Soundcraft EPM12 User Manual

TYPICAL SPECIFICATIONS

F

requency Response Mic/Line input to any output.............................20Hz to 20kHz +/-0.5dB

THD & Noise .................................................................................................<0.007%

-30dBu Input routed to Mix, Mic gain 30dB

Mic Input EIN 22Hz-22kHz unweighted.....................................-128dBu (150Ω source)

Bus Noise

Measured RMS, 20Hz to 20kHz Bandwidth Line inputs selected at unity gain and terminated 150Ω

Mix Mix at Max, Faders down............................................................<-85dBu

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

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

Aux Send pot offness.....................................................................>86dB

Input & Output Microphone Input...........................................................................2.4kΩ

Impedances Line Input.......................................................................................11kΩ

Stereo Input..................................................................................100kΩ

Outputs.............................................................................................75Ω

Input & Output Mic/.Line input Maximum Level....................................................+17dBu

Levels Line input Maximum Level............................................................+30dBu

Stereo Input Maximum Level........................................................+30dBu

Mix Output Maximum level...........................................................+20dBu

Headphones ( at 200Ω ).............................................................300mW

EQ (Mono Input) HF.........................................................................12kHz, ±15dB, shelving

Mid..............................................................140Hz - 3kHz, ±15dB, Q=1.5

LF...........................................................................80Hz, ±15dB, shelving

Metering ......................................12-segment LED bargraphs for Mix L&R outputs

Operating conditions Temperature Range.........................................................-10ºC to +30ºC

Relative Humidity.....................................................................0% to 80%

Power Supply Integral lightweight switched-mode PSU

AC mains supply ....................................................85V-270V AC, 50/60Hz universal input

Power consumption .........................................................................................Less than 20W

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

MULTIPURPOSE MIXER

The Soundcraft Professional Range comprises a series
of mixers from small multipurpose to large format
dual-mode consoles for the most sophisticated event.

LX7ii 7-bus Mixer

GB Series Dual Mode medium format Live Consoles

MH Series Dual-Mode large format Live Consoles

and others...

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 01/06

This equipment complies with the EMC Directive 89/336/EEC

Part No: ZL0640

Bal, Muting, and PFL

The balance control adjusts the amount of the signal sent to the left and
right busses. Mute and SOLO buttons operate as on the mono input chan­nels, cutting or soloing the stereo channel. With SOLO 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.

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.

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 independtly
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 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.

Looking for a simple, easy to use mixer that delivers
an exceptional audio performance?

For recording, live, install or broadcast use there’s an
EPM mixer for you. EPM is available in three models:
EPM6 (6 mono inputs), EPM8 (8 Mono inputs)
and EPM 12 (12 Mono inputs), each with 2 stereo
channels as standard.

The emphasis with the Soundcraft EPM is very fi rmly on
quality audio performance, with an easy to understand
control surface uncluttered by unnecessary facilities.
The now-famed GB30 Mic preamp (as used on the large
format LX7ii and GB Series desks) provides high headroom and
precision control of mic signals.

Mic and line inputs are provided on balanced XLR and 1/4” jack con­nectors, with the main stereo outputs on balanced XLRs for best integra­tion with other professional equipment. There are also insert points on
every mono channel and the mix outputs for external signal processing.

By fi tting rack ears (available as a separate kit), the EPM mixer can
quickly be transformed into a rack-mounted desk suitable for use on
the road or in custom furniture. All three mixers in the range occupy just
8U of standard rack space.

Because levels are constantly changing throughout the signal path
— from the preamp stage, through fi ltering and EQ — the EPM mixers
provide peak LEDs on all input channels.

These monitoring LEDs are fed from multiple points in the signal path
to ensure nothing is overlooked. The LEDs also employ proportional
illumination to show signal level when approaching peaks, allowing
you to maximise the quality of any signal by utilising all the available
headroom.

The main stereo mix has 10-segment LED meters, with a PFL Active
indicator to show whether any channels are being solo’d.

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 two fi xed shelving controls, adjusting HF signals at 12kHz and
LF signals at 80Hz by ±15dB.

Auxiliary Section

With 2 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.

Mic Input

A gold-plated balanced female XLR connector accepts balanced
or unbalanced mic signals. At -128dbu 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. 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 140Hz to 3kHz 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

For sending separate monitor mixes in live applications, or for
use with fx units two aux sends on each input channel cater for
all requirements. Each Aux bus can be globally switched to be
pre or post fade on the master section.

Pan, Muting, and SOLO

The pan control positions each channel’s signal across the stereo
image, with a mute button to cut the signal completely. A SOLO
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.

Mono Input

Stereo Input

Master Section

KEY FEATURES

• 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

• 6, 8 and 12 mono input channel frame sizes, each

with two stereo inputs

• 2 Aux sends, each globally switchable pre or post-fade

• Universal internal power supply

• Simple rack mounting options

MULTIPURPOSE MIXERS FOR ANY EVENT