Signature 16/22/22MTK User Guide V2.2 (Web Version)
Contents
1. OOOOOOOOOOO lol ee T T l l l l 6 6 OlOLOLOLOL ene of ind pass U a Em Em es EM eS E Please note Most of the illustrations in this manual are based on the Signature 22 console Where there are differences between operation arzan of Signature 16 22 and 22MTK it is noted in YC Ea ar the relevant section SLON F E2 ee oa TA FA ae Ji n al Sa 0 j 0j J 05 ai PR ae _ atb y e EDEM ee Be ma gpa HH IEN IEE PDF If you re reading the PDF version of the manual you can use the thumbnail view and links from the Contents page to navigate quickly For clarity this manual uses section references rather than page numbers In some instances one section reference may extend to several pages 2 0 INTRODUCTION TO THIS MANUAL W Signature 16 22 22MTK User Manual 2 1 CONSOLE INTRO GETTING STARTED gt 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 Most mixers however including the Signature Series offer far more than that A variety of features allow the operator to shape the mix and use routing options to provide the additional conveniences used in audio mixing2. Aux 4 FX amp Aux 5 FX Sends The Aux 4 FX and Aux 5 FX Signa ture 22 and 22MTK only controls set the level of signal sent to both the corresponding Aux Master Outputs and FX processor inputs Singature 22 and 22 MTK use Aux 5 FX as the second FX processor input a RETURN 1 8 0 LEXICON FX gt Signature 16 22 22MTK User Manual 8 1 FX CONTROL LEXICON FX gt 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 When you select a new algorithm those parameters are assigned to the PARAM 1 and PARAM 2 controls For a list of the parameters used for different algorithms please see section 8 2 FX TYPE Select an FX algorithm Press to activate The selected algorithm will be highlighted in white and loaded upon pressing the encoder PARAM 1 and PARAM 2 encoders will be assigned to the appropriate FX parameters Please see section 8 2 for more detailed algorithm FXTYPE descript
3. Check Input Channel Path To Routing If the signal is present on the Solo bus with PFL engaged the problem might be further down the input channel It could be simply that the Mute is active or the fader is down or there could be a problem with the routing For a signal to go to the Main Stereo Bus or to a Group Bus the corresponding routing switch must be engaged MST 1 2 or 3 4 Also a pan or balance control can have a significant effect if the signal is routed to Groups 1 2 for example and the pan control is full left Group 1 you won t hear anything from the Group 2 bus Check Mute and fader status and that the channel routing selections are correct Check Bus Masters If you have routed signal to the Main Stereo bus or a Group bus or you have turned up the channel s contribution to an Aux bus then the master controls for that bus must be set correctly For example if the signal is routed to the Stereo master but the Stereo Master fader is down you won t hear anything Check the controls on any Bus Masters that the signal is routed to No FX 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 Also the signal is return through the corresponding FX Return Channel Troubleshoot this signal path as you would do for a normal input channel Th
4. b e e e e e o ee eee eee m_ m_ me 48V Phantom Power Powers condenser type microphones and DI boxes f GAIN Increase Peak Indicator decrease signal Overload warning The highest numbered Stereo input is a sum of the line level R inputs and the stereo USB input if present This is the playback channel and works with the INTERVAL MUTE function for convenient 2 track playback functionality USB Multi Track Returns MTK Only HPF High Pass Filter For stereo channels with mic inputs Ri in EQ Three band equaliser Stereo input channels have the same routing options as mono input channels Aux bus contributions from stereo channels are made from a sum of the left and right signals MUTE signal break before fader Pre fade Aux source Aux Sends FADER tS EO d j Z To the Aux 1 Group bus contribu Akay a 2 and 3 send tions are balanced busses Post fade panned left and right AUK ed de to the corresponding odd numbered and Balance ROUTING r even numbered Qroup Left Right balance MST LIR a To Master Stereo and Group F EN Za busses Group selection for respectvely In other sli gt Signature 12 and 12MTK only words fully left would signature 12 12MTK be fully Group 1 or Group 3 4 2 STEREO INPUT ROUTING W Signature 16 22 22MTK User Manual A 9 FY RETURN CONSOLE ROUTING gt FX RETURN An FX Return chann
5. Adjust the overall output level of the Group Each group has its own fader for overall level control 5 3 GROUP MASTER OUTPUT W Kn nek 5 4 MASTER STEREO OUTPUT CHANNEL CONTROLS gt MASTER STEREO OUTPUT The Master MST Stereo Output channel determines the output level of the main stereo left and right mix from the MST L and MST R physical outputs Input channels must be routed to the Master Stereo 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 Connect the playback device to the Stereo Playback channel highest numbered stereo channel RCA inputs Engage the INTERVAL MUTE switch when required All other channels are muted NOTE Aux and Group outputs are still active FADER Adjust the overall level of the Master Stereo output 5 4 MASTER STEREO OUTPUT W Be acme Ea 6 0 SOLO AND MONITORING 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 l Bargraph Metering Headphones Output peiie Shows current z Output for main monitoring E a Monitoring signal signal Reco
6. The wide boost prevents prevent harsh resonances and tonal changes that allow for a more pleasing and musical EQ boost The Narrow cut focuses on problematic frequencies for getting rid of resonances rings hums and preventing feedback If this was too wide you could remove too much body creating a thin sound 1 0 2 SAPPHYRE EQ A Signature 16 22 22MTK User Manual 1 1 SAFETY INTRODUCTION gt SAFETY SAFETY NOTICES For your own safety and to avoid invalidation of the warranty please read this section carefully Important Symbols Cautions Alerts the user to the presence of important operating and maintenance servicing instructions in the literature accompanying the appliance Warnings Alerts the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of insufficient magnitude to constitute a risk of electric shock to persons rN THIS UNIT MUST BE EARTHED Under no circumstances should the mains earth be disconnected from the mains lead The wires in the mains lead are coloured in accordance with the following code Earth Green and Yellow Green Yellow US Neutral Blue White US Live Hot Brown Black US As the colours of the wires in the mains lead may not correspond with the coloured markings identifying the terminals in your plug proceed as follows The wire which is coloured Green and Yellow must be connected to the te
7. User Guide ture 16 22 amp 22MTK igna For Soundcraft S Soundcraft by HARMAN Signature 16 22 22MTK User Manual INFORMATION INFORMATION IMPORTANT Please read this manual carefully before using your mixer for the first time This equipment complies with the EMC directive 2004 108 EC and LVD 2006 95 EC This product is approved to safety standards IEC 60065 2005 Seventh Edition A1 2005 EN60065 2006 A1 2006 A1 2008 UL60065 2012 7th Edition CAN CSA E60065 03 A1 2006 And EMC standards EN55103 1 2009 E2 EN55103 2 2009 E2 Warning Any modification or changes made to this device unless explicitly approved by Harman will invalidate the authorisation of this device Operation of an unauthorised device is prohibited under Section 302 of the Communications act of 1934 as amended and Subpart 1 of Part 2 of Chapter 47 of the Code of Federal Regulations NOTE This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to Part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this
