Carvin Engineering Data C844, C1644(p), C2444, C3244 4

Transcript

CARVIN ENGINEERING DATA LINE LINE LINE LINE LINE LINE LINE MIC MIC MIC MIC MIC MIC MIC PHANTOM POWER LINE LINE LINE LINE LINE LINE LINE LINE MIC MIC MIC MIC MIC MIC MIC PHANTOM POWER 1- 8 C844, C1644(P), C2444, C3244 4-BUS MIXER GROUPS LINE PHONES EFF SW 1 2 3 4 MON 1 MON 2 MON 3 MON 4 EFF 1 EFF 2 MIC TAPE OUT R L INSERT INSERT INSERT 5 6 7 8 0 50 GAIN LO CUT 0 50 GAIN LO CUT HI 0 50 GAIN LO CUT HI 0 50 GAIN LO CUT HI 0 50 GAIN LO CUT HI 0 50 GAIN LO CUT HI INSERT 9 0 50 GAIN LO CUT HI 0 0 10 0 2 0 5 10 3 10 10 0 5 0 10 C L 10 0 C L 2 0 C L 3 0 C L 4 10 0 10 C L 5 0 10 C L 7 0 C L 8 5 10 10 0 10 0 C L 10 0 10 0 5 0 EFF 10 C 0 C L 12 10 0 C L 13 10 0 C L 14 0 0 2K 3 7 8 9 10 OFF 3 6 6 9 9 MON 1 4K 8K PEAK +18 +12 +6 16K MUTE 4 5 6 3 2 1 0 7 8 9 10 OFF 3 6 6 9 9 4 3 2 MON 3 SELECT 5 6 -6 -12 -18 -24 -30 7 8 9 1 10 dB B CHOR ER TO MONITORS MON 1 RETURN 10 3 B CHOR ER MON 2 EFFECTS 2 5 0 5 0 10 2 4 3 2 5 6 L 7 8 9 1 R 10 PARAMETER SELECT ECHO REGEN REVERB DAMPING CHORUS REV LEVEL FLANGE SPEED PARAMETER TIME DECAY DEPTH DEPTH 10 PAN R SIG PEAK 4 5 6 3 2 1 1 C L 15 MUTE 10 EFF 10 10 PAN R SIG PEAK 5 4 0 5 0 1K 0 PK PK 2 500 EFFECTS 1 0 5 1 5 10 PAN 10 250 24-BIT DUAL STEREO EFFECTS 3 10 EFF 10 2 R SIG PEAK 10 4 0 5 0 5 5 0 5 10 2 0 125 RIGHT / MON 2 C1644 12+ 8 4 0 4 8 1263 0 5 3 10 EFF 10 10 PAN 5 10 1 0 2 R SIG PEAK 0 4 0 5 1 10 2 0 5 5 MON 1 0 5 3 10 5 10 PAN 10 4 0 EFF 10 2 R SIG PEAK 0 5 0 5 5 0 5 10 L 11 10 10 2 10 1 0 2 0 5 3 10 1 PAN 5 0 5 10 2 0 4 10 5 R SIG PEAK 0 5 3 EFF 10 10 10 4 0 5 10 PAN 5 5 2 R SIG PEAK 0 3 0 5 0 5 LOW -15 +15 5 1 EQ 2 LEFT / MON 1 CONCERT SERIES +12 8 4 0 4 8 –12 0 LOW MON 1 EQ 1 MID -15 +15 0 -15 +15 5 MON 1 2 10 1 C L 9 5 10 EFF 10 10 PAN R SIG PEAK 0 4 0 5 0 2 10 2 0 5 1 5 0 MID -15 +15 LOW -15 +15 5 MON 1 5 3 10 EFF 10 10 PAN R SIG PEAK 0 4 0 5 0 10 2 0 5 2 10 PAN R SIG PEAK 10 1 5 0 5 3 10 EFF 10 2 0 C 10 4 0 5 0 5 5 0 5 10 2 0 3 10 EFF 10 10 L 6 5 10 1 0 5 PAN R SIG PEAK 0 4 0 5 EFF 0 5 2 0 5 2 10 PAN 10 10 MID 0 LOW -15 +15 5 MON 1 100 5k POWER 12+ 8 4 0 4 8 12- c 0 100 5k -15 +15 0 LOW -15 +15 5 MON 1 1k FREQ 0 100 5k MID -15 +15 0 LOW -15 +15 5 MON 0 100 5k MID -15 +15 0 LOW -15 +15 5 1 0 5 3 0 2 R SIG PEAK 10 1 10 10 2 0 5 5 0 5 0 5 0 5 4 10 EFF 10 3 1 10 10 PAN R SIG PEAK 10 4 0 5 0 5 0 5 0 5 2 10 PAN R SIG PEAK 10 10 EFF 0 5 3 1 10 10 2 10 4 0 5 0 5 5 0 5 2 10 PAN R SIG PEAK 10 10 EFF 2 0 3 1 EFF 0 5 2 10 4 0 5 1 10 0 5 0 5 4 0 5 0 2 1 10 10 2 10 3 0 1 5 0 5 MID -15 +15 0 LOW MON 1 HI -15 +15 1k FREQ FLANG US 10 EFF 5 5 4 0 10 2 0 3 0 5 0 5 MID -15 +15 0 -15 +15 5 MON 0 100 5k LO CUT HI -15 +15 1k FREQ MONO TAPE IN RTN 4 +12 8 4 0 4 8 –12 0 50 GAIN 0 LO CUT HI -15 +15 1k FREQ 0 100 5k 0 50 GAIN 0 LO CUT HI -15 +15 1k FREQ 0 0 50 GAIN 0 LO CUT HI -15 +15 1k FREQ 100 5k MID -15 +15 LOW -15 +15 5 1 0 50 GAIN 0 LO CUT HI -15 +15 1k 0 MID 0 LOW MON 1 0 50 GAIN 0 LO CUT HI 100 5k -15 +15 0 -15 +15 5 MON 1 0 50 GAIN 0 LO CUT FREQ 100 5k MID -15 +15 LOW -15 +15 5 MON 1 0 50 GAIN 0 1k CHANNEL FEATURES Every channel has a full balanced XLR and LINE (1/4”) preamp with an INSERT jack for a compressor or EQ that also serves as a DIRECT OUT when plugged half way. The PAN control directs the channel into the L/R output or any of the 4 sub groups after depressing the appropriate ASSIGN switches. A PFL (pre fader listen) switch allows you to hear the channel before the fader is turned up in the headphones. A solid “on” condition of the PEAK LED indicates that the MUTE switch has been activated which turns the channel off including all monitor and effect sends. When flashing during use, the PEAK LED also lets you know when to adjust the channel’s GAIN control to prevent channel cliping. The SIGNAL LED lets you know that a signal is coming through the channel starting at –20 dBu. A silky smooth 60mm audio taper FADER delivers professional fade-outs. The PHANTOM power switches provide power through the XLR connectors for use with condenser mics like the Carvin CM90E in groups of 8 channels. R 3L RETURN 3R FLANG US 2 10 10 MID 0 LOW -15 +15 5 MON INSERT 16 0 100 5k -15 +15 0 LOW -15 +15 5 MON 1 5 MID -15 +15 0 LOW -15 +15 5 MON 1 0 5 MID -15 +15 0 LOW -15 +15 5 1 INSERT 15 FREQ 0 100 5k INSERT 14 -15 +15 1k FREQ 0 100 5k INSERT 13 HI 1k FREQ 0 100 5k MID -15 +15 0 LOW MON 1k FREQ 0 100 5k MID -15 +15 0 -15 +15 1k FREQ 0 100 5k MID -15 +15 1k FREQ 0 100 5k 0 1k FREQ INSERT 12 LO CUT HI -15 +15 1k FREQ INSERT 11 0 50 GAIN 0 LO CUT HI -15 +15 1k INSERT 10 HO RE V EC INSERT 4 HO RE V EC INSERT 3 E INSERT 2 E INSERT 1 0 50 GAIN 0 L 9-16 MIC INSERT FREQ C L 16 RETURN PAN TAPE IN 5 R SIG PEAK 0 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE 0 +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL 5 10 0 RTN 4 LEFT +12 MONITORS 5 10 RTN 3 +12 5 10 MON 1 LEFT 12 0 MONO 5 10 MON 2 LEFT 12 0 5 10 MON 3 LEFT 12 0 5 10 0 10 MASTER FEATURES Each of the 4 SUB GROUP faders can be switched to the R/L outputs or used independently through their own balanced output jacks. Each of the sub group’s PFL switches allow you to listen to the sub groups in your headphones before it is turned up. The R/L MAIN output faders are independent for added flexibility over a single stereo fader. A MONO control sums both the R/L outputs together for a center, side fill or subwoofer output. The stereo HEADPHONE control tracks the METER switches which allow you to look and listen from the L/R, MONO, MONITOR 1/2 and 3/4 outputs and channel PFL switches. The master section also features 2 EFFECT SENDS, 4 RETURNS and RCA TAPE IN/OUT jacks. All 4 SUB GROUPS, 4 MONITORS, XLR L/R and MONO outputs are balanced. A FOOT SWITCH jack turns both effects processors on or off remotely with the optional FS22 foot switch. MON 4 PFL +12 PHONES RIGHT 0 1-2 -6 0 -6 3-4 -12 -24 -24 -50 -24 1-2 -6 -50 1-2 -6 -24 -50 -24 -50 0 1-2 -6 -24 -50 1-2 -24 -50 1-2 -24 -6 -50 -30 -24 -30 9 -50 -50 -6 -30 -24 -30 11 - 50 50 -6 -24 -6 50 -6 -30 -30 50 PFL 0 RIGHT 6 PFL 0 RIGHT 6 PFL 0 5 +6 PFL 0 0 0 -24 50 -12 -12 -12 -12 -12 -24 -24 -24 -24 -24 -30 -30 -30 -30 -30 MON 1-2 -50 -50 -50 -50 -50 MON 3-4 MONO L-R -30 15 - 10 L-R 3-4 -12 L-R -24 14 - 50 1-2 RIGHT 6 +6 -6 3-4 -12 L-R -24 13 - 0 1-2 3-4 -12 L-R -30 12 - 0 1-2 3-4 -12 L-R 0 1-2 3-4 -12 L-R -24 10 - 0 1-2 -6 3-4 -12 L-R 0 1-2 3-4 -12 L-R -24 8 0 1-2 -6 3-4 -12 L-R -30 7 0 1-2 3-4 -12 L-R -30 6 0 -6 3-4 -12 L-R -30 5 0 -6 3-4 -12 L-R -30 4 0 3-4 -12 L-R -30 3 0 3-4 -12 L-R -30 2 0 3-4 -12 L-R -30 1 1-2 -6 3-4 -12 L-R -30 -50 1-2 0 16 METERS 1 2 3 4 L R C1644 CONCERT 44 SERIES The C844, C1644(P), C2444 and C3244 feature 8 to 32 channels with true 4-bus performance. The C1644P adds four 300 watt power amplifiers built into our ROAD WARRIOR case. Never before have so many features been packed into such a rugged, compact USA made mixer. The best feature of the Concert 44 Series is the sound. Sound that is pure and quiet enough for digital recording studios. Everything is logically laid out making the powerful features simple to use. The knobs have been located so that adjustments can be made quick and easy with visible pointers showing you the status of your mix at a glance. SWITCHING POWER SUPPLY Our exclusive 125k Hz switching power supply eliminates transformer noise. Like a laptop computer, go anywhere in the world and not worry about power because you can run on any voltage from 90 to 250VAC. (except C1644P) SUPERB SOUND State-of-the-art low impedance, low noise preamps are featured on every channel. The balanced common mode rejection is better than 70 dB to eliminate cable noise. All main outputs are balanced to guard against system noise. The near theoretical limit on distortion has been achieved with THD below .01% to guarantee the purity of your sound, ensuring it will be dynamically open and transparent. TRUE 4-BUS DESIGN The Concert 44 Series offers increased mixing flexibility over standard stereo consoles by letting you assign channels to one of the 4 sub groups or L/R. This allows you to mix the entire drum, horn, choir, etc. into one sub group, which feeds the L/R faders. This is an easy way to control the volume of grouped mics and inputs. If you don’t need subgrouping, you can depress the L/R channel button and the channel goes directly into the L/R output like a standard stereo console. All 4 sub group outputs have balanced outputs for long cable runs. ENGINEERED TO LAST Hidden deep in the heart of these San Diego, CA made mixers is the SMT construction that utilizes surface mounted components to prevent malfunctions caused by vibrations. Sealed controls and switches guard against the outside elements while heavy-duty jacks provide a positive connection to your cables. Fire retardant FR-4 military spec circuit cards feature double-sided copper to eliminate radio frequency interference. Precision 1% tolerance components guarantee your settings will be accurate every