The Soundcraft Professional Range comprises a series of mixers from small multipurpose to large format dual-mode consoles for the most sophisticated event.

LX7ii 7-bus Mixer

TYPICAL SPECIFICATIONS Frequency Response Mic/Line input to any output..20Hz to 20kHz +/-0.5dB
THD & Noise....<0.007% -30dBu Input routed to Mix, Mic gain 30dB Mic Input EIN Bus Noise 22Hz-22kHz unweighted..-128dBu (150 source)
GB Series Dual Mode medium format Live Consoles
Measured RMS, 20Hz to 20kHz Bandwidth Line inputs selected at unity gain and terminated 150
Mix Crosstalk typically @1kHz Input & Output Impedances
Mix at Max, Faders down..<-85dBu Channel Mute...>96dB Fader cut-off (rel +10 mark)...>96dB Aux Send pot offness...>86dB Microphone Input...2.4k Line Input....11k Stereo Input....100k Outputs...75 Mic/.Line input Maximum Level..+17dBu Line input Maximum Level..+30dBu Stereo Input Maximum Level...+30dBu Mix Output Maximum level...+20dBu Headphones ( at 200 )...300mW HF...12kHz, 15dB, shelving Mid..140Hz - 3kHz, 15dB, Q=1.5 LF...80Hz, 15dB, shelving..12-segment LED bargraphs for Mix L&R outputs
MH Series Dual-Mode large format Live Consoles
Input & Output Levels

and others.

EQ (Mono Input)

Metering

Operating conditions Temperature Range..-10C to +30C Relative Humidity...0% to 80% Power Supply AC mains supply Power consumption Integral lightweight switched-mode PSU..85V-270V AC, 50/60Hz universal input....Less than 20W
Soundcraft Registered Community Trade Mark/RTM No. 000557827
SOUNDCRAFT HARMAN INTERNATIONAL INDUSTRIES LTD., CRANBORNE HOUSE, CRANBORNE ROAD POTTERS BAR, HERTS, EN6 3JN, UK T: +44 (0)F: +44 (0)E: info@soundcraft.com SOUNDCRAFT USA 8500 BALBOA BLVD., NORTHRIDGE, CA 91329, USA T: +1-818-920-3212 F: +1-818-920-3208 E: soundcraft-usa@harman.com
Note: These figures are typical of performance in a normal electromagnetic environment. Performance may be degraded in severe conditions. All measurements refer to electronically balanced inputs and outputs.

www.soundcraft.com

Soundcraft reserves the right to improve or otherwise alter any information supplied in this document or any other documentation supplied hereafter. E&OE 01/06
This equipment complies with the EMC Directive 89/336/EEC

Part No: ZL0640

MULTIPURPOSE MIXER
MULTIPURPOSE MIXERS FOR ANY EVENT
Looking for a simple, easy to use mixer that delivers an exceptional audio performance? For recording, live, install or broadcast use theres an EPM mixer for you. EPM is available in three models: EPM6 (6 mono inputs), EPM8 (8 Mono inputs) and EPM 12 (12 Mono inputs), each with 2 stereo channels as standard.
KEY FEATURES Multi-point signal channel status monitoring

Stereo Input

Input Connectors The stereo inputs are connected via balanced 1/4 jack inputs delivering optimum performance with other professional audio equipment. EQ Section There are two xed shelving controls, adjusting HF signals at 12kHz and LF signals at 80Hz by 15dB. Auxiliary Section With 2 aux sends on the stereo input channels, the signal can be sent pre-fade or post-fade according to master selection, for use in a monitor mix or for effects processing.
with proportional illumination Precision GB30 mic pre-amps True, professional +48V phantom power for condenser microphones Insert points for external processing 6, 8 and 12 mono input channel frame sizes, each with two stereo inputs 2 Aux sends, each globally switchable pre or post-fade Universal internal power supply Simple rack mounting options

Bal, Muting, and PFL The balance control adjusts the amount of the signal sent to the left and right busses. Mute and SOLO buttons operate as on the mono input channels, cutting or soloing the stereo channel. With SOLO pressed, the prefade signal is fed to the headphones, control room output and meters. Faders and Metering Each stereo channel features a smooth 60mm fader, and a peak level LED indicating signal levels in excess of +17dBu.

