SoundCraft MPM 12/2 Music Mixer User Manual
Contents
1. ONOW LJ31 NIVO fl 21 20 02 1 T3NNVH2 ONOW 1no amd gt 27 NI MOVAL Z 1no S1nd1fo dao gt 4 n E 1no gt n ONON 47 Eu s lt 4 i TWNOIS 330 34 n 51 1 XIN H WN9IS 110 0387 m i gt 1 gt MER n A p xw wv xn Md aol uf NOW XIN duo 5 5 H 103188 9NIOLINON wsov Y ER 100 S3NOH 9 xWoLens t i lt lt ii H 3NOHdlH 1034315 gt 0331 9 1 lt al T e e 4343 3 4 gt MOLINOW e exnv LI THOURON 5 034319 TANNWHO 034315 91 4 K 1 E 4 d 4 1 2 4 uova Dr duas 93 31 7 o2. e Jeoe 5500 6666 LI a n a a o 0000000 a a a a a a o o a a o a a a a Oo a a o a a o 0 0 Keep the side mouldings in case you want to re fit them at a later date DIMENSIONS 93 52mm 3 68 26 51 DIMENSION X OAO 2 10 00 Tz ooo 98 5 0
3. 432 17 0 688 27 09 DIMENSION X MPM12 2 MPM20 2 Hoe 24 APPLICATIONS APPLICATION 1 LIVE SOUND REINFORCEMENT STAGE FOLDBACK KEYBOARD 00000 v N v N v N lt T c e I e amp l 2 g eo 9 p AMPLIFIER CASSETTE OR DAT MACHINE 1 Active DI Box J i 2225 E GRAPHIC EQ 1 VOCAL MIC d HEADPHONES gt 200 APPLICATION 2 MULTISPEAKER APPLICATIONS gt ittm 2225 Tt S55 GRAPHIC EQ e 8 MAIN PA LEFT AND RIGHT This configuration demonstrates how multiple speaker configurations can be driven by the EPM FILL 5 aaa oo e 4 4 zo Dm co AMPLIFIER i 1 AMPLIFIER 1 E Minimi 9222 Miri 2225 S GRAPHIC EQ GRAPHIC EQ INSTRUMENT AND 2 VOCAL SOURCES MAIN PA LEFT AND RIGHT m
4. Tip O Tip _ TIP SLEEVE SLEEVE Sleeve O O Sleeve m Tp O Tip rf gt RING SLEEVE SLEEVE RING Sleeve O Sleeve Tip O O Centre i SLEEVE Sleeve O O Screen O Centre gt Za 3 RING SLEEVE a Sleeve O Screen 0000 E e ii e t Insert Cables Mono Inserts I O Tip send SLEEVE Tip o O Sleeve lt Ring TIP RING SLEEVE Sleeve O Tip return I gt O Sleeve SLEEVE 4 1 2 send Tip O 3 ar i Ring 1 RING SLEEVE Sleeve 2 return 3 o O Centre send Tip O Screen ax 1 Ring RING SLEEVE Sleeve Centre return IT Screen Y Cables Balanced Where used Aux Mix outputs TIP RING SLEEVE RING SLEEVE TIP RING SLEEVE RING SLEEVE Y Cables Unbalanced lt TIP RING SLEEVE TIP RING SLEEVE SLEEVE SLEEVE
5. AMPLIFIER 1 I 5224 titm 955 oundcptt 25 APPLICATION 3 PLACES OF WORSHIP This configuration uses the Aux 3 output to drive an induction loop for the hard of hearing Aux 1 output is used to generate foldback monitoring for the speaker singer Aux 2 could also be used for foldback but has been omitted for clarity 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 INDUCTION LOOP T INDUCTION LOOP AMP oo FEEEEEEEEEET ooo 4 ee iN ME L FOLDBACK INSTRUMENT AND VOCAL SOURCES HEADPHONES gt 200 MAIN PA LEFT AND RIGHT 26 APPLICATION 4 RECORDING The insert points on channels 1 8 may be used to feed a multitrack recorder as shown link the send and return signals The Mix outputs are used for a preliminary stereo mix on a DAT recorder ARTIST S FOLDBACK PASSIVE MONITORS 1 1 i GRAPHIC EQ STUDIO A CONTROL ROOM CASSETTE
6. SLEEVE gt gt gt gt C gt gt gt gt e eJ gt gt C C gt gt gt gt em SS SLEEVE RING TIP SLEEVE RING SLEEVE SLEEVE TIP ET SLEEVE RING TIP _ gt SLEEVE RING DP SLEEVE SLEEVE TIP e e Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Tip Ring Sleeve Ring Sleeve Tip Sleeve Tip Ring 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
7. 4 NNOIS WNOIS 90 zxnv i 3394 1804 1504 QN3S dlL t 1NIOd LASNI 4 gt 4 1 44 alo lO Sp i 1 5114110 xnv 00 02 645 4 lt 8 24 lt 12 MONO INPUT CHANNEL 1 Mic Input The MIC input accepts XLR type connectors and is designed to suit a wide range of BALANCED or UNBALANCED signals Professional dynamic condenser or ribbon mics are best because these will be LOW IMPEDANCE You can use low cost HIGH IMPEDANCE mics but the level of background noise will be higher If you turn the PHANTOM POWER on top right hand side of the mixer the socket provides a suit able powering voltage for professional condenser mics ONLY connect condenser microphones with the 48V powering OFF and ONLY turn the 48V powering on or off with all output faders DOWN to prevent damage to the mixer or external devices TAKE CARE when using unbalanced sources which may be damaged by the phan tom power voltage on pins 2 amp 3 of the XLR connector Unplug any mics if you want to use the LINE Input The input level is set using the GAIN knob 2 Line 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 Dld guitars input is BALANCED for low no
8. EZ OVES EE EVE zd MEVES C USER GUIDE Soundcraft 1 IMPORTANT Please read this manual carefully before using your mixer for the first time This equipment complies with the EMC directive 89 336 EEC Modified by 92 31 93 68 91 263 and LVD 73 23 EEC modified by 93 68 EEC This product is approved to safety standards IEC 60065 2001 EN60065 2002 UL6500 7th Edition 2003 CAN CSA E60065 03 And EMC standards 55103 1 1996 E2 EN55103 2 1996 E2 For further details contact Harman International Industries Ltd Cranborne House Cranborne Road Potters Bar Hertfordshire 3JN UK Tel 44 0 1707 665000 Fax 44 0 1707 660742 email info8soundcraft com Harman International Industries Ltd 2006 All rights reserved Parts of the design of this product may be protected by worldwide patents Part No ZM0342 01 Soundcraft is a trading division of Harman International Industries Ltd Infor mation in this manual is subject to change without notice and does not repre sent 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 photocopy
