OVERVIEW

To get you working as fast as possible, this manual begins with a 60-second guide. Here you can find quick information on any feature of the console. 1 MIC INPUT (XLR) Connect Microphones here. If you are using a condenser mic, ensure phantom power is supplied by pressing the switch at the top of the master section. WARNING: Do Not apply Phantom Power before connecting a microphone. 2 LINE INPUT ( Jack) Connect Line level sources here, e.g. Synth, Drum Machine, DI etc. 3 INSERT POINT ( Jack) Connect Signal processors here, e.g. Compressor, Gate etc. 4 GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal. 5 EQ STAGE Adjust these controls to change the signal tone (the character of the signal). 6 AUX 1 SEND Adjust this control to change the level of the signal to an artists monitors (headphones/in-ear/stage monitors). Aux 1 is globally switchable pre/post fade. 7 FX SEND This control sets the level of the post-fade signal being sent to the FX bus; from there it is routed to the FX processor. 8 PAN CONTROL Use this control to position the signal within the stereo field. 9 MUTE SWITCH When this is pressed you will hear no signal from the channel (post-mute signals). 8

THE 60-SECOND GUIDE

When pressed the signal will appear on the monitor and headphone outputs - use this to monitor the post-EQ signal from the channel. 11 PEAK LED This is used to indicate that the signal is close to distorting (clipping) on a specific channel. 12 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus and post-fade sends. 13 MIX OUTPUTS (XLR) & MONO OUT ( Jack) Connect these to your analogue recording device, or to your amplification system. 14 MIX INSERTS ( Jack) This is a pre-fade break in the signal path which can be used to feed a dynamics or mastering device. The signal is sent from the tip of the jack plug and the return path comes back in on the ring of the jack plug. 15 MONITOR O/Ps ( Jack) These are used to feed your monitoring system. This can be directly connected to powered monitors, or indirectly via an amplifier to standard monitors. 16 MASTER FADERS These faders control the overall level of the mix outputs. 17 MAIN METERS These show the level of the mix outputs. When the PFL ACTIVE LED is lit, the meters show the level of the selected PFL signal. 18 MONITOR CONTROL This controls the level of the signal sent to your monitoring system. 19 PHONES CONTROL This controls the level of the signal sent to the headphones jack socket. 20 AUX 1 OUTPUT ( Jack) This output can be used to send the channel signal to an artists monitors (headphones/in-ear/stage monitors). It is switchable pre/post fade. 21 AUX CONTROL This switch globally switches the AUX1 feed on all the input modules to be either pre or post-fade. 22 STEREO INPUTS ( Jack) These two 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. Here you can connect the playback from your recording device. 23 2-TRACK INPUTS (RCA Phono) 24 2-TRACK CONTROLS Use these to control the 2 Track signal. The MONITOR switch sends the signal to the monitor outputs and phones, whilst the TO MIX switch sends it to the main mix. 25 RECORD OUTPUTS (RCA Phono) You can connect these to the inputs of your recording device. 26 PHANTOM POWER Press this to switch the phantom power (48V) on for condenser microphones. WARNING: Do Not apply Phantom Power before connecting a microphone. 27 HEADPHONES ( Jack) Plug your headphones into this socket. Recommended headphones impedance is 150 ohms or greater. 28 STEREO RETURN INPUTS This pair of inputs accept 3-pole A gauge (TRS) jacks. Use these inputs for sources such as keyboards, drum machines, synths or CDs. The inputs are BALANCED. Mono sources may be used by plugging into the left jack only. 29 STEREO RETURN CONTROL This control sets the level of signal routed to the main mix busses. There is an associated PK LED to warn of signals which are too high. 30 FX BUS OUTPUT This output carries the signal from the FX bus. It could be used as a second Aux Output if desired, if the FX Processor is not needed at the time. The FX sends on the inputs channels to the FX bus are always post-fade. 31 FOOTSWITCH CONNECTOR This is used by the FX Processor, see page 23. 32 LEXICON FX PROCESSOR See the information starting on page 22.

10 PFL

WIRING UP
Please refer to pages 38/39 for additional wiring details. Mic Input The MIC input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED low-level signals, whether from delicate vocals requiring the best low-noise performance, or drum kits needing maximum headroom. Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. While you can use low-cost HIGH IMPEDANCE mics, you do not get the same degree of immunity to interference on the microphone cable and as a result the level of background noise may be higher. If you turn the PHANTOM POWER on, the socket provides a suitable powering voltage for professional condenser mics.
DO NOT use UNBALANCED sources with the phantom power switched on. The voltage on pins 2 & 3 of the XLR connector may cause serious damage. BALANCED dynamic mics may normally be used with phantom power switched on (contact your microphone manufacturer for guidance)
The input level is set using the input GAIN knob. The LINE input offers the same gain range as the MIC input, but at a higher input impedance, and is 20dB less sensitive. This is suitable for most line level sources.
WARNING ! Start with the input GAIN knob turned fully anticlockwise when plugging high level sources into the LINE input to avoid overloading the input channel or giving you a very loud surprise!
Line Input Accepts 3-pole A gauge jacks, or 2-pole mono jacks which will automatically ground the cold input. Use this input for sources other than mics, such as keyboards, drum machines, synths, tape machines or DI boxes. The input is BALANCED for low noise and immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as shown, although you should then keep cable lengths as short as possible to minimise interference pickup on the cable. Note that the ring must be grounded if the source is unbalanced. Set the input level using the GAIN knob, starting with the knob turned fully anticlockwise. Unplug any MIC connection when using the LINE input. Insert Point The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing limiters, compressors, special EQ or other signal processing units to be added in the signal path. The Insert is a 3-pole A gauge jack socket which is normally bypassed. When a jack is inserted, the signal path is broken, just before the EQ section. The signal from the channel appears on the TIP of the plug and is returned on the RING, with the sleeve as a common ground. The Send may be tapped off as an alternative pre-fade, pre-EQ direct output if required, using a lead with tip and ring shorted together so that the signal path is not interrupted. 10

