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Downl0ad soundcraft efx8 manual
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Soundcraft Spirit LX7 Manual
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About
Soundcraft RW5675 Spirit LX7-24 CH Series II
Soundcraft LX7ii 24 Soundcraft LX7ii 24 Description: The hugely successful and popular
Soundcraft LX7 console has received an upgrade to the LX7ii - both in terms of audio
specification and cosmetics. Electronically, the LX7ii gains a new Soundcraft mic-preamp
and EQ section, both designed by Soundcraft founder and electronics wizard Graham
Blyth. Designated the GB30 Series, the new designs coincide with Soundcraft's 30 year
anniversary and the new 4-band EQ with swept mid sections is based. Read more
Details
Brand. Soundcraft
Part Number. RW5675
UPC. 6887051123353, 688705209081
Video review
Soundcraft Spirit Studio 32 Channel.
User reviews and opinions
Comments to date: 5. Page 1 of 1. Average Rating:
9:30am on Wednesday, October 20th, 2010
This phone is great! It is so easy to use. This is the first phone I had with the full keyboard and it makes all the difference in
the world.
4:38am on Friday, October 15th, 2010
Texting is easy, lots of features, my major complaint is that the ringer volume is very soft. Ive been missing calls and the
phone is in my pocket! Great phone, has a lot of nice features, but the battery life stinks.
11:41pm on Wednesday, August 25th, 2010
I like the phones ability to socially connect with the world, however it lacks alot of things phones have, which is video
capability.
6:43am on Wednesday, June 30th, 2010
its easy to message with it takes bad pictures. and the web can be very slow. you dont have service in many places
Overall I am very unhappy with this phone. I have had samsung phones for the last 4 years and grown to love the intuitive
software design.
6:59pm on Wednesday, June 9th, 2010
I Can Finally Text Without Pushing Million Buttons!
A few months ago I figured that I have to give up.
Comments posted on w w w .ps2netdrivers.net are solely the view s and opinions of the people posting them and do not necessarily reflect the
view s or opinions of us.
Technical specifications
Full description
Soundcraft LX7ii 24 Soundcraft LX7ii 24 Description: The hugely successful and popular Soundcraft LX7 console has
received an upgrade to the LX7ii - both in terms of audio specification and cosmetics. Electronically, the LX7ii gains a new
Soundcraft mic-preamp and EQ section, both designed by Soundcraft founder and electronics wizard Graham Blyth.
Designated the GB30 Series, the new designs coincide with Soundcraft's 30 year anniversary and the new 4-band EQ with
swept mid sections is based on the highly-acclaimed EQ in the new MH3 and MH4 touring consoles. "The GB30 EQ, owing
its heritage to the work we did on the new MH range, gives a steeper than usual slope on the fixed LF and HF sections,
removing unwanted mid-frequency 'mush' and delivering a clearer sound. We've a unique, cost-effective design that brings
high-end EQ into an affordable mixing console for the first time." Other standard features of the LX7ii include frame sizes up
to 32 mono inputs and four stereo inputs/returns with four groups, main stereo output and a dedicated mono output for
centre clusters. There are direct outputs on the first 16 inputs suitable for multitrack recording, and six auxes for flexibility
for effects and foldback.
Tags
manuel d'instructions, Guide de l'utilisateur | Manual de instrucciones, Instrucciones de uso | Bedienungsanleitung,
Bedienungsanleitung | Manual de Instruções, guia do usuário | инструкция | návod na použitie, Užívateľská príručka, návod
k použití | bruksanvisningen | instrukcja, podręcznik użytkownika | kullanım kılavuzu, Kullanım | kézikönyv, használati
útmutató | manuale di istruzioni, istruzioni d'uso | handleiding, gebruikershandleiding
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Soundcraft EFX 8-Channel Mixer
The 8-Channel Soundcraft EFX mixer uses the same AudioDNA processor featured in many Digitech and Lexicon outboard
products, including the highly respected Lexicon MX500 processor.
The Soundcraft EFX Series combines all the features of the popular Soundcraft EPM mixer with a built-in 24-bit, digital
Lexicon effects processor, expanding the Soundcraft low-cost, multipurpose compact range.
With over 35 years of experience, the Lexicon name is among top creators of reverb and processing equipment in the
business, ensuring the finest quality effects not usually found in a console at this price level.
The Effects section fits neatly into the mixer's compact framework, with 2 stereo channels and an effects-send on each
channel. There are 32 effects to choose from with a tap tempo function, 3 effects parameter controls, and a user effects
setting store facility. An effects channel level clip LED and Mute function give the user even more flexibility.
The emphasis with the Soundcraft EFX is very firmly on quality build and audio performance, with an easy-to-understand
control surface in line with the Soundcraft professional range. The Soundcraft EFX uses the highly transparent GB30 Mic
amp (designed by Graham Blyth for the company's 30th anniversary, and also used on the larger LX7ii and GB Series
professional consoles). The Soundcraft EFX also offers all the features of the Soundcraft EPM, most notably a configurable
aux send, XLR and 1/4" metal jack connector sockets, RCA phono stereo playback inputs and record outputs, a 3-band EQ
with a swept mid on the mono inputs, a 3-band EQ on the 2 stereo inputs, TRS insert sockets, inserts on all mono inputs,
ten-segment LED output metering and a headphone output.
The Soundcraft EFX will find itself in many applications including live music, recording, houses of worship and multi-speaker
installations.
FEATURES
8mono + 2 stereo channel frame sizes
Built-in 24 bit Lexicon digital effects processor
32 FX settings
Tap tempo and FX setting store function
1 effects-send on each channel
1 configurable auxiliary bus
XLR-type and 1/4" metal jack connector sockets
RCA phono stereo playback inputs and record outputs
3-band EQ with a swept mid on mono inputs
3-band EQ on stereo inputs
TRS insert sockets and inserts on all mono inputs
Ten-segment LED output metering
Intuitive and comprehensive solo system
Headphone output
EFX 8-Channel Mixer
Frequency Response Mic/line Input to any Output: +/-1.5dB,20Hz â€​ 20kHz
T.H.D. Mic Sensitivity -30dBu,+14dBu @ Mix output: 96dB
Fader Cut-off (rel +10 mark): > 96dB
Aux Send Pots Offness: > 86dB
EQ (Mono inputs)
HF: 12kHz,+/-15dB,
MF: (swept): 150Hz â€​ 3.5kHz,+/-15dB
LF: 80Hz,+/-15dB
Q: 1.5
EQ (Stereo inputs)
HF: 12kHz,+/-15dB,
MF: 720Hz,+/-15dB
LF: 80Hz,+/-15dB
Power Consumption: Less than 35W
Operating Conditions: Temperature Range 5C to 40C
Input and Output Specs
Input & Output Levels
Mic Input: +15dBu max.
Line Input: +30dBu max.
Stereo Input: +30dBu max.
Mix Output: +20dBu max.
Headphones (@150 Ohms): 300mW
Input & Output Impedances
Mic Input: 2k Ohms
Line Input: 10k Ohms
Stereo Input: 65k Ohms (stereo),35k Ohms (mono)
Outputs: 150 Ohms (balanced),75 Ohms (unbalanced)
Dimensions & Weight
Height: 3.6"
Width: 13.0"
Depth 14.3"
Weight: 10.1 lbs.
Mixážnà pulty
American DJ Q-2422 PRO mixer Rackový mixpult Kód produktu: 1123000007 Profesionálnà 3-kanálový DJ mixpult
do racku s vylepÅ¡enou kvalitou zvuku. Pro každý kanál nabÃzà samostatný 3-pásmový EQ (Bass, Mid, Treble),
ovladaÄ​e Pan a Gain, a Stream Flow LED indikátory. KromÄ› toho je vybaven Q Start faderem, spÃnaÄ​em Talk Over,
zapuÅ¡tÄ›ným zadnÃm panelem, vstupy: 2 x phono, 3 x RCA, 2 x mic a 2 x aux, vyváženými XLR výstupy,
výstupem pro sluchátka a Zone výstupem s nastavenÃm Treble, Bass a Volume. RozmÄ›ry: 482,6 x 177 x 97 mm
(19", 4 mÃsta do racku), hmotnost: 3,4 kg. ÄŒerné barevné provedenÃ.
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Yamaha MG 206 C Analogový mixpult Kód produktu: MG206C Analogový mixpult ze série MG s 20 vstupy. Mixpult
nabÃzà 12 mono vstupů, 4 stereo linkové vstupy, 16 mikrofonnÃch vstupů, dále 3-pásmový ekvalizér, 4x
Group, 4x Aux, low cut filtr 18dB, 8 kompresorů na mikrofonnÃch vstupech, kvalitnà mikrofonnà pÅ™edzesilovaÄ​,
fantomové napájenà 48V, nebo 60mm fadery. Mixpult lze montovat do racku. SouÄ​ástà balenà je uživatelský
manuál a AC adaptér. Rozměry: 478mm x 105mm x 496mm, Hmotnost: 6kg
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Soundking MIX02A Mixing Console Analogový mixpult Kód produktu: MIX02A Malý přenosný a snadno
ovladatelný mixážnà pult pro domácà studio. nebo menÅ¡Ã hudebnà seskupenÃ. NabÃzà celkem 10 vstupů,
phantomové napájenà 48V na prvnÃch dvou mikrofonnÃch kanálech, dvoupásmové korekce, AUX výstup, Hi Pass filtr, sluchátkový výstup, 4-segmentový LED metr. DÃky odnÃmatelnému držáku na spodnà stranÄ› je
možné mixpult upevnit na standardnà mikrofonnà stojan. Napájenà je řešeno přibaleným 12V adaptérem
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1.899 KÄ​ Vlož do koÅ¡Ãku
Soundking AS 802 AD Analogový mixpult Kód produktu: AS802AD Analogový mixpult s DSP efektovou jednotkou pro
malé hudebnà seskupenÃ. 4 mono vstupy pro pÅ™ipojenà mikrofonů, 2 stereo vstupy pro pÅ™ipojenà CD/MP3
pÅ™ehrávaÄ​e a klávesového nástroje. Každý vstup je vybaven tÅ™Ãpásmovými korekcemi, monitor send a
regulacà úrovnÄ› efektu. Mikrofonnà vstupy jsou vybaveny phantomovým napájenÃm a Low Cut filtrem. DalÅ¡Ãmožnosti konektivity: TAPE IN / OUT, Monitor OUT, REC OUT. Hlavnà výstupy 2x JACK 6,3 mm.
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RCF SMP-T Player PÅ™ÃsluÅ¡enstvà k mixpultu Kód produktu: L-PAD-SMP-T-PLAYER MP3 pÅ™ehrávaÄ​ pro mixážnÃpulty RCF LIVEPAD. Tato karta umožňuje velmi praktické pÅ™ipojenà USB flash disků s MP3 soubory do
mixážnÃho pultu a stává se tak ideálnÃm Å™eÅ¡enÃm pro pÅ™ehrávánà hudby.
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1.070 KÄ​ Vlož do koÅ¡Ãku
RCF SBT2-1 Bluetooth PÅ™ÃsluÅ¡enstvà k mixpultu Kód produktu: SBT2-1-BLUETOOTH Bluetooth pÅ™ehrávaÄ​ pro
mixážnà pulty RCF LIVEPAD. Tato karta umožňuje velmi praktické bezdrátové připojenà k mixpultu a
stává se tak ideálnÃm Å™eÅ¡enÃm pro pÅ™ehrávánà hudby. Bluetooth pÅ™ehrávaÄ​ umožňuje pÅ™ipojenà k
jakémukoliv Bluetooth zaÅ™ÃzenÃ, jako napÅ™Ãklad smartphone nebo tablet.
