USER GUIDE
IMPORTANT Please read this manual carefully before using your mixer for the first time.
This equipment complies with the EMC Directive 2004/108/EC and LVD 2006/95/EC

soundcraft@harman.com

Harman International Industries Ltd. 2010 All rights reserved Parts of the design of this product may be protected by worldwide patents. Part No. BD10.531000 Soundcraft is a trading division of Harman International Industries Ltd. Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor. Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual. No part of this manual may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, electrical, mechanical, optical, chemical, including photocopying and recording, for any purpose without the express written permission of Soundcraft.
Harman International Industries Limited Cranborne House Cranborne Road POTTERS BAR Hertfordshire EN6 3JN UK Tel: 44 (0)+ Fax:+44 (0)http://www.soundcraft.com
Soundcraft MFXi MPMi User Guide 0410

Contents

IMPORTANT SAFETY INSTRUCTIONS....4 SAFETY SYMBOL GUIDE....6 INTRODUCTION....11 THE 60-SECOND GUIDE - MFXi...12 THE 60-SECOND GUIDE - MPMi....14 WIRING UP.....16 BLOCK DIAGRAMS....20 MONO INPUT CHANNELS....22 STEREO INPUT CHANNELS....25 MASTER SECTION....28 Lexicon FX PROCESSOR OVERVIEW (MFXi only)...32 FX OPERATION....33 FX PROCESSOR CONTROLS....34 REVERBS....35 REVERB CONTROLS....36 DELAYS.....37 DELAY CONTROLS....37 MODULATED EFFECTS....38 FACTORY RESET....40 EFFECTS DATA CHART....41 MFXi & MPMi TYPICAL SPECIFICATIONS...42 USING YOUR MFXi CONSOLE....44 MARK-UP SHEETS....46 FITTING OPTIONAL RACK-MOUNT BRACKETS...48 DIMENSIONS....49 APPLICATIONS.....50 TYPICAL CONNECTING LEADS...54 GLOSSARY.....56 WARRANTY....58
IMPORTANT SAFETY INSTRUCTIONS
Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturers instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. Do not defeat the safety purpose of a polarised or grounding type plug. A polarised plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles and the point where they exit from the apparatus. Only use attachments/accessories specified by the manufacturer. Use only with the cart, stand, tripod, bracket or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/ apparatus combination to avoid injury from tip-over. Unplug this apparatus during lightning storms or when unused for long periods of time. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. Note: It is recommended that all maintenance and service on the product should be carried out by Soundcraft or its authorised agents. Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or repair by unauthorised personnel. WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. Do not expose the apparatus to dripping or splashing and do not place objects filled 4 Soundcraft MFXi MPMi User Guide 0410
with liquids, such as vases, on the apparatus. No naked flame sources, such as lighted candles, should be placed on the apparatus. Ventilation should not be impeded by covering the ventilation openings with items such as newspapers, table cloths, curtains etc. THIS APPARATUS MUST BE EARTHED. Under no circumstances should the safety earth be disconnected from the mains lead. The mains supply disconnect device is the mains plug. It must remain accessible so as to be readily operable when the apparatus is in use. If any part of the mains cord set is damaged, the complete cord set should be replaced. The following information is for reference only. The wires in the mains lead are coloured in accordance with the following code: Earth (Ground): Green and Yellow (US - Green/Yellow) Neutral: Blue (US - White) Live (Hot): Brown (US - Black) As the colours of the wires in the mains lead may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is marked with the letter E or by the earth symbol. The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L Ensure that these colour codes are followed carefully in the event of the plug being changed This unit is capable of operating over a range of mains voltages as marked on the rear panel. NOTE: This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense. This Class A digital apparatus meets the requirements of the Canadian Interference-Causing Equipment Regulations. Cet appareil numrique de la Classe A respecte toutes les exigences du Rglement sur le matriel brouilleur du Canada.

THE 60-SECOND GUIDE - MFXi
To get you working as fast as possible, this manual begins with a 60-second guide. Here you can find quick information on any feature of the console. This shows the MFXi console. 36

MUTE FX

PHANTOM POWER
LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE

REC OUT MONO OUT

MONITOR OUT R

SUB OUT R

R L MIX-L

AUX1 OUT

AUX2 OUT

FX BUS OUT

2TRK IN

INSERT

INSERT R 2TRK LEVEL MIX-R HEADPHONES
GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN [MONO]

[MONO]

TO MIX TO MNTR

STEREO 1

3 0+ 9 12

STEREO RETURN

GAIN LEVEL

0+ 9 12

0 -20dB 0+ 15 0+ 3 MF 0+ 15 -0+ 20dB 0+ 15 0+ 3 MF 12 A: DECAY B: FBK/DPTH 0 A: PRE-DEL B: TME/SPD 10

15 750

24-BIT DIGITAL EFFECTS PROCESSOR
BANK A S.HALL L.HALL V.HALL D.HALL S.PLT L.PLT V.PLT D.PLT ROOM STUDIO CHMBR AMB ARENA GATED REV SPRING BANK B S.DLY D.DLY T.DLY P.DLY M.DLY R.DLY CHORUS FLANGR PHASR TREM/P ROTRY VIBRTO RV/DL S RV/DL L PHSDEL ROTDEL

AUX1 MST

3.5k 15

AFL AUX2 MST

A : VARI B

AFL POST PRE FX MST

FX TO AUX1 BANK A

FX TO AUX2

FX BANK B

MNTR LEVEL

MIX / SOLO 0 -3 -6 -12 -16 -22

PAN PAN

MIX SUB TAP TEMPO STE MNO SUB TO MIX
MUTE PFL MIX SUB PK SP 10

MUTE PFL

PK SP 0 10

-5 -10

-15 -20

-20 -30

-30 -40

EFFECTS

1 MIC INPUT (XLR) 2 LINE INPUT ( Jack) 3 INSERT POINT ( Jack) 4 GAIN CONTROL 5 HPF 6 EQ STAGE 7 AUX 1 & 2 SENDS 8 FX SEND 9 PAN CONTROL 10 MUTE SWITCH 11 PFL
Connect Microphones here. If you are using a condenser mic, ensure phantom power is supplied by pressing the switch at the top of the master section. WARNING: Do Not apply Phantom Power before connecting a microphone. Connect Line level sources here, e.g. Synth, Drum Machine, DI etc. Connect Signal processors here, e.g. Compressor, Gate etc. Adjust this to increase or decrease the level of the incoming signal. The high-pass filter reduces the level of bass frequencies only. Use this in live PA situations to reduce stage rumble or popping from mics. Adjust these controls to change the signal tone (the character of the signal). Adjust these controls to change the level of the signal to an artists monitors (headphones/in-ear/stage monitors). Aux 1 send is pre-fade. Aux 2 is globally switchable pre/post fade. This control sets the level of the post-fade signal being sent to the FX bus; from there it is routed to the FX processor. Use this control to position the signal within the stereo field. When this is pressed you will hear no signal from the channel. When pressed the signal will appear on the monitor and headphone outputs - use this to monitor the post-EQ signal from the channel.

THE 60-SECOND GUIDE - MPMi
To get you working as fast as possible, this manual begins with a 60-second guide. Here you can find quick information on any feature of the console.

