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SoundCraft 1601E Music Mixer User Manual

1. it un NOTE the booth and master outputs are both available as balanced XLR If and unbalanced phono connections c f A 44 HOUSE SPEAKERS BOOTH SPEAKERS 13 MAKING ADJUSTMENTS AND FITTING SPARES 1 CAUTION THE FOLLOWING SECTION IS FOR USE BV QUALIFIED SERVICE PERSONNEL ONLY TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE THE TOP FASCIA TO PERFORM ANY SERVICING OR OTHER TASKS UNLESS YOU ARE QUALIFIED TO DO SO BEFORE REMOVING THE TOP FASCIA ENSURE THE UNIT IS DISCONNECTED FROM THE MAINS SUPPLY ONLY REMOVE THE ALLEN SCREWS INDICATED ON THE DIAGRAM OPPOSITE WARNING DO NOT OVER TIGHTEN THE SCREWS AFTERWARDS Itis necessary to remove the top panel fascia in order to carry out one or more of the following tasks Setting the pre trim pads on channels 1 amp 2 during installation Changing the orientation of the Phono Line switches Replacing any of the four linear faders Removing the Sampler section To remove the top panel fascia proceed as follows Pull off all the fader and pot knobs Undo the 6 retaining Allen screws using a 2mm Allen key These are located down the left and right hand edges of the fascia The fascia can now be lifted clear of the subframe underneath Take care not to bend the panel The diagram opposite shows a view of the mixer 1601S without the top fascia fitted Setting The Pre trim Pads These pads are used to reduce the inpu
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3. points to choose from as detailed below 1 CHANNEL 1 The return signal will be routed directly to the CH1 bus pre channel volume fader 2 MASTER The return signal will be routed directly to the Master bus pre master volume fader 3 CHANNEL 2 The return signal will be routed directly to the CH2 bus pre channel volume fader NOTE When SEND SELECT is set to MASTER all three return settings will automatically be set to MASTER to prevent feedback loops occurring NOTE the FX switch must be turned ON to input the signal FX ON OFF SWITCH on lock The performance paddle type FX switch controls the ON OFF status of the external effects You can use the spring loaded momentary ON position to flick in effects on the fly or use the locked ON position for more sustained periods of externally processed sound When the FX switch is in the centre OFF position there will be no return from the connected effects device When the FX switch is in the forward LOCK ON position the sound as set by the RETURN SELECT control will be returned from the connected effects device The indicator stays on in this mode to show that FX return is activated When the FX switch is pulled and held back to the ON position the sound as set by the RETURN SELECT control will be returned from the connected effects device The indicator stays on in this mode to show that the FX return is activated When th
4. Mic Line Insert Send Em 2 4 ZS il o m ei in ne Screen gt Centre TIP RING SLEEVE EE Sleeve JEMEN 7 Retu m 48 TROUBLESHOOTING Problem No Power No sound Check power supplv connection Check position of input controls SELECTOR TRIM LEVEL EQ CUT Check input connections Check crossfader position Check output connections Check and adjust input TRIM pads Problem Faders work the wrong way round Check fader reverse switches on front panel Problem DJ Mic causes feedback from booth speakers Engage mic defeat button on rear con panel Problem Turntable volume is very low Check that the phono line switch on the rear panel is selected See page 18 item 5 Problem Buzzing from turntable Check analog player ground connections BPM engine will not read track Check reset BPM range Check mixing desk levels are at 0 or above on the input meters Unable to hear effect Check MIX fader setting Check ISOLATOR filter settings Is the right effect activated Check input level fader control 49 SPECIFICATIONS 50 DIGITAL AUDIO Sample rate Resolution FREQUENCV RESPONSE CD Line Phono MIC Line AUX FX Return SIGNALINOISE RATIO CD Line Phono MIC Line AUX FX Return TOTAL HARMONIC DISTORTION CROSSTALK THD Crosstalk AUDIO INPUT max input level nominal settings impedance CD Line Pho
5. which could use an LFO to move a signal around the stereo field but none which could trigger the LFO from a BPM analyser and certainly none which could move different frequency bands to different pan positions at the same time The unique Spacial Panning System featured in 1601E can actually split the incoming signal into three bands low mid and high as normally used by DJs and then move these bands pan positions independently With SPS Off the Pan works in a more conventional fashion on the entire signal moving it around the stereo position at the determined speed giving you a standard auto pan controlled by the BPM analyser As you increase the SPS amount it will start to move two bands around in the stereo field whilst holding the third user definable band stationary and as SPS reaches full all three bands will be constantly cycled to different places in the stereo field SPS This parameter sets the amount of Spatial Panning and how the split frequencies are moved about the stereo field At the MIN position all audio frequencies are locked together and are panned as one As the encoder is rotated clockwise the audio signal will become increasingly split into high mid and low frequency elements until at the centre position the separation will be at its maximum This 2 Wav setting of SPS shifts two frequency bands from left to right whilst holding the third in a central position see 2 WAY SPLIT section above As the enc
6. A single mode on BANK Press the FILTER button Move the MIX fader to the mid position to hear the filter effect Try adjusting the X and Y encoders to change the sound To change the BEATS FX Speed setting simply switch from 1 4 2 1 The timing of the effect triggering will change instantly to the new setting Try the whole range of preset timings to hear the way they change the feel or groove of the music To select MULTI mode rotate the BANK switch through B to F In multi programs the active effects are indicated by the indicators in the main effect select buttons when you hold down the multi effect bank buttons 1 5 Please read the following OPERATION section fully to appreciate the range of features and facilities 1601E has to offer 33 OPERATION This section features the BPM and its associated controls Vou can set the BPM range manuallv override the BPM engine with these controls and reset the synchronization BPM RANGE This is where you set the working range of the BPM engine There are three operating bands specifically designed to complement styles of music from slow ballads to the fastest House The range setting can only be accessed when the BPM engine is in the Idle condition BEATS LED blinking To check the current range setting whilst in idle mode press and hold down the Tap Clear button one of the ISOLATOR switches will illuminate indicating Low Med or High range The ran
7. In multi mode B F the filter frequency i s always modulated by the LFO This parameter sets the boost level of the frequencies around the cut off point as set by the FREQUENCY control When the Y encoder is in the centre position the resonance will be at its mid point As the encoder is rotated anti clockwise the resonance level will decrease As the encoder is rotated clockwise the resonance level will increase until at the edge position the resonance will reach self oscillation producing a new pitched element similar to acoustic feedback 40 SUB MENU A special sub menu for the filter effect lets vou choose the LFO low freguencv oscillator wave shape There are three types to choose from each having their own individual characteristics and subsequent affect on the music TRIANGLE default RISE eee ee Loue FALL A To select a different LFO wave shape first press and hold down the FILTER effect button then press the Isolator buttons to select Tri Rise or Fall When you have selected Tri Rise or Fall release the FILTER button to store the change NOTE The stored LFO setting will be lost when power is switched OFF After powering up re configure the effects before a performance 41 THE DELAV This effect makes a copv of the source signal and then adds it back into the signal after a period of time as set bv the BPM analvser The fidelitv and number of repeats can be set to determine how
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9. SEND RETURN RE CONFIGURATION The FX RETURN and SEND connectors can be also used for DAISY CHAINING of mixers 2 BALANCED MASTER OUTPUTS XLR Connectors Use these sockets to connect the outputs to amplification systems supporting balanced inputs 3 BALANCED BOOTH OUTPUTS XLR Connectors Use these sockets to connect the outputs to amplification systems supporting balanced inputs The Booth outputis fitted with a MIC DEFEAT push on push off switch fitted behind the rear connector panel access is via a hole located between the XLR connectors The MIC DEFEAT will prevent the mic signal from reaching the booth outputs 4 OUTPUTS RCA Phono Connectors Use the sockets marked MASTER to connect to amplification systems supporting unbalanced inputs Use the sockets marked BOOTH to connect to the monitor amplification system 5 CHANNEL 2 RCA Phono Connectors Earth Terminal Use the sockets marked PHONO and Ground Terminal to connect an analog turntable to channel 2 Use the sockets marked LINE to connect a CD or line level audio player to channel 2 The PHONO input can be changed to line level via a push on push off switch fitted behind the rear connector panel Access is via a hole next to the phono connectors line switch in phono switch out Use a plastic or non conductive pointer to push the switch Warning Set the trim to 0 and put the input fader to its minimum setting before you change from line level to phono level on the re
10. be 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 results 11 INSPECTION AND INSTALLATION UNPACKING AND INSPECTION Your 1601E was carefully packed at the factory and the container was designed to protect the unit from rough handling Nevertheless we recommend careful examination of the shipping carton and its contents for any sign of physical damage which could have occurred in transit If damage is evident do not destroy any of the packing material or the carton and immediately notify the carrier of a possible claim for damage Shipping claims must be made by the consignee The carton should contain Model 1601E Music Mixer Mains Cable UREI Instruction Manual this book Warranty Card the serial number tag is on the base panel of the Mixer 2mm Allen key ENVIRONMENTAL CONSIDERATIONS The 1601E Mixer will operate satisfactorily over a range of ambient temperatures from 0 C to 50C 32F to 122F and up to 80 non condensing relative humidity If the system is installed in an equipment rack console or des
