CARVIN C2440 User manual

CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
SAFETY INSTRUCTIONS (EUROPEAN)
The conductors in the AC power cord are colored in accordance with the following code.
GREEN & YELLOW—Earth BLUE—Neutral BROWN—Live
U.K. MAIN PLUG WARNING: Amolded main plug that has been cut off from the cord is unsafe. NEVER UNDER ANYCIR-
CUMSTANCES SHOULD YOU INSERTADAMAGED OR CUTMAIN PLUG INTO APOWER SOCKET.
IMPORTANT! FOR YOUR PROTECTION, PLEASE READ THE FOLLOWING:
WATER AND MOISTURE: Appliance should not be used near water (near a bathtub, washbowl,
kitchen sink, laundry tub, in a wet basement, or near a swimming pool, etc). Care should be taken
so that objects do not fall and liquids are not spilled into the enclosure through openings.
POWER SOURCES: The appliance should be connected to a power supply only of the type
described in the operating instructions or as marked on the appliance.
GROUNDING OR POLARIZATION: Precautions should be taken so that the grounding or polar-
ization means of an appliance is not defeated.
POWER CORD PROTECTION: Power supply cords should be routed so that they are not likely to
be walked on or pinched by items placed upon or against them, paying particular attention to
cords at plugs, convenience receptacles, and the point where they exit from the appliance.
SERVICING: The user should not attempt to service the appliance beyond that described in the
operating instructions. All other servicing should be referred to qualified service personnel.
FUSING: If your unit is equipped with a fuse receptacle, replace only with the same type fuse.
Refer to replacement text on the unit for correct fuse type.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL!
REF. Carvin P/N Description
Channel PCB Rev (C) 30-08248
A1 60-20430 Op Amp NJM2043D Linear Dual
A2 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A3 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A4 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A5 60-20430 Op Amp NJM2043D Linear Dual
B5 50-00035 Jumper .35" 0.0Ω
B10 50-47005 1/4W Resistor 4.7K 5% Carbon
B12 50-00035 Jumper .35" 0.0Ω
B13 50-00035 Jumper .35" 0.0Ω
B14 50-00035 Jumper .35" 0.0Ω
B15 50-00035 Jumper .35" 0.0Ω
B16 50-00035 Jumper .35" 0.0Ω
B17 50-00035 Jumper .35" 0.0Ω
B18 50-00035 Jumper .35" 0.0Ω
B55 50-00035 Jumper .35" 0.0Ω
C1 45-39052 Capacitor 39PF 500 Volt Ceramic 5%
C2 45-39052 Capacitor 39PF 500 Volt Ceramic 5%
C3 47-22051 Capacitor 22µF 50V Electrolytic 20%
C4 47-22051 Capacitor 22µF 50V Electrolytic 20%
C5 46-47312 Capacitor 0.047µF 100V Poly 10%
C6 47-22051 Capacitor 22µF 50V Electrolytic 20%
C7 45-39052 Capacitor 39PF 500 Volt Ceramic 5%
C8 46-47312 Capacitor 0.047µF 100V Poly 10%
C9 46-33312 Capacitor 0.033µF 100V Poly 10%
C10 47-22051 Capacitor 22µF 50V Electrolytic 20%
C11 45-39052 Capacitor 39PF 500 Volt Ceramic 5%
C12 45-39052 Capacitor 39PF 500 Volt Ceramic 5%
C13 47-22051 Capacitor 22µF 50V Electrolytic 20%
C14 47-22051 Capacitor 22µF 50V Electrolytic 20%
C15 47-22051 Capacitor 22µF 50V Electrolytic 20%
C16 46-10312 Capacitor 0.01µF 100V Poly 10%
C17 47-22051 Capacitor 22µF 50V Electrolytic 20%
C18 47-47116 Capacitor 470µF 16V Electrolytic 20%
C19 47-47116 Capacitor 470µF 16V Electrolytic 20%
C20 45-39052 Capacitor 39PF 500 Volt Ceramic 5%
C21 45-56152 Capacitor 560PF 500V Ceramic 10%
C22 45-56152 Capacitor 560PF 500V Ceramic 10%
C23 46-33212 Capacitor 0.0033µF 100V Poly 10%
C24 47-22051 Capacitor 22µF 50V Electrolytic 20%
D1 60-75330 LED Green small #204GD 3mm T-1.0
D2 60-75320 LED Red small #204HD 3mm T-1.0
D10 60-75320 LED Red small #204HD 3mm T-1.0
H1 23-11008 Header 8 Pin Vert SHS 2.5mm
H2 23-11008 Header 8 Pin Vert SHS 2.5mm
H3 23-11008 Header 8 Pin Vert SHS 2.5mm
H11 23-11008 Header 8 Pin Vert SHS 2.5mm
H12 23-11008 Header 8 Pin Vert SHS 2.5mm
H13 23-11008 Header 8 Pin Vert SHS 2.5mm
J1 21-50545 Phone Jack 1/4" 5 pin H= 24mm
J2 21-40000 XLR Jack Female Vert
J3 21-50545 Phone Jack 1/4" 5 pin H= 24mm
P1 71-09253 Potentiometer B50K Vert D Shaft 9 25F
P2 71-09252 Potentiometer B50K C-C D Shaft 9 25F
P3 71-09252 Potentiometer B50K C-C D Shaft 9 25F
P4 71-09252 Potentiometer B50K C-C D Shaft 9 25F
P5 71-09253 Potentiometer B50K D Shaft 9 25F
P6 71-09253 Potentiometer B50K Vert D Shaft 9 25F
P7 71-09253 Potentiometer B50K Vert D Shaft 9 25F
P8 71-09253 Potentiometer B50K Vert D Shaft 9 25F
P9 72-13169 Potentiometer B50Kx2 C-C D 14 25F
P10 71-15065 Fader 25A50K 60mm HT= .215mm
R1 50-56231 1/4W Resistor 5.62 1% Metal
R2 59-10040 1/8W Resistor 10K x4 SIP 2% Carbon
R3 50-10045 1/4W Resistor 10K 5% Carbon
R4 50-15031 1/4W Resistor 1.51K 1% Metal
R5 50-15031 1/4W Resistor 1.51K 1% Metal
R6 50-22131 1/4W Resistor 2.21K 1% Metal
R7 59-10040 1/8W Resistor 10K x4 SIP 2% Carbon
R8 50-47025 1/4W Resistor 470Ω5% Carbon
R9 50-68045 1/4W Resistor 68K 5% Carbon
R10 59-10040 1/8W Resistor 10K x4 SIP 2% Carbon
R11 50-10045 1/4W Resistor 10K 5% Carbon
R12 50-10045 1/4W Resistor 10K 5% Carbon
R13 50-22035 1/4W Resistor 2.2K 5% Carbon
R14 50-10025 1/4W Resistor 100Ω5% Carbon
R15 50-12045 1/4W Resistor 12K 5% Carbon
R16 50-10035 1/4W Resistor 1K 5% Carbon
R17 50-22131 1/4W Resistor 2.21K 1% Metal
R18 50-10025 1/4W Resistor 100Ω5% Carbon
R19 50-47045 1/4W Resistor 47K 5% Carbon
R20 50-10045 1/4W Resistor 10K 5% Carbon
R21 50-47005 1/4W Resistor 4.7K 5% Carbon
R22 50-10055 1/4W Resistor 100K 5% Carbon
R23 50-56231 1/4W Resistor 5.62 1% Metal
R24 50-47045 1/4W Resistor 47K 5% Carbon
R25 50-47005 1/4W Resistor 4.7K 5% Carbon
R26 50-10025 1/4W Resistor 100Ω5% Carbon
R27 50-33035 1/4W Resistor 3.3K 5% Carbon
R28 50-47045 1/4W Resistor 47K 5% Carbon
R29 50-33035 1/4W Resistor 3.3K 5% Carbon
R30 50-10045 1/4W Resistor 10K 5% Carbon
R31 50-22045 1/4W Resistor 22K 5% Carbon
R32 50-18045 1/4W Resistor 18K 5% Carbon
R33 50-68035 1/4W Resistor 68K 5% Carbon
R34 50-56035 1/4W Resistor 5.6K 5% Carbon
R35 50-10045 1/4W Resistor 10K 5% Carbon
R36 50-10055 1/4W Resistor 100K 5% Carbon
R37 50-56035 1/4W Resistor 5.6K 5% Carbon
R38 50-47055 1/4W Resistor 470K 5% Carbon
R43 50-56035 1/4W Resistor 5.6K 5% Carbon
R100 50-22035 1/4W Resistor 2.2K 5% Carbon
S1 25-02201 Switch DPDT Push Vert
S2 25-02201 Switch DPDT Push Vert
S3 25-02201 Switch DPDT Push Vert
S4 25-02201 Switch DPDT Push Vert
S5 25-02201 Switch DPDT Push Vert
S6 25-02201 Switch DPDT Push Vert
S7 25-02201 Switch DPDT Push Vert
S8 25-02201 Switch DPDT Push Vert
S9 25-02201 Switch DPDT Push Vert
S10 25-02201 Switch DPDT Push Vert
Z1 61-04734 Diode Zener 5.6V 1N4734A 1W
System Master PCB Rev (A) 30-24424
A1 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A2 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A3 60-20430 Op Amp NJM2043D Linear Dual
A4 60-20430 Op Amp NJM2043D Linear Dual
