Table of Contents
Advertisement
Quick Links
Advertisement
Table of Contents
Related Manuals for SoundCraft UREI 1601E
Summary of Contents for SoundCraft UREI 1601E
- 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.
-
Page 3: Table Of Contents
IMPORTANT SAFETY 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... -
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.
-
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: Introduction
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 audio 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. -
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
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 desk with high heat producing equipment (such as power amplifiers), adequate ventilation should be provided in order to assure longest component life. -
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. -
Page 14: Making Adjustments And Fitting Spares
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... -
Page 16: Description
DESCRIPTION DESCRIPTION DESCRIPTION DESCRIPTION DESCRIPTION TOP PANEL... - 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 RCA phono socket inputs when it is released (up).
-
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 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 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.
-
Page 30: The Bpm Fx Module
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. - Page 31 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) This button selects the GATE effect. The [X] encoder controls the [DEPTH](MARK:SPACE RATIO) of the waveform. The [Y] encoder controls the cutter [SLOPE] parameters.
- Page 32 BPM FX MIX This fader adjusts the balance between the un-processed sound (original) and processed sound (effect). 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’...
-
Page 33: Quick Start
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. -
Page 34: Operation
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. - Page 35 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, the selected effect button (1-5) is pressed.
-
Page 36: Effect Controls
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. - Page 37 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 results.
-
Page 38: Single/Multi Mode Operation
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 from a selection of factory presets. - Page 39 Additional speed settings for FILTER/FLANGER/PANNER For example: FILTER: In single mode, press & 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 & 16 bar settings. Default settings ‘4 bars’...
-
Page 40: The Effects
THE EFFECTS THE FILTER This effect recreates (for many dance music producers and remixers) the most essential part of a classic analogue synthesizer, the 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. - Page 41 SUB-MENU A special sub-menu for the filter 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 [FILTER] effect button, then press the Isolator buttons to select [Tri], [Rise] or [Fall].
- Page 42 The fidelity and number of repeats can be set to determine how much this affects the original signal. The delayed 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'.
- Page 43 THE PAN This part of 1601E is quite revolutionary. There have of course been auto-panning devices before, 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.
- Page 44 THE CUTTER 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 closes completely to cut off the signal.
- Page 45 (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.
-
Page 46: Pre-Set Voice List
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. -
Page 47: Block Diagram
BL OCK DIA OCK DIA GRAM OCK DIA OCK DIA 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 48: Connecting Leads
CONNECTING LEADS CONNECTING LEADS CONNECTING LEADS CONNECTING LEADS CONNECTING LEADS... - Page 49 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.
-
Page 50: Specifications
SPECIFICA SPECIFICA SPECIFICA TIONS SPECIFICA SPECIFICA DIGITAL AUDIO: Sample rate: Resolution: 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 51: 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 52 OSSAR OSSAR Y Y Y Y Y OSSAR GL OSSAR OSSAR Amplitude: Another term used for signal level. Attenuate: Reduce the signal level. Attenuator: A device which reduces 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 53 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 54 Polarity: 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.