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1. tt 0 3 jao L vlve vive lt 2 TO N OO 2 o d gt xa NOT 4 T 2 zo 1 TL LIN ad 2 B 3 2 a Soundcraft User Guide Issue 1210 MPMI MARK UP SHEETS You may freely copy this page and use it to record the settings used for particular applications gigs OOOOOOOOO anon Rono Pee a 8v L PHANTOM POWER Soundcraft Mir MI SUB 0 MIX 5 5 5 vive Tady e Ulva E e N gt lt a 2 2 2 32 2 055 a i 2 O 5 5 5 a NS 7 Mz Tady e Fulve Fulve vlr N N lt r N N bs B m Zo 3 SX SX 23 E c 77 ys ry PK AR 722 TX 22 30 A 8 N cous 2 2 470 lt of o lt 07 o 0 ID m D SUB LINE INSERT GAIN N 5 LINE 15 0 1 AUS Ly lt PAN 1 MUTE KO 22 722 30 Vly M cous vise vive tel IO N N
2. HOVALILINN o DIC J 220 tfm fi 22 H9vV944101 S LSILYV 51 Soundcraft MPMi User Guide Issue 1210 TYPICAL CONNECTING LEADS Audio connectors used with Soundcraft consoles GS RING SLEEVE TIP SLEEVE XLR 3 pole 4 2 pole 14 A guage TRS jack A guage TS jack Balanced Line Inputs Mix L amp R Outputs Stereo Inputs Auxiliary Outputs MWE __ TIP RING SLEEVE e WE TIP RING SLEEVE Wi SLEEVE RING 1 Ring Sleeve Unbalanced Direct Output Monitor Output Stereo Return Inputs Ja TIP RING SLEEVE U ul SLEEVE 8 z E _ EIN qd E TIP SLEEVE SLEEVE TIP qi Tm 0
3. USING YOUR MFXi MPMi CONSOLE The final output from your sound system can only ever be as good as the weakest link in the chain and especially important is the quality of the source signal because this is the starting point of the chain Just as you need to become familiar with the control functions of your mixer so you must recognise the importance of correct choice of inputs microphone placement and input channel settings However no amount of careful setting up can take account of the spontaneity and unpredictability of live performance The mixer must be set up to provide spare control range to compensate for changing microphone position and the absorp tion effect of a large audience different acoustic characteristics from soundcheck to show MICROPHONE PLACEMENT Careful microphone placement and the choice of a suitable type of micro phone for the job is one of the essentials of successful sound reinforce ment The diagrams on the left show the different pick up patterns for the most common types of microphone Cardioid microphones are most sensitive to sound coming from in front and hypercardioid microphones offer even greater directivity with a small amount of pickup behind the microphone These types are ideal for recording vocalists or instruments where rejection of unwanted sounds and elimination of feedback is impor tant The aim should be to place the microphone as close as physically possible to the sour
4. 6 KARAOKE lt 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 LINE 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 A STORE 6 Program Select Knob Navigates through programs turning to the required program will initiate the loading of the program which take approximately 1 second Ihe 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 1 Clip LED This LED illuminates when either the incoming audio or the pro cessed audio within the effect processor overloads and causes distortion of the signal If this illuminates reduce the FX Master Level item 25 page 32 Footswitch Input not shown on diagram see item 28 on page 28 Using a single pole momentary footswitch inserted into t
5. OS RS ERREURS sve fe e i vive vlve slve Tog N r lt 2 I lt 2 N 8 s 2 xa L 2 x 1s 2 2 2 2 m E n iv al A S ST E CD Q FXi MPMi User Guide Issue 1210 FITTING OPTIONAL RACK MOUNT BRACKETS The rack mount kit is included with the MFXi12 2 and 112 2 For MFXi8 2 the rack mount bracket kit is part number RW5 765 This may also be used on the 20 2 and MPMi 20 2 for furniture mounting WARNING ensure that the mixer is disconnected from the mains supply and all other equipment before fitting the rack mounting brackets Undo and remove the screws at CA and remove the side mouldings Te cU rosy y DILE e 4 Tun Tel see oL mr Lu END R etg Remove the screw at point 1 repeat on the other side of the mixer Attach the rack brackets to both sides of mixer at points with the screws removed at CA Jand above gt EEE CHE ES 7 m nou Ee pur as i 1 1 COR Cal d il 1 gt cS zd i aa ty ome tO mE eT
6. ER E 7 TA DIAC AA 25 e E E 3 I e 2 E g 8 1 a i 1 8 vise vive x N d lt lt lt lt ON dios V tz gt ae A 47 CS E 0E 8 2 y NA TA M 5 V vive vive vlve visse Ue x N r lt r lt r lt 2 WY WY E lr TY Quse 1 SAS TA e 8 g x FH P Y ve vive vive vive E gt C E PTS e 2 3 EJ CC e MIC MIC D gt 2 gt gt 59 v D 2 2 CZ N sous 2 lt 2 o 0 n o o 07 0 via 17 NR mC SUB PAN 1 INSERT GAIN 30 Vly N 5 LINE 15 AUX2 MUTE NV N 1 d M N N JX 3 n EC 2 C 5 E 2 24 M 4 2 lt Lx 4 ow TN 18 L d 3 U 387 z0 gt vive vive vlve adve N d lt 5 Vx N N 3 F 2 2 2 M a
7. ox 2 jy z p STE 2 7 7 S 8 BAINS TN a i 5 8 2 2 I BEBE N r lt TON TON TO r es 2 masi EC E 2 7 7 M za lo Es je TNT o 5 5 2 2 2 TX YZ O Nu 2 30 V sous vive Alyse lys adye Ld 2 X X XX XX Di gt gt 5 ETS BOT T oth E mi 5 5 2 2 22 30 d N gous PO I Ca of o E r 07 0 o o 0 r LAT m SUB lt B E 7 lt i ITN gt rT aly e E gt S 8 vl vive vive 1 alye 7 N 7 a3 2 8 2 A 9 xn 2 2 M Eg 8 8 7159 897159 LT E 3 5 8 8 2 43 z lt a ff N 1 8 vive adye adye re a b I I I lt Ca g go 2 7 u E z EZ 5 z MIC g gr Ber aft mid a lt lt lt a ZNA ZT 10 Cai 10 M40 R s Em
8. TIP RING SLEEVE SLEEVE RING TIP SLEEVE MWE TIP RING SLEEVE e MJ Wi U 7 10 Insert Cables Mono Inserts SLEEVE TIP RING SLEEVE SLEEVE Ges 1 gt ET em TIP RING SLEEVE CEE jJ o MWE mu RING SLEEVE Tip Sleeve Tip Sleeve 4 Sleeve QO Ring o d Sleeve 0 Sleeve Ring HE Sleeve Tip O Ring Sleeve Tip Ring Sleeve Tip O Ring Sleeve ull o Ring Sleeve Centre Screen Tip Sleeve Tip Ring Sleeve Centre Screen Centre Screen Tip send Sleeve Tip return Sleeve 1 2 send 3 1 2 return 3 Centre send Screen Centre return Screen 52 Soundcraft MFXi MPMi User Guide Issue 1210 Y Cables Balanced Where used Aux Mix outputs Tip T1 gt Ring SLEEVE RING Tip Sleeve q
9. few in your gig tool box Wire Link 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 soundcraft csd harman com at the factory in Potters Bar Hertfordshire Telephone 44 0 1707 665000 For all other out of warranty consoles please contact the appropriate territorial distributor When mailing or faxing please remember to give as much information as possible This Should include your name address and a daytime telephone number Should you experi ence any difficulty please contact Customer Services Department e mail soundcraft csd harman com Soundcraft MFXi MPMi User Guide Issue 1210 19 BLOCK DIAGRAM 30 100 NEN d NI MOVAL C Kiet STP CNE ES lt 1 ans ino a 74 Lil wn PS lt Mr te 14 31 ONOW p ONONW L331 lt mel E S1nd1nO 1133 033318 TWNOIS 150 sx S3NOHdQV3H
10. Email soundcraft usa harman com
11. No naked sources such as lighted candles should be placed on the apparatus Ventilation should not be impeded by covering the ventilation openings with items such as newspapers table cloths curtains etc THIS APPARATUS MUST BE EARTHED Under no circumstances should the safety earth be disconnected from the mains lead The mains supply disconnect device is the mains plug It must remain accessible so as to be readily operable when the apparatus is in use If any part of the mains cord set is damaged the complete cord set should be replaced The following information is for reference only The wires in the mains lead are coloured in accordance with the following code Earth Ground 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 mark ings 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 termi in the plug which is marked with the letter N The wire which is coloured Brown must be connected to the terminal 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 rang
12. USER GUIDE Soundcraft HAR N USER GUIDE IMPORTANT Please read this manual carefully before using your mixer for the first time This equipment complies with the EMC Directive 2004 108 EC and LVD 2006 95 EC This product is approved to safety standards IEC 60065 2001 EN60065 2002 0160065 7th Edition 2003 CAN CSA E60065 03 And EMC standards 55103 1 1996 55103 2 1996 For further details contact Harman International Industries Ltd Cranborne House Cranborne Road Potters Bar Hertfordshire EN6 UK Tel 44 0 1707 665000 Fax 44 0 1707 660742 e mail soundcraft harman com Harman International Industries Ltd 2010 All rights reserved Parts of the design of this product may be protected by worldwide patents Part No BD10 531000 Issue 1210 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 trans mitted in any form or by any means electronic electrical mechanical optical chemical including photocopying and recording for any purpose without the express written permission of Soundcraft
