Compact Stagebox (CSB)

The Compact Stagebox is an extension to the range of Soundcraft digital live sound consoles, and adds a low-cost expansion option to the Soundcraft Vi Series, Soundcraft Si Series, Soundcraft Vi1 and Soundcraft SI Compact. The Soundcraft Compact Stagebox offers a high density of I/O connections in only 4U of rack space. The modular unit is fully configurable but is offered with a standard configuration of 32 mic/line inputs, 8 line outputs, 8 channels of AES/EBU outputs and 2 expansion slots for standard Studer D21m I/O cards. The D21m is the I/O architecture for Studer as well as Soundcraft digital mixing systems and allows connection to most popular digital formats, including CobraNet, AVIOM A-Net16, Ethersound, ADAT and RockNet. A MADI recording interface can also be fitted to the expansion slots.
It is possible to equip the Compact Stagebox with an additional 16 mic/line input XLR module instead of the output module, providing 48 inputs. In this case, analogue or AES outputs could sill be obtained on D-Type connectors via D21m cards fitted to the expansion slots. As well as the flexibility of the D21m option card interface, the Compact Stagebox also uses the same Mic/line I/O modules as found in the Soundcraft Vi1 console, and as a result it is possible to move or share modules between console and stagebox, should a different configuration of I/O be required on either the Vi1 or the Stagebox. For example, the 8 line out/AES output card from the Stagebox could be fitted to the Vi1 console in place of a 16ch line output card. Alternatively, the mic input modules can be replaced with output modules if large numbers of outputs are required. When fitting cards to the expansion slots it should be noted that the maximum input and output capacity of the CSB is limited by the MADI console link to 64 in/64 out.
The Compact Stagebox is connected to the host console using either Cat-5 or Optical-fibre MADI, the same way as the larger 64 Mic/line Vi6 Stagebox is hooked up, and shares the same redundant MADI cable capability. Cat5 Version: E947.350000 Optical version: E947.351000 The unit comes complete with twin redundant power supplies, thermostatically-controlled fan cooling and full LED status monitoring. An 8ch GPIO interface is also provided. The Compact Stagebox is ideal for existing owners of Vi Series consoles as a cost-effective method of expanding the input capability by expanding to up to 96 mic/line analogue inputs from remote stageboxes, or as a partner for the Vi1 and Si range of consoles providing cost-effective remote I/O capability in conjunction with the optional MADI interface cards available for those consoles.

www.soundcraft.com

BD10.947302

Contain important information and useful tips on the operation of your equipment.
HEADPHONES SAFETY WARNING Contain important information and useful tips on headphone outputs and monitoring levels.

INTRODUCTION

Thank you for purchasing a Soundcraft Si Compact mixer. The Soundcraft Si Compact series is an incredibly versatile but simple to use digital console optimized for live sound environments or other situations where fast and clear access to any control or parameter is needed. Along with many new technologies and features, the Si Compact borrows much from its larger predecessors the Si 1, 2 & 3 consoles and Soundcraft Vi series ensuring high reliability, fantastic audio quality and a mature and comprehensive feature set. Some of the technologies employed by the Si Compact include Mic amps from the Vi1, classic Soundcraft EQ modeling, Lexicon FX processors, BSS Graphic EQ and dynamics processors developed with world leaders in this field DBX. The SiCompact series hardware and software systems have been designed to make mixing as simple as possible and we believe you will find this one of the quickest consoles to learn. Owning a Soundcraft console brings you the expertise and support of one of the industrys leading manufacturers, and the results of over three decades of supporting some of the biggest names in the business. Our knowledge has been attained through working in close contact with leading professionals and institutes to bring you products designed to get the best possible results from your mixing. Built to the highest standards using quality components and surface mount technology, the Soundcraft Si Compact is designed to be as easy to use as possible. We have spent years researching the most efficient methods of control for two key reasons: 1) Engineers, musicians, writers and programmers all need to have very few interruptions to the creative process; our products have been designed to be almost transparent, allowing this process to breathe. 2) Whether performing or recording, time is a very expensive and rare commodity. Our products have a user interface which is recognized by millions to be the industry standard because of its efficiency. The sonic qualities of our products are exemplary and some of the same designs used on our most expensive consoles are employed in the Si Compact, bringing you the great Soundcraft quality in a small format console without compromise. You will also be glad to know you have a one year warranty with your product from the date of purchase. The Soundcraft Si Compact has been designed using the latest high-end software based engineering packages. Every console from Soundcraft has been proven to stand up to all the stress and rigours of modern day mixing environments. The entire Soundcraft Si Compact range is manufactured using some of the most advanced techniques in the world, from high density surface mount PCB technology, to computer aided test equipment able to measure signals well outside the range of normal hearing. As each console passes through to be quality checked before packing, there is also a human listening station. Something we have learnt over the years is that the human touch counts and only by using people can we ensure that the product meets the high demands of the user. NOTE: The packaging, in which your console arrived, forms part of the product and must be retained for future use.