L L SUB OUT R

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

AUX3 OUT

GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN
R 2TRK LEVEL MIX-R HEADPHONES

TO MIX TO MNTR GAIN

0 -20dB 0+ 3 HF 0+ 3 MF 0+ 3 LF -6 20dB 0+ 3 HF 0+ 3 MF 0+ 3 LF 12 0

3.5k 9 12

15 0+ 15

15 0+ 9 12

AFL POST PRE AUX3 MST
MIX SUB STE MNO SUB TO MIX
1 MIC INPUT (XLR) 2 LINE INPUT ( Jack) 3 INSERT POINT ( Jack) 4 GAIN CONTROL 5 HPF 6 EQ STAGE 7 AUX SENDS 8 PAN CONTROL 9 MUTE SWITCH 10 PFL 11 MIX/SUB SWITCH
Connect Microphones here. If you are using a condenser mic, ensure phantom power is supplied by pressing the switch at the top of the master section. WARNING: Do Not apply Phantom Power before connecting a microphone. Connect Line level sources here, e.g. Synth, Drum Machine, DI etc. Connect Signal processors here, e.g. Compressor, Gate etc. Adjust this to increase or decrease the level of the incoming signal. The high-pass filter reduces the level of bass frequencies only. Use this in live PA situations to reduce stage rumble or popping from mics. Adjust these controls to change the signal tone (the character of the signal). Adjust these controls to change the level of the signal to an artists monitors (headphones/in-ear/stage monitors). Aux 1 send is pre-fade. Aux 2 is globally switchable pre/post fade, Aux 3 send is post-fade Use this control to position the signal within the stereo field. When this is pressed you will hear no signal from the channel. When pressed the signal will appear on the monitor and headphone outputs - use this to monitor the post-EQ signal from the channel. When this switch is up, the channels post-pan-pot signal is routed to the Mix (left and right) buses. When the switch is depressed, the post-pan-pot signal is routed to the Sub-group (left and right) buses.
This is used to indicate that the signal is close to distorting (clipping) on a specific channel. 13 SP LED The SP LED glows when a signal is present. The feed point for the LED is post-insert, pre-EQ. 14 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus and post-fade sends. 15 MIX OUTPUTS (XLR) Connect these to your analogue recording device, or to your amplification & MONO OUT ( Jack) system. 16 SUB-GROUP OUTPUTS These outputs can be connected to a separate amplifier system or to an external ( Jack) processor. 17 SUB-GROUP ROUTING The sub-group mix can be routed to the main mix, in mono or stereo. 18 MASTER FADERS These faders control the overall level of the mix and sub-group outputs. 19 MAIN METERS These show the level of the mix outputs. When the master SOLO LED is lit, the meters show the level of the selected AFL/PFL signal. 20 MONITOR OUTPUTS These are used to feed your monitoring system. This can be directly connected to ( Jack) powered monitors, or indirectly via an amplifier to standard monitors. 21 MONITOR CONTROL This controls the level of the signal sent to your monitoring system. 22 MONITOR SELECT SWITCH This switch selects the signal source to be monitored. Note that the 2-TK input can be monitored also, see item 30 below. 23 PHONES CONTROL This controls the level of the signal sent to the headphones jack socket. 24 HEADPHONES ( Jack) Plug your headphones into this socket. Recommended headphones impedance is 32 ohms or greater. 25 AUX 1, 2 & 3 OUTPUTS These outputs can be used to send the channel signal to an artists monitors ( Jacks) (headphones/in-ear/stage monitors), external FX or secondary PA/monitor system. 26 AUX CONTROLS The rotary controls set the output levels of the three Aux Outputs. The After & AFL SWITCHES Fade Listen (AFL) switches route their respective aux output signal to the monitor/ headphones outputs. This switch globally changes the AUX 2 feed on all the input modules to be either 27 AUX 2 POST/PRE SWITCH post-fade or pre-fade. 28 STEREO INPUTS ( Jack) These two pairs of inputs can be used to connect line level stereo inputs from keyboards, sound modules, samplers, computer based audio cards etc. These inputs pass through a stereo channel strip, with EQ, Auxes and a Balance control. Mono sources may be used by plugging into the left jack only. 29 2-TRACK INPUTS (RCA Phono) You can connect the playback from your recording device here. 30 2-TRACK CONTROLS Use these to control the 2 Track signal. The Monitor switch sends the signal to the monitor outputs and phones, whilst the TO MIX switch sends it to the main mix. 31 Record Outputs (RCA Phono) You can connect these to the inputs of your recording device. 32 PHANTOM POWER Press this to globally switch the phantom power (48V) on for condenser microphones. WARNING: Do Not apply Phantom Power before connecting a microphone.

12 PEAK LED

WIRING UP
Mic Input The MIC input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED low-level signals, whether from delicate vocals requiring the best low-noise performance, or drum kits needing maximum headroom. Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. While you can use low-cost HIGH IMPEDANCE mics, you do not get the same degree of immunity to interference on the microphone cable and as a result the level of background noise may be higher. If you turn the PHANTOM POWER on, the socket provides a suitable powering voltage for professional condenser mics.
DO NOT use UNBALANCED sources with the phantom power switched on. The voltage on pins 2 & 3 of the XLR connector may cause serious damage. BALANCED dynamic mics may normally be used with phantom power switched on (contact your microphone manufacturer for guidance)
The input level is set using the input GAIN knob. The LINE input offers the same gain range as the MIC input, but at a higher input impedance, and is 15dB less sensitive. This is suitable for most line level sources.
WARNING ! Start with the input GAIN knob turned fully anticlockwise when plugging high level sources into the LINE input to avoid overloading the input channel or giving you a very loud surprise!
Line Input Accepts 3-pole 6.35mm (1/4) jacks, or 2-pole mono jacks which will automatically ground the cold input. Use this input for sources other than mics, such as keyboards, drum machines, synths, tape machines or DI boxes. The input is BALANCED for low noise and immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as shown, although you should then keep cable lengths as short as possible to minimise interference pick-up on the cable. Note that the ring must be grounded if the source is unbalanced. Set the input level using the GAIN knob, starting with the knob turned fully anticlockwise. Unplug any MIC connection when using the LINE input. Insert Point The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing limiters, compressors, special EQ or other signal processing units to be added in the signal path. The Insert is a 3-pole 6.35mm (1/4) jack socket which is normally bypassed. When a jack is inserted, the signal path is broken, just before the EQ section. The signal from the channel appears on the TIP of the plug and is returned on the RING, with the sleeve as a common ground. The Send may be tapped off as an alternative pre-fade, pre-EQ direct output if required, using a lead with tip and ring shorted together so that the signal path is not interrupted. 16 Soundcraft MFXi MPMi User Guide 0410
A Y lead may be required to connect to equipment with separate send and return jacks as shown below:

Warning! Under NO circumstances must the AC power mains earth be disconnected from the mains lead.
PROBLEM SOLVING Basic problem solving is within the scope of any user if a few basic rules are followed. Get to know the Block Diagram of your console (see page 14). Get to know what all controls and/or connections in the system are supposed to do. Learn where to look for common trouble spots. The Block Diagram is a representative sketch of all the components of the console, showing how they connect together and how the signal flows through the system. Once you have become familiar with the various component blocks you will find the Block Diagram is quite easy to follow and you will have gained a valuable understanding of the internal structure of the console. Each component has a specific function and only by getting to know what each part is supposed to do will you be able to tell if there is a genuine fault! Many faults are the result of incorrect connection or control settings which may have been overlooked. Basic Troubleshooting is a process of applying logical thought to the signal path through the console and tracking down the problem by elimination. Swap input connections to check that the source is really present. Check both Mic and Line inputs. Eliminate sections of the channel by using the insert point to re-route the signal to other inputs that are known to be working. Route channels to different outputs or to auxiliary sends to identify problems on the Master section. Compare a suspect channel with an adjacent channel which has been set up identically. Use PFL to monitor the signal in each section. Insert-point contact problems may be checked by using an insert bypass jack with tip and ring shorted together as shown below. If the signal appears when the jack is inserted it shows that there is a problem with the normalling contacts on the jack socket, caused by wear or damage, or often just dirt or dust. Keep a few in your gig tool box.
If in doubt please contact Soundcraft customer support. products under warranty UK customers should contact their local dealer. Customers outside the UK are requested to contact their territorial distributor who is able to offer support in the local time zone and language. Please see the distributor listings on our website (www.soundcraft.com) to locate your local distributor. out-of-warranty products For out-of-warranty consoles purchased in the United Kingdom, please contact the Customer Services Department (e-mail: soundcraft.csd@harman.com) at the factory in Potters Bar, Hertfordshire: Telephone +44 (0)1707 665000. For all other out-of-warranty consoles, please contact the appropriate territorial distributor. When mailing or faxing please remember to give as much information as possible. This should include your name, address and a daytime telephone number. Should you experience any difficulty please contact Customer Services Department (e-mail: soundcraft. csd@harman.com)

STEREO INPUT CHANNELS (MFXi shown)
-10 20dB 3 - 0+ 3 HF 12 15
1 INPUTS STEREO 1/2 These inputs accept 3-pole 6.35mm (1/4) jacks. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or processing units. The inputs are BALANCED for low noise and top quality from professional equipment, but you can use UNBALANCED sources by wiring up the jacks as shown in the Wiring Up section earlier in this manual, although you should then keep cable lengths as short as possible. Mono sources may be used by plugging into the left jack only. 2 GAIN The GAIN control sets the level of the channel signal. 3 EQUALISER HF EQ Turn to the right to boost high (treble) frequencies, adding crispness to percussion from drum machines, synths and electronic instruments. Turn to the left to cut these frequencies, reducing hiss or excessive brilliance. Set the knob in the centre-detented position when not required. The control has a shelving response giving 15dB of boost or cut at 12kHz. MF EQ Turn to the right to boost mid frequencies by up to 15dB, turn to the left to cut these frequencies by up to 15dB. The centre frquency of the MF EQ is 720Hz. L LF EQ Turn to the right to boost low (bass) frequencies, adding extra punch to synths, guitars 1 [MONO] and drums. Turn to the left to reduce hum, boominess or improve a mushy sound. R Set the knob to the centre-detented position when not required. The control has a STEREO 1 shelving response giving 15dB of boost or cut at 80Hz.

