USER GUIDE
Soundcraft Notepad 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. 2009 All rights reserved Parts of the design of this product may be protected by worldwide patents. Part No. BD10.534000 Issue 0809 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

Contents

IMPORTANT SAFETY INSTRUCTIONS SAFETY SYMBOL GUIDE INTRODUCTION THE 60-SECOND GUIDE WIRING UP BLOCK DIAGRAMS MONO INPUT CHANNELS STEREO INPUT CHANNELS MASTER SECTION FX PROCESSOR OVERVIEW FX OPERATION REVERBS DELAYS MODULATED EFFECTS EFFECTS DATA CHART USING YOUR NOTEPAD 124/124FX CONSOLE MARK-UP SHEETS DIMENSIONS APPLICATIONS TYPICAL CONNECTING LEADS TYPICAL SPECIFICATIONS WARRANTY GLOSSARY 38
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. 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. 4 Soundcraft Notepad User Guide
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

INTRODUCTION

Thank you for purchasing a Soundcraft Notepad mixer. The Notepad range is a compact mixing solution, bringing you all the features and performance that you expect from a Soundcraft product, at an extraordinarily low price. The packaging in which your Notepad arrived forms part of the product and should 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 over 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 Notepad 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 used on International tours are employed in the Notepad, 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 Notepad 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 Notepad 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.
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.

Notepad 124FX only 23 FX TO MAIN 24 FX TO MON 25 FX PROCESSOR Notepad 124 only 26 AUX SEND The rotary control regulates the signal level being fed from the FX processor to the MAIN MIX L and R outputs. The FX TO MON switch routes the post-FX signal to the monitor/headphones outputs. See the information starting on page 24.
The rotary control regulates the signal level being fed from the AUX bus to the AUX OUTPUT socket (and MON output when selected). The AUX TO MON switch routes the AUX signal to the Monitor/Headphone outputs.

27 AUX TO MON

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. We recommend you check out the range of microphones available from AKG, at www.akg.com
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. Stereo Inputs These accept 3-pole 6.35mm (1/4) 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 keep cable lengths as short as possible to minimise interference pick-up on the cable, but 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. Soundcraft Notepad User Guide

Mix Outputs The MIX outputs are on 1/4 TRS jacks, wired as shown, and incorporate impedance balancing, allowing long cable runs to balanced amplifiers and other equipment.
From Impedance-Balanced Output

Balanced Connection

Signal + To External Device

Screen

Signal -

Unbalanced Connection

Signal Experience has shown that sometimes it is better not to connect screen at external device end.
Aux/FX SEND Outputs The Aux/FX Bus outputs are on 3-pole 6.35mm (1/4) jack sockets, wired as shown on the left, and are impedance balanced. MONITOR Outputs The MONITOR outputs are on 3-pole 6.35mm (1/4) jack sockets, wired as shown on the left, and are impedance balanced. Headphones The PHONES output is a 3-pole 6.35mm (1/4) jack, wired as a stereo output as shown, ideally for headphones of 32 or greater. 8 headphones are not recommended. We recommend you check out the range of headphones available from AKG, at www.akg.com
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.

94 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 10kHz 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 Turn to the right to boost mid frequencies around 1kHz by up to 15dB This allows some truly creative improvement of the signal in live situations, because this mid band covers the range of most vocals. Set the 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. 5 HIGH-PASS FILTER Pressing this switch activates the high-pass filter. This reduces the level of bass frequencies only. Use this in live PA situations to reduce stage rumble or popping from mics. 6 AUX SEND (Notepad 124) This is used to set up a separate mix for FOLDBACK or MONITORS and is mixed to the respective Aux Output. The send is pre-fade, so the output level will be independent of the CHANNEL LEVEL control setting. 6 FX SEND (Notepad 124FX) 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. The FX Send is post-fade. 7 PAN This control sets the amount of the channel signal feeding the Left and Right MIX buses, allowing you to move the source smoothly across the stereo image. When the control is turned fully left or right you are able to route the signal at unity gain to either left or right outputs individually. 8 INPUT CHANNEL LEVEL This control allows precise balancing of the various source signals being mixed to the Master Section. You get most control when the input GAIN is set up correctly, giving full travel on the control. 9 PEAK LED This LED will light when the signal level approaches clipping at either of two monitored points: PRE-EQ and POST-EQ.

