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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

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DCM1000

1000 Watt Power Amp

CLIP

SIGNAL

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POWER

CHANNEL ONE

CHANNEL TWO

CLIP

SIGNAL

PROTECT

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1

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0  dB

DCM1000

1000 Watt Power Amp

CLIP

SIGNAL

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POWER

CHANNEL ONE

CHANNEL TWO

CLIP

SIGNAL

PROTECT

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11 10

10 9

8

7

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5

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3

2

1

0  dB

0  dB

DCM1000

1000 Watt Power Amp

CLIP

SIGNAL

50

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30

30

22

22

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11 10

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8

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3

2

1

0  dB

0  dB

POWER

CHANNEL ONE

CHANNEL TWO

CLIP

SIGNAL

PROTECT

50

50

30

30

22

22

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17

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15

13

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12

12

11

11 10

10 9

8

7

6

5

4

3

2

1

0  dB

0  dB

DCM1000

1000 Watt Power Amp

CLIP

SIGNAL

50

50

30

30

22

22

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10 9

8

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5

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3

2

1

0  dB

0  dB

POWER

CHANNEL ONE

CHANNEL TWO

CLIP

SIGNAL

PHANTOM

1-2

3-4

MONO

L-R

EQ 1

EQ 2

0

0

0

10

5

0

10

5

0

10

5

0

10

5

0

10

5

RTN 3

MON 2

MON 1

MON 4

RTN 4

MON 3

TAPE IN

RETURN

MONITORS

0

10

5

PK

PK

MONO

MUTE

MUTE

MON4

EFF2

SOURCE

L

R

POWER

PFL

PHONES

LEFT

 

/

MON 1

RIGHT

 

/

MON 2

+18

+12

+6

0

-

 

6

-12

-18

-24

-30

PEAK

dB

CONCER

CONCERT SERIES

T SERIES

C1644

0

10

5

OFF

9

9

6

6

3

3

1

MON

2

MON

OFF

9

9

6

6

3

3

1

MON

3

MON

-30

-50

-12

-24

12

6

-30

-50

-12

-24

12

6

-30

-50

-12

-24

12

6

-30

-50

+

-12

-24

12

0

10

5

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

24-BIT DUAL STEREO EFFECTS

125

250

500

63

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

10

1

2

3

4

5 6

7

8

9

10

1

2

3

4

5 6

7

8

9

EFFECTS 2

TO MONITORS

RETURN

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

4

2

3

PHONES

EFF 1

3L

3R

RETURN

MONO

MON 2

MON 3

RTN 4

MON 4

EFF 2

GROUPS

10

0

1

2

3

4 5 6

7

8

9

10

0

1

2

3

4 5 6

7

8

9

METERS

1

2

3

4

L

R

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

O

R

E

V

E

R

B

CH

O

R

U

S

F

L

A

N

G

E

R

E

C

H

O

R

E

V

E

R

B

CH

O

R

U

S

F

L

A

N

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 40

25

50

63

0dB

+6
+3

-3
-6
15

15

+

-

100

160

125

80

200

250

400

630

500

315

1k

1.25k

800

1.6k

2k

3.15k

5k

4k

2.5k

6.3K

8K

12.5K

20K

16K

10K

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 40

25

50

63

0dB

+6
+3

-3
-6
15

15

+

-

100

160

125

80

200

250

400

630

500

315

1k

1.25k

800

1.6k

2k

3.15k

5k

4k

2.5k

6.3K

8K

12.5K

20K

16K

10K

ON

OFF

EQ2030

40

63

25

100 160

0dB

+6
+3

-3
-6
15

15

+

-

400

1K

630

250

1.6K 2.5K

6.3K

16K

10K

4K

40

63

25

100 160

0dB

+6
+3

-3
-6
15

15

+

-

400

1K

630

250

1.6K 2.5K

6.3K

16K

10K

4K

CHANNEL TWO

CHANNEL 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.   

PHANTOM

1-2

3-4

MONO

L-R

EQ 1

EQ 2

0

0

0

10

5

0

10

5

0

10

5

0

10

5

0

10

5

RTN 3

MON 2

MON 1

MON 4

RTN 4

MON 3

TAPE IN

RETURN

MONITORS

0

10

5

PK

PK

MONO

MUTE

MUTE

MON4

EFF2

SOURCE

L

R

POWER

PFL

PHONES

LEFT

 

/

MON 1

RIGHT

 

/

MON 2

+18

+12

+6

0

-

 

6

-12

-18

-24

-30

PEAK

dB

CONCER

CONCERT SERIES

T SERIES

C1644

0

10

5

OFF

9

9

6

6

3

3

1

MON

2

MON

OFF

9

9

6

6

3

3

1

MON

3

MON

-30

-50

-12

-24

12

6

-30

-50

-12

-24

12

6

-30

-50

-12

-24

12

6

-30

-50

+

-12

-24

12

0

10

5

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

24-BIT DUAL STEREO EFFECTS

125

250

500

63

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

10

1

2

3

4

5 6

7

8

9

10

1

2

3

4

5 6

7

8

9

EFFECTS 2

TO MONITORS

RETURN

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

4

2

3

PHONES

EFF 1

3L

3R

RETURN

MONO

MON 2

MON 3

RTN 4

MON 4

EFF 2

GROUPS

10

0

1

2

3

4 5 6

7

8

9

10

0

1

2

3

4 5 6

7

8

9

METERS

1

2

3

4

L

R

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

L

R

0

0

0

PAN

PEAK

SIG

0

10

5

0

10

5

2/3

MON

4

MON

EFF

1/2

1

MON

0

50

GAIN

LO

CUT

PFL

MUTE

3-4

1-2

L-R

OFF

MON

 

3

MON

 

2

9

9

6

6

3

3

OFF

EFF

 

2

EFF

 

1

9

9

6

6

3

3

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

O

R

E

V

E

R

B

CH

O

R

U

S

F

L

A

N

G

E

R

E

C

H

O

R

E

V

E

R

B

CH

O

R

U

S

F

L

A

N

G

E

R

0

0

-30

-50

-12

-24

12

6

-30

-50

-12

-24

12

6

-30

-50

-12

-24

12

6

-30

-50

+

-12

-24

12

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

1

2

3

4

L

R

PFL

PFL

PFL

PFL

0

0

0

-12

-24

-30

-50

+12

+6

-6

-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, 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.

1

2

3

4

5

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.

4

Summary of Contents for C44

Page 1: ... 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 G...

Page 2: ...y 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 mon itor outputs Center frequencies are 63 125 250 500 1k 2k 4k 8k 16k Hz RE...

Page 3: ...n A solid lit PEAKLED 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 instruc tions to get you going quickly With the mixer unplugged and the unit turned off complete the following procedures 1 CONNECTING AC POWER TO YOUR MIXER The mixer can be...

Page 4: ... 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 as...

Page 5: ...O CHANNEL 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 assi...

Page 6: ...3 4 1 2 L R OFF MON 3 MON 2 9 9 6 6 3 3 OFF EFF 2 EFF 1 9 9 6 6 3 3 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 L R 0 0 0 PAN PEAK SIG 0 10 5 0 10 5 2 3 MON 4 MON EFF 1 2 1 MON 0 50 GAIN LO CUT PFL MUTE 3 4 1 2 L R OFF MON 3 MON 2 9 9 6 6 3 3 OFF EFF 2 EFF 1 9 9 6 6 3 3 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 O ...

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