User manual SOUNDCRAFT SM24 BROCHURE

[. . . ] All the output solo points may be switched to compare processed and `dry' signals, and the engineer may choose to monitor in mono or stereo. The Bottom Line The biggest benefit however, is a commercial one - for the engineer, rental company or venue owner. As a top-spec monitor console which is just as effective `out front' as on-stage, the SM24 will never be off the road! THE IN P UT MODULE The standard input features Soundcraft's low-noise wide-range input amplifier, which allows any lowimpedance source to be connected to the rearmounted XLR. Sensitivity is adjustable from -70dBu to +10dBu to suit microphone and line level inputs. [. . . ] Eight output modules are fitted to the SM24, controlling outputs 1-8 (mono) and 9-16 (dual mono or stereo). Each output allows an external input to be connected for linking consoles; these inputs are routed via the EXT IN level control and ON switch, and may be monitored separately. True Stereo Outputs The combined external/internal mix is routed via a (switched) insert point for processing. Outputs 1-8 are controlled by a 100mm long-throw fader and adjacent bargraph meter. In Mono mode, outputs 9A to 16A are controlled by a similar fader, whereas outputs 9B to 16B utilise a rotary control. When switched to stereo (using the STE mode switch), the `A' group controls are used to affect the stereo output, while the `B' group controls remain unused. An LED adjacent to the `A' group fader indicates whether the output pair is working in stereo or dual mono mode. Flexible Sub-grouping As well as acting as normal monitor sends, the SM24's outputs may be used as sub-groups and fed to the stereo L and R outputs. This allows the SM24 to be used as a twenty-six bus front-of-house console, with either mono or stereo groups and auxiliary sends. Outputs may be phase reversed if required. Monitoring and Metering Post-fade outputs are monitored by the engineer by using the AFL switch; this may be selected as pre or post the insert point to give an instant check on the effect of outboard processing on the mix. Each output may be muted by the illuminated CUT switch. Outputs 1-8 have an LED bargraph meter adjacent to the fader; the meters for outputs 9-16 are located in the console meterbridge. THE MASTER MODULE The SM24 is provided with a multi-function oscillator which may be selected to give either pink noise or a single frequency between 63Hz and 10kHz. The oscillator is routed via the TB/OSC switches on each output. Comprehensive Talkback Routing The SM24's talkback system allows the engineer to communicate with any on-stage personnel or with the front-of-house engineer, either individually or as a preselected group. This unique system also permits the front-of-house engineer to talk to the stage via the SM24's routing switches. Dedicated Stereo Mix The SM24 Master module contains the controls for the dedicated stereo output. This may be used as a side-fill send, and extra stereo mix or as a stereo master output in front-of-house applications. The Stereo output is fitted with the same controls as the other outputs. Advanced Soloing The SM24 uses Soundcraft's Logic Controlled Solo system for the engineer's monitor feed. This advanced system gives the engineer a choice of four ways of working. Normally, all PFL and AFL selections are additive to allow monitoring of multiple sources, using a mono or stereo monitor feed. [. . . ] Any channels assigned to a Mute group will be muted and their CUT switches will illuminate when the relevant master switch is active to indicate their status. C ON SOLE LIN K IN G AN D P OWER SUP P LIES Power Supply The SM24 is supplied with a CPS950 power supply unit as standard. As an option, a second CPS950 and Autochangeover unit may be specified for full redundancy. Linking Facility For larger events or installations, multiple SM24 consoles may be linked to provide integrated control of audio and logic functions. Consoles are connected in a `cascade' system, enabling one console to act as overall master for output level, mute groups, VCA groups and soloing. [. . . ]