User Guide

IMPORTANT Please read this manual carefully before using your mixer for the first time.
Harman International Industries Ltd. 2003 All rights reserved Parts of the design of this product may be protected by worldwide patents. Part No. ZM0288 Issue: 1 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

INTRODUCTION
Features Features arranty War ranty
INSTALLA ALLATION INSTALLATION
WARNING Precautions Instructions Precautions and Safety Instr uctions
General Precautions Handling and Transport Power Supplies & Cables Signal Levels

Mains Installation

General Wiring Procedures Initial Wiring Considerations Audio Wiring Shielding Points to Remember
Tr Setting Up & Tr oubleshooting
Initial set-up Troubleshooting
Connecting Leads Audio Connector Pinouts Dimensions
BLOCK DIAGRAM USING THE CONSOLE
Overview Mono Input Channel Stereo Input Channel Master Section Mark-up Sheet
SPECIFICATIONS SPECIFICATIONS

Features Features

The LX7-II combines the essential Soundcraft live mixer qualities with basic recording-oriented features, in a compact frame thats light enough for one person to carry yet easy to configure and use. This makes it especially suitable for multi-purpose use in venues such as small halls and community centres, while its direct channel outputs make the LX7-II an ideal choice for bands who need a live desk that can double up in the studio. Housed in a choice of 16, 24 or 32 channel frame, LX7-II provides 24, 32 or 40 inputs - with no less than 13 separate bus outputs including mix, 4 groups, a dedicated mono bus for centre speaker clusters, side or rear fills, and six auxiliary busses. There are also 8, 16 or 24 direct outs, depending on the frame size of your console. LX7-IIs balanced mic inputs all use Soundcraft new GB30 padless mic preamp providing 60dB of gain and 22dBu of headroom. Each input also includes 4 band EQ with two swept mid frequency controls. In addition, EQ In/Out switch and steep 18dB/Octave High Pass Filter, allow effective audio control in difficult venues whilst the six auxiliary sends are pre-post switchable in pairs from each channel, providing a maximum of 4 pre-fader and six post-fader. This makes LX7-II equally applicable for foldback - heavy performance or in situations where more effects are required. LX7-II groups section houses two further stereo inputs - with EQ, auxiliaries for keyboards or stereo recording devices - as well as two FX returns. All four groups are routable to mix and include 12 segment bargraph metering for accurate monitoring and inserts. Six auxiliary masters on rotary controls also included AFL soloing. In the master section there is talkback provision to all pre-fade auxiliaries and the mix. Phantom power in banks of four, and a two track return for pre-show music are also present. A two-track to mix switch allows the engineer to play CDs over the main PA whilst back-stage set-up is going on, with one press of a button. The mix is also routable to the separate mono bus if mono PAs are required. LX7-II is built in a rugged wedge-shaped steel chassis with an internal power supply, professional all-metal jackfield and connectors on the rear of the console. All inputs and outputs are balanced. Applications incluse : Gigging Bands, Small installations, Small venues, Theatres, Houses of Worship and Live & studio recording.

arranty 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 available if: a) the Equipment has been properly installed in accordance with instructions contained in Soundcraft's 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 Soundcraft's specifications and otherwise in all respects in accordance Soundcraft's 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.
For your own safety and to avoid invalidation of the warranty please read this section carefully.

WARNING

THIS UNIT MUST BE EARTHED Under no circumstances should the mains earth be disconnected from the mains lead.
The wires in the mains lead are coloured in accordance with the following code: Earth: Neutral: Live: Green and Yellow (Green/Yellow - US) Blue (White - US) Brown (Black - US)

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 codings are followed carefully in the event of the plug being changed.
To avoid the risk of fire, replace the mains fuse only with the correct value fuse, as marked on the rear panel. The internal power supply unit contains no user serviceable parts. Refer all servicing to a qualified service engineer, through the appropriate Soundcraft dealer.
Precautions Instructions Precautions and Safety Instructions

General Precautions

Avoid storing or using the mixing console in conditions of excessive heat or cold, or in positions where it is likely to be subject to vibration, dust or moisture. Do not use any liquids to clean the fascia of the unit: a soft dry cloth is ideal. Avoid using the console close to strong sources of electromagnetic radiation (e.g. video monitors, high-power electric cabling): this may cause degradation of the audio quality due to induced voltages in connecting leads and chassis.
Caution! In all cases, refer servicing to qualified personnel. Handling and Transport
The console is supplied in a strong carton. If it is necessary to move it any distance after installation it is recommended that this packing is used to protect it. Be sure to disconnect all cabling before moving. If the console is to be regularly moved we recommend that it is installed in a foam lined flightcase. At all times avoid applying excessive force to any knobs, switches or connectors.

