CARVIN C3248, C1648P, C1648, C2448 User Manual

C3248

Live Sound Mixers

C2448

C1648P • C1648 • C2448 • C3248 4-BUS MIXERS BROCHURE/ USER GUIDE

C1648
C1648P

c

Overview

-6

+18

-0

+6

+12

20 20k50 100 200 500 1k 2k 5k

LO Mid

HI Mid

Simplicity In Operation

Stringent Testing

CARVIN has been serving the music
community since 1946. From touring
professionals to bands at local clubs,
the heart of every system has been our
consoles. Noted musicians such as Frank
Zappa, Steve Vai & Craig Chaquico, have
used Carvin consoles over the years.

Ease of operation is incredibly important.
The C Series consoles are designed with
the operator in mind. Everything is logi­cally arranged. Simply plug-in the chan­nels, adjust the monitor levels and bring
up the main L/R faders and you’re up and
running. If you need EQ (tone changes),

Whether you are a rental company, touring
band, recording artist, nightclub, house
of worship, school or theater, Carvin has
the features and performance you can rely
on night after night.

simply dial in the sound you want. The C
Series is designed on a small-scale platform
making it easy to transport. No other console
offers more channels per linear inch.

Improving Your Live Sound

Your decision to own a C Series mixer will
not only be for its ease of use, but also for
its incredible sonic capabilities. Your audi­ence will quickly notice how everything just
sounds better with clear highs, natural mid
tones and a bass that’s deep and punchy.
Musicians on the stage will appreciate the
clarity they’ll get from their monitors. With
THD less than .01%, every sound will re­main pure to its source.

Made in the USA Matters

With most companies turning to off-shore manufactur­ers, Carvin has made the commitment to make mixing
consoles in the USA. We feel it’s so important that you not only
receive the very best workmanship, raw materials but the highest

USB Recording

The USB connectivity allows for ease of
recording using a single cable to record
your L/R stereo mix direct to your com­puter. The digital interface gives you the
highest quality audio output for record­ing. Inversely, you can send audio from
your computer into the console via USB.
Set-up playlists on your computer for
hours of automated playback through
your sound system.

Our Quality Control Department personally
inspects every mixing console. After the
physical inspection, the most critical and
most important part of QC testing is run­ning every channel, master section and
connector through Audio Precision™
computers to verify every function. This
means everything meets 100% of its
specifi cations. This is great assurance
that every EQ section, every output deliv­ers the highest voltages with the lowest
possible THD. The below chart shows that
the THD is actually .002% which is about 5

times lower than our stated THD of .01%.

0.1

0.05

0.02

0.01

0.005

0.002

0.001
20

50

100 200 500 1k 2k

0dBu Mic input to Right out @ 0dBu

5k

20k

Construction

The engineering and design is what you’d
expect from Carvin’s high-end manufac-

turing. Ultra low-noise, high slew rate IC’s
for exceptional sound. Sealed controls
and switches guard against the elements
while the “SMT” Surface Mount Technology
construction ensures the integrity of each
component. The rugged chassis incor-

porates the integral SwitchMode™ 90V­260V 50-60 Hz power supply.

standards in quality control. Not only do we strive for perfection by
making everything in San Diego at our 80,000 square foot
factory, but we’re committed to saving jobs in America.

2

Carvin’s San Diego Factory

2

Key Features

CHANNEL

• 16, 24 and 32 ch models

• 4 Buses + L/R

• 4 Band EQ w dual Mid sweeps

• High pass fi lter

• 6 Ch Monitor Sends

• 2 Ch Effects Sends

• Ch mute/Peak indicator

• Adjustable Gain attenuator

MASTER

• 4 Sub Groups + L/R

• Center/Sub output

• 4 Buses Compressors

• “Link” switches for compressors

• 2 processors – 256 effects each

• Effects to monitors

• 2 9 band L/R-Moinitor EQ’s

• 2 USB power ports

• USB L/R recording output

• USB L/R PC input

• Rear slots for wireless options

(up to 4 mics or beltpacks)

• SwitchMode™ 90-260 VAC input

4 BAND CH EQ
The 4-band Ch equalizer offers both
HF and LF shelving EQ plus two
mid sweeps one for the LO MID
from 80 to 2k Hz and the other for
the HI MID sweep 500 Hz to 10k
Hz. The below chart displays the
mid sweep ranges. You can now dial
in the entire audio spectrum from 6
knobs eliminating undershooting or
overshooting frequencies.

