Soundcraft EFX8, EFX12 User Manual

Soundcraft Registered Community Trade Mark/RTM No. 000557827

SOUNDCRAFT

HARMAN INTERNATIONAL INDUSTRIES LTD.,
CRANBORNE HOUSE, CRANBORNE ROAD
POTTERS BAR, HERTS, EN6 3JN, UK
T: [phone]
F: [phone]
E: [e-mail]

SOUNDCRAFT USA

8500 BALBOA BLVD.
NORTHRIDGE, CA 91329, USA
T: [phone]
F: [phone]
E: [e-mail]

www.soundcraft.com

Soundcraft reserves the right to improve or otherwise alter any
information supplied in this document or any other documentation
supplied hereafter. E&OE 05/07
This equipment complies with the EMC Directive 89/336/EEC

Part No: ZL0605

GRAHAM BLYTH FRSA

To mark Soundcraft’s 30th anniversary, co-founder and

Technical Director, Graham Blyth, took a well established

and classic Soundcraft microphone preamplifier to a

new level of performance, resulting in the new GB30

preamp which boasts extraordinary clarity with

exceptionally controlled overload characteristics.

MULTI PURPOSE MIXERS

ON-BOARD EFFECTS FROM
THE WORLD-LEADERS IN
DIGITAL SIGNAL PROCESSING.

For more than 35 years, Lexicon has been
synonymous with the best reverb and
processing in the business, continuously
introducing ground-breaking technology to
the audio industry. Today, Lexicon processing
is heard on over 80% of all recordings ­broadcast and film soundtracks. Now
Soundcraft empowers three ranges of multi­purpose mixers – FX16ii, EFX, and MFX – with
stunning 24-bit digital effects processing
using the same AudioDNA® processor used
in the highly-acclaimed Lexicon MX500
processor.

A total of 32 preset effects including reverbs,
delays and choruses are available along with
3 effects parameter controls and a tap
tempo button.

The versatility of the effects section is further
enhanced by the facility to store user­defined effects settings allowing the user to
return to their favourite settings time after
time.

Effects can be switched on and off using a
footswitch.

Great sound quality, professional build
quality, flexible 4-bus architecture and a
space-saving sixteen mic inputs and direct
outputs in a rack-mounting frame made
the original Soundcraft FX16 popular in
both live and recording applications. Now
the pro’s choice gets even better with a
new 24-bit Lexicon on-board effects
section and universal internal power
supply (see right).

A comprehensive feature set includes 16
mic/line inputs and 26 inputs to mix in
total (including stereo returns and tape
return to mix). In addition to the mix
outputs, 2 buses allow groups of
instruments to be sent to additional
speakers, or sub-grouped to mix. 16 Direct
Outputs are individually fader pre-post

switchable making them equally useful for
multitrack recording or live use and both
Solo In Place and PFL solo are available,
for studio monitoring and channel gain
set-up applications respectively.

All 16 mic/line inputs are equipped with
high quality UltraMic™ preamps while a
‘truly British’ 3-band EQ with swept mid
benefits from custom designed pots which
give greater control across carefully chosen
frequencies. There are 4 Auxiliary Sends,
including a dedicated effects send, 1 pre­fade send and 2 pre/post-fader selectable
sends which are equally useful as extra
foldback sends or as effects sends in studio
mixdown situations. In addition, there are 4
Stereo returns, a separate Mono Sum
Output and 2 Subgroup Outputs.

A truly professional feature set is
completed by 100mm faders for precision
mixing control, and the FX16ii fits all of
these features into a rugged, compact
frame which can be optionally rack­mounted into a 10U space. Cables can be
conveniently located behind the rack by
simply rotating the connector pod.

FX16ii

THE PROFESSIONAL’S CHOICE FOR
MORE THAN 10 YEARS, NOW THE FX16
GETS STUNNING 24-BIT LEXICON EFFECTS.

Effects section
from EFX mixer
shown above.
Features and
functionality of
FX16ii, EFX and
MFX mixers are the
same – layout
differs slightly.

A - Connector pod positioned for desktop use.

B - Connector pod rotated for rack-mounting.

