Soundcraft EPM12 User's Guide
USER GUIDE
®
Soundcraft EFX/EPM User Guide Issue 1210
User Guide
Soundcraft EFX/EPM User Guide Issue 1210
1
IMPORTANT
Please read this manual carefully before using
your mixer for the rst time.
This equipment complies with the EMC directive
2004/108/EC
and LVD 2006/95/EC
This product is approved to safety standards:
EFX Models
IEC 60065: 2001 + AMD1:2005
EN60065: 2002 + AMD1:2006+A11:2008
UL6500 7th Edition: 2003
CAN/CSA-E60065-03
and EMC standards:
EN55103-1: 1996 (E2)
EN55103-2: 1996 (E2)
EPM Models
For further details contact
Harman International Industries Ltd.
Cranborne House, Cranborne Road,
Potters Bar, Hertfordshire, EN6 3JN UK
email: soundcraft@harman.com
© Harman International Industries Ltd. 2010
All rights reserved. Parts of the design of this product may be protected by worldwide patents.
Part No. BD10.530000 Issue 1210KA
Soundcraft is a trading division of Harman International Industries Ltd. Information in this manual
is subject to change without notice and does not represent a commitment on the part of the
vendor. Soundcraft shall not be liable for any loss or damage whatsoever arising from the use
of information or any error contained in this manual.
No part of this manual may be reproduced, stored in a retrieval system, or transmitted, in
any form or by any means, electronic, electrical, mechanical, optical, chemical, including
photocopying and recording, for any purpose without the express written permission of Soundcraft.
Harman International Industries Limited
Cranborne House, Cranborne Road, POTTERS BAR,
Hertfordshire, EN6 3JN, UK
Tel: +44 (0)1707 665000
®
Fax: +44 (0)1707 660742
http://www.soundcraft.com E & OE.
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Soundcraft EFX/EPM User Guide Issue 1210
Contents
SAFETY SYMBOL GUIDE...................................................................................................4
IMPORTANT SAFETY INSTRUCTIONS.............................................................................5
INTRODUCTION.............................................................................................7
OVERVIEW.................................................................................................8
THE 60-SECOND GUIDE - EFX............................................................................................8
THE 60-SECOND GUIDE - EPM.........................................................................................10
WIRING UP..........................................................................................................................12
BLOCK DIAGRAM - Soundcraft EFX...................................................................................16
BLOCK DIAGRAM - Soundcraft EPM..................................................................................17
MONO INPUT CHANNEL - EFX shown...............................................................................18
STEREO INPUT CHANNELS (EFX shown).........................................................................21
MASTER SECTION (EFX)...................................................................................................24
Lexicon® FX PROCESSOR OVERVIEW (EFX only)..........................................................27
FX OPERATION...................................................................................................................27
FX PROCESSOR CONTROLS (EFX only)..........................................................................28
REVERBS ...........................................................................................................................29
REVERB CONTROLS.........................................................................................................30
DELAYS...............................................................................................................................31
DELAY CONTROLS ............................................................................................................32
MODULATED EFFECTS......................................................................................................32
FACTORY RESET ...............................................................................................................34
EFFECTS DATA CHART (EFX only)....................................................................................35
USING YOUR EFX OR EPM CONSOLE.............................................................................36
APPLICATIONS....................................................................................................................38
GLOSSARY...........................................................................................................................42
TYPICAL CONNECTING LEADS.........................................................................................44
MARK-UP SHEETS - EFX...................................................................................................46
MARK-UP SHEETS - EPM..................................................................................................48
FITTING OPTIONAL RACKMOUNT EARS.........................................................................50
EPM/EFX TYPICAL SPECIFICATIONS...............................................................................52
WARRANTY.........................................................................................................................54
Soundcraft EFX/EPM User Guide Issue 1210
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For your own safety and to avoid invalidation of the warranty please read this
section carefully.
SAFETY SYMBOL GUIDE
For your own safety and to avoid invalidation of the warranty all text marked
with these symbols should be read carefully.
WARNINGS
The lightning ash with arrowhead symbol, is intended to
alert the user to the presence of un-insulated “dangerous
voltage” within the product’s enclosure that may be of suf-
cient magnitude to constitute a risk of electric shock to
persons.
CAUTIONS
The exclamation point within an equilateral triangle is in-
tended to alert the user to the presence of important operat-
ing and maintenance (servicing) instructions in the literature
accompanying the appliance.
NOTES
Contain important information and useful tips on the opera-
tion of your equipment.