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RCF L-PAD SMP-R REC MKII PÅ™ÃsluÅ¡enstvà k mixpultu Kód produktu: L-PAD-SMP-R-REC-MKII MP3 pÅ™ehrávaÄ​ a
rekordér pro mixážnà pulty RCF LIVEPAD. Podporuje USB 2.0 externà paměťové úložiÅ¡tÄ› s maximálnÃkapacitou 2 TB. PÅ™ehrává formáty MP3, WMA, WAV a AAC. Záznam je ukládán ve formátu MP3. Disponuje
frekvenÄ​nà odezvou 20 Hz - 20 kHz (+/- 1 dB) (THD <0.15) a frekvenÄ​nÃm rozsahem 20 Hz - 19,5 kHz (+/- 3 dB,
THD <1%). Datový tok má 192 kbps. Maximálnà úroveň vstupu pro záznam je 0 dB. Pro nahrávánà se
doporuÄ​uje použÃt USB 2.0 NANDFLASH disk s formátovánÃm FAT32 a zapisovacà rychlostà pÅ™es 8MB. PoužitÃjiných paměťových disků, USB 1.1 nebo jednotek s velmi pomalou odezvou způsobuje výpadky zvuku.
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Bespeco BPMIX01 Stojan na mixpult Kód produktu: BPMIX01 MultifunkÄ​nà stojan urÄ​ený pro expandéry nebo malé
mixážnà pulty. Stojan je vyroben z pevné a odolné oceli a jeho stabilitu upevňuje trojnožka s pogumovanými
konci. Samotný stojan je plnÄ› nastavitelný výškovÄ›, Å¡ÃÅ™kovÄ› a nastavitelný je i úhel samotné plochy
pro mix, nebo expander. Výška je nastavitelná v rozmezà 72 - 115 cm, Å¡ÃÅ™ka je nastavitelná v rozmezà 30,5
až 42 cm a maximálnà nosnost stojanu je 8 kg. Hmotnost stojanu: 3 kg. Barevné provedenÃ: Black.
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QSC Touchmix-8 Digitálnà mixpult Kód produktu: TOUCHMIX-8 Kompaktnà digitálnà mixážnà pult s dotykovým
displejem. Má 12 kanálů, 8 mikrofonnÃch vstupů, 2 stereo line vstupy a USB 2-track. Na výstupech má 4 AUX
(XLR), 1 stereo (TRS), Main R/L (XLR) a Cue/Monitor (TRS). Disponuje 4-pásmovým plně parametrickým EQ,
variabilnÃmi high-pass a low-pass filtry a gate a compressor na vÅ¡ech vstupnÃch kanálech. Má také 4 profesionálnÃDPS efekty a korektor výšky tónů. Na výstupech má 1/3 oktávový grafický EQ, limiter, delay a notch filtry.
Podporuje pÅ™Ãmé nahrávánà na pevný disk pÅ™es USB 3.0, a dokáže pÅ™ehrávat až 14 stop najednou.
Barevný dotykový displej má velikost 156 x 90 mm. ZaÅ™Ãzenà lze ovládat dálkovÄ› pomocà bezplatné
aplikace pro iOS. K mixpultu je dodáván USB WiFi adaptér, přepravnà pouzdro na napájecà zdroj. Rozměry: 79 x
333 x 250 mm. Hmotnost: 1,95 kg.
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QSC Touchmix-16 Digitálnà mixpult Kód produktu: TOUCHMIX-16 Kompaktnà digitálnà mixážnà pult s dotykovým
displejem. Má 20 kanálů, 16 mikrofonnÃch vstupů, 2 stereo line vstupy, úÄ​elový talkback vstup a USB 2-track. Na
výstupech má 6 AUX (XLR), 2 stereo (TRS), Main R / L (XLR) a Cue / Monitor (TRS). Disponuje 4-pásmovým plně
parametrickým EQ, variabilnÃmi high-pass a low-pass filtry a gate a compressor na vÅ¡ech vstupnÃch kanálech. Má
také 4 profesionálnà DPS efekty a korektor výšky tónů. Na výstupech má 1/3 oktávový grafický EQ,
limiter, delay a notch filtry. Podporuje pÅ™Ãmé nahrávánà na pevný disk pÅ™es USB 3.0, a dokáže pÅ™ehrávat
až 20 stop najednou. Barevný dotykový displej má velikost 156 x 90 mm. ZaÅ™Ãzenà lze ovládat dálkovÄ›
pomocà bezplatné aplikace pro iOS. K mixpultu je dodáván USB WiFi adaptér, pÅ™epravnà pouzdro na napájecÃzdroj. RozmÄ›ry: 89 x 360 x 297 mm. Hmotnost: 2,98 kg.
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Bespeco COMPAC 45T Stojan na mixpult Kód produktu: COMPAC45T Skládacà ocelový stojan na malý, až
stÅ™ednÄ› velký mixážnà pult s velkou variabilitou nastavenà pomocà třà nezávislých masivnÃch upÃnacÃch
kloubů Crocodile. Nastavitelná výška v rozsahu od 36 cm do 86 cm, nastavitelný sklon mixpultu, Å¡ÃÅ™ka
základny pod pult 41 cm bez možnosti nastavenÃ, hloubka základny pod pult 38 cm bez možnosti nastavenÃ,
hmotnost 4,8 Kg, Nosnost: 20 Kg. Černá barva, polomatný povrch.
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Mackie 402 VLZ4 Analogový mixpult Kód produktu: 402VLZ4 Analogový 4-kanálový mixpult, 2x Onyx
mikrofonnà pÅ™edzesilovaÄ​ s rozÅ¡ÃÅ™eným dynamickým rozsahem (128,5 dB), rozsah gainu 0-60dB, +22 dB pro
linkový vstup, frekvenÄ​nà rozsah 20Hz-20kHz, phantomové napájenÃ, 4x High-Headroom linkový vstup,
možnost volby nástrojového vstupu (bez použità DI boxu), 2-pásmový aktivnà EQ, LoCut filtr při
každém kanály, samostatné Stereo vstupy, Tape In, masivnà konstrukce, hmotnost 1.1kg.
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Yamaha AG03 Analogový mixpult Kód produktu: AG03 3-kanálový analogový mix, respektive USB interface,
nabÃzejÃcà inteligentnà řeÅ¡enà pro každého uživatele hledajÃcÃho maximálnÄ› flexibilnà a jednoduché
zaÅ™ÃzenÃ. AG03 je vybaven efektovou DSP jednotkou (AG DSP Controller software) pro ekvalizér, kompresor, filtry a
reverb.
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Mackie MIX12FX Analogový mixpult Kód produktu: Mix12FX KompaktnÃ, pÅ™enosný 12-kanálový mixážnÃpult s efekty ze série MixSeries s vysokou svÄ›tlou výškou, nÃzkým levelem hluÄ​nosti a zabudovanými
mikrofonnÃmi pÅ™edzesilovaÄ​i. Disponuje 3-pásmovým ekvalizérem, pevnou kovovou konstrukcÃ, hlavnÃmi L/R
výstupy s 60 mm faderem, 12 efekty (vÄ​etnÄ› reverbů, chorusů, delayů), 4 mikrofonnÃmi/linkovými vstupy s
pÅ™enosem zvukem ve studiové kvalitÄ›, low-cut filtrem (75 Hz ), indikacà pÅ™etÞenà Ä​i levelu, 4 stereo 6,3 mm
linkovými vstupy (+4 dB/-10 dB) s indikacà vyváženà Ä​i levelu, stereo RCA vstupy/výstupy pro playback nebo
nahrávánÃ, výstupy pro sluchátka a stereo kontrolnà mÃstnost a možnostà fantomového napájenà pro
kondenzátorové mikrofony. Rozměry: 53 x 297 x 244 mm, hmotnost: 1,7 kg.
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Yamaha MG10 Analogový mixpult Kód produktu: MG10-YAMAHA analogový mixpult 10 kanálů k dispozici,
Ä​tveÅ™ice MIC IN vstupů nebo 10x LINE IN vstup, z toho Ä​tyÅ™i mono a tÅ™i stereo, 1x stereo bus, 1x AUX, který je
možné použÃt i jako efektovou smyÄ​ku, mikrofonnà pÅ™edzesilovaÄ​e D-PRO s invertnà Darlington obvodem,
symetrické XLR vstupy, kompresor s ovládánÃm pomocà jednoho potenciometru, pÅ™epÃnaÄ​ PAD pro mono vstupy,
tÅ™Ãpásmový EQ, možnost 48V phantom napájenÃ, pevné kovové provedenÃ, rozmÄ›ry: 244mm x 71mm x
294mm, hmotnost: 1,9 kg
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Yamaha AG06 Analogový mixpult Kód produktu: AG06 6-kanálový analogový mix, respektive USB interface,
nabÃzà inteligentnà řeÅ¡enà pro každého uživatele hledajÃcÃho maximálnÄ› flexibilnà a jednoduché zaÅ™ÃzenÃ. AG03 je vybaven efektovou DSP jednotkou (AG DSP Controller software) pro ekvalizér, kompresor, filtry a
reverb.
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Yamaha MG10XU Analogový mixpult Kód produktu: MG10-XU analogový mixpult 10 kanálů k dispozici, efektová
jednotka: 24 programů, USB konektivita s výstupem v kvalitÄ› 24-bit / 192kHz, Ä​tveÅ™ice MIC IN vstupů nebo 10x
LINE IN vstup, z toho Ä​tyÅ™i mono a tÅ™i stereo, 1x stereo bus, 1x AUX. který je možné použÃt i jako
efektovou smyÄ​ku, mikrofonnà pÅ™edzesilovaÄ​e D-pRO s invertnà Darlington obvodem, symetrické XLR vstupy,
kompresor s ovládánÃm pomocà jednoho potenciometru, pÅ™epÃnaÄ​ PAD pro mono vstupy, tÅ™Ãpásmový EQ,
možnost 48V phantom napájenÃ, pevné kovové provedenÃ, rozmÄ›ry. 244mm x 71mm x 294mm, hmotnost:
2,1 kg
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Soundking DF136 Laptop Stand Stojan na mixpult Kód produktu: DF136 stojan na notebook, ocelový, výška 9201300mm, velikost desky 350x320 cm
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Behringer MX 400 MICROMIX Analogový mixpult Kód produktu: MX400 Miniaturnà 4-kanálový mono mixážnÃpult pro linkový signál. Použité operaÄ​nà zesilovaÄ​e 4580 zaruÄ​ujà kvalitnà zvuk – ostatnÄ› stejné operaÄ​nÃzesilovaÄ​e lze nalézt v mnohem dražšÃch modelech. MX400 posloužà výbornÄ› jako submixer, pokud už
vám docházà kanály na vaÅ¡em běžném mixážnÃm pultu. Snadno tak napÅ™Ãklad smÃcháte signály z
třà různých kláves.
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Behringer Powerplay P16-MB Mount Stojan na mixpult Kód produktu: P16-MB Držák na stojan pro mixpult Powerplay
p16-M. Kompatibilnà se standardnÃmi mikrofonnÃmi stojany nebo stojany pro bicÃ.
