SOUNDCRAFT 2400 (01) PDF Document

The SOUNDCRAFT 2400 offers three solo modes on the input channels:

• Mono (pre-fade): This is a “safe” monitor mode that does not affect the mix signal.

• Stereo (post-fade): This is also a “safe” monitor mode that does not affect the mix signal.

• Solo in place: When this mode is active, all input channels other than those that are soloed or assigned to “safe” are muted. This mode is selected on the master module.

Both equalisers on the SOUNDCRAFT 2400 can be switched out of circuit. Additionally, there is a high pass filter on the input channels which is switchable in/out. This filter has a slope of 12dB/octave below a cutoff frequency that is variable between 50Hz and 800Hz.

The LED meter bridge on the SOUNDCRAFT 2400 contains high-resolution bargraphs. These bargraphs are switchable between Peak or VU characteristics to meter group outputs, the stereo mix, and the auxiliary sends. Additionally, these meters can be switched to function as a 1/3 octave real-time analyser.

Each channel on the SOUNDCRAFT 2400 can be individually switched between the Microphone Input and the Line Input by pressing the LI switch.

The high-level line input is selected by pressing the LI button. This typically connects the relevant tape return to the input channel for remixing or overdubbing. For instance, Tape Return 1 will connect to channel input 1. However, an insert jack for each channel also allows access to the line input for other signal sources.

Pressing the PWR button enables capacitor microphones to be powered by the SOUNDCRAFT 2400 console’s internal 48Volt Phantom Power supply.

CAUTION: It is not advisable to use a Direct Injection box when the Phantom Power is on.

The PAD button inserts a 30dB attenuator into the input of the microphone amplifier, which allows extremely high-level input signals to be catered for without overloading the input stage of the SOUNDCRAFT 2400.

The Microphone input sensitivity on the SOUNDCRAFT 2400 can be varied between -70dB and -30dB (ref 0.775v) using a 41-detented position potentiometer. This allows for good resettability with essentially continuously variable gain control. When used with the 30dB PAD, a 70dB control range is available on the Microphone input.

The Line input gain on the SOUNDCRAFT 2400 can be varied between -10dB and +20dB using a detented potentiometer.

The Phase of the input signal on the SOUNDCRAFT 2400 can be reversed by pressing the phase button. This feature is used to correct for out-of-phase microphone pickup in multi-microphone situations, or to correct miswired microphones.

The SOUNDCRAFT 2400 equalizer is a flexible device allowing five areas of control. All amplitude pots are centre-detented for easy zeroing. The mid-band frequency select controls are 41-detented position types. The equalizer can be switched in or out of circuit independently of the high pass filter by pressing the EQ button.

Sends 1 and 2 on the SOUNDCRAFT 2400 input modules are normally post-fader, but they can be switched pre-fader (but post equalizer, patchbay insert point, and channel mute circuitry) by selecting PRE.

Sends 3 and 4 on the SOUNDCRAFT 2400 input modules are normally post-fader but can also be switched pre-fader.

Sends 5 and 6 on the SOUNDCRAFT 2400 input modules are permanently post-fader. However, if the STE button is pressed, they are connected post pan-pot, allowing a stereo mix to be obtained for stereo headphones or effects.

All six auxiliary sends on the SOUNDCRAFT 2400 are enabled by pressing the Cues On button.

A signal on the SOUNDCRAFT 2400 may be routed to any or all of 24 sub-groups by pressing the relevant routing button. The signal may also be routed directly to the mix buses by pressing the “mix” button.

Pressing PAN on the SOUNDCRAFT 2400 inserts the pan pot into the signal path before the routing matrix. This enables the operator to pan between odd and even numbered groups, and between the left and right of the mix bus. The pan pot is a centre-detented control with a loss of 4.5dB at the centre point.

The solo function on the SOUNDCRAFT 2400 has three modes of operation, selected by two master control buttons on the master module: Mono (PFL), Stereo (AFL), and Solo-In-Place.

The mono/stereo button, located on the Master Module, causes the solo monitoring point to be moved from post pan-pot (stereo solo or AFL) to pre-fader (mono solo or PFL). Neither of these modes will interrupt or disturb the signal going to tape, as only the monitor facilities are being switched. Therefore, these are completely safe modes of operation. However, the signal heard will not necessarily be at the same level as the signal heard in the mix.

If you wish to solo a signal while preserving its relative levels and perspective within the mix on the SOUNDCRAFT 2400, the Solo-In-Place (SIP) mode may be selected on the master module. When a channel solo is selected in SIP mode, all other channels will be muted, indicated by their channel ON LED switching off.

Warning: This is a potentially dangerous mode, as signals to tape are affected by the muting of all other channels. However, the muting command to other channels can be selectively disabled on each channel by pressing the solo safe SFE button. Any channel with the SFE button pressed will remain in operation when any other solo mode is pressed.

Each channel on the SOUNDCRAFT 2400 can be switched on or off from either of 2 master muting buses, which are programmed from the Master Mute A or Master Mute B buttons on the master module. Any channel set to Mute A will be controlled by the Master Mute A bus, and similarly for Mute B.

Additionally, each channel has an individual channel on/off button which is independent of the Master Mute function. When a channel is muted or switched off, all sends are also muted, with the exception of the insert send signal to the patchbay. An LED indicates when the channel is ON.

Each channel on the SOUNDCRAFT 2400 has a peak LED that monitors the level of the post-equalizer, pre-fader point. The LED will illuminate at a level of 4dB below the clipping point of the channel. Even very short-duration transients will be registered for a period of time due to the memory action of the peak measuring circuit.

The Equalizer on the SOUNDCRAFT 2400 Group/Monitor Module is a 3-band device that can be switched in or out of the monitor section by pressing the EQ switch.

Sends 3 and 4 on the SOUNDCRAFT 2400 monitor section are normally post-fader, but may be switched pre-fader by pressing the button marked PRE.

All auxiliary sends on the SOUNDCRAFT 2400 are switched on by pressing the Cues On button.

The monitor pan control on the SOUNDCRAFT 2400 allows the monitored signal to be routed between the left and right of the stereo mix.

Pressing the ON button switches the monitor section on the SOUNDCRAFT 2400.

Pressing the CPG button on the SOUNDCRAFT 2400 removes the pan pot and auxiliary send controls from the monitor section, preparing them to be assigned to the group section, which occurs when SUB is also selected. In CPG mode, all odd-numbered monitors route directly to the left of the stereo mix, while all even-numbered monitors route directly to the right.

The Tape Return switch on the SOUNDCRAFT 2400 selects the monitor and meter source. If the button is not pressed, the source will be the signal routed to the tape send (i.e., console output). If pressed, the monitor source will be the tape return signal (i.e., the tape machine output). If the SUB button has been pressed, the group output is removed from this switch.

Depending on the solo mode selected on the master module of the SOUNDCRAFT 2400, the soloed signal may be either mono (pre-monitor fader) or stereo (post-monitor pan pot). If solo-in-place (SIP) mode is selected, this switch has no function. In CPG mode, stereo solo will be left or right, depending on whether the monitor channel is odd or even.

When pressed, the fader reverse button (FDR) on the SOUNDCRAFT 2400 reverses the function of the monitor fader and the group fader. This is useful for using the monitor channels as extra line inputs into the stereo mix, allowing the long throw faders to become return faders.

If the SUB (Group to Mix) button is selected on the SOUNDCRAFT 2400, the group signal, in addition to its jack field destination, is also routed directly to the stereo mix, with odd-numbered groups assigned to the left and even-numbered groups to the right. If CPG is also selected, the pan pot and auxiliary sends are connected into the group signal chain, providing the ability to pan the group signal across the stereo mix. SUB is used to form audio sub-groups during mixing and to return these groups into the stereo mix without using extra return channels, either directly or via the pan pot.

The Group solo on the SOUNDCRAFT 2400 is similar in operation to the monitor solo, except that the soloed signal is either pre or post the group fader. In SUB or SUB + CPG mode, the soloed signal will appear on the control room speakers in its stereo position.

The headphone volumes on the SOUNDCRAFT 2400 can be individually controlled, allowing either a double mono or single stereo headphone feed to be derived from the Phones Source selector switch.

The headphone output on the SOUNDCRAFT 2400 can be sourced from any of the auxiliary outputs or from the main monitor source selection.

The six auxiliary sends on the SOUNDCRAFT 2400 can be controlled in level by 41-detent controls. Each auxiliary has a solo switch below it with an associated red LED.

• If the master solo mode is switched to mono, the signal will be heard in mono as a centre image on the control room monitors.

• When switched to stereo solo mode, the odd-numbered sends will be heard on the left and even-numbered sends on the right. This allows for monitoring of stereo sends, such as a stereo headphone mix.

The control room output on the SOUNDCRAFT 2400 can be switched between two sets of speaker systems using the ALT SPKR function.

Four interlocking switches on the SOUNDCRAFT 2400, marked 2Ta, 2Tb, 2Tc, and MIX, are used to route the outputs of the three stereo sources or the output of the console to the control room and studio monitoring systems.

The Studio monitor signal selected by the Monitor Source switches on the SOUNDCRAFT 2400 can be switched on or off, and its level controlled independently of the talkback signal.

