M-SERIES USER GUIDE

SAFETY GUIDE
Safety Symbol Guide Approvals and Notice Warranty Important Safety Instructions Cautions Warnings Page 5 6

USER GUIDE

Safety Symbol Guide
For your own safety and to avoid invalidation of the warranty all text marked with these Symbols should be read carefully.
CAUTIONS Must be followed carefully to avoid bodily injury.
WARNINGS Must be observed to avoid damage to your equipment.
NOTES Contain important information and useful tips on the operation of your equipment.
IMPORTANT Please read this manual carefully before connecting your Mixer to the mains for the first time.

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. ZM0252 Issue: 2 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

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 Soundcrafts recommendations. 5. 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.
IMPORTANT SAFETY INSTRUCTIONS

CAUTIONS

To avoid the risk of fire, replace the mains fuse only with the correct type and value fuse, as marked on the rear panel.
ATTENTION: - Afin de rduire le risque de feu remplacer seulement avec fusible de mme type. MAINS VOLTAGE SELECTION

t S/PDIF OUTPUT MONITOR y ( Jack) O/Ps u MASTER FADER i AUX MASTERS o MAIN METERS p MONITOR CONTROL a PHONES CONTROL s MONO SUM CONTROL AUX OUTPUTS d ( Jack) f STEREORETURN INPUTS
These controls can be used to adjust the overall level of a specific auxiliary send to an effects unit
These show the level of the mix outputs. When the PFL/AFL LED is lit, the meters show the level of the signal sourced 21 This controls the level of the signal sent to your monitoring system
This controls the level of the signal sent to the headphones jack socket This controls the level of the signal sent to the mono sum output
These four outputs can be used to send the channel signal to an FX unit or an artists monitors 20 (headphones/in-ear/stage monitors). Aux 1&2 are pre-fade, Aux 3&4 are post-fade These four inputs can be used to connect the return signal from an FX unit, or a stereo feed from consumer devices such as CD-Players, Minidisc etc. The level of these inputs are controlled by the RET1,2,3 & 4 controls and are sub-mixed via the returns master control before being sent to the Mix Outputs 19 These four inputs can be used to connect line level stereo inputs from keyboards, sound modules, samplers, computer based audio cards etc. These inputs pass through a normal channel strip, with EQ, Auxes and a Balance control 19 Here you can connect the playback from your recording device 22

(RCA Phono)

STEREO INPUTS g ( Jack) PLAYBACK INPUT h (RCA Phono) j PLAYBACKCONTROLS k RETURNS MASTER l PHANTOM POWER ; MIXER POWER LED z HEADPHONES ( Jack) x SIGNAL PRESENT LED c PEAK LED v MONO SUM OUTPUT b 100Hz FILTER
Use this to control the level of the playback signal. There is also a PFL/AFL switch and a PLAYBACK REPLACESMIXswitch 21 This controls the overall level of the stereo return inputs. There is also a MUTE switch so that you can quickly compare your mix, with and without FX 22 Press this to switch the phantom power (48V) on for condenser microphones WARNING: Do Not apply Phantom Power before connecting a microphone This LED will light when the unit is switched on Plug your headphones into this socket
This is used to indicate the presence of a signal on a specific channel This is used to indicate signal clipping on a specific channel
This output provides a Mono sum of the main L & R mix outputs
When pressed, this switch significantly reduces the level of frequencies below 100Hz

INTRODUCTION

Thank you for purchasing a Soundcraft mixer. We take great pride in our latest addition to the Soundcraft range of mixing consoles - you have taken a step in the right direction and should never look back. The Packaging in which your Soundcraft M Series arrived 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 though working in close contact with leading professionals and institutes to bring you products designed to get the best possible results from your mixing. Built to the highest standards using quality components and surface mount technology, the Soundcraft M Series 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 Soundcraft M Series, bringing you the great Soundcraft quality in a small format console without compromise. You will also be glad to know you have a one year warranty with your product from the date of purchase. The Soundcraft M Series has been designed using the latest high-end software based engineering packages. Every console from Soundcraft has been proven to stand up to all the stress and rigours of modern day mixing environments. The entire Soundcraft M Series 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.

Stereo Returns Ret-1/2/3/4
These accept RCA phono jacks to allow easy connection to hi-fi equipment or DAT players. The input is unbalanced, and ideal for pre-show music sources or signals that do not require any EQ or effects. These can also be used as effect returns using cables described later in this document.
Stereo Inputs STE-1/2/3/4
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 & Sub Outputs

The MIX and SUB outputs are on 3-pole A gauge jack sockets, wired as shown, and incorporate impedance balancing, allowing long cable runs to balanced amplifiers and other equipment.

Aux Outputs

The Aux 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.

Channel Direct Outputs

The Direct outputs are on 3-pole A gauge jack sockets, wired as shown on the left, and are unbalanced.

Headphones

The PHONES output is a 3-pole A gauge jack, wired as a stereo output as shown, suitable for headphones of 200W or greater. 8W 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 take care always 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 `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 mimimise 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 loop is the most likely cause. Two examples of how an earth loop can occur are shown below.
WARNING! Under NO circumstances must the mains earth be disconnected from the mains lead.

