Carvin sm162 Manuel D’Utilisation
right master output if turned to the extreme right. In the center position
the channel is heard equally in both the left and right main outputs. A
good starting point for the pan is in the center position. Then if stereo
placement is needed, a quarter turn to the desired side from the center
position gives a smooth placement in the stereo field, or if desired a full
turn to one side gives a hard placement.
the channel is heard equally in both the left and right main outputs. A
good starting point for the pan is in the center position. Then if stereo
placement is needed, a quarter turn to the desired side from the center
position gives a smooth placement in the stereo field, or if desired a full
turn to one side gives a hard placement.
8. CHANNEL LEVEL CONTROL
The LEVEL control adjusts the final volume of the channel before going
to the Pan control. Here is where the individual channel volumes are adjusted
to make up the desired mix heard at the master left and right outputs.
to the Pan control. Here is where the individual channel volumes are adjusted
to make up the desired mix heard at the master left and right outputs.
9-16 STEREO LINE CHANNEL FEATURES
9. LEFT/ RIGHT LINE INPUT JACKS
These LINE inputs are 1/4” phone jacks designed for unbalanced line and
instrument level inputs. Examples of these inputs would be instruments
such as a guitar, a keyboard, an unbalanced mic, or multi track outputs.
If a mono input is needed, use the Left input jack and the channel will act
like a mono channel with a normal functioning pan going to both Left and
instrument level inputs. Examples of these inputs would be instruments
such as a guitar, a keyboard, an unbalanced mic, or multi track outputs.
If a mono input is needed, use the Left input jack and the channel will act
like a mono channel with a normal functioning pan going to both Left and
right masters.
10. CHANNEL TONE CONTROLS
Each channel features three stereo tone controls LO, MID, and HI. All three
controls function as boost and cut controls, where the center detent posi-
tion neither boosts nor cuts. Each tone control effects both the left and
right channels, so if the channel is used as a dual mono channel both inputs
will be effected by tone control changes. For more on the tone control
sounds see the channel tone controls.
controls function as boost and cut controls, where the center detent posi-
tion neither boosts nor cuts. Each tone control effects both the left and
right channels, so if the channel is used as a dual mono channel both inputs
will be effected by tone control changes. For more on the tone control
sounds see the channel tone controls.
11. CHANNEL EFFECTS 1 AND EFFECTS 2
These controls are identical in function. Both adjust the volume of the
channel going to the effects send master controls. The signal taken from
the channel is an equal mixture of both the left and right signals. The only
difference is EFF 1 goes to Send 1 and EFF 2 goes to Send 2. Both con-
trols are post channel level. This means adjustments in the channel’s EQ
or level controls will effect the sound and volume of the EFF 1 and EFF 2
sends.
channel going to the effects send master controls. The signal taken from
the channel is an equal mixture of both the left and right signals. The only
difference is EFF 1 goes to Send 1 and EFF 2 goes to Send 2. Both con-
trols are post channel level. This means adjustments in the channel’s EQ
or level controls will effect the sound and volume of the EFF 1 and EFF 2
sends.
12. CHANNEL PAN CONTROL
The PAN control adjusts which side of the stereo channel is heard in the
stereo main outputs. If it is turned to the extreme left, then only the left
channel will be heard in the left main output and similarly only the right
side is heard in the right main output if turned to the extreme right. In
the center position both sides are heard.
stereo main outputs. If it is turned to the extreme left, then only the left
channel will be heard in the left main output and similarly only the right
side is heard in the right main output if turned to the extreme right. In
the center position both sides are heard.
13. CHANNEL LEVEL CONTROL
The LEVEL control adjusts the final volume of the channel before going
to the Pan control. Here is where the individual channel volumes are adjusted
to make up the desired mix heard at the master outputs.
to the Pan control. Here is where the individual channel volumes are adjusted
to make up the desired mix heard at the master outputs.
