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EFX ZM0356-02.pmd

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1. THE 60 SECOND GUIDE To get you working as fast as possible this manual begins with a 60 second guide Here you can find quick information on any feature of the console 1 MIC INPUT XLR 2 LINE INPUT Jack 3 INSERT POINT 7 Jack 4 GAIN CONTROL 5 EQ STAGE 6 AUX 1 SEND 7 FX SEND 8 PAN CONTROL 9 MUTE SWITCH Connect Microphones here If you are using a condenser mic ensure phan tom power is supplied by pressing the switch at the top of the master sec tion WARNING Do Not apply Phantom Power before connecting a microphone Connect Line level sources here e g Synth Drum Machine DI etc Connect Signal processors here e g Compressor Gate etc Adjust this to increase or decrease the level of the incoming signal Adjust these controls to change the signal tone the character of the signal Adjust this control to change the level of the signal to an artist s monitors headphones in ear stage monitors Aux 1 is globally switchable pre post fade This control sets the level of the post fade signal being sent to the FX bus from there it is routed to the FX processor Use this control to position the signal within the stereo field When this is pressed you will hear no signal from the channel post mute signals 10 PFL When pressed the signal will appear on the monitor and headphone outputs use this to monitor the post EQ signal from the channel 11 PEAK LED This is used
2. Screen 4 Gain This knob sets how much of the source signal is sent to the rest of the mixer Too high and the signal will distort as it overloads the channel Too low and the level of 15 background hiss will be more noticeable and you not be able to get enough signal level to the output of the mixer Note that some sound equipment particularly that intended for domes tic use operates at a lower level 10dBV than professional equipment and will therefore need a higher gain setting to give the same output level See Initial Setup on page 31 to learn how to set GAIN correctly 5 Equaliser The Equaliser EQ allows fine manipulation of the sound particularly to improve the sound in live PA applications where the original signal is often far from ideal and where slight boosting or cutting of particular voice frequencies can really make a difference to clarity There are three sections giving the sort of control usually only found on much larger mix ers The EQ knobs can have a dramatic effect so use them sparingly and listen carefully as you change any settings so that you get to know how they affect the sound HF EQ Turn to the right to boost high treble frequencies above 12kHz by up to 1503 adding crispness to cymbals vocals and electronic instruments Turn to the left to cut by up to 15dB reducing hiss or excessive sibilance which can occur with certain types of mi
3. SLEEVE TIP SLEEVE TIP e SLEEVE RING TIP _ B UL SLEEVE RING TIP P SLEEVE TIP n gt SLEEVE Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Ring Sleeve Tip Sleeve Tip Ring O Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Left Sleeve Tip Right Sleeve 1 2 Left 3 1 2 Right 3 Tip Ring Sleeve Tip Ring Sleeve Tip Sleeve Tip Sleeve Centre Screen Centre Screen 39 You may freely copy these pages and use them to record the settings MARK UP SHEETS used for particular applications gigs HETA 8 vi KO CE uo KO e e LINE LINE LINE LINE LINE LINE LINE 15 LINE 15 LINE 15 LINE 15 LINE 15 LINE 15 LINE 15 LINE 15 0081 17 0081 AXE O O o O o
4. maximum gain 127dBu 1500 source Aux Mix and Masters 008 faders lt 85dBu Crosstalk 1kHz Channel Mute uuu nu eed id doc 96dB 7 0660600061710108100 444 4 gt 9603 Aux Send Pots Offrigss 1 2 dn 86dB EQ Mono inputs H asena len 84444 12012 15dB ME 5 2 150Hz 3 5kHz 15dB P 80Hz 15dB o m 1 5 EQ Stereo inputs Lr NUR 12kHz 15dB may maqan e Q 720Hz 15dB LP M o S 80Hz 15dB Power Less than 35W Operating Conditions Terriperat re Ran g 5 C to 40 C Input amp Output Levels MIG TR D 15dBu max EIS aed eT 30dBu max Stered 30dBu enc 20dBu max Headpbhones 1500 uu 300mW Input amp Output Impedances MIGWIIDULD S T 2 9 1002 Stereo Int 12 iste Lec 65kQ stereo 35062 mono D 150k balanced 75kQ unbalanced E
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6. Repeat this procedure on other channels as required As more channels are added to the mix the meters may move into the red section Adjust the overall level using the Master Faders if necessary Listen carefully for the characteristic sound of feedback If you cannot 31 32 achieve satisfactory input level setting without feedback check microphone and speaker placement and repeat the exercise If feedback persists it may be necessary to use a Graphic Equaliser to reduce the system response at particular resonant frequencies Note The initial settings should only be regarded as a starting point for your mix It is important to remember that many factors affect the sound dur ing a live performance for instance the size of the audience You are now ready to start building the mix and this should be done progressively listening carefully for each component in the mix and watch ing the meters for any hint of overload If this occurs back off the appro priate Channel Fader slightly until the level is out of the red segments or adjust the Master Faders Remember that the mixer is a mixer not an amplifier Increasing the overall level is the job of the amplifier and if it is impossible to provide adequate level it is probable that the amplifier is too small for the appli cation Choose your amplifier carefully and do not try to compensate for lack of power by using the mixer to increase output level Note
7. 2 2 O o Vio of 1 FX 1 FX 1 Pd Pd Pd Nio Nio Nio Nio o o o 1 0 PAN X 0 PAN x 0 PAN 0 PAN N 0 PAN X 0 PAN X 0 PAN x 0 PAN N O N M O N N O 17 O 17 N O 17 N N 14 17 4 17 10 10 20 30 10 10 20 30 10 20 30 10 10 20 30 10 10 20 30 10 20 30 10 20 30 10 10 20 30 40 FOOTSWITCH PHANTOM POWER 0000 LINE 15 LINE 15 LINE 15 LINE 15 PFL ACTIVE 24 BIT DIGITAL Soundcraft FXON 1191 11 2 1 is 15 12 13 14 PROGRAM SELECT STORE TAP TEMPO PEAK PEAK
8. 271 0 1 2114 TANNVHO ONON i xnv i T Bud i J aps ALE lt uz f APOL 4H 41 1 ONIN 3NI1 0 j 4 lt o LNIOd LUSSNI IVNOIS 2 1 o yz uz 34 15091 xnv IW 1 1 r xnv v XNV alo LAdLNO xnv x curagz H3MOd WOINVHd 8 ro ig sz Ea Ceas x lt a 52 lt MONO INPUT CHANNEL 1 Mic Input The MIC input accepts XLR type connectors and is designed to suit a wide range of BALANCED or UNBALANCED signals Professional dynamic condenser or ribbon mics are best because these will be LOW IMPEDANCE You can use low cost HIGH IMPEDANCE mics but the level of background noise will be higher If you turn the PHANTOM POWER on top right hand side of the mixer the socket provides a suit able powering voltage for professional condenser mics ONLY connect condenser microphones with the 48V powering OFF and ONLY turn the 48V powering on or off with all output faders DOWN to prevent damage to the mixer or external devices TAKE CARE when using unbalanced sources which may be damaged by the phan tom power voltage on pins 2 amp 3 of the XLR connector Unplug any mics if you want to use the LINE Input The input level is set using the GAIN knob 2 Line I
9. Soundcraft 5 Soundcraft 4 User Guide IMPORTANT Please read this manual carefully before using your mixer for the first time This equipment complies with the EMC directive 89 336 EEC Modified by 92 31 EEC 93 68 EEC 91 263 EEC and LVD 73 23 EEC modified by 93 68 EEC This product is approved to safety standards IEC 60065 2001 EN60065 2002 UL6500 7th Edition 2003 CAN CSA E60065 03 And EMC standards EN55103 1 1996 E2 EN55103 2 1996 E2 For further details contact Harman International Industries Ltd Cranborne House Cranborne Road Potters Bar Hertfordshire 3JN UK Tel 44 1707 665000 Fax 44 1707 660742 email info8Gsoundcraft com Harman International Industries Ltd 2007 All rights reserved Parts of the design of this product may be protected by worldwide patents Part No ZM0356 02 Soundcraft is a trading division of Harman International Industries Ltd Informa tion in this manual is subject to change without notice and does not represent a commitment on the part of the vendor Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual No part of this manual may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic electrical mechanical optical chemical including photocopying and recording for any p
10. GRAPHIC EQ x 2 CASSETTE OR DAT MACHINE APPLICATION 2 MULTISPEAKER APPLICATIONS This configuration demonstrates how multiple speaker configurations can be driven by the EFX EE li ogee EZ 7 X 20000 2 E ie 0 0 0 0 oo HEADPHONES gt 150 Ohms MONITOR FILL MAIN PALEFT AND RIGHT a r AMPLIFIER AMPLIFIER Miam 2225 rai BER ennn EM GRAPHIC EQ GRAPHIC EQ GRAPHIC EQ INSTRUMENT AND gt 61618616166 VOCAL SOURCES 2 7676 19 7 o COMPRESSORILIMITER En 10000 gt 0000 lt lt gt COMPRESSORILIMITER 33 APPLICATION PLACES OF WORSHIP This configuration uses the FX OUT BUS output to drive an induction loop for the hearing impaired it is assumed that the FX processor isn t being used in this configuration Aux 1 output is used to generate foldback monitoring for the speaker singer The main outputs are used to drive the main speaker system The record and playback connections are used to pass audio to and from a DAT machine or Cassette Recorder INDUCTION LOOP INDUCTION LOOP AMP OO wr ooo AMPLIFIE
