jack. The two jacks are linked
internally together so either or both can be used.Also, the TAPE SEND jacks
are a way to access the main mix, if the amp patch jack is being used.
The TAPE RETURN RCA jacks are RCA inputs to the TAPE/ EFF RTN level
control. The tape return jacks can also be used for returning another effects
processor or instrument such as a keyboard to the main mix.
These RCA jacks are Ideal for using a cassette deck to record a mix with the
tape send jacks and then playing it back through the tape returns without using
up any channels or having to use adapters to hook up the cassette deck.
TAPE DECKS AND EXTERNAL EFFECTS
11 8
CX630
6
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MIC
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3
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LOW 0
3
6
12
36
9 9
12
dB
5
4
3
2101098
7
6
5
4
3
2101098
7
6
0
3
6
12
36
9 9
12
0
3
6
12
36
9 9
12
MON
LEVEL
MIC
5
4
3
2101098
7
6
EFF
REV
20
LINE
HI
MID
LOW 0
3
6
12
36
9 9
12
dB
5
4
3
2101098
7
6
5
4
3
2101098
7
6
0
3
6
12
36
9 9
12
0
3
6
12
36
9 9
12
GRAPHIC EQ
0
8
4
4
8
–12
+12
125 250 50063 1K 2K 4K 8K 16K
MAIN
PHANTOM
MONITOR REVERB
EFFSEND TAPE EFFRTN
TAPE RETURN
TAPESEND
SEND MONITOR MAINAMP PATCH
EFFECTS
RETURN
POWER
2 8
010
1 9
564 73
5
4
3
2101098
7
6
5
4
3
2101098
7
6
5
4
3
2101098
7
6
0
5
4
3
211098
7
6
PA CABINET
PA CABINET
MONITOR SPEAKERS
EXTERNAL
POWER AMP
TWO-TRACK
TAPE RECORDER
TO REAR
SPEAKER OUTPUTS
CHANNEL
123
4
5
6
7
8
91011
12
13
15
17
19
22
30
50 0 dB PROTECT CHANNELPOWER
123
4
5
6
7
8
91011
12
13
15
17
19
22
30
50 0 dB
1 2
This section is a brief overview of what it takes to hook up a sound system using
a CX series mixer. The overview will include some of the different possible set-
ups and some basics on how to mix live sound. If you are new to using mixers,
you should find this section very informative in helping to operate your sound
system properly. If you are experienced with mixers, then you may find some of
the information new or presented with a new approach that can help you as well.
As always, experimentation is the key to success, so don’t be afraid to use the
controls to get a feel for what they do.
1. INPUT CONNECTIONS FROM THE STAGE
For live sound reinforcement or public address systems (P.A. Systems), the input
signals to the mixer will come from the microphones and instruments on the
stage. Each microphone or instrument to be amplified by the P.A. system must
be connected to one of the mixer’s inputs. It is preferred to have as many of the
stage instruments as possible plugged into the mixer. This allows the best over-
all sound control of the instruments as they are mixed together and then ampli-
fied by the P.A. system.
2. ON STAGE OPERATION
The CX Series mixers are small enough to have on stage. The advantages to
this are: a band member can operate the mixer so no extra person is needed,
and also the microphone, 1/4” phone inputs, and speaker cables are short and
plug directly into the mixer, leaving no cables for the audience to trip over. The
only disadvantages are the band member / mixer operator, on stage, doesn’t
hear what the audience is hearing and because the mixer operator is a band
member he can not react fast to problems with the “PA” system such as feed-
back and sudden volume changes.
3. REMOTE TO STAGE OPERATION
Many times the mixer will be located a distance from the stage. This allows the
performance to be monitored and mixed from the audience’s perspective.
Monitoring at a distance from the stage usually means employing a multi-cable
cable or more commonly referred to as a “Snake” (available from CARVIN).
Each of the microphones and instruments are plugged into the snake box at the
stage and the snake cable carries all these signals to the mixer. At the mixer,
the snake cable, which fans out to plugs corresponding to the jacks on the snake
box, is plugged into the appropriate inputs and line level (pre-amp) outputs of the
mixer. All snake cables are numbered, both on the snake box and the cable, to
help in keeping track of which microphones are being plugged into which chan-
nels. It is a good idea at this point to label each of the mixer channels according
to what instrument each will be controlling. This can be done with masking tape
(Scotch brand #230 drafting tape) or another suitable ‘light’ sticking tape. The
tape will give you a surface to write on, to properly label the channels. The (XLR)
balanced low impedance format will ensure the best possible performance and
lowest possible noise when operating with long cable lengths, such as a snake.
