M-SERIES USER GUIDE
Contents
1. 17 2 0 68 118 7 4 67 522 7 20 58 4 j i ee E s A 5 T3 z i oS E EL 8 E 7 NI A mu A 42 5 1 67 118 0 4 65 d _ 490 1 19 30 483 6 19 04 Fitinto 111 0 0 0 6 ej ee d 54 0 gt Se 444 6 17 50 s ES a a d i TEN 0 0 0 9 L 12 5 0 497 29 5 1 16 N J USER GUIDE 5 M4 DIMENSIONS All dimensions are in millimetres Inches shown in brackets 1 1187 4 67 43 1 1 70 522 7 20 58 T __ i 02 2 p s 2 0 a i E e E 1 Ni y A mmammmmmmm m 42 5 1 677 118 0 4 657 490 1 19 30 483 6 19 04 Fit into 11U 0 0 D E s2. oo 0 0 oo 00 006000 o o o Q j 41 ll 7 M P L A M A USER GUIDE APPLICATION 1 LIVE SOUND REINFORCEMENT STAGE FOLDBACK IN SEQUENCED KEYBOARD CL AMPLIFIER amm i SEQUENCER j ME TIMECODE OOD OOo 4 MULTITRACK TAPE RECORDER GRAPHIC EQ EFFECTS CASSETTE OR DAT MACHINE INSTRUMENT AND VOCAL SOURCES lt GRAPHIC EQ 292 y 90 COMPRESSOR LIMITER Dn IMs 955 GRAPHIC EQ BOTTOM E BEEN y AMPLIFIER From Phones BENE MONO FILL MAIN PA LEFT AND RIGHT M y USING DELAY IN REINFORCEMENT SYSTEMS The drawing below illustrates how to calculate delay settings for fill speakers in multiple speaker installations gt PSH SH Se ee et FA Front of House lg 1 5 i If speed of sound 330m s H 150m 50m 100m e 100m 330 0 35 9 Delay should
3. CHANNEL DIRECT OUTPUTS The Direct outputs are on 3 pole gauge jack sockets wired as shown on the left and are unbalanced HEADPHONES The PHONES output is 3 pole gauge jack wired as a stereo output as shown suitable for headphones 072000 or greater 80 headphones not recommended POLARITY PHASE You will probably be familiar with the concept of polarity in electrical signals and this is of particular importance to balanced audio signals Just as a balanced signal is highly effective at cancelling out unwanted interference so two microphones picking up the same signal can cancel out or cause serious degradation of the signal if one of the cables has the ve and ve wires reversed This phase reversal can be a real problem when microphones are close together and you should therefore take care always 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 loops ensure that all cable screens and other signal earths are connected to ground only at their source and not at both ends If the use of unbalanced connections is unavoidable you can mimimise noise by following these wiring guidelines On INPUTS unbalance at the source
4. b SZ 6 6 E amp 5 0 ale NI 25 24 e m e mail soundcraft csd harman com MONO INPUT CHANNEL O DIRECT OUTPUT The first eight channels have a dedicated Direct Output which allows direct connection to external devices for example to feed Tape Machines or effects units O MIC INPUT The mic input accepts XLR type connectors and 15 designed to suit a wide range of BALANCED or UNBALANCED signals Professional dynamic condenser or ribbon mics are best because these will be LOW IMPEDANCE You can use low cost HIGH IMPEDANCE mics but the level of background noise will be higher 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 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 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 O LINE INPUT Accepts 3 pole A gauge TRS jacks Use this input for sources other than mics such as keyboards drum machines synths tape machines or guitars The inp
5. Signal Send Send to External Device Insert Point E O A gt Note If XLRs are used join Pins 1 8 3 Screen and connect to cable screen Connect Pin 2 to signal 17 13 Return from External Device Signal Return MIX amp SUB OUTPUTS The MIX and SUB outputs are on 3 pole A gauge jack sockets wired as shown and incorporate impedance balancing allowing long cable runs to balanced amplifiers and other equipment AUX OUTPUTS The Aux outputs are on 3 pole gauge jack sockets wired as shown on the left and are balanced allowing long cable runs to balanced amplifiers and other equipment From M Range Balanced Connection Impedance Balanced Output Signal To External Device au E _ FT Screen Signal Ground From M Range Unbalanced Connection Impedance Balanced Output Signal To External Device a KE U Jj Screen Signal Ground Experience has shown that sometimes it is better not to connect screen at external device end Mix Output Aux Outputs Mono Output Monitor Outputs Direct Outputs Signal Signal Screen Mix Inserts Signal Send Signal Return Ground Screen Headphones Left Signal Right Signal Ground
6. 35 40 L MIX R PHONES CONTROL POSITION MARKUP SHEETS To assist you in restoring the console to a previous setting e g for different bands on a gig you may photocopy these pages as many times as you like and use them for making a note of your control positions SER GUIDE 41 USER GUIDE S3NOHd da XIN 71 se De se 02 St oL no THd HV 0105 vuv u 7 E 0 gt 0 S3NOHd uen kat p 7 s XI a0v1d38 gd 8 ie e 97 ud g d YOLINOW gt 2 BO 8 2 s8 Pay yet 4 4 WNS ONON BAJI 8 9 Iviisia unn 0 8 z ren m HILSVIN 7315 6315 0315 1315 cl LL 01 6 8 2 9 Y 6 o ES ES ES oe 0 oe 06 oe DE DE oe De 0 oe oe 0 0 DE 53 sc 0 0 0 0 02 0 02 oz 0 0c 0 0 0 0 02 st SL Ei 91 st st SL st 91 SL SL st 0L OL 0 0 0 0 OL 0L 0L oL 0 0L 0L OL 0 0L 5 5 8 5 5 5 5 5 5 5 oe w 2 jos 0 o 0 0 Jo lo jo jo jo Hp 8 S 5 5 s 5 5 5 5 5 5 6 S 5 5 0L OL 0
7. INPUT CHANNEL FADER DIRECT OUTPUT Jack DIRECT PRE MIX OUTPUTS XLR MIX INSERTS Jack S PDIF OUTPUT MONITOR 0 Ps Jack MASTER FADER AUX MASTERS MAIN METERS MONITOR CONTROL PHONES CONTROL MONO SUM CONTROL AUX OUTPUTS Jack STEREO RETURN INPUTS RCA Phono STEREO INPUTS Jack PLAYBACK INPUT RCA Phono PLAYBACK CONTROLS RETURNS MASTER PHANTOM POWER MIXER POWER LED HEADPHONES 4 Jack SIGNAL PRESENT LED PEAK LED MONO SUM OUTPUT 100Hz FILTER Adjust these controls to change the signal tone Adjust these controls to change the level of the signal to an FX unit or an artist s monitors head phones in ear stage monitors Aux 182 are pre fade while Aux 38 4 are post fade Use this control to position the signal within the stereo field When this is pressed you will hear no signal from the channel When pressed the signal will appear on the monitor outputs use this to monitor the post eq signal from the channel This is used to control the level fed to the Mix Bus This output can be used to send the channel signal to a recording device such as a multi track recorder This switch controls the source for the direct output When the switch is down the D O is pre fade and when the switch is up the D O is post fade Connect these to your analogue recording device or to your amplification system This is a pre fade break in the signal path which can be u
8. M SERIES USER GUIDE by HARMAN USER GUIDE SAFETY GUIDE Page Safety Symbol Guide 2 k Approvals and Notice 3 Warranty o8 1 Important Safety Instructions 5 Cautions 5 j Warnings __________________________ SAFETY SYMBOL GUIDE For your own safety and to avoid invalidation of the warranty all text marked with these Symbols should be read carefully CAUTIONS Must be followed carefully to avoid bodily injury WARNINGS Must be observed to avoid damage to your equipment NOTES Contain important information and useful tips on the operation of your equipment 2 5 USER GUIDE USER GUIDE IMPORTANT Please read this manual carefully before connecting your Mixer to the mains for the first time This equipment complies with the EMC directive 89 336 EEC and LVD 73 23 EEC and 93 68 EEC Environment 1 4 This product 5 approved to Product Part Nos safety standards 4 RW5631 EN60065 1994 UK EU M8 RW5632 UL6500 1996 US M12 RW5633 CSAE65 1994 CAN Inrush Current 4 Amps Peak For further details contact Harman International Industries Ltd Cranborne House Cranborne Road Potters Bar Hertfordshire 6 3JN UK Tel Fax e mail 44 0 1707 665000 44 0 1707 660742 soundcraft harman com Harman International Industries Ltd 2011 All rights reserv
