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1. SLEEVE Ir __ TIP RING SLEEVE SLEEVE RING TIP BE f ib SLEEVE RING TIP p IP W SLEEVE SLEEVE TIP IP Ji SLEEVE LL GI SLEEVE SLEEVE e e Ring Sleeve ON Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Ring Sleeve Tip Sleeve Tip Sleeve Tip Ring Sleeve Tip Ring Sleeve N gt gt Tip Ring Sleeve Tip Ring Sleeve Tip Left Sleeve Tip Right Sleeve 1 2 Left 3 1 2 Right 3 Tip Ring Sleeve Tip Ring Sleeve Tip Sleeve Tip Sleeve Centre Screen Centre Screen Soundcraft MFXi MPMi User Guide 0410 59 GLOSSARY AFL Auxiliary send After fade listen a function that allows the operator to monitor the post fade signal in a 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 A method
2. Soundcraft MFXi MPMi User Guide 0410 FITTING OPTIONAL RACK MOUNT BRACKETS The rack mount kit is included with the MFXi12 2 and MPMi12 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 Ye ctt Tur ger or St AE Tun Tel se els bey Poe i ZELLE Bele gles pil room Lu LN 4 F r 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 above sal mam ka 15 gt IE ga oogkn 1 it 1 D m i gi pri pi i siis 22 41 i ziir Keep the side mouldings in case you want to re fit them at a later date 48 Soundcraft MFXi MPMi User Guide 0410 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 rac
3. 42 USING YOUR SOLE cum uu ER ee ee 44 ee ee 46 FITTING OPTIONAL 5 48 DIME N GION 49 PN A NON a ee en 50 IXPIGAL CONNECT ING CEAD i a l 54 OSS A PP E 56 NE EEES E E E 58 Soundcraft MFXi MPMi User Guide 0410 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 electrician for replacement of the obsolete outlet Protect the power cord from being walked on or pinched particularly at plugs conven ience receptacles and the point where they exit from the apparatus Only use attachments accessories specified by the manufacturer
4. E EB T u z4 V ITNU G 2 1 2 i 1 g TA E E OF N vive le le Tog r Ca lt e lt Ld A 5 2 2 lt w S ely gs IT N oly a BB o gt N Z vive VER C CX CA in B C 1 SAS 4A MA H is i pT EU st Es e pm N N 1 vive visse sl d i d 2 2 EB u oy 7 E o 5 2 z F g 8 E z 2 vive vlve le alve Iun d lt lt a 5 X X X X 5 gt EC 1 F3 lt x gt x en za N eo 8 i EK 2 877 eee gt oC e gt es vive vlve vlve Iur d 2 2 2 2 2 2 E a PNG 5 42 2 3 N 3 3 2 N ESS EE Bee eee ee ee suna sr e OQ S OQ oe 0 N A V 2 N 8 xm M la 2 4 5 g CR G 2 3 EC 3 8 3 E
5. E EE 30dBu max 30dBu EEE I 20dBu max Headphones 15002 recommended impedance 32 to 200 2 300mW Input amp Output Impedances Vier 2kO qe 10kO2 NR rE 45 STO it d 1500 balanced 75 2 unbalanced E amp OE Soundcraft reserves the right to change specifications without notice Soundcraft MFXi MPMi User Guide 0410 Soundcraft MFXi MPMi User Guide 0410 43 44 QU Cardioid Response Hypercardioid Response Omnidirectional Response mi lt lt 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
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9. 5754 SA seran 660 THE IE ET ER EE EE IET IEEE IEEE IET IT IE EL MERE EEE Hennav Soundcraft MFXi MPMi User Guide 0410 41 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 0 01 1kHz Noise Mic Input E I N maximum gain 126 5dBu 15002 source Aux Mix and Masters OdB faders down lt 82dBu Crosstalk 1kHz channel MULO gt 90dB Aux Send Pots Offness ss gt 82dB EQ Mono inputs 12kHz 15dB ME 150Hz 3 5kHz 15dB a Os 80Hz 15dB OA 1 5 EQ Stereo inputs ul MER 12kHz 15dB ME 120 7 15dB a EE 80Hz 15dB t AX E E 0 8 Power Less than 40W Operating Conditions Temperature a 5 C to 40 Input amp Output Levels a tA 15dBu max Na p fo
10. MICROPHONE PLACEMENT Careful microphone placement and the choice of a suitable type of microphone for the job is one of the essentials of successful sound reinforcement The diagrams on the left show the different pick up pat terns for the most common types of microphone Cardioid microphones are most sensitive to sound coming from in front and hypercardioid microphones offer even greater directivity with a small amount of pickup behind the microphone These types are ideal for recording vocalists or instruments where rejection of unwanted sounds and elimination of feedback is important The aim should be to place the microphone as close as physically possible to the source to cut out unwanted surround ing 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 mics should be connected before the 48V is switched on Ensure the PA system is OFF when swi
11. USER GUIDE f 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 UL60065 7th Edition 2003 CAN CSA E60065 03 And EMC standards EN55103 1 1996 E2 55103 2 1996 E2 For further details contact Harman International Industries Ltd Cranborne House Cranborne Road Potters Bar Hertfordshire 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 Soundcraft is 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 Soundcraft by H
12. 100Hz 5 LINE 15 100Hz 5 LINE 15 100Hz LINE 15 100Hz N N gt HEADPHONES TELA cR TO S 2 BARS jn MIX SOLO EX EX 2 4 5 Q e b f b E H b ki VS 4 RI S SEY SENI SS L Oy OOOOO TFT J mn m o af 10 11 12 M 5122 MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL u PFL Een ne d Es G 1 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 4 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 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 7 A