11. PEAK PEAK 10 10 30 10 20 30 10 10 20 30 10 20 30 20 30 10 10 10 10 10 10 10 41 FITTING OPTIONAL RACKMOUNT EARS Attach rack ears to sides of mixer at points Ca with the screws provided 8 The part numbers for the kits are RW5745 RACK MOUNTING KIT EFX8 RW5746 RACK MOUNTING KIT EFX12 Note a rack extender is included in the EFX8 rack mounting kit to make the console fit into a 19 frame see the fitting instructions below G D Attach captive rack nuts at points CA Attach rack bolts through points and into fitted rack nuts at points Tighten securely D The console can now be fitted to a standard 19 rack Note the extender can be fitted to the left or right hand side as required rack bolt U extender captive rack nut 42 EFX TYPICAL SPECIFICATIONS Frequency Response Line Input to any Output 1 5dB 20Hz 20kHz T H D Mic Sensitivity 3OdBu 14dBu Mix output lt 0 0296 10017 Noise Mic Input
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13. These two inputs can be used to connect line level stereo inputs from key boards sound modules samplers computer based audio cards etc These inputs pass through a normal channel strip with EQ Auxes and a Balance control 23 2 TRACK INPUTS RCA Phono Here you can connect the playback from your recording device 24 2 TRACK CONTROLS Use these to control the 2 Track signal The MONITOR switch sends the signal to the monitor outputs and phones whilst the TO MIX switch sends it to the main mix 25 RECORD OUTPUTS RCA Phono You can connect these to the inputs of your recording device 26 PHANTOM POWER Press this to switch the phantom power 48V on for condenser microphones WARNING Do Not apply Phantom Power before connecting a microphone 27 HEADPHONES Jack Plug your headphones into this socket Recommended headphones imped ance is 150 ohms or greater 28 STEREO RETURN INPUTS This pair of inputs accept 3 pole gauge TRS jacks Use these inputs for sources such as keyboards drum machines synths or CDs The inputs are BALANCED Mono sources may be used by plugging into the left jack only 29 STEREO RETURN CONTROL This control sets the level of signal routed to the main mix busses There is an associated PK LED to warn of signals which are too high 30 FX BUS OUTPUT This output carries the signal from the FX bus It could be used as a second Aux Output if desired if the FX Processor is not needed at the time The FX sends on
14. no persons other than authorised representatives of Soundcraft or the Dealer have effected any replacement of parts maintenance adjustments or repairs to the Equipment and d the End User has used the Equipment only for such purposes as Soundcraft recommends with only such operating supplies as meet Soundcraft s specifications and otherwise in all respects in accordance with Soundcraft s recommendations Defects arising as a result of the following are not covered by this Warranty faulty or negligent handling chemical or electro chemical or electrical influences accidental damage Acts of God neglect deficiency in electrical power air conditioning or humidity control The benefit of this Warranty may not be assigned by the End User End Users who are consumers should note their rights under this Warranty are in addition to and do not affect any other rights to which they may be entitled against the seller of the Equipment
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16. 3mvA zisnrav aoNvs amvA 30 0 30 USING YOUR EFX CONSOLE The final output from your sound system can only ever be as good as the weak est link in the chain and especially important is the quality of the source signal because this is the starting point of the chain Just as you need to become familiar with the control functions of your mixer so you must recognise the importance of correct choice of inputs microphone placement and input chan nel settings However no amount of careful setting up can take account of the spontaneity and unpredictability of live performance The mixer must be set up to provide spare control range to compensate for changing microphone posi tion and the absorption effect of a large audience different acoustic character istics from soundcheck to show MICROPHONE PLACEMENT Careful microphone placement and the choice of a suitable type of micro 9 phone for the job is one of the essentials of successful sound reinforcement The diagrams on the left show the different pick up patterns for the most com mon types of microphone Cardioid microphones are most sensitive to sound coming from in front and hypercardioid microphones offer even greater directivity with a small amount of pickup behind the microphone These types are ideal for recording vocalists or instruments where rejection of unwanted sounds and elimination of feedback is important The aim should be to place the mi
17. Arena reverb are long secondary reflection times and a reduced amount of high frequency content Arena is a mostly mid and low frequency dominant reverb and is an ideal selection for special effect type applications that require extremely long reverb times It is not a good choice for a very busy mix since it can reduce intelligibility Spring Reverb A Spring reverb is created by a pair of piezoelectric crystals one acting as a speaker and the other acting as a microphone connected by a simple set of springs The characteristic boing of a spring is an important component of many classic rock and rockabilly guitar sounds REVERB CONTROLS Pre Delay Creates an additional time delay between the source signal and the onset of reverberation This control is not intended to precisely mimic the time delays in natural spaces as the build up of reverberation is gradual and the initial time gap is usually relatively short For the most natural effect the Pre Delay values should be set in the range of 10 25 milliseconds However if a mix is very busy or overly cluttered increasing the Pre Delay time may help clarify it and set each instrument apart from each other Decay Controls the amount of time the reverb can be heard Higher settings increase reverberation times which are usually associated with larger acoustical environments but can decrease intelligibility Lower settings shorten reverb times and should be used when a smalle
18. Gain Headroom monitor the sounds they are producing The variation in gain of a device with frequency The amount of amplication in level of the signal The available signal range above the nominal level before clipping occurs Impedance balancing A technique used on unbalanced outputs to minimise the effect of hum and interfer Insert Pan pot Peaking Peak LED PFL Phase Polarity Post fade Pre fade 36 ence when connecting to external balanced inputs A break point in the signal path to allow the connection of external devices for in stance signal processors or other mixers at line level signals Nominal levels can be anywhere between OdBu to 6dBu usually coming from a low impedance source Abbreviation of panorama controls the levels sent to left and right outputs The point at which a signal rises to its maximum instantaneous level before falling back down again It can also describe an equaliser response curve affecting only a band of frequencies like on a graphic equaliser peaking at the centre of that band A visual indication of the signal peaking just before the onset of clipping which will distort the signal Pre fade listen a function that allows the operator to monitor the pre fade signal in a channel independently of the main mix A term used to describe the relationship of two audio signals In phase signals rein force each other out of phase signals result in cancellation Phase
19. amp OE Soundcraft reserves the right to change specifications without notice WARRANTY 44 Soundcraft is a trading division of Harman International Industries Ltd End User means the person who first puts the equipment into regular operation Dealer means the person other than Soundcraft if any from whom the End User purchased the Equipment provided such a person is authorised for this purpose by Soundcraft or its accredited Distributor Equipment means the equipment supplied with this manual If within the period of twelve months from the date of delivery of the Equipment to the End User it shall prove defective by reason only of faulty materials and or workmanship to such an extent that the effectiveness and or usability thereof is materially affected the Equipment or the defective component should be returned to the Dealer or to Soundcraft and subject to the following condi tions the Dealer or Soundcraft will repair or replace the defective components Any components replaced will become the property of Soundcraft Any Equipment or component returned will be at the risk of the End User whilst in transit both to and from the Dealer or Soundcraft and postage must be prepaid This warranty shall only be valid if a the Equipment has been properly installed in accordance with instructions contained in Soundcraft s manual and b the End User has notified Soundcraft or the Dealer within 14 days of the defect appearing and
20. checked by using an insert bypass jack with tip and ring shorted together as shown below If the signal appears when the jack is inserted it shows that there is a problem with the normalling con tacts on the jack socket caused by wear or damage or often just dirt or dust Keep few in your gig tool DOX wren Dummy Insert Bypass Jack If in doubt please contact Soundcraft customer support PRODUCTS UNDER WARRANTY UK customers should contact their local dealer Customers outside the UK are requested to contact their territorial distributor who is able to offer support in the local time zone and language Please see the distributor listings on our website www soundcraft com to locate your local distributor OUT OF WARRANTY PRODUCTS For out of warranty consoles purchased in the United Kingdom please contact the Customer Services Department e mail csd soundcraft com at the factory in Pot ters Bar Hertfordshire Telephone 44 0 1707 665000 For all other out of warranty consoles please contact the appropriate territorial dis tributor When mailing or faxing please remember to give as much information as possible This should include your name address and a daytime telephone number Should you experience any difficulty please contact Customer Services Department e mail csd soundcraft com 13 BLOCK DIAGRAM YXIN 1 Y XIN L us 1 1 1 0 XIN