Power Cable

Always use the power supply cable supplied with the mixer: the use of alternative cables may cause damage and voids the warranty.
W a r n i n g ! In the event of an electrical storm, or large mains voltage fluctuations, immediately switch off the mixer and unplug from the mains. Signal Levels
It is important to supply the correct input levels to the console, otherwise signal to noise ratio or distortion performance may be degraded; and in extreme cases, damage to the internal) circuitry may result. Likewise, on all balanced inputs avoid sources with large common mode DC, AC or RF voltages, as these will reduce the available signal range on the inputs. Note that OdBu =0.775V RMS. Refer to the Specifications section for details of input and output levels.

Audio Wiring

Having provided all equipment with power and earthing connections, consideration must be given to the method of providing audio interconnection and adequate screening of those interconnections. This must be done in a logical sequence to avoid problems and assist in the localisation of problem equipment. Connect the FOH or Monitor system to the console and check for any hum, buzz, or RFI. Only when you are satisfied with the quietness of the console and the PA system should you proceed with the next step. Connect stereo or multitracktape recorders, FX and foldback sends one at a time, checking and isolating any connection which degrades performance. Connect all other peripheral devices. Connect all microphone lines. By following this sequence much time and future trouble will be saved, and the result will be a quiet, stable system.

Shielding

Audio equipment is supplied with a variety of input and output configurations, which must be taken into consideration when deciding where the screen connections should be made. There are three sources of unwanted signal being impressed on the screen, which are as follows: Extraneous electrostatic or electromagnetic fields. Noise and interference on the earth line. Capacitive coupling between the screen and signal wires. To minimise the adverse affects of the unwanted coupling to the signal wires, it is important that the screen is connected at one end only, i.e. the screen must not carry any signal) current. Any signal) on the wires within the screen will be capacitively coupled to the screen. This current will ultimately be returned to the source of the signal, either directly, if the screen is connected at the signal source end, or indirectly via the earthing system, if the signal is connected at the signal destination end. The indirect connection will cause an increase in high frequency cross-talk, and should be avoided wherever possible. Therefore, in general, always connect the shield only at the signal source end. In high RF areas, the screen can also be connected to earth via a 0.01 mF capacitor. This will present a short circuit at RF frequencies, thus lowering the effective shield impedance to ground. However, at low audio frequencies the reactance of the capacitor will be sufficiently high not to cause an earth loop problem.

Points to Remember

In all cases, use good quality twin screened audio cable. Check for instability at the output. Always connect both conductors at both ends, and ensure that the screen is only connected at one end. Do not disconnect the mains earth from each piece of equipment. This is needed to provide both safety and screen returns to the system star point. Equipment which has balanced inputs and outputs may need to be electrically isolated from the equipment rack and/or other equipment, to avoid earth loops. It is important to remember that all equipment which is connected to the mains is a potential source of hum and interference and may radiate both electrostatic or electromagnetic radiation. In addition, the mains will also act as a carrier for many forms of RF interference generated by electric motors, air-conditioning units, thyristor light dimmers etc. Unless the earth system is clean, all attempts to improve hum noise levels will be futile. In extreme cases there will be no alternative but to provide a completely separate and independent `technical earth' to replace the incoming 'noisy earth'. However, always consult your local electricity supply authority to ensure that safety regulations are not being infringed.

Initial set-up

Once you have connected up your system (see the sections on connection and wiring earlier in this manual for guidance) you are ready to set initial positions for the controls on your mixer. Set up individual input channel as follows: Connect your sources (microphone, keyboard etc.) to the required inputs and release the MUTE switches. Note: Phantom powered mics should be connected before the 48V is switched on. Set Master faders at 0, input faders at 0, route the channels to MIX and set power amplifier level to suit the application. 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. 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 channel EQ settings or even 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 Mix Master Faders. This procedure will ensure that the mixer is set up correctly, with adequate headroom. If more amplification is needed, adjust the power amplifier level controls.

