SoundCraft EFX User manual

USER GUIDE
®

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Soundcraft EFX/EPM User Guide Issue 1110Soundcraft EFX/EPM User Guide Issue 1110
User Guide

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2Soundcraft EFX/EPM User Guide Issue 1110 Soundcraft EFX/EPM User Guide Issue 1110
© Harman International Industries Ltd. 2010
All rights reserved. Parts of the design of this product may be protected by worldwide patents.
Part No. BD10.530000 Issue 1110
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 E & OE.
[email protected]
IMPORTANT
Please read this manual carefully before using

®
This equipment complies with the EMC directive
2004/108/EC
and LVD 2006/95/EC
This product is approved to safety standards:
EFX Models
IEC 60065: 2001 + AMD1:2005
EN60065: 2002 + AMD1:2006+A11:2008
UL6500 7th Edition: 2003
CAN/CSA-E60065-03
and EMC standards:
EN55103-1: 1996 (E2)
EN55103-2: 1996 (E2)
For further details contact
Harman International Industries Ltd.
Cranborne House, Cranborne Road,
Potters Bar, Hertfordshire, EN6 3JN UK
email: [email protected]
Contents
SAFETY SYMBOL GUIDE....................................................................................................................................4
IMPORTANT SAFETY INSTRUCTIONS..................................................................................................................5
INTRODUCTION................................................................................................................................................7
OVERVIEW........................................................................................................................................................8
THE 60-SECOND GUIDE - EFX..........................................................................................................................8
THE 60-SECOND GUIDE - EPM......................................................................................................................10
WIRING UP.....................................................................................................................................................12
BLOCK DIAGRAM...........................................................................................................................................14
MONO INPUT CHANNEL..................................................................................................................................17
STEREO INPUT CHANNELS.............................................................................................................................19
MASTER SECTION..........................................................................................................................................23
Lexicon® FX PROCESSOR OVERVIEW (EFX only).............................................................................................25
FX OPERATION (EFX only)...............................................................................................................................26
FX PROCESSOR CONTROLS (EFX only)...........................................................................................................26
REVERBS (EFX only).....................................................................................................................................27
REVERB CONTROLS (EFX only).......................................................................................................................28
DELAYS (EFX only).........................................................................................................................................29
DELAY CONTROLS (EFX only).........................................................................................................................29
MODULATED EFFECTS (EFX only)...................................................................................................................30
FACTORY RESET (EFX only).............................................................................................................................32
EFFECTS DATA CHART (EFX only)....................................................................................................................33
USING YOUR CONSOLE..................................................................................................................................34
APPLICATIONS...............................................................................................................................................36
GLOSSARY.....................................................................................................................................................40
TYPICAL CONNECTING LEADS.........................................................................................................................42
MARK-UP SHEETS..........................................................................................................................................44
FITTING OPTIONAL RACKMOUNT EARS............................................................................................................48
TYPICAL SPECIFICATIONS................................................................................................................................49
WARRANTY.....................................................................................................................................................50

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4Soundcraft EFX/EPM User Guide Issue 1110 Soundcraft EFX/EPM User Guide Issue 1110
IMPORTANT SAFETY INSTRUCTIONS
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any ventilation openings. Install in accordance with the manufacturer’s
instructions.
Do not install near any heat sources such as radiators, heat registers, stoves, or other
apparatus (including ampliers) that produce heat.
Do not defeat the safety purpose of a polarised or grounding type plug. A polarised
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. If the provided plug does not t 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, conven-
ience receptacles and the point where they exit from the apparatus.
Only use attachments/accessories specied by the manufacturer.
Use only with the cart, stand, tripod, bracket or table specied by the manufacturer,
or sold with the apparatus. When a cart is used, use caution when moving the cart/
apparatus combination to avoid injury from tip-over.
Unplug this apparatus during lightning storms or when unused for long periods of
time.
Refer all servicing to qualied service personnel. Servicing is required when the ap-
paratus has been damaged in any way, such as power-supply cord or plug is damaged,
liquid has been spilled or objects fallen into the apparatus, the apparatus has been
exposed to rain or moisture, does not operate normally, or has been dropped.
For your own safety and to avoid invalidation of the warranty please read this

SAFETY SYMBOL GUIDE
For your own safety and to avoid invalidation of the warranty all text marked
with these symbols should be read carefully.
WARNINGS

alert the user to the presence of un-insulated “dangerous
voltage” within the product’s enclosure that may be of suf-


CAUTIONS
The exclamation point within an equilateral triangle is in-
tended to alert the user to the presence of important operat-
ing and maintenance (servicing) instructions in the literature

NOTES
Contain important information and useful tips on the opera-

HEADPHONES SAFETY WARNING
Contain important information and useful tips on headphone



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6Soundcraft EFX/EPM User Guide Issue 1110 Soundcraft EFX/EPM User Guide Issue 1110
INTRODUCTION
Thank you for purchasing a Soundcraft EFX/EPM mixer. The EFX/EPM range
is a most cost-effective mixing solution, bringing you all the features and
performance that you expect from a Soundcraft product, at an extraordinarily
low price. The packaging, in which your mixer arrived, forms part of the product
and must be retained for future use.
Owning a Soundcraft console brings you the expertise and support of one of
the industry’s leading manufacturers, and the results of nearly 3 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 mixer is designed to be as easy to use as possible. We have
spent years researching the most efcient 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 commod-
ity. Our products have a user interface which is recognised by millions to be the
industry standard because of its efciency.
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 EFX and
EPM, 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 mixer has 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 entire mixer is 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 be quality checked 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.
ADVICE FOR THOSE WHO PUSH THE BOUNDARIES
Although your new console will not output any sound until you feed it signals, it
has the capability to produce sounds which when monitored through an ampli-
er or headphones can damage hearing over time.
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 nd out how each parameter
affects the sound - this will extend your creativity and help you to get the best
from your mixer and the most respect from your artists and audience.
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 fre-
quency energy and, if not installed and used in accordance with the instruction manual,
may cause harmful interference to radio communications. Operation of this equipment
in a residential area is likely to cause harmful interference in which case the user will be
required to correct the interference at his own expense.
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.
Note: It is recommended that all maintenance and service on the product should be
carried out by Soundcraft or its authorised agents. Soundcraft cannot accept any li-
ability whatsoever for any loss or damage caused by service, maintenance or repair by
unauthorised personnel.
WARNING: To reduce the risk of re or electric shock, do not expose this apparatus to
rain or moisture.
Do not expose the apparatus to dripping or splashing and do not place objects lled with
liquids, such as vases, on the apparatus.
No naked ame sources, such as lighted candles, should be placed on the apparatus.
Ventilation should not be impeded by covering the ventilation openings with items such
as newspapers, table cloths, curtains etc.
THIS APPARATUS MUST BE EARTHED. Under no circumstances should the safety earth be
disconnected from the mains lead.
The mains supply disconnect device is the mains plug. It must remain accessible so as
to be readily operable when the apparatus is in use.
If any part of the mains cord set is damaged, the complete cord set should be replaced.
The following information is for reference only.
The wires in the mains lead are coloured in accordance with the following code:
Earth (Ground): Green and Yellow (US - Green/Yellow)
Neutral: Blue (US - White)
Live (Hot): Brown (US - Black)
As the colours of the wires in the mains lead may not correspond with the coloured mark-
ings identifying the terminals in your plug, proceed as follows:
The wire which is coloured Green and Yellow must be connected to the terminal in
the plug which is marked with the letter E or by the earth symbol.
The wire which is coloured Blue must be connected to the terminal in the plug which
is marked with the letter N
The wire which is coloured Brown must be connected to the terminal in the plug
which is marked with the letter L
Ensure that these colour codes are followed carefully in the event of the plug being
changed
This unit is capable of operating over a range of mains voltages as marked on the rear
panel.