Mono Input

Mic Input A gold-plated balanced female XLR connector accepts balanced or unbalanced mic signals. At -128dbu EIN the mic amp is extremely quiet and transparent with excellent overload characteristics. Line Input A balanced 1/4 jack for connecting balanced or unbalanced electronic instruments, such as keyboards. Insert Used for patching in compressors or additional EQ or for other signal processors. It can also be used for recording to multi-track recorders if necessary. Gain A rotary gain control on each input alters the gain of the input signal, from +5 to +60dB. Linear circuitry within the preamp delivers smooth gain control over the entire gain range. EQ Section Equalisation is split into three bands. The shelving HF control provides 15dB of cut or boost (gain adjustment) for frequencies above 12kHz. A swept mid frequency control enables frequencies from 140Hz to 3kHz to be adjusted with up to 15dB of cut or boost at the selected frequency. Signals below 80Hz can be adjusted with the LF control, which features 15dB of gain adjustment (cut or boost). Auxiliary Section For sending separate monitor mixes in live applications, or for use with fx units two aux sends on each input channel cater for all requirements. Each Aux bus can be globally switched to be pre or post fade on the master section. Pan, Muting, and SOLO The pan control positions each channels signal across the stereo image, with a mute button to cut the signal completely. A SOLO button solos the signal for monitoring. Faders and Metering Each mono channel features a smooth 60mm fader, and a peak level LED indicating signal levels in excess of +17dBu.

Master Section

Phantom Power Global control over professional +48V phantom power is offered via a push button. When active, an LED will illuminate. 2-Track Inputs and Outputs 2-track recorder playback inputs and record sends are on unbalanced RCA phono connectors. Monitor Playback routes the playback input to your monitoring system or to the headphones, replacing any existing monitoring signals. Playback to Mix routes the playback signal directly to the main mix, replacing any signal that may be present, perfect for intermission music or as a master mute. Monitor Output and Mix Insert Available on balanced 1/4 jacks. Mix Outputs The main left and right mix outputs are provided on balanced XLR connectors. Monitor & Phones Level Levels sent to the monitor output and headphones can be independtly adjusted using these two rotary controls. And when a pair of headphones are plugged into the phones socket at the bottom right of the mixer, the monitor outputs are still operational for simultaneous listening by a performer and engineer. Faders and Metering Controlling the overall stereo mix level are two 60mm faders, with two 10-segment 3-colour LED peak-reading bargraph meters monitoring the mix left and right outputs. These meters normally follow the current monitor selection, so if any PFL button is pressed, the meters will switch to monitor this and the PFL Active LED will light.

The emphasis with the Soundcraft EPM is very rmly on quality audio performance, with an easy to understand control surface uncluttered by unnecessary facilities. The now-famed GB30 Mic preamp (as used on the large format LX7ii and GB Series desks) provides high headroom and precision control of mic signals. Mic and line inputs are provided on balanced XLR and 1/4 jack connectors, with the main stereo outputs on balanced XLRs for best integration with other professional equipment. There are also insert points on every mono channel and the mix outputs for external signal processing. By tting rack ears (available as a separate kit), the EPM mixer can quickly be transformed into a rack-mounted desk suitable for use on the road or in custom furniture. All three mixers in the range occupy just 8U of standard rack space. Because levels are constantly changing throughout the signal path from the preamp stage, through ltering and EQ the EPM mixers provide peak LEDs on all input channels. These monitoring LEDs are fed from multiple points in the signal path to ensure nothing is overlooked. The LEDs also employ proportional illumination to show signal level when approaching peaks, allowing you to maximise the quality of any signal by utilising all the available headroom. The main stereo mix has 10-segment LED meters, with a PFL Active indicator to show whether any channels are being solod.