9. Jane tone NS 2 KO 442 2 VN 2 15 7 EN 71 GIN GIN 7 1 E EN m Xt sp E E EN e EN aya ralla la la a ja roya lara IB 25 7 26 EN A TO A 7 78 9 9 D NE s v 9 E 0 8 49 540 8 840 8 JH 540 8 JH 840 5 JH 540 8 dH E o En N m gt 24 ON 24 001 gt 00 001 6 s s s s epost s epost s A A ud E x S op T Coe o Co IN coelo Dore oe oel Too 02 02 02 02 0 02 02 02 02 02 02 NIV9 NIV9 NIV9 NIV9 NIV9 NIV9 NIV9 NIVO NIV9 NIV9 CONTROL POSITION MARKUP SHEETS To assist you in restoring the console to a previous setting e g for different bands on a gig you may photocopy these pages as many times as you like and use them for making a note of your control positions USER GUIDE 43 USER GUIDE USER GUIDE Sounderaft Harman International Industries Limited Cranborne House Cranborne Road Potters Bar Hertfordshire EN6 3JN UK Tel 44 0 1707 665000 Fax 44 0 1707 660742 Email soundcraft harman com Soundcraft USA 8500 Balboa Boulevard Northridge CA 91329 USA Tel 1 818 920 3212 Fax 1 818 920 3209 Email soundcraft usa harman com Soundcraft reserve t
10. The control has shelving response giving 15dB of boost or cut at 12kHz 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 60Hz POST POST args O SENDS These are used to set up separate mixes for FOLDBACK EFFECTS or recording and the combination of each the 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 SENDS 1 AND 2 These are always PRE FADE and therefore most appropriate for foldback or monitor mixes or external i 6 submix Lo AUX SEND 3 AND 4 Ei These are always POST FADE for effects sends external submix or for centre Voice cluster or mono Tape mix Le q7 O BALANCE alles This control sets the amount of the channel signal feeding the Left and Right MIX or SUB 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 th
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12. 8 System Block Diagram 88 k Control Position Markup Sheets FE OVERVIEW DIRECTOUT1 DIRECTOLT2 DIRECTOUT4 DIRECT OUTS DIRECT OUT 7 1 Qe 000000000000 gl e 000000000000 48 1 2 5 6 7 STE2 STE3 STE4 MIX Soundcraft 00 To get you working as fast as possible this manual begins with a 10 second tutorial Here you can find quick information on any feature of the console and a page reference where you can find a more detailed explanation THE 10 SECOND TUTOR O MIC INPUT XLR Connect Microphones here If you are using a condensor mic WARNING Do Not apply ensure phantom power is supplied by pressing the switch at the Phantom Power before top of the master section connecting a Microphone O LINE INPUT Jack Connect Line level sources here 5 INSERT POINT 4 Jack Connect Signal processors here O GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal E lt 0000 000 0 00 00 000 00 6000000000 0 EO STAGE AUX SENDS PAN CONTROL MUTE SWITCH PFL PRE FADE LISTEN
13. BALANCED or UNBALANCED low level signals whether from delicate vocals requiring the best low noise performance or close miked drum kits needing maximum headroom Professional dynamic condenser or ribbon mics are best because these will be LOW IMPEDANCE While you can use low cost HIGH IMPEDANCE mics you do not get the same degree of immunity to interference on the microphone cable and as a result the level of background noise may be higher If you turn the PHANTOM POWER on the socket provides a suitable pow ering voltage for professional condenser mics DO NOT use UNBALANCED sources with the phantom power switched on The voltage on pins 2 8 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 20dB 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 gauge jacks or 2 pole mono jacks which will automatically ground the cold input Use this input for sources other than mics such as keyboards drum machines synths tape mach
14. RING SLEEVE RING SLEEVE SLEEVE Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Ring Sleeve Tip Sleeve Tip Ring OO Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Left Sleeve Tip Right Sleeve 1 2 Left 3 1 2 Right 3 Tip Ring Sleeve Tip Ring Sleeve Tip Sleeve Tip Sleeve Centre Screen Centre Screen USER GUIDE SYSTEM BLOCK DIAGRAM r m 79437 NON n NOM 1 EE NETS 39V8AV Id ML c USL 4 oo wya G31H3ANI 81748 3LON Al 2 VXIN 1 T METE oio SHALSVW 13H 15 NOW 1331 YVTINIS v 1 i Nufn L3H O3H31S T SS lt TA 1 uu KH 7 Ved 9 a S3NOHd H 79437 O3uais lt 1 NOW aug SA T smi nae 1 ud YVIINIS PALS 1315 THNNVHO O3
15. a three point signal analysis and if the signal peaks at any of these points then the LED will light a b POST EQ POST FADE O SIGNAL PRESENT LED This LED will light when the channel signal exceeds 20dBu O AUX OUTPUTS 1 4 These outputs are on 3 pole A gauge jacks and are balanced outputs USER GUIDE LAG A ANY MIX INSERT O RETURN MASTER 4 3x 1 556 7 8 9 O 0000 MUTE P B LEVEL MONITOR 456 4 P 8 7 REPLAGE MIX AUX MAST 1 AFL AUX MAST 2 AFL o 10 6 10 AUX MAST 3 10 o 10 Fl Fl AFL AUX MAST 4 AFL 000000000000 000000000000 SOLO MIX PHONES O O USER GUIDE MASTER SECTION O PHANTOM POWER Many professional condenser mics need PHANTOM POWER which is a method of sending a powering voltage down the same wires as the mic signal Press the switch to enable the 48V power to all of the MIC inputs The adjacent LED 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 eguipment P
16. expertise and support of one of the industry s leading manu facturers and the results of nearly 3 decades of supporting some of the biggest names in the business Our knowledge has been attained though 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 technology the Soundcraft M Series is designed to be as easy to use as possible We have spent years researching the most efficient methods of control for two key reasons 1 Engineers musicians writers and programmers all need to have very few interruptions to the creative process our products have been designed to be almost transparent allowing this process to breathe 2 Whether performing or recording time is a very expensive and rare commodity Our products have a user interface which is recognised by millions to be the industry standard because of its efficiency The sonic qualities of our products are exemplary some of the same circuits which are used on our most expensive consoles are employed in the Soundcraft M Series 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 Soundcraft M Series has been designed using the latest high end software based engineering packages Ev
17. 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 Set Up on page 23 to learn how to set GAIN correctly o 100HZ HI PASS FILTER Pressing this switch activates a steep 18dB per octave filter which reduces the level of bass frequencies only and is a real bonus for a such a small mixer Use this in live PA situations to clean up the mix reducing stage rumble or popping from microphones 20 100Hz Frequency Hz 20k L Rumbo O EQUALISER The Equaliser EQ allows fine manipulation of the sound particularly to improve the sound in live PA applications where the original signal is often far from ideal and where slight boosting or cutting of particular voice frequencies can really make a difference to clarity There are three sections giving the sort of control usually only found on much larger 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
