Brochure Range Live Live Mixing Consoles

Brochure Range Live Live Mixing Consoles

Live Brochure COVER.qxd 6/12/02 11:05 am Page 1

BEYOND LIVE...

324 LIVE

32 Input Live Digital

Mixing Console

DIGITAL 328XD

Soundcraft’s Spirit range of live and powered mixing consoles are just part of their extensive range of Professional Audio Equipment.

In the studio as well as on stage, Soundcraft’s designs have become synonymous with versatility, innovation and sonic excellence.

32 Channel Digital

Mixing Console

STUDIO

Professional Multitrack

Recording Mixing

Consoles

ABSOLUTE

A Range of

Professional Nearfield

Monitors

FX16

16 Mono Channels with onboard

Lexicon Effects

FX8

On the

ROAD

and in the

STUDIO

Since the launch of the original Spirit Folio in 1992, the Folio Range of mixers has set the standards in the field of compact mixers. Ideal for both studio and live applications, FX16, FX8, SX, F1 and Notepad still represent the pinnacle in compact mixers for usability, sound quality and value for money.

Spirit Studio, a design that has remained virtually unchanged since its introduction in 1991, has become a recording classic used by the likes of Portishead, M:People and Radiohead.

Since its launch in 1998, the multi-award-winning Digital 328 console, with its ground breaking easy-to-use interface, has revolutionized low cost digital mixing in studios and live applications.

Soundcraft’s award-winning range of nearfield studio monitors – Absolute Zero,

Absolute 2 and Absolute 4P – have taken the Soundcraft name into top studios such as The Roundhouse and Ridge Farm, and won many friends in the production world. John Leckie and Tony Tavenor are just two internationally acclaimed producers to use Soundcraft monitoring.

Around the

WORLD

Soundcraft is committed to excellence in audio. In eighty-eight countries, in countless studios, venues and recordings Soundcraft provides the inspiration. You simply have to do the rest.

For details of the complete Soundcraft range contact your Soundcraft dealer or visit the Soundcraft website where you’ll find comprehensive details of every product, including downloadable PDF brochures, technical support and user group information.

8 Mono Channels with onboard

Lexicon Effects

SX

12 Mono &

4 Stereo Inputs

F1

Soundcraft

Harman International Industries Ltd., Cranborne House,

Cranborne Road, Potters Bar, Herts, EN6 3JN, UK.

Tel: +44 (0)1707 665000 Fax: +44 (0)1707 660742

E: [email protected]

Soundcraft USA

1449 Donelson Pike, Nashville, TN 37217, USA.

Tel: +1 (615) 360 0471 Fax: +1 (615) 360 0273

E: [email protected]

www.soundcraft.com

6 or 8 Mono &

4 Stereo Inputs

NOTEPAD

4 Mono &

2 Stereo Inputs

Soundcraft reserves the right to improve or otherwise alter any information in this document or any other documentation supplied hereafter. E&OE 02/02

This equipment complies with the EMC Directive 89/336/EEC

Spirit by Soundcraft Registered Community Trademark / RTM Nº 000557793

Soundcraft Registered Community Trademark / RTM Nº 000557827

Part Nº A4: ZL0527 US: ZL0528 02/02

LIVE MIXING CONSOLES

Compact Mixing

Consoles with integral rack mounting

LX7

7-Bus Professional

Mixing Console

POWERSTATION

1200 AND 600

Mixing Consoles with integral power amps and Lexicon effects

POWERPAD

Compact 10 Input

Mixing Console with

2 x 30W power amp

SPIRIT 8

8-Bus Professional

Mixing Console

MONITOR 2

12-Bus Stage Monitor/

FOH/Theatre Mixer

LIVE 4

2

4-Bus Professional

Mixing Console

SPIRIT M

SERIES

LIVE

RANGE

BROCHURE

Live Brochure intro 2_9.qxd 6/12/02 11:17 am Page 2

CONTENTS

Choosing & Using a

Live Mixer; FAQs

4 - 9

The Mixers in detail

10 - 32

Live Mixer

Applications

33 - 35

Choosing

Powered

Mixers

Powered Mixers in detail

36 - 37

38 - 44

Powered Mixer

Applications

More Soundcraft products

46 - 47 back cover

Choosing & Using Soundcraft Live Mixers

?

Quick Selection Table

Major features explained

Frequently Asked Questions

Page 4

Pages 5 - 7

Pages 8 - 9

Spirit 8

Live 4

2

8-Bus Professional Mixing Console

Features

Controls & Connections

Pages 10 - 11

Pages 12 - 14

Specifications; Block Diagram Pages 15

Monitor 2

12-Bus Stage Monitor / FOH / Theatre Console

Features

Controls & Connections

Pages 16 - 17

Page 18

Specifications; Block Diagram Page 19

4-Bus Professional Mixing Console

Features

Controls & Connections

Pages 20 - 21

Pages 22 - 23

Specifications; Block Diagram Page 24

M Series

Compact Mixing Consoles

Features

Controls & Connections

Page 25

Page 26

Specifications; Block Diagram Page 27

LX7

7-Bus Professional Mixing Console

Features

Controls & Connections

Pages 28 - 29

Pages 30 - 31

Specifications; Block Diagram Page 32

Applications

Using Live Mixers in various applications

Live Mixing Page 33

Houses of Worship 34

Installed Sound 34

Outdoor Events Page 34

Theatre Sound 35

Presentations 35

Powered Mixers

Choosing Powered Mixers

Powered Mixer Features

?

Page 36

Page 37

PowerStation

Powered Mixing Consoles

Features

Controls & Connections

Pages 38 - 39

Pages 40 - 41

Specifications; Block Diagram Page 42

aPowerpad

Compact Powered Mixing Console

Features

Controls & Connections

Page 43

Pages 43 - 44

Specifications; Block Diagram Page 44

Applications

Using Powered Mixers in various applications

Live Mixing

Installed Sound

Outdoor Events

Page 45

46

46

Presentations Page 46

Power Supply Data 47

(all models)

Other Soundcraft Products

See Back Cover

2

AT THE HEART OF LIVE SOUND

TEXAS

For nearly thirty years,

Soundcraft consoles have been at the heart of live production around the world. From venues, theatres and houses of worship to global stadium tours by artists such as Bruce

Springsteen, Bryan Adams and

Garbage, Soundcraft consoles are chosen for their uncompromising sound quality, comprehensive facilities, intuitive operation and rugged reliability.

Since its launch in 1991, the Spirit range has continued the Soundcraft tradition and has been responsible for many ground-breaking new products including the revolutionary Folio and the multi-award winning Digital 328.

From young musicians to international artists such as Jean-Michel Jarre, the

Manic Street Preachers and the

Chemical Brothers, the Spirit range has become synonymous with professional features, sound quality and reliability, all at affordable prices.

Soundcraft’s success stems from years of experience specialising in the design and manufacture of mixing consoles.

Our Product Managers are in constant communication with sound engineers and musicians around the world, ensuring the development of consoles that truly match the needs of our customers.

Famous Soundcraft users today include artists like The

Orb, Manic Street Preachers,

Gomez, Jean-Michel Jarre,

Sasha, Catatonia, M:People, the Chemical Brothers, Asian

Dub Foundation, Texas, Pulp and Portishead*. To discover for yourself why they all chose Soundcraft, read on.

At Soundcraft’s manufacturing facility outside London, we use world class production techniques including the latest surface mount technologies to ensure every console is packed with features. At the same time, we ensure reliability with continual investment in the latest testing systems, ensuring every Soundcraft console is built and tested to the same exacting standards.

This brochure outlines the key features and specifications of the Spirit range of Soundcraft live mixing consoles. For more detailed information on individual products, please contact

Soundcraft or your nearest dealer, or visit the Soundcraft website shown on the back cover.

GOMEZ

ASIAN DUB FOUNDATION

* No endorsements implied.

3

Live Brochure intro 2_9.qxd 6/12/02 11:17 am Page 4

CHOOSING A LIVE MIXER

QUICK REFERENCE TABLE

To help you find the right live mixing console for your needs, we’ve summarised the key features and recommended applications of each model below.

Quick Reference

Mixer Selector

Applications

Large Bands FOH

Medium Bands FOH

Small Bands FOH

Touring

Stage Monitors

Large Venue Installed

Medium Venue Installed

Small Venue Installed

Club

Houses of Worship

Theatre

Mono Inputs 4

8

12

16

24

32

40

Sub Groups

Master Outputs

Matrix

Stereo Inputs

EQ Bands

Mono

(±15dB)

EQ Bands

Stereo

(±15dB)

High Pass Filters

Lo Fixed

Lo Mid Sweep

Hi Mid Sweep

Hi Fixed

Lo Fixed

Hi Fixed

Auxiliary Sends

Pre Fade

Post Fade

Pre/Post switchable

Mute Groups

FX Returns

Inserts

Phantom Power

For full information turn to pages...

Spirit 8

80Hz

80Hz-1.9kHz

550Hz-13kHz

13kHz

80/120Hz

6/12kHz

Mono inputs

2

2

2

4

8 x stereo

Mono inputs, groups, mix

Individual

10 - 15

8

2

2

4

Monitor 2

12 (monitor)

2

-

-

80Hz

80Hz-1.9kHz

550Hz-13kHz

13kHz

-

-

Mono inputs

12

12

12

-

2 x stereo

Mono inputs,mix, monitor sends

Individual

16 - 19

Live 4 2

4

2

2

2 (12 ch)

4 (16+ ch)

80Hz

80Hz-1.9kHz

550Hz-13kHz

13kHz

80/120Hz

6/12kHz

Mono inputs

3

3

1

4

4 x stereo

Mono inputs, groups, mix

Individual

20 - 24

M Series LX7

2

-

4

60Hz

-

240Hz-6kHz

12kHz

60Hz

12kHz

Mono inputs

2

2

-

-

4 x stereo

Mono inputs, mix, mono out

Global

25 - 27

For full product information and specifications, please turn to the page numbers shown.

4

2

-

2

80Hz

80Hz-1.9kHz

550Hz-13kHz

13kHz

80Hz

12kHz

Mono inputs

4

6

4

-

2 x stereo

Mono inputs, mix

Global

28 - 32

4

USING LIVE MIXERS

USING LIVE MIXERS

You don’t have to take centre stage to feel the heat of live performance – ask any engineer, and they’ll tell you that live mixing places special demands on equipment and on personnel. In the recording studio or in the dubbing suite there’s always a second chance, but in live sound you get only one chance to get it right.

So when the pressure’s on, why do so many engineers choose Soundcraft?

Perhaps because we’ve had nearly 30 years experience at the forefront of professional live sound, listening to engineers, and turning their comments into practical products at all levels of the market. From houses of worship to concert halls, and from clubs and bars to touring theatre companies, we know what it takes to make a live mixer perform: the right combination of control features, presented in as intuitive a manner as possible, plus crystal-clear audio quality, to satisfy audiences and performers who expect

‘CD-quality’ digital audio from even the cheapest portable players or keyboards. And to all this we add something just as important – value for money.

Thanks to smart design and advanced manufacturing techniques – such as automated surface mount technology

– you get more features per square inch on a Soundcraft desk. And thanks to efficient production, we can deliver the best in audio quality and control at a very reasonable price.

Let’s look at a few of the more important features of live mixers, and how they are used.

USING INPUTS

When choosing a live mixer, one of the first things you should think about is how many inputs and outputs you need. Also, what types of inputs and outputs are required – where do they need to fit into the mixer’s signal path, and what kind of physical connectors should be present. Mono input channels are generally best suited to microphones, or guitars and bass guitars connected via DI boxes. Both

XLR and jack inputs are offered on most consoles, providing excellent flexibility. Most inputs are balanced preferred since a balanced cable will reject interference and noise where an unbalanced cable may pick up unwanted signals from lighting and other equipment.

BALANCED

SOURCE

INTERFERENCE

BALANCED

MIC/LINE

INPUT

SCREEN

Interference appears at the input with same polarity on both the + and - wires, and is rejected

STEREO INPUTS

Many sources in live and installed sound are stereo – stereo keyboard and sampler outputs, for example, CD or MiniDisc players for background or pre-show music, and stereo cart players for effects in theatre. Although you can use two mono channels for a stereo source, stereo channels take up half as much space on the desk, which means more inputs in total. Stereo channels are also easier to use, as you only have a single set of controls for level, aux sends and equalisation of the stereo signal.

Other inputs, such as stereo returns and effect returns, are intended mainly for routing a signal back into the mixer after it has passed through an external processor (such as a reverb or delay), but they can be also used for extra instrument inputs. 2-track inputs, where available, give a clean and direct signal path from a stereo playback unit to the mixer’s main outputs.

TAKING CONTROL

No matter how many advanced features a desk has, they’re useless if the mixer is too hard to use – so we make sure that Soundcraft designs are always easy to get to grips with. When you’re working with a lot of inputs, or when you have to accommodate several bands or scenes in a show,

Mute Groups help to keep control of a mix. Groups of channels can be set up for different bands or scenes, and switched in and out rather than clumsily faded up and down.

Clear layout is an important aspect of mixer design that is often overlooked.

All Soundcraft desks follow the familiar conventions of using white fader tops for channels, and red fader tops for groups. While it may sound trivial, under pressure and in dimly-lit clubs, it makes a big difference.

Furthermore, all Soundcraft live mixers feature custom pots and faders, ensuring that their sound quality is matched by a usable, effective interface. Both rotary pots and linear faders have useful resolution all along their travel, giving you the confidence to fine tune a mix properly.

USING HIGH-PASS FILTERS

Many engineers would say that a highpass filter is the most important channel feature, enabling unwanted low-frequency noise to be removed from a signal. Mics on stage can pick up a good deal of rumble, and by using a HPF you can still employ the

0dB

-3dB

low frequency part of the channel EQ for creative work, rather than using it for keeping stage rumble at bay.

30Hz 100Hz

Whereas most high-pass filters have a 12dB/octave slope, Soundcraft filters have an ultrasteep 18dB/octave slope which means that more of the lower frequencies are attenuated – a shallower slope allows more bass frequencies to slip through, making it less effective. By positioning the filters at 100Hz, Soundcraft’s

HPFs act on the full range of lower frequencies that can cause clarity problems in mixing. (The more commonly-used 50Hz or 75Hz filter points work only on the very lowest frequencies.)

5

Live Brochure intro 2_9.qxd 6/12/02 11:18 am Page 6

USING LIVE MIXERS

SETTING CHANNEL GAIN

If you want to be sure of getting a good mix, you have to start with the basics – and correctly setting the gain on each channel comes first at most soundchecks. Channel gain sets the amount by which the input signal is raised or lowered to match the operating level of the desk – high enough to give the best signal-to-noise ratio, but low enough to avoid distortion. A good way to do this is to ensure that a typical input signal is present on a channel, by simply having someone play a riff over and over, and adjust the gain pot until the meters read within the yellow range (‘3’ to ‘6’ on the meter scale). This leaves enough headroom for transients and peaks. By setting appropriate gain on all channels, you can bring all the faders up to 0dB and know that all the instruments and mics will come through at roughly the same level. As well as making it easier to set up a basic mix, it helps to keep things clear and simple during a performance.

Thanks to the renowned UltraMic+ preamps used on all the Spirit range of

Live mixers, their input channels can easily handle a wide range of signal levels – but even with this added flexibility, it’s still good practice to set the gain properly.

One of the hardest types of signals for preamps are sudden transients – sharp peaks, often with a lot of highfrequency content. By using a feedforward circuit configuration rather than a negative feedback design, the

UltraMic+ is more stable and sounds cleaner when it has to deal with these signals. In a negativefeedback circuit, transients tend to draw power from the power rail, in turn limiting the circuit’s ability to control the feedback.

With the UltraMic+, however, the performance of the preamp remains linear, which means less distortion and more usable headroom.

Unity Gain

USING EQ

Channel EQ is a vital live tool, for both corrective and creative work.

Soundcraft’s classic British EQ design combines well-focused HF and LF bands with two swept mid bands.

Carefully chosen frequency ranges and slopes give simple, effective control of the high and low frequency ranges, without interfering with the area covered by the two swept mid bands.

The result is EQ controls that give you more power to, for example, correct the change in sound as a radio mic slips out of position.

GRAPHIC EQUALISERS

Whereas channel EQ is used for changing the sound of individual channels, graphic equalisers are more suited to changing the overall sound. By patching a graphic

EQ into the mix inserts, you can tailor the output of the desk to suit the room acoustics, rather than making the same corrections on all channels. To set the graphic EQ up properly, start by setting all of its faders to their centre positions, and turn the amplifier volume up until you can just hear the onset of feedback.

Back the amp volume off slightly and, starting with the lowest frequency band, one by one slowly push the faders up.

If no feedback occurs, return the fader to the centre position (0dB gain).

If feedback does kick in, reduce the fader’s level to the same amount below

0dB by which you had to raise it in order to induce feedback. Now do the same for the rest of the frequency bands.

USING INSERTS

Sometimes you need more specialised signal processing than a mixer can offer, which is where insert points come in. At key points in the signal chain, an insert point allows the signal to be diverted from its normal, internal, path, and instead routed out of the mixer and back in via an external processor. Inserts on input channels are often used to patch in dynamics processors – noise gates on drum kit mics to keep things clean, and perhaps compressors on the lead vocal and DI’d bass guitar to even out levels on these critical sources.

