SOUNDCRAFT 16

USER GUIDE
 Soundcraft Electronics Ltd. 1993
All rights reserved
Parts of the design of this product may be protected by worldwide patents.

Part No. ZM0035

Issue 1

Information in this manual is subject to change without notice and does not
represent a commitment on the part of the vendor. Soundcraft Electronics Ltd.
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 photocopying and recording, for any purpose
without the express written permission of Soundcraft Electronics Ltd.

It is recommended that all maintenance and service on the product should be

carried out by Soundcraft Electronics Ltd. or its authorised agents. Soundcraft
Electronics Ltd. cannot accept any liability whatsoever for any loss or damage
caused by service, maintenance or repair by unauthorised personnel.

Soundcraft Electronics Ltd.

Cranborne House
Cranborne Industrial Estate
Cranborne Road
Potters Bar
Herts.
EN6 3JN
England

Tel: 0707 665000

Fax: 0707 660482
 &RQWHQWV

Introduction 1
Introduction 2
Precautions and Safety Instructions 4
General Precautions 4
Handling and Transport 4
Power Supplies and Cables 4
Signal Levels 5

Installation 7
Installation 8
Wiring Considerations 8
Power Supply (CPS900) 8
Connections 9
Wiring Conventions 9

Module Block Diagrams 11

Input Module 15
Module Description, Operation and Specification 16
Jumper Options (RH PCB) 19

Group Output Module 23

Module Description, Operation and Specification 24

Master Module 29
Module Description, Operation and Specification 30
Jumper Options 34
Appendices 37
Specification Notes 38
Performance Specifications 39
Dimensions 40
Warranty 41
Glossary 42
 Introduction

Introduction 1
 ,QWURGXFWLRQ

The SM16 is a 16 bus dedicated monitor console to complement the Vienna and
Europa FOH desks.

The key features of the SM16 are:

• 16 mono sends

• stereo send

• individual ON and PRE/POST fade switching on all sends

• 4 programmable mute groups

• 4 band sweep EQ

• linear faders on all inputs and outputs

• sophisticated solo system with autocancel, central global clear and

switchable input priority.

• metering for all inputs

• external inputs for all group and stereo mix buses, with level control and
solo facility

• balanced inserts on all outputs with bypass switching, and preinsert solo
facility

Frame Sizes The SM16 is available in three frames sizes, 32, 40 and 48 channels. The frames
are configured, from left to right:

• inputs 1 - 24

• master

• groups 1 - 8

• inputs 25 - 32 (32 channel)

• inputs 25 - 40 (40 channel)

• inputs 25 - 48 (48 channel)

Power Supplies All frame sizes will use the CPS900 PSU. Connection to the console is via an 8way
and a 16-way SRC connector below inputs 21-24. The SRC panel also carries a
ground binding post.

Lamps Three BNC connectors for lamps are fitted to all frame sizes - one on the master
module, and one at either end of the console on the infill panels. These are suitable
for Littlite or similar 12V lamps taking up to 330mA each. The voltage supply to
the lamps can be varied between 1.5v (dim) and 12v (bright) by the dimmer control,
mounted under the armrest in front of the master module.

2 Introduction
Metering Each input module has its own bargraph meter in the overbridge. The groups are
metered by bargraphs which are next to the faders on the output modules.

The stereo mix/solo metering is by two illuminated VU meters, with integral peak
LEDs, in the overbridge above the master module.

Introduction 3
 3UHFDXWLRQVDQG6DIHW\,QVWUXFWLRQV

General Precautions Avoid storing or using the mixing console in conditions of excessive heat or cold,
or in positions where it is likely to be subject to vibration, dust or moisture. Do not
use any liquids to clean the fascia of the unit: a soft dry brush is ideal. Use only
water or ethyl alcohol to clean the trim and scribble strips. Other solvents may cause
damage to paint or plastic parts.

Avoid using the console close to strong sources of electromagnetic radiation (e.g.
video monitors, highpower electric cabling): this may cause degradation of the audio
quality due to induced voltages in connecting leads and chassis. For the same
reason, always site the power supply away from the unit.

Caution! In all cases, refer servicing to qualified personnel.

Handling and Transport The console is supplied in a wooden crate. If it is necessary to move it any distance
after installation it is recommended that this packing is used to protect it. Be sure
to disconnect all cabling before moving. If the console is to be regularly moved we
recommend that it is installed in a foamlined flightcase. At all times avoid applying
excessive force to any knobs, switches or connectors.

Power Supplies & cables Always make sure that the power supply unit (PSU) has been set to the same voltage
as the mains supply

Always use the power supply and cable supplied with the mixer: the use of
alternative supplies may cause damage and voids the warranty; the extension of
power cables may result in malfunction of the mixing console.

Warning! Always switch the power supply off before connecting or

disconnecting the mixer power cable, removing of installing
modules, and servicing. In the event of an electrical storm, or large
mains voltage fluctuations, immediately switch off the PSU and
unplug from the mains.

Always ensure that you use the correct PSU for your mixer. The SM16 uses a
CPS900 power supply.

