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CHOOSE
YOUR LIVE MIXER

Available in frame
sizes from 12 to 40 channels, the GB4 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 GB4 to be used on FOH or monitor duties,
with fader control of group or aux outputs.
Although largely conventional in
layout, the GB4 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.
Four mute groups allow several channels
to be muted simultaneously, while another unique facility is the
limiter on a set of dedicated record outputs that makes it easier
to create a stereo recording of the mix.
The console also features an output
matrix with seven feeds to four outputs, being fed from the group
busses and main L, R and C (mono) outputs.
The GB4 offers a comprehensive set
of functions and facilities in a small and cost-effective footprint,
and delivers the high performance and reliability you would expect
from a Soundcraft product
| MH4 |

MH4
Multipurpose Live Console
Today’s live performance mixing demands a level of versatility
beyond anything previously required. Companies now need to
maximise the efficiency of their inventory for all types of
event, leading to an ever-increasing demand for multipurpose
consoles. The new MH4 can be used for FOH, Stage Monitors,
or Monitors from FOH, with a brand new bussing system that
gives maximum flexibility, whilst retaining the Soundcraft
principles of intuitive operation. New mic pre and EQ designs
give the console true 21st-century performance, and the latest
manufacturing technology has resulted in a light-weight, rugged
and reliable console. With new eye-catching styling, the MH4
looks as good as it sounds.
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| MH3 |

MH3
Don’t be fooled by its modest price tag. Ideally suited
for both Front-of-house and Monitor use, the new Soundcraft
MH3 provides sound contractors and venues with the critical
commercial advantage of complete console flexibility. All
it takes is the touch of a button to place either Groups or
Aux Masters onto faders, delivering intuitive and uncompromised
operation in either application. The MH3 is available in five
frame sizes with legendary Soundcraft sound quality delivered
via a new high-headroom mic amp, classic British EQ and rigorous
circuit design.
What’s more, the MH3 is a true modular console. Channels
can be quickly removed and replaced in blocks of eight, making
it easy to configure the MH3 to meet the user’s precise
requirements and ensuring the robust reliability a life on
the road necessitates. A professional, modular, dual-purpose
live sound console at a truly affordable price? Welcome to
the Soundcraft MH3.
KEY
FEATURES
Versatile
design, allowing FOH, Monitors, or Monitors from FOH configurations
Semi-modular in blocks of 8 for flexible layouts and easy
serviceability
Frame sizes 24 mono/4 stereo, 32 mono/4 stereo, 40 mono/4
stereo, 48 mono/4 stereo, 56 mono/4 stereo
Flexible Auxiliary Bus structure with 2 stereo sends for in-ear
monitoring
8 group busses and 12 aux busses in FOH mode
12 monitor busses (12 mono, or 8 mono + 2 stereo) in Monitor
mode
Swap mode allows fader control of Aux outputs in Monitor mode
Integral 12x4 matrix, can be expanded to 12x8 with optional
matrix module
3-band EQ on FX Returns 1-8, switchable to Group or Aux outputs
New Mic Amp design with high headroom and outstanding CMRR
New EQ design with focused response
LCR panning on inputs
8 VCA groups and 8 Mute groups with snapshot automation and
MIDI control
Integrated control of BSS Audio Varicurve™ and dbx DriveRack™
Integral LED bargraph metering for all inputs and outputs
Optional VU output meterbridge
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Series FIVE Monitor is a dedicated
Monitor mixing console designed to meet the exacting requirements
of today’s major tours and installations. With input channels
boasting a feature set similar to that of the highly-respected
FIVE Front-Of-House console, FIVE Monitor offers an equally
high level of control over stage sources as its brother, but
adds to this the comprehensive routing and Output control required
from a Monitor console. In response to the demand for larger,
more complex Output capability, FIVE Monitor is available in
two frame types - 24-bus and 32-bus. The 24-bus version includes
as standard a 23 x 12 Output Matrix, giving an impressive maximum
Output capability of 38 balanced Outputs. The 32-bus frame has
as standard a 23 x 16 Output Matrix, making a massive total
of 50 balanced Outputs. The proliferation of stereo Keyboard
or Submix sources, in addition to the trend towards in-ear monitoring,
means that stereo Output capability is now no longer a luxury
option: both FIVE Monitor frame types support stereo Outputs
- 9 stereo on the 24- bus, and 17 stereo on the 32-bus console.
The 24-bus console is available with 44, 52 or 60 input channels.
The 32-bus console is available with 40, 48 or 56 input channels.
For
those situations which demand that Outputs feed a combination
of different systems (wedges, in-ear), the FIVE Monitor offers
TWO SOLO systems - regular SOLO and ALT SOLO. Via a simple
switch on the Outputs, each Group and Matrix Output bus may
be set to send to either of these SOLO systems, making setup
of accurate SOLO configur-ations (perhaps a Main wedge on
SOLO, and an engineer In-Ear set on ALT SOLO) a simple task.
In
addition, via a special pair of auxiliary MIDI ports, the
FIVE Monitor can send messages to a BSS FPC-900 Varicurve™
Remote Controller or dbx DriveRack™ to select particular
slave EQ devices in a rack whenever a FIVE Monitor Output
SOLO is activated. This accelerates considerably the process
of SOLOing and editing an Output EQ. Of course, all of this
is packaged in the rugged, road-proven frame of the FIVE,
designed to keep weight and size to a minimum without sacrificing
mechanical integrity. The package is completed by the addition
of the same acclaimed all-new FIVE power supply design - the
CPS2000, featuring built-in redundancy link, industry standard
linear circuit design and plenty of headroom.
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| K2 |
K2
Sometimes there’s just no substitute for experience.
Live sound puts special demands on both equipment and personnel,
because there’s no second take, and because anything
less than total reliability can mean disaster. Then there’s
the physical punishment of touring, and the need to work in
a wide variety of environments.
After more the 25 years of designing and building mixers for
professional live sound, Soundcraft has earned a reputation
that’s second to none, because we listen to engineers
at the cutting edge, and take notice. The k2 is our most cost-effective
fully-featured 8-bus live console ever, taking advantage of
Soundcraft’s long experience in live sound to deliver,
in a straightforward package, all the facilities you need
for a first-rate production.
The
k2 includes many features that you’d expect only on
a much bigger console - like an advanced solo system, true
left-centre-right bussing, a built-in matrix, and full 4-band
EQ - equipping it for a range of applications from touring
with bands to fixed installations in theatres, clubs, or places
of worship. The desk is available in three frame sizes from
24 to 48 mono input channels, with an additional eight stereo
input channels
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| SERIES
FIVE |

SERIES
FIVE Over 25 years of success in mixing console design
and manufacture has given Soundcraft unique insight into the
demands of leading audio professionals. Through the application
of this experience, and having sought the opinions of top
live sound engineers and designers, Soundcraft has arrived
at what it strongly believes to be its best front of house
console yet. Soundcraft set out to provide a great-sounding,
fully-featured and affordable live sound console. The result
is the Series FIVE.
Available in frame sizes of 24 to 56 input channels, Series
FIVE is ideally suited to a whole range of demanding applications
from touring to theatre installation. Series FIVE’s
comprehensive standard feature set includes LCR panning, aux
master levels on 100mm faders, full-spec stereo modules and
FX returns, plus flexible MIDI scene control. Despite the
Series FIVE's high level of facilities, the console's layout
is clear and reassuringly familiar. This has been achieved
without compromising the audio quality.
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| SERIES
TWO |

SERIES
TWO Now Soundcraft announces the Series TWO: a classic
live console feature set combined with class-leading engineering
and big-console looks, but at a ground-breaking price.
Series TWO embodies the classic 8-group, 8-Aux format pioneered
for live sound by Soundcraft in the 1970’s, and which
has since become the defacto standard in mid-range console
specification.
As
well as that, there are new features like sweepable high-pass
filters on every input, high-resolution LED input metering,
and midi-controlled snapshot muting. Outputs are augmented
by left, right and centre busses, plus an 11x2 Matrix section,
as well as the 8 Aux and 8 group outputs.
The
latest in innovative circuit design brings the benefit of
25 years of audio experience to the Series TWO, ensuring outstanding
sound quality, and the console boasts a brand new mic preamp
design with ultra-low noise and distortion.
Three frame sizes : 24, 32 and 40 channel |
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| SM20 |

SM20
is the latest addition to Soundcraft’s respected range
of dedicated stage monitor consoles, and has been designed
to take account of the continuing trend towards use of in-ear
monitoring systems, brought about by the rapidly falling cost
of these systems.
Drawing on elements from previous SM consoles, the SM20 packs
more features into a smaller size than any of its predecessors.
The
SM20 is available in three frame sizes providing 40, 48 and
56 inputs into 20 outputs, with the user-friendly control
layout pioneered on the earlier SM consoles.
Unprecedented
power has been added to the console inputs in the form of
a sweepable high-pass filter, fully parametric mid-bands on
the EQ, and globally switchable mono or stereo sends, giving
any combination between 20 straight mono sends and 7 stereo
plus 6 monos. Other new features include a built-in mic split
facility, and MIDI control of external BSS Varicurve™
or dbx DriveRack™ equalisers.
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| K3 |

K3
This modular 8-bus mixer has been designed to satisfy today’s
requirements for high quality mid-range sound reinforcement
consoles. That means advanced mute scene setting and MIDI
control, plus ‘big console’ features, such as
sophisticated and precise EQ, input metering, an advanced
solo system, and eight pre/post auxiliaries. If your monitoring
requirements are more complex then you can team your k3 Theatre
up with Soundcraft’s SM12 monitor console, which provides
the flexibility of 14 foldback mixes.
k3 Theatre delivers an unprecedented degree of mixing control
in a versatile package that will integrate into a wide range
of live and installed sound situations. It offers an extensive
range of frame sizes and modules, enhancing the inherent versatility
of a modular 8-bus configuration.
But versatility
is nothing without quality to match - k3 Theatre is designed
and engineered to Soundcraft’s customary high standards.
That means it’s built to last, with a rugged steel chassis
protecting its circuitry and no compromises in design or component
specification throughout. All the rear panel XLRs are gold-plated
and inside, the circuit boards employ advanced surface-mount
technology.
The compact
frame with its low sightline will fit in almost anywhere,
and ensures excellent visibility from the mixing position.
Larger k3 Theatre consoles, of 24-channels and above, can
be fitted with an optional meter bridge.
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| SPIRIT
8 |

The
Spirit 8 is the ultimate Spirit Range live
console, a full-featured 8-bus desk that combines a comprehensive
range of professional control and routing facilities with
cost-effective and compact design. You can choose the Spirit
8 in any of four frame sizes, from 16 to 40 mono channels,
all featuring eight subgroups for routing sets of channels
together, giving you fewer faders to ride when balancing the
overall mix.
Applications:
8-bus
live mixing
FOH mixing
Touring bands
Venues and theatres
Installations
Recording direct to multitrack
16, 24, 32 and 40 channels frame sizes
8 group busses
UltraMic+™ preamp with up to 66dB gain range
+48V phantom power, individually switchable on each channel
4-band EQ with two swept mid bands
4 mute groups
Additional outputs on 10 x 2 matrix
Two stereo input channels
8 stereo returns
Phase reverse on mono inputs
18dB/octave high-pass filter
6 aux sends, configurable to give up to 4 pre or post fade
sends |
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SPIRIT
LIVE 4/2 Mixing in larger venues requires more than
just extra inputs and outputs - you need effective means of
controlling the way that signals are routed, along with facilities
such as grouping and mutes that make it easy to deal with
all those channels. The Spirit Live 42, in frame sizes from
12 to 40 channels, is designed for just these situations.
Soundcraft's UltraMic Plus preamp give a 66dB gain range,
making it capable of handling a wide range of input signals.
