Vi5000/7000 Brochure (double-page spread) WEB

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Soundcraft, Harman International Industries Ltd.,
Cranborne House, Cranborne Road, Potters Bar, Hertfordshire EN6 3JN, UK
T: +44 (0)1707 665000 F: +44 (0)1707 660742 E: soundcraft@harman.com
Soundcraft USA, 8500 Balboa Boulevard, Northridge, CA 91329, USA
T: +1-818-893-8411 F: +1-818-920-3208 E: soundcraft-usa@harman.com
www.soundcraft.com
Part No: 5058652 E & OE 04/2015
The control you love
with the power you need
The latest Vistonics™ &
FaderGlow™ interface
Up to 128 inputs and
32 mono/stereo busses
Enhanced audio processing
with 96kHz sample rate option
Powerful new features including
BSS DPR901ii™ Dynamic EQ
New Local Rack hardware for
384 I/O channels
128 channel record interface via
MADI or Dante™
Mix live with UA™ plug-ins
(via Realtime Rack)
Huge connectivity options –
Dante™, Rocknet™, Ethersound™,
Cobranet™, MADI and more
The Vi5000 and Vi7000 digital live sound consoles
The latest Vi5000 and Vi7000 digital mixing consoles deliver the
best Vi sound ever, bringing optional 96kHz processing, upgraded
channel counts and even more reliable hardware to live sound’s
most popular mix interface.
Partnering a compact control surface with new Local Rack and Active
Breakout box hardware, Vi delivers simultaneous mixing of up to 128
inputs and 32 mono/stereo busses.
Pristine sound quality is assured by ultra-low noise mic amp designs
and enhanced 96kHz* 40-bit floating point digital audio processing,
while FX come courtesy of 8 independent Lexicon multi-FX units,BSS
DPR901ii™ integration and a BSS graphic EQ on every bus output.
Rapid configuration and powerful automation features, radio mic status
monitoring and extensive ViSi Connect I/O expansion (EtherSound™,
CobraNet™, Dante™, MADI, etc.) complete the package.
* Additional DSP cards and reduced channel count required for 96kHz operation
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Vistonics. Live sound mixing with vision.
Live sound mixing - the way it should be
Our patented Vistonics was designed from a simple start
point - create the most intuitive digital mix interface
available. Rather than arranging controls around or
adjacent to a flat TFT screen, a system that requires
constant hand and eye co-ordination and mental mapping,
Vistonics simplifies the process and puts the rotary
encoders and switches right on the touch screen.
With graphics behind the controls that change depending on the
function, the operator is left in no doubt as to what parameter is
being adjusted.
With the display and relevant controls combined in one area, the
operator is immediately presented with a simple, clear mix system
that streamlines workflow and enhances the creative process.
Each Vistonics interface controls eight input channels and
comprises a touch screen with 16 rotary encoders and
16 switches. A simple touch in the desired part of the
on-screen channel strip is all it takes to access channel
functions including routing, input gain, digital gain trim,
delay, high and low pass filters, 4-band fully parametric
EQ, compressor, limiter, gate, de-esser and pan, with
immediate access to a sophisticated visual status display
and straightforward controls.
In addition, a dedicated Vistonics II interface is provided
for output processing control, and also functions as a
complete meter overview display for all 128 inputs and 32
busses, as a snapshot cue list display, and as a display for
diagnostics information.
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FaderGlow. Don’t get lost in the dark. Fader layers - like you’ve never seen them before
A console focused on the operator
In the heat of the moment, with the faders flying, fader layers
can cause all kinds of headaches. Soundcraft® FaderGlow
solves the problem associated with multiple fader layers. At a
single glance, illuminated-fader-tracks-in-colours that match
those on the Vistonics™ display show immediately what
function a fader is controlling.
Vistonics and FaderGlow are just part of what makes Vi Series
digital consoles such intuitive and creative tools. Every aspect
of the control surface, mechanical and operational, has been
engineered around the operator to provide an unimpeded
workflow and a more creative mix.
Within the output section of the console, the bank of 8 faders
can be assigned to provide master control of matrix outputs, VCA
groups and graphic EQ control. FaderGlow applies cyan, blue
and red illumination respectively to the fader track, enabling the
operator to see the different output types immediately – even
before reading the text labels for each fader.
