All 4 mics wil transmitt through channel a,

Hi, you didn't say if the mic actually passes sound? The C-1 is a condenser Mic & needs phantom power - switch on the rear of your mixer. If that's no help, what happens if you disconnect the mic, then turn the levels back up? Still hissing or gone? If it's gone then it's the Mic - must use a 3 wire cable, preferably XLR so it gets the phantom power. If the hiss is still there without the Mic then sounds like the mixer is faulty - try some of the other channels..... How loau is the hiss - just in the background or as load as a vocal "one, two" test? A few things to check anyway...... Good Luck!

Where are you getting the low output? It would be very strange if all channels failed in the same way so it is probably something common to them all. Can you get the clip light to illuminate at all by turning the gain up on a mic channel and shouting into the mic? You are referring to the gain at the top of the strip not the slider aren't you? What happens if you assign a channel to the other sub channel, does the level come up through that? What happens if you take the output from the aux send and you send signal there, is it the same issue?
I may be completely wrong but I suspect if it is only mics that are causing a problem you may have the routing set up wrong or not set a level somewhere else right.

Is there some reason you can't use one of you're aux sends for the compressor? You can then dial up as much compression as you want on each individual instrument. If you're determined to get the 4 mics into one compressor input.... Only thing I can think of is use TRS insert cables on the 4 mic channels - tie them all into one compressor input through a small patch bay or similar. Then bring your return from your comp to a 5th channel. Impedance matching is completely out the window so no promises on results.

You need to check that they are both operating on different channels there should be a switch or POT on the microphone and possibly one on the reciever. If they are static or preset you need to swap one for the other channel. Some (usualy cheap) mics have a preset or static channel often ch-A and ch-B, there should be one of each in the box. If you bought the extra body packs they will also come with the preset channels.
- thegorisb

Greetings! Ok, your amp has an XLR (3-prong) Low-Impedance input on Channel 1 for a Mic. All the other inputs are 1/4" High Impedance inputs, which are for instruments and/or other High Impedance items including low quality High Impedance Microphones. The SM48S is a high quality Low Impedance microphone, so if you use it with a 1/4" plug, it will be in a High Impedance channel, and will be very LOW in volume in comparison with everything else. So, you must use an XLR (3 prong) cable from the Mic to the Channel 1 input on your amp. That will do the trick. Good Luck with your new amp and Mic!

Things to check: You are using XLR mic cables... You have the speaker switch in the uppermost position A and B mains... the mute for that channel is off... For an SM58 the TRIM for that channel will be at about 3 o'clock to near full on, depending on vocalists voice strength... The CHANNEL fader will be at around -5 to 0 (75% up)... The MAIN fader will be around 50 to 80% depending on how big a room you are in. I assume the Peaveys are on separate channels IF they are 4 ohm speakers. The A and B outputs have a MINIMUM load of 4 ohms. With 4 ohm speakers you can get 400 Watts per side... about 250 Watts with 8 ohm speakers. DO NOT SET SPEAKERS to bridged mode... ALSO please read my tip on Fixya about a hazard of channel A polarity if you use 1/4 inch plugs on the ends at the speakers. The SLEEVE of channel A is the HOT, not the tip and grounding the sleeve can blow the channel A amp.

Sorry, but the Lexicon Alpha does NOT have Phantom power and you can't use a condenser mic with it without a Phantom power injector or preamp.
If you mean you have a Phantom power injector then it should be working. Do you have seperate mics for the two channels of the stereo? If you have only one mic, then only one side will record unless you set for mono recording and then dump the recording into stereo voa Cubase. I would recommend you get a small mixer... even a 4 channel one to use ahead of the Lexicon so you can mix and PAN your mics the way you want them. The recording and trying to control the panning in Cubase can be frustrating... The Lexicon really doesn't have anything built in to PAN the mic to the center when stereo recording. Small mixers are inexpensive and often you can find them used or in pawn shops for cheap.

You mention "mic"... to do stereo you need two mics...

If you are trying to "PAN" a single mic, then you should use a WYE cable and have the single mic go to both input channels.

Thiis amp has plenty of gain for mics. Make sure your mic has a good XLR to XLR cable (balanced) and connects to the XLR input connectors. If you have 1/4 inch jack cables that aren't TRS balanced on the mics, get rid of them and get XLR's.

Then push the PFL button down (LED will light red) for a single channel with a mic and adjust the trim (top knob for the channel) so that the level peaks without clipping on the main LED display when highest input to the mic is being generated. You should not get clipping then during operation.

After that you use the slider tio adjust the level for the mic. The MAIN slider should be at least up around -10 to zero during operation. If your main slider is way down, then you haven't balanced your channels properly. Do the same for each channel as the instructions for the mic above. If the gains of the other inputs are too high and the MAIN slider too low, this is what is causing your problem.

Typically the trims for mics like Shure 58 are about 3 o'clock.

High level guitars may have trims anywhere from 9 to 3 o'clock.

Ideally you will want your channel sliders to be between -10 and zero.

They have to be recorded on SEPERATE tracks if you want to keep them seperate. It will be hard to do this live as if you mic acoustics you will still get some cross feed in the mics from the different percussions.

With an electronic drum set it may be even harder as they often only have a single mixed output.

The way the professionals would do this is to play the kick and record it on a track... and then play that track back and record the snare and hat each seperately on other tracks.

Once you have synced tracks of the parts, then you can mix anyway you want.

With electronic drums you COULD have two seperate modules to give you two seperate outputs, but that is a budget breaker.