+18

+12

+6

-0

-6
20

50

100

200 500 1k 2k

LO Mid

6 CH MONITOR SENDS
6 monitors per channel
allows greater monitoring
capabilities.

2 CH EFFECT SENDS
2 effects sends permit two simu­lations effects for each channel
utilizing the two on board effects
processor or external processors.

HI Mid

5k

20k

BUSS COMPRESSORS
Each of the 4 Buss (sub-outs) have their own
compressor, which is a great addition to control
peaks such as drums. These professional 1 knob
compressors are designed to hold the level you want.

LINK COMPRESSORS
You may link the compressors together for the
convenience of controlling them in stereo pairs.

STUDIO/HEADPHONE MONITORING

You have your choice of headphone or studio
loudspeaker monitoring of any combination of
the 6 ch monitors, MONO/Center channel, L/R
outputs and USB IN/OUT.

USB POWER PORTS
Convenient USB power
ports allow the recharging
of your iPod™ or the use of our LED desk lights
(sold seperately).

Mixer Rear Receivers

WIRELESS OPTIONS
The exclusive True Diversity USM16 built-in
wireless systems allows up to 4 wireless sys­tems whether it be mics or belt-pack systems.
This eliminates cable clutter. Each system is
connected with a simple plug-in connector. For
more information, read about the UX16 wireless
products, which is the outboard version of the
USM16. See Carvin.com/USM.

POWERED OPTION FOR C1648P
Carvin’s 4 channel DCM2004L amplifier is built­in to the C1648P to deliver 500w RMS per channel
for a total of 2000w. These very efficient, cool running
Class D amps power the Main L/R speakers and
2 monitor mixes. Or, you can switch to have these
amps power 4 monitor mixes using external
power amps for the main L/R speakers. All amps
feature premium Speakon™/1/4” combo speaker
output connectors. Insert jacks are featured for
additional flexibility.

Built-in 2000w DCM2004L 4 Channel Amp
which only adds 8Lbs.

Concert Series Specs

Freq. response: 20-20k Hz ±1 dB
THD distortion: .01% 20-20k Hz
E I N:

-117 dBm
S/N Ratio 90 dB
Dynamic Range: 104 dB
Mic Gain: 52 dB
Line Gain: 30 dB
Total Gain: 72 dB (balanced)
Max Output: +28 dBm
Power Req.

90 to 250VAC 50-60Hz

C1648P Power Amp Specs

4 ohms: 500w x 4 (2000w)
8 ohms: 300w x 4 (1200w)
Freq. Resp.: ±0.5dB, 20Hz-20kHz
±1.5dB, 10Hz-25kHz
THD: (50% output) 0.09%
Output Mode: 95% Efficeint Class D
Protection Circuits: Soft Start, Short Circuit,

No Load, SpeakerGuard,
Thermal Shut-Off, Protect
and Clip Indicators,
Amp Peak Limiters

Power Req:

C1648:

56.3cm W x 41.5cm D x 9.5cm H wt: 8.2kg

22.2”W x 16.3”D x 3.75”H wt: 18.1 lbs
C1648P:

56.3cm W x 41.5cm D x 14.6cm H wt: 11.4kg

22.2”W x 16.3”D x 5.75”H wt: 25.1 lbs
C2448:

76.3cm W x 41.5cm D x 9.5cm H wt: 11.1kg

30.1”W x 16.3”D x 3.75”H wt: 24.5 lbs
C3248:

96.7cm W x 41.5cm D x 9.5cm H wt: 13.4 kg

38.1”W x 16.3”D x 3.75”H wt: 29.5 lbs

90 to 250VAC 50-60Hz, 1000VA

3

C3248

4

4

5

Channel

1/4” LINE INPUTS
Connect balanced and unbalanced instruments and line level sources such as drum
machines, keyboards, ETC.

