Experience Counts

Sometimes there’s just nosubstitute for experience. Livesound puts special demands on

both equipment and personnel, becausethere’s no second take, and becauseanything less than total reliability canmean disaster. Then there’s the physicalpunishment of touring, the need to workin a wide variety of environments.After 23 years of designing and buildingmixers for professional live sound,Soundcraft has earned a reputation that’ssecond to none, because we listen to

engineers at the cuttingedge, and take notice.

The K2 is our mostcost-effective fully-

featured 8-bus liveconsole ever, taking

advantage of Soundcraft’s

long experience in live sound to deliver,in a straightforward package, all thefacilities you need for a first-rateproduction.The K2 includes many features that you’dexpect only on a much bigger console –like an advanced solo system, true left-centre-right busing, a built-in matrix, andfull 4-band EQ – equipping it for a rangeof applications from touring with bands,to fixed installations in theatres, clubs, orplaces of worship. The desk is available ina choice of four frame sizes from 24 to48 mono input channels, with anadditional eight stereo input channels. Itsspecially designed steel monocoque frameprovides excellent physical protection forall audio circuitry, based around discretevertical PCBs. Sound quality is assured through the use

of circuits based on classic Soundcraftdesigns such as the award-winningEuropa and Vienna. The advanced pre-amp delivers superb low-noiseperformance no matter whatyou throw at it. Thesweepable high-pass filteroffers more control overlow frequency problemsignals than any othercomparable design. The 4-bandEQ offers the precision required to correctproblems in the mix, and the gentle tonalcontrol required in sweetening.A built-in VU meterbridge provides clearmetering of output levels in all lightingconditions, and there are pre-fade inputmeters next to each fader. The channelmuting provides the flexibility of bothmute groups and snapshot automation, as

well as MIDI-controlled muting.Despite all this, however, the K2 isthoroughly straightforward in use. Weknow all too well that, even in low light,

it must be immediately clearhow to adjust channel EQor FX send levels, or soloa particular channel. Thechannel layout, the

colour and size of rotary pots,and the facia graphics have

all been designed with this in mind. So,whether you’re familiar with Soundcraftdesks or not, the clear layout andattention to ergonomic detail ensuresthat you’ll be confident and fully incontrol.When you choose an 8-bus live console,choose one that’s been designed bysomeone who knows what they’re doing.

Take control of your mix

The K2 offers facilities and qualitydemanded by top engineers andproductions, yet makes it as

simple as possible to use. Functionality,simplicity and quality are to be foundthroughout the K2.

SOUND QUALITYAs soon as you plug your first input intothe K2, you know you’re dealing withsomething special. All mono inputs havethe same high-quality input stage as theSoundcraft Vienna and Europa, anadvanced low noise circuit that canhandle mic or line level signals withoutusing a signal-degrading ‘pad’. The Rangeswitch removes a gain stage when

dealing with line level signals. Thisreduces noise

by keepingthe signal

path asdirect as

possible whilstsetting the appropriate input sensitivity.An 8-segment LED meter next to thefader provides simple input levelmonitoring so that gain can be correctlyset. Inputs are via high-quality XLRs andjacks, mounted securely on the steelmonocoque for reliability.

SOUND CONTROLSoundcraft has always beenwell known for qualityfilter and EQfacilities, andthe K2 breaksnew groundby including aswept 20-400Hz high-pass filter,previously onlyfound on top-end liveconsoles. Perhapsone of the mostunderrated facilities on a livemixer, a good HPF allows problemlow frequency signals to be easilyremoved without using up a valuable EQband. The main EQ section features adevelopment of Soundcraft’s classic 4-band EQ, with two swept mids andshelving high and low bands. Thanks toswitchable Q on the mid bands, pluscarefully chosen frequency ranges andfilter shapes, this provides the perfectbalance of corrective ability and creativecontrol – whether you’re mixingrock’n’roll, or speech and effects in atheatre.

Onboth stereoinput channelsand stereo FX returns, youcan vary the stereo width frommono through standard stereo to phase-enhanced ‘super wide’ stereo, opening upmore creative possibilities in mixing.