Inserts at the outputs are more likely to be used for extra equalisers.

Theatres, bars and concert halls rarely have very controlled acoustics, and a

MIC/LINE

PROCESSOR graphic equaliser is one of the best ways of putting things

EQ right. The main stereo outputs are generally the most important, as they’re usually feeding the loudest

Compressor

Noise Gate

Limiter

Expander sources in your sound system. But if you’re putting speakers on-stage or in an orchestra pit (so that performers can hear themselves properly), these too may require some EQ’ing to produce a more natural sound. The interplay of speaker design and a speaker’s position in a venue are very complex, and experienced engineers know that there’s simply no way to predict exactly how a speaker stack will sound in a particular space until it’s up and working.

USING LIVE MIXERS

ROUTING TO OUTPUTS

Outputs are the business end of any live mixer – the means by which you ensure that the right people hear the right sound. For a start that means routing signals to amplifiers and speakers, but there are numerous other sources to which you may need to route signals – such as effects processors, and DAT or multitrack tape recorders – and that’s why live mixers have so many outputs.

The audience is usually your first concern – making sure that they’re hearing things loud and clear. As well as the main Front-of-House speaker system, there are several ways in which a mono output from the mixer, as well as the main stereo outputs, can help in this respect. You could feed a mono mix to a centre ‘fill’ speaker cluster, or a sub-bass cabinet.

Keeping the mono feed separate, with its own level control on a fader, makes it easy to balance the sub-bass or fill against the main stereo mix. Other uses for the mono feed could include feeding an extra room, or in a larger room or outdoor event, feeding a delay stack.

Vocals may be emphasised for the centre

FOH stacks to help create a more solid stereo image, especially at the front of the venue.

The mix balance to the rear stacks may be vocal weighted to improve clarity

GROUP 1 GROUP 2 GROUP 3 GROUP 4

SUBGROUPS

SUB-GROUPS & AUX SENDS

Sub-groups on a mixer are a valuable means of controlling sets of inputs as if they were one input. Apart from making it easier to balance the main elements in a live music performance – say, lead and backing vocals on groups

1 and 2 respectively, with the band as a stereo mix on groups 3 and 4 – these groups can be used to provide additional mixes via matrix outputs.

Different zones in a building could be fed in this manner, or a mix with slightly higher vocal levels fed to rear speaker

At larger venues and outdoors, a delay connected to the output’s insert points may be required for the rear stacks stacks in a large room to aid intelligibility. In theatre and installed sound, you might drive an induction loop (to help people with hearing problems); a mono or matrix feed is ideal for this purpose.

Auxiliary sends provide yet another means of deriving mix outputs carrying a different balance of input signals, but without a dedicated linear output fader. Prefade aux send levels are unaffected by channel fader levels, and are therefore ideal for setting up monitor mixes

USING A MONO MIX

– performers still need to be able to hear their performance, even when you cut them out of the FOH mix.

Post-fade sends, on the other hand, are better suited to feeding effect processors, as the balance of dry to effected sound remains constant as you raise and lower channel faders. As with inputs, however, at a pinch you can put outputs to different uses – feeding extra speaker stacks from an auxiliary send, for example.

OTHER INPUTS & OUTPUTS

As well as the main mix or mixes, there may be other signals that you need to route to different zones in a building – a talkback mic to the artists’ dressing room, for example. ‘House mics’ may be useful if you are using inear monitors. Adding background noise by sending these mics to the otherwise ‘dry’ in-ear mix, you create a much more natural monitor mix that performers usually prefer.

When you need to record a live performance, the easiest way to do it is to record via stereo tape outputs, found on all Soundcraft live mixers.

When you need to make multitrack recordings, look for direct channel outputs, which are usually switchable to take either a pre- or a post-fade channel signal out to a multitrack recorder. Group outputs can also be used, though as a rule, the less ‘mixed’ your recorded tracks are, the better.

7 6

Live Brochure intro 2_9.qxd 6/12/02 11:18 am Page 8

FREQUENTLY ASKED QUESTIONS

Why use Balanced Inputs?

Balanced inputs provide better rejection of interference and noise than unbalanced inputs. This is especially important in a live environment, as lights and other equipment tend to introduce a good deal of hum in unbalanced cable runs.

What is Phantom Power?

Phantom power is a simple DC power supply, usually 48V, available via the balanced inputs of a mixer. It allows condenser microphones and DI boxes to be powered without batteries or any external power supplies.

What is Talkback?

Talkback is a way of allowing an engineer to talk to performers onstage or backstage, via a dedicated mic input that can be routed to

(usually) group or aux outputs, or the main mix outputs.

What is in-ear monitoring (IEM), and what’s so good about it?

In-ear monitoring is an alternative way of providing a monitor mix to performers. Rather than play the mix over on-stage speaker cabinets, IEM carries the mix from the mixer’s outputs via a wireless or hard-wired link to a performer’s compact bodyworn receiver, complete with earphones.

This offers several key advantages over traditional monitoring: a higher quality monitor mix can be provided, and by reducing or (if the whole band is on

IEM) eliminating the extra on-stage volume due to monitor speakers, there’s less chance of feedback and a better FOH mix is possible. There’s also less equipment to move around, and provided that transmitters are correctly placed, performers can wander all over the stage without compromising their monitor mix.

What are matrices for?

Matrices are extra outputs which can carry yet another separate mix, derived from the main and group busses. They could be used for something as simple as duplicating the main mix to feed a

MiniDisc recorder or another set of speakers, or used to carry a mix with more vocal, for example, for a set of rear speakers.

What is a high-pass filter for?

A high-pass filter is one of the most useful facilities that you will find on a live mixer. By cutting out all lowfrequency sounds, a high-pass filter can eliminate stage rumble and other unwanted low-end ‘mush’ that you don’t want to hear over the main PA.

What is a DI box?

Some instruments, usually keyboards and bass guitars, are best connected to a mixer electrically rather than via a microphone. This is where a Direct

Injection box comes in. A DI box converts the unbalanced instrument output into a balanced signal which can be run to the mixer. This avoids the noise problems associated with long runs of unbalanced cable, and provides a convenient point to lift the earth connection without butchering your cables.

DI boxes may be passive (i.e. a simple transformer), or powered by either batteries or the mains. Some accept

48V phantom power. If you get problems with DI boxes or other equipment humming, you can use the

‘Earth Lift’ switch; but whatever you do, don’t resort to removing the Mains earth connection. This is potentially

lethal, so if you can’t solve it, get the equipment fixed properly by a qualified engineer.

What is a foldback?

A foldback mix is another name for a monitor mix, totally separate from the main front-of-house mix, and provided so that performers can hear themselves properly on stage or backstage.

What’s the Inverse Square Law?

Every time you double the distance from a sound source, you halve the volume (ie. a 6dB drop). Halve the distance and you double the volume.

Remember this when positioning microphones.

What are the maximum input levels to each type of input?

+22dBu for UltraMic preamp inputs

(ie. mic inputs apart from those on the

Powerpad), +14dBu for the Powerpad mic inputs, and +30dBu for all line inputs.

What are the maximum output levels of the different outputs on the Spirit range of desks?

Around +21dBu.

What is the typical output noise on a Spirit range live desk?

-80dBu at the master outputs, with the master fader at max.

What is a 2-track return?

A 2-track return is intended primarily to accept the output from a stereo playback source such as a CD, cassette or MD player.

What cables should I use to connect my console?

The best you can afford! Cheap cables will have poor quality connectors that will be more likely to give trouble

(such as crackle and buzz) than good connectors. Also, good cables will offer higher audio quality and better rejection of interference, particularly over long runs in hostile live environments.

What is an auxiliary send?

An auxiliary send, usually abbreviated to aux send or aux, is an extra output from a mixer that can carry a quite separate balance of sources to that sent to the master outputs. In the studio aux sends are used mainly for patching effects processors in, by sending an aux mix to a effects unit and then returning the processed signal to the desk. Auxes are also useful for setting up on-stage or in-ear monitor mixes, and for multi-speaker mixing in installed sound.

8

How should I wire up insert and other cables for my console?

These diagrams show how some standard leads should be made up.

BALANCED

Line, Mix L&R, Sub L&R,

Aux, Stereo Inputs

UNBALANCED

Direct Output, Control Room L&R, Stereo Inputs

Why are cardioid mics usually preferred for live work?

A cardioid mic, with its directional pick-up characteristics, can fairly easily be positioned so as to avoid feedback and unwanted spill. An omni mic, by comparison, may offer slightly higher sound quality, but must be placed with care – remember the inverse square law, and place omnis as close as possible to sound sources.

Is it a good idea to use a wide range of microphones?

It is generally good practice to use similar microphones, and as few of them as possible. By sticking to mics with similar characteristics, you will find it easier to achieve a balanced sound, and there’s less chance of a single cheap mic spoiling the party. By using fewer mics, you reduce leakage, and therefore reduce the chance of feedback. (The more open mics are on stage, the more the amount of gain before feedback is cut.)

I’m having real problems avoiding feedback. Help!

You’ve moved all the mics again, you’ve done the best you can with your graphic EQ, moved the monitor speakers – but feedback still threatens whenever you push the levels. Try reversing the phase of one of your monitor outputs to deal with this. This will not affect the subjective sound quality of the stage monitor mixes, but it may make a big difference to how much gain can be dialled into the monitor system before the onset of feedback.

INSERT LEADS

Mono Inserts, Mix L&R Inserts

Why do you need a mono bus?

A mono bus on a live mixer is a valuable addition to the main stereo outputs. Unlike studio and domestic hi-fi situations, live sound often presents problems for a simple L-R stereo mixing – mainly because the audience is spread over far too large an area to be properly covered by a system’s ‘sweet spot’. Rear speakers are often used to reinforce sound at the back of a hall, and a mono bus can be used to provide a ‘fill’ in between speakers at the front. If the centre speakers carry more vocals than the L-R mix to the main speaker stacks, overall intelligibility and clarity are often improved.

9

Live Brochure XP1 pgs 10_31.qxd 6/12/02 12:58 pm Page 10

SPIRIT 8

8-BUS PROFESSIONAL MIXING CONSOLE

Up to 56 inputs

8 group busses

UltraMic+ preamp with up to

66dB gain range

+48V phantom power, individually switchable on each channel

4-band EQ with two swept mid bands

4 mute groups

Additional outputs on

10 x 2 matrix

The Spirit 8 is the ultimate Spirit range live console, a fullyfeatured 8-bus desk that combines a comprehensive range of professional control and routing facilities with costeffective and compact design. You can choose the Spirit 8 in any of four frame sizes, from 16 to 40 mono channels, all featuring eight sub-groups for routing sets of channels together, giving you fewer faders to ride when balancing the overall mix.

16, 24, 32 and 40-channel frame sizes

Two stereo input channels

8 stereo returns

Phase reverse on mono inputs

18dB/octave high-pass filter

6 aux sends, configurable to give up to 4 pre or post-fade sends

Separate rackmountable PSU

Outputs for every application

In live music or in theatre, the Spirit

8’s eight sub-groups can also provide extra outputs, for additional zones or speaker stacks. Still more outputs, besides the main stereo and six aux outputs are available via a 10 x 2 matrix section, bringing to 18 the total number of independent outputs on the

Spirit 8. All are on balanced XLRs, with transformerbalanced output against interference from electronics such as lights and computers. circuitry that offers excellent rejection

The Spirit 8’s six auxiliary sends can be configured in various ways to suit uses such as monitor, effects and other sends. Front-panel switches allow four of the auxes to be routed either preor post-fade, while internal jumpers are used to change options such as whether a send is pre- or post-EQ

- even whether an aux send is muted along with the channel. A more specialised facility is the channel direct output, switchable for either pre- or post-fade, provided on all mono input channels for multitrack recording or extra effect sends.

All mono input channels feature

Soundcraft’s legendary UltraMic+ mic preamp, designed to get the best out of almost any input source, from lowoutput dynamic mics to the hottest stage box or keyboard outputs. Other important professional features for mic mixing are also provided. Phase reverse switching enables quick and easy correction of out-of phase mics in a multi-mic system, and +48V phantom power for condenser mics is switchable on all channels. As on all of the Spirit range of live mixers, powerful 4-band EQ with two swept mid bands provides all the corrective power you need. Carefully chosen, well-focussed frequency bands and filter slopes mean that you can dial in just the right amount of high frequency shimmer without bringing up unwanted mid-range boominess.

Similarly, you can cut or boost only the narrow range of bass frequencies required to avoid speaker distortion or bring out the character of a bass guitar, without muddying the whole mix.

Stereo inputs

The Spirit 8 is well-equipped with stereo inputs, suitable for everything from instruments to CD players.

Besides four stereo channels, complete with EQ and aux routing, the master section includes a further eight stereo effect returns. Four of the returns even have

EQ controls – a refinement that brings greater tonal control to effect mixing, as well as making it easier to bring in stereo instruments, or stereo playback of pre-show music from a CD or MD player. The construction of the Spirit 8 is everything you’d expect of a full-size professional live board, with individual channel circuit boards firmly bolted into a solid steel frame. Its ergonomic design and familiar colours, important factors in ensuring easy and intuitive operation, are based on years of inhouse live experience. Even in low light, EQ pots can easily be distinguished from aux controls, and there’s enough room around all the rotary pots to allow control movements without knocking adjacent pots out of alignment.

With its integral meterbridge, the

Spirit 8 provides accurate and comprehensive monitoring of levels throughout the signal chain – channels, groups, and the main mix busses. More than just a way of seeing which channels are in use, this helps the engineer to maintain optimum levels throughout the signal path, avoiding both unwanted noise and distortion. Thanks to PFL and AFL facilities, channels and groups can be isolated and checked on headphones – even in mono when looking for phasing problems.

Mute groups Frame sizes available:

Applications:

• 8-bus live mixing

• FOH mixing

• Touring bands

• Venues and theatres

• Installations

• Recording direct to multitrack

SEE PAGES 33 – 35

BLOCK DIAGRAM – full

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8

10 11

Live Brochure XP1 pgs 10_31.qxd 6/12/02 12:58 pm Page 12

SPIRIT 8

CONTROLS & CONNECTIONS

HI MID SWEEP EQ

HI EQ

LO EQ

LO MID SWEEP EQ

MONO INPUT

The UltraMic Plus™ padless mic preamp provides up to +28dBu capability with the input sensitivity control operating between +6dB and -60dB on Mic and

Line inputs.

180° Phase Reverse switch

This switch reverses the polarity of the input to compensate for signal phase differences.

Connector Bay (behind meterbridge)

Both Mic and Line inputs are balanced with +48V phantom power available individually per channel for condenser mics. Direct Out is factory set postfader/post-EQ, but can be set to prefader, pre/post EQ. The insert point is pre-fader, pre-EQ but post HPF.

EQ Section

The 4 band equaliser section has two swept mids for extra control during live performances. All bands provide 15dB of cut or boost.The HF shelving filter operates above 13kHz. The Hi Mid control operates between 550Hz and

13kHz with Lo Mid operating between

80Hz and 1.9kHz.

The LF shelving filter operates below

80Hz.

EQ In/Out switch

Selecting the EQ allows comparison of treated and untreated sounds.

High Pass Filter

A 100Hz/18dB/octave High Pass Filter is set pre-EQ to ‘clean up’ low frequencies.

Auxiliary Section

6 Auxiliary Sends allow the choice of either monitor or effects-orientated mixes. Auxes 1 and 2 are pre-fader, post-EQ for monitor mixes. Auxes 3 and 4 are normally post-fader, post-EQ but are individually globally switchable to pre-fader, post-EQ from the master section. Auxes 5 and 6 are post-fader, post-EQ. The pre- or post-EQ parameters on Auxes 1, 2, 3 and 4 are all easily resettable via internal jumpers for custom configurations.

Pan

Each input channel can be routed to mix and/or any of the 8 groups in pairs.

Mute

All pre- and post-fade outputs are muted on the channel when the mute switch is pressed. Alternatively, the channel can be assigned to one of the

4 mute busses for scene setting.

PFL/Solo

Each channel can be soloed pre-fader, post-EQ to check gain levels. The PFL

LED also doubles as a PEAK indicator.

Faders

Custom-built 100mm long throw linear faders provide 10dB of extra gain above “zero”.

STEREO INPUT

Two stereo input channel strips, each comprise two independent pairs of inputs.

Connector Bay (behind meterbridge)

Both pairs of line inputs are balanced.

Plugging in the left jack only will feed a mono source to both paths.

Cassette/CD Input Section

This features two gain settings: LO for

-10dBV semi-pro devices such as CD or cassette players, or HI for -20dBV hi-fi equipment. Signals are controlled by the LEVEL TO MIX pot and directed straight to Mix. The input can be soloed pre-fader, with two pre-fade auxes allowing the signal to be sent to stage monitor mixes.

Stereo Input Section

A gain control operates from 0 to 22dB allowing the connection of line level devices as well as most professional and hi-fi sources.

EQ Section

A two band frequency switchable EQ provides 15dB of cut or boost over high or low frequencies. The HF control is selectable between 6 or 12kHz, with

LF selectable between 80 and 120Hz.

