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BEYOND LIVE... LIVE MIXING CONSOLES

324 LIVE Soundcraft’s Spirit range of live

and powered mixing consoles are SPIRIT 8

32 Input Live Digital just part of their extensive range Mixing Console of Professional Audio Equipment. DIGITAL 328XD In the studio as well as on stage, Soundcraft’s designs have become synonymous with versatility, innovation and sonic excellence. 8-Bus Professional Mixing Console

32 Channel Digital MONITOR 2 Mixing Console On the Since the launch of the original Spirit Folio in 1992, the Folio Range of mixers has STUDIO ROAD set the standards in the field of compact mixers. Ideal for both studio and live and in the applications, FX16, FX8, SX, F1 and Notepad still represent the pinnacle in compact STUDIO mixers for usability, sound quality and value for money. Spirit Studio, a design that has remained virtually unchanged since its introduction 12-Bus Stage Monitor/ in 1991, has become a recording classic used by the likes of Portishead, M:People Professional Multitrack FOH/Theatre Mixer Recording Mixing and Radiohead. Consoles Since its launch in 1998, the multi-award-winning Digital 328 console, with its LIVE 42 ABSOLUTE ground breaking easy-to-use interface, has revolutionized low cost digital mixing in studios and live applications.

Soundcraft’s award-winning range of nearfield studio monitors – Absolute Zero, Absolute 2 and Absolute 4P – have taken the Soundcraft name into top studios such as The Roundhouse and Ridge Farm, and won many friends in the production A Range of world. John Leckie and Tony Tavenor are just two internationally acclaimed 4-Bus Professional Professional Nearfield Mixing Console Monitors producers to use Soundcraft monitoring. FX16 SPIRIT M SERIES

Around the Soundcraft is committed to excellence in audio. In eighty-eight countries, in MIXING CONSOLES WORLD countless studios, venues and recordings Soundcraft provides the inspiration. You simply have to do the rest.

16 Mono Channels with onboard For details of the complete Soundcraft range contact your Soundcraft dealer or Lexicon Effects Compact Mixing visit the Soundcraft website where you’ll find comprehensive details of every Consoles with integral FX8 product, including downloadable PDF brochures, technical support and user group rack mounting information. LX7

8 Mono Channels Soundcraft with onboard Lexicon Effects Harman International Industries Ltd., Cranborne House, LIVE SX 7-Bus Professional Cranborne Road, Potters Bar, Herts, EN6 3JN, UK. Mixing Console Tel: +44 (0)1707 665000 Fax: +44 (0)1707 660742 E: [email protected] RANGE POWERSTATION Soundcraft USA 1200 AND 600 12 Mono & 1449 Donelson Pike, Nashville, TN 37217, USA. BROCHURE 4 Stereo Inputs Tel: +1 (615) 360 0471 Fax: +1 (615) 360 0273 F1 E: [email protected]

Mixing Consoles with integral power amps www.soundcraft.com and Lexicon effects 6 or 8 Mono & POWERPAD 4 Stereo Inputs NOTEPAD

Soundcraft reserves the right to improve or otherwise alter any information in this document or any other documentation supplied hereafter. E&OE 02/02 This equipment complies with the EMC Directive 89/336/EEC Spirit by Soundcraft Registered Community Trademark / RTM Nº 000557793 Compact 10 Input POWERED MIXERS Soundcraft Registered Community Trademark / RTM Nº 000557827 Mixing Console with 4 Mono & 2 x 30W power amp 2 Stereo Inputs Part Nº A4: ZL0527 US: ZL0528 02/02 Live Brochure intro 2_9.qxd 6/12/02 11:17 am Page 2

CONTENTS AT THE HEART OF LIVE SOUND

Choosing & Using Soundcraft Live Mixers

Quick Selection Table Page 4 Choosing & Using a 4 - 9 ? Major features explained Pages 5 - 7 TEXAS Live Mixer; FAQs Frequently Asked Questions Pages 8 - 9

Spirit 8 8-Bus Professional Mixing Console Features Pages 10 - 11 The Mixers in detail Famous Soundcraft users 10 - 32 Controls & Connections Pages 12 - 14 Specifications; Block Diagram Pages 15 today include artists like The Orb, Manic Street Preachers, Monitor 2 12-Bus Stage Monitor / FOH / Theatre Console For nearly thirty years, Gomez, Jean-Michel Jarre, Features Pages 16 - 17 Soundcraft consoles have been Sasha, Catatonia, M:People, Controls & Connections Page 18 the Chemical Brothers, Asian Specifications; Block Diagram Page 19 at the heart of live production around the world. From Dub Foundation, Texas, Pulp GOMEZ Live 42 4-Bus Professional Mixing Console venues, theatres and houses of and Portishead*. To discover Features Pages 20 - 21 worship to global stadium for yourself why they all Controls & Connections Pages 22 - 23 tours by artists such as Bruce chose Soundcraft, read on. Specifications; Block Diagram Page 24 Springsteen, Bryan Adams and Garbage, Soundcraft consoles M Series Compact Mixing Consoles are chosen for their Features Page 25 Controls & Connections Page 26 uncompromising sound quality, Specifications; Block Diagram Page 27 comprehensive facilities, intuitive operation and rugged LX7 7-Bus Professional Mixing Console reliability. At Soundcraft’s manufacturing facility ASIAN DUB FOUNDATION Features Pages 28 - 29 outside London, we use world class Since its launch in 1991, the Spirit Live Mixer Controls & Connections Pages 30 - 31 production techniques including the range has continued the Soundcraft Applications Specifications; Block Diagram Page 32 latest surface mount technologies to tradition and has been responsible for ensure every console is packed with 33 - 35 ApplicationsUsing Live Mixers in various applications many ground-breaking new products features. At the same time, we ensure including the revolutionary Folio and Live Mixing Page 33 Outdoor Events Page 34 reliability with continual investment in Houses of Worship 34 Theatre Sound 35 the multi-award winning Digital 328. the latest testing systems, ensuring Installed Sound 34 Presentations 35 From young musicians to international every Soundcraft console is built and artists such as Jean-Michel Jarre, the tested to the same exacting standards. Manic Street Preachers and the Chemical Brothers, the Spirit range has This brochure outlines the key features Powered Mixers * No endorsements implied. become synonymous with professional and specifications of the Spirit range Choosing 36 - 37 Choosing Powered Mixers Page 36 of Soundcraft live mixing consoles. For Powered features, sound quality and reliability, Powered Mixer Features Page 37 more detailed information on Mixers ? all at affordable prices. individual products, please contact Soundcraft’s success stems from years Soundcraft or your nearest dealer, or PowerStation Powered Mixing Consoles of experience specialising in the design visit the Soundcraft website shown on and manufacture of mixing consoles. Powered Mixers Features Pages 38 - 39 the back cover. 38 - 44 Our Product Managers are in constant in detail Controls & Connections Pages 40 - 41 Specifications; Block Diagram Page 42 communication with sound engineers and musicians around the world, aPowerpadCompact Powered Mixing Console ensuring the development of consoles Features Page 43 that truly match the needs of our Controls & Connections Pages 43 - 44 customers. Specifications; Block Diagram Page 44

ApplicationsUsing Powered Mixers in various applications Live Mixing Page 45 Presentations Page 46 Powered Mixer 46 - 47 Installed Sound 46 Power Supply Data 47 Applications Outdoor Events 46 (all models)

Other Soundcraft Products More Soundcraft back cover products See Back Cover

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CHOOSINGQUICK A LIVE REFERENCE MIXER TABLE USING LIVE MIXERS

To help you find the right live USING LIVE MIXERS mixing console for your needs, You don’t have to take centre stage to we’ve summarised the key feel the heat of live performance – ask Clear layout is an important aspect of features and recommended any engineer, and they’ll tell you that mixer design that is often overlooked. applications of each model live mixing places special demands on preferred since a balanced cable will All Soundcraft desks follow the below. equipment and on personnel. In the reject interference and noise where an familiar conventions of using white recording studio or in the dubbing unbalanced cable may pick up fader tops for channels, and red fader suite there’s always a second chance, unwanted signals from lighting and tops for groups. While it may sound but in live sound you get only one other equipment. Quick Reference trivial, under pressure and in dimly-lit 2 chance to get it right. Mixer Selector Spirit 8 MonitorLive 2 4 M Series LX7 clubs, it makes a big difference. So when the pressure’s on, why do so BALANCED BALANCED SOURCE INTERFERENCE MIC/LINE Furthermore, all Soundcraft live mixers many engineers choose Soundcraft? INPUT feature custom pots and faders, Applications Perhaps because we’ve had nearly 30 ensuring that their sound quality is Large Bands FOH • • years experience at the forefront of matched by a usable, effective SCREEN Medium Bands FOH • • • professional live sound, listening to interface. Both rotary pots and linear Interference appears at the input Small Bands FOH • • •engineers, and turning their comments with same polarity on both the + faders have useful resolution all along into practical products at all levels of and - wires, and is rejected their travel, Touring • • the market. From houses of worship giving you the confidence to fine Stage Monitors • • •to concert halls, and from clubs and tune a mix properly. bars to touring theatre companies, we Large Venue Installed • STEREO INPUTS know what it takes to make a live Medium Venue Installed • • • • mixer perform: the right combination Many sources in live and installed USING HIGH-PASS FILTERS Small Venue Installed ••of control features, presented in as sound are stereo – stereo keyboard Many engineers would say that a high- Club • • • • intuitive a manner as possible, plus and sampler outputs, for example, CD pass filter is the most important or MiniDisc players for background or Houses of Worship • • • •crystal-clear audio quality, to satisfy channel feature, enabling unwanted audiences and performers who expect pre-show music, and stereo cart Theatre • • • • • low-frequency noise to be removed ‘CD-quality’ digital audio from even players for effects in theatre. Although from a signal. Mics on stage can pick the cheapest portable players or you can use two mono channels for a up a good deal of rumble, and by Mono Inputs 4 • stereo source, stereo channels take up 8 • keyboards. And to all this we add using a HPF you can still employ the 12 ••something just as important – value half as much space on the desk, which low frequency 16 ••means more inputs in total. Stereo 24 • • •for • money. 0dB part of the 32 • • • channels are also easier to use, as you Thanks to smart design and advanced -3dB channel EQ for only have a single set of controls for 40 • • • manufacturing techniques – such as creative work, level, aux sends and equalisation of Sub Groups 8 12 (monitor) 4 4 automated surface mount technology rather than the stereo signal. – you get more features per square using it for Other inputs, such as stereo returns keeping stage Master Outputs 22222inch on a Soundcraft desk. And thanks to efficient production, we can deliver and effect returns, are intended mainly rumble at bay. Matrix 2-2-- 30Hz 100Hz the best in audio quality and control at for routing a signal back into the mixer Whereas most Stereo Inputs 4 - 2 (12 ch) 4 2 a very reasonable price. after it has passed through an external high-pass filters have a 12dB/octave 4 (16+ ch) processor (such as a reverb or delay), Let’s look at a few of the more slope, Soundcraft filters have an ultra- EQ Bands Lo Fixed 80Hz 80Hz 80Hz 60Hz 80Hz but they can be also used for extra Mono Lo Mid Sweep 80Hz-1.9kHz 80Hz-1.9kHz 80Hz-1.9kHz - 80Hz-1.9kHz important features of live mixers, and steep 18dB/octave slope which means (±15dB) Hi Mid Sweep 550Hz-13kHz 550Hz-13kHz 550Hz-13kHz 240Hz-6kHz 550Hz-13kHz instrument inputs. 2-track inputs, how they are used. that more of the lower frequencies are where available, give a clean and direct Hi Fixed 13kHz 13kHz 13kHz 12kHz 13kHz attenuated – a shallower slope allows signal path from a stereo playback unit EQ Bands Lo Fixed 80/120Hz - 80/120Hz 60Hz 80Hz more bass frequencies to slip through, Stereo Hi Fixed 6/12kHz - 6/12kHz 12kHz 12kHzUSING INPUTS to the mixer’s main outputs. making it less effective. By positioning (±15dB) When choosing a live mixer, one of the the filters at 100Hz, Soundcraft’s High Pass Filters Mono inputs Mono inputs Mono inputs Mono inputs Monofirst inputs things you should think about is TAKING CONTROL HPFs act on the full range of lower Auxiliary Sends Pre Fade 2 12 3 2how 4 many inputs and outputs you frequencies that can cause clarity Post Fade 2 12 3 2 6 No matter how many advanced need. Also, what types of inputs and problems in mixing. (The more features a desk has, they’re useless if Pre/Post switchable 2 12 1 -outputs 4 are required – where do they commonly-used 50Hz or 75Hz filter the mixer is too hard to use – so we points work only on the very lowest Mute Groups 4-4--need to fit into the mixer’s signal path, make sure that Soundcraft designs are and what kind of physical connectors frequencies.) FX Returns 8 x stereo 2 x stereo 4 x stereo 4 x stereo 2 x stereo always easy to get to grips with. When should be present. Mono input Inserts Mono inputs, Mono inputs,mix, Mono inputs, Mono inputs, Mono inputs, you’re working with a lot of inputs, or channels are generally best suited to groups, mix monitor sends groups, mix mix, mono out mix when you have to accommodate microphones, or guitars and bass several bands or scenes in a show, Phantom Power Individual Individual Individual Global Globalguitars connected via DI boxes. Both Mute Groups help to keep control of a For full information turn to pages... 10 - 15 16 - 19 20 - 24 25 - 27 28XLR - 32 and jack inputs are offered on mix. Groups of channels can be set up most consoles, providing excellent for different bands or scenes, and flexibility. Most inputs are balanced For full product information and switched in and out rather than specifications, please turn to the page clumsily faded up and down. numbers shown.

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USING LIVE MIXERS USING LIVE MIXERS

