Soundcraft LX7 ii 16ch RW5674


LX7 ii 16ch 16 channel 7 bus professional audio mixer ( 16+4/4/3 )

INPUTS:
MONO INPUT CHANNEL

Mic Input

A balanced XLR connector accepts balanced or unbalanced mic signals.

Line Input
The balanced 1/4" jack allows connection of balanced or unbalanced electronic instruments, such as keyboards.

+48V Phantom Power
+48V Phantom Power is available switched in blocks of 4 for condenser mics and active DI boxes.

Input Stage
LX7 iis exclusive GB30 padless mic preamp provides up to +15dBu input capability with the input gain control operating between 5dB and 60dB on all mic inputs.

High Pass Filter

A steep 18dB per Octave High Pass Filter is included straight after the preamp to reduce low frequency rumble on stage and clean up vocal performances.

Insert
A pre-fade, pre-EQ (but post-HPF) insert point is provided for patching in Limiters, Graphic Equalisers or other signal processors. It may also be used for recording.

Direct Outputs
A direct output is also available on all but the last 8 channels with individual pre/post fader switching situated in the EQ section. This allows LX7 ii direct outputs to be equally useful for effects send applications or multitrack tape feeds.

EQ Section
LX7 ii new GB30, 4 band equaliser section is based on that used in the high-end MH Series. Both the HF and LF shelving sections have steeper slopes than usual which substantially reduces mid frequency harshness in the HF band and muddiness in the LF. This increase in cleanliness of response is further enhanced by an element of undershoot and overshoot in the boost/cut response. It has two swept mid frequencies carefully selected for optimum control during live performances. All bands provide 15dB of cut or boost. The Low frequency equaliser response shelves at 80Hz. The swept Lo Mid control operates between 80Hz and 1.9kHz. The swept Hi Mid control operates at frequencies between 550Hz and 13kHz. The fixed High frequency equaliser response shelves at 13kHz.

EQ Switch
The EQ section can be bypassed using the EQ switch, allowing comparison of treated and untreated sounds without having to reset controls.

Auxiliary Sends
6 flexible auxiliary sends allow the choice of either monitor or effects orientated mixes. Auxes 1-4 are normally post-fader, post-EQ but can be switched in pairs from each channel to be pre-fader, post-EQ. Auxes 5 and 6 are always post-fader, post-EQ. In this way a maximum of 4 pre-fader foldback mixes or 6 post-fader effects sends are possible.

Level Control and Routing
Each input channel can be routed to Mix, the separate Centre (Mono) bus, and/or any of the 4 Groups in pairs.

Pan Control
Turning the pan control full left or right enables odd or even groups or the left or right Mix bus to be accessed individually.

Solo/PFL
Each channel can be soloed pre-fader, post-EQ to check gain levels.

PFL LED
The PFL indicator LED also doubles as a PEAK indicator, illuminating 4dB before clipping occurs to make the maximum headroom available.

100mm Fader
Professional-grade 100mm faders provide accurate, consistent control of audio levels and have superb cut-off performance.

STEREO INPUT SECTION
Two stereo inputs allow stereo sources such as CD players, keyboards or samplers to be connected. Alternatively, they may be used as sophisticated effects returns.

Connections
2 balanced pairs of line inputs allow the stereo inputs to be accessed. Plugging in the left jack only will feed a mono source to both paths.

Input Gain control
A rotary control provides 22dBu of gain range to boost even the weakest line-level signals.

EQ Section
The two band High and Low frequency EQ sections provide 15dB of boost or cut at 12kHz and 80Hz respectively.

Auxiliary Control
The stereo inputs have access to either Auxes 1 & 2 or 3 & 4, by toggling the 3-4 switch.

Solo/PFL
Inputs can be soloed pre-fader, post-EQ and routed direct to Mix, or to the Group immediately below each input strip. A rotary control governs signal level.

