Soundcraft BB100 TECHNICAL MANUAL

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Page 1

BB100

Broadcast Mixer

TECHNICAL MANUAL

A Harman International Company

Page 2

Serial No:

IMPORTANT

For convenience, write your serial number in the box above and keep this manual in a safe place. The number can be found on the rear of the product.

This number MUST be quoted in all communications in order to obtain technical support and spare parts from either the factory or your dealer.

Technical Manual

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Parts of the design of this product may be protected by worldwide patents. Soundcraft is a trading division of Harman International Industries Ltd.

Information contained 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 or through any mis-operation or fault in hardware or software contained in the product.

No part of this manual may be reproduced, stored in a retrieval system, transmitted in any form or by any means, electronic, electrical, mechanical, optical, chemical, including photocopying and recording, for any purpose whatsoever without the express written permission ofSoundcraft.

It is recommended that all maintenance and service on the product should be carried out by Soundcraft or it's authorised agents. Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or repair by unauthorised personnel.

Part No. ZMA0006-02

Harman International IndustriesLimited

Part No: ZMA0006-02

Cranborne House Cranborne Road Potters Bar

Amek, a division of

Harman International Industries Ltd

Hertfordshire

Langley House, Third Avenue

EN6 3JN

Trafford Park, Manchester, M17 1FG

United Kingdom Tel: +44 (0) 161 868 2400 Fax: +44 (0) 161 873 8010

Tel +44 (0)1707 665000

E-mail: amek@amek.com

Fax +44 (0)1707 660742

Web: http://www.amek.com

http://www.soundcraft.com

1-2 Introduction © Soundcraft

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Contents

1 Introduction

2 Installation

3 Power Supplies & Cabling

4 Connectors

5 Modules

6 System Architecture

7 Maintenance

8 Specification

9 Schematics

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1-4 Introduction © Soundcraft

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1-6 Introduction © Soundcraft

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Precautions and Safety Instructions

Caution

For your own safety and to avoid invalidation of warranty, all text marked with these Warning Symbols should be read carefully!

Please keep this information!

Important information. Read this before proceeding.

Hazard or unsafe practice which can result in severe personal injury or death.

Cautionary Advice

Important

Please read this manual carefully before connecting the power supplies to the mains for the first time!

Obey all safety instructions in this manual where marked with any of the above symbols. Read and understand these instructions before operating the product, doing any troubleshooting, testing, adjustments or repairs. Failure to comply with the safety instructions may result in personal injury.

Warning

To avoid the risk of fire, do not expose this unit to rain or moisture. Unplug this apparatus during storms or when unused for long periods of time.

Caution

The apparatus will operate as a free standing unit without requiring any special cooling arrangement but should not be allowed to be accidentally or deliberately covered in any way. Do not obstruct the ventilation slots in the upper and lower surfaces.

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Note de Précaution et Sécurité

Précaution

Pour votre sécurité et afin de ne pas interrompre la garantie il est important de lire attentivement les paragraphes marqués d'un symbole!

Conserver ce document!

Importante information. Priere de lire avant utilisation.

Hazadeuse ou dangereuse manipulations peuvent provoquées de graves blessures ou même la mort.

Note de précaution.

Importante

Ce manuel est à lire attentivement avant de brancher cet appareil pour la première fois!

Suivre les instructions de sécurité. Lire et comprendre ces intructions avant l'utilisation de l'appareil ou avant dépannage, essai, ajustement ou réparation. Ne pas se conformer aux instructions de sécurité peut provoquer de graves blessures.

Avertissement

Afin d'éviter un risque de feu, ne pas exposer l'appareil à la pluie ou à l'humidité. Débranchez l'appareil en cas d'orage éléctrique ou si l'appareil n'est pas utilisé pendant une longue periode.

Précaution

Cet appareil fonctionnera de lui-même sans supplément de ventilation mais ne doit en aucun cas être recouvert, afin ne pas bloquer les fentes de ventilation inférieures et supérieures.

1-8 Introduction © Soundcraft

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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 it’s accredited Distributor. Equipment means the equipment supplied with this manual.

2. 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.

3. 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/shipping must be prepaid.

4. 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 the 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 with Soundcraft’s recommendations.

5. 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.

6. The benefit of this Warranty may not be assigned by the End User.

7. 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.

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Introduction

BB100 Hardware

The BB100 Series is a range of compact, high quality audio consoles designed for broadcast professionals. Although it has been designed primarily for broadcast use, the BB100 will find numerous applications in other areas where a cost-effective and flexible audio mixer is required that does not compromise build quality or performance in the least.

The console is available in 4 frame sizes and can be supplied as drop through or desktop style chassis. Standard features include conductive plastic faders, 28 segment light meters, Cleanfeeds and Fader Starts. The professional standard interface provides electronically balanced inputs together with Stereo, Auxiliary, Cleanfeed and Group Outputs.

Console Size

BB100 Series – 14 Position Console

BB100 Series – 22 Position Console

BB100 Series – 30 Position Console

BB100 Series – 38 Position Console

Main console features include:

q Mono Input modules

Stereo Input modules

Up to 4 Cleanfeeds with 4 Cleanfeed Outputs

Up to 4 Stereo Group Returns

Up to 8 Audio Groups

8 Auxiliary Sends

Comprehensive Monitoring

Comprehensive Metering

Soft Mutes

1-10 Introduction © Soundcraft

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Contents

Installation ...........................2-3

Power Supplies .........................2-3

EMC Precautions ........................2-7

BB100 Chassis Dimensions ...................2-10

2-2 Installation © Soundcraft

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Installation

Before disposing of the packaging, check that all expected items are present and correct. Refer to the enclosed packing list!

Power Supplies

Three different types of power supply unit may be used with BB100 consoles. The type supplied depends on the console size and the date it was built. The PSU 300 and the MPS 20 are switch mode supplies whilst the MPS 5 is a linear supply.

Note: - Always use the Power Supply which is supplied with the Console.

Positioning the Power Supply Unit(s)

All the PSU are designed for installation in a 19” rack unit. Adequate ventilation should be provided for the PSU with an unrestricted air flow through the unit. The air intake and the outflow holes must be inspected regularly and cleaned if necessary to maintain good airflow through the unit. This will be particularly important if the unit is used in a dusty environment. The PSU300 draws air through the top of the unit and is expelled through the left and right sides. The MPS 5 draws air through the rear of the unit and is expelled through the front panel. The MPS20 draws air through the rear of the unit and is expelled through the left side.

All power units should be placed close enough to the console to use the standard 8 metre DC power cables. Avoid placing the units close to other sensitive audio equipment to reduce the risk of hum pickup from external stray magnetic fields e.g. mains transformers.

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Checking and connecting the power units

BEFORE connecting any power units to the chassis, follow the procedure below:

WARNING: THIS APPARATUS MUST BE EARTHED.

Use the terminal provided on the rear of the chassis if necessary and connect it to the technical ground for the installation. DO NOT disconnect the safety earth from the AC mains cords.

Make sure the AC operating voltage settings are correct for the local

mains supply.

(Refer to the power supply section of this manual if necessary).

Use the moulded IEC power cords provided with the console or by the

distributor.

Connect all power units to the local mains supply. DO NOT connect

the DC cables to the chassis at this point.

Switch each unit ON in turn and check that all the power rail LEDs on

the front panels illuminate properly. STOP IMMEDIATELY if any LEDs fail, TURN OFF the power unit and refer to the power supply section of this manual. DO NOT attempt to use this power unit until the fault has been rectified.

q If ALL power unit LEDs illuminate correctly, TURN OFF all power units

and connect the DC cables between the power units and the chassis.

q TURN ON all power units again and check that the power supply

LEDs illuminate properly and that the VU lamps are ON. STOP IMMEDIATELY if any LEDs or lamps fail, TURN OFF the power units and rectify the fault before proceeding further.

If all above steps are healthy the console can be safely powered up.

WARNING: Always switch off the Power Supply Unit OFF before connecting or disconnecting the Console. NEVER remove modules while the PSU is ON

Avoid using the console close to magnetic fields such as video monitors and power supply units as this will cause degradation of the audio performance of the console.

Mounting

Diagrams showing sizes of the consoles are shown at the end of this Chapter.

The design of the BB100 console is based on long established audio principles but uses the latest technology to produce its outstanding performance. Only when the console is carefully installed in accordance with our recommendations, will you obtain the best results. EMC precautions are described at the end of this chapter.

2-4 Installation © Soundcraft

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Earthing

The most reliable earthing system is to have only one point to which all equipment is earthed. It is essential for safety that all mains powered equipment in the system has a mains (safety) earth connected. This is especially important on computers with an internal power supply. Connecting a non earthed computer to the console can cause serious damage.

Clean Earth

The console has an external M4 stud, for a clean or ‘technical’ earth to be connected. This stud is located on the rear panel of the console. The incoming technical earth should be connected to this star point; the incoming cable should be terminated in an M4 eyelet. In the best installations, a clean earth is provided from a specially constructed earth rod system. Use of the console’s earth terminal is preferred whenever possible, but if there is no clean technical earth, an adequate earth can sometimes be provided by the console’s power supplies. These have a limited earth via a resistor/capacitor network. The lack of a clean earth is especially likely to cause noise problems.