Troubleshooting

Po No Power
Is the mains supply present? Is the mains lead firmly connected? Check the mains fusing If only one of the power indicators is illuminated, consult your Soundcraft dealer
No Wor orking Condenser Mic Not Working
Is the 48V turned on? Is the mic plugged into the Mic input? Is the mic cable a balanced 3-wire type?
Meters not showing any Meters not showing any signal
Has the input gain been set correctly? (see above.) Is the source connected to the appropriate input socket for the level of signal? Do you have something connecetd on the Inserts, and is that external device switched on? Are the Master faders set at max., are input faders set high enough and is the channel routed to the output being monitored? Is the MUTE switch released on the relevant channels? Is the appropriate monitor select switch pressed? Is there a PFL/AFL pressed on another channel?

No Mix output

Check that the Mix Master Fader is up? Check that the 2TK REPLACES MIX switch is released?
Monitor No Monitor output
Is a headphone jack plugged in? Is the Monitor + Phones control set high enough? Is the appropriate monitor select switch pressed?
Distorting Headphones Distorting
Are the headphones less than 200 impedance? Is the Monitor + Phones level set too high?

Connecting Leads

Y Leads (Balanced)

Balanced

Unbalanced

Headphone Splitter

Y Leads (Unbalanced)

Insert Leads

Audio Connector Pinouts

Dimensions

BLOCK DIAGRAM

USING THE CONSOLE

Overview
A 16 channel frame is shown.

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 press the 48V switch down the socket provides a suitable powering voltage for professional condenser mics (this is also known as Phantom Power).
ONLY connect condenser microphones with the 48V powering OFF (switch UP), 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.
(Phantom Po 2 - 48V (Phantom Power)
Many professional condenser mics need an external powering voltage, normally 48V, also known as PHANTOM POWER. This is a method of sending a powering voltage down the same wires as the mic signal. Each switch supplies the 48V power to four MIC inputs. The adjacent LED illuminates when the power is active.
DO NOT USE unbalanced mics with 48V switched on as they may be damaged by the phantom power voltage. Balanced dynamic mics and leads can normally be used with 48V switched on (contact your microphone manufacturer for guidance) Mics should always be plugged in, and all output faders set to minimum before switching 48V ON to avoid damage to external equipment

3 - LINE INPUT

Accepts 3-pole `A gauge (TRS) jacks. Use this high impedance input for sources other than mics, such as keyboards, drum machines, synths, tape machines or 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, 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.

GAIN 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. See `Setting Up & Troubleshooting on page 20 to learn how to set GAIN correctly.
100Hz HI-PASS FILTER 5 - 100Hz HI-PASS FILTER
Pressing this switch activates a steep 18dB per octave filter which reduces the level of bass frequencies only. Use this in live PA situations to clean up the mix, reducing stage rumble or popping from microphones.

6 - 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 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.

DIRECT 7 - DIRECT OUTPUT

Channels 1-8/1-16/1-24 (see block diagram) have a dedicated Direct Output which allows direct connection to external devices, for example to feed Tape Machines or effects units. The pre-fade direct output level may be monitored by pressing the PFL switch on the appropriate channel to feed the pre-fade signal to the monitors and the bargraph meters.

8 - DIR. PRE

The Direct Outputs are normally set POST-FADER for use as effects sends or to provide fader control of recording levels in a studio recording application. For live recording the outputs can be individually changed to PRE-FADER by pressing this switch, so that the direct output level remains unaffected by fader settings for the main PA mix.

EQUALISER 9 - EQUALISER

The Equaliser (EQ) allows fine manipulation of the frequency bands, and is particularly useful for improving 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.
Turn clockwise to boost high (treble) frequencies (12kHz and above) by up to 15dB, adding crispness to cymbals, vocals and electronic instruments. Turn anticlockwise 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 (HMID & LMID)

There are two pairs of knobs which work together to form HI and LO MID frequency EQ sections. The lower knob in each pair 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 550Hz to 13kHz (HMID) or 80Hz to 1.9kHz (LMID). This allows some truly creative improvement of the signal in live situations, because the mid bands cover the range of most vocals. Listen carefully as you use these controls together to find how particular characteristics of, for instance, a vocal signal can be enhanced or reduced. Set the gain (lower) knob to the centre-detented position when not required. Note: Q is set at 1.5.
Turn clockwise to boost low (bass) frequencies (60Hz and below) by up to 15dB, adding warmth to vocals or extra punch to synths, guitars and drums. Turn anticlockwise 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.
SWIT WITCH 10 - EQ SWITCH
The EQ switch bypasses the Equalisation section when released. Alternately pressing and releasing the switch provides an easy way of comparing the equalised and unequalised signals.

