Table of Contents
Advertisement
Advertisement
Table of Contents
Related Manuals for SoundCraft MFX
Summary of Contents for SoundCraft MFX
-
Page 1: User Guide
USER GUIDE... - 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
Lexicon® FX PROCESSOR OVERVIEW FX OPERATION FX PROCESSOR CONTROLS REVERBS REVERB CONTROLS DELAYS DELAY CONTROLS MODULATED EFFECTS FACTORY RESET EFFECTS DATA CHART USING YOUR MFX CONSOLE MARK-UP SHEETS FITTING OPTIONAL RACK-MOUNT BRACKETS DIMENSIONS APPLICATIONS TYPICAL CONNECTING LEADS MFX TYPICAL SPECIFICATIONS WARRANTY GLOSSARY Contents... -
Page 4: Important Safety Instructions
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 5 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.
-
Page 6: Safety Symbol Guide
For your own safety and to avoid invalidation of the warranty please read this section carefully. SAFETY SYMBOL GUIDE For your own safety and to avoid invalidation of the warranty all text marked with these symbols should be read carefully. WARNINGS The lightning flash with arrowhead symbol, is intended to alert the user to the presence of un-insulated “dangerous... -
Page 7: Introduction
Built to the highest standards using quality components and surface mount tech- nology, the MFX is designed to be as easy to use as possible. We have spent years researching the most efficient methods of control for two key reasons: 1) Engineers, musicians, writers and programmers all need to have very few inter- ruptions to the creative process;... -
Page 8: The 60-Second Guide
THE 60-SECOND GUIDE To get you working as fast as possible, this manual begins with a 60-second guide. Here you can find quick information on any feature of the console. 1 MIC INPUT (XLR) 2 LINE INPUT (¼” Jack) 3 INSERT POINT (¼” Jack) 4 GAIN CONTROL 5 PEAK LED 6 HPF... - Page 9 12 PFL 13 MIX/SUB SWITCH 14 SP LED 15 INPUT CHANNEL FADER 16 MIX OUTPUTS (XLR) & MONO OUT (¼” Jack) Connect these to your analogue recording device, or to your 17 SUB-GROUP OUTPUTS (¼” Jack) These outputs can be connected to a separate amplifier system or to an external 18 SUB-GROUP ROUTING 19 MASTER FADERS 20 MAIN METERS...
-
Page 10: Wiring Up
WIRING UP Mic Input The MIC input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED low-level signals, whether from deli- cate vocals requiring the best low-noise performance, or drum kits needing maximum headroom. Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. - Page 11 A ‘Y’ lead may be required to connect to equipment with separate send and return jacks as shown below: Stereo Inputs STEREO 1/2 These accept 3-pole 6.35mm (1/4") jacks, or 2-pole mono jacks which will automatically ground the ‘cold’ input. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or as returns from processing units.
- Page 12 Polarity (Phase) You will probably be familiar with the concept of polarity in electrical signals and this is of particular importance to balanced audio signals. Just as a balanced signal is highly effective at cancelling out unwanted interference, so two microphones picking up the same signal can cancel out, or cause serious degradation of the signal if one of the cables has the +ve and -ve wires reversed.
- Page 13 Customers outside the UK are requested to contact their territorial distributor who is able to offer support in the local time zone and language. Please see the distributor listings on our website (www.soundcraft.com) to locate your local distributor. OUT-OF-WARRANTY PRODUCTS For out-of-warranty consoles purchased in the United Kingdom, please contact the Customer Services Department (e-mail: csd@soundcraft.com) at the factory in Pot-...
-
Page 14: Block Diagram
BLOCK DIAGRAM... -
Page 15: Mono Input Channels
MONO INPUT CHANNELS 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. - Page 16 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). 5 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.
- Page 17 POST-FADE), but for Foldback or Monitor feeds it is important for the send to be independent of the fader (this is called PRE-FADE). AUX SENDS 1 and 2 are both globally switchable between pre and post-fade (see master section on page 20). 8 FX SEND This control sets the level of the post-fade signal being sent to the FX bus;...
-
Page 18: Stereo Input Channels
STEREO INPUT CHANNELS 1 INPUTS STEREO 1/2 These inputs accept 3-pole 6.35mm (1/4") jacks. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or processing units. The inputs are BALANCED for low noise and top quality from professional equipment, but you can use UNBALANCED sources by wiring up the jacks as shown in the ‘Wiring Up’... - Page 19 7 MUTE All outputs from the channel are enabled when the MUTE switch is released and muted when the switch is down. The MUTE switch’s inbuilt LED glows when the chan- nel is muted. 8 FADER The 60mm FADER gives you smooth control of the overall signal level in the channel strip, allowing precise balancing of the various source signals being mixed to the Master Section.
-
Page 20: Master Section
MASTER SECTION... - Page 21 1 POWER INDICATOR This LED lights to show when power is connected to the console. 2 PHANTOM POWER Many professional condenser mics need PHANTOM POWER, which is a method of sending a powering voltage down the same wires as the mic signal. Press the switch to enable the +48V power to all of the MIC inputs.
- Page 22 12 HEADPHONES SOCKET The PHONES output is a 3-pole 6.35mm (1/4") jack, wired as a stereo output, ideally for headphones of 150Ω or greater. 8Ω headphones are not recommended. 13 METERS & AFL/PFL ACTIVE LED The three-colour peak reading BARGRAPH METERS normally show the level of the signal(s) selected by the monitor source-select switches, giving you a constant warning of excessive peaks in the signal(s) which might cause overloading.
- Page 23 22 AUX MASTERS These controls set the output levels of the two Aux Outputs. 23 AFL These After Fade Listen switches route their respective aux output signal to the monitor/headphones out- puts. 24 PRE/POST SWITCHES These two switches globally switch the AUX 1 and AUX 2 feeds, respectively, on all the input modules to be either pre-fade or post-fade.
