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Soundcraft EFX 12

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Soundcraft MFX Multi Purpose Mixer

 

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Comments to date: 6. Page 1 of 1. Average Rating:
jabaker707 10:44pm on Sunday, August 8th, 2010 
dont spill rum and coke on them Rocks parties well Not easy to use Set up is easy, be sure to check the m-audio website for the current drivers. IMPORTANT!
marbi 8:37am on Monday, July 19th, 2010 
As soon as I recieved this, I simply loaded the drivers, plugged it in, and it worked PERFECTLY. Pretty durable, too...
carmensternwood 6:24pm on Thursday, July 15th, 2010 
Fast Track Pro has all the resources and mobility of the Fast Track USB recording and even more capacity.
ssrinivasa 7:45pm on Monday, June 7th, 2010 
clarinet stand A well designed, well engineered product at a good price. Very stable, easy to fold and portable. Worked OK for me Installing to a Windows 7 (32 bit) PC - so I ignored the product CD and downloaded the beta Win 7 drivers. Had to return this product Firstly, you must have access to the internet to unlock this item and you have to be computer competant to install.
WellCams 11:23am on Saturday, April 24th, 2010 
I received this multi-tool for free through a promotion, and I can say that it has exceeded my expectations for a free tool.
jlmcp 9:29am on Monday, March 22nd, 2010 
Good quality but... For a cheap desk top/piano top mic stand, this is great. The quality of construction is very sturdy and solid.

Comments posted on www.ps2netdrivers.net are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.

 

Documents

doc0

PROJECTION SANYO LCD Projector - 5000 lumens NEC Short Throw LCD Projector - 2600 lumens Projector Stand Trpod Screen Roll Screen Fastfold 8' x 6' Screen Fastfold 10' x 7' 6" Screen Drape Kits for Fastfold Screens
PER DAY PER WEEK 300.00 900.00 96.00 288.00 10.00 30.00 15.00 45.00 20.00 60.00 75.00 225.00 100.00 300.00 65.00 195.00
COMPUTERS SONY Laptop PC c/w IR remote clicker Additional Remote Clicker Laptop Speaker System Audio Connection from Laptop to PA System (incl. Di Box)

90.00 30.00 26.00 20.00

270.00 90.00 78.00 60.00
CONFERENCE PHONE Polycom Conference Phone System c/w 2 x Additional Microphones (We would need to carry out a test on your phone lines to check if our system is compatible) PLASMA & VIDEO 42" Plasma Screen (no stand supplied) 32" LCD Screen c/w table top stand Plasma Floor Stand with Wheels DVD/VIDEO Player

225.00

110.00 70.00 20.00 25.00
330.00 210.00 60.00 75.00
PA SYSTEM PA System for up to 100 people C/W 8Ch Mixing Desk, 2 x Powered Speakers, Stands & Cables PA System for up to 200 people C/W 12Ch Mixing Desk, 4 x Powered Speakers, Stands & Cables PA System for up to 500 people C/W 12Ch Mixing Desk, 4 x Powered Speakers, Stands & Cables

100.00 200.00 400.00

300.00 600.00 1,200.00
MIXING CONSOLES 8/2 Ch Soundcraft (EFX8) c/w Built-in digital lexicon effects processor 12/2 Ch Soundcraft (EFX12) c/w Built-in digital lexicon effects processor

50.00 75.00

150.00 225.00
SPEAKERS RCF Active ART712A - 750w Digital Powered Speaker (PAIR) RCF Active ART722A - 750w Digital Powered Speaker (PAIR) RCF Active ART905SA - 1000w Digital Powered Sub Woofer (PAIR) Speaker Stand (PAIR)
80.00 100.00 100.00 16.00
240.00 300.00 300.00 48.00
WIRELESS MICROPHONES Lapel / Tie Clip Wireless Microphone Handheld Wireless Microphone Headworn Wireless Microphone Wireless Audio Link for connecting Laptop PC to PA System Multicore Cable System
40.00 40.00 40.00 40.00 25.00
120.00 120.00 120.00 120.00 75.00
MICROPHONES Dual Lectern Microphone Kit SM58 Microphone wired microphone Desk Top Microphone c/w Desk Top Stand Microphone Boom Stand c/w Clip Di Box
40.00 20.00 20.00 8.00 15.00
120.00 60.00 60.00 24.00 45.00
LOOP SYSTEM Audio Loop Amplifier for Rooms upto 300sqm (if loop cable is required please add 50 to total hire cost)

285.00

LECTERN Aluminium Truss Lectern (White Finish) Aluminium Truss Lectern (Silver Finish)