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1.061 KÄ​ Vlož do koÅ¡Ãku
Behringer XENYX 502 Analogový mixpult Kód produktu: XENYX502 Mixpult, analogový: s hmotnostà pouhých 0,55
kg a jednoduchou obsluhou je model XENYX 502 ideálnà volbou pro ozvuÄ​enà menÅ¡Ãch prostor jako kavárny Ä​i
konferenÄ​nà sály. Jednoduchý zvuk vyžaduje jednodché Å™eÅ¡enà a právÄ› to poskytne uživateli XENYX 502.
S novÄ› pÅ™idaná +48 V phantomovým napájenÃm, možnosti jeho použità jsou jeÅ¡tÄ› Å¡irÅ¡Ã.
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Behringer XENYX 302 USB Analogový mixpult Kód produktu: XENYX302USB Profesionálnà kompaktnà mixážnà pult
s vestavěným USB, napájenà z USB, nebo přiloženého adaptéru, 1 mikrofonnà vstup, 1 linkový vstup
(kombinovaný s USB), 2-track vstup (a výstup) smÄ›rovatelnou buÄ​ do sluchátek, nebo na hlavnà výstup, 2pásmový ekvalizér
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1.250 KÄ​ Vlož do koÅ¡Ãku
Hercules DG400BB Stojan na mixpult Kód produktu: DG400BB Stojan na notebook s nastavitelnou výškou.
Možnost nastavit v rozmÄ›rech: 220 x 265 x 315mm. Pevné nožiÄ​ky zajiÅ¡Å¥ujà stabilitu a maximálnà nosnost
až 10kg. Konstrukce vyrobená z jednoho kusu pro snadnou instalaci a jednoduché nastavovánÃ.
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1.690 KÄ​ Vlož do koÅ¡Ãku
Soundking MIX02-1A Analogový mixpult Kód produktu: MIX02-1A Analogový mixpult s 2x mikrofonnÃm vstupem a
4x Line In vstupy, disponuje Phantomovým napájenÃm 48V pro kondenzátorové mikrofony, 2-pásmový
ekvalizér, 2-cestný Stereo Line In, ovladaÄ​ L / R Main Out, sluchátkový vstup se samostatným ovládánÃm
hlasitosti, RCA In / Out. LED indikátory, frekvenÄ​nà rozsah 20Hz-20kHz, hmotnost 0,5 kg.
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Behringer XENYX Q502 USB Analogový mixpult Kód produktu: XENYXQ502USB Digitálnà ultra-low noise mixpult s
jednÃm vysoce kvalitnÃm mikrofonnÃm preamp, kompresor ve studiové kvalitÄ› s ovládánÃm jednÃm tlaÄ​Ãtkem,
vestavÄ›ný stereo USB interface na propojenà s VaÅ¡Ãm PC/Mac, software i se 150 presety usnadňujÃcÃmi
nahrávánà zdarma, Neo-klasický "britský" 2 -pásmový ekvalizér, Main Mix Out, sluchátkový výstup,
kvalitnà komponenty a konstrukce zaruÄ​ujà dlouhou životnost.
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Behringer XENYX 802 Analogový mixpult Kód produktu: XENYX802 Profesionálnà mixážnà pult, 3 mono vstupy 3pásm. EQ, 2 stereo vstupy 3-pásm. EQ, 2 stereo výstupy, AUX, phantom, externà napájecà zdroj, XENYX
pÅ™edzesilovaÄ​e, British EQ. Se skoro jednÃm miliónem prodaných kusů UB Å™ada mixpultů se stává
standardem pro hudebnÃky z celého svÄ›ta. NaÅ¡e nové mixpulty XENYX Vás pozvednou na vyššà úroveň.
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Bespeco ZXR Stojan na mixpult Kód produktu: ZXR Ocelový stojan pro mixážnà pult s nastavitelnou výškou a
Å¡ÃÅ™kou. Å ÃÅ™ku lze nastavit v rozsahu od 62 cm do 88 cm. Výšku lze nastavit v rozsahu od 66 cm do 96 cm.
Maximálnà zatÞitelnost je 60 kg. ÄŒerná barva. Hmotnost stojanu 12 kg.
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Behringer MIX 800 MINIMIX Analogový mixpult Kód produktu: MIX800 Mixpult, analogový: Karaoke Mix s
vestavěnou DSP efektovou jednotkou. Behringer MIX800 je kompaktnà procesor pro karaoke ze série Mini. Zastane
hned nÄ›kolik funkcà najednou, odstranà totiž z nahrávky původnà hlas a pÅ™imÃchá do nà váš zpÄ›v, který je
možné podle potÅ™eby upravit ekvalizérem Ä​i dozvukové procesorem.
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Soundking MIX04A Mixing Console Analogový mixpult Kód produktu: MIX04A Malý přenosný mix pult se 4 XLR
vstupy pro mikrofon s možnostà použità +48V pro kondenzátorové mikrofony. Fadery obsahujà regulaci basů
1x AUX a nastavenà pomÄ›ru stran. Dále nabÃzà RCA vstupy/výstupy, 4 LEDkový svÄ›telný powermeter,
výstup na sluchátka.
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Soundking MIX02A USB Mixing Console Analogový mixpult Kód produktu: MIX02AU Malý přenosný a snadno
ovladatelný mixážnà pult pro domácà studio, nebo menÅ¡Ã hudebná seskupenÃ. V robustnÃm hlinÃkovém Å¡asi
nabÃzà celkem 10 vstupů, phantomové napájenà 48V na prvnÃch dvou mikrofonnÃch kanálech, dvoupásmové
korekce, AUX výstup, sluchátkový výstup, 4 - segmentový LED metr. DÃky odnÃmatelnému držáku na
spodnà straně je možné mixpult upevnit na standardnà mikrofonnà stojan. Napájenà je řešeno přibaleným
12V adaptérem. PÅ™Ãtomnost USB konektoru pÅ™edznamenává, že tento malý mixpult je zároveň
pÅ™evodnÃk ( USB Audio Interface ), který lze pomocà USB portu jednoduÅ¡e pÅ™ipojit k poÄ​ÃtaÄ​i a nahrát si hlavnÃvýstup z mixu do stereo tracku.
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Soundcraft EFX8
It's Arriving Soon!
We've confirmed with Soundcraft that more of this item should arrive within a few weeks. Place your pre-order now to
reserve yours, and your order will ship in the order it was received. Notify me when in stock
Affordable Soundcraft Mixing!
The Soundcraft EFX8 not only provides a versatile, feature-filled mixing platform with plenty of I/O options that make it
great for stage, studio, or house of worship applications, it also includes a stellar onboard 24-bit effects processor to make
your sound even better! The EFX8 includes eight premium preamps, 32 effects settings, 3-band EQ (with swept mids on
the mono channels), an effects send on each channel, and more! You'll be amazed at the great sound and performance
you get from the ultra-portable 8-channel mono/2-channel stereo EFX8!
Soundcraft EFX8 8-channel Compact Mixer with Effects at a Glance:
Premium effects onboard
Easy to use
Great components
Premium effects onboard
The Soundcraft EFX mixer uses the same AudioDNA processor featured in many of the Digitech and Lexicon outboard
equipment including the highly respected Lexicon MX400 processor. With over 35 years experience, the Lexicon name is
synonymous with the best reverb and processing in the business, ensuring the finest quality effects not usually found in a
console at this price level.The effects section fits neatly into the mixers compact framework which is available in 8 or 12
mono input variants, both with 2 stereo channels and an effects send on each channel. There are 32 effects to choose
from with a tap tempo function, 3 effects parameter controls and a user effects setting store facility. An effects channel
level clip LED and Mute function gives the user even more flexibility.
Easy to use
The emphasis with the Soundcraft EFX is very firmly on quality build and audio performance, with an easy to understand
control surface in line with the Soundcraft professional range. The Soundcraft EFX uses the highly-transparent GB30 Mic
amp (designed by Graham Blyth for the company's 30th anniversary, and also used on the larger LX7ii and GB Series
professional consoles).
Great components
The Soundcraft EFX also offers all the features of the Soundcraft EPM most notably a configurable aux send, XLR and 1/4"
metal jack connector sockets, RCA phono stereo playback inputs and record outputs, 3-band EQ with a swept mid on the
mono inputs, 3-band EQ on the 2 stereo inputs, TRS insert sockets, inserts on all mono inputs, ten-segment LED output
metering and a headphone output.
Soundcraft EFX8 8-channel Compact Mixer with Effects Features:
8+2 channel frame size
Built-in 24 bit Lexicon digital effects processor
32 effects settings
Tap tempo and effects setting store function
One effects send on each channel
One configurable auxiliary bus
XLR-type and 1/4" metal jack connector sockets
RCA phono stereo playback inputs and record outputs
3-band EQ with a swept mid on mono inputs
3-band EQ on stereo inputs
TRS insert sockets and inserts on all mono inputs
Ten-segment LED output metering
Intuitive and comprehensive solo system
Headphone output
Easily rackmountable
The Soundcraft EFX8 gives you great mixing performance and sound in a small footprint!
Buy Today, Make 3 Easy Payments
Sweetwater's Flexible Payment Plan is a convenient, interest-free way to buy gear now and stretch your purchase across
three budget-friendly payments. Simply choose the "3 Easy Payments" option in your cart. and we'll divide your
purchase amount into three convenient payments, billed to your current MasterCard, Visa, Discover, or American Express
card. There is a $10 processing fee for using this service, and your billing address must be in the United States to be
eligible. It's just another way we make shopping at Sweetwater easy and convenient!
Get your Soundcraft EFX8 now and spread out the payments!
This program is subject to credit approval. We will pull a copy of your credit report to approve your application.
Soundcraft EFX8
Today's Payment $132.66 Includes $10 processing fee.
Payment 2 $122.66 In approx. 30 days.
Payment 3 $122.66 In approx. 60 days.
My Sweetwater Wish List
Paul
from Beacon, NY September 19, 2015
GREAT SMALL VENUE MIXER
When Wayne recommended this $400 mixer for my barn, paired with QSC 8s, I was. concerned. Soundcraft? Don't they
make cheap crap? Well. The unit really is everything it needs to be and more. In fact, its been pressed into service as a
small stage unit for a nightclub where we use it for open mics and late night shows.
Open Mics are one of the true tests of a mixer. Some guitars are loud and brassy, others are soft and boomy. Some
people sing big and close to the mic, others are too far away and practically whisper. It's freakin impossible, in other words,
to make it all sound consistent and as good as it can 2unless you can mix and eq quickly on the fly. Plus: you need reverb
for vocals. Trust me. And, Open Mic hosts are performers, not sound pros. It has to be dead easy or it won't happen.
The EFX8 has been solid in this job for about 8 months now. Everything is right there where you need it, easy to make
work. The parametric eq is awesome. The Lexicon 'verb makes everyone sound. well, better, anyway. The speakers are
ceiling mounted so we have to leave them on all the time, which means we leave the board on all the time (avoid those
annoying pops). So far, no problem.
I wish there were more control over the monitor outs. If there is a way to adjust them by track rather than globally, I
haven't found it. And I can never remember how to send the effects mix to the monitor. I'm pretty sure its easy. But the
manual is pretty easy, but needs to be more a tutorial for newbies. There are videos, but some people (older) just don't
learn well that way.
But for $400 (now $370) and a very small footprint, this thing makes mostly dead simple sound really, really great.