Grounding and shielding is still seen as a black art, and the suggestions above are only guidelines. If your system still hums, an earth/ground loop is the most likely cause. Two examples of how an earth loop can occur are shown below.
Warning! Under NO circumstances must the AC power mains earth be disconnected from the mains lead.
Si Compact Control Surface and Connector Overview
Si Compact Front Panel Si Compact 24 fader shown:
Assignable Channel Strip (ACS) Meters, Monitors USB & Power
Colour LCD Touch Screen Lexicon FX Controller Buss Follow (tOTEM) Keys Global Mode switches and encoders Cue Control Master Faders and associated controls
Phones socket under faders
Main Channel or Bus Master faders, meters and associated controls
Mute Masters and Faders Bank controls
Si Compact Rear Panel Si Compact 24 fader shown:
Recallable Mic/Line Inputs x24 (32/16 on other size consoles) 16x Analogue Line Out
Word Clock and MIDI In & OUT 4x Analogue Inserts (not 16 fader version)

Option card Slot

AES IN & OUT

Analogue Line In

HiQNet Ethernet Port
Assignable Channel Strip (ACS)
The Assignable Channel Strip (ACS) follows the currently SELected channel or bus and provides almost all of the controls relating to the selected channel or bus; it is broken down in to small colour coded sections making it easy to identify control groups and functions at a glance. Unlike any other console in this class, there is a dedicated control for each function therefore no overlaying of controls is needed and each control has a dedicated label and scale just as you would have found on an analogue mixer *1. Any encoders or functions that are not available/appropriate for a given mode will be un-lit and have no function. Although the control surface has values marked against the encoders the absolute value of any encoder will be shown on the touch screen provided by the Function Focus feature.
The GAIN/TRIM encoder on the ACS functions as GAIN control when controlling a mic amp and TRIM for a LINE source whenever the ACS is selected to an input

INPUT/OUTPUT section

1. Meter: indicates the level in the channel or bus; if the source is MONO only the left meter will indicate signal.

TOUCH SCREEN ENCODERS AND BUTTONS
1. TOUCH SCREEN: colour touch screen interface. 2. MENU key: Press when lit to return to the MAIN MENU page. 3. APPLY key: Press when lit to APPLY a change such as re-naming a cue, channel, show or similar. 4. SCROLL/ADJUST encoder: Rotate to scroll up/down lists, press to select or activate a highlighted function.