When controlling inputs, no illumination is applied to the motorised
faders. But when the Aux, Group or Matrix bus master is soloed
with the Follow Solo function switched on, the fader becomes a
‘contributor’ for the soloed bus, lighting up in orange, green or
blue accordingly. Furthermore, custom fader pages can be created
to contain, for instance, 10 drum faders grouped on a single VCA
master, which would glow in blue.
By optimising the density of faders and controls on the operating
surface, the engineer is able to reach all critical areas of the
console comfortably from a central point, without straining or
leaning over.
The angle of the touch screens ensures that the engineer can
always view display data clearly during the show. The brightness
and contrast of the displays, and the illumination of the control
surface itself, are designed to minimise strain on the eye.
User-configurable fader layers allow an engineer to map out
channels on any of 5 user layers so that a combination of different
inputs can be placed on one layer. This allows, for example, the
main vocalist mics to be programmed to appear in the same
location on every layer, or other essential channels to be brought
closer to a central operating position. At a festival, each engineer
can quickly assign to the surface only those channels needed for
their band.
Output fader layers can also be customised, for example, stereo
aux masters can be placed alongside VCAs or matrix masters for
faster access to the most used outputs..
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Touch & Control
The blue input stage and routing screen allows adjustment of input
delay, mic gain, digital trim, high and low-pass filter frequency,
channel patching, channel naming and stereo pairing.
Two areas of the channel strip allow access to bus send controls,
arranged in two banks of 16. The ALL BUSSES mode allows
assignment of each of the busses as an Aux, Group, or Matrix
output, with additional stereo pairing controls if busses are required
as stereo sends.
The four-band fully parametric EQ is graphically displayed with the
settings for boost/cut, frequency and Q (bandwidth), with the main
screen showing the composite EQ curve. Frequency is displayed in
a similar style to a radio tuner scale for easy assimilation, and the
HF and LF bands can be switched to shelving EQ. A separate BSS
Dynamic EQ section is available via the insert point function.
Subsequently within each channel strip setup, bus sends can be
switched on or off with level control, or switched pre or post fader,
with a global mode allowing pre or post EQ feeds.
Touching the chosen function area on the Vistonics
channel strip opens up the corresponding control panel
in the lower area, with that area being highlighted to
easily identify which part of the channel strip is active.
The dynamics section controls a Noise Gate with attack, hold and
release, and a key facility with filtering. The Gate can be replaced
with a De-Esser function or can be converted to use as an externally
triggered ducker. Working in series with the Gate, the full-function
Compressor maps gain reduction metering onto the LED meter in the
fader area, with full control of threshold, ratio and release with an
independent Limiter section and overall gain makeup.
The 16 switches and rotary encoders change function
according to the mode selected. This real ‘where you
look is where you control’ philosophy makes operation
of a Soundcraft® Vi Series™ console highly intuitive.
The fastest, most intuitive channel strip in the business
No button pushes or page scrolling - just one touch of the
Vistonics screen gives you instant access to every aspect of
the Vi channel strip.
Each Vistonics screen functions both as a permanent overview of
all the current settings (8 channels per screen), and as the access
point for immediate hands-on control of any of those settings.
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Simply touching the screen in one of the six vertically stacked
touch zones immediately opens out that part of the strip onto the
16 real knobs and switches mounted directly on the lower part of
the display, allowing immediate, tactile, analogue-style control.
The colour-coded context-sensitive graphics around the knobs
make it abundantly clear which type of function is being adjusted,
and a clear white highlight is a constant reminder of which
channel is being controlled. Touching the screen again is all it
takes to move to another area of the channel strip, or to close the
control area.
The final section of the channel strip controls the Pan, Insert and
Direct out functions, with assignable LR and C, or LCR panning
modes. Inserts can be switched pre or post-EQ/dynamics or postfade, with the Direct output send assignable to pre-filters, pre-EQ/
dynamics, post EQ/dynamics and post-fade points. The insert point
allows a choice of internal Lexicon FX, BSS DPR901ii™ Dynamic EQ
or external Plug-Ins from a Soundcraft® Realtime Rack.
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Do more.
Faster.
Copy/Paste channel, bus and FX settings
Dedicated Copy and Paste buttons on the surface allow the
settings of any channel, bus or FX section to be copied and
pasted, dramatically cutting down the set up time.