21. is a break in the channel signal path allowing limiters compressors special EQ or other signal processing units to be added in the signal path The Insert is a 3 pole A gauge jack socket which is normally bypassed When a jack is inserted the signal path is broken just before the EQ section The signal from the channel appears on the TIP of the plug and is returned on the RING with the sleeve as a common ground The Send may be tapped off as an alternative pre fade pre EQ direct output if required using a lead with tip and ring shorted together so that the signal path is not interrupted 1 Mix Outputs 2 21 Screen 2 Signal 3 Signal I Aux Outputs Monitor Outputs Signal Signal Screen Mix Inserts Signal Send Signal Return Ground Screen Headphones Left Signal Right Signal Ground Stereo Inputs STEREO 1 2 These accept 3 pole gauge jacks or 2 pole mono jacks which will automati cally ground the cold input Use these inputs for sources such as keyboards drum machines synths tape machines or as returns from processing units The inputis BALANCED for low noise and immunity from interference but you can use UNBALANCED sources by wiring up the jacks as shown although you should then keep cable lengths as short as possible to minimise interference pick up on the cable Note that the ring must be grounded if the sou
22. is a measurement of relative displacement between two waves of identical frequency A term used to describe the orientation of the positive and negative poles of an audio connection Normally connections are made with positive to positive negative to negative If this is reversed the result will be out of phase signals see phase above The point in the signal path after a fader and therefore affected by the fader position The point in the signal path before a fader and therefore unaffected by the fader position Rolloff Shelving Spill Transient Unbalanced 48V A fall in gain at the extremes of the frequency response An equaliser response affecting all frequencies above or below the break frequency highpass or lowpass derived response Acoustic interference from other sources A momentary rise in the signal level A method of audio connection which uses a single wire and the cable screen as the signal return This method does not provide the noise immunity of a balanced input see above The phantom power supply available at the channel mic inputs for condenser micro phones and active DI boxes 37 TYPICAL CONNECTING LEADS Audio connectors used with Soundcraft consoles e gt Em o Em 2 B o TIP RING SLEEVE mE SLEEVE XLR 3 pole 1 4 2 pole 1 4 RCA phono A guage TRS jack A guage TS jack Balanced Line Inputs Mix L amp R Outputs S
23. people can you ensure the product meets the high demands of the user ADVICE FOR THOSE WHO PUSH THE BOUNDARIES Although your new console will not output any sound until you feed it signals it has the capability to produce sounds which when monitored through an ampli fier or headphones can damage hearing over time Please take care when working with your audio if you are manipulating controls which you don t understand which we all do when we are learning make sure your monitors are turned down Remember that your ears are the most impor tant tool of your trade look after them and they will look after you Most importantly don t be afraid to experiment to find out how each parameter affects the sound this will extend your creativity and help you to get the best from your mixer and the most respect from your artists and audience OVERVIEW 9 0000 9 eo our inser lt lt 956 ISIS ISIS S S e e lele Ty 00 T MIX 0 i z SS SS SS SS URINE Ez KETE SQ
24. R FOLDBACK VOCAL SOURCES D 99 INSTRUMENT AND D S COO 259220 22 0000000 CD PLAYER CASSETTE OR DAT MACHINE j 09 HEADPHONES gt 150 Ohms 34 APPLICATION 4 RECORDING The insert points on channels 1 8 may be used to feed a multitrack recorder as shown link the send and return signals The Mix outputs are used for a preliminary stereo mix on a DAT recorder ARTIST S FOLDBACK AN P a 7 Pi E a d gt AMPLIFIER PASSIVE MONITORS OMNE ie ACTIVE MONITORS STUDIO s2azs 22ecc2l22s2 2 2 2 24 CONTROL ROOM 200000000 ROS e Z TI l mm mm meom a 3 INSTRUMENT AND y VOCAL SOURCES 555 MASTERING PROCESSOR HEADPHONES gt 150 Ohms 1 C ES E canane 00 CASSETTE OR DAT MACHINE 35 GLOSSARY Auxiliary send An output from the console comprising a mix of signals from channels derived inde pendently of the main stereo mix Balance
25. The level of any source signal in the final output is affected by many factors principally the Input Gain control Channel Fader and Mix Faders You should try to use only as much microphone gain as required to achieve a good balance between signals with the faders set as described above If the input gain is set too high the channel fader will need to be pulled down too far in compensation to leave enough travel for successful mix ing and there is a greater risk of feedback because small fader move ments will have a very significant effect on output level Also there will be a chance of distortion as the signal overloads the channel and causes clipping If the gain is set too low you will not find enough gain on the faders to bring the signal up to an adequate level and backgound hiss will be more noticeable This is illustrated below Clipped Signal Noise If the signal level is too high clipping distortion may occur Signal If the signal level is too low it may be masked by the noise APPLICATIONS APPLICATION 1 LIVE SOUND REINFORCEMENT MAIN PA LEFT AND RIGHT STAGE FOLDBACK zn E d Jn ww EB e KEYBOARD le 2 21 AMPUFER 5224 amnani n n 955 GRAPHIC EQ Active DI Box MENS munis Min inik
26. The relative levels of the left and right channels of a stereo signal Balanced A method of audio connection which balances the wanted signal between two wires these wires also have a screen which carries no signal Any interference is picked up equally by the two wires which results in cancellation of the unwanted signal In this guide the term can refer to various circuit architectures Connection details are given in relevant sections Clipping The onset of severe distortion in the signal path usually caused by the peak signal voltage being limited by the circuit s power supply voltage DAT Digital Audio Tape a cassette based digital recording format dB decibel A ratio of two voltages or signal levels expressed by the equation dB 20Log10 V1 V2 Adding the suffix u denotes the ratio is relative to 0 775V RMS Dl direct injection DI Box The practice of connecting an electric musical instrument directly to the input of the mixing console rather than to an amplifier and loudspeaker which is covered by a microphone feeding the console Equaliser A device that allows the boosting or cutting of selected bands of frequencies in the signal path Fader A linear control providing level adjustment Feedback The howling sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal Foldback A feed sent back to the artistes via loudspeakers or headphones to enable them to Frequency response
27. ations the Hall program is a good choice for giving separately recorded tracks the sense of belonging to the same performance Plate Reverb A Plate reverb is a large thin sheet of metal suspended upright under tension on springs Transducers at tached to the plate transmit a signal that makes the plate vibrate causing sounds to appear to be occurring in a large open space The Plates in the FX processor model the sound of metal plates with high initial diffusion and a relatively bright colored sound Plate reverbs are designed to be heard as part of the music mellowing and thickening the initial sound Plate reverbs are often used to enhance popular music particu larly percussion Room Reverb Room produces an excellent simulation of a very small room which is useful for dialog and voiceover appli cations Room is also practical when used judiciously for fattening up high energy signals like electric guitar amp recordings Historically recording studio chambers were oddly shaped rooms with a loudspeaker and set of microphones to collect ambience in various parts of the room Chamber Reverb Chamber programs produce even relatively dimensionless reverberation with little color change as sound decays The initial diffusion is similar to the Hall programs However the sense of size and space is much less obvious This characteristic coupled with the low color of the decay tail makes these programs useful on a wide range of material espec
28. cro phone as close as physically possible to the source to cut out unwanted sur rounding sounds allow a lower gain setting on the mixer and avoid feedback Also a well chosen and well placed microphone should not need any appreci able equalisation There are no exact rules let your ears be the judge In the end the position that gives the desired effect is the correct position Cardioid Response Hypercardioid Response wD INITIAL SETUP Omnidirectional Once you have connected up your system see the sections on connection and wiring earlier in this manual for guidance you are ready to set initial positions for the controls on your mixer Set up individual input channel as follows Connect your sources microphone keyboard etc to the required in puts WARNING Phantom powered mics should be connected before the 48V is switched on Ensure the PA system is OFF when switching phantom power on or off Set Master faders at 0 input faders at 0 and set power amplifier levels to about 70 Provide a typical performance level signal and press the PFL button on the first channel monitoring the level on the bargraph meters Adjust the input gain until the meter display is in the amber section with occasional peaks to the first red LED at a typical maximum source level This allows sufficient headroom to accommodate peaks and establishes the maximum level for normal operation but see note below