3 - 0+ 3 6

3 - 0+ 6
4 AUX SENDS 2 These are used to set up separate mixes for HF FOLDBACK, EFFECTS or recording, and the combination of each Aux Send is mixed to the respective Aux Output at the rear of the mixer. For Effects it is useful for the signal to fade up and down with the fader (this is called POST-FADE), but for Foldback MF Monitor feeds it is important for the or send to be independent of the fader (this is called PRE-FADE). 3 AUX SEND 1 is fixed pre-fade, AUX 2 is globally switchable between pre and post-fade LF (see master section on page 20). On the MPMi, Aux 3 is fixed post-fader. The send pots are fed with a mono sum of the L & R signals.

Reverse Reverb Reverse reverb works in the opposite fashion from normal reverb. Whereas a normal reverb has the loudest series of reflections heard first that then become quieter over time, the Reverse reverb has the softest reflections (essentially the tail of the reverb) heard first, and then grows louder over time until they abruptly cut off. Ambience Reverb Ambience is used to simulate the effect of a small or medium sized room without noticeable decay. It is often used for voice, guitar or percussion. Studio Reverb Much like Room reverb, Studio produces an excellent simulation of smaller, well controlled acoustic spaces, characteristic of the main performance areas in recording studios. Studio is also useful with dialog and voiceover applications as well as individual instrument and electric guitar tracks. Arena Reverb Arena reverb emulates a huge physical space such as an indoor sports venue or stadium. The characteristics of Arena reverb are long secondary reflection times and a reduced amount of high frequency content. Arena is a mostly mid- and low frequency dominant reverb, and is an ideal selection for special effect type applications that require extremely long reverb times. It is not a good choice for a very busy mix, since it can reduce intelligibility. Spring Reverb A Spring reverb is created by a pair of piezoelectric crystalsone acting as a speaker and the other acting as a microphone connected by a simple set of springs. The characteristic boing of a spring is an important component of many classic rock and rockabilly guitar sounds.

REVERB CONTROLS

Pre Delay Creates an additional time delay between the source signal and the onset of reverberation. This control is not intended to precisely mimic the time delays in natural spaces, as the build-up of reverberation is gradual, and the initial time gap is usually relatively short. For the most natural effect, the Pre Delay values should be set in the range of 10-25 milliseconds. However, if a mix is very busy or overly cluttered, increasing the Pre Delay time may help clarify it, and set each instrument apart from each other. Decay Controls the amount of time the reverb can be heard. Higher settings increase reverberation times which are usually associated with larger acoustical environments, but can decrease intelligibility. Lower settings shorten reverb times and should be used when a smaller apparent space or a more subtle effect is desired. Liveliness Adjusts the amount of high frequency content in the reverberation tails. Higher settings increase high frequency response, creating brighter reverbs; lower settings create darker reverbs with more bass frequency emphasis. Diffusion Controls the initial echo density. High settings of Diffusion result in high initial echo density, and low settings cause low initial density. In a real-world situation, irregular walls cause high diffusion, while large flat walls cause low diffusion. For drums and percussion, try using higher Diffusion settings.

DELAY CONTROLS

Time Range Controls the length of the delay relative to Tap Tempo. At the 12 oclock position, delay repeats are synchronous with the Tempo light (represented by a Quarter Note); lower values create faster repeats, higher values increase the time between repeats. Range 0-72. See the Effects Data Chart for exact note values. Soundcraft MFXi MPMi User Guide 0410 37
Feedback Controls the number of delay repeats by feeding the delay output signal back into the delay input. This creates a series of delay repeats, each slightly attenuated until they become inaudible. Higher settings create more repeats; lower settings reduce the number of repeats. When this knob is turned fully clockwise, it engages Repeat Hold delay repeats play back in an infinite loop, but no further input signal is introduced into the delay effect. Repeat Hold is available only on Studio, Digital and Pong Delay. Ducker Threshold Studio and Digital delays offer a ducking feature, which causes the delay repeats to attenuate (or get softer) by -6dB when live (or input) signal is present. This allows the delay to remain as an effect, and not clash with the original signal. The higher this value is set, the louder an input signal must be for the ducking to take place. Smear This parameter controls the amount of smear, or signal degradation and frequency loss. Particularly evident in the Tape Delay, the higher the setting, the more each delay repeat loses intelligibility compared to the original signal. Tap Ratio Tap Ratio sets the length between the first and second tap repeats of the Pong Delay. With this control set at 12 oclock, repeats are evenly alternated between left and right channels. As this knob is turned counterclockwise, the first tap occurs earlier and the second tap occurs later than they did at the 12 oclock position. When the knob is turned clockwise, the first tap occurs later and the second tap occurs earlier. Depth This controls the intensity of modulation, or depth in the Modulated Delay. Lower settings produce a more subtle effect, while higher values give a more seasick feeling. Tempo Button Tapping this button twice sets the delay times. The Tempo button LED flashes the tempo tapped in, and delay taps will be synchronized to the flashing LED. Use the Time Range knob to increase or decrease delay times after tapping in a tempo. Note: When Delay Feedback is at maximum (fully clockwise) in some programs the mode changes to hold the audio in a constant loop. This is indicated in the Effects Data Chart as +H.

MODULATED EFFECTS

Chorus Chorus creates a lush, full sound by combining two or more signals together where one is unaffected and the other signals vary in pitch very slightly over time. Chorus is commonly used to fatten up tracks and to add body to guitars without coloring the original tone. Chorus can also be used with discretion to thicken a vocal track. Knob 1: Speed Controls the modulation rate of the Chorus effect. Lower settings are subtle, while higher values are much more pronounced. Knob 2: Depth Controls the amount of pitch shifting for each voice. Lower settings provide subtle thickening and warmth to a track, while higher settings give a more pronounced, multi-voice effect. Knob 3: Voices Controls the number of additional Chorus voices. Up to 8 voices can be added, continuously variable in 100 individual steps. 38 Soundcraft MFXi MPMi User Guide 0410
Flanger This effect was originally created by simultaneously recording and playing back two identical programs on two tape recorders, then using hand pressure against the flange of the tape reels to slow down first one machine, then the other. The result was a series of changing phase cancellations and reinforcements, with characteristic swishing, tunneling, and fading sounds. Knob 1: Speed Controls the modulation rate of the Flanger effect. Knob 2: Depth Controls the intensity of the Flanger effect. Lower settings provide a slight whooshing sound while higher settings provide a much more dramatic jet airplane sound. Knob 3: Regeneration This knob controls the amount of modulated signal being fed back into the input, creating feedback. Higher amounts add a metallic resonance to the signal. Phaser The Phaser automatically moves frequency notches up and down the spectrum of the signal by means of a low frequency oscillator (LFO), creating an oscillating comb-filter type effect. This effect is very userful on keyboards (especially pad presets) and guitars. Knob 1: Speed Controls the modulation rate of the Phaser effect. Knob 2: Depth Controls the intensity of the Phaser effect. Knob 3: Regeneration This knob controls the amount of modulated signal being fed back into the input, creating feedback. Higher amounts add more resonance to the effect signal. Tremelo/Pan Tremolo and Panner create rhythmic changes in signal amplitude. Tremolo affects both channels amplitude simultaneously, while the Panner affects the amplitude of each channel in an alternating manner. Knob 1: Speed Controls the modulation rate of the Tremolo/Panner. Knob 2: Depth Controls the intensity of the volume amplitude change. Knob 3: Phase Controls whether the amplitude change occurs in both channels simultaneously (Tremolo) or alternates between channels (Panner). Rotary Rotary speaker cabinets were designed to provide a majestic vibrato/choir effect for electronic theater and church organs. The most well known rotary speaker is the Leslie Model 122, which has two counter- rotating elements: a high-frequency horn and a low-frequency rotor with slow and fast speeds. The sound generated as the spinning elements change speed is truly magical. The swirling, spacious effect is difficult to describe but clearly recognizable. The Rotary effect is modeled after a Leslie-style cabinet. The input signal is split into high and low-frequency bands. The rotation effect is created by a synchronized combination of pitch shifting, tremolo, and panning. Like the physical cabinet, the high (horn) and low (rotor) frequencies are spun in opposite directions. Horn and rotor speeds are independent, and designed with acceleration and deceleration characteristics to simulate the inertia of the original mechanical elements. A virtual requirement for organ music, Rotary also sounds remarkable with guitar and electric piano rhythm parts. In fact, these programs are great alternatives to the Chorus and Tremolo effects for any sound source. Knob 1: Speed Controls the modulation rate of both rotary speakers. The lower frequencies rotate at a slower speed than the high frequencies. Knob 2: Doppler Increases or decreases the Doppler pitch effect that is created by the physics of a rotating speaker. Knob 3: Stereo Spread Increases or decreases the stereo imaging of the Rotary effect.