EQ In/Out Switch

This switch allows comparison of treated and untreated sounds.

Aux Section

The Stereo Input has 6 Auxiliaries with identical pre/post-fader settings to the mono inputs.

Balance

This control sets the amount of signal feeding the left and right mix outputs and the odd or even groups. Acts as a

Pan control when a mono signal is used.

PFL/Solo

Pressing the PFL switch provides a mono sum solo of the pre-fade, post-

EQ signal.

Fader/Route/Muting switch

The fader, mute switch and routing switch behave identically to the mono channels.

GROUP SECTION

Connectors (see below)

Each group has an impedance-balanced output with a male XLR connector and a pre-fade insert point. All stereo returns are balanced.

Stereo Returns

8 Stereo Returns are provided in the group section, for use as effects returns, or as additional stereo inputs. The returns in the top row include 2 band EQ with 15dB of cut or boost at 12kHz and 80Hz. Each return can be routed to Mix or to the pair of groups directly below it. A rotary control determines the level of the signal.

Matrix Sends

For the creation of two independent mixes derived from the groups, in addition to the group and mix outputs: ideal for monitor sends and speaker fills. Each group signal can be fed independently to Matrix A, Matrix B, or a combination of the two.

Group Controls

Custom-built 100mm long throw linear faders provide 10dB of extra gain above the “zero” mark whilst still ensuring smooth operation.

Each group can be soloed pre-fader by using the PFL switch.Pressing the STEREO/ MONO switch routes the groups to mix in pairs or for use as mono subgroups feeding both sides of the mix.

CONNECTOR PANEL

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8 SPECIFICATIONS – PAGE 15 BLOCK DIAGRAM – PAGE 15

12

MASTER SECTION

Mix and Matrix outputs are provided on

4 impedance-balanced XLR connectors . The

Mix inserts are pre-fader. A pair of unbalanced

-10dBV jacks allow the performance to be recorded. The six Aux master outputs are also impedance-balanced.

Matrix Sends and Masters

Two rotary controls allow the Mix L and R busses to be fed to the Matrix outputs, either as a mono sum or individually to Matrix A and

B respectively. The Matrix masters above govern the level of Matrix A and B outputs.

Both may be soloed after the fader.

Talkback Section

A balanced XLR connector allows a microphone signal to be routed to Aux 1-2,

Aux 3-4, the Mix, or the Groups. A rotary control governs talkback level.

Auxiliary Masters

Six rotary controls govern the overall level of each Aux master. Each can be soloed after the fader for monitoring. In addition, Auxes 3 and

4 can be switched post-fader, post-EQ globally.

Mute Masters

Four switches control the status of the Mute

Groups. The associated LED illuminates when any mute group is active.

Headphones Section

A jack is provided for use with headphones with impedances of 200 Ohms or greater.

Level is controlled by a rotary fader. The PFL master LED illuminates if any solo is active.

Master Faders

The Mix L & R levels are controlled by

2 custom-built 100mm long throw linear faders.

13

Live Brochure XP1 pgs 10_31.qxd 6/12/02 12:58 pm Page 14

SPIRIT 8

USING MATRIX & MUTE GROUPS

10 X 2 MATRIX

The output from any of the eight groups and the

L&R Mix busses can be mixed into the Matrix

A and Matrix B outputs using the Matrix section’s rotary controls.

MATRIX

OUT

Here, groups 1-4 are used to create the mix to the Matrix outputs, feeding additional speaker stacks. Groups 3 &

4 are mixed at a slightly higher level than 1 & 2, giving more lead and backing vocals in the extra speakers relative to the basic band mix.

MUTE GROUPS

14

GROUPS TO

MATRIX SENDS

MATRIX

MASTER

A & B

MIX TO

MATRIX

SENDS

Groups 5 & 6 are used on their own for a feed to backstage speakers - this could consist of totally separate sources to the main mix, perhaps house mics and a talkback mic.

Here, Mute Group 1 is used on the channels used by a support band, enabling their mics and instruments to be brought up or silenced with a single button push.

By assigning two on-stage mics and a ‘bug’ mic used for the brass section to Mute Group 2, these can be easily silenced during songs and passages where the brass isn’t used.

In a theatre production, two sets of radio mics used during different scenes are assigned to

Mute Groups 2 and 3.

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8

Noise

Measured RMS, 20Hz to 20kHz Bandwidth Line inputs selected at unity gain and terminated

150

Mix

32 mono and 4 stereo inputs routed to

Mix, faders at unity

Mix Faders down

Aux

-81dBu

-95dBu

32 mono and 4 stereo inputs routed, output at max., input faders down

Direct Output

-86dBu

Input to Post-Fade Output @ unity gain -90dBu

Input to Post-Fade Output @ 40dB gain -81dBu

Matrix Output

Matrix Output at max., sends down -93dBu

SPIRIT 8

SPECIFICATIONS

EIN

Microphone Input, Maximum Gain, terminated 150

Crosstalk

@ 1kHz 1kHz

Fader Attenuation to

Direct Output

Fader Attenuation to Mix

(36ch. routed)

Fader Attenuation to Mix

(1ch. routed)

Typical Aux Attenuation

Pan Isolation (36ch. to Mix)

Adjacent Channel Crosstalk

Routing Isolation

Mute Offness

92dB

94dB

101dB

88dB

76dB

99dB

86dB

104dB

-129dBu

10kHz

80dB

89dB

89dB

83dB

68dB

95dB

86dB

88dB

178MM

(7")

658MM (26")

PACKED WEIGHT:

16ch = 29.6kg (65lbs)

24ch = 38.2kg (84lbs)

32ch = 45.6kg (100lbs)

40ch = 53.6kg (118lbs)

CONSOLE WIDTHS

16 CHANNEL: 875MM (34.5")

24 CHANNEL: 1114MM (44")

32 CHANNEL: 1347MM (53")

40 CHANNEL: 1581MM (62.3")

86MM

(3.4")

Frequency Response

Line In to Mix Out via Group

(longest path) 25Hz to 20kHz -1dB

THD

-10dBu Input routed to Mix,

+20dBu out @ 1kHz

CMRR

<0.005%

Typical at medium gain, 50Hz to 10kHz >80dB

Typical at high gain, 50Hz to 10kHz

Input and Output Impedances

>85dB

Microphone Input

Line Input

Stereo Input

Cass/CD Input

1.8k

>10k

8.6k

>10k

Stereo Return

Input & Output Levels

>10k

Mic/.Line input Maximum Level

Stereo Input

Cass/CD Input

Nominal Input for +4dBu at

Mix Output, level at ‘7’

-20dBV (HI)

+28dBu

+25dBu

+18dBu

-10dBV (LO)

Stereo Return +22dBu

Max. Mic Gain through longest path to Mix 84dB

Power Supply Unit

Please see page 47 for details

+48V

+48V

MIC/LINE

GAIN

100Hz INPUT METER

PEAK

DETECT

MIC

INPUT

3

1 2

LINE

INPUT

DIRECT

OUTPUT

MUTE

BUSES

PFL

EQ

HIGH PASS

FILTER

DIRECT

SOURCE

PRE

POST

DIRECT PRE

SOURCE

PRE EQ

POST EQ

INSERT

EQ

1-2 3-4

FADER

5-6

AUX PRE SOURCE

PRE EQ

POST EQ

7-8 L-R

AUX1

AUX2

AUX3

M1 M2 M3 M4

MUTE

AUX4

AUX5

AUX6

PAN

MONO INPUT

STEREO INPUT

PFL BAL FADER

1-2 3-4 5-6 7-8 L-R

L

STEREO

INPUT

R

HF & LF

EQ

EQ

HF & LF

EQ

M1 M2 M3 M4

MUTE

PRE

POST

AUX1

AUX2

MUTE

BUSES

AUX3

GAIN

LO/HI

PFL

L

CASS/CD

INPUT

R

LEVEL

AUX4

AUX5

AUX6

PRE

AUX1

AUX2

STEREO RETURN (1 of 4)

L

STEREO

RETURN

1,3,5,7

R

L

STEREO

RETURN

2,4,6,8

R

HF & LF

EQ

1-2

MIX

3-4

MIX

5-6

MIX

7-8

MIX

1-2

MIX

3-4

MIX

5-6

MIX

7-8

MIX

MIX LEFT

MIX RIGHT

REC L

INSERT

REC R

INSERT

MASTER

FADER

FADER

STEREO

MATRIX A

A

B

L METER/

PFL/AFL

CONTROL

ROOM

MONO

CHECK

3

2 1

MIX

LEFT

3

2 1

MIX

RIGHT

PHONES

PFL/AFL

PFL

ENABLE

M1 M2 M3 M4

AFL AFL

AUX1

(AUX 2,3,5,6 SIMILAR)

AUX3

(AUX 4 SIMILAR)

PRE

POST

MUTE BUSES

AUX4

PRE

AUX

1-2

AUX

3-4

GRPS MIX

R METER/

PFL/AFL

MATRIX A

BUS

MATRIX B

BUS

TB

3

1 2

TALKBACK

MIC

INPUT

GROUP 1 (2 - 8 SIMILAR)

GROUP

ASSIGN

PFL

INSERT

MIX L

MIX R

GROUPS

TO MIX

STEREO

MONO

FADER

3

2 1

GROUP

OUT

GROUP

2,4,6,8

MATRIX A

MATRIX B

METER

A

B

3

2 1

MATRIX

A OUT

3

2 1

MATRIX

B OUT

AUX1

(2,5,6)

AUX3,4

15

Live Brochure XP1 pgs 10_31.qxd 6/12/02 12:59 pm Page 16

MONITOR 2

12-BUS STAGE MONITOR / FOH / THEATRE MIXER

4-band EQ with two swept mid bands

12 monitor sends with 1-8 mono and 9-12 stereo

UltraMic+ preamps on all mono inputs

+48V phantom power switchable on all channels

24, 32 and 40-channel frame sizes

Split Out connectors avoid the need for special cables or splitter boxes

Pre-EQ insert point on all mono channels

Dim switch cuts monitor output levels by 6dB

Sub-grouping on channels 1-10 provides

FOH mixing capability

Rackmountable external power supply

Where space and budgets allow, there’s no substitute for a separate console for monitor mixing – which is why we created the Monitor 2, an ideal complement to full-size

FOH desks like the Spirit 8. The Monitor 2 combines all the necessities of a professional monitor desk with elegant design features aimed at speed and clarity in use

– such as Split outputs that allow easy connection to an

FOH mixer without using splitter leads. And because versatility is a priority in all of Soundcraft’s Spirit range of designs, the Monitor 2 is flexible enough to perform

FOH mixing where no other mixer is available.

The last thing you want when setting up a monitor mix is to run out of aux sends. The Monitor 2 has 12 sends in total: eight mono sends plus two stereo pairs.

Whilst the stereo pairs can be used, like the mono sends, for routing to conventional on-stage speaker cabs, they are ideally suited to setting up stereo in-ear monitor mixes – preferred by more and more artists these days. We’ve even given the

Monitor 2 two house mic inputs, with phantom power, to allow background ambience to be mixed into the ‘dry’ in-ear monitor feeds. All sends are normally post-fade and post-EQ, though they can be switched on each channel to pre-fade operation, if necessary for effect sends.

Easy set-up

The Monitor 2’s connectors, easily accessible at the rear of the front panel, make it easy to get hooked up.

All channels accept a mic or line input via a balanced XLR input, with a Split output (also on an XLR) that duplicates the input signal for a feed to a front-of-house console, or to a multitrack recorder. Switchable +48V phantom power is provided on all channels, for phantom powered stage boxes or mics. Because you may want to use noise gates or compressors on some channels, to remove unwanted

‘spill’ in drum mics or to keep bass volume down to a safe level, all mono channels feature insert points on stereo jack sockets.

Powerful EQ is just as useful on a monitor desk as on a front-of-house design – balancing on-stage sound so that everyone gets a clear monitor mix, without feedback, can require very precise tonal control. That’s why we gave all mono input channels on the Monitor 2 our classic 4-band EQ, with its well-chosen bands and precision controls. An EQ In/Out switch is also provided, to make onthe-fly comparisons easy.

Monitoring in

Touring, Venue and Theatre

Monitor plus FOH in Small Venues

SEE PAGES 33 – 35

Frame sizes available:

16

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8 SPECIFICATIONS – PAGE

Live Brochure XP1 pgs 10_31.qxd 6/12/02 12:59 pm Page 18

MONITOR 2

CONTROLS & CONNECTIONS

INPUTS

Mic/Line Input

A balanced female XLR connector accepts balanced or unbalanced mic or line signals. At -129dbU EIN the mic amp is extremely quiet.

48V Phantom Power Switch

Individual switches on each channel activate Phantom Power for use with condenser mics or active DI boxes.

Split Out

A balanced male XLR connector on each Mono input allows the “dry” input signal to be sent direct to a

FOH mixer.

Insert

1/4” TRS jacks are provided for patching in Limiters, Graphic

Equalisers or other signal processors.

180° Phase Reverse switch

This switch reverses the polarity of the input to compensate for phase differences caused by multiple microphone placement or incorrectly wired input cables.

Padless Input Sensitivity control

Soundcraft’s UltraMic+™ padless mic preamp provides up to +28dBu input capability, with the input sensitivity control operating between

+6dB and -60dB on the Mic / Line inputs.

High Pass Filter

The 100Hz, 18dB/octave filter is an effective tool for tackling low frequency rumble or mic popping.

EQ Section

Monitor 2 has a 4-band equaliser section with two swept mids for extra control during live performances. All bands provide

15dB of cut or boost.

The HF shelving filter operates above 13kHz.The Hi Mid control operates between 550Hz and 13kHz with Lo Mid operating between

80Hz and 1.9kHz. The LF shelving filter operates below 80Hz.

EQ In/Out Switch

When the EQ switch is selected, the

EQ section is bypassed allowing comparison of treated and untreated sounds. An 18dB per octave 100Hz

High Pass Filter is available prior to the EQ section to ‘clean up’ low end frequencies.

Monitor Sends

Sends 1 to 8 are Mono with 9/10 and 11/12 configured as Stereo pairs for in-ear monitoring. All are normally Post-Fade/ Post-EQ but may be switched to Pre-Fade/Post-

EQ by pressing the associated PRE switches.

Mute

Provides muting control over the input channel including monitor sends. The adjacent LED lights when mute is activated.

Fader

Input levels are controlled by highly accurate 60mm linear faders.

Signal Present LED

Illuminates when a signal is present to give an instant indication of which channels are in use.

PFL/Peak

The latching PFL with LED solos the input for monitoring. When PFL is switched out, the LED acts as a channel peak signal indicator.

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8

OUTPUT SECTION

These outputs provide summing of the corresponding input channel monitor sends. Outputs 1-8 are configured as

Mono sends, 9/10 and 11/12 are

Stereo.

Outputs

Impedance-balanced male XLRs provide outputs from the Monitor section.

Graphic EQ (Inserts)

Two balanced 1/4" jacks allow connection of a graphic equaliser across a stage monitor.

Bargraph Meters

The 3-colour, 12 segment LED meters can be switched Pre/Post EQ on inserts.

MNTR Control

Provides rotary level control of the engineer’s wedge/headphones level.

Switchable Pre/Post EQ on inserts.

Solo

Solos the monitor output on the engineers wedge/headphones

FOH Facility (outputs 1-10)

Allows sub-grouping to outputs

11-12 when Monitor 2 is used as a

FOH mixer.

Pan

Allows the signal to be sent individually to monitors 11-12.

FX Returns

Two stereo effects returns (either

RET1 or RET2) may be mixed direct to the stage monitor output.

Effects are connected by FX1/FX2

1/4" jacks.

Mute

Disables the stage monitor send.

The LED lights when mute is active.

High Pass Filters

Channels1-8 are provided with a variable filter (off-160Hz). A fixed

60Hz filter is used for channels

9-12.

T/B (Talkback)

A balanced XLR connector allows a

T/B microphone signal to be routed to monitor out. The rotary control governs level.

Dim

Instantly attenuates monitor output by 6dB.

Fader

Accurate and consistent 100mm long throw linear faders control the overall level of each output.

House (inputs 9-10, 11-12)

A rotary control determines the level of the "house" mics being sent to the monitor output when in-ear monitors are being used.

18

MASTER SECTION

L & R Bargraph Meters

The 3-colour, 12 segment meters show levels as selected by the

Wedge Source switch.

Phones Level Control

Sets level to the phones jack. Use headphones having an impedance of

200 Ohms or higher.

Solo/PFL Trim

Provides ±15dB level adjustment to allow for differences in operating levels.

Wedge Source

Selects monitor outputs 11-12 as source for engineer's wedge outputs, if the console is being used as a

FOH desk.

House Mics

Two balanced female XLR inputs allow connection of “house” mics to provide ambience for in-ear monitors.

House Sens

Sets the house mic input level.

Phantom Power (+48VDC) is available for condenser microphones.

FX Returns

When the HOUSE switch is pressed, these two balanced stereo effects returns may be used in place of the house mic inputs on monitor channels 9-12.

T/B Sensitivity

Controls the Talkback mic level to the selected monitor outputs.

