User Guide 1
IMPORTANT Please read this manual carefully before using your mixer for the first time. © Harman International Industries Ltd. 2003 All rights reserved Parts of the design of this product may be protected by worldwide patents. Part No. ZM0288 Issue: 1 Soundcraft is a trading division of Harman International Industries Ltd. Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor.
Contents INTRODUCTION Featur es Features ranty arranty War 5 6 7 INST ALLA TION INSTALLA ALLATION 9 WARNING Pr ecautions and Safety Instr uctions Precautions Instructions 10 11 General Precautions Handling and Transport Power Supplies & Cables Signal Levels 11 11 11 11 Mains Installation 11 General Wiring Procedures Initial Wiring Considerations Audio Wiring Shielding Points to Remember 11 12 12 12 13 Setting Up & TTrr oubleshooting 14 Initial set-up Troubleshooting 14 14 Connecting Leads Au
INTRODUCTION 5
Featur es Features The LX7-II 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-II an ideal choice for bands who need a live desk that can double up in the studio.
War ranty arranty 1 2 3 4 5 6. 7. Soundcraft is a trading division of Harman International Industries Ltd. End User means the person who first puts the equipment into regular operation. Dealer means the person other than Soundcraft (if any) from whom the End User purchased the Equipment, provided such a person is authorised for this purpose by Soundcraft or its accredited Distributor. Equipment means the equipment supplied with this manual.
INST ALLA TION INSTALLA ALLATION For your own safety and to avoid invalidation of the warranty please read this section carefully.
WARNING THIS UNIT MUST BE EARTHED Under no circumstances should the mains earth be disconnected from the mains lead.
Pr ecautions and Safety Instr uctions Precautions Instructions General Precautions Avoid storing or using the mixing console in conditions of excessive heat or cold, or in positions where it is likely to be subject to vibration, dust or moisture. Do not use any liquids to clean the fascia of the unit: a soft dry cloth is ideal. Avoid using the console close to strong sources of electromagnetic radiation (e.g.
Initial Wiring Considerations For optimum performance, it is essential for the earthing system to be clean and noise free, as all signals are referenced to this earth. A central point should be decided on for the main earth point system, and all earths should be 'star fed' from this point. It is common electrical practice to `daisy chain' the earths to all electrical outlets but this method is unsuitable for audio installations.
Points to Remember In all cases, use good quality twin screened audio cable. Check for instability at the output. Always connect both conductors at both ends, and ensure that the screen is only connected at one end. Do not disconnect the mains earth from each piece of equipment. This is needed to provide both safety and screen returns to the system star point.
Setting Up & T Trr oubleshooting Initial set-up Once you have connected up your system (see the sections on connection and wiring earlier in this manual for guidance) you are ready to set initial positions for the controls on your mixer. Set up individual input channel as follows: Connect your sources (microphone, keyboard etc.) to the required inputs and release the MUTE switches. Note: Phantom powered mics should be connected before the 48V is switched on.
Me s no wing an Metter ers nott sho showing anyy signal Has the input gain been set correctly? (see above.) Is the source connected to the appropriate input socket for the level of signal? Do you have something connecetd on the Inserts, and is that external device switched on? Are the Master faders set at max.
Insert Leads Unbalanced Balanced ’Y’ Leads (Unbalanced) Headphone Splitter ’Y’ Leads (Balanced) Connecting Leads
Audio Connector Pinouts 17
Dimensions 18
BLOCK DIAGRAM 19
USING THE CONSOLE 21
Overview A 16 channel frame is shown.
Mono Input Channel 1 - MIC INPUT The mic input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED signals. Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. You can use low-cost HIGH IMPEDANCE mics, but the level of background noise will be higher. If you press the 48V switch down the socket provides a suitable powering voltage for professional condenser mics (this is also known as Phantom Power).
4-G AIN GAIN This knob sets how much of the source signal is sent to the rest of the mixer. Too high, and the signal will distort as it overloads the channel. Too low, and the level of any background hiss will be more noticeable and you may not be able to get enough signal level to the output of the mixer. See `Setting Up & Troubleshooting’ on page 20 to learn how to set GAIN correctly.
HF EQ Turn clockwise to boost high (treble) frequencies (12kHz and above) by up to 15dB, adding crispness to cymbals, vocals and electronic instruments. Turn anticlockwise to cut by up to 15dB, reducing hiss or excessive sibilance which can occur with certain types of microphone. Set the knob in the centre-detented position when not required. MID EQ (HMID & LMID) There are two pairs of knobs which work together to form HI and LO MID frequency EQ sections.
14 - F ADER FADER The 100mm FADER allows precise balancing of the various source signals being mixed to the Master Section. You get most control when the input Sensitivity is set up correctly, giving full travel on the fader. See the `Setting Up & Troubleshooting’ section on page 20 for help in setting a suitable signal level.
Stereo Input Channel 1 - INPUT JJA ACKS These high impedance inputs accept 3-pole `A’ gauge (TRS) jacks. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or returns from processing units.
Master Section 1-A UX MAS TERS AUX MASTERS Each of the six AUX outputs has a master output level control and associated AFL switch. AUX AFLs Just as the Channel PFL switches allow pre-fade listening, so you can monitor each AUX output after the level control by pressing the AFL switch. This routes the AUX output signal to the MONITOR or PHONES, replacing any existing signal which is selected.
8 - TB LEVEL A balanced input is provided for a Talkback microphone. The signal may be routed selectively to Aux 1/2 or 3/4 (which might typically be used for performers’ foldback) or Mix L/R by pressing the appropriate switches. The signal level is adjusted by the TB LEVEL control. 9-S TERE O RETURNS STERE TEREO Two balanced Stereo Returns are available for the outputs of effects units and are mixed directly to the Mix L/R busses at a level set by the RET-1 or RET-2 controls.
Mark-up Sheet You may freely copy this page to mark control positions to assist in resetting the desk between performances.
SPECIFICA TIONS SPECIFICATIONS Noise Measured RMS, 22Hz to 22kHz Bandwidth Mic E.I.N. @ unity gain,150W source impedance Mix Output, 24 inputs routed to mix, faders at unity, muted Mix Output, 24 inputs routed to mix, faders down Input to Direct output at unity gain Input to Direct output at 40dB gain Cr osstalk (@1kHz, typical) Crosstalk Fader attenuation Aux attenuation Pan isolation Adjacent channel crosstalk Channel Mute Fader cut-off (rel.