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8Soundcraft EFX/EPM User Guide Issue 1110 Soundcraft EFX/EPM User Guide Issue 1110
11 PEAK LED This is used to indicate that the signal is close to distorting (clipping) on a
specic channel.
12 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus and post-fade sends.
13 MIX OUTPUTS (XLR) & Connect these to your analogue recording device, or to your amplication
MONO OUT (¼ system.
14 MIX INSERTS (¼ This is a pre-fade break in the signal path which can be used to feed a
dynamics or mastering device.The signal is sent from the tip of the jack plug
and the return path comes back in on the ring of the jack plug.
15 MONITOR O/Ps (¼ These are used to feed your monitoring system.This can be directly connected
to powered monitors, or indirectly via an amplier to standard monitors.
16 MASTER FADERS These faders control the overall level of the mix outputs.
17 MAIN METERS These show the level of the mix outputs. When the PFL ACTIVE LED is lit, the
meters show the level of the selected PFL signal.
18 MONITOR CONTROL This controls the level of the signal sent to your monitoring system.
19 PHONES CONTROL This controls the level of the signal sent to the headphones jack socket.
20 AUX 1 OUTPUT (¼ This output can be used to send the channel signal to an artist’s monitors
(headphones/in-ear/stage monitors). It is switchable pre/post fade.
21 AUX CONTROL This switch globally switches the AUX1 feed on all the input modules to be
either pre or post-fade.
22 STEREO INPUTS (¼ These two inputs can be used to connect line level stereo inputs from key-
boards, sound modules, samplers, computer based audio cards etc. These
inputs pass through a normal channel strip, with EQ, Auxes and a Balance
control.
23 2-TRACK INPUTS Here you can connect the playback from your recording device.
(RCA Phono)
24 2-TRACK CONTROLS Use these to control the 2 Track signal.The MONITOR switch sends the signal
to the monitor outputs and phones, whilst the TO MIX switch sends it to the
main mix.
25 RECORD OUTPUTS You can connect these to the inputs of your recording device.
(RCA Phono)
26 PHANTOM POWER Press this to switch the phantom power (48V) on for condenser microphones.
WARNING: Do Not apply Phantom Power before connecting a
microphone.
27 HEADPHONES (¼ Plug your headphones into this socket. Recommended headphones imped-
ance is 150 ohms or greater.
28 STEREO RETURN INPUTS This pair of inputs accept 3-pole ‘A’ gauge (TRS) jacks. Use these inputs for
sources such as keyboards, drum machines, synths or CDs. The inputs are
BALANCED. Mono sources may be used by plugging into the left jack only.
29 STEREO RETURN CONTROL This control sets the level of signal routed to the main mix busses. There is
an associated PK LED to warn of signals which are too high.
30 FX BUS OUTPUT This output carries the signal from the FX bus. It could be used as a second
Aux Output if desired, if the FX Processor is not needed at the time. The FX
sends on the inputs channels to the FX bus are always post-fade.
31 FOOTSWITCH CONNECTOR This is used by the FX Processor, see page 23.
32 LEXICON® FX PROCESSOR See the information starting on page 22.
OVERVIEW
THE 60-SECOND GUIDE - EFX
1 MIC INPUT (XLR) Connect Microphones here. If you are using a condenser mic,ensure phantom
power is supplied by pressing the switch at the top of the master section.
WARNING: Do Not apply Phantom Power before connecting a microphone.
2LINE INPUT (¼ Connect Line level sources here, e.g. Synth, Drum Machine, DI etc.
3INSERT POINT (¼ Connect Signal processors here, e.g. Compressor, Gate etc.
4GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal.
5EQ STAGE Adjust these controls to change the signal tone (the character of the signal).
6AUX 1 SEND Adjust this control to change the level of the signal to an artist’s monitors
(headphones/in-ear/stage monitors). Aux 1 is globally switchable pre/post
fade.
7 FX SEND This control sets the level of the post-fade signal being sent to the FX bus;
from there it is routed to the FX processor.
8PAN CONTROL Use this control to position the signal within the stereo eld.
9MUTE SWITCH When this is pressed you will hear no signal from the channel (post-mute
signals).
10 PFL When pressed the signal will appear on the monitor and headphone outputs
- use this to monitor the post-EQ signal from the channel.
To get you working as fast as possible, this manual begins with a 60-second guide. Here you can nd quick
information on any feature of the EFX console.

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10 Soundcraft EFX/EPM User Guide Issue 1110 Soundcraft EFX/EPM User Guide Issue 1110
THE 60-SECOND GUIDE - EPM
1 MIC INPUT (XLR) Connect Microphones here. If you are using a condenser mic,ensure phantom
power is supplied by pressing the switch at the top of the master section.
WARNING: Do Not apply Phantom Power before connecting a microphone.
2LINE INPUT (¼ Connect Line level sources here, e.g. Synth, Drum Machine, DI etc.
3INSERT POINT (¼ Connect Signal processors here, e.g. Compressor, Gate etc.
4GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal.
5EQ STAGE Adjust these controls to change the signal tone (the character of the signal).
6AUX 1/2 SENDS Adjust these controls to change the level of the signal to an artist’s monitors
(headphones/in-ear/stage monitors). Each Aux is globally switchable pre/
post fade.
7PAN CONTROL Use this control to position the signal within the stereo eld.
8MUTE SWITCH When this is pressed you will hear no signal from the channel (post-mute
signals).
9PFL When pressed the signal will appear on the monitor and headphone outputs
- use this to monitor the post-EQ signal from the channel.
10 PEAK LED This is used to indicate that the signal is close to distorting (clipping) on a
specic channel.
11 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus and post-fade sends.
12 MIX OUTPUTS (XLR) & Connect these to your analogue recording device, or to your amplication
MONO OUT (¼ system.
13 MIX INSERTS (¼ This is a pre-fade break in the signal path which can be used to feed a dy-
namics or mastering device. The signal is sent from the tip of the jack plug
and the return path comes back in on the ring of the jack plug.
14 MONITOR O/Ps (¼ These are used to feed your monitoring system.This can be directly connected
to powered monitors, or indirectly via an amplier to standard monitors.
15 MASTER FADERS These faders control the overall level of the mix outputs.
16 MAIN METERS These show the level of the mix outputs. When the PFL ACTIVE LED is lit, the
meters show the level of the selected PFL signal.
17 MONITOR CONTROL This controls the level of the signal sent to your monitoring system.
18 PHONES CONTROL This controls the level of the signal sent to the headphones jack socket.
19 AUX OUTPUTS (¼ These outputs can be used to send the channel signal to an artist’s monitors
(headphones/in-ear/stage monitors). They are switchable pre/post fade.
20 AUX CONTROL These switches globally switch the AUX1 and AUX 2 feeds on all the input
modules to be either pre or post-fade.
21 STEREO INPUTS (¼ These two inputs can be used to connect line level stereo inputs from key-
boards, sound modules, samplers, computer based audio cards etc. These
inputs pass through a normal channel strip, with EQ, Auxes and a Balance
control.
22 2-TRACK INPUTS
Here you can connect the playback from your recording device.
(RCA Phono)
23 2-TRACK CONTROLS Use these to control the 2 Track signal.The MONITOR switch sends the signal
to the monitor outputs and phones, whilst the TO MIX switch sends it to the
main mix.
24 RECORD OUTPUTS You can connect these to the inputs of your recording device.
(RCA Phono)
25 PHANTOM POWER Press this to switch the phantom power (48V) on for condenser microphones.
WARNING: Do Not apply Phantom Power before connecting a
microphone.
26 HEADPHONES (¼ Plug your headphones into this socket. Recommended headphones imped-
ance is 150 ohms or greater.