User Guide

IMPORTANT Please read this manual carefully before using your mixer for the first time.
Harman International Industries Ltd. 2006 All rights reserved Parts of the design of this product may be protected by worldwide patents. Part No. ZM0338-01
Soundcraft is a trading division of Harman International Industries Ltd. Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor. Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual. No part of this manual may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, electrical, mechanical, optical, chemical, including photocopying and recording, for any purpose without the express written permission of Soundcraft.
Harman International Industries Limited Cranborne House Cranborne Road POTTERS BAR Hertfordshire EN6 3JN UK Tel: +44 (0)Fax: +44 (0)http://www.soundcraft.com

Contents

IMPORTANT SAFETY INSTRUCTIONS SAFETY SYMBOL GUIDE OVERVIEW THE 60-SECOND GUIDE INTRODUCTION WIRING UP BLOCK DIAGRAM MONO INPUT CHANNEL STEREO INPUT CHANNELS MASTER SECTION USING YOUR EPM CONSOLE FITTING OPTIONAL RACKMOUNT EARS APPLICATIONS GLOSSARY TYPICAL CONNECTING LEADS MARK-UP SHEETS TYPICAL SPECIFICATIONS WARRANTY
IMPORTANT SAFETY INSTRUCTIONS

Read these instructions.

Keep these instructions.

Heed all warnings.

Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any ventilation openings. Install in accordance with the manufacturers instructions.
Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
Do not defeat the safety purpose of a polarised or grounding type plug. A polarised plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet
Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles and the point where they exit from the apparatus.
Only use attachments/accessories specified by the manufacturer.
Use only with the cart, stand, tripod, bracket or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
Unplug this apparatus during lightning storms or when unused for long periods of time.
Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
Note: It is recommended that all maintenance and service on the product should be carried out by Soundcraft or its authorised agents. Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or repair by unauthorised personnel. WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. Do not expose the apparatus to dripping or splashing and do not place objects filled with liquids, such as vases, on the apparatus. No naked flame sources, such as lighted candles, should be placed on the apparatus. Ventilation should not be impeded by covering the ventilation openings with items such as newspapers, table cloths, curtains etc. THIS APPARATUS MUST BE EARTHED. Under no circumstances should the safety earth be disconnected from the mains lead.

The mains supply disconnect device is the mains plug. It must remain accessible so as to be readily operable when the apparatus is in use.
If any part of the mains cord set is damaged, the complete cord set should be replaced. The following information is for reference only. The wires in the mains lead are coloured in accordance with the following code: Earth (Ground): Neutral: Live (Hot): Green and Yellow (US - Green/Yellow) Blue (US - White) Brown (US - Black)
As the colours of the wires in the mains lead may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is marked with the letter E or by the earth symbol. The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L Ensure that these colour codes are followed carefully in the event of the plug being changed
This unit is capable of operating over a range of mains voltages as marked on the rear panel. NOTE: This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense. This Class A digital apparatus meets the requirements of the Canadian Interference-Causing Equipment Regulations. Cet appareil numrique de la Classe A respecte toutes les exigences du Rglement sur le matriel brouilleur du Canada.
For your own safety and to avoid invalidation of the warranty please read this section carefully.

SAFETY SYMBOL GUIDE

For your own safety and to avoid invalidation of the warranty all text marked with these symbols should be read carefully.
WARNINGS arrowhead The lightning flash with arrowhead symbol, is intended to alert the user to the presence of unalert presence dangerous products insulated dangerous voltage within the products enclosure sufficient enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

CAUTIONS The exclamation point within an equilateral triangle alert presence is intended to alert the user to the presence of important important operating and maintenance (servicing) instructions in the literature accompanying the literature appliance.
NOTES important information Contain important information and useful tips on the operation of your equipment.
HEADPHONES SAFETY WARNING important information Contain important information and useful tips on headphone outputs and monitoring levels.
Recommended Headphone Impedance >= 200 Ohms.