Warning! Under NO circumstances must the AC power mains earth be disconnected from the mains lead.
PROBLEM SOLVING 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 14). Get to know what all controls and/or connections 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 to monitor the signal in each section. Insert-point contact problems may be checked by using an insert bypass 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 UK customers should contact their local dealer. Customers outside the UK 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 (www.soundcraft.com) to locate your local distributor. OUT-OF-WARRANTY PRODUCTS For out-of-warranty consoles purchased in the United Kingdom, please contact the Customer Services Department (e-mail: csd@soundcraft.com) at the factory in Potters Bar, Hertfordshire: Telephone +44 (0)1707 665000. For all other out-of-warranty consoles, please contact the appropriate territorial distributor. When mailing or faxing please remember to give as much information as possible. This should include your name, address and a daytime telephone number. Should you experience any difficulty please contact Customer Services Department (e-mail: csd@soundcraft.com) 13

BLOCK DIAGRAM

MONO INPUT CHANNEL
1 Mic Input The MIC input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED signals. Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. You can use low-cost HIGH IMPEDANCE mics, but the level of background noise will be higher. If you turn the PHANTOM POWER on (top right-hand side of the mixer) the socket provides a suitable powering voltage for professional condenser mics.
ONLY connect condenser microphones with the +48V powering OFF, and ONLY turn the +48V powering on or off with all output faders DOWN, to prevent damage to the mixer or external devices.
TAKE CARE when using unbalanced sources, which may be damaged by the phantom power voltage on pins 2 & 3 of the XLR connector. Unplug any mics if you want to use the LINE Input. The input level is set using the GAIN knob. 2 Line Input Accepts 3-pole A gauge (TRS) jacks. Use this input for sources other than mics, such as keyboards, drum machines, synths, tape machines or DId guitars. The input is BALANCED for low noise and top quality from professional equipment, but you can use UNBALANCED sources by wiring up the jacks as shown below, although you should then keep cable lengths as short as possible. Unplug anything in the MIC input if you want to use this socket. Set the input level using the GAIN knob. 3 Insert Point The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing limiters, compressors, special EQ or other signal processing units to be added in the signal path. The Insert is a 3-pole A gauge jack socket which is normally bypassed. When a jack is inserted, the signal path is broken, just before the EQ section.
The Send may also be tapped off as an alternative pre-fade, pre-EQ direct output if required, using a lead with tip and ring shorted together so that the signal path is not interrupted (see below).
4 Gain 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 15
any background hiss will be more noticeable and you may not be able to get enough signal level to the output of the mixer. Note that some sound equipment, particularly that intended for domestic use, operates at a lower level (-10dBV) than professional equipment and will therefore need a higher gain setting to give the same output level. See Initial Setup on page 31 to learn how to set GAIN correctly. 5 Equaliser The Equaliser (EQ) allows fine manipulation of the sound, particularly to improve the sound in live PA applications where the original signal is often far from ideal and where slight boosting or cutting of particular voice frequencies can really make a difference to clarity. There are three sections giving the sort of control usually only found on much larger mixers. The EQ knobs can have a dramatic effect, so use them sparingly and listen carefully as you change any settings so that you get to know how they affect the sound. HF EQ Turn to the right to boost high (treble) frequencies above 12kHz by up to 15dB, adding crispness to cymbals, vocals and electronic instruments. Turn to the left to cut by up to 15dB, reducing hiss or excessive sibilance which can occur with certain types of microphone. Set the knob in the centre-detented position when not required. MID EQ There are two knobs which work together to form a SWEPT MID EQ. The lower knob provides 15dB of boost and cut, just like the HF EQ knob, but the frequency at which this occurs can be set by the upper knob over a range of 150Hz to 3.5kHz. This allows some truly creative improvement of the signal in live situations, because this mid band covers the range of most vocals. Listen carefully as you use these controls together to find how particular characteristics of a vocal signal can be enhanced or reduced. Set the lower knob to the centre-detented position when not required. LF EQ Turn to the right to boost low (bass) frequencies below 80Hz by up to 15dB, adding warmth to vocals or extra punch to synths, guitars and drums. Turn to the left to cut low frequencies by up to 15dB for reducing hum, stage rumble or to improve a mushy sound. Set the knob to the centre-detented position when not required. 6 Aux 1 Send This is used to set up a separate mix for FOLDBACK or recording, and the combination of each Aux Send is mixed to the Aux1 Output. For recording it is useful for the signal to fade up and down with the fader (this is called POST-FADE), but for Foldback or Monitor feeds it is important for the send to be independent of the fader (this is called PRE-FADE). AUX 1 SEND is globally switchable between pre and post-fade (see master section on page 20/21).