Vibrato Vibrato is obtained by smoothly varying the pitch of the signal just sharp and flat of the original at a determined rate. Vibrato Stereo (Wet only) Rotary Mono (Wet only) Tremolo/Pan Stereo (Wet only) Knob 1: Speed Controls the modulation rate of Vibrato. Knob 2: Depth Controls the maximum amount of pitch shift. Lower settings result in a mere warble, while higher settings produce a more exaggerated wow sound. Knob 3: Phase This control sets left and right channel waveforms out of phase, resulting in a left-to-right panning motion. This effect shifts the frequency spectrum of the input signal. Altering the pitch of a sound produces a wide range effects - from subtle detunes to full interval shifts up or down a two octave range.

FACTORY RESET

Use this function if you want to erase all program data and restore the effects processor to its factory state. To perform a Factory Reset press and hold the STORE button while powering up the console. Once the effects processor has initialized (after three seconds), then release the STORE button and the effects processor will be restored to its factory state.

EFFECTS DATA CHART

Soundcraft MFXi MPMi User Guide 0410 Note +H = repeat hold function (see page 29 2nd paragraph)
MFXi/MPMi TYPICAL SPECIFICATIONS
Frequency Response Mic / Line Input to any Output..+/-1.5dB, 20Hz 20kHz T.H.D. Mic Sensitivity -30dBu, +14dBu @ Mix output..< 0.01% @ 1kHz Noise Mic Input E.I.N. (maximum gain)..-126.5dBu (150 source) Aux, Mix and Masters (@ 0dB, faders down).< -82dBu Crosstalk (@ 1kHz) Channel Mute....> 90dB Aux Send Pots Offness....> 82dB EQ (Mono inputs) HF....12kHz, +/-15dB MF (swept)...150Hz 3.5kHz, +/-15dB LF....80Hz, +/-15dB Q (MF)....1.5 EQ (Stereo inputs) HF....12kHz, +/-15dB MF..720Hz, +/-15dB LF....80Hz, +/-15dB Q (MF)....0.8 Power Consumption...Less than 40W Operating Conditions Temperature Range....5C to 40C Input & Output Levels Mic Input...+15dBu max Line Input...+30dBu max Stereo Input...+30dBu max Mix Output...+20dBu max Headphones (@150) (recommended impedance 32 to 200).300mW Input & Output Impedances Mic Input....2k Line Input....10k Stereo Input....45k Outputs..150 (balanced), 75 (unbalanced) E & OE. Soundcraft reserves the right to change specifications without notice.
USING YOUR MFXi/MPMi CONSOLE
The final output from your sound system can only ever be as good as the weakest link in the chain, and especially important is the quality of the source signal because this is the starting point of the chain. Just as you need to become familiar with the control functions of your mixer, so you must recognise the importance of correct choice of inputs, microphone placement and input channel settings. However, no amount of careful setting up can take account of the spontaneity and unpredictability of live performance. The mixer must be set up to provide spare control range to compensate for changing microphone position and the absorption effect of a large audience (different acoustic characteristics from soundcheck to show). Microphone Placement Careful microphone placement and the choice of a suitable type of microphone for the job is one of the essentials of successful sound reinforcement. The diagrams on the left show the different pick-up patterns for the most common types of microphone. Cardioid microphones are most sensitive to sound coming from in front, and hypercardioid microphones offer even greater directivity, with a small amount of pickup behind the microphone. These types are ideal for recording vocalists or instruments, where rejection of unwanted sounds and elimination of feedback is important. The aim should be to place the microphone as close as physically possible to the source, to cut out unwanted surrounding sounds, allow a lower gain setting on the mixer and avoid feedback. Also a well chosen and well placed microphone should not need any appreciable equalisation. There are no exact rules - let your ears be the judge. In the end, the position that gives the desired effect is the correct position! Initial SetUp Once you have connected up your system (see the sections on connection and wiring earlier in this manual for guidance) you are ready to set initial positions for the controls on your mixer. Set up individual input channel as follows: Connect your sources (microphone, keyboard etc.) to the required inputs. WARNING: Phantom powered mics should be connected before the +48V is switched on. Ensure the PA system is OFF when switching phantom power on or off. Set Master faders at 0, input faders at 0, and set power amplifier levels to about 70%. Provide a typical performance level signal and press the PFL button on the first channel, monitoring the level on the bargraph meters. Adjust the input gain until the meter display is in the amber section, with occasional peaks to the first red LED at a typical maximum source level. This allows sufficient headroom to accommodate peaks and establishes the maximum level for normal operation (but see note below). Repeat this procedure on other channels as required. As more

channels are added to the mix, the meters may move into the red section. Adjust the overall level using the Master Faders if necessary. Listen carefully for the characteristic sound of feedback. If you cannot achieve satisfactory input level setting without feedback, check microphone and speaker placement and repeat the exercise. If feedback persists, it may be necessary to use a Graphic Equaliser to reduce the system response at particular resonant frequencies.
Note: The initial settings should only be regarded as a starting point for your mix. It is important to remember that many factors affect the sound during a live performance, for instance the size of the audience! You are now ready to start building the mix and this should be done progressively, listening carefully for each component in the mix and watching the meters for any hint of overload. If this occurs, back off the appropriate Channel Fader slightly until the level is out of the red segments, or adjust the Master Faders. Remember that the mixer is a mixer, not an amplifier. Increasing the overall level is the job of the amplifier, and if it is impossible to provide adequate level, it is probable that the amplifier is too small for the application. Choose your amplifier carefully, and do not try to compensate for lack of power by using the mixer to increase output level. Note: The level of any source signal in the final output is affected by many factors, principally the Input Gain control, Channel Fader and Mix Faders. You should try to use only as much microphone gain as required to achieve a good balance between signals, with the faders set as described above. If the input gain is set too high, the channel fader will need to be pulled down too far in compensation to leave enough travel for successful mixing and there is a greater risk of feedback because small fader movements will have a very significant effect on output level. Also there will be a chance of distortion as the signal overloads the channel and causes clipping. If the gain is set too low, you will not find enough gain on the faders to bring the signal up to an adequate level, and backgound hiss will be more noticeable. This is illustrated below:
L MONITOR OUT MONO OUT R LINE AUX1 OUT AUX2 OUT FX BUS OUT LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE 2TRK IN R SUB OUT L

MUTE FX REC OUT

INSERT R 2TRK LEVEL MIX-R
GAIN [MONO] GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN

HEADPHONES

MFXi MARK-UP SHEETS

3 0+ 3

GAIN GAIN LEVEL
0 -12 -9 A: PRE-DEL B: TME/SPD 10 20dB 0+ 3 HF 20dB 0+ 3 HF
15 0+ 15 0+ 15 0+ 15 0+ 15 0+ 15 0+ 15 0+ 15 0+ 15 0+ 0+ 0+ 3.5k 0+ 3 3.5k 0+ 3 3.5k 0+ 3 3.5k 0+ 3 3.5k 0+ 3 3.5k 0+ 3 3.5k 0+ 3 3.5k 0+ 3 3.5k 0+ 3 3.5k 0+ 3 3.5k 0+ 3

15 3.5k 0+ 3

0 A: DECAY B: FBK/DPTH 9

3.5k 0+ 3

GLOSSARY

Post-fade Pre-fade Rolloff Shelving Solo Spill Transient Unbalanced +48V
The point in the signal path after a fader and therefore affected by the fader position. The point in the signal path before a fader, and therefore unaffected by the fader position. A fall in gain at the extremes of the frequency response. An equaliser response affecting all frequencies above or below the break frequency i.e. a highpass or lowpass derived response. An almost generic term used to describe PFL or AFL functions. Acoustic interference from other sources. A momentary rise in the signal level. A method of audio connection which uses a single wire and the cable screen as the signal return. This method does not provide the noise immunity of a balanced input (see above). The phantom power supply, available at the channel mic inputs, for condenser microphones and active DI boxes.