Familiar Copy/Paste functionality allows the settings of any
channel, bus, FX section or processing element to be rapidly
copied to any number of other channels, saving set up time
and helping eliminate errors. The last paste operation can be
quickly reversed with an UNDO function.
Along with a useful library of EQ and Dynamics settings,
operators can store their own settings in the console or to
a USB memory stick, making initial set up and transition
between shows even easier.
Blocks or individual parameters within a channel are selected
for copying via touch screen selection on the same intuitive
Vistonics screens that are used for audio control functions.
Advanced Library functionality allows a user to select any
set of parameters in use on the desk, for example a single
channel EQ setting or a group of channels set up for a drum
kit, to be stored in the internal library and recalled at will.
These libraries can be exported to, or imported from, a USB
memory stick, allowing users to build up their own portable
channel and processing libraries that can easily be transferred
to any other Vi console.
This is done independently of the Show Files which already
allow entire desk settings to be exported. Within the software
are a number of useful libraries of EQ and Dynamics settings
to suit common applications.
Sophisticated Cue List Management
Allows changes to be applied to multiple cues and recall
scope to be set per snapshot.
Operators can drill down to copy and paste even single
processing elements, and the last paste operation can
always be quickly reversed with an UNDO function.
Save time. Save money. Save your neck.
Whatever the show, the Vi operating system is designed
to dramatically reduce set up time and protect every
critical setting with enhanced data security in the event
of power failure.
Settings Library
Copy/Paste processing elements
Software control - rapid configuration
and powerful automation.
In the event of mains power to the surface being interrupted
during a show, the auto-backup system ensures that
the last settings of the desk will be retained and restored
automatically when power is restored, meaning no changes to
the audio - or the set up.
In addition, the Vi control surface can be switched off,
disconnected or rebooted without any interruption to the audio
in the Local Rack. The Local Rack incorporates an extremely
fast boot time, returning the audio to its previous state within
10 seconds of a power cylce, with or without the control
surface connected.
Vi Series consoles are packed with powerful automation
features which place the operator in total control of the show.
A sophisticated Cue List Management suite includes an Apply
Changes function, where parameter changes can be applied
to multiple snapshots, and cues can trigger or be triggered
by MIDI or GPIO events, including MIDI Timecode. Harman’s
HiQnet Venue Recall function is tightly integrated within the
Cue List.
Theatre users will welcome sophisticated snapshot filtering.
In addition to a conventional Isolate function where a channel
may be isolated from snapshot recall, it’s also possible to
apply high-granularity recall filtering both globally and on each
snapshot, right down to parameter level – for example, a Pan
setting or an individual Aux send.
Advanced events integration
Cues can trigger or be triggered by MIDI or GPIO events,
including MIDI timecode. Harman’s HiQnet Venue recall
function is tightly integrated within the Cue List.
Also important in theatre applications is the facility for
snapshot recalls to use crossfades to smoothly transition from
one setting to the next. A snapshot preview mode allows
the engineer to check in advance what settings are about
to be recalled, and also allows editing of other cues without
affecting the audio.
Snapshot crossfades
Snapshot recalls can use crossfades to transition smoothly
from one setting to the next.
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Enhanced monitor mix features...
Vi consoles are equally designed for FOH and monitor mixing, with powerful features that makes it easy to mix large scale
monitoring applications or deal with the compromises necessitated by mixing FOH and monitors from one surface.
All busses to stereo
All busses can be turned to stereo without tying up two busses, providing a massive 32
stereo mix capability – perfect for mixing large monitor applications.
4 Aux send points
With a total of 4 aux send pick-off points from the input channel for each send,
monitor mix engineers have the flexibility to tailor mixes more closely to performers’
requirements. Sends can be pre-EQ, pre-compressor, pre-fade or post-fade on a per
channel/per bus basis.
Aux VCA mode
VCA master faders can control the aux sends of their member channels on a per mix
basis, with FaderGlow illuminating in white to indicate the VCA’s operation on the
current mix. Monitor engineers can retain control of important global elements such as
ambient mics while also having a monitor mix selected and adjusting groups of sources
within the current mix using the Aux-VCAs. Blue illumination of FaderGlow indicates that
the VCA is controlling the global channel level to all mixes.
Auto-increase of ambient mic levels in monitor mixes
between songs
Performers using in-ear monitors want to hear the audience between songs?