SETTING UP THE SOUND SYSTEM
ATTENTION: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TOREDUCETHERISKOFELECTRIC SHOCK, DO NOT OPEN CHASSIS; DONOTDEFEATORREMOVETHE
GROUNDPINOFTHEPOWERCORD; CONNECT ONLY TO A PROPERLY GROUNDEDACPOWEROUTLET.
WARNING: TOREDUCETHE RISK OFFIREORELECTRIC SHOCK DONOTEXPOSETHIS EQUIPMENTTORAINOR MOISTURE.
CAUTION: NOUSER-SERVICEABLEPARTSINSIDE. REFERSERVICINGTO QUALIFIED SERVICE PERSONNEL.
U.K. MAINS PLUG WARNING: A moulded mains plug that has been cut off from the cord in unsafe.
Discard the mains plug at a suitable disposal facility. NEVER UNDER ANY CIRCUMSTANCES
SHOULD YOU INSERT A DAMAGED OR CUT MAINS PLUG INTO A 13 AMP POWER SOCKET.
Do not use the mains plug without the fuse cover in place. Replacement fuse covers can be obtained
from your local retailer. Replacement fuses are 13 amp and MUST be ASTA approved to BS1362.
EXPLANATION
OF SYMBOLS: “IT IS NECESSARY FOR THE USER TO REFER TO THE INSTRUCTION MANUAL”
“REFERREZ-VOUS AU MANUAL D’UTILISATION”
“UNBEDINGT IN DER BEDIENUNGSANLEITUNG NACHSCHLAGEN”
“DANGEROUS VOLTAGE”
“DANGER HAUTE TENSION”
“GEFAHLICHE SPANNUNG”
IMPORTANT! FOR YOUR PROTECTION, PLEASE READ THE FOLLOWING:
WATER AND MOISTURE: Appliance should not be used near water (e.g. near a bathtub, washbowl,
kitchen sink, laundry tub, in a wet basement, or near a swimming pool, etc). Care should be taken so
that objects do not fall and liquids are not spilled into the enclosure through openings.
POWER SOURCES: The appliance should be connected to a power supply only of the type described
in the operating instructions or as marked on the appliance.
GROUNDING OR POLARIZATION: Precautions should be taken so that the grounding or polarization
means of an appliance is not defeated.
POWER CORD PROTECTION: Power supply cords should be routed so that they are not likely to be
walked on or pinched by items placed upon or against them, paying particular attention to cords at
plugs, convenience receptacles, and the point where they exit from the appliance.
SERVICING: The user should not attempt to service the appliance beyond that described in the oper-
ating instructions. All other servicing should be referred to qualified service personnel.
FUSING: If your unit is equipped with a fuse receptacle, replace only with the same type fuse. Refer
to replacement text on the unit for correct fuse type.
SAFETY INSTRUCTIONS (EUROPEAN)
NOTICE FOR CUSTOMERS IF YOUR UNIT IS EQUIPPED WITH A POWER CORD.
WARNING: THIS APPLIANCE MUST BE EARTHED.
The cores in the mains lead are coloured in accordance with the following code.
GREEN and YELLOW - Earth BLUE - Neutral BROWN - Live
The power cord is terminated in a CEE7/7 plug (Continental Europe). The green / yellow
wire is connected directly to the unit’s chassis. If you need to change the plug, and if you
are qualified to do so, refer to the table below.
WARNING: If the ground is defeated, certain fault conditions in the unit or in the sys-
tem to which it is connected can result in full line voltage between chassis and earth
ground. Severe injury or death can then result if the chassis and the earth ground are
touched simultaneously.
