Soundcraft VI1 User Manual

Soundcraft, Harman International Industries Ltd., Cranborne House, Cranborne Road, Potters Bar, Hertfordshire EN6 3JN, UK

T: [phone] F: [phone] E: [e-mail]

Soundcraft USA, 8500 Balboa Boulevard, Northridge, CA 91329, USA

T: [phone] F: [phone] E: [e-mail]

www.soundcraft.com

Part No: BD10.947301

Issue 0310

The world’s best-loved
digital live sound
console is now more
accessible than ever.

Soundcraft Vi Series consoles have

revolutionised the process of live

sound digital mixing through the

combination of exceptional sound

quality and a refreshingly intuitive

operating interface. With the advent of

Vistonics™, engineers were finally

freed from the complex ‘mental

mapping’ that had been demanded of

them up until then and could now,

quite literally, see the full power and

versatility of digital mixing open up

before them. Not surprisingly, Vi Series

consoles have gone on to provide the

mixing solution on major tours and big

festivals the world over. And now

comes the Soundcraft Vi1™ – a new

mixer that makes the world’s best-

loved digital live sound console more

accessible than ever.

PAGE 3

Mixes the show
without maxing the budget.

The affordable new Vi1 may be the

baby of Soundcraft’s Vi Series digital

live sound console range, but it’s fully

grown up when it comes to features.

The 16 input fader control surface

delivers simultaneous mixing of 64

mono inputs (channels may be paired

for stereo) into 24 mono busses plus

LRC – enough capacity to handle all

but the very largest shows. And,

thanks to the widescreen Vistonics™

touchscreen, all the parameters of 16

channels are simultaneously displayed

and instantly accessible, with the

other channels just a click away.

All 24 busses can be switched Group or

Aux, and Mono/Stereo (maximum of

12 if stereo), and up to 8 busses can

be put into matrix mode. The Vi1

features 8 output/VCA faders with LR

and C master faders, 4 fixed and 5

user-configurable input layers, 8 VCA

groups and 4 Mute groups.

Legendary Vi audio quality is ensured by

the same 40-bit floating point DSP

running the same algorithms as the

larger consoles in the Vi family – indeed

anyone who has used another Vi console

will find the Vi1 instantly familiar.

Effects come courtesy of our

colleagues at Lexicon, with graphic EQs

from industry leaders BSS Audio.

Factor in powerful automation,

copy/paste and offline editing

facilities, a comprehensive range of

I/O and stagebox options and a

redundant power supply option, and

it’s easy to see that while the Vi1

won’t max out your budget, it’s more

than capable of mixing your show.

PAGE 4/5

Vistonics™ + FaderGlow™ = Intuitive Digital Mixing

At the heart of any Soundcraft Vi

Series digital live sound console

lies Vistonics™ – the revolutionary

touchscreen interface that locates

the rotar y encoders directly onto

the display. Adjusting a parameter

(eg EQ) from the same location at

which it’s data is being displayed

removes the burden of complex

mental mapping from the operator,

streamlining workflow and greatly

enhancing the creative process.

The V i1 features a ‘widescreen’

Vistonics implementation, with 2

rows of 16 rotary encoders

providing simultaneous access to

16 input channels.

Just touching the screen is all it takes

to access channel functions including

routing, input gain, digital gain trim,

delay, high and low pass filters, 4-

band fully parametric EQ, compressor,

limiter, gate, de-esser and pan, with

immediate access to a sophisticated

visual status display and

straightforward controls.

In addition, a dedicated area of the

Widescreen Vistonics interface is

provided for output processing control,

along with a complete meter overview

display for all inputs and outputs.

Another dedicated area displays the

snapshot cuelist, as well as access to

the menu system and display of

diagnostics information.

Working in conjunction with Vistonics

to deliver the ultimate operator

experience, Soundcraft FaderGlow™

illuminates the fader track in colours

that integrate with the Vistonics

display, alerting the user to the current

operational status – VCA groups,

graphic EQ, Matrix outputs, soloed bus

contributor, etc.

PAGE 6/7

EQ

The four-band fully parametric EQ is graphically displayed with the settings for
boost/cut, frequency and Q (bandwidth), with the main screen showing the
composite EQ curve. Frequency is displayed in a similar style to a radio tuner scale
for easy assimilation, and the HF and LF bands can be switched to shelving EQ.