No problem. Vi consoles have the facility to externally control the Gate or Ducking
processing from a bus in the console, so all you have to do is insert a ducker on an
ambient mic with an external source of the LR bus or a spare bus, and the audience
level increases automatically when the performers stop playing.
...and radio mic status monitoring
You know what it’s like. The radio mics check out fine on the
RF Tech’s laptop, but that’s before the talent walks onto the
stage. Reception black spots, drained batteries, accidental
mutes – anything can happen once the show gets underway.
Vi makes the engineer’s life easier, letting you monitor the status
of any compatible AKG™ radio mic directly from the Soundcraft®
Vi Series console surface, courtesy of VM2 (Vistonics Microphone
Monitoring). With realtime visual displays of battery life, RF status,
mic muting and internal clipping, you’ll be able to see a problem
long before you hear it, right there on the relevant channel strip –
with expanded information instantly available just by touching the
Vistonics™ screen.
And system configuration couldn’t be more straightforward –
simply plug in the mics, associate them to the related console
channels, and you’re done. You can even identify the relevant mic
receiver in the rack by pressing the Locate button, causing the
receiver front panel display to flash.
It all adds up to much more efficient workflow and one less thing
for the engineer to worry about.
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World-class effects
and dynamics inside
Mix live with
UA plug-ins
Minimising the need for outboard processing gear, Vi5000 and Vi7000 put class-leading effects and dynamics from Lexicon and BSS
directly within the console. Via the Vistonics interface and FaderGlow surface, Vi provides the perfect vehicle for effects control.
No wonder many engineers are claiming that Vi is the only console they would use without any additional processing equipment.
Answering the call for high-fidelity ‘off-the-record’ studio
processing at live events, Soundcraft® Realtime Rack unlocks
a world of creative possiblilities by placing Universal Audio’s
acclaimed analogue audio processing emulations and awardwinning UAD Plug-Ins seamlessly within your mix environment.
BSS DPR901ii and Graphic EQ
Lexicon Effects
­ ealtime Rack software gives Vi console operators all the control they
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need to insert UAD Plug-Ins on individual channels, auxiliary channels,
and master busses – just as easily as real hardware. Control of the plugins is via an intuitive and responsive external touchscreen interface.
A comprehensive snapshot system allows total recall of all plug-ins and
their settings, while tight network integration with the Vi Series ensures
that all settings of the application are stored inside the console.
The BSS DPR901ii was an industry-standard analogue dynamic
equaliser used the world over for its capability as a powerful tool
for awkward corrective tasks. A unique feature of the DPR901ii
was the under/over threshold switch on each band, enabling
the equaliser to react in either cut or boost mode to correct
problems that occur only on loud or only on quiet signals.
The Vi5000 and Vi7000 bring the world’s first accurately
modelled version of the original analogue unit, to the digital
domain. 16 instances of this classic processor are available via
the console’s insert pool to use as required.
In addition to the BSS DPR901ii, there’s also a BSS third-octave
Graphic Equaliser on every bus output. The Equaliser is modelled
on the BSS960 analogue unit and includes a global Q adjustment
allowing narrow bandwidth for stage monitor applications, or
wider Q for system tuning on the main outputs.
Vi puts powerful Lexicon effects at the hands of the operator via
the Vi Series Processor Card.
The card empowers the console with 8 independent stereo
Lexicon multi-effects units - each providing 14 reverbs, 7 delays
and 8 pitch shifting effects, patchable to input channels, aux
outputs and channel inserts.
Two versions are available: The Realtime Rack Ultimate Live with 74
plug-ins, and the Realtime Rack Core Live with 14 plug-ins. Additional
UAD Plug-Ins can be purchased any time from UA’s Online store.
The UAD Powered Plug-Ins platform offers the world’s most authentic
analogue hardware emulations and award-winning audio plug-ins.
Powered by Universal Audio’s DSP Accelerator hardware, UAD Powered
Plug-Ins deliver rich, analogue sound quality that would be difficult
or impossible to achieve with native plug-in host systems. From rare
compressors and equalizers, to vintage reverb processors and tape
machines, UAD Powered Plug-Ins inject three-dimensional ‘out-of-thebox’ analogue sound to your mixes.