7 FX Send This control sets the level of the post-fade signal being sent to the FX bus; from there it is routed to the FX processor. 8 PAN This control sets the amount of the channel signal feeding the Left and Right MIX buses, allowing you to move the source smoothly across the stereo image. When the control is turned fully left or right you are able to route the signal at unity gain to either left or right outputs individually. 9 MUTE 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 preset before the signal is required. 10 INPUT CHANNEL FADER The 60mm 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 Setup section on page 31 for help in setting a suitable signal level. 11 PFL When the latching PFL switch is pressed, the pre-fade pre-mute signal is fed to the headphones, control room output and meters, where it replaces the MIX. The PFL ACTIVE 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. 12 PEAK LED This LED will light when the signal level approaches clipping at any of the three monitored points: a) PRE-EQ b) POST-EQ c) POST-FADE

STEREO INPUT CHANNELS

1 INPUTS STEREO 1/2 These inputs accept 3-pole A gauge (TRS) jacks. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or processing units. The inputs are BALANCED for low noise and top quality from professional equipment, but you can use UNBALANCED sources by wiring up the jacks as shown in the Wiring it Up section earlier in this manual, although you should then keep cable lengths as short as possible. Mono sources may be used by plugging into the left jack only. 2 GAIN The GAIN control sets the level of the channel signal. 3 EQUALISER HF EQ Turn to the right to boost high (treble) frequencies, adding crispness to percussion from drum machines, synths and electronic instruments. Turn to the left to cut these frequencies, reducing hiss or excessive brilliance. Set the knob in the centre-detented position when not required. The control has a shelving response giving 15dB of boost or cut at 12kHz. MF EQ Turn to the right to boost mid frequencies, turn to the left to cut these frequencies. The centre frquency of the MID EQ is 720Hz LF EQ Turn to the right to boost low (bass) frequencies, adding extra punch to synths, guitars and drums. Turn to the left to reduce hum, boominess or improve a mushy sound. Set the knob to the centre-detented position when not required. The control has a shelving response giving 15dB of boost or cut at 80Hz. 4 AUX 1 SEND This is used to set up a separate mix for FOLDBACK or recording, and the combination of each Aux Send is mixed to the Aux1 Output. For recording it is useful for the signal to fade up and down with the fader (this is called POST-FADE), but for Foldback or Monitor feeds it is important for the send to be independent of the fader (this is called PRE-FADE). AUX 1 SEND is globally switchable between pre and post-fade (see master section on page 20/21). The send pot is fed with a mono sum of the L & R signals. 5 FX SEND This control sets the level of the post-fade signal being sent to the FX bus; from there it is routed to the FX processor.

TRACK IN These two RCA phono sockets are unbalanced Left and Right line-level inputs, used for connecting a playback device. TRACK TO MIX Press this switch to route the 2 Track in signals, connected to the Left and Right RCA sockets 7, to the MIX Left/Right signal at the MIX outputs. 9 MONITOR 2 TRACK Press this switch to route the 2 Track signal to the monitor and phones, over-riding the default Monitor/ Phones signal. 10 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. 11 MONITOR OUTPUTS The Monitor Outputs are on 3-pole A gauge jacks and are balanced connections 12 PHONES LEVEL This control sets the output level to the Headphone outputs. If headphones are plugged into the PHONES jack, then the knob sets a comfortable headphone listening level without affecting the Monitor output levels. 13 HEADPHONES JACK The PHONES output is a 3-pole A gauge jack, wired as a stereo output as shown, ideally for headphones of 150 or greater. 8 headphones are not recommended. 14 AUX 1 OUTPUT This output is on a 3-pole A gauge jack and is a balanced output. 15 AUX 1 PRE/POST SWITCH This switch globally switches the AUX 1 sends, on all of the input modules, to be either pre-fade or post-fade. 16 FX BUS OUTPUT This output carries the signal from the FX bus. It could be used as a second Aux Output if desired, if the FX Processor is not needed at the time. The FX sends on the inputs channels to the FX bus are always post-fade. 17 FOOTSWITCH This is used by the FX Processor, see page 23. 18 STEREO RETURN INPUTS This pair of inputs accept 3-pole A gauge (TRS) jacks. Use these inputs for sources such as keyboards, drum machines, synths or CDs. The inputs are BALANCED. Mono sources may be used by plugging into the left jack only. 19 STEREO RETURN LEVEL This control sets the level of signal routed to the main mix busses. There is an associated PK LED to warn of signals which are too high.
Lexicon FX PROCESSOR OVERVIEW
The effects within the console have been designed with both live sound reinforcement and home recording in mind. Featuring the deep, rich reverb algorithms that Lexicon are renowned for the effects processor offers increased versatility and high quality effects, all instantly accessible via the extremely intuitive front panel controls. The effects processor has 32 programs which are held in two banks of 16 programs which can be stored to allow you to create your own custom effect settings. Front panel controls include a Program Select knob, Tempo and Store buttons, and three independent Parameter knobs that provide instant access and control over the most critical parameters for the selected effect. The table on page 30 lists the functions of the parameter knobs for each fx program. Note: When the console is powered up the program recalled will always be the selected program in BANK A.

FX OPERATION

Select and Load a Program Turn the Program Select knob to choose a program. Note that the console has 32 programs which are held in two banks of 16 programs. There are individual BANK A and BANK B LEDs to indicate which bank is currently active. When turning the rotary Program Select knob through 360 degrees (a full rotation) the selected bank will alternate between BANK A and BANK B. Set Audio Levels 1. Set the gain on the input channel appropriate to the source (vocal microphone, guitar, keyboard, etc.). 2. Set the FX send on the input channel to the 12 oclock position. 3. Set the EFFECTS Fader on the FX section to the fully down position. 4. Provide source signal (by speaking or singing into the microphone, playing guitar, keyboard, etc.) on the selected channel. 5. Turn up the FX Send level on the channel until the Red CLIP LED in the FX Panel lights only occasionally. If the red Input LED stays lit, too much signal is being sent to the effect processor: reduce FX Send on the input channel. 6. Raise the EFFECTS Fader towards the 0dB position to feed the required level of FX Processor output signal to the mix. 7. To increase or decrease the amount of effect on the signal, adjust the FX Send level on the channel that you want affected.

