Soundcraft Spirit Live 42
Soundcraft GB2 24 Sound Mixing ConsoleThe GB2 is the latest addition to the Soundcraft GB Series, featuring 4 group busses configured as 2 stereo subgroups and an integral 6 x 2 matrix. Intended for installed-sound and Audio-Visual applications that do not require the functionality provided by the GB4 or GB8, the GB2 is available in frame sizes of 16, 24 and 32 mono inputs, each with 2 stereo inputs as standard. Each input features the high-performance GB30 Mic Pre and GB30 Equaliser designs of ... Read more
Brand: SPIRIT BY SOUNDCRAFT
Part Numbers: GB2 Live, RW5748SM
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Soundcraft Spirit Live 42
User reviews and opinions
|TeamN||7:56pm on Friday, October 22nd, 2010|
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|RumbleBaby||2:45pm on Wednesday, September 22nd, 2010|
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|Praecorloth||10:10am on Monday, August 16th, 2010|
|Overall i would say this is by far the best phone I have ever owned. I bought this phone from T-Mobile the day it came out...|
|IonOtter||1:59pm on Monday, April 19th, 2010|
|There is no practical way to change the language. Also advertisement did not say phone OS was German. Attractive Design Difficult Navigation Probably a great phone, but w/o 3G signal in U.S. phone can not show off all its stuff. Sense UI is best I have seen, WinMo 6.5 is OK. THIS PHONE IS GREAT WHEN TRAVELING... Attractive Design","Brilliant Display","Good Interface w/email","QWERTY Keypad Crashes or Freezes".|
|prcl01||11:40am on Sunday, April 11th, 2010|
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|HighFrequency||7:59pm on Saturday, March 13th, 2010|
|Reviewing smart phones can be very tricky these days since there are typically two or three main aspects of the product that can make or break the dev...|
Comments posted on www.ps2netdrivers.net are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.
Tip Ring Sleeve
Signal Send Signal Return Gnd/Screen Tip Ring Sleeve
The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing limiters, compressors, special EQ or other signal processing units to be added in the signal path. The Insert is a 3-pole A gauge jack socket which is normally bypassed. When a jack is inserted, the signal path is broken, just before the EQ section. The signal from the channel appears on the TIP of the plug and is returned on the RING, with the sleeve as a common ground.
STEREO INPUTs, CASS/CD INPUTS
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 Outputs Group Outputs Matrix Outputs
1. Screen 3. Signal 2. Signal +
Similar to the Stereo Inputs. Input gain is sufficient to allow the connection of +4dBu professional or -10dBV semi-professional equipment.
Mix INSERTS, GROUP INSERTS
Mix & Group Inserts
Signal Send Signal Return Gnd/Screen
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:
Signal Send Insert Point
Send to External Device
Aux Outputs Rec Outputs Direct Outputs Signal + Signal Screen
Return from External Device
MIX, GROUP & MATRIX
The Mix, Group and Matrix outputs are on 3-pole XLR sockets, wired as shown on the left and below, and incorporate impedance balancing, allowing long cable runs to balanced amplifiers and other equipment.
Headphones Left Signal Right Signal Ground
From LIVE 42 Impedance Balanced Output Signal
(a) Balanced Connection
To External Device
From LIVE 42 Impedance Balanced Output
(b) Unbalanced Connection
Signal Ground Experience has shown that sometimes it is better not to connect screen at external device end.
AUX OUTPUTS, Direct OUTPUTS
The Aux and Channel Direct outputs are on 3-pole A gauge jack sockets, wired as shown on the left, and incorporate impedance balancing, allowing long cable runs to balanced amplifiers and other equipment.
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.
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. The mono inputs are provided with a Phase (f) switch to reverse the polarity of a selected input if a phasing problem is suspected.
Grounding and Shielding
For optimum performance it is vital that all signals are referenced to a solid, noisefree earthing point and that all signal cables have their screens connected to ground. To avoid earth `loops, use balanced connections where possible and 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:
l On INPUTS, unbalance at the source and use a twin, screened cable as though it
l On OUTPUTS, connect the signal to the +ve output pin, and the ground of the out-
put device to -ve. If a twin screened cable is used, connect the screen only at the mixer end.
l Avoid running audio cables or placing audio equipment, close to thyristor dimmer
units or power cables.
l 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.