EASE OF USEThe K2’s advanced solo system means youcan troubleshoot a mix quickly and

cleanly, witha minimum of

button-pushing. InAutocancel mode,

hitting any solo buttoncancels any existing solos

and gives immediate pre-fadelisten for that channel only. Solo-

in-place is also available, enablingany input to be heard in its correctpan position, with effects.Best of all, “the allimportant solo button”is located where it can easily befound in an emergency, at the bottomof the channel strip, with no othercontrols to catch a wayward finger.The eight aux sends each have individuallevel pots – there are no shared controlsto cause confusion – and are switched

pre/post fade in pairs.Even the channel faders

have been designed toenhance ease of use: with

increased resolution around unitygain, your fader adjustments produce

precise and predictable results.

FLEXIBLE SIGNAL ROUTINGThe K2’s input modules and mastersection are based around a consolearchitecture designed for maximumflexibility. In addition to the monochannels, all K2 consoles come with fourstereo input channels, for stereo linelevel sources, or extra effects returns. Amono Centre output is providedalongside the main left and right output,allowing for centre cluster or sub-bass

system feeds. There are insertpoints on channels, groups andthe output buses, fordynamics or EQ processors.

To make the four stereoeffects returns as versatile as

possible, each features 2-bandEQ and two aux sends. The desk iscompact and clearly laid-out, yet a full11 x 4 matrix section is located abovegroups 5-8, making it easy to set upadditional feeds for auxiliary speaker

systems, monitormixes, or broadcast orrecording feeds.Even without thematrix, however, the eight sub-groupsand eight aux sends can accommodate awide variety of foldback, effectssend/return, and speaker feeds. You caneven swap signals between aux send potsand sub-group faders, for easier controlof foldback mixes. The powerful mute system covers allchannels, returns, sub-groups and matrixoutputs, combining the flexibility ofmute groups with snapshots of theconsole’s mute status. It also talks MIDI –each snapshot memory can be recalled byand can generate MIDI program changemessages. Again, ease of use is a priority,with Active and Preview buttons thatallow you to preview a snapshot at aglance before recalling it.

ChannelsMono Input Channel

The K2’s input stage, using the samecircuit as the Europa and Vienna, hasbeen designed to handle a wide rangeof signals with minimal noise. Theelectronically balanced XLR input canaccept mic or line level signals, withthe sensitivity controlled by theRange switch (-2dBu to -70dBu,+10dBu to -20dBu). The circuit isentirely active, with no performance-degrading pad. A high impedanceelectronically balanced jack inputsocket will accept line level signals.Phase reverse and phantom powerswitching are provided on everychannel.The swept high pass filter is a secondorder (12dB/octave) type, offeringeffective low-frequency attenuationacross its range of 20-400Hz. Thisallows signals to be cleaned upwithout using a valuable EQ band.The channel insert is by defaultimmediately after the filter andbefore the EQ, but can be re-configured by internal jumpers toappear post-EQ.The 4-band EQ is based onSoundcraft’s classic live EQ, withshelving high and low bands and twoswept mids. The high and low bandsoffer ±15dB of cut/boost at 12kHzand 60Hz respectively. The low midsection offers ±15dB of cut boost at60Hz to 1kHz, with Q switchablebetween 1.3 and 2.7. The high midsection offers ±15dB of cut boost at400Hz to 10kHz, with Q switchablebetween 1.3 and 2.7. An EQ in/outswitch is provided.Individual send controls are providedfor all eight auxes, which are switchedpre/post-fade in pairs. Internaljumpers set the aux source relative tomute, EQ and insert. The channel direct output, on a jacksocket, is fed either directly from thechannel fader or from the aux 8 potvia the DIR button.Routing buttons address eight sub-groups in pairs, and the main stereobus, via a pan control, and a centre(mono) bus independent of pan.The high-quality 100mm channelfader offers 10dB of gain when fullyraised, with an expanded scale aroundthe critical 0dB mark for precise levelcontrol.The channel mute, switched by thechannel Mute switch or the MIDImute system, mutes all feeds from theinput channel. The Preview LED allowsediting and checking of mute groupsand snapshots without affecting theaudio passing through the channel. The electronically-latching Solobutton switches the pre-fader post-EQ signal to the monitor/phonesoutput. If Solo-In-Place mode isselected in the master section then allother input channels are muted whensolo is selected, allowing the channelto be auditioned with effects androuting in place.An 8-segment LED peak-readingbargraph meters the signal at theinput amplifier. The Peak LED monitorsthe input amplifier, EQ output andpost-fader output signals, providing6dB warning before clipping.Mono input options:Transformer balanced XLR input.