STEREO INPUT CHANNELS

There are four stereo inputs available.
1 STEREO INPUTS 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 AUX/FX SEND (FX send shown, Notepad 124FX) This is used to set up a separate mix for FOLDBACK, EFFECTS or RECORDING, and is mixed to the Aux or FX Send Output at the rear of the mixer. For the Notepad 124FX, it is desired that for the signal fades up and down with the fader (this is called POST-FADE), but for Foldback or Monitor feeds using the Notepad 124, it is important for the send to be independent of the fader (this is called PRE-FADE). 3 +4/-10 SWITCH This switch allows you to change the input sensitivity of the stereo input. Most consumer-type equipment such as CD players has an output of -10dBv so this switch setting should be used. For professional equipment which has higher level outputs, the +4 setting should be used. If in doubt, always start with the +4 setting so that you do not overload the input. 4 BAL (BALANCE) This control sets the amount of the channel signal feeding the Left and Right MIX buses, allowing you to balance the source in the stereo image. When the control is turned fully right or left you feed only that side of the signal to the mix. Unity gain is provided by the control in the centre-detented position. 5 INPUT CHANNEL LEVEL This control allows precise balancing of the various source signals being mixed to the Master Section.

MASTER SECTION

1 POWER INDICATOR This LED lights to show when power is connected to the console. 2 PHANTOM POWER Many professional condenser mics need PHANTOM POWER, which is a method of sending a powering voltage down the same wires as the mic signal. Press the switch to enable the +48V power to all of the MIC inputs. The adjacent LED illuminates when the power is active. WARNING: TAKE CARE when using unbalanced mics which may be damaged by the phantom power voltage. Balanced dynamic mics can normally be used with phantom power switched on (contact your microphone manufacturer for guidance). Mics should always be plugged in, and all output faders set to minimum before switching the Phantom Power ON to avoid damage to external equipment.

2-TRACK

3 2-TRACK IN These two RCA phono sockets are unbalanced Left and Right line-level inputs, used for connecting a playback device such as a CD player or MP3 player. 4 2-TRACK TO MAIN Press this switch to route the 2 Track input signals to the MIX Left/ Right signals. 5 2-TRACK TO MON Press this switch to route the 2 Track input signals to the MONITORING outputs.

MONITOR OUT

6 MONITOR OUTPUT LEVEL This control sets the signal level fed to the MONITOR LEFT & RIGHT outputs and the Headphone outputs.
7 MONITOR OUTPUTS The Monitor Outputs are on 3-pole 6.35mm (1/4) jacks and are impedance balanced. 8 HEADPHONES SOCKET The PHONES output is a 3-pole 6.35mm (1/4) jack, wired as a stereo output, ideally for headphones of 32 or greater. 8 headphones are not recommended. 9 METERS The three-colour peak reading BARGRAPH METERS normally show the level of the signal(s) selected by the monitor source-select switches, giving you a constant warning of excessive peaks in the signal(s) which might cause overloading. Aim to keep the signal within the amber segments at peak levels for best performance. Similarly, if the output level is too low and hardly registering at all on the meters, the level of background noise may become significant. Take care to set up the input levels for best performance. 10 RECORD OUTPUTS These two RCA outputs carry a copy of the MIX L and MIX R signals. They allow the use of a recording device, e.g. PC, cassette tape recorder, hard-disk recorder etc. 11 AUX (Notepad 124)/FX BUS (Notepad 124FX) OUTPUT This output is on a 3-pole 6.35mm (1/4) jack and is impedance balanced.

