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Summary of Contents for CARVIN SL
- Page 1 STUDIO / LIVE SERIES SL24 SL40 SL56 Owners Manual Revision 1 76-00024...
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Page 2: Introduction
EQ section features two semi-parametric mid band and EQ in/out switching, as well as Lo-cut switching. The sweet sound of this EQ cannot be overstated. Carvin spent a great deal of time and effort to ensure that the delicate subtleties of the incoming signals are not disturbed by the EQ section, but that the character and flavor of the original signal be enhanced. - Page 3 We encourage you to read the manual and if you have questions call and allow our product experts help direct you to the advanced features available with the S/L series. Without a doubt Carvin’s new S/L consoles represent a significant advance- ment in home studio as well as live sound mixing.
- Page 4 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 ship- ping company are not responsible for.
- Page 5 Turn all Auxiliary send master levels counter clockwise to “0”. Turn all stereo return levels counter clockwise to “0”. 4) The SL mixer series uses an external power supply, the SLP5600. AC power is connected to the SLP5600 and is in turn connected to the mixer via a 4 wire Speakon™...
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Page 6: Table Of Contents
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. -
Page 7: Mixer Overview
Live performances benefit from the S/L’s AUX sends that can be used for monitor mixes or effects processing. The SL consoles are equipped with : • 24, 40, 56 channel frames. • Low noise mic-pre amps EIN=128dB min. -
Page 8: Input Channel Section
3. Input Channel section 1. 48V PHANTOM POWER SWITCH PHANTOM POWER 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 17-24 using sources that do not use phantom power. - Page 9 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.
- Page 10 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).
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Page 11: Master Section
4. Master Section POWER Master I/O Section INSERTS Note: All XLR connectors follow the Standard of: GROUPS 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 CONTROL for PHONES. -
Page 12: Control Masters
Control Masters POWER 13. GROUP MUTE’S The Group MUTE switch mutes the Group signal pre Fader and post insert. SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO This means the group output and L-R assignment are muted, but not the MUTE MUTE MUTE... -
Page 13: Stereo Returns & Tape In/Out
Auxiliary Send Masters 24. AUX SENDS 1-6 CONTROLS & PFL These are the Master levels for Auxiliary Sends. Each has its own PFL switch AUX SENDS to monitor the AUX send buses pre fader. 25. AUX 1-4 FLIP SWITCHES The AUXiliary FLIP switches on AUX send 1-4 are for the purpose of providing FLIP FLIP FLIP... -
Page 14: Standard Studio Mixer Setups
Figure 5-1 5. Standard Studio Mixer Setups DIRECT OUT CHANNEL INSERT The following section describes two of the more common Studio recording setups. These setups FADER are not the only setups you can use, many of the MIC-PRE 4 BAND connections described here can be combined and CHANNEL EQ CONTROLS... - Page 15 The best recording setup has the least possible patching and interconnection. Figure 5-3 shows a simple combination of in-line and split recording setups using a patch bay like the Carvin PB48 patch bay . The setup shows a typical 16 channel recording system. The first 8 channels are connected with the in-line method; where the mixer’s TAPE IN’s are receiving the multi-tracks 1-8 outputs and the mixers DIRECT OUT’s are going directly to the multi-tracks inputs 1-8.
- Page 16 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. CHANNEL TAPE IN FROM MULTI-TRACK OUTPUT PHANTOM PHANTOM POWER POWER LIGHT DIRECT DIRECT DIRECT...
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Page 17: Standard Live Mixer Setups
6. Standard live mixer setups The following section describes aspects of using the S/L console in live sound reinforcement. Because live sound reinforce- ment 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. - Page 18 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.
- Page 19 “snake” cable. A snake is a cable carrying all connections to and from the stage to the console. Typically, a snake will only accept XLR bal- anced connections. This is why the Keyboard is shown connected through a “direct box” (Carvin DB3) which converts the unbalanced 1/4” out- puts of the keyboard to balanced XLR outputs for the console.