PROBLEMSOLVING

Basic problem solving is within the scope of any user if a few basic rules are followed. Get to know the Block Diagram of your console (see page 36). Get to know what all parameters and/or connection in the system are supposed to do. Learn where to look for common trouble spots.
The Block Diagram is a representative sketch of all the components of the console, showing how they connect together and how the signal flows through the system. Once you have become familiar with the various component blocks you will find the Block Diagram is quite easy to follow and you will have gained a valuable understanding of the internal structure of the console. Each Component has a specific function and only by getting to know what each part is supposed to do will you be able to tell if there is a genuine fault! Many `faults are the result of incorrect connection or control settings which may have been overlooked. Basic Troubleshooting is a process of applying logical thought to the signal path through the console and tracking down the problem by elimination. Swap input connections to check that the source is really present. Check both Mic and Line inputs. Eliminate sections of the channel by using the insert point to re-route the signal to other inputs that are known to be working. Route channels to different outputs or to auxiliary sends to identify problems on the Master section. Compare a suspect channel with an adjacent channel which has been set up identically. Use PFL and AFL to monitor the signal in each section. Insert contact problems may be checked by using a dummy jack with tip and ring shorted together as shown below. If the signal appears when the jack is inserted it shows that there is a problem with the normalling contacts on the jack socket, caused by wear or damage, or often just dirt or dust. Keep a few in your gig tool box.
If in doubt please contact Soundcraft customer support.

products under warranty

USA customers should contact the National Service Manager at Soundcraft USA. Telephone: (818) UK customers should contact their local Dealer. Outside the UK and USA, customers are requested to contact their territorial distributor who is able to offer support in the local time zone and language. Please see the Distributor listings on our website (http://www.soundcraft.com) to locate your Local Distributor.

tip and ring shorted together so that the signal path is not interrupted (see below).
This knob sets how much of the source signal is sent to the rest of the mixer. Too high, and the signal will distort as it overloads the channel. Too low, and the level of 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 Set Up on page 23 to learn how to set GAIN correctly.

100Hz Hi-Pass Filter

Pressing this switch activates a steep 18dB per octave filter which reduces the level of bass frequencies only, and is a real bonus for a such a small mixer. Use this in live PA situations to clean up the mix, reducing stage rumble or `popping from microphones.

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.
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 240Hz to 6kHz. 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.

Turn to the right to boost low (bass) frequencies below 60Hz 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.

AUx Sends

These are used to set up separate mixes for FOLDBACK, EFFECTS or recording, and the combination of each the Aux Send is mixed to the respective Aux Output at the rear of the mixer. For Effects it is useful for the signal to fade up and down with the fader (this is called POST-FADE), but for Foldback or Monitor feeds it is important for the send to be independent of the fader (this is called PRE-FADE).

AUX SENDS 1 and 2

These are always PRE-FADE and therefore most appropriate for foldback or monitor mixes or external submix.

AUX SENDS 3 and 4

These are always POST-FADE for effects sends, external submix (or for Centre Voice cluster or mono Tape mix).
This control sets the amount of the channel signal feeding the Left and Right MIX or SUB 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.
All outputs from the channel except inserts are on when the MUTE switch is released and muted when the switch is down, allowing levels to be pre-set before the before the signal is required. The only exception to the muting is any DIRECT OUTPUT configured as PRE-fade, which will be sent regardless of the status of the mute switch.

q INPUT CHANNEL FADER

The 100mm FADER, with a custom-designed law to give even smoother control of the overall signal level in the channel strip, 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 fader. See the `Initial Set Up section on page 23 for help in setting a suitable signal level.

DIRECT PRE/POST

This button switches the Direct Ouput to be set pre or post the channel fader. In the UP position it is POST and in the DOWN position it is PRE.

PFL (Pre-Fade Listen)

When the latching PFL switch is pressed, the pre-fade signal is fed to the headphones, control room output and meters, where it replaces the MIX. The PFL/AFL LED on the Master section illuminates to warn that a PFL is active. This is a useful way of listening to any required input signal without interrupting the main mix, for making adjustments or tracing problems. When PFL is pressed anywhere on the console, the Control Room outputs automatically switch from monitoring the Mix Outputs.

PLAYBACK

The rotary control sets the level of the 2 Track Tape input, which is routed to the headphones, monitor outputs and meters. These inputs, on RCA phono connectors are an ideal way to connect the playback of a tape machine for monitoring.

PLAYBACKREPLACESMIX

Press this switch to replace the MIX Left/Right signal at the MIX outputs with the Playback signal connected (see also p.22). to the Left and Right RCA sockets

PLAYBACK Pfl

Press this switch to route the Playback signal to the monitor and phones, over-riding the default monitor/ Phones signal. This listening point is before the PB LEVEL control, so material can be previewed before being routed.

MONITOR LEVEL

This control sets the level to the MONITOR LEFT & RIGHT outputs. If headphones are plugged into the PHONES jack, the headphone level will track the Monitor Level.

PHONESLEVEL

This control sets the output level to the Headphone outputs. If headphones are plugged into the PHNS jack, then the knob sets a comfortable headphone listening level without affecting the Monitor output levels.

AUX MASTERS AUX AFLs

Each Aux output has a master output level control and associated AFL switch.
Just like the PFL switches on the channels, you can monitor each AUX output by pressing the AFL switch. This routes the AUX output signal to the MONITOR or PHONES, replacing the MIX signal. The METERS also switch from the MIX to display the PFL/AFL signal and the PFL/AFL LED lights to warn that a PFL or AFL switch is pressed. When you release the switch, the Monitor swaps back to the MIX.