11. channel signals using headphones while lining up tracks ready to introduce into the mix Connecting the output of one mixer to an input of another mixer The unit of measurement for audio signal level This is logarithmic to follow the response of the human ear dB is a relative measurement to compare one level with another for example gain from input to output dBu is an absolute measurement referenced to a voltage standard where OdBu 0 775V rms The console main outputs operate at OdBu 0 reading on the meters dBV is a similar measurement but refers to a 1V standard It is common for consumer equipment to operate a the standard of 10dBV 316mV dBA refers to sound pressure level and is measured using the A scale that hears in the same way as the human ear The difference expressed in dB between the highest and lowest signal levels possible This is limited by the clipping level and residual noise floor respectively The term for the electronic signal reference This generally connects to the mains supply earth point and all cable shields and conductive equipment cases It provides the return for the signal voltage within the equipment It also ensures operator safety by removing the possibility of electric shock should the mains voltage touch any metal part Earth Loop Ground Loop The result when the equipment sees more than one path to the svstem earth Current flows because EQ Equaliser Feed
12. control is moved anti clockwise the mid frequencies will be progressively cut until at the fully anti clockwise position the maximum mid frequency cut will be applied 85dB As the control is moved clockwise from the centre position the mid frequencies will be progressively boosted until at the fully clockwise position the maximum mid frequency boost will be applied 6dB 1kHz LOW EQ These controls adjust the low tone characteristics of the CH1 CH2 inputs At the 12 o clock centre position the low EQ will be flat no cut or boost As the control is moved anti clockwise the low frequencies will be progressively cut until at the fully anti clockwise position the maximum low frequency cut will be applied 85dB As the control is moved clockwise from the centre position the low frequencies will be progressively boosted until at the fully clockwise position the maximum low frequency boost will be applied 6dB 100Hz CHANNEL VOLUME FADERS These 60mm travel faders are digitally controlled by the DSP and are used to adjust the volume of CH1 and CH2 PEAK LEVEL METER These indicators show the signal level pre channel faders and cover a range of 15 to 5 The indicators from 15 to 3 are coloured blue Indicators 1 to 3 are white whilst the 5 indicator is coloured red CHANNEL FADER CURVE CONTROL im O C u dc 8 The channel fader curve control is located on the front panel The 3 switched fader characteristics
13. 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 available 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 damage Acts of God neglect deficiency in el
14. filter and puts it under the direct control of the tempo of the source music via the synchronised Low Frequency Oscillator LFO The Filter allows you to remove or accentuate frequencies in the source signal the FREQUENCY parameter controlling the frequencies to which the changes will be applied RESONANCE allows you to boost the frequencies around the current cut off frequency accentuating the action of the filter especially under the control of the LFO ENVELOPE MODULATION is factory set 75 This is the amount of feedback present in the filter effect which determines just how exaggerated it becomes FREQUENCY X This parameter sets the basic cut off frequency of the filter which in SINGLE mode is fixed as a LOW PASS type LOW BAND amp HIGH pass filter types are used in MULTI mode see VOICE SHEET for further details When the X encoder is at the home position the frequency will be at its mid point As the encoder is rotated anti clockwise the frequency will decrease As the encoder is rotated clockwise the centre the frequency will increase LFO DEPTH Y single mode A only In single mode A the LFO depth can be turned off to allow purely manual control This parameter sets the amount of change depth of the cut off frequency as set by the FREQUENCY X control The HIGH MID LOW isolators are used to select either Low Pass Band Pass or High Pass filter mode RESONANCE Y multi mode B F only
15. flat no cut As the control is moved clockwise the HIGHER frequencies will be progressively cut until at the fully clockwise position the maximum high frequency cut will be applied 85dB As the control is moved anti clockwise from the centre position the LOWER frequencies will be progressively cut until at the fully anti clockwise position the maximum low frequency cut will be applied 85dB NOTE fully clockwise dark fully anti clockwise bright HEADPHONE SOCKETS Outputs are provided on 1 4 and 3 5mm jacks This is to maximise compatibility with headphones not to allow two sets of headphones to be used If two sets of headphones are used the volume of signal in the headphones will be reduced 28 X F MONITOR x F monitor chi che NTIMATA When the MASTER CUE SELECT is set to CUE the X F MONITOR control adjusts the relative mix balance between CH1 and CH2 When fully over to the LEFT position only CH1 sound will be audible As the control is moved to the RIGHT CH2 sound will be gradually introduced until at half way CH1 and CH2 sound will be equal As the control is moved to the RIGHT from the centre position the CH1 sound will gradually reduce until at full RIGHT only CH2 sound will be audible When the MASTER CUE SELECT is set to MASTER the X F MONITOR control has no function The signal from main mix will be routed to the headphones 29 THE BPM FX MODULE OPERATING CRITERIA This produ
16. has unbalanced inputs and outputs may need to be isolated from the rack to prevent earth loops AUDIO WIRING Having provided all equipment with power and earthing connections consideration must be given to the method of providing audio interconnection and adequate screening of those interconnections This must be done in a logical sequence to avoid problems and assist in the localisation of problem equipment Connect the Main or Booth system to the console and check for any hum buzz or RFI Only when you are satisfied with the quietness of the console and the PA system should you proceed with the next step Connect decks or CD players FX and sends one at a time checking and isolating any connection which degrades performance Connect all other peripheral devices Connect all microphone lines By following this sequence much time and future trouble will be saved and the result will be a quiet stable system SHIELDING Audio equipment is supplied with a variety of input and output configurations which must be taken into consideration when deciding where the screen connections should be made There are three sources of unwanted signal being impressed on the screen which are as follows Extraneous electrostatic or electromagnetic fields Noise and interference on the earth line Capacitive coupling between the screen and signal wires To minimise the adverse affects of the unwanted coupling to the signal wires it is important that the
17. much this affects the original signal The delaved signal can be a perfect copy of the original thanks to the high quality of digital technology in 1601E but this is not always what the user wants A reproduction parameter is provided to allow the fidelity of the delayed signal to be reduced to that of a classic tape echo machine of the sixties seventies or beyond to extreme grunge The number of repeats can be varied from one to increasingly numerous repeats which although decaying in volume will still threaten to drown outthe source signal which may be exactly what you want Use the Max repeat position with caution SPEED X This parameter can be used to manually adjust the speed of the DELAY effect Its operation models the classic tape echo machines of the past smoothly changing the speed up and down without a digital glitch as would the motor driven machines of the 60 s and 70 s The inherent speed control time lag of these older tape echo units has also been included Try rotating the encoder clockwise amp anti clockwise quickly with multiple repeats set to hear the delay repeats catch up in a lazy fluid manner When changing to the DELAY effect the delay speed will always be at the rate as set by the BEATS trigger buttons As the encoder is moved anti clockwise the delay speed will smoothly decrease As the encoder is moved clockwise the delay speed will smoothly increase REPEATS Y This parameter sets the number of ti
18. point in the circuit which is after the fader Record Industry of America Association responsible for the long established equalisation standard that is applied to the signal produced by a turntable cartridge Due to the physical limitations of vinyl reproduction the stylus produces a reasonable level high frequency signal but a much less lower level low frequency An RIAA pre amplifier compensates for this by attenuating the high and boosting the low frequencies The way in which sound reflects and bounces around the room after the source is removed This depends on the size and shape of the room as well as the materials such as carpets curtains and clothing that absorb certain frequencies This is a signal processor that connects to the console to artificially simulate the reverb effect Parameters such as decay time diffusion and amount of reverb can be controlled Typically selected sounds are sent to the processor by turning up the channel post fade aux sends The processed wet signal is returned to the mix through a channel where it adds to the direct dry signal routed from the channel fader Revolutions Per Minute The measurement of turntable speed 33 45 and 78 RPM Another performance effect popular with DJs The channel signal is sent to a digital processor that samples stores a short duration of sound The output is returned through a channel and replayed by pressing a trigger Many samplers provide creative effects such as re
19. screen is connected at one end only i e the screen must not carry any signal current Any signal on the wires within the screen will be capacitively coupled to the screen This current will ultimately be returned to the source of the signal either directly if the screen is connected at the signal source end or indirectly via the earthing system if the signal is connected at the signal destination end The indirect connection will cause an increase in high frequency cross talk and should be avoided wherever possible Therefore in general always connect the shield only at the signal source end In high RF areas the screen can also be connected to earth via a 0 01 mF capacitor This will present a short circuit at RF frequencies thus lowering the effective shield impedance to ground However at low audio frequencies the capacitor will effectively be an open circuit and thus not cause an earth loop problem 10 POINTS TO REMEMBER In all cases use good qualitv twin screened audio cable Check for instabilitv at the output Always connect both conductors at both ends and ensure that the screen is only connected at one end Do not disconnect the mains earth from each piece of equipment This is needed to provide both safety and screen returns to the system star point Equipment which has balanced inputs and outputs may need to be electrically isolated from the equipment rack and or other equipment to avoid earth loops Itis important to r