9. Provide a typical performance level signal and press the PFL but ton on the first channel monitoring the level on the bargraph me ters Adjust the input gain until the meter display is in the amber sec tion with occasional peaks to the first red LED at a typical maxi mum source level This allows sufficient headroom to accommo date peaks and establishes the maximum level for normal opera tion but see note below n WARNING Phantom powered mics should be connected before Repeat this procedure on other channels as required As more channels are added to the mix the meters may move into the red section Adjust the overall level using the Master Faders if necessary Listen carefully for the characteristic sound of feedback If you cannot 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 re sponse 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 component in the mix and watching the meters for any hint of overload If this occurs back off the app
10. 2 GAIN The GAIN control sets the level of the channel signal 3 EQUALISER HF EQ Turn to the right to boost high treble frequencies adding crispness to percussion from drum machines synths and electronic instruments Turn to the left to cut these frequencies reducing hiss or excessive brilliance Set the knob in the centre detented position when not required The control has a shelving response giving 15dB of boost or cut at 12kHz 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 Setthe knob to the centre detented position when not required The control has a shelving response giving 15dB of boost or cut at 60Hz 4 AUX SENDS These are used to set up a 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 SENDS 1 and 2 are both globally switchable between pre and post fade see master section on page 20 21 The send pots are fed with a mono sum of the L amp R signals Aux 3 is always post fade 5 BALANCE This control sets the amount of the channel signal feeding the Left and Right MIX
11. Screen and connect to cable screen Connect Pin 2 to signal gt Return from External Device Signal Return 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 processing units The input is BALANCED for low noise and immunity from interference but you can use UNBALANCED sources by wiring up the jacks as shown al though 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 equip ment From MPM Balanced Connection Impedance Balanced Output Via i To External Device p gt Screen Signal From MPM Unbalanced Connection Impedance Balanced Output ud To External Device Screen Signal Experience has shown that sometimes it is better not to connect screen at external device end Aux Outputs The Aux 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 Headphone
12. 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 signals at the MIX outputs MONITOR SOURCE The following three switches select the signal source s to be monitored More than one can be selected at a time 6 MIX Press this switch to monitor the main mix outputs 7 GRP Press this switch to monitor the group L amp R outputs 8 2 TRACK Press this switch to monitor the 2 Track input signal MONITOR OUT 9 MONITOR OUTPUT LEVEL This control sets the level to the MONITOR LEFT amp RIGHT outputs 10 MONITOR OUTPUTS The Monitor Outputs are on 3 pole 6 35mm 1 4 jacks and are balanced 11 HEADPHONES LEVEL This control sets the level of the Headphone output 19 12 HEADPHONES SOCKET The PHONES output is a 3 pole 6 35mm 1 4 jack wired as a stereo output ideally for headphones of 200 or greater 80 headphones are not recommended 13 METERS amp AFL PFL ACTIVE 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 perform ance Similarly if the output level is too low and hardly registering at all on the meters the level of background noise ma
13. OR ins 4 DAT MACHINE AA FEFEFE ea E SPEAKER gt l ACTN Omm SWITCH MONITORS AA AA ES MULTITRACK TAPE RECORDER VOCAL SOURCES 1 INSTRUMENT AND gt T7 HEADPHONES gt 200 27 TYPICAL CONNECTING LEADS Audio connectors used with Soundcraft consoles e gt Em B o TIP RING SLEEVE mE SLEEVE XLR 3 pole 2 pole RCA phono A guage TRS jack A guage TS jack Balanced Line Inputs Mix L amp R Outputs Stereo Inputs Auxiliary Outputs m Ring O Ring RING SLEEVE SLEEVE RING Sleeve O O Sleeve m 10 1 ES e 2 0 2 30 Tip O 1 e Sleeve O RING SLEEVE Unbalanced Direct Output Monitor Output Stereo Return Inputs 4 Tip 0 1 e Reo Oo RING SLEEVE gt Sleeve L_o 3 lt lt gt TIP SLEEVE t E e Tip B gt Sleeve O L o Centre wna o os O Screen
