Quick Start Guide soundcraft efx8 manual free version

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Soundcraft Spirit LX7 Manual Instruction: After click Download and complete offer, you will get access to list of direct links to websites where you can this manual.

About Soundcraft RW5675 Spirit LX7-24 CH Series II Soundcraft LX7ii 24 Soundcraft LX7ii 24 Description: The hugely successful and popular Soundcraft LX7 console has received an upgrade to the LX7ii - both in terms of audio specification and cosmetics. Electronically, the LX7ii gains a new Soundcraft mic-preamp and EQ section, both designed by Soundcraft founder and electronics wizard Graham Blyth. Designated the GB30 Series, the new designs coincide with Soundcraft's 30 year anniversary and the new 4-band EQ with swept mid sections is based. Read more Details Brand. Soundcraft Part Number. RW5675 UPC. 6887051123353, 688705209081

Video review Soundcraft Spirit Studio 32 Channel. User reviews and opinions Comments to date: 5. Page 1 of 1. Average Rating: 9:30am on Wednesday, October 20th, 2010 This phone is great! It is so easy to use. This is the first phone I had with the full keyboard and it makes all the difference in the world. 4:38am on Friday, October 15th, 2010 Texting is easy, lots of features, my major complaint is that the ringer volume is very soft. Ive been missing calls and the phone is in my pocket! Great phone, has a lot of nice features, but the battery life stinks. 11:41pm on Wednesday, August 25th, 2010 I like the phones ability to socially connect with the world, however it lacks alot of things phones have, which is video capability. 6:43am on Wednesday, June 30th, 2010 its easy to message with it takes bad pictures. and the web can be very slow. you dont have service in many places Overall I am very unhappy with this phone. I have had samsung phones for the last 4 years and grown to love the intuitive software design. 6:59pm on Wednesday, June 9th, 2010 I Can Finally Text Without Pushing Million Buttons! A few months ago I figured that I have to give up. Comments posted on w w w .ps2netdrivers.net are solely the view s and opinions of the people posting them and do not necessarily reflect the view s or opinions of us.

Technical specifications

Full description Soundcraft LX7ii 24 Soundcraft LX7ii 24 Description: The hugely successful and popular Soundcraft LX7 console has received an upgrade to the LX7ii - both in terms of audio specification and cosmetics. Electronically, the LX7ii gains a new Soundcraft mic-preamp and EQ section, both designed by Soundcraft founder and electronics wizard Graham Blyth. Designated the GB30 Series, the new designs coincide with Soundcraft's 30 year anniversary and the new 4-band EQ with swept mid sections is based on the highly-acclaimed EQ in the new MH3 and MH4 touring consoles. "The GB30 EQ, owing its heritage to the work we did on the new MH range, gives a steeper than usual slope on the fixed LF and HF sections, removing unwanted mid-frequency 'mush' and delivering a clearer sound. We've a unique, cost-effective design that brings high-end EQ into an affordable mixing console for the first time." Other standard features of the LX7ii include frame sizes up to 32 mono inputs and four stereo inputs/returns with four groups, main stereo output and a dedicated mono output for centre clusters. There are direct outputs on the first 16 inputs suitable for multitrack recording, and six auxes for flexibility for effects and foldback.

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Sitemap Soundcraft EFX 8-Channel Mixer The 8-Channel Soundcraft EFX mixer uses the same AudioDNA processor featured in many Digitech and Lexicon outboard products, including the highly respected Lexicon MX500 processor. The Soundcraft EFX Series combines all the features of the popular Soundcraft EPM mixer with a built-in 24-bit, digital Lexicon effects processor, expanding the Soundcraft low-cost, multipurpose compact range. With over 35 years of experience, the Lexicon name is among top creators of reverb and processing equipment in the business, ensuring the finest quality effects not usually found in a console at this price level.

The Effects section fits neatly into the mixer's compact framework, with 2 stereo channels and an effects-send on each channel. There are 32 effects to choose from with a tap tempo function, 3 effects parameter controls, and a user effects setting store facility. An effects channel level clip LED and Mute function give the user even more flexibility. The emphasis with the Soundcraft EFX is very firmly on quality build and audio performance, with an easy-to-understand control surface in line with the Soundcraft professional range. The Soundcraft EFX uses the highly transparent GB30 Mic amp (designed by Graham Blyth for the company's 30th anniversary, and also used on the larger LX7ii and GB Series professional consoles). The Soundcraft EFX also offers all the features of the Soundcraft EPM, most notably a configurable aux send, XLR and 1/4" metal jack connector sockets, RCA phono stereo playback inputs and record outputs, a 3-band EQ with a swept mid on the mono inputs, a 3-band EQ on the 2 stereo inputs, TRS insert sockets, inserts on all mono inputs, ten-segment LED output metering and a headphone output. The Soundcraft EFX will find itself in many applications including live music, recording, houses of worship and multi-speaker installations.

FEATURES 8mono + 2 stereo channel frame sizes Built-in 24 bit Lexicon digital effects processor 32 FX settings Tap tempo and FX setting store function 1 effects-send on each channel 1 configurable auxiliary bus XLR-type and 1/4" metal jack connector sockets RCA phono stereo playback inputs and record outputs 3-band EQ with a swept mid on mono inputs 3-band EQ on stereo inputs TRS insert sockets and inserts on all mono inputs Ten-segment LED output metering Intuitive and comprehensive solo system Headphone output EFX 8-Channel Mixer Frequency Response Mic/line Input to any Output: +/-1.5dB,20Hz â€ 20kHz T.H.D. Mic Sensitivity -30dBu,+14dBu @ Mix output: 96dB Fader Cut-off (rel +10 mark): > 96dB Aux Send Pots Offness: > 86dB EQ (Mono inputs) HF: 12kHz,+/-15dB, MF: (swept): 150Hz â€ 3.5kHz,+/-15dB LF: 80Hz,+/-15dB Q: 1.5 EQ (Stereo inputs) HF: 12kHz,+/-15dB, MF: 720Hz,+/-15dB LF: 80Hz,+/-15dB Power Consumption: Less than 35W Operating Conditions: Temperature Range 5C to 40C Input and Output Specs Input & Output Levels Mic Input: +15dBu max. Line Input: +30dBu max. Stereo Input: +30dBu max. Mix Output: +20dBu max. Headphones (@150 Ohms): 300mW Input & Output Impedances Mic Input: 2k Ohms Line Input: 10k Ohms Stereo Input: 65k Ohms (stereo),35k Ohms (mono) Outputs: 150 Ohms (balanced),75 Ohms (unbalanced) Dimensions & Weight Height: 3.6" Width: 13.0" Depth 14.3" Weight: 10.1 lbs.

MixÃ¡Å¾nÃ pulty

American DJ Q-2422 PRO mixer RackovÃ½ mixpult KÃ³d produktu: 1123000007 ProfesionÃ¡lnÃ 3-kanÃ¡lovÃ½ DJ mixpult do racku s vylepÅ¡enou kvalitou zvuku. Pro kaÅ¾dÃ½ kanÃ¡l nabÃzÃ samostatnÃ½ 3-pÃ¡smovÃ½ EQ (Bass, Mid, Treble), ovladaÄe Pan a Gain, a Stream Flow LED indikÃ¡tory. KromÄ› toho je vybaven Q Start faderem, spÃnaÄem Talk Over, zapuÅ¡tÄ›nÃ½m zadnÃm panelem, vstupy: 2 x phono, 3 x RCA, 2 x mic a 2 x aux, vyvÃ¡Å¾enÃ½mi XLR vÃ½stupy, vÃ½stupem pro sluchÃ¡tka a Zone vÃ½stupem s nastavenÃm Treble, Bass a Volume. RozmÄ›ry: 482,6 x 177 x 97 mm (19", 4 mÃsta do racku), hmotnost: 3,4 kg. ÄŒernÃ© barevnÃ© provedenÃ. Skladem pro E-shop 5.090 KÄ VloÅ¾ do koÅ¡Ãku

Yamaha MG 206 C AnalogovÃ½ mixpult KÃ³d produktu: MG206C AnalogovÃ½ mixpult ze sÃ©rie MG s 20 vstupy. Mixpult nabÃzÃ 12 mono vstupÅ¯, 4 stereo linkovÃ© vstupy, 16 mikrofonnÃch vstupÅ¯, dÃ¡le 3-pÃ¡smovÃ½ ekvalizÃ©r, 4x Group, 4x Aux, low cut filtr 18dB, 8 kompresorÅ¯ na mikrofonnÃch vstupech, kvalitnÃ mikrofonnÃ pÅ™edzesilovaÄ, fantomovÃ© napÃ¡jenÃ 48V, nebo 60mm fadery. Mixpult lze montovat do racku. SouÄÃ¡stÃ balenÃ je uÅ¾ivatelskÃ½ manuÃ¡l a AC adaptÃ©r. RozmÄ›ry: 478mm x 105mm x 496mm, Hmotnost: 6kg Skladem pro E-shop 14.690 KÄ VloÅ¾ do koÅ¡Ãku

Soundking MIX02A Mixing Console AnalogovÃ½ mixpult KÃ³d produktu: MIX02A MalÃ½ pÅ™enosnÃ½ a snadno ovladatelnÃ½ mixÃ¡Å¾nÃ pult pro domÃ¡cÃ studio. nebo menÅ¡Ã hudebnÃ seskupenÃ. NabÃzÃ celkem 10 vstupÅ¯, phantomovÃ© napÃ¡jenÃ 48V na prvnÃch dvou mikrofonnÃch kanÃ¡lech, dvoupÃ¡smovÃ© korekce, AUX vÃ½stup, Hi Pass filtr, sluchÃ¡tkovÃ½ vÃ½stup, 4-segmentovÃ½ LED metr. DÃky odnÃmatelnÃ©mu drÅ¾Ã¡ku na spodnÃ stranÄ› je moÅ¾nÃ© mixpult upevnit na standardnÃ mikrofonnÃ stojan. NapÃ¡jenÃ je Å™eÅ¡eno pÅ™ibalenÃ½m 12V adaptÃ©rem Skladem pro E-shop 1.899 KÄ VloÅ¾ do koÅ¡Ãku

Soundking AS 802 AD AnalogovÃ½ mixpult KÃ³d produktu: AS802AD AnalogovÃ½ mixpult s DSP efektovou jednotkou pro malÃ© hudebnÃ seskupenÃ. 4 mono vstupy pro pÅ™ipojenÃ mikrofonÅ¯, 2 stereo vstupy pro pÅ™ipojenÃ CD/MP3 pÅ™ehrÃ¡vaÄe a klÃ¡vesovÃ©ho nÃ¡stroje. KaÅ¾dÃ½ vstup je vybaven tÅ™ÃpÃ¡smovÃ½mi korekcemi, monitor send a regulacÃ ÃºrovnÄ› efektu. MikrofonnÃ vstupy jsou vybaveny phantomovÃ½m napÃ¡jenÃm a Low Cut filtrem. DalÅ¡ÃmoÅ¾nosti konektivity: TAPE IN / OUT, Monitor OUT, REC OUT. HlavnÃ vÃ½stupy 2x JACK 6,3 mm. Skladem pro E-shop 5.299 KÄ VloÅ¾ do koÅ¡Ãku

RCF SMP-T Player PÅ™ÃsluÅ¡enstvÃ k mixpultu KÃ³d produktu: L-PAD-SMP-T-PLAYER MP3 pÅ™ehrÃ¡vaÄ pro mixÃ¡Å¾nÃpulty RCF LIVEPAD. Tato karta umoÅ¾Åûje velmi praktickÃ© pÅ™ipojenÃ USB flash diskÅ¯ s MP3 soubory do mixÃ¡Å¾nÃho pultu a stÃ¡vÃ¡ se tak ideÃ¡lnÃm Å™eÅ¡enÃm pro pÅ™ehrÃ¡vÃ¡nÃ hudby. Skladem pro E-shop 1.070 KÄ VloÅ¾ do koÅ¡Ãku

RCF SBT2-1 Bluetooth PÅ™ÃsluÅ¡enstvÃ k mixpultu KÃ³d produktu: SBT2-1-BLUETOOTH Bluetooth pÅ™ehrÃ¡vaÄ pro mixÃ¡Å¾nÃ pulty RCF LIVEPAD. Tato karta umoÅ¾Åûje velmi praktickÃ© bezdrÃ¡tovÃ© pÅ™ipojenÃ k mixpultu a stÃ¡vÃ¡ se tak ideÃ¡lnÃm Å™eÅ¡enÃm pro pÅ™ehrÃ¡vÃ¡nÃ hudby. Bluetooth pÅ™ehrÃ¡vaÄ umoÅ¾Åûje pÅ™ipojenÃ k jakÃ©mukoliv Bluetooth zaÅ™ÃzenÃ, jako napÅ™Ãklad smartphone nebo tablet. Skladem pro E-shop 1.073 KÄ VloÅ¾ do koÅ¡Ãku