FX PROCESSOR CONTROLS

1. Tempo Button - Tapping this button twice sets the Delay Time of the selected program. The LED flashes to indicate current tempo. Can be tapped in time with music source to synchronise the delay. 2. Store Button - Stores program modifications to one of the program locations. Press and hold for three seconds will store the preset in the current location. The LED will flash rapidly during the store operation and then stay illuminated for 1 second to show the operation is complete. 3. Pre Delay / Time/ Speed Knob - Controls Pre Delay of the reverbs or the first parameter (time or speed related) of the selected effect. The LED illuminates when the parameter matches the stored setting. 4. Decay / Feedback/Depth Knob - Controls Decay of the reverbs or the second parameter (feedback or depth related) of the selected effect. The LED illuminates when the parameter matches the stored setting. 5. Variation - Controls Liveliness or Diffusion (depending on the reverb selected) or the third parameter of the selected effect. The LED illuminates when the parameter matches the stored setting. 6. Program Select Knob - Navigates through programs, turning to the required program will initiate the loading of the program which take approximately 1 second. The knob can be rotated clockwise or anticlockwise and will alternate between BANK A and BANK B every full rotation. The current bank is shown by its illuminated LED, which flashes if the FX processor is muted. There is a handy aide memoir of the programs printed on the front panel. 7. Clip LED This LED illuminates when either the incoming audio or the processed audio (within the effect processor) overloads, and causes distortion of the signal. Footswitch Input (see diagram on page 20) - Using a single-pole, momentary footswitch inserted into the FOOTSWITCH input the effects processor can be muted/ un-muted. 8. PFL - This switch routes a post effects processor, pre-fade (EFFECTS FADER) signal to the monitor system. 9. MUTE - This switch mutes the output of the FX processor. It doesnt mute the PFL signal or the FX TO AUX 1 pre-fade signal. 10. FX TO AUX 1 - This pot routes a pre-fade and a post-fade signal to the Aux 1-pre and Aux 1-post busses respectively. 11. EFFECTS FADER - This fader controls the level of the signal, from the FX processor, routed to the main mix busses. FX BUS OUT (see diagram on page 20) - This output carries the signal from the FX bus. It could be used as a second Aux Output if desired, if the FX Processor is not needed at the time.

REVERBS

Reverberation (or reverb for short) is the complex effect created by the way we perceive sound in an enclosed space. When sound waves encounter an object or boundary, they dont just stop. Some of the sound is absorbed by the object, but most of the sound is reflected or is diffused. In an enclosed space, reverb is dependent on many features of that space, including the size, shape and the type of materials that line the walls. Even with closed eyes, a listener can easily tell the difference between a closet, a locker room and a large auditorium. Reverb is a natural component of the acoustic experience, and most people feel that something is missing without it. Hall Reverb A Hall is designed to emulate the acoustics of a concert hall a space large enough to contain an orchestra and an audience. Because of the size and characteristics, Halls are the most natural-sounding reverbs, designed to remain behind the direct sound adding ambience and space, but leaving the source unchanged. This effect has a relatively low initial echo density which builds up gradually over time. Vocal Hall and Drum Hall reverbs are specifically tailored for those uses. Vocal Hall has as lower overall diffusion which works well with program material that has softer initial transients like a voice. Drum Hall has a higher diffusion setting which is necessary to smooth out faster transient signals found in drums and percussion instruments. In addition to general instrumental and vocal applications, the Hall program is a good choice for giving separately recorded tracks the sense of belonging to the same performance. Plate Reverb A Plate reverb is a large, thin sheet of metal suspended upright under tension on springs. Transducers attached to the plate transmit a signal that makes the plate vibrate, causing sounds to appear to be occurring in a large, open space. The Plates in the FX processor model the sound of metal plates with high initial diffusion and a relatively bright, colored sound. Plate reverbs are designed to be heard as part of the music, mellowing and thickening the initial sound. Plate reverbs are often used to enhance popular music, particularly percussion. Room Reverb Room produces an excellent simulation of a very small room which is useful for dialog and voiceover applications. Room is also practical when used judiciously for fattening up high-energy signals like electric guitar amp recordings. Historically, recording studio chambers were oddly-shaped rooms with a loudspeaker and set of microphones to collect ambience in various parts of the room. Chamber Reverb Chamber programs produce even, relatively dimensionless reverberation with little color change as sound decays. The initial diffusion is similar to the Hall programs. However, the sense of size and space is much less obvious. This characteristic, coupled with the low color of the decay tail, makes these programs useful on a wide range of material - especially the spoken voice, to which Chamber programs add a noticeable increase in loudness with low color. Gated Reverb Gated reverb is created by feeding a reverb, such as a metal plate, through a gate device. Decay Time is set to instant, while Hold Time varies duration and sound. The Gated reverb provides a fairly constant sound with no decay until the reverb is cut off abruptly. This program works well on percussion particularly on snare and toms; be sure to experiment with other sound sources as well.