Abby
from NJ July 30, 2015 Music Background:
pro keyboard player
Soundcraft EFX8
Recommended by my sales engineer, Chris Leonard. I use it for small to medium size venues for a small band and
ensembles. Has a great sound, is easy to use, lightweight, low noise floor. For the price, it's pretty sweet. I use it as a
replacement for a Mackie 1202-VLZ Pro and a Mackie 808s (I now have powered speakers, so I no longer need a powered
head). It's definitely an upgrade in terms of sound quality. The onboard Lexicon effects are really nice. I also recently
purchased JBL EON610 speakers (which I use as monitors) and already have a pair of Mackie SRM 450 speakers for
mains. The Soundcraft sounds great with them.
Stephen
from South Louisiana July 1, 2014 Music Background:
worship musician, occasional band gigs
LOVE IT!
Dan Van Amerongen guided me toward this mixer when I was seeking one for my music room and for small gigs. I was
unfamiliar with this brand and mostly have used Mackie mixers. I am quite impressed with the clarity of the sound and the
quality of the onboard effects. This device has been a perfect addition to my practice room. This is a GREAT mixer.
Larry Vigneault
from Burlington, Vermont January 13, 2014 Music Background:
Bandleader, bassist, part-time musician
Great mixer!
I recently needed a replacement for my Yamaha 16 channel mixer that had served me well, but was getting along in years.
The Soundcraft EFX8 had all the features and inputs I need for both of my bands and the reviews were good so I ordered
it. The mixer sounds fantastic and the Lexicon effects really complement the mixer. My guitarist, a recording engineer by
trade, gave it a big thumbs up. The mix is punchy and well defined. Adding to that, it's compact and a quick setup. As usual,
my rep at Sweetwater (thanks, Jim!) did his typical stellar job of taking care of me. I ordered on Monday and had it in time
to familiarize myself with it for a gig that Friday. Thanks, Sweetwater!
Peter Williams
from Philly suburbs March 23, 2016 Music Background:
Gigging amateur musician.
Great product from Soundcraft!
Got this mixer for my smaller acoustic band, fits the bill perfectly! I needed 8 inputs and one aux send for this project, and I
wanted a small footprint. Great effects which have plenty adjustments. I like having the insert points on each channel, two
are being used for external effects on acoustic guitars. It's really nice having PFL monitoring ability, and the sweepable
midrange EQ function on every channel is awesome, I can really get things dialed in for a great sound out front! Two thing
missing that I would have liked to have, are high pass filters on each channel and a master volume for the aux send. Not
show-stoppers, but certainly nice to have. Bottom line, the EFX8 is kind of "old school", but nonetheless it is a rugged,
small footprint mixer with a great sound!
Customer
from June 20, 2015
Clear, quiet with lots of headroom
I never rate anything. I just came from a classic mackie 1402 VLZ and thought it was about as good as I could get for
what I paid. Turns out buying old used gear for cheap isnt a smart investment. This is a smart investment. Built like a tank,
this thing is making all my synths and drum machines sound brand new. It can make my analog stuff sound bright and
digital or warm and thick. The eq is worth it alone. Not to mention the pretty decent lexicon effects. (I think people
exaggerate how good it is, its fine, dont toss your processors)
The unit looks fantastic, and has a lower noise floor than the mackie I had. Buy it! OR wait for the new signature series.
Whatever!
Linda
from Seal Beach, Ca November 4, 2013 Music Background:
Working musician doing casuals
Very good mixer for the money
I never give something a 5 star but this unit was close to it. Love the effects. Was easy to set up. The electrical plug in is
under neath the unit. That is sort of inconvenient but it is workable.
James
from Detroit,Mi. October 18, 2013 Music Background:
Detroit Bass Player and live sound engineer
I like it and it works for me.
I needed a mixer that had more mic inputs that my mackie 1202 and alto L8 and smaller than my mackie cfx 16. This one
fits the bill and works for me. Built to go the distance with a steel chasis.The on button is in a weird place but it can be
reached. At least it won't be hit by accident. Easy to use and is a clean sounding board. I am using a Bose L1 or powered
speakers and monitors. I think it is a step under Allen Heath but above Mackies. Give it a try. I like it and it works for me. I
considering getting a larger one to replace my cfx 16. It's a few dollars more but I think it's worth it.
L herman
from Seal Beach, Ca October 14, 2013 Music Background:
working musician doing casuals
Great mixer
I bought this mixer a week ago and used it for the 1st time today. It worked great. Was easy to set up but I have had a
Soundcraft mixer before. It replaced my Mackie pro 1202 which I've had since about 2000. The Soundcraft was clear and
rich. Lot of punch. I'm using it along with a QSC amp. Very pleased with the sound.
Bobby D.
from Chicago, IL January 3, 2013 Music Background:
Pro Musician
EFX8 Covers The Basics "+"
I needed to update & lighten on my trusty Power Station, and this does the trick. Ease of use & set-up time, deceptively
durable, and it sounds great. The Lexicon FX processor just adds to it's value as well. You can find cheaper with a couple
more channels, but do your research and you'll chose this model. Also nice for small gigs and monitor use.
Thomas Le
from Houston, TX September 10, 2014 Music Background:
Live Sound Engineer
Great Compact Console!
For a small console, it's perfect for the small gigs where space is a premium and there's not alot to amplify to the PA. The
Lexicon FX is very versatile with 3 controls to dial in the perfect reverb. I'm fine with one aux send, but if I'm in a pinch, I
could use the FX send as another aux if I am willing to sacrifice the internal FX.
The only problem I have with the board is that the preamps are kind of weak, meaning that I have to drive them hotter.
This was disappointing since Soundcraft touts that the EFX/EPM has the same preamp as the GB2/4/8 series which I also
operate on Sundays. I find this not to be the case.
Overall, it's a great board for the starting band or a pro looking for a submixer.
buzzard
from Salt Lake City February 27, 2013 Music Background:
Hobbyist
Well made, good sound
I use the Soundcraft EFX8 for occasional solo gigs and small ensembles through a Yamaha DXR10. It’s a nice step up
from the little Behringer I’d used for a couple years with an audible difference in headroom, but frankly the Behringer is
not terrible and quite cost effective. The build quality is high and the layout is intuitive. Using/configuring a Lexicon effect
DOES require a small learning curve, but they sound pretty good.
In this price range, only one other brand really competes. Which one you choose will probably have little to do with an
audible difference. For me, the Soundcraft faders feel better, and the form factor is slightly more friendly.
Allen & Heath ZED-10FX Kleinmixer
Kleinmixer
4 Mic/Line Eingänge
2 Dual Stereo Eingänge
2 Aux Sends
USB Send und Return
integrierter 24 Bit / 48 kHz Effektprozessor u.a mit Tap-Delay
Hochpass Filter
Stereo Return
2-Track Return
6,3 mm Kopfhöreranschluss
Stereo Record Ausgang
XLR Master LR
Main Insert
12-Segment LR Anzeigen
Master Kontrolle für Aux 1 & 2
integriertes Netzteil
Maße: 336 x 95 x 275 mm
Gewicht: 3,3 kg
passendes Case: Art. 267778 (nicht im Lieferumfang enthalten)
Kunden, die sich für Allen & Heath ZED-10FX Kleinmixer interessierten, haben
danach folgende Produkte bei uns gekauft
Verwandte Produkte
(37) Allen & Heath ZED-10FX Bundle
Dieser Artikel ist auf Lager und kann sofort verschickt werden.
(160) Millenium DJ Mixer Bag
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Das ZED-10FX ist ein Mischpult, das dem guten Ruf von Allen&Heath gerecht wird. Die Verarbeitung ist überwiegend
hochwertig: Alle Potis sind verschraubt, die XLR-Buchsen sind von Neutrik, das Gehäuse ist aus massivem Blech. Nur die
Plastik-Seitenteile wirken etwas billig. Sofort ein dickes Plus hat das Pult bei mir durch sein eingebautes Netzteil.
Vom Sound her bin ich recht zufrieden. Die Preamps empfinde ich als präzise. Natürlich ist ein 3-Band-EQ keine
Allzweckwaffe, aber um z.B. bei einem SM58 den Mumpf etwas rauszunehmen und die fehlende Brillanz des Mics etwas zu
kompensieren ist die Ausstattung des ZED10 genau passend. Wie von A&H gewohnt, packen die EQs gut zu. Das
Effektgerät spielt nicht in der Oberliga, ist aber für live vom Sound her gut zu gebrauchen. Für jeden Effekt kann man einen
Parameter einstellen, zusätzlich kann das Delay-Tempo getapt werden - zeitgemäß. Für die Selbstbeschaller-Musiker ist der
essenzielle Fußschalteranschluss an Bord, mit dem man den Hall während den Ansagen ausschalten kann.
Zwischenfazit: Auf dem Live-Stuhl für ganz kleine Besetzungen, z.B. Singer/Sognwriter mit Gitarre, Gesang oder auch mal
Stage Piano bis hin zu Cajon bietet das A&H ZED-10FX alle nötigen Funktionen mit gutem Sound im kompakten Format.
Kaufempfehlung dafür!
Doch nun zum anderen Stuhl, auf den sich das Pult setzen möchte: Recording. Der Record-Out und Monitor-Out ist als
Cinch ausgeführt, die USB-Schnittstelle kann nur 16bit. Dafür läuft sie auch unter Linux problemlos. Die Funktionen des
Pultes, nämlich ein spezieller Record-Bus und ein Playback-Kanal, sind für Overdub mit bis zu 2 Tracks recht durchdacht
gestaltet. Das USB-Interface sollte jedoch 24bit haben und die Outputs sollten symmetrische Klinken sein, damit man ein
hochqualitatives Audio-Interface oder einen mobilen Recorder sowie seine Studioboxen störungsfrei anschließen kann. In
diesem Punkt ist A&H inkonsequent. Allerdings gibt es auch Situationen, in denen dieses Pult komplett ausreichen würde,
zum Beispiel bei der Produktion eines Radiobeitrags. Da ist der hallige Raum vs Sprecherkabine sowieso mehr das Problem
als ein 16bit Wandler.
Störend ist, dass auf den Stereo-Inputs keine Mono-Option zur Verfügung steht, hier muss man sich ein Y-Kabel bauen.
Schön wäre ein Schalter pro Kanal nicht nur für Record und PFL, sondern auch für den Main Mix. Der könnte sowohl als
Mute-Schalter für live dienen als auch es erlauben, auf den Record Bus noch etwas dazuzumischen, das nicht über die PA
geht, aber beim Mitschnitt aufgenommen werden soll. Ein simpler Mute-Schalter fehlt mir allemal.
Nochmal ein Fazit: Für Recording ist das ZED-10FX nicht ungeeignet, aber nicht optimal. Für live bei Kleinstbesetzung ist es
ein gutes und praktisches Werkzeug für all die, die den Sound und die schwierige Zuverlässigkeit der Billigheimer endgültig
satt haben. Bei den Features gäbe es noch Steigerungsmöglichkeiten.
