Carvin sm162 Manuel D’Utilisation
HALF INSERT
The half insert connection creates a send signal
without breaking the channels signal path. The
insert in this mode is no longer used as an insert
but it becomes what is called an “insert direct out”.
An insert direct out functions as a normal direct
out, but the plug has to be half inserted and if an
insert is needed on the same channel, some
fancy cabling is required to perform both func-
tions. The half insertion connects the tip of the
plug being inserted to the ring of the jack, see the
fig. If the jack is fully inserted, to where the tip
of the plug connects to the tip of the jack, the inter-
nal jack switch will open and the channel’s signal
path will be broken. The connection will still func-
tion as a direct out, but the channel’s signal will
stop at the insert and not continue on to the rest
of the channel and the masters, unless the insert
is being used as described in the FULL INSERT
section above with a TRS plug. The result of the
half insert is multiple outputs are created for use
in multi-track recording.
without breaking the channels signal path. The
insert in this mode is no longer used as an insert
but it becomes what is called an “insert direct out”.
An insert direct out functions as a normal direct
out, but the plug has to be half inserted and if an
insert is needed on the same channel, some
fancy cabling is required to perform both func-
tions. The half insertion connects the tip of the
plug being inserted to the ring of the jack, see the
fig. If the jack is fully inserted, to where the tip
of the plug connects to the tip of the jack, the inter-
nal jack switch will open and the channel’s signal
path will be broken. The connection will still func-
tion as a direct out, but the channel’s signal will
stop at the insert and not continue on to the rest
of the channel and the masters, unless the insert
is being used as described in the FULL INSERT
section above with a TRS plug. The result of the
half insert is multiple outputs are created for use
in multi-track recording.
FULL INSERT
As described under the 1-8 MIC CHANNEL FEA-
TURES 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 ground. When used
as an insert point or in full insert mode the chan-
nel is opened up to allow an external piece of
equipment to be inserted into the channels signal
path. The channel signal, coming from the
microphone preamplifier, will be forced to go
through the external equipment before it can
continue back through the channel re-entering
before the channel tone controls. Most external
equipment is not set up for the TRS plug directly,
so an adapter cable is required. The adapter cable
will have on one end the TRS plug and two mono
plugs , either male or female, on the other end.
The two plugs each have the ground connected
to the sleeve and one has the return on its tip and
the other has the send on its tip. This allows the
send to be connected to the input of the external
equipment and the return to its output complet-
ing the insert loop back to the channel.
TURES 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 ground. When used
as an insert point or in full insert mode the chan-
nel is opened up to allow an external piece of
equipment to be inserted into the channels signal
path. The channel signal, coming from the
microphone preamplifier, will be forced to go
through the external equipment before it can
continue back through the channel re-entering
before the channel tone controls. Most external
equipment is not set up for the TRS plug directly,
so an adapter cable is required. The adapter cable
will have on one end the TRS plug and two mono
plugs , either male or female, on the other end.
The two plugs each have the ground connected
to the sleeve and one has the return on its tip and
the other has the send on its tip. This allows the
send to be connected to the input of the external
equipment and the return to its output complet-
ing the insert loop back to the channel.