HEADPHONES SAFETY WARNING
Contain important information and useful tips on headphone
outputs and monitoring levels.
Recommended Headphone Impedance >= 150 Ohms.
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Soundcraft EFX/EPM User Guide Issue 1210
IMPORTANT SAFETY INSTRUCTIONS
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any ventilation openings. Install in accordance with the manufacturer’s
instructions.
Do not install near any heat sources such as radiators, heat registers, stoves, or other
apparatus (including ampliers) that produce heat.
Do not defeat the safety purpose of a polarised or grounding type plug. A polarised
plug has two blades with one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the third prong are provided
for your safety. If the provided plug does not t into your outlet, consult an electrician
for replacement of the obsolete outlet
Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles and the point where they exit from the apparatus.
Only use attachments/accessories specied by the manufacturer.
Use only with the cart, stand, tripod, bracket or table specied by the manufacturer,
or sold with the apparatus. When a cart is used, use caution when moving the cart/
apparatus combination to avoid injury from tip-over.
Unplug this apparatus during lightning storms or when unused for long periods of
time.
Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged,
liquid has been spilled or objects fallen into the apparatus, the apparatus has been
exposed to rain or moisture, does not operate normally, or has been dropped.
Soundcraft EFX/EPM User Guide Issue 1210
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Note: It is recommended that all maintenance and service on the product should be
carried out by Soundcraft or its authorised agents. Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or repair by
unauthorised personnel.
WARNING: To reduce the risk of re or electric shock, do not expose this apparatus to
rain or moisture.
Do not expose the apparatus to dripping or splashing and do not place objects lled with
liquids, such as vases, on the apparatus.
No naked ame sources, such as lighted candles, should be placed on the apparatus.
Ventilation should not be impeded by covering the ventilation openings with items such
as newspapers, table cloths, curtains etc.
THIS APPARATUS MUST BE EARTHED. Under no circumstances should the safety earth be
disconnected from the mains lead.
The mains supply disconnect device is the mains plug. It must remain accessible so as
to be readily operable when the apparatus is in use.
If any part of the mains cord set is damaged, the complete cord set should be replaced.
The following information is for reference only.
The wires in the mains lead are coloured in accordance with the following code:
Earth (Ground): Green and Yellow (US - Green/Yellow)
Neutral: Blue (US - White)
Live (Hot): Brown (US - Black)
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
The wire which is coloured Brown must be connected to the terminal in the plug
which is marked with the letter L
Ensure that these colour codes are followed carefully in the event of the plug being
changed
This unit is capable of operating over a range of mains voltages as marked on the rear
panel.
NOTE: This equipment has been tested and found to comply with the limits for a Class A
digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide
reasonable protection against harmful interference when the equipment is operated in
a commercial environment. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual,
may cause harmful interference to radio communications. Operation of this equipment
in a residential area is likely to cause harmful interference in which case the user will be
required to correct the interference at his own expense.
This Class A digital apparatus meets the requirements of the Canadian Interference-Causing
Equipment Regulations.
Cet appareil numérique de la Classe A respecte toutes les exigences du Règlement sur
le matériel brouilleur du Canada.
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Soundcraft EFX/EPM User Guide Issue 1210
INTRODUCTION
Thank you for purchasing a Soundcraft EFX/EPM mixer. The EFX/EPM range
is a most cost-effective mixing solution, bringing you all the features and
performance that you expect from a Soundcraft product, at an extraordinarily
low price. The packaging, in which your mixer arrived, forms part of the product
and must be retained for future use.
Owning a Soundcraft console brings you the expertise and support of one of
the industry’s leading manufacturers, and the results of nearly 3 decades of
supporting some of the biggest names in the business. Our knowledge has
been attained through working in close contact with leading professionals and
institutes to bring you products designed to get the best possible results from
your mixing.
Built to the highest standards using quality components and surface mount
technology, the mixer is designed to be as easy to use as possible. We have
spent years researching the most efcient methods of control for two key reasons:
1) Engineers, musicians, writers and programmers all need to have very few
interruptions to the creative process; our products have been designed to be
almost transparent, allowing this process to breathe.
2) Whether performing or recording, time is a very expensive and rare commodity. Our products have a user interface which is recognised by millions to be the
industry standard because of its efciency.
The sonic qualities of our products are exemplary - some of the same circuits
which are used on our most expensive consoles are employed in the EFX and
EPM, bringing you the great Soundcraft quality in a small format console without
compromise.
You will also be glad to know you have a one year warranty with your product
from the date of purchase. The mixer has been designed using the latest highend software based engineering packages. Every console from Soundcraft has
been proven to stand up to all the stress and rigours of modern day mixing
environments.
The entire mixer is manufactured using some of the most advanced techniques
in the world, from high density surface mount PCB technology, to computer
aided test equipment able to measure signals well outside the range of normal
hearing. As each console passes through to be quality checked before packing,
there is also a human listening station. Something we have learnt over the years
is that the human touch counts - and only by using people can you ensure the
product meets the high demands of the user.
ADVICE FOR THOSE WHO PUSH THE BOUNDARIES
Although your new console will not output any sound until you feed it signals, it
has the capability to produce sounds which when monitored through an ampli-
er or headphones can damage hearing over time.
Please take care when working with your audio - if you are manipulating controls
which you don’t understand (which we all do when we are learning), make sure
your monitors are turned down. Remember that your ears are the most important
tool of your trade, look after them, and they will look after you.
Most importantly - don’t be afraid to experiment to nd out how each parameter
affects the sound - this will extend your creativity and help you to get the best
from your mixer and the most respect from your artists and audience.
Soundcraft EFX/EPM User Guide Issue 1210
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OVERVIEW
BANK A
KARAOKE
To get you working as fast as possible, this manual begins with a 60-second guide. Here you can nd quick
information on any feature of the EFX console.
THE 60-SECOND GUIDE - EFX
1 MIC INPUT (XLR) Connect Microphones here. If you are using a condenser mic, ensure phantom
power is supplied by pressing the switch at the top of the master section.
WARNING: Do Not apply Phantom Power before connecting a
microphone.
2 LINE INPUT (¼” Jack) Connect Line level sources here, e.g. Synth, Drum Machine, DI etc.
3 INSERT POINT (¼” Jack) Connect Signal processors here, e.g. Compressor, Gate etc.
4 GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal.
5 EQ STAGE Adjust these controls to change the signal tone (the character of the signal).
6 AUX 1 SEND Adjust this control to change the level of the signal to an artist’s monitors
(headphones/in-ear/stage monitors). Aux 1 is globally switchable pre/post
fade.
7 FX SEND This control sets the level of the post-fade signal being sent to the FX bus;
from there it is routed to the FX processor.
8 PAN CONTROL Use this control to position the signal within the stereo eld.
9 MUTE SWITCH When this is pressed you will hear no signal from the channel (post-mute
signals).
10 PFL When pressed the signal will appear on the monitor and headphone outputs
- use this to monitor the post-EQ signal from the channel.
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Soundcraft EFX/EPM User Guide Issue 1210
11 PEAK LED This is used to indicate that the signal is close to distorting (clipping) on a
specic channel.
12 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus and post-fade sends.
13 MIX OUTPUTS (XLR) & Connect these to your analogue recording device, or to your amplication
MONO OUT (¼” Jack) system.
14 MIX INSERTS (¼” Jack) This is a pre-fade break in the signal path which can be used to feed a
dynamics or mastering device. The signal is sent from the tip of the jack plug
and the return path comes back in on the ring of the jack plug.
15 MONITOR O/Ps (¼” Jack) These are used to feed your monitoring system. This can be directly connected
to powered monitors, or indirectly via an amplier to standard monitors.
16 MASTER FADERS These faders control the overall level of the mix outputs.
17 MAIN METERS These show the level of the mix outputs. When the PFL ACTIVE LED is lit, the
meters show the level of the selected PFL signal.
18 MONITOR CONTROL This controls the level of the signal sent to your monitoring system.
19 PHONES CONTROL This controls the level of the signal sent to the headphones jack socket.
20 AUX 1 OUTPUT (¼” Jack) This output can be used to send the channel signal to an artist’s monitors
(headphones/in-ear/stage monitors). It is switchable pre/post fade.
21 AUX CONTROL This switch globally switches the AUX1 feed on all the input modules to be
either pre or post-fade.
22 STEREO INPUTS (¼” Jack) These two inputs can be used to connect line level stereo inputs from key-
boards, sound modules, samplers, computer based audio cards etc. These
inputs pass through a normal channel strip, with EQ, Auxes and a Balance
control.
23 2-TRACK INPUTS Here you can connect the playback from your recording device.
(RCA Phono)
24 2-TRACK CONTROLS Use these to control the 2 Track signal. The MONITOR switch sends the signal
to the monitor outputs and phones, whilst the TO MIX switch sends it to the
main mix.
