Carvin C44 User Manual

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CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

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: Amolded main plug that has been cut off from the cord is unsafe. NEVER

UNDER ANY CIRCUMSTANCES SHOULD YOU INSERT ADAMAGED OR CUT MAIN PLUG INTO A POWER SOCKET.

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.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL!

REF. Carvin P/N Description Channel PCB Rev (C) 30-08248 A1 60-20430 Op Amp NJM2043D Linear Dual A2 60-45580 Op Amp MC4558 CP1 Dual HFREQ A3 60-45580 Op Amp MC4558 CP1 Dual HFREQ A4 60-45580 Op Amp MC4558 CP1 Dual HFREQ A5 60-20430 Op Amp NJM2043D Linear Dual B1 50-00035 Jumper .35" 0.0Ω B2 50-00035 Jumper .35" 0.0Ω B3 50-00035 Jumper .35" 0.0Ω B4 50-00035 Jumper .35" 0.0Ω B5 50-00035 Jumper .35" 0.0Ω B10 50-47005 1/4W Resistor 4.7K 5% Carbon B12 50-00035 Jumper .35" 0.0Ω B13 50-00035 Jumper .35" 0.0Ω B14 50-00035 Jumper .35" 0.0Ω B15 50-00035 Jumper .35" 0.0Ω B16 50-00035 Jumper .35" 0.0Ω B17 50-00035 Jumper .35" 0.0Ω B18 50-00035 Jumper .35" 0.0Ω B21 50-00035 Jumper .35" 0.0Ω B22 50-00035 Jumper .35" 0.0Ω B23 50-00035 Jumper .35" 0.0Ω B24 50-00035 Jumper .35" 0.0Ω B31 50-00035 Jumper .35" 0.0Ω B32 50-00035 Jumper .35" 0.0Ω B33 50-00035 Jumper .35" 0.0Ω B34 50-00035 Jumper .35" 0.0Ω B41 50-00035 Jumper .35" 0.0Ω B42 50-00035 Jumper .35" 0.0Ω B43 50-00035 Jumper .35" 0.0Ω B44 50-00035 Jumper .35" 0.0Ω B51 50-00035 Jumper .35" 0.0Ω B52 50-00035 Jumper .35" 0.0Ω B53 50-00035 Jumper .35" 0.0Ω B54 50-00035 Jumper .35" 0.0Ω B55 50-00035 Jumper .35" 0.0Ω B61 50-00035 Jumper .35" 0.0Ω B62 50-00035 Jumper .35" 0.0Ω B63 50-00035 Jumper .35" 0.0Ω B64 50-00035 Jumper .35" 0.0Ω B71 50-00035 Jumper .35" 0.0Ω B72 50-00035 Jumper .35" 0.0Ω B73 50-00035 Jumper .35" 0.0Ω B74 50-00035 Jumper .35" 0.0Ω B81 50-00035 Jumper .35" 0.0Ω B82 50-00035 Jumper .35" 0.0Ω B83 50-00035 Jumper .35" 0.0Ω B84 50-00035 Jumper .35" 0.0Ω C1 45-39052 Capacitor 39PF 500 Volt Ceramic 5% C2 45-39052 Capacitor 39PF 500 Volt Ceramic 5% C3 47-22051 Capacitor 22µF 50V Electrolytic 20% C4 47-22051 Capacitor 22µF 50V Electrolytic 20% C5 46-47312 Capacitor 0.047µF 100V Poly 10% C6 47-22051 Capacitor 22µF 50V Electrolytic 20% C7 45-39052 Capacitor 39PF 500 Volt Ceramic 5% C8 46-47312 Capacitor 0.047µF 100V Poly 10% C9 46-33312 Capacitor 0.033µF 100V Poly 10% C10 47-22051 Capacitor 22µF 50V Electrolytic 20% C11 45-39052 Capacitor 39PF 500 Volt Ceramic 5% C12 45-39052 Capacitor 39PF 500 Volt Ceramic 5% C13 47-22051 Capacitor 22µF 50V Electrolytic 20% C14 47-22051 Capacitor 22µF 50V Electrolytic 20% C15 47-22051 Capacitor 22µF 50V Electrolytic 20% C16 46-10312 Capacitor 0.01µF 100V Poly 10% C17 47-22051 Capacitor 22µF 50V Electrolytic 20% C18 47-47116 Capacitor 470µF 16V Electrolytic 20% C19 47-47116 Capacitor 470µF 16V Electrolytic 20% C20 45-39052 Capacitor 39PF 500 Volt Ceramic 5% C21 45-56152 Capacitor 560PF 500V Ceramic 10% C22 45-56152 Capacitor 560PF 500V Ceramic 10% C23 46-33212 Capacitor 0.0033µF 100V Poly 10% C24 47-22051 Capacitor 22µF 50V Electrolytic 20% D1 60-75330 LED Green small #204GD 3mm T-1.0 D2 60-75320 LED Red small #204HD 3mm T-1.0 D10 60-75320 LED Red small #204HD 3mm T-1.0 H1 23-11008 Header 8 Pin Vert SHS 2.5mm H2 23-11008 Header 8 Pin Vert SHS 2.5mm H3 23-11008 Header 8 Pin Vert SHS 2.5mm H11 23-11008 Header 8 Pin Vert SHS 2.5mm H12 23-11008 Header 8 Pin Vert SHS 2.5mm H13 23-11008 Header 8 Pin Vert SHS 2.5mm J1 21-50545 Phone Jack 1/4" 5 pin H= 24mm J2 21-40000 XLR Jack Female Vert J3 21-50545 Phone Jack 1/4" 5 pin H= 24mm P1 71-09253 Potentiometer B50K Vert D Shaft 9 25F P2 71-09252 Potentiometer B50K C-C D Shaft 9 25F P3 71-09252 Potentiometer B50K C-C D Shaft 9 25F P4 71-09252 Potentiometer B50K C-C D Shaft 9 25F P5 71-09253 Potentiometer B50K D Shaft 9 25F P6 71-09253 Potentiometer B50K Vert D Shaft 9 25F P7 71-09253 Potentiometer B50K Vert D Shaft 9 25F P8 71-09253 Potentiometer B50K Vert D Shaft 9 25F P9 72-13169 Potentiometer B50Kx2 C-C D 14 25F P10 71-15065 Fader 25A50K 60mm HT= .215mm R1 50-56231 1/4W Resistor 5.62 1% Metal R2 59-10040 1/8W Resistor 10K x4 SIP 2% Carbon R3 50-10045 1/4W Resistor 10K 5% Carbon R4 50-15031 1/4W Resistor 1.51K 1% Metal R5 50-15031 1/4W Resistor 1.51K 1% Metal R6 50-22131 1/4W Resistor 2.21K 1% Metal R7 59-10040 1/8W Resistor 10K x4 SIP 2% Carbon R8 50-47025 1/4W Resistor 470Ω 5% Carbon R9 50-68045 1/4W Resistor 68K 5% Carbon R10 59-10040 1/8W Resistor 10K x4 SIP 2% Carbon R11 50-10045 1/4W Resistor 10K 5% Carbon R12 50-10045 1/4W Resistor 10K 5% Carbon R13 50-22035 1/4W Resistor 2.2K 5% Carbon R14 50-10025 1/4W Resistor 100Ω 5% Carbon R15 50-12045 1/4W Resistor 12K 5% Carbon R16 50-10035 1/4W Resistor 1K 5% Carbon R17 50-22131 1/4W Resistor 2.21K 1% Metal R18 50-10025 1/4W Resistor 100Ω 5% Carbon R19 50-47045 1/4W Resistor 47K 5% Carbon R20 50-10045 1/4W Resistor 10K 5% Carbon R21 50-47005 1/4W Resistor 4.7K 5% Carbon R22 50-10055 1/4W Resistor 100K 5% Carbon