13. tre expos aucune source liquide et aucun contenant rempli de liquide tel un vase ne doit tre d pos sur celui ci Ne placez aucune source flamme nue telle une bougie sur l appareil Veillez ce qu aucun objet journal nappe rideau etc n obstrue les ou es de ventilation CET APPAREIL DOIT TRE RELI LA TERRE La broche de mise la terre ne doit en aucun cas tre d connect e du cordon ou de la prise secteur Pour d connecter l appareil du secteur d connectez le cordon secteur de l embase secteur ou de la prise secteur Celles ci doivent rester accessibles en tout temps Faites remplacer le cordon secteur si l une des parties est endommag e Les informations ci dessous ne servent que de r f rences Les fils du cordon secteur sont rep r s par des couleurs Terre Masse Vert et Jaune US Vert Jaune D Neutre Bleu US Blanc Phase Point chaud Marron US Noir Si les couleurs ou les codes sont diff rents dans votre r gion proc dez comme suit Le fil Vert et Jaune doit tre connect la borne rep r e par la lettre E ou par le symbole de terre masse Le fil Bleu doit tre connect la borne neutre de la prise Le fil Marron doit tre connect la borne L phase Si vous devez remplacer la prise ou la fiche secteur veillez assurer le respect des couleurs et le raccordement la terre au neutre et la phase La console ne peut tre reli e qu une
14. Il 505 K F QHVOSA3 H9vV9d101 ADVLS Soundcraft MPMi User Guide Issue 1210 48 APPLICATION 2 MULTISPEAKER APPLICATIONS This configuration demonstrates how multiple speaker configurations can be driven by the L 84 lt E EE lt rne lt lt 0 j sono or a4 LLI e 5 j L CL 2 i LL CL re C 0 ZO L ac 2 0 D 0 2 gt Soundcraft MPMi User Guide Issue 1210 49 50 APPLICATION 3 PLACES OF WORSHIP This configuration uses the Aux 2 output to drive an induction loop for the hard of hearing Aux 1 output is used to generate foldback monitoring for the speaker singer The main outputs are used to drive the main speaker system record and playback connections are used to pass audio to and from a DAT machine CDR I 1 7 Y Q 2 m X I DL J EE A LL LL lt j SE SE lt lt TE 5 uy 000 0 az Ol i ES e X 000 0 LU n 1 lt lt e
15. S3NOHdIH 030318 N LNO 93 1 u1no NES 111 HOLINON 2 4 S 1 0 YOLINON 4 YOLINOW OL HOLINON lt d 8ns XIN jeep 199195 ONINOLINOW sf E m D OK H lt T lt I P IVOLLNA QI 2 8 034313 TANNVHO 15 M Ta 4 e LLL LL I 4 lt 2 0105 CRAN HOLIMSLOOS 2s SSVdA8 X4 En OPT gt F O S193443 7 O O0 i gt ANVLOW X4 qm LXNV pa i INIT t KINO SN Hd LXNV OL SI zXnv o x4 0334 1439X3 HWTINIS SI 1 0 X i TWNOIS WNSIS 29 lt O i 343 1304 u3av4 3ud SS 39 9 oi QN3S dll INIOd LH3SNI i S anS XIN gt 144 LT vy dS ASh d O ZXNY m d a 1vV9ILN3GdI 11 8 10 Z 10 02 T3NNVHO ONON 3Hd LSOd HALSYN exnv 9 P s1nd1no Xnv ba a a LIS d O 4315 go 9050 ri tre oOgcoeoucdociu 59 gt 2 lt Soundcraft MPMi User Guide Issue 1210 20 BLOCK DIAGRAM MPMI ete SLAdLNO ans E m 1 90 Lil 100 AS NE lt SLAdLNO 406 1no 93 9100 i HOLINON lt 73431 LNO HOLINON 1
16. r 0 0 bh R NU a 0 NU L3 MIX SUB M 2 5 LINE 15 00Hz NE m GAN lt 2 5 LINE 15 100Hz AL MIX SUB ee 3 M 5 LINE 15 1008z A MIX SUB LINE A MIX SUB O gt 3 i OP jj O gt B 9 3 2 M 2 5 LINE 15 100Hz LINE 3 L MIX SUB di 1 2 z o6 OQ DRE lt 2 N 9 s i vil Ve gr No Ne ZT 54 y 24 2 i 5 2 3 2 66 yn uses OO lt TO TON TON it M gt 8 pv aN aye LIN i 5 8 58 8 3 amp gt 90 sp este oe POD lt TO TO M ile x 2 7 M 5 aye LIN So 03 87 9 1 874 ge g E o 66 is vee te oe POD SAS M Pd T M lt 2 0 PST EE 8 ON g NO INT ad 5 S00 0 5 o4 7o BW 3 amp o 2 es lze valve vive lt VM 2 P lt 2 8 m zi er on y rop ed 418 g 2 ad
17. 32 or greater 8 headphones not recommended Soundcraft MFXi MPMi User Guide Issue 1210 17 18 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 pick ing 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 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 you can minimise noise by following 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 connec
18. A FX BAL OQ d 2 OVO 2 lt OQO oe OVO 8 Pel ee 2 iOP gj OQO oe 3 PP odd 1 8 lt OO s fed RET SAS 2 OQO i SAS A A MIX SUB LJ g E L SUB of LINE 15 100Hz A MIX SUB M 2 5 LINE 15 100Hz NE A MIX SUB of of M 2 5 LINE 15 100Hz gt 7 A MIX SUB of o4 LINE 5 lt 2 5 LINE 15 100Hz 3 A MIX SUB 27 of lt 2 5 LINE 15 100Hz NE 3 MIX SUB 27 07 LINE 15 100 7 MX SUB 27 o4 GAIN lt 5 15 100Hz 6 H 3 7 3 of of A MIX SUB r lt of Vly r lt of Vo Al s r of o 0 Vly lt r if NR MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE INSERT GA LINE 15 100Hz FX PAN 4 LINE 2 1 60dB OQO 2 OQO SAS es 2 32 amp OQO s 2 SAS s E favi m A MIX SUB GAIN lt 2 5 15 7 100Hz 7 2 N sous
19. Harman International Industries Limited Cranborne House Cranborne Road POITERS BAR eda e ere Hertfordshire y HARMAN ENG 3JN UK Tel 44 0 1707 665000 Fax 44 0 1707 660742 http www soundcraft com Soundcraft MFXi MPMi User Guide Issue 1210 Contents IMPORTANT SAFETY INSTRUCTIONS eene ceret 4 SAFETY SYMBOL GUIDE ettet rettet rrr t rt cc 6 IUR Emenn a 11 THE 60 SECOND GUIDE 0 9 12 THE 60 SECOND GUIDE eee ttr cnn 14 WIRING n nkan kana D ALL LALE A ALAA AAE ED A EAA E E AE Ea anann 16 BLOCK DIAGRAM 20 BLOCK DIAGRAM 21 MONO INPUT CHANNELS MFXi 6 cre 22 STEREO INPUT CHANNELS 4 4 ce 25 MASTER SECTION 9 9 d 28 MASTER SECTION 0 akn 29 Lexicon FX PROCESSOR OVERVIEW eerte 33 Ao 9 99 9 9 9 999949 9 9 33 FX PROCESSOR CONTROLS only cec 34 REVERBS 35 REVERB CONTROLS 9 99 36 37 DELAY CONTROLS t ca dead 3
20. LINE TR LINE AN LINE AN LINE AN LINE AN LINE N LE 4 NS 2 GAIN GAIN 30 GAIN 30 GAIN GAIN GAIN 30 GAIN 30 FENN REX LEXK LE OB Op i d A7 7 d 7 d NEK Ee 4 SES lt lt SEK VEK NEI NER 60d 5 60dB 5 60dB 5 60dB 5 60dB 5 5 60dB 5 60dB 5 60dB 5 6008 5 60dB LINE 15 LINE 15 LINE 15 LINE 15 C LINE 15 LINE 15 LINE 15 C LINE 15 LINE 15 LINE 15 C LINE 15 10012 1008 1008 00 10082 710082 0 a CR HF HF HF F HF HF 3 73 3 3 72 3 HF 3 3 3 6 RS y 6 6 6 NP P lt p X LE 5 T 1 5 010 ER bo gt cS amp o 2 4 DE L OL oy DOOGO O KA fe T NEK SEL SES 6 572 d Vp A7 AN AZA WA 7 RZ A WA TZA O30 4 A MEI 4 NEA 4 4 S 6 MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE 22 O 0 O CI E3 m0 LJ mC 2 2 ta anx C amx C amx C amx C amx amx C anx Soundcraft SUB SUB SUB SUB SUB SUB SUB PM 0
21. Si la fiche fournie ne correspond pas au format de vos prises murales consultez un lectricien pour faire remplacer vos prises Prot gez le cordon secteur contre tout dommage physique pincement etc plus particulierement au niveau des fiches des prises et de l embase secteur Utilisez uniquement avec les accessoires fixations sp cifi s par le fabricant Utilisez uniquement avec un chariot pied tr pied fixation ou table sp cifi par le fabricant ou vendu avec le produit Lorsque vous utilisez un chariot veillez assurer sa stabilit pour viter toute chute D connectez l appareil du secteur lors des orages ou des longues p riodes d inutilisation Confiez toutes les r parations un personnel qualifi Faites contr ler le produit s il a t endommag fiche secteur ou cordon secteur endommag s par exemple s il y a eu infiltration de liquide ou d objets dans le boitier si l appareil a t expos la pluie ou l humidit s il ne fonctionne pas normalement ou s il est tomb Remarque Nous vous recommandons de confier toutes vos r parations un centre agr par Soundcraft Soundcraft n accepte aucune responsabilit pour les r parations ou entretiens effectu s par un personnel qui n est pas agr Soundcraft MFXi MPMi User Guide Issue 1210 ATTENTION Pour r duire les risques d incendie ou d lectrocution n exposez pas produit la pluie ou l humidit Ce produit ne doit
22. Va sca 5 aT wam ai Keep the side mouldings in case you want to re fit them at a later date 46 Soundcraft MFXi MPMi User Guide Issue 1210 Fitting the Extender Plate MFXi8 ONLY The extender plate is fitted to the rackmounting bracket as shown below with M6 screws cage nuts 74 D Attach captive rack nuts at points C2 Attach rack bolts through points and into fitted rack nuts at points Tighten securely 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 m6 rack screw T extender captive rack nut DIMENSIONS DIMENSION X 93 52mm DIMENSION Y 404 68 DIMENSION X Soundcraft MFXi MPMi User Guide Issue 1210 APPLICATION 1 LIVE SOUND REINFORCEMENT APPLICATIONS LHOIX 1 21 Vd NIYIN e SUUO ZE lt S3NOHdQV3H 1U3SNI OSX CMS E xog IQ 3NIHOVIN Lva HO 3113SSVO
23. at any of the two monitored points POST EQ and POST FADE 11 SIGNAL PRESENT SP LED The SP LED glows when a signal is present The feed point for the LED is pre EQ 12 MIX SUB When this switch is up the channel s post fade signal is routed to the Mix left and right buses When the switch is depressed the post fade signal is routed to the Sub group left and right buses Soundcraft MFXi MPMi User Guide Issue 1210 Soundcraft MPMi User Guide Issue 1210 21 MASTER SECTION CE 19 d ro St 27 80 9 e Dic a 22 p S To MIX A 22 MNTR EX JL POST PRE FX V A 9 EA 10 MIX SOLO 26 O 6 O O O 1 1 i 1 00000000 C Sound 265 7 SOLO x x e 1 27 WE d d 28 Soundcraft MFXi MPMi User Guide Issue 1210 MASTER SECTION COTE MIX SOLO 16 O 0000000000 i x D C N Soundcraft MFXi MPMi User Guide Issue 1210 29 1 POWER INDICATOR This LED lights to show when power is connected to the console 2 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 Th
24. 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 Shape 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 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
25. is normally by passed When a jack is inserted the signal path is broken just before the EQ section Signal Send Insert Point Send to External Device Note If XLRs are used join Pins 1 amp 3 Screen and connect to cable screen n a Connect Pin 2 to signal Signal Return Return from External Device 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 mM Signal Return Screen Soundcraft MFXi MPMi User Guide Issue 1210 5 Gain This knob sets how much of the source signal is sent to the rest of the mixer Too high and the signal will distort as it overloads the channel Too low and the level of any background hiss will be more noticeable and you may not be able to get enough signal level to the output of the mixer Note that some sound equipment particularly that intended for domestic use operates at a lower level 1OdBV than professional equipment and will therefore need a higher gain setting to give the same output level See Initial Setup on page 42 to learn how to set GAIN correctly 6 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 c