CONDUCTOR WIRE COLOR
NORMAL ALTERNATIVE
LIVEL BROWN BLACK
NEUTRALN BLUE WHITE
EARTHE GREEN / YEL GREEN
1 18
Frequency Response: Mic or Line Inputs: 20Hz-20KHz ±2dB
Total Harmonic Distortion: Less than .1%
Equivalent Input Noise: 150 ohm source: -120dBV
Output Noise: All levels Minimum: -60dBu
Output Power: CX630: 200Watts RMS @ 4Ω
CX420: 150Watts RMS @ 4Ω
Maximum Gain: Mic in, main out: 70dB
Crosstalk: Adjacent ch’s: -60db at 1KHz
Phantom Power: On All channel MIC Inputs
Channel EQ.: 3 band active, LOW: 100Hz ±12dB
MID: 1.5KHz ±12dB
HI: 10KHz ±12dB
Graphic EQ.: 9 Band Oct. Intervals ±12dB
Mic Input: Balanced XLR input: -60 dBu
Line Input: Unbalanced 1/4” Phone Jack: -10dBV
Power Consumption: CX630: 280VA, CX420: 240VA
Size: Cabinet Model: 11”H x 19.5”W x 9”D
Rack Model: 8.75”H x 19”W x 7.75”D
PAGE
RECEIVING INSPECTION .....................................................................i
FOR THE NEW OWNER.......................................................................i
TABLE OF CONTENTS ........................................................................1
GETTING STARTED QUICKLY.............................................................2
MAINTENANCE..................................................................................2
CHANNEL FEATURES ......................................................................3,4
MASTER SECTION FEATURES..........................................................5-7
SETTING UP YOUR SOUND SYSTEM .............................................8-10
SAMPLE PA SYSTEM CONFIGURATIONS.....................................11,12
TAPE DECKS AND EXTERNAL EFFECTS ............................................13
SPEAKER CONNECTIONS ................................................................14
BLOCK DIAGRAM ...........................................................................15
CX MIXER PARTS LIST ...............................................................16,17
CX MIXER TECHNICAL SPECIFICATIONS..........................................18
FUSE SELECTIONS............................................................................18
WARRANTY INFORMATION ............................................................19
CX MIXER SPECIFICATIONSTABLE OF CONTENTS
Fuse Selector Chart for 120 VAC Models
Model Fuse Value Carvin # Size
CX630 2A, 250V, Slow Blow 70-22020 3AG, 1/4 x 1 1/2” (6.35 x 32mm)
CX420 2A, 250V, Slow Blow 70-22020 3AG, 1/4 x 1 1/2” (6.35 x 32mm)
FUSE SELECTION
Fuse Selector Chart for 240 VAC EXPORT Models
Model Fuse Value Carvin # Size
CX630 1A, 250V, Slow Blow 70-22010 3AG, 1/4 x 1 1/2” (6.35 x 32mm)
CX420 1A, 250V, Slow Blow 70-22010 3AG, 1/4 x 1 1/2” (6.35 x 32mm)
There are two versions of the CX420 and the CX630. A 120 Volt AC version using
the North American three prong plug and a 240 Volt AC version using the European
CEE-7 plug. The following chart shows what fuse values to use for each model.
3 16
RefDes DESCRIPTION CARVIN #
A1 4558, Dual Low Noise Op Amp 60-45580
A2 4558, Dual Low Noise Op Amp 60-45580
A3 4558, Dual Low Noise Op Amp 60-45580
A4 4558, Dual Low Noise Op Amp 60-45580
A5 4558, Dual Low Noise Op Amp 60-45580
A6 4558, Dual Low Noise Op Amp 60-45580
A7 4558, Dual Low Noise Op Amp 60-45580
A8 4558, Dual Low Noise Op Amp 60-45580
A9 4558, Dual Low Noise Op Amp 60-45580
A10 4558, Dual Low Noise Op Amp 60-45580