The +48V switch applies phantom powering to the MIC input socket for condenser microphones. Transformer-coupled dynamic microphones may be used without causing damage, even when the +48V power is connected, but care must be taken when using unbalanced sources, because of the voltage present on pins 2 and 3 of the XLR connector. NOTE: Phantom powered mics should not be plugged in with the +48V switched on. Also you should be aware that some microphones draw an unusually large current which may overload the power supply, resulting in distortion. Consult your microphone supplier for guidance if necessary.
The Phase switch reverses the polarity of the input signal to compensate for phase differences due to microphone placement or incorrect wiring of input cables. This switch should be released for normal operation.
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 (shown by illumination of the PEAK LED), and causes clipping. 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. Set the knob fully anticlockwise as a preliminary position for LINE level sources.
HI-PASS FILTER P
Pressing this switch inserts a 18dB per octave 100Hz Hi-Pass Filter in the signal path, immediately after the input amplifier. This is particularly useful in live PA situations to reduce stage rumble or popping, and its use is strongly recommended, even on male vocals. It can also be used for filtering out low frequency hum.
The Equaliser(EQ) comprises four sections. The upper control provides H.F.(treble) boost and cut of +/-15dB and the lower control provides L.F. (bass) boost and cut of +/-15dB. The centre two pairs of knobs are arranged as HI and LO MID frequency sections, with a cut/boost control (lower knob) of +/- 15dB, and a SWEEP(frequency) control which determines at which frequency the boost/cut action will be centered. These MID sections, with a combined frequency range from 80Hz to 13kHz are particularly versatile for vocals, enabling particular characteristics of the singer to be lifted or suppressed very precisely. Set the cut/boost control of each section to the centre-detented position when not required.
The EQ switch bypasses the Equalisation section when released. Alternately pressing and releasing the switch provides an easy way of comparing the equalised and unequalised signals.
These controls route the input channel signal to any one or more Auxiliary buses. These are separate from the main outputs and can therefore provide additional outputs for foldback, echo units or extra loudspeaker `fills. AUX 1, 2 & 3 are derived before the channel fader (PRE-FADE), and are therefore unaffected by the fader position. This makes them particularly suitable for foldback or monitor feeds, which need to be controlled separately from the main P.A. mix. Aux 3 may be selected internally to be post-fade if required. AUX 5 and 6 are derived after channel fader (POST-FADE), and therefore follow any changes in fader level. They are normally used to drive effects processing units which are fed back into the mixer and which must fade out with the input channel. AUX 4 is normally POST-FADE, but may be altered globally to be PRE-FADE by pressing the AUX 4 PRE switch on the Master section. All pre-fade sends are normally POST-EQ, but may be selected to PRE-EQ by changing internal jumpers. Note that the sends are not affected by the position of the EQ switch All of the Aux Sends are muted when the MUTE switch is pressed.
The PAN control determines the position of the signal within the stereo mix image or may be used to route the channel signal to particular output GROUPS as selected by the ROUTING SWITCHES (see below). Rotation fully anticlockwise feeds the signal solely to the Left mix buss or Groups 1 and 3, while rotation clockwise sweeps the image to the Right buss or Groups 2 and 4.
The input channel signal may be routed to the main Stereo MIX (L-R) or pairs of GROUP busses (1-2, 3-4), by pressing the respective switches. These may be used in conjunction with the PAN control (8 above) to route the channel signal proportionately to any of the selected busses.
This 100mm long-throw fader determines the proportion of the channel in the mix and provides a clear visual indication of channel level. Normal operating position is at the `0 mark, providing 10dB of gain above that point if required.
All post-fade outputs from the channel may be muted by pressing the MUTE switch, and the associated LED illuminates to show that the channel is OFF.
Alternatively the channel may be selected to any one or more MUTE BUSES to provide grouped muting under the control of the MUTE masters on the far right-hand side of the console. In either case the mute status is shown by the LED.
