SoundCraft EFX12 User Manual
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SoundCraft EFX12 User Manual

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Summary of Contents for SoundCraft EFX12

  • Page 1 User Guide User Guide User Guide User Guide User Guide...
  • Page 2 Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual.

  • Page 3: Table Of Contents

    Contents SAFETY SYMBOL GUIDE IMPORTANT SAFETY INSTRUCTIONS INTRODUCTION OVERVIEW THE 60-SECOND GUIDE WIRING UP BLOCK DIAGRAM MONO INPUT CHANNEL STEREO INPUT CHANNELS MASTER SECTION Lexicon® FX PROCESSOR OVERVIEW FX OPERATION FX PROCESSOR CONTROLS REVERBS REVERB CONTROLS DELAYS DELAY CONTROLS MODULATED EFFECTS FACTORY RESET EFFECTS DATA CHART USING YOUR EFX CONSOLE...

  • Page 4: Safety Symbol Guide

    For your own safety and to avoid invalidation of the warranty please read this section carefully. SAFETY SYMBOL GUIDE For your own safety and to avoid invalidation of the warranty all text marked with these symbols should be read carefully. WARNINGS The lightning flash with arrowhead symbol, is intended to alert the user to the presence of un-insulated “dangerous...

  • Page 5: Important Safety Instructions

    IMPORTANT SAFETY INSTRUCTIONS Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
  • Page 6 Note: It is recommended that all maintenance and service on the product should be carried out by Soundcraft or its authorised agents. Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or repair by unauthor- ised personnel.

  • Page 7: Introduction

    INTRODUCTION Thank you for purchasing a Soundcraft EFX mixer. The EFX range is our most cost-effective mixing solution, bringing you all the features and performance that you expect from a Soundcraft product, at an extraordinarily low price. The packaging, which your EFX arrived in, forms part of the product and must be retained for future use.

  • Page 8: Overview

    OVERVIEW THE 60-SECOND GUIDE To get you working as fast as possible, this manual begins with a 60-second guide. Here you can find quick information on any feature of the console. 1 MIC INPUT (XLR) Connect Microphones here. If you are using a condenser mic, ensure phan- tom power is supplied by pressing the switch at the top of the master sec- tion.
  • Page 9 10 PFL When pressed the signal will appear on the monitor and headphone outputs - use this to monitor the post-EQ signal from the channel. 11 PEAK LED This is used to indicate that the signal is close to distorting (clipping) on a specific channel.

  • Page 10: Wiring Up

    WIRING UP Please refer to pages 38/39 for additional wiring details. Mic Input The MIC input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED low-level signals, whether from deli- cate vocals requiring the best low-noise performance, or drum kits needing maximum headroom.
  • Page 11 Stereo Inputs STEREO 1/2 These accept 3-pole ‘A’ gauge jacks, or 2-pole mono jacks which will automati- cally ground the ‘cold’ input. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or as returns from processing units. The input is BALANCED for low noise and immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as shown, although you should then keep cable lengths as short as possible to minimise interference...
  • Page 12 Headphones The PHONES output is a 3-pole ‘ A ’ gauge jack, wired as a stereo output as shown, ideally for headphones of 150Ω or greater. 8Ω headphones are not recommended. Polarity (Phase) You will probably be familiar with the concept of polarity in electrical signals and this is of particular importance to balanced audio signals.
  • Page 13 Customers outside the UK are requested to contact their territorial distributor who is able to offer support in the local time zone and language. Please see the distributor listings on our website (www.soundcraft.com) to locate your local distributor. OUT-OF-WARRANTY PRODUCTS For out-of-warranty consoles purchased in the United Kingdom, please contact the Customer Services Department (e-mail: csd@soundcraft.com) at the factory in Pot-...

  • Page 14: Block Diagram

    BLOCK DIAGRAM...