A11 4558, Dual Low Noise Op Amp 60-45580
C1 Capacitor, Cera 82pF, 500V 45-82052
C2 Capacitor, Cera 82pF, 500V 45-82052
C3 Capacitor, Elec 10µF, 50V 47-10051
C4 Capacitor, Elec 10µF, 50V 47-10051
C5 Capacitor, Elec 10µF, 50V 47-10051
C6 Capacitor, Elec 10µF, 50V 47-10051
C7 Capacitor, Cera 27pF, 500V 45-27052
C8 Capacitor, Cera 27pF, 500V 45-27052
C9 Capacitor, Elec 10µF, 50V 47-10051
C10 Capacitor, Elec 10µF, 50V 47-10051
C11 Capacitor, Cera 330pF, 1000V 45-33113
C12 Cap, Poly 0.0047µF, 100V 46-47212
C13 Capacitor, Cera 39pF, 500V 45-39052
C14 Capacitor, Elec 47µF, 63V 47-47061
C15 Capacitor, Poly 0.047µF, 100V 46-47312
C16 Capacitor, Poly 0.047µF, 100V 46-47312
C20 Capacitor, Poly 0.1µF, 100V 46-10412
C21 Capacitor, Cera 39pF, 500V 45-39052
C22 Capacitor, Elec 10µF, 50V 47-10051
C23 Capacitor, Cera 39pF, 500V 45-39052
C24 Capacitor, Elec 470µF, 16V 47-47116
C25 Capacitor, Cera 39pF, 500V 45-39052
C26 Capacitor, Elec 10µF, 50V 47-10051
C27 Capacitor, Elec 470µF, 16V 47-47116
C28 Capacitor, Cera 39pF, 500V 45-39052
C29 Capacitor, Elec 10µF, 50V 47-10051
C30 Capacitor, Cera 39pF, 500V 45-39052
C31 Capacitor, Elec 10µF, 50V 47-10051
C32 N/U
C33 Capacitor, Elec 10µF, 50V 47-10051
C34 Capacitor, Poly 0.047µF, 100V 46-47312
C35 Capacitor, Cera 120pF, 500V 45-12152
C40 Capacitor, Elec .47µF, 100V 46-47412
C41 Capacitor, Poly 0.022µF, 100V 46-22312
C42 Capacitor, Poly 0.22µF, 100V 46-22412
C43 Capacitor, Poly 0.01µF, 100V 46-10312
C44 Capacitor, Poly 0.1µF, 100V 46-10412
C45 Capacitor, Poly 0.0047µF, 100V 46-47212
C46 Capacitor, Poly 0.068µF, 100V 46-68312
C47 Capacitor, Poly 0.0033µF, 100V 46-33212
C48 Capacitor, Poly 0.033µF, 100V 46-33312
C49 Capacitor, Poly 0.001µF, 100V 46-10212
C50 Capacitor, Poly 0.022µF, 100V 46-22312
C51 Capacitor, Poly 0.001µF, 100V 46-10212
C52 Capacitor, Poly 0.0068µF, 100V 46-68212
C53 Capacitor, Poly 0.001µF, 100V 46-10212
C54 Capacitor, Poly 0.0047µF, 100V 46-47212
C55 Capacitor, Cera 330pF, 1000V 45-33113
C56 Capacitor, Poly 0.0022µF, 100V 46-22212
C57 Capacitor, Cera 250pF, 500V 45-25152
C58 Capacitor, Cera 56pF, 500V 45-56052
C59 Capacitor, Elec 10µF, 50V 47-10051
C60 Capacitor, Poly 0.047µF, 100V 46-47312
C61 Capacitor, Elec 470µF, 16V 47-47116
C62 Capacitor, Elec 470µF, 25V 47-47125
C63 Capacitor, Elec 470µF, 25V 47-47125
C70 Capacitor, Elec 470µF, 25V 47-47125
C71 Capacitor, Elec 470µF, 25V 47-47125
C72 Capacitor, Elec 4700µF, 50V 42-47251
C73 Capacitor, Elec 4700µF, 50V 42-47251
C76 Capacitor, Elec 10µF, 50V 47-10051
C77 Capacitor, Elec 10µF, 50V 47-10051
C78 Capacitor, Poly 0.1µF, 100V 46-10412
C79 Capacitor, Elec 22µF, 160V 47-22016
C80 Capacitor, Poly 0.1µF, 100V 46-10412
C81 Capacitor, Elec 10µF, 50V 47-10051
C82 Capacitor, Elec 10µF, 50V 47-10051
C83 Capacitor, Elec 10µF, 50V 47-10051
C84 Capacitor, Elec 10µF, 50V 47-10051
C85 Capacitor, Poly 0.1µF, 100V 46-10412
C86 Capacitor, Elec 22µF, 160V 47-22016
C87 Capacitor, Poly 0.1µF, 100V 46-10412
C88 Capr, Mylar 0.047µF, 250VAC 41-47321
D1 LED, Small Red 60-75320
D2 LED, Small Red 60-75320
D3 Diode, 1N4003 0.35” prep. 61-40030
D7 Diode, 1N914 0.35” prep. 61-19140
D10 Diode Rect., MR752 6A 200V 60-75200
D11 Diode Rect., MR752 6A 200V 60-75200
D12 Diode Rect., MR752 6A 200V 60-75200
D13 Diode Rect., MR752 6A 200V 60-75200
F1 Fuse Clips 3AG Vert. PC MTG 23-03529
H1 Conn. Hdr. 8 pin 90° 23-10008