18. om 0 Ring TIP RING SLEEVE Sleeve r o o Tip o qaa Ring TIP RING SLEEVE Sleeve ae Sleeve Centre Screen Tip Sleeve Tip Ring Sleeve Centre Screen Centre Screen Tip send Sleeve Ring return Sleeve 1 2 send 3 1 2 return 3 Centre send Screen Centre return Screen USER GUIDE 35 Y Cables Balanced Where used Aux Mix outputs RING SLEEVE a TIP RING SLEEVE Head phone Separator Note for every doubling of headphones the load impedance 15 halved Do not go below 2008 TIP RING SLEEVE MWE TIP RING SLEEVE Y Cables Unbalanced ard TIP RING SLEEVE RING SLEEVE IO SLEEVE i SLEEVE lt i SLEEVE DA N SLEEVE RING TID SLEEVE RING SLEEVE TIP SLEEVE TE SLEEVE
19. outputs and separate faders are provided for each output These should normally be set close to the 0 mark if the input GAIN settings have been correctly set to give maximum travel on the faders for smoothest control O MONITOR OUTPUTS The Monitor Outputs are on 3 pole A gauge jacks and are balanced connections O MIX OUTPUTS INSERTS The Mix LEFT and RIGHT outputs are sent from the XLR sockets as balanced signals The Mix INSERT points on 3 pole gauge jacks and are unbalanced O PLAYBACK INPUTS These two RCA phono sockets are unbalanced Left and Right line level inputs used for connecting the playback devices selected using button O see also p 21 e g DAT or CD players Minidisc Cassette tape recorders etc MONO SUM OUTPUT The MONO Sum output is on a 3 pole gauge jack output and is balanced O RETURN MASTER MUTE This rotary control adjusts the overall level of the four stereo return inputs to the Mix There 15 also a mute switch which can be used to quickly compare the level of the Mix with and without effects O HEADPHONES JACK This output is a 3 pole gauge stereo jack socket and accepts headphones of approximately 2000 impedance USER GUIDE Cardioid Response Hypercardioid Response m D me Omnidirectional Response USER GUIDE USING YOUR SOUNDCRAFT M SERIES CONSOLE The final sound from your PA system can only
20. what all parameters and or connection in the system are supposed to do Learn where to look for common trouble spots The Block Diagram 15 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 15 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 5 really present Check both Mic and Line inputs Eliminate sections of the channel by using the insert point to re route the signal to other inputs that are known to be working Route channels to different outputs or to auxiliary sends to identify problems on the Master section Compare a suspect channel with an adjacent channel which has been set up identically Use PFL D and AFL to monitor the signal in each section Wire Link Insert contact problems may be checked by using a dummy jack with tip and
21. 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 RST TA There are two knobs which work together to form a SWEPT MID EO 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 MID a range of 240Hz to 6kHz 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 A LF EQ Turn to the right to boost low bass frequencies below 60Hz 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 20 Frequency Hz 20k o AUX SENDS These are used to set up separate mixes for FOLDBACK EFFECTS or recording and the combination of each the 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
22. B bees 60Hz 15dB DIMENSIONS ois sata aah ads cau AAA AA M4 With SIDES arras W 397 15 6 x 119 4 7 x D 523 20 6 M4 No Sides 55525555545 ess e W 373 14 7 x 119 4 7 xD 490 19 3 M8 12 With Sides W 506 19 9 x 119 4 7 x D 523 20 6 M8 12 No Sides rackmount W 483 19 0 x H 119 4 7 x D 490 19 3 WEIGHT aerae ta dea o 6 75Kg 14 9 Ibs Maiin aaa eaa O O 8 65Kg 19 1 Ibs a e AA AA id dea CA GAL 8 95Kg 19 7 105 INRUSH CURRENT M SERIES FAMILY Worst Case M12 115VAC 4 Amps Peak AVERAGE POWER CONSUMPTION QUIESCENT 20 Watts 25 Watts MIS duas xta 30 Watts MIN MAX OPERATING TEMPERATURE M SERIES FAMILY Centigrade 0 C 50 C 32 F 122 USER GUIDE M8 8 12 DIMENSIONS All dimensions are in millimetres Inches shown in brackets
23. EO RETURNS RET 1 2 3 4 These accept RCA phono jacks to allow easy connection to hi fi equipment or DAT players The input is unbalanced and ideal for pre show music sources or signals that do not require any EQ or effects These can also be used as effect returns using cables described later in this document STEREO INPUTS STE 1 2 3 4 These accept 3 pole gauge 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 processing units The input is BALANCED low noise and immunity from interference but you can use UNBALANCED sources by wiring up the jacks as shown although you should then keep cable lengths as short as possible to minimise interference pick up on the cable Note that the ring must be grounded if the source is unbalanced Mono sources can be fed to both paths by plugging into the Left jack only MIX INSERTS The unbalanced pre fade Mix insert point is a break in the output signal path to allow the connection of for example compressor limiter or graphic equaliser The Insert is a 3 pole A gauge jack socket which 15 normally bypassed When a jack is inserted the signal path is broken just before the mix fader The mix signal appears on the TIP of the plug and is returned on the RING A Y lead may be required to connect to equipment with separate send and return jacks as shown below
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25. 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 15 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 15 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 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 USER GUIDE DIGITAL OUTPUT Each of the models in the Soundcraft M Series 5 fitted with a digital output The output conforms to the S PDIF standard The S PDIF output conforms to the consumer standard 958 1989 03 and also the Japanese standard ElAJ CP 340 1987 9 For maximum configurability the Soundcraft M Series S PDIF can be sourced from two places There is a switch located next to the S PDIF Output socket on the rear of the console Switch Out When the switch is in the out position the S PDIF signal is sourced from the Mix bus This enabl
26. NTROL POSITION MARKUP SHEETS To assist you in restoring the console to a previous setting e g for different bands on a gig you may photocopy these pages as many times as you like and use them for making a note of your control positions USER GUIDE USER GUIDE GAIN POST y POST 10 4 AUX post DIRE AUX 4 E 10 POST 1 AUX DIRECT PRE GAIN RETURNS GAIN A 2208 POST AUX ACA SIG M 10 post 7 AUX 2 si sG 56 PEAK 56 PEAK sG PEAK 56 56 PEAK 56 56 PEAK PEAK 10 10 10 10 10 10 10 10 10 10 10 10 5 5 5 5 5 5 5 5 5 5 5 5 Seo Geol 4 Seo Geo ho 4 2 Geo 4 bho 4 bo 5 5 5 5 5 5 5 5 5 5 5 5 10 10 10 10 10 10 10 10 10 10 10 10 15 15 15 15 15 15 15 15 15 15 15 15 20 20 20 20 20 20 20 20 20 20 20 20 25 25 25 25 25 25 25 25 25 25 25 25 30 30 30 30 30 30 30 30 30 30 30 30 e e o o E E 1 2 3 4 5 6 7 8 STE 1 STE 2 STE 3 STE 4 Soundcraft RETURN MASTI 10 Nu er ER M DIGITAL OUT MONITOR AR AUX MAST 3 N AFL AUX MAST 4 C2 AFL SOLO AFLIPFL 20 25 30