A5 60-20430 Op Amp NJM2043D Linear Dual
A6 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A7 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A8 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A9 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A10 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A11 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A12 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A13 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A14 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A15 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A16 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A17 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A18 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A19 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A20 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A21 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A22 60-20430 Op Amp NJM2043D Linear Dual
A23 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A24 60-29010 IC DIP 14 Comparitor x4 OC
A25 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A26 60-20430 Op Amp NJM2043D Linear Dual
A28 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A29 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A30 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A31 60-20430 Op Amp NJM2043D Linear Dual
A32 60-20430 Op Amp NJM2043D Linear Dual
A33 60-20430 Op Amp NJM2043D Linear Dual
A35 60-45580 Op Amp MC4558 CP1 Dual HFREQ
A36 60-20430 Op Amp NJM2043D Linear Dual
A41 60-29010 IC DIP 14 Comparitor x4 OC
A42 60-29010 IC DIP 14 Comparitor x4 OC
A43 60-29010 IC DIP 14 Comparitor x4 OC
A44 60-29010 IC DIP 14 Comparitor x4 OC
A45 60-29010 IC DIP 14 Comparitor x4 OC
C1 47-47125 Capacitor 470µF 25V Electrolytic 20%
C2 47-47125 Capacitor 470µF 25V Electrolytic 20%
C3 45-39052 Capacitor 39PF 500V Ceramic 5%
C4 45-39052 Capacitor 39PF 500V Ceramic 5%
C5 47-10061 Capacitor 10µF 63V Electrolytic 20%
C6 45-39052 Capacitor 39PF 500V Ceramic 5%
C7 47-10061 Capacitor 10µF 63V Electrolytic 20%v
C8 47-10061 Capacitor 10µF 63V Electrolytic 20%
C9 47-10061 Capacitor 10µF 63V Electrolytic 20%
C10 47-10061 Capacitor 10µF 63V Electrolytic 20%
C11 45-39052 Capacitor 39PF 500V Ceramic 5%
C12 47-10061 Capacitor 10µF 63V Electrolytic 20%
C13 47-10061 Capacitor 10µF 63V Electrolytic 20%
C14 47-22051 Capacitor 22µF 50V Electrolytic 20%
C15 45-39052 Capacitor 39PF 500V Ceramic 5%
C16 45-39052 Capacitor 39PF 500V Ceramic 5%
C17 47-10061 Capacitor 10µF 63V Electrolytic 20%
C18 45-39052 Capacitor 39PF 500V Ceramic 5%
C19 47-10061 Capacitor 10µF 63V Electrolytic 20%
C20 45-39052 Capacitor 39PF 500V Ceramic 5%
C21 45-39052 Capacitor 39PF 500V Ceramic 5%
C22 47-10061 Capacitor 10µF 63V Electrolytic 20%
C23 45-39052 Capacitor 39PF 500V Ceramic 5%
C24 45-39052 Capacitor 39PF 500V Ceramic 5%
C25 45-39052 Capacitor 39PF 500V Ceramic 5%
C26 47-10061 Capacitor 10µF 63V Electrolytic 20%
C27 45-39052 Capacitor 39PF 500V Ceramic 5%
C28 45-39052 Capacitor 39PF 500V Ceramic 5%
C29 45-39052 Capacitor 39PF 500V Ceramic 5%
C30 47-10061 Capacitor 10µF 63V Electrolytic 20%
C31 45-39052 Capacitor 39PF 500V Ceramic 5%
C32 45-39052 Capacitor 39PF 500V Ceramic 5%
C33 47-10061 Capacitor 10µF 63V Electrolytic 20%
C34 45-33113 Capacitor 330PF 1000V 10%
C35 45-39052 Capacitor 39PF 500V Ceramic 5%
C36 46-10212 Capacitor 0.001µF 100V Poly 10%
C37 45-39052 Capacitor 39PF 500V Ceramic 5%
C38 47-22051 Capacitor 22µF 50V Electrolytic 20%
C39 45-39052 Capacitor 39PF 500V Ceramic 5%
C40 47-10061 Capacitor 10µF 63V Electrolytic 20%
C41 45-33113 Capacitor 330PF 1000V 10%
C42 47-10061 Capacitor 10µF 63V Electrolytic 20%
C43 47-10061 Capacitor 10µF 63V Electrolytic 20%
C44 47-10061 Capacitor 10µF 63V Electrolytic 20%
C45 47-10061 Capacitor 10µF 63V Electrolytic 20%
C46 45-39052 Capacitor 39PF 500V Ceramic 5%
C47 46-10212 Capacitor 0.001µF 100V Poly 10%
C48 47-22051 Capacitor 22µF 50V Electrolytic 20%
C49 45-33113 Capacitor 330PF 1000V 10%
C50 45-39052 Capacitor 39PF 500V Ceramic 5%
C51 46-10212 Capacitor 0.001µF 100V Poly 10%
C52 47-22051 Capacitor 22µF 50V Electrolytic 20%
C53 47-10061 Capacitor 10µF 63V Electrolytic 20%
C54 45-33113 Capacitor 330PF 1000V 10%
C55 45-39052 Capacitor 39PF 500V Ceramic 5%
C56 46-10212 Capacitor 0.001µF 100V Poly 10%
C57 47-22051 Capacitor 22µF 50V Electrolytic 20%
C58 45-39052 Capacitor 39PF 500V Ceramic 5%
C59 45-39052 Capacitor 39PF 500V Ceramic 5%
C60 45-39052 Capacitor 39PF 500V Ceramic 5%
C61 47-10061 Capacitor 10µF 63V Electrolytic 20%
C62 47-10061 Capacitor 10µF 63V Electrolytic 20%
C63 45-33113 Capacitor 330PF 1000V 10%
C64 45-39052 Capacitor 39PF 500V Ceramic 5%
C65 46-10212 Capacitor 0.001µF 100V Poly 10%
C66 47-22051 Capacitor 22µF 50V Electrolytic 20%
C67 47-10061 Capacitor 10µF 63V Electrolytic 20%
C68 45-39052 Capacitor 39PF 500V Ceramic 5%
C69 47-10061 Capacitor 10µF 63V Electrolytic 20%
C70 45-39052 Capacitor 39PF 500V Ceramic 5%
C71 47-10061 Capacitor 10µF 63V Electrolytic 20%
C72 45-39052 Capacitor 39PF 500V Ceramic 5%
C73 45-39052 Capacitor 39PF 500V Ceramic 5%
C74 47-10061 Capacitor 10µF 63V Electrolytic 20%
C75 47-10061 Capacitor 10µF 63V Electrolytic 20%
C76 47-10061 Capacitor 10µF 63V Electrolytic 20%
C77 47-10061 Capacitor 10µF 63V Electrolytic 20%
C78 46-10212 Capacitor 0.001µF 100V Poly 10%
C79 45-33113 Capacitor 330PF 1000V 10%
C80 45-39052 Capacitor 39PF 500V Ceramic 5%
C81 45-39052 Capacitor 39PF 500V Ceramic 5%
C82 45-39052 Capacitor 39PF 500V Ceramic 5%
C83 45-39052 Capacitor 39PF 500V Ceramic 5%
C84 45-39052 Capacitor 39PF 500V Ceramic 5%
C85 45-39052 Capacitor 39PF 500V Ceramic 5%
C86 45-39052 Capacitor 39PF 500V Ceramic 5%
C87 45-39052 Capacitor 39PF 500V Ceramic 5%
C88 46-10212 Capacitor 0.001µF 100V Poly 10%
C89 47-22051 Capacitor 22µF 50V Electrolytic 20%
C90 45-39052 Capacitor 39PF 500V Ceramic 5%
C91 45-39052 Capacitor 39PF 500V Ceramic 5%
C92 45-39052 Capacitor 39PF 500V Ceramic 5%
C93 45-39052 Capacitor 39PF 500V Ceramic 5%
C94 46-10212 Capacitor 0.001µF 100V Poly 10%
C95 45-39052 Capacitor 39PF 500V Ceramic 5%
C96 45-39052 Capacitor 39PF 500V Ceramic 5%
C97 45-39052 Capacitor 39PF 500V Ceramic 5%
C98 45-39052 Capacitor 39PF 500V Ceramic 5%
C99 45-39052 Capacitor 39PF 500V Ceramic 5%
C100 45-39052 Capacitor 39PF 500V Ceramic 5%
C101 45-39052 Capacitor 39PF 500V Ceramic 5%
C102 47-10061 Capacitor 10µF 63V Electrolytic 20%
C103 45-39052 Capacitor 39PF 500V Ceramic 5%
C104 45-39052 Capacitor 39PF 500V Ceramic 5%
C105 46-47312 Capacitor 0.047µF 100V Poly 10%
C106 45-39052 Capacitor 39PF 500V Ceramic 5%
C107 47-22051 Capacitor 22µF 50V Electrolytic 20%
C108 47-22051 Capacitor 22µF 50V Electrolytic 20%