LEXICONTM INTERFACE

1. LEXicon key: press to open the Lexicon menu pages. 2. Lexicon encoders (x4): used to adjust the parameters within an effect. The encoders are context dependent upon what is shown on the touch screen at any given time. 3. TAP keys (x4): used to set the tempo of any of the patch using delays/measures; the keys flash with the set tempo. 4. SCROLL/ADJUST encoder: used to navigate between processors, pressing the encoder allows a different patch to be selected from the 29 available patches: Reverb Patches: 14 types Delays: 7 types Effects: 8 types including Chorus, Flanger, Phaser and Rotary 5. PAGE TABS: used to navigate through parameters available in the selected patch; tabs 2 and 3 are greyed out as appropriate if there are no parameters on those tabs.
tOTEM (the One Touch Easy Mix) keys
These keys place the console into MIX mode allowing quick & easy mixing from Channels to Buses, Channels to FX or Buses to Matrix. Pressing any key triggers a sequence of events that re-configure the control surface and console monitoring system to the optimum layout for the desired/required function. Aux Buses 1:14 Clears all current SOLOs. Sets fader bank to IN A (if not currently on IN A or IN B bank). Puts input faders into sends on faders mode lighting fader glow according to the PRE or POST setting of the bus. Places BUS MASTER for selected bus on the MONO fader. SOLOs the selected bus. Selects the ACS to the appropriate Aux bus.
FX Buses 1:4 Clears all current SOLOs. Sets fader bank to IN A (if not currently on IN A or IN B bank). Puts faders into sends on faders mode lighting fader glow accordingly. Places FX Return of fader for selected bus on the MONO fader. SOLOs the appropriate FX Return channel. Selects the ACS to the appropriate FX Return channel. NOTE: This function may only be enabled if an FX processor is patched to a Stereo Return channel; this is achieved from the PATCH function in the inputs window. Matrix Buses 1:4 Clears all current SOLOs. Puts faders into BUS mode if not currently already selected. Puts faders into sends on faders mode lighting fader glow accordingly. Places MATRIX MASTER for selected bus for selected bus on the MONO fader. SOLOs the selected bus. Selects the ACS to the appropriate Matrix bus. NOTE: Use ALT + MTX to have MONO and LR faders send to the selected matrix MONO, L&R meters.
Global Mode Encoders and Functions
The Global Mode encoders offer control of a key parameter across all channels or buses currently active on the surface: 1. GLOBAL GAIN/TRIM key: press to make all the encoders function as the input GAIN (or TRIM for LINE & DIGITAL sources) for all the channels on the currently active input fader layer. NOTE: This key has no function in BUS or MATRIX modes. 2. GLOBAL FILT key: press to make all the encoders function as the input HPF for all the channels on the currently active input fader layer. NOTE: This key has no function in BUS or MATRIX modes. 3. GLOBAL PAN key: press to make all the encoders function as the PAN for all the channels or buses on the channels on the currently active input or bus fader layer. NOTE: This key has no function in MATRIX mode. NOTE: when mixing to a stereo bus using the tOTEM follow keys the global encoders will switch to PAN mode and shall act as the PAN or BALANCE control from the channels to the bus.

CUE Control see also CUE LIST
1. CUE LIST key: press when lit to bring the CUE LIST menu to the touch screen. 2. STORE key: press to STORE a new cue at the end of the use list. NOTE: Pressing and Holding ALT, then pressing STORE will insert a new cue after the current cue. NOTE: Cues are stored with the default name Unnamed Snapshot n where n is a count of how many cues exist rather than its position in the cue list.
4 3. NEXT key: press the NEXT key when lit to recall the 3 next (current cue number +1) cue. NOTE: Pressing and Holding ALT, then pressing NEXT will recall the cue numerically prior to the current cue (current cue number -1)
4. RECALL key: Press the RECALL key when lit to recall again the currently active cue OR if the CUE LIST is open the cue that is highlighted. NOTE: If the CUE LIST is open you may scroll to any cue and press the SCROLL/ADJUST encoder to instantly recall it. NOTE: For more information on the Cue List and Snapshot Control see also CUE LIST. 22