50.00 65.00

150.00 195.00
STAGING Aluminium Staging 4' x 2' Section Aluminium Staging 4' x 4' Section Step for Staging Skirts Kits for Staging Available on Request (Delivery, Set up & Collection for our staging is not Free of Charge, therefore please contact us for a quotation) BACKDROPS LED Starcloth 3m(w) x 2m(h) LED Starcloth 6m(w) x 4m(h)

40.00 65.00 20.00 POA

120.00 195.00 60.00 POA

100.00 200.00

300.00 600.00
TRUSSING , STANDS & ACCESSORIES Quad Trussing 2m c/w Set of 4 Spigots & 8 Pins Truss Stand Mounting Adaptor Manfrotto Wind-up Stands (max height 3.8m) Proel Air Damped Speaker Stands K&M Boom Microphone Stand c/w Microphone Holder
20.00 5.00 30.00 10.00 10.00
60.00 15.00 90.00 30.00 30.00

LIGHTING LED Multi Colour Uplights (set of 8) Additional LED Uplights (each) DMX Pre Programmed Controller for above FLAME Style Light Effects - 6ft Floor Standing (PAIR) NJD Datamoon Multicoloured DJ Lights (PAIR)
150.00 20.00 10.00 70.00 50.00
450.00 60.00 30.00 210.00 150.00
SPECIAL EFFECTS Martin/JEM Pro2000MKII - 2000watt Smoke Machine Martin Magnum 550 - 550watt Smoke Machine Martin Magnum - Haze Machine Snow Machine - c/w Remote Control Bubble Machine - c/w Remote Control 50.00 25.00 50.00 50.00 40.00 150.00 75.00 150.00 150.00 120.00
DJ SYSTEMS DJ Kit (2 x Pioneer CDJ2000 CD decks & 1 x Pioneer DJMChannel DJ Mixer)

150.00

450.00

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User Guide

IMPORTANT Please read this manual carefully before using your mixer for the first time.
Harman International Industries Ltd. 2007 All rights reserved Parts of the design of this product may be protected by worldwide patents. Part No. ZM0356-02 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 E & OE.

Contents

SAFETY SYMBOL GUIDE IMPORTANT SAFETY INSTRUCTIONS INTRODUCTION OVERVIEW THE 60-SECOND GUIDE WIRING UP BLOCK DIAGRAM MONO INPUT CHANNEL STEREO INPUT CHANNELS MASTER SECTION Lexicon FX PROCESSOR OVERVIEW FX OPERATION FX PROCESSOR CONTROLS REVERBS REVERB CONTROLS DELAYS DELAY CONTROLS MODULATED EFFECTS FACTORY RESET EFFECTS DATA CHART USING YOUR EFX CONSOLE APPLICATIONS GLOSSARY TYPICAL CONNECTING LEADS MARK-UP SHEETS FITTING OPTIONAL RACKMOUNT EARS TYPICAL SPECIFICATIONS WARRANTY 43 44
For your own safety and to avoid invalidation of the warranty please read this section carefully.

SAFETY SYMBOL GUIDE

For your own safety and to avoid invalidation of the warranty all text marked with these symbols should be read carefully.

WARNINGS

The lightning flash with arrowhead symbol, is intended to alert the user to the presence of un-insulated dangerous voltage within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

CAUTIONS

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.
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.
Recommended Headphone Impedance >= 150 Ohms.
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 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. 6

INTRODUCTION

Thank you for purchasing a Soundcraft EFX mixer. The EFX range is our most cost-effective mixing solution, bringing you all the features and performance that you expect from a Soundcraft product, at an extraordinarily low price. The packaging, which your EFX arrived in, forms part of the product and must be retained for future use. Owning a Soundcraft console brings you the expertise and support of one of the industrys leading manufacturers, and the results of nearly 3 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 EFX 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 recognised by millions to be the industry standard because of its efficiency. The sonic qualities of our products are exemplary - some of the same circuits which are used on our most expensive consoles are employed in the EFX, 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 EFX has been designed using the latest highend 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 EFX 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 you ensure the product meets the high demands of the user. ADVICE FOR THOSE WHO PUSH THE BOUNDARIES Although your new console will not output any sound until you feed it signals, it has the capability to produce sounds which when monitored through an amplifier or headphones can damage hearing over time. Please take care when working with your audio - if you are manipulating controls which you dont understand (which we all do when we are learning), make sure your monitors are turned down. Remember that your ears are the most important tool of your trade, look after them, and they will look after you. Most importantly - dont be afraid to experiment to find out how each parameter affects the sound - this will extend your creativity and help you to get the best from your mixer and the most respect from your artists and audience. 7

