Soundcraft NOTEPAD 102, NOTEPAD 124, NOTEPAD 124 FX USER GUIDE

USER GUIDE

Soundcraft Notepad User Guide

1

[e-mail]

This equipment complies
with the EMC Directive
2004/108/EC and LVD
2006/95/EC

IMPORTANT

Please read this manual carefully before using

your mixer for the rst time.

© Harman International Industries Ltd. 2009
All rights reserved
Parts of the design of this product may be protected by worldwide patents.
Part No. BD10.534000 Issue 1109

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

2

Tel: [phone]
Fax: [phone]
http://www.soundcraft.com

Soundcraft Notepad User Guide

Contents

IMPORTANT SAFETY INSTRUCTIONS 4
SAFETY SYMBOL GUIDE 5
INTRODUCTION 8
THE 60-SECOND GUIDE 10
WIRING UP 12
BLOCK DIAGRAMS 16
MONO INPUT CHANNELS 18
STEREO INPUT CHANNELS 20
MASTER SECTION 22
FX PROCESSOR OVERVIEW 24
FX OPERATION 25
REVERBS 25
DELAYS 26
MODULATED EFFECTS 26
EFFECTS DATA CHART 27
USING YOUR NOTEPAD 124/124FX CONSOLE 28
MARK-UP SHEETS 30
DIMENSIONS 32
APPLICATIONS 33
TYPICAL CONNECTING LEADS 34
TYPICAL SPECIFICATIONS 36
WARRANTY 37
GLOSSARY 38

Soundcraft Notepad User Guide

3

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 ampliers) 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 specied by the manufacturer.

Use only with the cart, stand, tripod, bracket or table specied 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.

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.

4

Soundcraft Notepad User Guide

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 >= 32 Ohms.

Soundcraft Notepad User Guide

5

Refer all servicing to qualied 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 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.

Batteries (battery pack or batteries installed) should not be exposed
to excessive heat such as sunshine, re or the like.

Ventilation should not be impeded by covering the ventilation
openings with items such as newspapers, table cloths, curtains etc.

The Soundcraft Notepad mixer must only be connected through the
AC power adapter supplied, which must have one of the following
part numbers:

Notepad AC Adaptor UK C089.202100
Notepad AC Adaptor EU C089.202101
Notepad AC Adaptor US C089.202102
Notepad AC Adaptor JP C089.202103
Notepad AC Adaptor AZ C089.202104

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.

6

Soundcraft Notepad User Guide

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 power
supply unit.

Soundcraft Notepad User Guide

7

INTRODUCTION

Thank you for purchasing a Soundcraft Notepad mixer. The Notepad range is a
compact 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 Notepad arrived forms part of the product and should
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 over 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 Notepad is designed to be as easy to use as possible. We have
spent years researching the most efcient 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 efciency.

The sonic qualities of our products are exemplary - some of the same circuits
which are used on our most expensive consoles used on International tours are
employed in the Notepad, 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 Notepad 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 Notepad 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.

8

Soundcraft Notepad User Guide

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 Notepad User Guide

9

THE 60-SECOND GUIDE (NOTEPAD 124FX shown)

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 console.

1

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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 GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal.
4 PEAK LED This is used to indicate that the signal is close to distorting (clipping) on a specic

channel.

5 EQ STAGE Adjust these controls to change the signal tone (the character of the signal).
6 HPF The high-pass lter reduces the level of bass frequencies only. Use this in live PA

situations to reduce stage rumble or ‘popping’ from mics.

7 FX SEND /AUX SEND Adjust this control to change the level of the signal to the FX processor (Notepad

124FX) or an artist’s monitors (headphones/in-ear/stage monitors, Notepad 124).

8 PAN or BAL CONTROL Use the PAN control to position the signal within the stereo eld. On Stereo inputs,

BAL adjusts the balance of the stereo signal within the mix.

9 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus outputs.
10 +4/-10 SWITCH Used to set the input sensitivity of the stereo input channels (not Notepad 102)
11 MIX OUTPUTS (¼” Jack) Connect these to your analogue recording device, or to your amplication system.
12 MASTER FADER This fader controls the overall level of the mix outputs.

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Soundcraft Notepad User Guide

13 MAIN METERS These show the level of the mix outputs. This signal is replaced by the FX or 2-Track

return signals depending upon the settings of the 2-Track and FX switches.

14 MONITOR OUTPUTS These are used to feed your monitoring system. This can be directly connected to
(¼” Jack) powered monitors, or indirectly via an amplier to standard monitors.
15 MONITOR/PHONES CONTROL This controls the level of the signal sent to your monitoring system and signal sent

to the headphones jack socket.

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

32 ohms or greater.

17 FX SEND/AUX OUTPUT This output can be used to send the channel signal to an artist’s monitors
(¼” Jack) (headphones/in-ear/stage monitors). or external FX processor).
18 STEREO INPUTS These inputs can be used to connect line level stereo inputs from keyboards, sound
(¼” Jack, and RCA on modules, samplers, computer based audio cards etc. The Notepad 102 has RCA
Notepad 102) Phono sockets on inputs 7&8 and 9&10, set to -10dBV.
19 2-TRACK INPUTS
20 2-TRACK CONTROLS Use these to control the 2 Track signal. The TO MON switch sends the signal to the

21 RECORD OUTPUTS You can connect these to the inputs of your recording device.
(RCA Phono)
22 PHANTOM POWER Press this to switch the phantom power (48V) on for condenser microphones.

WARNING: Do Not apply Phantom Power before connecting a

(RCA Phono)

You can connect the playback from your recording device or CD/MP3 player here.

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

microphone.

