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.
) Tape Selection for Buses 5 & 6 and 7 & 8 (depending upon the selection of the Input Tape Switch) allows interconnecting either the tape input signal or the mic input to these buses. Depending upon the configuration of your console, this switch will allow for individual bus routing for quick overdubbing while simultaneously setting up the stereo control room mix.
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 console will only be accepted in our factory designed shipping carton or damage could result in which CARVIN and the shipping company are not responsible for. SAVE YOUR INVOICE.
GAIN Quick set up - Before power is turned on. PH AS E TA PE 55 5 0 1) Be sure the SLP5600 power supply and AC cord is correct for your region (120 Volt or 230 volt). +15 -15 LOW CUT HIGH 2) Use only a grounded (3 prong) power outlet to prevent a shock hazard. This also provides the quietest grounding for your mixer.
TABLE OF CONTENTS Introduction . . . . . . . . . . . . . . . . . . .pg 2 a) Receiving Inspection b) For the new owner c) Before power is turned on 1. Mixer Overview . . . . . . . . . . . . . .pg 7 2. Installation . . . . . . . . . . . . . . . . .pg 7 3. Input Channel Section . . . . . . . . . .pg 8 4. Master Section . . . . . . . . . . . . . .pg 11 Master I/O section Left, Right, and Groups Control Masters Stereo Returns & Tape IN/OUT Auxiliary Send Masters 5. Standard Studio Mixer Setups . . . .pg 14 6.
1. Mixer Overview The S/L series mixing consoles are designed for Studio and Live performances. S/L series consoles allow the user to perform multi-track recording where the tracks equal the number of channels for the mixer; either 24, 40, or 56. This ability is due to the Dual In-line channel format used on the S/L series.
3. Input Channel section 1. 48V PHANTOM POWER SWITCH This switch provides phantom power for condenser mics in groups of 8 channels. This allows other channel groups to remain non-powered for instruments and dynamic mics that don’t require phantom power. The 48V switch should not be engaged when using sources that do not use phantom power. 2. CHANNEL DIRECT OUT The DIRECT OUT is a 1/4” TRS (Tip/Ring/Sleeve) balanced output.
3. Input Channel section continued. 7. GAIN CONTROL The GAIN control adjusts the gain of the channels high gain microphone pre-amplifier. This pre-amplifier is designed for professional low impedance microphones. Monitor the gain level with the PEAK LED. If the LED is constantly lit, decrease the amount of gain. If distortion is present, decrease your gain until it is eliminated. The GAIN control is also the level control for the LINE IN.
18. CHANNEL AUX 3 AND AUX 4 PRE OR POST SENDS The 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 and AUX 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 total of 4 post sends. 19. TAPE 5 - 6 SWITCH The TAPE 5 - 6 switch is linked to the TAPE switch at the top of the channel.
2 4. Master Section 1 2 3 4 1 5 6 7 L 8 R POWER Master I/O Section Note: 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) with the exception of the control room and Studio Right jacks used for PHONES. 2 3 4 INSERTS GROUPS 5 6 7 8 3 6 AUX SEND 2 5 6 L 7 1 3 4 7 R 8 L 2 R L-R PHONES 1 6 CONTROL L OUT L-R L 3 R R LEFT RIGHT TAPE STUDIO PHONES 1.
Control Masters PAN PAN PAN PAN PAN PAN PAN PAN C C C C C C C C 10 POWER 15 13. GROUP MUTE’S The 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 the send on the insert. The corresponding RED Mute LED indicates the Group has been muted.
Auxiliary Send Masters 24 24. AUX SENDS 1-6 CONTROLS & PFL These are the Master levels for Auxiliary Sends. Each has its own PFL switch to monitor the AUX send buses pre fader. 26 AUX SENDS 1 2 5 10 0 3 5 10 0 4 5 0 5 5 10 10 0 PFL PFL PFL FLIP FLIP FLIP FLIP TO GRP 1 XLR TO GRP 2 XLR TO GRP 3 XLR TO GRP 4 XLR 7/8 5 10 0 PFL 6 5 10 0 PFL PFL 5 0 10 L-R 25.
