SoundCraft SM 16 User manual

SOUNDCRAFT
USER GUIDE
16

 Soundcraft Electronics Ltd. 1993
All rights reserved
Parts of the design of this product may be protected by worldwide patents.
Part No. ZM0035
Issue 1
Information in this manual is subject to change without notice and does not
represent a commitment on the part of the vendor. Soundcraft Electronics Ltd.
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 Electronics Ltd.
It is recommended that all maintenance and service on the product should be
carried out by Soundcraft Electronics Ltd. or its authorised agents. Soundcraft
Electronics Ltd. cannot accept any liability whatsoever for any loss or damage
caused by service, maintenance or repair by unauthorised personnel.
Soundcraft Electronics Ltd.
Cranborne House
Cranborne Industrial Estate
Cranborne Road
Potters Bar
Herts.
EN6 3JN
England
Tel: [phone]
Fax: [phone]

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Introduction 1
Introduction 2
Precautions and Safety Instructions 4
General Precautions 4
Handling and Transport 4
Power Supplies and Cables 4
Signal Levels 5
Installation 7
Installation 8
Wiring Considerations 8
Power Supply (CPS900) 8
Connections 9
Wiring Conventions 9
Module Block Diagrams 11
Input Module 15
Module Description, Operation and Specification 16
Jumper Options (RH PCB) 19
Group Output Module 23
Module Description, Operation and Specification 24
Master Module 29
Module Description, Operation and Specification 30
Jumper Options 34

Appendices 37
Specification Notes 38
Performance Specifications 39
Dimensions 40
Warranty 41
Glossary 42

Introduction
Introduction 1

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The SM16 is a 16 bus dedicated monitor console to complement the Vienna and
Europa FOH desks.
The key features of the SM16 are:
•16 mono sends
•stereo send
•individual ON and PRE/POST fade switching on all sends
•4 programmable mute groups
•4 band sweep EQ
•linear faders on all inputs and outputs
•sophisticated solo system with autocancel, central global clear and
switchable input priority.
•metering for all inputs
•external inputs for all group and stereo mix buses, with level control and
solo facility
•balanced inserts on all outputs with bypass switching, and preinsert solo
facility
Frame Sizes
The SM16 is available in three frames sizes, 32, 40 and 48 channels. The frames
are configured, from left to right:
•inputs 1 - 24
•master
•groups 1 - 8
•inputs 25 - 32 (32 channel)
•inputs 25 - 40 (40 channel)
•inputs 25 - 48 (48 channel)
Power Supplies
All frame sizes will use the CPS900 PSU. Connection to the console is via an 8way
and a 16-way SRC connector below inputs 21-24. The SRC panel also carries a
ground binding post.
Lamps
Three BNC connectors for lamps are fitted to all frame sizes - one on the master
module, and one at either end of the console on the infill panels. These are suitable
for Littlite or similar 12V lamps taking up to 330mA each. The voltage supply to
the lamps can be varied between 1.5v (dim) and 12v (bright) by the dimmer control,
mounted under the armrest in front of the master module.
2Introduction

Metering
Each input module has its own bargraph meter in the overbridge. The groups are
metered by bargraphs which are next to the faders on the output modules.
The stereo mix/solo metering is by two illuminated VU meters, with integral peak
LEDs, in the overbridge above the master module.
Introduction 3

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General Precautions
Avoid storing or using the mixing console in conditions of excessive heat or cold,
or in positions where it is likely to be subject to vibration, dust or moisture. Do not
use any liquids to clean the fascia of the unit: a soft dry brush is ideal. Use only
water or ethyl alcoholto cleanthe trim andscribble strips. Other solvents may cause
damage to paint or plastic parts.
Avoid using the console close to strong sources of electromagnetic radiation (e.g.
videomonitors,highpowerelectriccabling):thismaycausedegradationoftheaudio
quality due to induced voltages in connecting leads and chassis. For the same
reason, always site the power supply away from the unit.
Caution!
In all cases, refer servicing to qualified personnel.
Handling and Transport
The console is supplied in a wooden crate. If it is necessary to move it any distance
after installation it is recommended that this packing is used to protect it. Be sure
to disconnect all cabling before moving. If the console is to be regularly moved we
recommend that it is installed in a foamlined flightcase. At all times avoid applying
excessive force to any knobs, switches or connectors.
Power Supplies & cables
Alwaysmake surethat the powersupply unit (PSU)has beensetto thesame voltage
as the mains supply
Always use the power supply and cable supplied with the mixer: the use of
alternative supplies may cause damage and voids the warranty; the extension of
power cables may result in malfunction of the mixing console.
Warning!
Always switch the power supply off before connecting or
disconnecting the mixer power cable, removing of installing
modules, and servicing. In the event of an electrical storm, or large
mains voltage fluctuations, immediately switch off the PSU and
unplug from the mains.
Always ensure that you use the correct PSU for your mixer. The SM16 uses a
CPS900 power supply.
4Introduction

Signal Levels
It is important to supply the correct input levels to the console, otherwise signalto
noise ratio or distortion performance may be degraded; and in extreme cases,
damage to the internal circuitry may result. Likewise, on all balanced inputs avoid
sources with large commonmode DC, AC or RF voltages, as these will reduce the
available signal range on the inputs. Note that 0dBu = 0.775V RMS.
The microphone inputs are designed for use with balanced low impedance (150 or
200 ohms) microphones.
Caution!
DO NOT use unbalanced microphones or battery powered
condenser microphones without isolating the +48V phantom power:
degraded performance or damage to the microphone may result.
The sensitivity of the XLR inputs is variable from -2dBu to -70dBu and +10dBu to
-20dBu in two ranges (for +4dBu at the Mix outputs). The maximum input level is
+28dBu.
The Hi-Z inputs have a sensitivity variable between +10dBu and -20dBu. The
maximum input level is +30dBu.
The main outputs of the console (stereo mix, groups, wedge and mix and group
insert sends) are balanced at a nominal level of +4dBu, with a maximum output
level of +26dBu.
The input insert sends and direct outputs areground compensated at a nominal level
of -2dBu, with a maximum output level of +20dBu.
All external inputs and mix and groupinsert returns have anominal levelof +4dBu,
and a maximum input level of +26dBu.
Input insert returns have a nominal level of -2dBu, and a maximum input level of
+20dBu.
Introduction 5

6Introduction

Installation
Installation 7

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TheSM16isdesignedforreliabilityandhighperformance,andisbuilttothehighest
standards. Whilst great care has been taken to ensure that installations are made as
troublefree as possible, care taken at this stage, followed by correct setting up will
be rewarded by a long life and reliable operation.
Wiring Considerations
AFor optimum performance it is essential for the earthing system to beclean and
noisefree, as all signals are referenced to this earth. A central point should be
decided on for the main earth point, and all earths should be ’star-fed’ from this
point. It is recommended that an individual earth wire be run from each electrical
outlet, back to the systemstar point to provide asafety earth referencefor each piece
of equipment.
BInstall separate mains outlets for the audio equipment, and feed these
independently from any other equipment.
CAvoid locating mains distribution boxes near audio equipment, especially tape
recorders, which are very sensitive to electromagnetic fields.
DWhere possible ensure that all audio cable screens and signal earths are
connected to ground only at their source.
Power Supply (CPS900)
Always ensure that you use the correct PSU for your mixer. The SM16 uses a
CPS900 power supply.
Warning!
Before switching on your SM16 console, check that the mains
voltage selectors on the power supply unit is set to the correct
mains voltage for your area, and that the fuse is of the correct rating
and type. This is clearly marked on the case of the power supply.
Do not replace the fuse with any other type, as this could become a
safety hazard and will void the warranty.
8 Installation

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Wiring conventions
The SM16 uses two different types of audio connector: 3-pin XLR and 1⁄4" 3-pole
jacks. The latter are used in several configurations, as shown below.
MICROPHONE INPUTS
TALKBACK INPUTS
EXTERNAL RETURNS
MIX L, R & WEDGE OUTPUTS
GROUP & TB OUTPUTS AFL & PFL OUTPUTS
1/4" ‘A’ Gauge Stereo Jack Plug used as balanced input:
Line inputs, insert returns
1/4" ‘A’ Gauge Stereo Jack Plug used as ground compensated output:
Input insert sends, Input direct outputs
1/4" ‘A’ Gauge Stereo Jack Plug used as stereo output: Headphones
1/4" ‘A’ Gauge Stereo Jack Plug used as balanced output:
Mix insert sends, Group insert sends
Installation 9

10 Installation

Module Block Diagrams
Module Block Diagrams 11

PFL BUS
GROUPS 1-16 BUSSES
R STEREO BUS
L STEREO BUS
Input Module
12 Module Block Diagrams

Group Output Module
Module Block Diagrams 13

Master Module
14 Module Block Diagrams

Input Module
Input Module 15

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Input
1ThesensitivityofboththeXLRandtheHIGHIMPEDANCE (HI-Zjack)inputs
is adjusted by the SENS control. Both inputs are electronically balanced.
XLR input sensitivity: -2dBu to -70dBu, +10dBu to -20dBu (switched range.)
High Impedance input sensitivity: +10dBu to -20dBu
2When the
RNGE (Range) switch is depressed the lower sensitivityrange of the
input is selected to allow line level signals to be used. The signal is still taken from
the input XLR, unless a jack is inserted into the HI-Z input socket, when the signal
from that is used instead. Note that when the RNGE switch is released the HI-Z
input socket cannot be used.
3The 48V switch, when depressed, applies 48V phantom power to the
input XLR. An integral red LED in the switch indicates when the phantom power
is on.
4The
PHASE switch reverses the phase of the selected input.
5The cutoff frequency of the secondorder highpass filter is varied, between 30Hz
and 400Hz, by the FILTER FREQUENCY control. The filter is deactivated
completely by an integral switch when the pot is fully anticlockwise.
1
2
14
13
5
6
15
19
7
9
11
12
17
3
4
8
10
16
20
18
Equaliser
The EQ section is four band: with shelving sweep high and low frequencysections,
and two peaking sweep mids with switchable Q.
6Theshelving
HFsection hasamaximum cutorboost of15dBand the frequency
is variable between 1kHz and 20kHz.
7The peaking
HMF (High Mid) section has a maximum cut or boost of 15dB
and the frequency is variable between 600Hz and 12kHz.
Frequency Response Curves of the High-Pass Filter
16 Input Module