C109 47-22051 Capacitor 22µF 50V Electrolytic 20%
C110 47-22051 Capacitor 22µF 50V Electrolytic 20%
C111 47-10061 Capacitor 10µF 63V Electrolytic 20%
C112 45-33113 Capacitor 330PF 1000V 10%
C113 46-10212 Capacitor 0.001µF 100V Poly 10%
C114 47-10061 Capacitor 10µF 63V Electrolytic 20%
C115 45-33113 Capacitor 330PF 1000V 10%
C116 47-10061 Capacitor 10µF 63V Electrolytic 20%
C118 47-10061 Capacitor 10µF 63V Electrolytic 20%
C119 45-39052 Capacitor 39PF 500V Ceramic 5%
C120 45-39052 Capacitor 39PF 500V Ceramic 5%
C158 47-10061 Capacitor 10µF 63V Electrolytic 20%
C159 47-10061 Capacitor 10µF 63V Electrolytic 20%
C168 45-39052 Capacitor 39PF 500V Ceramic 5%
C169 47-10061 Capacitor 10µF 63V Electrolytic 20%
C170 47-10061 Capacitor 10µF 63V Electrolytic 20%
D1 61-19140 Diode 1N914 HI SPD 20mA 250mW
D2 60-75320 LED Red small #204HD 3mm T-1.0
D3 61-19140 Diode 1N914 HI SPD 20mA 250mW
D4 61-19140 Diode 1N914 HI SPD 20mA 250mW
D7 60-75320 LED Red small #204HD 3mm T-1.0
D8 60-75320 LED Red small #204HD 3mm T-1.0
D9 60-75340 LED Yellow small #204YD 3mm T-1.0
D10 60-75340 LED Yellow small #204YD 3mm T-1.0
D11 60-75340 LED Yellow small #204YD 3mm T-1.0
D12 60-75330 LED Green small #204GD 3mm T-1.0
D13 60-75330 LED Green small #204GD 3mm T-1.0
D14 60-75330 LED Green small #204GD 3mm T-1.0
D15 60-75330 LED Green small #204GD 3mm T-1.0
D16 60-75330 LED Green small #204GD 3mm T-1.0
D17 60-75330 LED Green small #204GD 3mm T-1.0
D18 60-75320 LED Red small #204HD 3mm T-1.0
D19 60-75340 LED Yellow small #204YD 3mm T-1.0
D20 60-75340 LED Yellow small #204YD 3mm T-1.0
D21 60-75340 LED Yellow small #204YD 3mm T-1.0
D22 60-75330 LED Green small #204GD 3mm T-1.0
D23 60-75330 LED Green small #204GD 3mm T-1.0
D24 60-75330 LED Green small #204GD 3mm T-1.0
D25 60-75330 LED Green small #204GD 3mm T-1.0
D26 60-75330 LED Green small #204GD 3mm T-1.0
D27 60-75330 LED Green small #204GD 3mm T-1.0
D29 61-19140 Diode 1N914 HI SPD 20mA 250mW
D30 61-19140 Diode 1N914 HI SPD 20mA 250mW
D31 61-19140 Diode 1N914 HI SPD 20mA 250mW
H1 23-11010 Header 10 Pin Vert 2.5mm
H2 23-11008 Header 8 Pin Vert 2.5mm
H3 23-11008 Header 8 Pin Vert 2.5mm
H4 23-11010 Header 10 Pin Vert 2.5mm
H5 23-11008 Header 8 Pin Vert 2.5mm
H6 23-11008 Header 8 Pin Vert 2.5mm
J1 21-50545 Phone Jack 1/4" Stereo H=24mm
J2 21-50545 Phone Jack 1/4" Stereo H=24mm
J3 21-50345 Phone Jack 1/4" Mono H=24mm
J4 21-50345 Phone Jack 1/4" Mono H=24mm
J5 21-50345 Phone Jack 1/4" Mono H=24mm
J6 21-50345 Phone Jack 1/4" Mono H=24mm
J7 21-50345 Phone Jack 1/4" Mono H=24mm
J8 21-50345 Phone Jack 1/4" Mono H=24mm
J9 21-50545 Phone Jack 1/4" Stereo H=24mm
J10 21-40022 RCA Phono Jack x4
J11 21-50345 Phone Jack 1/4" Mono H=24mm
J12 21-50345 Phone Jack 1/4" Mono H=24mm
J13 21-50545 Phone Jack 1/4" Stereo H=24mm
J14 21-50345 Phone Jack 1/4" Mono H=24mm
J15 21-50345 Phone Jack 1/4" Mono H=24mm
J16 21-50345 Phone Jack 1/4" Mono H=24mm
J17 21-50345 Phone Jack 1/4" Mono H=24mm
J18 21-50345 Phone Jack 1/4" Mono H=24mm
J19 21-50345 Phone Jack 1/4" Mono H=24mm
J20 21-50545 Phone Jack 1/4" Stereo H=24mm
J21 21-50545 Phone Jack 1/4" Stereo H=24mm
J22 21-50545 Phone Jack 1/4" Stereo H=24mm
J23 21-50545 Phone Jack 1/4" Stereo H=24mm
J31 21-40001 XLR Jack Male Vert
J32 21-40001 XLR Jack Male Ver
J33 21-40001 XLR Jack Male Ver
P1 71-09253 Potentiometer B50K D Shaft 9 25F
P2 71-09253 Potentiometer B50K D Shaft 9 25F
P3 71-15065 Fader 25A50K 60mm HT=.215
P4 71-09253 Potentiometer B50K D Shaft 9 25F
P5 71-09253 Potentiometer B50K D Shaft 9 25F
P6 71-09253 Potentiometer B50K D Shaft 9 25F
P7 72-12253 Potentiometer B50Kx2 D Shaft 12 25F
P8 71-09253 Potentiometer B50K D Shaft 9 25F
P9 72-12253 Potentiometer B50Kx2 D Shaft 12 25F
P10 72-12253 Potentiometer B50Kx2 D Shaft 12 25F
P11 72-12253 Potentiometer B50Kx2 D Shaft 12 25F
P12 71-09253 Potentiometer B50K D Shaft 9 25F
P13 71-09253 Potentiometer B50K D Shaft 9 25F
P14 71-09253 Potentiometer B50K D Shaft 9 25F
P15 71-15065 Fader 25A50K 60mm HT=.215
P16 71-15065 Fader 25A50K 60mm HT=.215
P17 71-15065 Fader 25A50K 60mm HT=.215
P18 72-12552 Potentiometer B50Kx2 C-C D Shaft 12
25F
P20 72-12253 Potentiometer B50Kx2 D Shaft 12 25F
P21 72-12552 Potentiometer B50Kx2 C-C D Shaft 12
25F
P22 72-12552 Potentiometer B50Kx2 C-C D Shaft 12
25F
P23 71-15065 Fader 25A50K 60mm HT=.215
P24 71-09253 Potentiometer B50K D Shaft 9 25F
P25 72-12552 Potentiometer B50Kx2 C-C D Shaft 12
25F
P27 72-12253 Potentiometer B50Kx2 D Shaft 12 25F
P28 72-12253 Potentiometer B50Kx2 D Shaft 12 25F
P31 71-15065 Fader 25A50K 60mm HT=.215
P32 71-15065 Fader 25A50K 60mm HT=.215
Q1 60-17500 JFET J175 TO-92 P Chnl
Q2 60-17500 JFET J175 TO-92 P Chnl
Q17 60-45000 Transistor 2N54000 TO-92
Q18 60-45000 Transistor 2N54000 TO-92
R1 50-47005 1/4W Resistor 4.7Ω5% Carbon
R2 50-47005 1/4W Resistor 4.7Ω5% Carbon
R3 50-10045 1/4W Resistor 10K 5% Carbon
R4 50-47025 1/4W Resistor 470Ω5% Carbon
R5 50-47025 1/4W Resistor 470Ω5% Carbon
R6 59-10042 1/8W 10K x 6 Resistor 7p 2%
R7 59-10042 1/8W 10K x 6 Resistor 7p 2%
R8 50-10045 1/4W Resistor 10K 5% Carbon
R9 50-22045 1/4W Resistor 22K 5% Carbon
R10 50-10045 1/4W Resistor 10K 5% Carbon
R11 50-10045 1/4W Resistor 10K 5% Carbon
R12 50-22045 1/4W Resistor 22K 5% Carbon
R13 50-47025 1/4W Resistor 470Ω5% Carbon
R14 50-10045 1/4W Resistor 10K 5% Carbon
R15 50-10045 1/4W Resistor 10K 5% Carbon
R16 50-12045 1/4W Resistor 12K 5% Carbon
R17 50-12045 1/4W Resistor 12K 5% Carbon
R18 50-47045 1/4W Resistor 47K 5% Carbon
R19 50-10045 1/4W Resistor 10K 5% Carbon
R20 50-12045 1/4W Resistor 12K 5% Carbon
R21 50-47015 1/4W Resistor 47Ω5% Carbon
R22 50-47015 1/4W Resistor 47Ω5% Carbon
R23 50-22045 1/4W Resistor 22K 5% Carbon
R24 50-22045 1/4W Resistor 22K 5% Carbon
R25 50-47025 1/4W Resistor 470Ω5% Carbon
R26 50-22045 1/4W Resistor 22K 5% Carbon
R27 50-47025 1/4W Resistor 470Ω5% Carbon
R28 50-22045 1/4W Resistor 22K 5% Carbon
R29 50-12045 1/4W Resistor 12K 5% Carbon
R30 50-47045 1/4W Resistor 470Ω5% Carbon
R31 50-10045 1/4W Resistor 10K 5% Carbon
R32 50-33035 1/4W Resistor 3.3K 5% Carbon
R33 50-10045 1/4W Resistor 10K 5% Carbon
R34 50-10045 1/4W Resistor 10K 5% Carbon
R35 50-22045 1/4W Resistor 22K 5% Carbon
R36 50-22045 1/4W Resistor 22K 5% Carbon
R37 50-36055 1/4W Resistor 360K 5% Carbon
R38 50-10055 1/4W Resistor 100K 5% Carbon
R39 50-22045 1/4W Resistor 22K 5% Carbon
R40 50-12045 1/4W Resistor 12K 5% Carbon
R41 50-10045 1/4W Resistor 10K 5% Carbon
R42 50-12045 1/4W Resistor 12K 5% Carbon
R43 50-22045 1/4W Resistor 22K 5% Carbon
R44 50-47035 1/4W Resistor 4.7K 5% Carbon
R45 50-47025 1/4W Resistor 470Ω5% Carbon
R46 50-47025 1/4W Resistor 470Ω5% Carbon
R47 50-10045 1/4W Resistor 10K 5% Carbon
R48 50-10045 1/4W Resistor 10K 5% Carbon
R49 50-10045 1/4W Resistor 10K 5% Carbon
R50 50-10045 1/4W Resistor 10K 5% Carbon