Reverse Reverb Reverse reverb works in the opposite fashion from normal reverb. Whereas a normal reverb has the loudest series of reflections heard first that then become quieter over time, the Reverse reverb has the softest reflections (essentially the tail of the reverb) heard first, and then grows louder over time until they abruptly cut off. Ambience Reverb Ambience is used to simulate the effect of a small or medium sized room without noticeable decay. It is often used for voice, guitar or percussion. Studio Reverb Much like Room reverb, Studio produces an excellent simulation of smaller, well controlled acoustic spaces, characteristic of the main performance areas in recording studios. Studio is also useful with dialog and voiceover applications as well as individual instrument and electric guitar tracks. Arena Reverb Arena reverb emulates a huge physical space such as an indoor sports venue or stadium. The characteristics of Arena reverb are long secondary reflection times and a reduced amount of high frequency content. Arena is a mostly mid- and low frequency dominant reverb, and is an ideal selection for special effect type applications that require extremely long reverb times. It is not a good choice for a very busy mix, since it can reduce intelligibility. Spring Reverb A Spring reverb is created by a pair of piezoelectric crystalsone acting as a speaker and the other acting as a microphone connected by a simple set of springs. The characteristic boing of a spring is an important component of many classic rock and rockabilly guitar sounds.

REVERB CONTROLS

Pre Delay Creates an additional time delay between the source signal and the onset of reverberation. This control is not intended to precisely mimic the time delays in natural spaces, as the build-up of reverberation is gradual, and the initial time gap is usually relatively short. For the most natural effect, the Pre Delay values should be set in the range of 10-25 milliseconds. However, if a mix is very busy or overly cluttered, increasing the Pre Delay time may help clarify it, and set each instrument apart from each other. Decay Controls the amount of time the reverb can be heard. Higher settings increase reverberation times which are usually associated with larger acoustical environments, but can decrease intelligibility. Lower settings shorten reverb times and should be used when a smaller apparent space or a more subtle effect is desired. Liveliness Adjusts the amount of high frequency content in the reverberation tails. Higher settings increase high frequency response, creating brighter reverbs; lower settings create darker reverbs with more bass frequency emphasis. Diffusion Controls the initial echo density. High settings of Diffusion result in high initial echo density, and low settings cause low initial density. In a real-world situation, irregular walls cause high diffusion, while large flat walls cause low diffusion. For drums and percussion, try using higher Diffusion settings. 25

achieve satisfactory input level setting without feedback, check microphone and speaker placement and repeat the exercise. If feedback persists, it may be necessary to use a Graphic Equaliser to reduce the system response at particular resonant frequencies. Note: The initial settings should only be regarded as a starting point for your mix. It is important to remember that many factors affect the sound during a live performance, for instance the size of the audience! You are now ready to start building the mix and this should be done progressively, listening carefully for each component in the mix and watching the meters for any hint of overload. If this occurs, back off the appropriate Channel Fader slightly until the level is out of the red segments, or adjust the Master Faders. Remember that the mixer is a mixer, not an amplifier. Increasing the overall level is the job of the amplifier, and if it is impossible to provide adequate level, it is probable that the amplifier is too small for the application. Choose your amplifier carefully, and do not try to compensate for lack of power by using the mixer to increase output level. Note: The level of any source signal in the final output is affected by many factors, principally the Input Gain control, Channel Fader and Mix Faders. You should try to use only as much microphone gain as required to achieve a good balance between signals, with the faders set as described above. If the input gain is set too high, the channel fader will need to be pulled down too far in compensation to leave enough travel for successful mixing and there is a greater risk of feedback because small fader movements will have a very significant effect on output level. Also there will be a chance of distortion as the signal overloads the channel and causes clipping. If the gain is set too low, you will not find enough gain on the faders to bring the signal up to an adequate level, and backgound hiss will be more noticeable. This is illustrated below:

APPLICATIONS

APPLICATION 1 - LIVE SOUND REINFORCEMENT
APPLICATION 2 - MULTISPEAKER APPLICATIONS This configuration demonstrates how multiple speaker configurations can be driven by the EFX.

APPLICATION 3 - PLACES OF WORSHIP This configuration uses the FX OUT BUS output to drive an induction loop for the hearing impaired (it is assumed that the FX processor isnt being used in this configuration). Aux 1 output is used to generate foldback monitoring for the speaker/singer. The main outputs are used to drive the main speaker system. The record and playback connections are used to pass audio to and from a DAT machine or Cassette Recorder.
APPLICATION 4 - RECORDING The insert points on channels 1-8 may be used to feed a multitrack recorder as shown (link the send and return signals). The Mix outputs are used for a preliminary stereo mix on a DAT recorder.