27. ONS ABOUT THIS MANUAL This manual describes the safety precautions warnings specifications installation and operating proce dures specific to the following Soundcraft products only M4 RW5631 UK EU US M8 RW5632 UK EU US M12 RW5633 UK EU US The information in this manual should be read by end users of one of the above products only In particular this manual should not be read in conjunction with any other product not listed above The above products do not contain any user serviceable parts and the user guide does not contain any technical servicing information Qualified service personnel can obtain a separate Technical Manual incorporating the user guide Part No ZM0255 from Soundcraft or one of its accredited distributors Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual INSTALLING THE MIXER Correct connection and positioning of your mixer is important for successful and trouble free operation The following sections are intended to give guidance with cabling connections and configuration of your mixer Choose the mains supply for the sound system with care and do not share sockets or earthing with lighting dimmers Position the mixer where the sound can be heard clearly Run audio cables separatel
28. OWER INDICATOR This LED lights to show when power is connected to the console O BARGRAPH METERS The three colour peak reading BARGRAPH METERS normally show the level of the MIX RIGHT and MIX LEFT outputs giving you a constant warning of excessive peaks in the signal which might cause overloading Aim to keep the signal just touching the red segments at peak levels for best performance Similarly if the output level is too low and hardly registering at all on the meters the level of background noise may become significant Take care to set up the input levels for best performance When any PFL switch is pressed the meters switch to show the selected PFL signal on both meters in mono O PLAYBACK The rotary control sets the level of the 2 Track Tape input which is routed to the headphones monitor outputs and meters These inputs on RCA phono connectors are an ideal way to connect the playback of a tape machine for monitoring O PLAYBACK REPLACES MIX Press this switch to replace the MIX Left Right signal at the MIX outputs with the Playback signal connected to the Left and Right RCA sockets O see also p 22 O PLAYBACK PFL Press this switch to route the Playback signal to the monitor and phones over riding the default monitor Phones signal This listening point is before the PB LEVEL control so material can be previewed before being routed MONITOR LEVEL This control sets the level to the MONITOR LEFT 8 RIGHT output
29. P Y GRAPHIC EQ mmm Hn RH AMPLIFIER HEADPHONES gt 200R INDUCTION From Phones MAIN PA LEFT AND RIGHT USER GUIDE APPLICATION 4 RECORDING The direct outputs on channels 1 8 may be used to feed a multitrack recorder as shown The direct outputs should be set to PRE so that they are unaffected by fader position The Mix outputs are used for a prelimi nary stereo mix on a DAT recorder ARTIST S FOLDBACK N 2 N N A PASSIVE 5 9 c 1 2994 LOLLE Am y Vaz AMPLIFIER ST 4 ttt MULTITRACK TAPE RECORDER osooooNEM 08 EFFECTS 1 INSTRUMENT AND e x MASTERING PROCESSOR a CASSETTE OR From DAT MACHINE Phones ACTIVE MONITOR APPLICATION 5 LINKING TWO SOUNDCRAFT M SERIES CONSOLES X a B AMPLIFIER HEADPHONES gt 200R From Phones gt gt gt i USER GUIDE 29 CARE OF YOUR MIXER GENERAL PRECAUTIONS Do Not obstruct any of the ventilation openings Avoid storing or using the mixer in c
30. 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 SENDS 1 AND 2 These are always PRE FADE and therefore most appropriate for foldback or monitor mixes or external submix 20 Frequency Hz 20k AUX SENDS 3 AND 4 These are always POST FADE for effects sends external submix or for Centre Voice cluster or mono Tape mix This control sets the amount of channel signal feeding the Left and Right or SUB 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 USER GUIDE MUTE All outputs from the channel except inserts are on when the switch 15 released and muted when the switch is down allowing levels to be pre set before the before the signal is required The only exception to the muting is any DIRECT OUTPUT configured as PRE fade which will be sent regardless of the status of the mute switch DIRECT OUT 1 O 22 e O CHANNEL FADER The 100mm FADER with a custom designed law to give even smoother control of the overall signal level in the channel strip allows precise balancing of the various source signals being
31. RNS GAIN GAIN RETURN MASTER 2 8 o 17779 10 N y DIGITAL OUT MUTE GAIN GAIN 11 11 1 DAS 257 MONO SUM afe f ye 456 AASA EN so 0 2208 0 2208 2 8 en POST AUX Post AUX POST AUX Post AUX Post AUX POST AUX See MES EM SAM AA EM ENE EN NA a Oe A 4 Y 0 10 10 0 10 0 10 1 1 PAN 1 BAL 1 i 1 BAL 1 1 BAL 2 2 LA NA u 1 pe 54 s Ns Bhs sl AS MUTE MUTE MUTE Y T BA _ M DIRECT DIRECT CN WIS PRE NG PRE O O O O 5010 SIG PEAK SIG SIG PEAK SG PEAK SIG PEAK AFL PFL 10 10 10 10 10 10 10 10 5 5 5 5 5 5 5 5 0 0 0 0 0 0 0 10 5 5 5 5 5 5 5 5 S 10 10 10 10 10 10 10 10 20 15 15 15 15 15 15 15 15 HE HF2 20 0 20 20 20 20 20 gt FED 25 FF 25 25 25 25 25 35 30 30 30 30 30 30 30 30 40 E o o o o o 1 2 3 STE 1 STE 2 STE 3 STE 4 L MX R Soundcraft CO
32. and use a twin screened cable as though it were balanced On OUTPUTS connect the signal to the ve output pin and the ground of the output device to ve If a twin screened cable is used connect the screen only at the mixer end Avoid running audio cables or placing audio equipment close to thyristor dimmer units or power cables Noise immunity is improved significantly by the use of low impedance sources such as good quality professional microphones or the outputs from most modern audio equipment Avoid cheaper high impedance microphones which may suffer from interference over long cable runs even with well made cables Grounding and shielding is still seen as a black art and the suggestions above are only guidelines If your system still hums an earth loop is the most likely cause Two examples of how an earth loop can occur are shown below Example 1 Audio with ground connected ES Mixer Amplifier Supply Earth Loop Supply Mains Earth Example 2 P Left Signal with ground connected 1 Mixer Earth Loop Amplifier A Right Signal with ground connected WARNING Under NO circumstances must the mains earth be disconnected from the mains lead USER GUIDE PROBLEM SOLVING Basic problem solving is within the scope of any user if a few basic rules are followed Get to know the Block Diagram of your console see page 36 Get to know
33. be 0 35 150 1 Fi 1 qe N 7 1 X FA 1 N 1 eee Delay Tower 50m 7 A E 1 1 1 SS n M 2 USER GUIDE 7 APPLICATION 2 MULTISPEAKER APPLICATIONS This configuration demonstrates how multiple speaker configurations can be driven by the Soundcraft M Range FILL FILL BACK FILL MONITOR S MES AMPLIFIER AMPLIFIER AMPLIFIER AMPLIFIER A AMPLIFIER 1 o GRAPHIC EQ4 AGRAPHIC EQ GRAPHIC INSTRUMENT AND GRAPHIC EQ ON INSERT RH Eg Ne A APPLICATION 3 PLACES OF WORSHIP This mono configuration uses the Mono output to drive the main speaker system and an induction loop for the hard of hearing Aux sends are used for monitors and effects and Mix L amp R feed a cassette or DAT machine to record the occasion if reguired AMPLIFIER AM M nu mm mm n P m EFFECTS ia T O ba MUSIC AND VOICE MONITORS INSTRUMENT AND VOCAL SOURCES CASSETTE OR DAT MACHINE la CD PLAYER INDUCTION LOOP AM
