SoundCraft Signature 10 User Manual
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SoundCraft Signature 10 User Manual

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User Guide

For Soundcraft Signature 10, 12 & 12MTK
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Summary of Contents for SoundCraft Signature 10

  • Page 1: User Guide

    ® User Guide For Soundcraft Signature 10, 12 & 12MTK ®...
  • 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

    2.2: Parts Of The Console 6.0: SOLO AND MONITORING 3.0: INPUTS AND OUTPUTS 7.0: USB OPERATION 3.1: Introduction to I/O 3.2: Console Inputs 7.1: Signature 10, 12 USB 3.3: Console Outputs 7.2: Signature 12MTK USB 3.4: Other I/O 8.0: LEXICON FX 4.0: CONSOLE ROUTING 8.1: FX Control...

  • Page 4: An Introduction To Signature

    INTRODUCTION TO SIGNATURE Drawing on over 40 years experience in live sound mixing, the Signature Series combines a superb analogue control surface with the unrivalled British sound of Soundcraft in a powerful, compact, professionally spec’d mixer. Built tough for trouble-free performance night-after-night, Signature Series mixers deliver great sounding results thanks to high-grade Ghost®...

  • Page 5: The Signature Legacy

    40-year legacy of producing outstanding performance tools. This console incorporate classic analogue designs, approved by Engineers. Ghost® pre-amps The Soundcraft Ghost console’s ProMic mic pre-amp is known for it’s ultra-low noise and high headroom, making high gain settings possible, without compromising signal integrity.

  • Page 6: Sapphyre Asymmetric Eq

    Soundcraft Sapphyre Asymmetric EQ The Soundcraft Signature console uses a special Asymmetric EQ first developed for the renowned Soundcraft Sapphyre console. This EQ makes both creative and functional tonal shaping of your signal simple and intuitive - an EQ that works the way music does. The shelving bands of the EQ (LF and HF) use a slight boost at the EQ’s frequency when cutting, and a slight cut when boosting.

  • Page 7: 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 8 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 9 1.1: SAFETY 10, 12, 12MTK User Manual 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. Please take care when working with your audio —...

  • Page 10: Warranty

    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 11: Specifications

    - Signature 12MTK: 5.86kg Power Consumption Unit Dimensions (W × H × D) - Signature 10: <50VA - Signature 10: 490mm x 380mm x 210mm - Signature 12: <60VA - Signature 12: 490mm x 455mm x 210mm - Signature 12MTK: <70VA - Signature 12MTK: 490mm x 455mm x 210mm 1.3: INTRODUCTION >...

  • Page 12: Getting Started

    GETTING STARTED - AN INTRODUCTION TO THIS MANUAL Anyone with minimal audio experience should be able to operate the Soundcraft Signature console without reading too much of this manual, though we do recommend you take the time to go through it.

  • Page 13: Introduction To Consoles

    2.1: CONSOLE INTRO 10, 12, 12MTK User Manual GETTING STARTED > INTRODUCTION TO MIXING CONSOLES The main function of a mixing console is to combine different audio inputs and independently adjust the levels of those contributions to the mix. With this very basic functionality you can control and balance any kind of audio from a one-man-band to an orchestra.

  • Page 14: Parts Of The Console

    2.2: PARTS OF THE CONSOLE 10, 12, 12MTK User Manual GETTING STARTED > PARTS OF THE CONSOLE The diagrams show different sections of the Signature console and describes those functions. After that are more detailed descriptions of the console sections and references to the relevant chapters in this manual.
  • Page 15 Refer to Sections 4.2 and 5.2 for more detail. Stereo Input Channels Signature 10, 12, and 12MTK consoles have two types of stereo inputs. One offers the option of a mono microphone/line level input by using either the XLR or Left/Mono Jack Input as well as stereo Jack inputs;...
  • Page 16 Stereo Playback Channel). Refer to Sections 4.7 and 5.7 for more detail. Metering The meters on the Signature 10, 12, and 12MTK show Master Left/Right output level in normal operation. Refer to section 6.0 for more detail. The AFL/PFL ACTIVE indicator is below the main meters and lights when any AFl or PFL selection is engaged.
  • Page 17 GETTING STARTED > PARTS OF THE CONSOLE Lexicon FX Control Signature 10, 12, and 12MTK consoles have an internal Lexicon FX processor and send/return bus for add- ing FX such as reverb, delay, Chorus, Rotary, LoFi, Tape emulation, and more. Each Effect has two adjust- able parameters.

  • Page 18: Inputs And Outputs

    3.0: INPUTS AND OUTPUTS 10, 12, 12MTK User Manual INPUTS AND OUTPUTS The physical inputs and outputs on the Signature console are varied, and together with the Ghost mic preamps, dbx® limiting, and Hi-Z inputs provide a flexible scheme for any sources you might encounter. To get the most out of the Signature I/O, read this chapter carefully. 3.0: INPUTS AND OUTPUTS...

  • Page 19: Introduction To I/O

    ‘MST’ with their ‘MST’ 12MTK consoles (Groups not available on buttons. Signature 10), all inputs with their 1-2 buttons pressed will be added to the Group 1 and 2 mixes. The pan / balance control determines how...

  • Page 20: Console Inputs

    3.2: CONSOLE INPUTS 10, 12, 12MTK User Manual INPUTS & OUTPUTS > CONSOLE INPUTS Console inputs can be used for a wide variety of sources. For best results always use the appropriate input connection. Mic Input - XLR Input connection for microphones using standard XLR connection (Pin-2 hot) When using condenser microphones, you can switch on 48V phantom power for these connections on the right hand side of the console (the 48V button).

  • Page 21: Console Outputs

    3.3: CONSOLE OUTPUTS 10, 12, 12MTK User Manual INPUTS & OUTPUTS > CONSOLE OUTPUTS The console outputs offer a range of connection options depending on the application. Always consider carefully the best output and routing strategy for your particular application. MST L / MST R Master Left and Right outputs, XLR connectors These are impedance-balanced line level outputs (pin 2 signal).

  • Page 22: Other I/O

    The console outputs offer a range of connection options depending on the application. Always consider carefully the best output and routing strategy for your particular application. USB - Signature 10 and 12 USB data connection for audio input and output USB input (USB channels 1 and 2) are summed with the RCA input signal on the highest-numbered stereo input channel.

  • Page 23: Console Routing

    4.0: CONSOLE ROUTING 10, 12, 12MTK User Manual CONSOLE ROUTING Understanding the facilities a console offers for routing and controlling audio is an important step in learning how to operate the console most effectively. This Section uses simple flow diagrams and short descriptions to describe the various signal paths and routing options for all channel and bus types. If you have never operated a similar console before, it is worth digesting all these options before you use the console in a critical application.

  • Page 24: Mono Input Channel

    Like the Master Stereo bus contribution, the Group contributions are sent post-pan/balance (Group 1 is left, Group 2 is Right). On signature 10, input channel routing to the Master Stereo Bus is permanent; on 12 and 12MTK it is switched. 4.1: MONO INPUT ROUTING...

  • Page 25: Stereo Input Channel

    4.2: STEREO INPUT 10, 12, 12MTK User Manual CONSOLE ROUTING > STEREO INPUT There are two types of Stereo input channel. The first two stereo input channels have microphone inputs and can be used as mono input channels (odd-numbered input) if required. The highest-numbered Stereo input is a sum of the line level R inputs and the stereo USB...

  • Page 26: Fx Return Channel

    4.3: FX RETURN 10, 12, 12MTK User Manual CONSOLE ROUTING > FX RETURN An FX Return channel is a special stereo input channel is fed from the output of the internal FX processor. The FX Return channel can contribute to the Aux 1 and Aux 2 busses (NOT to Aux 3/FX as this would cause a positive feedback loop), and to the Master and Group (Signature 12 and 12MTK only) busses - as per mono and stereo input channels.

  • Page 27: Aux Master Output

    4.4: AUX MASTER 10, 12, 12MTK User Manual CONSOLE ROUTING > AUX MASTER Aux Busses 1, 2, and 3 are sent directly out of the Aux 1, Aux 2, and Aux 3 outputs, and are globally switchable between pre- and post-fade sources. That is, an Aux mix that is taken ‘pre-fade’ (before the input channel fader) is not affected by the input channel fader levels.

  • Page 28: Group Master Output

    4.5: GROUP MASTER 10, 12, 12MTK User Manual CONSOLE ROUTING > GROUP MASTER Signature 12 and 12MTK only. The Group Master Outputs are derived from the post fade, post pan sum of input channels routed to the corresponding Group busses (1-2 switches). The Group Masters can contribute to the Master Left/Right Bus.

  • Page 29: Master Stereo Output

    4.6: MASTER STEREO OUTPUT 10, 12, 12MTK User Manual CONSOLE ROUTING > MASTER STEREO OUTPUT The Master Stereo output is derived from contributions to the Master (MST) Stereo Bus. For Signature 10, all input channels are permanently routed to the MST Bus (post pan/balance). For Signature 12 and 12MTK you can choose to route to the Master Stereo Bus using an input channel’s MST button.

  • Page 30: Channel Controls

    5.0: CHANNEL CONTROLS 10, 12, 12MTK User Manual CHANNEL CONTROLS There are three types of Signature console input channels: Mono Input, Stereo Input, and FX Return. The output channel types are the Auxiliary (Aux) Master Outputs, the Master Stereo Outputs, and the Group (GRP) Master Outputs (Signature 12 and 12 MTK only).

  • Page 31: Input Controls

    5.1: INPUT CONTROLS 10, 12, 12MTK User Manual CHANNEL CONTROLS > INPUT CONTROLS Input channels take sources and route/process them. The sources catered for by the Signature consoles includes mono (single channel) sources, stereo sources, and internal sources (the FX Return channel).
  • Page 32 5.1.1: MONO INPUT CONTROLS 10, 12, 12MTK User Manual CHANNEL CONTROLS > MONO INPUT CONTROLS PHANTOM POWER 48V Apply a DC voltage of 48V to all microphone inputs This button is found on the right of the console near the headphones level control, not on the channel strip. With phantom power on, you should use only balanced sources in the console's XLR microphone inputs.
  • Page 33 5.1.1: MONO INPUT CONTROLS 10, 12, 12MTK User Manual CHANNEL CONTROLS > MONO INPUT CONTROLS HPF 100Hz Activate the High Pass Filter The High Pass Filter (HPF) is an 18dB/Octave filter that attenuates frequencies below 100Hz. This can be useful for filtering out low 'rumble' from microphones affected by extremely low traffic noise, air flow, and so on.
  • Page 34 Adjust the signal's stereo position and group routing. For Signature 10, pan affects only the signal's position on the Master (MST) Left/Right output. For Signature 12 and 12MTK pan also determines the proportion of signal sent to Group 1 (left) and Group 2 (right). For example, with a channel's 1-2 and MST routing switches engaged, turning the control right puts more of the signal in the right (MST) channel AND the Group 2 bus.
  • Page 35 Route the channel output to the Master left/right bus Signature 12 and 12MTK only. In Signature 10 the channel output is always routed to the Master left/right bus. The Pan/Balance controls proportion the signal to the left and right Master bus channels.
  • Page 36 5.1.2: STEREO INPUT CONTROLS 10, 12, 12MTK User Manual CHANNEL CONTROLS > STEREO INPUT CONTROLS There are two types of Signature Stereo Input Channels. The normal type has two jack inputs, normalised so that a single jack or microphone input will operate as a mono input channel (Balance becomes Pan).
  • Page 37 5.1.2: STEREO INPUT CONTROLS 10, 12, 12MTK User Manual CHANNEL CONTROLS > STEREO INPUT CONTROLS Adjust stereo balance for this channel Adjusts the relative levels of the left and right signals for this channel, effectively adjusting the left-right position of the overall stereo image. For Signature 12 and 12MTK consoles the balance is also adjusted across Group 1 (left) and 2 (right) when the channel is routed to GRP 1-2.

  • Page 38: 3: Fx Return Controls

    5.1.3: FX RETURN CONTROLS 10, 12, 12MTK User Manual CHANNEL CONTROLS > FX RETURN CONTROLS The stereo FX Return channel is fed from the output of the console’s internal FX processor. It is a cut-down version of the normal stereo channel, without trim, EQ, or Aux 3 send. An example in use might be running a Reverb algorithm in the processor.
  • Page 39 5.2: AUX MASTER OUTPUT 10, 12, 12MTK User Manual CHANNEL CONTROLS > AUX MASTER OUTPUT The Aux Master Output channel determines the output level of a whole Aux mix (the sum of all Aux contributions). That is, the Aux 1 Master controls the Aux 1 output level, which is the sum of all Aux 1 contributions from the input channels.
  • Page 40 5.3: GROUP MASTER OUTPUT 10, 12, 12MTK User Manual CHANNEL CONTROLS > GROUP MASTER OUTPUT Group Masters control the Group output levels and routing. Signature 12 and 12MTK consoles have two group masters available (post-fader) - with mixes derived from any input channel routed to GRP 1-2.
  • Page 41 Master Stereo Output with their MST buttons. INTERVAL MUTE Mute all channels except 11/12 (Signature 12 and 12MTK) or 9/10 (Signature 10) A fast way of switching to only the interval or playback source, or similar, without touching any other controls.

  • Page 42: Solo And Monitoring

    6.0: SOLO AND MONITORING 10, 12, 12MTK User Manual SOLO AND MONITORING Being able to monitor sources individually is an important tool for the Mix Engineer. PFL allows you to check sources from stage without changing the mix, while AFL allows you to refine Auxiliary Monitor and FX send mixes. The Signature’s Solo and monitoring system allows an engineer to hear either the Master (MST) stereo outputs or any channels currently assigned to the Solo bus, via the headphone output.

  • Page 43: Phones Level

    6.0: SOLO AND MONITORING 10, 12, 12MTK User Manual SOLO AND MONITORING Enable the Pre-Fade Listen function Send this input channel's signal to the Solo Bus - A pre-fade, pre-mute, post EQ signal tap. An active PFL (or AFL) switches the headphone output source to the Solo Bus. Active PFL button red indicator LEDs show active PFLs. Switch the After-Fader Listen function Send this Auxiliary Master output's signal to the Solo bus from a post-fade tap and switch the headphone output source to the Solo bus.

  • Page 44: Usb Operation

    The Soundcraft Signature consoles use USB 2.0 audio streaming for sending and receiving digital audio. The Signature 10 and 12 consoles have a two-track USB system while the Signature 12MTK (Multi-Track) uses a 12-channel system for channel direct inputs and outputs, plus a two-channel system for the Playback Channel and recording the recording the main LR mix..

  • Page 45: Signature 10, 12 Usb

    USB > SIGNATURE 10, 12 The Signature 10 and 12 consoles have 2-track USB input and output functionality. This could be used for recording a mix to a PC or Tablet, for example - or to use a computer as a playback device. Chan- nels 1 and 2 are received by the highest-numbered stereo channel (9/10 for Signature 10, 11/12 for Signature 12).