H2 Conn. Hdr 4 pin 90° 23-10014
H3 Conn. Hdr 8 pin 23-10082
J1 XLR Female Neutrik Conn. 21-40000
J2 Jack 1/4”, 3Pin Plastic. 24mm 21-06453
J3 Jack RCA Quad PC Vert. MTG 21-40022
J4 Jack 1/4”, 3Pin Plastic. 24mm 21-06453
J5 Not Assigned
J6 Jack 1/4”, 3Pin Plastic. 24mm 21-06453
J7 Jack 1/4”, 3Pin Plastic. 24mm 21-06453
J8 Jack 1/4”, 3Pin Plastic. 24mm 21-06453
J9 Jack 1/4”, 3Pin Plastic. 24mm 21-06453
J10 Jack 1/4”, 3Pin Plastic. 24mm 21-06453
J11 Jack 1/4”, 3Pin Plastic. 24mm 21-06453
P1 Pot, 12x35mm “D”, B50K-C 71-13057
P2 Pot, 12x35mm “D”, B50K-C 71-13057
P3 Pot, 12x35mm “D”, B50K-C 71-13057
P4 Pot, 12x35mm “D”, B50K 71-13056
P5 Pot, 12x35mm “D”, B50K 71-13056
P6 Pot, 12x35mm “D”, B50K 71-13056
P7 Pot, 12x35mm “D”, B50K 71-13056
P8 Pot, 12x35mm “D”, B50K 71-13056
P9 Pot, 12x35mm “D”, B50K 71-13056
P10 Pot, 12x35mm “D”, B50K 71-13056
P11 Pot, 12x35mm “D”, B50K 71-13056
P20 FADER 50K OHM 71-10332
P21 FADER 50K OHM 71-10332
P22 FADER 50K OHM 71-10332
P23 FADER 50K OHM 71-10332
P24 FADER 50K OHM 71-10332
P25 FADER 50K OHM 71-10332
P26 FADER 50K OHM 71-10332
P27 FADER 50K OHM 71-10332
P28 FADER 50K OHM 71-10332
R1 Resistor, 5.62K, 1/4W, ±1% 50-56231
R2 Resistor, 5.62K, 1/4W, ±1% 50-56231
R3 Resistor, 2.21K, 1/4W, ±1% 50-22131
R4 Resistor, 2.21K, 1/4W, ±1% 50-22131
R5 Resistor, 47K, 1/4W, ±5% 50-47045
R6 Resistor, 10K, 1/4W, ±5% 50-10045
R7 Resistor, 100K, 1/4W, ±5% 50-10055
R8 Resistor, 300K, 1/4W, ±5% 50-30055
R9 Resistor, 100K, 1/4W, ±5% 50-10055
R10 Resistor, 10K, 1/4W, ±5% 50-10045
R11 Resistor, 300K, 1/4W, ±5% 50-30055
R12 Resistor, 2.2K, 1/4W, ±5% 50-22035
R13 Resistor, 100K, 1/4W, ±5% 50-10055
R14 Resistor, 150K, 1/4W, ±5% 50-15055
R15 Resistor, 2.2K, 1/4W, ±5% 50-22035
THIS UNIT CONTAINS HIGH VOLTAGE COM-
PONENTS INSIDE! REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL!
CAUTION
RISK OF ELECTRIC SHOCK
1. LINE INPUT JACK
The 1/4” LINE phone jack is designed for unbalanced line and instrument level
inputs. Examples of these inputs would be instruments such as a guitar, a key-
board, unbalanced mics, or a pre amp output. The line input can be used at
the same time the mic input is being used.
2. XLR MICROPHONE INPUT
The XLR MIC input is designed for balanced low
impedance ( microphone ) input signals. The balance
means the input differential amplifier will reduce the
common noise picked up on the microphone cables.
The XLR connector is wired as per the industry stan-
dard, pin 1 is ground, pin 2 is non-inverting (positive),
and pin 3 is inverting (negative).
Phantom power is available on every XLR input jack
when the phantom power switch, in the master section,
is pressed. This feature allows condenser micro-
phones to be run directly from the mixer.
Note: When using phantom power make sure the
phantom power is switched off before connecting or
disconnecting microphones to the mixer. It is recom-
mended to allow 5 seconds for the phantom power to
discharge before making any microphone connections.
Also to avoid hearing a pop, turn down the main vol-
ume when turning on the phantom power.
3. -20DB PAD SWITCH
This switch reduces the input gain on both the line and
mic input jacks by 20dB. If distortion is heard regardless of the channel LEVEL
control’s setting, engage this switch. This will eliminate the over-driving of the
input amplifier before the channel level control.