XLR BALANCED MIC INPUTS
Both the LINE and XLR MIC inputs can be used simultaneously.

CHANNEL INSERT/DIRECT OUT
Insert channel effects, compressor, etc. with a 1/4” TRS (Tip, Ring, Sleeve) cable. To achieve
a direct out from the channel, insert a standard 1/4” cable to the first “click” (1/2 insert).

MIC PHANTOM POWER Provides +48v power for condenser mics in groups of 8 channels.

The GAIN controls the input level for the channel.

LOW CUT SWITCH is a 75 Hz filter that helps eliminate unwanted low frequencies.

4 BAND CHANNEL EQ WITH DUAL MID SWEEPS
Studio quality EQ is featured on every channel. 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 controls work at 45Hz
to 10kHz, depending on the MID FREQ controls. The HI control functions at 11-20k for crisp highs.

MONITOR 1 THRU 6 SEND CONTROLS
The channel MONITOR controls allow you to create six independent
monitor mixes. The MONITOR signals (pre-EQ, pre fader) are routed
to the master MON 1, 2, 3, 4, 5 and 6 controls respectively. Since the
monitor sends are pre-fader, you can set your monitor mix on stage
without having to set the channel fader level.

EFF 1 & EFF 2 SEND CONTROLS
The EFF 1 or EFF 2 control sends signal (post EQ, post fader) from the channel to the master EFFECTS 1 or EFFECTS
2 level controls.

PAN control allows stereo imaging by panning Left or Right. 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).

GREEN SIGNAL LED is pre-fader and post EQ.

CHANNEL RED PEAK LED is pre-fader and post EQ. A “solid” lit PEAK LED indicates a muted channel.

CHANNEL MUTE SWITCH will interrupt the channel signal.

CHANNEL PFL SWITCH allows the operator to listen to a channel (pre fader listen) in the headphone mix.

CHANNEL ASSIGNMENT SWITCHES Assign the channels’ signal to the Master L/R faders, or to the SUB­GROUP faders 1 & 2, 3 & 4 for sub-mixing in stereo pairs.

The CHANNEL FADER adjusts the output level of the channel.

6

6

Master

MONITOR 1-6 XLR OUTPUT CONNECTORS The C-SERIES provides
balanced XLR outputs.

GROUP 1-4 OUTPUT JACKS The C-SERIES provides 4 balanced 1/4” outputs.

RETURNS 3 & 4 L-R INPUT JACKS Connect your effects processors’ stereo
outputs to these jacks.

REC OUT L-R RCA JACKS for recording.

HEADPHONE 1/4” JACK for headphone or control room.

LEFT & RIGHT XLR OUTPUT CONNECTORS
output to power amps or recording gear.

MONO/SUB XLR OUTPUT CONNECTOR A balanced XLR output is
featured for center mono main mix or subwoofers.

USB POWER PORTS supplies +5V allows powering/recharging your I-Pod™
or the use of our LED desk lights (sold seperately).

9-BAND EQ SWITCH 1 & 2
These switches swap the 9-band EQ’s from the standard L/R main outputs, to
the MON 1 & MON 2 outputs.

DUAL PRECISION 9 BAND GRAPHIC EQs
are one octave filters at 63,125, 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.

for connecting the main L/R

L/R LED VU METERS
the operator a visual indication of the mixer’s output levels, selectable by the
METER SOURCE or PFL switches.