29. crophone Set the knob in the centre detented position when not required MID EQ There are two knobs which work together to form a SWEPT MID EQ The lower knob provides 15dB of boost and cut just like the HF EQ knob but the frequency at which this occurs can be set by the upper knob over a range of 150Hz to 3 5kHz This allows some truly creative improvement of the signal in live situations because this mid band covers the range of most vocals Listen carefully as you use these controls together to find how particular characteristics of a vocal signal can be enhanced or re duced Set the lower knob to the centre detented position when not required LF EQ Turn to the right to boost low bass frequencies below 80Hz by up to 15dB adding warmth to vocals or extra punch to synths guitars and drums Turn to the left to cut low frequencies by up to 15dB for reducing hum stage rumble or to improve a mushy sound Set the knob to the centre detented position when not required 6 Aux 1 Send This is used to set up a separate mix for FOLDBACK or recording and the combination of each Aux Send is mixed to the Aux1 Output For recording itis useful for the signal to fade up and down with the fader this is called POST FADE but for Foldback or Monitor feeds it is important for the send to be independent of the fader this is called PRE FADE AUX 1 SEND is globally switchable between pre and post fade see mas ter section on page 20 21 7 FX Se
30. e lt I I Ring TIP RING SLEEVE T Sleeve O Tip return I gt O Sleeve SLEEVE TIP 4 1 e O 2 send Tip 0 3 ar Ring 1 RING SLEEVE TT Sleeve 2 return O 3 o O Centre send Tip O Screen ax 1 Ring TIP RING SLEEVE Sleeve Centre return 001 Screen 38 Y Cables Balanced Where used Aux Mix outputs TIP RING SLEEVE lt i TIP RING SLEEVE RING SLEEVE TIP RING SLEEVE lili illi lli 000 Y Cables Unbalanced RING SLEEVE RING SLEEVE q SLEEVE q 1 SLEEVE SLEEVE e 2 gt _ fes gt EZ 5 SS C lt SS gt CD em SS SLEEVE RING TIP SLEEVE RING e eee
31. e console the Control Room outputs automatically switch from monitoring the Mix Out puts 12 PEAK LED This LED will light when the signal level approaches clipping at any of the three monitored points a PRE EQ b POST EQ c POST FADE 17 18 STEREO INPUT CHANNELS 1 INPUTS STEREO 1 2 These inputs accept 3 pole A gauge TRS jacks Use these inputs for sources such as keyboards drum machines synths tape machines or processing units The inputs are BALANCED for low noise and top quality from professional equipment but you can use UNBALANCED sources by wiring up the jacks as shown in the Wiring it Up section earlier in this manual although you should then keep cable lengths as short as possi ble Mono sources may be used by plugging into the left jack only 2 GAIN The GAIN control sets the level of the channel signal 3 EQUALISER HF EQ Turn to the right to boost high treble frequencies adding crispness to percussion from drum machines synths and electronic instruments Turn to the left to cut these frequencies reducing hiss or excessive brilliance Set the knob in the centre detented position when not required The control has a shelving response giving 15dB of boost or cut at 12kHz MF EQ Turn to the right to boost mid frequencies turn to the left to cut these frequencies The centre frquency of the MID EQ is 720Hz LF EQ Turn to the right to boost low bass frequencies adding extra punch t
32. earching the most efficient methods of control for two key reasons 1 Engineers musicians writers and programmers all need to have very few interruptions to the creative process our products have been designed to be almost transparent allowing this process to breathe 2 Whether performing or recording time is a very expensive and rare commod ity Our products have a user interface which is recognised by millions to be the industry standard because of its efficiency The sonic qualities of our products are exemplary some of the same circuits which are used on our most expensive consoles are employed in the EFX bring ing you the great Soundcraft quality in a small format console without compro mise You will also be glad to know you have a one year warranty with your product from the date of purchase The EFX has been designed using the latest high end software based engineering packages Every console from Soundcraft has been proven to stand up to all the stress and rigours of modern day mixing environments The entire EFX is manufactured using some of the most advanced techniques in the world from high density surface mount PCB technology to computer aided test equipment able to measure signals well outside the range of normal hear ing As each console passes through to be quality checked before packing there is also a human listening station Something we have learnt over the years is that the human touch counts and only by using
33. er towards the OdB position to feed the required level of FX Processor output signal to the mix T To increase or decrease the amount of effect on the signal adjust the FX Send level on the channel that you want affected 22 FX PROCESSOR CONTROLS 1 Tempo Button Tapping this button twice sets the Delay Time of the selected lexicon program The LED flashes to indicate current tempo Can be tapped in time with music source to synchronise the delay b IME H H g 4 3 j2 ss s 2 Store Button Stores program modifications to one of the program locations Press and hold for three seconds will store the preset in the current location The LED will flash rapidly during the store operation and then stay illuminated for 1 second to show the operation is complete 3 Pre Delay Time Speed Knob Controls Pre Delay of the reverbs or the first parameter time or speed related of the selected effect The LED illuminates when the parameter matches the stored setting 4 Decay Feedback Depth Knob Controls Decay of the reverbs or the second parameter feedback or depth related of the selected effect The LED illuminates when the parameter matches the stored setting 5 Variation Controls Liveliness or Diffusion depending on the reverb selected or the third parameter of the selected effect The LED illuminates when the parameter matches the stored setting 6 Program Select Knob Na
34. erb for short is the complex effect created by the way we perceive sound in an enclosed space When sound waves encounter an object or boundary they don t just stop Some of the sound is absorbed by the object but most of the sound is reflected or is diffused In an enclosed space reverb is dependent on many features of that space including the size shape and the type of materials that line the walls Even with closed eyes a listener can easily tell the difference between a closet a locker room and a large auditorium Reverb is a natural component of the acoustic experience and most people feel that something is missing without it Hall Reverb A Hall is designed to emulate the acoustics of a concert hall a space large enough to contain an orchestra and an audience Because of the size and characteristics Halls are the most natural sounding reverbs designed to remain behind the direct sound adding ambience and space but leaving the source un changed This effect has a relatively low initial echo density which builds up gradually over time Vocal Hall and Drum Hall reverbs are specifically tailored for those uses Vocal Hall has as lower overall diffusion which works well with program material that has softer initial transients like a voice Drum Hall has a higher diffusion setting which is necessary to smooth out faster transient signals found in drums and percussion instruments In addition to general instrumental and vocal applic
35. ially the spoken voice to which Chamber programs add a noticeable increase in loudness with low color Gated Reverb Gated reverb is created by feeding a reverb such as a metal plate through a gate device Decay Time is set to instant while Hold Time varies duration and sound The Gated reverb provides a fairly constant sound with no decay until the reverb is cut off abruptly This program works well on percussion particularly on snare and toms be sure to experiment with other sound sources as well 24 Reverse Reverb Reverse reverb works in the opposite fashion from normal reverb Whereas a normal reverb has the loudest series of reflections heard first that then become quieter over time the Reverse reverb has the softest reflec tions essentially the tail of the reverb heard first and then grows louder over time until they abruptly cut off Ambience Reverb Ambience is used to simulate the effect of a small or medium sized room without noticeable decay It is often used for voice guitar or percussion Studio Reverb Much like Room reverb Studio produces an excellent simulation of smaller well controlled acoustic spaces characteristic of the main performance areas in recording studios Studio is also useful with dialog and voiceover applications as well as individual instrument and electric guitar tracks Arena Reverb Arena reverb emulates a huge physical space such as an indoor sports venue or stadium The characteristics of
36. ke place Smear This parameter controls the amount of smear or signal degradation and frequency loss Particularly evident in the Tape Delay the higher the setting the more each delay repeat loses intelligibility compared to the original signal Tap Ratio Tap Ratio sets the length between the first and second tap repeats of the Pong Delay With this control set at 12 o clock repeats are evenly alternated between left and right channels As this knob is turned counter clockwise the first tap occurs earlier and the second tap occurs later than they did at the 12 o clock position When the knob is turned clockwise the first tap occurs later and the second tap occurs earlier Depth This controls the intensity of modulation or depth in the Modulated Delay Lower settings produce a more subtle effect while higher values give a more seasick feeling Tempo Button Tapping this button twice sets the delay times The Tempo button LED flashes the tempo tapped in and delay taps will be synchronized to the flashing LED Use the Time Range knob to increase or decrease delay times after tapping in a tempo Note When Delay Feedback is at maximum fully clockwise in some programs the mode changes to hold the audio a constant loop This is indicated in the Effects Data Chart as H MODULATED EFFECTS Chorus Chorus creates a lush full sound by combining two or more signals together where one is unaffected and the other
37. l device end Aux amp FX Bus Outputs The Aux amp FX Bus outputs are on 3 pole gauge jack sockets wired as shown on the left and are balanced allowing long cable runs to balanced amplifiers and other equipment 11 12 Headphones The PHONES output is a 3 pole gauge jack wired as a stereo output as shown ideally for headphones of 150Q or greater 862 headphones are not recommended Polarity Phase You will probably be familiar with the concept of polarity in electrical signals and this is of particular importance to balanced audio signals Just as a balanced signal is highly effective at cancelling out unwanted interference so two microphones picking up the same signal can cancel out or cause serious degradation of the signal if one of the cables has the ve and ve wires reversed This phase reversal can be a real problem when microphones are close together and you should therefore always take care to connect pins correctly when wiring audio cables Grounding and Shielding For optimum performance use balanced connections where possible and ensure that all signals are referenced to a solid noise free earthing point and that all signal cables have their screens connected to ground In some unusual circumstances to avoid earth or ground loops ensure that all cable screens and other signal earths are connected to ground only at their source and not at both ends If the use of unbalanced connections is unavoidable y
38. mended 14 AUX 1 OUTPUT This output is on a 3 pole gauge jack and is a balanced output 15 AUX 1 PRE POST SWITCH This switch globally switches the AUX 1 sends on all of the input modules to be either pre fade or post fade 16 FX BUS OUTPUT This output carries the signal from the FX bus It could be used as a second Aux Output if desired if the FX Processor is not needed at the time The FX sends on the inputs channels to the FX bus are always post fade 17 FOOTSWITCH This is used by the FX Processor see page 23 18 STEREO RETURN INPUTS This pair of inputs accept 3 pole gauge TRS jacks Use these inputs for sources such as keyboards drum machines synths or CDs The inputs are BALANCED Mono sources may be used by plugging into the left jack only 19 STEREO RETURN LEVEL This control sets the level of signal routed to the main mix busses There is an associated PK LED to warn of signals which are too high 21 Lexicon FX PROCESSOR OVERVIEW The effects within the console have been designed with both live sound reinforcement and home recording in mind Featuring the deep rich reverb algorithms that Lexicon are renowned for the effects processor offers increased versatility and high quality effects all instantly accessible via the extremely intuitive front panel controls The effects processor has 32 programs which are held in two banks of 16 programs which can be stored to allow you to create your own custom effect set
39. ments change speed is truly magical The swirling spacious effect is difficult to describe but clearly recognizable The Rotary effect is modeled after a Leslie style cabinet The input signal is split into high and low frequency bands The rotation effect is created by a synchronized combination of pitch shifting tremolo and panning Like the physical cabinet the high horn and low rotor frequencies are spun in opposite directions Horn and rotor speeds are independent and designed with acceleration and deceleration characteristics to simulate the inertia of the original mechanical elements A virtual requirement for organ music Rotary also sounds remarkable with guitar and electric piano rhythm parts In fact these programs are great alternatives to the Chorus and Tremolo effects for any sound source Knob 1 Speed Controls the modulation rate of both rotary speakers The lower frequencies rotate at a slower speed than the high frequencies Knob 2 Doppler Increases or decreases the Doppler pitch effect that is created by the physics of a rotating speaker Knob 3 Stereo Spread Increases or decreases the stereo imaging of the Rotary effect 28 Vibrato Vibrato is obtained by smoothly varying the pitch of the signal just sharp and flat of the original at a deter mined rate Vibrato Stereo Wet only Rotary Mono Wet only Tremolo Pan Stereo Wet only Knob 1 Speed Controls the modulation rate of Vibrato Knob 2 Depth Controls
40. ncy energy and if not installed and used in accordance with the instruction manual may cause harmful interference to radio communications Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense This Class A digital apparatus meets the requirements of the Canadian Interference Caus ing Equipment Regulations Cet appareil num rique de la Classe A respecte toutes les exigences du R glement sur le mat riel brouilleur du Canada INTRODUCTION Thank you for purchasing a Soundcraft EFX mixer The EFX range is our most cost effective mixing solution bringing you all the features and performance that you expect from a Soundcraft product at an extraordinarily low price The packaging which your EFX arrived in forms part of the product and must be retained for future use Owning a Soundcraft console brings you the expertise and support of one of the industry s leading manufacturers and the results of nearly 3 decades of sup porting some of the biggest names in the business Our knowledge has been attained through working in close contact with leading professionals and insti tutes to bring you products designed to get the best possible results from your mixing Built to the highest standards using quality components and surface mount technology the EFX is designed to be as easy to use as possible We have spent years res
41. nd This control sets the level of the post fade signal being sent to the FX bus from there it is routed to the FX processor 8 PAN This control sets the amount of the channel signal feeding the Left and Right MIX buses allowing you to move the source smoothly across the stereo image When the control is turned fully left or right you are able to route the signal at unity gain to either left or right outputs individually 9 MUTE All outputs from the channel except inserts are on when the MUTE switch is released and muted when the switch is down allowing levels to be pre set before the signal is required 10 INPUT CHANNEL FADER The 60mm FADER with a custom designed law to give even smoother control of the overall signal level in the channel strip allows precise bal ancing of the various source signals being mixed to the Master Section You get most control when the input GAIN is set up correctly giving full travel on the fader See the Initial Setup section on page 31 for help in setting a suitable signal level 11 PFL When the latching PFL switch is pressed the pre fade pre mute signal is fed to the headphones control room output and meters where it re places the MIX The PFL ACTIVE LED on the Master section illuminates to warn that a PFL is active This is a useful way of listening to any required input signal without interrupting the main mix for making adjustments or tracing problems When PFL is pressed anywhere on th
42. ng of the various source sig nals being mixed to the Master Section It is important that the input level is set correctly to give maximum travel on the fader which should normally be used at around the 0 mark See the Initial Setup section on page 31 for help in setting the right level 9 PFL When the latching PFL switch is pressed the pre fade pre mute signal is fed in mono to the headphones control room output and meters where it replaces the MIX The PFL ACTIVE LED on the Master section illumi nates to warn that a PFL is active The Left and Right meters display the PFL signal in mono This is a useful way of listening to any required input signal without interrupting the main mix for making adjustments or trac ing problems 10 CHANNEL PEAK LED This LED will light when the signal level approaches clipping at any of the three monitored points a PRE EQ b POST EQ c POST FADE 19 MASTER SECTION 1 PHANTOM POWER Many professional condenser mics need PHANTOM POWER which is a method of sending a powering voltage down the same wires as the mic signal Press the switch to enable the 48V power to all of the MIC inputs The adjacent LED illu minates when the power is active WARNING TAKE CARE when using unbalanced mics which may be damaged by the phan tom power voltage Balanced dynamic mics can normally be used with phantom power switched on contact your microphone manufacturer for guidance Mics should al