  • Page 46: Signature 12Mtk Usb

    7.2: SIGNATURE 12MTK USB 10, 12, 12MTK User Manual USB > SIGNATURE 12MTK The Signature 12MTK console also has Multi-Track (MTK) output and input functionality that allows sending of direct outputs from the input channels and return USB audio channels directly to the input channels.
  • Page 47 7.2: SIGNATURE 12MTK USB 10, 12, 12MTK User Manual USB > SIGNATURE 12MTK USB I/O A USB Standard-B Plug for USB data connection The USB connector above the highest-numbered stereo channel is for audio data connection. Please note, the USB Standard-A plug next to the PHANTOM POWER switch is for powering USB devices only (charging devices, USB-powered lamps, and so on).

  • Page 48: Lexicon Fx

    8.0: LEXICON FX 10, 12, 12MTK User Manual LEXICON FX The Signature console has an internal FX processor with dedicated internal send and return routing. There are 22 different FX algorithms available, each with two adjustable parameters mapped to the PARAM 1 and PARAM 2 controls.

  • Page 49: Fx Control

    8.1 FX CONTROL 10, 12, 12MTK User Manual LEXICON FX > FX CONTROL Because the Internal FX processor has fixed routing, operation is very simple. To use the FX, simply turn up an active input channel’s Aux 3 send control; with the FX TYPE encod- er select an appropriate algorithm and press the encoder to activate; push up the FX Return channel fader. On Signature 12 and 12MTK you must ensure that the FX Return output routing is correctly for the application - MST and/or GRP 1-2. PARAM 1 / PARAM 2 Adjust FX parameters mapped to these controls Different FX algorithms require different parameters for control.

  • Page 50: Reverbs

    8.2: REVERBS 10, 12, 12MTK User Manual 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. 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 51 8.2: REVERBS 10, 12, 12MTK User Manual LEXICON FX > REVERBS SPRING A Spring reverb is created by a pair of piezoelectric crystals — one acting as a speaker and the other acting as a microphone — connected by a simple set of springs. The characteristic ‘boing’ of a spring is an important component of many classic rock and rockabilly guitar sounds.

  • Page 52: Delays And Modulation

    8.3: DELAYS & MODULATION 10, 12, 12MTK User Manual LEXICON FX > DELAYS & MODULATION 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. Modulation effects use a low frequency oscillator to vary frequency, amplitude, and filter parameters over time. SLAP (KARAOKE) Slap echo is a distinctive vocal echo effect heard in classic Rock n Roll, Rockabilly, and other 'classic' genres, hence its popularity in Karaoke!
  • Page 53 8.3: DELAYS & MODULATION 10, 12, 12MTK User Manual LEXICON FX > DELAYS & MODULATION LO FI Delay with limited bandwidth that degrades the signal in a pleasing way for a crunchy percussion or any where a lo-fidelity effect will enhance the feel. Parameter 1: Number Of Repeats Parameter 2: Delay Time STUDIO CHORUS...
  • Page 54 8.3: DELAYS & MODULATION 10, 12, 12MTK User Manual LEXICON FX > DELAYS & MODULATION VIBRATO Vibrato is obtained by smoothly modulating the pitch of the signal just sharp and flat of the original at a determined rate. Parameter 1: Modulation Speed Parameter 2: Modulation Depth VIBRAPAN A unique dual voice vibrato effect with a variable phase control for the voices.

  • Page 55: Appendix 01: No Sound

    APPENDIX 1: NO SOUND? 10, 12, 12MTK User Manual NO SOUND A Troubleshooting Guide. Is an input failing to appear at appearing at an output? The best approach it is to first make sure the input is valid, and then work through the signal path to find out where the ‘break’ is... Check the exact audio path of any signal by referring to the signal path diagrams in Chapter 4. Check Solos If a PFL light on an input channel is lit, or the AFL/PFL ACTIVE LED (below main audio meter) then a solo is active and all channels except those that are ‘soloed’...

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Signature 12Signature 12mtk

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