R51 50-10045 1/4W Resistor 10K 5% Carbon
R52 50-22045 1/4W Resistor 22K 5% Carbon
R53 50-22045 1/4W Resistor 22K 5% Carbon
R54 50-10045 1/4W Resistor 10K 5% Carbon
R55 50-10045 1/4W Resistor 10K 5% Carbon
R56 50-12045 1/4W Resistor 12K 5% Carbon
R57 50-12045 1/4W Resistor 12K 5% Carbon
R58 50-22045 1/4W Resistor 22K 5% Carbon
R59 50-47025 1/4W Resistor 470Ω5% Carbon
R60 50-22045 1/4W Resistor 22K 5% Carbon
R61 50-22045 1/4W Resistor 22K 5% Carbon
R62 50-33045 1/4W Resistor 33K 5% Carbon
R63 50-22055 1/4W Resistor 220K 5% Carbon
R64 50-22045 1/4W Resistor 22K 5% Carbon
R65 50-22045 1/4W Resistor 22K 5% Carbon
R66 50-22045 1/4W Resistor 22K 5% Carbon
R67 50-10045 1/4W Resistor 10K 5% Carbon
R68 50-12045 1/4W Resistor 12K 5% Carbon
R69 50-47025 1/4W Resistor 470Ω5% Carbon
R70 50-12045 1/4W Resistor 12K 5% Carbon
R71 50-10045 1/4W Resistor 10K 5% Carbon
R72 59-10040 1/8W 10K x 4 Resistor 8p 2%
R73 50-10045 1/4W Resistor 10K 5% Carbon
R74 50-22045 1/4W Resistor 22K 5% Carbon
R75 50-22045 1/4W Resistor 22K 5% Carbon
R76 50-12045 1/4W Resistor 12K 5% Carbon
R77 50-10045 1/4W Resistor 10K 5% Carbon
R78 50-10045 1/4W Resistor 10K 5% Carbon
R79 50-10045 1/4W Resistor 10K 5% Carbon
R80 50-10045 1/4W Resistor 10K 5% Carbon
R81 50-10045 1/4W Resistor 10K 5% Carbon
R82 50-47025 1/4W Resistor 470Ω5% Carbon
R83 50-12045 1/4W Resistor 12K 5% Carbon
R84 50-10045 1/4W Resistor 10K 5% Carbon
R85 50-10045 1/4W Resistor 10K 5% Carbon
R86 50-10045 1/4W Resistor 10K 5% Carbon
R87 50-47025 1/4W Resistor 470Ω5% Carbon
R88 50-10045 1/4W Resistor 10K 5% Carbon
R89 50-10045 1/4W Resistor 10K 5% Carbon
R90 50-56035 1/4W Resistor 5.6K 5% Carbon
R91 50-10015 1/4W Resistor 10Ω5% Carbon
R92 50-22045 1/4W Resistor 22K 5% Carbon
R93 50-47025 1/4W Resistor 470Ω5% Carbon
R94 50-22045 1/4W Resistor 22K 5% Carbon
R95 50-22045 1/4W Resistor 22K 5% Carbon
R96 50-22045 1/4W Resistor 22K 5% Carbon
R97 50-22045 1/4W Resistor 22K 5% Carbon
R98 50-10045 1/4W Resistor 10K 5% Carbon
R99 50-47015 1/4W Resistor 47Ω5% Carbon
R100 50-47015 1/4W Resistor 47Ω5% Carbon
R101 50-22045 1/4W Resistor 22K 5% Carbon
R102 50-10045 1/4W Resistor 10K 5% Carbon
R103 50-10045 1/4W Resistor 10K 5% Carbon
R104 50-12045 1/4W Resistor 12K 5% Carbon
R105 50-10045 1/4W Resistor 10K 5% Carbon
R106 50-10045 1/4W Resistor 10K 5% Carbon
R107 50-10045 1/4W Resistor 10K 5% Carbon
R108 50-10045 1/4W Resistor 10K 5% Carbon
R109 50-10045 1/4W Resistor 10K 5% Carbon
R110 50-10045 1/4W Resistor 10K 5% Carbon
R111 50-10045 1/4W Resistor 10K 5% Carbon
R112 50-12045 1/4W Resistor 12K 5% Carbon
R113 50-47025 1/4W Resistor 470Ω5% Carbon
R114 50-47025 1/4W Resistor 470Ω5% Carbon
R115 50-10045 1/4W Resistor 10K 5% Carbon
R116 50-10045 1/4W Resistor 10K 5% Carbon
R117 50-47035 1/4W Resistor 4.7K 5% Carbon
R118 50-47025 1/4W Resistor 470Ω5% Carbon
R119 50-12045 1/4W Resistor 12K 5% Carbon
R120 50-47025 1/4W Resistor 470Ω5% Carbon
R121 50-10045 1/4W Resistor 10K 5% Carbon
R122 50-10045 1/4W Resistor 10K 5% Carbon
R123 50-12045 1/4W Resistor 12K 5% Carbon
R124 50-47035 1/4W Resistor 4.7K 5% Carbon
R125 50-47035 1/4W Resistor 4.7K 5% Carbon
R126 50-47025 1/4W Resistor 470Ω5% Carbon
R127 50-47025 1/4W Resistor 470Ω5% Carbon
R128 50-10045 1/4W Resistor 10K 5% Carbon
R129 50-10045 1/4W Resistor 10K 5% Carbon
R130 50-10045 1/4W Resistor 10K 5% Carbon
R131 50-10045 1/4W Resistor 10K 5% Carbon
R132 50-10045 1/4W Resistor 10K 5% Carbon
R133 50-12045 1/4W Resistor 12K 5% Carbon
R134 50-47035 1/4W Resistor 4.7K 5% Carbon
R135 50-47025 1/4W Resistor 470Ω5% Carbon
R136 50-22045 1/4W Resistor 22K 5% Carbon
R137 50-22045 1/4W Resistor 22K 5% Carbon
R138 50-22045 1/4W Resistor 22K 5% Carbon
R139 50-33035 1/4W Resistor 3.3K 5% Carbon
R140 50-22045 1/4W Resistor 22K 5% Carbon
R141 50-47025 1/4W Resistor 470Ω5% Carbon
R142 50-10045 1/4W Resistor 10K 5% Carbon
R143 50-10045 1/4W Resistor 10K 5% Carbon
R144 50-10045 1/4W Resistor 10K 5% Carbon
R145 50-10045 1/4W Resistor 10K 5% Carbon
R146 50-10045 1/4W Resistor 10K 5% Carbon
R147 50-47025 1/4W Resistor 470Ω5% Carbon
R148 50-10045 1/4W Resistor 10K 5% Carbon
R149 50-10045 1/4W Resistor 10K 5% Carbon
R150 50-10045 1/4W Resistor 10K 5% Carbon
R151 50-10045 1/4W Resistor 10K 5% Carbon
R152 50-10045 1/4W Resistor 10K 5% Carbon
R153 50-10045 1/4W Resistor 10K 5% Carbon
R154 50-10045 1/4W Resistor 10K 5% Carbon
R155 50-10045 1/4W Resistor 10K 5% Carbon
R156 50-10045 1/4W Resistor 10K 5% Carbon
R157 50-22045 1/4W Resistor 22K 5% Carbon
R158 50-10045 1/4W Resistor 10K 5% Carbon
R159 50-22045 1/4W Resistor 22K 5% Carbon
R160 50-47025 1/4W Resistor 470Ω5% Carbon
R161 50-10045 1/4W Resistor 10K 5% Carbon
R162 50-10045 1/4W Resistor 10K 5% Carbon
R163 50-47025 1/4W Resistor 470Ω5% Carbon
R164 50-33045 1/4W Resistor 33K 5% Carbon
R165 50-22055 1/4W Resistor 220K 5% Carbon
R166 50-10015 1/4W Resistor 10Ω5% Carbon
R167 50-12045 1/4W Resistor 12K 5% Carbon
R168 50-10045 1/4W Resistor 10K 5% Carbon
R169 50-10015 1/4W Resistor 10Ω5% Carbon
R170 50-10035 1/4W Resistor 1K 5% Carbon
R171 50-68015 1/4W Resistor 68Ω5% Carbon
R172 50-10035 1/4W Resistor 1K 5% Carbon
R173 50-68015 1/4W Resistor 68Ω5% Carbon
R174 50-22045 1/4W Resistor 22K 5% Carbon
R175 50-10045 1/4W Resistor 10K 5% Carbon
R176 50-10045 1/4W Resistor 10K 5% Carbon
R177 50-22045 1/4W Resistor 22K 5% Carbon
R178 50-22045 1/4W Resistor 22K 5% Carbon
R179 50-56035 1/4W Resistor 5.6K 5% Carbon
R180 50-56035 1/4W Resistor 5.6K 5% Carbon
R181 50-56035 1/4W Resistor 5.6K 5% Carbon
R182 50-56035 1/4W Resistor 5.6K 5% Carbon
R183 50-56035 1/4W Resistor 5.6K 5% Carbon
R184 50-56035 1/4W Resistor 5.6K 5% Carbon
R185 50-56035 1/4W Resistor 5.6K 5% Carbon
R186 50-47045 1/4W Resistor 47K 5% Carbon
R187 50-47045 1/4W Resistor 47K 5% Carbon
R188 50-47005 1/4W Resistor 4.7Ω5% Carbon
R189 50-47045 1/4W Resistor 47K 5% Carbon
R190 50-12045 1/4W Resistor 12K 5% Carbon
R191 50-47035 1/4W Resistor 4.7K 5% Carbon
R192 50-12045 1/4W Resistor 12K 5% Carbon
R193 50-47035 1/4W Resistor 4.7K 5% Carbon
R227 50-12045 1/4W Resistor 12K 5% Carbon
R229 50-47025 1/4W Resistor 470Ω5% Carbon
R230 50-12045 1/4W Resistor 12K 5% Carbon
R235 50-12045 1/4W Resistor 12K 5% Carbon
R236 50-47035 1/4W Resistor 4.7K 5% Carbon
R237 50-47025 1/4W Resistor 470Ω5% Carbon
R238 50-15045 1/4W Resistor 15K 5% Carbon
R239 50-43045 1/4W Resistor 43K 5% Carbon
R240 50-47025 1/4W Resistor 470Ω5% Carbon
R241 50-47025 1/4W Resistor 470Ω5% Carbon
R242 50-27045 1/4W Resistor 27K 5% Carbon
R243 50-15045 1/4W Resistor 15K 5% Carbon
R244 50-10055 1/4W Resistor 100K 5% Carbon
R245 50-68035 1/4W Resistor 6.8K 5% Carbon
R246 50-39035 1/4W Resistor 3.9K 5% Carbon
R247 50-18035 1/4W Resistor 1.8K 5% Carbon
R248 50-91025 1/4W Resistor 910Ω5% Carbon
R249 50-47025 1/4W Resistor 470Ω5% Carbon
