SOUNDCRAFT -E—=~==3_—=3f
` L_L
`
`USER GUIDE
`USER GUIDE
`
`6... Souhclcrafr
`
`|PR20’|6-01710
`
`UNIFIED EX104O
`
`IPR2016-01710
`UNIFIED EX1040
`
`

`
`( E: This eqvipment complies
`
`with the EMC Directive
`89/336/EEC
`For frier dttoilt OOt'llOCI:
`Hotmon lrdo1rdionol .,duslritt ltd.
`Cronborne House , Ctonbome Rood,
`Potters Bor, Hettfon:lshire, EN6 3.1-t V.K.
`Td : +44 tO) 1107 665000
`Fox: +•• (OJ 1707 660482
`
`• Soundcraft Electronics 1995
`
`All rights reserved
`Parts of the design of this product may be protected by worldwide patents.
`
`Part No. ZM0078-03
`
`Infonnation in this manual is subject to change without notice and does not
`represent a commitment on the part of the vendor. Soundcraft Electronics shall
`not be liable for any loss or damage whatsoever arising from the use of
`info1mation or any en-or contained in this manual.
`
`No patt of this manual may be reproduced, stored in a retrieval system, or
`transmitted, in any form or by any means, electronic, electrical, mechanical,
`optical, chemical, including photocopying and recording, for any purpose
`without the express written pennission of Soundcraft Electronics.
`
`It is recommended that all maintenance and service on the product should be
`can-ied out by Soundcraft or its authorised agents. Soundcraft Electronics cannot
`accept any liability whatsoever for any loss or damage caused by service,
`maintenance or repair by unauthorised personnel.
`
`Hatman Intemational Industries Ltd.
`Cranbome House
`Cranbome Road
`Potters Bar
`Herts.
`EN6 3JN
`England
`
`Tel:
`Fax:
`
`01 707 665000
`01 707 660482
`
`

`
`Table of C ontents
`
`1. Introduction
`
`Introduction
`
`Warranty
`
`2. Installation
`
`Dimensions
`
`Installation
`
`Precautions and Safety Instructions
`
`A Typical Installation
`
`Connections
`
`Setting Up
`
`Removing And Replacing Modules
`
`Removing And Replacing The Cross Fader
`
`Jumpers
`
`3. System Block Diagram
`
`4. Mic/Line Input Module
`
`Mic/Line Input Module
`
`Stereo Input Module
`
`Master Module
`
`1.1
`
`1.2
`
`1.3
`
`2.1
`
`2.2
`
`2.3
`
`2.4
`
`2.6
`
`2.7
`
`2.10
`
`2.11
`
`2.12
`
`2.13
`
`3.1
`
`4.1
`
`4.2
`
`4.5
`
`4.9
`
`

`
`

`
`1. Introduction
`
`Introduction
`
`Precautions and Safety Instructions
`
`Introduction
`
`1.1
`
`

`
`Introduction
`
`The D-MIX1000 is designed as a high performance mixer for the professional DJ.
`Front panel controls are kept to a minimum to give a clear and uncluttered
`appearance while providing sufficient flexibility and choice to meet individual
`requirements.
`
`The design of mixer allows for installation in standard 19" rack mountings,
`occupying 8U of height, or for dropping through a desktop.
`
`The mixer provides complete freedom of layout, with interchangeable mono and
`stereo input modules. The Master module may be located anywhere in the frame
`to allow for individual preferences. All connections are on the underside of the
`mixer for easy access when mounted through a desktop.
`
`Module Options
`
`Frames may be fitted with a choice of modules as follows:
`
`• Mono Mic/Line Input module with insert point and 3-band EQ. Two Mono
`input modules are fitted as standard.
`
`•
`
`Stereo Input module, with two switched stereo sources, one of which may be
`internally configured with RIAA equalisation for turntables. The modules
`are set with RIAA equalisation active as standard (factory fitted). Six stereo
`inputs are fitted as standard.
`
`A Master module is fitted as standard, containing main outputs, monitoring, master
`faders and metering.
`
`Metering
`
`The mixer is fitted with two meters:
`
`• Main Left/Right outputs
`• Monitor/Cue, normally displaying L-R or Aux mix unless a Cue switch is
`pressed, when the meters display the Cue signal.
`
`Power Supplies
`
`The console requires the DCP100 power supply.
`
`1.2
`
`Introduction
`
`

