SoundCraft LX10 User manual

User Guide

2
IMPORTANT
Please read this manual carefully
before using your mixer for the
rst time.
©Harman International Industries Ltd. 2016
All rights reserved
Parts of the design of this product may be protected by worldwide patents.
Part No.: 5069297
Issue: 1
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 pur-
pose 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
This equipment complies with the EMC
directive 89/336/EEC Environment
E1-E4, 93/68/EEC and LVD 73/23/
EEC.
For further details contact:
Harman International Industries Ltd.
Cranborne House, Cranborne Road
Potters Bar, Hertfordshire, EN6 3JN, UK
Tel: [phone]
Fax: [phone]
e-mail: [email protected]

3
Contents
INTRODUCTION ..................................................................4
Features............................................................................................... 5
Warranty............................................................................................... 6
INSTALLATION ....................................................................7
Warning....................................................................................................... 8
Precautions and Safety Instructions ............................................................ 9
General Precautions............................................................................... 9
Handling and Transport........................................................................... 9
Power Supplies & Cables........................................................................ 9
Signal Levels .......................................................................................... 9
Mains Installation................................................................................. 9
General Wiring Procedures...................................................................... 9
Initial Wiring Considerations ................................................................. 10
Audio Wiring......................................................................................... 10
Shielding.............................................................................................. 10
Points to Remember............................................................................. 11
Setting up & Troubleshooting .............................................................. 12
Initial set-up......................................................................................... 12
Troubleshooting.................................................................................... 12
Connecting Leads ............................................................................... 14
Audio Connector Pinouts..................................................................... 15
Dimensions......................................................................................... 16
BLOCK DIAGRAM.............................................................17
USING THE CONSOLE .......................................................19
Overview............................................................................................. 20
Mono Input Channels.......................................................................... 21
Stereo Input Channels ........................................................................ 24
Master Section................................................................................... 26
USB Section ....................................................................................... 29
SPECIFICATIONS..............................................................31

4
INTRODUCTION

5
Features
The LX10 combines the essential Soundcraft live mixer qualities with basic recording-oriented features, in a compact
frame that’s light enough for one person to carry yet easy to congure and use. This makes it especially suitable for mul-
ti-purpose use in venues such as small halls and community centres.
Housed in a choice of 16, 24 and 32 channel frame, LX10 provides 24, 32 or 40 inputs – with no less than 13 separate
bus outputs including mix, 4 groups, a dedicated mono bus for centre speaker clusters, side or rear lls, and six auxiliary
busses.
LX10’s balanced mic inputs all use Soundcraft new GB30 padless mic preamp providing 60dB of gain and 22 dBu of
headroom. Each input also includes 4 band EQ with two swept mid frequency controls. In addition, EQ In/Out switch
and steep 18dB/Octave High Pass Filter, allow effective audio control in difcult venues whilst the six auxiliary sends are
pre-post switchable in pairs from each channel, providing a maximum of 4 pre-fader and six post fader. This makes LX10
equally applicable for foldback – heavy performance or in situations where more effects are required.
LX10 groups section houses two further stereo inputs – with EQ, auxiliaries for keyboards or stereo recording devices – as
well as two FX returns. All four groups are routable to mix and include 12 segment bargraph metering for accurate monitor-
ing and inserts. Six auxiliary masters on rotary controls also included AFL soloing.
In the master section there is talkback provision to all pre-fade auxiliaries and the mix. A two track return for pre-show
music are present. A “two-track” to mix switch allows the engineer to play CD’s over the main PA whilst back-stage set-up is
going on, with one press of a button. The mix is also routable to the separate mono bus if mono PAs are required.
A USB 2.0 I/O is provided to facilitate collaboration with digital audio systems or computer-based digital audio worksta-
tions. Congured in 2-in and 2-out, the USB port can be used either for music playback from a digital source or recording
mixed signals from the console to a connected digital audio device.
LX10 is built in a rugged wedge-shaped steel chassis with an internal power supply, professional all-metal jackeld and
connectors on the rear of the console. All inputs and outputs are balanced.
Applications include: Gigging Bands, Small installations, Small venues, Theatres, Houses of Worship and Live & studio
recording.

6
Warranty
1. Soundcraft is a trading division of Harman International Industries Ltd.
End User means the person who rst puts the equipment into regular operation.
Dealer means the person other than Soundcraft (if any) from whom the End User pur-
chased the Equipment, provided such a person is authorised for this purpose by Sound-
craft 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 available if:
a) The Equipment has been properly installed in accordance with instructions con-
tained in Soundcraft’s manual; and
b) The End User has notied 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 Equip-
ment; and
d) The End User has used the Equipment only for such purposes as Soundcraft rec-
ommends, with only such operating supplies as meet Soundcraft’s specications 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 neg-
ligent handling, chemical or electro-chemical or electrical inuences, accidental damage,
Acts of God, neglect, deciency in electrical power, air-conditioning or humidity control.
6. The benet 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.