Master T/B

Routes the Talkback signal to ALL monitor outputs.

Master Dim

Attenuates ALL monitor and wedge outputs by 6dB.

Fader

This 100mm fader controls the overall level of the engineer's wedges.

Wedges

Two male XLRs facilitate connection to the amplifier/s powering the engineer's monitor wedges.

Dustcover Option

To protect Monitor 2 from dust, dirt and minor spillages when not in use.

CONNECTOR PANEL

MONITOR 2

SPECIFICATIONS

Noise

Measured RMS, 22Hz-22kHz bandwidth.

Inputs at unity gain and terminated 150

Ω.

Output Noise

24 inputs routed, sends down, master @ unity

Mic EIN

< -80dBu

Measured @ max. gain

(150

Ω terminated)

THD & N

-129dBu

Mic sensitivity -10dBu, faders @ unity, send @ max., +20dBu @ all outputs

@ 1kHz <0.005%

Crosstalk

@ 1 kHz, typical

Channel send range

Channel fader range

Mute attenuation

Adjacent output isolation

CMRR

Typical @ max. gain @ 1kHz

Typical @ any gain @ 50Hz

Frequency Response

> 90dB

> 80dB

> 100dB

> 90dB

> 85dB

> 65dB

Input to output, medium gain, via output

(High Pass Filter off)

15Hz - 45kHz

25Hz - 25kHz

< -3dB

< -1dB

Typical Input & Output Levels

> +22dBu

+28dBu

Max. output

Max. signal into mic input

Max. signal into FX Return

& Insert Return

Max. sensitivity of FX Return

(output faders @ unity)

Max.level into Talkback Mic input

Max. level into House Mic input

Headphones (@ 200

Ω)

Input & Output Impedances

Mic Input

FX Returns

+22dBu

-15dBu

+3dBu

+8dBu

150mW

1.8k

8.6k

75

Monitor Outputs, Wedges & Inserts

Power Supply Unit

Please see page 47 for details

591MM

(23.3")

88MM

(3.5")

24 CHANNEL: 1201MM (47.3")

32 CHANNEL: 1455MM (57.3")

40 CHANNEL: 1709MM (67.3")

PACKED WEIGHT:

24ch = 31.4kg (69.1lbs)

32ch = 37kg (81.4lbs)

40ch = 45.4kg (100lbs)

19

Live Brochure XP1 pgs 10_31.qxd 6/12/02 12:59 pm Page 20

LIVE 4

2

Up to 56 inputs –

40 mono, 8 stereo

4 group busses

UltraMic+ preamp with up to

66dB gain range

+48V phantom power, individually switchable on each channel

4-band EQ with two swept mid bands

4-BUS PROFESSIONAL MIXING CONSOLE

Mixing in larger venues requires more than just extra inputs and outputs – you need effective means of controlling the way that signals are routed, along with facilities such as grouping and mutes that make it easy to deal with all those channels. The Live 4

2

, in frame sizes from 12 to 40 channels, is designed for just these situations: its 4-buss architecture provides the basis for grouping sets of inputs; a wide variety of mono and stereo sources can be mixed through to as many as 14 outputs; and full-size 100mm faders provide precise and smooth group and master level controls.

Control Freak

Uniquely in its price bracket, the Live

4 2 offers the power of professional mute group control. Especially useful in bigger installations and larger frame sizes, the four mute groups can be used to silence sets of channels, making it easy to switch between bands or scenes in theatre. Using the mute group buttons next to each channel fader, you can, for example, assign all radio mic channels to mute group 1, then use the master section mute controls to kill these channels when they’re not needed. Simple channel mutes are also provided, allowing you instantly to silence a channel in an emergency. Drawing on years of live experience, the Live 4 2 's mute circuits are designed to be foolproof - when you mute a channel, either via a mute group or a channel mutes, you silence all of its outputs, including aux and and group routings,

12, 16, 24, 32 and 40-channel frame sizes

4 mute groups

Additional outputs on 6 x 2 matrix

2 or 4 additional stereo inputs

Phase reverse on mono inputs

18dB/octave high-pass filter

6 aux sends, 4 of them pre/post switchable

4 stereo returns

Optional 8-channel expander

Sound installations where 4 busses are required

Club or venue installation

FOH band console

Houses of worship

Theatre sound

PA hire

SEE PAGES 33 – 35

Frame sizes available:

ensuring that there is no way for a muted source to find a way back into the mix.

Despite its compact size, the Live 4 2 includes a 6 x 2 matrix section that gives you two extra outputs, derived from the groups and stereo outputs.

This means that in any application where the groups and main mix still aren't enough, two extra speaker clusters, more rooms, monitor wedges, or perhaps recording hardware, can be fed with additional independent mixes. Counting the auxiliary sends, the Live 4

2 can provide a total of 14 different mix outputs, each with its own mix balance.

Input channels

In live mixing, 'garbage in, garbage out' is as true as it is anywhere - which is why we equipped all mono channels on the Live 4 2 with the classic

Soundcraft UltraMic+ pre-amp, a proven favourite of live engineers the world over. +48V phantom power for condenser mics can be switched individually on each channel, and phase reverse makes it easy to handle complex multimic mixing. There are insert points on all mono channels for dynamics processors, such as compressors to keep tricky vocals and bass levels under control, while channel direct outputs allow connection to a multitrack for professional live recordings. Each channel can be routed to any combination of Groups 1-2, 3-4, and the main stereo mix bus, allowing a high degree of flexibility in how inputs are mixed through to outputs. You could use the groups as two stereo pairs, routing vocals through 1-2 and all instruments through 3-4, making it easy to balance the relative vocal/instrument balance in the mix using only the four group faders. In theatre use, you might use the groups to feed several speaker stacks, with the group faders providing precise output level control.

The Live 4 2 's six auxiliary sends can be configured in several ways, providing maximum flexibility for foldback and effects. Up to four sends can be set to either pre-fade operation, suitable for monitor sends, or post-fade operation, which is better for effect sends.

Stereo sources are handled by dedicated stereo channels, each boasting two sets of inputs: one suitable for stereo instruments, and one for sources such as CD and tape players. The simpler

'playback' inputs can be switched to match -10dB or -

20dB sources, and have aux sends plus a simple level control feeding the main mix bus. The second set of inputs have full channel facilities, including six aux sends, 2band EQ, and a balance pot to control stereo positioning.

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8 SPECIFICATIONS – BLOCK

20 21

Live Brochure XP1 pgs 10_31.qxd 6/12/02 12:59 pm Page 22

LIVE 4

2

CONTROLS & CONNECTIONS

MONO INPUTS

Mic Input

A balanced XLR connector accepts balanced or unbalanced mic signals. At -129dbU EIN the mic amp is extremely quiet and transparent.

Line Input

A balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards.

+48V Phantom Power

Activates phantom power on each channel individually when using condenser microphones or active DI boxes.

Direct Out

An impedance-balanced Post-Fade, Post-EQ connector provides access to effects units, or can send signals to multitracks for recording.

Insert

For patching in Limiters, Graphic Equalisers or other signal processors.

Phase Reverse

When pressed, this switch reverses the polarity of the input to compensate for phase differences caused by multiple microphone placement or incorrectly wired input cables.

Input Sensitivity

Soundcraft’s low noise UltraMic+™ padless preamp provides up to 66dB of gain range, allowing the connection of items such as line level sources, active DI boxes and the most sensitive condenser mics. The custom designed gain control provides a uniform increase in gain and smooth response across the entire range.

EQ Section

A 4 band EQ includes two swept mid frequencies with 15dB of cut and boost in the ranges 550Hz–13kHz and 80Hz–1.9kHz.

Two shelving controls at 12kHz and 80Hz provide 15dB of cut and boost for high and low frequencies. The frequency ranges of each band overlap, allowing the simultaneous cut and boost of adjacent frequencies.

High Pass Filter

A steep 18dB per Octave High Pass Filter at

100Hz is ideal for minimising on-stage rumble and mic popping.

CONNECTOR PANEL

EQ In/Out switch

The EQ In/Out switch allows comparison and “A/B Testing” of treated sounds without the inconvenience of having to reset controls.

Auxiliary Section

Live 4 2 ’s 6 Auxiliaries are configured with flexibility in mind, allowing four to be set Pre-Fade for performances where many foldback mixes are required or four Post-Fade when several effects sends are necessary.

Auxes 1, 2 and 3 are Pre-Fade,

Pre-EQ (changeable to Post-EQ by internal link).

Aux 3 can be selected Post-Fader internally.

Aux 4 is Post-Fade, Post-EQ but can be switched to be Pre-Fade Pre-EQ globally from the master section.

Auxes 5 and 6 are always Post-Fade,

Post-EQ.

Pan Control

Determines the position of the signal in the stereo image. Panning hard left or right allows the signal to be routed to only odd or even groups, or the L or R bus separately.

Routing

Input signals may be routed to Mix, or to the four Groups.

Mute Switch and Groups

The Mute switch mutes all channel outputs. Alternatively, a channel can be assigned to one of four Mute Groups.

These groups allow a combination of open mic or line inputs to be muted ideal for scene-setting in theatre applications or for multi-band performances.

Pre Fade Listen

When pressed, the PFL switch sends a

Pre-Fade solo to the headphones and the L & R meters for setting and monitoring gain levels: the main mix output is unaffected. The PFL LED glows when a solo is active, otherwise it acts as a peak indicator.

100mm Fader

Custom-built 100mm long throw faders ensure smooth, precise control over levels. Normal operating position is at zero with an extra 10dB available if required.

STEREO INPUTS

The four stereo inputs are housed in two input strips. Only one input strip is available on the 12 channel version.

Input Connectors

Two pairs of balanced 1/4 inch jacks allow connection of the left and right inputs of stereo sources. By plugging into the left input jack only, mono sources can be connected.

Cassette/CD Section

The upper stereo input is designed primarily for cassette or CD inputs. A gain switch facilitates connection of either -10dB semi-professional equipment, or -20dB Hi-Fi sources.

Two pre-fade aux sends are provided for foldback in addition to a PFL solo.

The rotary level control is routed permanently to Mix.

Main Stereo Input Section

This is a full facility input primarily for electronic instruments such as keyboards.

Gain Control

This control has 22dB of range and allows the matching of a wide variety of sources.

EQ Section

A two band fixed EQ section with

15dB of boost and cut is provided.

High frequency is selectable between

6 and 12kHz, and the LF between 80 and 120Hz, for extra flexibility.

Aux Section

The Aux section is similar to the mono inputs’ except that Auxes 1, 2 and 3 are Pre-Fade, Post-EQ.

Balance

Sets the relative levels of the Left and

Right inputs.

Routing

Input signals may be routed to Mix, or to the four Groups.

Mute Switch and Groups

The Mute switch mutes all channel outputs. Alternatively, a channel can be assigned to one of four Mute

Groups. These groups allow a combination of open mic or line inputs to be muted - ideal for scenesetting in theatre applications or for multi-band performances.

Pre Fade Listen

When pressed, the PFL switch sends a

Pre-Fade solo to the headphones and the L & R meters for setting and monitoring gain levels: the main mix output is unaffected. The PFL LED glows when a solo is active, otherwise it acts as a peak indicator.

100mm Fader

Custom-built 100mm long throw faders ensure smooth, precise control over levels. Normal operating position is at zero with an extra 10dB available if required.

GROUP SECTION

Group Outputs

Four Impedance-Balanced XLR connectors allow the connection of the group outputs to extra speaker stacks, or to recording devices.

Inserts

Signal processors may be connected in series with the groups via these 1/4” jacks.

Stereo Returns

Four pairs of balanced 1/4" jacks accept the outputs from reverbs and effects units. The

Stereo Returns can also be used as extra line level inputs.

Group Meters

Three-colour, 12 segment, peak-reading bargraph meters provide visual indication of group levels.

Stereo Return Controls

Provide level control over the output from effects devices. May be routed straight to mix, or to the pair of groups directly below.

Matrix Sends

A 6x2 Matrix section provides feeds from the four groups and the L & R Mix busses to two additional independent outputs. These can be used to feed extra speaker clusters, side-fills or delay towers. The stereo switch combines the Matrix Outputs into a Stereo pair.

PFL Switch

Each group can be soloed pre-fader for monitoring. The PFL light below each switch illuminates when a group PFL is active.

Group Faders

100mm faders control Group levels. The

Groups can be routed to Mix, or assigned as mono pairs.

ACCESSORIES AND EXTRAS

Flightcasing

Live 4 2 ’s side panels can be easily removed to save space when flight case mounting is required.

Dustcover Option

To protect Live 4 2 from dust, dirt and minor spillages when not in use.

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8 SPECIFICATIONS – PAGE 24 BLOCK DIAGRAM – PAGE 24

22

MASTER SECTION

Main Outs

Two impedance-balanced XLRs provide the

Stereo mix for the FOH amplification.

Matrix Outs

Two impedance-balanced XLRs supply output signals from Matrix A and Matrix B.

Mix Inserts

For connecting protective limiters or graphic equalisers in series with the mix.

Rec Out

Two 1/4" jacks provide a -10dBV level signal of the mix for use with cassette or DAT recorders.

Aux Outputs

The six impedance-balanced 1/4" jacks can be used to feed stage monitors or effects units.

Master Meters

Two peak-reading, 12-segment bargraphs indicate mix levels. If any solo is activated the meters switch to read those levels.

TalkBack Section

Allows the engineer to talk to the musicians through Auxes 1-4, the Mix or the Groups.

Level control and mic XLR provided.

Matrix Masters

These control the overall level of the Matrix

Outputs.

Master Faders

100mm faders set the final level of the Mix

Outputs.

Aux Masters

For controlling the master levels of each aux bus. Each Master can be soloed after the fader to monitor levels. Aux 4 can be switched Pre-Fade globally by pressing the

Aux 4 PRE switch.

PFL/AFL LED

Indicates if any PFL or AFL has been activated.

Headphones Level

Sets the level of the headphones.

Mono Check

This sums the L & R outputs allowing checks for phasing problems.

Mute Masters

Provide muting control over any channels that have been assigned to one of the four Mute busses.

Phones Socket

Suitable for use with headphones having an impedance of 200 Ohms or higher.

Power LED

Indicates when Live 4 2 is powered up.

Power Input

An external power supply unit minimises mains hum. See page 47 for details.

23

Live Brochure XP1 pgs 10_31.qxd 6/12/02 1:00 pm Page 24

LIVE 4

2

590.5MM

(23.44")

87.5MM

(3.44")

12 CHANNEL 685MM (27")

16 CHANNEL 845MM (33.3")

24 CHANNEL 1101MM (43.3")

32 CHANNEL 1362MM (53.6")

40 CHANNEL 1616MM (63.6")

PACKED WEIGHT:

12ch = 17.4kg (38.3lbs)

16ch = 21.4kg (47.1lbs)

24ch = 28kg (61.6lbs)

32ch = 34.8kg (76.6lbs)

40ch = 41.8kg (92lbs)

SPECIFICATIONS

Noise

Measured RMS, 22Hz to 22kHz Bandwidth.