43. nput Accepts 3 pole A gauge TRS jacks Use this input for sources other than mics such as keyboards drum machines synths tape machines or DI d guitars The input is BALANCED for low noise and top quality from professional equipment but you can use UNBALANCED sources by wiring up the jacks as shown below al though you should then keep cable lengths as short as possible Unplug anything in the MIC input if you want to use this socket Set the input level using the GAIN knob 3 Insert Point The unbalanced pre EQ insert point is a break in the channel signal path allowing limiters compressors special EQ or other signal processing units to be added in the signal path The Insert is a 3 pole gauge jack socket which is normally bypassed When a jack is inserted the signal path is broken just before the EQ section Signal Send Insert Point Send to External Device E 4 Screen Note If XLRs are used join Pins 1 amp 3 and connect to cable screen Connect Pin 2 to signal Ip Return from External Device Signal Return The Send may also be tapped off as an alternative pre fade pre EQ direct output if required using a lead with tip and ring shorted together so that the signal path is not interrupted see below Insert Point Signal Send To External Device In A ID Signal Return
44. o synths guitars and drums Turn to the left to reduce hum boominess or improve a mushy sound Set the knob to the centre detented position when not required The control has a shelving response giving 15dB of boost or cut at 80Hz 4AUX1 SEND This is used to set up a separate mix for FOLDBACK or recording and the combination of each Aux Send is mixed to the Aux1 Output For recording itis useful for the signal to fade up and down with the fader this is called POST FADE but for Foldback or Monitor feeds it is important for the send to be independent of the fader this is called PRE FADE AUX 1 SEND is globally switchable between pre and post fade see mas ter section on page 20 21 The send pot is fed with a mono sum of the L amp R signals 5 FX SEND This control sets the level of the post fade signal being sent to the FX bus from there it is routed to the FX processor 6 BALANCE This control sets the amount of the channel signal feeding the Left and Right MIX buses allowing you to balance the source in the stereo image When the control is turned fully right or left you feed only that side of the signal to the mix Unity gain is provided by the control in the centre detented position 7 MUTE All outputs from the channel are enabled when the MUTE switch is re leased and muted when the switch is down 8 FADER The 60mm FADER gives you smooth control of the overall signal level in the channel strip allowing precise balanci
45. o lights 6 RECORD OUTPUTS These two RCA outputs carry a copy of the MIX L and MIX R signals They allow the use of a recording device e g DAT player Minidisc recorder etc 20 PFL ACTIVE MIX SOLO O s O O OOOOOOO 004000 5 25 2 N Soundcraft 7 2 These two RCA phono sockets are unbalanced Left and Right line level inputs used for connecting play back device 8 2 TRACK TO MIX Press this switch to route the 2 Track in signals connected to the Left and Right RCA sockets 7 to the MIX Left Right signal at the MIX outputs 9 MONITOR 2 TRACK Press this switch to route the 2 Track signal to the monitor and phones over riding the default Monitor Phones signal 10 MONITOR LEVEL This control sets the level to the MONITOR LEFT amp RIGHT outputs If headphones are plugged into the PHONES jack the headphone level will track the Monitor Level 11 MONITOR OUTPUTS The Monitor Outputs are on 3 pole gauge jacks and are balanced connections 12 PHONES LEVEL This control sets the output level to the Headphone outputs If headphones are plugged into the PHONES jack then the knob sets a comfortable headphone listening level without affecting the Monitor output levels 13 HEADPHONES JACK The PHONES output is 3 pole gauge jack wired as a stereo output as shown ideally for headphones of 150Q or greater 802 headphones are not recom
46. ou can minimise noise by follow ing these wiring guidelines On INPUTS unbalance at the source and use a twin screened cable as though it were balanced On OUTPUTS connect the signal to the ve output pin and the ground of the output device to ve If a twin screened cable is used connect the screen only at the mixer end Avoid running audio cables or placing audio equipment close to thyristor dimmer units or power cables Noise immunity is improved significantly by the use of low impedance sources such as good quality professional microphones or the outputs from most modern audio equipment Avoid cheaper high impedance microphones which may suffer from interference over long cable runs even with well made cables Grounding and shielding is still seen as a black art and the suggestions above are only guidelines If your system still hums an earth ground loop is the most likely cause Two examples of how an earth loop can occur are shown below Example 1 Audio with ground connected Earth Loop Mains Earth Amplifier Example 2 Left Signal with ground connected Mixer n Amplifier Right Signal with ground connected Warning Under NO circumstances must the AC power mains earth be disconnected from the mains lead PROBLEM SOLVING Basic problem solving is within the scope of any user if a few basic rules are followed Get to know the Block Diagram of you
47. ounts add a metallic resonance to the signal Phaser The Phaser automatically moves frequency notches up and down the spectrum of the signal by means of a low frequency oscillator LFO creating an oscillating comb filter type effect This effect is very userful on keyboards especially pad presets and guitars Knob 1 Speed Controls the modulation rate of the Phaser effect Knob 2 Depth Controls the intensity of the Phaser effect Knob 3 Regeneration This knob controls the amount of modulated signal being fed back into the input creating feedback Higher amounts add more resonance to the effect signal Tremelo Pan Tremolo and Panner create rhythmic changes in signal amplitude Tremolo affects both channel s amplitude simultaneously while the Panner affects the amplitude of each channel in an alternating manner Knob 1 Speed Controls the modulation rate of the Tremolo Panner Knob 2 Depth Controls the intensity of the volume amplitude change Knob 3 Phase Controls whether the amplitude change occurs in both channels simultaneously Tremolo or alternates between channels Panner Rotary Rotary speaker cabinets were designed to provide a majestic vibrato choir effect for electronic theater and church organs The most well known rotary speaker is the Leslie Model 122 which has two counter rotating elements a high frequency horn and a low frequency rotor with slow and fast speeds The sound generated as the spinning ele
48. pe over playing it backwards through a tape delay and recording the effect The delays build up from softer to louder creating the sensation that the delays come before the signal Up to 5 seconds of mono delay time are available DELAY CONTROLS Time Range Controls the length of the delay relative to Tap Tempo At the 12 o clock position delay repeats are synchro nous with the Tempo light represented by a Quarter Note lower values create faster repeats higher values increase the time between repeats Range 0 72 See The Effects Data Chart for exact note values 26 Feedback Controls the number of delay repeats by feeding the delay output signal back into the delay input This creates a series of delay repeats each slightly attenuated until they become inaudible Higher settings create more repeats lower settings reduce the number of repeats When this knob is turned fully clockwise it engages Repeat Hold delay repeats play back in an infinite loop but no further input signal is introduced into the delay effect Repeat Hold is available only on Studio Digital and Pong Delay Ducker Threshold Studio and Digital delays offer a ducking feature which causes the delay repeats to attenuate or get softer by 6dB when live or input signal is present This allows the delay to remain as an effect and not clash with the original signal The higher this value is set the louder an input signal must be for the ducking to ta
49. r apparent space or a more subtle effect is desired Liveliness Adjusts the amount of high frequency content in the reverberation tails Higher settings increase high fre quency response creating brighter reverbs lower settings create darker reverbs with more bass frequency emphasis Diffusion Controls the initial echo density High settings of Diffusion result in high initial echo density and low settings cause low initial density In a real world situation irregular walls cause high diffusion while large flat walls cause low diffusion For drums and percussion try using higher Diffusion settings 25 This control helps give a sense of both room shape and room size Low values for Shape keep the majority of sound energy in the early part of the reverb tail High values move the energy to later in the reverb and are helpful in creating the sense of a strong rear wall or backslap Boing This is a unique parameter to the Spring reverb designed to increase or decrease the amount of spring rattle that is a physical characteristic of spring tank reverbs DELAYS Delays repeat a sound a short time after it first occurs Delay becomes echo when the output is fed back into the input feedback This turns a single repeat into a series of repeats each a little softer than the last Studio Delay The Studio Delay features up to 2 5 seconds of stereo delay and offers a built in ducker that attenuates the delay output whenever
50. r console see page 14 Get to know what all controls and or connections in the system are supposed to do Learn where to look for common trouble spots The Block Diagram is a representative sketch of all the components of the console showing how they connect together and how the signal flows through the system Once you have become familiar with the various component blocks you will find the Block Diagram is quite easy to follow and you will have gained a valuable understand ing of the internal structure of the console Each component has a specific function and only by getting to know what each part is supposed to do will you be able to tell if there is a genuine fault Many faults are the result of incorrect connection or control settings which may have been overlooked Basic Troubleshooting is a process of applying logical thought to the signal path through the console and tracking down the problem by elimination Swap input connections to check that the source is really present Check both Mic and Line inputs Eliminate sections of the channel by using the insert point to re route the signal to other inputs that are known to be working Route channels to different outputs or to auxiliary sends to identify problems on the Master section Compare a suspect channel with an adjacent channel which has been set up identically Use PFL to monitor the signal in each section Insert point contact problems may be