The EQ on mono channels is a 4-band configuration with two
swept mids, with six aux sends. It has full mute group facilities
with four mute groups controlled from the master section.
All
mono inputs also feature pre-fade listen, 100mm linear faders,
insert points, direct channel outputs, individually switchable
+48V phantom power, phase reverse, EQ in/out switching and
a hi-pass filter. The stereo inputs - two on every 12-channel
frame, four on other frame sizes - feature shelving 2-band
EQ and six aux sends.
In
the group section, all four groups have 100mm linear faders,
insert points, and individual output jacks. The six auxiliary
master sends have their own rotary level controls with four
stereo returns. Metering is via six 12-segment bargraphs.
It
also has a 10x2 matrix in the master section, making it easier
to deal with multi-speaker systems in theatre sound reinforcement.
The main stereo XLR outputs are ground compensated with insert
points and a separate mono output is available to feed a centre
speaker cluster.
Applications:
Sound
installations where 4 busses are required
Club or venue installation
FOH band console
Houses of Worship
Theatre sound
PA hire
12, 16, 24, 32 and 40 channel frame sizes |
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The
Monitor 2 combines all the necessities of a professional monitor
desk with elegant design feature aimed at speed and clarity
in use - such as Split outputs that allow easy connections to
a FOH mixer without using splitter leads. And because versatility
is a priority in all of the Spirit Range designs, the Monitor
2 is flexible enough to perform FOH mixing where no other mixer
is available. Available
in 24, 32 and 40 channel frame sizes, Spirit Monitor 2 has
twelve sends including two stereo pairs specifically for in-ear
monitoring. All Monitor sends are pre-post fader switchable
and, in addition, each input has a built-in mic splitter,
negating the need for dedicated splitter boxes on stage.
Monitor
2 has 4 band EQ section with two mid-swept frequencies on
every input, plus EQ in-out switches. Other features include
a DIM Switch, alleviating feedback problems by immediately
attenuating each monitor outpu by 6dB, two dedicated effects
returns and two house mic heeds, allowing performers with
in-ear monitors to hear the audience as part of their mix.
Applications:
Monitoring
in Touring, Venue and Theatre
Monitor plus FOH in small venues
4-band EQ with two swept mid bands
12 monitor sends with 1-8 mono and 9-12 stereo
UltraMic+™ preamps on all mono inputs
+48V phantom power switchable on all channels
23, 32 and 40 channel frame sizes |
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The
LX7 combines the essential Soundcraft live mixer qualities with
basic recording-oriented features, in a compact frame that's
light enough for one person to carry yet easy to configure and
use. This makes it especially suitable for multi-purpose use
in venues such as small halls and community centres, while its
direct channel outputs make the LX7 an ideal choice for bands
who need a live desk that can double up in the studio.
Housed in a choice of 16, 24 or 32 channel frame, LX7 provides
24, 32 or 40 inputs - with no less than 7 separate bus outputs
including mix, 4 groups and a dedicated mono bus for centre
speaker clusters, side or rear fills. The output count rises
to 29 with the inclusion of direct outs on the first 16 mono
inputs and six auxiliary busses. LX7's
balanced mic inputs all use patented Ultramic preamps, providing
60dB of gain range and 22dBu of headroom. Each input also
includes 4 band EQ with two swept mid frequency controls.
In addition, EQ In/Out switch and steep 18dB/Octave High Pass
Filter, allow effective audio control in difficult venues
whilst the six auxiliary sends are pre-post switchable in
pairs from each channel, providing a maximum of 4 pre-fader
and six post-fader. This makes LX7 equally applicable for
foldback - heavy performance or in situations where more effects
are required.
LX7's
groups section houses two further stereo inputs - with EQ,
auxiliaries for keyboards or stereo recording devices - as
well as two FX returns. All four groups are routable to mix
and include 12 segment bargraph metering for accurate monitoring
and inserts. Six auxiliary masters on rotary controls also
included AFL soloing.
