Микшерный пульт soundcraft signature 16 инструкция на русском

• Page 1: User Guide

  ® User Guide For Soundcraft Signature 16, 22 & 22MTK ®…

• Page 2
  Soundcraft is a trading division of Harman International Industries Ltd. Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor. Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual. No part of this…

• Page 3: Table Of Contents

  2.2: Parts Of The Console 6.0: SOLO AND MONITORING 3.0: INPUTS AND OUTPUTS 3.1: Introduction to I/O 7.0: USB OPERATION 3.2: Console Inputs 7.1: Signature 16, 22 USB 3.3: Console Outputs 7.2: Signature 22MTK USB 3.4: Other I/O 4.0: CONSOLE ROUTING 8.0: LEXICON FX 4.1: Mono Input Channel…

• Page 4: An Introduction To Signature

  INTRODUCTION TO SIGNATURE Drawing on over 40 years experience in live sound mixing, the Signature Series combines a superb analogue control surface with the unrivalled British sound of Soundcraft in a powerful, compact, professionally spec’d mixer. Built tough for trouble-free performance night-after-night, Signature Series mixers deliver great sounding results thanks to high-grade Ghost®…

• Page 5: The Signature Legacy

  40-year legacy of producing outstanding perfor- mance tools. This console incorporate classic analogue designs, approved by Engineers. Ghost® pre-amps The Soundcraft Ghost console’s ProMic mic pre-amp is known for it’s ultra-low noise and high headroom, making high gain settings possible, without compromising signal integrity.

• Page 6: Sapphyre Asymmetric Eq

  Soundcraft Sapphyre Asymmetric EQ The Soundcraft Signature console uses a special Asymmetric EQ first developed for the renowned Soundcraft Sapphyre console. This EQ makes both creative and functional tonal shaping of your signal simple and intuitive — an EQ that works the way music does. The shelving bands of the EQ (LF and HF) use a slight boost at the EQ’s frequency when cutting, and a slight cut when boosting.

• Page 7: Safety

  This unit is capable of operating over a range of mains voltages as marked on the rear panel. The internal power supply unit contains no user serviceable parts. Refer all servicing to a qualified service engineer, through the appropriate Soundcraft dealer. 1.1: INTRODUCTION > SAFETY…
• Page 8
  Soundcraft dealer. • 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 liability whatsoever for any loss or damage caused by service, maintenance or repair by unauthorised personnel.
• Page 9
  1.1: SAFETY 16, 22, 22MTK User Manual INTRODUCTION > SAFETY WARNINGS 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 amplifier or headphones, can damage hearing over time. Please take care when working with your audio —…

• Page 10: Warranty

  Equipment or the defective component should be returned to the Dealer or to Soundcraft and subject to the following conditions the Dealer or Soundcraft will repair or replace the defec- tive components. Any components replaced will become the property of Soundcraft.

• Page 11: Specifications

  — Signature 22MTK: 11.36kg Power Consumption Unit Dimensions (W × H × D) — Signature 16: <80VA — Signature 16: 630mm x 595mm x 210mm — Signature 22: <100VA — Signature 22: 750mm x 630mm x 210mm — Signature 22MTK: <120VA — Signature 22MTK: 750mm x 630mm x 210mm 1.3: INTRODUCTION >…

• Page 12: Getting Started

  GETTING STARTED — AN INTRODUCTION TO THIS MANUAL Anyone with minimal audio experience should be able to operate the Soundcraft Signature console without reading too much of this manual, though we do recommend you take the time to go through it.

• Page 13: Introduction To Consoles

  2.1: CONSOLE INTRO 16, 22, 22MTK User Manual GETTING STARTED > INTRODUCTION TO MIXING CONSOLES The main function of a mixing console is to combine different audio inputs and independently adjust the levels of those contributions to the mix. With this very basic functionality you can control and balance any kind of audio from a one-man-band to an orchestra.

• Page 14: Parts Of The Console

  2.2: PARTS OF THE CONSOLE 16, 22, 22MTK User Manual GETTING STARTED > PARTS OF THE CONSOLE The diagrams show different sections of the Signature console and describes those functions. After that are more detailed descriptions of the console sections and references to the relevant chapters in this manual.

• Page 15
  Refer to Sections 4.2 and 5.2 for more detail. Stereo Input Channels Signature 16, 22, and 22MTK consoles have two types of stereo inputs. One offers the option of a mono microphone/line level input by using either the XLR or Left/Mono Jack Input as well as stereo Jack inputs;…
• Page 16
  2.2: PARTS OF THE CONSOLE 16, 22, 22MTK User Manual GETTING STARTED > PARTS OF THE CONSOLE Aux Output Masters Aux (Auxiliary) Master output channels control the output level of the auxiliary bus and global pre-fade/ post-fader switching. AFL switching allows aux master solos. Refer to Sections 4.5 and 5.5 for more detail. Group Output Masters The Group Output Master channels control routing and output level for the Group busses.
• Page 17
  GETTING STARTED > PARTS OF THE CONSOLE Lexicon FX Control Signature 16 has a single internal Lexicon FX processor and send/return bus for adding FX such as reverb, delay, Chorus, Rotary, LoFi, Tape emulation, and more. Signature 22 and 22MTK have dual processors and send/return paths.

