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
A balanced XLR connector accepts balanced or unbalanced mic signals.
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.
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.
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.
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.
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.
The EQ section can be bypassed using the EQ switch, allowing comparison of treated and untreated sounds without having to reset controls.
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.
Turning the pan control full left or right enables odd or even groups or the left or right Mix bus to be accessed individually.
Each channel can be soloed pre-fader, post-EQ to check gain levels.
The PFL indicator LED also doubles as a PEAK indicator, illuminating 4dB before clipping occurs to make the maximum headroom available.
Professional-grade 100mm faders provide accurate, consistent control of audio levels and have superb cut-off performance
Soundcraft Spirit LX7ii 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..
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.
The two band High and Low frequency EQ sections provide 15dB of boost or cut at 12kHz and 80Hz respectively.
The stereo inputs have access to either Auxes 1 & 2 or 3 & 4, by toggling the “3-4” switch.
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 l