13. Soundcraft MFXi MPMi User Guide 0410 19 BLOCK DIAGRAM MFXi pum wavs 1 E E E N ans 5114110 ANS HOVULZ ji n XIN OL of m Bu 1 YXIN TE LHOIH it a 1 mem SLNdLNO ka NUNLIN 034315 110 5 28 l kd lad HOLINON L gui A 100 HOLINON i HOLINOW OL HOLINON E E Govul 2 TWNOIS 430 4 1504 194145 ONIHOLINON T dH 41 i X i S3NOHd H 0343118 i ob E oi 9 D 0 KH L i E ANSIXIW zn gt 9 x gt gt SHILIN 5 Ed ki NIVO __ __ 6565 TVOLLNAQI 03843165 TANNVHO O3331S SHE sid li 0108 4 e O CN HOLIMSLOOS E 144 SI HW T o l _ ino i lit XJ KINO 508 38d LXNV OLSI zxnvo xd 0393 1830 3 aV IIIS SI LXnv 01 TWNOIS 1504 NUNLIY ONIY o QN3S dlL ANSIXIN LNIOd LY3SNI gt a ur dS eme TV 1 d O ZXNY 18 SLNALNO Xnv jer HH NE 14V lt i So rr di LXnv B mq uus x 15 5 5 LS LEE lt 0 ale JIN A8r IVOLLNAQI TIV 8 40 ZE 40 02 TANNVHO ON
14. 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 always post 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 0 mark See the Initial Setup section on page 33 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 interrup
15. 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 set at 12 o clock repeats are evenly alternated between left and right channels As this knob is turned counter clockwise the first tap occurs earlier and the second tap occurs later than they did at the 12 o clock position When the knob is turned clockwise the first tap occurs later and the second tap occurs earlier Depth
16. are renowned for the effects processor offers increased versatility and high quality effects all instantly accessible via the extremely intuitive front panel controls The effects processor has 32 programs which are held in two banks of 16 programs which can be Stored to allow you to create your own custom effect 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 32 lists the functions of the Parameter knobs for each fx program Note When the console is powered up the program recalled will always be the selected program in BANK A FX OPERATION Select and Load a Program Turn the Program Select knob to choose a program Note that the console has 32 programs which are held in two banks of 16 programs There are individual BANK A and BANK B LED s to indicate which bank is 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 sou
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18. Contain important information and useful tips on the opera tion of your equipment HEADPHONES SAFETY WARNING Contain important information and useful tips on headphone outputs and monitoring levels 69 A Recommended Headphone Impedance gt 32 Ohms Soundcraft MFXi MPMi User Guide 0410 Soundcraft MFXi MPMi User Guide 0410 CONSIGNES DE SECURITE 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 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 se
19. 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 0410 45 0 0 0 as Oss ans ans ans ans ans ans ans ans ans XIN T XIN T XIN T XIN XIN T XIN T XIN T XIN XIN T O O Ou O CJ Ou Ed O O HX INA 2 e e B and use it to record the settings used for z O ILAW EI INW XIW Ow 01805 1315 OO ONN 7 ar LAT wo Ho ITA LAT LA wy ol D O 0 Q mn 2 2 M 2 2 2 2 2 2 2 OD Tan Tan 117 tan 17 Tan Tan Tan 117 117 wa H wa H H Nvd 1 NVd H 9 H NWd H NWd H NVd H Nvd G ON 0 0 D 0 D 0 D 0 0 0 0 0 0 0 0 0 lt M O on 010 XIN 191 __ 51 TELLE o1anis as H1d0 484 8 M930 W 095 301 HOSS390H4 5193339 Heuay W19 10 119 52 particular applications g ZHOOL gL Sl ann 81 an si aun aun 8909 3209 fi 9209 8 8909 8909 5 Pd 2 2 7 2 2 Pd 7 LAN nivo um EN uiv 7
20. TIP RING SLEEVE Sleeve SLEEVE TIP CT 5 CI Tip MWE Ring TIP RING SLEEVE gt z Sleeve ED il o C WWE Ring TIP RING SLEEVE Sleeve il Tip 1 B c Sleeve Tip Ring Sleeve Centre Screen Tip Sleeve Tip Ring Sleeve Centre Screen Centre Screen Tip send Sleeve Tip return Sleeve 2 send 3 1 2 return 3 Centre send Screen Centre return Screen 54 Soundcraft MFXi MPMi User Guide 0410 Cables Balanced Where used Aux Mix outputs MWE TIP RING SLEEVE SLEEVE RING CE TIP RING SLEEVE Headphone oeparator Note for every doubling of headphones the load impedance is halved Do not go below 32 Ohms COD gt Cc c em m a c CD C xii TIP RING SLEEVE SLEEVE RING TIP e MWE TIP RING SLEEVE p IP SLEEVE IP Y Cables Unbalanced WE TIP RING SLEEVE
21. 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 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 e
22. 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 connect the screen only at the mixer end Avoid running audio cables 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 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 0410 PROBLEM SOLVING Basic p
23. of audio connection which balances the wanted signal between two wires these wires also have a screen which carries no signal Any interference is picked up equally by the two wires which results in cancellation of the unwanted signal In this guide the term can refer to various circuit architectures Connection details are given in relevant sections Clipping The onset of severe distortion in the signal path usually caused by the peak signal voltage being limited by the circuit s power supply voltage DAT Digital Audio Tape a cassette based digital recording format dB decibel A ratio of two voltages or signal levels expressed by the equation dB 20Log10 V1 V2 Adding the suffix 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 device that allows the boosting or cutting of selected bands of frequencies in the signal path Fader A linear control providing level adjustment Feedback The howling sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal Foldback A feed sent back to the artistes via loudspeakers or headphones to enable them to Frequency response Gain Headroom monitor the sounds they are producing The variation in gain of a d