• Page 18: Inputs And Outputs

  3.0: INPUTS AND OUTPUTS 16, 22, 22MTK User Manual INPUTS AND OUTPUTS The physical inputs and outputs on the Signature console are varied, and together with the Ghost mic preamps, dbx® limiting, and Hi-Z inputs provide a flexible scheme for any sources you might encounter. To get the most out of the Signature I/O, read this chapter carefully. 3.0: INPUTS AND OUTPUTS…

• Page 19: Introduction To I/O

  The small line-level connector commonly found on consumer playback equipment. RCA inputs Hi-Z are provided for the 15/16 (Signature 16) and High Impedance. Guitar pick-ups generally have 21/22 (Signature 22 / 22MTK) stereo input ‘high impedance’ outputs and therefore require channels (Playback Channels).

• Page 20: Console Inputs

  3.2: CONSOLE INPUTS 16, 22, 22MTK User Manual INPUTS & OUTPUTS > CONSOLE INPUTS Console inputs can be used for a wide variety of sources. For best results always use the appropriate input connection. Mic Input — XLR Input connection for microphones using standard XLR connection (Pin-2 hot) When using condenser microphones, you can switch on 48V phantom power for these connections on the right hand side of the console (the 48V button).

• Page 21: Console Outputs

  3.3: CONSOLE OUTPUTS 16, 22, 22MTK User Manual INPUTS & OUTPUTS > CONSOLE OUTPUTS The console outputs offer a range of connection options depending on the application. Always consider carefully the best output and routing strategy for your particular application. MST L / MST R Master Left and Right outputs, XLR connectors These are impedance-balanced line level outputs (pin 2 signal).

• Page 22: Other I/O

  The console outputs offer a range of connection options depending on the application. Always consider carefully the best output and routing strategy for your particular application. USB — Signature 16 and 22 USB data connection for audio input and output USB input (USB channels 1 and 2) are summed with the RCA input signal on the highest-numbered stereo input channel.

• Page 23: Console Routing

  4.0: CONSOLE ROUTING 16, 22, 22MTK User Manual CONSOLE ROUTING Understanding the facilities a console offers for routing and controlling audio is an important step in learning how to operate the console most effectively. This Section uses simple flow diagrams and short descriptions to describe the various signal paths and routing options for all channel and bus types. If you have never operated a similar console before, it is worth digesting all these options before you use the console in a critical application.

• Page 24: Mono Input Channel

  4.1: MONO INPUT 16, 22, 22MTK User Manual CONSOLE ROUTING > MONO INPUT All mono input channels have the choice of XLR (mic) and Jack (Line) balanced inputs; the two highest numbered mono channels have Hi-Z input switches for the line inputs while channels 1 and 2 incorporate switchable input limiters.

• Page 25: Stereo Input Channel

  4.2: STEREO INPUT 16, 22, 22MTK User Manual CONSOLE ROUTING > STEREO INPUT There are two types of Stereo input channel. The lower-numbered stereo input channels have microphone inputs and Jack inputs and can be used as mono input channels (odd-numbered input) if required.

• Page 26: Fx Return Channel

  4.3: FX RETURN 16, 22, 22MTK User Manual CONSOLE ROUTING > FX RETURN An FX Return channel is a special stereo input channel is fed from the output of the internal FX processor. An FX Return channel can contribute to any Aux bus (EXCEPT its own source), and to the Master and Group busses — as per mono and stereo input channels.

• Page 27: Aux Master Output

  4.4: AUX MASTER 16, 22, 22MTK User Manual CONSOLE ROUTING > AUX MASTER Aux busses sent directly out of the corresponding Aux outputs, and are globally switchable between pre- and post-fade sources. That is, an Aux mix that is taken ‘pre-fade’ (before the input channel fader) is not affected by the input channel fader levels.

• Page 28: Group Master Output

  4.5: GROUP MASTER 16, 22, 22MTK User Manual CONSOLE ROUTING > GROUP MASTER The Group Master Outputs are derived from the post fade, post pan sum of input channels routed to the corresponding Group busses (1-2 and 3-4 switches). The Group Masters can contribute to the Master Left/Right Bus. A useful example of this in practise might be where a group of related input channels (drum mics, backing singers, and so on) are mixed relative to each other, then routed to GRP 1-2 (but not to MST).

• Page 29: Master Stereo Output

  4.6: MASTER STEREO OUTPUT 16, 22, 22MTK User Manual CONSOLE ROUTING > MASTER STEREO OUTPUT The Master Stereo output is derived from contributions to the Master (MST) Stereo Bus. You can choose to route input channels to the Master Stereo Bus using the input channel MST buttons. 4.6: MASTER STEREO OUTPUT ROUTING…

• Page 30: Channel Controls

  5.0: CHANNEL CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS There are three types of Signature console input channels: Mono Input, Stereo Input, and FX Return. The output channel types are the Auxiliary (Aux) Master Outputs, the Master Stereo Outputs, and the Group (GRP) Master Outputs.