RCF L-PAD SMP-R REC MKII PÅ™ÃsluÅ¡enstvÃ k mixpultu KÃ³d produktu: L-PAD-SMP-R-REC-MKII MP3 pÅ™ehrÃ¡vaÄ a rekordÃ©r pro mixÃ¡Å¾nÃ pulty RCF LIVEPAD. Podporuje USB 2.0 externÃ pamÄ›Å¥ovÃ© ÃºloÅ¾iÅ¡tÄ› s maximÃ¡lnÃkapacitou 2 TB. PÅ™ehrÃ¡vÃ¡ formÃ¡ty MP3, WMA, WAV a AAC. ZÃ¡znam je uklÃ¡dÃ¡n ve formÃ¡tu MP3. Disponuje frekvenÄnÃ odezvou 20 Hz - 20 kHz (+/- 1 dB) (THD <0.15) a frekvenÄnÃm rozsahem 20 Hz - 19,5 kHz (+/- 3 dB, THD <1%). DatovÃ½ tok mÃ¡ 192 kbps. MaximÃ¡lnÃ ÃºroveÅˆ vstupu pro zÃ¡znam je 0 dB. Pro nahrÃ¡vÃ¡nÃ se doporuÄuje pouÅ¾Ãt USB 2.0 NANDFLASH disk s formÃ¡tovÃ¡nÃm FAT32 a zapisovacÃ rychlostÃ pÅ™es 8MB. PouÅ¾itÃjinÃ½ch pamÄ›Å¥ovÃ½ch diskÅ¯, USB 1.1 nebo jednotek s velmi pomalou odezvou zpÅ¯sobuje vÃ½padky zvuku. Skladem pro E-shop 1.109 KÄ VloÅ¾ do koÅ¡Ãku

Bespeco BPMIX01 Stojan na mixpult KÃ³d produktu: BPMIX01 MultifunkÄnÃ stojan urÄenÃ½ pro expandÃ©ry nebo malÃ© mixÃ¡Å¾nÃ pulty. Stojan je vyroben z pevnÃ© a odolnÃ© oceli a jeho stabilitu upevÅûje trojnoÅ¾ka s pogumovanÃ½mi konci. SamotnÃ½ stojan je plnÄ› nastavitelnÃ½ vÃ½Å¡kovÄ›, Å¡ÃÅ™kovÄ› a nastavitelnÃ½ je i Ãºhel samotnÃ© plochy pro mix, nebo expander. VÃ½Å¡ka je nastavitelnÃ¡ v rozmezÃ 72 - 115 cm, Å¡ÃÅ™ka je nastavitelnÃ¡ v rozmezÃ 30,5 aÅ¾ 42 cm a maximÃ¡lnÃ nosnost stojanu je 8 kg. Hmotnost stojanu: 3 kg. BarevnÃ© provedenÃ: Black. Skladem pro E-shop 1.490 KÄ VloÅ¾ do koÅ¡Ãku

QSC Touchmix-8 DigitÃ¡lnÃ mixpult KÃ³d produktu: TOUCHMIX-8 KompaktnÃ digitÃ¡lnÃ mixÃ¡Å¾nÃ pult s dotykovÃ½m displejem. MÃ¡ 12 kanÃ¡lÅ¯, 8 mikrofonnÃch vstupÅ¯, 2 stereo line vstupy a USB 2-track. Na vÃ½stupech mÃ¡ 4 AUX (XLR), 1 stereo (TRS), Main R/L (XLR) a Cue/Monitor (TRS). Disponuje 4-pÃ¡smovÃ½m plnÄ› parametrickÃ½m EQ, variabilnÃmi high-pass a low-pass filtry a gate a compressor na vÅ¡ech vstupnÃch kanÃ¡lech. MÃ¡ takÃ© 4 profesionÃ¡lnÃDPS efekty a korektor vÃ½Å¡ky tÃ³nÅ¯. Na vÃ½stupech mÃ¡ 1/3 oktÃ¡vovÃ½ grafickÃ½ EQ, limiter, delay a notch filtry. Podporuje pÅ™ÃmÃ© nahrÃ¡vÃ¡nÃ na pevnÃ½ disk pÅ™es USB 3.0, a dokÃ¡Å¾e pÅ™ehrÃ¡vat aÅ¾ 14 stop najednou. BarevnÃ½ dotykovÃ½ displej mÃ¡ velikost 156 x 90 mm. ZaÅ™ÃzenÃ lze ovlÃ¡dat dÃ¡lkovÄ› pomocÃ bezplatnÃ© aplikace pro iOS. K mixpultu je dodÃ¡vÃ¡n USB WiFi adaptÃ©r, pÅ™epravnÃ pouzdro na napÃ¡jecÃ zdroj. RozmÄ›ry: 79 x 333 x 250 mm. Hmotnost: 1,95 kg. Skladem pro E-shop 27.100 KÄ VloÅ¾ do koÅ¡Ãku

QSC Touchmix-16 DigitÃ¡lnÃ mixpult KÃ³d produktu: TOUCHMIX-16 KompaktnÃ digitÃ¡lnÃ mixÃ¡Å¾nÃ pult s dotykovÃ½m displejem. MÃ¡ 20 kanÃ¡lÅ¯, 16 mikrofonnÃch vstupÅ¯, 2 stereo line vstupy, ÃºÄelovÃ½ talkback vstup a USB 2-track. Na vÃ½stupech mÃ¡ 6 AUX (XLR), 2 stereo (TRS), Main R / L (XLR) a Cue / Monitor (TRS). Disponuje 4-pÃ¡smovÃ½m plnÄ› parametrickÃ½m EQ, variabilnÃmi high-pass a low-pass filtry a gate a compressor na vÅ¡ech vstupnÃch kanÃ¡lech. MÃ¡ takÃ© 4 profesionÃ¡lnÃ DPS efekty a korektor vÃ½Å¡ky tÃ³nÅ¯. Na vÃ½stupech mÃ¡ 1/3 oktÃ¡vovÃ½ grafickÃ½ EQ, limiter, delay a notch filtry. Podporuje pÅ™ÃmÃ© nahrÃ¡vÃ¡nÃ na pevnÃ½ disk pÅ™es USB 3.0, a dokÃ¡Å¾e pÅ™ehrÃ¡vat aÅ¾ 20 stop najednou. BarevnÃ½ dotykovÃ½ displej mÃ¡ velikost 156 x 90 mm. ZaÅ™ÃzenÃ lze ovlÃ¡dat dÃ¡lkovÄ› pomocÃ bezplatnÃ© aplikace pro iOS. K mixpultu je dodÃ¡vÃ¡n USB WiFi adaptÃ©r, pÅ™epravnÃ pouzdro na napÃ¡jecÃzdroj. RozmÄ›ry: 89 x 360 x 297 mm. Hmotnost: 2,98 kg. Skladem pro E-shop 36.990 KÄ VloÅ¾ do koÅ¡Ãku

Bespeco COMPAC 45T Stojan na mixpult KÃ³d produktu: COMPAC45T SklÃ¡dacÃ ocelovÃ½ stojan na malÃ½, aÅ¾ stÅ™ednÄ› velkÃ½ mixÃ¡Å¾nÃ pult s velkou variabilitou nastavenÃ pomocÃ tÅ™Ã nezÃ¡vislÃ½ch masivnÃch upÃnacÃch kloubÅ¯ Crocodile. NastavitelnÃ¡ vÃ½Å¡ka v rozsahu od 36 cm do 86 cm, nastavitelnÃ½ sklon mixpultu, Å¡ÃÅ™ka zÃ¡kladny pod pult 41 cm bez moÅ¾nosti nastavenÃ, hloubka zÃ¡kladny pod pult 38 cm bez moÅ¾nosti nastavenÃ, hmotnost 4,8 Kg, Nosnost: 20 Kg. ÄŒernÃ¡ barva, polomatnÃ½ povrch. Skladem pro E-shop 1.193 KÄ VloÅ¾ do koÅ¡Ãku

Mackie 402 VLZ4 AnalogovÃ½ mixpult KÃ³d produktu: 402VLZ4 AnalogovÃ½ 4-kanÃ¡lovÃ½ mixpult, 2x Onyx mikrofonnÃ pÅ™edzesilovaÄ s rozÅ¡ÃÅ™enÃ½m dynamickÃ½m rozsahem (128,5 dB), rozsah gainu 0-60dB, +22 dB pro linkovÃ½ vstup, frekvenÄnÃ rozsah 20Hz-20kHz, phantomovÃ© napÃ¡jenÃ, 4x High-Headroom linkovÃ½ vstup, moÅ¾nost volby nÃ¡strojovÃ©ho vstupu (bez pouÅ¾itÃ DI boxu), 2-pÃ¡smovÃ½ aktivnÃ EQ, LoCut filtr pÅ™i kaÅ¾dÃ©m kanÃ¡ly, samostatnÃ© Stereo vstupy, Tape In, masivnÃ konstrukce, hmotnost 1.1kg. Skladem pro E-shop 3.190 KÄ VloÅ¾ do koÅ¡Ãku

Yamaha AG03 AnalogovÃ½ mixpult KÃ³d produktu: AG03 3-kanÃ¡lovÃ½ analogovÃ½ mix, respektive USB interface, nabÃzejÃcÃ inteligentnÃ Å™eÅ¡enÃ pro kaÅ¾dÃ©ho uÅ¾ivatele hledajÃcÃho maximÃ¡lnÄ› flexibilnÃ a jednoduchÃ© zaÅ™ÃzenÃ. AG03 je vybaven efektovou DSP jednotkou (AG DSP Controller software) pro ekvalizÃ©r, kompresor, filtry a reverb. Skladem pro E-shop 3.190 KÄ VloÅ¾ do koÅ¡Ãku

Mackie MIX12FX AnalogovÃ½ mixpult KÃ³d produktu: Mix12FX KompaktnÃ, pÅ™enosnÃ½ 12-kanÃ¡lovÃ½ mixÃ¡Å¾nÃpult s efekty ze sÃ©rie MixSeries s vysokou svÄ›tlou vÃ½Å¡kou, nÃzkÃ½m levelem hluÄnosti a zabudovanÃ½mi mikrofonnÃmi pÅ™edzesilovaÄi. Disponuje 3-pÃ¡smovÃ½m ekvalizÃ©rem, pevnou kovovou konstrukcÃ, hlavnÃmi L/R vÃ½stupy s 60 mm faderem, 12 efekty (vÄetnÄ› reverbÅ¯, chorusÅ¯, delayÅ¯), 4 mikrofonnÃmi/linkovÃ½mi vstupy s pÅ™enosem zvukem ve studiovÃ© kvalitÄ›, low-cut filtrem (75 Hz ), indikacÃ pÅ™etÃÅ¾enÃ Äi levelu, 4 stereo 6,3 mm linkovÃ½mi vstupy (+4 dB/-10 dB) s indikacÃ vyvÃ¡Å¾enÃ Äi levelu, stereo RCA vstupy/vÃ½stupy pro playback nebo nahrÃ¡vÃ¡nÃ, vÃ½stupy pro sluchÃ¡tka a stereo kontrolnÃ mÃstnost a moÅ¾nostÃ fantomovÃ©ho napÃ¡jenÃ pro kondenzÃ¡torovÃ© mikrofony. RozmÄ›ry: 53 x 297 x 244 mm, hmotnost: 1,7 kg. Skladem pro E-shop 3.890 KÄ VloÅ¾ do koÅ¡Ãku

Yamaha MG10 AnalogovÃ½ mixpult KÃ³d produktu: MG10-YAMAHA analogovÃ½ mixpult 10 kanÃ¡lÅ¯ k dispozici, ÄtveÅ™ice MIC IN vstupÅ¯ nebo 10x LINE IN vstup, z toho ÄtyÅ™i mono a tÅ™i stereo, 1x stereo bus, 1x AUX, kterÃ½ je moÅ¾nÃ© pouÅ¾Ãt i jako efektovou smyÄku, mikrofonnÃ pÅ™edzesilovaÄe D-PRO s invertnÃ Darlington obvodem, symetrickÃ© XLR vstupy, kompresor s ovlÃ¡dÃ¡nÃm pomocÃ jednoho potenciometru, pÅ™epÃnaÄ PAD pro mono vstupy, tÅ™ÃpÃ¡smovÃ½ EQ, moÅ¾nost 48V phantom napÃ¡jenÃ, pevnÃ© kovovÃ© provedenÃ, rozmÄ›ry: 244mm x 71mm x 294mm, hmotnost: 1,9 kg Skladem pro E-shop 3.990 KÄ VloÅ¾ do koÅ¡Ãku