When the PFL switch is pressed, the Pre-Fade signal is fed to the headphones and L & R meters, where it replaces the normal Mix L/R signal. The PFL/AFL ON LED on the master section illuminates to warn that the headphones and the meters are now responding to the PFL/AFL selection and the PFL LED on the input channel lights to identify the active channel. This is a useful way of listening to any required input signal without interrupting the main mix, for making adjustments or tracing problems. When the PFL switch is released the LED on the channel serves as a PEAK indicator, to warn when an excessively high signal level is present in the channel. The signal is sampled at three points in the channel, immediately after the Hi-Pass Filter (Pre Insert), post Mid EQ and pre HF EQ, and POST EQ. The Peak LED will illuminate approximately 4dB before clipping and therefore give warning of a possible overload even if the peaks are removed by external equipment plugged into the Insert.
These controls route a mono sum of the input channel signal to any one or more Auxiliary buses. These are separate from the main outputs and can therefore provide additional outputs for foldback, echo units or extra loudspeaker `fills. AUX 1, 2 & 3 are derived after the EQ section and before the channel fader (PRE FADE, POST EQ), and are therefore unaffected by the fader position and mute status. This makes them particularly suitable for foldback or monitor feeds, which need to be controlled separately from the main P.A. mix. Aux 3 may be selected internally to be post-fade. AUX 4, 5 and 6 are derived after the EQ and channel fader (POST FADE, POST EQ), and therefore follow any changes in fader level. They are normally used to drive effects processing units which are fed back into the mixer and which must fade out with the input channel. AUX 4 may be altered globally to be PRE FADE by pressing the AUX 4 PRE switch on the Master section.
All of the post-fade Aux Sends are muted when the MUTE switch is pressed.
The BALANCE control sets the amount of the channel signal feeding the Left and Right Mix outputs, allowing you to balance the source in the stereo image. When the control is turned fully left or right you feed only that side of the signal to the mix.
The input channel signal may be routed in stereo to the main Stereo MIX (L-R) or pairs of GROUP busses (1-2, 3-4), by pressing the respective switches. The Left side of the channel feeds Groups 1 & 3, and the Right side feeds Groups 2 & 4, subject to the position of the BALANCE control (21).
This long-throw fader determines the proportion of the channel in the mix and provides a clear visual indication of channel level. Normal operating position is at the `0 mark, providing 10dB of gain above that point if required.
All post-fade outputs from the channel may be muted by pressing the MUTE switch, and the associated LED illuminates to show that the channel is OFF. Alternatively the channel may be selected to any one or more MUTE BUSES to provide grouped muting under the control of the MUTE masters on the far right-hand side of the console. In either case the mute status is shown by the LED.
Four STEREO RETURNS are provided which feed either to the stereo Mix or the local pair of Groups, as selected by the 1-2(3-4)/Mix switches. These are an ideal way of mixing in the output of a reverb or effects unit, additional keyboards or the output of other consoles used as sub-mixers. The knobs should turned fully anticlockwise when not required.
31 BARGRAPH METERS
Six 12-segment, three colour bargraph meters provide visual monitoring of the levels of the Mix Left and Right, and Group outputs. All the meters are peak reading. Normally the Left and Right meters show the level of the Mix Left and Right outputs. If any PFL or AFL switch is activated the meters are switched to display the level of the selected PFL or AFL signal.
The MIX FADERS set the final level of the Mix outputs. The faders should normally be set close to the 0 mark if the input channel levels have been set correctly. Pre-fade INSERTS are provided for connection of external processing equipment (e.g. Graphic EQ) if required.
The console is provided with two independent Matrix outputs A & B, which may receive feeds from each Group or Mix Left and Right to create additional mixes for extra speaker outputs (e.g. side fills or delays) without affecting the main mix. These knobs control the level of the Mix signal sent to Matrix A & B buses. They should be turned fully anticlockwise when not required. Normally the Matrix Sends are derived from a mono sum of Mix L & R. Pressing the STEREO switch routes Mix L to Matrix A and Mix R to Matrix B to allow the Matrix outputs to be used as a separate stereo output from the console.