In-Line Recording Setup. DIRECT OUT CHANNEL INSERT FADER MIC-PRE MIC TAPE PAD LINE AUXILIARIES 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. MASTERS Figure 5-1 5.
Split Recording Setup. The Split recording method has many different looks depending on the mixing consoles setup and features. The basic concept of split recording is simply using a different channel or bus for mixing than was used for tracking. The complication comes with how the features of the mixer are used. If the mixer has direct outputs, then the channel used for tracking goes direct to the recorder’s inputs and another channel is used for the recorders playback through the mixer.
MULTI-TRACK RECORDER FIGURE 5-3 For illustration, the connections have been separated into three parts. This illustration is intended to show the same thing as figure 5-2 with multiple channels.
6. Standard live mixer setups The following section describes aspects of using the S/L console in live sound reinforcement. Because live sound reinforcement is so diverse in set-up requirements and connections, this section will only discuss aspects of a live system setup and focus on the features of the S/L series console.
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 stereo send pair of AUX 7/8 provides (via the PRE w/ EQ switch down) an independent stereo mix with PAN for live recording. This independent post EQ send allows a completely separate mix to be sent to a 2-track recorder. Use either the AUX 7/8 Sends or the RCA TAPE OUT for the connection of a two track 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 surround sound mixes, center clusters and extension speakers systems. Sub mixing with the Groups is where several channels with a commonality 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 being able to adjust the group with one fader (or two faders for stereo).
Figure 6-4 CHANNEL MICROPHONE AND INSTRUMENT INPUTS GROUP AND MASTER INSERT TO PATCH BAY R600 UNBAL D.I. BOX BAL. FRONT OF HOUSE RACK WITH PATCH BAY , EFFECTS, COMPRESSORS, AND EQ PHANTOM POWER 1 2 3 4 5 6 7 8 PHANTOM POWER 12V LIGHT 1-8 9 INSERT INSERT 10 11 12 13 14 15 16 9-16 CHANNEL ONE PEAK 25K 10K 35K +15 0 6K +6 45K Hz HI CUT +3 0dB 50 +6 dB GAIN –3 20 120 –6 ON –15 10 Hz 230 LOW CUT EQ IN PEAK 25 31.
PHANTOM POWER 19 20 21 22 23 24 1 2 1 AUX SEND INSERT INSERT INSERT INSERT INSERT INSERT 3 4 5 6 7 8 L R POWER 17-24 INSERT 2 3 1 2 3 4 5 6 7 8 L INSERT 1 R L INSERTS GROUPS 4 6 CONTROL L-R L OUT L 3 7 8 LEFT RIGHT R STUDIO L-R R 2 5 PHONES 18 TAPE PHONES 12V LIGHT 17 IN R L 4 R AUX RETURN AIN GAIN PHASE 55 TAPE 4 GAIN PHASE 55 TAPE 4 GAIN PHASE 55 TAPE 4 PHASE 55 TAPE GAIN 4 PHASE 55 TAPE GAIN 4 PHASE 55 TAPE
7. Using the inserts 15 The 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 sleeve is the ground. When used as an insert point or in full insert mode, the channel is opened up to allow an external piece of equipment to be inserted into the channels signal path.
8.
9. SLP5600 power supply .. .. SSLLPP- 5- 5600 600 S/L S/LSeries SeriesPower PowerSupply Supply 10 A M P 120VAC 60Hz 300VA The SL series consoles use the SLP5600 external power supply. The SLP5600 power supply is a two space rack mountable power supply which provides the required DC voltages for the SL series. Power Requirements It is best to supply the SLP5600 with its own dedicated circuit. This reduces possible loss of power to the console if other circuit breakers are over loaded and tripped.
10. Cable connections used on the S/L series console Balanced XLRs are used for the channel MIC inputs, the group outputs and the master left right outputs These all follow the standard: PIN 1 is ground PIN 2 is positive (in phase) PIN 3 is negative (out of phase or inverting) Balanced 1/4” TRS phone jacks are used for the channel direct outputs, the channel tape inputs, and the channel line inputs.
