SoundCraft EFX User Manual page 11

MONO INPUT CHANNEL - EFX shown
1 Mic Input
The MIC input accepts XLR-type connectors and is designed to suit a wide range of
BALANCED or UNBALANCED signals. Professional dynamic, condenser or ribbon
mics are best because these will be LOW IMPEDANCE. You can use low-cost HIGH
IMPEDANCE mics, but the level of background noise will be higher. If you turn the
PHANTOM POWER on (top right-hand side of the mixer) the socket provides a suit-
able powering voltage for professional condenser mics.
ONLY connect condenser microphones with the +48V powering OFF,
and ONLY turn the +48V powering on or off with all output faders
DOWN, to prevent damage to the mixer or external devices.
TAKE CARE when using unbalanced sources, which may be damaged by the phantom
power voltage on pins 2 & 3 of the XLR connector.
Unplug any mics if you want to use the LINE Input. The input level is set using the
GAIN knob.
2 Line Input
Accepts 3-pole 'A' gauge (TRS) jacks. Use this input for sources other than mics,
such as keyboards, drum machines, synths, tape machines or DI'd guitars. The input
is BALANCED for low noise and top quality from professional equipment, but you
can use UNBALANCED sources by wiring up the jacks as shown below, although you
should then keep cable lengths as short as possible. Unplug anything in the MIC
input if you want to use this socket. Set the input level using the GAIN knob.
3 Insert Point
The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing
limiters, compressors, special EQ or other signal processing units to be added in the
signal path. The Insert is a 3-pole 'A' gauge jack socket which is normally bypassed.
When a jack is inserted, the signal path is broken, just before the EQ section.
The Send may also be tapped off as an alternative pre-fade, pre-EQ direct output
if required, using a lead with tip and ring shorted together so that the signal path
is not interrupted (see below).
4 Gain
This knob sets how much of the source signal is sent to the rest of the mixer. Too
high, and the signal will distort as it overloads the channel. Too low, and the level
of any background hiss will be more noticeable and you may not be able to get
enough signal level to the output of the mixer.
Note that some sound equipment, particularly that intended for domestic use,
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operates at a lower level (-10dBV) than professional equipment and will
therefore need a higher gain setting to give the same output level.
See "Initial Setup" on page 31 to learn how to set GAIN correctly.
5 Equaliser
The Equaliser (EQ) allows fine manipulation of the sound, particularly
to improve the sound in live PA applications where the original signal
is often far from ideal and where slight boosting or cutting of particular
voice frequencies can really make a difference to clarity. There are three
sections giving the sort of control usually only found on much larger
mixers. The EQ knobs can have a dramatic effect, so use them sparingly
and listen carefully as you change any settings so that you get to know
how they affect the sound.
HF EQ
Turn to the right to boost high (treble) frequencies above 12kHz by up to
15dB, adding crispness to cymbals, vocals and electronic instruments.
Turn to the left to cut by up to 15dB, reducing hiss or excessive sibilance
which can occur with certain types of microphone. Set the knob in the
centre-detented position when not required.
MID EQ
There are two knobs which work together to form a SWEPT MID EQ. The
lower knob provides 15dB of boost and cut, just like the HF EQ knob, but
the frequency at which this occurs can be set by the upper knob over a
range of 150Hz to 3.5kHz. This allows some truly creative improvement
of the signal in live situations, because this mid band covers the range
of most vocals. Listen carefully as you use these controls together to
find how particular characteristics of a vocal signal can be enhanced or
reduced. Set the lower knob to the centre-detented position when not
required.
LF EQ
Turn to the right to boost low (bass) frequencies below 80Hz by up to
15dB, adding warmth to vocals or extra punch to synths, guitars and
drums. Turn to the left to cut low frequencies by up to 15dB for reducing
hum, stage rumble or to improve a mushy sound. Set the knob to the
centre-detented position when not required.
6 Aux 1 Send
This is used to set up a separate mix for FOLDBACK or recording, and the
combination of each Aux Send is mixed to the Aux1 Output. For recording
it is useful for the signal to fade up and down with the fader (this is called
POST-FADE), but for Foldback or Monitor feeds it is important for the send
to be independent of the fader (this is called PRE-FADE).
AUX 1 SEND is globally switchable between pre and post-fade (see master
section on page 20/21).
7 FX Send (EFX only)
This control sets the level of the post-fade signal being sent to the FX
bus; from there it is routed to the FX processor.
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