GLOSSARY

Auxiliary send An output from the console comprising a mix of signals from channels derived independently of the main stereo mix. Balance The relative levels of the left and right channels of a stereo signal. Balanced A method of audio connection which balances the wanted signal between two wires, these wires also have a screen which carries no signal. Any interference is picked up equally by the two wires, which results in cancellation of the unwanted signal. In this guide, the term can refer to various circuit architectures. Connection details are given in relevant sections. Clipping The onset of severe distortion in the signal path, usually caused by the peak signal voltage being limited by the circuits power supply voltage. DAT Digital Audio Tape, a cassette-based digital recording format. dB (decibel) A ratio of two voltages or signal levels, expressed by the equation dB=20Log10 (V1/ V2). Adding the suffix u denotes the ratio is relative to 0.775V RMS. DI(direct injection)/DI Box The practice of connecting an electric musical instrument directly to the input of the mixing console, rather than to an amplifier and loudspeaker which is covered by a microphone feeding the console. Equaliser A device that allows the boosting or cutting of selected bands of frequencies in the signal path. Fader A linear control providing level adjustment. Feedback The `howling sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal. Foldback A feed sent back to the artistes via loudspeakers or headphones to enable them to monitor the sounds they are producing. Frequency response The variation in gain of a device with frequency. Gain The amount of amplication in level of the signal. Headroom The available signal range above the nominal level before clipping occurs. Impedance balancing A technique used on unbalanced outputs to minimise the effect of hum and interference when connecting to external balanced inputs. Insert A break point in the signal path to allow the connection of external devices, for instance signal processors or other mixers at line level signals. Nominal levels can be anywhere between 0dBu to +6dBu, usually coming from a low impedance source. Pan (pot) Abbreviation of panorama: controls the levels sent to left and right outputs. Peaking The point at which a signal rises to its maximum instantaneous level, before falling back down again. It can also describe an equaliser response curve affecting only a band of frequencies, (like on a graphic equaliser), peaking at the centre of that band. Peak LED A visual indication of the signal peaking just before the onset of clipping, which will distort the signal. PFL Pre-fade listen: a function that allows the operator to monitor the pre-fade signal in a channel independently of the main mix. Phase A term used to describe the relationship of two audio signals. In-phase signals reinforce each other, out-of-phase signals result in cancellation. Phase is a measurement of relative displacement between two waves of identical frequency. Polarity A term used to describe the orientation of the positive and negative poles of an audio connection. Normally connections are made with positive to positive, negative to negative. If this is reversed, the result will be out-of-phase signals (see phase above). Post-fade The point in the signal path after a fader and therefore affected by the fader position. Pre-fade The point in the signal path before a fader, and therefore unaffected by the fader position. 36

Rolloff Shelving Spill Transient Unbalanced +48V
A fall in gain at the extremes of the frequency response. An equaliser response affecting all frequencies above or below the break frequency i.e. a highpass or lowpass derived response. Acoustic interference from other sources. A momentary rise in the signal level. A method of audio connection which uses a single wire and the cable screen as the signal return. This method does not provide the noise immunity of a balanced input (see above). The phantom power supply, available at the channel mic inputs, for condenser microphones and active DI boxes.

TYPICAL CONNECTING LEADS

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

WARRANTY

1 Soundcraft is a trading division of Harman International Industries Ltd. End User means the person who first puts the equipment into regular operation. Dealer means the person other than Soundcraft (if any) from whom the End User purchased the Equipment, provided such a person is authorised for this purpose by Soundcraft or its accredited Distributor. Equipment means the equipment supplied with this manual. If within the period of twelve months from the date of delivery of the Equipment to the End User it shall prove defective by reason only of faulty materials and/or workmanship to such an extent that the effectiveness and/or usability thereof is materially affected the Equipment or the defective component should be returned to the Dealer or to Soundcraft and subject to the following conditions the Dealer or Soundcraft will repair or replace the defective components. Any components replaced will become the property of Soundcraft. Any Equipment or component returned will be at the risk of the End User whilst in transit (both to and from the Dealer or Soundcraft) and postage must be prepaid. This warranty shall only be valid if: a) the Equipment has been properly installed in accordance with instructions contained in Soundcrafts manual; and b) the End User has notified Soundcraft or the Dealer within 14 days of the defect appearing; and c) no persons other than authorised representatives of Soundcraft or the Dealer have effected any replacement of parts maintenance adjustments or repairs to the Equipment; and d) the End User has used the Equipment only for such purposes as Soundcraft recommends, with only such operating supplies as meet Soundcrafts specifications and otherwise in all respects in accordance with Soundcrafts recommendations. Defects arising as a result of the following are not covered by this Warranty: faulty or negligent handling, chemical or electro-chemical or electrical influences, accidental damage, Acts of God, neglect, deficiency in electrical power, air-conditioning or humidity control. The benefit of this Warranty may not be assigned by the End User. End Users who are consumers should note their rights under this Warranty are in addition to and do not affect any other rights to which they may be entitled against the seller of the Equipment.

USD:19.5

USD:49

USD:10

USD:13

Boutique:25

switch:12

USD:17

USD:15

USD:14

USD:12
SHURE PGDMK6 Dynamic Kit Drum Microphone System Include: 1 pcs PG52, 3 pcs PG56,2 pcs PG81,3 pcs A50D Drum stand and 1 pcs case