• Page 31: Input Controls

  5.1: INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > INPUT CONTROLS Input channels take sources and route/process them. The sources catered for by the Signature consoles includes mono (single channel) sources, stereo sources, and internal sources (the FX Return channel).

• Page 32
  5.1.1: MONO INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > MONO INPUT CONTROLS PHANTOM POWER 48V Apply a DC voltage of 48V to all microphone inputs This button is found on the right of the console near the headphones level control, not on the channel strip. With phantom power on, you should use only balanced sources in the console’s XLR microphone inputs.
• Page 33
  5.1.1: MONO INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > MONO INPUT CONTROLS HPF 100Hz Activate the High Pass Filter The High Pass Filter (HPF) is an 18dB/Octave filter that attenuates frequencies below 100Hz. This can be useful for filtering out low ‘rumble’ from microphones affected by extremely low traffic noise, air flow, and so on.
• Page 34
  5.1.1: MONO INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > MONO INPUT CONTROLS LF Level Adjust the boost/attenuation of the low frequency shelving filter The LF shelving filter has a fixed frequency of 60Hz. Frequencies below this will be boosted or attenuated depending on the control setting. With this Sapphyre asymmetric EQ, there is a small boost at the filter frequency on cut and a small cut on boost.
• Page 35
  5.1.1: MONO INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > MONO INPUT CONTROLS PEAK & MUTE LED Lights when signal reaches peak level or shows that the channel is muted The Peak LED is a warning light to let you know when the signal is nearing maximum headroom. The peak detection source is taken from a number of key points in the signal path (see section 4.1) where gain is used: After the High Pass Filter, post EQ, and post Fade.
• Page 36
  5.1.2: STEREO INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > STEREO INPUT CONTROLS There are two types of Signature Stereo Input Channels. The normal type has two jack inputs, normalised so that a single jack or microphone input will operate as a mono input channel (Balance becomes Pan).
• Page 37
  5.1.2: STEREO INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > STEREO INPUT CONTROLS Adjust stereo balance for this channel Adjusts the relative levels of the left and right signals for this channel, effectively adjusting the left-right position of the overall stereo image across the Master Stereo Bus and odd/even Group pairings — according to routing selections.

• Page 38: 3: Fx Return Controls

  CHANNEL CONTROLS > FX RETURN CONTROLS A stereo FX Return channel is fed from the output of its internal FX processor. The Signature 16 has one FX Return channel and one FX processor. The Signature 22 and 22MTX have two. The…

• Page 39
  5.2: AUX MASTER OUTPUT 16, 22, 22MTK User Manual CHANNEL CONTROLS > AUX MASTER OUTPUT The Aux Master Output channel determines the output level of a whole Aux mix (the sum of all Aux contributions). That is, the Aux 1 Master controls the Aux 1 output level, which is the sum of all Aux 1 contributions from the input channels.
• Page 40
  CHANNEL CONTROLS > GROUP MASTER OUTPUT Group Masters control the Group output levels and routing. Signature 16, 22, and 22MTK consoles have four group masters available (post-fader) — with mixes derived from any input channel routed to GRP 1-2 or 3-4. Input…
• Page 41
  Output with their MST buttons. INTERVAL MUTE Mute all channels except Stereo Playback channel 15/16 (Signature 16) or 21/22 (Signature 22/22MTK) A fast way of switching to only the interval or playback source, or similar, without touching any other controls.

• Page 42: Solo And Monitoring

  6.0: SOLO AND MONITORING 16, 22, 22MTK User Manual SOLO AND MONITORING Being able to monitor sources individually is an important tool for the Mix Engineer. PFL allows you to check sources from stage without changing the mix, while AFL allows you to refine Auxiliary Monitor and FX send mixes. The Signature’s Solo and monitoring system allows an engineer to hear either the Master (MST) stereo outputs or any channels currently assigned to the Solo bus, via the headphone output.

• Page 43: Phones Level

  6.0: SOLO AND MONITORING 16, 22, 22MTK User Manual SOLO AND MONITORING Enable the Pre-Fade Listen function Send this input channel’s signal to the Solo Bus — A pre-fade, pre-mute, post EQ signal tap. An active PFL (or AFL) switches the headphone output source to the Solo Bus. Active PFL button red indicator LEDs show active PFLs. Switch the After-Fader Listen function Send this Auxiliary Master output’s signal to the Solo bus from a post-fade tap and switch the headphone output source to the Solo bus.

• Page 44: Usb Operation

  The Soundcraft Signature consoles use USB 2.0 audio streaming for sending and receiving digital audio. The Signature 16 and 22 consoles have a two-track USB system while the Signature 22MTK (Multi-Track) uses a 22-channel system for channel direct inputs and outputs, plus a two-channel sys- tem for the Playback Channel and recording the recording the main LR mix.