R23 50-56231 1/4W Resistor 5.62 1% Metal R24 50-47045 1/4W Resistor 47K 5% Carbon R25 50-47005 1/4W Resistor 4.7K 5% Carbon R26 50-10025 1/4W Resistor 100Ω 5% Carbon R27 50-33035 1/4W Resistor 3.3K 5% Carbon R28 50-47045 1/4W Resistor 47K 5% Carbon R29 50-33035 1/4W Resistor 3.3K 5% Carbon R30 50-10045 1/4W Resistor 10K 5% Carbon R31 50-22045 1/4W Resistor 22K 5% Carbon R32 50-18045 1/4W Resistor 18K 5% Carbon R33 50-68035 1/4W Resistor 68K 5% Carbon R34 50-56035 1/4W Resistor 5.6K 5% Carbon R35 50-10045 1/4W Resistor 10K 5% Carbon R36 50-10055 1/4W Resistor 100K 5% Carbon R37 50-56035 1/4W Resistor 5.6K 5% Carbon R38 50-47055 1/4W Resistor 470K 5% Carbon R43 50-56035 1/4W Resistor 5.6K 5% Carbon R47 50-00035 Jumper .35" 0.0Ω R100 50-22035 1/4W Resistor 2.2K 5% Carbon R247 50-00035 Jumper .35" 0.0Ω R347 50-00035 Jumper .35" 0.0Ω R447 50-00035 Jumper .35" 0.0Ω R547 50-00035 Jumper .35" 0.0Ω R647 50-00035 Jumper .35" 0.0Ω R747 50-00035 Jumper .35" 0.0Ω R847 50-00035 Jumper .35" 0.0Ω S1 25-02201 Switch DPDT Push Vert S2 25-02201 Switch DPDT Push Vert S5 25-02201 Switch DPDT Push Vert S6 25-02201 Switch DPDT Push Vert S10 25-02201 Switch DPDT Push Vert Z1 61-04734 Diode Zener 5.6V 1N4734A 1W

System Master PCB Rev (C) 30-16214

A1 60-20430 Op Amp NJM2043D Linear Dual A10 60-45580 Op Amp MC4560 CP1 Dual HFREQ A11 60-45580 Op Amp MC4560 CP1 Dual HFREQ A12 60-45580 Op Amp MC4560 CP1 Dual HFREQ A13 60-20430 Op Amp NJM2043D Linear Dual A14 60-20430 Op Amp NJM2043D Linear Dual A15 60-45580 Op Amp MC4560 CP1 Dual HFREQ A16 60-45580 Op Amp MC4560 CP1 Dual HFREQ A19 60-20430 Op Amp NJM2043D Linear Dual A2 60-20430 Op Amp NJM2043D Linear Dual A20 60-45580 Op Amp MC4560 CP1 Dual HFREQ A21 60-45580 Op Amp MC4560 CP1 Dual HFREQ A22 60-45580 Op Amp MC4560 CP1 Dual HFREQ A23 60-20430 Op Amp NJM2043D Linear Dual A24 60-20430 Op Amp NJM2043D Linear Dual A25 60-45580 Op Amp MC4560 CP1 Dual HFREQ A26 60-45580 Op Amp MC4560 CP1 Dual HFREQ A28 60-45580 Op Amp MC4560 CP1 Dual HFREQ A29 60-20430 Op Amp NJM2043D Linear Dual A3 60-20430 Op Amp NJM2043D Linear Dual A30 60-45580 Op Amp MC4560 CP1 Dual HFREQ A31 60-20430 Op Amp NJM2043D Linear Dual A32 60-20430 Op Amp NJM2043D Linear Dual A33 60-20430 Op Amp NJM2043D Linear Dual A35 60-45580 Op Amp MC4560 CP1 Dual HFREQ A36 60-20430 Op Amp NJM2043D Linear Dual A4 60-20430 Op Amp NJM2043D Linear Dual A41 60-29010 IC DIP 14 Comparitor x4 OC A42 60-29010 IC DIP 14 Comparitor x4 OC A43 60-29010 IC DIP 14 Comparitor x4 OC A44 60-29010 IC DIP 14 Comparitor x4 OC A45 60-29010 IC DIP 14 Comparitor x4 OC A5 60-20430 Op Amp NJM2043D Linear Dual A6 60-45580 Op Amp MC4560 CP1 Dual HFREQ A7 60-45580 Op Amp MC4560 CP1 Dual HFREQ A8 60-29010 IC DIP 14 Comparitor x4 OC C1 45-39052 Capacitor 39PF 500V Ceramic 5% C10 47-22051 Capacitor 22µF 50V Electrolytic 20% C100 45-39052 Capacitor 39PF 500V Ceramic 5% C101 45-39052 Capacitor 39PF 500V Ceramic 5% C103 47-10061 Capacitor 10µF 63V Electrolytic 20% C104 47-10061 Capacitor 10µF 63V Electrolytic 20% C105 48-01031 Capacitor 1µF 35V Tant 10% C11 45-39052 Capacitor 39PF 500V Ceramic 5% C116 47-10061 Capacitor 10µF 63V Electrolytic 20% C118 47-10061 Capacitor 10µF 63V Electrolytic 20% C119 45-39052 Capacitor 39PF 500V Ceramic 5% C12 47-10061 Capacitor 10µF 63V Electrolytic 20% C120 45-39052 Capacitor 39PF 500V Ceramic 5% C122 47-10061 Capacitor 10µF 63V Electrolytic 20% C124 47-10061 Capacitor 10µF 63V Electrolytic 20% C125 45-39052 Capacitor 39PF 500V Ceramic 5% C126 45-39052 Capacitor 39PF 500V Ceramic 5% C13 47-22051 Capacitor 22µF 50V Electrolytic 20% C14 47-22051 Capacitor 22µF 50V Electrolytic 20% C15 47-10061 Capacitor 10µF 63V Electrolytic 20% C158 47-10061 Capacitor 10µF 63V Electrolytic 20% C159 47-10061 Capacitor 10µF 63V Electrolytic 20% C16 45-39052 Capacitor 39PF 500V Ceramic 5% C168 45-39052 Capacitor 39PF 500V Ceramic 5% C169 47-10061 Capacitor 10µF 63V Electrolytic 20% C17 45-39052 Capacitor 39PF 500V Ceramic 5% C170 47-10061 Capacitor 10µF 63V Electrolytic 20% C18 45-39052 Capacitor 39PF 500V Ceramic 5% C19 46-47312 Capacitor 0.047µF 100V Poly 10% C2 45-39052 Capacitor 39PF 500V Ceramic 5% C20 45-82052 Capacitor 82PF 500V Ceramic 5% C203 47-10061 Capacitor 10µF 63V Electrolytic 20% C21 45-39052 Capacitor 39PF 500V Ceramic 5% C22 47-10061 Capacitor 10µF 63V Electrolytic 20% C23 45-39052 Capacitor 39PF 500V Ceramic 5% C24 46-10212 Capacitor 0.001µF 100V Poly 10% C25 45-39052 Capacitor 39PF 500V Ceramic 5% C26 47-10061 Capacitor 10µF 63V Electrolytic 20% C27 46-47412 Capacitor 0.47µF 100V Poly 10% C28 46-22312 Capacitor 0.022µF 100V Poly 10% C29 46-22461 Capacitor 0.22µF 63V Poly 10% C3 45-39052 Capacitor 39PF 500V Ceramic 5% C30 46-68312 Capacitor 0.068µF 100V Poly 10% C31 46-33212 Capacitor 0.0033µF 100V Poly 10% C32 46-33312 Capacitor 0.033µF 100V Poly 10% C33 46-10212 Capacitor 0.001µF 100V Poly 10% C34 46-22312 Capacitor 0.022µF 100V Poly 10% C35 45-33113 Capacitor 330PF 1000V 10%