MIX OUTPUTS

12 MIX FADER The MIX FADER sets the final level of the Mix outputs. This should normally be set close to the 0 mark if the input GAIN settings have been correctly set, to give maximum travel on the fader for smoothest control. 13 MIX OUTPUTS The Mix LEFT and RIGHT outputs are sent from the 1/4 jack sockets as balanced signals.
FX PROCESSOR - NOTEPAD 124FX Only
For detailed instructions on using the FX Processor see the section which starts on the next page. 14 FX TO MAIN This control regulates the signal level being fed from the FX processor to the MAIN mix L and R outputs.

FX PROCESSOR OVERVIEW (NOTEPAD 124FX ONLY)
1. Digital Effect Display This 2-digital numeric display shows the program number that is currently applied. Rotating the Program control will scroll through different program numbers, pressing the PROGRAM control (3) will select the effect. The display will revert back to the original program if a new program is not selected within fifteen seconds. For a list of available effects, please refer to the Effects Data Chart Table. 2. Sig and Clip Indicators The Sig LED will light up when signal is sent to the effects processor, and the Clip LED will light up shortly before excessive signals are dynamically clipped. If the Clip LED lights up too often, to turn down one or all FX sends on input channels.
3. Program Control This control is used to scroll through the various effects. Pushing this control will apply the new effect. Tap Delay (selections A0 to A8) When a tap-delay effect is selected, pressing this control will allow users to select the tap-delay time. By pushing the button several times, the effects processor interprets the time between last two pushes and remembers this as the delay time, until the button is pushed again (this is kept, even after the power is turned off). When the tap delay effect is selected, a small LED will flash within the display window to mark the tempo. 4. EFX to Main Control This will adjust the level of the FX signal that will be sent to the Main Mix left and right outputs. 5. EFX to MON Button This button is pushed to allow the signal from the Digital Effect processor to be sent to the Monitoring outputs for monitoring purposes. The effects within the console have been designed with both live sound reinforcement and home recording in mind. The effects processor offers increased versatility and high quality effects, all instantly accessible via the extremely intuitive front panel controls. The effects processor has more than 100 programs.

FX OPERATION

Select and Load a Program Turn the PROGRAM control to choose a program and press down to select the effect. Set Audio Levels 1. Set the gain on the input channel appropriate to the source (vocal microphone, guitar, keyboard, etc.). 2. Set the FX send on the input channel to the 12 oclock position. 3. Set the FX Master level to the 12 oclock position. 4. Provide source signal (by speaking or singing into the microphone, playing guitar, keyboard, etc.) on the selected channel. 5. Turn up the FX Send level on the channel until the Red CLIP LED in the FX Panel lights only occasionally. If the red Input LED stays lit, too much signal is being sent to the effect processor; reduce the FX Send on the input channel. 7. To increase or decrease the amount of effect on the signal, adjust the FX Send level on the channel that you want affected.

USING YOUR NOTEPAD 124/124FX 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! For more tips, visit www.akg.com. 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%. Adjust the input gain until the PK LED lights occasionally on the loudest sections. 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.

TYPICAL CONNECTING LEADS

NOTEPAD 124/124FX TYPICAL SPECIFICATIONS
Frequency Response Mic / Line Input to any Output..+1/-1.5dB, 20Hz 20kHz T.H.D. Mic Sensitivity -30dBu, +10dBu @ Mix output, 22Hz-22kHz..< 0.005% @ 1kHz Noise Mic Input E.I.N. (maximum gain)..-128.5dBm (150 source) Aux, Mix and Masters (@ 0dB, at unity)..< -85dBu Crosstalk (@ 1kHz) Channel Faders cut...> 87dB Master Faders cut...>100dB CMRR @1kHz....>90dB EQ High Pass Filter..100Hz @ 12db/Octave HF...10kHz, +/-15dB MF....1kHz, +/-15dB LF....80Hz, +/-15dB Q....0.7 Power Consumption...Less than 40W Operating Conditions Temperature Range...5C to 40C Input & Output Levels Mic Input...+10dBu max Line Input...+22dBu max Stereo Input...+20dBu max Mix Output...+25dBu max Headphones (@32)...300mW Input & Output Impedances Mic Input....2k Line Input....18k Stereo Input...20k Outputs....150 E & OE. Soundcraft reserves the right to change specifications without notice. July2009

WARRANTY

1 2 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.

