Carvin C1644U Quick Start UP, PAN Control, Channel Signal Green LED, Channel Assignment Switches

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CONCERT SERIES

EFF SW PHONES L

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TAPE IN

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C844, C1644(P), C2444 & C3244 4-BUS MIXERS MASTER SECTION

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 instruc- tions 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 automati- cally 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.

•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.

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 posi- tion will send a channel’s signal to a pair of sub-group faders (1-2, 3-4when 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 ele- ment pan controls provide 15dB greater separation than standard pan controls.

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.

15.CHANNEL ASSIGNMENT SWITCHES

These switches assign the channels’ signal to the Master L/R faders, or to the SUB-GROUPfaders 1 & 2, 3 & 4 for sub- mixing 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.

16.CHANNEL FADER

The CHANNEL FADER adjusts the output level of the channel. The signal will go to one or more of the Master Faders, depend- ing on both the Channel Assignment switches and the PAN con- trol. Calibrated 109mm FADERS with audio tapers are featured for smooth fade-outs. Slide all faders down when connect- ing your inputs.

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 to the effects processors. The red PK LED will indicate when the effects signal from the channel is distorting. Reduce the level of the channel EFFECT control until the PK LED stops flashing.

EFFECT AND PARAMETERS

ECHO: When the SELECT control is at the “7 O-clock” posi- tion, it is selected to the first ECHO setting where you get a single repeat echo (minimal regeneration).

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-Rfaders (#25), then each fader is bused to the corresponding 4 GROUP 1/4” outputs (#37). By assigning the 4 faders to the Master L-Rfaders, 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.

C44 SERIES CONTROLS

17 36 37

39	41	Turning the PARAMETER control to
		1 will provide the shortest delay

25. MASTER L/R FADERS

These faders adjust the level of the main stereo output created by

CHANNEL FEATURES

1. 1/4” LINE INPUTS

The line connectors are for connecting balanced and unbal- anced 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.

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2

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LINE

LINE

LINE

LINE

LINE

LINE

LINE

PHANTOM

LINE

LINE

LINE

LINE

LINE

LINE

LINE

LINE

PHANTOM

LINE

POWER

POWER

1- 8

9-16

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

MIC

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

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GROUPS

1	2	3	4
MON 1	MON 2	MON 3	MON 4
			L
EFF 1	EFF 2	3L RETURN 3R

+12

		time between the original signal and
		the echo. Increasing the PARAME-
R	42	TER control to the right will increase
		the time delay between the original
R
		signal and the echo. To increase the
MONO		number of echo repeats, turn the
	43	SELECT control clockwise to “9 O-
	35	clock” (maximum regeneration).
	34	REVERB: When the SELECT control
	33	is at the “10 O-clock” position, it is

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).

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 chan-

nel, 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 mon- itor 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.

5. LOW CUT SWITCH

A 75 Hz LOW CUT filter helps eliminate unwanted low fre- quencies. 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.

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, depend-

ing on the MID FREQ control. The HI control functions at 11-

20k for crisp highs.

Start out with all tone controls at their center “zero” posi-

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0	50	0	50	0	50	0	50	0	50	0	50	0	50	0	50
GAIN		GAIN		GAIN		GAIN		GAIN		GAIN		GAIN		GAIN
0	LO CUT		LO CUT		LO CUT		LO CUT		LO CUT		LO CUT		LO CUT		LO CUT