8. 1 1 a Adjust the input level highest numbered stereo channel only This gives a adjustment range suitable for the typical stereo line level source for this channel such as a consumer playback device A Aux 1 2 3 4 FX 5 FX Adjust the level of this channel s contribution to the Aux send busses The Aux controls on a stereo input channel work in the same way as for a mono input channel Please note how ever a stereo input channel s contribution to an auxiliary bus is a mono sum of the channel s left right signals AUX 1 2 PRE POST Switch Aux 1 and 2 sources post fader for the Playback Channel only The highest numbered stereo inout channel Aux 1 and 2 sends can be individually switched post fader This is useful where for example the Aux 1 2 outputs are being used for pre fade stage monitors By switching the playback incidental of interval music for example to post fader musicians will be able to hear the playback music when it is faded up and still allow the console operator to hear the channel on PFL without it being heard in a monitor PINS PAN BAL Adjust Pan or Balance stereo position or relative Left right levels When the stereo input channel is being used as a mono input channel no Jack in the channel s Right input the Pan Balance control acts as a Pan control levels to left and right or odd even groups proportional to the control s position which will change the stereo position of the sin
9. SOON AO ee eee a bimp m r ST j my d Pie SS he afore The controls are shown in the order they appear on the console channel Strip from top to bottom This is not necessarily signal path order Please refer to the relevant signal path diagram section 4 Controls common to all input channel types are documented in the Mono Inout Channel controls section 5 1 1 Controls or explanations specific to Stereo input channels and the FX Return Channels are documented in those sections 5 1 2 and 5 1 3 respectively 5 1 INPUT CONTROLS gt br deda 5 1 1 MONO INPUT CONTROLS CHANNEL CONTROLS gt 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 TERT With phantom power on you should use only balanced sources in the console s XLR microphone inputs Balanced ie dynamic microphones for example will be unaffected Condenser microphones normally require phantom gt power and it is sometimes used to power active circuitry in other devices such as DI boxes LIMITER Activate the input limiter The Signature s dbx Limiters uses fixed time constants and threshold with high ratio compression to tame signal peaks and prevent audio clipping You can purposefully drive the limiter by turning up the Gain until the limi
10. a ddd rii 3 0 INPUTS AND OUTPUTS P Signature 16 22 22MTK User Manual 3 1 INTRO TU 1 0 INPUTS amp OUTPUTS gt INTRODUCTION TO I O The Signature console offers a choice of industry standard audio inputs and outputs All Jack and XLR inputs are balanced Below are some terms used in this manual and on the console labelling that may be of use to you AUX Auxiliary Output An output bus made up of the summed Aux contributions from input channels In other words the AUX1 output will be a mix of all input channel signals with levels controlled by the AUX1 controls on the individual input channels Auxiliary mixes are used for many purposes alternative mixes for monitoring processing by external FX units and more Balanced A Balanced signal Balanced Line is one where the signal is split between two conductors with the same impedance impedance to ground At a differential input the differences between the two conductors are amplified so any noise aquired between output and input is rejected common mode rejection GRP Group An output bus made up of the summed contri butions from any inputs routed to the Group For example all inouts with their 1 2 buttons pressed will be added to the GRP1 and GRP2 mixes The pan balance control determines how the signal is proportioned between the Group 1 and Group 2 busses
11. equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures Reorient or relocate the receiving antenna Increase the separation between the equipment and the receiver Connect the equipment into an outlet on a circuit different from that to which the receiver is connected Consult the dealer or an experienced radio TV technician for help For further details contact Harman International Industries Ltd Cranbourne House Cranbourne Road Potters Bar Hertfordshire EN6 3JUN UK Telephone 44 0 1707 665000 Fax 44 0 1707 660742 email soundcraft harman com Harman International Industries Ltd 2014 All rights reserved Parts of the design of this product may be protected by worldwide patents Part No 5056808 Rev 1 0 E amp OE September 2014 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 manual may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic electrical mechanical optical chemical including photocop
12. 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 Signals generally flow through the console from an input channel then as a mix onto a bus Aux Group Stereo Solo and through an output master Master Stereo Output Group Master Output Aux Master Output Monitor Headphones Output For more basic descriptions of the main routing functions see section 2 1 Introduction To Consoles 4 0 CONSOLE ROUTING 4 Signature 16 22 22MTK User Manual 4 1 MONO INPUT CONSOLE ROUTING gt MONO INPUT Microphone Console inputs m ee e eB ew ew e x ew x eB a ew a x ee ew x oh e ew ew ew o ew a ee ee ee 48V Phantom Power Powers condenser type microphones and DI boxes GAIN Increase oe decrease signal Peak Indicator Overload waming High Pass Filter filter out low ima EE frequencies Limiter Selected channels Hard knee compression EQ Four band equaliser MUTE signal break before fader FADER Level control to mix and post fader source PAN Left Right mix a Hi Line Input wee ew ew ew ew x l i _
13. source s contribution to an effect is proportional to its contribution to the mix The Aux source can be swtiched Pre or post as per normal Aux send i Adjust the signal s stereo position and group routing Pan determines both the signal s position on the Master MST Stereo output and the amount of signal sent to odd numbered left and even numbered right group outputs For example with a channel s 1 2 and MST routing switches engaged turning the control right puts more of the signal in the right MST channel AND i Wy the Group 2 bus Turning the control fully right will route the signal fully to the right hand master channel AND the pers Ak Group 2 bus MUTE Mute the signal This is a ore fade mute and so does not affect the USB send on the Signature 22MTK console However it will mute all Aux bus contributions as well as Master Stereo and Group contributions When a channel is muted the Peak amp Mute LED will light 5 1 1 MONO INPUT CONTROLS J Signature 16 22 22MTK User Manual 9 1 1 MONO INPUT CONTROLS Aly A is CHANNEL CONTROLS gt MONO INPUT CONTROLS PEAK amp 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
14. the High Pass Filter post EQ and post Fade If a signal is amplified past the limits of the console s headroom then clipping noise will occur PFL Route the signal to the Solo bus and mute any channels not routed to the Solo bus With a PFL enabled the headphone output will switch to the Solo Bus Please see section 6 for more detail FADER Adjust signal level The Fader adjusts level between infinity no signal to 10dB The OdB line indicates unity no level change Faders are the primary mixing tools during performance the relative levels of the inout channel faders across the console determine the Master Stereo MST and Group GRP mixes as well as providing the source for post fade Aux Mixes GRP 1 2 3 4 Route the channel output to Group busses The channel s PAN control determines the proportion of the signal across group pairs MST Route the channel output to the Master left right bus The Pan Balance controls proportion the signal to the left and right Master bus channels 5 1 1 MONO INPUT CONTROLS W BG name 5 1 2 STEREO INPUT CONTROLS CHANNEL CONTROLS gt 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 NOTE Controls common to all input channel types are shown in the Mono Input Chan nel control list 5
15. 2 and 22MTK have dual processors and send return paths Each Effect has two adjustable parameters Refer to section 8 0 for more detail Power Indicator POWER Lights Green when console is powered Use the power switch on the rear underside of the console to power it on and off It is good practise to turn the output level down first in case this affects any connected Speakers USB Power Socket USB POWER For attaching powered chargeable USB peripherals such as a USB powered LED lamp or a mobile phone Not for data There is a 500mA current limit on this connection Global Phantom Power Switch PHANTOM POWER of 45V Applies 48V phantom power to the console microphone inputs so you can use Condenser Capacitor microphones active DI boxes and so on See section 5 1 for more detail Headphones Level Control PHONES LEVEL Level control for the monitoring output either the Master Stereo Output or the Solo Bus See section 6 0 for more detail 2 2 Parts Of The Console jj Signature 16 22 22MTK User Manual 3 0 INPUTS AND OUTPUTS 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 Za j a ar z R USE SEND l mr n a IE AUK 1 2 Par lar pi
16. 22MTK User Manual 1 0 INTRODUCTION 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 preamps the most musical EQ in the business pristine Lexicon effects and powerful dbx dynamics all designed to let you discover your Signature sound Soundcraft Ghost Mic Preamps Class leading performance with high headroom wide dynamic range and superb signal to noise ratio Soundcraft Sapphyre British EQ Famed for its musical sound and unmistakable British quality Soundcraft GB audio routing Flexible pre post switching on each Aux and subgroups with powerful routing and switching options as well as dedicated outputs dbx Limiters High performance high ratio Compressors on selected input channels Hi Z instrument inputs Switchable input stage optimised for acoustic guitars electric guitars and basses e Award winning Lexicon effects Studio grade Reverbs Delays Choruses and Modulations designed to add a truly professional edge to your productions e USB Digital Audio USB digital I O for direct connection to Digital Audio Worksta tions and digita
17. A plate reverb combined with chorus effect to thicken up the reverberant field Parameter 1 Decay Time Parameter 2 Modulation Speed HALL amp DELAY A hall reverb combined with a delay effect Parameter 1 Decay Time Parameter 2 Delay Time PLATE amp DELAY A plate reverb combined with a delay effect Parameter 1 Decay Time Parameter 2 Delay Time 8 2 REVERBS W Kr A 1 3 DELAYS amp MODULATION LEXICON FX gt DELAYS amp 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 Parameter 1 Number Of Repeats Parameter 2 Delay Time DELAY 2 SEC Basic delay algorithm with up to two seconds delay time Parameter 1 Number Of Repeats Parameter 2 Delay Time DELAY MOD The modulated delay is enhanced by an LFO low frequency oscillator that produces a chorusing effect on the delay repeats This is a great delay for guitar and instrument passages that need that special something Parameter 1 Number Of Re
18. CC Rules These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instruction manual may cause harmful interference to radio communications Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the inter ference at his own expense This Class A digital apparatus meets the requirements of the Canadian Interference Causing Equipment Regulations Cet appareil num rique de la Classe A respecte toutes les exigences du R glement sur le mat riel brouilleur du Canada NOTE The packaging in which your console arrived forms part of the product and must be retained for future use 1 1 INTRODUCTION gt SAFETY W Signature 16 22 22MTK User Manual 1 2 WARRANTY INTRODUCTION gt SAFETY WARRANTY 1 Soundcraft is a trading division of Harman International Industries Ltd End User means the person who first puts the equipment into regular operation Dealer means the person other than Soundcraft if any from whom the End User purchased the Equipment pro vided such a person is authorised for this purpose by Soundcraft or its accredited Distributor Equipment means the equipment supplied with this manual 2 If within the period of t
19. For FX 2 Signature 22 and 22MTK only Aux 5 FX Sends control input channel contributions to both the FX 2 processor and the Aux 5 output An FX Return channel is a hard wired stereo return channel for the output of the FX processor Signature 22 and 22 MTK consoles have two FX Return channels one for each processor REVERB DLY MOD S 4 ROOM DEILAY 2 SEC A a ATE DILAYT MOD i MA oo i j eB Se a an 2 ROOM MOG sits ree a uu EAR MiN MAX MIN MAX L F Zede Ta j REVERE DLY MOD N Si i e im j a H 3 da me Tuz i iN ROOM DELAY F SECI OTTOON a B Ne Ji PLATE DELAY MOD RODA MDD TAPE L awel Khan and uza Pasa xomal an U A LAY j 4 Fi mm iL PEATE MOD LOH i T ERN z E Ram E REW TE E 4 PLATE amp DELAY WIRRAPAN oe he awa HI S y n ZIL RN n ne i GATE MODRAN CHORUS HALL amp CHORUS TREMOLO ni ROTARY J VIBRATO FLATE amp DELA VWIBRAPAR ASPR 2 EXTYPE Lexicon FA Processor An internal FX processor with Stereo outputs and a variety of reverb delay modulation and combination algorithms Two parameters are Ve a available for each algorithm The ae Signature 22 and 22MTK consoles WA have two processors EEE Jee FX Return Channel j W jj A stereo input channel whose input Is fed from the output of a Lexicon i i ER yan ni a i ee 1 Zu Kezi EZ KET
20. Group 1 left and Group 2 right Hi Z High Impedance Guitar pick ups generally have high impedance outputs and therefore require a significantly higher than usual input imped ance when plugging them directly into a console straight from the guitar plug not via an amp or a microphone Hi Z Inputs provide this On the Signature console selected inputs have Hi Z input switches to accomodate Hi Z sources Jack This is the long quarter inch connection most commonly used on the signature console for line level inputs and outputs such as keyboards external FX processors playback and recording devices and so on All Signature series Jack sockets are Tip Ring Sleeve 3 pole types Jack outputs are impedance balanced Line For inputs and outputs this refers to a line level signal This is a higher voltage signal than mic level Mic Microphone For inputs and outputs this refers to a mic level input This is a lower voltage signal than line level MST Master Master Stereo Output The main stereo Group output made up of the summed contributions from any inputs routed to MST with their MST buttons RCA The small line level connector commonly found on consumer playback equipment RCA inputs are provided for the 15 16 Signature 16 and 21 22 Signature 22 22MTK stereo input channels Playback Channels USB Universal Serial Bus Standard serial data connection used by the Signat
21. Parameter 2 Modulation Depth 8 3 DELAYS amp MODULATION W Signature 16 22 22MTK User Manual APPENDIX 1 NO SOUND NO SOUND A Troubleshooting Guide Is an input failing to appear at appearing at an output The best approach it is to first make sure the input is valid and then work through the signal path to find out where the break is Check the exact audio path of any signal by referring to the signal path diagrams in Chapter 4 Check Solos If a PFL light on an input channel is lit or the AFL PFL ACTIVE LED below main audio meter then a solo is active and all channels except those that are soloed will be muted This will only affect the headphones output Clear all active Solos by pressing any illuminated Inout Channel PFL buttons and any engaged Aux Master AFL buttons Check Input Channel Path To Solo Bus The channel solo can be very useful here If you Solo the channel it will send a post EQ pre Mute signal to the Solo bus and you should be able to see signal indicated on the main meters or hear it in the headphones Things that might prevent the signal getting that far include a GAIN control set too low phantom power not switched on for a source that requires it condenser microphone active DI etc or an active SUB RTN switch on a channel where there is no USB input MTK models only Check the Input Channel routing diagram Section 4 1 and ensure the channel controls are set up correctly
22. USB channel n where n is the console channel number will replace the analogue inouts post gain ore HPF EQ and the analogue audio path will be broken Please see section 7 for more details db s Adjust the boost attenuation of the high frequency shelving filter The HF shelving filter has a fixed frequency of 12kHz Frequencies above 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 See section 1 02 for more detail A HMF LMF Frequency Adjust the centre frequencies of the High Mid and Low Mid bell type filters The Signature HMF and LMF EQ bands are bell type semi parametric filters This control adjusts the centre fre quency of those bell shapes between 400HZ approximately G3 and 8kHz approximately B8 for the HMF Filter and between 80Hz approximately D 1 and 2kHz approximately B6 for the LMF filter A HMF LMF Level Adjust the boost attenuation of the High and Low Mid bell type filters This will adjust the gain or attenuation of the audio band centred according to the corresponding frequency con trols This is an asymmetric EQ so boost has a wide bandwidth low Q and cut has a narrow bandwidth High Q See section 1 0 2 for more detail 5 1 1 MONO INPUT CONTROLS J eG aa A EEA 1 1 MONO INPUT CONTROLS CHANNEL CONTROLS gt MONO INPUT CONTROLS XU LF L
