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D Direct Out

This allows you to send audio direct from
your channel out to a multitrack tape
recorder, or to an effects unit when the channel
requires its own special effect.

See sections 2 and 6 for more details on connections
and studio techniques.

E Gain Control (Input Sensitivity)

Sets how much of the signal from the
mic or line inputs is fed to the channel.

F HPF (High Pass Filter)

As the name suggests this switch cuts out the
very lowest frequencies of a sound whilst
allowing the higher frequencies to “Pass
Through”. It’s particularly useful in live
situations to reduce stage rumble or microphone
‘popping’, which can produce a muddy mix,
or to ‘clean-up’ male vocals and filter out low
frequency hum. Some manufacturers may
also use the term “low - cut” filter to describe
the HPF. See Fig. 1.2.

G EQ Section

Usually the most closely scrutinised part of
any mixer, the equaliser section allows you to
change the tone of the sound on each input.
An EQ is normally split into “bands”, which
control a range of frequencies, in a similar
fashion to the treble and bass tone controls on
your Hi-Fi. Indeed a simple “2 band” EQ is
little more than an input treble and bass control.
The more bands an EQ has the more
sophisticated it is. SX has a 3 band EQ, with a
separate control for the middle audio
frequencies. This control is also “swept” which
provides even more sophistication. Simply
described, a sweep EQ allows you to choose
the exact frequency to cut and boost, rather
than having it chosen for you, as on normal
“fixed” controls.

We will talk in more detail about EQ in section 3.

H Auxiliary Section

Typically, these controls have two functions: First, to
control the levels of

effects

such as reverb from external

effects units that have been added to the input signal, and
second to create separate musician’s

"foldback"

mixes in

the studio or on stage.

How to use auxiliaries, connecting them to external equipment
and other applications are described in section 3.

I Pan (Panoramic Control)

This determines the position of the signal within the
stereo mix image or may be used to route (send) the signal
to particular GROUP outputs as selected by the
ROUTING SWITCHES (see below).

J Solo (PFL and Solo in Place)

The PFL solo switch allows you to monitor an input
signal independently of any other instruments that have
been connected, which is useful for troubleshooting, or
setting an instrument’s Input Preamp Gain and EQ
setting.

Pre-Fade Listen (PFL) is a type of solo that allows you

to monitor your sound BEFORE THE FADER. In other
words when you move the input fader in PFL mode the
level will not change, nor will you hear any effects.
Because effects and volume are not a distraction, PFL solo
is very useful for setting proper input preamp levels.

Some Soundcraft mixers use SOLO IN PLACE, which

allows you to monitor signals after the fader in their true
stereo image, and with any effects that have been added.
This type of Solo is less good for level setting, but more
useful in mixdown situations for auditioning sounds.

See section 3 - Setting Gain, for more information on using PFL.

K Mute/Channel On-Off Switch

This turns the channel on or off and is useful for isolating
the channel when not in use or pre-setting channel levels
which may not be needed until later, ie: theatre scene-
setting or support acts/performers.

L Fader

This determines the level of the input signal within the
mix and provides a visible indication of channel level.

M Routing

By selecting the routing switches the input signal is sent
to a choice of the mixer’s outputs - typically the main mix
outs or the group outputs. The switches are used in
conjunction with the PAN control to route the signal
proportionately to the left or the right side of the mix
or to odd/even groups/subs if PAN is turned fully left or
right.

SECTION 1: Starting Out

100

10k

+20

+15

+10

-5

-10

-15

-20

500

STAGE RUMBLE
MIC “POPPING”