4. CHANNEL LEVEL CONTROL
The LEVEL control adjusts the final volume of the channel. Here is where the
individual channel volumes are adjusted to make up the desired mix heard at
the main output. A general rule to prevent distortion with in the mixer, is to
always keep the MAIN master level the same or higher than the channel
LEVEL.
5. MONITOR LEVEL CONTROL
The MONITOR level control adjusts the volume of the channel going to the
monitor mix. Here is where the individual channel monitor volumes are adjusted
to make up the desired mix heard at the monitor output. The monitor level con-
trol is pre channel’s level and tone controls. This means it is unaffected by
adjustments in channel’s level or tone controls. The purpose for this is so the
main mix adjustments for tone and level can be made without disturbing the
monitor mix.
1
MON
LEVEL
MIC
5
4
3
2
1010
9
8
7
6
20
LINE
dB
5
4
3
2
1010
9
8
7
6
1
2
3
4
5
CHANNEL FEATURES CX MONO SERIES PARTS LIST
5 14
The recommended speaker impedance and connection is two 8 ohm
speakers, one to each 1/4 phone jack. This is not the same as patching
one speaker to another speaker and plugging the pair into one of the
speaker jacks. The reason is the CX630 and CX420 are made with two
amplifiers one to each jack. The equivalent impedance of a linking two
8 ohm speakers together would be 4 ohms into one of the jacks, which is
NOT recommended. The CX630 mixer can handle 4 ohms at low oper-
ating levels with no added distortion, but at high levels with the CX630 or
loading the CX420 with 4 ohms per jack may result in premature distor-
tion (or a crackling sound) , however, this will not damage the amplifiers.
If this sound is heard, simply back off the MAIN volume until the no dis-
tortion is heard.
200 Watts
SPEAKERS
4ΩLOADS CAN RESULT IN
PREMATURE DISTORTION
8Ω8ΩMIN.
8 OHM MINIMUM
MAIN SPEAKERS
8 OHM MINIMUM
MAIN SPEAKERS
1. MAIN MASTER LEVEL CONTROL
The MAIN level control is the master volume control for the main mix. This vol-
ume control receives its signals from the channel LEVEL controls, for the main
mix heard at the RCA tape send outputs. If the amp patch jack is not being
used, then this is also the master volume control feeding the graphic EQ, the
main line output jacks, and the internal power amplifier.
2. MONITOR MASTER LEVEL CONTROL
The MONITOR master control is the master volume for the monitor mix. This
volume control receives its signals from the channel MONITOR level controls, for
the monitor mix heard in the monitor output. Some of the internal reverb signal is
also sent to the MONITOR control.
3. EFFECT SEND MASTER LEVEL CONTROL
The EFFECT SEND master control is the master volume for the effects send
mix. This volume control gets its signals from the EFF/REV control on the chan-
nels, for the effects send mix heard in the effects send output. The typical use of
the effects send mix is to drive external effects processors ,but it can also be
used as another monitor mix if needed.
CX630
GRAPHIC EQ
0
8
4
4
8
–12
+12
125 250 50063 1K 2K 4K 8K 16K
MAIN
PHANTOM
MONITOR REVERB
EFF SEND TAPE EFF RTN TAPE RETURN
TAPE SEND
SEND MONITOR MAINAMP PATCH
EFFECTS
RETURN
POWER
2 8
010
1 9
564 73
5
4
3
2
1010
9
8
7
6
5
4
3
2
1010
9
8
7
6
5
4
3
2
1010
9
8
7
6
0
5
4
3
2
110
9
8
7
6
6
9
12
13
1
2
3
10 7
5
4
11
8
MASTER SECTION FEATURES SPEAKER CONNECTIONS
7 12
CX630
6
6
5
5
4
4
3
3
2
2
1
1
MON
LEVEL
MIC
5
4
3
2101098
7
6
EFF
REV
20
LINE
HI
MID
LOW 0
3
6
12
36
9 9
12
dB
5
4
3
2101098
7
6
5
4
3
2101098
7
6
0
3
6
12
36
9 9
12
0
3
6
12
36
9 9
12