WARRANTY

1 Soundcraft is a trading division of Harman International Industries Ltd. End User means the person who first puts the equipment into regular operation. Dealer means the person other than Soundcraft (if any) from whom the End User purchased the Equipment, provided such a person is authorised for this purpose by Soundcraft or its accredited Distributor. Equipment means the equipment supplied with this manual. If within the period of twelve months from the date of delivery of the Equipment to the End User it shall prove defective by reason only of faulty materials and/or workmanship to such an extent that the effectiveness and/or usability thereof is materially affected the Equipment or the defective component should be returned to the Dealer or to Soundcraft and subject to the following conditions the Dealer or Soundcraft will repair or replace the defective components. Any components replaced will become the property of Soundcraft. Any Equipment or component returned will be at the risk of the End User whilst in transit (both to and from the Dealer or Soundcraft) and postage must be prepaid. This warranty shall only be valid if: a) the Equipment has been properly installed in accordance with instructions contained in Soundcrafts manual; and b) the End User has notified Soundcraft or the Dealer within 14 days of the defect appearing; and c) no persons other than authorised representatives of Soundcraft or the Dealer have effected any replacement of parts maintenance adjustments or repairs to the Equipment; and d) the End User has used the Equipment only for such purposes as Soundcraft recommends, with only such operating supplies as meet Soundcrafts specifications and otherwise in all respects in accordance with Soundcrafts recommendations. Defects arising as a result of the following are not covered by this Warranty: faulty or negligent handling, chemical or electro-chemical or electrical influences, accidental damage, Acts of God, neglect, deficiency in electrical power, air-conditioning or humidity control. The benefit of this Warranty may not be assigned by the End User. End Users who are consumers should note their rights under this Warranty are in addition to and do not affect any other rights to which they may be entitled against the seller of the Equipment.

Soundcraft A Division of Harman International Industries Ltd Cranborne House, Cranborne Road, Potters Bar, Herts, EN6 3JN, UK Tel +44 (0) Fax: +44 (0) Email: soundcraft@harman.com
SOUNDCRAFT USA 8500 Balboa Boulevard Northridge CA 91329 USA Tel: +1-818-920-3212 Fax: +1-818-920-3208 Toll Free: 888-251-8352 Email: soundcraft-usa@harman.com

www.soundcraft.com

MULTI PURPOSE MIXERS

FX16ii

THE PROFESSIONALS CHOICE FOR MORE THAN 10 YEARS, NOW THE FX16 GETS STUNNING 24-BIT LEXICON EFFECTS.
Great sound quality, professional build quality, flexible 4-bus architecture and a space-saving sixteen mic inputs and direct outputs in a rack-mounting frame made the original Soundcraft FX16 popular in both live and recording applications. Now the pros choice gets even better with a new 24-bit Lexicon on-board effects section and universal internal power supply (see right). A comprehensive feature set includes 16 mic/line inputs and 26 inputs to mix in total (including stereo returns and tape return to mix). In addition to the mix outputs, 2 buses allow groups of instruments to be sent to additional speakers, or sub-grouped to mix. 16 Direct Outputs are individually switchable pre or post fader, making them equally useful for multitrack recording or live use. Both Solo In Place and PFL solo are available, for studio monitoring and channel gain set-up applications respectively. All 16 mic/line inputs are equipped with high quality UltraMic preamps while a truly British 3-band EQ with swept mid benefits from custom designed pots which give greater control across carefully chosen frequencies. There are 4 Auxiliary Sends, including a dedicated effects send, 1 prefade send and 2 pre/post-fader selectable sends which are equally useful as extra foldback sends or as effects sends in studio mixdown situations. In addition, there are 4 Stereo returns, a separate Mono Sum Output and 2 Subgroup Outputs. A truly professional feature set is completed by 100mm faders for precision mixing control, and the FX16ii fits all of these features into a rugged, compact frame which can be optionally rackmounted into a 10U space. Cables can be conveniently located behind the rack by simply rotating the connector pod.
B A - Connector pod positioned for desktop use. B - Connector pod rotated for rack-mounting.
ON-BOARD EFFECTS FROM THE WORLD-LEADERS IN DIGITAL SIGNAL PROCESSING.
Empowers the FX16ii, MFXi & EFX consoles.
For more than 35 years, Lexicon has been synonymous with the best reverb and processing in the business, continuously introducing ground-breaking technology to the audio industry. Today, Lexicon processing is heard on over 80% of all recordings broadcast and film soundtracks. Now Soundcraft empowers three ranges of multipurpose mixers FX16ii, EFX, and MFX with stunning 24-bit digital effects processing using the same AudioDNA processor used in the highly-acclaimed Lexicon MX300 processor. A total of 32 preset effects including reverbs, delays and choruses are available along with 3 effects parameter controls and a tap tempo button. The versatility of the effects section is further enhanced by the facility to store userdefined effects settings allowing the user to return to their favourite settings time after time. Effects can be switched on and off using a footswitch.

KEY FEATURES

26 inputs as standard 16 mono channels with UltraMic preamps 4 stereo returns 4-bus architecture with sub-group routable to mix 24-bit Lexicon effects processor Direct outputs for multitrack recording individually switchable for pre/post fade operation 100mm faders Inserts on all mono channels Inserts on stereo mix bus 3-band British EQ with swept mid-band 100Hz high-pass filter +48V phantom power 10 segment tri-coloured metering 2 sub-group outputs Rack mountable with rotating rear panel Universal internal power supply

Effects section from EFX mixer shown above. Features and functionality of FX16ii, EFX and MFXi mixers are the same, but layouts differ slightly.

EPM/EFX

SOUNDCRAFT SOUND QUALITY, PERFORMANCE AND VALUE FOR MONEY IN A VERSATILE RANGE OF MULTI PURPOSE MIXERS AVAILABLE WITH AND WITHOUT EFFECTS.
EFX/EPM mixers bring Soundcraft sound quality, performance and value-for-money to a wide range of applications including recording, live sound, install and broadcast. Available in 8 and 12 mono input channel configurations, the EFX mixers feature builtin Lexicon 24-bit processing, providing access to 32 world class reverb, delay and chorus effects (see previous page). For users preferring to use external processing, three EPM mixers (6, 8 and 12 mono inputs replace the EFXs internal FX send with a second Aux send. All EFX/EPM mixers feature 2 stereo channels as standard. Configured for desktop use with all audio connectors conveniently located on the top panel, EFX/EPM mixers can be easily converted for rack-mounting using an optional rack kit, with each mixer occupying just 8U of standard rack space. EFX/EPM mixers feature professional +48V phantom power for condenser microphones and use the same GB30 microphone preamps used on Soundcrafts acclaimed, large format GB Series consoles to achieve exceptional clarity, low-noise and controlled overload characteristics. Drawing on more than 30 years of experience manufacturing professional mixing consoles, Soundcraft has equipped the EFX/EPMs with all the appropriate features for modern mixing applications, at the same time creating an uncluttered and intuitive control surface that enhances the operator experience. Visual feedback is further enhanced by peak LEDs on all input channels which are fed from multiple points in the signal path to ensure that nothing is overlooked. The LEDs illuminate in proportion to the signal level when approaching peaks, enabling the
quality of the signal to be maximised through using all the available headroom. Furthermore, the main stereo mix has 10segment LED meters with a PFL Active LED to indicate that channels are being solod. Rack ears are included with 12 channel consoles.