25 RECORD OUTPUTS You can connect these to the inputs of your recording device.
(RCA Phono)
26 PHANTOM POWER Press this to switch the phantom power (48V) on for condenser microphones.
WARNING: Do Not apply Phantom Power before connecting a
microphone.
27 HEADPHONES (¼” Jack) Plug your headphones into this socket. Recommended headphones imped-
ance is 150 ohms or greater.
28 STEREO RETURN INPUTS This pair of inputs accept 3-pole ‘A’ gauge (TRS) jacks. Use these inputs for
sources such as keyboards, drum machines, synths or CDs. The inputs are
BALANCED. Mono sources may be used by plugging into the left jack only.
29 STEREO RETURN CONTROL This control sets the level of signal routed to the main mix busses. There is
an associated PK LED to warn of signals which are too high.
30 FX BUS OUTPUT This output carries the signal from the FX bus. It could be used as a second
Aux Output if desired, if the FX Processor is not needed at the time. The FX
sends on the inputs channels to the FX bus are always post-fade.
31 FOOTSWITCH CONNECTOR This is used by the FX Processor, see page 26.
32 LEXICON® FX PROCESSOR See the information starting on page 27
Soundcraft EFX/EPM User Guide Issue 1210
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THE 60-SECOND GUIDE - EPM
1 MIC INPUT (XLR) Connect Microphones here. If you are using a condenser mic, ensure phantom
power is supplied by pressing the switch at the top of the master section.
WARNING: Do Not apply Phantom Power before connecting
a microphone.
2 LINE INPUT (¼” Jack) Connect Line level sources here, e.g. Synth, Drum Machine, DI etc.
3 INSERT POINT (¼” Jack) Connect Signal processors here, e.g. Compressor, Gate etc.
4 GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal.
5 EQ STAGE Adjust these controls to change the signal tone (the character of the signal).
6 AUX 1/2 SENDS Adjust these controls to change the level of the signal to an artist’s monitors
(headphones/in-ear/stage monitors). Each Aux is globally switchable pre/
post fade.
7 PAN CONTROL Use this control to position the signal within the stereo eld.
8 MUTE SWITCH When this is pressed you will hear no signal from the channel (post-mute
signals).
9 PFL When pressed the signal will appear on the monitor and headphone outputs
- use this to monitor the post-EQ signal from the channel.
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Soundcraft EFX/EPM User Guide Issue 1210
10 PEAK LED This is used to indicate that the signal is close to distorting (clipping) on a
specic channel.
11 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus and post-fade sends.
12 MIX OUTPUTS (XLR) & Connect these to your analogue recording device, or to your amplication
MONO OUT (¼” Jack) system.
13 MIX INSERTS (¼” Jack) This is a pre-fade break in the signal path which can be used to feed a dy-
namics or mastering device. The signal is sent from the tip of the jack plug
and the return path comes back in on the ring of the jack plug.
14 MONITOR O/Ps (¼” Jack) These are used to feed your monitoring system. This can be directly connected
to powered monitors, or indirectly via an amplier to standard monitors.
15 MASTER FADERS These faders control the overall level of the mix outputs.
16 MAIN METERS These show the level of the mix outputs. When the PFL ACTIVE LED is lit, the
meters show the level of the selected PFL signal.
17 MONITOR CONTROL This controls the level of the signal sent to your monitoring system.
18 PHONES CONTROL This controls the level of the signal sent to the headphones jack socket.
19 AUX OUTPUTS (¼” Jack) These outputs can be used to send the channel signal to an artist’s monitors
(headphones/in-ear/stage monitors). They are switchable pre/post fade.
20 AUX CONTROL These switches globally switch the AUX1 and AUX 2 feeds on all the input
modules to be either pre or post-fade.
21 STEREO INPUTS (¼” Jack) These two inputs can be used to connect line level stereo inputs from key-
boards, sound modules, samplers, computer based audio cards etc. These
inputs pass through a normal channel strip, with EQ, Auxes and a Balance
control.
22 2-TRACK INPUTS
(RCA Phono)
23 2-TRACK CONTROLS Use these to control the 2 Track signal. The MONITOR switch sends the signal
24 RECORD OUTPUTS You can connect these to the inputs of your recording device.
(RCA Phono)
25 PHANTOM POWER Press this to switch the phantom power (48V) on for condenser microphones.
WARNING: Do Not apply Phantom Power before connecting a
Here you can connect the playback from your recording device.
to the monitor outputs and phones, whilst the TO MIX switch sends it to the
main mix.
microphone.