ALT KEY

ALT is a modifier key used by the following functions: COPY & PASTE CLR (CLeaR function) CUE CONTROL MIXING to MATRIX BUSES Refer to these sections for detail on the operation and use.
CLR & SOLO CLR Keys see also clear
1. CLR key: used to reset channels, buses or groups of parameters to their factory defaults as follows: CLR + channel or bus SELect will reset all audio 1 parameters within that channel or bus. to the factory defaults. CLR + function key within the ACS (such as EQ, GATE 2 or COMP) will reset all assocaited parameters of the selected channel or bus to the factory defaults. CLR + GEQ HI or LO will reset all bands in an active GEQ to 0dB CLR+ MUTE n will clear all channel or bus assignments to Mute Group n CLR+ tOTEM follow key will reset all contributions and ON status from channels or buses to the BUS/MTX/FXn back to the factory defaults. NOTE: The reset refers only to the main audio parameters and does not affect functions such as SOLO, bus type, names patching and mute assignment. CAUTION: ALT+ CLR+ function key within the ACS (such as EQ, GATE or COMP) will reset all associated parameters on all channels to the factory defaults. 2. SOLO CLR: Pressing this key when lit will clear all active PFL or AFL selections.
MUTE SET-UP & MUTE MASTER Keys

1.MUTE SETUP key: pressing this key to toggle in/out of Mute Group Setup mode; the SETUP key has no function on its own and requires the selection of one of the MUTE MASTERS (1-4) to indicate which of the four mute groups you are going to SETUP. 2.MUTE MASTERS 1-4: when used while MUTE SETUP is active the keys allow setting of the Mute Groups to the channels, when not in MUTE SETUP the keys act as the Mute Group Masters. Setting Mute Groups: 1.Press the SETUP key then one of the MUTE keys (1-4); SELect keys will light if any of the channels or buses on the surface is assigned (a slave) to the selected mute group. 2.Add or remove slaves by pressing the SELect keys on the channel(s) you wish to include in the mute group. 3.Additional mute groups may be set at the same time by changing to a different MUTE MASTER. 4. To exit the setup process press the SETUP key. NOTE: During MUTE SETUP the ON/OFF (MUTE) state of any channels is not affected. When not in MUTE SETUP mode the keys 1-4 act as the MUTE MASTERS, pressing any of the keys will MUTE (turn off) any channels within the mute group. NOTE: A channel may be a member of more than one mute group, in this situation the MUTE Masters operate in a logical OR manner.
MASTER LR FADER AND Associated Keys
1. MASTER LR fader: sets the overall level of the main Left & Right bus out. 2. MASTER LR ON key: toggles the main LR bus ON/OFF. 3. MASTER SELect key: assigns (SELects) the ACS to the main Left & Right buses. NOTE: If using ALT+ MTXn LR fader operates as contribution of LR bus to Matrix n. NOTE: If using ALT+ MTXn LR ON key operates as send ON/OFF for contribution of LR bus to Matrix n.
MONO/SEL FADER AND Associated Keys
1. MONO/SEL fader: sets the overall level of the MONO bus out unless a FADER FOLLOW is active; in this event fader may act as one of the following: FADER FOLLOW 1-14 or MTX1-4 active - Fader is the master level for BUS n. FX FOLLOW 1-4 active - Fader is the channel level of FX Return channel n NOTE: If using ALT+ MTXn MONO fader operates as contribution of MONO bus to Matrix n 2. MONO ON key: Toggles the MONO bus ON/OFF unless a FADER FOLLOW is active; in this event the key may act as one of the following: FADER FOLLOW 1-14 or MTX1-4 active ON is the master ON/OFF for Bus n. FADER FOLLOW FX1-4 active ON is the ON/OFF for FX Return channel n NOTE: If using ALT+ MTXn MONO ON key operates as send ON/OFF for contribution of MONO bus to Matrix n 3. MONO SELect key: Assigns (SELects) the ACS Channel to the MONO bus unless a FADER FOLLOW is active, in this event the key may act as one of the following: FADER FOLLOW 1-14 or MTX1-4 active SELects Bus n to the ACS. FADER FOLLOW FX1-4 active SELects associated FX Return channel x to the ACS.

