Page 1 Soundcraft Vi4™/Vi6™ User Guide ® Soundcraft Vi4™/Vi6™ User Guide...
Page 2 * Consult the dealer or an experienced radio/TV technician for help For further details contact Harman International Industries Ltd, Cranborne House, Cranborne Road, Potters Bar, Hertfordshire EN6 3JN, UK Telephone +44(0) 1707 665000 Fax +44 (0)1707 660742 email: soundcraft@harman.com © Harman International Industries Ltd. 2020. All rights reserved Parts of the design of this product may be protected by worldwide patents.
Page 3: Table Of Contents
GENERAL RULES ......................03 -1 CONVENTIONS USED IN THIS MANUAL ................03 -1 SCREENS ........................03 -1 Input Screens ........................... 03 -1 Screen Colour Codes......................... 03 -2 VISTONICS II™ KNOBS ..................... 03 -3 AUDIO FUNCTION STATES ....................03 -3 Soundcraft Vi4™/Vi6™ User Guide...
Page 4 MKUP ............................04 -13 BUS ..........................04 -14 General ............................04 -14 AUX (Mono) ........................... 04 -14 AUX (Stereo) ..........................04 -14 GRP (Mono) ........................... 04 -14 GRP (Stereo) ..........................04 -14 Empty ............................04 -14 Soundcraft Vi4™/Vi6™ User Guide...
Page 5 Changing Encoder Function ....................... 07 -4 MASTER BAY PANEL ENCODERS ..................07 -5 MASTER BAY VST ENCODERS .................... 07 -5 Master Vistonics Switch Functions Panel ................... 07 -6 LAYERING (STRIP ASSIGNMENT) 08 -1 GENERAL ........................08 -1 INPUTS ........................... 08 -1 Soundcraft Vi4™/Vi6™ User Guide...
Page 6 ON ..............................11 -3 Monitor Volume ..........................11 -3 Monitor B ............................11 -3 MONITOR SETUP PAGE ..................... 11 -4 SOLO Section ........................... 11 -4 MNTR A Section ..........................11 -5 MNTR B and HP Sections ........................11 -6 Soundcraft Vi4™/Vi6™ User Guide...
Page 7 POINT .............................. 14 -9 DEACTIVATE FADER TOUCH ........................ 14 -9 SYSTEM MONITORING....................14 -10 Overview ............................14 -10 DESK ............................. 14 -11 LOCAL IO ............................14 -12 STAGE BOX ............................. 14 -13 HiQNET ............................14 -14 Soundcraft Vi4™/Vi6™ User Guide...
Page 8 EXAMPLE: COPYING A WHOLE CHANNEL, INCLUDING THE ‘IN1 PATCH’ PARAMETER... 18 - 4 COPYING FX PARAMETERS ....................18 - 5 LIBRARIES ........................18 - 7 NAVIGATING AND MANAGING LIBRARIES ................. 18 - 9 COPY TO LIBRARY ......................18 - 11 PASTE FROM LIBRARY ....................18 - 12 viii Soundcraft Vi4™/Vi6™ User Guide...
Page 9 EXPORTING AND IMPORTING LIBRARIES ............... 18 - 13 SOUNDCRAFT Vi4™/Vi6™ FEATURES AND SPECIFICATIONS 19 -1 AUDIO CHANNELS......................19 -1 Max number of simultaneous mixing channels ..................19 -1 Insert points............................. 19 -1 Direct Outputs ..........................19 -1 Busses ............................. 19 -1 I/O CAPABILITY .......................
Page 10 SDI I/O CARD ......................23 - 32 DOLBY® E/DIGITAL DECODER CARD................23 - 34 BLOCK DIAGRAM 24-1 Soundcraft Vi4 Block Diagram ..................24 - 1 Soundcraft Vi6 Block Diagram ..................24 - 2 25-1 Concepts ........................ 25 - 1 Identifying the HiQnet Network connector on Vi consoles ..........25 - 4 Detailed Console Operation of VM2 ................
Page 11: Introduction
INTRODUCTION SAFETY NOTICES 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 voltage”...
Page 12: Important Safety Warnings
IMPORTANT SAFETY WARNINGS THIS UNIT MUST BE EARTHED Under no circumstances should the mains earth be disconnected from the mains lead. The wires in the mains lead are coloured in accordance with the following code: Earth: Green and Yellow (Green/Yellow - US) Neutral: Blue (White - US) Live: Brown (Black - US)
Page 13: Warnings
WARNINGS • Read these instructions. • Keep these instructions. • Heed all warnings. • Follow all instructions. • Clean the apparatus only with a dry cloth. • Do not install near any heat sources such as radiators, heat resistors, stoves, or other apparatus (includ- ing amplifiers) that produce heat.
Page 14: Working Safely With Sound
Recommended headphone impedance is 50-600 ohms. WARRANTY 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.
Page 15: Audio Channels
Soundcraft Vi6 : 96 mono inputs into 35 mix busses. (3 DSP cards fitted) Soundcraft Vi4 : 96 mono inputs into 35 mix busses. (3 DSP cards fitted) : 64 mono inputs into 35 mix busses (2 DSP cards fitted) Soundcraft Vi2 : 96 mono inputs into 35 mix busses.
Page 16: Miscellaneous
Miscellaneous Connection from local rack to stagebox Standard fit: Cat 5e Neutrik Etherflex cable ZNK CT2672601. Optional: Fibre Optical interface card with 150 or 200m cable (additional cost). Max distance, local rack to stagebox: 80m using flexible reel-mounted Cat5 cable (Neutrik Etherflex only, part number ZNK CT2672601) 130m using Cat7 permanent installation cable (Amp Netconnect 600MHz PiMF, part no.
Page 17: Control Surface
Soundcraft Vi6: 32 input faders, switchable in 3 fixed layers to access 96 inputs (3 DSP cards fitted). Soundcraft Vi4: 24 input faders, switchable in 2 fixed layers to access 64 inputs (2 DSP cards fitted). : 24 input faders, switchable in 3 fixed layers and meter screens to access 96 inputs (3 DSP cards fitted).
Page 18: Console Overview
CONSOLE OVERVIEW Bays The desk is based on 1, 3 or 4 bays and 1 MASTER bay: Soundcraft Vi2: Soundcraft Vi4: Soundcraft Vi6: * 1 Input Bay * 3 INPUT bays * 4 INPUT bays Figure 1-1. Console Bays. * Each Input bay contains 8 complete Fader strips with full state overview, giving in total 32 directly ac- cessible Input Strips.
Page 19: Layers
Layers Figure 1-2. Layer Controls. The console is able to control up to 96 inputs and 35 mix busses via its 32 input strips (24 on Vi4, 8 on Vi2), 8 bus master strips and the LCR masters. To do this the console has a number of layers which the user accesses via the layer controls shown above.
Page 20: Encoders
Encoders Figure 1-3. Encoders. * The Vistonics™II row 1 and 2 encoders, including switches, are used in different modes, in which they can change in order to show various functions in a context-sensitive way. * In normal operation they act as Input channel related controls. * The Channel encoders are assigned with Input channel related functions.
Page 21: Master Audio Functions
Master Audio Functions Figure 1-4. Master Audio Functions. * The Monitoring system contains the functionality to listen to and monitor the audio signal at several points in the console. * TB/OSC system contains the Talkback functionality and the oscillator settings. * The Meter panel provides a full overview of all Input and Output levels.
Page 22: Master Control
Master Control Figure 1-5. Master Control. * VCA/Mute Groups: this functional block contains the VCA (control groups in VCA style) and Mute Group functions. * Snapshot allows the console’s automated settings to be saved and recalled. * Menu opens the Menu page where central configurations can be done. * Copy / paste functionality can be used in different modes and speeds up repetative tasks..
Page 23: System Components
SYSTEM COMPONENTS Soundcraft Vi Series™ User Guide 1112 Page 2 - 1...
Page 24: System Hardware Overview
SYSTEM HARDWARE OVERVIEW Stage Box 6U Stage Box 2U Fan Unit Local Rack 6U Local Rack 3U Fan/Filter Unit 4U Breakout Box Figure 2-1. The System’s Three Component Parts. Page 2 - 2 Soundcraft Vi Series™ User Guide 1112...
Page 25: Note On Installation Of The Cooling Fans/Filters
NOTE ON INSTALLATION OF THE COOLING FANS/FILTERS The Stage Box and Local Rack may be ordered already fitted into flight cases, in which case the cooling fans/filters will already be located correctly as shown in the diagrams below. If the system has been ordered without flightcases, in order that it can be permanently installed, please ensure that the cooling fans/filters are located as shown below.
Page 26: The Console Rear Connectors
THE CONSOLE REAR CONNECTORS Mains Power Supply Inlet The mains input is via an IEC connector, with an associated switch, as shown below. This feeds power to the primary PSU. Figure 2-3a: Main Primary Supply Inlet. An optional redundant primary supply may also be fitted. Its inlet connector is as shown below. Figure 2-3b: Redundant Primary Supply Inlet.
Page 27 Figure 2-4: Console Rearcon Panel. Soundcraft Vi Series™ User Guide 1112 Page 2 - 5...
Page 28: Local Rack
LOCAL RACK Local Rack Description The Local Rack is the audio ‘brain’ of the Soundcraft Vi Series™, it contains the DSP mixing processor and the local I/O connections. The rack consists of a 6U processing and I/O unit, developed by Studer, called the SCore. Below this is a 3U low-noise cooling fan unit.
Page 29: Local Rack Rear
Note that there is a RECONFIG button behind a small hole at the bottom right of the panel. When pressed with a small screwdriver or similar a reset is applied to the lower row of cards in the local rack: this will force a re-polling of the loaded cards to reconfigure the console.
Page 30 Local Rack Rear View The rear view is shown below. Note that the last remaining connector from the console surface (the RJ45 ethernet connector) goes into the top socket on the bridge card. Figure 2-6: Local Rack Rear View. Page 2 - 8 Soundcraft Vi Series™...
Page 31 Local Rack Audio Pinouts Soundcraft Vi Series™ User Guide 1112 Page 2 - 9...
Page 32: Card Function Overview
Card Function Overview The local rack card frame contains the following components. (Top Row) GPIO Card with Relay Contacts Provides a second, independent set of GPIO, which will be controlled by the GPIO page of the Control Sur- face. The inputs are opto-isolated and the outputs are SPST relay contacts. For a pin-out list see chapter Bridge Card Provides the connection from the Local Rack to the Control Surface.
Page 33 Breakout Box The breakout box provides connections for 16 line inputs, 16 line outputs, 16 AES/EBU input channels, 16 AES/EBU output channels, 5 local monitor outputs, a talkback output, 3 mic inputs, and 3 connectors for the link cable to the control surface. Figure 2-7: XLR Breakout Box.
Page 34 Cat 5 Breakout Panel Note that this panel was not fitted to early models. Figure 2-8: Cat 5 Breakout Panel. Page 2 - 12 Soundcraft Vi Series™ User Guide 1112...
Page 35: Stage Box
STAGE BOX The Stage Box contains 12 Slots for 6U-high Audio I/O Cards, a GPIO/LED Card and the MADI HD Card which contains the Stage Box-to-Local Rack connection. Slots are labelled from left to right A-L, and the connectors on the cards are numbered from top to bottom 1-8.
Page 36: Redundant Madi Cable Operation
MADI HD link card This card provides audio and control connection with the Local Rack via MADI. The corresponding MADI card in the Local Rack transmits the clock for the Stagebox down the MADI stream. The second input on the card can be used to increase the sample rate to 96KHz, provide a redundant connection to the Local rack or to connect to a second system if two consoles are to be used for a monitor/FOH configuration.
Page 37: Front Panel
Front Panel Figure 2-9: Stage Box Front Panel. Soundcraft Vi Series™ User Guide 1112 Page 2 - 15...
Page 38: Connecting The Parts Of The System (With Cat 5 Breakout Panel Fitted)
CONNECTING THE PARTS OF THE SYSTEM Figure 2-10a: System Interconnections. Page 2 - 16 Soundcraft Vi Series™ User Guide 1112...
Page 39 NOTE: Ensure fan units on Local Rack and Stagebox are connected and operational. CLEAN FILTERS REGULARLY! Figure 2-10b: System Interconnections. Soundcraft Vi Series™ User Guide 1112 Page 2 - 17...
Page 40 Page 2 - 18 Soundcraft Vi Series™ User Guide 1112...
Page 41: Operation Overview
OPERATION OVERVIEW CONVENTIONS USED IN THIS MANUAL Three types of brackets are used to indicate the type of control being refered to. [ ] is used to indicate a panel-mounted key or encoder. { } is used to indicate a Vistonics™ (VST) key or encoder. <...
Page 42: Screen Colour Codes
Screen Colour Codes The following table shows the colours used in their corresponding context: Function Colour Audio Processing Input Functions Blue Equaliser Filter Dark Blue Gate,Comp,Lim,De-ess Green Pan, Dir Out, Insert Yellow Oscillator Gold Monitoring Lilac Busses Orange Audio Group Green Matrix Cyan...
Page 43: Vistonics Ii™ Knobs
VISTONICS II™ KNOBS If a function is assigned to the button, the state is indicated like this: Figure 3-2a: VST Button Status Indication. If the button can open a configuration page in the Touch area it looks like this: Figure 3-2b: VST Buttons Which Can Open A Configuration Page. AUDIO FUNCTION STATES If an audio function block is disabled, with the background of the field changed to grey, the button indica- tion will change to a darker colour.