AUX 11 - AUX SENDS

These are used to set up 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). All Aux Sends are muted with the other channel outputs when the MUTE switch is pressed. All six Aux Sends are POST-EQ, unless the EQ is bypassed using the EQ switch (see above) and are normally POST-FADE for use as effects sends or additional submixes. Auxs 1 & 2 and 3 & 4 may if required be switched in pairs to PRE-FADE by pressing the respective PRE switch, for use as foldback or monitor feeds. Auxs 5 & 6 always remain POST-FADE.

12 - PAN 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 right or left you are able to route the signal at unity gain to either left or right outputs individually.

13 - MUTE

All outputs from the channel except inserts are active when the MUTE switch is released and muted when the switch is down, allowing levels to be pre-set before the signal is required.

FADER 14 - FADER

The 100mm FADER allows precise balancing of the various source signals being mixed to the Master Section. You get most control when the input Sensitivity is set up correctly, giving full travel on the fader. See the `Setting Up & Troubleshooting section on page 20 for help in setting a suitable signal level.

ROUTING 15 - ROUTING

The channel signal may be routed to the main stereo MIX or pairs of group busses (1-2, 3-4) by pressing the respective switches, with the channel signal fed proportionately to left (1, 3) or right (2, 4) depending on the position of the PAN control (11). The channel signal may also be routed to the separate centre (mono) bus by pressing the C switch, unaffected by the position of the PAN control.

16 - PFL/PEAK

When the latching PFL switch is pressed, the pre-fade, post-EQ signal is fed to the headphones, control room output and meters, where it replaces the selected monitor source. The adjacent LED lights to identify the selected channel and the PFL/AFL LED on the Master section illuminates to warn that a PFL is active. This is a useful way of listening to any required input signal without interrupting the main mix, for making adjustments or tracing problems. When the PFL switch is released the LED serves as a PEAK indicator which illuminates approximately 4dB before clipping to give warning of a possible overload. The signal is sampled both after the HF EQ and also POST EQ.

Stereo Input Channel

JA 1 - INPUT JACKS
These high impedance inputs accept 3-pole `A gauge (TRS) jacks. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or returns from 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 Connecting Leads section on page 22 in this manual, although you should then keep cable lengths as short as possible to prevent hum being induced into the sound system. Mono sources may be used by plugging into the left jack only.

GAIN 2 - GAIN

The GAIN control sets the input level to the channel, allowing matching to a wide range of line level sources.
EQUALISER 3 - EQUALISER HF EQ
Turn clockwise to boost high (treble) frequencies, adding crispness to percussion from drum machines, synths and electronic instruments. Turn anticlockwise 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 and above.
Turn clockwise to boost low (bass) frequencies, adding extra punch to synths, guitars and drums. Turn anticlockwise 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 and below.

AUX 4 - AUX SENDS

These are used to set up 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. The sends are always PRE-FADE which is most appropriate for Foldback or Monitor feeds, but note that the Line Inputs on pairs of Mono channels may be used as alternative stereo inputs if post-fade sends are essential for effects.

5 - LEVEL

The rotary level control adjusts the overall level of the signal which is fed to the Mix or selected pair of Groups.

ROUTING 6 - ROUTING

The Stereo channel signal is fed either to a pair of Subgroups (switch UP) or the stereo Mix (switch DOWN), at a level set by the LEVEL control. Stereo 1 feeds to Subgroups 1 & 2, Stereo 2 feeds to Subgroups 3 & 4.

7 - PFL

When the latching PFL switch is pressed, the pre-fade, post-EQ signal is fed in mono to the headphones, control room output and meters, where it replaces the selected monitor source. The PFL/AFL LED on the Master section illuminates to warn that a PFL is active. The Left and Right meters display the PFL signal in mono.

Master Section

AUX MASTERS 1 - AUX MASTERS
Each of the six AUX outputs has a master output level control and associated AFL switch.

