Soundcraft RW5757US User manual

USER GUIDE

IMPORTANT

Please read this manual carefully before using

your mixer for the first time.

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

Contents

SAFETY SYMBOL GUIDE 5 IMPORTANT SAFETY INSTRUCTIONS 6 INTRODUCTION 8 BLOCK DIAGRAM 9 WIRING UP 10 CONSOLE CONTROLS 14 Lexicon® FX PROCESSOR 22 USING YOUR CONSOLE 31 APPLICATIONS 33 MARKUP SHEET 41 TYPICAL CONNECTING LEADS 42 REPOSITIONING THE REAR PANEL FOR RACKMOUNTING 44 DIMENSIONS 45 FX16ii TYPICAL SPECIFICATIONS 46 WARRANTY 47

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 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

sufficient magnitude to constitute a risk of electric shock to

persons.

CAUTIONS

The exclamation point within an equilateral triangle is

intended to alert the user to the presence of important

operating and maintenance (servicing) instructions in the

literature accompanying the appliance.

NOTES

Contain important information and useful tips on the

operation of your equipment.

HEADPHONES SAFETY WARNING

Contain important information and useful tips on headphone

outputs and monitoring levels.

Recommended Headphone Impedance >= 150 Ohms.

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.

INTRODUCTION

Thank you for purchasing a Soundcraft FX16ii mixer. 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 FX16ii 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 FX16ii, 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 FX16ii has been designed using the latest high-end softwarebased 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 FX16ii 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.

BLOCK DIAGRAM

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.

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.

Insert Points (Input Channels, Mix Outputs and Sub Outputs)

The unbalanced insert point is a break in the 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 6.35mm (1/4") jack socket which is normally bypassed. When a jack is inserted, the signal path is broken. The signal from the insert point appears on the TIP of the plug and is returned on the RING, with the sleeve as a common ground. On Input Channels, 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.

A ‘Y’ lead may be required to connect to equipment with separate send and return jacks as shown below:

Stereo Returns 1 - 4

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 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.

2-Track Return

These accept RCA phono plugs.

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, Monitor Outputs & Channel Direct Outputs

These outputs are on 3-pole 6.35mm (1/4") 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 6.35mm (1/4") 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 significantly 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 an imprecise 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.

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 9).

• 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 flows through the system. Once you have become familiar with the various component blocks you will find 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 specific 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: csd@soundcraft.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 difficulty please contact Customer Services Department (e-mail: csd@soundcraft.com)

CONSOLE CONTROLS

INPUT CHANNEL

1 Mic Input (Rear Connector Panel)

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. Unplug any mics if you want to use the LINE Input. The input level is set using the GAIN knob.

2 PHANTOM POWER

Many professional condenser mics need an external powering voltage, normally 48V, known as PHANTOM POWER. This is a method of sending a powering voltage down the same wires as the mic signal. If you press the appropriate PHANTOM POWER switch down, the XLR socket will provide a suitable powering voltage (48V) for professional condenser mics. There are two switches: one for channels 1-8, the other is for channels 9-16, they are located towards the top of the console’s surface. The adjacent LEDs illuminate when the phantom power is active.

ONLY connect condenser microphones with the Phantom Power OFF (switch

UP), and ONLY turn the Phantom Power on or off with all output faders

DOWN, to prevent damage to the mixer or external devices.

TAKE CARE when using unbalanced sources, which may be damaged by the

Phantom Power voltage on pins 2 & 3 of the XLR connector.

Balanced dynamic mics and leads can normally be used with phantom power switched

on (contact your microphone manufacturer for guidance).

3 LINE INPUT (Rear Connector Panel)

Accepts 3-pole ‘A’ gauge (TRS) jacks. Use this high impedance input for sources other than mics, such as keyboards, drum machines, synths, tape machines or guitars. The input is BALANCED for low noise and top quality from professional equipment, but you can use UNBALANCED sources, 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.

4 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. 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. See ‘Initial Setup’ on page 31 to learn how to set the GAIN correctly.

5 100Hz HI-PASS FILTER

Pressing this switch activates a steep 18dB per octave filter which reduces the level of bass frequencies only. Use this in live PA situations to clean up the mix, reducing stage rumble or ‘popping’ from microphones.

6 EQUALISER

The 3 band swept Equaliser (EQ) allows fine manipulation of the frequency bands, and is particularly useful for improving 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 dramatically improve clarity.

HF EQ

Turn clockwise to boost high (treble) frequencies (12kHz and above) by up to 15dB, adding crispness to cymbals, vocals and electronic instruments. Turn anticlockwise 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

This pair of knobs work together to form a MID frequency EQ section. The lower knob provides 15dB of boost and cut, just like the HF EQ knob, but the frequency at which this occurs can be set by the upper knob over a range of 150Hz to 3.5kHz. This allows some truly creative improvement of the signal in live situations, because the mid band covers the range of most vocals. Listen carefully as you use these controls together to find how particular characteristics of, for instance, a vocal signal can be enhanced or reduced. Set the gain (lower) knob to the centre-detented position when not required. Note: Q is set at 1.5.

LF EQ

Turn clockwise to boost low (bass) frequencies (80Hz and below) by up to 15dB, adding warmth to vocals or extra punch to synths, guitars and drums. Turn anticlockwise 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.

7 AUX SENDS

These are used to set up separate mixes for FOLDBACK, EFFECTS or recording, and the combination of each Aux Send is mixed to the respective Aux Output at the rear of the mixer. For Effects it is useful for the signal to fade up and down with the fader (this is called POST-FADE), but for Foldback or Monitor feeds it is important for the send to be independent of the fader (this is called PRE-FADE). All Aux Sends are muted with the other channel outputs when the MUTE switch is pressed. Aux 1 is always PRE-FADE, POST EQ, and would typically be used as a foldback or monitor feed. Aux 2 & 3 are normally POST-FADE, POST-EQ for use as effects sends or additional submixes, but for flexibility Aux 2 may be switched to PRE-FADE, POST-EQ by pressing the associated PRE switch.

8 FX

The FX control is identical to the post-fade Aux 3, but the signal is sent to the internal bus which feeds the input of the built-in LEXICON® digital effects processor. The output of the LEXICON processor may be added to the Mix or Subs and/or Aux 1 or 2 busses.

+ 33 hidden pages