26. operator to monitor the pre fade signal in a channel independently of the main mix A term used to describe the relationship of two audio signals In phase signals reinforce each other out of phase signals result in cancellation Phase is a measurement of relative displacement between two waves of identical frequency A term used to describe the orientation of the positive and negative poles of an audio connection Normally connections are made with positive to positive negative to nega tive 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 Soundcraft MFXi MPMi User Guide Issue 1210 Pre fade Rolloff Shelving Solo Spill Transient Unbalanced 48V The point in the signal path before a fader and therefore unaffected by the fader position A fall in gain at the extremes of the frequency response An equaliser response affecting all frequencies above or below the break frequency i e a highpass or lowpass derived response An almost generic term used to describe PFL or AFL functions 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
27. source is unbalanced Set the input level using the GAIN knob starting with the knob turned fully anticlockwise Unplug any MIC connection when using the LINE input Insert Point The unbalanced pre EQ insert point is a break in the channel signal path allowing limiters compressors special EQ or other signal processing units to be added in the signal path The Insert is a 3 pole 6 35mm 1 4 jack socket which is normally bypassed When a jack 1 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 Soundcraft MFXi MPMi User Guide Issue 1210 Mix Outputs II p Screen 2 Signal W Aux Outputs Monitor Outputs Signal Signal Screen S55 Headphones Left Signal Right Signal Ground 3 Signal Y lead may be required to connect to equipment with separate send and return jacks as shown below Signal Send Insert Point Send to External Device Note If XLRs are used join Pins 1 amp 3 and connect to cable screen Connect Pin 2 to signal Signal Return Return from External Device Stereo Inputs STEREO 1 2 These accept 3 pole 6 35mm 1 4 jacks or 2 po
28. switch sends it to the main mix 31 Record Outputs RCA Phono You can connect these to the inputs of your recording device 32 PHANTOM POWER M Press this to globally switch the phantom power 48V on for condenser microphones WARNING Do Not apply Phantom Power before connecting micro phone Your MPMi console is equipped with a Kensington Security slot on the rear panel for use with compatible PC Laptop security cables For more information about the Kensington range of security devices please visit http us kensington com Soundcraft MPMi User Guide Issue 1210 15 INPUTS Balanced Mic XLR T 3 1 Screen 2 Hot ve 3 Cold ve Unbalanced Mic XLR WIRING UP Mic Input The MIC input accepts XLR type connectors and is designed to suit a wide range of BALANCED or UNBALANCED low level signals whether from delicate vocals requiring the best low noise performance or drum kits needing maximum headroom Professional dynamic condenser or ribbon mics are best because these will be LOW IMPEDANCE While you can use low cost HIGH IMPEDANCE mics you do not get the same degree of immunity to interference on the microphone cable and as a result the level of background noise may be higher If you turn the PHANTOM POWER on the socket provides a suitable powering voltage for professional condenser mics DO NOT use UNBALANCED sources with the phantom power switched on The voltage
29. 110 HOLINON 4 lt i S3NOHdQv3H SANOHd H lt 09315 EE 9 4313 p YOLINOW p 1 E 7 SHALIN A 0105 der m d O exnv 431 exnv NL EXER ce d O zxnv 4aLSV zxnv 3ud 1S0d SLNdLNO xnv la E im d 31 Lxnv 194135 SNIHOLINOIN el NI MOVAL C TVNOIS H3QV4 38d WNOIS Yddvs LSOd sel 73 1 8 pu dH AW LERRA Him ttt ie pet Pts pg ble Fane 03 ey 5 1V9ILN3QI 2 L 034316 T3NNVHO 034315 V EL NIVO A adv DF A E gt dain WNOIS WNOIS 4349 1804 4399 34 lt lt TE EN E pa i 03 GN3S dIL 1NIOd LHASNI HLE SIN il ans XIN gt Jd y aj dS 8 1V9ILN3Q TV Z4 L 10 05 1 T3NNVHO ONOW ee gg BON tre een Nom FO SX lt lt 21 Soundcraft MPMi User Guide Issue 1210 MONO INPUT CHANNELS shown 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 p
30. 21 o c lt n o 0 0 O x Oi aio 23 2 A a um ioo pm 0000000 Z I gn 5549 2 2 o9 TE lt 1 L S 5 5 0 T OW 2 LO xO L T Zo IA O 5 54 D Y lt T Q 0 2 gt Soundcraft MPMi User Guide Issue 1210 APPLICATION 4 RECORDING The insert points channels 1 8 be used to feed multitrack recorder as shown link the send return signals The Mix outputs are used for a preliminary stereo mix on a DAT recorder SYOLINOW JALLOV le 1 9 HOLIMS QG o d3MVaidS nuc CAEN 2NIHOVN LV HO ALLASSVO SYOLINOW SAISSVd TAA SWUO 05 lt S3NOHdQV3H ius nw Q Q 9 9 Q 9 a a m 4 LEA M 1 ER ER EA an M 2 ow 2 D OL 6 8 L 9 6 S194NOS IVOOA LNAWNYLSNI 7 7
31. 5010 PWR R 10 10 CCE EE F m 11 1 INPUT XLR Connect Microphones here If you using condenser mic ensure phantom power is supplied by pressing the switch at the top of the master section WARNING Do Not apply Phantom Power before connecting a microphone 2 LINE INPUT Jack Connect Line level sources here 5 Synth Drum Machine DI etc INSERT POINT 4 Jack Connect Signal processors here e g Compressor Gate etc 4 CONTROL Adjust this to increase or decrease the level of the incoming signal 5 HPF The high pass filter reduces the level of bass frequencies only Use this in live PA Situations to reduce stage rumble or popping from mics 6 EQ STAGE Adjust these controls to change the signal tone the character of the signal AUX SENDS Adjust these controls to change the level of the signal to an artist s monitors headphones in ear stage monitors Aux 1 send is pre fade Aux 2 is globally Switchable pre post fade Aux 3 send is post fade 8 PAN CONTROL Use this control to position the signal within the stereo field 9 MUTE SWITCH When this is pressed you will hear no signal from the channel 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 MIX SUB SWITCH Whe
32. 7 MODULATED EFFECTS seemed 38 FACTORY 39 EFFECTS DATA CHART tette 40 MFXi MPMi TYPICAL SPECIFICATIONS eerta 41 USING YOUR MFXi MPMi CONSOLE terret 42 MARK UP SHEETS terret ttt tette t tc tc 44 MPMi MARK UP SHEETS teret tt tht t cc 45 FITTING OPTIONAL RACK MOUNT BRACKETS renier 46 BILANS ON SIREN 47 1 a 48 TYPICAL CONNECTING 1 5 2 9 99 52 8 200228 1 99 9 99 9 9 54 ANSTA 56 Soundcraft MPMi User Guide Issue 1210 3 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 and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electric
33. CONTROL 23 MONITOR SELECT SWITCH 24 PHONES CONTROL 25 HEADPHONES Jack 26 AUX1 amp 2 OUTPUTS 74 Jacks 27 AUX CONTROLS amp AFL SWITCHES 28 AUX 2 POST PRE SWITCH 29 STEREO INPUTS Jack 30 2 TRACK IN RCA Phono 31 2 TRACK OUT this to monitor the post EQ signal from the channel When this switch is up the channel s post pan pot signal is routed to the Mix left and right buses When the switch is depressed the post pan pot signal is routed to the Sub group left and right buses This is used to indicate that the signal is close to distorting clipping on a specific channel The SP LED glows when a signal is present The feed point for the LED is post insert pre EQ This is used to control the level fed to the Mix Bus and post fade sends Connect these to your analogue recording device or to your amplification system These outputs can be connected to a separate amplifier system or to an external processor The sub group mix can be routed to the main mix in mono or stereo These faders control the overall level of the mix and sub group outputs These show the level of the mix outputs When the master SOLO LED is lit the meters show the level of the selected AFL PFL signal These are used to feed your monitoring system This can be directly connected to powered monitors or indirectly via an amplifier to standard monitors This controls the level of the signal sent to your monitoring system
34. L Adjust this to increase or decrease the level of the incoming signal 5 HPF The high pass filter reduces the level of bass frequencies only Use this in live PA situations to reduce stage rumble or popping from mics 6 EQ STAGE Adjust these controls to change the signal tone the character of the signal 7 AUX 1 amp 2 SENDS Adjust these controls to change the level of the signal to an artist s monitors headphones in ear stage monitors Aux 1 send is pre fade Aux 2 is globally Switchable pre post fade 8 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 9 PAN CONTROL Use this control to position the signal within the stereo field 10 MUTE SWITCH When this is pressed you will hear no signal from the channel 11 PFL When pressed the signal will appear on the monitor and headphone outputs use I lt Your MFXi console is equipped with a Kensington Security slot on the rear panel for use with compatible PC Laptop security cables For more information about the Kensington range of security devices please visit http us kensington com 12 Soundcraft MFXi MPMi User Guide Issue 1210 12 MIX SUB SWITCH 13 PEAK LED 14 SP LED 15 INPUT CHANNEL FADER 16 MIX OUTPUTS XLR amp MONO OUT 74 Jack 17 SUB GROUP OUTPUTS 4 Jack 18 SUB GROUP ROUTING 19 MASTER FADERS 20 MAIN METERS 21 MONITOR OUTPUTS 74 Jack 22 MONITOR