`
`Warranty
`
`1
`
`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.
`
`Equipment means the equipment supplied with this manual.
`
`If within the period of twelve months from the date of delivery of the Equipment
`to the End User it shall prove defective by reason only of faulty materials and/or
`workmanship to such an extent that the effectiveness and/or usability thereof is
`materially affected the 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 defective components. Any components
`replaced will become the property of Soundcraft.
`
`Any Equipment or component returned will be at the risk of the End User whilst in
`transit (both to and from the Dealer or Soundcraft) and postage must be prepaid.
`
`This warranty shall only be available if:
`
`a) the Equipment has been properly installed in accordance with instructions
`contained in Soundcraft’s manual; and
`
`b) the End User has notified Soundcraft or the Dealer within 14 days of the
`defect appearing; and
`
`c) no persons other than authorised representatives of Soundcraft or the Dealer
`have effected any replacement of parts maintenance adjustments or repairs to the
`Equipment; and
`
`d) the End User has used the Equipment only for such purposes as Soundcraft
`recommends, with only such operating supplies as meet Soundcraft’s
`specifications and otherwise in all respects in accordance Soundcraft’s
`recommendations.
`
`Defects arising as a result of the following are not covered by this Warranty: faulty
`or negligent handling, chemical or electro-chemical or electrical influences,
`accidental damage, Acts of God, neglect, deficiency in electrical power,
`air-conditioning or humidity control.
`
`The benefit of this Warranty may not be assigned by the End User.
`
`End Users who are consumers should note their rights under this Warranty are in
`addition to and do not affect any other rights to which they may be entitled
`against the seller of the Equipment.
`
`2
`
`3
`
`4
`
`5
`
`6.
`
`7.
`
`
`
`Introduction
`
`1.3
`
`

`
`1.4
`1.4
`
`Introduction
`Introduction
`
`

`
`2. Installation
`
`Installation
`
`2.1
`
`

`
`Dimens ions
`
`125.00mm
`4.92"
`
`482.60mm
`19.00"
`
`underside
`&
`connectors
`
`14.00mm
`0.55"
`MAX KNOB HEIGHT
`
`21.20mm
`0.83"
`
`25.40mm
`1.00"
`
`442.00mm
`17.40"
`
`355.60mm
`14.00"
`
`1.22mm
`0.05"
`
`84.30mm
`3.32"
`
`2.2
`
`Installation
`
`

`
`Ins tallation
`
`The D-MIX1000 is designed for reliability and high performance, and is built to the
`highest standards. Whilst great care has been taken to ensure that installations are
`made as troublefree as possible, care taken at this stage, followed by correct setting
`up will be rewarded by a long life and reliable operation.
`
`Wiring Considerations A For optimum performance it is essential for the earthing system to be clean and
`noisefree, as all signals are referenced to this earth. A central point should be
`decided on for the main earth point, and all earths should be ’star-fed’ from this
`point. It is recommended that an individual earth wire be run from each electrical
`outlet, back to the system star point to provide a safety earth reference for each piece
`of equipment.
`
`Install separate mains outlets for the audio equipment, and feed these
`B
`independently from any other equipment.
`
`C Avoid locating mains distribution boxes near audio equipment, especially tape
`recorders, which are very sensitive to electromagnetic fields.
`
`D Where possible ensure that all audio cable screens and signal earths are
`connected to ground only at their source.
`
`Power Supply
`
`Always ensure that you use the correct PSU for your mixer. The D-MIX1000 uses
`a DCP100 power supply.
`
`Warning! Before switching on your D-MIX1000 console, check that the mains
`voltage selectors on the power supply unit is set to the correct
`mains voltage for your area, and that the fuse is of the correct rating
`and type. This is clearly marked on the case of the power supply.
`Do not replace the fuse with any other type, as this could become a
`safety hazard and will void the warranty.
`
`Installation
`
`2.3
`
`