time. The Concert 44 Series is built to strict standards. TWO EFFECT SENDS / TWO 24-BIT EFFECT PROCESSORS Two built-in 24-Bit effects, each offering 256 stereo effects, is a first in a 4-bus mixing console. Since there are two, you no longer have to choose between that great vocal reverb with delay and that awesome guitar chorus - you can have both! Each processor offers lush REVERBS, rich CHORUSES, thick textured FLANGING and pristine ECHOES with fully adjustable parameters for damping, decay, depth, speed, time and regeneration. Both processors can be sent back into the monitor mix so the performers can hear exactly what the audience is hearing. RECEIVING INSPECTION—read before getting started INSPECT YOUR MIXER FOR DAMAGE which may have occurred during shipping. If damage is found, please notify the shipping company and CARVIN immediately. SAVE THE CARTON & ALL PACKING MATERIALS. In the event you have to re-ship your unit, always use the original carton and packing material. This will provide the best possible protection during shipment. CARVIN and the shipping company are not liable for damage caused by improper packing. SAVE YOUR INVOICE. It will be required for warranty service if needed in the future. SHIPMENT SHORTAGE. If you find items missing, they may have been shipped separately. Please allow several days for the rest of your order to arrive before inquiring. RECORD THE SERIAL NUMBER on the enclosed warranty card or below on this manual for your records. Keep your portion of the card and return the portion with your name and comments to us. FOUR MONITOR SENDS Every channel has 4 MONITOR sends with MASTER output level controls. Monitor send jacks are balanced TRS. 3 BAND EQ/MID SWEEP The superb EQ system gives extended 15 dB boost and cut tone shaping. The LOW frequency control builds bass starting with 20 Hz through 80 Hz for a solid non-flabby low-end. The exclusive offset of the MID FREQ. control ends the confusion of selecting your mid frequency from 100 Hz to 5kHz. The MID cut and boost control adjusts the gain to the perfect mid-dip or boost curve to enhance all instruments and vocals. The 11.5k Hz HI treble control adds sparkle to your top-end without adding harshness. Both the LOW and HI are “shelving”, which means they are effective from 20 Hz and up to 20k Hz. The LO CUT switch eliminates stage rumble or other unwanted low frequencies that would normally rob power from your woofers. TWO 9 BAND EQUALIZERS Precision equalizers provide precise 1 octave adjustments to tune in your overall sound and control feedback. Unlike one stereo equalizer, two independent 9 bands offers total flexibility. With two convenient buttons, you can assign either EQ to the R/L outputs or to the 1/2 monitor outputs. Center frequencies are 63, 125, 250, 500, 1k, 2k, 4k, 8k & 16k Hz. CONCERT 44 SPECIFICATIONS: PFL PEAK INSERT PFL SIG LEFT RIGHT GROUP 1 GROUP 2 GROUP 3 GROUP 4 MON 1 MON 2 MON 3 MON 4 EFF 1 EFF 2 C1644 BLOCK DIAGRAM CHANNELS HEADPHONE AND METER SWITCHES PHONES LEVEL ASSIGN MIC LINE PHONES OUTPUT L-R METERS PAN MUTE LO CUT MIC PRE THREE BAND CHANNEL TONE CONTROLS PAD line pad (-16dB) GAIN CHANNEL FADER ƒREQ EFF 1 SWITCH TO GRAPHIC EQ L-R EFF 2 LEFT & RIGHT BAL OUT FADERS LOW HI LEFT TAPE OUT RIGHT MON 1 MID MON 2 MUTE MONO LEFT MONO BAL OUT MON 3 RIGHT MON 4 PFL GROUPS 1 - 4 FADERS LEFT BAL TRS 1-4 EFFECTS RETURN 3L - 3R RIGHT SWITCH TO GRAPHIC EQ MON 1 & 2 ONLY MON 1 - 4 LEVEL RETURN 3 LEVEL LEFT IN 1 EFFECTS RETURN 4L - 4R TAPE IN RCA IN 2 LEFT MON 1 - 4 BAL TRS EFF SNDS 1&2 DSP x 2 STEREO TO L&R RIGHT For C1644P power amp specifcations see back page Mic Input: Balanced XLR, Mic Imp. 150Ω Line Input: Balanced 1/4” Jack Imp. 10k/20k bal. Frequency Response: Mic or Line Inputs: 20Hz-20KHz ±0.5dB Total Harmonic Distortion: Less than .01% Equivalent Input Noise: 150 ohm source: -117dBu Output Noise: less than -90dBu Master Line Out Output Headroom: +28dB XLR bal, +20dB 1/4” unbal. Maximum Gain: Mic in to Master Line Out: 74dB Crosstalk: Adjacent channels: -60db at 1KHz Common Mode Rejection: -75db at 1KHz Phantom Power: All XLR Mic in (channel groups of 8) Channel EQ.: 3 band active,LOW: 80Hz ±15dB MID: 100Hz to 5kHz ±15dB HI: 11.5KHz ±15dB 9 Band Graphic EQ.: ±12dB 63, 125, 250, 500, 1k, 2k, 4k, 16k Mixers Only: 90 to 250VAC 50-60Hz, 20 to 50VA Powered C1644P: 120VAC 60Hz or 240VAC 50Hz model, 1200VA Size: C844: 14.25”D x 14.5”W x 3.25”H C1644: 14.25”D x 22.25”W x 3.25”H C1644P: 16”D x 24”W x 9”H C2444: 14.25”D x 30”W x 3.25”H C3244: 14.25”D x 38.1”W x 3.25”H Optional Accessories: C844: CB800 Heavy padded bag C1644: CB1600 Heavy padded bag C2444: CB2400 Heavy padded bag C3244: AN3200 Anvil™ hard case TO MONS 1 - 3 TAPE IN RTN 4 LEVEL PFL LEFT RIGHT GROUP 1 GROUP 2 GROUP 3 GROUP 4 MON 1 MON 2 MON 3 MON 4 EFF 1 EFF 2 RIGHT 76-02444 0703 OPERATING MANUAL For your records, you may wish to record the following information. Serial No._________________________ InvoiceDate___________ FS22 foot switch for all models AN1600 Anvil™ hard case AN2400 Anvil™ hard case c 12340 World Trade Drive, San Diego, CA 92128 carvin.com (800) 854-2235 C844, C1644(P), C2444 & C3244 4-BUS MIXERS QUICK START UP If you’re like most new owners, you’re probably in a hurry to plug your mixer in and use it. Here are some brief instructions to get you going quickly. With the mixer unplugged and the unit turned off, complete the following procedures: 1. CONNECTING AC POWER TO YOUR MIXER • The mixer can be used with 120 or 240VAC (it automatically switches internally except for C1644P) • Use only a grounded (3 prong) power outlet to prevent a shock hazard. This gives the quietest grounding for your mixer. 2. CONNECTING INPUTS TO YOUR MIXER • For low level balanced devices such as microphones, plug into the balanced MIC inputs using a shielded microphone cable with XLR connectors. 10. PAN CONTROL Each channel’s PAN control allows stereo imaging by panning Left or Right during recordings or live performances. The PAN control also works for the sub-mix groups. A center position will send a channel’s signal to a pair of sub-group faders (1-2, 3-4 when assigned). By panning hard left, the signal is routed to only sub-group fader 1 or 3 when assigned. Panning hard right routes the signal to sub-mix fader 2 or 4. Dual element pan controls provide 15dB greater separation than standard pan controls. • For high level balanced or unbalanced devices such as instruments & keyboards, plug into the LINE input jacks using a shielded cable with 1/4” phone plugs. Adjust the GAIN knob for the mic or line input being used. 3. TURNING YOUR MIXER ON • Adjust all channel FADERS and master LEVEL controls to their OFF positions • Adjust all channel’s HI, MID, and BASS controls and the two master 9 Band GRAPHICS to their center positions. • Adjust the Channel “PAN” controls to their center positions. • Turn the mixer on by the rear panel POWER SWITCH and watch for the POWER LED. Your mixer is now ready to operate. 11. CHANNEL SIGNAL GREEN LED The SIGNAL LED is pre-fader and post EQ. This LED helps the operator verify that the channel is receiving a signal from the mic or instrument inputs even when the channel fader is off. C44 SERIES CONTROLS 17 CHANNEL FEATURES 1. 1/4” LINE INPUTS The line connectors are for connecting balanced and unbalanced instruments and line level sources such as drum machines, keyboards, ETC. 2. XLR MIC INPUTS The balanced Mic inputs are for connecting microphones that use XLR connections. Both the LINE and XLR MIC inputs can be used simultaneously. 3. CHANNEL INSERT/CHANNEL DIRECT OUT To insert channel effects, compressor, etc. use a 1/4” TRS (Tip Ring Sleeve) cable (see INSERTS AND DIRECT OUT illustration on page 5 for TRS details). To achieve a direct out from the channel, insert a standard 1/4” cable to the first “click” (1/2 insert). 4. GAIN The GAIN controls the input level for the channel. If the GAIN is set too high, the PEAK LED will flash and distortion may occur. Decrease the amount of GAIN until the PEAK LED does not flash. It is important that the gain control should be kept next to the PEAK LED flash point to maintain the lowest noise of the channel. You can use the channel PFL switch to monitor the channel input level and use the meters to adjust the GAIN control to 0dB. This will give you a good reference point where the GAIN control should be set. LINE LINE LINE LINE LINE PHANTOM POWER LINE LINE LINE LINE LINE LINE LINE MIC MIC MIC MIC MIC INSERT INSERT INSERT INSERT INSERT 10 11 12 13 1- 8 MIC MIC MIC MIC MIC MIC MIC MIC INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT 1 2 3 4 5 6 7 8 2 3 9 4 0 50 GAIN 0 5 0 50 GAIN LO CUT 6 0 50 GAIN LO CUT HI 0 50 GAIN LO CUT HI 0 50 GAIN LO CUT HI 0 50 GAIN LO CUT HI 0 50 GAIN LO CUT HI HI LO CUT 1k 0 HI HI 0 0 0 LOW -15 +15 -15 +15 5 MON 8 10 5 10 0 10 3 9 10 10 10 10 EFF C 10 11 12 L 1 +12 +6 EFF 0 10 PAN R SIG PEAK C L 2 MUTE +12 PFL +6 0 EFF R SIG PEAK C L 3 MUTE +12 PFL +6 10 EFF 0 R SIG PEAK C L 4 MUTE +12 PFL +6 0 R SIG PEAK C 10 0 L 5 MUTE +12 PFL +6 10 10 EFF R SIG PEAK 0 C L 6 MUTE +12 PFL +6 R SIG PEAK C L 7 MUTE +12 PFL +6 10 EFF 10 10 EFF 0 R SIG PEAK C L 8 MUTE +12 PFL +6 0 10 EFF R SIG PEAK C L 9 MUTE +12 PFL +6 0 R SIG PEAK EFF 10 0 10 EFF 10 5 4 0 5 EFF 10 5 2 0 0 L 7. MID SWEEP This control allows you to select which frequency (from 100Hz to 5kHz) that the MID control will boost or cut. Instruments and singers have various tonal qualities. By adjusting the MID FREQ, you can select the exact frequency that will best complement these various inputs. 