Carvin CX1252 Instruction Manual - Page 12

INTERNAL DSP EFFECTS PROGRAM CHART EFF # DESCRIPTION 1 BYPASS No audio output 2 DELAY 33mS w/ 11% regeneration 3 DELAY 33mS w/ 17% regeneration 4 DELAY 33mS w/ 25% regeneration 5 DELAY 33mS w/ 32% regeneration 6 DELAY 33mS w/ 44% regeneration 7 DELAY 55mS w/ no regeneration 8 DELAY 55mS w/ 11% regeneration 9 DELAY 55mS w/ 17% regeneration 10 DELAY 55mS w/ 25% regeneration 11 DELAY 55mS w/ 32% regeneration 12 DELAY 55mS w/ 44% regeneration 13 DELAY 89mS w/ no regeneration 14 DELAY 89mS w/ 11% regeneration 15 DELAY 89mS w/ 17% regeneration 16 DELAY 89mS w/ 25% regeneration 17 DELAY 89mS w/ 32% regeneration 18 DELAY 89mS w/ 44% regeneration 19 DELAY 100mS w/ no regeneration 20 DELAY 100mS w/ 17% regeneration 21 DELAY 100mS w/ 25% regeneration 22 DELAY 100mS w/ 44% regeneration 23 DELAY 222mS w/ no regeneration 24 DELAY 222mS w/ 37% regeneration 25 DELAY 333mS w/ no regeneration 26 DELAY 333mS w/ 37% regeneration 27 DELAY 444mS w/ no regeneration 28 DELAY 444mS w/ 37% regeneration 29 DELAY 555mS w/ no regeneration 30 DELAY 555mS w/ 37% regeneration 31 REVERB Percussion Plate 0.5s decay 32 REVERB Percussion Plate 0.7s decay 33 REVERB Percussion Plate 1.3s decay 34 REVERB Percussion Plate 2.4s decay 35 REVERB Percussion Plate 3.1s decay 36 REVERB Percussion Plate 3.9s decay 37 REVERB Vocal Plate 0.5s decay 38 REVERB Vocal Plate 0.7s decay 39 REVERB Vocal Plate 1.3s decay 40 REVERB Vocal Plate 2.4s decay 41 REVERB Vocal Plate 3.1s decay 42 REVERB Vocal Plate 3.9s decay 43 REVERB Small Room 0.5s decay 44 REVERB Small Room 0.7s decay 45 REVERB Small Room 1.3s decay 46 REVERB Small Room 2.4s decay 47 REVERB Small Room 3.1s decay 48 REVERB Small Room 3.9s decay 49 REVERB Medium Room 0.5s decay 50 REVERB Medium Room 0.7s decay 51 REVERB Medium Room 1.3s decay 52 REVERB Medium Room 2.4s decay 53 REVERB Medium Room 3.1s decay 54 REVERB Medium Room 3.9s decay 55 REVERB Large Room 0.5s decay 56 REVERB Large Room 0.7s decay 57 REVERB Large Room 1.3s decay 58 REVERB Large Room 2.4s decay 59 REVERB Large Room 3.1s decay 60 REVERB Large Room 3.9s decay 61 DLY& REV 33mS Predelay Percussion Plate 0.5s 62 DLY& REV 33mS Predelay Percussion Plate 0.7s 63 DLY& REV 33mS Predelay Percussion Plate 1.3s 64 DLY& REV 33mS Predelay Percussion Plate 2.4s 65 DLY& REV 33mS Predelay Percussion Plate 3.1s EFF # DESCRIPTION 66 DLY& REV 33mS Predelay Percussion Plate 3.9s 67 DLY& REV 55mS Predelay Vocal Plate 0.5s 68 DLY& REV 55mS Predelay Vocal Plate 0.7s 69 DLY& REV 55mS Predelay Vocal Plate 1.3s 70 DLY& REV 55mS Predelay Vocal Plate 2.4s 71 DLY& REV 55mS Predelay Vocal Plate 3.1s 72 DLY& REV 55mS Predelay Vocal Plate 3.9s 73 DLY& REV 89mS Predelay Small Room 0.5s 74 DLY& REV 89mS Predelay Small Room 0.7s 75 DLY& REV 89mS Predelay Small Room 1.3s 76 DLY& REV 89mS Predelay Small Room 2.4s 77 DLY& REV 89mS Predelay Small Room 3.1s 78 DLY& REV 89mS Predelay Small Room 3.9s 79 DLY& REV 100mS PredelayMedium Room 0.5s 80 DLY& REV 100mS PredelayMedium Room 0.7s 81 DLY& REV 100mS PredelayMedium Room 1.3s 82 DLY& REV 100mS PredelayMedium Room 2.4s 83 DLY& REV 222mS PredelayMedium Room 3.1s 84 DLY& REV 222mS PredelayMedium Room 3.9s 85 DLY& REV 333mS PredelayLarge Room 0.5s 86 DLY& REV 333mS