14. These three controls set the output levels of the three Aux Outputs 23 AFL These After Fade Listen switches route their respective aux output signal to the monitor headphones out puts 24 PRE POST SWITCHES These two switches globally switch the AUX 1 and AUX 2 feeds respectively on all the input modules to be either pre fade or post fade AUX 3 is always post fade on the input modules 25 AUX OUTPUTS 1 2 amp 3 These outputs are on 3 pole 6 35mm 1 4 jacks and are balanced 21 Cardioid Response Hypercardioid Response Omnidirectional Response 22 wD USING YOUR CONSOLE The final output from your sound system can only ever be as good as the weakest link in the chain and especially important is the quality of the source signal because this is the starting point of the chain Just as you need to become familiar with the control functions of your mixer so you must recognise the importance of correct choice of inputs microphone placement and input channel settings However no amount of careful setting up can take account of the spontaneity and unpredictability of live performance The mixer must be set up to provide spare control range to compensate for changing microphone position and the absorp tion effect of a large audience different acoustic characteristics from soundcheck to show MICROPHONE PLACEMENT Careful microphone placement and the choice of a su
15. 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 imped ance 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 gt 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 PROBLEM SOLVING Basic problem solving is within the scope of any user if a few basic rules are followed Get know the Block Diagram of your console see page 12 Get know what all controls and or connections in the system are supposed to do Learn where to look for common trouble spots The Block Diagram is a representative sketch of all the components of
16. by wear or damage or often just dirt or dust Keep a few in your gig tool box Wire Link Oa _ TP Dummy Insert Bypass Jack If in doubt please contact Soundcraft customer support PRODUCTS UNDER WARRANTY UK customers should contact their local dealer Customers outside the UK are requested to contact their territorial distributor who is able to offer support in the local time zone and language Please see the distributor listings on our website www soundcraft com to locate your local distributor OUT OF WARRANTY PRODUCTS For out of warranty consoles purchased in the United Kingdom please contact the Customer Services Department e mail csd soundcraft com at the factory in Pot ters Bar Hertfordshire Telephone 44 0 1707 665000 For all other out of warranty consoles please contact the appropriate territorial dis tributor When mailing or faxing please remember to give as much information as possible This should include your name address and a daytime telephone number Should you experience any difficulty please contact Customer Services Department e mail csd soundcraft com 11 BLOCK DIAGRAM
17. low it may be masked by the noise 23 FITTING OPTIONAL RACK MOUNT BRACKETS MPM12 2 The rack mount kit part number is RW5753 ins supply disconnected from the mai and all other equipment before fitting the rack mounting brackets ixer is ensure that the mi WARNING Remove the screws at points CAD and remove the side mouldings SS Oo OOOO 5500 OOOO GOGO 6060606 O000000 i Go Joco c oececece a a a o a o n a a o o a Bg a o a a o a a o Remove the screw at point BD repeat on the other side of the mixer Attach the rack brackets to both sides of mixer at points with the screws removed at A Dand B1 above 0 0 e Soo oe
18. 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 xx to learn how to set GAIN correctly 6 Equaliser The Equaliser EQ allows fine manipulation of the sound particularly to improve the sound in live PA applications where the original signal is often far from ideal and where slight boosting or 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 15dB reducing hiss or excessive sibilance which can occur with cer tain types of microphone Set the knob in the centre detented position when not required MID EQ There are two
19. 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
20. 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 Mix Outputs 171 Screen 2 Signal Aux Outputs Monitor Outputs Signal Signal Screen 3 Signal Headphones Left Signal Right Signal Ground A 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 used join Pins 1 amp 3
21. 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 under standing 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 channel by using the insert point to re route the sig nal 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 identically Use PFL to monitor the signal in each section Insert point contact problems may be checked by using an insert bypass jack with tip and ring shorted together as shown below If the signal appears when the jack is inserted it shows that there is a problem with the normalling con tacts on the jack socket caused
