1、1User GuideTMTM2 Harman International Industries Ltd. 2007All rights reservedParts of the design of this product may be protected by worldwide patents.Part No. ZM0356-02Soundcraft is a trading division of Harman International Industries Ltd. Informa-tion in this manual is subject to change without n
2、otice and does not representa commitment on the part of the vendor. Soundcraft shall not be liable for anyloss or damage whatsoever arising from the use of information or any errorcontained in this manual.No part of this manual may be reproduced, stored in a retrieval system, ortransmitted, in any f
3、orm or by any means, electronic, electrical, mechanical,optical, chemical, including photocopying and recording, for any purpose with-out the express written permission of Soundcraft.Harman International Industries LimitedCranborne HouseCranborne RoadPOTTERS BARHertfordshireEN6 3JNUKTel: +44 (0)1707
4、 665000Fax: +44 (0)1707 660742http:/E our products have been designed to bealmost transparent, allowing this process to breathe.2) Whether performing or recording, time is a very expensive and rare commod-ity. Our products have a user interface which is recognised by millions to be theindustry stand
5、ard because of its efficiency.The sonic qualities of our products are exemplary - some of the same circuitswhich are used on our most expensive consoles are employed in the EFX, bring-ing you the great Soundcraft quality in a small format console without compro-mise.You will also be glad to know you
6、 have a one year warranty with your productfrom the date of purchase. The EFX has been designed using the latest high-end software based engineering packages. Every console from Soundcraft hasbeen proven to stand up to all the stress and rigours of modern day mixingenvironments.The entire EFX is man
7、ufactured using some of the most advanced techniques inthe world, from high density surface mount PCB technology, to computer aidedtest equipment able to measure signals well outside the range of normal hear-ing. As each console passes through to be quality checked before packing,there is also a hum
8、an listening station. Something we have learnt over the yearsis that the human touch counts - and only by using people can you ensure theproduct meets the high demands of the user.ADVICE FOR THOSE WHO PUSH THE BOUNDARIESAlthough your new console will not output any sound until you feed it signals, i
9、thas the capability to produce sounds which when monitored through an ampli-fier or headphones can damage hearing over time.Please take care when working with your audio - if you are manipulating controlswhich you dont understand (which we all do when we are learning), make sureyour monitors are tur
10、ned down. Remember that your ears are the most impor-tant tool of your trade, look after them, and they will look after you.Most importantly - dont be afraid to experiment to find out how each parameteraffects the sound - this will extend your creativity and help you to get the bestfrom your mixer a
11、nd the most respect from your artists and audience.8OVERVIEWTHE 60-SECOND GUIDE1 MIC INPUT (XLR) Connect Microphones here. If you are using a condenser mic, ensure phan-tom power is supplied by pressing the switch at the top of the master sec-tion.WARNING: Do Not apply Phantom Power before connectin
12、g a microphone.2 LINE INPUT (” Jack) Connect Line level sources here, e.g. Synth, Drum Machine, DI etc.3 INSERT POINT (” Jack) Connect Signal processors here, e.g. Compressor, Gate etc.4 GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal.5 EQ STAGE Adjust these control
13、s to change the signal tone (the character of the signal).6 AUX 1 SEND Adjust this control to change the level of the signal to an artists monitors(headphones/in-ear/stage monitors). Aux 1 is globally switchable pre/postfade.7 FX SEND This control sets the level of the post-fade signal being sent to
14、 the FX bus;from there it is routed to the FX processor.8 PAN CONTROL Use this control to position the signal within the stereo field.9 MUTE SWITCH When this is pressed you will hear no signal from the channel (post-mutesignals).To get you working as fast as possible, this manual begins with a 60-se
15、cond guide. Here you can find quickinformation on any feature of the console.910 PFL When pressed the signal will appear on the monitor and headphone outputs- use this to monitor the post-EQ signal from the channel.11 PEAK LED This is used to indicate that the signal is close to distorting (clipping
16、) on aspecific channel.12 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus and post-fade sends.13 MIX OUTPUTS (XLR) from there it is routed to the FX processor.8 PANThis control sets the amount of the channel signal feeding the Left andRight MIX buses, allowing you to move th
17、e source smoothly across thestereo image. When the control is turned fully left or right you are able toroute the signal at unity gain to either left or right outputs individually.9 MUTEAll outputs from the channel except inserts are on when the MUTE switchis released and muted when the switch is do
18、wn, allowing levels to be pre-set before the signal is required.10 INPUT CHANNEL FADERThe 60mm FADER, with a custom-designed law to give even smoothercontrol of the overall signal level in the channel strip, allows precise bal-ancing of the various source signals being mixed to the Master Section.Yo
19、u get most control when the input GAIN is set up correctly, giving fulltravel on the fader. See the “Initial Setup” section on page 31 for help insetting a suitable signal level.11 PFLWhen the latching PFL switch is pressed, the pre-fade pre-mute signal isfed to the headphones, control room output a
20、nd meters, where it re-places the MIX. The PFL ACTIVE LED on the Master section illuminates towarn that a PFL is active. This is a useful way of listening to any requiredinput signal without interrupting the main mix, for making adjustments ortracing problems. When PFL is pressed anywhere on the con
21、sole, theControl Room outputs automatically switch from monitoring the Mix Out-puts.12 PEAK LEDThis LED will light when the signal level approaches clipping at any of thethree monitored points:a) PRE-EQb) POST-EQc) POST-FADE18STEREO INPUT CHANNELS1 INPUTS STEREO 1/2These inputs accept 3-pole A gauge
22、 (TRS) jacks. Use these inputs forsources such as keyboards, drum machines, synths, tape machines orprocessing units. The inputs are BALANCED for low noise and top qualityfrom professional equipment, but you can use UNBALANCED sources bywiring up the jacks as shown in the “Wiring it Up” section earl
23、ier in thismanual, although you should then keep cable lengths as short as possi-ble. Mono sources may be used by plugging into the left jack only.2 GAINThe GAIN control sets the level of the channel signal.3 EQUALISERHF EQTurn to the right to boost high (treble) frequencies, adding crispness toperc
24、ussion from drum machines, synths and electronic instruments. Turnto the left to cut these frequencies, reducing hiss or excessive brilliance.Set the knob in the centre-detented position when not required. Thecontrol has a shelving response giving 15dB of boost or cut at 12kHz.MF EQTurn to the right
25、 to boost mid frequencies, turn to the left to cut thesefrequencies. The centre frquency of the MID EQ is 720HzLF EQTurn to the right to boost low (bass) frequencies, adding extra punch tosynths, guitars and drums. Turn to the left to reduce hum, boominess orimprove a mushy sound. Set the knob to th
26、e centre-detented positionwhen not required. The control has a shelving response giving 15dB ofboost or cut at 80Hz.4 AUX 1 SENDThis is used to set up a separate mix for FOLDBACK or recording, and thecombination of each Aux Send is mixed to the Aux1 Output. For recordingit is useful for the signal t
27、o fade up and down with the fader (this is calledPOST-FADE), but for Foldback or Monitor feeds it is important for thesend to be independent of the fader (this is called PRE-FADE).AUX 1 SEND is globally switchable between pre and post-fade (see mas-ter section on page 20/21). The send pot is fed wit
28、h a mono sum of theL from there it is routed to the FX processor.196 BALANCEThis control sets the amount of the channel signal feeding the Left andRight MIX buses, allowing you to balance the source in the stereo image.When the control is turned fully right or left you feed only that side of thesign
29、al to the mix. Unity gain is provided by the control in the centre-detented position.7 MUTEAll outputs from the channel are enabled when the MUTE switch is re-leased and muted when the switch is down.8 FADERThe 60mm FADER gives you smooth control of the overall signal level inthe channel strip, allo
30、wing precise balancing of the various source sig-nals being mixed to the Master Section. It is important that the inputlevel is set correctly to give maximum travel on the fader which shouldnormally be used at around the “0” mark. See the “Initial Setup” sectionon page 31 for help in setting the rig
31、ht level.9 PFLWhen the latching PFL switch is pressed, the pre-fade pre-mute signal isfed in mono to the headphones, control room output and meters, whereit replaces the MIX. The PFL ACTIVE LED on the Master section illumi-nates to warn that a PFL is active. The Left and Right meters display thePFL
32、signal in mono. This is a useful way of listening to any required inputsignal without interrupting the main mix, for making adjustments or trac-ing problems.10 CHANNEL PEAK LEDThis LED will light when the signal level approaches clipping at any of thethree monitored points:a) PRE-EQb) POST-EQc) POST
33、-FADE20for guidance).Mics should always be plugged in, and all output faders set to minimumbefore switching the Phantom Power ON to avoid damage to external equip-ment2 POWER INDICATORThis LED lights to show when power is connected to the console.3 MASTER FADERSThe MASTER FADERS set the final level
34、of the MIX outputs, and separatefaders are provided for each output. These should normally be set close tothe 0 mark if the input GAIN settings have been correctly set, to givemaximum travel on the faders for smoothest control.4 MIX OUTPUTS, INSERTS the PFL ACTIVE LED also lights.6 RECORD OUTPUTSThe
35、se two RCA outputs carry a copy of the MIX L and MIX R signals. Theyallow the use of a recording device, e.g. DAT player, Minidisc recorder etc.MASTER SECTION1 PHANTOM POWERMany professional condenser mics needPHANTOM POWER, which is a method ofsending a powering voltage down thesame wires as the mi
36、c signal. Press theswitch to enable the +48V power to allof the MIC inputs. The adjacent LED illu-minates when the power is active.WARNING: TAKE CARE whenusing unbalanced mics whichmay be damaged by the phan-tom power voltage. Balanceddynamic mics can normally beused with phantom power switched on(c
37、ontact your microphone manufacturer217 2 TRACK INThese two RCA phono sockets are unbalanced Left and Right line-level inputs, used for connecting a play-back device.8 2 TRACK TO MIXPress this switch to route the 2 Track in signals, connected to the Left and Right RCA sockets 7, to the MIXLeft/Right
38、signal at the MIX outputs.9 MONITOR 2 TRACKPress this switch to route the 2 Track signal to the monitor and phones, over-riding the default Monitor/Phones signal.10 MONITOR LEVELThis control sets the level to the MONITOR LEFT be sure to experiment with other sound sources as well.25Reverse ReverbRev
39、erse reverb works in the opposite fashion from normal reverb. Whereas a normal reverb has the loudestseries of reflections heard first that then become quieter over time, the Reverse reverb has the softest reflec-tions (essentially the tail of the reverb) heard first, and then grows louder over time
40、 until they abruptly cut off.Ambience ReverbAmbience is used to simulate the effect of a small or medium sized room without noticeable decay. It is oftenused for voice, guitar or percussion.Studio ReverbMuch like Room reverb, Studio produces an excellent simulation of smaller, well controlled acoust
41、ic spaces,characteristic of the main performance areas in recording studios. Studio is also useful with dialog andvoiceover applications as well as individual instrument and electric guitar tracks.Arena ReverbArena reverb emulates a huge physical space such as an indoor sports venue or stadium. The
42、characteristicsof Arena reverb are long secondary reflection times and a reduced amount of high frequency content. Arenais a mostly mid- and low frequency dominant reverb, and is an ideal selection for “special effect” typeapplications that require extremely long reverb times. It is not a good choic
43、e for a very busy mix, since it canreduce intelligibility.Spring ReverbA Spring reverb is created by a pair of piezoelectric crystalsone acting as a speaker and the other acting asa microphone connected by a simple set of springs. The characteristic boing of a spring is an importantcomponent of many
44、 classic rock and rockabilly guitar sounds.REVERB CONTROLSPre DelayCreates an additional time delay between the source signal and the onset of reverberation. This control is notintended to precisely mimic the time delays in natural spaces, as the build-up of reverberation is gradual, andthe initial
45、time gap is usually relatively short. For the most natural effect, the Pre Delay values should be setin the range of 10-25 milliseconds. However, if a mix is very busy or overly cluttered, increasing the Pre Delaytime may help clarify it, and set each instrument apart from each other.DecayControls t
46、he amount of time the reverb can be heard. Higher settings increase reverberation times which areusually associated with larger acoustical environments, but can decrease intelligibility. Lower settings shortenreverb times and should be used when a smaller apparent space or a more subtle effect is de
47、sired.LivelinessAdjusts the amount of high frequency content in the reverberation tails. Higher settings increase high fre-quency response, creating brighter reverbs; lower settings create darker reverbs with more bass frequencyemphasis.DiffusionControls the initial echo density. High settings of Di
48、ffusion result in high initial echo density, and low settingscause low initial density. In a real-world situation, irregular walls cause high diffusion, while large flat wallscause low diffusion. For drums and percussion, try using higher Diffusion settings.26ShapeThis control helps give a sense of
49、both room shape and room size. Low values for Shape keep the majority ofsound energy in the early part of the reverb tail. High values move the energy to later in the reverb, and arehelpful in creating the sense of a strong rear wall or “backslap.BoingThis is a unique parameter to the Spring reverb, designed to increase or decrease the amount of spring rattlethat is a physical characteristic of spring tank reverbs.DELAYSDelays repeat a sound a short time after it first occurs. Delay becomes echo when the output is fed back intothe input (feedback). This turns a