700Hz is a recommended setting for the MID FREQ control for guitar and vocals. 2 14 0 1-2 -6 0 -6 3-4 16 -12 -24 -50 -24 -50 1-2 -6 -24 -50 1-2 -6 -24 -50 1-2 -6 -24 -50 1-2 -6 -24 -50 8. MONITOR 1 THRU 4 SEND CONTROLS The channel MONITOR controls allow you to create four independent monitor mixes. The MONITOR signals (pre-EQ, pre fader) are routed to the master MON 1, 2, 3 and 4 controls (#21) respectively before going to the output connectors (#36). 9. EFF 1 & EFF 2 SEND CONTROLS The EFF 1 or EFF 2 control sends signal (post EQ, post fader) from the channel to the EFFECTS 1 or EFFECTS 2 internal processors (#18) and to the EFF 1 or EFF 2 jacks (#33). 1-2 -6 -24 -50 1-2 -6 C R L -24 SIG 11 PEAK SIG 12 PEAK 13 PEAS MUTE +12 MUTE +12 MUTE +12 MUTE +12 PFL +6 PFL +6 PFL +6 PFL +6 -50 1-2 -24 -50 -24 -30 9 -50 -24 -30 10 - 50 -6 3-4 -12 L-R 0 1-2 -6 3-4 -12 L-R 0 1-2 -6 3-4 -12 L-R 0 1-2 -6 -30 8 0 3-4 -12 L-R R SIG 10 PEAK -6 -30 7 0 3-4 -12 L-R -30 6 0 3-4 -12 L-R -30 5 0 3-4 -12 L-R -30 4 0 3-4 -12 L-R -30 3 0 3-4 -12 L-R -30 2 0 3-4 -12 L-R -30 1 0 3-4 -12 L-R -30 15 1-2 10 PAN C R 2 10 PAN 13 6. ACTIVE 3 BAND EQ WITH MID SWEEP The C44 SERIES mixers provide studio EQ. The ±15 dB boost or cut gives an overall 30 dB range for powerful EQ control. The active circuits deliver deep bass from the 20-80 Hz LOW control. The MID control works at 100Hz to 5kHz, depending on the MID FREQ control. The HI control functions at 1120k for crisp highs. Start out with all tone controls at their center “zero” position. Determine which position your MID FREQ sounds best, then cut or boost your HI, MID, and LOW frequencies as needed. If you are trying to mic instruments such as acoustic guitar or drums, try various mics and mic placement before adjusting your tone controls. A typical setting may be: HI +6, MID -4 (MID FREQ set at 700Hz), and LOW +4. Don’t be afraid to push the HI and LOW controls to get good presence and depth while reducing the MIDs to clean up your sound. This is one of the keys to great sound. 10 1 0 5 10 L 3 10 1 C R 10 4 0 2 PAN C 2 0 5 0 5 5 0 5 10 L 10 1 10 5 3 10 2 PAN 0 5 4 0 5 0 5 5 10 2 0 5 1 10 PAN 10 MON 1 0 3 10 2 10 PAN 10 4 0 5 0 5 0 5 5 MON 10 2 0 5 1 2 5 L -15 +15 1 0 3 10 5 1 10 4 0 5 0 5 0 5 LOW -15 +15 MON 10 2 0 5 4 10 PAN 10 1 10 5 3 10 2 10 0 5 5 0 2 0 5 0 5 0 5 5 -15 +15 MON 10 0 LOW 1 0 3 10 1 5 0 10 4 0 5 EFF PAN 0 5 5 MON 10 2 0 5 2 10 PAN 10 1 10 5 -15 +15 M -15 +15 0 LOW 1 0 3 0 2 10 PAN 10 4 0 5 0 5 0 5 5 1 0 5 10 10 2 3 10 2 10 PAN 0 5 1 10 10 4 10 2 0 5 0 5 5 5 1 0 2 3 10 10 -15 +15 MON 1 0 5 5 MON 1 10 4 0 5 0 5 0 5 0 5 1 10 5 5 -15 +15 1 MID -15 +15 0 LOW 0 100 5k MID -15 +15 0 LOW FREQ 0 100 5k MID -15 +15 0 LOW -15 +15 MON 10 2 10 4 10 2 10 10 5 0 3 0 5 0 5 0 5 0 5 3 10 1 0 5 -15 +15 MON 10 0 LOW 1 0 2 10 4 0 5 2 0 0 5 5 MON 10 2 0 5 1 EFF 5 -15 +15 1 0 3 0 4 0 10 2 5 5 1 0 2 -15 +15 MON 1 0 5 5 MON 1 5 -15 +15 0 LOW FREQ 0 100 5k MID -15 +15 1k FREQ 0 100 5k MID -15 +15 H -15 +15 1k FREQ 0 100 5k MID -15 +15 0 LOW 0 100 5k MID -15 +15 0 LOW 0 100 5k MID -15 +15 0 LOW 0 100 5k MID -15 +15 HI -15 +15 1k FREQ 0 50 GAIN 0 LO CUT HI -15 +15 1k FREQ 0 50 GAIN 0 LO CUT HI -15 +15 1k FREQ 0 50 GAIN 0 LO CUT HI 1k FREQ 0 100 5k MID -15 +15 1k FREQ 0 100 5k MID -15 +15 1k FREQ 0 100 5k MID 6 1k FREQ 0 100 5k -15 +15 0 1k FREQ 0 50 GAIN 0 LO CUT -15 +15 1k FREQ 7 0 50 GAIN 0 0 50 GAIN LO CUT -15 +15 5 5. LOW CUT SWITCH A 75 Hz LOW CUT filter helps eliminate unwanted low frequencies. Great for reducing “boom” noise from mic stands or from acoustic/electric guitars. Turning up the LOW EQ when using this filter can help create a punchier bass response. LINE 1 -24 -12 L-R -30 11 - 50 -24 -30 12 - 12. CHANNEL RED PEAK LED This peak indicator is pre-fader and post EQ. If the PEAK LED flashes, the channel needs a reduction with the GAIN control (#4)to prevent distortion. A “solid” lit PEAK LED indicates that the channel has been MUTED. 13. CHANNEL MUTE SWITCH Use the MUTE switch to kill the channel. This feature saves having to reset your faders and monitor sends. 14. CHANNEL PFL SWITCH This switch allows the operator to listen to a channel (pre fader listen) in the headphone mix to set tone and gain levels as well as see the channel at the LED meter output (#29). 50 MASTER SECTION 18. TWO STEREO 24-BIT EFFECTS The internal 24-BIT stereo processors receive signals from the EFF 1 / EFF 2 channel controls. If the adjacent PK (peak) LED flashes, reduce the level from the channel EFF 1 / EFF 2 send controls. A “solid” PK LED will show EFFECTS 1 or 2 have been muted either by the MUTE switches (#44) or by the optional FS22 footswitch (#38). The RETURN control will adjust the volume level of the selected effects. Remember each channel has its own two EFFECT sends that will send the signal 16. CHANNEL FADER to the effects processors. The red PK LED will indicate when the The CHANNEL FADER adjusts the output level of the channel. effects signal from the channel is distorting. Reduce the level The signal will go to one or more of the Master Faders, dependof the channel EFFECT control until the PK LED stops flashing. ing on both the Channel Assignment switches and the PAN conEFFECT AND PARAMETERS trol. Calibrated 109mm FADERS with audio tapers are featured ECHO: When the SELECT control is at the “7 O-clock” posifor smooth fade-outs. Slide all faders down when connecttion, it is selected to the first ECHO setting where you get a single ing your inputs. repeat echo (minimal regeneration). 39 41 40 38 37 36 Turning the PARAMETER control to 1 will provide the shortest delay PHANTOM GROUPS EFF SW PHONES LINE LINE LINE POWER L time between the original signal and 9-16 the echo. Increasing the PARAMEMIC MIC MIC 1 2 3 4 TAPE OUT 42 TER control to the right will increase MON 1 MON 4 MON 2 MON 3 R the time delay between the original L R signal and the echo. To increase the INSERT INSERT INSERT EFF 2 number of echo repeats, turn the EFF 1 3L RETURN 3R MONO TAPE IN RTN 4 43 SELECT control clockwise to “9 O14 15 16 35 clock” (maximum regeneration). 34 REVERB: When the SELECT control 33 is at the “10 O-clock” position, it is +12 12+ POWER 0 50 0 50 0 50 8 8 GAIN GAIN GAIN 32 selected to the first REVERB setting. 4 4 0 0 0 EQ 1 EQ 2 0 0 4 4 31 Turning the SELECT control clockHI HI HI LEFT / RIGHT / 8 8 MON 1 MON 2 -15 +15 -15 +15 -15 +15 –12 12wise will increase the amount of high CONCERT SERIES 0 0 0 30 frequencies in the reverb. Turning the c C1644 MID MID MID PARAMETER control to 1 will pro+12 -15 +15 -15 +15 -15 +15 12+ 8 8 vide minimal decay time of the 0 0 0 4 4 LOW LOW LOW PEAK 0 0 4 4 reverb. Increasing to the right will +18 -15 +15 -15 +15 -15 +15 8 8 +12 12–12 5 5 5 increase the reverb decay time. MON MON MON +6 15. CHANNEL ASSIGNMENT SWITCHES These switches assign the channels’ signal to the Master L/R faders, or to the SUB-GROUP faders 1 & 2, 3 & 4 for submixing in stereo pairs. For mono, PAN fully to the left and assign a channel to Sub-Group fader 1 or 3 only. PAN fully to the right and assign a channel to Sub-Group fader 2 or 4. Likewise assigning the L/R switches sends the channel directly to the main L or R faders. LO CUT 1k FREQ 100 5k MID LOW 5 10 10 0 5 10 0 5 5 10 10 10 5 0 10 0 5 10 EFF 10 0 0 10 3 2 1 10 MUTE 0 3 7 8 9 10 OFF 3 6 6 9 9 MON 1 4 5 6 3 2 1 0 10 3 7 8 9 10 4K 8K 16K B CHOR ER MON 2 OFF 3 6 6 9 9 4 3 2 TO MONITORS SELECT 5 6 29 -6 -12 -18 -24 -30 7 8 9 1 10 dB B CHOR ER MON 3 MON 1 RETURN 2 4 3 2 5 6 L 7 8 9 1 R 18 10 PARAMETER SELECT ECHO REGEN REVERB DAMPING CHORUS REV LEVEL FLANGE SPEED PARAMETER TIME DECAY DEPTH DEPTH 10 PAN C 2K EFFECTS 2 5 0 5 0 10 1 EFF 10 PAN C MUTE 4 5 6 PK 2 10 PAN 0 5 0 5 2 44 5 4 1 0 5 2 5 1K 0 PK 0 4 1 EFF 10 500 EFFECTS 1 3 10 250 24-BIT DUAL STEREO EFFECTS FLANG US 0 0 5 125 10 2 0 4 5 0 5 3 0 4 10 2 3 10 63 1 0 5 2 0 100 5k FLANG US 2 FREQ 100 5k 1 0 5 1k FREQ 100 5k 1 0 LO CUT 1k HO RE V EC LO CUT HO RE V EC 1k E LO CUT HI E 0 PAN C RETURN TAPE IN 5 5 MONITORS 5 5 MONO 5 5 21 5 26 R SIG AK L R L R L R 0 SIG 14 PEAK SIG 15 PEAK SIG 16 PEAK MUTE +12 MUTE +12 MUTE +12 MUTE PFL +6 PFL +6 PFL +6 PFL 10 0 RTN 3 LEFT +12 10 0 RTN 4 LEFT 12 10 MON 1 0 LEFT 12 10 MON 2 0 10 MON 3 LEFT 12 0 10 0 10 MON 4 28 PFL +12 PHONES RIGHT 0 1-2 1-2 -6 3-4 -24 -30 13 - 50 -24 -30 14 - 50 1-2 PFL 0 RIGHT 6 PFL 0 RIGHT 6 PFL 0 5 PFL 0 -24 0 50 10 -12 -12 -12 -12 -12 MONO L-R -30 15 - 0 L-R 3-4 -12 L-R 27 +6 -6 3-4 -12 L-R 0 1-2 -6 3-4 -12 L-R 0 RIGHT 6 +6 16 -24 -24 -24 -24 -24 -30 -30 -30 -30 -30 MON 1-2 -50 -50 -50 -50 -50 MON 3-4 METERS 1 19 20 2 3 22 4 L R 23 17. MIC PHANTOM POWER SWITCH / RED LED This switch provides +48V power for condenser mics such as Carvin’s CM90E in groups of 8 channels. This leaves the remaining MIC inputs for sources that don’t require phantom power. The LINE inputs are unaffected by +48v power. 