Earth loops

Earth loops occur whenever a piece of equipment has two connections to earth. This can happen if there is an earth through the mains lead and a second one through a cable screen to another piece of earthed equipment. This may cause hum and other problems. Always avoid earth loops in the system wiring.

If you have earth loops in your installation, they must never be ‘solved’ by removing safety earth connections.

Microphone Cables

All microphone and line level connections in the control room and studio should be wired using a high quality twin screened cable. The screens of the cables should be connected to one ground only. With microphone inputs this is not difficult as microphones do not normally have any ground connection other than the one through the cable. It is therefore correct and essential that the microphone cables have the screen connected at both ends.

Wiring Conventions

Soundcraft uses the standard XLR wiring convention on all consoles. Not all equipment uses this convention so check your wiring to prevent any phase reversals. See Table below for wiring convention.

Pins

Pin 2 HIGH (HOT) +

Pin 3 LOW (COLD) -

Pin 1 SCREEN (GROUND)

Pins ¼ Inch Jack Plug

Tip HIGH (HOT) +

Ring LOW (COLD) -

Screen SCREEN (GROUND)

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Signal Levels

The BB100 has been designed to operate with a wide range of studio equipment. All input and output levels are therefore suitable to match +4dBu systems and the meters are calibrated to read “0” for output levels of +4dBu. The meter trim controls can allow the meters to be adjusted to read “0” for output levels of +6dBu.

Refer to Chapter 8 (Specifications) for details of input / output levels.

Module Removal

Never remove or insert modules or any system parts when the power are switched ON.

Maintenance

All maintenance and repair work should be carried out by a qualified and trained technician. Failure to do so may invalidate the product warranty. Refer to the warranty information in Section 1 of this manual.

2-6 Installation © Soundcraft

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EMC Precautions

Introduction

EMC (electromagnetic Compatibility) is the ability of equipment to function correctly in locations where electromagnetic interference is present. Examples of electromagnetic interference are Radiated Interference e.g. from local broadcast transmitters, mobile phones Conducted interference. This can be introduced into console signal, mains, or dc power cables when they are located close to cables for electrical plant which contain “spikes”

Electrostatic discharge. e.g. the shock you can get when touching a piece of equipment after walking on a nylon carpet. EMC precautions are common-sense measures, which should be carried out, in any quality audio installation. For good EMC performance, the console must be installed in accordance with our recommendations. Giving some thought to EMC at the planning stage can provide protection, which costs very little.. Interference field strength diminishes with distance, so locate audio equipment far from strong emitters such as fixed radio, TV or radio transmitters and industrial equipment such as welders, RF furnaces

Console shipping and storage

During shipping, and if the console is stored before installation, it must be kept dry. Corrosion on metal parts can drastically reduce EMC performance.

EMC Environment

The console is designed to be installed in a “Commercial / Light Industrial” environment.

Mains supplies

The console is designed to be used in an environment, which is protected against mains-borne transients, and no console cabling should be routed in the vicinity of power cables carrying switched high current loads. Supply mains power for the studio equipment from separate phases or better still from different distribution transformers.

RF immunity

When exposed to a field of 3 volts / metre (European Standard), a loss of performance may be noticeable. Typical field strength from mobile phones or nearby communications transmitters is usually substantially less than this level. Field strengths of up to 10 V/m can be encountered within 20m of amateur radio transmitter and performance degradation may be noticeable in these conditions. If the console is to be sited close to strong radio frequency sources, such as a broadcast transmitter, please contact the factory.

Static and furnishings

The degree of inconvenience caused by a ‘click’ is very subjective, in many cases, a single transient can be ignored. If there are any circumstances where this is not acceptable, the first step should be to remove the possibility of static generation by selection of furniture and flooring materials, humidity control and other anti-static procedures. In low humidity climates, extra static precautions may be required.

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Do-it-yourself testing

You can do a simple check of the local electromagnetic environment using a radio or television, or, better, an all-wave ham radio or scanner.

Antennas and receivers for wireless microphones

The antenna of the receiver for a wireless microphone is very sensitive to rf. Because the frequency bands allocated to wireless microphones differ greatly among CENELEC countries, it is not possible just to specify very low emission limits over a particular frequency range. Nor is it economic to design equipment to have very low emissions over the whole range required for all CENELEC states (31,6 to 1000 MHz). Care must therefore be taken with the location of the antennas and receivers.

Installation cables - type and location

Soundcraft consoles are designed to have good EMC performance, but a poor installation can easily negate this.

Type of cable

For best EMC performance, audio circuits should all be wired in twisted-pair screened cable. Twisted pair cables should have a tight twist (20 twists per metre or better). The screen of audio cables should have good coverage. We recommend a double lapped screen with lapping in opposing directions. Copper screens are preferred over conducted plastic because they provide effective screening over a wider frequency range. If AC magnetic fields are likely, use star-quad cable, and route them as far as away as possible from the fields to minimise hum pickup.

Location of Cable

Audio cables should be routed in metal ducts where possible. This is especially important in an environment, which contains high RF fields. Pickup of RF fields can be reduced by routing cables so that they “cling to” large ground plane areas such as equipment racks or steel-reinforced concrete floors. Separate trunking should be used for (a) Console signal cables (b) Mains for the console, and (c) Power cables carrying switched high current loads. Don’t use cables longer than necessary. Coiling of excess length is a bad idea.

Connectors - type and termination of cables

Mating connectors should have a metal body and the cable screen should be connected to the connector body.

Termination

When terminating cables, the hot, cold and screen wires must be kept as short as possible inside the connector. ‘Pigtails’ should not be used for the cable screen connection.

High RF fields

Cable screens should normally be terminated at one end only. However, if a high RF field is present in the installation, try connecting the screen at the tied back end via a high quality 0.01uF capacitor. In extreme cases, you may need to parallel several capacitors of different values, this is to compensate for resonance in the capacitor.

Jackfield cords

These should be less than 1m long

2-8 Installation © Soundcraft

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Connecting unbalanced equipment

Equipment with unbalanced audio ports should be avoided or used with one of the many “unbalanced-to-balanced” interface boxes" available. If it is unavoidable to use unbalanced equipment, it must be wired in twin-screened cable. In this case, unbalanced inputs are worse than unbalanced outputs.

EMC precautions during Maintenance

Mixer panelling

To maintain good immunity to an electrostatic discharge or rf field, metal panels should be kept on the console at all times. All screws should be fitted and should be kept tight.

Service staff should be made aware of this.

Modifications by the console’s owner

Modifications to the console can easily reduce the effectiveness of the console’s EMC.

If any changes are made, the person who made them becomes the “owner” of, and therefore responsible for, the console’s EMC performance.

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BB100 Chassis Dimensions

14 Position Frame - 483mm 22 Position Frame - 726mm 30 Position Frame - 969mm 38 Position Frame - 1212mm

6mm

127mm

PUSH

PUSH PUSH PUSH

PUSH

14 Position Frame - 431mm 22 Position Frame - 674mm 30 Position Frame - 917mm 38 Position Frame - 1160mm

594mm

PUSH PUSH PUSH

249mm

536mm

2-10 Installation © Soundcraft

166mm

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Contents

Power Supplies & Cabling ...................3-3

Mains Lead Connections.....................3-3

Supply types & Description ...................3-4

Technical Specifications .....................3-7

Connector Pinouts........................3-9

Output Voltage Adjustments - PSU 300 .............3-10

Output Voltage Adjustments - MPS 5 ..............3-11

Output Voltage Adjustments - MPS 20 .............3-12

3-2 Power Supplies & Cabling © Soundcraft

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Power Supplies & Cabling

WARNING:

THIS APPARATUS MUST BE EARTHED.

WARNING:

It is important that a console is never left connected to a defective PSU. This may cause serious damage to the console.

WARNING:

The power cord must be disconnected before removing cover plates. The power supply MUST be earthed. Under no circumstances should the mains earth be disconnected from the power supply unit. Lethal voltages are present on the printed circuit boards. Do not operate the unit with the top cover removed.

Mains Lead Connections

FOR UK USER ONLY

All mains leads must have the green/yellow wire connected to mains earth. The cores of the lead are colour coded:

Brown = LIVE

Blue = NEUTRAL

Green / Yellow = EARTH

As the colours of the wires in the mains lead may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows.

The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is marked with the letter E or by the Earth symbol.

The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N or coloured Black.

The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L or coloured Red.

Never remove any green/yellow earth connections. If you have earth loops in your installation, they must never be ‘solved’ by removing safety earth connections. The IEC connector is supplied, moulded to the mains lead and should not be rewired.

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Supply types & Description

Three different types of power supply unit may be used with BB100 consoles. The type supplied depends on the console size and date it was built. The PSU 300 and the MPS 20 are switch mode supplies whilst the MPS 5 is a linear supply.