SETTING CHANNEL GAIN If you want to be sure of getting a good mix, you have to start with the USING EQ ROUTING TO OUTPUTS – performers still need to be able to basics – and correctly setting the gain Outputs are the business end of any hear their performance, even when on each channel comes first at most Channel EQ is a vital live tool, for both USING INSERTS live mixer – the means by which you you cut them out of the FOH mix. soundchecks. Channel gain sets the corrective and creative work. ensure that the right people hear the Post-fade sends, on the other hand, amount by which the input signal is Soundcraft’s classic British EQ design Sometimes you need more specialised right sound. For a start that means are better suited to feeding effect raised or lowered to match the combines well-focused HF and LF signal processing than a mixer can routing signals to amplifiers and processors, as the balance of dry to operating level of the desk – high bands with two swept mid bands. offer, which is where insert points speakers, but there are numerous effected sound remains constant as enough to give the best signal-to-noise Carefully chosen frequency ranges and come in. At key points in the signal other sources to which you may need you raise and lower channel faders. As ratio, but low enough to avoid slopes give simple, effective control of chain, an insert point allows the signal to route signals – such as effects with inputs, however, at a pinch you distortion. A good way to do this is to the high and low frequency ranges, to be diverted from its normal, processors, and DAT or multitrack tape can put outputs to different uses – ensure that a typical input signal is without interfering with the area internal, path, and instead routed out recorders – and that’s why live mixers feeding extra speaker stacks from an present on a channel, by simply having covered by the two swept mid bands. of the mixer and back in via an have so many outputs. auxiliary send, for example. someone play a riff over and over, and The result is EQ controls that give you external processor. Inserts on input adjust the gain pot until the meters more power to, for example, correct channels are often used to patch in The audience is usually your first read within the yellow range (‘3’ to ‘6’ the change in sound as a radio mic dynamics processors – noise gates on concern – making sure that they’re OTHER INPUTS & OUTPUTS on the meter scale). This leaves slips out of position. drum kit mics to keep things clean, hearing things loud and clear. As well GROUP 1 GROUP 2 GROUP 3 GROUP 4 As well as the main mix or mixes, enough headroom for transients and and perhaps compressors on the lead as the main Front-of-House speaker there may be other signals that you peaks. By setting appropriate gain on vocal and DI’d bass guitar to even out system, there are several ways in SUBGROUPS GRAPHIC EQUALISERS need to route to different zones in a all channels, you can bring all the levels on these critical sources. which a mono output from the mixer, building – a talkback mic to the artists’ faders up to 0dB and know that all Whereas channel EQ is used for changing as well as the main stereo outputs, Inserts at the outputs are more likely dressing room, for example. ‘House the instruments and mics will come the sound of individual channels, graphic can help in this respect. You could to be used for extra equalisers. SUB-GROUPS & AUX SENDS mics’ may be useful if you are using in- through at roughly the same level. As equalisers are more suited to changing feed a mono mix to a centre ‘fill’ Theatres, bars ear monitors. Adding background well as making it easier to set up a the overall sound. By patching a graphic speaker cluster, or a sub-bass cabinet. Sub-groups on a mixer are a valuable and concert halls noise by sending these mics to the basic mix, it helps to keep things clear EQ into the mix inserts, you can tailor MIC/LINE Keeping the mono feed separate, with means of controlling sets of inputs as rarely have very otherwise ‘dry’ in-ear mix, you create and simple during a performance. the output of the desk to suit the room its own level control on a fader, makes if they were one input. Apart from controlled PROCESSOR a much more natural monitor mix that acoustics, rather than making the same it easy to balance the sub-bass or fill making it easier to balance the main Thanks to the renowned UltraMic+ acoustics, and a performers usually prefer. corrections on all channels. To set the Compressor against the main stereo mix. Other elements in a live music performance – preamps used on all the Spirit range of graphic equaliser Noise Gate graphic EQ up properly, start by setting Limiter uses for the mono feed could include say, lead and backing vocals on groups When you need to record a live Live mixers, their input channels can is one of the all of its faders to their centre positions, Expander feeding an extra room, or in a larger 1 and 2 respectively, with the band as performance, the easiest way to do it easily handle a wide range of signal best ways of and turn the amplifier volume up until room or outdoor event, feeding a a stereo mix on groups 3 and 4 – is to record via stereo tape outputs, levels – but even with this added putting things you can just hear the onset of feedback. EQ delay stack. these groups can be used to provide found on all Soundcraft live mixers. flexibility, it’s still good practice to set right. The main Back the amp volume off slightly and, additional mixes via matrix outputs. When you need to make multitrack the gain properly. stereo outputs starting with the lowest frequency band, Different zones in a recordings, look for direct channel are generally the most important, as One of the hardest types of signals for one by one slowly push the faders up. building could be fed in outputs, which are usually switchable they’re usually feeding the loudest preamps are sudden transients – sharp If no feedback occurs, return the fader this manner, or a mix to take either a pre- or a post-fade sources in your sound system. But if peaks, often with a lot of high- to the centre position (0dB gain). with slightly higher vocal channel signal out to a multitrack you’re putting speakers on-stage or in frequency content. By using a feed- If feedback does kick in, reduce the levels fed to rear speaker recorder. Group outputs an orchestra pit (so that performers forward circuit configuration rather fader’s level to the same amount below stacks in a large room to can also be used, though as a rule, the can hear themselves properly), these than a negative feedback design, the 0dB by which you had to raise it in order aid intelligibility. In less ‘mixed’ your recorded tracks are, too may require some EQ’ing to UltraMic+ is more stable and sounds to induce feedback. Now do the same theatre and installed the better. produce a more natural sound. The cleaner when it has to deal with these for the rest of the frequency bands. sound, you might drive interplay of speaker design and a signals. In a negative- an induction loop (to speaker’s position in a venue are very feedback circuit, help people with hearing complex, and experienced engineers transients tend to draw At larger venues problems); a mono or know that there’s simply no way to power from the power and outdoors, a matrix feed is ideal for predict exactly how a speaker stack delay connected to rail, in turn limiting the Vocals may be emphasised for the centre the output’s insert this purpose. will sound in a particular space until circuit’s ability to FOH stacks to help create a more solid stereo points may be it’s up and working. image, especially at the front of the venue. required for the Auxiliary sends provide control the feedback. rear stacks yet another means of With the UltraMic+, deriving mix outputs however, the Unity Gain carrying a different performance of the balance of input signals, preamp remains linear, The mix balance to the rear stacks may but without a dedicated which means less be vocal weighted to linear output fader. Pre- distortion and more improve clarity fade aux send levels are usable headroom. unaffected by channel fader levels, and are therefore ideal for setting up monitor mixes USING A MONO MIX

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FREQUENTLY ASKED QUESTIONS

Why use Balanced Inputs? How should I wire up insert and other cables for my console? These diagrams show how some standard Balanced inputs provide better leads should be made up. rejection of interference and noise What’s the Inverse Square Law? than unbalanced inputs. This is Every time you double the distance especially important in a live What are matrices for? from a sound source, you halve the environment, as lights and other volume (ie. a 6dB drop). Halve the equipment tend to introduce a good Matrices are extra outputs which can distance and you double the volume. deal of hum in unbalanced cable runs. carry yet another separate mix, derived from the main and group busses. They Remember this when positioning could be used for something as simple microphones. What is Phantom Power? as duplicating the main mix to feed a MiniDisc recorder or another set of Phantom power is a simple DC power What are the maximum input speakers, or used to carry a mix with supply, usually 48V, available via the levels to each type of input? more vocal, for example, for a set of balanced inputs of a mixer. It allows rear speakers. +22dBu for UltraMic preamp inputs condenser microphones and DI boxes (ie. mic inputs apart from those on the to be powered without batteries or Powerpad), +14dBu for the Powerpad any external power supplies. What is a high-pass filter for? mic inputs, and +30dBu for all line A high-pass filter is one of the most inputs. What is Talkback? useful facilities that you will find on a live mixer. By cutting out all low- Talkback is a way of allowing an What are the maximum output frequency sounds, a high-pass filter engineer to talk to performers on- levels of the different outputs can eliminate stage rumble and other stage or backstage, via a dedicated on the Spirit range of desks? unwanted low-end ‘mush’ that you mic input that can be routed to don’t want to hear over the main PA. (usually) group or aux outputs, or the Around +21dBu. main mix outputs. What is a DI box? What is the typical output noise on a Spirit range live desk? What is in-ear monitoring (IEM), Some instruments, usually keyboards and what’s so good about it? and bass guitars, are best connected -80dBu at the master outputs, with to a mixer electrically rather than via a In-ear monitoring is an alternative way the master fader at max. microphone. This is where a Direct of providing a monitor mix to BALANCED UNBALANCED INSERT LEADS Injection box comes in. A DI box performers. Rather than play the mix Line, Mix L&R, Sub L&R, Direct Output, Control Room L&R, Stereo Inputs Mono Inserts, Mix L&R Inserts converts the unbalanced instrument What is a 2-track return? over on-stage speaker cabinets, IEM Aux, Stereo Inputs output into a balanced signal which carries the mix from the mixer’s A 2-track return is intended primarily can be run to the mixer. This avoids outputs via a wireless or hard-wired to accept the output from a stereo the noise problems associated with link to a performer’s compact body- playback source such as a CD, cassette long runs of unbalanced cable, and worn receiver, complete with or MD player. provides a convenient point to lift the Why are cardioid mics usually Why do you need a mono bus? earphones. earth connection without butchering preferred for live work? I’m having real problems A mono bus on a live mixer is a This offers several key advantages over your cables. What cables should I use to A cardioid mic, with its directional traditional monitoring: a higher quality connect my console? avoiding feedback. Help! valuable addition to the main stereo DI boxes may be passive (i.e. a simple pick-up characteristics, can fairly easily monitor mix can be provided, and by outputs. Unlike studio and domestic transformer), or powered by either The best you can afford! Cheap cables be positioned so as to avoid feedback You’ve moved all the mics again, reducing or (if the whole band is on hi-fi situations, live sound often batteries or the mains. Some accept will have poor quality connectors that and unwanted spill. An omni mic, by you’ve done the best you can with IEM) eliminating the extra on-stage presents problems for a simple L-R 48V phantom power. If you get will be more likely to give trouble comparison, may offer slightly higher your graphic EQ, moved the monitor volume due to monitor speakers, stereo mixing – mainly because the problems with DI boxes or other (such as crackle and buzz) than good sound quality, but must be placed with speakers – but feedback still there’s less chance of feedback and a audience is spread over far too large equipment humming, you can use the connectors. Also, good cables will care – remember the inverse square threatens whenever you push the better FOH mix is possible. There’s an area to be properly covered by a ‘Earth Lift’ switch; but whatever you offer higher audio quality and better law, and place omnis as close as levels. Try reversing the phase of one also less equipment to move around, system’s ‘sweet spot’. Rear speakers do, don’t resort to removing the Mains rejection of interference, particularly possible to sound sources. of your monitor outputs to deal with and provided that transmitters are are often used to reinforce sound at earth connection. This is potentially over long runs in hostile live this. This will not affect the subjective correctly placed, performers can the back of a hall, and a mono bus lethal, so if you can’t solve it, get the environments. sound quality of the stage monitor wander all over the stage without Is it a good idea to use a wide can be used to provide a ‘fill’ in equipment fixed properly by a mixes, but it may make a big compromising their monitor mix. range of microphones? between speakers at the front. If the qualified engineer. difference to how much gain can be centre speakers carry more vocals than What is an auxiliary send? It is generally good practice to use dialled into the monitor system before the L-R mix to the main speaker similar microphones, and as few of the onset of feedback. stacks, overall intelligibility and clarity What is a foldback? An auxiliary send, usually abbreviated to aux send or aux, is an extra output them as possible. By sticking to mics are often improved. A foldback mix is another name for a from a mixer that can carry a quite with similar characteristics, you will monitor mix, totally separate from the separate balance of sources to that find it easier to achieve a balanced main front-of-house mix, and provided sent to the master outputs. In the sound, and there’s less chance of a so that performers can hear studio aux sends are used mainly for single cheap mic spoiling the party. By themselves properly on stage or patching effects processors in, by using fewer mics, you reduce leakage, backstage. sending an aux mix to a effects unit and therefore reduce the chance of and then returning the processed feedback. (The more open mics are on signal to the desk. Auxes are also stage, the more the amount of gain useful for setting up on-stage or in-ear before feedback is cut.) monitor mixes, and for multi-speaker mixing in installed sound.

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SPIRIT8-BUS PROFESSIONAL8 MIXING CONSOLE

Up to 56 inputs

Outputs for every application In live music or in theatre, the Spirit 8 group busses The Spirit 8 is the ultimate Spirit range live console, a fully- featured 8-bus desk that combines a comprehensive range 8’s eight sub-groups can also provide stereo channels, complete with EQ of professional control and routing facilities with cost- extra outputs, for additional zones or and aux routing, the master section speaker stacks. Still more outputs, UltraMic+ preamp with up to effective and compact design. You can choose the Spirit 8 output, switchable for either pre- or includes a further eight stereo effect besides the main stereo and six aux post-fade, provided on all mono input returns. Four of the returns even have 66dB gain range in any of four frame sizes, from 16 to 40 mono channels, outputs are available via a 10 x 2 channels for multitrack recording or EQ controls – a refinement that brings all featuring eight sub-groups for routing sets of channels matrix section, bringing to 18 the total extra effect sends. greater tonal control to effect mixing, +48V phantom power, individually together, giving you fewer faders to ride when balancing number of independent outputs on the as well as making it easier to bring in switchable on each channel All mono input channels feature the overall mix. Spirit 8. All are on stereo instruments, or stereo playback Soundcraft’s legendary UltraMic+ mic balanced XLRs, with of pre-show music from a CD or MD preamp, designed to get the best out 4-band EQ with two transformer- player. The construction of the Spirit 8 of almost any input source, from low- swept mid bands balanced output is everything you’d expect of a full-size output dynamic mics to the hottest circuitry that offers professional live board, with individual stage box or keyboard outputs. Other excellent rejection channel circuit boards firmly bolted important professional features for 4 mute groups against interference into a solid steel frame. Its ergonomic mic mixing are also provided. Phase from electronics such as lights and design and familiar colours, important reverse switching enables quick and computers. Additional outputs on easy correction of out-of phase mics in 10 x 2 matrix The Spirit 8’s six auxiliary sends can be a multi-mic system, and +48V configured in various ways to suit uses phantom power for condenser mics is such as monitor, effects and other switchable on all channels. As on all of sends. Front-panel switches allow four the Spirit range of live mixers, of the auxes to be routed either pre- powerful 4-band EQ with two swept 16, 24, 32 and 40-channel frame sizes or post-fade, while internal jumpers mid bands provides all the corrective are used to change options such as power you need. Carefully chosen, Two stereo input channels whether a send is pre- or post-EQ well-focussed frequency bands and 8 stereo returns - even whether an aux send filter slopes mean that you can dial in

MAIN FEATURES MAIN Phase reverse on mono inputs is muted along with the just the right amount of high factors in ensuring easy and intuitive 18dB/octave high-pass filter channel. A more frequency shimmer without bringing operation, are based on years of in- specialised facility up unwanted mid-range boominess. 6 aux sends, configurable to give up to 4 house live experience. Even in low is the channel Similarly, you can cut or boost only the pre or post-fade sends light, EQ pots can easily be direct narrow range of bass frequencies Separate rackmountable PSU distinguished from aux controls, and required to avoid speaker distortion or there’s enough room around all the bring out the character of a bass rotary pots to allow control guitar, without muddying the whole movements without knocking adjacent mix. pots out of alignment. Stereo inputs The Spirit 8 is well-equipped With its integral meterbridge, the Spirit 8 provides accurate and Applications: with stereo inputs, suitable for everything comprehensive monitoring of levels • 8-bus live mixing from instruments throughout the signal chain – • FOH mixing to CD players. channels, groups, and the main mix busses. More than just a way of seeing • Touring bands Besides four which channels are in use, this helps • Venues and theatres the engineer to maintain optimum • Installations levels throughout the signal path, avoiding both unwanted noise and • Recording direct to multitrack distortion. Thanks to PFL and AFL facilities, channels and groups can be Frame sizes available: APPLICATIONS SEE PAGES 33 – 35 isolated and checked on headphones – even in mono when looking for phasing problems. Mute groups

full

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8 BLOCK DIAGRAM – 10 11 Live Brochure XP1 pgs 10_31.qxd 6/12/02 12:58 pm Page 12