USD:229/kit

USD:96

EW122G2

USD:138

EW135G2

USD:124

EW322G2 USD:152

W335G2 USD:145

EW352G2 USD:158

EM3032&KSM5000

USD252

EW545 G2

USD:210

MIPRO 123D

USD:102

SHURE LX88

USD:63

SHURE-SLX SM58

USD:119

SHURE-SLX BETA 58

USD128

PGX24/SM58

PGX24/BETA58

USD109

PGX24 PG58

USD: 91

SHURE-PGX14

USD:109

EM3031&KSM5000

USD:176

audio-technica

MX-351

USD145

CL-MX900

USD:198

SCM-821

USD:215

MX412D/C MX418D/C USD:89

SHURE PG-88

USD155
ALLEN&HEATH GL40 USD:1396

ALLEN&HEATH GL32

USD:1110

ALLEN&HEATH GL24

USD:898

ALLEN&HEATH GL16

USD:698

Soundcraft M8 USD:325

Soundcraft M12 USD:349

Soundcraft EFX8 USD:225

Soundcraft EFX12 USD:248
Soundcraft MPM12/2 USD:295

Soundcraft EPM8 USD:170

Soundcraft EPM12 USD:218
Soundcraft MPM20/2 USD:338

YAMAHA MG124CX USD:209

YAMAHA MG16/6FX USD:209

YAMAHA MG166CX USD:259

YAMAHA MG82CX USD:125
YAMAHA MG166CX-USD USD265

YAMAHA MG166C USD:238

YAMAHA MG124C USD:196

YAMAHA MG102C USD:108

YAMAHA MG24/14FX USD:540

YAMAHA MG32/14FX USD:615

BEHRINGER XENYX

1204FX USD: 160

BEHRINGER XENYX 1622FX

USD:205

BEHRINGER XENYX 1832FX

USD:228

BEHRINGER XENYX 2222FX

USD:249

2442FX USD:276
Soundcraft FX16 II USD:428

1222FX

(By Original Japanese Alps faders, potentiometers. Connector Original Performance PCB Design.USD:2268)
LX9 -16 USD:675 (By Original Japanese Alps faders, potentiometers. Connector Original Performance PCB Design.USD:775)
LX9 -24 USD:890 (By Original Japanese Alps faders, potentiometers. Connector Original Performance PCB Design.USD:1020) LX9 -32 USD:1055 (By Original Japanese Alps faders, potentiometers. Connector Original Performance PCB Design.USD:1220)

MFX8/2

USD295

MFX12/2

USD:328

MFX 20/2

USD:410

ASHLY USD:269

BBE 882i USD165

XTA GQ600 USD278

MARTIN-AUDIO M3 USD219

DBX 2231 USD148

DBX 1231 USD;110

DBX 231 USD:88

DOD 231 USD:85

DBX 215 USD:74

DBX 266XL USD:95

DBX 166XL USD:108

DBX 234

USD:74

DBX 223

USD:65

YAMAHA REV100

USD:86

T.C M350

USD:160

FBX2420

YAMAHA

Q2031B

USD:188

FCS966

USD:265

USD:355

MA-350W*2

USD:275

MA-350W*2 USD:328

MA-500W*2 USD:328

MA-500W*2

USD:365

MA-600W*2 USD:418

MA-5002VZ(3U) 8 800W*2

USD:458

CE450W*2

USD:389

CE650W*2

USD:418

XLS 202 200W XLS 402

USD: 265

LPS800 200W LPS1500 350W LPS2500 450W

USD:170 USD:205 USD:245

300W USD: 284 USD: 299 USD: 346 USD:658
XLS602 400W XLS 802 600W XLS 5000 1100W

USD:448

USD:488

USD568

CA9 580W CA6 450W

USD379 USD330

CA-1200W*2

USD748

CA-800W*2

USD675

CA-520W*2

USD578

CA-400W*2

USD499

PEAVEY :PV-900

350W*2

USD235

PEAVEY :PV-1500

500W*2

USD258

PEAVEY :PV-2600

600W*2

USD308
PEAVEY :CS-1400 PEAVEY :CS-2000 PEAVEY:CS-3000 PEAVEY:CS-4000
250W*2 350W*2 500W*2 600W*2
USD198 USD232 USD258 USD295

QSC: RMX1450

QSC: RMX1850HD

450W*2

QSC: RMX3050

USD365

QSC: RMX4050

800W*2 USD;398

New, stable, high simulation. Large handle, aluminum angle code, patches, features, and Original as high strength. 3U steel chassis

QSC: RMX5050

1000W*2

USD:468

LAX MA5200

USD:276

LAX MA7200

USD:345

LAX MA8200

USD:445

LAX MA9200

USD:510

YAMAHA USD:208

P2500S

250W*2 YAMAHA USD:225

P3500S

YAMAHA P5000S 268

8 500W*2

UAB YAMAHA USD308

P7000S

700W*2

YAMAHA USD;220

XP2500S

250W*2 YAMAHA USD:240

XP3500S

YAMAHA USD280

XP5000S
YAMAHAXP7000S 8 700W*2 500W*2 YAMAHA XP7000S 8 USD:350

1750/ 700W*2

Coolest and the best surface treatment
Plywood with the best. Original JBL Anti-burning twin-tube12"

Frequency

450W/8
Full-frequency speakers High pitchmagnetic Bass: magnetic framer USD448/pair Coolest and the best surface treatment
Plywood with the best. Original JBL Anti-burning twin-tube15"

Aluminum

800W/8
Full-frequency speakers High pitchmagnetic JBL MRX515 Bass: magnetic framer USD;598/pair Aluminum
Plywood with the best. Original JBL Anti-burning twin-tube

Double

15" 2 Frequency 1200W/4
Full-frequency speakers High pitchmagnetic Bass: magnetic JBL MRX525 framer USD:698/pair Coolest and the best surface treatment
Plywood with the best. Original JBL Anti-burning twin-tube18"
1000W/8 Ultra-low frequency
speaker JBL MRX518S Bass: magnetic framer USD598/pair Aluminum

18"

1000W/4

Ultra-low

frequency speaker Bass: magnetic JBL MRX528S framer USD;888/pair Aluminum
Full-frequency speakers JBL SRX712M High pitchmagnetic Bass: magnetic framer USD498/pair Aluminum
Plywood with the best Original JBL Anti-burning twin-tube15"
Full-frequency speakers High pitchmagnetic JBL SRX715 Bass: magnetic framer USD618/pair Coolest and the best surface treatment

15" 2 Frequency 1100W/4
Full-frequency speakers High pitchmagnetic JBL SRX725 Bass: magnetic framer USD738/pair Aluminum
800W/8 Ultra-low frequency
speaker JBL SRX718 Bass: magnetic framer USD668/pair Coolest and the best surface treatment