• Page 45: Signature 16, 22 Usb

  USB > SIGNATURE 16, 22 The Signature 16 and 22 consoles have 2-track USB input and output functionality. This could be used for recording a mix to a PC or Tablet, for example — or to use a computer as a playback device.

• Page 46: Signature 22Mtk Usb

  7.2: SIGNATURE 22MTK USB 16, 22, 22MTK User Manual USB > SIGNATURE 22MTK The Signature 22MTK console also has Multi-Track (MTK) output and input functionality that allows sending of direct outputs from the input channels and return USB audio channels directly to the input channels.

• Page 47
  7.2: SIGNATURE 22MTK USB 16, 22, 22MTK User Manual USB > SIGNATURE 22MTK USB I/O A USB Standard-B Plug for USB data connection The USB connector above the highest-numbered stereo channel is for audio data connection. Please note, the USB Standard-A plug next to the PHANTOM POWER switch is for powering USB devices only (charging devices, USB-powered lamps, and so on).

• Page 48: Lexicon Fx

  16, 22, 22MTK User Manual LEXICON FX The Signature 16 console has one internal FX processor, and the Signature 22 and 22MTK consoles have two (FX 1, FX 2) — with dedicated internal send and return routing. There are 22 different FX algorithms available, each with two adjustable parameters mapped to the PARAM 1 and PARAM 2 controls.

• Page 49: Fx Control

  8.1 FX CONTROL 16, 22, 22MTK User Manual LEXICON FX > FX CONTROL Because an Internal FX processor has fixed routing, operation is very simple. To use the FX, simply turn up an active input channel’s Aux/FX send control; with the FX TYPE encod- er select an appropriate algorithm and press the encoder to activate; push up the FX Return channel fader. You must ensure that the FX Return output routing is correctly for the application — MST / GRP 1-2 / GRP 3-4. PARAM 1 / PARAM 2 Adjust FX parameters mapped to these controls Different FX algorithms require different parameters for control.

• Page 50: Reverbs

  8.2: REVERBS 16, 22, 22MTK User Manual LEXICON FX > REVERBS Reverberation (or “reverb” for short) is the complex effect created by the way we perceive sound in an enclosed 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 reflected 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.

• Page 51
  8.2: REVERBS 16, 22, 22MTK User Manual LEXICON FX > REVERBS SPRING 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.

• Page 52: Delays And Modulation

  8.3: DELAYS & MODULATION 16, 22, 22MTK User Manual LEXICON FX > DELAYS & MODULATION Delays repeat a sound a short time after it first 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. Modulation effects use a low frequency oscillator to vary frequency, amplitude, and filter parameters over time. SLAP (KARAOKE) Slap echo is a distinctive vocal echo effect heard in classic Rock n Roll, Rockabilly, and other ‘classic’ genres, hence its popularity in Karaoke!
• Page 53
  8.3: DELAYS & MODULATION 16, 22, 22MTK User Manual LEXICON FX > DELAYS & MODULATION LO FI Delay with limited bandwidth that degrades the signal in a pleasing way for a crunchy percussion or any where a lo-fidelity effect will enhance the feel. Parameter 1: Number Of Repeats Parameter 2: Delay Time STUDIO CHORUS…
• Page 54
  8.3: DELAYS & MODULATION 16, 22, 22MTK User Manual LEXICON FX > DELAYS & MODULATION VIBRATO Vibrato is obtained by smoothly modulating the pitch of the signal just sharp and flat of the original at a determined rate. Parameter 1: Modulation Speed Parameter 2: Modulation Depth VIBRAPAN A unique dual voice vibrato effect with a variable phase control for the voices.

• Page 55: Appendix 01: No Sound

  For an internal FX to be heard, there must be a source contribution from a valid input. Increase the level to the FX bus using the Aux/FX control (Aux 4/FX for Signature 16, Aux 4/FX and Aux 5/FX for Signature 22 and 22MTK.

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Посмотреть инструкция для Soundcraft Signature 16 бесплатно. Руководство относится к категории смесители, 12 человек(а) дали ему среднюю оценку 8.7. Руководство доступно на следующих языках: английский. У вас есть вопрос о Soundcraft Signature 16 или вам нужна помощь? Задайте свой вопрос здесь

Soundcraft Signature 16 – это микшерный пульт, предназначенный для использования в различных аудио-системах. Модель Signature 16 была разработана компанией Soundcraft, известным производителем аудиооборудования.

Микшер Soundcraft Signature 16 предлагает 16 входных каналов, что позволяет подключать различные источники аудио сигнала. Каждый канал оборудован микрофонным предусилителем, что гарантирует высокое качество звучания. Кроме того, микшер оснащен EQ-секцией, позволяющей настроить звук в соответствии с требованиями и предпочтениями пользователя.