20. the CLIP indicator is not illuminated PRE TRIM PADS These attenuator controls are situated under the top panel fascia channel 1 on the left side channel 2 on the right side They can be used to attenuate the input signal level prior to the main TRIM control to avoid overload conditions These controls are factory set to maximum gain for professional use 22 When using high output playback devices it may be necessary to select the 10dB pad or the 20dB pad or both to stop the input channel from overloading The locations of these pads are shown on page 15 TRIM The trim controls allow a 4 15dB trim range to be applied to each channel s signal The optimum setting is at zero on the input LED level meter HI EQ These controls adjust the high tone characteristics of the CH1 CH2 inputs At the 12 o clock centre position the high EQ will be flat no cut or boost As the control is moved anti clockwise the high frequencies will be progressively cut until at the fully anti clockwise position the maximum high frequency cut will be applied 85dB As the control is moved clockwise from the centre position the high frequencies will be progressively boosted until at the fully clockwise position the maximum high frequency boost will be applied 6dB 10kHz MID EQ These controls adjust the mid tone characteristics of the CH1 CH2 inputs At the 12 o clock centre position the mid EQ will be flat no cut or boost As the
21. ASTER or CUE monitoring See also page 28 7 EQ CUT Rotarv This control can be used to change the CUE monitor EQ To the right high frequencies are cut and to the left low frequencies are cut See also page 28 19 OPERATION GETTING STARTED Before use please observe the following guidelines CONNECTIONS Before making any connections make sure that the power on all your equipment is turned OFF Connect the audio cables for a typical system setup as shown on page 13 Connect the power cord to the mains power socket on the rear panel of the mixer and plug it into a suitable AC outlet TURNING ON THE POWER Make sure all connections have been made correctly and the volume controls on the 1601S 1601 mixer and the amplifier system are turned completely down Turn ON the power at the wall Turn ON the power to the connected CD analog players and amplifier system POWER ON INDICATION When the 1601S 1601mixer is powered up the front panel input meter LEDs will light in sequence If this does not happen check the mains supply is correct correctly connected and powered on Your Urei mixer is now ready for use MIC LINE INPUT mic line mic line This section of 16015 1601mixer features controls and connectors for the DJ microphone The circuitry is totally analog and is fed directly to the master output bus also analog The associated RCA phono plugs on the rear conn panel allow you to use this input as a 3rd line level
22. B As the control is moved clockwise from the centre position the high frequencies will be progressively boosted until at the fully clockwise position the maximum high frequency boost will be applied 15dB 10kHz MIC INSERT SOCKET rearcon This 1 4 jack on the rearcon can be used to route the post EQ signal through an external effects or dynamic processor See the mic line insert lead on page 48 for connection details 21 CHANNELS 1 amp 2 Channel 1 Shown This section of the mixer features all the main controls for input channels 1 amp 2 most of which come under the control of the digital signal processor DSP The EQ section in both channels are created within the DSP which enables the mixer to deliver an amazing 85dB of cut whilst for professional considerations limiting the boost to just 64 The level faders are also digitally controlled which assures extra long life for these hard working components channel 1 INPUT SELECTOR SWITCHES These 2 way selector switches select the connected playback device for each channel They allow you to select between the CD LINE inputs and the PHONO inputs CLIP INDICATORS The CLIP indicators are used to detect overload conditions in the gain section before the A D convertors When the signal level becomes too high for the A D convertor the indicator will illuminate and the audio sound will become distorted If this occurs back off the TRIM control until
23. Filter Env Mod 50 Filter Frequency Low Hi 4 Delay Mix 25 Filter Frequency Low Mid Hi 5 Cutter Mix 50 Delay speed Mid Hi Bank E 1 Cutter depth 25 Filter Resonance Mid Hi 2 Delay repeats 75 Filter Frequency Low Hi 3 Cutter Mix 50 Filter frequency Low Mid Hi 4 Cutter Mix 25 Filter env mod Low Mid 5 Cutter Mix 75 Filter env mod Low Mid Hi Bank F 1 Delay speed 100 Delay repeats Low Hi 2 Delay speed 50 Delay repeats Low Mid Hi 3 Delay speed 75 Flanger freq Low Mid Hi 4 Filter freq 75 Delay speed Low Mid Hi 5 Filter env mod 100 Delay speed Low Hi All Y parameter values set to 5096 default HINTS amp TIPS Synchronisation and Tempo Changes Always make slow changes when adjusting the sound source pitch control This will allow the effects to remain in synchronisation during tempo changes Never make tempo changes during quite passages when beat information is unavailable as 1601E BPM engine will lose the BPM range 46 BLOCK DIAGRAM Please note to assist the user in understanding the routing of the signals within the mixer this block diagram has been drawn as if the mixer is an entirelv analogue device In realitv much of the mixer is implemented within the DSP CUER CUEL 4O1V1OSI kl sx s103443 1 avav d Xd Wda eu x zz mu BE luu d 22 gt TIWNIDIHO 193443 i XIN gt i fis E S3HOLIMS 14O
24. HE EXCEPTION OF THE PRE TRIM ATTENUATORS THERE ARE NO INTERNAL SERVICE ADJUSTMENTS GENERAL PRECAUTIONS Avoid storing or using the mixing console in conditions of excessive heat or cold or in positions where it is likely to be subject to vibration dust or moisture Do not use any liquids to clean the fascia of the unit a soft dry cloth is ideal Avoid using the console close to strong sources of electromagnetic radiation e g video monitors high power electric cabling this may cause degradation of the audio quality due to induced voltages in connecting leads and chassis Caution In all cases refer servicing to qualified personnel Handling and Transport The console is supplied in a strong carton If it is necessary to move it any distance after installation it is recommended that this packing is used to protect it Be sure to disconnect all cabling before moving If the console is to be regularly moved we recommend that it is installed in a foam lined flightcase At all times avoid applying excessive force to any knobs switches or connectors Power Cable Always use the power supply cable supplied with the mixer the use of alternative cables may cause damage and voids the warranty Warning In the event of an electrical storm or large mains voltage fluctuations immediately unplug from the mains Signal Levels It is important to supply the correct input levels to the console otherwise signal to noise ratio or distortion perf
25. MODEL 1601E MUSIC MIXER USER GUIDE UI i Soundcraft IMPORTANT Please read this manual carefully before using vour mixer for the first time This equipment complies with the EMC directive 89 336 EEC Modified bv 92 31 EEC 93 68 EEC 91 263 EEC and LVD 73 23 EEC modified bv 93 68 EEC This product is approved to safetv standards IEC 60065 2001 EN60065 2002 UL6500 7th Edition 2003 CAN CSA E60065 03 And EMC standards EN55103 1 1996 E2 EN55103 2 1996 E2 For further details contact Harman International Industries Ltd Cranborne House Cranborne Road Potters Bar Hertfordshire 3JN UK Tel 44 0 1707 665000 Fax 44 0 1707 660742 e mail info soundcraft com Harman International Industries Ltd 2005 All rights reserved Parts of the design of this product may be protected by worldwide patents Part No ZM0330 01 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 purpose w
26. 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 on the apparatus No naked flame sources such as lighted candles should be placed on the apparatus Ventilation should not be impeded by covering the ventilation openings with items such as newspapers table cloths curtains etc THIS APPARATUS MUST BE EARTHED Under no circumstances should the safety earth be disconnected from the mains lead The mains supply disconnect device is the mains plug It 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
27. al JOJBJOSI x fader MODEL 1601E MUSIC MIXER 16 1 MIC LINE INPUT see page 20 This section features LEVEL EQ HI and EQ LOW controls for the microphone line level input stage The combi XLR connector accepts XLR connectors for microphone use and 1 4 Jack plugs for mono line level devices CD tape players drum machines synthesizers etc The MIC push button switch selects the alternative rear panel RCA phono socket inputs when itis released up This pair is mono summed and fed to the mix bus directly bypassing the X fader 2 CHANNEL 1 INPUT see page 22 This section features TRIM PHONO LINE select EQ LOW EQ MID EQ HI and FADER controls for the channel 1 input stage There is also a 20dB pad and a 10dB pad which can be set via holes under the top panel fascia these are intended to be set at installation The CLIP indicator shows the pre A to D convertor level status The 10 way indicator shows channel level This channel can be used with any CD ine or Phono level input device 3 CHANNEL 2 INPUT see page 22 This section is functionally identical to Channel 1 4 FX SEND RETURN AUXILIARY INPUT see page 24 This section features SEND LEVEL SEND SELECT RETURN AUX LEVEL and RETURN AUX SELECT controls for the effects loop auxiliarv input stage The CLIP indicator shows the pre A D conver
28. ar connector panel 6 CHANNEL 1 RCA Phono Connectors Earth Terminal See Channel 2 above Channel 1 and 2 are functionally identical 7 MIC INSERT 1 4 Jack Connector Use this socket to send return the MIC LINE channel signal to an external sound processor Tip send ring return see page 48 8 LINE INPUT RCA Phono Connectors These inputs are enabled when the MIC switch on the front panel is released This pair of inputs is mono summed These can also be used as inputs if you want to daisy chain mixers 9 AC POWER IN IEC Connector IMPORTANT this unit requires a supply of 100 240V 50 60Hz AC 18 FRONT PANEL Soundcraft channel 1 channel 2 Ule 1 CH1 3 Position curve control and Reverse These controls allow you to change the curve of the input fader and reverse the fader action See also page 23 2 X FADER Rotary position curve control and Reverse These controls allow you to change the curve of the x fader and reverse the fader action See also page 27 3 CH2 3 Position curve control and Reverse These controls allow you to change the curve of the input fader and reverse the fader action See also page 23 4 LEVEL Rotary control This control sets the audio level to the connected headphones See also page 28 5 HEADPHONE OUT Jack connectors Connect the 1 4 or mini jack plug from your headphones to the appropriate connector 6 SELECT Toggle switch This switch allows you to select M
29. are created and controlled bv the DSP The fader action may also be reversed via the REV switch 23 FX SEND 8 RETURN AUX This section features controls for the effects send return loop which can also be used as an auxiliary input record output The routing switches are controlled by the DSP for comprehensive send and return patching For example you can take the CH1 input signal before or after the cross faders and route it through an external effects device before bringing it back via CH1 CH2 or Master bus If effects are not required you can connect a line level playback device to the return side for expanded input channel capability whilst recording a performance from the send output ch 1 Master ch 2 SEND LEVEL This control sets the output level to the connected effects unit At the fully anti clockwise position there will be no output signal As the control is moved in a clockwise direction the output level will be gradually increased until at the fully clockwise position the output level will be at its maximum Use the input level indicator on your effects unit to monitor and set the correct input level RECORD OUT If effects are not required the SEND output can be used as a RECORD output Simply connect your audio tape CD recorder s input to the rear panel SEND sockets and adjust the output LEVEL source SELECT accordingly SEND SELECT This control selects the signal source that will be sent to the external
