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USER GUIDE
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Soundcraft EFX/EPM User Guide Issue 1210
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User Guide 1 Soundcraft EFX/EPM User Guide Issue 1210
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IMPORTANT Please read this manual carefully before using your mixer for the first time. This equipment complies with the EMC directive 2004/108/EC and LVD 2006/95/EC This product is approved to safety standards: EFX Models IEC 60065: 2001 + AMD1:2005 EN60065: 2002 + AMD1:2006+A11:2008 UL6500 7th Edition: 2003 CAN/CSA-E60065-03 and EMC standards: soundcraft.marketing@harman.com EN55103-1: 1
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Contents SAFETY SYMBOL GUIDE...................................................................................................4 IMPORTANT SAFETY INSTRUCTIONS.............................................................................5 INTRODUCTION.............................................................................................7 OVERVIEW.................................................................................................8 THE 60-SECOND GUIDE - EFX........................
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For your own safety and to avoid invalidation of the warranty please read this section carefully. SAFETY SYMBOL GUIDE For your own safety and to avoid invalidation of the warranty all text marked with these symbols should be read carefully. WARNINGS The lightning flash with arrowhead symbol, is intended to alert the user to the presence of un-insulated “dangerous voltage” within the product’s enclosure that may be of suf- ficient magnitude to constitute a risk of electric shock to persons.
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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 p
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Note: It is recommended that all maintenance and service on the product should be carried out by Soundcraft or its authorised agents. Soundcraft cannot accept any li- ability whatsoever for any loss or damage caused by service, maintenance or repair by unauthorised personnel. WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. Do not expose the apparatus to dripping or splashing and do not place objects filled with liquids, such as va
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INTRODUCTION Thank you for purchasing a Soundcraft EFX/EPM mixer. The EFX/EPM range is a most cost-effective mixing solution, bringing you all the features and performance that you expect from a Soundcraft product, at an extraordinarily low price. The packaging, in which your mixer arrived, forms part of the product and must be retained for future use. Owning a Soundcraft console brings you the expertise and support of one of the industry’s leading manufacturers, and the results of nearly
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OVERVIEW To get you working as fast as possible, this manual begins with a 60-second guide. Here you can find quick information on any feature of the EFX console. BANK A KARAOKE THE 60-SECOND GUIDE - EFX 1 MIC INPUT (XLR) Connect Microphones here. If you are using a condenser mic, ensure phantom power is supplied by pressing the switch at the top of the master section. WARNING: Do Not apply Phantom Power before connecting a microphone. 2 LINE INPUT (¼” Jack) Connect Line level sources her
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11 PEAK LED This is used to indicate that the signal is close to distorting (clipping) on a specific 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) & Connect these to your analogue recording device, or to your amplification MONO OUT (¼” Jack) system. 14 MIX INSERTS (¼” Jack) This is a pre-fade break in the signal path which can be used to feed a dynamics or mastering device. The signal is sent from the tip of
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THE 60-SECOND GUIDE - EPM 1 MIC INPUT (XLR) Connect Microphones here. If you are using a condenser mic, ensure phantom power is supplied by pressing the switch at the top of the master section. WARNING: Do Not apply Phantom Power before connecting a microphone. 2 LINE INPUT (¼” Jack) Connect Line level sources here, e.g. Synth, Drum Machine, DI etc. 3 INSERT POINT (¼” Jack) Connect Signal processors here, e.g. Compressor, Gate etc. 4 GAIN CONTROL Adjust this to increase or decrease the le
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10 PEAK LED This is used to indicate that the signal is close to distorting (clipping) on a specific channel. 11 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus and post-fade sends. 12 MIX OUTPUTS (XLR) & Connect these to your analogue recording device, or to your amplification MONO OUT (¼” Jack) system. 13 MIX INSERTS (¼” Jack) This is a pre-fade break in the signal path which can be used to feed a dy- namics or mastering device. The signal is sent from the tip of
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WIRING UP Mic Input The MIC input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED low-level signals, whether from delicate vocals requiring the best low-noise performance, or drum kits needing maximum headroom. Professional dynamic, condenser or rib- bon mics are best because these will be LOW IMPEDANCE. While you can use low-cost HIGH IMPEDANCE mics, you do not get the same degree of immunity to interference on the microphone cable and as a re
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Stereo Inputs STEREO 1/2 and Stereo These accept 3-pole ‘A’ gauge jacks, or 2-pole mono jacks which will automatically ground the ‘cold’ input. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or as returns from processing units. The input is BALANCED for low noise and immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as shown, although you should then keep cable lengths as short as possible to minimise interfer
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Headphones The PHONES output is a 3-pole ‘A’ gauge jack, wired as a stereo output as shown, ideally for headphones of 150 Ω or greater. 8 Ω headphones are not recommended. Polarity (Phase) You will probably be familiar with the concept of polarity in electrical signals and this is of particular importance to balanced audio signals. Just as a balanced signal is highly effective at cancelling out unwanted interference, so two microphones picking up the same signal can cancel out, or caus
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PROBLEM SOLVING Basic problem solving is within the scope of any user if a few basic rules are fol- lowed. • Get to know the Block Diagram of your console (see page 16/17). • Get to know what all controls and/or connections in the system are supposed to do. • Learn where to look for common trouble spots. The Block Diagram is a representative sketch of all the components of the console, showing how they connect together and how the signal flows through the system. Once you have become fa
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BLOCK DIAGRAM - Soundcraft EFX 16 Soundcraft EFX/EPM User Guide Issue 1210
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BLOCK DIAGRAM - Soundcraft EPM 17 Soundcraft EFX/EPM User Guide Issue 1210
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MONO INPUT CHANNEL - EFX shown 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 turn the PHANTOM POWER on (top right-hand side of the mixer) the socket provides a suit- able powering voltage for professional condenser mics.
