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 for the best over-
all sound control of the instruments 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 per-
formance to be monitored and mixed from the audience’s perspective.
THE SOUND CHECK
The sound check takes some skill, but mostly patience from the performers and especially you the system
operator. If you get frustrated 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
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23
17-24
22
PHANTOM
POWER
E
C
DIR - INSERT
LINE
MIC
DIR - INSERT
MIC
DIR - INSERT
LINE
MIC
L
R
TAPE
OUT
TAPE IN
RTN 2 L
EFF 2
RTN 2 R
RIGHT
RTN 3 L
EFF 3
RTN 3 R
MON 2
LEFT
MON 1
PHONES
+18
+12
+6
0
-
6
-12
-18
-24
-30
PEAK
L
R
POWER
63
125
250
500
1K
2K
4K
8K
16K
0
8
4
4
8
–12
+12
EQ 2
EQ 1
LEFT
/
MON 1
EQ 2
RIGHT
/
MON 2
MONO
LEFT
RIGHT
MONO
0
8
4
4
8
–12
+12
EQ 1
dB
LO
CUT
MID
SHIFT
1
2
MON
MON
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
LO
CUT
MID
SHIFT
1
2
MON
MON
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
T
N
N
LO
CUT
MID
SHIFT
1
2
MON
MON
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
TWO-TRACK
TAPE RECORDER
AUX EFFECTS PROCESSOR
R & L OUT
OUT
IN
OUT
IN
MONO IN
TAPE DECKS AND EXTERNAL EFFECTS
TAPE IN
INTERNAL DIGITAL EFFECTS
PEAK
RTN 1
MON 1
TO
SENDS
STEREO RETURNS
SEND 1
CHORUS
REV
REVERB
FLANGE
REV
ECHO
REV
2
0
10
5
0
10
5
0
10
5
3 4
5
6
1
2
34
12
1
2
3
4
1
C2400
CONCERT SERIES
DSP EFFECTS
Select from Reverb, Flange, Chorus, and Echo. Écho includes delay times of
50,100, 150, 250, 350, and 500 milliseconds with background reverb.
Put the effects on your on stage monitor mix. Ideal for vocalists to hear
the vocal effects on stage.
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’s to the tape
deck’s outputs. With an external
effects processor, plug a 1/4”
cable from one of the EFF SEND
outputs on the mixer into the input
jack on the effects processor.
Then from the outputs of the
effects processor, plug one or two
(for stereo) cables into one of the
L/R EFFECTS RETURN.
test all microphones and other input devices(direct boxes, etc.) before the performers 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 a graphic equalizer solves most major monitor feed-
back problems. Now for a sound check with the performers. First set the level of each performer indi-
vidually and in cases where a performer has multiple microphones, such as with drummers, set each
drum mic individually 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. After setting
each individual, have the performers run through a song. Don’t hesitate to stop the performers if some-
thing needs to be adjusted or a performer or microphone needs to be heard solo again. Remember the
sound check is not a rehearsal, but a system check. It is always a good idea for the mixer operator to
have a microphone to inform the performers of what is needed during the sound check. If a monitor
system is being used, the mixer operator’s microphone should only be heard through the monitors when
addressing the on stage performers, especially if something needs to be checked during the show. If
24
24
23
17-24
22
22
21
21
20
20
19
19
18
18
17
17
23
16
16
DIR - INSERT
LINE
MIC
15
PHANTOM
POWER
9-16
14
14
13
13
12
12
11
11
10
10
9
9
15
DIR - INSERT
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
8
7
6
5
4
3
2
1
8
7
6
5
4
3
2
1
PHANTOM
POWER
1-8
DIR - INSERT
LINE
MIC
DIR - INSERT
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
PHANTOM
POWER
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
MIC
DIR - INSERT
LINE
MIC
PFL
PHONES
MONO
L-R
MON 1
MON 2
TAPE IN
INTERNAL DIGITAL EFFECTS
PEAK
RTN 1
MON 1
TO
EFF 2
EFF 3
SENDS
RTN 2
MON 1
RTN 3
MON 1
TO
TO
STEREO RETURNS
MON 1
MON 2
MONO
LEFT
RIGHT
SEND 1
CHORUS
REV
REVERB
FLANGE
REV
ECHO
REV
2
0
10
5
0
10
5
0
10
5
0
10
5
0
10
5
0
10
5
0
10
5
0
10
5
0
10
5
0
10
5
0
10
5
-30
-50
+
0
-12
-24
12
+6
3 4
5
6
1
2
34
12
1
2
3
4
1
-30
-50
+
0
-12
-24
12
+6
-30
-50
+
0
-12
-24
12
+6
-30
-50
+
0
-12
-24
12
+6
-30
-50
+
0
-12
-24
12
+6
C2400
L
R
TAPE
OUT
TAPE IN
RTN 2 L
EFF 2
RTN 2 R
RIGHT
RTN 3 L
EFF 3
RTN 3 R
MON 2
LEFT
MON 1
PHONES
+18
+12
+6
0
-
6
-12
-18
-24
-30
PEAK
L
R
POWER
CONCERT SERIES
63
125
250
500
1K
2K
4K
8K
16K
0
8
4
4
8
–12
+12
EQ 2
EQ 1
LEFT
/
MON 1
EQ 2
RIGHT
/
MON 2
MONO
LEFT
RIGHT
MONO
0
8
4
4
8
–12
+12
EQ 1
dB
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
LO
CUT
MID
SHIFT
1
2
MON
MON
1-2
3
EFF
EFF
0
10
5
0
50
HI
GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0
10
5
0
10
5
0
10
5
PFL
MUTE
PEAK
C
L
R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
EXTERNAL
POWER AMP
RIGHT
PA CABINET
LEFT
PA CABINET
19
CHANNEL
1
2
3
4
5
6
7
8
9
10
11
12
13
15
17
22
30
50
0 dB
1
2
CHANNEL
1
2
3
4
5
6
7
8
9
10
11
12
13
15
17
19
22
30
50
0 dB
Grouped Phantom Power for Condenser Mics
19
CHANNEL
1
2
3
4
5
6
7
8
9
10
11
12
13
15
17
22
30
50
0 dB
1
2
CHANNEL
1
2
3
4
5
6
7
8
9
10
11
12
13
15
17
19
22
30
50
0 dB
19
CHANNEL
1
2
3
4
5
6
7
8
9
10
11
12
13
15
17
22
30
50
0 dB
1
2
CHANNEL
1
2
3
4
5
6
7
8
9
10
11
12
13
15
17
19
22
30
50
0 dB
SUBWOOFER CABINET
STEREO LIVE SOUND SYSTEM
Phantom
Power Switch
This diagram depicts a stereo live sound system using a stereo power
amp for the main speakers, a stereo power amp for two monitor mixes,
and another power amp for a mono subwoofer.