England gegen USA: Vergleich ZED-10FX mit Mackie 1202 VLZ3
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Mit dem ZED-10FX hat A&H endlich einen preiswerten Kleinmixer für Homestudio und Mini-Gigs im Angebot. Von dem fast
gleich großen Mackie 1204 VLZ3, der seit bald 10 Jahren auf dem Markt ist, unterscheidet sich der ZED-10FX im
wesentlichen durch das eingebaute Effektgerät und einen eingebauten USB-Audio-Codec (Stereo-I/O, 16 bit, bis zu 48
kHz). Es gibt ferner einen zusätzlichen Recording-Bus, der dem Codec zugeordnet ist. Das ist aber kein vollwertiger Bus, er
hat keine eigenen Mix-Regler, nur Schalter. Was aber Applefreaks freuen wird: Der USB-Anschluss ist Core-Audio
kompatibel und funzt problemlos mit Mac und iPad (über camera kit). Allerdings kommt es immer mal wieder vor, dass
einzelne Knackser auftreten. Für wichtige Aufnahmen daher nur bedingt zu empfehlen.
Der Mackie hat solchen Schnickschnack nicht, nur 4 Monokanäle mit Insekts, aber ohne HiZ für Instrumente. Der ZED hat
keine Inserts, aber dafür 2 HiZ Eingänge mit simplen FET-Preamps, die etwas wärmer klingen als die üblichen Opamps. Der
Klirrfaktor ist bei höherer Aussteuerung schon ganz gut hörbar. Das gefällt dem E-Gitarristen, kann aber für akustische
Gitarren schon fast zu viel des Guten sein. Die Mikrofon-Vorverstärker sind bei beiden Mixern fast gleich gut und rauscharm,
wobei die Mackies vielleicht etwas transparenter klingen. Dafür hat der Mackie keine durchstimmbaren Mittenregler.
Während der Macke 4 gleiche Stereokanäle hat, gibt es beim ZED nur deren zwei, wovon einer standardmäßig dem USBCodec zugeordnet ist. Der dritte nennt sich Playback-In und hängt normalerweise ebenfalls am Ausgang des USB-AudioCodecs, was etwas verwirrend ist. Kanalweise Overload-Anzeigen gibt es bei beiden Mixern nicht, man muss über die PFL /
Listen-Schalter einpegeln.
Das Effektgerät des ZED ist simpel gestrickt aber gut durchdacht und klingt ziemlich passabel. Im Wesentlichen gibt es einen
Plattenhall in mehreren Varianten mit jeweils einem einstellbaren Parameter, ein Delay in verschiedenen Varianten und noch
ein paar andere Effekte wie Doppler, Flanger und Chorus. Diese sind aber nicht sehr variabel. Die Bedienung ist einfach. Auf
der Bühne sind die Effekte recht brauchbar, im Studio wird man bei höheren Ansprüchen ein externes Hallgerät bevorzugen,
falls man hat. Dieses ist parallel zum eingebauten Effektgerät abschließbar.
Der ZED-10FX hat leider nur 4 symmetrische Anschlüsse (Mic-Kanäle 1 - 4). Alle anderen Ein- und Ausgänge sind
unsymmetrisch, auch die beiden XLR-Outputs! Die Klinkenbuchsen sind zwar dreipolig, aber der Ring-Anschluss liegt jeweils
über einen Widerstand an Masse. Impedanz-Symmetrierung nennt man das. Also für lange Kabelstrecken ist das nicht
gedacht. Die Monitor-Ausgänge sind sogar nur Cynch. Im Gegensatz dazu hat der Mackie 8 vollsymmetrische Eingänge und
2 symm. XLR-Ausgänge. Der Rest ist unsymmetrisch. Man kann ihn also auch auf größeren Bühnen einsetzen.
Klanglich liegen keine Welten zwischen den Mixern. Insgesamt macht der Mackie aus USA einen etwas übersichtlicheren und
professionelleren Eindruck, die Mikrofonverstärker sind um 2,5 dB rauschärmer und verstärken etwas mehr. Für Besitzer
von Bändchen-Mikros kann das wichtig sein. Auch Keyborder werden den Mackie bevorzugen wegen seiner vier regelbaren
Stereo-Eingänge.
Aber dafür gefallen beim ZED die verschraubten Potis, die HiZ-Eingänge, die parametrischen Mitten, das Effektgerät und der
USB-Anschluss. Da aber die beiden letzteren keinen besonders hohen Ansprüchen genügen, sollte man das eher als
Dreingabe betrachten.
Im Übrigen entscheidet letztlich auch der günstigere Preis des Engländers.
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Die Aufteilung der Bedienelemente ist sehr übersichtlich und nach kurzer Orientierung wo was ist kann man es bereits gut
bedienen.Das ZED-10FX wird zusammen mit 2 Yamaha DBR10 benutzt.
Überraschend gut und wirkungsvoll sind die Klangeinstellungen. Wir benutzen es nur für Gesang und haben außer Shure
auch mal ein Sennheiser dran, vor allem die Mitten lassen sich sehr gut einstellen. Die HiZ Eingänge für Gitarre haben wir
ausprobiert und fanden sie ganz brauchbar, benutzen aber einen Gitarrenverstärker.
Unsere Skepsis gegenüber den Effecten hat sich gegeben.
Die Hall Versionen sind fast alle gut, wir benutzen aber doch meist nur eine. Mit den anderen wird schon mal experimentiert
aber wir kommen doch meist auf unsere zurück. Was optimal ist, dass wir Aufnahmen mit einem Zoom H4n gleich
wiedergeben können und der Klang exakt
wie im Orginal ist. Mit dem Kopfhörer reinhören in die einzelnen Stimmen ist auch noch ein wertvolles Feature. Ebenso wie
das Einspielen von Geräuschen, oder in den Pausen Musik. Wir sind mit dem Gerät rundum zufrieden und ich bin glücklich
über die gute Kaufberatung des Thomann Mitarbeiters ein gutes, preiswertes Gerät.
Einfach top!
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Hier meine neueste Bewertung nach einiger Live Erfahrung damit: Um es kurz zu machen: Wer einen Kleinmixer sucht und
wem die Ausstattungsmerkmale genügen, der kaufe DIESEN!
+ Kompakt, wenn auch ein wenig wuchtiger als manche vergleichbaren
+ Kaum Rauschen der Eingänge und der Effekte
+ Wirklich guter Sound
+ Parametrische Equalizer in den Mono Kanälen (!)
+ Integriertes Netzteil
+ Gerät erhitzt sich nicht so stark wie z.B. B*hriner & Co.
+ Tolle Effekte
+ Ergonomische Bedienung
+ Ansprechendes Design, leicht
+ USB Soundkarte erstaunlich gut
o Keine Peak LED's für die Kanäle. Kann aber per Kopfhörertaste am Levelmeter für den Kanal eingepegelt werden. Die
Kanäle erscheinen mir zudem recht übersteuerungsfest.
o Monitorweg nur Cinch
o Keine Gruppen, nur ein Aux Weg (+ Effektweg)
- Riecht am Anfang etwas streng
Die Gain Regler waren anfangs für mich ungewohnt. Diese scheinen erst kaum was zu bewirken, bis sie dann plötzlich im
letzen Bereich das Eingangssignal deutlich zu beinflussen scheinen. So bedarf es einer sehr feinen Einstellung im letzten
Viertel des Regelbereiches.
Meine erste Veranstaltung damit war ein voller Erfolg. Ein Kanal übersteuerte nur einmal, als jemand wirklich ins Mikrofon
reinplärrte. Da muss man dann notfalls zum Gainregler greifen, kommt aber nur vor, wenn man mehrere Sprecher/Sänger
hat und sie vorher nicht einpegeln konnte.
Auch die Effekte habe ich mittlerweile lieben gelernt. Am liebsten benutze ich den PingPong Effekt. Per Tap Beat die
Geschwindigkeit eingetappt und dann vorsichtig beimischen. So erhält man ein sehr professionell klingendes Echo. Bei
manchen Songs tappe ich die doppelte Geschwindigkeit, um andere Effekte zu erzielen. Wenn ich nichts weiter machen
möchte, nehme ich einen der Hall Effekte.
Habe das Pult gerade gegen das ZED-12 FX und gegen ein neu bestelltes Mackie PROFX8 getestet. Fazit: Das Mackie wird
zurück gehen und ein 2. ZED 10-FX soeben bestellt, für meinen Schreibtisch. Das bisher benutzte ZED 12-FX wird verstaut,
da das 10FX sogar noch einen Tick besser klingt! Hoffen wir mal, dass sich die Bauweise seit 2010 nicht geändert hat ;-)
Abschließend möchte ich noch erwähnen, dass die Tasche 'TC-Helicon GIG BAG' ganz genau passend ist für den Mixer ;-)
Die eine Bewertung hier mit nur einem Stern ist für mich absolut nicht nachvollziehbar. Über diesen Mixer klingt es nicht viel
anders als über einen Yamaha 01V96 Digitalmixer.
Ganz schön groß das kleine Pult.
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Soundcraft Spirit Live 42 Manual
Instruction: After click Download and complete offer, you will get access to list of direct links to websites where you can
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About
Soundcraft GB2 24 Sound Mixing Console RW5748SM
Soundcraft GB2 24 Sound Mixing ConsoleThe GB2 is the latest addition to the
Soundcraft GB Series, featuring 4 group busses configured as 2 stereo subgroups and
an integral 6 x 2 matrix. Intended for installed-sound and Audio-Visual applications that
do not require the functionality provided by the GB4 or GB8, the GB2 is available in
frame sizes of 16, 24 and 32 mono inputs, each with 2 stereo inputs as standard. Each
input features the high-performance GB30 Mic Pre and GB30 Equaliser designs of. Read
more
Details
Brand. SPIRIT BY SOUNDCRAFT
Part Numbers. GB2 Live, RW5748SM
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view s or opinions of us.
Documents
Tip Ring Sleeve
Inserts
Signal Send Signal Return Gnd/Screen Tip Ring Sleeve
INSERT POINT
The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing limiters, compressors, special EQ or other
signal processing units to be added in the signal path. The Insert is a 3-pole A gauge jack socket which is normally
bypassed. When a jack is inserted, the signal path is broken, just before the EQ section. The signal from the channel
appears on the TIP of the plug and is returned on the RING, with the sleeve as a common ground.
Page 14
STEREO INPUTs, CASS/CD INPUTS
Accept 3-pole `A gauge jacks, or 2-pole mono jacks which will automatically ground the cold input. Use these inputs for
sources such as keyboards, drum machines, synths, tape machines or as returns from processing units. The input is
BALANCED for low noise and immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as
shown, although you should then keep cable lengths as short as possible to minimise interference pick-up on the cable.
Note that the ring must be grounded if the source is unbalanced. Mono sources can be fed to both paths by plugging into
the Left jack only.
Mix Outputs Group Outputs Matrix Outputs
1. Screen 3. Signal 2. Signal +
STEREO RETURNS
Similar to the Stereo Inputs. Input gain is sufficient to allow the connection of +4dBu professional or -10dBV semiprofessional equipment.
Mix INSERTS, GROUP INSERTS
Mix & Group Inserts
Signal Send Signal Return Gnd/Screen
The unbalanced, pre-fade Mix insert point is a break in the output signal path to allow the connection of, for example, a
compressor/limiter or graphic equaliser. The Insert is a 3-pole A gauge jack socket which is normally bypassed. When a
jack is inserted, the signal path is broken, just before the mix fader. The mix signal appears on the TIP of the plug and is
returned on the RING. A Y lead may be required to connect to equipment with separate send and return jacks as shown
below:
Signal Send Insert Point
Send to External Device
Aux Outputs Rec Outputs Direct Outputs Signal + Signal Screen
Screen
Signal Return
Return from External Device
MIX, GROUP & MATRIX
The Mix, Group and Matrix outputs are on 3-pole XLR sockets, wired as shown on the left and below, and incorporate
impedance balancing, allowing long cable runs to balanced amplifiers and other equipment.