Интерфейс микшера Soundcraft Signature 16 интуитивно понятен и удобен в использовании. Наличие управляющих регуляторов позволяет быстро и легко настроить уровень громкости, тон и панорамирование каждого канала. Также доступны функции функ-мониторинга и FXуборки, которые обеспечивают более эффективное управление аудиосигналом.

Корпус Soundcraft Signature 16 выполнен из прочных материалов, обеспечивающих долговечность и надежность устройства. Компактные размеры и портативность делают его удобным для переноски и использования в различных ситуациях. Также микшер предлагает различные порты для подключения внешних устройств и аксессуаров, что расширяет его функциональность и гибкость.

В целом, микшер Soundcraft Signature 16 – это надежное и профессиональное аудиооборудование, которое обеспечит высокое качество звучания и удовлетворит потребности даже самых требовательных пользователей.

Не можете найти ответ на свой вопрос в руководстве? Вы можете найти ответ на свой вопрос ниже, в разделе часто задаваемых вопросов о Soundcraft Signature 16.

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• Page 1: User Guide

  ® User Guide For Soundcraft Signature 16, 22 & 22MTK ®…

• Page 2
  Soundcraft is a trading division of Harman International Industries Ltd. Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor. Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual. No part of this…

• Page 3: Table Of Contents

  2.2: Parts Of The Console 6.0: SOLO AND MONITORING 3.0: INPUTS AND OUTPUTS 3.1: Introduction to I/O 7.0: USB OPERATION 3.2: Console Inputs 7.1: Signature 16, 22 USB 3.3: Console Outputs 7.2: Signature 22MTK USB 3.4: Other I/O 4.0: CONSOLE ROUTING 8.0: LEXICON FX 4.1: Mono Input Channel…

• Page 4: An Introduction To Signature

  INTRODUCTION TO SIGNATURE Drawing on over 40 years experience in live sound mixing, the Signature Series combines a superb analogue control surface with the unrivalled British sound of Soundcraft in a powerful, compact, professionally spec’d mixer. Built tough for trouble-free performance night-after-night, Signature Series mixers deliver great sounding results thanks to high-grade Ghost®…

• Page 5: The Signature Legacy

  40-year legacy of producing outstanding perfor- mance tools. This console incorporate classic analogue designs, approved by Engineers. Ghost® pre-amps The Soundcraft Ghost console’s ProMic mic pre-amp is known for it’s ultra-low noise and high headroom, making high gain settings possible, without compromising signal integrity.

• Page 6: Sapphyre Asymmetric Eq

  Soundcraft Sapphyre Asymmetric EQ The Soundcraft Signature console uses a special Asymmetric EQ first developed for the renowned Soundcraft Sapphyre console. This EQ makes both creative and functional tonal shaping of your signal simple and intuitive — an EQ that works the way music does. The shelving bands of the EQ (LF and HF) use a slight boost at the EQ’s frequency when cutting, and a slight cut when boosting.

• Page 7: Safety

  This unit is capable of operating over a range of mains voltages as marked on the rear panel. The internal power supply unit contains no user serviceable parts. Refer all servicing to a qualified service engineer, through the appropriate Soundcraft dealer. 1.1: INTRODUCTION > SAFETY…

• Page 8
  Soundcraft dealer. • 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 liability whatsoever for any loss or damage caused by service, maintenance or repair by unauthorised personnel.
• Page 9
  1.1: SAFETY 16, 22, 22MTK User Manual INTRODUCTION > SAFETY WARNINGS 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 amplifier or headphones, can damage hearing over time. Please take care when working with your audio —…

• Page 10: Warranty

  Equipment or the defective component should be returned to the Dealer or to Soundcraft and subject to the following conditions the Dealer or Soundcraft will repair or replace the defec- tive components. Any components replaced will become the property of Soundcraft.

• Page 11: Specifications

  — Signature 22MTK: 11.36kg Power Consumption Unit Dimensions (W × H × D) — Signature 16: <80VA — Signature 16: 630mm x 595mm x 210mm — Signature 22: <100VA — Signature 22: 750mm x 630mm x 210mm — Signature 22MTK: <120VA — Signature 22MTK: 750mm x 630mm x 210mm 1.3: INTRODUCTION >…

• Page 12: Getting Started

  GETTING STARTED — AN INTRODUCTION TO THIS MANUAL Anyone with minimal audio experience should be able to operate the Soundcraft Signature console without reading too much of this manual, though we do recommend you take the time to go through it.

• Page 13: Introduction To Consoles

  2.1: CONSOLE INTRO 16, 22, 22MTK User Manual GETTING STARTED > INTRODUCTION TO MIXING CONSOLES The main function of a mixing console is to combine different audio inputs and independently adjust the levels of those contributions to the mix. With this very basic functionality you can control and balance any kind of audio from a one-man-band to an orchestra.

• Page 14: Parts Of The Console

  2.2: PARTS OF THE CONSOLE 16, 22, 22MTK User Manual GETTING STARTED > PARTS OF THE CONSOLE The diagrams show different sections of the Signature console and describes those functions. After that are more detailed descriptions of the console sections and references to the relevant chapters in this manual.