24. prot ger contre toute interf rence nuisible en installation commerciale Cet appareil g nere 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 0410 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 SECURITE 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 pr vient l utilisateur d une tension dangereuse non isol e dans le boitier 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 entret
25. to have very few inter ruptions 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 com puter aided test equipment able to measure signals well outside the range of normal hearing As each console passes through to be quality checked before packing there is also a human listening station Something we have learnt over the years is that the human touch counts and only by using people can you ensure the product meets the high demands of the user ADVICE FOR THOSE WHO PUSH THE BOUNDAR
26. ARMAN Harman International Industries Limited Cranborne House Cranborne Road POTTERS BAR Hertfordshire EN6 3JN UK Tel 44 0 1707 665000 Fax 44 0 1707 660742 http www soundcraft com Soundcraft MFXi MPMi User Guide 0410 Contents IMPORTANT SAFETY 4 SAFETY SI NBOLGUDE ee ee en 6 INTRODUC TORN c 11 THE OO SECOND SLIDE da a 12 THE 60 SECOND GUIDE MP eren nnne nnne nnn rennen renis 14 lS Cae a A 16 Fa fete E EEA 20 VONOINPOUTCHANNE LCS 22 STEREO INPUTCHANNELG S 25 MASTER EC TION E ta E 28 Lexicon FX PROCESSOR OVERVIEW 32 FA OPERATION e E E ee ern 33 EX PROGESSOR CONTROLS 34 REVE RE O ae seen 35 RE VERB BON ER One ne E a i E 36 DELAY 3 DELAT GONJIRO La 3 See ee 38 FACTORY RE ET c 40 er DATA CHAR 41 TYPICAL
27. DAT recorder SHOLINOW JALLOV SWUQ 091 lt LELTEEDEFETI g 1 NO a D D ER D on a am GR ur ain D oL 6 8 L 9 6 0 zov 7 83 SZ i P m RIP I AA 5 HOVALILINN 5334105 IVOOA LNAWNYLSNI DE rrr rr U HOLIMS N3MV3dS aca ace ze fe e Berg EEEE E e LV ALLASSVO SHOLINOW 3AISSVd 99 TT aaa Id NV MOVE 104 S LSILYV IOHLINOO OIGNLS 53 Soundcraft MFXi MPMi User Guide 0410 TYPICAL CONNECTING LEADS Audio connectors used with Soundcraft consoles E af JEM c 7 o HIE TIP RING SLEEVE TIP SLEEVE XLR 3 pole 14 2 pole 14 RCA phono A guage TRS jack A guage TS jack B
28. IES 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 Soundcraft MFXi MPMi User Guide 0410 11 THE 60 SECOND GUIDE MFXi 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 MFXi console 9 oec LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE 5 27 27 A 27 A A 27 gt rA 6 INS INSERT INSERT INSERT INSERT INSERT INSERT INSERT lt lt INSERT INSERT INSERT 2 2 2 wm GAIN GAIN 30 GAIN 30 GAIN 30 30 GAIN 30 GAIN 30 GAIN 30 GAI 30 30 30 30 HI H H H H H H H fi 8 H El H ji B ji B B i ji
29. MFXi MPMi User Guide 0410 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 Controls the modulation rate of the Phaser effect Knob 2 Depth Controls the intensity of the Phaser effect Knob 3 Regeneration This knob controls the amount of modulated signal being fed back into the input creating feedback Higher amounts add more resonance to the effect signal Tremelo Pan Tremolo and Panner create rhythmic change
30. OW Soundcraft MFXi MPMi User Guide 0410 20 BLOCK DIAGRAM MPMI NR 4 8NS SLAdLNO ANS 1 816 LY est ONOW lt 110 SLAdLAO XIIN 110 oa Lt te d 110 NN HOLINON lt gai 110 HOLINON 1110 ES lt ak S3NOHdQViH S3NOHd H lt 094915 2 EE ET 4313 YOLINOW A iia 0108 mT HG ui 40 mil 31s viN exnv S me d O ZXNY 3 1804 SLNd1NO xnv ut E inf d O ll lt u31SVIN 194135 SNIHOLINOIN lt s NI MOVAL XINOL WNOIS 430 4 1504 i i t d lt ONON 1437 m NOK i tos 4 DF 03 gt 45 i IVOILNAGI 3 034316 T3NNVHO 03331 apg TWNOIS NNOIS 7 9504 12508 J NN E du a Ro EN MWe gt ue ae dS 1VOILNAQI TIV Z L 40 05 TINNVHO ONOW AUX 3 POST AUX2 POST AUX2 PRE 21 Soundcraft MFXi MPMi User Guide 0410 22 MONO INPUT CHANNELS MFXi 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 b
31. OWER 34 STEREO RETURN INPUTS 35 STEREO RETURN CONTROL 36 FX BUS OUTPUT 37 FX CONTROL amp AFL SWITCH 38 FOOTSWITCH CONNECTOR 39 LEXICON FX PROCESSOR Press this to globally switch the phantom power 48V on for condenser micro phones WARNING Do Not apply Phantom Power before connecting a microphone This pair of inputs accept 3 pole A 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 25 See the information starting on page 24 Soundcraft MFXi MPMi User Guide 0410 THE 60 SECOND GUIDE MPMI 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 o E EK aoB LINE 15 100Hz 5 LINE 15
32. RAPHIC EQ AMPLIFIER INSTRUMENT AND VOCAL SOURCES Soundcraft MFXi MPMi User Guide 0410 51 52 APPLICATION 3 PLACES OF WORSHIP This configuration uses the Aux 2 output to drive an induction loop for the hard of hearing Aux 1 output is used to generate foldback monitoring for the speaker singer The main outputs are used to drive the main Speaker system The record and playback connections are used to pass audio to and from a DAT machine or CDR GRAPHIC EQ AMPLIFIER MAIN PA LEFT AND RIGHT 000 0ja uz E al 5 000 LLI n 0 lt lt ON e sies o INDUCTION LOOP AMP OOOOOOO CD PLAYER m gt 92 Q c j LL gt S 2 L an 5 lt S 05 0 0 0 T 0 2 TO a l 4 23 TA e 129 gt I Y TE 0 2 gt Soundcraft MFXi MPMi User Guide 0410 APPLICATION 4 RECORDING The insert points on channels 1 8 may be used to feed a multitrack recorder as shown link the send and return signals The Mix outputs are used for a preliminary stereo mix on a
33. T Jack 17 SUB GROUP OUTPUTS 74 Jack 18 SUB GROUP ROUTING 19 MASTER FADERS 20 MAIN METERS 21 MONITOR OUTPUTS 74 Jack 22 MONITOR CONTROL 23 MONITOR SELECT SWITCH 24 PHONES CONTROL 25 HEADPHONES Jack 26 AUX 1 amp 2 OUTPUTS 74 Jacks 27 AUX CONTROLS amp AFL SWITCHES 28 AUX 2 POST PRE SWITCH 29 STEREO INPUTS 74 Jack 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 lev
34. 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 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 Soundcraft