PredelayLarge Room 0.7s 87 DLY& REV 444mS PredelayLarge Room 1.3s 88 DLY& REV 444mS PredelayLarge Room 2.4s 89 DLY& REV 555mS PredelayLarge Room 3.1s 90 DLY& REV 555mS PredelayLarge Room 3.9s 91 CHORUS Slow & Shallow 92 CHORUS Medium & Shallow 93 CHORUS Fast & Shallow 94 CHORUS Slow & Deeper 95 CHORUS Medium & Deeper 96 CHORUS Fast & Deeper 97 CHORUS Slow & Deep 98 CHORUS Medium & Deep 99 CHORUS Slow & Really Deep 100 CHORUS Medium & Really Deep 101 CHORUS#91 33mS Predelay Percussion Plate 1.3s 102 CHORUS#92 33mS Predelay Percussion Plate 2.4s 103 CHORUS#93 33mS Predelay Percussion Plate 3.1s 104 CHORUS#94 33mS Predelay Percussion Plate 3.9s 105 CHORUS#95 55mS Predelay Vocal Plate 0.5s 106 CHORUS#96 55mS Predelay Vocal Plate 0.7s 107 CHORUS#97 55mS Predelay Vocal Plate 1.3s 108 CHORUS#98 55mS Predelay Vocal Plate 2.4s 109 CHORUS#99 55mS Predelay Vocal Plate 3.1s 110 CHORUS#100 55mS Predelay Vocal Plate 3.9s 111 FLANGE Slow & 6mS depth 112 FLANGE Medium & 6mS depth 113 FLANGE Fast & 6mS depth 114 FLANGE Slow & 13mS depth 115 FLANGE Medium &13mS depth 116 FLANGE Fast &13mS depth 117 FLANGE Slow & 24mS depth 118 FLANGE Medium & 24mS depth 119 FLANGE Slow & 40mS depth 120 FLANGE Medium & 40mS depth 121 FLANGE#111 55mS Predelay Percussion Plate 1.3s 122 FLANGE#112 55mS Predelay Percussion Plate 2.4s 123 FLANGE#113 55mS Predelay Percussion Plate 3.1s 124 FLANGE#114 55mS Predelay Percussion Plate 3.9s 125 FLANGE#115 55mS Predelay Vocal Plate 0.5s 126 FLANGE#116 55mS Predelay Vocal Plate 0.7s 127 FLANGE#117 55mS Predelay Vocal Plate 1.3s 128 FLANGE#118 55mS Predelay Vocal Plate 2.4s 9 SETTING UP THE SOUND SYSTEM 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 setups 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 you 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 a live sound reinforcement public address system (P.A. System), 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 mixing console inputs. It is preferred to have as many of the stage instruments as possible plugged into the mixer. This allows the best overall sound control of the instruments as they are mixed together and then amplified by the P.A. system. 2. ON STAGE OPERATION The CX Series mixers are small enough to have on the stage. The advantages to this are: a band member can operate the mixer so no extra person is needed; all the cables for microphones, instruments, and speakers are short and plug directly into the mixer; and there are 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 P.A. system such as feedback and sudden volume differences. 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 keep track of which microphones are being plugged into which channels. It is a good idea at this point to label each of the console channels according to what instrument they will be controlling. This can be done with masking tape (Scotch brand #230 drafting tape) or another suitable 'light' sticking tape. The tape provides a replaceable surface to write on. The (XLR) balanced low impedance format will ensure you the best possible performance and lowest possible noise when operating with long cable lengths, such as a snake. However, many times an unbalanced output (1/4 inch phone plug type) from an instrument needs 10