MONO SUM

The Mix Left and Right signals are summed to a MONO output on a 3 pole A gauge jack. Output level is set by the dedicated rotary control. Monitoring of the Mono output, if required, must be done at the external equipment it feeds, or the signal brought back to a spare console input.

MASTER FADERS

The MASTER FADERS set the final level of the MIX outputs, and separate faders are provided for each output. These should normally be set close to the `0 mark if the input GAIN settings have been correctly set, to give maximum travel on the faders for smoothest control.

wmonitor outputs

The Monitor Outputs are on 3-pole A gauge jacks and are balanced connections
emix outputs & inserts
The Mix LEFT and RIGHT outputs are sent from the XLR sockets as balanced signals. The Mix INSERT points are on 3-pole A gauge jacks and are unbalanced.

rplayback inputs

These two RCA phono sockets are unbalanced Left and Right line-level inputs, used for connecting the (see also p.21) e.g. DAT or CD players, Minidisc, Cassette playback devices selected using button tape recorders etc.

tmono sum output

The MONO Sum output is on a 3-pole A gauge jack output and is balanced.

yreturn master / mute

This rotary control adjusts the overall level of the four stereo return inputs to the Mix. There is also a mute switch which can be used to quickly compare the level of the Mix, with and without effects.

uheadphones jack

This output is on a 3-pole A gauge stereo jack socket and accepts headphones of approximately 200W impedance.
USING YOUR Soundcraft M SERIES CONSOLE
The final sound from your PA 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 sound check 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!

DIGITAL OUTPUT

Each of the models in the Soundcraft M Series is fitted with a digital output. The output conforms to the S/PDIF standard. The S/PDIFoutput conforms to the consumer standard IEC958 1989-03, and also the Japanese standard EIAJ CP-340 1987-9 For maximum configurability the Soundcraft M-Series S/PDIF can be sourced from two places. There is a switch located next to the S/PDIF Output socket on the rear of the console: Switch Out When the switch is in the out position, the S/PDIF signal is sourced from the Mix bus. This enables you to record the entire mix digitally, either to CD-R, DAT, DVD, or direct to your computers soundcard. Switch In When the switch is in the out position, the S/PDIF signal is source from the Aux 1/2 bus. This enables you to record a specific channel, by routing the channel to the aux 1/2 output. Aux 1 will feed the left side of the S/PDIF output and Aux 2 will feed the right hand side of the S/PDIF output.

Specification

Signal bit rate is 2.8Mhz based on the sampling frequency (Fs) of 44.1kHz Physical connection: Cable: 75 +/-5% (l<10m) or 75 +/-35% (l>10m) Line driver: Zout: 75 +/-20% (100kHz. 6Mhz) Vout: 0.4Vpp. 0.6Vpp, <0.05Vdc (75 terminated)

Synchronisation

The digital output sample frequency is fixed 44.1kHz operation, when connecting to a piece of external equipment you must ensure that the two are synchronised. There are two ways to achieve synchronisation when operating the Soundcraft M Series consoles: 1. Ensure the device receiving the digital signal is set to slave to the embedded clock in the S/PDIF output from your console. 2. Ensure the device receiving the digital signal is fitted with a sample rate convertor, which eliminates the need for synchronisation.

DIGITAL AUDIO CABLE

S/PDIF (IEC-958) uses 75 coaxial cable and RCA connectors. 75 coaxial cable is inexpensive, because it is the same cable as used in video transmission (you can buy a video cable with RCA connectors to connect your S/PDIF equipment together). Coaxial S/PDIF connections work typically at least to 10-15 metre distances with good 75 coaxial cable.

Remember:

The Soundcraft website will contain the latest set-up files for describing the synchronisation settings for many digital pieces of equipment.

impedance balancing a technique used on unbalanced outputs to minimise the effect of hum and interference when connecting to external balanced inputs. insert pan (pot) peaking 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 -10dBu to +6dBu, usually coming from a low impedance source. abbreviation of panorama: controls levels sent to left and right outputs. the point at which a signal rises to its maximum instantaneous level, before falling back down again. It can also describe an equaliser response curve affecting only a band of frequencies, (like on a graphic equaliser), peaking at the centre of that band.
peak LED PFL phase polarity post-fade pre-fade rolloff shelving spill transient unbalanced +48V
a visual indication of the signal peaking just before the onset of clipping. a function that allows the operator to monitor the pre-fade signal (pre-fade listen) in a channel independently of the main mix. a term used to describe the relationship of two audio signals. In-phase signals reinforce each other, out-of-phase signals result in cancellation. a term used to describe the orientation of the positive and negative poles of an audio connection. Normally connections are made with positive to positive, negative to negative. If this is reversed, the result will be out-of-phase signals (see phase above). the point in the signal path after the monitor or master fader and therefore affected by fader position. the point in the signal path before the monitor or master fader position 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.

TYPICAL SPECIFICATIONS

for Digital S/PDIF Specifications see p.25 NOISE.

Measured 22Hz to 22kHz, unweighted AUX & MIX O/Ps (8 Channels routed, faders down). <-84dBu

E.I.N.

