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
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
CONCERT 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
PHANTOM
9-16
POWER
3
3
MID
HI
R
PAN
AK
SIG
0
0
2/3
MON
4
MON
EFF
1/2
1
MON
0
LO
CUT
PFL
MUTE
3-4
1-2
L-R
MON
3
9
6
3
EFF
2
9
6
3
LOW
EFF
ALT
2
100 5k
1k
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
39
40
20
32
33
33
35
36
37
38
46
45
21
24
29
31
27
30
22
25
26
28
23
43 41
42 44
3