34. connecting to external balanced inputs insert 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 10dBu to 6dBu usually coming from a low impedance source pan pot abbreviation of panorama controls levels sent to left and right outputs peaking 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 USER GUIDE USER GUIDE peak LED PFL phase polarity post fade pre fade rolloff shelving spill transient unbalanced 48V a visual indication of the signal peaking just before the onset of clipping a function that allows the operator to monitor the pre fade signal pre fade listen in 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 a term used to describe the orientation of the positive and negative poles of an audio connection Normally connections are made with positive to positive negative to negative If this is reversed the result will be out of phase signals see phase above the point in the signal path afte
35. d section Adjust the overall level using the Master Faders if necessary Listen carefully for the characteristic sound of feedback If you cannot achieve satisfactory input level setting without feedback check microphone and speaker placement and repeat the exercise If feedback persists it may be necessary to use a Graphic Equaliser to reduce the system response at particular resonant frequencies NOTE The initial settings should only be regarded as a starting point for your mix It is important to remember that many factors affect the sound during a live performance for instance the size of the audience 23 EGALE You are now ready to start building the mix and this should be done progressively listening carefully for each component in the mix and watching the meters for any hint of overload If this occurs back off the appropriate Channel Fader slightly until the level is out of the red segments or adjust the Master Faders Remember that the mixer is a mixer not an amplifier Increasing the overall level is the job of the amplifier and if it is impossible to provide adequate level it is probable that the amplifier is too small for the applica tion 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 principally the Input Gain con trol Channel Fader and
36. damage Acts of God neglect deficiency in electrical power air conditioning or humidity control 6 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 USER GUIDE USER GUIDE IMPORTANT SAFETY INSTRUCTIONS CAUTIONS To avoid the risk of fire replace the mains fuse only with the correct type and value fuse as marked on the rear panel ATTENTION Afin de r duire le risque de feu remplacer seulement avec fusible de type MAINS VOLTAGE SELECTION This setting is NOT User Adjustable Units with serial numbers ending in SS or SM are capable of operating from 85 240V AC mains voltages All other units are capable of operating at either 230V AC or 115V AC mains voltages 10 which are set at the time of manufacture and marked on the rear panel It is important to ensure that the correct mains voltage is present at your mains outlet and that the correct fuse is fitted before switching on the unit REPLACING MAINS FUSE Switch the ON OFF switch to the OFF position Remove the mains lead from the connector Use a small screwdriver to unscrew the fuse carrier from its location to the left of the mains power connector Check the fuse 15 of the correct type and value and replace if necessary al
37. e control in the centre detented position STE 1 O MUE All outputs from the channel are enabled when the MUTE switch is released and muted when the switch is C down USER GUIDE k 6 GAIN 6 E 6 2 PEAK GAIN 1 m S 93 E 6 6 6 AUK 4 8 STE 1 6 O FADER The 100mm 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 0 mark See the Initial Set Up section on page 23 for help in setting the right level PIL When the latching PFL switch is pressed the pre fade signal is fed in mono to the headphones control room output and meters where it replaces the MIX The PFL AFL LED on the Master section illuminates to warn that a PFL is active The Left and Right meters display the PFL signal in mono This is a useful way of listening to any required input signal without interrupting the main mix for making adjustments or tracing problems O RETURN PEAK LED This LED will light when the return input signal peaks 18dBu internal O CHANNEL PEAK LED This LED will light when the signal peaks 18dBu internal There 5
38. east Mic Line Input to any output 20Hz to 20kHz 1dB EHD ra band Anh epee E EU hae ea a Mic Gain 30dB 20dB at all outputs 1kHz 0 008 INPUT amp 5 nere dean aba tas Ga Microphone Input ossia Rr Rewind A eared ve ted pa RES 2kQ Mono Channel Line asada tee le rd llar Denn gt 40kQ Stereo Input Stereo sese ro e dd gt 30 Stereo RET MNS essed sco dae asada sender AAA A gt 10kQ Headphones OupUt A e OR RUE ean 40Q Al other audio outputs 21 discus ec tae rv hor ere A 750 INPUT amp OUIPUT LEVELS Ms oe tie on ed cee ene ve Mic Input Maximum Level aa 12 dBu Mono Channel Line Input Maximum Level 38 dBu Insert Point Send Return 21dBu Stereo Input MAXIMUM Level mro eee re EEA at a 21dBu Headphones 0200W iii A A A A a aaa 150mW All audio 5 cia mmr rmm 21dBu into 10 FILTER High Pass a isse tna dut t a eben E EN de toa 100Hz 18dB octave EQ a adipe AAA RA dde dei otra ts C P 12KHz 15dB ME C ae ti a Wale ey ane 240Hz 6KHz 15d
39. ed Parts of the design of this product may be protected by worldwide patents Part No 2 0252 Issue 3 0811 Soundcraft is a trading division of Harman International Industries Ltd Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual No part of this manual may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic electrical mechanical optical chemical including photocopying and recording for any pur pose without the express written permission of Soundcraft Harman International Industries Limited Soundcraft by HARMAN Cranborne House Cranborne Road POTTERS BAR Hertfordshire ENG 3JN UK Tel 44 0 1707 665000 Fax 44 0 1707 660742 http www soundcraft com WARRANTY 1 Soundcraft is trading division of Harman International Industries Ltd End User means the person who first puts the equipment into regular operation Dealer means the person other than Soundcraft if any from whom the End User purchased the Equipment provided such a person is authorised for this purpose by Soundcraft or its accredited Distributor Equipment means the equipment supplied with this manual 2 If within the period of twelve months from the date of delivery of the E
40. ell 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 SET UP Once you have connected up your system see the sections on connection and wiring earlier in this manual The front panel drawing on page 8 shows typical initial control positions which is a useful guide to setting up the mixer for the first time 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 15 switched on Ensure the PA system is OFF when switching phantom power on or off Set Master faders at O input faders at O 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 channels are added to the mix the meters may move into the re
41. ery console from Soundcraft has been proven to stand up to all the stress and rigours of mod ern day mixing environments The entire Soundcraft M Series is manufactured using some of the most advanced techniques in the world from high density surface mount PCB technology to computer aided test equipment able to measure sig nals 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 BOUNDARIES Although your new console will not make any noise 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 need to learn 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 USER GUIDE INSTALLATION AND SAFETY PRECAUTI