Each Matrix section has a MASTER control which sets the final output level. When the AFL switch is pressed, the post-fade signal is fed to the headphones and L & R meters, where it replaces the normal Mix L/R signal. The PFL/AFL ON LED on the master section illuminates to warn that the headphones and the meters are now responding to the PFL/AFL selection and the PFL LED on the input channel lights to identify the active Matrix output. This is a useful way of listening to any required output signal without interrupting the main mix, for making adjustments or tracing problems.
An XLR connector is provided to accept the input from a local talkback mic or gooseneck mic. Gain is set by the TB LEVEL control and the signal may be routed to a choice of AUX 1-2, AUX 3-4, MIX or GROUP buses using the four adjacent switches.
POWER ON LEDS
Two LEDs monitor the status of the console power supply and will be illuminated when power is connected. Check that both LEDs are lit after turning on the console power supply.
Each of the Auxiliary Send busses is provided with a rotary MASTER LEVEL fader and an AFL switch with indicating LED which monitors the final output after the fader. AUX 4 normally receives post-fade sends from the input channels, but may be switched to pre-fade by pressing the AUX 4 PRE switch.
This LED illuminates to show that a PFL or AFL is active on the headphones, and to show that the Left & Right meters will be displaying the PFL/AFL signal.
This control sets the level of the PHONES output jack.
Normally the Phones output monitors the Stereo Mix. Pressing the MONO CHECK switch sums the L & R outputs to check for phasing problems. The main outputs are not affected by the position of the switch.
Four MUTE MASTER switches provide muting control of any channels which have been assigned to a mute group using the M1-M4 switches on the input channels. The associated LED illuminates when the MUTE is active.
The PHONES output appears on a 3-pole 1/4 jack, suitable for headphones with an impedance of 200W or higher.
USING YOUR SPIRIT LIVE CONSOLE
he final sound from your P.A. 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 and 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).
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 aim should be to place the microphone as close as physically possible to the source, to cut out unwanted surrounding sounds, allow a lower gain setting on the mixer and avoid feedback. Also a well-chosen and well-placed microphone should not need any appreciable equalisation. There are no exact rules - let your ears be the judge. In the end, the position that gives the desired effect is the correct position!
Initial Set Up
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.
The front panel drawing on page 39 shows typical initial control positions which may be found a useful guide to setting up the mixer for the first time.
The diagram on page 6 demonstrated how the matching of input gain to the signal source was crucial to avoid distortion at one extreme and excessive noise at the other. Set up individual input channel as follows: l Connect your sources (microphone, keyboard etc.) to the required inputs. Note: Phantom powered mics should be connected before the +48V is switched on. Route the channel to Mix. l Set Master faders at 0, input faders at 0, and set power amplifier levels to about 70%. l Provide a typical performance level signal and press the PFL button on the first channel, monitoring the level on the bargraph meters. l Adjust the input gain until the meter display is in the amber section, with occasional peaks to the first red LED at a typical maximum source level. This allows sufficient headroom to accommodate peaks and establishes the maximum level for normal operation (but see note below). l 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.
l 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. Note: The initial settings should only be regarded as a starting point for your mix. It is important to remember that many factors affect the sound during a live performance, for instance the size of the audience! You are now ready to start building the mix and this should be done progressively, listening carefully for each component in the mix and watching the meters for any hint of overload. If this occurs, back off the appropriate Channel Fader slightly until the level is out of the red segments, or adjust the Master Fader.
The level of any source signal in the final output is affected by many factors, principally the Input Sensitivity control, Channel Fader, Group and Output Faders. You should try to use only as much microphone gain as required to achieve a good balance between signals, with the faders set as described above. If the input gain is set too high, the channel fader will need to be pulled down too far in compensation to leave enough travel for successful mixing and there is a greater risk of feedback because small fader movements will have a very significant effect on output level. If the gain is set too low, you will not find enough gain on the faders to bring the signal up to an adequate level.
Application 1 - LIVE SOUND REINFORCEMENT
This drawing shows a typical configuration for sound reinforcement, with the main PA fed from Mix L/R and a secondary system fed from the Matrix outputs. The illustration shows the flexibility of the inputs to the mixer and how the direct outputs are available as sources for a multitrack tape machine. The Aux Sends are used for reverb (Aux 1 & 2 which are pre-fade) and for artists foldback (Aux 4-6).