Headphones Left Signal Right Signal Ground
From LIVE 42 Impedance Balanced Output Signal
(a) Balanced Connection
To External Device
Signal Ground
From LIVE 42 Impedance Balanced Output
(b) Unbalanced Connection
Signal Ground Experience has shown that sometimes it is better not to connect screen at external device end.
Page 15
AUX OUTPUTS, Direct OUTPUTS
The Aux and Channel Direct outputs are on 3-pole A gauge jack sockets, wired as shown on the left, and incorporate
impedance balancing, allowing long cable runs to balanced amplifiers and other equipment.
HEADPHONES
The PHONES output is a 3-pole A gauge jack, wired as a stereo output as shown, suitable for headphones of 200W or
greater. 8W headphones are not recommended.
Polarity
You will probably be familiar with the concept of polarity in electrical signals and this is of particular importance to balanced
audio signals. Just as a balanced signal is highly effective at cancelling out unwanted interference, so two microphones
picking up the same signal can cancel out, or cause serious degradation of the signal if one of the cables has the +ve and ve wires reversed. This phase reversal can be a real problem when microphones are close together and you should
therefore take care always to connect pins correctly when wiring audio cables. The mono inputs are provided with a Phase
(f) switch to reverse the polarity of a selected input if a phasing problem is suspected.
Grounding and Shielding
For optimum performance it is vital that all signals are referenced to a solid, noisefree earthing point and that all signal
cables have their screens connected to ground. To avoid earth `loops, use balanced connections where possible and
ensure that all cable screens and other signal earths are connected to ground only at their source and not at both ends. If
the use of unbalanced connections is unavoidable, you can mimimise noise by following these wiring guidelines:
l On INPUTS, unbalance at the source and use a twin, screened cable as though it
were balanced.
l On OUTPUTS, connect the signal to the +ve output pin, and the ground of the output device to -ve. If a twin screened cable is used, connect the screen only at the mixer end.
l Avoid running audio cables or placing audio equipment, close to thyristor dimmer
units or power cables.
l Noise immunity is improved significantly by the use of low impedance sources, such
as good quality professional microphones or the outputs from most modern audio equipment. Avoid cheaper high
impedance microphones, which may suffer from interference over long cable runs, even with well-made cables.
The +48V switch applies phantom powering to the MIC input socket for condenser microphones. Transformer-coupled
dynamic microphones may be used without causing damage, even when the +48V power is connected, but care must be
taken when using unbalanced sources, because of the voltage present on pins 2 and 3 of the XLR connector. NOTE:
Phantom powered mics should not be plugged in with the +48V switched on. Also you should be aware that some
microphones draw an unusually large current which may overload the power supply, resulting in distortion. Consult your
microphone supplier for guidance if necessary.
PHASE SWITCH
The Phase switch reverses the polarity of the input signal to compensate for phase differences due to microphone
placement or incorrect wiring of input cables. This switch should be released for normal operation.
INPUT SENSITIVITY
This knob sets how much of the source signal is sent to the rest of the mixer. Too high and the signal will distort as it
overloads the channel (shown by illumination of the PEAK LED), and causes clipping. Too low, and the level of any
background hiss will be more noticeable and you may not be able to get enough signal level to the output of the mixer. Set
the knob fully anticlockwise as a preliminary position for LINE level sources.
Page 18
HI-PASS FILTER P
Pressing this switch inserts a 18dB per octave 100Hz Hi-Pass Filter in the signal path, immediately after the input amplifier.
This is particularly useful in live PA situations to reduce stage rumble or popping, and its use is strongly recommended, even
on male vocals. It can also be used for filtering out low frequency hum.
EQUALISER
The Equaliser(EQ) comprises four sections. The upper control provides H.F.(treble) boost and cut of +/-15dB and the
lower control provides L.F. (bass) boost and cut of +/-15dB. The centre two pairs of knobs are arranged as HI and LO MID
frequency sections, with a cut/boost control (lower knob) of +/- 15dB, and a SWEEP(frequency) control which determines
at which frequency the boost/cut action will be centered. These MID sections, with a combined frequency range from 80Hz
to 13kHz are particularly versatile for vocals, enabling particular characteristics of the singer to be lifted or suppressed very
precisely. Set the cut/boost control of each section to the centre-detented position when not required.
EQ SWITCH
The EQ switch bypasses the Equalisation section when released. Alternately pressing and releasing the switch provides an
easy way of comparing the equalised and unequalised signals.
AUXILIARY SENDS
These controls route the input channel signal to any one or more Auxiliary buses. These are separate from the main
outputs and can therefore provide additional outputs for foldback, echo units or extra loudspeaker `fills. AUX 1, 2 & 3 are
derived before the channel fader (PRE-FADE), and are therefore unaffected by the fader position. This makes them
particularly suitable for foldback or monitor feeds, which need to be controlled separately from the main P.A. mix. Aux 3
may be selected internally to be post-fade if required. AUX 5 and 6 are derived after channel fader (POST-FADE), and
therefore follow any changes in fader level. They are normally used to drive effects processing units which are fed back into
the mixer and which must fade out with the input channel. AUX 4 is normally POST-FADE, but may be altered globally to be
PRE-FADE by pressing the AUX 4 PRE switch on the Master section. All pre-fade sends are normally POST-EQ, but may be
selected to PRE-EQ by changing internal jumpers. Note that the sends are not affected by the position of the EQ switch All
of the Aux Sends are muted when the MUTE switch is pressed.
The PAN control determines the position of the signal within the stereo mix image or may be used to route the channel
signal to particular output GROUPS as selected by the ROUTING SWITCHES (see below). Rotation fully anticlockwise feeds
the signal solely to the Left mix buss or Groups 1 and 3, while rotation clockwise sweeps the image to the Right buss or
Groups 2 and 4.
ROUTING SWITCHES
The input channel signal may be routed to the main Stereo MIX (L-R) or pairs of GROUP busses (1-2, 3-4), by pressing the
respective switches. These may be used in conjunction with the PAN control (8 above) to route the channel signal
proportionately to any of the selected busses.
Page 19
This 100mm long-throw fader determines the proportion of the channel in the mix and provides a clear visual indication of
channel level. Normal operating position is at the `0 mark, providing 10dB of gain above that point if required.
MUTING
All post-fade outputs from the channel may be muted by pressing the MUTE switch, and the associated LED illuminates to
show that the channel is OFF.
Alternatively the channel may be selected to any one or more MUTE BUSES to provide grouped muting under the control of
the MUTE masters on the far right-hand side of the console. In either case the mute status is shown by the LED.
PFL/PEAK
When the PFL switch is pressed, the Pre-Fade signal is fed to the headphones and L & R meters, where it replaces the
normal Mix L/R signal. The PFL/AFL ON LED on the master section illuminates to warn that the headphones and the meters
are now responding to the PFL/AFL selection and the PFL LED on the input channel lights to identify the active channel. This
is a useful way of listening to any required input signal without interrupting the main mix, for making adjustments or tracing
problems. When the PFL switch is released the LED on the channel serves as a PEAK indicator, to warn when an excessively
high signal level is present in the channel. The signal is sampled at three points in the channel, immediately after the Hi-Pass
Filter (Pre Insert), post Mid EQ and pre HF EQ, and POST EQ. The Peak LED will illuminate approximately 4dB before clipping
and therefore give warning of a possible overload even if the peaks are removed by external equipment plugged into the
Insert.
Page 21
These controls route a mono sum of the input channel signal to any one or more Auxiliary buses. These are separate from
the main outputs and can therefore provide additional outputs for foldback, echo units or extra loudspeaker `fills. AUX 1, 2
& 3 are derived after the EQ section and before the channel fader (PRE FADE, POST EQ), and are therefore unaffected by
the fader position and mute status. This makes them particularly suitable for foldback or monitor feeds, which need to be
controlled separately from the main P.A. mix. Aux 3 may be selected internally to be post-fade. AUX 4, 5 and 6 are derived
after the EQ and channel fader (POST FADE, POST EQ), and therefore follow any changes in fader level. They are normally
used to drive effects processing units which are fed back into the mixer and which must fade out with the input channel.
AUX 4 may be altered globally to be PRE FADE by pressing the AUX 4 PRE switch on the Master section.
All of the post-fade Aux Sends are muted when the MUTE switch is pressed.
BALANCE
The BALANCE control sets the amount of the channel signal feeding the Left and Right Mix outputs, allowing you to balance
the source in the stereo image. When the control is turned fully left or right you feed only that side of the signal to the mix.
The input channel signal may be routed in stereo to the main Stereo MIX (L-R) or pairs of GROUP busses (1-2, 3-4), by
pressing the respective switches. The Left side of the channel feeds Groups 1 & 3, and the Right side feeds Groups 2 & 4,
subject to the position of the BALANCE control (21).
This long-throw fader determines the proportion of the channel in the mix and provides a clear visual indication of channel
level. Normal operating position is at the `0 mark, providing 10dB of gain above that point if required.
All post-fade outputs from the channel may be muted by pressing the MUTE switch, and the associated LED illuminates to
show that the channel is OFF. Alternatively the channel may be selected to any one or more MUTE BUSES to provide
grouped muting under the control of the MUTE masters on the far right-hand side of the console. In either case the mute
status is shown by the LED.
Four STEREO RETURNS are provided which feed either to the stereo Mix or the local pair of Groups, as selected by the 12(3-4)/Mix switches. These are an ideal way of mixing in the output of a reverb or effects unit, additional keyboards or the
output of other consoles used as sub-mixers. The knobs should turned fully anticlockwise when not required.
Page 23
31 BARGRAPH METERS
Six 12-segment, three colour bargraph meters provide visual monitoring of the levels of the Mix Left and Right, and Group
outputs. All the meters are peak reading. Normally the Left and Right meters show the level of the Mix Left and Right
outputs. If any PFL or AFL switch is activated the meters are switched to display the level of the selected PFL or AFL signal.
MIX FADERS
The MIX FADERS set the final level of the Mix outputs. The faders should normally be set close to the 0 mark if the input
channel levels have been set correctly. Pre-fade INSERTS are provided for connection of external processing equipment
(e.g. Graphic EQ) if required.
MATRIX SENDS
The console is provided with two independent Matrix outputs A & B, which may receive feeds from each Group or Mix Left
and Right to create additional mixes for extra speaker outputs (e.g. side fills or delays) without affecting the main mix.
These knobs control the level of the Mix signal sent to Matrix A & B buses. They should be turned fully anticlockwise when
not required. Normally the Matrix Sends are derived from a mono sum of Mix L & R. Pressing the STEREO switch routes Mix
L to Matrix A and Mix R to Matrix B to allow the Matrix outputs to be used as a separate stereo output from the console.
MATRIX MASTERS
Each Matrix section has a MASTER control which sets the final output level. When the AFL switch is pressed, the post-fade
signal is fed to the headphones and L & R meters, where it replaces the normal Mix L/R signal. The PFL/AFL ON LED on the
master section illuminates to warn that the headphones and the meters are now responding to the PFL/AFL selection and
the PFL LED on the input channel lights to identify the active Matrix output. This is a useful way of listening to any required
output signal without interrupting the main mix, for making adjustments or tracing problems.
