Carvin c 1648 p owners manual
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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 2