23. _ m m_ ew eee ee ee ee ee ee ee ee eM m xx HK n USB Multi Track Return MTK Only Hi Z Input Select Available on selected channels CJ Pre fade Aux source oeei To the Aux 1 2 3 4 and 5 send busses Aux 5 Signature 22 22MTK only Post fade Aux source To Master Stereo and Group ROUTING yy busses MST UR GRP 1 28 EE 3 4 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 All Mono input channels can contribute to Aux 1 Aux 2 Aux 3 Aux 4 FX Aux 5 FX on Signature 22 22MTK MST Mas ter Stereo the Solo bus and Groups 1 4 Like the Master Stereo bus contribution Group contributions are sent post pan balance odd numbered groups are left even numbered groups are Right 4 1 MONO INPUT ROUTING W Signature 16 22 22MTK User Manual A 9 STEREO INPUT CONSOLE ROUTING gt STEREO INPUT There are two types of Stereo input channel Microphone a ji i ji ji ni selected channels only Line Input Left Mono Line Input Right 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 On Signature 22 and 22M IK Stereo channel 19 20 doesn t have a mic input
24. applications such as external effects sends stage monitoring outputs independant headphone monitoring and digital inputs and outputs Mix Faders Faders make it easy to see and adjust relative levels They allow you to visualise the mix Input Choice All different microphones and instruments are catered for with mic line and Hi Z input types selections in cluding 48V phantom power for powered condenser capacitor microphones The gain control allows you to optimise the input level Equalisation Examples include the high pass filter on an input to reduce unwanted low frequencies or the three band EQ Equaliser used for tonal shaping of the source Dynamic Processing This is audio processing that affects amplitude volume The Signature console includes a Limiter on selected channels which will prevent the input signal going too high which would in turn cause distortion Output options As well as mixing all the input Source channel into one Master Stereo output you can send particular channels into additional group outputs or create several different aux auxiliary mixes of all channels to send to an FX Effects processor or stage monitor for example The headphone output allows the operator to listen to the whole Main Mix or to a selection of channels via the Solo System Solo Monitor System The solo system allows you to listen only to particular channels or busses through the headphones output so you can foc
25. ating Conditions Temperature Range 5 C to 40 C Input amp Output Levels Mic Input 12 5dBu max Line Input gt 26dBu max Stereo Inputs gt 26dBu max Mix Output 21 5dBu max Headphones 150Q 300mW Input amp Output Impedances Mic Input 1 2kO Hi Z Input 968kO Line Input 10kQ Stereo Input 21 5kO Outputs 1500 balanced 75Q unbalanced USB Audio 16 22 Inputs Outputs 2 in 2 out Bit Depth 16 bit 24 bit Sampling rate 44 1kHz 48kHz 88 2kHz 96kHz 176 4kKHz 192kHz Multi channel USB Audio 22MTK Inputs Outputs 24 in 22 out Bit Depth 16 bit 24 bit Sampling rate 44 1kHz 48kHz Net Weight Signature 16 8 66kg Signature 22 11 06kg Signature 22MTK 11 36kg Unit Dimensions W x H x D Signature 16 630mm x 595mm x 210mm Signature 22 750mm x 630mm x 210mm Signature 22MTK 750mm x 630mm x 210mm 1 3 INTRODUCTION gt SPECIFICATIONS W Signature 16 22 22MTK User Manual 2 0 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 An excellent place to start would be the feature list on the introductory page section 1 0 which will familiarise you with all of the main possibilities facilities and functions
26. ce or repair by unauthorised personnel e WARNING To reduce the risk of fire or electric shock do not expose this apparatus to rain or moisture Do not expose the apparatus to dripping or splashing and do not place objects filled with liquids such as vases on the apparatus No naked flame sources such as lighted candles should be placed on the apparatus Ventilation should not be impeded by covering the ventilation openings with items such as newspapers table cloths curtains etc 1 1 INTRODUCTION gt SAFETY gt Signature 16 22 22MTK User Manual 1 1 SAFETY INTRODUCTION gt SAFETY WARNINGS ADVICE FOR THOSE WHO PUSH THE BOUNDARIES A 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 if you are manipulating controls which you don t understand which we all do when we are learning make sure your monitors are turned down Remember that your ears are the most important tool of your trade look after them and they will look after you Most importantly don t be afraid to experiment to find out how each parameter affects the sound this will extend your creativity and help NOTE This equipment has been tested and found to comply with the limits for a Class A digital device pursuant to Part 15 of the F
27. d EQ Aux sends Pan ee BE e Balance PFL peak indication fader wel eel Gn and routing for two channel sources ae Optional single channel mono ie ea Ve operation on selected channels fon ah ee The highest numbered stereo input channel is the Playback Channel Aux Masters Auxiliary master level and 1 See Interval Mute function 2 global configuration switces Group Masters Group master send level and signal routing switches for signature 12 and 12MTK only x 7 7 e r e y E ka f T j N m a o ii A i af E e n Be ee 3 n t I r i J Bak E Ad j 1 h p L F J i Lr Hevi lt ri Bal L on J F 3 P E r a an oF a ka rasta F r r n OF ary eit zar oe 2 i T pe ee YEM eta ar eka oth i That Fi ri ee asa se a at se 4 J i I i 3 4 l E o nA m mi m 7 u Li Li i t i r ol T pe r N f f i i f n ah 4 4 a h n d Ek o E RE E3 Tiat i i d i 7 T l i E A 2 1 A J i j r R cz i T4 i ie i TA i AH EFE WT 2 2 Parts Of The Console P Kr dk 2 2 PARTS OF THE CONSOLE GETTING STARTED gt PARTS OF THE CONSOLE Inputs amp Outputs The Signature console features a variety of physical inputs and outputs for getting audio in and out of the console XLR Jack and Phono for analogue audio I O and USB for digital audio R
28. e internal FX routing has three stages send processor and return All three must be set correctly for the FX to be heard Nd od i ND ENO RS O 0 NIDYA
29. ec SESEND ee tively so that Aux 1 and 2 controls can be a dedicated USB mix Otherwise the console outputs the Master Left MAT LR amp AUK 124 and Right outputs on USB channels 1 and 2 respectively 7 1 SIGNATURE 16 22 USB W Ar n 7 2 SIGNATURE 22MTK USB USB gt SIGNATURE 22MTK Signature MTK Multi Track USB Input channels always send direct outs to the corrpesponding USB channels USB RTN buttons activate the return for that channel so you can use it as a DAW return insert point or virtual soundcheck 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 This makes it easy to set up multi track recording and monitoring to and from a computer based DAW for example or to run a virtual soundcheck from a previously recorded show Multi Track channels are numbered according to Input Channel numbers so Signature input channels 1 22 use USB audio channels 1 22 The Signature 22MTK Input channels ALWAYS send their post gain pre EQ signal to their respective USB recording channel The 2 track Master Left Right output uses USB channels 23 and 24 and is always active MultiTrack USB input is selectable per channel with the USB RTN button When pressed the USB input channel corresponding to the Signature channel is replaces the normal audio input
30. efer to Section 3 0 for more detail and to section 7 0 for detailed information on USB functionality Note USB functionality for MTK Signature 22MTK and non MTK Signature 16 and 22 are different both types are detailed in section 7 0 Mono Input Channels Mono input channels control the levels routing and EQ on single channel audio inputs All mono input channels have both microphone and line level capability In addition specific channels feature Hi Z inputs for high impedance sources such as guitar pick ups Refer to Sections 4 2 and 5 2 for more detail Stereo Input Channels En ET T E EE xr amp o gt JIN Ann yi i vn 1 a A oO CEH Ji Leet En i a f 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 the other highest numbered stereo channel offers stereo line level phono inputs and is the Playback Channel the Master channel s INTERVAL MUTE function mutes all channels except the Stereo playback channel Refer to Sections 4 3 and 5 3 for more detail FX Return A Signature FX Return channel takes it s input from the output of the internal Lexicon FX processor It is a stereo input channel with aux sends but without input level control or EQ Refer to Sections 4 4 and 5 4 for more detail 2 2 Part