AUX AFLs

Just as the Channel PFL switches allow pre-fade listening, so you can monitor each AUX output after the level control by pressing the AFL switch. This routes the AUX output signal to the MONITOR or PHONES, replacing any existing signal which is selected. The METERS also switch from the selected source to display the PFL/AFL signal and the PFL/ AFL LED lights to warn that a PFL or AFL switch is pressed. When you release the switch the Monitor swaps back to the previous source.
POWER INDICA 2 - POWER INDICATORS
These LEDs light to show that power is connected to the console and that the internal power supply is operating correctly.
BARGRAPH 3 - BARGRAPH METERS
3-colour peak reading BARGRAPH METERS are provided to monitor the four Subgroup outputs and the selected Monitor + Phones source (2TK, C (mono), Mix or Groups), 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 or AFL switch is pressed, the L & R meters automatically switch to show the selected PFL/AFL signal on both meters, in mono.

4 - MIX

Pressing the Mix switch routes the post-fade Subgroup signals in pairs to the main Mix. Groups 1 & 3 are routed to Mix L, Groups 2 & 4 are routed to Mix R.
MASTER FADERS 5 - MASTER FADERS
The MASTER FADERS set the final level of the Subgroup and Mix L & R outputs. 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.

TO 6 - MIX TO C (mono)

Pressing this switch routes the post-fade Mix L/R outputs to the C (mono) bus to create a separate mono mix to feed, for example, an induction loop or centre cluster. Note: If there are input channels which are routed both to Mix and C (mono), pressing this switch will have an additive effect which may lead to feedback.

14 - PFL/AFL

The PFL/AFL LED illuminates to show that a PFL/AFL is active and is the source for the monitors and meters. The LED will normally be OFF

Mark-up Sheet

You may freely copy this page to mark control positions to assist in resetting the desk between performances.
Noise Measured RMS, 22Hz to 22kHz Bandwidth Mic E.I.N. @ unity gain,150W source impedance Mix Output, 24 inputs routed to mix, faders at unity, muted Mix Output, 24 inputs routed to mix, faders down Input to Direct output at unity gain Input to Direct output at 40dB gain Crosstalk Crosstalk (@1kHz, typical) Fader attenuation Aux attenuation Pan isolation Adjacent channel crosstalk Channel Mute Fader cut-off (rel. 0 mark) Aux Send pots offness Frequency Frequency Response Mic/Line Input to any output, 20Hz - 20kHz THD + N Mic sens. -30dBu, +20dBu at all outputs @1kHz CMRR Typical @ max gain @ 1kHz Typical @ any gain @ 50Hz Input & Output Impedance Mic Input Line Input Stereo Input 2TK Return Mix, Aux, Direct Outputs, and Insert Sends Input & Output Levels Mic Input max. level Line Input max. level Stereo Input max. level 2TK Return Headphones (@ 200) -129dBu <-80dBu <-100dBu <-90dBu <-80dBu >95dB >80dB >75dB >-80dB >90dB >90dB >80dB <1dB <0.006% >80dB >60dB 1.8k 10k 8.6k 12k 75 +22dBu +22dBu +22dBu >30dBu 150mW

TYPICAL SPECIFICATIONS

Frequency response T.H.D. & noise XLR input to any output. +0/-1dB, 20Hz-20kHz All measurements at +10dBu output, 30dB gain. XLR input to Direct output. <0.007% @ 1kHz XLR input to Mix output. <0.008% @ 1kHz 22Hz-22kHz bandwidth, unweighted. <-128dBu (150 source) Min. 5dB Max. 60dB Mix output, input faders @ -, Mix fader 0dB 32 channels routed. <-85dBu 16 channels routed. <-88dBu Group output, input faders @ -, Group fader 0dB 32 channels routed. <-85dBu 16 channels routed. <-88dBu Aux output, input sends @ -, Aux master 0dB 32 channels routed. <-88dBu 16 channels routed. <-91dBu Crosstalk @ 1kHz Input channel muting. >98dB Input fader cutoff. >98dB Input pan pot isolation. >82dB Mix routing isolation. >98dB Group routing isolation. >98dB Adjacent channel isolation. >100dB Group-Mix crosstalk. <-84dB Aux send off. <-94dB Mono input, measured at max gain. typically 80dB @ 1kHz Input channel mic input. +15dBu max Input channel line input. +30dBu max Stereo inputs & insert returns. +20dBu max All outputs. +20dBu max Nominal operating level. 0dBu Headphone power. 2 x 250mW into 200 phones Mic input. 2k Line inputs. >10k Input channel insert return. 5k (with EQ in, otherwise worst case 1.8k) Mix, Group, Aux outputs. 150 Insert sends. 75 Recommended headphone impedance. 50-600 100Hz, 18dB per octave HF. 13kHz, +/-15dB, 2nd order shelving Hi-Mid. 550Hz-13kHz, +/-15dB, Q=1 Lo-Mid. 80Hz-1.9kHz, +/-15dB, Q=1 LF. 80Hz, +/-15dB, 2nd order shelving 6 tri-colour 12-segment LED bargraphs AC mains supply (internal PSU) 85V-270V AC, 50/60Hz universal input Power consumption. Less than 50W 16 channel. 18.2kg (40lbs) 24 channel. 21.8kg (48lbs) 32 channel. 25.4kg (56lbs) Temperature range. -10C to +30C Relative humidity. 0% to 80%
Mic input E.I.N. Mic gain