4 Introduction
Signal Levels It is important to supply the correct input levels to the console, otherwise signalto
noise ratio or distortion performance may be degraded; and in extreme cases,
damage to the internal circuitry may result. Likewise, on all balanced inputs avoid
sources with large commonmode DC, AC or RF voltages, as these will reduce the
available signal range on the inputs. Note that 0dBu = 0.775V RMS.

The microphone inputs are designed for use with balanced low impedance (150 or
200 ohms) microphones.

Caution! DO NOT use unbalanced microphones or battery powered

condenser microphones without isolating the +48V phantom power:
degraded performance or damage to the microphone may result.

The sensitivity of the XLR inputs is variable from -2dBu to -70dBu and +10dBu to
-20dBu in two ranges (for +4dBu at the Mix outputs). The maximum input level is
+28dBu.

The Hi-Z inputs have a sensitivity variable between +10dBu and -20dBu. The
maximum input level is +30dBu.

The main outputs of the console (stereo mix, groups, wedge and mix and group
insert sends) are balanced at a nominal level of +4dBu, with a maximum output
level of +26dBu.

The input insert sends and direct outputs are ground compensated at a nominal level
of -2dBu, with a maximum output level of +20dBu.

All external inputs and mix and group insert returns have a nominal level of +4dBu,
and a maximum input level of +26dBu.

Input insert returns have a nominal level of -2dBu, and a maximum input level of
+20dBu.

Introduction 5
6 Introduction
 Installation

Installation 7
 ,QVWDOODWLRQ

The SM16 is designed for reliability and high performance, and is built to the highest
standards. Whilst great care has been taken to ensure that installations are made as
troublefree as possible, care taken at this stage, followed by correct setting up will
be rewarded by a long life and reliable operation.

Wiring Considerations A For optimum performance it is essential for the earthing system to be clean and
noisefree, as all signals are referenced to this earth. A central point should be
decided on for the main earth point, and all earths should be ’star-fed’ from this
point. It is recommended that an individual earth wire be run from each electrical
outlet, back to the system star point to provide a safety earth reference for each piece
of equipment.

B Install separate mains outlets for the audio equipment, and feed these
independently from any other equipment.

C Avoid locating mains distribution boxes near audio equipment, especially tape
recorders, which are very sensitive to electromagnetic fields.

D Where possible ensure that all audio cable screens and signal earths are
connected to ground only at their source.

Power Supply (CPS900) Always ensure that you use the correct PSU for your mixer. The SM16 uses a
CPS900 power supply.

Warning! Before switching on your SM16 console, check that the mains
voltage selectors on the power supply unit is set to the correct
mains voltage for your area, and that the fuse is of the correct rating
and type. This is clearly marked on the case of the power supply.
Do not replace the fuse with any other type, as this could become a
safety hazard and will void the warranty.

8 Installation
 &RQQHFWLRQV

Wiring conventions The SM16 uses two different types of audio connector: 3-pin XLR and 1⁄4" 3-pole
jacks. The latter are used in several configurations, as shown below.

MICROPHONE INPUTS MIX L, R & WEDGE OUTPUTS AFL & PFL OUTPUTS
TALKBACK INPUTS GROUP & TB OUTPUTS
EXTERNAL RETURNS

1/4 "
‘ A’ Gauge Stereo Jack Plug used as balanced input:
Line inputs, insert returns

1/4" ‘ A’ Gauge Stereo Jack Plug used as ground compensated output:

Input insert sends, Input direct outputs

1/4" ‘ A’ Gauge Stereo Jack Plug used as balanced output:

Mix insert sends, Group insert sends

1/4" ‘ A’ Gauge Stereo Jack Plug used as stereo output: Headphones

Installation 9
10 Installation
 Module Block Diagrams

Module Block Diagrams 11

Module Block Diagrams 12
PFL BUS
GROUPS 1-16 BUSSES
R STEREO BUS
L STEREO BUS
Input Module
 Group Output Module

Module Block Diagrams 13

 Master Module

14 Module Block Diagrams

 Input Module

Input Module 15
 ,QSXW0RGXOH
1
3 2
4 5 Input

6 1 The sensitivity of both the XLR and the HIGH IMPEDANCE (HI-Z jack) inputs
is adjusted by the SENS control. Both inputs are electronically balanced.

7 XLR input sensitivity: -2dBu to -70dBu, +10dBu to -20dBu (switched range.)

8 High Impedance input sensitivity: +10dBu to -20dBu

9
2 When the RNGE (Range) switch is depressed the lower sensitivity range of the
10 input is selected to allow line level signals to be used. The signal is still taken from
11 the input XLR, unless a jack is inserted into the HI-Z input socket, when the signal
from that is used instead. Note that when the RNGE switch is released the HI-Z
input socket cannot be used.
12
18 17 3 The 48V switch, when depressed, applies 48V phantom power to the
input XLR. An integral red LED in the switch indicates when the phantom power
is on.