22. 128dBu Mix max faders down 84dBu Crosstalk typ 1kHz Channel mute gt 93dB Fader cut off rel 10 mark gt 93dB Aux send pot offness gt 83dB Frequency response Mic Line input to any output 0 5dB 20Hz 20kHz THD Noise Mic gain 30dB 20dBu input Mix out fader max 1kHz i p fader OdB lt 0 004 Input amp output Impedances Mic input 2 4kQ2 Line input 11kQ Stereo input 100k 2 Outputs 750 Input amp output levels Mic input max level 16dBu Line input max level 30dBu Stereo input max level 30dBu Mix output max level 20dBu Headphones 2000 300mW EQ EQ Bands Mono input 15dB Lo 150Hz Mid swept 150Hz 3 5kHz Hi 8kHz Q 1 5 EQ Bands stereo input 15dB Lo 60Hz Mid 720 2 Hi T kHz AVERAGE POWER CONSUMPTION QUIESCENT MPM20 2 35 Watts MPM12 2 30 Watts MIN MAX OPERATING TEMPERATURE Centigrade Farenheit 0 C 40 C 32 F 104 F 31 WARRANTY 32 Soundcraft is a trading division of Harman International Industries Ltd End User means the person who first puts the equipment into regular operation Dealer means the person other than Soundcraft if any from whom the End User purchased the Equipment provided such a person is authorised for this purpose by Soundcraft or its accredited Distributor Equipment means the equipment supplied with this manual If within the period of twelve months from the date of delivery of the Equipment to the End User it shall prove defective
23. Sleeve Tip Sleeve Tip Sleeve Centre Screen Centre Screen 29 and use them to record the settings ions gigs icat You may freely copy these pages used for particular appl BIOS uw quw 104 Ww ano xm 2 30V Ds dn Ds di 1 as du a au m TAN 117 LI OLINON 1 038315 an seca ha 7 an scam Ne AS an IN IW ELI IW IW IW 3I ELLI ELLI ELLI ER Pg ee MARK UP SHEETS 30 TYPICAL SPECIFICATIONS Noise 22Hz 22kHz measurement bandwidth Mic EIN max gain 150 ohms source impedance
24. 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 6 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 chan nel is muted 7 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 mark See the Initial Setup section on page 22 for help in setting the right level 8 PFL When the latching PFL switch is pressed the pre fade pre mute signal is fed in mono to the headphones control room output and meters where it replaces the MIX The PFL ACTIVE LED on the Master section 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 9 CHANNEL PEAK LED This LED will light when the signal level approaches clipping at any of the three moni tored points PRE EQ POST EQ and POST FADE 10 SIGNAL PRESENT SP LED T
25. by reason only of faulty materials and or workmanship to such an extent that the effectiveness and or usability thereof is materially affected the Equipment or the defective component should be returned to the Dealer or to Soundcraft and subject to the following condi tions the Dealer or Soundcraft will repair or replace the defective components Any components replaced will become the property of Soundcraft Any Equipment or component returned will be at the risk of the End User whilst in transit both to and from the Dealer or Soundcraft and postage must be prepaid This warranty shall only be valid if a the Equipment has been properly installed in accordance with instructions contained in Soundcraft s manual and b the End User has notified Soundcraft or the Dealer within 14 days of the defect appearing and no persons other than authorised representatives of Soundcraft or the Dealer have effected any replacement of parts maintenance adjustments or repairs to the Equipment and d the End User has used the Equipment only for such purposes as Soundcraft recommends with only such operating supplies as meet Soundcraft s specifications and otherwise in all respects in accordance with Soundcraft s recommendations Defects arising as a result of the following are not covered by this Warranty faulty or negligent handling chemical or electro chemical or electrical influences accidental damage Acts of God neglect deficiency in electrical
26. droom Professional dynamic condenser or ribbon mics are best because these will be LOW IMPEDANCE While you can use low cost HIGH IMPEDANCE mics you do not get the same degree of immunity to interference on the microphone cable and as a result the level of back ground noise may be higher If you turn the PHANTOM POWER on the socket provides a suitable powering voltage 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 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 load surprise Line Input Accepts 3 pole 6 35mm 1 4 jacks or 2 pole mono jacks which will auto matically ground the cold input Use this input for sources other than mics such as keyboards drum machines synths tape machines or DI boxes The input is BALANCED for low noise and immunity from interference but you can use UNBALANCED sources by wiring up the jacks as