-15	+15	HI				HI				HI				HI				HI				HI				HI				HI
			1k				1k				1k				1k				1k				1k				1k				1k
FREQ				FREQ				FREQ				FREQ				FREQ				FREQ				FREQ				FREQ
0		100	5k	0		100	5k	0		100	5k	0		100	5k	0		100	5k	0		100	5k	0		100	5k	0		100	5k
-15	+15	MID		-15	+15	MID		-15	+15	MID		-15	+15	MID		-15	+15	MID		-15	+15	MID		-15	+15	MID		-15	+15	MID
0		LOW		0		LOW		0		LOW		0		LOW		0		LOW		0		LOW		0		LOW		0		LOW
-15	+15			-15	+15			-15	+15			-15	+15			-15	+15			-15	+15			-15	+15			-15	+15
MON		5		MON		5		MON		5		MON		5		MON		5		MON		5		MON		5		MON		5
	1				1				1				1				1				1				1				1
5		0	10	5		0	10	5		0	10	5		0	10	5		0	10	5		0	10	5		0	10	5		0	10
		2				2				2				2				2				2				2				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
	3				3				3				3				3				3				3				3
5		0	10	5		0	10	5		0	10	5		0	10	5		0	10	5		0	10	5		0	10	5		0	10
		4				4				4				4				4				4				4				4
0	10	5		0	10	5		0	10	5		0	10	5		0	10	5		0	10	5		0	10	5		0	10	5
	1				1				1				1				1				1				1				1
EFF		0	10	EFF		0	10	EFF		0	10	EFF		0	10	EFF		0	10	EFF		0	10	EFF		0	10	EFF		0	10
5				5				5				5				5				5				5				5
		2				2				2				2				2				2				2				2
0	10			0	10			0	10			0	10			0	10			0	10			0	10			0	10
	C	PAN			C	PAN			C	PAN			C	PAN			C	PAN			C	PAN			C	PAN			C	PAN
L R				L R				L R				L R				L R				L R				L R				L R
1		SIG		2		SIG		3		SIG		4		SIG		5		SIG		6		SIG		7		SIG		8		SIG
	PEAK				PEAK				PEAK				PEAK				PEAK				PEAK				PEAK				PEAK

+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
0	1-2	0	1-2	0	1-2	0	1-2	0	1-2	0	1-2	0	1-2	0	1-2
-6	3-4	-6	3-4	-6	3-4	-6	3-4	-6	3-4	-6	3-4	-6	3-4	-6	3-4
-12		-12		-12		-12		-12		-12		-12		-12
-24	L-R	-24	L-R	-24	L-R	-24	L-R	-24	L-R	-24	L-R	-24	L-R	-24	L-R
-30		-30		-30		-30		-30		-30		-30		-30
-50	1	-50	2	-50	3	-50	4	-50	5	-50	6	-50	7	-50	8

0	50	0	50	0	50	0	50	0	50	0	50	0	50	0	50
GAIN		GAIN		GAIN		GAIN		GAIN		GAIN		GAIN		GAIN
0	LO CUT	0	LO CUT	0	LO CUT	0	LO CUT	0	LO CUT	0	LO CUT	0	LO CUT	0	LO CUT

-15	HI			-15		HI		-15		HI		-15		HI		-15		HI		-15		HI		-15		HI		-15		HI
	+15		1k		+15		1k		+15		1k		+15		1k		+15		1k		+15		1k		+15		1k		+15		1k
FREQ					FREQ				FREQ				FREQ				FREQ				FREQ				FREQ				FREQ
0	100		5k		0	100	5k		0	100	5k		0	100	5k		0	100	5k		0	100	5k		0	100	5k	0		100	5k
-15	MID			-15		MID		-15		MID		-15		MID		-15		MID		-15		MID		-15		MID		-15		MID
	+15				+15				+15				+15				+15				+15				+15				+15
0	LOW				0	LOW			0	LOW			0	LOW			0	LOW			0	LOW			0	LOW		0		LOW
-15	+15			-15	+15			-15	+15			-15	+15			-15	+15			-15	+15			-15	+15			-15	+15
MON		5		MON		5		MON		5		MON		5		MON		5		MON		5		MON		5		MON		5
	1				1				1				1				1				1				1				1
5	0		10		5	0	10		5	0	10		5	0	10		5	0	10		5	0	10		5	0	10	5		0	10
	2					2				2				2				2				2				2				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
	3				3				3				3				3				3				3				3
5	0		10		5	0	10		5	0	10		5	0	10		5	0	10		5	0	10		5	0	10	5		0	10
	4					4				4				4				4				4				4				4
0	10	5		0	10	5		0	10	5		0	10	5		0	10	5		0	10	5		0	10	5		0	10	5
	1				1				1				1				1				1				1				1
EFF			10	EFF		0	10	EFF		0	10	EFF		0	10	EFF		0	10	EFF		0	10	EFF		0	10	EFF		0	10
5	0				5				5				5				5				5				5			5
	2					2				2				2				2				2				2				2
0	10			0	10			0	10			0	10			0	10			0	10			0	10			0	10
	C	PAN			C	PAN			C	PAN			C	PAN			C	PAN			C	PAN			C	PAN			C PAN
L R					L R				L R				L R				L R				L R				L R				L R
9	SIG					SIG				SIG				SIG				SIG				SIG				SIG				SIG
	PEAK			10 PEAK				11 PEAK				12 PEAK				13 PEAK				14 PEAK				15 PEAK				16 PEAK
+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
0			1-2	0			1-2	0			1-2	0			1-2	0			1-2	0			1-2	0			1-2	0			1-2
-6			3-4	-6			3-4	-6			3-4	-6			3-4	-6			3-4	-6			3-4	-6			3-4	-6			3-4
-12				-12				-12				-12				-12				-12				-12				-12
-24			L-R -24				L-R -24				L-R -24				L-R -24				L-R -24				L-R -24				L-R -24				L-R
-30				-30				-30				-30				-30				-30				-30				-30
-50		9 -50				10 -50				11 -50				12 -50				13 -50				14 -50				15 -50				16