OVERVIEW

THE 60-SECOND GUIDE
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) 3 INSERT POINT ( Jack) 4 GAIN CONTROL 5 EQ STAGE 6 AUX SENDS 7 PAN CONTROL 8 MUTE SWITCH 9 PFL Connect Line level sources here, e.g. Synth, Drum Machine, DI etc. Connect Signal processors here, e.g. Compressor, Gate etc. Adjust this to increase or decrease the level of the incoming signal. Adjust these controls to change the signal tone (the character of the signal). Adjust these controls to change the level of the signal to an FX unit or an artists monitors (headphones/in-ear/stage monitors). Aux 1&2 are switchable pre/post fade. Use this control to position the signal within the stereo field. When this is pressed you will hear no signal from the channel (post-mute signals). When pressed the signal will appear on the monitor and headphone outputs - use this to monitor the post-EQ signal from the channel.
10 PEAK LED 11 INPUT CHANNEL FADER 12 MIX OUTPUTS (XLR) 13 MIX INSERTS ( Jack)
This is used to indicate that the signal is close to distorting (clipping) on a specific channel. This is used to control the level fed to the Mix Bus and post-fade sends. Connect these to your analogue recording device, or to your amplification system. 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. These are used to feed your monitoring system. This can be directly connected to powered monitors, or indirectly via an amplifier to standard monitors. These faders control the overall level of the mix outputs. 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. 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. These two outputs can be used to send the channel signal to an FX unit or an artists monitors (headphones/in-ear/stage monitors). Aux 1&2 are switchable pre/post fade. These two switches globally switch the AUX1 and AUX2 feeds respectively, on all the input modules to be either pre or post-fade. 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. 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.

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.

Stereo Inputs STEREO 1/2

These accept 3-pole A gauge jacks, or 2-pole mono jacks which will automatically ground the cold input. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or as returns from processing units. The input is BALANCED for low noise and immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as shown, although you should then keep cable lengths as short as possible to minimise interference pick-up on the cable. Note that the ring must be grounded if the source is unbalanced. Mono sources can be fed to both paths by plugging into the Left jack only.

Mix Inserts

The unbalanced, pre-fade Mix insert point is a break in the output signal path to allow the connection of, for example, a compressor/limiter or graphic equaliser. The Insert is a 3pole A gauge jack socket which is normally bypassed. When a jack is inserted, the signal path is broken, just before the mix fader. The mix signal appears on the TIP of the plug and is returned on the RING. A Y lead may be required to connect to equipment with separate send and return jacks as shown below:

Mix Outputs

The MIX outputs are on XLRs, wired as shown, and incorporate impedance balancing, allowing long cable runs to balanced amplifiers and other equipment.

Aux 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.

Headphones

The PHONES output is a 3-pole A gauge jack, wired as a stereo output as shown, ideally for headphones of 200 or greater. 8 headphones are not recommended.

Polarity (Phase)

You will probably be familiar with the concept of polarity in electrical signals and this is of particular importance to balanced audio signals. Just as a balanced signal is highly effective at cancelling out unwanted interference, so two microphones picking up the same signal can cancel out, or cause serious degradation of the signal if one of the cables has the +ve and -ve wires reversed. This phase reversal can be a real problem when microphones are close together and you should therefore always take care to connect pins correctly when wiring audio cables.

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)

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 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 22 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 140Hz to 3kHz. 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 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.

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. 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 60Hz.

4 AUX SENDS

These are used to set up a separate mixes for FOLDBACK, EFFECTS or recording, and the combination of each 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 are both globally switchable between pre and post-fade (see master section on page 20/21). The send pots are fed with a mono sum of the L & R signals.