27. he SP LED glows when a signal is present The feed point for the LED is post EQ pre mute 11 MIX GRP 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 Group left and right buses 17 MASTER SECTION 18 L 2 WR STEREO 1 Soundcratt 2 TRACK IN RECORD OUT STEREO 2 7 ArL PFL ACTIVE MIX SOLO Oro OOOOOOOO OOOOOOOO 54 2 171 417 EZ OVS mmm 1 POWER INDICATOR This LED lights to show when power is connected to the console 2 PHANTOM POWER Many professional condenser mics need PHANTOM POWER which is a method of sending a powering voltage down the same wires as the mic signal Press the switch to enable the 48V power to all of the MIC inputs 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 play back device
28. ignal feeding the Left and Right MIX buses allowing you to move the source smoothly across the stereo image When the control is turned fully left or right you are able to route the signal at unity gain to either left or right outputs individually 9 MUTE All outputs from the channel except inserts are on when the MUTE switch is re leased 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 10 INPUT CHANNEL FADER The 60mm FADER with a custom designed law to give even smoother control of the overall signal level in the channel strip allows precise balancing of the various source signals being mixed to the Master Section You get most control when the input GAIN is set up correctly giving full travel on the fader See the Initial Setup section on page x for help in setting a suitable signal level 11 PFL When the latching PFL switch is pressed the pre fade pre mute signal is fed to the headphones control room output and meters where it replaces the MIX The PFL ACTIVE LED on the Master section illuminates to warn that a PFL is active This is a useful way of listening to any required input signal without interrupting the main mix for making adjustments or tracing problems When PFL is pressed anywhere on the console the Control Room outputs automatically switch from monitoring the Mix Outputs 12 PEAK LED This LED will light whe
29. ing and recording for any purpose with out the express written permission of Soundcraft Harman International Industries Limited Cranborne House Cranborne Road POTTERS BAR Hertfordshire EN6 3JN UK Tel 44 0 1707 665000 Fax 44 0 1707 660742 http www soundcraft com Contents IMPORTANT SAFETY INSTRUCTIONS SAFETY SYMBOL GUIDE INTRODUCTION WIRING UP BLOCK DIAGRAM MONO INPUT CHANNEL STEREO INPUT CHANNELS MASTER SECTION USING YOUR MPM CONSOLE FITTING OPTIONAL RACK MOUNT BRACKETS 12 2 DIMENSIONS APPLICATIONS TYPICAL CONNECTING LEADS MARK UP SHEETS TYPICAL SPECIFICATIONS WARRANTY 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
30. ise and top quality from professional equipment but you can use UNBALANCED sources by wiring up the jacks as shown in the wiring up section although you should then keep cable lengths as short as possible Unplug anything in the MIC input if you want to use this socket Set the input level using the GAIN knob 3 High pass Filter Pressing this switch activates the high pass filter This reduces the level of bass frequencies only Use this in live PA situations to reduce stage rumble or popping from mics 4 Insert Point The unbalanced pre EQ insert point is a break in the channel signal path allowing limiters compressors special EQ or other signal processing units to be added in the signal path The Insert is a 3 pole 6 35mm 1 4 jack socket which 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 Screen and connect to cable screen Connect Pin 2 to signal Return from External Device Note If XLRs are used join Pins 1 amp 3 Signal Return 13 The Send may also be tapped off as an alternative pre fade pre EQ direct output if required using a lead with tip and ring shorted together so that the signal path is not interrupted see below Insert Point Signal Send To External Device P4 7 5 This knob sets how
31. itable type of mi crophone for the job is one of the essentials of successful sound rein forcement 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 micro phones offer even greater directivity with a small amount of pickup be hind the microphone These types are ideal for recording vocalists or instruments where rejection of unwanted sounds and elimination of feed back 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 well chosen and well placed microphone should not need any appre ciable 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 the 48 is switched on Ensure the PA system is OFF when switch ing phantom power on or off Set Master faders at O input faders at O and set power amplifier levels to about 7096