SPIRIT 8CONTROLS & CONNECTIONS

MONO INPUT GROUP SECTION The UltraMic Plus™ padless mic preamp Connectors (see below) provides up to +28dBu capability with the input sensitivity control operating Each group has an impedance-balanced output with a male XLR connector and a between +6dB and -60dB on Mic and pre-fade insert point. All stereo returns Line inputs. are balanced. 180° Phase Reverse switch Stereo Returns This switch reverses the polarity of the 8 Stereo Returns are provided in the group input to compensate for signal phase section, for use as effects returns, or as differences. STEREO INPUT additional stereo inputs. The returns in the Connector Bay (behind top row include 2 band EQ with 15dB of cut LO EQ Two stereo input channel strips, or boost at 12kHz and 80Hz. Each return can meterbridge) each comprise two independent pairs be routed to Mix or to the pair of groups Both Mic and Line inputs are balanced directly below it. A rotary control determines with +48V phantom power available of inputs. MASTER SECTION the level of the signal. individually per channel for condenser Mix and Matrix outputs are provided on Connector Bay (behind Matrix Sends mics. Direct Out is factory set post- meterbridge) 4 impedance-balanced XLR connectors . The fader/post-EQ, but can be set to pre- For the creation of two independent mixes Mix inserts are pre-fader. A pair of unbalanced Both pairs of line inputs are balanced. fader, pre/post EQ. The insert point is derived from the groups, in addition to the -10dBV jacks allow the performance to be Plugging in the left jack only will feed a pre-fader, pre-EQ but post HPF. group and mix outputs: ideal for monitor recorded. The six Aux master outputs are also mono source to both paths. sends and speaker fills. Each group signal can EQ Section impedance-balanced. Cassette/CD Input Section be fed independently to Matrix A, Matrix B, The 4 band equaliser section has two This features two gain settings: LO for or a combination of the two. Matrix Sends and Masters swept mids for extra control during live Two rotary controls allow the Mix L and R LO MID SWEEP EQ -10dBV semi-pro devices such as CD or performances. All bands provide 15dB Group Controls busses to be fed to the Matrix outputs, either cassette players, or HI for -20dBV hi-fi of cut or boost.The HF shelving filter Custom-built 100mm long throw linear faders as a mono sum or individually to Matrix A and equipment. Signals are controlled by operates above 13kHz. The Hi Mid provide 10dB of extra gain above the “zero” B respectively. The Matrix masters above the LEVEL TO MIX pot and directed control operates between 550Hz and mark whilst still ensuring smooth operation. govern the level of Matrix A and B outputs. straight to Mix. The input can be 13kHz with Lo Mid operating between Each group can be soloed pre-fader by using Both may be soloed after the fader. soloed pre-fader, with two pre-fade 80Hz and 1.9kHz. the PFL switch.Pressing the STEREO/ MONO auxes allowing the signal to be sent to switch routes the groups to mix in pairs or Talkback Section The LF shelving filter operates below stage monitor mixes. A balanced XLR connector allows a 80Hz. for use as mono subgroups feeding both sides Stereo Input Section of the mix. microphone signal to be routed to Aux 1-2, Aux 3-4, the Mix, or the Groups. A rotary EQ In/Out switch A gain control operates from 0 to 22dB control governs talkback level. Selecting the EQ allows comparison of allowing the connection of line level HI MID SWEEP EQ treated and untreated sounds. devices as well as most professional Auxiliary Masters High Pass Filter and hi-fi sources. Six rotary controls govern the overall level of A 100Hz/18dB/octave High Pass Filter EQ Section each Aux master. Each can be soloed after the fader for monitoring. In addition, Auxes 3 and is set pre-EQ to ‘clean up’ low A two band frequency switchable EQ 4 can be switched post-fader, post-EQ frequencies. provides 15dB of cut or boost over globally. Auxiliary Section high or low frequencies. The HF control 6 Auxiliary Sends allow the choice of is selectable between 6 or 12kHz, with Mute Masters either monitor or effects-orientated LF selectable between 80 and 120Hz. Four switches control the status of the Mute mixes. Auxes 1 and 2 are pre-fader, EQ In/Out Switch Groups. The associated LED illuminates when any mute group is active. post-EQ for monitor mixes. Auxes 3 This switch allows comparison of and 4 are normally post-fader, post-EQ treated and untreated sounds. Headphones Section but are individually globally switchable HI EQ Aux Section A jack is provided for use with headphones to pre-fader, post-EQ from the master with impedances of 200 Ohms or greater. The Stereo Input has 6 Auxiliaries with section. Auxes 5 and 6 are post-fader, Level is controlled by a rotary fader. The PFL identical pre/post-fader settings to the post-EQ. The pre- or post-EQ master LED illuminates if any solo is active. mono inputs. parameters on Auxes 1, 2, 3 and 4 are Master Faders all easily resettable via internal jumpers Balance The Mix L & R levels are controlled by for custom configurations. This control sets the amount of signal 2 custom-built 100mm long throw feeding the left and right mix outputs Pan linear faders. Each input channel can be routed to and the odd or even groups. Acts as a mix and/or any of the 8 groups in pairs. Pan control when a mono signal is used. Mute All pre- and post-fade outputs are PFL/Solo muted on the channel when the mute Pressing the PFL switch provides a switch is pressed. Alternatively, the mono sum solo of the pre-fade, post- channel can be assigned to one of the EQ signal. 4 mute busses for scene setting. Fader/Route/Muting switch PFL/Solo The fader, mute switch and routing CONNECTOR PANEL Each channel can be soloed pre-fader, switch behave identically to the mono post-EQ to check gain levels. The PFL channels. LED also doubles as a PEAK indicator. Faders Custom-built 100mm long throw linear faders provide 10dB of extra gain above “zero”.

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SPIRIT 8USING MATRIX & MUTE GROUPS SPECIFICATIONS SPIRIT 8

10 X 2 MATRIX Here, groups 1-4 are used to create Noise EIN Frequency Response the mix to the Matrix outputs, feeding The output from Measured RMS, 20Hz to 20kHz Bandwidth Line Microphone Input, Maximum Gain, Line In to Mix Out via Group additional speaker stacks. Groups 3 & inputs selected at unity gain and terminated terminated 150Ω -129dBu (longest path) 25Hz to 20kHz -1dB 150Ω any of the eight 4 are mixed at a slightly higher level Crosstalk THD groups and the than 1 & 2, giving more lead and Mix @ 1kHz 1kHz 10kHz -10dBu Input routed to Mix, MATRIX 32 mono and 4 stereo inputs routed to Fader Attenuation to +20dBu out @ 1kHz <0.005% L&R Mix busses OUT backing vocals in the extra speakers Mix, faders at unity -81dBu Direct Output 92dB 80dB CMRR can be mixed relative to the basic band mix. Mix Faders down -95dBu Fader Attenuation to Mix into the Matrix (36ch. routed) 94dB 89dB Typical at medium gain, 50Hz to 10kHz >80dB Aux Typical at high gain, 50Hz to 10kHz >85dB A and Matrix B Fader Attenuation to Mix 32 mono and 4 stereo inputs routed, (1ch. routed) 101dB 89dB Input and Output Impedances output at max., input faders down -86dBu outputs using Typical Aux Attenuation 88dB 83dB Microphone Input 1.8kΩ the Matrix Direct Output Pan Isolation (36ch. to Mix) 76dB 68dB Line Input >10kΩ Adjacent Channel Crosstalk 99dB 95dB section’s rotary Input to Post-Fade Output @ unity gain -90dBu Stereo Input 8.6kΩ Input to Post-Fade Output @ 40dB gain -81dBu Routing Isolation 86dB 86dB Cass/CD Input >10k controls. Mute Offness 104dB 88dB Matrix Output Stereo Return >10k Matrix Output at max., sends down -93dBu Input & Output Levels Mic/.Line input Maximum Level +28dBu Stereo Input +25dBu Cass/CD Input +18dBu 658MM (26") Nominal Input for +4dBu at Mix Output, level at ‘7’ -10dBV (LO) Groups 5 & 6 are used on their own CONSOLE WIDTHS -20dBV (HI) for a feed to backstage speakers - this 16 CHANNEL: 875MM (34.5") Stereo Return +22dBu 24 CHANNEL: 1114MM (44") Max. Mic Gain through longest path to Mix 84dB MATRIX could consist of totally separate 32 CHANNEL: 1347MM (53") MASTER 40 CHANNEL: 1581MM (62.3") A & B sources to the main mix, perhaps 178MM Power Supply Unit house mics and a talkback mic. (7") PACKED WEIGHT: 32ch = 45.6kg (100lbs) Please see page 47 for details 16ch = 29.6kg (65lbs) 86MM GROUPS TO 24ch = 38.2kg (84lbs) 40ch = 53.6kg (118lbs) (3.4") MATRIX SENDS

MIX TO MATRIX SENDS

+48V +48V MASTER MIC/LINE 100Hz INPUT METER REC L

AUX 1-6 BUSES MIX LEFT BUS MIX RIGHT BUS GROUP BUSES GAIN PFL/AFL BUS PEAK STEREO DETECT INSERT FADER MIX LEFT MIC PFL MIX LEFT 3 INPUT 3 2 1

1 2 MATRIX A EQ AUX1 A HIGH PASS EQ LINE FILTER INPUT AUX PRE SOURCE AUX2 REC R INSERT B PRE EQ DIRECT DIRECT PRE INSERT FADER MIX SOURCE SOURCE RIGHT POST EQ MIX RIGHT 3 PRE PRE EQ 2 1 MUTE GROUPS AUX3 DIRECT POST OUTPUT POST EQ CONTROL ROOM MONO AUX4 CHECK FADER L METER/ PHONES PFL/AFL 1-23-4 5-6 7-8 L-R PFL/AFL M1 M2 M3 M4 MUTE AUX5

MUTE AUX6 Here, Mute Group 1 is used on the channels used BUSES PAN PFL ENABLE R METER/ by a support band, enabling their mics and PFL/AFL MONO INPUT M1 M2 M3 M4 MATRIX 3 A OUT MATRIX A 2 1 instruments to be brought up or silenced with a BUS AFL AFL single button push. STEREO INPUT MATRIX PFL BAL FADER 1-2 3-4 5-6 7-8 L-R MUTE BUSES B OUT 3 MATRIX B 2 1 BUS L HF & LF EQ AUX1 STEREO EQ (AUX 2,3,5,6 SIMILAR) INPUT AUX1 (2,5,6) R HF & LF EQ AUX3 AUX4 (AUX 4 SIMILAR) PRE PRE PRE AUX1

M1 M2 M3 M4 POST By assigning two on-stage mics and a ‘bug’ mic MUTE AUX2 AUX3,4 POST

MUTE used for the brass section to Mute Group 2, these BUSES AUX3 AUX AUX GRPS MIX can be easily silenced during songs and passages 1-2 3-4 TB GAIN LO/HI where the brass isn’t used. PFL AUX4

3 TALKBACK MIC L AUX5 1 2 INPUT

AUX6 CASS/CD LEVEL INPUT

R AUX1 GROUP 1 (2 - 8 SIMILAR) PRE INSERT FADER GROUP GROUP AUX2 ASSIGN 3 OUT 2 1 In a theatre production, two sets of radio mics PFL 1-2 3-4 5-6 7-8 STEREO RETURN (1 of 4) MIX MIX MIX MIX used during different scenes are assigned to GROUPS STEREO L TO MIX MONO METER HF & LF Mute Groups 2 and 3. EQ R MATRIX A STEREO RETURN MIX L A 1,3,5,7 1-2 3-4 5-6 7-8 MATRIX B MIX MIX MIX MIX GROUP 2,4,6,8 L MIX R B

R STEREO RETURN 2,4,6,8

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MONITOR 212-BUS STAGE MONITOR / FOH / THEATRE MIXER

4-band EQ with two swept mid bands

12 monitor sends with 1-8 mono and 9-12 stereo Where space and budgets allow, there’s no substitute for a separate console for monitor mixing – which is why we created the Monitor 2, an ideal complement to full-size UltraMic+ preamps on all mono switched on each channel to pre-fade inputs FOH desks like the Spirit 8. The Monitor 2 combines all operation, if necessary for effect the necessities of a professional monitor desk with The last thing you want when sends. elegant design features aimed at speed and clarity in use setting up a monitor mix is to run +48V phantom power switchable out of aux sends. The Monitor 2 on all channels – such as Split outputs that allow easy connection to an FOH mixer without using splitter leads. And because has 12 sends in total: eight mono versatility is a priority in all of Soundcraft’s Spirit range sends plus two stereo pairs. Easy set-up of designs, the Monitor 2 is flexible enough to perform Whilst the stereo pairs can be The Monitor 2’s connectors, easily used, like the mono sends, for 24, 32 and 40-channel frame sizes FOH mixing where no other mixer is available. accessible at the rear of the front Split Out connectors avoid the need for routing to conventional on-stage panel, make it easy to get hooked up. special cables or splitter boxes speaker cabs, they are ideally All channels accept a mic or line input suited to setting up stereo in-ear Pre-EQ insert point on all mono channels via a balanced XLR input, with a Split MAIN FEATURES MAIN monitor mixes – preferred by output (also on an XLR) that Dim switch cuts monitor output levels more and more artists these by 6dB duplicates the input signal for a feed days. We’ve even given the to a front-of-house console, or to a Sub-grouping on channels 1-10 provides Monitor 2 two house mic inputs, multitrack recorder. Switchable +48V FOH mixing capability with phantom power, to allow phantom power is provided on all Rackmountable external power supply background ambience to be channels, for phantom powered stage mixed into the ‘dry’ in-ear boxes or mics. Because you may want monitor feeds. All sends are to use noise gates or compressors on normally post-fade and some channels, to remove unwanted post-EQ, though ‘spill’ in drum mics or to keep bass they can be volume down to a safe level, all mono channels feature insert points on stereo jack sockets. Powerful EQ is just as useful on a monitor desk as on a front-of-house design – balancing on-stage sound so that everyone gets a clear monitor mix, without feedback, can require very precise tonal control. That’s why we gave all mono input channels on the Monitor 2 our classic 4-band EQ, with its well-chosen bands and precision controls. An EQ In/Out Monitoring in switch is also provided, to make on- Touring, Venue the-fly comparisons easy. and Theatre

Monitor plus FOH in Small Venues

APPLICATIONS SEE PAGES 33 – 35

Frame sizes available:

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MONITOR 2CONTROLS & CONNECTIONS SPECIFICATIONSMONITOR 2

INPUTS Mic/Line Input A balanced female XLR connector accepts balanced or unbalanced mic or line signals. At -129dbU EIN the OUTPUT SECTION mic amp is extremely quiet. MASTER SECTION These outputs provide summing of the 48V Phantom Power Switch corresponding input channel monitor L & R Bargraph Meters Individual switches on each channel The 3-colour, 12 segment meters sends. Outputs 1-8 are configured as activate Phantom Power for use show levels as selected by the with condenser mics or active DI Mono sends, 9/10 and 11/12 are Wedge Source switch. boxes. Stereo. Phones Level Control Split Out Outputs Sets level to the phones jack. Use A balanced male XLR connector on Impedance-balanced male XLRs headphones having an impedance of each Mono input allows the “dry” provide outputs from the Monitor 200 Ohms or higher. input signal to be sent direct to a section. Solo/PFL Trim FOH mixer. Graphic EQ (Inserts) Provides ±15dB level adjustment to Insert Two balanced 1/4" jacks allow allow for differences in operating 1/4” TRS jacks are provided for connection of a graphic equaliser levels. patching in Limiters, Graphic across a stage monitor. Wedge Source Equalisers or other signal Selects monitor outputs 11-12 as processors. Bargraph Meters The 3-colour, 12 segment LED source for engineer's wedge outputs, 180° Phase Reverse switch meters can be switched Pre/Post EQ if the console is being used as a This switch reverses the polarity of on inserts. FOH desk. the input to compensate for phase House Mics differences caused by multiple MNTR Control Provides rotary level control of the Two balanced female XLR inputs microphone placement or incorrectly allow connection of “house” mics to wired input cables. engineer’s wedge/headphones level. Switchable Pre/Post EQ on inserts. provide ambience for in-ear Padless Input Sensitivity monitors. Solo control Solos the monitor output on the House Sens Soundcraft’s UltraMic+™ padless engineers wedge/headphones Sets the house mic input level. mic preamp provides up to +28dBu Phantom Power (+48VDC) is input capability, with the input FOH Facility (outputs 1-10) available for condenser microphones. Allows sub-grouping to outputs sensitivity control operating between FX Returns +6dB and -60dB on the Mic / Line 11-12 when Monitor 2 is used as a When the HOUSE switch is pressed, inputs. FOH mixer. these two balanced stereo effects High Pass Filter Pan returns may be used in place of the The 100Hz, 18dB/octave filter is an Allows the signal to be sent house mic inputs on monitor effective tool for tackling low individually to monitors 11-12. channels 9-12. frequency rumble or mic popping. FX Returns T/B Sensitivity EQ Section Two stereo effects returns (either Controls the Talkback mic level to Monitor 2 has a 4-band equaliser RET1 or RET2) may be mixed direct the selected monitor outputs. to the stage monitor output. section with two swept mids for Master T/B extra control during live Effects are connected by FX1/FX2 Routes the Talkback signal to ALL performances. All bands provide 1/4" jacks. monitor outputs. 15dB of cut or boost. Mute 24 CHANNEL: 1201MM (47.3") The HF shelving filter operates Disables the stage monitor send. Master Dim 32 CHANNEL: 1455MM (57.3") above 13kHz.The Hi Mid control The LED lights when mute is active. Attenuates ALL monitor and wedge 88MM 40 CHANNEL: 1709MM (67.3") operates between 550Hz and 13kHz High Pass Filters outputs by 6dB. Noise Crosstalk (3.5") with Lo Mid operating between Channels1-8 are provided with a Fader Measured RMS, 22Hz-22kHz bandwidth. @ 1 kHz, typical 80Hz and 1.9kHz. The LF shelving variable filter (off-160Hz). A fixed This 100mm fader controls the Inputs at unity gain and terminated 150Ω. Channel send range > 90dB filter operates below 80Hz. 60Hz filter is used for channels overall level of the engineer's Output Noise Channel fader range > 80dB 9-12. wedges. EQ In/Out Switch Mute attenuation > 100dB When the EQ switch is selected, the 24 inputs routed, sends down, T/B (Talkback) Wedges Adjacent output isolation > 90dB EQ section is bypassed allowing A balanced XLR connector allows a Two male XLRs facilitate connection master @ unity < -80dBu comparison of treated and untreated T/B microphone signal to be routed to the amplifier/s powering the PACKED WEIGHT: Mic EIN CMRR sounds. An 18dB per octave 100Hz to monitor out. The rotary control engineer's monitor wedges. 24ch = 31.4kg (69.1lbs) Measured @ max. gain High Pass Filter is available prior to governs level. Typical @ max. gain @ 1kHz > 85dB 32ch = 37kg (81.4lbs) the EQ section to ‘clean up’ low end (150Ω terminated) -129dBu Dim Typical @ any gain @ 50Hz > 65dB 40ch = 45.4kg (100lbs) frequencies. Instantly attenuates monitor output Dustcover Option THD & N Monitor Sends Frequency Response by 6dB. To protect Monitor 2 from dust, dirt Mic sensitivity -10dBu, faders @ unity, Sends 1 to 8 are Mono with 9/10 Input to output, medium gain, via output Fader and minor spillages when not in use. send @ max., +20dBu @ all outputs and 11/12 configured as Stereo 591MM Accurate and consistent 100mm (High Pass Filter off) (23.3") pairs for in-ear monitoring. All are @ 1kHz <0.005% long throw linear faders control the 15Hz - 45kHz < -3dB normally Post-Fade/ Post-EQ but overall level of each output. 25Hz - 25kHz < -1dB may be switched to Pre-Fade/Post- EQ by pressing the associated PRE House (inputs 9-10, 11-12) Typical Input & Output Levels switches. A rotary control determines the level Mute of the "house" mics being sent to the Max. output > +22dBu monitor output when in-ear Provides muting control over the Max. signal into mic input +28dBu monitors are being used. input channel including monitor Max. signal into FX Return sends. The adjacent LED lights when CONNECTOR PANEL & Insert Return +22dBu mute is activated. Max. sensitivity of FX Return Fader (output faders @ unity) -15dBu Input levels are controlled by highly Max.level into Talkback Mic input +3dBu accurate 60mm linear faders. Max. level into House Mic input +8dBu Signal Present LED Headphones (@ 200Ω) 150mW Illuminates when a signal is present to give an instant indication of which channels are in use. Input & Output Impedances PFL/Peak Mic Input 1.8kΩ The latching PFL with LED solos the FX Returns 8.6kΩ input for monitoring. When PFL is Ω switched out, the LED acts as a Monitor Outputs, Wedges & Inserts 75 channel peak signal indicator. Power Supply Unit Please see page 47 for details