31. el 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 Signature 22 and 22MTK consoles have two FX Return channels as those consoles have two internal FX processors From Aux 4 FX Bus From Aux 5 FX Bus to FX 2 Signature 22 22MTK only Peak Indicator Overload warning PFL Solo source eee Raz MUTE Signal break before fader Pre fade Aux source Aux Sends el a COE gt To the Aux 1 2 and 3 to mix and post send busses On Signature ae ETMAN 22 22MTK FX Return 1 Post fade ak has an Aux 5 FX send and Aux source FX Return 2 has an Aux 4 FX send rijan a MST UR Al iz PA Ze Kacai 3 4 H 5 L k i are To Master Stereo and Group busses 4 3 FX RETURN ROUTING J Signature 16 22 22MTK User Manual A A AUX MASTER CONSOLE ROUTING gt 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 An Aux mix taken post fade after the input channel fader will be based on the fader levels of the contributing input channels The Playback Cha
32. evel 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 See section 1 02 for more detail XU AUX1 AUX2 AUX3 Adjust the level of this channel s contribution to the Aux 1 Aux 2 and Aux 3 busses An Auxiliary bus is asummed alternate mix of any contributing channels In other words for example the console s Aux 1 output will consist of all channels whose Aux 1 controls are greater than infinity off mixed pro portionally according to the relative levels of all the Aux 1 controls You could use this for a stage monitor mix or a Send to an external FX processor for example The source for the Auxiliary bus send can be either post fader or ore fade as set by the button in the Auxiliary Masters section XU AUX4 FX AUX5 FX Adjust the level of this channel s contribution both to the Aux bus as per Aux 1 2 and 3 and the Internal FX processor Signature 22 and 22MTX consoles have two internal FX processors and therefore have an additional Aux FX send Aux5 FX The Aux 4 bus and the FX bus also Aux 5 FX 2 busses for signature 22 22MTK are independant but share the same Send level The source for an FX bus send is always post fader so that a
33. for that channel just after the USB output tap post gain pre EQ 7 2 SIGNATURE 22MTK USB gt r n 7 2 SIGNATURE 22MTK USB USB gt 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 USB RIN Press to use the USB return path for this channel The USB audio channel corresponding to the input channel number will be used instead of the normal channel input The red LED indicator on the button will light to show that the function is active NOTE The analoue input to an input channel will ALWAYS be SENT via the corresponding USB audio channel so you can use a USB SEND gt DAW gt USB RTN path to insert DAW based plug ins into the mixer s channel path 7 2 SIGNATURE 22MTK USB B Signature 16 22 22MTK User Manual 0 0 LEXICON FX 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 For FX 1 Aux 4 FX Sends control input channel contributions to both the FX processor and the Aux 4 output
34. gle source Otherwise the control is a Balance control which adjusts the relative levels of the left and right signals effectively adjusting the left right position of the overall stereo image 5 1 2 STEREO INPUT CONTROLS gt Mr dadi 5 1 2 STEREO INPUT CONTROLS CHANNEL CONTROLS gt STEREO INPUT CONTROLS a 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 GRP 1 2 3 4 Route the channel output to Group busses i The channel s PAN BAL or BAL control determines the proportion of the signal across group pairs ad j m 0 5 1 2 STEREO INPUT CONTROLS W r E n A 5 1 3 FX RETURN CONTROLS GHANNEL GONTROLS gt FX RETURN GONTROLS 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 FX Return channel is a cut down version of the normal stereo channel without trim EQ or an Aux send path back to its own processor s send bus FX Return 1 does not have an Aux4 FX send An example in use might be running a Reverb algorithm in the processor FX 1 for Signature 22 and 22MTX Each individual channel s Aux 4 FX control
35. ical or electrical influences accidental damage Acts of God neglect deficiency in electrical power air conditioning or humidity control 6 The benefit of this Warranty may not be assigned by the End User 7 End Users who are consumers should note their rights under this Warranty are in addition to and do not affect any other rights to which they may be entitled against the seller of the Equipment 1 2 INTRODUCTION gt WARRANTY W Signature 16 22 22MTK User Manual 1 3 SPECIFICATIONS INTRODUCTION gt SPECIFICATIONS TYPICAL SPECIFICATIONS Frequency Response Mic Line In to any Output 1 5dB 20Hz 20kHz T H D Mono Mic Sensitivity 30dBu Input level 16dBu 14dBu Mix output lt 0 002 1kHz Stereo Mic Sensitivity 30dBu Input level 16dBu 14dBu Mix output lt 0 007 1kHz e Noise Mono Mic Input E I N max gain lt 124dBu 1500 source Stereo Mic Input E I N max gain lt 124dBu 1500 source e Crosstalk 1kHz Channel Mute gt 90dB Fader Cut off rel 10 mark gt 90dB Aux Send Pots Offness gt 82dB EQ Mono inputs HF 12kHz 15dB HMF swept 400Hz 8kHz 15dB LMF swept 80Hz 2kHz 15dB LF 60Hz 15dB EQ Stereo inputs HF 12kHz 15dB MF swept 140Hz 3kHz 15dB LF 60Hz 15dB Power Consumption Signature 16 lt 80VA Signature 22 lt 100VA Signature 22MTK lt 120VA Oper
36. ided for your safety When the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet e Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus e Only use attachments accessories specified by the manufacturer e Unplug this apparatus during lightning storms or when unused for long periods of time e Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped e Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When the cart is used use caution when moving the cart apparatus combination to avoid injury from tip over e No naked flame sources such as lighted candles or cigarettes etc should be placed on the apparatus e No user serviceable parts Refer all servicing to a qualified service engineer through the appropriate 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 maintenan
37. ions LAP KARAOKE 8 1 FX CONTROL W Signature 16 22 22MTK User Manual 0 2 REVERBS LEXICON FX gt 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 Even with closed eyes a listener can easily tell the difference between a cupboard a locker room and a large auditorium Reverb is a natural component of the acoustic experience and most people feel that something is missing without it ROOM Room produces an excellent simulation of a small room which is useful for soeech applications Room is also prac tical when used judiciously for fattening up high energy signals like electric guitar amp recordings Parameter 1 Liveliness Parameter 2 Decay Time PLATE The plate reverb algorithm simulates the original plate reverb effect a large thin sheet of metal suspended upright under tension on springs Transducers attached to the plate transmit a signal that makes the plate vibrate causing sounds to appear to be occurring in a large open space Plate reverbs are designed to be heard as part of the music mellowing and thickeni
38. k 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 7 0 USB OPERATION gt r CLUS 7 1 SIGNATURE 16 22 USB USB gt SIGNATURE 16 22 Signature 16 and 22 2 track USB USB channels 1 and 2 are summed to the stereo playback channel 15 16 for Signature 16 21 22 for Signature 22 Choose either the Master Stereo Output or Aux 1 2 for output on USB channels 1 and 2 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 Channels 1 and 2 are received by the Stereo Playback Channel 15 16 for Signature 16 21 22 for Signature 22 There are two USB Send output options to send either the Master Stereo MST output or the Aux 1 and 2 outputs These are sent on USB output channels 1 and 2 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 USB SEND Choose USB Send mode Pe When this switch is depressed the Aux 1and Aux 2 bus outputs will be output on USB channels 1and 2 resp