23 25 CHORUS: When the SELECT control is at the “1 O-clock” position it is selected to the first CHORUS setting. Turning the SELECT control clockwise will increase the amount reverb in the chorus. Turning the PARAMETER control to 1 will provide a minimal chorus depth setting. Increasing to the right will increase the chorus depth. FLANGE: When the SELECT control is at the “4 O-clock” position it is selected to the first FLANGE setting. Turning the SELECT control clockwise will increase the flanger’s speed. Turning the PARAMETER control to 1 will provide minimal flanging depth. Increasing to the right will increase the flanger’s depth. To send effects to the monitors, use the “TO MONITORS” controls, MON 1/MON 2 & MON 1/MON 3. The center position on both controls is OFF. 19. RETURN 3 L/R Receives stereo or 2 mono effect signals from the RETURN 3 L /R jacks. These signals will also be present at MON 1 (#36). 20. RCA TAPE IN / RETURN 4 Receives a signal from the RTN 4 L/R 1/4” jacks (#35) & from the TAPE IN jacks (#41). These signals will also be present at MON 1. 21. MONITOR 1-4 CONTROLS These are the master outputs for the four monitor sends. These correspond to the balanced 1/4” MON 1-4 output jacks (#36). 22. GROUP/SUB-MIX FADERS 1-4 Once a channel has been assigned to one of these faders, the mixing process is simplified to using these four faders. If these faders are not assigned to the Master L-R faders (#25), then each fader is bused to the corresponding 4 GROUP 1/4” outputs (#37). By assigning the 4 faders to the Master L-R faders, the operator can use the faders to sub-mix groups. 23. GROUP PFL SWITCHES These PFL switches allow the operator to monitor the entire GROUP mix. If distortion is heard or if the PFL level is near PEAK on the Master L/R METERS, lower the channel faders assigned to that group. Also check the channel PEAK LEDs. 24. GROUP ASSIGNMENT SWITCHES These switches send the sub-group mix to the main L/R faders. For mono mixing, assign to both L/R. 25. MASTER L/R FADERS These faders adjust the level of the main stereo output created by all channels and groups assigned to L/R faders. Output appears at the L/R balanced XLR connectors (#42). 26. MONO OUTPUT The C44 SERIES creates an extra mono output from the L/R master faders (post) for center, side fill speakers or subwoofers. The output is at the MONO XLR connector (#43). 27. HEADPHONE AND METER SOURCE The stereo PHONES control sets the level of the PHONES jack (#39). The PFL, L/R, MONO, MON 1-2 and MON 3-4 switches allow for isolation of these sources through the headphones and the L/R LED METERS (#29). 28. PFL RED LED Indicates that the headphone & meters are monitoring only the channels or groups where the PFL is switched on. 29. L/R LED VU METERS This group of 10 LEDs offer 6 dB increment resolution that give the operator a visual indication of the mixer’s output levels, selectable by the METER SOURCE or PFL switches (#27). 30. DUAL PRECISION 9 BAND GRAPHIC EQs are one octave filters at 60,125, 250, 500, 1k, 2k, 4k, 8k & 16k Hz centers that offer ±12dB adjustment to help eliminate feedback & enhance tone for the main or monitor mix. 31. EQ SWITCH 1 & 2 These switches swap the 9 band EQ’s from the standard L/R main outputs “OUT” to the MON 1 & MON 2 outputs “IN” respectively. 32. POWER LED Verifies the mixer is on. 33. EFFECTS 1 & 2 OUTPUT JACKS 1/4” outputs drive external effects. Connect your effects processor’s inputs to these jacks. 34. RETURN 3 L/R INPUT JACKS Returns a stereo signal from an external effect. Connect your effects processors’ stereo outputs to these jacks. If only one RTN 3 jack is used, the mono signal will go to both L/R . 35. RTN 4 L/R INPUT JACKS Returns a stereo signal from other sources. 36. MONITOR 1-4 OUTPUT JACKS The C44 SERIES provides balanced 1/4” outputs for long cable runs. Connect your monitor power amps to these jacks. 37. GROUP 1-4 OUTPUT JACKS The C44 SERIES provides balanced 1/4” outputs. Connect your 4-track recorder or side fill power amps to these jacks. 38. EFF SW 1-2 FOOTSWITCH JACK The optional FS22 will remotely shut off EFFECTS 1 or 2. 39. HEADPHONE JACK 1/4” stereo jack for headphone or control room output. 40. RCA L & R TAPE OUT RCA jacks for connecting to a tape recorder input. 41. RCA L & R TAPE IN For stereo playback of a tape/CD (parallel with RTN 4 jacks). 42. L/ R XLR OUTPUT CONNECTORS This set of balanced XLR connectors are for connecting the main L/R output to power amps or recording gear. 43. MONO XLR OUTPUT CONNECTOR A balanced XLR output is featured for side fills or subwoofers. 3 SOUND CHECK In a live sound reinforcement system, the input signals to the mixer will come from the microphones and instruments. Each microphone or instrument 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 overall control of the instruments as they are mixed together and then amplified by the system. The mixer can be operated on the stage or from a remote location in the audience using a “snake cable” to bring the signals from the stage to the mixer. The advantage of the remote operation allows the performance to be mixed from the audience’s perspective. NOTE: Most snake cables are not designed for speaker connections. 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 feedback problems. Now for a sound check with the performers. First set the level of each performer individually and in cases where a performer has multiple microphones such as drummers, set each drum mic individually then the drum set as a whole. This is also a good time to make some channel EQ 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 something 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 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 operator’s microphone should only be directed through the monitors when addressing the on stage performers, especially if something needs to be checked during the show. 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 sound may suffer due to things missed in the sound check. The basic sound check follows this format: First test all microphones and other input devices(direct boxes, etc.) before the performers are included in the sound CHANNEL CONNECTIONS AND SUB-MIXING CONNECTING UP 1 2 3 4 5 6 7 LINE LINE LINE LINE LINE LINE LINE MIC MIC MIC MIC MIC MIC MIC PHANTOM POWER 8 9 LINE MIC MIC LINE LINE LINE LINE LINE MIC MIC MIC MIC MIC PHANTOM POWER MIC 1 2 3 4 MON 1 MON 2 MON 3 MON 4 TAPE OUT L LO CUT 0 50 GAIN 0 HI - 15 + 15 1k LO CUT 0 50 GAIN 0 HI - 15 + 15 1k INSERT LO CUT 0 50 GAIN 0 HI - 15 + 15 1k INSERT LO CUT 0 50 GAIN 0 HI - 15 + 15 1k INSERT LO CUT 0 50 GAIN 0 HI 1k - 15 + 15 LO CUT 0 50 GAIN 0 HI - 15 + 15 1k - 15 + 15 HI - 15 + 15 1k FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 100 5k 100 5k MID MON PAN C 0 EFF 3 1/2 6 9 EFF 1 PAN C 0 EFF 3 1/2 6 9 EFF 2 3 6 9 PAN C 0 EFF 3 1/2 6 9 3 6 9 EFF 2 PAN C 0 EFF 3 1/2 6 9 3 6 9 EFF 2 PAN C 0 EFF 3 1/2 6 9 3 6 9 EFF 2 PAN C 3 6 9 PAN C 3 6 9 PAN C 3 6 9 3 6 9 MON 3 6 9 PAN MON 2 MON 3 0 EFF 3 1/2 6 9 3 6 9 EFF 2 MON 3 6 9 PAN C PAN C EFF 3 1/2 6 9 EFF 2 PAN C 0 R L R 2 SIG L R 3 SIG PEAK L R 4 SIG PEAK L L L PEAK +12 L L L L L L L L 15 SIG PEAK +12 MUTE R 14 SIG PEAK +12 MUTE R 13 SIG PEAK +12 MUTE R 12 SIG PEAK +12 MUTE R 11 SIG PEAK +12 MUTE R 10 SIG PEAK +12 MUTE R 9 SIG PEAK +12 MUTE R 8 SIG PEAK +12 MUTE R 7 SIG PEAK +12 MUTE R 6 SIG PEAK +12 MUTE R 5 SIG PEAK +12 MUTE R L RETURN 0 SIG 3 6 9 6 9 MON 1 MON 2 RB CH TAPE IN PEAK +18 +12 +6 16K 5 6 4 3 2 -6 -12 -18 -24 -30 8 9 1 O 7 10 dB L R MONO MONITORS 5 10 0 RTN 3 +12 MUTE 8K 5 10 0 RTN 4 5 10 0 MON 1 5 10 0 MON 2 5 10 MON 3 0 5 10 0 10 MON 4 PEAK +12 MUTE 4K R 16 SIG PEAK +12 MUTE OFF 3 7 8 9 10 5 L 1 +12 2K PK 4 5 6 OFF 5 6 3 3 4 7 7 3 6 6 3 8 8 2 9 9 2 9 9 1 MUTE MON 1 MON 3 RB 1 10 0 10 O CH SOURCE RETURN TO MONITORS SELECT PARAMETER EFF2 SELECT CHORUS FLANGE REVERB ECHO REGEN DAMPING REV LEVEL SPEED MON4 PARAM DEPTH DEPTH DECAY TIME ALT EFF 2 10 OFF 3 6 9 EFF 1 1K EFFECTS 2 MON 4 5 0 EFF 3 1/2 6 9 EFF 2 500 0 4 5 6 3 2 1 MUTE MON 2 MON 3 ALT EFF 2 10 OFF EFF 1 250 EFFECTS 1 PK MON MON 4 5 0 EFF 3 1/2 6 9 125 24-BIT DUAL STEREO EFFECTS 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 EFF 2 12+ 8 4 0 4 8 12- 63 MON 1 0 3 OFF 3 2/3 6 6 9 9 ALT EFF 2 10 OFF EFF 1 PAN C 10 MON 4 5 ALT EFF 2 10 OFF EFF 1 0 MON MON 4 5 0 EFF 3 1/2 6 9 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 