C36 46-10212 Capacitor 0.001µF 100V Poly 10% C37 45-39052 Capacitor 39PF 500V Ceramic 5% C38 46-10212 Capacitor 0.001µF 100V Poly 10% C39 45-39052 Capacitor 39PF 500V Ceramic 5% C4 45-39052 Capacitor 39PF 500V Ceramic 5% C40 46-22212 Capacitor 0.0022µF 100V Poly 10% C41 47-10061 Capacitor 10µF 63V Electrolytic 20% C42 47-10061 Capacitor 10µF 63V Electrolytic 20% C43 47-10061 Capacitor 10µF 63V Electrolytic 20% C44 47-10061 Capacitor 10µF 63V Electrolytic 20% C45 47-10061 Capacitor 10µF 63V Electrolytic 20% C46 46-10312 Capacitor 0.01µF 100V Poly 10% C47 46-10412 Capacitor 0.1µF 100V Poly 10% C48 46-47212 Capacitor 0.0047µF 100V Poly 10% C49 45-33113 Capacitor 330PF 1000V 10% C5 47-10061 Capacitor 10µF 63V Electrolytic 20% C50 45-39052 Capacitor 39PF 500V Ceramic 5% C51 46-10212 Capacitor 0.001µF 100V Poly 10% C52 47-22051 Capacitor 22µF 50V Electrolytic 20% C53 46-10212 Capacitor 0.001µF 100V Poly 10% C54 46-10212 Capacitor 0.001µF 100V Poly 10% C55 46-68212 Capacitor 0.0068µF 100V Poly 10% C56 46-10212 Capacitor 0.001µF 100V Poly 10% C57 46-47212 Capacitor 0.0047µF 100V Poly 10% C58 45-39052 Capacitor 39PF 500V Ceramic 5% C59 45-39052 Capacitor 39PF 500V Ceramic 5% C6 45-39052 Capacitor 39PF 500V Ceramic 5% C60 45-39052 Capacitor 39PF 500V Ceramic 5% C61 47-10061 Capacitor 10µF 63V Electrolytic 20% C62 45-25152 Capacitor 250PF 500V Ceramic 5% C63 45-39052 Capacitor 39PF 500V Ceramic 5% C64 46-47212 Capacitor 0.0047µF 100V Poly 10% C65 46-22212 Capacitor 0.0022µF 100V Poly 10% C66 45-33113 Capacitor 330PF 1000V 10% C67 45-25152 Capacitor 250PF 500V Ceramic 5% C68 46-10212 Capacitor 0.001µF 100V Poly 10% C69 45-33113 Capacitor 330PF 1000V 10% C7 47-10061 Capacitor 10µF 63V Electrolytic 20% C70 47-47125 Capacitor 470µF 25V Electrolytic 20% C71 47-10061 Capacitor 10µF 63V Electrolytic 20% C72 45-39052 Capacitor 39PF 500V Ceramic 5% C73 46-47412 Capacitor 0.47µF 100V Poly 10% C74 46-22312 Capacitor 0.022µF 100V Poly 10% C75 46-22461 Capacitor 0.22µF 63V Poly 10% C76 46-10312 Capacitor 0.01µF 100V Poly 10% C77 46-10412 Capacitor 0.1µF 100V Poly 10% C78 46-47212 Capacitor 0.0047µF 100V Poly 10% C79 46-68312 Capacitor 0.068µF 100V Poly 10% C8 45-39052 Capacitor 39PF 500V Ceramic 5% C80 46-33212 Capacitor 0.0033µF 100V Poly 10% C81 46-33312 Capacitor 0.033µF 100V Poly 10% C82 46-10212 Capacitor 0.001µF 100V Poly 10% C83 46-22312 Capacitor 0.022µF 100V Poly 10% C84 46-10212 Capacitor 0.001µF 100V Poly 10% C85 46-68212 Capacitor 0.0068µF 100V Poly 10% C86 45-33113 Capacitor 330PF 1000V 10% C87 45-39052 Capacitor 39PF 500V Ceramic 5% C88 46-10212 Capacitor 0.001µF 100V Poly 10% C89 47-22051 Capacitor 22µF 50V Electrolytic 20% C9 47-10061 Capacitor 10µF 63V Electrolytic 20% C90 47-47125 Capacitor 470µF 25V Electrolytic 20% C91 46-47312 Capacitor 0.047µF 100V Poly 10% C92 46-47312 Capacitor 0.047µF 100V Poly 10% C93 45-82052 Capacitor 82PF 500V Ceramic 5% C94 45-82052 Capacitor 82PF 500V Ceramic 5% C95 45-82052 Capacitor 82PF 500V Ceramic 5% C96 45-82052 Capacitor 82PF 500V Ceramic 5% C97 45-39052 Capacitor 39PF 500V Ceramic 5% C98 45-39052 Capacitor 39PF 500V Ceramic 5% C99 45-39052 Capacitor 39PF 500V Ceramic 5% D1 60-75320 LED Red small #204HD 3mm T-1.0 D10 60-75340 LED Yellow small #204YD 3mm T-1.0 D11 60-75340 LED Yellow small #204YD 3mm T-1.0 D12 60-75330 LED Green small #204GD 3mm T-1.0 D13 60-75330 LED Green small #204GD 3mm T-1.0 D14 60-75330 LED Green small #204GD 3mm T-1.0 D15 60-75330 LED Green small #204GD 3mm T-1.0 D16 60-75330 LED Green small #204GD 3mm T-1.0 D17 60-75330 LED Green small #204GD 3mm T-1.0 D18 60-75320 LED Red small #204HD 3mm T-1.0 D19 60-75340 LED Yellow small #204YD 3mm T-1.0 D2 61-19140 Diode 1N914 HI SPD 20mA 250mW D20 60-75340 LED Yellow small #204YD 3mm T-1.0 D21 60-75340 LED Yellow small #204YD 3mm T-1.0 D22 60-75330 LED Green small #204GD 3mm T-1.0 D23 60-75330 LED Green small #204GD 3mm T-1.0 D24 60-75330 LED Green small #204GD 3mm T-1.0 D25 60-75330 LED Green small #204GD 3mm T-1.0 D26 60-75330 LED Green small #204GD 3mm T-1.0 D27 60-75330 LED Green small #204GD 3mm T-1.0 D28 60-75320 LED T-1.750" Lg Red #333HD 5mm D29 61-19140 Diode 1N914 HI SPD 20mA 250mW D3 61-19140 Diode 1N914 HI SPD 20mA 250mW D30 61-19140 Diode 1N914 HI SPD 20mA 250mW D31 61-19140 Diode 1N914 HI SPD 20mA 250mW D32 61-19140 Diode 1N914 HI SPD 20mA 250mW D4 61-19140 Diode 1N914 HI SPD 20mA 250mW D5 61-19140 Diode 1N914 HI SPD 20mA 250mW D6 61-19140 Diode 1N914 HI SPD 20mA 250mW D7 60-75320 LED Red small #204HD 3mm T-1.0 D8 60-75320 LED Red small #204HD 3mm T-1.0 D9 60-75340 LED Yellow small #204YD 3mm T-1.0 E1 25-22203 Rot Encoder Vert 5-bit Vert H1 23-11008 Header 8 Pin Vert 2.5mm H2 23-11008 Header 8 Pin Vert 2.5mm H3 23-11008 Header 8 Pin Vert 2.5mm H4 23-11008 Header 8 Pin Vert 2.5mm H5 23-11010 Header 10 Pin Vert 2.5mm H6 23-11008 Header 8 Pin Vert 2.5mm J1 21-50545 Phone Jack 1/4" Stereo H=24mm J10 21-40022 RCA Phono Jack x4 J11 21-50345 Phone Jack 1/4" Mono H=24mm J12 21-50345 Phone Jack 1/4" Mono H=24mm J13 21-50345 Phone Jack 1/4" Mono H=24mm J2 21-50545 Phone Jack 1/4" Stereo H=24mm J3 21-50345 Phone Jack 1/4" Mono H=24mm J31 21-40001 XLR Jack Male Vert J32 21-40001 XLR Jack Male Ver J33 21-40001 XLR Jack Male Ver J4 21-50345 Phone Jack 1/4" Mono H=24mm

