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Soundcraft MH2 32 Channel Mixer with British EQ Price: $11,999.00

Call us for pricing on Tourpack with flight case, spare PSU and Soundcraft lamps for this model

CALL FOR PRICING ON THE HM2 24 CHANNEL MIXER
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.

KEY FEATURES

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


Soundcraft MH2 40 Channel Mixer with British EQ Price: $13,499.00

Call us for pricing on Tourpack with flight case, spare PSU and Soundcraft lamps for this model

CALL FOR PRICING ON THE HM2 24 CHANNEL MIXER
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.

KEY FEATURES

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


Soundcraft MH2 48 Channel Mixer with British EQ Price: $14,999.00

Call us for pricing on Tourpack with flight case, spare PSU and Soundcraft lamps for this model

CALL FOR PRICING ON THE HM2 24 CHANNEL MIXER
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.

KEY FEATURES

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


Soundcraft MPM 12/2 Multipurpose Mixer Price: $499.00

 

MPM high-performance, multi-purpose mixers

The MPM Series is a range of multipurpose mixers that carry all the hallmarks of Soundcraft’s professional heritage. Intended for a wide range of applications that includes fixed installation, Houses of Worship, Portable PA use and music production, the MPM Series features a number of facilities in a compact package. With a focus on high performance the Soundcraft MPM mixers are available in 2 standard models with 12 or 20 mono inputs, each model featuring two stereo inputs, two groups and three auxes.

The MPM Series offers many professional features for use in a variety of applications:

• 12 and 20 mono input channel versions
• Quality build and audio performance
• 2 Stereo Inputs
• 2 Group busses
• Stereo Mix Output
• 2-track record output
• 2-track replay input with level control
• 3 configurable Aux busses
• Globally switched +48V Phantom Power
• GB30 Mic Preamps
• Peak LED
• 100Hz HPF
• Insert point (mono channels)
• 3-band EQ with swept Mid band on mono inputs
• 3-band EQ on stereo inputs
• PFL switch
• Mix and group routing
• Signal Present LED
• 60mm fader
• Headphone and Control Room outputs with level control
• Rack-mountable (ears sold separately)
• Integral universal power supply




Soundcraft MPM20/2 Multipurpose Mixing Console Price: $699.00

MPM high-performance, multi-purpose mixers

The MPM Series is a range of multipurpose mixers that carry all the hallmarks of Soundcraft’s professional heritage. Intended for a wide range of applications that includes fixed installation, Houses of Worship, Portable PA use and music production, the MPM Series features a number of facilities in a compact package. With a focus on high performance the Soundcraft MPM mixers are available in 2 standard models with 12 or 20 mono inputs, each model featuring two stereo inputs, two groups and three auxes.

The MPM Series offers many professional features for use in a variety of applications:

• 12 and 20 mono input channel versions
• Quality build and audio performance
• 2 Stereo Inputs
• 2 Group busses
• Stereo Mix Output
• 2-track record output
• 2-track replay input with level control
• 3 configurable Aux busses
• Globally switched +48V Phantom Power
• GB30 Mic Preamps
• Peak LED
• 100Hz HPF
• Insert point (mono channels)
• 3-band EQ with swept Mid band on mono inputs
• 3-band EQ on stereo inputs
• PFL switch
• Mix and group routing
• Signal Present LED
• 60mm fader
• Headphone and Control Room outputs with level control
• Rack-mountable (ears sold separately)
• Integral universal power supply

 




Soundcraft Spirit Rack Mount Kit for 6 Channel Price: $39.99
Soundcraft Spirit Rack Mount Kit for 6 Channel Soundcraft studio mixers.