35. Mi User Guide Issue 1210 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 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 characteristic 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 amounts 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 Contr
36. T 2 NN INSERT 2 INSERT 2 X INSERT 2 EN SZ QZ SZ SZ 22 2 NEN A LINE 15 LINE 15 LINE 15 LINE 15 w 100 1 LINE 15 100Hz mi TT LINE 15 100H lexicon 7 EFFECTS PROCESSCR 35 1 vA lt E Q Wien MIX SLO p S 16 ES Loe AA 10 11 SORA UpOHECHECHEOUIOGE a L a LL d L aa am d xL 14 zs Sel 2 Zw 235 PKC KO RO KO KO KO KO KO KO KO KO gt gt gt gt 10 10 10 10 10 10 10 10 10 10 00000 2 soundcrais IMF 2 g CECEBRE e ER CREER RENE RENE 1 MIC INPUT XLR Connect Microphones here If you are using a condenser mic ensure phantom power is supplied by pressing the switch at the top of the master section WARNING Do Not apply Phantom Power before connecting a microphone 2 LINE INPUT Jack Connect Line level sources here e g Synth Drum Machine DI etc INSERT POINT 74 Jack Connect Signal processors here e g Compressor Gate etc 4 GAIN CONTRO
37. This switch selects the signal source to be monitored Note that the 2 TK input can be monitored also see item 31 below This controls the level of the signal sent to the headphones jack socket Plug your headphones into this socket Recommended headphones impedance is 32 ohms or greater These outputs can be used to send the channel signal to an artist s monitors head phones in ear stage monitors external FX or secondary PA monitor system The rotary controls set the output levels of the two Aux Outputs The After Fade AFL Listen switches route their respective aux output signal to the monitor headphones outputs This switch globally changes the AUX 2 feed on all the input modules to be either post fade or pre fade These two pairs of 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 stereo channel strip with EQ Auxes and a Balance control Mono sources may be used by plugging into the left jack only You can connect the playback from your recording device here 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 32 RECORD OUTPUTS RCA Phono You can connect these to the inputs of your recording device 33 PHANTOM POWER 34 STEREO RETURN INPUTS 35 STEREO RETURN CONTROL 36 FX BUS OUTPUT 37 FX CONTROL amp AFL S
38. WITCH 38 FOOTSWITCH CONNECTOR 39 LEXICON FX PROCESSOR Press this to globally switch the phantom power 48V on for condenser microphones WARNING Do Not apply Phantom Power before connecting a microphone 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 This control sets the level of signal routed to the main mix busses This output carries the signal from the FX bus It could be used as a third 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 The rotary control regulates the signal level being fed from the FX bus to the FX processor and to the FX BUS OUTPUT socket The After Fade Listen AFL switch routes this post FX control pre FX signal to the monitor headphones outputs This is used by the FX Processor see page 33 see the information starting on page 33 Soundcraft MFXi MPMi User Guide Issue 1210 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 ee 3191616161016 Q LINE LINE PR LINE AN LINE AN LINE ZA LINE ZA s
39. aring and 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 4 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 han dling 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 Soundcraft MFXi MPMi User Guide Issue 1210 Soundcraft MPMi User Guide Issue 1210 94 Soundcraft by HARMAN SOUNDCRAFT A Division of Harman International Industries Ltd Cranborne House Cranborne Road Potters Bar Herts ENG 3JN UK Tel 44 0 1707 665000 Fax 44 0 1707 660742 Email soundcraft harman com www soundcraft com SOUNDCRAFT USA 8500 Balboa Boulevard Northridge CA 91329 USA Tel 1 818 920 3212 Fax 1 818 920 3208 Toll Free 888 251 8352
40. built LED glows when the channel is muted 11 INPUT CHANNEL FADER The 60mm FADER gives you smooth control of the overall signal level in the channel strip allowing precise balancing of the various source signals being mixed to the Master Section It is important that the input level is set correctly to give maximum travel on the fader which should normally be used at around the O mark See the Initial Setup section on page 42 for help in setting the right level 12 PFL When the latching PFL switch is pressed the pre fade pre mute signal is fed to the headphones control room output and meters where it replaces the MIX The SOLO LED on the Master section illuminates to warn that a PFL is active This is a useful way of listening to any required input sig nal without interrupting the main mix for making adjustments or tracing problems When PFL is pressed anywhere on the console the Control Room outputs automatically switch from monitoring the Mix Outputs 13 PEAK LED This LED will light when the signal level approaches clipping at any of the three monitored points PRE EQ POST EQ and POST FADE 14 SIGNAL PRESENT SP LED The SP LED glows when a signal is present The feed point for the LED is pre EQ 15 MIX SUB When this switch is up the channel s post pan pot signal is routed to the Mix left and right buses When the switch is depressed the post pan pot signal is routed to the Sub group left and right buses It i
41. ce to cut out unwanted surrounding sounds allow a lower gain setting on the mixer and avoid feedback Also a well chosen and well placed microphone should not need any appreciable equalisation There are no exact rules let your ears be the judge In the end the position that gives the desired effect is the correct position INITIAL SETUP Once you have connected up your system see the sections on connec tion and wiring earlier in this manual for guidance you are ready to set initial positions for the controls on your mixer Set up individual input channel as follows Connect your sources microphone keyboard etc to the required inputs WARNING Phantom powered 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 Soundcraft MFXi MPMi User Guide Issue 1210 Repeat this procedure on other channels as required As more channels are added to the mix
42. condenser micro phones and active DI boxes Soundcraft MFXi MPMi User Guide Issue 1210 212 WARRANTY 56 Soundcraft is trading division of Harman International Industries 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 com ponent should be returned to the Dealer or to Soundcraft and subject to the following conditions the Dealer or Soundcraft will repair or replace the defective components Any components replaced will become the property of Soundcraft Any Equipment or component returned will be at the risk of the End User whilst in transit both to and from the Dealer or Soundcraft and postage must be prepaid This warranty shall only be valid if a the Equipment has been properly installed in accordance with instructions contained in Soundcraft s manual and 0 the End User has notified Soundcraft or the Dealer within 14 days of the defect appe
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44. djustment Feedback The howling sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal Foldback feed sent back to the artistes via loudspeakers or headphones to enable them to Frequency response 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 54 ence when connecting to external balanced inputs break point in the signal path to allow the connection of external devices for instance Signal processors or other mixers at line level signals Nominal levels 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
45. e 25 FX MASTER This control regulates the signal level being fed from the FX bus to the FX processor and to the FX BUS OUTPUT socket 26 FX AFL When the latching AFL switch is pressed the post FX Master 25 pre FX signal is fed to the headphones control room output and meters where it replaces the MIX The SOLO LED on the Master section illuminates to warn that an is active 27 FX BUS OUTPUT This output carries the signal from the FX bus It could be used as a third Aux Output if desired if the FX Processor is not needed at the time The FX sends on the input channels to the FX bus are always post fade on the MPMi the FX Send output becomes Aux 3 output 28 MUTE FX FOOTSWITCH Using a single pole momentary footswitch inserted into the MUTE FX input the effects processor can be muted un muted STEREO RETURN Console only 29 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 30 STEREO RETURN LEVEL This control sets the level of signal routed to the main mix busses Soundcraft MFXi MPMi User Guide Issue 1210 Lexicon 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 renown