Fader Layer Keys

Fader Layer Keys change the function of the faders to the LEFT of the Master faders: 1. INA: Input Layer A, nominaly all MONO inputs to the system. 2. INB: Input Later B, nominaly all STEREO inputs to the system. 3. BUS: All Aux Bus Masters in the system. 4. MTX: All Matrix Masters in the system. 5. GEQ LO: The lower half of the GEQ. 6. GEQ HI: The uper half of the GEQ. NOTE: The GEQ pages are only available when in BUS or MTX mode, when the LR or MONO master is SELected or when FOLLOWing a bus.

FADER GLOWTM

The Fader Glow system illuminates the fader slot when the function of the fader is anything other than a mono input channel level control according to the following list: White: Yellow: Green: Orange: Red: Cyan: Magenta: Channel faders linked. Faders in BUS mode, bus type is PRE FADE or faders in FOLLOW mode to a PRE FADE aux bus. Faders in BUS mode, bus type is POST FADE or faders in FOLLOW mode to a POST FADE aux bus. Faders in matrix master OR faders in FOLLOW mode to a MATRIX bus. Faders in GEQ mode. A channel assigned as an FX Return or faders in FX follow mode. Channel Faders assigned to Stereo channels.
Channel Faders and Associated Keys & Displays
1. Global Mode Encoder & Display See GLOBAL MODE for more detail on this function. 2. Level Meter: Input level to the channel or Bus Master level when in BUS or MTX modes. 3. Gain Reduction Meter: Indicates gain reduction in the channel or bus. 4. Gate Closed Indicator: Indicates the noise gate is CLOSED on the channel; has no function in any other mode. 5. ON Key: Function varies according to mode/ setting of fader layers: Input, Bus or Matrix: toggles the channel or bus ON/OFF. Follow Mode: Toggles the send from channel/bus n to bus x ON/OFF. GEQ Mode: Resets the GEQ band gain to 0dB. 6. SEL Key: Selects the channel or bus to the ACS. 7. SOLO Key: Will SOLO the channel or bus; actual mode will depend upon the settings in the SOLO menu and status of other SOLO functions within the system. See SOLO MENU for more information on the solo system operation. 8. Fader: Function varies according to mode/setting of fader layers: Input: sets the post fade level within the channel Bus or Matrix: sets the bus output level Follow Mode: sets the level from channel/bus n to bus x GEQ Mode: sets the GEQ band gain. NOTE: The Fader Glow function and pattern on the faders will assist in guiding you as to the function of the fader. See Fader Layers and Fader Glow for more information.
The Si Compact features a 28 band Graphic EQ on every bus on each and every Aux, Matrix, and Master Buses; having a GEQ on every bus means there is no need to patch the GEQ, just enable it when required with no risk of running out of DSP! The GEQ function is available when in BUS or MTX mode, when the LR or MONO master is SELected or when FOLLOWing a bus, at all other times the GEQ keys will have no function. 1. Press either the GEQ HI or LO keys to open the GEQ across the 14 faders immediately left of the FADER BANK keys. 2. Toggle between GEQ HI & LO with the appropriate key. The frequency bands for HI and LO are printed above each fader whilst the scale on the left hand side of the fader slot indicates the dB of cut or boost applied. The Function Focus display on the LCD can be used for an exact indication of the band gain. 3. To exit the GEQ press the lit GEQ HI{LO} key, any of the FOLLOW keys or INA, INB, BUS or MTX keys. NOTE: Whilst in BUS or MTX modes it is possible to swap between the GEQ on different buses with the GEQ open by pressing another SELect key. NOTE: To BYPASS the GEQ press both the GEQ HI and LO keys together and both GEQ keys will light, to exit BYPASS press either one of the GEQ keys. NOTE: To easily reset any band back to 0dB press the associated lit red ON key. NOTE: To reset all bands of the active GEQ press CLR together with either of the GEQ keys.