Notepad 124FX only

23 FX TO MAIN The rotary control regulates the signal level being fed from the FX processor to the

MAIN MIX L and R outputs.

24 FX TO MON The FX TO MON switch routes the post-FX signal to the monitor/headphones outputs.

25 FX PROCESSOR See the information starting on page 24.

Notepad 102 and 124 only

26 AUX SEND The rotary control regulates the signal level being

27 AUX TO MON The AUX TO MON switch routes the AUX signal to the

h

fed from the AUX bus to the AUX OUTPUT socket (and
MON output when selected).

Monitor/Headphone outputs.

j

Soundcraft Notepad User Guide

11

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 15dB 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 loud surprise!

Line Input

Accepts 3-pole 6.35mm (1/4”) 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.

Stereo Inputs 5-6. 7-8, 9-10 and 11-12 (Notepad 124
Stereo inputs 3-4 and 5-6 (Notepad 102)

These accept 3-pole 6.35mm (1/4”) 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 keep cable lengths as short as
possible to minimise interference pick-up on the cable, but 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.

12

Soundcraft Notepad User Guide

Stereo Inputs 7-8, 9-10 (Notepad 102)

These accept unbalanced RCA Phono plugs and are optimised for -10dBV
operation from line sources such as a CD or MP3 player. They can accept
signals from balanced sources by using an appropriate cable, see pages
34/35 for cable wiring details.

Mix Outputs

The MIX outputs are on 1/4” TRS jacks, wired as shown, and incorporate bal­anced line drives, allowing long cable runs to balanced ampliers and other
equipment.

Aux/FX SEND Outputs

The Aux/FX Bus outputs are on 3-pole 6.35mm (1/4”) jack sockets, wired as
shown on the left, and are impedance balanced.

MONITOR Outputs

The MONITOR outputs are on 3-pole 6.35mm (1/4”) jack sockets, wired as
shown on the left, and are impedance balanced.

Headphones

The PHONES output is a 3-pole 6.35mm (1/4”) jack, wired as a stereo output
as shown, ideally for headphones of 32Ω or greater. 8Ω headphones are not
recommended.

We recommend you check out the range of headphones available from AKG,
at www.akg.com

Soundcraft Notepad User Guide

13

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 signicantly 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.

14

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.

Soundcraft Notepad User Guide

Warning!

Under NO circumstances must the AC power mains earth be disconnected

from the mains lead.

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 14).

• 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 specic 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.

• 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.

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: [e-mail]) at the
factory in Potters Bar, Hertfordshire: Telephone [phone].
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 difculty please contact Customer Services Department
(e-mail: [e-mail])

Soundcraft Notepad User Guide

15

BLOCK DIAGRAM - NOTEPAD 124FX

REC OUT R

REC OUT L

2T RTN L

2T RTN R

PHONES

MON R

MON L

MAIN L

-

MAIN R

FX SEND

-

L METER

R METER

MAIN FADER

2T TO MON

MON

FX TO

MAIN MIX

FXFX

MAIN R

MAIN L

PAN

FX

FX MIX

FX TO MAIN

L

R

2-TRK TO MAIN

PAN (BALANACE)

FX

MON/PHONES

MAIN R

MAIN L

LEVEL

PEAK

LOW

MID

EQ

HIGH

HIGH PASS

100Hz HPF

Global +48V

+48V

3

1 2

MIC IN

GAIN

LINE IN

DIGITAL FX PROCESSOR

MONO CHANNELS 1~4

PROGRAM

STEREO CHANNELS 5 -12

LEVEL

+4/-10

L(5/7/9/11)

LEVEL

R(6/8/10/12)

NOTEPAD 124FX BLOCK DIAGRAM

16

Soundcraft Notepad User Guide

BLOCK DIAGRAM - NOTEPAD 102/124

NOTEPAD 102/124 BLOCK DIAGRAM

REC OUT R

REC OUT L

2T RTN L

2T RTN R

PHONES

MON R

MON L

MAIN L

-

AUX

MAIN R

MAIN L

PAN

LEVEL

MAIN R

AUX SEND

-

L METER

R METER

MAIN FADER

AUX MASTER

MAIN MIX

AUX

AUX MIX

2-TRK TO MAIN

MON

AUX TO

BALANCE

2T TO MON

AUX

AUX

MAIN R

MAIN L

BALANCE

MON/PHONES

AUX

PEAK

LOW

MID

EQ

HIGH

HIGH PASS

100Hz HPF

Global +48V

+48V

1 2

MIC IN

GAIN

3

LINE IN

MONO CHANNELS 1~4 (1-2 on Notepad 102)

STEREO CHANNELS 5 -12 Notepad 124 (3-6 on Notepad 102)

LEVEL

+4/-10

(+4 on

L(5/7/9/11)

LEVEL

Notepad

102)

R(6/8/10/12)

STEREO CHANNELS 7 -10 Notepad 102

LEVEL

-10dBV on

Notepad

L(7/9)

LEVEL

102)

R(8/10)

Soundcraft Notepad User Guide

17

1

2

MONO INPUT CHANNELS

1 Mic Input

The MIC input accepts XLR-type connectors and is designed to suit a wide range of
BALANCED or UNBALANCED signals. Professional dynamic, condenser or ribbon
mics are best because these will be LOW IMPEDANCE. You can use low-cost HIGH
IMPEDANCE mics, but the level of background noise will be higher. If you turn the
PHANTOM POWER on (right-hand side of the mixer) the socket provides a suitable
powering voltage for professional condenser mics.

ONLY connect condenser microphones with the +48V powering OFF, and

ONLY turn the +48V powering on or off with all output faders DOWN, to

prevent damage to the mixer or external devices.

3

4

5

6

TAKE CARE when using unbalanced sources, which may be damaged by the
phantom power voltage on pins 2 & 3 of the XLR connector. Unplug any mics if
you want to use the LINE Input.

The input level is set using the GAIN knob.

2 Line Input

Accepts 3-pole 6.35mm (1/4”) jacks. Use this input for sources other than mics,
such as keyboards, drum machines, synths, tape machines or DI’d guitars. The
input is BALANCED for low noise and top quality from professional equipment, but
you can use UNBALANCED sources by wiring up the jacks as shown in the ‘wiring
up’ section, although you should then keep cable lengths as short as possible.
Unplug anything in the MIC input if you want to use this socket. Set the input level
using the GAIN knob.

3 Gain

This knob sets how much of the source signal is sent to the rest of the mixer. Too
high, and the signal will distort as it overloads the channel. Too low, and the level
of any background hiss will be more noticeable and you may not be able to get
enough signal level to the output of the mixer.

7

8

18

Note that some sound equipment, particularly that intended for domestic use,
operates at a lower level (-10dBV) than professional equipment and will therefore
need a higher gain setting to give the same output level.

4 Equaliser

The Equaliser (EQ) allows ne manipulation of the sound, particularly to improve
the sound in live PA applications where the original signal is often far from ideal
and where slight boosting or cutting of particular voice frequencies can really
make a difference to clarity. There are three sections giving the sort of control usu-

9

ally only found on much larger mixers. The EQ knobs can have a dramatic effect,
so use them sparingly and listen carefully as you change any settings so that you
get to know how they affect the sound.

Soundcraft Notepad User Guide

1

2

HF EQ

Turn to the right to boost high (treble) frequencies above 12kHz by up to 15dB,
adding crispness to cymbals, vocals and electronic instruments. Turn to the left to
cut by up to 15dB, reducing hiss or excessive sibilance which can occur with certain
types of microphone. Set the knob in the centre-detented position when not
required.

MID EQ

Turn to the right to boost mid frequencies around 1kHz by up to 15dB This allows
some truly creative improvement of the signal in live situations, because this mid
band covers the range of most vocals. Set the knob to the centre-detented position
when not required.

3

4

5

6

LF EQ

Turn to the right to boost low (bass) frequencies below 80Hz by up to 15dB, adding
warmth to vocals or extra punch to synths, guitars and drums. Turn to the left to cut
low frequencies by up to 15dB for reducing hum, stage rumble or to improve a mushy
sound. Set the knob to the centre-detented position when not required.

5 HIGH-PASS FILTER

Pressing this switch activates the high-pass lter. This reduces the level of bass
frequencies only. Use this in live PA situations to reduce stage rumble or ‘popping’
from mics.

6 AUX SEND (Notepad 102 and 124)

This is used to set up a separate mix for FOLDBACK or MONITORS and is mixed to the
respective Aux Output. The send is pre-fade, so the output level will be independent
of the CHANNEL LEVEL control setting.

6 FX SEND (Notepad 124FX)

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. The FX Send is post-fade.

7

8

7 PAN

This control sets the amount of the channel signal feeding the Left and Right MIX
buses, allowing you to move the source smoothly across the stereo image. When
the control is turned fully left or right you are able to route the signal at unity gain to
either left or right outputs individually.

8 INPUT CHANNEL LEVEL

This control allows precise balancing of the various source signals being mixed to the
Master Section. You get most control when the input GAIN is set up correctly, giving
full travel on the control.

9

9 PEAK LED

This LED will light when the signal level approaches clipping at either of two
monitored points: PRE-EQ and POST-EQ.

Soundcraft Notepad User Guide

19

1

2
3

4

STEREO INPUT CHANNELS (Notepad 124FX shown)

There are four stereo inputs available.

1 STEREO INPUTS

These inputs accept 3-pole 6.35mm (1/4”) jacks.* Use these inputs for sources
such as keyboards, drum machines, synths, tape machines or processing units. The
inputs are BALANCED for low noise and top quality from professional equipment,
but you can use UNBALANCED sources by wiring up the jacks as shown in the
‘Wiring Up’ section earlier in this manual, although you should then keep cable
lengths as short as possible. Mono sources may be used by plugging into the left
jack only.

2 AUX/FX SEND (FX send shown, Notepad 124FX)

This is used to set up a separate mix for FOLDBACK, EFFECTS or RECORDING, and
is mixed to the Aux or FX Send Output at the rear of the mixer. For the Notepad
124FX, it is desired that for the signal fades up and down with the fader (this is
called POST-FADE), but for Foldback or Monitor feeds using the Notepad 102 and
Notepad 124, it is important for the send to be independent of the fader (this is
called PRE-FADE).

5

3 +4/-10 SWITCH (Notepad 124/124FX only)

This switch allows you to change the input sensitivity of the stereo input. Most
consumer-type equipment such as CD players has an output of -10dBv so this
switch setting should be used. For professional equipment which has higher level
outputs, the +4 setting should be used. If in doubt, always start with the +4 setting
so that you do not overload the input.

4 BAL (BALANCE)

This control sets the amount of the channel signal feeding the Left and Right MIX
buses, allowing you to balance the source in the stereo image. When the control is
turned fully right or left you feed only that side of the signal to the mix. Unity gain is
provided by the control in the centre-detented position.

5 INPUT CHANNEL LEVEL

This control allows precise balancing of the various source signals being mixed to
the Master Section.

* The Notepad 102 features a combination of 3-pole jacks and RCA Phono con­nectors. The jack inputs are optimised for professional +4dBu levels, while the RCA
Phono inputs are optimised for -10dBV level equipment such as CD or MP3 players
and computer sound cards.

20

Soundcraft Notepad User Guide

Notepad 102 Stereo Inputs

Soundcraft Notepad User Guide

21

MASTER SECTION (Notepad 124FX shown)

q

1 POWER INDICATOR

This LED lights to show when power is connected to the console, and
the power switch is ON.

2 PHANTOM POWER

Many professional condenser mics need PHANTOM POWER, which is
a method of sending a powering voltage down the same wires as the
mic signal. Press the switch to enable the +48V power to all of the
MIC inputs. The adjacent LED illuminates when the power is active.

WARNING: TAKE CARE when using unbalanced mics which
may be damaged by the phantom power voltage. Balanced
dynamic mics can normally be used with phantom power
switched on (contact your microphone manufacturer for
guidance).

Mics should always be plugged in, and all output faders set to
minimum before switching the Phantom Power ON to avoid damage to
external equipment.

e

78

0

3

2
1

9

r

2-TRACK

3 INPUT FROM 2-TRACK

These two RCA phono sockets are unbalanced Left and Right line-level
inputs, used for connecting a playback device such as a CD player
or MP3 player.

4 ROUTE 2-TRACK TO MAIN

Press this switch to route the 2 Track input signals to the MIX Left/
Right signals.

5 ROUTE 2-TRACK TO MON

Press this switch to route the 2 Track input signals to the
MONITORING outputs.

MONITOR OUT

6 MONITOR OUTPUT LEVEL

This control sets the signal level fed to the MONITOR LEFT & RIGHT
outputs and the Headphone outputs.

4

5

w

6

22

Soundcraft Notepad User Guide

7 MONITOR OUTPUTS

The Monitor Outputs are on 3-pole 6.35mm (1/4”) jacks and are
impedance balanced.

8 HEADPHONES SOCKET

The PHONES output is a 3-pole 6.35mm (1/4”) jack, wired as a stereo
output, ideally for headphones of 32Ω or greater. 8Ω headphones
are not recommended.

9 METERS

The three-colour peak reading BARGRAPH METERS normally show
the level of the signal(s) selected by the monitor source-select
switches, giving you a constant warning of excessive peaks in the
signal(s) which might cause overloading. Aim to keep the signal
within the amber segments at peak levels for best performance.

Similarly, if the output level is too low and hardly registering at all on
the meters, the level of background noise may become signicant.
Take care to set up the input levels for best performance.

10 RECORD OUTPUTS

These two RCA outputs carry a copy of the MIX L and MIX R signals.
They allow the use of a recording device, e.g. PC, cassette tape recorder,
hard-disk recorder etc.

11 AUX (Notepad 124)/FX BUS (Notepad 124FX) OUTPUT

This output is on a 3-pole 6.35mm (1/4”) jack and is impedance
balanced.

MIX OUTPUTS

12 MIX FADER

The MIX FADER sets the nal level of the Mix outputs. This should
normally be set close to the ‘0’ mark if the input GAIN settings have
been correctly set, to give maximum travel on the fader for smoothest
control.

13 MIX OUTPUTS

The Mix LEFT and RIGHT outputs are sent from the 1/4” jack sockets
as balanced signals.

FX PROCESSOR - NOTEPAD 124FX Only

For detailed instructions on using the FX Processor see the section
which starts on the next page.

14 FX TO MAIN

This control regulates the signal level being fed from the FX processor to the MAIN mix L and R outputs.

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23

FX PROCESSOR OVERVIEW (NOTEPAD 124FX ONLY)

The effects within the console have been designed with both live sound reinforcement and home recording
in mind. The effects processor offers increased versatility and high quality effects, all instantly accessible
via the extremely intuitive front panel controls. The effects processor has more than 100 programs.

1. Digital Effect Display

1

2

3

This 2-digital numeric display shows the program number that is currently
applied. Rotating the Program control will scroll through different program
numbers, pressing the PROGRAM control (3) will select the effect. The display will
revert back to the original program if a new program is not selected within fteen
seconds.

For a list of available effects, please refer to the Effects Data Chart Table.

4

2. Sig and Clip Indicators

The Sig LED will light up when signal is sent to the effects processor, and the Clip
LED will light up shortly before excessive signals are dynamically clipped. If the

5

3. Program Control

This control is used to scroll through the various effects. Pushing this control will apply the new effect.

Tap Delay (selections A0 to A8)

When a tap-delay effect is selected, pressing this control will allow users to select the tap-delay time.
By pushing the button several times, the effects processor interprets the time between last two pushes and
remembers this as the delay time, until the button is pushed again (this is kept, even after the power is
turned off). When the tap delay effect is selected, a small LED will ash within the display window to mark
the tempo.

4. EFX ‘to Main’ Control

This will adjust the level of the FX signal that will be sent to the Main Mix left and right outputs.

5. EFX ‘to MON’ Button

This button is pushed to allow the signal from the Digital Effect processor to be sent to the Monitoring
outputs for monitoring purposes.

Clip LED lights up too often, to turn down one or all FX sends on input channels.

24

Soundcraft Notepad User Guide

FX OPERATION

Select and Load a Program

Turn the PROGRAM control to choose a program and press down to select the effect.

Set Audio Levels

1. Set the gain on the input channel appropriate to the source (vocal microphone, guitar, keyboard, etc.).

2. Set the FX send on the input channel to the 12 o’clock position.

3. Set the FX TO MAIN level control to the 12 o’clock position.

4. Provide source signal (by speaking or singing into the microphone, playing guitar, keyboard, etc.) on the
selected channel.