Bus noise

7-BUS PROFESSIONAL MIXING CONSOLE
CMRR Input & output levels
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
Input & output impedances
High pass filter (Mono input) EQ (Mono input)
Metering Power consumption

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 02/04 This equipment complies with the EMC Directive 89/336/EEC

Weight

Part No: ZL0613

Operating conditions

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 with VCAs enabled. Input and output transformers may affect these specifications.
ADVANCED SOUNDCRAFT TECHNOLOGY NOW COMES IN MEDIUM SIZE
Introducing the new Soundcraft LX7ii our hugely popular 7-bus mid-sized mixing console, totally re-engineered with genuine Soundcraft technology for unrivalled sonic performance. The LX7ii can handle both FOH and monitors, making it ideal for live sound applications in small to medium-sized venues. And direct channel outputs allow for simple connection of multitrack recording equipment, making the LX7ii equally at home in the studio.
In the year of our 30th anniversary, Soundcraft co-founder and Technical Director Graham Blyth has developed new microphone preamps and 4-band EQ circuits of extraordinary clarity and musicality, which we call GB30.
Totally re-engineered and derived from designs used in Soundcrafts acclaimed MH Series professional live sound consoles, they gift the LX7ii with an exceptionally open sound and an almost unnervingly low noise floor.
KEY FEATURES: 16, 24 and 32 channel frame sizes GB30 mic preamp and precision equalisation circuitry True 7-bus architecture 2 stereo inputs 2 stereo returns Channel direct outputs Talkback facility 100mm faders +48 phantom power 6 aux sends, 4 of which are pre/post switchable 18dB/octave high pass filter Group and mix inserts 12-segment LED metering Integral universal voltage, switched-mode PSU for light weight

Pictured band - Beech, at The Bedford, Balham, South London.

INPUTS

MONO INPUT CHANNEL
Mic Input A balanced XLR connector accepts balanced or unbalanced mic signals. Line Input The balanced 1/4" jack allows connection of balanced or unbalanced electronic instruments, such as keyboards. +48V Phantom Power +48V Phantom Power is available switched in blocks of 4 for condenser mics and active DI boxes. Input Stage LX7iis exclusive GB30 padless mic preamp provides up to +15dBu input capability with the input gain control operating between 5dB and 60dB on all mic inputs. HIgh Pass Filter A steep 18dB per Octave High Pass Filter is included straight after the preamp to reduce low frequency rumble on stage and clean up vocal performances. Insert A pre-fade, pre-EQ (but post-HPF) insert point is provided for patching in Limiters, Graphic Equalisers or other signal processors. It may also be used for recording. Direct Outputs A direct output is also available on all but the last 8 channels with individual pre/post fader switching situated in the EQ section. This allows LX7iis direct outputs to be equally useful for effects send applications or multitrack tape feeds. EQ Section LX7iis new GB30, 4 band equaliser section is based on that used in the high-end MH Series. Both the HF and LF shelving sections have steeper slopes than usual which substantially reduces mid frequency harshness in the HF band and muddiness in the LF. This increase in cleanliness of response is further enhanced by an element of undershoot and overshoot in the boost/cut response. It has two swept mid frequencies carefully selected for optimum control during live performances. All bands provide 15dB of cut or boost. The Low frequency equaliser response shelves at 80Hz. The swept Lo Mid control operates between 80Hz and 1.9kHz. The swept Hi Mid control operates at frequencies between 550Hz and 13kHz. The fixed High frequency equaliser response shelves at 13kHz. EQ Switch The EQ section can be bypassed using the EQ switch, allowing comparison of treated and untreated sounds without having to reset controls. Auxiliary Sends 6 flexible auxiliary sends allow the choice of either monitor or effects orientated mixes. Auxes 1-4 are normally post-fader, post-EQ but can be switched in pairs from each channel to be pre-fader, post-EQ. Auxes 5 and 6 are always post-fader, post-EQ. In this way a maximum of 4 pre-fader foldback mixes or 6 post-fader effects sends are possible. Level Control and Routing Each input channel can be routed to Mix, the separate Centre (Mono) bus, and/or any of the 4 Groups in pairs. Pan Control Turning the pan control full left or right enables odd or even groups or the left or right Mix bus to be accessed individually. Solo/PFL Each channel can be soloed pre-fader, post-EQ to check gain levels. PFL LED The PFL indicator LED also doubles as a PEAK indicator, illuminating 4dB before clipping occurs to make the maximum headroom available. 100mm Fader Professional-grade 100mm faders provide accurate, consistent control of audio levels and have superb cut-off performance.

