® User Guide For Soundcraft Signature 10, 12 & 12MTK ®
10, 12, 12MTK User Manual INFORMATION INFORMATION 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.
CONTENTS 10, 12, 12MTK User Manual CONTENTS 1.0 AN INTRODUCTION TO SIGNATURE 1.0.1 The Signature Legacy 1.0.2 Sapphyre Asymmetric EQ 1.1: Safety 1.2: Warranty 5.0: CHANNEL CONTROLS 5.1: Input Controls 5.1.1: Mono Input Controls 5.1.2: Stereo Input Controls 5.1.3: FX Return Controls 1.3: Specifications 5.2: Aux Master Controls 2.0: GETTING STARTED 2.1: Introduction To Consoles 2.2: Parts Of The Console 5.3: Group Master Controls 5.4: Master Stereo Controls 6.
1.0: INTRODUCTION 10, 12, 12MTK User Manual INTRODUCTION TO SIGNATURE Drawing on over 40 years experience in live sound mixing, the Signature Series combines a superb analogue control surface with the unrivalled British sound of Soundcraft in a powerful, compact, professionally spec’d mixer.
10, 12, 12MTK User Manual 1.0.1: SIGNATURE LEGACY SIGNATURE LEGACY The Signature Series consoles bring musicality, creativity, and technical excellence together, thanks not only to new technology and ideas, but also to a 40-year legacy of producing outstanding performance tools. This console incorporate classic analogue designs, approved by Engineers.
10, 12, 12MTK User Manual 1.0.2: SAPPHYRE EQ SAPPHYRE EQ Soundcraft Sapphyre Asymmetric EQ The Soundcraft Signature console uses a special Asymmetric EQ first developed for the renowned Soundcraft Sapphyre console. This EQ makes both creative and functional tonal shaping of your signal simple and intuitive - an EQ that works the way music does. The shelving bands of the EQ (LF and HF) use a slight boost at the EQ’s frequency when cutting, and a slight cut when boosting.
1.1: SAFETY 10, 12, 12MTK User Manual INTRODUCTION > SAFETY SAFETY NOTICES For your own safety and to avoid invalidation of the warranty please read this section carefully. Important Symbols Cautions Alerts the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.
10, 12, 12MTK User Manual 1.1: SAFETY INTRODUCTION > SAFETY WARNINGS • Read these instructions. • Keep these instructions. • Heed all warnings. • Follow all instructions. • Clean the apparatus only with a dry cloth. • Do not install near any heat sources such as radiators, heat resistors, stoves, or other apparatus (including amplifiers) that produce heat. • Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. • Do not use this apparatus near water.
10, 12, 12MTK User Manual 1.1: SAFETY INTRODUCTION > SAFETY WARNINGS ADVICE FOR THOSE WHO PUSH THE BOUNDARIES Although your new console will not output any sound until you feed it signals, it has the capability to produce sounds which, when monitored through an amplifier or headphones, can damage hearing over time. Please take care when working with your audio — if you are manipulating controls which you don’t understand (which we all do when we are learning), make sure your monitors are turned down.
1.2: WARRANTY 10, 12, 12MTK User Manual INTRODUCTION > SAFETY WARRANTY 1 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.
10, 12, 12MTK User Manual 1.3: SPECIFICATIONS INTRODUCTION > SPECIFICATIONS TYPICAL SPECIFICATIONS Operating Conditions - Temperature Range: 5°C to 40°C • Frequency Response - Mic / Line In to any Output: +/-1.5dB, 20Hz-20kHz Input & Output Levels - Mic Input: +12.5dBu max • T.H.D. - Line Input: >+26dBu max - Mono Mic Sensitivity -30dBu, Input level -16dBu, - Stereo Inputs: >+26dBu max +14dBu @ Mix output: < 0.002% @ 1kHz - Mix Output: +21.
10, 12, 12MTK User Manual 2.0: GETTING STARTED GETTING STARTED - AN INTRODUCTION TO THIS MANUAL Anyone with minimal audio experience should be able to operate the Soundcraft Signature console without reading too much of this manual, though we do recommend you take the time to go through it. An excellent place to start would be the feature list on the introductory page (section 1.0), which will familiarise you with all of the main possibilities, facilities, and functions.