GLOSSARY

After-fade listen: a function that allows the operator to monitor the post-fade signal in a channel independently of the main mix. Auxiliary send An output from the console comprising a mix of signals from channels 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 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) The practice of connecting an electric musical instrument directly to the input of the DI Box 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. A linear control providing level adjustment. Fader 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 amplification 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. 38 Soundcraft Notepad User Guide AFL

Pre-fade Rolloff Shelving Spill Transient Unbalanced +48V
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. 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.

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 MFXi 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 user-defined 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

MFXi/MPMi

Soundtrack 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 MFXi 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 Soundtrack 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 AXELS 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.

NOTEPAD

EVEN THE SMALLEST JOBS DESERVE A WORLD CLASS MIXER
In applications including A/V presentations, small band PAs and background music systems, you may only have a small number of channels to mix but you still want to mix them properly. The Notepad 102, 124 and 124FX models boast Soundcraft audio performance with the acclaimed GB30 mic preamp and EQ technology in a highly-compact and solid chassis. Each 124 model has 4 mono mic/line inputs while the Notepad 102 has 2 mono mic/line inputs. All models boast 4 stereo line inputs, and suit a very wide range of applications where simple yet high-quality mixing is required. The Notepad 124FX is complemented by an integral digital effects processor which has a feed from every input and over 100 effects, including a pink noise and test setting. The FX control can also be used to set delay tap tempo, a feature not found in many mixers in this class. On the Notepad 124, the FX send is replaced by a standard AUX send with a dedicated output. Both models provide a recording output of the mix on RCA/Phono connectors as well as a stereo input for CD playback etc. Other highly-desirable functions include a high-pass filter on the mono inputs, a 60mm fader for the mix output selectable sensitivity of +4dBu or 10-dBv on each stereo input (Notepad 124 models only) and multi-segment led metering on the mix output along with a headphone monitoring output.
Mic inputs with precision GB30 mic preamps Stereo line channels for use with keyboards, MP3 player, etc. Switchable +dB V on stereo inputs Classic sounding Soundcraft GBband British EQ 100Hz High Pass filter on each mic input Over 100 powerful built-in digital effects +48V phantom power (global) Aux/FX sends

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. Aux 1 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 (MFXi 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 3 (MPM) Axum 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

MFXI - MPMI: 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 MUTE LEFT/MONO

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 OUT

SUB-R FADER
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
Mic Input A female XLR connector accepts balanced or unbalanced mic signals. At -128.5dbu 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. Sensitivity A rotary control on each input alters the sensitivity of the input signal, with a gain range of 5 - 60dB. High Pass Filter A switchable 100Hz high-pass filter can be used to cut stage rumble. EQ Section Equalisation is split into three bands providing 15dB of cut or boost (gain adjustment) at 12kHz, 1kHz and 80Hz. Auxiliary Section For sending separate monitor mixes in live applications, the Aux send is pre fader (102/124 only). FX Send For sending signal to the internal effects (124FX only). Pan The Pan control positions each channels signal across the stereo image. Faders and Metering Each mono channel features a rotary fader, and a peak level LED indicating signal levels within 6dB of clipping.
Input Connectors The stereo inputs are connected via balanced 1/4" jack inputs, delivering optimum performance with other professional audio equipment. Input sensitivity is switchable from +4dBu to -10dBV to accommodate professional and consumer equipment (124/124FX only). The 102 features 2 balanced 1/4" jack inputs at +4dBu for connecting professional equipment and 2 on RCA phono connectors for consumer equipment. Auxiliary Section For sending separate monitor mixes in live applications, the Aux send is pre fader (102/124 only). FX Send For sending signal to the internal effects (124FX only). Bal The Balance control adjusts the amount of the signal sent to the left and right busses. Faders and Metering Each stereo channel features a rotary fader, and a peak level LED indicating signal levels in excess of +17dBu.
Effects (124FX only) A rotary control selects the effect program, with another rotary control setting the FX level to the main L/R outputs. FX to Mon switches the FX to the L/R monitor outputs. The program control is also used for the Tap Tempo facility, for time/speed-based effects such as delays. +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 Available on balanced 1/4" jacks. Stereo Return 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 on balanced 1/4" jacks. Monitor & Phones Level Levels sent to the monitor output and headphones are adjusted using a rotary control. 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 is a 60mm fader, with two 4-segment 3-colour LED peak-reading bargraph meters monitoring the mix left and right outputs.