30. back Gain Headroom Hz Hertz Highpass filter HPF Hum Impedance Limiter Lowpass filter LPF Mono Mono Sum Mute Cut Noise Noise Floor Omni directional Pad Pan Panoramic Peak Meter Phono a resistive loop susceptible to radio and mains interference is formed In severe cases this can result in audible hum or buzz in the svstem Breaking the loop bv removing all but one path to earth usuallv solves the problem This provides cut or boost of selected frequencies equalisation for tonal shaping of the sound Also known as howlround or ringing this is the rapidly increasing tone produced when a microphone picks up its own signal from the speakers It is usually a shrill and annoying squeal that should be quickly dealt with by repositioning the microphone or speakers reducing mic gain or equalising the system to notch out the offending frequencies This is the boost or attenuation applied to the source signal in the channel preamp stage to match it to the console operating level For example a large amount of gain is needed to match low microphone signals It is set using the console meters Gain is not used for level volume control The amount of level available expressed in dB to handle peaks above the normal 0dB operating level The measurement of frequency The audio spectrum ranges from a low bass frequency of 20Hz to a high treble 20kHz Afilter that attenuat
31. ce the new fader back into the subframe and secure with the Allen screws removed earlier DO NOT OVER TIGHTEN THE SCREWS Replaceable Spares Part Numbers RS2332 Urei 1601E Fader Spares Assembly RS2333 Urei 1601E Phono Line Switch Spares Assembly RS2334 Urei 1601E X Fader Mon Spares Assembly or BPM FX Mix Fader Assembly RS2389 Urei 1601E Effects Panel 14 RS2389 EFFECTS PANEL RS2332 45mm FADER o 9000000000 9000000000 20dB PAD O 20dB PAD 10dB PADO 10dB PAD o e ALLEN SCREWS o e e o H o PANEL FASCIA FIXING HOLEJ 2 e TOP PANEL FASCIA FIXING HOLE e o o ALLEN SCREWS o X o TOP PANEL FASCIA FIXING HOLE e e ALLEN SCREWS ALLEN SCREWS ALLEN SCREWS RS2333 PHONO LINE SWITCH RS2334 X F MONITOR FADER RS2334 BPM FX MIX FADER TOP PANEL FASCIA FIXING HOLE TOP PANEL FASCIA FIXING HOLE Alignment of X F Monitor and BPM FX Mix faders Align the screws with the bottom of the slot lg TOP PANEL FIXING HOLE 15 DESCRIPTION TOP PANEL power booth out master out outputs fx loop aux mic line rnic line mic E line mic AL off m on c D 4 8 A 474 B IA N l effect HUE E A Cal a origin
32. closes completely to cut off the signal It will also work as a fade in fade out control with a relatively short period of operation DEPTH X mark space ratio This parameter sets the length of the square pulse wave open or on period the period in which the audio signal can be heard At the MIN position the gate is open for its maximum duration allowing most of the audio signal to pass As the encoder is rotated clockwise the centre position the open period becomes increasingly shorter allowing less and less of the audio signal to pass until at the MAX position the duration of the open period is extremely short allowing through only a minimal burst of audio NOTE There is no SUB MENU function for the CUTTER effect SLOPE Y This parameter sets the shape of the cutter effect transforming it from a falling saw tooth to a square pulse with interim settings in between When the Y encoder is in the default position the shape will be at its mid point As the encoder is rotated anti clockwise the shape will become more sloped the overall volume of the audio rising quickly and falling slowly until at the edge position it will be a pure saw tooth shape As the encoder is rotated clockwise the shape will become more squared off quickly rising and falling to form a gated effect until at the edge position it will be a pure square wave 44 THE FLANGE filter The Flanging effect s name was derived fr
33. ct has been designed to operate most effectivelv with dance music i e music based on strong regular beats and patterns However as the range of pre recorded dance material is virtually limitless and the audio mix of individual tracks unknown we cannot guarantee the performance of 1601E with every style of dance music 1601E s synchronisation performance may be affected if the beat information is either unavailable or indefinable within the audio track Please consider this when selecting your audio material TOP PANEL CONTROLS b triangle rise digital tape 1 BANK MODE This rotary switch selects the operating modes In A mode only one effect at a time can be activated In B F modes the factory presets which feature a wide spectrum of multiple effect combinations can be accessed 2 BEATS FX SPEED 1 4 1 2 3 4 1 1 2 1 This rotary switch sets the effect speed There are additional speed settings for FILTER FLANGER PANNER 1 bar 2 bar 4 bar 8 bar amp 16 bar 3 BEATS INDICATOR The BEATS indicator lights when the BPM engine is locked on to the beat 30 4 TAP CLEAR TAP CLEAR button is used to manually tap in a tempo This function also acts as the BPM range selector 5 CUTTER 1 Mark This button selects the GATE effect The X encoder Space controls the DEPTH MARK SPACE RATIO of the waveform The Y encoder controls the cutter SLOPE parameters 6 PAN 2 This button selects t
34. ctory assigned parameters in MULTI mode The encoders are geared so the faster you turn the encoder the faster the response the slower you turn the encoder the slower the response 31 BPM FX MIX This fader adjusts the balance between the un processed sound original and processed sound effect bpm fx mix effect original HU C ANI ON OFF switches These two switches apply the bpm fx to either of the input channels or the master output There is a switch in each of the input channels areas en jet bpm fx 32 QUICK START If vou want to quickiv trv out the performance of 1601E Effects please read the following points carefullv CONNECTIONS Make sure all connections have been made correctly and the volume controls on mixer and amplifier system are all turned completely down Connect the IEC power cord to the rear panel of the mixer and plug it into a suitable AC outlet Turn on the power to the mixing desk and then turn on the power of the amplifier system SETTING UP Select a suitable audio track dance orientated music with defined beat information start the playback on the connected sound source Adjust the channel trim so that the input signal is peaking at or above zero 0 on the input meters Select where you want to apply the EFFECTS channel 1 channel 2 or master The BEAT indicator should be on indicating the BPM is locked ACTIVATING THE EFFECTS Select
35. dio input into three bands Low Mid and High which can then be panned around independently in the stereo field Spacial Panning System SPS will enable entirely new effect textures and beat related movements in the music of the future In addition the 3 band isolator lets you choose which elements of the music pass through the effects This manual is designed to get you using the effects and sync ing them to the music as quickly as possible The simple real time operation of the effects parameters and beat assignmentis described in detail but at no time does it try and define how these effects should be used We tell you how 1601E works but never how to use it From the really subtle to the most excessive effects imaginable it s down to you Registering Your Mixer Please take this opportunity to register the purchase of your mixer with Urei By Soundcraft You can do this by filling in the pre paid postcard included in the packaging or by going online to www ureidj com registration Urei by Soundcraft recommends AKG Professional Dj Headphones Please visit www akg com dj for more information INSTALLATION The 1601E is ruggediv constructed with the highest qualitv components As such it should provide vears of trouble free use with normal care All parts used are conservatively rated for their application and workmanship meets UREI by Soundcraft s rigid standard NO SPECIAL PREVENTIVE MAINTENANCE IS REQUIRED AND WITH T
36. e position of the FREQ control LOW 40Hz only Low frequencies will be excited and added to the mix As the control is rotated clockwise the frequencies to be excited will change from low to high bass to treble At the fully clockwise position of the FREQ control HIGH 20KHz high frequencies will be excited and added to the mix By manipulating both the FREQ and MIX controls simultaneously you can create a filtering phasing effect You may have to reduce the trim when using the exciter the resonance of the selected frequencies may boost the output signal levels high enough to overload the system The red LEDs on the meter will show that the levels are going too high X FADER The inputs to the cross fader are provided by the outputs of the channel 1 and 2 output faders The X fader then outputs a mix of these two signals which is dependent on the position of the X fader and the setting of the X fader curve control EN X FADER CURVE The x fader curve control is located on the front panel The continuously variable cross fade characteristics are created and controlled by the DSP which ensures the precision of the cross fader At the fully anti clockwise position the channel level will start to reduce at a linear rate near the cross fader s centre position As the curve control is moved in a clockwise direction the channel level will start to reduce more rapidly nearer the opposite channe
37. e switch is released it will automatically return to the centre OFF position FX SEND RETURN RE CONFIGURATION If you want to use the return as a 4th line level input the configuration must be changed each time power is switched on With power turned OFF pull and hold back the FX paddle switch momentary ON position Turn the power ON at the mains plug and then after a few seconds release the FX paddle switch The return input is now constantly active whilst the FX paddle switch controls the send signal NOTE This special configuration setting is lost when power is turned off If you want to use the return as a 4th line level input always remember to hold the FX switch to ON before turning on the power 25 MASTER BOOTH OUTPUT This section of the mixer features controls and indications for the master and booth outputs level out master MASTER LEVEL This control adjusts the level of the master output volume on both the balanced and unbalanced outputs At the fully anti clockwise position there will be no sound As the control is moved in a clockwise direction the output level will be gradually increased until at the fully clockwise position the output level will be at its maximum OUTPUT PROTECTION LIMITER The output protection limiter protects the main outputs from clipping As the signal level approaches the clip point of the DACs the limiter reduces the output gain until the audio level decreases back to b