35. UX 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 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 14 Soundcraft MPMi User Guide 0410 12 PEAK LED 13 SP LED 14 INPUT CHANNEL FADER 15 MIX OUTPUTS XLR MONO OUT 4 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 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 th
36. 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 Soundcraft MFXi MPMi User Guide 0410 with liquids such as vases on the apparatus No naked flame sources such as lighted candles should be placed on the apparatus Ventilation should not be impeded by covering the ventilation openings with items such as newspapers table cloths curtains etc THIS APPARATUS MUST BE EARTHED Under no circumstance
37. ack wired as a stereo output ideally for headphones of 32 or greater 802 headphones are not recommended Soundcraft MFXi MPMi User Guide 0410 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 smoothest 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 m
38. alanced Line Inputs Mix L amp R Outputs Stereo Inputs Auxiliary Outputs Tip een gt WE gt gt RING SLEEVE SLEEVE RING TIP Sleeve e WE TIP RING SLEEVE Unbalanced Direct Output Monitor Output Stereo Return Inputs Tip qd 25 Sleeve MWE __ TIP RING SLEEVE gt en C i TIP SLEEVE Sleeve qi TIP SLEEVE IP SLEEVE TIP Sleeve O0 O SLEEVE RING TIP Sleeve TIP RING SLEEVE ii lt i TIP SLEEVE Sleeve 0 0 Tip Ring d Sleeve MWE TIP RING SLEEVE MU 00 U ul U e Insert Cables Mono Inserts SLEEVE TIP Tip 07 MWE Ring
39. 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 inbuilt 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 33 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 signa
40. c INSERT POINT 74 Jack Connect Signal processors here e g Compressor Gate etc 4 GAIN 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 1 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 this to monitor the post EQ signal from the channel i IC Your MFXi console is equipped with a Kensington Security slot on the rear panel for use with compatible PC Laptop security cables a For more information about the Kensington range of security devices please visit http us kensington com 12 Soundcraft MPMi User Guide 0410 12 MIX SUB SWITCH 13 PEAK LED 14 SP LED 15 INPUT CHANNEL FADER 16 MIX OUTPUTS XLR amp MONO OU
41. 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 0410 35 36 Reverse Reverb Reverse reverb works in the opposite fashion from normal reverb Whereas a normal reverb has the loudest series of reflections heard first that then become quieter over time the Reverse reverb has the softest reflec tions essentially th
42. ck Retum L amp 16 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 maxi mum 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 interfer ence 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 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 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 wil
43. cteur 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 0410 ATTENTION Pour r duire les risques d incendie ou d lectrocution n exposez pas ce produit a la pluie ou l humidit Ce produit ne doit 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
44. e LOW IMPEDANCE You can use low cost HIGH IMPEDANCE mics but the level of background noise will be higher If you turn the PHANTOM POWER on top right hand side of the mixer the socket provides a suitable powering voltage for professional condenser mics ONLY connect condenser microphones with the 48V powering OFF and ONLY turn the 48V powering on or off with all output faders DOWN to prevent damage to the mixer or external devices TAKE CARE when using unbalanced sources which may be damaged by the phantom power voltage on pins 2 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 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
45. e 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 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 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 Th
46. e 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 of a spring is an important component of many classic rock and rockabilly guitar sounds REVERB CONTROLS Pre Delay Creates an additional time delay between the source signal and the onset of reverberation This c
47. el 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 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 30 2 TRACK INPUTS RCA Phono You can connect the playback from your recording device here 31 2 TRACK CONTROLS Use these to control the 2 Track signal The MONITOR switch sends the signal to the monitor outputs and phones whilst the TO MIX switch sends it to the main mix 32 RECORD OUTPUTS RCA Phono You can connect these to the inputs of your recording device 33 PHANTOM P
48. ent 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 Channel Fader and Mix Faders You should try to use only as much microphone gain as required to achieve a good balance between signals with the faders set as described above If the input gain is set too high the channel fader will need to be pulled down too far in compensation to leave enough travel for successful mixing and there is a greater risk of feedback because small fader movements will have a very significant effect on output level Also there will be a chance of distortion as the signal overloads the channel and causes clipping If the gain is set too low you will not find enough gain on the faders to bring the signal up to an adequate level and backgound hiss will be more noticeable This is illustrated below tw Clipped 7 Signal Na