46. e a risk of electric shock to persons CAUTIONS The exclamation point within an equilateral triangle 1 intended to alert the user to the presence of important operating and maintenance servicing instructions in the literature accompanying the appliance NOTES Contain important information and useful tips on the operation of your equipment HEADPHONES SAFETY WARNING Contain important information and useful tips on headphone outputs and monitoring levels 65 Recommended Headphone Impedance gt 32 Ohms Soundcraft MPMi User Guide Issue 1210 Soundcraft MPMi User Guide Issue 1210 CONSIGNES DE S CURIT IMPORTANTES Lisez ces instructions Conservez ces instructions Respectez toutes les consignes de s curit Suivez toutes les instructions N utilisez pas cet appareil pr s d une source liquide Nettoyez l appareil uniquement avec un tissu sec N obstruez pas les de ventilation Installez uniquement en suivant les recom mandations du fabricant N installez pas cet appareil pr s d une source de chaleur comme un radiateur une chaudi re ou tout autre appareil amplificateurs inclus g n rant de la chaleur Ne modifiez pas les protections de la fiche secteur Les fiches polaris es sont quip es d une lame plus large que l autre Les fiches avec mise la terre disposent de deux lames et d une broche pour la terre Ce dispositif garantit votre s curit contre toute lectrocution
47. e adjacent LED illuminates when the power is active WARNING TAKE CARE when using unbalanced mics which may be damaged by the phantom power voltage Balanced dynamic mics can normally be used with phantom power switched on contact your microphone manufacturer for guidance Mics should always be plugged in and all output faders set to minimum before switching the Phantom Power ON to avoid damage to external equipment 2 TRACK 3 2 TRACK IN These two RCA phono sockets are unbalanced Left and Right line level inputs used for connecting a playback device 4 2 TRACK LEVEL CONTROL This adjusts the signal level from the 2 Track inputs 5 2 TRACK TO MIX Press this switch to route the 2 Track input signals to the MIX Left Right bus The level is set with the 2 Track level control MONITOR SOURCE The following two switches select the signal source s to be monitored 6 MIX SUB Press this switch down to monitor the sub group outputs Release this switch to monitor the main mix outputs 1 2 TRACK Press this switch to monitor the 2 Track input signal MONITOR OUT 8 MONITOR OUTPUT LEVEL This control sets the signal level fed to the MONITOR LEFT amp RIGHT outputs 9 MONITOR OUTPUTS The Monitor Outputs are on 3 pole 6 35mm 1 4 jacks and are balanced 10 HEADPHONES LEVEL This control sets the level of the Headphone output 11 HEADPHONES SOCKET The PHONES output is a 3 pole 6 35mm 1 4 jack wired as a stereo output ideall
48. e 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 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 fre quency energy and if not installed and used in accordance with the instruction manual may cause harmful interference to radio communications Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense This Class A digital apparatus meets the requirements of the Canadian Interference Causing Equipment Regulations Cet appareil num rique de la Classe A respecte toutes les exigences du Reglement sur le mat riel brouilleur du Canada Soundcraft MFXi MPMi User Guide Issue 1210 5 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 sufficient magnitude to constitut
49. ed for the effects processor offers increased versatility and high quality effects all instantly accessible via the extremely intuitive front panel controls The effects processor has 32 programs which are held in two banks of 16 programs which can be Stored to allow you to create your own custom effect settings Front panel controls include a Program Select knob Tempo and Store buttons and three independent Parameter knobs that provide instant access and control over the most critical parameters for the selected effect The table on page 40 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 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 and BANK B LED s to indicate which bank is cur rently 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 2 o clock position 3 Set the FX Master level to the 2 o clock position Set the EFFECTS Fader on the FX section to the fully down position 4 Provide source signa
50. el Fader and Mix Faders You should try to use only as much microphone gain as required to achieve a good balance between signals with the faders set as described above If the input gain is set too high the channel fader will need to be pulled down too far in compensation to leave enough travel for successful mixing and there is a greater risk of feedback because small fader movements will have a very significant effect on output level Also there will be a chance of distortion as the signal overloads the channel and causes clipping If the gain is set too low you will not find enough gain on the faders to bring the signal up to an adequate level and backgound hiss will be more noticeable This is illustrated below Clipped Signal Nag TM Noise If the signal level is too high clipping distortion may occur Signal Noise If the signal level is too low it may be masked by the noise Soundcraft MFXi MPMi User Guide Issue 1210 43 MARK UP SHEETS You may freely copy this page and use it to record the settings used for particular applications gigs PWR S OOOOOOOOOO 16 Q 1 MIX SOLO 0 6 3 0 3 6 2 e Soundcraft IME 2 5 9 O SUB TO MIX 24 BIT DIGTAL EFFECTS PROCESSOR BANKA BANKB ME M STE2 MUTE se seu s MX SUB vl
51. en a function that allows the operator to monitor the post fade signal channel independently of the main mix An output from the console comprising a mix of signals from channels derived inde pendently of the main stereo mix Balance The relative levels of the left and right channels of a stereo signal Balanced 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 cancellation of the unwanted signal In this guide the term can refer to various circuit architectures Connection details are given in relevant sections Clipping The onset of severe distortion in the signal path usually caused by the peak signal voltage being limited by the circuits power supply voltage DAT Digital Audio Tape a cassette based digital recording format dB decibel A ratio of two voltages or signal levels expressed by the equation dB 20Log10 V1 V2 Adding the suffix denotes the ratio is relative to 0 5V RMS Di direct injection DI Box The practice of connecting an electric musical instrument directly to the input of the mixing console rather than to an amplifier and loudspeaker which is covered by a microphone feeding the console Equaliser A device that allows the boosting or cutting of selected bands of frequencies in the signal path Fader A linear control providing level a
52. er and how the signal flows through the system Once you have become familiar with the various component blocks you will find the Block Diagram is quite easy to follow and you will have gained a valuable understanding of the internal structure of the console Each component has a specific function and only by getting to know what each part is supposed to do will you be able to tell if there is a genuine fault Many faults are the result of incorrect connection or control settings which may have been overlooked Basic Troubleshooting is a process of applying logical thought to the signal path through the console and tracking down the problem by elimination Swap input connections to check that the source is really present Check both Mic and Line inputs Eliminate sections of the channel by using the insert point to re route the signal to other inputs that are known to be working Route channels to different outputs or to auxiliary sends to identify problems on the Master section Compare a suspect channel with an adjacent channel which has been set up identically Use PFL to monitor the signal in each section Insert point contact problems may be checked by using an insert bypass jack with tip and ring shorted together as shown below If the signal appears when the jack is inserted it shows that there is a problem with the normalling contacts on the jack socket caused by wear or damage or often just dirt or dust Keep a
53. et 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 in 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 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 Soundcraft MFXi MP
54. euse non isol e dans le bo tier de l appareil pouvant tre suffisamment forte pour constituer un risque d lectrocution pour les personnes expos es ATTENTION Le point d exclamation dans un triangle signale l utilisateur la pr sence d instructions importantes pour l utilisation et l entretien dans le mode d emploi fourni avec l appareil REMARQUES Informations utiles sur l utilisation de la console CONSIGNES DE S CURIT POUR L UTILISATION DE CASQUE Informations importantes et astuces pratiques pour les embases casques et les niveaux d coute Imp dance minimum recommand e pour le casque gt 32 Ohms Soundcraft MFXi MPMi User Guide Issue 1210 INTRODUCTION Thank you for purchasing a Soundcraft mixer The MPMi and ranges are our most cost effective mixing solutions bringing you all the features and performance that you expect from a Soundcraft product at an extraordinarily low price The packaging in which your console arrived 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 over three decades of Supporting some of the biggest names in the business Our knowledge has been attained through working in close contact with leading professionals and institutes to bring you products designed to get the best possible results from your mixin
