User manual CARVIN SL

[. . . ] STUDIO / LIVE SERIES SL24 SL40 SL56 Owners Manual Revision 1 76-00024 Studio Live Consoles Introduction Sound Quality and In-Line Flexibility There are a multitude of considerations that a sound engineer must weigh when choosing the right console. Whether the console will be used for live sound reinforcement or studio recording, ultimately the choice of a console always focuses on sound quality and signal routing flexibility. These were primary design considerations for the new S/L series consoles from Carvin. Sound Carvin'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 an upgrade option. [. . . ] TAPE IN LEVEL This adjusts the level of the signal coming from RCA TAPE IN jacks. TAPE IN L-R AND AUX 1-2 SWITCHES These switches allow playback of the RCA TAPE IN signal through the main L-R mix and/or the AUX 1-2 monitor mixes. 30 STEREO RETURNS 1 27 PAN 0 5 2 MUTE 10 0 5 3 MUTE 10 0 5 4 MUTE 10 0 5 0 MUTE 10 C oo TAPE OUT +6 L-R C PAN C PAN C PAN AUX 7-8 SOLO SOLO L SOLO L SOLO L R 5 R 5 R 5 L R 5 0 AUX 1 AUX 1 AUX 1 AUX 1 TAPE IN 31 32 28 AUX 2 0 5 10 0 10 5 0 10 5 0 10 5 oo +6 AUX 2 AUX 2 AUX 2 L-R 0 10 0 10 0 10 0 10 AUX 1-2 13 The following section describes two of the more common Studio recording setups. These setups are not the only setups you can use, many of the connections described here can be combined and customized to provide the best setup for you. The first Setup is based on the In-Line recording method and the second setup is based on the Split recording method. CHANNEL MIC DIRECT OUT INSERT MIC-PRE 4 BAND CHANNEL EQ CONTROLS FADER LINE PAD line pad (-11dB) TAPE AUX SENDS AUX TAPE SWITCHS In-Line Recording Setup. TAPE IN The S/L series consoles are designed for In-line recording. 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 from the 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 individual channel signal paths, a minor path for monitoring and a main, full featured path for tracking and final mix down. These two signal paths are sourced 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 can flow 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, all the Auxiliaries, the Fader, the DIRECT OUTPUT and Bus assignments. The tape input goes through the minor path, which can be accessed via the Aux 7-8 "TAPE" switch or the Aux 5-6 "TAPE 5-6" switch. This is the typical setup for tracking (recording instruments to the multi-track unit's individual tracks), where a mic is Figure 5-2 plugged into the channel's XLR MIC input. Then via the channel DIRECT OUTPUT, the mic is recorded on one track of the recording unit. At the same time on the channel, the output of the recording unit can be monitored via the tape input and the Aux 7-8 TAPE switch. MULTI-TRACK RECORDER When the TAPE switch is IN the inputs are flipped and the tape input goes through the main path and the MIC goes through the minor path. This is the typical setup for mix down (where all the recorded tracks are mixed to a stereo mix). The MIC input can be used as an input in the mix down to add more effects returns and/or midi tracks to the stereo mix. Figure 5-1 shows a block diagram of the channel and the modes of the TAPE switch. When the TAPE switch is fully understood, it can become a very powerful recording tool. Here the mic and line inputs are both used in the example, but typically one or the other would be used. In the example the multi-track recorder is showing the inputs and outputs of one track. The rest of the tracks would be setup on the other channels in the same manner. One of the key points here is that these connections can be left connected in both the tracking and mix down modes because the TAPE switches re-patch the inputs for the two modes internally. TRACK OUTPUT TRACK INPUT PHANTOM POWER 16 9-16 DIRECT OUT DIRECT OUT TAPE IN TAPE IN LINE IN LINE IN MIC MIC IN INSERT 14 MASTERS AUXILIARIES 5. [. . . ] RCA phono jack An RCA phono jack is an inexpensive connector (female) introduced by RCA and originally used to connect phonographs to radio receivers and phono preamplifiers. The phono jack was (and still is) widely used on consumer stereo equipment and video equipment but is not generally 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 your hands. [. . . ]