R250 50-27025 1/4W Resistor 270Ω5% Carbon
R251 50-33025 1/4W Resistor 330Ω5% Carbon
S1 25-02201 Switch DPDT Push Vert
S3 25-02201 Switch DPDT Push Vert
S4 25-02201 Switch DPDT Push Vert
S5 25-02201 Switch DPDT Push Vert
S6 25-02201 Switch DPDT Push Vert
S7 25-02201 Switch DPDT Push Vert
S8 25-02201 Switch DPDT Push Vert
S9 25-02201 Switch DPDT Push Vert
S10 25-02201 Switch DPDT Push Vert
S11 25-02201 Switch DPDT Push Vert
S12 25-02201 Switch DPDT Push Vert
S13 25-02201 Switch DPDT Push Vert
S14 25-02201 Switch DPDT Push Vert
S15 25-02201 Switch DPDT Push Vert
S16 25-02201 Switch DPDT Push Vert
S17 25-02201 Switch DPDT Push Vert
S18 25-02201 Switch DPDT Push Vert
S19 25-02201 Switch DPDT Push Vert
S20 25-02201 Switch DPDT Push Vert
S21 25-02201 Switch DPDT Push Vert
S22 25-02201 Switch DPDT Push Vert
S23 25-02201 Switch DPDT Push Vert
S24 25-02201 Switch DPDT Push Vert
S25 25-02201 Switch DPDT Push Vert
S26 25-02201 Switch DPDT Push Vert
S27 25-02201 Switch DPDT Push Vert
S28 25-02201 Switch DPDT Push Vert
REPLACEMENT PARTS LIST
This symbol is intended to alert the user to the pres-
ence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magni-
tude to constitute a risk of electric shock to persons.
This symbol is intended to alert the user to the
presence of important operating and maintenance
(servicing) instructions in the literature accompa-
nying the appliance.
LIMITED WARRANTY
Your Carvin product is guaranteed against failure for 1 YEAR unless otherwise stated. Carvin
will service and supply all parts at no charge to the customer providing the unit is under war-
ranty. Shipping costs are the responsibility of the customer. CARVIN DOES NOT PAY FOR
PARTS OR SERVICING OTHER THAN OUR OWN. A COPY OF THE ORIGINAL INVOICE IS
REQUIRED TO VERIFY YOUR WARRANTY. Carvin assumes no responsibility for horn drivers or
speakers damaged by this unit. This warranty does not cover, and no liability is assumed, for
damage due to: natural disasters, accidents, abuse, loss of parts, lack of reasonable care, incor-
rect use, or failure to follow instructions. This warranty is in lieu of all other warranties,
expressed or implied. No representative or person is authorized to represent or assume for
Carvin any liability in connection with the sale or servicing of Carvin products.
CARVIN SHALL
NOT BE LIABLE FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES.
When RETURNING merchandise to the factory, you may call for a return authorization num-
ber. Describe in writing each problem. If your unit is out of warranty, you will be charged the
current FLAT RATE for parts and labor to bring your unit up to factory specifications.
MAINTAINING YOUR EQUIPMENT
Avoid spilling liquids or allowing any other foreign matter inside the unit. The panel of
your unit can be wiped from time to time with a dry or slightly damp cloth in order to
remove dust and bring back the new look.
As with all pro gear, avoid prolonged use in
caustic environments (salt air). When used in such an environment, be sure the mixer
is adequately protected by a cover.

CARVIN ENGINEERING DATA C2440 24CH C3240 32 CH 4 BUSS MIXER OPERATING MANUAL
12340 World Trade Drive, San Diego, CA 92128
[phone] [phone]
www.carvin.com
Congratulations on the purchase of your mixer. Your new 4 buss Concert Series mixer
demonstrates CARVIN’s commitment to producing the highest quality and most sophisti-
cated engineering in the audio industry today. The “C” series mixers are designed to be pro-
fessional mixers for use in live performance sound reinforcement systems & studio appli-
cations. Features include a full function 4 buss console with stereo out, mono out, and
grouped phantom power. The high quality construction will provide years of performance
in and out of the studio. Enjoy your new mixer.
OVERVIEW
The MIC/LINE input channels feature Balanced XLR and TRS 1/4” inputs with grouped
phantom power for condenser mics. There are 3 bands of EQ with MID SHIFT and LOW
CUT switches, 2 pre or post fader AUX sends and 4 accessable post fader AUX sends on
each channel. The master section features 4 sub Groups faders, 2 Master Stereo faders,
a Center fader for mono. Also featured in the master section are the 6 AUX send Masters
and 4 stereo returns.
CHANNEL EQ WITH ACTIVE TONE CIRCUITS
The Concert Series incorporates 3 bands of EQ per channel. They offer smooth non inter-
active tone curves so your adjustments will sound natural and yet be effective. The high
(treble) and low (bass) “shelving” type controls cover the complete upper and bottom por-
tions of the audio range. The LOWCUT switch provides instant elimination of unwanted
low frequencies below 75 Hz. The MID EQ controls are a “band pass” type which peak at
2.5k Hz or 700 Hz (depending on the MIDSHIFT switch) for added presence to your mid
range tones . Because CARVIN uses “active” tone circuits, you are able to boost or cut
your tones without any signal loss to your sound.
RECEIVING INSPECTION—read before getting started
INSPECT YOUR MIXER FOR ANY DAMAGE which may have occurred during shipping.
If any 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 pos-
sible protection during shipment. CARVIN and the shipping company are not liable for
any 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 sepa-
rately. 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 man-
ual for your records. Keep your portion of the card and return the portion with your
name and comments to us.
INTERNAL SIGNAL ROUTING
A balanced mic or instrument plugs directly into the high quality Neutrik™ XLR con-
nectors and is then routed into the differential circuits for excellent hum and noise can-
cellation. As your signal continues within the console, a double-sided FR-4 (fire rated)
printed circuit board carefully guards the circuit traces with a copper shield running over
the traces. This reduces RF interference and crosstalk substantially. The printed circuit
board has plated-through holes which means every component is soldered securely in
three places (on the bottom, in the hole and on top). This offers unsurpassed compo-
nent security while reducing circuit resistance for pure dynamic sound.
HEADROOM
Headroom is very important when designing a mixer—especially for recording. Lack of
headroom will causeyour sound to become distorted and muddy. This can happen when you
turn the volume too high, the input signal is too hot or excess EQ is added. With most mix-
ers, you have to reduce the input gain to fight headroom problems, but this just increases
noise. That’s why we have taken great care in the “C” series to make sure that each gain stage
is properly designed and balanced for more headroom along the entire audio path.
SWITCHING POWER SUPPLY
The Concert Series power supply offers unsurpassed rejection of noise and hum while
providing precision voltage for all preamp stages. The internal switching power supply
takes the 60 Hz AC line input and immediately converts it to 100kHz well outside of the
audio range. The 100kHz AC is sent through a transformer and converted to precision
DC voltages. Now you can go anywhere and never worry about inconsistent sound due
to fluctuating voltages because your mixer automatically switches internally to use 120
or 240VAC. (120VAC & 240VAC compatible with the proper AC cable) CARVIN has
spared no expense to achieve the best possible quality & performance.
For your records, you may wish to record the following information.
Serial No.________________________________ Invoice Date_______________
76-02440 798
C2440 SPECIFICATIONS:
Frequency Response: Mic or Line Inputs: 20Hz-20KHz ±1dB
Total Harmonic Distortion: Less than .01%
Equivalent Input Noise: 150 ohm source: -112dBu
Output Noise: less than -90dBu Master Line Out
(all levels minimum)
Output Headroom: +28dB XLR bal, +20dB 1/4” unbal
Maximum Gain: Mic in to Master Line Out: 74dB
Crosstalk: Adjacent ch’s: -60db at 1KHz
Common Mode Rejection: -80db at 1KHz
Phantom Power: All XLR Mic in (channel groups of 8)
Channel EQ.: 3 band active, LOW: 80Hz
±15dB
MID: 2.5K or 700 Hz±15dB
HI: 11.5KHz ±15dB
Mic Input: Balanced XLR input
Line Input: Balanced 1/4” Phone Jack
Power Consumption: 40VA
Size: 14”D x 30”W x 3.1”H
C2440 BLOCK DIAGRAM
THREE BAND
CHANNEL TONE
CONTROLS
PAD
GAIN MID LOW
MIC
PRE
LEVEL
LEFT
TAPE IN
PAN
RIGHT
CHANNELS
line pad
(-11dB) AUX
4-6
HEADPHONE
LEVEL
HEADPHONE
OUTPUT
RIGHT
LEFT
EFFECTS RETURNS
ONE AND TWO
HI
AUX
3-5
RETURN
LEVEL
L - R
METERS
INSERT
MIC
LINE
LO
CUT MUTE
PFL
AUX 2
AUX 1
AUX
Unbal OUT
BAL OUT
HEADPHONE
AND METER
SWITCHES
GROUPS 1-4
LEFT AND RIGHT BUSS
Unbal OUT
MONO BAL OUT
MONO
FADER
AUX 3 - 6
LEVEL
AUX 1 & 2
LEVEL BAL TRS
Unbal
OUT
LEFT
FADER
FADER
PAN
L-R & C
PRE - POST
RIGHT
LEFT
RIGHT
TAPE OUT
SOURCE
SWITCH
AUX 3
AUX 4

C2440 CONTROLS
CHANNEL FEATURES
1. 1/4” LINE IN
The line connectors are for connecting balanced and
unbalanced instruments, mics and line level sources
such as drum machines or keyboards.
2. XLR MIC IN
The balanced Mic inputs are for connecting pro micro-
phones that use XLR connections.
3. CHANNEL INSERT/CHANNEL DIRECT
To insert a channel effect use a 1/4” TRS (Tip Ring Sleeve)
instrument cable and fully insert it into the jack. Connect
the other end of the cable to the effect’s output. To use as
a direct output for multi-track recording use a 1/4” instru-
ment cable and insert to the first “click” (1/2 insert).
Connect the other end of the cable to an input on a multi-
track recorder.
4. GAIN CONTROL
Adjusts the GAIN when connecting various instruments &
mics. The type of mic (uni-directional, omnidirectional,
etc) and model will require a custom GAIN settings for
each individual mic. Monitor the GAIN level with the PEAK
LED. If an LED is constantly illuminated, decrease the
amount of GAIN. If distortion is present, decrease the
amount of GAIN until the distortion is eliminated.
5. LOW CUT SWITCH
75 Hz low cut filter helps eliminate unwanted low frequen-
cies. Great for reducing “boom” noise from mic stands or
from hollow body acoustic/electric guitars. This filter can
also help “punch up” the bass by turning up the LOW tone
control while using the LOW CUT switch.
6. MID SHIFT SWITCH
The MID SHIFT is an exclusive feature giving you a choice
of two different midrange center frequencies. This is ideal
for vocals and/or instruments. The MID SHIFT is easier to
use than conventional sweep controls because it allows you
to compare for the best vocal or instrument sound by switch-
ng between the two MID frequencies.(2.5k Hz or 700 Hz)
7. ACTIVE 3 BAND CHANNEL EQ
This 4 buss mixer provides studio quality tone controls
with distortion less than .01%–exceptionally clean for
recording & live sound! The ±15 dB boost and cut gives
an overall 30 dB range of powerful EQ control. The active
circuits deliver deep bass from the 20-80 Hz LOW control.
The MID control works in the 2.5k Hz range or the 700 Hz
range depending on the MID SHIFT switch. The HI control
functions at 11-20k for crisper highs. Start out with all
tone controls at their center zero position. Determine
which position your MID SHIFT sounds best at,then cut or
boost your HI,MID 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 adjust-
ing your tone controls (condenser mics work well for these
applications). Cutting and boosting frequencies improper
ly can cause an “un-natural” sound to your vocals or instru-
ments. Your goal is to achieve a natural sound for the
entire performance or recording.
8.CHANNEL AUX 1-2, PRE-POST
AUX 1 & 2 can be used as 2 individual monitor mixes.
Adjust the monitor level from each channel with the AUX 1
& 2 controls. The PRE-POST switch should be set to PRE
(pre-channel EQ and pre-fader) when using AUX 1 & 2 as
monitor mixes. The PRE-POST switch should be set to
POST (post-channel EQ and post-fader) if AUX 1 & 2 is to
be used for effects sends.
9. CHANNEL AUX 3-4, 5-6
Here are 4 more AUX controls paired up. With the 5-6
switch OUT the two AUX controls become AUX 3 (the con-
trol labled 3-5) and AUX 4 (the control labled 4-6). When
the 5-6 switch is in the IN position, the AUX controls then
become AUX 5 (the control labled 3-5) and AUX 6 (the con-
trol labled 4-6). This feature gives you a total of 4 auxiliary
mixes and reduces the number of controls that need to be
adjusted.
10. STEREO PANNING
Each channel’s PAN control allows sweeping stereo effects
when panning from L to R for recordings or live sound.
Superior channel separation is available because of the
“dual element” pan controls providing 15dB greater Left &
Right separation over standard mixers. A true stereo image
can be obtained from any of the output connections marked
L & R.
11. CHANNEL SIGNAL GREEN LED
The signal indicator is pre-fader and post EQ. This LED ver-
ifies that the channel is receiving a signal from the mic or
instrument inputs.
12. CHANNEL PEAK RED LED
This peak indicator is pre-fader and post EQ. A constantly
lit LED indicates the signal probably needs a reduction in
GAIN to prevent input overloading.
13. CHANNEL MUTE SWITCH
Mute a channel instantly without touching your faders.
This is extremely useful when you need to mute channels
but can’t afford to lose fader settings.
14. CHANNEL PFL SWITCH
This switch allows the operator to monitor each channel to
set tone, gain and effect levels before turning up the fader
15. CHANNEL ASSIGNMENT SWITCHES
These switches assign the channels’ signal to the group
faders for sub-mixing and to the Left & Right faders in the
C2440
1
2
3
4
7
10
11
12
13
14
16
5
6
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 mixer can be used with 120 or 230VAC (it automati-
cally switches internally)
• Use only a grounded (3 prong) 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 ends.
• For high level balanced or unbalanced devices such as
instruments & Keyboards, plug into the LINE input
jacks using a shielded cable with 1/4” Stereo or
standard 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 channel HI, MID, and BASS controls center .
• Adjust all the Channel “PAN” controls to their center
position.
• Turn the mixer on by the rear panel POWER SWITCH and
watch for the POWER LED to come on. Your mixer is
now ready to operate.
8
9
15

Master Section. Each channel can be assigned to the 1-
2, 3-4, and L-R Faders in stereo pairs. This feature allows
the operator to group certain channels (such as the chan-
nels used to mic an entire drum kit) and assign them to
one pair of the master faders in the 1-2, 3-4 sub group.
This sub-mixing feature decreases the number of channel
faders that need to be adjusted.
16. AUDIO TAPER FADERS
Slide all faders down when connecting your inputs.
Increase each channels fader to achieve the overall mix.
Calibrated 60mm faders with audio taper are featured for
smooth fade-outs.
MASTER SECTION
17. GROUPS 1 - 4
Once a channel has been assigned to one of the 4 groups
(see 15), 60mm faders control the level of each group.
The 4 output connections (see 38) are the output of these
4 faders. By assigning the 4 faders to the L & R faders
and/or the Center fader the operator can use the 4 groups
as sub-mixes. Each fader has assignment switches and a
sub-mix pan control for L-R assignments.
18. MASTER LEFT & RIGHT FADERS
These faders send the main stereo mix from all channels and
GROUPS assigned to the L-R Faders. This mix is then rout-
ed to the main balanced and unbalanced output connectors
(see 37). The left and right signals will be identical if all pan
controls are set to their center positions.