KEY FEATURES

• 26 inputs as standard

• 16 mono channels with UltraMic™ preamps

• 4 stereo returns

• 4-bus architecture with sub-group routable to mix

• 24-bit Lexicon effects processor

• Direct outputs for multitrack recording individually
switchable for pre/post fade operation

• 100mm faders

• Inserts on all mono channels

• Inserts on stereo mix bus

• 3-band ‘British’ EQ with swept mid-band

• 100Hz high-pass filter

• +48V phantom power

• 10 segment tri-coloured metering

• 2 sub-group outputs

• Rack mountable with rotating rear panel

• Universal internal power supply

A

B

Visual feedback is further enhanced by peak
LEDs on all input channels which are fed
from multiple points in the signal path to
ensure that nothing is overlooked.The LEDs
illuminate in proportion to the signal level
when approaching peaks, enabling the
quality of the signal to be maximised
through using all the available headroom.

Furthermore, the main stereo mix has 10­segment LED meters with a PFL Active LED
to indicate that channels are being solo’d.

SOUNDCRAFT SOUND QUALITY, PERFORMANCE AND VALUE FOR
MONEY IN A VERSATILE RANGE OF MULTI PURPOSE MIXERS
– AVAILABLE WITH AND WITHOUT EFFECTS.

EFX/EPM mixers bring Soundcraft sound
quality, performance and value-for-money to
a wide range of applications including
recording, live sound, install and broadcast.

Available in 8 and 12 mono input channel
configurations, the EFX mixers feature built­in Lexicon 24-bit processing, providing
access to 32 world class reverb, delay and
chorus effects (see previous page). For users
preferring to use external processing, three
EPM mixers – (6, 8 and 12 mono inputs –
replace the EFX’s internal FX send with a

second Aux send. All EFX/EPM mixers
feature 2 stereo channels as standard.

Configured for desktop use with all audio
connectors conveniently located on the top
panel, EFX/EPM mixers can be easily
converted for rack-mounting using an
optional rack kit, with each mixer occupying
just 8U of standard rack space.

EFX/EPM mixers feature professional +48V
phantom power for condenser microphones
and use the same GB30 microphone

preamps used on Soundcraft’s acclaimed,
large format GB Series consoles to achieve
exceptional clarity, low-noise and controlled
overload characteristics.

Drawing on more than 30 years of
experience manufacturing professional
mixing consoles, Soundcraft has equipped
the EFX/EPMs with all the appropriate
features for modern mixing applications, at
the same time creating an uncluttered and
intuitive control surface that enhances the
operator experience.

EPM/EFX

KEY FEATURES EPM

4

4

4

4

6/8/12

2

None

4
4

4

4

4

4

4

8/12

1

1

4
4

EFX

• Built-in Lexicon 24-bit effects

• Multi-point signal channel status monitoring
with proportional illumination

• Precision GB30 mic pre-amps

• True, professional +48V phantom power
for condenser microphones

• Insert points for external processing

• Choice of frame sizes, each with 2 stereo
inputs

• Aux sends globally switchable pre or post­fade

• FX send

• Universal internal power supply

• Simple rack mounting options

MORE CHANNELS, MORE AUXES AND 2 GROUP BUSSES.
WHEN YOU NEED EVEN GREATER FLEXIBILITY,
YOU NEED MFX/MPM.

Also suitable for music production,
Soundcraft’s MFX/MPM mixers are
compact and ideally equipped for live
sound applications including fixed
installations, houses of worship and
portable PA.

8, 12 and 20 mono input MFX mixers
are empowered by built-in 24-bit Lexicon
processing, delivering 32 stunning
reverb, delay and chorus effects (see
opening page). Both 12 and 20 mono
input MPM mixers replace the MFX’s
internal FX send with a third Aux send,
for operators preferring to use external
effects. All MFX/MPM mixers include 2

stereo input channels along with a
2-track record output and a 2-track
replay input which allows interval
music to be easily played from CD,
MP3 or other music source.

For increased versatility, each model in
the MFX/MPM range has two subgroups
as well as a main stereo mix, making
control of groups of channels much
easier to manage. These are
supplemented by 2 (MFX) or 3 (MPM)
Auxiliary busses which can be used for
effects sends or to provide a foldback
monitor mix for artists.

Sound quality is assured by Soundcraft’s
now-legendary GB30 mic preamp and
the use of professional condenser
microphones is facilitated by the
provision of globally switched +48V
phantom power. An integral universal
power supply negates the need for an
external power module.

