User manual PEAVEY CEX-4

[. . . ] The SRC® 4026 FC, 4034 FC and 4018 FC are versatile four-bus consoles in 18, 26 and 34 channel versions, built into road-worthy cases. Designed for sound reinforcement applications, they can also be used in multitrack recording. The standard channels feature discrete low-noise mic preamps with globally-switched 48V phantom power, low-cut filters, and four-band EQs. There are six auxiliary sends (four dedicated pre-EQ for monitor sends, two switchable pre-EQ/post-fader for monitor or effect sends), as well as bus assign (L/R, 1/2, 3/4), mute and PFL switches. [. . . ] Sets the level of the main left and right stereo signal sent to the tape output jack. One half of this stereo RCA phono jack provides a signal for the recording inputs of a stereo tape deck, with an amplitude set by the Tape Output Level control (#39). The other half accepts a stereo input (nominally -10 dBu) from the output of a tape deck or CD player. Caution: The tape output signal includes the tape input signal, which can cause feedback if the Tape Input Level (#41) is turned up while recording on a single machine that is connected to both the tape output and tape input jacks. This can be used to send the tape signal to monitors for soundtrack monitoring. The tape signal is always assigned to the L-R mix, regardless of this switch's position. Selects which outputs will have the talkback mic signal (L-R or AUX 1-4) for house or monitor feeds. This affects the feed to the L-R and AUX 1-4. Sets the level of the PFL mix that is sent to the headphone/control room level control. This LED illuminates when the PFL is active and its signal is overriding the standard L-R mix in the headphone and control room outputs and at the L-R meters. The signals that are present in the PFL mix can be seen by the individual LEDs lit. These connectors are short-circuit protected, with automatic reset when a short is removed. The SRC® series of mixers were primarily designed for sound reinforcement applications, but are very capable recording mixers as well. Microphones and other low impedance sources are connected to the XLR mic inputs; high level line inputs such as electronic musical instruments are connected to the line inputs. If problems arise because a microphone either picks up an out-of-phase signal (as when using multiple drum microphones), or a very loud signal causes clipping even at a minimum gain setting (as when close miking an amplifier or a drum head), it should be connected to a channel with pad and polarity switches. stereo line level sources (synth , tape , CD , etc. ) should be connected to one of the stereo channels, or to two of the mono line inputs (one panned left, the other panned right), or to a Return input that is not used for effects. The house power amplifier inputs should be connected to the main Left and Right outputs, or to the Mono output. The Mono output is a blend of the Left and Right output signals (post master fader) and has its own level control. It can be used to drive an additional amplifier that needs an independently set volume. Four monitors are supported, with two additional available, if AUX 5 and 6 are also used for monitors (Pre) and not for effect sends (Post). If an effect device is used, connect its input to the AUX 5 or 6 output. [. . . ] This product should be located so that its position does not interfere with its proper ventilation. It should not be placed flat against a wall or placed in a built-in enclosure that will impede the flow of cooling air. This product should not be placed near a source of heat such as a stove, radiator, or another heat producing amplifier. Connect only to a power supply of the type marked on the unit adjacent to the power supply cord. [. . . ]