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C844, C1644(P), C2444 & C3244 | 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
11. CHANNEL SIGNAL GREEN LED
The SIGNAL LED is
15.CHANNEL ASSIGNMENT SWITCHES
These switches assign the channels’ signal to the Master L/R faders, or to the
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
18. TWO STEREO 24-BIT EFFECTS
The internal
EFFECT AND PARAMETERS
ECHO: When the SELECT control is at the “7
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
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 |
For mono mixing, assign to both L/R. |
C44 SERIES CONTROLS
17 | 36 | 37 |
39 | 41 | Turning the PARAMETER control to |
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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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EFF 1 | EFF 2 | 3L RETURN 3R |
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R | 42 | TER control to the right will increase |
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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 |
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 |
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 |
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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+6 | PFL | +6 | PFL | +6 | PFL | +6 | PFL | +6 | PFL | +6 | PFL | +6 | PFL | +6 | PFL |
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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 | |
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C1644 | 30 | frequencies in the reverb. Turning the |
| PARAMETER control to 1 will pro- | |
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PEAK |
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| MONO | 21 | Increasing to the right will increase | |
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MON 4 |
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| PHONES | 23 | selected to the first FLANGE setting. | |
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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 |
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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
adjusting your tone controls. A typical setting may be: HI +6, |
MID |
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.
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8.MONITOR 1 THRU 4 SEND CONTROLS
The channel MONITOR controls allow you to create four inde- pendent monitor mixes. The MONITOR signals
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
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
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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