32. 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 be cause this mid band covers the range of most vocals Listen carefully as you use these controls together to find how particular characteristics of a vocal signal can be enhanced or reduced Set the lower knob to the centre detented position when not required LF EQ Turn to the right to boost low bass frequencies below 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 7 Aux Sends These are used to set up separate mixes for FOLDBACK EFFECTS or recording and the combination of each Aux Send is mixed to the respective Aux Output For Effects it is useful for the signal to fade up and down with the fader this is called POST FADE but for Foldback or Monitor feeds it is important for the send to be independent of the fader this is called PRE FADE AUX SENDS 1 and 2 are both globally switchable between pre and post fade see master section on page 21 Aux 3 is always post fade 8 PAN This control sets the amount of the channel s
33. lateral triangle is intended to alert the user to the presence of important operating and maintenance servicing instructions in the literature accompanying the appliance NOTES Contain important information and useful tips on the opera tion of your equipment HEADPHONES SAFETY WARNING Contain important information and useful tips on headphone outputs and monitoring levels Recommended Headphone Impedance gt 200 Ohms INTRODUCTION Thank you for purchasing a Soundcraft MPM mixer The MPM range is our most cost effective mixing solution bringing you all the features and performance that you expect from a Soundcraft product at an extraordinarily low price The packaging which your MPM arrived in forms part of the product and must be retained for future use Owning a Soundcraft console brings you the expertise and support of one of the industry s leading manufacturers and the results of nearly 3 decades of supporting some of the biggest names in the business Our knowledge has been attained through working in close contact with leading professionals and institutes to bring you products designed to get the best possible results from your mixing Built to the highest standards using quality components and surface mount tech nology the MPM 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 programmer
34. ld not be impeded by covering the ventilation openings with items such as newspapers table cloths curtains etc THIS APPARATUS MUST BE EARTHED Under no circumstances should the safety earth be disconnected from the mains lead The mains supply disconnect device is the mains plug It must remain accessible so as to be readily operable when the apparatus is in use If any part of the mains cord set is damaged the complete cord set should be replaced The following information is for reference only The wires in the mains lead are coloured in accordance with the following code Earth Ground Green and Yellow US Green Yellow Neutral Blue US White Live Hot Brown US Black As the colours of the wires in the mains lead may not correspond with the coloured markings identifying the terminals in your plug proceed as follows The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is marked with the letter E or by the earth symbol The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L Ensure that these colour codes are followed carefully in the event of the plug being changed This unit is capable of operating over a range of mains voltages as marked on the rear panel NOTE This equipment has been tested and found to compl
35. n the signal level approaches clipping at any of the three monitored points PRE EQ POST EQ and POST FADE 13 SIGNAL PRESENT SP LED The SP LED glows when a signal is present The feed point for the LED is post EQ pre mute 14 MIX GRP 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 Group left and right buses It is sometimes useful to route several inputs to the 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 15 STEREO 1 16 STEREO INPUT CHANNELS 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
36. ough 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 Balanced XLR amp 2 Hot ve 1 8 eed 3 Cold Unbalanced Mic XLR 3 pole jack 2 pole jack Balanced Unbalanced Hot ve Signal Cold ve Ground Ground Screen Screen ve lead to Tip ve lead to ve lead to Ring ve lead and Sleeve Sleeve to Ground et Inserts Signal send Signal return I Ground Screen Sleeve 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 deli cate vocals requiring the best low noise performance or drum kits needing maximum hea
