SOUNDCRAFT LX7II32 Details
The hugely successful
and popular Soundcraft LX7 console has received an upgrade to the LX7ii — both
in terms of audio specification and cosmetics.
The stylish new desk gets its looks from the highly successful and popular
MH3 and MH4 touring sound consoles, and includes a new frame, module ID graphics
and end-cheeks, making the LX7ii not only easy to use but creating a system
that will be the envy of professionals everywhere.
Electronically,
the Soundcraft LX7 ii gains a new Soundcraft mic-preamp and EQ section, both designed
by Soundcraft founder and electronics wizard Graham Blyth. Designated the
GB30 Series, the new designs coincide with Soundcraft’s 30 year anniversary
and the new 4-band EQ with swept mid sections is based on the highly-acclaimed
EQ in the new MH3 and MH4 touring consoles.
“The new GB30 mic pre on the LX7 ii brings together some of the quality
and precision of the mic pre’s we use on our biggest touring desk, whilst
retaining the cost-sensitivity demanded at this point in the market,” reports
Blyth in a rare interview. “We’re conscious that we must provide
the best possible audio quality at the best price for the customer — we
do not allow compromise — and it starts at the mic preamp.
“The GB30 EQ, owing its heritage to the work we did on the new MH range,
gives a steeper than usual slope on the fixed LF and HF sections, removing
unwanted mid-frequency ‘mush’ and delivering a clearer sound. We’ve
a unique, cost-effective design that brings high-end EQ into an affordable
mixing console for the first time.”
Other standard
features of the LX7ii include frame sizes up to 32 mono inputs and four stereo
inputs/returns with four groups, main stereo output and a dedicated mono
output for centre clusters. There are direct outputs on the first 16 inputs
suitable for multitrack recording, and six auxes for flexibility for effects
and foldback. The LX7ii mixes to seven outputs – four subgroups, plus
the main Left, Right and Centre (Mono) mix outputs.
The LX7ii continues in the tradition of the highly successful original LX7
in its applications in live performance PA, installed systems in churches,
theatres and any similar application where a compact sized console needs to
provide a large number of inputs and maximum output capability. Both recording
and live applications are easily satisfied by the Soundcraft LX7ii.
NEW
FEATURE ADDITIONS
- Revised
Microphone Preamplifier and EQ (Similar Design to the MH3 and MH4’s
EQ)
- Improved
Crosstalk and Noise Performance
- Better
Fader Quality (More along the lines of the Series TWO Console)
- Phantom
Power is now Switchable in Banks of 4 instead of being Global
- New Purple
Color (Same Continuity to Match the MH Series Consoles)
Soundcraft LX7ii Mono Input Channel
Mono Input Channel
Mic Input
A balanced XLR connector accepts balanced or unbalanced mic signals.
Line Input
The balanced 1/4" jack allows connection of balanced or unbalanced electronic instruments, such as keyboards.
+48V Phantom Power
+48V Phantom Power is available switched in blocks of 4 for condenser mics and active DI boxes.
Input Stage
LX7ii’s exclusive GB30 padless mic preamp provides up to +15dBu input capability with the input gain control operating between 5dB and 60dB on all mic inputs.
High Pass Filter
A steep 18dB per Octave High Pass Filter is included straight after the preamp to reduce low frequency rumble on stage and clean up vocal performances.
Insert
A pre-fade, pre-EQ (but post-HPF) insert point is provided for patching in Limiters, Graphic Equalizer's or other signal processors. It may also be used for recording.
Direct Outputs
A direct output is also available on all but the last 8 channels with individual pre/post fader switching situated in the EQ section. This allows LX7ii’s direct outputs to be equally useful for effects send applications or multitrack tape feeds.
EQ Section
LX7ii’s new GB30, 4 band equalizer section is based on that used in the high-end MH Series. Both the HF and LF shelving sections have steeper slopes than usual which substantially reduces mid frequency harshness in the HF band and muddiness in the LF. This increase in “cleanliness” of response is further enhanced by an element of undershoot and overshoot in the boost/cut response. It has two swept mid frequencies carefully selected for optimum control during live performances. All bands provide 15dB of cut or boost. The Low frequency equalizer response shelves at 80Hz. The swept Lo Mid control operates between 80Hz and 1.9kHz. The swept Hi Mid control operates at frequencies between 550Hz and 13kHz. The fixed High frequency equalizer response shelves at 13kHz.
EQ Switch
The EQ section can be bypassed using the EQ switch, allowing comparison of treated and untreated sounds without having to reset controls.
Auxiliary Sends
6 flexible auxiliary sends allow the choice of either monitor or effects orientated mixes. Auxes 1-4 are normally post-fader, post-EQ but can be switched in pairs from each channel to be pre-fader, post-EQ. Auxes 5 and 6 are always post-fader, post-EQ. In this way a maximum of 4 pre-fader foldback mixes or 6 post-fader effects sends are possible.
Level Control and Routing
Each input channel can be routed to Mix, the separate Center (Mono) bus, and/or any of the 4 Groups in pairs.
Pan Control
Turning the pan control full left or right enables odd or even groups or the left or right Mix bus to be accessed individually.
Solo/PFL
Each channel can be soloed pre-fader, post-EQ to check gain levels.
PFL LED
The PFL indicator LED also doubles as a PEAK indicator, illuminating 4dB before clipping occurs to make the maximum headroom available.
100mm Fader
Professional-grade 100mm faders provide accurate, consistent control of audio levels and have superb cut-off performance
Soundcraft Spirit LX7ii Stereo Inputs
Stereo Inputs
Two stereo inputs allow stereo sources such as CD players, keyboards or samplers to be connected. Alternatively, they may be used as sophisticated effects returns..
Connections
2 balanced pairs of line inputs allow the stereo inputs to be accessed. Plugging in the left jack only will feed a mono
source to both paths..
Input Gain control
A rotary control provides 22dBu of gain range to boost even the weakest line-level signals.
EQ Section
The two band High and Low frequency EQ sections provide 15dB of boost or cut at 12kHz and 80Hz respectively.
Auxiliary Control
The stereo inputs have access to either Auxes 1 & 2 or 3 & 4, by toggling the “3-4” switch.
Solo/PFL
Inputs can be soloed pre-fader, post-EQ and routed direct to Mix, or to the Group immediately below each input strip. A rotary control governs signal level.
Soundcraft Spirit LX7ii Group Section
Group Section
Group Outputs
Each Group has an impedance-balanced 1/4" jack output connector, allowing long cable runs on stage.
Insert Points
Pre-fade insert points are provided on each Group for the connection of Limiters, Graphic Equalizers or other signal
processors.
Auxiliary Outputs
There are 6 impedance-balanced jack outputs for the Auxiliary outputs.
Auxiliary Masters
Six rotary controls govern Auxiliary send level. Each Auxiliary may be soloed after the fader.
Group Metering
Four 12-segment Peak reading bargraph meters display Group output levels.
100mm Group Faders
The Group faders provide 10dB of extra gain above the “zero” mark, while still ensuring smooth operation. Each pair of Groups may be routed to Mix.
Soundcraft Spirit LX7ii Master Section
Master Section
Connections
3 impedance-balanced XLR connectors cater for the Mix and C (Mono) Outputs, with a balanced XLR input allowing talkback microphones to be connected. Two control room outputs for engineer monitoring are available on impedance
balanced 1/4" jacks.
2TRK Inputs
A pair of unbalanced -10dBv phono connectors labeled2TRK” allow pre-show music to be replayed.
Talkback Section
Once connected, the engineer’s talkback mic can be routed to Aux 1-2, Aux 3-4 or the Mix by momentary action
switches. A rotary control governs talkback level.
Stereo Returns
Two stereo returns are provided for use with effects units, or as simple stereo instrument inputs. The rotary controls
govern level and are automatically routed to Mix..
Soundcraft Spirit LX7ii Control Room Section
The control room section allows the engineer to monitor either the 2-track return, the C (Mono) Bus, the Mix, or either pair of Groups via the control room outputs or headphones. A headphone jack is provided for use with headphones with impedances of 100 Ohms or greater. Both the control room and 2-track return levels can be altered using the associated controls. It is also possible to replace the Mix output signal with the 2-track return by pressing “2 TRK TO MIX OUT”. This allows easy playing of pre-show music at a single button press, without having to make any alterations to the band’s settings.
Metering
A 12-segment bargraph meter normally displays Mix output levels, but switches to display Group, C (Mono) output or 2-track levels when the appropriate control room selection is made. If any input or Auxiliary master is soloed then the PFL/AFL LED illuminates, and the master meters show PFL/AFL levels instead.
100mm Master Faders
Mix and C (Mono) Output levels are controlled by custom built 100mm long throw faders. The Mix outputs may be routed to the C (Mono) bus should only a mono PA be required, or an induction loop need to be fed.
PSU indicators
The LEDs illuminate if LX7ii is powered up, showing the status of the +/-17v voltage rails used within the console.
Integral Power Supply
The LX7ii is fitted with a high-efficiency SMPS design Switched Mode Power Supply) unit that makes for cooler operation and lighter weight. The PSU is capable of accepting a wide range of AC input voltages without any internal or external switch changes.
Note: Subject to change without notice.
SOUNDCRAFT LX7II32 Specs
Soundcraft LX7ii Specifications
Frequency Response: XLR input to any output . . . . . . . . . . . . . . . +0/-1dB, 20Hz-20kHz
T.H.D. and Noise (All measurements at +10dBu output, 30dB gain)
XLR input to Direct output . . . . . . . . . . . . . . . . . <0.007% @ 1kHz
XLR input to Mix output . . . . . . . . . . . . . . . . . . . <0.008% @ 1kHz
Mic Input E.I.N. 22Hz-22kHz bandwidth, unweighted . . . <-128dBu (150 ohm source)
Mic Gain
Min . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5dB
Max . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60dB
Bus noise
Mix output, input faders @ -8, Mix fader 0dB
32 channels routed . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-85dBu
16 channels routed . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-88dBu
Group output, input faders @ -8, Group fader 0dB
32 channels routed . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-85dBu
16 channels routed . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-88dBu
Aux output, input sends @ -8, Aux master 0dB
32 channels routed . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-88dBu
16 channels routed . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-91dBu
Crosstalk @ 1kHz
Input channel muting . . . . . . . . . . . . . . . . . . . . . . . . . . . . >98dB
Input fader cutoff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . >98dB
Input pan pot isolation . . . . . . . . . . . . . . . . . . . . . . . . . . . >82dB
Mix routing isolation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . >98dB
Group routing isolation . . . . . . . . . . . . . . . . . . . . . . . . . . . >98dB
Adjacent channel isolation. . . . . . . . . . . . . . . . . . . . . . . . >100dB
Group-Mix crosstal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-84dB
Aux send off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-94dB
CMRR Mono input, measured at max gain . . . . . . . typically 80dB @ 1kHz
Input & Output Levels
Input channel mic input. . . . . . . . . . . . . . . . . . . . . . +15dBu max
Input channel line input . . . . . . . . . . . . . . . . . . . . . . +30dBu max
Stereo inputs & insert returns. . . . . . . . . . . . . . . . . . +20dBu max
All outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +20dBu max
Nominal operating level . . . . . . . . . . . . . . . . . . . . . . . . . . . 0dBu
Headphone power. . . . . . . . . . . . . . . 2 x 250mW into 200. phones
Input & Output Impedance's
Mic input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2k ohm
Line inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . >10k ohm
Input channel insert return . . . . . . . . 5k ohm (with EQ in, otherwise worst case 1.8k.)
Mix, Group, Aux outputs. . . . . . . . . . . . . . . . . . . . . . . . . 150 ohm
Insert sends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 ohm
Recommended headphone impedance . . . . . . . . . . . . . 50-600 ohm
High pass filter (Mono input) 100Hz, 18dB per octave
EQ (Mono input)
HF .. . . . . . . . . . . . . . . . . . . 13kHz, +/-15dB, 2nd order shelving
Hi-Mid . . . . . . . . . . . . . . . . . . . . . . 550Hz-13kHz, +/-15dB, Q=1
Lo-Mid . . . . . . . . . . . . . . . . . . . . . . . 80Hz-1.9kHz, +/-15dB, Q=1
LF . . . . . . . . . . . . . . . . . . . . . 80Hz, +/-15dB, 2nd order shelving
Metering 6 tricolor 12-segment LED bargraphs
Power consumption
AC mains supply (internal PSU) 85V-270V AC, 50/60Hz universal input
Power consumption . . . . . . . . . . . . . . . . . . . . . . . Less than 50W
Dimensions and Weights:
16CH: 6.5"H x 19.8"D x 25.7"W 40 lbs.
24CH: 6.5"H x 19.8"D x 33.7"W 48 lbs.
32CH: 6.5"H x 19.8"D x 41.7"W 56 lbs
SOUNDCRAFT LX7II32 32 CHANNEL MIXER
AUDIX OM2 Microphone
AUDIO TECHNICA ATHM20 HEADPHONES