Built-in Lexicon 24-bit effects Multi-point signal channel status monitoring with proportional illumination Precision GB30 mic pre-amps True, professional +48V phantom power for condenser microphones Insert points for external processing Choice of frame sizes, each with 2 stereo inputs Aux sends globally switchable pre or postfade FX send Universal internal power supply Simple rack mounting options

6/8/None

8/1

MPMi/MFXi

Soundcrafts MFXi/MPMi mixers are compact and ideally equipped for live sound applications including fixed installations, houses of worship and portable PA. 8, 12 and 20 mono input MFXi mixers are empowered by built-in 24-bit Lexicon processing, delivering 32 stunning reverb, delay and chorus effects (see opening page). The MPMi versions replace the MFXis internal FX send with a third Aux send for operators preferring to use external effects. All MFXi/MPMi mixers include 2 stereo input channels along with a 2-track record output and a 2-track replay input which allows interval music to be easily played from CD, MP3 or other music source. For increased versatility, each model in the MFXi/MPMi range has two subgroups as well as a main stereo mix, making control of groups of channels much easier to manage. These are supplemented by 2 (MFXi) or 3 (MPMi) Auxiliary busses which can be used for effects sends or to provide a foldback monitor mix for artists. The MFXi/MPMi consoles use vertically mounted PCBs which are secured with nutted pots for extra strength, stability and easy servicing. Well-spaced controls provide easy access at those critical control moments, enhanced by clear legending which highlights linked or associated functions. Sound quality is assured by Soundcrafts now-legendary GB30 mic preamp and the use of professional condenser microphones is facilitated by the provision of globally switched +48V phantom power. New circuit designs have improved audio quality, and lowered the overall noise floor of the console and FX sections. An integral universal power supply negates the need for an external power module. Rack ears are included with 12 channel consoles.
MORE CHANNELS, MORE AUXES AND 2 GROUP BUSSES. WHEN YOU NEED EVEN GREATER FLEXIBILITY, YOU NEED MFXi/MPMi.
Built-in Lexicon 24-bit effects Precision GB30 mic pre-amps True, professional +48V phantom power for condenser microphones 2 Group busses Stereo Mix output Number of Mic inputs, all with 2 stereo line inputs Maximum inputs to mix Aux sends, globally switchable pre or post-fade FX send Universal internal power supply Optional rack ears (standard on 12 channel)
12/20 18/+ 1 pre fade and 1 post fade None
8/12/20 16/20/+ 1 pre fade 1
The addition of a Kensington lock slot on MFXi/MPMi consoles provides a welcome level of security in installations.
MONO INPUT, STEREO INPUT & MASTER SECTION

MONO INPUT MODULE

Mic Input A female XLR connector accepts balanced or unbalanced mic signals. At -127dbu EIN the mic amp is extremely quiet and transparent with excellent overload characteristics. Line Input A balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards. Insert A pre-EQ insert is available on a 1/4" jack. Direct Output A Direct Output for multitrack recording is available on a 1/4" jack can be switched pre/post fader. Sensitivity A rotary control on each input alters the sensitivity of the input signal, from -60dBu to 0dB. High Pass Filter A switchable stereo 18dB/octave 100Hz high-pass filter can be used to cut stage rumble. EQ Section Equalisation is split into three bands with shelving HF and LF controls providing 15dB of cut or boost (gain adjustment) at 12kHz and 80Hz. A swept mid frequency control enables frequencies from 150Hz to 3.5kHz to be adjusted with up to 15dB of cut or boost at the selected frequency, with a Q of 1.5. Auxiliary Section For sending separate monitor mixes in live applications, or for use with fx units three aux sends on each input channel cater for all requirements. Aux1 is permanently sourced pre-fade, Aux 2 is individually switchable pre/post fade and Aux 3 is permanently sourced post fade. FX Send For sending signal to the internal 24-bit Lexicon effects. Pan, Muting, Sub, Mix and Solo The Pan control positions each channels signal across the stereo image, with a Mute button to cut the signal completely. The Sub/Mix buttons sends the signal to a separate group (for multitrack recording or to an additional set of speakers) or to a subgroup to mix. Both Solo In Place and PFL solo are available, for studio monitoring and channel gain set-up applications respectively. Faders and Metering Each mono channel features a smooth 100mm fader, and a peak level LED indicating signal levels within 6dB of clipping.

MASTER SECTION

Effects A rotary control selects the effect program, with three rotary controls for effect parameters and one to control the effects level sent to Aux 1. Buttons for PFL, Mute, Store (user effect set-up) and Tap Tempo (for time/speed-based effects such as delays). Footswitch input for FX on/off. +48V Phantom Power Dual global control over professional +48V phantom power is offered via push buttons (split channels 18 and 9-16). LEDs illuminate when active. 2-Track Inputs 2-track recorder inputs are on unbalanced RCA phono connectors. A 2-track level control is also provided. Monitor Output and Mix Insert Available on balanced 1/4" jacks. Sub Group Output and Insert Available on balanced 1/4" jacks. Mix Outputs The main left and right mix outputs are provided on balanced XLR connectors. Monitor & Phones Level Levels sent to the monitor output and headphones can be independently adjusted using these two 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 still operational for simultaneous listening by a performer and engineer. Faders and Metering Controlling the sub group outputs and overall stereo mix level are two pairs of 100mm faders, with a Sub to Mix switch provided. Two 10-segment 3-colour LED peak-reading bargraph meters display the L-R output levels, which are replaced by an active Solo signal. A Solo Mode switch selects PFL/AFL Solo or SIP Solo, with indicated by LEDs. 2-track, Mix and Sub selector switches are also provided. Aux Outputs and Stereo Returns 3 aux outputs are available on 1/4" jack, each with rotary level controls and AFL switch. In addition, a rotary level control and AFL switch is provided for FX. 4 pairs of stereo returns are provided on 1/4" jacks. Returns 1-3 have their own level control switchable to Aux 1 or 2 with a separate level control switchable to Mix or Sub. Return 4 has its own level control switchable to Aux 3 or FX send with a separate level control switchable to Mix or Sub. The FX return has its own level control switchable to Aux 1 or 2 with a separate level control switchable to Mix or Sub.
FX16II Mono Input Channel

FX16II Master Section

BLOCK DIAGRAMS
Mic Input A gold-plated balanced female XLR connector accepts balanced or unbalanced mic signals. At -127dBu EIN the mic amp is extremely quiet and transparent with excellent overload characteristics. Line Input A balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards. Insert Used for patching in compressors or additional EQ or for other signal processors. It can also be used for recording to multi-track recorders if necessary. Gain A rotary gain control on each input alters the gain of the input signal, from +5 to +60dB (Line Inputs have -15dB attenuation). Linear circuitry within the preamp delivers smooth gain control over the entire gain range. EQ Section Equalisation is split into three bands. The shelving HF control provides 15dB of cut or boost (gain adjustment) for frequencies above 12kHz. A swept mid frequency control enables frequencies from 150Hz to 3.5kHz to be adjusted with up to 15dB of cut or boost at the selected frequency. Signals below 80Hz can be adjusted with the LF control, which features 15dB of gain adjustment (cut or boost). Auxiliary Section One (EFX) or two (EPM) Aux for sending separate monitor mixes in live applications, or for use with external effects. The Aux bus(es) can be globally switched to be pre or post fade on the master section. FX Send (EFX only) For sending signal to the internal 24-bit Lexicon effects. Pan, Muting, and PFL The Pan control positions each channels signal across the stereo image, with a Mute button to cut the signal completely. A PFL button solos the signal for monitoring. Faders and Metering Each mono channel features a smooth 60mm fader, and a peak level LED indicating signal levels in excess of +17dBu.