SOLO MENU & SOLO Systems
Home screen displays all SOLO options available on the system. Si Compact uses intelligent automatic SOLOing to provide the best source for any given task or SOLO key operation; indicators above the monitor volume encoder indicate the current state of the SOLO system; the normal operation is as follows: Single input SOLO PFL 2 or more input SOLOs AFL Any output active AFL Solo keys are normally latching, temporary activation of any SOLO key is available by press & hold, this method of operation causes the held key to be automatically cancelled when it is released. Solo In Place: Enables Solo In Place for input channels, status is indicated on the MENU bar and with the SIP indicator lights. NOTE: Whilst SIP is active other SOLO menu items may not be adjusted. Solo Highlight: When 2 or more input SOLOs are active it is possible to highlight an individual channel by pressing and holding one of the active input SOLO keys, this has the effect of attenuating contribution of other solod channels to the solo and monitor system. The Highlight Level (level of attenuation) is changed using the SCROLL/ADJUST encoder. Blend Level: Sets the attenuation level of the primary monitor source whist a PFL or AFL is active; the default setting is - (- infinity) resulting in complete mute of the normal monitor source, this setting is changed using the SCROLL/ADJUST encoder to allow background monitoring of the primary monitor source whist PFL or AFL is active. Input Priority: When On (default) allows input solos to temporarily override an output AFL allowing monitor and control of contributions to a mix, if all active SOLOs are cleared the system reverts to monitoring the active output AFL solos. When set to Off any input SOLO will cancel any output SOLOs and vice versa. Status is changed with the SCROLL/ADJUST encoder. Solo Trim: Offers +/-10dB of trim to the level of the SOLO bus to the monitor system independent of the main monitor level control, this setting is changed using the SCROLL/ ADJUST encoder.

OSC MENU

Home screen displays all settings and parameters concerned with the oscillator function. Route to bus: Enables routing of the oscillator to individual buses; the actual routing to any given bus is enabled/disabled by the BUS and MATRIX SOLO keys. Route to all buses: Enables routing of the oscillator to all buses. NOTE: It is not possible to route directly to LR and MONO buses, for this function route the oscillator to a bus then use the LR and MONO routing keys of that bus to route the osciallator as required. NOTE: Oscillator settings default to Off following a power cycle. Level: Indicates level of the oscillator to any buses or output patch; the setting is changed using the SCROLL/ADJUST encoder. Frequency: Indicates frequency of the oscillator for Sine type; the setting is changed using the SCROLL/ADJUST encoder. Type: Indicates the oscillator signal type; the setting is changed between Sine and Pink using the SCROLL/ADJUST encoder. Oscillator Out Patch: Indicates patch point if any, assigned to the oscillator, by default there is no output patched. Use the SCROLL/ADJUST encoder to highlight the item and select a patch. NOTE: Oscillator is always active when patched regardless of any other oscillator settings. NOTE: Only Oscillator patches are stored per cue.