There are no user serviceable parts in the units. In the event of failure for any reason, the switched mode module should be replaced with a spare and the faulty module returned to Soundcraft for repair or replacement subject to current warranty conditions. All switched mode modules must be fitted by qualified and approved technicians.

Console Size PSUs Supplied

BB100 – 14 Position Console

BB100 – 22 Position Console

BB100 – 30 Position Console

BB100 – 38 Position Console

PSU 300 / MPS 5

MPS 20 (MPS15 - See Separate Manual)

Main Voltage Selection

PSU 300 / MPS 20

The MPS 20 and the PSU 300 are auto-ranging units and do not require any adjustment for the mains input. The supply ranges for the correct operation are 90v – 254v AC @ 47 – 63 Hz.

MPS 5

Do not change the voltage setting without first turning the unit off and removing the mains lead.

The MPS 5 mains input has to be selected for the level of local mains voltage supply. The supply may be preset at the factory for your mains voltage but this must be verified before switching on or serious damage may result. Soundcraft cannot accept responsibility for failures caused by wrongly adjusted power supplies. Voltage selection is achieved by positioning the fuse carrier so that the required voltage appears next to the arrow which is moulded in the connector. In this way the unit is set up for operation at one of the following ranges of mains supply.

Nominal Voltage Operating Voltage Range - MPS 5

(+10/-15%)

Vrms AC Vrms AC

230 196 - 253

115 98 - 126

100 85 - 110

85 73 - 93

3-4 Power Supplies & Cabling © Soundcraft

Page 26

Replacing Mains Fuse – PSU 300 / MPS 5

WARNING:

To avoid risk of fire use the correct value fuse as indicated on the units.

Switch the ON/OFF switch to the OFF position. Remove the mains lead from the connector. Use a small screwdriver to prise the fuse carrier from its location in the connector. Check the fuse and replace if necessary. In the event of repeated failure of the mains fuse consult the Soundcraft dealer from where the unit was purchased.

Note: The MPS 20 is not fitted with an external fuse, each switched mode module is locally protected.

Location and Cooling air

All the PSU are designed for installation in a 19” rack unit Adequate ventilation should be provided for the PSU with an unrestricted air flow through the unit. The air intake and the outflow holes must be inspected regularly and cleaned if necessary to maintain good airflow through the unit. This will be particularly important if the unit is used in a dusty environment.

The PSU 300 draws air through the top of the unit and is expelled through the left and right sides. The MPS 5 draws air through the rear of the unit and is expelled through the front panel. The MPS 20 draws air through the rear of the unit and is expelled through the left side.

Magnetic fields

Magnetic fields are radiated from all power supplies and this provides a further reason to allow space above and below the PSU. Care should be taken not to place items of equipment, which are sensitive to magnetic fields close to the console power supply.

DC Cables

Consoles are supplied with eight metre DC connection cables. Every effort should be made to site the power supply within this distance from the console as extending PSU cables is not recommended. If a longer cable must be substituted please bear in mind the following factors.

The cable must be of at least 5mm² cross section for each conductor and under no circumstances should the length exceed 12 metres. Console performance may be unaffected by extended PSU cables but it should be noted that the specification is only guaranteed when the cables supplied with the console are used.

Earthing

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Clean Earth

In the best installations, a clean earth is provided from a specially constructed earth rod system. Use of the console’s earth terminal is preferred whenever possible, but if there is no clean technical earth, an adequate earth can sometimes be provided by the console’s power supplies. These have a limited earth via a resistor/capacitor network. The lack of a clean earth is especially likely to cause noise problems.

Earth loops

Earth loops occur whenever a piece of equipment has more than ONE connection to earth. This can happen if there is an earth through the mains lead and a second one through a cable screen to another piece of earthed equipment.

This may cause hum and other problems. Always avoid earth loops in the system wiring. If you have earth loops in your installation NEVER resolve them by removing safety earth connections.

3-6 Power Supplies & Cabling © Soundcraft

Page 28

Technical Specifications

Mains Input Voltage Range

PSU 300 90v – 254V AC @ 47 – 63 Hz

MPS 5 85/100/115/230V AC @ 50 – 60 Hz

MPS 20 90v – 254V AC @ 47 – 63 Hz

Rated Input Power

PSU 300 380 watts

MPS 5 450 watts

MPS 20 700 watts

Mains Fuse Rating

PSU 300 Use T8A/250V (slow-blow) for 90 - 132V

Use T8A/250V (slow-blow) for 180 - 254V

MPS 5 Use T3.15A/250V (slow-blow) for 230V

Use T6.3A/250V (slow-blow) for 85/100/115V

MPS 20 N/A No External Fuse Fitted

Output Capacity

PSU 300 ±17.5v @6.5 Amps

48v @ 0.35 Amps

MPS 5 ±17.5v @5.25 Amps

48v @ 0.3Amps

MPS 20 ±17.5v @15 Amps

48v @ 0.5 Amps

Operating Temperature Range (Ambient)

PSU 300 -10 to +40C.

MPS 5 -10 to +40C.

MPS 20 -10 to +40C.

Page 29

Overall Dimensions

PSU 300 Height. (exc. Feet) 133.50mm (3U)

Width 482.60mm

Depth. (exc. Connectors) 103.50mm

MPS 5 Height. (exc. Feet) 88.10mm (2U)

Width 482.60mm

Depth. (exc. Connectors) 350.50mm

MPS 20 Height. (exc. Feet) 133.50mm (3U)

Width 482.60mm

Depth. (exc. Connectors) 400.00mm

Weight (Exc. Packing)

PSU 300 5Kg

MPS 5 11Kg

MPS 20 15Kg

Note: All Voltage and Current measurements are taken at the console end of the power supply cable.

3-8 Power Supplies & Cabling © Soundcraft

Page 30

Connector Pinouts

Pin Voltage

PSU 300

Pin 1 0v

Pin 2 +17.5V DC

Pin 3 -17.5V DC

Pin 4 48V DC

MPS 5

Pin A AGND (0V)

Pin B AGND (0V)

Pin C +17.5V DC

Pin D -17.5V DC

Pin E +5V DC

Pin F +48V DC

Pin G DGND

Pin H Chassis GND

MPS 20

A +48V DC

B 0v (±17V & 48V DC) AGND

C 0v (±17V & 48V DC) AGND

D +17.5V DC

E +17.5V DC

F -17.5V DC

G -17.5V DC

H CGND (±15VGND)

J +15V DC

K -15V DC

L DGND

M DGND

N DGND

P DGND Sense

R +5V DC

S +5V DC

T +5V DC

U +5V DC Sense

V N.C.

Page 31

Output Voltage Adjustments

The voltage adjustment presets are adjusted during manufacture and should not need resetting unless major repairs have be done to the units. The adjustment trimmers for each PSU are shown in the following diagrams. Any adjustment should be checked with the unit on load.

Note: Only an insulated trimmer tool should be used before making any adjustment.

Note: There are no user trimmable controls on the PSU 300 except for a for a voltage adjustment on the 5v output. This is accessed through a small hole in the rear panel.

Note: The BB100 does not use the 5V rail on the PSU 300.

3-10 Power Supplies & Cabling © Soundcraft

Page 32

Output Voltage Adjustments - MPS 5

Page 33

Output Voltage Adjustments - MPS 20

3-12 Power Supplies & Cabling © Soundcraft

Page 34

Page 35

Contents

Connections...........................4-3

Back Panel Layout 4 Group ...................4-4

Back Panel Layout 8 Group ...................4-5

Fader Starts / Monitor Logic / Remote Mutes ..........4-6

56 Way I/O EDAC Connections .................4-7

Power Supplies .........................4-8

4-2 Connectors © Soundcraft

Page 36

Connections

All the main audio inputs and outputs are located on the back panel of the console. The Mic inputs are balanced and are via 3 pin female XLR connectors.

Inputs and Outputs are electronically balanced excluding the send, which is Ground Compensated. The headphone output is located at the front of the console and is via a stereo ¼ inch jack socket.

Audio Connectors

Power Connectors

PUSH

PUSH PUSH PUSH

Fader Starts / Remote Mutes

PUSH

PUSH PUSH PUSH

Connectors

Rear view of console (14 Position)

Wiring Conventions

Soundcraft uses the standard XLR wiring convention on all consoles. Not all equipment uses this convention so check your wiring to prevent any phase reversals. See table below for wiring convention.