OUTPUTS & MASTER

GROUP SECTION
Group Outputs Each Group has an impedance-balanced 1/4" jack output connector, allowing long cable runs on stage. Insert Points Pre-fade insert points are provided on each Group for the connection of Limiters, Graphic Equalisers or other signal processors. Auxiliary Outputs There are 6 impedance-balanced jack outputs for the Auxiliary outputs. Auxiliary Masters Six rotary controls govern Auxiliary send level. Each Auxiliary may be soloed after the fader. Group Metering Four 12-segment Peak reading bargraph meters display Group output levels. 100mm Group Faders The Group faders provide 10dB of extra gain above the zero mark, whilst still ensuring smooth operation. Each pair of Groups may be routed to Mix.

CONTROL ROOM SECTION

The control room section allows the engineer to monitor either the 2-track return, the C (Mono) Bus, the Mix, or either pair of Groups via the control room outputs or headphones. A headphone jack is provided for use with headphones with impedances of 100 Ohms or greater. Both the control room and 2-track return levels can be altered using the associated controls. It is also possible to replace the Mix output signal with the 2-track return by pressing 2 TRK TO MIX OUT. This allows easy playing of pre-show music at a single button press, without having to make any alterations to the bands settings. Metering A 12-segment bargraph meter normally displays Mix output levels, but switches to display Group, C (Mono) output or 2-track levels when the appropriate control room selection is made. If any input or Auxiliary master is soloed then the PFL/AFL LED illuminates, and the master meters show PFL/AFL levels instead. 100mm Master Faders Mix and C (Mono) Output levels are controlled by custombuilt 100mm long throw faders. The Mix outputs may be routed to the C (Mono) bus should only a mono PA be required, or an induction loop need to be fed. PSU indicators The LEDs illuminate if LX7ii is powered up, showing the status of the +/-17v voltage rails used within the console. Integral Power Supply The LX7ii is fitted with a high-efficiency SMPS design (Switched Mode Power Supply) unit that makes for cooler operation and lighter weight. The PSU is capable of accepting a wide range of AC input voltages without any internal or external switch changes.

STEREO INPUT SECTION

Two stereo inputs allow stereo sources such as CD players, keyboards or samplers to be connected. Alternatively, they may be used as sophisticated effects returns. Connections 2 balanced pairs of line inputs allow the stereo inputs to be accessed. Plugging in the left jack only will feed a mono source to both paths. Input Gain control A rotary control provides 22dBu of gain range to boost even the weakest line-level signals. EQ Section The two band High and Low frequency EQ sections provide 15dB of boost or cut at 12kHz and 80Hz respectively.