Page 44: Solo/Sel Keys
SOLO/SEL KEYS The [SOLO/SEL] keys operate in two modes. The default function is to enable the SOLO path from its channel or bus to the monitoring system. However, if a touch-area page is open, pressing a [SOLO/SEL] from another channel (within its own bay of eight channels) moves the touch-area page to this new channel.
Page 45: Channel Labels
Channel Labels By default the channels are labelled CH-1 to CH-96. Soundcraft Vi Series™ uses long labels for the Screens and short labels for the LCDs. Long labels can contain up to 10 characters, whereas short labels are restricted to 6 characters. Figure 3-4: The Channel Label Page.
Page 46: Bus Configuration
BUS CONFIGURATION The most important configuration of the Soundcraft Vi Series™ is the bus configuration, and this is done using the [ALL BUSSES] view on the four input bays. Figure 3-5: The Input Screen If [ALL BUSSES] Layer Is Active. The TYPE field can be set to one of three values: AUX, GRP or MTX, the encoder is used to change the Bus Type.
Page 47: Gang
GANG General Gang is a very helpful feature to speed up operations that influence functions on multiple input channels, or on output busses, in the same way. For example, if Input Channels are ganged, then a parameter change of a function will be applied to all other ganged channels in an offset manner.
Page 48 Page 3 - 8 Soundcraft Vi Series™ User Guide 1112...
Page 49: Input
INPUT SIGNAL FLOW Figure 4-1: The Signal Flow In An Input Channel. Only one of the two insert points can be used per channel at any time. Soundcraft Vi Series™ User Guide 1112 Page 4 - 1...
Page 50: Input Channel Strip
INPUT CHANNEL STRIP Figure 4-2. Input Channel Strip. The Level Meter reads from -36dB to +18db, The GRM (Gain Reduction Meter) reads from -1 to -20dB. Page 4 - 2 Soundcraft Vi Series™ User Guide 1112...
Page 51: Input Channel Touch Fields
INPUT CHANNEL TOUCH FIELDS Figure 4-3. Change A Parameter Of An Input Channel * Press the desired touch field, the corresponding VST area will open, * change the parameter. * Press the touch field again to go back the default VST view OR * Press another touch field.
Page 52: Input
INPUT Figure 4-5: The Input Page. INPUT field Select source IN1 or IN2. If OSC is active, the central oscillator is patched to this channel and the selector is disabled. Pressing the {IN1 PATCH} or {IN2 PATCH} VST config key opens the Input Patch Configuration page.
Page 53: Gain Field
GAIN field {encoder} adjusts the analogue input gain in the range from +15 dB to +70 dB. {PAD} reduces the input sensitivity by 20 dB. TRIM field Encoder adjusts the digital Input Gain in the range +18/-36 dB {LO CUT} inserts the pre AD converter analogue low cut filter (only analogue inputs). LO CUT field Encoder adjusts the Low cut frequency in the range 20 to 600 Hz.
Page 54 DLY & DLY FIN field Encoder changes the input delay in milliseconds, metres, or feet & inches. These units are set in the SETTINGS Menu and are saved in the show file. The DLY control allows coarse control from 0.. 100 mS; 0..34mts; 0..112 feet The DLY FIN control allows fine adjustment in 0.02ms/.02 mtrs/0.1”...
Page 55: Stereo Configuration
STEREO CONFIGURATION Pairing of input channels Figure 4-7: The Pairing Page. The available channels on the two fixed Layers A (upper row) and B (lower row) are displayed on the touch screen. Pairing candidates are the unused left and right neighbours and the vertical neighbour in the same Bay. Existing Pairings will be shown greyed out.
Page 56: Stereo Busses
Stereo Busses Busses can be configured to work as a Stereo Bus. In this case the Bus Master is represented in one Strip on the surface. The advantage is that more masters can be directly accessed (rather than tying up two Output controls).
Page 57: Equaliser
EQUALISER Figure 4-8: The Equaliser Page. General The Equaliser contains 4 full parametric Bands. All four parametric Equaliser Bands operates over the full frequency range. The characteristics of the LF and HF bands can also be set to SHELF mode. The red Equaliser Graph in the Equaliser touch field represents the overall frequency curve.
Page 58: Equaliser Band Highlight
Equaliser Band Highlight If you touch one or more parameter encoders, the corresponding Equaliser band(s) will be indicated by the red overall graph being overwritten with a white graph that represents only the touched band(s). This is useful for identifying which part of a curve is associated with which EQ bands. The representation will return to the default when you leave the page.
Page 59: Shelf Switch
IN Switch The channel Encoder adjusts the Q (Width) in the range 0.7 .. 15, or bandwidth from 0.2 to 4 octaves. Q may only be adjused in BELL Mode. Changing the unit controls (ms/ft etc) does not affect any current value and therefore will not affect audio. {IN} enables this Equaliser band.
Page 60: Dynamics
DYNAMICS Figure 4-10: The Dynamic Page In GATE Mode. General The Dynamics section contains a GATE with key filter a Compressor and a Limiter. Alternatively the Gate can be set to operate in De-esser mode. GATE Function The Gate contains a side-chain input with filters, a Key listen SOLO and it can also operate in ducking mode.
Page 61 THRS Field Encoder adjusts the threshold value between -40 db to +18db. {IN} enables the GATE. ATCK field Encoder adjusts the attack time in the range 10µS to 957mS. {DUCK] sets the GATE to inverse mode (ducking mode). (Was {INV} in software prior to V4.7). Engaging this button inverts the gain control function of the Gate and allows an external sidechain signal to be used to reduce the level of the main channel signal, by the amount set using the RNG control, and with the time constants set with the ATK, HOLD and REL controls.
Page 62: De-Ess Function
DE-ESS Function A de-esser is normally used to reduce the sibilance (“s” components) in a singer’s voice. Soundcraft Vi Series™ includes a real de-esser function that works as a dynamically controlled filter. The filter can be set using the FREQ and Q encoders. If the de-esser is active, the signal level will be reduced only in the band set by the filters, when the signal in this band exceeds the required threshold.
Page 63: Compressor Function
COMPRESSOR Function THRS Field Encoder adjusts the threshold value between -40 db to +18dB. {IN} enables the COMPRESSOR. ATCK Field Encoder adjusts the attack time in the range 0.5mS to 98.6mS. REL field Encoder adjusts the release time in the range 5.5mS to 5S. Ratio field Encoder adjusts the ratio in the range 1:1 to 20:1.
Page 64: Bus
Figure 4-12: The Bus Page. General The first Bus page contains the controls for busses 1-16, while the second page contains the controls for busses 17-32. What these fields look like depends on the Bus configuration. AUX (Mono) Encoder adjusts the send level to this BUS. Pre indicates the PRE/post state. {ON} enables the send. AUX (Stereo) Left Encoder adjusts the send level to both busses, while the right encoder adjusts the pan to these bus- ses.
Page 65: Panning
PANNING Figure 4-13: The Panning Page In LR Mode. General This page contains the output functions of the input channel. This contains the panning, the routing to the masters, the insert point and the direct out function. The Pan can work in LR or in LCR mode. In LCR mode an additional width function is available.
Page 66: Pan Function Lcr Mode
PAN Function LCR Mode If the Pan MODE is set to LCR an additional WIDTH field is displayed. (If the channel is paired, it is not possible to set the PAN mode to LCR.) Figure 4-14: The Panning Section In LCR Mode. PAN Field Displays the pan setting.
Page 67: Audio Format
AUDIO FORMAT General The Soundcraft Vi Series™ can handle three types of audio format: * MONO * STEREO * LCR Input Channels Soundcraft Vi Series contains up to 96 MONO Input channels. A STEREO Input can be built by horizontally or vertically pairing two input channels in the same bay.
Page 68: Pan/Bal
PAN/BAL The following table shows the destination level in relation to the PAN/BAL settings MODE Left position Middle position Right position Left Right Left Right Left Right PAN OFF - 3 dB - 3 dB - 3 dB - 3 dB - 3 dB - 3 dB - ∝...
Page 69: Insert Function
INSERT Function Refer to Figure 4-13. INSERT Field Displays the label of the selected insert from the pool. {Its VST config button}opens the Insert Pool select page. Refer to page 10-6 for details about setting-up the Insert Pool. POINT Field Displays the actual point where the Insert is placed in the channel.
Page 70: Accessing Channels
Soundcraft Vi6: Access 96 inputs using the 3 fixed (or user) layers, each accessing 32 channels. Soundcraft Vi4: You can now access inputs 1-24, 33-56 and 65-88 using the 3 fixed layers. Method 1: Use the Input Meter display on the touchscreen in the Control Bay to select the additional channels in groups of 8, and assign them temporarily to the right-hand 8 input faders.
Page 71 Soundcraft Vi2: Method 1: Press the Input Fader Page buttons D on the left of the fader panel. This gives 6 pages of faders, the first 3 (A,B,C) are fixed as Channels 1-9, 9-16 and 17-24 respectively, whilst the second 3 (USER 1, USER 2, USER 3) default to Channels 25-32, 33-40, 41-48 but can be customised with the associated Fader Page Setup button.
Page 72 Page 4 - 24 Soundcraft Vi Series™ User Guide 1112...
Page 73: Outputs
Output OUTPUTS Signal Flow SIGNAL FLOW The picture shows the signal flow in an LRC Master or an MIX Master Figure 5-1: The Signal Flow In An LRC Master Or A BUS Master. Only one of the three possible insert points can be used per master at any time. Only one of the 32 MIX BUS and three masters is shown in the drawing.
Page 74: General
GENERAL The LR and C Masters are always operated with their dedicated master fader strips in the master bay. The parameters of these busses are controlled via the Master Processing Page (see Figure 5-2). The Soundcraft Vi Series™ allows three different ways to access, control the level of , and change the parameters of, the other 32 output busses.
Page 75: L,R & C Master Processing
L,R & C Master Processing Figure 5-2A: Master Screen Displaying The Master Busses Processing Page. This page is accessed by pressing the [SEL] key which is located below the L, R & C master faders. The Master processing fields are shown in the Meter Area of the Master Screen. In order to change the parameters for EQ, Dynamics or Pan, the appropriate area on the touch-screen must be pressed;...
Page 76: Master Eq Linking (V2.0 Software And Above)
MASTER EQ LINKING (V2.0 Software and above) Figure 5-2B : Master Screen Displaying The Master Busses Processing Page with EQ Linking. The LRC Master busses can have their Parametric and/or Graphic Equaliser sections linked for easier adjustment. Left and Right busses can be linked, or the Centre bus can be added to the linked L&R so that all three busses can be adjusted together.
Page 77: Master Bay Output Strips
MASTER BAY OUTPUT STRIPS The first way of controlling and changing the parameters of the 32 output busses described earlier is as follows. processing Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 [Function] [Isolate] Level Meter &...
Page 78: Bus Master Processing
Bus Master Processing Figure 5-4: Master Screen Displaying Bus Processing Page. The Bus Master processing is shown in the Input Meter Area of the Master Screen. In order to change the parameters for EQ, Dynamics or Pan, the appropriate area on the touch-screen must be pressed; doing so will open a page whose VST area is similar to the lower half of Figures 5-9, 5-10 or 5-11.
Page 79: Input Bay Strip Using [All Busses]
INPUT BAY STRIP USING [ALL BUSSES] The second method of controlling, and changing the parameters of, the 32 output busses described earlier is as follows. If the [ALL BUSSES] key is active (see Figure 8-6), the input strips on all of the input bays will be switched to control the 32 output busses.
Page 80: Master Bay Vistonics™ Encoders & Keys
MASTER BAY VISTONICS™ ENCODERS & KEYS The third way of controlling, and changing the parameters of, the 32 output busses described earlier is as follows. processing Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 Figure 5-6.
Page 81: Changing Output Bus Parameters
CHANGING OUTPUT BUS PARAMETERS The following pages shows bus master processing using the Input strip (All Busses layer) mode as an example. Parameter changing is done in the same way if either of the other two ways of accessing bus masters is used.
Page 82: Equaliser
EQUALISER Figure 5-9. Equaliser Controls. The controls are identical to those of the input channels’ EQ. The VST encoders and keys allow the 4-band parametric EQ to be adjusted and switched in or out of circuit. Page 5 - 10 Soundcraft Vi Series™...
Page 83: Dynamic
DYNAMIC Figure 5-10. Dynamics Controls. The controls are identical to those of the input channels, except there are no Gate or De-Esser modes available for output busses. Soundcraft Vi Series™ User Guide 1112 Page 5 - 11...
Page 84: Pan
Figure 5-11. Pan. The controls for the PAN section and Insert section are similar to those of the input channels. Note that for L, R and C master busses, the PAN, MASTER LR and MASTER C fields are not available. The extra functions unique to output busses are as follows.
Page 85 Output Buss Temporary Activation Temporary Activation means temporarily assigning a group of Channels or Bus Masters to the far right- hand fader bay of a Vi2, 4, or 6 console. The main point of this feature is that it gives a faster alternative to using the ALL BUSSES fader page, which switches ALL the Input Faders to Buss master mode To use this feature, touch the meter overview screen in the block of meters corresponding to the Output busses that you want to access.
Page 86 Mute All Outputs The Mute All Outputs function allows the whole console to be temporarily muted with one button press. This can be convenient when you need to leave the console unattended, or can be used to prevent unex- pected audio output from the console when loading unfamiliar Show files. To use the Mute All Outputs function, press and hold the MUTE ALL O/P button, located adjacent to the main Power button on the console front panel.