Pin XLR

Pin 2 HIGH (HOT) +

Pin 3 LOW (COLD) -

Pin 1 SCREEN (GROUND)

Pin ¼ Inch Jack Plug

Tip HIGH (HOT) +

Ring LOW (COLD) -

Screen SCREEN (GROUND)

Page 37

Back Panel Layout 4 Group

PUSH

Return

Send

Direct O/P

Direct O/P Direct O/P

Direct O/P

Line

PUSH

Mic

Fader Starts

Remote Mutes

15 Way Female D Type

Fader Starts

Remote Mutes

15 Way Female D Type

BB100 4 Group Back Panel

Return

Group 1

Group 2

Group 3

Group 4

COMMS Right O/P Left O/P

Send

Stereo Channels

Aux

Aux Sends

Aux

Ret

Direct O/P

PUSH

Line

Send

Aux

SPK 1

Send

GRT

ST Ret

Ret

RET

Mic

O/P

Line

Clean-Feed

Fader Starts

Monitor Logic

25 Way Female D Type

Line

Power Input Connectors

EARTH Post

56 Way I/O EDAC

4-4 Connectors © Soundcraft

Page 38

Back Panel Layout 8 Group

Return

Send

Direct O/P Direct O/P

Direct O/P Direct O/P Direct O/P

Direct O/P

Line

PUSH

Mic

Fader Starts

Remote Mutes

15 Way Female D Type

Fader Starts

Remote Mutes

15 Way Female D Type

BB100 8 Group Back Panel

Return

Clean 1

Clean 2

Clean 3

Clean 4

COMMS Right O/P Left O/P

Send

Aux

Aux Sends

Direct O/P

Send

Insert

Mic

GRP

GRP O/P

Fader Starts

Monitor Logic

25 Way Female D Type

Power Input Connectors

PUSH

Line

SPK 1

Ret

Send

Ret

Send

ST Ret

RET

GRT

RET

GRT

RET

GRT

RET

GRT

RET

GRT

RET

GRT

RET

GRT

RET

GRT

Insert

GRP Ret

EARTH Post

56 Way I/O EDAC

Page 39

Fader Starts / Monitor Logic / Remote Mutes

Fader Start

The Fader Start switch allows tape recorders or similar equipment to be remote started. The connection is designed for use with 5 volt (TTL/CMOS type) logic systems and is controlled by an active low. Internal module jumpers select whether or not the TALLY Led can be controlled internally or externally. The TALLY Led when set to external is controlled by applying an active low to a pin on the D Type connector located on the rear panel. If the internal Tally as been selected then the LED is directly driven of the fader start system.

Monitor Logic / Remote Mutes

The Monitor Logic and the Remote Mutes are controlled by applying an active low to a pin on the D Type connectors located on the rear panel.

Fader Starts Monitor Logic 25 Way Female D Type

Viewed From OUTSIDE The Console

Note: All controls are activated

by an active LOW

Fader Starts Remote Mutes 15 Way Female D Type

Viewed From OUTSIDE The Console

Note: All controls are activated

by an active LOW

Pin 1: Chassis Ground Pin 2: User Switch O/P Pin 3: External Talkback Control Pin 4: Group Mute Control (GRP3) (Option) Pin 5: Group Mute Control (GRP1) (Option) Pin 6: Remote Mute Control (Pos 13) Pin 7: Remote Mute Control (Pos 11) Pin 8: Remote Mute Control (Pos 9) Pin 9: External Fader Start (Pos 12) Pin 10: External Fader Start (Pos 11) Pin 11: External Fader Start (Pos 10) Pin 12: External Fader Start (Pos 9) Pin 13: A Ground Pin 14: User Tally Control

Pin 15: Remote User In

Pin 1: Chassis Ground Pin 2: Remote Channel Mute (Pos 3) Pin 3: Remote Channel Mute (Pos 1) Pin 4: External Fader Start (Pos 4) Pin 5: External Fader Start (Pos 3) Pin 6: External Fader Start (Pos 2) Pin 7: External Fader Start (Pos 1) Pin 8: A Ground Pin 9: Remote Channel Mute (Pos 4) Pin 10: Remote Channel Mute (Pos 2) Pin 11: Remote External Tally Control (Pos 4) Pin 12: Remote External Tally Control (Pos 3) Pin 13: Remote External Tally Control (Pos 2) Pin 14: Remote External Tally Control (Pos 1)

Pin 15: A Ground

Pin 16: Group Mute Control (GRP 4) (Option) Pin 17: Group Mute Control (GRP 2) (Option) Pin 18: Studio Remote Cut Pin 19: Remote Mute Control 12 Pin 20: Remote Mute Control 10 Pin 21: Remote External Tally Control 12 Pin 22: Remote External Tally Control 11 Pin 23: Remote External Tally Control 10 Pin 24: Remote External Tally Control 9 Pin 25: Analogue Ground

4-6 Connectors © Soundcraft

Page 40

LLDDKK

Chassis Ground Tape 4R-Hi

Tape 4R-Lo

C D

Chassis Ground PPM-L

E F

A Ground

Chassis Ground Tape 4L-Hi

Tape 4L-Lo

K L

Chassis Ground Tape 3L-Hi

Tape 3L-Lo

Chassis Ground

Viewed From OUTSIDE The Console

56 Way I/O EDAC Connections

Input and Output Connections

I/O connections are supplied via a 56 way EDAC located on the rear panel.

56 Way I/O EDAC

Tape 3R-Hi

Tape 3R-Lo

S T

Chassis Ground Tape 2R-Hi

Tape 2R-Lo

Tape 2L-Hi

Tape 2L-Lo

Tape 1R-Hi

Tape 1R-Lo

Z a

Chassis Ground

b c

Chassis Ground

Tape 1L-Hi

PPM-R Tape 1L-Lo

h j

A Ground

Chassis Ground

Chassis Ground Chassis Ground

SPK2R-Hi

SPK2R-Lo

SPK2L-Hi

SPK2L-Lo

Monitor SPK2R-Hi

Monitor SPK2R-Lo

Chassis Ground

Monitor RET4-Hi

Monitor RET4-Lo

Chassis Ground

Monitor SPK2L-Hi

Monitor SPK2L-Lo

Chassis Ground

Monitor RET3-Hi

Monitor RET3-Lo

Chassis Ground

Monitor RET1-Hi

Monitor RET1-Lo

Chassis Ground

Monitor RET2-Hi

Monitor RET2-Lo

Chassis Ground

Page 41

Power Supplies

4-8 Connectors © Soundcraft

Page 42

Page 43

Contents

LB1 The Mono Input Module..................5-3

LBS The Stereo Input Module .................5-5

LB2 The Dual Group Module .................5-7

LB6 The Auxiliary Master Module ...............5-9

LB4 The Stereo Master Module ................5-10

Metering ............................5-11

BB100 Jumper and Switch Options ...............5-12

14 Position Motherboard ....................5-12

LB1 Mono Input Module Options ................5-15

LBS Stereo Input Module Options ................5-17

LB2 Dual Group Module Options ................5-19

LB4 Master Module Options ..................5-21

LB6 Aux Master Comms Module Options ............5-24

5-2 Modules © Soundcraft

Page 44

LB1 Mono Input Module

The LB1 Mono Input is provided with XLR and ¼ jack connectors, either of which may be used for any level of input signal.

The channel is provided with Insert points using a Ground Compensated Send and a Balanced Return at a nominal level of +4dBu located on the rear panel.

1. The 48V switch applies 48v phantom power to the Mic Input XLR. Note: Under no circumstances press the 48v switch if an unbalanced source is connected to the XLR.

2. The Pad attenuates the Mic Input by -15dBu and allows high level signal to be used. Maximum input level +7dBu.

3. The Line switch selects the Line Amp instead of the Mic Amp.

4. The Ø (Phase) switch reverses the phase of the Mic Input or the Line Input. The switch should normally be released.

5. The Gain control adjusts the sensitivity of both the XLR and jack inputs. The Mic range is +10dBu to +70dBu. The Line range is ± 20dBu.

Equaliser

6. The EQ section has four bands. The HF and LF sections have a shelving response with selectable frequencies. The two MID sections have a bell response at a variable frequency.

•

The HF control gives 18dB of cut or boost switchable at frequencies 6kHz or 12kHz.

•

The LF control gives 18dB of cut or boost. The frequency switch selects between 40 Hz and 80Hz. Using the X3 switch multiplies the selected frequencies by three giving a selection of 120Hz or 240Hz.

•

The HMF cut and boost control gives a range of ± 14dB. The HMF frequency control gives a variable frequency range of 300Hz to 6kHz. Using the X3 switch multiplies the selected frequencies by 3 giving a range of 900Hz to 18kHz. Using the Q switch selects either 0.7 or

1.3 Q Factor.

•

The LMF cut and boost control gives a range of ± 14dB. The LMF frequency control gives a variable frequency range of 40Hz to 800Hz. Using the X3 switch multiplies the selected frequencies by three giving a range of 120Hz to 2.4kHz. Using the Q switch selects either 0.7 or

1.3 Q Factor.

7. The HP switch inserts a HI-PASS filter into the signal path. The -3dB point is fixed at 80Hz at 18dB per octave.

8. The EQ IN switch inserts the equaliser into the signal path.

Page 45

Auxiliary Sends

9. Signal is sent to the Aux 1-8 buses via the eight LEVEL controls. All the

Auxs have unity gain when the controls are fully clockwise and are switched pre or post in pairs by the PRE switches.

10. Auxs1&2hasaninternal switch option to configure the Aux to a Stereo level/pan arrangement.

Routing

11. The Pan control feeds the signal to the Stereo mix and the groups. Panning left pans to the odd groups and Stereo left, panning right pans to the even groups and Stereo right. In the centre position there is a drop of -3dB.

