Although I make most of my income in the audio field, I have been a guitarist and fretted instrument repair tech for longer than I care to remember. This has repeatedly brought me into contact with instruments from Carvin. These mail order guitars have always struck me as being an excellent balance between cost and craftsmanship.

I was, therefore, most curious when the C2440 console arrived for my perusal. This 24-channel, four-bus stereo console is relatively new to the Carvin pro audio stable. The C2440 and its sister board, the C2400 (with graphic EQs and digital effects), complement Carvin's existing, line of amps and speaker cabinets.

Features

The Carvin has a street price of $999.95 (Carvin has no list price and there is no discounting from the factory), which is several hundred dollars less than competitor's boards.

You can insert an unbalanced (TS) 1/4" jack to the first "click" of the insert jack and use it as an improvised direct out. I mention this because the C2440 has no balanced direct outputs. Between the line inputs for Channels 7 and 8, 15 and 16, and 23 and 24, are buttons that engage phantom power for each group of eight channels. All the inputs are at the rear of the console's top, facing up. The only items on the rear of the console are the power switch and the AC cable receptacle.

The first rotary control on the channel strip is the input trim, located adjacent to the push-button switch for the 75 Hz lowcut filter. Below the input trim and low-cut are three potentiometers and a push-button that comprise the channel's EQ section. The high and low controls are of the shelving variety and offer 15 dB of cut/boost. The bass frequency is listed as being 80 Hz, the treble frequency, I I kHz and above. In lieu of a sweepable mid-frequency control, Carvin has installed a midshift button that toggles the peaking-type control between 700 and 2,500 Hz.

Moving down the channel strip one arrives at the 2440's auxiliary section. Auxiliaries 1 and 2 are switchable from pre to post, allowing them to be placed upstream of any EQ and fader changes. Auxiliaries 3/4 and 5/6 on the other hand, are dedicated post-fader/EQ and are more apt to be used for effects sends than foldback. Note that there are only two potentiometers dedicated to sends 3/4 and 5/6. The adjacent push button determines whether that channel will access sends 3/4 or 5/6.

At the bottom of each channel strip is the fader/assignment section. The only rotary control in this section is the pan knob. Just beneath that are green and red LED indicators. The green LED indicates signal level at a point that is pre-fader and post-EQ. As signal level increases, the light glows deeper in color. When the green LED reaches its saturation point, the red LED illuminates, indicating peak/overload.

Just below the signal LEDs are the channel's assignment buttons, arranged in a single line parallel to the fader's path. These buttons allow the user to mute, solo or assign the channel's signal to busses 1/2, 3/4 or L/R. A 60mm fader controls each channel's output.

The patching section jacks of the 2440, like the inputs, are located on the back of the top, facing upward. Jacks, (1/4"),
facilitate output for the six aux sends, the four subgroups and mains left/right. Group and aux I and 2 are TRS 1/4", all others are TS 1/4". Also included are 1/4" TS jacks for the four pairs of stereo aux returns and the C2440 has a group of RCA jacks for stereo tape 1/0 as well. There are three balanced XLR jacks for main outputs, labeled left, right and center. The center output has its own dedicated fader in the master section.

The master section has a cluster of rotary controls for the level of the four pairs of aux returns; as well as the six mono aux sends. Beneath each of these aux send pots is a button to select that particular aux send for PFL isolation. This section is also home to the wayward control room and headphone 1/4" output jacks missing from the output section. Each of these outputs has its own rotary level control as well. Also, the controlroom monitor can be toggled between the L/R mix and the stereo aux returns via push-button controls.

Just right of the aux return controls are the tape interface controls. A tape-in level potentiometer and a corresponding assignment button sends that signal to the L/R mix. A tape-out assignment button lets the user choose between the L/R mix and the aux 3/4 mix (should you wish to record an alternate mix).

The subgroup controls are just below the aux sends. Each sub has a panpot, L/R and center assignment button, and dedicated fader, To the right of these are the three master output faders for left, right and center. Remember, the center fader has a dedicated XLR out making it suitable for sending out a mono mix or controlling subwoofers. Just right of the center fader are the assignment buttons for the control room output (L/R, Center, 1/2 and 3/4). Finally, just above the left and right faders are two assignment buttons to send the left/right mix to the center fader.

In use

My evaluation of the C2440 consisted of live sound jobs and a direct comparison to a Mackie SR24-4. With the Mackie commanding a majority of the market share in this class of mixer, I feel it warranted a comparison. The Carvin is trying to vie for the same customer in the under $1,500 range.

When I got the C2440 out of the box, I was amazed at how compact it was. It is at least 3" shallower and 1.5" shorter than the SR24-4. Although the Carvin's steel chassis is extremely compact, it exudes an air of durability. It could probably take a few hits and stay in service.

To test the intuitiveness of the C2440's design, I used it on a sound reinforcement job for one of my regular clients where there was precious little setup time. For the most part, setup was very easy and logical. Since I use condenser mics for the drum overheads and saxophone only, having eight channel blocks assignable for phantom power was a nice touch. The Mackie has only a global phantom power option.

Sonically, I thought the C2440 performed well for a board in this price range. It was relatively quiet and had decent headroom for Carvin continued from page 32 a console of this class. I found the headphone amp a tad under powered and not quite as clean as the Mackie. I particularly enjoyed having the dedicated center fader, which allowed me to control the subwoofers without affecting the main L/R mix. Although I had no connection problems, I also found the widespread use of plastic 1/4" connectors to be less than confidence-inspiring.

Summary

The Carvin C2440 is loaded with features for a console that costs less than $1,000. With true four-bus operation and a variety of alternative outputs, the C2440 is very flexible. Its few shortcomings are probably induced by cost cutting measures. It is, however, still a good bargain and I would recommend it to those on a budget in need of a live sound console that won't break the bank. Andrew Roberts, a regular contributor to Pro Audio Review, is an audio engineer and fretted instrument repairman.

 

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