51. r professional condenser mics The input level is set using the input GAIN knob The LINE input offers the same gain range as the MIC input but at a higher input impedance and is 20dB less sensitive This is suitable for most line level sources Line Input Accepts 3 pole gauge jacks or 2 pole mono jacks which will automatically ground the cold input Use this input for sources other than mics such as keyboards drum machines synths tape machines or DI boxes The input is BALANCED for low noise and immunity from interference but you can use UNBALANCED sources by wiring up the jacks as shown although you should then keep cable lengths as short as possible to minimise interference pick up on the cable Note that the ring must be grounded if the source is unbal anced Set the input level using the GAIN knob starting with the knob turned fully anticlockwise Unplug any MIC connection when using the LINE input DO NOT use UNBALANCED sources with the phantom power switched on The voltage on pins 2 amp 3 of the XLR connector may cause serious damage BALANCED dynamic mics may normally be used with phantom power switched on contact your microphone manufacturer for guidance WARNING Start with the input GAIN knob turned fully anticlockwise when plugging high level sources into the LINE input to avoid overloading the input channel or giving you a very loud surprise Insert Point The unbalanced pre EQ insert point
52. rce is unbalanced Mono sources can be fed to both paths by plugging into the Left jack only Mix Inserts The unbalanced pre fade Mix insert point is a break in the output signal path to allow the connection of for example a compressor limiter or graphic equal iser The Insert is a 3 pole gauge jack socket which is normally bypassed When a jack is inserted the signal path is broken just before the mix fader The mix signal appears on the TIP of the plug and is returned on the RING A Y lead may be required to connect to equipment with separate send and return jacks as shown below Signal Send Send to External Device Insert Point aa E 9 I c7 Note f XLRs are used join Pins 1 amp 3 and connect to cable screen Connect Pin 2 to signal Fr Return from External Device Screen Signal Return Mix Outputs The MIX outputs are on XLR s wired as shown and incorporate impedance balancing allowing long cable runs to balanced amplifiers and other equip ment From EPM Balanced Connection Impedance Balanced Signal To External Device Output EE 9 A Screen Signal From EPM Unbalanced Connection Impedance Balanced Output Signal To External Device 1 17 Screen Signal Experience has shown that sometimes it is better not to connect screen at externa
53. signal is present at the input This can be used to keep the original signal from being muddied up by delay repeats Digital Delay The Digital Delay is the cleanest most accurate of the delay programs with up to 5 seconds of mono delay and the built in ducking feature Tape Delay In the days before digital delays were created using a special tape recorder in which the magnetic recording tape was looped with closely spaced recording and playback heads The delay effect was created by the tape moving in the space between the record and playback heads while delay time was adjusted by changing the speed of the tape loop Although very musical sounding wow and flutter combined with a significant loss of high frequencies and to some extent also low frequencies are all elements commonly associated with tape recordings The Tape Delay offers up to 5 seconds of mono delay Pong Delay This delay effect pans the delay repeats from left to right while the input signal remains at its original center position Pong Delay offers up to 5 seconds of mono delay time Modulated Delay The Modulated Delay is enhanced by an LFO low frequency oscillator that produces a chorusing effect on the delay repeats This is a great delay for guitar and instrument passages that need that special something The Modulated Delay features up to 2 5 seconds of stereo modulated delay Reverse Delay This delay effect emulates the old studio trick of flipping a ta
54. signals vary in pitch very slightly over time Chorus is commonly used to fatten up tracks and to add body to guitars without coloring the original tone Chorus can also be used with discretion to thicken a vocal track Knob 1 Speed Controls the modulation rate of the Chorus effect Lower settings are subtle while higher values are much more pronounced Knob 2 Depth Controls the amount of pitch shifting for each voice Lower settings provide subtle thickening and warmth to a track while higher settings give a more pronounced multi voice effect Knob 3 Voices Controls the number of additional Chorus voices Up to 8 voices can be added continuously variable in 100 individual steps 21 Flanger This effect was originally created by simultaneously recording and playing back two identical programs on two tape recorders then using hand pressure against the flange of the tape reels to slow down first one machine then the other The result was a series of changing phase cancellations and reinforcements with characteris tic swishing tunneling and fading sounds Knob 1 Speed Controls the modulation rate of the Flanger effect Knob 2 Depth Controls the intensity of the Flanger effect Lower settings provide a slight whooshing sound while higher settings provide a much more dramatic jet airplane sound Knob 3 Regeneration This knob controls the amount of modulated signal being fed back into the input creating feedback Higher am
55. st remain accessible so as to be readily operable when the apparatus is in use If any part of the mains cord set is damaged the complete cord set should be replaced The following information is for reference only The wires in the mains lead are coloured in accordance with the following code Earth Ground Green and Yellow US Green Yellow Neutral Blue US White Live Hot Brown US Black As the colours of the wires in the mains lead may not correspond with the coloured markings identifying the terminals in your plug proceed as follows The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is marked with the letter E or by the earth symbol The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L Ensure that these colour codes are followed carefully in the event of the plug being changed This unit is capable of operating over a range of mains voltages as marked on the rear panel NOTE This equipment has been tested and found to comply with the limits for a Class A digital device pursuant to Part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment This equipment generates uses and can radiate radio freque
56. tenance servicing instructions in the literature accompanying the appliance NOTES Contain important information and useful tips on the opera tion of your equipment HEADPHONES SAFETY WARNING A Contain important information and useful tips on headphone outputs and monitoring levels Recommended Headphone Impedance gt 150 Ohms IMPORTANT SAFETY INSTRUCTIONS Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with a dry cloth Do not block any ventilation openings Install in accordance with the manufacturer s instructions Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat Do not defeat the safety purpose of a polarised or grounding type plug A polarised plug has two blades with one wider than the other A grounding type plug has two blades a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet Protect the power cord from being walked on or pinched particularly at plugs conven ience receptacles and the point where they exit from the apparatus Only use attachments accessories specified by the manufacturer Use only with the cart stand tripod bracket or table specified by the manufac
57. tereo Inputs Auxiliary Outputs PE E jaui ou Ring O O Ring TIP RING SLEEVE SLEEVE RING TIP Sleeve O Sleeve EZ 10 1 ES e 2 30 3 Tip O 1 e Beo a Sleeve O O 3 TIP RING SLEEVE Unbalanced Direct Output Monitor Output Stereo Return Inputs 4 Tip O O 1 al e Reo Oo TIP RING SLEEVE gt Sleeve L_o 3 lt lt gt D SLEEVE T Em E Tip O zi gt Sleeve O Lo o wna oS O Screen Tip O O Tip lt i _J I gt SLEEVE SLEEVE TIP Sleeve Sleeve Tip O O Tip J Wg 9994 TIP RING SLEEVE SLEEVE RING Sleeve O Sleeve Tip O O Centre TP SLEEVE Sleeve O O Screen Tip O Centre Za TES n TIP RING SLEEVE a Sleeve O O Screen 000 E amp t Insert Cables Mono Inserts I O Tip send L SLEEVE Tip Sleev
58. the inputs channels to the FX bus are always post fade 31 FOOTSWITCH CONNECTOR This is used by the FX Processor see page 23 32 LEXICON FX PROCESSOR See the information starting on page 22 Balanced XLR T I 8 2 Hot 1 Screen 3 Cold ve 117 I Unbalanced Mic XLR T I r2 Hot ve 1 Screen Link 3 to 1 lI 3 pole jack 2 pole jack Balanced Unbalanced Hot ve Cold ve Ground Screen ve lead to Tip ve lead to Ring ul Sleeve Inserts 10 Signal Ground Screen ve lead to Tip ve lead and p Sleeve to Ground Signal send Signal return I Ground Screen WIRING UP Please refer to pages 38 39 for additional wiring details Mic Input The MIC input accepts XLR type connectors and is designed to suit a wide range of BALANCED or UNBALANCED low level signals whether from deli cate vocals requiring the best low noise performance or drum kits needing maximum headroom Professional dynamic condenser or ribbon mics are best because these will be LOW IMPEDANCE While you can use low cost HIGH IMPEDANCE mics you do not get the same degree of immunity to interference on the microphone cable and as a result the level of back ground noise may be higher If you turn the PHANTOM POWER on the socket provides a suitable powering voltage fo