  • Page 15: Mono Input Channel

    MONO INPUT CHANNEL 1 Mic Input The MIC input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED signals. Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. You can use low-cost HIGH IMPEDANCE mics, but the level of background noise will be higher.
  • Page 16 any background hiss will be more noticeable and you may not be able to get enough signal level to the output of the mixer. Note that some sound equipment, particularly that intended for domes- tic use, operates at a lower level (-10dBV) than professional equipment and will therefore need a higher gain setting to give the same output level.
  • Page 17 7 FX Send This control sets the level of the post-fade signal being sent to the FX bus; from there it is routed to the FX processor. 8 PAN This control sets the amount of the channel signal feeding the Left and Right MIX buses, allowing you to move the source smoothly across the stereo image.

  • Page 18: Stereo Input Channels

    STEREO INPUT CHANNELS 1 INPUTS STEREO 1/2 These inputs accept 3-pole ‘A’ gauge (TRS) jacks. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or processing units. The inputs are BALANCED for low noise and top quality from professional equipment, but you can use UNBALANCED sources by wiring up the jacks as shown in the “Wiring it Up”...

  • Page 19: Master Section

    6 BALANCE This control sets the amount of the channel signal feeding the Left and Right MIX buses, allowing you to balance the source in the stereo image. When the control is turned fully right or left you feed only that side of the signal to the mix.

  • Page 20: Master Section

    MASTER SECTION 1 PHANTOM POWER Many professional condenser mics need PHANTOM POWER, which is a method of sending a powering voltage down the same wires as the mic signal. Press the switch to enable the +48V power to all of the MIC inputs. The adjacent LED illu- minates when the power is active.
  • Page 21 7 2 TRACK IN These two RCA phono sockets are unbalanced Left and Right line-level inputs, used for connecting a play- back device. 8 2 TRACK TO MIX Press this switch to route the 2 Track in signals, connected to the Left and Right RCA sockets 7, to the MIX Left/Right signal at the MIX outputs.

  • Page 22: Lexicon® Fx Processor Overview

    Lexicon® FX PROCESSOR OVERVIEW The effects within the console have been designed with both live sound reinforcement and home recording in mind. Featuring the deep, rich reverb algorithms that Lexicon® are renowned for the effects processor offers increased versatility and high quality effects, all instantly accessible via the extremely intuitive front panel controls.

  • Page 23: Fx Processor Controls

    FX PROCESSOR CONTROLS 1. Tempo Button - Tapping this button twice sets the Delay Time of the selected program. The LED flashes to indicate current tempo. Can be tapped in time with music source to synchronise the delay. 2. Store Button - Stores program modifications to one of the program locations. Press and hold for three seconds will store the preset in the current location.

  • Page 24: Reverbs

    REVERBS Reverberation (or “reverb” for short) is the complex effect created by the way we perceive sound in an enclosed space. When sound waves encounter an object or boundary, they don’t just stop. Some of the sound is absorbed by the object, but most of the sound is reflected or is diffused. In an enclosed space, reverb is dependent on many features of that space, including the size, shape and the type of materials that line the walls.

  • Page 25: Reverb Controls

    Reverse Reverb Reverse reverb works in the opposite fashion from normal reverb. Whereas a normal reverb has the loudest series of reflections heard first that then become quieter over time, the Reverse reverb has the softest reflec- tions (essentially the tail of the reverb) heard first, and then grows louder over time until they abruptly cut off. Ambience Reverb Ambience is used to simulate the effect of a small or medium sized room without noticeable decay.

  • Page 26: Delays

    Shape This control helps give a sense of both room shape and room size. Low values for Shape keep the majority of sound energy in the early part of the reverb tail. High values move the energy to later in the reverb, and are helpful in creating the sense of a strong rear wall or “backslap.

  • Page 27: Modulated Effects

    Feedback Controls the number of delay repeats by feeding the delay output signal back into the delay input. This creates a series of delay repeats, each slightly attenuated until they become inaudible. Higher settings create more repeats; lower settings reduce the number of repeats. When this knob is turned fully clockwise, it engages Repeat Hold –...
  • Page 28 Flanger This effect was originally created by simultaneously recording and playing back two identical programs on two tape recorders, then using hand pressure against the flange of the tape reels to slow down first one machine, then the other. The result was a series of changing phase cancellations and reinforcements, with characteris- tic swishing, tunneling, and fading sounds.