Microphone Input (Maximum Gain, measured 22Hz - 22KHz, unweighted) . -128dBu
CROSSTALK. . 20Hz - 10kHz
Channel mute . .<90dB Fader cutoff (rel to 0 mark) . .<90dB Routing isolation . .<90dB

FREQUENCY RESPONSE.

Mic/Line Input to any output 20Hz to 20kHz1dB

T.H.D. .

Mic Gain. +30dB, +20dB at all outputs @ 1kHz< 0.008%
INPUT & OUTPUT IMPEDANCES .
Microphone Input . . ~2kW Mono Channel Line Input. . >40kW Stereo Input (Stereo Mode) . . >30kW Stereo Returns. . >10kW Headphones Ouput . . ~40W All other audio outputs. . 75W
INPUT & OUTPUT LEVELS.
Mic Input Maximum Level. . +12 dBu Mono Channel Line Input Maximum Level+38 dBu Insert Point Send / Return Levels. .+21dBu Stereo Input Maximum Level. .+21dBu Headphones (@200W). . 150mW All other audio outputs. . +21dBu into 10kW

Filter.

High Pass. . 100Hz, 18dB/octave
HF. . 12KHz, 15dB MF. . 240Hz - 6KHz, 15dB LF . . 60Hz, 15dB

Dimensions.

M4 (With Sides). .W: 397 (15.6) x H: 119 (4.7) x D: 523 (20.6) M4 (No Sides). .W: 373 (14.7) x H: 119 (4.7) x D: 490 (19.3) M8/12 (With Sides). .W: 506 (19.9) x H: 119 (4.7) x D: 523 (20.6) M8/12 (No Sides, rackmount). .W: 483 (19.0) x H: 119 (4.7) x D: 490 (19.3)

Weight.

M4. . 6.75Kg (14.9 lbs) M8. . 8.65Kg (19.1 lbs) M12 . . 8.95Kg (19.7 lbs)
Inrush Current (M Series family).
Worst Case: M12 @ 115V AC. 4 Amps Peak
Average Power Consumption (quiescent) .
M4. . 20 Watts M8. . 25 Watts M12 . . 30 Watts
Min / max operating temperature (m series family).
Centigrade / Farenheit. . 0C - 50C / 32F - 122F

M8 & M12 DIMENSIONS

All dimensions are in millimetres (Inches shown in brackets).

M4 DIMENSIONS

APPENDIX 1 - TYPICAL CONNECTING LEADS

SYSTEM BLOCK DIAGRAM

Control Position Markup Sheets
To assist you in restoring the console to a previous setting, e.g. for different bands on a gig, you may photocopy these pages as many times as you like and use them for making a note of your control positions.

Soundcraft Harman International Industries Limited Cranborne House Cranborne Road Potters Bar Hertfordshire EN6 3JN, UK Tel: +44 (0) Fax: +44 (0) Email: soundcraft@harman.com.com Soundcraft USA 8500 Balboa Boulevard. Northridge CA 91329 USA Tel: 1 818-920.3212 Fax: 1 818-920.3209 Email: soundcraft-usa@harman.com
Soundcraft reserve the right to improve or otherwise alter any information supplied in this document or any other document supplied hereafter. E&OE 04/09

Part No: ZM0252-02

A perfect mix of form and function
In a world full of cheap compact mixers, Soundcraft has achieved something exceptional with the new Spirit M Series. Equally suited to recording and live sound applications, the Spirit M Series delivers a great-sounding, reliable performance, session after session, mix after mix. A mixer for life.
Even before you plug in a Soundcraft Spirit M Series mixer you know its something very special. The aluminium side panels arent just beautiful, they can withstand extreme forces and are designed to leave the mixer with no sharp edges. Removing these panels is simple, revealing a robust, integral rack mounting system equipping the M Series instantly for a life on the road. The Spirit M Series is also exceptionally easy to use. The control surface will be immediately familiar to anyone who has used a mixer before and will quickly become second nature even to a novice. All inputs, EQ, auxes, panning and level controls are presented clearly, saving you time when creating your mixes and providing you with more time to spend on achieving the best sound. High quality 100mm faders combine with signal and peak LEDs on every channel and high resolution output metering places the operator in total control. A durable, multi-coat paint finish, ensures that a Spirit M Series console always looks as good as it sounds.

applications

Applications
Live sound reproduction Home studio recording
Keyboard, samplers, synthesisers and electronic instrument mixing

Three frame options

The Soundcraft Spirit M Series is available in 4, 8 or 12 mono input channel frame sizes. All stereo returns, with all other features and specifications identical.
three mixers include four stereo inputs and four
From raw component level through to cosmetic finishing, the Spirit M Series has been built to last. Just pick one up and youll know what we mean. Even the knobs are special, custom designed to our own exacting requirements. Weve ensured there is plenty of spacing between the controls, enabling you to comfortably achieve total control of your
mix. Even the headphone jack is located at the bottom right hand corner of the mixer so a trailing cable will never get in your way. Just another example of the attention to detail which makes the Soundcraft Spirit M Series the standard against which other compact mixing consoles must now be judged.

OPTIONS

12 mono inputs 4 stereo inputs 4 stereo returns

Conference sound systems

4 mono inputs 4 stereo inputs 4 stereo returns
8 mono inputs 4 stereo inputs 4 stereo returns
PA mixing for bars, schools, leisure centres, places of worship, etc.