TALKBACK
An XLR connector is provided to accept the input from a local talkback mic or gooseneck mic. Gain is set by the TB LEVEL
control and the signal may be routed to a choice of AUX 1-2, AUX 3-4, MIX or GROUP buses using the four adjacent
switches.
POWER ON LEDS
Two LEDs monitor the status of the console power supply and will be illuminated when power is connected. Check that
both LEDs are lit after turning on the console power supply.
Page 24
AUXILIARY MASTERS
Each of the Auxiliary Send busses is provided with a rotary MASTER LEVEL fader and an AFL switch with indicating LED
which monitors the final output after the fader. AUX 4 normally receives post-fade sends from the input channels, but may
be switched to pre-fade by pressing the AUX 4 PRE switch.
PFL/AFL ON
This LED illuminates to show that a PFL or AFL is active on the headphones, and to show that the Left & Right meters will
be displaying the PFL/AFL signal.
PHONES
This control sets the level of the PHONES output jack.
MONO CHECK
Normally the Phones output monitors the Stereo Mix. Pressing the MONO CHECK switch sums the L & R outputs to check
for phasing problems. The main outputs are not affected by the position of the switch.
MUTE MASTERS
Four MUTE MASTER switches provide muting control of any channels which have been assigned to a mute group using the
M1-M4 switches on the input channels. The associated LED illuminates when the MUTE is active.
PHONES JACK
The PHONES output appears on a 3-pole 1/4 jack, suitable for headphones with an impedance of 200W or higher.
Page 25
USING YOUR SPIRIT LIVE CONSOLE
he final sound from your P.A. system can only ever be as good as the weakest link in the chain, and especially important is
the quality of the source signal because this is the starting point of the chain. Just as you need to become familiar with the
control functions of your mixer, so you must recognise the importance of correct choice of inputs, microphone placement
and input channel settings. However, no amount of careful setting up can take account of the spontaneity and
unpredictability of live performance and the mixer must be set up to provide `spare control range to compensate for
changing microphone position and the absorption effect of a large audience (different acoustic characteristics from sound
check to show).
Microphone Placement
Careful microphone placement and the choice of a suitable type of microphone for the job is one of the essentials of
successful sound reinforcement. The aim should be to place the microphone as close as physically possible to the source,
to cut out unwanted surrounding sounds, allow a lower gain setting on the mixer and avoid feedback. Also a well-chosen
and well-placed microphone should not need any appreciable equalisation. There are no exact rules - let your ears be the
judge. In the end, the position that gives the desired effect is the correct position!
Initial Set Up
Once you have connected up your system (see the sections on connection and wiring earlier in this manual for guidance)
you are ready to set initial positions for the controls on your mixer.
The front panel drawing on page 39 shows typical initial control positions which may be found a useful guide to setting up
the mixer for the first time.
The diagram on page 6 demonstrated how the matching of input gain to the signal source was crucial to avoid distortion at
one extreme and excessive noise at the other. Set up individual input channel as follows: l Connect your sources
(microphone, keyboard etc.) to the required inputs. Note: Phantom powered mics should be connected before the +48V is
switched on. Route the channel to Mix. l Set Master faders at 0, input faders at 0, and set power amplifier levels to about
70%. l Provide a typical performance level signal and press the PFL button on the first channel, monitoring the level on the
bargraph meters. l Adjust the input gain until the meter display is in the amber section, with occasional peaks to the first
red LED at a typical maximum source level. This allows sufficient headroom to accommodate peaks and establishes the
maximum level for normal operation (but see note below). l Repeat this procedure on other channels as required. As more
channels are added to the mix, the meters may move into the red section. Adjust the overall level using the Master Faders
if necessary.
Page 26
l Listen carefully for the characteristic sound of `feedback. If you cannot achieve satisfactory input level setting without
feedback, check microphone and speaker placement and repeat the exercise. Note: The initial settings should only be
regarded as a starting point for your mix. It is important to remember that many factors affect the sound during a live
performance, for instance the size of the audience! You are now ready to start building the mix and this should be done
progressively, listening carefully for each component in the mix and watching the meters for any hint of overload. If this
occurs, back off the appropriate Channel Fader slightly until the level is out of the red segments, or adjust the Master
Fader.
The level of any source signal in the final output is affected by many factors, principally the Input Sensitivity control,
Channel Fader, Group and Output Faders. You should try to use only as much microphone gain as required to achieve a
good balance between signals, with the faders set as described above. If the input gain is set too high, the channel fader
will need to be pulled down too far in compensation to leave enough travel for successful mixing and there is a greater risk
of feedback because small fader movements will have a very significant effect on output level. If the gain is set too low,
you will not find enough gain on the faders to bring the signal up to an adequate level.
Page 27
Application 1 - LIVE SOUND REINFORCEMENT
This drawing shows a typical configuration for sound reinforcement, with the main PA fed from Mix L/R and a secondary
system fed from the Matrix outputs. The illustration shows the flexibility of the inputs to the mixer and how the direct
outputs are available as sources for a multitrack tape machine. The Aux Sends are used for reverb (Aux 1 & 2 which are
pre-fade) and for artists foldback (Aux 4-6).
Page 28
APPLICATION 2 - LIVE SOUND WITH CENTRE CLUSTER
This configuration is similar to application 1, but with the addition of a voice cluster and mono fill, both fed from the Matrix
outputs. The source for the Matrix could be the main Mix, or a combination of Mix and Groups. The first three Aux sends
are used as mono feeds to Effects Units, brought back to the Mix on the Stereo Returns.
Page 29
APPLICATION 3 - ADDITIONAL STEREO INPUTS
This illustration shows how the number of Stereo Inputs to the Mix may be expanded by using the Stereo Returns for
sources such as keyboards and drum machines, when the normal Stereo input channels are already used. Additional stage
foldback is provided by the Matrix outputs in this example.
Page 30
APPLICATION 4 - THEATRE SOUND
In this application the main requirement is to drive a large number of separate loudspeaker outputs for spot sound effects.
The Groups, Mix, Aux Sends and Matrix outputs are all used for this purpose. Each could be provided with Graphic EQ or
Delay units as required.
Page 31
Application 5 - Using the Mute Buses
This illustration demonstrates how the Mute buses may be used to control groups of inputs, allowing those sources to be
set up in advance, including fader positions, and muted until required. Releasing the respective Master Mute button
activates the whole group. Pressing the button mutes the selected channels.
Page 32
APPLICATION 6 - LINKING TWO LIVE MIXERS
This illustration shows how to link the outputs of one mixer into a second mixer, to control a larger number of input
channels, or to accommodate a separate mixer being used as a submixer. Note that the PFL/AFL monitoring and Mute
buses remain separate.
Slave Mixer
Groups 1-4 out Mix L/R out Master MIxer
NOTE: PFL/AFL and Group Muting are SEPARATE for each mixer
Page 33
CARE OF YOUR MIXER
General Precautions
l Avoid storing or using the mixer in conditions of excessive heat or cold, or in positions where it is likely to be subject to
vibration, dust or moisture. l Keep the mixer clean using a soft dry brush, and an occasional wipe with a damp cloth or
ethyl alcohol. Do not use any other solvents which may cause damage to paint or plastic parts. l Avoid placing drinks or
smoking materials on or near the mixer. Sticky drinks and cigarette ash are frequent causes of damage to faders and
switches. Regular care and inspection will be rewarded by a long life and maximum reliability.
Glossary
A-Guage jack jack, either 3-pole (TRS- Tip, Ring & Sleeve) or 2-pole (Tip & Sleeve). AFL (After Fade Listen a function that
allows the operator to monitor the post-fade signal in a channel independently of the main mix. auxiliary send an output
from the console comprising a mix of signals from channels and groups derived independently of the main stereo/group
mixes. Typically the feeds to the mix are implemented on rotary level controls. the relative levels of the left and right
channels of a stereo signal. a method of audio connection which balances the signal between two wires and a screen which
carries no signal. Any interference is picked up equally by the two wires, but out of phase resulting in cancellation of the
interference signal. the onset of severe distortion in the signal path, usually caused by the peak signal voltage being limited
by the circuits power supply voltage. Digital Audio Tape, a cassette-based digital recording format. a ratio of two voltages
or signal levels, expressed by the equation dB=20Log10 (V1/V2). Adding the suffix u denotes the ratio is relative to
0.775V RMS. the practice of connecting an electric musical instrument directly to the input of the mixing console, rather
than to an amplifier and loudspeaker which is covered by a microphone feeding the console. a post fade line level output
from the input channel, bypassing the summing amplifiers, typically for sending to individual tape tracks during recording. a
device that allows the boosting or cutting of selected bands of frequencies in the signal path. a linear control providing level
adjustment the `howling sound caused by bringing a microphone too close to a loudspeaker driven from its amplified
signal. a feed sent back to the artistes via loudspeakers or headphones to enable them to monitor the sounds they are
producing. the variation in gain of a device with frequency. the variation in level of the signal an output into which a group
of signals can be mixed.
mute groups pan (pot) peaking PFL (pre-fade listen) phase
polarity
post-fade pre-fade rolloff shelving spill stereo return talkback transient unbalanced
Page 35
TYPICAL SPECIFICATIONS
NOISE Measured RMS, 22Hz to 22kHz Bandwidth Line inputs selected at unity gain and terminated 150R MIX AUX DIRECT
OUTPUT MATRIX OUTPUT E.I.N. CROSSTALK 26 Inputs routed to Mix, faders at unity, muted Mix Faders down 26 Inputs
routed, output at max. input faders down Input to Direct Output @ unity gain Input to Direct Output @ 40dB gain Matrix
Output at max. sends down Microphone Input, Maximum Gain, terminated 150R @ 1kHz Typical Channel Fader
Attenuation Typical Aux Attenuation Typical Pan Isolation Adjacent Channel Crosstalk FREQUENCY RESPONSE 20Hz to
20kHz T.H.D. C.M.R.R. -10dBu Input routed to Mix, +20dBu out @ 1kHz Typical at max. gain @ 1 kHz Typical at any gain
@ 50 Hz Microphone Input Line Input Stereo Input Cass/CD Input Stereo Return INPUT & OUTPUT LEVELS Mic/.Line Input
Maximum Level Stereo Input Cass/CD Input Stereo Return Nominal Input for +4dBu at Mix Output, level at 7 Max. Mic Gain
through longest path to Mix +28 dBu +25 dBu +18 dBu +22 dBu -10 dBV (LO) -20 dBV (HI) 84 dB -1dB < 0.006% -85
dB -65 dB 1.8 kW 10 kW 8.6 kW 12.8 kW 19 kW > 80 dB > 80 dB > 70 dB > 85 dB -82 dBu -97 dBu -84 dBu -87 dBu 77 dBu -95 dBu -129 dBu
INPUT & OUTPUT IMPEDANCES
Page 36
DIMENSIONS
87.5 mm (3.44") dim. x
dim. y Width without end trim (for flight case mounting)
Console 12 channel 16 channel 24 channel 32 channel dim x 685 mm (26.97") 845 mm (33.27") 1101 mm (43.35")
1362 mm (53.62") dim y 601 mm (23.66") 761 mm (29.96") 1017 mm (40.04") 1278 mm (50.31")
590.5 mm (23.25")
FLIGHT CASE MOUNTING
The console is ideal for flight case mounting, with all connectors on the top panel. The end cheeks may be removed to
save space in the flight case if required. The example below shows a 12-channel console, flight case mounted together with
the power supply and space for headphones or other accessories.