26 HEADPHONES (¼” Jack) Plug your headphones into this socket. Recommended headphones
impedance is 150 ohms or greater.
Soundcraft EFX/EPM User Guide Issue 1210
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WIRING UP
Mic Input
The MIC input accepts XLR-type connectors and is designed to suit a wide
range of BALANCED or UNBALANCED low-level signals, whether from
delicate vocals requiring the best low-noise performance, or drum kits
needing maximum headroom. Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. While you can
use low-cost HIGH IMPEDANCE mics, you do not get the same degree of
immunity to interference on the microphone cable and as a result the level
of background noise may be higher. If you turn the PHANTOM POWER on,
the socket provides a suitable powering voltage for professional condenser
mics.
DO NOT use UNBALANCED sources with the phantom power
switched on. The voltage on pins 2 & 3 of the XLR connector may
cause serious damage. BALANCED dynamic mics may normally be
used with phantom power switched on (contact your microphone
manufacturer for guidance)
The input level is set using the input GAIN knob.
The LINE input offers the same gain range as the MIC input, but at a higher
input impedance, and is 20dB less sensitive. This is suitable for most line
level sources.
12
WARNING !
Start with the input GAIN knob turned fully anticlockwise when
plugging high level sources into the LINE input to avoid overloading
the input channel or giving you a very loud surprise!
Line Input
Accepts 3-pole ‘A’ gauge jacks, or 2-pole mono jacks which will automatically ground the ‘cold’ input. Use this input for sources other than mics,
such as keyboards, drum machines, synths, tape machines or DI boxes.
The input is BALANCED for low noise and immunity from interference,
but you can use UNBALANCED sources by wiring up the jacks as shown,
although you should then keep cable lengths as short as possible to
minimise interference pick-up on the cable. Note that the ring must be
grounded if the source is unbalanced. Set the input level using the GAIN
knob, starting with the knob turned fully anticlockwise. Unplug any MIC
connection when using the LINE input.
Insert Point
The unbalanced, pre-EQ insert point is a break in the channel signal path,
allowing limiters, compressors, special EQ or other signal processing units
to be added in the signal path. The Insert is a 3-pole ‘A’ gauge jack socket
which is normally bypassed. When a jack is inserted, the signal path is
broken, just before the EQ section.
The signal from the channel appears on the TIP of the plug and is returned
on the RING, with the sleeve as a common ground.
The Send may be tapped off as an alternative pre-fade, pre-EQ direct output if required, using a lead with tip and ring shorted together so that the
signal path is not interrupted.
Soundcraft EFX/EPM User Guide Issue 1210
Stereo Inputs STEREO 1/2 and Stereo
These accept 3-pole ‘A’ gauge jacks, or 2-pole mono jacks which will
automatically ground the ‘cold’ input. Use these inputs for sources such
as keyboards, drum machines, synths, tape machines or as returns from
processing units. The input is BALANCED for low noise and immunity from
interference, but you can use UNBALANCED sources by wiring up the jacks
as shown, although you should then keep cable lengths as short as
possible to minimise interference pick-up on the cable. Note that the ring
must be grounded if the source is unbalanced.
Mono sources can be fed to both paths by plugging into the Left jack only.
Mix Inserts
The unbalanced, pre-fade Mix insert point is a break in the output signal path to
allow the connection of, for example, a compressor/limiter or graphic equaliser.
The Insert is a 3-pole ‘A’ gauge jack socket which is normally bypassed. When
a jack is inserted, the signal path is broken, just before the mix fader.
The mix signal appears on the TIP of the plug and is returned on the RING.
A ‘Y’ lead may be required to connect to equipment with separate send and
return jacks as shown below:
Mix Outputs
The MIX outputs are on XLR’s, wired as shown, and incorporate
impedance balancing, allowing long cable runs to balanced ampliers and
other equipment.
Aux & FX Bus Outputs
The Aux & FX Bus outputs are on 3-pole ‘A’ gauge jack sockets, wired as
shown on the left, and are impedance-balanced, allowing long cable runs to
balanced ampliers and other equipment. Note EPM has 2 x AUX, EFX has
1 x AUX, 1 x FX.
