Owner's Manual

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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 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.

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, depend-

ing 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 connect-

ing 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 chan-

nel 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 short-

est 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 regener-

ation).

REVERB: When the SELECT control

is at the “10 O-clock” position, it is

selected to the first REVERB setting.

Turning the SELECT control clock-

wise will increase the amount of high

frequencies in the reverb. Turning the

PARAMETER control to 1 will pro-

vide minimal decay time of the

reverb. Increasing to the right will

increase the reverb decay time.

CHORUS: When the SELECT con-

trol 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 pro-

vide a minimal chorus depth setting.

Increasing to the right will increase

the chorus depth.

FLANGE: When the SELECT control

is at the “4 O-clock” position it is

selected to the first FLANGE setting.

Turning the SELECT control clock-

wise 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 con-

trols is OFF.

21. SOURCE EFF2/MON4 SWITCH

In the “OUT” position, the EFFECTS 2 processor gets its signal from

the EFF2 channel 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 bal-

anced 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, selec-

table 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 elimi-

nate 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

010

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

±12

+12

12-

12+

PARAM

ECHO

REGEN

TIME

REVERB

DAMPING

DECAY

FLANGE

SPEED

DEPTH

CHORUS

REV LEVEL

DEPTH

SELECT

SELECT PARAMETER

101

EFFECTS 2

TO MONITORSRETURN

EFFECTS 1

±12

+12

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

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

PA N

SIG

2/3

MON

EFF

1/2

MON

CUT

PFL

MUTE

3-4

1-2

L-R

MON

EFF 2

LOW

EFF

ALT

100 5k

LINE

MIC

INSERT

MID

PA N

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

LINE

MIC

INSERT

MID

PA N

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

MIC

INSERT

MID

PA N

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