MASTER SECTION

Connections 3 impedance-balanced XLR connectors cater for the Mix and C (Mono) Outputs, with a balanced XLR input allowing talkback microphones to be connected. Two control room outputs for engineer monitoring are available on impedance balanced 1/4" jacks. 2TRK Inputs A pair of unbalanced -10dBv phono connectors labelled 2TRK allow pre-show music to be replayed. Talkback Section Once connected, the engineers talkback mic can be routed to Aux 1-2, Aux 3-4 or the Mix by momentary action switches. A rotary control governs talkback level. Stereo Returns Two stereo returns are provided for use with effects units, or as simple stereo instrument inputs. The rotary controls govern level and are automatically routed to Mix.
Auxiliary Control The stereo inputs have access to either Auxes 1 & 2 or 3 & 4, by toggling the 3-4 switch. Solo/PFL Inputs can be soloed pre-fader, post-EQ and routed direct to Mix, or to the Group immediately below each input strip. A rotary control governs signal level.
NEW GB30 MIC PREAMP AND EQ
Soundcraft founder Graham Blyth explains the development of his GB30 designs: Many preamp designs achieve excellent THD figures by wrapping tons of negative feedback around the front end. Unfortunately, these topologies tend to behave badly under overload conditions, creating an untidy and muddy sound. The new preamp in the LX7ii achieves excellent performance figures by using local linearisation techniques rather than global feedback, together with a wide frequency response and excellent phase linearity. All these factors result in an exemplary preamp for all applications.

LO MID SWEEP EQ

HI MID SWEEP EQ

GB30 MIC PREAMP

It is particularly important in live applications to have a mic preamp that has a well controlled overload response.

GB30 EQ

The classic problem with low cost equaliser circuits is that the LF and HF shelving sections have insufficiently steep slopes, so that, when applying any reasonable amount of boost, lots of unwanted mid frequency mush also gets added resulting in a muddy sound. What is needed is a genuine second order side chain within the shelving EQ circuitry, but this is usually prohibitively
expensive. However, the innovative topology developed for Soundcrafts MH4 multiformat console provided us with a neat solution. By taking these concepts into a fixed frequency HF and LF format, weve achieved a unique, cost-effective design that brings high-end EQ into an affordable mixing console for the first time.

Soundcraft founder Graham Blyth enjoys his other passion of classical organist in his own recital hall.
TOP PANEL, CONNECTORS & DIMENSIONS

LX7ii OVERHEAD VIEW

BLOCK DIAGRAM
LX7ii REAR PANEL CONNECTIONS

DIMENSIONS

32 INPUT: 1059MM (41.7") 24 INPUT: 856MM (33.7") 16 INPUT: 653MM (25.7")

22.0MM (0.87")

503MM (19.8")
164MM (6.5") 77MM (3")

10MM (0.4")

31MM (1.2")
Frequency response T.H.D. & noise XLR input to any output. +0/-1dB, 20Hz-20kHz All measurements at +10dBu output, 30dB gain. XLR input to Direct output. <0.007% @ 1kHz XLR input to Mix output. <0.008% @ 1kHz 22Hz-22kHz bandwidth, unweighted. <-128dBu (150 source) Min. 5dB Max. 60dB Mix output, input faders @ -, Mix fader 0dB 32 channels routed. <-85dBu 16 channels routed. <-88dBu Group output, input faders @ -, Group fader 0dB 32 channels routed. <-85dBu 16 channels routed. <-88dBu Aux output, input sends @ -, Aux master 0dB 32 channels routed. <-88dBu 16 channels routed. <-91dBu Crosstalk @ 1kHz Input channel muting. >98dB Input fader cutoff. >98dB Input pan pot isolation. >82dB Mix routing isolation. >98dB Group routing isolation. >98dB Adjacent channel isolation. >100dB Group-Mix crosstalk. <-84dB Aux send off. <-94dB Mono input, measured at max gain. typically 80dB @ 1kHz Input channel mic input. +15dBu max Input channel line input. +30dBu max Stereo inputs & insert returns. +20dBu max All outputs. +20dBu max Nominal operating level. 0dBu Headphone power. 2 x 250mW into 200 phones Mic input. 2k Line inputs. >10k Input channel insert return. 5k (with EQ in, otherwise worst case 1.8k) Mix, Group, Aux outputs. 150 Insert sends. 75 Recommended headphone impedance. 50-600 100Hz, 18dB per octave HF. 13kHz, +/-15dB, 2nd order shelving Hi-Mid. 550Hz-13kHz, +/-15dB, Q=1 Lo-Mid. 80Hz-1.9kHz, +/-15dB, Q=1 LF. 80Hz, +/-15dB, 2nd order shelving 6 tri-colour 12-segment LED bargraphs AC mains supply (internal PSU) 85V-270V AC, 50/60Hz universal input Power consumption.60W 16 channel. 18.2kg (40lbs) 24 channel. 21.8kg (48lbs) 32 channel. 25.4kg (56lbs) Temperature range. -10C to +30C Relative humidity. 0% to 80%