DUAL STEREO EFFECT PROCESSORS The dual internal 24-BIT stereo
processors feature Echo, Reverb, Chorus and Flange. Each effect has select­able parameters (up to 256) to tailor the effect. Both processors feature a
RETURN TO MONITORS.

EFFECTS 1,2, 3 & 4 Returns.

PHONES & METER SOURCE
The stereo PHONES control sets the level of the PHONES jack. The PFL,
L/R, MONO, MON 1-MON 6, USB IN, and REC OUT USB switches
allow for monitoring of these sources through the headphones and the L/R
LED METERS.

MONITOR 1-6 MASTER OUTPUT CONTROLS

MONO/SUB CONTROL
A mono output is created from the
subwoofers, or side fill speakers.

4 BUS COMPRESSORS & LINK SWITCHES

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. By assigning the 4
faders to the Master L-R faders, the operator can use the faders to
sub-mix groups.

GROUP ASSIGNMENT SWITCHES
main L/R faders. For mono mixing, assign to both L/R.

10 LED’s offer 6 dB increment resolution that give

L/R

master faders (post) for center,

send the sub-group mix to the

MASTER L/R FADERS
by all channels and groups assigned to L/R faders.

adjust the level of the main stereo output created

7

Powered C1648P

C1648P Rear

1

C1648P Power Specs

4x 500w @ 4 ohms (2000w)
4x 300w @ 8 ohms (1200w)

Handle

C1648P REAR PANEL OPERATION:

1. SPEAKER OUTPUTS The combination SPEAKON jacks also accept 1/4”
plugs. 12 Gauge SPEAKON speaker cables are an industry standard for high
power applications (pin 1+ is POS, pin 1- is NEG, pins 2+ and 2- are not
used). Use only 16 gauge (or heavier) 1/4” speaker cables, NOT shielded
instrument cables. Turn power off before connecting speaker cables.

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).
FREE Carvin Impedance Calculator iPhone App at Carvin.com/iphone.

2. AMP ROUTING switch will select between two internally routed con­figurations. OUT: AMP1-LEFT, AMP2-RIGHT, AMP3-MONITOR1, AMP4­MONITOR2. IN: 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.

3. AMP PATCH INSERT jacks offer 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

6

Removable plate for

optional wireless systems

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. 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.

4. AMP CLIP LEDs - The red CLIP LEDs will flash when an amp has reached
it’s maximum output. Occasional flashing caused by bass frequencies is
OK. Consistent flashing caused by higher frequencies may damage drivers
due to excessive distortion. This will not damage the amp.

5. 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.

4

5

2

3

8

8

Accessories

This rear USB connector will transmit audio to and from a computer for recording with compatible software and drivers. Output
signal is the pre-fader L-R stereo mix sent via the REC OUT USB LEVEL. Input from a computer comes into the RETURN 4 bus,
controlled at the RTN4/USB control.

USM WIRELESS

All models feature ports for optional wireless receivers. Purchase the antennae kit (USMKIT ) and transmitter/receiver systems
(USM16-MC or USM16-BP) separately. Choose from the handheld wireless vocal mic or the beltpack transmitter. With the beltpack
transmitter, you may purchase the optional guitar cable, lavaliere mic, or headset mic.

Dual Diversity UHF 16 Channel Wireless
USM16-MC Handheld Mic & USM-16 Receiver
USM16-BP Beltpack transmitter & USM-16 Receiver
USMKIT antennae mounting kit

Mixer Model Max Receivers accepted
C1648 2 USM receivers
C1648P 2 USM receivers
C2448 4 USM receivers
C3248 4 USM receivers

BELTPACK ACCESSORIES

UX-LP1 Lavaliere mic

UX-HM2

Headset mic

UX-GT

Mini XLR to 1/4” instr. cable

ROAD WARRIOR CASES

USM16-MC Handheld Mic & Receiver

USM16-BP BeltPack & Receiver

USMKIT for 2 receivers

USB-L

USB LED light

Mixer Model Road Warrior Case
C1648 RW1648
C1648P RW1648P
C2448 RW2448
C3248 RW3248

9

OPERATING INSTRUCTIONS

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 automati-

cally switches internally)

• 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.