J5 21-50345 Phone Jack 1/4" Mono H=24mm J6 21-50345 Phone Jack 1/4" Mono H=24mm J7 21-50345 Phone Jack 1/4" Mono H=24mm J8 21-50345 Phone Jack 1/4" Mono H=24mm J9 21-50545 Phone Jack 1/4" Stereo H=24mm P1 71-15065 Fader 25A50K 60mm HT=.215 P107 72-13168 Potentiometer B50Kx2 D Shaft 14 25F P109 72-13168 Potentiometer B50Kx2 D Shaft 14 25F P11 71-10333 Fader B50K C-C 30mm HT=6.5 P110 72-13168 Potentiometer B50Kx2 D Shaft 14 25F P12 71-10333 Fader B50K C-C 30mm HT=6.5 P120 72-13168 Potentiometer B50Kx2 D Shaft 14 25F P13 71-10333 Fader B50K C-C 30mm HT=6.5 P130 72-13168 Potentiometer B50Kx2 D Shaft 14 25F P14 71-10333 Fader B50K C-C 30mm HT=6.5 P15 71-10333 Fader B50K C-C 30mm HT=6.5 P16 71-10333 Fader B50K C-C 30mm HT=6.5 P17 71-10333 Fader B50K C-C 30mm HT=6.5 P18 71-10333 Fader B50K C-C 30mm HT=6.5 P19 71-10333 Fader B50K C-C 30mm HT=6.5 P2 71-15065 Fader 25A50K 60mm HT=.215 P21 71-10333 Fader B50K C-C 30mm HT=6.5 P22 71-10333 Fader B50K C-C 30mm HT=6.5 P23 71-10333 Fader B50K C-C 30mm HT=6.5 P24 71-10333 Fader B50K C-C 30mm HT=6.5 P25 71-10333 Fader B50K C-C 30mm HT=6.5 P26 71-10333 Fader B50K C-C 30mm HT=6.5 P27 71-10333 Fader B50K C-C 30mm HT=6.5 P28 71-10333 Fader B50K C-C 30mm HT=6.5 P29 71-10333 Fader B50K C-C 30mm HT=6.5 P3 71-15065 Fader 25A50K 60mm HT=.215 P31 71-15065 Fader 25A50K 60mm HT=.215 P32 71-15065 Fader 25A50K 60mm HT=.215 P33 71-09253 Potentiometer B50K D Shaft 9 25F P4 71-09253 Potentiometer B50K D Shaft 9 25F P42 71-09253 Potentiometer B50K D Shaft 9 25F P5 71-09253 Potentiometer B50K D Shaft 9 25F P6 71-09253 Potentiometer B50K D Shaft 9 25F P8 71-09253 Potentiometer B50K D Shaft 9 25F Q1 60-17500 JFET J175 TO-92 P Chnl Q17 60-45000 Transistor 2N54000 TO-92 Q18 60-45000 Transistor 2N54000 TO-92 Q2 60-17500 JFET J175 TO-92 P Chnl R1 50-22055 1/4W Resistor 220K 5% Carbon R10 50-10045 1/4W Resistor 10K 5% Carbon R100 50-47015 1/4W Resistor 47Ω 5% Carbon R101 50-22045 1/4W Resistor 22K 5% Carbon R102 50-10045 1/4W Resistor 10K 5% Carbon R103 50-22035 1/4W Resistor 2.2K 5% Carbon R104 50-22035 1/4W Resistor 2.2K 5% Carbon R105 50-10045 1/4W Resistor 10K 5% Carbon R106 50-10045 1/4W Resistor 10K 5% Carbon R107 50-24035 1/4W Resistor 2.4K 5% Carbon R108 50-15055 1/4W Resistor 150K 5% Carbon R109 50-22035 1/4W Resistor 2.2K 5% Carbon R11 50-10045 1/4W Resistor 10K 5% Carbon R110 50-15035 1/4W Resistor 1.5K 5% Carbon R111 50-22055 1/4W Resistor 220K 5% Carbon R112 50-10015 1/4W Resistor 10Ω 5% Carbon R113 50-22035 1/4W Resistor 2.2K 5% Carbon R114 50-30055 1/4W Resistor 300K 5% Carbon R115 50-24035 1/4W Resistor 2.4K 5% Carbon R116 50-18055 1/4W Resistor 180K 5% Carbon R117 50-22035 1/4W Resistor 2.2K 5% Carbon R118 50-36055 1/4W Resistor 360K 5% Carbon R119 50-12045 1/4W Resistor 12K 5% Carbon R12 50-10055 1/4W Resistor 100K 5% Carbon R120 50-20035 1/4W Resistor 2K 5% Carbon R121 50-13055 1/4W Resistor 130K 5% Carbon R122 50-22035 1/4W Resistor 2.2K 5% Carbon R123 50-11055 1/4W Resistor 110K 5% Carbon R124 50-47035 1/4W Resistor 4.7K 5% Carbon R125 50-22035 1/4W Resistor 2.2K 5% Carbon R126 50-11055 1/4W Resistor 110K 5% Carbon R127 50-18035 1/4W Resistor 1.8K 5% Carbon R128 50-91045 1/4W Resistor 91K 5% Carbon R129 50-24035 1/4W Resistor 2.4K 5% Carbon R13 50-47025 1/4W Resistor 470Ω 5% Carbon R130 50-22035 1/4W Resistor 2.2K 5% Carbon R131 50-22035 1/4W Resistor 2.2K 5% Carbon R132 50-24035 1/4W Resistor 2.4K 5% Carbon R133 50-22055 1/4W Resistor 220K 5% Carbon R134 50-30055 1/4W Resistor 300K 5% Carbon R135 50-91045 1/4W Resistor 91K 5% Carbon R136 50-10045 1/4W Resistor 10K 5% Carbon R137 50-10045 1/4W Resistor 10K 5% Carbon R138 50-10015 1/4W Resistor 10Ω 5% Carbon R139 50-33035 1/4W Resistor 3.3K 5% Carbon R14 50-10045 1/4W Resistor 10K 5% Carbon R140 50-10045 1/4W Resistor 10K 5% Carbon R141 50-10045 1/4W Resistor 10K 5% Carbon R142 50-22045 1/4W Resistor 22K 5% Carbon R143 50-22045 1/4W Resistor 22K 5% Carbon R144 50-10055 1/4W Resistor 100K 5% Carbon R145 50-10045 1/4W Resistor 10K 5% Carbon R146 50-10055 1/4W Resistor 100K 5% Carbon R147 50-10045 1/4W Resistor 10K 5% Carbon R148 50-10065 1/4W Resistor 1M 5% Carbon R149 50-10065 1/4W Resistor 1M 5% Carbon R15 50-10045 1/4W Resistor 10K 5% Carbon R150 50-10055 1/4W Resistor 100K 5% Carbon R16 50-10045 1/4W Resistor 10K 5% Carbon R160 50-47025 1/4W Resistor 470Ω 5% Carbon R163 50-47025 1/4W Resistor 470Ω 5% Carbon R167 50-12045 1/4W Resistor 12K 5% Carbon R168 50-10045 1/4W Resistor 10K 5% Carbon R17 59-10040 1/8W Resistor 10Kx4 SIP 2% R18 50-47045 1/4W Resistor 47K 5% Carbon R19 50-10045 1/4W Resistor 10K 5% Carbon R2 50-10045 1/4W Resistor 10K 5% Carbon R20 50-10045 1/4W Resistor 10K 5% Carbon R200 50-47005 1/4W Resistor 4.7Ω 5% Carbon R201 50-47005 1/4W Resistor 4.7Ω 5% Carbon R21 50-10055 1/4W Resistor 100K 5% Carbon R210 50-22055 1/4W Resistor 220K 5% Carbon R22 50-10045 1/4W Resistor 10K 5% Carbon R227 50-12045 1/4W Resistor 12K 5% Carbon R228 50-47025 1/4W Resistor 470Ω 5% Carbon R229 50-47025 1/4W Resistor 470Ω 5% Carbon R23 50-10045 1/4W Resistor 10K 5% Carbon