10 PFL

WIRING UP
Please refer to pages 38/39 for additional wiring details. 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 20dB 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 A gauge 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 pickup 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 A gauge jack socket which is normally bypassed. When a jack is inserted, the signal path is broken, just before the EQ section. The signal from the channel appears on the TIP of the plug and is returned on the RING, with the sleeve as a common ground. 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. 10
Stereo Inputs STEREO 1/2 These accept 3-pole A gauge jacks, or 2-pole mono jacks which will automatically ground the cold input. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or as returns from processing units. The input is BALANCED for low noise and immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as shown, although you should then keep cable lengths as short as possible to minimise interference pick-up on the cable. Note that the ring must be grounded if the source is unbalanced. Mono sources can be fed to both paths by plugging into the Left jack only. Mix Inserts The unbalanced, pre-fade Mix insert point is a break in the output signal path to allow the connection of, for example, a compressor/limiter or graphic equaliser. The Insert is a 3-pole A gauge jack socket which is normally bypassed. When a jack is inserted, the signal path is broken, just before the mix fader. The mix signal appears on the TIP of the plug and is returned on the RING. A Y lead may be required to connect to equipment with separate send and return jacks as shown below:

Mix Outputs The MIX outputs are on XLRs, wired as shown, and incorporate impedance balancing, allowing long cable runs to balanced amplifiers and other equipment.
Aux & FX Bus Outputs The Aux & FX Bus outputs are on 3-pole A gauge jack sockets, wired as shown on the left, and are balanced, allowing long cable runs to balanced amplifiers and other equipment.
Headphones The PHONES output is a 3-pole A gauge jack, wired as a stereo output as shown, ideally for headphones of 150 or greater. 8 headphones are not recommended. Polarity (Phase) You will probably be familiar with the concept of polarity in electrical signals and this is of particular importance to balanced audio signals. Just as a balanced signal is highly effective at cancelling out unwanted interference, so two microphones picking up the same signal can cancel out, or cause serious degradation of the signal if one of the cables has the +ve and -ve wires reversed. This phase reversal can be a real problem when microphones are close together and you should therefore always take care to connect pins correctly when wiring audio cables. Grounding and Shielding For optimum performance use balanced connections where possible and ensure that all signals are referenced to a solid, noise-free earthing point and that all signal cables have their screens connected to ground. In some unusual circumstances, to avoid earth or ground loops ensure that all cable screens and other signal earths are connected to ground only at their source and not at both ends. If the use of unbalanced connections is unavoidable, you can minimise noise by following these wiring guidelines: On INPUTS, unbalance at the source and use a twin screened cable as though it were balanced. On OUTPUTS, connect the signal to the +ve output pin, and the ground of the output device to -ve. If a twin screened cable is used, connect the screen only at the mixer end. Avoid running audio cables or placing audio equipment close to thyristor dimmer units or power cables. Noise immunity is improved significantly by the use of low impedance sources, such as good quality professional microphones or the outputs from most modern audio equipment. Avoid cheaper high impedance microphones, which may suffer from interference over long cable runs, even with well-made cables. 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.

any background hiss will be more noticeable and you may not be able to get enough signal level to the output of the mixer. Note that some sound equipment, particularly that intended for domestic use, operates at a lower level (-10dBV) than professional equipment and will therefore need a higher gain setting to give the same output level. See Initial Setup on page 31 to learn how to set GAIN correctly. 5 Equaliser The Equaliser (EQ) allows fine manipulation of the sound, particularly to improve the sound in live PA applications where the original signal is often far from ideal and where slight boosting or cutting of particular voice frequencies can really make a difference to clarity. There are three sections giving the sort of control usually only found on much larger mixers. The EQ knobs can have a dramatic effect, so use them sparingly and listen carefully as you change any settings so that you get to know how they affect the sound. HF EQ Turn to the right to boost high (treble) frequencies above 12kHz by up to 15dB, adding crispness to cymbals, vocals and electronic instruments. Turn to the left to cut by up to 15dB, reducing hiss or excessive sibilance which can occur with certain types of microphone. Set the knob in the centre-detented position when not required. MID EQ There are two knobs which work together to form a SWEPT MID EQ. The lower knob provides 15dB of boost and cut, just like the HF EQ knob, but the frequency at which this occurs can be set by the upper knob over a range of 150Hz to 3.5kHz. This allows some truly creative improvement of the signal in live situations, because this mid band covers the range of most vocals. Listen carefully as you use these controls together to find how particular characteristics of a vocal signal can be enhanced or reduced. Set the lower knob to the centre-detented position when not required. LF EQ Turn to the right to boost low (bass) frequencies below 80Hz by up to 15dB, adding warmth to vocals or extra punch to synths, guitars and drums. Turn to the left to cut low frequencies by up to 15dB for reducing hum, stage rumble or to improve a mushy sound. Set the knob to the centre-detented position when not required. 6 Aux 1 Send This is used to set up a separate mix for FOLDBACK or recording, and the combination of each Aux Send is mixed to the Aux1 Output. For recording it is useful for the signal to fade up and down with the fader (this is called POST-FADE), but for Foldback or Monitor feeds it is important for the send to be independent of the fader (this is called PRE-FADE). AUX 1 SEND is globally switchable between pre and post-fade (see master section on page 20/21).