MIC
INSERT
1
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
LOW
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
LINE
MIC Pre-Amp
PIN 2 (+)
PIN 3 (–)
GAIN
TO EFFECTS
STEREO PLUG
FULL INSERT
INSERT JACK
SEND
RETURN
TIP: SEND
SLEEVE: GROUND
RING: RETURN
INSERTS AND DIRECT OUTS
MIC
INSERT
1
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
LOW
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
LINE
PIN 2 (+)
PIN 3 (–)
MONO PLUG
1/2 INSERT
MIC Pre-Amp
GAIN
INSERT JACK
TO RECORDER
TIP: SIGNAL
SLEEVE: GROUND
SM162
+12dB
+
3dB
0dB
–
3dB
–
6dB
–
9dB
–12dB
–15dB
–18dB
+
6dB
12
3
6
9
12
9
6
3
- 0 +
MIC
INSERT
1
MIC
2
MIC
3
MIC
4
MIC
5
MIC
6
GAIN
HI
MID
LOW
EFF 1
EFF 2
Studio Mate
PHANTOM POWER
P O W E R
L
R
MAIN
MASTERS
R
INPUT 11
–
12
L
INPUT 13
–
14
INPUT 15
–
16
L
R
TAPE OUT
TAPE IN
EFFECTS
MASTER
2
L
R
LINEOUT
SEND
EFFECTS
RETURN
RETURN 1
SEND 1
PHONES
MONO
1
1
L
2
1
2
R
MONO
MONO
R
R
L
L
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
LOW
EFF 1
EFF 2
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
EFF 1
EFF 2
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
LOW
EFF 1
EFF 2
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
LOW
EFF 1
EFF 2
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
EFF 1
EFF 2
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
HI
MID
LOW
EFF 1
EFF 2
5
4
3
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
HI
MID
LOW
EFF 1
EFF 2
5
4
3
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
HI
MID
LOW
EFF 1
EFF 2
5
4
3
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
8
7
6
R
INPUT 9
–
10
L
MONO
12
3
6
9
12
9
6
3
- 0 +
HI
MID
LOW
EFF 1
EFF 2
5
4
3
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
MIC
7
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
EFF 1
EFF 2
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
MIC
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
8
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
EFF 1
EFF 2
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
LOW
LOW
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
MULTI-TRACK RECO
8 TRACK INPUTS
EFFECTS PROCESSOR
1/2 INSERT DIRECT OUT
8 TRACK OUTPUTS
SM162
+12dB
+
3dB
0dB
–
3dB
–
6dB
–
9dB
–12dB
–15dB
–18dB
+
6dB
12
3
6
9
12
9
6
3
- 0 +
MIC
INSERT
1
MIC
2
MIC
3
MIC
4
MIC
5
MIC
6
GAIN
HI
MID
LOW
EFF 1
Studio Mate
PHANTOM POWER
P O W E R
L
R
MAIN
MASTERS
R
INPUT 11
–
12
L
INPUT 13
–
14
INPUT 15
–
16
L
R
TAPE OUT
TAPE IN
EFFECTS
MASTER
2
L
R
LINEOUT
SEND
EFFECTS
RETURN
PHONES
MONO
1
1
L
2
1
2
R
MONO
MONO
R
R
L
L
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
LOW
EFF 1
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
EFF 1
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
LOW
EFF 1
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
LOW
EFF 1
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
EFF 1
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
HI
MID
LOW
EFF 1
5
4
3
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
HI
MID
LOW
EFF 1
5
4
3
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
HI
MID
LOW
EFF 1
5
4
3
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
R
INPUT 9
–
10
L
MONO
12
3
6
9
12
9
6
3
- 0 +
HI
MID
LOW
EFF 1
5
4
3
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
MIC
7
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
EFF 1
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
MIC
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
8
12
3
6
9
12
9
6
3
- 0 +
GAIN
HI
MID
EFF 1
5
4
3
2
1
0
10
9
8
7
6
5
4
3
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
LOW
LOW
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
MULTI-TRACK RECORDER
EFFECTS PROCESSOR
8 TRACK OUTPUTS
keyboards
sequencers
computer audio outs
sequencers
computer audio outs
TWO-TRACK
TAPE RECORDER
MULTI TRACK RECORDING
The following will explain the 8 and 4 track recording system diagrams
using the Studio Mate as the recording console.
using the Studio Mate as the recording console.
