4
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 instructions 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 C1648, C2448 and C3248 use 90-250VAC,50~60Hz.
The 2000W powered C1648P requires 120VAC~60Hz and
the C1648P-E model uses 240VAC~50Hz.
2. CONNECTING INPUTS AND OUTPUTS TO YOUR MIXER
plug into the balanced MIC inputs using a shielded micro-
phone cable with XLR connectors.
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.
before turning the mixer on, but wait to turn the amps on
3. TURNING YOUR MIXER ON
and master LEVEL controls to
their positions
HI, MID, and controls and the
GRAPHICS to their center positions.
center posi-
tions.
POWER SWITCH
and watch for the POWER LED. Your mixer is now ready
to operate.
C SERIES CONTROLS
CHANNEL FEATURES
1. 1/4” LINE INPUTS
The line connectors are for connecting balanced and unbal-
machines, keyboards, ETC.
2. XLR MIC INPUTS
The balanced Mic inputs are for connecting microphones that
LINE and XLR MIC inputs
can be used simultaneously.
3. CHANNEL INSERT/DIRECT OUT
INSERTS AND DIRECT OUT illustration
4. GAIN
The GAINGAIN
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. You can use the channel PFL switch to
the GAIN control to 0
the GAIN control should be set.
5. LOW CUT SWITCH
A 75 Hz LOW CUT filter helps eliminate unwanted low
stands or from acoustic/electric guitars. Turning up the
LOW EQ when using this filter can help create a punchier
bass response.
6. 4 BAND ACTIVE EQ WITH DUAL MID SWEEPS
The C48 SERIES
LOW
control. The MID controls work at 45Hz to 10kHz, depend-
ing on the MID FREQ controls. The HI control functions at
11-20k for crisp highs.
Determine which position your MID FREQ sounds best, then
cut or boost your HI, HI MID, LO MID, and LOW frequencies as
needed. If you are trying to mic instruments such as acoustic
before
adjusting your tone controls. A typical setting may be: HI -3,
HI MID+5 (MID FREQ set at 4kHz), LO MID -4MID FREQ
set at 700HzLOW +3. Don’t be afraid to adjust the HI
and LOW controls to get good presence and depth while
reducing the LO MIDs to clean up your sound. This is one of
the keys to great sound.
7. HI & LO MID SWEEPS
MID controls will boost or
MID FREQs, you can select the exact frequency
-
mended settings for the MID FREQ
8. MONITOR 1 THRU 6 SEND CONTROLS
The channel MONITORS allow you to create six independent
monitor mixes. The MONITOR
routed to the master MON 1, 2, 3, 4, 5 and 6#22
#40
9. EFF 1 & EFF 2 SEND CONTROLS
The EFF 1 or EFF 2
from the channel to the master EFFECTS 1 or EFFECTS 2
#18 EFF 1 or
EFF 2 output#38
10. PAN CONTROL
Each channel’s PAN control allows stereo imaging by pan-
The PAN control also works for the sub-mix groups. A center
position will send a channel’s signal to a pair of sub-group
1-2, 3-4
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.
than standard pan controls
11. CHANNEL SIGNAL GREEN LED
The SIGNAL LED is pre-fader and post EQ. This LED helps the
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
#4PEAK LED indicates
that the channel has been MUTED.
13. CHANNEL MUTE SWITCH
The MUTE switch will interrupt the channel signal. This
The PEAK LED will light solid ON with no SIG LED.
14. CHANNEL PFL SWITCH
#33
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
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.
16. CHANNEL FADER
The CHANNEL FADER-
depending on both the Channel Assignment switches and the
PAN control. Calibrated 60mm FADERS with audio tapers are
featured for smooth fade-outs. Slide all faders down when
connecting your inputs.
17. MIC PHANTOM POWER SWITCH/RED LED
for sources that don’t require phantom power. The LINE
inputs are unaffected.
MASTER SECTION
18. DUAL STEREO 24-BIT EFFECTS
the channel EFF1 and EFF2 controls and the master EFF1 and
EFF2 controls. If the adjacent PK
EFF1 or EFF2 send
PK LED will show EFFECTS 1 or 2
been muted by the MUTE switches. The RETURN control will
to the effects processors. The red PK LED will indicate when the
a.)ECHO: When the SELECT
position, it is selected to the first ECHO setting where you
the PARAMETER
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
b.)REVERB: When the SELECT
position, it is selected to the first REVERB setting. Turning the
SELECT control clockwise will increase the amount of high
PARAMETER control to
c.)CHORUS: When the SELECT
position it is selected to the first CHORUS setting. Turning the
SELECT
the chorus. Turning the PARAMETER
a minimal chorus depth setting. Increasing to the right will
increase the chorus depth.
d.)FLANGE: When the SELECT
position it is selected to the first FLANGE setting. Turning the
SELECT control clockwise will increase the flanger’s speed. Turning
the PARAMETER
Increasing to the right will increase the flanger’s depth.
TO MONITORS”
controls, MON 1/MON 2 & MON
1/MON 3. The center posi-
19. SEND 1 & 2
20. RETURN 3 L-R
RETURN
3 L /R jacks.
21. RETURN 4 L-R/ USB IN
RTN 4 L/R #39
from the rear USB port.
22. MONITOR 1-6 CONTROLS
These are the master outputs for the six monitor sends. These
correspond to the MON 1-6 XLR output jacks
#40
.
23. 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#28
then each fader is bused to the corresponding 4 GROUP 1/4”
#41L-R
faders, the operator can use the faders to sub-mix groups.
24. GROUP PFL SWITCHES
These
PFL
switches allow the operator to monitor the entire
GROUP mix. If
distortion is heard or if
PEAK
on the Master L/R METERS, lower the channel faders
assigned to that group. Also check the channel PEAK
LEDs.
25. GROUP ASSIGNMENT SWITCHES
These switches send the sub-group mix to the main
L/RL/R.
OPERATING INSTRUCTIONS
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