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2 LIVE 4 4-BUS PROFESSIONAL MIXING CONSOLE

Up to 56 inputs – 40 mono, 8 stereo Control Freak Mixing in larger venues requires more than just extra Uniquely in its price bracket, the Live inputs and outputs – you need effective means of 42 offers the power of professional ensuring that there is no way for a muted source to find a way back into 4 group busses controlling the way that signals are routed, along with mute group control. Especially useful the mix. facilities such as grouping and mutes that make it easy to in bigger installations and larger frame sizes, the four mute groups can be 2 deal with all those channels. The Live 42, in frame sizes Despite its compact size, the Live 4 UltraMic+ preamp with up to used to silence sets of channels, includes a 6 x 2 matrix section that 66dB gain range from 12 to 40 channels, is designed for just these making it easy to switch between situations: its 4-buss architecture provides the basis for gives you two extra outputs, derived bands or scenes in theatre. Using the from the groups and stereo outputs. points on all mono channels for grouping sets of inputs; a wide variety of mono and mute group buttons next to each This means that in any application dynamics processors, such as +48V phantom power, individually stereo sources can be mixed through to as many as 14 switchable on each channel channel fader, you can, for example, where the groups and main mix still compressors to keep tricky vocals and outputs; and full-size 100mm faders provide precise and assign all radio mic channels to mute aren't enough, two extra speaker bass levels under control, while smooth group and master level controls. group 1, then use the master section clusters, more rooms, monitor channel direct outputs allow 4-band EQ with two mute controls to kill these channels wedges, or perhaps recording connection to a multitrack for swept mid bands when they’re not needed. Simple hardware, can be fed with additional professional live recordings. Each channel mutes are also provided, independent mixes. Counting the channel can be routed to any allowing you instantly to silence a auxiliary sends, the Live 42 can provide combination of Groups 1-2, 3-4, and channel in an emergency. Drawing on a total of 14 different mix outputs, the main stereo mix bus, allowing a 2 years of live experience, the Live 4 's each with its own mix balance. high degree of flexibility in how inputs mute circuits are designed to be fool- Input channels are mixed through to outputs. You proof - when you mute a channel, could use the groups as two stereo In live mixing, 'garbage in, garbage out' either via a mute group or a channel pairs, routing vocals through 1-2 and is as true as it is anywhere - which is mutes, you silence all of its all instruments through 3-4, making it why we equipped all mono channels outputs, including aux easy to balance the relative on the Live 42 with the classic and and group vocal/instrument balance in the mix Soundcraft UltraMic+ pre-amp, a routings, using only the four group faders. In proven favourite of live engineers the theatre use, you might use the groups world over. +48V phantom power for to feed several speaker stacks, with condenser mics can be switched 12, 16, 24, 32 and 40-channel the group faders providing precise frame sizes individually on each channel, and output level control. 4 mute groups phase reverse makes it easy to handle complex multi- The Live 42's six auxiliary sends can be

MAIN FEATURES MAIN Additional outputs on 6 x 2 matrix mic mixing. There configured in several ways, providing 2 or 4 additional stereo inputs are insert maximum flexibility for foldback and Phase reverse on mono inputs effects. Up to four sends can be set to either pre-fade operation, suitable for 18dB/octave high-pass filter monitor sends, or post-fade operation, 6 aux sends, 4 of them pre/post which is better for effect sends. switchable Stereo sources are handled 4 stereo returns by dedicated stereo Optional 8-channel expander channels, each boasting two sets of inputs: one suitable for stereo instruments, and one for Sound installations where 4 busses are required sources such as CD and tape players. The simpler Club or venue installation 'playback' inputs can be FOH band console switched to match -10dB or - Houses of worship 20dB sources, and have aux sends plus a simple level control Theatre sound feeding the main mix bus. The PA hire second set of inputs have full channel facilities, including six aux sends, 2- band EQ, and a balance pot to control APPLICATIONS SEE PAGES 33 – 35 stereo positioning. Frame sizes available:

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2 LIVE 4 CONTROLS & CONNECTIONS

MONO INPUTS Mic Input STEREO INPUTS A balanced XLR connector accepts balanced The four stereo inputs are housed in or unbalanced mic signals. At -129dbU EIN two input strips. Only one input strip is the mic amp is extremely quiet and available on the 12 channel version. GROUP SECTION transparent. EQ In/Out switch Group Outputs Line Input The EQ In/Out switch allows Input Connectors Four Impedance-Balanced XLR connectors MASTER SECTION comparison and “A/B Testing” of A balanced 1/4" jack for connecting Two pairs of balanced 1/4 inch jacks allow the connection of the group outputs to treated sounds without the Main Outs balanced or unbalanced electronic allow connection of the left and right extra speaker stacks, or to recording devices. inconvenience of having to reset Two impedance-balanced XLRs provide the instruments, such as keyboards. inputs of stereo sources. By plugging controls. Inserts Stereo mix for the FOH amplification. +48V Phantom Power into the left input jack only, mono Signal processors may be connected in series Activates phantom power on each channel Auxiliary Section sources can be connected. Matrix Outs 2 with the groups via these 1/4” jacks. individually when using condenser Live 4 ’s 6 Auxiliaries are configured Cassette/CD Section Two impedance-balanced XLRs supply output with flexibility in mind, allowing four to Stereo Returns signals from Matrix A and Matrix B. microphones or active DI boxes. The upper stereo input is designed be set Pre-Fade for performances Four pairs of balanced 1/4" jacks accept the Direct Out primarily for cassette or CD inputs. A Mix Inserts where many foldback mixes are outputs from reverbs and effects units. The An impedance-balanced Post-Fade, Post-EQ gain switch facilitates connection of For connecting protective limiters or graphic required or four Post-Fade when Stereo Returns can also be used as extra line connector provides access to effects units, either -10dB semi-professional equalisers in series with the mix. several effects sends are necessary. level inputs. or can send signals to multitracks for equipment, or -20dB Hi-Fi sources. Rec Out Auxes 1, 2 and 3 are Pre-Fade, Group Meters recording. Two pre-fade aux sends are provided Two 1/4" jacks provide a -10dBV level signal Pre-EQ (changeable to Post-EQ by Three-colour, 12 segment, peak-reading for foldback in addition to a PFL solo. of the mix for use with cassette or DAT Insert internal link). bargraph meters provide visual indication of For patching in Limiters, Graphic Equalisers The rotary level control is routed recorders. Aux 3 can be selected Post-Fader group levels. or other signal processors. permanently to Mix. internally. Stereo Return Controls Aux Outputs Phase Reverse Aux 4 is Post-Fade, Post-EQ but can Main Stereo Input Section Provide level control over the output from The six impedance-balanced 1/4" jacks can be When pressed, this switch reverses the be switched to be Pre-Fade Pre-EQ This is a full facility input primarily for effects devices. May be routed straight to used to feed stage monitors or effects units. polarity of the input to compensate for globally from the master section. electronic instruments such as mix, or to the pair of groups directly below. Master Meters keyboards. phase differences caused by multiple Auxes 5 and 6 are always Post-Fade, Two peak-reading, 12-segment bargraphs microphone placement or incorrectly wired Matrix Sends Post-EQ. Gain Control A 6x2 Matrix section provides feeds from the indicate mix levels. If any solo is activated the input cables. Pan Control This control has 22dB of range and four groups and the L & R Mix busses to two meters switch to read those levels. allows the matching of a wide variety Input Sensitivity Determines the position of the signal in additional independent outputs. These can be TalkBack Section of sources. Soundcraft’s low noise UltraMic+™ padless the stereo image. Panning hard left or used to feed extra speaker clusters, side-fills Allows the engineer to talk to the musicians preamp provides up to 66dB of gain range, right allows the signal to be routed to EQ Section or delay towers. The stereo switch combines through Auxes 1-4, the Mix or the Groups. allowing the connection of items such as only odd or even groups, or the L or R A two band fixed EQ section with the Matrix Outputs into a Stereo pair. Level control and mic XLR provided. line level sources, active DI boxes and the bus separately. 15dB of boost and cut is provided. Matrix Masters most sensitive condenser mics. The custom PFL Switch High frequency is selectable between Each group can be soloed pre-fader for These control the overall level of the Matrix designed gain control provides a uniform Routing 6 and 12kHz, and the LF between 80 monitoring. The PFL light below each switch Outputs. increase in gain and smooth response across Input signals may be routed to Mix, or and 120Hz, for extra flexibility. illuminates when a group PFL is active. the entire range. to the four Groups. Master Faders Mute Switch and Groups Aux Section Group Faders 100mm faders set the final level of the Mix EQ Section The Aux section is similar to the mono The Mute switch mutes all channel 100mm faders control Group levels. The Outputs. A 4 band EQ includes two swept mid inputs’ except that Auxes 1, 2 and 3 outputs. Alternatively, a channel can be Groups can be routed to Mix, or assigned as Aux Masters frequencies with 15dB of cut and boost in are Pre-Fade, Post-EQ. assigned to one of four Mute Groups. mono pairs. For controlling the master levels of each aux the ranges 550Hz–13kHz and 80Hz–1.9kHz. Balance Two shelving controls at 12kHz and 80Hz These groups allow a combination of bus. Each Master can be soloed after the Sets the relative levels of the Left and provide 15dB of cut and boost for high and open mic or line inputs to be muted - fader to monitor levels. Aux 4 can be Right inputs. low frequencies. The frequency ranges of ideal for scene-setting in theatre switched Pre-Fade globally by pressing the each band overlap, allowing the applications or for multi-band Routing Aux 4 PRE switch. simultaneous cut and boost of adjacent performances. Input signals may be routed to Mix, or PFL/AFL LED frequencies. Pre Fade Listen to the four Groups. Indicates if any PFL or AFL has been High Pass Filter When pressed, the PFL switch sends a Mute Switch and Groups activated. A steep 18dB per Octave High Pass Filter at Pre-Fade solo to the headphones and The Mute switch mutes all channel Headphones Level 100Hz is ideal for minimising on-stage the L & R meters for setting and outputs. Alternatively, a channel can Sets the level of the headphones. monitoring gain levels: the main mix rumble and mic popping. be assigned to one of four Mute Mono Check output is unaffected. The PFL LED Groups. These groups allow a This sums the L & R outputs allowing checks glows when a solo is active, otherwise combination of open mic or line for phasing problems. it acts as a peak indicator. inputs to be muted - ideal for scene- 100mm Fader setting in theatre applications or for Mute Masters Custom-built 100mm long throw multi-band performances. Provide muting control over any channels that faders ensure smooth, precise control Pre Fade Listen have been assigned to one of the four Mute busses. over levels. Normal operating position When pressed, the PFL switch sends a ACCESSORIES AND EXTRAS is at zero with an extra 10dB available Phones Socket Pre-Fade solo to the headphones and Flightcasing if required. the L & R meters for setting and Suitable for use with headphones having an Live 42’s side panels can be easily removed to monitoring gain levels: the main mix impedance of 200 Ohms or higher. save space when flight case mounting is output is unaffected. The PFL LED required. Power LED CONNECTOR PANEL glows when a solo is active, Indicates when Live 42 is powered up. otherwise it acts as a peak indicator. Dustcover Option To protect Live 42 from dust, dirt and minor Power Input 100mm Fader spillages when not in use. An external power supply unit minimises Custom-built 100mm long throw mains hum. See page 47 for details. faders ensure smooth, precise control over levels. Normal operating position is at zero with an extra 10dB available if required.

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2 LIVE 4SPECIFICATIONS HIGH PERFORMANCE SPIRITCOMPACT M MIXERSSERIES

Noise Frequency Response 12 CHANNEL 685MM (27") Measured RMS, 22Hz to 22kHz Bandwidth. 20Hz to 20kHz -1dB Effective grounding eliminates 16 CHANNEL 845MM (33.3") Line inputs selected at unity gain and THD noise and crosstalk 24 CHANNEL 1101MM (43.3") terminated 150Ω 87.5MM 32 CHANNEL 1362MM (53.6") -10dBu Input routed to Mix, (3.44") 40 CHANNEL 1616MM (63.6") Mix +20dBu out @ 1kHz <0.006% 3-band EQ with two swept 26 Inputs routed to Mix, faders CMRR at unity, muted -82dBu mid bands In a world full of cheap compact mixers, Soundcraft has achieved Typical at max gain @ 1kHz -85dB Mix Faders down -97dBu Typical at any gain @ 50Hz -65dB something exceptional with the Spirit M Series. Suited to a wide PACKED WEIGHT: Aux range of live sound applications, the Spirit M Series delivers a great- 12ch = 17.4kg (38.3lbs) Input & Output Impedances 26 Inputs routed, output at max, Integrated S/PDIF digital output 16ch = 21.4kg (47.1lbs) Microphone Input 1.8kΩ sounding, reliable performance, gig after gig, mix after mix. A mixer input faders down -84dBu 24ch = 28kg (61.6lbs) Line Input 10kΩ for life. 32ch = 34.8kg (76.6lbs) Direct Output Stereo Input 8.6kΩ The direct outputs on the Spirit M Series 40ch = 41.8kg (92lbs) Input to Direct Output @ unity gain -87dBuCass/CD Input 12.8kΩ High quality, linear mic preamps Sonic integrity through design Input to Direct Output @ 40dB gain -77dBuStereo Return 19kΩ with smooth gain control Through a fresh and innovative approach, can be used to record each of the mono Matrix Output Soundcraft designers have created a input channels to a multitrack recorder. Input & Output Levels Matrix Output at max, Sends down -95dBu mixer that rivals the sonic performance of Each direct output can be individually 590.5MM Mic/Line Input Maximum Level +28dBu (23.44") EIN many high end live consoles. switched to be pre-fade, ensuring the Stereo Input +25dBu 4, 8, and 12-mono input channel frame sizes Microphone Input, Maximum Gain, Cass/CD Input +18dBu Attention to detail in the design of the signal at these outputs remains terminated 150R -129dBuStereo Return +22dBu 18dB/octave high-pass filter Spirit M Series makes mixing a positive unaffected by any movements of the Crosstalk Nominal Input for + 4dBu 4 aux sends, 2 pre-fade and 2 post-fade pleasure. A no-compromise approach to channel faders during the live at Mix Output, level at ‘7’ -10dBu (Lo) Wide Band except where stated -20dBV (Hi) circuit design and to the quality of the performance. Different mixes of the Typical Channel Fader Attenuation >80dB 4 stereo returns