STEREO INPUT CHANNEL

Input Connectors The stereo inputs are connected via balanced 1/4" jack inputs, delivering optimum performance with other professional audio equipment. EQ Section The EFX features three fixed shelving controls, adjusting HF signals at 8kHz by 15db, MF signals at 720Hz by 15db and LF signals at 60Hz by 15dB. The EPM features two fixed shelving controls, adjusting HF signals at 12kHz by 15dBu and LF signals at 80Hz by 15dB. Auxiliary Section The signal(s) can be sent pre-fade or post-fade according to master selection, for use in a monitor mix or for effects processing. FX Send (EFX only) For sending signal to the internal 24-bit Lexicon effects. Bal, Muting, and PFL 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 prefade signal is fed to the headphones, control room output and meters. Faders and Metering Each stereo channel features a smooth 60mm fader, and a peak level LED indicating signal levels in excess of +17dBu.

Effects (EFX only) A rotary control selects the effect program, with three rotary controls for effect parameters and one to control the effects level sent to Aux 1. Buttons for PFL, Mute, Store (user effect set-up) and Tap Tempo (for time/speed-based effects such as delays). Footswitch input for FX on/off. +48V Phantom Power Global control over professional +48V phantom power is offered via a push button. When active, an LED will illuminate. 2-Track Inputs and Outputs 2-track recorder playback inputs and record sends are on unbalanced RCA phono connectors. Monitor Playback routes the playback input to your monitoring system or to the headphones, replacing any existing monitoring signals. Playback to Mix routes the playback signal directly to the main mix, replacing any signal that may be present, perfect for intermission music or as a master mute. Monitor Output and Mix Insert Available on balanced 1/4" jacks. Stereo Return (EFX only) Available on 1/4" jacks with level control for use with external processors. Mix Outputs The main left and right mix outputs are provided on balanced XLR connectors. Monitor & Phones Level Levels sent to the monitor output and headphones can be independently adjusted using these two 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 still operational for simultaneous listening by a performer and engineer. Faders and Metering Controlling the overall stereo mix level are two 60mm faders, with two 10-segment 3-colour LED peakreading bargraph meters monitoring the mix left and right outputs. These meters normally follow the current monitor selection, so if any PFL button is pressed, the meters will switch to monitor this and the PFL Active LED will light.

EFX Mono Input Channel

EFX Stereo Input Channel

EFX Master Section

EFX - EPM: THE DIFFERENCES
EFX input channels feature an FX send to the internal Lexicon effects processor, along with a single Aux send for use with external processors, or to create a monitor mix. With no internal Lexicon effects, EPM input channels replace the FX send with a second Aux send. The EFX stereo input channels feature 3-band EQ. The EPM stereo input channels features 2-band EQ.

Mic Input A gold-plated balanced female XLR connector accepts balanced or unbalanced mic signals. At -127dbu EIN the mic amp is extremely quiet and transparent with excellent overload characteristics. Line Input A balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards. Insert Used for patching in compressors or additional EQ or for other signal processors. It can also be used for recording to multi-track recorders if necessary. Gain A rotary gain control on each input alters the gain of the input signal, from +5 to +60dB (Line Inputs have -15dB attenuation). Linear circuitry within the preamp delivers smooth gain control over the entire gain range. EQ Section Equalisation is split into three bands. The shelving HF control provides 15dB of cut or boost (gain adjustment) for frequencies above 12kHz. A swept mid frequency control enables frequencies from 150Hz to 3.5kHz to be adjusted with up to 15dB of cut or boost at the selected frequency. Signals below 80Hz can be adjusted with the LF control, which features 15dB of gain adjustment (cut or boost). Auxiliary Section Two (MFXi) or three (MPMi) Aux sends for sending separate monitor mixes in live applications, or for use with external effects. In the Master Section, each Aux bus has its own master level control and AFL. Aux 1 is fixed pre-fade, Aux 2 is switchable pre or post-fade, and Aux 3 (FX on MFXi) is set post-fade. FX Send (MFX only) For sending signal to the internal 24-bit Lexicon effects. Pan, Muting, PFL and Routing The Pan control positions each channels signal across the stereo image, with an illuminated Mute switch to cut the signal completely. A PFL button solos the signal for monitoring. The mono channels can be routed to either the main Mix outputs or the Sub Groups via the Mix/Grp switch. Faders and Metering Each mono channel features a smooth 60mm fader, along with Signal Present and Peak level indicator LEDs, which are located just above the fader for easy viewing of signal status.
Input Connectors The stereo inputs are connected via balanced 1/4" jack inputs, delivering optimum performance with other professional audio equipment. EQ Section There are three fixed shelving controls, adjusting HF signals at 8kHz by 15db, MF signals at 720Hz by 15db and LF signals at 60Hz by 15dB. Auxiliary Section With 2 (MFXi) or e (MPMi) Aux sends on the stereo input channels, the signal can be sent pre-fade (Aux 1), pre or post-fade (Aux 2) or post-fade (Aux 3/FX). Aux 2 is switchable pre or post-fade on the Master section. FX Send (MFXi only) For sending signal to the internal 24-bit Lexicon effects. Bal, Muting, PFL and Routing 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 prefade signal is fed to the headphones, control room output and meters. The stereo input channels can be routed to either the main Mix outputs or the Sub Groups via the Mix/Grp switch. Faders and Metering Each stereo channel features a smooth 60mm fader, and a peak level LED indicating signal levels in excess of +17dBu.

Effects (MFXi only) A rotary control selects the effect program, with three rotary controls for effect parameters and two to control the effects level sent to Auxes 1 and 2. Buttons for PFL, Mute, Store (user effect set-up) and Tap Tempo (for time/speed-based effects such as delays). Footswitch input for FX on/off. The FX return fader has both Signal present and Peak LEDs for easy viewing of signal status. The FX master has AFL switching to check the level of the signal being sent to the FX section (or external processor). +48V Phantom Power Global control over professional +48V phantom power is offered via a push button. When active, an LED will illuminate. 2-Track Inputs and Outputs 2-track recorder playback inputs and record sends are on unbalanced RCA phono connectors. The Playback to Mix control routes the signal directly to the main mix, replacing the signal that is present. Monitor Switching Monitor outputs are selectable from 2-Track input, and Mix or Sub outputs. Monitor Outputs Available on balanced 1/4" jacks, the Headphone and Control Room monitor outputs feature independent level control. Mix Outputs The main left and right mix outputs are provided on balanced XLR connectors. Stereo Return (MFXi only) Available on 1/4" jacks with level control for use with external processors. Sub Groups Control over the Sub Groups comes via L-R Sub Group faders. The Sub Group outputs are 1/4" jacks Faders and Metering L-R Group faders control the Sub Group levels while overall stereo mix is handled by a single 60mm fader, with two 10-segment 3-colour LED peak-reading bargraph meters monitoring the mix left and right outputs. These meters normally follow the current monitor selection, so if any PFL button is pressed, the meters will switch to monitor this and the PFL Active LED will light.

MFXi Mono Input Channel

MFXi Stereo Input Channel

MFXi Master Section

MFX - MPM: THE DIFFERENCES
MFXi input channels feature an FX send to the internal Lexicon effects processor, along with 2 Aux sends for use with external processors, or to create a monitor mix. MFXi consoles include an additional stereo return to mix with its own level control. With no internal Lexicon effects, MPMi input channels replace the FX send with a third Aux send.