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12 Soundcraft EFX/EPM User Guide Issue 1110 Soundcraft EFX/EPM User Guide Issue 1110
WIRING UP
Please refer to pages 38/39 for additional wiring details.
Mic Input
The MIC 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 maxi-
mum 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 interfer-
ence 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 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 DI boxes. 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.
Insert Point
The unbalanced, pre-EQ insert point is a break in the channel signal path,
allowing limiters, compressors, special EQ or other signal processing units
to be added in the signal path. The Insert is a 3-pole ‘A’ gauge jack socket
which is normally bypassed. When a jack is inserted, the signal path is
broken, just before the EQ section.
The signal from the channel appears on the TIP of the plug and is returned
on the RING, with the sleeve as a common ground.
The Send may be tapped off 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.
WARNING !

plugging high level sources into the LINE input to avoid overloading
the input channel or giving you a very loud surprise!
DO NOT use UNBALANCED sources with the phantom power


used with phantom power switched on (contact your microphone
manufacturer for guidance)
Stereo Inputs STEREO 1/2 and Stereo
These accept 3-pole ‘A’ gauge jacks,or 2-pole mono jacks which will automati-
cally ground the ‘cold’ input. Use these inputs for sources such as keyboards,
drum machines, synths, tape machines or as returns from processing units.
The input is BALANCED for low noise and immunity from interference,but you
can use UNBALANCED sources by wiring up the jacks as shown, although you
should then keep cable lengths as short as possible to minimise interference
pick-up on the cable. Note that the ring must be grounded if the source is
unbalanced.
Mono sources can be fed to both paths by plugging into the Left jack only.
Mix Inserts
The unbalanced, pre-fade Mix insert point is a break in the output signal path to
allow the connection of,for example, a compressor/limiter or graphic equaliser.
The Insert is a 3-pole ‘A’ gauge jack socket which is normally bypassed. When
a jack is inserted, the signal path is broken, just before the mix fader.
The mix signal appears on the TIP of the plug and is returned on the RING.
A ‘Y’ lead may be required to connect to equipment with separate send and
return jacks as shown below:
Mix Outputs
The MIX outputs are on XLR’s, wired as shown, and incorporate impedance
balancing, allowing long cable runs to balanced ampliers and other
equipment.
Aux & FX Bus Outputs
The Aux & FX Bus outputs are on 3-pole ‘A’ gauge jack sockets, wired as
shown on the left, and are impedance-balanced, allowing long cable runs to
balanced ampliers and other equipment. Note EPM has 2 x AUX, EFX has
1 x AUX, 1 x FX.

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14 Soundcraft EFX/EPM User Guide Issue 1110 Soundcraft EFX/EPM User Guide Issue 1110
Headphones
The PHONES output is a 3-pole ‘A’ gauge jack,wired as a stereo output as shown, ideally
for headphones of 150Ωor greater. 8Ωheadphones are not recommended.
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 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 follow-
ing 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 dim-
mer units or power cables.
• Noise immunity is improved signicantly 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

PROBLEM SOLVING
Basic problem solving is within the scope of any user if a few basic rules are fol-
lowed.
• Get to know the Block Diagram of your console (see page 14).
• Get to know what all controls and/or connections in the system are supposed
to do.
• Learn where to look for common trouble spots.
The Block Diagram is a representative sketch of all the components of the console,
showing how they connect together and how the signal ows through the system. Once
you have become familiar with the various component blocks you will nd the Block
Diagram is quite easy to follow and you will have gained a valuable understanding of
the internal structure of the console.
Each component has a specic function and only by getting to know what each part is
supposed to do will you be able to tell if there is a genuine fault! Many “faults” are the
result of incorrect connection or control settings which may have been overlooked.
Basic Troubleshooting is a process of applying logical thought to the signal path through
the console and tracking down the problem by elimination.
• Swap input connections to check that the source is really present. Check both
Mic and Line inputs.
• Eliminate sections of the channel by using the insert point to re-route the signal
to other inputs that are known to be working.
• Route channels to different outputs or to auxiliary sends to identify problems
on the Master section.
• Compare a suspect channel with an adjacent channel which has been set up
identically. Use PFL to monitor the signal in each section.
• Insert-point contact problems may be checked by using an insert bypass jack
with tip and ring shorted together as shown below. If the signal appears when
the jack is inserted it shows that there is a problem with the normalling contacts
on the jack socket, caused by wear or damage, or often just dirt or dust. Keep
a few in your gig tool box.
If in doubt please contact Soundcraft customer support.
PRODUCTS UNDER WARRANTY
UK customers should contact their local dealer.
Customers outside the UK are requested to contact their territorial distributor who is
able to offer support in the local time zone and language. Please see the distributor
listings on our website (www.soundcraft.com) to locate your local distributor.
OUT-OF-WARRANTY PRODUCTS
For out-of-warranty consoles purchased in the United Kingdom, please contact the
Customer Services Department (e-mail: [e-mail]) at the factory
in Potters Bar, Hertfordshire: Telephone [phone].
For all other out-of-warranty consoles, please contact the appropriate territorial dis-
tributor.
When mailing or faxing please remember to give as much information as possible.
This should include your name, address and a daytime telephone number. Should
you experience any difculty please contact Customer Services Department (e-mail:
[email protected])

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BLOCK DIAGRAM - Soundcraft EFX BLOCK DIAGRAM - Soundcraft EPM

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operates at a lower level (-10dBV) than professional equipment and will
therefore need a higher gain setting to give the same output level.
See “Initial Setup” on page 31 to learn how to set GAIN correctly.
5 Equaliser
The Equaliser (EQ) allows ne manipulation of the sound, particularly
to improve the sound in live PA applications where the original signal
is often far from ideal and where slight boosting or cutting of particular
voice frequencies can really make a difference to clarity. There are three
sections giving the sort of control usually only found on much larger
mixers. The EQ knobs can have a dramatic effect, so use them sparingly
and listen carefully as you change any settings so that you get to know
how they affect the sound.
HF EQ
Turn to the right to boost high (treble) frequencies above 12kHz by up to
15dB, adding crispness to cymbals, vocals and electronic instruments.
Turn to the left to cut by up to 15dB, reducing hiss or excessive sibilance
which can occur with certain types of microphone. Set the knob in the
centre-detented position when not required.
MID EQ
There are two knobs which work together to form a SWEPT MID EQ. The
lower knob provides 15dB of boost and cut, just like the HF EQ knob, but
the frequency at which this occurs can be set by the upper knob over a
range of 150Hz to 3.5kHz. This allows some truly creative improvement
of the signal in live situations, because this mid band covers the range
of most vocals. Listen carefully as you use these controls together to
nd how particular characteristics of a vocal signal can be enhanced or
reduced. Set the lower knob to the centre-detented position when not
required.
LF EQ
Turn to the right to boost low (bass) frequencies below 80Hz by up to
15dB, adding warmth to vocals or extra punch to synths, guitars and
drums. Turn to the left to cut low frequencies by up to 15dB for reducing
hum, stage rumble or to improve a mushy sound. Set the knob to the
centre-detented position when not required.
6 Aux 1 Send
This is used to set up a separate mix for FOLDBACK or recording, and the
combination of each Aux Send is mixed to the Aux1 Output. For recording
it is useful for the signal to fade up and down with the fader (this is called
POST-FADE), but for Foldback or Monitor feeds it is important for the send
to be independent of the fader (this is called PRE-FADE).
AUX 1 SEND is globally switchable between pre and post-fade (see master
section on page 20/21).
7 FX Send (EFX only)
This control sets the level of the post-fade signal being sent to the FX
bus; from there it is routed to the FX processor.
MONO INPUT CHANNEL - EFX shown
1 Mic Input
The MIC input accepts XLR-type connectors and is designed to suit a wide range of
BALANCED or UNBALANCED signals. Professional dynamic, condenser or ribbon
mics are best because these will be LOW IMPEDANCE. You can use low-cost HIGH
IMPEDANCE mics, but the level of background noise will be higher. If you turn the
PHANTOM POWER on (top right-hand side of the mixer) the socket provides a suit-
able powering voltage for professional condenser mics.
TAKE CARE when using unbalanced sources, which may be damaged by the phantom
power voltage on pins 2 & 3 of the XLR connector.
Unplug any mics if you want to use the LINE Input. The input level is set using the
GAIN knob.
2 Line Input
Accepts 3-pole ‘A’ gauge (TRS) jacks. Use this input for sources other than mics,
such as keyboards,drum machines, synths,tape machines or DI’d guitars. The input
is BALANCED for low noise and top quality from professional equipment, but you
can use UNBALANCED sources by wiring up the jacks as shown below, although you
should then keep cable lengths as short as possible. Unplug anything in the MIC
input if you want to use this socket. Set the input level using the GAIN knob.
3 Insert Point
The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing
limiters, compressors, special EQ or other signal processing units to be added in the
signal path. The Insert is a 3-pole ‘A’gauge jack socket which is normally bypassed.
When a jack is inserted, the signal path is broken, just before the EQ section.
The Send may also be tapped off 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 (see below).
4 Gain
This knob sets how much of the source signal is sent to the rest of the mixer. Too
high, and the signal will distort as it overloads the channel. Too low, and the level
of any background hiss will be more noticeable and you may not be able to get
enough signal level to the output of the mixer.
Note that some sound equipment, particularly that intended for domestic use,