M A S T E R CONTROLS
14. L/R MASTER CONTROL
The L/R master control is the master volume control for the left - right
stereo mix. This volume receives its signals from the channel pan con-
trols and generates the volume heard in the left and right main output jacks.
stereo mix. This volume receives its signals from the channel pan con-
trols and generates the volume heard in the left and right main output jacks.
15. HEADPHONE LEVEL CONTROL
The HEADPHONE level control is the master volume for the headphone
jack. This volume receives its signals from the main Left/Right level con-
trol.
jack. This volume receives its signals from the main Left/Right level con-
trol.
16. SEND 1 AND SEND 2 CONTROLS
The SEND 1 and SEND 2 master controls are the master volumes for the
EFF 1 and EFF 2 sends on the channels. The output of these controls
are heard at the effects send 1 and 2 output jacks. The typical use of effects
sends is to drive external Effects processors, but it can also be used as
another stage monitor mix or headphone mix, if needed.
EFF 1 and EFF 2 sends on the channels. The output of these controls
are heard at the effects send 1 and 2 output jacks. The typical use of effects
sends is to drive external Effects processors, but it can also be used as
another stage monitor mix or headphone mix, if needed.
17. EFFECTS RETURN 1AND 2 CONTROLS
The RETURN 1 and RETURN 2 controls are stereo effects return volume
controls. They receive input from the LEFT and RIGHT 1/4” EFFECTS
RETURN jacks. These volumes control the return level going to the master
left right stereo mix. A mono return into the stereo mix can be achieved
by simply feeding the mono signal into the Left return jack. These stereo
returns can also be used as just another input to the stereo mix for a key-
board or other stereo and mono gear.
controls. They receive input from the LEFT and RIGHT 1/4” EFFECTS
RETURN jacks. These volumes control the return level going to the master
left right stereo mix. A mono return into the stereo mix can be achieved
by simply feeding the mono signal into the Left return jack. These stereo
returns can also be used as just another input to the stereo mix for a key-
board or other stereo and mono gear.
18. TAPE IN CONTROL
The TAPE IN control is a stereo tape return volume control. It receives
its input from the L/R TAPE RTN RCA jacks. This volume controls the return
level feeding the master L/R stereo mix. A mono TAPE IN into the stereo
mix can be achieved by simply feeding the mono signal into both Left and
right RCA jacks. The stereo TAPE IN can also be used as just another input
to the stereo mix for a keyboard or other stereo gear.
its input from the L/R TAPE RTN RCA jacks. This volume controls the return
level feeding the master L/R stereo mix. A mono TAPE IN into the stereo
mix can be achieved by simply feeding the mono signal into both Left and
right RCA jacks. The stereo TAPE IN can also be used as just another input
to the stereo mix for a keyboard or other stereo gear.
M A S T E R CONNECTORS
19. STEREO EFFECTS RETURN 1 AND 2 JACKS
The stereo EFFECTS RETURN 1 and 2 jacks are the input jacks for the stereo
return 1 and 2 master controls.
return 1 and 2 master controls.
20. EFFECTS SEND 1 AND 2 JACKS
The EFFECTS SEND 1 and 2 jacks are the output jacks for effects send 1
and 2 master controls.
and 2 master controls.
21. LEFT AND RIGHT LINE OUT JACKS
The LEFT and RIGHT LINE OUT jacks are post graphic EQ line output jacks
for the stereo mix. The same signals are also being fed to the TAPE OUT
RCA jacks.
for the stereo mix. The same signals are also being fed to the TAPE OUT
RCA jacks.
22. TAPE OUT AND TAPE IN RCA JACKS
The LEFT/RIGHT TAPE OUT RCA jacks deliver the main Left - Right mix
output in RCA jacks thus eliminating the need for RCA to 1/4” adapters.
The LEFT/RIGHT TAPE IN RCA jacks are RCA inputs to the TAPE IN level
control.
The TAPE IN jacks can also be used for returning another effects proces-
sor or instrument such as a keyboard to the main mix. In most cases this
would be where the mix down deck plugs in.