59. the maximum amount of pitch shift Lower settings result in a mere warble while higher settings produce a more exaggerated wow sound Knob 3 Phase This control sets left and right channel waveforms out of phase resulting in a leftto right panning motion This effect shifts the frequency spectrum of the input signal Altering the pitch of a sound produces a wide range effects from subtle detunes to full interval shifts up or down a two octave range FACTORY RESET Use this function if you want to erase all program data and restore the effects processor to its factory state To perform a Factory Reset press and hold the STORE button while powering up the console Once the effects processor has initialized after three seconds then release the STORE button and the effects proces sor will be restored to its factory state 29 EFFECTS DATA CHART udeJgejed 157 aged oes uonounj pjou H 930N 4 10 4 130 ViM3S 8 8 6 09 00 50 0 ______q ads H 66 0 oc xovaaaa3 sszsuoz 5 006 JONVY ANIL 4 130 48 10 ze NSHLAVISG Twidas 8081 010093844 08 NouvsaN393H __ 60 5 H 66 0 02 925402 suoos 94 3wu 3svHa N3HLAVI3O 11435 908 GIOHSSYHL WONG 0
60. tings Front panel controls include a Program Select knob Tempo and Store buttons and three independent Parameter knobs that provide instant access and control over the most critical parameters for the selected effect The table on page 30 lists the functions of the parameter knobs for each fx program Note When the console is powered up the program recalled will always be the selected program in BANK A FX OPERATION Select and Load a Program Turn the Program Select knob to choose a program Note that the console has 32 programs which are held in two banks of 16 programs There are individual BANK A and BANK B LED s to indicate which bank is currently active When turning the rotary Program Select knob through 360 degrees a full rotation the selected bank will alternate between BANK A and BANK B Set Audio Levels 1 Set the gain on the input channel appropriate to the source vocal microphone guitar keyboard etc 2 Set the FX send on the input channel to the 12 o clock position 3 Set the EFFECTS Fader on the FX section to the fully down position 4 Provide source signal by speaking or singing into the microphone playing guitar keyboard etc on the selected channel 5 Turn up the FX Send level on the channel until the Red CLIP LED in the FX Panel lights only occasionally If the red Input LED stays lit too much signal is being sent to the effect processor reduce FX Send on the input channel 6 Raise the EFFECTS Fad
61. to indicate that the signal is close to distorting clipping on a specific channel 12 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus and post fade sends 13 MIX OUTPUTS XLR amp MONO OUT Jack Connect these to your analogue recording device or to your amplification system 14 MIX INSERTS 4 Jack This is a pre fade break in the signal path which can be used to feed a dynamics or mastering device The signal is sent from the tip of the jack plug and the return path comes back in on the ring of the jack plug 15 MONITOR 0 Ps 1 2 Jack These are used to feed your monitoring system This can be directly con nected to powered monitors or indirectly via an amplifier to standard moni tors 16 MASTER FADERS These faders control the overall level of the mix outputs 17 MAIN METERS These show the level of the mix outputs When the PFL ACTIVE LED is lit the meters show the level of the selected PFL signal 18 MONITOR CONTROL This controls the level of the signal sent to your monitoring system 19 PHONES CONTROL This controls the level of the signal sent to the headphones jack socket 20 AUX 1 OUTPUT Jack This output be used to send the channel signal to an artist s monitors headphones in ear stage monitors It is switchable pre post fade 21 AUX CONTROL This switch globally switches the AUX1 feed on all the input modules to be either pre or post fade 22 STEREO INPUTS 1 4 Jack
62. turer or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over Unplug this apparatus during lightning storms or when unused for long periods of time Refer all servicing to qualified service personnel Servicing is required when the appa ratus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped Note It is recommended that all maintenance and service the product should be carried out by Soundcraft or its authorised agents Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service maintenance or repair by unauthor ised personnel WARNING To reduce the risk of fire or electric shock do not expose this apparatus to rain or moisture Do not expose the apparatus to dripping or splashing and do not place objects filled with liquids such as vases on the apparatus No naked flame sources such as lighted candles should be placed on the apparatus Ventilation should not be impeded by covering the ventilation openings with items such as newspapers table cloths curtains etc THIS APPARATUS MUST BE EARTHED Under no circumstances should the safety earth be disconnected from the mains lead The mains supply disconnect device is the mains plug It mu
63. urpose with out the express written permission of Soundcraft Harman International Industries Limited Cranborne House Cranborne Road POTTERS BAR Hertfordshire EN6 3JN UK Tel 44 0 1707 665000 Fax 44 0 1707 660742 http www soundcraft com amp OE Contents SAFETY SYMBOL GUIDE IMPORTANT SAFETY INSTRUCTIONS INTRODUCTION OVERVIEW THE 60 SECOND GUIDE WIRING UP BLOCK DIAGRAM MONO INPUT CHANNEL STEREO INPUT CHANNELS MASTER SECTION Lexicon FX PROCESSOR OVERVIEW FX OPERATION FX PROCESSOR CONTROLS REVERBS REVERB CONTROLS DELAYS DELAY CONTROLS MODULATED EFFECTS FACTORY RESET EFFECTS DATA CHART USING YOUR EFX CONSOLE APPLICATIONS GLOSSARY TYPICAL CONNECTING LEADS MARK UP SHEETS FITTING OPTIONAL RACKMOUNT EARS TYPICAL SPECIFICATIONS WARRANTY For your own safety and to avoid invalidation of the warranty please read this section carefully SAFETY SYMBOL GUIDE For your own safety and to avoid invalidation of the warranty all text marked with these symbols should be read carefully WARNINGS The lightning flash with arrowhead symbol is intended to alert the user to the presence of un insulated dangerous voltage within the product s enclosure that may be of suffi cient magnitude to constitute a risk of electric shock to persons CAUTIONS The exclamation point within an equilateral triangle is in tended to alert the user to the presence of important operat ing and main
64. vigates through programs turning to the required pro gram will initiate the loading of the program which take approximately 1 second The knob can be rotated clockwise or anticlockwise and will alternate between BANK A and BANK B every full rotation The current bank is shown by its illuminated LED which flashes if the FX processor is muted There is a handy aide memoir of the programs printed on the front panel 7 Clip LED This LED illuminates when either the incoming audio or the processed audio within the effect processor overloads and causes distortion of the signal Footswitch Input see diagram on page 20 Using a single pole momentary footswitch inserted into the FOOTSWITCH input the effects processor can be muted un muted 8 PFL This switch routes a post effects processor pre fade EFFECTS FADER sig nal to the monitor system 9 MUTE This switch mutes the output of the FX processor It doesn t mute the PFL signal or the FX TO AUX 1 pre fade signal 10 FX TO AUX 1 This pot routes a pre fade and a post fade signal to the Aux 1 pre and Aux 1 post busses respectively 11 EFFECTS FADER This fader controls the level of the signal from the FX processor routed to the main mix busses FX BUS OUT see diagram on page 20 This output carries the signal from the FX bus It could be used as a second Aux Output if desired if the FX Processor is not needed at the time 23 REVERBS Reverberation or rev
65. ways be plugged in and all output faders set to minimum before switching the Phantom Power ON to avoid damage to external equip ment 2 POWER INDICATOR This LED lights to show when power is connected to the console 3 MASTER FADERS The MASTER FADERS set the final level of the MIX outputs and separate faders are provided for each output These should normally be set close to the 0 mark if the input GAIN settings have been correctly set to give maximum travel on the faders for smoothest control 4 MIX OUTPUTS INSERTS amp MONO OUTPUT The Mix LEFT and RIGHT outputs are sent from the XLR sockets as bal anced signals The Mix INSERT points on 3 pole gauge jacks and are unbalanced The MONO OUTPUT caries a mono sum of the left and right mix signals on a 3 pole gauge jack the output is unbalanced 5 BARGRAPH METERS The three colour peak reading BARGRAPH METERS normally show the level of the MIX RIGHT and MIX LEFT outputs giving you a constant warning of excessive peaks in the signal which might cause overloading Aim to keep the signal within the amber segments at peak levels for best performance Similarly if the output level is too low and hardly registering at all on the meters the level of background noise may become significant Take care to set up the input levels for best performance When any PFL switch is pressed the meters switch to show the selected PFL signal on both meters in mono the PFL ACTIVE LED als

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