Soundcraft EPM 12, EPM8, EPM6 USER GUIDE

User GuideUser Guide

User Guide

User GuideUser Guide

IMPORTANT

Please read this manual carefully before using

your mixer for the first time.

Parts of the design of this product may be protected by worldwide patents.

Part No. ZM0338-01

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

ContentsContents

Contents

ContentsContents

User Guide 1

IMPORTANT SAFETY INSTR UCTIONS 4 SAFETY SYMBOL GUIDE 6 OVERVIEW 7 THE 60-SECOND GUIDE 7 INTRODUCTION 9 WIRING UP 10 BLOCK DIAGRAM 14 MONO INPUT CHANNEL 15 STEREO INPUT CHANNELS 18 MASTER SECTION 20 USING Y OUR EPM CONSOLE 22 FITTING OPTIONAL RACKMOUNT EARS 24 APPLICATIONS 25 GLOSSARY 28 TYPICAL CONNECTING LEADS 30 MARK-UP SHEETS 32 TYPICAL SPECIFICA TIONS 34 WARRANTY 35

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 amplifiers) 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 fit 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 specified by the manufacturer.

Use only with the cart, stand, tripod, bracket or table specified 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 qualified 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.

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 fire 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 filled with liquids, such as vases, on the apparatus.

No naked flame 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.

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 flash with arrThe lightning flash with arr

The lightning flash with arr

The lightning flash with arrThe lightning flash with arr

intended to alerintended to aler

intended to aler

intended to alerintended to aler

insulated “dangerinsulated “danger

insulated “danger

insulated “dangerinsulated “danger

enclosurenclosur

enclosur

enclosurenclosur

constitute a risk of electric shock to persons.constitute a risk of electric shock to persons.

constitute a risk of electric shock to persons.

constitute a risk of electric shock to persons.constitute a risk of electric shock to persons.

e that may be of sufe that may be of suf

e that may be of suf

e that may be of sufe that may be of suf

t the user to the prt the user to the pr

t the user to the pr

t the user to the prt the user to the pr

ous voltage” within the prous voltage” within the pr

ous voltage” within the pr

ous voltage” within the prous voltage” within the pr

owhead symbol, isowhead symbol, is

owhead symbol, is

owhead symbol, isowhead symbol, is

esence of un-esence of un-

esence of un-

esence of un-esence of un-

oduct’soduct’s

oduct’s

oduct’soduct’s

ficient magnitude toficient magnitude to

ficient magnitude to

ficient magnitude toficient magnitude to

CAUTIONS

The exclamation point within an equilateral triangleThe exclamation point within an equilateral triangle

The exclamation point within an equilateral triangle

The exclamation point within an equilateral triangleThe exclamation point within an equilateral triangle

is intended to aleris intended to aler

is intended to aler

is intended to aleris intended to aler

imporimpor

impor

imporimpor

tant operating and maintenance (servicing)tant operating and maintenance (servicing)

tant operating and maintenance (servicing)

tant operating and maintenance (servicing)tant operating and maintenance (servicing)

instructions in the literaturinstructions in the literatur

instructions in the literatur

instructions in the literaturinstructions in the literatur

t the user to the prt the user to the pr

t the user to the pr

t the user to the prt the user to the pr

e accompanying thee accompanying the

e accompanying the

e accompanying thee accompanying the

appliance.appliance.

appliance.

appliance.appliance.

esence ofesence of

esence of

esence ofesence of

NOTES

Contain imporContain impor

Contain impor

Contain imporContain impor

tant infortant infor

tant infor

tant infortant infor

operation of your equipment.operation of your equipment.

operation of your equipment.

operation of your equipment.operation of your equipment.

mation and useful tips on themation and useful tips on the

mation and useful tips on the

mation and useful tips on themation and useful tips on the

HEADPHONES SAFETY WARNING

Contain imporContain impor

Contain impor

Contain imporContain impor

headphone outputs and monitoring levels.headphone outputs and monitoring levels.

headphone outputs and monitoring levels.

headphone outputs and monitoring levels.headphone outputs and monitoring levels.

Recommended Headphone Impedance >= 200 Ohms.Recommended Headphone Impedance >= 200 Ohms.

Recommended Headphone Impedance >= 200 Ohms.

Recommended Headphone Impedance >= 200 Ohms.Recommended Headphone Impedance >= 200 Ohms.

tant infortant infor

tant infor

tant infortant infor

mation and useful tips onmation and useful tips on

mation and useful tips on

mation and useful tips onmation and useful tips on

OVERVIEW

THE 60-SECOND GUIDE

To get you working as fast as possible, this manual begins with a 60-second guide. Here you can find quick information on any feature of the console.

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 SENDS Adjust these controls to change the level of the signal to an FX unit or an artist’s monitors

(headphones/in-ear/stage monitors). Aux 1&2 are switchable pre/post fade.

7 PAN CONTROL Use this control to position the signal within the stereo field.

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.

10 PEAK LED This is used to indicate that the signal is close to distorting (clipping) on a specific

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 amplification system.

13 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.

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 amplifier 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 two outputs can be used to send the channel signal to an FX unit or an artist’s

monitors (headphones/in-ear/stage monitors). Aux 1&2 are switchable pre/post fade.

20 AUX CONTROLS These two switches globally switch the AUX1 and AUX2 feeds respectively, 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 keyboards, 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

23 2-TRACK CONTROLS Use these to control the 2 Track signal. The MONITOR switch sends the signal to the

24 RECORD OUTPUTS

25 PHANTOM POWER Press this to switch the phantom power (48V) on for condenser microphones.

26 HEADPHONES (¼” Jack) Plug your headphones into this socket. Recommended headphones impedance is 200

(RCA Phono)

Here you can connect the playback from your recording device.

monitor outputs and phones, whilst the TO MIX switch sends it to the main mix.

Here you can connect the input to your recording device.

WARNING: Do Not apply Phantom Power before connecting a microphone.

ohms or greater.

INTRODUCTION

Thank you for purchasing a Soundcraft EPM mixer. The EPM range is our 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, which your EPM arrived in, 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 EPM is designed to be as easy to use as possible. We have spent years researching the most efficient 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 efficiency.

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 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 EPM has been designed using the latest high-end 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 EPM 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 amplifier 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 find 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.

WIRING UP

Please refer to pages 30/31 for additional wiring details.

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.

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 load 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.

Stereo Inputs STEREO 1/2

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 3pole ‘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 amplifiers and other equipment.

Aux Outputs

The Aux outputs are on 3-pole ‘A’ gauge jack sockets, wired as shown on the left, and are balanced, allowing long cable runs to balanced amplifiers and other equipment.

Headphones

The PHONES output is a 3-pole ‘A’ gauge jack, wired as a stereo output as shown, ideally for headphones of 200Ω or greater. 8Ω headphones are not recommended.

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