THE EIGHT TRACK SYSTEM
The eight track system is the more difficult of these two systems. The
difficulty is having to repatch the 8 track’s output connections in order
to mix down to the final two track. In the recording stage of an 8 track
recording session (see the top diagram on page 11) , the inserts of the
8 mic/line channels can be used to give 8 individual dry outputs for the
8 tape inputs of the recorder. The “dry” means when using the insert as
an output there is no EQ available, but only the original signal only boosted
by the microphone preamplifier. In order to listen to the tracks while in
the recording stage the stereo channels can be used for playback listen-
ing of the 8 recorded channels. With this arrangement a complete 8 track
recording session can be done. Even scratch two track mix downs can
be done through the stereo channels to the left right tape outputs on the
mixer. When all the tracks are recorded to tape and ready for mix down,
the 8 track machine outputs can be repatch to the line inputs on the 8
mic\line channels. This will provide individual effects sends and EQ on
each track while mixing the 8 tracks down to 2 tracks through the left
right tape out on the mixer. Also the stereo channels can be used for
extra inputs such as midi equipment like keyboards, or drum modules
which may not be on the 8 track.
difficulty is having to repatch the 8 track’s output connections in order
to mix down to the final two track. In the recording stage of an 8 track
recording session (see the top diagram on page 11) , the inserts of the
8 mic/line channels can be used to give 8 individual dry outputs for the
8 tape inputs of the recorder. The “dry” means when using the insert as
an output there is no EQ available, but only the original signal only boosted
by the microphone preamplifier. In order to listen to the tracks while in
the recording stage the stereo channels can be used for playback listen-
ing of the 8 recorded channels. With this arrangement a complete 8 track
recording session can be done. Even scratch two track mix downs can
be done through the stereo channels to the left right tape outputs on the
mixer. When all the tracks are recorded to tape and ready for mix down,
the 8 track machine outputs can be repatch to the line inputs on the 8
mic\line channels. This will provide individual effects sends and EQ on
each track while mixing the 8 tracks down to 2 tracks through the left
right tape out on the mixer. Also the stereo channels can be used for
extra inputs such as midi equipment like keyboards, or drum modules
which may not be on the 8 track.
THE FOUR TRACK SYSTEM
The four track system is much simpler in connection than the 8 track
recorder. The connection and operation may be simpler, but any time
the number of recording tracks is reduced, more thought has to go into
recording each track. The four track system also provides more options
when connecting to the mixer. A similar connection to the 8 track can
be done with the 4 track inputs connected to channels 1-4 inserts (1/2
inserted for direct outs) and the 4 track outputs connected to channels
5-8 LINE inputs providing playback and mix down without repatching.
The diagram on page 12 is another way to connect a four track record-
ing system. The choice here was to have the left and right masters be
two of the 4 track inputs. This in enables the rest of the channels to be
mixed into the left right outputs for recording on the 4 track machine.
Then two 1/2 insert directs are used for the other two inputs on the four
track recorder. These would probably be tracks requiring EQ and effects
added in the final mix down. Then when ready to mix down to the two
track machine the switch is easy using the four channels with the out-
puts of the four track recorder, in this case channels 5-8. The pluses of
this 4 track layout are: at any time a 4 track to 2 track mix down can be
performed, and while recording the 4 tracks the EQ and added effects
send levels of the 2 track mix down can be adjusted on channels 5-8.
recorder. The connection and operation may be simpler, but any time
the number of recording tracks is reduced, more thought has to go into
recording each track. The four track system also provides more options
when connecting to the mixer. A similar connection to the 8 track can
be done with the 4 track inputs connected to channels 1-4 inserts (1/2
inserted for direct outs) and the 4 track outputs connected to channels
5-8 LINE inputs providing playback and mix down without repatching.
The diagram on page 12 is another way to connect a four track record-
ing system. The choice here was to have the left and right masters be
two of the 4 track inputs. This in enables the rest of the channels to be
mixed into the left right outputs for recording on the 4 track machine.