5 BALANCE

This control sets the amount of the channel signal feeding the Left and Right MIX buses, allowing you to balance the source in the stereo image. When the control is turned fully right or left you feed only that side of the signal to the mix. Unity gain is provided by the control in the centre-detented position.

6 MUTE

All outputs from the channel are enabled when the MUTE switch is released and muted when the switch is down.

7 FADER

The 60mm FADER gives you smooth control of the overall signal level in the channel strip, allowing precise balancing of the various source signals being mixed to the Master Section. It is important that the input level is set correctly to give maximum travel on the fader which should normally be used at around the 0 mark. See the Initial Setup section on page 22 for help in setting the right level.
When the latching PFL switch is pressed, the pre-fade pre-mute signal is fed in mono 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. The Left and Right meters display the PFL signal in mono. This is a useful way of listening to any required input signal without interrupting the main mix, for making adjustments or tracing problems.

9 CHANNEL PEAK LED

MASTER SECTION

1 PHANTOM POWER

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

2 POWER INDICATOR

This LED lights to show when power is connected to the console.

3 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.
4 MIX 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.

5 BARGRAPH METERS

The three-colour peak reading BARGRAPH METERS normally show the level of the MIX RIGHT and MIX LEFT outputs, giving you a constant warning of excessive peaks in the signal which might cause overloading. Aim to keep the signal within the amber segments at peak levels for best performance. Similarly, if the output level is too low and hardly registering at all on the meters, the level of background noise may become significant. Take care to set up the input levels for best performance. When any PFL switch is pressed, the meters switch to show the selected PFL signal on both meters, in mono; the PFL ACTIVE LED also lights.

6 RECORD OUTPUTS

These two RCA outputs carry a copy of the MIX L and MIX R signals. They allow the use of a recording device, e.g. DAT player, Minidisc, Cassette tape recorder etc.
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

14 AUX OUTPUTS (1 & 2)
These outputs are on 3-pole A gauge jacks and are balanced outputs.

15 AUX PRE/POST SWITCHES

These two switches globally switch the AUX 1 and AUX 2 feeds, respectively, on all the input modules to be either pre-fade or post-fade.

USING YOUR EPM CONSOLE

The final output from your sound system can only ever be as good as the weakest link in the chain, and especially important is the quality of the source signal because this is the starting point of the chain. Just as you need to become familiar with the control functions of your mixer, so you must recognise the importance of correct choice of inputs, microphone placement and input channel settings. However, no amount of careful setting up can take account of the spontaneity and unpredictability of live performance. The mixer must be set up to provide spare control range to compensate for changing microphone position and the absorption effect of a large audience (different acoustic characteristics from soundcheck to show).

MICROPHONE PLACEMENT

Careful microphone placement and the choice of a suitable type of microphone for the job is one of the essentials of successful sound reinforcement. The diagrams on the left show the different pick-up patterns for the most common types of microphone. Cardioid microphones are most sensitive to sound coming from in front, and hypercardioid microphones offer even greater directivity, with a small amount of pickup behind the microphone. These types are ideal for recording vocalists or instruments, where rejection of unwanted sounds and elimination of feedback is important. The aim should be to place the microphone as close as physically possible to the source, to cut out unwanted surrounding sounds, allow a lower gain setting on the mixer and avoid feedback. Also a well chosen and well placed microphone should not need any appreciable equalisation. There are no exact rules - let your ears be the judge. In the end, the position that gives the desired effect is the correct position!