MON
LEVEL
MIC
5
4
3
2101098
7
6
EFF
REV
20
LINE
HI
MID
LOW 0
3
6
12
36
9 9
12
dB
5
4
3
2101098
7
6
5
4
3
2101098
7
6
0
3
6
12
36
9 9
12
0
3
6
12
36
9 9
12
MON
LEVEL
MIC
5
4
3
2
10109
8
7
6
EFF
REV
20
LINE
HI
MID
LOW 0
3
6
12
36
9 9
12
dB
5
4
3
2
10109
8
7
6
5
4
3
2
10109
8
7
6
0
3
6
12
36
9 9
12
0
3
6
12
36
9 9
12
MON
LEVEL
MIC
5
4
3
2101098
7
6
EFF
REV
20
LINE
HI
MID
LOW 0
3
6
12
36
9 9
12
dB
5
4
3
2101098
7
6
5
4
3
2101098
7
6
0
3
6
12
36
9 9
12
0
3
6
12
36
9 9
12
MON
LEVEL
MIC
5
4
3
2101098
7
6
EFF
REV
20
LINE
HI
MID
LOW 0
3
6
12
36
9 9
12
dB
5
4
3
2101098
7
6
5
4
3
2101098
7
6
0
3
6
12
36
9 9
12
0
3
6
12
36
9 9
12
MON
LEVEL
MIC
5
4
3
2101098
7
6
EFF
REV
20
LINE
HI
MID
LOW 0
3
6
12
36
9 9
12
dB
5
4
3
2101098
7
6
5
4
3
2101098
7
6
0
3
6
12
36
9 9
12
0
3
6
12
36
9 9
12
GRAPHIC EQ
0
8
4
4
8
–12
+12
125 250 50063 1K 2K 4K 8K 16K
MAIN
PHANTOM
MONITOR REVERB
EFFSEND TAPE EFFRTN
TAPE RETURN
TAPESEND
SEND MONITOR MAINAMPPATCH
EFFECTS
RETURN
POWER
2 8
010
1 9
564 73
5
4
3
2101098
7
6
5
4
3
2101098
7
6
5
4
3
2101098
7
6
0
5
4
3
211098
7
6
SPEAKER
OUTPUTS
PA CABINET PA CABINET
CHANNEL
12
3
4
5
6
7
8
9
10
11
12
13
15
17
19
22
30
50 0 dB PROTECT CHANNELPOWER
12
3
4
5
6
7
8
9
10
11
12
13
15
17
19
22
30
50 0 dB
1 2
EXTERNAL POWERED MAIN SPEAKERS
MONITORS PATCHED TO
MIXER POWER AMP
MONITOR PATCH
10. POWER LED
The POWER LED indicates when the mixer is powered up.
11. PHANTOM POWER SWITCH AND LED
The PHANTOM power switch turns on the microphone phantom power in the
channel’s XLR jack. This power is used for supplying a bias voltage to con-
denser microphones. The LED indicates the phantom power is turned on. The
phantom power will not damage dynamic microphones.
12. THE GRAPHIC EQUALIZER
Each mixer has a nine band graphic EQ (equalizer). The graphic EQ is dedicat-
ed to the main output following (or post) the amp patch jack of the mixer.
The 9 band Graphic EQ provides a wide degree of tonal flexibility.
The Frequencies:
Here are some tonal reference ranges for the individual sliders to help relate the
frequencies in hertz to perceived tonal changes.
In order from left to right:
-the 63 Hz slider effects deep sub bass levels.
-the 125 Hz is typical bass adjustments.
-the 250, 500 and 1K Hz are for low mid and high mid adjustments.
-the 2K and 4K Hz are for lower treble adjustments.
-the 8K and 16K Hz are for the very high treble adjustments.
Adjusting:
With the sliders in their center detent position, they do not affect the audio sig-
nal. When a slider is raised or lowered from the center position, it boosts and
cuts respectively the level of a narrow frequency band assigned to that particular
slider. It is recommended that all sliders are set in their center position before
equalizing your tone. Typically low frequency feedback is in the 125 and 250 Hz
range while high feedback is in the 2k and 4k Hz range. Occasionally one fre-
quency (slider) of the equalizer will have to be pulled down to -12dB to stop
feedback. If many of the sliders have to be pulled down to stop feedback, the
placement of the speakers with respect to the microphones may need to be
reconsidered. As much as possible try to have the main speaker facing away
from and in front of the microphones, not on stage behind them. The graphic
EQ is mainly used to “equalize” the response of the main room and reduce feed-
back from microphones. Don’t be afraid to use the Graphic Equalizer, but take
care not to over-adjust as this may put too much volume in one area of the fre-
quency spectrum affecting the overall sound.