EFF 2 C 0 3 OFF 3 2/3 6 6 9 9 ALT EFF 2 10 OFF EFF 1 PAN C 10 MON 4 5 0 EFF 3 1/2 6 9 EFF 2 PAN C MON 2 MON 3 ALT EFF 2 10 OFF EFF 1 0 MON MON 4 5 0 EFF 3 1/2 6 9 EFF 2 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 ALT EFF 2 10 OFF EFF 1 0 MON MON 4 5 0 EFF 3 1/2 6 9 EFF 2 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 ALT EFF 2 10 OFF EFF 1 0 MON MON 4 5 0 EFF 3 1/2 6 9 EFF 2 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 ALT EFF 2 10 OFF EFF 1 0 MON MON 4 5 ALT EFF 2 10 OFF EFF 1 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 MON 4 5 ALT EFF 2 10 OFF EFF 1 0 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 MON 4 5 ALT EFF 2 10 OFF EFF 1 10 MON 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 MON 4 5 ALT EFF 2 10 OFF 3 6 9 EFF 2 0 MON 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 MON 4 5 ALT EFF 2 10 OFF MON 3 OFF 3 2/3 6 6 9 9 10 C1644 LOW 5 MON 1 VE 3 6 9 EFF 1 0 0 - 15 + 15 5 MON 1 +12 8 4 0 4 8 ±12 MID - 15 + 15 LOW - 15 + 15 5 MON 1 EQ 2 RIGHT / MON 2 100 5k MID 0 LOW - 15 + 15 5 MON 1 - 15 + 15 0 LOW - 15 + 15 5 100 5k MID - 15 + 15 0 LOW - 15 + 15 MON 1 100 5k MID - 15 + 15 0 LOW 5 MON 1 100 5k MID - 15 + 15 0 - 15 + 15 5 RE 0 EFF 3 1/2 6 9 EFF 2 MON 10 100 5k MID - 15 + 15 LOW - 15 + 15 MON 1 O PAN C MON 4 5 ALT EFF 2 10 OFF 0 0 LOW 5 MON 1 100 5k MID - 15 + 15 0 - 15 + 15 5 MON 1 100 5k MID - 15 + 15 LOW - 15 + 15 5 CH 3 6 9 EFF 1 MON 2 MON 3 10 0 LOW - 15 + 15 MON 1 100 5k MID - 15 + 15 0 LOW 5 VE 0 EFF 3 1/2 6 9 EFF 2 0 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 MON 4 5 ALT EFF 2 10 OFF 10 MON 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 MON 4 5 0 3 6 9 0 MON 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 10 100 5k MID - 15 + 15 0 - 15 + 15 MON 1 RE 3 OFF 3 2/3 6 6 9 9 EFF 1 0 100 5k MID - 15 + 15 5 MON 1 EQ 1 LEFT / MON 1 CONCERT CONCER T SERIES O MON 10 100 5k MID LOW - 15 + 15 5 MON 1 POWER 12+ 8 4 0 4 8 12- 1k CH 0 100 5k 0 LOW - 15 + 15 5 MON 1 - 15 + 15 0 LOW - 15 + 15 5 10 - 15 + 15 0 LOW - 15 + 15 MON 1 MID - 15 + 15 0 LOW 5 100 5k MID - 15 + 15 0 - 15 + 15 0 100 5k MID - 15 + 15 MONO TAPE IN RTN 4 3L RETURN 3R +12 8 4 0 4 8 ±12 LO CUT 0 50 GAIN 0 HI 1k EFF 2 EFF 1 INSERT G LO CUT 0 50 GAIN 0 HI - 15 + 15 1k INSERT FLA N LO CUT 0 50 GAIN 0 HI - 15 + 15 1k INSERT US LO CUT 0 50 GAIN 0 HI - 15 + 15 1k INSERT R - 15 + 15 INSERT G LO CUT 0 50 GAIN 0 HI 1k INSERT FL A N LO CUT 0 50 GAIN 0 HI - 15 + 15 1k INSERT US LO CUT 0 50 GAIN 0 HI - 15 + 15 1k INSERT R R R LO CUT 0 50 GAIN 0 HI - 15 + 15 1k INSERT E LO CUT 0 50 GAIN 0 HI - 15 + 15 INSERT E LO CUT 0 50 GAIN 0 INSERT ER INSERT ER INSERT The 4 bus section on the C44 mixers can be used for main outputs, surround outputs, side fills, outputs to a multi-track recorder, etc. but the most common use is for sub mixing. Sub grouping is the process of assigning multiple channels to a sub group fader in the master section. This is usually done to decrease the number of faders needed to adjust a group of channels. For example: a drum kit with 6 or more microphones mixed in mono can be assigned to a sub-mix fader. If the drums need to be adjusted in the main mix, only one group fader needs to be adjusted instead of 6 channel faders. The individual microphones all use different fader settings, so it is important to get a balanced mix of the entire drum kit during the sound check. The drum sub-group faders are then assigned to the LR main faders. For a mono mix, use the channel pan controls to pan the audio “hard left” and the audio will only be assigned to sub- group fader 1 or 3. Panning “hard right” will bus the audio to sub-mix faders 2 or 4. Always keep channel and sub group faders higher than the master L-R faders. Using the L-R fader or sub group fader to boost the level of a week channel signal can result in excess noise. L 9-16 MIC SUB-MIXING EFF SW 1-2 PHONES GROUPS LINE 1-8 Whenever possible, try to group all related instruments or mics near each other on the mixer. For example: put all drum mics on channels 1 through 8, guitars, bass and keyboards on 9 through 16, and vocals on 17 through 24. This will make mixing, channel assigning and sub-mixing easier to manage. The XLR Mic inputs are balanced low impedance inputs. +48V Phantom power for condenser mics is available in channel groups of eight. This enables the user to group all mics that require phantom power together, leaving the rest of the channels available for dynamic microphones or line inputs. The XLR Mic inputs and balanced 1/4” Line inputs on each channel can be used simultaneously, however the two signals will be controlled by the channel GAIN control. Adjust the level of the instruments to balance the mix. For stereo instruments, such as keyboards or drum machines, use two consecutive channels to connect the Left and Right outputs from the instru10 11 12 13 14 15 16 ment. Then use the PAN controls on the two channels to pan hard left and right for a stereo mix. If a pair of individual channels are not available, one of the stereo returns in the master section can be used. MUTE MUTE ++12 PFL +6 LEFT LEFT 12 LEFT 12 LEFT 12 +12 PFL PHONES +6 +6 PFL 0 +6 PFL 0 1-2 L-R -24 L-R -50 -6 3-4 -12 -24 -30 L-R -24 -50 L-R -30 -50 +6 -24 L-R -30 -50 -24 -24 -50 -24 -50 -50 1-2 -6 PFL 0 1-2 -6 +6 PFL 0 +6 1-2 0 1-2 -6 -6 RIGHT +6 PFL 0 1-2 -6 RIGHT 6 0 PFL 1-2 -6 RIGHT 6 00 RIGHT 0 PFL 5 ++6 6 0 PFL PFL 0 0 -6 -6 -6 -6 -6 -6 L-R -12 -12 -12 -12 -12 -12 MONO -24 -24 -24 -30 -30 -30 -30 -30 -24 -24 -30 -30 -24 -30 -30 -30 -30 -30 MON 1-2 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 MON 3-4 3-4 -24 -50 +6 -30 -12 L-R -30 PFL 0 1-2 -6 3-4 -12 L-R -30 +6 PFL 0 1-2 -6 3-4 -12 L-R -30 +6 PFL 0 1-2 -6 3-4 -12 +6 PFL 0 1-2 -6 3-4 -12 L-R +6 PFL 0 1-2 -6 3-4 -24 +6 PFL 0 1-2 -12 -30 -50 PFL 0 -6 3-4 -12 -30 +6 PFL 1-2 -6 3-4 -12 -30 +6 0 1-2 -6 3-4 -24 PFL 0 1-2 -6 -12 +6 PFL 0 3-4 -12 -24 L-R L-R 3-4 -12 -24 L-R 3-4 -12 -24 3-4 -12 -24 L-R L-R 3-4 -12 -24 10 3-4 -12 -24 L-R L-R -50 -50 -50 METERS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 1 16 2 3 4 L R The illustration shows channels 1-4 assigned to a sub-mix fader MASTER OUTPUTS DCM1000 13 15 17 19 CLIP 12 22 30 50 SIGNAL 11 10 9 8 13 15 17 19 7 6 5 4 3 CLIP 1000 Watt Power Amp 11 10 9 12 22 30 50 SIGNAL 2 1 0 dB ∞ CHANNEL ONE 8 7 6 5 4 3 PROTECT POWER 2 1 0 dB ∞ DCM1000 CHANNEL TWO 2 CHANNEL ONE PEAK 10K 35K 6K 50 120 10 230 Hz LOW CUT 35K 6K 45K Hz HI CUT 50 20 120 GAIN 10 40 63 100 160 250 400 630 1K 1.6K 2.5K 4K 6.3K 10K 16K 230 +6 +3 0dB -3 -6 - 15 Hz LOW CUT EQ IN 12 22 30 50 11 10 9 8 7 6 5 4 3 2 ∞ 1 0 dB CLIP SIGNAL 13 15 17 19 12 22 30 50 11 10 9 1000 Watt Power Amp 8 7 6 5 4 3 PROTECT POWER 2 ∞ 1 0 dB CHANNEL TWO 4 +15 0 -OO dB +6 25 13 15 17 19 CHANNEL ONE 25K 10K +6 +3 0dB -3 -6 - 15 45K Hz HI CUT 20 GAIN EQ IN PEAK +15 0 -OO dB +6 CLIP SIGNAL CHANNEL TWO 25K ON DCM1000 OFF 25 40 63 100 160 250 400 630 1K 1.6K 2.5K 4K 6.3K 10K 16K EQ2015 CLIP SIGNAL 13 15 17 19 12 11 10 9 8 7 6 5 4 22 30 50 3 CLIP SIGNAL 2 1 0 dB ∞ 13 15 17 19 2 3 4 5 6 7 LINE LINE LINE LINE LINE LINE LINE MIC MIC MIC MIC MIC MIC MIC PHANTOM POWER 8 9 10 11 12 13 14 15 LINE LINE LINE LINE LINE LINE LINE MIC MIC MIC MIC MIC MIC MIC 16 PHANTOM POWER 1-8 L 9-16 PEAK 25K 10K 35K 0 MIC MIC 6K 1 2 3 4 MON 1 MON 2 MON 3 MON 4 45K Hz HI CUT TAPE OUT 50 -OO dB +6 GAIN 20 120 10 EQ IN L R R 230 45K 50 INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT EFF 2 EFF 1 INSERT 3L RETURN 3R -OO dB +6 MONO TAPE IN RTN 4 5 4 3 PROTECT POWER 31.5 40 50 63 80 100 125 160 200 250 315 400 500 630 800 1k 1.25k 1.6k 2k 2.5k 3.15k 4k 5k 6.3K 8K 10K 12.5K 16K 20K 80 100 125 160 200 250 315 400 500 630 800 1k 1.25k 1.6k 2k 2.5k 3.15k 4k 5k 6.3K 8K 10K 12.5K 16K 20K EQ2030 Hz HI CUT INSERT 6 2 +15 35K 6K INSERT 7 ON 25 25K 10K INSERT 1000 Watt Power Amp 8 1 0 dB +15 +6 +3 0dB -3 -6 - 15 Hz LOW CUT PEAK 0 INSERT 11 10 9 ∞ CHANNEL TWO 1 EFF SW 1-2 PHONES GROUPS 12 22 30 50 CHANNEL ONE 1 GAIN 20 10 EQ IN 120 230 Hz LOW CUT OFF +6 +3 0dB -3 -6 - 15 25 31.5 40 50 63 DCM1000 0 0 MON 0 MON 0 5 MON 1 10 0 MON - 15 + 15 0 MON - 15 + 15 5 MON 1 10 0 MON - 15 + 15 5 MON 1 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 0 MON - 15 + 15 5 MON 1 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 0 MON - 15 + 15 5 MON 1 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 1k 0 MON 5 MON 1 10 0 MON 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 12+ 8 4 0 4 8 1263 MON 1 125 250 500 1K 2K 4K MUTE 3 2 1 4 5 6 0 3 OFF 3 7 8 9 6 9 6 9 MON 1 10 MON 2 RB CH EFFECTS 2 PAN C 0 3 6 9 PAN C ALT EFF 2 0 EFF 3 1/2 6 9 EFF 2 3 6 9 PAN C 5 MON 4 ALT EFF 2 10 OFF 0 EFF 3 1/2 6 9 EFF 2 EFF 1 3 6 9 PAN C 5 MON 4 ALT EFF 2 10 OFF 0 EFF 3 1/2 6 9 EFF 2 EFF 1 3 6 9 PAN C 5 MON 4 ALT EFF 2 10 OFF 0 EFF 3 1/2 6 9 EFF 2 EFF 1 3 6 9 PAN C 5 MON 4 ALT EFF 2 10 OFF 0 EFF 3 1/2 6 9 EFF 2 EFF 1 3 6 9 PAN C 5 MON 4 ALT EFF 2 10 OFF 0 EFF 3 1/2 6 9 EFF 2 EFF 1 3 6 9 PAN C 5 MON 4 