Line inputs selected at unity gain and terminated 150

Mix

26 Inputs routed to Mix, faders at unity, muted

Mix Faders down

Aux

26 Inputs routed, output at max, input faders down

Direct Output

-82dBu

-97dBu

-84dBu

Input to Direct Output @ unity gain

Input to Direct Output @ 40dB gain

Matrix Output

Matrix Output at max, Sends down

EIN

Microphone Input, Maximum Gain, terminated 150R

Crosstalk

-87dBu

-77dBu

-95dBu

-129dBu

Wide Band except where stated

Typical Channel Fader Attenuation

Typical Aux Attenuation

Typical Pan Isolation

Adjacent Channel Crosstalk

>80dB

>80dB

>70dB

>85dB

100dB @ 1kHz

Frequency Response

20Hz to 20kHz

THD

-10dBu Input routed to Mix,

+20dBu out @ 1kHz

CMRR

Typical at max gain @ 1kHz

Typical at any gain @ 50Hz

Input & Output Impedances

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

-1dB

<0.006%

+28dBu

+25dBu

+18dBu

+22dBu

-20dBV (Hi)

Max Mic Gain through longest path to Mix 84dB

Power Supply Unit

Please see page 47 for details

-85dB

-65dB

1.8k

10k

8.6k

12.8k

19k

+48V

+48V

MIC

INPUT

3

1 2

LINE

INPUT

DIRECT

OUTPUT

GAIN

LO/HI

MIC/LINE

GAIN

100Hz

FADER

PFL

HIGH PASS

FILTER

INSERT

EQ

M1 M2 M3 M4

MUTE

MUTE

BUSES

MONO INPUT

STEREO INPUT

L

STEREO

INPUT

R

EQ

HF & LF

EQ

HF & LF

EQ

M1 M2 M3 M4

MUTE

PFL BAL FADER

MUTE

BUSES

PAN

1-2 3-4

1-2 3-4

PEAK

DETECT

PFL

EQ

AUX PRE

SOURCE

POST-EQ

PRE-EQ

L-R

AUX1

AUX2

AUX3

PRE

POST

AUX4

AUX5

AUX6

L-R

PRE

POST

AUX1

AUX2

AUX3

AUX4

AUX5

AUX6

L

CASS/CD

INPUT

R

LEVEL

PRE

AUX1

AUX2

STEREO RETURN (1 of 4)

L

STEREO

RETURN

R

1-2

MIX

3-4

MIX

MIX LEFT

REC L

INSERT

MASTER

FADER

STEREO

MATRIX A

MATRIX B

A

B

3

2 1

MIX

LEFT

MIX RIGHT

REC R

INSERT FADER

3

2 1

MIX

RIGHT

PHONES

PFL/AFL

PFL

ENABLE

M1 M2 M3 M4

AFL AFL

AUX1

(AUX 2,3,5,6 SIMILAR)

MUTE BUSES

AUX4 PRE

AUX4 POST

AUX4

PRE

AUX

1-2

AUX

3-4

GRPS MIX

L METER/

PFL/AFL

MONO

CHECK

R METER/

PFL/AFL

MATRIX A

BUS

MATRIX B

BUS

TB

3

1 2

TALKBACK

MIC

INPUT

GROUP 1 (2, 3 & 4 SIMILAR)

GROUP

ASSIGN

PFL

INSERT

MIX L

MIX R

GROUPS

TO MIX

STEREO

MONO

FADER

3

2 1

GROUP

OUT

GROUP

2 OR 4

MATRIX A

MATRIX B

METER

A

B

3

2 1

MATRIX

A OUT

3

2 1

MATRIX

B OUT

AUX1

(2,3,5,6)

AUX4

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8

24

SPIRIT M SERIES

HIGH PERFORMANCE COMPACT MIXERS

Effective grounding eliminates noise and crosstalk

3-band EQ with two swept mid bands

Integrated S/PDIF digital output

High quality, linear mic preamps with smooth gain control

4, 8, and 12-mono input channel frame sizes

18dB/octave high-pass filter

4 aux sends, 2 pre-fade and 2 post-fade

4 stereo returns

4 stereo inputs

100mm faders

Internal power supply

Integral rack mounting

Digital audio workstation front-end

Public address

Small PA hire

Multi-speaker systems

PA mixing for bars, schools, leisure centres, etc

Conferencing

Small-medium size band mixing

SEE PAGES 33 – 35

In a world full of cheap compact mixers, Soundcraft has achieved something exceptional with the Spirit M Series. Suited to a wide range of live sound applications, the Spirit M Series delivers a greatsounding, reliable performance, gig after gig, mix after mix. A mixer for life.

Sonic integrity through design

Through a fresh and innovative approach,

Soundcraft designers have created a mixer that rivals the sonic performance of many high end live consoles.

Attention to detail in the design of the

Spirit M Series makes mixing a positive pleasure. A no-compromise approach to circuit design and to the quality of the components throughout has resulted in a console that delivers exceptionally low noise and crosstalk figures. Mic and line inputs are provided on balanced XLR and

1/4" jack connectors for optimum performance, with the main stereo outputs on balanced XLRs for better integration with other professional equipment. There are also insert points on every mono channel and the mix outputs for external signal processing.

Built for all eventualities

Live sound reinforcement requires different mixes – a stereo master mix for the audience and one or more monitor mixes for the performers on stage. The monitor mixes can be set up using Aux

1-4 on the M Series mixer. When a venue uses multiple fill speakers, delay should be added to speakers that are closer to the listener.

The direct outputs on the Spirit M Series can be used to record each of the mono input channels to a multitrack recorder.

Each direct output can be individually switched to be pre-fade, ensuring the signal at these outputs remains unaffected by any movements of the channel faders during the live performance. Different mixes of the performance can then be made after the event.

Integral rack mounting

Through innovative design, the M Series can be transformed into a rack-mounted desk suitable for use on the road. All three mixers in the range occupy 11U of standard rack space.

Comprehensive monitoring control

Because levels are constantly changing throughout the signal path – from the preamp stage, through filtering and EQ – the Spirit M Series provides signal detect and peak LEDs on all input channels.

These monitoring LEDs are fed from multiple points in the circuit path to ensure nothing gets overlooked. The main stereo mix has two 12-segment LED meters, with a SOLO AFL/PFL indicator to show whether any solo channels or aux masters are being monitored. With all this information instantly available, efficient control is easy to maintain.

Switchable direct outputs

Use a single console for your live mix and recording. Switchable direct outputs enable the pre-fade signal to be sent directly to the recorder regardless of the fader settings used for the live mix, allowing total post production flexibility.

Frame sizes available:

SPECIFICATIONS – PAGE 27 BLOCK DIAGRAM – PAGE 27

25

Live Brochure XP1 pgs 10_31.qxd 6/12/02 1:00 pm Page 26

SPIRIT M SERIES

CONTROLS & CONNECTIONS

MONO INPUTS

Direct Out (switchable)

For connection to external multitrack recorders or effects units.

Mic Input

A balanced female XLR connector accepts balanced or unbalanced mic signals. At -128dbu EIN the mic amp is extremely quiet and transparent.

Line Input

A balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards.

Insert

For patching in Limiters, Graphic

Equalisers or other signal processors. It can also be used for recording.

Gain

A rotary gain control on each input alters the gain of the input signal, from +5 to

+60dB. Linear circuitry within the preamp delivers smooth gain control over the entire gain range.

Filter Section

A high pass filter with an

18dB per octave slope can be used to reduce frequencies below 100Hz.

Ideal for reducing unwanted stage rumble or popping from microphones.

EQ Section

Equalisation is split into three bands. The HF control provides 15dB of cut or boost (gain adjustment) for frequencies above 12kHz.

Two swept mid frequency controls enable frequencies from 240Hz to 6kHz to be adjusted, offering 15dB of cut or boost at the selected frequency. Signals below

60Hz can be adjusted with the LF control, which features ±15dB of gain adjustment (cut or boost).

Auxiliary Section

For sending separate monitor mixes in live applications, four aux busses, with two pre-fade and two post-fade aux sends on each input channel cater for all requirements.

Pan, Muting, PFL &

Direct Pre

The pan control positions each channel’s signal across the stereo image, with a mute button to cut the signal completely. A PFL (Pre

Fade Listen) button solos the signal for monitoring. The

Direct Pre button selects the direct outputs to be prefader.

Faders and Metering

Each mono channel features a smooth 100mm fader, a signal LED to show whether a signal is present and a peak level LED indicating signal levels in excess of

+17dBu.

STEREO INPUTS

Aux Output

The aux output contains a mix of the aux send signals sent from each input channel, which can then be sent as a monitor mix to stage loudspeakers or to send to an external effects unit.

Input Connectors

The stereo inputs are connected via balanced 1/4" jack inputs delivering optimum performance with other professional audio equipment.

Stereo Returns

Stereo returns for effects processors are via RCA phono inputs – these returns can also be used with CD players and other hi-fi equipment.

EQ Section

Equalisation on the stereo channel strip is simpler than the

EQ featured on the mono channels. There are two controls, adjusting HF signals at

12kHz and LF signals at 60Hz by ±15dB.

Auxiliary Section

With 4 aux sends on the stereo input channels, the signal can be sent pre-fade for use in a monitor mix (using aux sends 1

& 2) or sent post-fade (via aux sends 3 & 4) for effects processing.

Bal, Muting, PFL & Direct

Pre

The balance control adjusts the amount of the signal sent to the left and right busses. Mute and PFL buttons operate as on the mono input channels, cutting or soloing the stereo channel. With PFL pressed, the pre-fade signal is fed to the headphones, control room output and meters, with levels displayed on the left and right meters in mono to enable levels to be monitored without interruption to the main mix.

Faders and Metering

Each stereo channel features a smooth 100mm fader, a signal

LED to show whether a signal is present and a peak level LED indicating signal levels in excess of +17dBu.

MASTER SECTION

Phantom Power

Global control over phantom power is offered via a push button. When active, an LED will illuminate.

2-Track Inputs

2-track recorder playback inputs are on unbalanced RCA phonos.

Monitor Output and Mix Insert

Available on balanced 1/4" jacks.

Mix Outputs and Mono Sum

The main left and right mix outputs are provided on balanced XLR connectors with a mono sum signal available on a balanced 1/4" jack.

Playback Level

The playback gain control adjusts the level from the 2-track playback inputs. This playback signal can be monitored separately by pressing the PFL button, which routes it to your monitoring system or to the headphones, replacing any existing monitoring signals. The

‘P/B Replace Mix’ button routes the playback signal directly to the main mix, replacing any signal that may be present.

Mono Sum, Monitor & Phones Level

Levels sent to the mono sum output, monitor output and headphones can be adjusted using these three rotary controls. And when a pair of headphones are plugged into the phones socket at the bottom right of the mixer, the monitor outputs are cut for easier headphone listening.

Auxiliary Masters

Each aux bus features a master level control, with an AFL (After Fade Listen) button enabling monitoring of each aux output. When pressed, the

AFL button routes the aux output to the monitor ouputs or to the headphones, where it can be monitored on the master stereo meters.

Faders and Metering

Controlling the overall stereo mix level are two

100mm faders, with two

12-segment 3-colour LED peak-reading bargraph meters monitoring the mix right and mix left outputs.

These meters normally follow the current monitor selection, so if any PFL or

AFL is pressed, the meters will switch to monitor this and the Solo AFL/PFL LED will light.

RETURNS CONTROLS

Gain Control

Positioned at the top of each stereo channel strip, adjusts the gain for each stereo return, with a peak signal LED indicating when the signal exceeds +17dBu.

Return Master

Adjusts the overall level of the stereo returns in the main mix.

Mute Button

When stereo returns are used to return a signal from an effects unit, the mute button offers a fast method of comparing the signal with or without FX.

CONNECTOR PANEL

26

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8

SPIRIT M SERIES

SPECIFICATIONS

MIC

Zin ~ 2K

LINE

»

LEFT/MONO

RIGHT

+48V

PHANTOM POWER

EQ

GAIN

INSERT

75W

HF

100Hz

HPF

PEAK

(+17dBu)

RD

SIG.PRESENT

(-20dBu)

GN

MONO CHANNEL (ALL SIMILAR) d/c

PFL

MUTE

DIR.PRE

DIRECT

OUTPUT

75W

FADER

10dB

(AUX3)

PAN

(AUX4)

(POST)

(AUX1)

(AUX2)

(PRE)

GAIN

LF HF

EQ

FADER

BALANCE

‘PK’

RD

GN

‘SP’

STEREO CHANNEL (STE1 - STE4 SIMILAR)

L

R

LEVEL

PB/L

PB/R

Zin

»

10K MIN

30K MAX

LEVEL

NOTE : PB PFL IS INVERTED

(R1L)

STEREO RETURN

(1- 4 SIMILAR)

PEAK

RD

R3L

R4L

R1R

R2R

R3R

R4R d/c

PFL

2 TK PLAYBACK

AUX3

(POST)

AUX4

(POST)

AUX1

(PRE)

AUX2

(PRE)

LEVEL

ST. RET. MASTERS

MUTE

MIX

BUSSES

PB

REPLACE

MIX

PB/L

INS.

FADER

MON L

MON R

PB/R

INS.

FADER

PFL

RD

MON

(PFL)

MIX/L

OUT

75W

MIX/R

OUT

75W

FS

44.1K

SP/DIF

MONO

SUM

75W

AUX1 O/P (75R)

(AUX2 SIMILAR)

AFL

AFL d/c

BUS AMPS, ETC.

MON

(MIX/L)

MONITOR & METERS

METERS

L R

MON

(MIX/R)

0

-3

-6

-9

+12

+9

+6

+3

-12

-30 dBv

0dBv =

+4dBu

0dB

MON

(PFL)

AUX3 O/P (75R)

(AUX4 SIMILAR)

STEREO

H/PHONES

H/P’s

MON

(MIX/L)

75W

MON

(MIX/R)

MON LEVEL

Frequency Response

Mic/Line Input to any Output,

20Hz - 20kHz

T.H.D.

Mic Sensitivity -30dBu,

+20dBu @ all outputs

Noise

Mic Input EIN (maximum gain,

<0.008% @ 1kHz measured 22Hz - 22kHz, unweighted) -128dBu

373.4

355.9

444.6

12.5

29.5

42.5

118.0

12.5

29.5

+/-1dB

335.4

Aux and Mix Outputs (8 ch.routed, faders down, 22Hz - 22kHz, unweighted) < -84dBu

Crosstalk

Channel Mute

<90dB 20Hz - 10kHz, <80dB 10kHz - 20kHz

Fader Cut-Off (ref. Fader 0dB)

<90dB 20Hz - 10kHz, <80dB 10kHz - 20kHz

Routing Isolation

<90dB 20Hz - 10kHz, <80dB 10kHz - 20kHz

M4 DIMENSIONS

118.7

396.9

17.2

43.1

M8/12 DIMENSIONS

Input & Output Impedances

Microphone Input

Mono Channel Line Input

Stereo Input (Stereo Mode)

Stereo Returns

Headphones Output

~2k

>40k

>30k

>10k

~40

75

All Other Audio Outputs

Input & Output Levels

Microphone Input Max. Level

HP

EQ

+12dBu

Mono Channel Line Input Max. Level +38dBu

Stereo Input Max. Level +21dBu

Headphones Output (into 200

Ω)

All Other Audio Outputs

150mW

+21dBu into 10k

Filter

100Hz, 18dB/octave

HF

MF

LF

Weight

12kHz, +/-15dB

240Hz - 6kHz, +/-15dB

60Hz, +/-15dB

M4

M8

M12

6.75kg (14.8 lbs)

8.25kg (18.1 lbs)

8.55kg (18.8 lbs)

482.6

465.1

444.6

118.7

42.5

118.0

506.1

17.2

43.1

27

Live Brochure XP1 pgs 10_31.qxd 6/12/02 1:01 pm Page 28

LX7

7-BUS PROFESSIONAL MIXING CONSOLE

4-band EQ with two swept mid bands

UltraMic+ preamp with up to

66dB gain range

True 7-bus architecture

Channel direct outputs

The Spirit LX7 combines the essential Soundcraft live mixer qualities with basic recording-oriented features, in a compact 16, 24 or 32 channel frame that’s light enough for one person to carry yet easy to configure and use. This makes it especially suitable for multi-purpose use in venues such as small halls and community centres, while its direct channel outputs make the LX7 an ideal choice for bands who need a live desk that can also double up in the studio.

Talkback facility

100mm faders

+48V phantom power

16, 24 or 32 channel frame sizes

Up to 40 inputs (including stereo inputs and returns)

18dB/octave high-pass filter

6 aux sends, 4 of them pre/post switchable

Group and mix inserts

12-segment LED metering

Integral PSU

Frame sizes available:

• Gigging bands

• Small installations

• Small venues

• Theatres

• Houses of worship

• Live and studio recording

SEE PAGES 33 – 35

True 7-bus architecture

Much of the LX7’s flexibility comes from its true 7-bus architecture; almost unique in a price bracket where most designs offer only four or six main outputs. In contrast, the LX7 boasts left and right main outputs, four group outputs, plus a mono output suitable for uses such as a centre speaker cluster, side or rear fills, induction loop, or mono mix recording.

All mono input channels use the

Soundcraft UltraMic+ mic pre-amp, ensuring that this most critical link of the signal chain can tolerate a wide range of input levels from almost any mic or instrument source.

Soundcraft’s proprietary circuitry means that distortion and noise levels remain exceptionally low, no matter how much you need to ride levels during a performance. +48V phantom power can be switched in and out globally, with an LED indicator in the master section.

Classic British EQ

The LX7’s 4-band EQ is designed to allow quick, powerful corrective treatment to compensate for problems during a show – brightening up a slipping mic that’s sounding slightly dull, or notching out a particular frequency from a feedback-prone mic near a monitor speaker. Because EQ frequency bands are chosen with all the benefit of years of in-house live experience, you get control just where you need it. Highquality circuit design is complemented by custom pots that offer consistent resolution and response, and

LX7 uses full 100mm faders rather than the less-effective 60mm controls found on similar mixers therefore a reassuring ‘feel’ to the EQ controls. More basic but even more useful, a powerful 18dB/octave highpass filter lets you remove stage rumble and other low-end mush without using up a valuable EQ band.

The LX7’s six auxiliary sends can be used for monitor sends, effects, or additional mix or tape outputs.

Auxes 1-4 can be switched in pairs between prefade operation, preferred for monitor mixing, and post-fade operation for effect sends, while auxes 5 & 6 are always post-fade. Noise gates, limiters or other dynamics processors can be patched into all input channels via insert points, and still more flexibility is afforded by the LX7’s

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8 SPECIFICATIONS – PAGE 32 BLOCK DIAGRAM – PAGE 32

28

Direct line outputs. Provided on channels 1-16 (or 1-8 on the 16 channel frame), these make it easy to route channels to additional effects units, or more likely to a digital or analogue multitrack for recording. And to make sure you never run out of inputs, as well as offering up to 32 mono input channels, the LX7 provides a further eight inputs on stereo channels, plus a 2-track input for preshow music playback.

No-compromise design

Because this is a Soundcraft design, all this versatility doesn’t mean you get any less quality. The LX7 employs the same electronic design principles as larger desks, and therefore delivers the same quality and reliability. Inside the

LX7, surface mount technology is employed throughout, allowing greater component packing density and ensuring outstanding reliability.