Global +48V

MIC IN

MAIN L

MAIN R
HIGH PASS EQ LEVEL HIGH MID

100Hz HPF

MAIN MIX

MAIN FADER

LINE IN

AUX SEND

MONO CHANNELS 1~4 (1-2 on Notepad 102)

AUX MIX AUX MASTER

REC OUT L REC OUT R
STEREO CHANNELS 5 -12 Notepad 124 (3-6 on Notepad 102)

L(5/7/9/11)

2-TRK TO MAIN

2T RTN L

R(6/8/10/12)
+4/-10 (+4 on Notepad 102)

LEVEL BALANCE

2T RTN R

AUX TO MON

2T TO MON STEREO CHANNELS 7 -10 Notepad 102

L(7/9)

MAIN R AUX L METER

R METER

R(8/10)

-10dBV on Notepad 102)

BALANCE

MON/PHONES

PHONES

Notepad 102/124

MAIN L MAIN R

FX SEND

MONO CHANNELS 1~4

DIGITAL FX PROCESSOR

PROGRAM

FX TO MAIN

FX MIX

STEREO CHANNELS 5 -12

PAN (BALANACE)

+4/-10

FX TO MON

2T TO MON

FX MAIN L MAIN R L METER

R METER FX

NOTEPAD 124FX BLOCK DIAGRAM

Notepad 124FAUX

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)

124FAUX

Width 215mm (8.5") 242mm (9.5") 242mm (9.5")
Height 45mm (1.8") 45mm (1.8") 45mm (1.8")
Depth 220mm (8.7") 220mm (8.7") 220mm (8.7")
Weight 1.2 kg (2.6 lbs) 1.6 kg (3.5 lbs) 1.6 kg (3.5 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 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

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) EQ (Mono inputs)
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 HF... 12kHz, +/-15dB MF (swept)... 150Hz 3.5kHz, +/-15dB LF... 80Hz, +/-15dB Q.... 1.5 HF... 12kHz, +/-15dB MF... 720Hz, +/-15dB LF... 80Hz, +/-15dB
NOTEPAD TYPICAL SPECIFICATIONS
Frequency Response T.H.D. Noise Mic / Line Input to any Output. +1/-1.5dB, 20Hz 20kHz Mic Sensitivity -30dBu, +10dBu @ Mix output. < 0.005% @ 1kHz Mic Input E.I.N. (maximum gain). -128.5dBm (150 source) Aux, Mix and Masters (@ 0dB, at unity). < -85dBu Channel Faders. > 87dB Master Faders. > 100dB Master Faders. > 90dB High Pass Filter. 100Hz @ 12dB/Octave HF. 12kHz, +/-15dB, MF. 1kHz, +/-15dB LF. 80Hz, +/-15dB Q. 0.7 Less than 40W Temperature Range. 5C to 40C Mic Input. +10dBu max. Line Input. +22dBu max. Stereo Input. +20dBu max. Mix Output. +25dBu max. Headphones (@32). 300mW Mic Input. 2k Line Input. 18k Stereo Input. 20k Outputs. 150
Crosstalk (@ 1kHz) CMRR (@ 1kHz) EQ
Power Consumption Power Consumption Operating Conditions Input & Output Levels... Less than 40W Operating Conditions 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) Input & Output Levels

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: soundcraft@harman.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 11/09 This equipment complies with the EMC Directive 89/336/EEC

Part No: ZL0605

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