1600W/4

JBL SRX728 frequency speaker Bass: magnetic framer USD1038/pair Aluminum
Production of high-density compression plate. Original JBL twin-tube protection against burning Bass: magnetic, Mid High pitchmagnetic.
Frequency 250W8 Speakers JBL JRX112 Bass: magneticHigh pitchmagnetic USD298/pair
Production of high-density compression plate. Original JBL Anti-burning twin-tube Bass: magnetic, Mid High pitchmagnetic152

Frequency 500W8

Full-frequency speakers USD338/pair JBL JRX115
Production of high-density compression plate. Original JBL twin-tube protection against burning Bass: magnetic, Mid High pitchmagnetic
152 Frequency 700W4 Full-frequency speakers

JBL JRX125

USD498/pair
Production of high-density compression plate.Original JBL twin-tube protection against burning Bass: magnetic18 700W8

Ultra-low frequency

JBL JRX118

speaker USD498/pair

Production of high-density compression plate. Original JBL twin-tube protection against burning Bass: magnetic, High pitchmagnetic12250W8

JBL MDD212 USD338/pair

15500W8 Full-frequency speakers USD388/pair JBL MDD215
15800W4 Full-frequency speakers

JBL MDD225 USD528/pair

Production of high-density compression plate. Original JBL twin-tube protection against burning Bass: magnetic,
18700W8 Ultra-low frequency
speaker JBL MDD218 USD595/pair
Production of high-density compression plate. Two Bass:

reflective

Bass: magneticHigh pitchmagnetic powerPGM Rated250W Nominal Impedance8 YAMAHA A10 USD182/pair
Bass: magneticHigh pitchmagnetic powerPGM Rated350W Nominal Impedance8 YAMAHA A12 USD238/pair
Bass: magneticHigh pitchmagnetic powerPGM Rated500W YAMAHA A15 Nominal Impedance8 USD299/pair
Bass: magneticHigh pitchmagnetic powerPGM Rated400W Nominal Impedance8 YAMAHA S-112V USD283/pair
power PGM Rated 500W Nominal Impedance8
Bass: magneticHigh pitchmagnetic

YAMAHA S-115V

USD389/pair
power PGM Rated 800W Nominal Impedance4

YAMAHA S-215V

USD529/pair
Bass: magneticHigh pitch35 YAMAHA R112C 100 magnetic powerPGM Rated400W Nominal Impedance8 USD342/pair
Bass: magneticHigh pitchmagnetic powerPGM Rated500W YAMAHA R115C Nominal Impedance8 USD:395/pair
Bass: magneticHigh pitchmagnetic power PGM Rated 1000W Nominal Impedance4 YAMAHA R215C USD:528/pair
Bass: magnetic powerPGM Rated1000W Nominal Impedance8 YAMAHA R118WC USD:528/pair

Bass: magneticHigh pitchmagneticpowerPGM Rated450W Nominal Impedance8 YAMAHA C112V Coolest and the best surface treatment USD:394/pair
Bass: magneticHigh pitchmagnetic powerPGM Rated500W Nominal Impedance8 YAMAHA C115V Coolest and the best surface treatment USD:498/pair
Bass: magneticHigh pitchmagnetic power PGM Rated 1000W Nominal Impedance4 Coolest and the best surface treatment USD:798/pair YAMAHA C215V
Bass: magneticHigh pitchmagnetic powerPGM Rated450W Nominal Impedance8 YAMAHA CM12V Coolest and the best surface treatment USD:362/pair
Bass: magneticHigh pitch44 YAMAHA CM15V 120 magnetic powerPGM Rated500W Nominal Impedance8 Coolest and the best surface treatment USD:469/pair
Bass: magneticpowerPGM Rated600W Nominal Impedance8 Coolest and the best surface treatment YAMAHA CW118V USD:575/pair
Plywood with the best. Single 15 Professional full-frequency speakers
power PGM Rated 500W Nominal Impedance8 USD:599/pair PEAVEY SP2
Plywood with the best full-frequency speakers

15 Professional

power PGM Rated 1000W Nominal Impedance4

PEAVEY SP4

USD:849/pair
Plywood with the best 15 Professional full-frequency speakers
power PGM Rated 500W Nominal Impedance8 PEAVEY SP118 USD:869/pair
power PGM Rated 1200W Nominal Impedance4 USD:1269/pair PEAVEY SP218
Production of high-density compression plate. 10inch Double High pitch
power PGM Rated 180W Nominal BMB sc450 Impedance8 USD:112 /pair
power PGM Rated 180W Nominal BMB sc455 Impedance8 USD:123/pair

BMB 800

power PGM Rated 180W Nominal Impedance8 USD:145/pair
Production of high-density compression plate. 10inch High pitch
power PGM Rated 180W Nominal BMB 850 Impedance8 USD128 /pair
power PGM Rated 180W Nominal YAMAHA KS-25 Impedance8 USD128/pair

KHM-10

power PGM Rated 180W Nominal Impedance8 USD165/pair
power PGM Rated 180W Nominal JBL RM-10 Impedance8 USD;199/pair

301 Fifth

power PGM Rated 180W Nominal Impedance8 USD;199/pair

301 Fourth

power PGM Rated 180W Nominal Impedance8 USD:162/pair

USD;305/pair

402 A BOSE 502 A

USD:325/pair

Power75W Its r half frequency, from a 5.25-inch woofer and a scattering angle with 3/4 inch tweeter composition

USD269/pair

JBL Professional conference speakers, outdoor

speaker broadcasting

Control25
Power85W Its r half frequency, from a 8-inch woofer and a scattering angle with 3/4 inch tweeter composition