12. The Group Disable switch when selected disables panning across the groups.

13. The Mute switch cuts off all output from the channel and utilises a soft mute for click free switching.

14. The PFL switch provides a pre fade signal to the monitor speakers replacing the selected source. There is an internal switched option, which allows the PFL to become After Fade listen.

15. The Fader is the main level control for the channel. It has 10dB of gain at the top of travel.

16. The Group switches assign the signal in pairs to the group buses. The source signal can be pre or post pan as selected by the Group Disable switch. Groups are available only if the appropriate amount of group modules is fitted.

17. The Stereo switch assigns the signal to the Stereo bus.

18. The four segment PFL meter displays the channel pre-fade level. The meter monitors the signal pre and post EQ simultaneously. The O/L led illuminates when the signal reaches +18dB.

19. A Ground Compensated Direct Output is provided which is normally feed from the post fade signal (Factory Pre-set) but can be selected to be pre fade/post mute or pre EQ by internal jumpers. The Direct Outputs are fed to jacks on the rear panel.

5-4 Modules © Soundcraft

Page 46

LBS Stereo Input Module

The LBS Stereo Input Module is provided with ¼ jack connectors on the rear panel.

The channel is provided with Stereo insert points using Ground Compensated Sends and Balanced Returns at a nominal level of +4dBu located on the rear panel. The insert points have an internal option to move the points post pan.

1. The Mono Left switch applies the left hand signal to the left and right of the

module.

2. The Mono Right switch applies the right hand signal to the left and right

hand side of the module. If both switches are pressed together the left and right signals appear on both sides of the module @ -6dB.

3. The Ø (Phase) switch reverses the phase of the right hand side signal only.

The switch should normally be released.

4. The Gain controls adjust the sensitivity of both the left and right jack inputs.

The Line range is ± 20dBu.

Equaliser

5. The EQ section has three bands. The HF and LF sections have a shelving

response with selectable frequencies. The MID sections have a bell response at a variable frequency.

•

The HF control gives 18dB of cut or boost switchable at frequencies 6kHz or 12kHz.

•

The LF control gives 18dB of cut or boost. The frequency switch selects between 40 Hz and 80Hz. Using the X3 switch multiplies the selected frequencies by three giving a selection of 120Hz or 240Hz.

•

The MF cut and boost control gives a range of ± 14dB. The HMF frequency control gives a variable frequency range of 80Hz to 5kHz. Using the X3 switch multiplies the selected frequencies by 3 giving a range of 240Hz to 15kHz. Using the Q switch selects either 0.7 or 1.3 Q Factor.

6. The HP switch inserts a HI-PASS filter into the signal path. The -3dB point

is fixed at 80Hz at 18dB per octave.

7. The EQ switch inserts the equaliser into the signal path.

Page 47

Auxiliary Sends

Note: The pre and post signals are the sum of the left and right signals except

Aux1&2which has an internal switch option to configure it to a Stereo level/pan arrangement i.e. Aux 1 will be fed by the left only and Aux 2 will be fed from the right only.

8. Signal is sent to the Aux 1-8 buses via the eight LEVEL controls. All the Auxs have unity gain when the controls are fully clockwise and are switched pre or post in pairs by the PRE switches.

Routing

9. The Pan control feeds the signal to the Stereo mix and the groups. Panning left pans to the odd groups and Stereo left, panning right pans to the even groups and Stereo right. In the centre position there is a drop of -3dB.

10. The Stereo Mute switch cuts off all output from the channel and utilises a soft mute for click free switching.

11. The PFL switch provides a pre fade signal to the monitor speakers replacing the selected source. There is an internal switched option, which allows the PFL to become a post fade signal - this signal is a derived post pan.

12. The Stereo Fader is the main level control for the channel. It has 10dB of gain at the top of travel.

13. The Group switches assign the signal in pairs to the group buses. The source signal is all ways post pan. Groups are available only if the appropriate amount of group modules are fitted.

14. The Stereo switch assigns the signal to the Stereo bus.

15. The four segment PFL meter displays the channel pre-fade level. The meter monitors the signal pre mute, left and right simultaneously. The O/L led illuminates when the signal reaches +18dB.

5-6 Modules © Soundcraft

Page 48

LB2 Dual Group Module

The Dual Group Module is provided with XLRs on a 4 group console and ¼ jacks on a 8 group console, insert send and returns. Clean feed outputs are provided on XLRs on an 8 group console and jacks on a 4 group console.

1. Signal is sent to Aux 1-4 buses via the four level controls. The Auxs have

unity gain when the controls are fully clockwise. The source signal is fed from pre or post group faders. The pre or post switch operates on all four Auxs.

2. The other four Auxiliaries are fed from the other group (Right) fader.

Each Dual Group module contains one clean-feed master therefore the amount of clean-feed buses is dependent on the amount of Dual Group modules fitted.

3. The Level control adjusts the level of the balanced Clean-Feed output

which is fed from the selected clean-feed input module. Jumpers make the clean-feed bus selection of which positions are used to source on the 14 position motherboard. Therefore if the signal is inserted into the first of the input modules (clean-feed 1) it will then be removed from the clean-feed output 1 on the group module.

4. The Talk Enable switch provides signal from the Comms system to be fed

to the clean-feed outputs when the Comms system is activated.

5. The clean-feed Mute switch cuts off the signal to the clean-feed outputs.

6. The clean-feed AFL switch provides the post level signal to the monitor

speakers replacing the selected source.

7. Signal is sent to the Aux1&2busviatheAux Level control

(optionally Aux3&4using the internal jumpers). All the Auxs have unity gain when the controls are fully clockwise and are switched pre or post in pairs by the PRE switches. The source is fed from the Group Return.

8. The Stereo Return Level control adjusts the level of the return signal.

Gain of +10dB of gain is provided when the control is fully clockwise.

9. The ST/Mix Group switch determines whether the output can be sent to

the Stereo Bus or the associated pair of groups.

10. The Pan control feeds the signal to the Stereo mix or the groups.

In the centre there is a drop of -3dB.

11. The Return Mute switch cuts of the signal from the Stereo bus or the

group bus. Also mutes the PFL and aux pre and post.

12. The Return PFL switch provides Pre Fade signal to the monitor speakers

replacing the selected source.

13. The ST Assign switch assigns the signal to the Stereo bus.

The source signal is from the group output fader.

14. The Pan control feeds the signal to the Stereo bus and to the Stereo AFL

bus. In the centre there is a drop of -3dB.

15. The Mute switch cuts off all output from the channel and utilises a soft

mute for click free switching.

Page 49

16. The AFL switch provides a post fade signal to the monitor speakers replacing the selected source.

17. The ST Assign switch assigns the signal to the Stereo bus.

18. The Pan control feeds the signal to the Stereo bus and to the Stereo AFL bus. In the centre there is a drop of -3dB.

19. The Mute switch cuts off all output from the channel and utilises a soft mute for click free switching.

20. The AFL switch provides a post fade signal to the monitor speakers replacing the selected source.

21. The Faders are the main level control for the Dual Group module. They have 10dB of gain at the top of travel.

Metering

The group output meter signal is derived post fade and is supplied to the group meter in the meter hood. A trimmer is supplied for calibration. (Factory Preset).

The clean-feed null trim is used to optimise clean feed attenuation. (Factory Preset).

Each Dual Group has a pre fade insert point (located on the back panel) using a Ground Compensated Send and a Balanced Return at a nominal level of -2dBu.

5-8 Modules © Soundcraft

Page 50

LB6 Auxiliary Master Module

The Aux Master module is provided with jack connectors for the outputs

Comms

The Talkback system provides communication to the Groups and Aux outputs and speaker outputs.

1. The 3 pin XLR connector provides a balanced talkback input for a local

microphone or gooseneck mic. The sensitivity of the mic input is variable between +10dBu and +70dBu.

2. The Talk switch can be momentary or latching depending on the length of

time pressed. Destination of the talkback sources are selected by 4 switches. Slate assigns the comms system to the group buses 1-8 and/or the Stereo Bus. Aux 5-6 assigns the comms system to aux 5,6,7,8. Aux 1-4 assigns the comms system to aux 1,2,3,4. Speaker assigns the comms system to Monitor 2 speaker outputs and/or the comms output connector located on the backpanel.

3. A User switch at the top of the module can activate ON-AIR mode. When

the On-Air mode is enabled no access to the slate bus is available from both the comms or the oscillator. The oscillator is disabled from the Aux buses and the comms output but the Comms System still has access. The User switch automatically mutes the Mon 2 speakers.

4. The Auxiliary Master level controls set the output level of the Aux send

mixes. With the controls fully clockwise 10dB of gain is provided. The Aux outputs are fully balanced and terminate via jack connectors on the rear panel.

5. The AFL switch provides a post fade signal to the monitor speakers

replacing the selected source.

6. The Mute switch cuts off all output from the Aux masters

Oscillator

7. A Trimmer is provided for the calibration of the oscillator.

(Factory Preset @ +4dB).