Max Mic Gain through longest path to Mix 84dB MAIN FEATURES components throughout has resulted in a performance can then be made after the Typical Aux Attenuation >80dB 4 stereo inputs Typical Pan Isolation >70dB console that delivers exceptionally low event. Adjacent Channel Crosstalk >85dBPower Supply Unit 100mm faders noise and crosstalk figures. Mic and line Integral rack mounting 100dB @ 1kHz Please see page 47 for details Internal power supply inputs are provided on balanced XLR and Through innovative design, the M Series Integral rack mounting 1/4" jack connectors for optimum can be transformed into a rack-mounted performance, with the main stereo desk suitable for use on the road. All outputs on balanced XLRs for better three mixers in the range occupy 11U of integration with other professional standard rack space. equipment. There are also insert points Comprehensive monitoring control Digital audio workstation front-end on every mono channel and the mix Because levels are constantly changing +48V outputs for external signal processing. throughout the signal path – from the +48V MASTER Public address MIC/LINE 100Hz REC L preamp stage, through filtering and EQ –

AUX 1-6 BUSES MIX LEFT BUS MIX RIGHT BUS GROUP BUSES GAIN PFL/AFL BUS PEAK STEREO Built for all eventualities DETECT INSERT FADER MIX Small PA hire PFL LEFT MIC MIX LEFT 3 the Spirit M Series provides signal detect INPUT 3 2 1 Live sound reinforcement requires

1 2 MATRIX A Multi-speaker systems and peak LEDs on all input channels. EQ AUX1 A different mixes – a stereo master mix for HIGH PASS EQ MATRIX B LINE FILTER AUX PRE INPUT SOURCE AUX2 REC R These monitoring LEDs are fed from INSERT B PA mixing for bars, schools, the audience and one or more monitor POST-EQ INSERT FADER MIX AUX3 RIGHT leisure centres, etc multiple points in the circuit path to 3 PRE-EQ MIX RIGHT mixes for the performers on stage. The PRE 2 1 DIRECT POST ensure nothing gets overlooked. The main OUTPUT FADER Conferencing monitor mixes can be set up using Aux AUX4 MONO CHECK stereo mix has two 12-segment LED L METER/ 1-4 on the M Series mixer. When a venue PHONES PFL/AFL AUX5 Small-medium size band mixing 1-2 3-4 L-R PFL/AFL M1 M2 M3 M4 meters, with a SOLO AFL/PFL indicator MUTE uses multiple fill speakers, delay should AUX6 MUTE APPLICATIONS to show whether any solo channels or BUSES SEE PAGES 33 – 35 be added to speakers that are closer to

PAN PFL aux masters are being monitored. With all ENABLE R METER/ the listener. PFL/AFL MONO INPUT M1 M2 M3 M4 MATRIX this information instantly available, 3 A OUT MATRIX A 2 1 BUS efficient control is easy to maintain. AFL AFL STEREO INPUT MATRIX Switchable direct outputs PFL BAL FADER 1-2 3-4 L-R MUTE BUSES B OUT 3 MATRIX B 2 1 BUS L HF & LF Use a single console for your live EQ AUX1 mix and recording. Switchable STEREO EQ (AUX 2,3,5,6 SIMILAR) INPUT AUX1 (2,3,5,6) R HF & LF direct outputs enable the pre-fade EQ AUX4 PRE AUX4 PRE signal to be sent directly to the PRE AUX1

M1 M2 M3 M4 POST MUTE AUX4 AUX2 AUX4 POST recorder regardless of the fader

MUTE AUX3 BUSES settings used for the live mix, allowing AUX AUX GRPS MIX 1-2 3-4 TB total post production flexibility. AUX4 GAIN LO/HI PFL TALKBACK AUX5 3 1 2 MIC INPUT L AUX6

CASS/CD LEVEL INPUT R GROUP 1 (2, 3 & 4 SIMILAR) AUX1 INSERT FADER GROUP GROUP PRE ASSIGN 3 OUT AUX2 2 1 Frame sizes available: PFL

GROUPS STEREO TO MIX MONO METER STEREO RETURN (1 of 4) 1-2 3-4 MIX MIX L MATRIX A MIX L A

MATRIX B STEREO GROUP RETURN MIX R 2 OR 4 B R

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SPIRITCONTROLS M SERIES & CONNECTIONS SPECIFICATIONSSPIRIT M SERIES

MONO INPUTS STEREO INPUTS MASTER SECTION IX/L

AUX2 AUX3 AUX4 PFL EN PFL M MIX/R AUX1 +48V PB MON L Direct Out (switchable) Aux Output Phantom Power REPLACE PHANTOM POWER MIX For connection to external The aux output contains a mix of the Global control over phantom power is offered EQ PFL MON R multitrack recorders or effects units. aux send signals sent from each via a push button. When active, an LED will d/c MIC INS. input channel, which can then illuminate. Zin~2K Mic Input PB/L FADER GAIN INSERT be sent as a monitor mix to MUTE PAN MIX/L A balanced female XLR connector 2-Track Inputs 75W LF MF & HF 10dB SWEEP FADER OUT stage loudspeakers or to send LINE 100Hz 75W accepts balanced or unbalanced mic 2-track recorder playback inputs are on HPF Zin» 45K (AUX3) signals. At -128dbu EIN the mic to an external effects unit. unbalanced RCA phonos. MIX/R PEAK DIR.PRE INS. OUT RD amp is extremely quiet and Input Connectors Monitor Output and Mix Insert (+17dBu) (AUX4) (POST) FADER 75W GN PB/R transparent. The stereo inputs are SIG.PRESENT FS Available on balanced 1/4" jacks. (-20dBu) 44.1K connected via balanced 1/4" (AUX1) Line Input Mix Outputs and Mono Sum DIRECT SP/DIF MONO CHANNEL (ALL SIMILAR) OUTPUT (PRE) jack inputs delivering optimum (AUX2) A balanced 1/4" jack for connecting 75W MONO The main left and right mix outputs are PFL performance with other MON SUM balanced or unbalanced electronic RD provided on balanced XLR connectors with a (PFL) 75W instruments, such as keyboards. professional audio equipment. mono sum signal available on a balanced 1/4" AUX1 O/P (75R) LEFT/MONO Insert Stereo Returns jack. (AUX2 SIMILAR) For patching in Limiters, Graphic Stereo returns for effects AFL Playback Level Zin» 36K Equalisers or other signal processors are via RCA phono The playback gain control adjusts the level AFL inputs – these returns can also processors. It can also be from the 2-track playback inputs. This RIGHT d/c used for recording. be used with CD players and GAIN LF HF playback signal can be monitored separately FADER BALANCE AUX3 O/P (75R) other hi-fi equipment. EQ Gain by pressing the PFL button, which routes it to (AUX4 SIMILAR) A rotary gain control on EQ Section your monitoring system or to the headphones, BUS AMPS, ETC. Equalisation on the stereo each input alters the gain of replacing any existing monitoring signals. The MONITOR & METERS channel strip is simpler than the ‘PK’ the input signal, from +5 to ‘P/B Replace Mix’ button routes the playback AUX3 MON METERS EQ featured on the mono (MIX/L) +60dB. Linear circuitry signal directly to the main mix, replacing any RD (POST) L R +15 (PEAK) channels. There are two GN AUX4 +12 within the preamp delivers signal that may be present. MON +9 controls, adjusting HF signals at (POST) (MIX/R) +6 +3 smooth gain control over ‘SP’ dBv Mono Sum, Monitor & Phones Level AUX1 0 the entire gain range. 12kHz and LF signals at 60Hz -3 0dBv = Levels sent to the mono sum output, monitor (PRE) -6 +4dBu by ±15dB. STEREO CHANNEL (STE1 - STE4 SIMILAR) -9 AUX2 -12 Filter Section output and headphones can be adjusted using -15 Auxiliary Section (PRE) 0dB -30 A high pass filter with an these three rotary controls. And when a pair 10K MIN Zin » With 4 aux sends on the stereo 30K MAX MON STEREO 18dB per octave slope can of headphones are plugged into the phones (R1L) (PFL) H/PHONES input channels, the signal can be LEVEL R2L be used to reduce socket at the bottom right of the mixer, the L R3L sent pre-fade for use in a PB/L RD R4L frequencies below 100Hz. monitor outputs are cut for easier headphone PEAK R1R Ideal for reducing unwanted monitor mix (using aux sends 1 listening. Zin» 11K R2R R3R MUTE LEVEL STEREO RETURN H/P’s & 2) or sent post-fade (via aux R4R LEVEL stage rumble or popping PB/R (1- 4 SIMILAR) MON Auxiliary Masters ST. RET. MASTERS sends 3 & 4) for effects R (MIX/L) from microphones. Each aux bus features a NOTE : PB PFL IS INVERTED processing. 75W d/c EQ Section master level control, with PFL MIX 2 TK PLAYBACK BUSSES Equalisation is split into Bal, Muting, PFL & Direct an AFL (After Fade Listen) MON (MIX/R) three bands. The HF control Pre button enabling MON LEVEL provides 15dB of cut or The balance control adjusts the monitoring of each aux boost (gain adjustment) for amount of the signal sent to output. When pressed, the frequencies above 12kHz. the left and right busses. Mute AFL button routes the aux Two swept mid frequency and PFL buttons operate as on output to the monitor controls enable frequencies the mono input channels, ouputs or to the Frequency Response Aux and Mix Outputs (8 ch.routed, faders Input & Output Impedances from 240Hz to 6kHz to be cutting or soloing the stereo headphones, where it can Mic/Line Input to any Output, down, 22Hz - 22kHz, unweighted) < -84dBu Microphone Input ~2kΩ channel. With PFL pressed, the adjusted, offering 15dB of be monitored on the 20Hz - 20kHz +/-1dB Mono Channel Line Input >40kΩ cut or boost at the selected pre-fade signal is fed to the master stereo meters. Crosstalk Stereo Input (Stereo Mode) >30kΩ frequency. Signals below headphones, control room Faders and Metering T.H.D. Channel Mute Stereo Returns >10kΩ 60Hz can be adjusted with output and meters, with levels Controlling the overall <90dB 20Hz - 10kHz, <80dB 10kHz - 20kHz Mic Sensitivity -30dBu, Ω the LF control, which displayed on the left and right stereo mix level are two Fader Cut-Off (ref. Fader 0dB) Headphones Output ~40 features ±15dB of gain meters in mono to enable levels +20dBu @ all outputs <0.008% @ 1kHz Ω 100mm faders, with two <90dB 20Hz - 10kHz, <80dB 10kHz - 20kHz All Other Audio Outputs 75 adjustment (cut or boost). to be monitored without 12-segment 3-colour LED Noise interruption to the main mix. Routing Isolation Auxiliary Section peak-reading bargraph Mic Input EIN (maximum gain, Input & Output Levels For sending separate Faders and Metering meters monitoring the mix <90dB 20Hz - 10kHz, <80dB 10kHz - 20kHz measured 22Hz - 22kHz, unweighted) -128dBu monitor mixes in live Each stereo channel features a right and mix left outputs. Microphone Input Max. Level +12dBu applications, four aux smooth 100mm fader, a signal These meters normally Mono Channel Line Input Max. Level +38dBu busses, with two pre-fade LED to show whether a signal follow the current monitor Stereo Input Max. Level +21dBu and two post-fade aux is present and a peak level LED selection, so if any PFL or Headphones Output (into 200Ω) 150mW indicating signal levels in excess 335.4 sends on each input channel AFL is pressed, the meters M4 DIMENSIONS All Other Audio Outputs +21dBu into 10kΩ of +17dBu. cater for all requirements. will switch to monitor this 12.5 Pan, Muting, PFL & and the Solo AFL/PFL LED will light. 29.5 Filter Direct Pre 373.4 118.7 335.4 HP 100Hz, 18dB/octave The pan control positions 355.9 each channel’s signal across RETURNS CONTROLS CONNECTOR PANEL EQ the stereo image, with a HF 12kHz, +/-15dB mute button to cut the Gain Control MF 240Hz - 6kHz, +/-15dB signal completely. A PFL (Pre Positioned at the top of each stereo Fade Listen) button solos the channel strip, adjusts the gain LF 60Hz, +/-15dB 490.1 483.6 522.7 signal for monitoring. The for each stereo return, with a peak Fit into 11U Weight Direct Pre button selects the signal LED indicating when the 17.2 direct outputs to be pre- signal exceeds +17dBu. M4 6.75kg (14.8 lbs) fader. Return Master M8 8.25kg (18.1 lbs) Faders and Metering Adjusts the overall level of the M12 8.55kg (18.8 lbs) stereo returns in the main mix. 42.5 Each mono channel features 396.9 43.1 M8/12 DIMENSIONS a smooth 100mm fader, a Mute Button 118.0 signal LED to show whether When stereo returns are used to 444.6 a signal is present and a return a signal from an effects unit, peak level LED indicating the mute button offers a fast method 12.5 signal levels in excess of of comparing the signal with or +17dBu. without FX. 29.5

482.6 444.6 118.7 465.1 522.7 490.1 483.6 Fit into 11U

17.2

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LX77-BUS PROFESSIONAL MIXING CONSOLE

4-band EQ with two swept mid bands The Spirit LX7 combines the essential Soundcraft live mixer UltraMic+ preamp with up to qualities with basic recording-oriented features, in a True 7-bus architecture 66dB gain range compact 16, 24 or 32 channel frame that’s light enough for Much of the LX7’s flexibility comes one person to carry yet easy to configure and use. This from its true 7-bus architecture; makes it especially suitable for multi-purpose use in venues True 7-bus architecture almost unique in a price bracket where such as small halls and community centres, while its direct most designs offer only four or six channel outputs make the LX7 an ideal choice for bands Direct line outputs. Provided on main outputs. In contrast, the LX7 channels 1-16 (or 1-8 on the 16 who need a live desk that can also double up in the studio. Channel direct outputs boasts left and right main outputs, channel frame), these make it easy to four group outputs, plus a mono route channels to additional effects output suitable for uses such as a units, or more likely to a digital or centre speaker cluster, side or rear analogue multitrack for recording. And Talkback facility fills, induction loop, or mono mix to make sure you never run out of recording. inputs, as well as offering up to 32 mono input channels, the LX7 provides All mono input channels use the a further eight inputs on stereo Soundcraft UltraMic+ mic pre-amp, channels, plus a 2-track input for pre- ensuring that this most critical link of show music playback. the signal chain can tolerate a wide No-compromise design range of input levels from almost Because this is a Soundcraft design, all any mic or instrument source. this versatility doesn’t mean you get Soundcraft’s proprietary circuitry any less quality. The LX7 employs the means that distortion and noise same electronic design principles as levels remain exceptionally low, larger desks, and therefore delivers the no matter how much you need same quality and reliability. Inside the to ride levels during a LX7, surface mount technology is 100mm faders performance. +48V phantom employed throughout, allowing greater power can be switched in and out +48V phantom power component packing density and globally, with an LED indicator in the 16, 24 or 32 channel frame sizes ensuring outstanding reliability. master section. Up to 40 inputs (including stereo inputs On the outside, an all-metal jackfield MAIN FEATURES MAIN Classic British EQ and returns) ensures reliable connections at all The LX7’s 4-band EQ is designed to 18dB/octave high-pass filter times, while the mixer’s electronics allow quick, powerful corrective 6 aux sends, 4 of them pre/post and integral power supply are treatment to compensate for problems protected by a solid metal frame. switchable during a show – brightening up a Group and mix inserts slipping mic that’s sounding slightly

12-segment LED metering dull, or notching out a particular therefore a reassuring ‘feel’ to the EQ controls. More basic but even more Integral PSU frequency from a feedback-prone mic near a monitor speaker. Because EQ useful, a powerful 18dB/octave high- frequency bands are chosen with all pass filter lets you remove stage the benefit of rumble and other low-end mush years of in-house without using up a valuable EQ band. live experience, The LX7’s six auxiliary sends can be you get control used for monitor sends, effects, or just where you additional mix or tape outputs. need it. High- Auxes 1-4 can be switched quality circuit in pairs between pre- • Gigging bands design is fade operation, complemented by • Small installations preferred for custom pots that monitor mixing, • Small venues offer consistent and post-fade • Theatres resolution and operation for effect response, and Frame sizes available: • Houses of worship sends, while auxes 5 & 6 are always post-fade. Noise gates, • Live and studio recording limiters or other dynamics processors can be patched into all input channels LX7 uses full 100mm faders rather via insert points, and still more than the less-effective 60mm APPLICATIONS SEE PAGES 33 – 35 controls found on similar mixers flexibility is afforded by the LX7’s

