#10149 - Series FIVE Brochure - Amazon Web Servicessoundcraft.com.s3.amazonaws.com/.../brochures/series-five-brochure.pdf · mixing console design and manufacture has given Soundcraft

FIVESERIES

#10149 - Series FIVE Brochure 8/2/01 9:32 am Page 2

Solution Without Compromise



• 24-56 channel frame sizes

• 4 stereo mic / line inputswith full EQ as standard

• Rugged power supply withthree year warranty

• 8 sub-groups

• 12 auxiliary busses

• 10 VCA groups

• Built-in 16x10 output matrix

• 4-band fully parametric EQon both mono and stereo inputs

• Sweepable filters on allinput channels

• Input metering on everychannel

• VU output meterbridgeincluded as standard

• 8 mute groups plus 256MIDI controllablesnapshots of all input andoutput mutes

• MIDI program changetransmission andDataFader continuouscontroller

• Switchable LCR panning asstandard

• Compact, lightweightframe designed towithstand touring


Soundcraft - Innovation In Live Sound

Soundcraft has always been well respected

for its audio performance and British

sound, and this was never so true as

with the Series Four and Europa consoles.

Building on this success and combining

it with the feature set and flexibility

demanded by today's engineers, Soundcraft has created

Series FIVE - the natural progression.

Over 20 years of success inmixing console design andmanufacture has given

Soundcraft unique insight into thedemands of leading audioprofessionals. Through theapplication of this experience, andhaving sought the opinions of toplive sound engineers and designers,Soundcraft has arrived at what itstrongly believes to be its best frontof house console yet. Soundcraft setout to provide a great-sounding,fully-featured and affordable livesound console. This is now complete,and is called Series FIVE.

Available in frame sizes of 24 to 56

input channels, Series FIVE is ideally

suited to a whole range of demanding

applications from touring to theatre

installation. Series FIVE’s

comprehensive standard feature set

includes LCR panning, aux master

levels on 100mm faders, full-spec

stereo modules and FX returns, plus

flexible MIDI scene control. Despite

the Series FIVE's high level of

facilities, the console's layout is clear

and reassuringly familiar. This has

been achieved without compromising

the audio quality.

A Proven History


WIDE RANGE OF FRAME SIZESFive frame sizes are offered as standard -24, 32, 40, 48 and 56 mono channels.Mono channels can be replaced by stereomodules, in blocks of two or four,together with the appropriate rearconnectors.

4 STEREO INPUTS INCLUDEDAS STANDARDEach frame size has anadditional four stereomodules included as standard.These stereo mic / linechannels are fully featured

and include a four band fully-parametricEQ as per the mono input.

8 SUB-GROUPS8 mono sub-groups areprovided, each with aninsert send and return onseparate balanced jacks,plus routing via the panpot to left / right / mono(centre).

12 AUXILIARYBUSSESAll of the 12auxiliary sends areindependently on /off and pre / postswitchable whenthe first four areglobally set to actas two stereo sends.In this set-up thedual concentric potcontrols level and

balance rather than individual levels. Aux12 can be switched away from its bus toprovide a channel direct output. Theseauxiliary outputs are routable to left /right / mono (centre) thus enabling themto be used as additional sub groups.

10 VCA GROUPSA bank of 10 VCAgroups is controlledby 100mm faderslocated below theoutput section.These determine theoverall level andmute status of anyinput channelassigned to them.

SWEEPABLE FILTERSBoth the mono and stereoinput channels include asweepable high-pass filterwhile the mono moduleoffers the additional

flexibility of a sweepable low-pass filter.

Designed For Professionals


BUILT-IN 16x10 MATRIXIn addition to the 8 sub-groups and 12aux busses, Series FIVE offers a 16x10output matrix. Each of the 10 outputscan be derived from the 8 sub-groups,left, right and mono (centre) outputs, auxbusses 1-4 and an external stereo lineinput. Individual talkback and mute areprovided, as well as external mute whichis part of the console's snapshotautomation system.

INPUT METERING ON EVERY CHANNELSignal level metering is built-in to every

input channel. The mono modulehas a 10-segment LED bargraphsituated adjacent to the faderfor maximum visibility while thestereo channel uses fivesegments for each side of thestereo signal.

OUTPUT METERBRIDGE INCLUDED AS STANDARD

The Series FIVEmeterbridge is fittedwith 3 large VUswhich read the masterleft, right and mono(centre) outputs, and12 smaller VUs whichare switchablebetween sub-groups1-8, aux sends 1-12,and matrix outputs 1-

10 via the meter source switch bank. AnLED phasemeter displays phasecorrelation between the left and right signals.

SWITCHABLE LCR PANNINGWhen activated via the switch on eachmono channel, the LCR panning modeselects the mono bus as a dedicatedcentre output. The pan control then pansfrom left to centre, and centre to right.

When the pan pot is atits centre detent, audiooutput is removed fromthe left and right busses.

MUTE CONTROL / MIDI MUTEAUTOMATIONThe Series FIVE MIDI module provides acomprehensive array of functions. 8 mutegroups can be created, along with up to256 snapshots of the console’s mute

switch status. Eachsnapshot incorporates aMIDI Program Changemessage for automatingsetting changes in externaleffects units, plus acontinuous controllernumber for the DataFader,delivering real-time control ofexternal effectsparameters.Note Onmessages canalso betransmitted to triggersamplers and otherexternal units.


Creative Power

One of the most critical components in any console is itspower supply and, with the CPS 2000 PSU, ourdesigners and service engineers have created a device

which sets new standards in performance and reliability. The useof high-quality components and fewer voltage rails makes for asimple, reliable system, and the CPS 2000 delivers ampleheadroom: a 48-channel Series FIVE enjoys 30% spareheadroom capacity. A digital display on the front of the unit

provides precise continuousmonitoring of incoming voltage,and with world-wide usage a primeconsideration, Series FIVE willoperate with inputs as low as 80volts. Built-in diode linking allowstwo PSUs to function in parallel for

fail-safe operation, without the need for a switcher box, whilstheavy-duty Socapex® DC connectors link the PSU output to theconsole. The CPS 2000 is cooled by quiet yet hard wearingPAPST® fans, fitted with filters for easy access. CPS 2000 carriesa three-year warranty.

• Linear circuitry uses industry standard components

• 30% spare headroom with standard 48-channel console

• Fewer voltage rails makes for a simpler, more reliable configuration

• Load is spread across several power devices on each rail for optimum heat dissipation

• Heavy current wiring is all hard soldered minimising number of connectors


Built To Last - But Designed To BeMovedOne of the priorities at the design phase of Series FIVEwas to concentrate on creating a console which strikesthe right balance between ruggedness and portability.The result is that a fully-specified 48-channel SeriesFIVE weighs just 180 kg/396 lbs, is under 227cm/90inches wide and measures just 92cm/36 inches fromfront to back. It is a four-person lift, and smallerconfigurations canbe lifted by just twocrew. But itslightweightconstruction doesnot mean thatSeries FIVE hasseen anycompromise in itsbuild quality. Its ruggedsub frame has been designed towithstand the most demanding workingenvironments. Series FIVE's compact size andcomprehensive features, combined with its affordability,make it the perfect choice for tour sound companies,large installations, stadiums, and theatres alike. SeriesFIVE provides the solution without compromise.

Rugged sub-frame construction

• Front panel digital mains voltage meter aids correct voltage tap setting

• Built-in diode output linking allows two supplies to be connected for redundancy

• Heavy duty Socapex® DC connectors link PSU to console

• High quality PAPST® fans for reduced noise and longer product life

• 4U high 19” rackmountable


Series FIVE Input Modules

Our research told us that livesound engineers want to seestereo modules as similar as

possible to the mono, in terms of thefeatures they offer. This is exactly whatSeries FIVE delivers. Many other consolesreduce the specification of their stereomodules, but with Series FIVE, the stereoinput processing is almost ascomprehensive as the excellent monomodule. Stereo modules function equallywell as input channels or as FX returns;and four are included as standard withevery Series FIVE console in addition tothe mono channels specified by theconfiguration.

INPUT STAGEThe mono module accepts two balancedinputs via XLRs at microphone or line level.The B switch selects the required signal, andindividual +48V switches apply phantompower to either input. This flexibility meansthat a second console for the support bandoften becomes superfluous, as the engineercan use the B input for the support bandmulticore, and switch across to input A forthe main act in seconds. The RNG buttonswitches the range of the input stagebetween -2dBu to -70dBu and +10dBu to -20dBu, before the signal is routed throughthe SENS (Sensitivity) pot which thenallows finer adjustment of input gain. Thisfeature, unique to Soundcraft consoles,provides a much more efficient way to setsignal levels in the input stage than atraditional PAD control. Amplifying a signalafter it has been reduced in level by a PADdegrades the noise performance of theamplifier, as there is unnecessary gainpresent in the input stage. Also, the positionof the resistors in a PAD circuit degradesthe amplifier’s common mode rejection(CMRR). In live applications which requirelong microphone cables and multicores,effective interference rejection is crucial.Series FIVE’s input stage solves theseproblems by using two separate active gain

stages which are switched in and out asrequired via the RNG switch. The Phase (ø)switch reverses the polarity of the selectedinput. The balanced insert point can beswitched in circuit via the INS IN button.

The layout of the stereo module’s inputstage is as close as possible to that of themono channel. Individual RNG and +48Vbuttons are provided for each side of thestereo input, while the Phase switchreverses the polarity of the left signal. TheRNG and SENS functions work in exactlythe same way as those on the monomodule, meaning that the stereo channelswill accept microphone levels, and are notline specific as on some consoles. Given thatstereo modules can be specified instead ofmono channels in banks of two or four, a40-channel frame with 16 stereo inputsfitted will yield a massive 60 microphone-capable inputs in an extremely compactsize.

FILTERS A smooth, accurate filter system is crucialto live sound engineering. Both modulesboast a sweepable high-pass filter whichcan be switched out of the chain when notin use, and the mono channel has theadditional flexibility of a switchable low-pass filter.

EQ Soundcraft consoles are renowned for theirsmooth, musical EQ and Series FIVE is noexception. The legendary four band, fullyparametric EQ seen on the Series Four andEuropa consoles has been further refinedfor Series FIVE, and is fully implemented onboth mono and stereo modules. The oneslight difference is that to use the HF andLF bands as shelving EQ, there are switcheson the stereo module, whereas on themono channel a click switch at the end-stop of the Q pot invokes this function. Onboth modules, the EQ can be switchedcompletely out of the signal chain when itis not in use.