The CONTROL ROOM LEVEL control on the SOUNDCRAFT 2400 adjusts the volume of the signal selected by the Monitor Source Selection switches.

The source selection is overridden by any solo switch, except when in Solo In Place mode. Therefore, any soloed signal will be heard either in dual mono or in stereo as selected. Because the stereo mix meters are fed from the signal present at the input of the control room level control, any signal soloed will also be metered on the stereo mix meters. This makes it possible to meter the level of the auxiliary sends of the pre-fader level of the input channels.

The MNO button on the SOUNDCRAFT 2400 causes the control room monitor signals to be summed together in order to check the mono compatibility of a stereo signal.

The DIM button on the SOUNDCRAFT 2400 attenuates the level of the control room signal by 20dB.

The 1-2, 3-4, and 5-6 buttons on the SOUNDCRAFT 2400 determine which pairs of auxiliary outputs will be fed with talkback signals. These buttons can be used in any combination.

The Mic Level control on the SOUNDCRAFT 2400 adjusts the level of the talkback signal.

SLATE on the SOUNDCRAFT 2400 routes a combined talkback and 30Hz signal to all group buses. This signal will therefore be recorded on all tape tracks to identify various tape sections. When SLATE is selected, partial muting of the control room monitors occurs.

COMM on the SOUNDCRAFT 2400 routes the talkback signal to any auxiliary outputs selected by buttons 1-2, 3-4, or 5-6. Partial muting of the control room monitors occurs when COMM is active.

The TALKBACK function on the SOUNDCRAFT 2400 is similar to COMM, with the exception that the signal is also routed to the studio monitoring system, independent of the studio level control.

The oscillator frequency on the SOUNDCRAFT 2400 is continuously variable between 45Hz and 15kHz in two ranges. The first range covers 45Hz to 900Hz, and the second range covers 700Hz to 15kHz.

The oscillator level on the SOUNDCRAFT 2400 is adjusted by a 41-position detented control.

To switch on the oscillator on the SOUNDCRAFT 2400, press the ON button. The oscillator signal will then be available at the patchbay.

To route the oscillator signal to all group/mix buses on the SOUNDCRAFT 2400, press the GROUP button.

To route the oscillator signal to all auxiliary buses on the SOUNDCRAFT 2400, press the AUX button.

The solo lamp on the SOUNDCRAFT 2400 is illuminated whenever any solo function on the desk is operated. This warns the operator that a solo condition exists, which can then be specifically located by the individual solo LEDs. The solo button is a latching action switch, and any number of buttons may be operated at one time.

The overall mode of the solo system on the SOUNDCRAFT 2400 is determined by the master MNO status button.

• When MNO is not pressed (in stereo position), the soloed signal is heard in stereo on the control room monitors.

• When the MNO button is pressed, the soloed signal will be the pre-fader signal and will be heard in mono on the control room monitors.

Neither mode affects any signals to tape and are completely safe to use at any time.

Input channels on the SOUNDCRAFT 2400 that have been assigned to either A or B mute buses can be switched on or off by the relevant Master Mute button. Red LEDs indicate the operation of the function.

To allow metering of tracks 17 to 24 on the SOUNDCRAFT 2400, meters 9 to 16 may be switched in two groups of four. Meters 9 to 12 will meter tracks 17 to 20, and meters 13 to 16 will meter tracks 21 to 24 when the respective MTR button is pressed.

Sends 1 and 2 on the SOUNDCRAFT 2400 24-Track Monitor Module are connected pre-monitor level control.

Sends 3 and 4 on the SOUNDCRAFT 2400 24-Track Monitor Module are connected post-monitor level control.

The monitor level control on the SOUNDCRAFT 2400 allows the adjustment of the level of the monitored signal within the stereo mix.

When pressed, the ON button on the SOUNDCRAFT 2400 24-Track Monitor Module will switch on the monitor channel and the auxiliary sends.

Depending on the solo mode selected on the master module of the SOUNDCRAFT 2400, the soloed signal may be either Mono (pre-monitor level) or stereo (post-monitor pan pot). However, if solo-in-place (SIP) mode is selected, the solo button on the 24-Track Monitor Module is inoperative.

Although each monitor section of the SOUNDCRAFT 2400 has only 4 auxiliary send controls, access to auxiliary buses 5 and 6 may be obtained by pressing the relevant Cue Bus Switching button. This button is operative on the 4 monitor channels above it. When pressed, auxiliary send controls 3 and 4 will now route to auxiliary send buses 5 and 6.

To assemble the SOUNDCRAFT 2400 console:

1. Slot the stand cross-member into the left-hand leg and secure it with three m6 x 12mm bolts.

2. Repeat this process for the right-hand leg.

3. Place the stand in the required position and lift the console onto the legs, securing it with eight m6 x 65mm bolts.

4. Check the PSU voltage selector and adjust for the correct voltage in your area.

5. Install the correct fuse (3.15A for 220-240volts or 6.3A for 110-120volts).

All XLR type connectors on the SOUNDCRAFT 2400 are wired to the following standard:

• Pin 1: GROUND

• Pin 2: COLD (Out of phase signal)

• Pin 3: HOT (In phase signal)

The Control Room Monitor outputs on the SOUNDCRAFT 2400 24/16 Small Frame are wired to the following convention:

• Pin 1: Signal low

• Pin 2: Signal high (Speaker system A)

• Pin 3: Signal high (Speaker system B)

If power amplifiers are rated at 300mV sensitivity for full output, an attenuator should be installed at the input of the power amplifier to attenuate the +4dBu signal from the SOUNDCRAFT 2400 console. This is done by using a 2.2kOhm series resistor and a 680 Ohm shunt resistor across the amplifier input.

For optimum performance of the SOUNDCRAFT 2400, it is essential for the earthing system to be clean and noise-free, as all signals are referenced to this earth. A central point should be designated as the main earth point system, and all earths should be “star fed” from this point. The preferred method is to run an individual earth wire from each outlet back to the system star point to provide a safety earth of screen reference for each piece of equipment. The star point should be a convenient, easily accessible place, preferably at the rear of the console or in the main equipment rack.

Install separate “clean” and “dirty” mains outlets for your SOUNDCRAFT 2400 system, wired individually back to the incoming mains distribution box. Use the “clean” supply for all audio equipment and the “dirty” supply for all lighting, vending machines, etc. Never mix the two systems.

If necessary, to provide sufficient isolation from mains-borne interference, install an isolating transformer for the “clean” supply. This isolation transformer should be provided with a Faraday Shield, which must be connected to earth.

Never locate the incoming mains distribution box near audio equipment, especially tape recorders, which are very sensitive to electro-magnetic fields, when setting up the SOUNDCRAFT 2400 system.

Ensure that all equipment racks are connected to earth via a separate wire back to the star point, as part of the SOUNDCRAFT 2400 installation.

Equipment with unbalanced inputs and outputs may need to be isolated from the equipment rack to prevent earth loops when used with the SOUNDCRAFT 2400.

To ensure a quiet and stable system for your SOUNDCRAFT 2400, follow this audio wiring sequence:

1. Connect the Control Room Monitor system to the console, and check for any hum, buzz, or RFI. Only when you are satisfied with the quietness of the console and the monitor system should you proceed.

2. Connect the multitrack tape recorder, via a noise reduction system if applicable, and again check that the system is still clean.

3. Connect stereo tape recorders, studio monitors, echo, and foldback sends one at a time, checking and isolating any connection which degrades performance.

4. Connect all peripheral devices.

5. Connect all microphone lines.

To minimize adverse effects of unwanted coupling to signal wires, the screen should be connected at one end only, generally at the signal source end. In high RF areas, the screen can also be connected to earth via a 0.01 micro Farad capacitor. The optimum screen connection for nine interconnection permutations with the SOUNDCRAFT 2400 is shown in the table below:

Note 1: The shield is connected to the destination earth point, which is opposite to normal practice, because the signal wires being shielded are referenced to the input earth, not the output earth.

Note 2: If the output transformer is centre tapped to earth, the screen should be connected at the source.

Note 3: When an active differential output is operated in unbalanced mode, it is very important that the output current returns to earth via the shortest, least reactive route. Check for instability at the output.

For audio wiring with the SOUNDCRAFT 2400, follow these general guidelines:

• Always use good quality twin-screened audio cable. Check for instability at the output.

• Always connect both conductors at both ends, and ensure that the screen is only connected at one end.

• Do not disconnect the mains earth from each piece of equipment. This is needed to provide both safety and screen returns to the system star point.

• Equipment with balanced inputs and outputs may need to be electrically isolated from the equipment rack and/or other equipment, to avoid earth loops.

To set up the SOUNDCRAFT 2400 for Record Mode:

1. Place input channels in the microphone mode by setting the mic/line switch to the “up” position.

2. Route the signal to the desired console group output by pressing the relevant group routing button on each channel. The signal can be routed to more than one group if desired and panned between any odd and even numbered groups using the channel Pan Pot.

3. The signal can be metered at both the input (by pressing PFL and using the mix meters) and at the relevant Group Output to the tape machine on the Group Output meter, if the tape return button is in the “up” position. A monitor balance is achieved using the appropriate level control. The monitor Pan Pot will pan the signal between the left and right speakers.

4. Adjust the various gain and level controls throughout the signal chain to set operating levels for optimum signal-to-noise ratio and headroom conditions.