In
the master section there is talkback provision to all pre-fade
auxiliaries and the mix. Global phantom power and a two track
return for pre-show music are also present. A "two-track"
to mix switch allows the engineer to play CD's over the main
PA whilst back-stage set-up is going on, with one press of
a button. The mix is also routable to the separate mono bus
if mono PAs are required.
LX7
is built in a rugged wedge-shaped steel chassis with an internal
power supply, professional all-metal jackfield and connectors
on the rear of the console. All inputs and outputs are balanced.
Electronically,
the LX7ii 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 LX7ii 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 LX7ii.
Applications:
Gigging
Bands
Small installations
Small venues
Theatres
Houses of Worship
Live and studio recording
100mm faders
+48V phantom power
16, 24 or 32 channel frame sizes
Up to 40 inputs (including stereo inputs and returns)
18dB/octave high-pass filter
6 aux sends, 4 of them pre/post switchable
Group and mix inserts
12-segment LED metering
Integral PSU
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The
k1 is a professional, compact, four-bus sound reinforcement
console designed for a wide range of applications with installed
and portable sound systems. The console is available in a range
of free-standing frame sizes, and an 8ch rack-mount version.
The modular construction, with input modules in blocks of four,
provides ease of servicing and configuration to suit individual
applications. All frames include a versatile Master section,
combining group and main output masters, monitoring, Matrix
outputs and two full stereo input channels. All input modules
include:
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The
FX16 offers a combination of powerful live and recording features,
with enough channels and direct outputs to enable use with 16-track
recording systems. Spirit
FX16 is a flexible 4-bus mixer capable of producing Digital
sound quality for live and recording applications. It features
a specially designed 16 program Lexicon Effects Section with
dual effect capability (including Chorus and Reverb, Chorus
and Delay , and Reverb and Delay) and fully editable and storable
programs and parameters. The console itself includes 16 mic/line
inputs and 26 inputs to mix in total (including FX returns
and tape return to mix). In addition to the mix outs, two
sub-buses allow groups of instruments to be sent to multitrack,
to additional speakers, or sub-grouped to mix. FX16's 16 Direct
Outs are individually fader pre-post switchable so they are
equally useful for recording in the studio or at a gig. In
keeping with the multipurpose nature of FX16, both Solo In
Place and PFL solo are available, for studio monitoring and
channel gain set-up applications respectively.
All
FX16's 16 mic/line inputs are equipped with UltraMic™
preamp which provides a full 60dB of gain range and +22dBu
of headroom, meaning that the FX16 input stage can handle
virtually any mic or line device. In the EQ section, a "truly
British 3-band EQ" with swept mid benefits from custom
designed pots which give greater control across carefully
chosen frequencies. There are 4 Auxiliary Sends, including
a dedicated Lexicon effects send, 1 pre-fade send and 2 pre/post-fader
selectable send which are equally useful as extra foldback
send in monitor-heavy live applications, or as effects sends
in studio mixdown situations. In addition, there are four
Stereo returns, a separate Mono Sum Output and 2 Subgroup
Outputs.
100mm
faders are used throughout, giving more accurate control during
complex mixes than standard 60mm designs, and all pots have
been custom designed to give even and consistent response
around their entire sweep. The use of the latest PCB surface
mount technology means that FX16 fits all of these features
into a rugged, compact frame which can be optionally rack-mounted
into a 10U space via FX16's rotating connector pod which allows
leads to be connected conveniently behind the rack.
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click
here for downloads
click here for a printable page
These days there's simply no excuse for a live mixer to give
anything away to a studio mixer in terms of audio quality. With
its combination of live and recording-oriented features, plus
all the usual benefits, the FX8 is ideal for both stage and
studio use, and is particularly suitable for live recording.
FX8 is a flexible 4-bus mixer capable of producing Digital sound
quality for both live and recording applications. It features
a specially designed 16 program Lexicon Effects Section with
dual effect capability (including Chorus and Reverb, Chorus
and Delay , and Reverb and Delay) and fully editable and storable
programs and parameters., The console itself includes 8 mic/line
inputs and 18 inputs to mix in total (including 4 stereo inputs
and tape return to mix). In addition to the mix outs, two sub-buses
allow groups of instruments to be sent to multitrack, to additional
speakers, or sub-grouped to mix. FX8's 8 Direct Outs are individually
fader pre-post switchable so they are equally useful for recording
in the studio or at a gig. All
FX8's 8 mic/line inputs are equipped with UltraMic™
preamp which provides a full 60dB of gain range and +22dBu
of headroom, meaning that the FX8 input stage can handle virtually
any mic or line device. In the EQ section, a "truly British
3-band EQ" with swept mid benefits from custom designed
pots which give greater control across carefully chosen frequencies.
There are 2 Auxiliary Sends, including a dedicated Lexicon
effects send, 1 pre-fade send and 1 pre/post-fader selectable
send which is equally useful as an extra foldback send in
monitor-heavy live applications, or as an effects send in
studio mixdown situations. In addition, there are four Stereo
inputs, a separate Mono Sum Output and 2 Subgroup Outputs.
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Designing
good audio mixers has never been easy - but with the widespread
use of ultra-quiet digital recorders, and improvements all through
the live and studio audio chain, today’s mixers have to
stand up to closer sonic scrutiny than ever before. At the same
time, mixing has become less a process that takes place at the
console alone, and more one that involves outboard effects,
samplers, and synchronisation of audio and video recorders.
It’s a big task for a mixer to keep in touch with all
of that - which is why Soundcraft created Ghost, the ultimate
affordable analogue recording console.
Simply put, Ghost is the only desk that delivers the audio precision,
quality and all the control features of a big studio desk without
the usual prohibitive price ticket. The EQ, for instance, is
directly comparable to that of the classic Soundcraft 3200 and
Europa consoles. No compromises. An
all-new mic preamp, ProMic, has been developed just for Ghost.
Its performance alone puts Ghost into a different league from
other consoles of similar price.
The killer punch, however, is delivered by
Ghost’s integral computer-based machine control and
mute automation. Derived from the innovative Soundcraft DC2020
post-production console, the machine control in Ghost makes
it far more than just another mixer. It actually forms the
heart of an automated recording setup with countless benefits
in ease of use and production efficiency.
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Delta
DLX
The Delta DLX series comprises a range of input module, output
module and frame options which allow the user to configure the
console for a wide variety of applications. The only constraints
on the selection and positioning of modules are firstly that
the console must have a master module (2 channels width) which
must be fitted at the right hand side of the console, and secondly
that any group output modules fitted must be positioned immediately
to the left of this.
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Digital
328 represents a revolution in low cost professional audio,
bringing all the functionality and sonic excellence of digital
mixing to a brand new audience, with its unique console based
interface, 328 finally bridges the gap between analogue and
digital mixers, retaining the spontaneity and ease of use of
an analogue console yet providing all the advantages of digital,
such as instant total recall or all digital parameters, moving
fader automation and onboard Lexicon effects.
Although other digital mixers offer an amazing array of functions,
it can often be a nightmare to access them. In contrast we've
designed the Digital 328 to operate like your old analogue 8-bus
console and not like a computer with faders, so that you can
take it out of its box and get started without even opening
the manual. Unlike other digital mixers,
there's instant access to any channel, group or master feature
with one button press, and you can see that feature's status
from the front panel without having to rely on an LCD display.
The key to it all is the 328's unique "E-strip",
the lighter-coloured bank of encoders and switches that runs
across the centre of the console.
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Soundcraft
328XD combines sophisticated moving fader automation with legendary
Soundcraft sonic performance and onboard interfacing to virtually
all formats.
Designed for the way you work
Not just an amazing console in it's own right, the 328XD is
designed to integrate completely with desktop packages. Using
the 328XD as a hardware controller and combining its mixing
engine with that of a desktop sequencer produces one huge, awesome
production centre. Indeed, with its 56-bit internal processing,
it makes sense to run desktop audio channels through the 328XD
at mixdown.
Also see: Supported Hardware
Expansion Options
Sign Up For The 328 Discussion Group
MIDI-OX - Download it at www.midiox.com
Interfaces to ADAT, TDIF, S/PDIF and AES/EBU as standard (no
cards)
E-Strip technology - See parameters the way you want to
Legendary Soundcraft EQ and Dynamics processing
Up to 42 inputs at Mixdown, plus 8 groups, and 16 direct outputs.
16 Mic/Line and 5 stereo inputs
16 digital inputs ( or tape returns ) in ADAT™ Optical
and TDIF™ formats
Integrated meterbank for all inputs and outputs
2 high resolution superb quality Lexicon effects units
100mm motorized faders, comprehensive dynamic automation
24-bit ADCs and DACs (128x oversampling) & 56-bit internal
processing
MIDI Controller mode to remote control your sequencers &
synths.
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| SPIRIT
LIVE 4/2 |
Spirit
SX is a flexible 4-bus mixer capable of producing Digital sound
quality for both live and recording applications. It includes
20 inputs as standard and 18 outputs (including Auxs and Direct
Outs). In addition to mix outs, two sub-buses allow groups of
instruments to be sent to multitrack, to additional speakers,
or sub-grouped to mix. There are also four stereo inputs for
keyboards or other stereo instruments. SX's 8 Direct Outs are
fader pre/post switchable so they are equally useful for recording
in the studio or at a gig.
12 mic/line inputs are equipped with Soundcraft's UltraMic™
preamp giving a full 60dB or gain range and +22dBu of headroom,
meaning that the SX input stage can handle any mic or line device.
In the EQ section, the classic British 3-band EQ with swept
mid benefits for custom designed pots which give greater control
across carefully chosen frequencies. There are 2 auxiliary sends,
2 of which can be assigned pre- or post-fader making them equally
useful for monitor-heavy live mixes or effects-heavy recording.
In addition, there is a separate Mono Output and 2 subgroup
outputs. 100mm faders are used through giving more
accurate control at mixdown and all pots have been custom
designed to give even and consistent response around the entire
sweep. The SX fits all of these features into a rugged, compact
frame with integral carry handle which can be optionally rack-mounted
in to a 10U space.
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| B800 |

B
800 Finding the right desk for demanding professional
broadcast applications has never been easy. The varied requirements
of live TV broadcast, production and live radio work, and
OB installations means that only highly customised versions
of existing mixers have been suitable - especially when space
is at a premium. The Soundcraft B800 changes this.
The B800 is a specialised yet highly flexible modular broadcast
mixer, drawing on Soundcraft’s experience of designing
and customising consoles for the broadcast audio market. Extensive
configuration options available within modules mean that the
features and flexibility you would previously have expected
only on a customised desk are available within the B800's
compact frame. In terms of audio routing, remote control and
signalling facilities, the B800 sets a new standard for versatility,
and compact, ergonomic efficiency.
Designed
from the ground up as the key audio component in broadcast
installations, the frame and electronics of the Soundcraft
B800 embody the highest standards of structural and electronic
integrity. Whatever the mix of high-quality studio sources
and unpredictable remote signals, the B800 ensures superior
audio performance. Modules are connected to internal bussing
via motherboard construction, audio connections are via balanced
XLRs, and all internal mix busses are balanced to achieve
a high degree of isolation, noise and interference rejection,
and robust signal handling.
Five frame
sizes are available, accepting up to 48 inputs. The desk can
be configured with 8 mono or 4 stereo groups, and there are
two fully independent stereo master output modules. 6 mono
and 2 stereo aux sends are provided. Extensive monitoring
and cue facilities include stereo AFL/PFL, and several sets
of speaker and phones outputs. There are 4 VCA groups for
additional level control. • Massive 33dB input headroom
24, 32, 40, 48, 56-module frames
8 mono or 4 stereo groups
Two fully independent stereo master output modules
6 mono and 2 stereo auxes
Stereo AFL/PF
LED indication on all switches
4 VCA groups
Wide variation in module audio and logic/control functions
via internal links and jumpers
Flexible cleanfeed facilities via Direct outputs on all channels
Versatile and highly configurable monitoring via speakers
and studio and guest headphones
Limiters on mono and stereo groups and master outputs
8 input with 6 monitor channel surround module
Wide range of meterbridge options
Balanced audio inputs and outputs throughout, on XLRs and
EDACs
Balanced internal bussing
Motherboard construction
Momentary or latching Cue operation
Oscillator and slate oscillator
Manual or remote mute switching
External control
Remote start/stop
Incrementally switched input channel gain
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| B
400 |

B
400 Radio production, live, and outside broadcast
each demand specific qualities in a mixing console, and addressing
these disciplines in a single desk requires flexibility and
uncompromised fidelity. The Soundcraft B400 takes these tasks
in its stride while offering the additional benefits of inherent
reliability, serviceability and Soundcraft’s unique
experience in the field of broadcasting.
Based on the highly successful B800, the B400 delivers a level
of configurability unrivalled in its class. Input frames can
comprise any combination of Mono, Stereo and Stereo Telco
modules. 8 Mono or 4 Stereo Groups can be specified while
the individual Monitor, Communications and Stereo Master Modules,
fitted to the B400 as standard, offer a range of facilities
to satisfy the most demanding engineer.
Yet despite
its specification, the B400 provides a budget-friendly solution
for facilities of all sizes. And whatever role you ask it
to play, the B400 performs with the professionalism Soundcraft
customers around the world have come to expect. • 24,
32, 40, 48, 56-module frames
1 stereo and 3 mono auxes
LED indication on all switches
Wide variation in module audio and logic / control functions
via internal jumpers
Stereo ISDN cleanfeed facilities via direct outputs on Telco
channels
Versatile and highly configurable monitoring via speakers
and studio and guest headphones
Limiters on master output
Wide range of meterbridge options
Balanced audio inputs and outputs throughout, on XLRs and
EDACs
Balanced internal bussing
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| B
100 |

The
B100 is designed for use when high quality stereo
recording or editing is required. A compact unit, it is equally
suited to studio or mobile work. Standard features include
a built-in loudspeaker, a phase meter and insert points on
mono and master outputs. |
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| RM
105 |

RM105
Designed for use in local radio and other broadcast applications
where ease of use must be married with an added level of functionality,
the Soundcraft RM105 is a fully modular on-air console which
provides a versatile and cost-efficient studio control package.
The RM105’s frame can be specified to be 8, 12 or 20
channels wide. Mono, Stereo, Telco and Source Select input
modules are available, in addition to a Master Module which
is included as standard. |
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| RM1d |

The
RM1d is Soundcraft’s first digital
On-Air radio console. Designed for quality-conscious self-op
studios, it combines the benefits of an all-digital signal
path with the simplicity of control previously associated
with analogue consoles. A pool of assignable digital and analogue
inputs are provided. • 6-fader and 12-fader-plus-script-tray
frames. New V3 Software Now Available, Click here.
4x mono mic/line inputs with switchable 48V (8x on 12-fader)
Analogue inserts on two of the mic/line inputs (4x on 12 fader)
2x analogue stereo line inputs (4x on 12-fader)
4x AES/EBU inputs plus 1xS/PDIF input (8x AES, 2x S/PDIF on
12-fader)
4x analogue clean feed outputs (6x on 12 fader) allow telco
operation
Analogue outputs for Main Programme x2, Aux, PFL, Control
Room and Studio
Headphone outputs for C/RM, Studio and Guest
4x stereo analogue External Monitor Source inputs
2x AES/EBU and 1x S/PDIF outputs (4x AES and 2x S/PDIF on
12-fader)
Fader start/cue lamp relays output on all channel faders
Each input channel has gain trim, dynamics processor, 3-band
EQ, 2x mono (or 1x stereo) Aux send and Pan control, via central
assignable strip
All console settings can be stored in configuration memories
(Presets)
Integral meterbridge, with VU or PPM meter options plus dual
timers and Cue speaker
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