5. Turn up the FX Send level on the channel until the Red CLIP LED in the FX Panel lights only occasionally.
If the red Input LED stays lit, too much signal is being sent to the effect processor; reduce the FX Send on
the input channel.

7. To increase or decrease the amount of effect on the signal, adjust the FX Send level on the channel that
you want affected.

REVERBS

Reverberation (or “reverb” for short) is the complex effect created by the way we perceive sound in an
enclosed space. When sound waves encounter an object or boundary, they don’t just stop. Some of the
sound is absorbed by the object, but most of the sound is reected or is diffused. In an enclosed space,
reverb is dependent on many features of that space, including the size, shape and the type of materials
that line the walls. Even with closed eyes, a listener can easily tell the difference between a closet, a locker
room and a large auditorium. Reverb is a natural component of the acoustic experience, and most people
feel that something is missing without it.

Room Reverb

Room produces an excellent simulation of a very small room which is useful for dialog and voiceover ap­plications. Room is also practical when used judiciously for fattening up high energy signals like electric
guitar amp recordings. Historically, recording studio chambers were oddly shaped rooms with a
loudspeaker and set of microphones to collect ambience in various parts of the room.

Hall Reverb

A Hall effect is designed to emulate the acoustics of a concert hall – a space large enough to contain an
orchestra and an audience. Because of the size and characteristics, halls are the most natural-sounding
reverbs, designed to remain ‘behind’ the direct sound – adding ambience and space, but leaving the
source unchanged. This effect has a relatively low initial echo density which builds up gradually over time.

Plate Reverb

A Plate reverb is a large, thin sheet of metal suspended upright under tension on springs. Transducers at­tached to the plate transmit a signal that makes the plate vibrate, causing sounds to appear to be
occurring in a large, open space. The Plates in the FX processor model the sound of metal plates with high
initial diffusion and a relatively bright, colored sound. Plate reverbs are designed to be heard as part of the

Soundcraft Notepad User Guide

25

music, mellowing and thickening the initial sound. Plate reverbs are often used to enhance popular music,
particularly percussion.

Reverse Reverb

Reverse reverb works in the opposite fashion from normal reverb. Whereas a normal reverb has the loud­est series of reections heard rst that then become quieter over time, the Reverse reverb has the softest
reections (essentially the tail of the reverb) heard rst, and then grows louder over time until they abruptly
cut off.

Gated Reverb

Gated reverb is created by feeding a reverb, such as a metal plate, through a gate device. The Gated reverb
provides a fairly constant sound with no decay until the reverb is cut off abruptly. This program works well
on percussion — particularly on snare and toms; be sure to experiment with other sound sources as well.

DELAYS

Delays repeat a sound a short time after it rst occurs. Delay becomes echo when the output is fed back
into the input (feedback). This turns a single repeat into a series of repeats, each a little softer than the
last.

Ping-Pong Delay

This delay effect pans the delay repeats from left to right, while the input signal remains at its original
(center) position.

MODULATED EFFECTS

Chorus

Chorus creates a lush, full sound by combining two or more signals together where one is unaffected and
the other signals vary in pitch very slightly over time. Chorus is commonly used to fatten up tracks and to
add body to guitars without coloring the original tone. Chorus can also be used with discretion to thicken a
vocal track.

Flanger

This effect was originally created by simultaneously recording and playing back two identical programs on
two tape recorders, then using hand pressure against the ange of the tape reels to slow down rst one
machine, then the other. The result was a series of changing phase cancellations and reinforcements, with
characteristic swishing, tunneling, and fading sounds.

Phaser

The Phaser automatically moves frequency notches up and down the spectrum of the signal by means of a
low frequency oscillator (LFO), creating an oscillating ‘comb-lter’ type effect. This effect is very userful on
keyboards (especially pad presets) and guitars.

Tremelo

Tremolo creates rhythmic changes in signal amplitude. Tremolo affects both channel’s amplitude
simultaneously.

26

Soundcraft Notepad User Guide

EFFECTS DATA CHART

NO PROGRAM NAME PARAMETER SETTING

ROOM REV-TIME EARLY LEVEL
00 COMPACT ROOM 1 0.05 100
01 COMPACT ROOM 2 0.4 0
02 SMALL ROOM 1 0.45 100
03 SMALL ROOM 2 0.6 90
04 MID ROOM 1 0.9 100
05 MID ROOM 2 1 50
06 BIG ROOM 1 1.2 100
07 TUNNEL 3.85 100
HALL REV-TIME EARLY LEVEL
08 JAZZ CLUB 0.9 90
09 SMALL HALL 1 1.5 72
10 SMALL HALL 2 1.75 85
11 SPRING HALL 1.9 98
12 MID HALL 1 2.3 100
13 MID HALL 2 2.45 80
14 RECITAL HALL 2.7 96
15 BIG HALL 2 3.3 88
PLATE REV-TIME HPF
16 SMALL PLATE 0.9 0
17 TAIL PLATE 1.2 20
18 MID PLATE 1 1.3 0
19 MID PLATE 2 2.2 0
20 REVERSE PLATE 2.25 42
21 LONG PLATE 1 2.6 80
22 LONG PLATE 2 3 625
23 LONG PLATE 3 4.2 0
DELAY-1(stereo) DELAY AVERG. R-LEVEL
24 SHORT DELAY 1 0.07 60
25 SHORT DELAY 2 0.14 60
26 PING PONG DELAY 0.11 55
27 MID DELAY 1 0.15 55
28 MID DELAY 1 0.3 60
29 SHORT DELAY 1 (MONO) 0.06 100
30 MID DELAY 1 (MONO) 0.13 100
31 LONG DELAY 1 (MONO) 0.18 100
CHORUS LFO DEPTH
32 SOFT CHORUS 0.2 56
33 SOFT CHORUS 2 0.5 70
34 SOFT CHORUS 3 0.8 75
35 WARM CHORUS 1.8 85
36 WARMER CHORUS 1 3.2 80
37 WARMER CHORUS 2 5.2 45
38 WARMER CHORUS 3 7.8 52
39 HEAVY CHORUS 9.6 48
FLANGER LFO DEPTH
40 CLASSIC FLANGER 1 0.1 44
41 CLASSIC FLANGER 2 0.3 63
42 GENTLE FLANGER 0.6 45
43 WARM FLANGER 1.6 60
44 MODERN FLANGER 1 2 85
45 MODERN FLANGER 2 2.8 80
46 DEEP FLANGER 1 4.6 75
47 DEEP FLANGER 2 10 60
PHASER LFO DELAY
48 CLASSIC PHASER 1 0.1 3.6
49 CLASSIC PHASER 2 0.4 2.6
50 COOL PHASER 1.4 0.7
51 WARM PHASER 3.2 0.3
52 HEAVY PHASER 1 5 1.2
53 HEAVY PHASER 2 6 2.8
54 WILD PHASER 1 7.4 0.8
55 WILD PHASER 2 9.6 4.8