49. entation 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 Soundcraft MFXi MPMi User Guide 0410 Post fade Pre fade Rolloff Shelving Solo Spill Transient Unbalanced 48V The point in the signal path after a fader and therefore affected by the fader posi tion 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 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 condenser micro phones and active DI boxes Soundcraft MFXi MPMi User Guide 0410 of WARRANTY 59 Soundcraft is a trading division of Harman International Industries Ltd End User means the person who first puts the equipment into regular operation Dealer means the person other than Soundcraft if any from whom the End User pu
50. erence 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 0410 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 suf ficient magnitude to constitute a risk of electric shock to persons CAUTIONS The exclamation point within an equilateral triangle is in tended to alert the user to the presence of important operat ing and maintenance servicing instructions in the literature accompanying the appliance NOTES
51. es de ventilation CET APPAREIL DOIT ETRE RELI A 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 L 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 a la borne rep r e par la lettre E ou par le symbole de terre masse Le fil Bleu doit tre connect a la borne N 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 cou leurs et le raccordement la terre au neutre et la phase La console ne peut tre reli e qu une ligne secteur de la tension indiqu e en face arriere 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
52. ese 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 29 2 TRACK INPUTS RCA Phono You can connect the playback from your recording device here 30 2 TRACK CONTROLS Use these to control the 2 Track signal The Monitor switch sends the signal to the monitor outputs and phones whilst the TO MIX switch sends it to the main mix 31 Record Outputs RCA Phono You can connect these to the inputs of your recording device 32 PHANTOM POWER E M Press this to globally switch the phantom power 48V on for condenser microphones WARNING Do Not apply Phantom Power before connecting a microphone Your 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 MFXi MPMi User Guide 0410 15 pole jack 2 pole jack Balanced Unbalanced Hot ave 4i Cold ve Ground Oman Som Sri L md T7 T e land io Tip L eed and Sins Grounc ve isad ling I Signa sand Signes retum Ground E emen RCA Phone Plug 2 Tra
53. evice 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 56 ence when connecting to external balanced inputs A break point in the signal path to allow the connection of external devices for instance Signal processors or other mixers at line level signals Nominal levels can be anywhere between OdBu to 6dBu usually coming from a low impedance source Abbreviation of panorama controls the levels sent to left and right outputs The point at which a signal rises to its maximum instantaneous level before falling back down again It can also describe an equaliser response curve affecting only a band of frequencies like on a graphic equaliser peaking at the centre of that band A visual indication of the signal peaking just before the onset of clipping which will distort the signal Pre fade listen a function that allows the operator to monitor the pre fade signal in a channel independently of the main mix A term used to describe the relationship of two audio signals In phase signals 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 ori
54. h guitar and electric piano rhythm parts In fact these programs are great alternatives to the Chorus and Tremolo effects for any sound source Knob 1 Speed Controls the modulation rate of both rotary speakers The lower frequencies rotate at a slower speed than the high frequencies Knob 2 Doppler Increases or decreases the Doppler pitch effect that is created by the physics of a rotating Speaker Knob 3 Stereo Spread Increases or decreases the stereo imaging of the Rotary effect Soundcraft MFXi MPMi User Guide 0410 39 40 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 detunes to full interval shifts up or down a two octave range FACTORY RESET Use this function if you want to erase all program data and restore the effects processor to its factory state To perform a Factory Reset press and hold t
55. he 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 0410 EFFECTS DATA CHART udejgejed 6x 99ed 995 uoun 0 1eadaJ H 910N AHvICHNIHI A730 Trias PE 66 OS 660 04d SS d EEEE Sse AU SON ve Ara AM LOM x jewHdN3HlAvIgO Trias 88 98 NOLLed3N3cHH 6559 0935 EEEE E 51003 FON MILI 39 vna gH3A3HN3HI 47130 Trias PE Of se3wriae i 660 804 2 9 Mo NON TAQA ZI 343434 5190 Trias 80299098303 664 EEEE E LHOHS TAH ____ 6601 El 660 El 0532 cq 560 m Haan 0538 0 22 sd 6601 El 660 04 0994 04 660 5 559 03 660 lt 660 SH Gd3ds 660 660 03 j bb b ol sg 660 __ ERST BETT 3543434 22
56. herwise 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 0410 Soundcraft MFXi MPMi User Guide 0410 59 60 Soundcraft MFXi MPMi User Guide 0410 Soundcratt by HARMAN SOUNDCRAFT A Division of Harman International Industries Ltd Cranborne House Cranborne Road Potters Bar Herts EN6 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 Email soundcraft usa harman com