55. f a spring is an important component of many classic rock and rockabilly guitar sounds KARAOKE The Golden Karaoke Patch creates a great Karaoke performance sound in any size KTV room REVERB CONTROLS Pre Delay Creates an additional time delay between the source signal and the onset of reverberation This control is not intended to precisely mimic the time delays in natural spaces as the build up of reverberation is gradual and the initial time gap is usually relatively short For the most natural effect the Pre Delay values should be set in the range of 10 25 milliseconds However if a mix is very busy or overly cluttered increasing the Pre Delay time may help clarify it and set each instrument apart from each other Decay Controls the amount of time the reverb can be heard Higher settings increase reverberation times which are usually associated with larger acoustical environments but can decrease intelligibility Lower settings shorten reverb times and should be used when a smaller apparent space or a more subtle effect is desired Liveliness Adjusts the amount of high frequency content in the reverberation tails Higher settings increase high frequency response creating brighter reverbs lower settings create darker reverbs with more bass frequency emphasis Soundcraft MFXi MPMi User Guide Issue 1210 Diffusion Controls the initial echo density High settings of Diffusion result in high initial echo density and low settings
56. g Built to the highest standards using quality components and surface mount technology the MPMi MFXi is designed to be as easy to use as possible We have Spent years researching 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 commodity 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 MPMi MFXi bringing you the great Soundcraft quality in a small format console without compromise You will also be glad to know you have a one year warranty with your product from the date of purchase The MPMi MFXi 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 MPMi MFXi range 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 hearing As each c
57. hat 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 de signed to remain behind the direct sound adding ambience and space but leaving the source unchanged This effect has a relatively low initial echo density which builds up gradually over time Vocal Hall and Drum Hall reverbs are specifically tailored for those uses Vocal Hall has as lower overall diffusion which works well with program material that has softer initial transients like a voice Drum Hall has a higher diffusion setting which is necessary to smooth out faster transient signals found in drums and percussion instruments In ad dition to general instrumental and vocal applications the Hall program is a good choice for giving separately recorded tracks the sense of belonging to the same performance Plate Reverb A Plate reverb is a large thin sheet of metal suspended upright under tension on springs Transducers attached to the plate transmit a signal that makes the plate vibrate causing sounds to appear to be occurring in a large open space The Plates in the FX processor model the sound of metal plates with high initial diffusion and a relatively bright colored sound Plate reverbs are designed to be heard as part of the music mellowing and thickening the initial so
58. he MUTE FX input the effects processor can be muted un muted 8 MUTE This switch mutes the output of the FX processor It doesn t mute the PFL signal 9 FXTO AUX 1 This pot routes a pre fade signal to the Aux 1 pre bus 10 FX TO AUX 2 This pot routes a pre fade and post fade signal to the Aux 2 pre and Aux 2 post busses respectively 11 EFFECTS FADER This fader controls the level of the signal from the FX processor routed to the main mix 12 This switch routes a post effects processor signal to the monitor system FX BUS OUT not shown on diagram see item 27 on page 28 This output carries the signal from the FX bus It could be used as a third Aux Output if desired 13 SP LED This indicates when a signal is present Soundcraft MFXi MPMi User Guide Issue 1210 REVERBS Reverberation or reverb for short is the complex effect created by the way we perceive sound an en closed 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 t
59. he 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 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 ap plications 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 o
60. i Ring TIP RING SLEEVE Sleeve Tip Ring SLEEVE RING TIP Sleeve 1 1 3 3 1 3 4 a 3 qi Ring TIP RING SLEEVE Sleeve 1 C 2 3 Tip i Tip Sleeve Ring Sleeve Tip Sleeve D Tip Left SLEEVE Tip Sleeve CE TIP RING SLEEVE qi Ring TIP RING SLEEVE Sleeve Tip Right gt Sleeve SLEEVE TIP J Y Cables Unbalanced 2 Left Tip 3 E Ring TIP RING SLEEVE Sleeve 1 C 2 Right 3 Tip gt Fr Ring SLEEVE RING TIP Tip Sleeve lt i Ring TIP RING SLEEVE Sleeve Tip Ring SLEEVE RING TIP Sleeve gt SLEEVE Ring Sleeve qq Sleeve TIP SLEEVE Sleeve SLEEVE z 1 e 3 i Sleeve TIP SLEEVE 1 res C 2 3 BE Centre lt i Screen Sleeve SLEEVE 55 Screen Soundcraft MFXi MPMi User Guide Issue 1210 53 GLOSSARY AFL Auxiliary send After fade list
61. ian for replacement of the obsolete outlet Protect the power cord from being walked on or pinched particularly at plugs conveni ence receptacles and the point where they exit from the apparatus Only use attachments accessories specified by the manufacturer Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over Unplug this apparatus during lightning storms or when unused for long periods of time Refer all servicing to qualified service personnel Servicing is required when the ap paratus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped Note It is recommended that all maintenance and service on the product should be carried out by Soundcraft or its authorised agents Soundcraft cannot accept any li ability whatsoever for any loss or damage caused by service maintenance or repair by unauthorised personnel WARNING To reduce the risk of fire or electric shock do not expose this apparatus to rain or moisture Do not expose the apparatus to dripping or splashing and do not place objects filled with liquids such as vases on the apparatus Soundcraft MFXi MPMi User Guide Issue 1210
62. ignals is routed to the main mix 17 MIX OUTPUTS The Mix LEFT and RIGHT outputs are sent from the XLR sockets as balanced signals 18 MONO OUTPUT A mono sum of the mix left and right signals is output on this balanced 3 pole 6 35mm 1 4 jack socket 19 SUB OUTPUTS Sub L and Sub R signals are output on these balanced 3 pole 6 35mm 1 4 jack sockets 20 RECORD OUTPUTS These two RCA outputs carry a copy of the MIX Land MIXR signals They allow the use of a recording device e g DAT player Minidisc Cassette tape recorder etc AUX 21 AUX MASTERS These controls set the output levels of the Aux Outputs 1 amp 2 on 1 2 amp 3 on 22 AFL These After Fade Listen switches route their respective aux output signal to the headphones control room output and meters where it replaces the MIX The SOLO LED on the Master section illuminates to warn that an AFL is active There are 2 AFL switches for Auxes 1 amp 2 on the MFXi and three for Auxes 1 2 and 3 on the MPMi Soundcraft MFXi MPMi User Guide Issue 1210 31 23 PRE POST SWITCH This switch globally selects the AUX 2 feeds on all the input modules to be either pre fade or post fade 24 AUX OUTPUTS 1 amp 2 and 3 These outputs are on 3 pole 6 35mm 1 4 jacks and are balanced The following controls are found on the MFXi Console only FX For detailed instructions on using the FX Processor see the section which starts on the next pag
63. l 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 the FX Master or the FX Send on the input channel 6 Raise the EFFECTS Fader 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 Soundcraft MFXi MPMi User Guide Issue 1210 33 FX PROCESSOR CONTROLS only 24 BIT DIGITAL BRENT EFFECTS PROCESSOR B TME SPD 1 Button Tapping this button twice sets the Delay Time of the selected program The LED flashes to indicate current tempo Can be tapped in time with music source to synchronise the delay ee lol w w 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 7 FBK DPTH LES QR gt 9 ojos
64. le mono jacks which will automatically ground the cold input Use these inputs for sources such as keyboards drum machines synths tape machines or as returns from process ing units The input is BALANCED for low noise and immunity from interfer ence but you can use UNBALANCED sources by wiring up the jacks as shown although you should then keep cable lengths as short as possible to minimise interference pick up on the cable Note that the ring must be grounded if the source is unbalanced Mono sources can be fed to both paths by plugging into the Left jack only Mix Outputs The MIX outputs are on XLR s wired as shown and incorporate impedance balancing allowing long cable runs to balanced amplifiers and other equipment From Balanced Connection Impedance Balanced Signal Output To External Device Screen Signal Unbalanced Connection From Impedance Balanced To External Device Output 04 01 Signal 2 Screen Signal Experience has shown that sometimes it is better not to connect screen at external device end Aux and FX Bus Outputs The Aux and FX Bus outputs are on 3 pole 6 35mm 1 4 jack sockets wired as shown on the left and are impedance balanced allowing long cable runs to balanced amplifiers and other equipment Headphones The PHONES output is a 3 pole 6 35mm 1 4 jack wired as a stereo output as shown ideally for headphones of