INITIAL SETUP

Once you have connected up your system (see the sections on connection and wiring earlier in this manual for guidance) you are ready to set initial positions for the controls on your mixer. Set up individual input channel as follows:
Connect your sources (microphone, keyboard etc.) to the required inputs. WARNING: Phantom powered mics should be connected before the +48V is switched on. Ensure the PA system is OFF when switching phantom power on or off.
Set Master faders at 0, input faders at 0, and set power amplifier levels to about 70%. Provide a typical performance level signal and press the PFL button on the first channel, monitoring the level on the bargraph meters. 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). Repeat this procedure on other channels as required. As more channels are added to the mix, the meters may move into the red section. Adjust the overall level using the Master Faders if necessary. Listen carefully for the characteristic sound of feedback. If you cannot achieve satisfactory input level setting without feedback, check microphone and speaker placement and repeat the exercise. If feedback persists, it may be necessary to use a Graphic Equaliser to reduce the system response at particular resonant frequencies.
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:

FITTING OPTIONAL RACKMOUNT EARS
Note: a rack extender is included in the EPM6 and EPM8 rack mounting kits to make the console fit into a 19 frame. The part numbers for the kits are: RW5744 RACK MOUNTING KIT - EPM6 RW5745 RACK MOUNTING KIT - EPM8 RW5746 RACK MOUNTING KIT- EPM12

APPLICATIONS

APPLICATION 1 - LIVE SOUND REINFORCEMENT
APPLICATION 2 - MULTISPEAKER APPLICATIONS
This configuration demonstrates how multiple speaker configurations can be driven by the EPM.
APPLICATION 3 - PLACES OF WORSHIP
This configuration uses the Aux 2 output to drive an induction loop for the hard of hearing. 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 CDR.
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.
APPLICATION 5 - LINKING TWO EPM CONSOLES

GLOSSARY

Auxiliary send Balance Balanced An output from the console comprising a mix of signals from channels derived independently of the main stereo mix. The relative levels of the left and right channels of a stereo signal. 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. 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.
Clipping DAT dB (decibel)
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 Fader Feedback Foldback Frequency response Gain Headroom Impedance balancing Insert 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 amount of amplication in level of the signal. The available signal range above the nominal level before clipping occurs. A technique used on unbalanced outputs to minimise the effect of hum and interference when connecting to external balanced inputs. 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. Abbreviation of panorama: controls the 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. A visual indication of the signal peaking just before the onset of clipping, which will distort the signal. Pre-fade listen: a function that allows the operator to monitor the pre-fade signal 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. Phase is a measurement of relative displacement between two waves of identical frequency. 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 a fader and therefore affected by the fader position.

Pan (pot) Peaking

Peak LED PFL Phase

Polarity

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

TYPICAL CONNECTING LEADS

MARK-UP SHEETS
You may freely copy these pages, and use them to record the settings used for particular applications/gigs.

TYPICAL SPECIFICATIONS

Noise (22Hz-22kHz measurement bandwidth) Mic EIN @ max gain, 150 ohms source impedance Mix @max, faders down Crosstalk (typ. @ 1kHz) Channel mute Fader cut-off (rel +10 mark) Aux send pot offness Frequency response Mic/Line input to any output THD+Noise Mic gain 30dB, -30dBu input Mix out, fader max @ 1kHz Input & output Impedances Mic input Line input Stereo input Outputs Input & output levels Mic input max level Line input max level Stereo input max level Mix output max level Headphones (@ 200) EQ EQ Bands (Mono input) +/- 15dB Lo Mid (swept) Hi Q EQ Bands (stereo input) +/- 15dB Lo Hi AVERAGE POWER CONSUMPTION (QUIESCENT) EPM6 EPM8 EPM12 MIN / MAX OPERATING TEMPERATURE Centigrade / Farenheit -128dBu <-85dBu >96dB >96dB >86dB +/- 0.5dB 20Hz 20kHz
<0.007 % 2.4k 11k 100k 75 +17dBu +30dBu +30dBu +20dBu 300mW
80Hz 140Hz 3kHz 12kHz 1.5 80Hz 12kHz 13 Watts 14.5 Watts 17 Watts 0C - 50C / 32F - 122F

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.