8. A three frequency oscillator is selected by two switches. The 1kHz switch

provides a 1kHz sinewave. The 10kHz switch provides a 10kHz sinewave. Pressing both switches provides 100Hz. When not in use both buttons should be released to prevent leakage from the oscillator onto the console outputs. The oscillator utilises the same four assignment switches as the comms system to enable access to the slate, aux sends and speaker outputs.

9. A Headphone output is provided which can be fed from the Control Room

Monitors or optionally Mon 2, selected by internal jumpers. The phones output socket is a ¼ inch jack. It should not be used with headphones of less than 200 ohms impedance. A second headphones jack is provided on the console chassis.

Page 51

LB4 Stereo Master Module

1. Signal is sent to the Aux 1-4 buses via the four Level/Pan controls. The upper four are sourced from the left Stereo bus and the lower four from the right Stereo bus. They are switched pre or post in groups of four by the PRE switches. Internal jumpers can configure the Aux controls as a level/level option. A further option allows the source signal to be derived from the monitor return inputs instead of the Stereo bus, via internal jumpers. The Aux sends can alternatively be Clean-Feed sends again via internal jumpers.

2. The ST Return Level control adjusts the level of the return signal. The level range is -20dB to +10dB.

3. The Mute switch cuts off all output from the Return to the Stereo bus.

4. The PFL switch provides a pre fade signal to the monitor speakers replacing the selected source.

5. The VU/PEAK switch provides switching between VU and PEAK characteristics for the LED bargraph meters. The VU setting shows the average level of the program. The PEAK setting will show transients levels within the program.

6. The PFL/AFL Level control adjusts the level of the solo bus to the monitor speakers. The level control is unity gain when fully clockwise. The PFL/AFL Led indicates an active solo system.

7. The Monitor 2 Level control adjusts the level of the Monitor 2 speakers or Headphone output. There is a power on mute for click free power ups.

8. ST Mix / CR MON switch. When the switch is released the Stereo Bus will be fed to the Monitor 2 output. When the switch is depressed (now CR MON) Monitor 2 will follow the CR MON source selection.

9. ST Return switch. When the switch is depressed it overrides the ST Mix / CR MON switch making the ST Return the source to the MON 2 output.

10. There are four 2 Track Return inputs, electronically balanced, which are fed from a 56 way EDAC connector on the rear panel. Tape 1 has an internal jumper selection, which allows the sensitivity of the input to be set at +4dBu or -6dBu. All other monitor inputs operate at a nominal level of +4dBu.

11. The ST Return switch selects the ST Return signal to be fed to the Monitor output speakers. Internal jumpers can reconfigure the ST Return switch to alternatively source the Aux sends.

12. The ST Mix switch selects the Stereo Bus to be fed to the Monitor outputs.

13. The Level control adjusts the level to the Monitor outputs (Control Room) and / or headphone outputs.

14. The SPK 2 switch provides the ST monitor output to be fed to an alternative pair of speakers. Monitor outputs are provided with a Ground Compensated output at a nominal level of +4dB to a ¼-inch jack on the rear panel. SPK 2 outputs are provided on a 56 way EDAC on the rear panel.

Page 52

15. The Mute switch cuts off all output from the console to the Monitor

speakers.

16. The Faders are the main level control for the Stereo Master.

They have 10dB of gain at the top of travel.

17. The Mix Mute switch cuts off the output from the Stereo Bus.

Metering

Level indication is monitored by 28 segment LED bargraph meters and VU meters, which are located in the meterhood. The meters read Group Output, Stereo Mix or 2 Track Returns or the PFL/AFL bus. The bargraph meters can be set to read VU or PEAK by the switch on the Stereo Master module LB4. The meter source select switch, CR Mon / PFL, enables the VU meters to monitor the Control Room outputs or the PFL bus. Meter trims are provided for the fine adjustment of the VU meters. (Factory Pre-set).

Page 53

BB100 Jumper and Switch Options

14 Position Motherboard - GL 1850

Jumpers P1 to P10 are the Cleanfeed options and will be set depending on the operation and configuration of the console.

P1/ P5

Cleanfeed Position 5

To enable the module in position 5 to be the cleanfeed input link pins1–2. This can only be applied to a Mono channel or the right input for a Stereo channel.

Note: - P5 should be in the disabled position if a Mono channel is fitted. If a Stereo channel is fitted Jumper P5 will be set as P1 and applies to the left input for the Stereo channel.

Page 54

P2/P6

Cleanfeed Position 6

To enable the module in position 6 to be the cleanfeed input link pins1-2. This can only be applied to a Mono channel or the right input for a Stereo channel.

Note: - P6 should be in the disabled position if a Mono channel is fitted. If a Stereo channel is fitted Jumper P6 will be set as P2 and applies to the left input for the Stereo channel.

P3/P7

Cleanfeed Position 7

To enable the module in position 7 to be the cleanfeed input link pins1-2. This can only be applied to a Mono channel or the right input for a Stereo channel.

Note: - P7 should be in the disabled position if a Mono channel is fitted. If a Stereo channel is fitted Jumper P7 will be set as P3 and applies to the left input for the Stereo channel.

P4/P8

Cleanfeed Position 8

To enable the module in position 8 to be the cleanfeed input link pins1-2. This can only be applied to a Mono channel or the right input for a Stereo channel.

Note: - P8 should be in the disabled position if a Mono channel is fitted. If a Stereo channel is fitted Jumper P8 will be set as P4 and applies to the left input for the Stereo channel.

Cleanfeed position 9

If position 9 has a Group module fitted P9 must be in the disabled position. If a Stereo module is fitted and it is to be used as a Cleanfeed input P9 has to be enabled. To enable link pins1–2.

Page 55

P10

Cleanfeed position 10

If position 10 has a Group module fitted P10 must be in the disabled position. If a Stereo module is fitted and it is to be used as a Cleanfeed input P10 has to be enabled. To enable link pins1–2.

Jumpers P11 and P12 are the Virtual Earth Disable options and will be set depending on the operation and configuration of the console.

P11

Virtual Earth Disable options

Cleanfeed Jumpers. In an eight group console no jumpers are fitted. In a four group console jumpers are fitted to disable the unused Cleanfeed buses 3 and 4. To disable link pins5-6 and7-8. If the Cleanfeed buses 3 and 4 are unused link pins1-2 and3-4. When Group modules 5 to 8 are omitted the relevant virtual earth buses are grounded. To disable the Groups 5 to 8 link pins 9 – 10, 11 – 12, 13 – 14 and 15 – 16.

P12

When Group modules 5 to 8 are omitted the relevant virtual earth buses are grounded. To disable the Groups 5 to 8 , link pins1-2,3-4, 5-6and7-8.

Page 56

LB1 Mono Input Module Jumper and Switch Options – GL1864

Signalisation Select

To enable the remote mute facility on the channel, link pins 4 – 6 (Factory Pre-set). Applying an active low to a pin on the 15 way D Type connector controls the remote mute. This is located on the back panel. To disable the remote mute and enable the optional VCA, link pins2–4. To enable the external Tally indicator, link pins3–5.

Note:- The Tally LED indicator when set to external is controlled by applying an active low to a pin on the 15 way D Type connector, This is located on the back panel. If the internal Tally has been selected by linking pins1–3 (Factory Pre-set) the LED is driven directly off the fader start system.

Direct Source

Gives the option of selecting the source signal for the Direct output. To select the source signal to be Pre Eq, link pins1-2.Toselect the source signal to be Post Fader, link pins3–4(Factory Pre-set). To select the source signal to be Pre Fader, Post Mute link pins5–6.

P3.

Signalisiation Source.

To enable the Local mode link pins1–2(Factory Pre-set). To enable the Group / Master mode link pins2-3. Local mode, if the Mic / Line switch is selected to Line and the channel fader is open, an active low is sent to the 15 way D Type connector. This is located on the back panel. If the Mic is selected and the fader is open the Studio outputs will mute. No signal is sent to the back panel. The Group / Master mode operation is as above, except a Group or Master fader has to be open to trigger the signal signalisiation.

Page 57

S31

PFL / AFL Select Switch.

When the switch is out (Factory Pre-set), pre fade listen is sent to the Monitor outputs when any SOLO switch is pressed. When the switch is pressed in, stereo after fade listen is sent to the Monitor outputs when any SOLO switch is pressed.

S32.

Aux1&2Mono Stereo Switch.

When the switch is out, Aux1&2acts as a level / level arrangement (Factory Pre-set). When the switch is pressed in, Aux1&2areconverted to a level / pan arrangement.

Page 58

LBS Stereo Input Module Jumper and Switch Options – GL1865

Signalisation Select

To enable the remote mute facility, link pins4–6 (Factory Pre-set). Applying an active low to a pin on the 25 / 15 way D Type connector controls the remote mute. This is located on the back panel. (25 way for Group position, 15 way for Input position). To disable the remote mute and enable the optional VCA control link pins2–4. To enable the external tally indicator, link pins3–5.

Note:- The Tally LED indicator when set to external, is controlled by applying an active low to a pin on the 25 / 15 way D Type connector. This is located on the back panel (25 way for Group position, 15 way for Input position). If the internal Tally has been selected by linking pins1–3 (Factory Pre-set), the LED is driven directly off the fader start system.