Page 87: Matrix
MATRIX SIGNAL FLOW Figure 6-1: Matrix Signal Flow (Vi4 shown, Vi6 has 32 contributions to each matrix, Vi2 has 8). Only one of up to 16 matrix paths is visible in figure 6-1. FUNCTION Instead of a simple output matrix Soundcraft Vi Series™ has a built-in freely-configurable matrix that can have up to 16 Outputs (mono).
Page 88: Fader Glow
MTX Source MTX Point MTX master name Not used Not used Not used Source name [ON] Source VCA display FADER (Source) FADER GLOW [SOLO/SEL] Figure 6-2: Matrix Strip. Page 6 - 2 Soundcraft Vi Series™ User Guide 1112...
Page 89: Adjusting A Matrix Send Level
Adjusting A Matrix Send Level Ensure that the [ALL BUSSES] key is NOT selected. Press the [SOLO/SEL] on a matrix master. All the input bays will change to the matrix contributions view and the Faderglow™ illuminates with the matrix colour. The input strip [ON] keys act as ON for the matrix send signals.
Page 90: Mtx Point Field
MTX Point Field The encoder changes the point from where the matrix source signal is taken. Which points are available depends on the Source selected. MTX Source Input Pre-Filter Pre-Processing Pre-Fader Post-Fader Post ON Input Direct OUT Master BUS Page 6 - 4 Soundcraft Vi Series™...
Page 91: Encoders
ENCODERS GENERAL INTRODUCTION Each input channel strip contains three encoders (see Figure 7-1A): encoder 1 & encoder 2 are located in the VST fields in the lower screen area, the channel encoder is located at the top of the fader area, and has an LED ring to indicate its parameter state.
Page 92: Channel Encoders
CHANNEL ENCODERS Channel encoders always control a parameter on their own channel strip. The function of the channel encoders can be globally selected via the [INPUT GAIN], [GATE THRS] and [PAN] keys on the Encoder Mode panel (see Figure 7- 2). Figure 7-2: Encoder Mode Panel.
Page 93: Channel Vst Encoder 1& 2
CHANNEL VST ENCODER 1& 2 VST Encoder 1& 2 Figure 7-3: Default VST Encoders 1 & 2 For Input Bay. Picture shows the default input bay view VST Encoder Priority HINT If a touch field is activated, the 16 encoders are assigned with the expanded channel function If a higher priority assignment action occurs, VST encoder functions change immediately to this mapping.
Page 94: Changing Encoder Function
Figure 7-4: Vistonics Mode Panel Channel encoder Changing Encoder Function With [INPUT GAIN], [GATE THRS] and [PAN] you can directly map these functions to all The function assigned to the VST encoders can be changed by the user via the Vistonics Mode panel (see input channels encoders on the desk.
Page 95: Master Bay Panel Encoders
MASTER BAY PANEL ENCODERS The master bay has four panel-mounted encoders with LED rings (see Figure 7-1B): the TB/OSC Level Control encoder, and the Solo Blend, Solo Trim & Phones Volume encoders. These are all dedicated to their respective functions. A description of their functions is given in chapter 9 of this manual. MASTER BAY VST ENCODERS Figure 7-5: Default Master VST Encoder Assignment.
Page 96: Master Vistonics Switch Functions Panel
Figure 7-6: Master VST Mode and Switch Function Panel. Master Vistonics Switch Function Panel Although the VST switches which are located next to the encoders are not the subject of this chapter, for the sake of completeness a note on assigning their function is included here. Using the three buttons on the Switch Function panel, the VST switches can be assigned to [TB ASSN], [ON/OFF] or [SOLO/SEL].
Page 97: Layering (Strip Assignment)
LAYERING (FADER PAGES) GENERAL Layers, or Fader Pages, allow the user to access different views of the DSP channel structure of the mixer, on the control surface. There are fixed, and assignable layers. INPUTS The Control Surface for the Soundcraft Vi Series™ contains three (Vi4) or four (Vi6, Vi2) fully equipped Input Bays that allow direct access and state information overview for 32 (24 on Vi4, 8 on Vi2) Input Channels.
Page 98: Temporary Layer
Figure 8-2: Desk In Layer B Operation. Temporary Layer Touching an input meter field on the Master Vistonics ™ Screen will temporarily display the 8 channels that are in this group on input bay 4 of the surface. The input fader page selector will blink to indicate that the bay 4 is temporarily remapped. Leaving the mode can be done by pressing the input fader page selector or by touching the meter panel field again.
Page 99: Output
OUTPUTS Bus Masters can be accessed with the master fader strips in the VST Master Area or with the ALL Bus layer on the Input Bays. Master Fader section There are 6 layers for the master bay: VCA and A to E. They map the following master faders to the master bay as follows: VCA maps VCA 1-8, A maps busses 1-8, B maps busses 9-16, C maps busses 17-24, D maps busses 25-32, E maps VCA 9-16.
Page 100: All Busses
ALL Busses If [ALL BUSSES] is selected in the Input Fader Pages, all 32 Busses will be assigned to the four Input Fader Bays. This Layer allows a quick way to compare the outputs or quickly change the processing of the Busses.
Page 101: Vst Master Area
VST Master Area The VST Master Area allows all 32 Bus Masters to be accessed even if the 8 output faders are assigned to control VCA Masters. There are two layers of encoders: Page A displays busses 1-8 and busses 9-16, Page B displays busses 17-24 and busses 25-32.
Page 102 User-defined Fader Pages What is the difference between ‘Fixed’ and ‘User-defined’ Input Fader Pages? ‘Fader Pages’ are defined as arrangements of channel strips on your console. Up until Version 4.0 software, only ‘Fixed’ Fader Pages (A,B & C) were available on Vi consoles. These fixed pages are simply the input channels 1-32 (for example on Page A of a Vi6) arranged in sequential order in the same way as channels would be on an analogue desk.
Page 103 Creating User Defined Input Fader Pages Step 1 – Open the Setup screens Press the Setup button in the Input Fader Page control section. This opens up identical Setup screens across all of the console’s input Vistonics screens – see the picture below. Each Setup screen contains three rows of buttons, corresponding to the User Pages 1, 2 and 3 for that bank of 8 fader strips.
Page 104 Step 2 – Open the Channel Select screen To start assigning channels to the fader Strips, touch any of the buttons labeled ‘NONE’ in the previous screenshot, corresponding to the position and layer of the fader you want to assign something to. Normally you would start at the top left and work across each layer, assigning the faders in order.
Page 105 Assigning VCA Master Faders to Input strips As well as choosing input channels to assign to fader strips on the User Layers, it’s also possible to assign VCA masters alongside the inputs. The 16 VCA Master faders are displayed in the channel select page by touching the VCA tab on the top right of the screen: Hint: It is also possible to leave the channel select screen open, without selecting an channel or VCA, and use the Solo/Sel buttons on the fader panels below the desk to scroll to a different fader strip to the one...
Page 106 Paired Input channels within User-defined Fader Pages The pairing system on the console allows channels to be paired either horizontally within any of the fixed Fader Pages, or vertically between any two adjacent fixed Fader Pages. The pairing indication is summarised using white rectangles on the console’s input meter overview screen, the layout of which corresponds to the fixed Fader Pages A, B and C.
Page 107 Stereo Input Channels in User-defined Input Fader Pages Stereo paired channels are treated as if the two halves were separate mono channels, as far as assigning the channels to User-defined Fader pages goes. In other words it is not necessary to assign both sides of a stereo pair to a User page, if you want to maximize the use of faders.
Page 108 User Defined Output Fader Pages With previous software versions on the Vi consoles, the Output Faders in the centre section of the console have only been accessible via 4 ‘fixed’ fader pages A,B,C,&D, with two fixed VCA fader pages under ‘VCA’...
Page 109 Creating User Defined Output Fader Pages Step 1 – Open the Setup screens Press the Setup button above the Output Fader page switches in the centre-section of the console. This will open a Setup screen on the master Vistonics screen – see picture below. The Setup screen contains five rows of buttons, corresponding to the five Output Fader Pages A –...
Page 110 Step 2 – Open the Output Select screen To change the default page assignment, touch any of the bus names on the Setup page to open the Out- put select screen. This screen shows a group of all the available busses and VCA Masters on the console, with the currently assigned one highlighted in white.
Page 111 Combining Stereo Bus Masters onto a single Master Fader Prior to V4.0 software, the eight centre-section bus master faders could only control a maximum of 4 stereo busses on one fader page, because the stereo bus masters always used two faders each. The Vi surface however was designed to allow stereo busses to be controlled by single faders, which is why there is a stereo meter above each bus master fader, and Version 4.0 software now allows this mode of opera- tion.
Page 112 Page 8 - 16 Soundcraft Vi Series™ User Guide 1112...
Page 113: Vca & Mute Groups
DL5 supports up to 4 MUTE Groups (MG) and 16 VCA masters. VCA & MUTE GROUPS Soundcraft Vi Series™ supports up to 8 MUTE Groups (MG) and 16 VCA masters. Display Mute Groups (red) [SETUP] Display VCA 1..8 (blue) MUTE Groups 1..4 Display VCA 9..16 (pink) VCA/Mute Group indication...
Page 114: Mute Group Master Switches
MUTE GROUP MASTER SWITCHES The four switches labelled 1-4 activate Mute Groups when pressed. VCA CONTROL GROUP BEHAVIOUR Up to 16 VCA Groups can be created. In the normal configuration of the console with a single Output section block, there are only 8 faders available for VCA Masters, therefore Output Fader pages must be used to access all 16.
Page 115: Assigning Vcas
ASSIGNING VCAs 1. Press the VCA/MUTE GROUP’s [SETUP] key. It will glow blue. 2. Choose the required VCA master by pressing its [SOLO/SEL] key, which will also glow blue. Note that if the output fader page is not displaying VCAs it will be necessary to select the [VCA] page (VCAs 1-8) or the [E]page (VCAs 9-16) first.
Page 116: Procedure
Effectively, because there can be up to 32 mono Aux sends configured on the console, this means that there are up to 32 sets of VCA groups (each with up to 16 Group Masters), in addition to the set of main channel fader VCA groups.
Page 117: Patch System
PATCH SYSTEM SIGNAL FLOW Figure 10-1: Patch Signal Flow. Soundcraft Vi Series™ User Guide 1112 Page 10 - 1...
Page 118: Overview
OVERVIEW The patch system of the Soundcraft Vi Series™ is divided into functional groups allowing it to be accessed easily and intuitively via the console work surface. The following table gives an overview of where the Patch functions are located on the console work surface.
Page 119: Input
INPUT The Input Patch connects an input connector or MADI channel with the desired input channels. Each input connector signal can be patched to more than one input channel at the same time. Figure 10-3: Input 1 Patch Configuration Page. Input Patch Point can be set individually for both possible Inputs IN1 and IN2, using the IN1 PATCH and IN2 PATCH configuration button.
Page 120: Patch A Source To An Input Channel
Patch A Source To An Input Channel * Press the Input field of the desired Channel * Press the IN1 or IN2 Patch button * Select the desired Input Source -> Audio will immediately patched * Leave the Patch page by pressing the IN1 or IN2 Patch button again, or the Exit button on screen.
Page 121: Output
OUTPUT The Output Patch connects a master or bus out with an output connector or MADI channel. A master or bus out signal can be patched to several physical outputs at the same time. Figure 10-5: Output Patch Configuration Page. Patch a BUS to an OUTPUT There are two ways to access the Output Patch configuration page (Figure 10-5).
Page 122: Insert
INSERT Figure 10-6: Insert Select Page. Inserts are organized within an Insert POOL that contains up to 24 insert send/return pairs.. Once set up, each insert in the pool can be easily patched to the desired Input channel or master insert point. Patching An Insert Point To An Input Channel * Select the PAN touch field of the destination input channel.
Page 123: Patching Insert Send Or Return Signals To The Connectors Or Madi Channels
• Press <SETUP> to enter the INSERT setup page for the patch points and device names. • <SEND> opens the output patch page, where it is possible to define the physical Figure 10-7: Insert Setup Page. connector for the insert send. •...
Page 124: Direct Out
DIRECT OUT The direct out patch connects a channel direct out with an output connector. Direct out can be patched to several outputs at the same time. Figure 10-8: Direct OUT Patch Configuration Page. HINT: If the channel is paired, <LEFT> and <RIGHT> comes up and allows toggling between the L & R direct out patch of the paired channel.
Page 125: Key Signal
KEY SIGNAL The key signal patch feeds a channel direct out or an input signal from the patch to the key input of the GATE. Figure 10-9: Key Signal Patch Configuration Page. Soundcraft Vi Series™ User Guide 1112 Page 10 - 9...
Page 126: Matrix
MATRIX The matrix patch page connects a channel direct out, an input signal, MADI channel, or a master signal to become a source for a Matrix output. Figure 10-10: Matrix Source Patch Page. Pressing the required VST key opens the Matrix Source Patch Page. Page 10 - 10 Soundcraft Vi Series™...
Page 127: Tie Lines
TIE LINES TIE Lines are direct connections from an input connector to a output connector. They are a path through the mixer with no processing and no mixing, and so do not use up any DSP channels. To open the Tie Line Setup page press the [MENU] key, and then press the <Tie Lines> tab at the top of the master area touch screen Figure 10-11: Tie Line Setup Page.
Page 128 Page 10 - 12 Soundcraft Vi Series™ User Guide 1112...