57. i 5 ki B 5 H H VER 2 VE 2 4 NL ct eet YOY 2 SEL EL B 5 5048 5 2 60dB INE 15 LINE 15 z 00 2 LI ja 8777 608 LINE 15 00 DIE LU I dtr STUDIO VEN 0 0 Y SOLO l 506 Com O 16 O U MU 3 C 6 A 6 0 ER ER ER ER 0 AEX e UL VP VP A 4 NET VE NER L R L R L R R MNO 9 mi M Md FX sus p t MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE 2 PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL amp ab 5 MIX MIX AL MIX AL MIX AL MIX AL MIX A MIX AL MIX AL MIX C SUB SUB SUB SUB SUB SUB SUB SUB SUB NA 265 6 KO KO 5010 m sPO 10 10 10 10 10 10 10 10 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 4 Jack Connect Line level sources here e g Synth Drum Machine DI et
58. ien 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 LEMBASE CASQUE Informations importantes et astuces pratiques pour les jl embases casques et les niveaux d coute Ww Imp dance minimum recommand e pour le casque gt 32 Ohms Soundcraft MFXi MPMi User Guide 0410 INTRODUCTION Thank you for purchasing a Soundcraft MPMi MFXi mixer The MPMi and MFXi ranges are our most cost effective mixing solutions bringing you all the features and per formance 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 support ing 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 mixing Built to the highest standards using quality components and surface mount technol ogy 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
59. 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 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 and connect to cable screen Connect Pin 2 to signal Screen Signal Return Return from External Device Soundcraft MFXi MPMi User Guide 0410 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 L I Signal Return To External Device Screen 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 10dBV than professional equipment and will therefore need a higher gain setting to give the same output level See Initial Setup on page 33 to learn how to set GAIN correctly 6 Equaliser The Equaliser EQ allow
60. k nuts at points cS Attach rack bolts through points and into fitted rack nuts at points A 5 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 404 68mm Soundcraft MFXi MPMi User Guide 0410 AQ APPLICATIONS APPLICATION 1 LIVE SOUND REINFORCEMENT CASSETTE OR DAT MACHINE AA WA mg Ww 2x e gt EI x5 amp Dm 28 AMPLIFIER STAGE FOLDBACK GRAPHIC EQ ooooo KEVBOARD VOCAL MIC e GRAPHIC EQ AMPLIFIER HEADPHONES 32 Ohms gt 50 Soundcraft MFXi MPMi User Guide 0410 MAIN PA LEFT AND RIGHT APPLICATION 2 MULTISPEAKER APPLICATIONS This configuration demonstrates how multiple speaker configurations can be driven by the MFXi Y LLI LL OW L GRAPHIC EQ 0 MAIN PA LEFT AND RIGHT T 1 5 4 or AN ur 06 66 R MONITOR AMPLIFIER GRAPHIC EQ FILL nono G
61. l LI Sk ann LI LI sl LI S ann LI Sl LI Sl aun LI fl 5 aun LI 1 aun LI gL ann LI si an LI Sl ann 8009 8 8909 8 8209 3209 8 8009 5 8 09 fi 8 09 fi 809 8 3209 fi apog fi apog r 8 09 f 7 r Pd 7 a Pd 2 2 7 4 lt 2 2 2 2 2 7 EN EN nwo 7 EN EN nwo EN 7 ums EN LAN LAN LAN nwo I EN nwo ZS ZA ZA ZA ZA ZS ZA ZA ZA ZA ZA ST A sn 22 asm F sn SZ gt F au ZS ZS ZS ZA ZA ZA ZA ZA ZN ZA gt Na Na A Na Ra ann ann ann ann ann ann ann ann OO O O JIN IIN JIW IIN JIW 9IN IIN L1 46 MARK UP SHEETS You may freely copy this page and use it to record the settings used for particular applications gigs soo oa MIX SOLO DJ PHANTOM POWER O 16 O 0 6 3 0 Soundcraft MP mM A STE MNO SUBTO MIX B e IN IN 12
62. l 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 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 is inserted the signal path is broken just before the EQ section The signal from the channel appears on the TIP of the plug and is returned on the RING with the sleeve as a common ground The Send may be tapped off as an alternative pre fade pre EQ direct output if required using a lead with tip and ring shorted together so that the signal path is not interrupted Soundcraft MFXi MPMi User Guide 0410 Mix Outputs II 1 Screen 3 Signal ili Aux Outputs Monitor Outputs Signal Signal Screen SS Headpho
63. l 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 is 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 0410 L MONO WA ST Tl 4 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 electr
64. nel which has been set up identically Use PFL to monitor the signal in each section Insert point contact problems may be checked by using 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 few in your gig tool box 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
65. nes Left Signal Right Signal Ground 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 pole mono jacks which will automatically ground the cold input Use these inputs for sources such as keyboards drum machines synths tape machines or as returns from 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 Output Sb Ale To External Device Screen Signal Unbalanced Connection From Signal Impedance Balanced To External Device Screen Signal Experience has sho
66. onic instruments Turn to the left to cut these frequencies reducing hiss or excessive brilliance the knob in the centre detented position when not required The control has a shelving response giving 15dB of boost or cut at 12kHz MF EQ Turn to the right to boost mid frequencies 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 20 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 0410 25 26 5 FX SEND MFXi
67. ono sum of the sub group signals 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 sock et 19 SUB OUTPUTS The 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 L and MIX 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 MFXi 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 0410 31 32 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 on MPMi 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 sta
68. ontrol 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 fre quency response creating brighter reverbs lower settings create darker reverbs with more bass frequency emphasis Diffusion Controls the initial echo density High settings of Diffusion result in high initial echo density and low settings cause low initial density In a real world situation irregular walls cause high diffusion while large flat walls cause low diffusion For drums and percussion try using higher Diffusion settings Soundcraft MFXi MPMi User Guide 0410 Shape This control helps give a sense of both room shape and room size Low values for Shape keep the majority of sound
69. power to all of the MIC inputs The adjacent LED illuminates when the power is active WARNING TAKE CARE when using unbalanced mics which may be damaged by the phantom power voltage Balanced dynamic mics can normally be used with phantom power switched on contact your microphone manufacturer for guidance Mics should always be plugged in and all output faders set to minimum before switching the Phantom Power ON to avoid damage to external equipment 2 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 j
70. racteristics 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 mellow ing and thickening the initial sound 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
71. rce signal by speaking or singing into the microphone playing guitar keyboard etc on the selected channel 5 Turn up the FX Send level on the channel until the Red CLIP LED in the FX Panel lights only occasionally If the red Input LED stays lit too much signal is being sent to the effect processor reduce 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 7 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 0410 33 FX PROCESSOR CONTROLS MFXi only 1 Tempo Button lapping this button twice sets the Delay Time of the selected lexicon program LED flashes to indicate current tempo Can be tapped in time with 24 BIT DIGITAL A PRE DEL EFFECTS PROCESSOR music source to synchronise the delay i 2 Store Button Stores program modifications to one of the program locations z Press and hold for three seconds will store the preset in the current location e fron The LED will flash rapidly during the store operation and then stay illuminated for 1 second to show the operation is complete A VARI 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
72. rchased 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 b the End User has notified Soundcraft or the Dealer within 14 days of the defect appearing and C no persons other than authorised representatives of Soundcraft or the Dealer have effected any replacement of parts maintenance adjustments or repairs to the Equipment and d the End User has used the Equipment only for such purposes as Soundcraft recommends with only such operating supplies as meet Soundcraft s specifications and ot
73. re fade signal to the Aux 1 pre bus 10 FXTO AUX 2 This pot routes a pre fade and a 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 PFL This switch routes a post effects processor signal to the monitor system FX BUS OUT not shown on diagram see item 27 on page 20 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 0410 REVERBS Reverberation or reverb for short is the complex effect created by the way we perceive sound in 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 that something is missing without it Hall Reverb A Hall is designed to emulate the acoustics of a concert hall a space large enough to contain an orchestra and an audience Because of the size and cha
74. roblem 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 14 Get to know what all controls and or connections in the system are supposed to do Learn where look for common trouble spots The Block Diagram is a representative sketch of all the components of the console Showing how they connect together and how the signal flows through the system Once you have become familiar with the various component blocks you will find the Block Diagram is quite easy to follow and you will have gained a valuable 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 chan
75. rts on the next page 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 AFL 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 MFXi Console only 29 STEREO RETURN INPUTS This pair of inputs accept 3 pole A 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 0410 Lexicon FX PROCESSOR OVERVIEW The effects within the console have been designed with both live sound reinforcement and home recording in mind Featuring the deep rich reverb algorithms that Lexicon
76. s fine manipulation of the sound particularly to improve the sound in live PA applications where the original signal is often far from ideal and where slight boosting or cutting of particular 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 freq
77. s in signal amplitude Tremolo affects both channel s amplitude simultaneously while the Panner affects the amplitude of each channel in an alternating manner Knob 1 Speed Controls the modulation rate of the Tremolo Panner Knob 2 Depth Controls the intensity of the volume amplitude change Knob 3 Phase Controls whether the amplitude change occurs in both channels simultaneously Tremolo or alternates between channels Panner Rotary Rotary speaker cabinets were designed to provide a majestic vibrato choir effect for electronic theater and church organs The most well known rotary speaker is the Leslie Model 122 which has two counter rotating elements a high frequency horn and a low frequency rotor with slow and fast speeds The sound generated as the spinning elements change speed is truly magical The swirling spacious effect is difficult to describe but clearly recognizable The Rotary effect is modeled after a Leslie style cabinet The input signal is split into high and low frequency bands The rotation effect is created by a synchronized combination of pitch Shifting tremolo and panning Like the physical cabinet the high horn and low rotor frequencies are spun in opposite directions Horn and rotor speeds are independent and designed with acceleration and deceleration characteristics to simulate the inertia of the original mechanical elements A virtual requirement for organ music Rotary also sounds remarkable wit
78. s 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 L The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L Ensure that these colour codes are followed carefully in the event of the plug being changed This unit is capable of operating over a range of mains voltages as marked on the rear panel NOTE This equipment has been tested and found to comply with the limits for a Class A digital device pursuant to Part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interf
79. tching phantom power on or off Set Master faders at 0 input faders at 0 and set power amplifier levels to about 70 Provide a typical performance level signal and press the PFL button on the first channel monitoring the level on the bargraph meters Adjust the input gain until the meter display is in the amber section with occasional peaks to the first red LED at a typical maximum source level This allows sufficient headroom to accommodate peaks and establishes the maximum level for normal operation but see note below Repeat this procedure on other channels as required As more Soundcraft MFXi MPMi User Guide 0410 channels are added to the mix the meters may move into the red section Adjust the overall level using the Master Faders if necessary Listen carefully for the characteristic sound of feedback If you cannot achieve satisfactory input level setting without feedback check microphone and speaker placement and repeat the exercise If feedback persists it may be necessary to use a Graphic Equaliser to reduce the system response at particular resonant frequencies Note The initial settings should only be regarded as a starting point for your mix It is important to remember that many factors affect the sound during a live perform ance 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 compon
80. ting the main mix for making adjustments or tracing problems 10 CHANNEL PEAK LED This LED will light when the signal level approaches clipping 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 0410 Soundcraft MFXi MPMi User Guide 0410 21 MASTER SECTION MFXi PRE 23 mss 07 510 5010 26 Q 1 6 O O 10 O O30 O30 2 O Sound 22 1 9 SOLO x x x 10 10 f m i H e a d 28 Soundcraft MFXi MPMi User Guide 0410 MASTER SECTION MPMi Soundcraft MFXi MPMi User Guide 0410 A PHA e SOLO 16 O O o 14 d 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
81. uencies below 80Hz by up to 15dB adding warmth to vocals or extra punch to synths guitars and drums Turn to the left to cut low frequencies by up to 15dB for reducing hum stage rumble or to improve a mushy sound Set the knob to the centre detented position when not required 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 Soundcraft MFXi MPMi User Guide 0410 23 24 AUX SEND 1 is fixed pre fade AUX 2 is globally switchable between pre and post fade see master section on page 20 On the MPMi Aux 3 is fixed post fader AUX 3 SEND MPMi only Aux 3 is fixed post fade 8 FX SEND MFXi 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
82. when the parameter matches the stored setting 4 Decay Feedback Depth Knob Controls Decay of the reverbs or the second parameter feedback or depth related of the selected effect The LED illuminates when the parameter matches the stored setting 5 Variation Controls Liveliness or Diffusion depending on the reverb selected or the third parameter of the selected effect The LED illuminates when the STORE parameter matches the stored setting TAP TEMPO 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 proc essed audio within the effect processor overloads and causes distortion of the signal If this illuminates reduce the FX Master Level item 25 page 20 Footswitch Input not shown on diagram see item 28 on page 20 Using a single pole momentary footswitch inserted into the 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 p
83. wn 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 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 32 2 or greater 8 headphones are not recommended Soundcraft MFXi MPMi User Guide 0410 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
84. xtent 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 DELAY CONTROLS Time Range Controls the length of the delay relative to Tap Tempo At the 12 o clock position delay repeats are synchro nous with the Tempo light represented by a Quarter Note lower values create faster repeats higher values increase the time between repeats Range 0 72 See the Effects Data Chart for exact note values Soundcraft MFXi MPMi User Guide 0410 37 38 Feedback Controls the number of delay repeats by feeding the delay output signal back into the delay input

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