MONITOR OUT

Patching Replay Filtering It is possible to isolate patching changes from the automation for the EDIT SHOW menu to prevent the automation for changing system patching when a cue is recalled. To isolate an item scroll to the desired list item, press the encoder and select Isolate.
As part of the cue replay function Si Compact can send MIDI messages when a cue is replayed to trigger events in other systems. Set-up for the MIDI function is from within the CUE LIST, scroll to the cue in which you wish the MIDI event to happen and press the EDIT CUE button:
MIDI Program Change Set On or Off to enable or disable sending of midi messages when the cue is replayed. MIDI Transmit Channel Sets which MIDi channel the Program Number message is sent on; range 1-16. MIDI Program Number Sets the MIDI Program Number that is set; range is 1-127.
NOTE: If MIDI Program Change is set On, the MIDI icon in the Cue List view will be lit blue.
As part of the cue replay function Si Compact can send HiQnet messages when a cue is replayed to trigger events in a HiQnet system. Set-up for the HiQnet function is from within the CUE LIST, scroll to the cue in which you wish the HiQnet event to happen and press the EDIT CUE button:
HiQnet Venue Recall Set On or Off to enable or disable sending of HiQnet Venue Recall preset messages when the cue is replayed. HiQnet Venue Number Sets the HiQnet Venue Number that is sent; range is 1- 65535. NOTE: If HiQnet Venue Recall is set On, the HiQnet icon in the Cue List view will be lit orange.
NOTE: DHCP is enabled on the Si series consoles negating the need to set an IP address.
To learn more about the Harman HiQnet system visit http://hiqnet.harmanpro.com/

Option card slot

The Si Compact features a 64 in x 64 out expansion slot compatible with all Si option cards. For a detailed description of the cards and theory of operation for the option slot please refer to the Si Option Card User Manual available from www.soundcraft.com
Headphone Out & Monitoring
The Si Compact features a comprehensive monitoring system. The active monitor signal is always available on the headphone output (located below the armrest near fader 1) with level controlled by the Monitor Level encoder but can also be patched in parallel to other outputs on the console, see PATCHING. The monitor signal nominally follows the main LR signal but a number of sources can be selected from the MONITOR page on the touch screen. The stereo MONITOR meters provide a visual indication of the overall level in the monitor system. The selected monitor source is always over-ridden by any active AFL or PFL signal, the presence of such is indicated by illumination of the PFL or AFL lights and the illumination of the SOLO CLEAR key.

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: Use ALT + MTX to have MONO and LR faders send to the selected matrix.
NOTE: Assumes you have created a main LR mix and Aux Mix as described. 53

WEIGHTS & DIMENSIONS

Height Si Compact 16: Gross (in carton) Net Si Compact 24: Gross (in carton) Net Si Compact 32: Gross (in carton) Net 250mm (9.8") 169mm (6.7") Width 538mm (21.2") 483mm (19.0") Depth 635mm (25.0") 520mm (20.5") Weight 14.1kg (31.0lbs) 11.0kg (24.2lbs)
250mm (9.8") 169mm (6.7")
810mm (31.9") 716mm (28.2")
635mm (25") 520mm (20.5")
19.5kg (43.1lbs) 15.5kg (34.1lbs)
1022mm (40.2") 928mm (36.5")
635mm (25.0") 520mm (20.5")
25.1kg (55.2lbs) 21.0kg (46.2lbs)

Si Compact 16

445.00

167.84 10.00 11.60 18.90

482.60

520.05

488.10

440.60

Si Compact 24

162.44

692.83

716.36 10

168.85 9.00 10.60 17.90 36.64 643.08 36.64

441.79 520.74

Si Compact 32

904.45

162.44 27.48

928.28

10 168.85 9.00 10.60 17.90

855.00

Si Compact Typical Specifications
Frequency Response Mic / Line Input to any Output T.H.D. Mic Sensitivity -30dBu, +14dBu @ Mix output Noise Mic Input E.I.N. (maximum gain) AUX, Mix and Masters (@ 0dB, faders down) Crosstalk (@ 1kHz) Channel Mute AUX Send Pots Offness EQ (Mono inputs) HF MF (swept) LF Q (MF) EQ (Stereo inputs) HF MF LF Q (MF) Power Consumption Operating Conditions Temperature Range Input & Output Levels Mic Input Line Input Stereo Input Mix Output Headphones (@150) (recommended impedance 32 to 200) Input & Output Impedances Mic Input Line Input Stereo Input Outputs +/-1.5dB, 20Hz 20kHz < 0.01% @ 1kHz -126.5dBu (150 source) < -82dBu > 90dB > 82dB 12kHz, +/-15dB 150Hz 3.5kHz, +/-15dB 80Hz, +/-15dB 1.5 12kHz, +/-15dB 720Hz, +/-15dB 80Hz, +/-15dB 0.8 Less than 40W 5C to 40C +15dBu max +30dBu max +30dBu max +20dBu max 300mW
2k 10k 45k 150 (balanced), 75 (unbalanced)
E & OE. Soundcraft reserves the right to change specifications without notice.