AUX 3 POST AUX2 POST AUX2 PRE AUX1 PRE GRP(RIGHT) GRP (LEFT) MIX(RIGHT) MIX(LEFT) PFL / AFL PFL / AFL ENABLE AUX1 (MASTER) AUX1 O/P
MONO CHANNEL (1 - 20 or 1 - 12 ALL IDENTICAL)
+48V SP PFL d/c MIC GAIN INSERT POINT TIP=SEND RING=RETURN MIX/SUB EQ PRE-FADER SIGNAL POST-FADER SIGNAL

d/c POST/PRE AFL

PAN AUX2 (MASTER)

AUX OUTPUTS

AUX2 O/P
MUTE LINE -15dB HPF PK LF MF & HF SWEEP

AUX3 (MASTER) AUX3 O/P

SOLO METERS R L
STEREO CHANNEL (STEREO 1 & 2 IDENTICAL)
GAIN SP EQ LEFT/MONO MUTE

MIX/SUB

+16 +10 +6 +-3 -6 -12 -16 -22

MONITOR & METERS

STEREO/ MONO
RIGHT LF MF HF FADER PFL BALANCE MONITORING SELECT (2 TRACK) MIX/SUB TO MONITOR PK d/c AUX1 MONITOR OUT LEVEL
STEREO H/PHONES HEADPHONES LEVEL

SUB TO MIX

MONITOR OUT L
MONITOR OUT R POST-FADER SIGNAL AUX2 PRE-FADER SIGNAL R L

REC OUT

MIX OUTPUTS

MIX/L OUT MONO OUTPUT

MIX FADER AUX 3

LEVEL SUB - L OUT

MIX/R OUT

2 TRACK IN

TO MIX

SUB-L FADER

SUB OUTPUTS

SUB-R FADER SUB - R OUT

AUX2 POST AUX2 PRE AUX1 PRE GRP(RIGHT) GRP (LEFT) MIX(RIGHT) MIX(LEFT)

FX (POST)

PFL / AFL PFL / AFL ENABLE

AUX1 (MASTER) AUX1 O/P

MONO CHANNEL (1 - 20 or 1 - 12 or 1-8 ALL IDENTICAL)

POST/PRE AFL

AUX2 (MASTER)
(FX to AUX1 IS SIMILAR, EXCEPT FEED IS TO AUX1 PRE BUS ONLY)

FX to AUX2

FX (ROTARY) AUX1
OUT EFFECTS FADER FX BYPASS FOOTSWITCH

AFL d/c PFL

FX BUS O/P
MONITOR OUT R POST-FADER SIGNAL AUX2 L

STEREO RETURN

LEVEL LEFT/MONO

PRE-FADER SIGNAL

MIX FADER FX
RIGHT L LEVEL SUB - L OUT

DIMENSIONS & WEIGHTS

Width 442mm (17.4")
Height Depth 148mm (5.8") 442mm (17.4") 148mm (5.8") 442mm (17.4")
Weight 8.5 kg (19.0 lbs) 8.5 kg (19.0 lbs)
FX16ii 481mm (19") with rack ears (10U)

EPM6 EPM8 EPM12

Width 280mm (11.0") 330mm (13.0") 432mm (17.0")
Height 91mm (3.6") 91mm (3.6") 91mm (3.6")
Depth 362mm (14.3") 362mm (14.3") 362mm (14.3")
Weight 4.0 kg (8.8 lbs) 4.6 kg (10.1 lbs) 5.8 kg (12.8 lbs)

EFX8 EFX12

Width 330mm (13.0") 432mm (17.0")

Height 91mm (3.6") 91mm (3.6")
Depth 362mm (14.3") 362mm (14.3")
Weight 4.6 kg (10.1 lbs) 5.8 kg (12.8 lbs)
Width MPMi12/2 482mm (19.0") MPMi20/2 688mm (27.0")
Height 94mm (3.7") 94mm (3.7")
Depth 405mm (16.0") 405mm (16.0")
Weight 6.7 kg (14.8 lbs) 9.3 kg (20.4 lbs)
MFXi8/2 MFXi12/2 MFXi20/2
Width 383mm (15") 482mm (19.0") 688mm (27.0")
Height 94mm (3.7") 94mm (3.7") 94mm (3.7")
Depth 405mm (16.0") 405mm (16.0") 405mm (16.0")
Weight 4.0 kg (8.8 lbs) 6.7 kg (14.8 lbs) 9.3 kg (20.4 lbs)

SPECIFICATIONS

FX16ii TYPICAL SPECIFICATIONS
Frequency Response T.H.D. Noise Mic / Line Input to any Output.. +/-1dB, 20Hz 20kHz Mic Sensitivity -30dBu, +14dBu @ Mix output. < 0.09% @ 1kHz Mic Input E.I.N. (maximum gain).. -127dBu (150 source) Aux, Mix and Masters (@ 0dB, faders down).. < -84dBu Channel Mute... > 96dB Aux Send Pots Offness.. > 86dB EQ (Mono inputs) HF... 12kHz, +/-15dB MF (swept)... 150Hz 3.5kHz, +/-15dB LF... 80Hz, +/-15dB Q.... 1.5... Less than 40W Temperature Range... 5C to +40C Mic Input... +15dBu max. Line Input.... +30dBu max. Stereo Input... +30dBu max. Mix Output... +20dBu max. Headphones (@150)... 300mW Mic Input... 2k Line Input.... 10k Stereo Input.. 65k (stereo), 35 (mono) Outputs.. 150k (balanced), 75 (unbalanced) Input & Output Impedances Power Consumption Operating Conditions Input & Output Levels EQ (Mono inputs)
EPM/EFX TYPICAL SPECIFICATIONS
Frequency Response T.H.D. Noise Mic / Line Input to any Output.. +/-1.5dB, 20Hz 20kHz Mic Sensitivity -30dBu, +14dBu @ Mix output. < 0.02% @ 1kHz Mic Input E.I.N. (maximum gain).. -127dBu (150 source) Aux, Mix and Masters (@ 0dB, faders down).. < -85dBu Channel Mute... > 96dB Aux Send Pots Offness.. > 86dB HF... 12kHz, +/-15dB MF (swept)... 150Hz 3.5kHz, +/-15dB LF... 80Hz, +/-15dB Q.... 1.5 HF... 12kHz, +/-15dB MF (EFX Only)... 720Hz, +/-15dB LF... 80Hz, +/-15dB... Less than 35W Temperature Range... 5C to +40C Mic Input... +15dBu max. Line Input.... +30dBu max. Stereo Input... +30dBu max. Mix Output... +20dBu max. Headphones (@150)... 300mW Mic Input... 2k Line Input.... 10k Stereo Input.. 65k (stereo), 35 (mono) Outputs.. 150k (balanced), 75 (unbalanced)

Crosstalk (@ 1kHz)

Power Consumption Operating Conditions Input & Output Levels

EQ (Stereo inputs)

Input & Output Impedances
MPMi/MFXi TYPICAL SPECIFICATIONS
Frequency Response T.H.D. Noise Mic / Line Input to any Output.. +/-1.5dB, 20Hz 20kHz Mic Sensitivity -30dBu, +14dBu @ Mix output. < 0.01% @ 1kHz Mic Input E.I.N. (maximum gain).. -126.5dBu (150 source) Aux, Mix and Masters (@ 0dB, faders down).. < -85dBu Channel Mute... > 96dB Aux Send Pots Offness.. > 86dB EQ (Mono inputs) HF... 12kHz, +/-15dB MF (swept)... 150Hz 3.5kHz, +/-15dB LF... 80Hz, +/-15dB Q.... 1.5 HF... 12kHz, +/-15dB MF... 720Hz, +/-15dB LF... 80Hz, +/-15dB... Less than 40W Temperature Range... 5C to +40C Mic Input... +15dBu max. Line Input.... +30dBu max. Stereo Input... +30dBu max. Mix Output... +20dBu max. Headphones (@150)... 300mW Recommended headphones impedance.. 32 - 200 Mic Input... 2k Line Input.... 10k Stereo Input... 45k Outputs.. 150k (balanced), 75 (unbalanced)

Note: These figures are typical of performance in a normal electromagnetic environment and are often exceeded. Performance may be degraded in severe conditions. All measurements refer to electronically balanced inputs and outputs.

GRAHAM BLYTH FRSA

To mark Soundcrafts 30th anniversary, co-founder and Technical Director, Graham Blyth, took a well established and classic Soundcraft microphone preamplifier to a new level of performance, resulting in the new GB30 preamp which boasts extraordinary clarity with exceptionally controlled overload characteristics.
Soundcraft Registered Community Trade Mark/RTM No. 000557827
SOUNDCRAFT HARMAN INTERNATIONAL INDUSTRIES LTD., CRANBORNE HOUSE, CRANBORNE ROAD POTTERS BAR, HERTS, EN6 3JN, UK T: +44 (0)F: +44 (0)E: info@soundcraft.com SOUNDCRAFT USA 8500 BALBOA BLVD. NORTHRIDGE, CA 91329, USA T: +1-818-920-3212 F: +1-818-920-3208 E: soundcraft-usa@harman.com

www.soundcraft.com

Soundcraft reserves the right to improve or otherwise alter any information supplied in this document or any other documentation supplied hereafter. E&OE 01/09 This equipment complies with the EMC Directive 89/336/EEC

Part No: ZL0605-05