ALT EFF 2 10 OFF 0 EFF 3 1/2 6 9 EFF 2 EFF 1 3 6 9 PAN C 5 MON 4 ALT EFF 2 10 OFF 0 EFF 3 1/2 6 9 EFF 2 EFF 1 3 6 9 PAN C 5 MON 4 ALT EFF 2 10 OFF 0 EFF 3 1/2 6 9 EFF 2 EFF 1 3 6 9 PAN C 5 MON 4 ALT EFF 2 10 OFF 0 EFF 3 1/2 6 9 EFF 2 EFF 1 3 6 9 PAN C 5 MON 4 ALT EFF 2 10 OFF 0 EFF 3 1/2 6 9 EFF 2 EFF 1 3 6 9 PAN C 5 MON 4 ALT EFF 2 10 OFF 0 EFF 3 1/2 6 9 EFF 2 EFF 1 3 6 9 PAN C 5 MON 4 ALT EFF 2 10 OFF 0 EFF 3 1/2 6 9 EFF 2 EFF 1 3 6 9 PAN C ALT EFF 2 EFF 3 1/2 6 9 EFF 2 PAN C RETURN TAPE IN 5 L R 1 L R 2 SIG PEAK L R 3 SIG PEAK L R 4 SIG PEAK L R 5 SIG PEAK L R 6 SIG PEAK L R 7 SIG PEAK L R 8 SIG PEAK L R 9 SIG PEAK L SIG PEAK +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL R L R L R L R L R L R L 8 9 L 8 7 6 5 4 3 1 0 dB CLIP SIGNAL 13 15 17 19 12 22 30 50 11 10 9 1000 Watt Power Amp 8 7 6 5 4 3 2 ∞ 1 0 dB CHANNEL TWO PROTECT POWER R MONO MONITORS 5 11 10 9 2 ∞ dB OFF PK 4 5 6 5 6 3 3 4 7 7 3 6 6 3 8 8 2 9 9 2 9 9 1 MUTE MON 1 MON 3 1 10 RB 0 10 O CH TO MONITORS SELECT PARAMETER SOURCE RETURN EFF2 SELECT ECHO REVERB CHORUS FLANGE REGEN DAMPING REV LEVEL SPEED MON4 PARAM TIME DECAY DEPTH DEPTH MON 4 10 OFF EFF 1 -6 -12 -18 -24 -30 7 10 G 5 MON 4 10 OFF EFF 1 12 22 30 50 US ALT EFF 2 EFF 3 1/2 6 9 EFF 2 +6 16K 5 6 1 13 15 17 19 R 5 MON 4 10 OFF VE 0 3 6 9 EFF 1 +12 0 4 3 2 O RE ALT EFF 2 EFF 3 1/2 6 9 EFF 2 +18 EFFECTS 1 PK MON HO 5 MON 4 10 OFF 8K PEAK 24-BIT DUAL STEREO EFFECTS 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 C 5 0 3 6 9 EFF 1 3 C1644 LOW - 15 + 15 5 MON 1 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 CLIP CONCERT CONCER T SERIES +12 8 4 0 4 8 ±12 MID 0 LOW VE 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 EQ 2 RIGHT / MON 2 CHANNEL ONE 100 5k - 15 + 15 0 LOW EQ 1 LEFT / MON 1 SIGNAL 0 MID - 15 + 15 0 LOW POWER 12+ 8 4 0 4 8 12- FREQ 100 5k MID - 15 + 15 0 LOW 1k 0 100 5k MID - 15 + 15 0 FREQ 0 100 5k MID - 15 + 15 LOW 1k FREQ 0 100 5k MID 0 HI - 15 + 15 RE 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 1k FREQ 0 100 5k - 15 + 15 LOW - 15 + 15 5 MON 1 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 1k FREQ 0 MID - 15 + 15 LOW - 15 + 15 5 MON 1 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 0 +12 8 4 0 4 8 ±12 LO CUT 0 50 GAIN 0 HI - 15 + 15 HO MON 1k FREQ 100 5k MID - 15 + 15 LOW - 15 + 15 5 MON 1 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 0 LO CUT 0 50 GAIN 0 HI - 15 + 15 G 0 MON - 15 + 15 5 MON 1 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 1k 0 100 5k MID - 15 + 15 LOW LO CUT 0 50 GAIN 0 HI - 15 + 15 FL AN 0 MON - 15 + 15 5 MON 1 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 0 FREQ 0 100 5k MID - 15 + 15 LOW 1k FREQ 0 100 5k MID 0 LO CUT 0 50 GAIN 0 HI - 15 + 15 US 0 MON 1k FREQ 0 100 5k - 15 + 15 LOW - 15 + 15 5 MON 1 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 0 LO CUT 0 50 GAIN 0 HI - 15 + 15 R 0 MON 1k FREQ 0 MID - 15 + 15 LOW - 15 + 15 5 MON 1 10 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 0 LO CUT 0 50 GAIN 0 HI - 15 + 15 C 0 MON - 15 + 15 5 MON 1 10 1k FREQ 100 5k MID - 15 + 15 LOW LO CUT 0 50 GAIN 0 HI - 15 + 15 FL A N - 15 + 15 5 0 3 OFF 3 2/3 6 6 9 9 MON 2 MON 3 0 LO CUT 0 50 GAIN 0 HI - 15 + 15 E - 15 + 15 1k 0 100 5k MID - 15 + 15 LOW LO CUT 0 50 GAIN 0 HI - 15 + 15 E 0 FREQ 0 100 5k MID - 15 + 15 LO CUT 0 50 GAIN 0 HI - 15 + 15 1k FREQ 0 100 5k MID LOW LO CUT 0 50 GAIN 0 HI - 15 + 15 1k FREQ 0 100 5k 0 LO CUT 0 50 GAIN 0 HI - 15 + 15 1k FREQ 0 LO CUT 0 50 GAIN 0 HI - 15 + 15 1k FREQ - 15 + 15 LO CUT 0 50 GAIN 0 HI - 15 + 15 ER LO CUT 0 50 GAIN 0 HI ER LO CUT 0 50 GAIN 0 - 15 + 15 The main amps and speakers should contain an overall mix of all channels. The sub-group faders 1-4 can have certain channels assigned to them before the mix arrives at the master LR faders. This is known as sub-mixing and can improve the efficiency of mixing a large number of channels (see above). The four independent monitor mixes should use the MON 1 through MON 4 sends. On the channel these sends are pre-EQ, pre-fader. The MONO output can be used for a main mono mix, a center mix or as a subwoofer output. The sub group outputs can also be used as side or back fill speakers. Long rooms can have poor sound at the back of the room. Set up a set of back fill loudspeakers to fill in and add a digital delay to the main speakers to correct the time delay from front to back. This can improve the sound of the room considerably. 5 5 5 5 5 R 0 SIG 10 PEAK SIG 11 PEAK SIG 12 PEAK SIG 13 PEAK SIG 14 PEAK SIG 15 PEAK SIG 16 PEAK +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 10 0 RTN 3 10 0 RTN 4 LEFT 12 10 MON 1 LEFT 12 0 10 MON 2 LEFT 12 0 10 0 MON 3 LEFT 10 0 10 MON 4 PFL +12 PHONES 0 0 0 1-2 -6 -6 -24 -24 -24 -24 -24 3-4 -12 L-R 1-2 -6 3-4 -12 L-R 1-2 -6 3-4 -12 L-R 0 1-2 -6 3-4 -12 L-R 0 1-2 -6 3-4 -12 L-R 0 1-2 -6 3-4 -12 L-R -24 0 1-2 -6 3-4 -12 L-R -24 0 1-2 -6 3-4 -12 L-R -24 0 1-2 -6 3-4 -12 L-R -24 +6 0 1-2 -6 3-4 -12 L-R -24 0 1-2 -6 3-4 -12 L-R -24 0 1-2 -6 3-4 -12 L-R -24 0 1-2 -6 3-4 -12 L-R -24 0 1-2 -6 3-4 -12 L-R -24 0 1-2 -6 3-4 -12 0 1-2 -24 RIGHT 6 PFL RIGHT 6 0 PFL RIGHT PFL 5 +6 6 0 0 PFL 0 0 -6 -6 -6 -6 -6 L-R -12 -12 -12 -12 -12 MONO -24 -24 -24 -24 -24 -30 -30 -30 -30 -30 MON 1-2 -50 -50 -50 -50 -50 MON 3-4 10 3-4 -12 L-R RIGHT 0 -24 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 L-R 5 METERS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 L R The diagram depicts a standard live sound system 1. Stereo EQ and power amp for the main speakers on the Left/Right outputs. 2. Stereo power amp and EQ for two monitor mixes on the MON 1 and MON 2 outputs. 3. Bridged power amp for a subwoofer on the MONO output. 4. Power amp for side fill or back of room fill on the Group outputs. 5. External effects processor in the EFF2 and EFF3 return loop. 4 INSERTS AND DIRECT OUTS 1/2 INSERT DIRECT OUT FULL INSERT FULL INSERT The insert jack is a Tip Ring Sleeve (TRS) 1/4” phone jack, where the tip is the send, the ring is the return and the sleeve is ground. When used as an insert point or in full INSERT mode, the channel is opened up to allow an external piece of equipment to be inserted into the channels signal path. The signal coming from the microphone preamplifier will be forced to go through the external equipment before it can continue back through the channel, reentering before the channel EQ controls. Most external equipment is not set up for the TRS plug directly so an adapter cable such as the Carvin AP1 or PP10 is required. Plug the 1/4” stereo TRS end into the mixer insert all the way. The two mono 1/4” TS jacks at the opposite end are the send and return cables. If both an INSERT and a DIRECT out is required, “Y” the SEND cable. TIP: SEND RING: RETURN LINE SLEEVE: GROUND 1 MIC Pre-Amp PIN 2 (+) PIN 3 (–) MIC GAIN TIP: SIGNAL SLEEVE: GROUND Plug a 1/4” mono cable “half way” into the Channel Insert Jack. The “half” insert connection creates a send signal without breaking the channels signal path. The insert in this mode is no longer used as an insert but becomes what is called an DIRECT out. LINE 1 MIC Pre-Amp PIN 2 (+) PIN 3 (–) MIC GAIN INSERT JACK INSERT GAIN 4 5 6 3 7 2 8 1 9 0 10 HI -0+ 3 3 6 6 INSERT JACK INSERT GAIN 4 5 6 3 7 2 8 1 9 0 10 HI -0+ 3 3 6 6 9 9 12 MID 3 MID 6 9 9 6 9 9 12 12 LOW - 0 + 3 3 6 6 12 12 LOW - 0 + 3 3 6 6 9 12 -0+ 3 3 6 12 -0+ 3 6 MONO PLUG 9 12 STEREO PLUG 9 9 9 12 12 9 12 TO RECORDER 12 SEND RETURN TO EFFECTS MULTI-TRACK RECORDING A multi-track recorder can be connected to the Channel Insert jacks (1/2 plugged). This set up could be used with a live set up to record a live show. ADJUSTING THE 9-BAND EQ When the 9 band graphic EQ sliders are in their “center” position, they do not affect the audio signal. When the EQ sliders are raised or lowered from this position, they boost or cut respectively a narrow band of frequencies. To reduce feedback in the low frequency range, try lowering one of the 63, 125 or 250 Hz sliders. High frequency feedback is reduced by lowering one of the 2k or 4k Hz sliders. To help with feedback reduction, the main speaker should always be placed in front of the microphones. For tone enhancement, you may want to raise the 63, 125 (for deeper bass) and the 4, 8 and 16k (for crisper highs). At the same time you may want to reduce the mid frequency at 1k forming a “smile” curve as shown. GRAPHIC EQ 16K 1 3 4 5 6 7 LINE LINE LINE LINE LINE LINE MIC MIC MIC MIC MIC MIC MIC INSERT INSERT INSERT INSERT INSERT INSERT INSERT PHANTOM POWER 8 9 10 11 12 13 14 15 LINE LINE LINE LINE LINE LINE LINE MIC MIC MIC MIC MIC MIC MIC INSERT INSERT INSERT INSERT INSERT INSERT INSERT 16 EFF SW 1-2 PHONES GROUPS PHANTOM POWER L 9-16 MIC MIC 1 2 3 4 MON 1 MON 2 MON 3 MON 4 EFF 1 EFF 2 TAPE OUT L LO CUT 0 50 GAIN 0 LO CUT 0 50 GAIN 0 HI - 15 + 15 1k LO CUT 0 50 GAIN 0 HI - 15 + 15 1k LO CUT 0 50 GAIN 0 HI - 15 + 15 1k LO CUT 0 50 GAIN 0 HI - 15 + 15 1k LO CUT 0 50 GAIN 0 HI - 15 + 15 1k INSERT LO CUT 0 50 