42. es you to record the entire mix digitally either to CD R DAT DVD or direct to your computers soundcard Switch In When the switch is in the out position the S PDIF signal is source from the Aux 1 2 bus This enables you to record a specific channel by routing the channel to the aux 1 2 output Aux 1 will feed the left side of the S PDIF output and Aux 2 will feed the right hand side of the S PDIF output SPECIFICATION Signal bit rate is 2 8Mhz based on the sampling frequency Fs of 44 1kHz Physical connection Cable 750 5 I lt 10m 750 35 gt 10 Line driver Zout 750 20 100kHz 6Mhz Vout 0 4Vpp 0 6Vpp lt 0 05Vdc 750 terminated SYNCHRONISATION The digital output sample frequency is fixed 44 1kHz operation when connecting to a piece of external equipment you must ensure that the two are synchronised There are two ways to achieve synchronisation when operating the Soundcraft M Series consoles 1 Ensure the device receiving the digital signal is set to slave to the embedded clock in the S PDIF output from your console 2 Ensure the device receiving the digital signal is fitted with a sample rate convertor which eliminates the need for synchronisation DIGITAL AUDIO CABLE S PDIF IEC 958 uses 750 coaxial cable and RCA connectors 75Q coaxial cable is inexpensive because it is the same cable as used in video transmission you can buy a video cable with RCA connectors to connect you
43. ever be as good as the weakest link in the chain and especially important 15 the quality of the source signal because this 15 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 absorption effect of a large audience different acoustic characteristics from sound check to show 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 patterns for the most common types of microphone Cardioid microphones are most sensitive to sound coming from in front and hypercardioid microphones offer even greater directivity with a small amount of pickup behind the microphone These types are ideal for recording vocalists or instruments where rejection of unwanted sounds and elimination of feedback is important The aim should be to place the microphone as close as physically possible to the source to cut out unwanted surrounding sounds allow a lower gain setting on the mixer and avoid feedback Also a w
44. he right to improve or otherwise alter any information supplied in this document or any other document supplied hereafter amp 08 11 Part ZM0252 02 Soundcraft by HARMAN
45. ines or guitars The input is BALANCED for low noise and immunity from interference but you can use UNBALANCED sourc es by wiring up the jacks as shown although you should then keep cable lengths as short as possible to minimise interference pick up on the cable Note that the ring must be grounded if the source is unbal anced Set the input level using the GAIN knob starting with the knob turned fully anticlockwise Unplug any MIC connection when using the LINE input INSERT POINT The unbalanced pre EQ insert point is a break in the channel signal path allowing limiters compressors special EQ or other signal processing units to be added in the signal path The Insert is a 3 pole A gauge jack socket which is normally bypassed When a jack is inserted the signal path is broken just before the EQ section The 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 USER GUIDE Mix Output Aux Outputs Mono Output Monitor Outputs Direct Outputs Signal Signal Screen Mix Inserts Signal Send Signal Return Ground Screen Ring Tip Sleeve Headphones Left Signal Right Signal Ground USER GUIDE STER
46. l 524 5 a ex E x E i 8 lt 9 0 0 0 9 T 112 5 0 49 29 5 1 167 J USER GUIDE APPENDIX 1 TYPICAL CONNECTING LEADS Audio connectors used with Soundcraft consoles XLR 3 pole 14 2 pole 14 RCA phono A guage TRS jack A guage TS jack Balanced Line Inputs Mix L 8 R Outputs Stereo Inputs Auxiliary Outputs a Tip O TE Ring O TIP RING SLEEVE SLEEVE RING Sleeve 10 o t 2 Tip O Mi e Ring O o Sleeve O TIP RING SLEEVE Unbalanced Direct Output Monitor Output Stereo Return Inputs rT N Tip O 0 i ES gt TIP RING SLEEVE gt Sleeve od Tip O 0 IM e TIP SLEEVE LS Sleeve O io El E e Em o 297 4 ITE emi Tip O ID TP SLEEVE J SLEEVE Sleeve xr 1 Em Jo Rin TIP RING SLEEVE SLEEVE RING TIP Some O gt Tip TIP SLEEVE Sleeve O Tip O Ring TIP RING SLEEVE Sleeve 10 ka E 3 o o Insert Cables Mono Inserts Tip o lt TI Ring lt TIP RING SLEEVE Sleeve r o Tip
47. mixed to the Master Section You get most control when the input GAIN is set up correctly giving full travel on the fader See the Initial Set Up section on page 23 for help in setting a suitable signal level CY 22 SZ 6 6 E o DIRECT PRE POST This button switches the Direct Ouput to be set pre or post the channel fader In the UP position it is POST and in the DOWN position it is PRE amp 5 e m 0 ale NI DEP E o PFL PRE FADE LISTEN When the latching PFL switch is pressed the pre fade signal is fed to the headphones control room output and meters where it replaces the MIX The PFL AFL LED on the Master section illuminates to warn that a PFL is active This is a useful way of listening to any required input signal without interrupting the main mix for making adjustments or tracing problems When PFL is pressed anywhere on the console the Control Room outputs automatically switch from monitoring the Mix Outputs o SIGNAL PRESENT LED Sy i This LED will light when the channel signal exceeds 20dBu 2 POST AUX 3 PEAK LED This LED will light when the signal peaks 18dBu internal There 5 a three point signal analysis and if the signal peaks at any of these points then the LED will light a b POST EQ POST FADE USER GUIDE lt STEREO INPUT CHANNELS Each stere
48. n be used to connect line level stereo inputs from keyboards sound modules samplers computer based audio cards etc These inputs pass through a normal channel strip with EQ Auxes and a Balance control Here you can connect the playback from your recording device Use this to control the level of the playback signal There is also a PFL AFL switch and a PLAYBACK REPLACES MIX switch This controls the overall level of the stereo return inputs There is also a MUTE switch so that you can quickly compare your mix with and without FX Press this to switch the phantom power 48V on for condenser microphones WARNING Do Not apply Phantom Power before connecting a microphone This LED will light when the unit is switched on Plug your headphones into this socket This is used to indicate the presence of a signal on a specific channel This is used to indicate signal clipping on a specific channel This output provides a Mono sum of the main L 8 R mix outputs When pressed this switch significantly reduces the level of frequencies below 100Hz BENE INTRODUCTION Thank you for purchasing a Soundcraft mixer We take great pride in our latest addition to the Soundcraft range of mixing consoles you have taken a step in the right direction and should never look back The Packaging in which your Soundcraft M Series arrived forms part of the product and must be retained for future use Owning a Soundcraft console brings you the