19. CENTER FADER
The Center fader gets its signal only from the center
assignment switches on the 4 groups and L-R. The Center
channel is great for a third main mix, a subwoofer out or
in the case of a main mono mix, group 1-4 and L-R creates
a 6 buss console.
20. CONTROL ROOM SELECTION SWITCHES
Use these switches to select what is heard through the
headphones and control room jacks. Select LEFT-RIGHT,
CENTER, GROUP 1-2 or GROUP 3-4
21. PFL RED LED
Indicates that the headphone, control room, and meters
are monitoring the channels where the PFL is switched on.
22. L-R SUB TO CENTER SWITCHES
Assignes the LEFT-RIGHT mix to the CENTER Fader.
23. PHONES CONTROL
The PHONES control sets the desired level of the PHONES
jack for monitoring through headphones.
24. CONTROL ROOM
The CONTROL ROOM knob adjusts the level of CONTROL
ROOM output jack for monitoring.
25. L-R LED VU METERS
This group of LEDs are ten segment 6 dB resolution meters
that give the operator the mixer output from 30mv to 15.8vac.
26. AUX SENDS
These are the Master Sends for AUX 1-6. Each has its own
PFL switch to assist in adjusting the send level.
27. CONTROL ROOM LISTEN
These 5 switches function just like the Control Room
Selection Switches (see 20) providing a stereo listen for
the 4 returns and Tape In.
28. POWER LED Verifies the mixer is on.
29. PHONES JACK
1/4” stereo jack for headphone or control room output.
30. TAPE IN TO L-R SWITCH
This switch assigns the source coming from the RCA TAPE
IN connections to the L-R mix.
31. TAPE IN CONTROL
This adjusts the level of the source coming from TAPE IN.
32. CONTROL ROOM JACK
This 1/4” stereo connection is for headphones or connecting
a control room power amp & studio reference monitors.
33. TAPE OUT SOURCE
This switch changes the tape out source from L-R to AUX
3-4. This is a great feature for 2 track live recording where
a different mix is needed
from the L-R house mix
34. STEREO RETURNS
Each return contains a mas-
ter level for the L-R mix and a
master level for the AUX
(monitor mix) with RETURN 1
& 2 going to AUX 1, and 3 &
4going to AUX 2.
35. TAPE IN-OUT
Stereo RCA jacks for con-
necting a tape recorder or CD
player.
36. CENTER
XLR balanced output from
the CENTER fader.
37. LEFT / RIGHT XLR &
1/4” CONNECTORS
This set of balanced and
unbalanced connectors are
for connecting the main mix
to external power amp(s).
38. 1/4” GROUP OUT-
PUT CONNECTORS
1 through 4 offer output of
each individual GROUP fader
for use in multitrack recording
or connecting additional power
amps for stage monitors or
main house speakers.
39. AUX SENDS
Six 1/4” output connectors
drive external effects. Or, use
these sends to drive additional
power amps for stage moni-
tors. The C2440 provides bal-
anced 1/4” outputs for long
cable runs on AUX SENDS
1 & 2.
40. AUX RETURNS
Four 1/4” stereo pairs (8
inputs) to return external
effects in stereo.
42. MIC PHANTOM
POWER SWITCH / RED
LED
This switch provides phantom
power for condenser mics in
groups of 8 channels. This
allows other channel groups
to remain non-powered to use the LINE inputs for instru-
ments and MIC inputs for mics that don’t require phantom
power. The groups reduces noise and wasted power.
17
21
22
27
28 29
30
31
32
33
34
35
36
37
3738
39
41 40
19
20
18
23
24
25
26

In a live sound reinforcement or a public address system (P.A. System), the input signals to the mixer
will come from the microphones and instruments on the stage. Each microphone or instrument to be
amplified by the P.A. system must be connected to one of the mixing console inputs. It is preferred to
have as many of the stage instruments as possible plugged into the mixer. This allows for the best over-
all sound control of the instruments as they are mixed together and then amplified by the P.A. system.
The mixer can be operated on the stage or from a remote location in front of the stage using a snake
cable to bring the signals from the stage to the mixer. The advantage of the remote operation allows the
performance to be monitored and mixed from the audience’s perspective.
THE SOUND CHECK
The sound check takes some skill, but mostly patience from the performers and especially you the sys-
tem operator. If you get frustrated during the sound check, the performers can lose confidence and the
sound may suffer due to things missed in the sound check. The basic sound check follows this format:
First test all microphones and other input devices(direct boxes, etc.) before the performers are includ-
ed in the sound check. A good thing to also check here is feedback in the monitors from the micro
phones. Good positioning of the monitors and the use of a graphic equalizer solves most major mon
itor feedback problems. Now for a sound check with the performers. First set the level of each per
former individually and in cases where a performer has multiple microphones, such as with drum
mers, set each drum mic individually then the drum set as a whole. This is also a good time to make
some channel tone control adjustments to tailor the sound of the individual performers and instru
ments. After setting each individual, have the performers run through a song. Don’t hesitate to stop
the performers if something needs to be adjusted or a performer or microphone needs to be heard
solo again. Remember the sound check is not a rehearsal, but a system check. It is always a good
idea for the mixer operator to have a microphone to inform the performers of what is needed during
the sound check. If a monitor system is being used, the mixer operator’s microphone should only be
heard through the monitors when addressing the on stage performers, especially if something needs
to be checked during the show. If the sound check is allowed to run through its full course, the sys
tem should run smoothly at show time.
STEREO LIVE SOUND SYSTEM
CHANNEL CONNECTIONS AND SUB-MIXING
MASTER OUTPUTS
The main stereo loudspeakers should contain an overall mix of all
channels. The Group faders 1-4 can have certain channels assigned
to them before the mix arrives at the master L-R faders. This is
known as sub-mixing and can improve the efficiency of mixing a
large number of channels (see above).
The two independent monitor mixes should use the AUX 1 and
AUX 2 sends. On the channel these AUX’s are pre-EQ, pre-fader
with the pre/post switch up position allowing the channel EQ and
fader to be used for the main mixes. Also AUX 1&2 1/4” output
jacks are balance for long mixer to stage cable runs.
The Center output can be used for a main mono mix, a center
mono mix in a surround sound type of application, or as a mono
subwoofer output.
The Group outputs can be used as side fill monitors on stage, or
as back fill for the audience. Back fill for the audience is used to fill
in areas of a room that may be lacking sound from the main mix.
Long rooms can have poor sound at the back of the room, setting
up a set loudspeakers in the back to fill in that area can improve the
sound of the room. Without using the group faders to sub-mix,
assign channels such as vocals & instruments to groups 1-2 to
help eliminate “muddy” or “delayed” sounds at the back of the
room. Be careful not to overpower the main mix or the people at
the back of the room will only hear what you’ve assigned to that “fill
in” group.
External effects should be used on AUX sends 3 through 6, leav
ing AUX’s 1 and 2 for monitors. The purpose for using AUX’s 3 -6
are their channel post-fader and EQ positions. This allows the auto
matic raising and lower of the effects on a channel to correspond
with the channel level in the mix. If the channel is turned off then the
effect is also turned off.
The 24 XLR Mic inputs are balanced low impedance inputs.
Channels 1 through 8, 9 through 16 and 17 through 24, each have
their own phantom power switch. This enables the user to group all
Mics that require phantom power together, leaving the rest of the
channels available for dynamic microphones or XLR line inputs. The
grouping of the phantom power reduces noise, power, and the risk of
damage to unprotected XLR inputs. The XLR Mic inputs and 1/4”
Line inputs on each channel can be used simultaneously, however
the two signals will be controlled by the single Gain knob. For this
dual input use, the levels will have to be balanced by adjusting the
level of the instruments connected at the Line input. For stereo
instruments, such as keyboards or drum machines, use two consec-
utive channels to connect the Left and Right outputs from the instru-
ment. Then by adjusting the Pan controls on the two channels, the
stereo image can be retained. If a pair of individual channels are not
available, one of the stereo returns can be used.
Whenever possible, try to group all related instruments or mics near
each other on the mixer. For example: put all drum mics on channels
1 through 8, guitars, bass and keyboards on 9 through 16, and
vocals on 17 through 24. This will make mixing, channel assigning
and sub-mixing easier to manage. When a long distance separates
the sound source from the mixer, a mic snake cable system will be
required. Be sure to get a snake that has more than enough Mic con-
nections and returns as you may need to use them in the future. (ask
about Carvin’s SNK24XR cable systems)
The 4 Groups on the C2440 can be used for main outputs, surround
outputs, side fills, outputs to a multi-track recorder, etc., but the most
common use is for sub mixing to the main L-R or in a mono out case
to the Center Fader. Sub-mixing is used in cases where there are a
group of channels controlling microphones from a common instru
ment or a group of musician working in unison, for example: a
drummer with 4 or more microphones, or a choir with several micro
phones, needs a simple level adjustment. In each of these examples,
the individual microphones all use different fader settings, so during
the sound check or show if the drummer, with 6 microphones indi
vidually set to a good drum set sound, needs to be turned up, all 6
microphones would have to be turned up individually paying close
attention to the original relative settings of the faders to each other
With sub-mixing, this all becomes a simple one or two fader move
ment during the show leaving intact the original drum set mix. With
sub mixing, the same 6 microphones are individually set for the over
all drum set sound. Then the drum channels are assigned to one of
the group pairs, 1-2 or 3-4, and unassigned from the L-R mains. If
the drums are to be mixed mono, then the pan control can be further
used to assign to the individual groups. After each channel is
assigned, then the group is assigned to the L-R or Center as the case
maybe for the main mix. Now during the show if the drummer or
other group level needs to be adjusted, the assigned Group fader can
be used.