39. l systems Signature MTK version adds Multi Track functionality e Playback Channel Functions Interval Mute fast switching of playback channel to main out puts plus in dependant Pre Post Aux switching e Built tough for the long haul Robust metal construction and premium quality components Built to withstand the rigours of extensive use 1 0 INTRODUCTION TO SIGNATURE 4 Signature 16 22 22MTK User Manual 1 0 1 SIGNATURE LEGACY SIGNATURE LEGACY The Signature Series consoles bring musicality creativity and technical excellence together thanks not only to new technology and ideas but also to a 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 Sapphyre British EQ The Soundcraft Sapphyre console Asym metric EQ makes both creative and func tional tonal shaping of your signal simple and intuitive The EQ behaves differently in cut and boost making tonal adjust ments musical and focusing cuts where they are needed See section 1 0 2 for more detail GB Routing The GB Console legacy is in Signature s signal routing There is pre post switching for all aux busses plus flexible routing and dedicated outputs for sub gr
40. mended UN Fe levels a Peetance 750 to 2000 e lr lewi le O Oui i A NAK Ji z T rE TE cs TI Can Tj RAS Wi tes tet Kura vive cement ee zanan TE 3E AE 3 rele ERE E WE T lm a Ore acer Leka Independent level control for headphones a j j TEND li Bere te te lt e aa Grrr gagga a in Restore DaN olofo gs CH R CO ier ester Hees jeer Si COC AFL PFL LED oi rk i it ere Lights when any PFL or Oy AFL is active ese et ee ru cere oer uk dil j Gal Sends post fade Aux signal to the Solo Bus j Sends pre fade input Tm rr channel signal to the Solo Bus 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 Pressing a PFL button on an input channel sends that source pre fade pre mute post EQ to the Solo Bus and switches the Headphone outputs source to the Solo bus Pressing an AFL button on an Aux Master output channel sends that source post fade after the ux Master level control to the headphones AFL and PFL selections are cumulative That is pressing more than one PFL or AFL button will add that source to the Solo bus Only when no PFL or AFL buttons are engaged will the headphone output source revert to the Master Left Right Output MST MIO MOWNNIDEV GNI NEO RINCE 4 e
41. n adjust the level of the whole group within the main mix by using the Group 1 and 2 faders From GRP 1 or From GRP 2 GRP 3 bus or GRP 4 bus FADER FADER Group Output Level Group Output Level __ J oll GRP 1 GRP 3 Outputs Physical output for odd numbered group mixes Physical output for nmg MONO Group switch even numbered ONO group mixes e I 6 f E j 7 MST Bus MST Bus switching switching Route to Master Route to Master Bus Left Bus Right 2 To Master To Master Stereo MST Stereo MST output bus output bus left right 4 5 GROUP MASTER ROUTING W Kr ed B 4 5 MASTER STEREO OUTPUT CONSOLE ROUTING gt 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 From Playback From Master channel Stereo Bus post balance INTERVAL MUTE select playback bus channel only FADER Master Left Right output level TS Fr USB Two Track Send LR Ld j To Monitor Headphones Bus MST L amp MST R Outputs Master Left Right outputs 4 6 MASTER STEREO OUTPUT ROUTING B Signature 16 22 22MTK User Manual 5 0 CHANNEL CONTROLS CHANNEL CONTROLS There are three types of Signature console input channels Mono Input Stereo Input and FX Return The output channel types are the Auxiliar
42. ng the initial sound Plate reverbs are often used to enhance popular music particularly percussion Parameter 1 Liveliness Parameter 2 Decay Time ROOM MOD A modulated room reverb Modulated reverbs have can have a lushness or life in the reverberation that while artificial can be very pleasing Parameter 1 Liveliness Parameter 2 Decay Time PLATE MOD A modulated plate reverb Modulated reverbs have can have a lushness or life in the reverberation that while artificial can be very pleasing Parameter 1 Liveliness Parameter 2 Decay Time 8 2 REVERBS A Signature 16 22 22MTK User Manual 0 2 REVERBS LEXICON FX gt REVERBS XA AN n gt SPRING A Spring reverb is created by a pair of piezoelectric crystals one acting as a soeaker 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 Parameter 1 Liveliness Parameter 2 Decay Time GATED A gated reverb uses a threshold setting to abruptly cut off the reverberant field producing a distinctive effect often used on pop percussion Parameter 1 Liveliness Parameter 2 Decay Time HALL amp CHORUS A hall reverb combined with chorus effect to thicken up the reverberant field Parameter 1 Decay Time Parameter 2 Modulation Speed PLATE amp CHORUS
43. nim 6 0 SOLO AND MONITORING SOLO AND MONITORING PFL Enable the Pre Fade Listen function Send this inout 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 AFL 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 PHONES LEVEL Adjust the level of the headphone output The headphone output will either be the Master Stereo Output default or the Solo bus if a Solo is active BARGRAPH METERING Bargraph display of current monitoring headphones signal If a Solo PFL or AFL is active then just like the headphone output meters will display Solo bus levels Otherwise they display the Master Stereo bus levels MST METER PFL AFL LED Lights when a PFL or AFL is active Any active solo will cause this LED to light up Leaving a Solo on is a common cause of monitoring problems Check this LED if the monitoring output is not as expected AFL PFI ACTIVE CROMESO MOP NNIDEVIG NINK SINICHE Signature 16 22 22MTK User Manual 7 0 USB OPERATION 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 trac
44. nnel highest numbered stereo input Aux 1 and 2 sends can be individually switched post fader This is useful where for example the Aux 1 2 outputs are being used for pre fade stage monitors By switching the playback incidental of interval music for example to post fad er musicians will be able to hear the playback music when it is faded up and still allow the console operator to hear the channel on PFL without it being heard in a monitor Aux Masters can contribute to the Solo bus AFL See section 6 for more details From Aux 1 2 3 4 or 5 Aux 9 Signature 22 22MTK only POST fade PRE fade ma PRE POST Select Choose Aux bus source SIEI Erd y M PRRP ra Aux Mst Control Master level control for Aux output AFL Solo source AUX Output Physical output for Aux mix 4 4 AUX MASTER ROUTING W Signature 16 22 22MTK User Manual 4 5 GROUP MASTER CONSOLE ROUTING gt 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 If the Group Masters are then in turn routed to the Master Left Right output you ca
45. ole sections and references to the relevant chapters in this manual F Inputs And Outputs Physical I O for plugging in microphones instruments L i guitars headphones Tal speakers PA MP3 CD ATA playback and a Mac or PC Z A via USB _ Signature 22 and 22 MTK have two processors Signature 16 has one ETL LL Aa Master Stereo Output ma Fader and Interval P Mute playback RW channel override Phantom power Gain HPF three band EQ Aux sends Pan PFL peak indication fader and routing for single i channel sources ace tt yy f Dedicated FX Returns r Stereo return channels for internal Lexicon FX processors a j l J E ma ji Hd ie af ia Ha TEE 5 J ft p yi 1 d d l E E 2 a i i m az as 1s sre j pected ao i R J d 2 i i i 4 i ag i BP n j SY l Wa ii n giim re TY Sy nm y 7 arl a L N cr pm 5 Li i 1 L 1 we mag L A atl rp a a Wa na i Cein N 229922222 Her Mer Sa N E is _ o P B WEK P ae L i J Ta V ni eat k S Ser ye a j eP SN Headphone Level Global j AO Phantom Power switching PIREK a KARE jl Stereo Input Channels USB Power only connect tien Phantom power Gain HPF EREBE ESR Seether three ban