Soundcraft DPS3 Redundant Power Supply Unit with DC Cable Price: $1,057.50

DPS3 Redundant PSU (w/DC Cable)

 




Soundcraft GB4 16 Channel Dust Cover Price: $54.00

GB4 16 Channel Dust Cover

 




Soundcraft GB4 24 Channel Dust Cover Price: $58.50

GB4 24 Channel Dust Cover

 




Soundcraft GB4 32 Channel Dust Cover Price: $63.00

GB4 32 Channel Dust Cover

 




Soundcraft GB4 40 Channel Dust Cover Price: $67.50

GB4 40 Dust Cover

 




Soundcraft GB8 24 Channel Dust Cover Price: $63.00

GB8 24 Channel Dust Cover

 




Soundcraft GB8 32Channel Dust Cover Price: $67.50

GB8 32 Channel Dust Cover

 




Soundcraft GB8 40 Channel Dust Cover Price: $72.00

GB8 40 Channel Dust Cover

 




Soundcraft MH2 32 Channel Dust Cover Price: $105.00

MH2 32 Channel Dust Cover

 




Soundcraft MH2 40 Channel Dust Cover Price: $115.00

MH2 40 Channel Dust Cover

 




Soundcraft MH2 48 Channel Dust Cover Price: $125.00

MH2 48 Channel Dust Cover

 




Soundcraft MFXI20 Mixer Price: $799.00

Soundcraft MFXi

Soundcraft's MFXi mixers are compact and ideally equipped for live sound applications including fixed installations, houses of worship and portable PA.

8, 12 and 20 mono input MFXi mixers are empowered by built-in 24-bit Lexicon processing, delivering 32 stunning reverb, delay and chorus effects (see opening page). All MFXi mixers include 2 stereo input channels along with a 2-track record output and a 2-track replay input which allows interval music to be easily played from CD, MP3 or other music source.

For increased versatility, each model in the MFXi range has two subgroups as well as a main stereo mix, making control of groups of channels much easier to manage. These are supplemented by 2 Auxiliary busses which can be used for effects sends or to provide a foldback monitor mix for artists.

The MFXi consoles use vertically mounted PCBs which are secured with nutted pots for extra strength, stability and easy servicing. Well-spaced controls provide easy access at those critical control moments, enhanced by clear legending which highlights linked or associated functions.

Sound quality is assured by Soundcrafts now-legendary GB30 mic preamp and the use of professional condenser microphones is facilitated by the provision of globally switched +48V phantom power. New circuit designs have improved audio quality, and lowered the overall noise floor of the console and FX sections. An integral universal power supply negates the need for an external power module.

Rack ears are included with 12 channel consoles.

Key Features:
  • Built-in Lexicon 24-bit effects
  • Precision GB30 mic pre-amps
  • True, professional +48V phantom power for condenser microphones
  • 2 Group busses
  • Stereo Mix output
  • 8, 12 or 20 mono Mic inputs, all with 2 stereo line inputs
  • Up to 28 inputs to mix
  • Aux sends, globally switchable pre or post-fade
  • FX send
  • Universal internal power supply
  • Optional rack ears (standard on 12 channel consoles)

The addition of a Kensington lock slot on MFXi/MPMi consoles provides a welcome level of security in installations.

MFXi - MPMi: The Differences
MFXi input channels feature an FX send to the internal Lexicon effects processor, along with 2 Aux sends for use with external processors, or to create a monitor mix. MFXi consoles include an additional stereo return to mix with its own level control.
With no internal Lexicon effects, MPMi input channels replace the FX send with a third Aux send for operators preferring to use external effects.

Soundcraft

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Soundcraft EFX12 12 Channel Mixer Price: $499.99

The Soundcraft EFX™ Series combines all the features of the popular Soundcraft EPM™ mixer with a built-in 24-bit, digital Lexicon® effects processor, expanding the Soundcraft low-cost, multipurpose compact range.

The Soundcraft EFX mixer uses the same AudioDNA® processor featured in many of the Digitech® and Lexicon outboard equipment including the highly respected Lexicon MX500 processor. With over 35 years experience, the Lexicon name is synonymous with the best reverb and processing in the business, ensuring the finest quality effects not usually found in a console at this price level.