9 10
is, if more high frequencies are wanted in the main mix speakers from one chan-
nel, turning up the channel’s HI tone control will not result in feedback in the
monitor speakers. With the mixer set as suggested in section 5 the monitor
master level can be brought up to 5 or 6 on the dial and a channel, with signal,
can have its monitor level turned up until it is heard in the monitors. If nothing is
heard in the monitors, first, make sure the channel does have signal. One way
to test the channel is to turn it up in the main speakers that were just tested. If
the signal is present in the main speakers, but not in the monitors speakers then
turn them both down low again and start checking the monitor system connec-
tions from the mixer’s MONITOR LINE OUT to the monitor amplifiers and speak-
ers. When the problem has been corrected start again with turning up the level
and use the signal to check that all the monitor speakers are working. Now the
monitor system is ready for the sound check.
7. 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 during the sound check
the performers can lose confidence and the sound may suffer due to things
missed in the sound check.
The basic sound check follows this format: First test all microphones and other
input devices(direct boxes, etc.) before the performers are brought on stage for
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 graph-
ic equalizer before the monitor power amp solves most major monitor feedback
problems. Now for a sound check with the performers. First set the level of
each performer individually and in cases where a performer has multiple micro-
phones, like a drummer, set each drum mic individually then the drum set as a
whole. This is also a good time to make some channel tone control adjustments
to tailor the sound of the individual performers. Next after setting each individ-
ual, have the performers run through a song or a portion of the show. Don’t
hesitate to stop the performers if something needs to be adjusted or if an individ-
ual performer or microphone needs to be heard solo again. Remember the
sound check is not a rehearsal, but a system check, a time to work all the bugs
out of the system so that the show can go smoothly. It is 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 a monitor system is being used, the mixer
operator’s microphone should only be heard through the monitors when
addressing the on stage performers, especially if something needs to be
checked during the show. If the sound check is allowed to run through its full
course, the system will run smoothly at show time.
However, many times an unbalanced output (1/4 inch phone plug type) from an
instrument is needed to be plugged into the snake or directly into the “LINE”
input of the mixer. This can be accomplished by a high to low impedance
adapter or a “Direct box” (both are available from Carvin or other electronics out-
lets).
Once all the input cables to the mixer have been connected, properly label the
channels. Verify that all the connections are good and that all mics are connect-
ed properly. The next step is connecting your speakers.
WARNING:
With powered mixers (i.e. mixers with built in power amplifiers) the speaker out-
puts cannot be fed through the snake to power the speakers on stage. Doing
this could result in DAMAGE to the mixing console’s power amp. Only ‘Pre-
amp’ signals can be returned to the stage through the snake. Since speaker
level signals cannot be sent through the snake separate speaker cables must be
used. These speaker cables will carry the signal from the console’s power amp
outputs directly to the speakers. The speaker cables should be non-shielded
and at least 18 gauge(AWG) wire. For speaker cable runs of over 20 feet 16
gauge wire is recommended.
4. CONNECTING THE MONITOR AMPS AND SPEAKERS
In a typical setup for live sound the “CX” series MONITOR LINE OUT will be
used to provide a monitor mix for the musicians on stage. The MONITOR LINE
OUT is sent to the stage either by using a direct shielded wire from monitor line
output or by using one of the snake’s returns. The signal can then be plugged
into an external power amplifier on stage for powering the monitor speakers.
5. TESTING THE MAIN SPEAKERS
It is best to start a new mix with the mixer set as follows: all the channel and
monitor level knobs turned down and the master main level, and master monitor
level turned down (counterclockwise or off). Also, it is easier to start with the
channel tone controls turned to their center positions. This way when the sys-
tem is turned on and the master is first turned up there will not be any surprises
like feedback from a microphone or loud signals coming from a channel that was
turned up loud. With the mixer set, the main master level can be turned up to a
low level (2 or 3 on the dial). Then a channel with signal can be turned up until it
is heard in the speakers. If no signal is heard from the speakers and the chan-
nel volume is up full, lower the channel volume and check the connections. It
may be the signal source was not plugged in correctly, so try another source.
Also, it may be the connections to the speakers or external amplifiers. When
the problem has been corrected start again with turning up the low level signal
and use this low level signal to check if all the speakers are working. Now the
main system is ready for the sound check.
6. TESTING THE MONITOR SPEAKERS
Each input channel of the mixer has a knob labeled MON. This knob is used to
adjust the volume of each channel’s send to the monitor buss.
The channel monitor signal is pre the channel tone controls and the channel
level control. What this means is any adjustments to the channel tone controls
or the channel level control will not effect the monitor mix. The advantage of this
This manual suits for next models
1
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