and ONLY turn the +48V powering on or off with all output faders


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STEREO INPUT CHANNELS (EFX shown)
1 INPUTS STEREO 1/2
These inputs accept 3-pole ‘A’ gauge (TRS) jacks. Use these inputs for
sources such as keyboards, drum machines, synths, tape machines or
processing units. The inputs are BALANCED for low noise and top quality
from professional equipment, but you can use UNBALANCED sources by
wiring up the jacks as shown in the “Wiring it Up” section earlier in this
manual, although you should then keep cable lengths as short as possible.
Mono sources may be used by plugging into the left jack only.
2 GAIN
The GAIN control sets the level of the channel signal.
3 EQUALISER
HF EQ
Turn to the right to boost high (treble) frequencies, adding crispness to
percussion from drum machines, synths and electronic instruments. Turn
to the left to cut these frequencies, reducing hiss or excessive brilliance.
Set the knob in the centre-detented position when not required. The
control has a shelving response giving 15dB of boost or cut at 12kHz.
MF EQ
Turn to the right to boost mid frequencies, turn to the left to cut these
frequencies. The centre frquency of the MID EQ is 720Hz
LF EQ
Turn to the right to boost low (bass) frequencies, adding extra punch to
synths, guitars and drums. Turn to the left to reduce hum, boominess or
improve a mushy sound. Set the knob to the centre-detented position
when not required. The control has a shelving response giving 15dB of
boost or cut at 80Hz.
4 AUX 1 SEND
This is used to set up a separate mix for FOLDBACK or recording, and the
combination of each Aux Send is mixed to the Aux1 Output. For recording
it is useful for the signal to fade up and down with the fader (this is called
POST-FADE), but for Foldback or Monitor feeds it is important for the send
to be independent of the fader (this is called PRE-FADE).
AUX 1 SEND is globally switchable between pre and post-fade (see
master section on page 20/21). The send pot is fed with a mono sum
of the L & R signals.
5 FX SEND (EFX only)
This control sets the level of the post-fade signal being sent to the FX
bus; from there it is routed to the FX processor.
7 Aux 2 Send (EPM only)
This is used to set up a separate mix for FOLDBACK or recording, and the
combination of each Aux Send is mixed to the Aux 2 Output. For record-
ing it is useful for the signal to fade up and down with the fader (this is
called POST-FADE), but for Foldback or Monitor feeds it is important for
the send to be independent of the fader (this is called PRE-FADE).
AUX 2 SEND is globally switchable between pre and post-fade (see master
section on page 22/23).
8 PAN
This control sets the amount of the channel signal feeding the Left and
Right MIX buses, allowing you to move the source smoothly across the
stereo image. When the control is turned fully left or right you are able
to route the signal at unity gain to either left or right outputs individually.
9 MUTE
All outputs from the channel except inserts are on when the MUTE switch
is released and muted when the switch is down, allowing levels to be
pre-set before the signal is required.
10 INPUT CHANNEL FADER
The 60mm FADER, with a custom-designed law to give even smoother
control of the overall signal level in the channel strip, allows precise bal-
ancing of the various source signals being mixed to the Master Section.
You get most control when the input GAIN is set up correctly, giving full
travel on the fader. See the “Initial Setup” section on page 31 for help
in setting a suitable signal level.
11 PFL
When the latching PFL switch is pressed, the pre-fade pre-mute signal is
fed to the headphones, control room output and meters, where it replaces
the MIX. The PFL ACTIVE LED on the Master section illuminates to warn
that a PFL is active. This is a useful way of listening to any required input
signal without interrupting the main mix, for making adjustments or trac-
ing problems. When PFL is pressed anywhere on the console, the Control
Room outputs automatically switch from monitoring the Mix Outputs.
12 PEAK LED
This LED will light when the signal level approaches clipping at any of the
three monitored points:
a) PRE-EQ
b) POST-EQ
c) POST-FADE

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5 AUX 2 SEND (EPM only)
This is used to set up a separate mix for FOLDBACK or recording, and the
combination of each Aux Send is mixed to the Aux 2 Output. For record-
ing it is useful for the signal to fade up and down with the fader (this is
called POST-FADE), but for Foldback or Monitor feeds it is important for
the send to be independent of the fader (this is called PRE-FADE).
AUX 2 SEND is globally switchable between pre and post-fade (see
master section on page 22/23). The send pot is fed with a mono sum
of the L & R signals.
6 BALANCE
This control sets the amount of the channel signal feeding the Left and
Right MIX buses, allowing you to balance the source in the stereo image.
When the control is turned fully right or left you feed only that side of
the signal to the mix. Unity gain is provided by the control in the centre-
detented position.
7 MUTE
All outputs from the channel are enabled when the MUTE switch is released
and muted when the switch is down.
8 FADER
The 60mm FADER gives you smooth control of the overall signal level in
the channel strip, allowing precise balancing of the various source signals
being mixed to the Master Section. It is important that the input level is
set correctly to give maximum travel on the fader which should normally
be used at around the “0” mark. See the “Initial Setup” section on page
31 for help in setting the right level.
9 PFL
When the latching PFL switch is pressed, the pre-fade pre-mute signal
is fed in mono to the headphones, control room output and meters,
where it replaces the MIX. The PFL ACTIVE LED on the Master section il-
luminates to warn that a PFL is active. The Left and Right meters display
the PFL signal in mono. This is a useful way of listening to any required
input signal without interrupting the main mix, for making adjustments
or tracing problems.
10 CHANNEL PEAK LED
This LED will light when the signal level approaches clipping at any of the
three monitored points:
a) PRE-EQ
b) POST-EQ
c) POST-FADE