46. oups See section 4 for more detail 1 0 1 SIGNATURE LEGACY gt Signature 16 22 22MTK User Manual 1 0 2 SAPPHYRE El SAPPHYRE 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 HF High Frequency Shelf A slight cut at boost prevents harsh resonance and a slight boost at cut preserves brightness LMF and HMF Mid band bell shape A wide boost prevents harsh resonance and a narrow cut allows precision fixing LF Low Frequency Shelf A slight cut at boost prevents muddiness and a slight boost at cut preserves body 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 For low frequencies a slight cut when boosting prevents muddiness in he signal while a slight boost when cutting enables you to clean up the low end without losing precious punch and body of the signal For the HF shelf a slight cut when boosting prevents harsh resonance at the EQ s frequency and a slight boost before a cut can help maintain brightness while reducing HF The mid bands bell shape have a wide bandwidth low Q when boosting and a narrower band width high Q when cutting
47. peats Parameter 2 Delay Time TAPE In the days before digital tape echoes were created using a special tape recorder in which the magnetic recording tape was looped with closely spaced recording and playback heads The delay effect was created by the tape moving in the space between the record and playback heads while delay time was adjusted by changing the speed of the tape loop Although very musical sounding wow and flutter combined with a significant loss of high frequencies and to some extent also low frequencies are all elements commonly associated with tape echo Parameter 1 Number Of Repeats Parameter 2 Delay Time 8 3 DELAYS amp MODULATION gt Mr A 1 3 DELAYS amp MODULATION LEXICON FX gt DELAYS amp 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 Chorus creates a lush full sound by combining two or more signals together where one is unaffected and the other signals vary in pitch very slightly over time Chorus is commonly used to fatten up tracks and to add body to guitars without colouring the original tone Chorus can also be used with discretion to thicken a vocal track Studio Chorus is a studio quality chorus with a wide stereo image Parameter 1 Modulation Speed Parameter 2 Modula
48. rminal in the plug which is marked with the letter E or by the earth symbol The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L Ensure that these colour codings are followed carefully in the event of the plug being changed This unit is capable of operating over a range of mains voltages as marked on the rear panel 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 gt SAFETY 4 Signature 16 22 22MTK User Manual 1 1 SAFETY INTRODUCTION gt SAFETY WARNINGS Read these instructions Keep these instructions e Heed all warnings e Follow all instructions e Clean the apparatus only with a dry cloth e Do not install near any heat sources such as radiators heat resistors stoves or other apparatus including amplifiers that produce heat e Do not block any ventilation openings Install in accordance with the manufacturer s instructions Do not use this apparatus near water e Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are prov
49. s Of The Console P gt Kr dk 2 2 PARTS OF THE CONSOLE GETTING STARTED gt PARTS OF THE GONSOLE 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 z L dil tl9 The Group Output Master channels control routing and output level for the Group busses Groups 1 and 2 and 3 and 4 outputs can be summed to mono and or routed to the Master Stereo Output Refer to Sections 4 6 and 5 6 for more detail Master Stereo Output n Controls the output level of the Master Stereo bus Includes the Interval Mute function Mute all channels except the Stereo Playback Channel Refer to Sections 4 7 and 5 7 for more detail HILS Metering The meters show the monitoring selection level Master Left Right output level in normal operation or the solo bus when a PFL or AFL is engaged The AFL PFL ACTIVE indicator is below the main meters and lights when any AFI or PFL selection is engaged See section 6 0 for more detail 2 2 Parts Of The Console a br dk 2 2 PARTS OF THE CONSOLE GETTING STARTED gt PARTS OF THE GONSOLE 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 2
50. ter LED lights The Limiter button LED lights when gain reduction is applied GAIN REDUCTION LED Lights when the Limiter is applying gain reduction When the Limiter applies gain reduction the LED will light The LED s light will become more intense as more gain reduction is applied HI Z Switch the line Jack input to Hi Z high impedance mode Activating Hi Z presents a much higher load impedance to the source in order to work more effectively with high impedance sources such as guitar bass and other instrument pick ups that are connected directly to the console Using the standard Z mode on high impedance sources will have a detrimental effect on the high frequency response GAIN Adjust the input gain The Gain range is 5dB to 58d BB It is advisable to listen and or to check the channel Peak LED while increasing gain to avoid distortion due to clipping Before plugging In a new source turn the Gain down to avoid sudden loud noises 5 1 1 MONO INPUT CONTROLS J br E deda 1 1 MONO INPUT CONTROLS CHANNEL CONTROLS gt 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 USB RTN 22MTK only Enable the USB Return function When active the audio on
51. the Master Stereo output MST or the Aux 1 2 output according to selector switch next to USB connector For more detail on this feature please see section 7 USB Signature 22MTK 24 Track I O USB data connection for audio input and output The Signature MTK MultiTrack console uses the USB port to send post gain direct outputs from all inout chan nels and optionally return those channels to the same input channel This is in effect a USB insert or tape return oath for all inout channels USB output channels 23 and 24 are used for the Master Stereo MST output For more detail please see section USB POWER Ezi For attaching powered chargeable USB peripherals 1 w Examples include a USB powered LED lamp or a mobile phone Not for data This connection supplies USB 2 0 compliant 500mA Devices that draw more than this amount should not be connected FOOTSWITCH Connect a TRS foot switch for FX Mute functionality Fx MUTE Various foot switches are available depending on the specific functionality you require Connecting Tip and Ring CMake will mute the internal FX Power A standard IEC60320 C14 male plug for use with a C13 female plug Rated at 110 240V 50Hz 60Hz The Power connector is located on the underside of the Signature console 3 4 OTHER I O i Signature 16 22 22MTK User Manual 4 0 CONSOLE ROUTING CONSOLE ROUTING Understanding the facilities a console offers
52. tion Depth MODERN CHORUS Dual voice chorusing that s both very rich and very smooth Parameter 1 Modulation Speed Parameter 2 Modulation Depth TREMOLO A basic stereo amplitude volume modulation effect Parameter 1 Modulation Speed Parameter 2 Modulation Depth ROTARY Rotary speaker cabinets were designed to provide a majestic vibrato choir effect for electronic theatre and church organs This algorithm emulates the famous Leslie speaker with two counter rotating elements a high frequency horn and a low frequency rotor with slow and fast speeds Parameter 1 Modulation Speed Parameter 2 Modulation Depth 8 3 DELAYS amp MODULATION gt Kr A 1 3 DELAYS amp MODULATION LEXICON FX gt DELAYS amp 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 Parameter 1 Modulation Speed Parameter 2 Modify Phase Control PHASER The Phaser automatically moves frequency notches up and down the spectrum of the signal by means of a low frequency oscillator LFO creating an oscillating comb filter type effect This effect is very useful on keyboards especially pad presets and guitars Parameter 1 Modulation Speed
53. ure console for sending and receiving digital audio streams XLR The round three pin connections On the Signature console they are used for microphone inputs and the main stereo outputs 3 1 INTRODUCTION TO Se W Signature 16 22 22MTK User Manual 3 2 CONSOLE INPUTS INPUTS amp OUTPUTS gt CONSOLE INPUTS Console inputs can be used for a wide variety of sources For best results always use the appropriate input connection Mar EZE KIM lS ms 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 It s best practise not to use phantom power with unbalanced or instru ment inputs switching it off BEFORE unplugging and switching it on AFTER plugging in Line Input Jack Balanced line level connection for all other inputs A Hi Z option is provided on selected channels required by high output impedance sources such as guitar pick ups when connecting a guitar directly to the mixer Line Input RCA Unbalanced input for line level consumer playback equipment and instruments 3 2 CONSOLE INPUTS W Signature 16 22 22MTK User Manual 3 3 CONSOLE OUTPUTS INPUTS amp OUTPUTS gt CONSOLE OUTPUTS The console outputs offer a range of connection options depending on the application Alwa