`
`Precautions and S afety Ins tructions
`
`General Precautions
`
`Avoid storing or using the mixing console in conditions of excessive heat or cold,or
`in positions where it is likely to be subject to vibration, dust or moisture. Do not use
`any liquids to clean the fascia of the unit: a soft dry brush is ideal. Use only water
`or ethyl alcohol to clean the trim and scribble strips. Other solvents may cause
`damage to paint or plastic parts.
`
`Avoid using the console close to strong sources of electromagnetic radiation (e.g
`video monitors, high power electric cabling): this may cause degradation of the
`audio quality due to induced voltages in connecting leads and chassis. For the same
`reason, always site the power supply away from the unit.
`
`Caution! In all cases, refer servicing to qualified personnel.
`
`Handling and Transport The console is supplied in a strong carton. If it is necessary to move it any distance
`after installation it is recommended that this packing is used to protect it. Be sure
`to disconnect all cabling before moving. If the console is to be regularly moved we
`recommend that it is installed in a foamlined flightcase. At all times avoid applying
`excessive force to any knobs, switches or connectors.
`
`Power Suppies & CablesAlways make sure that the power supply unit (PSU) has been set to the same voltage
`as the mains supply.
`
`Always use the power supply and cable supplied with the mixer: the use of
`alternative supplies may cause damage and voids the warranty; the extension of
`power cables may result in malfunction of the mixing console.
`
`Warning! Always switch the power supply off before connecting or
`disconnecting the mixer power cable, removing or installing
`modules, and servicing. In the event of an electrical storm, or large
`mains voltage fluctuations, immediately switch off the PSU and
`unplug from the mains.
`
`Always ensure that you use the correct PSU for your mixer. The D-Mix1000
`requires a DCP100 supply.
`
`2.4
`
`Installation
`
`

`
`S ignal Levels
`
`It is important to supply the correct input levels to the console, otherwise signal to
`noise ratio or distortion performance may be degraded; and in extreme cases,
`damage to the internal circuitry may result. Likewise, on all balanced inputs avoid
`sources with large common-mode DC, AC or RF voltages, as these will reduce the
`available signal range on the inputs. Note that 0dBu=0.775V RMS.
`
`The microphone inputs are designed for use with balanced low impedance (150 or
`200 ohms) microphones.
`
`The Phones output is a 3-pole "A" gauge jack, suitable for high impedance
`headphones (400ohms), and will appear to be low if domestic 8ohm headphones
`are used.
`
`Caution! Do not use unbalanced microphones or battery powered condenser
`microphones without isolating the +48V phantom power: degraded
`performance or damage to the microphone may result.
`
`The sensitivity of the Mic inputs is variable from -16dBu to -70dBu, with a
`maximum input level of +4dBu. The Mono Line Input sensitivity is variable from
`-46dBu to +8dBu with a maximum input level of +22dBu.
`
`The Stereo Input is provided with a gain trim of +/-10dB, with a maximum input
`level of +22dBu.
`
`The main outputs of the mixer (Left/Right) are balanced at a nominal level of 0dBu.
`Maximum output level is +26dBu into 600 ohms.
`
`Installation
`
`2.5
`
`

`
`START
`
`RIGHT(RIAA)
`INPLIT 1
`
`LEFT(RIAA)
`
`RIGHT
`
`I
`0
`0
`0 INPLIT1
`© INPLIT2
`© INPLIT2
`
`LEFT/STR
`
`Turntable
`
`START
`
`RIGHT (RIAA)
`INPLIT1
`
`I
`I
`
`0
`
`LEFT(RIAA)
`INPLIT1
`
`RIGHT
`
`© INPLIT2
`© INPLIT2
`
`LEFT/STR
`
`OLITPIJT
`RECORDR
`OLITPIJT
`RECORDL
`
`0
`0
`@~~RN
`
`© MONO @ SUB BASS
`© LEFT
`
`OLITPLIT
`
`a
`
`OLITPLIT
`
`I
`
`OLITPLIT
`
`Lighting Controllers
`
`\
`
`\
`
`'m=m~ •
`Tape Rec.
`
`...... ~
`
`Speaker
`Sub Bass
`
`T Turntable
`
`:::I
`0
`:::!:
`a>
`
`:::I "' S'
`
`Stereo/Line
`
`Stereo/Line
`
`Master
`
`Speaker T I • c::::::::I .... I ~
`~ Signal Processor
`G
`Speakers •
`
`e.g Effects
`
`MonoOIP
`
`Master L/R
`
`RIGHT (RIAA)
`
`LEFT(RIAA)
`
`0 START
`0 INPLIT 1
`0 INPLIT 1
`~RIGHT
`~ INPLIT2
`
`~ LEFT/STR
`~ INPLIT2
`
`Q MIC
`
`INPUT © INSERT
`© LINE
`
`INPUT
`
`G
`•
`
`01~
`
`Speakers
`Monitor
`
`Microphone
`
`~I
`
`

