15. 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,
PA
N
fully to the left and
assign a channel to Sub-Group fader 1 or 3 only
.
PA
N
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.
16. CHANNEL F
ADER
The
CHANNEL F
ADER
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
P
AN
con-
trol. Calibrated
109mm
FADERS
with audio tapers are featured
for smooth fade-outs. Slide all faders down when connect-
ing your inputs.
17. MIC PHANTOM POWER SWITCH / RED LED
This switch pr48v power for condenser mics such
as Car
vin’
s
CM90E
in groups of 8 channels. This leaves the
remaining MIC inputs for sour
ces that don’t require phantom
power
. The LINE inputs are unaffected by +48v power
.
MASTER SECTION
18. TWO STEREO 24-BIT EFFECTS
The
internal 24-BIT stereo
processors receive
signals from
the
EFF 1 / EFF 2
channel
controls.
I
f the adjacent
PK
(peak)
LED flashes, reduce the level from the channel
EFF 1 / EFF
2
send controls.
A
“solid”
PK
LED will show
EFFECTS 1
or
2
have been muted either by the
MUTE
switches (
#44
) or by
the optional
FS22
footswitch (
#38
). The
RETURN
control will
adjust the volume level of the selected effects. Remember each
channel has its own two
EFFECT
sends 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 P
ARAMETERS
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
P
ARAMETER
control to
1 will provide the shortest delay
time between the original signal and
the echo. Increasing the
P
ARAME-
TER
control to the right will increase
the time delay between the original
signal and the echo. T
o
increase the
number of echo repeats, turn the
SELECT
control clockwise to “9 O-
clock” (maximum regeneration).
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. T
urning the
P
ARAMETER
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. T
urning the
SELECT
control
clockwise will increase the amount
reverb in the chorus. T
urning the
P
ARAMETER
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
P
ARAMETER
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
.
19.
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
(
#36
).
20. RCA T
APE IN / RETURN 4
Receives a signal from the
R
TN 4 L/R
1/4” jacks (
#35
) & from the
TAPE IN
jacks (
#41
). These signals will also be present at
MON 1
.
21. MONITOR 1-4 CONTROLS
These are the master outputs for the four monitor sends. These
correspond to the balanced 1/4”
MON 1-4
output jacks
(
#36
).
22. GROUP/SUB-MIX F
ADERS 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 (
#25
),
then each fader is bused to the corresponding
4 GROUP
1/4”
outputs (
#37
). By assigning the 4 faders to the Master
L-R
faders, the operator can use the faders to sub-mix groups.
23. 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.
24. GROUP ASSIGNMENT SWITCHES
These switches send the sub-group mix to the main
L/R
faders.
For mono mixing, assign to both
L/R
.
25. MASTER L/R F
ADERS
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
(
#42
).
26. 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 (
#43
).
27. HEADPHONE AND METER SOURCE
The stereo
PHONES
control sets the level of the
PHONES
jack
(
#39
). The
PFL
,
L/R
,
MONO, MON 1-2
and
MON 3-4
switches
allow for isolation of these sour
ces through the headphones
and the
L/R
LED
METERS
(
#29
).
28. PFL RED LED
Indicates that the headphone & meters are monitoring
only
the channels or groups where the
PFL
is switched on.
29. 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
(
#27
).
30. 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.
31. 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
.
32. POWER LED
V
erifies the mixer is on.
33. EFFECTS 1 & 2 OUTPUT JACKS
1/4” outputs drive external effects.
Connect your effects
processor’
s inputs to these jacks.
34. 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
R
TN 3
jack is used, the mono signal will go to both
L/R
.
35. R
TN 4 L/R INPUT JACKS
Returns a stereo signal from other sour
ces.
36. 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.
37. 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.
38. EFF SW 1-2 FOOTSWITCH JACK
The optional
FS22
will remotely shut off
EFFECTS 1
or
2
.
39. HEADPHONE JACK
1/4” stereo jack for headphone or control room output.
40. RCA L & R T
APE OUT
RCA jacks for connecting to a tape recorder input.
41.
RCA
L
&
R
T
APE IN
For stereo playback of
a tape/CD
(parallel with
R
TN 4
jacks).
42. 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
.
43.
MONO XLR OUTPUT CONNECTOR
A balanced XLR output is featured for side fills or subwoofers.
