Carvin USA CX420 4 Channel 150 Watt Mono PA Mixer Used

Carvin USA CX420 4 Channel 150 Watt Mono PA Mixer Used

Used with wear associated with use. Minor cosmetic scratches/scuffs from handling and play. Noteworthy blemishes or issues will be described and pictured. Works as it should.

There are scratches & scuffs, mainly on front face, and protective corners. 2 x 3/4" area of covering missing on top. Please see pictures for details.

CHANNEL EFFECTS/REVERB LEVEL CONTROL
CHANNEL TONE CONTROLS
TAPE/EFFECTS RETURN LEVEL CONTROL
REVERB RETURN LEVEL CONTROL
MONITOR LINE OUT JACK
MAIN LINE OUT JACK
AMP PATCH JACK
TAPE SEND AND TAPE RETURN RCA JACKS

1. INPUT CONNECTIONS FROM THE STAGE
For live sound reinforcement or public address systems (P.A. Systems), 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 mixer’s 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 stage. The advantages to this are: a band member can operate the mixer so no extra person is needed, and also the microphone, 1/4” phone inputs, and speaker cables are short and plug directly into the mixer, leaving 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 “PA” system such as feedback and sudden volume changes.

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 in keeping track of which microphones are being plugged into which channels. It is a good idea at this point to label each of the mixer channels according to what instrument each will be controlling. This can be done with masking tape (Scotch brand #230 drafting tape) or another suitable ‘light’ sticking tape. The tape will give you a surface to write on, to properly label the channels. The (XLR) balanced low impedance format will ensure the best possible performance and lowest possible noise when operating with long cable lengths, such as a snake.

Frequency Response: Mic or Line Inputs: 20Hz-20KHz ±2dB
Total Harmonic Distortion: Less than .1%
Equivalent Input Noise: 150 ohm source: -120dBV
Output Noise: All levels Minimum: -60dBu
Output Power: CX630: 200Watts RMS @ 4?
CX420: 150Watts RMS @ 4?
Maximum Gain: Mic in, main out: 70dB
Crosstalk: Adjacent ch’s: -60db at 1KHz
Phantom Power: On All channel MIC Inputs
Channel EQ.: 3 band active, LOW: 100Hz ±12dB
MID: 1.5KHz ±12dB
HI: 10KHz ±12dB
Graphic EQ.: 9 Band Oct. Intervals ±12dB
Mic Input: Balanced XLR input: -60 dBu
Line Input: Unbalanced 1/4” Phone Jack: -10dBV
Power Consumption: CX630: 280VA, CX420: 240VA
Size: Cabinet Model: 11”H x 19.5”W x 9”D
Rack Model: 8.75”H x 19”W x 7.75”D

Weight: 16 lbs

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