LINE MIC PAD RIGHT MASTER TAPE IN LEFT RETURN RIGHT RETURN LEFT MASTER RETURNS 1-4 TAPE IN line pad (-11dB) PHASE CHANNELS RETURN LEVELS 1-4 GAIN SSM 2017 MIC PRE PAN TAPE DIRECT OUT L-R AUX 2 SOLO INSERT TIP-SEND AUX 1 LO CUT 1-2 EQ IN 4 BAND CHANNEL EQ CONTROLS PRE 3-4 PAN LEVELS 3&4 TAPE 5-6 L-R 7-8 LEVEL TAPE 7-8 FADER LEFT PRE FADER 7-8 MUTE LEVELS 1&2 PEAK LED LEVELS 5&6 PAN SOLO 1-8 L-R RIGHT METERS LEFT RIGHT BUSS 1-3-5-7 BUSS 2-4-6-8 PFL SOLO LEFT SO
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 @ nominal Master Output = +14Dbu Frequency +10DBu Mic Input 0 DBu Mic Input -20 DBu Mic Input +10DBu Tape Input 0 DBu Tape Input 20 - 20kHz MIC IN to Direct out +14Dbu _ @ 1kHz <.006 % <.006 % <.008 % <.006 % <.015 % .002 % .002 % .003 % .006 % .015 % <.003 % .
J3 MET DIR0 470 10Ω R56 2 + 22u C4 + 22u C3 + + R29 !A1.B + C27 TA P 0 470 Ω smt 1/4w R40 Ω smt 1/4w R51 R80 22K 39 R48 22K R32 22K 10K smt 1/4w 5.61K R37 R9 5.62K PEAK +15VDC 10K smt 1/4w R4 P1 .047u C60 + MET DIR7 MET DIR6 MET DIR5 MET DIR4 MET DIR3 MET DIR2 MET DIR1 Q1 7 V+ A6 V- 4 5 6 +15VDC -15VDC AUX 8 AUX 7 H5B.C H5B.D H5.C H5.D H5B.A H5.A AUX 5 H5B.B H3B.D H3.D AUX 4 H5.B H3B.C H3.C AUX 6 H3B.B H3.B R21 22.1K 22 C16 D5 C55 .
H10.A R381 R416 R83 4.7K + C40 39P R417 – A11.B + 10K 10 R438 C46 + S11.A 10 47K 47 Ω C199 P1 50K R412 10K C109 + BUS1 47 Ω 3 R13 – A15.A + FLIP C35 10K + R11 S7.A 22 µF R112 C141 10K SND1 BUSS 1 INSERT H16.A 47 Ω 39P – A15.B + +18VDC TIP-SEND 1 2 39P 39P – A24.B + R74 C39 R115 cw MUTE 330P – A11.A + A GND J31 GROUP 1 10K NOT ON 5 - 8 + C41 330P J1 GROUP 1 FADER 10K C184 BUSS 1 10K R106 SUB1 H6.A H16.B PEAK H6.B D31 L-R S11.
R227 R201 10K RTN LEVEL C157 39P RIGHT G C81 + 10K 39P RTN 1 R PFL+ R270 S10.D D45 R312 PFL R 470Ω R315 10Ω S10.A 10 47K PFL CNTRL 22K – A44.B + R248 22K C195 R40 47K R213 P35.B cw C120 D43 C194 PFL L D42 – A99.B + PFL CNTRL 10K 50K R339 R247 22K RTN LEVEL .047u .001 µF R212 B50Kx2 cw A GND S10.C P31.B – A19.B + 10 S41.B 22K R249 12K P35.A cw C159 39P C118 + R6 – A44.A + 5.6K 10 10K R3 22K 39P 10K R352 J10 LEFT G PAN C71 + C119 R218 – A19.