The factory-designed flightcases for the Vi5000 and Vi7000 control
surfaces include rack space and fittings to allow integration of up to
three Realtime Racks, a Mac Mini computer for control and provision for
storage and mounting of an external touchscreen monitor.
Realtime Rack features
Hardware
• Durable 1U Rack enclosure
• 4 SHARC DSPs on-board
• Dual-redundant internal power supplies with failover detection
• E ach Realtime Rack unit processes up to 16 channels of a
MADI stream (add additional units for 32, 48 or 64 channels)
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uns a huge library of UAD Powered Plug-Ins & UAD Direct
Developer Plug-Ins
• Dual-Thunderbolt host connectivity
• One set of MADI optical I/O (64 channels @ 48 kHz)
• Word Clock I/O (BNC) and Input termination
• Sample Rate support from 44.1kHz to 96kHz
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lock Support for the following formats: Internal, MADI, Word
Clock
Software
• Purpose-built Realtime Rack application for inserting UAD
plug-Ins
• Networked integration with Soundcraft Vi consoles – allows
full remote snapshot triggering and storing
• Create, store and recall channel strip presets
• Create, store and recall snapshots in the console and save
as part of the console show file
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...online mixing
Offline editing...
Virtual Vi offline set up
ViSi remote control via iPad
Saving prep time and letting you set up your shows offline, Virtual Vi software is the fast and easy way to create scenes and store to USB
ready for loading directly into the Vi5000 or Vi7000 console. The Virtual Vi software also allows direct online control of the Local Rack’s
DSP engine, in the unlikely event that the control surface should fail.
The ViSi remote app gives you control over all major mixing functions, empowering operators to mix from anywhere in the venue.
Check the FOH from audience locations, or adjust monitor mixes direct from the performers’ positions on the stage.
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Rear view
Local Rack
Stageboxes
New Local Rack - more I/O, more connections, more power to you
High-density, 64 mic in/32 line out, configurable I/O modules
The latest incarnation of the Local Rack boosts I/O up to 384 and is
loaded with additional card slots to allow simultaneous use with two
Stageboxes, 2 recording cards and the Realtime Rack MADI interface.
New Active Breakout Box
Various operating modes are available using a combination of DSP cards
- 128 inputs/32 stereo busses @ 48kHz (5 DSP cards)
- 64 inputs/32 stereo busses @ 96kHz (8 DSP cards)
Cat5 or Cat7 cables with Amphenol RJF connectors provide a convenient,
highly robust connection between the Soundcraft Vi Series™ stageboxes
and local rack enabling the mixing position to be located up to 100
metres from the stage. And in larger venues and installations, an optional
Fibre Optic interface allows a run of up to 1.5 kilometres between the
stagebox and the local rack.
A comprehensive provision of inputs and outputs can be patched to any
channel input, direct output, bus output or insert point as required.
The local rack has 16 analogue line inputs, 3 analogue mic/line inputs, a
talkback mic input (mounted on the control surface) and 8 pairs of AES/
EBU inputs. Outputs include 16 analogue line, 8 pairs of AES/EBU, 3 LCR
local monitor A line, 2 LR local monitor B line and TB line.
The standard Vi stagebox houses 64 analogue mic/line inputs and 32
analogue line outputs, with 48V phantom power and a 100Hz HPF
before the A-D converters. Mic amp gain can be controlled remotely
from the control surface. Optional AES/EBU inputs and outputs are
available for the stagebox in sections of 8, as are optional cards for
a wide variety of audio interface standards including Dante, Blulink,
Cobranet, Aviom A-Net16 and Ethersound.
Up to 5 stageboxes can be connected to create a digital patchbay,
where the operator can select the sources for the 128 inputs to the
console from a selection of inputs available on any of the connected
stageboxes.
In addition to the 64-input Stagebox, Vi5000 and Vi7000 consoles
can also be used with the smaller Compact Stagebox (32 or 48
inputs) or the Mini Stagebox MSB16 or MSB32, where I/O needs to
be expanded in space-restricted environments.
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Stay connected
MADI
MADI cards are available
in either optical or Cat
5 versions, allowing a
choice of connection type
to the Stagebox, as well
as interfacing to Realtime
Rack and recording
devices. Channel count
of 64ch at 48kHz drops
to 32ch at 96kHz but
can be restored to 64 by
sacrificing the redundant
connection.