R230 50-12045 1/4W Resistor 12K 5% Carbon R235 50-12045 1/4W Resistor 12K 5% Carbon R236 50-47035 1/4W Resistor 4.7K 5% Carbon R237 50-47025 1/4W Resistor 470Ω 5% Carbon R238 50-10045 1/4W Resistor 10K 5% Carbon R239 50-43045 1/4W Resistor 43K 5% Carbon R24 50-10045 1/4W Resistor 10K 5% Carbon R240 50-47025 1/4W Resistor 470Ω 5% Carbon R241 50-47025 1/4W Resistor 470Ω 5% Carbon R242 50-27045 1/4W Resistor 27K 5% Carbon R243 50-15045 1/4W Resistor 15K 5% Carbon R245 50-68035 1/4W Resistor 6.8K 5% Carbon R246 50-39035 1/4W Resistor 39K 5% Carbon R247 50-18035 1/4W Resistor 1.8K 5% Carbon R248 50-91025 1/4W Resistor 910Ω 5% Carbon R249 50-47025 1/4W Resistor 470Ω 5% Carbon R25 50-47025 1/4W Resistor 470Ω 5% Carbon R250 50-27025 1/4W Resistor 270Ω 5% Carbon R251 50-33025 1/4W Resistor 330Ω 5% Carbon R254 50-22045 1/4W Resistor 22K 5% Carbon R255 50-22045 1/4W Resistor 22K 5% Carbon R26 50-22045 1/4W Resistor 22K 5% Carbon R260 50-12045 1/4W Resistor 12K 5% Carbon R261 50-12045 1/4W Resistor 12K 5% Carbon R266 50-22045 1/4W Resistor 22K 5% Carbon R267 50-22045 1/4W Resistor 22K 5% Carbon R27 50-47025 1/4W Resistor 470Ω 5% Carbon R28 50-22045 1/4W Resistor 22K 5% Carbon R29 50-12045 1/4W Resistor 12K 5% Carbon R3 50-47035 1/4W Resistor 4.7K 5% Carbon R30 50-47045 1/4W Resistor 470Ω 5% Carbon R303 50-00035 Jumper 0.35" 0.0Ω R31 50-10045 1/4W Resistor 10K 5% Carbon R32 50-33035 1/4W Resistor 3.3K 5% Carbon R33 50-10045 1/4W Resistor 10K 5% Carbon R34 50-10045 1/4W Resistor 10K 5% Carbon R35 50-10045 1/4W Resistor 10K 5% Carbon R36 50-10045 1/4W Resistor 10K 5% Carbon R37 50-36055 1/4W Resistor 360K 5% Carbon R38 50-10055 1/4W Resistor 100K 5% Carbon R39 50-22045 1/4W Resistor 22K 5% Carbon R4 50-47025 1/4W Resistor 470Ω 5% Carbon R40 50-10045 1/4W Resistor 10K 5% Carbon R404 50-00035 Jumper 0.35" 0.0Ω R41 50-10045 1/4W Resistor 10K 5% Carbon R42 50-22045 1/4W Resistor 22K 5% Carbon R43 50-10045 1/4W Resistor 10K 5% Carbon R44 50-22045 1/4W Resistor 22K 5% Carbon R45 50-47025 1/4W Resistor 470Ω 5% Carbon R46 50-47025 1/4W Resistor 470Ω 5% Carbon R47 50-10045 1/4W Resistor 10K 5% Carbon R48 50-10045 1/4W Resistor 10K 5% Carbon R49 50-10045 1/4W Resistor 10K 5% Carbon R5 50-47025 1/4W Resistor 470Ω 5% Carbon R50 50-10045 1/4W Resistor 10K 5% Carbon R505 50-00035 Jumper 0.35" 0.0Ω R51 50-10045 1/4W Resistor 10K 5% Carbon R52 50-10045 1/4W Resistor 10K 5% Carbon R53 50-10045 1/4W Resistor 10K 5% Carbon R54 50-10045 1/4W Resistor 10K 5% Carbon R55 50-10045 1/4W Resistor 10K 5% Carbon R56 50-22045 1/4W Resistor 22K 5% Carbon R57 50-22045 1/4W Resistor 22K 5% Carbon R58 50-15035 1/4W Resistor 1.5K 5% Carbon R59 50-47025 1/4W Resistor 470Ω 5% Carbon R6 50-22055 1/4W Resistor 220K 5% Carbon R60 50-10045 1/4W Resistor 10K 5% Carbon R606 50-47025 1/4W Resistor 470Ω 5% Carbon R61 50-10045 1/4W Resistor 10K 5% Carbon R62 50-10045 1/4W Resistor 10K 5% Carbon R63 50-47025 1/4W Resistor 470Ω 5% Carbon R64 50-22035 1/4W Resistor 2.2K 5% Carbon R65 50-33035 1/4W Resistor 3.3K 5% Carbon R66 50-33035 1/4W Resistor 3.3K 5% Carbon R67 50-10045 1/4W Resistor 10K 5% Carbon R68 50-12045 1/4W Resistor 12K 5% Carbon R69 50-47025 1/4W Resistor 470Ω 5% Carbon R7 50-22055 1/4W Resistor 220K 5% Carbon R70 50-12045 1/4W Resistor 12K 5% Carbon R71 50-10045 1/4W Resistor 10K 5% Carbon R72 50-22045 1/4W Resistor 22K 5% Carbon R73 50-15055 1/4W Resistor 150K 5% Carbon R74 50-10045 1/4W Resistor 10K 5% Carbon R75 50-10045 1/4W Resistor 10K 5% Carbon R76 50-12045 1/4W Resistor 12K 5% Carbon R77 50-10045 1/4W Resistor 10K 5% Carbon R78 50-10045 1/4W Resistor 10K 5% Carbon R79 50-18055 1/4W Resistor 180K 5% Carbon R8 50-10045 1/4W Resistor 10K 5% Carbon R80 50-22035 1/4W Resistor 2.2K 5% Carbon R808 50-00035 Jumper 0.35" 0.0Ω R81 50-36055 1/4W Resistor 360K 5% Carbon R82 50-20035 1/4W Resistor 2K 5% Carbon R83 50-13055 1/4W Resistor 130K 5% Carbon R84 50-22035 1/4W Resistor 2.2K 5% Carbon R85 50-11055 1/4W Resistor 110K 5% Carbon R86 50-22035 1/4W Resistor 2.2K 5% Carbon R87 50-11055 1/4W Resistor 110K 5% Carbon R88 50-18035 1/4W Resistor 1.8K 5% Carbon R89 50-10045 1/4W Resistor 10K 5% Carbon R9 50-10055 1/4W Resistor 100K 5% Carbon R90 50-10045 1/4W Resistor 10K 5% Carbon R909 50-10015 1/4W Resistor 10Ω 5% Carbon R91 50-10045 1/4W Resistor 10K 5% Carbon R92 50-22045 1/4W Resistor 22K 5% Carbon R93 50-10045 1/4W Resistor 10K 5% Carbon R94 50-22045 1/4W Resistor 22K 5% Carbon R95 50-22045 1/4W Resistor 22K 5% Carbon R96 50-22045 1/4W Resistor 22K 5% Carbon R97 50-22045 1/4W Resistor 22K 5% Carbon R98 50-10045 1/4W Resistor 10K 5% Carbon R99 50-47015 1/4W Resistor 47Ω 5% Carbon R999 50-00035 Jumper 0.35" 0.0Ω S1 25-04201 Switch 4PDT Push Vert S2 25-04201 Switch 4PDT Push Vert S5 25-02201 Switch DPDT Push Vert S6 25-02201 Switch DPDT Push Vert S7 25-02201 Switch DPDT Push Vert S8 25-02201 Switch DPDT Push Vert

REPLACEMENT PARTS LIST

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 consti-

tute a risk of electric shock to persons.

This symbol is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

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 INCIDEN-

TAL 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.

Page 2

THREE BAND

CHANNEL TONE

CONTROLS

PAD

GAIN

MID

LOW

MIC PRE

CHANNEL

FADER

LEFT

TAPE IN

RCA

PAN

RIGHT

CHANNELS

line pad (-16dB)

PHONES

LEVEL

PHONES OUTPUT

RIGHT

LEFT

EFFECTS RETURN

3L - 3R

RETURN 3

LEVEL

L - R

METERS

INSERT

MIC

LINE

LO CUT

MUTE

PFL

MON 4

MON 1

LEFT & RIGHT

BAL OUT

HEADPHONE

AND METER

SWITCHES

L - R

LEFT

RIGHT

EFF 1

EFF 2

PFL

MON 1 - 4

LEVEL

LEFT

FADERS

GROUP 1

MUTE

TAPE OUT

GROUP 2

GROUP 3

GROUP 4

MON

2-3

MON 3

MON 4

MON 1

MON 2

GROUPS 1 - 4

1 - 4

BAL TRS

SWITCH TO

GRAPHIC EQ

RIGHT

REQ EFF

1-2

LEFT

RIGHT

EFFECTS RETURN

4L - 4R

TAPE IN

RTN 4 LEVEL

SWITCH TO

GRAPHIC EQ

MON 1 & 2 ONLY

PFL

MONO MONO

BAL OUT

RIGHT

LEFT

ASSIGN

EFF SNDS

1 & 2

DSP x 2

MON 1 - 4

L & R

MONS 1 - 3

FADERS

LEFT

RIGHT

EFF 1

EFF 2

PFL

GROUP 1

GROUP 2

GROUP 3

GROUP 4

MON 3

MON 4

MON 1

MON 2

SIGPEAK

STEREO

IN 1

IN 2

SOURCE

CARVIN ENGINEERING DATA C844, C1644, C2444, C3244 4-BUS MIXER OPERATING MANUAL

12340 World Trade Drive, San Diego, CA 92128

(800) 854-2235 www.carvin.com

76-02400 1001

CONCERT SERIES SPECIFICATIONS:

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 ±1dB 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 Power: 90 to 250VAC 50-60Hz, 20 to 50VA 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 C2444: 14.25”D x 30”W x 3.25”H C3244: 14.25”D x 38.1”W x 3.25”H

C1644 BLOCK DIAGRAM

C1644

CONCERT 44 SERIES Never before have so many features been packed into such a rugged, compact, American made mixer. The best feature of the Concert 44 Series is the sound. Sound that is pure and quiet enough for your digital recording studio! Everything is logically laid out making the powerful features simple to use and the compact size makes it a breeze to carry. The knobs are not micro size, making adjustments quick and easy - and the visible pointers show you the status of your mix at a glance. The C844, C1644, C2444 and C3244 feature 8 to 32 channels with true 4-bus performance.