  • Page 29: Factory Reset

    Vibrato Vibrato is obtained by smoothly varying the pitch of the signal just sharp and flat of the original at a deter- mined rate. Vibrato Stereo (Wet only) Rotary Mono (Wet only) Tremolo/Pan Stereo (Wet only) Knob 1: Speed Controls the modulation rate of Vibrato. Knob 2: Depth Controls the maximum amount of pitch shift.

  • Page 30: Effects Data Chart

    EFFECTS DATA CHART...

  • Page 31: Using Your Efx Console

    USING YOUR EFX CONSOLE The final output from your sound system can only ever be as good as the weak- est link in the chain, and especially important is the quality of the source signal because this is the starting point of the chain. Just as you need to become familiar with the control functions of your mixer, so you must recognise the importance of correct choice of inputs, microphone placement and input chan- nel settings.
  • Page 32 achieve satisfactory input level setting without feedback, check microphone and speaker placement and repeat the exercise. If feedback persists, it may be necessary to use a Graphic Equaliser to reduce the system response at particular resonant frequencies. Note: The initial settings should only be regarded as a starting point for your mix.

  • Page 33: Applications

    APPLICATIONS APPLICATION 1 - LIVE SOUND REINFORCEMENT APPLICATION 2 - MULTISPEAKER APPLICATIONS This configuration demonstrates how multiple speaker configurations can be driven by the EFX.
  • Page 34 APPLICATION 3 - PLACES OF WORSHIP This configuration uses the FX OUT BUS output to drive an induction loop for the hearing impaired (it is assumed that the FX processor isn’t being used in this configuration). Aux 1 output is used to generate foldback monitoring for the speaker/singer.
  • Page 35 APPLICATION 4 - RECORDING The insert points on channels 1-8 may be used to feed a multitrack recorder as shown (link the send and return signals). The Mix outputs are used for a preliminary stereo mix on a DAT recorder.

  • Page 36: Glossary

    GLOSSARY Auxiliary send An output from the console comprising a mix of signals from channels derived inde- pendently of the main stereo mix. Balance The relative levels of the left and right channels of a stereo signal. Balanced A method of audio connection which ‘balances’ the wanted signal between two wires, these wires also have a screen which carries no signal.
  • Page 37 Rolloff A fall in gain at the extremes of the frequency response. Shelving An equaliser response affecting all frequencies above or below the break frequency i.e. a highpass or lowpass derived response. Spill Acoustic interference from other sources. Transient A momentary rise in the signal level. Unbalanced A method of audio connection which uses a single wire and the cable screen as the signal return.

  • Page 38: Typical Connecting Leads

    TYPICAL CONNECTING LEADS...

  • Page 40: Mark-Up Sheets

    MARK-UP SHEETS You may freely copy these pages, and use them to record the settings used for particular applications/gigs.

  • Page 42: Fitting Optional Rackmount Ears

    The part numbers for the kits are: RW5745 RACK MOUNTING KIT - EFX8 RW5746 RACK MOUNTING KIT- EFX12 Note: a rack extender is included in the EFX8 rack mounting kit to make the console fit into a 19” frame, see the fitting instructions below.

  • Page 43: Typical Specifications

    Mix Output ..................+20dBu max Headphones (@150Ω) ................300mW Input & Output Impedances Mic Input ......................2kΩ Line Input ......................10kΩ Stereo Input ..............65kΩ (stereo), 35kΩ (mono) Outputs ............150kΩ (balanced), 75kΩ (unbalanced) E & OE. Soundcraft reserves the right to change specifications without notice.

  • Page 44: Warranty

    End User means the person who first puts the equipment into regular operation. Dealer means the person other than Soundcraft (if any) from whom the End User purchased the Equipment, provided such a person is authorised for this purpose by Soundcraft or its accredited Distributor.

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