`
`Connections
`
`Wiring conventions
`
`The D-MIXl 000 uses various different types of audio connector: 3-pin XLR , 1/411
`3-pole jacks and RCA phono connectors. This section describes how to connect
`extemal equipment to the console. CoITectly-made cables of the proper type w ill
`ensure peak performance from your mixer.
`
`Mono Input Module
`
`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 delicate vocals
`requiring the best low-noise perfonnance or close-miked drum kits needing
`maximum headroom. Professional dynamic, condenser or ribbon mies are best
`because these will be LOW IMPEDANCE. While you can use low-cost HIGH
`IMPEDANCE mies, you do not get the same degree of immunity to interference on
`the microphone cable and as a result the level of background noise may be higher.
`If you turn the PHANTOM POWER on (Jl on the PCB fitted to posit.ion B) the
`socket provides a suitable powering voltage for condenser mies.
`
`DO NOT use unbalanced sources w ith the phantom power switched on. The voltage
`on pins 2 & 3 of the XLR may cause serious damage.
`
`The input level is set using the SENS Knob.
`
`Line Input
`
`Balanced
`
`Unbalanced
`
`Hot (+ve)-
`Cold (-ve)-
`
`- - Signal
`- Gnd/ Screen
`- Gnd/ Screen
`
`Tip
`
`Ring,---,,,_~ Sleeve
`
`Accepts 3-pole "A" gauge (TRS) jacks, or 2-pole mono jacks which w ill
`automatically ground the "cold" input. Use this input for sources other than mies,
`such as tape machines or CDs. The input is BALANCED for low noise and
`immunity from inte1ference, but you can use UNBALANCED sources by wiring
`up the jacks as shown below, although you should then keep the cable lengths as
`sho1t as possible to minimise interference pick-up on the cable. Note that the ring
`must be grounded if the source is unbalanced. Set the input level using the SENS
`knob.
`
`Insert Point
`
`- Signal Re turn
`- Signal Send
`- Gnd/Screen
`
`The unbalanced, pre-EQ insert point is a. break in the channel signal path, allowing
`limiters, compressors, special EQ or other signal processing units to be added in the
`signal pa.th. The Inse1t is a. 3-pole "A" gaugejack socket which is nonnally bypassed.
`When a jack is inse1ted, the signal path is broken, just before the EQ section.
`
`Tip
`
`Ring
`
`Inserts
`
`Installation
`
`Sleeve
`
`The signal from the channel appears on the RING of the plug and is returned on the
`TIP.
`
`2.7
`
`

`
`Connections
`
`Input 1 Stereo Inputs
`
`- Signal
`
`The Input 1 sockets accept phono jacks. The Inputs are UNBALANCED. Input 1
`may be used for tape machines, CDs or turntables. If they are used for turntables
`then the inbuilt RIAA input filters must be selected. This is done by setting the
`module jumpers Jl and J2 to position A. See Page 2 .13 for jumper details.
`
`Unbalanced
`
`- Gnd/Screen
`
`Tip
`
`Sleeve
`
`Input 2 Stereo Inputs
`
`These Inputs are UNBALANCED. They accept 2-pole mono jacks. These may be
`used for sources such as tape ma.chines or CDs. Mono sources can be fed to both
`paths by plugging into the Left jack only.
`
`Start Socket
`
`The Strut socket accepts phono plugs. A switch contact closes between the screen
`and the centre contacts in the module whenever the modules ON switch is depressed.
`_ Center It may be used to remote strut a tumtable or tape machine etc. Consult the hand book
`Contact for the tumtable or tape machine to see if it has remote strut capabilities.
`Under no circumstances must the mains be placed on these
`contacts.
`
`Record Left & Record Right Outputs
`
`The Record outputs may be connected via two phono plugs, one for the left signal
`and one for the right signal.
`
`- Signal
`
`2.8
`
`Installation
`
`

