In a live sound reinforcement system, the input signals to the mixer will come from the micro-
phones and instruments. Each microphone or instrument must be connected to one of the mixing
console inputs. It is preferred to have as many of the stage instruments as possible plugged into
the mixer. This allows for the best overall control of the instruments as they are mixed together
and then amplified by the system. The mixer can be operated on the stage or from a remote loca-
tion 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 per-
spective. NOTE: Most snake cables are not designed for speaker connections.
THE SOUND CHECK
The sound check takes some skill but mostly patience from the performers and especially “you”
the system operator. If you 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 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
∞
50
50
30
22
19
17
15
15
13
12
11 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
19
17
15
15
13
12
11
11 10 9
8
7
6
5
4
3
2
1
0 dB
0 dB
POWER
CHANNEL ONE
CHANNEL TWO
CLIP
SIGNAL
PROTECT
∞
50
30
30
22
22
19
17
15
13
12
11 10 9
8
7
6
5
4
3
2
1
0 dB
0 dB
DCM1000
1000 Watt Power Amp
CLIP
SIGNAL
∞
50
30
22
19
17
15
13
13
12
12
11
11 10 9
8
7
6
5
4
3
2
1
0 dB
0 dB
POWER
CHANNEL ONE
CHANNEL TWO
CLIP
SIGNAL
PROTECT
∞
50
30
22
19
17
15
13
13
12
11 10 9
8
7
6
5
4
3
2
1
0 dB
DCM1000
1000 Watt Power Amp
CLIP
SIGNAL
∞
50
50
30
30
22
19
17
15
13
12
11 10 9
8
7
6
5
4
3
2
1
0 dB
0 dB
POWER
CHANNEL ONE
CHANNEL TWO
CLIP
SIGNAL
PROTECT
∞
50
30
22
19
17
15
13
13
12
11 10 9
8
7
6
5
4
3
2
1
0 dB
DCM1000
1000 Watt Power Amp
CLIP
SIGNAL
∞
50
50
30
30
22
19
17
15
13
12
11 10 9
8
7
6
5
4
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
00
010
5
010
5
010
5
010
5
010
5
RTN 3
MON 2
MON 1
MON 4
RTN 4
MON 3
TAPE IN
RETURN
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
CONCER
CONCERT SERIES
T SERIES
C1644
010
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
010
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
56
7
8
9
10
1
2
3
4
56
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
23
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
12
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
RB
CH
O
R
U
S
F
L
A
N
G
E
R
E
C
H
O
R
E
V
E
RB
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
SOUND CHECK
CHANNEL CONNECTIONS AND SUB-MIXING
MASTER OUTPUTS
The main amps and speakers 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
00
010
5
010
5
010
5
010
5
010
5
RTN 3
MON 2
MON 1
MON 4
RTN 4
MON 3
TAPE IN
RETURN
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
CONCER
CONCERT SERIES
T SERIES
C1644
010
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
010
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
56
7
8
9
10
1
2
3
4
56
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
23
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
12
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
EC
H
O
R
E
V
E
R
B
CH
O
R
U
S
F
L
A
N
G
E
R
EC
H
O
R
E
V
E
R
B
CH
O
R
U
S
F
L
A
N
G
E
R
00
-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
12
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. +48V Phantom
power for condenser mics is available in channel groups of eight. This
enables the user to group all mics that require phantom power together,
leaving the rest of the channels available for dynamic microphones or line
inputs. The XLR Mic inputs and balanced 1/4” Line inputs on each chan-
nel can be used simultaneously, however the two signals will be controlled
by the channel GAIN control. Adjust the level of the instruments to bal-
ance the mix. For stereo instruments, such as keyboards or drum
machines, use two consecutive channels to connect the Left and Right
outputs from the instru-
ment. Then use the PAN
controls on the two
channels to pan hard left
and right for a stereo
mix. If a pair of individ-
ual 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 sub group fader in the master section. This is usu-
ally done to decrease the number of faders needed to adjust a group of
channels. For example: a drum kit with 6 or more microphones mixed in
mono can be assigned to a sub-mix fader. If the drums need to be adjusted
in the main mix, only one group fader needs to be adjusted instead of 6
channel faders. The individual microphones all use different fader set-
tings, 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. For a mono mix, use the channel pan controls to pan the
audio “hard left” and the audio will only be assigned to sub- group fader
1 or 3. Panning “hard right” will bus the audio to sub-mix faders 2 or 4.
Always keep channel and sub group faders higher than the master L-R
faders. Using the L-R fader or sub group fader to boost the level of a 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 and EQ 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 side fill or back of room fill on the Group outputs.
5. External effects processor in the EFF2 and EFF3 return loop.
1
2
3
4
5
The illustration shows channels 1-4 assigned to a sub-mix fader
4