On the outside, an all-metal jackfield ensures reliable connections at all times, while the mixer’s electronics and integral power supply are protected by a solid metal frame.

29

Live Brochure XP1 pgs 10_31.qxd 6/12/02 1:01 pm Page 30

LX7

CONTROLS & CONNECTIONS

LO EQ

MONO INPUT CHANNEL

Mic Input

A balanced XLR connector accepts balanced or unbalanced mic signals.

Line Input

The balanced 1/4” jack allows connection of balanced or unbalanced electronic instruments, such as keyboards.

+48V Phantom Power

+48V Phantom Power is available globally from the master section for condenser mics and active DI boxes.

Input Stage

LX7’s exclusive UltraMic™ padless mic preamp provides up to 22dBu input capability with the input sensitivity control operating between 0dB and

-60dB on all mic inputs.

HIgh Pass Filter

A steep 18dB per Octave High Pass

Filter is included straight after the preamp to reduce low frequency rumble on stage and clean up vocal performances.

Insert

A pre-fade, pre-EQ (but post-HPF) insert point is provided for patching in Limiters, Graphic Equalisers or other signal processors. It may also be used for recording.

Direct Outputs

A direct output is also available on the first 16 channels with individual pre/post fader switching situated in the EQ section. This allows LX7’s direct outputs to be equally useful for effects send applications or multitrack tape feeds.

EQ Section

LX7’s 4 band equaliser section has two swept mid frequencies carefully selected for optimum control during live performances. All bands provide

15dB of cut or boost.

The Low frequency shelving control operates at frequencies below 80Hz.

The swept Lo Mid control operates between 80Hz and 1.9kHz.

The swept Hi Mid control operates at frequencies between 550Hz and 13kHz.

The fixed High frequency shelving filter operates at frequencies above 13kHz.

EQ Switch

The EQ section can be bypassed using the EQ switch, allowing comparison of treated and untreated sounds without having to reset controls.

Auxiliary Sends

6 flexible auxiliary sends allow the choice of either monitor or effects orientated mixes. Auxes 1-4 are normally post-fader, post-EQ but can be switched in pairs from each channel to be pre-fader, post-EQ.

Auxes 5 and 6 are always post-fader, post-EQ. In this way a maximum of 4 pre-fader foldback mixes or 6 postfader effects sends are possible.

Level Control and Routing

Each input channel can be routed to mix, the mono bus, and/or any of the

4 groups in pairs.

Pan Control

Turning the pan control full left or right enables odd or even groups or the left or right mix bus to be accessed individually.

Solo/PFL

Each channel can be soloed pre-fader, post-EQ to check gain levels.

PFL LED

The PFL indicator LED also doubles as a PEAK indicator, illuminating 4dB before clipping occurs to make the maximum headroom available.

100mm Fader

Professional- grade 100mm faders provide accurate, consistent control of audio levels.

HI MID SWEEP EQ

HI EQ

LO MID SWEEP EQ

CONNECTOR PANEL

STEREO INPUT SECTION

Two stereo inputs allow stereo sources such as

CD players, keyboards or samplers to be connected. Alternatively, they may be used as sophisticated effects returns.

Connections

2 balanced pairs of line inputs allow the stereo inputs to be accessed. Plugging in the left jack only will feed a mono source to both paths.

Input Gain control

A rotary control provides 22dBU of gain range to boost even the weakest line-level signals.

EQ Section

The two band High and Low frequency EQ section and provides 15dB of boost or cut at

12kHz and 80Hz respectively.

Auxiliary Control

The stereo inputs have access to either Auxes 1 and 2 or 3-4, by toggling the “3-4” switch.

Solo

Inputs can be soloed pre-fader, post-EQ and routed direct to mix, or to the group immediately below each input strip. A rotary control governs signal level.

GROUP SECTION

Group Outputs

Each group has an impedance-balanced 1/4” jack output connector, allowing long cable runs on stage.

Insert Points

Pre-fade insert point are provided on each group for the connection of Limiters, Graphic

Equalisers or other signal processors.

Auxiliary Outputs

There are 6 impedance-balanced jack outputs for the auxiliary outputs.

Auxiliary Masters

Six rotary controls govern auxiliary send level.

Each Auxiliary may be soloed after the fader.

Group Metering

Four 12-segment bargraph meters display group output levels.

Group Faders

Custom-built 100mm long-throw linear faders provide 10dB of extra gain above the “zero” mark, whilst still ensuring smooth operation.

Each pair of groups may be routed to mix.

MASTER SECTION

Connections

3 impedance-balanced XLR connectors cater for the Mix and Mono Outputs, with a balanced XLR input allowing talkback microphones to be connected. Two control room outputs for engineer monitoring are available on impedance balanced 1/4” jacks.

2TRK Inputs

A pair of unbalanced -10dBv phono connectors labelled “2TRK” allow pre-show music to be replayed.

Phantom Power

A global Phantom Power switch provides

+48V for condenser microphones and active

DI boxes. The LED illuminates when Phantom

Power is active.

Talkback Section

Once connected, the engineer’s talkback mic can be routed to either pair of groups or the mix. A rotary control governs talkback level.

Stereo Returns

Two stereo returns are provided for use with effects units, or as simple stereo instrument inputs. The rotary controls govern level and are automatically routed to mix.

Control Room Section

The control room section allows the engineer to monitor either the 2-track return, the

Mono Bus, the Mix, or either pair of groups via the control room outputs or headphones.

A headphone jack is provided for use with headphones with impedances of 200 Ohms or greater. Both the Control room and 2-track return levels can be altered using the associated controls. It is also possible to replace the mix output signal with the 2-track return by pressing “2 TRK TO MIX OUT”. This allows easy playing of pre-show music at a single button press, without having to make any alterations to the band’s settings.

Metering

A 12-segment bargraph meter normally displays mix output levels, but switches to display group, mono output or 2-track levels when the appropriate control room selection is made. If any input or auxiliary master is soloed then the PFL/AFL LED illuminates, and the master meters show PFL/AFL levels instead.

Master Faders

Mix and Mono Output levels are governed by custom-built 100mm long throw faders. The mix outputs may be routed to the mono bus should only a mono PA be required, or an induction loop need to be fed.

PSU indicators

The LEDS illuminate if LX7 is powered up, showing the status of the +/-17v voltage rails used within the console.

Power Supply

LX7’s power supply is internal, activated by the Power On switch on the rear panel.

Dust Cover

To protect LX7 in an installed environment.

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8 SPECIFICATIONS – PAGE 32 BLOCK DIAGRAM – PAGE 32

31 30

Live Brochure XP1 pgs 32_48.qxd 6/12/02 12:10 pm Page 32

LX7

SPECIFICATIONS

Noise

Measured RMS, 22Hz to 22kHz Bandwidth

Line inputs selected at unity gain and terminated 150

Mix

24 inputs routed to mix, faders at unity, muted

Mix faders down

<–80dBU

<–100dBu

Aux

24 inputs routed, output at max, input faders down

Direct Outputs

<–80dBu

Input to Direct output at unity gain <–90dBu

Input to Direct output at 40dB gain <–80dBu

EIN

Mic EIN @ max. gain -129dBu

Crosstalk (@1kHz)

Fader attenuation

Aux attenuation

Pan isolation

Adjacent Channel crosstalk

Channel Mute

Fader Cut-off (rel. 0 Mark)

Aux Sends Pots Offness

>95dB

>80dB

>75dB

>–80dB

>90dB

>90dB

>80dB

Frequency Response

Mic/Line Input to any output,

20Hz to 20kHz

THD+N

Mic sens. –30dBu, +20dBu at all outputs @ 1kHz

<1dB

<0.006%

CMRR

Typical at max gain @ 1kHz

Typical at any gain @ 50Hz

>80dB

>60dB

Input and Output Impedance

Mic Input

Line Input

Stereo Input

Stereo Input (Unbalanced RCA Phono)

Mix, Aux, Direct Out & Inserts

1.8k

10k

8.6k

12k

75

Input and Output levels

Mic Input max. level

Line Input max. level

+22dBu

+22dBu

Stereo Input max. level +21dBu

2 track return >30dBu

Headphones (@200

Ω) 150mW

10MM

(0.4")

164MM

(6.5")

22.0MM

(0.87")

24 INPUT: 856MM (33.7")

16 INPUT: 653MM (25.7")

503MM

(19.8")

PACKED WEIGHT:

16ch = 18.2kg (40lbs)

24ch = 21.8kg (48lbs)

77MM

(3")

31MM

(1.2")

+48V

MIC/LINE

GAIN

100Hz

INSERT

EQ

EQ

PEAK

PFL / ENABLE

MIC

INPUT

3

1 2

LINE

INPUT

HIGH PASS

FILTER

PRE

POST

DIRECT

OUTPUT

CH. 1 - 16 ONLY

DIRECT

PRE

PRE

MUTE

FADER

POST

MONO INPUTS

GAIN

L

HF & LF

EQ

PFL /

ENABLE

AUX1

R

STEREO 1 (STEREO 2 SIMILAR)

HF & LF

EQ

STEREO INPUTS

L

RET-1 (RET-2)

R

RET-1 (RET-2 SIMILAR)

STEREO RETURNS

GAIN

MIC

INPUT

3

1 2

MIX 1-2

PAN

AUX2

MONO

AUX

3-4

MIX

LEVEL

3-4

AUX 2

AUX 4

AUX 1

AUX 3

TALKBACK

AUX 1

AUX 2

AUX 3

AUX 4

1-2

PRE

PRE

AUX1

AUX2

AUX3

AUX4

AUX5

AUX6

1-2 (3-4)/

MIX

3-4

MIX LEFT

MASTER

MIX RIGHT

MONO

L

2 TRACK

R

2TRK

PFL/AFL

PFL

ENABLE

PFL/AFL

GROUP 1 (GROUP 3 SIMILAR)

GROUP 2 (GROUP 4 SIMILAR)

INSERT FADER

INSERT FADER

MONO

MIX L & R

GROUPS 1-2

GROUPS 3-4

INSERT

INSERT

AFL

MIX L

MIX R

1-2

3-4

2TRK

MONO

MIX

MONITOR SELECT

2TRK TO

MIX OUT

MONITOR SELECT

MIX TO

MONO

+48V

MONITOR SELECT

MONO

+48V

POWER

+17V -17V

L METER/

PFL/AFL

CRM/PHONES

PHONES

C/RM L

C/RM R

R METER/

PFL/AFL

GROUP 1(3)

MIX

LEFT

3

2

1

MIX

RIGHT

3

2

1

MONO

OUT

2

3

1

GROUP 1(3)

OUT

FADER

FADER

MONITOR

SELECT

GROUP 2(4)

OUT

GROUP 2(4)

MIX

AUX1 MASTER

(AUX2-6 SIMILAR)

AUX1 OUT

( 2-6 )

32

LIVE MIXER APPLICATIONS

On these pages, you will find some examples of Soundcraft live mixers in use, showing suggested ways of setting up and connecting equipment.

Key to

Connections

The connections shown in these applications have been colourcoded to represent the colour scheme used on the controls of all Soundcraft live consoles.

Mono Inputs

Stereo Inputs

Inserts

Auxes

Outputs

To FOH

Console

Grp 1/2 on LX7

Multitrack Recorder

Compressor/De-Esser

Vocal Mic

Vocal Mic

Mic'd Drum Kit

Guitar Amp

Mic'd

Live

Mixing

In the example

FOH setup shown here, any of the Spirit range of

Soundcraft live consoles may be used, though a monitor desk, such as the

Spirit Monitor 2, is best used alongside a fullsized front-ofhouse desk providing the main FOH mix.

House Mics

Keyboard

Cassette or CD Player for

Pre-Show / Interval Music

Effects

Effects

Delay

Stacks

DAT/Stereo Recorder

Delay Stack Amp Main

PA Left

Mono Amp

Main PA Amp

Mono Amp for Centre Speaker Cluster

Stage Monitor Amp

Stage Monitor Amp

Drummer’s ‘Fill’

In-Ear Monitors

Main

PA

Right

Tips

Positioning all stage mics behind the FOH speaker stacks will reduce the likelihood of feedback.

Mute channels when not in use to keep the mix clean – but remember to unmute them when they’re actually needed. Alternatively, use noise gates on all mic channels, which will automatically shut out most of the unwanted sound.

Graphic EQ across the mix

Live Brochure XP1 pgs 32_48.qxd 6/12/02 12:10 pm Page 34

LIVE MIXER APPLICATIONS

Houses of

Worship

If a room acoustic is poor – probably as a result of too much reverberation and

‘boominess’ in a space

– you will have fewer problems if you keep sound levels low.

As a room fills up with people, more sound energy is absorbed, especially at higher frequencies, and you may want to raise volume levels.

Installed

Sound

It is often necessary to feed sound to several areas with different acoustic characteristics.

Graphic equalisers patched into group insert points can provide a valuable means of tailoring the sound of each output.

Main Mic

Vocal Mic

Vocal Mic

Choir Mics

Guitar through

DI Box

Keyboard

Stereo Recorder

Amp for

Induction Loop

Amp with Stage Monitor

Graphic EQ across the mix

Main PA Amp

Induction Loop for the Hard of Hearing

Main PA Speakers

CD/MD Player

Main Mic

CD/MD Player

Speaker Zones

Amp

On Monitor 2, use Monitors 11 & 12 to set both levels with a single fader

Amp

Amp

Amp

Amp

Graphic EQ

34

Mics on Podium or Stage

Wireless/

Roving

Mics

CD/MD Player

Main PA Speakers

Amp

Extra Speakers

Amp

Outdoor event

Though it’s always good practice to keep your system as simple as possible, this is especially true for outdoor events – there’s less to go wrong, less to go missing, and fewer items to keep dry when it starts to rain.

If you need more than two main PA stacks, you may need to delay the signal going to the additional speaker stacks – the delay time should be equal to the time that it takes sound from the main speakers to reach the additional stacks. Digital delays can be patched into group outputs, or you could take matrix or aux sends and feed them via a delay line.

Sampler for FX

Keyboard

Front

FOH

Left

Wireless Mics

Centre Cluster

Front

FOH

Right

Amp

Amp

Amp

Amp

Stereo Graphic EQ

Rear FOH Speakers

Background

Speakers

Theatre

Sound

When mute groups are available, they are often best used on sets of radio mics, which can be brought up only when required for a scene. Lavalier mics clipped on to costumes are quite likely to produce unwanted sound, especially as actors move on and off stage. If you can, experiment with speaker positions for best results, as theatre acoustics are often surprisingly poor.

To reduce costume noise, try mounting

Lavalier radio mics on hair lines or cheeks.

Audience Mics

PC

CD or MD Player

Amp

Main FOH Amp and Speakers

Amp and Fill

Speakers

Wireless Mic

Wireless Mic

Video Screen

VCR/DVD Player

Rear Speakers

Presentation

Sound levels in presentations do not generally have to be all that high.

Nonetheless, you should ensure that the speakers and amplifiers used are adequate – bigger amps and speakers, driven well within their limits, will sound better at lower volumes than small amps and speakers that are trying a little too hard.

Amp and

Speakers in other areas e.g. foyer

35

Live Brochure XP1 pgs 32_48.qxd 6/12/02 12:10 pm Page 36

CHOOSING POWERED MIXERS

Powered mixers fulfil a widespread need for simple, integrated tools that remove much of the hassle involved in setting up a sound system, whether it be a permanent or temporary installation. The inclusion of amplification means that you can plug speakers straight into the mixer, without worrying about finding an external power amp. But a live mixer will also often include additional features that are usually performed by external processors – such as reverb and delay processing, or graphic EQ.

This integrated approach offers several advantages. Most importantly, the mixer and amplifier have been designed to complement each other electronically, so there’s no possibility of mismatching between mixer and amp. When time is tight, setting up for a club gig, having everything in one box can mean peace of mind. There are fewer leads to unpack and connect, and fewer boxes to set up, leaving more precious minutes to soundcheck and prepare for a performance. In a permanent installation, there are advantages – a powered mixer is much more compact than separate units, saving valuable space. And if you’re setting up an installation from scratch, it’s easier to choose a well-designed powered mixer than to pick out several separate boxes to perform the same task.

HOW TO CHOOSE A

POWERED MIXER

When choosing a powered mixer, the most important question to consider is how much sound level you need. The size of room is the most important factor – big rooms need more power – but there’s more to it than this. As a rule, folk duos need less volume than rock bands. And a noisy, young crowd may call for more volume than a quieter, older audience. Speaker sensitivity is also key: the higher the dB-per-watt rating, the less power is required. Horn-loaded speakers tend to be more efficient than cone speakers, but cheap horn speakers tend to distort. Remember that there are different ways of rating amplifiers, and that a peak rather than RMS (i.e.

average) power rating will make a lowpowered design seem more capable than it really is. It’s also important to understand that poorly designed amplifiers will distort far more – and at lower volume settings – than well designed ones.

