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 0612

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

The Soundcraft® ViSi remote iPad® app

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 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 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 redundant power

supplies as standard, 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 is Harman's command and control communication protocol, and allows
integration of the Vi1 console with other Harman Pro equipment such as AKG
wireless microphones, Crown amplifiers and JBL powered loudspeakers. The most
important use for HiQnet is to allow the Soundcraft® ViSi Remote iPad® app to
control the console, but other features include the VM2 microphone monitoring
functionality and the ability to display error/warning messages from any device on
the 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

Radio mic status monitoring, directly from the console.Remote control for your digital console.

Vi1 operation is significantly enhanced by Soundcraft® ViSi Remote,

the Apple® iPad® app that lets you:

· Optimise the front of house mix from anywhere in the room

· Adjust monitor levels while standing next to the artist

· Use multiple iPad® devices on one console so artists can mix their

own monitors

· Use to extend the fader count of an existing control surface

· Use in standalone mode for familiarisation with console functions

or training

· Control a network of consoles (e.g. FOH and Monitor, Vi Series

or Soundcraft®Si Compact)

The Soundcraft ViSi system is simple to setup, using Harman’s

proprietary HiQnet network. Consoles attached to the network are

automatically discovered so there is no need to manually enter IP or

MAC addresses.

Functions controlled:

• Input faders, mutes and solos

• Bus, master LR and VCA master faders, mutes and solos

• Monitor and headphones output levels

• Graphic EQs on all bus outs

• Aux send levels to each bus from all channels (monitor mixes)

• Matrix contribution level to each matrix bus

With Virtual Vi, engineers can set up shows offline on a PC, and load

them into the console via a USB memory drive.

Show files may be transferred between other Vi Consoles and the Vi1

(maximum channel counts will vary between consoles of course).

Virtual Vi is also a great training aid and allows engineers to get familiar

with a Vi1 before ever stepping up to a console.

Virtual Vi editing software can be downloaded at www.soundcraft.com

Shows the wireless mic status directly on
the relevant channel strip. VM

2

displays

battery life, RF status and mute status.

Simply touch the input section to see
more detail.

You know what it’s like. The radio mics

check out fine on the RF Tech’s laptop,

but that’s before the talent walks onto the

stage. Reception black spots, drained

batteries, accidental mutes – anything can

happen once the show gets underway.

Thankfully, Soundcraft and AKG are here to

make the FOH engineer’s life easier. Now

you can monitor the status of any HiQnet-

compatible AKG radio mic directly from the

VM2 is available on all
Soundcraft Vi Series consoles
in V4.5 software, including Vi1,
Vi2, Vi4 and Vi6.

Compatible AKG Wireless mic
systems are WMS 4000, WMS
4500 and DMS 700 (optional
HUB 4000Q HiQnet Ethernet
interface required).

Vi1 console surface, courtesy of VM

2

(Vistonics Microphone Monitoring). With

realtime visual displays of battery life, RF

status, mic muting and internal clipping,

you’ll be able to see a problem long before

you hear it, right there on the relevant

channel strip – with expanded information

instantly available just by touching the

Vistonics™ screen.

iPad® is a registered trademark of Apple Inc.

PAGE 12/13

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 an optional

Compact Stagebox or 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.

PAGE 14/15

Custom configurable Stageboxes.

Cat5 or fibre-optic cables provide a convenient, highly

robust connection between the Vi1 and Soundcraft Vi

Series™ stageboxes.

A comprehensive provision of inputs and outputs can

be patched to any channel input, direct output, bus

output or insert point as required. The standard Vi

stagebox houses 64 analogue mic/line inputs and up

to 32 analogue line outputs, with 48V phantom power

and a 100Hz HPF before the A-D converters. Mic amp

gain can be controlled remotely from the control

surface. Optional AES/EBU inputs and outputs are

available for the stagebox in sections of 8.

Other optional I/O cards available for the stagebox

include CobraNet®, Aviom A-NET® 16V, and EtherSound

(latter available from Digigram distributors).

There are 8 GPIO contact closure inputs and outputs

on the stagebox.

Alongside the standard stagebox, the Compact

Stagebox adds a cost-effective expansion option to

the Vi1, offering a high density of I/O connections in

only 4U of rack space. The modular unit is fully

configurable but is offered with a standard

configuration of 32 mic/line inputs, 8 line outputs, 8

channels of AES/EBU outputs and 2 expansion slots

for standard Studer D21m I/O cards. (The D21m is

the I/O architecture for Studer as well as Soundcraft

digital mixing systems and allows connection to most

popular digital formats - see opposite page).

It is possible to equip the Compact Stagebox with an

additional 16 mic/line input XLR module instead of

the output module, providing 48 inputs. In this case,

analogue or AES outputs can still be obtained on

D-Type connectors via D21m cards fitted to the

expansion slots.

As well as the flexibility of the D21m option card

interface, the Compact Stagebox also uses the same

Mic/line I/O modules as found in the Vi1 console, and

as a result it is possible to move or share modules

between console and stagebox, should a different

configuration of I/O be required on either the Vi1 or the

Stagebox. For example, the 8 line out/AES output card

from the Stagebox could be fitted to the Vi1 console in

place of a 16ch line output card. Alternatively, the mic

input modules can be replaced with output modules if

large numbers of outputs are required.

The Compact Stagebox is connected to the host

console using either Cat-5 or Optical-fibre MADI, the

same way as the larger 64 Mic/line Vi6 Stagebox is

hooked up, and shares the same redundant MADI

cable capability. Cat5 Version: E947.350000 Optical

version: E947.351000

The unit comes complete with twin redundant power

supplies, thermostatically-controlled fan cooling and full LED

status monitoring. An 8ch GPIO interface is also provided.

Interface cards

Riedel Rocknet

Digigram EtherSound

Aviom A-NET® 16V

CobraNet™

MADI

ADAT

Dolby E

SDI

AES/EBU

PAGE 22/23

PAGE 16/17

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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-125dBu (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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < +/-12ns

External Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BNC Wordclock

Input & Output Levels Mic Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +23dBu 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 Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +22dBu max

Nominal Operating Level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +4dBu (-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

June 2012.

Soundcraft reserves the right to improve or otherwise alter any information supplied in this document or any documentation supplied hereafter. E&OE 0612.

All trademarks are recognised as the property of their respective owners.

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

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