Carvin mx842 Manual De Usuario
1. XLR MIC INPUT - The XLR inputs are
designed for balanced low impedance
microphone or line inputs. Balanced inputs
permit long cable runs without signal loss or
extraneous hum.
NOTE: All XLR’s utilize 2 signal wires plus a
shield—3 conductors total. See Pg 4-1 FIG 4.
microphone or line inputs. Balanced inputs
permit long cable runs without signal loss or
extraneous hum.
NOTE: All XLR’s utilize 2 signal wires plus a
shield—3 conductors total. See Pg 4-1 FIG 4.
2. LINE INPUT JACK - These inputs utilize a
standard 1/4” phone jack designed for
unbalanced Mics or Instruments.
NOTE: This jack and the XLR input can be
used at the same time for more input
capacity. Rearrange the channels so the
same level settings work for both inputs.
See Pg 4-2 FIG 5.
unbalanced Mics or Instruments.
NOTE: This jack and the XLR input can be
used at the same time for more input
capacity. Rearrange the channels so the
same level settings work for both inputs.
See Pg 4-2 FIG 5.
3. -20dB PAD SWITCH - These switches reduce
the input gain by 20 dB. Engage this switch
only when distortion is audible—input signal
is too high for the input jack (This usually
happens when using an instrument,
keyboard, ETC.)
NOTE: This eliminates over-driving the input
preamp before the channel LEVEL Control.
only when distortion is audible—input signal
is too high for the input jack (This usually
happens when using an instrument,
keyboard, ETC.)
NOTE: This eliminates over-driving the input
preamp before the channel LEVEL Control.
4. CHANNEL LEVEL - These controls adjust the
volume of the channel. They are calibrated 0
to 10. Typically you will want to run these
control at the same or slightly lower than the
MASTER level control for best results.
NOTE: The LEVEL controls should not be
higher than the MASTER Level control. This
will prevent over-driving the channel pre-
amps.
to 10. Typically you will want to run these
control at the same or slightly lower than the
MASTER level control for best results.
NOTE: The LEVEL controls should not be
higher than the MASTER Level control. This
will prevent over-driving the channel pre-
amps.
5. CHANNEL MONITOR LEVEL - These controls
send signals to the master MONITOR control
(#13). Connect a separate power amp to the
drive monitor speakers (via the 1/4”
MONITOR jack on the front panel). The
monitor signal can also be switched into
AMP 1. See FIG 8. The channel monitor
control is “pre fader”— not affected by the
channel LEVEL control.
NOTE: Use caution when adjusting these
levels. Typically stage monitors are right
next to the microphones where they are
most susceptible to feedback.
(#13). Connect a separate power amp to the
drive monitor speakers (via the 1/4”
MONITOR jack on the front panel). The
monitor signal can also be switched into
AMP 1. See FIG 8. The channel monitor
control is “pre fader”— not affected by the
channel LEVEL control.
NOTE: Use caution when adjusting these
levels. Typically stage monitors are right
next to the microphones where they are
most susceptible to feedback.
6. CHANNEL TONE CONTROLS - Because of
active circuits, these controls allow for wider
tone compensation over typical mixers. The
Lo EQ will boost or cut bass starting at
100Hz while the Hi EQ will boost or cut
Treble starting at 10kHz.
NOTE: These controls should be at the “0”
center position unless you need to add or
subtract bass and treble. The center
position is the natural sound of the channel.
tone compensation over typical mixers. The
Lo EQ will boost or cut bass starting at
100Hz while the Hi EQ will boost or cut
Treble starting at 10kHz.
NOTE: These controls should be at the “0”
center position unless you need to add or
subtract bass and treble. The center
position is the natural sound of the channel.
7. CHANNEL “EFF” CONTROLS - These controls
work off the channel LEVEL control (post
LEVEL control) to send a signal to the
master EFF and REV controls. These master
controls than drive either the internal
reverberation system or your effect(s)
devices (via the 1/4” EFF SND jack on the
front panel).
NOTE: The EFF SND jack will drive a 600
ohm load which can drive several effects
devices at the same time.
LEVEL control) to send a signal to the
master EFF and REV controls. These master
controls than drive either the internal
reverberation system or your effect(s)
devices (via the 1/4” EFF SND jack on the
front panel).
NOTE: The EFF SND jack will drive a 600
ohm load which can drive several effects
devices at the same time.
8. CHANNEL “PAN” CONTROLS - These controls
assign each channel to eithe
r
the LEFT (AMP
1) or RIGHT (AMP 2) stereo outputs of the
MX842 (center for mono).
MX842 (center for mono).
L
R
C
PAN
0
10
5
EFF
-15
+15
0
HI EQ
-15
+15
0
LO EQ
0
10
5
MONITOR
5
0
10
LEVEL
-20 dB
LINE
MIC
1
L
R
C
PAN
0
10
5
EFF
-15
+15
0
HI EQ
-15
+15
0
LO EQ
0
10
5
MONITOR
5
0
10
LEVEL
-20 dB
LINE
MIC
2
L
R
C
PAN
0
10
5
EFF
-15
+15
0
HI EQ
-15
+15
0
LO EQ
0
10
5
MONITOR
5
0
10
LEVEL
-20 dB
LINE
MIC
3
L
R
C
PAN
0
10
5
EFF
-15
+15
0
HI EQ
-15
+15
0
LO EQ
0
10
5
MONITOR
5
0
10
LEVEL
-20 dB
LINE
MIC
4
L
R
C
PAN
0
10
5
EFF
-15
+15
0
HI EQ
-15
+15
0
LO EQ
0
10
5
MONITOR
5
0
10
LEVEL
-20 dB
LINE
MIC
5
L
R
C
PAN
0
10
5
EFF
-15
+15
0
HI EQ
-15
+15
0
LO EQ
0
10
5
MONITOR
5
0
10
LEVEL
-20 dB
LINE
MIC
6
L
R
C
PAN
0
10
5
EFF
-15
+15
0
HI EQ
-15
+15
0
LO EQ
0
10
5
MONITOR
5
0
10
LEVEL
-20 dB
LINE
MIC
7
L
R
C
PAN
0
10
5
EFF
-15
+15
0
HI EQ
-15
+15
0
LO EQ
0
10
5
MONITOR
5
0
10
LEVEL
-20 dB
LINE
MIC
8
0
10
5
REV
0
10
5
EFF SND
0
10
5
L/R EFF RTN 1
0
10
5
L/R EFF RTN 2
0
10
5
L/R TAPE IN
0
10
5
L/R LINE OUT
0
10
5
MONITOR
5
0
10
MASTER
L/R
PROTECT
PROTECT
MON
GRAPHIC EQUALIZER A
63
12
8
4
0
4
8
12
8
4
0
4
8
12
12
8
4
0
4
8
12
8
4
0
4
8
12
125
250
500
1K
2K
4K
8K
16K
OUT
IN
GRAPHIC EQUALIZER B
63
12
8
4
0
4
8
12
8
4
0
4
8
12
12
8
4
0
4
8
12
8
4
0
4
8
12
125
250
500
1K
2K
4K
8K
16K
OUT
IN
LINE OUT L/R
MONITOR
EFF SND
L/R EFF RTN 1
TAPE IN L
TAPE IN R
TAPE OUT L
TAPE OUT R
A AMP
B AMP
MONO OUT
L/R EFF RTN 2
PATCH
MX842
1
2
3
8
7
6
5
4
MX842 Channel Features
3-0