Stereo Input Channel

Four of these full-length stereo inputchannels are fitted to all frame sizes,in addition to the full complement ofmono inputs.Left and right line inputs are onelectronically balanced jacks. The leftinput can be used as a mono input tothe channel, feeding both sidesequally. The phase of the left channelonly can be inverted with the Phaseswitch.The Sens knob adjusts input sensitivityfrom +10 to -20dBu.The Width control alters the stereoimage from mono, through normalstereo, to phase-enhanced ‘superstereo’.The 3-band EQ offers shelving highand low frequency bands, with ±15dBat 12kHz and60Hz, and a swept midband with ±15dB variable from 300Hzto 3kHz, and a Q of 1. An EQ in/outswitch is provided.A stereo insert provides anunbalanced pre-EQ pre-fadersend/return via two jack sockets. The eight aux sends are switchedpre/post-fade in pairs. Internaljumpers set whether they are pre orpost-EQ, and whether they are stereosends (left feeds odd sends, rightfeeds even) or a mono sum.A 100mm fader sets the channeloutput level.The post-fade post-balance signal isfed to the main stereo bus, or to theeight subgroups in pairs – left feedsodd channels, right feeds even. Themono bus uses a post-fade mono sum.The channel mute, switched by thechannel Mute switch or the desk mutesystem, mutes all feeds from the inputchannel. The Preview LED allowsediting and checking of mute groupsand snapshots without affecting theaudio passing through the channel. The electronically-latching solobutton switches a mono sum of thepre-fader post-EQ signals to themonitor/phones output. If Solo-In-Place mode is selected in the mastersection then all other input channelsare muted when solo is selected,allowing the channel to be auditionedwith effects and routing in place.The Mute Safe switch protects thechannel from muting if anotherchannel is soloed, or from the MIDImuting system.Options:Transformer balanced/multi-pinconnection.

Group/FX Return Section

Group modules 1-4 each include a fullstereo return section, with 2-bandshelving EQ (60Hz and 12kHz, ±15dB),and the same type of Width control asthe stereo input channels. Two auxsend pots access either auxes 1 & 2 orauxes 3 & 4, selected by a push-button. The stereo signal is sent to themain stereo bus, or the eight sub-groups in pairs, via a balanced controland 60mm fader. An internal jumperselects either pre or post-fade sourcefor the auxes (default is post).The FX return solo button offers monoPFL, or stereo solo-in-place. Therecessed mute safe switch protects theinput from being muted during solo-in-place operations on other inputs.The FX return can be muted directlyfrom the input, or via the MIDImuting system.Each sub-group module includes oneof the eight aux master sends, feedingan electronically balanced output onthe rear panel. AFL solo is provided.The Swap button redirects themodule’s sub-group and aux bussignals, such that the aux signal nowflows through the long throw fader,its meter and its insert point (seebelow), and the sub-group signalflows via the rotary fader. This allows,for example, an aux send to be usedas a monitor feed, with fader controland graphic EQ insert.The sub-group master output is via a100mm fader and pan pot, feedingthe master stereo bus and/or themono centre bus. A rear panel insertpoint is provided.The integral meter overbridgecontains 11 backlit VU meters for theeight subgroup outputs, and the mainleft, right and centre outputs. Aswitch at the top of the sub-groupmodule allows any of the FX returnsto be metered instead.

Matrix/Sub-group Section

Sub-groups 5-8 each include a fullmatrix mixing capability, allowing amono feed to be derived from a mixof the eight subgroups, and the left,right, and mono output signals. EachMatrix output has AFL solo andmuting facilities. The four outputsappear on electronically balancedXLRs on the rear panel.A switch at the top of the sub-groupmodule allows any of the matrixoutputs to be metered instead of thesub-group.