The diagram depicts a standard live sound system and breaks down as follows:
1. Stereo power amp for the main speakers on the Left Right outputs.
2. Stereo power amp for two monitor mixes on the AUX 1 and AUX 2 outputs.
3. Bridged power amp for a mono subwoofer on the Center output.
4. Power amp for the use as side fill or back of room fill on the Group outputs.
5. Effects processor in the Aux send, stereo return loop.
1
2
3
4
5

HALF INSERT DIRECT OUT
The half insert connection creates a send sig-
nal without breaking the channels signal path.
The insert in this mode is no longer used as
an insert but it becomes what is called an
“insert direct out”. An insert direct out func-
tions as a normal direct out but the plug has
to be half inserted. If an insert is needed on
the same channel, special cabling is required
to perform both functions. The half insertion
connects the tip of the plug being inserted to
the ring of the jack. See the fig. If the jack is
fully inserted to where the tip of the plug con-
nects to the tip of the jack, the internal jack
switch will open and the channel’s signal path
will be broken. The connection will still func-
tion as a direct out but the channel’s signal
will stop at the insert and not continue on to
the rest of the channel and the masters. The
result of the half insert is multiple outputs for
use in multi-track recording.
FULL INSERT
The insert jack is a Tip Ring Sleeve (TRS) 1/4”
phone jack, where the tip is the send, the ring is
the return and the sleeve is ground. When used
as an insert point or in full insert mode, the
channel is opened up to allow an external piece
of equipment to be inserted into the channels
signal path. The channel signal coming from
the microphone preamplifier will be forced to
go through the external equipment before it can
continue back through the channel re-entering
before the channel tone controls. Most external
equipment is not set up for the TRS plug direct-
ly so an adapter cable is required. The adapter
cable will have on one end the TRS plug and
two mono plugs either male or female, on the
other end. The two plugs each have the ground
connected to the sleeve, one has the return on
its tip and the other has the send on its tip. This
allows the send to be connected to the input of
the external equipment and the return to its out-
put completing the insert loop back to the chan-
nel.
INSERTS AND DIRECT OUTS
24
2423
17-24
22
22
21
21
20
20
19
19
18
18
17
17
2316
16
DIR- INSERT
LINE
MIC
15 PHANTOMPOWER
9-16
14
14
13
13
12
12
11
11
10
10
9
9
15
DIR- INSERT
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
87654321
87654321 PHANTOMPOWER
1-8
DIR- INSERT
LINE
MIC
DIR- INSERT
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
PHANTOMPOWER
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
LINE
MIC
DIR- INSERT
MIC
DIR- INSERT
LINE
MIC
24
24
DIR- INSERT
LINE
MIC
STEREO RETURNS
L R
TAPEIN
1
LEFT
3
TAPEOUT
RIGHT
CENTER
1
AUXSENDS
1L
1R
2
3
2L
2R
5
3L
3R
4L
4R
AUX 2
AUX 1
PHONES
1
AUX 4
AUX 3
2 3 4
TAPEIN
L-R
AUX1 AUX1 AUX2 AUX 2 L-R
CENTER
L-R
CENTER
L-R
CENTER
L-R
CENTER
TAPESOURCEOUT
L-R
AUX3-4
POWER
PFL
PHONES
CONTROLROOM
LSUB TO
AUX 6
AUX 5
PFL PFL PFL
PFL PFL PFL
GROUPS
GROUP3-4
GROUP1-2
CENTER
L-R
C
L R
C
L R
+18
+12
+6
0
-6
-12
-18
-24
-30
PEAK
L R
dB
CONTROLROOM
21 L3 4 R C
SENDS
42 4 6
RETURN
GROUPS
12+
0
-12
-24
-30
-50
+6
12+
0
-12
-24
-30
-50
+6
12+
0
-12
-24
-30
-50
+6
12+
0
-12
-24
-30
-50
+6
12+
0
-12
-24
-30
-50
+6
12+
0
-12
-24
-30
-50
+6
12+
0
-12
-24
-30
-50
+6
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
CENTER CENTER
0 10
5
CONTROLROOM
LISTEN
C
L R
C
L R
RETURN RETURN
RSUB TO
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2PREPOST
LOCUT
MID
SHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
MULTI-TRACK RECORDER
Multitrack IN
1/2 INSERT DIRECT OUT
TWO-TRACK
TAPE RECORDER
TAPE OUT
A multi-track recorder can be connected to the Channel Direct
Out jacks. This set up could be used with a live set up to record
a live show. Also shown in this illustration, is the connection of
a 2 track tape recorder connected to the RCA tape outs. One of
the great features of the C2440 is the Tape Out Source switch.
By assigning AUX 3-4 to the Tape Out Source, the operator can
create an alternate mix for 2 track recording and maintain an
unaltered main mix.
If a 4 track recorder is used, assign the channels to the 4 group
faders and use the group outputs for a 4 track recorder. For an
8 track recorder, parallel the 4 groups using group 1 for tracks 1
and 5, group 2 for 2 and 6, etc. Then use the 8 track recorder’s
track enable switches to select the track. Also both methods
can be combined using the groups and Direct Outs for multi-
tracking.
24
2423
17-24
22
22
21
21
20
20
19
19
18
18
17
17
2316
16
DIR - INSERT
LINE
MIC
15 PHANTOM
POWER
9-16
14
14
13
13
12
12
11
11
10
10
9
9
15
DIR - INSERT
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
87654321
87654321 PHANTOM
POWER
1-8
DIR - INSERT
LINE
MIC
DIR - INSERT
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
PHANTOM
POWER
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
LINE
MIC
DIR - INSERT
MIC
DIR - INSERT
LINE
MIC
24
24
DIR - INSERT
LINE
MIC
STEREO RETURNS
L R
TAPE IN
1
LEFT
3
TAPE OUT
RIGHT
CENTER
1
AUX SENDS
1L
1R
2
3
2L
2R
5
3L
3R
4L
4R
AUX 2
AUX 1
PHONES
1
AUX 4
AUX 3
2 3 4
TAPEIN
L-R
AUX1 AUX 1 AUX 2 AUX2
L-R
CENTER
L-R
CENTER
L-R
CENTER
L-R
CENTER
TAPESOURCEOUT
L-R
AUX 3-4
POWER
PFL
PHONES
CONTROLROOM
L SUB TO
AUX 6
AUX 5
PFL PFL PFL
PFL PFL PFL
GROUPS
GROUP 3-4
GROUP 1-2
CENTER
L-R
C
L R
C
L R
+18
+12
+6
0
-6
-12
-18
-24
-30
PEAK
L R
dB
CONTROLROOM
21 L3 4 R C
SENDS
42 4 6
RETURN
GROUPS
12+
0
-12
-24
-30
-50
+6
12+
0
-12
-24
-30
-50
+6
12+
0
-12
-24
-30
-50
+6
12+
0
-12
-24
-30
-50
+6
12+
0
-12
-24
-30
-50
+6
12+
0
-12
-24
-30
-50
+6
12+
0
-12
-24
-30
-50
+6
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
0 10
5
CENTER CENTER
0 10
5
CONTROL ROOMLISTEN
C
L R
C
L R
RETURN RETURN
R SUB TO
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
PREPOST
LOCUT
MIDSHIFT
0 10
5
0 50
HI GAIN
0
-15 +15
0
-15 +15
0
-15 +15
MID
LOW
0 10
5
0 10
5
0 10
5
PFL
MUTE
PEAK
C
L R
PAN
SIG
+
0
-12
-24
-30
-50
12
+6
1-2
3-4
L-R
3-5
4-6 5-6
AUX1
2
MULTI-TRACK RECORDER
Multitrack Out
TWO-TRACK
TAPE RECORDER
AUX EFFECTS PROCESSOR
IN L &R
OUT
MULTI-TRACK RECORDING
Follow this set up for mixing down to a two track recorder.
Connect the Multi-track recorders’ outputs to the line
inputs of the channels. Use the headphones or connect a
professional power amplifier (Carvin’s DCM power amps)
and high quality studio monitors to your main LEFT &
RIGHT outputs to monitor your mixdown sessions. Mixing
is a practiced skill. A trained ear will know when to add EQ,
effects, compression, gate, and when not to. Listen to your
favorite CD through the same headphones or monitoring
system you plan to mix through. Note each instrument’s
level and position in the stereo mix. Use this as a guide to
help mix your project. Mixing down to a digital format such
as DAT or to an analog reel to reel will yield different
results. Digital recorders are meant to accurately represent
the original sound source, therefore you should get exactly
what you heard while mixing.
MULTI-TRACK MIXDOWN
L R
1
LEFT
3
TAPEOUT
RIGHT
1
AUXSENDS
1L
2
3
2L
5
3L 4L
42 4 6
RETURN
GROUPS
RETURN RETURN
MULTI-TRACK RECORDER
Multitrack IN
1
3
2
4
1
3
2
4