The RCA jacks are Ideal for using a cassette deck to record a mix using
the TAPE OUT jacks and playing it back through the TAPE IN jacks with
out using up any channels for play back or having to use adapters to hook
up the cassette deck.
output in RCA jacks thus eliminating the need for RCA to 1/4” adapters.
The LEFT/RIGHT TAPE IN RCA jacks are RCA inputs to the TAPE IN level
control.
The TAPE IN jacks can also be used for returning another effects proces-
sor or instrument such as a keyboard to the main mix. In most cases this
would be where the mix down deck plugs in.
The RCA jacks are Ideal for using a cassette deck to record a mix using
the TAPE OUT jacks and playing it back through the TAPE IN jacks with
out using up any channels for play back or having to use adapters to hook
up the cassette deck.
23. POWER LED
The Power LED indicates when the mixer is powered up.
24. PHANTOM POWER SWITCH AND LED
The PHANTOM power switch turns on the microphone phantom power
in the 8 MIC/LINE channel XLR jacks. The phantom power is used for
supplying a bias voltage to condenser microphones. The LED indicates
the phantom power is turned on. The phantom power will not damage
dynamic microphones.
in the 8 MIC/LINE channel XLR jacks. The phantom power is used for
supplying a bias voltage to condenser microphones. The LED indicates
the phantom power is turned on. The phantom power will not damage
dynamic microphones.
25. AC POWER & FUSE
The detachable AC POWER CORD supplied is designed to operate with
one type of voltage (the European 230V export model uses a CEE-7 plug
cord set). Check the rear power cord label for the proper voltage and fuse
value. Plug the cord into a grounded “3” prong” power source. No attempt
should ever be made to use the amp without the ground connected.
cord set). Check the rear power cord label for the proper voltage and fuse
value. Plug the cord into a grounded “3” prong” power source. No attempt
should ever be made to use the amp without the ground connected.
The FUSE is located within the AC power cord receptacle. To check or
replace the fuse, remove the power cord, place a screwdriver under the
“FUSE” cap and pull the fuse holder out. Some models may be equipped
with a spare fuse within the holder. The fuse type is a 250V Slow Blow
SB 5 x 20mm rated at 1/4A for 120V & 1/8A for 230V models. Do not
use fast acting fuse, only a SLOW BLOW (SB) type fuse will work.
“FUSE” cap and pull the fuse holder out. Some models may be equipped
with a spare fuse within the holder. The fuse type is a 250V Slow Blow
SB 5 x 20mm rated at 1/4A for 120V & 1/8A for 230V models. Do not
use fast acting fuse, only a SLOW BLOW (SB) type fuse will work.
QUICK START UP
If you’re like most new owners, you’re probably in a hurry to plug your
mixer in and use it. Here are some brief instructions to get you going
quickly. With the mixer unplugged and the unit turned off, complete the
following procedures:
mixer in and use it. Here are some brief instructions to get you going
quickly. With the mixer unplugged and the unit turned off, complete the
following procedures:
1. CONNECTING AC POWER TO YOUR MIXER
• Check the rear panel to make sure the mixer received uses the proper
AC Line Voltage. (USA 120VAC, Europe 240 VAC ...etc.)
• Use only a grounded (3 prong) power outlet to prevent a shock hazard.
This gives the quietest grounding for your mixer.
2. TURNING YOUR MIXER ON
• Adjust all channel and master level controls to their off positions
(fully counter clockwise).
• Adjust all “EQ” tone controls— the channel’s Hi, Mid, and Bass and
the two master 9 Band Graphic EQ’s to their center detent posi-
tion.
tion.
• Adjust all the Channel “PAN” controls to their center detent posi-
tion.
• Turn the mixer on by the rear panel power switch and watch for the
power LED to come on. Your mixer is now ready to operate.