C SERIES CONTROLS

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/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 13). 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 a good reference where
the GAIN control should be set.

5. LOW CUT SWITCH

A 75 Hz LOW CUT filter helps eliminate unwanted low frequen-
cies. 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. 4 BAND ACTIVE EQ WITH DUAL MID SWEEPS

The C48 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 controls work at 45Hz to 10kHz, depend­ing on the MID FREQ controls. The HI control functions at
11-20k 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, HI MID, LO 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 -3,
HI MID+5 (MID FREQ set at 4kHz), LO MID -4 (MID FREQ set
at 700Hz), and LOW +3. Don’t be afraid to adjust the HI and

LOW controls to get good presence and depth while reducing
the LO MIDs to clean up your sound. This is one of the keys
to great sound.

7. HI & LO MID SWEEPS

These controls allow you to select which frequency (from
200Hz-10kHz or 45Hz-2kHz) that the MID controls will boost or
cut. By adjusting the MID FREQs, you can select the exact frequency
that will best complement various inputs. 700Hz and 4kHz are recom­mended settings for the MID FREQ control for guitar & vocals.

10

10

• 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.

8. MONITOR 1 THRU 6 SEND CONTROLS

The channel MONITORS allow you to create six independent
monitor mixes. The MONITOR signals (pre-EQ, pre fader) are
routed to the master MON 1, 2, 3, 4, 5 and 6 controls (#22)
respectively before going to the XLR output connectors (#40).

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 master EFFECTS 1 or EFFECTS 2
levels to the internal processors (#18) and to the EFF 1 or
EFF 2 output (#38).

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

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.

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

The MUTE switch will interrupt the channel signal. This
feature saves having to reset your faders and monitor sends.
The PEAK LED will light solid ON with no SIG LED.

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 (#33).

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
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,
depending on both the Channel Assignment switches and the
PAN control. Calibrated 60mm FADERS with audio tapers are
featured for smooth fade-outs. Slide all faders down when
connecting your inputs.

17. MIC PHANTOM POWER SWITCH/RED LED

This switch provides +48v power for condenser mics such
as Carvin’s M90S in groups of 8 channels. This leaves the
remaining MIC inputs for sources that don’t require phantom
power. The LINE inputs are unaffected.

MASTER SECTION

18. DUAL STEREO 24-BIT EFFECTS

The internal 24-BIT stereo processors receive signals from
the channel EFF1 and EFF2 controls and the master EFF1 and
EFF2 controls. If the adjacent PK (peak) LED flashes, reduce
the level from the channel or master EFF1 or EFF2 send
controls. A “solid” PK LED will show EFFECTS 1 or 2 have
been muted by the MUTE switches. 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
a.)ECHO: When the SELECT control is at the “seven O’clock”
position, it is selected to the first ECHO setting where you
get a single repeat echo (minimal regeneration). Turning
the PARAMETER control to 1 will provide the shortest delay
time between the original signal and the echo. Increasing the
PARAMETER control to the right will increase the time delay
between the original signal and the echo. To increase the
number of echo repeats, turn the SELECT control clockwise
to “9 O’clock” (maximum regeneration).

b.)REVERB: When the SELECT control is at the “ten O’clock”
position, it is selected to the first REVERB setting. Turning the
SELECT control clockwise will increase the amount of high
frequencies in the reverb. Turning the PARAMETER control to
1 will provide minimal decay time of the reverb. Increasing to
the right will increase the reverb decay time.

c.)CHORUS: When the SELECT control is at the “one 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.

d.)FLANGE: When the SELECT control is at the “four 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. SEND 1 & 2

Sends signals from the channel EFF 1 and EFF2 controls to
the internal processors and to the EFF1 and EFF2 output jacks.

20. 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 (#40).