Master Section

The oscillator generates a sine wavesignal or pink noise, routed to allbuses and via a balanced jack output.Sine wave frequency is variable from63Hz to 10kHz, and level is variablevia a rotary fader.A dynamic talkback mic can beplugged into the front panel XLR.Talkback signal is routed via a rotarypot and the appropriate button toauxes 1-4, auxes 5-8, the eightgroups, or an external line level XLRoutput. This includes a DC switchingsignal for use as an intercom withother Soundcraft consoles.The 2-track return section routeseither of two rear panel stereo inputsto the main mix bus, via a rotary levelcontrol. A recessed switch selects -10dBV or +4dBu for the balancedrear panel jacks.The global solo controls affect howthe solo system operates. The SIPEnable button selects stereo solo-in-place for all inputs rather than monoPFL or AFL. Enabling Autocancelensures that whenever a solo buttonis pressed, all other desk solos arecancelled. Otherwise, several solos canbe selected at once. The Solo Clearbutton removes all solos instantly. TheSolo/AFL trim control gives ±10dB ofadjustment on the solo signal in themonitor/phones output.The stereo monitor output andheadphones output are fed via therotary level control with a signalderived from the master stereo busunless any signal is soloed, in whichcase this replaces the master stereosignal.Two 100mm faders control the left,right, and centre output levels, in oneof two ways. Either the faders controlleft and right levels respectively, withthe centre bus fixed at unity gain, orthe left-hand fader controls theleft/right stereo level signal, and theright-hand fader the mono level. Arecessed switch determines the fadermode. Insert points are provided forleft, right and centre buses.

Mute Control Section

The Mute section allows the creationof eight mute groups and up to 128mute snapshots, and also thegeneration and reception of MIDIprogram change messages. The Dump In and Out buttons allowthe memory contents to betransferred and stored via MIDISystem Exclusive data.The Active and Preview buttons selecttheir respective mute modes. In Activemode, recalling any mute snapshotwill immediately override all existingdesk mutes. In Preview mode, nosettings are changed when a snapshotis recalled, and the snapshot-s mutestatus is indicated by flashing thePreview LEDs on all appropriate Mutebuttons. Snapshots can also be editedand re-stored in this mode. Mutegroups can also be checked in thisway, again without disturbing theaudio.The 3-digit 7-segment LED displayallows selection and display ofsnapshot number and, together withthe Up/Yes & Down/No buttons, andMIDI channel and Program Changebuttons, the adjustment of theseother parameters.Store and Recall are used to createand recall mute snapshots.Illuminated buttons are provided foractivating each mute group.A mute group is created by selectingthe channels required by pressingtheir mute buttons; this can be donein Preview mode, if it is necessary toavoid muting the audio in thechannels. The Store button is thenheld down whilst selecting the desiredmute master button, to save thegroup. Once programmed, mutegroups can be selected in anycombination – overlapping groups ispossible.The MIDI control capability gives anumber of benefits: program changessent from the K2 allow an external FXrack to select the relevant patches fora particular scene, or conversely theK2’s mute snapshots can beautomatically recalled by anotherpiece of equipment such as a lightingdesk. Each mute switch on the K2generates MIDI Note On messageswhen unmuted. This provides an idealway of triggering sound effects froma MIDI sampler, allowing the sampleto be triggered when the appropriateinput channel is unmuted.

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Swap switch.Normally, the group bus signal passesthrough the insert point and fader to thegroup output, and the aux signal goes viathe rotary pot to its output.When the Swap button is pressed, the auxsignal passes through the insert and fader,then back to its output. The group signalgoes via the rotary pot.The GRP to L-R and matrix feeds alwaysstay with the group signal.

GRPBUS

AUXBUS

SWAP

INSERT

GRP TO MTX

GRP TO L-R

GRPO/P

AUXO/P

SWAP

EQ Curves

Level Diagram

20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.020 100 1k 10k 20k

dB

Frequency/Hz

Mono Input EQ

LF HF

LO MID(HI Q & LO Q

both shown)

LO MID(HI Q & LO Q

both shown)

HI MID(HI Q & LO Q

both shown)

HPF shownas dotted

lines

HI MID(HI Q & LO Q

both shown)

LO MID Sweep Range

HI MID Sweep Range

20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.020 100 1k 10k 20k

dB

Frequency/Hz

FX Return EQ

LF HF

20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.020 100 1k 10k 20k

dB

Frequency/Hz

Stereo Input EQ

LF

HF

MID

MID Sweep Range

MID

Architect’s Specification

The Mixing Console shall be constructed in arigid, monocoque frame, and shall be availablein 24, 32, 40 and 48 input sizes. All internalPCBs shall be individual for each channel. Themixing console shall provide eight auxiliarysends, eight mono subgroups, as well as stereoand mono (centre) master outputs. A MuteScene Set system shall be included, enablingup to 128 scenes to be stored and recalled,with eight mute groups. The console shall beprovided with four Stereo Inputs, four FXReturns, Master Section and MIDI Scene SetSection. There shall be a fully flexible matrixsystem.

