CONTENTS Section 1 2 Description Page Your New MX2488 Table of Contents Receiving Inspection 1-2 For the New Owner Quick Start Up Quick Start Up Detail Control Descriptions Front Controls and Rear Connectors 3-1 4 Specifications Specifications 6 1-3 2-1 3 5 1-1 4-1 Technical Information Schematic Diagrams 5 Warranty Information Warranty and Service Information 6-1 Receiving Inspection INSPECT YOUR MX2488 FOR ANY DAMAGE which may have occurred during shipping.
For the New Owner OVERVIEW The CARVIN MX2488 are full function audio mixing consoles. They are designed to serve both as a control center for an eight track recording studio or for live sound reinforcement mixing. Their signal routing capabilities, low noise spec's and interconnect functions are targeted directly to professional recording applications.
with setting gain levels, operating the studio, as well as monitoring and mixdown suggestions. Section #5 ( Live Sound Mixing With The MX2488) offers information on connections appropriate when using the console as the control center for live sound reinforcement. It deals with setting up main and monitor mixes and related information that might be needed to achieve the best possible perfomance in live sound reinforcement.
handled with ease. Signals are automatically routed to appropriate sections of the console for each recording operation. One of the key features of the MX2488 , but not found on many P.A. "recording" consoles is an independant control room monitor mixer with buss/tape sourve selection. This section makes buss interconnects (for overdubbing) and sub-group effects routing extremely easy.
Every aspect of the MX project was analized to provide the best possible features, quality perfomance and versatility. The MX2488 addresses the mixing console needs of (8) track recording studios, live sound mixing, production studios, broadcast and sound mixing for film. It is an ultra-reliable state-of-theart console backed by CARVIN's commitment to excellence and extensive background in console engineering and design.
In this manual there are plenty of diagrams & descriptions to aid in understanding your new console. So, with this manual in hand you hold the key to properly understanding and operating your new console, and to achieve truely professional results. May you enjoy many years of enjoyment, success, and fun with your new CARVIN console.
* Eight Sub-Groups with solo and Mute * Four independent monitor mixes available * Headphone monitoring of Main or Monitor * Compact and extremely rugged for road use * Talkback to Monitors * 11 step unput gain controls for fast easy set-up * Channels and Outputs assignable to L&R Stereo Output * Channel patching on all output channels *XLR type, balanced, 600 ohm inputs & outputs SECTION #3-2 GETTING TO KNOW THE FEATURES OF THE MX-2488 CONSOLE FRONT PANEL CONTROLS ***INPUT CHANNELS*** 1) M i c / L i n e
N o t e : Usually the 2-Track monitor secction will be used to mix the outputs (fed to the multi-track recorder) in the controlroom as a basic "control room mix". When the "Tape" switches are depressed you will be listening to the same exact levels and mix as previously was set up for the control room mix, during recording. (This assumes that the inputs and outputs of the multi-track recorder have been properly calibrated and adjusted.
has been made, you should not need to again touch this control through the rest of the mix. You may wish to experiment with this control a little bit to become familiar with its feel and operation. It is an exellent tool for properly matching the different gains of various microphones to your console and achieving the best signal-to-noise ratio. 2) P a r a m e t r i c Channel Equilizer * The channel (parametric) equalizer on the MX2488 console is a very precise tone control.
Experimentation with the parametric equalizer will help to familiarize you with the various frequency centers and find which settings are most effective for various instruments. The ablility of the parametric equalizer to "zero" in on the exact frequency ranges of different instruments makes this control a very effective tool in achieving the most natural sound possible from various instruments.
5) C h a n n e l P a n & A s s i g n G r o u p * This section of the input channel is used to route the signals appearing at the channels to the respective outputs of the console. The "Pan" control is used as an odd/even control to route signals in paires to the outputs. For example, if the (1-2) assignment switch is depressed and the "Pan" control is panned fully to the left, the channel signal will appear only at output #1.
control room monitors. Whenever a channel is "soloed" a green LED just above the switch will light to indicate the solo switch has been depressed. Also, a green LED will light at the System Master Srip "Control Room Group" to indicate that a soloed channel is appearing at the control room group. 8) P e a k Warning Light * The channel "Peak LED" illuminates whenever signal peaks come within 6dB of clipping any stage in the input channel.
allows individual channels to send more or less signal depending upon their "Cue" or "Effects" settings (in relation to other channels). These "Relative" signals are then electronically summed (maintaining their relative volume differences) at the "Send Master" controls. The Send Master controls then adjust the overall signal level to drive either a signal processing device or amplifier. N o t e : Usually the send master controls will be set at around (5) when setting up the Cue and Effects levels.
the control room during a mix, (requiring the faders to be up). All the 2-Track interconnects as well as all the channels are assignable to the 2-Track Master Outputs, and the 2-Track Master outputs are usually normalized to your 2-track tape deck for mixdown. In a live situation the 2-Track outputs may be used to drive the main system.