MPM/MFX

KEY FEATURES MPM

4

4

4
4

12/20

2 + 1 post fade

None

4

4
4

4

4
4

8/12/20

2

1

4
4

MFX

• Built-in Lexicon 24-bit effects

• Precision GB30 mic pre-amps

• True, professional +48V phantom power for
condenser microphones

• 2 Group busses

• Stereo Mix output

• Choice of frame sizes, each with 2 stereo
inputs

• Aux sends, globally switchable pre or
post-fade

• FX send

• Universal internal power supply

• Optional rack ears available

BLOCK DIAGRAMS

MONO INPUT MODULE

Mic Input

A female XLR connector accepts balanced or unbalanced mic signals. At -127dbu EIN the mic amp is
extremely quiet and transparent with excellent overload characteristics.

Line Input

A balanced 1/4

"

jack for connecting balanced or unbalanced electronic instruments, such as keyboards.

Insert

A pre-EQ insert is available on a 1/4

"

jack.

Direct Output

A Direct Output for multitrack recording is available on a 1/4

"

jack can be switched pre/post fader.

Sensitivity

A rotary control on each input alters the sensitivity of the input signal, from -60dBu to 0dB.

High Pass Filter

A switchable stereo 18dB/octave 100Hz high-pass filter can be used to cut stage rumble.

EQ Section

Equalisation is split into three bands with shelving HF and LF controls providing 15dB of cut or boost
(gain adjustment) at 12kHz and 80Hz. A swept mid frequency control enables frequencies from 150Hz to

3.5kHz to be adjusted with up to 15dB of cut or boost at the selected frequency, with a Q of 1.5.

Auxiliary Section

For sending separate monitor mixes in live applications, or for use with fx units three aux sends on each
input channel cater for all requirements. Aux1 is permanently sourced pre-fade, Aux 2 is individually
switchable pre/post fade and Aux 3 is permanently sourced post fade.

FX Send

For sending signal to the internal 24-bit Lexicon effects.

Pan, Muting, Sub, Mix and Solo

The Pan control positions each channel’s signal across the stereo image,with a Mute button to cut the
signal completely.The Sub/Mix buttons sends the signal to a separate group (for multitrack recording or
to an additional set of speakers) or to a subgroup to mix. Both Solo In Place and PFL solo are available,
for studio monitoring and channel gain set-up applications respectively.

Faders and Metering

Each mono channel features a smooth 100mm fader, and a peak level LED indicating signal levels within
6dB of clipping.

MASTER SECTION

Effects

A rotary control selects the effect program, with three rotary controls for effect parameters and one to
control the effects level sent to Aux 1. Buttons for PFL, Mute, Store (user effect set-up) and Tap Tempo (for
time/speed-based effects such as delays). Footswitch input for FX on/off.

+48V Phantom Power

Dual global control over professional +48V phantom power is offered via push buttons (split channels 1­8 and 9-16). LEDs illuminate when active.

2-Track Inputs

2-track recorder inputs are on unbalanced RCA phono connectors. A 2-track level control is also
provided.

Monitor Output and Mix Insert

Available on balanced 1/4

"

jacks.

Sub Group Output and Insert

Available on balanced 1/4

"

jacks.

Mix Outputs

The main left and right mix outputs are provided on balanced XLR connectors.

Monitor & Phones Level

Levels sent to the monitor output and headphones can be independently adjusted using these two rotary
controls. And when a pair of headphones are plugged into the phones socket at the bottom right of the
mixer, the monitor outputs are still operational for simultaneous listening by a performer and engineer.

Faders and Metering

Controlling the sub group outputs and overall stereo mix level are two pairs of 100mm faders, with a Sub
to Mix switch provided. Two 10-segment 3-colour LED peak-reading bargraph meters display the L-R
output levels, which are replaced by an active Solo signal.A Solo Mode switch selects PFL/AFL Solo or
SIP Solo, with indicated by LEDs. 2-track, Mix and Sub selector switches are also provided.

Aux Outputs and Stereo Returns

3 aux outputs are available on 1/4" jack, each with rotary level controls and AFL switch. In addition, a
rotary level control and AFL switch is provided for FX. 4 pairs of stereo returns are provided on 1/4" jacks.
Returns 1-3 have their own level control switchable to Aux 1 or 2 with a separate level control switchable
to Mix or Sub. Return 4 has its own level control switchable to Aux 3 or FX send with a separate level
control switchable to Mix or Sub.The FX retur n has its own level control switchable to Aux 1 or 2 with a
separate level control switchable to Mix or Sub.