4 The PHASE switch reverses the phase of the selected input.

5 The cutoff frequency of the secondorder highpass filter is varied, between 30Hz
and 400Hz, by the FILTER FREQUENCY control. The filter is deactivated
completely by an integral switch when the pot is fully anticlockwise.

Frequency Response Curves of the High-Pass Filter

19

20 14
Equaliser
15 The EQ section is four band: with shelving sweep high and low frequency sections,
16 and two peaking sweep mids with switchable Q.

6 The shelving HF section has a maximum cut or boost of 15dB and the frequency
is variable between 1kHz and 20kHz.
13
7 The peaking HMF (High Mid) section has a maximum cut or boost of 15dB
and the frequency is variable between 600Hz and 12kHz.

16 Input Module
 8 The HMF’s Q is 1.3, and is increased to 2.6 by depressing the HI-Q button.
9 The peaking LMF (Low Mid) section has a maximum cut or boost of 15dB and
the frequency is variable between 150Hz and 3kHz.

10 The LMF’s Q is 1.3, and is increased to 2.6 by depressing the HI-Q button.

11 The shelving LF section has a maximum cut or boost of 15dB and the
frequency is variable between 20Hz and 400Hz.

12 The EQ section is switched in when the EQ switch is depressed. An integral

green LED indicates when the EQ is in circuit.

The Frequency Response Curves of the Equaliser

LF EQ HF EQ

Low Mid EQ (Normal) Low Mid EQ (High Q)

High Mid EQ (Normal) High Mid EQ (High Q)

Input Module 17
 1 Insert Point
3 2 The module insert point uses a groundcompensated send and an electronically
4 5 balanced return, at a nominal level of -2dBu. The signal is accessible via separate
1/4" jacks on the rear connector panel.
6
The insert point may be set to pre- or post-EQ by pushon jumpers. The factory
default is post-EQ.
7
8
9 Output
10 13 The electronically latching PFL switch feeds the pre-fade, pre-mute signal to
11 the PFL bus, which in turn feeds the engineer’s wedge speakers and phones outputs
via the Master section. An integral amber LED indicates when the PFL switch is
active.
12
18 17
14 The signal in the module is turned on and off by the CUT switch and by the
mute buses (see next paragraph).

An integral red LED in the CUT switch indicates when the signal is cut.

15 Each Input module is assigned to the four mute buses via the M1 - M4 buttons.
Each switch has an integral red LED, which indicates when the module is assigned
to its respective mute bus.

When the module is muted by any of the mute buses, the LED in the CUT switch
illuminates.

16 The Post-fader signal level is controlled by a 60mm Fader. The post-fader

signal is routed to the Direct Out jack on the rear connector panel: this is a ground
compensated output at a nominal level of -2dBu.

The post-fader signal is also fed to the Groups and the Stereo Mix buses (see below).

Groups
17 The input signal is sent to the group 1 - 16 buses via individual Level Controls.
These have unity gain when fully clockwise, and are activated using the associated
ON switches. Each switch has an integral green LED.

19 18 The group sends are switched pre- or post-fader by the PRE buttons. The
pre-fade signal may be sourced from one of the following three options:
• post-mute and pre-fade
20 14
• pre-mute

15 • pre-EQ and pre-insert.

16
The source selection is done in two blocks of eight sends, using push-on jumpers.

The factory default is post-mute and pre-fade.

13

18 Input Module
 Stereo Mix
19 The post-fader signal is sent to the stereo mix bus via the L/R (level) and PAN
controls. The PAN control gives a 4.5dB centre drop. The mix bus send is activated
by the ON switch, which has an integral green LED, and may be set pre- or post-fade
by the PRE switch. The pre-fade signal may be sourced from one of the following
three options:
• post-mute and pre-fade
• pre-mute
• pre-EQ and pre-insert

The source selection is done using push-on jumpers.

The factory default is post-mute and pre-fade.

Metering
20 The red PEAK LED illuminates when the signal level exceeds +14dBu
(internal) at the output of the input amp, the insert return, the output of the EQ or
the post-fader amplifier.

A 16-segment peak-reading bargraph meter in the overbridge meters the signal

directly after the input amplifier. The meter has a peak-reading ballistic
characteristic.

Jumper Options
(RH PCB)
Function Options Default

Insert point post-EQ

J1, J3, J6 jumpers IN for post-EQ
J2, J4, J5 jumpers IN for pre-EQ
Group 1-8 Pre-fade signal post-mute
J14 jumper IN for pre-EQ & pre-insert
J15 jumper IN for pre-mute
J13 jumper IN for post-mute & pre-fade

Note: only one of the above three jumpers to be fitted at any one time.
Group 9-16 Pre-fade signal post-mute
J11 jumper IN for pre-EQ & pre-insert
J10 jumper IN for pre-mute
J12 jumper IN for post-mute & pre-fade

Note: only one of the above three jumpers to be fitted at any one time.
Mix L-R Pre-fade signal post-mute
J8 jumper IN for pre-EQ & pre-insert
J9 jumper IN for pre-mute
J7 jumper IN for post-mute & pre-fade

Note: only one of the above three jumpers to be fitted at any one time.