Mono input module


AUXILIARY SENDS 12 full-time auxiliary sends are provided,which when combined with the 8 sub-groups and 10 matrix outputs, makeample provision for effects sends,foldback mixes, additional feeds andother output requirements. Sends 1-4 canbe globally switched in pairs (the buttonis located on the output section) to act asstereo sends, in which case the dualconcentric controls act as level andbalance, rather than as individual levelcontrols. On the stereo module, switcheson Aux 1-4, 5/6 and 7/8 allow theengineer to select whether these sendsare derived from a summed mono signal,or sourced as stereo from the left andright sides of the stereo channel. On themono module, Aux 12 can be routedaway from its bus and to the directoutput via the DIR switch; this allows theengineer to create a pre-fader directoutput, ideal when making asimultaneous multitrack recording.

ROUTING AND PANNINGIndividual routing switches send the postfade signal to the 8 sub-groups (direct orthrough the pan pot depending on thesetting of the PAN switch), the mono bus(MNO), or the main left-right outputs(MIX). The LCR button on the monomodule uses the mono bus to provide adedicated centre output. On the stereomodule, the pan pot is dual concentric,providing full independent left-rightpanning of each side of the stereo signal,or easy control over the width of thestereo image.

FADER AND MUTINGA high quality 100mm fader controls theoutput level to all busses, and offers 10dBof gain when fully raised. An expandedscale is provided around unity for precisecontrol. The channel Mute switch can be

remotely controlled from the mutemaster section, and the semi-recessedMute Safe switch protects the channelfrom mute groups, VCA mutes, snapshots,or Solo-in-place - the channel can still bemuted locally. The Preview LED allowsediting and checking of mute groups andsnapshots without disturbing the audiopassing through the channel. The 10numbered switches assign the channel toany combination of the 10 VCA groups,which then assumes control of the level,mute and solo buttons on that channel.The Solo button provides either a monoPFL or a stereo AFL, or Solo-in-place,depending on the mode selected on themaster section.

INPUT MODULES BACK PANELCONNECTIONSMono Module Inputs A and B areconnected via thebalanced XLR sockets.The direct output is ona balanced XLR, and theinsert sends and returnsare all on separatebalanced 1/4” jacks. Stereo Module The inputs are on twobalanced XLRs, and individual insert sends

and returns for each sideof the stereo signal areprovided on balanced 1/4”jacks.

Stereo input module


Series FIVE Output Section

The output section of Series FIVErevolves around the principle thatoutput controls for both auxiliary

masters and sub-group sends should beidentical, so that they areinterchangeable according to thecurrent task. Therefore if the 8 sub-groups are not enough for a particularjob, some of the 12 auxiliary sends canbe used as additional groups. Theoutput section consists of 10 identicaldual modules - 4 of which control the 8sub-groups, with the other 6 controllingthe 12 auxiliary sends. Each modulealso controls one of the 10 matrixoutputs.

MATRIX OUTPUTS 1-10 A 16x10 output matrix is provided asstandard on the output section of everySeries FIVE console, and combines withthe sub-groups and aux sends to providean outstanding level of mixing versatility.Each output can be derived from anycombination of sub-groups 1-8, auxsends 1-4, the main left-right busses, themono output, and a dedicated externalstereo input. The left side of the externalinput is normally fed to the odd-numbered matrices, and the right side tothe even, although jumper options allowthe signal to be summed. Contributionsfrom the 8 subgroups, left-right, mono +aux 1/2 and 3/4 make up the matrix mix,and are individually controllable viarotary pots. A balanced insert isswitchable via the IN button, and the

latching TB button injects the talkback oroscillator signal (as determined in themaster section) into the matrix output,pre-fader. The rotary Matrix Master faderhas AFL or PFL solo (depending onsettings in the master section) as well asa Mute switch which can be activated bythe 8 mute groups or the 256 snapshotsettings. A Mute Safe switch protects theoutput from remote muting, whileretaining the capacity for local muting.

8 SUB-GROUP MASTER FADERS Each sub-group has a high quality100mm fader (coloured red) controllingthe level to the balanced output. Abalanced insert point is provided, which isswitchable via the IN switch. Mute andMute Safe buttons function in the sameway as those on the matrix outputs, andthe Solo buttons provide AFL or PFLfacilities depending on the settings in themaster section. The sub-groups can berouted to the mono and / or left-rightbusses via the To Mono and To Stereobuttons; a pan pot is provided forsweeping between the left-right busses.

12 AUXILIARY MASTER FADERS Each auxiliary master is controlled by ahigh quality 100mm fader (coloured tomatch the send knobs on the inputs).Features of the auxiliary master outputsection are identical to those of the sub-group section, allowing any spareauxiliaries to be used as sub-groups ifrequired.

Sub-group output module

Master / group upperrear connector panel

#10149 - Series FIVE Brochure 8/2/01 2:10 pm Page 13

GLOBAL MONO / STEREO SWITCHING Auxiliaries 1-4 can be used as fourindividual mono sends, or they can beganged and used as two stereo sends. Inthe first instance, the dual concentricsend controls on the input modulescontrol individual levels, and in thesecond they control level and balance.The first two auxiliary master modulesfeature switches for setting this mode,which can be set independently for Aux1/2 and Aux 3/4. In addition, in stereomode, the Mute and Solo buttons on theoutput modules are logic linked such thatthe operation of one will automaticallytrigger the other.

METERINGEvery Series FIVE console features anintegral VU meterbridge. 3 large VUs arededicated to measuring the left, right andmono (centre) outputs. A bank of 12smaller VUs can be selected to read sub-groups 1-8, aux sends 1-12 or matrixoutputs 1-10 via a meter source switchbank. The left and right meters alsoautomatically switch to read any soloedsignal. A unique feature of Series FIVE is

the integral LED phasemeter, whichmeasures the phase correlation of anysignals which appear at the L and R VUmeters. This will normally be the left andright outputs, but when in stereo AFLmode, the phase of any soloed stereosource can be checked.

MASTER / GROUP UPPER BACK PANELCONNECTIONS The 8 sub-groups, 12 auxiliaries, left,right and mono outputs are all onbalanced XLRs, with inserts on balanced1/4” jacks (individual for send andreturn). Other balanced XLR outputs arefor monitor output, PFL and stereo AFL. Aheadphones socket is provided whichmirrors the one on the front panel of themaster section. A 4-pin XLR socket offers400mA of power for the connection ofLittlites™ - the number of these outletsvaries according to console frame size.

10 VCA GROUPSA bank of 10 VCA master faders controlsthe level of any mono or stereo channelassigned to a VCA group. Mute and Solobuttons are provided for each fader, andact effectively as a remote control forany channel assigned to that VCA group(unless that channel has its Mute Safefunction engaged). Therefore any solomode (PFL, stereo AFL or Solo-in-place)can be activated for an entire VCA group,depending on the setting of the globalconsole solo mode. The Nominal LED oneach fader allows fast and accuratereturn to unity gain.

Auxiliary output module

VCAcontrolfaders


Series FIVE Master Section

The Series FIVE master section istwo modules wide and containsthe main left, right and mono

faders, as well as monitoring controls,talkback, and an array of controls whichfurther enhance the flexibility of Series FIVE.

PSU RAILSVoltage indicators for the +/-17V, +5Vand +48V rails on the PSU are providedand offer constant visual confirmationthat the power supply is providing anaccurate voltage.

TALKBACK AND OSCILLATOR The built-in oscillator can generate pinknoise or a sine wave in a frequency rangeof 63Hz to 10kHz. The PINK buttontoggles between pink noise and sinewave, and the x10 button increases therange of the oscillator frequency controlfrom 63Hz-1kHz to 630Hz-10kHz. Anoscillator level pot is also provided. Theoscillator can be routed to its dedicatedoutput (on balanced XLR) or to acombination of sub-groups, aux busses,left, right and mono outputs. The busseswhich receive the oscillator signal aredetermined by a bank of illuminatedswitches, which also nominates thebusses which will receive the talkbacksignal when the INT button is depressed.This facility is also provided on the matrixoutputs, by using the TB switch on eachmatrix master. Talkback can also berouted to its Soundcraft proprietaryintercom output (compatible with SMmonitor consoles or another Series FIVE)

via the EXT button. An external talkbackinput is provided for accepting such alink with another Series FIVE. A frontpanel talkback mic input socket (XLR) isprovided, together with a level control, a-30dB pad switch and a +48V phantompower button, and for convenience thissocket is mirrored on the back panel.

ALTERNATE STEREO OUTPUTS In addition to the main left-right stereomix outputs, three alternate stereooutputs are provided, which allow thecreation of feeds for broadcast orrecording which would otherwise tie upseveral matrix outputs. ALT STE1 iscontrolled by two 100mm faders, and thelevels of ALT STE2 and ALT STE3 are onrotary faders. All are switchable to be preor post the main left-right faders, and allhave a MNO button which sums the twosides of the stereo signal, therebyoffering a mono feed.

AUX RETURNS Two auxiliary returns are provided, withsensitivity switchable between -10dBVand +4dBu, and with the signal routeddirectly into the left-right mix bus. 2-band shelving EQ at 60Hz and 12kHz isprovided, and the input level is controlledby a rotary fader. Mute and Mute Safeare provided, and the Solo button willallow mono PFL or stereo AFL monitoring,depending on the setting of the console’sglobal solo mode.

Master 1module

Master / group lowerrear connector panel


SOLO CONTROLS Every aspect of Series FIVE’s design hasbeen carefully thought out, and the solosystem is certainly no exception. It hasbeen carefully developed in conjunctionwith mixing professionals, to ensure thatthis crucial aspect of the console’s designis flawlessly implemented. The MasterMode button dictates whether theselection of a Solo function should resultin mono PFL or stereo AFL monitoring,unless the large protected Solo-in-placebutton is lit. In this instance thedestructive in-place stereo solo will beengaged, allowing the engineer to listento a channel in its proper place in thestereo field, plus any associated effects.Rotary pots are provided to trim the levelof the AFL and PFL busses. The AutoCancel facility means that any Solobutton selected will cancel the previoussolo. When not in this mode, the selectedSolos become additive. With the InputPriority button on, soloing an inputchannel will temporarily override anyoutput solo which may be present. Whenthe input solo setting is released, theoriginal output solo will again becomeactive. A large illuminated Solo Clearbutton allows fast, one touch cancellingof all solo settings throughout the entireconsole control surface.

MONITOR CONTROLS Separate rotary fader controls areprovided for headphone level andmonitoring level. The two outputs followthe same source; this is selected betweenthe mono bus and the main left-right mix

outputs. The stereo signal can be summedif required via the SUM L+R button. Theselected monitor source will be overriddenby any input or output solo operation.

MASTER FADERS Levels for the mono and left-right mixoutputs are controlled by 100mm longthrow faders. The stereo faders are yellowand the mono fader is black. Mute andMute Safe switches are provided for each.The mutes can be controlled by thesnapshot system.

MASTER / GROUP LOWER BACK PANELCONNECTIONS The outputs for the 10 matrix sends areon balanced XLRs, and each has an insertwith send and return on separatebalanced 1/4” jacks. The two stereo auxreturns are on balanced XLRs, as are thethree alternate stereo outputs. StandardMIDI in, out and thru ports are provided.An oscillator output, external talkbackoutput, external talkback input andtalkback mic input are all connected viabalanced XLRs.

LINK BACK PANEL CONNECTIONS Sub-groups 1-8, auxiliaries 1-12, PFL, AFL,mono and left-right mix busses are allavailable for audio linking in situationswhere two Series FIVE consoles are beinglinked. Inputs flow straight into the bussesat unity gain, and all bus inputs areaccessed via balanced XLRs. 38-way EDAClogic in and out connectors allow full logiclinking of VCAs and solo controls betweentwo Series FIVE consoles.

Master 2module

Link rear connector panel


Mute Control / MIDI ModuleMUTE CONTROL / MIDI MODULE Series FIVE’s mute control and MIDI sectionallows the creation of 8 mute groups andup to 256 snapshots of the console’s muteswitch status, as well as the transmissionand reception of MIDI program change andnote ON/OFF messages, allowing theconsole to exercise real-time control overany suitably specified MIDI device.

PREFERENCE SETTINGS Under normal circumstances, when a Solo-in-place or a VCA mute is activated, allaffected channel mute buttons will flash toindicate that they are being muted byremote control. This flashing effect can bedisabled if desired using the recessedbutton. A rotary pot controls the brightnessof the Littlites™ connected to the poweroutlet ports on the rear panel. In theunlikely event of system failure, the backupcontingency of a Processor Reset buttonallows complete disabling of the mutecontrol processor, allowing all consolemutes to operate manually.

BULK DUMP BUTTONS The memory contents of Series FIVE can besaved to and reloaded from an externalMIDI device such as a sequencer or datafiler. This means that snapshot set-ups canbe archived and recalled at a moment’snotice.

DATAFADER The DataFader that proved so successful onprevious Soundcraft consoles has been evenfurther improved and comprehensivelyimplemented on Series FIVE. The fader

sends out continuous controller data to theMIDI OUT socket whenever it is moved onits currently assigned MIDI channel. The ONbutton allows the fader to be disabled, or tobe punched in at a set value. The faderposition is storable in a snapshot, forautomation reset.

MUTE ACTIVE AND PREVIEWIn active mode, any snapshot or mutegroup which is recalled will instantlyoverride any mutes which are currently set.In Preview mode, recalling a snapshot ormute group will not change any settings,but will make the preview LEDs beside therelevant Mute buttons flash. This allows theengineer to check a mute group orsnapshot during a show without affectingthe audio. Snapshots and mute groups canalso be edited and stored in this mode,again with no audible effect.

NUMERICAL KEYPAD The 0-9 numerical keypad and its adjacentup / down buttons allow direct orincremental keying of snapshot or programchange numbers into the digital display.

MUTE MASTER BUTTONS The large illuminated mute master buttonsallow fast store and recall of the 8 mutegroups. More than one mute group can beactive at once, thereby layering the groups.This section also houses the angled recessedheadphones socket.

MIDI / mutemodule

Series FIVE Jumper OptionsModule Function Options DefaultMono Channel insert Pre or post EQ Pre EQMono I/P channel meter source Pre or post fade Pre fadeMono Aux 1-4 PRE source Pre or post EQ (always pre fader) Post EQMono Aux 5-8 PRE source Pre or post EQ (always pre fader) Post EQMono Aux 9-11 PRE source Pre or post EQ (always pre fader) Post EQMono Aux 12 PRE source / DIR Pre or post EQ (always pre fader) Post EQMono Pre EQ feed Pre or post mute Post mute

Stereo Channel insert Pre or post EQ Pre EQStereo I/P channel meter source Pre or post fade Pre fadeStereo Aux 1-12 PRE source Pre or post EQ Post EQStereo Aux 9, 10 source Mono or stereo MonoStereo Aux 11, 12 source Mono or stereo MonoStereo Pre EQ feed Pre or post mute Post mute

Output Matrix ext I/P sensitivity -10dBV or +4dBu +4dBuOutput Matrix ext I/P source Ext I/P left, right or mono Left to odd, right to even


Series FIVE MIDI ApplicationsThe mixing engineer today is required to dealnot only with the audio mixer itself, but alsowith a bank of external programmable effectsunits, samplers and other replay devices. SeriesFIVE integrates a high level of MIDI control intothe front panel of the console, which allows theengineer to automate much of the outboardequipment switching and parameter changing.

Series FIVE MIDI For System SetupMany outboard processing devices havememories or patch locations into which the usercan store settings for different sections of theshow. Recalling these settings manually from thefront panel of the unit entails leaving themixing surface, thereby distracting the attentionof the engineer. Series FIVE can send a user-

programmable MIDI program change messagefor each snapshot to the MIDI OUT port at therear of the console. This can be connected to theMIDI IN on any suitably-equipped device, whichwill then receive that Program change. This isinterpreted by the effects unit and is equivalentto recalling a new memory location from thefront panel of the device itself. For example,Program Change no 1 sent on MIDI Channel 1will change the device receiving on MIDIChannel 1 to the first memory location, ProgramChange no 2 will select the second, and so on.

Although Series FIVE generates just one ProgramChange per snapshot, if all remote devices areset up to receive on the same MIDI channel,then they will ALL follow the Program Changessent from Series FIVE, as shown in figure 1. Inthis example, the MIDI OUT of the console isconnected to a multi-effects unit, a delaydevice, and a programmable EQ. All units havethe correct settings for the beginning of the

event stored in memory location 1. Series FIVEsends Program Change no 1 on MIDI Channel 1to the first effects device. This Program Changeis then passed THRU to the remaining devices.Whatever the status of these devices, they areinstantly reset to Memory location 1, ready forthe start of the show, without the user having totouch any of the units.

Series FIVE MIDI For Sample Triggering MIDI will also handle NOTE ON and NOTE OFFmessages, which are equivalent to playing noteson a sampler keyboard, with 128 note valuescovering the keyboard range. These message

types are particularly useful in live sound, sincethey allow sound effects to be recorded directlyinto a sampler, and played back manually viaMIDI at the FOH position.

Series FIVE is capable of generating MIDI NOTEON/OFF information whenever a MUTE istoggled. This allows a MIDI sequencer to be usedto record a precise sequence of MUTE switchingfor playback at a later stage. In addition, sincethis information is generated such that NOTE ONis transmitted for MUTE OFF, the function can beused to trigger external devices such as samplerswhen the associated console channel is opened.Since each of the desk channels sends a uniquenote number, triggering a sample simplyinvolves positioning that sample to respond atthe correct pitch on the corresponding notenumber in the sampler. Sample HOLD should beset to ON, so that the entire sample is playedeven though the note on message is momentary.The sample should be assigned to an individualoutput on the rear of the sampler, which shouldbe connected to the appropriate input channelon the console, as shown in figure 2. When thatchannel is un-muted, the MIDI NOTE ON willtrigger the sample, which will pass through thenewly un-muted audio path.

The DataFaderThe DataFader is a continuous controller whichprovides direct real-time access to chosenparameters in an external MIDI unit. Forexample, in a situation where an actor movesfrom a spoken passage into a song and therequired effect changes from a small reverb to atapped delay, the transition must be smooth, asthe scenes flow into one another.

First, the effects unit needs to be programmedwith a patch which includes both reverb andtapped delay, but initially is mixed 100% to thereverb component. To mix between the two,controller number 3 can be used, as this isundefined and therefore should not clash withanother parameter. The FX unit should then beset up to map controller number 3 onto EFFECTMIX (between reverb and delay), with value 0being 100% reverb, and value 127 being 100%delay. The DataFader should be configured totransmit CC 3, and MIDI channels and programchange information matched with the targetunit. When that scene is recalled, the programchange will set up the special patch. The fadercan now be brought down to the bottom of itstravel, and switched ON. When the fader ismoved up, the CC information will update theMIX parameter in the FX unit, thus crossfadingfrom the reverb into the delay.

Other Uses Of The Scene Memories In ordinary usage, each scene memory mightsimply correspond to a scene, or song on thestage. However, MUTE status need not changefrom one cue to the next, so if several programchanges had to be fired out in quick succession,the mutes in three or four consecutive memoriescould be stored identically, but the memoriescould carry different program changes - thedesk will remain in the same muteconfiguration, but FX / outboard settings willchange. This also applies to the DataFader - togain access to several parameters during a scene,simply assign as many consecutive cues asrequired to contain the same program changeand mute information, but with different CCnumbers. Alternating between the appropriatememories as required will give control over adifferent parameter in each memory.

FIVESERIES

SERIES FIVE

MULTI FX IN

MIDIOUT

THRU

EQ IN

DELAYS INTHRU

Program 1sent withscene

Program 1recalled

Program 1recalled

Program 1recalled

MIDI

Fig 1. Configuring the system with Series FIVE MIDI.

SERIES FIVE

SAMPLER

MIDI NOTE ‘O’SENT WHENCHANNELUNMUTED

SAMPLE ON NOTE ‘O’ ISTRIGGERED IN SAMPLER

AUDIO SENTTO CONSOLE

MIDI

AUDIO

Fig 2. Triggering samples with Series FIVE MIDI.

3 2

1


System Block DiagramM

AT

RIX

OU

TP

UT

BL

OC

KD

IAG

RA

M

(INP

UT

SS

HA

RE

D BYA

LLMA

TR

IXO

UT

PU

TS

)

GR

OU

P/

AU

X/O

UT

PU

TB

LO

CK

DIA

GR

AM

MA

ST

ER

MO

DU

LE

1B

LO

CK

DIA

GR

AM

MA

ST

ER

MO

DU

LE

2B

LO

CK

DIA

GR

AM

VC

AF

AD

ER

BL

OC

KD

IAG

RA

M

ST

ER

EO

INP

UT

MO

DU

LE

BL

OC

KD

IAG

RA

M

EX

TE

RN

AL

BU

S INP

UTS

(ALL

AU

DIO

BU

SS

ES

)

+4dB

u


FIVESERIES

MO

NO

INP

UT

BL

OC

KD

IAG

RA

M

(INP

UT

SS

HA

RE

D BYA

LLMA

TR

IXO

UT

PU

TS

)

GR

OU

P/

AU

X/

OU

TP

UT

BL

OC

KD

IAG

RA

M

MA

ST

ER

MO

DU

LE

1B

LO

CK

DIA

GR

AM

Level Diagram


Dimensions60.00(2.36")

24 ch CONSOLE SHOWNLarger sizes have extra Mono Inputson right hand side of Master Section

DIMENSION ’X’ (SEE TABLE)

921.00 (36.26") 21 MAX (0.83")CONNECTOR HEIGHT

15.00(0.59")

91.00 (3.58")BOTH ENDS

54.00(2.13")

Console Dimension ‘x’

24Ch 1483.80 (58.42”)

32Ch 1745.80 (68.73”)

40Ch 2007.80 (79.05”)

48Ch 2269.80 (89.36”)

56Ch 2531.80 (99.67")

914.00 (35.98")

662.92 (26.10")

388.

70 (

15.3

0")

300.

41 (

11.8

3")

184.

90(7

.28"

)

115.

29 (

4.54

")

40.0

0 (1

.57"

)8.55(0.34") 818.85 (32.24")

852.41 (33.56")

110.34(4.34")


EQ Curves

Input / Output Specifications

Out

puts

Inse

rt p

oint

s

Inpu

ts

OutputMaster

Tip - Signal HotRing - Signal ColdSleeve - Ground

Module Signal Conn. Pin Nom Level Max Level ImpedanceMono Input Female Pin 1 - Ground -70 to -2dBu +30dBu 2kΩInput (A & B) XLR Pin 2 - Signal Hot -20 to +10dBu

Pin 3 - Signal Cold (Switched Range)Stereo STE IN Female Pin 1 - Ground -70 to -2dBu +30dBu 2kΩInput (Left & XLR Pin 2 - Signal Hot -20 to +10dBu

Right) Pin 3 - Signal Cold (Switched Range)Matrix Ext. In Female Pin 1 - Ground +4dBu +26dBu > 10kΩ

(Left & XLR Pin 2 - Signal HotRight) Pin 3 - Signal ColdTB Mic Female Pin 1 - Ground -20 to -70dBu 0dBu 2kΩI/P XLR Pin 2 - Signal Hot

Pin 3 - Signal ColdEXT TB Female Pin 1 - Ground +4dBu +26dBu > 10kΩ

Master I/P XLR Pin 2 - Signal HotPin 3 - Signal Cold

Aux Returns Female Pin 1 - Ground +4dBu/ +26dBu/ > 10kΩ(L & R XLR Pin 2 - Signal Hot -10dBV +12dBVfor 1 & 2) Pin 3 - Signal Cold

Mono Channel TRS Send +4dBu +26dBu (into 1kΩ) Send < 75ΩInput Snd & Ret (1/4" Jack) Return +4dBu +21dBu Return > 15kΩMatrix Matrix TRS Send +4dBu +26dBu Send < 75Ω

Snd & Ret (1/4" Jack) Return +4dBu +21dBu Return > 15kΩGroup/Aux Group/Aux TRS Send +4dBu +26dBu (into 1kΩ) Send < 75ΩMaster Snd & Ret (1/4" Jack) Return +4dBu +21dBu Return > 15kΩOutput Main Mono, TRS Send +4dBu +26dBu (into 1kΩ) Send < 75ΩMaster L &R Snd & Ret (1/4" Jack) Return +4dBu +21dBu Return > 15kΩMono Direct Male Pin 1 - Ground +4dBu +26dBu (into 1kΩ) < 75ΩInput Output XLR Pin 2 - Signal Hot

Pin 3 - Signal ColdMatrix Matrix Male Pin 1 - Ground +4dBu +26dBu (into 1kΩ) < 75Ω

Output XLR Pin 2 - Signal HotPin 3 - Signal Cold

Group Group Male Pin 1 - Ground +4dBu +26dBu (into 1kΩ) < 75ΩMaster Output XLR Pin 2 - Signal Hot

Pin 3 - Signal ColdAux Aux Male Pin 1 - Ground +4dBu +26dBu (into 1kΩ) < 75ΩMaster Output XLR Pin 2 - Signal Hot

Pin 3 - Signal ColdL/R/Mono/Alt 2&3 Male Pin 1 - Ground +4dBu +26dBu (into 1kΩ) < 75ΩL&R Outputs XLR Pin 2 - Signal Hot

Pin 3 - Signal ColdExt TB Male Pin 1 - Ground +4dBu +26dBu (into 1kΩ) < 75ΩOutput XLR Pin 2 - Signal Hot

Pin 3 - Signal ColdOscillator Male Pin 1 - Ground +4dBu +14dBu (into 1kΩ) < 75ΩOutput XLR Pin 2 - Signal Hot

Pin 3 - Signal ColdHeadphones TRS Tip - Left +4dBu +20dBu (into 600Ω) 50ΩOutput (1/4" Jack) Ring - Right 0dBu (into 8Ω)

Sleeve - GroundConsole All Female Pin 1 - Ground +4dBu +26dBu > 15kΩLinking Inputs XLR Pin 2 - Signal HotInputs Pin 3 - Signal Cold

20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.020 100 1k 10k 20k

dB

Frequency/Hz

LF Section20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.020 100 1k 10k 20k

dB

Frequency/Hz

LO-MID Section

20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.020 100 1k 10k 20k

dB

Frequency/Hz

HI-MID Section20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.020 100 1k 10k 20k

dB

Frequency/Hz

HF Section20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.020 100 1k 10k 20k

dB

Frequency/Hz

HF Section

20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.020 100 1k 10k 20k

dB

Frequency/Hz

LF Section


Frequency Response XLR input to any output: . . . . . . . . . . . . . . . . +0/-0.5dB, 20Hz - 20kHz

T.H.D. and Noise XLR In to Direct Out (VCA Out) . . . . . . . . . . . . . . . . . . <0.004% @ 1kHz(All measurements <0.02% @ 10kHzat +20dBu) XLR In to Direct Out (VCA In) . . . . . . . . . . . . . . . . . . . . <0.015% @ 1kHz

<0.04% @ 10kHzXLR In to Mix Out (VCA Out) . . . . . . . . . . . . . . . . . . . . <0.005% @ 1kHz

<0.02% @ 10kHz

Mic Input E.I.N. 22Hz - 22kHz bandwidth, unweighted: . . . < -127.5dBu (200Ω source)

Residual Noise Mix Output, no inputs routed, Mix fader @ 0dB: . . . . . . . . . . . -90dBu

Bus Noise Mix Output: 32ch routed, faders @ - ∞, Mix fader 0dB: . . . . < -78dBuGrp Output: 32ch routed, faders @ - ∞, Grp fader 0dB: . . . . < -78dBu

Crosstalk Input Channel muting: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 100dB(1kHz, +20dBu Input fader cutoff: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 90dBinput signals) Input pan pot isolation: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 85dB

Input A to B isolation: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 80dBStereo L/R isolation: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 80dBMix routing isolation: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 100dBGroup routing isolation: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 100dBGroup-group crosstalk: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > -90dBGroup-Mix crosstalk: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > -90dBMix-group crosstalk: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > -90dB

CMRR Mono Input, A or B Inputs . . . . . . . . . . . . . . . . . . . . . . . . - 60dB @ 1kHz

Oscillator 63Hz to 10kHz / pink noise, variable level

Filters 20-600Hz, 12dB/octave(Mono input) 1k-20Hz, 12dB/octave

EQ 1k - 20kHz, +/-15dB, Q = 0.5 - 3.0 or shelf(Mono input) 500 - 8kHz, +/-15dB, Q = 0.5 - 3.0

70 - 1.5kHz, +/-15dB, Q = 0.5 - 3.030 - 480Hz, +/-15dB, Q = 0.5 - 3.0 or shelf

Metering Overbridge: 12 VU Meters monitoring Group/Aux/Matrix & 3 VU Meters monitoring Left Mix/AFL/PFL, Right Mix/AFL/PFL & Mono (centre) mixes. Each meter has a peak LED set to 3dB below clipping level.Mono Input: . . . . . . . . . . . . . . . . . . . . . . . . . 9-LED bargraph + Peak LEDStereo Input: . . . . . . . . . . . . . . . . . . . . . . 2 x 4-LED bargraph + Peak LED

Power Consumption 48 Ch Console: each 17V rail draws 12.98A (nominal, without Littlites™) 8V rail draws 0.8 A (nominal)

Weight 24Ch - 105 kg (231 lbs), 32Ch - 130 kg (286 lbs), 40Ch - 155 kg (341 lbs), 48Ch - 180 kg (396 lbs), 56Ch - 205 kg (451 lbs)

Operating -10°C to +30°CConditions

0% to 80%

Power Supply Unit Input voltage range: . . . . . . . . . . . . . . . . . . . . . . . 230/200/115/100V AC+10%/-20% @ 50/60Hz

Rated input power: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 980 WattsMains fuse rating: . . . . . . . . . . . . . . . . . . . . . . . . T10A/250V (slow-blow)Outputs: DC Voltage Rail Max Output Current

+17V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16A-17V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16A+48V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.5A+8V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.25A

Temperature Range: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -10°C to +40°CHumidity: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0% to 90%

(non-condensing ±5% relative humidity @40°C for 16 Hours,load switched between 20% and 100% at regular intervals)

Dimensions: Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177mm (4U)Width (chassis) . . . . . . . . . . . . . . . . . . . . . . . . . . . 440mmWidth (front panel) . . . . . . . . . . . . . . . . . . . . . . 482.6mmDepth (excl. handles) . . . . . . . . . . . . . . . . . . . . . . 436mm

Weight: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30kg

Series FIVE Typical Specifications

HPLP

HFHi-MidLo-MidLF

Temperature rangeRelativehumidity

SOUNDCRAFTHARMAN INTERNATIONAL INDUSTRIES LTD.CRANBORNE HOUSE, CRANBORNE ROAD,POTTERS BAR, HERTS, EN6 3JN, UK.TEL: +44 (0)1707 665000 FAX: +44 (0)1707 660742 EMAIL: [email protected]://www.soundcraft.com

SOUNDCRAFT USA1449 DONELSON PIKE,NASHVILLE TN 37217, USA.TEL: 1-615-360-0471 FAX: 1-615-360-0273EMAIL: [email protected]

Soundcraft reserve the right to improve or otherwise alter any informationsupplied in this document or any other documentation supplied hereafter. E&OE 02/01

This equipment complies with the EMC Directive 89/336/EEC

Note: These figures are typical of performance in anormal electromagnetic environment. Performancemay be degraded in severe conditions

Part No. A4; ZL0435US; ZL0436


Documents

#10149 - Series FIVE Brochure - Amazon Web Servicessoundcraft.com.s3.amazonaws.com/.../brochures/series-five-brochure.pdf · mixing console design and manufacture has given Soundcraft