-
Page 24: Lexicon® Fx Processor Overview
Lexicon® FX PROCESSOR OVERVIEW The effects within the console have been designed with both live sound reinforcement and home recording in mind. Featuring the deep, rich reverb algorithms that Lexicon® are renowned for the effects processor offers increased versatility and high quality effects, all instantly accessible via the extremely intuitive front panel controls. -
Page 25: Fx Processor Controls
FX PROCESSOR CONTROLS 1. Tempo Button - Tapping this button twice sets the Delay Time of the selected program. The LED flashes to indicate current tempo. Can be tapped in time with music source to synchronise the delay. 2. Store Button - Stores program modifications to one of the program locations. Press and hold for three seconds will store the preset in the current location. -
Page 26: Reverbs
REVERBS Reverberation (or “reverb” for short) is the complex effect created by the way we perceive sound in an enclosed space. When sound waves encounter an object or boundary, they don’t just stop. Some of the sound is absorbed by the object, but most of the sound is reflected or is diffused. In an enclosed space, reverb is dependent on many features of that space, including the size, shape and the type of materials that line the walls. -
Page 27: Reverb Controls
Reverse Reverb Reverse reverb works in the opposite fashion from normal reverb. Whereas a normal reverb has the loudest series of reflections heard first that then become quieter over time, the Reverse reverb has the softest reflections (essentially the tail of the reverb) heard first, and then grows louder over time until they abruptly cut off. -
Page 28: Delays
Shape This control helps give a sense of both room shape and room size. Low values for Shape keep the majority of sound energy in the early part of the reverb tail. High values move the energy to later in the reverb, and are helpful in creating the sense of a strong rear wall or “backslap. -
Page 29: Modulated Effects
increase the time between repeats. Range 0-72. See the Effects Data Chart for exact note values. Feedback Controls the number of delay repeats by feeding the delay output signal back into the delay input. This creates a series of delay repeats, each slightly attenuated until they become inaudible. Higher settings create more repeats;... - Page 30 Knob 3: Voices Controls the number of additional Chorus voices. Up to 8 voices can be added, continuously variable in 100 individual steps. Flanger This effect was originally created by simultaneously recording and playing back two identical programs on two tape recorders, then using hand pressure against the flange of the tape reels to slow down first one machine, then the other.
-
Page 31: Factory Reset
speaker. Knob 3: Stereo Spread Increases or decreases the stereo imaging of the Rotary effect. Vibrato Vibrato is obtained by smoothly varying the pitch of the signal just sharp and flat of the original at a determined rate. Vibrato Stereo (Wet only) Rotary Mono (Wet only) Tremolo/Pan Stereo (Wet only) Knob 1: Speed Controls the modulation rate of Vibrato. -
Page 32: Effects Data Chart
EFFECTS DATA CHART... -
Page 33: Using Your Mfx Console
USING YOUR MFX CONSOLE The final output from your sound system can only ever be as good as the weakest link in the chain, and especially important is the quality of the source signal because this is the starting point of the chain. Just as you... - Page 34 • • Note: The initial settings should only be regarded as a starting point for your mix. It is important to remember that many factors affect the sound during a live perform- ance, for instance the size of the audience! You are now ready to start building the mix and this should be done progressively, listening carefully for each component in the mix and watching the meters for any hint of overload.
-
Page 35: Mark-Up Sheets
MARK-UP SHEETS You may freely copy this page, and use it to record the settings used for particular applications/gigs. -
Page 36: Fitting Optional Rack-Mount Brackets
FITTING OPTIONAL RACK-MOUNT BRACKETS (MFX12/2 & MFX8/2) The rack-mount kit part numbers are: for MFX12/2 = RW5753, for MFX8/2 = RW5765 (note that this kit includes an extender plate to pad the console out to fit a 19” rack). -
Page 37: Dimensions
DIMENSIONS... -
Page 38: Applications
APPLICATIONS APPLICATION 1 - LIVE SOUND REINFORCEMENT... - Page 39 APPLICATION 2 - MULTISPEAKER APPLICATIONS This configuration demonstrates how multiple speaker configurations can be driven by the EPM.
- Page 40 APPLICATION 3 - PLACES OF WORSHIP This configuration uses the Aux 2 output to drive an induction loop for the hard of hearing. Aux 1 output is used to generate foldback monitoring for the speaker/singer. The main outputs are used to drive the main speaker system.
- Page 41 APPLICATION 4 - RECORDING The insert points on channels 1-8 may be used to feed a multitrack recorder as shown (link the send and return signals). The Mix outputs are used for a preliminary stereo mix on a DAT recorder.
-
Page 42: Typical Connecting Leads
TYPICAL CONNECTING LEADS... -
Page 44: Mfx Typical Specifications
Mix Output ...+20dBu max Headphones (@150Ω) ...300mW Input & Output Impedances Mic Input ...2kΩ Line Input ...10kΩ Stereo Input ...65kΩ (stereo), 35kΩ (mono) Outputs ...150kΩ (balanced), 75kΩ (unbalanced) E & OE. Soundcraft reserves the right to change specifications without notice. -
Page 45: Warranty
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. -
Page 46: Glossary
GLOSSARY After-fade listen: a function that allows the operator to monitor the post-fade signal in a channel independently of the main mix. Auxiliary send An output from the console comprising a mix of signals from channels derived inde- pendently of the main stereo mix. Balance The relative levels of the left and right channels of a stereo signal. - Page 47 Pre-fade The point in the signal path before a fader, and therefore unaffected by the fader position. Rolloff A fall in gain at the extremes of the frequency response. Shelving An equaliser response affecting all frequencies above or below the break frequency i.e.