FX16II
Mono Input Channel

FX16II
Master Section

MONO INPUT, STEREO INPUT & MASTER SECTION

EFX Mono
Input Channel

EFX Stereo
Input Channel

EFX Master
Section

MONO INPUT, STEREO INPUT & MASTER SECTION

MONO INPUT MODULE

Mic Input

A gold-plated balanced female XLR connector accepts balanced or unbalanced mic signals. At -127dBu
EIN the mic amp is extremely quiet and transparent with excellent overload characteristics.

Line Input

A balanced 1/4

"

jack for connecting balanced or unbalanced electronic instruments, such as keyboards.

Insert

Used for patching in compressors or additional EQ or for other signal processors. It can also be used for
recording to multi-track recorders if necessary.

Gain

A rotary gain control on each input alters the gain of the input signal, from +5 to +60dB (Line Inputs
have -20dB attenuation). Linear circuitry within the preamp delivers smooth gain control over the entire
gain range.

EQ Section

Equalisation is split into three bands. The shelving HF control provides 15dB of cut or boost (gain
adjustment) for frequencies above 12kHz. A swept mid frequency control enables frequencies from
150Hz to 3.5kHz to be adjusted with up to 15dB of cut or boost at the selected frequency. Signals below
80Hz can be adjusted with the LF control, which features ±15dB of gain adjustment (cut or boost).

Auxiliary Section

One (EFX) or two (EPM) Aux for sending separate monitor mixes in live applications, or for use with
external effects. The Aux bus(es) can be globally switched to be pre or post fade on the master section.

FX Send (EFX only)

For sending signal to the internal 24-bit Lexicon effects.

Pan, Muting, and PFL

The Pan control positions each channel’s signal across the stereo image,with a Mute button to cut the
signal completely.A PFL button solos the signal for monitoring.

Faders and Metering

Each mono channel features a smooth 60mm fader, and a peak level LED indicating signal levels in
excess of +17dBu.

STEREO INPUT CHANNEL

Input Connectors

The stereo inputs are connected via balanced 1/4

"

jack inputs, delivering optimum performance with

other professional audio equipment.

EQ Section

The EFX features three fixed shelving controls, adjusting HF signals at 8kHz by ±15db, MF signals at
720Hz by ±15db and LF signals at 60Hz by ±15dB.The EPM features two fixed shelving controls,
adjusting HF signals at 12kHz by ±15dBu and LF signals at 80Hz by ±15dB.

Auxiliary Section

The signal(s) can be sent pre-fade or post-fade according to master selection, for use in a monitor mix or
for effects processing.

FX Send (EFX only)

For sending signal to the internal 24-bit Lexicon effects.

Bal, Muting, and PFL

The Balance control adjusts the amount of the signal sent to the left and right busses. Mute and PFL buttons
operate as on the mono input channels, cutting or soloing the stereo channel.With PFL pressed, the prefade
signal is fed to the headphones, control room output and meters.

Faders and Metering

Each stereo channel features a smooth 60mm fader, and a peak level LED indicating signal levels in
excess of +17dBu.

MASTER SECTION

Effects (EFX only)

A rotary control selects the effect program, with three rotary controls for effect parameters and one to
control the effects level sent to Aux 1. Buttons for PFL, Mute, Store (user effect set-up) and Tap Tempo (for
time/speed-based effects such as delays). Footswitch input for FX on/off.

+48V Phantom Power

Global control over professional +48V phantom power is offered via a push button.When active, an LED
will illuminate.

2-Track Inputs and Outputs

2-track recorder playback inputs and record sends are on unbalanced RCA phono connectors. Monitor
Playback routes the playback input to your monitoring system or to the headphones, replacing any
existing monitoring signals. Playback to Mix routes the playback signal directly to the main mix, replacing
any signal that may be present, perfect for intermission music or as a master mute.

Monitor Output and Mix Insert

Available on balanced 1/4

"

jacks.

Stereo Return (EFX only)

Available on 1/4

"

jacks with level control for use with external processors.

Mix Outputs

The main left and right mix outputs are provided on balanced XLR connectors.