Soundcraft EFX/EPM User Guide Issue 1210
13
Headphones
The PHONES output is a 3-pole ‘A’ gauge jack, wired as a stereo output as shown, ideally
for headphones of 150Ω or greater. 8Ω headphones are not recommended.
Polarity (Phase)
You will probably be familiar with the concept of polarity in electrical signals and this is
of particular importance to balanced audio signals. Just as a balanced signal is highly
effective at cancelling out unwanted interference, so two microphones picking up the
same signal can cancel out, or cause serious degradation of the signal if one of the
cables has the +ve and -ve wires reversed. This phase reversal can be a real problem
when microphones are close together and you should therefore always take care to
connect pins correctly when wiring audio cables.
Grounding and Shielding
For optimum performance use balanced connections where possible and ensure that
all signals are referenced to a solid, noise-free earthing point and that all signal cables
have their screens connected to ground. In some unusual circumstances, to avoid earth
or ground ‘loops’ ensure that all cable screens and other signal earths are connected to
ground only at their source and not at both ends.
If the use of unbalanced connections is unavoidable, you can minimise noise by following these wiring guidelines:
• On INPUTS, unbalance at the source and use a twin screened cable as though
it were balanced.
• On OUTPUTS, connect the signal to the +ve output pin, and the ground of the
output device to -ve. If a twin screened cable is used, connect the screen only
at the mixer end.
• Avoid running audio cables or placing audio equipment close to thyristor
dimmer units or power cables.
• Noise immunity is improved signicantly by the use of low impedance sources,
such as good quality professional microphones or the outputs from most
modern audio equipment. Avoid cheaper high impedance microphones, which
may suffer from interference over long cable runs, even with well-made cables.
Grounding and shielding is still seen as a black art, and the suggestions above are only
guidelines. If your system still hums, an earth/ground loop is the most likely cause. Two
examples of how an earth loop can occur are shown below.
14
Warning!
Under NO circumstances must the AC power mains earth be disconnected from the
mains lead.
Soundcraft EFX/EPM User Guide Issue 1210
PROBLEM SOLVING
Basic problem solving is within the scope of any user if a few basic rules are followed.
• Get to know the Block Diagram of your console (see page 16/17).
• Get to know what all controls and/or connections in the system are supposed
to do.
• Learn where to look for common trouble spots.
The Block Diagram is a representative sketch of all the components of the console,
showing how they connect together and how the signal ows through the system. Once
you have become familiar with the various component blocks you will nd the Block
Diagram is quite easy to follow and you will have gained a valuable understanding of
the internal structure of the console.
Each component has a specic function and only by getting to know what each part is
supposed to do will you be able to tell if there is a genuine fault! Many “faults” are the
result of incorrect connection or control settings which may have been overlooked.
Basic Troubleshooting is a process of applying logical thought to the signal path through
the console and tracking down the problem by elimination.
• Swap input connections to check that the source is really present. Check both
Mic and Line inputs.
• Eliminate sections of the channel by using the insert point to re-route the signal
to other inputs that are known to be working.
• Route channels to different outputs or to auxiliary sends to identify problems
on the Master section.
• Compare a suspect channel with an adjacent channel which has been set up
identically. Use PFL to monitor the signal in each section.
• Insert-point contact problems may be checked by using an insert bypass jack
with tip and ring shorted together as shown below. If the signal appears when the
jack is inserted it shows that there is a
problem with the normalling contacts
on the jack socket, caused by wear
or damage, or often just dirt or dust.
Keep a few in your gig tool box.
If in doubt please contact Soundcraft customer support.
PRODUCTS UNDER WARRANTY
UK customers should contact their local dealer. Customers outside the UK are
requested to contact their territorial distributor who is able to offer support in the
local time zone and language. Please see the distributor listings on our website
(www.soundcraft.com) to locate your local distributor.
OUT-OF-WARRANTY PRODUCTS
For out-of-warranty consoles purchased in the United Kingdom, please contact the
Customer Services Department (e-mail: soundcraft.csd@harman.com) at the factory in Potters Bar, Hertfordshire: Telephone +44 (0)1707 665000. For all other
out-of-warranty consoles, please contact the appropriate territorial distributor.
When mailing or faxing please remember to give as much information as possible.
This should include your name, address and a daytime telephone number. Should
you experience any difculty please contact Customer Services Department (e-mail:
soundcraft.csd@harman.com)
Soundcraft EFX/EPM User Guide Issue 1210
15
BLOCK DIAGRAM - Soundcraft EFX
16
Soundcraft EFX/EPM User Guide Issue 1210
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