`
`Connections
`
`1. Screen
`
`.~·····
`.• ~ ... .
`
`2. Hot (Signal + )
`
`Outputs Left & Right
`
`The left and right outputs are on 3-pole XLR sockets, wired as shown on the left.
`They are balanced outputs, allowing long cable rnns to balanced amplifiers and other
`equipment.
`
`From o.Mx 1000
`
`(a) Balanced Connection
`
`To External Device
`
`________ :f=ig'=:=·======s:,=~~0~==========:::_--=.~J~-------
`
`Screen
`
`$9lal -
`
`From o.Mx 1000
`
`(b) Unbalanced Connection input
`
`10 External Device
`
`Signal.
`:~~~~~~~~~~~~~:--l='=/=::::::::_.s-:_-:.-:0~ __________ ~J~-------
`
`screen ~ -
`
`\
`
`GN6°
`
`Blperience has shown that sometimes it is better
`not to connect screen at external d~ce end.
`
`Mono Output & Sub Bass Output
`
`The Mix and Aux outputs are on 3-pole a gauge jack sockets, wired as shown on
`the left and below, and incorporate ground compensation which helps to avoid
`ground loops and their associated hums and buzzes when feeding into unbalanced
`equipment.
`
`- Ground Sense
`
`From 0-Mix 1000
`Ground Compensated
`Output
`
`(a) Balanced Connection
`
`t&g_,,._,_,,,Q __ - _-_-_-_-ill
`
`To External Device
`
`--------~. /
`
`Screen
`
`I
`Ground Sense
`
`•·-------~
`
`From 0-Mix 1000
`Ground Compensated
`Output
`
`- -1-l: ~\ Q __ -----\---_ J __ _
`
`Signal +
`
`(b) Unbalanced Connection
`
`To External Device
`
`Outputs
`
`Screen
`
`Ground Sense
`
`Experience has shown that sometimes it is better
`not to connect screen at external device end.
`
`Installation
`
`2.9
`
`

`
`Connections
`
`-Left Signal Booth & Headphone Outputs
`-Right Signal
`
`The DJ Booth and Headphone outputs are connected via 3-pole "A" gauge jacks.
`
`- Signal Send Sound To Light Output
`- Gnd/Screen
`- Gnd/Screen The Sound to Light output can be connected via 3-pole "A" gauge jack.
`
`Tip
`
`Ring
`
`Sleeve
`
`Aux Send
`
`The Aux Send can be connected via 3-pole "A" gauge jack.
`
`Aux Return
`
`The Aux Retum can be connected via 3-pole "A" gauge jack.
`
`2.10
`
`Installation
`
`

`
`S etting Up
`
`You will probably use your D-Mix1000 with a wide range of different types of
`sound source, and these will be at varying signal levels. It is important to set the
`SENS control correctly to give the best performance. If the input level is too high
`the signal will distort as it overloads the channel and causes clipping. If it is too low
`the level of any background hiss will be more noticeable and you may not be able
`to get enough signal level to the output of the mixer. This is illustrated in the diagram
`below.
`
`Clipped
`Signal
`
`Noise
`
`If the signal
`may occur.
`
`is too high, clipping distortion
`
`Signal
`
`Noise
`
`level
`If the signal
`by the noise.
`
`is too low it may be masked
`
`Set up the Stereo/Line channels as follows:
`
`(1) Plug in the chosen source (e.g Turntables, CDs).
`
`(2) Set the Master faders up fully.
`
`(3) Provide the chosen source with a typical signal level and press the CUE button
`just below the fader. The signal level should now be shown on the CUE bargraph
`meter.
`
`(4) Adjust the SENS until the meter is just reaching the yellow LED (0dB) at a
`typical maximum source level with a steady signal. This leaves enough headroom
`to cope with peaks in the signal without distortion.
`
`(5) Adjust each channel in the same way.
`
`(6) With your amplifier and speakers connected, set the amplifier by using the
`amplifiers gain control to give the level that will be required in actual use.
`
`(7) All the levels should now be set correctly to avoid clipping etc.
`
`Installation
`
`2.11
`
`

`
`R emoving A nd R eplacing Modules
`
`Removing Modules
`
`Each Input Module is secured to the D-Mix1000 frame by two screws, the Master
`module is secured by four screws.
`
`Remove the screws using a cross-head screw driver.
`
`Turn the console on to its underside, so it is face down. Here the connectors can be
`located. Remove the screws holding in XLRs and the nuts holding the jack sockets
`in. You may find it helpful to refer to the black sticker on the console to make sure
`you are removing the correct components for the module which you require.
`
`Slowly turn the console back over to its original position, the module should now
`be free for removal.
`
`Lift the module a few inches out from the desk frame, just enough so the ribbon
`cable is exposed. Gently ease off the loom connector from the bottom of the PCB.
`
`The module should now be completely free from the desk.
`
`Replacing modules
`
`Line the module up so it can slot easily into the desk frame and connect the ribbon
`cable back onto the PCB.
`
`Turn the console onto its underside and replace XLR fixing screws and Jack socket
`nuts.
`
`Turn the console back to its original position and replace the module fixing screws
`situated on the face of the module.
`
`The module should now be securely fixed to the console.
`
`It is important to note that the modules may be configured to the users requirements
`but caution must be taken not to damage the main wire loom. Be careful not to trap
`the loom between any of the modules.
`
`2.12
`
`Installation
`
`