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24-BIT DUAL STEREO EFFECTS

	PK			5	EFFECTS 1								E R	B	CH
			4		6		3	OFF			3	V			R	5	6
															U	4	7
		3				7						E			S
44							6				6	R			F	3	8
		2				8						O
															L
							9				9	H			A	2	9
		1				9									N
												C			G
MUTE			0		10		MON 1			MON 2		E			E	1	10
	PK			5	EFFECTS 2								E R	B	CH
			4		6		3	OFF			3	EV			O	5	6
															R
		3				7									U	4	7
							6				6	R			S
		2				8						O			F	3	8
															L
							9				9	H			A	2	9
		1				9						C			G
MUTE			0		10		MON 1			MON 3		E			E	1	10
		RETURN					TO MONITORS					SELECT				PARAMETER
SELECT						ECHO			REVERB						CHORUS	FLANGE
						REGEN			DAMPING					REV LEVEL SPEED
PARAMETER						TIME			DECAY						DEPTH	DEPTH
RETURN				TAPE IN											MONITORS
	5				5					5					5	5
0	10				0	10		0			10		0		10	0	10
RTN 3				RTN 4				MON 1					MON 2			MON 3
+12		LEFT 12					LEFT 12					LEFT 12				LEFT
		RIGHT					RIGHT					RIGHT				RIGHT
+6				6					6						6
0		PFL		0			PFL		0			PFL			0	PFL
-12			-12				-12						-12
-24			-24				-24						-24
-30			-30				-30						-30
-50			-50				-50						-50

32 selected to the first REVERB setting.

EQ 1	EQ 2	Turning the SELECT control clock-
LEFT /	31
	RIGHT /	wise will increase the amount of high
MON 1	MON 2

C1644	30	frequencies in the reverb. Turning the
		PARAMETER control to 1 will pro-
		vide minimal decay time of the
PEAK		reverb. Increasing to the right will
+18
+12		increase the reverb decay time.
+6
0	29	CHORUS: When the SELECT con-

-6

		-12			trol is at the “1 O-clock” position it
		-18
					is selected to the first CHORUS set-
		-24
		-30			ting. Turning the SELECT control
	L	dB	R
				18	clockwise will increase the amount
					reverb in the chorus. Turning the
					PARAMETER control to 1 will pro-
					vide a minimal chorus depth setting.
		MONO		21	Increasing to the right will increase
	5		5		the chorus depth.
				26
0	10	0	10		FLANGE: When the SELECT control
MON 4				28
+12			PFL		is at the “4 O-clock” position it is
		PHONES		23	selected to the first FLANGE setting.
			5
+6				27	Turning the SELECT control clock-
0		0	10		wise will increase the flanger’s speed.
		L-R
					Turning the PARAMETER control to
-12
	MONO				1 will provide minimal flanging depth.
-24
-30		MON			Increasing to the right will increase
		1-2
-50		MON			the flanger’s depth.
		3-4
		METERS			To send effects to the monitors,

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, selec- table 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 elimi- nate 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.

tion. 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

1	2	3	4
19 20		22

use the “TO MONITORS” controls,

MON 1/MON 2 & MON 1/MON 3.

The center position on both con-

trols is OFF.

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.

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.

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 com- plement these various inputs. 700Hz is a recommended set- ting for the MID FREQ control for guitar and vocals.

2

8.MONITOR 1 THRU 4 SEND CONTROLS

The channel MONITOR controls allow you to create four inde- pendent 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).

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).

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.

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 1-4output jacks (#36).

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.

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