Monitor & Phones Level

Levels sent to the monitor output and headphones can be independently adjusted using these two rotary
controls. And when a pair of headphones are plugged into the phones socket at the bottom right of the
mixer, the monitor outputs are still operational for simultaneous listening by a performer and engineer.

Faders and Metering

Controlling the overall stereo mix level are two 60mm faders, with two 10-segment 3-colour LED peak­reading bargraph meters monitoring the mix left and right outputs. These meters normally follow the
current monitor selection, so if any PFL button is pressed, the meters will switch to monitor this and the
PFL Active LED will light.

EFX - EPM: THE DIFFERENCES

EFX input channels feature an FX send to the internal Lexicon effects processor, along with a single
Aux send for use with external processors, or to create a monitor mix.

With no internal Lexicon effects, EPM input channels replace the FX send with a second Aux send.

The EFX stereo input channels feature 3-band EQ.The EPM stereo input channels features 2-band EQ.

BLOCK DIAGRAMS

MONO INPUT, STEREO INPUT & MASTER SECTION BLOCK DIAGRAMS

MFX Mono
Input Channel

MFX Stereo
Input Channel

MFX Master
Section

MONO INPUT MODULE

Mic Input

A gold-plated balanced female XLR connector accepts balanced or unbalanced mic signals. At

-127dbu EIN the mic amp is extremely quiet and transparent with excellent overload characteristics.

Line Input

A balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards.

Insert

Used for patching in compressors or additional EQ or for other signal processors. It can also be used
for recording to multi-track recorders if necessary.

Gain

A rotary gain control on each input alters the gain of the input signal, from +5 to +60dB (Line Inputs
have -20dB attenuation). Linear circuitry within the preamp delivers smooth gain control over the
entire gain range.

EQ Section

Equalisation is split into three bands. The shelving HF control provides 15dB of cut or boost (gain
adjustment) for frequencies above 12kHz. A swept mid frequency control enables frequencies from
150Hz to 3.5kHz to be adjusted with up to 15dB of cut or boost at the selected frequency. Signals
below 80Hz can be adjusted with the LF control, which features ±15dB of gain adjustment (cut or
boost).

Auxiliary Section

Two (MFX) or three (MPM) Aux sends for sending separate monitor mixes in live applications, or for
use with external effects. In the Master Section, each Aux bus has its own master level control and AFL
switch and can be globally switched pre or post fader (Aux 3 is post fader).

FX Send (MFX only)

For sending signal to the internal 24-bit Lexicon effects.

Pan, Muting, PFL and Routing

The Pan control positions each channel’s signal across the stereo image,with an illuminated Mute
switch to cut the signal completely. A PFL button solos the signal for monitoring. The mono channels
can be routed to either the main Mix outputs or the Sub Groups via the Mix/Grp switch.

Faders and Metering

Each mono channel features a smooth 60mm fader, and a peak level LED indicating signal levels in
excess of +17dBu.

STEREO INPUT CHANNEL

Input Connectors

The stereo inputs are connected via balanced 1/4

"

jack inputs, delivering optimum performance with

other professional audio equipment.

EQ Section

There are three fixed shelving controls, adjusting HF signals at 8kHz by ±15db, MF signals at 720Hz
by ±15db and LF signals at 60Hz by ±15dB.

Auxiliary Section

With 2 (MFX) or e (MPM) Aux sends on the stereo input channels, the signal can be sent pre-fade or
post-fade according to master selection, for use in a monitor mix or for effects processing.

FX Send (MFX only)

For sending signal to the internal 24-bit Lexicon effects.

Bal, Muting, PFL and Routing

The balance control adjusts the amount of the signal sent to the left and right busses. Mute and PFL
buttons operate as on the mono input channels, cutting or soloing the stereo channel.With PFL pressed,
the prefade signal is fed to the headphones, control room output and meters.

The stereo input channels

can be routed to either the main Mix outputs or the Sub Groups via the Mix/Grp switch.

Faders and Metering

Each stereo channel features a smooth 60mm fader, and a peak level LED indicating signal levels in
excess of +17dBu.

MASTER SECTION

Effects (MFX only)

A rotary control selects the effect program, with three rotary controls for effect parameters and two to
control the effects level sent to Auxes 1 and 2. Buttons for PFL, Mute, Store (user effect set-up) and
Tap Tempo (for time/speed-based effects such as delays). Footswitch input for FX on/off.