`
`R emoving A nd R eplacing The C ros s F ader
`
`With a cross-head screw driver, remove the two Cross Fader fixing screws. These
`are labelled numbers 1 and 2 on the diagram.
`
`Gently lift out the fader, being careful not to apply too much force on the wire loom
`connecting the Cross Fader to the console.
`
`Gently ease the plug off of the Cross Fader PCB. This is shown as number 3 on the
`diagram below.
`
`The Cross Fader should now be free for removal.
`
`To replace the Cross Fader follow the instructions above in the opposite order.
`
`Installation
`
`2.13
`
`

`
`J umpers
`
`Several functions on the D-Mix1000 may be altered by internal adjustment of
`jumpers on the PCBs.
`
`Mic/Line Input Module Jumper Options (SC3451)
`
`J1A
`
`J1B
`
`J2A
`
`J2B
`
`Fit to disable +48V phantom power to the Mic input XLR. (Default)
`
`Fit to enable +48V phantom power to the Mic input XLR.
`
`Fit in position A to enable Voice-Over. (Default)
`
`Fit in position B to disable the Voice-Over.
`
`J3
`
`Fit in position A for Aux source pre-fade. (Default)
`Fit in position B for Aux source post-fade.
`The black rectangles on the diagrams below show jumper positions.
`
`Stereo Input Module Jumper Options (SC3452)
`
`J1,2A
`
`J1,2B
`
`J3,4
`
`Fit to enable RIAA equalisation on Line 1. (Default)
`
`Fit to enable -10dBV (Non-RIAA) input level on Line 1.
`
`Fit in position A for Aux source pre-fade. (Default)
`Fit in position B for Aux source post-fade.
`
`2.14
`
`Installation
`
`

`
`3. System Block Diagram
`
`System Block Diagram
`
`3.1
`
`

`
`D-Mix1000 S ys tem Block Diagram
`
`3.2
`
`System Block Diagram
`
`

`
`4. Mic/Line Input Module
`
`Description & Operation
`
`Specification
`
`Mic/Line Input Module
`
`4.1
`
`

`
`Mic/Line Input Module
`
`Input Stage
`
`Two inputs are provided to the module, one microphone level input on an XLR
`connector, and one line level on a 1/4" stereo jack. The MIC input has +48V
`Phantom Power available for condenser microphones which may be activated by
`setting an internal jumper on the circuit board.
`
`A pre-EQ Insert Point is also provided for the addition of a limiter or other signal
`processor to the input channel.
`
`1 The LINE switch selects the Line input when pressed and the Mic input when
`released. An LED in the switch illuminates when the Line input is selected.
`
`2 The SENS (Sensitivity) control adjusts the level of the selected input, and
`should be set up carefully to ensure a good signal to the rest of the mixer. If it is
`set too high the signal will distort as it overloads the channel and causes clipping.
`If it is set too low the level of any background hiss will be more noticeable and you
`may not be able to get enough signal level to the output of the mixer.
`
`Equalisation
`
`3 The Equaliser (EQ) allows precise manipulation of the sound, particularly to
`improve the sound of microphone sources where the original sound is often far from
`ideal.
`
`Three EQ bands are provided, giving 10dB of boost or cut at frequencies of 100Hz
`(LF), 3.5kHz (MF) and 8kHz (HF).
`
`4 The EQ may be switched in and out of circuit by the EQ switch. An integral
`LED illuminates when the EQ is in circuit (switch pressed). Toggling this switch
`on and off allows an instant comparison between the equalised signal and the
`untreated signal.
`
`5 An AUX feed is provided for use with an effects unit, reverb or as an additional
`output from the mixer. The AUX control sets the send level from the channel, and
`this is mixed with the signal from any other channels required before being sent to
`the Aux Send output jack at an overall level set by the Master module AUX SND
`control. The send from the channel may be selected as pre- or post fader by changing
`the position of internal jumpers.
`
`6 The PAN control sets the amount of the channel signal feeding the Stereo Mix
`output, either directly or via the A/B Crossfader (see Channel Output below),
`allowing you to move the source smoothly across the stereo image. Turning the
`control clockwise moves the source progressively to the right in the stereo image,
`and turning the control anticlockwise moves the source to the left.
`
`7 The large illuminated ON switch activates the channel when pressed, and mutes
`the channel when released. If the Aux Send is selected as pre-fade, the ON switch
`will not affect the Aux signal, but will mute it with the main channel output if
`selected as post-fade.
`
`1 2 3
`
`4 5 6 7 8 9
`
`10
`
`11
`
`4.2
`
`Mic/Line Input Module
`
`