Then two 1/2 insert directs are used for the other two inputs on the four
track recorder. These would probably be tracks requiring EQ and effects
added in the final mix down. Then when ready to mix down to the two
track machine the switch is easy using the four channels with the out-
puts of the four track recorder, in this case channels 5-8. The pluses of
this 4 track layout are: at any time a 4 track to 2 track mix down can be
performed, and while recording the 4 tracks the EQ and added effects
send levels of the 2 track mix down can be adjusted on channels 5-8.
STEREO LIVE SOUND SYSTEM
The Studio Mate mixer is not only a studio recording mixer, it can also be a great live sound, PA system mixer
or a sub mixer. As a sub mixer, the Studio Mate could add extra channels or work as a monitor mixer. Here
the main focus will be using the Studio Mate as the main mixer in a basic live sound system.
or a sub mixer. As a sub mixer, the Studio Mate could add extra channels or work as a monitor mixer. Here
the main focus will be using the Studio Mate as the main mixer in a basic live sound system.
In a live sound reinforcement or a public address system (P.A. System), the input signals to the mixer will
come from the microphones and instruments on the stage. Each microphone or instrument to be amplified by
the P.A. system must be connected to one of the mixing console inputs. It is preferred to have as many of the
stage instruments as possible plugged into the mixer. This allows the best overall sound control of the instru-
ments as they are mixed together and then amplified by the P.A. system. The mixer can be operated on the
stage or from a remote location in front of the stage using a snake cable to bring the signals from the stage to
the mixer. The advantage of the remote operation allows the performance to be monitored and mixed from the
audience’s perspective.
the P.A. system must be connected to one of the mixing console inputs. It is preferred to have as many of the
stage instruments as possible plugged into the mixer. This allows the best overall sound control of the instru-
ments as they are mixed together and then amplified by the P.A. system. The mixer can be operated on the
stage or from a remote location in front of the stage using a snake cable to bring the signals from the stage to
the mixer. The advantage of the remote operation allows the performance to be monitored and mixed from the
audience’s perspective.
THE MIC CHANNELS
The (XLR) balanced low impedance mic inputs can handle +15 dB
levels with the gain control at minimum. These balanced inputs should
be used whenever possible, because this format will ensure the best
possible performance and lowest noise when operating with long cable
lengths, such as with a snake. However, many times an unbalanced
output (1/4 inch phone plug) from an instrument needs to be plugged
into the mixer. In this case use the line inputs on these channels. If
the snake cable is only equipped with XLR inputs use a XLR to 1/4”
adapter or a “Direct box” to get through the snake.
be used whenever possible, because this format will ensure the best
possible performance and lowest noise when operating with long cable
lengths, such as with a snake. However, many times an unbalanced
output (1/4 inch phone plug) from an instrument needs to be plugged
into the mixer. In this case use the line inputs on these channels. If
the snake cable is only equipped with XLR inputs use a XLR to 1/4”
adapter or a “Direct box” to get through the snake.
THE STEREO CHANNELS
Where ever stereo line levels are present such as with CD players,
keyboards, and stereo guitar preamplifiers, the stereo channels
should be used. The stereo channels allow the user to control the
stereo input with one set of controls. The result being equal adjust-
ment to both the left and right signals. The stereo channels are also
great as glorified effects returns or for multiple stereo background
music mixes. If the mic/line channels are all filled, the stereo chan-
nels can be used as extra mono channels by plugging into only the
left inputs.
should be used. The stereo channels allow the user to control the
stereo input with one set of controls. The result being equal adjust-
ment to both the left and right signals. The stereo channels are also
great as glorified effects returns or for multiple stereo background
music mixes. If the mic/line channels are all filled, the stereo chan-
nels can be used as extra mono channels by plugging into only the
left inputs.