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. 25

Shape This control helps give a sense of both room shape and room size. Low values for Shape keep the majority of sound energy in the early part of the reverb tail. High values move the energy to later in the reverb, and are helpful in creating the sense of a strong rear wall or backslap. Boing This is a unique parameter to the Spring reverb, designed to increase or decrease the amount of spring rattle that is a physical characteristic of spring tank reverbs.

DELAYS

Delays repeat a sound a short time after it first occurs. Delay becomes echo when the output is fed back into the input (feedback). This turns a single repeat into a series of repeats, each a little softer than the last. Studio Delay The Studio Delay features up to 2.5 seconds of stereo delay and offers a built-in ducker that attenuates the delay output whenever signal is present at the input. This can be used to keep the original signal from being muddied up by delay repeats. Digital Delay The Digital Delay is the cleanest, most accurate of the delay programs, with up to 5 seconds of mono delay and the built-in ducking feature. Tape Delay In the days before digital, delays were created using a special tape recorder in which the magnetic recording tape was looped, with closely-spaced recording and playback heads. The delay effect was created by the tape moving in the space between the record and playback heads while delay time was adjusted by changing the speed of the tape loop. Although very musical-sounding, wow and flutter combined with a significant loss of high frequencies, and to some extent also low frequencies, are all elements commonly associated with tape recordings. The Tape Delay offers up to 5 seconds of mono delay. Pong Delay This delay effect pans the delay repeats from left to right, while the input signal remains at its original (center) position. Pong Delay offers up to 5 seconds of mono delay time. Modulated Delay The Modulated Delay is enhanced by an LFO (low frequency oscillator) that produces a chorusing effect on the delay repeats. This is a great delay for guitar and instrument passages that need that special something. The Modulated Delay features up to 2.5 seconds of stereo modulated delay. Reverse Delay This delay effect emulates the old studio trick of flipping a tape over, playing it backwards through a tape delay, and recording the effect. The delays build up from softer to louder creating the sensation that the delays come before the signal. Up to 5 seconds of mono delay time are available.

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. 28

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 leftto- 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.
VALUE 1.0s 2.0s 1.0s 0.8s 1.0s 1.75s 1.0s 1.0s 400ms 500ms 1.2s 400ms 2.75s 300ms 0 1.75s LIVELINESS LIVELINESS DEPTH DOPPLER PREDELAY PREDELAY REGENERATION SPREAD 2ms 10ms DUCK THRESHOLD DUCK THRESHOLD DUCK THRESHOLD DUCK THRESHOLD -6dB -8dB -8dB -8dB SERIAL : DELAY THEN REVERB SERIAL : DELAY THEN REVERB SERIAL : DELAY THEN PHASE SERIAL : DELAY THEN ROTARY RANGE 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99+H 0-99+H 0-99 0-99+H 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99+H 0-99+H 0-99+H 0-99+H ADJUST3 LIVELINESS LIVELINESS LIVELINESS LIVELINESS LIVELINESS LIVELINESS LIVELINESS LIVELINESS LIVELINESS LIVELINESS LIVELINESS LIVELINESS LIVELINESS DIFFUSION DIFFUSION BOING DUCK THRESHOLD DUCK THRESHOLD SMEAR TAP RATIO MOD DEPTH SMEAR VOICES REGENERATION REGENERATION PHASE SPREAD PHASE DECAY DECAY SPEED SPEED VALUE -6dB -8dB 25 1:80 0.75S 2.0S RANGE 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 -70-0dB -70-0dB 0-99 0-23 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 0-99 FIXED1 VALUE FIXED2 VALUE FIXED3 VALUE ROUTING