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LX7CONTROLS & CONNECTIONS

MASTER SECTION LO EQ Connections 3 impedance-balanced XLR connectors cater MONO INPUT CHANNEL for the Mix and Mono Outputs, with a balanced XLR input allowing talkback Mic Input microphones to be connected. Two control A balanced XLR connector accepts STEREO INPUT SECTION room outputs for engineer monitoring are balanced or unbalanced mic signals. EQ Section Two stereo inputs allow stereo sources such as available on impedance balanced 1/4” jacks. Line Input LX7’s 4 band equaliser section has CD players, keyboards or samplers to be 2TRK Inputs The balanced 1/4” jack allows two swept mid frequencies carefully connected. Alternatively, they may be used as A pair of unbalanced -10dBv phono connection of balanced or unbalanced selected for optimum control during sophisticated effects returns. connectors labelled “2TRK” allow pre-show electronic instruments, such as live performances. All bands provide Connections music to be replayed. keyboards. 15dB of cut or boost. LO MID SWEEP EQ 2 balanced pairs of line inputs Phantom Power +48V Phantom Power The Low frequency shelving control allow the stereo inputs to be A global Phantom Power switch provides +48V Phantom Power is available operates at frequencies below 80Hz. accessed. Plugging in the left +48V for condenser microphones and active globally from the master section for The swept Lo Mid control operates jack only will feed a mono source DI boxes. The LED illuminates when Phantom condenser mics and active DI boxes. between 80Hz and 1.9kHz. to both paths. Power is active. Input Stage The swept Hi Mid control operates Input Gain control Talkback Section LX7’s exclusive UltraMic™ padless mic at frequencies between 550Hz A rotary control provides 22dBU Once connected, the engineer’s talkback mic preamp provides up to 22dBu input and 13kHz. of gain range to boost even the can be routed to either pair of groups or the capability with the input sensitivity The fixed High frequency shelving weakest line-level signals. mix. A rotary control governs talkback level. control operating between 0dB and filter operates at frequencies EQ Section above 13kHz. Stereo Returns -60dB on all mic inputs. The two band High and Low Two stereo returns are provided for use with HI MID SWEEP EQ HIgh Pass Filter EQ Switch frequency EQ section and effects units, or as simple stereo instrument A steep 18dB per Octave High Pass The EQ section can be bypassed provides 15dB of boost or cut at inputs. The rotary controls govern level and Filter is included straight after the using the EQ switch, allowing 12kHz and 80Hz respectively. are automatically routed to mix. preamp to reduce low frequency comparison of treated and untreated Auxiliary Control Control Room Section sounds without having to reset rumble on stage and clean up vocal The stereo inputs have access to The control room section allows the engineer controls. performances. either Auxes 1 and 2 or 3-4, by to monitor either the 2-track return, the Insert Auxiliary Sends toggling the “3-4” switch. Mono Bus, the Mix, or either pair of groups A pre-fade, pre-EQ (but post-HPF) 6 flexible auxiliary sends allow the Solo via the control room outputs or headphones. insert point is provided for patching choice of either monitor or effects Inputs can be soloed pre-fader, A headphone jack is provided for use with in Limiters, Graphic Equalisers or orientated mixes. Auxes 1-4 are post-EQ and routed direct to mix, or to the headphones with impedances of 200 Ohms or other signal processors. It may also normally post-fader, post-EQ but can group immediately below each input strip. A greater. Both the Control room and 2-track HI EQ be used for recording. be switched in pairs from each rotary control governs signal level. return levels can be altered using the Direct Outputs channel to be pre-fader, post-EQ. associated controls. It is also possible to Auxes 5 and 6 are always post-fader, A direct output is also available on replace the mix output signal with the 2-track post-EQ. In this way a maximum of 4 GROUP SECTION the first 16 channels with individual return by pressing “2 TRK TO MIX OUT”. This pre-fader foldback mixes or 6 post- pre/post fader switching situated in Group Outputs allows easy playing of pre-show music at a fader effects sends are possible. the EQ section. This allows LX7’s Each group has an impedance-balanced 1/4” single button press, without having to make direct outputs to be equally useful Level Control and Routing jack output connector, allowing long cable any alterations to the band’s settings. for effects send applications or Each input channel can be routed to runs on stage. Metering multitrack tape feeds. mix, the mono bus, and/or any of the Insert Points A 12-segment bargraph meter normally 4 groups in pairs. Pre-fade insert point are provided on each displays mix output levels, but switches to Pan Control group for the connection of Limiters, Graphic display group, mono output or 2-track levels Turning the pan control full left or Equalisers or other signal processors. when the appropriate control room selection right enables odd or even groups or Auxiliary Outputs is made. If any input or auxiliary master is the left or right mix bus to be soloed then the PFL/AFL LED illuminates, and There are 6 impedance-balanced jack outputs accessed individually. the master meters show PFL/AFL levels for the auxiliary outputs. Solo/PFL instead. Auxiliary Masters Each channel can be soloed pre-fader, Master Faders Six rotary controls govern auxiliary send level. post-EQ to check gain levels. Mix and Mono Output levels are governed by Each Auxiliary may be soloed after the fader. PFL LED custom-built 100mm long throw faders. The Group Metering The PFL indicator LED also doubles mix outputs may be routed to the mono bus Four 12-segment bargraph meters display as a PEAK indicator, illuminating 4dB should only a mono PA be required, or an group output levels. before clipping occurs to make the induction loop need to be fed. maximum headroom available. Group Faders PSU indicators 100mm Fader Custom-built 100mm long-throw linear faders The LEDS illuminate if LX7 is powered up, provide 10dB of extra gain above the “zero” Professional- grade 100mm faders showing the status of the +/-17v voltage rails mark, whilst still ensuring smooth operation. provide accurate, consistent control used within the console. Each pair of groups may be routed to mix. of audio levels.

CONNECTOR PANEL Power Supply LX7’s power supply is internal, activated by the Power On switch on the rear panel. Dust Cover To protect LX7 in an installed environment.

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LX7SPECIFICATIONS LIVE MIXER APPLICATIONS

On these pages, you will find some examples of Soundcraft Key to Noise Frequency Response Connections Measured RMS, 22Hz to 22kHz Bandwidth Mic/Line Input to any output, live mixers in use, showing Mono Inputs Auxes Line inputs selected at unity gain and 20Hz to 20kHz <1dB suggested ways of setting up The connections shown in these Ω terminated 150 THD+N and connecting equipment. applications have been colour- Stereo Inputs Outputs Mix Mic sens. –30dBu, +20dBu at coded to represent the colour scheme used on the controls of 24 inputs routed to mix, faders at all outputs @ 1kHz <0.006% Inserts

Monitor 2 all Soundcraft live consoles. unity, muted <–80dBU 164MM 22.0MM CMRR Spirit 8 Mix faders down <–100dBu (6.5") (0.87") 24 INPUT: 856MM (33.7") Live 4 Typical at max gain @ 1kHz >80dB 16 INPUT: 653MM (25.7") LX7 Aux Typical at any gain @ 50Hz >60dB

24 inputs routed, output at max, Notepad Input and Output Impedance 2 SX F1 input faders down <–80dBu FX16 Multitrack Recorder Ω FX8 Direct Outputs Mic Input 1.8k Line Input 10kΩ Input to Direct output at unity gain <–90dBu Ω Stereo Input 8.6k Guitar Amp Stereo Input (Unbalanced RCA Phono) 12kΩ Live Input to Direct output at 40dB gain <–80dBu Compressor/De-Esser Mic'd Mixing EIN Mix, Aux, Direct Out & Inserts 75Ω PACKED WEIGHT: 503MM 16ch = 18.2kg (40lbs) Vocal Mic Mic EIN @ max. gain -129dBuInput and Output levels (19.8") Vocal Mic 24ch = 21.8kg (48lbs) In the example Crosstalk (@1kHz) Mic Input max. level +22dBu FOH setup Line Input max. level +22dBu Fader attenuation >95dB Stereo Input max. level +21dBu shown here, any Aux attenuation >80dB 2 track return >30dBu Pan isolation >75dB of the Spirit Headphones (@200Ω) 150mW Adjacent Channel crosstalk >–80dB 10MM range of Channel Mute >90dB (0.4") Fader Cut-off (rel. 0 Mark) >90dB Soundcraft live Aux Sends Pots Offness >80dB Mic'd Drum Kit consoles may be 77MM 31MM (3") (1.2") used, though a monitor desk, such as the Spirit Monitor 2, is best used alongside a full- sized front-of- house desk House Mics providing the +48V MASTER PEAK main FOH mix. MIC/LINE 100Hz

AUX BUSSES MIX LEFT BUS MIX RIGHT BUS MONO BUS GROUP BUSSES GAIN PFL/AFL BUS INSERT FADER Keyboard MONITOR SELECT MIX PFL / ENABLE MIC EQ MIX LEFT LEFT INPUT 3

1 2 L L L L 2 3 1 2TRK TO To FOH MIX OUT MIX TO HIGH PASS EQ PRE AUX1 LINE MONO FILTER INSERT FADER Console INPUT MIX INSERT AUX2 MIX RIGHT RIGHT Cassette or CD Player for 2 PRE AUX3 3 MONITOR SELECT 1 Pre-Show / Interval Music

PRE AUX4 POST MONO Effects MONO MONO DIRECT AUX5 PRE OUT Tips 2 AUX6 L 3 Effects 2TRK 1 Delay DIRECT MONO MONITOR SELECT MUTE OUTPUT PRE 2 TRACK 2TRK FADER Stacks Positioning all stage R MONO MONO mics behind the FOH CH. 1 - 16 ONLY PAN MIX 1-2 3-4 +17V -17V speaker stacks will POST MIX L & R MIX POWER +48V

OR SELECT reduce the likelihood +48V DAT/Stereo Recorder MONO INPUTS GROUPS 1-2 1-2 of feedback.

MONIT GROUPS 3-4 3-4 Mute channels when GAIN L METER/ PFL/AFL Grp 1/2 on LX7 PFL / LEVEL Delay Stack Amp Main not in use to keep ENABLE PHONES the mix clean – but L HF & LF PA Left EQ Main CRM/PHONES remember to un- 1-2 (3-4)/ MIX PA AUX1 AUX2 C/RM L Mono Amp mute them when

HF & LF Right R PFL/AFL Main PA Amp they’re actually EQ 3-4 AUX 2 needed. Alternatively, STEREO 1 (STEREO 2 SIMILAR) AUX 4 C/RM R R METER/ AUX 1 PFL use noise gates on all ENABLE PFL/AFL AUX 3 mic channels, which STEREO INPUTS PFL/AFL Mono Amp for Centre Speaker Cluster will automatically GROUP 1(3) FADER GROUP 1(3) INSERT OUT shut out most of the L GROUP 1 (GROUP 3 SIMILAR) Drummer’s ‘Fill’ unwanted sound. RET-1 (RET-2) Stage Monitor Amp MONITOR SELECT R FADER GROUP 2(4) GROUP 2 (GROUP 4 SIMILAR) INSERT OUT

RET-1 (RET-2 SIMILAR) Stage Monitor Amp GROUP 2(4) STEREO RETURNS MIX

MIX L GAIN AUX In-Ear Monitors MIX 1-2 3-4 MIX R MIC INPUT 3 AFL 1 2

AUX 1 AUX 2

AUX 3 AUX1 MASTER TALKBACK AUX 4 (AUX2-6 SIMILAR)

AUX1 OUT ( 2-6 ) Graphic EQ across the mix

32 33 Live Brochure XP1 pgs 32_48.qxd 6/12/02 12:10 pm Page 34

LIVE MIXER APPLICATIONS Monitor 2 Monitor 2 M Series M Series Spirit 8 Spirit 8 Live 4 Houses of Live 4 Theatre LX7 Worship LX7 Sound 2 If a room acoustic is 2 When mute groups poor – probably as a are available, they are often best used on result of too much Induction Loop for the Hard of Hearing Wireless Mics reverberation and Main Mic sets of radio mics, ‘boominess’ in a space which can be brought – you will have fewer Vocal Mic up only when required Sampler for FX problems if you keep Centre Cluster for a scene. Lavalier Vocal Mic sound levels low. mics clipped on to Keyboard costumes are quite As a room fills up with likely to produce people, more sound Guitar unwanted sound, energy is absorbed, through Front Front FOH especially as actors especially at higher DI Box FOH Choir Mics Left Right Main PA Speakers move on and off frequencies, and you Amp stage. If you can, may want to raise experiment with volume levels. Amp Keyboard speaker positions for best results, as Amp theatre acoustics are Rear FOH Speakers often surprisingly Stereo Recorder Installed poor. Sound Amp Background To reduce costume Amp for Speakers noise, try mounting Induction Loop It is often necessary Stereo Graphic EQ Lavalier radio mics on to feed sound to hair lines or cheeks. several areas with Monitor 2 M Series different acoustic Spirit 8 Live 4 characteristics. Amp with Stage Monitor Graphic equalisers Graphic EQ across the mix patched into group 2 Wireless Mic insert points can Main PA Amp provide a valuable Outdoor Wireless Mic means of tailoring the event Presentation sound of each output. Though it’s always Sound levels in Monitor 2 Monitor 2 good practice to keep Video Screen presentations do not M Series Spirit 8 Spirit 8 Live 4 Live 4 your system as simple Audience Mics generally have to be LX7 LX7 as possible, this is all that high. especially true for 2 Nonetheless, you 2 outdoor events – should ensure that Main Mic there’s less to go VCR/DVD Player the speakers and wrong, less to go PC amplifiers used are CD/MD Player Mics on Podium or Stage missing, and fewer Rear Speakers adequate – bigger items to keep dry amps and speakers, CD/MD Player when it starts to rain. driven well within Speaker Zones Wireless/ Roving If you need more than their limits, will CD or MD Player Mics two main PA stacks, sound better at lower Amp you may need to delay volumes than small Main PA Speakers the signal going to the Amp amps and speakers CD/MD Player On Monitor 2, use Monitors 11 & 12 additional speaker that are trying a little to set both levels with a single fader Amp stacks – the delay Main FOH Amp too hard. time should be equal and Speakers Amp to the time that it Amp and Fill Speakers Amp takes sound from the Amp main speakers to reach the additional Amp stacks. Digital delays Extra Speakers can be patched into Amp Amp and Graphic EQ group outputs, or you Speakers in could take matrix or other areas e.g. foyer aux sends and feed them via a delay line.