P2.

Stereo Insert Position Select.

To select stereo insert position to be Post Eq, link pins 1–2,3–5,4–6,7–8,9–11and10–12 (Factory Pre-set). To select the stereo insert position to be Post Fader and Post Pan, link pins1–3,2–4,5–6,7–9,8–10 and 11 - 12.

Signalisiation Source

To enable the Local mode, link pins1–2(Factory Pre-set). To enable the Group / Master mode, link pins2-3.Local mode, if the channel fader is open an active low is sent to the 15 way D Type connector. This is located on the back panel. The Group / Master mode operation is as above except a Group or Master fader has to be open to trigger the signal signalisiation.

Page 59

S27

PFL / AFL Select Switch

When the switch is out (Factory Pre-set), stereo pre fade listen is sent to the Monitor outputs when any SOLO switch is pressed. When the switch is pressed in, stereo after fade listen is sent to the Monitor outputs when any SOLO switch is pressed.

S28

Aux1&2Mono Stereo Switch

When the switch is out, Aux1&2isfedbyamono mix of left and right (Factory Pre-set). When the switch is pressed in, Aux1&2aresourced in stereo so Aux 1 is left only and Aux 2 is right only.

Page 60

LB2 Dual Group Module Jumper and Switch Options – JP 1866

Cleanfeed Off Group Source

To route the signal from the Aux Pre / Post switch and send it to the Cleanfeed output, link pin s3–5and4–6.E.g. If the module is Groups1&2,Groups1&2will be sent to Cleanfeed 1. To disables the function, link pins1–3 and2–4(Factory Pre-set).

Cleanfeed Jumper

Linking pins3–5(Factory Pre-set) enables the chosen Cleanfeed bus to be connected to the Cleanfeed mix amp. Linking pins1–3disconnects Cleanfeed bus from the Cleanfeed mix amp. Linking pins4–6(Factory Pre-set) sends the Cleanfeed cancellation signal to the Cleanfeed mix amp. This signal is out of phase and will cancel out any identical signal on the selected Cleanfeed bus. Linking pins2–4disables the Cleanfeed cancellation signal.

Cleanfeed Bus Selection

This allows you to select the appropriate Cleanfeed buses. To connect Cleanfeed bus 1 to the module in the first group position, link pins7–8. To connect Cleanfeed bus 2 to the module in the second group position; link pins5–6. To connect Cleanfeed bus 3 to the module in the third group position, link pins3–4. To connect Cleanfeed bus 4 to the module in the fourth group position link pins1–2.

Note: - In a four Group console Cleanfeed buses 3 and 4 will be used for Cleanfeed outputs1&2.Only link one bus per modules.

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Return Aux Send Bus Select

To select Aux buses1&2,link pins4–6and3–5 (Factory Pre-set). To select Aux buses3&4,link pins1–3and2–4.

Group Bus Select

These jumpers should be set for the appropriate Group buses. To select Groups1&2,link pins1–2and3-4. To select Groups3&4,link pins5–6and7-8. To select Groups5&6,link pins9–10and11-12. To select Groups7&8,link pins 13 – 14 and 15 - 16.

Note: - Only link one pair of buses per module.

Remote Mute / VCA Control Select

To enable the remote mute facility on the Group module, link pins1-2(Factory Pre-set). Applying an active low to a pin on the 25 way D Type connector controls the remote mute. This is located on the back panel. To disables the remote mute and enables the optional VCA control, link pins2–3.

Signalisation Select

To disable the Group fader start switch; link pins 1 – 2 (Factory Pre-set). To enable the Group fader start switch; link pins2–3.

S16

Group Sends Aux

When the switch is pressed in, the Group sends are Aux sends 1 to 4 (Factory Pre-set).

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LB4 Master Module Jumper and Switch Options – GL 1867

P1, P2, P8, and P9

Monitor Aux Send Mono / Stereo Select

Stereo bus left and right has four sets of Aux sends. These can be configured as a stereo / level pan arrangement or mono level / level arrangement in pairs.

P9 operates off the Stereo bus left for Aux 1 and 2. P8 operates off the Stereo bus left for Aux 3 and 4. P2 operates off the Stereo bus right for Aux 1 and 2. P1 operates off the Stereo bus right for Aux 3 and 4.

To configure as Stereo. (Factory Pre-set), link pins3–5, 4–6,9–11and10–12. To configure as Mono, link pins1–3,2–4,7–9and 8 – 10.

P3 and P5

Aux sends / Return Level Destination Select

Configures the destination of the Aux level controls. To select Aux buses 1, 2, 3, and 4, link pins 13 – 14 and 15 – 16 on both jumpers (Factory Pre-set). To select the Matrix buses, link pins9–10and11–12on both jumpers. To select the Stereo bus, link pins 17 – 18 and 19 – 20 on both jumpers. To select Control Room Monitor, link pins1–2and3–4 on both jumpers. To source the Cleanfeed buses off the Stereo Bus Pre, link pins5–6and7–8(Factory Pre-set).

P7 and P10

Aux sends / Return level source select

This configures the source for the Aux send level controls. To source the Stereo bus, link pins1–3and2–4 (Factory Pre-set). To source the Monitor Returns 1 to 4, link pins3–5and4–6.P10 configures the left hand side of the Stereo bus and Monitor Returns 1 and 2. P7 configures the right hand side of the Stereo bus and Monitor Returns 3 and 4.

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P4 and P6

Monitor Return Bus Select

The Monitor Return outputs can be configured to feed the Aux sends. To disable the Monitor Returns (Factory Pre-set), link pins 1–2and7–8onboth jumpers. To feed the Aux buses, link pins3–4and9–10onboth jumpers.

P6 configures the Monitor Returns 1 and 2. P4 configures the Monitor Returns 3 and 4.

P11

Stereo Return Switch Source

To define the source for the Stereo Return switch to be the stereo return signal, link pins1–3,2–4,5–7and6–8 (Factory Pre-set). To convert the Stereo Return switch to a Monitor Mix switch, which sends the Stereo Bus or the Monitor Returns 1 to 4 to the Control Room speakers, link pins3–5,4–6, 7–9and8–10.

P12

Monitor 2 Cut Disable / Enable

To enable the external Monitor cut to be active, link pins 2 – 3 (Factory Pre-set). To disable the function, link pins1–2. Applying an active low to pins on the 25 way D Type connector controls it. This is located on the back panel.

P13

Tape 1 Sensitivity Adjust Switch

To increase the sensitivity of the Tape 1 input to –6dBu, link pins1–2,3–4,5–6and7–8. To select unity gain fit no jumpers (Factory Pre-set).

P14

Headphones Source Select

The source for the Headphones output can follow the Control Monitors or Monitor 2. To select the Control Monitors (Factory Pre-set), link pins 3–5and4–6. To select Monitor 2, link pins1–3and2–4.

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P15

Remote Mute / VCA Control Select

To enable the remote mute facility for the Control Room Monitors, link pins3-4.(Factory Pre-set). Applying an active low to a pin on the 25 way D Type connector controls the remote mute. This is located on the back panel. To enable Stereo Bus to be cut externally, link pins5–6. To enable Monitor 2 to be cut externally, link pins1–2. Note:- If fitted with optional VCAs, link pins7–8 to provide external control.

P16

Control Room Monitor Dim Select

To enable the Dim control (Factory Pre-set), link pins2–3. The attenuation level is set at –20dB. To disable the Dim control, link pins1–2.

P17

Fader Start Select

To enable the fader start link, pins2–3. To disable the function, link pins1–2(Factory Pre-set).

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LB6 Aux Master Comms Module Jumper and Switch Options – GL 1868

User Tally / On Air Select

To select the internal User Tally indicator, link pins1–3 (Factory Pre-set). To select the external User Tally, link pins3–5. Applying an active low to a pin on the 25 way D Type connector controls the external User Tally. This is located on the back panel. To activate On Air Mode, link pins4–6(Factory Pre-set). To disable it, link pins2–4.

Slate Destination Select

To enable the oscillator to slate to the Stereo Bus, link pins 1 – 3 (Factory Pre-set). To enable it to slate to the Group Buses, link pins2–4 (Factory Pre-set). To disable slate to the Stereo Bus, link pins3–5. To disable the slate to the Group Buses, link pins4–6.

Comms Output / Comms to Monitor 2

To enable the comms signal to route to the Comms output, link pins3–5(Factory Pre-set). For the oscillator to route to the Comms output link pins 1–3. To enable the comms signal to route to the Monitor 2 output, link pins4–6. To disable the comms to Monitor 2, link pins2–4 (Factory Pre-set).

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Contents

BB100 Meterhood Layouts ...................6-3

Power and Ribbon Harness Locations .............6-4

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BB100 Meterhood Layouts

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Power and Ribbon Harness Locations

To gain access to the power and ribbon harnesses remove the underside panel. See the following diagrams for the location and function of the harnesses.