The console will be supplied with a separateCPS275 19" rack-mounting power supply orequivalent.

The Mono Input shall have the followingfeatures; an electronically balanced low-impedance input via an XLR socket and high-impedance input on a three-pole balanced jackwith a continuously variable gain giving asensitivity range of -2dBu to -70dBu (high gainrange) and -20dBu to +10dBu for high levelinputs, switchable 48V phantom power, a 20 -400Hz High-pass filter and phase switch. A by-passable 4-band semi-parametric equalisershall be provided with shelving response HFand LF controls with cut-off points at 12kHzand 60Hz, and two mid-frequency controlscovering the range of 400-12kHz and 40Hz to1.2kHz with a switched Q of 1.3 or 2.6. Allbands shall have a cut and boost of 15dB(centre detented). Eight auxiliary sends shall beprovided with individual level controls andpre/post fader switching in pairs with internalselection to pre-insert, pre-mute and pre-fade.The direct output shall be switch-selectablefrom post-fade or from the Aux 8 pot. Routingto the eight subgroups shall be post-pan, inpairs via switches. The pan control also feedsthe stereo mix bus via the mix switch. Routingto the mono (centre) mix shall be via aseparate switch. Solo and Cut switches shallcontrol the main signal path and allow theprefade signal to be monitored at all times. An

8-segment LED meter and a separate peakindicator shall be provided, plus a Preview LEDto indicate the mute status of each channel forthe previewed scene or mute group. There shallbe a pre-EQ insert point using a jack.The Stereo Input shall have the followingfeatures; stereo line level input on balancedjacks with a continuously variable gain rangegiving a sensitivity of -20dBu to+10dBu and awidth control to vary the image from mono toa phase-enhanced stereo, a by-passable 3-band equaliser with shelving HF and LFoperating at 12kHz and 60Hz and a midcontrol covering the range of 300-3kHz with aQ of 1, all controls having 15dB of cut andboost. Access to all eight auxiliaries shall bepossible with paired switch selection of pre andpost fader, all the auxiliaries shall be internallyselectable to be fed with a mono sum of leftand right, or to operate as stereo pairs. A100mm fader, and illuminated Cut switch withPreview LED, a stereo balance control androuting switches to the main mix, mono(centre) mix and 8 subgroup buses shall beprovided. An 8 segment LED meter, Peak LEDand illuminated Solo switch will allowmonitoring at all times.

Eight Group Outputs, eight Aux Outputs, fourFX Returns and four Matrix Outputs shall beprovided, using four combined FXReturn/Aux/Group master channels and fourcombined Matrix/Aux/Group master channels.The Group Master sections shall each have a100mm fader, an illuminated Cut switch and apreview LED. The Group output shall beroutable to he main mono (centre) bus via aswitch, and to the main stereo buses via a panpot and a switch. It shall have an insert pointvia a jack. Each Aux Master section shall have arotary fader and an illuminated AFL switch.There shall also be a Swap switch which willroute the Aux Master signal through the Grouppath and vice versa. The metering shall followthe linear fader. Each FX Return module shallhave width and balance controls, two-bandshelving EQ, a 60mm linear fader, routing to alleight groups and the mix buses, illuminated

Cut and Solo switches and two Aux sendsproviding access to either Aux 1 and 2 or 3 and4. There shall also be a Meter Select switchwhich allows the appropriate meter to monitorthe FX return signal instead of the Group/Auxoutput. Each Matrix Module shall receive acontribution from each of the 8 groups, Mix L,R and mono (centre). The Matrix Moduleoutput shall be controlled by a master rotaryfader with associated illuminated Cut and AFLcontrols. The Output shall be electronicallybalanced. There shall also be a Meter Selectswitch which allows the appropriate meter tomonitor the Matrix Output signal instead ofthe Group/Aux output.

The Master Module shall have 2 x 100mmmaster faders which may be selected to controlL and R or L/R and mono (centre) outputs, SoloClear, Solo-in-Place and Auto Cancel selection,Talkback microphone socket and switching,oscillator and monitor controls.