INPUTS
Soundcraft founder Graham Blyth explains the development of his GB30 designs:
GB30 MIC PREAMP
It is particularly important in live applications to have a mic preamp that has a well controlled overload response. Many preamp designs achieve excellent THD figures by wrapping tons of negative feedback around the front end. Unfortunately, these topologies tend to behave badly under overload conditions, creating an untidy and muddy sound. The new preamp in the LX7 ii achieves excellent performance figures by using local linearisation techniques rather than global feedback, together with a wide frequency response and excellent phase linearity. All these factors result in an exemplary preamp for all applications.

OUTPUTS AND MASTER:
GROUP SECTION
Group Outputs
Each Group has an impedance-balanced ¼ inch jack output connector, allowing long cable runs on stage.

Insert Points
Pre-fade insert points are provided on each Group for the connection of Limiters, Graphic Equalisers or other signal processors.

Auxiliary Outputs
There are 6 impedance-balanced jack outputs for the Auxiliary outputs.

Auxiliary Masters
Six rotary controls govern Auxiliary send level. Each Auxiliary may be soloed after the fader.

Group Metering
Four 12-segment Peak reading bargraph meters display Group output levels.

100mm Group Faders
The Group faders provide 10dB of extra gain above the zero mark, whilst still ensuring smooth operation. Each pair of Groups may be routed to Mix.

MASTER SECTION
Connections
3 impedance-balanced XLR connectors cater for the Mix and C (Mono) Outputs, with a balanced XLR input allowing talkback microphones to be connected. Two control room outputs for engineer monitoring are available on impedance balanced ¼ inch jacks.

2TRK Inputs
A pair of unbalanced -10dBv phono connectors labelled 2TRK allow pre-show music to be replayed.

Talkback Section
Once connected, the engineers talkback mic can be routed to Aux 1-2, Aux 3-4 or the Mix by momentary action switches. A rotary control governs talkback level.

Stereo Returns
Two stereo returns are provided for use with effects units, or as simple stereo instrument inputs. The rotary controls govern level and are automatically routed to Mix.

CONTROL ROOM SECTION
The control room section allows the engineer to monitor either the 2-track return, the C (Mono) Bus, the Mix, or either pair of Groups via the control room outputs or headphones. A headphone jack is provided for use with headphones with impedances of 100 Ohms or greater. Both the control room and 2-track return levels can be altered using the associated controls. It is also possible to replace the Mix output signal with the 2-track return by pressing 2 TRK TO MIX OUT. This allows easy playing of pre-show music at a single button press, without having to make any alterations to the band’s settings.

Metering
A 12-segment bargraph meter normally displays Mix output levels, but switches to display Group, C (Mono) output or 2-track levels when the appropriate control room selection is made. If any input or Auxiliary master is soloed then the PFL/AFL LED illuminates, and the master meters show PFL/AFL levels instead.

100mm Master Faders
Mix and C (Mono) Output levels are controlled by custombuilt 100mm long throw faders. The Mix outputs may be routed to the C (Mono) bus should only a mono PA be required, or an induction loop need to be fed.

PSU indicators
The LEDs illuminate if LX7ii is powered up, showing the status of the +/-17v voltage rails used within the console.

Integral Power Supply
The LX7ii is fitted with a high-efficiency SMPS design (Switched Mode Power Supply) unit that makes for cooler operation and lighter weight. The PSU is capable of accepting a wide range of AC input voltages without any internal or external switch changes.