APPLICATION 2 - LIVE SOUND WITH CENTRE CLUSTER
This configuration is similar to application 1, but with the addition of a voice cluster and mono fill, both fed from the Matrix outputs. The source for the Matrix could be the main Mix, or a combination of Mix and Groups. The first three Aux sends are used as mono feeds to Effects Units, brought back to the Mix on the Stereo Returns.
APPLICATION 3 - ADDITIONAL STEREO INPUTS
This illustration shows how the number of Stereo Inputs to the Mix may be expanded by using the Stereo Returns for sources such as keyboards and drum machines, when the normal Stereo input channels are already used. Additional stage foldback is provided by the Matrix outputs in this example.
APPLICATION 4 - THEATRE SOUND
In this application the main requirement is to drive a large number of separate loudspeaker outputs for spot sound effects. The Groups, Mix, Aux Sends and Matrix outputs are all used for this purpose. Each could be provided with Graphic EQ or Delay units as required.
Application 5 - Using the Mute Buses
This illustration demonstrates how the Mute buses may be used to control groups of inputs, allowing those sources to be set up in advance, including fader positions, and muted until required. Releasing the respective Master Mute button activates the whole group. Pressing the button mutes the selected channels.
APPLICATION 6 - LINKING TWO LIVE MIXERS
This illustration shows how to link the outputs of one mixer into a second mixer, to control a larger number of input channels, or to accommodate a separate mixer being used as a submixer. Note that the PFL/AFL monitoring and Mute buses remain separate.
Groups 1-4 out Mix L/R out Master MIxer
NOTE: PFL/AFL and Group Muting are SEPARATE for each mixer
CARE OF YOUR MIXER
l Avoid storing or using the mixer in conditions of excessive heat or cold, or in positions where it is likely to be subject to vibration, dust or moisture. l Keep the mixer clean using a soft dry brush, and an occasional wipe with a damp cloth or ethyl alcohol. Do not use any other solvents which may cause damage to paint or plastic parts. l Avoid placing drinks or smoking materials on or near the mixer. Sticky drinks and cigarette ash are frequent causes of damage to faders and switches. Regular care and inspection will be rewarded by a long life and maximum reliability.
A-Guage jack jack, either 3-pole (TRS- Tip, Ring & Sleeve) or 2-pole (Tip & Sleeve). AFL (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 and groups derived independently of the main stereo/group mixes. Typically the feeds to the mix are implemented on rotary level controls. the relative levels of the left and right channels of a stereo signal. a method of audio connection which balances the signal between two wires and a screen which carries no signal. Any interference is picked up equally by the two wires, but out of phase resulting in cancellation of the interference signal. the onset of severe distortion in the signal path, usually caused by the peak signal voltage being limited by the circuits power supply voltage. Digital Audio Tape, a cassette-based digital recording format. a ratio of two voltages or signal levels, expressed by the equation dB=20Log10 (V1/V2). Adding the suffix u denotes the ratio is relative to 0.775V RMS. the practice of connecting an electric musical instrument directly to the input of the mixing console, rather than to an amplifier and loudspeaker which is covered by a microphone feeding the console. a post fade line level output from the input channel, bypassing the summing amplifiers, typically for sending to individual tape tracks during recording. a device that allows the boosting or cutting of selected bands of frequencies in the signal path. a linear control providing level adjustment the `howling sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal. a feed sent back to the artistes via loudspeakers or headphones to enable them to monitor the sounds they are producing. the variation in gain of a device with frequency. the variation in level of the signal an output into which a group of signals can be mixed.