• Page 15
  Refer to Sections 4.2 and 5.2 for more detail. Stereo Input Channels Signature 16, 22, and 22MTK consoles have two types of stereo inputs. One offers the option of a mono microphone/line level input by using either the XLR or Left/Mono Jack Input as well as stereo Jack inputs;…
• Page 16
  2.2: PARTS OF THE CONSOLE 16, 22, 22MTK User Manual GETTING STARTED > PARTS OF THE CONSOLE Aux Output Masters Aux (Auxiliary) Master output channels control the output level of the auxiliary bus and global pre-fade/ post-fader switching. AFL switching allows aux master solos. Refer to Sections 4.5 and 5.5 for more detail. Group Output Masters The Group Output Master channels control routing and output level for the Group busses.
• Page 17
  GETTING STARTED > PARTS OF THE CONSOLE Lexicon FX Control Signature 16 has a single internal Lexicon FX processor and send/return bus for adding FX such as reverb, delay, Chorus, Rotary, LoFi, Tape emulation, and more. Signature 22 and 22MTK have dual processors and send/return paths.

• Page 18: Inputs And Outputs

  3.0: INPUTS AND OUTPUTS 16, 22, 22MTK User Manual INPUTS AND OUTPUTS The physical inputs and outputs on the Signature console are varied, and together with the Ghost mic preamps, dbx® limiting, and Hi-Z inputs provide a flexible scheme for any sources you might encounter. To get the most out of the Signature I/O, read this chapter carefully. 3.0: INPUTS AND OUTPUTS…

• Page 19: Introduction To I/O

  The small line-level connector commonly found on consumer playback equipment. RCA inputs Hi-Z are provided for the 15/16 (Signature 16) and High Impedance. Guitar pick-ups generally have 21/22 (Signature 22 / 22MTK) stereo input ‘high impedance’ outputs and therefore require channels (Playback Channels).

• Page 20: Console Inputs

  3.2: CONSOLE INPUTS 16, 22, 22MTK User Manual INPUTS & OUTPUTS > CONSOLE INPUTS Console inputs can be used for a wide variety of sources. For best results always use the appropriate input connection. Mic Input — XLR Input connection for microphones using standard XLR connection (Pin-2 hot) When using condenser microphones, you can switch on 48V phantom power for these connections on the right hand side of the console (the 48V button).

• Page 21: Console Outputs

  3.3: CONSOLE OUTPUTS 16, 22, 22MTK User Manual INPUTS & OUTPUTS > CONSOLE OUTPUTS The console outputs offer a range of connection options depending on the application. Always consider carefully the best output and routing strategy for your particular application. MST L / MST R Master Left and Right outputs, XLR connectors These are impedance-balanced line level outputs (pin 2 signal).

• Page 22: Other I/O

  The console outputs offer a range of connection options depending on the application. Always consider carefully the best output and routing strategy for your particular application. USB — Signature 16 and 22 USB data connection for audio input and output USB input (USB channels 1 and 2) are summed with the RCA input signal on the highest-numbered stereo input channel.

• Page 23: Console Routing

  4.0: CONSOLE ROUTING 16, 22, 22MTK User Manual CONSOLE ROUTING Understanding the facilities a console offers for routing and controlling audio is an important step in learning how to operate the console most effectively. This Section uses simple flow diagrams and short descriptions to describe the various signal paths and routing options for all channel and bus types. If you have never operated a similar console before, it is worth digesting all these options before you use the console in a critical application.

• Page 24: Mono Input Channel

  4.1: MONO INPUT 16, 22, 22MTK User Manual CONSOLE ROUTING > MONO INPUT All mono input channels have the choice of XLR (mic) and Jack (Line) balanced inputs; the two highest numbered mono channels have Hi-Z input switches for the line inputs while channels 1 and 2 incorporate switchable input limiters.

• Page 25: Stereo Input Channel

  4.2: STEREO INPUT 16, 22, 22MTK User Manual CONSOLE ROUTING > STEREO INPUT There are two types of Stereo input channel. The lower-numbered stereo input channels have microphone inputs and Jack inputs and can be used as mono input channels (odd-numbered input) if required.

• Page 26: Fx Return Channel

  4.3: FX RETURN 16, 22, 22MTK User Manual CONSOLE ROUTING > FX RETURN An FX Return channel is a special stereo input channel is fed from the output of the internal FX processor. An FX Return channel can contribute to any Aux bus (EXCEPT its own source), and to the Master and Group busses — as per mono and stereo input channels.

• Page 27: Aux Master Output

  4.4: AUX MASTER 16, 22, 22MTK User Manual CONSOLE ROUTING > AUX MASTER Aux busses sent directly out of the corresponding Aux outputs, and are globally switchable between pre- and post-fade sources. That is, an Aux mix that is taken ‘pre-fade’ (before the input channel fader) is not affected by the input channel fader levels.