21. RETURN 4 L-R/ USB IN

Receives a signal from the RTN 4 L/R 1/4” jacks (#39) and from
the rear USB port. These signals will also be present at MON 1.

22. MONITOR 1-6 CONTROLS

These are the master outputs for the six monitor sends. These
correspond to the MON 1-6 XLR output jacks

23. 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 (#28),
then each fader is bused to the corresponding 4 GROUP 1/4”
outputs (#41). By assigning the 4 faders to the Master L-R
faders, the operator can use the faders to sub-mix groups.

24. GROUP PFL SWITCHES

These

PFL

GROUP mix. If
PEAK
assigned to that group. Also check the channel PEAK

switches allow the operator to monitor the entire

distortion is heard or if

on the Master L/R METERS, lower the channel faders

(#40)

the PFL level is near

.

LEDs.

17

40

41

38

46

39

1

2

3

4

5

6

7

6

8

20 2119

9

10

11

12

13

14

15

16

25. GROUP ASSIGNMENT SWITCHES

These switches send the sub-group mix to the main
L/R faders. For mono mixing, assign to both L/R.

26. 1-4 GROUP COMPRESSORS/LEDs

Each of the 4 sub groups features a compressor, which
will reduce the output when it gets above the level you set
with the COMP control. Set at “0” there is no effect. As you
turn UP the COMP knob, the lower the maximum level. The
compressor circuit is pre-fader, so you can set the COMP

44

45

42

43

36

35

34

37

33

18

32

19, 20, 21

31

30

22

29

27

26

24

28

23

25

once and still adjust the group fader as needed. The LED will
indicate when the compressor is working.

27. COMP LINK SWITCHES

These switches link the COMP controls for stereo pairs of
equal setting. The COMP1 or COMP3 control becomes the
master for the pair. Link 1-2 or 3-4.

28. 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

(#44)

.

29. MONO/SUB CONTROL

L/R

A mono output is created from the

master faders (post)

for center, subwoofers, or side fill speakers. The output is
at the MONO/SUB XLR connector (#45).

30. REC OUT/USB CONTROL

This control sets the level sent to REC OUT L-R RCA jacks
and to the rear USB port. The signal source is the main
L-R mix (pre-fader).

31. HEADPHONE AND METER SOURCE

The stereo PHONES control sets the level of the PHONES
jack (#42). The PFL, L/R, MONO, MON 1-MON 6, USB
IN, and REC OUT USB switches allow for monitoring of
these sources through the headphones and the L/R LED
METERS (#33).

32. PFL RED LED

Indicates that the headphone & meters are monitoring
only the channels or groups where the PFL is switched on.

33. L/R LED VU METERS

This group of 10 LED’s 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

(#31).

34. DUAL 9 BAND GRAPHIC EQs are one
octave filters at 63,125, 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.

35. 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.

36. USB POWER PORTS

Use these ports to supply +5V USB power to run accessories
like LED lighting or to charge MP3 players. Connect audio
outputs to RETURNS 3 or 4, or to channel inputs.

37. POWER BLUE LED Verifies the mixer is on.

38. EFFECTS 1 & 2 OUTPUT JACKS

1/4” outputs drive external effects. Connect your effects
processor’s inputs to these jacks.

39. RETURNS 3 & 4 L-R INPUT JACKS

Returns a stereo signal from an external effect. Connect
your effects processors’ stereo outputs to these jacks. If
only one jack is used, the mono signal will go to both L/R .

40. MONITOR 1-6 XLR OUTPUTS

The C SERIES provides balanced XLR outputs. Connect your
monitor power amps to these connectors.

41. GROUP 1-4 OUTPUT JACKS

The C SERIES provides 4 balanced 1/4” outputs. Connect
your 4-track recorder or side fill power amps to these jacks.

42. HEADPHONE JACK

1/4” stereo jack for headphone or control room output.

43. REC OUT L-R RCA JACKS

RCA jacks for connecting to a recorder input.

