SoundCraft Si impact User Manual
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SoundCraft Si impact User Manual

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  • Page 1 ® User Guide For Soundcraft Si Impact Console ®...
  • Page 2 Soundcraft is a trading division of Harman International Industries Ltd. Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor. Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual. No part of this...

  • Page 3: Table Of Contents

    User Manual CONTENTS CONTENTS 1.0 AN INTRODUCTION TO Si IMPACT 7.0: DSP Elements 7.1: Function Focus 1.1: Safety 7.2: ACS / Channel Strip Elements 1.2: Warranty 7.2.1: ACS Input 1.3: Specifications 7.2.2: ACS Gate 7.2.3: ACS Compressor 2.0: GETTING STARTED 7.2.4: ACS Equaliser 2.1: Console Overview 7.2.5: ACS Output 7.3: Control Channel 2.2: Parts Of The Console 7.4: Graphic EQ (GEQ). 2.3: FaderGlow 8.0: MIX FEATURES 3.0: ASSIGNABLE CONTROLS 8.1: Mute Groups 3.1: Fader Layers 8.2: VCA Groups...

  • Page 4: User Manual

    1.0: INTRODUCTION INTRODUCTION TO PERFORMER The Soundcraft Si impact is a compact digital console optimised for live sound. It’s powerful, yet simple to use, with intuitive controls, consistent colour-coded feedback, and rapid parameter access. Features such as analogue, MADI, and USB I/O as standard, motorised faders, the Assignable...

  • Page 5: Safety

    This unit is capable of operating over a range of mains voltages as marked on the rear panel. The internal power supply unit contains no user serviceable parts. Refer all servicing to a qualified service engineer, through the appropriate Soundcraft dealer. 1.1: INTRODUCTION > SAFETY...
  • Page 6 Soundcraft dealer. • It is recommended that all maintenance and service on the product should be carried out by Soundcraft or its authorised agents. Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or repair by unauthorised personnel.
  • Page 7 User Manual 1.1: SAFETY INTRODUCTION > SAFETY WARNINGS ADVICE FOR THOSE WHO PUSH THE BOUNDARIES Although your new console will not output any sound until you feed it signals, it has the capability to produce sounds which, when monitored through an amplifier or headphones, can damage hearing over time.
  • Page 8 Equipment or the defective component should be returned to the Dealer or to Soundcraft and subject to the following conditions the Dealer or Soundcraft will repair or replace the defec- tive components. Any components replaced will become the property of Soundcraft.

  • Page 9: Specifications

    - Storage Temperature Range -20°C to 60°C (-4°F to - User adjustable delay 1sample – 500ms 140°F) - GEQ 31Hz – 16kHz 1/3 octave • - 31Hz – 16KHz 1/3 octave E & OE. Soundcraft reserves the right to change specifications without notice. 1.3: INTRODUCTION > SPECIFICATIONS...

  • Page 10: Getting Started

    STARTING OFF - AN INTRODUCTION TO THIS MANUAL Anyone with minimal audio experience should be able to operate the Si Impact console without reading too much of this manual, though we do recommend you take the time to go through it.
  • Page 11 2.1: OVERVIEW GETTING STARTED > OVERVIEW The Si Impact console offers an incredible amount of flexibility and ease-of-use for its relatively compact size. To achieve this, there are several assignable features it is advisable you understand before using the console for performance.

  • Page 12: Parts Of The Console

    User Manual 2.2: PARTS OF THE CONSOLE GETTING STARTED > PARTS OF THE CONSOLE 2.2: GETTING STARTED > PARTS OF THE CONSOLE...
  • Page 13 User Manual 2.2: PARTS OF THE CONSOLE GETTING STARTED > PARTS OF THE CONSOLE 2.2: GETTING STARTED > PARTS OF THE CONSOLE...

  • Page 14: Faderglow

    2.3: FADERGLOW GETTING STARTED > FADERGLOW Soundcraft FaderGlow™ is a unique feature that gives the user an additional level of status indication, and can significantly reduce operating errors. Several different functions can be assigned to the console faders, so it can be easy to lose track of which function is currently being controlled, especially when grabbing a fader in a hurry.

  • Page 15: Assignable Controls

    3.0: ASSIGNABLE CONTROLS ASSIGNABLE CONTROLS At the heart of the Si Impact is a group of assignable controls that make the console easier and faster to navigate and operate. Assignable controls work by changing the function of sections of the console surface.

  • Page 16: Fader Layers

    User Manual 3.1: FADER LAYERS ASSIGNABLE CONTROLS > FADER LAYERS The are four main Fader Layers on the Impact console, selected by the FADERS button group (A, B, C, and D) to the right of the Control Channels. The additional buttons in this group assign Graphic EQ bands across the faders for convenient control.

  • Page 17: Control Channels

    User Manual 3.2: CONTROL CHANNELS ASSIGNABLE CONTROLS > CONTROL CHANNELS A Control Channel is an assignable Channel Strip for DSP channels, with Fader, indicators, plus ON, SOLO, and SEL buttons. The SEL button is used to focus the Assignable Channel Strip (ACS) on that channel.

  • Page 18: 1: Control Channel Assignment

    User Manual 3.2.1: CONTROL CHANNEL ASSIGNMENT CONTROL CHANNELS > ASSIGNMENT Control Channel Assignment is accessed via the FADER SETUP button in the Touch Screen Main Menu. Select the Control channel using the Fader Layer and SEL buttons in the usual way - the current Fader Bank and Slot Number cannot be edited in the FADER SETUP menu.
  • Page 19 User Manual 3.2.1: CONTROL CHANNEL ASSIGNMENT CONTROL CHANNELS > ASSIGNMENT Assign Stereo Inputs Assign a Stereo Input channel to the currently selected Control Channel. Touching the value field will bring up a scrollable list of available Stereo Input Channel names. Assign Mixes Assign a MIX Master channel to the currently selected Control Channel.
  • Page 20 User Manual 3.2.1: CONTROL CHANNEL ASSIGNMENT CONTROL CHANNELS > ASSIGNMENT INSERT BLANK Insert a blank Control Channel into the currently selected Control Channel Slot and shift the others to the left or right. Choosing INSERT BLANK >> (right), for example, will push all Control Channels to the right of the currently selected slot, one slot to the right.