• Page 28: Group Master Output

  4.5: GROUP MASTER 16, 22, 22MTK User Manual CONSOLE ROUTING > GROUP MASTER The Group Master Outputs are derived from the post fade, post pan sum of input channels routed to the corresponding Group busses (1-2 and 3-4 switches). The Group Masters can contribute to the Master Left/Right Bus. A useful example of this in practise might be where a group of related input channels (drum mics, backing singers, and so on) are mixed relative to each other, then routed to GRP 1-2 (but not to MST).

• Page 29: Master Stereo Output

  4.6: MASTER STEREO OUTPUT 16, 22, 22MTK User Manual CONSOLE ROUTING > MASTER STEREO OUTPUT The Master Stereo output is derived from contributions to the Master (MST) Stereo Bus. You can choose to route input channels to the Master Stereo Bus using the input channel MST buttons. 4.6: MASTER STEREO OUTPUT ROUTING…

• Page 30: Channel Controls

  5.0: CHANNEL CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS There are three types of Signature console input channels: Mono Input, Stereo Input, and FX Return. The output channel types are the Auxiliary (Aux) Master Outputs, the Master Stereo Outputs, and the Group (GRP) Master Outputs.

• Page 31: Input Controls

  5.1: INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > INPUT CONTROLS Input channels take sources and route/process them. The sources catered for by the Signature consoles includes mono (single channel) sources, stereo sources, and internal sources (the FX Return channel).

• Page 32
  5.1.1: MONO INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > MONO INPUT CONTROLS PHANTOM POWER 48V Apply a DC voltage of 48V to all microphone inputs This button is found on the right of the console near the headphones level control, not on the channel strip. With phantom power on, you should use only balanced sources in the console’s XLR microphone inputs.
• Page 33
  5.1.1: MONO INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > MONO INPUT CONTROLS HPF 100Hz Activate the High Pass Filter The High Pass Filter (HPF) is an 18dB/Octave filter that attenuates frequencies below 100Hz. This can be useful for filtering out low ‘rumble’ from microphones affected by extremely low traffic noise, air flow, and so on.
• Page 34
  5.1.1: MONO INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > MONO INPUT CONTROLS LF Level Adjust the boost/attenuation of the low frequency shelving filter The LF shelving filter has a fixed frequency of 60Hz. Frequencies below this will be boosted or attenuated depending on the control setting. With this Sapphyre asymmetric EQ, there is a small boost at the filter frequency on cut and a small cut on boost.
• Page 35
  5.1.1: MONO INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > MONO INPUT CONTROLS PEAK & MUTE LED Lights when signal reaches peak level or shows that the channel is muted The Peak LED is a warning light to let you know when the signal is nearing maximum headroom. The peak detection source is taken from a number of key points in the signal path (see section 4.1) where gain is used: After the High Pass Filter, post EQ, and post Fade.
• Page 36
  5.1.2: STEREO INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > STEREO INPUT CONTROLS There are two types of Signature Stereo Input Channels. The normal type has two jack inputs, normalised so that a single jack or microphone input will operate as a mono input channel (Balance becomes Pan).
• Page 37
  5.1.2: STEREO INPUT CONTROLS 16, 22, 22MTK User Manual CHANNEL CONTROLS > STEREO INPUT CONTROLS Adjust stereo balance for this channel Adjusts the relative levels of the left and right signals for this channel, effectively adjusting the left-right position of the overall stereo image across the Master Stereo Bus and odd/even Group pairings — according to routing selections.

• Page 38: 3: Fx Return Controls

  CHANNEL CONTROLS > FX RETURN CONTROLS A stereo FX Return channel is fed from the output of its internal FX processor. The Signature 16 has one FX Return channel and one FX processor. The Signature 22 and 22MTX have two. The…

• Page 39
  5.2: AUX MASTER OUTPUT 16, 22, 22MTK User Manual CHANNEL CONTROLS > AUX MASTER OUTPUT The Aux Master Output channel determines the output level of a whole Aux mix (the sum of all Aux contributions). That is, the Aux 1 Master controls the Aux 1 output level, which is the sum of all Aux 1 contributions from the input channels.
• Page 40
  CHANNEL CONTROLS > GROUP MASTER OUTPUT Group Masters control the Group output levels and routing. Signature 16, 22, and 22MTK consoles have four group masters available (post-fader) — with mixes derived from any input channel routed to GRP 1-2 or 3-4. Input…
• Page 41
  Output with their MST buttons. INTERVAL MUTE Mute all channels except Stereo Playback channel 15/16 (Signature 16) or 21/22 (Signature 22/22MTK) A fast way of switching to only the interval or playback source, or similar, without touching any other controls.

• Page 42: Solo And Monitoring

  6.0: SOLO AND MONITORING 16, 22, 22MTK User Manual SOLO AND MONITORING Being able to monitor sources individually is an important tool for the Mix Engineer. PFL allows you to check sources from stage without changing the mix, while AFL allows you to refine Auxiliary Monitor and FX send mixes. The Signature’s Solo and monitoring system allows an engineer to hear either the Master (MST) stereo outputs or any channels currently assigned to the Solo bus, via the headphone output.