Yamaha AG06 AnalogovÃ½ mixpult KÃ³d produktu: AG06 6-kanÃ¡lovÃ½ analogovÃ½ mix, respektive USB interface, nabÃzÃ inteligentnÃ Å™eÅ¡enÃ pro kaÅ¾dÃ©ho uÅ¾ivatele hledajÃcÃho maximÃ¡lnÄ› flexibilnÃ a jednoduchÃ© zaÅ™ÃzenÃ. AG03 je vybaven efektovou DSP jednotkou (AG DSP Controller software) pro ekvalizÃ©r, kompresor, filtry a reverb. Skladem pro E-shop 3.990 KÄ VloÅ¾ do koÅ¡Ãku

Yamaha MG10XU AnalogovÃ½ mixpult KÃ³d produktu: MG10-XU analogovÃ½ mixpult 10 kanÃ¡lÅ¯ k dispozici, efektovÃ¡ jednotka: 24 programÅ¯, USB konektivita s vÃ½stupem v kvalitÄ› 24-bit / 192kHz, ÄtveÅ™ice MIC IN vstupÅ¯ nebo 10x LINE IN vstup, z toho ÄtyÅ™i mono a tÅ™i stereo, 1x stereo bus, 1x AUX. kterÃ½ je moÅ¾nÃ© pouÅ¾Ãt i jako efektovou smyÄku, mikrofonnÃ pÅ™edzesilovaÄe D-pRO s invertnÃ Darlington obvodem, symetrickÃ© XLR vstupy, kompresor s ovlÃ¡dÃ¡nÃm pomocÃ jednoho potenciometru, pÅ™epÃnaÄ PAD pro mono vstupy, tÅ™ÃpÃ¡smovÃ½ EQ, moÅ¾nost 48V phantom napÃ¡jenÃ, pevnÃ© kovovÃ© provedenÃ, rozmÄ›ry. 244mm x 71mm x 294mm, hmotnost: 2,1 kg Skladem pro E-shop 5.390 KÄ VloÅ¾ do koÅ¡Ãku

Soundking DF136 Laptop Stand Stojan na mixpult KÃ³d produktu: DF136 stojan na notebook, ocelovÃ½, vÃ½Å¡ka 9201300mm, velikost desky 350x320 cm Skladem pro E-shop 865 KÄ VloÅ¾ do koÅ¡Ãku

Behringer MX 400 MICROMIX AnalogovÃ½ mixpult KÃ³d produktu: MX400 MiniaturnÃ 4-kanÃ¡lovÃ½ mono mixÃ¡Å¾nÃpult pro linkovÃ½ signÃ¡l. PouÅ¾itÃ© operaÄnÃ zesilovaÄe 4580 zaruÄujÃ kvalitnÃ zvuk â€“ ostatnÄ› stejnÃ© operaÄnÃzesilovaÄe lze nalÃ©zt v mnohem draÅ¾Å¡Ãch modelech. MX400 poslouÅ¾Ã vÃ½bornÄ› jako submixer, pokud uÅ¾ vÃ¡m dochÃ¡zÃ kanÃ¡ly na vaÅ¡em bÄ›Å¾nÃ©m mixÃ¡Å¾nÃm pultu. Snadno tak napÅ™Ãklad smÃchÃ¡te signÃ¡ly z tÅ™Ã rÅ¯znÃ½ch klÃ¡ves. Skladem pro E-shop 963 KÄ VloÅ¾ do koÅ¡Ãku

Behringer Powerplay P16-MB Mount Stojan na mixpult KÃ³d produktu: P16-MB DrÅ¾Ã¡k na stojan pro mixpult Powerplay p16-M. KompatibilnÃ se standardnÃmi mikrofonnÃmi stojany nebo stojany pro bicÃ. Skladem pro E-shop 1.061 KÄ VloÅ¾ do koÅ¡Ãku

Behringer XENYX 502 AnalogovÃ½ mixpult KÃ³d produktu: XENYX502 Mixpult, analogovÃ½: s hmotnostÃ pouhÃ½ch 0,55 kg a jednoduchou obsluhou je model XENYX 502 ideÃ¡lnÃ volbou pro ozvuÄenÃ menÅ¡Ãch prostor jako kavÃ¡rny Äi konferenÄnÃ sÃ¡ly. JednoduchÃ½ zvuk vyÅ¾aduje jednodchÃ© Å™eÅ¡enÃ a prÃ¡vÄ› to poskytne uÅ¾ivateli XENYX 502. S novÄ› pÅ™idanÃ¡ +48 V phantomovÃ½m napÃ¡jenÃm, moÅ¾nosti jeho pouÅ¾itÃ jsou jeÅ¡tÄ› Å¡irÅ¡Ã. Skladem pro E-shop 1.190 KÄ VloÅ¾ do koÅ¡Ãku

Behringer XENYX 302 USB AnalogovÃ½ mixpult KÃ³d produktu: XENYX302USB ProfesionÃ¡lnÃ kompaktnÃ mixÃ¡Å¾nÃ pult

s vestavÄ›nÃ½m USB, napÃ¡jenÃ z USB, nebo pÅ™iloÅ¾enÃ©ho adaptÃ©ru, 1 mikrofonnÃ vstup, 1 linkovÃ½ vstup (kombinovanÃ½ s USB), 2-track vstup (a vÃ½stup) smÄ›rovatelnou buÄ do sluchÃ¡tek, nebo na hlavnÃ vÃ½stup, 2pÃ¡smovÃ½ ekvalizÃ©r Skladem pro E-shop 1.250 KÄ VloÅ¾ do koÅ¡Ãku

Hercules DG400BB Stojan na mixpult KÃ³d produktu: DG400BB Stojan na notebook s nastavitelnou vÃ½Å¡kou. MoÅ¾nost nastavit v rozmÄ›rech: 220 x 265 x 315mm. PevnÃ© noÅ¾iÄky zajiÅ¡Å¥ujÃ stabilitu a maximÃ¡lnÃ nosnost aÅ¾ 10kg. Konstrukce vyrobenÃ¡ z jednoho kusu pro snadnou instalaci a jednoduchÃ© nastavovÃ¡nÃ. Skladem pro E-shop 1.690 KÄ VloÅ¾ do koÅ¡Ãku

Soundking MIX02-1A AnalogovÃ½ mixpult KÃ³d produktu: MIX02-1A AnalogovÃ½ mixpult s 2x mikrofonnÃm vstupem a 4x Line In vstupy, disponuje PhantomovÃ½m napÃ¡jenÃm 48V pro kondenzÃ¡torovÃ© mikrofony, 2-pÃ¡smovÃ½ ekvalizÃ©r, 2-cestnÃ½ Stereo Line In, ovladaÄ L / R Main Out, sluchÃ¡tkovÃ½ vstup se samostatnÃ½m ovlÃ¡dÃ¡nÃm hlasitosti, RCA In / Out. LED indikÃ¡tory, frekvenÄnÃ rozsah 20Hz-20kHz, hmotnost 0,5 kg. Skladem pro E-shop 1.704 KÄ VloÅ¾ do koÅ¡Ãku

Behringer XENYX Q502 USB AnalogovÃ½ mixpult KÃ³d produktu: XENYXQ502USB DigitÃ¡lnÃ ultra-low noise mixpult s jednÃm vysoce kvalitnÃm mikrofonnÃm preamp, kompresor ve studiovÃ© kvalitÄ› s ovlÃ¡dÃ¡nÃm jednÃm tlaÄÃtkem, vestavÄ›nÃ½ stereo USB interface na propojenÃ s VaÅ¡Ãm PC/Mac, software i se 150 presety usnadÅûjÃcÃmi nahrÃ¡vÃ¡nÃ zdarma, Neo-klasickÃ½ "britskÃ½" 2 -pÃ¡smovÃ½ ekvalizÃ©r, Main Mix Out, sluchÃ¡tkovÃ½ vÃ½stup, kvalitnÃ komponenty a konstrukce zaruÄujÃ dlouhou Å¾ivotnost. Skladem pro E-shop 1.709 KÄ VloÅ¾ do koÅ¡Ãku

Behringer XENYX 802 AnalogovÃ½ mixpult KÃ³d produktu: XENYX802 ProfesionÃ¡lnÃ mixÃ¡Å¾nÃ pult, 3 mono vstupy 3pÃ¡sm. EQ, 2 stereo vstupy 3-pÃ¡sm. EQ, 2 stereo vÃ½stupy, AUX, phantom, externÃ napÃ¡jecÃ zdroj, XENYX pÅ™edzesilovaÄe, British EQ. Se skoro jednÃm miliÃ³nem prodanÃ½ch kusÅ¯ UB Å™ada mixpultÅ¯ se stÃ¡vÃ¡ standardem pro hudebnÃky z celÃ©ho svÄ›ta. NaÅ¡e novÃ© mixpulty XENYX VÃ¡s pozvednou na vyÅ¡Å¡Ã ÃºroveÅˆ. Skladem pro E-shop 1.790 KÄ VloÅ¾ do koÅ¡Ãku

Bespeco ZXR Stojan na mixpult KÃ³d produktu: ZXR OcelovÃ½ stojan pro mixÃ¡Å¾nÃ pult s nastavitelnou vÃ½Å¡kou a Å¡ÃÅ™kou. Å ÃÅ™ku lze nastavit v rozsahu od 62 cm do 88 cm. VÃ½Å¡ku lze nastavit v rozsahu od 66 cm do 96 cm. MaximÃ¡lnÃ zatÃÅ¾itelnost je 60 kg. ÄŒernÃ¡ barva. Hmotnost stojanu 12 kg. Skladem pro E-shop 1.890 KÄ VloÅ¾ do koÅ¡Ãku

Behringer MIX 800 MINIMIX AnalogovÃ½ mixpult KÃ³d produktu: MIX800 Mixpult, analogovÃ½: Karaoke Mix s vestavÄ›nou DSP efektovou jednotkou. Behringer MIX800 je kompaktnÃ procesor pro karaoke ze sÃ©rie Mini. Zastane hned nÄ›kolik funkcÃ najednou, odstranÃ totiÅ¾ z nahrÃ¡vky pÅ¯vodnÃ hlas a pÅ™imÃchÃ¡ do nÃ vÃ¡Å¡ zpÄ›v, kterÃ½ je moÅ¾nÃ© podle potÅ™eby upravit ekvalizÃ©rem Äi dozvukovÃ© procesorem. Skladem pro E-shop 1.968 KÄ VloÅ¾ do koÅ¡Ãku

Soundking MIX04A Mixing Console AnalogovÃ½ mixpult KÃ³d produktu: MIX04A MalÃ½ pÅ™enosnÃ½ mix pult se 4 XLR vstupy pro mikrofon s moÅ¾nostÃ pouÅ¾itÃ +48V pro kondenzÃ¡torovÃ© mikrofony. Fadery obsahujÃ regulaci basÅ¯ 1x AUX a nastavenÃ pomÄ›ru stran. DÃ¡le nabÃzÃ RCA vstupy/vÃ½stupy, 4 LEDkovÃ½ svÄ›telnÃ½ powermeter, vÃ½stup na sluchÃ¡tka. Skladem pro E-shop 1.990 KÄ VloÅ¾ do koÅ¡Ãku

Soundking MIX02A USB Mixing Console AnalogovÃ½ mixpult KÃ³d produktu: MIX02AU MalÃ½ pÅ™enosnÃ½ a snadno ovladatelnÃ½ mixÃ¡Å¾nÃ pult pro domÃ¡cÃ studio, nebo menÅ¡Ã hudebnÃ¡ seskupenÃ. V robustnÃm hlinÃkovÃ©m Å¡asi nabÃzÃ celkem 10 vstupÅ¯, phantomovÃ© napÃ¡jenÃ 48V na prvnÃch dvou mikrofonnÃch kanÃ¡lech, dvoupÃ¡smovÃ© korekce, AUX vÃ½stup, sluchÃ¡tkovÃ½ vÃ½stup, 4 - segmentovÃ½ LED metr. DÃky odnÃmatelnÃ©mu drÅ¾Ã¡ku na spodnÃ stranÄ› je moÅ¾nÃ© mixpult upevnit na standardnÃ mikrofonnÃ stojan. NapÃ¡jenÃ je Å™eÅ¡eno pÅ™ibalenÃ½m 12V adaptÃ©rem. PÅ™Ãtomnost USB konektoru pÅ™edznamenÃ¡vÃ¡, Å¾e tento malÃ½ mixpult je zÃ¡roveÅˆ pÅ™evodnÃk ( USB Audio Interface ), kterÃ½ lze pomocÃ USB portu jednoduÅ¡e pÅ™ipojit k poÄÃtaÄi a nahrÃ¡t si hlavnÃvÃ½stup z mixu do stereo tracku. Skladem pro E-shop 2.125 KÄ VloÅ¾ do koÅ¡Ãku

Soundcraft EFX8 It's Arriving Soon! We've confirmed with Soundcraft that more of this item should arrive within a few weeks. Place your pre-order now to reserve yours, and your order will ship in the order it was received. Notify me when in stock

Affordable Soundcraft Mixing! The Soundcraft EFX8 not only provides a versatile, feature-filled mixing platform with plenty of I/O options that make it great for stage, studio, or house of worship applications, it also includes a stellar onboard 24-bit effects processor to make your sound even better! The EFX8 includes eight premium preamps, 32 effects settings, 3-band EQ (with swept mids on the mono channels), an effects send on each channel, and more! You'll be amazed at the great sound and performance you get from the ultra-portable 8-channel mono/2-channel stereo EFX8!

Soundcraft EFX8 8-channel Compact Mixer with Effects at a Glance: Premium effects onboard Easy to use Great components Premium effects onboard The Soundcraft EFX mixer uses the same AudioDNA processor featured in many of the Digitech and Lexicon outboard equipment including the highly respected Lexicon MX400 processor. With over 35 years experience, the Lexicon name is synonymous with the best reverb and processing in the business, ensuring the finest quality effects not usually found in a console at this price level.The effects section fits neatly into the mixers compact framework which is available in 8 or 12 mono input variants, both with 2 stereo channels and an effects send on each channel. There are 32 effects to choose from with a tap tempo function, 3 effects parameter controls and a user effects setting store facility. An effects channel level clip LED and Mute function gives the user even more flexibility. Easy to use The emphasis with the Soundcraft EFX is very firmly on quality build and audio performance, with an easy to understand control surface in line with the Soundcraft professional range. The Soundcraft EFX uses the highly-transparent GB30 Mic amp (designed by Graham Blyth for the company's 30th anniversary, and also used on the larger LX7ii and GB Series professional consoles). Great components The Soundcraft EFX also offers all the features of the Soundcraft EPM most notably a configurable aux send, XLR and 1/4" metal jack connector sockets, RCA phono stereo playback inputs and record outputs, 3-band EQ with a swept mid on the mono inputs, 3-band EQ on the 2 stereo inputs, TRS insert sockets, inserts on all mono inputs, ten-segment LED output metering and a headphone output.

Soundcraft EFX8 8-channel Compact Mixer with Effects Features: 8+2 channel frame size Built-in 24 bit Lexicon digital effects processor 32 effects settings Tap tempo and effects setting store function One effects send on each channel One configurable auxiliary bus XLR-type and 1/4" metal jack connector sockets RCA phono stereo playback inputs and record outputs 3-band EQ with a swept mid on mono inputs 3-band EQ on stereo inputs TRS insert sockets and inserts on all mono inputs Ten-segment LED output metering Intuitive and comprehensive solo system Headphone output Easily rackmountable The Soundcraft EFX8 gives you great mixing performance and sound in a small footprint!

Buy Today, Make 3 Easy Payments Sweetwater's Flexible Payment Plan is a convenient, interest-free way to buy gear now and stretch your purchase across three budget-friendly payments. Simply choose the "3 Easy Payments" option in your cart. and we'll divide your purchase amount into three convenient payments, billed to your current MasterCard, Visa, Discover, or American Express card. There is a $10 processing fee for using this service, and your billing address must be in the United States to be eligible. It's just another way we make shopping at Sweetwater easy and convenient!

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Soundcraft EFX8 Today's Payment $132.66 Includes $10 processing fee. Payment 2 $122.66 In approx. 30 days. Payment 3 $122.66 In approx. 60 days.

My Sweetwater Wish List Paul

from Beacon, NY September 19, 2015

GREAT SMALL VENUE MIXER When Wayne recommended this $400 mixer for my barn, paired with QSC 8s, I was. concerned. Soundcraft? Don't they make cheap crap? Well. The unit really is everything it needs to be and more. In fact, its been pressed into service as a small stage unit for a nightclub where we use it for open mics and late night shows. Open Mics are one of the true tests of a mixer. Some guitars are loud and brassy, others are soft and boomy. Some people sing big and close to the mic, others are too far away and practically whisper. It's freakin impossible, in other words, to make it all sound consistent and as good as it can 2unless you can mix and eq quickly on the fly. Plus: you need reverb for vocals. Trust me. And, Open Mic hosts are performers, not sound pros. It has to be dead easy or it won't happen. The EFX8 has been solid in this job for about 8 months now. Everything is right there where you need it, easy to make work. The parametric eq is awesome. The Lexicon 'verb makes everyone sound. well, better, anyway. The speakers are ceiling mounted so we have to leave them on all the time, which means we leave the board on all the time (avoid those annoying pops). So far, no problem. I wish there were more control over the monitor outs. If there is a way to adjust them by track rather than globally, I haven't found it. And I can never remember how to send the effects mix to the monitor. I'm pretty sure its easy. But the manual is pretty easy, but needs to be more a tutorial for newbies. There are videos, but some people (older) just don't learn well that way. But for $400 (now $370) and a very small footprint, this thing makes mostly dead simple sound really, really great. Abby

from NJ July 30, 2015 Music Background: pro keyboard player

Soundcraft EFX8 Recommended by my sales engineer, Chris Leonard. I use it for small to medium size venues for a small band and ensembles. Has a great sound, is easy to use, lightweight, low noise floor. For the price, it's pretty sweet. I use it as a replacement for a Mackie 1202-VLZ Pro and a Mackie 808s (I now have powered speakers, so I no longer need a powered head). It's definitely an upgrade in terms of sound quality. The onboard Lexicon effects are really nice. I also recently purchased JBL EON610 speakers (which I use as monitors) and already have a pair of Mackie SRM 450 speakers for mains. The Soundcraft sounds great with them.

Stephen

from South Louisiana July 1, 2014 Music Background: worship musician, occasional band gigs

LOVE IT! Dan Van Amerongen guided me toward this mixer when I was seeking one for my music room and for small gigs. I was unfamiliar with this brand and mostly have used Mackie mixers. I am quite impressed with the clarity of the sound and the quality of the onboard effects. This device has been a perfect addition to my practice room. This is a GREAT mixer. Larry Vigneault

from Burlington, Vermont January 13, 2014 Music Background: Bandleader, bassist, part-time musician

Great mixer! I recently needed a replacement for my Yamaha 16 channel mixer that had served me well, but was getting along in years. The Soundcraft EFX8 had all the features and inputs I need for both of my bands and the reviews were good so I ordered it. The mixer sounds fantastic and the Lexicon effects really complement the mixer. My guitarist, a recording engineer by trade, gave it a big thumbs up. The mix is punchy and well defined. Adding to that, it's compact and a quick setup. As usual, my rep at Sweetwater (thanks, Jim!) did his typical stellar job of taking care of me. I ordered on Monday and had it in time to familiarize myself with it for a gig that Friday. Thanks, Sweetwater! Peter Williams

from Philly suburbs March 23, 2016 Music Background: Gigging amateur musician.

Great product from Soundcraft! Got this mixer for my smaller acoustic band, fits the bill perfectly! I needed 8 inputs and one aux send for this project, and I wanted a small footprint. Great effects which have plenty adjustments. I like having the insert points on each channel, two are being used for external effects on acoustic guitars. It's really nice having PFL monitoring ability, and the sweepable midrange EQ function on every channel is awesome, I can really get things dialed in for a great sound out front! Two thing missing that I would have liked to have, are high pass filters on each channel and a master volume for the aux send. Not show-stoppers, but certainly nice to have. Bottom line, the EFX8 is kind of "old school", but nonetheless it is a rugged, small footprint mixer with a great sound! Customer

from June 20, 2015

Clear, quiet with lots of headroom I never rate anything. I just came from a classic mackie 1402 VLZ and thought it was about as good as I could get for what I paid. Turns out buying old used gear for cheap isnt a smart investment. This is a smart investment. Built like a tank, this thing is making all my synths and drum machines sound brand new. It can make my analog stuff sound bright and digital or warm and thick. The eq is worth it alone. Not to mention the pretty decent lexicon effects. (I think people exaggerate how good it is, its fine, dont toss your processors) The unit looks fantastic, and has a lower noise floor than the mackie I had. Buy it! OR wait for the new signature series. Whatever! Linda

from Seal Beach, Ca November 4, 2013 Music Background: Working musician doing casuals

Very good mixer for the money I never give something a 5 star but this unit was close to it. Love the effects. Was easy to set up. The electrical plug in is under neath the unit. That is sort of inconvenient but it is workable. James

from Detroit,Mi. October 18, 2013 Music Background: Detroit Bass Player and live sound engineer

I like it and it works for me.

I needed a mixer that had more mic inputs that my mackie 1202 and alto L8 and smaller than my mackie cfx 16. This one fits the bill and works for me. Built to go the distance with a steel chasis.The on button is in a weird place but it can be reached. At least it won't be hit by accident. Easy to use and is a clean sounding board. I am using a Bose L1 or powered speakers and monitors. I think it is a step under Allen Heath but above Mackies. Give it a try. I like it and it works for me. I considering getting a larger one to replace my cfx 16. It's a few dollars more but I think it's worth it. L herman

from Seal Beach, Ca October 14, 2013 Music Background: working musician doing casuals

Great mixer I bought this mixer a week ago and used it for the 1st time today. It worked great. Was easy to set up but I have had a Soundcraft mixer before. It replaced my Mackie pro 1202 which I've had since about 2000. The Soundcraft was clear and rich. Lot of punch. I'm using it along with a QSC amp. Very pleased with the sound. Bobby D.

from Chicago, IL January 3, 2013 Music Background: Pro Musician

EFX8 Covers The Basics "+" I needed to update & lighten on my trusty Power Station, and this does the trick. Ease of use & set-up time, deceptively durable, and it sounds great. The Lexicon FX processor just adds to it's value as well. You can find cheaper with a couple more channels, but do your research and you'll chose this model. Also nice for small gigs and monitor use. Thomas Le

from Houston, TX September 10, 2014 Music Background: Live Sound Engineer

Great Compact Console! For a small console, it's perfect for the small gigs where space is a premium and there's not alot to amplify to the PA. The Lexicon FX is very versatile with 3 controls to dial in the perfect reverb. I'm fine with one aux send, but if I'm in a pinch, I could use the FX send as another aux if I am willing to sacrifice the internal FX. The only problem I have with the board is that the preamps are kind of weak, meaning that I have to drive them hotter. This was disappointing since Soundcraft touts that the EFX/EPM has the same preamp as the GB2/4/8 series which I also operate on Sundays. I find this not to be the case. Overall, it's a great board for the starting band or a pro looking for a submixer. buzzard

from Salt Lake City February 27, 2013 Music Background: Hobbyist

Well made, good sound I use the Soundcraft EFX8 for occasional solo gigs and small ensembles through a Yamaha DXR10. Itâ€™s a nice step up from the little Behringer Iâ€™d used for a couple years with an audible difference in headroom, but frankly the Behringer is not terrible and quite cost effective. The build quality is high and the layout is intuitive. Using/configuring a Lexicon effect DOES require a small learning curve, but they sound pretty good. In this price range, only one other brand really competes. Which one you choose will probably have little to do with an audible difference. For me, the Soundcraft faders feel better, and the form factor is slightly more friendly.

Allen & Heath ZED-10FX Kleinmixer

Kleinmixer 4 Mic/Line Eingänge 2 Dual Stereo Eingänge 2 Aux Sends USB Send und Return integrierter 24 Bit / 48 kHz Effektprozessor u.a mit Tap-Delay Hochpass Filter Stereo Return 2-Track Return 6,3 mm Kopfhöreranschluss Stereo Record Ausgang XLR Master LR Main Insert 12-Segment LR Anzeigen Master Kontrolle für Aux 1 & 2 integriertes Netzteil Maße: 336 x 95 x 275 mm Gewicht: 3,3 kg passendes Case: Art. 267778 (nicht im Lieferumfang enthalten)

Kunden, die sich für Allen & Heath ZED-10FX Kleinmixer interessierten, haben danach folgende Produkte bei uns gekauft Verwandte Produkte (37) Allen & Heath ZED-10FX Bundle Dieser Artikel ist auf Lager und kann sofort verschickt werden. (160) Millenium DJ Mixer Bag Finden Sie diese Bewertung falsch oder aus irgend einem Grund unzumutbar ? Bitte schreiben Sie uns in das folgende Textfeld den Grund für Ihre Einschätzung und - wenn möglich - Ihre E-Mail Adresse für Rückfragen. Meldung abschicken Das ZED-10FX ist ein Mischpult, das dem guten Ruf von Allen&Heath gerecht wird. Die Verarbeitung ist überwiegend hochwertig: Alle Potis sind verschraubt, die XLR-Buchsen sind von Neutrik, das Gehäuse ist aus massivem Blech. Nur die Plastik-Seitenteile wirken etwas billig. Sofort ein dickes Plus hat das Pult bei mir durch sein eingebautes Netzteil. Vom Sound her bin ich recht zufrieden. Die Preamps empfinde ich als präzise. Natürlich ist ein 3-Band-EQ keine Allzweckwaffe, aber um z.B. bei einem SM58 den Mumpf etwas rauszunehmen und die fehlende Brillanz des Mics etwas zu kompensieren ist die Ausstattung des ZED10 genau passend. Wie von A&H gewohnt, packen die EQs gut zu. Das Effektgerät spielt nicht in der Oberliga, ist aber für live vom Sound her gut zu gebrauchen. Für jeden Effekt kann man einen Parameter einstellen, zusätzlich kann das Delay-Tempo getapt werden - zeitgemäß. Für die Selbstbeschaller-Musiker ist der essenzielle Fußschalteranschluss an Bord, mit dem man den Hall während den Ansagen ausschalten kann. Zwischenfazit: Auf dem Live-Stuhl für ganz kleine Besetzungen, z.B. Singer/Sognwriter mit Gitarre, Gesang oder auch mal Stage Piano bis hin zu Cajon bietet das A&H ZED-10FX alle nötigen Funktionen mit gutem Sound im kompakten Format. Kaufempfehlung dafür! Doch nun zum anderen Stuhl, auf den sich das Pult setzen möchte: Recording. Der Record-Out und Monitor-Out ist als Cinch ausgeführt, die USB-Schnittstelle kann nur 16bit. Dafür läuft sie auch unter Linux problemlos. Die Funktionen des Pultes, nämlich ein spezieller Record-Bus und ein Playback-Kanal, sind für Overdub mit bis zu 2 Tracks recht durchdacht gestaltet. Das USB-Interface sollte jedoch 24bit haben und die Outputs sollten symmetrische Klinken sein, damit man ein hochqualitatives Audio-Interface oder einen mobilen Recorder sowie seine Studioboxen störungsfrei anschließen kann. In diesem Punkt ist A&H inkonsequent. Allerdings gibt es auch Situationen, in denen dieses Pult komplett ausreichen würde, zum Beispiel bei der Produktion eines Radiobeitrags. Da ist der hallige Raum vs Sprecherkabine sowieso mehr das Problem als ein 16bit Wandler. Störend ist, dass auf den Stereo-Inputs keine Mono-Option zur Verfügung steht, hier muss man sich ein Y-Kabel bauen. Schön wäre ein Schalter pro Kanal nicht nur für Record und PFL, sondern auch für den Main Mix. Der könnte sowohl als Mute-Schalter für live dienen als auch es erlauben, auf den Record Bus noch etwas dazuzumischen, das nicht über die PA geht, aber beim Mitschnitt aufgenommen werden soll. Ein simpler Mute-Schalter fehlt mir allemal. Nochmal ein Fazit: Für Recording ist das ZED-10FX nicht ungeeignet, aber nicht optimal. Für live bei Kleinstbesetzung ist es ein gutes und praktisches Werkzeug für all die, die den Sound und die schwierige Zuverlässigkeit der Billigheimer endgültig satt haben. Bei den Features gäbe es noch Steigerungsmöglichkeiten.

England gegen USA: Vergleich ZED-10FX mit Mackie 1202 VLZ3

Finden Sie diese Bewertung falsch oder aus irgend einem Grund unzumutbar ? Bitte schreiben Sie uns in das folgende Textfeld den Grund für Ihre Einschätzung und - wenn möglich - Ihre E-Mail Adresse für Rückfragen. Meldung abschicken Mit dem ZED-10FX hat A&H endlich einen preiswerten Kleinmixer für Homestudio und Mini-Gigs im Angebot. Von dem fast gleich großen Mackie 1204 VLZ3, der seit bald 10 Jahren auf dem Markt ist, unterscheidet sich der ZED-10FX im wesentlichen durch das eingebaute Effektgerät und einen eingebauten USB-Audio-Codec (Stereo-I/O, 16 bit, bis zu 48 kHz). Es gibt ferner einen zusätzlichen Recording-Bus, der dem Codec zugeordnet ist. Das ist aber kein vollwertiger Bus, er hat keine eigenen Mix-Regler, nur Schalter. Was aber Applefreaks freuen wird: Der USB-Anschluss ist Core-Audio kompatibel und funzt problemlos mit Mac und iPad (über camera kit). Allerdings kommt es immer mal wieder vor, dass einzelne Knackser auftreten. Für wichtige Aufnahmen daher nur bedingt zu empfehlen. Der Mackie hat solchen Schnickschnack nicht, nur 4 Monokanäle mit Insekts, aber ohne HiZ für Instrumente. Der ZED hat keine Inserts, aber dafür 2 HiZ Eingänge mit simplen FET-Preamps, die etwas wärmer klingen als die üblichen Opamps. Der Klirrfaktor ist bei höherer Aussteuerung schon ganz gut hörbar. Das gefällt dem E-Gitarristen, kann aber für akustische Gitarren schon fast zu viel des Guten sein. Die Mikrofon-Vorverstärker sind bei beiden Mixern fast gleich gut und rauscharm, wobei die Mackies vielleicht etwas transparenter klingen. Dafür hat der Mackie keine durchstimmbaren Mittenregler. Während der Macke 4 gleiche Stereokanäle hat, gibt es beim ZED nur deren zwei, wovon einer standardmäßig dem USBCodec zugeordnet ist. Der dritte nennt sich Playback-In und hängt normalerweise ebenfalls am Ausgang des USB-AudioCodecs, was etwas verwirrend ist. Kanalweise Overload-Anzeigen gibt es bei beiden Mixern nicht, man muss über die PFL / Listen-Schalter einpegeln. Das Effektgerät des ZED ist simpel gestrickt aber gut durchdacht und klingt ziemlich passabel. Im Wesentlichen gibt es einen Plattenhall in mehreren Varianten mit jeweils einem einstellbaren Parameter, ein Delay in verschiedenen Varianten und noch ein paar andere Effekte wie Doppler, Flanger und Chorus. Diese sind aber nicht sehr variabel. Die Bedienung ist einfach. Auf der Bühne sind die Effekte recht brauchbar, im Studio wird man bei höheren Ansprüchen ein externes Hallgerät bevorzugen, falls man hat. Dieses ist parallel zum eingebauten Effektgerät abschließbar. Der ZED-10FX hat leider nur 4 symmetrische Anschlüsse (Mic-Kanäle 1 - 4). Alle anderen Ein- und Ausgänge sind unsymmetrisch, auch die beiden XLR-Outputs! Die Klinkenbuchsen sind zwar dreipolig, aber der Ring-Anschluss liegt jeweils über einen Widerstand an Masse. Impedanz-Symmetrierung nennt man das. Also für lange Kabelstrecken ist das nicht gedacht. Die Monitor-Ausgänge sind sogar nur Cynch. Im Gegensatz dazu hat der Mackie 8 vollsymmetrische Eingänge und 2 symm. XLR-Ausgänge. Der Rest ist unsymmetrisch. Man kann ihn also auch auf größeren Bühnen einsetzen. Klanglich liegen keine Welten zwischen den Mixern. Insgesamt macht der Mackie aus USA einen etwas übersichtlicheren und professionelleren Eindruck, die Mikrofonverstärker sind um 2,5 dB rauschärmer und verstärken etwas mehr. Für Besitzer von Bändchen-Mikros kann das wichtig sein. Auch Keyborder werden den Mackie bevorzugen wegen seiner vier regelbaren Stereo-Eingänge. Aber dafür gefallen beim ZED die verschraubten Potis, die HiZ-Eingänge, die parametrischen Mitten, das Effektgerät und der USB-Anschluss. Da aber die beiden letzteren keinen besonders hohen Ansprüchen genügen, sollte man das eher als Dreingabe betrachten. Im Übrigen entscheidet letztlich auch der günstigere Preis des Engländers. Finden Sie diese Bewertung falsch oder aus irgend einem Grund unzumutbar ? Bitte schreiben Sie uns in das folgende Textfeld den Grund für Ihre Einschätzung und - wenn möglich - Ihre E-Mail Adresse für Rückfragen. Meldung abschicken Die Aufteilung der Bedienelemente ist sehr übersichtlich und nach kurzer Orientierung wo was ist kann man es bereits gut bedienen.Das ZED-10FX wird zusammen mit 2 Yamaha DBR10 benutzt. Überraschend gut und wirkungsvoll sind die Klangeinstellungen. Wir benutzen es nur für Gesang und haben außer Shure auch mal ein Sennheiser dran, vor allem die Mitten lassen sich sehr gut einstellen. Die HiZ Eingänge für Gitarre haben wir ausprobiert und fanden sie ganz brauchbar, benutzen aber einen Gitarrenverstärker. Unsere Skepsis gegenüber den Effecten hat sich gegeben. Die Hall Versionen sind fast alle gut, wir benutzen aber doch meist nur eine. Mit den anderen wird schon mal experimentiert aber wir kommen doch meist auf unsere zurück. Was optimal ist, dass wir Aufnahmen mit einem Zoom H4n gleich wiedergeben können und der Klang exakt wie im Orginal ist. Mit dem Kopfhörer reinhören in die einzelnen Stimmen ist auch noch ein wertvolles Feature. Ebenso wie das Einspielen von Geräuschen, oder in den Pausen Musik. Wir sind mit dem Gerät rundum zufrieden und ich bin glücklich über die gute Kaufberatung des Thomann Mitarbeiters ein gutes, preiswertes Gerät.

Einfach top! Finden Sie diese Bewertung falsch oder aus irgend einem Grund unzumutbar ? Bitte schreiben Sie uns in das folgende Textfeld den Grund für Ihre Einschätzung und - wenn möglich - Ihre E-Mail Adresse für Rückfragen. Meldung abschicken Hier meine neueste Bewertung nach einiger Live Erfahrung damit: Um es kurz zu machen: Wer einen Kleinmixer sucht und wem die Ausstattungsmerkmale genügen, der kaufe DIESEN! + Kompakt, wenn auch ein wenig wuchtiger als manche vergleichbaren + Kaum Rauschen der Eingänge und der Effekte

+ Wirklich guter Sound + Parametrische Equalizer in den Mono Kanälen (!) + Integriertes Netzteil + Gerät erhitzt sich nicht so stark wie z.B. B*hriner & Co. + Tolle Effekte + Ergonomische Bedienung + Ansprechendes Design, leicht + USB Soundkarte erstaunlich gut o Keine Peak LED's für die Kanäle. Kann aber per Kopfhörertaste am Levelmeter für den Kanal eingepegelt werden. Die Kanäle erscheinen mir zudem recht übersteuerungsfest. o Monitorweg nur Cinch o Keine Gruppen, nur ein Aux Weg (+ Effektweg) - Riecht am Anfang etwas streng Die Gain Regler waren anfangs für mich ungewohnt. Diese scheinen erst kaum was zu bewirken, bis sie dann plötzlich im letzen Bereich das Eingangssignal deutlich zu beinflussen scheinen. So bedarf es einer sehr feinen Einstellung im letzten Viertel des Regelbereiches. Meine erste Veranstaltung damit war ein voller Erfolg. Ein Kanal übersteuerte nur einmal, als jemand wirklich ins Mikrofon reinplärrte. Da muss man dann notfalls zum Gainregler greifen, kommt aber nur vor, wenn man mehrere Sprecher/Sänger hat und sie vorher nicht einpegeln konnte. Auch die Effekte habe ich mittlerweile lieben gelernt. Am liebsten benutze ich den PingPong Effekt. Per Tap Beat die Geschwindigkeit eingetappt und dann vorsichtig beimischen. So erhält man ein sehr professionell klingendes Echo. Bei manchen Songs tappe ich die doppelte Geschwindigkeit, um andere Effekte zu erzielen. Wenn ich nichts weiter machen möchte, nehme ich einen der Hall Effekte. Habe das Pult gerade gegen das ZED-12 FX und gegen ein neu bestelltes Mackie PROFX8 getestet. Fazit: Das Mackie wird zurück gehen und ein 2. ZED 10-FX soeben bestellt, für meinen Schreibtisch. Das bisher benutzte ZED 12-FX wird verstaut, da das 10FX sogar noch einen Tick besser klingt! Hoffen wir mal, dass sich die Bauweise seit 2010 nicht geändert hat ;-) Abschließend möchte ich noch erwähnen, dass die Tasche 'TC-Helicon GIG BAG' ganz genau passend ist für den Mixer ;-) Die eine Bewertung hier mit nur einem Stern ist für mich absolut nicht nachvollziehbar. Über diesen Mixer klingt es nicht viel anders als über einen Yamaha 01V96 Digitalmixer.

Ganz schön groß das kleine Pult. Smart Navigator Allen & Heath Kleinmixer zur Übersicht Kleinmixer für 250 €–350 € anzeigen Zur Kategorie Kleinmixer Zur Kategorie Mischpulte Zur Kategorie PA- und Beschallungsequipment Detaillierte Herstellerinfos für Allen & Heath Allen & Heath PA- und Beschallungsequipment zur Übersicht Druckversion dieser Seite

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Soundcraft Spirit Live 42 Manual Instruction: After click Download and complete offer, you will get access to list of direct links to websites where you can this manual.

About Soundcraft GB2 24 Sound Mixing Console RW5748SM Soundcraft GB2 24 Sound Mixing ConsoleThe GB2 is the latest addition to the Soundcraft GB Series, featuring 4 group busses configured as 2 stereo subgroups and an integral 6 x 2 matrix. Intended for installed-sound and Audio-Visual applications that do not require the functionality provided by the GB4 or GB8, the GB2 is available in frame sizes of 16, 24 and 32 mono inputs, each with 2 stereo inputs as standard. Each input features the high-performance GB30 Mic Pre and GB30 Equaliser designs of. Read more Details Brand. SPIRIT BY SOUNDCRAFT Part Numbers. GB2 Live, RW5748SM

User reviews and opinions Comments to date: 6. Page 1 of 1. Average Rating: 7:56pm on Friday, October 22nd, 2010 A beast - great when tamed Ideal for Windows Mobile enthusiasts - powerful, full featured, well built hardware. HTC HD2 The phone is everything I expected, excellant display and good operating software. No regrets buying this inovative phone. 2:45pm on Wednesday, September 22nd, 2010 No problems setting up e-mail accounts and syncing with MS office. I had Android phones (AT&T captivate) and mobile 7 phones (samsung focus). 10:10am on Monday, August 16th, 2010 Overall i would say this is by far the best phone I have ever owned. I bought this phone from T-Mobile the day it came out. 1:59pm on Monday, April 19th, 2010 There is no practical way to change the language. Also advertisement did not say phone OS was German. Attractive Design Difficult Navigation Probably a great phone, but w/o 3G signal in U.S. phone can not show off all its stuff. Sense UI is best I have seen, WinMo 6.5 is OK. THIS PHONE IS GREAT WHEN TRAVELING. Attractive Design","Brilliant Display","Good Interface w/email","QWERTY Keypad Crashes or Freezes". 11:40am on Sunday, April 11th, 2010 If you lookin for cheap caese then this is a good purchase if it under 10 dollar, itz better cases out there. itz slippery, hard and fragile. 7:59pm on Saturday, March 13th, 2010 Reviewing smart phones can be very tricky these days since there are typically two or three main aspects of the product that can make or break the dev. Comments posted on w w w .ps2netdrivers.net are solely the view s and opinions of the people posting them and do not necessarily reflect the view s or opinions of us.

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Tip Ring Sleeve Inserts Signal Send Signal Return Gnd/Screen Tip Ring Sleeve

INSERT POINT The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing limiters, compressors, special EQ or other signal processing units to be added in the signal path. The Insert is a 3-pole A gauge jack socket which is normally bypassed. When a jack is inserted, the signal path is broken, just before the EQ section. The signal from the channel appears on the TIP of the plug and is returned on the RING, with the sleeve as a common ground.

Page 14 STEREO INPUTs, CASS/CD INPUTS Accept 3-pole À 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 interference pick-up on the cable. Note that the ring must be grounded if the source is unbalanced. Mono sources can be fed to both paths by plugging into the Left jack only. Mix Outputs Group Outputs Matrix Outputs 1. Screen 3. Signal 2. Signal +

STEREO RETURNS Similar to the Stereo Inputs. Input gain is sufficient to allow the connection of +4dBu professional or -10dBV semiprofessional equipment. Mix INSERTS, GROUP INSERTS

Mix & Group Inserts Signal Send Signal Return Gnd/Screen The unbalanced, pre-fade Mix insert point is a break in the output signal path to allow the connection of, for example, a compressor/limiter or graphic equaliser. The Insert is a 3-pole A gauge jack socket which is normally bypassed. When a jack is inserted, the signal path is broken, just before the mix fader. The mix signal appears on the TIP of the plug and is returned on the RING. A Y lead may be required to connect to equipment with separate send and return jacks as shown below:

Signal Send Insert Point Send to External Device Aux Outputs Rec Outputs Direct Outputs Signal + Signal Screen

Screen Signal Return Return from External Device

MIX, GROUP & MATRIX The Mix, Group and Matrix outputs are on 3-pole XLR sockets, wired as shown on the left and below, and incorporate impedance balancing, allowing long cable runs to balanced amplifiers and other equipment. Headphones Left Signal Right Signal Ground From LIVE 42 Impedance Balanced Output Signal

(a) Balanced Connection To External Device

Signal Ground From LIVE 42 Impedance Balanced Output (b) Unbalanced Connection Signal Ground Experience has shown that sometimes it is better not to connect screen at external device end.

Page 15 AUX OUTPUTS, Direct OUTPUTS The Aux and Channel Direct outputs are on 3-pole A gauge jack sockets, wired as shown on the left, and incorporate impedance balancing, allowing long cable runs to balanced amplifiers and other equipment.

HEADPHONES The PHONES output is a 3-pole A gauge jack, wired as a stereo output as shown, suitable for headphones of 200W or greater. 8W headphones are not recommended.

Polarity 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 cause serious degradation of the signal if one of the cables has the +ve and ve wires reversed. This phase reversal can be a real problem when microphones are close together and you should therefore take care always to connect pins correctly when wiring audio cables. The mono inputs are provided with a Phase (f) switch to reverse the polarity of a selected input if a phasing problem is suspected.

Grounding and Shielding For optimum performance it is vital that all signals are referenced to a solid, noisefree earthing point and that all signal cables have their screens connected to ground. To avoid earth `loops, use balanced connections where possible and ensure that all cable screens and other signal earths are connected to ground only at their source and not at both ends. If the use of unbalanced connections is unavoidable, you can mimimise noise by following these wiring guidelines: l On INPUTS, unbalance at the source and use a twin, screened cable as though it

were balanced. l On OUTPUTS, connect the signal to the +ve output pin, and the ground of the output device to -ve. If a twin screened cable is used, connect the screen only at the mixer end. l Avoid running audio cables or placing audio equipment, close to thyristor dimmer

units or power cables. l Noise immunity is improved significantly by the use of low impedance sources, such as good quality professional microphones or the outputs from most modern audio equipment. Avoid cheaper high impedance microphones, which may suffer from interference over long cable runs, even with well-made cables. The +48V switch applies phantom powering to the MIC input socket for condenser microphones. Transformer-coupled dynamic microphones may be used without causing damage, even when the +48V power is connected, but care must be taken when using unbalanced sources, because of the voltage present on pins 2 and 3 of the XLR connector. NOTE: Phantom powered mics should not be plugged in with the +48V switched on. Also you should be aware that some microphones draw an unusually large current which may overload the power supply, resulting in distortion. Consult your microphone supplier for guidance if necessary.

PHASE SWITCH The Phase switch reverses the polarity of the input signal to compensate for phase differences due to microphone placement or incorrect wiring of input cables. This switch should be released for normal operation.

INPUT SENSITIVITY 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 (shown by illumination of the PEAK LED), and causes clipping. 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. Set the knob fully anticlockwise as a preliminary position for LINE level sources.

Page 18 HI-PASS FILTER P Pressing this switch inserts a 18dB per octave 100Hz Hi-Pass Filter in the signal path, immediately after the input amplifier. This is particularly useful in live PA situations to reduce stage rumble or popping, and its use is strongly recommended, even on male vocals. It can also be used for filtering out low frequency hum.

EQUALISER The Equaliser(EQ) comprises four sections. The upper control provides H.F.(treble) boost and cut of +/-15dB and the lower control provides L.F. (bass) boost and cut of +/-15dB. The centre two pairs of knobs are arranged as HI and LO MID frequency sections, with a cut/boost control (lower knob) of +/- 15dB, and a SWEEP(frequency) control which determines at which frequency the boost/cut action will be centered. These MID sections, with a combined frequency range from 80Hz to 13kHz are particularly versatile for vocals, enabling particular characteristics of the singer to be lifted or suppressed very precisely. Set the cut/boost control of each section to the centre-detented position when not required.

EQ SWITCH The EQ switch bypasses the Equalisation section when released. Alternately pressing and releasing the switch provides an easy way of comparing the equalised and unequalised signals.

AUXILIARY SENDS These controls route the input channel signal to any one or more Auxiliary buses. These are separate from the main outputs and can therefore provide additional outputs for foldback, echo units or extra loudspeaker `fills. AUX 1, 2 & 3 are derived before the channel fader (PRE-FADE), and are therefore unaffected by the fader position. This makes them particularly suitable for foldback or monitor feeds, which need to be controlled separately from the main P.A. mix. Aux 3 may be selected internally to be post-fade if required. AUX 5 and 6 are derived after channel fader (POST-FADE), and therefore follow any changes in fader level. They are normally used to drive effects processing units which are fed back into the mixer and which must fade out with the input channel. AUX 4 is normally POST-FADE, but may be altered globally to be PRE-FADE by pressing the AUX 4 PRE switch on the Master section. All pre-fade sends are normally POST-EQ, but may be selected to PRE-EQ by changing internal jumpers. Note that the sends are not affected by the position of the EQ switch All of the Aux Sends are muted when the MUTE switch is pressed. The PAN control determines the position of the signal within the stereo mix image or may be used to route the channel signal to particular output GROUPS as selected by the ROUTING SWITCHES (see below). Rotation fully anticlockwise feeds the signal solely to the Left mix buss or Groups 1 and 3, while rotation clockwise sweeps the image to the Right buss or Groups 2 and 4.

ROUTING SWITCHES The input channel signal may be routed to the main Stereo MIX (L-R) or pairs of GROUP busses (1-2, 3-4), by pressing the

respective switches. These may be used in conjunction with the PAN control (8 above) to route the channel signal proportionately to any of the selected busses.

Page 19 This 100mm long-throw fader determines the proportion of the channel in the mix and provides a clear visual indication of channel level. Normal operating position is at the `0 mark, providing 10dB of gain above that point if required.

MUTING All post-fade outputs from the channel may be muted by pressing the MUTE switch, and the associated LED illuminates to show that the channel is OFF. Alternatively the channel may be selected to any one or more MUTE BUSES to provide grouped muting under the control of the MUTE masters on the far right-hand side of the console. In either case the mute status is shown by the LED.

PFL/PEAK When the PFL switch is pressed, the Pre-Fade signal is fed to the headphones and L & R meters, where it replaces the normal Mix L/R signal. The PFL/AFL ON LED on the master section illuminates to warn that the headphones and the meters are now responding to the PFL/AFL selection and the PFL LED on the input channel lights to identify the active channel. This is a useful way of listening to any required input signal without interrupting the main mix, for making adjustments or tracing problems. When the PFL switch is released the LED on the channel serves as a PEAK indicator, to warn when an excessively high signal level is present in the channel. The signal is sampled at three points in the channel, immediately after the Hi-Pass Filter (Pre Insert), post Mid EQ and pre HF EQ, and POST EQ. The Peak LED will illuminate approximately 4dB before clipping and therefore give warning of a possible overload even if the peaks are removed by external equipment plugged into the Insert.

Page 21 These controls route a mono sum of the input channel signal to any one or more Auxiliary buses. These are separate from the main outputs and can therefore provide additional outputs for foldback, echo units or extra loudspeaker `fills. AUX 1, 2 & 3 are derived after the EQ section and before the channel fader (PRE FADE, POST EQ), and are therefore unaffected by the fader position and mute status. This makes them particularly suitable for foldback or monitor feeds, which need to be controlled separately from the main P.A. mix. Aux 3 may be selected internally to be post-fade. AUX 4, 5 and 6 are derived after the EQ and channel fader (POST FADE, POST EQ), and therefore follow any changes in fader level. They are normally used to drive effects processing units which are fed back into the mixer and which must fade out with the input channel. AUX 4 may be altered globally to be PRE FADE by pressing the AUX 4 PRE switch on the Master section. All of the post-fade Aux Sends are muted when the MUTE switch is pressed.

BALANCE The BALANCE control sets the amount of the channel signal feeding the Left and Right Mix outputs, allowing you to balance the source in the stereo image. When the control is turned fully left or right you feed only that side of the signal to the mix. The input channel signal may be routed in stereo to the main Stereo MIX (L-R) or pairs of GROUP busses (1-2, 3-4), by pressing the respective switches. The Left side of the channel feeds Groups 1 & 3, and the Right side feeds Groups 2 & 4, subject to the position of the BALANCE control (21). This long-throw fader determines the proportion of the channel in the mix and provides a clear visual indication of channel level. Normal operating position is at the `0 mark, providing 10dB of gain above that point if required. All post-fade outputs from the channel may be muted by pressing the MUTE switch, and the associated LED illuminates to show that the channel is OFF. Alternatively the channel may be selected to any one or more MUTE BUSES to provide grouped muting under the control of the MUTE masters on the far right-hand side of the console. In either case the mute status is shown by the LED. Four STEREO RETURNS are provided which feed either to the stereo Mix or the local pair of Groups, as selected by the 12(3-4)/Mix switches. These are an ideal way of mixing in the output of a reverb or effects unit, additional keyboards or the output of other consoles used as sub-mixers. The knobs should turned fully anticlockwise when not required.

Page 23 31 BARGRAPH METERS Six 12-segment, three colour bargraph meters provide visual monitoring of the levels of the Mix Left and Right, and Group outputs. All the meters are peak reading. Normally the Left and Right meters show the level of the Mix Left and Right outputs. If any PFL or AFL switch is activated the meters are switched to display the level of the selected PFL or AFL signal.

MIX FADERS The MIX FADERS set the final level of the Mix outputs. The faders should normally be set close to the 0 mark if the input channel levels have been set correctly. Pre-fade INSERTS are provided for connection of external processing equipment (e.g. Graphic EQ) if required.

MATRIX SENDS

The console is provided with two independent Matrix outputs A & B, which may receive feeds from each Group or Mix Left and Right to create additional mixes for extra speaker outputs (e.g. side fills or delays) without affecting the main mix. These knobs control the level of the Mix signal sent to Matrix A & B buses. They should be turned fully anticlockwise when not required. Normally the Matrix Sends are derived from a mono sum of Mix L & R. Pressing the STEREO switch routes Mix L to Matrix A and Mix R to Matrix B to allow the Matrix outputs to be used as a separate stereo output from the console.

MATRIX MASTERS Each Matrix section has a MASTER control which sets the final output level. When the AFL switch is pressed, the post-fade signal is fed to the headphones and L & R meters, where it replaces the normal Mix L/R signal. The PFL/AFL ON LED on the master section illuminates to warn that the headphones and the meters are now responding to the PFL/AFL selection and the PFL LED on the input channel lights to identify the active Matrix output. This is a useful way of listening to any required output signal without interrupting the main mix, for making adjustments or tracing problems.

TALKBACK An XLR connector is provided to accept the input from a local talkback mic or gooseneck mic. Gain is set by the TB LEVEL control and the signal may be routed to a choice of AUX 1-2, AUX 3-4, MIX or GROUP buses using the four adjacent switches.

POWER ON LEDS Two LEDs monitor the status of the console power supply and will be illuminated when power is connected. Check that both LEDs are lit after turning on the console power supply.

Page 24 AUXILIARY MASTERS Each of the Auxiliary Send busses is provided with a rotary MASTER LEVEL fader and an AFL switch with indicating LED which monitors the final output after the fader. AUX 4 normally receives post-fade sends from the input channels, but may be switched to pre-fade by pressing the AUX 4 PRE switch.

PFL/AFL ON This LED illuminates to show that a PFL or AFL is active on the headphones, and to show that the Left & Right meters will be displaying the PFL/AFL signal.

PHONES This control sets the level of the PHONES output jack.

MONO CHECK Normally the Phones output monitors the Stereo Mix. Pressing the MONO CHECK switch sums the L & R outputs to check for phasing problems. The main outputs are not affected by the position of the switch.

MUTE MASTERS Four MUTE MASTER switches provide muting control of any channels which have been assigned to a mute group using the M1-M4 switches on the input channels. The associated LED illuminates when the MUTE is active.

PHONES JACK The PHONES output appears on a 3-pole 1/4 jack, suitable for headphones with an impedance of 200W or higher.

Page 25 USING YOUR SPIRIT LIVE CONSOLE he final sound from your P.A. system can only ever be as good as the weakest link in the chain, and especially important is the quality of the source signal because this is the starting point of the chain. Just as you need to become familiar with the control functions of your mixer, so you must recognise the importance of correct choice of inputs, microphone placement and input channel settings. However, no amount of careful setting up can take account of the spontaneity and unpredictability of live performance and the mixer must be set up to provide `spare control range to compensate for changing microphone position and the absorption effect of a large audience (different acoustic characteristics from sound check to show).

Microphone Placement Careful microphone placement and the choice of a suitable type of microphone for the job is one of the essentials of

successful sound reinforcement. The aim should be to place the microphone as close as physically possible to the source, to cut out unwanted surrounding sounds, allow a lower gain setting on the mixer and avoid feedback. Also a well-chosen and well-placed microphone should not need any appreciable equalisation. There are no exact rules - let your ears be the judge. In the end, the position that gives the desired effect is the correct position!

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. The front panel drawing on page 39 shows typical initial control positions which may be found a useful guide to setting up the mixer for the first time. The diagram on page 6 demonstrated how the matching of input gain to the signal source was crucial to avoid distortion at one extreme and excessive noise at the other. Set up individual input channel as follows: l Connect your sources (microphone, keyboard etc.) to the required inputs. Note: Phantom powered mics should be connected before the +48V is switched on. Route the channel to Mix. l Set Master faders at 0, input faders at 0, and set power amplifier levels to about 70%. l Provide a typical performance level signal and press the PFL button on the first channel, monitoring the level on the bargraph meters. l Adjust the input gain until the meter display is in the amber section, with occasional peaks to the first red LED at a typical maximum source level. This allows sufficient headroom to accommodate peaks and establishes the maximum level for normal operation (but see note below). l Repeat this procedure on other channels as required. As more channels are added to the mix, the meters may move into the red section. Adjust the overall level using the Master Faders if necessary.

Page 26 l Listen carefully for the characteristic sound of `feedback. If you cannot achieve satisfactory input level setting without feedback, check microphone and speaker placement and repeat the exercise. Note: The initial settings should only be regarded as a starting point for your mix. It is important to remember that many factors affect the sound during a live performance, for instance the size of the audience! You are now ready to start building the mix and this should be done progressively, listening carefully for each component in the mix and watching the meters for any hint of overload. If this occurs, back off the appropriate Channel Fader slightly until the level is out of the red segments, or adjust the Master Fader. The level of any source signal in the final output is affected by many factors, principally the Input Sensitivity control, Channel Fader, Group and Output Faders. You should try to use only as much microphone gain as required to achieve a good balance between signals, with the faders set as described above. If the input gain is set too high, the channel fader will need to be pulled down too far in compensation to leave enough travel for successful mixing and there is a greater risk of feedback because small fader movements will have a very significant effect on output level. If the gain is set too low, you will not find enough gain on the faders to bring the signal up to an adequate level.

Page 27 Application 1 - LIVE SOUND REINFORCEMENT This drawing shows a typical configuration for sound reinforcement, with the main PA fed from Mix L/R and a secondary system fed from the Matrix outputs. The illustration shows the flexibility of the inputs to the mixer and how the direct outputs are available as sources for a multitrack tape machine. The Aux Sends are used for reverb (Aux 1 & 2 which are pre-fade) and for artists foldback (Aux 4-6).

Page 28 APPLICATION 2 - LIVE SOUND WITH CENTRE CLUSTER This configuration is similar to application 1, but with the addition of a voice cluster and mono fill, both fed from the Matrix outputs. The source for the Matrix could be the main Mix, or a combination of Mix and Groups. The first three Aux sends are used as mono feeds to Effects Units, brought back to the Mix on the Stereo Returns.

Page 29 APPLICATION 3 - ADDITIONAL STEREO INPUTS This illustration shows how the number of Stereo Inputs to the Mix may be expanded by using the Stereo Returns for sources such as keyboards and drum machines, when the normal Stereo input channels are already used. Additional stage foldback is provided by the Matrix outputs in this example.

Page 30 APPLICATION 4 - THEATRE SOUND In this application the main requirement is to drive a large number of separate loudspeaker outputs for spot sound effects. The Groups, Mix, Aux Sends and Matrix outputs are all used for this purpose. Each could be provided with Graphic EQ or Delay units as required.

Page 31 Application 5 - Using the Mute Buses This illustration demonstrates how the Mute buses may be used to control groups of inputs, allowing those sources to be set up in advance, including fader positions, and muted until required. Releasing the respective Master Mute button

activates the whole group. Pressing the button mutes the selected channels.

Page 32 APPLICATION 6 - LINKING TWO LIVE MIXERS This illustration shows how to link the outputs of one mixer into a second mixer, to control a larger number of input channels, or to accommodate a separate mixer being used as a submixer. Note that the PFL/AFL monitoring and Mute buses remain separate.

Slave Mixer Groups 1-4 out Mix L/R out Master MIxer NOTE: PFL/AFL and Group Muting are SEPARATE for each mixer

Page 33 CARE OF YOUR MIXER

General Precautions l Avoid storing or using the mixer in conditions of excessive heat or cold, or in positions where it is likely to be subject to vibration, dust or moisture. l Keep the mixer clean using a soft dry brush, and an occasional wipe with a damp cloth or ethyl alcohol. Do not use any other solvents which may cause damage to paint or plastic parts. l Avoid placing drinks or smoking materials on or near the mixer. Sticky drinks and cigarette ash are frequent causes of damage to faders and switches. Regular care and inspection will be rewarded by a long life and maximum reliability.

Glossary A-Guage jack jack, either 3-pole (TRS- Tip, Ring & Sleeve) or 2-pole (Tip & Sleeve). AFL (After Fade Listen a function that allows the operator to monitor the post-fade signal in a channel independently of the main mix. auxiliary send an output from the console comprising a mix of signals from channels and groups derived independently of the main stereo/group mixes. Typically the feeds to the mix are implemented on rotary level controls. the relative levels of the left and right channels of a stereo signal. a method of audio connection which balances the signal between two wires and a screen which carries no signal. Any interference is picked up equally by the two wires, but out of phase resulting in cancellation of the interference signal. the onset of severe distortion in the signal path, usually caused by the peak signal voltage being limited by the circuits power supply voltage. Digital Audio Tape, a cassette-based digital recording format. a ratio of two voltages or signal levels, expressed by the equation dB=20Log10 (V1/V2). Adding the suffix u denotes the ratio is relative to 0.775V RMS. the practice of connecting an electric musical instrument directly to the input of the mixing console, rather than to an amplifier and loudspeaker which is covered by a microphone feeding the console. a post fade line level output from the input channel, bypassing the summing amplifiers, typically for sending to individual tape tracks during recording. a device that allows the boosting or cutting of selected bands of frequencies in the signal path. a linear control providing level adjustment the `howling sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal. a feed sent back to the artistes via loudspeakers or headphones to enable them to monitor the sounds they are producing. the variation in gain of a device with frequency. the variation in level of the signal an output into which a group of signals can be mixed. mute groups pan (pot) peaking PFL (pre-fade listen) phase

polarity post-fade pre-fade rolloff shelving spill stereo return talkback transient unbalanced

Page 35 TYPICAL SPECIFICATIONS NOISE Measured RMS, 22Hz to 22kHz Bandwidth Line inputs selected at unity gain and terminated 150R MIX AUX DIRECT OUTPUT MATRIX OUTPUT E.I.N. CROSSTALK 26 Inputs routed to Mix, faders at unity, muted Mix Faders down 26 Inputs routed, output at max. input faders down Input to Direct Output @ unity gain Input to Direct Output @ 40dB gain Matrix Output at max. sends down Microphone Input, Maximum Gain, terminated 150R @ 1kHz Typical Channel Fader Attenuation Typical Aux Attenuation Typical Pan Isolation Adjacent Channel Crosstalk FREQUENCY RESPONSE 20Hz to 20kHz T.H.D. C.M.R.R. -10dBu Input routed to Mix, +20dBu out @ 1kHz Typical at max. gain @ 1 kHz Typical at any gain @ 50 Hz Microphone Input Line Input Stereo Input Cass/CD Input Stereo Return INPUT & OUTPUT LEVELS Mic/.Line Input Maximum Level Stereo Input Cass/CD Input Stereo Return Nominal Input for +4dBu at Mix Output, level at 7 Max. Mic Gain through longest path to Mix +28 dBu +25 dBu +18 dBu +22 dBu -10 dBV (LO) -20 dBV (HI) 84 dB -1dB < 0.006% -85 dB -65 dB 1.8 kW 10 kW 8.6 kW 12.8 kW 19 kW > 80 dB > 80 dB > 70 dB > 85 dB -82 dBu -97 dBu -84 dBu -87 dBu 77 dBu -95 dBu -129 dBu INPUT & OUTPUT IMPEDANCES

Page 36 DIMENSIONS 87.5 mm (3.44") dim. x

dim. y Width without end trim (for flight case mounting) Console 12 channel 16 channel 24 channel 32 channel dim x 685 mm (26.97") 845 mm (33.27") 1101 mm (43.35") 1362 mm (53.62") dim y 601 mm (23.66") 761 mm (29.96") 1017 mm (40.04") 1278 mm (50.31")

590.5 mm (23.25") FLIGHT CASE MOUNTING The console is ideal for flight case mounting, with all connectors on the top panel. The end cheeks may be removed to save space in the flight case if required. The example below shows a 12-channel console, flight case mounted together with the power supply and space for headphones or other accessories.

Page 37 SYSTEM BLOCK DIAGRAM

Page 38 Page 39 You may photocopy this page as required.

Page 40 Typical Connecting Leads Page 43

ShowmaxRentalCostList: SOUNDEQUIPMENT Amplifiers CrownCE4000 $50 CrownXTI4000 $50 QSCPL1.8$40 QSCPLX1604 $30 QSCPLX3402 $40 DJMixers BehringerDJX700 $30 PioneerDJM600 $50 PioneerDJM800 $75 PioneerEFX1000 $75 RANEXP2016/MP2016 $150 RANESerato $50 RANETTM57 $75 Vestax05Pro $50 Vestax07Pro $50 NumarkiDJ $25 CDPlayers Denon4000DualPlayer $50 Denon4000+DNX500 $75 PioneerCDJ200 $35 PioneerCDJ800 $50 PioneerCDJ1000MKII $50 PioneerCDJ1000MKIII $75 Turtables&Cartridges ShureM447Cartridge $10 Technics1200MK5 $40 PoweredSpeakers&Subs BehringerB212AM/H $30 DBTechM124Monitor $40 JBLEon15P1M/H $40 YorkvilleEF500PM/H $50 YorkvilleLS800Sub $50 YorkvilleLS700Sub $40 YorkvilleLS200Sub $30 Speakers YorkvilleTX5MMonitor $50 XMaxBox2122M/H $50 XMaxBox218Sub $50 Microphones/DIBoxes AKGC1000 $20 BehringerXM1800S $10 CableFactoryDIBox $10 ShureBeta52,56,57,58,98 $20 ShureMX400SPodiummic $20 ShureSM57/SM58/SM91 $20 ShurePGX58UHF $60 ShureSLXUHF $75 ShureWL185Lavalier $20 ShureWCM16Headset $20 CountrymanHeadset $25 LiveMixingConsoles Allen&HeathGL3300 $200 BehringerMX3282A $100 BehringerUB1832FX $35 Behringer1202 $20 Behringer2442 $50 BehringerXENYX1204 $25 MidasVerona480/8 $500 SoundcraftSpiritLive4/2 $150 MiscellaneousAudio AKGK66Headphone $10 Beltpack(PI) $20 ClearcomSystem(5headset,5bodypacks)$250 EasyTiltmixerstand $50 Headset(ProdIntercom) $20 MainStation(PI) $100 WhirlwindPressFeed $100 Stands SpeakerStand(pair) $20 MicStand(straightorboomstyle)$5 Snakes CablefactorySnake (48ch,300,50Mon) $300 Return(4ch,100) $25 Return(16ch,300) $50 Snake(12x4ch,50) $25 Snake(16x4ch,150) $50 Snake(24x4ch,100w/split) $100 Processing BSSFDS366TMinidrive $75 DBX166XLComp $20 DBX1066Comp $25 DBXDriveRackPA $25 DBX231EQ $20 DBX2231EQ $25 KlarkTeknikDN360EQ $40 LexiconMPX500 $30 PresonusACP88Comp $30 RANEAD22dDelay $40 YamahaD1500 $20 YamahaREV7 $20 YamahaSPX90 $20 YamahaSPX900 $20 YamahaSPX990 $40 LIGHTING,HARDWARE,ANDACCESSORIES DanceFloorLighting ADJStrobeLight(small) $20 ADJStrobeLight(large) $30 ADJSunray $25 ADJREVO3 $35 ADJREVO4 $40 ADJLEDVertigo $35 ADJLEDVision $25 MirrorBalls 12+motor $25 16+motor $40 20+motor $50 ADJPinspot $10 UV&BlackLighting ADJMegaBarUV50 $25 Lumi400LEDUVBar $35 UVCanon(400w) $50 ArchitecturalLighting ADJLEDSparkle $20 ADJFireEffect $25 AcmeWaterWaveEffect $25 ADJH2OWaterEffect $25 ADJLEDH2OWaterEffect $35 ChauvetLEDAbyssWaterEffect $25 MartinDC1 $25 MartinDC2 $25 Martinmania/PR1 $35 LEDLighting ADJRainbowTube $20 ADJRainbowTubeController $25 MicrohLEDPar38 $20 MicrohLEDPar64 $30 MicrohLEDBar $40 StageLightingFixture&Dimming DimmerRack(GPP+3xNRD8000) $300 ElationDPDMX20LDimmer $25 FollowspotLancer1K $75 FollowspotPearlRiverOrland1.2K $200 NSINRD8000Dimmer $50

ElationDPDMX20LDimmer $25 FollowspotLancer1K $75 FollowspotPearlRiverOrland1.2K $200 NSINRD8000Dimmer $50 NSIDS8/12Dimmer $75 Par38(100w) $20 Source4Leko19/50 $30 Source4Pars(575w) $20 IntelligentLighting ADJDeluxeScan250 $50 Diversitronic1KStrobe$50 MartinMac250Entour $200 Lasers 3wYAGLaser(Gr/Gold,) $500 CRTFS2(red&green)lasershow$50 TVSQ3(red&green)lasershow$50 MicrohVirussinglebeam(green)$30 MicrohDuobeamMK2(green&red)$50 LightingConsoles AMDJPC1008ch$10 CompuliteRave $200 DiversitronicStrobeRunner$25 ElationSceneSetter$50 MartinLightJockey $150 NSIMC7532 $100 NSIML1616$50 DanceFloor&Staging Stage(4x8)White $100 Stage(4x8)Black$60 Stage(4x4)Plexiglass$50 Stairs(2/3/4)$50 Trussing(Eurotruss) Box(8.2x12)$40 Box(6.2x12)$30 Box(3.2x12)$20 BoxCorner$40 BoxTrussBase$25 20TrussCircle $300 Rigging AirWallHanger$50 ChainFall(1ton,2035)$40 Spanset(3/4/6)$2 Shackle$1 Steel(1/5/6/10/20)$2 LightingStands GenieST25Supertower$200 HeavyDutyTbarlightstand$25 L16Stand(16,500lbs)$50 L16MobileStand$75 ST90Tbarlightstand$20 Fog/Haze/BubbleGenerators BubbleMaster2000$100 Magnum650Fogger$30 SwefogUltimateDMX2000hazer(oil)$100 AntariFazer$75 VIDEO,POWERDISTR0,CABLING,ACCESSORIES Cameras&Accessories Manfrotto525/501Tripod $100 SonyHDRSR121 $100 SonyPD170DVCam $250 VideoProjectors HitachiCPX1250(4500,XGA) $400 NECMT1075(4200L,XGA) $300 SanyoXU86(2500L,XGA) $200 Epson $150 UniversalFlyingBracket $50 Plasma/LCDScreens NECVP4D42Plasmaw/mount $200 NECPX50XR5A50Plasmaw/mount $300 PlasmaTrussStand(8/6) $50 SonyBravioEX50046LCDw/mount $250 VideoMixers/SwitchingPlayback EdirolLVS400mixer $100 EdirolV4mixer $100 Extend1x2VGADA $25 ExtronInLineScaler $50 PelcoVideoDA(1x4) $25 PelcoSwitcher(4x1) $10 Sony1024ScanConverter $150 WatchoutSystemPleaseCall BarcoDCS200 $250 DVDPlayers DynexPortableDVDPlayer $20 NumarkDVD01$50 SonyRDR350$50 VideoMonitors EdirolMarshal3x5LCD$75 LCD15TV$25 VideoScreens BlackVelourskirts$25 DaLiteInstaTheatre(60)$50 DaLiteInstaTheatre(80)$75 FastFold(6x8)$80 FastFold(9x12)$90 FastFold(10.5x14) $100 PresentationAccessories PlexiglasPodium+2microphones $150 ProjectorCart$25 MACBookPro $100 TargusWirelessPresenter$25 Scaffold Cheeseborough$5 CrossBrace(7Long)$5 Deck(7Long)$10 Leveler(36)$5 Sandbag(25lb)$5 Sandbag(50lb)$10 Scaffoldframe(29x5)$5 Scaffoldframe(5x5)$10 Scaffoldwheels(setof4)$20 YellowJacket$20 Cabling 220Cable100(50A) $50 220DistroPanel $50 ACCables(525) $2.5 ACCables(50100) $5 Camlock80section $100 Camlock(10kit) $25 Camlock(setoftees) $25 GPPDistro(200A3Ph) $75 PatchCable $2.50 PowerBar/CubeTap $2.50 SocaM/FUGround $10 SocaCable50 $10 SocaCable100 $20 VideoCable $2.50 VGACable $5 DECOR Fabrics&Hardware BlackbanjoDrape(4x8)$15 Blackvelour(FireRetardant)(12x14,13x16)$50 LycraScreen(10x10)$50 LycraWhite(25x25) $300 LycraWhite(5x10)$25 LycraWhite(10x10)$40 StageSkirts$1perfoot SharkTooth20x20 $100 StanchionRopes(red)$7.50 StanchionPoles(Chrome)$7.50 Uprights&Crossbars$10 Uprightbase$10 WhiteLinenScreen(13x18)$100 WhiteSheerDrape(15x15)$20 FURNITURE Chaise(white,leather) $200 CentreTable(white,leather,glass) $100 Carpet(blackorred,12x15) $150 LoveSeat(white,leather) $150 Ottoman(whiteleather) $50 SideTable $25 DELIVERY 1Ton$100oneway 5Ton$150oneway LABOUR&TECHNICIAN Pleasecontactourofficeforrates

Technical specifications

Full description Soundcraft GB2 24 Sound Mixing ConsoleThe GB2 is the latest addition to the Soundcraft GB Series, featuring 4 group busses configured as 2 stereo subgroups and an integral 6 x 2 matrix. Intended for installed-sound and Audio-Visual applications that do not require the functionality provided by the GB4 or GB8, the GB2 is available in frame sizes of 16, 24 and 32 mono inputs, each with 2 stereo inputs as standard. Each input features the high-performance GB30 Mic Pre and GB30 Equaliser designs of the GB4 and GB8, along with 6 Aux buses. Four Subgroups are provided as two stereo pairs, with a unique facility for adjusting the width of the stereo signal across the stereo mix. The channel pan settings are retained on the group outputs, while the degree of stereo separation to the mix bus is independently adjustable from full stereo through to mono. The GB2 also features two stereo input channels, with separate mic and line inputs. In normal use, the mic inputs are routed to the local channel and the line inputs act as a stereo return to the mix bus. Selecting the LINE input to the local channel overrides the Mic inputs. FeaturesAnalogue/Digital: Analogue Frame Sizes: 16 24 32 Stereo Channels: 2 Digital I/O: No FX Processors: 0 Groups: 4 EQ Bands: 4 Aux Sends: 6 Returns: 1 Direct Outputs: Yes Matrix Outputs: 2 Main Bus Out: LR

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