65. ligne secteur de la tension indiqu e en face arri re REMARQUE Suite aux tests effectu s il est tabli que ce produit r pond aux normes de l alin a 15 des r glementations f d rales am ricaines sur les produits num riques de Classe A Ces normes sont tablies afin de vous prot ger contre toute interf rence nuisible en installation commerciale Cet appareil g n re utilise et met des fr quences radio Par cons quent s il n est pas install et utilis en suivant les instructions il peut causer des interf rences nuisibles aux communications radio L utilisation en environnement r sidentiel peut causer des interf rences l utilisateur doit alors faire corriger le probl me ses frais Cet appareil num rique de Classe A r pond aux normes canadiennes sur le brouillage radio lectrique Cet appareil num rique de la Classe A respecte toutes les exigences du R glement sur le mat riel brouilleur du Canada Soundcraft MFXi MPMi User Guide Issue 1210 10 Pour assurer votre s curit et viter toute annulation de la garantie veuillez lire attentivement les paragraphes rep r s par ces symboles de s curit GUIDE DES SYMBOLES DE S CURIT Pour assurer votre s curit et viter toute annulation de la garantie veuillez lire attentivement les paragraphes rep r s par ces symboles de s curit AVERTISSEMENT Le symbole de l clair avec une fl che pr vient l utilisateur d une tension danger
66. m stage rumble or to improve a mushy sound Set the knob to the centre detented position when not required 1 Aux Sends These are used to set up separate mixes for FOLDBACK EFFECTS or recording and the combination of each Aux Send is mixed to the respective Aux Output For Effects it is useful for the signal to fade up and down with the fader this is called POST FADE but for Foldback or Monitor feeds it is important for the send to be independent of the fader this is called PRE FADE AUX SEND 1 is fixed pre fade AUX 2 is globally switchable between pre and post fade see master section on page 28 On the Aux 3 is fixed post fader AUX 3 SEND MPMi only Aux 3 is fixed post fade Soundcraft MFXi MPMi User Guide Issue 1210 23 24 8 FX SEND only 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 The FX Send is fixed post fader 9 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 10 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 The MUTE switch s in
67. n this switch is up the channel s post pan pot signal is routed to the Mix left and right buses When the switch is depressed the post pan pot signal is routed to the Sub group left and right buses 14 Soundcraft User Guide Issue 1210 12 PEAK LED 13 SP LED 14 INPUT CHANNEL FADER 15 MIX OUTPUTS XLR MONO OUT 44 Jack 16 SUB GROUP OUTPUTS 14 Jack 17 SUB GROUP ROUTING 18 MASTER FADERS 19 MAIN METERS 20 MONITOR OUTPUTS 14 Jack 21 MONITOR CONTROL 22 MONITOR SELECT SWITCH 23 PHONES CONTROL 24 HEADPHONES 14 Jack 25 AUX 1 2 amp 3 OUTPUTS 14 Jacks 26 AUX CONTROLS amp AFL SWITCHES 27 AUX 2 POST PRE SWITCH 28 STEREO INPUTS 14 Jack 29 2 TRACK IN RCA Phono 30 2 TRACK OUT This is used to indicate that the signal is close to distorting clipping on a specific channel The SP LED glows when a signal is present The feed point for the LED is post insert pre EQ This is used to control the level fed to the Mix Bus and post fade sends Connect these to your analogue recording device or to your amplification amp system These outputs can be connected to a separate amplifier system or to an external processor The sub group mix can be routed to the main mix in mono or stereo These faders control the overall level of the mix and sub group outputs These show the level of the mix outputs When the master SOLO LED is lit the meters show the level of the selec
68. nd Masters OdB faders down lt 82dBu Crosstalk 1kHz RE UU I UU ITEM gt 90dB Aux Send Pots OMES O gt 82dB EQ Mono inputs Rs E 12kHz 15dB Vila eus 150Hz 3 5kHz 15dB 80Hz 15dB AMF 19 EQ Stereo inputs 55 12kHz 15dB ME 720 7 15dB i 80Hz 15dB ME 0 8 Power Less than 40W Operating Conditions lemperature RAT 5 C to 40 C Input amp Output Levels DAC 11010 SERRE 15dBu max 30dBu 30dBu 20dBu Headphones 91500 recommended impedance 32 to 200 2 300mW Input amp Output Impedances C I 2KQ E tt RT 10kQ STS OM e UE 45KQ 1500 balanced 750 unbalanced amp Soundcraft reserves the right to change specifications without notice Soundcraft MFXi MPMi User Guide Issue 1210 42 QU Cardioid Response Hypercardioid Response Omnidirectional Response mmi 2
69. ols 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 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 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 left to 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 det
70. 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 pole jack 2 pole jack Balanced Unbalanced Hot ve Signal Cold v amp Ground Ground Screen Screen tva emt i ve lead to Tip ve lead to Ring ve lead and Sleeve to Ground Signa send Signal retum Ground Screen RCA Phono Plug 2 Track Return L amp R 16 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 15dB less sensitive This is suitable for most line level Sources WARNING Start with the input GAIN knob turned fully anticlockwise when plugging high level sources into the LINE input to avoid overloading the input channel or giving you a very loud surprise Line Input Accepts 3 pole 6 35mm 1 4 jacks or 2 pole mono jacks which will auto matically 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 inter ference pick up on the cable Note that the ring must be grounded if the
71. onsole 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 people can you ensure the product meets the high demands of the user 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 amplifier 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 important 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 ADVICE FOR THOSE WHO PUSH THE BOUNDARIES Soundcraft MPMi User Guide Issue 1210 11 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 This shows the console SUCRE LINE LINE 33 2 lt A INSERT 2 INSERT AN INERT 77 INSER
72. red The control has a shelving response giving 15dB of boost or cut at 12kHz MF EQ Turn to the right to boost mid frequencies by up to 15dB turn to the left to cut these frequencies by up to 15dB The centre frquency of the MF EQ is 20Hz LF EQ Turn to the right to boost low bass frequencies adding extra punch to synths guitars and drums Turn to the left to reduce hum boominess or improve a mushy sound Set the knob to the centre detented position when not required The control has a Shelving response giving 15dB of boost or cut at 80Hz 4 AUX SENDS These are used to set up separate mixes for FOLDBACK EFFECTS or recording and the combination of each Aux Send is mixed to the respective Aux Output at the rear of the mixer For Effects it is useful for the signal to fade up and down with the fader this is called POST FADE but for Foldback or Monitor feeds it is important for the send to be independent of the fader this is called PRE FADE AUX SEND 1 is fixed pre fade AUX 2 is globally switchable between pre and post fade see master section on page 28 On the MPMi Aux 3 is fixed post fader The send pots are fed with a mono sum of the L amp R signals AUX 3 SEND MPMi Aux 3 is fixed post fader Soundcraft MFXi MPMi User Guide Issue 1210 25 26 5 FX SEND This control sets the level of the post fade signal being sent to the bus from there it is routed to the FX processor The FX Send is always pos
73. rovides a suitable powering voltage for professional condenser mics ONLY connect condenser microphones with the 48V powering OFF and ONLY turn the 48V powering on or off with all output faders DOWN to prevent damage to the mixer or external devices TAKE CARE when using unbalanced sources which may be damaged by the phantom power voltage on pins 2 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 Input Accepts 3 pole 6 35mm 1 4 jacks Use this input for sources other than mics such as keyboards drum machines synths tape machines or Dl 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 in the wiring up section although you should then keep cable lengths as short as possible Unplug anything in the MIC input if you want to use this socket Set the input level using the GAIN knob 3 High pass Filter Pressing this switch activates the high pass filter This reduces the level of bass frequencies only Use this in live PA situations to reduce stage rumble or popping from mics 4 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 6 35mm 1 4 jack socket which
74. s sometimes useful to route several inputs to the sub group buses e g all the mics for a drum kit or all the vocal mics for a choir These signals can then be fed to the main mix at the master section By doing this the levels of all of the grouped inputs can be changed together by using the group faders instead of having to adjust all of the individual input faders although of course the individual channel faders will have to be adjusted to start with Soundcraft MFXi MPMi User Guide Issue 1210 L MONO STEREO INPUT CHANNELS shown 1 INPUTS STEREO 1 2 These inputs accept 3 pole 6 35mm 1 4 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 Up section earlier in this manual although you should then keep cable lengths as short as possible Mono sources may be used by plugging into the left jack only 2 GAIN The GAIN control sets the level of the channel signal 3 EQUALISER HF EQ Turn to the right to boost high treble frequencies adding crispness to percussion from drum machines synths and electronic instruments Turn to the left to cut these frequencies reducing hiss or excessive brilliance Set the knob in the centre detented position when not requi