2.1: CONSOLE INTRO 10, 12, 12MTK User Manual GETTING STARTED > INTRODUCTION TO MIXING CONSOLES The main function of a mixing console is to combine different audio inputs and independently adjust the levels of those contributions to the mix. With this very basic functionality you can control and balance any kind of audio from a one-man-band to an orchestra. Most mixers however (including the Signature Series) offer far more than that.
10, 12, 12MTK User Manual 2.2: PARTS OF THE CONSOLE GETTING STARTED > PARTS OF THE CONSOLE The diagrams show different sections of the Signature console and describes those functions. After that are more detailed descriptions of the console sections and references to the relevant chapters in this manual. 2.
10, 12, 12MTK User Manual 2.2: PARTS OF THE CONSOLE GETTING STARTED > PARTS OF THE CONSOLE Inputs & Outputs The Signature console features a variety of physical inputs and outputs for getting audio in and out of the console: XLR, Jack, and Phono for analogue audio I/O, and USB for digital audio. Refer to Section 3.0 for more detail, and to section 7.0 for detailed information on USB functionality.
10, 12, 12MTK User Manual 2.2: PARTS OF THE CONSOLE GETTING STARTED > PARTS OF THE CONSOLE Aux Output Masters Aux (Auxiliary) Master output channels control the output level of the auxiliary bus and global pre-fade/ post-fader switching. AFL switching allows aux master solos. Refer to Sections 4.5 and 5.5 for more detail. Group Output Masters The Group Output Master channels control routing and output level for the Group busses.
10, 12, 12MTK User Manual 2.2: PARTS OF THE CONSOLE GETTING STARTED > PARTS OF THE CONSOLE Lexicon FX Control Signature 10, 12, and 12MTK consoles have an internal Lexicon FX processor and send/return bus for adding FX such as reverb, delay, Chorus, Rotary, LoFi, Tape emulation, and more. Each Effect has two adjustable parameters. Refer to section 8.0 for more detail. Power Indicator Lights Green when console is powered. Use the power switch on the rear underside of the console to power it on and off.
10, 12, 12MTK User Manual 3.0: INPUTS AND OUTPUTS INPUTS AND OUTPUTS The physical inputs and outputs on the Signature console are varied, and together with the Ghost mic preamps, dbx® limiting, and Hi-Z inputs provide a flexible scheme for any sources you might encounter. To get the most out of the Signature I/O, read this chapter carefully. 3.
10, 12, 12MTK User Manual 3.1: INTRO TO I/O INPUTS & OUTPUTS > INTRODUCTION TO I/O The Signature console offers a choice of industry standard audio inputs and outputs. All Jack and XLR inputs are balanced. Below are some terms used in this manual and on the console labelling that may be of use to you. AUX (Auxiliary) Output An output bus made up of the summed Aux contributions from input channels.
10, 12, 12MTK User Manual 3.2: CONSOLE INPUTS INPUTS & OUTPUTS > CONSOLE INPUTS Console inputs can be used for a wide variety of sources. For best results always use the appropriate input connection. Mic Input - XLR Input connection for microphones using standard XLR connection (Pin-2 hot) When using condenser microphones, you can switch on 48V phantom power for these connections on the right hand side of the console (the 48V button).
10, 12, 12MTK User Manual 3.3: CONSOLE OUTPUTS INPUTS & OUTPUTS > CONSOLE OUTPUTS The console outputs offer a range of connection options depending on the application. Always consider carefully the best output and routing strategy for your particular application. MST L / MST R Master Left and Right outputs, XLR connectors These are impedance-balanced line level outputs (pin 2 signal).
10, 12, 12MTK User Manual 3.4: OTHER I/O INPUTS & OUTPUTS > OTHER I/O The console outputs offer a range of connection options depending on the application. Always consider carefully the best output and routing strategy for your particular application. USB - Signature 10 and 12 USB data connection for audio input and output USB input (USB channels 1 and 2) are summed with the RCA input signal on the highest-numbered stereo input channel.
10, 12, 12MTK User Manual 4.0: CONSOLE ROUTING CONSOLE ROUTING Understanding the facilities a console offers for routing and controlling audio is an important step in learning how to operate the console most effectively. This Section uses simple flow diagrams and short descriptions to describe the various signal paths and routing options for all channel and bus types.