Input Module 19
Input and Output Levels

XLR INPUT (electronically balanced)

Sensitivity -2dBu to -70dBu, +10dBu to 20dBu
Maximum Input Level +28dBu
Input Impedance 2KΩ

HI-Z INPUT (electronically balanced)

Sensitivity +10dBu to -20dBu
Maximum i/p level +30dBu
Input Impedance >10KΩ balanced

INSERT SEND (ground compensated)

Nominal Level -2dBu
Maximum Output Level +20dBu into 2kΩ
Output Impedance <75Ω

INSERT RETURN (electronically balanced)

Sensitivity -2dBu
Maximum I/P Level +20dBu
Input Impedance >10KΩ balanced

DIRECT OUTPUT (ground compensated)

Nominal Level -2dBu
Maximum Output Level +20dBu into 2kΩ
Output Impedance <75Ω

20 Input Module
Rear Connectors

INPUT (3 pin female XLR)

Pin 1 Ground
Pin 2 Signal (Hot)
Pin 3 Signal (Cold)

HI-Z INPUT, INSERT RETURN (1/4" 3-pole Jack)

Tip Signal (Hot)
Ring Signal (Cold)
Sleeve Ground

DIRECT OUTPUT, INSERT SEND, (1/4" 3-pole Jack)

Tip Signal
Ring Ground Sense
Sleeve Ground

Input Module 21
22 Input Module
 Group Output Module

Group Output Module 23

 *URXS2XWSXW0RGXOH

Eight output modules are fitted in each console. The output module contains two
group output sections, stacked one above the other. The lower sections control
groups 1 - 8, while the upper sections control groups 9 - 16. The two sections have
identical facilities.

Level Control
The group summing amp is assigned to one of the sixteen group buses using internal
0.1" push-on jumpers.

1 The 100mm Fader controls the level of the signal from the summing amplifier,
which is fed to the insert send, with 10dB of gain at maximum.

11
13 12
Insert Point
5
2 7 2 The insert point is post-fade, and uses an electronically balanced send and return
8 at a nominal level of +4dBu. The insert SEND and RETURN are on separate 1/4"
9 jacks on the rear connector panel. The insert point may be bypassed using the
INSERT OUT switch. An integral red LED indicates when the insert point is
6 bypassed. Note that the send is always active

1
10 Solo
3 The electronically latching AFL switch, which has an integral amber LED,
feeds the post-fade, post-insert group signal to the engineer’s wedge speakers and
phones output; however, if INPUT PRIORITY (see the Master Module) is enabled
then any active input PFLs will replace the AFL signal, and the group will not be
4 heard until the inputs are un-PFLed. If solo AUTO CANCEL (see the Master
3 Module) is selected, then the AFL will cancel any other active PFLs or AFLs. The
AFL may also be cleared with the Master Module’s SOLO CLEAR function.

4 The PRE INSERT switch moves the AFL signal before the insert point.
5 The AFL TRIM pot gives +/-10dB of level adjustment.

Cut
6 The CUT switch mutes the signal to the group output and stereo mix bus (if
selected). The switch has an integral red LED which indicates when the signal is
cut.

Stereo Mix
7 The L and R switches route the group signal to the left and right stereo mix
buses respectively. Each switch has an integral green LED. This feature allows
subgroups to be created, if the console is used in a FOH application.

24 Group Output Module

 Talkback
8 The momentary TB switch feeds the signal from the TALKBACK
MICROPHONE to the group output; it is independent of the Fader position and the
CUT switch. The group output is dimmed by 6db, and the engineer’s wedge speaker
is dimmed by 20dB while the TB switch is active.

Talkback may also be routed to all the group buses simultaneously by the INT
talkback function on the master module; in this case the group CUT and fader will
affect the talkback level.

Output Phase
9 The PHASE switch, which has an integral red LED, reverses the phase of the
group output. The group output itself is electronically balanced at +4dBu, on a male
XLR on the rearcon.

Metering
10 The group output level is metered by an integral peakreading 16-segment
LED bargraph which is situated next to the Fader; the meter is calibrated for 0 at
+4dBu output. An internal jumper allows the meter response to be set to
average-reading instead of peak-reading.

External Input
An external input, from an XLR on the lower rearcon, may be added to the group
bus. The input is balanced with a sensitivity of +4dBu.

11 The EXT IN control adjusts the level of the external signal to the group, it
provides a maximum 10dB gain when it is fully clockwise.

12 The latching ON switch activates the external input. An integral green LED
indicates when it is on.

13 The latching LSTN (Listen) switch, which has an integral amber LED,
provides a pre-fade, pre-ON solo to the ’phones or wedge output. LISTEN is not
affected by the AUTO CANCEL or SOLO CLEAR functions, and overrides any
output AFLs if INPUT PRIORITY is active.

