The Perfect Companion

• 40-60 channel frame sizes

• Choice of 24 or 32-bus output structures

• MIDI messaging to BSS FPC-900 Varicurve™ Remote for instant control of outboard equipment

• Optional stereo mic / line inputs with full EQ

• Rugged power supply with three year warranty

• Built-in 23 x 12 or 23 x 16 output matrix

• 8 VCA groups and 8 mute groups

• 4-band fully parametric EQ on both mono and stereo inputs

• Sweepable filters on all input channels

• A and B XLR inputs for every channel

• Input metering on every channel

• VU output meterbridge included as standard

• Two separate solo systems suitable for feeding a number of different output systems – such as wedges and in-ear

• Sends can be globally configuredas mono or stereo

• Compact, lightweight frame designed to withstand touring

Setting The Stage

More than 25 years'experience of professionalmixing console design has

given Soundcraft an unmatchedknowledge of the field. Over the years,a series of now legendary consoles,such as Series Four and Europa, haveearned Soundcraft worldwide respectfor audio performance and uniqueBritish sound.

Then came Series FIVE, Soundcraft'sfinest front-of-house console yet. Sinceits release, Series FIVE has been adoptedas an industry standard by touringcompanies, installations and theatresalike. Its first year of production sawSeries FIVE in use around the world atcountless high profile performances -with artists such as Texas, Del Amitriand Garbage enjoying its flexibility andoutstanding sound quality.

FIVE Monitor is a dedicated monitorconsole to partner Series FIVE. Light andcompact, yet strong and reliable, FIVEMonitor is designed to be highlyflexible while retaining the famousSoundcraft familiarity.

Central to the design of FIVE Monitor isa fully configurable stereo busstructure. Given the complexity oftoday’s shows and concerts, more andmore musicians are demanding in-earmonitoring systems, which are nowmore reliable than ever before. FIVEMonitor's highly flexible mono or stereobus structure ensures that you canalways meet the requirements of yourperformers.

An extensive range of other fullyprofessional features includes a choiceof two bus structures, a dedicatedinterface for the popular BSSVaricurve™ FPC-900 remote control, aselection of input and output modules,and a comprehensive output matrix.

FIVE Monitor is the perfect companionfor existing Soundcraft front-of-houseusers, and newcomers to Soundcraftalike.

The Series FIVE front-of-house console

FLEXIBLE FRAME AND BUS STRUCTUREOPTIONSTo allow you to match your console asclosely as possible to the complexity ofyour application, the FIVE Monitor isavailable in a choice of two busstructures: 24-bus and 32-bus. The 24-bus version is available with 44, 52 or 60input channels, while the 32-bus versionoffers 40, 48 and 56 channel frame sizes.

BSS VARICURVE™ REMOTE CONTROLLERUnique to Soundcraft consoles is theintegrated MIDI control of the BSS FPC-900 Varicurve™ Remote unit. When theFPC-900 is inserted into the FIVEMonitor's MIDI loop, soloing any outputchannel will cause the FPC-900 to display

all external EQ settings associatedwith that output.* Any individual

parameter can then beadjusted from the

Varicurve™ remotecontrol unit, withouthaving toleave the

console'scentral mixing

position. This makes setting up outputEQs quicker and easier, for better all-round results.

FLEXIBLE OUTPUT STRUCTUREBoth the 24 and 32-bus variants offer alarge number of stereo monitor outputs;the 24-bus version has 8 dedicated mono

sends and 8 stereo pairs ofsends, and the 32-busversion has 16 pairs ofstereo sends. In addition tothese, both versions offer amaster L/Rstereo output.The realadvantage ofthe FIVEMonitor busstructuredesign is thatevery pair ofstereo outputscan beswitched toact as dualmono; sowhatevercombinationof monowedges andstereo in-earsystems you'remixing for,you canalways con-figure your

console to work as yourequire. A switch on theoutput modules determineswhether each pair of bussesworks as mono or stereo.

SWEEPABLE FILTERSThe input EQ sections ofboth the mono and stereomodules on the FIVEMonitor contain asweepable high-pass filter.The mono module also has

the additional flexibility of a sweepablelow-pass filter.