Page 129: Monitoring
MONITORING SIGNAL FLOW Figure 11-1: Monitor Block Diagram. FUNCTION The Monitoring section in the Soundcraft Vi Series™ has three individual monitoring outputs: Monitor A 3 channel (LCR) format (it can be used as stereo by ignoring C) Monitor B Stereo format Headphones Stereo format.
Page 130: Desk View
DESK VIEW Figure 11-2: Monitor Controls. SOLO TRIM Trims the SOLO Level in the range +/- 10 dB. This control is SOLO context sensitive. It is possible to set a different trim for each of the 32 Outputs in addition to a global input solo trim level. SOLO BLEND Adjusts the background level of the monitoring source signal which is audible when a solo is in operation from OFF (-∝)(as normal consoles) to a –10dB dim.
Page 131: Level Meter
Level Meter The stereo Level Meter shows the level of the A or B outputs, depending upon the selection made via the Monitor B switch. The meters follow the Monitor Volume Fader. PFL/AFL Indication These two LEDs show if an active solo is a PFL or an AFL. This switches the currently-selected monitor (MTR A or MTR B) on.
Page 132: Monitor Setup Page
MONITOR SETUP PAGE Figure 11-3: Monitor Setup Page. SOLO Section Input <PFL> Sets the input channel solo mode to PFL. <AFL> Sets the input channel solo mode to AFL. <AUTO> (default) Sets the input channel solo mode automatically, as follows. If 1 Input SOLO is active the mode is PFL, if more then 1 Input SOLO is active at the same time the mode is AFL.
Page 133: Mntr A Section
<MUTE SAFE> Enables the Mute Safe (SIP isolation) configuration mode. If <Mute safe> is active the Mute safe state from the Input channels can be toggled with the Channel’s SEL Key. The state for a given channel is indicated by that channel’s Mute Safe LED.
Page 134: Format Field
Solo Switching <IN SOLO> Routes the Input SOLO Signals to the Monitor A Output. <OUT SOLO> Routes the Output SOLO from the Busses that are included in the OUT SOLO selection (see Figure 11-6) to the Monitor A Output. <TB RET> Routes the Talkback Return Signal to the Monitor A output.
Page 135: Dly Field
Source USER A, USER B and (LR,C) are mutually exclusive, but LR and C can be mixed. Also ‘NONE’ can be selected. <LCR> Sets the monitor A Source to LR. <C> Sets the Monitor A Source to C. <USER A> Sets the Monitor A Source to USER A.
Page 136: Monitor Setup Sub-Page
MONITOR SETUP SUB-PAGE Figure 11-6: Monitor Setup Sub-page. PATCH A field Displays the source name that is patched to USER A. Its {VST config button} opens the USER A patch page (see Figure 11-7). LABEL A field Displays the USER A label. Its {VST config button} opens the USER A label configuration page, which displays the internal keyboard, and allows the USER A label to be edited.
Page 137 Figure 11-7: User A Patch Page The USER A and USER B patch pages allow an alternative monitor source to the normal LR or LCR mix, to be set up. This can be used, for example, to allow the user to listen to a favourite monitor mix, whenever a solo is not pressed (select an Aux bus from the Bus Out page, as shown above).
Page 138: Output Solo Selection
Output Solo Selection Output Solo Selection allows an individual output solo to be sent only to a specific monitor output (Mon A, B or Phones). This is useful for stage monitoring applications where the solos of in-ear monitor mixes could be programmed to appear only on Monitor B for example, which could have an in-ear headphone system connected to it.
Page 139: Solo System
SOLO SYSTEM AFL ,PFL and SIP The solo system on Soundcraft Vi Series™ comprises a non-destructive PFL and AFL Solo capability from Inputs and Outputs, and also the option of a destructive Solo-In-Place mode, for use only during soundchecks or rehearsals. Solo-In-Place mode has to be enabled from within the Monitor Setup and changes the mode of operation of the Solo System.
Page 140: Solo Operation Logic
* Soloing an Output generates a normal Output AFL Solo, the same as if SIP Mode was OFF. The Output signal is switched onto the Solo Bus and the Monitor section switches so that the Output Solo audio is heard on the Monitors, replacing the previous monitor source, if any. Solo Operation Logic Activating Solos A Solo is activated when any Solo/Sel switch on the console is pressed, as long as the following is true:...
Page 141: Input Priority Mode
Input Priority Mode When I/P Priority is enabled, via the Input Priority key (see Figure 11-10), it allows an Output Solo to remain active, whilst an Input Solo is temporarily activated ‘over the top’ of it. When the Input Solo is activated, its audio replaces the Output Solo audio on the Solo Bus, although the Output’s Solo/Sel switch remains illuminated.
Page 142: Autocancel Behaviour
Autocancel Behaviour In the majority of cases in live sound mixing, only one channel is soloed at any time, so it has become common practice for solos to ‘autocancel’ so that pressing any solo cancels the previous one, and only one solo can be ON at any time.
Page 143: Follow Output Solo Mode
Follow Output Solo Mode Purpose Of The Follow Output Solo Mode The Follow Output Solo [FLW] keys allow the user to quickly identify and adjust those input channels which are making contributions to each of the 32 outputs. There are three [FLW] keys: there is one fader key and two Vistonics™ area keys. Only one key can be active at any one time (none can be selected also).
Page 144 Page 11 - 16 Soundcraft Vi Series™ User Guide 1112...
Page 145: Talkback & Oscillator
TALKBACK & OSCILLATOR DESK VIEW Figure 12-1: TB/Oscillator Panel Controls. Setup Key The [SETUP] key opens and closes a dedicated Config page on the Output Vistonics™, allowing control over the following Talkback and Oscillator functionality: Mic gain and routing destinations for the three preset buttons, routing of return TB to busses and/or phones;...
Page 146: Setup
SETUP [SETUP] opens the configuration page which contains the central oscillator, Talkback Send and Talkback return configuration of the Soundcraft Vi Series™ Figure 12-2: Setup Page. OSC Section HINT: The oscillator can also be patched to the Input Channels by using the {OSC} key in the Input Channel VST screen.
Page 147 Figure 12-3: Bus Assign Page. <OSC to BUS> Feeds the Oscillator to the preconfigured Busses, which are selected in the Bus Assign page (Figure 12- <OSC to TB> The oscillator signal is routed to the TB Bus and replaces the TB signal. FREQ field If the oscillator is set to SINE the Encoder adjusts the Frequency in the range 20 Hz –...
Page 148 Figure 12-4: Oscillator Output Patch Page. This page allows the user to patch the oscillator to outputs on the StageBox and the Local Rack, to MADI channels, or to the key inputs of the dynamics units on the input channels 1-64. The user selects the appropriate screen by selecting one of the following touch screen buttons: <Dynamics Key>, <MADI>, <StageBox>...
Page 149: Tb Send Section
TB Send Section This section allows the console operator to route the TB mic signal to various outputs of the Soundcraft Vi Series™. TB Source Field Displays the source name. If nothing is selected the console’s TB mic XLR (parallelled) pair is automati- cally selected.
Page 150: Tb Return Section
Figure 12-6: External TB Configuration. TB Return Section This section allows the console operator to route inputs directly into the monitor circuit. This allows assis- tants within a venue to talk directly to the console operator. This function must be enabled via the monitor setup page.
Page 151: Metering
METERING Input Channel Meter Each input channel has an input meter. There are two parts to the meter (see Figure 13-1): The top part is a 20--segment level meter, and the lower part is a 9-segment Gain Reduction Meter (GRM). The level meter shows the input level at a selected point in the input channel.
Page 152: Bus Master Meters
Bus Master Meters Bus Masters can be configured as stereo channels, therefore the Bus Master Strip level meters have left and right meters (i.e. the left and right channels share a single set of controls, but note that this feature is reserved for a future release).
Page 153: Meters On The Master Section Screen
Meters On The Master Section Screen The meter panel is always visible if [Meter Lock] is enabled, unless a SETUP or configuration is active. If [Meter Lock] is disabled and a Solo/Sel button from a master is active, the meter panel will be temporarily replaced by the master processing view.
Page 154: Touch Selection
Touch Selection The input meter overview is also touch-sensitive and allows blocks of 8 input channels to be selected and assigned to the far right-hand bay of the console surface. A grey/white overlay indicates which, if any, block of 8 channels has been selected; the [A] or [B] key on the Input Fader Pages panel also flashes to indicate the temporary activation of the right-hand bay.
Page 155: Main Menu
MAIN MENU Figure 14-1: The [MENU] Key. Pressing the [MENU] key opens the Main menu page(see Figure 14-2) in the master section’s screen. MAIN Figure 14-2: Main Page. The other menu pages can be accessed by touching the appropriate tab at the top of the screen. The software Release number and Build must be quoted when requesting technical support from Soundcraft personnel.
Page 156: Show
SHOW Figure 14-3: Show Page. A complete explanation of Shows is given in chapter 15 of this manual. Page 14 - 2 Soundcraft Vi Series™ User Guide 1112...
Page 157: Gpio
GPIO Figure 14-4: GPIO Page. A complete explanation of GPIO usage is given in chapter 18 of this manual. Soundcraft Vi Series™ User Guide 1112 Page 14 - 3...
Page 158: Sync
SYNC Figure 14-5: Sync Page Currently the console will work only on an internal clock of 48kHz. If an external clock is connected to the clock card in the Local Rack ( to the wordclock, AES or video sync inputs) the console will switch to external sync, and the EXT indicator, together with the WCLK, AESor VIDEO indicators (as appropriate) will illuminate.
Page 159 Figure 14-6: Tie Lines Page. A complete explanation of Tie lines usage is given in chapter 11 of this manual. Soundcraft Vi Series™ User Guide 1112 Page 14 - 5...
Page 160 Figure 14-7: FX Page. See Chapter 21. Page 14 - 6 Soundcraft Vi Series™ User Guide 1112...
Page 161: Midi
MIDI Figure 14-8: MIDI Page. The MIDI page of the Main Menu contains the following elements : · Device Lists for TX MIDI Channel, RX MIDI Channel and TX MIDI Device ID. · Global MIDI Receive Channel, On/Off and Global Receive MIDI Device ID ·...
Page 162: Log
Figure 14-9: Log Page. This page displays any errors which have occured since the console was last powered-up. These would usually be communications errors between the various components in the system, i.e. control surface, local rack and stagebox. The arrow butons allow the user to scroll up and down the list. The <Expand>...
Page 163: Settings
SETTINGS Figure 14-10: Settings Page This page contains the general settings of the console. POINT The point at which the input meters measure the signals within the input channels can be globally set via the {POINT} encoder. There are four options as shown below. ENABLE NEXT/LAST The [NEXT] and [LAST] keys are duplicated near the front of the desk, above the [SOLO CLR] and [GANG] keys.
Page 164: Delay Unit
GEQ Mode This mode determines how many faders are used on the desk to control the graphic EQ bands. The ‘Large’ 30-fader mode allows fast access on multiple faders, at the expense of access to the input faders. (normal). The ‘Small’ (8-fader) mode is used when the opertor requires access to input faders at all times. Frequency bands can be scrolled in banks of 4 or 8 bands, using the Output Fader page buttons.
Page 165 REDUCE Ch Count When a third DSP card is fitted to Vi2, 4 or 6 consoles, the input channel count is increased from 64 to 96 channels. There may be occasions where even on a fully expanded console, more than 64 channels are not needed and in this case the channel count may be reduced back to 64 using this control in the Settings page.
Page 166: Setting The Internal Clock
SETTING THE INTERNAL CLOCk Press the Menu button on the console surface to open the Menu page. Choose the Settings tab at the top of the Menu page. The current time/date setting of the console’s internal clock is displayed at the top left of the screen. Touch the SETUP button on the touchscreen below the time and date display to open an editing page on the Vistonics encoders below.
Page 167: System Monitoring
SYSTEM MONITORING Overview Figure 14-11: System Monitoring Overview and Error Log Display Areas The System Monitoring Overview Display Area is located at the top right of the master screen, the Error Log Display Area is just below it (see Figure 14-11). Within the System Monitoring Overview Display Area each hardware device and the HiQnet™...
Page 168: Desk
DESk Figure 14-12: System - Desk Page This page displays the current status of the desk’s 5 bays. The numerical data displayed for each bay gives the revision number of the firmware currently installed in each bay. This information may be needed by Soundcraft service personnel if technical or service support is requested.
Page 169 FADER RECALIBRATION Under normal conditions, the faders of Vi2/4/6 will never need to be recalibrated. There is no requirement to do this on a routine basis. The only times this will be necessary will be either after the fader PCB has been replaced due to a fault, or liquid has been splashed into the faders, in which case it will be obvious that something is wrong with the behaviour of the faders.
Page 170: Local Io
LOCAL IO Figure 14-13: System - Local I/O Page This page displays a graphical representation, and the current status, of the cards in the Local Rack. It also shows the status of the PSU(s)and the status of the voltages for the analogue (VA) and digital (VD) power supply rails.
Page 171: Stage Box
STAGE BOX Figure 14-14: System - Stage Box Page This page displays a graphical representation, and the current status, of the cards in the Stage Box. It also shows the status of the PSU(s) and the status of the voltages for the analogue (VA) and digital (VD) power supply rails.
Page 172: Hiqnet
HiQNET Figure 14-15: Settings Page HiQNet {ON} Enables or disales the HiQNet ethernet port on the rear of the control surface. HiQNet ADDRESS Allows the HiQNet Address for the console to be edited. Every piece of equipment on a HiQNet network must have a unique HiQNet address.