37. power cord from being walked on or pinched particularly at plugs conven ience receptacles and the point where they exit from the apparatus Only use attachments accessories specified by the manufacturer Use only with the cart stand tripod bracket or table specified by the 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 dam aged 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 liability whatsoever for any loss or damage caused by service maintenance or repair by unauthorised personnel WARNING To reduce the risk of fire or electric shock do not expose this apparatus to rain or moisture Do not expose the apparatus to dripping or splashing and do not place objects filled with liquids such as vases the apparatus No naked flame sources such as lighted candles should be placed on the apparatus Ventilation shou
38. ropriate 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 principally the Input Gain control Channel Fader and Mix Faders You should try to use only as much microphone gain as required to achieve a good balance be tween 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 signifi cant effect on output level Also there will be a chance of distortion as the signal overloads the channel and causes clipping If the gain is set too low you will not find enough gain on the faders to bring the signal up to an adequate level and backgound hiss will be more noticeable This is illustrated below Clipped 7 Signal If the signal level is too high clipping distortion may occur If the signal level is too
39. s The PHONES output is a 3 pole 6 35mm 1 4 jack wired as a stereo output as shown ideally for headphones of 200Q or greater 80 headphones not recommended 10 1 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 prob lem when microphones are close together and you should therefore al ways take care to connect pins correctly when wiring audio cables Grounding and Shielding For optimum performance use balanced connections where possible and ensure that all signals are referenced to a solid noise free earthing point and that all signal cables have their screens connected to ground In some unusual circumstances to avoid earth or ground loops ensure that all cable screens and other signal earths are connected to ground only at their source and not at both ends If the use of unbalanced connections is unavoidable you can minimise noise by following these wiring guidelines On INPUTS unbalance at the source and use twin screened cable as though it were balanced OUTPUTS connect the signal to the ve output pin
40. s all need 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 indus try 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 MPM 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 MPM has been designed using the latest high end soft ware 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 MPM is manufactured using some of the most advanced techniques in the world from high density surface mount PCB technology to computer aided test equipment able to measure signals well outside the range of normal hearing As each 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 Alth
41. y 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 AFL PFL ACTIVE LED also lights MIX amp GROUP OUTPUTS 14 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 15 GRP FADERS This pair of faders sets the final level of the 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 16 TO MIX This switch routes the Group L and Group R signals to the main mix 17 STEREO MONO If this switch is depressed a mono sum of the group signals is routed to the main mix 18 MIX OUTPUTS The Mix LEFT and RIGHT outputs are sent from the XLR sockets as balanced signals 19 MONO OUTPUT A mono sum of the mix left and right signals is output on this balanced 3 pole 6 35mm 1 4 jack socket 20 GROUP OUTPUTS The Group L and Group R signals are output on these balanced 3 pole 6 35mm 1 4 jack sockets 21 RECORD OUTPUTS These two RCA outputs carry a copy of the MIX Land signals They allow the use of a recording device e g DAT player Minidisc Cassette tape recorder etc 20 AUX 22 AUX MASTERS
42. y with the limits for a Class A digital device pursuant to Part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment This equipment generates uses and can radiate radio frequency 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 R glement sur le mat riel brouilleur du Canada Peak inrush current measured in accordance with EN55103 1 is 7 0A For your own safety and to avoid invalidation of the warranty please read this section carefully SAFETY SYMBOL GUIDE For your own safety and to avoid invalidation of the warranty all text marked with these symbols should be read carefully WARNINGS The lightning flash with arrowhead symbol is intended to alert the user to the presence of un insulated dangerous voltage within the product s enclosure that may be of suffi cient magnitude to constitute a risk of electric shock to persons CAUTIONS The exclamation point within an equi
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