CONNECTING SPEAKERS & POWER AMPLIFIERS
Since the Studio Mate is a non-powered mixer (no internal ampli-
fiers), an external power amplifier will have to be used to power the
PA system speakers. When connecting the main power amplifiers,
use the MASTER L - R LINE OUT jacks as the main outputs. When
using a snake to feed the signals from the stage to the mixer, there
are usually provisions for sending line output signals from the mixer
to the stage. The (line level) MASTER L - R LINE OUT outputs can
be plugged into these returns in the snake cable, and This will send
the signal to the power amplifiers, usually placed on stage. Once the
snake, or alternate means of cabling, carrying the signal has reached
the stage, the connections are made to the power amplifier inputs.
The power amp outputs can then be connected to the speakers.
Note: Speaker cables should be non-shielded and at least 16 gauge
wire to prevent damage to the power amplifiers.
PA system speakers. When connecting the main power amplifiers,
use the MASTER L - R LINE OUT jacks as the main outputs. When
using a snake to feed the signals from the stage to the mixer, there
are usually provisions for sending line output signals from the mixer
to the stage. The (line level) MASTER L - R LINE OUT outputs can
be plugged into these returns in the snake cable, and This will send
the signal to the power amplifiers, usually placed on stage. Once the
snake, or alternate means of cabling, carrying the signal has reached
the stage, the connections are made to the power amplifier inputs.
The power amp outputs can then be connected to the speakers.
Note: Speaker cables should be non-shielded and at least 16 gauge
wire to prevent damage to the power amplifiers.
SM162
+12dB
+
3dB
0dB
–
3dB
–
6dB
–
9dB
–12dB
–15dB
–18dB
+
6dB
12
3
6
9
12
9
6
3
- 0 +
R
L
MIC
INSERT
1
MIC
2
MIC
3
MIC
4
MIC
5
MIC
6
GAIN
HI
MID
LOW
EFF 1
EFF 2
PAN
Studio Mate
PHANTOM POWER
P O W E R
L
R
MAIN
SEND 2
MASTERS
R
INPUT 11
–
12
L
INPUT 13
–
14
INPUT 15
–
16
L
R
TAPE OUT
TAPE IN
EFFECTS
MASTER
2
L
R
LINEOUT
SEND
EFFECTS
RETURN
RETURN 1
RETURN 2
SEND 1
TAPE IN
HEADPHONE
PHONES
LEVEL
MONO
1
1
L
2
1
2
R
MONO
MONO
R
R
L
L
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
EFF 1
EFF 2
PAN
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
EFF 1
EFF 2
PAN
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
R
INPUT 9
–
10
L
MONO
12
3
6
9
12
9
6
3
- 0 +
R
L
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
MIC
7
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
EFF 1
EFF 2
PAN
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
MIC
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
8
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
EFF 1
EFF 2
PAN
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
LOW
LEVEL
LOW
LEVEL
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
4 TRACK RECORDER
4 TRACK OUTPUTS
keyboards
sequencers
computer audio outs
sequencers
computer audio outs
COMPUTER
MULTI- MEDIA
4 TRACK INPUTS
TWO-TRACK
TAPE RECORDER
4 TRACK STUDIO DIAGRAM
The basic hook up is simple, using four (or two stereo) RCA cables plug the TAPE OUT on the mixer into the
tape deck’s inputs, and the mixer’s TAPE IN into the tape deck’s outputs. Using the master L - R level control
in conjunction with the tape deck’s input recording level control, both the desired recording level can be adjusted
and the master left right output listening level can be adjusted. Then the TAPE IN level control on the mixer can
be adjusted to hear the tape decks playback out the master left and right line outputs.
NOTE: If the tape deck is in recording mode, be sure to have the TAPE IN control turned down. This will reduce
possible feedback through the tape deck.
tape deck’s inputs, and the mixer’s TAPE IN into the tape deck’s outputs. Using the master L - R level control
in conjunction with the tape deck’s input recording level control, both the desired recording level can be adjusted
and the master left right output listening level can be adjusted. Then the TAPE IN level control on the mixer can
be adjusted to hear the tape decks playback out the master left and right line outputs.