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 section, etc. into one sub group fader, which feeds the L/R faders. This is an easy way to control the volume of grouped mics or 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.

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.

FOUR MONITOR SENDS Every channel can access any of the 4 MONITOR mixes while still having access to 2 EFFECTS. The MONITOR 4-ALT EFF2 control not only sends to the MONITOR 4 output but also sends to the EFFECTS 2 processor for two simultaneous effects per channel. All 4 monitor sends are balanced.

3 BAND EQ/MID SWEEP The superb EQ system gives extended 15 dB boost and cut tone shaping. The LOW frequency control builds bass response starting with 20 Hz through 80 Hz for a solid non-flabby bass. 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 topend 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.

RECEIVING INSPECTION—read before getting started

INSPECT YOUR MIXER FOR ANY DAMAGE which may have occurred during shipping. If any 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 any 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.

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 overloading. 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.

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.

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.

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.

ENGINEERED TO LAST Hidden deep in the heart of these USA 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.

For your records, you may wish to record the following information. Serial No._________________________ InvoiceDate___________

Optional Accessories:

C844: CB800 Heavy padded bag FS22 foot switch for all models C1644: CB1600 Heavy padded bag AN1600 Anvil™ hard case C2444: CB2400 Heavy padded bag AN2400 Anvil™ hard case C3244:

AN3200 Anvil™ hard case

Page 3

C44 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/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 right under the PEAK LED flash point to maintain the lowest noise performance 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.

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

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” posi-

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 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 MID’s to clean up your sound. This is the key 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 complement these various inputs. 700Hz is a recommended setting for the MID FREQ control for guitar and vocals.

8. 9. 10. MONITOR 1 THRU 4 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 (#24) respectively before going to the output connectors (#39). To start, use MON 1. The MON 2/MON 3 control will send either to MON 2 or MON 3. The center position is OFF. The MON 4-ALT EFF 2 not only sends to the MON 4 out but also to the EFF2 if the EFF2/MON 4 switch (#21) is selected in the master EFFECTS 2 processor. This provides two simultaneous effects per channel and the use of MON 4.

11. EFF 1/EFF 2 CONTROL

The EFF 1/2 control will send a signal to EFFECTS 1 or EFFECTS 2 and to the EFF 1-2 jacks (#36). The center posi-

tion is OFF. If BOTH effects are desired simultaneously for all channels, press the MASTER EFFECTS 2 SOURCE EFF2/MON4 switch (# 21) and use the MON 4 channel send, which will also send to the MON 4 output (#39).

12. 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.

13. 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.

14. CHANNEL PEAK RED 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.

C844, C1644, 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)

• 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 position.

• Adjust the Channel “PAN”controls to their center

position.

• Turn the mixer on by the rear panel POWER SWITCH and watch for the POWER LED. Your mixer is now ready to operate.

PHANTOM

CONCERT SERIES

1-8

POWER

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

PEA

010

050

GAIN

OFF

MMON

OFF

EEFF 1

FREQ

-12

-24

-30

-50

-6

15- 15

13 14

Page 4

15. CHANNEL MUTE SWITCH

Use the MUTE switch to kill the channel. This feature saves having to reset your faders and monitor sends.

16. 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 (#32).

17. 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.

18. 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 con- trol. Calibrated 60mm FADERS with audio taper are featured for smooth fade-outs. Slide all faders down when connecting your inputs. Note: for best board performance, channel faders should be set slightly higher than the Sub-Groups and Master L/R faders.

19. MIC PHANTOM POWER SWITCH / RED LED

This switch provides phantom 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 phantom power.

MASTER SECTION

20. 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 control. A “solid” PK LED will show EFFECTS 1 or 2 have been muted, either by the MUTE switches or by the optional FS22 footswitch (#41). The RETURN control will adjust the volume level of the selected effects. Remember each channel has its own EFFECT send 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). 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). REVERB: When the SELECTcontrol is at the “10 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.

CHORUS: When the SELECT control is at the “1 O-clock” position it is selected to the first CHORUS set- ting. 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 SELECTcontrol 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.

21. SOURCE EFF2/MON4 SWITCH

In the “OUT” position, the EFFECTS 2 processor gets its signal from the EFF2channel send control. Clicking this switch “IN” will route the MON 4 mix (#10) to the internal EFFECTS 2 processor. This allows both effects to be used on each channel simultaneously.

22. 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 (#39).

23. RCA TAPE IN/RTN EFF4 JACKS

Receives a signal from the RTN 4 L/R 1/4” jacks (#38) & from the TAPE IN jacks (#44). These signals will also be present at MON 1.

24. MONITOR 1-4 CONTROLS

These are the master out-

puts for the four monitor sends. These correspond to the balanced 1/4” MON 1-4 output jacks

(#39)

25. 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 (#27), then each fader is bused to the corresponding 4 GROUP 1/4” outputs (#40). By assigning the 4 faders to the Master L-R faders, the operator can use the faders to sub-mix groups.

26. 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.

27. GROUP ASSIGNMENT SWITCHES

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

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

(#45)

29. 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 (#46).

30. HEADPHONE AND METER SOURCE

The stereo PHONES control sets the level of the PHONES jack (#42). 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 (#32).

31. PFL RED LED

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

32. 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

(#30).

33. 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.

34. 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.

35. POWER LED Verifies the mixer is on.

36. EFFECTS 1 & 2 OUTPUT JACKS

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

37. 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 .

38. RTN 4 L/R INPUT JACKS

Returns a stereo signal from other sources.

39. 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.

40. 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.

41. EFF SW 1-2 FOOTSWITCH JACK

The optional FS22 will remotely shut off EFFECTS 1 or 2.

42. HEADPHONE JACK

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

43. RCA L & R TAPE OUT

RCA jacks for connecting to a tape recorder input.

44. RCA L & R TAPE IN

For stereo playback of a tape/CD (parallel with RTN 4 jacks).

45. 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.

46. MONO XLR OUTPUT CONNECTOR

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

1-2

3-4

MONO

L-R

EQ 1 EQ 2

0105010501050105010

RTN 3 MON 2MON 1 MON 4RTN 4 MON 3

TAPE INRETURN MONITORS

010

MONO

MUTE

MON4

EFF2

SOURCE

POWER

PFL

PHONES

LEFT / MON 1

RIGHT / MON 2

+18

+12

- 6

-12

-18

-24

-30

PEAK

CONCERT SERIES

C1644

010

OFF

1MON 2MON

OFF

1MON 3MON

-30

-50

-12

-24

-30

-50

-12

-24

-30

-50

-12

-24

-30

-50

-12

-24

010

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

24-BIT DUAL STEREO EFFECTS

125 250 50063 1K 2K 4K 8K 16K

8 4

4 8

±12

+12

8 4

4 8 12-

12+

PARAM

ECHO

REGEN

TIME

REVERB

DAMPING

DECAY

FLANGE

SPEED

DEPTH

CHORUS

REV LEVEL

DEPTH

SELECT

SELECT PARAMETER

101

4567

101

4567

EFFECTS 2

TO MONITORSRETURN

EFFECTS 1

8 4

4 8

±12

+12

8 4

4 8 12-

12+

L R

TAPE IN

TAPE OUT

MON 1

423

PHONES

EFF 1 3L 3R

RETURN

MONO

MON 2 MON 3

RTN 4

MON 4

EFF 2

GROUPS

100

456

100

METERS

1234LR

PFL PFL PFL PFL

0 0

MON

EFF SW 1 2

-12

-24

-30

-50

-6 -6-6 -6 -6

PHANTOM

9-16

POWER

MID

PAN

2/3

MON

EFF 1/2

MON

CUT

PFL

MUTE

3-4

1-2

L-R

LOW

EFF

ALT

100 5k

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF 2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

Page 5

In a live sound reinforcement system, the input signals to the mixer will come from the microphones and instruments. Each microphone or instrument to be amplified by the system 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” 0 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 micro-

phones 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 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 with 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.