Location mixing

Multimedia production

Video post production

Multi-speaker systems
Sonic integrity through design
Right from the start, the Spirit M Series has been designed to achieve optimum sound and performance. Other mixers have designs with significant restraints in this respect but, through a fresh and innovative approach, Soundcraft designers have created a mixer that rivals the sonic performance of many high end recording consoles.
Attention to detail in the design of the Spirit M Series makes mixing a positive pleasure. A no-compromise approach to circuit design and to the quality of the components throughout has resulted in a console that delivers exceptionally low noise and crosstalk figures. Mic and line inputs are provided on balanced XLR and 1/4" jack connectors for optimum performance, with the main stereo outputs on balanced XLRs for better integration with other professional equipment. There are also insert points on every mono channel and the mix outputs for external signal processing.

More inputs

All three versions of the Spirit M Series feature more inputs for your money than comparable compact consoles. With a choice of 4, 8 or 12 input versions plus 4 stereo inputs and 4 stereo returns, there are more than adequate inputs for connecting keyboards, samplers, CD players and other outboard equipment.

The Great British EQ

In the 70s, Soundcraft pioneered circuit design that revolutionised peoples perception of EQ. Today many engineers and producers acknowledge those efforts, describing the results as British EQ. And while we dont claim all the credit, its undoubtedly true that Soundcrafts work in this field made a major contribution to the evolution of that classic sound. In the Spirit M Series we go one step further. While completely happy with the low and mid range circuitry, we identified a potential for improvement in the HF section. The HF EQ on the M Series has a steeper shelf, making it more tightly focused on the frequencies that you are trying to boost, avoiding the associated boost in the nearby mid-range frequencies which happens in many other EQs and which results in mid-range clarity compromises. HF Frequency Response

Mic preamp

Much has been written about the importance of the mic preamp in mixer design. And rightly so. Poor quality in this area can never be recovered, however smart the subsequent circuit design. Desirable characteristics include linearity and smooth gain control over a wide range as well as low noise, low distortion and RF rejection. The mic preamp in the new M Series utilises the same design as that used on our award-winning Ghost studio recording consoles. It delivers remarkably low distortion (or colouration) at all gain levels, operating with a cool character that comes from over a quarter of a centurys experience. The bottom line is that it sounds great. and it doesnt need a name because it speaks for itself.

Size matters 100mm

A popular target for cost-cutting mixer manufacturers, you wont be short changed with the Spirit M Series faders. With the benefit of full sized 100mm faders, subtle mixing changes become easy and control is placed right where it matters. At your finger tips. Whats more, each channel also features peak and signal LEDs for intuitive level monitoring.
Noise and crosstalk elimination
To minimise noise and hum, effective grounding is essential in mixing console design. The M Series consoles employ a ground tracking architecture usually seen only in much more expensive designs. Careful attention to the grounding around the faders ensures there is minimum ground signal, providing maximum fader attenuation and therefore a high fader cut-off value. The improved circuitry also ensures there is virtually no inter-channel crosstalk.

High performance features
The M Series offers a robust shield to external interference. Its internal power supply is housed in the foot of the mixer, keeping it away from the mic preamps. This ensures the transformer is shielded from the sensitive mic preamps by layers of screening, eliminating any induced noise. Furthermore, the foot operates as a highly efficient heat sink, dissipating heat from the power supply and away from the main circuitry.

Connections

In audio mixing, signal path integrity is everything. While other manufacturers may choose economy over quality, Soundcraft leave nothing to chance our reputation depends on it. Thats why Spirit M Series consoles feature professional grade connectors throughout. All models benefit from XLR mic sockets and metal-shafted jacks are used for the line inputs. Meanwhile, to ensure the absence of hum loops and noise, the insert sockets utilise metal barrelled jacks with an insulating plastic thread. And like all components in the M Series, the connectors are designed and built to give year after year of reliable high performance.
Gain control for stereo returns
Because each of the 4 stereo returns on the Spirit M Series has a level control and peak signal LED, they make perfectly usable additional stereo inputs. Ideal for an expanding keyboard setup or sub mix and just one more example of what you gain if you dont cut corners.

Aux masters

Believe it or not, some manufacturers dont give you master gain controls on all of their aux busses. We do, because we know you want the best possible signal to noise ratio feeding your FX units or monitors. The Spirit M Series not only provides this useful control but also includes an AFL button for flexible monitoring.
Because levels are constantly changing throughout the signal path from the preamp stage, through filtering and EQ the Spirit M Series provides signal detect and peak LEDs on all input channels. These monitoring LEDs are fed from multiple points in the circuit path to ensure nothing gets overlooked. The main stereo mix has two 12-segment LED meters, with a SOLO AFL/PFL indicator to show whether any solo channels or aux masters are being monitored. With all this information instantly available, efficient control is easy to maintain.

PFL and AFL

At Soundcraft we make no apologies for our professional heritage and this is reflected in the terminology we use. The aux masters feature AFL (After Fade Listen) for monitoring each aux signal, with PFL (Pre Fade Listen) buttons included on the input channels. The term solo does not adequately describe the functions. With the M Series, AFL, PFL and a peak warning indicator mean that audio professionals will always know exactly what signal they are monitoring.

