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 micro-
phones and instruments on the stage. Each microphone or instru-
ment to be amplified by the P.A. system must be connected to one
of the mixer’s inputs. If you have enough channels, try to mic each
stage instrument. This allows for the best overall sound control of
the instruments as they are mixed together and then amplified by
the P.A. system. This will also provide the ability to record your
performace with all instruments in the mix via the TAPE OUT RCA
jacks.
THE SOUND CHECK
The sound check takes some skill, but mostly patience from the
performers and especially you the system operator. If you get frus-
trated during the sound check the performers can lose confidence
and the sound may suffer due to things missed in the sound check.
The basic sound check follows this format: First test all micro-
phones and other input devices (direct boxes, etc.) before the per-
formers are included in the sound check. A good thing to also
check here is feedback in the monitors from the microphones.
Good positioning of the monitors and the use of the graphic equal-
izer solves most major monitor feedback problems. Now for a
sound check with the performers. First set the level of each per-
former individually and in cases where a performer has multiple
microphones, such as with a drummer, set each drum mic individ-
ually then the drum set as a whole. This is also a good time to
make some channel tone control adjustments to tailor the sound of
the individual performers and instruments. Next after setting each
individual, have the performers run through a song or a portion of
the show. Don’t hesitate to stop the performers if something needs
to be adjusted or if an individual performer or microphone needs to
be heard solo again. Remember the sound check is not a rehears-
al, but a system check, a time to work the bugs out of the system
so the show can go smoothly.
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MONITOR
TAPE IN
MAIN
PHANTOM
FOOT SW
PA620
PK
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PARAMETER
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SELECT
EFFECT
LINE OUT
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SPEAKER
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EFFECTS
MONITOR
MAIN
POWER
OUT
TAPE
IN
DIGITAL EFFECTS
24-BIT EFFECTS PROCESSING
FLANGE
REVERB
ECHO
CHORUS
PARAM
ECHO
REGEN
TIME
REVERB
DAMPING
DECAY
FLANGE
SPEED
DEPTH
CHORUS
REV LEVEL
DEPTH
SELECT
TWO-TRACK
RECORDER
R/L
TAPE
OUT
R/L
TAPE
IN
TAPE AND CD IN - OUT
DSP EFFECTS FOOTSWITCH
The 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 RTN’s
into the tape deck’s
outputs. This can pro-
vide the means to
record a performance
or play pre-recorded
music through the
mixer.
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MONITOR
TAPE IN
MAIN
PHANTOM
FOOT SW
PA620
PK
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PARAMETER
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SELECT
EFFECT
LINE OUT
1
SPEAKER
2
EFFECTS
MONITOR
MAIN
POWER
OUT
TAPE
IN
DIGITAL EFFECTS
24-BIT EFFECTS PROCESSING
FLANGE
REVERB
ECHO
CHORUS
PARAM
ECHO
REGEN
TIME
REVERB
DAMPING
DECAY
FLANGE
SPEED
DEPTH
CHORUS
REV LEVEL
DEPTH
SELECT
DSP EFFECTS SELECTOR
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MONITOR
TAPE IN
MAIN
PHANTOM
PK
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PARAMETER
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5 6
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SELECT
EFFECT
POWER
24-BIT EFFECTS PROCESSING
FLANGE
REVERB
ECHO
CHORUS
PARAM
ECHO
REGEN
TIME
REVERB
DAMPING
DECAY
FLANGE
SPEED
DEPTH
CHORUS
REV LEVEL
DEPTH
SELECT
Use Carvin’s FS22 footswitch to remote-
ly turn effects on and off.
The PA410 and PA620 effects offer a wide
array of effect possibilities. Use the SELECT
control to dail in your desired effect. Use the
PARAMETER control to change characteristics
about that effect. For a detailed description of
each EFFECT and PARAMETER please see
11. DSP EFFECTS SELECTOR
.
FS22