3. CONNECTING INPUTS TO YOUR MIXER
• For low level balanced devices such as microphones, plug into the
balanced MIC inputs using a shielded microphone cable with XLR
ends.
ends.
• For high level unbalanced devices such as Tape Recorders and
Keyboards plug into the LINE input jacks using a shielded cable
with 1/4” phone ends.
with 1/4” phone ends.
1-8 MIC CHANNEL FEATURES
1. LINE INPUT JACK
The LINE input is a 1/4” phone jack designed for unbalanced line and instru-
ment level inputs. Examples of these inputs would be instruments such
as a guitar, a keyboard, an unbalanced mic, or a pre-amp output. The line
input can be used at the same time the mic input is being used.
ment level inputs. Examples of these inputs would be instruments such
as a guitar, a keyboard, an unbalanced mic, or a pre-amp output. The line
input can be used at the same time the mic input is being used.
2. XLR MICROPHONE INPUT
The XLR MIC input is designed for balanced low impedance microphone
input signals. The XLR connector is wired as per the industry standard
where pin 1 is ground, pin 2 is non-inverting (positive), and pin 3 is invert-
ing (negative).
Phantom power is available on every XLR input jack when the phantom
power switch in the master section is pressed. This feature allows con-
denser microphones to be run directly from the mixer.
input signals. The XLR connector is wired as per the industry standard
where pin 1 is ground, pin 2 is non-inverting (positive), and pin 3 is invert-
ing (negative).
Phantom power is available on every XLR input jack when the phantom
power switch in the master section is pressed. This feature allows con-
denser microphones to be run directly from the mixer.
Note: When using phantom power make sure the phantom power is
switched off before connecting or disconnecting microphones to the mixer.
It is recommended to allow 5 seconds for the phantom power to discharge
before making any microphone connections. Also, to avoid hearing a pop,
turn down the main volume when turning on the phantom power.
switched off before connecting or disconnecting microphones to the mixer.
It is recommended to allow 5 seconds for the phantom power to discharge
before making any microphone connections. Also, to avoid hearing a pop,
turn down the main volume when turning on the phantom power.
3. INSERT JACK
The insert jack is a Tip Ring Sleeve (TRS) 1/4” jack where the tip is the
send, the ring is the return and the sleeve is ground. The insert point is
after the input (MIC-pre) amplifier and before the channel EQ section (see
the Block Diagram page 9 ). When a 1/4” plug is fully inserted it breaks
the connection between the mic-pre and the channel EQ. This, insert break
point, allows external equipment to be used on only the channel it is inserted
into. One common use is to insert a compressor into a loud channel. This
will reduce any input spikes before they distort the channel’s EQ or the
master busses.
Another use for the insert jack is as a direct output. To achieve this func-
tion, insert a mono 1/4” plug into the first click of the jack. The result is
a direct output signal from the channel that does not disturb the chan-
nels operation. A common use for the insert direct out is in multi track-
ing, when individual channels are recorded to separate tracks on a multi
track recorder.
send, the ring is the return and the sleeve is ground. The insert point is
after the input (MIC-pre) amplifier and before the channel EQ section (see
the Block Diagram page 9 ). When a 1/4” plug is fully inserted it breaks
the connection between the mic-pre and the channel EQ. This, insert break
point, allows external equipment to be used on only the channel it is inserted
into. One common use is to insert a compressor into a loud channel. This
will reduce any input spikes before they distort the channel’s EQ or the
master busses.
Another use for the insert jack is as a direct output. To achieve this func-
tion, insert a mono 1/4” plug into the first click of the jack. The result is
a direct output signal from the channel that does not disturb the chan-
nels operation. A common use for the insert direct out is in multi track-
ing, when individual channels are recorded to separate tracks on a multi
track recorder.
4. GAIN CONTROL
The gain control adjusts the input gain on both the line and mic input jacks.
For the mic input, the gain goes from a +4dB min to +42dB of gain. For
the line input the gain goes from a -7dB min to +29dB of gain. For opti-
mum signal to noise performance, the gain control should be set for the
For the mic input, the gain goes from a +4dB min to +42dB of gain. For
the line input the gain goes from a -7dB min to +29dB of gain. For opti-
mum signal to noise performance, the gain control should be set for the
highest level possible before distortion or clipping of the incoming signal.
In order to reduce surprise feedback and other thumps start with the gain
control at minimum and bring it up. If distortion is heard regardless of
the position of the channel LEVEL control, lower the gain control until no
distortion is heard.
In order to reduce surprise feedback and other thumps start with the gain
control at minimum and bring it up. If distortion is heard regardless of
the position of the channel LEVEL control, lower the gain control until no
distortion is heard.
5. CHANNEL TONE CONTROLS
Each channel features three tone controls LO, MID, and HI. All three con-
trols function as boost /cut controls, where the center detent position nei-
ther boosts nor cuts. For boosting turn the control clockwise and for cutting,
turn the control counterclockwise. The LO and HI controls are shelving
type tone controls with corner frequencies at 80Hz and 11.5k Hz respec-
tively. The shelving means for the LO control all the frequencies from
80Hz and down, the deep bass tones, will be effected. For the HI control
the shelving means all the frequencies from 11.5k Hz and up, the high
treble tones, will be effected. The MID control is a band pass type of tone
control. The band pass means a middle section of frequencies centered
around 2.2kHz, but do not over-lap the HI and LO controls. The MID affects
the clarity of the average persons spoken voice. Also the MID encom-
trols function as boost /cut controls, where the center detent position nei-
ther boosts nor cuts. For boosting turn the control clockwise and for cutting,
turn the control counterclockwise. The LO and HI controls are shelving
type tone controls with corner frequencies at 80Hz and 11.5k Hz respec-
tively. The shelving means for the LO control all the frequencies from
80Hz and down, the deep bass tones, will be effected. For the HI control
the shelving means all the frequencies from 11.5k Hz and up, the high
treble tones, will be effected. The MID control is a band pass type of tone
control. The band pass means a middle section of frequencies centered
around 2.2kHz, but do not over-lap the HI and LO controls. The MID affects
the clarity of the average persons spoken voice. Also the MID encom-
passes the louder sometimes harsher tones that can distort the over all
sound. Use these controls to change the tonal shape of the input signal
and in many cases to reduce possible feedback in live situations using
microphones near speakers. It is suggested the channel tone controls
start out in their center detent positions where they do not affect the orig-
inal incoming signal. Then, if needed, adjust the tone controls to change
the sound.
sound. Use these controls to change the tonal shape of the input signal
and in many cases to reduce possible feedback in live situations using
microphones near speakers. It is suggested the channel tone controls
start out in their center detent positions where they do not affect the orig-
inal incoming signal. Then, if needed, adjust the tone controls to change
the sound.
6. CHANNEL EFFECTS 1 AND EFFECTS 2
These controls are identical in function, both adjust the volume of the chan-
nel going to the effects send master controls. The only difference is EFF
1 goes to Send 1 and EFF 2 goes to Send 2. Both controls are post chan-
nel level. This means adjustments in the channel’s EQ or level controls
will effect the sound and volume of the EFF 1 and EFF 2 sends.
nel going to the effects send master controls. The only difference is EFF
1 goes to Send 1 and EFF 2 goes to Send 2. Both controls are post chan-
nel level. This means adjustments in the channel’s EQ or level controls
will effect the sound and volume of the EFF 1 and EFF 2 sends.
7. CHANNEL PAN CONTROL
The PAN control adjusts where the channel is heard in the stereo field of
the stereo master outputs. If it is turned to the extreme left, then the chan-
nel will only be heard in the left master output and similarly only in the
the stereo master outputs. If it is turned to the extreme left, then the chan-
nel will only be heard in the left master output and similarly only in the
SM162 PANEL CONTROLS
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SM162 REAR PANEL
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