Designed For The Way You Work

BSS Varicurve™ FPC-900 remote control

*Requires FPC900 software v1.6 or later

OPTIONAL STEREO MODULEAny pair of mono input channels can bereplaced by the optional stereo inputmodule. Features are almost identical tothose of the mono module; with theexception that the A and B dual inputs ofthe mono input are replaced by L and Rfor the stereo.

INPUT METERING ON EVERY CHANNELLED signal metering is built into everychannel. The mono channel has a 10-segment meter, while the stereochannel employs two 5-segment meters.

DUAL SOLO SYSTEMThe FIVE Monitor’s flexibility extends tohaving two separate solo systems. Aswitch on each output, both group andmatrix, determines to which solo bus thesignal will be sent. So the operator canhave a wedge on main solo and an in-earset on alt solo, with the result that soloedsignals will automatically appear on theappropriate listening device.

OUTPUT MATRIXThe comprehensiveoutput matrix built intothe output section of theFIVE Monitor offersadditional flexibility, overand above the monitoroutputs. Each outputchannel offers a matrixoutput which can bederived from any com-bination of 23 sources; sothe 24-bus version whichhas 12 output modulestherefore has 12 matrixoutputs, while the 32-bus has 16 matrix outs.As an alternative to the matrix outputs, anEQ output module isavailable as an option.

METERINGA VU output meterbridge is included asstandard on the FIVE Monitor. This can beswitched to display the signal from eitherthe monitor outputs or the matrixoutputs. The meters are illuminated by LED backlighting, not filament lampswhich would be unreliable and prone tofailure. The FIVE Monitor's two largecentral VU meters read the signals fromthe master left and right busses, andautomatically switch over to read anysoloed signals.

Input Modules (1)

The Series FIVE front-of-houseconsole’s input modules were designedto offer a stereo input module with

features as similar as possible to those ofthe mono. This has been retained in thedesign of the FIVE Monitor; an optionalstereo module is available for both 24 and32-bus versions which is almost identical tothe mono channel. Furthermore, the overallfeature sets of both the mono and stereomodules are very similar to the Series FIVE,ensuring continuity and familiarity betweenthe two.

INPUT STAGEEvery mono channel on the desk features Aand B XLR inputs. These allow many inputs tobe connected and switched between withoutthe need for repatching. So, when you’reworking with more than one band, thealternative input can be selected withinseconds using the B switch. Phantom power isseparately applied to either input via 48Vswitches, with the polarity being changed bythe phase button (Ø). The INS IN buttonallows the balanced insert point on theconsole’s back panel to be easily switched inand out. The RNG button toggles the range ofthe input, be it mic or line level, from high tolow sensitivity. The signal then passes throughthe SENS (sensitivity) potentiometer for fineinput gain adjustment. These two separateactive gain stages are an incredibly effectiveway of keeping a controllable amount ofheadroom in the pre-amp stage; consoleswhich use a traditional pad controlunnecessarily degrade their input signal. Thisis because a pad circuit adds noise andreduces the amplifier’s common moderejection properties, crucial in live soundapplications where long mic cables andmulticores mean that effective interferencerejection is crucial.

On the stereo module, the L and R inputs canbe treated separately as two mono inputs oras a stereo pair. A pair of MONO switchesenables L, R or both inputs to be sent alongboth sides of the channel path and feed astereo send. Phantom power is again suppliedto the left and right paths separately, andeach leg also has a RNG button. With thephase reverse button down (Ø), the phase ofthe left leg will be reversed. A jumper on themodule can be changed, causing the phase ofboth L and R legs to reverse.

The INS (insert) button engages the left andright balanced insert points on the FIVEMonitor's back panel, which uses separatejacks for send and return. Both mono andstereo insert points can be set pre or post-EQusing internal jumpers.

FILTERSBoth modules contain a sweepable high-passfilter, ranging from 20–600Hz, which may beswitched in or out of circuit as required. Thehigh-pass filter affects both legs of the stereomodule. The mono module also contains a low-pass filter to remove excess highfrequencies, ranging from 1-20kHz. It issweepable and can be removed completelyfrom the signal chain with a switch.

EQSoundcraft is famous for its sweet, musical EQ.The Series 4 and Europa consoles built thatreputation, and the Series FIVE cemented it.Some monitor consoles cut corners on their EQsection, mistakenly believing that EQ isunnecessary for monitoring purposes. FIVEMonitor doesn’t have this problem; the 4-band parametric EQ allows accurate controlover frequencies from 30Hz to 20kHz. The Q of each band can be adjusted – there are alsotwo SHELF click-switches at the end-stop ofthe Q control in the HF and LF bands. Theentire EQ section of the input channel can bebypassed via the EQ switch.

EQ on the stereo module is every bit ascomprehensive as that of the mono module,and is linked to both paths as it is gangedacross the stereo pair. At the HF and LFsections there is an extra switch, changing theresponse of these filters from shelf to bell.

MONITOR SENDSFIVE Monitor has 8 full time stereo sends, aswell as a stereo L/R send. In addition to these,the 32-bus version has another 8 full-timestereo sends while the 24-bus version offersanother 8 mono sends. Each send, or pair ofsends, is individually on/off and pre/postswitchable.

To deliver the flexibility required by liveapplications which involve both in-ear andwedge monitoring, FIVE Monitor’s outputsends can be configured in pairs to act asstereo sends or as dual mono. On thecorresponding output module, a GLOBAL 24

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MODE STE switch allows you to make thedecision for each pair of sends as to whetherthey will act as stereo or mono. The first fouroutput modules on the 24-bus version do not,however, have this facility - because the firsteight sends on the 24-bus version are alwaysmono, and cannot therefore be switched intostereo mode. On the 32-bus, all sixteen outputmodules plus the master module do containthe switch, in order that any of the 17 pairscan be set to act as a stereo pair if required.When a pair of sends acts as stereo, the dual-concentric pots on the input module changefrom controlling the level of each mono sendto controlling the level (upper pot) and thepan (lower pot) of the stereo signal. Each levelpot offers an extra 5dB of gain for furtherflexibility at this stage.

The stereo module works in a similar way,except that the module is divided between theleft and right paths. The two pots now controllevel and balance – when the balance is in thecentre, the signals remain at unity gain. Whenthe pot is turned fully to the left, 4.5dB ofextra signal gain is given to the left channeland the right is killed completely, and viceversa. When the outputs are switched to monoat the output section, the controls function astwo individual level controls – the top sendinga mono sum to the A bus, with the bottom potsending to the B bus. These can still be selectedas being pre or post-fade with the PRE button.

FADER AND MUTINGThe level of each channel is controlled by ahigh quality 100mm fader, which offers anadditional 10dB gain at full deflection, and anexpanded scale around the unity mark forprecision control around this crucial area. TheMUTE switch cuts all post-MUTE feeds fromthe input channel. Each channel can beassigned to one or more mute groups and / orVCA groups via the two banks of 8 assign keysadjacent to the fader; and each channel can be assigned to as many groups as you wish. Toprevent the channel from accidental muting, arecessed MUTE SAFE button may be engaged,preventing the channel from being muted byeither the VCA groups or the mute groups. Thechannel can still, however, be cut with thelocal MUTE button located beside each channel fader. Once assigned to one of theVCA groups, the channel’s output level, muteand solo will be controlled by the VCA sectionof the console.

However, these features are still also controlled locally from the channel itself, andcan be edited here at any time. LED inputmetering gives an indication of the incomingsignal level on each channel. It is divided intoten sections, with the top LED configured as apeak level indicator which illuminates whenthe signal is within 3dB of clipping. The meteris not linear – the scale gives the greatestinformation around the unity gain area, sincethis is where the level will be set for themajority of the time.

SOLOThe function of the SOLO button changesdepending on the selection between mono PFLor stereo AFL made at the master section.Input channel SOLOs are not destructive,appearing only in headphones or on the wedge monitors. Solo can be activated fromeach channel, or from its associated VCA fadersection, where there is another SOLO buttonalongside each of the 8 faders. All solos can becleared from the master section with one pressof SOLO CLEAR - there is also a variety of logiccontrolled SOLO options here, includingintercancel or additive SOLOs.

BACK PANEL CONNECTIONSA balanced direct output is provided on theback panel of the mono module via an XLR.Internal jumpers dictate whether this outputsource is post-fade, pre-fade / post-mute orpost-input amp. The channel insert point is ontwo balanced 1/4" jacks. The dual inputs aremarked with the separate A and B channels.On the optional stereo module, the dual XLRinputs are designated L and R, rather than Aand B. Each side of the stereo signal hasdedicated balanced insert points, withindividual sends and returns on 1/4" jacks.

Output Section

The lower section of the FIVE Monitoroutput module offers control of theassociated pair of monitor sends, while

the top section features a matrix output.Each output module controls two monitorsends and has one matrix output, thereforea 24-bus FIVE Monitor has 12 outputmodules and 12 matrix sends, while the 32-bus version has 16 output modules and 16matrix sends. The combination of monitoroutputs and matrix sends offered by FIVEMonitor allows for complex setups ofmonitoring configurations.

OUTPUT CHANNELThe SOLO TRIM pot allows 20dB of controlover the signal which goes to the AFL/PFL bus.This enables levels in the monitor path to bekept constant whenever the SOLO button ispressed. The GLOBAL MODE STE buttondetermines whether this pair of sends works asmono or as a stereo pair. The GRP TO L/Rswitches enable routing of the signal from theA and B busses to L/R, effectively giving aninstant 2-track output from the console, useful for recording purposes. Inserts can beswitched out of the output path by pressingINSERT OUT, and the phase of the output isreversable with the ø key. Talkback to the stage is possible using the TB switch. PressingMUTE will cut the signal from the outputchannel to all sends, including the matrix, rearconnector panel and L/R outputs. The 100mmfader offers an extra 10dB gain at fulldeflection. The output SOLO depends on theposition of the PFL/AFL switch on the mastersection. The ALT button routes solos to thealternative solo bus. The output SOLO buttoncan select the corresponding EQ control pageon a BSS Varicurve™ remote control.

EQ OUTPUT OPTIONAn alternative output module is availablewhich provides 4-band parametric EQ on eachoutput, instead of the matrix. This is ideal forin-ear monitoring applications, where EQ isoften requested by performers. If this moduleoption is specified, the matrix output XLR on

the back panel provides a mono sum of thetwo monitor outputs, with screw drivertrimmable level control. External bus inputsare also adjustable in this way.

MATRIX OUTPUTSThe matrix output derives its signal from a mixof up to 23 sources, which differ between the24-bus and 32-bus structures, as follows:

The external input is derived from two XLRs onthe console’s back panel – one stereo externalinput feeds all matrix outputs. As this controlpot is not dual-concentric, a mono sum of thisL/R signal can be sent to the matrix, or the left path can be sent to odd number sectionsand the right to even. This is determined by aninternal jumper selection. Matrix inserts can be disabled using the INS OUT button. The TBbutton feeds the talkback signal into thematrix, in the process reducing the output by6dB. The MUTE button will mute the output ofthe particular matrix whose mute has beenengaged, although the TB will still work forthat channel. A matrix SOLO button is alsoprovided. The MATRIX MASTER pot controls the overall level from the matrix output XLR.

VCA FADERSA bank of 8 master faders for the 8 VCAgroups controls the level of every inputchannel assigned to a VCA group. Every level,mute or solo change made on these faders iscarried out on each assigned slave channel.This allows quick and easy control over a largenumber of channels with one quick buttonpress. The NOMINAL LED lights when the faderis at unity – useful when two FIVE Monitorsare cascaded, giving a flat VCA master overall.

24-bus version 32-bus versionGroup outputs 1/2 1A/1BGroup outputs 3/4 2A/2BGroup outputs 5/6 3A/3BGroup outputs 7/8 4A/4BGroup outputs 9A/9B 5A/5BGroup outputs 10A/10B 6A/6BGroup outputs 11A/11B 7A/7BGroup outputs 12A/12B 8A/8BGroup outputs 13A/13B 9A/9BGroup outputs 14A/14B 10A/10BGroup outputs L/R L/RExternal input External input

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Master Section

The master module is a single modulewhich is the same regardless ofwhether the console is the 24-bus or

32-bus version.

LAMP DIMMER & PSU RAILSThe dimmer control governs the brightness ofall the Littlites™ connected to the desk. Theywill flash when a Clear-Com™ call arrives viathe loop-through interface. The PSU RAILSLEDs confirm that the power supply rails areoperating efficiently. MUTE FLASH DISABLEprevents the mute LED on an input fromflashing (as is normal) when it is muted by aVCA or mute master.