The Effects section fits neatly into the mixers compact framework which is available in 8 or 12 mono input variants, both with 2 stereo channels and an effects send on each channel. There are 32 effects to choose from with a tap tempo function, 3 effects parameter controls and a user effects setting store facility. An effects channel level clip LED and Mute function gives the user even more flexibility.

The emphasis with the Soundcraft EFX is very firmly on quality build and audio performance, with an easy to understand control surface in line with the Soundcraft professional range. The Soundcraft EFX uses the highly-transparent GB30 Mic amp (designed by Graham Blyth for the company’s 30th anniversary, and also used on the larger LX7ii and GB Series professional consoles).The Soundcraft EFX also offers all the features of the Soundcraft EPM most notably a configurable aux send, XLR and ¼” metal jack connector sockets, RCA phono stereo playback inputs and record outputs, 3-band EQ with a swept mid on the mono inputs, 3-band EQ on the 2 stereo inputs, TRS insert sockets, inserts on all mono inputs and the mix output, ten-segment LED output metering and a headphone output.

Key Features:

* 8+2 and 12+2 channel frame sizes
* Built-in 24 bit Lexicon digital effects processor
* 32 FX settings
* Tap Tempo and FX setting store function
* 1 FX send on each channel
* 1 configurable auxiliary bus
* XLR-type and ¼” metal jack connector sockets
* RCA phono stereo playback inputs and record outputs
* 3-band EQ with a swept mid on mono inputs
* 3-band EQ on stereo inputs
* TRS insert sockets and inserts on all mono inputs and mix output
* Ten-segment LED output metering
* Intuitive and comprehensive solo system
* Headphone output
* Easily rack mountable

The Soundcraft EFX will find itself in many applications including live music, recording, houses of worship and multi-speaker installations.

Soundcraft and Lexicon

The Soundcraft Multi-Purpose FX Range uses the same AudioDNA® processor featured in many of the Digitech® and Lexicon® outboard equipment including the highly respected Lexicon MX500 processor. With over 35 years experience, the Lexicon name is synonymous with the best reverb and processing in the business, ensuring the finest quality effects ever found in a console at this price level.

Lexicon Effects Section Key Features

Built-in 24 bit Lexicon digital effects processor

32 FX settings

3 Parameter encoders

Tap Tempo

FX setting store function

1 FX send on each channel

FX clip LED and mute function




Soundcraft GB8 24 Channel Mixer with Blyth Pre Amps Price: $3,699.00

Call us for pricing on Tourpack with flight case, spare PSU and Soundcraft lamps for this model

Augmenting the already highly successful GB4 console range is the new GB8 8-bus console. The GB4 has found many friends including the Cavern Club in Liverpool, and in use at the Bedford venue in South London.

Available in frame sizes from 16 to 48 channels, each with four full-function stereo channels and four stereo returns, the GB8 is designed for installations such as churches and performance venues, or for small touring sound systems. The dual-mode topology implemented to such success on the MH3 and MH4 desks allows the GB8 to be used on FOH or monitor duties, with fader control of group or aux outputs. Additional features over the GB4 include a 1kHz oscillator and a meter bridge with three led meters that very closely emulate the ballistics of VU meters.

Four mute groups allow several channels to be muted simultaneously, while another unique facility is the limiter on both the Record and Alternate stereo outputs that makes it easier to create a stereo recording of the mix.

The console also features an output matrix with eleven feeds to four outputs, being fed from the group busses and main L, R and C (mono) outputs.

Although largely conventional in layout, the GB8 does have some unique mechanical features. The rugged steel chassis has a sloping rear connector panel so that it is easier to configure from the front of the desk, while the integral power supply has a link option for an external back-up PSU.

Both the GB4 and GB8 desks carry the high quality hallmark with which Soundcraft is synonymous, with engineering and design, as you’d expect from this high-end manufacturer. Careful attention has been given to the mechanical construction, to ensure reliability under strenuous conditions, with all input modules being constructed with individual vertically-mounted pcb’s, fitted to the steel chassis front panel with individually-nutted potentiometers.

The GB Series also shares the stylish looks of the MH4, MH3 and LX7ii consoles, continuing a strong family look and feel across the range.

New GB30 mic preamps and EQ section, designed by Soundcraft co-founder Graham Blyth, owe their design heritage to the MH 3 and MH4 consoles
• New high performance 4-band GB30 EQ
• 4 stereo inputs handle mic or line inputs with 48V and mic amps on each input
• Dual mode operation means console can easily be configured from FOH to Monitor with touch of a button
• 11 true busses including 8 subgroups, left, right and center
• 8 auxiliary sends with flexible pre/post switching
• 4 mute groups
• 11 x 4 matrix allows 4 separate sub-mixes of left, right, center and group outputs
• Internal power supply WITH external PSU link option!
• Direct outputs on every mono channel
• New True VU overbridge monitors left, right and center plus 4 segment LED’s on each input and 12 segment output meters
• Highly stylized design borrowed from the MH Series consoles

MONO INPUT MODULE
Mic Input
A balanced XLR connector accepts balanced or unbalanced mic signals.

Line Input
A balanced 1/4" jack accepts balanced or unbalanced line level sources, such as keyboards.

+48 Phantom Power
Phantom power is individually switchable on every channel, with front panel LED indication of status.

Phase Reverse
Phase reverse is individually switchable on every channel.

Input Stage
Precision, low noise mic preamps deliver continuously variable gain between 5dB and 60dB. A Peak LED indicates internal signal levels in excess of +18dBu.

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 Equalisers or other signal processors. It may also be used for recording.

Direct Output
A direct output is also available on every mono channel with individual pre/post fader switching situated on the rear panel. This allows the direct outputs to be equally useful for effects send applications or multitrack tape feeds.

EQ Section
GB4 and GB8 incorporate the GB30 4-band equaliser section - 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 equaliser 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 equaliser 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
The GB4 has 8 flexible Auxiliary sends which allow the choice of either monitor or effects orientated mixes. Auxes 1-4 are pre-fader and, in normal operation, are routed to the rotary Aux masters 1-4. In SWAP mode, they are routed to Group faders 1-4 and Group meters 1-4, ideal for monitor mixing applications. Auxes 5 to 8 are pre/post switchable - globally assigned selectable per Aux bus from the Master Section. The GB8’s 8 Auxiliary sends (Fig. 1) are globally selectable per Aux bus between pre/post fade. The Auxes are routed to rotary Aux masters, which all feature SWAP mode.

Level Control and Routing
On the GB4, the signal on each fader can be routed to the L-R mix (via the Pan control), the C (mono) bus and Groups 1&2 and 3&4. On the GB8, the signal can additionally be routed to Groups 5&6 and 7&8

Pan
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 levels. PFL status is indicated via a front panel LED.

100mm Fader
Professional grade, 100mm faders provide accurate, consistent control of audio levels and have superb cut-off performance.

Metering
A 4-segment LED display on each fader strip provides an instant reference for the signal level on that channel.

STEREO INPUT MODULE
GB4 has two stereo inputs which allow connection of stereo sources, or use as sophisticated effects returns. GB8 has four stere


Soundcraft GB8 32 Channel Mixer with Blyth Pre Amps Price: $4,499.00

Call us for pricing on Tourpack with flight case, spare PSU and Soundcraft lamps for this model

Augmenting the already highly successful GB4 console range is the new GB8 8-bus console. The GB4 has found many friends including the Cavern Club in Liverpool, and in use at the Bedford venue in South London.

Available in frame sizes from 16 to 48 channels, each with four full-function stereo channels and four stereo returns, the GB8 is designed for installations such as churches and performance venues, or for small touring sound systems. The dual-mode topology implemented to such success on the MH3 and MH4 desks allows the GB8 to be used on FOH or monitor duties, with fader control of group or aux outputs. Additional features over the GB4 include a 1kHz oscillator and a meter bridge with three led meters that very closely emulate the ballistics of VU meters.

Four mute groups allow several channels to be muted simultaneously, while another unique facility is the limiter on both the Record and Alternate stereo outputs that makes it easier to create a stereo recording of the mix.

The console also features an output matrix with eleven feeds to four outputs, being fed from the group busses and main L, R and C (mono) outputs.

Although largely conventional in layout, the GB8 does have some unique mechanical features. The rugged steel chassis has a sloping rear connector panel so that it is easier to configure from the front of the desk, while the integral power supply has a link option for an external back-up PSU.

Both the GB4 and GB8 desks carry the high quality hallmark with which Soundcraft is synonymous, with engineering and design, as you’d expect from this high-end manufacturer. Careful attention has been given to the mechanical construction, to ensure reliability under strenuous conditions, with all input modules being constructed with individual vertically-mounted pcb’s, fitted to the steel chassis front panel with individually-nutted potentiometers.

The GB Series also shares the stylish looks of the MH4, MH3 and LX7ii consoles, continuing a strong family look and feel across the range.

New GB30 mic preamps and EQ section, designed by Soundcraft co-founder Graham Blyth, owe their design heritage to the MH 3 and MH4 consoles
• New high performance 4-band GB30 EQ
• 4 stereo inputs handle mic or line inputs with 48V and mic amps on each input
• Dual mode operation means console can easily be configured from FOH to Monitor with touch of a button
• 11 true busses including 8 subgroups, left, right and center
• 8 auxiliary sends with flexible pre/post switching
• 4 mute groups
• 11 x 4 matrix allows 4 separate sub-mixes of left, right, center and group outputs
• Internal power supply WITH external PSU link option!
• Direct outputs on every mono channel
• New True VU overbridge monitors left, right and center plus 4 segment LED’s on each input and 12 segment output meters
• Highly stylized design borrowed from the MH Series consoles

MONO INPUT MODULE
Mic Input
A balanced XLR connector accepts balanced or unbalanced mic signals.

Line Input
A balanced 1/4" jack accepts balanced or unbalanced line level sources, such as keyboards.

+48 Phantom Power
Phantom power is individually switchable on every channel, with front panel LED indication of status.

Phase Reverse
Phase reverse is individually switchable on every channel.

Input Stage
Precision, low noise mic preamps deliver continuously variable gain between 5dB and 60dB. A Peak LED indicates internal signal levels in excess of +18dBu.

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 Equalisers or other signal processors. It may also be used for recording.

Direct Output
A direct output is also available on every mono channel with individual pre/post fader switching situated on the rear panel. This allows the direct outputs to be equally useful for effects send applications or multitrack tape feeds.

EQ Section
GB4 and GB8 incorporate the GB30 4-band equaliser section - 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 equaliser 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 equaliser 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
The GB4 has 8 flexible Auxiliary sends which allow the choice of either monitor or effects orientated mixes. Auxes 1-4 are pre-fader and, in normal operation, are routed to the rotary Aux masters 1-4. In SWAP mode, they are routed to Group faders 1-4 and Group meters 1-4, ideal for monitor mixing applications. Auxes 5 to 8 are pre/post switchable - globally assigned selectable per Aux bus from the Master Section. The GB8’s 8 Auxiliary sends (Fig. 1) are globally selectable per Aux bus between pre/post fade. The Auxes are routed to rotary Aux masters, which all feature SWAP mode.

Level Control and Routing
On the GB4, the signal on each fader can be routed to the L-R mix (via the Pan control), the C (mono) bus and Groups 1&2 and 3&4. On the GB8, the signal can additionally be routed to Groups 5&6 and 7&8

Pan
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 levels. PFL status is indicated via a front panel LED.

100mm Fader
Professional grade, 100mm faders provide accurate, consistent control of audio levels and have superb cut-off performance.

Metering
A 4-segment LED display on each fader strip provides an instant reference for the signal level on that channel.

STEREO INPUT MODULE
GB4 has two stereo inputs which allow connection of stereo sources, or use as sophisticated effects returns. GB8 has four stere


Soundcraft GB8 40 Channel Mixer with Blyth Pre Amps Price: $5,299.00

Call us for pricing on Tourpack with flight case, spare PSU and Soundcraft lamps for this model

Augmenting the already highly successful GB4 console range is the new GB8 8-bus console. The GB4 has found many friends including the Cavern Club in Liverpool, and in use at the Bedford venue in South London.

Available in frame sizes from 16 to 48 channels, each with four full-function stereo channels and four stereo returns, the GB8 is designed for installations such as churches and performance venues, or for small touring sound systems. The dual-mode topology implemented to such success on the MH3 and MH4 desks allows the GB8 to be used on FOH or monitor duties, with fader control of group or aux outputs. Additional features over the GB4 include a 1kHz oscillator and a meter bridge with three led meters that very closely emulate the ballistics of VU meters.

Four mute groups allow several channels to be muted simultaneously, while another unique facility is the limiter on both the Record and Alternate stereo outputs that makes it easier to create a stereo recording of the mix.

The console also features an output matrix with eleven feeds to four outputs, being fed from the group busses and main L, R and C (mono) outputs.

Although largely conventional in layout, the GB8 does have some unique mechanical features. The rugged steel chassis has a sloping rear connector panel so that it is easier to configure from the front of the desk, while the integral power supply has a link option for an external back-up PSU.

Both the GB4 and GB8 desks carry the high quality hallmark with which Soundcraft is synonymous, with engineering and design, as you’d expect from this high-end manufacturer. Careful attention has been given to the mechanical construction, to ensure reliability under strenuous conditions, with all input modules being constructed with individual vertically-mounted pcb’s, fitted to the steel chassis front panel with individually-nutted potentiometers.

The GB Series also shares the stylish looks of the MH4, MH3 and LX7ii consoles, continuing a strong family look and feel across the range.

New GB30 mic preamps and EQ section, designed by Soundcraft co-founder Graham Blyth, owe their design heritage to the MH 3 and MH4 consoles
• New high performance 4-band GB30 EQ
• 4 stereo inputs handle mic or line inputs with 48V and mic amps on each input
• Dual mode operation means console can easily be configured from FOH to Monitor with touch of a button
• 11 true busses including 8 subgroups, left, right and center
• 8 auxiliary sends with flexible pre/post switching
• 4 mute groups
• 11 x 4 matrix allows 4 separate sub-mixes of left, right, center and group outputs
• Internal power supply WITH external PSU link option!
• Direct outputs on every mono channel
• New True VU overbridge monitors left, right and center plus 4 segment LED’s on each input and 12 segment output meters
• Highly stylized design borrowed from the MH Series consoles

MONO INPUT MODULE
Mic Input
A balanced XLR connector accepts balanced or unbalanced mic signals.

Line Input
A balanced 1/4" jack accepts balanced or unbalanced line level sources, such as keyboards.

+48 Phantom Power
Phantom power is individually switchable on every channel, with front panel LED indication of status.

Phase Reverse
Phase reverse is individually switchable on every channel.

Input Stage
Precision, low noise mic preamps deliver continuously variable gain between 5dB and 60dB. A Peak LED indicates internal signal levels in excess of +18dBu.

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 Equalisers or other signal processors. It may also be used for recording.

Direct Output
A direct output is also available on every mono channel with individual pre/post fader switching situated on the rear panel. This allows the direct outputs to be equally useful for effects send applications or multitrack tape feeds.

EQ Section
GB4 and GB8 incorporate the GB30 4-band equaliser section - 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 equaliser 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 equaliser 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
The GB4 has 8 flexible Auxiliary sends which allow the choice of either monitor or effects orientated mixes. Auxes 1-4 are pre-fader and, in normal operation, are routed to the rotary Aux masters 1-4. In SWAP mode, they are routed to Group faders 1-4 and Group meters 1-4, ideal for monitor mixing applications. Auxes 5 to 8 are pre/post switchable - globally assigned selectable per Aux bus from the Master Section. The GB8’s 8 Auxiliary sends (Fig. 1) are globally selectable per Aux bus between pre/post fade. The Auxes are routed to rotary Aux masters, which all feature SWAP mode.

Level Control and Routing
On the GB4, the signal on each fader can be routed to the L-R mix (via the Pan control), the C (mono) bus and Groups 1&2 and 3&4. On the GB8, the signal can additionally be routed to Groups 5&6 and 7&8

Pan
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 levels. PFL status is indicated via a front panel LED.

100mm Fader
Professional grade, 100mm faders provide accurate, consistent control of audio levels and have superb cut-off performance.

Metering
A 4-segment LED display on each fader strip provides an instant reference for the signal level on that channel.

STEREO INPUT MODULE
GB4 has two stereo inputs which allow connection of stereo sources, or use as sophisticated effects returns. GB8 has four stere


Soundcraft LX7II24 24 Channel Mixer Price: $1,699.00

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 l


Soundcraft LX7II32 32 Channel Mixer Price: $1,999.00

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 l


Soundcraft MFXi12 Mixer Price: $599.00

Soundcraft MFXi

Soundcraft's MFXi mixers are compact and ideally equipped for live sound applications including fixed installations, houses of worship and portable PA.

8, 12 and 20 mono input MFXi mixers are empowered by built-in 24-bit Lexicon processing, delivering 32 stunning reverb, delay and chorus effects (see opening page). All MFXi mixers include 2 stereo input channels along with a 2-track record output and a 2-track replay input which allows interval music to be easily played from CD, MP3 or other music source.

For increased versatility, each model in the MFXi range has two subgroups as well as a main stereo mix, making control of groups of channels much easier to manage. These are supplemented by 2 Auxiliary busses which can be used for effects sends or to provide a foldback monitor mix for artists.

The MFXi consoles use vertically mounted PCBs which are secured with nutted pots for extra strength, stability and easy servicing. Well-spaced controls provide easy access at those critical control moments, enhanced by clear legending which highlights linked or associated functions.

Sound quality is assured by Soundcrafts now-legendary GB30 mic preamp and the use of professional condenser microphones is facilitated by the provision of globally switched +48V phantom power. New circuit designs have improved audio quality, and lowered the overall noise floor of the console and FX sections. An integral universal power supply negates the need for an external power module.

Rack ears are included with 12 channel consoles.

Key Features:
  • Built-in Lexicon 24-bit effects
  • Precision GB30 mic pre-amps
  • True, professional +48V phantom power for condenser microphones
  • 2 Group busses
  • Stereo Mix output
  • 8, 12 or 20 mono Mic inputs, all with 2 stereo line inputs
  • Up to 28 inputs to mix
  • Aux sends, globally switchable pre or post-fade
  • FX send
  • Universal internal power supply
  • Optional rack ears (standard on 12 channel consoles)

The addition of a Kensington lock slot on MFXi/MPMi consoles provides a welcome level of security in installations.

MFXi - MPMi: The Differences
MFXi input channels feature an FX send to the internal Lexicon effects processor, along with 2 Aux sends for use with external processors, or to create a monitor mix. MFXi consoles include an additional stereo return to mix with its own level control.
With no internal Lexicon effects, MPMi input channels replace the FX send with a third Aux send for operators preferring to use external effects.

FEATURE SUMMARY

Analogue/Digital:

Analogue

Frame Sizes:

8 12 20

Stereo Channels:

2

Digital I/O:

No

FX Processors:

1

Groups:

2

EQ Bands:

3

Aux Sends:

3

Returns:

3

Direct Outputs:

No

Matrix Outputs:

0


Mono Input Module

Mic Input

A gold-plated balanced female XLR connector accepts balanced or unbalanced mic signals. At -127dbu EIN the mic amp is extremely quiet and transparent with excellent overload characteristics.

Line Input

A balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards.

Insert


Used for patching in compressors or additional EQ or for other signal processors. It can also be used for recording to multi-track recorders if necessary.

Gain


A rotary gain control on each input alters the gain of the input signal, from +5 to +60dB (Line Inputs have -15dB attenuation). Linear circuitry within the preamp delivers smooth gain control over the entire gain range.
EQ Section

Equalisation is split into three bands. The shelving HF control provides 15dB of cut or boost (gain adjustment) for frequencies above 12kHz. A swept mid frequency control enables frequencies from 150Hz to 3.5kHz to be adjusted with up to 15dB of cut or boost at the selected frequency. Signals below 80Hz can be adjusted with the LF control, which features 15dB of gain adjustment (cut or boost).

Auxiliary Section


Two (MFXi) or three (MPMi) Aux sends for sending separate monitor mixes in live applications, or for use with external effects. In the Master Section, each Aux bus has its own master level control and AFL. Aux 1 is fixed pre-fade, Aux 2 is switchable pre or post-fade, and Aux 3 (FX on MFXi) is set post-fade.

FX Send


For sending signal to the internal 24-bit Lexicon effects.

Pan, Muting, PFL and Routing


The Pan control positions each channel's signal across the stereo image, with an illuminated Mute switch to cut the signal completely. A PFL button solos the signal for monitoring. The mono channels can be routed to either the main Mix outputs or the Sub Groups via the Mix/Grp switch.

Faders and Metering


FEATURE SUMMARY

Analogue/Digital:

Analogue

Frame Sizes:

8 12 20

Stereo Channels:

2

Digital I/O:

No

FX Processors:

1

Groups:

2

EQ Bands:

3

Aux Sends:

3

Returns:

3

Direct Outputs:

No

Matrix Outputs:

0


Mono Input Module

Mic Input

A gold-plated balanced female XLR connector accepts balanced or unbalanced mic signals. At -127dbu EIN the mic amp is extremely quiet and transparent with excellent overload characteristics.

Line Input

A balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards.

Insert


Used for patching in compressors or additional EQ or for other signal processors. It can also be used for recording to multi-track recorders if necessary.

Gain


A rotary gain control on each input alters the gain of the input signal, from +5 to +60dB (Line Inputs have -15dB attenuation). Linear circuitry within the preamp delivers smooth gain control over the entire gain range.
EQ Section

Equalisation is split into three bands. The shelving HF control provides 15dB of cut or boost (gain adjustment) for frequencies above 12kHz. A swept mid frequency control enables frequencies from 150Hz to 3.5kHz to be adjusted with up to 15dB of cut or boost at the selected frequency. Signals below 80Hz can be adjusted with the LF control, which features 15dB of gain adjustment (cut or boost).

Auxiliary Section


Two (MFXi) or three (MPMi) Aux sends for sending separate monitor mixes in live applications, or for use with external effects. In the Master Section, each Aux bus has its own master level control and AFL. Aux 1 is fixed pre-fade, Aux 2 is switchable pre or post-fade, and Aux 3 (FX on MFXi) is set post-fade.

FX Send


For sending signal to the internal 24-bit Lexicon effects.

Pan, Muting, PFL and Routing


The Pan control positions each channels signal across the stereo image, with an illuminated Mute switch to cut the signal completely. A PFL button solos the signal for monitoring. The mono channels can be routed to either the main Mix outputs or the Sub Groups via the Mix/Grp switch.

Faders and Metering

Each mono channel fea