Page 173: Snapshots And Cues
SNAPSHOTS, CUES and SHOWS The Snapshot system allows the user to store records of the console’s settings. When a Snapshot is stored it becomes part of a Cue: a Cue contains a Snapshot and optional MIDI and GPIO/HiQnet events. These Cues can then be recalled during a performance.
Page 174: Front Panel Display And Controls
FRONT PANEL DISPLAY AND CONTROLS The Cues of the currently-loaded show are displayed in the Cue List displayed on the master screen (see Figure 15-2). The Show’s title is also displayed. Cue List Figure 15-2: Cue List. The Snapshot/Cue keys (see Figure 15-3) are used as described below. Figure 15-3: Front Panel Snapshot/Cue Controls.
Page 175: Prev Mode
PREV MODE This mode locks the audio where it is, and allows the control surface to be recalled to any desired Cue, for checking purposes, or to make updates to future Cues, without changing any audio. The surface re-synchronises with audio when Preview mode is switched off. See page 6 for more information.
Page 176 To set the Crossfade time for a specific Cue, press the Setup button in the Snapshot Control area of the control surface to open the Cue List page, then select the required Cue using the scroll bars or up/dwn arrow keys, and touch the name area of the currently selected Cue in the centre of the Cue List (the area becomes highlighted white, as shown in the picture below): The time selected on the XFADE control below the Cue List will be the time taken for the desk to change from its current state, to the state of the snapshot in the selected Cue.
Page 177 Old Show files and Crossfade parameters When loading an old pre-V4.0 Show file, be aware that these do not contain any Crossfade information in their Cue List, and so whatever Crossfade settings that might be present on the desk, for example from the previously loaded Show, will remain on the desk and appear to get copied into the Cue list of your old show.
Page 178 Snapshot Preview Mode Snapshot Preview mode allows snapshots to be recalled to the console surface without affecting the audio running in the DSP core, and so provides as useful way to check what is about to be recalled in a Cue, during a show. When the desk is in Preview mode, the Control Surface is effectively taken off-line from the DSP core, so that existing Cues can be recalled or edited, or new ones created, and there will be no effect on the audio, which will continue...
Page 179: Cue List Display
Cue List Display A Cue is a combination of a desk snapshot, various types of events and some text notes. The list allows the snapshots to be combined with transmitted events and arranged into a running order. The Cue List is stored in the current Show. The list comprises columns for Cue Number (or Timecode), Cue Name, Desk Snapshot status (DESK), MIDI event status (MIDI), and GPIO, HiQnet and Blackout event status (GPIO/misc).
Page 180: Setup
SETUP Pressing [SETUP] opens the following page. This page can also be opened by touching the Cue List in the top right corner of the Master screen, see page 15-2. Figure 15-4: Snapshot & Cues Setup Page. HIDE SCOPE/SHOW SCOPE Buttons If the left-hand side of Figure 15-4 is not shown on your console it is because the Snapshot Scope is hidden in order to simplify the screen for new users.
Page 181: Edit & Control Buttons
Edit & Control Buttons These touch buttons allow a) creation of Cues, scrolling of the list, and b) various editing operations on the list such as Delete, Move, Duplicate, rename etc. To allow these operations to be carried out on more than one Cue at a time, a set of Multi Select buttons c) are also provided.
Page 182: Cue List
The <MOVE> button is renamed <DROP> after it is switched on, and pressing <DROP> will ‘drop’ the Cue or group of Cues at the point immediately after the last visible Cue above the selection bar. The Cue Numbers of these moved Cues will be recalculated according to the ‘Inserted Cue’ numbering rules (see Cue Numbering).
Page 183: Cue Numbering
CUE NUMBERING CUE NUMBERING New Cues that are created at the end of the list (depends on cursor position when Store or New Cue is pressed) are always given whole numbers. Inserting cues (by moving an existing one or creating a new Cue with the cursor in the list) always generates a new number with one or two decimal places, at approx the mid-point of the existing numbers: Insert ->...
Page 184: Snapshot Scope Gui
Snapshot Scope GUI Please refer to Fig 15-6. Note the <HIDE SCOPE> button, if the screen on the Vi isn’t showing the scope information, press the <SHOW SCOPE> button. The Snapshot Scope GUI allows the Snapshot Scope filter to be edited globally – by function block or parameter group, and by channel.
Page 185 As with normal ganging on the console, Scope parameters that were already set to the desired state of the parameter being changed will not change unless the parameter is changed back to its original state again, in which case they will follow. Selecting a complete function block: A short press on the function block will select all the parameter groups within the block –...
Page 186 The bay number corresponding to the output master bay gives a different-looking sub-page that only displays enable buttons for the 16 VCA groups (2 rows of 8 buttons) and the LCR button, plus ALL and NONE buttons. (Note that this scope relates only to the VCA Master parameters (Fader & On), not to the channel assignments which are controlled within the input channel scope).
Page 187: Apply Changes To Scoped Params In Selected Cues
APPLY CHANGES TO SCOPED PARAMS IN SELECTED CUES The software includes the capability to copy control settings that exist on the surface, into one or any number of other Cues in the Cue list. It is possible to define which controls from the current surface state will be stored, and which Cues you want to update with these control settings.
Page 188: Cue List Page - Cue Number Field Touched
CUE LIST PAGE - Cue Number Field Touched Figure 15-11: Cue Number Field Touched. Touching the Cue Number area of the highlighted Cue switches the Vistonics encoders below to a new mode that allows specific parameters relating to this Cue to be edited. CUE ENABLE {ON} key: Enables/disables the recall of this Cue in the List.
Page 189: Cue List Page - Cue Name Field Touched
CUE LIST PAGE - Cue NAME Field Touched Figure 15-12: Cue Name Field Touched. Touching the Cue Name area of the highlighted Cue switches the Vistonics encoders below to a new mode that allows specific parameters relating to this Cue to be edited. SNAPSHOT ENABLE - {ON} key: Enables/disables recall of the desk snapshot in this Cue.
Page 190: Cue List Page - Midi Field Touched
CUE LIST PAGE - MIDI Field Touched Figure 15-13: MIDI Field Touched. This page displays setup controls for a unique MIDI IN message that can trigger the current Cue to be recalled, and up to 20 MIDI OUT events that can be sent when the current Cue is recalled. MIDI IN Setup {ON} key: enables/disables the selected MIDI parameters from triggering recall of this Cue when they are received by at the MIDI input.
Page 191: Midi Out Setup
Default settings stored in current Show are: On key = OFF Channel = ‘No device’ REC key = OFF Message Type= blank Value 1&2 = blank MIDI OUT Setup The MIDI Out setup differs from MIDI In, in that instead of only 1 event for the Cue, there is an ‘Events List’ per Cue of up to 20 events that can be transmitted.
Page 192 When the SysEx message type is selected, the Value 1 field changes to include a sub-page key which opens the QWERTY keyboard and allows the string to be entered in Hexadecimal format. When the string is longer than the number of characters displayable in the VST field, it is abbreviated with ‘…’ – see Fig 15-15.
Page 193: Cue List Page - Midi Field Touched & Event List Open
CUE LIST PAGE - MIDI Field Touched & Event List Open Figure 15-16: MIDI Field Touched & Event List Open. Pressing the sub-page key in the EVENT NUMBER VST field opens the Events sub-page, which is displayed to the left of the Cue List. Note that the events will be transmitted in the order that they appear in the list (i.e.
Page 194: Cue List Page - Gpio/Misc Field Touched
CUE LIST PAGE - GPIO/Misc Field Touched Figure 15-17: GPIO/Misc Field Touched. GPI {ON} key: Enables/disables reception of the defined GPI signal from recalling the current Cue. VIRTUAL PIN encoder: Allows a Cue List Virtual GPI Pin to be selected as the trigger source. The Virtual Pin must be assigned to a real (Physical) Pin in the GPIO Page.
Page 195: Press & Hold Iso Key Functionality
Global Filter ISO Key Functionality [ISO] keys have 3 states: 2 ON states and 1 OFF state. Pressing the key will cycle round the states in the order OFF, ON1, ON2, OFF, ON1 etc. Note that state ON2 will only exist if a partial Isolation has been set up on the strip (using the press & hold functionality –...
Page 196: Edit Global Filter Mode
The Global Filter On switch in the Cue List page will automatically change to the ON state when the first parameter is selected. Global Filter settings are indicated on the Vistonics screens by means of the colour purple, as follows: A complete* purple border around an input channel or output bus = full channel/bus isolated A wide purple LED indicator in the top left of a function block = complete function block isolated A narrow purple LED indicator in the top left of a function block &...
Page 197: Load Iso With Show
LOAD ISO WITH SHOW The {YES}/{NO} key (its legend toggles) enables the user to recall (or not) the new Global Filter settings when a new Show is loaded. The purpose of this feature is to allow ISO buttons to be used to protect sections of the console (e.g.. output section and master outputs) from changing when a new show is loaded in.
Page 198: Managing Shows
MANAGING SHOWS Loading Shows, copying Shows to and from USB data storage devices, and creating new Shows is done from the following page. It is reached by pressing [MENU] and then the <SHOW> tab at the top of the page (or the Show name at the top of the Cue List display area, which is at the top right corner of the main screen, can be touched).
Page 199: Updating A Show
Default Shows The console comes with some factory-installed shows. These are not normally visible in the list, but they can be seen by pressing the <SHOW DFLTs> button. The default Shows are at the top of the list and are shown in italic text.
Page 200: Export Exception Files
Export Exception Files If the console’s on-board computer malfunctions an exception file is automatically written to the flash drive. Pressing the GO key will write this file to a connected USB memory device. A service engineer may want to look at this file. This key is only available if a USB memory device is connected. RECORDED DATA As was mentioned previously, some settings are recorded as part of a Show, others as part of a Snapshot, and a few are not recorded at all.
Page 201: Settings Recorded Within Audio Settings
All parameters in the menu/settings page. Follow Solo switches. Mute Group Master switch status. Settings Recorded Within Audio Settings This applies to the Show Snapshot and to any standard Cues. All Channel* audio settings on the console: Channel ON; Fader positions; Pan; Channel Parameters (EQ/ Dynamics/input/output/ insert).
Page 202 V4.0 and Older Software There is full backward and forward compatibility between Shows saved on Version 4.0 consoles and older version consoles. Shows saved on V2.x software can be loaded into a V4.7 console. Shows saved on a V4.7 console can be loaded into a desk running V2.x software (without any of the features such as snapshot scope, partial isolation and events that were not present in the V2.x software).
Page 203 Soundcraft Vi Series™ User Guide 1112 Page 15 - 31...
Page 204: Gpio
GPIO CONFIGURATION In the GPIO (General Purpose Input Output) Page you can configure all GPIO channels that are available in the Soundcraft Vi Series™. To access the GPIO page, press the [MENU] key, this opens the Main menu page on the master section screen, then touch the <GPIO> tab (see also chapter 14). Figure 16-1: GPIO Page.
Page 205: Gpi Vst Keys & Encoders
GPI VST Keys & Encoders GPI Field The {ON} key enables the selected GPI function. GPIO Inputs are via opto-isolators. Function Field This field displays the Input function. Its encoder selects the function. Parameter Field This field displays the Parameter (e.g. Channel number). There is no parameter for TB INPUT. The encoder adjusts the Parameter.
Page 206 Figure 16-2: Summary Of Available Settings. Figure 16-3: Relay timing diagram. Soundcraft Vi Series™ User Guide 1112 Page 16 - 3...
Page 207: Hardware
HARDWARE Schematic Diagram Figure 16-4: Schematic Diagram. For general-purpose applications requiring total electrical isolation, the GPIO card provides electrically- isolated opto-coupler inputs with integrated current sink (5 to 24 VDC) and electrically isolated outputs using SPST relay contacts. 5 VDC and Gnd supply pins are provided. Inputs and outputs are on standard D-type connectors (female).
Page 208: Pin Lists
Pin Lists Figure 16-5: Pin Lists. Soundcraft Vi Series™ User Guide 1112 Page 16 - 5...
Page 209 Page 16 - 6 Soundcraft Vi Series™ User Guide 1112...
Page 210: Soundcraft Faderglow
SOUNDCRAFT FaderGlow™ 20 Fader Glow GENERAL General Soundcraft FaderGlow™ (Pat. Pend.) is a unique feature that gives the user an additional level of status Fader Glow (Pat. Pend.) is a unique feature that gives the user an additional level of status indication, and can significantly reduce operating errors.
Page 211 Page 17 - 2 Soundcraft Vi Series™ User Guide 1112...
Page 212: Copy, Paste & Libraries
COPY, PASTE & LIBRARIES INTRODUCTION The Copy/Paste function allows the settings of any channel, bus, FX section or processing element to be copied and pasted to any number of other channels, saving set up time and helping eliminate errors. The last paste operation can be quickly reversed with an UNDO function.
Page 213: Copy & Paste Principles
COPY & PASTE PRINCIPLES In COPY mode, it is neccessary to select the required items. Selecting them places the items onto the clip- board. Single or multiple channels or busses can be collected, or single or multiple elements from within the same channel or bus can be collected.
Page 214: Parameters Not Included In Channel & Bus Copy Modes
COPYING CHANNEL OR BUS PARAMETERS · Press [COPY]. [COPY] lights. · Collect Channel Parameters by pressing [SOLO/SEL] for the whole Channel Touch Fields for functional groups like EQ Long press on Touch fields to enter Zoom mode for individual Parameters. Parameters are copied to the clipboard.
Page 215: Channel Copy: Items Not Included In Copy With Sel Button
CHANNEL COPY: ITEMS NOT INCLUDED IN COPY WITH SEL BUTTON Input 1/2 switch Input 1 & 2 patch Mic Input Gain All associated switches (48V, PAD, Phase Inv etc) Insert Point – all aspects Direct Output – all aspects Fader and Mute VCA &...
Page 216: Copying Fx Parameters
COPYING FX PARAMETERS Parameter settings from any of the 8 internal Lexicon FX units can be copied from one device and pasted to another. To make selection of the source and destination units easy, a set of 8 FX-select encoders appears on the central screen in both Copy and Paste modes.
Page 217 Parameters are copied to the clipboard Press [PASTE] Select the destination FX unit by touching the required FX Select Encoder (or adjacent button) in the central screen. touching any touch field on the target channel or bus strip. pressing [SOLO/SEL] on the target channel or bus The FX unit settings on the clipboard are immediately copied to the destination FX unit.
Page 218: Libraries
LIBRARIES The Libraries functionality enables various elements of the console, eg EQ section, Dynamics section, or complete channels and busses, to be copied from the desk and stored in the Library system. Later these items can be retrieved and pasted from the Library to any destination channel or bus on the console.
Page 219 Default LIbrary The console comes with one pre-installed Default Library. This Default Library contains factory presets for a variety of common applications. These factory default library entries are ‘read-only’ and cannot be deleted. A mechanism exists for the default entries in the Default Library to be updated via a special update procedure.
Page 220: Navigating And Managing Libraries
NAVIGATING AND MANAGING LIBRARIES Figure 18-7: Copy to Library page To perform operations on the Library, either the Copy to LIB page or the PASTE from LIB page must be opened. To do this, press either [COPY] or [PASTE] followed by the {LIB} key in the bottom left corner of the central Vistonics screen.
Page 221 the {DEL} button changes to become a {CLR} button when in the Category level. Pressing {CLR} will delete all Entries within that Category. Confirmation dialogues are displayed before all Delete or Clear operations. (facing page to previous screenshot) SAVE AS button: Only displayed at the top Library level. Saves a copy of the currently loaded Library, with a new name.
Page 222: Copy To Library
COPY TO LIBRARY Figure 18-8: Copy to Library page Copying an EQ to the library · Press [COPY] on DESK · Press {LIB} key in “COPY TO” field in the central screen · Touch the EQ touch field on an input or output channel strip The library will automatically change to the EQ library ·...
Page 223: Paste From Library
PASTE FROM LIBRARY Figure 18-9: Paste from Library page Pasting an EQ from the library · Press [PASTE] on DESK · Press {LIB} in “PASTE FROM” field in central screen Method 1 · Select the desired Library /EQ and the desired library entry in the list ·...
Page 224: Exporting And Importing Libraries
EXPORTING AND IMPORTING LIBRARIES Figure 18-10: Importing to & Exporting from a USB memory device. If a USB memory device is inserted into one of the console’s USB ports, an additional window will be vis- ible on the right-hand side of the Library page, as shown above. This right-hand window shows the contents of the USB memory device, which will initially be empty if it has no Libraries stored on it.
Page 225 Entries To export an individual Entry to the USB stick, the full Library folder structure must already be present on the stick. Using the {DIR UP} or {SEL} buttons, position the cursor on both the internal Library and the USB stick at the same level –...
Page 226: Audio Channels
Soundcraft Vi6™ : 96 mono inputs into 35 Outputs. Pairs of mono inputs can be linked to create stereo channels. Soundcraft Vi4™ : 96 mono inputs into 35 Outputs. Pairs of mono inputs can be linked to create stereo channels.
Page 227: Stagebox Inputs
Stagebox Inputs 64 analogue mic/line inputs (with remote gain control, PAD, 48V and pre-A-D 80Hz HPF). This assumes Vi4 has been specified with 64 inputs on stagebox. Stagebox Outputs 32 analogue line outputs MISCELLANEOUS Connection from local rack to stagebox Standard fit: Cat 5e Neutrik Etherflex cable ZNK CT2672601.
Page 228: Control Surface
Inputs Soundcraft Vi6™ 32 input faders, switchable in 3 fixed layers to access 96 inputs. Soundcraft Vi4™ 24 input faders, switchable in 3 fixed layers and meter screens to access up to 96 inputs. Soundcraft Vi2™ 8 input faders, switchable in 3 fixed layers and meter screens to access 96 inputs.
Page 229 Vi Series TYPICAL SPECIFICATIONS Frequency Response Stagebox Mic input to Line output +0/-1dB, 20Hz-20kHz AES/EBU In to AES/EBU Out +0/-0.2dB, 20Hz-20kHz T.H.D. & Noise 22Hz-22kHz Stagebox Mic In (min gain) to Local Line Out <0.003% @ 1kHz Stagebox Mic In (min gain) to Local Line Out <0.020% @ 1kHz Local Line In to Line Out <0.003% @ 1kHz...
Page 230 Stagebox HP Filter 80Hz fixed, 12dB per octave Channel HP filter 20Hz-600Hz, 18dB per octave Channel LP filter 1kHz-20kHz, 18dB per octave EQ (Inputs and bus Outputs) HF: 20Hz-20kHz, +/-18dB, Q= 0.3-8.7 or shelving Hi-Mid: 20Hz-20kHz, +/-18dB, Q=0.3-8.7 Lo-Mid: 20Hz-20kHz, +/-18dB, Q=0.3-8.7 LF: 20Hz-20kHz, +/-18dB, Q= 0.3-8.7or shelving Metering Internal 20-segment LED bargraphs plus 9-segment...
Page 231 Page 19 - 6 Soundcraft Vi Series™ User Guide 1112...
Page 232: Vi Processor™ Card
Vi Processor™ Card General The Vi Processor™ Card fitted to the Soundcraft Vi Series™ contains 8 powerful LEXICON® Effects Processing Units and 35 high-quality BSS® 30-band Graphic Equalisers. LEXICON® Effects Each Effects Unit can be inserted into any Output/Main Master bus or into any Input Channel, or it can be patched as an FX Return to an Input Channel, fed from an Aux send.
Page 233: Fx Overview Page
FX Overview Page In the Overview Page all eight FX processors are visible at the same time and can also be adjusted. The parameters available for adjustment will depend upon the type of FX which is selected. A description of the Effects and their associated controls is given in the section which starts on page 13 of this chapter.
Page 234: Tap
For each effect that offers TAP Tempo (Tempo synchronisation using key press), the bottom left key is used as the TAP button. ASSIGNING F1-6 KEYS TO FX TAP TEMPO (V2.0 Software and above) In live situations it is often advantageous to be able to easily control the TAP function from a large button which is permanently accessible on the console surface.
Page 235: Changing The Assignment Of F-Keys To Tap Function
Changing the assignment of F-keys to TAP function The first 2 Lexicon units LEX1 and LEX2 have their Delay TAP buttons assigned to F1 and F2 by default because these settings are stored within the read-only factory default Shows (updated with V2.0 software release).
Page 236 Figure 21-5: Selecting An FX Processor As An Insert Effect. Select the desired FX processor. If the processor is in use, a dialog asks if you want to move it from its current location. Pressing the <EXIT> key will return you to a page similar to Figure 21-6. Notice that the EQ area on the screen is now shared with an FX processor icon.
Page 237 Figure 21-6: An FX Processor As An Insert Effect. Figure 21-7: Adjusting An FX Processor. Page 20 - 6 Soundcraft Vi Series™ User Guide 1112...
Page 238: Master Insert
Master Insert This operation mode is an elegant way to use Reverb Effects without loosing Input Channels for the Return signals. In this Mode the FX processor is inserted in an AUX Master, and the AUX Master is assigned to the Main Master (LR).
Page 239 Figure 21-9: Selecting An FX Processor As A Master Bus Insert Effect. Figure 21-10: Adjusting An FX Processor. Page 20 - 8 Soundcraft Vi Series™ User Guide 1112...
Page 240: Return In Channel Section
Return in Channel section This is the classical operation mode for Reverb Effects. The Output of an AUX Master is patched to the Input of an FX Unit, and the Output of the FX Unit is patched to either a mono or 2 paired (Stereo) Input Channels that mixes the Reverb content to the Main Masters or other destinations.
Page 241 Figure 21-12: Patching An FX Processor To A Master Bus Output. Figure 21-13: Patching An FX Processor To An Input Channel’s Input. Page 20 - 10 Soundcraft Vi Series™ User Guide 1112...
Page 242: Fx Type
FX TYPE For each of the 8 FX processors an individual FX Type can be selected. The FX Types are grouped into the following categories: • REVERB • DELAY • MISC A description of the Effects and their associated controls is given in the section which starts on page 13 of this chapter.
Page 243 Figure 21-15: Type Selection Page (Delay). Figure 21-16: Type Selection Page (Misc). Page 20 - 12 Soundcraft Vi Series™ User Guide 1112...
Page 244: Fx Descriptions
FX DESCRIPTIONS The Vi Series Lexicon FX are divided into three categories: REVERBS, DELAYS and MISC. 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.
Page 245 Ambience Reverb - Stereo Ambience is used to simulate the effect of a small or medium sized room without noticeable decay. It is often used for voice, guitar or percussion. Gated Reverb - Mono In/Stereo Out Gated reverb is created by feeding a reverb, such as a metal plate, through a gate device. Decay Time is set to instant, while Hold Time varies duration and sound.
Page 246 Shape & Spread In the Hall reverbs, Shape and Spread work together to control the overall ambience of the reverberation. Shape determines the contour of the reverberation envelope. With Shape all the way down, reverberation builds explosively, and decays quickly. As Shape is advanced, reverberation builds up more slowly and sustains for the time set by Spread.
Page 247: Delays
DELAYS Delays repeat a sound a short time after it first occurs. Delay becomes echo when the output is fed back into the input (feedback). This turns a single repeat into a series of repeats, each a little softer than the last.
Page 248: Misc Effects
Delay Time Controls the length of the delay time relative to Tempo. At the middle of its range, delay repeats are synchronous with the Tempo button; lower values create faster repeats, while higher values increase the time between repeats. Feedback Controls the number of delay repeats by feeding the delay output signal back into the delay input.
Page 249 Chorus - Stereo Chorus creates a lush, full sound by combining two or more signals together where one is unaffected and the other signals vary in pitch ver y slightly over time. Chorus is commonly used to fatten up tracks and to add body to guitars without coloring the original tone.
Page 250 Detune - Stereo Detune adds a slightly pitch-shifted version of the original source, thickening the sound. This creates a particularly effective simulation of “double-tracking. ” This effect is also a great alternative to the Chorus effect, adding the richness of a chorus without the audible sweep caused by the chorus rate. It is also useful for creating a wide stereo signal from a mono source, by setting a small detune amount up on one output and down on the other, and panning the two outputs hard left and right.
Page 251 Maximum Speed Sets the maximum speed at which the effect will oscillate. Doppler Increases or decreases the Doppler pitch effect that is created by the physics of a rotating speaker. Shift 1 & 2 Determines the amount of pitch shift or detune shift from the original signal source. Works best with individual notes.
Page 252: Bss® Graphic Equalisers
BSS® Graphic Equalisers The Vi Series uses a total of 35 high-quality BSS® Graphic Equalisers (GEQ). Each of the 32 Busses and the three Main Masters are equipped with a 30-band Graphic Equalizer from BSS®. The overall Q of the graphic EQ is adjustable from 4 to 6 in 0.5 steps, to allow a narrower or wider bandwidth of the filers as desired.
Page 253 Figure 21-18: Master Bay With An Output Bus Soloed. When a <GEQ Field> is touched, the lower part of the master bay’s screen appears as shown in Figure 21-19. Figure 21-19: Lower Part Of The Master Bay’s Screen in Graphic EQ Mode showing cut/boost in Vistonics area when fader is touched.
Page 254 The Octaves setting provides a more intuitive control in a musical context The control adjusts Q between 4 and 6 in 0.5 steps, or bandwidth between 0.24 and 0.36 in 0.03 steps. Selection of Q or BW is made in the SETTINGS Menu. Note: The setting of the Q/BWOct control affects ALL EQ’s on the desk, parametric and graphic.
Page 255 Page 20 - 24 Soundcraft Vi Series™ User Guide 1112...
Page 256: Midi
MIDI Main Menu – MIDI page open & RX Channel list selected Figure 22-1: MIDI RX Channels. The MIDI page of the Main Menu contains the following elements : · Device Lists for TX MIDI Channel, RX MIDI Channel and TX MIDI Device ID. ·...
Page 257 The <RX CHANNELS>, <TX CHANNELS> and <TX DEVICE ID> buttons select one of the three Device Lists for viewing and name editing. The NAME sub-page button opens the QWERTY keyboard and allows the default Device names to be edited. The SCROLL Devices encoder allows fast scrolling of the selected list. The List wraps around when scrolled –...
Page 258: Main Menu -Midi Page Open & Tx Channel List Selected
TC Display {ON} key. When switched on, the incoming MIDI timecode value and its automatically detected frame rate is displayed instead of the show name on the main page in the control bay screen. MIDI OUT: The red area of the screen controls parameters relating to MIDI output. ON button: works as a global enable buttons for the 2x MIDI OUTs –...
Page 259: Main Menu -Midi Page Open & Transmit Device Ids List Selected
Main Menu –MIDI page open & Transmit Device IDs list selected Figure 22-3: MIDI TX Device IDs. Showing the Device List with the Transmit Device IDs button selected. The NAME sub-page button opens the QWERTY keyboard and allows the default Device names to be edited.
Page 260: Midi Event Types
MIDI Event Types Event Type Display as: Value 1, data range Cue List Value 2, data range Note On Note On Note value, 0-127 Yes Yes Velocity 0-127 Program Change Prog Chng Program No., 0-127 Yes Yes Controller Controller Controller No., 0-127 Yes Yes Value, 0-127 User-defined text...
Page 261 Page 21 - 6 Soundcraft Vi Series™ User Guide 1112...
Page 262: Channel Version
96/72 CHANNEL VERSION 96/72 Channel Version. On a Vi Series console running V3.0 software or later, the console may be upgraded to 96 (Vi6) or 72 (Vi4) mixing channels, by fitting an additional DSP card to the Local Rack. This upgrade may either be factory fitted at time of order, or can be retrofitted to existing consoles.
Page 263: Hints On Using The Dsp Upgrade's Additional 32/24 Channels
Hints on using the DSP Upgrade’s additional 32/24 channels When the Vi Series is upgraded with the DSP card addition, there are two ways to use the additional channels: 1. Making more use of the existing I/O The Vi6 already has 64 mic ins from the stagebox, plus 16 line inputs, 3 mic inputs, 16 AES/EBU inputs and up to 64 MADI inputs in the Local Rack, plus the returns from the 8 built-in stereo Lexicon FX units.
Page 264 Installing a Third DSP card for 96ch operation In order to take advantage of the mixing channel upgrade of the V3.0 software, an third DSP card needs to be installed in the Local Rack. Although DSP cards will work in any of the free slots in the upper section of the Local Rack, it is recommended to fit the additional card in such a way that there is one free slot in between all of the cards, in order to maximize efficient airflow in the rack.
Page 265 MADI Card Settings for additional Stageboxes The MADI cards on the Vi4 and 6 contain a DIP switch setting which has to be set differently depending on whether the card is to be used for a Stagebox, or as a simple MADI connection for recording. This setting is necessary because the messages that the card sends out in order to communicate with a stagebox need to be disabled if the card is used to feed a device such as a hard disk recorder, otherwise this can cause problems.
Page 266: Technical Information
TECHNICAL INFORMATION Vi Series Standard I/O Cards Soundcraft Vi Series™ User Guide Page 23 - 1...
Page 267: Line In Card
LINE IN CARD D21m System 6.2.3 Line In Card 1.949.421 Eight-channel line input card with 24 bit, 44.1/48/88.2/96 kHz A/D Converter, delta-sigma conversion. Transformer-balanced inputs. 96 kHz, 88.2 kHz, 48 kHz, or 44.1 kHz operation. 7...26 dBu input sensitivity. “Signal present” LED indicator.
Page 268 D21m System Level Ch 1 Level Ch 2 Ch 1 Ch 2 Ch 3 Ch 4 Level Ch 3 Level Ch 4 Level Ch 5 Level Ch 6 Ch 5 Ch 6 Ch 7 Ch 8 Level Ch 7 Level Ch 8 Jumpers: Level (Ch1...8) Two positions each: 15 dBu or 24 dBu.
Page 269: 6.2.4 Line Out Card
LINE OUT CARD D21m System 6.2.4 Line Out Card 1.949.420 Eight-channel, 24 bit line output card with 24 bit D/A converters with 96 kHz, 88.2 kHz, 48 kHz, or 44.1 kHz operation. Electronically balanced outputs. 7…26 dBu max. output level. Outputs on standard 25-pin D-type connector (female).
Page 270 D21m System 24 dBu 24 dBu Level Level Ch 1 Ch 2 15 dBu 15 dBu 24 dBu 24 dBu Level Level Ch 3 Ch 4 15 dBu 15 dBu 24 dBu 24 dBu Level Level Ch 5 Ch 6 15 dBu 15 dBu 24 dBu...
Page 271: Mic/Line In Card
MIC/LINE IN CARD D21m System Analog I/O Cards 6.2.1 Mic/Line In Card 1.949.427 Four analog microphone/line inputs, electronically balanced, with 24 bit, 44.1/48/88.2/96 kHz delta-sigma A/D converters (mic/line sensitivity, gain setting in 1 dB steps, low-cut  lter, soft clipping and 48 V phantom power on/ off controlled by console software);...
Page 272 D21m System RA1...4: Factory Setting (Level Fine-Adjustment) LEDs: PHANTOM 1...4 For each channel a yellow LED indicates if the pantom supply is on. SIGNAL 1...4 For each channel a green LED indicates if input signal is present; its bright- ness is a rough indication of the signal level. Please note that the input level trimmer potentiometers are factory-set.
Page 273: Aes/Ebu I/O Cards
D21m System AES/EBU I/O CARDS Digital I/O Cards 6.3.1 AES/EBU I/O Cards 1.949.422, 1.949.423, 1.949.424 AES/EBU input/output card with 16 Ch I/O. With input SFCs only. Selectable output sampling frequencies: 96 kHz, 48 kHz, 44.1 kHz, or external reference (22...108 kHz). Input SFCs can be bypassed individually.
Page 274 D21m System 110 Ω Input / output impedance Input sensitivity min. 0.2 V Output level (into 110 Ω) SFC range 22...108 kHz Current consumption (3.3 V) 1.949.422: 0.2 A; ..423: 0.4 A; ..424: 0.6 A (5 V) 0.65 A Operating temperature 0...40°...
Page 275 D21m System Connector Pin Assignment: (2 × 25-pin D-type, female) Pin Signal “CH 1...8” Signal “CH 9...16” Pin Signal “CH 1...8” Signal “CH 9...16” CH 7/8 out + CH 15/16 out + 14 CH 7/8 out – CH 15/16 out – CH 7/8 out screen CH 15/16 out screen 15 CH 5/6 out + CH 13/14 out +...
Page 276: Madi I/O Cards
MADI I/O CARDS D21m System 6.3.2 MADI I/O Cards 1.949.430, 1.949.431, 1.949.433 The MADI I/O card can establish a 64-channel MADI input and output to the Stagebox or other MADI-equipped device. Optical inputs and out puts are provided on SC connectors available in multi-mode and single-mode ver- sions, as well as a version with RJ45 connectors for twisted-pair cable and an additional word clock output on a BNC socket.
Page 277 D21m System MADI I/O Card, Optical Versions Default Setting: Default Setting: MADI I/O Card, Twisted-Pair Version Default **S1 Setting: 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 Default Setting: Default Setting: (On optical versions only) Switches: Toggle switch for 64 (factory default) or 56 channel selection.
Page 278 D21m System ACTIVE IF S1.1 S1.2 MADI MAIN S1.5 Reserved pairs (RJ45) for FS Sync S1.6 transmission S1.3 S1.4 MADI S1.7 (RJ45) S1.8 FS_SYS S4.7 WCLK S4.8 (On optical versions only) Rotary switch for baud rate selection of the RS422 user interface: Position Setting 115’200 bps (factory default) 57’600 bps...
Page 279 D21m System DIP switch for MADI setting (on the Cat5 version the switches 4...8 are used differently, as indicated below): Card Versions Switch Setting OFF: AUX IF is used for channel extension at 96 kHz (factory default) ON: AUX IF is used for redundancy at 96 kHz (in 48 kHz mode, AUX IF is used for redundancy regardless of the switch setting) Both OFF: Standard operation (factory default) ALL MADI Cards...
Page 280: Madi Hd Cards
MADI HD CARDS D21m System 6.5.3 MADI HD Cards 1.949.411, 1.949.413, 1.949.414 The MADI HD card is plugged into the HD card slot in the Stagebox and provides the link to the Local Rack frame. The two interfaces offer up to 64 audio channels with 48kHz operation, together with embedded control and user-accessible serial connection in each direction.
Page 281 D21m System Cable length multi-mode  bre <2 km single-mode  bre <15 km (<40 km on request) CAT5e or better,  exible braid <75 m CAT7, solid core <120 m Input frequency 48kHz ±100 ppm Current consumption (3.3 V/5 V) 0.9 A/0.25 A Operating temperature 0...40°...
Page 282 D21m System DIP switch for MADI setting: Switch Setting OFF: AUX is used as redundant port at 88.2 / 96 kHz (factory default) ON: AUX is used as CH33...64 at 88.2 / 96 kHz OFF: 64 MADI channels (factory default) ON: 56 MADI channels (standard setting for legacy products) OFF OFF MADI1 –...
Page 283 D21m System MADI MAIN / MADI AUX (8-pin RJ45) (on twisted-pair cable version only) Pin Signal MADI RxD + MADI RxD – MADI TxD + WCLK TxD/RxD + Socket View WCLK TxD/RxD – MADI TxD – reserved reserved D21m Modules 6-47 Date printed: 30.08.07 Page 23 - 18...
Page 284: Gpio Card With Relay Outputs
GPIO CARD WITH RELAY OUTPUTS D21m System 6.4.2 GPIO Card with Relay Outputs 1.949.436 For general-purpose applications requiring total electrical isolation, this card provides 16 electrically isolated opto-coupler inputs with integrated current sink (5...24 V ) and 16 electrically isolated outputs using SPST relay con- tacts.
Page 285 D21m System Connector Pin Assignment: (37-pin D-type, female) Pin Signal “GPI 1-16” Signal “GPO 1-16” Pin Signal “GPI 1-16” Signal “GPO 1-16” GPI 1a GPO 1a 20 GPI 1b GPO 1b GPI 2a GPO 2a 21 GPI 2b GPO 2b GPI 3a GPO 3a 22 GPI 3b...
Page 286: Ext. Sync. Card
EXT. SYNC. CARD SCore Live Ext. Sync Card 1.943.331 The Ext. Sync card acts as a connector panel for audio clock syn- chronization inputs and outputs. Three inputs (VIDEO IN, WCLK IN, and AES SYNC IN) can be used; their signals are sent to the sync bus on the backplane.
Page 287 SCore Live LED: EXT LOCK Indicates that the applied external sync is used by the system. DIP Switch: Setting VIDEO IN termination (default setting OFF: High-Z / ON: 75 Ω) reserved (default setting OFF) reserved (default setting OFF) WCLK IN termination (default setting OFF: High-Z / ON: 75 Ω) Connector Pin Assignment: AES SYNC IN + 3x OUT (15-pin D-type, female) Signal...
Page 288: Vi Series Optional I/O Cards
Vi Series Optional I/O Cards Soundcraft Vi Series™ User Guide Page 23 - 23...
Page 289: Cobranet® Card
CobraNet® CARD D21m System 6.3.8 CobraNet Card ® 1.949.445 This card allows sending and receiving of up to 32 audio channels to/from ® a CobraNet . DIP switches on the card allow setting the number of input or output channels seen by the console. Default setting is 32 output and no input channels.
Page 290 D21m System DIP Switch: DIP switch for channel count setting: Number of Channels OFF OFF OFF OFF 0 inputs (factory default) OFF OFF OFF ON 8 inputs OFF OFF ON OFF 16 inputs OFF OFF ON 24 inputs OFF ON OFF OFF 32 inputs NOT ALLOWED OFF OFF OFF OFF 0 outputs...
Page 291: Aviom A-Net® Card
Aviom A-Net® CARD D21m System 6.3.9 Aviom A-Net Card ® 1.949.446 This card allows the Vi desk to digitally feed an Aviom A-Net ® Pro-16 chain. With this standard, 16 mono signals can be fed to any number of Aviom personal mixers (such as the A-16 II), connected in a daisy ®...
Page 292 D21m System Position Setting Front-Panel Switch: OFF: Channels 1 and 2 are mono (factory default) ON: Channels 1 and 2 are a stereo group OFF: Channels 3 and 4 are mono (factory default) ON: Channels 3 and 4 are a stereo group OFF: Channels 5 and 6 are mono (factory default) ON: Channels 5 and 6 are a stereo group OFF: Channels 7 and 8 are mono (factory default)
Page 293: Ethersound® Card
EtherSound® CARD Note: only available via Digigram distribution network. Please contact www.digigram.com for further details. D21m System 6.3.10 EtherSound Card ® (please contact www.digigram.com for further details) ® The EtherSound card allows connecting the Vi console to an Ether-Sound® network. From the desk's viewpoint, it acts in a similar way to a MADI card combined with a GPIO card.
Page 294 D21m System ES Giga J22: ES 100 LEDs: ES-100, ES-GIGA Indicate the mode selected with jumper J22. Green: The card is the clock source of the EtherSound ® ES CLOCK network. Red (only in case of a ring network topology): The card was de ned to be ®...
Page 295: Adat I/O Card
ADAT I/O CARD D21m System 6.3.3 ADAT I/O Cards 1.949.425, 1.949.429 Two optical eight-channel ADAT inputs and outputs. 48kHz operation. Optical inputs and outputs are provided on TosLink connectors. The card is only available for the Local Rack. Max. distance Current consumption (3.3 V) 0.1 A (5 V)
Page 296 D21m System 16-Ch Mode (Default Setting) 8-Ch Mode LEDs: IN CH 1-8, 9-16 These LEDs indicate that valid ADAT signals are available at the respective inputs. Jumper: 8/16 Ch Mode It is possible to restrict the number of channels from 16 to 8 using this jumper.
Page 297: Sdi Inputcard
SDI INPUT CARD D21m System 6.3.5 SDI Input Card 1.949.441 The HD/SD SDI (serial digital interface) 16-channel de-embedder card is able to de-embed eight or 16 audio channels from SDI-SD as well as from SDI- HD video streams. For the Vi I/O system it acts as an eight-or 16-channel audio input card.
Page 298 D21m System Default Setting: Default Setting: LEDs: SDI LOCK Indicates a valid SDI signal at the input. Indicates a valid HD SDI signal at the input. Switch Setting DIP Switches: OFF: 16-channel mode (factory default) ON: 8-channel mode OFF: Group 1/2 used in 8-channel mode (factory default) ON: Group 3/4 used in 8-channel mode OFF: SFC disabled (factory default) ON: SFC enabled...
Page 299: Sdi I/O Card
SDI I/O CARD D21m System 6.3.6 SDI I/O Card 1.949.442 The HD/SD SDI (serial digital interface) embedder/de-embedder card is able to handle video signals according to the SD as well as the HD standard. It can act as an eight-channel embedder, an eight-channel de-embedder, or as a combination of the two.
Page 300 D21m System Default Setting: Default Setting: LEDs: SDI LOCK Indicates a valid SDI signal at the input. Indicates a valid HD SDI signal at the input. Switch Setting DIP Switches: OFF: Enable de-embedder (factory default) OFF: Enable embedder (factory default) OFF: SFC bypass (factory default) reserved (must always be OFF) Switch Setting...
Page 301: Dolby® E/Digital Decoder Card
DOLBY® E/DIGITAL DECODER CARD D21m System 6.3.7 Dolby E/Digital Decoder Card ® 1.949.443 (single-decoder) / 1.949.444 (dual-decoder) ® ® About Dolby Dolby E allows encoding of up to 8 mono audio channels and some metadata into a pair of two channels (e.g. AES/EBU) by using 20 audio bits thereof. Both encoding and decoding processes create one video frame of delay.
Page 302 D21m System Current consumption (3.3 V) 0.2 A (5 V) 0.8 A (1.949.443); 1.3 A (1.949.444) Operating temperature 0...40° C (fitted on 1.949.444 ONLY) (must ALWAYS be fitted) LEDs: M1 / M2 Indicate that a valid AES/EBU signal is detected on main input 1/2. P1 / P2 Indicate that a valid AES/EBU signal is detected on fallback input 1/2.
Page 303 D21m System S2.4 PCM Latency (Module 1 only) S2.4 PCM signal is delayed by 1 video frame (factory default) PCM signal is minimally delayed ® Decoding a Dolby E stream always causes a delay of one video frame. In case a regular PCM signal is fed to the card, this can be delayed by one video frame, too.
Page 304 D21m System S1.4 PCM Latency (Module 2 only) S1.4 PCM signal is delayed by 1 video frame (factory default) PCM signal is minimally delayed Same as S2.4 above, but for module 2. S1.5 Module 2 Pulldown Mode S1.5 Pulldown mode is off (factory default) Pulldown mode is on Same as S2.5 above, but for module 2.
Page 305 D21m System METADATA OUT (9-pin D-type, female) The Metadata Out socket allows sending the meta data of either module or of both modules at once. If the meta data of either decoder module 1 or 2 is required, plug the short ...
Page 306 BLOCK DIAGRAM Soundcraft Vi4™ CHANNEL 1 to 96 MIX BUS 32 BUS FEED 32 MIX 32 BUS 32 Soundcraft Vi Series™ User Guide 1112 Page 24 - 1...
Page 307 BLOCK DIAGRAM Soundcraft Vi6™ CHANNEL 1 to 96 Page 24- 2 Soundcraft Vi Series™ User Guide 1112...
Page 308: Vm 2 Concepts
HiQnet is a network communications protocol developed by Harman which enables various professional audio products within the Harman Pro-audio range to communicate with each other and provides remote control and monitoring of Harman devices such as power amplifiers, powered speakers, DSP processors and microphones.
Page 309 HiQnet data from the microphones, and in this case an Ethernet switch (not shown in the diagram below) will be used to allow other Harman devices and/or a wired or wireless computer running Harman’s System Architect software to be connected into the network.
Page 310 Setting up a VM Network In the following setup information, a basic understanding of computer network configuration is assumed. Basic Network Topology The example illustrated shows a typical setup with a front-of-house and Monitor console and a rack of AKG wireless receivers. If only one console is being used, and there is no other HiQnet-connected equipment, the Hub4000Q can be directly connected to the console without using a switch, but in most cases it is better to use one.
Page 311: Identifying The Hiqnet Network Connector On Vi Consoles
Identifying the HiQnet Network connector on Vi consoles The HiQnet port is on the rear of the control surface, adjacent to the rear USB sockets. Important! The HiQnet port on early Vi1 consoles (serial numbers lower than 30210956) is only able to drive short cable lengths, max recommended length 1 metre (3 feet).
Page 312: Detailed Console Operation Of Vm2
Detailed Console Operation of VM Setting up and using VM monitoring on a Vi Series console falls into four simple steps: • Connect up the HiQnet network as described in the previous section and check that the IP address configuration is correct on all devices. •...
Page 313 Using the Console’s HiQnet Setup page to set up an IP configuration Press the MENU button, select the System tab, then the HiQnet tab to access the Setup page. Configuring the IP Address Ensure the console’s HiQnet port is connected to the HiQnet network, and use the IP Config and IP address controls to set up a valid IP address for the console.
Page 314 Setting the HiQnet Node Address Before enabling HiQnet, use the HIQNET ADDR Vistonics control to set a suitable HiQnet node address for the console. The HiQnet node address can be any number in the range 1 – 65,535 but it must be a unique number within the network in order to avoid conflicts with other HPro devices.
Page 315 Using the Device List Device List List scroll Set audio patch Device List The Device list occupies the centre of the HiQnet Setup page, and will initially be completely empty. Once HiQnet has been turned on, and a HiQnet network is attached to the console, the console will search for any attached AKG microphones and display a list of the microphones found on the network in the left- hand column of the Device List.
Page 316 Associating the Microphones with Audio Connectors Use the MAP DEVICES Vistonics control to scroll the list and select a microphone, then press the AUDIO PATCH button to open the patching matrix. The patching matrix allows all of the physical input connectors available within the Vi system to be seen and the relevant connector to be chosen to correspond to where the currently selected microphone is connected.
Page 317 Using the Monitoring Information Display on the Channel Strips Once the Device list has been populated with discovered Microphone devices, and audio patch connectors have been assigned to these, the Monitoring information will automatically be displayed in the channel strips where those audio patches are used. The screenshot below has the first three channels with AKG mics assigned, and shows the location of the AKG Monitoring info.
Page 318 In more detail, the elements that are added to the input channel overview are as follows: Microphone audio Microphone Microphone RF clipping indicator Mute indicator status indicator Microphone Battery level indicator The displayed Microphone monitoring elements shown on previous page provide the following functions: Microphone Mute status indicator Shows red ‘MUTE’...
Page 319 Network Error display The microphone status indications are only valid if they are being transmitted by a HiQnet network therefore it is useful to know whether there are network problems. The system is able to differentiate between a network error/disconnection and for example out of range RF or switched off transmitter. In the case of a network error, the AKG elements only within the input strip overview on all channels will change to a greyed-out condition as shown below: If the network is disconnected, or there is a network connection error, the following diagnostic indicators...
Page 320 Vistonics Detailed Monitoring Display To see more detailed information about the AKG Microphones, the Input section of the channel strip can be zoomed by touching the Input touch field at the top of the strip. Three special Vistonics fields are added to the zoom view of channels that are patched to AKG-associated connectors, giving more detailed information of RF level (bargraph and numerical signal strength in dB), Battery level (bargraph icon plus numerical readout of remaining battery life in hours), and the internal gain of the microphone.
Page 321: Troubleshooting A Vm2 Setup
TROUBLESHOOTING A VM SETUP Problem HiQnet cannot be switched ON in the Menu-System-HiQnet page because there is no IP address. Solution 1. Check the cable connection to the HiQnet port on the console – if there is no valid Ethernet connection, it will not be possible to switch on the HiQnet functionality.
Page 322: Faqs - Akg Wireless Systems
These Frequently Asked Questions (FAQs) may help if there are issues with working or setting up the HUB 4000 Q. The FAQs help you to get started quickly with setting up and remote control of your AKG wireless system with the PC software Harman System Architect , the AKG Ⓡ...
Page 323 April 2011 Page 2 FAQ 1: How do I setup my HUB 4000 Q(s) and my wireless system together with System Architect/AKG Wireless iPhone App? See Quick Start Guide steps 1 - 3 and FAQs. FAQ 2-1: System Architect starts up and no HUB 4000Q is detected! If the HUB 4000 Q is not showing up at HiQnet Explorer, System Architect has no network connection to the HUB 4000 Q.
Page 324 April 2011 Page 3 FAQ 3: My HUB 4000 Q has wrong network settings! Open Network Troubleshooter at System Architects – Ribbon/Tools/Network/Network Troubleshooter – and follow the instructions. If the Network Troubleshooter doesn’t help open Readdress Devices at System Architects – Ribbon/Tools/Network/Readdress Devices The Readdress Devices panel is opened.
Page 325 April 2011 Page 4 Now the HUB 4000 Q should have a valid IP address The data LED is showing the network traffic (it should blink  non periodically and very fast)  The slot LEDs are ON if a AKG Device is connected If the HUB 4000 Q has a valid IP address, the Readdress Network panel should show up a new entry with your HUB 4000 Q because System Architect has now a network connection to the HUB 4000 Q...
Page 326 April 2011 Page 5 That means that the device has the wrong IP address and subnet. - See FAQ Now you can check the Use DHCP checkbox if you want to use a DHCP server for getting a valid IP address and subnet from the DHCP server Configure your PC operating system for retrieving automatically an IP address and subnet –...
Page 327: Dip Switch Settings
April 2011 Page 6 FAQ 6-1: What IP address is used by the HUB 4000 Q? The IP address negotiation of the HUB 4000 Q depends on the DIP switch setting of the HUB 4000 Q. Also see FAQ 6-2, 6-3, 6-4, 6-5. DIP switch settings: On the right side of the HUB 4000 Q, behind the AKG logo, a DIP switch can be found which changes the IP address negotiation.
Page 328 April 2011 Page 7 DIP 1, 2, 4: ON -DIP 3: OFF AutoIP only – Overrules System Architect settings FAQ 6-2: What IP address and subnet should i choose? Normally the PC with System Architect, Wireless iPhone app or Vi console with VM2 are supposed to operate in the same HiQnet LAN (Local area network) as the AKG HUB 4000 Qs.
Page 329 April 2011 Page 8 Router (DHCP) HUB 4000 Q 'Hub 1' IP adress: 192.168.0.3 IP adress: 192.168.0.1 IP adress: 192.168.0.21 Subnet: 255.255.255.0 Subnet: 255.255.255.0 Subnet: 255.255.255.0 HUB 4000 Q 'Hub 2' IP adress: 192.168.0.22 Subnet: 255.255.255.0 EXAMPLE: The following example shows a HiQnet system with a PC running System Architect, a router (DHCP turned off) and one HUB 4000 Q.
Page 330 April 2011 Page 9 FAQ 6-5: How should i configure my network? There are multiple possible configurations which are possible. The three most common configurations are: 1 - PC, multiple HUB 4000 Qs, DHCP router This is the recommended configuration. The PC is connected via a network router with DHCP to the multiple HUB 4000 Qs.
Page 331 April 2011 Page 10 3 - PC, a single HUB 4000 Qs, connected via a crossover network cable The PC is connected via a crossover network cable to a single HUB 4000 Q. The network settings must be set manually at the PC and the HUB 4000 Q. Make sure that the PC and the HUB 4000 Qs have the right IP settings.
Page 332 April 2011 Page 11 FAQ 11: After System Architect is coming online a stripe with red background is showing up on the HUB 4000 Q product panel The red background of a Stripe indicates a MISMATCH between the physical device, connected to the HUB 4000 Q and its dedicated Stripe. The Mismatch can be resolved in two ways: 1.
Page 333: Windows Xp
April 2011 Page 12 FAQ 14: How can I set the IP settings of my PC? The IP settings of your PC can be found at the Windows Control Panel/Network Settings. Windows XP: Click Start Button/Settings/Control Panel At Control Panel click at Network Settings At Network Settings double click the HiQnet network Windows Vista: Click Start Button/Control Panel...
Page 334 April 2011 Page 13 Windows 7: Click Start Button/Control Panel At Control Panel click on ‘Network and Sharing Center’ and click on ‘Connections’ link of the HiQnet network This opens the Local Area Connection Status panel. Here you can see the status of your network.
Page 335 April 2011 Page 14 address with DHCP or AutoIP. You can also define a static IP address and subnet at ‘Use the following IP address’. See FAQ 6-2 for more information about setting an IP address FAQ 15: System Architect crashes when starting 1 Click Setup! System Architect 1 Click Setup only works with 32 bit versions of Windows operating systems.
Page 336 Soundcraft Vi Series™ User Guide 1112 Page 25 - 29...
Page 337 Page 25 - 30 Soundcraft Vi Series™ User Guide 1112...

This manual is also suitable for:

Soundcraft vi6

Harman Soundcraft Vi4 User Manual

Quick Links

Need help?

Questions and answers

Subscribe to Our Youtube Channel

Related Manuals for Harman Soundcraft Vi4

Summary of Contents for Harman Soundcraft Vi4