75. 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 tape 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 Soundcraft MFXi MPMi User Guide Issue 1210 37 38 DELAY CONTROLS Time Range Controls the length of the delay relative to Tempo At the 12 o clock position delay repea
76. t fader 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 released and muted when the switch is down The MUTE switch s inbuilt LED glows when the channel is muted 8 FADER The 60mm FADER gives you smooth control of the overall signal level in the channel strip allowing precise balancing of the various source signals being mixed to the Mas ter 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 O mark See the Initial Setup section on page 42 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 SOLO LED on the Master section illuminates to warn that a PFL is active The Left and Right meters display the PFL signal in mono This is a useful way of listening to any required input signal without interrupting the main mix for making adjustments or tracing problems 10 CHANNEL PEAK LED This LED will light when the signal level approaches clipping
77. t 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 Earth Loop Amplifier Right Signal with ground connected Warning Under NO circumstances must the AC power mains earth be disconnected from the mains lead Soundcraft MFXi MPMi User Guide Issue 1210 PROBLEM SOLVING Basic problem solving is within the scope of any user if a few basic rules are followed Get to know the Block Diagram of your console see page 20 21 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 togeth
78. ted AFL PFL signal These are used to feed your monitoring system This can be directly connected to powered monitors or indirectly via an amplifier to standard monitors This controls the level of the signal sent to your monitoring system This switch selects the signal source to be monitored Note that the 2 TK input can be monitored also see item 30 below This controls the level of the signal sent to the headphones jack socket Plug your headphones into this socket Recommended headphones impedance is 32 ohms or greater These outputs can be used to send the channel signal to an artist s monitors headphones in ear stage monitors external FX or secondary PA monitor system The rotary controls set the output levels of the three Aux Outputs The After Fade Listen AFL switches route their respective aux output signal to the monitor headphones outputs This switch globally changes the AUX 2 feed on all the input modules to be either post fade or pre fade These two pairs of 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 stereo channel strip with EQ Auxes and a Balance control Mono sources may be used by plugging into the left jack only You can connect the playback from your recording device here Use these to control the 2 Track signal The Monitor switch sends the signal to the monitor outputs and phones whilst the TO MIX
79. the meters may move into the red section Adjust the overall level using the Master Faders if necessary Listen carefully for the characteristic sound of feedback If you cannot achieve satisfactory input level setting without feedback check microphone and speaker placement and repeat the exercise If feedback persists it may be necessary to use a Graphic Equaliser to reduce the system response at particular resonant frequencies Note The initial settings should only be regarded as a starting point for your mix It is important to remember that many factors affect the sound during a live performance for instance the size of the audience You are now ready to start building the mix and this should be done progressively listening carefully for each component in the mix and watching the meters for any hint of overload If this occurs back off the appropriate Channel Fader slightly until the level is out of the red segments or adjust the Master Faders Remember that the mixer is a mixer not an amplifier Increasing the overall level is the job of the amplifier and if it is impossible to provide adequate level it is probable that the amplifier is too small for the application Choose your amplifier carefully and do not try to compensate for lack of power by using the mixer to increase output level Note The level of any source signal in the final output is affected by many factors prin cipally the Input Gain control Chann
80. ts 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 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 take 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 s
81. und Plate reverbs are often used to enhance popular music particularly percussion Room Reverb Room produces an excellent simulation of a very small room which is useful for dialog and voiceover 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 especially the spoken voice to which Chamber programs add a noticeable increase in loudness with low color Gated Reverb Gated reverb is created by feeding a reverb such as a metal plate through a gate device Decay Time is set to instant while Hold Time varies duration and sound The Gated reverb provides a fairly constant sound with no decay until the reverb is cut off abruptly This program works well on percussion particularly on snare and toms be sure to experiment with other sound sources as well Soundcraft MFXi MPMi User Guide Issue 1210 29 36 Reverse Reverb Reverse reverb works in t
82. unes 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 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 processor will be restored to its factory state Soundcraft MFXi MPMi User Guide Issue 1210 39 EFFECTS DATA CHART 40 d HT ull 4 j JE t jr FEEDBACK 20 2 565 54242422 TE Eke 275758 TIME RANGE 207625 FEEDBACK 20 om semo 5 5 80 DUCK THRESHOLD SERIAL DELAY THENPHASE a ee eee rec gt lee lee Louux le eus SERIAL DELAY THEN ROTARY Soundcraft User Guide Issue 1210 repeat hold function see page 29 2nd paragraph Note H MFXi MPMi TYPICAL SPECIFICATIONS Frequency Response Mic Line Input to any Output 1 5dB 20Hz 20kHz T H D Mic Sensitivity 30dBu 14dBu Mix output lt 0 01 1kHz Noise Mic Input E I N maximum gain ee 126 5dBu 1500 source Aux Mix a
83. utting of particular frequencies can really make a difference to clarity There are three sections giving the sort of control usually only found on much larger mixers The EQ knobs can have a dramatic effect so use them sparingly and listen carefully as you change any settings so that you get to know how they affect the sound HF EQ Turn to the right to boost high treble frequencies above 12kHz by up to 15dB adding crispness to cymbals vocals and electronic instruments Turn to the left to cut by up to 15dB reducing hiss or excessive sibilance which can occur with certain types of microphone Set the knob in the centre detented position when not required MID EQ There are two knobs which work together to form a SWEPT MID EQ The lower knob provides 15dB of boost and cut just like the HF EQ knob but the frequency at which this occurs can be set by the upper knob over a range of 150Hz to 3 5kHz This allows some truly creative improvement of the signal in live situations because this mid band covers the range of most vocals Listen carefully as you use these controls together to find how particular characteristics of a vocal signal can be enhanced or reduced Set the lower knob to the centre detented position when not required LF EQ Turn to the right to boost low bass frequencies below 80Hz by up to 15dB adding warmth to vocals or extra punch to synths guitars and drums Turn to the left to cut low frequencies by up to 15dB for reducing hu
84. y for headphones of 32 or greater 802 headphones are not recommended Soundcraft MFXi MPMi User Guide Issue 1210 12 METERS amp SOLO LED The three colour peak reading BARGRAPH METERS normally show the level of the signal s selected by the monitor source select switches giving you a constant warning of excessive peaks in the signal s 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 AFL PFL switch is pressed the meters switch to show the selected AFL PFL signal on both meters in mono the SOLO LED also lights MIX amp SUB GROUP OUTPUTS 13 MIX FADER The MIX FADER sets the final level of the Mix outputs This should normally be set close to the 0 mark if the input GAIN settings have been correctly set to give maximum travel on the fader for smoothest control 14 SUB FADERS This pair of faders sets the final levels of the Sub group outputs These should normally be set close to the 0 mark if the input GAIN settings have been correctly set to give maximum travel on the faders for smooth est control 15 SUB TO MIX This switch routes the Sub L and Sub R signals to the main mix 16 STEREO MONO If this switch is depressed a mono sum of the sub group s

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