Soundcraft LX7II BROCHURE

7-BUS PROFESSIONAL MIXING CONSOLE

ADVANCED SOUNDCRAFT TECHNOLOGY

NOW COMES IN MEDIUM SIZE

Introducing the new Soundcraft LX7ii – our hugely popular 7-bus mid-sized mixing console,

totally re-engineered with genuine Soundcraft technology for unrivalled sonic performance. The

LX7ii can handle both FOH and monitors, making it ideal for live sound applications in small to

medium-sized venues. And direct channel outputs allow for simple connection of multitrack

recording equipment, making the LX7ii equally at home in the studio.

In the year of our 30th anniversary,

Soundcraft co-founder and Technical

Director Graham Blyth has developed

new microphone preamps and

4-band EQ circuits of extraordinary

clarity and musicality, which we call GB30.

Totally re-engineered and derived from

designs used in Soundcraft’s

acclaimed MH Series professional

live sound consoles, they gift the

LX7ii with an exceptionally open sound

and an almost unnervingly low noise floor.

KEY FEATURES:

16, 24 and 32 channel frame sizes •GB30 mic preamp and precision

•

equalisation circuitry •True 7-bus architecture •2 stereo inputs •2 stereo

returns •Channel direct outputs •Talkback facility •100mm faders

+48 phantom power •6 aux sends, 4 of which are pre/post switchable

•

18dB/octave high pass filter •Group and mix inserts •12-segment LED

•

metering •Integral universal voltage, switched-mode PSU for light weight

Pictured band - Beech, at The Bedford,Balham, South London.

INPUTS OUTPUTS & MASTER

MONO INPUT CHANNEL

Mic Input

A balanced XLR connector accepts balanced or unbalanced mic signals.

Line Input

The balanced 1/4" jack allows connection of balanced or unbalanced
electronic instruments, such as keyboards.

+48V Phantom Power

+48V Phantom Power is available switched in blocks of 4 for condenser
mics and active DI boxes.

Input Stage

LX7ii’s exclusive GB30 padless mic preamp provides up to +15dBu input
capability with the input gain control operating between 5dB and 60dB on
all mic inputs.

HIgh Pass Filter

A steep 18dB per Octave High Pass Filter is included straight after the
preamp to reduce low frequency rumble on stage and clean up vocal
performances.

Insert

A pre-fade, pre-EQ (but post-HPF) insert point is provided for patching in
Limiters, Graphic Equalisers or other signal processors. It may also be used
for recording.

Direct Outputs

A direct output is also available on all but the last 8 channels with
individual pre/post fader switching situated in the EQ section. This allows
LX7ii’s direct outputs to be equally useful for effects send applications or
multitrack tape feeds.

EQ Section

LX7ii’s new GB30, 4 band equaliser section is based on that used in the
high-end MH Series. Both the HF and LF shelving sections have steeper
slopes than usual which substantially reduces mid frequency harshness in
the HF band and muddiness in the LF. This increase in “cleanliness” of
response is further enhanced by an element of undershoot and overshoot
in the boost/cut response. It has two swept mid frequencies carefully
selected for optimum control during live performances. All bands provide
15dB of cut or boost. The Low frequency equaliser response shelves at
80Hz. The swept Lo Mid control operates between 80Hz and 1.9kHz. The
swept Hi Mid control operates at frequencies between 550Hz and 13kHz.
The fixed High frequency equaliser response shelves at 13kHz.

EQ Switch

The EQ section can be bypassed using the EQ switch, allowing comparison
of treated and untreated sounds without having to reset controls.

Auxiliary Sends

6 flexible auxiliary sends allow the choice of either monitor or effects
orientated mixes. Auxes 1-4 are normally post-fader, post-EQ but can be
switched in pairs from each channel to be pre-fader, post-EQ. Auxes 5 and
6 are always post-fader, post-EQ. In this way a maximum of 4 pre-fader
foldback mixes or 6 post-fader effects sends are possible.

Level Control and Routing

Each input channel can be routed to Mix, the separate Centre (Mono) bus,
and/or any of the 4 Groups in pairs.

Pan Control

Turning the pan control full left or right enables odd or even groups or the
left or right Mix bus to be accessed individually.

Solo/PFL

Each channel can be soloed pre-fader, post-EQ to check gain levels.

PFL LED

The PFL indicator LED also doubles as a PEAK indicator, illuminating 4dB
before clipping occurs to make the maximum headroom available.

100mm Fader

Professional-grade 100mm faders provide accurate, consistent control of
audio levels and have superb cut-off performance.

STEREO INPUT SECTION

Two stereo inputs allow stereo sources such as CD players,
keyboards or samplers to be connected. Alternatively, they
may be used as sophisticated effects returns.

Connections

2 balanced pairs of line inputs allow the stereo inputs to be
accessed. Plugging in the left jack only will feed a mono
source to both paths.

Input Gain control

A rotary control provides 22dBu of gain range to boost even
the weakest line-level signals.

EQ Section

The two band High and Low frequency EQ sections provide
15dB of boost or cut at 12kHz and 80Hz respectively.

Auxiliary Control

The stereo inputs have access to either Auxes 1 & 2 or 3 & 4, by toggling
the “3-4” switch.

Solo/PFL

Inputs can be soloed pre-fader, post-EQ and routed direct to Mix, or to the
Group immediately below each input strip. A rotary control governs signal
level.

NEW GB30 MIC PREAMP AND EQ

Soundcraft founder Graham

Blyth explains the development

of his GB30 designs:

GB30 MIC PREAMP

“It is particularly important in

live applications to have a mic

preamp that has a well

controlled overload response.

Soundcraft founder Graham Blyth enjoys his other passion of classical organist in his own recital hall.

Many preamp designs achieve excellent THD figures by wrapping tons of negative

feedback around the front end. Unfortunately, these topologies tend to behave

badly under overload conditions, creating an untidy and muddy sound.”

“The new preamp in the LX7ii achieves excellent performance figures by using local

linearisation techniques rather than global feedback, together with a wide

frequency response and excellent phase linearity. All these factors result in an

exemplary preamp for all applications.”