DYNAMICS

The dynamics section controls a Noise Gate with attack, hold and release, and a key
facility with filtering. The Gate can be replaced with a De-Esser function. Working in
series with the Gate, the full-function Compressor maps gain reduction metering onto
the LED meter in the fader area, with full control of threshold, ratio and release with
an independent Limiter section and overall gain makeup.

PAN

This section of the channel strip controls the Pan, Insert and Direct out functions,
with assignable LR and C, or LCR panning modes. Inserts can be switched pre or
post EQ/dynamics, with the Direct output send assignable to pre-filters, pre­EQ/dynamics, post EQ/dynamics and post-fade points.

JUST TOUCH THE SCREEN TO ‘OPEN UP’ THE FUNCTION

Touching the chosen function area on the Widescreen VistonicsTMchannel strip opens
up the corresponding control panel in the lower area, with that area being
highlighted to easily identify which part of the channel strip is active.

OUTPUT BUSSES

An area of the channel strip allow access to routing and control of the output
busses. The ALL BUSSES mode allows assignment of each of the busses as an
Aux, Group, or Matrix output (maximum of 8 Matrix busses possible), with
additional stereo pairing controls if busses are required as stereo sends.

SNAPSHOTS

Sophisticated Cue List management allows changes to be applied to multiple Cues
and recall scope to be set per snapshot. Snapshot recalls can use crossfades to
smoothly transition from one setting to the next.

LAYERS

User-configurable fader layers allow an enginer to map out his own channels on any
5 user layers so that a combination of different inputs can be placed on one 16­fader layer. This allows, for example, the main vocalist mics to be programmed to
appear in the same location on every layer, so they are always accessible, or bringing
other essential channels closer to a central operating position.

HiQnet

HiQnet™ integration allows the simple creation of Cue Lists from console snapshots,
MIDI events and HiQnet Venue Recall commands, which can be used to trigger
changes in amplifier levels, loudspeaker processing EQ and routing across an entire
HiQnet system. Compatibility with the HiQnet protocol also enables the console to
receive and display system diagnostic messages from other devices on the HiQnet
network.

Touch and control.
Welcome to hands-on
digital mixing.

The Vi1’s Vistonics channel strip

display functions both as a permanent

overview of all the current settings for

16 channels, and as the access point

for immediate hands-on control of any

of those settings. Simply touching the

screen in one of the vertically stacked

touch zones immediately opens out

that part of the strip onto a row of

Subsequently within each channel strip setup, busses can be switched on or off with
level control, or switched pre or post fader.

rotary encoders mounted directly

beneath the display, allowing

immediate, tactile, analogue-style

control. The colour-coded context-

sensitive graphics around the knobs

make it abundantly clear which type of

function is being adjusted, and a clear

white highlight is a constant reminder

of which channel is being controlled.

The acclaimed Soundcraft Vi Series

operating system dramatically reduces

set up time and protects every critical

setting in the event of power failure.

The Copy/Paste function allows the

settings of any channel, bus, FX

section or processing element to be

copied and pasted, and blocks or

individual parameters within a channel

are easily selected for copying using

the Vistonics touchscreen. Advanced

Library functionality allows a user to

select any set of parameters in use on

the desk, which can be transferred to

any Vi console they have to work on,

independently of the Show Files which

already allow entire desk settings to

be exported.

The Vi1 is also packed with powerful

automation features including a

sophisticated Cue List Management

suite with Apply Changes function and

a tight integration of Harman’s HiQnet

Venue Recall function, HiQnet device

error reporting and sophisticated

snapshot filtering.

PAGE 8/9

LEXICON FX

Simple touch selection of reverb type accompanies full parameter control on the
rotary encoders. FX may be patched into inputs, channel inserts or aux busses.

Simply choose from a selection of reverbs, delays or pitch-shifting effects.

GRAPHIC EQ

Select the output bus and turn on the Graphic EQ to add 30 bands of BSS graphic
to that bus. All 24 busses plus the LR+C busses can use graphics at the same time,
there is no need to share.

FX by Lexicon. Graphic EQ by BSS Audio.

No wonder some engineers claim that Vi is the only console they
would consider using without any additional outboard processing
equipment

.

The Vi1 harnesses world-renowned

Lexicon and BSS technology to deliver

powerful built-in FX, dynamics

processing and Graphic EQ.

The Vistonics™ II interface provides

the perfect vehicle for displaying and

editing effects parameters, and 4

independent stereo Lexicon multi-

effects units each provide 14 reverbs,

7 delays and 8 pitch shifting effects,

patchable to input channels, aux

outputs and channel inserts.

Controlling the BSS third-octave

Graphic EQ is similarly straightforward.

Simply bringing up the output channel

strip and touching the Graphic EQ

button immediately assigns console

faders to control Graphic EQ, with

FaderGlow lighting the way. Master

output graphic and parametric

equalisers can be linked for easier LR

or LCR EQ adjustments, whilst on

stereo input channels, the Pan and

Gain controls are individually

adjustable on left and right.

No wonder some engineers claim that

the Vi Series is the only console they

would consider using without any

additional outboard processing

equipment.

PAGE 10/11

64 channels. 1 cable. Thank you MADI.

The Vi1 rear panel features 32 mic/line

inputs, plus AES (4 channels) and

SPDIF (2 channels) digital inputs. A

Studer D21m system-based double

card slot accommodates a range of I/O

options including AES and MADI, which

can be used to connect the standard

64 channel Vi Series Stagebox, with all

inputs and outputs fully patchable from

the Vi1 control surface.

Twenty seven line outputs (24 busses

+ LRC) are located on the rear panel,

along with monitor A and B outputs,

and AES (4 channels) and SPDIF (2

channels) digital outputs.

Including the internal FX returns, the

total input count is an incredible 110

sources, available to patch to the 64

mixing channels.

The Vi1 can connect to a standard Vi Series

stagebox to access remote I/O.

PAGE 12/13

Technical Specifications.

FREQUENCY RESPONSE

Stagebox Mic input to Line output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +0/-1dB, 20Hz-20kHz

AES/EBU In to AES/EBU Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +0/-0.2dB, 20Hz-20kHz

T.H.D. & NOISE

Mic In (min gain) to Local Line Out, 22Hz-22kHz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <0.003% @ 1kHz

Mic In (max gain) to Local Line Out, 22Hz-22kHz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <0.020% @ 1kHz

Mic Input E.I.N (22Hz-22kHz bandwidth, unweighted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-126dBu (150Ω source)

Residual Noise, local Line output; no inputs routed, Mix fader @0dB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -91dBu

CMRR, Mic input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80dB @ 1kHz

Sampling Frequency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48kHz

Latency, Mic Input to Line output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 2ms @48kHz

DSP resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40-bit floating point

Internal clock accuracy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < +/-50ppm

Internal clock jitter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < +/-5ns

External Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BNC Wordclock, AES/EBU sync in, Video sync in

Input & Output Levels Mic Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +25dBu max

Input & Output Impedances Mic Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . >6kΩ

Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Hz to 20kHz/Pink/White Noise, variable level

Stagebox HP Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Hz fixed, 12dB per octave

Channel HP filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Hz-600Hz, 18dB per octave

Channel LP filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1kHz-20kHz, 18dB per octave

EQ (Inputs and bus Outputs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HF: 20Hz-20kHz, +/-18dB, Q= 0.3-8.7 or shelving

Metering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Internal 11-segment LED bargraphs plus 4-segment gain reduction meters for all inputs and Outputs.

Mains Voltage operating range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90-264V, 47-63Hz, autoranging

Mains Power Consumption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100W

Operating Temperature Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0°C – 45°C (32°F – 113°F)

Relative Humidity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0% – 90%, non-condensing Ta=40°C (104°F)

Storage Temperature Range. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -20°C – 60°C (-4°F – 140°F)

Line Inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +22dBu max

Line Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +22dBu max

Nominal Operating Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0dBu (-18dBFS)

Line Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <75Ω

AES/EBU Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Ω

Hi-Mid: 20Hz-20kHz, +/-18dB, Q=0.3-8.7
Lo-Mid: 20Hz-20kHz, +/-18dB, Q=0.3-8.7
LF: 20Hz-20kHz, +/-18dB, Q= 0.3-8.7 or shelving

Peak hold variable from 0-2s.

394

944

1034

Preliminary Information March 2010.

Soundcraft reserves the right to improve or otherwise alter any information supplied in this document or any documentation supplied hereafter. E&OE 03/10.

All trademarks are recognised as the property of their respective owners. This equipment complies with the EMC Directive 89/336/EEC

The Soundcraft logo is a Registered Community Trade Mark/RTM No. 000557827

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