EFFECTS DATA CHART

No 31 32
NAME SMALL HALL LARGE HALL VOCAL HALL DRUM HALL SMALL PLATE LARGE PLATE VOCAL PLATE DRUM PLATE ROOM STUDIO CHAMBER AMBIENCE ARENA GATED REVERSE SPRING STUDIO DELAY DIGITAL DELAY TAPE DELAY PONG DELAY MOD DELAY REVERSE DELAY CHORUS FLANGER PHASER TREMELO/PAN ROTARY VIBRATO REV/DEL SHORT REV/DEL LONG PHASE DELAY ROTARY DELAY

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:

APPLICATIONS

APPLICATION 1 - LIVE SOUND REINFORCEMENT
APPLICATION 2 - MULTISPEAKER APPLICATIONS This configuration demonstrates how multiple speaker configurations can be driven by the EFX.
APPLICATION 3 - PLACES OF WORSHIP This configuration uses the FX OUT BUS output to drive an induction loop for the hearing impaired (it is assumed that the FX processor isnt being used in this configuration). Aux 1 output is used to generate foldback monitoring for the speaker/singer. The main outputs are used to drive the main speaker system. The record and playback connections are used to pass audio to and from a DAT machine or Cassette Recorder.

APPLICATION 4 - RECORDING The insert points on channels 1-8 may be used to feed a multitrack recorder as shown (link the send and return signals). The Mix outputs are used for a preliminary stereo mix on a DAT recorder.

GLOSSARY

Auxiliary send An output from the console comprising a mix of signals from channels derived independently of the main stereo mix. Balance The relative levels of the left and right channels of a stereo signal. Balanced 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. Clipping The onset of severe distortion in the signal path, usually caused by the peak signal voltage being limited by the circuits power supply voltage. DAT Digital Audio Tape, a cassette-based digital recording format. dB (decibel) 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. DI(direct injection)/DI Box The practice of connecting an electric musical instrument directly to the input of the mixing console, rather than to an amplifier and loudspeaker which is covered by a microphone feeding the console. Equaliser A device that allows the boosting or cutting of selected bands of frequencies in the signal path. Fader A linear control providing level adjustment. Feedback The `howling sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal. Foldback A feed sent back to the artistes via loudspeakers or headphones to enable them to monitor the sounds they are producing. Frequency response The variation in gain of a device with frequency. Gain The amount of amplication in level of the signal. Headroom The available signal range above the nominal level before clipping occurs. 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. Pan (pot) Abbreviation of panorama: controls the levels sent to left and right outputs. Peaking 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. Peak LED A visual indication of the signal peaking just before the onset of clipping, which will distort the signal. PFL Pre-fade listen: a function that allows the operator to monitor the pre-fade signal in a channel independently of the main mix. Phase 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. Polarity 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). Post-fade The point in the signal path after a fader and therefore affected by the fader position. Pre-fade The point in the signal path before a fader, and therefore unaffected by the fader position. 36

Rolloff Shelving Spill Transient Unbalanced +48V
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. 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.

TYPICAL CONNECTING LEADS

MARK-UP SHEETS
You may freely copy these pages, and use them to record the settings used for particular applications/gigs.
FITTING OPTIONAL RACKMOUNT EARS
The part numbers for the kits are: RW5745 RACK MOUNTING KIT - EFX8 RW5746 RACK MOUNTING KIT- EFX12 Note: a rack extender is included in the EFX8 rack mounting kit to make the console fit into a 19 frame, see the fitting instructions below.
EFX TYPICAL SPECIFICATIONS
Frequency Response Mic / Line Input to any Output..+/-1.5dB, 20Hz 20kHz T.H.D. Mic Sensitivity -30dBu, +14dBu @ Mix output..< 0.02% @ 1kHz Noise Mic Input E.I.N. (maximum gain)..-127dBu (150 source) Aux, Mix and Masters (@ 0dB, faders down)..< -85dBu Crosstalk (@ 1kHz) Channel Mute....> 96dB Fader Cut-off (rel +10 mark)...> 96dB Aux Send Pots Offness...> 86dB EQ (Mono inputs) HF...12kHz, +/-15dB MF (swept)...150Hz 3.5kHz, +/-15dB LF....80Hz, +/-15dB Q....1.5 EQ (Stereo inputs) HF...12kHz, +/-15dB MF.720Hz, +/-15dB LF....80Hz, +/-15dB Power Consumption...Less than 35W Operating Conditions Temperature Range...5C to 40C Input & Output Levels Mic Input...+15dBu max Line Input...+30dBu max Stereo Input...+30dBu max Mix Output...+20dBu max Headphones (@150)...300mW Input & Output Impedances Mic Input....2k Line Input....10k Stereo Input...65k (stereo), 35k (mono) Outputs..150k (balanced), 75k (unbalanced)
E & OE. Soundcraft reserves the right to change specifications without notice. 43

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.

 

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