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CHOOSING POWERED MIXERS POWERED MIXER FEATURES

Powered mixers fulfil a widespread need for simple, integrated tools that remove HOW TO CHOOSE A much of the hassle involved in POWERED MIXER setting up a sound system, POWERFUL EQUALISATION When choosing a powered mixer, the whether it be a permanent or most important question to consider is The stereo 7-band graphic EQ on Think about how many inputs and temporary installation. The how much sound level you need. The PowerStation mixers lets you outputs you need. Remember that as inclusion of amplification size of room is the most important compensate for a poor room acoustic, well as front of house (PA) speakers, means that you can plug factor – big rooms need more power – INTEGRAL POWER AMP and tailor the output of the mixer to you may need to drive on-stage speakers straight into the but there’s more to it than this. As a suit. Once this is set at the start of a monitor speakers, perhaps with an By including true professional power rule, folk duos need less volume than show, you can mixer, without worrying about external amplifier. This requires one or amps, with large power supplies, rock bands. And a noisy, young crowd then use the finding an external power more auxiliary outputs. Although you PowerStation and Powerpad mixers may call for more volume than a channel EQ to INTEGRAL PATCHBAY amp. But a live mixer will also should ensure that you have enough deliver clear, distortion-free sound quieter, older audience. Speaker adjust the The patchbay section on the often include additional inputs, bear in mind that it’s not even at high levels. The PowerStation sensitivity is also key: the higher the sound of each PowerStation series lets you change features that are usually always a good idea to amplify 600’s amp is conservatively rated at dB-per-watt rating, the less power is source. Fixed the standard audio path, increasing the performed by external everything. In a small room, for 300 watts RMS per side (into 4 required. Horn-loaded speakers tend high and low flexibility of the mixer by allowing you example, amplifying a drum kit may Ohms), while the PowerStation 1200’s processors – such as reverb to be more efficient than cone bands let you to use the mixer, graphic EQ and cause more problems than it solves. is rated at 600 watts per side. and delay processing, or gently roll off power amp sections separately. You speakers, but cheap horn speakers Advanced protection circuitry prevents graphic EQ. If you are working in theatre, do you troublesome could use the mix output to feed an tend to distort. Remember that there overheating, and protects both the are different ways of rating amplifiers, need to feed signals backstage to the parts of over- external amplifier rack, for example, to This integrated approach offers several mixer output stages and your speakers and that a peak rather than RMS (i.e. dressing room? If there’s no separate bright or bass-heavy signals, while a drive an even bigger PA. By patching a advantages. Most importantly, the from damage due to overload. Cooling average) power rating will make a low- sound booth, does the mixer have a swept mid band is ideal for tuning out second mixer into the power amp mixer and amplifier have been fans switch in only when output sound powered design seem more capable cooling fan that runs continuously, or frequencies that may cause feedback, inputs, you can easily accommodate a designed to complement each other levels exceed a certain level, when the than it really is. It’s also important to will it only cut in when required? Quiet or boosting a broader band to second band without having to reset electronically, so there’s no possibility amps run hotter and when the fan understand that poorly designed passages in a play might be disturbed enhance the character of an channels on the PowerStation for a of mismatching between mixer and noise is masked by the music. amplifiers will distort far more – and by a noisy fan. instrument or voice. different mix. Or, if you want to fine amp. When time is tight, setting up at lower volume settings – than well tune the sound of an effect return, for a club gig, having everything in one Good EQ and effective High Pass Designed by British EQ guru Graham designed ones. you could patch it through the graphic box can mean peace of mind. There Filters are often neglected by powered ON-BOARD EFFECTS Blyth, this channel EQ features EQ section. are fewer leads to unpack and mixer designers, but these can make Rather than use low-cost anonymous carefully chosen slope and frequency connect, and fewer boxes to set up, an enormous difference to the quality effects chips, PowerStation mixers characteristics that enable all three leaving more precious minutes to Compare the typical frequency ranges of and clarity of the sound. Make sure employ custom processors from bands to work effectively without different voices and instruments with the EQ that the EQ frequencies and slopes interfering with the other bands. soundcheck and prepare for a ranges found on Soundcraft powered mixers Lexicon, widely acknowledged as the performance. In a permanent (shown below) actually work on the type of sounds first name in digital installation, there are advantages – a you’ll be using, and that the HPFs, if effects. As well as the PIANO (7-8 OCTAVES) powered mixer is much more compact fitted, really do cut unwanted low convenience ensured by HIGH-PASS AND BASS SUBSONIC FILTERS than separate units, saving valuable BASS DRUM frequency stage noise without ruining built-in effects, a space. And if you’re setting up an BASS SAX the tonal quality of instruments further benefit is that As well as the high-pass filter found GUITAR installation from scratch, it’s easier to SNARE DRUM and vocals. by cutting out external across the Spirit range of live mixers, MALE VOICE PowerStation mixers feature an choose a well-designed powered mixer Because a powered mixer is usually cabling to and from the FEMALE VOICE additional subsonic filter across the than to pick out several separate boxes FOOTSTEPS chosen for applications where processor, there’s less main outputs. Fixed at 40Hz and with to perform the same task. convenience and ease of operation are chance to add noise or a steep 18dB/octave slope, this cuts important, it’s worth choosing one pick up interference. Mid EQ frequency is sweepable on out ultra-low frequencies that can with a clear control layout. Particularly On both the PowerStation mixers overload high-mid PA cabinets, when equipment may be used by non- PowerStation 600 and enabling you to work creatively on technical personnel, perhaps in 1200, the effects bass frequencies above this range. In community venues or houses of processors feature specially short, it gives you a clearer mix with worship, simple, clear controls are programmed versions of classic reverb, more control over the low-end. as valuable as a few extra bells delay and chorus effects, plus and whistles. combination effects such as reverb Finally, does the mixer offer enough plus delay. The 16 original presets are 0dB flexibility to cope with its likely future selected via a rotary pot, and the easy- applications? Immediate needs may be edit system lets you modify each -3dB 15dB of cut or boost is available at low, mid and filled by something simpler, but preset with a second pot. All your high frequencies, giving plenty of control just edits can be stored in memory, so you where it’s needed features such as extra auxiliary sends, or insert points, might give the mixer a can restore your custom effects longer practical life, enabling a sound without recreating settings from scratch. Lo EQ systemHi EQ to expand as more speakers are added, or dynamics or additional EQ processors acquired.

40Hz 100Hz 36 37 Live Brochure XP1 pgs 32_48.qxd 6/12/02 12:10 pm Page 38

POWERSTATIONPOWERED 1200 MIXING& 600 CONSOLES

16 mono input channels Both the PowerStation 1200 and 600 Power is nothing without control – something that Graham offer a well-balanced combination of 24 inputs Blyth and the Soundcraft design team understand very well. features for mixing live bands, or (including 2-track returns) Which is why PowerStation series mixers complement their driving a variety of installed or temporary sound systems: features integrated power amplifiers with enough signal routing and put one of the most powerful tools in control facilities to put many larger desks to shame. such as 8 or 16 mono inputs, flexible 2 x 600W power amplifier output routing, and integrated digital live mixing at your fingertips. It’s as effects. easy to tune out a troublesome frequency without affecting the rest of Input channels the mix as it is includes a stereo 7-band graphic EQ, Any comprehensively-equipped mixer to gently emphasise the character of allowing basic tonal correction to should be able to handle a wide variety CD-quality mixing with integrated an instrument or voice – the sign of compensate for poor room acoustics, of mono and stereo sources. All power amp great EQ. or to tailor the PowerStation’s output PowerStation mono inputs feature to match the characteristics of 2 stereo input channels This quality extends to the precision bullet-proof UltraMic™ preamps, particular speaker clusters. High quality UltraMic™ preamps capable of handling signal levels as power amplifiers. On both Last but not least, versatile output Built-in Lexicon effects processors high as +22dBu, yet delivering PowerStation models, large power options include a mono output for an exceptional CMRR and EIN supplies are provided, enabling the 7-band graphic EQ additional speaker cluster or foldback performance that keeps noise well integral amps to be driven hard 40Hz subsonic filter feed, and stereo RCA outputs for at bay. Stereo sources can be without compromising audio quality. recording. An integral patchbay lets Inserts on mono channels and mix outputs plugged into two stereo channels, or Internal cooling fans switch in only you modify the standard internal signal MAIN FEATURES MAIN into a simple RCA phono 2-track when needed, ensuring that quiet PFL solo on all channels routing, to feed an external stereo input, intended for line-level acoustic gigs aren’t spoiled by 3-band EQ with swept mid signal into the power amp, or through equipment such as CD or MD players. unnecessary fan noise. Advanced Integral patchbay the graphic EQ, or take the master Mono channels feature an insert point protection circuitry prevents output to an external amplifier. for dynamics or other processors, and overheating, and protects the output a high-pass filter to cut stage rumble. stages and speakers from overload Two aux sends, switchable to pre- or damage. Still further protection at the post-fade operation, allow routing to outputs is provided by a steep external effects or to on-stage 18dB/octave 40Hz subsonic filter, LEXICON EFFECTS monitors, and a third aux send is cutting out the almost inaudible ultra- Lexicon is widely acknowledged as 8 mono input channels provided for the internal effects low frequencies that can damage some the first name in digital effects, and section. All the main inputs are speakers and muddy clarity in the Lexicon reverbs take pride of place balanced, again ensuring that noise audible bass frequencies. This in turn in live and studio racks all over the 16 inputs and interference are kept to a allows overall levels to be raised while world. The Lexicon effects processors (including 2-track returns) minimum, while impedance-balanced keeping audio quality high. built into PowerStation mixers feature outputs allow long cable runs to be Quality effects specially programmed versions of used without compromising signal Whereas many powered mixers include classic reverb, delay and chorus 2 x 300W power amplifier quality. sub-standard digital effects, the effects, plus combination effects such The sound of great EQ PowerStation series uses a Lexicon as reverb plus delay. While it’s very The PowerStation EQ offers the classic processor with algorithms and easy- convenient to have effects built in to a ‘warm’ British sound that is a favourite edit controls created especially for the mixer, it also has another benefit as of Soundcraft users all around the 1200 and 600. That means that a pro- the signal stays in the console and world. But more than that, the slopes spec stereo digital effects processor therefore there’s no external cabling to and cutoff points of the high and low goes wherever your Powerstation add noise or pick up interference. bands, and carefully chosen goes, and it’s always wired up and Superb audio quality is matched by characteristics of the swept mid band ready to go. The master section also ease of use. The 16 original presets are selected via a rotary switch, and the easy-edit system lets you modify each preset very quickly. Lexicon Effects Table (Powerstation 1200 and 600) You can start from any of the 16

Medium PA Param 1 control Minimum Maximum Program Description Param 2 control Minimum Maximum presets and easily reach your Reverb decay 0.11 mSec 283 mSec 1 Gated Reverb Timbre 420Hz 19kHz required effect within a couple of Gigging bands Reverb time 0.25 Sec 6.5 Sec 2 Chorus + Reverb Speed OFF 16 glides button presses. Rehearsal rooms Delay time No delay 977 mSec 3 Chorus + Delay Speed OFF 16 glides Depth 0.34 mSec 5.8 mSec 4 Large Chorus Speed OFF 16 glides Presentations Reverb time 0.25 Sec 6.5 Sec 5 Plate Timbre 420Hz 19kHz Reverb time 0.25 Sec 6.5 Sec 6 Room Timbre 420Hz 19kHz Outdoor events Reverb time 0.25 Sec 6.5 Sec 7 Chamber Timbre 420Hz 19kHz Reverb time 0.25 Sec 6.5 Sec 8 Hall Timbre 420Hz 19kHz Delay time No delay 977 mSec 9 Delay + Bright Plate Reverb time 0.25 Sec 6.5 Sec Delay time No delay 977 mSec 10 Delay + Dark Plate Reverb time 0.25 Sec 6.5 Sec Delay time No delay 977 mSec 11 Echo + Plate Regeneration 0% 94% Delay time No delay 977 mSec 12 Delay + Bright Room Reverb time 0.25 Sec 6.5 Sec

APPLICATIONS SEE PAGES 17 - 21 Delay time No delay 977 mSec 13 Delay + Dark Room Reverb time 0.25 Sec 6.5 Sec Delay time No delay 977 mSec 14 Echo + Room Regeneration 0% 94% Delay time No delay 977 mSec 15 Delay + Mono Regen Regeneration 0% 94% 38 Delay time No delay 977 mSec 16 Delay + Stereo Regen Regeneration 0% 94% 39 Live Brochure XP1 pgs 32_48.qxd 6/12/02 12:11 pm Page 40

POWERSTATIONCONTROLS & CONNECTIONS POWERSTATION

THE POWER AMPLIFIER Both PowerStation models have the same features and Power Amp Level functions - the only differences between them are the This control sets the level of the integrated CONNECTOR PANEL stereo power amplifier. In normal operation number of mono inputs and the power output. this is normalled to the Graphic EQ outputs, but inserting plugs into the input jacks allows MONO INPUTS amplification of an external signal. Subsonic Filter Mic Inputs This 18dB per octave filter, across the Balanced XLR connectors accept balanced or amplifier inputs, cuts out frequencies below unbalanced mic signals. At -129dbU 40Hz. This helps avoid problems with bass- EIN, and with a gain range of 60dB, the heavy signals overloading the amp and inputs are extremely quiet and speaker cabinets, leaving more freedom to transparent. apply creative low-frequency EQ. Mono Line Inputs Loudspeaker Output Terminals Balanced 1/4" jacks for connecting MASTER SECTION For connecting PowerStation to a pair of PA balanced or unbalanced electronic Effects Master Fader cabs. The power amp output is available on instruments, such as keyboards. Controls the amount of signal from the standard speaker terminals, and Speakon Balanced inputs offer extra protection Lexicon effects section that is fed into the connections. against hum and noise in electrically main stereo mix. Power On/Off Switch hostile live environments, For powering up. STEREO INPUTS L&R Master Faders Inserts Control PowerStation’s final output level to Effects Controls Unbalanced insert points allow limiters, the main impedance-balanced mixer outputs. PowerStation Series’ custom-developed compressors and other processors to be Stereo Line Inputs Two balanced 1/4” jack 60mm faders with custom fader laws give Lexicon dual effects section provides a wide patched into the signal path – especially smooth, predictable response. array of studio-quality effects including useful for live vocals. stereo channels provide additional inputs for Aux 2 Pre Switch reverbs, choruses and delays. Several dual Gain Control keyboards, effect returns, or Switches Aux 2 from post to pre-fade, post- effects combinations such as delay and The custom design of the gain control other line level signals. EQ operation. reverb, and chorus and reverb - specially on the UltraMic™ preamp gives an even Accepts balanced and Effects to Aux 1 Control formulated for Live performance - are also spread of gain and a smooth response available. Each effect has two editable unbalanced signals. Can also Mixes the output of the Lexicon effects across its 60dB range. parameters which may be stored as user be used as additional mono section (summed mono) into the Aux 1 programs, so that favourite settings may be High Pass Filter inputs, by plugging into the sends, to give a ‘wet’ foldback mix on-stage. PFL Active A 100Hz/18dB/octave High Pass Filter left channel only. Illuminates when any PFL switch is pressed to retained. The table at left provides a Aux 1 Master is available pre-EQ to ‘clean up’ low Stereo Input Gain warn that the headphones and meters are description of the effects that are included. frequencies such as stage rumble or mic Sets the final level of the Aux 1 mix monitoring the PFL signal. Input Trim Control appearing at the impedance-balanced popping. Sets the input level to the Lexicon effects Matches the input level to a Aux 1 output. Record Output EQ Section Unbalanced phono outputs, at -10dBv, for section. A clip LED indicates overloading of wide range of pro, semi-pro, Aux 2 Master The HF control has cut or boost of up and hi-fi sources. recording the mix. the internal LEXICON effects. Sets the final level of the Aux 2 mix to 15dB at 12kHz and above, to add 3-Band EQ +48V Phantom Power Programme Select crispness or cut hiss or excessive appearing at the impedance-balanced Aux 2 3 fixed bands of EQ at Activates phantom power on each channel Allows 16 pre-programmed effect brilliance, while the 80Hz LF control can output. carefully chosen points individually when using condenser combinations, listed in the table, to be add real punch to bass drums. Swept Stereo Return provide fine control, with microphones or active DI boxes. selected. mid, from 250Hz to to 6kHz, offers Two unbalanced 1/4” jacks feed the main 15dB cut & boost available. Parameter Adjust even finer control over sound on the stereo mix via the Stereo Return control. Use Status Indicators HF is at 12kHz, Mid at When either the PARAM 1 or PARAM 2 mono channels. for returning signals from external Provide visual indication of mixer status. The 1kHz, and LF is at 80Hz. switches are held down the parameter adjust processors, or as an additional stereo input. green Power LED indicates that PowerStation Auxiliary Sends Balance is switched on. The orange Thermal LED encoder will alter the level of these two 3 Auxiliary Sends allow the choice of 2-Track Return Controls the relative level indicates that the power amp is running hot, effect parameters. Any alterations will be held either monitor or effects-orientated Two unbalanced phono inputs, feeding the between the left and right and the red Mute LED indicates that the in memory as soon as the PARAMETER switch mixes. Aux 1 is always pre-fader, post- main stereo mix via the 2Trk to Mix switch channels of the stereo input. amplifier output relays are open – this is released, with the User Mode LED EQ for monitoring. Aux 2 is normally and 2-Track Return control, are ideal for pre- happens if the protection circuits detect a indicating an alteration has been made to the post-fader, post-EQ for external effects, show music from a CD or tape player. Can power surge or DC problem. The relays factory preset. Each factory preset may be but are switchable to pre-fader, post-EQ also be used as extra effect returns or also open when mains power is switched restored by holding down the Parameter from the master section. instrument inputs. on or off. switches. LEX FX is post-fade, post-EQ and feeds 2-Trk PFL Solo Graphic EQ the Lexicon effects unit directly. Mix Inserts Pre-fade listen on the 2-track return allows For patching additional dynamics processors The stereo 7-band graphic allows subtle Pan Control music to be cued on headphones without or graphic EQs across the main mix bus, to control over the tone of the PA rig, to achieve Controls the position of the source in interrupting the main mix. help deal with feedback in a difficult venue. the best sound in any room. 6dB of cut or the stereo image. 2-Track to Mix Mono Output boost, with plenty of fader resolution, allows precise control. PFL Solo Routes the 2-Track Return to the stereo mix This summed left and right mix is useful for For checking levels and EQ settings in bus, allowing pre-show music to be played centre speaker fills, bass bins, delay stacks or Left & Right Bypass Switches each channel without affecting the mix. over the main PA speakers. simple mono PAs. Use these to bypass either channel, to Pressing the PFL switch feeds that Monitor level Rugged Steel Case compare the signal with and without the channel to the headphones and meters Sets the monitor level to the headphones. graphic EQ. in the master section. PowerStation is built to survive the knocks of Bargraph Meters life on the road, with a solid steel chassis to Power Amp and Graphic EQ Channel Fader 10-segment LED meters indicate levels in the protect the electronics. Connections (patchbay) Sets the channel level. PowerStation’s main stereo bus, or can check input channels Optional Rack Ears Quarter-inch balanced jack connectors let you 60mm channel faders ensure smooth, MONO when any PFL is switched in. route signals in and out of the master section, predictable response, with a full 100dB of To rackmount PowerStation 600. CHANNEL PowerStation 1200 is not rackmountable. graphic EQ and power amp, changing the attenuation. Normal operating position is normal signal routing to give additional at the ‘0’ mark, with an additional 10dB of flexibility. gain available.

