Manualshelf

Owner's Manual

ManualsBrandsCarvin ManualsAudioCarvin C3244
123456
In a live sound reinforcement system, the input signals to the mixer will come from the micro-
phones 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 instru-
ments as possible plugged into the mixer. This allows for the best overall control of the instru-
ments 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 feed-
back 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 instru-
ments. 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, espe-
cially if something needs to be checked during the show.
PROTECT
∞
5050
3030
2222
1919
1717
1515
1313
1212
1111
1010
9
8
7
6
5
4
3
2
1
0 dB0 dB
DCM1000
1000 Watt Power Amp
CLIP
SIGNAL
∞
5050
30
2222
1919
1717
1515
1313
1212
1111
1010
9
8
7
6
5
4
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1
0 dB0 dB
POWER
CHANNEL ONE CHANNEL TWO
CLIP
SIGNAL
PROTECT
∞
5050
3030
2222
1919
1717
1515
1313
1212
1111
1010
9
8
7
6
5
4
3
2
1
0 dB0 dB
DCM1000
1000 Watt Power Amp
CLIP
SIGNAL
∞
5050
3030
2222
1919
1717
1515
1313
1212
1111
1010
9
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
7
6
5
4
3
2
1
0 dB0 dB
DCM1000
1000 Watt Power Amp
CLIP
SIGNAL
∞
5050
3030
2222
1919
1717
1515
1313
1212
1111
1010
9
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
7
6
5
4
3
2
1
0 dB0 dB
DCM1000
1000 Watt Power Amp
CLIP
SIGNAL
∞
5050
3030
2222
1919
1717
1515
1313
1212
1111
1010
9
8
7
6
5
4
3
2
1
0 dB0 dB
POWER
CHANNEL ONE CHANNEL TWO
CLIP
SIGNAL
PHANTOM
1-2
3-4
MONO
L-R
EQ 1 EQ 2
00
010
5
010
5
010
5
010
5
010
5
RTN 3 MON 2MON 1 MON 4RTN 4 MON 3
TAPE INRETURN MONITORS
010
5
PK
PK
MONO
MUTE
MUTE
MON4
EFF2
SOURCE
LR
POWER
PFL
PHONES
LEFT /
MON 1
RIGHT /
MON 2
+18
+12
+6
0
- 6
-12
-18
-24
-30
PEAK
dB
CONCERCONCERT SERIEST SERIES
C1644
010
5
OFF
99
66
33
1MON 2MON
OFF
99
66
33
1MON 3MON
-30
-50
-12
-24
12
6
-30
-50
-12
-24
12
6
-30
-50
-12
-24
12
6
-30
-50
+
-12
-24
12
010
5
LEFT
RIGHT
LEFT
RIGHT
LEFT
RIGHT
LEFT
RIGHT
24-BIT DUAL STEREO EFFECTS
125 250 50063 1K 2K 4K 8K 16K
0
8
4
4
8
±12
+12
0
8
4
4
8
12-
12+
PARAM
ECHO
REGEN
TIME
REVERB
DAMPING
DECAY
FLANGE
SPEED
DEPTH
CHORUS
REV LEVEL
DEPTH
SELECT
SELECT PARAMETER
101
2
3
4
56
7
8
9
101
2
3
4
56
7
8
9
EFFECTS 2
TO MONITORSRETURN
EFFECTS 1
0
8
4
4
8
±12
+12
0
8
4
4
8
12-
12+
L R
TAPE IN
1
L
TAPE OUT
R
MON 1
423
PHONES
EFF 1 3L 3R
RETURN
MONO
MON 2 MON 3
RTN 4
MON 4
EFF 2
GROUPS
100
1
2
3
4
5
6
7
8
9
100
1
2
3
4
5
6
7
8
9
METERS
1234LR
PFL PFL PFL PFL
0 0
MON
MON
EFF SW 1 2
-
0
-12
-24
-30
-50
+
12
+6
-6 -6-6 -6 -6
+6
1-8
POWER
1
1
LINE
1
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
2
2
LINE
2
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
3
3
LINE
3
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
4
4
LINE
4
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
5
5
LINE
5
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
6
6
LINE
6
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
7
7
LINE
7
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
8
8
8
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
PHANTOM
9-16
POWER
9
9
LINE
9
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
10
10
LINE
10
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
11
11
LINE
11
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
12
12
LINE
12
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
13
13
LINE
13
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
14
14
LINE
14
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
15
15
LINE
15
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
16
16
16
MIC
INSERT
MID
HI
C
LR
0
0
0
PAN
PEAK
SIG
010
5
010
5
2/3
MON
4
MON
EFF
1/2
1
MON
050
GAIN
LO
CUT
PFL
MUTE
3-4
1-2
L-R
OFF
MON
3MON 2
99
66
33
OFF
EFF
2EFF 1
99
66
33
LOW
FREQ
EFF
ALT
2
0
-12
-24
-30
-50
+
12
+
6
-6
100 5k
1k
+
15
-
15
+
15
-
15
+
15
-
15
E
C
H
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R
E
V
E
R
B
C
H
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F
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F
L
A
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G
E
R
10K
6K 45K
35K
25K
20
10 230
120
50
EQ IN
0
GAIN
PEAK
HI CUT
Hz
LOW CUT
Hz
-
OO
dB +6
31.5 4025 50 63
0dB
+6
+3
-3
-6
15
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
20
10 230
120
50
EQ IN
0
GAIN
PEAK
HI CUT
Hz
LOW CUT
Hz
-
OO
dB +6
31.5 4025 50 63
0dB
+6
+3
-3
-6
15
15
+
-
100 16012580 200 250 400 630500315
1k 1.25k800 1.6k 2k 3.15k 5k4k2.5k
6.3K 8K 12.5K 20K16K10K
ON
OFF
EQ2030
40 6325 100 160
0dB
+6
+3
-3
-6
15
15
+
-
400 1K630250 1.6K 2.5K 6.3K 16K10K4K
40 6325 100 160
0dB
+6
+3
-3
-6
15
15
+
-
400 1K630250 1.6K 2.5K 6.3K 16K10K4K
CHANNEL TWOCHANNEL ONE
ON
OFF
EQ2015
10K
6K 45K
35K
25K
20
10 230
120
50
EQ IN
0
GAIN
PEAK
HI CUT
Hz
LOW CUT
Hz
-
OO
dB +6
10K
6K 45K
35K
25K
20
10 230
120
50
EQ IN
0
GAIN
PEAK
HI CUT
Hz
LOW CUT
Hz
-
OO
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 chan-
nels assigned to them before the mix arrives at the master L-
R faders. This is known as sub-mixing and can improve the
efficiency of mixing a large number of channels (see above).
The 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.
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, sur-
round 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 chan-
nel 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.
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2
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4
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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.
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