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6 RECORD OUTPUTS
These two RCA outputs carry a copy
of the MIX L and MIX R signals. They
allow the use of a recording device, e.g. DAT player,
Minidisc recorder etc.
7 2 TRACK IN
These two RCA phono sockets are unbalanced Left
and Right line-level inputs, used for connecting a
playback device.
8 2 TRACK TO MIX
Press this switch to route the 2 Track in signals, con-
nected to the Left and Right RCA sockets 7,to the MIX
your microphone manufacturer for guidance).
Mics should always be plugged in, and all output faders set to minimum
before switching the Phantom Power ON to avoid damage to external
equipment
2 POWER INDICATOR
This LED lights to show when power is connected to the console.
3 MASTER FADERS
The MASTER FADERS set the nal level of the MIX outputs, and separate
faders are provided for each output. These should normally be set close
to the ‘0’ mark if the input GAIN settings have been correctly set, to give
maximum travel on the faders for smoothest control.
4 
The Mix LEFT and RIGHT outputs are sent from the XLR sockets as imped-
ance-balanced signals. The Mix INSERT points are on 3-pole ‘A’ gauge
jacks and are unbalanced. The MONO OUTPUT (EFX only) caries a mono
sum of the left and right mix signals on a 3-pole ‘A’ gauge jack, the output
is impedance-balanced.
5 BARGRAPH METERS
The three-colour peak reading BARGRAPH METERS normally show the level
of the MIX RIGHT and MIX LEFT outputs, giving you a constant warning of ex-
cessive peaks in the signal which might cause overloading. Aim to keep the
signal within the amber segments at peak levels for best performance.
Similarly, if the output level is too low and hardly registering at all on the
meters, the level of background noise may become signicant. Take care
to set up the input levels for best performance.
When any PFL switch is pressed, the meters switch to show the selected
PFL signal on both meters, in mono; the PFL ACTIVE LED also lights.
MASTER SECTION (EFX)
1 PHANTOM POWER
Many professional condenser mics need
PHANTOM POWER, which is a method
of sending a powering voltage down
the same wires as the mic signal. Press
the switch to enable the +48V power to
all of the MIC inputs. The adjacent LED
illuminates when the power is active.
WARNING: TAKE CARE when
using unbalanced mics
which may be damaged by
the phantom power volt-
age. Balanced dynamic mics
can normally be used with
phantom power switched on (contact
Left/Right signal at the MIX outputs.
9 MONITOR 2 TRACK
Press this switch to route the 2Track signal to the monitor and phones,
over-riding the default Monitor/Phones signal.
10 MONITOR LEVEL
This control sets the level to the MONITOR LEFT & RIGHT outputs. If
headphones are plugged into the PHONES jack, the headphone level
will track the Monitor Level.
11 MONITOR OUTPUTS
The Monitor Outputs are on 3-pole ‘A’ gauge jacks and are balanced
connections
12 PHONES LEVEL
This control sets the output level to the Headphone outputs. If
headphones are plugged into the PHONES jack, then the knob sets
a comfortable headphone listening level without affecting the Moni-
tor output levels.
13 HEADPHONES jACK
The PHONES output is a 3-pole ‘A’ gauge jack, wired as a stereo
output as shown, ideally for headphones of 150Ωor greater. 8Ω
headphones are not recommended.
14 AUX 1 OUTPUT (AND AUX 2 ON EPM)
This output is on a 3-pole ‘A’ gauge jack and is an impedance-balanced
output.
15 AUX 1 PRE/POST SWITCH (AND AUX 2 ON EPM)
This switch globally switches the AUX 1 sends, on all of the input
modules, to be either pre-fade or post-fade.

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Lexicon® FX PROCESSOR OVERVIEW (EFX only)
The effects within the console have been designed with both live sound reinforcement and home recording in
mind. Featuring the deep, rich reverb algorithms that Lexicon® are renowned for the effects processor offers
increased versatility and high quality effects, all instantly accessible via the extremely intuitive front panel
controls. The effects processor has 32 programs which are held in two banks of 16 programs which can be
stored to allow you to create your own custom effect settings.
Front panel controls include a Program Select knob, Tempo and Store buttons, and three independent
Parameter knobs that provide instant access and control over the most critical parameters for the selected
effect. The table on page 30 lists the functions of the parameter knobs for each fx program.
Note: When the console is powered up the program recalled will always be the selected program in BANK
A.
FX OPERATION
Select and Load a Program
Turn the Program Select knob to choose a program. Note that the console has 32 programs which are held
in two banks of 16 programs. There are individual BANK A and BANK B LED’s to indicate which bank is cur-
rently active. When turning the rotary Program Select knob through 360 degrees (a full rotation) the selected
bank will alternate between BANK A and BANK B.
Set Audio Levels
1. Set the gain on the input channel appropriate to the source (vocal microphone, guitar, keyboard, etc.).
2. Set the FX send on the input channel to the 12 o’clock position.
3. Set the EFFECTS Fader on the FX section to the fully down position.
4. Provide source signal (by speaking or singing into the microphone, playing guitar, keyboard, etc.) on the
selected channel.
5. Turn up the FX Send level on the channel until the Red CLIP LED in the FX Panel lights only occasionally.
If the red Input LED stays lit, too much signal is being sent to the effect processor: reduce FX Send on the
input channel.
6. Raise the EFFECTS Fader towards the 0dB position to feed the required level of FX Processor output signal
to the mix.
7. To increase or decrease the amount of effect on the signal, adjust the FX Send level on the channel that
you want affected.
16 FX BUS OUTPUT (EFX only) (Aux 2 on EPM)
This impedance-balanced output carries the signal from the FX bus. It could be used as a second Aux Output
if desired, if the FX Processor is not needed at the time. The FX sends on the inputs channels to the FX bus
are always post-fade.
17 FOOTSWITCH (EFX only)
This is used by the FX Processor, see page 25.
18 STEREO RETURN INPUTS (EFX only)
This pair of inputs accept 3-pole ‘A’ gauge (TRS) jacks. Use these inputs for sources such as keyboards,
drum machines, synths or CDs. The inputs are BALANCED. Mono sources may be used by plugging into the
left jack only.
19 STEREO RETURN LEVEL (EFX only)
This control sets the level of signal routed to the main mix busses.There is an associated PK LED to warn of
signals which are too high.

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28 Soundcraft EFX/EPM User Guide Issue 1110 Soundcraft EFX/EPM User Guide Issue 1110
FX PROCESSOR CONTROLS (EFX only)
 - Tapping this button twice sets the Delay Time of the selected
program. The LED ashes to indicate current tempo. Can be tapped in time with
music source to synchronise the delay.
 - Stores program modications to one of the program locations.
Press and hold for three seconds will store the preset in the current location. The LED
will ash rapidly during the store operation and then stay illuminated for 1 second
to show the operation is complete.
 - Controls Pre Delay of the reverbs or the rst
parameter (time or speed related) of the selected effect. The LED illuminates when
the parameter matches the stored setting.
 - Controls Decay of the reverbs or the second
parameter (feedback or depth related) of the selected effect. The LED illuminates
when the parameter matches the stored setting.
 - Controls Liveliness or Diffusion (depending on the reverb selected) or
the third parameter of the selected effect. The LED illuminates when the parameter
matches the stored setting.
 - Navigates through programs, turning to the required pro-
gram will initiate the loading of the program which take approximately 1 second. The
knob can be rotated clockwise or anticlockwise and will alternate between BANK A
and BANK Bevery full rotation. The current bank is shown by its illuminated LED,
which ashes if the FX processor is muted. There is a handy aide memoir of the
programs printed on the front panel.
 – This LED illuminates when either the incoming audio or the processed
audio (within the effect processor) overloads, and causes distortion of the signal.
Footswitch Input (see diagram on page 20) - Using a single-pole, momentary
footswitch inserted into the FOOTSWITCH input the effects processor can be muted/
un-muted.
 - This switch routes a post effects processor,pre-fade (EFFECTS FADER) signal
to the monitor system.
 - This switch mutes the output of the FX processor. It doesn’t mute the PFL
signal or the FX TO AUX 1 pre-fade signal.
 - This pot routes a pre-fade and a post-fade signal to the Aux 1-pre and Aux 1-post busses
respectively.
 - This fader controls the level of the signal, from the FX processor, routed to the main
mix busses.
FX BUS OUT (see diagram on page 20) - This output carries the signal from the FX bus. It could be used as
a second Aux Output if desired, if the FX Processor is not needed at the time.
REVERBS
Reverberation (or “reverb” for short) is the complex effect created by the way we perceive sound in an en-
closed space. When sound waves encounter an object or boundary, they don’t just stop. Some of the sound
is absorbed by the object, but most of the sound is reected or is diffused. In an enclosed space, reverb is
dependent on many features of that space, including the size, shape and the type of materials that line the
walls. Even with closed eyes, a listener can easily tell the difference between a closet, a locker room and
a large auditorium. Reverb is a natural component of the acoustic experience, and most people feel that
something is missing without it.
Hall Reverb
A Hall is designed to emulate the acoustics of a concert hall – a space large enough to contain an orchestra
and an audience. Because of the size and characteristics, Halls are the most natural-sounding reverbs, de-
signed to remain “behind” the direct sound – adding ambience and space, but leaving the source unchanged.
This effect has a relatively low initial echo density which builds up gradually over time. Vocal Hall and Drum
Hall reverbs are specically tailored for those uses. Vocal Hall has as lower overall diffusion which works well
with program material that has softer initial transients like a voice. Drum Hall has a higher diffusion setting
which is necessary to smooth out faster transient signals found in drums and percussion instruments. In ad-
dition to general instrumental and vocal applications, the Hall program is a good choice for giving separately
recorded tracks the sense of belonging to the same performance.
Plate Reverb
A Plate reverb is a large,thin sheet of metal suspended upright under tension on springs.Transducers attached
to the plate transmit a signal that makes the plate vibrate, causing sounds to appear to be occurring in a
large, open space. The Plates in the FX processor model the sound of metal plates with high initial diffusion
and a relatively bright, colored sound. Plate reverbs are designed to be heard as part of the music, mellow-
ing and thickening the initial sound. Plate reverbs are often used to enhance popular music, particularly
percussion.
Room Reverb
Room produces an excellent simulation of a very small room which is useful for dialog and voiceover appli-
cations. Room is also practical when used judiciously for fattening up high-energy signals like electric guitar
amp recordings. Historically, recording studio chambers were oddly-shaped rooms with a loudspeaker and
set of microphones to collect ambience in various parts of the room.
Chamber Reverb
Chamber programs produce even, relatively dimensionless reverberation with little color change as sound
decays. The initial diffusion is similar to the Hall programs. However, the sense of size and space is much
less obvious. This characteristic, coupled with the low color of the decay tail, makes these programs useful
on a wide range of material - especially the spoken voice, to which Chamber programs add a noticeable
increase in loudness with low color.
Gated Reverb
Gated reverb is created by feeding a reverb, such as a metal plate, through a gate device. Decay Time is set
to instant, while Hold Time varies duration and sound.The Gated reverb provides a fairly constant sound with
no decay until the reverb is cut off abruptly. This program works well on percussion — particularly on snare
and toms; be sure to experiment with other sound sources as well.

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30 Soundcraft EFX/EPM User Guide Issue 1110 Soundcraft EFX/EPM User Guide Issue 1110
Reverse Reverb
Reverse reverb works in the opposite fashion from normal reverb. Whereas a normal reverb has the loudest
series of reections heard rst that then become quieter over time, the Reverse reverb has the softest reections
(essentially the tail of the reverb) heard rst, and then grows louder over time until they abruptly cut off.
Ambience Reverb
Ambience is used to simulate the effect of a small or medium sized room without noticeable decay. It is often
used for voice, guitar or percussion.
Studio Reverb
Much like Room reverb, Studio produces an excellent simulation of smaller, well controlled acoustic spaces,
characteristic of the main performance areas in recording studios. Studio is also useful with dialog and
voiceover applications as well as individual instrument and electric guitar tracks.
Arena Reverb
Arena reverb emulates a huge physical space such as an indoor sports venue or stadium.The characteristics
of Arena reverb are long secondary reection times and a reduced amount of high frequency content. Arena
is a mostly mid- and low frequency dominant reverb, and is an ideal selection for “special effect” type ap-
plications that require extremely long reverb times. It is not a good choice for a very busy mix, since it can
reduce intelligibility.
Spring Reverb
A Spring reverb is created by a pair of piezoelectric crystals—one acting as a speaker and the other acting as
a microphone— connected by a simple set of springs. The characteristic ‘boing’ of a spring is an important
component of many classic rock and rockabilly guitar sounds.
REVERB CONTROLS
Pre Delay
Creates an additional time delay between the source signal and the onset of reverberation.This control is not
intended to precisely mimic the time delays in natural spaces, as the build-up of reverberation is gradual,
and the initial time gap is usually relatively short. For the most natural effect, the Pre Delay values should be
set in the range of 10-25 milliseconds. However, if a mix is very busy or overly cluttered, increasing the Pre
Delay time may help clarify it, and set each instrument apart from each other.
Decay
Controls the amount of time the reverb can be heard. Higher settings increase reverberation times which are
usually associated with larger acoustical environments, but can decrease intelligibility. Lower settings shorten
reverb times and should be used when a smaller apparent space or a more subtle effect is desired.
Liveliness
Adjusts the amount of high frequency content in the reverberation tails. Higher settings increase high fre-
quency response, creating brighter reverbs; lower settings create darker reverbs with more bass frequency
emphasis.
Diffusion
Controls the initial echo density. High settings of Diffusion result in high initial echo density, and low settings
cause low initial density. In a real-world situation, irregular walls cause high diffusion, while large at walls
cause low diffusion. For drums and percussion, try using higher Diffusion settings.
Shape
This control helps give a sense of both room shape and room size. Low values for Shape keep the majority
of sound energy in the early part of the reverb tail. High values move the energy to later in the reverb, and
are helpful in creating the sense of a strong rear wall or “backslap.
Boing
This is a unique parameter to the Spring reverb, designed to increase or decrease the amount of spring rattle
that is a physical characteristic of spring tank reverbs.
DELAYS
Delays repeat a sound a short time after it rst occurs. Delay becomes echo when the output is fed back into
the input (feedback). This turns a single repeat into a series of repeats, each a little softer than the last.
Studio Delay
The Studio Delay features up to 2.5 seconds of stereo delay and offers a built-in ducker that attenuates the
delay output whenever signal is present at the input.This can be used to keep the original signal from being
muddied up by delay repeats.
Digital Delay
The Digital Delay is the cleanest, most accurate of the delay programs, with up to 5 seconds of mono delay
and the built-in ducking feature.
Tape Delay
In the days before digital, delays were created using a special tape recorder in which the magnetic recording
tape was looped, with closely-spaced recording and playback heads.The delay effect was created by the tape
moving in the space between the record and playback heads – while delay time was adjusted by changing
the speed of the tape loop. Although very musical-sounding, wow and utter combined with a signicant
loss of high frequencies, and to some extent also low frequencies, are all elements commonly associated
with tape recordings. The Tape Delay offers up to 5 seconds of mono delay.
Pong Delay
This delay effect pans the delay repeats from left to right, while the input signal remains at its original (center)
position. Pong Delay offers up to 5 seconds of mono delay time.
Modulated Delay
The Modulated Delay is enhanced by an LFO (low frequency oscillator) that produces a chorusing effect on
the delay repeats.This is a great delay for guitar and instrument passages that need that “special something.”
The Modulated Delay features up to 2.5 seconds of stereo modulated delay.
Reverse Delay
This delay effect emulates the old studio trick of ipping a tape over, playing it backwards through a tape
delay, and recording the effect. The delays “build up” from softer to louder – creating the sensation that the
delays come before the signal. Up to 5 seconds of mono delay time are available.
DELAY CONTROLS
Time Range
Controls the length of the delay relative to Tap Tempo.At the 12 o’clock position, delay repeats are synchro-
nous with the Tempo light (represented by a Quarter Note); lower values create faster repeats, higher values
increase the time between repeats. Range 0-72. See The Effects Data Chart for exact note values.

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32 Soundcraft EFX/EPM User Guide Issue 1110 Soundcraft EFX/EPM User Guide Issue 1110

Controls the number of delay repeats by feeding the delay output signal back into the delay input.This creates
a series of delay repeats, each slightly attenuated until they become inaudible. Higher settings create more
repeats; lower settings reduce the number of repeats. When this knob is turned fully clockwise, it engages
Repeat Hold – delay repeats play back in an innite loop, but no further input signal is introduced into the
delay effect. Repeat Hold is available only on Studio, Digital and Pong Delay.

Studio and Digital delays offer a “ducking” feature, which causes the delay repeats to attenuate (or get
softer) by -6dB when live (or input) signal is present. This allows the delay to remain as an effect, and not
clash with the original signal. The higher this value is set, the louder an input signal must be for the ducking
to take place.
Smear
This parameter controls the amount of “smear,” or signal degradation and frequency loss. Particularly evident
in the Tape Delay, the higher the setting, the more each delay repeat loses intelligibility compared to the
original signal.
Tap Ratio
Tap Ratio sets the length between the rst and second tap repeats of the Pong Delay. With this control set
at 12 o’clock, repeats are evenly alternated between left and right channels. As this knob is turned counter-
clockwise, the rst tap occurs earlier and the second tap occurs later than they did at the 12 o’clock position.
When the knob is turned clockwise, the rst tap occurs later and the second tap occurs earlier.
Depth
This controls the intensity of modulation, or “depth” in the Modulated Delay. Lower settings produce a more
subtle effect, while higher values give a more “seasick” feeling.
Tempo Button
Tapping this button twice sets the delay times. The Tempo button LED ashes the tempo tapped in, and delay
taps will be synchronized to the ashing LED. Use the Time Range knob to increase or decrease delay times
after tapping in a tempo.
Note: When Delay Feedback is at maximum (fully clockwise) in some programs the mode changes to hold
the audio in a constant loop. This is indicated in the Effects Data Chart as “+H”.
MODULATED EFFECTS
Chorus
Chorus creates a lush, full sound by combining two or more signals together where one is unaffected and
the other signals vary in pitch very slightly over time. Chorus is commonly used to fatten up tracks and to
add body to guitars without coloring the original tone. Chorus can also be used with discretion to thicken a
vocal track.
Knob 1: Speed Controls the modulation rate of the Chorus effect. Lower settings are subtle, while higher
values are much more pronounced.
Knob 2: Depth Controls the amount of pitch shifting for each voice. Lower settings provide subtle thickening
and warmth to a track, while higher settings give a more pronounced, multi-voice effect.
Knob 3: Voices Controls the number of additional Chorus voices. Up to 8 voices can be added, continuously
variable in 100 individual steps.
Flanger
This effect was originally created by simultaneously recording and playing back two identical programs on
two tape recorders, then using hand pressure against the ange of the tape reels to slow down rst one
machine, then the other. The result was a series of changing phase cancellations and reinforcements, with
characteristic swishing, tunneling, and fading sounds.
Knob 1: Speed Controls the modulation rate of the Flanger effect.
Knob 2: Depth Controls the intensity of the Flanger effect. Lower settings provide a slight “whooshing” sound
while higher settings provide a much more dramatic “jet airplane” sound.
Knob 3: Regeneration This knob controls the amount of modulated signal being fed back into the input,
creating feedback. Higher amounts add a metallic resonance to the signal.
Phaser
The Phaser automatically moves frequency notches up and down the spectrum of the signal by means of a
low frequency oscillator (LFO), creating an oscillating “comb-lter” type effect. This effect is very userful on
keyboards (especially pad presets) and guitars.
Knob 1: Speed Controls the modulation rate of the Phaser effect.
Knob 2: Depth Controls the intensity of the Phaser effect.
Knob 3: Regeneration This knob controls the amount of modulated signal being fed back into the input,
creating feedback. Higher amounts add more resonance to the effect signal.
Tremelo/Pan
Tremolo and Panner create rhythmic changes in signal amplitude. Tremolo affects both channel’s amplitude
simultaneously, while the Panner affects the amplitude of each channel in an alternating manner.
Knob 1: Speed Controls the modulation rate of the Tremolo/Panner.
Knob 2: Depth Controls the intensity of the volume amplitude change.
Knob 3: Phase Controls whether the amplitude change occurs in both channels simultaneously (Tremolo)
or alternates between channels (Panner).
Rotary
Rotary speaker cabinets were designed to provide a majestic vibrato/choir effect for electronic theater and
church organs.The most well known rotary speaker is the Leslie™ Model 122, which has two counter- rotating
elements: a high-frequency horn and a low-frequency rotor with slow and fast speeds.The sound generated
as the spinning elements change speed is truly magical. The swirling, spacious effect is difcult to describe
– but clearly recognizable. The Rotary effect is modeled after a Leslie-style cabinet. The input signal is split
into high and low-frequency bands. The rotation effect is created by a synchronized combination of pitch
shifting, tremolo, and panning. Like the physical cabinet, the high (horn) and low (rotor) frequencies are
“spun” in opposite directions. Horn and rotor speeds are independent, and designed with acceleration and
deceleration characteristics to simulate the inertia of the original mechanical elements. A virtual requirement
for organ music, Rotary also sounds remarkable with guitar and electric piano rhythm parts. In fact, these
programs are great alternatives to the Chorus and Tremolo effects for any sound source.
Knob 1: Speed Controls the modulation rate of both rotary speakers.The lower frequencies rotate at a slower
speed than the high frequencies.
Knob 2: Doppler Increases or decreases the Doppler pitch effect that is created by the physics of a rotating
speaker.
Knob 3: Stereo Spread Increases or decreases the stereo imaging of the Rotary effect.

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34 Soundcraft EFX/EPM User Guide Issue 1110 Soundcraft EFX/EPM User Guide Issue 1110
Vibrato
Vibrato is obtained by smoothly varying the pitch of the signal just sharp and at of the original at a deter-
mined rate. Vibrato Stereo (Wet only) Rotary Mono (Wet only) Tremolo/Pan Stereo (Wet only)
Knob 1: Speed Controls the modulation rate of Vibrato.
Knob 2: Depth Controls the maximum amount of pitch shift. Lower settings result in a mere “warble,” while
higher settings produce a more exaggerated “wow” sound.
Knob 3: Phase This control sets left and right channel waveforms out of phase, resulting in a leftto- right
panning motion. This effect shifts the frequency spectrum of the input signal. Altering the pitch of a sound
produces a wide range effects - from subtle detunes to full interval shifts up or down a two octave range.
FACTORY RESET
Use this function if you want to erase all program data and restore the effects processor to its factory state.To
perform a Factory Reset press and hold the STORE button while powering up the console. Once the effects
processor has initialized (after three seconds), then release the STORE button and the effects processor will
be restored to its factory state.
EFFECTS DATA CHART (EFX only)
No NAME ADJUST1 VALUE RANGE ADJUST2 VALUE RANGE ADJUST3
V
ALUE RANGE FIXED1
V
ALUE FIXED2
V
ALUE FIXED3 VALUE ROUTING
1 SMALL HALL PREDELA
Y
10ms 0-100ms DECA
Y
1.0s 0-99 LIVELINESS 75 0-99
2 LARGE HALL PREDELA
Y
20ms 0-200ms DECA
Y
2.0s 0-99 LIVELINESS 35 0-99
3 VOCAL HALL PREDELA
Y
10ms 0-200ms DECA
Y
1.0s 0-99 LIVELINESS 65 0-99
4 DRUM HALL PREDELA
Y
10ms 0-100ms DECA
Y
0.8s 0-99 LIVELINESS 75 0-99
5 SMALL PLATE PREDELA
Y
2ms 0-100ms DECA
Y
1.0s 0-99 LIVELINESS 90 0-99
6 LARGE PLATE PREDELA
Y
2ms 0-200ms DECA
Y
1.75s 0-99 LIVELINESS 90 0-99
7 VOCAL PLATE PREDELA
Y
10ms 0-200ms DECA
Y
1.0s 0-99 LIVELINESS 65 0-99
8 DRUM PLATE PREDELA
Y
10ms 0-100ms DECA
Y
1.0s 0-99 LIVELINESS 75 0-99
9 ROOM PREDELA
Y
2ms 0-100ms DECA
Y
400ms 0-99 LIVELINESS 50 0-99
10 STUDIO PREDELA
Y
5ms 0-100ms DECA
Y
500ms 0-99 LIVELINESS 70 0-99
11 CHAMBE
R
PREDELA
Y
0ms 0-100ms DECA
Y
1.2s 0-99 LIVELINESS 60 0-99
12 AMBIENCE PREDELA
Y
0ms 0-100ms DECA
Y
400ms 0-99 LIVELINESS 70 0-99
13 AREN
A
PREDELA
Y
25ms 0-200ms DECA
Y
2.75s 0-99 LIVELINESS 60 0-99
14 GATED PREDELA
Y
0ms 0-200ms DECA
Y
300ms 0-99 DIFFUSION 25 0-99
15 REVERSE PREDELA
Y
200mS 0-200ms DECA
Y
0 0-99 DIFFUSION 50 0-99
16 SPRING PREDELA
Y
0 0-100ms DECA
Y
1.75s 0-99 BOING 35 0-99
17 STUDIO DELA
Y
TIME RANGE 275ms 20ms-2.5s FEEDBAC
K
15 0-99+H DUCK THRESHOLD -6dB -70-0dB
18 DIGITAL DELAY TIME RANGE 800ms 20ms-5.0s FEEDBAC
K
20 0-99+H DUCK THRESHOLD -8dB -70-0dB
19 TAPE DELA
Y
TIME RANGE 500ms 20ms-5.0s FEEDBAC
K
24 0-99 SMEA
R
25 0-99
20 PONG DELA
Y
TIME RANGE 1.0s 20ms-5.0s FEEDBAC
K
30 0-99+H TAP RATIO 1:1 0-23
21 MOD DELA
Y
TIME RANGE 345ms 20ms-2.5s FEEDBAC
K
25 0-99 MOD DEPTH 75 0-99
22 REVERSE DELA
Y
TIME RANGE 500ms 20ms-2.5s FEEDBAC
K
0 0-99 SMEA
R
50 0-99
23 CHORUS SPEED 25 0-99 DEPTH 75 0-99 VOICES 50 0-99 24 FLANGER SPEED 15 0-99 DEPTH 25 0-99 REGENERATION 80 0-99 25 PHASE
R
SPEED 25 0-99 DEPTH 75 0-99 REGENERATION 80 0-99
26 TREMELO/PAN SPEED 40 0-99 DEPTH 80 0-99 PHASE 50 0-99 27 ROTAR
Y
SPEED 50 0-99 DOPPLE
R
60 0-99 SPREAD 99 0-99
28 VIBRATO SPEED 30 0-99 DEPTH 30 0-99 PHASE 80 0-99 29 REV/DEL SHORT TIME RANGE 275ms 20ms-2.5s FEEDBAC
K
15 0-99+H DECA
Y
0.75S 0-99 LIVELINESS 60 PREDELA
Y
2ms DUCK THRESHOLD -6dB SERIAL : DELAY THEN REVERB
30 REV/DEL LONG TIME RANGE 800ms 20ms-2.5s FEEDBAC
K
20 0-99+H DECA
Y
2.0S 0-99 LIVELINESS 40 PREDELA
Y
10ms DUCK THRESHOLD -8dB SERIAL : DELAY THEN REVERB
31 PHASE DELA
Y
TIME RANGE 500ms 20ms-2.5s FEEDBAC
K
20 0-99+H SPEED 25 0-99 DEPTH 75 REGENERATION 80 DUCK THRESHOLD -8dB SERIAL : DELAY THEN PHASE
32 ROTARY DELA
Y
TIME RANGE 500ms 20ms-2.5s FEEDBAC
K
20 0-99+H SPEED 50 0-99 DOPPLE
R
60 SPREAD 99 DUCK THRESHOLD -8dB SERIAL : DELAY THEN ROTAR
Y
Note +H = repeat hold function (see page 27 1st paragraph)

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36 Soundcraft EFX/EPM User Guide Issue 1110 Soundcraft EFX/EPM User Guide Issue 1110
USING YOUR EFX OR EPM CONSOLE
The nal output from your sound system can only ever be as good as the weakest
link in the chain, and especially important is the quality of the source signal be-
cause this is the starting point of the chain. Just as you need to become familiar
with the control functions of your mixer, so you must recognise the importance
of correct choice of inputs, microphone placement and input channel settings.
However, no amount of careful setting up can take account of the spontaneity
and unpredictability of live performance. The mixer must be set up to provide
“spare” control range to compensate for changing microphone position and the
absorption effect of a large audience (different acoustic characteristics from
soundcheck to show).
MICROPHONE PLACEMENT
Careful microphone placement and the choice of a suitable type of microphone
for the job is one of the essentials of successful sound reinforcement. The dia-
grams on the left show the different pick-up patterns for the most common types
of microphone. Cardioid microphones are most sensitive to sound coming from
in front, and hypercardioid microphones offer even greater directivity, with a small
amount of pickup behind the microphone. These types are ideal for recording
vocalists or instruments, where rejection of unwanted sounds and elimination
of feedback is important. The aim should be to place the microphone as close
as physically possible to the source, to cut out unwanted surrounding sounds,
allow a lower gain setting on the mixer and avoid feedback.Also a well chosen
and well placed microphone should not need any appreciable equalisation.
There are no exact rules - let your ears be the judge. In the end, the position
that gives the desired effect is the correct position!
INITIAL SETUP
Once you have connected up your system (see the sections on connection and
wiring earlier in this manual for guidance) you are ready to set initial positions
for the controls on your mixer.
Set up individual input channel as follows:
• Connect your sources (microphone, keyboard etc.) to the required in-
puts.
WARNING: Phantom powered mics should be connected before the +48V
is switched on. Ensure the PA system is OFF when switching phantom
power on or off.
• Set Master faders at 0, input faders at 0, and set power amplier levels
to about 70%.
• Provide a typical performance level signal and press the PFL button on
the rst channel, monitoring the level on the bargraph meters.
• Adjust the input gain until the meter display is in the amber section, with
occasional peaks to the rst red LED at a typical maximum source level.
This allows sufcient headroom to accommodate peaks and establishes
the maximum level for normal operation (but see note below).
• Repeat this procedure on other channels as required. As more channels
are added to the mix, the meters may move into the red section. Adjust
the overall level using the Master Faders if necessary.
• Listen carefully for the characteristic sound of “feedback”. If you cannot
achieve satisfactory input level setting without feedback, check micro-
phone and speaker placement and repeat the exercise. If feedback
persists, it may be necessary to use a Graphic Equaliser to reduce
the system response at particular resonant frequencies.
Note:
The initial settings should only be regarded as a starting point for your mix.
It is important to remember that many factors affect the sound during a
live performance, for instance the size of the audience!
You are now ready to start building the mix and this should be done pro-
gressively, listening carefully for each component in the mix and watching
the meters for any hint of overload. If this occurs, back off the appropriate
Channel Fader slightly until the level is out of the red segments, or adjust
the Master Faders.
Remember that the mixer is a mixer, not an amplier. Increasing the
overall level is the job of the amplier, and if it is impossible to provide
adequate level, it is probable that the amplier is too small for the ap-
plication. Choose your amplier carefully, and do not try to compensate
for lack of power by using the mixer to increase output level.
Note:
The level of any source signal in the nal output is affected by many fac-
tors, principally the Input Gain control, Channel Fader and Mix Faders.You
should try to use only as much microphone gain as required to achieve a
good balance between signals, with the faders set as described above.
If the input gain is set too high, the channel fader will need to be pulled
down too far in compensation to leave enough travel for successful mixing
and there is a greater risk of feedback because small fader movements will
have a very signicant effect on output level. Also there will be a chance
of distortion as the signal overloads the channel and causes clipping.
If the gain is set too low, you will not nd enough gain on the faders to
bring the signal up to an adequate level, and backgound hiss will be
more noticeable.
This is illustrated below: