SoundCraft 1601E manuel d'utilisation

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2 IMPORT ANT Please read this manual carefull y before using y our mixer f or 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 manu[...]

3 Contents Contents Contents Contents Contents IMPORT ANT SAFETY INSTR UCTIONS 4 SAFETY SYMBOL GUIDE 6 INTRODUCTION 7 BPM EFFECTS 7 INST ALLA TION 9 GENERAL PRECA UTIONS 9 MAINS INST ALLA TION 9 INITIAL WIRING CONSIDERA TIONS 10 A UDIO WIRING 10 SHIELDING 10 WORKING SAFEL Y WITH SOUND 10 POINTS T O REMEMBER 11 INSPECTION AND INST ALLA TION 12 CONNE[...]

4 IMPOR T ANT 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 radiator[...]

5 NOTE: This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses and can radiate radio freque[...]

6 For your o wn safety and to av oid in validation 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 . W ARNINGS The lightning flash with arr The lightning flash with arr The lightning flash with arr The l[...]

7 INTR INTR INTR INTR INTR ODUCTION ODUCTION ODUCTION ODUCTION ODUCTION 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 ef fects happen in time with music was a mat ter of pa[...]

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9 GENERAL PRECA UTIONS Avoid storing or using the mixing console in conditions of excessive heat or cold, or in positions where it is likely to be subject to vibration, dust or moisture. Do not use any liquids to clean the fascia of the unit: a soft dry cloth is ideal. Avoid using the console close to strong sources of electromagnetic radiation (e.[...]

10 INITIAL WIRING CONSIDERA TIONS 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 poin t. It is common electrical practice to `daisy c[...]

11 POINTS T O 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 sy[...]

12 INSPECTION AND INST ALLA TION UNP A CKING AND INSPECTION Y our 1601E was carefully packed at the factory , and the container was designed to protect the unit from rough handling. Nevert heless, 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 [...]

13 CONNECTING T O A TYPICAL SOUND SYSTEM The diagram below shows how to connect the different parts of a typical sound system.[...]

14 MAKING ADJUSTMENTS AND FITTING SP ARES CA UTION: THE FOLLO WING SECTION IS FOR USE BY QU ALIFIED SER VICE PERSONNEL ONL Y . T O REDUCE THE RISK OF ELECTRIC SHOCK, DO NO T REMO VE THE T OP F ASCIA TO PERFORM ANY SER VICING OR O THER T ASKS, UNLESS Y OU ARE QU ALIFIED T O DO SO . BEFORE REMO VING THE T OP F ASCIA ENSURE THE UNIT IS DISCONNECTED FR[...]

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16 DESCRIPTION DESCRIPTION DESCRIPTION DESCRIPTION DESCRIPTION T OP P ANEL[...]

17 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 a[...]

18 REAR CONNECT OR P ANEL 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 [...]

19 FRONT P ANEL 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-F ADER: 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 Posi[...]

20 OPERA OPERA OPERA OPERA OPERA TION TION TION TION TION GETTING ST ARTED 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 [...]

21 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 [...]

22 CHANNELS 1 & 2 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 amazin g -85dB of cut whilst, for professional considerations, limit[...]

23 When using high output playback devices it may be necessary to select the -10dB pad or the -20dB pad (or both) to stop the inpu t 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 l[...]

24 FX SEND & RETURN / A UX This section features controls for the effects send/return loop, which can also be used as an auxiliary input/record output. Th e 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[...]

25 RETURN / A UX -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 IND[...]

26 MASTER / BOO TH 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[...]

27 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 positi[...]

28 HEADPHONE MONIT OR 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 t[...]

29 X-F MONIT OR 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 b e gradually introduced until, at half-way , CH1 and CH2 sound will be equal. As the cont[...]

30 THE BPM FX MODULE THE BPM FX MODULE THE BPM FX MODULE THE BPM FX MODULE THE BPM FX MODULE OPERA TING 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 indiv[...]

31 4) T AP/CLEAR [T AP/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 GA TE effect. The [ X ] encoder controls the [ DEPTH ](MARK:SP ACE RA TIO) of the waveform. The [ Y ] encoder controls the cutter [ SLOPE ] parameters. 6) P AN (2) This button se[...]

32 BPM FX MIX This fader adjusts the balance between the un-processed sound (original) and processed sound (effect). ON-OFF switc hes 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 inpu t channels’ areas.[...]

33 QUICK ST ART 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[...]

34 OPERA TION This section features the BPM and its associated controls. Y ou can set the BPM range, manually override the BPM engine with the se 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 b[...]

35 EFFECT ST ART 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 cha[...]

36 EFFECT CONTR OLS This section deals with the controls dedicated to adjusting and controlling the effect parameters. Elements of each ef fect 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 af f ected. Each time this button is set to ON the active effect will comme[...]

37 3-B AND ISOLA T OR The 3-band isolator section allows you to apply the effects to certain frequency bands or the complete audio signal. As an exam ple, 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 c[...]

38 SINGLE/MUL TI MODE OPERA TION 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 [BEA TS] rotary switch can be used to set the trigger rate for each effect. In [MUL TI] mode, combinations of the five effects ca n be applied simultaneously from a selection of factory[...]

39 Additional speed settings for FIL TER/FLANGER/P ANNER For example: FIL TER: In single mode, press & hold the FIL TER effect button and then rotate the FX SPEED rotary switch to one of its 5 positi ons to access 1 bar , 2 bar , 4 bar , 8 bar & 16 bar settings. Default settings ‘4 bars’ for FIL TER and FLANGER, 2 bars for P ANNER. MUL [...]

40 THE EFFECTS THE FIL TER 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 i[...]

41 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. T o select a different LFO wave shape , first press and hold down the [FIL TER] effect button, then press the I[...]

42 THE DELA Y 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 an alyser . 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 t[...]

43 THE P AN This part of 1601E is quite revolutionary . There have of course been auto-panning devices before, which could use an LFO to mov e 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 uniqu[...]

44 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 opera te 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 w[...]

45 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 relia[...]

46 PRE-SET V OICE LIST Multi programs X-Encoder Y -Encoder Isolator “on” Bank B 1 Filter Frequency 50% Filter Resonance Low-Mid-Hi 2 Cutter Mix 50% Delay Speed Low-Mid-Hi 3 Cutter Mix 50% Filter Frequency Low-Mid-Hi 4 Cutter Mix 50% Filter Env Mod Low-Mid-Hi 5 Cutter Mix 50% Filter Frequency Lo w Hi Bank C 1 Delay repeats 75% Filter mix Low Hi [...]

47 BL BL BL BL BL OCK DIA OCK DIA OCK DIA OCK DIA OCK DIA GRAM GRAM GRAM GRAM GRAM 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 .[...]

48 CONNECTING LEADS CONNECTING LEADS CONNECTING LEADS CONNECTING LEADS CONNECTING LEADS[...]

49 TR TR TR TR TR OUBLESHOO OUBLESHOO OUBLESHOO OUBLESHOO OUBLESHOO TING TING TING TING TING 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 [...]

50 SPECIFICA SPECIFICA SPECIFICA SPECIFICA SPECIFICA TIONS TIONS TIONS TIONS TIONS DIGIT AL AUDIO: Sample rate: 96kHz Resolution: 24 bit FREQUENCY RESPONSE: CD/Line: 20 Hz to 20 kHz (+/-0.5 dB) Phono: 20 Hz to 20 kHz (+/-1.5 dB/RIAA) MIC [Line]: 20 Hz to 20 kHz (+/-2 dB) [20 Hz to 20 kHz (+/-0.5 dB)] AUX/FX Return: 20 Hz to 20 kHz (+/-0.5 dB) SIGNA[...]

51 WARRANTY WARRANTY WARRANTY WARRANTY WARRANTY 1 Soundcraft is a trading division of Harman International Industries Ltd. End User means the person who first puts the equipment into regular operation. Dealer means the person other than Soundcraft (if any) from whom the End User purchased the Equipment, provided such a person is authorised for this[...]

52 GL GL GL GL GL OSSAR OSSAR OSSAR OSSAR OSSAR Y Y Y Y Y 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 . Balanc[...]

53 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[...]

54 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 con[...]

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