10, 12, 12MTK User Manual 4.1: MONO INPUT CONSOLE ROUTING > MONO INPUT All mono input channels have the choice of XLR (mic) and Jack (Line) balanced inputs; the two highest numbered mono channels have Hi-Z input switches for the line inputs while channels 1 and 2 incorporate switchable input limiters. All Mono input channels can contribute to Aux 1, Aux 2, Aux 3/FX, MST (Master Stereo), and the Solo bus.
10, 12, 12MTK User Manual 4.2: STEREO INPUT CONSOLE ROUTING > STEREO INPUT There are two types of Stereo input channel. The first two stereo input channels have microphone inputs and can be used as mono input channels (odd-numbered input) if required. The highest-numbered Stereo input is a sum of the line level R inputs and the stereo USB input (if present). This is the playback channel and works with the INTERVAL MUTE function for convenient 2-track playback functionality.
10, 12, 12MTK User Manual 4.3: FX RETURN CONSOLE ROUTING > FX RETURN An FX Return channel is a special stereo input channel is fed from the output of the internal FX processor. The FX Return channel can contribute to the Aux 1 and Aux 2 busses (NOT to Aux 3/FX as this would cause a positive feedback loop), and to the Master and Group (Signature 12 and 12MTK only) busses - as per mono and stereo input channels. 4.
10, 12, 12MTK User Manual 4.4: AUX MASTER CONSOLE ROUTING > AUX MASTER Aux Busses 1, 2, and 3 are sent directly out of the Aux 1, Aux 2, and Aux 3 outputs, and are globally switchable between pre- and post-fade sources. That is, an Aux mix that is taken ‘pre-fade’ (before the input channel fader) is not affected by the input channel fader levels. An Aux mix taken ‘post-fade’ (after the input channel fader) will be based on the fader levels of the contributing input channels.
4.5: GROUP MASTER 10, 12, 12MTK User Manual CONSOLE ROUTING > GROUP MASTER Signature 12 and 12MTK only. The Group Master Outputs are derived from the post fade, post pan sum of input channels routed to the corresponding Group busses (1-2 switches). The Group Masters can contribute to the Master Left/Right Bus.
10, 12, 12MTK User Manual 4.6: MASTER STEREO OUTPUT CONSOLE ROUTING > MASTER STEREO OUTPUT The Master Stereo output is derived from contributions to the Master (MST) Stereo Bus. For Signature 10, all input channels are permanently routed to the MST Bus (post pan/balance). For Signature 12 and 12MTK you can choose to route to the Master Stereo Bus using an input channel’s MST button. 4.
10, 12, 12MTK User Manual 5.0: CHANNEL CONTROLS CHANNEL CONTROLS There are three types of Signature console input channels: Mono Input, Stereo Input, and FX Return. The output channel types are the Auxiliary (Aux) Master Outputs, the Master Stereo Outputs, and the Group (GRP) Master Outputs (Signature 12 and 12 MTK only). 5.
10, 12, 12MTK User Manual 5.1: INPUT CONTROLS CHANNEL CONTROLS > INPUT CONTROLS Input channels take sources and route/process them. The sources catered for by the Signature consoles includes mono (single channel) sources, stereo sources, and internal sources (the FX Return channel). The controls are shown in the order they appear on the console channel strip - from top to bottom. This is not necessarily signal path order. Please refer to the relevant signal path diagram (section 4).
10, 12, 12MTK User Manual 5.1.1: MONO INPUT CONTROLS CHANNEL CONTROLS > MONO INPUT CONTROLS PHANTOM POWER 48V Apply a DC voltage of 48V to all microphone inputs This button is found on the right of the console near the headphones level control, not on the channel strip. With phantom power on, you should use only balanced sources in the console's XLR microphone inputs. Balanced dynamic microphones (for example) will be unaffected.
10, 12, 12MTK User Manual 5.1.1: MONO INPUT CONTROLS CHANNEL CONTROLS > MONO INPUT CONTROLS HPF 100Hz Activate the High Pass Filter The High Pass Filter (HPF) is an 18dB/Octave filter that attenuates frequencies below 100Hz. This can be useful for filtering out low 'rumble' from microphones affected by extremely low traffic noise, air flow, and so on.
10, 12, 12MTK User Manual 5.1.1: MONO INPUT CONTROLS CHANNEL CONTROLS > MONO INPUT CONTROLS LF Level Adjust the boost/attenuation of the low frequency shelving filter The LF shelving filter has a fixed frequency of 60Hz. Frequencies below this will be boosted or attenuated depending on the control setting. With this Sapphyre asymmetric EQ, there is a small boost at the filter frequency on cut and a small cut on boost. See section 1.02 for more detail.
10, 12, 12MTK User Manual 5.1.1: MONO INPUT CONTROLS CHANNEL CONTROLS > MONO INPUT CONTROLS PEAK & MUTE LED Lights when signal reaches peak level or shows that the channel is muted The Peak LED is a warning light to let you know when the signal is nearing maximum headroom. The peak detection source is taken from a number of key points in the signal path (see section 4.1) where gain is used: After the High Pass Filter, post EQ, and post Fade.
10, 12, 12MTK User Manual 5.1.2: STEREO INPUT CONTROLS CHANNEL CONTROLS > STEREO INPUT CONTROLS There are two types of Signature Stereo Input Channels. The normal type has two jack inputs, normalised so that a single jack or microphone input will operate as a mono input channel (Balance becomes Pan). NOTE: Controls common to all input channel types are shown in the Mono Input Channel control list - 5.1.
10, 12, 12MTK User Manual 5.1.2: STEREO INPUT CONTROLS CHANNEL CONTROLS > STEREO INPUT CONTROLS BAL Adjust stereo balance for this channel Adjusts the relative levels of the left and right signals for this channel, effectively adjusting the left-right position of the overall stereo image. For Signature 12 and 12MTK consoles the balance is also adjusted across Group 1 (left) and 2 (right) when the channel is routed to GRP 1-2.
10, 12, 12MTK User Manual 5.1.3: FX RETURN CONTROLS CHANNEL CONTROLS > FX RETURN CONTROLS The stereo FX Return channel is fed from the output of the console’s internal FX processor. It is a cut-down version of the normal stereo channel, without trim, EQ, or Aux 3 send. An example in use might be running a Reverb algorithm in the processor.
10, 12, 12MTK User Manual 5.2: AUX MASTER OUTPUT CHANNEL CONTROLS > AUX MASTER OUTPUT The Aux Master Output channel determines the output level of a whole Aux mix (the sum of all Aux contributions). That is, the Aux 1 Master controls the Aux 1 output level, which is the sum of all Aux 1 contributions from the input channels.
10, 12, 12MTK User Manual 5.3: GROUP MASTER OUTPUT CHANNEL CONTROLS > GROUP MASTER OUTPUT Group Masters control the Group output levels and routing. Signature 12 and 12MTK consoles have two group masters available (post-fader) - with mixes derived from any input channel routed to GRP 1-2. Input channel panning or balance positions work across the group pair, with Group 1 as left and Group 2 as right.
10, 12, 12MTK User Manual 5.4: MASTER STEREO OUTPUT CHANNEL CONTROLS > MASTER STEREO OUTPUT The Master (MST) Stereo Output channel determines the output level of the main stereo (left and right) mix from the MST L and MST R physical outputs. On Signature 12, input channels must be routed to the Master Stereo Output with their MST buttons.
10, 12, 12MTK User Manual 6.0: SOLO AND MONITORING SOLO AND MONITORING Being able to monitor sources individually is an important tool for the Mix Engineer. PFL allows you to check sources from stage without changing the mix, while AFL allows you to refine Auxiliary Monitor and FX send mixes. The Signature’s Solo and monitoring system allows an engineer to hear either the Master (MST) stereo outputs or any channels currently assigned to the Solo bus, via the headphone output.
10, 12, 12MTK User Manual 6.0: SOLO AND MONITORING SOLO AND MONITORING PFL Enable the Pre-Fade Listen function Send this input channel's signal to the Solo Bus - A pre-fade, pre-mute, post EQ signal tap. An active PFL (or AFL) switches the headphone output source to the Solo Bus. Active PFL button red indicator LEDs show active PFLs.
10, 12, 12MTK User Manual 7.0: USB OPERATION USB OPERATION The Soundcraft Signature consoles use USB 2.0 audio streaming for sending and receiving digital audio. The Signature 10 and 12 consoles have a two-track USB system while the Signature 12MTK (Multi-Track) uses a 12-channel system for channel direct inputs and outputs, plus a two-channel system for the Playback Channel and recording the recording the main LR mix.. 7.
10, 12, 12MTK User Manual 7.1: SIGNATURE 10, 12 USB USB > SIGNATURE 10, 12 The Signature 10 and 12 consoles have 2-track USB input and output functionality. This could be used for recording a mix to a PC or Tablet, for example - or to use a computer as a playback device. Channels 1 and 2 are received by the highest-numbered stereo channel (9/10 for Signature 10, 11/12 for Signature 12). There are two USB Send (output) options - to send either the Master Stereo (MST) output, or the Aux 1 and 2 outputs.
10, 12, 12MTK User Manual 7.2: SIGNATURE 12MTK USB USB > SIGNATURE 12MTK The Signature 12MTK console also has Multi-Track (MTK) output and input functionality that allows sending of direct outputs from the input channels and return USB audio channels directly to the input channels. This makes it easy to set up multi-track recording and monitoring to and from a computer-based DAW, for example; or to run a virtual soundcheck from a previously recorded show.
10, 12, 12MTK User Manual 7.2: SIGNATURE 12MTK USB USB > SIGNATURE 12MTK USB I/O A USB Standard-B Plug for USB data connection The USB connector above the highest-numbered stereo channel is for audio data connection. Please note, the USB Standard-A plug next to the PHANTOM POWER switch is for powering USB devices only (charging devices, USB-powered lamps, and so on).
10, 12, 12MTK User Manual 8.0: LEXICON FX LEXICON FX The Signature console has an internal FX processor with dedicated internal send and return routing. There are 22 different FX algorithms available, each with two adjustable parameters mapped to the PARAM 1 and PARAM 2 controls. Aux 3/FX Sends control input channel contributions to both the FX processor and the Aux 3 output, while the FX Return channel is a hard-wired stereo return channel for the output of the FX processor.
10, 12, 12MTK User Manual 8.1 FX CONTROL LEXICON FX > FX CONTROL Because the Internal FX processor has fixed routing, operation is very simple. To use the FX, simply turn up an active input channel’s Aux 3 send control; with the FX TYPE encoder select an appropriate algorithm and press the encoder to activate; push up the FX Return channel fader. On Signature 12 and 12MTK you must ensure that the FX Return output routing is correctly for the application - MST and/or GRP 1-2.
10, 12, 12MTK User Manual 8.2: REVERBS LEXICON FX > REVERBS Reverberation (or “reverb” for short) is the complex effect created by the way we perceive sound in an enclosed space. When sound waves encounter an object or boundary, they don’t just stop. Some of the sound is absorbed by the object, but most of the sound is reflected or is diffused. In an enclosed space, reverb is dependent on many features of that space, including the size, shape and the type of materials that line the walls.
10, 12, 12MTK User Manual 8.2: REVERBS LEXICON FX > REVERBS SPRING A Spring reverb is created by a pair of piezoelectric crystals — one acting as a speaker and the other acting as a microphone — connected by a simple set of springs. The characteristic ‘boing’ of a spring is an important component of many classic rock and rockabilly guitar sounds.
10, 12, 12MTK User Manual 8.3: DELAYS & MODULATION LEXICON FX > DELAYS & MODULATION Delays repeat a sound a short time after it first occurs. Delay becomes echo when the output is fed back into the input (feedback). This turns a single repeat into a series of repeats, each a little softer than the last. Modulation effects use a low frequency oscillator to vary frequency, amplitude, and filter parameters over time.
10, 12, 12MTK User Manual 8.3: DELAYS & MODULATION LEXICON FX > DELAYS & MODULATION LO FI Delay with limited bandwidth that degrades the signal in a pleasing way for a crunchy percussion or any where a lo-fidelity effect will enhance the feel. Parameter 1: Number Of Repeats Parameter 2: Delay Time STUDIO CHORUS Chorus creates a lush, full sound by combining two or more signals together where one is unaffected and the other signals vary in pitch very slightly over time.
10, 12, 12MTK User Manual 8.3: DELAYS & MODULATION LEXICON FX > DELAYS & MODULATION VIBRATO Vibrato is obtained by smoothly modulating the pitch of the signal just sharp and flat of the original at a determined rate. Parameter 1: Modulation Speed Parameter 2: Modulation Depth VIBRAPAN A unique dual voice vibrato effect with a variable phase control for the voices.
10, 12, 12MTK User Manual APPENDIX 1: NO SOUND? NO SOUND A Troubleshooting Guide. Is an input failing to appear at appearing at an output? The best approach it is to first make sure the input is valid, and then work through the signal path to find out where the ‘break’ is... Check the exact audio path of any signal by referring to the signal path diagrams in Chapter 4.