NOTE: If the tape deck is in recording mode, be sure to have the TAPE IN control turned down. This will reduce
possible feedback through the tape deck.
When using an effects processor, plug a cable from one of the two effects send 1/4”phone outputs on the mixer,
into the input jack on the effects processor. Then for the return, plug one (or both for stereo) of the L/R EFFECTS
RETURN 1/4” phone inputs, on the mixer, into the outputs on the effects processor. Using the channel EFF 1
or EFF 2 sends and the master send 1 or 2 set the output send level going to the effects processor. Then using
the return 1 or 2 level controls, set the desired amount of effect heard in the master left right outputs.
into the input jack on the effects processor. Then for the return, plug one (or both for stereo) of the L/R EFFECTS
RETURN 1/4” phone inputs, on the mixer, into the outputs on the effects processor. Using the channel EFF 1
or EFF 2 sends and the master send 1 or 2 set the output send level going to the effects processor. Then using
the return 1 or 2 level controls, set the desired amount of effect heard in the master left right outputs.
TAPE OUT
TAPE IN
EFFECTS MASTER
2
L
R
LINEOUT
SEND
EFFECTS
RETURN
1
1
L
2
1
2
R
L
R
EFFECTS PROCESSOR
TWO-TRACK
TAPE RECORDER
TAPE OUT
TAPE IN
L OUT R
MONO IN
(TAPE OUT)
(TAPE IN)
TAPE DECKS AND EXTERNAL EFFECTS
EXTERNAL
POWER AMP
TWO-TRACK
TAPE RECORDER
RIGHT
PA CABINET
CHANNEL
1
2
3
4
5
6
7
8
9
1 0
1 1
1 2
1 3
1 5
1 7
1 9
2 2
1 9
2 2
3 0
5 0
0 dB
PROTECT
CHANNEL
POWER
1
2
3
4
5
6
7
8
9
1 0
1 1
1 2
1 3
1 5
1 7
1 9
2 2
2 2
3 0
5 0
0 dB
1
2
SM162
+12dB
+
3dB
0dB
–
3dB
–
6dB
–
9dB
–12dB
–15dB
–18dB
+
6dB
12
3
6
9
12
9
6
3
- 0 +
R
L
MIC
INSERT
1
MIC
2
MIC
3
MIC
4
MIC
5
MIC
6
GAIN
HI
MID
LOW
EFF 1
EFF 2
PAN
Studio Mate
PHANTOM POWER
P O W E R
L
R
MAIN
SEND 2
MASTERS
R
INPUT 11
–
12
L
INPUT 13
–
14
INPUT 15
–
16
L
R
TAPE OUT
TAPE IN
EFFECTS
MASTER
2
L
R
LINEOUT
SEND
EFFECTS
RETURN
RETURN 1
RETURN 2
SEND 1
TAPE IN
HEADPHONE
PHONES
LEVEL
MONO
1
1
L
2
1
2
R
MONO
MONO
R
R
L
L
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
EFF 1
EFF 2
PAN
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
EFF 1
EFF 2
PAN
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
R
L
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
R
INPUT 9
–
10
L
MONO
12
3
6
9
12
9
6
3
- 0 +
R
L
HI
MID
LOW
EFF 1
EFF 2
PAN
LEVEL
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
MIC
7
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
EFF 1
EFF 2
PAN
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
MIC
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
8
12
3
6
9
12
9
6
3
- 0 +
R
L
GAIN
HI
MID
EFF 1
EFF 2
PAN
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
12
3
6
9
12
9
6
3
- 0 +
12
3
6
9
12
9
6
3
- 0 +
LOW
LEVEL
LOW
LEVEL
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
1
L - R
2
3
4
5
6
7
8
9-10
11-12
13-14
15-16
LEFT
PA CABINET
STEREO LIVE SOUND SYSTEM DIAGRAM
8 TRACK MIXDOWN