STEREO CHANNEL

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POWERSTATIONSPECIFICATIONS POWERPAD COMPACT POWERED MIXER

THD Power Amplifier Power Output Ω Mic, Line or stereo input to Main Outputs, PowerStation 600 300W + 300W RMS into 4 2-channel 30W power amp built in +20dB at outputs, any input gain <0.009% 175W + 175W RMS into 8Ω PowerStation 1200 600W + 600W RMS into 4Ω The Powerpad may be the Crosstalk (@1kHz) 350W + 350W RMS into 8Ω smallest of the powered mixer Fader Attenuation: 100dB Aux Send Attenuation: 80dB Metering 10 inputs range, but it still has everything Stereo separation: 70dB 10-segment LED bargraph you need for professional Accuracy relative to 0dB ±1dB Two stereo inputs are provided for Noise mixing in widely varied sources such as stereo keyboards, and Measured RMS, 22Hz-22kHz bandwidth High-quality mic preamps with applications. CD or MD players – even turntables, Aux outputs: –83dBu phantom power Main outputs: –80dBu With its compact, lightweight thanks to switchable RIAA preamps on

EIN 600: 504MM (20"), frame, clear control layout, both channels. On both the mono and 438MM (17.2") SIDECHEEKS REMOVED Microphone Input, maximum gain, and integral power amp, stereo channels, an aux send is provided 184MM 1200: 736MM (29"), terminated 150R: –129dBu (7.3") 670MM (26.4") SIDECHEEKS REMOVED Powerpad is a true all-in-one for monitor or effects sends. Similarly, Max Gain to Main Outputs flexibility is found in the master output 4 mono mic/line inputs audio toolkit. Mic Input 74dB section, where the master jack outputs Line Input 54dB 2 stereo inputs with switchable RIAA Even on this smallest of Soundcraft are complemented by additional Stereo Input 32dB preamps for turntables designs, all four mono input channels Stereo Return & 2-track Return 12dB outputs on RCA phonos for stereo Amplifier clip and thermal protection can mic as well as line-level sources. recording. Maximum Input Levels PACKED WEIGHT: Rugged, lightweight design +48V phantom power is available to Mic Input +21dBu To ensure ease of use at all times, the 455MM 600 = 21.4kg (47.1lbs) power condenser mics, while the pro- Line Input >30dBu (18") custom designed controls give Stereo Input +26dBu 1200 = 29.6kg (65.1lbs) MAIN FEATURES spec mic preamp can deal comfortably consistent and accurate response, and Stereo Return & 2-track Return >30dBu with a wide range of signals, from useful resolution all the way around stage boxes to low-output dynamic Maximum Output Levels their travel. Any Output +22dBu mics. Low noise and distortion are ensured by Graham Blyth’s As on the larger PowerStation mixers, proprietary preamp circuits, the Powerpad’s on-board stereo 136MM bringing big-console audio quality amplifier has a highly rated power (5.3") to this truly desktop design. And supply, ensuring consistently high sound because we understand the quality even when driving speakers importance of corrective EQ, even hard. A clip protection LED indicates here you get a 2-band equaliser the onset of amplifier distortion, telling MONO INPUT CHANNEL MASTER SECTION EXTERNAL LEXICON FOOT you when to back the levels off, and CLIP circuit with carefully tailored EFFECTS SWITCH INPUT FADER PHANTOM TRIM frequencies and filter slopes. integral thermal protection helps to POWER LEFT BUS RIGHT BUS AUX 1 BUS AUX 2 PRE BUS AUX 2 POST BUS PFL LEX FX DIGITAL EFFEC TS PROCESSOR prevent damage to amps and speakers. GAIN 100Hz EQ AUX 2 HIGH PASS LEVEL AUX 2

MIC FADER PAN LEXICON INPUT AUX 2 3 EFFECTS PRE TO AUX 1

2 L L 1 AUX 1 LEVEL AUX 1 MONO INPUT STEREO INPUT LINE AUX 1 INPUT PRE Mic Connectors MIX INSERT FADER MIX PACKED WEIGHT: Connect a microphone to this Two RCA/phono jacks allow LEX FX LEFT LEFT 4.96kg (10.9lbs) balanced XLR input. the connection of stereo REC. sources such as keyboards, INSERT O/P L Line POST drum machines, CD or MONO/SUB A balanced 1/4” jack input for AUX 2 TO cassette players, effects PRE MIX MONITOR INSERT connecting keyboards or other RIGHT CONTROLS & units or turntables. PFL electronic instruments.

REC. MIX Instrument/RIAA RIGHT Gain O/P R CONNECTORS STEREO INPUT CHANNEL Use this control to set the input level When this switch is in the 2TRK “up” position, instruments, TO M IX 2TRACK LEFT RIGHT of the microphone or instrument. Gain GAIN EQ RETURN BYPASS BYPASS LEFT CD players, tape machines, GRAPHIC EQ ranges from -5 to +55dB, allowing INPUT LEFT DAT players etc can be BALANCE FADER matching of signals from the most sensitive microphones to the weakest- connected. When using STEREO LEFT 2TRACK turntables, press the switch (MONO) RETURN output keyboards. RIGHT GRAPHIC EQ down. INPUT RIGHT High Frequency Control (12kHz) Applications: Gain STEREO Ideal for bringing lead instruments out STEREO RETURN Sets the input level of the RIGHT LEFT of the mix, improving the clarity of GRAPHIC EQ Small PA sound sources. 22dBU of PFL OUTPUT LEFT speech, or cleaning up mushy sounds. AUX 1 Gain Range is available. PRE Rehearsal Rooms Low Frequency Control (80Hz) STEREO Balance LEX FX RETURN This EQ control adds extra warmth RIGHT GRAPHIC EQ Sets the relative volumes of OUTPUT RIGHT Presentations and punch to bass lines, kick drums or the left and right sides of PHANTOM voices. POWER POST Multimedia the stereo sound source. AUX 2 POWER AMP 40Hz Aux(Post) PRE OUTPUT LEVEL FILTER POWER AMP +48V INPUT LEFT Determines the effects level in each Outdoor Events input channel. It is set “post fader” so PFL Houses of Worship that the effects level remains constant POWER AMP no matter how high the input volume. INPUT RIGHT Pan LEFT METER MASTER SECTION MIX O/P L&R Positions the sound source left or

MONITOR APPLICATIONS LEVEL SEE PAGES 17 - 21 right in the stereo master mix. POWER AMP POWER AMP OUTPUT LEFT OUTPUT RIGHT Level

PHONES Mixes and sets the relative levels of PFL ACTIVE sound sources.

RIGHT METER PFL ENABLE

SPECIFICATIONS AND BLOCK DIAGRAM – OVERLEAF 42 43 Live Brochure XP1 pgs 32_48.qxd 6/12/02 12:11 pm Page 44

POWERPADSPECIFICATIONS POWERED MIXER APPLICATIONS

On these pages, you will find Key to Typical specifications @ 1kHz FX Ret Level some examples of Soundcraft Sets the level of the Connections Noise signal returning from powered mixers in use, Mono Inputs Auxes 22Hz-22kHz, channel faders down an effects unit. showing suggested ways of The connections shown in these Loudspeaker output (rel. to full output) MASTER SECTION Tape Level setting up and connecting applications have been colour- Stereo Inputs Outputs Master faders up <-98dBr Sets the playback coded to represent the colour Master Mix (Out) level of a tape Master faders down <-103dBr Impedance-balanced 1/4" jacks take the equipment. scheme used on the controls of machine or mastering Inserts combined “mix” of all sound sources out from device. PowerStation and Powerpad. EIN Powerpad to a stereo mastering device such Metering 150Ω source impedance -128.5dBu as a tape machine for recording the mix. If extra audio power is required at a live Normal operating Output -84dBu performance, these outputs may be levels are indicated by Aux Out (Inputs down) -80dBu connected to an additional amp and pair of the AVG LEDs. The PK LEDs light to warn Mix, masters at max. -80dBu PA speakers. PowerStation that overload is FX Returns (In) imminent. Powerpad Crosstalk Connect the outputs of an effects unit to this Master Mix/Tape Fader Cut-off (rel 0 mark) >90dB pair of 1/4" jacks. When using a mono effect, connect the left jack only. When this switch is up Aux Send >90dB the master mix may Pan Isolation >75dB Aux (Out) be heard. Press the

Connect this 1/4" jack to the input of an switch down to hear Notepad SX F1

effects unit. FX16

Frequency Response the Tape Inputs. FX8 20Hz – 20kHz rel. 1kHz, Headphones Master Mix Volume This connector allows the use of headphones Line In to Master Mix -1dB When recording, this of 200 Ohms or higher impedance. When rotary control Live THD+N headphones are connected, the Monitor Amp determines the level Mixing output is muted to prevent feedback. of the signal going to Mic sens. -30dBu, Vocal Mic +14dBu at output <0.005% Thermal the stereo master. In a Vocal Mic Mic'd Drum Kit PowerStation is This LED lights to warn that Powerpad’s live situation, it Inputs amplifier is overheating. If the amplifier determines the level a surprisingly becomes too hot, it will automatically cut out. Mic Input going to the main P.A. speakers capable live Clip Protect Monitor Amp / HeadPhones Volume Input Impedance 1.8kΩ mixer, and even This LED flashes to warn when Powerpad’s Sets the volume of both the Monitor amp and Guitar Amp Max. Input +14dBu amplifier is overloading, i.e. when the input headphone outputs. Mic'd Powerpad has Max. Mic Gain to output 68dB signal(s) are too high. Power Amp Outputs remarkable Power Amp Mix/Mon Line Input Two 1/4" jacks allow Powerpad’s 30W x 2 With the Power Amp switch up, Powerpad’s amplifier to be connected to a pair of speakers. abilities hidden Ω Input Impedance 20k amplifier derives its signal from the master On/Off Switch in its diminuitive Max. Input >+30dBu mix. When down, this switch sends the To power-up Powerpad. Max. Mic gain to output +68dB monitor/headphone signal to the amplifier. dimensions. Mains Connector Tape (In) Keyboard In addition to Stereo Input These two RCA/phono connectors are for Input Impedance 20kΩ stereo tape machines, DAT recorders, CD giving you full Output players, the outputs of computer sound cards control – or any other line-level stereo signal. Use for Max. Output (typical) +21dBu Cassette and/or including EQ – playing back masters when recording, or pre- CD Player for event music in a live situation. Connectors Pre-Show / Main PA Main PA of all mics and 48V Phantom Power Interval Music Left Right instruments, the Mic (Bal or unbal) XLR Pressing this switch supplies power to Line/Instrument condenser microphones, avoiding the need for performance can (Bal or unbal) Jack* batteries. be recorded in Stereo Input, Tape In (Unbal), Power On DAT/Stereo stereo for Monitor Amp Out RCA Phono Indicates when Powerpad is powered up. Recorder FX Return (Bal or unbal) Jack* posterity. Master Mix Out Impedance-Balanced Jack* The Line inputs FX Send Impedance-Balanced Jack*

S

US

B POWER ON 48V

BU of an external

BUS

T MASTER Headphone Stereo Jack* +48V ➚➚ ➚➚

GAIN HIGH LOW IGH

LEFT R AUX SECTION power amplifier +48V MIC PAN Effects INPUT * All Jacks are 3-pole TRS 'A' gauge 3 LEVEL AUX can be fed from 1 2 FX RET Rear PA Amp the Mix Outs if Amplifier LEVEL FX RETURN (IN) LEFT (MONO) Power Output LINE INPUT more power is

(RMS Per channel, 1kHz into 4 Ohms)>30 watts FX RETURN (IN) needed. AUX RIGHT THD=N (30kHz Bandwidth) (POST) Ω 30 watts, 1kHz into 4 <1% MASTER MASTER MIX 20 watts, 1kHz into 4Ω <0.01% MONO INPUTS 1 - 4 (OUT) LEFT Mono Amp for Centre 20 watts, 20kHz into 4Ω Speaker Cluster

(measured via FX return) <0.1% MASTER MIX (OUT) RIGHT Rear PA Speakers

Frequency Response INSTRUMENT/ TAPE LEVEL GAIN RIAA LEFT Mono Amp 20Hz-20kHz -1dB STEREO STE-A TAPE (IN) (B SIMILAR) BAL LEVEL RIGHT Stage Monitor Amp Protection LEFT RIAA MASTER MIX / AUX TAPE (POST) Turn on muting >1 sec MONITOR AMP / Turn off muting Instant HEADPHONES Stage Monitor Amp DC Offset muting >0.7v RIGHT RIAA HEADPHONES Fan control speeds up when heatsink gets hotter than 65ºC ➚➚ ➚➚ External Graphic EQ PK LEFT PK RIGHT ➚➚ ➚➚ AVG AVG Dimensions MIX / MON 102H x 248W x 237D mm [4.0" x 9.8" x 9.3"] STEREO INPUTS A & B LEFT OUTPUT ➚➚ CLIP PROTECT ➚➚ THERMAL RIGHT OUTPUT

44 45 Live Brochure XP1 pgs 32_48.qxd 6/12/02 12:11 pm Page 46

POWERED MIXER APPLICATIONS PowerStation PowerStation Powerpad Powerpad

Outdoor event

Wireless Mic If you keep the setup simple, there’s less to go wrong, less Mics on Podium or Stage to go missing, and fewer Presentation items to keep dry when it starts to rain. The built-in amplifiers of Wireless Mic PowerStation and Powerpad Wireless microphones are ideal will normally be more than Video Screen for outdoor events but Wireless/ Audience PowerStation's balanced mic adequate for most Roving Mics inputs allow longer cable runs presentations. Mics using good quality For larger audiences, the Mix conventional mics without CD/MD Player Out of Powerpad may be used Main PA running the risk of Speakers to feed an external amplifier VCR/DVD Player interference from external and speakers. PC sources such as mains cables. If onboard amplifier power is Amp insufficient, both Main FOH Speakers PowerStation and Powerpad allow external amplifiers to be Extra Speakers connected. By using the Mix CD or MD Player Outs, full control remains at the mixer. Soundcraft Mixing Guides

To get the most out of your Amp and Fill Speaker(s) Power Supply Unit Soundcraft mixer, we’ve Specifications produced these definitive guides that tell you just Amp DCP125 CPS150 DCP200 CPS450 about everything Part Nº RW8005 RW8000 RW8006 RW1368 you’ll ever need Rear Speakers to know. Spirit 8 16 ch • 24 ch • The Guides are 32ch • full of tips on PowerStation 40ch • choosing Powerpad Monitor 2 24 ch • equipment, 32ch • setting up and 40ch • using sound 2 equipment and Installed Sound Live 4 12ch • 16 ch • example Main Mic applications. PowerStation and Powerpad 24 ch • mixers are ideal for small 32ch • To obtain your installations where music – 40ch • free copies, either foreground or CD/MD Player Rackmount as standard • please contact the background – is required, Rackmount kit available RW5516 RW1255 RW8010 address shown on such as in bars, restaurants CD/MD Player Packed Weight 4.2kg 5.2kg 7.8kg 13.2kg the back cover. and shops. Speaker Zones Height 85 mm 85mm 85mm 89mm (2u) Width at front 185 mm 287mm 375mm 483mm (19") PowerStation models have Width at rear 185 mm 287 mm 375mm 424 mm so many inputs and so much Depth 210mm 190mm 180mm 305mm control that they can also Power from mains 99W 100W 175W 400W double as PAs for visiting live musicians. Amp LX7, M Series and all powered mixers do not need external power supplies.

Amp

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