+48V Phantom Power

Global control over professional +48V phantom power is offered via a push button.When active, an
LED will illuminate.

2-Track Inputs and Outputs

2-track recorder playback inputs and record sends are on unbalanced RCA phono connectors.The
Playback to Mix control routes the signal directly to the main mix, replacing the signal that is present.

Monitor Switching

Monitor outputs are switchable between 2-track Replay, Mix and Groups.

Monitor Outputs

Available on balanced 1/4

"

jacks, the Headphone and Control Room monitor outputs feature

independent level control.

Mix Outputs

The main left and right mix outputs are provided on balanced XLR connectors.

Stereo Return (MFX only)

Available on 1/4

"

jacks with level control for use with external processors.

Sub Groups

Control over the Sub Groups comes via L-R Sub Group faders. The Sub Group outputs are 1/4

"

jacks

Faders and Metering

L-R Group faders control the Sub Group levels while overall stereo mix is handled by a single 60mm
fader, with two 10-segment 3-colour LED peak-reading bargraph meters monitoring the mix left and
right outputs. These meters normally follow the current monitor selection, so if any PFL button is
pressed, the meters will switch to monitor this and the PFL Active LED will light.

MFX - MPM: THE DIFFERENCES

MFX input channels feature an FX send to the internal Lexicon effects processor, along with 2 Aux
sends for use with external processors, or to create a monitor mix.

With no internal Lexicon effects, MPM input channels replace the FX send with a third Aux send.

FX16ii TYPICAL SPECIFICATIONS

Frequency Response Mic / Line Input to any Output ................................. +/-1dB, 20Hz – 20kHz

T.H.D. Mic Sensitivity -30dBu, +14dBu @ Mix output.................. < 0.09% @ 1kHz

Noise Mic Input E.I.N. (maximum gain)......................... -127dBu (150Ω source)

Aux, Mix and Masters (@ 0dB, faders down)................................ < -84dBu

Crosstalk Channel Mute................................................................................ > 96dB

(@ 1kHz) Fader Cut-off (rel +10 mark).......................................................... > 90dB

Aux Send Pots Offness................................................................... > 86dB

EQ HF ................................................................................... 12kHz, +/-15dB

(Mono inputs) MF (swept)........................................................ 150Hz – 3.5kHz, +/-15dB

LF...................................................................................... 80Hz, +/-15dB

Q .......................................................................................................... 1.5

Power Consumption ........................................................................................... Less than 40W

Operating Conditions Temperature Range............................................................. 5°C to +40°C

Input & Output Mic Input ............................................................................ +15dBu max.

Levels Line Input............................................................................. +30dBu max.

Stereo Input ......................................................................... +30dBu max.

Mix Output .......................................................................... +20dBu max.

Headphones (@150Ω) .................................................................. 300mW

Input & Output Mic Input .......................................................................................... 2kΩ

Impedances Line Input ....................................................................................... 10kΩ

Stereo Input ................................................. 65kΩ (stereo), 35Ω (mono)

Outputs ....................................... 150kΩ (balanced), 75Ω (unbalanced)

EPM/EFX TYPICAL SPECIFICATIONS

Frequency Response Mic / Line Input to any Output .............................. +/-1.5dB, 20Hz – 20kHz

T.H.D. Mic Sensitivity -30dBu, +14dBu @ Mix output.................. < 0.02% @ 1kHz

Noise Mic Input E.I.N. (maximum gain)......................... -127dBu (150Ω source)

Aux, Mix and Masters (@ 0dB, faders down)................................ < -85dBu

Crosstalk Channel Mute................................................................................ > 96dB

(@ 1kHz) Fader Cut-off (rel +10 mark).......................................................... > 96dB

Aux Send Pots Offness................................................................... > 86dB

EQ HF ................................................................................... 12kHz, +/-15dB

(Mono inputs) MF (swept)........................................................ 150Hz – 3.5kHz, +/-15dB

LF...................................................................................... 80Hz, +/-15dB

Q .......................................................................................................... 1.5

EQ HF ................................................................................... 12kHz, +/-15dB

(Stereo inputs) MF (EFX Only) ................................................................. 720Hz, +/-15dB

LF ..................................................................................... 80Hz, +/-15dB

Power Consumption ........................................................................................... Less than 35W

Operating Conditions Temperature Range............................................................. 5°C to +40°C

Input & Output Mic Input ............................................................................ +15dBu max.