`
`8 The PEAK LED warns the DJ of excessive signal level in the channel before
`distortion occurs. The signal is sampled just after the EQ section, and illumination
`of the LED will indicate that the input sensitivity is set too high, or that the EQ
`settings are too extreme.
`
`Channel Output
`
`9 The channel signal may be assigned directly to the main L/R mix, or may be
`switched to either the A or B side of the Crossfader which enables smooth transitions
`between selected sources. The routing switches are interlocking.
`
`10 The output signal level from the channel is set by the long-travel FADER. If
`the channel input is selected to MIC, moving the fader from the end stop will also
`cause the DJ Booth monitors to be muted when a Cue is active, to prevent feedback.
`
`11 The large illuminated CUE switch enables the pre-fade channel signal to be
`routed to the DJ’s headphones and the booth monitors if required. The mono
`channel signal is sent equally to both sides of the stereo Cue mix, and is not affected
`by the position of the Pan control.
`
`Jumper Options
`
`J1A
`
`J1B
`
`J2A
`
`J2B
`
`J3
`
`Fit to disable +48V phantom power to the Mic input XLR. (Default)
`
`Fit to enable +48V phantom power to the Mic input XLR.
`
`Fit in position A to enable Voice-Over. (Default)
`
`Fit in position B to disable Voice-Over.
`
`Fit in position A for Aux source pre-fade (Default)
`Fit in position B for Aux source post-fade
`
`Rear Connector Panel
`
`Mic/Line Input Module
`
`4.3
`
`

`
`Specification
`
`Microphone Input
`
`Electronically balanced
`Input impedance
`Maximum input level
`Sensitivity range
`E.I.N.
`
`Line Input
`
`Electronically balanced
`Input impedance
`Maximum input level
`Sensitivity range
`
`
`
`
`
`General
`
`2kW
`+4dBu
`-70dBu to -16dBu
`-128dB, 150 ohm source
`
`20kW
`+22dBu
`-46dBu to +8dBu
`
`Frequency Response
`Distortion, Line In to L-R Output
`
`+0,-1.0dB, 20Hz to 20kHz
` 0.005% @ 1kHz
`
`4.4
`
`Mic/Line Input Module
`
`

`
`Stereo Input Module
`
`Description & Operation
`
`Specification
`
`Stereo Input Module
`
`4.5
`
`

`
`S tereo Input Module
`
`Input Stage
`
`Two switched stereo inputs are provided to the module, one on 1/4" stereo jacks
`and one on RCA phono plugs. The inputs would typically be used for CD players,
`DAT machines or VTRs, and Line 1 input may also be reconfigured by changing
`internal jumpers to provide RIAA equalisation for turntables. A remote start facility
`is included for controlling turntables, CD players or other equipment.
`
`1 The LINE 2 switch selects Line 2 input when pressed and Line 1 input when
`released. An LED in the switch illuminates when the Line 2 input is selected.
`
`2 The GAIN control trims the level of the selected input by +/-10dB to
`compensate for different sources.
`
`Equalisation
`
`3 The Equaliser (EQ) allows correction of the sound, to enhance poor recordings
`or compensate for different room acoustics. Since the sources which would
`typically be connected to the stereo inputs will generally be of reasonable sound
`quality, the EQ controls on these inputs have less range than the similar section on
`the Mono input modules, giving more subtle control.
`
`Three EQ bands are provided, giving 6dB of boost or cut at frequencies of 100Hz
`(LF), 3.5kHz (MF) and 8kHz (HF).
`
`4 The EQ may be switched in and out of circuit by the EQ switch. An integral
`LED illuminates when the EQ is in circuit (switch pressed). Toggling this switch
`on and off allows an instant comparison between the equalised signal and the
`untreated signal.
`
`5 A mono AUX feed is provided for use with an effects unit, reverb or as an
`additional output from the mixer. The AUX control sets the send level from the
`channel, and this is mixed with the signal from any other channels required before
`being sent to the Aux Send output jack at an overall level set by the Master module
`AUX SND control. The send from the channel may be selected as pre- or post fader
`by changing the position of internal jumpers.
`
`6 The BAL (Balance) control provides +/-6dB level adjustment for the signal
`feeding the Stereo Mix output, either directly or via the A/B Crossfader (see Channel
`Output below), allowing compensation for imbalance in the source signal.
`
`7 The large illuminated ON switch activates the channel when pressed, and mutes
`the channel when released. If the Aux Send is selected as pre-fade, the ON switch
`will not affect the Aux signal, but will mute it with the main channel output if
`selected as post-fade. Pressing the ON switch also provides an isolated contact
`closure on the remote START phono socket to control external equipment.
`
`8 The PEAK LED warns the DJ of excessive signal level in the channel before
`distortion occurs. The signal is sampled just after the EQ section, and illumination
`of the LED will indicate that the input gain is set too high, or that the EQ settings
`are too extreme.
`
`1 2 3
`
`4 5 6 7 8 9
`
`10
`
`11
`
`4.6
`
`Stereo Input Module
`
`