Switchable direct outputs
Whether choosing a mixer for sound reinforcement or recording, one day youll be glad you chose one with switchable direct outputs. Each direct output is pre/post switchable on every channel to suit your application. Essential for multitrack live recording, switchable direct outputs enable the pre-fade signal to be sent directly to the recorder regardless of the fader settings used for the live mix, allowing total post production flexibility. And when recording in the studio, the final mix can be sent post-fader to the multitrack, recording every fader movement. An absolute necessity.

Digital output

Each Spirit M Series console features a built in, high quality stereo A/D convertor, allowing a digital version of your mix to be routed directly to digital recording systems such as DAT, MiniDisc or recordable CD. The S/PDIF format output means the A-D conversion is undertaken in the best place, well away from the hostile environment of a PC ensuring audio integrity throughout.

Ready for the road

Integral rack mounting
We know that for many people a mixing console must perform duties both in the studio and on the road. Through innovative design, the Spirit M Series can be instantly transformed to suit either environment. The stylish metal side panels are quickly and easily removed to reveal a strong, integral rack mounting system. Back in the studio, simply replace the side panels and it reverts to a desktop mixer. All three Spirit M Series mixers occupy 11U of standard rack space.
The build quality of the Spirit M Series mixer remains totally uncompromised. It benefits from an exceptionally rugged chassis, designed to withstand the most demanding working environments, from studio to stage, or from conference to church.

Mono input channels

Mono input connections
The three mixers in the Spirit M Series range offer a choice of 4, 8 or 12 mono input channels, each accepting balanced or unbalanced mic and line inputs. Dynamic, condenser and ribbon microphones can be connected via the XLR mic input B with 48V phantom power globally switchable via a button on the master section of the mixer. This signal then feeds a high quality mic preamp, which met with popular acclaim when used in our award-winning Ghost console. Keyboards, drum machines, guitars and other equipment can be connected to the balanced 1/4" jack line inputs C while an unbalanced insert point on each channel D is placed pre-EQ in the signal chain, allowing signal processors, such as compressors or gates, to be added to the mix. The input channels can also be connected to external multitrack recorders or effects units via a switchable direct output A for use in both live and recording applications.

Mono input controls Gain control

Auxiliary section

A rotary gain control on each input alters the gain of the input signal, from +5 to +60dB. Linear circuitry within the preamp delivers smooth gain control over the entire gain range.

Filter section

The use of aux sends often varies from sending separate monitor mixes in live applications to sending signals to effects processors or artists in the recording studio. The Spirit M Series features four aux busses, with two pre-fade and two post-fade aux sends on each input channel to cater for all requirements.
The pan control positions each channels signal across the stereo image, with a mute button to cut the signal completely. A PFL (Pre Fade Listen) button solos the signal for monitoring. When recording a live performance to a EQ section G Equalisation on the Spirit M Series is split into three bands. multitrack recorder, switching the Direct Pre button selects the direct outputs to be pre-fader. The signal recorded The HF control provides 15dB of cut or boost (gain adjustment) for frequencies above 12kHz ideal for adding remains unaffected by any fader movements, allowing postcrispness to cymbals, vocals, etc. or for removing unwanted performance mixes to be created. hiss or vocal sibilance. Two swept mid frequency controls enable frequencies from 240Hz to 6kHz to be adjusted, Faders and metering J offering 15dB of cut or boost at the selected frequency. To add punch to drums and bass or to remove hums and rumbles, adjust signals below 60Hz with the LF control, which features 15dB of gain adjustment (cut or boost). 100mm smooth-action faders provide precise control over signal levels for careful balancing of the final mix. And, to ensure you are always operating within the optimum signal range of the console, there are two LED indicators a signal present LED to indicate when the channel signal exceeds -20dBu and a peak level LED to indicate a signal in excess of +17dBu.
A high pass filter with a steep 18dB per octave slope can be used to reduce frequencies below 100Hz. This is ideal for use in live PA applications, since it helps to reduce unwanted stage rumble or popping from microphones.
Pan, muting, PFL & direct pre

Stereo input channels

Stereo input connections
D The four stereo input channels operate as a pair of mono input channels in a single strip, where any processing applied to the left input will also be applied to the right to ensure the correct stereo image is retained. Perfect for connecting synthesisers, drum machines and other stereo instruments, or for connecting effects processors and tape recorders, the stereo inputs are connected via balanced 1/4" jack inputs C delivering optimum performance with other professional audio equipment. A B

Stereo input controls Gain control
Bal, muting, PFL & direct pre
The stereo input control adjusts input level gain from 0 to +22dB, enabling line level sources to be matched. G

EQ section

Equalisation on the stereo channel strip is simpler than the EQ featured on the mono channels. There are two controls, adjusting HF signals at 12kHz and LF signals at 60Hz by 15dB. H
The balance control adjusts the amount of the signal sent to the left and right busses. Mute and PFL buttons operate as on the mono input channels, cutting or soloing the stereo channel. With PFL pressed, the pre-fade signal is fed to the headphones, control room output and meters, with levels displayed on the left and right meters in mono to enable levels to be monitored without interruption to the main mix.