Levels Line Input............................................................................. +30dBu max.

Stereo Input ......................................................................... +30dBu max.

Mix Output .......................................................................... +20dBu max.

Headphones (@150Ω) .................................................................. 300mW

Input & Output Mic Input .......................................................................................... 2kΩ

Impedances Line Input ....................................................................................... 10kΩ

Stereo Input ................................................. 65kΩ (stereo), 35Ω (mono)

Outputs ....................................... 150kΩ (balanced), 75Ω (unbalanced)

MPM/MFX TYPICAL SPECIFICATIONS

Frequency Response Mic / Line Input to any Output .............................. +/-1.5dB, 20Hz – 20kHz

T.H.D. Mic Sensitivity -30dBu, +14dBu @ Mix output.................. < 0.02% @ 1kHz

Noise Mic Input E.I.N. (maximum gain)......................... -127dBu (150Ω source)

Aux, Mix and Masters (@ 0dB, faders down)................................ < -85dBu

Crosstalk Channel Mute................................................................................ > 96dB

(@ 1kHz) Fader Cut-off (rel +10 mark).......................................................... > 96dB

Aux Send Pots Offness................................................................... > 86dB

EQ HF ................................................................................... 12kHz, +/-15dB

(Mono inputs) MF (swept)........................................................ 150Hz – 3.5kHz, +/-15dB

LF...................................................................................... 80Hz, +/-15dB

Q .......................................................................................................... 1.5

EQ HF ................................................................................... 12kHz, +/-15dB

(Stereo inputs) MF ................................................................................. 720Hz, +/-15dB

LF ..................................................................................... 80Hz, +/-15dB

Power Consumption ........................................................................................... Less than 40W

Operating Conditions Temperature Range............................................................. 5°C to +40°C

Input & Output Mic Input ............................................................................ +15dBu max.

Levels Line Input............................................................................. +30dBu max.

Stereo Input ......................................................................... +30dBu max.

Mix Output .......................................................................... +20dBu max.

Headphones (@150Ω) .................................................................. 300mW

Input & Output Mic Input .......................................................................................... 2kΩ

Impedances Line Input ....................................................................................... 10kΩ

Stereo Input ................................................. 65kΩ (stereo), 35Ω (mono)

Outputs ....................................... 150kΩ (balanced), 75Ω (unbalanced)

Width Height Depth Weight

EPM6 280mm (11.0") 91mm (3.6") 362mm (14.3") 4.0 kg (8.8 lbs)
EPM8 330mm (13.0") 91mm (3.6") 362mm (14.3") 4.6 kg (10.1 lbs)
EPM12 432mm (17.0") 91mm (3.6") 362mm (14.3") 5.8 kg (12.8 lbs)

Width Height Depth Weight

EFX8 330mm (13.0") 91mm (3.6") 362mm (14.3") 4.6 kg (10.1 lbs)
EFX12 432mm (17.0") 91mm (3.6") 362mm (14.3") 5.8 kg (12.8 lbs)

Width Height Depth Weight

MFX8/2 403mm (15.9") 94mm (3.7") 405mm (16.0") 4.0 kg (8.8 lbs)
MFX12/2 482mm (19.0") 94mm (3.7") 405mm (16.0") 6.7 kg (14.8 lbs)
MFX20/2 688mm (27.0") 94mm (3.7") 405mm (16.0") 9.3 kg (20.4 lbs)

Width Height Depth Weight

FX16ii 442mm (17.4") 148mm (5.8") 442mm (17.4") 8.5 kg (19.0 lbs)

FX16ii 481mm (19") 148mm (5.8") 442mm (17.4") 8.5 kg (19.0 lbs)
with rack
ears (10U)

Width Height Depth Weight

MPM12/2 432mm (17.0") 94mm (3.7") 405mm (16.0") 6.7 kg (14.8 lbs)
MPM20/2 688mm (27.0") 94mm (3.7") 405mm (16.0") 9.3 kg (20.4 lbs)

DIMENSIONS & WEIGHTS SPECIFICATIONS

Note: These figures are typical of performance in a normal electromagnetic environment and are often exceeded. Performance may be degraded in severe conditions.All measurements refer to electronically balanced inputs and outputs.