Group Output Module 25

Jumper Options
Function Options Default

Lower group bus programming

J1 - J8 Group 1 - 8 According to
Module Position

Upper group bus programming

J9 - J16 Group 9 - 16 According to
Module Position

Lower Meter Response

J17 Peak or Average Peak

Upper Meter Response

J18 Peak or Average Peak

Input and Output Levels

Insert Sends, Group Outputs (electronically balanced)

Nominal level +4dBu
Maximum output level +26dBu into 600Ω
Output impedance <75Ω

Insert Returns, External Inputs (electronically balanced)

Sensitivity +4dBu
Maximum i/p level +26dBu
Input impedance >10KΩ balanced

26 Group Output Module

Rear Connectors

External Inputs (3-pin female XLR)

Pin 1 Ground
Pin 2 Signal (Hot)
Pin 3 Signal (Cold)

Insert Return (1/4" 3pole Jack)

Tip Signal (Hot)
Ring Signal (Cold)
Sleeve Ground

Insert Send, (1/4" 3pole Jack)

Tip Signal (Hot)
Ring Signal (Cold)
Sleeve Ground

PUSH
Group Outputs, (3 pin male XLR)
Pin 1 Ground
Pin 2 Signal (Hot)
Pin 3 Signal (Cold)
PUSH

Group Output Module 27

28 Group Output Module
 Master Module

Master Module 29
 RS5512

LAMP
0DVWHU0RGXOH
31

OSCILLATOR
24
ON

LEVEL
The master module contains the stereo mix or sidefill output, the operator’s
5

2
3
4 6
7

8
28 headphones and wedge speaker outputs, a noise or sine wave test oscillator, the solo
1
0 10
9
mode controls and master solo clear function, and internal/external talkback
FREQ
100
250

500
26 functions.
63

27
1k

X10

30
17

24
TONE 25
48 TALKBACK Stereo Mix
5
4 6

2
3 7

8 19
1
0 10
9
The stereo mix path duplicates the facilities of the group outputs, in stereo.
TALKBACK TO BUSSES
23 EXT INT
22
20 1 The 100mm stereo mix Fader controls the level of the signal from the summing
FOH
amplifiers. This stereo signal is fed to the left and right insert sends, with 10dB of
STEREO gain at the maximum.
EXT
4
5
6 IN
12 MNO
3

2
7

8
11
1 9

14 LSTN
0

ON
10

13
0
AFL
TRI M Insert Point
8
2 INSERT -10
OUT
+ 10

The inserts are postfade, using electronically balanced sends and returns at a
21 TB nominal level of +4dBu. The insert SENDs and RETURNs are on separate 1/4"
10 jacks on the rear connector panel.
CUT
9
10
2 Both left and right inserts may be bypassed using the INSERT OUT switch.
5
An integral red LED indicates when the insert point is by-passed. Note that the sends
1 0 are always active.
5

10
3 The electronically latching AFL switch, which has an integral amber LED,
15
feeds the stereo post-fade, post-insert signal to the engineer’s wedge speakers and
20

25
phones output.
30

4 If INPUT PRIORITY is enabled, then pressing any input PFL while AFL is
40

50 INSERT
7
60 PRE

also active, will replace the AFL, which will not be heard until the inputs are
8

AFL 3 un-PFLed.

0
PFL
TRIM
5 If solo AUTO CANCEL is enabled on the master module, then the AFL will
15 cancel any other active PFLs or AFLs.
- 10 + 10

AUTO INPUT

5 CANCEL

ENBL
PRIORITY

ENBL 4 6 The AFL may also be cleared with the master SOLO CLEAR momentary
SOLO
CLEAR
6 action switch. The SOLO CLEAR button illuminates when any AFL, PFL or
PHONES 5
LISTEN is active.
4 6

16
3 7

2 8

0 10
9

7 The PRE INSERT switch moves the AFL signal before the insert point
WEDGE
L
18
MONO

10 R

8 The AFL TRIM pot gives +/-10dB of level adjustment.

5

17
0

MUTE
Cut
MASTERS
10

27
15

20
M1
9 The CUT switch mutes the signal to the left and right outputs. The switch has
25

30 M2
an integral red LED which indicates when the signal is cut.
40

50 M3
60
8

M4

30 Master Module
 Output Phase
10 The PHASE switch, which has an integral red LED, reverses the phase of both
left and right outputs. The outputs themselves are electronically balanced at +4dBu,
on male XLRs on the rearcon.

External Input
11 A stereo external input, from XLRs on the lower rearcon, may be added to the
mix buses. The inputs are balanced with a sensitivity of +4dBu. The EXT IN
control adjusts the level of the external signals, with 10dB of gain fully clockwise.

12 The MNO (mono) switch sums the external signal to mono before it is fed to
the stereo mix.

13 The latching ON switch activates the external input. An integral green LED
indicates when it is on.

14 The LSTN (listen) provides a mono pre-fade, pre-ON solo to the ’phones or
wedge output. LISTEN is not affected by the AUTO CANCEL or SOLO CLEAR
functions, and overrides any output AFLs if INPUT PRIORITY is active.

Using the Solo System

A solo system of pre-fade listen (inputs) and post-fade listen (outputs) feeds the
operator’s wedge/’phones outputs.

Normally, all active AFL, PFL and LISTEN signals are summed together and fed
to the wedge or phones outputs.

When INPUT PRIORITY is selected by the ENBL switch, which has an integral
red LED, an active PFL or LISTEN will replace any AFL signals, which will be
audible only when all the PFL/LISTENs are released.

15 The PFL TRIM control gives +/-10dB of level trim for PFL/LISTEN signals.
The SOLO CLEAR button lights when any AFL, PFL or LISTEN is active. Pressing
it will clear a PFL or AFL, but not a LISTEN.

When AUTO CANCEL is activated by the ENBL button, which has an integral red
LED, any AFL or PFL will cancel any currently active solo, so only one AFL or
PFL can be active at once.

LISTEN buttons are not affected.

Master Module 31
 RS5512

LAMP

31 External Solo Signals

OSCILLATOR
ON
24 The PFL, AFL Left and AFL Right external inputs, from XLRs on the lower rearcon,
4
5
LEVEL
6 allow signals from another console to be added to the PFL and AFL buses. The
2
3 7

8
28 external PFL level is trimmed by the PFL TRIM pot. When no solos are active on
1 9
0 10

FREQ
250
the console, both PFL and AFL left and right external signals are monitored by the
100

500
26 ’phones and wedge. When INPUT PRIORITY is not active, the external signals are
mixed with any current internal PFL, AFL or LISTEN signals; if INPUT PRIORITY
63

27
1k

X10

30
17

24
TONE 25 is enabled and a PFL/LISTEN is active then the external AFL input is cut.
48 TALKBACK

2
3
4
5
6
7

8 19
Internal jumpers allow the signal fed to the ’phones/wedge when no solos are active
1
0 10
9
to be changed from the external PFL/AFL signals (as described above) to the stereo
23
TALKBACK TO BUSSES

EXT INT
22 mix postfade signal. This will be replaced by any active solo signal. To monitor the
external PFL/AFL inputs in this case, a solo on the console must be pressed.
FOH
20
STEREO

EXT
5 IN

PFL and AFL Outputs

4 6

12 MNO
3

2
7

8
11
1 9

14 LSTN
0

ON
10

13
0
AFL
TRI M The PFL, AFL left and AFL right output signals are available on XLRs on the rear
8 connector panel, ground compensated at +4dBu. These are for use when linking the
2 INSERT -10
console (as a client), or for additional monitoring.
+ 10

OUT

21 TB

10
9
10
CUT
Metering
5

1 The current solo signal is metered by two VU meters in the overbridge; the AFL
0

signal from the stereo mix is displayed in stereo while mono AFLs (from the groups)
5
and PFL/LISTEN signals (taken after the PFL trim pot) are fed to both left and right
10 meters.
15

20

25

30

Wedge and Headphones Outputs

40

50

60
INSERT
PRE
7
8

AFL 3 The wedge (operator’s speaker) and headphones outputs share a common signal
source: when no PFL, AFL or LISTENs are active, then the source is either the
PFL
external PFL and AFL inputs, or the stereo mix signal, according to internal jumper
TRIM
0

15 settings.
- 10 + 10

AUTO INPUT

5 CANCEL

ENBL
PRIORITY

ENBL 4 When a solo is active the signal is the console AFL or PFL signal, summed with
SOLO
6 the external PFL and AFL signals as described in the previous section.
CLEAR

PHONES 4
5
6

2
3 7

8 16 16 The headphones output level is adjusted by the PHONES control ; the output
is available on a 1/4" 3-pole jack under the armrest, duplicated on the rear panel.
1 9

0 10

WEDGE
L
18
MONO
R
10

17 The stereo wedge output level is controlled by the 100mm wedge Fader and
5
is balanced at +4dBu on XLRs.
17
0

MUTE
18 When the L switch is depressed, the Left signal is fed to both Left & Right
10
MASTERS
Wedge outputs. Similarly, when the R switch is depressed, the Right signal is fed
15
M1
27 to both Wedge outputs. When the L and R buttons are both depressed, a mono mix
20

25 of the Left and Right signals is fed to both Wedge outputs.

30 M2

40

50 M3
60
8

M4

32 Master Module
 Talkback
The talkback system allows communication by the operator to the group and mix
outputs, and to and from the front of house (FOH) console.

19 The TALKBACK control adjusts the level of the talkback mic input, from a
3-pin XLR on the rear panel. The sensitivity of the mic input is variable between
-20dBu and -50dBu.

20 The momentary action FOH button, which has an integral green LED, initiates
talkback to the front of house console using a Soundcraft proprietary system. The
talkback mic signal is switched to the FOH OUT XLR, with a +15v DC
common-mode voltage to signal the FOH console (a Vienna, Europa or 8000) that
talkback is occurring. The signal present on the FOH IN XLR is fed to the ’phones,
dimming the existing signal by 15dB. The wedge is dimmed by 20dB. An internal
jumper disables the common-mode DC voltage, to allow use with non-Soundcraft
desks.