• Page 43: Phones Level

  6.0: SOLO AND MONITORING 16, 22, 22MTK User Manual SOLO AND MONITORING Enable the Pre-Fade Listen function Send this input channel’s signal to the Solo Bus — A pre-fade, pre-mute, post EQ signal tap. An active PFL (or AFL) switches the headphone output source to the Solo Bus. Active PFL button red indicator LEDs show active PFLs. Switch the After-Fader Listen function Send this Auxiliary Master output’s signal to the Solo bus from a post-fade tap and switch the headphone output source to the Solo bus.

• Page 44: Usb Operation

  The Soundcraft Signature consoles use USB 2.0 audio streaming for sending and receiving digital audio. The Signature 16 and 22 consoles have a two-track USB system while the Signature 22MTK (Multi-Track) uses a 22-channel system for channel direct inputs and outputs, plus a two-channel sys- tem for the Playback Channel and recording the recording the main LR mix.

• Page 45: Signature 16, 22 Usb

  USB > SIGNATURE 16, 22 The Signature 16 and 22 consoles have 2-track USB input and output functionality. This could be used for recording a mix to a PC or Tablet, for example — or to use a computer as a playback device.

• Page 46: Signature 22Mtk Usb

  7.2: SIGNATURE 22MTK USB 16, 22, 22MTK User Manual USB > SIGNATURE 22MTK The Signature 22MTK console also has Multi-Track (MTK) output and input functionality that allows sending of direct outputs from the input channels and return USB audio channels directly to the input channels.

• Page 47
  7.2: SIGNATURE 22MTK USB 16, 22, 22MTK User Manual USB > SIGNATURE 22MTK USB I/O A USB Standard-B Plug for USB data connection The USB connector above the highest-numbered stereo channel is for audio data connection. Please note, the USB Standard-A plug next to the PHANTOM POWER switch is for powering USB devices only (charging devices, USB-powered lamps, and so on).

• Page 48: Lexicon Fx

  16, 22, 22MTK User Manual LEXICON FX The Signature 16 console has one internal FX processor, and the Signature 22 and 22MTK consoles have two (FX 1, FX 2) — with dedicated internal send and return routing. There are 22 different FX algorithms available, each with two adjustable parameters mapped to the PARAM 1 and PARAM 2 controls.

• Page 49: Fx Control

  8.1 FX CONTROL 16, 22, 22MTK User Manual LEXICON FX > FX CONTROL Because an Internal FX processor has fixed routing, operation is very simple. To use the FX, simply turn up an active input channel’s Aux/FX send control; with the FX TYPE encod- er select an appropriate algorithm and press the encoder to activate; push up the FX Return channel fader. You must ensure that the FX Return output routing is correctly for the application — MST / GRP 1-2 / GRP 3-4. PARAM 1 / PARAM 2 Adjust FX parameters mapped to these controls Different FX algorithms require different parameters for control.

• Page 50: Reverbs

  8.2: REVERBS 16, 22, 22MTK User Manual LEXICON FX > REVERBS Reverberation (or “reverb” for short) is the complex effect created by the way we perceive sound in an enclosed 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 reflected 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.

• Page 51
  8.2: REVERBS 16, 22, 22MTK User Manual LEXICON FX > REVERBS SPRING 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.

• Page 52: Delays And Modulation

  8.3: DELAYS & MODULATION 16, 22, 22MTK User Manual LEXICON FX > DELAYS & MODULATION Delays repeat a sound a short time after it first 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. Modulation effects use a low frequency oscillator to vary frequency, amplitude, and filter parameters over time. SLAP (KARAOKE) Slap echo is a distinctive vocal echo effect heard in classic Rock n Roll, Rockabilly, and other ‘classic’ genres, hence its popularity in Karaoke!

• Page 53
  8.3: DELAYS & MODULATION 16, 22, 22MTK User Manual LEXICON FX > DELAYS & MODULATION LO FI Delay with limited bandwidth that degrades the signal in a pleasing way for a crunchy percussion or any where a lo-fidelity effect will enhance the feel. Parameter 1: Number Of Repeats Parameter 2: Delay Time STUDIO CHORUS…
• Page 54
  8.3: DELAYS & MODULATION 16, 22, 22MTK User Manual LEXICON FX > DELAYS & MODULATION VIBRATO Vibrato is obtained by smoothly modulating the pitch of the signal just sharp and flat of the original at a determined rate. Parameter 1: Modulation Speed Parameter 2: Modulation Depth VIBRAPAN A unique dual voice vibrato effect with a variable phase control for the voices.

• Page 55: Appendix 01: No Sound

  For an internal FX to be heard, there must be a source contribution from a valid input. Increase the level to the FX bus using the Aux/FX control (Aux 4/FX for Signature 16, Aux 4/FX and Aux 5/FX for Signature 22 and 22MTK.