Faders and metering

With 4 aux sends on the stereo input channels, the signal can be sent pre-fade for use in a monitor mix (using aux sends 1 & 2) or sent post-fade (via aux sends 3 & 4) for effects processing.
H Like the mono channels, each stereo channel features a smooth 100mm fader, a signal LED to show whether a signal is present and a peak level LED indicating signal levels in excess of +17dBu.
Stereo returns and controls
The returns gain control I positioned at the top of each stereo channel strip, adjusts the gain for each stereo return, with a peak signal LED indicating when the signal exceeds +17dBu. The signals from all four stereo returns are then submixed to the return master J which adjusts the overall level of the stereo returns in the main mix. When stereo returns are used to return a signal from an effects unit, the mute button K offers a fast method of comparing the signal with or without FX.The Spirit M Series features dedicated stereo returns for effects processors via RCA phono inputs B these returns can also be used with CD players and other hi-fi equipment. The aux output A contains a mix of the aux send signals sent from each input channel, which can then be sent as a monitor mix to stage loudspeakers or to send to an external effects unit. K

Master section

Master section connections
The M Series master section features level controls, metering, and the main stereo outputs. Global control over phantom power (a method of transmitting power along the same cable as the microphone signal) is offered via a push button A. +48V phantom power will then be applied to all mic inputs and an LED will illuminate. Power LED lights when the M Series mixer is on. Audio connections on the master panel include 2-track recorder playback inputs on unbalanced RCA phonos B studio monitor outputs C and a mix insertion point D. The main left and right mix outputs are provided on balanced XLR connectors E with a mono sum signal available on a balanced 1/4" jack F perfect for use as a fill speaker for PA applications. A

Master section controls Playback level
J G The playback gain control adjusts the level from the 2-track playback inputs, ideal for use when monitoring the signal off tape. This playback signal can be monitored separately by pressing the PFL button, which routes it to your monitoring system or to the headphones, replacing any existing monitoring signals. The P/B Replace Mix button routes the playback signal directly to the main mix, replacing any signal that may be present. This button is perfect for use during live performances, allowing CDs to be played during the interval at the touch of a button without the need to adjust the mix or move faders. With the playback routed to mix in this way, the mics on stage are protected from any unauthorised performances from the audience. H Levels sent to the mono sum output, monitor output and headphones can be adjusted using these three rotary controls. And when a pair of headphones are plugged into the phones socket K at the bottom right of the mixer, the monitor outputs are cut for easier headphone listening. I Each aux bus features a master level control, with an AFL (After Fade Listen) button enabling monitoring of each aux output. When pressed, the AFL button routes the aux output to the monitor ouputs or to the headphones, where it can be monitored on the master stereo meters.
Mono sum, monitor and phones level

Auxiliary masters

Faders and metering J Controlling the overall stereo mix level are two 100mm faders, with two 12-segment 3-colour LED peak-reading bargraph meters monitoring the mix right and mix left outputs. These meters normally follow the current monitor selection, so if any PFL or AFL is pressed, the meters will switch to monitor this and the Solo AFL/PFL LED will light. The different coloured LEDs make it simple to follow the signal levels without needing to read the actual numbers printed between the columns of lights.

Headphone output

K The headphone socket is positioned to the right of the main faders, enabling easy reach of both the mixer and studio outboard equipment while wearing headphones. This position avoids any trailing headphone cables which could catch or accidentally adjust rotary controls on the mixer.
The great flexibility of the Spirit M Series enables it to be used in a wide variety of applications. Here are some suggestions.

Live sound reinforcement

Live sound reinforcement requires different mixes a stereo master mix for the audience and one or more monitor mixes for the performers on stage. The monitor mixes can be set up using Aux 1-4 on the M Series mixer. When a venue uses multiple fill speakers, delay should be added to speakers that are closer to the listener. The direct outputs on the Spirit M Series can be used to record each of the mono input channels to a multitrack recorder. Each direct output can be individually switched to be pre-fade, ensuring the signal at these outputs remains unaffected by any movements of the channel faders during the live performance. Different mixes of the performance can then be made after the event.

Recording

The M Series mixers are perfect for use when laying down tracks onto multitrack recorders. You can use the direct outputs (channels 1-8 on the Spirit M8, for example) to feed the multitrack recorder. These direct outputs can either be set to be pre-fade, so the levels recorded to the multitrack are unaffected by the position of the channel faders, or set to post-fade, where every movement of each channels fader is recorded. The main mix output provides a stereo signal for sending to a 2-track recorder, such as a DAT or CD-R recorder, with a digital version of this mix output available via the S/PDIF output.
Multispeaker installations
It is simple to set up multiple speaker configurations with the M Series mixers. With their 4 auxes, stereo monitor output, mono sum output and a main stereo mix output, there are plenty of feeds for even the largest installations.

Places of worship

With the M Series mixer configured as shown in this diagram, it will provide a mono output to feed the main PA system, with an induction loop added for the hard of hearing. For larger scale occasions, music and voice monitor mixes may be required, which can be sent via the auxes. The main stereo mix output can also be sent to a 2-track recorder, such as a cassette or DAT recorder, if the occasion is to be recorded.