Compare the typical frequency ranges of different voices and instruments with the EQ ranges found on Soundcraft powered mixers

(shown below)

PIANO (7-8 OCTAVES)

BASS

BASS DRUM

BASS SAX

GUITAR

SNARE DRUM

MALE VOICE

FEMALE VOICE

FOOTSTEPS

Mid EQ frequency is sweepable on

PowerStation mixers

15dB of cut or boost is available at low, mid and high frequencies, giving plenty of control just where it’s needed

Lo EQ Hi EQ

Think about how many inputs and outputs you need. Remember that as well as front of house (PA) speakers, you may need to drive on-stage monitor speakers, perhaps with an external amplifier. This requires one or more auxiliary outputs. Although you should ensure that you have enough inputs, bear in mind that it’s not always a good idea to amplify everything. In a small room, for example, amplifying a drum kit may cause more problems than it solves.

If you are working in theatre, do you need to feed signals backstage to the dressing room? If there’s no separate sound booth, does the mixer have a cooling fan that runs continuously, or will it only cut in when required? Quiet passages in a play might be disturbed by a noisy fan.

Good EQ and effective High Pass

Filters are often neglected by powered mixer designers, but these can make an enormous difference to the quality and clarity of the sound. Make sure that the EQ frequencies and slopes actually work on the type of sounds you’ll be using, and that the HPFs, if fitted, really do cut unwanted low frequency stage noise without ruining the tonal quality of instruments and vocals.

Because a powered mixer is usually chosen for applications where convenience and ease of operation are important, it’s worth choosing one with a clear control layout. Particularly when equipment may be used by nontechnical personnel, perhaps in community venues or houses of worship, simple, clear controls are as valuable as a few extra bells and whistles.

Finally, does the mixer offer enough flexibility to cope with its likely future applications? Immediate needs may be filled by something simpler, but features such as extra auxiliary sends, or insert points, might give the mixer a longer practical life, enabling a sound system to expand as more speakers are added, or dynamics or additional

EQ processors acquired.

36

POWERED MIXER FEATURES

INTEGRAL POWER AMP

By including true professional power amps, with large power supplies,

PowerStation and Powerpad mixers deliver clear, distortion-free sound even at high levels. The PowerStation

600’s amp is conservatively rated at

300 watts RMS per side (into 4

Ohms), while the PowerStation 1200’s is rated at 600 watts per side.

Advanced protection circuitry prevents overheating, and protects both the mixer output stages and your speakers from damage due to overload. Cooling fans switch in only when output sound levels exceed a certain level, when the amps run hotter and when the fan noise is masked by the music.

ON-BOARD EFFECTS

Rather than use low-cost anonymous effects chips, PowerStation mixers employ custom processors from

Lexicon, widely acknowledged as the first name in digital effects. As well as the convenience ensured by built-in effects, a further benefit is that by cutting out external cabling to and from the processor, there’s less chance to add noise or pick up interference.

On both the

PowerStation 600 and

1200, the effects processors feature specially programmed versions of classic reverb, delay and chorus effects, plus combination effects such as reverb plus delay. The 16 original presets are selected via a rotary pot, and the easyedit system lets you modify each preset with a second pot. All your edits can be stored in memory, so you can restore your custom effects without recreating settings from scratch.

POWERFUL EQUALISATION

The stereo 7-band graphic EQ on

PowerStation mixers lets you compensate for a poor room acoustic, and tailor the output of the mixer to suit. Once this is set at the start of a show, you can then use the channel EQ to adjust the sound of each source. Fixed high and low bands let you gently roll off troublesome parts of overbright or bass-heavy signals, while a swept mid band is ideal for tuning out frequencies that may cause feedback, or boosting a broader band to enhance the character of an instrument or voice.

Designed by British EQ guru Graham

Blyth, this channel EQ features carefully chosen slope and frequency characteristics that enable all three bands to work effectively without interfering with the other bands.

HIGH-PASS AND

SUBSONIC FILTERS

As well as the high-pass filter found across the Spirit range of live mixers,

PowerStation mixers feature an additional subsonic filter across the main outputs. Fixed at 40Hz and with a steep 18dB/octave slope, this cuts out ultra-low frequencies that can overload high-mid PA cabinets, enabling you to work creatively on bass frequencies above this range. In short, it gives you a clearer mix with more control over the low-end.

0dB

-3dB

INTEGRAL PATCHBAY

The patchbay section on the

PowerStation series lets you change the standard audio path, increasing the flexibility of the mixer by allowing you to use the mixer, graphic EQ and power amp sections separately. You could use the mix output to feed an external amplifier rack, for example, to drive an even bigger PA. By patching a second mixer into the power amp inputs, you can easily accommodate a second band without having to reset channels on the PowerStation for a different mix. Or, if you want to fine tune the sound of an effect return, you could patch it through the graphic

EQ section.

40Hz 100Hz

37

Live Brochure XP1 pgs 32_48.qxd 6/12/02 12:10 pm Page 38

POWERSTATION 1200 & 600

POWERED MIXING CONSOLES

16 mono input channels

24 inputs

(including 2-track returns)

2 x 600W power amplifier

Power is nothing without control – something that Graham

Blyth and the Soundcraft design team understand very well.

Which is why PowerStation series mixers complement their integrated power amplifiers with enough signal routing and control facilities to put many larger desks to shame.

CD-quality mixing with integrated power amp

2 stereo input channels

High quality UltraMic™ preamps

Built-in Lexicon effects processors

7-band graphic EQ

40Hz subsonic filter

Inserts on mono channels and mix outputs

PFL solo on all channels

3-band EQ with swept mid

Integral patchbay

8 mono input channels

16 inputs

(including 2-track returns)

2 x 300W power amplifier

Medium PA

Gigging bands

Rehearsal rooms

Presentations

Outdoor events

38

SEE PAGES 17 - 21

Both the PowerStation 1200 and 600 offer a well-balanced combination of features for mixing live bands, or driving a variety of installed or temporary sound systems: features such as 8 or 16 mono inputs, flexible output routing, and integrated digital effects.

Input channels

Any comprehensively-equipped mixer should be able to handle a wide variety of mono and stereo sources. All

PowerStation mono inputs feature bullet-proof UltraMic™ preamps, capable of handling signal levels as high as +22dBu, yet delivering exceptional CMRR and EIN performance that keeps noise well at bay. Stereo sources can be plugged into two stereo channels, or into a simple RCA phono 2-track input, intended for line-level equipment such as CD or MD players.

Mono channels feature an insert point for dynamics or other processors, and a high-pass filter to cut stage rumble.

Two aux sends, switchable to pre- or post-fade operation, allow routing to external effects or to on-stage monitors, and a third aux send is provided for the internal effects section. All the main inputs are balanced, again ensuring that noise and interference are kept to a minimum, while impedance-balanced outputs allow long cable runs to be used without compromising signal quality.

The sound of great EQ

The PowerStation EQ offers the classic

‘warm’ British sound that is a favourite of Soundcraft users all around the world. But more than that, the slopes and cutoff points of the high and low bands, and carefully chosen characteristics of the swept mid band put one of the most powerful tools in live mixing at your fingertips. It’s as easy to tune out a troublesome frequency without affecting the rest of the mix as it is to gently emphasise the character of an instrument or voice – the sign of great EQ.

This quality extends to the precision power amplifiers. On both

PowerStation models, large power supplies are provided, enabling the integral amps to be driven hard without compromising audio quality.

Internal cooling fans switch in only when needed, ensuring that quiet acoustic gigs aren’t spoiled by unnecessary fan noise. Advanced protection circuitry prevents overheating, and protects the output stages and speakers from overload damage. Still further protection at the outputs is provided by a steep

18dB/octave 40Hz subsonic filter, cutting out the almost inaudible ultralow frequencies that can damage some speakers and muddy clarity in the audible bass frequencies. This in turn allows overall levels to be raised while keeping audio quality high.

Quality effects

Whereas many powered mixers include sub-standard digital effects, the

PowerStation series uses a Lexicon processor with algorithms and easyedit controls created especially for the

1200 and 600. That means that a prospec stereo digital effects processor goes wherever your Powerstation goes, and it’s always wired up and ready to go. The master section also

Lexicon Effects Table (Powerstation 1200 and 600)

Param 1 control Minimum

Reverb decay 0.11 mSec

Reverb time

Delay time

Depth

Reverb time

0.25 Sec

No delay

0.34 mSec

0.25 Sec

Reverb time

Reverb time

Reverb time

Delay time

0.25 Sec

0.25 Sec

0.25 Sec

No delay

Delay time

Delay time

Delay time

Delay time

Delay time

Delay time

Delay time

No delay

No delay

No delay

No delay

No delay

No delay

No delay

Maximum Program

283 mSec 1

6.5 Sec

977 mSec

5.8 mSec

6.5 Sec

2

3

4

5

6.5 Sec

6.5 Sec

6.5 Sec

977 mSec

6

7

8

9

977 mSec

977 mSec

977 mSec

977 mSec

977 mSec

977 mSec

977 mSec

10

11

12

13

14

15

16

Description

Gated Reverb

Chorus + Reverb

Chorus + Delay

Large Chorus

Plate

Room

Chamber

Hall

Delay + Bright Plate

Delay + Dark Plate

Echo + Plate

Delay + Bright Room

Delay + Dark Room

Echo + Room

Delay + Mono Regen

Delay + Stereo Regen

Param 2 control

Timbre

Speed

Speed

Speed

Timbre

Timbre

Timbre

Timbre

Reverb time

Reverb time

Regeneration

Reverb time

Reverb time

Regeneration

Regeneration

Regeneration

Minimum Maximum

420Hz 19kHz

OFF 16 glides

OFF 16 glides

OFF 16 glides

420Hz 19kHz

420Hz

420Hz

420Hz

0.25 Sec

19kHz

19kHz

19kHz

6.5 Sec

0.25 Sec

0%

0.25 Sec

0.25 Sec

0%

0%

0%

6.5 Sec

94%

6.5 Sec

6.5 Sec

94%

94%

94% includes a stereo 7-band graphic EQ, allowing basic tonal correction to compensate for poor room acoustics, or to tailor the PowerStation’s output to match the characteristics of particular speaker clusters.

Last but not least, versatile output options include a mono output for an additional speaker cluster or foldback feed, and stereo RCA outputs for recording. An integral patchbay lets you modify the standard internal signal routing, to feed an external stereo signal into the power amp, or through the graphic EQ, or take the master output to an external amplifier.

LEXICON EFFECTS

Lexicon is widely acknowledged as the first name in digital effects, and

Lexicon reverbs take pride of place in live and studio racks all over the world. The Lexicon effects processors built into PowerStation mixers feature specially programmed versions of classic reverb, delay and chorus effects, plus combination effects such as reverb plus delay. While it’s very convenient to have effects built in to a mixer, it also has another benefit as the signal stays in the console and therefore there’s no external cabling to add noise or pick up interference.

Superb audio quality is matched by ease of use. The 16 original presets are selected via a rotary switch, and the easy-edit system lets you modify each preset very quickly.

You can start from any of the 16 presets and easily reach your required effect within a couple of button presses.

39

Live Brochure XP1 pgs 32_48.qxd 6/12/02 12:11 pm Page 40

POWERSTATION

CONTROLS & CONNECTIONS

Both PowerStation models have the same features and functions - the only differences between them are the number of mono inputs and the power output.

MONO INPUTS

Mic Inputs

Balanced XLR connectors accept balanced or unbalanced mic signals. At -129dbU

EIN, and with a gain range of 60dB, the inputs are extremely quiet and transparent.

Mono Line Inputs

Balanced 1/4" jacks for connecting balanced or unbalanced electronic instruments, such as keyboards.

Balanced inputs offer extra protection against hum and noise in electrically hostile live environments,

Inserts

Unbalanced insert points allow limiters, compressors and other processors to be patched into the signal path – especially useful for live vocals.

Gain Control

The custom design of the gain control on the UltraMic™ preamp gives an even spread of gain and a smooth response across its 60dB range.

High Pass Filter

A 100Hz/18dB/octave High Pass Filter is available pre-EQ to ‘clean up’ low frequencies such as stage rumble or mic popping.

EQ Section

The HF control has cut or boost of up to 15dB at 12kHz and above, to add crispness or cut hiss or excessive brilliance, while the 80Hz LF control can add real punch to bass drums. Swept mid, from 250Hz to to 6kHz, offers even finer control over sound on the mono channels.

Auxiliary Sends

3 Auxiliary Sends allow the choice of either monitor or effects-orientated mixes. Aux 1 is always pre-fader, post-

EQ for monitoring. Aux 2 is normally post-fader, post-EQ for external effects, but are switchable to pre-fader, post-EQ from the master section.

LEX FX is post-fade, post-EQ and feeds the Lexicon effects unit directly.

Pan Control

Controls the position of the source in the stereo image.

PFL Solo

For checking levels and EQ settings in each channel without affecting the mix.

Pressing the PFL switch feeds that channel to the headphones and meters in the master section.

Channel Fader

Sets the channel level. PowerStation’s

60mm channel faders ensure smooth, predictable response, with a full 100dB of attenuation. Normal operating position is at the ‘0’ mark, with an additional 10dB of gain available.

MONO

CHANNEL

STEREO INPUTS

Stereo Line Inputs

Two balanced 1/4” jack stereo channels provide additional inputs for keyboards, effect returns, or other line level signals.

Accepts balanced and unbalanced signals. Can also be used as additional mono inputs, by plugging into the left channel only.

Stereo Input Gain

Control

Matches the input level to a wide range of pro, semi-pro, and hi-fi sources.

3-Band EQ

3 fixed bands of EQ at carefully chosen points provide fine control, with

15dB cut & boost available.

HF is at 12kHz, Mid at

1kHz, and LF is at 80Hz.

Balance

Controls the relative level between the left and right channels of the stereo input.

MASTER SECTION

Effects Master Fader

Controls the amount of signal from the

Lexicon effects section that is fed into the main stereo mix.

L&R Master Faders

Control PowerStation’s final output level to the main impedance-balanced mixer outputs.

60mm faders with custom fader laws give smooth, predictable response.

Aux 2 Pre Switch

Switches Aux 2 from post to pre-fade, post-

EQ operation.

Effects to Aux 1 Control

Mixes the output of the Lexicon effects section (summed mono) into the Aux 1 sends, to give a ‘wet’ foldback mix on-stage.

Aux 1 Master

Sets the final level of the Aux 1 mix appearing at the impedance-balanced

Aux 1 output.

Aux 2 Master

Sets the final level of the Aux 2 mix appearing at the impedance-balanced Aux 2 output.

Stereo Return

Two unbalanced 1/4” jacks feed the main stereo mix via the Stereo Return control. Use for returning signals from external processors, or as an additional stereo input.

2-Track Return

Two unbalanced phono inputs, feeding the main stereo mix via the 2Trk to Mix switch and 2-Track Return control, are ideal for preshow music from a CD or tape player. Can also be used as extra effect returns or instrument inputs.

2-Trk PFL Solo

Pre-fade listen on the 2-track return allows music to be cued on headphones without interrupting the main mix.

2-Track to Mix

Routes the 2-Track Return to the stereo mix bus, allowing pre-show music to be played over the main PA speakers.

Monitor level

Sets the monitor level to the headphones.

Bargraph Meters

10-segment LED meters indicate levels in the main stereo bus, or can check input channels when any PFL is switched in.

CONNECTOR PANEL

STEREO

CHANNEL

40

POWERSTATION

PFL Active

Illuminates when any PFL switch is pressed to warn that the headphones and meters are monitoring the PFL signal.

Record Output

Unbalanced phono outputs, at -10dBv, for recording the mix.

+48V Phantom Power

Activates phantom power on each channel individually when using condenser microphones or active DI boxes.

Status Indicators

Provide visual indication of mixer status. The green Power LED indicates that PowerStation is switched on. The orange Thermal LED indicates that the power amp is running hot, and the red Mute LED indicates that the amplifier output relays are open – this happens if the protection circuits detect a power surge or DC problem. The relays also open when mains power is switched on or off.

Mix Inserts

For patching additional dynamics processors or graphic EQs across the main mix bus, to help deal with feedback in a difficult venue.

Mono Output

This summed left and right mix is useful for centre speaker fills, bass bins, delay stacks or simple mono PAs.

Rugged Steel Case

PowerStation is built to survive the knocks of life on the road, with a solid steel chassis to protect the electronics.

Optional Rack Ears

To rackmount PowerStation 600.

PowerStation 1200 is not rackmountable.

THE POWER AMPLIFIER

Power Amp Level

This control sets the level of the integrated stereo power amplifier. In normal operation this is normalled to the Graphic EQ outputs, but inserting plugs into the input jacks allows amplification of an external signal.

Subsonic Filter

This 18dB per octave filter, across the amplifier inputs, cuts out frequencies below

40Hz. This helps avoid problems with bassheavy signals overloading the amp and speaker cabinets, leaving more freedom to apply creative low-frequency EQ.

Loudspeaker Output Terminals

For connecting PowerStation to a pair of PA cabs. The power amp output is available on standard speaker terminals, and Speakon connections.

Power On/Off Switch

For powering up.

Effects Controls

PowerStation Series’ custom-developed

Lexicon dual effects section provides a wide array of studio-quality effects including reverbs, choruses and delays. Several dual effects combinations such as delay and reverb, and chorus and reverb - specially formulated for Live performance - are also available. Each effect has two editable parameters which may be stored as user programs, so that favourite settings may be retained. The table at left provides a description of the effects that are included.