C44 SERIES CONTROLS
CHANNEL FEA
TURES
1. 1/4” LINE INPUTS
The line connectors are for connecting balanced and unbal-
anced instruments and line level sour
ces 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 INSER
T/CHANNEL DIRECT OUT
To
insert channel effects, compressor
, etc. use a 1/4” TRS (T
ip
Ring Sleeve) cable (see
INSER
TS AND DIRECT
OUT
illustration
on page 5 for TRS details). T
o achieve a direct out from the chan-
nel, 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
next to the
PEAK
LED
flash point to maintain the lowest noise
of the channel. Y
ou can use the channel
PFL
switch to mon-
itor the channel input level and use the meters to adjust the
GAIN
control to
0
dB. 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. T
urning up the
LOW
EQ when
using this filter can help create a punchier bass response.
6. ACTIVE 3 BAND EQ WITH MID SWEEP
The
C44 SERIES
mixers provide studio EQ. The ±15 dB boost
or cut gives an overall 30 dB range for power
ful EQ control.
The active cir
cuits deliver deep bass from the 20-80 Hz
LOW
control. The
MID
control works at 100Hz to 5kHz, depend-
ing on the
MID FREQ
control. The
HI
control functions at 11-
20k 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 tr
ying to mic instruments such as acoustic
guitar or drums, tr
y 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 MIDs to clean up your sound. This
is one of the keys 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.
B
y adjusting the
MID
FREQ
, you can select the exact frequency that will best com-
plement these various inputs. 700Hz is a recommended set-
ting for the
MID FREQ
control for guitar and vocals.
8. MONITOR 1 THRU 4 SEND CONTROLS
The channel MONITOR controls allow you to create four inde-
pendent monitor mixes. The
MONITOR
signals (pre-EQ, pre
fader) are routed to the master
MON 1, 2, 3
and
4
controls
(
#21
) respectively before going to the output connectors (
#36
).
9. EFF 1 & EFF 2 SEND CONTROLS
The
EFF 1
or
EFF 2
control sends signal (post EQ, post fader)
from the channel to the
EFFECTS 1
or
EFFECTS 2
internal
processors (
#18
) and to the
EFF 1
or
EFF 2
jacks (
#33
).
10. P
AN CONTROL
Each channel’
s
PA
N
control allows stereo imaging by panning
Left or Right during recordings or live per
formances. The
PA
N
control also works for the sub-mix groups. A center posi-
tion 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 ele-
ment pan controls provide 15dB greater separation than
standard pan controls.
1
1. 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.
12.
CHANNEL
RED PEAK 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
.
13. CHANNEL MUTE SWITCH
Use the
MUTE
switch to kill the channel. This feature saves
having to reset your faders and monitor sends.
14. 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 (
#29
).
C844, C1644(P), C2444 & C3244 4-BUS MIXERS
QUICK ST
AR
T UP
If you’re like most new owners, you’re probably in a hurr
y
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 used with 120 or 240V
AC (it automati-
cally switches internally except for C1644P)
• 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
positions.
•
Adjust the Channel “
P
AN”
controls to their center
positions.
• T
urn the mixer on by the rear panel
POWER SWITCH
and watch for the
POWER
LED. Y
our mixer is now ready
to operate.
MONO
0
0
0
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
R
TN 3
MON 2
MON 1
MON 4
R
TN 4
MON 3
T
APE IN
RETURN
MONIT
ORS
01
0
5
MONO
L-R
+18
+12
+6
0
-
6
-12
-18
-24
-30
PEAK
LR
PO
WER
PFL
PHONES
EQ 1
LEFT
/
MON 1
EQ 2
RIGHT
/
MON 2
dB
CONCER
T SERIES
C1644
01
0
5
-30
-50
+
-12
-24
12
+
6
-30
-50
-12
-24
12
6
-30
-50
-12
-24
12
6
-30
-50
-12
-24
12
6
-30
-50
+
-12
-24
12
+
6
01
0
5
LEFT
RIGHT
LEFT
RIGHT
LEFT
RIGHT
LEFT
RIGHT
125
250
500
63
1K
2K
4K
8K
16K
0
8
4
4
8
–12
+12
0
8
4
4
8
12-
12+
0
8
4
4
8
–12
+12
0
8
4
4
8
12-
12+
LR
T
APE IN
1
L
T
APE OUT
R
MON 1
4
23
PHONES
EFF 1
3
L
3
R
RETURN
MONO
MON 2
MON 3
R
TN 4
MON 4
EFF SW
EFF 2
GR
OUPS
METERS
1234
L
R
PFL
PFL
PFL
PFL
00
1-2
3-4
MON
MON
4
3
2
18
7
6
5
8
7
6
5
4
3
2
1
LINE
LINE
LINE
LINE
LINE
LINE
LINE
8
6
5
4
3
2
17
1-
8
PHANT
OM
PO
WER
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
INSER
T
INSER
T
INSER
T
INSER
T
INSER
T
INSER
T
INSER
T
INSER
T
12
11
10
91
6
15
14
13
16
15
14
13
12
11
10
9
9-16
PHANT
OM
PO
WER
MID
MID
MID
MID
MID
MID
MID
MID
HI
HI
HI
HI
HI
HI
HI
HI
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
PA
N
PA
N
PA
N
PA
N
PA
N
PA
N
PA
N
PA
N
PEAK
SIG
PEAK
SIG
PEAK
SIG
PEAK
SIG
PEAK
SIG
PEAK
SIG
PEAK
SIG
PEAK
SIG
05
0
GAIN
LO CUT
LINE
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
LO
W
L
O
W
LO
W
L
O
W
LO
W
L
O
W
LO
W
L
O
W
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
LINE
LINE
LINE
LINE
LINE
LINE
LINE
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
INSER
T
INSER
T
INSER
T
INSER
T
INSER
T
INSER
T
INSER
T
INSER
T
MID
MID
MID
MID
MID
MID
MID
MID
HI
HI
HI
HI
HI
HI
HI
HI
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
PA
N
PA
N
PA
N
PA
N
PA
N
PA
N
PA
N
PA
N
PEAK
SIG
PEAK
SIG
PEAK
SIG
PEAK
SIG
PEAK
SIG
PEAK
SIG
PEAK
SIG
PEAK
SIG
05
0
GAIN
LO CUT
LINE
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
LO
W
L
O
W
LO
W
L
O
W
LO
W
L
O
W
LO
W
L
O
W
PFL
MUTE
3-4
1-2
L-R
0
-12
-24
-30
-50
+
12
+
6
-6
100
5k
1k
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
01
0
5
C
LR
05
0
GAIN
LO CUT
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
0
-
15
+
15
P
ARAMETER
ECHO
REGEN
TIME
REVERB
D
AMPING
DECA
Y
FLANGE
SPEED
DEPTH
CHOR
US
REV LEVEL
DEPTH
SELECT
PK
PK
MUTE
MUTE
OFF
9
9
6
6
3
3
1
MON
2
MON
OFF
9
9
6
6
3
3
1
MON
3
MON
24-BIT DU
AL STEREO EFFECTS
SELECT
P
ARAMETER
10
1
2
3
4
56
7
8
9
10
1
2
3
4
5
6
7
8
9
EFFECTS 2
T
O
MONIT
ORS
RETURN
EFFECTS 1
10
0
1
2
3
4
5
6
7
8
9
10
0
1
2
3
4
5
6
7
8
9
16
15
14
13
12
11
10
9
4
4
4
4
4
4
4
4
3
3
3
3
3
3
3
3
2
2
2
2
2
2
2
2
1
1
1
1
1
1
1
1
MON
MON
MON
MON
MON
MON
MON
MON
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
1
1
1
1
1
1
1
1
2
2
2
2
2
2
2
2
4
4
4
4
4
4
4
4
3
3
3
3
3
3
3
3
2
2
2
2
2
2
2
2
1
1
1
1
1
1
1
1
MON
MON
MON
MON
MON
MON
MON
MON
EFF
EFF
EFF
EFF
EFF
EFF
EFF
EFF
1
1
1
1
1
1
1
1
2
2
2
2
2
2
2
2
c
EC
HO REV
E
R
B
C
H
O
R
US
FL
AN
GE
EC
HO REV
E
R
B
C
H
O
R
US
FL
AN
GE
1
17
36
37
2
3
4
5
7
6
8
9
10
11
12
13
14
16
15
6
18
29
30
31
32
33
34
35
43
42
21
26
28
23
27
19
22
23
25
20
40
38
39
41
2
3
44
