SoundCraft COMPACT 4 User manual

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PagePage
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Safety Symbol GuideSafety Symbol Guide
Safety Symbol GuideSafety Symbol Guide
Safety Symbol Guide 22
22
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Approvals and NoticeApprovals and Notice
Approvals and NoticeApprovals and Notice
Approvals and Notice 33
33
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WarrantyWarranty
WarrantyWarranty
Warranty 44
44
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ImporImpor
ImporImpor
Important Safety Instrtant Safety Instr
tant Safety Instrtant Safety Instr
tant Safety Instructionsuctions
uctionsuctions
uctions 55
55
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CautionsCautions
CautionsCautions
Cautions 55
55
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WarningsWarnings
WarningsWarnings
Warnings 66
66
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InstallationInstallation
InstallationInstallation
Installation 77
77
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PrecautionsPrecautions
PrecautionsPrecautions
Precautions 88
88
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WARRANTY AND SAFETY GUIDEARRANTY AND SAFETY GUIDE
ARRANTY AND SAFETY GUIDEARRANTY AND SAFETY GUIDE
ARRANTY AND SAFETY GUIDE

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SAFETY SYMBOL GUIDESAFETY SYMBOL GUIDE
SAFETY SYMBOL GUIDESAFETY SYMBOL GUIDE
SAFETY SYMBOL GUIDE
For your own safety and to avoid invalidation of the warranty all text marked with these symbols
should be read carefully.
CAUTIONS
The lightning flash with square symbol, is intended to
alert the user to the presence of un-insulated “dangerous
voltage” within the product’s enclosure that may be of
sufficient magnitude to constitute a risk of electric shock
to persons.
WARNINGS
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the appliance.
NOTES
Contain important information and useful tips on the operation
of your equipment.
HEADPHONES SAFETY WARNING
Contain important information and useful tips on
headphone outputs and monitoring levels.

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IMPORTANT
Please read this manual carefully before connecting your mixer
to the mains for the first time.
© Harman International Industries Ltd. 2003 All rights reserved
Parts of the design of this product may be protected by worldwide patents.
Part No. ZM0293-03 Issue:1.5
Soundcraft is a trading division of Harman International Industries Ltd. Information in this manual
is subject to change without notice and does not represent a commitment on the part of the vendor.
Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information
or any error contained in this manual.
No part of this manual may be reproduced, stored in a retrieval system, or transmitted, in any form
or by any means, electronic, electrical, mechanical, optical, chemical, including photocopying
and recording, for any purpose without the express written permission of Soundcraft.
Harman International Industries Limited
Cranborne House
Cranborne Road
POTTERS BAR
Hertfordshire
EN6 3JN
UK
Tel: [phone]
Fax: [phone]
http://www.soundcraft.com

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WARRANTYARRANTY
ARRANTYARRANTY
ARRANTY
1 Soundcraft is a trading division of Harman International Industries Ltd.
End User means the person who first puts the equipment into regular operation.
Dealer means the person other than Soundcraft (if any) from whom the End User purchased the
Equipment, provided such a person is authorised for this purpose by Soundcraft or its accredited
Distributor.
Equipment means the equipment supplied with this manual.
2 If within the period of twelve months from the date of delivery of the Equipment to the End User
it shall prove defective by reason only of faulty materials and/or workmanship to such an extent
that the effectiveness and/or usability thereof is materially affected the Equipment or the
defective component should be returned to the Dealer or to Soundcraft and subject to the
following conditions the Dealer or Soundcraft will repair or replace the defective components.
Any components replaced will become the property of Soundcraft.
3 Any Equipment or component returned will be at the risk of the End User whilst in transit (both to
and from the Dealer or Soundcraft) and postage must be prepaid.
4 This warranty shall only be valid if:
a) The Equipment has been properly installed in accordance with instructions contained
in Soundcraft’s manual; and
b) The End User has notified Soundcraft or the Dealer within 14 days of the defect
appearing; and
c) No persons other than authorised representatives of Soundcraft or the Dealer have
effected any replacement of parts maintenance adjustments or repairs to the
Equipment; and
d) The End User has used the Equipment only for such purposes as Soundcraft
recommends, with only such operating supplies as meet Soundcraft’s specifications
and otherwise in all respects in accordance with Soundcraft’s recommendations.
5 Defects arising as a result of the following are not covered by this Warranty: faulty or negligent
handling, chemical or electro-chemical or electrical influences, accidental damage, Acts of God,
neglect, deficiency in electrical power, air-conditioning or humidity control.
6 The benefit of this Warranty may not be assigned by the End User.
7 End Users who are consumers should note their rights under this Warranty are in addition to and
do not affect any other rights to which they may be entitled against the seller of the Equipment.

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IMPORIMPOR
IMPORIMPOR
IMPORTT
TT
TANT SAFETY INSTRUCTIONSANT SAFETY INSTRUCTIONS
ANT SAFETY INSTRUCTIONSANT SAFETY INSTRUCTIONS
ANT SAFETY INSTRUCTIONS
CAUTIONS
• Use only the AC adaptor supplied:
UK HB10064 KR HB10067 (C4 ONLY)
EU HB10065 AZ HB10068 (C4 ONLY)
US HB10066 JP HB10069 (C4 ONLY)
Mains voltage selection
This setting is not adjustable. The AC adaptors are capable of operating at either 230V AC or
115V AC +/- 10%. Check the voltage rating of the AC adaptor before plugging in.
Do not use the AC adaptor for any other purpose.
Replace the complete AC adaptor if the plug, lead or adaptor is damaged.
Refer to the Soundcraft dealer from where the equipment was purchased.
The wires in the mains lead are coloured in accordance with the following code:
UK & EUUK & EU
UK & EUUK & EU
UK & EU US & CANUS & CAN
US & CANUS & CAN
US & CAN
Neutral:Neutral:
Neutral:Neutral:
Neutral: Blue White
Live:Live:
Live:Live:
Live: Brown Black
As the colours of the wires in the mains lead may not correspond with the coloured markings
identifying the terminals in your plug, proceed as follows:
The wire which is coloured Blue or White must be connected to the terminal in the plug which is
marked with the letter N.
The wire which is coloured Brown or Black must be connected to the terminal in the plug which is
marked with the letter L.
Ensure that these colour codings are followed carefully in the event of the plug being changed.
NOTE: This equipment has been tested and found to comply with the limits for a Class B digital
device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable
protection against harmful interference in a residential installation. This equipment generates,
uses and can radiate radio frequency energy and, if not installed and used in accordance with
the instructions, may cause harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation. If this equipment does
cause harmful interference to radio or television reception, which can be determined by turning
the equipment off and on, the user is encouraged to try to correct the interference by one or
more of the following measures:
— Reorient or relocate the receiving antenna.
— Increase the separation between the equipment and receiver.
— Connect the equipment into an outlet on a circuit different from that to which the receiver is
connected.
— Consult the dealer or an experienced radio/TV technician for help.
This Class A digital apparatus meets the requirements of the Canadian Interference-Causing
Equipment Regulations.
Cet appareil numérique de la Classe A respecte toutes les exigences du Règlement sur le
matériel brouilleur du Canada.

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WW
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WARNINGSARNINGS
ARNINGSARNINGS
ARNINGS
•Read these instructions.
•Keep these instructions.
•Heed all warnings.
•Follow all instructions.
•This unit contains no user serviceable parts. Refer all servicing to a qualified service engineer,
through the appropriate Soundcraft dealer.
•Clean the apparatus only with a dry cloth.
•Do not install near any heat sources such as radiators, heat resistors, stoves, or other apparatus
(including amplifiers) that produce heat.
•Do not use this apparatus near water. The apparatus must not be exposed to dripping or splashing.
Objects containing liquid must not be placed on the apparatus.
•The disconnect device is the mains plug; it must remain accessible so as to be readily operable
in use.
•Do not defeat the safety purpose of the polarized or grounding type plug.
A polarized plug has two blades with one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the third prong are provided for your safety.
When the provided plug does not fit into your outlet, consult an electrician for replacement of the
obsolete outlet.
•Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles
and the point where they exit from the apparatus.
•Only use cables and hardware specified by the manufacturer.
•Unplug this apparatus during lightning storms or when unused for long periods of time.
•Refer all servicing to qualified service personnel. Servicing is required when the apparatus has
been damaged in any way such as power-supply cord or plug is damaged, liquid has been spilled
or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does
not operate normally or has been dropped.
•It is recommended that all maintenance and service on the product should be carried out by
Soundcraft or its authorised agents. Soundcraft cannot accept any liability whatsoever for any loss
or damage caused by service, maintenance or repair by unauthorised personnel.
•If a trolley is used to carry multiple , use caution when moving the trolley / apparatus combination
to avoid injury from tip-over.

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INSTINST
INSTINST
INST
ALLAALLA
ALLAALLA
ALLA
TIONTION
TIONTION
TION
ABOUT THIS MANUAL
This manual describes the safety precautions, warnings, specifications, installation and operating
procedures specific to the following Soundcraft products only:
Soundcraft COMPACT4 RW5677 UK / EU / US / KR / AZ / JP
Soundcraft COMPACT10 RW5678 UK / EU / US / KR / AZ / JP
The information in this manual should be read by end users of one of the above products only. In
particular, this manual should not be read in conjunction with any other product not listed above.
The above products do not contain any user-serviceable parts and the user guide does not contain
any technical servicing information. Qualified service personnel can obtain a separate Technical
Manual incorporating the user guide, Part No ZM0293-01 from Soundcraft or one of its accredited
distributors.
Information in this manual is subject to change without notice and does not represent a commitment
on the part of the vendor. Soundcraft shall not be liable for any loss or damage whatsoever arising
from the use of information or any error contained in this manual.
INSTALLING THE MIXER
Correct connection and positioning of your mixer is important for successful and trouble-free
operation. The following sections are intended to give guidance with cabling, connections and
configuration of your mixer.
•Choose the mains supply for the sound system with care, and do not share sockets or
earthing with lighting dimmers.
•Position the mixer where the sound can be heard clearly.
•Run audio cables separately from dimmer wiring, using balanced lines wherever possible.
If necessary, cross audio and lighting cables at right angles to minimise the possibility of
interference. Keep unbalanced cabling as short as possible.
•Check your cables regularly and label each end for easy identification.

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GENERAL PRECAUTIONS
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.
Keep the mixer clean using a soft dry brush, and an occasional wipe with a dry cloth.
Do not use any other solvents which may cause damage to paint or plastic parts.
Avoid placing drinks or smoking materials on or near the mixer. Sticky drinks and
cigarette ash are frequent causes of damage to connectors, rotary controls and switches.
Regular care and inspection will be rewarded by a long life and maximum reliability.
PRECAUTIONSPRECAUTIONS
PRECAUTIONSPRECAUTIONS
PRECAUTIONS
SAFETY PRECAUTIONS
For your own safety and to avoid invalidation of the warranty please read this section carefully.
In particular, you should also read the Cautions and Warnings on pages 5-6 of this manual.
When using mains power, the console must only be
connected to the Mains Voltage indicated on the power
supply.

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PagePage
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Compact User InterCompact User Inter
Compact User InterCompact User Inter
Compact User Interfaceface
faceface
face 1010
1010
10
The 10 Second TThe 10 Second T
The 10 Second TThe 10 Second T
The 10 Second Tutorutor
utorutor
utor 1111
1111
11
IntroductionIntroduction
IntroductionIntroduction
Introduction 1212
1212
12
Working Safely with SoundWorking Safely with Sound
Working Safely with SoundWorking Safely with Sound
Working Safely with Sound 1313
1313
13
The Mixer ExplainedThe Mixer Explained
The Mixer ExplainedThe Mixer Explained
The Mixer Explained 14-1514-15
14-1514-15
14-15
Mixing Audio PathMixing Audio Path
Mixing Audio PathMixing Audio Path
Mixing Audio Path 1616
1616
16
Monitoring Audio PathMonitoring Audio Path
Monitoring Audio PathMonitoring Audio Path
Monitoring Audio Path 1717
1717
17
Wiring UpWiring Up
Wiring UpWiring Up
Wiring Up 18-2018-20
18-2018-20
18-20
Problem SolvingProblem Solving
Problem SolvingProblem Solving
Problem Solving 21
21
2121
21
Mono Input ChannelsMono Input Channels
Mono Input ChannelsMono Input Channels
Mono Input Channels 22-2422-24
22-2422-24
22-24
Stereo Input ChannelsStereo Input Channels
Stereo Input ChannelsStereo Input Channels
Stereo Input Channels 2525
2525
25
Master SectionMaster Section
Master SectionMaster Section
Master Section 26-2826-28
26-2826-28
26-28
Using YUsing Y
Using YUsing Y
Using Y
our Compact4/10 Consoleour Compact4/10 Console
our Compact4/10 Consoleour Compact4/10 Console
our Compact4/10 Console 2929
2929
29
Monitoring TipsMonitoring Tips
Monitoring TipsMonitoring Tips
Monitoring Tips 2929
2929
29
Channel Set-UpChannel Set-Up
Channel Set-UpChannel Set-Up
Channel Set-Up 3030
3030
30
Operational NotesOperational Notes
Operational NotesOperational Notes
Operational Notes 3131
3131
31
Application 1 : Computer Based RecordingApplication 1 : Computer Based Recording
Application 1 : Computer Based RecordingApplication 1 : Computer Based Recording
Application 1 : Computer Based Recording 3232
3232
32
Application 2 : Live perApplication 2 : Live per
Application 2 : Live perApplication 2 : Live per
Application 2 : Live perforfor
forfor
formance Mixingmance Mixing
mance Mixingmance Mixing
mance Mixing 3333
3333
33
Application 3 : DJ PerApplication 3 : DJ Per
Application 3 : DJ PerApplication 3 : DJ Per
Application 3 : DJ Perforfor
forfor
formance Mixingmance Mixing
mance Mixingmance Mixing
mance Mixing 3232
3232
32
Application 4 : Electronic News GatheringApplication 4 : Electronic News Gathering
Application 4 : Electronic News GatheringApplication 4 : Electronic News Gathering
Application 4 : Electronic News Gathering 3333
3333
33
Application 5 ; Broadcast StudioApplication 5 ; Broadcast Studio
Application 5 ; Broadcast StudioApplication 5 ; Broadcast Studio
Application 5 ; Broadcast Studio 3434
3434
34
Application 6 : House of WorshipApplication 6 : House of Worship
Application 6 : House of WorshipApplication 6 : House of Worship
Application 6 : House of Worship 3434
3434
34
FurFur
FurFur
Further Inforther Infor
ther Inforther Infor
ther Informationmation
mationmation
mation 3535
3535
35
GlossarGlossar
GlossarGlossar
Glossary of Ty of T
y of Ty of T
y of Terer
erer
erms usedms used
ms usedms used
ms used 3636
3636
36
Typical SpecificationsTypical Specifications
Typical SpecificationsTypical Specifications
Typical Specifications 3737
3737
37
Compact 4 DimensionsCompact 4 Dimensions
Compact 4 DimensionsCompact 4 Dimensions
Compact 4 Dimensions 3838
3838
38
Compact 10 DimensionsCompact 10 Dimensions
Compact 10 DimensionsCompact 10 Dimensions
Compact 10 Dimensions 3939
3939
39
Typical Connecting LeadsTypical Connecting Leads
Typical Connecting LeadsTypical Connecting Leads
Typical Connecting Leads 40-4140-41
40-4140-41
40-41
System Block DiagramSystem Block Diagram
System Block DiagramSystem Block Diagram
System Block Diagram 4242
4242
42
Gain StrGain Str
Gain StrGain Str
Gain Structuructur
uctuructur
ucture Diagrame Diagram
e Diagrame Diagram
e Diagram 4343
4343
43
Compact 4 Mark-Up SheetCompact 4 Mark-Up Sheet
Compact 4 Mark-Up SheetCompact 4 Mark-Up Sheet
Compact 4 Mark-Up Sheet 4444
4444
44
Compact 10 Mark-Up SheetCompact 10 Mark-Up Sheet
Compact 10 Mark-Up SheetCompact 10 Mark-Up Sheet
Compact 10 Mark-Up Sheet 4545
4545
45
CONTENTSCONTENTS
CONTENTSCONTENTS
CONTENTS

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COMPCOMP
COMPCOMP
COMPACT USER INTERFACT USER INTERF
ACT USER INTERFACT USER INTERF
ACT USER INTERFACEACE
ACEACE
ACE
To get you working as fast as possible, this manual begins with a 10 second tutorial. Here you can find quick information on any feature of
the console, and a page reference where you can find a more detailed explanation.
Just pick out the feature you need more information on, find the associated number and read the brief explanation on the opposite page.
More detail can be found by delving deeper into the user guide.
Owners of Compact10 consoles will notice additonal jack inputs on Stereo Channels 1-4, these can be used for line level inputs from
synthesisers, samplers, drum machines etc.
NOTE: ALL SETTINGS ARE SHOWN IN THEIR DEFAULT POSITION - I.E. THE MOST COMMON SETTINGS TO BEGIN A SESSION
1
t
2
3
4
5
6
7
8
9
p
y
d
0
q
ui
g
h
f
s
e
w
oar
j
k
l
;
z
x
c
v
b
n
m

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THE 10 SECOND TUTOR - COMPTHE 10 SECOND TUTOR - COMP
THE 10 SECOND TUTOR - COMPTHE 10 SECOND TUTOR - COMP
THE 10 SECOND TUTOR - COMPACT4 / COMPACT4 / COMP
ACT4 / COMPACT4 / COMP
ACT4 / COMPACT 10ACT 10
ACT 10ACT 10
ACT 10
1MIC INPUTMIC INPUT
MIC INPUTMIC INPUT
MIC INPUT Connect Microphones here - read phantom power notes before use (pg 22)
2LINE INPUTLINE INPUT
LINE INPUTLINE INPUT
LINE INPUT Connect Line level sources here, e.g. Synth, Drum Machine, etc (pg 22)
3HIGH PASS FILTERHIGH PASS FILTER
HIGH PASS FILTERHIGH PASS FILTER
HIGH PASS FILTER This is used to remove very low frequencies i.e. mic “popping” (pg 22)
4INSERT POINTINSERT POINT
INSERT POINTINSERT POINT
INSERT POINT Connect Signal processors here, e.g. Compressor, Gate etc (pg 23)
5GAIN CONTROLGAIN CONTROL
GAIN CONTROLGAIN CONTROL
GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal (pg 23)
678 EQ STAGEEQ STAGE
EQ STAGEEQ STAGE
EQ STAGE Adjust these controls to change the signal tone (the character of the signal) (pg 23)
9PAN CONTROLPAN CONTROL
PAN CONTROLPAN CONTROL
PAN CONTROL Use this control to position the signal within the stereo field (pg 24)
0INPUT CHANNEL LEVELINPUT CHANNEL LEVEL
INPUT CHANNEL LEVELINPUT CHANNEL LEVEL
INPUT CHANNEL LEVEL This is used to control the level fed to the Mix Bus (pg 24)
qREC(ORD) SWITCHREC(ORD) SWITCH
REC(ORD) SWITCHREC(ORD) SWITCH
REC(ORD) SWITCH This sends the channel being recorded to the record outputs, or the Mix Bus (pg 24)
wMONITOR SWITCHMONITOR SWITCH
MONITOR SWITCHMONITOR SWITCH
MONITOR SWITCH Press this to listen to the associated signal (pg 24)
ePHANTOM POWERPHANTOM POWER
PHANTOM POWERPHANTOM POWER
PHANTOM POWER Switches on the phantom power (48V) for condenser microphones (pg 22)
WARNING:WARNING:
WARNING:WARNING:
WARNING: Do Not apply Phantom Power before connecting a microphone
rD.I. SWITCHD.I. SWITCH
D.I. SWITCHD.I. SWITCH
D.I. SWITCH Direct Injection - Press this to get a better signal match when a bass guitar is used (pg 23)
tR.I.A.A. SWITCHR.I.A.A. SWITCH
R.I.A.A. SWITCHR.I.A.A. SWITCH
R.I.A.A. SWITCH Vinyl Record Deck Compensation - Use only when decks are connected (pg 25)
ySTEREO INPUTSSTEREO INPUTS
STEREO INPUTSSTEREO INPUTS
STEREO INPUTS These two inputs take audio from keyboards, sound modules, samplers etc (pg 25)
ui PLAYBACK INPUTSPLAYBACK INPUTS
PLAYBACK INPUTSPLAYBACK INPUTS
PLAYBACK INPUTS Here you can connect the playback from your soundcard or recording device (pg 28)
op RECORD OUTPUTSRECORD OUTPUTS
RECORD OUTPUTSRECORD OUTPUTS
RECORD OUTPUTS To connect the output from the mixer to your soundcard (or recording device) input (pg 28)
aMONITOR OUTPUTSMONITOR OUTPUTS
MONITOR OUTPUTSMONITOR OUTPUTS
MONITOR OUTPUTS These are used to feed your speakers / amp, or monitoring system (pg 26)
sMIX OUTPUTSMIX OUTPUTS
MIX OUTPUTSMIX OUTPUTS
MIX OUTPUTS Connect these to your recording device, or to your amplification system when using as a
standard mixer, not when using with a computer based system (pg 26)
dMONITOR LEVELMONITOR LEVEL
MONITOR LEVELMONITOR LEVEL
MONITOR LEVEL Used to adjust the level sent to your speakers / amp, or monitoring system (pg 26)
fMIX LEVELMIX LEVEL
MIX LEVELMIX LEVEL
MIX LEVEL Used to adjust the level sent from the mix outputs (pg 26)
gMONO (CHK) SWITCHMONO (CHK) SWITCH
MONO (CHK) SWITCHMONO (CHK) SWITCH
MONO (CHK) SWITCH Use this to hear and check to your mix in mono (pg 26)
hMONITOR MIXMONITOR MIX
MONITOR MIXMONITOR MIX
MONITOR MIX Use this to listen to the mix outputs (pg 26)
jRECORD LEVELRECORD LEVEL
RECORD LEVELRECORD LEVEL
RECORD LEVEL Used to adjust the level sent to your soundcard or recording device (pg 28)
kPLAYBACK LEVELPLAYBACK LEVEL
PLAYBACK LEVELPLAYBACK LEVEL
PLAYBACK LEVEL Used to adjust the level coming from your soundcard or recording device (pg 28)
lMAIN METERSMAIN METERS
MAIN METERSMAIN METERS
MAIN METERS These show the level of the signal being monitored (pg 26)
;MONITOR PLAYBACKMONITOR PLAYBACK
MONITOR PLAYBACKMONITOR PLAYBACK
MONITOR PLAYBACK Use this to listen to the playback signal from your soundcard (pg 28)
zPOWER / LOW BAT.POWER / LOW BAT.
POWER / LOW BAT.POWER / LOW BAT.
POWER / LOW BAT. Indicators for DC power from the adapter, or the battery pack (pg 26)
xARTIST MIXARTIST MIX
ARTIST MIXARTIST MIX
ARTIST MIX This lets the artist choose the amount of playback signal required (pg 27)
cARTIST LEVELARTIST LEVEL
ARTIST LEVELARTIST LEVEL
ARTIST LEVEL This controls the level of the signal sent to the artist’s headphones (pg 27)
vARTIST HEADPHONESARTIST HEADPHONES
ARTIST HEADPHONESARTIST HEADPHONES
ARTIST HEADPHONES The artist should plug headphones in here for personal monitoring (pg 27)
bENGINEER LEVELENGINEER LEVEL
ENGINEER LEVELENGINEER LEVEL
ENGINEER LEVEL This controls the level of the signal sent to the engineer’s headphones (pg 27)
nENGINEER HEADPHONESENGINEER HEADPHONES
ENGINEER HEADPHONESENGINEER HEADPHONES
ENGINEER HEADPHONES The engineer should plug headphones in here for standard monitoring (pg 27)
mMONITORS/ARTIST MIXMONITORS/ARTIST MIX
MONITORS/ARTIST MIXMONITORS/ARTIST MIX
MONITORS/ARTIST MIX The engineer, using headphones can listen to the monitor signal or the artist mix (pg 27)

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INTRODUCTIONINTRODUCTION
INTRODUCTIONINTRODUCTION
INTRODUCTION
Thank you for purchasing a Soundcraft mixer. We take great pride in our latest addition to our range
of mixing consoles - you have taken a step in the right direction and we will be with you all the way.
Owning a Soundcraft console brings you the expertise and support of one of the industry’s leading
manufacturers, and the results of over three decades of supporting some of the biggest names in
the business. Our knowledge has been attained through working in close contact with leading
professionals and institutes to bring you products designed to get the best possible results from
your mixing.
Built to the highest standards using quality components and surface mount technology, the Compact4
and Compact10 consoles are designed to be as easy to use as possible. We have spent years
researching the most efficient methods of control for two key reasons:
1) Engineers, musicians, writers and programmers all need to have very few interruptions
to the creative process; our products have been designed to be almost transparent,
allowing this process to breathe.
2) Whether performing or recording, time is a very expensive and rare commodity. Our
products have a user interface which is recognised by millions to be the industry standard
because of its efficiency.
The sonic qualities of our products are exemplary - some of the same circuits which are used on our
most expensive consoles are employed in the Compact4, bringing you the great Soundcraft quality
in a small format console without compromise.
You will also be glad to know you have a one year warranty with your product from the date of
purchase. The Compact4 and Compact10 consoles have been designed using the latest high-end
software based engineering packages. Every console from Soundcraft has been proven to stand up
to all the stress and rigours of modern day mixing environments.
The Compact4 and Compact10 consoles are manufactured using some of the most advanced
techniques in the world, from high density surface mount PCB technology, to computer aided test
equipment able to measure signals well outside the range of normal hearing.
As each console passes through to the quality checking stage (just before packing), there is also
a human listening station. Something we have learnt over the years is that the human touch counts
- and only by using people can you ensure the product meets the high demands of the user.
NOTE : The packaging which your Soundcraft Compact4 or Compact10 arrived in forms part of the
product, and must be retained for future use.

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WORKING SAFELWORKING SAFEL
WORKING SAFELWORKING SAFEL
WORKING SAFEL
Y WITH SOUNDY WITH SOUND
Y WITH SOUNDY WITH SOUND
Y WITH SOUND
Although your new console will not make any noise until you feed it signals, it has the capability to
produce sounds which when monitored through an amplifier or headphones can damage hearing
over time.
The table below is taken from the Occupational Safety & Health Administration directive on
Occupational noise exposure (1926.52):
PERMISSABLE NOISE EXPOSUREPERMISSABLE NOISE EXPOSURE
PERMISSABLE NOISE EXPOSUREPERMISSABLE NOISE EXPOSURE
PERMISSABLE NOISE EXPOSURE
DURATION PER DAY, HOURS SOUND LEVEL dBA SLOW RESPONSE
890
692
495
397
2 100
1.5 102
1 105
0.5 110
<0.25 115
Conforming to this directive will minimise the risk of hearing damage caused by long listening
periods. A simple rule to follow is the longer you listen the lower the average volume should be.
Please take care when working with your audio - if you are manipulating controls which you don’t
understand (which we all do when we are learning), make sure your monitors are turned down.
Remember that your ears are the most important tool of your trade, look after them, and they will
look after you.
Most importantly - don’t be afraid to experiment to find out how each parameter affects the sound
- this will extend your creativity and help you to get the best results.

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THE MIXER EXPLAINEDTHE MIXER EXPLAINED
THE MIXER EXPLAINEDTHE MIXER EXPLAINED
THE MIXER EXPLAINED
What is an audio mixer ?What is an audio mixer ?
What is an audio mixer ?What is an audio mixer ?
What is an audio mixer ?
The term “mixing” is the combining of audio channels, in most cases to form a stereo output signal
made up of left and right channels. Mixers normally have level controls (or faders) on each input
to set the required amount of audio before the mixing stage
What other functions can a Compact mixer perform ?What other functions can a Compact mixer perform ?
What other functions can a Compact mixer perform ?What other functions can a Compact mixer perform ?
What other functions can a Compact mixer perform ?
The Compact4 and Compact10 consoles can also be used to process audio. You can:
a) Apply Equalisation ( change the tone of the audio ). This is done using the EQ
controls for the low, mid and high bands.
b) Place an audio processor over a particular signal, this is achieved using the insert
point to peform additional processing such as compression, or adding fx such as reverb.
c) Control the audio position within the stereo field (the sound stage created by your
speakers/monitors).
d) Increase or decrease the incoming signal level in order to achieve the best signal to
noise ratio (audio quality). This parameter is known as “gain”.
The Compact4 and Compact10 consoles can also be used to route audio, you can:
a) Send audio to record outputs, normally fed to your recording system.
The source can be unbalanced for use with consumer soundcards, or balanced for
professional soundcards.
b) Send audio to the mix output, used to feed a PA when performing.
The term “monitoring” can be more simply described as listening to audio channels. Mixers
normally have monitor switches in various parts of the mixing process to check channels, before
and after mixing.
The Compact4 and Compact10 consoles can also be used to monitor (using ears and eyes) audio.
You can:
a) Send audio to the LED meters and the monitor outputs simultaneously. You always
see what you hear from your monitor outputs which will feed the speakers in your main
listening position.
b) Send audio to the artist headphone output, used to allow the artist to independently
control their own personal mix without affecting any other outputs
b) Send audio to the artist headphone output, used to allow the artist to independently
control their own personal mix without affecting any other outputs

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What kind of things can I plug into it ?What kind of things can I plug into it ?
What kind of things can I plug into it ?What kind of things can I plug into it ?
What kind of things can I plug into it ?
We can’t possibly list all of them here, but below are a few of the most common sources:
a) Microphones, both dynamic and condensor types can be used. Channel One also
has a high-pass filter which removes the sub bass frequencies when singing “b” and “p”
sounds.
b) Guitars, there is even a DI circuit to enhance bass guitars, which is located on a mono
channel
c) Synths/Keyboards, line level stereo outputs can be fed to the stereo input channels.
d) Decks, or turntables if you’re that way inclined, can be fed to stereo inputs with RIAA
Equalisation. The RIAA Equalisation returns the tone of the deck input to that of the
original signal (as RIAA-EQ is applied when cutting vinyl).
e) Computer, both Mac and PC systems have a host audio card, often found on the
motherboard. The unbalanced connection from the host (or consumer soundcard) can
be connected to the phono playback inputs.
f) Professional Soundcards, or Digital Audio Workstations can be connected to the
3-pole ‘A’ gauge balanced jack playback inputs.
g) CDR/DAT/MD/MP3 - the outputs of these consumer, or professional devices can be
connected to the unbalanced phono inputs, or the 3-pole ‘A’ gauge balanced jack stereo
inputs (Compact10 only).
h) Another mixer, often called a sub-mixer will be used to mix a drum kit, or an orchestral
outfit. The outputs of this mixer can be connected to the unbalanced phono inputs, or the
3-pole ‘A’ gauge balanced jack stereo inputs (Compact10 only).
Wow that’s a lot of stuff for such a small mixer ?Wow that’s a lot of stuff for such a small mixer ?
Wow that’s a lot of stuff for such a small mixer ?Wow that’s a lot of stuff for such a small mixer ?
Wow that’s a lot of stuff for such a small mixer ?
Yes it is, you should be happy, you made a good choice.
Why don’t other manufacturers design consoles like this ?Why don’t other manufacturers design consoles like this ?
Why don’t other manufacturers design consoles like this ?Why don’t other manufacturers design consoles like this ?
Why don’t other manufacturers design consoles like this ?
a) Because they are out of touch ?
b) Because they are not very innovative ?
c) Because they don’t have the experience ?
d) Because they don’t listen to their users ?
Who knows :-)

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MIXING AUDIO PMIXING AUDIO P
MIXING AUDIO PMIXING AUDIO P
MIXING AUDIO PAA
AA
ATHTH
THTH
TH
So how does audio get mixed ?So how does audio get mixed ?
So how does audio get mixed ?So how does audio get mixed ?
So how does audio get mixed ?
The audio path shown below covers :
A - The input channel path from the microphone input to the mix bus (where all the
signals are mixed together). Remember this is a stereo signal.
B - The mix bus from input channel level to mix output level
C - The mix output level control to the mix outputs

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MONITORING AUDIO PMONITORING AUDIO P
MONITORING AUDIO PMONITORING AUDIO P
MONITORING AUDIO PAA
AA
ATHTH
THTH
TH
So how do I listen to audio ?So how do I listen to audio ?
So how do I listen to audio ?So how do I listen to audio ?
So how do I listen to audio ?
The audio path shown below covers :
A - The channel monitor button which sends audio (before any pan and level control) to
the monitor bus - this is another bus used to add signals for listening. This is normally
used to set-up the channel
B - The monitor bus from to monitor output level and headphone output levels
C - The monitor output level control to the monitor outputs
D - The headphone output levels control to the headphone outputs

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DO NOT use UNBALANCED sources with the phantom power
switched on. The voltage on pins 2 & 3 of the XLR connector
may cause serious damage. BALANCED dynamic mics may
normally be used with phantom power switched on (contact
your microphone manufacturer for guidance)
WARNING !
Start with the input GAIN knob turned fully anticlockwise
when plugging high level sources into the LINE input to avoid
overloading the input channel or giving you a very loud
surprise!
WIRING UPWIRING UP
WIRING UPWIRING UP
WIRING UP
Mic InputMic Input
Mic InputMic Input
Mic Input
The outer ring of the combination input accepts XLR-type connectors and is designed to suit a wide
range of BALANCED or UNBALANCED low-level signals, whether from delicate vocals requiring the
best low-noise performance, or drum kits needing maximum headroom. Professional dynamic,
condenser or ribbon mics are best because these will be LOW IMPEDANCE. While you can use low-
cost HIGH IMPEDANCE mics, you do not get the same degree of immunity to interference on the
microphone cable and as a result the level of background noise may be higher. If you turn the
PHANTOM POWER on, the socket provides a suitable powering voltage for professional condenser
mics.
The input level is set using the input GAIN knob.
The LINE input offers the same gain range as the MIC input, but at a higher input impedance, and
is 20dB less sensitive. This is suitable for most line level sources.
Line InputLine Input
Line InputLine Input
Line Input
The centre of the combination input accepts 3-pole ‘A’ gauge jacks, or 2-pole mono jacks which
will automatically ground the ‘cold’ input. Use this input for sources other than mics, such as
keyboards, drum machines, synths, tape machines or guitars. 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. Set the
input level using the GAIN knob, starting with the knob turned fully anticlockwise. Unplug any MIC
connection when using the LINE input.
InserInser
InserInser
Insert Pointt Point
t Pointt Point
t 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 placed directly 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 (often called the SEND) appears on the TIP of the plug and comes
back (often called the RETURN) on the RING, with the sleeve as a common ground.
The signal may be also be used to feed as an alternative pre-fade, pre-EQ direct output if required,
using a lead with tip and ring shorted together so that the signal path is not interrupted.

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Stereo Inputs Compact4Stereo Inputs Compact4
Stereo Inputs Compact4Stereo Inputs Compact4
Stereo Inputs Compact4
These accept 2-pole phono plugs 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 UNBALANCED and you should then keep cable lengths as short as possible to
minimise interference pick-up on the cable.
Stereo Inputs Compact10Stereo Inputs Compact10
Stereo Inputs Compact10Stereo Inputs Compact10
Stereo Inputs Compact10
These accept 3-pole ‘A’ gauge jacks, or 2-pole phono plugs 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 inputs are 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, and pressing the MONO
switch.
NOTE: Please refer to pages 40/41 for additional wiring details.
Mix Outputs
The Mix outputs are on 3-pole ‘A’ gauge jack sockets, wired as shown on the left, and are balanced,
allowing long cable runs to balanced amplifiers and other equipment.
Monitor Outputs
The Monitor outputs are on 3-pole ‘A’ gauge jack sockets, wired as shown on the left, and are
balanced, allowing long cable runs to balanced amplifiers and other equipment.
Using an InserUsing an Inser
Using an InserUsing an Inser
Using an Insert Cablet Cable
t Cablet Cable
t Cable
Shown below is the wiring diagram for an insert cable. Your Soundcraft dealer or local disributor
should also stock this type of cable.

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ArAr
ArAr
Artist and Engineer Headphonestist and Engineer Headphones
tist and Engineer Headphonestist and Engineer Headphones
tist and Engineer Headphones
The Headphones outputs are on a 3-pole ‘A’ gauge jack, wired as a stereo output as shown, The
output level is designed ideally for headphones of 200Ωor greater. 8Ωheadphones are not
recommended, although can be used.
Polarity (Phase)Polarity (Phase)
Polarity (Phase)Polarity (Phase)
Polarity (Phase)
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 always take care to connect pins correctly when wiring audio cables.
Grounding and ShieldingGrounding and Shielding
Grounding and ShieldingGrounding and Shielding
Grounding and Shielding
For optimum performance use balanced connections where possible and ensure that all signals
are referenced to a solid, noise-free earthing point and that all signal cables have their screens
connected to ground. In some unusual circumstances, to avoid earth or ground ‘loops’ 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 minimise noise by following these
wiring guidelines:
•On INPUTS, unbalance at the source and use a twin screened cable as though it were
balanced.
•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.
•Avoid running audio cables or placing audio equipment close to thyristor dimmer units or
power cables.
•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.
Grounding and shielding is still seen as a black art, and the suggestions above are only guidelines.
If your system still hums, an earth/ground loop is the most likely cause. Two examples of how an
earth loop can occur are shown below.
WARNING! Under NO circumstances must the AC power
mains earth be disconnected from the mains lead.