  • Page 21: Assignable Channel Strip

    User Manual 3.3: ASSIGNABLE CHANNEL STRIP ASSIGNABLE CONTROLS > ACS By pressing the SEL (Select) button on any available DSP channel, you assign that channel’s parameters to the ACS. From the ACS you can control all input, EQ, dynamics, and output functions available to the selected channel.

  • Page 22: Totem (Fader Follow)

    User Manual 3.4: tOTEM ASSIGNABLE CONTROLS > tOTEM (FADER FOLLOW) tOTEM (The One Touch Easy Mix) buttons MIX 1-14, MTX 1-4, FX 1-4, situated just below the ACS, make up the FADER FOLLOW button group and allow rapid access to bus contributions from channels in any current Fader Layer.

  • Page 23: Touch Screen Operation

    User Manual 4.0: TOUCH SCREEN TOUCH SCREEN The console colour Touch Screen can be used through direct touch, or in conjunction with the Scroll Encoder and MENU / APPLY buttons. It provides access to System settings and preferences, Copy/Paste and cuelist / Show functionality, as well as settings for inputs, outputs monitoring, the solo system, plus a frequency response-type display of the 4-band EQ.

  • Page 24: Main Menu

    User Manual 4.1: MAIN MENU TOUCH SCREEN > MAIN MENU The Touch Screen Main Menu can be accessed at any time by pressing the MENU button next to the Touch Screen. From here you can navigate to any of the settings menus. SHOW Show File operations and global Isolate settings, console RESET CONFIG function.
  • Page 25 User Manual 4.1: MAIN MENU TOUCH SCREEN > MAIN MENU SYSTEM System information, HiQnet and IP addressing, selective console reset functions, and the Event Log. Use the system menu to reset channels, busses, patching, and the whole console. See section 11.2 for more detail. PREFS Brightness settings and D.O.G.S.
  • Page 26 User Manual 4.1: MAIN MENU TOUCH SCREEN > MAIN MENU Settings and operations for the built in Oscillator. Routing, waveform, frequency, and output options. See section 13 for more detail. MONITOR Settings for the monitoring systems. Delay, patching, and Mono Check. See section 8.5 for more information. INPUTS &...

  • Page 27: Inputs & Outputs

    DIGITAL IN 1 - 64 & DIGITAL OUT 1-64; the second uses DIGITAL IN 65-96 & DIGITAL OUT 65-96). Both can be used with a wide range of ViSi I/O cards, or a Soundcraft Stagebox (with the MADI card).

  • Page 28: Patching

    User Manual 5.1: PATCHING INPUTS AND OUTPUTS > PATCHING When patching an input or output, you will be presented with an I/O selection screen. The current patch is shown with an orange tick over the relevant patch icon. Scroll left or right through the available options and select from the labelled patch icons. The system will only show option cards if they are fitted, or if the show was created on a console with expansion cards fitted, or if the show was created with option cards in the offline editor.
  • Page 29 User Manual 5.1: PATCHING INPUTS AND OUTPUTS > PATCHING Patching for the various inputs and outputs on the console can be accessed as follows: Input Patch Source for an Input Channel. Input Channel selected > INPUTS & VCA menu. Direct Output Patch Direct output from an Input Channel.
  • Page 30 User Manual 5.1.1: SOUNDWEB CONTROL INPUTS AND OUTPUTS > PATCHING > SOUNDWEB The console can control BSS Soundweb London devices’ preamp controls via Harman’s HiQnet protocol. When a digital audio transport card (Dante, BLU Link, Cobranet, etc.) is installed and your Si console is connected to a network with Soundweb London devices via the HiQnet port on the back of the console, you can now bring up the SOUNDWEB LONDON EXTERNAL PREAMP control.
  • Page 31 User Manual 5.1.1: SOUNDWEB CONTROL INPUTS AND OUTPUTS > PATCHING > SOUNDWEB External Control Status. Disable / Enable Soundweb London Preamp control for this patch. If enabled, this will activate MIC GAIN* and 48V control from the console on that input channel for the associated Soundweb London device.

  • Page 32: Default Patching

    5.2: DEFAULT PATCHING INPUTS AND OUTPUTS > DEFAULT PATCHING The default patching for the Si Impact console - also shows default Fader Layers in brackets. The console patching can be reset to default via the SYSTEM menu. VCA master assignments are also shown for convenience, though there is no audio patching for these.
  • Page 33 (card 2). The option card outputs are labelled DIGITAL OUT 1-64 (card 1) and DIGITAL OUT 65-96 (card 2). See the Soundcraft Si Option Slot & Option Card User Guide for detailed instructions on card installation and configuration. 5.3 INPUTS & OUTPUTS > ViSi CONNECT...
  • Page 34 User Manual 5.3.1: ViSI CONNECT CARDS INPUTS AND OUTPUTS > ViSi CONNECT > CARDS Single Port CAT5 MADI Dual Port CAT5 MADI (redundant link) Dual Port Multi-Mode SC Optical MADI (redundant link) AES 3 XLR (4ch in, 4ch out on XLRs) AES D-Type (8ch in, 8ch out, 25-way D-SUB connector) Multi Digital Card (32 in / 32 out - FireWire for Mac, USB or FireWire for PC, plus 8 in / 8 out ADAT optical).
  • Page 35 MADI-USB (32 in/ 64 out MADI + 32 in/out USB, OR 64 in/out MADI + 32 USB out only. Connect Soundcraft Stagebox plus a PC or Mac. See section 5.4 for more detail. 5.3.1: INPUTS & OUTPUTS > ViSi CONNECT > CARDS...

  • Page 36: 2: Stageboxes

    User Manual 5.3.2: STAGEBOXES INPUTS AND OUTPUTS > ViSi CONNECT > STAGEBOXES Using the fitted MADI-USB card, the Si Impact can be connected to A variety of additional I/O, including the Soundcraft Stageboxes. Soundcraft Mini Stagebox Two variations of a smaller Stagebox for general use when modular I/O is not required.

  • Page 37: Madi-Usb Card

    The Soundcraft MADI-USB Combo card offers digital audio connection between an Si series console and Apple Mac or PC with a USB port, as well as any of the Soundcraft range of Stageboxes via Soundcraft’s proprietary Cat 5 MADI connection.

  • Page 38: 1: Madi-Usn Setup

    This allows for 32 USB inputs and outputs for PC and Mac recording and playback, plus 32 MADI inputs and 64 MADI outputs (for connec- tion to a Soundcraft Stagebox, for example). DIP Switch 1: Sync - Master / Slave This alters the syncing interaction between the MADI-USB Combo card and the mixer.

  • Page 39: 2: Usb Pc Driver

    PC, you will need to restart your machine for the install process to be complete. The Soundcraft Audio Driver settings can be found in the Soundcraft USB Control Panel. Within this menu, there are options to adjust the streaming mode of the MADI-USB Combo Card and the buffer size from 64 samples up to 8192 samples.

  • Page 40: Channels & Busses

    6.0: CHANNELS & BUSSES CHANNELS & BUSSES The Si Impact console has several basic channels and busses. These are mono and stereo input channels, mono and stereo Mix Busses and MIX output master channels (MIX 1-14), internal FX send mix busses (FX 1-4), stereo Matrix mix busses and Matrix output master channels (MTX 1-4), and the main Left, Right, and Mono/Centre mix master channels.

  • Page 41: Input Channels

    User Manual 6.1: INPUT CHANNELS CHANNELS & BUSSES > INPUT CHANNELS Input channels receive either external input from instruments, microphones, and so on, or they receive input from the internal Lexicon FX units (FX Return - Stereo Input Channels 1-4). Input channels can be mono (64 available: CH 01 - CH 64), stereo (4 available: ST 1 - ST 4 - FX Retunrs by default), or mono-linked (assigned in odd/even stereo pairs of mono Input Channels), and can be patched to any microphone, line, or digital inputs.
  • Page 42 User Manual 6.1: INPUT CHANNELS CHANNELS & BUSSES > INPUT CHANNELS 6.1: CHANNELS & BUSSES > INPUT CHANNELS...

  • Page 43: 1: Input Setup

    User Manual 6.1.1: INPUT SETUP CHANNELS & BUSSES > INPUT CHANNELS > SETUP There are various input-specific options, found via the Touch Screen Main Menu INPUTS button. These offer channel naming, linking, LR or LCR Panning / routing, Pre/Post routing options for Mix Busses and Direct Outputs, and physical input and Direct Output patching.
  • Page 44 User Manual 6.1.1: INPUT SETUP CHANNELS & BUSSES > INPUT CHANNELS > SETUP LCR Pan Width Set the proportion of centre channel signal sent to Left And RIght. Adjust the pan law when in LCR mode is active to increase/decrease the contributions to the LR and Mono buses when panning.

  • Page 45: Mix Outputs

    User Manual 6.2: MIX OUTPUTS CHANNELS & BUSSES > MIX OUTPUTS All contributions to a Mix Bus are summed into Mix Bus Master DSP Channels (MIX 1-14). They have various uses, including feeding auxiliary effects, as monitoring mixes, or creating unique mixes for zoned areas, contribution to the main mix, and more.
  • Page 46 User Manual 6.2: MIX OUTPUTS CHANNELS & BUSSES > MIX OUTPUTS 6.2: CHANNELS & BUSSES > MIX OUTPUTS...

  • Page 47: 1: Mix Outputs Setup

    User Manual 6.2.1: MIX OUTPUTS SETUP CHANNELS & BUSSES > MIX OUTPUTS > SETUP There are various Mix Output-specific options, found via the Touch Screen Main Menu OUTPUTS button. These offer channel naming, isolate, LR / LCR panning and routing Pre/Post routing options, width (stereo/ mono) and physical output patching.
  • Page 48 User Manual 6.2.1: MIX OUTPUTS SETUP CHANNELS & BUSSES > MIX OUTPUTS > SETUP LCR Pan Width Set the proportion of centre channel signal sent to Left And RIght. Adjust the pan law when in LCR mode is active to increase/decrease the contributions to the LR and Mono buses when panning.

  • Page 49: Matrix Outputs

    User Manual 6.3: MATRIX OUTPUTS CHANNELS & BUSSES > MATRIX OUTPUTS The Matrix busses feed the Matrix Master channels. Matrix Busses can be used for many things, including a convenient way to send the same Mix to several monitor destinations at differing levels; or to use as an alternative main mix of mix groups to feed additional front of house zones.
  • Page 50 User Manual 6.3: MATRIX OUTPUTS CHANNELS & BUSSES > MATRIX OUTPUTS 6.3: CHANNELS & BUSSES > MATRIX OUTPUTS...

  • Page 51: 1: Matrix Outputs Setup

    User Manual 6.3.1: MATRIX OUTPUTS SETUP CHANNELS & BUSSES > MATRIX OUTS > SETUP There are various Matrix output-specific options, found via the Touch Screen Main Menu OUTPUTS button. These offer naming, isolate, width, and physical output patching. Name Name the selected Matrix Bus. When the Name field is selected, a QWERTY keyboard will appear on the Touch Screen so you can enter the desired name.

  • Page 52: Main Mix Outputs

    User Manual 6.4: MAIN MIX OUT CHANNELS & BUSSES > MAIN MIX OUTPUTS The Main Left, Right, and Mono/Centre Busses and Master Channels are used for the main mix output and receive their inputs from the Input Channels and Mix Bus Master channels. The Mono bus is the Centre bus when the Panning Mode of contributing channels is set to LCR, and Mono routing is enabled.

  • Page 53: 1: Main Mix Outputs Setup

    User Manual 6.4.1: MAIN MIX OUTPUTS SETUP CHANNELS & BUSSES > MAIN MIX OUTS > SETUP There are various Main LR and M-specific options, found via the Touch Screen Main Menu OUTPUTS button. These offer naming, isolate, and physical output patching. Name Name the selected Main Output Bus.

  • Page 54: Fx Busses

    User Manual 6.5: FX BUSSES CHANNELS & BUSSES > FX Busses The FX Send busses (FX 1-4) are used exclusively to feed the internal Lexicon FX units. They receive input from the Input Channels. Those contributions are accessed via the FX 1-4 tOTEM buttons. Management of the Lexicon FX is enabled via the FX button (Lexicon FX setup) near the touch screen.

  • Page 55: Dsp Elements

    User Manual 7.0: DSP ELEMENTS CHANNEL ELEMENTS Input and output (Bus Master) DSP channels share many common DSP processing elements and controls via the Control Channel and Assignable Control Section (ACS). This chapter explains those elements and their controls. Please note, some elements will not be available (will be unlit and inactive) on certain channel types (Master Output Channels have no Gate section, for example).

  • Page 56: Function Focus

    User Manual 7.1: FUNCTION FOCUS DSP ELEMENTS > FUNCTION FOCUS Function Focus allows pinpoint adjustment of any controls and settings by automatically detailing the value of both the control you are currently adjusting and any other controls in its group, plus the channel name and alternate units for the same control.
  • Page 57 User Manual 7.2: ACS ELEMENTS DSP ELEMENTS > ACS ELEMENTS The Assignable Channel Strip (ACS) follows the currently selected DSP Channel and provides almost all of the controls relating to that. It is broken down into logical sections, making it easy to identify control groups and functions at a glance.

  • Page 58: 1: Acs Input

    User Manual 7.2.1: ACS INPUT SECTION DSP ELEMENTS > ACS > INPUT The input section mainly provides the features required for input channels such as phantom power and mic/line level. Metering is applicable to all DSP channel types, and HPF (High Pass Filter) is available in Mix Bus Master Channels.
  • Page 59 User Manual 7.2.1: ACS INPUT SECTION DSP ELEMENTS > ACS > INPUT Phase Invert Invert signal phase (180 degrees). Pressing and holding the key will activate Interrogate mode for this function (see Mix Features 8.3). GAIN/TRIM Adjust mic gain or line trim for input channels. The control changes its function depending on the selected input.

  • Page 60: 2: Acs Gate

    User Manual 7.2.2: ACS GATE SECTION DSP ELEMENTS > ACS > GATE A Gate is a threshold-driven gain reduction process normally used to attenuate a signal when its level falls below the Threshold. Setting the Threshold just above a noise floor or background noise, for example, will allow the Gate to attenuate the source during periods when the main input (voice,...
  • Page 61 User Manual 7.2.2: ACS GATE SECTION DSP ELEMENTS > ACS > GATE DEPTH Adjust the Depth value of the Gate The amount of attenuation applied when the gate is closed. THRESHOLD Adjust the threshold of the Gate The signal level of the sidechain at which the gate is activated. S/C LPF Adjust the Sidechain Low Pass Filter This filter cuts out high frequencies.

  • Page 62: 3: Acs Compressor

    User Manual 7.2.3: ACS COMPRESSOR SECTION DSP ELEMENTS > ACS > COMPRESSOR A compressor is a threshold driven process used to reduce the dynamic range of a signal by applying gain reduction when the signal level exceeds the threshold and applying ‘make-up gain’...
  • Page 63 User Manual 7.2.3: ACS COMPRESSOR SECTION DSP ELEMENTS > ACS > COMPRESSOR GAIN Adjust the make-up gain of the Compressor Gain applied after the compressor to account for level lost in compression. THRESHOLD Adjust the Threshold level of the compressor When the signal exceeds the threshold, it will be attenuated according to the ratio setting.

  • Page 64: 4: Acs Equaliser

    User Manual 7.2.4: ACS EQUALISER SECTION DSP ELEMENTS > ACS > EQUALISER The channel EQ (Equaliser) section is used for sculpting the tonal (frequency-based) balance of the signal. The Impact EQ has four fully parametric, full range bands - LF and HF have switchable bell/shelf modes.
  • Page 65 User Manual 7.2.4: ACS EQUALISER SECTION DSP ELEMENTS > ACS > EQUALISER HI MID Level Adjust the boost/attenuation of the HI MID filter. HI MID FREQ Adjust the centre frequency of the HI MID filter. Frequencies above and below this, within the bounds of the Q setting will be affected by the HI MID level control. That is, Q effectively sets the ‘width’...
  • Page 66 User Manual 7.2.4: ACS EQUALISER SECTION DSP ELEMENTS > ACS > EQUALISER LO MID Q Adjust the Q of the LO MID Filter Q is ‘magnification’ at resonance, and is inversely proportional to bandwidth. For an equaliser it is useful to think of it simply as a bandwidth control (the width of the ‘bell’...

  • Page 67: 5: Acs Output

    User Manual 7.2.5: ACS OUTPUT SECTION DSP ELEMENTS > ACS > OUTPUT The outputs section contains features specific to the outputs of all channels. Delay and Pan (or balance) are applicable to all channel types, while LR and MONO/ CENTRE routing is specific to input and Mix Bus Master output channels (not Matrix master channels).
  • Page 68 User Manual 7.2.5: ACS OUTPUT SECTION DSP ELEMENTS > ACS > OUTPUT LR (Main Left Right Bus Routing) Route the selected channel to the Main Left/Right Stereo Bus. Any channels routed to LR will be summed into the Main LR Master Output Channel, controlled by the L&R Control Channel.

  • Page 69: Control Channel

    User Manual 7.3: CONTROL CHANNEL DSP ELEMENTS > CONTROL CHANNEL Control channels contain the primary performance controls and indicators. Layers of Control Channels (assigned to various ‘actual’ channels) are selected using the FADERS (Fader Layers) button group. Control channel positions are assigned to channels using the Touch Screen FADER SETUP menu (see section 3.2.1).
  • Page 70 User Manual 7.3: CONTROL CHANNEL DSP ELEMENTS > CONTROL CHANNEL Gain Reduction Meter Indicates gain reduction for the selected channel. These are the three LEDs on the left side labelled 1, 5, 10 (dB of attenuation). Level Meter Indicates audio level for the selected channel - dBfs ON key function is dependant on the channel type and selected fader layer.
  • Page 71 User Manual 7.3: CONTROL CHANNEL DSP ELEMENTS > CONTROL CHANNEL SOLO Press to Solo this DSP Channel (Input Channel, Mix Bus Master, Matrix Master). See section 8.4 for more information of the console’s Solo system. FADER Adjust signal level. Audio channel / VCA level. FOLLOW MODE (tOTEM button selected): Send level form channel to selected bus.

  • Page 72: Graphic Eq (Geq)

    User Manual 7.4: GRAPHIC EQ (GEQ) DSP ELEMENTS > GRAPHIC EQ (GEQ) 28-Band Graphic Equalisers (GEQs) are available to all Output Masters on the console: Mix Bus, Matrix Bus, and Left/Right and Mono/Centre Bus Masters. All Masters can run GEQs simultaneously. When any output channel is selected, the GEQ LO and GEQ HI buttons (FADERS button group) will assign 14 bands to the Control Channel Faders, colour-coded with red FaderGlow.
  • Page 73 User Manual 7.4: GRAPHIC EQ (GEQ) DSP ELEMENTS > GRAPHIC EQ (GEQ) GEQ HI Press to assign the 14 'high' GEQ bands (800Hz - 16kHz) to the Control Channel Faders. An output channel (Mix Bus, Matrix Bus, LR / Mono bus masters) must be selected for this button to have any effect.

  • Page 74: Mix Features

    User Manual 8.0: MIX FEATURES MIX FEATURES Si Impact Mix Features include mix functions outside the normal audio signal path: Mute Groups, VCA Groups, Copy and Paste, Interrogate, the Solo system, Monitoring, and the CLR and ALT + CLR facilities.

  • Page 75: Mute Groups

    User Manual 8.1: MUTE GROUPS MIX FEATURES > MUTE GROUPS Mute Groups enable group-muting of selected channels at any time. Create up to eight Mute Groups operated from the Mute/VCA Group Masters button group 1-8. Mute Groups can be cumulative. While not in VCA or MUTE setup modes, the buttons are always Mute Group Masters.
  • Page 76 User Manual 8.1: MUTE GROUPS MIX FEATURES > MUTE GROUPS Select Control Channels. While in Mute Group SETUP mode, with a Mute Group Master active, use the Control Channel SEL buttons to choose which channels should belong to that Mute Group. Orange highlighted SEL buttons indicate members of the currently selected Mute Group.

  • Page 77: Vca Groups

    User Manual 8.2: VCA GROUPS MIX FEATURES > VCA GROUPS VCA Groups allow you to control groups of Input Channels from a single VCA Master. For example, you could put the whole drum kit under the control of a single VCA Master, or if you have a multiple mics on a guitar cabinet you could set the ratios with individual channels and then create a Guitar VCA Master - move the VCA Master Channel and all Group Member levels will be ‘offset’...
  • Page 78 MIX FEATURES > VCA GROUPS The Si Impact has eight VCA Groups available, setup with the VCA Setup button and the Mute/VCA button Group. Simply press the VCA Setup button, select a VCA Master 1-8, then use the SEL buttons to allocate channels to the group.
  • Page 79 User Manual 8.2: VCA GROUPS MIX FEATURES > VCA GROUPS Clear Selection. While in VCA Group Setup mode, holding the CLR button and pressing a VCA Group Master button 1-8 will clear that VCA Group. ALT + CLR Clear all. While in VCA Group Setup mode, holding ALT + CLR and pressing a VCA Group Master Button 1-8 will clear all VCA Groups.

  • Page 80: Copy And Paste

    User Manual 8.3: COPY AND PASTE MIX FEATURES > COPY AND PASTE This facility allows almost any processing section to be copied easily and quickly from a channel or bus and pasted to another channel or bus. You can also copy and paste the internal Lexicon FX settings and Aux, FX Send, and Matrix mixes.
  • Page 81 User Manual 8.3: COPY AND PASTE MIX FEATURES > COPY AND PASTE DSP Channel COPY-PASTE With a DSP channel (Input Channel or Mix/Matrix Bus Master) selected, COPY PASTE mode will display a version of the ACS (with GEQ for Bus Masters).

  • Page 82: Audio Interrogate

    User Manual 8.4: AUDIO INTERROGATE MIX FEATURES > AUDIO INTERROGATE Audio Interrogate is a powerful method of checking and changing a particular switch status across all channels on the currently selected fader layer. For example, you can check at a glance which channels are routed to the main LR mix bus and change that status rapidly for all visible channels.

  • Page 83: Solo System

    User Manual 8.5: SOLO SYSTEM MIX FEATURES > SOLO SYSTEM Solo provides a way of monitoring and checking individual channels and groups of channels quickly by routing only the ‘soloed’ channels either to the monitoring system (normal operation) or to the main mix outputs (Solo In Place - SIP).

  • Page 84: Solo In Place

    User Manual 8.5: SOLO SYSTEM MIX FEATURES > SOLO SYSTEM SOLO Press to solo the assigned channel Normal button behaviour is ‘latching’ (press on - press off). Press and hold a SOLO button for momentary (non-latch- ing) behaviour. Press and hold an active SOLO button to use the Highlight feature, which highlights a soloed channel by attenuating other soloed channels.
  • Page 85 User Manual 8.5: SOLO SYSTEM MIX FEATURES > SOLO SYSTEM Blend Level The attenuation level of the primary monitor source while a PFL or AFL is active. The default setting is -∞ (- infinity) resulting in complete mute of the normal monitor source. Input Priority Allow input Solos to temporarily override an output AFL.

  • Page 86: Monitoring

    8.6: MONITORING MIX FEATURES > MONITORING The Si Impact monitoring system is comprehensive, yet simple. The monitoring source (active monitor signal) will normally be the main LR mix, though will switch to any selection made in the Solo system - AFL or PFL busses.
  • Page 87 User Manual 8.6: MONITORING MIX FEATURES > MONITORING Monitoring Settings Menu You access the Monitor Settings menu by touching the MONITOR Touch Screen button from the Main Menu. L&R Monitor Speaker Enable / disable the Monitor Output patch. Patching for the monitor output is specified in the separate Monitor L&R OutPatch menu item below. Mono Check Outputs a mono sum of the stereo monitor signal.

  • Page 88: Clr & Alt+Clr

    User Manual 8.7: CLR & ALT+CLR MIX FEATURES > CLR & ALT+CLR The CLR (Clear) button located to the right of the Channel Faders area is used in conjunction with individual input channels, output channels, channel parameters, and mutes to clear or reset to default.
  • Page 89 User Manual 8.7: CLR & ALT+CLR MIX FEATURES > CLR & ALT+CLR CLR + GEQ HI/LO (FADERS) Reset all Graphic EQ levels to 0dB for the currently selected channel. Only works where GEQ is available (output / bus channels). CLR + tOTEM (FADER FOLLOW) button Reset all contributions and ON status from channels or buses to the selected bus back to factory defaults.
  • Page 90 User Manual 8.7: CLR & ALT+CLR MIX FEATURES > CLR & ALT+CLR ALT + CLR + Any MIX tOTEM button (MIX 1-14) Resets all channels’ contributions to all 14 Mix busses to zero. It Does not affect the Auxiliary Mix bus master channels or master levels.

  • Page 91: Shows, Cuelists, And Snapshots

    User Manual 9.0 SHOWS, CUELIST, SNAPSHOTS SHOWS, CUELIST, AND SNAPSHOTS The console file system uses the Show as it’s basic file. The Show contains all console settings, plus the Cuelist. The Cuelist contains recallable Cues that contain Snapshots of console settings, plus automation functionality (HiQnet events).

  • Page 92: Shows

    User Manual 9.1 SHOWS SHOWS, CUELIST, SNAPSHOTS > SHOWS A Show is an entire console setup including Cuelist and associated Snapshots. Shows can be saved, loaded, and created in the EDIT SHOW Touch Screen Menu. You can also reset the I/O configuration of the console through the EDIT SHOW Touch Screen Menu.
  • Page 93 Clears the console database of any option cards or external I/O systems that may have been attached to the console then forces a ‘re-discovery’ of any installed option cards or connected I/O system, such as a Soundcraft Stagebox. The system will provide a warning that the action will overwrite the current configuration database and allow the action to be aborted.

  • Page 94: Cuelist & Snapshots

    User Manual 9.2: CUELIST & SNAPSHOTS SHOWS, CUELIST > CUELIST & SNAPSHOTS The Si Impact incorporates a comprehensive Cuelist and Snapshot automation system for fast access to preset console states and for working with other performance systems via Harman’s HiQnet.

  • Page 95: Cue List

    User Manual 9.2: CUELIST & SNAPSHOTS SHOWS, CUELIST > CUELIST & SNAPSHOTS CUE LIST Bring up the Cuelist screen in the console Touch Screen. This gives access to Cuelist editorial, and Cue editing functionality. There are four columns in the main Cuelist: Cue Number, Snapshot Name, and HiQnet Status.
  • Page 96 User Manual 9.2: CUELIST & SNAPSHOTS SHOWS, CUELIST > CUELIST & SNAPSHOTS UPDATE Update the currently active Cue with the current Snapshot. Useful for editing Cues as they are used. When you press UPDATE confirmation will be required in the Touch Screen as the action will overwrite the current Cue.
  • Page 97 User Manual 9.2: CUELIST & SNAPSHOTS SHOWS, CUELIST > CUELIST & SNAPSHOTS HiQnet Status Highlighted orange if there is an active HiQnet transmit active in the Cue. 9.2: SHOWS, CUELIST > CUELIST & SNAPSHOTS...

  • Page 98: 1: Edit Cue

    User Manual 9.2.1: EDIT CUE SHOWS, CUELIST > CUELIST > EDIT CUE By touching the EDIT CUE Touch Screen button in the Cue List display you access more detail, in- cluding the Cue Name, and HiQnet automation parameters. HiQnet is a network protocol, developed by Harman Pro for communications and control between audio system components.

  • Page 99: Lexicon Fx

    User Manual 10: LEXICON FX LEXICON FX The console comes with four Lexicon FX processors, each with 29 available algorithms. Each FX unit has its own dedicated FX Send Bus, and stereo return path. Send Routing Every input channel can contribute to the FX 1-4 send busses, which correspond to the FX unit 1-4 inputs. Contributions are controlled in the same way as Mix bus contributions, via the FX 1 - 4 tOTEM buttons, which assigns each channel’s contribution to the selected bus to its fader.
  • Page 100 User Manual 10: LEXICON FX LEXICON FX Storage All Parameters from the four FX Units and for all FX Types are stored with console Snapshots. See chapter reference 9.2 for more on the Cuelist and Snapshots. Copy Paste Settings can be copied and pasted between processors using the console COPY PASTE function. Touch COPY PASTE in the Touch Screen Main Menu, then press the FX button in the Lexicon control group.

  • Page 101: Reverbs

    User Manual 10.1: REVERBS LEXICON FX > 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 102: Room Reverb

    User Manual 10.1: REVERBS LEXICON FX > REVERBS Room Reverb Room produces an excellent simulation of a very small room which is useful for dialogue and speech applications. Room is also practical when used judiciously for fattening up high energy signals like electric guitar amp recordings. Ambience Reverb Ambience is used to simulate the effect of a small or medium sized room without noticeable decay.

  • Page 103: 1: Reverb Parameters

    User Manual 10.1.1: REVERB PARAMETERS LEXICON FX > REVERBS > REVERB PARAMETERS PRE DLY - Pre Delay Adjust time delay between the source signal and the onset of reverberation. This control is not intended to precisely mimic the time delays in natural spaces, as the build-up of reverberation is gradual, and the initial time gap is usually relatively short.
  • Page 104 User Manual 10.1.1: REVERB PARAMETERS LEXICON FX > REVERBS > REVERB PARAMETERS Shape Adjust the 'contour' of the reverberation envelope. With Shape all the way down, reverberation builds explosively, and decays quickly. As Shape is advanced, rever- beration builds up more slowly and sustains for the time set by Spread. With Shape in the middle, the build-up and sustain of the reverberation envelope emulates a large concert hall (assuming that Spread is at least halfway up, and that Size is 30 meters or larger).

  • Page 105: Delays

    User Manual 10.2: DELAYS LEXICON FX > 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. Studio Delay The Studio Delay features up to 1 second of stereo delay and offers a built-in ducker that attenuates the delay output whenever signal is present at the input.

  • Page 106: 1: Delay Parameters

    User Manual 10.2.1: DELAY PARAMETERS LEXICON FX > DELAYS > DELAY PARAMETERS Dly Time - 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.
  • Page 107 User Manual 10.2.1: DELAY PARAMETERS LEXICON FX > DELAYS > DELAY PARAMETERS Smear Ducking attenuation amount. Available only for Tape and Reverse Delays, this parameter controls the amount of “smear,” or signal degradation and frequency loss. The higher the setting, the more each delay repeat loses intelligibility compared to the original signal.

  • Page 108: Misc Fx

    User Manual 10.3: MISC FX LEXICON FX > MISC FX The MISC category provides primarily modulated and pitch-varying effects. Chorus Chorus creates a lush, full sound by combining two or more signals together where one is unaffected and the other signals vary in pitch very slightly over time.

  • Page 109: 1:Misc Fx Parameters

    User Manual 10.3.1: MISC FX PARAMETERS LEXICON FX > DELAYS > DELAY PARAMETERS Speed Sets the speed at which the modulated effect cycles. Depth - LFO Depth Scales the intensity of the effect. This control affects the output of the LFO only. It has no effect on the outputs of the individual waveforms. Voices - Number Of Voices Controls the number of additional Chorus voices.
  • Page 110 User Manual 10.3.1: MISC FX PARAMETERS LEXICON FX > DELAYS > DELAY PARAMETERS Waveform Selects the wave pattern used by the modulated effect. Select from sine wave, triangle wave, Stepped Triangle, and random. Phase Controls whether amplitude or depth change occurs in both left and right outputs simultaneously or alternates between left and right outputs.
  • Page 111 User Manual 10.3.1: MISC FX PARAMETERS LEXICON FX > DELAYS > DELAY PARAMETERS Rot Max Sets the maximum speed at which the LF Speaker will rotate. Rotary effect only: The speed limits are used when the speed parameter is changed from Slow to Fast. Horn Min Rotary effect only: Minimum speed of the HF rotary horn.
  • Page 112 User Manual 10.3.1: MISC FX PARAMETERS LEXICON FX > DELAYS > DELAY PARAMETERS Fdbk 'n' - Feedback Adjusts how much of the shifted signal is sent back through the delay line in Pitch Shift and De- tune. For creating cascading arpeggio-type effects. Pan 'n' Sets the pan position in the stereo field for each tap in the 2-Tap Delay or each channel of the pitch shift/detune effects.

  • Page 113: Preferences, System, Security

    User Manual 11.0: SETTINGS, SOFTWARE, RESET SYSTEM SETTINGS System Settings are accessed via the Touch Screen Main Menu and appear under the Menus PREFERENCES, SYSTEM, and SECURITY. 11.1: Preferences (PREFS) The PREFS Menu is mainly concerned with LED and LCD (display, buttons etc) brightness and adjustments.
  • Page 114 User Manual 11.1: PREFERENCES SETTINGS > PREFERENCES Preferences include console brightness settings and the D.O.G.S. (Direct Out Gain Stabiliser) system enable. LED Brightness Adjust the brightness of LEDs across the console. This includes all Encoder level indicators, metering, and status LEDs. FaderGlow Brightness Adjust the FaderGlow brightness across the console.
  • Page 115 User Manual 11.1: PREFERENCES SYSTEM SETTINGS > PREFERENCES Channel LCD Contrast Adjust the contrast of the Control Channel LCD screens. D.O.G.S. Enable / Disable Direct Out Gain Stabiliser system. D.O.G.S. is a tool that prevents Direct Output levels from changing when a Mic Gain is changed - so any feeds taken from the console remain stable.
  • Page 116 User Manual 11.2: SYSTEM MENU SYSTEM SETTINGS > SYSTEM MENU The System menu provides information about the console itself, as well as offering settings for the console name, date, time, wordclock, and network settings (for HiQnet and Soundweb functionality). The System Menu also provides reset functions for channels, busses, patching, and ‘all’, as well as the Event Log.

  • Page 117: Event Log

    User Manual 11.2: SYSTEM MENU SYSTEM SETTINGS > SYSTEM MENU RESET ALL Reset all parameters including names and patches to factory default. You will be asked to confirm this action in the Touch Screen. EVENT LOG A log of specific system events. Can be useful for trouble shooting and for technical support staff.

  • Page 118: Subnet Mask

    User Manual 11.2: SYSTEM MENU SYSTEM SETTINGS > SYSTEM MENU Time System Time. Touch or select to bring up a time editor in the Touch Screen. Wordclock Choose an Internal, External, or Option card wordclock reference. The console can be set as Word Clock Slave (EXTernal or OPTION) or Master (INTernal). When set to EXTernal the console will attempt to clock from an incoming word clock to the rear panel Word Clock connection.
  • Page 119 User Manual 11.2: SYSTEM MENU SYSTEM SETTINGS > SYSTEM MENU HiQnet Enabled/Disabled Turn HIQnet capability On of Off. This console can transmit HiQnet Venue Events on the network along with cue recalls. Please see chapter ref- erence 9.2 for more detail. The console can also control Soundweb London Device Pre amp devices directly via HiQnet - see chapter reference 5.1.1 for more detail.
  • Page 120 User Manual 11.3: SECURITY MENU SYSTEM SETTINGS > SECURITY MENU This console can be set to allow specific access privileges to a number of users. You can lock-out a variety of console functions, as defined in User Profiles. When LOCK is set in the Security menu, a user selection and valid password are required to operate the console.
  • Page 121 User Manual 11.3: SECURITY MENU SYSTEM SETTINGS > SECURITY MENU DELETE USER Delete the selected User. The system will ask for confirmation in the Touch Screen to confirm this action. PROFILES Access the Profiles Menu. Use the Profiles Menu to add and edit profiles that can be assigned to users. LOCK Lock the console.

  • Page 122: 1: Add/Edit User

    User Manual 11.3.1: ADD / EDIT USER SYSTEM SETTINGS > SECURITY > ADD / EDIT USER The Add and Edit User menus require similar information - User Name, Profile, and Password. Profiles can be created and/or edited in the Edit Profile menu (see chapter reference 11.3.2 for more detail).
  • Page 123 User Manual 11.3.1: ADD / EDIT USER SYSTEM SETTINGS > SECURITY > ADD / EDIT USER CANCEL Cancel the current User creation or edit without saving any altered values. SAVE Save the current User. 11.3.1: SETTINGS > SECURITY > ADD / EDIT USER...

  • Page 124: 2: Profiles

    User Manual 11.3.2: PROFILES SYSTEM SETTINGS > SECURITY > PROFILES A profile defines the access privileges of a console User. Many functional aspects of the console can be denied to users, according to the Profile. The access categories are: Input Processing, Bus Sends, Bus Processing, Matrix Sends, Matrix Processing, Main Output Processing, Main Output Matrix Sends, Main Output On Faders, GEQ, Fader Layer A, Fader Layer B, Fader Layer C, Fader Layer D, FX, Touch Screen, and Cue List.
  • Page 125 User Manual 11.3.2: PROFILES SYSTEM SETTINGS > SECURITY > PROFILES CANCEL Cancel the current Profile creation or edit without saving any altered values. SAVE Save the current Profile. Profile Select a profile to view or edit. Touch or select the value field to select a Profile. You can only edit profiles when logged on as the Administrator. 11.3.1: SETTINGS >...

  • Page 126: Software Updates

    11.4: SOFTWARE UPDATE SYSTEM SETTINGS > SOFTWARE UPDATE The Si Impact software is updated via the USB data port on the front panel. Details and special instructions for any release will be included with the software release package; however, the ‘normal’...

  • Page 127: Reset Console

    User Manual 11.5: RESET CONSOLE SYSTEM SETTINGS > RESET CONSOLE The following procedure will restore the console back to the factory defaults and re-format the internal SD card. DO NOT do this is you wish to keep saved data (Shows). You can use the RESET options in the SYSTEM menu to set parameters and settings back to factory default without destroying data.

  • Page 128: Oscillator

    User Manual 12: OSCILLATOR OSCILLATOR The console’s internal Oscillator is a signal generator provided for various test purposes. It can generate either a sine wave or pink noise (equal power per octave) and has various routing options to Mix and Matrix busses, as well as a patchable physical output. It is not possible to route directly to the console’s LR and MONO buses, though you can route the Oscillator signal to a Mix bus master then use the LR and MONO routing keys.
  • Page 129 User Manual 12: OSCILLATOR OSCILLATOR Frequency Set the frequency for the Oscillator's Sine output. Type Set the signal type for the Oscillator output. Either Sine Wave or Pink Noise (Full spectrum, equal power per octave). Oscillator Out Patch Set a physical output for the Oscillator signal Touching or selecting the value field will bring up a normal patching screen in the Touch Screen.

  • Page 130: Appendix 01: No Sound

    User Manual APPENDIX 01: NO SOUND? NO SOUND? A Troubleshooting Guide. One of the most common problems experienced with mixing consoles is finding that an input isn’t ap- pearing at an output. There are many possible reasons for this, but the best way to troubleshoot it is to first make sure the Control Channel is set up correctly, then to go through the signal path and workout where the ‘break’...
  • Page 131 User Manual APPENDIX 01: NO SOUND? NO SOUND? Is the Gate shut? It is possible for an incorrectly set Gate process to stop all signal. This happens most often when the threshold is set too high and the signal never gets loud enough to 'open' the Gate. You can easily check this by turning the Gate process off with the GATE button in the GATE section of the ACS (7.2.2).
  • Page 132 User Manual APPENDIX 01: NO SOUND? NO SOUND? Is the Signal Routed to a valid output bus or channel? Routing can cover LR and Mono routing, as well as Mix bus routing. This will depend on the particular instance. If the issue is no output at the main LR or mono outputs for example, then check than the signal is routed using the LR and/or MONO buttons in the ACS OUT section (7.2.5).

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