Owner's Manual

EFF # DESCRIPTION
1 BYPASS No audio output
2 DELAY 33mS w/ 11% regeneration
3 DELAY 33mS w/ 17% regeneration
4 DELAY 33mS w/ 25% regeneration
5 DELAY 33mS w/ 32% regeneration
6 DELAY 33mS w/ 44% regeneration
7 DELAY 55mS w/ no regeneration
8 DELAY 55mS w/ 11% regeneration
9 DELAY 55mS w/ 17% regeneration
10 DELAY 55mS w/ 25% regeneration
11 DELAY 55mS w/ 32% regeneration
12 DELAY 55mS w/ 44% regeneration
13 DELAY 89mS w/ no regeneration
14 DELAY 89mS w/ 11% regeneration
15 DELAY 89mS w/ 17% regeneration
16 DELAY 89mS w/ 25% regeneration
17 DELAY 89mS w/ 32% regeneration
18 DELAY 89mS w/ 44% regeneration
19 DELAY 100mS w/ no regeneration
20 DELAY 100mS w/ 17% regeneration
21 DELAY 100mS w/ 25% regeneration
22 DELAY 100mS w/ 44% regeneration
23 DELAY 222mS w/ no regeneration
24 DELAY 222mS w/ 37% regeneration
25 DELAY 333mS w/ no regeneration
26 DELAY 333mS w/ 37% regeneration
27 DELAY 444mS w/ no regeneration
28 DELAY 444mS w/ 37% regeneration
29 DELAY 555mS w/ no regeneration
30 DELAY 555mS w/ 37% regeneration
31 REVERB Percussion Plate 0.5s decay
32 REVERB Percussion Plate 0.7s decay
33 REVERB Percussion Plate 1.3s decay
34 REVERB Percussion Plate 2.4s decay
35 REVERB Percussion Plate 3.1s decay
36 REVERB Percussion Plate 3.9s decay
37 REVERB Vocal Plate 0.5s decay
38 REVERB Vocal Plate 0.7s decay
39 REVERB Vocal Plate 1.3s decay
40 REVERB Vocal Plate 2.4s decay
41 REVERB Vocal Plate 3.1s decay
42 REVERB Vocal Plate 3.9s decay
43 REVERB Small Room 0.5s decay
44 REVERB Small Room 0.7s decay
45 REVERB Small Room 1.3s decay
46 REVERB Small Room 2.4s decay
47 REVERB Small Room 3.1s decay
48 REVERB Small Room 3.9s decay
49 REVERB Medium Room 0.5s decay
50 REVERB Medium Room 0.7s decay
51 REVERB Medium Room 1.3s decay
52 REVERB Medium Room 2.4s decay
53 REVERB Medium Room 3.1s decay
54 REVERB Medium Room 3.9s decay
55 REVERB Large Room 0.5s decay
56 REVERB Large Room 0.7s decay
57 REVERB Large Room 1.3s decay
58 REVERB Large Room 2.4s decay
59 REVERB Large Room 3.1s decay
60 REVERB Large Room 3.9s decay
61 DLY& REV 33mS Predelay Percussion Plate 0.5s
62 DLY& REV 33mS Predelay Percussion Plate 0.7s
63 DLY& REV 33mS Predelay Percussion Plate 1.3s
64 DLY& REV 33mS Predelay Percussion Plate 2.4s
65 DLY& REV 33mS Predelay Percussion Plate 3.1s
EFF # DESCRIPTION
66 DLY& REV 33mS Predelay Percussion Plate 3.9s
67 DLY& REV 55mS Predelay Vocal Plate 0.5s
68 DLY& REV 55mS Predelay Vocal Plate 0.7s
69 DLY& REV 55mS Predelay Vocal Plate 1.3s
70 DLY& REV 55mS Predelay Vocal Plate 2.4s
71 DLY& REV 55mS Predelay Vocal Plate 3.1s
72 DLY& REV 55mS Predelay Vocal Plate 3.9s
73 DLY& REV 89mS Predelay Small Room 0.5s
74 DLY& REV 89mS Predelay Small Room 0.7s
75 DLY& REV 89mS Predelay Small Room 1.3s
76 DLY& REV 89mS Predelay Small Room 2.4s
77 DLY& REV 89mS Predelay Small Room 3.1s
78 DLY& REV 89mS Predelay Small Room 3.9s
79 DLY& REV 100mS PredelayMedium Room 0.5s
80 DLY& REV 100mS PredelayMedium Room 0.7s
81 DLY& REV 100mS PredelayMedium Room 1.3s
82 DLY& REV 100mS PredelayMedium Room 2.4s
83 DLY& REV 222mS PredelayMedium Room 3.1s
84 DLY& REV 222mS PredelayMedium Room 3.9s
85 DLY& REV 333mS PredelayLarge Room 0.5s
86 DLY& REV 333mS PredelayLarge Room 0.7s
87 DLY& REV 444mS PredelayLarge Room 1.3s
88 DLY& REV 444mS PredelayLarge Room 2.4s
89 DLY& REV 555mS PredelayLarge Room 3.1s
90 DLY& REV 555mS PredelayLarge Room 3.9s
91 CHORUS Slow & Shallow
92 CHORUS Medium & Shallow
93 CHORUS Fast & Shallow
94 CHORUS Slow & Deeper
95 CHORUS Medium & Deeper
96 CHORUS Fast & Deeper
97 CHORUS Slow & Deep
98 CHORUS Medium & Deep
99 CHORUS Slow & Really Deep
100 CHORUS Medium & Really Deep
101 CHORUS#91 33mS Predelay Percussion Plate 1.3s
102 CHORUS#92 33mS Predelay Percussion Plate 2.4s
103 CHORUS#93 33mS Predelay Percussion Plate 3.1s
104 CHORUS#94 33mS Predelay Percussion Plate 3.9s
105 CHORUS#95 55mS Predelay Vocal Plate 0.5s
106 CHORUS#96 55mS Predelay Vocal Plate 0.7s
107 CHORUS#97 55mS Predelay Vocal Plate 1.3s
108 CHORUS#98 55mS Predelay Vocal Plate 2.4s
109 CHORUS#99 55mS Predelay Vocal Plate 3.1s
110 CHORUS#100 55mS Predelay Vocal Plate 3.9s
111 FLANGE Slow & 6mS depth
112 FLANGE Medium & 6mS depth
113 FLANGE Fast & 6mS depth
114 FLANGE Slow & 13mS depth
115 FLANGE Medium &13mS depth
116 FLANGE Fast &13mS depth
117 FLANGE Slow & 24mS depth
118 FLANGE Medium & 24mS depth
119 FLANGE Slow & 40mS depth
120 FLANGE Medium & 40mS depth
121 FLANGE#111 55mS Predelay Percussion Plate 1.3s
122 FLANGE#112 55mS Predelay Percussion Plate 2.4s
123 FLANGE#113 55mS Predelay Percussion Plate 3.1s
124 FLANGE#114 55mS Predelay Percussion Plate 3.9s
125 FLANGE#115 55mS Predelay Vocal Plate 0.5s
126 FLANGE#116 55mS Predelay Vocal Plate 0.7s
127 FLANGE#117 55mS Predelay Vocal Plate 1.3s
128 FLANGE#118 55mS Predelay Vocal Plate 2.4s
9 10
This section is a brief overview of what it takes to hook up a sound system using
a CX series mixer. The overview will include some of the different possible set-
ups and some basics on how to mix live sound. If you are new to using mixers
you should find this section very informative in helping you to operate your sound
system properly. If you are experienced with mixers then you may find some of
the information new or presented with a new approach that can help you as well.
As always, experimentation is the key to success, so don’t be afraid to use the
controls to get a feel for what they do.
1. INPUT CONNECTIONS FROM THE STAGE
For a live sound reinforcement 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 instruments as they are mixed together and
then amplified by the P.A. system.
2. ON STAGE OPERATION
The CX Series mixers are small enough to have on the stage. The advantages
to this are: a band member can operate the mixer so no extra person is needed;
all the cables for microphones, instruments, and speakers are short and plug
directly into the mixer; and there are no cables for the audience to trip over. The
only disadvantages are the band member/mixer operator on stage doesn’t hear
what the audience is hearing, and because the mixer operator is a band member
he can not react fast to problems with the P.A. system such as feedback and
sudden volume differences.
3. REMOTE TO STAGE OPERATION
Many times the mixer will be located a distance from the stage. This allows the
performance to be monitored and mixed from the audience’s perspective.
Monitoring at a distance from the stage usually means employing a multi-cable
cable or more commonly referred to as a “Snake” (available from CARVIN).
Each of the microphones and instruments are plugged into the snake box at the
stage and the snake cable carries all these signals to the mixer. At the mixer
the snake cable, which fans out to plugs corresponding to the jacks on the snake
box, is plugged into the appropriate inputs and line level (pre-amp) outputs of the
mixer. All snake cables are numbered, both on the snake box and the cable, to
help keep track of which microphones are being plugged into which channels. It
is a good idea at this point to label each of the console channels according to
what instrument they will be controlling. This can be done with masking tape
(Scotch brand #230 drafting tape) or another suitable ‘light’ sticking tape. The
tape provides a replaceable surface to write on. The (XLR) balanced low imped-
ance format will ensure you the best possible performance and lowest possible
noise when operating with long cable lengths, such as a snake. However, many
times an unbalanced output (1/4 inch phone plug type) from an instrument needs
SETTING UP THE SOUND SYSTEM
INTERNAL DSP EFFECTS PROGRAM CHART