If a 15v common-mode voltage is detected on the FOH IN XLR, indicating talkback

from the front-of-house console, then the FOH IN signal is switched to the ’phones
output, dimming the existing signal by 15dB, and dimming wedge output by 20dB.
The FOH switch also lights. The signal from the talkback mic. may be routed to
the group or mix outputs individually by pressing the TB button on each output;
this also dims the wedge output by 20dB.

21 The momentary TB switch feeds the signal from the TALKBACK MIC to the
mix outputs independently of the fader and CUT switch, dimming the output by
6db while it is active.

22 Talkback may also be routed to the mix buses by the INT talkback function
on the master module; in this case the mix CUT and fader will affect the talkback
level. The TALKBACK TO BUSES INT button, which has an integral green LED,
routes the talkback signal from the mic to all group and mix buses simultaneously,
also dimming the wedge output.

23 The TALKBACK TO BUSES EXT button , which has an integral green LED,
sends the FOH IN signal to the group and mix buses when FOH talkback is active
to allow the front-of-house engineer to talk to the performers via the monitor outputs.

Oscillator
24 The oscillator, activated by the ON switch, produces pink noise. An integral
red LED in the switch indicates when the oscillator is on.

25 The TONE button switches the signal from pink noise to sine wave. An
integral red LED in the switch indicates when the Tone is on.

26 The TONE’s frequency is variable between 63Hz and 1kHz: it is adjusted by

the FREQ control.

27 The X10 button, which has an integral red LED, increases the frequency up
to 630Hz and 10kHz.

28 The oscillator signal is fed to the group and stereo mix buses; the oscillator
output is also available, balanced at a nominal level of +4dBu, on an XLR on the
rear connector panel. The LEVEL control adjusts the level from off to 10dB above
nominal.

Master Module 33
 Mute Masters
29 The four, latching, Mute Master buttons M1 - 4, which each have an integral
red LED, control the four mute buses. Any inputs assigned to a mute bus will be
cut by the appropriate mute master.

PSU Status Indicators

30 The three PSU Status Indicator LEDs (red) show that the PSU rails +/-17v
(both sets of rails), +24v and +48v are working.

Lamp
31 The LAMP BNC socket allows connection of a gooseneck lamp. The voltage
is variable from 1.5v to 12v by the DIMMER control under the armrest. Maximum
current is 330mA, suiting 12V HI-INTENSITY Littlites, or similar.

Jumper Options
Function Options Default

FOH Out DC Voltage

JMP4 Enabled or disabled Enabled (jumper in)

Phones/Wedge Signal
J3 jumper in for Stereo Mix Ext. PFL/AFL
J4 jumper in for Ext. AFL/PFL

Input and Output Levels

INSERT SENDS, MIX, WEDGE AND FOH TALKBACK OUTPUTS
(Electronically Balanced)
nominal level +4dBu
maximum output level +26dBu into 600Ω
output impedance <75Ω
OSCILLATOR OUTPUT (Electronically Balanced)
nominal level +4dBu
maximum output level +14dBu into 600Ω
output impedance <75Ω
PFL, AFL LEFT AND RIGHT OUTPUTS (Ground Compensated)
nominal level +4dBu
maximum output level +20dBu into 2kΩ
output impedance <75Ω
INSERT RETURNS, EXTERNAL AND FOH TALKBACK INPUTS
(Electronically Balanced)
sensitivity +4dBu
maximum i/p level +26dBu
input impedance >10KΩ balanced

34 Master Module
 TALKBACK MICROPHONE INPUT (Electronically Balanced)
sensitivity -20dBu to -50dBu
maximum i/p level 0dBu
input impedance 2kΩ
PHONES OUTPUT (Unbalanced)
nominal level +4dBu
maximum output level +20dBu into 600Ω
0dBu into 8Ω
output impedance 50Ω

Rear Connectors

External Inputs, External Talkback In, Talkback Mic In

(3-pin female XLR)
Pin 1 Ground
Pin 2 Signal Hot
Pin 3 Signal Cold

Insert Returns (1/4" 3-pole Jack)

Tip Signal Hot
Ring Signal Cold
Sleeve Ground

Insert Sends (1/4" 3-pole Jack)

Tip Signal Hot
Ring Signal Cold
Sleeve Ground

PFL, AFL Left and Right Outputs (3 pin male XLR)

Pin 1 Ground
Pin 2 Signal
Pin 3 Ground Sense

Oscillator, Mix, Wedge and Talkback Outputs

(3-pin male XLR)
Pin 1 Ground
Pin 2 Signal Hot
Pin 3 Signal Cold

Phones Output (1/4" 3-pole Jack)

Tip Left Signal
Ring Right Signal
Sleeve Ground

(Note: the headphones socket is duplicated under the front armrest.)

Master Module 35
Rear Connector Panels
(Note: Group Output Connectors have been removed from the diagram for
clarity).