GAIN 0 HI - 15 + 15 1k LO CUT 0 50 GAIN 0 HI - 15 + 15 1k LO CUT 0 50 GAIN 0 HI - 15 + 15 1k LO CUT 0 50 GAIN 0 HI - 15 + 15 1k LO CUT 0 50 GAIN 0 HI - 15 + 15 1k LO CUT 0 50 GAIN 0 HI - 15 + 15 1k LO CUT 0 50 GAIN 0 HI - 15 + 15 1k LO CUT 0 50 GAIN 0 HI - 15 + 15 1k INSERT LO CUT 0 50 GAIN 0 HI - 15 + 15 1k 1k HI - 15 + 15 FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 100 5k 100 5k MID - 15 + 15 0 0 LOW - 15 + 15 0 LOW 0 LOW 0 LOW 0 LOW 0 LOW 0 LOW 0 LOW +12 8 4 0 4 8 ±12 MID 0 LOW - 15 + 15 MON 1 5 LOW - 15 + 15 MON 1 5 12+ 8 4 0 4 8 1263 MON 1 5 EQ 2 RIGHT / MON 2 C1644 - 15 + 15 0 LOW - 15 + 15 MON 1 5 EQ 1 LEFT / MON 1 CONCERT CONCER T SERIES 100 5k MID - 15 + 15 0 LOW - 15 + 15 MON 1 5 100 5k MID - 15 + 15 0 LOW - 15 + 15 MON 1 5 100 5k MID - 15 + 15 0 LOW - 15 + 15 MON 1 5 100 5k MID - 15 + 15 0 LOW - 15 + 15 MON 1 100 5k MID - 15 + 15 0 LOW 5 100 5k MID - 15 + 15 - 15 + 15 MON 1 5 100 5k MID - 15 + 15 - 15 + 15 MON 1 5 100 5k MID - 15 + 15 - 15 + 15 MON 1 5 100 5k MID - 15 + 15 - 15 + 15 MON 1 5 100 5k MID - 15 + 15 - 15 + 15 MON 1 5 100 5k MID - 15 + 15 - 15 + 15 MON 1 5 100 5k MID - 15 + 15 - 15 + 15 MON 1 5 100 5k MID - 15 + 15 - 15 + 15 MON 1 5 100 5k MID - 15 + 15 POWER 12+ 8 4 0 4 8 12- 1k R MONO TAPE IN RTN 4 +12 8 4 0 4 8 ±12 LO CUT 0 50 GAIN 0 HI - 15 + 15 FREQ R 3L RETURN 3R 125 250 500 1K 2K 4K 8K PEAK +18 +12 +6 16K 0 24-BIT DUAL STEREO EFFECTS -6 -12 -18 EFFECTS 1 ALT EFF 2 10 OFF 0 EFF 3 1/2 6 9 EFF 2 3 6 9 0 EFF 3 1/2 6 9 EFF 2 3 6 9 MON 2 MON 3 0 EFF 3 1/2 6 9 EFF 2 3 6 9 MON 2 MON 3 0 3 6 9 MON 2 MON 3 0 3 6 9 MON 2 MON 3 0 3 6 9 MON 2 MON 3 0 3 6 9 MON 2 MON 3 0 3 6 9 MON 2 MON 3 0 3 6 9 MON 2 MON 3 0 3 6 9 MON 2 MON 3 0 3 6 9 MON 2 MON 3 0 3 6 9 0 3 6 9 0 4 5 6 MON4 PAN R L R 2 SIG PEAK L R 3 SIG PEAK L R 4 SIG PEAK L R 5 SIG PEAK L R 6 SIG PEAK L R 7 SIG PEAK L R 8 SIG PEAK L R 9 SIG PEAK L 10 SIG PEAK R L 11 SIG PEAK R L 12 SIG PEAK R L 13 SIG PEAK R L 14 SIG PEAK R L 15 SIG PEAK R L 16 SIG PEAK 3 G OFF 3 6 6 9 9 MON 1 MON 2 OFF 3 7 8 9 3 6 6 9 9 MON 1 MON 3 TO MONITORS RB CH RB 4 3 2 CH REVERB DAMPING TIME DECAY 5 6 7 8 9 1 O -24 -30 10 dB 4 3 2 5 6 L 7 8 9 1 O SELECT ECHO REGEN PARAM RETURN DEPTH DEPTH MONO MONITORS 5 R 10 PARAMETER CHORUS FLANGE REV LEVEL SPEED TAPE IN 5 L 1 7 8 9 10 MUTE 0 10 SOURCE RETURN EFF2 SELECT EFF 3 1/2 6 9 EFF 2 C 4 5 6 3 2 1 ALT EFF 2 10 OFF EFF 1 PAN PK MON 4 5 3 2 1 EFFECTS 2 MON 2 MON 3 EFF 3 1/2 6 9 EFF 2 C MUTE FLA N MON ALT EFF 2 10 OFF EFF 1 PAN PK 10 3 OFF 3 2/3 6 6 9 9 MON 4 5 EFF 3 1/2 6 9 EFF 2 C 0 MON ALT EFF 2 10 OFF EFF 1 PAN 10 3 OFF 3 2/3 6 6 9 9 MON 4 5 EFF 3 1/2 6 9 EFF 2 C 0 MON ALT EFF 2 10 OFF EFF 1 PAN 10 3 OFF 3 2/3 6 6 9 9 MON 4 5 EFF 3 1/2 6 9 EFF 2 C 0 MON ALT EFF 2 10 OFF EFF 1 PAN 10 3 OFF 3 2/3 6 6 9 9 MON 4 5 EFF 3 1/2 6 9 EFF 2 C 0 MON ALT EFF 2 10 OFF EFF 1 PAN 10 3 OFF 3 2/3 6 6 9 9 MON 4 5 EFF 3 1/2 6 9 EFF 2 C 0 MON ALT EFF 2 10 OFF EFF 1 PAN 10 3 OFF 3 2/3 6 6 9 9 MON 4 5 EFF 3 1/2 6 9 EFF 2 C 0 MON ALT EFF 2 10 OFF EFF 1 PAN 10 3 OFF 3 2/3 6 6 9 9 MON 4 5 EFF 3 1/2 6 9 EFF 2 C 0 MON ALT EFF 2 10 OFF EFF 1 PAN 10 3 OFF 3 2/3 6 6 9 9 MON 4 5 EFF 3 1/2 6 9 EFF 2 C 0 MON ALT EFF 2 10 OFF EFF 1 PAN 10 3 OFF 3 2/3 6 6 9 9 MON 4 5 EFF 3 1/2 6 9 EFF 2 C 0 MON ALT EFF 2 10 OFF EFF 1 PAN C 10 3 OFF 3 2/3 6 6 9 9 MON 4 5 ALT EFF 2 10 OFF EFF 1 PAN C 0 MON MON 4 5 ALT EFF 2 10 OFF EFF 1 PAN C 10 3 OFF 3 2/3 6 6 9 9 VE 3 6 9 EFF 1 PAN MON 2 MON 3 MON 4 5 0 MON RE 0 EFF 3 1/2 6 9 EFF 2 C 10 3 OFF 3 2/3 6 6 9 9 O ALT EFF 2 10 OFF MON 2 MON 3 MON 4 5 0 MON CH 3 6 9 EFF 1 PAN MON 2 MON 3 10 3 OFF 3 2/3 6 6 9 9 VE 0 EFF 3 1/2 6 9 EFF 2 C 0 MON MON 4 5 ALT EFF 2 10 OFF 10 3 OFF 3 2/3 6 6 9 9 RE 0 3 6 9 EFF 1 MON 2 MON 3 MON 4 5 0 MON O MON 2 MON 3 10 3 OFF 3 2/3 6 6 9 9 US 0 MON R 10 G 0 3 OFF 3 2/3 6 6 9 9 CH 8 4 0 4 8 - 12 2 LINE 1-8 12 + 8 4 0 4 8 12 - FL A N 8K US 4K R 2K 1K E 500 E 250 ER 125 ER 63 +12 5 5 5 5 5 R 0 SIG 10 0 RTN 3 10 0 RTN 4 10 MON 1 0 10 MON 2 0 10 0 10 MON 3 MON 4 LEFT +12 0 10 PEAK +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 MUTE +12 +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 PFL +6 LEFT 12 LEFT 12 LEFT 12 PFL PHONES 0 0 0 1-2 -6 -6 1-2 -6 3-4 -12 0 1-2 -6 3-4 -12 0 1-2 -6 3-4 -12 0 1-2 -6 3-4 -12 0 1-2 -6 3-4 -12 0 1-2 -6 3-4 -12 0 1-2 -6 3-4 -12 0 1-2 -6 3-4 -12 0 1-2 -6 3-4 -12 0 1-2 -6 3-4 -12 0 1-2 -6 3-4 -12 0 1-2 -6 3-4 -12 0 1-2 -6 3-4 -12 0 1-2 -6 3-4 -12 1-2 3-4 -12 RIGHT RIGHT 6 0 PFL RIGHT 6 0 PFL RIGHT PFL 5 +6 6 0 0 PFL 0 0 -6 -6 -6 -6 -6 L-R -12 MONO -12 -12 -12 -12 -12 -24 -24 -24 -24 -24 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 MON 1-2 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 MON 3-4 L-R -24 L-R -24 L-R -24 L-R -24 L-R -24 L-R -24 L-R -24 L-R -24 L-R -24 -24 L-R -24 L-R -24 L-R -24 L-R -24 L-R -24 L-R 10 3-4 -24 L-R METERS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 L R MULTI-TRACK MIXDOWN 1 2 3 4 5 6 7 LINE LINE LINE LINE LINE LINE LINE MIC MIC MIC MIC MIC MIC MIC PHANTOM POWER 8 9 10 11 12 13 14 15 LINE LINE LINE LINE LINE LINE LINE MIC MIC MIC MIC MIC MIC MIC 16 EFF SW 1-2 PHONES GROUPS PHANTOM POWER 1-8 L 9-16 MIC MIC 1 2 3 4 MON 1 MON 2 MON 3 MON 4 TAPE OUT L 3 OFF MON 3 OFF 6 9 MON 3 2/3 6 9 3 10 OFF 6 9 0 MON 3 2/3 6 9 3 10 OFF 6 9 0 MON 3 2/3 6 9 0 3 10 0 MON OFF 3 2/3 6 9 6 9 3 0 6 9 0 MON 3 2/3 6 9 3 0 10 OFF 6 9 0 MON 3 2/3 6 9 0 3 10 OFF 6 9 0 MON 3 2/3 6 9 3 0 10 6 9 0 MON 3 2/3 6 9 3 0 10 6 9 0 MON 3 2/3 6 9 3 0 10 6 9 0 MON 3 2/3 6 9 0 3 0 MON OFF 3 2/3 6 9 6 9 3 10 0 MON OFF 3 2/3 6 9 6 9 3 LOW - 15 + 15 5 MON 1 10 OFF 6 9 +12 8 4 0 4 8 ±12 MID 0 LOW 5 0 MON 3 2/3 6 9 3 12+ 8 4 0 4 8 1263 MON 1 6 9 125 PK MON 3 2/3 6 9 MON 2 MON 3 MON 2 MON 3 MON 2 MON 3 MON 2 MON 3 MON 2 MON 3 MON 2 MON 3 MON 2 MON 3 MON 2 MON 3 MON 2 MON 3 MON 2 MON 3 MON 2 MON 3 MON 2 MON 3 MON 2 MON 3 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 MUTE 3 2 1 0 EFF 3 1/2 6 9 EFF 2 3 6 9 PAN C ALT EFF 2 10 OFF EFF 1 0 EFF 3 1/2 6 9 EFF 2 3 6 9 PAN C ALT EFF 2 10 OFF EFF 1 0 EFF 3 1/2 6 9 EFF 2 3 6 9 PAN C ALT EFF 2 10 OFF EFF 1 0 EFF 3 1/2 6 9 EFF 2 3 6 9 PAN C ALT EFF 2 10 OFF EFF 1 0 EFF 3 1/2 6 9 EFF 2 3 6 9 PAN C ALT EFF 2 10 OFF EFF 1 0 EFF 3 1/2 6 9 EFF 2 3 6 9 ALT EFF 2 10 OFF EFF 1 PAN C MON 4 0 EFF 3 1/2 6 9 EFF 2 3 6 9 ALT EFF 2 10 OFF EFF 1 PAN C MON 4 0 EFF 3 1/2 6 9 EFF 2 3 6 9 ALT EFF 2 10 OFF EFF 1 PAN C MON 4 0 EFF 3 1/2 6 9 EFF 2 3 6 9 ALT EFF 2 10 OFF EFF 1 PAN C MON 4 0 EFF 3 1/2 6 9 EFF 2 3 6 9 ALT EFF 2 10 OFF EFF 1 PAN C MON 4 0 EFF 3 1/2 6 9 EFF 2 3 6 9 ALT EFF 2 10 OFF EFF 1 PAN C MON 4 0 EFF 3 1/2 6 9 EFF 2 3 6 9 ALT EFF 2 10 OFF EFF 1 PAN C MON 4 0 EFF 3 1/2 6 9 EFF 2 3 6 9 ALT EFF 2 10 OFF EFF 1 PAN C MON 4 0 EFF 3 1/2 6 9 EFF 2 3 6 9 ALT EFF 2 10 OFF EFF 1 PAN C MON 4 0 EFF 3 1/2 6 9 EFF 2 3 6 9 PAN C MON 4 R L R 2 SIG PEAK L +12 R 3 SIG PEAK MUTE L +12 R 4 SIG PEAK MUTE L +12 R 5 SIG PEAK MUTE L +12 R 6 SIG PEAK MUTE L +12 R 7 SIG PEAK MUTE L +12 R 8 SIG PEAK MUTE L +12 R 9 SIG PEAK MUTE L SIG PEAK MUTE +12 MUTE R L R L R L R L R L R L MON4 PAN SIG 11 PEAK SIG 12 PEAK SIG 13 PEAK SIG 14 PEAK SIG 15 PEAK SIG 16 PEAK +12 +12 +12 +12 +12 +12 MUTE MUTE MUTE MUTE MUTE PEAK +18 +12 +6 16K 6 9 MON 2 4 5 6 3 6 6 9 9 MON 1 MON 3 TO MONITORS RB CH RB 0 CH REVERB DAMPING TIME DECAY 5 6 -6 -12 -18 -24 -30 7 8 9 1 O 10 dB 4 3 2 5 6 L 7 8 9 1 O SELECT ECHO REGEN PARAM RETURN OFF 3 7 8 9 4 3 2 DEPTH TAPE IN DEPTH MONO MONITORS 5 R 10 PARAMETER CHORUS FLANGE REV LEVEL SPEED 5 5 5 5 5 R SIG 10 PEAK +12 MUTE 6 9 MON 1 10 5 L 1 +12 3 OFF 3 7 8 9 MUTE 0 10 SOURCE RETURN EFF2 SELECT EFF 3 1/2 6 9 EFF 2 C 0 3 2 1 ALT EFF 2 10 OFF EFF 1 4 5 6 VE ALT EFF 2 10 OFF MON 4 8K RE 0 3 6 9 EFF 1 MON 4 4K EFFECTS 2 PK MON 4 2K O MON 2 MON 3 MON 4 1K CH MON 2 MON 3 MON 4 500 EFFECTS 1 MON 2 MON 3 MON 4 250 24-BIT DUAL STEREO EFFECTS 10 OFF EQ 2 RIGHT / MON 2 C1644 100 5k - 15 + 15 0 - 15 + 15 MON 1 EQ 1 LEFT / MON 1 CONCERT CONCER T SERIES 0 MID - 15 + 15 LOW 5 POWER 12+ 8 4 0 4 8 12- 1k 100 5k MID 0 - 15 + 15 MON 1 10 HI - 15 + 15 FREQ 100 5k - 15 + 15 LOW 5 1k R MONO TAPE IN RTN 4 +12 8 4 0 4 8 ±12 LO CUT 0 50 GAIN 0 HI - 15 + 15 FREQ MID 0 - 15 + 15 MON 1 OFF 1k 100 5k - 15 + 15 LOW 5 LO CUT 0 50 GAIN 0 HI - 15 + 15 FREQ MID 0 - 15 + 15 MON 1 OFF 1k 100 5k - 15 + 15 LOW 5 LO CUT 0 50 GAIN 0 HI - 15 + 15 FREQ MID 0 - 15 + 15 MON 1 OFF 1k 100 5k - 15 + 15 LOW 5 MON 1 LO CUT 0 50 GAIN 0 HI - 15 + 15 FREQ MID 0 - 15 + 15 5 MON 1 1k 100 5k - 15 + 15 LOW - 15 + 15 5 10 OFF 0 MID - 15 + 15 LOW - 15 + 15 MON 1 LO CUT 0 50 GAIN 0 HI - 15 + 15 FREQ 100 5k MID - 15 + 15 LOW 5 1k FREQ 100 5k MID 0 - 15 + 15 MON 1 LO CUT 0 50 GAIN 0 HI - 15 + 15 0 100 5k - 15 + 15 LOW 5 1k FREQ 3L RETURN 3R G 0 0 - 15 + 15 MON 1 LO CUT 0 50 GAIN 0 HI - 15 + 15 EFF 2 EFF 1 INSERT VE 3 2/3 6 9 10 0 MID - 15 + 15 LOW 5 1k FREQ 100 5k MID 0 - 15 + 15 MON 1 LO CUT 0 50 GAIN 0 HI - 15 + 15 INSERT RE 6 9 0 0 100 5k - 15 + 15 LOW 5 1k FREQ INSERT FLA N MON 3 2/3 6 9 10 0 - 15 + 15 MON 1 LO CUT 0 50 GAIN 0 HI - 15 + 15 INSERT O 6 9 