OSCILLATORTone or pink noise can be produced by theoscillator - FREQuency is adjustable from 63Hzto 10kHz. Tone level is fully adjustable. Theoscillator can be routed to the external XLRs or to all busses.

TALKBACKThe FIVE Monitor's comprehensive talkbacksystem allows communication to the groupand matrix outputs, as well as to and from thefront-of-house engineer via the EXT button,using Soundcraft's proprietary ‘Blythphone’system. The talkback microphone can beconnected on the master module or to aninput XLR on the rear connector panel. Phantom power can be applied if needed.Incoming talkback will be sent to theheadphone output and will automatically dimthe level of the existing signal. The FOH lightilluminates when the desk is in this state. TheTO OUTPUTS VIA TB INT switch allows talkbackto feed the group or L/R outputs. The TBbuttons on each module must be pressed forthe output to accept talkback from the mastermodule. The MASTER MODE AFL/PFL switchdetermines, for the entire console, whethersolos will act as pre or post-fade, and therefore be in mono (pre-fade) or stereo(post-fade). There is a PFL trim to control thelevel of the solos on the input section.

SOLOThe FIVE Monitor has several solo modes, setby the AUTO CANCEL and INPUT PRIORITYbuttons:

The SOLO CLEAR button is a quick way toremove any active solos anywhere on the FIVEMonitor console. It illuminates when any solosare active.

WEDGE OUTPUT FADERThere are two balanced stereo outputs fromthe FIVE Monitor – wedge and alt wedge. Theheadphones also have their own feed from thewedge bus (1W into 8Ω), with a level control.The main wedge may be switched in or out,with a wedge insert point provided. TwoMONO SOURCE buttons allow either the L or Routput signals to feed both wedge outputswith no change in overall level. Both the mainand the alt wedge outputs are fed with signalsfrom the main solo bus, unless the alt wedge is sourced from the alt solo by the SRC button.The alt wedge, when sourced from the mainwedge, may be set as pre or post-fade but isalways post-wedge insert.

MUTE MASTERSThe MUTE ALL OUTPUTS button will mute every group and matrix output. It has aprotective cover to avoid accidental usage. This button is extremely useful when leavingthe console unattended. The eight mute groupbuttons allow quick control over the mutes ofall assigned channels.

INPUT AUTOPRIORITY CANCEL

ON OFF Input solos replace outputsolos - output solo heardagain only once all inputsolos are released.

OFF ON Every new solo cancels the existing one.

ON ON Output solos cancel otheroutput solos. Input soloscancel other input solosas well as overridingoutput solos.

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The Power Of Experience

Designed For ALife On The RoadOut on the road, you need a consolethat's light, compact and portable,yet strong and reliable. A trickybalance to find. In the FIVE Monitor,Soundcraft have struck the ultimatedeal between rugged constructionand mobility. Its frame, althoughlightweight and compact, isextremely strong and capable ofwithstanding journey after journey.And with a space efficient consolefootprint, even for largerconfigurations, you can be sure thatyou won't have to apologise forgetting in the way in that ever-cramped backstage area.

Aconsole is nothing without areliable power supply. So whenSoundcraft designed the Series

FIVE front-of-house console, weintroduced the CPS 2000, a ground upredesign using nothing but the finestquality components.

Now thoroughly road tested, reliabilityof the CPS 2000 has proved exceptional,so the decision to include the samepower supply with the FIVE Monitor wastaken without hesitation.

The key to the reliability of the CPS 2000 is the simplified voltage rail

structure whichmakes for anuncomplicatedvoltageprocessingmechanism.

Another crucial element is theheadroom; with the CPS 2000, there's no shortage. And in the unlikely event of a failure, a second diode-linked supply will seamlessly switch into action,ensuring that there is no chance of apower interruption.*

• Linear circuitry uses industry standardcomponents

• Fewer voltage rails makes for asimpler, more reliable configuration

• Load is spread across several powerdevices on each rail for optimum heatdissipation

• Heavy current wiring is all hardsoldered minimising number ofconnectors

• Front panel digital mains voltagemeter aids correct voltage tap setting

• Built-in diode output linking allowstwo supplies to be connected forredundancy

• Heavy duty Socapex® DC connectorslink PSU to console

• High quality PAPST® fansfor reduced noise andlonger product life

• 4U high 19”rackmountable Rugged sub-frame construction

*56ch/32-bus and 60ch/24-bus consoles are supplied with 2xCPS2000, not including backup supplies.

Architect's SpecificationThe mixing console shall be constructed in a rugged, compact housing with an additional steelsub-frame, and shall be available in two busformats: 24-bus and 32-bus. The 24-bus consoleshall be available with 44, 52 or 60 inputs, and the32-bus console shall be available with 40, 48 or 56inputs. The mixing console shall provide up to 9 (24-bus) or 17 (32-bus) stereo mixes, with an output matrix of 23 x 12 (24-bus) or 23 x 16 (32-bus) as standard. 8 MUTE Groups and 8 VCA Groupsshall be supplied, and a MUTE ALL OUTPUTS switch,protected by a plastic cover, will MUTE every Groupand Matrix output. In addition to the Wedge output, two independent stereo SOLO busses - SOLOand ALT SOLO shall be available, and the SOLO signal for each Group and Matrix output may besent to either of these busses depending upon theselection of the local ALT switch.

The mixing console shall use the rack-mountedCPS2000 power supply, with integral PSU linkingcapability to a backup supply.

The Mono Input shall have A and B inputs, eachwith their own 48V Phantom power switch. A phasereverse switch will invert the phase of both the Aand B signals. The inputs shall handle mic or linelevel signals, up to +30dBu, with a RNGE switchselecting high or low sensitivity. The input shall offer a 20-600Hz high-pass filter and a 1-20kHzlow-pass filter, switched individually. The 4-bandparametric EQ shall offer adjustment in the ranges:30-480Hz (LF), 70Hz-1.5kHz (LM), 500Hz-8kHz (HM)and 1-20kHz (HF). Each band shall allow ±15dB ofcut / boost, with Q variable from 0.5 to 3.0. A bypass switch shall remove the EQ from the circuit.A direct output may be set as post-fade, pre-fade /post-mute, or post-input amp. 9 full-time stereo /dual mono sends shall be available on all frametypes. All sends have +5dB of gain available at fulldeflection. Sends may be sourced pre or post-fade,with the pre-fade signal selectable as pre-fade /post-mute, pre-mute, or pre-EQ (pre or post-mute)and pre-insert, using internal jumpers. Theremaining 8 sends on the 24-bus console shall bepermanently mono, but shall be stereo / dual monoswitchable on the 32-bus console. A 100mm channel fader shall offer 10dB of gain at the top ofits travel, and the channel fader and mute switchmay be put under the control of any combination of the 8 VCA groups and 8 MUTE groups. A MUTESAFE switch protects the channel from muting viaany remote system. The SOLO switch may be defined globally to derive its signal either pre orpost-fade.

The optional Stereo Input shall have L and Rinputs, each with their own 48V Phantom powerswitch, and configurable as the L/R legs of aStereo pair, or as two independent Mono inputs. Aphase reverse switch will invert the phase of theleft leg (L), but may be set to invert both legs viaan internal jumper. A MONO L and R switch shallsum both legs together, and feed the result toboth paths of the channel strip. The inputs shallhandle mic or line level signals, up to +30dBu,with a RNGE switch selecting high or lowsensitivity. The input shall offer a 20-600Hz high-pass filter, which affects both legs. The 4-bandganged stereo parametric EQ shall offeradjustment in the ranges: 30-480Hz (LF), 70Hz-

1.5kHz (LM), 500Hz-8kHz (HM) and 1-20kHz (HF).Each band shall allow ±15dB of cut / boost, with Q variable from 0.5 to 3.0. A bypass switch shallremove the EQ from the circuit. 9 full-time stereo/ dual mono sends shall be available on all frametypes. All sends have +5dB of gain available at full deflection. Sends may be sourced pre or post-fade, with the pre-fade signal selectable as pre-fade / post-mute, pre-mute, or pre-EQ and pre-insert using internal jumpers. The remaining 8sends on the 24-bus console shall be switchableinto mono (feeding a sum of the pair to eachsend) or stereo (feeding left and right paths toalternate sends). A 100mm channel fader shalloffer 10dB of gain at the top of its travel, and thechannel fader and MUTE switch may be put underthe control of any combination of the 8 VCAgroups and 8 mute groups. A MUTE SAFE switchprotects the channel from muting via any remotesystem. The SOLO switch may be defined globallyto derive its signal either pre or post-fade.

The Dual Output module shall offer MUTE, SOLOand Fader control over pairs of Group Outputs.SOLOs from these outputs may be routed to eitherthe main solo bus, or the alt solo bus, configured via the local ALT switch. A phase reverse switchinverts the signal, and a TB switch routes consoletalkback to the appropriate Output. L and R switches shall route the signal to the L and R busses. A solo trim pot allows the AFL signal to betrimmed by ±10dB, and the INSERT OUT switchremoves the Insert chain from the path. A GLOBALMODE STE switch shall configure the dual outputmodule to operate as either two discrete monooutputs, or as a stereo pair. There shall be a singlematrix output fitted as standard to each dual output module, with rotary level, MUTE, SOLO andALT SOLO switches. A SIGnal present LED shalldenote -30dB signal present.

An EQ Module Option shall be available, replacingthe Matrix output with two 4-band parametric EQs.On this option, an additional Mono sum output shall be available via a screwdriver pot, and anexternal input level control shall be available via asimilar device.

The Master Module shall offer fader, MUTE andSOLO control over the L/R outputs, with similar TB,INSERT, and PHASE and SOLO TRIM options as theregular output modules. The SOLO mode of theconsole may be configured with input priority and /or auto cancel. A SOLO CLEAR switch shall removeany solo selected anywhere on the console. A TBMIC input shall provide optional 48V phantompower and -30dB pad, and may be routed to theINTernal or EXTernal TB system. The wedge outputshall be dimmed by 20dB whenever a talkbackswitch is activated. The wedge fader shall be a100mm type, and the wedge source may be selectedas either regular solo or alt solo.

The VU meterbridge shall offer full-time metering of the 24 or 32 Group outputs in addition to thewedge outputs, and 16 of the VU meters may beswitched to meter the matrix outputs. An interfaceto the BSS Varicurve™ Equaliser Remote Controllershall be provided, which will allow console solos toselect the correct slave page on the RemoteController.

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System Block Diagram

Dimensions & Configurations

32-bus console shown. 24-bus version has 4 output modules replaced by 4 mono input modules.

914.00 (35.98")

662.92 (26.10")

388.

70 (

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300.

41 (

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184.

90(7

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115.

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852.41 (33.56")

110.34(4.34")

EQ Curves

Level Diagram

Frequency Response Any input to any output: . . . . . . . . . . . . . . . . +0/-0.5dB, 20Hz - 20kHz

T.H.D. Line In to Direct Out (VCA Out) . . . . . . . . . . Less than 0.006% @ 1kHz(All measurements Line In to Direct Out (VCA In) . . . . . . . . . . . . . Less than 0.02% @ 1kHzat 20dBu) Line In to Mix Out (VCA Out) . . . . . . . . . . . . Less than 0.008% @ 1kHz

Noise Mic input Equivalent Input Noise . . . Less than -127dBu (150Ω source)(22Hz-22kHz bandwidth, Group Output Noise . . . . . . . . . . . . . . . Less than -80dBu (32ch routed)unweighted) Mix Output Noise . . . . . . . . . . . . . . . . . Less than -80dBu (32ch routed)

Group Output Residual Noise . . . . . . . . . . . . . . . . . . . . Less than -92dBu

Crosstalk Input Channel Muting . . . . . . . . . . . . . . . . . . . . . . . . . Greater than 90dB(all measurements Input Channel Fader Isolation . . . . . . . . . . . . . . . . . . Greater than 90dBat 1kHz) Input Send Pot Routing Isolation . . . . . . . . . . . . . . . . Greater than 90dB

Group to Group Crosstalk . . . . . . . . . . . . . . . . . . . . . . . . Less than -90dBGroup to Mix Crosstalk . . . . . . . . . . . . . . . . . . . . . . . . . . Less than -90dB

Input and Output Mono Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.6kΩ balancedImpedances All Insert Sends . . . . . . . . . . . . . . . . . . . . . . . . . . Less than 75Ω balanced

All Insert Returns . . . . . . . . . . . . . . . . . . Greater than 10kΩ unbalancedOutputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Less than 75Ω balanced

Input / Output Maximum Input Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +30dBuCapability All Insert Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +26dBu into 1kΩ

All Insert Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +26dBuAll Balanced Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . +26dBu into 1kΩHeadphone Output . . . . . . . . . . . . . . . . . +20dBu into 1kΩ, 1W into 8Ω

Oscillator 63Hz to 10kHz / pink noise, variable level

Filters 20-600Hz, 12dB/octave(Mono input) 1k-20Hz, 12dB/octave

EQ 1k - 20kHz, +/-15dB, Q = 0.5 - 3.0 or shelf(Mono input) 500 - 8kHz, +/-15dB, Q = 0.5 - 3.0

70 - 1.5kHz, +/-15dB, Q = 0.5 - 3.030 - 480Hz, +/-15dB, Q = 0.5 - 3.0 or shelf

Metering Overbridge: 16 VU Meters monitoring Output or Matrix & 2 VU Meters monitoring Left and Right wedge mixes Each meter has a peak LED set to 3dB below clipping level.Mono Input . . . . . . . . . . . . . . . . . . . . . . . . . . 9-LED bargraph + Peak LEDStereo Input . . . . . . . . . . . . . . . . . . . . . . 2 x 4-LED bargraph + Peak LED

Power Consumption 48/32ch console: each 17V rail draws 14.2A (nominal, without Littlites™) 8V rail draws 0.8A (nominal). 56ch/32-bus and 60ch/24-bus consoles require 2xCPS2000 supplies.

Weights 24-bus, 44ch / 32-bus, 40ch . . . . . . . . . . . . . . . . . . . . . . .156kg (343 lbs)24-bus, 52ch / 32-bus, 48ch . . . . . . . . . . . . . . . . . . . . . . .170kg (374 lbs)24-bus, 60ch / 32-bus, 56ch . . . . . . . . . . . . . . . . . . . . . . .185kg (407 lbs)

Operating -10°C to +30°CConditions 0% to 80% humidity

Power Supply Unit Input voltage range . . . . . . . . . . . . . . . . . . . . . . . . 230/200/115/100V ACCPS2000 +10%/-20% @ 50/60Hz

Rated input power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 980 WattsMains fuse rating . . . . . . . . . . . . . . . . . . . . . . . . . T10A/250V (slow-blow)Outputs: DC Voltage Rail Max Output Current

+17V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16A-17V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16A+48V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.5A+8V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.25A

Temperature Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -10°C to +40°CHumidity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0% to 90%

(non-condensing ±5% relative humidity, @40°C for 16 Hours, load switched between 20% and 100% at regular intervals)

Dimensions: Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177mm (4U)Width (chassis) . . . . . . . . . . . . . . . . . . . . . . . . . . . 440mmWidth (front panel) . . . . . . . . . . . . . . . . . . . . . . 482.6mmDepth (excl. handles) . . . . . . . . . . . . . . . . . . . . . . 436mm

Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30kg

FIVE Monitor Typical Specifications

HPLP

HFHi-MidLo-MidLF

SOUNDCRAFTHARMAN INTERNATIONAL INDUSTRIES LTD.CRANBORNE HOUSE, CRANBORNE RD.,POTTERS BAR, HERTS, EN6 3JN, UK.TEL: +44 (0)1707 665000 FAX: +44 (0)1707 660742 EMAIL: info@soundcraft.comhttp://www.soundcraft.com

SOUNDCRAFT USA1449 DONELSON PIKE,NASHVILLE TN 37217, USA.TEL: 1-615-360-0471 FAX: 1-615-360-0273EMAIL: soundcraft-usa@harman.com

Soundcraft reserve the right to improve or otherwise alter any informationsupplied in this document or any other documentation supplied hereafter. E&OE 08/01

This equipment complies with the EMC Directive 89/336/EEC

Note: These figures are typical of performance in anormal electromagnetic environment. Performancemay be degraded in severe conditions.

Part No. A4; ZL0488US; ZL0489

Artist photography by Mark Cunningham.No endorsement is implied.