44. LEFT & RIGHT XLR OUTPUT CONNECTORS

This set of balanced XLR connectors are for connecting
the main L/R output to power amps or recording gear.

45. MONO/SUB XLR OUTPUT CONNECTOR

A bal. XLR output is featured for side fills or subwoofers.

46. REAR USB CONNECTOR

This rear USB connector will transmit audio to and from
a computer for recording with compatible software and
drivers. Output signal is the pre-fader L-R stereo mix
sent via the REC OUT USB LEVEL. Input from a computer
comes into the RETURN 4 bus, controlled at the RTN4/
USB control.

11

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.

THE SOUND CHECK

The sound check takes some skill but mostly patience from the performers and especially “you”
the system operator. If you miss something during the sound check, the sound may suffer during
the performance. 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 check. A good
thing to also check here is feedback in the monitors from the microphones. Good positioning

CHANNEL CONNECTIONS AND SUB-MIXING

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 instrument. 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.

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.

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 4 bus section on the C48 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 fader is then assigned to the L-R 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 weak channel signal can result in excess noise.

Floor Tom

6 7

Snare

Tom

Kick

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 for two monitor mixes on the MON 1 and MON2 outputs.

3. Bridged power amp for a subwoofer on the MONO/SUB output.

4. Power amp for side fill or back of room fill on the Group output 4.

5. External effects processor connected to EFF 1 SEND and RETURNS 3.

6. Vocal mics.

7. Four drum mics on channels 2-6, assigned to subgroups 1 & 2 for sub mixing.

8. Mic’d guitar amp.

9. Direct Out from bass amp.

10. Stereo keyboard on 1/4” LINE inputs.

10

8 9

5

2

1

3

4

MASTER OUTPUTS

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 L-R faders. This is known as
sub-mixing and can improve the efficiency of mixing
a large number of channels (see above).
The six independent monitor mixes use the MON 1
through MON 6 sends. On the channel these sends
are pre-EQ, pre-fader. The MONO/SUB 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.

9-BAND EQ

When the 9 band graphic EQ sliders are in the center
“0” 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. Start with the “0” setting and move each
slider up and down to hear the difference.
For tone enhancement, you may want to raise 62Hz or
125Hz (for fuller sounding bass) and the 8kHz or 16kHz
(for crisper highs).
Sometimes lowering one slider can be more effective
than boosting several. If the mix sounds too raw or
harsh try reducing the 1kHz or 2kHz slider, if the mix
is too boomy try lowering the 250Hz or 500Hz slider.
To reduce feedback in the low frequency range, try
lowering one of the 63, 125 or 250 Hz sliders. High
frequency feedback is usually reduced by lowering the
2kHz or 4kHz slider.
To help with feedback reduction, the microphones
should be placed further back on the stage than the
main speakers.

12

12

channels 2-6 assigned to sub-mix group faders 1 and 2

FULL INSERT

STEREO RECORDER

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 go out
through the external equipment before it
can continue back through the channel,
re-entering before the channel EQ controls.
Most external equipment is not set up for
the TRS plug directly so an adapter cable
is required. Plug the adapter’s 1/4” stereo
TRS end into the mixer insert all the way.
The two mono 1/4” jacks at the opposite
end are the send and return cables. If both
an INSERT and a DIRECT out is required,
put a “Y” adapter on the SEND cable.

INSERTS AND DIRECT OUTS

DIRECT OUT (HALF INSERT)

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 a
DIRECT out.

MULTI-TRACK RECORDING

A multi-track recorder can be connected to the channel INSERT jacks (1/2 plugged for
Direct Out). This set up could be used with a live set up to record a live show.
Set the GAIN control at the top of each channel so the signal going to your recorder is
not too loud or too weak. Too loud of a signal will distort the input of your recorder, and
there is no correction for a distorted track. Too weak of a signal will reduce recording
quality and increase noise.
With this setup, note that the channel EQ will not affect what is being recorded. The
EQ for each track will be adjusted at mixdown.

MULTI-TRACK RECORDING SETUP

MULTI TRACK INPUTS

MULTI-TRACK EDITING

To re-record or edit a certain track while listening to the tracks you want to keep, you
can setup only the channel you want to re-record for “Recording”. Have the other chan­nels set up for “Mixdown”. On the multi-track recorder, enable “Record” ONLY for the
channel you want to edit or the other recorded tracks will likely be erased.

MULTI-TRACK MIXDOWN

Use this set up for mixing down from a multi track recording to a two track recorder, or
to the built-in USB stereo output. Connect the Multi-track recorder’s outputs to the LINE
inputs of the channels. Each channel’s Gain control should be set to minimum and use
the channel fader for level. Monitor your mixdown sessions with high quality headphones
connected to the Headphone jack, or connect a professional power amplifier (Carvin’s
DCM power amps) and high quality studio monitors to your main L/R outputs. The internal
DSP or the external effects loops can both be used during mixdown.
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.

ALTERNATE RECORDING SETUPS

Another way to connect your multi-track recorder is to use an insert adapter or TRS
cable on each Channel Insert for each track. Use the “tip” connection for the recorder
inputs, and the “ring “ connection for the recorder outputs. With this setup, you can
record, then mixdown without changing cabling.

A much simpler recording setup would be to use a 4-track recorder, and use each of the
4 subgroups as your track outputs. For example, record drums on subgroup 1, vocals
on 2, guitars on 3, and bass or keys on group 4. This is much more limited to what you
can to with mixdown, but can be great for a live recording at a show when limited time
is available for setup or recording.

MULTI-TRACK MIXDOWN SETUP

MULTI TRACK OUTPUTS

USB IN/OUT

USB TO COMPUTER

The rear USB connector offers an added interface
for recording. Connecting a USB cable between a
computer and a USB equipped Carvin mixer will allow
recording on a computer (with compatible USB drivers
and software).
The L-R stereo mix, (pre-fader, pre-graphic EQ) is
sent via the REC OUT USB LEVEL to the rear USB port.
Inversely, you can bring audio in from computer
playback via USB. The audio comes into the RETURN
4 bus on the mixer to the RTN4/USB LEVEL control.
The USB features up to 48kHz, 16 BIT audio resolution.

13

FRAME PROFILES:

409.60mm.

95.25mm.

145.85mm.

1.980in.

16.125in.

3.750in.

5.745in.

FRAME WIDTH:

C1648, C2448, C3248

414.35mm.

16.315in.

409.60mm.

16.125in.

C1648P

414.35mm.

16.315in.

50.35mm.

5.745in.

145.85mm.

563.15mm.

22.170in.

14

14

C1648, C1648P

C2448

762.55mm.

30.020in.

C3248

967.00mm.

38.070in.

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
constit ute a risk of electric sh ock to
persons.

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.NG: 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.

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 accompany ing
the appliance.

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.

BLOCK DIAGRAM

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.
OR CONSEQUENTIAL DAMAGES.

SERVICE:

In the USA go to www.carvinservice.com
Outside the USA, contact your dealer or go to http://www.carvinworld.com for your nearest ser­vice center. Include a written description of the problem with serial number and date of purchase.

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.
environments such as dust or salt air. When used in such an environment, be sure the
mixer is adequately protected by a cover.

CARVIN SHALL NOT BE LIABLE FOR INCIDENTAL

As with all pro gear, avoid prolonged use in caustic

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL!

15

DCM Lightweight Power Amps

TRX12N - Coaxial Neo Monitor

M90S Condenser

M68 Vocal Mics

TRX153N - 3-way Neo Loudspeaker

C1648 • C1648P

Road Warrior™ Cases

SNK24P Snake

featuring Neutrik™

connectors

XD88 - 8x8 Loudspeaker Management System/Equalizer/Limiter

16

c

car vin .co m • ca rvi nwo rld .co m

printed in U.S.A.