GLOSSARY AFL AUXiliary send Balance Balanced After-fade listen: a function that allows the operator to monitor the post-fade signal in a channel independently of the main mix. An output from the console comprising a mix of signals from channels derived independently of the main stereo mix. The relative levels of the left and right channels of a stereo signal. A method of audio connection which balances the wanted signal between two wires, these wires also have a screen which carries no signal. Any interference is picked up equally by the two wires, which results in cancellation of the unwanted signal. In this guide, the term can refer to various circuit architectures. Connection details are given in relevant sections. The onset of severe distortion in the signal path, usually caused by the peak signal voltage being limited by the circuits power supply voltage. Dynamic audio process used to squash the amplitude of the signal effectively reducing the level of this highest audio peaks Digital Audio Tape, a cassette-based digital recording format. A ratio of two voltages or signal levels, expressed by the equation dB=20Log10 (V1/V2). Adding the suffix u denotes the ratio is relative to 0.775V RMS.
Clipping Compressor DAT dB (decibel)
DI(direct injection)/ The practice of connecting an electric musical instrument directly to the input of the mixing console, rather than to an amplifier and loudspeaker which is covered by a microphone DI Box feeding the console. Equaliser Fader Feedback Foldback A device that allows the boosting or cutting of selected bands of frequencies in the signal path. A linear control providing level adjustment. The howling sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal. A feed sent back to the artistes via loudspeakers or headphones to enable them to monitor the sounds they are producing. The amount of amplication in level of the signal. The available signal range above the nominal level before clipping occurs.
Frequency response The variation in gain of a device with frequency. Gain Headroom
Impedance balancing A technique used on unbalanced outputs to minimise the effect of hum and interference when connecting to external balanced inputs. Insert A break point in the signal path to allow the connection of external devices, for instance signal processors or other mixers at line level signals. Nominal levels can be anywhere between 0dBu to +6dBu, usually coming from a low impedance source. Abbreviation of panorama: controls the levels sent to left and right outputs. The point at which a signal rises to its maximum instantaneous level, before falling back down again. It can also describe an equaliser response curve affecting only a band of frequencies, (like on a graphic equaliser), peaking at the centre of that band. A visual indication of the signal peaking just before the onset of clipping, which will distort the signal.

Pan (pot) Peaking

Peak LED

PFL Phase

Pre-fade listen: a function that allows the operator to monitor the pre-fade signal in a channel independently of the main mix. A term used to describe the relationship of two audio signals. In-phase signals reinforce each other, out-of-phase signals result in cancellation. Phase is a measurement of relative displacement between two waves of identical frequency. A term used to describe the orientation of the positive and negative poles of an audio connection. Normally connections are made with positive to positive, negative to negative. If this is reversed, the result will be out-of-phase signals (see phase above). 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.

Polarity

Post-fade Pre-fade
Ratio The amount by which a compressor squashes a signal when compressing expressed as a ratio. 1:1 means no compression (1db input level increase to the compressor = 1db ouput level increase from the compressor) 12:1 (12dB input level increase to the compressor = 1db ouput level increase from the compressor) Rolloff Shelving Solo Spill Threshold 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. Limit above which a process will start, usually used in relation to dynamic processors such as compressors or gates to set the level at which compression will start or the gate will open 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.
Transient Unbalanced +48V

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 Harman International Industries Ltd Cranborne House Cranborne Road Potters Bar Herts. EN6 3JN United Kingdom +44 (0)www.soundcraft.com