Page 37
SYSTEM BLOCK DIAGRAM
Page 38
Page 39
You may photocopy this page as required.
Page 40
Typical Connecting Leads
Page 43
ShowmaxRentalCostList:
SOUNDEQUIPMENT Amplifiers CrownCE4000 $50 CrownXTI4000 $50 QSCPL1.8$40 QSCPLX1604 $30 QSCPLX3402 $40
DJMixers BehringerDJX700 $30 PioneerDJM600 $50 PioneerDJM800 $75 PioneerEFX1000 $75 RANEXP2016/MP2016
$150 RANESerato $50 RANETTM57 $75 Vestax05Pro $50 Vestax07Pro $50 NumarkiDJ $25 CDPlayers
Denon4000DualPlayer $50 Denon4000+DNX500 $75 PioneerCDJ200 $35 PioneerCDJ800 $50 PioneerCDJ1000MKII $50
PioneerCDJ1000MKIII $75
Turtables&Cartridges ShureM447Cartridge $10 Technics1200MK5 $40 PoweredSpeakers&Subs BehringerB212AM/H $30
DBTechM124Monitor $40 JBLEon15P1M/H $40 YorkvilleEF500PM/H $50 YorkvilleLS800Sub $50 YorkvilleLS700Sub $40
YorkvilleLS200Sub $30 Speakers YorkvilleTX5MMonitor $50 XMaxBox2122M/H $50 XMaxBox218Sub $50
Microphones/DIBoxes AKGC1000 $20 BehringerXM1800S $10 CableFactoryDIBox $10 ShureBeta52,56,57,58,98 $20
ShureMX400SPodiummic $20 ShureSM57/SM58/SM91 $20 ShurePGX58UHF $60 ShureSLXUHF $75 ShureWL185Lavalier
$20
ShureWCM16Headset $20 CountrymanHeadset $25 LiveMixingConsoles Allen&HeathGL3300 $200 BehringerMX3282A
$100 BehringerUB1832FX $35 Behringer1202 $20 Behringer2442 $50 BehringerXENYX1204 $25 MidasVerona480/8
$500 SoundcraftSpiritLive4/2 $150 MiscellaneousAudio AKGK66Headphone $10 Beltpack(PI) $20
ClearcomSystem(5headset,5bodypacks)$250 EasyTiltmixerstand $50 Headset(ProdIntercom) $20 MainStation(PI) $100
WhirlwindPressFeed $100 Stands SpeakerStand(pair) $20 MicStand(straightorboomstyle)$5
Snakes CablefactorySnake (48ch,300,50Mon) $300 Return(4ch,100) $25 Return(16ch,300) $50 Snake(12x4ch,50) $25
Snake(16x4ch,150) $50 Snake(24x4ch,100w/split) $100 Processing BSSFDS366TMinidrive $75 DBX166XLComp $20
DBX1066Comp $25 DBXDriveRackPA $25 DBX231EQ $20 DBX2231EQ $25 KlarkTeknikDN360EQ $40 LexiconMPX500
$30 PresonusACP88Comp $30 RANEAD22dDelay $40 YamahaD1500 $20 YamahaREV7 $20 YamahaSPX90 $20
YamahaSPX900 $20 YamahaSPX990 $40
LIGHTING,HARDWARE,ANDACCESSORIES DanceFloorLighting ADJStrobeLight(small) $20 ADJStrobeLight(large) $30
ADJSunray $25 ADJREVO3 $35 ADJREVO4 $40 ADJLEDVertigo $35 ADJLEDVision $25 MirrorBalls 12+motor $25
16+motor $40 20+motor $50 ADJPinspot $10 UV&BlackLighting ADJMegaBarUV50 $25 Lumi400LEDUVBar $35
UVCanon(400w) $50 ArchitecturalLighting ADJLEDSparkle $20 ADJFireEffect $25 AcmeWaterWaveEffect $25
ADJH2OWaterEffect $25 ADJLEDH2OWaterEffect $35 ChauvetLEDAbyssWaterEffect $25 MartinDC1 $25 MartinDC2 $25
Martinmania/PR1 $35 LEDLighting ADJRainbowTube $20 ADJRainbowTubeController $25 MicrohLEDPar38 $20
MicrohLEDPar64 $30 MicrohLEDBar $40 StageLightingFixture&Dimming DimmerRack(GPP+3xNRD8000) $300
ElationDPDMX20LDimmer $25 FollowspotLancer1K $75 FollowspotPearlRiverOrland1.2K $200 NSINRD8000Dimmer $50
ElationDPDMX20LDimmer $25 FollowspotLancer1K $75 FollowspotPearlRiverOrland1.2K $200 NSINRD8000Dimmer $50
NSIDS8/12Dimmer $75 Par38(100w) $20 Source4Leko19/50 $30 Source4Pars(575w) $20
IntelligentLighting ADJDeluxeScan250 $50 Diversitronic1KStrobe$50 MartinMac250Entour $200 Lasers
3wYAGLaser(Gr/Gold,) $500 CRTFS2(red&green)lasershow$50 TVSQ3(red&green)lasershow$50
MicrohVirussinglebeam(green)$30 MicrohDuobeamMK2(green&red)$50 LightingConsoles AMDJPC1008ch$10
CompuliteRave $200 DiversitronicStrobeRunner$25 ElationSceneSetter$50 MartinLightJockey $150 NSIMC7532 $100
NSIML1616$50 DanceFloor&Staging Stage(4x8)White $100 Stage(4x8)Black$60 Stage(4x4)Plexiglass$50
Stairs(2/3/4)$50
Trussing(Eurotruss) Box(8.2x12)$40 Box(6.2x12)$30 Box(3.2x12)$20 BoxCorner$40 BoxTrussBase$25 20TrussCircle
$300 Rigging AirWallHanger$50 ChainFall(1ton,2035)$40 Spanset(3/4/6)$2 Shackle$1 Steel(1/5/6/10/20)$2
LightingStands GenieST25Supertower$200 HeavyDutyTbarlightstand$25 L16Stand(16,500lbs)$50 L16MobileStand$75
ST90Tbarlightstand$20 Fog/Haze/BubbleGenerators BubbleMaster2000$100 Magnum650Fogger$30
SwefogUltimateDMX2000hazer(oil)$100 AntariFazer$75
VIDEO,POWERDISTR0,CABLING,ACCESSORIES Cameras&Accessories Manfrotto525/501Tripod $100 SonyHDRSR121
$100 SonyPD170DVCam $250 VideoProjectors HitachiCPX1250(4500,XGA) $400 NECMT1075(4200L,XGA) $300
SanyoXU86(2500L,XGA) $200 Epson $150 UniversalFlyingBracket $50 Plasma/LCDScreens NECVP4D42Plasmaw/mount
$200 NECPX50XR5A50Plasmaw/mount $300 PlasmaTrussStand(8/6) $50 SonyBravioEX50046LCDw/mount $250
VideoMixers/SwitchingPlayback EdirolLVS400mixer $100 EdirolV4mixer $100 Extend1x2VGADA $25 ExtronInLineScaler
$50 PelcoVideoDA(1x4) $25 PelcoSwitcher(4x1) $10 Sony1024ScanConverter $150
WatchoutSystemPleaseCall BarcoDCS200 $250 DVDPlayers DynexPortableDVDPlayer $20 NumarkDVD01$50
SonyRDR350$50 VideoMonitors EdirolMarshal3x5LCD$75 LCD15TV$25 VideoScreens BlackVelourskirts$25
DaLiteInstaTheatre(60)$50 DaLiteInstaTheatre(80)$75 FastFold(6x8)$80 FastFold(9x12)$90 FastFold(10.5x14) $100
PresentationAccessories PlexiglasPodium+2microphones $150 ProjectorCart$25 MACBookPro $100
TargusWirelessPresenter$25
Scaffold Cheeseborough$5 CrossBrace(7Long)$5 Deck(7Long)$10 Leveler(36)$5 Sandbag(25lb)$5 Sandbag(50lb)$10
Scaffoldframe(29x5)$5 Scaffoldframe(5x5)$10 Scaffoldwheels(setof4)$20 YellowJacket$20 Cabling 220Cable100(50A)
$50 220DistroPanel $50 ACCables(525) $2.5 ACCables(50100) $5 Camlock80section $100 Camlock(10kit) $25
Camlock(setoftees) $25 GPPDistro(200A3Ph) $75 PatchCable $2.50 PowerBar/CubeTap $2.50 SocaM/FUGround $10
SocaCable50 $10 SocaCable100 $20 VideoCable $2.50
VGACable $5 DECOR Fabrics&Hardware BlackbanjoDrape(4x8)$15 Blackvelour(FireRetardant)(12x14,13x16)$50
LycraScreen(10x10)$50 LycraWhite(25x25) $300 LycraWhite(5x10)$25 LycraWhite(10x10)$40 StageSkirts$1perfoot
SharkTooth20x20 $100 StanchionRopes(red)$7.50 StanchionPoles(Chrome)$7.50 Uprights&Crossbars$10
Uprightbase$10 WhiteLinenScreen(13x18)$100 WhiteSheerDrape(15x15)$20 FURNITURE Chaise(white,leather) $200
CentreTable(white,leather,glass) $100 Carpet(blackorred,12x15) $150 LoveSeat(white,leather) $150
Ottoman(whiteleather) $50 SideTable $25 DELIVERY 1Ton$100oneway 5Ton$150oneway LABOUR&TECHNICIAN
Pleasecontactourofficeforrates
Technical specifications
Full description
Soundcraft GB2 24 Sound Mixing ConsoleThe GB2 is the latest addition to the Soundcraft GB Series, featuring 4 group
busses configured as 2 stereo subgroups and an integral 6 x 2 matrix. Intended for installed-sound and Audio-Visual
applications that do not require the functionality provided by the GB4 or GB8, the GB2 is available in frame sizes of 16, 24
and 32 mono inputs, each with 2 stereo inputs as standard. Each input features the high-performance GB30 Mic Pre and
GB30 Equaliser designs of the GB4 and GB8, along with 6 Aux buses. Four Subgroups are provided as two stereo pairs,
with a unique facility for adjusting the width of the stereo signal across the stereo mix. The channel pan settings are
retained on the group outputs, while the degree of stereo separation to the mix bus is independently adjustable from full
stereo through to mono. The GB2 also features two stereo input channels, with separate mic and line inputs. In normal
use, the mic inputs are routed to the local channel and the line inputs act as a stereo return to the mix bus. Selecting the
LINE input to the local channel overrides the Mic inputs. FeaturesAnalogue/Digital: Analogue Frame Sizes: 16 24 32 Stereo
Channels: 2 Digital I/O: No FX Processors: 0 Groups: 4 EQ Bands: 4 Aux Sends: 6 Returns: 1 Direct Outputs: Yes Matrix
Outputs: 2 Main Bus Out: LR
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manuel d'instructions, Guide de l'utilisateur | Manual de instrucciones, Instrucciones de uso | Bedienungsanleitung,
Bedienungsanleitung | Manual de Instruções, guia do usuário | инструкция | návod na použitie, Užívateľská príručka, návod
k použití | bruksanvisningen | instrukcja, podręcznik użytkownika | kullanım kılavuzu, Kullanım | kézikönyv, használati
útmutató | manuale di istruzioni, istruzioni d'uso | handleiding, gebruikershandleiding
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