IMPORTANT Please read this manual carefully before using your mixer for the first time. © Harman International Industries Ltd. 2005 All rights reserved Parts of the design of this product may be protected by worldwide patents. Part No. ZM0330-01 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 IMPORTANT SAFETY INSTRUCTIONS SAFETY SYMBOL GUIDE 4 6 INTRODUCTION 7 BPM EFFECTS 7 INSTALLATION 9 GENERAL PRECAUTIONS MAINS INSTALLATION INITIAL WIRING CONSIDERATIONS AUDIO WIRING SHIELDING WORKING SAFELY WITH SOUND POINTS TO REMEMBER INSPECTION AND INSTALLATION CONNECTING TO A TYPICAL SOUND SYSTEM MAKING ADJUSTMENTS AND FITTING SPARES 9 9 10 10 10 10 11 12 13 14 DESCRIPTION 16 TOP PANEL REAR CONNECTOR PANEL FRONT PANEL 16 18 19 OPERATION 20 GETTING STARTED MIC / LINE INPUT CHANNELS
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 plug.
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 liability 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 vases, on the apparatus.
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.
INTR ODUCTION INTRODUCTION BPM EFFECTS Congratulations! By purchasing a 1601E you have joined an exclusive club of musicians, re-mixers and Djs who have discovered a new level of power and control over the effects in their music. Previously, to make effects happen in time with music was a matter of painstaking analysis of the source signal and time consuming tweaking of parameters on effects units to make sure that the tempo inherent in the effects did not clash with or break up the tempo of the music.
INST ALLA TION INSTALLA ALLATION The 1601E is ruggedly constructed with the highest quality components. As such, it should provide years of trouble free use with normal care. All parts used are conservatively rated for their application, and workmanship meets UREI by Soundcraft’s rigid standard. NO SPECIAL PREVENTIVE MAINTENANCE IS REQUIRED, AND (WITH THE EXCEPTION OF THE PRE-TRIM ATTENUATORS) THERE ARE NO INTERNAL SERVICE ADJUSTMENTS.
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.
INSPECTION AND INSTALLATION UNPACKING AND INSPECTION Your 1601E was carefully packed at the factory, and the container was designed to protect the unit from rough handling. Nevertheless, we recommend careful examination of the shipping carton and its contents for any sign of physical damage which could have occurred in transit. If damage is evident, do not destroy any of the packing material or the carton, and immediately notify the carrier of a possible claim for damage.
CONNECTING TO A TYPICAL SOUND SYSTEM The diagram below shows how to connect the different parts of a typical sound system.
MAKING ADJUSTMENTS AND FITTING SPARES CAUTION: THE FOLLOWING SECTION IS FOR USE BY QUALIFIED SERVICE PERSONNEL ONLY. TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE THE TOP FASCIA TO PERFORM ANY SERVICING OR OTHER TASKS, UNLESS YOU ARE QUALIFIED TO DO SO. BEFORE REMOVING THE TOP FASCIA ENSURE THE UNIT IS DISCONNECTED FROM THE MAINS SUPPLY. ONLY REMOVE THE ALLEN SCREWS INDICATED ON THE DIAGRAM OPPOSITE. WARNING: DO NOT OVER-TIGHTEN THE SCREWS AFTERWARDS.
DESCRIPTION TOP PANEL 16
1. MIC/LINE INPUT (see page 20): This section features [LEVEL], [EQ-HI] and [EQ-LOW] controls for the microphone/line level input stage. The combi-XLR connector accepts XLR connectors for microphone use and 1/4” Jack plugs for mono line level devices (CD/tape players, drum machines, synthesizers etc.) The [MIC] push-button switch selects the alternative rear panel RCA phono socket inputs when it is released (up). This pair is mono summed and fed to the mix bus directly, bypassing the X-fader.. 2.
REAR CONNECTOR PANEL 1. FX LOOP [AUX] -RCA Phono Connectors Use these sockets to connect any external effects processor. Alternatively, you can use the [FX RETURN] sockets to connect an additional stereo CD/line level sound source to the mixer for multi-channel operation whilst using the [SEND] connectors as a RECORD out (see FX SEND/RETURN RE-CONFIGURATION). The FX RETURN and SEND connectors can be also used for DAISY-CHAINING of mixers . 2.