Input Trim

Sets the input level to the Lexicon effects section. A clip LED indicates overloading of the internal LEXICON effects.

Programme Select

Allows 16 pre-programmed effect combinations, listed in the table, to be selected.

Parameter Adjust

When either the PARAM 1 or PARAM 2 switches are held down the parameter adjust encoder will alter the level of these two effect parameters. Any alterations will be held in memory as soon as the PARAMETER switch is released, with the User Mode LED indicating an alteration has been made to the factory preset. Each factory preset may be restored by holding down the Parameter switches.

Graphic EQ

The stereo 7-band graphic allows subtle control over the tone of the PA rig, to achieve the best sound in any room. 6dB of cut or boost, with plenty of fader resolution, allows precise control.

Left & Right Bypass Switches

Use these to bypass either channel, to compare the signal with and without the graphic EQ.

Power Amp and Graphic EQ

Connections (patchbay)

Quarter-inch balanced jack connectors let you route signals in and out of the master section, graphic EQ and power amp, changing the normal signal routing to give additional flexibility.

41

Live Brochure XP1 pgs 32_48.qxd 6/12/02 12:11 pm Page 42

POWERSTATION

SPECIFICATIONS

THD

Mic, Line or stereo input to Main Outputs,

+20dB at outputs, any input gain <0.009%

Crosstalk (@1kHz)

Fader Attenuation:

Aux Send Attenuation:

Stereo separation:

100dB

80dB

70dB

Noise

Measured RMS, 22Hz-22kHz bandwidth

Aux outputs:

Main outputs:

EIN

Microphone Input, maximum gain, terminated 150R:

–83dBu

–80dBu

–129dBu

Max Gain to Main Outputs

Mic Input

Line Input

Stereo Input

Stereo Return & 2-track Return

74dB

54dB

32dB

12dB

Maximum Input Levels

Mic Input

Line Input

Stereo Input

Stereo Return & 2-track Return

Maximum Output Levels

Any Output

+21dBu

>30dBu

+26dBu

>30dBu

+22dBu

Power Amplifier Power Output

PowerStation 600 300W + 300W RMS into 4

175W + 175W RMS into 8

PowerStation 1200 600W + 600W RMS into 4

350W + 350W RMS into 8

Metering

10-segment LED bargraph

Accuracy relative to 0dB ±1dB

184MM

(7.3")

600: 504MM (20"),

438MM (17.2") SIDECHEEKS REMOVED

1200: 736MM (29"),

670MM (26.4") SIDECHEEKS REMOVED

455MM

(18")

PACKED WEIGHT:

600 = 21.4kg (47.1lbs)

1200 = 29.6kg (65.1lbs)

136MM

(5.3")

INSERT

MONO INPUT CHANNEL

PHANTOM

POWER

GAIN 100Hz

HIGH PASS

MIC

INPUT

3

1 2

LINE

INPUT

EQ

FADER PAN

AUX 1

PRE

LEX FX

POST

AUX 2

PRE

PFL

STEREO

LEFT

(MONO)

STEREO

RIGHT

STEREO INPUT CHANNEL

GAIN EQ

BALANCE FADER

PHANTOM

POWER

+48V

LEFT METER

MONITOR

LEVEL

AUX 1

PRE

LEX FX

AUX 2

POST

PRE

PFL

MIX O/P

L & R

MASTER SECTION

PHONES

PFL ACTIVE

PFL ENABLE

RIGHT METER

42

MASTER SECTION

INPUT

TRIM

CLIP

DIGITAL EFFECTS

PROCESSOR

AUX 2

LEVEL

EFFECTS

FADER

AUX 2

PRE

LEXICON

EFFECTS

TO AUX 1

AUX 1

LEVEL

2TRK

TO MIX

MIX

INSERT

LEFT

REC.

O/P L

FADER

MIX

INSERT

RIGHT

TO

MONITOR

REC.

O/P R

2TRACK

RETURN

LEFT

LEFT

BYPASS

RIGHT

BYPASS

STEREO

RETURN

LEFT

2TRACK

RETURN

RIGHT

PFL

STEREO

RETURN

RIGHT

EXTERNAL

LEXICON

FOOT

SWITCH

AUX 2

AUX 1

MIX

LEFT

MONO/SUB

MIX

RIGHT

GRAPHIC EQ

INPUT LEFT

GRAPHIC EQ

INPUT RIGHT

GRAPHIC EQ

OUTPUT LEFT

GRAPHIC EQ

OUTPUT RIGHT

POWER AMP

OUTPUT LEVEL

40Hz

FILTER POWER AMP

INPUT LEFT

POWER AMP

INPUT RIGHT

POWER AMP

OUTPUT LEFT

POWER AMP

OUTPUT RIGHT

POWERPAD

COMPACT POWERED MIXER

2-channel 30W power amp built in

10 inputs

High-quality mic preamps with phantom power

4 mono mic/line inputs

2 stereo inputs with switchable RIAA preamps for turntables

Amplifier clip and thermal protection

Rugged, lightweight design

The Powerpad may be the smallest of the powered mixer range, but it still has everything you need for professional mixing in widely varied applications.

With its compact, lightweight frame, clear control layout, and integral power amp,

Powerpad is a true all-in-one audio toolkit.

Even on this smallest of Soundcraft designs, all four mono input channels can mic as well as line-level sources.

+48V phantom power is available to power condenser mics, while the prospec mic preamp can deal comfortably with a wide range of signals, from stage boxes to low-output dynamic mics. Low noise and distortion are ensured by Graham Blyth’s proprietary preamp circuits, bringing big-console audio quality to this truly desktop design. And because we understand the importance of corrective EQ, even here you get a 2-band equaliser circuit with carefully tailored frequencies and filter slopes.

PACKED WEIGHT:

4.96kg (10.9lbs)

CONTROLS &

CONNECTORS

Applications:

Small PA

Rehearsal Rooms

Presentations

Multimedia

Outdoor Events

Houses of Worship

SEE PAGES 17 - 21

MONO INPUT

Mic

Connect a microphone to this balanced XLR input.

Line

A balanced 1/4” jack input for connecting keyboards or other electronic instruments.

Gain

Use this control to set the input level of the microphone or instrument. Gain ranges from -5 to +55dB, allowing matching of signals from the most sensitive microphones to the weakestoutput keyboards.

High Frequency Control (12kHz)

Ideal for bringing lead instruments out of the mix, improving the clarity of speech, or cleaning up mushy sounds.

Low Frequency Control (80Hz)

This EQ control adds extra warmth and punch to bass lines, kick drums or voices.

Aux(Post)

Determines the effects level in each input channel. It is set “post fader” so that the effects level remains constant no matter how high the input volume.

Pan

Positions the sound source left or right in the stereo master mix.

Level

Mixes and sets the relative levels of sound sources.

SPECIFICATIONS AND BLOCK DIAGRAM – OVERLEAF

Two stereo inputs are provided for sources such as stereo keyboards, and

CD or MD players – even turntables, thanks to switchable RIAA preamps on both channels. On both the mono and stereo channels, an aux send is provided for monitor or effects sends. Similarly, flexibility is found in the master output section, where the master jack outputs are complemented by additional outputs on RCA phonos for stereo recording.

To ensure ease of use at all times, the custom designed controls give consistent and accurate response, and useful resolution all the way around their travel.

As on the larger PowerStation mixers, the Powerpad’s on-board stereo amplifier has a highly rated power supply, ensuring consistently high sound quality even when driving speakers hard. A clip protection LED indicates the onset of amplifier distortion, telling you when to back the levels off, and integral thermal protection helps to prevent damage to amps and speakers.

STEREO INPUT

Connectors

Two RCA/phono jacks allow the connection of stereo sources such as keyboards, drum machines, CD or cassette players, effects units or turntables.

Instrument/RIAA

When this switch is in the

“up” position, instruments,

CD players, tape machines,

DAT players etc can be connected. When using turntables, press the switch down.

Gain

Sets the input level of the sound sources. 22dBU of

Gain Range is available.

Balance

Sets the relative volumes of the left and right sides of the stereo sound source.

43

Live Brochure XP1 pgs 32_48.qxd 6/12/02 12:11 pm Page 44

POWERPAD

SPECIFICATIONS

Typical specifications @ 1kHz

Noise

22Hz-22kHz, channel faders down

Loudspeaker output (rel. to full output)

Master faders up

Master faders down

<-98dBr

<-103dBr

EIN

150

Ω source impedance

Output

Aux Out (Inputs down)

Mix, masters at max.

-128.5dBu

-84dBu

-80dBu

-80dBu

Crosstalk

Fader Cut-off (rel 0 mark)

Aux Send

Pan Isolation

Frequency Response

20Hz – 20kHz rel. 1kHz,

Line In to Master Mix

>90dB

>90dB

>75dB

-1dB

THD+N

Mic sens. -30dBu,

+14dBu at output <0.005%

Inputs

Mic Input

Input Impedance

Max. Input

Max. Mic Gain to output

1.8k

+14dBu

68dB

Line Input

Input Impedance

Max. Input

Max. Mic gain to output

Stereo Input

Input Impedance

Output

Max. Output (typical)

20k

>+30dBu

+68dB

20k

+21dBu

Connectors

Mic (Bal or unbal)

Line/Instrument

(Bal or unbal)

XLR

Jack*

Stereo Input, Tape In (Unbal),

Monitor Amp Out RCA Phono

FX Return (Bal or unbal)

Master Mix Out

Jack*

Impedance-Balanced Jack*

FX Send

Headphone

Impedance-Balanced Jack*

Stereo Jack*

* All Jacks are 3-pole TRS 'A' gauge

Amplifier

Power Output

(RMS Per channel, 1kHz into 4 Ohms) >30 watts

THD=N (30kHz Bandwidth)

30 watts, 1kHz into 4

20 watts, 1kHz into 4

20 watts, 20kHz into 4

(measured via FX return)

<1%

<0.01%

<0.1%

Frequency Response

20Hz-20kHz

Protection

Turn on muting

Turn off muting

DC Offset muting

Fan control speeds up when heatsink gets hotter than 65ºC

-1dB

>1 sec

Instant

>0.7v

Dimensions

102H x 248W x 237D mm [4.0" x 9.8" x 9.3"]

MASTER SECTION

Master Mix (Out)

Impedance-balanced 1/4" jacks take the combined “mix” of all sound sources out from

Powerpad to a stereo mastering device such as a tape machine for recording the mix. If extra audio power is required at a live performance, these outputs may be connected to an additional amp and pair of

PA speakers.

FX Returns (In)

Connect the outputs of an effects unit to this pair of 1/4" jacks. When using a mono effect, connect the left jack only.

Aux (Out)

Connect this 1/4" jack to the input of an effects unit.

Headphones

This connector allows the use of headphones of 200 Ohms or higher impedance. When headphones are connected, the Monitor Amp output is muted to prevent feedback.

Thermal

This LED lights to warn that Powerpad’s amplifier is overheating. If the amplifier becomes too hot, it will automatically cut out.

Clip Protect

This LED flashes to warn when Powerpad’s amplifier is overloading, i.e. when the input signal(s) are too high.

Power Amp Mix/Mon

With the Power Amp switch up, Powerpad’s amplifier derives its signal from the master mix. When down, this switch sends the monitor/headphone signal to the amplifier.

Tape (In)

These two RCA/phono connectors are for stereo tape machines, DAT recorders, CD players, the outputs of computer sound cards or any other line-level stereo signal. Use for playing back masters when recording, or preevent music in a live situation.

48V Phantom Power

Pressing this switch supplies power to condenser microphones, avoiding the need for batteries.

Power On

Indicates when Powerpad is powered up.

MIC

INPUT

3

1 2

LINE INPUT

+48V

GAIN HIGH LOW

LEVEL

PAN

AUX

(POST)

MONO INPUTS 1 - 4

STEREO STE-A

(B SIMILAR)

LEFT

GAIN

RIGHT

RIAA

INSTRUMENT/

RIAA

LEVEL

BAL

AUX

(POST)

RIAA

STEREO INPUTS A & B

FX Ret Level

Sets the level of the signal returning from an effects unit.

Tape Level

Sets the playback level of a tape machine or mastering device.

Metering

Normal operating levels are indicated by the AVG LEDs. The PK

LEDs light to warn that overload is imminent.

Master Mix/Tape

When this switch is up the master mix may be heard. Press the switch down to hear the Tape Inputs.

Master Mix Volume

When recording, this rotary control determines the level of the signal going to the stereo master. In a live situation, it determines the level going to the main P.A. speakers

Monitor Amp / HeadPhones Volume

Sets the volume of both the Monitor amp and headphone outputs.

Power Amp Outputs

Two 1/4" jacks allow Powerpad’s 30W x 2 amplifier to be connected to a pair of speakers.

On/Off Switch

To power-up Powerpad.

Mains Connector

MASTER

SECTION

FX RET

LEVEL

MASTER

POWER ON

➚➚

48V

➚➚

+48V

AUX

FX RETURN (IN)

LEFT (MONO)

FX RETURN (IN)

RIGHT

MASTER MIX

(OUT) LEFT

TAPE LEVEL

MASTER MIX

(OUT) RIGHT

LEFT

TAPE (IN)

RIGHT

MASTER MIX /

TAPE

MONITOR AMP /

HEADPHONES

HEADPHONES

➚➚

PK

➚➚

LEFT

AVG

MIX /

MON

➚➚

CLIP PROTECT

➚➚

THERMAL

➚➚

PK

RIGHT

➚➚

AVG

LEFT OUTPUT

RIGHT OUTPUT

44

POWERED MIXER APPLICATIONS

On these pages, you will find some examples of Soundcraft powered mixers in use, showing suggested ways of setting up and connecting equipment.

Key to

Connections

The connections shown in these applications have been colourcoded to represent the colour scheme used on the controls of

PowerStation and Powerpad.

Mono Inputs

Stereo Inputs

Inserts

Auxes

Outputs

Vocal Mic

Guitar Amp

Mic'd

Rear PA Amp

Mono Amp for Centre

Speaker Cluster

Stage Monitor Amp

Stage Monitor Amp

External Graphic EQ

Vocal Mic

Cassette and/or

CD Player for

Pre-Show /

Interval Music

Main PA

Left

DAT/Stereo

Recorder

Effects

Keyboard

Mic'd Drum Kit

Main PA

Right

Live

Mixing

PowerStation is a surprisingly capable live mixer, and even

Powerpad has remarkable abilities hidden in its diminuitive dimensions.

In addition to giving you full control – including EQ – of all mics and instruments, the performance can be recorded in stereo for posterity.

The Line inputs of an external power amplifier can be fed from the Mix Outs if more power is needed.

Mono Amp

Rear PA Speakers

45

Live Brochure XP1 pgs 32_48.qxd 6/12/02 12:11 pm Page 46

POWERED MIXER APPLICATIONS

Presentation

The built-in amplifiers of

PowerStation and Powerpad will normally be more than adequate for most presentations.

For larger audiences, the Mix

Out of Powerpad may be used to feed an external amplifier and speakers.

Wireless Mic

Wireless Mic

Audience

Mics

Video Screen

PC

VCR/DVD Player

Main FOH Speakers

CD or MD Player

Amp and Fill Speaker(s)

Amp

Rear Speakers

Installed Sound

PowerStation and Powerpad mixers are ideal for small installations where music – either foreground or background – is required, such as in bars, restaurants and shops.

PowerStation models have so many inputs and so much control that they can also double as PAs for visiting live musicians.

46

Main Mic

CD/MD Player

CD/MD Player

Speaker Zones

Amp

Amp

Outdoor event

If you keep the setup simple, there’s less to go wrong, less to go missing, and fewer items to keep dry when it starts to rain.

Wireless microphones are ideal for outdoor events but

PowerStation's balanced mic inputs allow longer cable runs using good quality conventional mics without running the risk of interference from external sources such as mains cables.

If onboard amplifier power is insufficient, both

PowerStation and Powerpad allow external amplifiers to be connected. By using the Mix

Outs, full control remains at the mixer.

Power Supply Unit

Specifications

Part Nº

Spirit 8

Monitor 2

16 ch

24 ch

32ch

40ch

24 ch

32ch

40ch

Live 4 2

12ch

16 ch

24 ch

32ch

40ch

Rackmount as standard

Rackmount kit available

DCP125 CPS150 DCP200 CPS450

RW8005 RW8000 RW8006 RW1368

RW5516 RW1255 RW8010

4.2kg 5.2kg 7.8kg 13.2kg

Width at front

Width at rear

Depth

Power from mains

185 mm 287mm 375mm

LX7, M Series and all powered mixers do not need external power supplies.

483mm (19")

185 mm 287 mm 375mm 424 mm

210mm 190mm 180mm 305mm

99W 100W 175W 400W

Mics on Podium or Stage

Wireless/

Roving

Mics

CD/MD Player

Amp

Main PA

Speakers

Extra Speakers

Soundcraft

Mixing Guides

To get the most out of your

Soundcraft mixer, we’ve produced these definitive guides that tell you just about everything you’ll ever need to know.

The Guides are full of tips on choosing equipment, setting up and using sound equipment and example applications.

To obtain your free copies, please contact the address shown on the back cover.

47

Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertisement