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CARVIN ENGINEERING DATA C1648, C2448, C3248, C1648P 4-bus MIXER OPERATING MANuAL
76-02448a 0210
C1648 featuring 4-band EQ and 8 channel sends
CONCERT 48 SERIES The C1648(P), C2448, and C3248 feature 16 to 32 channels with true 4-bus
performance. The C1648P adds four 500 watt power amplifiers. Never before have so many features been
packed into such a rugged, compact USA made mixer. The best feature of the Concert 48 Series is the
sound. Sound that is pure and quiet enough for digital recording studios. Everything is logically laid
out making the powerful features simple to use. The knobs have been located so that adjustments can be
made quick and easy with visible pointers showing you the status of your\
mix at a glance.
SUPERB SOUND State-of-the-art low impedance, low noise preamps are featured on every channel. The
balanced common mode rejection is better than 70 dB to eliminate cable noise. All main outputs are balanced
to guard against system noise. The near theoretical limit on distortion has been achieved with THD below .01%
to guarantee the purity of your sound, ensuring it will be dynamically open and transparent.
TRUE 4-BUS DESIGN The CONCERT 48 Series offers increased mixing flexibility over standard
stereo consoles by letting you assign channels to one of the 4 sub groups or L/R. This allows you to mix
the entire drum, horn, choir, etc. into one sub group, which feeds the L/R faders. This is an easy way
to control the volume of grouped mics and inputs. If you dont need subgrouping, you can depress the
channel L/R button and the channel goes directly into the L/R output like a standard stereo console. All
4 sub group outputs have balanced outputs.
4 COMPRESSORS Each of the 4 sub groups feature a studio-grade compressor to reduce the output
when it gets above the level you set with the COMP control. Ideal for dr\
ums or horns.
TWO EFFECT SENDS / TWO 24-BIT EFFECT PROCESSORS Two built-in 24-Bit effects, each
offering 256 stereo effects, is a first in a 4-bus mixing console. Since there are two, you no longer have to
choose between vocal reverb or that awesome guitar chorus - you can have both! Each processor offers lush
RE vERBS , rich CHORUSES , thick textured fLAN gIN g and pristine ECHOES with fully adjustable parameters
for damping, decay, depth, speed, time and regeneration. Both processors can be sent back into the monitor
mix so the performers can hear exactly what the audience is hearing.
SIX MONITOR SENDS Every channel has 6 MONITOR sends with MASTER output level controls and
XLR balanced outputs.
4 BAND EQ/DUAL MID SWEEPS The superb EQ system gives extended 15 dB boost and cut tone
shaping. The LOW frequency control builds bass starting with 20 Hz through 80 Hz for a solid non-flabby
low-end. The LO MID and HI MID fREQ controls offer variable freqency settings from 45 Hz to 2kHz and
200Hz to 10kHz to enhance all instruments and vocals. The 11.5k Hz HI treble control adds sparkle to your
top-end without adding harshness. Both the LOW and HI are shelving, which means they are effective from
20 Hz and up to 20k Hz. The LO CUT switch eliminates stage rumble or other unwanted low frequencies
that would normally rob power from your woofers.
TWO 9 BAND EQUALIZERS Precision equalizers provide 1 octave adjustments to tune in your overall
sound and control feedback. Unlike one stereo equalizer, two independent 9 bands offers greater flexibility.
You can assign the EQs to the L/R outputs or to the monitor 1/2 outputs. Center frequencies are 63, 125,
250, 500, 1k, 2k, 4k, 8k & 16k Hz.
CHANNEL FEATURES Every channel has a full balanced XLR and LINE (1/4) preamp with an INSERT
jack for a compressor or EQ that also serves as a DIRECT OUT when plugged half way. The PAN control
directs the channel into the L/R output or any of the 4 sub groups after depressing the appropriate ASSI gN
switches. The PfL (pre fader listen) switch allows you to hear the channel in the headphones before the
fader is turned up. A solid on condition of the PEAK LED indicates that the MUTE switch has been
activated which turns the channel off including all monitor and effect sends. When flashing during use,
the PEAK LED also lets you know when to adjust the channels gAIN control to prevent channel distor-
tion. The SIgNAL LED lets you know that a signal is coming through the channel starting at -“20 dBu. A
silky smooth 60mm audio taper fADER with dust cover delivers professional fade-outs. The PHANTOM
power switches provide power through the XLR connectors for use with condenser mics like the Carvin
M90S in groups of 8 channels.
RECEiViNG iNSPECTioN-read before getting started INSPECT YOUR MIXER FOR DAMAGE which may have occurred during shipping. If damage is
found, please notify the shipping company and CARVIN immediately.
SAVE THE CARTON & ALL PACKING MATERIALS. In the event you have to re-ship your unit, always
use the original carton and packing material. This will provide the best possible protection during
shipment. CARVIN and the shipping company are not liable for damage caused by improper packing.
SAVE YOUR INVOICE. It will be required for warranty service if needed in the future.
SHIPMENT SHORTAGE. If you find items missing, they may have been shipped separately. Please
allow several days for the rest of your order to arrive before inquiring.
RECORD THE SERIAL NUMBER on the enclosed warranty card or below on this manual for your
records. Keep your portion of the card and return the portion with your name and comments to
us.
USA customers register online at: www.carvin.com/registration
All other countries register online at: www.carvinworld.com/registration
For your records, you may wish to record the following:
Serial No.________________________ InvoiceDate___________
MASTER FEATURES Each of the 4 SUB gROUP faders can be switched to the L/R outputs or
used independently through their own balanced output jacks. Each of the sub groups P fL switches
allow you to listen to the sub groups in your headphones before it is turned up. The L/R MAIN output
faders are independent for added flexibility over a single stereo fader. A MONO/SUB control sums
both the L/R outputs together (pre-graphic EQ) for a center, side fill or subwoofer output. The stereo
HEADPHONE control tracks the METER switches which allow you to look and listen from the L/R,
MONO, MONITOR 1-6 outputs, USB IN, REC OUT/USB, and channel and group P fL switches. The
master section also features 2 E ffECT SENDS, 4 RETURNS and RCA RECORD OUT jacks. All 6
MONITORS, L/R and MONO outputs are balanced XLR, while the 4 SUB gROUPS are balanced 1/4.
SWITCHING POWER SUPPLY Our exclusive 125k Hz switching power supply eliminates
transformer noise. Like a laptop computer, go anywhere in the world and not worry about power
because you can run on any voltage from 90 to 250 vAC. The C1648P will automatically switch
for 120 vAC or 240 vAC ranges.
ENGINEERED TO LAST Hidden deep in the heart of these USA made mixers is the SMT construction
that utilizes surface mounted components to prevent malfunctions caused by vibrations. Sealed controls and switches guard against the outside elements while heavy-duty jacks provide a positive connection
to your cables. fire retardant fR-4 military spec circuit cards feature double-sided copper to eliminate
radio frequency interference. Precision 1% tolerance components guarantee your settings will be
accurate every time. The Concert 48 Series is built to strict standards.
Optional Accessories:
USM16-MC,USM-BP wireless systems (Require USM-KIT)
C1648: CB1648 Heavy padded bag, RW1648 Road Warrior -„¢ case C2448: CB2448 Heavy padded bag, RW2448 Road Warrior -„¢ case C3248: RW3248 Road Warrior -„¢ case C1648P: RW1648P Road Warrior -„¢ case
CoNCERT 48 SPECiFiCATioNS:For C1648P power amp specifcations, see back page
Mic Input: Balanced XLR, Mic Imp. 150ohms
Line Input: Balanced 1/4 Jack Imp. 10k/20k bal.
Frequency Response: Mic or Line Inputs: 20Hz-20KHz ±0.5dB
Total Harmonic Distortion: Less than .01%
Equivalent Input Noise: 150 ohm source: -117dBu
Output Noise: less than -90dBu Master Line Out
Output Headroom: +28dB XLR bal, +20dB 1/4 unbal.
Maximum Gain: Mic in to Master Line Out: 74dB
Crosstalk: Adjacent channels: -60db at 1KHz
Common Mode Rejection: -75db at 1KHz
Phantom Power: 48V (channel groups of 8)
Channel EQ.: 4 band active, LOW: 80Hz ±15dB
LO MID: 45Hz to 2kHz ±15dB
HI MID: 200Hz to 10kHz ±15dB
HI: 11.5KHz ±15dB
9 Band Graphic EQ.: ±12dB 63, 125, 250, 500, 1k, 2k, 4k, 16k
Power Requirements: Except C1648P: 90 to 250VAC 50-60Hz, 20 to 60VA
Powered C1648P: Auto switching:120 or 240VAC, 50-60Hz, 1000VA
Size/Weight: C1648: 16.25D x 22.25W x 3.5H / 18.1 lbs
C2448: 16.25D x 30.0W x 3.5H / 24.4 lbs
C3248: 16.25D x 38.1W x 3.5H / 31 lbs
C1648P: 16.25D x 22.25W x 5.6H / 25 lbs
12340 World Trade Drive, San Diego, CA 92128
www.carvin.com
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C48 SERiES CoNTR oLS
ChANNEL FEATURES
1. 1/4 LiNE iNPUTS
The line connectors are for connecting balanced and unbal -
anced instruments and line level sources 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 iNSERT/diRECT oUT
To insert channel effects, compressor, etc. use a 1/4 TRS (Tip
Ring Sleeve) cable (see INSERTS AND DIRECT OUT illustration
on page 5 for TRS details). To achieve a direct out from the
channel, 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. You can use the channel PFL switch to
monitor the channel input level and use the meters to adjust
the gain control to 0dB. This will give a good reference where
the GAIN control should be set.
5. Low CUT SwiTCh
A 75 Hz Low cut filter helps eliminate unwanted low frequen -
cies. Great for reducing boom noise from mic stands or
from acoustic/electric guitars. Turning up the Low EQ when
using this filter can help create a punchier bass response.
6. ACTiVE 4 bANd EQ wiTh dUAL mid
SwEEPS
The C48 SERIES mixers provide studio EQ. The ±15 dB boost
or cut gives an overall 30 dB range for powerful EQ control.
The active circuits deliver deep bass from the 20-80 Hz 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.
Start out with all tone controls at their center zero position.
Determine which position your MID FREQ sounds best, then
cut or boost your Hi, HI MiD, L o M iD , and Low frequencies as
needed. If you are trying to mic instruments such as acoustic
guitar or drums, try various mics and mic placement before
adjusting your tone controls. A typical setting may be: HI -3,
HI MID+5 (MID FREQ set at 4kHz), LO MID -4 (MID FREQ set
at 700Hz ), and LOW +3 . Dont 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
These controls allow you to select which frequency (from
200Hz-10kHz or 45Hz-2kHz) that the MiD controls will boost
or cut. By adjusting the MiD FREQs, you can select the exact frequency that will best complement various inputs. 700Hz
and 4kHz are recommended settings for the
MiD FREQ
control for guitar and vocals.
8. moNiToR 1 ThRU 6 SENd CoNTRoLS
The channel MONITOR controls allow you to create six
independent monitor mixes. The MONITOR signals (pre-EQ,
pre fader) are routed to the master MON 1, 2, 3, 4, 5 and 6
controls (#22) respectively before going to the XLR output
connectors (#40).
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 master EFFEctS 1 or EFFEctS 2
levels to the internal processors (#18) and to the EFF 1 or
EFF 2 output (#38).
10. PAN CoNTRoL
Each channels Pan control allows stereo imaging by pan -
ning Left or Right during recordings or live performances.
The Pan control also works for the sub-mix groups. A center
position will send a channels 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 element pan controls provide 15dB greater separation
than standard pan controls
11. ChANNEL SiGNAL GREEN LEd
The Signa L 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 RE d PEAK LE d
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
The Mut E switch will interrupt the channel signal. This
feature saves having to reset your faders and monitor sends.
The PEAK LED will light solid ON with no SIG LED.
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 (#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
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.
16. ChANNEL FAdER
The CHANNEL FADER adjusts the output level of the chan -
nel. The signal will go to one or more of the Master Faders,
depending on both the Channel Assignment switches and the
Pan control. Calibrated 60mm F a DERS with audio tapers are featured for smooth fade-outs. Slide all faders down when
connecting your inputs.
17.
miC P hANT om Pow ER S wiTCh / RE d
LE d
This switch provides +48v power for condenser mics such
as Carvins CM90E in groups of 8 channels. This leaves the
remaining MIC inputs for sources that dont require phantom
power. The LINE inputs are unaffected.
mASTER SECTioN
1 8 . dU A L S T E R E o 2 4 - b iT E F F E C T S
PRoCESSoR
The internal 24-BIT stereo processors receive signals from
the channel EFF1 and EFF2 controls and the master EFF1 and
EFF2 controls. If the adjacent PK (peak) LED flashes, reduce
the level from the channel or master EFF1 or EFF2 send
controls. A solid PK LED will show EFFEctS 1 or 2 have
been muted by the Mut E switches. 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 PARAMETERS
a.)ECHO: When the SELECT control is at the seven O-clock
position, 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 shortest 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 regeneration).
b.)REVERB: When the SELECT control is at the ten O-clock
position, it is selected to the first REVERB setting. Turning the
SELECT control clockwise will increase the amount of high
frequencies in the reverb. Turning the PARAMETER control to
1 will provide minimal decay time of the reverb. Increasing to
the right will increase the reverb decay time.
c.)CHORUS: When the SELECT control is at the one O-clock
position it is selected to the first CHORUS setting. Turning the
SELECT control clockwise will increase the amount reverb in
the chorus. Turning the PARAMETER control to 1 will provide
a minimal chorus depth setting. Increasing to the right will
increase the chorus depth.
d.)FLANGE: When the SELECT control is at the four O-clock
position it is selected to the first FLANGE setting. Turning the
SELECT
control clockwise will increase the flangers speed. Turning the PARAMETER control to 1 will provide minimal flanging depth.
Increasing to the right will increase the flangers depth.
To send effects to the monitors, use the to Monito RS
controls, Mon 1/M on 2 & Mon 1/M on 3. The center posi -
tion on both controls is OFF.
19. SEND 1 & 2
Sends signals from the channel EFF 1 and EFF2 controls to the
internal processors and to the EFF1 and EFF2 output jacks.
20. 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 (#40 ).
21. RETURN 4 L-R/ US b iN
Receives a signal from the Rtn 4 L/R 1/4 jacks ( #39) and from the
rear uSb port . These signals will also be present at Mon 1.
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 faders ( #28),
then each fader is bused to the corresponding 4 GROUP 1/4
outputs ( #41). By assigning the 4 faders to the Master L-R
faders, the operator can use the faders to sub-mix groups.
Q
UiCK START UP
If youre like most new owners, youre 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 mixer can be used with 120 or 240VAC (it automati -
cally switches internally)
- 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 channels HI, M ID , and BASS controls and the
two master 9 Band GRAPHI CS to their center positions.
- Adjust the Channel PAN controls to their center posi-
tions.
- Turn the mixer on by the rear panel POWER SWITCH
and watch for the POWER LED. Your mixer is now ready
to operate.
C1648, C2448, C3248 & C1648 P 4- bUS miXERS
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