mute groups pan (pot) peaking PFL (pre-fade listen) phase
post-fade pre-fade rolloff shelving spill stereo return talkback transient unbalanced
NOISE Measured RMS, 22Hz to 22kHz Bandwidth Line inputs selected at unity gain and terminated 150R MIX AUX DIRECT OUTPUT MATRIX OUTPUT E.I.N. CROSSTALK 26 Inputs routed to Mix, faders at unity, muted Mix Faders down 26 Inputs routed, output at max., input faders down Input to Direct Output @ unity gain Input to Direct Output @ 40dB gain Matrix Output at max., sends down Microphone Input, Maximum Gain, terminated 150R @ 1kHz Typical Channel Fader Attenuation Typical Aux Attenuation Typical Pan Isolation Adjacent Channel Crosstalk FREQUENCY RESPONSE 20Hz to 20kHz T.H.D. C.M.R.R. -10dBu Input routed to Mix, +20dBu out @ 1kHz Typical at max. gain @ 1 kHz Typical at any gain @ 50 Hz Microphone Input Line Input Stereo Input Cass/CD Input Stereo Return INPUT & OUTPUT LEVELS Mic/.Line Input Maximum Level Stereo Input Cass/CD Input Stereo Return Nominal Input for +4dBu at Mix Output, level at 7 Max. Mic Gain through longest path to Mix +28 dBu +25 dBu +18 dBu +22 dBu -10 dBV (LO) -20 dBV (HI) 84 dB -1dB < 0.006% -85 dB -65 dB 1.8 kW 10 kW 8.6 kW 12.8 kW 19 kW > 80 dB > 80 dB > 70 dB > 85 dB -82 dBu -97 dBu -84 dBu -87 dBu -77 dBu -95 dBu -129 dBu
INPUT & OUTPUT IMPEDANCES
87.5 mm (3.44") dim. x
dim. y Width without end trim (for flight case mounting)
Console 12 channel 16 channel 24 channel 32 channel dim x 685 mm (26.97") 845 mm (33.27") 1101 mm (43.35") 1362 mm (53.62") dim y 601 mm (23.66") 761 mm (29.96") 1017 mm (40.04") 1278 mm (50.31")
590.5 mm (23.25")
FLIGHT CASE MOUNTING
The console is ideal for flight case mounting, with all connectors on the top panel. The end cheeks may be removed to save space in the flight case if required. The example below shows a 12-channel console, flight case mounted together with the power supply and space for headphones or other accessories.
SYSTEM BLOCK DIAGRAM
You may photocopy this page as required.
Typical Connecting Leads
SOUNDEQUIPMENT Amplifiers CrownCE4000 $50 CrownXTI4000 $50 QSCPL1.8$40 QSCPLX1604 $30 QSCPLX3402 $40 DJMixers BehringerDJX700 $30 PioneerDJM600 $50 PioneerDJM800 $75 PioneerEFX1000 $75 RANEXP2016/MP2016 $150 RANESerato $50 RANETTM57 $75 Vestax05Pro $50 Vestax07Pro $50 NumarkiDJ $25 CDPlayers Denon4000DualPlayer $50 Denon4000+DNX500 $75 PioneerCDJ200 $35 PioneerCDJ800 $50 PioneerCDJ1000MKII $50 PioneerCDJ1000MKIII $75
Turtables&Cartridges ShureM447Cartridge $10 Technics1200MK5 $40 PoweredSpeakers&Subs BehringerB212AM/H $30 DBTechM124Monitor $40 JBLEon15P1M/H $40 YorkvilleEF500PM/H $50 YorkvilleLS800Sub $50 YorkvilleLS700Sub $40 YorkvilleLS200Sub $30 Speakers YorkvilleTX5MMonitor $50 XMaxBox2122M/H $50 XMaxBox218Sub $50 Microphones/DIBoxes AKGC1000 $20 BehringerXM1800S $10 CableFactoryDIBox $10 ShureBeta52,56,57,58,98 $20 ShureMX400SPodiummic $20 ShureSM57/SM58/SM91 $20 ShurePGX58UHF $60 ShureSLXUHF $75 ShureWL185Lavalier $20