54. us on a particular source without changing the mix Internal FX FX Effects processing such as reverb delay chorus phasing and so on can be incorporated into a mixing console so that you don t have to invest in outboard equipment or use up valuable physical inputs and outputs The Signature s Lexicon FX processing can be applied in a controlled manner by using the Auxiliary 3 FX mix and the dedicated stereo FX return channel Digital inputs and outputs Digital I O is necessary to work with digital audio systems and computer based Digital Audio Workstations The Signature series uses a USB interface for either 2 channel input output main or Aux 1 2 output or for multitrack input and output MTK versions with the USB inputs able to individually replace the input channel source for a flexible tape return path For example the MTK functionality could use DAW plug ins as insert processing on selected input channels or you could do a sound check with a dry recording of the band from a previous gig There are lots of ways to use this feature More Information You can find out more about individual Signature features by reading the relevant section of this manual 2 1 INTRODUCTION TO CONSOLES W Kr ded 2 PARTS OF THE CONSOLE GETTING STARTED gt 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 cons
55. welve months from the date of delivery of the Equipment to the End User it shall prove defective by reason only of faulty materials and or workmanship to such an extent that the effectiveness and or usability thereof is materially affected the Equipment or the defective 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 3 Any Equipment or component returned will be at the risk of the End User whilst in transit both to and from the Dealer or Soundcraft and postage must be prepaid 4 This warranty shall only be available if a The Equipment has been properly installed in accordance with instructions contained in Soundcraft s manual b The End User has notified Soundcraft or the Dealer within 14 days of the defect appearing and c No persons other than authorised representatives of Soundcraft or the Dealer have effected any replacement of parts maintenance adjustments or repairs to the Equipment and d The End User has used the Equipment only for such purposes as Soundcraft recommends with only such operating supplies as meet Soundcraft s specifications and otherwise in all respects in accordance Soundcraft s recommendations 5 Defects arising as a result of the following are not covered by this Warranty faulty or negligent handling chem ical or electro chem
56. will control how much of that source is present in the reverberant field generated by the processor the FX return fader will then control the level of that whole reverberant field in the mixes it is routed to Main Stereo Bus Group 1 2 3 4 FX send is always post fade so an input channel s contribution to that reverberant field will be proportional to that channel s contribution to a mix FX RETURN BAL 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 when routed to MST The balance is also adjusted across group pairs when the channel is routed to groups 1 2 or 3 4 GRP 1 2 3 4 Route the channel output to Group busses The channel s PAN BAL or BAL control determines the proportion of the signal across group pairs 5 1 2 FX RETURN CONTROLS W Signature 16 22 22MTK User Manual 0 2 AUX MASTER OUTPUT CHANNEL CONTROLS gt AUX MASTER OUTPUT AUXI AUX1 j JL PRE POST ai AUX2 E AUX2 j m JL PRE POST 3 ake os SL PRE TORA ode JL PRE POST rL AUXS 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 wnat AUXn MST E i Adjust the level of the Aux mi
57. x output for the corresponding Aux bus AUXn PRE POST Globally switch Aux sources from input channels between pre and post fade Determines whether the Aux mix is affected by the input channel fader positions or not Note that the Stereo Playback channel has independent pre post switching for Aux 1and 2 AFL more detail Route the signal to the Solo bus and mute any channels not routed to the Solo bus With an AFL enabled the headphone output source will switch to the Solo Bus Please see section 6 for 5 2 AUX MASTER OUTPUT W Ar EEA 5 3 GROUP MASTER OUTPUT CHANNEL CONTROLS gt 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 channel panning or balance positions work across group pairs odd numbered groups are left 1 3 and even numbered groups are right 2 4 Where a Group is routed to the Master left right output that contribution is derived from the sum of both Group busses The physical Group outputs remain separate MONO Switch both Group to MST outputs to mono MST Route the Group output to the Master Stereo mix in addition to the physical Group Outputs Groups 1 and 3 go to the Left and Groups 2 and 4 Go to the right unless the Group Master MONO button is uz pressed FADER
58. y Aux Master Outputs the Master Stereo Outputs and the Group GRP Master Outputs 5 0 CHANNEL CONTROL P Signature 16 22 22MTK User Manual CHANNEL CONTROLS gt INPUT CONTROLS 0 1 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 ff Limiter amp HiZ selection Gain amp High Pass Filter T i pore uk T aki a h a m ma S E Ac nne ni a Mn di yS ae al a ge 5 ez Lavy WW Kz A fe ws Phantom power for all JA microphone inputs a e q al e gt A fe Four band EQ e W 2 i roe Soren gt Y E Aux and FX sends jk a A 4 1 OH A eT x Pa iz nay Se 2 a ey Cee OO OOOO Pitas COO GIS Tad ia Gn SS on ee TEW VER nc PR A Fe y a METE a e LI gt b Seta Pak i N TAATA TATATATATATA K Pan or Balance Control e vv cc n n nb Mute Control Peak LED PFL gt j E3 dae y y a 2 kura t a as a pr RALE to f i g4 Ja 7 h t gt NC FA La s Y j A V v d pe JS j j 21 22 j P m n a Di lt ee AA N F eql ac sfa m na j e FTTTITRRI
59. ying and recording for any purpose without the express written permission of Soundcraft Harman International Industries Limited Cranborne House Cranborne Road Potters Bar Hertfordshire EN6 3JN UK Tel 44 0 1707 665000 Fax 44 0 1707 660742 http www soundcraft com INFORMATION E Signature 16 22 22MTK User Manual CONTENTS CONTENTS 1 0 AN INTRODUCTION TO SIGNATURE 1 0 1 The Signature Legacy 1 0 2 Sapphyre Asymmetric EQ 1 1 Safety 1 2 Warranty 1 3 Specifications 2 0 GETTING STARTED 2 1 Introduction To Consoles 2 2 Parts Of The Console 3 0 INPUTS AND OUTPUTS 3 1 Introduction to I O 3 2 Console Inputs 3 3 Console Outputs 3 4 Other I O 4 0 CONSOLE ROUTING 4 1 Mono Input Channel 4 1 Stereo Input Channel 4 3 FX Return Channel 4 4 Aux Master Output 4 5 Group Master Output 4 6 Master Stereo Output 5 0 CHANNEL CONTROLS 5 1 Input Controls 5 1 1 Mono Input Controls 5 1 2 Stereo Input Controls 5 1 3 FX Return Controls 5 2 Aux Master Controls 5 3 Group Master Controls 5 4 Master Stereo Controls 6 0 SOLO AND MONITORING 7 0 USB OPERATION 7 1 Signature 16 22 USB 7 2 Signature 22MTK USB 8 0 LEXICON FX 8 1 FX Control 8 2 Reverbs 8 3 Delays And Modulation APPENDIX 01 NO SOUND For clarity this manual uses section references rather than page numbers In some instances one section reference may extend to several pages CONSE Signature 16 22
60. ys consider carefully the best output and routing strategy for your particular application MSTL MSTR Master Left and Right outputs XLR connectors These are impedance balanced line level outputs pin 2 signal The XLR outputs are labelled MST L and MST R which refers to Master Left and right outputs of the main stereo output These should be connected to the input of your amplifier PA system recorder or similar AUX 1 AUX 2 AUX 3 Auxiliary output connectors quarter inch Jack Line level output TRS Jack Impedance balanced HEADPHONES Stereo headphone output quarter inch TRS Jack The headphone signal is always the Master Stereo Output unless a Solo PFL or AFL is activated In that case the headphone output is switched to the Solo Bus GRP 1 GRP 2 GRP 3 GRP 4 Group 1 2 3 and 4 outputs Quarter inch Jack Line level output TRS Jack Impedance balanced 3 3 CONSOLE OUTPUTS W Signature 16 22 22MTK User Manual 9 A OTHER 1 0 INPUTS amp OUTPUTS gt 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 The USB output is taken either from
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