7
INSTALLATION
For your own safety and to avoid invalidation of the
warranty please read this section carefully.

8
Warning
THIS UNIT MUST BE EARTHED
Under no circumstances should the mains earth be disconnected from the mains lead.
The wires in the mains lead are coloured in accordance with the following code:
Earth: Green and Yellow (Green/Yellow – US)
Neutral: Blue (White – US)
Live: Brown (Black – US)
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 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 codings are followed carefully in the event of the plug being changed.
To avoid the risk of re, replace the mains fuse only with the correct value fuse, as marked on the rear
panel.
The internal power supply unit contains no user serviceable parts. Refer all servicing to a qualied
service engineer, through the appropriate Soundcraft dealer.

9
Precautions and Safety Instructions
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 cloth is ideal.
Avoid using the console close to strong sources of electromagnetic radiation (e.g. video monitors, high-power electric
cabling): this may cause degradation of the audio quality due to induced voltages in connecting leads and chassis.
Caution! In all cases, refer servicing to qualied personnel.
Handling and Transport
The console is supplied in a strong carton. 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 foam lined ightcase. At all times avoid applying excessive force to any
knobs, switches or connectors.
Power Cable
Always use the power supply cable supplied with the mixer: the use of alternative cables may cause damage and voids the
warranty.
Warning! In the event of an electrical storm, or large mains voltage uctuations, immediately switch off
the mixer and unplug from the mains.
Signal Levels
It is important to supply the correct input levels to the console, otherwise signal to 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 common mode DC, AC or RF voltages, as these will reduce the available signal range on the inputs.
Note that OdBu =0.775V RMS.
Refer to the Specications section for details of input and output levels.
Mains Installation
General Wiring Procedures
To take full advantage of the excellent signal to noise ratio and low distortion of Soundcraft consoles, care must be taken
to ensure that incorrect installation and wiring does not degrade the performance of the desk. Hum, buzz, instability and
Radio Frequency interference can usually be traced to earth loops and inferior earthing systems. In some areas, especially
heavily industrial areas, the incoming mains earth will not be adequate and a separate technical earth for all the audio
equipment must be supplied. However, check with your local electricity supply company to ensure that safety regulations
are not infringed or negated.
The successful, hum free, installation of a system requires forethought, and the establishment of a set of ground rules,
which must be consistently adhered to at all stages of installation.

10
Initial Wiring Considerations
For optimum performance, it is essential for the earthing system to be clean and noise free, as all signals are referenced
to this earth. A central point should be decided on for the main earth point system, and all earths should be 'star fed' from
this point. It is common electrical practice to 'daisy chain' the earths to all electrical outlets but this method is unsuitable
for audio installations. The preferred method is to run an individual earth wire from each outlet, back to the system star
point to provide a safety earth screen reference for each piece of equipment. A separate earth wire should also be run
from each equipment rack and area, to the star point. This may or may not be used depending on circumstances, but it
is easier to install in the rst place, than later when problems arise. The location of the star point should be a convenient,
easily accessible place, preferably at the rear of the console or in the main equipment rack.
Install separate 'clean' and 'dirty' mains outlets, wired individually back to the incoming mains distribution box. Use the
'clean' supply for all audio equipment and the 'dirty' supply for all lighting, etc. Never mix the two systems.
If necessary, to provide sufcient isolation from mains borne interference, install an isolating transformer. This should be
provided with a Faraday Shield which must be connected with earth.
Never locate the incoming mains distribution box near audio equipment, especially tape recorders, which are very sensitive
to electro-magnetic elds.
Ensure that all equipment racks are connected to earth, via a separate wire back to the star point.
Equipment which has unbalanced inputs and outputs may need to be isolated from the rack to prevent earth loops.
Audio Wiring
Having provided all equipment with power and earthing connections, consideration must be given to the method of provid-
ing audio interconnection and adequate screening of those interconnections. This must be done in a logical sequence to
avoid problems and assist in the localisation of problem equipment.
Connect the FOH or Monitor system to the console and check for any hum, buzz, or RFI. Only when you are satised with
the quietness of the console and the PA system should you proceed with the next step.
Connect stereo or multitracktape recorders, FX and foldback sends one at a time, checking and isolating any connection
which degrades performance.
Connect all other peripheral devices.
Connect all microphone lines.
By following this sequence much time and future trouble will be saved, and the result will be a quiet, stable system.
Shielding
Audio equipment is supplied with a variety of input and output congurations, which must be taken into consideration
when deciding where the screen connections should be made. There are three sources of unwanted signal being im-
pressed on the screen, which are as follows:
Extraneous electrostatic or electromagnetic elds.
Noise and interference on the earth line.
Capacitive coupling between the screen and signal wires.
To minimize the adverse affects of the unwanted coupling to the signal wires, it is important that the screen is connected
at one end only, i.e. the screen must not carry any signal current. Any signal on the wires within the screen will be capaci-
tively coupled to the screen. This current will ultimately be returned to the source of the signal, either directly, if the screen
is connected at the signal source end, or indirectly via the earthing system, if the signal is connected at the signal desti-
nation end. The indirect connection will cause an increase in high frequency cross-talk, and should be avoided wherever
possible.
Therefore, in general, always connect the shield only at the signal source end. In high RF areas, the screen can also be
connected to earth via a 0.01 mF capacitor. This will present a short circuit at RF frequencies, thus lowering the effective
shield impedance to ground. However, at low audio frequencies the reactance of the capacitor will be sufciently high not

11
to cause an earth loop problem.
Points to Remember
In all cases, use good quality twin screened audio cable. Check for instability at the output.
Always connect both conductors at both ends, and ensure that the screen is only connected at one end.
Do not disconnect the mains earth from each piece of equipment. This is needed to provide both safety and screen returns to the
system star point.
Equipment which has balanced inputs and outputs may need to be electrically isolated from the equipment rack and/or other equip-
ment, to avoid earth loops.
It is important to remember that all equipment which is connected to the mains is a potential source of hum and interference and may
radiate both electrostatic or electromagnetic radiation. In addition, the mains will also act as a carrier for many forms of RF interfer-
ence generated by electric motors, air-conditioning units, thyristor light dimmers etc. Unless the earth system is clean, all attempts to
improve hum noise levels will be futile. In extreme cases there will be no alternative but to provide a completely separate and inde-
pendent 'technical earth' to replace the incoming 'noisy earth'. However, always consult your local electricity supply authority to ensure
that safety regulations are not being infringed.

12
Setting Up & Troubleshooting
Initial set-up
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 inputs and release the MUTE switches. Note: Phan-
tom powered mics should be connected before the 48V is switched on.
•Set Master faders at 0, input faders at 0, route the channels to MIX and set power amplier level to suit the applica-
tion.
•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.
•Listen carefully for the characteristic sound of 'feedback'. If you cannot achieve satisfactory input level setting without
feedback, check microphone and speaker placement and repeat the exercise. If feedback persists, it may be neces-
sary 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 channel EQ settings or even the size of the audience!
You are now ready to start building the mix and this should be done progressively, 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 Mix Master Faders. This procedure will ensure that the mixer is set
up correctly, with adequate headroom. If more amplication is needed, adjust the power amplier level controls.
Troubleshooting
No Power
•Is the mains supply present?
•Is the mains lead rmly connected?
•Check the mains fusing
•If only one of the power indicators is illuminated, consult your Soundcraft dealer
Condenser Mic Not Working
•Is the 48V turned on?
•Is the mic plugged into the Mic input?
•Is the mic cable a balanced 3-wire type?
Meters not showing any signal
•Has the input gain been set correctly? (see above.)
•Is the source connected to the appropriate input socket for the level of signal?
•Do you have something connected on the Inserts, and is that external device switched on?
•Are the Master faders set at max., are input faders set high enough and is the channel routed to the output being

13
monitored?
•Is the MUTE switch released on the relevant channels?
•Is the appropriate monitor select switch pressed?
•Is there a PFL/AFL pressed on another channel?
No Mix output
•Check that the Mix Master Fader is up?
•Check that the 2TK REPLACES MIX switch is released?
No Monitor output
•Is a headphone jack plugged in?
•Is the Monitor + Phones control set high enough?
•Is the appropriate monitor select switch pressed?
Headphones Distorting
•Are the headphones less than 200Ω impedance?
•Is the Monitor + Phones level set too high?

14
Connecting Leads
Balanced Unbalanced Insert Leads
’Y’ Leads (Unbalanced) ’Y’ Leads (Balanced) Headphone Splitter

15
Audio Connector Pinouts
Audio Connector
ALL INPUTS ALL OUTPUTS
3-pole XLR
GROUND (SCREEN)
COLD (OUT-OF-PHASE SIGNAL)
HOT (IN-PHASE SIGNAL)
Socket (female) Plug (male)
1/4” Stereo Jack Plug used as balanced Input/Output:
All Jacks Except Headphones
Tip - HOT (IN-PHASE SIGNAL)
Ring - COLD (OUT
-OF PHASE SIGNAL)
Sleeve - GROUND (SCREEN)
1/4” Stereo Jack Plug used For Headphones
Tip - LEFT SIGNAL
Ring - RIGHT SIGNAL
Sleeve - GROUND (SCREEN)

16
Dimensions

17
BLOCK DIAGRAM

18
SIGNAL DETECTOR
MIX
LIGHT
(USB A PORT)
USB RECORD
LINE /USB
USB PLAYBACK

19
USING THE CONSOLE

20
Overview
A 16 channel frame is shown.
Mono Input
Stereo Input USB Section
Master Section
70
2.0