NO PROGRAM NAME PARAMETER SETTING
SPEED PAN TYPE

56 SLOW PAN 0.1 R-->L
57 SLOW PAN 1 0.1 R<-->L
58 SLOW PAN 2 0.4 R-->L
59 MID SHIFT 0.8 R<-->L
60 MID SHIFT 1 1.2 L-->R
61 MID SHIFT 2 1.8 L-->R
62 MID SHIFT 3 1.8 R-->L
63 FAST MOVE 3.4 R<-->L
TREMOLO SPEED MODE-TYPE
64 LAZY TREMOLO 0.8 TRG
65 VINTAGE TREMOLO 1.5 TRG
66 WARM TREMOLO 2.8 TRG
67 WARM TREMOLO 1 4.6 TRG
68 HOT TREMOLO 6.8 TRG
69 HOT TREMOLO 1 9.6 TRG
70 CRAZY TREMOLO 1 15 TRG
71 CRAZY TREMOLO 2 20 TRG
DELAY+REV REV DELAY-1
72 DELAY+REV 1 1 1
73 DELAY+REV 2 2 2
74 DELAY+REV 3 3 3
75 DELAY+REV 4 4 4
76 DELAY+REV 5 5 5
77 DELAY+REV 6 6 6
78 DELAY+REV 7 7 7
79 DELAY+REV 8 8 8
CHORUS+REV REV CHORUS
80 CHORUS+REV 1 1 1
81 CHORUS+REV 2 2 2
82 CHORUS+REV 3 3 3
83 CHORUS+REV 4 4 4
84 CHORUS+REV 5 5 5
85 CHORUS+REV 6 6 6
86 CHORUS+REV 7 7 7
87 CHORUS+REV 8 8 8
FLANGER+REV REV FLANGER
88 FLANGER+REV 1 1 1
89 FLANGER+REV 2 2 2
90 FLANGER+REV 3 3 3
91 FLANGER+REV 4 4 4
92 FLANGER+REV 5 5 5
93 FLANGER+REV 6 6 6
94 FLANGER+REV 7 7 7
95 FLANGER+REV 8 8 8
GATED-REV RELEASE REV
96 GATED-REV-1 9 0.02 TAIL PLATE
97 GATED-REV-2 10 0.2 TAIL PLATE
98 GATED-REV-1 9 0.02 REVERSE PLATE
99 GATED-REV-2 10 0.5 REVERSE PLATE
TAP DELAY FB LEVEL RANGE
A0 TAP DELAY 0 100mS - 2.7S
A1 TAP DELAY 10 100mS - 2.7S
A2 TAP DELAY 20 100mS - 2.7S
A3 TAP DELAY 30 100mS - 2.7S
A4 TAP DELAY 40 100mS - 2.7S
A5 TAP DELAY 50 100mS - 2.7S
A6 TAP DELAY 60 100mS - 2.7S
A7 TAP DELAY 70 100mS - 2.7S
A8 TAP DELAY 80 100mS - 2.7S
TEST TONE FREQUENCY SHAPE
T0 LOW FREQUENCY 100Hz SINEWAVE
T1 MID FREQUENCY 1kHz SINEWAVE
T2 HIGH FREQUENCY 10kHz SINEWAVE
PN PINK NOISE 20Hz~20kHz

Soundcraft Notepad User Guide

27

USING YOUR NOTEPAD CONSOLE

The nal output from your sound system can only ever be as good as
the weakest link in the chain, and especially important is the
quality of the source signal because this is the starting point of the
chain. Just as you need to become familiar with the control functions
of your mixer, so you must recognise the importance of correct choice
of inputs, microphone placement and input channel settings. However,
no amount of careful setting up can take account of the spontaneity
and unpredictability of live performance. The mixer must be set up to
provide “spare” control range to compensate for changing microphone
position and the absorption effect of a large audience (different
acoustic characteristics from soundcheck to show).

MICROPHONE PLACEMENT

Careful microphone placement and the choice of a suitable type of
microphone for the job is one of the essentials of successful sound
reinforcement. The diagrams on the left show the different pick-up
patterns for the most common types of microphone. Cardioid micro­phones are most sensitive to sound coming from in front, and
hypercardioid microphones offer even greater directivity, with a small
amount of pickup behind the microphone. These types are ideal for
recording vocalists or instruments, where rejection of unwanted sounds
and elimination of feedback is important. The aim should be to place
the microphone as close as physically possible to the source, to cut
out unwanted surrounding sounds, allow a lower gain setting on the
mixer and avoid feedback. Also a well chosen and well placed
microphone should not need any appreciable equalisation.
There are no exact rules - let your ears be the judge. In the end, the
position that gives the desired effect is the correct position!
For more tips, visit www.akg.com.

28

INITIAL SETUP

Once you have connected up your system (see the sections on connec­tion and wiring earlier in this manual for guidance) you are ready to set
initial positions for the controls on your mixer.
Set up individual input channel as follows:

• Connect your sources (microphone, keyboard etc.) to the required
inputs.

WARNING: Phantom powered mics should be connected before the

+48V is switched on. Ensure the PA system is OFF when switching
phantom power on or off.

• Set Master faders at 0, input faders at 0, and set power amplier
levels to about 70%.

• Adjust the input gain until the PK LED lights occasionally on the
loudest sections. This allows sufcient headroom to accommodate
peaks and establishes the maximum level for normal operation
(but see note below).

Soundcraft Notepad User Guide

• Repeat this procedure on other channels as required. As more channels
are added to the mix, the meters may move into the red section. Adjust
the overall level using the Master Faders if necessary.

• Listen carefully for the characteristic sound of “feedback”. If you cannot
achieve satisfactory input level setting without feedback, check micro­phone and speaker placement and repeat the exercise. If feedback
persists, it may be necessary to use a Graphic Equaliser to reduce the
system response at particular resonant frequencies.

Note:

The initial settings should only be regarded as a starting point for your mix. It is
important to remember that many factors affect the sound during a live perform­ance, for instance the size of the audience!

You are now ready to start building the mix and this should be done
progressively, listening carefully for each component in the mix and
watching the meters for any hint of overload. If this occurs, back off the
appropriate Channel Fader slightly until the level is out of the red segments, or
adjust the Master Faders.

Remember that the mixer is a mixer, not an amplier. Increasing the overall level
is the job of the amplier, and if it is impossible to provide adequate level, it is
probable that the amplier is too small for the application. Choose your
amplier carefully, and do not try to compensate for lack of power by using the
mixer to increase output level.

Note:

The level of any source signal in the nal output is affected by many factors,
principally the Input Gain control, Channel Fader and Mix Faders. You should try
to use only as much microphone gain as required to achieve a good balance
between signals, with the faders set as described above. If the input gain is set
too high, the channel fader will need to be pulled down too far in
compensation to leave enough travel for successful mixing and there is a greater
risk of feedback because small fader movements will have a very signicant
effect on output level. Also there will be a chance of distortion as the signal
overloads the channel and causes clipping. If the gain is set too low, you will
not nd enough gain on the faders to bring the signal up to an adequate level,
and backgound hiss will be more noticeable. This is illustrated below:

Soundcraft Notepad User Guide

29

MARK-UP SHEETS
Notepad 124FX

You may freely copy these pages, and use them to record the settings
used for particular applications/gigs.

30

Soundcraft Notepad User Guide

MARK-UP SHEETS
Notepad 124

Soundcraft Notepad User Guide

31

MARK-UP SHEETS
Notepad 102

32

Soundcraft Notepad User Guide

Soundcraft Notepad User Guide

33

DIMENSIONS (Notepad 124 and 124FX)

242mm/9.53”

45mm

1.77”

220mm

8.66”

37mm

1.46”

34

220mm/8.66”

Soundcraft Notepad User Guide

DIMENSIONS (Notepad 102)

215mm/8.5”

45mm

1.77”

220mm

8.66”

37mm

1.46”

Soundcraft Notepad User Guide

220mm/8.66”

35

APPLICATIONS

APPLICATION EXAMPLE - LIVE SOUND REINFORCEMENT

Using Notepad 124 model

36

Soundcraft Notepad User Guide

Soundcraft Notepad User Guide

37

TYPICAL CONNECTING LEADS

38

Soundcraft Notepad User Guide

Soundcraft Notepad User Guide

39

NOTEPAD SERIES TYPICAL SPECIFICATIONS

Frequency Response

Mic / Line Input to any Output ...........................................+1/-1.5dB, 20Hz – 20kHz

T.H.D.

Mic Sensitivity -30dBu, +10dBu @ Mix output, 22Hz-22kHz.......................< 0.005%

@ 1kHz

Noise

Mic Input E.I.N. (maximum gain) ............................………..-128.5dBm (150Ω source)

Aux, Mix and Masters (@ 0dB, at unity)...........................................………< -85dBu

Crosstalk (@ 1kHz)

Channel Faders cut........................................................................................> 87dB

Master Faders cut..........................................................................................>100dB

CMRR

@1kHz..........................................................................................................>90dB

EQ

High Pass Filter........................................................................100Hz @ 12db/Octave

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

MF....................................................................................................1kHz, +/-15dB

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

Q.........................................................................................................................0.7

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

Operating Conditions

Temperature Range..............................................................................5°C to 40°C

Input & Output Levels

Mic Input .............................................................................................+10dBu max

Line Input.............................................................................................+22dBu max

Stereo Input ........................................................................................+20dBu max

Mix Output ..........................................................................................+25dBu max

Headphones (@32Ω) .................................................................................300mW

Input & Output Impedances

Mic Input ...........................................................................................................2kΩ

Line Input ........................................................................................................18kΩ

Stereo Input ..................................................................................................20kΩ

Outputs .........................................................................................................150Ω

E & OE.
Soundcraft reserves the right to change specications without notice. July2009

40

Soundcraft Notepad User Guide

WARRANTY

1 Soundcraft is a trading division of Harman International Industries Ltd .
End User means the person who rst puts the equipment into regular operation.
Dealer means the person other than Soundcraft (if any) from whom the End User purchased the

Equipment, provided such a person is authorised for this purpose by Soundcraft or its accredited
Distributor.