VU meters (#7 & #8) will indicate the output levels of the 2-Track Master Sends. 3) S t u d i o S e l e c t G r o u p * In addition to the Control Room, 2-Track, Main Output, Cue, and Effects mixes, you also have a "Studio Mix." This is a Master output that may select various signals (identical to the control room) to feed the studio. It is extrimely useful for playing back a mix to the studio monitors.
* The control room "select" switches directly below the Solo Level control will allow you to access the signals appearing at the (2) Track Outputs, (2) Track Playback (Inputs), Cue Outputs, and Effects Outputs connections at the rear panel of the console. By depressing any of these switches, or groups of switches, their signals will be fed to the control room outputs (after adjustment by the Control Room Faders) for subsequent amplification to the control room monitors.
The most common use of monitoring the busses with the multi-track tape deck is playback with overdubbing. (See "Overdubbing", Section #4). There are several applications for using this "monitor" feature on the MX2488. The following should help outline some of these uses; * When the Cue or Effects busses are selected "Pre" fader they may be used to send sub-grouped signals to on stage monitors or to headphone feeds.
the control room monitor section of the MX2488 console. They provide a means of routing the output channel signals to the 2-Track Master faders as well as "Panning" the output channel signal within the stereo field of the 2-Track mix. During a recording you will usually set up your print (record) levels to your tape deck with the Output Channel Faders. After you have achieved proper levels to your multi-track deck you should not need to adjust these controls any further.
6 ) Output Channel Fader * The output channel fader is always fed from the channels regardless of the position of the "Tape" switch. This fader is dedicated to adjusting the print (record) levels to the multi-track recorder. The output of this fader also feeds the 2-Track monitor section of the console for rough control room 2-Track mixing. This fader is usually operatedlower than the channel faders. The normal settings are around -20 to -3 on the calibrated fader markings.
* This is an input with far greater sensitivity than the "Line Input". Line Inputs typically accomodate input voltages of 200 millivolts to 2 volts, whereas Mic Inputs will accomodate input signals of 10 to 100 millivolts. This input is sometimes called a "High gain" input, because It is designed to amplify low level signals. There are two main differences between a Mic and Line input. This is why this input connector (XLR type) looks much different than the Line Input connection (1/4" phone plug type).
channel direct outputs may be used to directly route signals to appropriate channels on the multi-track tape recorder. Simply leave the channel assignment switches in the "up" or unassigned position. This will interrupt the signal flow to the eight main outputs while still offering the signal at the channel direct outputs. You may then route the channel direct output signal to the input of a particular channel on your multi-track deck.
Fader. Like the Channel Send, the Sub-Output send is an access jack that will not interrupt the normal signal flow through the output channels. The "Sub-Send" is pre-fader, so any output fader changes will not affect the output of the "SubSend". Its output signal will only be affected by the amount of signal sent from the channel assigned to the particular Sub-Output. * The "Sub-Return" jack interrupts the signal (similar to the Channel Return).
(headphone or monitor send) or post-fader in which case it would be used primarily for an effects send. Rotating the Cue Send Master "Rotary" volume controls will vary the intensity of signal appearing at the Cue outputs. And. rotating the Effects Send Master "rotary" valume controls will vary the intensity of the signal appearing at the Effects Outputs. 9) E f f e c t s S e n d J a c k s * These output jacks are identical to the Cue output jacks.
• Adjust the 9 Band Graphic EQ's to their center position. • Turn the amp on and slowly raise the level control to the desired setting. 5) THE LED "CLIP" INDICATOR The "CLIP" LED indicates when the amp is starting to distort. Occasional flashing of this LED is all right. However, heavy flashing is not recommended especially because of damage that "square wave" power can do to speakers and horn drivers. 6) The "PROTECT" LED • The "PROTECT" LED has three protect functions.
5 CLIP LED The CLIP LED will indicate when the power amp starts to distort. Occasional flashing is OK. If the LED is on continuously , turn turn the LEVEL control down. Amp distortion produces "square wave" power that is harmful to your speakers. 6. EQ IN/OUT SWITCH If you require the Graphic Equalizer, push the EQ IN/OUT switch IN. Volume levels will be similar in either position providing the graphic sliders are in their center—neutral position. 7.
source from unbalanced cables. Any time you use a balance input, your input gain will be 6 dB higher. You also have your choice of a 1/4" input jack for unbalance or balance inputs. This is a tip/ring stereo jack which will work for both. Use only shielded cables. 5. COOLING FAN The fan is designed to run continually to cool the FET401. Be careful not to block the air around the grill—fan area. if you are having Temp/Protect problems or if the incoming air is too hot, the "Protect" LED will come on.