The console will have an overbridge asstandard, with 3 large VU meters to monitorLeft Mix, Right Mix and mono (centre)Mix/AFL/PFL; it will also have 8 smaller VUmeters to monitor Group/Aux Outputs, FXreturns and Matrix Outputs.

The MIDI Scene Set section shall be capable ofstoring up to 128 scenes comprising mono andstereo input, group and matrix mutes, andMIDI Program changes. A three-digit LEDdisplay shall be used to show scene number,MIDI channel or program change for thecurrent or preview scene. Eight preset buttonsshall be used to assign mute groups. A Previewfacility shall be provided which will display themute status of the console for any scene ormute group without affecting the audio mutes.Presetting of external devices shall be possiblevia MIDI Program Changes and Note On/Offdata.

The dimensions and specifications shall be aspublished on the rear cover of this brochure.The console shall be the Soundcraft K2.

Rear Panel Connections

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

SOUNDCRAFT US1449 DONELSON PIKENASHVILLE TN 37217, USA.TEL: 1-615-360-0471FAX: 1-615-360-0273EMAIL: soundcraft-usa@harman.com

Part No. A4; ZL0381US; ZL0382

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

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

K2 Typical SpecificationsConnections Impedance Level

Low Impedance Input (XLR) 1.6kΩ bal. -70dBu to -2dBu (+18dBu max)/-20dBu to +10dBU (+30 max)High Impedance Input (Jack) >10kΩ balanced . . . . . . . . . . . . . . . . . . . -20dBu to +10dBu (+30dBu max)Insert (Jack) Unbalanced Send/Return 75Ω/10kΩ . . . . . . . . . . . . . -2dBu (+21dBu max)Direct Out (Jack) 75Ω ground compensated . . . . . . . . . . . . . -2dBu (+21dBu max into 2kΩ)FX Return (Jack) (+4dBu)>10kΩ balanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +26dBu max

(-10dBV)>10kΩ balanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +12dBV max2 - Trk Input (Jack) (+4dBu)>10kΩ balanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +26dBu max

(-10dBV)>10kΩ balanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +12dBV maxGroup Insert (Jack) Unbalanced Send/Return 75Ω/10kΩ . . . . . . . . . . . . . -2dBu (+21dBu max)Group Output (XLR) 75Ω balanced . . . . . . . . . . . . . . . . . . . . . . . +4dBu (+26dBu max into 1kΩ)Aux Output (Jack) 75Ω balanced . . . . . . . . . . . . . . . . . . . . . . . +4dBu (+26dBu max into 1kΩ)Matrix Output (XLR) 75Ω balanced . . . . . . . . . . . . . . . . . . . . . . . +4dBu (+26dBu max into 1kΩ)L/R/Mono Insert (Jack) Unbalanced Send/Return 75Ω/10kΩ . . . . . . . . . . . . . -2dBu (+21dBu max)L/R/Mono Output (XLR) 75Ω balanced . . . . . . . . . . . . . . . . . . . . . . . +4dBu (+26dBu max into 1kΩ)

EQ and Filter

HP Filter Freq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20-400HzSlope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12dB/Oct

HF Freq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12kHzGain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ±15dB

HMF Freq. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400Hz to 12kHzGain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ±15dBQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.3/2.7

LMF Freq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40Hz to 1.2kHzGain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ±15dBQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.3/2.7

LF Freq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60HzGain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ±15dB

Auxiliaries

1/2, 3/4, 5/6, 7/8 Pre/Post-fade switched

Oscillator

63Hz to 10kHz/Pink Noise variable level

Frequency response

Any input to any output (measured at up to +50dB gain) +0/-0.5dB, 20Hz -20kHz

THD and Noise

High impedance I/P to Group or Mix O/P (measured at +20dBu output) Less than 0.005%THD@ 1kHzMic input EIN (22Hz - 22kHz bandwidth, unweighted) Less than -127dBu (150Ω source)Mix bus output noise (40ch routed) Less than -80dBu

Crosstalk (All measurements at 1kHz)

Channel muting Greater than 90dBChannel routing and Channel fader attenuation and Aux Send attenuation Greater than 80dB

Dimensions (Width/Weight)

CH mm inches kgs lbs

24 1247 49.09 40 8832 1503 59.17 50 11040 1735 68.30 60 13248 1967 77.44 70 154

Note: These figures are typical of performance in a normal electromagnetic environment.Performance may be degraded in severe conditions