- Page 20 Figure 6-4 CHANNEL MICROPHONE AND INSTRUMENT INPUTS GROUP AND MASTER INSERT TO PATCH BAY R600 UNBAL D.I. BAL. FRONT OF HOUSE RACK WITH PATCH BAY , EFFECTS, COMPRESSORS, AND EQ PHANTOM PHANTOM POWER POWER LIGHT 9-16 CHANNEL ONE PEAK HI CUT –3 GAIN –6...
- Page 21 PHANTOM POWER LIGHT POWER 17-24 INSERTS GROUPS CONTROL RIGHT LEFT STUDIO TAPE SEND INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT RETURN MAIN AND GAIN GAIN GAIN GAIN GAIN GAIN GAIN PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE STEREO RETURNS TAPE TAPE TAPE...
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Page 22: Using The Inserts
7. Using the inserts FULL INSERT DIRECT Full insert TAPE Pre-Amp 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 TAPE TIP: SEND SIGNAL RING RING: RETURN SIGNAL is the ground. -
Page 23: Meter Bridge
8. Meter Bridge PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK 0 dB 0 dB 0 dB 0 dB 0 dB 0 dB 0 dB 0 dB 0 dB 0 dB 0 dB 0 dB 0 dB 0 dB... -
Page 24: Power Supply
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. -
Page 25: Cable Connections
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 PIN 2 These all follow the standard: PIN 3 PIN 1 PIN 1 is ground PIN 2 is positive (in phase) PIN 3 is negative (out of phase or inverting) RING TIP... -
Page 26: Block Diagram
11. Block Diagram INTERRUPT RIGHT SOLO RIGHT SOLO LEFT SOLO LEFT SOLO 2-4-6-8 BUSS 2-4-6-8 BUSS 1-3-5-7 BUSS 1-3-5-7 BUSS RIGHT RIGHT LEFT LEFT... -
Page 27: General Specifications
SLP5600 120v Spare Power Supply SP10 10’ Speakon™ power cable SP25 25’ Speakon™ power cable SL-88001 8 channel input card SL-88004 main output card SL-88005 main meter bridge card SL-88006 channel meter bridge card contact Carvin at 800-854-2235 to order, or visit www.carvin.com... -
Page 28: Schematics
B. Schematics S 1 6 . A C 1 3 S 1 5 . B... - Page 29 R381 H10.A R416 R106 GROUP 1 4 . 7 K GROUP 1 FADER NOT ON 5 - 8 C184 R115 BUSS 1 MUTE C199 4 7 Ω 330P R412 R417 – 1 0 K C109 330P BUS1 – A11.A FLIP –...
- Page 30 R227 R201 RTN LEVEL 2 2 K S41.A LEFT G C157 RTN 1 L P31.A R202 C116 A GND C119 S41.B R218 RIGHT G – 2 2 K A19.A .047u . 0 0 1 µ F – R212 A44.A P35.A C195 S10.C C194...
- Page 31 H2.C H3.C...
- Page 32 D217 D218 D219 D220 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω...
- Page 33 D217 D218 D219 D220 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω 1/4w 68Ω...
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Page 34: Console Dimensions
C. Console Dimensions 71.75 S/L56 54.25 S/L40 36.75 S/L24 8.00 22.70... -
Page 35: Glossary Of Terms
D. Glossary for “milliwatt.” In a circuit with an impedance of 600 ohms, this refer- ence (0dBm) corresponds to a signal voltage of 0.775 VRMS (because AFL (After Fade Listen) 0.775 V across 600 ohms equals 1mw). A function that allows the operator to monitor the post-fade signal in a channel independently of the main mix. - Page 36 Echo Haas effect The reflection of sound from a surface. Reverberation and echo are terms A psychoacoustic effect in which the time of arrival of a sound to the that can be used interchangeably, but in pro audio a distinction is usu- left and right ears affects our perception of direction.
- Page 37 Noise floor will be a quiet hiss, which is the thermal noise generated smooth decay of sound, whereas echo is a distinct, recognizable rep- by bouncing electrons in the transistor junctions. The lower the noise etition of a note, phrase or sound. floor and the higher the headroom the more usable dynamic range a system has.
- Page 38 NOTES...
- Page 39 NOTES...
- Page 40 12340 World Trade Drive, San Diego, CA 92128 (858) 487-1600 (800) 854-2235 www.carvin.com...
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