ShureWCM16Headset $20 CountrymanHeadset $25 LiveMixingConsoles Allen&HeathGL3300 $200 BehringerMX3282A $100 BehringerUB1832FX $35 Behringer1202 $20 Behringer2442 $50 BehringerXENYX1204 $25 MidasVerona480/8 $500 SoundcraftSpiritLive4/2 $150 MiscellaneousAudio AKGK66Headphone $10 Beltpack(PI) $20 ClearcomSystem(5headset,5bodypacks)$250 EasyTiltmixerstand $50 Headset(ProdIntercom) $20 MainStation(PI) $100 WhirlwindPressFeed $100 Stands SpeakerStand(pair) $20 MicStand(straightorboomstyle)$5
Snakes CablefactorySnake (48ch,300,50Mon) $300 Return(4ch,100) $25 Return(16ch,300) $50 Snake(12x4ch,50) $25 Snake(16x4ch,150) $50 Snake(24x4ch,100w/split) $100 Processing BSSFDS366TMinidrive $75 DBX166XLComp $20 DBX1066Comp $25 DBXDriveRackPA $25 DBX231EQ $20 DBX2231EQ $25 KlarkTeknikDN360EQ $40 LexiconMPX500 $30 PresonusACP88Comp $30 RANEAD22dDelay $40 YamahaD1500 $20 YamahaREV7 $20 YamahaSPX90 $20 YamahaSPX900 $20 YamahaSPX990 $40
LIGHTING,HARDWARE,ANDACCESSORIES DanceFloorLighting ADJStrobeLight(small) $20 ADJStrobeLight(large) $30 ADJSunray $25 ADJREVO3 $35 ADJREVO4 $40 ADJLEDVertigo $35 ADJLEDVision $25 MirrorBalls 12+motor $25 16+motor $40 20+motor $50 ADJPinspot $10 UV&BlackLighting ADJMegaBarUV50 $25 Lumi400LEDUVBar $35 UVCanon(400w) $50 ArchitecturalLighting ADJLEDSparkle $20 ADJFireEffect $25 AcmeWaterWaveEffect $25
ADJH2OWaterEffect $25 ADJLEDH2OWaterEffect $35 ChauvetLEDAbyssWaterEffect $25 MartinDC1 $25 MartinDC2 $25 Martinmania/PR1 $35 LEDLighting ADJRainbowTube $20 ADJRainbowTubeController $25 MicrohLEDPar38 $20 MicrohLEDPar64 $30 MicrohLEDBar $40 StageLightingFixture&Dimming DimmerRack(GPP+3xNRD8000) $300 ElationDPDMX20LDimmer $25 FollowspotLancer1K $75 FollowspotPearlRiverOrland1.2K $200 NSINRD8000Dimmer $50 NSIDS8/12Dimmer $75 Par38(100w) $20 Source4Leko19/50 $30 Source4Pars(575w) $20
IntelligentLighting ADJDeluxeScan250 $50 Diversitronic1KStrobe$50 MartinMac250Entour $200 Lasers 3wYAGLaser(Gr/Gold,) $500 CRTFS2(red&green)lasershow$50 TVSQ3(red&green)lasershow$50 MicrohVirussinglebeam(green)$30 MicrohDuobeamMK2(green&red)$50 LightingConsoles AMDJPC1008ch$10 CompuliteRave $200 DiversitronicStrobeRunner$25 ElationSceneSetter$50 MartinLightJockey $150 NSIMC7532 $100 NSIML1616$50 DanceFloor&Staging Stage(4x8)White $100 Stage(4x8)Black$60 Stage(4x4)Plexiglass$50 Stairs(2/3/4)$50
Trussing(Eurotruss) Box(8.2x12)$40 Box(6.2x12)$30 Box(3.2x12)$20 BoxCorner$40 BoxTrussBase$25 20TrussCircle $300 Rigging AirWallHanger$50 ChainFall(1ton,2035)$40 Spanset(3/4/6)$2 Shackle$1 Steel(1/5/6/10/20)$2 LightingStands GenieST25Supertower$200 HeavyDutyTbarlightstand$25 L16Stand(16,500lbs)$50 L16MobileStand$75 ST90Tbarlightstand$20 Fog/Haze/BubbleGenerators BubbleMaster2000$100 Magnum650Fogger$30 SwefogUltimateDMX2000hazer(oil)$100 AntariFazer$75
VIDEO,POWERDISTR0,CABLING,ACCESSORIES Cameras&Accessories Manfrotto525/501Tripod $100 SonyHDRSR121 $100 SonyPD170DVCam $250 VideoProjectors HitachiCPX1250(4500,XGA) $400 NECMT1075(4200L,XGA) $300 SanyoXU86(2500L,XGA) $200 Epson $150 UniversalFlyingBracket $50 Plasma/LCDScreens NECVP4D42Plasmaw/mount $200 NECPX50XR5A50Plasmaw/mount $300 PlasmaTrussStand(8/6) $50 SonyBravioEX50046LCDw/mount $250 VideoMixers/SwitchingPlayback EdirolLVS400mixer $100 EdirolV4mixer $100 Extend1x2VGADA $25 ExtronInLineScaler $50 PelcoVideoDA(1x4) $25 PelcoSwitcher(4x1) $10 Sony1024ScanConverter $150