FRONT PANEL 1. CH1: 3 Position curve control and Reverse These controls allow you to change the curve of the input fader and reverse the fader action. See also page 23. 2. X-FADER: Rotary position curve control and Reverse These controls allow you to change the curve of the x-fader and reverse the fader action. See also page 27. 3. CH2: 3 Position curve control and Reverse These controls allow you to change the curve of the input fader and reverse the fader action. See also page 23. 4.
OPERA TION OPERATION GETTING STARTED Before use, please observe the following guidelines: CONNECTIONS: Before making any connections, make sure that the power on all your equipment is turned OFF. Connect the audio cables for a typical system setup as shown on page 13. Connect the power cord to the mains power socket on the rear panel of the mixer and plug it into a suitable AC outlet.
LEVEL CONTROL This control sets the input level for the microphone or line-level device. At the fully anti-clockwise position there will be no sound. As the control is moved in a clockwise direction the level will be gradually increased until, at the fully clockwise position, the level will be at its maximum. CARE!: This signal is routed to the master outputs POST [MASTER] level control -e.g. the output level of the microphone or line-level device will be un-affected by the [MASTER] level control.
CHANNELS 1 & 2 (Channel 1 Shown) This section of the mixer features all the main controls for input channels 1 & 2, most of which come under the control of the digital signal processor (DSP). The EQ section in both channels are created within the DSP which enables the mixer to deliver an amazing -85dB of cut whilst, for professional considerations, limiting the boost to just +6dB. The level faders are also digitally controlled which assures extra-long life for these hard-working components.
When using high output playback devices it may be necessary to select the -10dB pad or the -20dB pad (or both) to stop the input channel from overloading. The locations of these pads are shown on page 15. TRIM The trim controls allow a +/-15dB trim range to be applied to each channel’s signal. The optimum setting is at zero on the input LED level meter. HI EQ These controls adjust the high tone characteristics of the CH1 / CH2 inputs.
FX SEND & RETURN / AUX This section features controls for the effects send/return loop, which can also be used as an auxiliary input/record output. The routing switches are controlled by the DSP for comprehensive send and return patching. For example, you can take the CH1 input signal (before or after the cross-faders) and route it through an external effects device before bringing it back via CH1, CH2 or Master bus.
RETURN / AUX -LEVEL This control sets the amount of signal coming back from the connected effects unit. At the fully anti-clockwise position there will be no sound. As the control is moved in a clockwise direction the input level will be gradually increased until, at the fully clockwise position, the input level will be at its maximum. CLIP INDICATOR The [CLIP] indicator is used to detect overload conditions in the gain section before the A/D convertor.
MASTER / BOOTH OUTPUT This section of the mixer features controls and indications for the master and booth outputs. MASTER LEVEL This control adjusts the level of the master output volume on both the balanced and unbalanced outputs. At the fully anti-clockwise position there will be no sound. As the control is moved in a clockwise direction the output level will be gradually increased until, at the fully clockwise position, the output level will be at its maximum.
THE EXCITER At the fully anti-clockwise position of the [MIX] control 0%, no EXCITER will be applied to the main mix. As the control is rotated clockwise the EXCITER is gradually added to the mix. At the fully clockwise position of the [MIX] control 100%, the amount of the EXCITER added to the mix will be 100%. At the fully anti-clockwise position of the [FREQ] control (LOW 40Hz), only Low frequencies will be excited and added to the mix.
HEADPHONE MONITOR This section of the mixer features all the headphone monitoring controls which, again, come under the control of the DSP. This allows the inclusion of a special cue EQ control which filters-out unwanted frequencies, letting you tune-in to defined elements within the sound and create a perfect mix. LEVEL This control adjusts the output level to the connected headphones. At the fully anti-clockwise position there will be no sound.
X-F MONITOR When the [MASTER/CUE SELECT] is set to CUE the [X-F MONITOR] control adjusts the relative mix balance between CH1 and CH2. When fully over to the LEFT position only CH1 sound will be audible. As the control is moved to the RIGHT CH2 sound will be gradually introduced until, at half-way, CH1 and CH2 sound will be equal. As the control is moved to the RIGHT from the centre position the CH1 sound will gradually reduce until at full RIGHT only CH2 sound will be audible.
THE BPM FX MODULE OPERATING CRITERIA This product has been designed to operate most effectively with dance music , i.e. music based on strong regular beats and patterns. However, as the range of pre-recorded dance material is virtually limitless (and the audio mix of individual tracks unknown) we cannot guarantee the performance of 1601E with every style of dance music. 1601E's synchronisation performance may be affected if the beat information is either unavailable or indefinable within the audio track.
4) TAP/CLEAR [TAP/CLEAR] button is used to manually 'tap in” a tempo. This function also acts as the BPM range selector. 5) CUTTER (1) This button selects the GATE effect. The [X] encoder controls the [DEPTH](MARK:SPACE RATIO) of the waveform. The [Y] encoder controls the cutter [SLOPE] parameters. 6) PAN (2) This button selects the PANNING effect. The [X] encoder function controls the [SPS] depth. The [Y] encoder control the panning [2-WAY SPLIT] parameters.
BPM FX MIX This fader adjusts the balance between the un-processed sound (original) and processed sound (effect). ON-OFF switches These two switches apply the bpm-fx to either of the input channels or the master output. There is a switch in each of the input channels’ areas.
QUICK START If you want to quickly try out the performance of 1601E Effects, please read the following points carefully: CONNECTIONS Make sure all connections have been made correctly and the volume controls on mixer and amplifier system are all turned completely down. Connect the IEC power cord to the rear panel of the mixer and plug it into a suitable AC outlet. Turn on the power to the mixing desk and then turn on the power of the amplifier system.
OPERATION This section features the BPM and its associated controls. You can set the BPM range, manually override the BPM engine with these controls and reset the synchronization. BPM RANGE This is where you set the working range of the BPM engine. There are three operating bands specifically designed to complement styles of music from slow ballads to the fastest House. The range setting can only be accessed when the BPM engine is in the 'Idle' condition (BEATS LED blinking).
EFFECT START SYNC The effect sync (LFO waveform) will re-trigger every time any of the following occurs: the BPM FX Mix fader is moved away from the [original] position, either of the BPM FX switches is moved to its [on] position, or the selected effect button (1-5) is pressed. Applying the BPM-FX If the BPM-FX switch on either of the input channels is set to the ON position, the effects will be applied to that input channel.
EFFECT CONTROLS This section deals with the controls dedicated to adjusting and controlling the effect parameters. Elements of each effect can be altered in real-time using the X and Y Controls whilst the 3-band filter section lets you choose which part of the sound is affected. Each time this button is set to ON the active effect will commence its cycle from the start point.
3-BAND ISOLATOR The 3-band isolator section allows you to apply the effects to certain frequency bands or the complete audio signal. As an example, effects applied to just the HIGH frequencies will sound very subtle whilst passing the sound through all three bands simultaneously will offer more extreme results. The three top panel switches control the ON/OFF status of the LOW, MID and HIGH frequency bands respectively. To select/de-select the frequency bands simply press the relevant momentary switch once.
SINGLE/MULTI MODE OPERATION This is where you choose the basic operating mode for 1601E. In [A] mode only one of the five effects can be applied at a time. The [BEATS] rotary switch can be used to set the trigger rate for each effect. In [MULTI] mode, combinations of the five effects can be applied simultaneously from a selection of factory presets. Mode [BANK] select: The rotary select switch selects single and multi modes. To select single mode, turn the switch to [A].
Additional speed settings for FILTER/FLANGER/PANNER For example: FILTER: In single mode, press & hold the FILTER effect button and then rotate the FX SPEED rotary switch to one of its 5 positions to access 1 bar, 2 bar, 4 bar, 8 bar & 16 bar settings. Default settings ‘4 bars’ for FILTER and FLANGER, 2 bars for PANNER. MULTI MODE Multi mode consists of 25 factory preset programs where combinations of the five effects have been carefully setup to offer maximum multi-effects power.
THE EFFECTS THE FILTER This effect recreates (for many dance music producers and remixers) the most essential part of a classic analogue synthesizer, the filter, and puts it under the direct control of the tempo of the source music via the synchronised Low Frequency Oscillator (LFO). The Filter allows you to remove or accentuate frequencies in the source signal, the [FREQUENCY] parameter controlling the frequencies to which the changes will be applied.
SUB-MENU A special sub-menu for the filter effect lets you choose the LFO (low frequency oscillator) wave shape. There are three types to choose from, each having their own individual characteristics and subsequent affect on the music. To select a different LFO wave shape , first press and hold down the [FILTER] effect button, then press the Isolator buttons to select [Tri], [Rise] or [Fall]. When you have selected Tri, Rise or Fall, release the FILTER button to store the change.
THE DELAY This effect makes a copy of the source signal and then adds it back into the signal after a period of time as set by the BPM analyser. The fidelity and number of repeats can be set to determine how much this affects the original signal. The delayed signal can be a perfect copy of the original, thanks to the high quality of digital technology in 1601E, but this is not always what the user wants.
THE PAN This part of 1601E is quite revolutionary. There have of course been auto-panning devices before, which could use an LFO to move a signal around the stereo field, but none which could trigger the LFO from a BPM analyser and certainly none which could move different frequency bands to different pan positions at the same time.
THE CUTTER This effect operates in a similar fashion to the filter but on the overall volume of the signal. The Cutter can be set to operate either as a conventional 'gate' which, each time it is triggered, opens instantly to allow the signal through but then after a short period closes completely to cut off the signal. It will also work as a fade-in/fade-out control with a relatively short period of operation.
THE FLANGE The Flanging effect's name was derived from the way it was first produced back in the sixties, by manually slowing a tape spool (touching the sides or 'flanges' of the spool) on a delay tape machine. This produced the classic 'whooshing' sound, which has been reproduced digitally with a greater degree of reliability and flexibility in 1601E. By feeding more or less of the signal back in to itself, the flanging effect can be exaggerated or made more subtle.
PRE-SET VOICE LIST Multi programs X-Encoder Y-Encoder Isolator “on” Bank B 1 2 3 4 5 Filter Frequency Cutter Mix Cutter Mix Cutter Mix Cutter Mix 50% 50% 50% 50% 50% Filter Resonance Delay Speed Filter Frequency Filter Env Mod Filter Frequency Low-Mid-Hi Low-Mid-Hi Low-Mid-Hi Low-Mid-Hi Low Hi Delay repeats Cutter mix Flanger Freq Delay Mix Cutter Mix 75% 100% 50% 25% 100% Filter mix Flanger freq (set res @ 75%) Flanger depth Flanger resonance DelaySpeed/Filt mix Low Hi Mid-Hi Low Hi Low Hi Low-
BL OCK DIA GRAM BLOCK DIAGRAM Please note: to assist the user in understanding the routing of the signals within the mixer, this block diagram has been drawn as if the mixer is an entirely analogue device. In reality much of the mixer is implemented within the DSP.
CONNECTING LEADS 48
TR OUBLESHOO TING TROUBLESHOO OUBLESHOOTING Problem: No Power. No sound Check power supply connection. Check position of input controls: SELECTOR / TRIM / LEVEL / EQ CUT. Check input connections. Check crossfader position. Check output connections. Check and adjust input TRIM pads. Problem: Faders work the wrong way round. Check fader reverse switches on front panel. Problem: DJ Mic causes feedback from booth speakers. Engage mic defeat button on rear con. panel. Problem: Turntable volume is very low.
SPECIFICA TIONS SPECIFICATIONS DIGITAL AUDIO: Sample rate: Resolution: FREQUENCY RESPONSE: CD/Line: Phono: MIC [Line]: AUX/FX Return: SIGNAL/NOISE RATIO: CD/Line: Phono: MIC [Line]: AUX/FX Return: TOTAL HARMONIC DISTORTION / CROSSTALK: THD: Crosstalk: AUDIO INPUT: (max input level, nominal settings/impedance) CD/Line: Phono: (1kHz) MIC [Line]: AUX/FX Return: AUDIO OUTPUT: (max output level/impedance) Master unbalanced: Master balanced(XLR): Booth unbalanced: Booth balanced(XLR): MIC insert: FXSend: Headphon
WARRANTY 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.
GL OSSAR Y GLOSSAR OSSARY Amplitude: Another term used for signal level. Attenuate: Reduce the signal level. Attenuator: A device which reduces the signal level. Auxiliary (Aux): An independent mix derived from the channels for various functions. This can be set pre (before) or post (after) the channel fader. Balanced, Unbalanced: Refers to the type of input or output signal connection. An unbalanced connection has two signal carrying conductors, one of which is the cable shield.
Earth Loop (Ground Loop): The result when the equipment sees more than one path to the system earth. Current flows because a resistive loop susceptible to radio and mains interference is formed. In severe cases this can result in audible hum or buzz in the system. Breaking the loop by removing all but one path to earth usually solves the problem. EQ (Equaliser): This provides cut or boost of selected frequencies (equalisation) for tonal shaping of the sound.
Polarity: Sometimes erroneously referred to as ‘phase’ this is the + / - sense of a balanced signal or loudspeaker connection. Reversed polarity should be avoided and checked for as it can cause uncomfortable phasing effects as the listener moves between the speakers. Polarity Reverse is often used to correct for wrongly wired cables and connectors. Pre-fade: The signal is taken from a point in the circuit which is before the fader.