The Dante card allows 64
channels to be sent to/
received from a Dante
network. As well as
providing audio exchange
with other Dante-enabled
equipment, the card also
allows 64 channels of
audio to be connected
directly to a PC or Mac
computer for recording
or processing, by using
a standard Ethernet
connection. Routing and
setup of the network is
done using an external
computer running Dante
Controller software.
RockNet
AES/EBU
The Vi RockNet card
supports 64 inputs and
64 outputs to the RockNet
system, and enables a Vi
console to become a part
of a RockNet digital audio
network, providing remote
control of any RockNet
microphone preamplifier.
This card is only available
via the Riedel’s distribution
network.
AES/EBU input/ output
card with 16 Ch I/O with
input SRCs. Input SRCs can
be bypassed individually.
Output dither is selectable
via jumpers to 24 bit, 20
bit, 18 bit or 16 bit. An
XLR-based card Is also
available for the Stagebox
with either 8 pairs of inputs
or 8 pairs of outputs.
BLU link
ADAT
The Blu Link card provides
up to 32 inputs and 32
outputs to/from a BSS Blu
Link ring and can be used
to interface to BSS London
networked audio systems,
or to the PMC Personal
Monitoring Controller. The
Vi Blu Link card contains
internal DIP switches
that allow a block of 32
sequential channels from
the total of 256 available
to be addressed by the
card. This is separately
selectable for inputs and
outputs.
The ADAT card provides
two optical eightchannel ADAT inputs and
outputs, with selectable
44.1/48/88.2/96 kHz
operation. Optical inputs
and outputs are provided
on Toslink connectors and
can be used to record to,
for example, an Alesis
HD-24 hard disk recorder
or other device with ADAT
inputs and outputs, and
receive playback audio.
The CobraNet™ card allows
up to 32 channels of input
or output signals (or a
combination of both) to be
received by or sent from
console onto a CobraNet™
network. The card must be
used as the Conductor for
the network. By default, the
card is configured for 32
outputs.
Available in both stagebox
and local rack versions.
Interface cards - integrate with any system quickly and easily
A series of optional interface cards, designed to fit either the local rack or stagebox, enable Vi Series™ consoles to directly interface with a
wide range of other systems and audio networks using industry standard protocols.
The Digigram EtherSound
card allows up to 128
channels of audio (64
inputs/64 outputs) to be
connected to the rack via a
single Cat5 connection.
A second Cat5 connection
allows daisy chaining or
full redundancy capability,
ensuring the network
remains uninterrupted
should a cable be broken.
Available in both stagebox
and local rack versions.
This card is only available
via Digigram’s distribution
network.
In 96kHz operation, the
number of channels is
limited to eight, i.e. four
per I/O.
3G SDI
DOLBY E
The SDI card can
de-embed up to 16
audio channels from
an SDI (Serial Digital
Interface) stream, and
re-embed them back on
to the stream for onward
transmission in a broadcast
environment, saving high
costs of external units and,
of course, weight. These
channels may be patched
in to any input as usual.
The Dolby E card decodes
the audio channels from
a Dolby E or Dolby Digital
stream and allows them to
be patched into separate
inputs on the console for
mixing. Each card provides
two full decoder sections,
and can dramatically save
external hardware cost,
space and weight.
The A-NET® 16V card
provides direct digital
connection on a single
Cat5e cable from the Aux
or Group outputs into an
Aviom® A-NET® Pro16™
Series Personal Mixer
(compatible with A-16II and
A-16R).
The Pro16 System enables
musicians on stage to
be fed with up to 16
subgroups of instruments
or vocals which they can
then mix to their own
taste using their own onstage controller. The card
includes a switchable test
tone and stereo pair linking
via DIP switches.
Available in both stagebox
and local rack versions.