PROTECT

∞

5050

3030

2222

1919

1717

1515

1313

1212

1111

1010

7 6 5 4

3 2 1

0 dB0 dB

DCM1000

1000 Watt Power Amp

CLIP

SIGNAL

∞

5050

2222

1919

1717

1515

1313

1212

1111

1010

8 7

6 5 4

3 2 1

0 dB0 dB

POWER

CHANNEL ONE CHANNEL TWO

CLIP

SIGNAL

PROTECT

∞

5050

3030

2222

1919

1717

1515

1313

1212

1111

1010

9 8

6 5 4

3 2

0 dB0 dB

DCM1000

1000 Watt Power Amp

CLIP

SIGNAL

∞

5050

3030

2222

1919

1717

1515

1313

1212

1111

1010

7 6 5 4

3 2 1

0 dB0 dB

POWER

CHANNEL ONE CHANNEL TWO

CLIP

SIGNAL

PROTECT

∞

5050

3030

2222

1919

1717

1515

1313

1212

1111

1010

8 7

6 5 4

3 2

0 dB0 dB

DCM1000

1000 Watt Power Amp

CLIP

SIGNAL

∞

5050

3030

2222

1919

1717

1515

1313

1212

1111

1010

8 7

6 5 4

3 2

0 dB0 dB

POWER

CHANNEL ONE CHANNEL TWO

CLIP

SIGNAL

PROTECT

∞

5050

3030

2222

1919

1717

1515

1313

1212

1111

1010

8 7

6 5 4

3 2

0 dB0 dB

DCM1000

1000 Watt Power Amp

CLIP

SIGNAL

∞

5050

3030

2222

1919

1717

1515

1313

1212

1111

1010

8 7

6 5 4

3 2

0 dB0 dB

POWER

CHANNEL ONE CHANNEL TWO

CLIP

SIGNAL

PHANTOM

1-2

3-4

MONO

L-R

EQ 1 EQ 2

0105010501050105010

RTN 3 MON 2MON 1 MON 4RTN 4 MON 3

TAPE INRETURN MONITORS

010

MONO

MUTE

MON4

EFF2

SOURCE

POWER

PFL

PHONES

LEFT /

MON 1

RIGHT / MON 2

+18

+12

- 6

-12

-18

-24

-30

PEAK

CONCERCONCERT SERIEST SERIES

C1644

010

OFF

1MON 2MON

OFF

1MON 3MON

-30

-50

-12

-24

-30

-50

-12

-24

-30

-50

-12

-24

-30

-50

-12

-24

010

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

24-BIT DUAL STEREO EFFECTS

125 250 50063 1K 2K 4K 8K 16K

8 4

4 8

±12

+12

8 4

4 8 12-

12+

PARAM

ECHO REGEN

TIME

REVERB DAMPING

DECAY

FLANGE SPEED

DEPTH

CHORUS

REV LEVEL

DEPTH

SELECT

SELECT PARAMETER

101

4567

101

4567

EFFECTS 2

TO MONITORSRETURN

EFFECTS 1

8 4

4 8

±12

+12

8 4

4 8 12-

12+

L R

TAPE IN

TAPE OUT

MON 1

423

PHONES

EFF 1 3L 3R

RETURN

MONO

MON 2 MON 3

RTN 4

MON 4

EFF 2

GROUPS

100

456

7 8 9

100

7 8 9

METERS

1234LR

PFL PFL PFL PFL

0 0

MON

EFF SW 1 2

-12

-24

-30

-50

-6 -6-6 -6 -6

1-8

POWER

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050

GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050

GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

+ 15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

PHANTOM

9-16

POWER

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050

GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

+ 15- 15

10K

6K 45K

35K

25K

10 230

120

EQ IN

GAIN

PEAK

HI CUT

LOW CUT

dB +6

31.5 4025 50 63

0dB

+6 +3

-3

-6 15

100 16012580 200 250 400 630500315

1k 1.25k800 1.6k 2k 3.15k 5k4k2.5k

6.3K 8K 12.5K 20K16K10K

10K

6K 45K

35K

25K

10 230

120

EQ IN

GAIN

PEAK

HI CUT

LOW CUT

dB +6

31.5 4025 50 63

0dB

+6 +3

-3

-6 15

100 16012580 200 250 400 630500315

1k 1.25k800 1.6k 2k 3.15k 5k4k2.5k

6.3K 8K 12.5K 20K16K10K

OFF

EQ2030

40 6325 100 160

0dB

+6 +3

-3

-6 15

400 1K630250 1.6K 2.5K 6.3K 16K10K4K

40 6325 100 160

0dB

+6 +3

-3

-6 15

400 1K630250 1.6K 2.5K 6.3K 16K10K4K

CHANNEL TWOCHANNEL ONE

OFF

EQ2015

10K

6K 45K

35K

25K

10 230

120

EQ IN

GAIN

PEAK

HI CUT

LOW CUT

dB +6

10K

6K 45K

35K

25K

10 230

120

EQ IN

GAIN

PEAK

HI CUT

LOW CUT

dB +6

STEREO LIVE SOUND SYSTEM

CHANNEL CONNECTIONS AND SUB-MIXING

MASTER OUTPUTS

The main stereo loudspeakers 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.

PHANTOM

1-2

3-4

MONO

L-R

EQ 1 EQ 2

0105010501050105010

RTN 3 MON 2MON 1 MON 4RTN 4 MON 3

TAPE INRETURN MONITORS

010

MONO

MUTE

MON4

EFF2

SOURCE

POWER

PFL

PHONES

LEFT /

MON 1

RIGHT / MON 2

+18

+12

- 6

-12

-18

-24

-30

PEAK

CONCERCONCERT SERIEST SERIES

C1644

010

OFF

1MON 2MON

OFF

1MON 3MON

-30

-50

-12

-24

-30

-50

-12

-24

-30

-50

-12

-24

-30

-50

-12

-24

010

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

24-BIT DUAL STEREO EFFECTS

125 250 50063 1K 2K 4K 8K 16K

8 4

4 8

±12

+12

8 4

4 8 12-

12+

PARAM

ECHO

REGEN

TIME

REVERB DAMPING

DECAY

FLANGE

SPEED

DEPTH

CHORUS

REV LEVEL

DEPTH

SELECT

SELECT PARAMETER

101

4567

101

4567

EFFECTS 2

TO MONITORSRETURN

EFFECTS 1

8 4

4 8

±12

+12

8 4

4 8 12-

12+

L R

TAPE IN

TAPE OUT

MON 1

423

PHONES

EFF 1 3L 3R

RETURN

MONO

MON 2 MON 3

RTN 4

MON 4

EFF 2

GROUPS

100

456

100

METERS

1234LR

PFL PFL PFL PFL

0 0

MON

EFF SW 1 2

-12

-24

-30

-50

-6 -6-6 -6 -6

1-8

POWER

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

+ 15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

+ 15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

+ 15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

+ 15- 15

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

PHANTOM

9-16

POWER

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

+ 15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

+ 15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

+ 15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

+ 15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

-30

-50

-12

-24

-30

-50

-12

-24

-30

-50

-12

-24

-30

-50

-12

-24

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

1234LR

PFL PFL PFL PFL

0 00

-12

-24

-30

-50

-6 -6-6 -6 -6

CONNECTING UP

The XLR Mic inputs are balanced low impedance inputs. 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 single 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.

SUB-MIXING

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 pair of sub group faders 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 stereo can be assigned to a pair sub-mix faders. If the drums need to be adjusted in the main mix, only group 2 faders need 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 L-R main faders. If the drums are to be mixed mono, 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.

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 MON 2 outputs.

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

4. Power amp for the use as side fill or back of room fill on the Group outputs.

5. Effects processor in the EFF2 send, EFF3 stereo return loop.

The illustration shows channels 1-4 assigned to sub-mix faders 1 & 2. The final L-R mix is created by assigning the sub-mix faders to the L-R faders.