49. nstall near any heat sources such as radiators heat resistors stoves or other apparatus including amplifiers that produce heat Do not use this apparatus near water Do not defeat the safety purpose of the polarized or grounding type plug A polarized 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 When 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 convenience recepta cles and the point where they exit from the apparatus Only use cables and hardware specified by the manufacturer 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 apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped 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 liability whatsoever for any loss or damage caused by service maintenance or repair by unauthorised personnel If a t
50. o input channel comprises two pairs of inputs per channel strip INPUTS STE 1 2 3 4 These inputs accept 3 pole A gauge TRS jacks Use these inputs for sources such as keyboards drum machines synths tape machines or processing units The inputs are BALANCED for low noise and top quality from professional equipment but you can use UNBALANCED sources by wiring up the jacks as shown in the Wiring it Up section earlier in this manual although you should then keep cable lengths as short as possible Mono sources may be used by plugging into the left jack only 58 6668 GAIN The GAIN control sets the level of the channel signal 2i O RETURNS RET 1 2 3 4 These inputs are unbalanced on RCA phono connectors and are intended for use with CD players DAT machines or Hi Fi eguipment Alternatively they may be used as simple effects returns or stereo instrument inputs PEAK O GAIN The GAIN control sets the input level to the channel allowing matching to wide range of line level sources 3703 HF 6 6 15 370 LF 6 S 5424242 8 8 6 6 O EQUALISER HF EQ Turn to the right to boost high treble frequencies adding crispness to percussion from drum machines synths and electronic instruments Turn to the left to cut these frequencies reducing hiss or excessive brilliance Set knob in the centre detented position when not required
51. onditions of excessive heat or cold or in positions where it is likely to be subject to vibration dust or moisture Keep the mixer clean using a soft dry brush and an occasional wipe with a damp cloth or ethyl alcohol Do not use any other solvents which may cause damage to paint or plastic parts Avoid placing drinks or smoking materials on or near the mixer Sticky drinks and cigarette ash are frequent causes of damage to faders and switches Regular care and inspection will be rewarded by a long life and maximum reliability GLOSSARY AFL After Fade Listen a function that allows the operator to monitor the post fade signal in a channel independently of the main mix auxiliary send an output from the console comprising a mix of signals from channels and groups derived independently of the main stereo group mixes Typically the feeds to the mix are implemented on rotary level controls balance the relative levels of the left and right channels of a stereo signal balanced a method of audio connection which balances the wanted signal between two wires and 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
52. quipment to the End User it shall prove defective by reason only of faulty materials and or workmanship to such an extent that the effectiveness and or usability thereof is materially affected the Equipment or the defective component should be returned to the Dealer or to Soundcraft and subject to the following conditions the Dealer or Soundcraft will repair or replace the defective components Any components replaced will become the property of Soundcraft 3 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 4 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 otherwise in all respects in accordance Soundcraft s recommendations 5 Defects arising as a result of the following are not covered by this Warranty faulty or negligent handling chemical or electro chemical or electrical influences accidental
53. r S PDIF equipment together Coaxial S PDIF connections work typically at least to 10 15 metre distances with good 750 coaxial cable REMEMBER The Soundcraft website will contain the latest set up files for describing the synchronisation settings for many digital pieces of equipment http www soundcraft com USER GUIDE 2 RACKMOUNTING PROCEDURES FOR M8 AND M12 To turn the sleek looking Soundcraft M Series console into the rugged rackmount version follow the 3 point procedure below Remove screws at points EY and remove the arm rest EY Remove screws at points and remove the side extrusions O Remove the two screws at points and remove both end caps O Remember to re fit the screws as they are used to strengthen the console Keep all parts and screws carefully in case you need to re fit them at a later date Qo Note Screws C1 and C2 must 8882888680880808088220590000980888999990448808888 000000488 be replaced once the end caps GC a have been removed E ry Fi 0000 0 n RL 4 r 1 4 o O 6 6 5 0 o o o lt O
54. r the monitor or master fader and therefore affected by fader position the point in the signal path before the monitor or master fader position and therefore unaffected by the fader position a fall in gain at the extremes of the frequency response an equaliser response affecting all frequencies above or below the break frequency i e a highpass or lowpass derived response 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 microphones and active DI boxes 31 TYPICAL SPECIFICATIONS FOR DIGITAL S PDIF SPECIFICATIONS SEE P25 NOISE it katad aka O mala alad Measured 22Hz to 22kHz unweighted AUX amp MIX O Ps 8 Channels routed faders lt 84dBu BUN rrr Microphone Input Maximum Gain measured 22Hz 22KHz 128dBu CROSSTALK co eie Re arare RR Re 20Hz 10kHz Channel MUTE oa adri ate er en lt 90dB Fader cutoff rel to O mark 2 2 tar ts C lt 90dB Routing isolation isese ale dal ah seh Ue a yn ien ea lt 90dB FREQUENCY RESPONSE 32 c Ree dare bee E eee ate adh daw
55. ring shorted together as Fr 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 USA customers should contact the National Service Manager at Soundcraft USA Telephone 818 920 3212 UK customers should contact their local Dealer Outside the UK and USA customers 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 http 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 experience any difficulty please contact Customer Services Department USER GUIDE DIRECT OUT 1 O 22
56. rolley is used use caution when moving the trolley apparatus combination to avoid injury from tip over CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN AVIS RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR WARNINGS Read these instructions Keep these instructions Heed all warnings Follow all instructions This unit contains no user serviceable parts Refer all servicing to a qualified service engineer through the appropriate Soundcraft dealer Clean only with a damp cloth DO NOT block any of the ventilation openings DO NOT install where air cannot flow over the rear of the unit DO Install in accordance with the manufacturers instructions USER GUIDE USER GUIDE CONTENTS Page Overview 5 The 10 Second Tutor 8 Introduction 0 Advice for Those Who Push the Boundaries _ Installation amp Safety Precautions M Wiring Up Mono Input Channels 56 Stereo Input Channels TT Master Section Using Your Soundcraft Series Console 8 Advanced Features 5 k Application 1 Live Sound Reinforcement 7 Application 2 Multispeaker Applications 5 Application 3 Places of Worship Application 4 Recording 9 k Application 5 Linking Two Soundcraft M Series Consoles 7 Care of Your Mixer 0 _ Glossary Ss 56 Typical Specifications Dimensions Appendix 1 Typical Connecting Leads l