H1.D QC1 H1.C H1.B + + D16 C1 10KµF 63V C10 R24 1K R25 Z4 Z3 Z2 Z1 1K + D9 C13 22µF 50V C17 22 µF 50V 5.6K C11 470µF 50V R9 1K D14 1 22µF 50v C7 R19 7 -18VDC +18VDC – 5 6 3 D12 + A1.B N/U 4 – A1.A + 2 1 0 0Ω Zener 13V 6 8 0Ω 8 R13 0.22 Ω 3W PHANTOM PWR D6 R11 4.7K 5.6K R10 R3 4.7K MJL21194 NPN 1Ω Q4 Q6 1Ω -18VDC PHANTOM 22KΩ R17 R33 R7 Q5 R6 R31 TIP31C NPN Flat 0.22Ω 3W 1Ω R30 R29 1Ω R28 1Ω TIP32C 1 Ω R2 1Ω Q7 0.
2-30 2-24 2 7 0Ω 1 5 0Ω 1 0 0Ω 4 7Ω GND 5 6 0Ω 1.0K 1.5K 3.3K 6.8K 15K 3 3 0Ω 2 7 0Ω 1 5 0Ω 1 0 0Ω GND 4 7Ω 2 2Ω 4 7Ω 2-18 2-12 2 - 8 2 - 4 2 - 0 2+4 2+8 2+12 2+18 3 3 0Ω 2 2Ω -15VDC CLIP -30 -24 5 6 0Ω 1.0K 1.5K Z1 9V Z2 9V 3.3K 6.8K 4 7Ω - 1 8 - 1 2 - 8 - 4 CLIP 2 0 + 4 + 8 +12 +18 R22 R23 R24 R25 R26 R27 R28 R29 R30 R31 R32 R33 R34 CLIP R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 R11 µ0.1 F – A1.B + 1 Red small C1 – A1.
2-30 2-24 3 3 0Ω 2 7 0Ω 1 5 0Ω 1 0 0Ω 5 6 0Ω 1.0K 1.5K 3.3K 6.8K 15K 4 7Ω 2 2Ω 3 3 0Ω 2 7 0Ω 1 5 0Ω 1 0 0Ω 4 7Ω 2 2Ω 4 7Ω 2-18 2-12 2 - 8 2 - 4 2 - 0 2+4 2+8 2+12 2+18 2CLIP GND Z1 9V -15VDC GND -30 -24 5 6 0Ω 1.0K 1.5K 3.3K 4 7Ω - 1 8 - 1 2 - 8 - 4 0 + 4 + 8 +12 +18 6.8K R22 R23 R24 R25 R26 R27 R28 R29 R30 R31 R32 R33 R34 Z2 9V R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 R11 R12 R13 – A25.A + – A25.D + 14 13 2 1 – A26.
C. Console Dimensions 71.75 54.25 36.75 8.00 22.
D. Glossary AFL (After Fade Listen) A function that allows the operator to monitor the post-fade signal in a channel independently of the main mix. Assign To route a signal to a particular signal path or combination of signal paths. Attenuate To reduce signal level. Auxiliary Send An output from the console comprising a mix of signals from the channels derived independently of the left, right and group mixes. Balanced A method of connecting audio signals using 3 wires.
Echo The reflection of sound from a surface. Reverberation and echo are terms that can be used interchangeably, but in pro audio a distinction is usually made: echo is considered to be a distinct, recognizable repetition (or series of repetitions) of a word, note, phrase or sound, whereas reverberation is a diffuse, continuously smooth decay of sound. Effects unit An external signal processors used to add reverb, delay, spatial or psychoacoustic effects to an audio signal.
Noise floor will be a quiet hiss, which is the thermal noise generated by bouncing electrons in the transistor junctions. The lower the noise floor and the higher the headroom the more usable dynamic range a system has. Parametric EQ A “fully” parametric EQ is an extremely powerful equalizer that allows smooth, continuous control of each of the primary EQ parameters (frequency, gain, and band-width) in each section independently. “Semi” parametric EQs allow control of fewer parameters.
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12340 World Trade Drive, San Diego, CA 92128 (858) 487-1600 (800) 854-2235 www.carvin.