38. ectrical power air conditioning or humidity control 6 of this Warranty may not be assigned by the End User 7 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 51 GLOSSARV Amplitude Attenuate Attenuator Auxiliary Aux Balanced Unbalanced Bandpass BPF Beat Mixing Beats Per Minute BPM Booth Cutting Cartridge Clipping Contour Law Curve Cross fader Cue Solo Daisy Chaining dB Decibel Dynamic Range Earth Ground 52 Another term used for signal level Reduce the signal level A device which reduces the signal level An independent mix derived from the channels for various functions This can be set pre before or post after the channel fader Refers to the type of input or output signal connection An unbalanced connection has two signal carrying conductors one of which is the cable shield A balanced connection has three conductors two for signal and a shield which is connected to earth Because the signal conductors are at the same impedance and of opposite polarity they are better able to cancel and therefore reject interference and noise pickup It is standard practice to use balanced connections for long cable runs for example to amplifiers or cables carrying sensitive or low level signals for examp
39. effects unit There are five tap off points to choose from as detailed below 1 CHANNEL 1 POST Only the CH1 signal will be transmitted post cross fader AFTER the cross fader 2 CHANNEL 1 PRE Only the CH1 signal will be transmitted pre cross fader BEFORE the cross fader 3 MASTER The master output signal will be transmitted only MASTER RETURN can be selected for this setting 4 CHANNEL 2 PRE Only the CH2 signal will be transmitted pre cross fader BEFORE the cross fader 5 CHANNEL 2 POST Only the CH2 signal will be transmitted post cross fader AFTER the cross fader 24 RETURN AUX LEVEL This control sets the amount of signal coming back from the connected effects unit At the fully anti clockwise position there will be no sound As the control is moved in a clockwise direction the input level will be gradually increased until at the fully clockwise position the input level will be at its maximum CLIP INDICATOR The CLIP indicator is used to detect overload conditions in the gain section before the A D convertor When a good signal level is detected the indicator will not light When the level becomes too high for the A D convertor the indicator will illuminate and the audio sound will become distorted If this occurs back off the LEVEL control until the CLIP indicator is not illuminated RETURN SELECT This control selects the point at which the returning effects are re introduced There are three patch
40. elow the limiter threshold at which point the gain returns to normal If the red LEDs are active then the limiter will be working to maintain the signal quality It is good practice never to clip the mixer LEVEL OUT METER These indicators show the left and right master output volume from 15 to 5 The indicators from 15 to 3 are coloured blue the indicators from 1 to 3 are coloured white and the peak indicators 5 are coloured red to identify output overload conditions BOOTH LEVEL This control adjusts the level of the booth output volume on both the balanced and unbalanced outputs At the fully anti clockwise position there will be no sound As the control is moved in a clockwise direction the output level will be gradually increased until at the fully clockwise position the output level will be at its maximum There is no level indicator for the booth output MONO STEREO SWITCH This switch is to sum the Stereo signal to a Mono signal It acts on the master outputs and booth outputs HPF 80Hz SWITCH Apply this switch when you are suffering from Bass Rumble from the deck phono input 26 THE EXCITER At the fully anti clockwise position of the MIX control 0 no EXCITER will be applied to the main mix As the control is rotated clockwise the EXCITER is gradually added to the mix At the fully clockwise position of the MIX control 100 the amount of the EXCITER added to the mix will be 100 At the fully anti clockwis
41. emember that all equipment which is connected to the mains is a potential source of hum and interference and may radiate both electrostatic or electromagnetic radiation In addition the mains will also act as a carrier for many forms of RF interference generated by electric motors air conditioning units thyristor light dimmers etc Unless the earth system is clean all attempts to improve hum noise levels will be futile In extreme cases there will be no alternative but to provide a completely separate and independent technical earth to replace the incoming noisy earth However always consult your local electricity supply authority to ensure that safety regulations are not being infringed WORKING SAFELY WITH SOUND A Although vour new console will not make anv noise until vou feed it signals it has the capabilitv to produce sounds which when monitored through an amplifier or headphones can damage hearing Always turn amplifiers down when turning your console on or off The table below is taken from the Occupational Safety amp Health Administration directive on Occupational noise exposure 1926 52 PERMISSIBLE NOISE EXPOSURE DURATION PER DAY HOURS SOUND LEVEL dBA SLOW RESPONSE 8 90 6 92 4 95 3 97 2 100 1 5 102 1 105 0 5 110 lt 0 25 115 Conforming to this directive will minimise the risk of hearing damage caused by long listening periods A simple rule to follow is the longer you listen the lower the average volume should
42. es frequencies below the cut off frequency This is the audible noise that usually results from mains interference pickup earth loops bad interconnections and induced power supply and lighting fields It is usually at mains frequency 50 60Hz or a related harmonic A technical term for the resistance of a signal conductor to ground Low impedance Low Z usually refers to microphones of 200 ohms or less and line signals typically less than 100 ohms Low Z sources are less prone to interference pickup Inputs are usually high impedance High Z so that one source can connect to more than one channel without signal loss Note that the operating impedance of a connection is set by the impedance of the source not that of the unconnected input A signal processor that limits the maximum level possible by preventing the signal going over a predetermined threshold level This is very useful in club installations where it is inserted between the console and house system amplifiers to prevent the DJ exceeding the maximum allowable volume A filter that attenuates frequencies above the cut off frequency A single source with no stereo content or the left and right stereo signals summed together as one A mono signal which is the sum of the left and right parts of a stereo pair To turn off the signal Transform is a mute or cut effect Generic term for an unwanted signal This may be residual electronic hiss hum buzz clicks and pops This is t
43. ges are LOW 60 to 120BPM MID default 90 to 180BPM HIGH 115 to 230BPM To adjust the BPM range press and hold the Tap Clear button while holding the Tap Clear button select the BPM range by pressing amp holding the Low Mid or High switches NOTE 1 BPM s outside of the selected range limit cannot be analysed Always check the general tempo of the music you are playing falls well within the selected BPM range For most applications we recommend the MID BPM range of 90 180BPM NOTE 2 This setting is not memorised Each time 1601E power is turned on the default setting of 90 180 BPM will be restored The BEAT indicator will now flash at the detected BPM rate and stay on after 5 seconds once the BPM engine has locked onto the Beat Any major shift in tempo changing the audio playback speed using a CD vinyl deck s pitch control will be tracked by the 1601E BPM engine IMPORTANT NOTE The BPM engine will continue triggering the effects indefinitely at the last detected BPM rate if the strong regular beats in the audio track become unavailable This feature allows the effects to continue operating through quite passages in the audio track If the strong regular beats in the audio track become unavailable the BEAT indicator will blink This will occur approximately 5 seconds after the last valid BPM reading was detected to warn you that 1601E is now free wheeling and the BPM display is no longer being updated from the aud
44. he PANNING effect The X encoder function controls the SPS depth The Y encoder control the panning 2 WAY SPLIT parameters 7 FILTER 3 This button selects the FILTER effect The X encoder controls the filter FREQUENCY The Y encoder controls the filter RESONANCE parameters in multi mode B F only The Y encoder controls the filter LFO DEPTH in single mode A 3 only Press and hold this button to set the filter LFO SHAPE See page 41 sub menu 8 FLANGER 4 This button selects the FLANGE effect The X encoder controls the FREQUENCY The Y encoder controls the flange DEPTH parameter Press and hold this button to set the flange LFO SHAPE See page 45 sub menu 9 DELAY 5 This button selects the DELAY or echo effect The X encoder controls the analog tape modeler SPEED parameter The Y encoder controls the REPEAT depth Press and hold this button to set the REPRO reproduction quality of the repeats See page 42 sub menu 10 ISOLATOR The 3 band isolator allows you to choose which band of frequencies is passed through the effects This function also operates as the BPM Range Selector amp the Pattern Select of the Filter Flange amp Cutter In single mode A 3 the isolator is used to select low pass band pass high pass filter mode 11 X Y CONTROLS These two rotary encoders adjust the two fixed parameters for each selected effect in SINGLE mode or any two fa
45. he term for the residual electronic noise produced by all powered audio equipment It usually sounds like a constant hiss although some equipment may suffer from residual hum as well The response of a microphone which picks up sounds equally all round Not suited to live vocal applications as they are more prone to feed back Another term for attenuator A control that adjusts the balance of the signal in the left and right speakers A type of signal meter that has a very fast attack and slower release This picks up the fast signal transients and holds them long enough for the operator to see the activity on the display These meters typically use led light emitting diode displays Abbreviation for phonograph as in turntable Usually means RIAA equipped input when marked on console inputs Can also refer to the RCA phono type connector found on turntables and CD players 53 Polaritv Pre fade Post fade RIAA Reverberation Reverb Effect RPM Sampler Scratching Sometimes erroneously referred to as phase this is the sense of a balanced signal or loudspeaker connection Reversed polarity should be avoided and checked for as it can cause uncomfortable phasing effects as the listener moves between the speakers Polarity Reverse is often used to correct for wrongly wired cables and connectors The signal is taken from a point in the circuit which is before the fader The signal is taken from a
46. hone or line level device At the fully anti clockwise position there will be no sound As the control is moved in a clockwise direction the level will be gradually increased until at the fully clockwise position the level will be atits maximum CARE This signal is routed to the master outputs POST MASTER level control e g the output level of the microphone or line level device will be un affected by the MASTER level control It is similarly routed to the booth outputs unless the mic defeat feature described above is engaged EQ LOW CONTROL This control adjusts the bass equalisation of the microphone line level sound At the 12 o clock centre position the low EQ will be flat no cut or boost As the control is moved anti clockwise the low frequencies will be progressively cut until at the fully anti clockwise position the maximum low frequency cut will be applied 15dB As the control is moved clockwise from the centre position the low frequencies will be progressively boosted until at the fully clockwise position the maximum low frequency boost will be applied 15dB 100Hz EQ HIGH CONTROL This control adjusts the treble equalisation of the microphone or line level sound At the 12 o clock centre position the high EQ will be flat no cut or boost As the control is moved anti clockwise the high frequencies will be progressively cut until at the fully anti clockwise position the maximum high frequency cut will be applied 15d
47. hono input which provides the RIAA equalisation required The turntable usually has variable speed control so that the DJ can synchronise the beat between tracks Voltage Controlled Amplifier An audio gain element whose level is controlled by a remote DC voltage rather than through a fader or rotary control VCA Cross fader functions as an audio cross fader but with the audio level controlled by a DC voltage produced by the fader This voltage can be electronically filtered and is therefore able to remove the clicks scratches and dropouts associated with worn audio faders The professional standard 3 pin round connector used for microphone and other balanced connections Equipment female sockets are for inputs male for outputs 55 56
48. input ideal for introducing a further CD tape player or other sound source such as MIDI synthesizer sequencer COMBI XLR CONNECTOR This connector accepts the standard XLR plug fitted to BALANCED microphone cables Before attempting to connect the microphone first ensure the LEVEL control is set to minimum and the MIC switch is set to the MIC position down Align the three pins on the plug with those on the socket and then push home fully until the retaining latch clicks into place To disconnect the microphone first press down the retaining tab labelled PUSH and then gently pull out the XLR microphone plug The centre area of this connector also accepts a standard 1 4 jack plug for connecting line level devices Only mono signals can be routed through this section Before attempting to connect the line level device first ensure the LEVEL control is set to minimum If you want to route a stereo pair signal use the RCA phono plugs on the rear conn panel instead and ensure the MIC switch is set to the LINE position up Note that the stereo signal is mono summed inside the mixer Important Note when the MIC switch is in the MIC position down the signal from the combi xlr will not be routed to the Booth Outputs if the MIC DEFEAT switch on the rearcon is pressed in The MIC DEFEAT switch is accessed via a hole located between the booth XLRs on the rearcon 20 LEVEL CONTROL This control sets the input level for the microp
49. io track When the strong regular beats in the audio track return the BPM engine will automatically detect the beat and make any necessary adjustments at which time the flashing BEAT indicator will stay on once again to indicate a locked in condition TAP CLEAR BUTTON This multi function button allows you to manually enter a tempo by hand or erase the current BPM reading It can also be used when there is no audio signal present or when the beat information becomes unavailable during a quiet passage of an audio track intro middle eight etc The CLEAR feature can be used to cancel the current BPM reading TAP Tempo Edit To enter a BPM rate from an IDLE condition no audio beat detected use your finger to tap in a tempo on the TAP button within the current BPM range The TAP feature can be used to override the BPM engine if it is in free wheeling mode only Use a finger to tap in the new tempo After 3 4 taps the BPM engine will update the tempo The TAP function can also be used to assist the BPM engine as it analyses more complex rhythm tracks Tapping along with the tempo of the track can help the software recognise patterns within the music and so lock in and adjust the BPM and or synchronisation itself NOTE Subsequent valid beat information detected by the BPM engine may override manual changes made with the TAP function CLEAR BPM To clear a BPM reading and reset 1601E to IDLE mode press and hold down this but
50. ithout the express written permission of Soundcraft UI i Soundcraft Harman International Industries Limited Cranborne House Cranborne Road POTTERS BAR Hertfordshire EN6 3JN UK Tel 444 0 1707 665000 Fax 44 0 1707 660742 http www ureidj com Contents IMPORTANT SAFETV INSTRUCTIONS SAFETY SYMBOL GUIDE INTRODUCTION BPM EFFECTS INSTALLATION GENERAL PRECAUTIONS MAINS INSTALLATION INITIAL WIRING CONSIDERATIONS AUDIO WIRING SHIELDING WORKING SAFELY WITH SOUND POINTS TO REMEMBER INSPECTION AND INSTALLATION CONNECTING TO A TYPICAL SOUND SYSTEM MAKING ADJUSTMENTS AND FITTING SPARES DESCRIPTION TOP PANEL REAR CONNECTOR PANEL FRONT PANEL OPERATION GETTING STARTED MIC LINE INPUT CHANNELS 1 amp 2 FX SEND amp RETURN AUX MASTER BOOTH OUTPUT X FADER HEADPHONE MONITOR THE BPM FX MODULE OPERATING CRITERIA TOP PANEL CONTROLS QUICK START OPERATION EFFECT CONTROLS SINGLE MULTI MODE OPERATION THE EFFECTS PRE SET VOICE LIST HINTS amp TIPS BLOCK DIAGRAM CONNECTING LEADS TROUBLESHOOTING SPECIFICATIONS WARRANTY GLOSSARY IMPORTANT SAFETV 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
51. k with high heat producing equipment such as power amplifiers adequate ventilation should be provided in order to assure longest component life Also while circuitry susceptible to hum pick up is sufficiently shielded from moderate electromagnetic fields installation should be planned to avoid mounting the system immediately adjacent to large power transformers motors etc POWERING The 1601E may be operated from 100 250V AC mains 50 60 Hz single phase BE SURE TO VERIFY LINE VOLTAGE BEFORE CONNECTING THE 1601E TO THE MAINS Please Note The IEC mains connector is fitted with a retaining clip to prevent the mains lead from accidentally being pulled out during operation To ensure that this clip will fit correctly the lead supplied with the mixer must be used 12 CONNECTING TO ATYPICAL SOUND SYSTEM The diagram below shows how to connect the different parts of a typical sound system DJ MIC E TURNTABLE 2 TURNTABLE 1 m CT mms CD PLAYER T 5 me TA 0 FX UNIT emi BEBE UNI CERE DJ HEADPHONES I b d Fe to front panel b o NS EN Rye CAS AMPLIFIER AMPLIFIER
52. l end stop until at the fully clockwise position the channel level will start to reduce dramatically just before the opposite channel end stop Fully clockwise scratch cut mode Centre smooth fade mix mode The X fader action may also be reversed via the REV switch 27 HEADPHONE MONITOR This section of the mixer features all the headphone monitoring controls which again come under the control of the DSP This allows the inclusion of a special cue EQ control which filters out unwanted frequencies letting you tune in to defined elements within the sound and create a perfect mix LEVEL This control adjusts the output level to the connected headphones At the fully anti clockwise position there will be no sound As the control is moved in a clockwise direction the output level will be gradually increased until at the fully clockwise position the output level will be at its maximum MASTER CUE SELECT This switch selects the monitor signal source When the switch is at MASTER the monitor output sound will be derived from the master output bus When the switch is at CUE the monitored sound will be derived from the XF MONITOR Note when this switch is set to MASTER the headphones will be post eq when it is set to CUE the headphones will be post eq EQ This control adjusts the tone of the monitored sound cutting the highs or lows about the centre off position At the 12 o clock centre position the EQ will be
53. le microphones A filter with a bell shaped response for attenuation of frequencies either side of the centre frequency Using the variable pitch controls on turntables CD players to synchronise the rhythm track of two separate songs so that the beat remains constant when smoothly cross fading from one to the other The measurement of the rhythmic beat or tempo of the music The area often enclosed where the DJ operates It is usually provided with local booth monitor loudspeakers Moving the cross fade control sharply from one side to the other to either pick out a sound a hi hat kick drum etc or to drop straight into another record Also known as chopping The pickup in a turntable Uses a stylus to pick up vibrations from the record vinyl and convert this to electrical signals that feed the console The cartridge is usually fitted to a removable headshell that plugs into the turntable arm The harsh distorted sound that results when the signal hits the maximum level possible The term used to describe the law of a fader how quickly it responds as it is moved or the amount of fade per unit of movement The contour control associated with a fader lets the DJ tailor its response to suit the preferred mixing style A horizontally operated fader for fading one music track in while fading the other out Often used by the DJ for cutting and layering sounds while mixing A monitor system provided for the DJ to check individual
54. ll earths should be star fed from this point It is common electrical practice to daisy chain the earths to all electrical outlets but this method is unsuitable for audio installations The preferred method is to run an individual earth wire from each outlet back to the system star point to provide a safety earth screen reference for each piece of equipment A separate earth wire should also be run from each equipment rack and area to the star point This may or may not be used depending on circumstances but it is easier to install in the first place than later when problems arise The location of the star point should be a convenient easily accessible place preferably at the rear of the console or in the main equipment rack Install separate clean and dirty mains outlets wired individually back to the incoming mains distribution box Use the clean supply for all audio equipment and the dirty supply for all lighting etc Never mix the two systems If necessary to provide sufficient isolation from mains borne interference on the booth output install an isolating transformer This should be provided with a Faraday Shield which must be connected with earth Never locate the incoming mains distribution box near audio equipment especially tape recorders which are very sensitive to electromagnetic fields Ensure that all equipment racks are connected to earth via a separate wire back to the star point Equipment which