57. s If headphones are plugged into the PHONES jack the headphone level will track the Monitor Level O PHONES LEVEL This control sets the output level to the Headphone outputs If headphones are plugged into the PHNS jack then the knob sets a comfortable headphone listening level without affecting the Monitor output levels O MASTERS Each Aux output has a master output level control and associated AFL switch AUX AFLS Just like the PFL switches on the channels you can monitor each AUX output by pressing the AFL switch This routes the AUX output signal to the MONITOR or PHONES replacing the MIX signal The METERS also switch from the MIX to display the PFL AFL signal and the PFL AFL LED lights to warn that a PFL or AFL switch is pressed When you release the switch the Monitor swaps back to the MIX 21 o 2000000000000 8 0 10 0 10 8 AFL AUX MAST 2 AFL AUX MAST 3 AFL AUX MAST 4 AFL 000000000000 SOLO MIX O MONO SUM The Mix Left and Right signals are summed to a MONO output on a 3 pole A gauge jack O Output level is set by the dedicated rotary control Monitoring of the Mono output if required must be done at the external equipment it feeds or the signal brought back to a spare console input O MASTER FADERS The MASTER FADERS set the final level of the MIX
58. sed to feed a dynamics or mastering device The signal is sent from the tip of the jack plug and the return path comes back in on the ring of the jack plug This is a digital version of the Mix Output and can be used to send any source or the entire mix to a digital recorder or computer sequencer via the appropriate hardware These are used to feed your monitoring system This can be directly to powered monitors or indirectly via an amplifier to standard monitors This fader controls the overall level of the mix bus These controls can be used to adjust the overall level of a specific auxiliary send to an effects unit These show the level of the mix outputs When the PFL AFL LED is lit the meters show the level of the signal sourced This controls the level of the signal sent to your monitoring system This controls the level of the signal sent to the headphones jack socket This controls the level of the signal sent to the mono sum output These four outputs can be used to send the channel signal to an FX unit or an artist s monitors headphones in ear stage monitors Aux 1 amp 2 are pre fade Aux 3 amp 4 are post fade These four inputs can be used to connect the return signal from an FX unit or a stereo feed from consumer devices such as CD Players Minidisc etc The level of these inputs are controlled by the RET1 2 3 amp 4 controls and are sub mixed via the returns master control before being sent to the Mix Outputs These four inputs ca
59. so check that the voltage selection as marked onthe rear panel is correct for the mains supply level before switching the unit ON again If the mains fuse fails repeatedly this may be because an electrical safety hazard exists The unit must be taken out of service and referred to the Soundcraft dealer from where the equipment was purchased THIS UNIT MUST BE EARTHED Under no circumstances should the mains earth be disconnected from the mains lead ATTENTION Cet appareil doit tre branch la terre The wires in the mains lead are coloured in accordance with the following code Replacement Part FJ8016 UK FJ8017 EU FJ8018 US amp CAN UK amp EU US amp CAN Earth Ground Green and Yellow Green and Yellow Neutral Blue White Live Brown Black As the colours of the wires in the mains lead may not correspond with the coloured markings identifying the terminals in your plug proceed as follows The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is marked with the letter E or by the earth ground symbol The wire which is coloured Blue or White must be connected to the terminal in the plug which is marked with the letter N The wire which is coloured Brown or Black must be connected to the terminal in the plug which is marked with the letter E Ensure that these colour codings are followed carefully in the event of the plug being changed Do not i
60. 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 eguation dB 20Log10 V1 V2 Adding the suffix u denotes the ratio is relative to 0 775V RMS DI direct injection the practice of connecting an electric musical instrument directly to the input of the DI Box mixing console rather than to an amplifier and loudspeaker which is covered by a microphone feeding the console direct output a post fade line level output from the input channel bypassing the summing amplifiers typically for sending to individual tape tracks during recording equaliser a device that allows the boosting or cutting of selected bands of frequencies in the signal path fader a linear control providing level adjustment feedback the howling sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal foldback a feed sent back to the artistes via loudspeakers or headphones to enable them to monitor the sounds they are producing frequency response the variation in gain of a device with frequency gain the amount of amplication in level of the signal headroom the available signal range above the nominal level before clipping occurs highpass filter a filter that rejects low frequencies impedance balancing a technique used on unbalanced outputs to minimise the effect of hum and interference when
61. ut is BALANCED for low noise and top quality from professional equipment but you can use UNBALANCED sources by wiring up the jacks as shown below 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 INSERT POINT ALTERNATIVE DIRECT SEND 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 3 pole A gauge jack socket which is normally bypassed When a jack 15 inserted the signal path is broken just before the EQ section The Send may be tapped off as an alternative pre fade pre EQ direct output if required using a lead with a gt Signal Send Mono pre fade Insert Point direct send lt H E wie Link p I gt Screen RCA phono Centre 9 Link 183 Signal 2 A USER GUIDE tip and ring shorted together so that the signal path 15 not interrupted see below 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
62. y from dimmer wiring using balanced lines wherever possible If necessary cross audio and lighting cables at right angles to minimise the possibility of interference Keep unbalanced cabling as short as possible Check your cables regularly and label each end for easy identification SAFETY PRECAUTIONS For your own safety and to avoid invalidation of the warranty please read this section carefully In particular you should also read the Cautions and Warnings on pages 5 6 of this manual aaa The console must only be connected to the Mains Power voltage indicated on the rear panel To avoid the risk of fire replace the mains fuse only with the correct value fuse as indicated on the rear panel USER GUIDE S ha Balanced Mic XLR T Hot ve 1 Screen i 3 Cold Unbalanced Mic XLR 2 Hot ve 1 Screen 7 Link 3 to 1 3 pole jack 2 pole jack Balanced Unbalanced Hot ve Signal Cold Ground Ground Screen Screen HE ve lead to Tip ve lead to Tip ve lead to Ring ve lead and Sleeve Sleeve to Ground Inserts Signal send Signal return n Ground Screen Ring Sleeve No y WIRING UP Please refer to pages 35 36 for additional wiring details MIC INPUT The mic input accepts XLR type connectors and is designed to suit a wide range of
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