Specifications
Specifications
Vi5000 Surface
Vi5000 Technical
Vi7000
Surface Data
22
333.39
326.39
1357
108.50
108.50
725.11
644.04
326.39
333.39
326.39
725.11
725.11
719.60
725.11
1732
719.60
1437
Specifications
Specifications
Local Rack
Active Breakout Box
24
0.6
419.1
92
130.1
399.2
177
482.6
446.1
148
404.15
Stagebox
399.2
0.6
419.1
404.15
Local Rack/Stagebox
flightcase
Specifications
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Surface Flightcases
Audio Specifications
Vi5000
FREQUENCY RESPONSE
Stagebox Mic input to Line output...................................................................................................................................................... +0/-1dB, 20Hz-20kHz
AES/EBU In to AES/EBU Out............................................................................................................................................................. +0/-0.2dB, 20Hz-20kHz
T.H.D. & NOISE
Stagebox Mic In (min gain) to Local Line Out, 22Hz-22kHz........................................................................................................................<0.003% @ 1kHz
Stagebox Mic In (max gain) to Local Line Out, 22Hz-22kHz ......................................................................................................................<0.020% @ 1kHz
Local Line In to Line Out, 22Hz-22kHz......................................................................................................................................................<0.003% @ 1kHz
Mic Input E.I.N (22Hz-22kHz bandwidth, unweighted....................................................................................................................<-126dBu (150Ω source)
Residual Noise, Stagebox line output; no inputs routed, Mix fader @0dB...................................................................................................................-91dBu
CMRR, Stagebox Mic input.............................................................................................................................................................................. 80dB @ 1kHz
Sampling Frequency....................................................................................................................................................................................48kHz or 96kHz
Latency, Stagebox Mic Input to Local Line output......................................................................................................................................... < 2ms @48kHz
AES/EBU Input Sample Rate................................................................................................................................................. 32–108kHz (with SRC enabled)
DSP resolution.......................................................................................................................................................................................40-bit floating point
Internal clock accuracy.....................................................................................................................................................................................< +/-50ppm
Internal clock jitter................................................................................................................................................................................................. < +/-5ns
External Sync................................................................................................................................................................................................BNC Wordclock
Input & Output Levels................... Mic Inputs................................................................................................................................................... +28dBu max
Line Inputs.................................................................................................................................................. +22dBu max
Line Outputs................................................................................................................................................ +22dBu max
Nominal Operating Level...................................................................................................................... +4dBu (-18dBFS)
Input & Output Impedances
Mic Inputs.............................................................................................................................................................. 2k7Ω
All other analogue Inputs......................................................................................................................................>10kΩ
Line Outputs...........................................................................................................................................................<75Ω
AES/EBU Outputs.................................................................................................................................................... 110Ω
Oscillator......................................................................................................................................................20Hz to 20kHz/Pink/White Noise, variable level
Stagebox HP Filter.................................................................................................................................................................... 80Hz fixed, 12dB per octave
Channel HP filter.................................................................................................................................................................... 20Hz-600Hz, 18dB per octave
Channel LP filter.................................................................................................................................................................... 1kHz-20kHz, 18dB per octave
EQ (Inputs and bus Outputs).................................................................................................................... HF: 20Hz-20kHz, +/-18dB, Q= 0.3-8.7 or shelving
........................................................................................................................................................................... Hi-Mid: 20Hz-20kHz, +/-18dB, Q=0.3-8.7
.......................................................................................................................................................................... Lo-Mid: 20Hz-20kHz, +/-18dB, Q=0.3-8.7
...............................................................................................................................................................LF: 20Hz-20kHz, +/-18dB, Q= 0.3-8.7 or shelving
Metering...................................................................Internal 20-segment LED bargraphs plus 9-segment gain reduction meters for all inputs and Outputs.
.......................................................................................................................................... Peak hold variable from 0-2s.
Mains Voltage operating range.............................................................................................................................................90-264V, 47-63Hz, autoranging
Mains Power Consumption......................................................................................................................................................................................... 300W
Operating Temperature Range................................................................................................................................................... 0°C – 45°C (32°F – 113°F)
Relative Humidity........................................................................................................................................... 0% – 90%, non-condensing Ta=40°C (104°F)
Storage Temperature Range.....................................................................................................................................................-20°C – 60°C (-4°F – 140°F)
Vi7000
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2
Soundcraft, Harman International Industries Ltd.,
Cranborne House, Cranborne Road, Potters Bar, Hertfordshire EN6 3JN, UK
T: +44 (0)1707 665000 F: +44 (0)1707 660742 E: soundcraft@harman.com
Soundcraft USA, 8500 Balboa Boulevard, Northridge, CA 91329, USA
T: +1-818-893-8411 F: +1-818-920-3208 E: soundcraft-usa@harman.com
www.soundcraft.com
Part No: 5058652 E & OE 04/2015