WatchoutSystemPleaseCall BarcoDCS200 $250 DVDPlayers DynexPortableDVDPlayer $20 NumarkDVD01$50 SonyRDR350$50 VideoMonitors EdirolMarshal3x5LCD$75 LCD15TV$25 VideoScreens BlackVelourskirts$25 DaLiteInstaTheatre(60)$50 DaLiteInstaTheatre(80)$75 FastFold(6x8)$80 FastFold(9x12)$90 FastFold(10.5x14) $100 PresentationAccessories PlexiglasPodium+2microphones $150 ProjectorCart$25 MACBookPro $100 TargusWirelessPresenter$25
Scaffold Cheeseborough$5 CrossBrace(7Long)$5 Deck(7Long)$10 Leveler(36)$5 Sandbag(25lb)$5 Sandbag(50lb)$10 Scaffoldframe(29x5)$5 Scaffoldframe(5x5)$10 Scaffoldwheels(setof4)$20 YellowJacket$20 Cabling 220Cable100(50A) $50 220DistroPanel $50 ACCables(525) $2.5 ACCables(50100) $5 Camlock80section $100 Camlock(10kit) $25 Camlock(setoftees) $25 GPPDistro(200A3Ph) $75 PatchCable $2.50 PowerBar/CubeTap $2.50 SocaM/FUGround $10 SocaCable50 $10 SocaCable100 $20 VideoCable $2.50
VGACable $5 DECOR Fabrics&Hardware BlackbanjoDrape(4x8)$15 Blackvelour(FireRetardant)(12x14,13x16)$50 LycraScreen(10x10)$50 LycraWhite(25x25) $300 LycraWhite(5x10)$25 LycraWhite(10x10)$40 StageSkirts$1perfoot SharkTooth20x20 $100 StanchionRopes(red)$7.50 StanchionPoles(Chrome)$7.50 Uprights&Crossbars$10 Uprightbase$10 WhiteLinenScreen(13x18)$100 WhiteSheerDrape(15x15)$20 FURNITURE Chaise(white,leather) $200 CentreTable(white,leather,glass) $100 Carpet(blackorred,12x15) $150 LoveSeat(white,leather) $150
Ottoman(whiteleather) $50 SideTable $25 DELIVERY 1Ton$100oneway 5Ton$150oneway LABOUR&TECHNICIAN Pleasecontactourofficeforrates
Soundcraft GB2 24 Sound Mixing ConsoleThe GB2 is the latest addition to the Soundcraft GB Series, featuring 4 group busses configured as 2 stereo subgroups and an integral 6 x 2 matrix. Intended for installed-sound and Audio-Visual applications that do not require the functionality provided by the GB4 or GB8, the GB2 is available in frame sizes of 16, 24 and 32 mono inputs, each with 2 stereo inputs as standard. Each input features the high-performance GB30 Mic Pre and GB30 Equaliser designs of the GB4 and GB8, along with 6 Aux buses. Four Subgroups are provided as two stereo pairs, with a unique facility for adjusting the width of the stereo signal across the stereo mix. The channel pan settings are retained on the group outputs, while the degree of stereo separation to the mix bus is independently adjustable from full stereo through to mono. The GB2 also features two stereo input channels, with separate mic and line inputs. In normal use, the mic inputs are routed to the local channel and the line inputs act as a stereo return to the mix bus. Selecting the LINE input to the local channel overrides the Mic inputs. FeaturesAnalogue/Digital: Analogue Frame Sizes: 16 24 32 Stereo Channels: 2 Digital I/O: No FX Processors: 0 Groups: 4 EQ Bands: 4 Aux Sends: 6 Returns: 1 Direct Outputs: Yes Matrix Outputs: 2 Main Bus Out: LR
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