TYPICAL SPECIFICATIONS:
Frequency response XLR input to any output . . . . . +0/-1dB, 20Hz-20kHz
T.H.D. & noise All measurements at +10dBu output, 30dB gain.
XLR input to Direct output . . . . . . . . . . . . . . . . . . . . . <0.007% @ 1kHz
XLR input to Mix output . . . . . . . . . . . . . . . . . . . . . . . <0.008% @ 1kHz
Mic input EIN 22Hz-22kHz bandwidth unweighted . . <-128dBu (150? source)
Mic gain Min . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5dB
Max . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60dB
Bus noise
Mix output,
32 channels routed . . . . . . . . . . . . . . . . . . . . . . . . . <-85dBu
16 channels routed . . . . . . . . . . . . . . . . . . . . . .. . . . <-88dBu
Group output
32 channels routed . . . . . . . . . . . . . . . . . . . . . . . . . .<-85dBu
16 channels routed . . . . . . . . . . . . . . . . . . . . . . . . . .<-88dBu
Aux output,
32 channels routed . . . . . . . . . . . . . . . . . . . . . . . . . .<-88dBu
16 channels routed . . . . . . . . . . . . . . . . . . . . . . . . . .<-91dBu
Crosstalk @ 1kHz Input channel muting . . . . . . . . . . >98dB
Input fader cutoff . . . . . . . . . . . . . . . . . . . . . . . . . . . >98dB
Input pan pot isolation . . . . . . . . . . . . . . . . . . . . . . . . >82dB
Mix routing isolation . . . . . . . . . . . . . . . . . . . . . . . . . . >98dB
Group routing isolation . . . . . . . . . . . . . . . . . . . . . . . .>98dB
Adjacent channel isolation . . . . . . . . . . . . . . . . . . . . .>100dB
Group-Mix crosstalk . . . . . . . . . . . . . . . . . . . . . . . . . .<-84dB
Aux send off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-94dB
CMRR Mono input measured at max gain . . . . . . . . . .typically 80dB @ 1kHz
Input & output Input channel mic input . . . . . . . . . . . . +15dBu max
levels Input channel line input . . . . . . . . . . . . . . . . . . .+30dBu max
Stereo inputs & insert returns . . . . . . . . . . . . . . . . . . +20dBu max
All outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +20dBu max
Nominal operating level . . . . . . . . . . . . . . . . . . . . . . . .0dBu
Headphone power . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 x 250mW into 200 ohm phones
Input & output Mic input . . . . . . . . . . . . . . . . . . . . . . . .2k ohms
impedances Line inputs . . . . . . . . . . . . . . . . . . . . . . . >10k ohms
Input channel insert return . . . . . . . . . . . . . . . . . . . . . 5k ohms (with EQ in, otherwise
worst case 1.8k?)
Mix, Group, Aux outputs . . . . . . . . . . . . . . . . . . . . . . .150 ohms
Insert sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 ohms
Recommended headphone impedance . . . . . . . . . . . .50-600 ohms
High pass filter (Mono input) 100Hz, 18dB per octave
EQ (Mono input) HF . . . . . . . . . . . . . . . . . . . . . . . . . . .13kHz, +/-15dB, 2nd order shelving
Hi-Mid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .550Hz-13kHz, +/-15dB, Q=1
Lo-Mid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Hz-1.9kHz, +/-15dB, Q=1
LF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Hz, +/-15dB, 2nd order shelving
Metering 6 tri-colour 12-segment LED bargraphs
Power consumption AC mains supply (internal PSU) 85V-270V AC,
50/60Hz universal input
Power consumption . . . . . . . . . . . . . . . . . . . . . . . . . . .Less than 50W
Weight 16 channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.2kg (40lbs)
24 channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21.8kg (48lbs)
32 channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25.4kg (56lbs)
Operating conditions Temperature range . . . . . . . . . . . -10ºC to +30ºC
Relative humidity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .0% to 80%

Reviews


LX7 ii 16ch RW5674 - Add to Facebook LX7 ii 16ch RW5674 - Digg This! LX7 ii 16ch RW5674 - Add to Stumbleupon LX7 ii 16ch RW5674 - Add to Reddit LX7 ii 16ch RW5674 - Add to Google Bookmark LX7 ii 16ch RW5674 - Add to your favourites

Soundcraft LX7 ii 16ch RW5674 - Sound and Light

  Thursday 28 March 2024       


Sound & Light News
^

No further information - 0 LX7 ii 16ch RW5674