User manual SOUNDCRAFT 1600

[. . . ] Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual. No part of this manual may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, electrical, mechanical, optical, chemical, including photocopying and recording, for any purpose without the express written permission of Soundcraft. Harman International Industries Limited Cranborne House Cranborne Road POTTERS BAR Hertfordshire EN6 3JN UK Tel: +44 (0)1707 665000 Fax: +44 (0)1707 660742 http://www. ureidj. com 2 Contents IMPORTANT SAFETY INSTRUCTIONS SAFETY SYMBOL GUIDE 4 6 INSTALLATION GENERAL PRECAUTIONS MAINS INSTALLATION INITIAL WIRING CONSIDERATIONS AUDIO WIRING SHIELDING WORKING SAFELY WITH SOUND POINTS TO REMEMBER INSPECTION AND INSTALLATION CONNECTING TO A TYPICAL SOUND SYSTEM MAKING ADJUSTMENTS AND FITTING SPARES 9 9 9 10 10 10 10 11 12 13 14 DESCRIPTION TOP PANEL REAR CONNECTOR PANEL FRONT PANEL 16 16 18 19 OPERATION GETTING STARTED MIC / LINE INPUT CHANNELS 1 & 2 FX SEND & RETURN / AUX MASTER / BOOTH OUTPUT X-FADER HEADPHONE MONITOR THE SAMPLER (1600S ONLY) 20 20 20 22 24 26 27 28 30 BLOCK DIAGRAM CONNECTING LEADS TROUBLESHOOTING SPECIFICATIONS WARRANTY GLOSSARY 35 36 37 38 39 40 3 IMPORTANT SAFETY INSTRUCTIONS Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturer's instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. Do not defeat the safety purpose of a polarised or grounding type plug. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles and the point where they exit from the apparatus. Only use attachments/accessories specified by the manufacturer. Use only with the cart, stand, tripod, bracket or table specified by the manufacturer, or sold with the apparatus. [. . . ] For example, you can take the CH1 input signal (before or after the cross-faders) and route it through an external effects device before bringing it back via CH1, CH2 or Master bus. If effects are not required you can connect a line-level playback device to the return side for expanded input channel capability whilst recording a performance from the send output. When there are NO devices connected to these terminals we recommend that the supplied shorting bars are fitted to avoid "no output" conditions if the FX switch is accidentally set to ON. SEND -LEVEL This control sets the output level to the connected effects unit. As the control is moved in a clockwise direction the output level will be gradually increased until, at the fully clockwise position, the output level will be at its maximum. Use the input level indicator on your effects unit to monitor and set the correct input level. RECORD OUT If effects are not required, the SEND output can be used as a RECORD output. Simply connect your audio tape/CD recorder's input to the rear panel [SEND] sockets and adjust the output [LEVEL] / source [SELECT] accordingly. SEND -SELECT This control selects the signal source that will be sent to the external effects unit. There are five "tap-off" points to choose from, as detailed below: 1. CHANNEL 1 POST -Only the CH1 signal will be transmitted, post-cross-fader (AFTER the cross-fader). CHANNEL 1 PRE -Only the CH1 signal will be transmitted, pre-cross-fader (BEFORE the cross-fader). MASTER -The master output signal will be transmitted (only MASTER RETURN can be selected for this setting). CHANNEL 2 PRE -Only the CH2 signal will be transmitted, pre-cross-fader (BEFORE the cross-fader). If you want to use the return as a 4th line level input, always remember to hold the [FX] switch to ON before turning on the power. 25 MASTER / BOOTH OUTPUT This section of the mixer features controls and indications for the master and booth outputs. MASTER LEVEL This control adjusts the level of the master output volume on both the balanced and unbalanced outputs. As the control is moved in a clockwise direction the output level will be gradually increased until, at the fully clockwise position, the output level will be at its maximum. OUTPUT PROTECTION LIMITER The output protection limiter protects the main and headphone outputs from clipping. As the signal level approaches the clip point of the DACs, the limiter reduces the output gain, until the audio level decreases back to below the limiter threshold, at which point the gain returns to normal. LEVEL OUT METER These indicators show the left and right master output volume from -15 to +5. The indicators from -15 to -3 are coloured blue, the indicators from -1 to +3 are coloured white, and the peak indicators +5 are coloured red to identify output overload conditions. BOOTH LEVEL This control adjusts the level of the booth output volume on both the balanced and unbalanced outputs. As the control is moved in a clockwise direction the output level will be gradually increased until, at the fully clockwise position, the output level will be at its maximum. There is no level indicator for the booth output. MONO/STEREO SWITCH This switch is to sum the Stereo signal to a Mono signal. It acts on the master outputs and booth outputs. HPF 80Hz SWITCH Apply this switch when you are suffering from Bass Rumble from the deck/phono input. 26 THE EXCITER At the fully anti-clockwise position of the [MIX] control 0%, no EXCITER will be applied to the main mix. As the control is rotated clockwise the EXCITER is gradually added to the mix. At the fully clockwise position of the [MIX] control 100%, the amount of the EXCITER added to the mix will be 100%. At the fully anti-clockwise position of the [FREQ] control (LOW 40Hz), only Low frequencies will be excited and added to the mix. As the control is rotated clockwise the frequencies to be excited will change from low to high (bass to treble). [. . . ] Polarity Reverse is often used to correct for wrongly wired cables and connectors. Gain: Headroom: Hz (Hertz): Highpass filter (HPF): Hum: Impedance: Limiter: Lowpass filter (LPF): Mono: Mute (Cut): Noise: Noise Floor: Omni-directional: Pan (Panoramic): Peak Meter: Phono: Polarity: 41 Pre-fade: Post-fade: RIAA: The signal is taken from a point in the circuit which is before the fader. The signal is taken from a point in the circuit which is after the fader. Record Industry of America Association, responsible for the long established equalisation standard that is applied to the signal produced by a turntable cartridge. Due to the physical limitations of vinyl reproduction the stylus produces a reasonable level high frequency signal but a much less lower level low frequency. [. . . ]