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PICTURE SHOWN ABOVE IS MH2 48 CHANNEL MIXER
Performance meets affordability
As contractors and venues demand maximum return on investment, dual-purpose FOH and Monitors flexibility is now essential in a live sound console. MH2, the third desk in Soundcraft's acclaimed MH Series, delivers all the critical mixing features of its siblings in a fixed frame format, achieving a performance/price ratio unheard of in any other console in its class.
Group or Aux on fader operation is selected at the touch of a button for familiar and uncomplicated operation. Soundcraft sound quality is guaranteed with the same mic preamp design used in the MH4 and MH3, classic British EQ and meticulous circuit design. And with important new features like separate line inputs on every channel, the argument for mixing with MH2 is compelling.
Four frame sizes are available, all with an integrated switched mode PSU which can be removed for easy maintenance. Naturally, a rear panel connector is provided to fit an external power supply for complete dual redundancy assurance.
Frame sizes: 24+4, 32+4, 40+4 and 48+4
Styling based closely on MH3/4, with a single-piece front panel
MH3/4 mic amp design with 50dB range plus -20dB level shift and separate 1/4 Line input
Swept high-pass filter and 4-band EQ (all bands swept)
10 Auxes, of which 2 can be switched to create 1 x stereo send
Pre/post fader switching in pairs (except 5-8 as one block of 4)
8 full-time Group busses with paired routing
LCR panning on inputs-mix
8 VCAs and 6 Mute Groups
4 Stereo Input channels with mic/line capability
4 stereo line returns with 3-band fixed EQ, returns can route to output channels
11x4 Matrix built-in
10 x linear 60mm output faders, plus 8 rotary output faders with SWAP facility to allow linear faders to control either all 10 Auxes or 8 Grps and 2 Auxes
Inserts on Groups and Mix outputs (Group insert moves between Grp & Aux)
12-segment Input and Output metering
Central assignment of VCA Groups, with individual LED displays per channel
Mono Input Channel
Gain Adjusts the sensitivity of the electronically balanced XLR input, from +15dBu to +60dB.
48V Phantom Power Applies 48V phantom power to the input XLR.
-20dB Pad Reduces the input sensitivity of the XLR by 20dB, to allow line level signals to be connected via the XLR.
Line Switch Selects a separate high-impedance input via 1/4 jack on the rear panel. This signal replaces the XLR signal and is attenuated by 20dB.
Peak Illuminates when the internal signal reaches 3dB below clipping level, monitored at two points, pre and post the EQ.
Phase Reverses the phase of the selected input.
Hi-Pass Filter The switchable 12dB/octave variable high-pass filter can be varied from 30-400Hz for effective removal of unwanted low frequency content.
EQ Section The EQ section is four band, with shelving sweep high and low frequency sections, and swept high-mid and low-mid bands. The frequency ranges are 1.2kHz-20kHz (HF), 750Hz-13kHz (High Mid), 75Hz-1.3kHz (Low Mid) and 30Hz-550Hz (LF) with 15dB cut/boost available at any frequency. The Q is fixed on the two mid bands at 1.5.
Balanced Insert Point Separate jacks provide a pre-EQ balanced send and return, at a nominal level of 0dBu.
Direct Output A Direct Output on balanced 1/4 jack is source-selected by the DIR PST switch. The function of the switch when up and down can be selected by 2 internal PCB jumpers:
Aux Sends There are 10 aux sends, which can be used either as FX sends in FOH use, or monitor mixes for monitoring.
Aux 9&10 can be switched to work as a stereo pair, with separate level and pan for use as an in-ear send, using the adjacent STE switch.
Each send has a maximum gain of +6dB. The auxes can be switched pre- or post-fader by the adjacent PRE switches, which are in pairs for aux 1-4 and aux 9,10 and as one group for aux 9-12.
The pre-fade signal for all auxes is normally post-EQ but can be switched to pre-EQ using the AUX PREQ switch (both feeds follow the channel mute).
Subgroup Routing In addition to the 10 aux sends, 8 busses are provided for audio subgrouping. Routing is via 4 paired buttons, with the channel pan pot controlling the signal split between odd and even groups.
Mix Bus Routing and Pan Controls The signal is sent to the stereo mix bus and the mono (C) bus using the MIX and C switches.
The PAN control, which gives 3dB centre drop, operates on the STE bus and group bus signals. The C bus is always fed directly with the post- fader signal at unity gain, unless LCR panning is engaged.
LCR Panning The LCR switch changes the mode of the Pan pot from normal left-right panning with a 3dB centre drop, to 3-way LCR panning, requiring both the C bus and LR stereo mix bus to be routed, and the pan pot panning from left to C, C to right. When the pot is physically centred, there is no output from the left and right mix bus outputs.
SOLO The SOLO button provides a PFL feed to the engineer's headphones or monitors, or triggers a destructive solo in place, depending on the mode selection at the master section.
The SOLO button can also be activated remotely from a VCA solo when assigned to a VCA group, giving stereo AFL. Intercancel or additive soloing is possible, with or without input priority, and solos can be cleared with a single button press at the master section.
The SOLO button also features automatic momentary operation, by pressing and holding for more than 0.5 seconds.
MUTE The MUTE switch mutes the signal to all busses, including pre-fade aux sends.
The mute can also be activated by the mute group system, an SIP mute signal or a VCA mute signal. It is also possible to activate the mute by sending a MIDI note message into the console's MIDI Input. The same MIDI messages are transmitted when the mute switch is manually pressed.
A preview mode allows editing and checking of mute groups without disturbing the audio passing through the desk, and mutes can be set Safe'.
VCA Assignment Each channel can be assigned to any combination of 8 VCA subgroups, using the SOLO button on each channel, in conjunction with the VCA master SOLO switches in VCA Assign mode.
Once assigned to a VCA group, the channel's fader level, mute and solo button come under the control of the VCA master controls, but can still be operated locally. Assignments are displayed on the 8 LEDs next to each channel fader.
LED Input Metering Every channel is fitted with a 12-segment LED bargraph meter, positioned next to each fader for maximum visibility and giving immediate graphic indication of incoming signals at the output of the EQ.
Outputs & Master
Group and Aux Outputs with Swap Facility MH2 adopts the same operational philosophy as its bigger brother the MH3 to achieve flexible dual-purpose operation. This uses a reversible signal