Page 6

HALF INSERT DIRECT OUT

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 it becomes what is called an “insert direct out”. An insert direct out functions as a normal direct out but the plug has to be half inserted. If an insert is needed on the same channel, special cabling is required to perform both functions. The half insertion connects the tip of the plug being inserted to the ring of the jack. If the jack is fully inserted to where the tip of the plug connects to the tip of the jack, the internal jack switch will open and the channel’s signal path will be broken. The connection will still function as a direct out but the channel’s signal will stop at the insert and not continue on to the rest of the channel. The result of the half insert is multiple outputs for use in multi-track recording.

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 channel signal coming from the microphone preamplifier will be forced to go 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. The adapter cable will have on one end the TRS plug and two mono plugs either male or female on the other end. The two plugs each have the ground connected to the sleeve, one has the return on its tip and the other has the send on its tip. This allows the send to be connected to the input of the external equipment and the return to its output completing the insert loop back to the channel.

INSERTS AND DIRECT OUTS

CONCER

T SERIES

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.

PHANTOM

1-2

3-4

MONO

L-R

EQ 1 EQ 2

0105010501050105010

RTN 3 MON 2MON 1 MON 4RTN 4 MON 3

TAPE INRETURN MONITORS

010

MONO

MUTE

MON4

EFF2

SOURCE

POWER

PFL

PHONES

LEFT /

MON 1

RIGHT / MON 2

+18

+12

- 6

-12

-18

-24

-30

PEAK

CONCERCONCERT SERIEST SERIES

C1644

010

OFF

1MON 2MON

OFF

1MON 3MON

-30

-50

-12

-24

-30

-50

-12

-24

-30

-50

-12

-24

-30

-50

-12

-24

010

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

24-BIT DUAL STEREO EFFECTS

125 250 50063 1K 2K 4K 8K 16K

8 4

4 8

±12

+12

8 4

4 8 12-

12+

PARAM

ECHO

REGEN

TIME

REVERB DAMPING

DECAY

FLANGE SPEED

DEPTH

CHORUS

REV LEVEL

DEPTH

SELECT

SELECT PARAMETER

101

4567

101

4567

EFFECTS 2

TO MONITORSRETURN

EFFECTS 1

8 4

4 8

±12

+12

8 4

4 8 12-

12+

L R

TAPE IN

TAPE OUT

MON 1

423

PHONES

EFF 1 3L 3R

RETURN

MONO

MON 2 MON 3

RTN 4

MON 4

EFF 2

GROUPS

100

456

7 8 9

100

7 8 9

METERS

1234LR

PFL PFL PFL PFL

0 0

MON

EFF SW 1 2

-12

-24

-30

-50

-6 -6-6 -6 -6

1-8

POWER

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050

GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

+ 15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050

GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

PHANTOM

9-16

POWER

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050

GAIN

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

LINE

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF

1/2

MON

050

GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

15- 15

MIC

INSERT

MID

PAN

PEAK

SIG

010

2/3

MON

EFF 1/2

MON

050 GAIN

LO CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

3MON 2

OFF

EFF

2EFF 1

LOW

FREQ

EFF

ALT

-12

-24

-30

-50

-6

100 5k

+ 15- 15

MULTI-TRACK RECORDING

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.

MULTI-TRACK MIXDOWN

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.

LINE

MIC

GAIN

MID

LOW

INSERT

010

- 0 +

9129

- 0 +

FULL INSERT

MIC Pre-Amp

PIN 2 (+)

PIN 3 (–)

GAIN

SEND RETURN

TO EFFECTS

TIP: SEND RING: RETURN

SLEEVE: GROUND

INSERT JACK

STEREO PLUG

LINE

MIC

GAIN

MID

LOW

INSERT

4 3 2

010

- 0 +

9129

- 0 +

1/2 INSERT

PIN 2 (+)

PIN 3 (–)

MIC Pre-Amp

GAIN

TO RECORDER

TIP: SIGNAL

SLEEVE: GROUND

INSERT JACK

MONO PLUG

GRAPHIC EQ

PHANTOM

LINE

125 25063

500 1K

8 4 0 4 8

4K 16K8K2K

8 4 0 4 8

LINE

MIC

INSERT

CUT

050

GAIN

15- 15

FREQ

1005k

MID

15- 15

LOW

15- 15

MON

010

MON

OFF

2/3

MON

3MON 2

MON

ALT

EFF

010

EFF

OFF

1/2

2EFF 1

EFF

PAN

SIG

PEAK

MUTE

PFL

1-2

-6

3-4

-12

L-R

-24

-30

-50

POWER

LINE

1-8

MIC

INSERT

CUT

050

GAIN

15- 15

FREQ

1005k

MID

15- 15

LOW

15- 15

MON

010

MON

OFF

2/3

MON

3MON 2

MON

ALT

EFF

010

EFF

OFF

1/2

2EFF 1

EFF

PAN

SIG

PEAK

MUTE

PFL

1-2

-6

3-4

-12

L-R

-24

-30

-50

MIC

INSERT

CUT

050

GAIN

15- 15

3MON 2

ALT EFF 2

2EFF 1

1-2

-6

3-4

-12

-24

-30

-50

15- 15

FREQ

1005k

MID

15- 15

LOW

15- 15

MON

010

MON

OFF

2/3

MON

3MON 2

MON

ALT

EFF

010

EFF

OFF

1/2

2EFF 1

EFF

PAN

SIG

PEAK

MUTE

PFL

1-2

-6

3-4

-12

L-R

-24

-30

-50

LINE

MIC

INSERT

CUT

1005k

MID

MON

MON 2/3

66 99

3MON 2

MON

ALT EFF 2

EFF 1/2

66 99

2EFF 1

PAN

MUTE

PFL

1-2

3-4

L-R

CUT

050

GAIN

15- 15

FREQ

1005k

MID

15- 15

LOW

15- 15

MON

010

MON

OFF

2/3

MON

3MON 2

MON

ALT

EFF

010

EFF

OFF

1/2

2EFF 1

EFF

PAN

SIG

PEAK

MUTE

PFL

1-2

-6

3-4

-12

L-R

-24

-30

-50

PHANTOM POWER

LINE

9-16

MIC

INSERT

CUT

050 GAIN 0

+ 15- 15

FREQ

1005k

MID

+ 15- 15

LOW

+ 15- 15

MON

010

MON

OFF

2/3

66 99

MON

3MON 2

MON

ALT EFF 2

010

EFF

OFF

1/2

66 99

2EFF 1

EFF

PAN

SIG

PEAK

MUTE

PFL

1-2

-6

3-4

-12

L-R

-24

-30

-50

MIC

MON 1

MON 2 MON 3

EFF 2

EFF 1 3L 3R

+12

CUT

050

GAIN

4 8

±12

+ 15- 15

FREQ

1005k

+12

MID

8 + 15- 15

LOW

±12 + 15- 15

125 250 50063 1K 2K 4K 8K 16K

MON

24-BIT DUAL STEREO EFFECTS

010

MON

OFF

2/3

MUTE

MON

3MON 2

456

MON

ALT

EFF

MUTE

010

SOURCE

EFF

OFF

EFF2

1/2

SELECT

66 99

MON4

PARAM

2EFF 1

EFF

PAN

010

SIG

RTN 3 MON 2MON 1 MON 4RTN 4 MON 3

PEAK

LEFT

MUTE

RIGHT

PFL

1-2

PFL PFL PFL PFL

-6 -6-6 -6 -6

3-4

-12

L-R

-24

-30

-50

1234LR

GROUPS

TAPE OUT

423

MON 4

L R

RETURN

CONCER

EFFECTS 1

OFF

4567

1MON 2MON

100

EFFECTS 2

OFF

4567

1MON 3MON

100

SELECT PARAMETER

TO MONITORSRETURN

ECHO

REVERB

FLANGE

CHORUS

REGEN

DAMPING

SPEED

REV LEVEL

TIME

DECAY

DEPTH

TAPE INRETURN MONITORS

0105010501050105010

LEFT

RIGHT

0 0

-12

-24

-30

-50

TAPE IN

MONO

RTN 4

POWER

12+ 8

EQ 1 EQ 2 4 0 4

LEFT /

RIGHT /

MON 1

MON 2

12-

T SERIES

C1644

12+ 8 4

PEAK

0 4

+18 8 12-

+12

- 6

-12

-18

8 9

-24

101

-30

8 9

101

MONO

010

PFL

PHONES

010

L-R

-12

MONO

-24

MON

-30

1-2

MON

-50

3-4

METERS

PHONES

EFF SW 1 2

Carvin C44 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual