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USER GUIDE

2 Soundcraft MFXi MPMi User Guide Issue 1210

Parts of the design of this product may be protected by worldwide patents.

Part No. BD10.531000 Issue 1210

Soundcraft is a trading division of Harman International Industries Ltd. Informa-

tion 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 trans-

mitted, 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

Tel: +44 (0)1707 665000

Fax:+44 (0)1707 660742

http://www.soundcraft.com

soundcraft@harman.com

This equipment complies

with the EMC Directive

2004/108/EC and LVD

2006/95/EC

IMPORTANT

Please read this manual carefully before using

your mixer for the rst time.

3Soundcraft MFXi MPMi User Guide Issue 1210

Contents

IMPORTANT SAFETY INSTRUCTIONS..............................................................................4

SAFETY SYMBOL GUIDE...................................................................................................6

INTRODUCTION................................................................................................................11

THE 60-SECOND GUIDE - MFXi.......................................................................................12

THE 60-SECOND GUIDE - MPMi......................................................................................14

WIRING UP.........................................................................................................................16

BLOCK DIAGRAM - MFXi...................................................................................................20

BLOCK DIAGRAM - MPMi..................................................................................................21

MONO INPUT CHANNELS (MFXi shown)..........................................................................22

STEREO INPUT CHANNELS (MFXi shown)......................................................................25

MASTER SECTION (MFXi).................................................................................................28

MASTER SECTION (MPMi)................................................................................................29

Lexicon® FX PROCESSOR OVERVIEW ...........................................................................33

FX OPERATION...................................................................................................................33

FX PROCESSOR CONTROLS (MFXi only).........................................................................34

REVERBS ...........................................................................................................................35

REVERB CONTROLS..........................................................................................................36

DELAYS................................................................................................................................37

DELAY CONTROLS ............................................................................................................37

MODULATED EFFECTS......................................................................................................38

FACTORY RESET ...............................................................................................................39

EFFECTS DATA CHART.......................................................................................................40

MFXi/MPMi TYPICAL SPECIFICATIONS.............................................................................41

USING YOUR MFXi/MPMi CONSOLE.................................................................................42

MFXi MARK-UP SHEETS.....................................................................................................44

MPMi MARK-UP SHEETS....................................................................................................45

FITTING OPTIONAL RACK-MOUNT BRACKETS ..............................................................46

DIMENSIONS.......................................................................................................................47

APPLICATIONS....................................................................................................................48

TYPICAL CONNECTING LEADS.........................................................................................52

GLOSSARY...........................................................................................................................54

WARRANTY..........................................................................................................................56

4 Soundcraft MFXi MPMi User Guide Issue 1210

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, conveni-

ence 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.

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.

5Soundcraft MFXi MPMi User Guide Issue 1210

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.

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.

6 Soundcraft MFXi MPMi User Guide Issue 1210

For your own safety and to avoid invalidation of the warranty please read this

section carefully.

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

The lightning ash with arrowhead symbol, is intended to

alert the user to the presence of un-insulated “dangerous

voltage” within the product’s enclosure that may be of

sufcient magnitude to constitute a risk of electric shock to

persons.

CAUTIONS

The exclamation point within an equilateral triangle is

intended to alert the user to the presence of important

operating and maintenance (servicing) instructions in the

literature accompanying the appliance.

NOTES

Contain important information and useful tips on the

operation of your equipment.

HEADPHONES SAFETY WARNING

Contain important information and useful tips on headphone

outputs and monitoring levels.

Recommended Headphone Impedance >= 32 Ohms.

7Soundcraft MFXi MPMi User Guide Issue 1210

8 Soundcraft MFXi MPMi User Guide Issue 1210

CONSIGNES DE SÉCURITÉ IMPORTANTES

Lisez ces instructions.

Conservez ces instructions.

Respectez toutes les consignes de sécurité.

Suivez toutes les instructions.

N’utilisez pas cet appareil près d’une source liquide.

Nettoyez l’appareil uniquement avec un tissu sec.

N’obstruez pas les ouïes de ventilation. Installez uniquement en suivant les recom-

mandations du fabricant.

N’installez pas cet appareil près d’une source de chaleur, comme un radiateur, une

chaudière ou tout autre appareil (amplicateurs inclus) générant de la chaleur.

Ne modiez pas les protections de la che secteur. Les ches polarisées sont équipées

d’une lame plus large que l’autre. Les ches avec mise à la terre disposent de deux

lames et d’une broche pour la terre. Ce dispositif garantit votre sécurité contre toute

électrocution. Si la che fournie ne correspond pas au format de vos prises murales,

consultez un électricien pour faire remplacer vos prises.

Protégez le cordon secteur contre tout dommage physique (pincement, etc.), plus

particulièrement au niveau des ches, des prises et de l’embase secteur.

Utilisez uniquement avec les accessoires/xations spéciés par le fabricant.

Utilisez uniquement avec un chariot, pied, trépied, xation ou table spécié par le

fabricant ou vendu avec le produit. Lorsque vous utilisez un chariot, veillez à assurer

sa stabilité pour éviter toute chute.

Déconnectez l’appareil du secteur lors des orages ou des longues périodes d’inutilisation.

Conez toutes les réparations à un personnel qualié. Faites contrôler le produit s’il

a été endommagé (che secteur ou cordon secteur endommagés, par exemple), s’il

y a eu inltration de liquide ou d’objets dans le boîtier, si l’appareil a été exposé à la

pluie ou à l’humidité, s’il ne fonctionne pas normalement ou s’il est tombé.

Remarque : Nous vous recommandons de coner toutes vos réparations à un centre

agréé par Soundcraft. Soundcraft n’accepte aucune responsabilité pour les réparations

ou entretiens effectués par un personnel qui n’est pas agréé.

9Soundcraft MFXi MPMi User Guide Issue 1210

ATTENTION : Pour réduire les risques d’incendie ou d’électrocution, n’exposez pas ce

produit à la pluie ou à l’humidité.

Ce produit ne doit être exposé à aucune source liquide, et aucun contenant rempli de

liquide, tel un vase, ne doit être déposé sur celui-ci.

Ne placez aucune source à amme nue, telle une bougie, sur l’appareil.

Veillez à ce qu’aucun objet (journal, nappe, rideau, etc.) n’obstrue les ouïes de ventilation.

CET APPAREIL DOIT ÊTRE RELIÉ À LA TERRE. La broche de mise à la terre ne doit en aucun

cas être déconnectée du cordon ou de la prise secteur.

Pour déconnecter l’appareil du secteur, déconnectez le cordon secteur de l’embase secteur

ou de la prise secteur. Celles-ci doivent rester accessibles en tout temps.

Faites remplacer le cordon secteur si l’une des parties est endommagée. Les informations

ci-dessous ne servent que de références.

Les ls du cordon secteur sont repérés par des couleurs :

Terre (Masse) : Vert et Jaune (US - Vert/Jaune)

Neutre : Bleu (US - Blanc)

Phase (Point chaud) : Marron (US - Noir)

Si les couleurs ou les codes sont différents dans votre région, procédez comme suit :

Le l Vert et Jaune doit être connecté à la borne repérée par la lettre E ou par le symbole

de terre/masse.

Le l Bleu doit être connecté à la borne N (neutre) de la prise.

Le l Marron doit être connecté à la borne L (phase).

Si vous devez remplacer la prise ou la che secteur, veillez à assurer le respect des couleurs

et le raccordement à la terre, au neutre et à la phase.

La console ne peut être reliée qu’à une ligne secteur de la tension indiquée en face arrière.

REMARQUE : Suite aux tests effectués, il est établi que ce produit répond aux normes de

l’alinéa 15 des réglementations fédérales américaines sur les produits numériques de

Classe A. Ces normes sont établies an de vous protéger contre toute interférence nuisible

en installation commerciale. Cet appareil génère, utilise et émet des fréquences radio.

Par conséquent, s’il n’est pas installé et utilisé en suivant les instructions, il peut causer

des interférences nuisibles aux communications radio. L’utilisation en environnement

résidentiel peut causer des interférences. L’utilisateur doit alors faire corriger le problème

à ses frais. Cet appareil numérique de Classe A répond aux normes canadiennes sur le

brouillage radioélectrique.

Cet appareil numérique de la Classe A respecte toutes les exigences du Règlement sur

le matériel brouilleur du Canada.

10 Soundcraft MFXi MPMi User Guide Issue 1210

Pour assurer votre sécurité et éviter toute annulation de la garantie, veuillez lire

attentivement les paragraphes repérés par ces symboles de sécurité.

GUIDE DES SYMBOLES DE SÉCURITÉ

Pour assurer votre sécurité et éviter toute annulation de la

garantie, veuillez lire attentivement les paragraphes repérés

par ces symboles de sécurité.

AVERTISSEMENT

Le symbole de l’éclair avec une èche prévient l’utilisateur

d’une tension dangereuse non isolée dans le boîtier de

l’appareil, pouvant être sufsamment forte pour constituer

un risque d’électrocution pour les personnes exposées.

ATTENTION !

Le point d’exclamation dans un triangle signale à l’utilisateur

la présence d’instructions importantes pour l’utilisation et

l’entretien dans le mode d’emploi fourni avec l’appareil.

REMARQUES

Informations utiles sur l’utilisation de la console.

CONSIGNES DE SÉCURITÉ POUR L’UTILISATION DE L’EMBASE

CASQUE

Informations importantes et astuces pratiques pour les

embases casques et les niveaux d’écoute.

Impédance minimum recommandée pour le casque : >

32 Ohms.

11Soundcraft MFXi MPMi User Guide Issue 1210

INTRODUCTION

Thank you for purchasing a Soundcraft MPMi/MFXi mixer. The MPMi and MFXi

ranges are our most cost-effective mixing solutions, bringing you all the features

and performance that you expect from a Soundcraft product, at an extraordinarily

low price. The packaging, in which your console 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 over three decades of

supporting some of the biggest names in the business. Our knowledge has been

attained through working in close contact with leading professionals and institutes

to bring you products designed to get the best possible results from your mixing.

Built to the highest standards using quality components and surface mount

technology, the MPMi/MFXi 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

commodity. 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 MPMi/

MFXi, 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 MPMi/MFXi 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 MPMi/MFXi range 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.

12 Soundcraft MFXi MPMi User Guide Issue 1210

THE 60-SECOND GUIDE - MFXi

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.

2 LINE INPUT (¼” Jack) Connect Line level sources here, e.g. Synth, Drum Machine, DI etc.

3 INSERT POINT (¼” Jack) Connect Signal processors here, e.g. Compressor, Gate etc.

4 GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal.

5 HPF The high-pass lter reduces the level of bass frequencies only. Use this in live PA

situations to reduce stage rumble or ‘popping’ from mics.

6 EQ STAGE Adjust these controls to change the signal tone (the character of the signal).

7 AUX 1 & 2 SENDS Adjust these controls to change the level of the signal to an artist’s monitors

(headphones/in-ear/stage monitors). Aux 1 send is pre-fade. Aux 2 is globally

switchable pre/post fade.

8 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.

9 PAN CONTROL Use this control to position the signal within the stereo eld.

10 MUTE SWITCH When this is pressed you will hear no signal from the channel.

11 PFL When pressed the signal will appear on the monitor and headphone outputs - use

S.HALL

L.HALL

V.HALL

D.HALL

S.PLT

L.PLT

V.PLT

D.PLT

ROOM

STUDIO

CHMBR

AMB

ARENA

GATED

REV

SPRING

S.DLY

D.DLY

T.DLY

P.DLY

M.DLY

R.DLY

CHORUS

FLANGR

PHASR

TREM/P

VIBRTO

RV/DL S

RV/DL L

PHSDEL

ROTDEL

24-BITDIGITAL

EFFECTSPROCESSOR

A: PRE-DEL

B: TME/SPD

: VARI

AFL

MONITOR OUT

MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC

HF HF HF HF HF HF HF HF HF HF HFHF

LFLF LF LF LF LF LF LF LF LF LF LFLF

MF MF MF MF MF MF MF MF MF MF MFMF

1 2 3 4 5 6 7 8 9 10 11 12

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

0 10 0 10 0 10 0 10

0 10

0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 100 10

0 10 0 10 0 100 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 100 10

L L LLLLLLLLLLL LL R R RRRRRRRRRRR RR

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

GAINGAIN GAI N GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAINGAIN

AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1

AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2

FX FX FX FX FX FX FX FX FX FX FXFX F

X FX FX FX FX FX FX FX FX FX FX FX

PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PANPA PN AN PAN PAN PAN PAN PAN PAN PAN PAN PAN BAL BAL

0 0 00 00000000000

PFL PFL PFL PFLPFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFLPFL

MIX

SUB

MIX

SUB

MIX

SUB

POST

PRE

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

PK PK PK PKPK PK PK PK PK PK PK PK PK PK PKPK

SP SP SP SPSP SP SP SP SP SP SP SP SP SP SPSP

5 5 5 5 5 5 5 5 5 5 5 5

0 0 0 0 0 0 0 0 0 0 0 0

-5 -5 -5 -5 -5 -5 -5 - 5 -5 -5 - 5 - 5

-10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10

-20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20

-30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30

MUTE

MUTE MUTEMUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTEMUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTEMUTE

12 STE1

STE2

2 3 4 5 6 7 8 9 10 11

REC

OUT

2TRK

LEVEL

0 10

STEREO 1 STEREO RETURN

L L L

R R R

[MONO] [MONO] [MONO]

MNTR

TOMIX

MIX- L

MIX- R

-3

-6

-12

-16

-22

MIX / SOLO

PHANTOM POWER

BANKA

BANKB

GAIN GAIN LEVEL

HF HF

MF MF

LF LF

AUX1

OUT

AUX2

OUT

FX BUS

OUT

MONO

OUT

STORE

TEMPO

TAP

BANKA BANKB

2TRK

SUB TO

MIX

MNTR

LEVEL

STE

MNO

MIX

SUB

FXTO

AUX1

FXTO

AUX2

-5

-10

-20

-30

-5

-10

-20

-30

-5

-10

-20

-30

-5

-10

-20

-30

A: DECAY

B: FBK/DPTH

MUTE

-10 20dB -10 20dB

48V

HEADPHONES

10 10 10 10 10 10 10 10 10 10 10 10 10 10

EFFECTS21 3 4 5 6 7 8 9 10 11 12 STE1 STE2 SUB-L

SUB-R MIX

LINELINELINELINELINE LINELINE LINE LINE LINE LINE LINE LINE

INSERTINSERTINSERTINSERTINSERTINSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

SOLO PWR

AUX1

MST

AUX2

MST

SUB OUT

-5

-10

-15

-20

-30

-40

26 17

38 33

KARAOKE

Your MFXi console is equipped with a Kensington® Security slot on the rear panel for use with compatible PC/Laptop security cables.

For more information about the Kensington range of security devices please visit http://us.kensington.com

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 console. This shows the MFXi console.

13Soundcraft MFXi MPMi User Guide Issue 1210

this to monitor the post-EQ signal from the channel.

12 MIX/SUB SWITCH When this switch is up, the channel’s post-pan-pot signal is routed to the Mix (left

and right) buses. When the switch is depressed, the post-pan-pot signal is routed

to the Sub-group (left and right) buses.

13 PEAK LED This is used to indicate that the signal is close to distorting (clipping) on a specic

channel.

14 SP LED The SP LED glows when a signal is present. The feed point for the LED is post-insert,

pre-EQ.

15 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus and post-fade sends.

16 MIX OUTPUTS (XLR) Connect these to your analogue recording device, or to your amplication system.

& MONO OUT (¼” Jack)

17 SUB-GROUP OUTPUTS These outputs can be connected to a separate amplier system or to an external

(¼” Jack) processor.

18 SUB-GROUP ROUTING The sub-group mix can be routed to the main mix, in mono or stereo.

19 MASTER FADERS These faders control the overall level of the mix and sub-group outputs.

20 MAIN METERS These show the level of the mix outputs. When the master SOLO LED is lit, the meters

show the level of the selected AFL/PFL signal.

21 MONITOR OUTPUTS These are used to feed your monitoring system. This can be directly connected to

(¼” Jack) powered monitors, or indirectly via an amplier to standard monitors.

22 MONITOR CONTROL This controls the level of the signal sent to your monitoring system.

23 MONITOR SELECT SWITCH This switch selects the signal source to be monitored. Note that the 2-TK input can

be monitored also, see item 31 below.

24 PHONES CONTROL This controls the level of the signal sent to the headphones jack socket.

25 HEADPHONES (¼” Jack) Plug your headphones into this socket. Recommended headphones impedance is

32 ohms or greater.

26 AUX 1 & 2 OUTPUTS

These outputs can be used to send the channel signal to an artist’s monitors (head

(¼” Jacks)

phones/in-ear/stage monitors), external FX or secondary PA/monitor system.

27 AUX CONTROLS The rotary controls set the output levels of the two Aux Outputs. The After Fade

& AFL SWITCHES (AFL) Listen switches route their respective aux output signal to the monitor/

headphones outputs.

28 AUX 2 POST/PRE SWITCH This switch globally changes the AUX 2 feed on all the input modules to be either

post-fade or pre-fade.

29 STEREO INPUTS (¼” Jack) These two pairs of 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 stereo channel strip, with EQ, Auxes and a Balance control. Mono

sources may be used by plugging into the left jack only.

30 2-TRACK IN

(RCA Phono)

You can connect the playback from your recording device here.

31 2-TRACK OUT 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.

32 RECORD OUTPUTS

(RCA Phono)

You can connect these to the inputs of your recording device.

33 PHANTOM POWER Press this to globally switch the phantom power (48V) on for condenser microphones.

WARNING: Do Not apply Phantom Power before

connecting a microphone.

34 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.

35 STEREO RETURN CONTROL This control sets the level of signal routed to the main mix busses.

36 FX BUS OUTPUT This output carries the signal from the FX bus. It could be used as a third 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.

37 FX CONTROL & AFL SWITCH The rotary control regulates the signal level being fed from the FX bus to the FX

processor and to the FX BUS OUTPUT socket. The After-Fade Listen (AFL) switch

routes this post-FX-control, pre-FX signal to the monitor/headphones outputs.

38 FOOTSWITCH CONNECTOR This is used by the FX Processor, see page 33.

39 LEXICON® FX PROCESSOR See the information starting on page 33 .

14 Soundcraft MFXi MPMi User Guide Issue 1210

AUX3

MST

AUX2

MST

AUX1

MST

SUB OUT

MUTE

MUTE MUTE

0 10

AUX1 AUX1

3 3

9 9

15 15

3 3

9 9

15 15

750

150

3.5k

3 3

9 9

15 15

MONITOR OUT

MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC

HF HF HF HF HF HF HF H F HF HF HFHF

LF LF LF LF LF LF LF LF LF LFLF

MF MF MF MF MF MF MF MF MF MF MFMF

1 2 3 4 5 6 7 8 9 10 11 12

3 3

9 9

15 15

3 3

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15 15

3 3

9 9

15 15

3 3

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15 15

3 3

9 9

15 15

3 3

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15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

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15 15

3 3

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15 15

3 3

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15 15

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9 9

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9 9

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15 15

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150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

GAINGAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAINGAIN

PFL PFL PFLPFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFLPFL

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

PK PK PKPK PK PK PK PK PK PK PK PK PKPK

SP SP SPSP SP SP SP SP SP SP SP SP SPSP

5 5 5 5 5 5 5 5 5 5 5 5

0 0 0 0 0 0 0 0 0 0 0 0

-5 -5 -5 -5 -5 - 5 -5 -5 -5 -5 -5 -5

-10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10

-20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20

-30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30

MUTE

MUTEMUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTEMUTE MUTE MUTE MUTE MUTE MUTEMUTE

STE1

STE2

2 3 4 5 6 7 9 10 111

STEREO 1

L L

R R

[MONO] [MONO]

GAIN GAIN

HF HF

MF MF

LF LF

AUX1

OUT

AUX2

OUT

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OUT

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OUT

AUX3

OUT

MONO

OUT

GAIN

-10 20dB -10 20dB

STE1 STE2 SUB-L

SUB-R MIX

10 10 10 10 10 10 10 10 10 10 10 10 10 10

0 100 100 100 100 100 100 100 100 100 100 10 0 10 0 100 100 100 100 100 100 100 100 100 100 100 10

0 100 100 100 100 100 100 100 100 100 100 100 10 0 10 0 100 100 100 100 100 100 100 100 100 100 100 100 10

0 10 0 100 100 100 100 100 100 100 100 100 100 100 10 0 10 0 100 10 0 100 100 100 100 100 100 100 100 100 100 100 10

LLLLLLLL L L LLLLLLLLLLLL LR RRRRRRR R R RRRRRRRRRRRR R

AUX1AUX1AUX1AUX1AUX1AUX1AUX1AUX1AUX1AUX1AUX1 AUX1AUX1AUX1AUX1AUX1AUX1AUX1AUX1AUX1AUX1 AUX1 AUX1

AUX2AUX2AUX2AUX2AUX2AUX2AUX2

AUX2AUX2AUX2AUX2AUX2 AUX2 AUX2

AUX3AUX3AUX3AUX3AUX3AUX3AUX3AUX3AUX3AUX3AUX3AUX3 AUX3 AUX3

PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN BAL BAL

00000000 0 0 0000000000000

AFL

0 10

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OUT

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HEADPHONES

SOLO PWR

21 3 4 5 6 7 8 9 10 11 12

LINELINELINELINELINE LINELINE LINE LINE LINE LINE LINE LINE

INSERTINSERTINSERTINSERTINSERTINSERT INSERT INSERT INSERT INSERT INSERT INSERT INSER T

25 16

THE 60-SECOND GUIDE - MPMi

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.

2 LINE INPUT (¼” Jack) Connect Line level sources here, e.g. Synth, Drum Machine, DI etc.

3 INSERT POINT (¼” Jack) Connect Signal processors here, e.g. Compressor, Gate etc.

4 GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal.

5 HPF The high-pass lter reduces the level of bass frequencies only. Use this in live PA

situations to reduce stage rumble or ‘popping’ from mics.

6 EQ STAGE Adjust these controls to change the signal tone (the character of the signal).

7 AUX SENDS Adjust these controls to change the level of the signal to an artist’s monitors

(headphones/in-ear/stage monitors). Aux 1 send is pre-fade. Aux 2 is globally

switchable pre/post fade, Aux 3 send is post-fade

8 PAN CONTROL Use this control to position the signal within the stereo eld.

9 MUTE SWITCH When this is pressed you will hear no signal from the channel.

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.

11 MIX/SUB SWITCH When this switch is up, the channel’s post-pan-pot signal is routed to the Mix (left

and right) buses. When the switch is depressed, the post-pan-pot signal is routed

to the Sub-group (left and right) buses.

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 console. .

15Soundcraft MFXi MPMi User Guide Issue 1210

12 PEAK LED This is used to indicate that the signal is close to distorting (clipping) on a specic

channel.

13 SP LED The SP LED glows when a signal is present. The feed point for the LED is post-insert,

pre-EQ.

14 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus and post-fade sends.

15 MIX OUTPUTS (XLR) Connect these to your analogue recording device, or to your amplication &

MONO OUT (¼” Jack) system.

16 SUB-GROUP OUTPUTS These outputs can be connected to a separate amplier system or to an external

(¼” Jack) processor.

17 SUB-GROUP ROUTING The sub-group mix can be routed to the main mix, in mono or stereo.

18 MASTER FADERS These faders control the overall level of the mix and sub-group outputs.

19 MAIN METERS These show the level of the mix outputs. When the master SOLO LED is lit, the meters

show the level of the selected AFL/PFL signal.

20 MONITOR OUTPUTS These are used to feed your monitoring system. This can be directly connected to

(¼” Jack) powered monitors, or indirectly via an amplier to standard monitors.

21 MONITOR CONTROL This controls the level of the signal sent to your monitoring system.

22 MONITOR SELECT SWITCH This switch selects the signal source to be monitored. Note that the 2-TK input can

be monitored also, see item 30 below.

23 PHONES CONTROL This controls the level of the signal sent to the headphones jack socket.

24 HEADPHONES (¼” Jack) Plug your headphones into this socket. Recommended headphones impedance is

32 ohms or greater.

25 AUX 1, 2 & 3 OUTPUTS These outputs can be used to send the channel signal to an artist’s monitors

(¼” Jacks) (headphones/in-ear/stage monitors), external FX or secondary PA/monitor system.

26 AUX CONTROLS The rotary controls set the output levels of the three Aux Outputs. The After

& AFL SWITCHES Fade Listen (AFL) switches route their respective aux output signal to the monitor/

headphones outputs.

27 AUX 2 POST/PRE SWITCH This switch globally changes the AUX 2 feed on all the input modules to be either

post-fade or pre-fade.

28 STEREO INPUTS (¼” Jack) These two pairs of 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 stereo channel strip, with EQ, Auxes and a Balance control. Mono

sources may be used by plugging into the left jack only.

29 2-TRACK IN (RCA Phono) You can connect the playback from your recording device here.

30 2-TRACK OUT 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.

31 Record Outputs (RCA Phono) You can connect these to the inputs of your recording device.

32 PHANTOM POWER Press this to globally switch the phantom power (48V) on for condenser microphones.

WARNING: Do Not apply Phantom Power before connecting a micro-

phone.

Your MPMi console is equipped with a Kensington® Security slot on the rear panel for use with compatible PC/Laptop security cables.

For more information about the Kensington range of security devices please visit http://us.kensington.com

16 Soundcraft MFXi MPMi User Guide Issue 1210

WIRING UP

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 maximum headroom. Professional dynamic, condenser or ribbon

mics are best because these will be LOW IMPEDANCE. While you can

use low-cost HIGH IMPEDANCE mics, you do not get the same degree of

immunity to interference on the microphone cable and as a result the level

of background noise may be higher. If you turn the PHANTOM POWER on,

the socket provides a suitable powering voltage for professional condenser

mics.

The input level is set using the input GAIN knob.

The LINE input offers the same gain range as the MIC input, but at a higher

input impedance, and is 15dB less sensitive. This is suitable for most line

level sources.

Line Input

Accepts 3-pole 6.35mm (1/4”) jacks, or 2-pole mono jacks which will auto-

matically 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 inter-

ference 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 6.35mm (1/4”) 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 !

Start with the input GAIN knob turned fully anticlockwise

when plugging high level sources into the LINE input to avoid

overloading the input channel or giving you a very loud surprise!

DO NOT use UNBALANCED sources with the phantom power

switched on. The voltage on pins 2 & 3 of the XLR connector may

cause serious damage. BALANCED dynamic mics may normally be

used with phantom power switched on (contact your microphone

manufacturer for guidance)

17Soundcraft MFXi MPMi User Guide Issue 1210

A ‘Y’ lead may be required to connect to equipment with separate send and

return jacks as shown below:

Stereo Inputs STEREO 1/2

These accept 3-pole 6.35mm (1/4”) jacks, or 2-pole mono jacks which will

automatically ground the ‘cold’ input. Use these inputs for sources such as

keyboards, drum machines, synths, tape machines or as returns from process-

ing units. The input is BALANCED for low noise and immunity from interfer-

ence, 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 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 and FX Bus Outputs

The Aux and FX Bus outputs are on 3-pole 6.35mm (1/4”) jack sockets,

wired as shown on the left, and are impedance-balanced, allowing long

cable runs to balanced ampliers and other equipment.

Headphones

The PHONES output is a 3-pole 6.35mm (1/4”) jack, wired as a stereo

output as shown, ideally for headphones of 32Ω or greater.

8Ω headphones are not recommended.

From

Impedance-Balanced

Output

Signal +

Screen

Signal -

To External Device

Experience has shown that sometimes it is better

not to connect screen at external device end.

Balanced Connection

Unbalanced Connection

From

Impedance-Balanced

Output

18 Soundcraft MFXi MPMi User Guide Issue 1210

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 pick-

ing 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 cable screens and other signal earths are

connected to ground only at their source and not at both ends.

If the use of unbalanced connections is unavoidable, you can minimise noise by

following these wiring guidelines:

• On INPUTS, unbalance at the source and use a twin screened cable as though

it were balanced.

• On OUTPUTS, connect the signal to the +ve output pin, and the ground of the

output device to -ve. If a twin screened cable is used, connect the screen

only at the mixer end.

• Avoid running audio cables or placing audio equipment close to thyristor

dimmer units or power cables.

• Noise immunity is improved 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 mains lead.

19Soundcraft MFXi MPMi User Guide Issue 1210

PROBLEM SOLVING

Basic problem solving is within the scope of any user if a few basic rules are followed.

• Get to know the Block Diagram of your console (see page 20/21).

• 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: soundcraft.csd@harman.com) at the factory in

Potters Bar, Hertfordshire: Telephone +44 (0)1707 665000.

For all other out-of-warranty consoles, please contact the appropriate territorial distributor.

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 experi-

ence any difculty please contact Customer Services Department (e-mail: soundcraft.

csd@harman.com)

20 Soundcraft MFXi MPMi User Guide Issue 1210

REC OUT

MIX/L

OUT

MONO

OUTPUT

LF MF HF

AUX2

AUX1

2 TRACK IN

TO MIX

AUX2(MASTER)

AUX2

AUX2O/P

d/c

AFL

+48V

POST/PRE

(2 TRACK)

TO MONITOR

MONITORING SELECT

SUB TO MIX

STEREO/

MONO

MIC

LINE

GAIN

MONO CHANNEL (1-20or1-12or 1-8 ALL IDENTICAL)

LF MF &

SWEEP

d/c

PFL

MUTE

FADER

PRE-FADER

SIGNAL

PAN

AUX1 PRE

GRP (LEFT)

GRP(RIGHT)

PFL/AFL

ENABLE

PFL/AFL

MIX(LEFT)

MIX(RIGHT)

MONITOR

OUT L

MIX/R

OUT

SOLO

METERS

+16

+10

-3

-6

-16

-22

MONITOR &

METERS

STEREO

H/PHONES

HEADPHONES

LEVEL

MONITOROUT

LEVEL

BALANCE

FADER

‘PK’

STEREO CHANNEL (STEREO1&2IDENTICAL)

LEFT/MONO

RIGHT

GAIN

POST-FADER

SIGNAL

d/c

PFL

MUTE

PRE-FADER SIGNAL

POST-FADER

SIGNAL

-15dB

MIX OUTPUTS

‘PK’

INSERT POINT

TIP=SEND

RING=RETURN

HPF

LEVEL

‘SP’

LEFT/MONO

RIGHT

STEREO RETURN

MONITOR

OUT R

-12

LEVEL

AUX1(MASTER)

AUX OUTPUTS

AUX1O/P

d/c

AFL

AUX2 PRE

AUX2 POST

FX (POST)

‘SP’

PFL

d/c

MUTE

FX BYPASS

FOOTSWITCH

FX BUS

O/P

OUT

FX to AUX2

(FXto AUX1 IS SIMILAR, EXCEPT FEED

IS TO AUX1 PRE BUS ONLY)

FX (ROTARY)

AFL

d/c

SUB-R

FADER

MIX

FADER

SUB-L

FADER

EFFECTS

FADER

SUB-R

OUT

SUB-L

OUT

SUB OUTPUTS

MIX/SUB

BLOCK DIAGRAM - MFXi

21Soundcraft MFXi MPMi User Guide Issue 1210

BLOCK DIAGRAM - MPMi

REC OUT

MIX/L

OUT

MONO

OUTPUT

LF MF HF

AUX2

AUX1

2 TRACK IN

TO MIX

AUX2 (MASTER)

AUX2

AUX2O/P

d/c

AFL

+48V

POST/PRE

(2 TRACK)

TO MONITOR

MONITORING SELECT

SUB TO MIX

STEREO/

MONO

MIC

LINE

GAIN

MONO CHANNEL (1-20or1-12 ALL IDENTICAL)

LF MF &

SWEEP

d/c

PFL

MUTE

FADER

PRE-FADER

SIGNAL

PAN

AUX1 PRE

GRP (LEFT)

GRP(RIGHT)

PFL /AFL

ENABLE

PFL / AFL

MIX(LEFT)

MIX(RIGHT)

MONITOR

OUT L

MIX/R

OUT

SOLO

METERS

+16

+10

-3

-6

-16

-22

MONITOR &

METERS

STEREO

H/PHONES

HEADPHONES

LEVEL

MONITOROUT

LEVEL

BALANCE

FADER

‘PK’

STEREO CHANNEL (STEREO1&2IDENTICAL)

LEFT/MONO

RIGHT

GAIN

POST-FADER

SIGNAL

d/c

PFL

MUTE

PRE-FADER SIGNAL

POST-FADER

SIGNAL

-15dB

MIX OUTPUTS

‘PK’

INSERT POINT

TIP=SEND

RING=RETURN

HPF

LEVEL

‘SP’

MONITOR

OUT R

-12

AUX1 (MASTER)

AUX OUTPUTS

AUX1O/P

d/c

AFL

AUX2 PRE

AUX2 POST

AUX3POST

AUX3 (MASTER)

AUX3O/P

d/c

AFL

SUB-R

FADER

MIX

FADER

SUB-L

FADER

SUB-R

OUT

SUB-L

OUT

SUB OUTPUTS

MIX/SUB

AUX 3

MIX/SUB

AUX 3

MIX/SUB

22 Soundcraft MFXi MPMi User Guide Issue 1210

MIC

15 15

010

15 15

750

150

3.5k

GAIN

AUX1

AUX2

PAN

PFL

MIX

SUB

-5

-10

-20

-30

MUTE

LINE

INSERT

MONO INPUT CHANNELS (MFXi 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 suitable

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 6.35mm (1/4”) 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 in the ‘wiring up’ section,

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 High-pass Filter

Pressing this switch activates the high-pass lter. This reduces the level of bass

frequencies only. Use this in live PA situations to reduce stage rumble or ‘popping’

from mics.

4 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 6.35mm (1/4”) jack socket which is normally by-

passed. 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).

ONLY connect condenser microphones with the +48V powering OFF, and

ONLY turn the +48V powering on or off with all output faders DOWN, to

prevent damage to the mixer or external devices.

23Soundcraft MFXi MPMi User Guide Issue 1210

5 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,

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 42 to learn how to set GAIN correctly.

6 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 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.

7 Aux Sends

These are used to set up separate mixes for FOLDBACK, EFFECTS or recording,

and the combination of each Aux Send is mixed to the respective Aux Output. For

Effects 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 SEND 1 is xed pre-fade, AUX 2 is globally switchable between pre and post-

fade (see master section on page 28. On the MPMi, Aux 3 is xed post-fader.

AUX 3 SEND (MPMi only) Aux 3 is xed post-fade.

MIC

15 15

010

15 15

750

150

3.5k

GAIN

AUX1

AUX2

PAN

PFL

MIX

SUB

-5

-10

-20

-30

MUTE

LINE

INSERT

24 Soundcraft MFXi MPMi User Guide Issue 1210

8 FX SEND (MFXi 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. The FX Send is xed post-fader.

9 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.

10 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. The MUTE switch’s

inbuilt LED glows when the channel is muted.

11 INPUT CHANNEL 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 42 for help in setting the right level.

12 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 SOLO LED on the Master section

illuminates to warn that a PFL is active. This is a useful way of listening to any required input sig-

nal without interrupting the main mix, for making adjustments or tracing problems. When PFL is

pressed anywhere on the console, the Control Room outputs automatically switch from monitoring

the Mix Outputs.

13 PEAK LED

This LED will light when the signal level approaches clipping at any of the three monitored points:

PRE-EQ, POST-EQ and POST-FADE.

14 SIGNAL PRESENT (SP) LED

The SP LED glows when a signal is present. The feed point for the LED is pre-EQ.

15 MIX/SUB

When this switch is up, the channel’s post-pan-pot signal is routed to the Mix (left and right) buses.

When the switch is depressed, the post-pan-pot signal is routed to the Sub-group (left and right)

buses.

It is sometimes useful to route several inputs to the sub-group buses, e.g. all the mics for a drum

kit, or all the vocal mics for a choir. These signals can then be fed to the main mix at the master

section. By doing this the levels of all of the grouped inputs can be changed together by using the

group faders instead of having to adjust all of the individual input faders, although, of course, the

individual channel faders will have to be adjusted to start with.

MIC

15 15

750

150

3.5k

GAIN

PFL

MIX

SUB

-5

-10

-20

-30

MUTE

AUX1AUX1

AUX2

AUX3

PAN

LINE

INSERT

25Soundcraft MFXi MPMi User Guide Issue 1210

15 15

010

AUX1

AUX2

BAL

PFL

MIX

SUB

MUTE

STE1

STEREO 1

[MONO]

GAIN

-5

-10

-20

-30

-10 20dB

STE1

STEREO INPUT CHANNELS (MFXi shown)

1 INPUTS STEREO 1/2

These inputs accept 3-pole 6.35mm (1/4”) 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 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 by up to 15dB, turn to the left to cut these

frequencies by up to 15dB. The centre frquency of the MF 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 SENDS

These are used to set up separate mixes for FOLDBACK, EFFECTS or recording, and

the combination of each Aux Send is mixed to the respective Aux Output at the rear

of the mixer. For Effects 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 SEND 1 is xed pre-fade, AUX 2 is globally switchable between pre and post-fade

(see master section on page 28). On the MPMi, Aux 3 is xed post-fader. The send

pots are fed with a mono sum of the L & R signals.

AUX 3 SEND (MPMi)

Aux 3 is xed post-fader.

15 15

PFL

MIX

SUB

MUTE

STE1

STEREO 1

[MONO]

GAIN

-5

-10

-20

-30

GAIN

-10 20dB

STE1

AUX1

AUX2

AUX3

BAL

26 Soundcraft MFXi MPMi User Guide Issue 1210

5 FX SEND (MFXi)

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. The FX Send is always post-fader.

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. The MUTE switch’s inbuilt LED glows when the channel is muted.

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 Mas-

ter 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 42 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

SOLO LED on the Master section illuminates 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 two monitored

points: POST-EQ and POST-FADE.

11 SIGNAL PRESENT (SP) LED

The SP LED glows when a signal is present. The feed point for the LED is pre-EQ.

12 MIX/SUB

When this switch is up, the channel’s post-fade signal is routed to the Mix (left and

right) buses. When the switch is depressed, the post-fade signal is routed to the Sub-

group (left and right) buses.

27Soundcraft MFXi MPMi User Guide Issue 1210

28 Soundcraft MFXi MPMi User Guide Issue 1210

AFL

MONITOR OUT

010

POST

PRE

REC

OUT

2TRK

LEVEL

010

STEREO RETURN

[MONO]

MNTR

TO MIX

MIX-L

MIX-R

-3

-6

-12

-16

-22

MIX/SOLO

PHANTOM POWER

LEVEL

AUX1

OUT

AUX2

OUT

FX BUS

OUT

MONO

OUT

2TRK

SUB TO

MIX

MNTR

LEVEL

STE

MNO

MIX

SUB

-5

-10

-20

-30

-5

-10

-20

-30

MUTE

48V

HEADPHONES

SUB-L

SUB-R MIX

XMF

SOLO PWR

AUX1

MST

AUX2

MST

SUB OUT

MASTER SECTION (MFXi)

29Soundcraft MFXi MPMi User Guide Issue 1210

AUX3

MST

AUX2

MST

AUX1

MST

SUB OUTMONITOR OUT

AUX1

OUT

AUX2

OUT

AUX3

OUT

MONO

OUT

AUX3

OUT

MONO

OUT

SUB-L

SUB-R MIX

AFL

010

POST

PRE

48V

REC

OUT

2TRK

LEVEL

010

MNTR

TO MIX

MIX-L

MIX-R

-3

-6

-12

-16

-22

MIX/SOLO

PHANTOM POWER

2TRK

SUB TO

MIX

MNTR

LEVEL

STE

MNO

MIX

SUB

-5

-10

-20

-30

-5

-10

-20

-30

HEADPHONES

SOLO PWR

MPM

MASTER SECTION (MPMi)

30 Soundcraft MFXi MPMi User Guide Issue 1210

1 POWER INDICATOR

This LED lights to show when power is connected to the console.

2 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

voltage. Balanced dynamic mics can normally be used with phantom power switched on (contact

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-TRACK

3 2-TRACK IN

These two RCA phono sockets are unbalanced Left and Right line-level inputs, used for connecting a playback

device.

4 2-TRACK LEVEL CONTROL

This adjusts the signal level from the 2-Track inputs.

5 2-TRACK TO MIX

Press this switch to route the 2-Track input signals to the MIX Left/Right bus. The level is set with the 2-Track

level control.

MONITOR SOURCE

The following two switches select the signal source(s) to be monitored.

6 MIX/SUB

Press this switch down to monitor the sub-group outputs. Release this switch to monitor the main mix

outputs.

7 2-TRACK

Press this switch to monitor the 2-Track input signal.

MONITOR OUT

8 MONITOR OUTPUT LEVEL

This control sets the signal level fed to the MONITOR LEFT & RIGHT outputs.

9 MONITOR OUTPUTS

The Monitor Outputs are on 3-pole 6.35mm (1/4”) jacks and are balanced.

10 HEADPHONES LEVEL

This control sets the level of the Headphone output.

11 HEADPHONES SOCKET

The PHONES output is a 3-pole 6.35mm (1/4”) jack, wired as a stereo output, ideally for headphones of

32Ω or greater. 8Ω headphones are not recommended.

31Soundcraft MFXi MPMi User Guide Issue 1210

12 METERS & SOLO LED

The three-colour peak reading BARGRAPH METERS normally show the level of the signal(s) selected by the

monitor source-select switches, giving you a constant warning of excessive peaks in the signal(s) 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 AFL/PFL switch is pressed, the meters switch to show the selected AFL/PFL signal on both meters,

in mono; the SOLO LED also lights.

MIX & SUB-GROUP OUTPUTS

13 MIX FADER

The MIX FADER sets the nal level of the Mix outputs. This should normally be set close to the ‘0’ mark if

the input GAIN settings have been correctly set, to give maximum travel on the fader for smoothest control.

14 SUB FADERS

This pair of faders sets the nal levels of the Sub-group outputs. 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 smooth-

est control.

15 SUB TO MIX

This switch routes the Sub-L and Sub-R signals to the main mix.

16 STEREO/MONO

If this switch is depressed a mono sum of the sub-group signals is routed to the main mix.

17 MIX OUTPUTS

The Mix LEFT and RIGHT outputs are sent from the XLR sockets as balanced signals.

18 MONO OUTPUT

A mono sum of the mix left and right signals is output on this balanced 3-pole 6.35mm (1/4”) jack socket.

19 SUB OUTPUTS

The Sub-L and Sub-R signals are output on these balanced 3-pole 6.35mm (1/4”) jack sockets.

20 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, Cassette tape recorder etc.

AUX

21 AUX MASTERS

These controls set the output levels of the Aux Outputs. (1 & 2 on MFXi, 1, 2 & 3 on MPMi)

22 AFL

These After Fade Listen switches route their respective aux output signal to the headphones, control room output

and meters, where it replaces the MIX. The SOLO LED on the Master section illuminates to warn that an AFL

is active. There are 2 AFL switches for Auxes 1 &2 on the MFXi, and three for Auxes 1, 2 and 3 on the MPMi.

32 Soundcraft MFXi MPMi User Guide Issue 1210

23 PRE/POST SWITCH

This switch globally selects the AUX 2 feeds on all the input modules to be either pre-fade or post-fade.

24 AUX OUTPUTS 1 & 2 (and 3 on MPMi)

These outputs are on 3-pole 6.35mm (1/4”) jacks and are balanced.

The following controls are found on the MFXi Console only

For detailed instructions on using the FX Processor see the section which starts on the next page.

25 FX MASTER

This control regulates the signal level being fed from the FX bus to the FX processor and to the FX BUS

OUTPUT socket.

26 FX AFL

When the latching AFL switch is pressed, the post-FX-Master (25), pre-FX signal is fed to the headphones,

control room output and meters, where it replaces the MIX. The SOLO LED on the Master section illuminates

to warn that an AFL is active.

27 FX BUS OUTPUT

This output carries the signal from the FX bus. It could be used as a third Aux Output if desired if the FX

Processor is not needed at the time. The FX sends on the input channels to the FX bus are always post-fade.

(on the MPMi, the FX Send output becomes Aux 3 output)

28 MUTE FX (FOOTSWITCH)

Using a single pole, momentary footswitch inserted into the MUTE FX input the effects processor can be

muted/un-muted.

STEREO RETURN - MFXi Console only

29 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.

30 STEREO RETURN LEVEL

This control sets the level of signal routed to the main mix busses.

33Soundcraft MFXi MPMi User Guide Issue 1210

Lexicon® FX PROCESSOR OVERVIEW

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 40 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 2 o’clock position.

3. Set the FX Master level to the 2 o’clock position. 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 the FX Master or

the 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.

34 Soundcraft MFXi MPMi User Guide Issue 1210

FX PROCESSOR CONTROLS (MFXi only)

1. Tempo Button - 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.

2. Store Button - 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.

3. Pre Delay / Time/ Speed Knob - 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.

4. Decay / Feedback/Depth Knob - 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.

5. Variation - 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.

6. Program Select Knob - Navigates through programs, turning to the required

program 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 B every 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.

7. Clip LED – This LED illuminates when either the incoming audio or the pro-

cessed audio (within the effect processor) overloads, and causes distortion of

the signal. If this illuminates reduce the FX Master Level (item 25, page 32).

Footswitch Input (not shown on diagram, see item 28 on page 28) - Using a

single pole, momentary footswitch inserted into the MUTE FX input the effects

processor can be muted/un-muted.

8. MUTE - This switch mutes the output of the FX processor. It doesn’t mute

the PFL signal.

9. FX TO AUX 1 - This pot routes a pre-fade signal to the Aux 1-pre bus.

10. FX TO AUX 2- This pot routes a pre-fade and a post-fade signal to the Aux

2-pre and Aux 2-post busses respectively.

11. EFFECTS FADER - This fader controls the level of the signal, from the FX

processor, routed to the main mix.

12. PFL - This switch routes a post-effects processor signal to the monitor

system.

FX BUS OUT (not shown on diagram, see item 27 on page 28) - This output

carries the signal from the FX bus. It could be used as a third Aux Output if

desired.

13. ‘SP’ LED - This indicates when a signal is present.

24-BIT DIGITAL

EFFECTS PROCESSOR

A: PRE-DEL

B: TME/SPD

:VARI

010

PFL

MUTE

BANK A

BANK B

STORE

TEMPO

TAP

FX TO

AUX1

FX TO

AUX2

A: DECAY

B: FBK/DPTH

EFFECTS

-5

-10

-15

-20

-30

-40

S.HALL

L.HALL

V.HALL

D.HALL

S.PLT

L.PLT

V.PLT

D.PLT

ROOM

STUDI O

CHMBR

AMB

ARENA

GATED

REV

SPRING

S.DLY

D.DLY

T.DLY

P.DLY

M.DLY

R.DLY

CHORUS

FLANGR

PHASR

TREM/P

VIBRTO

RV/DL S

RV/DL L

PHSDEL

ROTDEL

BANK A BANK B

KARAOKE

35Soundcraft MFXi MPMi User Guide Issue 1210

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, mellowing 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.

36 Soundcraft MFXi MPMi User Guide Issue 1210

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ec-

tions (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.

KARAOKE

The Golden Karaoke Patch creates a great Karaoke performance sound in any size KTV room.

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 frequency

response, creating brighter reverbs; lower settings create darker reverbs with more bass frequency emphasis.

37Soundcraft MFXi MPMi User Guide Issue 1210

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.

38 Soundcraft MFXi MPMi User Guide Issue 1210

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.

Feedback

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.

Ducker Threshold

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.

39Soundcraft MFXi MPMi User Guide Issue 1210

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).

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 left-to-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.

40 Soundcraft MFXi MPMi User Guide Issue 1210

EFFECTS DATA CHART

No NAME ADJUST1 VALUE RANGE ADJUST2 VALUE RANGE ADJUST3 VALUE RANGE FIXED1 VALUE FIXED2 VALUE FIXED3 VALUE ROUTING

1 SMALL HALL PREDELAY 10ms 0-100ms DECAY 1.0s 0-99 LIVELINESS 75 0-99

2 LARGE HALL PREDELAY 20ms 0-200ms DECAY 2.0s 0-99 LIVELINESS 35 0-99

3 VOCAL HALL PREDELAY 10ms 0-200ms DECAY 1.0s 0-99 LIVELINESS 65 0-99

4 DRUM HALL PREDELAY 10ms 0-100ms DECAY 0.8s 0-99 LIVELINESS 75 0-99

5 SMALL PLATE PREDELAY 2ms 0-100ms DECAY 1.0s 0-99 LIVELINESS 90 0-99

6 LARGE PLATE PREDELAY 2ms 0-200ms DECAY 1.75s 0-99 LIVELINESS 90 0-99

7 VOCAL PLATE PREDELAY 10ms 0-200ms DECAY 1.0s 0-99 LIVELINESS 65 0-99

8 DRUM PLATE PREDELAY 10ms 0-100ms DECAY 1.0s 0-99 LIVELINESS 75 0-99

9 ROOM PREDELAY 2ms 0-100ms DECAY 400ms 0-99 LIVELINESS 50 0-99

10 STUDIO PREDELAY 5ms 0-100ms DECAY 500ms 0-99 LIVELINESS 70 0-99

11 CHAMBER PREDELAY 0ms 0-100ms DECAY 1.2s 0-99 LIVELINESS 60 0-99

12 AMBIENCE PREDELAY 0ms 0-100ms DECAY 400ms 0-99 LIVELINESS 70 0-99

13 ARENA PREDELAY 25ms 0-200ms DECAY 2.75s 0-99 LIVELINESS 60 0-99

14 GATED PREDELAY 0ms 0-200ms DECAY 300ms 0-99 DIFFUSION 25 0-99

15 REVERSE PREDELAY 200mS 0-200ms DECAY 0 0-99 DIFFUSION 50 0-99

16 KARAOKE DELAY TIME 240ms 0-740ms Echo Repeat 44 0-99 LEVEL 50 0-99

17 SPRING PREDELAY 0 0-100ms DECAY 1.75s 0-99 BOING 35 0-99

18 STUDIO DELAY TIME RANGE 275ms 20ms-2.5s FEEDBACK 15 0-99+H DUCK THRESHOLD -6dB -70-0dB

19 DIGITAL DELAY TIME RANGE 800ms 20ms-5.0s FEEDBACK 20 0-99+H DUCK THRESHOLD -8dB -70-0dB

20 TAPE DELAY TIME RANGE 500ms 20ms-5.0s FEEDBACK 24 0-99 SMEAR 25 0-99

21 PONG DELAY TIME RANGE 1.0s 20ms-5.0s FEEDBACK 30 0-99+H TAP RATIO 1:1 0-23

22 MOD DELAY TIME RANGE 345ms 20ms-2.5s FEEDBACK 25 0-99 MOD DEPTH 75 0-99

23 REVERSE DELAY TIME RANGE 500ms 20ms-2.5s FEEDBACK 0 0-99 SMEAR 50 0-99

24 CHORUS SPEED 25 0-99 DEPTH 75 0-99 VOICES 50 0-99

25 FLANGER SPEED 15 0-99 DEPTH 25 0-99 REGENERATION 80 0-99

26 PHASER SPEED 25 0-99 DEPTH 75 0-99 REGENERATION 80 0-99

27 TREMELO/PAN SPEED 40 0-99 DEPTH 80 0-99 PHASE 50 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 FEEDBACK 15 0-99+H DECAY 0.75S 0-99 LIVELINESS 60 PREDELAY 2ms DUCK THRESHOLD -6dB SERIAL : DELAY THEN REVERB

30 REV/DEL LONG TIME RANGE 800ms 20ms-2.5s FEEDBACK 20 0-99+H DECAY 2.0S 0-99 LIVELINESS 40 PREDELAY 10ms DUCK THRESHOLD -8dB SERIAL : DELAY THEN REVERB

31 PHASE DELAY TIME RANGE 500ms 20ms-2.5s FEEDBACK 20 0-99+H SPEED 25 0-99 DEPTH 75 REGENERATION 80 DUCK THRESHOLD -8dB SERIAL : DELAY THEN PHASE

32 ROTARY DELAY TIME RANGE 500ms 20ms-2.5s FEEDBACK 20 0-99+H SPEED 50 0-99 DOPPLER 60 SPREAD 99 DUCK THRESHOLD -8dB SERIAL : DELAY THEN ROTARY

Note +H = repeat hold function

(see page 29 2nd paragraph)

41Soundcraft MFXi MPMi User Guide Issue 1210

MFXi/MPMi TYPICAL SPECIFICATIONS

Frequency Response

Mic / Line Input to any Output ..........................................+/-1.5dB, 20Hz – 20kHz

T.H.D.

Mic Sensitivity -30dBu, +14dBu @ Mix output .............................< 0.01% @ 1kHz

Noise

Mic Input E.I.N. (maximum gain) ............................……..-126.5dBu (150Ω source)

Aux, Mix and Masters (@ 0dB, faders down)....................................………< -82dBu

Crosstalk (@ 1kHz)

Channel Mute..............................................................................................> 90dB

Aux Send Pots Offness..................................................................................> 82dB

EQ (Mono inputs)

HF .................................................................................................12kHz, +/-15dB

MF (swept)......................................................................150Hz – 3.5kHz, +/-15dB

LF.....................................................................................................80Hz, +/-15dB

Q (MF)..................................................................................................................1.5

EQ (Stereo inputs)

HF .................................................................................................12kHz, +/-15dB

MF……………………………………………………………….............………..720Hz, +/-15dB

LF ....................................................................................................80Hz, +/-15dB

Q (MF)..................................................................................................................0.8

Power Consumption.........................................................................Less than 40W

Operating Conditions

Temperature Range.............................................................................5°C to 40°C

Input & Output Levels

Mic Input .............................................................................................+15dBu max

Line Input.............................................................................................+30dBu max

Stereo Input ........................................................................................+30dBu max

Mix Output ..........................................................................................+20dBu max

Headphones (@150Ω) (recommended impedance 32 to 200Ω)...................300mW

Input & Output Impedances

Mic Input ...........................................................................................................2kΩ

Line Input ........................................................................................................10kΩ

Stereo Input ....................................................................................................45kΩ

Outputs ......................................................150Ω (balanced), 75Ω (unbalanced)

E & OE.

Soundcraft reserves the right to change specications without notice.

42 Soundcraft MFXi MPMi User Guide Issue 1210

USING YOUR MFXi/MPMi 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 because 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 absorp-

tion 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 micro-

phone for the job is one of the essentials of successful sound reinforce-

ment. The diagrams 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 impor-

tant. 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 connec-

tion 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.

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).

43Soundcraft MFXi MPMi User Guide Issue 1210

• 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 microphone

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 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 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 application. 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 factors, prin-

cipally 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:

44 Soundcraft MFXi MPMi User Guide Issue 1210

S.HALL

L.HALL

V.HALL

D.HALL

S.PLT

L.PLT

V.PLT

D.PLT

ROOM

STUDIO

CHMBR

AMB

ARENA

GATED

REV

S.DLY

D.DLY

T.DLY

P.DLY

M.DLY

R.DLY

CHORUS

FLANGR

PHASR

TREM/P

VIBRTO

RV/DLS

RV/DLL

PHSDEL

ROTDEL

24-BITDIGITAL

EFFECTS PROCESSOR

A: PRE-DEL

B: TME/ SPD

: VARI

AFL

MONITOR OUT

MIC MIC MIC MIC MIC MIC MIC MIC

HF HF HF HF HF HF HF HF

LFLF LF LF LF LF LF LF LF

MF MF MF MF MF MF MF MF

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

0 10 0 10 0 10 0 10

0 10

0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10

0 10 0 10 0 100 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10

L L LL LLLLLLL R R RRRRRRRRR

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

GAINGAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN

AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1

AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2

FX FX FX FX FX FX FX FXFX FX FX FX FX FX FX FX FX FX

PAN PAN PAN PAN PAN PAN PAN PANPAN PAN PAN PAN PAN PAN PAN PAN BAL BAL

0 0 00000000 0

PFL PFL PFL PFLPFL PFL PFL PFL PFL PFL PFL PFL

MIX

SUB

MIX

SUB

MIX

SUB

POST

PRE

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

PK PK PK PKPK PK PK PK PK PK PK PK

SP SP SP SPSP SP SP SP SP SP SP SP

5 5 5 5 5 5 5 5

0 0 0 0 0 0 0 0

-5 -5 - 5 - 5 -5 -5 - 5 -5

-10 - 10 - 10 -10 - 10 - 10 -10 - 10

-20 - 20 - 20 -20 - 20 - 20 -20 - 20

-30 - 30 -30 - 30 - 30 -30 - 30 - 30

MUTE MUTE MUTE MUTE

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTEMUTE MUTE MUTE MUTE MUTE MUTE MUTE

STE1

STE2

REC

OUT

2TRK

LEVEL

0 10

STEREO1 STEREORETURN

L L L

R R R

[MONO] [MONO] [ MONO]

MNTR

TO MIX

MIX- L

MIX- R

-3

-6

-12

-16

-22

MIX / SOLO

PHANTOM POWER

BANKA

BANKB

GAIN GAIN LEVEL

HF HF

MF MF

LF LF

AUX1

OUT

AUX2

OUT

FXBUS

OUT

MONO

OUT

STORE

TEMPO

TAP

ANKA BANK

2TRK

SUB TO

MIX

MNTR

LEVEL

STE

MNO

MIX

SUB

FX TO

AUX1

FX TO

AUX2

-5

-10

-20

-30

-5

-10

-20

-30

-5

-10

-20

-30

-5

-10

-20

-30

A: DECAY

B: FBK/DPTH

MUTE

-10 20dB -10 20dB

48V

HEADPHONES

10 10 10 10 10 10 10 10 10 10

EFFECTSSTE1 STE2 SUB-L

SUB-R MIX

LINE LINELINE LINE LINE LINE LINE LINE LINE

INSERTINSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

SOLO PWR

AUX1

MST

AUX2

MST

SUB OUT

-5

-10

-15

-20

-30

-40

MIC MIC MIC MIC MIC MIC MIC MIC

HF HF HF HF HF HF HFHF

LF LF LF LF LF LF LFLF

MF MF MF MF MF MF MFMF

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

0 10 0 10 0 10 0 10 0 10 0 10 0 100 10

LLLLLLLL RRRRRRRR

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

GAIN GAIN GAIN GAIN GAIN GAIN GAINGAIN

AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1

AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2

FX FX FX FX FX FX FXFX FX FX FX FX FX FX

PAN PAN PAN PAN PAN PAN PANPA PN AN PAN PAN PAN PAN PAN

000000 00

PFL PFL PFL PFL PFL PFL PFLPFL

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

PK PK PK PK PK PK PKPK

SP SP SP SP SP SP SPSP

5 5 5 5 5 5 5 5

0 0 0 0 0 0 0 0

-5 -5 - 5 - 5 -5 -5 - 5 -5

-10 - 10 - 10 -10 - 10 - 10 -10 - 10

-20 - 20 - 20 -20 - 20 - 20 -20 - 20

-30 - 30 - 30 -30 - 30 - 30 -30 -30

MUTE MUTE MUTE MUTE MUTE MUTE MUTEMUTE MUTE MUTE MUTE MUTE MUTE

MUTE

10 10 10 10 10 10 10 10

LINELINELINELINELINE LINE LINE LINE

INSERTINSERTINSERTINSERTINSERT INSERT INSERT INSERT

MIC MIC MIC MIC

HF HF HF HF

LF LF LF LF

MF MF MF MF

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

0 10 0 10 0 10 0 10

L LLL RRRR

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

GAIN GAIN GAIN GAIN

AUX1 AUX1 AUX1 AUX1AUX1 AUX1 AUX1 AUX1

AUX2 AUX2 AUX2 AUX2AUX2 AUX2 AUX2 AUX2

FX FX FX FXFX FX FX FX

PAN PAN PAN PANPAN PAN PAN PAN

0000

PFL PFL PFL PFL

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

PK PK PK PK

SP SP SP SP

5 5 5 5

0 0 0 0

-5 -5 - 5 - 5

-10 - 10 -10 -10

-20 - 20 -20 - 20

-30 - 30 -30 -30

MUTE MUTE MUTE MUTEMUTE MUTE MUTE MUTE

10 10 10 10

LINE LINE LINE LINE

INSERT INSERT INSERT INSERT

SPRING

KARAOKE

MFXi MARK-UP SHEETS

You may freely copy this page, and use it to record the settings used for

particular applications/gigs.

45Soundcraft MFXi MPMi User Guide Issue 1210

MPMi MARK-UP SHEETS

You may freely copy this page, and use it to record the settings used for

particular applications/gigs.

AUX3

MST

AUX2

MST

AUX1

MST

SUB OUT

MUTE

MUTE MUTE

0 10

AUX1 AUX1

3 3

9 9

15 15

3 3

9 9

12 12

15 15

750

150

3.5k

3 3

9 9

15 15

MONITOR OUT

MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC

HF HF HF HF HF HF HF HF HF HF HFHF

LF LF LF LF LF LF LF LF LF LFLF

MF MF MF MF MF MF MF MF MF MF MFMF

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

GAINGAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAINGAIN

PFL PFL PFLPFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFLPFL

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

PK PK PKPK P K PK PK PK PK PK PK PK PKPK

SP SP SPSP SP SP SP SP SP SP SP SP SPSP

5 5 5 5 5 5 5 5 5 5 5 5

0 0 0 0 0 0 0 0 0 0 0 0

-5 -5 -5 -5 -5 -5 -5 -5 -5 -5 -5 -5

-10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10

-20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20

-30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30

MUTE MUTE MUTE

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTEMUTE MUTE MUTE MUTE MUTE MUTE

MUTE

STE1

STE2

2 3 4 5 6 7 9 10 111

STEREO 1

L L

R R

[MONO] [MONO]

GAIN GAIN

HF HF

MF MF

LF LF

AUX1

OUT

AUX2

OUT

-5

-10

-20

-30

-5

-10

-20

-30

AUX3

OUT

MONO

OUT

AUX3

OUT

MONO

OUT

GAIN

-10 20dB -10 20dB

STE1 STE2 SUB-L

SUB-R MIX

10 10 10 1 0 10 10 10 10 10 10 10 10 10 10

0 100 100 100 100 100 100 100 100 100 100 10 0 10 0 100 100 100 100 100 100 100 100 100 100 100 10

0 100 100 100 100 100 100 100 100 100 100 100 10 0 10 0 100 100 100 100 100 100 100 100 100 100 100 100 10

0 10 0 100 100 100 100 100 100 100 100 100 100 100 10 0 10 0 100 10 0 100 100 100 100 100 100 100 100 100 100 100 10

L LLLLLLL L L LLLLLLLLLLLL LR RRRRRRR R R RR RRRRRRRRRR R

AUX1AUX1AUX 1AUX1AUX1AUX1AUX1AUX 1AUX1AUX1AUX1 AUX1AUX1AUX1AUX1AUX1AUX1AUX1AUX1AUX1AUX1 AUX1 AUX1

AUX2AUX2AUX 2AUX2AUX2AUX2AUX2

AUX2AUX2AUX 2AUX2AUX2 AUX2 AUX2

AUX3AUX3AUX 3AUX3AUX3AUX3AUX3AUX3AUX3AUX3AUX3AUX3 AUX3 AUX3

PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN BAL BAL

0 0000000 0 0 000000000000 0

AFL

0 10

POST

PRE

48V

REC

OUT

2TRK

LEVEL

0 10

MNTR

TO MIX

MIX-L

MIX-R

-3

-6

-12

-16

-22

MIX / SOLO

PHANTOM POWER

2TRK

SUB TO

MIX

MNTR

LEVEL

STE

MNO

MIX

SUB

-5

-10

-20

-30

-5

-10

-20

-30

HEADPHONES

SOLO PWR

LINELINELINELINELINE LINELINE LINE LINE LINE LINE LINE LINE

INSERTINSERTINSERTINSERTINSERTINSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

MUTE MUTE

MIC MIC MIC MIC MIC MIC MIC MIC

HF HF HF HF HF HF HFHF

LF LF LF LF LF LF LFLF

MF MF MF MF MF MF MFMF

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

3 3

9 9

12 12

15 15

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

750

150

3.5k

GAIN GAIN GAIN GAIN GAIN GAIN GAINGAIN

PFL PFL PFL PFL PFL PFL PFLPFL

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

MIX

SUB

PK PK PK PK PK PK PKPK

SP SP SP SP SP SP SPSP

5 5 5 5 5 5 5 5

0 0 0 0 0 0 0 0

-5 -5 -5 -5 -5 -5 -5 -5

-10 -10 - 10 -10 -10 -10 -10 -10

-20 -20 - 20 -20 -20 -20 -20 -20

-30 -30 -30 -30 -30 -30 -30 -30

MUTE MUTE MUTE MUTE MUTE MUTEMUTE MUTE MUTE MUTE

MUTE

2 3 4 5 6 71

10 10 10 10 10 10 10 10

0 100 100 100 100 100 100 100 10 0 100 100 100 100 100 100 100 10

LLLL LLLLLLLL LR RRR RRRRRRRR R

AUX1AUX1AUX 1AUX1AUX1AUX1AUX1AUX1 AUX1AUX1AUX 1AUX1AUX1AUX1AUX1AUX1

AUX2AUX2AUX 2AUX2AUX2AUX2AUX2AUX2

AUX3AUX3AUX 3AUX3AUX3AUX3AUX3AUX3

PAN PAN PAN PAN PAN PAN PAN PAN

0000 00 000000 0

LINELINELINELINELINE LINE LINE LINE

INSERTINSERTINSERTINSERTINSERT INS

ERT INSERT INSERT

46 Soundcraft MFXi MPMi User Guide Issue 1210

A A

Remove the screw at point ,

Attach the rack brackets to both sides of mixer at points with the screws

removed at and above.

repeat on the other side of the mixer.

A B1

Keep the side mouldings in case you want to re-fit them at a later date.

WARNING: ensure that the mixer is disconnected from the mains supply

and all other equipment before fitting the rack-mounting brackets.

and remove the side mouldings.Undo and remove the screws at

FITTING OPTIONAL RACK-MOUNT BRACKETS

The rack-mount kit is included with the MFXi12/2 and MPMi12/2.

For MFXi8/2 the rack-mount bracket kit is part number RW5765. This may also be used on the MFXi 20/2

and MPMi 20/2 for furniture mounting.

47Soundcraft MFXi MPMi User Guide Issue 1210

93.52mm

404.68mm

DIMENSION “X”

688mm

482mm

DIMENSION “X”

MFXi12/2

MFXi20/2

DIMENSION “Y”

383mmMFXi8/2

DIMENSION “Y”

432mm

638mm

333mm

DIMENSIONS

mixer

extender

m6 rack screw

captive rack nut

Attach captive rack nuts at points .

Attach rack bolts through points

and into fitted rack nuts at points

The console can nowbe fitted toastandard 19” rack.

Note: the extender can be fitted to the left or right-hand side as required.

.Tighten securely!

Fitting the Extender Plate (MFXi8 ONLY)

The extender plate is fitted to the rackmounting bracket as shown

below with M6 screws/cage nuts.

48 Soundcraft MFXi MPMi User Guide Issue 1210

MONITOR OUT

MI C MIC MIC MIC MIC MIC MIC MIC

LINELINE LINE LINE LINE LINE LINE LINE LI NE

INSERTINSERT INSERT INSERT INSERT INSERT INSERT INSERT I NSERT

5 6 7 8 9 10 11 12

48 V

REC

OUT

2TRK

STE REO 1 S TEREO RETUR N

SUB

L L L

R R R

[MONO] [ MONO] [MONO]

MIX-L

MIX-R

PHANTOM POWER

AUX1

OUT

AUX2

OUT

FX BUS

OUT

MONO

OUT

MUTE

HEADPHONES

>= 32 Ohms

GRAPHIC EQ

STAGE FOLDBACK

GRAPHIC EQ

AMPLIFIER

MAIN PA LEFT AND RIGHT

CASSETTE OR

DAT MACHINE

KEYBOARD

VOCAL MIC

GUITAR

Active

DI Bo x

APPLICATIONS

APPLICATION 1 - LIVE SOUND REINFORCEMENT

49Soundcraft MFXi MPMi User Guide Issue 1210

MONITOR OUT

MIC MI C M IC MI C M IC MIC MIC MIC

LINELINE LI NE LINE LINE LINE LINE LINE LINE

INSERTINSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

5 6 7 8 9 10 11 12

48V

REC

STEREO 1 ST EREO RETURN

SUB

L L L

R R R

[MONO] [MONO] [MONO]

MIX-L

MIX-R

PHANTOM POWER

AUX1

OUT

AUX2

OUT

FX BUS

OUT

MONO

OUT

MUTE

2TRK

INSTRUMENT AND

VOCAL SOURCES

FILL

AMPLIFIER

GRAPHIC EQ

MONITOR

MAIN PA LEFT AND RIGHT

GRAPHIC EQ GRAPHIC EQ

AMPLIFIER AMPLIFIER

APPLICATION 2 - MULTISPEAKER APPLICATIONS

This conguration demonstrates how multiple speaker congurations can be driven by the MFXi.

50 Soundcraft MFXi MPMi User Guide Issue 1210

MONITOR OUT

MI C MI C M IC MIC MI C MIC MI C M IC

LINELINE LINE LINE LINE LINE LINE LINE L INE

INSERTINSERT INSERT INSERT INSERT I NSERT INSERT INSERT INSERT

5 6 7 8 9 10 11 12

48 V

REC

OUT

2TRK

STER EO 1 S TEREO R ETUR N

SUB

L L L

R R R

[MONO] [MONO] [MONO]

MIX-L

MIX-R

PHANTOM POWER

AUX1

OUT

AUX2

OUT

FX BUS

OUT

MONO

OUT

MUTE

INSTRUMENT AND

VOCAL SOURCES

GRAPHIC EQ

AMPLIFIER

FOLDBACK

INDUCTION

LOOP

INDUCTION

LOOP AMP

CD PLAYER

GRAPHIC EQ

AMPLIFIER

MAIN PA LEFT AND RIGHT

HEADPHONES

>= 32 Ohms

CASSETTE OR

DAT MACHINE

APPLICATION 3 - PLACES OF WORSHIP

This conguration uses the Aux 2 output to drive an induction loop for the hard of hearing. Aux 1 output is used

to generate foldback monitoring for the speaker/singer. The main outputs are used to drive the main speaker

system. The record and playback connections are used to pass audio to and from a DAT machine or CDR.

51Soundcraft MFXi MPMi User Guide Issue 1210

MONITOR OUT

MIC MI C MIC MI C MIC MI C M IC MIC

LINELINE LINE LINE LINE L INE LINE LINE LINE

INSERTINSERT I NSERT INSERT I NSERT INSERT INSERT INSERT INSERT

5 6 7 8 9 10 11 12

48V

REC

OUT

2TRK

STER EO 1 STE REO R ETURN

SUB

L L L

R R R

[MONO] [MONO] [MONO]

MIX-L

MIX-R

PHANTO MP OW ER

AUX1

OUT

AUX2

OUT

FX BUS

OUT

MONO

OUT

MUTE

SPEAKER

SWITCH

AMPLIFIER

PASSIVE MONITORS

ACTIVE

MONITORS

INSTRUMENT AND

VOCAL SOURCES

CONTROL ROOM

STUDIO

GRAPHIC EQ

AMPLIFIER

ARTIST’S FOLDBACK

MULTITRACK TAPE RECORDER

CASSETTE OR

DAT MACHINE

HEADPHONES

>= 150 Ohms

APPLICATION 4 - RECORDING

The insert points on channels 1-8 may be used to feed a multitrack recorder as shown (link the send and

return signals). The Mix outputs are used for a preliminary stereo mix on a DAT recorder.

52 Soundcraft MFXi MPMi User Guide Issue 1210

TYPICAL CONNECTING LEADS

53Soundcraft MFXi MPMi User Guide Issue 1210

Tip

Tip(Right)

Ring

Tip

Centre

Ring

2 (Left)

Tip(Left)

Ring

2 (Right)

Sleeve

Tip

Sleeve

Ring

Tip

Ring

Sleeve

Screen

Sleeve

TIP

RING

SLEEVE

‘Y’ Cables (Balanced)

Headphone Separator

‘Y’ Cables (Unbalanced)

Where used … Aux, Mix outputs

Note: for every doubling of headphones the load impedance is halved. Do not go below 32 Ohms.

54 Soundcraft MFXi MPMi User Guide Issue 1210

GLOSSARY

AFL After-fade listen: a function that allows the operator to monitor the post-fade signal

in a channel independently of the main mix.

Auxiliary send An output from the console comprising a mix of signals from channels derived inde-

pendently of the main stereo mix.

Balance The relative levels of the left and right channels of a stereo signal.

Balanced A method of audio connection which ‘balances’ the wanted signal between two wires,

these wires also have a screen which carries no signal. Any interference is picked up

equally by the two wires, which results in cancellation of the unwanted signal. In this

guide, the term can refer to various circuit architectures. Connection details are given

in relevant sections.

Clipping The onset of severe distortion in the signal path, usually caused by the peak signal

voltage being limited by the circuit’s power supply voltage.

DAT Digital Audio Tape, a cassette-based digital recording format.

dB (decibel) A ratio of two voltages or signal levels, expressed by the equation dB=20Log10 (V1/

V2). Adding the sufx ‘u’ denotes the ratio is relative to 0.775V RMS.

DI(direct injection)/DI Box The practice of connecting an electric musical instrument directly to the input

of the mixing console, rather than to an amplier and loudspeaker which is covered

by a microphone feeding the console.

Equaliser A device that allows the boosting or cutting of selected bands of frequencies in the

signal path.

Fader A linear control providing level adjustment.

Feedback The `howling’ sound caused by bringing a microphone too close to a loudspeaker

driven from its amplied signal.

Foldback A feed sent back to the artistes via loudspeakers or headphones to enable them to

monitor the sounds they are producing.

Frequency response The variation in gain of a device with frequency.

Gain The amount of amplication in level of the signal.

Headroom The available signal range above the nominal level before clipping occurs.

Impedance balancing A technique used on unbalanced outputs to minimise the effect of hum and interfer-

ence when connecting to external balanced inputs.

Insert A break point in the signal path to allow the connection of external devices, for instance

signal processors or other mixers at line level signals. Nominal levels can be anywhere

between 0dBu to +6dBu, usually coming from a low impedance source.

Pan (pot) Abbreviation of ‘panorama’: controls the levels sent to left and right outputs.

Peaking The point at which a signal rises to its maximum instantaneous level, before falling

back down again. It can also describe an equaliser response curve affecting only a

band of frequencies, (like on a graphic equaliser), “peaking” at the centre of that band.

Peak LED A visual indication of the signal peaking just before the onset of clipping, which will

distort the signal.

PFL Pre-fade listen: a function that allows the operator to monitor the pre-fade signal in

a channel independently of the main mix.

Phase A term used to describe the relationship of two audio signals. In-phase signals reinforce

each other, out-of-phase signals result in cancellation. Phase is a measurement of

relative displacement between two waves of identical frequency.

Polarity A term used to describe the orientation of the positive and negative poles of an audio

connection. Normally connections are made with positive to positive, negative to nega-

tive. If this is reversed, the result will be out-of-phase signals (see ‘phase’ above).

Post-fade The point in the signal path after a fader and therefore affected by the fader position.

55Soundcraft MFXi MPMi User Guide Issue 1210

Pre-fade The point in the signal path before a fader, and therefore unaffected by the fader

position.

Rolloff A fall in gain at the extremes of the frequency response.

Shelving An equaliser response affecting all frequencies above or below the break frequency

i.e. a highpass or lowpass derived response.

Solo An almost generic term used to describe PFL or AFL functions.

Spill Acoustic interference from other sources.

Transient A momentary rise in the signal level.

Unbalanced A method of audio connection which uses a single wire and the cable screen as the

signal return. This method does not provide the noise immunity of a balanced input

(see above).

+48V The phantom power supply, available at the channel mic inputs, for condenser micro-

phones and active DI boxes.

56 Soundcraft MFXi MPMi User Guide Issue 1210

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 purchased the

Equipment, provided such a person is authorised for this purpose by Soundcraft or its accredited

Distributor. Equipment means the equipment supplied with this manual.

2 If within the period of twelve months from the date of delivery of the Equipment to the End User it

shall prove defective by reason only of faulty materials and/or workmanship to such an extent that

the effectiveness and/or usability thereof is materially affected the Equipment or the defective com-

ponent should be returned to the Dealer or to Soundcraft and subject to the following conditions

the Dealer or Soundcraft will repair or replace the defective components. Any components replaced

will become the property of Soundcraft.

3 Any Equipment or component returned will be at the risk of the End User whilst in transit (both to

and from the Dealer or Soundcraft) and postage must be prepaid.

4 This warranty shall only be valid if:

a) the Equipment has been properly installed in accordance with instructions contained in

Soundcraft’s manual; and

b) the End User has 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 Equipment; and

d) the End User has used the Equipment only for such purposes as Soundcraft recommends,

with only such operating supplies as meet Soundcraft’s 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 negligent han-

dling, 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.

57Soundcraft MFXi MPMi User Guide Issue 1210

SOUNDCRAFT SOUNDCRAFT USA

A Division of Harman International Industries Ltd 8500 Balboa Boulevard

Cranborne House, Cranborne Road, Northridge

Potters Bar, Herts, EN6 3JN, UK CA 91329 USA

Tel +44 (0) 1707 665000 Tel: +1-818-920-3212

Fax: +44 (0) 1707 660742 Fax: +1-818-920-3208

Email: soundcraft@harman.com Toll Free: 888-251-8352

Email: soundcraft-usa@harman.com

www.soundcraft.com

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