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Table of Contents
Related Manuals for SoundCraft 1601
Summary of Contents for SoundCraft 1601
- Page 2 Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual.
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Page 3: Table Of Contents
IMPORTANT SAFETY INSTRUCTIONS SAFETY SYMBOL GUIDE 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... -
Page 4: Important Safety Instructions
IMPORTANT SAFETY INSTRUCTIONS Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. - Page 5 Note: It is recommended that all maintenance and service on the product should be carried out by Soundcraft or its authorised agents. Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or repair by unauthorised personnel.
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Page 6: Safety Symbol Guide
For your own safety and to avoid invalidation of the SAFETY SYMBOL GUIDE For your own safety and to avoid invalidation of the warranty all text marked with these symbols should be read carefully. intended to alert the user to the pr intended to aler intended to aler intended to aler... - Page 7 The 1601 and 1601S are just the first of the digital innovations which UREI by Soundcraft are developing to bring the benefits of digital technology to live mixing. As the 16XX series Digital DJ Mixing System expands, other exciting new methods of processing the sound in live mixing will be added, as the DJ and the UREI mixer become one.
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Page 9: General Precautions
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. -
Page 10: Initial Wiring Considerations
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 all 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. -
Page 11: Working Safely With Sound
POINTS TO REMEMBER In all cases, use good quality twin screened audio cable. Check for instability 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. -
Page 12: Inspection And Installation
UNPACKING AND INSPECTION Your 1601S or 1601 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. -
Page 13: Connecting To A Typical Sound System
CONNECTING TO A TYPICAL SOUND SYSTEM The diagram below shows how to connect the different parts of a typical sound system. The 1601S rear panel is shown. -
Page 14: Making Adjustments And Fitting Spares
Replaceable Spares Part Numbers RS2331 - Urei 1601/S Sampler Spares Assembly RS2332 - Urei 1601/S Fader Spares Assembly RS2333 - Urei 1601/S Phono/ Line Switch Spares Assembly RS2334 - Urei 1601/S X-Fader Mon Spares Assembly RS2335 - Urei 1601/S EQ L&R Spares Assembly... -
Page 16: Description
DESCRIPTION DESCRIPTION DESCRIPTION DESCRIPTION DESCRIPTION TOP PANEL (1601S Shown) - Page 17 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 inputs: when it is released (up) it selects the pair of RCA phono sockets on the rear panel.
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Page 18: Rear Connector Panel
REAR CONNECTOR PANEL 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 SEND/RETURN RE-CONFIGURATION). -
Page 19: Front Panel
FRONT PANEL 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. -
Page 20: Operation
OPERA OPERA TION TION OPERA TION TION OPERA OPERA TION 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. -
Page 21: Level Control
LEVEL CONTROL This control sets the input level for the microphone 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 at its maximum. -
Page 22: Channels 1 & 2
CHANNELS 1 & 2 (Channel 1 of 1601S Shown) This section of the mixer features all the main controls for input channels 1 & 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 +6dB. -
Page 23: Channel Volume Faders
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 +/-15dB trim range to be applied to each channel’s signal. The optimum setting is at zero on the input LED level meter. -
Page 24: Fx Send & Return / Aux
FX SEND & 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. -
Page 25: Clip Indicator
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. -
Page 26: Master / Booth Output
MASTER / BOOTH OUTPUT This section of the mixer features controls and indications for the master and booth outputs. 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. -
Page 27: X-Fader
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%. -
Page 28: Headphone Monitor
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. - Page 29 X-F MONITOR 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.
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Page 30: The Sampler (1601S Only)
THE SAMPLER (1601S ONLY) THE CONTROLS 1 RE-WRITE This button is used to over-record any pre-recorded samples. LOOP-RE-WRITE: If recording over a loop that is currently playing, the old loop will continue to be played until the new loop has finished recording. -
Page 31: Foot Switches
5 BPM LOCK The LED flashes when searching for the BPM. When the BPM is LOCKED the LED will stay on. If the BPM loses sync the LED will flash again as it searches for the BPM. Note: in disengage mode the LOCK LED is off and the TAP/CLEAR LED stays on to indicate that disengage mode is selected. 6 REC/MUTE These two buttons are used to RECORD the loop samples. -
Page 32: Recording Loops
RECORDING LOOPS This is where you create the loop samples. There is no input level setting as the onboard AGC (Auto Gain Control) takes care of all level adjustments automatically. You can record and play back the 2 individual loops up to 32 beats long. To automatically record perfect loops, the BPM engine must be active and locked. -
Page 33: Play Mode
During the sampling process the selected A or B [REC/MUTE] button LED will flash and count the number of beats. The LED on the bank NOT recording will go out. You can select the desired length of loop from 1 though even-numbered beats up to 32 beats: to end the recording of the loop press the [REC/MUTE] again. - Page 34 To re-sample or record a loop, simply press the desired [REC/MUTE] button (A or B) once (whether it is pre-recorded or empty). If you wish then to RE-SAMPLE the other sample bank (A or B) repeat the above process. LOOP-RE-WRITE: If recording over a loop that is currently playing, the old loop will continue to be played until the new loop has finished recording.
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Page 35: Block Diagram
OCK DIA OCK DIA BL OCK DIA OCK DIA GRAM OCK DIA 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 entirely analogue device. In reality much of the mixer is implemented within the DSP. GRAM GRAM GRAM... -
Page 36: Connecting Leads
CONNECTING LEADS CONNECTING LEADS CONNECTING LEADS CONNECTING LEADS CONNECTING LEADS... - Page 37 OUBLESHOO OUBLESHOO TR OUBLESHOO OUBLESHOO TING OUBLESHOO Problem: No Power. No sound Check power supply 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.
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Page 38: Specifications
SPECIFICA SPECIFICA SPECIFICA TIONS SPECIFICA SPECIFICA DIGITAL AUDIO: Sample rate: 96kHz Conversion rate: 24 bit FREQUENCY RESPONSE: CD/Line: Phono: MIC [Line]: AUX/FX Return: SIGNAL/NOISE 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: Phono: (1kHz) MIC [Line]:... -
Page 39: Warranty
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;... - Page 40 OSSAR OSSAR Y Y Y Y Y OSSAR GL OSSAR OSSAR Amplitude: Another term used for signal level. Attenuate: Reduce the signal level. Auxiliary (Aux): An independent mix derived from the channels for various functions. This can be set pre (before) or post (after) the channel fader.
- Page 41 Earth Loop (Ground Loop): The result when the equipment sees more than one path to the system earth. Current flows because a resistive loop susceptible to radio and mains interference is formed. In severe cases this can result in audible hum or buzz in the system. Breaking the loop by removing all but one path to earth usually solves the problem.
- Page 42 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. Sub Bass: A loudspeaker designed to reproduce only very low frequency sound, typically from around 30 to 120Hz.
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