SoundCraft FX16II User Manual Download Page 37 | Manualshive

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37

APPLICATION 5 - ON-LOCATION BROADCASTING

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Summary of Contents for FX16II

Page 1: ...1 USER GUIDE TM...

Page 2: ...soever 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 electr...

Page 3: ...UCTION 8 BLOCK DIAGRAM 9 WIRING UP 10 CONSOLE CONTROLS 14 Lexicon FX PROCESSOR 22 USING YOUR CONSOLE 31 APPLICATIONS 33 MARKUP SHEET 41 TYPICAL CONNECTING LEADS 42 REPOSITIONING THE REAR PANEL FOR RAC...

Page 4: ...4...

Page 5: ...icient magnitude to constitute a risk of electric shock to persons CAUTIONS The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating an...

Page 6: ...cessories specified by the manufacturer Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is used use caution when moving the ca...

Page 7: ...coloured Blue must be connected to the terminal in the plug which is marked with the letter N The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the le...

Page 8: ...w you have a one year warranty with your product from the date of purchase The FX16ii has been designed using the latest high end software based engineering packages Every console from Soundcraft has...

Page 9: ...9 BLOCK DIAGRAM...

Page 10: ...ou should then keep cable lengths as short as possible to minimise interference pick up on the cable Note that the ring must be grounded if the source is unbalanced Set the input level using the GAIN...

Page 11: ...interference pick up on the cable Note that the ring must be grounded if the source is unbalanced Mono sources can be fed to both paths by plugging into the Left jack only 2 Track Return These accept...

Page 12: ...und only at their source and not at both ends If the use of unbalanced connections is unavoidable you can minimise noise by following these wiring guidelines On INPUTS unbalance at the source and use...

Page 13: ...different outputs or to auxiliary sends to identify problems on the Master section Compare a suspect channel with an adjacent channel which has been set up identically Use PFL to monitor the signal in...

Page 14: ...active ONLY connect condenser microphones with the Phantom Power OFF switch UP and ONLY turn the Phantom Power on or off with all output faders DOWN to prevent damage to the mixer or external devices...

Page 15: ...ent of the signal in live situations because the mid band covers the range of most vocals Listen carefully as you use these controls together to find how particular characteristics of for instance a v...

Page 16: ...MODE switch on the Master section PFL When the latching SOLO switch is pressed the pre fade post EQ signal is fed to the headphones control room output and meters where it replaces the selected monito...

Page 17: ...rmally POST FADE for use as effects sends or to provide fader control of recording levels in a studio recording application For live recording the outputs can be individually changed to PRE FADE by pr...

Page 18: ...18 MASTER SECTION...

Page 19: ...s These should normally be set close to the 0 mark if the input GAIN settings have been correctly set to give maximum travel on the faders for smoothest control 4 SUB TO MIX The SUB mix may be used to...

Page 20: ...L PFL switch UP or SOLO IN PLACE monitoring switch DOWN The two modes are described below 13 PFL MODE When any input channel SOLO switch or master sectionAFL switch is pressed the selected signal is f...

Page 21: ...hand switches is selected but pressing the 2TK switch swaps the monitoring to the 2 Track input When the switch is released the normal MIX SUB selection is restored 17 MONITOR CONTROL OUTPUTS This con...

Page 22: ...program Note that the console has 32 programs which are held in two banks of 16 programs There are individual BANK A and BANK B LED s to indicate which bank is currently active When turning the rotary...

Page 23: ...r depth related of the selected effect 24 ADJUST 3 Variation Controls Liveliness or Diffusion depending on the reverb selected or the third parameter of the selected effect 25 Program Select Knob Navi...

Page 24: ...the plate transmit a signal that makes the plate vibrate causing sounds to appear to be occurring in a large open space The Plates in the FX processor model the sound of metal plates with high initia...

Page 25: ...and the onset of reverberation This control is not intended to precisely mimic the time delays in natural spaces as the build up of reverberation is gradual and the initial time gap is usually relati...

Page 26: ...t also low frequencies are all elements commonly associated with tape recordings The Tape Delay offers up to 5 seconds of mono delay Pong Delay This delay effect pans the delay repeats from left to ri...

Page 27: ...rs later and the second tap occurs earlier Depth This controls the intensity of modulation or depth in the Modulated Delay Lower settings produce a more subtle effect while higher values give a more s...

Page 28: ...Adjust 1 Speed Controls the modulation rate of the Tremolo Panner Adjust 2 Depth Controls the intensity of the volume amplitude change Adjust 3 Phase Controls whether the amplitude change occurs in b...

Page 29: ...t and right channel waveforms out of phase resulting in a leftto right panning motion This effect shifts the frequency spectrum of the input signal Altering the pitch of a sound produces a wide range...

Page 30: ...TIME RANGE 275ms 20ms 2 5s FEEDBACK 15 0 99 H DUCK THRESHOLD 6dB 70 0dB 18 DIGITAL DELAY TIME RANGE 800ms 20ms 5 0s FEEDBACK 20 0 99 H DUCK THRESHOLD 8dB 70 0dB 19 TAPE DELAY TIME RANGE 500ms 20ms 5...

Page 31: ...f unwanted sounds and elimination of feedback is important The aim should be to place the microphone as close as physically possible to the source to cut out unwanted surrounding sounds allow a lower...

Page 32: ...ember that the mixer is a mixer not an amplifier Increasing the overall level is the job of the amplifier and if it is impossible to provide adequate level it is probable that the amplifier is too sma...

Page 33: ...33 APPLICATIONS APPLICATION 1 LIVE SOUND REINFORCEMENT...

Page 34: ...34 APPLICATION 2 RECORDING...

Page 35: ...35 APPLICATION 3 INSTALLATION...

Page 36: ...36 APPLICATION 4 PLACE OF WORSHIP...

Page 37: ...37 APPLICATION 5 ON LOCATION BROADCASTING...

Page 38: ...38 APPLICATION 6 POST PRODUCTION VIDEO EDITING...

Page 39: ...39 APPLICATION 7 MULTIMEDIA...

Page 40: ...40 APPLICATION 8 CONFERENCE PA...

Page 41: ...41 MARKUP SHEET You may freely copy this page and use it to record the settings used for particular applications gigs...

Page 42: ...42 TYPICAL CONNECTING LEADS...

Page 43: ...43...

Page 44: ...1 Remove Connector Panel fixing screws 2 Remove Cover Panel fixing screws 3 Remove Frame Section fixing screws 4 Remove Frame Section 5 Swap Connector Panel and Cover Panel positions leaving all inte...

Page 45: ...45 DIMENSIONS...

Page 46: ...96dB Fader Cut off rel 10 mark 96dB Aux Send Pots Offness 86dB EQ Mono inputs HF 12kHz 15dB MF swept 150Hz 3 5kHz 15dB LF 80Hz 15dB Q 1 5 Power Consumption Less than 40W Operating Conditions Temperatu...

Page 47: ...o and from the Dealer or Soundcraft and postage must be prepaid 4 This warranty shall only be valid if a the Equipment has been properly installed in accordance with instructions contained in Soundcra...

Page 48: ...48...

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