Power Distribution Diagram

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Motherboard Harness Locations

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Power Distribution and Harness Location (1851)

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Contents

Maintenance ..........................7-3

Removing the Modules .....................7-3

Audio and Level Alignment ...................7-3

Moving Coil Meter Alignment ..................7-3

Oscillator Level .........................7-3

Clean-Feed Trim.........................7-4

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Maintenance

There are no user serviceable parts in the console, all maintenance work should be carried out by Soundcraft or the authorised dealer.

The unit should be cleaned with a soft brush around the controls. DO NOT use solvent cleaners under any circumstances.

Removing the Modules

Modules are taken out by removing the fixing screws at the top and bottom ends. The modules are removed by pulling them directly upward. Never

remove or refit the modules with the power on.

Audio and Level Alignment

Bargraph meter calibration

The console bargraph meters are calibrated during factory testing to read ‘0’ for output levels of +4dBu. Level indication is by 28 segment LED bargraph meters, which are located in the meterhood. The meters read Group Output, Stereo Mix or 2 Track Returns. Where fitted, the two far right meters read the PFL/AFL bus. The meters can be set to read VU or PEAK by the switch on the Stereo Master module LB4.

The trim adjustments for each Group meter are accessed through the top faceplate of each Group module (LB2).

The trim adjustments for the Clean-feed output meters (optional extras) are accessed through the top faceplate of each Group module (LB2).

The trim adjustments for the Monitor output meters are accessed through the top faceplate of the Stereo Master module (LB4).

The trim adjustments for the PFL/AFL meters are accessed through the top faceplate of the Stereo Master module (LB4).

Moving Coil meter Alignment

The console VU meters are calibrated during factory testing to read ‘0’ for output levels of +4dBu. The fine trim adjustments are located on the front of the meterpanel.

Oscillator Level

The trim adjustment for the Oscillator is accessed through the top faceplate of the Auxiliary Master module (LB6). (Factory Pre-set @ +4dB).

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Clean-Feed Trim

The clean-feed null trim is used to optimise clean feed attenuation. (Factory Preset). The trim adjustment for the null is accessed through the top faceplate of the Dual Group module (LB2). The null trim is used to cancel the pre stereo bus signal with the chosen clean-feed input modules direct output. The result in cancellation appears on the clean-feed output.

Power and Ribbon Harness Location

To gain access to the power and ribbon harnesses remove the underside access panel. See Chapter 6 for location and function of harnesses.

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Page 77

Contents

Technical Specification .....................8-3

Console Types ..........................8-3

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Technical Specification

Console Types

All specifications for the BB100 console apply to consoles that are installed completely in accordance with Soundcraft’s recommendations. This includes recommendations on power supply cables and grounding.

The figures in this specification are typical figures measured on a console, immediately after completing normal production tests.

Figures will therefore vary slightly from console to console and the results here should not be regarded as ‘guaranteed minimum performance’. They should be taken only as indicative of the results that might be obtained.

Noise

Microphone equivalent input noise Measured at the channel insert point,

22Hz – 22kHz band, RMS. Input terminated with 200 ohm source. Gain +70 dB.

One Line Input to Stereo Bus Measured at the Stereo Bus output,

22Hz – 22kHz band, RMS. Gain unity

Total harmonic distortion

Mic input to Main output Measured at the Stereo Bus output

with 10K or 600 ohm load. Test signal –30 dBu @ 1 kHz, Gain 40 dB. 22Hz – 22kHz band, RMS.

Line input to Main output Measured at the Stereo Bus output

with 10K or 600 ohm load. Test signal +20 dBu @ 1 kHz, Gain unity. 22Hz – 22kHz band, RMS.

Frequency response

Mic input to Main output All Filters & EQ out. Measured at the

Stereo Bus output with 10K load. Test signal –40 dBu, Gain 60 dB.

Line input to Main output All Filters & EQ out. Measured at the

Stereo Bus output with 10K load. Test signal +20 dBu, Unity gain.

X-Talk

Channel breakthrough Channel 1 to Subgroup 1, Channel 4

to Subgroup 4. Test signal +20 dBu to Channel 1, Unity gain, 200 ohm load to Channel 4. Measured @ Subgroup output 4.

Channel Pan cut-off Channel 1 to Subgroup 4, Pan hard

right, Test signal +20 dBu to Channel 1, Unity gain, Measured @ Subgroup output 3.

Typically -127 dBu

Typically -89 dBu (14 position frame)

<0.03%

<0.01%

+/- 0.5dBu (20Hz – 20kHz)

Better than –90dB (40Hz – 15kHz)

Better than –65dB @ 1kHz

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Headroom

Mic input Measured at the channel insert point.

Gain 10 dB. PAD in.

Line input Measured at the channel insert point.

Gain unity.

Subgroup & Stereo Bus output Measured at the Stereo Bus output

with 600 ohm load. Gain unity.

Impedance

Mic input Measured using Audio Precision

System One protocol

Line input Measured using Audio Precision

System One protocol

Outputs Measured using Audio Precision

System One protocol

Equaliser & Filter

LB1 Mono Input Channel

HF The HF control gives 18dB of cut or boost switchable at frequencies 6kHz or

12kHz.

LF The LF control gives 18dB of cut or boost. The frequency switch selects

between 40 Hz and 80Hz. Using the X3 switch multiplies the selected frequencies by three giving a selection of 120Hz or 240Hz.

HMF The HMF cut and boost control gives a range of ± 14dB. The HMF

frequency control gives a variable frequency range of 300Hz to 6kHz. Using the X3 switch multiplies the selected frequencies by 3 giving a range of 900Hz to 18kHz. Using the Q switch selects either 0.7 or 1.3 Q Factor.

LMF The LMF cut and boost control gives a range of ± 14dB. The LMF frequency

control gives a variable frequency range of 40Hz to 800Hz. Using the X3 switch multiplies the selected frequencies by three giving a range of 120Hz to

2.4kHz. Using the Q switch selects either 0.7 or 1.3 Q Factor.

HI-PASS Filter

The HP switch inserts a HI-PASS filter into the signal path. The -3dB point is fixed at 80Hz at 18dB per octave.

>+25dBu

>1k2 @ 1kHz

>15k @ 1kHz

<70 ohm @ 1kHz

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LBS Stereo Input Channel

HF The HF control gives 18dB of cut or boost switchable at frequencies 6kHz or

12kHz.

LF The LF control gives 18dB of cut or boost. The frequency switch selects

between 40 Hz and 80Hz. Using the X3 switch multiplies the selected frequencies by three giving a selection of 120Hz or 240Hz.

MF The MF cut and boost control gives a range of ± 14dB. The HMF frequency

control gives a variable frequency range of 80Hz to 5kHz. Using the X3 switch multiplies the selected frequencies by 3 giving a range of 240Hz to 15kHz. Using the Q switch selects either 0.7 or 1.3 Q Factor.

HI-PASS Filter

Power Consumption

10–4–2BB100 Console 0.5kVA

32–8–2BB100 Console 1.2kVA

The HP switch inserts a HI-PASS filter into the signal path. The -3dB point is fixed at 80Hz at 18dB per octave.

Notes:-

1. 0dBu = 0.775 Volts.

2. Published specifications apply to standard consoles.

3. All measurements taken using the Audio Precision System One test set.

4. Where no load impedance is specified, the equipment should be loaded

with 10K ohms or greater.

5. These figures are typical of performance in a normal electromagnetic

environment. Performance may be degraded in severe conditions.

6. Soundcraft has an established policy of seeking improvements to designs,

specifications and manufacture of its products. Alterations take place continually, often without notice outside the company. Soundcraft’s literature must not be taken as an infallible guide to the specifications available despite a considerable effort to produce up to date information.

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Contents

Description PCB Circuit Diagram

BB100 Modules

System Block Diagram N/A N/A

LB1 Mono Input Module 1864B2 B100/3/001

LBS Stereo Input Module 1865-2 B100/3/002

LB2 Dual Group Module 1866B B100/3/014

LB4 Stereo Master/Monitor Module 1867B B100/3/016

LB6 Aux Master/Comms Module 1868B2 B100/3/003

System Boards

14 Position Motherboard 1850B B100/3/015

8 Position Motherboard (Expansion) 1851 B100/3/019

Mono Connector Card 1852 B100/3/006

Stereo Connector Card 1853 B100/3/020

Main Connector EMC Card 1854 B100/3/007

Main Connector Card 8 Group 1855 B100/3/017

Main Connector Card 4 Group 1856 B100/3/012

I/O 56 Way EDAC EMC Sub Card 1857 B100/3/013

I/O 56 Way EDAC Connector Card 1858 B100/3/005

Channel Remote Interface 1859 B100/3/009

Master Remote Interface 1860 B100/3/010

Stereo Headphone Amplifier 1861 B100/3/008

Power Distribution Card 1862 B100/3/004

28 Segment Meter Card (4 Bars) 1863 B100/3/011

Meter Switch Card 1869 B100/3/018

All Circuit Diagrams and Overlays are arranged in numerical order.

A Harman International Company

Soundcraft BB100 TECHNICAL MANUAL

Specifications and Main Features

Frequently Asked Questions

User Manual