PFL EN

+48V MON L MON R INS. INSERT 75W LF FADER (AUX3) DIR.PRE (AUX4) PB/R (AUX1) DIRECT OUTPUT 75W (AUX2) PFL RD MON (PFL) (PRE) SP/DIF MONO SUM 75W AUX1 O/P (75R) (AUX2 SIMILAR) AFL FS 44.1K (POST) INS. FADER MIX/R OUT 75W 10dB MF & HF SWEEP MUTE PAN MIX/L OUT 75W PB/L FADER EQ PFL d/c PB REPLACE MIX

PHANTOM POWER

MIC Zin ~ 2K

LINE Zin 45K

100Hz HPF

PEAK RD (+17dBu)

SIG.PRESENT GN (-20dBu)

System block diagram

MONO CHANNEL (ALL SIMILAR)

LEFT/MONO

Zin 36K AFL d/c FADER BALANCE

LF HF EQ

AUX3 O/P (75R) (AUX4 SIMILAR)

BUS AMPS, ETC.

PK AUX3 (POST) AUX4 (POST) SP AUX1 (PRE) AUX2 (PRE) (R1L) R2L R3L RD R4L RD GN

MONITOR & METERS

MON (MIX/L) MON (MIX/R) METERS R L
STEREO CHANNEL (STE1 - STE4 SIMILAR)

10K MIN Zin 30K MAX

0dB MON (PFL)
+15 (PEAK) +12 +9 +6 +3 dBv 0 0dBv = -3 -6 +4dBu -9 -12 -15 -30 STEREO H/PHONES

LEVEL PEAK LEVEL

Zin 11K

STEREO RETURN

(1- 4 SIMILAR)

R1R R2R R3R R4R

LEVEL ST. RET. MASTERS
H/Ps MON (MIX/L) 75W MIX BUSSES MON LEVEL MON (MIX/R)
NOTE : PB PFL IS INVERTED

2 TK PLAYBACK

Spirit M Series specifications

Frequency response

Mic / Line Input to any Output. +/-1dB 20Hz 20kHz
Input & output levels
Microphone Input Maximum Level. +12dBu Mono Channel Line Input Maximum Level. +38dBu Stereo Input Maximum Level. +21dBu Headphones Output (into 200). 150mW All Other Audio Outputs. +21dBu into 10k

T.H.D.

Mic Sensitivity -30dBu, +20dBu @ all Outputs. < 0.008% @ 1kHz
Mic Input E.I.N. (maximum gain, measured 22Hz 22kHz, unweighted). -128dBu Aux and Mix Outputs (8 ch. routed, faders down, 22Hz 22kHz, unweighted). < -84dBu

Filter

HP. 100Hz, 18dB/octave

Crosstalk

Channel Mute. < 90dB 20Hz 10kHz, < 80dB 10kHz 20kHz Fader Cut-Off (ref. Fader 0dB). < 90dB 20Hz 10kHz, < 80dB 10kHz 20kHz Routing Isolation. < 90dB 20Hz 10kHz, < 80dB 10kHz 20kHz
HF. 12kHz, +/-15dB MF. 240Hz 6kHz, +/-15dB LF. 60Hz, +/-15dB
Input & output impedances
Microphone Input. ~ 2k Mono Channel Line Input. > 40k Stereo Input (Stereo Mode). > 30k Stereo Returns. > 10k Headphones Output. ~ 40 All Other Audio Outputs. 75

Dimensions

M4 (With sides). M4 (W/O sides). M8/12 (With sides). M8/12 (W/O sides, rackmount). 15.6"/397 (W), 4.7"/119 (H), 20.6"/523 mm (D) 14.7"/373 (W), 4.7"/119 (H), 19.3"/490 mm (D) 19.9"/506 (W), 4.7"/119 (H), 20.6"/523 mm (D) 19.0"/483 (W), 4.7"/119 (H), 19.3"/490 mm (D)

Weight

M4. 14.8 lbs / 6.75kg M8. 18.1 lbs / 8.25kg M12. 18.8 lbs / 8.55kg
Note All figures are measured and monitored from real production units.

M4 dimensions

335.4 (13.20") 335.4

12.5 (0.49")

29.5 (1.16")
373.4 (14.70") 355.9 (14.01")

335.4 (13.20")

118.7 (4.67")

490.1 (19.30")

Fit into 11U
Soundcraft Registered Community Trade Mark / RTM No. 000557827

483.6 (19.04")

SOUNDCRAFT
HARMAN INTERNATIONAL INDUSTRIES LTD. CRANBORNE HOUSE, CRANBORNE ROAD, POTTERS BAR, HERTS, EN6 3JN, UK. TEL: +44 (0)FAX: +44 (0)EMAIL: info@soundcraft.com

444.6 (17.50")

17.2 (0.68")

42.5 (1.67")

118.0 (4.65")

396.9 (15.63")

43.1 (1.70")

M8/12 dimensions

SOUNDCRAFT USA
1449 DONELSON PIKE, NASHVILLE TN 37217, USA TEL: 1-615-360-0471 FAX: 1-615-360-0273 EMAIL: soundcraft-usa@harman.com
490.1 (19.30") 483.6 (19.04")
12.5 (0.49") 29.5 (1.16")
482.6 (19.00") 465.1 (18.31")
Soundcraft reserves the right to improve or otherwise alter any information supplied in this document or any other documentation supplied hereafter. E&OE 08/01 This equipment complies with the EMC Directive 89/336/EEC
Part No. ZL0574 STD ZL0575 US

506.1 (19.93")

522.7 (20.58")

www.soundcraft.com