55. lts The three top panel switches control the ON OFF status of the LOW MID and HIGH frequency bands respectively To select de select the frequency bands simply press the relevant momentary switch once The indicators show when the frequency band is active ON or bypassed OFF as shown in the following examples i Rime b triangle rise fall b trians digital tape vintage igi g mid high triangle fall ians j fall digital tar vintage vintage NOTE 1 To avoid total effect bypass the last remaining frequency band cannot be turned off As an example if the LOW and MID bands are switched off leaving the HIGH band on pressing the HIGH button will have no affect To re enable the HIGH band first switch ON another band and then de select the HIGH band NOTE 2 The ISOLATOR function is memorised whilst switching between effects Applying the BPM FX If the BPM FX switch on either of the input channels is set to the ON position the effects will be applied to that input channel If both switches are set to ON the bpm fx effects will be applied to the master output 37 SINGLE MULTI MODE OPERATION This is where you choose the basic operating mode for 1601E In A mode only one of the five effects can be applied at a time The BEATS rotary switch can be used to set the trigger rate for each effect In MULTI mode combinations of the five effects can be applied simultaneously fr
56. mes the delayed signal is repeated At the MIN position there will be just a single repeat or echo of the signal no feedback As the encoder is moved clockwise the delayed signal will be increasingly fed back into the delay to create more and more repeats the multiple repeats slowly decaying in volume over a period of time until at the MAX position the number of repeats feeding back into the delay will be sufficient to maintain the looped section indefinitely SUB MENU A special sub menu for the delay effect lets you adjust the audio reproduction quality of the delayed signal To select a different reproduction quality first press and hold down the DELAY effect button then press the Isolator button to select Digital Tape or Vintage Atthe DIGITAL setting the reproduction quality will be at its highest Atthe TAPE position the high and low frequency content will be limited whilst harmonic distortion and speed variations chorus are also introduced to create the classic sound of an analogue tape machine This is the default setting Atthe VINTAGE position all these elements are exaggerated to an extreme of decay NOTE The stored REPRO setting will be lost when power is switched OFF After powering up re configure the effects before a performance 42 THE PAN tap clear QZeUinr o filter flanger wo Wo This part of 1601E is quite revolutionary There have of course been auto panning devices before
57. no 1kHz MIC Line AUX FX Return AUDIO OUTPUT max output level impedance Master unbalanced Master balanced XLR Booth unbalanced Booth balanced XLR MIC insert FXSend Headphones CHANNEL EQ High Mid Low POWER SUPPLY Internal switch mode psu DIMENSIONS WEIGHT 395 H x 280 W x 90 D mm 4 7kg 15 5 H x 11 W x 3 5 D inches 10 4lbs 96kHz 24 bit 20 Hz to 20 kHz 0 5 dB 20 Hz to 20 kHz 1 5 dB RIAA 20 Hz to 20 kHz 4 2 dB 20 Hz to 20 kHz 0 5 dB 20 Hz to 20 kHz 0 5 dB 90 dB 75 dB 70 dB 90 dB 90 dB less than 0 02 80dB 14dBu 10k ohms 23dBu 47k ohms 22dBu 3k ohms 20 22k ohms 20dBu 22k ohms 20dBu 75 ohms 20dBu 150 ohms 20dBu 75 ohms 20dBu 150 ohms 20dBu 75 ohms 20dBu 75 ohms 20dBu 40 ohms 6 dB 85 dB 10kHz 46 dB 85 dB 1kHz 46 dB 85 dB 100Hz 100v 240V AC 50W 50 60Hz WARRANTV 1 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 2 If within the period of twelve months from the date of delivery of the Equipment to the End User it shall prove
58. oder is rotated further clockwise towards the MAX the movement of the split frequency bands increasingly changes the three bands now starting to chase each other in a left right centre left right centre pattern or opposite direction on each triggered pulse until at the MAX end stop position the Spatial Panning effect will be at it s maximum NOTE There is no SUB MENU function for the PANNER effect 2 WAY SPLIT Y This parameter sets the configuration of 2 Way Spacial Panning When the Y encoder is in the start up position the MID frequency band will be held in a central position with the and high frequencies panning from left to right in opposing directions As the encoder is rotated in an anti clockwise direction the configuration will change so that the HIGH frequency band is now held in a central position with the low and mid frequencies panning from left to right in opposing directions As the encoder is rotated in a clockwise direction the configuration will change so that the LOW frequency band is held in a central position with the mid and high frequencies panning from left to right in opposing directions 43 THE CUTTER filter This effect operates in a similar fashion to the filter but on the overall volume of the signal The Cutter can be set to operate either as a conventional gate which each time it is triggered opens instantly to allow the signal through but then after a short period
59. om a selection of factory presets Mode BANK select C D 1 2 3 4 1 1 The rotarv select switch selects single and multi modes B Ja NZ Naf To select single mode turn the switch to A beats O To select multi mode turn the switch to B C D E or F position c D 1 2 3 4 44 E 444 9 1 Vanier NESS beats Having dealt with single multi mode selection here are the specific functions for each mode SINGLE MODE The five main effects buttons are used to select the active effect Only one effect at a time can be activated in single mode After power up the default effect FILTER will be automatically activated To select a new effect press any of the other effect buttons once as shown in the following example cutter wo flanger There are five defined FX SPEEDS BEATS settings available for each of the five effects and a further five music BAR settings for the FILTER PAN and FLANGE effects only The shorter duration BEATS trigger settings are as follows 1 4 Four times every beat 1 bar 1 2 Twice every beat 2 bar 3 4 Every three quarters of a beat 4 bar 1 1 Every beat 8 bar 2 1 Every other beat 16 bar To change the BEATS trigger setting use the BEATS rotary switch to instantly set a new groove as shown in the following example 38 1 2 3 4 474 Vl z 1 4 2 1 F Y SC Additional speed settings for FILTER FLANGER PANNER For e
60. om the way it was first produced back in the sixties by manually slowing a tape spool touching the sides or flanges of the spool on a delay tape machine This produced the classic whooshing sound which has been reproduced digitally with a greater degree of reliability and flexibility in 1601E By feeding more or less of the signal back in to itself the flanging effect can be exaggerated or made more subtle We have included two types of flange in 1601E Flange 1 accentuates notch frequencies across the range the most obvious being from 0 250Hz resulting in a boost to low frequency sounds such as the bass drum Flange 2 accentuates the opposite frequency bands resulting in a cut to the low frequencies Flange 1 is assigned to SINGLE mode operation whereas both Flange 1 and 2 are featured in MULTI mode presets RESONANCE is factory set 75 This is the amount of feedback present in the flange effect which determines just how exaggerated it becomes FREQUENCY X This parameter sets the frequency of the sweeping element modulated by the trigger setting This lets you fine tune which frequencies the flanging process will bring out Atthe MIN position only the lower frequencies will be affected Asthe encoder is rotated clockwise the higher frequencies will be more affected until at the MAX position only the higher frequencies will be affected DEPTH Y This parameter sets the overall depth of the flange effect When
61. ormance may be degraded and in extreme cases damage to the internal circuitry may result Likewise on all balanced inputs avoid sources with large common mode DC AC or RF voltages as these will reduce the available signal range on the inputs Note that OdBu 0 775V RMS Refer to the Specifications section for details of input and output levels MAINS INSTALLATION General Wiring Procedures To take full advantage of the excellent signal to noise ratio and low distortion of Soundcraft consoles care must be taken to ensure that incorrect installation and wiring does not degrade the performance of the desk Hum buzz instability and Radio Frequency interference can usually be traced to earth loops and inferior earthing systems In some areas especially heavily industrial areas the incoming mains earth will not be adequate and a separate technical earth for all the audio equipment must be supplied However check with your local electricity supply company to ensure that safety regulations are not infringed or negated The successful hum free installation of a system requires forethought and the establishment of a set of ground rules which must be consistently adhered to at all stages of installation INITIAL WIRING CONSIDERATIONS For optimum performance it is essential for the earthing system to be clean and noise free as all signals are referenced to this earth A central point should be decided on for the main earth point system and a
62. p 1601E does away with all that tedious messing about matching milliseconds to BPMs and hooking multiple effects units together by assembling everything you need in one unit to filter flange gate delay and pan in perfect synchronisation with your music At the heart of the 1601E is UREI s BPM Analysis Engine which shoulders the responsibility of calculating the tempo of the music This leaves you free to concentrate on the real time controls of the simultaneous effects 1601E offers Four of these effects have been available in various forms before but never in such an easy to use and innovative form By triggering the filter in time with the music you can seriously alter the harmonic shape of the sound without destroying the beat or perhaps choose the radical flange for a classic sweep that s right out there The gate makes gating and shaping the overall volume of the music in time a breeze but perhaps the greatest timesaving is in the automatic synchronization of delays to the tempo of the music No more look up tables for BPM equivalents in milliseconds or complicated formulas that need a calculator You just decide which beats you want to hear the delays coincide with and then you can move on to more creative decisions such as whether the delays should sound like a clinical 90 s digital delay a warm 60 s tape delay or a more extreme vintage But even the unique combination of these facilities is dwarfed by 1601E s ability to split the au
63. peat and reverse The UREI sampler is BPM activated The art of rhythmically rocking a record back and forward on a turntable to repeat a certain sound a vocal or tone at the same time operating the cross fader to create a syncopated wah wah chirp added over a bass heavy back beat Signal to Noise Ratio SN This is the difference expressed in dB between the normal 0dB operating level and the residual noise Slip mat Split Cue Sub Bass Tempo Turntable VCA XLR 54 floor It represents how far above the equipment hiss level the signal operates A higher figure is better A fabric turntable mat positioned under the record so that the DJ can hold it stationary ready to let go for a fast start at the point cued A facility to listen to the cue signal in one ear while keeping the program in the other Used for matching the beat while cueing a new track Some consoles provide a CUE MIX fader to preview the mix before going live On the UREI 1601 series this is the xf monitor A loudspeaker designed to reproduce only very low frequency sound typically from around 30 to 120Hz A crossover is used to route only the low frequencies to the sub The rhythmic beat of the music usually referred to in BPM Beats Per Minute Otherwise known as a record deck this plays vinyl discs still the most popular source for DJ mixing Itis common for the output of the cartridge to plug directly into the mixing console p
64. r own safety and to avoid invalidation of the warranty all text marked with these symbols should be read carefully WARNINGS The lightning flash with arrowhead symbol is intended to alert the user to the presence of un insulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons CAUTIONS A The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance servicing instructions in the literature accompanying the appliance 7 NOTES Contain important information and useful tips on the operation of your equipment HEADPHONES SAFETY WARNING S A Contain important information and useful tips on headphone outputs and monitoring levels Recommended Headphone Impedance gt 200 Ohms TIP TIP Contains a useful tip on how to get the best out of your equipment INTRODUCTION BPM EFFECTS Congratulations By purchasing a 1601E you have joined an exclusive club of musicians re mixers and Djs who have discovered a new level of power and control over the effects in their music Previously to make effects happen in time with music was a matter of painstaking analysis of the source signal and time consuming tweaking of parameters on effects units to make sure that the tempo inherent in the effects did not clash with or break up the tempo of the music In one fell swoo
65. radiators heat registers stoves or other apparatus including amplifiers that produce heat Do not defeat the safety purpose of a polarised or grounding type plug A polarised plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet Protect the power cord from being walked on or pinched particularly at plugs convenience 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 apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped Note It is recommended that all maintenance and service on the product should be carried out by Soundcraft or its authorised agents
66. t level to channels 1 amp 2 or to reduce the input when using a piece of equipment with a high output level There are 2 pads on each of the 2 input channels The 20dB pads are on either side of the FX paddle switch and the 10dB pads are below them The switches are push on push off types The pads are in circuit when the switches are depressed Depress the 10dB switches to select the 10dB pads To select the 20dB pads both sets of switches 10 and 20 must be depressed depressing only the 20 switches will have no effect Changing The Orientation Of The Phono Line Switches The orientation of these switches can be changed to suit personal preference e g left or right handed Using a 2mm Allen key undo and remove the 3 Allen screws around the edge of the circular switch mounting plate The switch plate can now be rotated in 15 degree steps The plate can be re attached to the subframe with the Allen screws when a convenient angle has been chosen Replacing The Faders Using a 2mm Allen key undo and remove the 3 Allen screws the X F Monitor fader has only 2 screws which secure the fader mounting plate to the subframe Carefully withdraw the fader taking care not to damage the wiring harness that is attached to it Unplug the 3 pin connector wiggle the plug from side to side as you pull the plug from the socket Plug the connector into the new fader The connector is keyed so that it cannot be inserted the wrong way round Carefully pla
67. the Y encoder is in the home position the depth will be at its mid point As the encoder is rotated anti clockwise the depth will decrease making the flange effect more subtle As the encoder is rotated clockwise the flanging becomes more and more pronounced until at the edge position the depth of flanging will be at its greatest SUB MENU A special sub menu for the flange effect lets you choose the LFO low frequency oscillator wave shape There are three types to choose from each having their own individual characteristics and subsequent affect on the music To select a different LFO wave shape first press and hold down the FLANGE effect button then press the Isolator buttons to select Tri Rise or Fall TRIANGLE range select Tri RISE range select Rise DEFAULT FALL range select Fall 45 PRE SET VOICE LIST Multi programs X Encoder Y Encoder Isolator on Bank B 1 Filter Frequency 50 Filter Resonance Low Mid Hi 2 Cutter Mix 50 Delay Speed Low Mid Hi 3 Cutter Mix 50 Filter Frequency Low Mid Hi 4 Cutter Mix 50 Filter Env Mod Low Mid Hi 5 Cutter Mix 50 Filter Frequency Low Hi Bank C 1 Delay repeats 75 Filter mix Low Hi 2 Cutter mix 100 Flanger freq set res 75 Mid Hi 3 Flanger Freq 50 Flanger depth Low Hi 4 Delay Mix 25 Flanger resonance Low Hi 5 Cutter Mix 100 DelaySpeed Filt mix Low Mid Hi Bank D 1 Delay repeats 100 Filter Resonance Mid Hi 2 Cutter Mix 75 Delay input drive Low Mid Hi 3
68. the earth symbol The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L Ensure that these colour codes are followed carefully in the event of the plug being changed This unit is capable of operating over a range of mains voltages as marked on the rear panel NOTE This equipment has been tested and found to comply with the limits for a Class A digital device pursuant to Part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment This equipment generates uses and can radiate radio 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 For vour own safetv and to avoid invalidation of the warrantv please read this section carefuliv SAFETV SVMBOL GUIDE For you
69. ton until the indicator flashes Note The BPM engine will freewheel continue at the last detected BPM until a new tempo is detected 34 EFFECT START SYNC The effect sync LFO waveform will re trigger every time any of the following occurs the BPM FX Mix fader is moved away from the original position either of the BPM FX switches is moved to its on position or the selected effect button 1 5 is pressed Applying the BPM FX If the BPM FX switch on either of the input channels is set to the ON position the effects will be applied to that input channel If both switches are set to ON the bpm fx effects will be applied to the master output 35 EFFECT CONTROLS This section deals with the controls dedicated to adjusting and controlling the effect parameters Elements of each effect can be altered in real time using the X and Y Controls whilst the 3 band filter section lets you choose which part of the sound is affected Each time this button is set to ON the active effect will commence its cycle from the start point As an example if the FILTER effect is selected with a FALLING type LFO shape and the trigger duration set to 4 bars the following will occur when the FILTER button is pressed on or slightly before the first beat of the bar Bars 1 2 3 4 1 2 3 MIX FADER This 25mm fader controls the balance between the un processed and processed signal At the end stop marked ORIGINAL the effects will be completel
70. tor level status for the effects return auxiliary input The RETURN AUX channel can be used with any CD line level input device as an additional stereo input 5 FX ON OFF SWITCH see page 25 This 3 way paddle switch controls the effect send return loop 6 X FADER MONITOR see page 29 This control allows you to monitor channel 1 channel 2 or a mix of both 7 MASTER BOOTH OUTPUT see page 26 This section features the MASTER LEVEL and BOOTH LEVEL controls The 10 way VU indicator shows the MASTER output level 8 X FADER see page 27 Note the adjustments on the front panel see page 19 9 INPUT FADERS see page 22 Note the Ch1 and Ch2 adjustments on the front panel see page 19 10 EXCITER see page 27 Frequency and Mix controls 11 PHONO LINE INPUT SWITCH see page 22 2 position switches select between each channel s phono and line switches 12 PBM FX ASSIGN see page 33 Assigns BPM FX to the input channel post fader 13 BPM FX SECTION see page 30 14 BPM FX MIX FADER 17 REAR CONNECTOR PANEL channel 2 channel 1 mic line booth out 1 FX LOOP AUX RCA Phono Connectors Use these sockets to connect any external effects processor Alternatively you can use the FX RETURN sockets to connect an additional stereo CD line level sound source to the mixer for multi channel operation whilst using the SEND connectors as a RECORD out see FX
71. xample FILTER In single mode press amp hold the FILTER effect button and then rotate the FX SPEED rotary switch to one of its 5 positions to access 1 bar 2 bar 4 bar 8 bar amp 16 bar settings Default settings 4 bars for FILTER and FLANGER 2 bars for PANNER MULTI MODE Multi mode consists of 25 factory preset programs where combinations of the five effects have been carefully setup to offer maximum multi effects power The ability to modify the presets in real time gives added flexibility and allows the user to create customised variations The BANK rotary switch is used to recall the factory presets from B to F See the PRE SET VOICE LIST for specific preset program parameters NOTE Edited presets are memorised between multi preset selections whilst power remains ON PROGRAM EDIT AND RECALL Any alterations to the ISOLATOR and X Y edit parameters will be memorised When changing between programs the user can set up a program to their own requirement change to another program s and then return to a previous program and have their special set up recalled To reset the factory settings at any time Press amp hold the current program button and then press TAP CLEAR to instantly re load the default set up 39 THE EFFECTS THE FILTER fitter flanger ta This effect recreates for many dance music producers and remixers the most essential part of a classic analogue synthesizer the
72. y bypassed and only the original sound will be heard As the fader is moved away from this position the processed signal will be gradually introduced until at the end stop marked EFFECT the maximum processed sound will be heard bpm fx mix bpm fx mix effect original AI E ANU NIT X Rotarv Encoder As the pot is moved clockwise from the central parked position the X parameter is gradually increased in a positive manner until it reaches its maximum As the pot is moved anti clockwise the X parameter is gradually increased in a negative manner until it reaches It s maximum Y Rotary Encoder As the pot is moved clockwise from the central parked position the Y parameter is gradually increased in a positive manner until it reaches its maximum As the pot is moved anti clockwise the Y parameter is gradually increased in a negative manner until it reaches It s maximum The encoders are geared so the faster you turn the encoder the faster the response the slower you turn the encoder the slower the response Under normal operation one full rotation in either direction is a full sweep of the encoders 36 3 BAND ISOLATOR The 3 band isolator section allows you to apply the effects to certain frequency bands or the complete audio signal As an example effects applied to just the HIGH frequencies will sound very subtle whilst passing the sound through all three bands simultaneously will offer more extreme resu

SoundCraft 1601E Music Mixer User Manual

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