PUSH PUSH

PUSH PUSH

PUSH PUSH PUSH

Power Supply Connector Panel

36 Master Module
 Appendices

Appendices 37
 6SHFLILFDWLRQ1RWHV

SPECIFICATION NOTES AND CONDITIONS

A The Console has a nominal output level of +4dBu: all input sensitivities are
relative to this, i.e., with line input gain set to ’0’, an input of 0dBu will give an
output of +4dBu at any group or mix output, and a sensitivity of +4dBu gives unity
gain from input to output.

B Noise measurements are taken with 22Hz-22kHz bandwidth, rms-reading

response.

C Distortion measurements are made with a an input of +20dBu (line inputs at

unity gain) giving an output of +20dBu. The analyser reads THD+N with an average
response over a 10Hz-30kHz bandwidth.

D Frequency response and EQ measurements are made with an input of 0dBu to

line inputs at unity gain: outputs are quoted relative to 0dBu.

E Crosstalk and rejection measurements are made with an input level of +20dBu
(line inputs at unity gain) giving an output of +20dBu on the active signal path. The
ratio quoted is relative to +20dBu output.

F Gain tolerance is +/- 1.5dB or 10% of the indicated value, whichever is the
greater.

G Group Noise: noise measured at the group output with faders at unity, and
channel send pots down.

H Mix Noise: noise measured at the stereo mix output with faders at unity, and
channel sends off.

38 Appendices
3HUIRUPDQFH6SHFLILFDWLRQV

Measured on a 40 channel console.

Frequency response
Line input to any output: 20Hz - 20kHz, +0/-0.5dB

Crosstalk (measured at 1kHz)

Channel CUT isolation >100dB
Channel Fader isolation >75dB
Channel Send Pot isolation >90dB
Channel Send ON isolation >100dB
Group Fader isolation >100dB
Group CUT isolation >110dB
Group to Group crosstalk <90dB
Group to Mix crosstalk <100dB
Mix to group crosstalk <90dB

CMRR
Mic Input >80dB

Noise (22Hz-22kHz bw, unweighted rms)

XLR input at maximum sensitivity <-127.5dBu
(200ohm source)
Group Output noise <-85dBu
(Group faders at unity, channel sends down)
Mix output noise <-85dBu
Mix faders at unity, channel sends off)

Distortion (THD + Noise, measured at 20dBu, 30kHz bw)

Line In to Group or Mix out <0.005% @ 1kHz
<0.025 @ 10kHz

Appendices 39
 'LPHQVLRQV

SM16 Outline Dimensions

All dimensions are in millimetres

Dimensions - end view

120.6
Length : 48 channel - 2142.3
40 channel - 1859.1
32 channel - 1575.9

101.5

366.5

140.25

892.4

48 Channel Console

32 Channel Console 40 Channel Console

40 Appendices
:DUUDQW\

1 Soundcraft means Soundcraft Electronics 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, provided 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 twelve 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 defective 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; and

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, chemical or electro-chemical 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.

Appendices 41
 *ORVVDU\

Auxiliary Send an output from the console comprising a mix of signals from channels and groups
derived independently of themain stereo group mixes. Typically the feeds to the
mix are implemented on rotary level controls.

Balance the relative levels of the left and right channels of a stereo signal.

Clipping the onset of severe distortion in the signal path, usually caused by the peak signal
voltage being limited by the circuit’s power supply voltage.

CR (Control Room) Monitors loudspeakers used by the operator (engineer) in the control room to listen to the
mix.

dB (decibel) a ratio of two voltages or signal levels, expressed by the equation

dB=20Log10(V1/V2).
Adding the suffix ’u’ denotes the ratio is relative to 0.775V RMS.

DI(Direct Injection) the practice of connecting an electronic musical instrument directly to the input of
the mixing console, rather than to an amplifier and loudspeaker which is covered
by a microphone feeding the console.

Equaliser a device that allows the boosting or cutting of selected bands of frequencies in the
signal path.

Foldback a feed sent back to the artistes via loudspeakers or headphones to enable them to
monitor the sounds they are producing.

Frequency Response the variation in gain of a device with frequency.

(sub) Group an output into which a group of signals can be mixed.

Headroom the available signal range above the nominal level before clipping occurs.

Highpass Filter a filter that rejects low frequencies.

Line Level Signals at a nominal level of -10dBV to +6dBu, coming from a low impedance source.

Noise Gate an electronic switch which only passes signals exceeding a set threshold level.

Pan (pot) abbreviation of ’panorama’: controls levels sent to left and right outputs.

Patchbay a connection panel providing access to most input/output signals on the console,
allowing the operator to redirect or rearrange internal and external connections using
flexible patch cords.

Peaking an equaliser response curve affecting only a band of frequencies i.e. based on a
bandpass response.

PFL (Pre-fade Listen) a function that allows the operator to monitor the pre-fade signal in a channel
independently of the main mix.

Rolloff a fall in gain at the extremes of the frequency response.

Shelving an equaliser response affecting all frequencies above or below the break frequency
i.e. a highpass or lowpass derived response.

Spill acoustic interference from other sources.

Talkback the operator speaking to the artistes or to tape via the auxiliary or group outputs.

42 Appendices