`
`Channel Output
`
`9 The channel signal may be assigned directly to the main L/R mix, or may be
`switched to either the A or B side of the Crossfader which enables smooth transitions
`between selected sources. The routing switches are interlocking.
`
`10 The output signal level from the channel is set by the long-travel FADER.
`
`11 The large illuminated CUE switch enables the stereo pre-fade channel signal
`to be routed to the DJ’s headphones and the booth monitors if required.
`
`Jumper Options
`
`J1,2A Fit to enable RIAA equalisation on Line 1 (Default).
`
`J1,2B Fit to enable -10dBV (Non-RIAA) input level on Line 1.
`
`J3,4
`
`Fit in position A for Aux source pre-fade (Default).
`Fit in position B for Aux source post-fade
`
`Rear Connector Panel
`
`Stereo Input Module
`
`4.7
`
`

`
`Specification
`
`Line Inputs
`
`
`
`Input impedance
`Maximum input level
`Sensitivity range
`Noise
`
`General
`
`)
`
` (RIAA 47kW
`20kW
`+22dBu
`-46dBu to +8dBu
`-80dB
`
`Frequency Response
`Distortion, Line In to L-R Output
`
`+0,-1.0dB, 20Hz to 20kHz
` 0.005% @ 1kHz
`
`4.8
`
`Stereo Input Module
`
`

`
`Master Module
`
`Description & Operation
`
`Specification
`
`Master Module
`
`4.9
`
`

`
`7
`
`8
`
`4
`
`5
`
`6
`
`3
`
`1
`
`2
`
`L
`
`R
`
`000000000000
`·20 15 10 7 5 3 1 0 1 3 5 8+
`000000000000
`
`Soundcraft
`
`~---- MONITOR/CUE -----
`
`L 000000000000
`·20 15 10 7 5 3 1 0 1 3 5 8+
`R 000000000000
`
`AUX
`
`4
`
`' a
`
`2-
`1
`
`-·
`•
`
`,
`'
`0
`10
`4 e a
`
`AUX
`
`SND 30' 7
`RTN aO' 7
`CUE I[]
`
`2-
`1
`
`,.
`0
`
`- ·
`•
`
`'
`10
`
`MASTERS
`
`STEREO
`
`@)
`
`MONO
`
`@
`
`'
`
`04
`
`2
`1
`
`0
`
`VOICE OVER D
`
`AUTO
`CUE
`
`9 r
`
`12
`
`10
`
`11
`
`'1
`8
`•
`
`10
`
`L/R
`
`AUX [JI
`
`13 r
`
`DJ HEADPHONES
`
`'
`
`04
`
`2
`1
`
`0
`
`SPLIT
`CUE
`
`'1
`8
`•
`
`10
`
`14
`
`15
`
`16
`
`0
`
`0
`
`A
`
`CROSSFADE
`
`B
`
`----1----
`
`@I 1111 11 1111 111111---
`
`1
`
`_
`
`____,
`
`4.10
`
`Master Module
`
`

`
`Mas ter Module
`
`The Master module incorporates the mix amps for the stereo and Aux busses, master
`level control for the mixer outputs and provides the DJ with headphone or
`loudspeaker monitoring and level display on high quality vacuum display bargraph
`meters.
`
`Main Outputs
`
`1 Two long travel Master FADERS control the final output level of the Stereo
`mix and a Mono sum of the Left/Right outputs.
`
`2 The input channels are provided with routing switches which allow the signal
`to be sent directly to the Stereo Mix, or to one side of the A/B CROSSFADER,
`which then feeds the main outputs via the master faders (see above). When the
`Crossfader is fully to the left the ‘A’ output is active, and channels may be preset
`silently to the ‘B’ side of the Crossfader. Moving the Crossfader from A to B
`produces a rapid and smooth transition to the preset sources. The process can then
`be repeated with sources preset on the ‘A’ side.
`
`Ducking
`
`3 A selected mono input can be assigned (by se