Equipment means the equipment supplied with this manual.

2 If within the period of twelve months from the date of delivery of the Equipment to the End User it

shall prove defective by reason only of faulty materials and/or workmanship to such an extent that
the effectiveness and/or usability thereof is materially affected the Equipment or the defective com­ponent should be returned to the Dealer or to Soundcraft and subject to the following conditions
the Dealer or Soundcraft will repair or replace the defective components. Any components replaced
will become the property of Soundcraft.

3 Any Equipment or component returned will be at the risk of the End User whilst in transit (both to

and from the Dealer or Soundcraft) and postage must be prepaid.

4 This warranty shall only be valid if:
a) the Equipment has been properly installed in accordance with instructions contained in

Soundcraft’s manual; and

b) the End User has notied Soundcraft or the Dealer within 14 days of the defect appearing;

and

c) no persons other than authorised representatives of Soundcraft or the Dealer have effected

any replacement of parts maintenance adjustments or repairs to the Equipment; and

d) the End User has used the Equipment only for such purposes as Soundcraft recommends,

with only such operating supplies as meet Soundcraft’s specications and otherwise in all respects
in accordance with Soundcraft’s recommendations.

5 Defects arising as a result of the following are not covered by this Warranty: faulty or negligent han-

dling, chemical or electro-chemical or electrical inuences, accidental damage, Acts of God, neglect,
deciency in electrical power, air-conditioning or humidity control.

6 The benet of this Warranty may not be assigned by the End User.

7 End Users who are consumers should note their rights under this Warranty are in addition to and do

not affect any other rights to which they may be entitled against the seller of the Equipment.

Soundcraft Notepad User Guide

41

GLOSSARY

AFL After-fade listen: a function that allows the operator to monitor the post-fade signal

in a channel independently of the main mix.

Auxiliary send An output from the console comprising a mix of signals from channels derived inde-

pendently of the main stereo mix.
Balance The relative levels of the left and right channels of a stereo signal.
Balanced A method of audio connection which ‘balances’ the signal between two wires, these

wires also have a screen which carries no signal. Any interference is picked up equally

by the two wires, which results in cancellation of the unwanted signal. In this guide,

the term can refer to various circuit architectures. Connection details are given in

relevant sections.
Clipping The onset of severe distortion in the signal path, usually caused by the peak signal

voltage being limited by the circuit’s power supply voltage.
DAT Digital Audio Tape, a cassette-based digital recording format.
dB (decibel) A ratio of two voltages or signal levels, expressed by the equation dB=20Log10 (V1/

V2). Adding the sufx ‘u’ denotes the ratio is relative to 0.775V RMS.
DI(direct injection) The practice of connecting an electric musical instrument directly to the input of the
DI Box mixing console, rather than to an amplier and loudspeaker which is covered by a

microphone feeding the console.
Equaliser A device that allows the boosting or cutting of selected bands of frequencies in the

signal path.
Fader A linear control providing level adjustment.
Feedback The `howling’ sound caused by bringing a microphone too close to a loudspeaker

driven from its amplied signal.
Foldback A feed sent back to the artistes via loudspeakers or headphones to enable them to

monitor the sounds they are producing.
Frequency response The variation in gain of a device with frequency.
Gain The amount of amplication in level of the signal.
Headroom The available signal range above the nominal level before clipping occurs.
Impedance balancing A technique used on unbalanced outputs to minimise the effect of hum and interfer-

ence when connecting to external balanced inputs.
Insert A break point in the signal path to allow the connection of external devices, for instance

signal processors or other mixers at line level signals. Nominal levels can be anywhere

between 0dBu to +6dBu, usually coming from a low impedance source.
Pan (pot) Abbreviation of ‘panorama’: controls the levels sent to left and right outputs.
Peaking The point at which a signal rises to its maximum instantaneous level, before falling

back down again. It can also describe an equaliser response curve affecting only a

band of frequencies, (like on a graphic equaliser), peaking at the centre of that band.
Peak LED A visual indication of the signal peaking just before the onset of clipping, which will

distort the signal.
PFL Pre-fade listen: a function that allows the operator to monitor the pre-fade signal in

a channel independently of the main mix.
Phase A term used to describe the relationship of two audio signals. In-phase signals reinforce

each other, out-of-phase signals result in cancellation. Phase is a measurement of

relative displacement between two waves of identical frequency.
Polarity A term used to describe the orientation of the positive and negative poles of an audio

connection. Normally connections are made with positive to positive, negative to nega-

tive. If this is reversed, the result will be out-of-phase signals (see ‘phase’ above).
Post-fade The point in the signal path after a fader and therefore affected by the fader position.

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Soundcraft Notepad User Guide

Pre-fade The point in the signal path before a fader, and therefore unaffected by the fader

position.
Rolloff A fall in gain at the extremes of the frequency response.
Shelving An equaliser response affecting all frequencies above or below the break frequency

i.e. a highpass or lowpass derived response.
Spill Acoustic interference from other sources.
Transient A momentary rise in the signal level.
Unbalanced A method of audio connection which uses a single wire and the cable screen as the

signal return. This method does not provide the noise immunity of a balanced input

(see above).
+48V The phantom power supply, available at the channel mic inputs, for condenser micro-

phones and active DI boxes.

Soundcraft Notepad User Guide

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Soundcraft Notepad User Guide