0 0 MID - 15 + 15 LOW 5 1k FREQ 100 5k MID 0 - 15 + 15 MON 1 LO CUT 0 50 GAIN 0 HI - 15 + 15 INSERT S 10 OFF 0 100 5k - 15 + 15 LOW 5 1k FREQ INSERT CH 0 3 0 - 15 + 15 LO CUT 0 50 GAIN 0 HI - 15 + 15 INSERT RU 0 MID - 15 + 15 MON 1 1k FREQ 100 5k MID LOW 5 LO CUT 0 50 GAIN 0 HI - 15 + 15 INSERT G 0 100 5k 0 1k FREQ INSERT FLA N 0 - 15 + 15 LO CUT 0 50 GAIN 0 HI - 15 + 15 INSERT S 1k FREQ - 15 + 15 LO CUT 0 50 GAIN 0 HI - 15 + 15 INSERT RU 1k FREQ INSERT E LO CUT 0 50 GAIN 0 HI - 15 + 15 INSERT E LO CUT 0 50 GAIN 0 INSERT ER INSERT ER INSERT R 0 10 0 RTN 3 MUTE 10 0 RTN 4 LEFT +12 12 10 MON 1 LEFT 12 0 10 MON 2 LEFT 12 0 10 0 10 MON 3 MON 4 LEFT +12 0 10 PFL PHONES RIGHT +6 PFL 0 1-2 -6 +6 PFL 0 1-2 -6 -30 1-2 PFL 0 1-2 -6 PFL 0 1-2 -6 PFL 0 1-2 -6 PFL 0 1-2 -6 PFL 0 1-2 -6 PFL 0 1-2 -6 0 PFL 1-2 -6 -50 +6 0 PFL 1-2 -6 -24 0 PFL 1-2 -24 0 PFL 1-2 -24 0 PFL 1-2 -24 0 PFL 1-2 -24 0 PFL 1-2 3-4 -12 L-R +6 -6 3-4 -12 L-R +6 -6 3-4 -12 L-R +6 -6 3-4 -12 L-R +6 -6 3-4 -12 L-R +6 -6 3-4 -12 L-R -24 -30 -50 +6 3-4 -12 L-R -24 -30 -50 +6 3-4 -12 L-R -24 -30 -50 +6 3-4 -12 L-R -24 -30 -50 +6 3-4 -12 L-R -24 -30 -50 +6 3-4 -12 L-R -24 -30 -50 +6 3-4 -12 L-R -24 -30 -50 +6 3-4 -12 L-R -24 -30 -50 0 3-4 -12 L-R -24 PFL -6 3-4 -12 +6 -24 RIGHT 6 0 PFL RIGHT 6 0 PFL 0 PFL 5 RIGHT +6 6 0 PFL 0 0 -6 -6 -6 -6 -6 L-R -12 -12 -12 -12 -12 MONO -24 -24 -24 -24 -24 -30 -30 -30 -30 -30 MON 1-2 -50 MON 3-4 10 3-4 -12 L-R +6 -24 L-R -30 -30 -30 -30 -30 -30 -30 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 METERS 5 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 L R Follow this set up for mixing down to a two track recorder. Connect the Multi-track recorders’ outputs to the line inputs of the channels. Use the headphones or connect a professional power amplifier (Carvin’s DCM power amps) and high quality studio monitors (Carvin’s SRS6.5) to your main L/R outputs to monitor your mixdown sessions. Mixing is a practiced skill. A trained ear will know when to add EQ, effects, compression, gate. Listen to your favorite CD through the same headphones or monitoring system you plan to mix through. Note each instrument’s level and position in the stereo mix. Use this as a guide to help mix your project. 1 C1644P REAR PANEL C1644P 1200w Powered Mixer 3 C1644P REAR PANEL FEATURES: 1 & 2. SPEAKER OUTPUTS The 1/4” JACK (1.), and TWIST-LOK JACK (2.) of each amp are wired in parallel. The minimum load for each amp is 4 OHMS. Chaining together more than one speaker on an output is fine as long as the total impedance is not below 4 ohms. If the speaker load is lower than 4 ohms, the amp may go into one of the PROTECT modes. (Two 8 ohm speakers in parallel = 4 ohms) 12 Gauge TWISTLOK speaker cables are an industry standard for high power applicattions (pin 1+ is POS, pin 1- is NEG, pins 2+ and 2- are not used). The 1/4” jacks are used for lower power applications. Use only 16 gauge (or heavier) speaker cables, NOT shielded instrument cables. Turn power off before connecting speaker cables. C1644P FRONT PANEL 5 6 2 4 3. AMP ROUTING switch will select between two internally routed configurations: OUT postion: AMP1-LEFT, AMP2-RIGHT, AMP3-MONITOR1, AMP4-MONITOR2 IN position: 1 amp each, for Monitors 1 thru 4. Speaker output levels are adjusted from the Left/Right faders or Monitor 1-4 controls. The front panel GRAPHIC EQs function with the amps, depending on the front panel EQ1 and EQ2 switch settings. 4. AMP PATCH INSERT jacks offer full flexibility for mixer to amp signal routing. These jacks are T-R-S (Tip-Ring-Sleeve). Tip is the power amp input. Ring is the signal sent from the mixer determined by the AMP ROUTING switch. The limiters are post insert. Patching a compressor or equalizer between the mixer and the amp can be done by using a stereo insert cable (like Carvin’s AP1). Connect the RING signal to the INPUT of the external device, and the TIP signal from the OUTPUT of the device. Plugging in a standard 1/4” cable (mono) into the AMP PATCH INSERT jacks allows any external signal to be sent to the internal power amps. ***DO NOT USE A BALANCED CABLE*** For example, you may want to patch the GROUP outputs (1-4) into the power amps. -Plug one end of each cable into the GROUP jacks on the top panel of the mixer. -Plug the other ends of the cables into the AMP PATCH INSERT jacks. The GROUP 1-4 faders will now control what is heard at the SPEAKER OUTPUTS. C1644P FRONT PANEL INDICATORS: 5. AMP CLIP LEDs - The red CLIP LEDs will flash when the particular amp has reached it’s maximum output. Occasional flashing caused by bass frquencies is OK. Consistent flashing caused by higher frequencies may damage drivers due to excessive distortion. This will not damage the amp. 6. PROTECT LED - The yellow LED indicates the power amp system has gone into one of its protection modes. There will be no output from the amps. If the amp output has been short circuited, or overloaded by putting less than 4 ohms on the output the amp will go into protection. Check for shorted speaker cables and speaker impedance, then reset the POWER switch (off-on). If the amp has overheated, lower the volume and make sure the fan vents are not blocked. Wait for the fan to cool the amps. Normal operation will return in about 1-3 minutes. C1644P POWER AMP SPECIFICATIONS: RMS Continuous Power: Frequency Response: THD: (50% output) Output Noise: Protection Circuits: Maximum Gain: Power Requirements: Size: Weight: This symbol is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN This symbol is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. IMPORTANT! FOR YOUR PROTECTION, PLEASE READ THE FOLLOWING: WATER AND MOISTURE: Appliance should not be used near water (near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool, etc). Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. POWER SOURCES: The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance. GROUNDING OR POLARIZATION: Precautions should be taken so that the grounding or polarization means of an appliance is not defeated. POWER CORD PROTECTION: Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the appliance. SERVICING: The user should not attempt to service the appliance beyond that described in the operating instructions. All other servicing should be referred to qualified service personnel. FUSING: If your unit is equipped with a fuse receptacle, replace only with the same type fuse. Refer to replacement text on the unit for correct fuse type. SAFETY INSTRUCTIONS (EUROPEAN) The conductors in the AC power cord are colored in accordance with the following code. GREEN & YELLOW—Earth BLUE—Neutral BROWN—Live U.K. MAIN PLUG WARNING: A molded main plug that has been cut off from the cord is unsafe. NEVER UNDER ANY CIRCUMSTANCES SHOULD YOU INSERT A DAMAGED OR CUT MAIN PLUG INTO A POWER SOCKET. 4Ω (20-20kHz, .1%THD) 300W/amp 8Ω (20-20kHz, .1%THD) 200W/amp ±0.5dB, 20Hz-20kHz ±1.5dB, 10Hz-40kHz 0.03% < -75dBu speaker out (all levels minimum) Soft Start, Short Circuit, No Load, SpeakerGuard , Thermal Shut-Off, Protect and Clip Indicators, Distortion-free Peak Limiters. Mic in to Speaker Out: 74dB 120VAC 60Hz or optional 240VAC 50Hz model, 1200VA 24”W x 16”D x 9”H 38 lbs. LIMITED WARRANTY Your Carvin mixer is guaranteed against failure for 1 YEAR unless otherwise stated. Carvin will service and supply all parts at no charge to the customer providing the unit is under warranty. Shipping costs are the responsibility of the customer. CARVIN DOES NOT PAY FOR PARTS OR SERVICING OTHER THAN OUR OWN. A COPY OF THE ORIGINAL INVOICE IS REQUIRED TO VERIFY YOUR WARRANTY. Carvin assumes no responsibility for horn drivers or speakers damaged by this unit. This warranty does not cover, and no liability is assumed, for damage due to: natural disasters, accidents, abuse, loss of parts, lack of reasonable care, incorrect use, or failure to follow instructions. This warranty is in lieu of all other warranties, expressed or implied. No representative or person is authorized to represent or assume for Carvin any liability in connection with the sale or servicing of Carvin products. CARVIN SHALL NOT BE LIABLE FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES. When RETURNING merchandise to the factory, you may call for a return authorization number. Describe in writing each problem. If your unit is out of warranty, you will be charged the current FLAT RATE for parts and labor to bring your unit up to factory specifications. MAINTAINING YOUR EQUIPMENT Avoid spilling liquids or allowing any other foreign matter inside the unit. The panel of your unit can be wiped from time to time with a dry or slightly damp cloth in order to remove dust and bring back the new look. As with all pro gear, avoid prolonged use in caustic environments such as dust or salt air. When used in such an environment, be sure the mixer is adequately protected by a cover. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL!