Harman DJ Equipment MFXI User Manual

USER GUIDE  
®
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USER GUIDE  
1
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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  
© Harman International Industries Ltd. 2010  
All rights reserved  
Parts of the design of this product may be protected by worldwide patents.  
Part No. BD10.531000 Issue 1210  
Soundcraft is a trading division of Harman International Industries Ltd. Informa-  
tion 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 trans-  
mitted, 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.  
Harman International Industries Limited  
Cranborne House  
Cranborne Road  
POTTERS BAR  
®
Hertfordshire  
EN6 3JN  
UK  
Tel:  
+44 (0)1707 665000  
Fax:+44 (0)1707 660742  
2
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Contents  
IMPORTANT SAFETY INSTRUCTIONS..............................................................................4  
SAFETY SYMBOL GUIDE...................................................................................................6  
INTRODUCTION................................................................................................................11  
THE 60-SECOND GUIDE - MFXi.......................................................................................12  
THE 60-SECOND GUIDE - MPMi......................................................................................14  
WIRING UP.........................................................................................................................16  
BLOCK DIAGRAM - MFXi...................................................................................................20  
BLOCK DIAGRAM - MPMi..................................................................................................21  
MONO INPUT CHANNELS (MFXi shown)..........................................................................22  
STEREO INPUT CHANNELS (MFXi shown)......................................................................25  
MASTER SECTION (MFXi).................................................................................................28  
MASTER SECTION (MPMi)................................................................................................29  
Lexicon® FX PROCESSOR OVERVIEW ...........................................................................33  
FX OPERATION...................................................................................................................33  
FX PROCESSOR CONTROLS (MFXi only).........................................................................34  
REVERBS ...........................................................................................................................35  
REVERB CONTROLS..........................................................................................................36  
DELAYS................................................................................................................................37  
DELAY CONTROLS ............................................................................................................37  
MODULATED EFFECTS......................................................................................................38  
FACTORY RESET ...............................................................................................................39  
EFFECTS DATA CHART.......................................................................................................40  
MFXi/MPMi TYPICAL SPECIFICATIONS.............................................................................41  
USING YOUR MFXi/MPMi CONSOLE.................................................................................42  
MFXi MARK-UP SHEETS.....................................................................................................44  
MPMi MARK-UP SHEETS....................................................................................................45  
FITTING OPTIONAL RACK-MOUNT BRACKETS ..............................................................46  
DIMENSIONS.......................................................................................................................47  
APPLICATIONS....................................................................................................................48  
TYPICAL CONNECTING LEADS.........................................................................................52  
GLOSSARY...........................................................................................................................54  
WARRANTY..........................................................................................................................56  
Soundcraft MFXi MPMi User Guide Issue 1210  
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IMPORTANT SAFETY INSTRUCTIONS  
Read these instructions.  
Keep these instructions.  
Heed all warnings.  
Follow all instructions.  
Do not use this apparatus near water.  
Clean only with a dry cloth.  
Do not block any ventilation openings. Install in accordance with the manufacturer’s  
instructions.  
Do not install near any heat sources such as radiators, heat registers, stoves, or other  
apparatus (including amplifiers) that produce heat.  
Do not defeat the safety purpose of a polarised or grounding type plug. A polarised  
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 provided  
for your safety. If the provided plug does not fit into your outlet, consult an electrician  
for replacement of the obsolete outlet  
Protect the power cord from being walked on or pinched particularly at plugs, conveni-  
ence receptacles and the point where they exit from the apparatus.  
Only use attachments/accessories specified by the manufacturer.  
Use only with the cart, stand, tripod, bracket or table specified by the manufacturer,  
or sold with the apparatus. When a cart is used, use caution when moving the cart/  
apparatus combination to avoid injury from tip-over.  
Unplug this apparatus during lightning storms or when unused for long periods of time.  
Refer all servicing to qualified service personnel. Servicing is required when the ap-  
paratus has been damaged in any way, such as power-supply cord or plug is damaged,  
liquid has been spilled or objects fallen into the apparatus, the apparatus has been  
exposed to rain or moisture, does not operate normally, or has been dropped.  
Note: 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 li-  
ability whatsoever for any loss or damage caused by service, maintenance or repair  
by unauthorised personnel.  
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.  
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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.  
THIS APPARATUS MUST BE EARTHED. Under no circumstances should the safety earth  
be disconnected from the mains lead.  
The mains supply disconnect device is the mains plug. It must remain accessible so as  
to be readily operable when the apparatus is in use.  
If any part of the mains cord set is damaged, the complete cord set should be replaced.  
The following information is for reference only.  
The wires in the mains lead are coloured in accordance with the following code:  
Earth (Ground): Green and Yellow (US - Green/Yellow)  
Neutral:  
Live (Hot):  
Blue (US - White)  
Brown (US - Black)  
As the colours of the wires in the mains lead may not correspond with the coloured mark-  
ings identifying the terminals in your plug, proceed as follows:  
The wire which is coloured Green and Yellow must be connected to the terminal 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 termiin 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 codes 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.  
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 FCC 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 fre-  
quency 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 interference at his own expense.  
This ClassA digital apparatus meets the requirements of the Canadian Interference-Causing  
Equipment Regulations.  
Cet appareil numérique de la Classe A respecte toutes les exigences du Règlement sur  
le matériel brouilleur du Canada.  
Soundcraft MFXi MPMi User Guide Issue 1210  
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For your own safety and to avoid invalidation of the warranty please read this  
section carefully.  
SAFETY SYMBOL GUIDE  
For your own safety and to avoid invalidation of the warranty all text marked  
with these symbols should be read carefully.  
WARNINGS  
The lightning flash with arrowhead symbol, is intended to  
alert the user to the presence of un-insulated “dangerous  
voltage” within the product’s enclosure that may be of  
sufficient magnitude to constitute a risk of electric shock to  
persons.  
CAUTIONS  
The exclamation point within an equilateral triangle is  
intended to alert the user to the presence of important  
operating and maintenance (servicing) instructions in the  
literature accompanying the appliance.  
NOTES  
Contain important information and useful tips on the  
operation of your equipment.  
HEADPHONES SAFETY WARNING  
Contain important information and useful tips on headphone  
outputs and monitoring levels.  
Recommended Headphone Impedance >= 32 Ohms.  
6
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CONSIGNES DE SÉCURITÉ IMPORTANTES  
Lisez ces instructions.  
Conservez ces instructions.  
Respectez toutes les consignes de sécurité.  
Suivez toutes les instructions.  
N’utilisez pas cet appareil près d’une source liquide.  
Nettoyez l’appareil uniquement avec un tissu sec.  
N’obstruez pas les ouïes de ventilation. Installez uniquement en suivant les recom-  
mandations du fabricant.  
N’installez pas cet appareil près d’une source de chaleur, comme un radiateur, une  
chaudière ou tout autre appareil (amplificateurs inclus) générant de la chaleur.  
Ne modifiez pas les protections de la fiche secteur.Les fiches polarisées sont équipées  
d’une lame plus large que l’autre. Les fiches avec mise à la terre disposent de deux  
lames et d’une broche pour la terre. Ce dispositif garantit votre sécurité contre toute  
électrocution. Si la fiche fournie ne correspond pas au format de vos prises murales,  
consultez un électricien pour faire remplacer vos prises.  
Protégez le cordon secteur contre tout dommage physique (pincement, etc.), plus  
particulièrement au niveau des fiches, des prises et de l’embase secteur.  
Utilisez uniquement avec les accessoires/fixations spécifiés par le fabricant.  
Utilisez uniquement avec un chariot, pied, trépied, fixation ou table spécifié par le  
fabricant ou vendu avec le produit. Lorsque vous utilisez un chariot, veillez à assurer  
sa stabilité pour éviter toute chute.  
Déconnectez l’appareil du secteur lors des orages ou des longues périodes d’inutilisation.  
Confiez toutes les réparations à un personnel qualifié. Faites contrôler le produit s’il  
a été endommagé (fiche secteur ou cordon secteur endommagés, par exemple), s’il  
y a eu infiltration de liquide ou d’objets dans le boîtier, si l’appareil a été exposé à la  
pluie ou à l’humidité, s’il ne fonctionne pas normalement ou s’il est tombé.  
Remarque : Nous vous recommandons de confier toutes vos réparations à un centre  
agréé par Soundcraft.Soundcraft n’accepte aucune responsabilité pour les réparations  
ou entretiens effectués par un personnel qui n’est pas agréé.  
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ATTENTION : Pour réduire les risques d’incendie ou d’électrocution, n’exposez pas ce  
produit à la pluie ou à l’humidité.  
Ce produit ne doit être exposé à aucune source liquide, et aucun contenant rempli de  
liquide, tel un vase, ne doit être déposé sur celui-ci.  
Ne placez aucune source à flamme nue, telle une bougie, sur l’appareil.  
Veillez à ce qu’aucun objet (journal,nappe,rideau,etc.) n’obstrue les ouïes de ventilation.  
CET APPAREIL DOIT ÊTRE RELIÉ À LA TERRE. La broche de mise à la terre ne doit en aucun  
cas être déconnectée du cordon ou de la prise secteur.  
Pour déconnecter l’appareil du secteur,déconnectez le cordon secteur de l’embase secteur  
ou de la prise secteur. Celles-ci doivent rester accessibles en tout temps.  
Faites remplacer le cordon secteur si l’une des parties est endommagée.Les informations  
ci-dessous ne servent que de références.  
Les fils du cordon secteur sont repérés par des couleurs :  
Terre (Masse) :  
Neutre :  
Vert et Jaune (US - Vert/Jaune)  
Bleu (US - Blanc)  
Phase (Point chaud) :  
Marron (US - Noir)  
Si les couleurs ou les codes sont différents dans votre région, procédez comme suit :  
Le fil Vert et Jaune doit être connecté à la borne repérée par la lettre E ou par le symbole  
de terre/masse.  
Le fil Bleu doit être connecté à la borne N (neutre) de la prise.  
Le fil Marron doit être connecté à la borne L (phase).  
Si vous devez remplacer la prise ou la fiche secteur,veillez à assurer le respect des couleurs  
et le raccordement à la terre, au neutre et à la phase.  
La console ne peut être reliée qu’à une ligne secteur de la tension indiquée en face arrière.  
REMARQUE : Suite aux tests effectués, il est établi que ce produit répond aux normes de  
l’alinéa 15 des réglementations fédérales américaines sur les produits numériques de  
ClasseA.Ces normes sont établies afin de vous protéger contre toute interférence nuisible  
en installation commerciale. Cet appareil génère, utilise et émet des fréquences radio.  
Par conséquent, s’il n’est pas installé et utilisé en suivant les instructions, il peut causer  
des interférences nuisibles aux communications radio. Lutilisation en environnement  
résidentiel peut causer des interférences. Lutilisateur doit alors faire corriger le problème  
à ses frais. Cet appareil numérique de Classe A répond aux normes canadiennes sur le  
brouillage radioélectrique.  
Cet appareil numérique de la Classe A respecte toutes les exigences du Règlement sur  
le matériel brouilleur du Canada.  
Soundcraft MFXi MPMi User Guide Issue 1210  
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Pour assurer votre sécurité et éviter toute annulation de la garantie, veuillez lire  
attentivement les paragraphes repérés par ces symboles de sécurité.  
GUIDE DES SYMBOLES DE SÉCURITÉ  
Pour assurer votre sécurité et éviter toute annulation de la  
garantie, veuillez lire attentivement les paragraphes repérés  
par ces symboles de sécurité.  
AVERTISSEMENT  
Le symbole de l’éclair avec une flèche prévient l’utilisateur  
d’une tension dangereuse non isolée dans le boîtier de  
l’appareil, pouvant être suffisamment forte pour constituer  
un risque d’électrocution pour les personnes exposées.  
ATTENTION !  
Le point d’exclamation dans un triangle signale à l’utilisateur  
la présence d’instructions importantes pour l’utilisation et  
l’entretien dans le mode d’emploi fourni avec l’appareil.  
REMARQUES  
Informations utiles sur l’utilisation de la console.  
CONSIGNES DE SÉCURITÉ POUR LUTILISATION DE LEMBASE  
CASQUE  
Informations importantes et astuces pratiques pour les  
embases casques et les niveaux d’écoute.  
Impédance minimum recommandée pour le casque : >  
32 Ohms.  
10  
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INTRODUCTION  
Thank you for purchasing a Soundcraft MPMi/MFXi mixer. The MPMi and MFXi  
ranges are our most cost-effective mixing solutions, bringing you all the features  
and performance that you expect from a Soundcraft product, at an extraordinarily  
low price. The packaging, in which your console arrived, forms part of the product  
and must be retained for future use.  
Owning a Soundcraft console brings you the expertise and support of one of the  
industry’s leading manufacturers, and the results of over three decades of  
supporting some of the biggest names in the business. Our knowledge has been  
attained through working in close contact with leading professionals and institutes  
to bring you products designed to get the best possible results from your mixing.  
Built to the highest standards using quality components and surface mount  
technology, the MPMi/MFXi is designed to be as easy to use as possible. We have  
spent years researching the most efficient methods of control for two key reasons:  
1) Engineers, musicians, writers and programmers all need to have very few  
interruptions to the creative process; our products have been designed to be  
almost transparent, allowing this process to breathe.  
2) Whether performing or recording, time is a very expensive and rare  
commodity. Our products have a user interface which is recognised by millions to  
be the industry standard because of its efficiency.  
The sonic qualities of our products are exemplary - some of the same circuits  
which are used on our most expensive consoles are employed in the MPMi/  
MFXi, bringing you the great Soundcraft quality in a small format console without  
compromise.  
You will also be glad to know you have a one year warranty with your product  
from the date of purchase. The MPMi/MFXi has been designed using the latest  
high-end software based engineering packages. Every console from Soundcraft  
has been proven to stand up to all the stress and rigours of modern day mixing  
environments.  
The entire MPMi/MFXi range is manufactured using some of the most advanced  
techniques in the world, from high density surface mount PCB technology, to  
computer aided test equipment able to measure signals well outside the range  
of normal hearing. As each console passes through to be quality checked before  
packing, there is also a human listening station. Something we have learnt over  
the years is that the human touch counts - and only by using people can you  
ensure the product meets the high demands of the user.  
ADVICE FOR THOSE WHO PUSH THE BOUNDARIES  
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 you to get the best from  
your mixer and the most respect from your artists and audience.  
Soundcraft MFXi MPMi User Guide Issue 1210  
11  
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THE 60-SECOND GUIDE - MFXi  
To get you working as fast as possible, this manual begins with a 60-second guide. Here you can find quick  
information on any feature of the console. This shows the MFXi console.  
36  
29  
26  
17 34 38  
33  
21  
32  
L
48V  
PHANTOM POWER  
1
2
3
4
5
6
7
8
9
10  
11  
12  
MUTE  
FX  
MIC  
MIC  
MIC  
MIC  
MIC  
MIC  
MIC  
MIC  
MIC  
MIC  
MI
MIC  
REC  
OUT  
L
L
MONITOR OUT  
R
SUB OUT  
R
MONO  
OUT  
1
R
L
MIX-L  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
AUX1  
OUT  
AUX2  
OUT  
FX BUS  
OUT  
16  
30  
2TRK  
IN  
2
3
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
R
2TRK  
LEVEL  
MIX-R  
L
L
L
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
HEADPHONES  
[MONO]  
[MONO]  
[MONO]  
0
10  
4
5
TOMIX  
25  
35  
R
R
R
TO  
MNTR  
STEREO1  
STEREORETURN  
LEVEL  
31  
24  
LEVEL  
+
+
+
+
+
+
+
+
+
+
+
+
0
0
0
0
0
0
0
0
0
0
0
0
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
HF  
6
HF  
6
HF  
6
HF  
6
HF  
6
HF  
6
HF  
6
HF  
6
HF  
6
HF  
6
HF  
6
HF  
6
GAIN  
GAIN  
6
6
6
6
6
6
6
6
6
6
6
6
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
0
0
10  
10  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
15  
15  
15  
15  
15  
15  
15  
15  
15  
15  
15  
15  
-10  
20dB  
-10  
20dB  
0
1
24-BITDIGITAL  
EFFECTSPROCESSOR  
BANKA BANKB  
AUX1  
MST  
750  
750  
750  
750  
750  
750  
750  
750  
750  
750  
750  
750  
0
+
+
0
3
3
3
3
A: PRE-DEL  
B: TME/SPD  
MF  
MF  
MF  
MF  
MF  
MF  
MF  
MF  
MF  
MF  
MF  
MF  
HF  
HF  
6
6
6
6
1
2
3
4
5
6
7
8
9
S.HALL SPRING  
L.HALL S.DLY  
9
9
9
9
V.HALL D.DL  
D.HALL T.DL  
S.PLT P.DL  
L.PL M.DL  
V.PL  
D.PLT  
RO  
Y
12  
15  
12  
12  
15  
12  
15  
15  
Y
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0+  
0+  
Y
3
6
3
3
6
3
3
6
3
6
3
6
3
3
6
3
3
6
3
3
6
3
3
6
3
3
6
3
3
6
3
3
6
3
6
3
6
3
3
3
3
3
AFL  
AFL  
MF  
MF  
6
A: DECAY  
B: FBK/DPTH  
6
7
T
Y
6
6
6
6
6
6
6
6
6
6
6
9
6
6
9
T
R.DLY  
CHORUS  
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
AUX2  
MST  
OM  
FLANG  
R
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
PHASR  
TREM/P  
VIBRTO  
10 STUDIO  
11 CHMBR  
12 AMB  
15  
15  
15  
3
15  
15  
15  
15  
15  
15  
15  
15  
3
15  
15  
15  
+
+
0
0
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
LF  
LF  
LF  
LF  
LF  
LF  
LF  
LF  
LF  
LF  
LF  
LF  
LF  
LF  
0
10  
A
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
9
6
6
9
6
:
VARI  
13 ARENA RV/DL  
14  
ATED RV/DL  
S
L
B
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
G
27  
28  
15 REV  
16 KARAOKE  
PHSDEL  
ROTDEL  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
15  
FXTO  
AUX1  
POST  
PRE  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
FX  
MST  
BANK A  
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
L
10  
AUX2  
0
0
0
L
10  
AUX2  
0
0
0
10  
39  
FXTO  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
0
10  
AFL  
37  
22  
23  
0
0
0
0
0
0
0
0
0
0
0
0
10  
10  
10  
R
10  
MNTR  
LEVEL  
MIX/ SOLO  
16  
FX  
FX  
FX  
FX  
FX  
FX  
FX  
FX  
FX  
FX  
FX  
FX  
FX  
FX  
BANK B  
10  
6
8
9
0
0
0
0
0
0
0
0
0
0
0
0
10  
10  
STORE  
0
0
0
0
0
0
0
0
0
0
0
0
0
0
3
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
BAL  
BAL  
MIX  
SUB  
0
-3  
-6  
-12  
-16  
-22  
TAP  
TEMPO  
STE  
MNO  
L
L
L
L
L
L
L
L
L
L
10  
L
11  
L
12  
R
20  
1
2
3
4
5
6
7
8
9
STE1  
MUTE  
FX  
STE2  
MUTE  
SUB TO  
MIX  
10  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
18  
19  
11  
12  
13  
14  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
SOLO  
PWR  
PK  
PK  
PK  
PK  
PK  
PK  
PK  
PK  
PK  
PK  
PK  
PK  
PK  
PK  
PK  
SP  
10  
SP  
10  
SP  
10  
SP  
10  
SP  
10  
SP  
10  
SP  
10  
SP  
10  
SP  
10  
SP  
10  
SP  
10  
SP  
10  
SP  
10  
SP  
10  
SP  
0
10  
10  
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
-5  
5
0
5
0
-10  
15  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-15  
-20  
-5  
-5  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-30  
-40  
-20  
-30  
-20  
-30  
1
2
3
4
5
6
7
8
9
10  
11  
12  
STE1  
STE2  
EFFECTS  
SUB-L  
SUB-R  
MIX  
1 MIC INPUT (XLR)  
Connect Microphones here. If you are using a condenser mic, ensure phantom  
power is supplied by pressing the switch at the top of the master section.  
WARNING: Do Not apply Phantom Power  
before connecting a microphone.  
2 LINE INPUT (¼” Jack)  
Connect Line level sources here, e.g. Synth, Drum Machine, DI etc.  
Connect Signal processors here, e.g. Compressor, Gate etc.  
Adjust this to increase or decrease the level of the incoming signal.  
The high-pass filter reduces the level of bass frequencies only. Use this in live PA  
situations to reduce stage rumble or ‘popping’ from mics.  
3 INSERT POINT (¼” Jack)  
4 GAIN CONTROL  
5 HPF  
6 EQ STAGE  
7 AUX 1 & 2 SENDS  
Adjust these controls to change the signal tone (the character of the signal).  
Adjust these controls to change the level of the signal to an artist’s monitors  
(headphones/in-ear/stage monitors). Aux 1 send is pre-fade. Aux 2 is globally  
switchable pre/post fade.  
8 FX SEND  
This control sets the level of the post-fade signal being sent to the FX bus; from  
there it is routed to the FX processor.  
9 PAN CONTROL  
10 MUTE SWITCH  
11 PFL  
Use this control to position the signal within the stereo field.  
When this is pressed you will hear no signal from the channel.  
When pressed the signal will appear on the monitor and headphone outputs - use  
Your MFXi console is equipped with a Kensington® Security slot on the rear panel for use with compatible PC/Laptop security cables.  
12  
Soundcraft MFXi MPMi User Guide Issue 1210  
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this to monitor the post-EQ signal from the channel.  
12 MIX/SUB SWITCH  
When this switch is up, the channel’s post-pan-pot signal is routed to the Mix (left  
and right) buses. When the switch is depressed, the post-pan-pot signal is routed  
to the Sub-group (left and right) buses.  
13 PEAK LED  
14 SP LED  
This is used to indicate that the signal is close to distorting (clipping) on a specific  
channel.  
The SP LED glows when a signal is present.The feed point for the LED is post-insert,  
pre-EQ.  
15 INPUT CHANNEL FADER  
16 MIX OUTPUTS (XLR)  
& MONO OUT (¼” Jack)  
17 SUB-GROUP OUTPUTS  
(¼” Jack)  
This is used to control the level fed to the Mix Bus and post-fade sends.  
Connect these to your analogue recording device, or to your amplification system.  
These outputs can be connected to a separate amplifier system or to an external  
processor.  
18 SUB-GROUP ROUTING  
19 MASTER FADERS  
20 MAIN METERS  
The sub-group mix can be routed to the main mix, in mono or stereo.  
These faders control the overall level of the mix and sub-group outputs.  
These show the level of the mix outputs.When the master SOLO LED is lit,the meters  
show the level of the selected AFL/PFL signal.  
21 MONITOR OUTPUTS  
(¼” Jack)  
22 MONITOR CONTROL  
23 MONITOR SELECT SWITCH  
These are used to feed your monitoring system. This can be directly connected to  
powered monitors, or indirectly via an amplifier to standard monitors.  
This controls the level of the signal sent to your monitoring system.  
This switch selects the signal source to be monitored. Note that the 2-TK input can  
be monitored also, see item 31 below.  
24 PHONES CONTROL  
25 HEADPHONES (¼” Jack)  
This controls the level of the signal sent to the headphones jack socket.  
Plug your headphones into this socket. Recommended headphones impedance is  
32 ohms or greater.  
26 AUX 1 & 2 OUTPUTS  
(¼” Jacks)  
27 AUX CONTROLS  
& AFL SWITCHES  
These outputs can be used to send the channel signal to an artist’s monitors (head  
phones/in-ear/stage monitors), external FX or secondary PA/monitor system.  
The rotary controls set the output levels of the two Aux Outputs. The After Fade  
(AFL) Listen switches route their respective aux output signal to the monitor/  
headphones outputs.  
28 AUX 2 POST/PRE SWITCH  
This switch globally changes the AUX 2 feed on all the input modules to be either  
post-fade or pre-fade.  
29 STEREO INPUTS (¼” Jack) These two pairs of inputs can be used to connect line level stereo inputs from key-  
boards, sound modules, samplers, computer based audio cards etc. These inputs  
pass through a stereo channel strip, with EQ, Auxes and a Balance control. Mono  
sources may be used by plugging into the left jack only.  
30 2-TRACK IN (RCA Phono)  
31 2-TRACK OUT  
You can connect the playback from your recording device here.  
Use these to control the 2 Track signal.The MONITOR switch sends the signal to the  
monitor outputs and phones, whilst the TO MIX switch sends it to the main mix.  
32 RECORD OUTPUTS (RCA Phono) You can connect these to the inputs of your recording device.  
33 PHANTOM POWER  
Press this to globally switch the phantom power (48V) on for condenser microphones.  
WARNING: Do Not apply Phantom Power before  
connecting a microphone.  
34 STEREO RETURN INPUTS  
This pair of inputs accept 3-poleAgauge (TRS) jacks. Use these inputs for sources  
such as keyboards,drum machines,synths or CDs. The inputs are BALANCED.Mono  
sources may be used by plugging into the left jack only.  
35 STEREO RETURN CONTROL This control sets the level of signal routed to the main mix busses.  
36 FX BUS OUTPUT  
This output carries the signal from the FX bus.It could be used as a thirdAux Output  
if desired if the FX Processor is not needed at the time.The FX sends on the inputs  
channels to the FX bus are always post-fade.  
37 FX CONTROL & AFL SWITCH The rotary control regulates the signal level being fed from the FX bus to the FX  
processor and to the FX BUS OUTPUT socket. The After-Fade Listen (AFL) switch  
routes this post-FX-control, pre-FX signal to the monitor/headphones outputs.  
38 FOOTSWITCH CONNECTOR  
39 LEXICON® FX PROCESSOR  
This is used by the FX Processor, see page 33.  
See the information starting on page 33 .  
Soundcraft MFXi MPMi User Guide Issue 1210  
13  
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THE 60-SECOND GUIDE - MPMi  
To get you working as fast as possible, this manual begins with a 60-second guide. Here you can find quick  
information on any feature of the console. .  
28  
25  
16  
32  
20  
31  
L
48V  
PHANTOM POWER  
1
2
3
4
5
6
7
8
9
10  
11  
12  
MIC  
MIC  
MIC  
MIC  
MIC  
MIC  
MIC  
MIC  
MIC  
MIC  
MI
MIC  
REC  
OUT  
L
L
MONITOR OUT  
R
SUB OUT  
R
MONO  
OUT  
1
2
R
L
MIX-L  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
LINE  
AUX1  
OUT  
AUX2  
OUT  
AUX3  
OUT  
15  
29  
2TRK  
IN  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
R
2TRK  
LEVEL  
3
4
MIX-R  
L
L
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
HEADPHONES  
[MONO]  
[MONO]  
0
10  
TO MIX  
24  
26  
R
R
TO  
MNTR  
STEREO  
1
30  
23  
LEVEL  
+
+
+
+
+
+
+
+
+
+
+
+
0
0
0
0
0
0
0
0
0
0
0
0
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
HF  
HF  
HF  
HF  
HF  
HF  
HF  
HF  
HF  
HF  
HF  
HF  
GAIN  
GAIN  
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
5
6
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
0
0
10  
10  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
15  
15  
15  
15  
15  
15  
15  
15  
15  
15  
15  
15  
-10  
20dB  
-10  
20dB  
AUX1  
MST  
750  
750  
750  
750  
750  
750  
750  
750  
750  
750  
750  
750  
0+  
0+  
3
3
3
3
MF  
MF  
MF  
MF  
MF  
MF  
MF  
MF  
MF  
MF  
MF  
MF  
HF  
6
HF  
6
6
6
9
9
9
9
12  
15  
12  
12  
12  
15  
15  
15  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
150  
3.5k  
+
+
+
+
+
+
+
+
+
+
+
+
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
+
+
+
+
0
0
0
0
3
6
3
3
6
3
3
6
3
6
3
6
3
3
6
3
3
6
3
3
6
3
3
6
3
3
6
3
3
6
3
6
3
6
3
3
6
3
3
3
3
3
AFL  
MF  
6
MF  
6
6
6
6
6
6
6
6
6
6
6
6
9
6
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
AUX2  
MST  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
12  
15  
15  
15  
3
15  
15  
15  
15  
15  
15  
15  
3
15  
15  
15  
15  
15  
+
+
+
+
+
+
+
+
+
+
+
+
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
LF  
LF  
LF  
LF  
LF  
LF  
LF  
LF  
LF  
LF  
LF  
LF  
LF  
6
LF  
0
10  
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
9
6
9
6
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
AFL  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
15  
12  
12  
12  
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
10  
10  
10  
R
15  
15  
15  
POST  
PRE  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
AUX1  
27  
AUX3  
MST  
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
L
10  
AUX2  
0
10  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
AUX2  
0
10  
7
AFL  
0
0
0
0
0
0
0
0
0
0
0
0
10  
AUX3  
0
10  
AUX3  
MNTR  
LEVEL  
MIX  
/
SOLO  
AUX3  
AUX3  
AUX3  
AUX3  
AUX3  
AUX3  
AUX3  
AUX3  
AUX3  
AUX3  
AUX3  
AUX3  
16  
10  
6
21  
22  
0
0
0
0
0
0
0
0
0
0
0
0
10  
0
10  
0
10  
0
0
0
0
0
0
0
0
0
0
0
0
0
0
3
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
BAL  
BAL  
MIX  
SUB  
0
-3  
-6  
-12  
-16  
-22  
8
9
STE  
MNO  
L
L
L
L
L
L
L
L
L
L
10  
L
11  
L
12  
R
L
R
19  
1
2
3
4
5
6
7
8
9
STE1  
MUTE  
STE2  
MUTE  
SUB TO  
MIX  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
PFL  
17  
18  
10  
11  
12  
13  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
MIX  
SUB  
SOLO  
PWR  
PK  
SP  
PK  
SP  
PK  
SP  
PK  
SP  
PK  
SP  
PK  
SP  
PK  
SP  
PK  
SP  
PK  
SP  
PK  
SP  
PK  
SP  
PK  
SP  
PK  
PK  
SP  
10  
SP  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
10  
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
5
0
14  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-5  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-10  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
-20  
-30  
1
2
3
4
5
6
7
8
9
10  
11  
12  
STE1  
STE2  
SUB-L  
SUB-R  
MIX  
1 MIC INPUT (XLR)  
Connect Microphones here. If you are using a condenser mic, ensure phantom  
power is supplied by pressing the switch at the top of the master section.  
WARNING: Do Not apply Phantom Power before  
connecting a microphone.  
2 LINE INPUT (¼” Jack)  
Connect Line level sources here, e.g. Synth, Drum Machine, DI etc.  
Connect Signal processors here, e.g. Compressor, Gate etc.  
Adjust this to increase or decrease the level of the incoming signal.  
The high-pass filter reduces the level of bass frequencies only. Use this in live PA  
situations to reduce stage rumble or ‘popping’ from mics.  
3 INSERT POINT (¼” Jack)  
4 GAIN CONTROL  
5 HPF  
6 EQ STAGE  
7 AUX SENDS  
Adjust these controls to change the signal tone (the character of the signal).  
Adjust these controls to change the level of the signal to an artist’s monitors  
(headphones/in-ear/stage monitors). Aux 1 send is pre-fade. Aux 2 is globally  
switchable pre/post fade, Aux 3 send is post-fade  
8 PAN CONTROL  
9 MUTE SWITCH  
10 PFL  
Use this control to position the signal within the stereo field.  
When this is pressed you will hear no signal from the channel.  
When pressed the signal will appear on the monitor and headphone outputs - use  
this to monitor the post-EQ signal from the channel.  
11 MIX/SUB SWITCH  
When this switch is up, the channel’s post-pan-pot signal is routed to the Mix (left  
and right) buses. When the switch is depressed, the post-pan-pot signal is routed  
to the Sub-group (left and right) buses.  
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12 PEAK LED  
13 SP LED  
This is used to indicate that the signal is close to distorting (clipping) on a specific  
channel.  
The SP LED glows when a signal is present.The feed point for the LED is post-insert,  
pre-EQ.  
14 INPUT CHANNEL FADER  
15 MIX OUTPUTS (XLR)  
MONO OUT (¼” Jack)  
16 SUB-GROUP OUTPUTS  
(¼” Jack)  
This is used to control the level fed to the Mix Bus and post-fade sends.  
Connect these to your analogue recording device, or to your amplification &  
system.  
These outputs can be connected to a separate amplifier system or to an external  
processor.  
17 SUB-GROUP ROUTING  
18 MASTER FADERS  
19 MAIN METERS  
The sub-group mix can be routed to the main mix, in mono or stereo.  
These faders control the overall level of the mix and sub-group outputs.  
These show the level of the mix outputs.When the master SOLO LED is lit,the meters  
show the level of the selected AFL/PFL signal.  
20 MONITOR OUTPUTS  
(¼” Jack)  
21 MONITOR CONTROL  
22 MONITOR SELECT SWITCH  
These are used to feed your monitoring system. This can be directly connected to  
powered monitors, or indirectly via an amplifier to standard monitors.  
This controls the level of the signal sent to your monitoring system.  
This switch selects the signal source to be monitored. Note that the 2-TK input can  
be monitored also, see item 30 below.  
23 PHONES CONTROL  
24 HEADPHONES (¼” Jack)  
This controls the level of the signal sent to the headphones jack socket.  
Plug your headphones into this socket. Recommended headphones impedance is  
32 ohms or greater.  
25 AUX 1, 2 & 3 OUTPUTS  
(¼” Jacks)  
26 AUX CONTROLS  
& AFL SWITCHES  
These outputs can be used to send the channel signal to an artist’s monitors  
(headphones/in-ear/stage monitors),external FX or secondary PA/monitor system.  
The rotary controls set the output levels of the three Aux Outputs. The After  
Fade Listen (AFL) switches route their respective aux output signal to the monitor/  
headphones outputs.  
27 AUX 2 POST/PRE SWITCH  
This switch globally changes the AUX 2 feed on all the input modules to be either  
post-fade or pre-fade.  
28 STEREO INPUTS (¼” Jack)  
These two pairs of inputs can be used to connect line level stereo inputs from key-  
boards, sound modules, samplers, computer based audio cards etc. These inputs  
pass through a stereo channel strip, with EQ, Auxes and a Balance control. Mono  
sources may be used by plugging into the left jack only.  
29 2-TRACK IN (RCA Phono)  
30 2-TRACK OUT  
You can connect the playback from your recording device here.  
Use these to control the 2 Track signal. The Monitor switch sends the signal to the  
monitor outputs and phones, whilst the TO MIX switch sends it to the main mix.  
31 Record Outputs (RCA Phono) You can connect these to the inputs of your recording device.  
32 PHANTOM POWER Press this to globally switch the phantom power (48V) on for condenser microphones.  
WARNING: Do Not apply Phantom Power before connecting a micro-  
phone.  
Your MPMi console is equipped with a Kensington® Security slot on the rear panel for use with compatible PC/Laptop security cables.  
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WIRING UP  
Mic Input  
The MIC input accepts XLR-type connectors and is designed to suit a wide  
range of BALANCED or UNBALANCED low-level signals, whether from  
delicate vocals requiring the best low-noise performance, or drum kits  
needing maximum headroom. Professional dynamic, condenser or ribbon  
mics are best because these will be LOW IMPEDANCE. While you can  
use low-cost HIGH IMPEDANCE mics, you do not get the same degree of  
immunity to interference on the microphone cable and as a result the level  
of background noise may be higher. If you turn the PHANTOM POWER on,  
the socket provides a suitable powering voltage for professional condenser  
mics.  
DO NOT use UNBALANCED sources with the phantom power  
switched on. The voltage on pins 2 & 3 of the XLR connector may  
cause serious damage. BALANCED dynamic mics may normally be  
used with phantom power switched on (contact your microphone  
manufacturer for guidance)  
The input level is set using the input GAIN knob.  
The LINE input offers the same gain range as the MIC input, but at a higher  
input impedance, and is 15dB less sensitive. This is suitable for most line  
level sources.  
WARNING !  
Start with the input GAIN knob turned fully anticlockwise  
when plugging high level sources into the LINE input to avoid  
overloading the input channel or giving you a very loud surprise!  
Line Input  
Accepts 3-pole 6.35mm (1/4”) jacks, or 2-pole mono jacks which will auto-  
matically ground the ‘cold’ input. Use this input for sources other than mics,  
such as keyboards, drum machines, synths, tape machines or DI boxes. The  
input is BALANCED for low noise and immunity from interference, but you  
can use UNBALANCED sources by wiring up the jacks as shown, although  
you should then keep cable lengths as short as possible to minimise inter-  
ference pick-up on the cable. Note that the ring must be grounded if the  
source is unbalanced. Set the input level using the GAIN knob, starting with  
the knob turned fully anticlockwise. Unplug any MIC connection when using  
the LINE input.  
Insert Point  
The unbalanced, pre-EQ insert point is a break in the channel signal path,  
allowing limiters, compressors, special EQ or other signal processing units  
to be added in the signal path. The Insert is a 3-pole 6.35mm (1/4”) jack  
socket which is normally bypassed. When a jack is inserted, the signal path  
is broken, just before the EQ section.  
The signal from the channel appears on the TIP of the plug and is returned  
on the RING, with the sleeve as a common ground.  
The Send may be tapped off as an alternative pre-fade, pre-EQ direct output  
if required, using a lead with tip and ring shorted together so that the signal  
path is not interrupted.  
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A ‘Y’ lead may be required to connect to equipment with separate send and  
return jacks as shown below:  
Stereo Inputs STEREO 1/2  
These accept 3-pole 6.35mm (1/4”) jacks, or 2-pole mono jacks which will  
automatically ground the ‘cold’ input. Use these inputs for sources such as  
keyboards, drum machines, synths, tape machines or as returns from process-  
ing units. The input is BALANCED for low noise and immunity from interfer-  
ence, but you can use UNBALANCED sources by wiring up the jacks as shown,  
although you should then keep cable lengths as short as possible to minimise  
interference pick-up on the cable. Note that the ring must be grounded if the  
source is unbalanced.  
Mono sources can be fed to both paths by plugging into the Left jack only.  
Mix Outputs  
The MIX outputs are on XLR’s, wired as shown, and incorporate  
impedance balancing, allowing long cable runs to balanced amplifiers and  
other equipment.  
Balanced Connection  
From  
Impedance-Balanced  
Output  
Signal +  
To External Device  
Screen  
Signal -  
Unbalanced Connection  
From  
Impedance-Balanced  
Output  
Signal +  
To External Device  
Screen  
Signal -  
Experience has shown that sometimes it is better  
not to connect screen at external device end.  
Aux and FX Bus Outputs  
The Aux and FX Bus outputs are on 3-pole 6.35mm (1/4”) jack sockets,  
wired as shown on the left, and are impedance-balanced, allowing long  
cable runs to balanced amplifiers and other equipment.  
Headphones  
The PHONES output is a 3-pole 6.35mm (1/4”) jack, wired as a stereo  
output as shown, ideally for headphones of 32or greater.  
8headphones are not recommended.  
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Polarity (Phase)  
You will probably be familiar with the concept of polarity in electrical signals and this  
is of particular importance to balanced audio signals. Just as a balanced signal is  
highly effective at cancelling out unwanted interference, so two microphones pick-  
ing up the same signal can cancel out, or cause serious degradation of the signal  
if one of the cables has the +ve and -ve wires reversed. This phase reversal can  
be a real problem when microphones are close together and you should therefore  
always take care to connect pins correctly when wiring audio cables.  
Grounding and Shielding  
For optimum performance use balanced connections where possible and ensure  
that all signals are referenced to a solid,noise-free earthing point and that all signal  
cables have their screens connected to ground. In some unusual circumstances,  
to avoid earth or ground ‘loops’ ensure cable screens and other signal earths are  
connected to ground only at their source and not at both ends.  
If the use of unbalanced connections is unavoidable, you can minimise noise by  
following these wiring guidelines:  
On INPUTS,unbalance at the source and use a twin screened cable as though  
it were balanced.  
On OUTPUTS, connect the signal to the +ve output pin, and the ground of the  
output device to -ve. If a twin screened cable is used, connect the screen  
only at the mixer end.  
Avoid running audio cables or placing audio equipment close to thyristor  
dimmer units or power cables.  
Noise immunity is improved significantly by the use of low impedance sources,  
such as good quality professional microphones or the outputs from most  
modern audio equipment. Avoid cheaper high impedance microphones,  
which may suffer from interference over long cable runs,even with well-made  
cables.  
Grounding and shielding is still seen as a black art, and the suggestions above are  
only guidelines. If your system still hums, an earth/ground loop is the most likely  
cause. Two examples of how an earth loop can occur are shown below.  
Warning!  
Under NO circumstances must the AC power mains earth be disconnected  
from the mains lead.  
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PROBLEM SOLVING  
Basic problem solving is within the scope of any user if a few basic rules are followed.  
Get to know the Block Diagram of your console (see page 20/21).  
Get to know what all controls and/or connections in the system are supposed to  
do.  
Learn where to look for common trouble spots.  
The Block Diagram is a representative sketch of all the components of the console,  
showing how they connect together and how the signal flows through the system. Once  
you have become familiar with the various component blocks you will find the Block  
Diagram is quite easy to follow and you will have gained a valuable understanding of  
the internal structure of the console.  
Each component has a specific function and only by getting to know what each part  
is supposed to do will you be able to tell if there is a genuine fault! Many “faults” are  
the result of incorrect connection or control settings which may have been overlooked.  
Basic Troubleshooting is a process of applying logical thought to the signal path through  
the console and tracking down the problem by elimination.  
Swap input connections to check that the source is really present. Check both  
Mic and Line inputs.  
Eliminate sections of the channel by using the insert point to re-route the signal  
to other inputs that are known to be working.  
Route channels to different outputs or to auxiliary sends to identify problems on  
the Master section.  
Compare a suspect channel with an adjacent channel which has been set up  
identically. Use PFL to monitor the signal in each section.  
Insert-point contact problems may be checked by using an insert bypass jack  
with tip and ring shorted together as shown below. If the signal appears when  
the jack is inserted it shows that there is a problem with the normalling contacts  
on the jack socket, caused by wear or damage, or often just dirt or dust. Keep a  
few in your gig tool box.  
If in doubt please contact Soundcraft customer support.  
PRODUCTS UNDER WARRANTY  
UK customers should contact their local dealer.  
Customers outside the UK are requested to contact their territorial distributor who is able  
to offer support in the local time zone and language. Please see the distributor listings  
OUT-OF-WARRANTY PRODUCTS  
For out-of-warranty consoles purchased in the United Kingdom, please contact the  
Customer Services Department (e-mail: soundcraft.csd@harman.com) at the factory in  
Potters Bar, Hertfordshire: Telephone +44 (0)1707 665000.  
For all other out-of-warranty consoles,please contact the appropriate territorial distributor.  
When mailing or faxing please remember to give as much information as possible. This  
should include your name,address and a daytime telephone number.Should you experi-  
ence any difficulty please contact Customer Services Department (e-mail: soundcraft.  
csd@harman.com)  
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BLOCK DIAGRAM - MFXi  
FX (POST)  
AUX2 POST  
AUX2 PRE  
AUX1 PRE  
GRP(RIGHT)  
GRP (LEFT)  
MIX(RIGHT)  
MIX(LEFT)  
PFL / AFL  
PFL / AFL  
ENABLE  
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BLOCK DIAGRAM - MPMi  
AUX 3 POST  
AUX2 POST  
AUX2 PRE  
AUX1 PRE  
GRP(RIGHT)  
GRP (LEFT)  
MIX(RIGHT)  
MIX(LEFT)  
PFL / AFL  
PFL / AFL  
ENABLE  
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1
MONO INPUT CHANNELS (MFXi shown)  
MIC  
1 Mic Input  
1
The MIC input accepts XLR-type connectors and is designed to suit a wide range  
of BALANCED or UNBALANCED signals. Professional dynamic, condenser or ribbon  
mics are best because these will be LOW IMPEDANCE. You can use low-cost HIGH  
IMPEDANCE mics, but the level of background noise will be higher. If you turn the  
PHANTOM POWER on (top right-hand side of the mixer) the socket provides a suitable  
powering voltage for professional condenser mics.  
LINE  
2
4
INSERT  
GAIN  
ONLY connect condenser microphones with the +48V powering OFF, and  
ONLY turn the +48V powering on or off with all output faders DOWN, to  
prevent damage to the mixer or external devices.  
5
3
TAKE CARE when using unbalanced sources,which may be damaged by the phantom  
power voltage on pins 2 & 3 of the XLR connector.  
-
+
0
3
3
HF  
6
6
9
9
Unplug any mics if you want to use the LINE Input. The input level is set using the  
GAIN knob.  
12  
15  
12  
15  
750  
MF  
150  
3.5k  
2 Line Input  
-
+
0
3
3
6
6
6
Accepts 3-pole 6.35mm (1/4”) jacks. Use this input for sources other than mics,  
such as keyboards, drum machines, synths, tape machines or DI’d guitars. The input  
is BALANCED for low noise and top quality from professional equipment, but you can  
use UNBALANCED sources by wiring up the jacks as shown in the ‘wiring up’ section,  
although you should then keep cable lengths as short as possible. Unplug anything in  
the MIC input if you want to use this socket. Set the input level using the GAIN knob.  
9
9
12  
15  
12  
15  
-
+
0
3
3
LF  
6
6
9
9
12  
15  
12  
15  
10  
10  
10  
R
AUX1  
7
8
0
AUX2  
3 High-pass Filter  
Pressing this switch activates the high-pass filter. This reduces the level of bass  
frequencies only. Use this in live PA situations to reduce stage rumble or ‘popping’  
from mics.  
0
FX  
0
0
PAN  
4 Insert Point  
9
The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing  
limiters, compressors, special EQ or other signal processing units to be added in the  
signal path. The Insert is a 3-pole 6.35mm (1/4”) jack socket which is normally by-  
passed. When a jack is inserted,the signal path is broken,just before the EQ section.  
L
1
10  
12  
15  
13  
14  
MUTE  
PFL  
MIX  
SUB  
PK  
SP  
10  
5
0
11  
-5  
The Send may also be tapped off as an alternative pre-fade, pre-EQ direct output if  
required, using a lead with tip and ring shorted together so that the signal path is  
not interrupted (see below).  
-10  
-20  
-30  
1
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5 Gain  
1
MIC  
This knob sets how much of the source signal is sent to the rest of the mixer. Too  
high, and the signal will distort as it overloads the channel. Too low, and the level  
of any background hiss will be more noticeable and you may not be able to get  
enough signal level to the output of the mixer.  
1
LINE  
Note that some sound equipment, particularly that intended for domestic use,  
operates at a lower level (-10dBV) than professional equipment and will therefore  
need a higher gain setting to give the same output level.  
2
4
INSERT  
See “Initial Setup” on page 42 to learn how to set GAIN correctly.  
GAIN  
6 Equaliser  
5
3
The Equaliser (EQ) allows fine manipulation of the sound, particularly to improve  
the sound in live PA applications where the original signal is often far from ideal  
and where slight boosting or cutting of particular frequencies can really make a  
difference to clarity. There are three sections giving the sort of control usually only  
found on much larger mixers. The EQ knobs can have a dramatic effect, so use  
them sparingly and listen carefully as you change any settings so that you get to  
know how they affect the sound.  
-
+
0
3
3
HF  
6
6
9
9
12  
15  
12  
15  
750  
MF  
150  
3.5k  
HF EQ  
-
+
0
3
3
6
6
6
Turn to the right to boost high (treble) frequencies above 12kHz by up to 15dB,adding  
crispness to cymbals, vocals and electronic instruments. Turn to the left to cut by  
up to 15dB, reducing hiss or excessive sibilance which can occur with certain types  
of microphone. Set the knob in the centre-detented position when not required.  
MID EQ  
There are two knobs which work together to form a SWEPT MID EQ. The lower knob  
provides 15dB of boost and cut,just like the HF EQ knob,but the frequency at which  
this occurs can be set by the upper knob over a range of 150Hz to 3.5kHz. This  
allows some truly creative improvement of the signal in live situations, because this  
mid band covers the range of most vocals. Listen carefully as you use these controls  
together to find how particular characteristics of a vocal signal can be enhanced  
or reduced. Set the lower knob to the centre-detented position when not required.  
LF EQ  
9
9
12  
15  
12  
15  
-
+
0
3
3
LF  
6
6
9
9
12  
15  
12  
15  
10  
10  
10  
R
AUX1  
7
8
0
AUX2  
0
FX  
0
0
PAN  
9
Turn to the right to boost low (bass) frequencies below 80Hz by up to 15dB, adding  
warmth to vocals or extra punch to synths, guitars and drums. Turn to the left to  
cut low frequencies by up to 15dB for reducing hum, stage rumble or to improve  
a mushy sound. Set the knob to the centre-detented position when not required.  
L
1
10  
12  
15  
13  
14  
MUTE  
PFL  
MIX  
SUB  
7 Aux Sends  
PK  
SP  
These are used to set up separate mixes for FOLDBACK, EFFECTS or recording,  
and the combination of each Aux Send is mixed to the respective Aux Output. For  
Effects it is useful for the signal to fade up and down with the fader (this is called  
POST-FADE), but for Foldback or Monitor feeds it is important for the send to be  
independent of the fader (this is called PRE-FADE).  
10  
5
0
11  
-5  
AUX SEND 1 is fixed pre-fade, AUX 2 is globally switchable between pre and post-  
fade (see master section on page 28. On the MPMi, Aux 3 is fixed post-fader.  
-10  
-20  
-30  
AUX 3 SEND (MPMi only) Aux 3 is fixed post-fade.  
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8 FX SEND (MFXi only)  
AUX1  
This control sets the level of the post-fade signal being sent to the FX bus; from there it is routed  
to the FX processor. The FX Send is fixed post-fader.  
7
0
10  
10  
10  
AUX2  
9 PAN  
0
This control sets the amount of the channel signal feeding the Left and Right MIX buses, allowing  
you to move the source smoothly across the stereo image. When the control is turned fully left or  
right you are able to route the signal at unity gain to either left or right outputs individually.  
AUX3  
0
0
10 MUTE  
All outputs from the channel (except inserts) are on when the MUTE switch is released and muted  
when the switch is down,allowing levels to be pre-set before the signal is required.The MUTE switch’s  
inbuilt LED glows when the channel is muted.  
11 INPUT CHANNEL FADER  
The 60mm FADER gives you smooth control of the overall signal level in the channel strip, allowing  
precise balancing of the various source signals being mixed to the Master Section. It is important  
that the input level is set correctly to give maximum travel on the fader which should normally be used  
at around the “0” mark. See the “Initial Setup” section on page 42 for help in setting the right level.  
12 PFL  
When the latching PFL switch is pressed, the pre-fade pre-mute signal is fed to the headphones,  
control room output and meters, where it replaces the MIX. The SOLO LED on the Master section  
illuminates to warn that a PFL is active. This is a useful way of listening to any required input sig-  
nal without interrupting the main mix, for making adjustments or tracing problems. When PFL is  
pressed anywhere on the console, the Control Room outputs automatically switch from monitoring  
the Mix Outputs.  
13 PEAK LED  
This LED will light when the signal level approaches clipping at any of the three monitored points:  
PRE-EQ, POST-EQ and POST-FADE.  
14 SIGNAL PRESENT (SP) LED  
The SP LED glows when a signal is present. The feed point for the LED is pre-EQ.  
15 MIX/SUB  
When this switch is up, the channel’s post-pan-pot signal is routed to the Mix (left and right) buses.  
When the switch is depressed, the post-pan-pot signal is routed to the Sub-group (left and right)  
buses.  
It is sometimes useful to route several inputs to the sub-group buses, e.g. all the mics for a drum  
kit, or all the vocal mics for a choir. These signals can then be fed to the main mix at the master  
section. By doing this the levels of all of the grouped inputs can be changed together by using the  
group faders instead of having to adjust all of the individual input faders, although, of course, the  
individual channel faders will have to be adjusted to start with.  
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STEREO INPUT CHANNELS (MFXi shown)  
L
1 INPUTS STEREO 1/2  
[MONO]  
1
2
These inputs accept 3-pole 6.35mm (1/4”) jacks. Use these inputs for sources such  
as keyboards,drum machines,synths,tape machines or processing units. The inputs  
are BALANCED for low noise and top quality from professional equipment, but you  
can use UNBALANCED sources by wiring up the jacks as shown in the ‘Wiring Up’  
section earlier in this manual, although you should then keep cable lengths as short  
as possible. Mono sources may be used by plugging into the left jack only.  
R
STEREO 1  
GAIN  
-10  
20dB  
-
-
-
+
+
+
0
0
0
3
3
HF  
6
6
9
9
12  
12  
2 GAIN  
15  
15  
3
3
MF  
The GAIN control sets the level of the channel signal.  
6
9
6
9
3
4
12  
12  
15  
15  
3 EQUALISER  
HF EQ  
3
3
LF  
6
9
6
9
Turn to the right to boost high (treble) frequencies, adding crispness to percussion  
from drum machines, synths and electronic instruments. Turn to the left to cut these  
frequencies,reducing hiss or excessive brilliance. Set the knob in the centre-detented  
position when not required. The control has a shelving response giving 15dB of boost  
or cut at 12kHz.  
12  
15  
12  
15  
AUX1  
0
0
0
L
10  
AUX2  
MF EQ  
10  
Turn to the right to boost mid frequencies by up to 15dB, turn to the left to cut these  
frequencies by up to 15dB. The centre frquency of the MF EQ is 720Hz.  
LF EQ  
Turn to the right to boost low (bass) frequencies,adding extra punch to synths,guitars  
and drums. Turn to the left to reduce hum, boominess or improve a mushy sound.  
Set the knob to the centre-detented position when not required. The control has a  
shelving response giving 15dB of boost or cut at 80Hz.  
FX  
5
6
10  
0
BAL  
R
STE1  
7
MUTE  
PFL  
4 AUX SENDS  
9
MIX  
SUB  
These are used to set up separate mixes for FOLDBACK, EFFECTS or recording, and  
the combination of each Aux Send is mixed to the respective Aux Output at the rear  
of the mixer. For Effects it is useful for the signal to fade up and down with the fader  
(this is called POST-FADE), but for Foldback or Monitor feeds it is important for the  
send to be independent of the fader (this is called PRE-FADE).  
AUX SEND 1 is fixed pre-fade,AUX 2 is globally switchable between pre and post-fade  
(see master section on page 28). On the MPMi, Aux 3 is fixed post-fader. The send  
pots are fed with a mono sum of the L & R signals.  
PK  
12  
10  
11  
SP  
10  
5
0
-5  
8
-10  
AUX1  
AUX 3 SEND (MPMi)  
Aux 3 is fixed post-fader.  
-20  
-30  
4
0
0
0
10  
AUX2  
10  
AUX3  
STE1  
10  
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5 FX SEND (MFXi)  
This control sets the level of the post-fade signal being sent to the FX bus; from there  
it is routed to the FX processor. The FX Send is always post-fader.  
6 BALANCE  
This control sets the amount of the channel signal feeding the Left and Right MIX  
buses, allowing you to balance the source in the stereo image. When the control is  
turned fully right or left you feed only that side of the signal to the mix. Unity gain is  
provided by the control in the centre-detented position.  
7 MUTE  
All outputs from the channel are enabled when the MUTE switch is released and muted  
when the switch is down.The MUTE switch’s inbuilt LED glows when the channel is muted.  
8 FADER  
The 60mm FADER gives you smooth control of the overall signal level in the channel  
strip, allowing precise balancing of the various source signals being mixed to the Mas-  
ter Section. It is important that the input level is set correctly to give maximum travel  
on the fader which should normally be used at around the “0” mark. See the “Initial  
Setup” section on page 42 for help in setting the right level.  
9 PFL  
When the latching PFL switch is pressed, the pre-fade pre-mute signal is fed in mono  
to the headphones, control room output and meters, where it replaces the MIX. The  
SOLO LED on the Master section illuminates to warn that a PFL is active. The Left  
and Right meters display the PFL signal in mono. This is a useful way of listening to  
any required input signal without interrupting the main mix, for making adjustments  
or tracing problems.  
10 CHANNEL PEAK LED  
This LED will light when the signal level approaches clipping at any of the two monitored  
points: POST-EQ and POST-FADE.  
11 SIGNAL PRESENT (SP) LED  
The SP LED glows when a signal is present. The feed point for the LED is pre-EQ.  
12 MIX/SUB  
When this switch is up, the channel’s post-fade signal is routed to the Mix (left and  
right) buses.When the switch is depressed, the post-fade signal is routed to the Sub-  
group (left and right) buses.  
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MASTER SECTION (MFXi)  
L
48V  
MUTE  
FX  
2
PHANTOM POWER  
28  
19  
REC  
OUT  
L
L
20  
MONITOR OUT  
SUB OUT  
R
MONO  
OUT  
9
R
L
17  
3
R
MIX-L  
AUX1  
OUT  
AUX2  
OUT  
FX BUS  
OUT  
2TRK  
IN  
24  
R
2TRK  
LEVEL  
MIX-R  
L
4
5
18  
HEADPHONES  
[MONO]  
0
10  
27  
TO MIX  
R
29  
11  
TO  
MNTR  
STEREO RETURN  
LEVEL  
LEVEL  
7
30  
10  
0
0
10  
10  
0
10  
AUX1  
MST  
AFL  
21  
AUX2  
MST  
22  
0
10  
AFL  
POST  
PRE  
23  
25  
26  
FX  
MST  
0
10  
AFL  
MNTR  
LEVEL  
MIX / SOLO  
16  
10  
6
8
0
10  
3
12  
MIX  
SUB  
0
6
-3  
-6  
-12  
-16  
-22  
STE  
MNO  
16  
SUB TO  
MIX  
15  
MFX  
1
SOLO  
PWR  
10  
10  
5
0
5
0
14  
13  
-5  
-5  
-10  
-10  
-20  
-30  
-20  
-30  
SUB-L  
SUB-R  
MIX  
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MASTER SECTION (MPMi)  
L
48V  
2
18  
PHANTOM POWER  
19  
REC  
OUT  
L
L
20  
MONITOR OUT  
SUB OUT  
R
MONO  
OUT  
9
17  
3
R
L
R
MIX-L  
AUX1  
OUT  
AUX2  
OUT  
AUX3  
OUT  
2TRK  
IN  
24  
R
2TRK  
LEVEL  
MIX-R  
4
5
HEADPHONES  
0
10  
TO MIX  
11  
TO  
MNTR  
7
LEVEL  
10  
0
10  
AUX1  
MST  
0
10  
AFL  
AUX2  
MST  
0
10  
21  
AFL  
22  
POST  
PRE  
23  
AUX3  
MST  
0
10  
AFL  
MNTR  
LEVEL  
MIX / SOLO  
16  
10  
6
8
0
10  
12  
3
MIX  
0
6
SUB  
-3  
-6  
-12  
-16  
-22  
STE  
MNO  
16  
SUB TO  
MIX  
15  
MPM  
1
SOLO  
PWR  
10  
10  
5
0
5
0
14  
13  
-5  
-5  
-10  
-10  
-20  
-30  
-20  
-30  
SUB-L  
SUB-R  
MIX  
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1 POWER INDICATOR  
This LED lights to show when power is connected to the console.  
2 PHANTOM POWER  
Many professional condenser mics need PHANTOM POWER,which is a method of sending a powering voltage  
down the same wires as the mic signal. Press the switch to enable the +48V power to all of the MIC inputs.  
The adjacent LED illuminates when the power is active.  
WARNING:TAKE CARE when using unbalanced mics which may be damaged by the phantom power  
voltage. Balanced dynamic mics can normally be used with phantom power switched on (contact  
your microphone manufacturer for guidance).Mics should always be plugged in,and all output faders  
set to minimum before switching the Phantom Power ON to avoid damage to external equipment.  
2-TRACK  
3 2-TRACK IN  
These two RCA phono sockets are unbalanced Left and Right line-level inputs,used for connecting a playback  
device.  
4 2-TRACK LEVEL CONTROL  
This adjusts the signal level from the 2-Track inputs.  
5 2-TRACK TO MIX  
Press this switch to route the 2-Track input signals to the MIX Left/Right bus.The level is set with the 2-Track  
level control.  
MONITOR SOURCE  
The following two switches select the signal source(s) to be monitored.  
6 MIX/SUB  
Press this switch down to monitor the sub-group outputs. Release this switch to monitor the main mix  
outputs.  
7 2-TRACK  
Press this switch to monitor the 2-Track input signal.  
MONITOR OUT  
8 MONITOR OUTPUT LEVEL  
This control sets the signal level fed to the MONITOR LEFT & RIGHT outputs.  
9 MONITOR OUTPUTS  
The Monitor Outputs are on 3-pole 6.35mm (1/4”) jacks and are balanced.  
10 HEADPHONES LEVEL  
This control sets the level of the Headphone output.  
11 HEADPHONES SOCKET  
The PHONES output is a 3-pole 6.35mm (1/4”) jack, wired as a stereo output, ideally for headphones of  
32or greater. 8headphones are not recommended.  
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12 METERS & SOLO LED  
The three-colour peak reading BARGRAPH METERS normally show the level of the signal(s) selected by the  
monitor source-select switches, giving you a constant warning of excessive peaks in the signal(s) which might  
cause overloading. Aim to keep the signal within the amber segments at peak levels for best performance.  
Similarly, if the output level is too low and hardly registering at all on the meters, the level of background  
noise may become significant. Take care to set up the input levels for best performance.  
When any AFL/PFL switch is pressed, the meters switch to show the selected AFL/PFL signal on both meters,  
in mono; the SOLO LED also lights.  
MIX & SUB-GROUP OUTPUTS  
13 MIX FADER  
The MIX FADER sets the final level of the Mix outputs. This should normally be set close to the ‘0’ mark if  
the input GAIN settings have been correctly set, to give maximum travel on the fader for smoothest control.  
14 SUB FADERS  
This pair of faders sets the final levels of the Sub-group outputs. These should normally be set close to the  
‘0’ mark if the input GAIN settings have been correctly set, to give maximum travel on the faders for smooth-  
est control.  
15 SUB TO MIX  
This switch routes the Sub-L and Sub-R signals to the main mix.  
16 STEREO/MONO  
If this switch is depressed a mono sum of the sub-group signals is routed to the main mix.  
17 MIX OUTPUTS  
The Mix LEFT and RIGHT outputs are sent from the XLR sockets as balanced signals.  
18 MONO OUTPUT  
A mono sum of the mix left and right signals is output on this balanced 3-pole 6.35mm (1/4”) jack socket.  
19 SUB OUTPUTS  
The Sub-L and Sub-R signals are output on these balanced 3-pole 6.35mm (1/4”) jack sockets.  
20 RECORD OUTPUTS  
These two RCA outputs carry a copy of the MIX L and MIX R signals.They allow the use of a recording device,  
e.g. DAT player, Minidisc, Cassette tape recorder etc.  
AUX  
21 AUX MASTERS  
These controls set the output levels of the Aux Outputs. (1 & 2 on MFXi, 1, 2 & 3 on MPMi)  
22 AFL  
TheseAfter Fade Listen switches route their respective aux output signal to the headphones,control room output  
and meters, where it replaces the MIX. The SOLO LED on the Master section illuminates to warn that an AFL  
is active. There are 2 AFL switches for Auxes 1 &2 on the MFXi, and three for Auxes 1, 2 and 3 on the MPMi.  
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23 PRE/POST SWITCH  
This switch globally selects the AUX 2 feeds on all the input modules to be either pre-fade or post-fade.  
24 AUX OUTPUTS 1 & 2 (and 3 on MPMi)  
These outputs are on 3-pole 6.35mm (1/4”) jacks and are balanced.  
The following controls are found on the MFXi Console only  
FX  
For detailed instructions on using the FX Processor see the section which starts on the next page.  
25 FX MASTER  
This control regulates the signal level being fed from the FX bus to the FX processor and to the FX BUS  
OUTPUT socket.  
26 FX AFL  
When the latching AFL switch is pressed, the post-FX-Master (25), pre-FX signal is fed to the headphones,  
control room output and meters, where it replaces the MIX. The SOLO LED on the Master section illuminates  
to warn that an AFL is active.  
27 FX BUS OUTPUT  
This output carries the signal from the FX bus. It could be used as a third Aux Output if desired if the FX  
Processor is not needed at the time.The FX sends on the input channels to the FX bus are always post-fade.  
(on the MPMi, the FX Send output becomes Aux 3 output)  
28 MUTE FX (FOOTSWITCH)  
Using a single pole, momentary footswitch inserted into the MUTE FX input the effects processor can be  
muted/un-muted.  
STEREO RETURN - MFXi Console only  
29 STEREO RETURN INPUTS  
This pair of inputs accept 3-pole A’ gauge (TRS) jacks. Use these inputs for sources such as keyboards, drum  
machines, synths or CDs. The inputs are BALANCED. Mono sources may be used by plugging into the left  
jack only.  
30 STEREO RETURN LEVEL  
This control sets the level of signal routed to the main mix busses.  
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Lexicon® FX PROCESSOR OVERVIEW  
The effects within the console have been designed with both live sound reinforcement and home recording in  
mind. Featuring the deep, rich reverb algorithms that Lexicon® are renowned for the effects processor offers  
increased versatility and high quality effects, all instantly accessible via the extremely intuitive front panel  
controls. The effects processor has 32 programs which are held in two banks of 16 programs which can be  
stored to allow you to create your own custom effect settings.  
Front panel controls include a Program Select knob, Tempo and Store buttons, and three independent  
Parameter knobs that provide instant access and control over the most critical parameters for the selected  
effect. The table on page 40 lists the functions of the Parameter knobs for each fx program.  
Note: When the console is powered up the program recalled will always be the selected program in BANK A.  
FX OPERATION  
Select and Load a Program  
Turn the Program Select knob to choose a program. Note that the console has 32 programs which are held  
in two banks of 16 programs. There are individual BANK A and BANK B LED’s to indicate which bank is cur-  
rently active. When turning the rotary Program Select knob through 360 degrees (a full rotation) the selected  
bank will alternate between BANK A and BANK B.  
Set Audio Levels  
1. Set the gain on the input channel appropriate to the source (vocal microphone, guitar, keyboard, etc.).  
2. Set the FX send on the input channel to the 2 o’clock position.  
3. Set the FX Master level to the 2 o’clock position. Set the EFFECTS Fader on the FX section to the fully  
down position.  
4. Provide source signal (by speaking or singing into the microphone, playing guitar, keyboard, etc.) on the  
selected channel.  
5. Turn up the FX Send level on the channel until the Red CLIP LED in the FX Panel lights only occasionally.  
If the red Input LED stays lit, too much signal is being sent to the effect processor; reduce the FX Master or  
the FX Send on the input channel.  
6. Raise the EFFECTS Fader towards the 0dB position to feed the required level of FX Processor output signal  
to the mix.  
7. To increase or decrease the amount of effect on the signal, adjust the FX Send level on the channel that  
you want affected.  
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FX PROCESSOR CONTROLS (MFXi only)  
1.Tempo Button -Tapping this button twice sets the DelayTime of the selected  
program.The LED flashes to indicate current tempo.Can be tapped in time with  
music source to synchronise the delay.  
24-BIT DIGITAL  
EFFECTS PROCESSOR  
BANKA BANKB  
A: PRE-DEL  
B: TME/SPD  
1
2
3
4
5
6
7
8
9
S.HALL SPRING  
L.HALL S.DLY  
V.HALL D.DLY  
D.HALL T.DLY  
3
4
2.Store Button - Stores program modifications to one of the program locations.  
Press and hold for three seconds will store the preset in the current location.  
The LED will flash rapidly during the store operation and then stay illuminated  
for 1 second to show the operation is complete.  
S.PLT  
L.PLT  
V.PLT  
D.PLT  
ROOM  
P.DLY  
A: DECAY  
B: FBK/DPTH  
M.DLY  
R.DLY  
CHORUS  
FLANGR  
PHASR  
TREM/P  
10 STUDIO  
11  
CHMBR  
12 AMB  
VIBRTO  
A
: VARI  
B
13 ARENA RV/DL S  
14 GATED RV/DL L  
15 REV  
16 KARAOKE  
PHSDEL  
ROTDEL  
5
9
3.Pre Delay /Time/ Speed Knob - Controls Pre Delay of the reverbs or the first  
parameter (time or speed related) of the selected effect. The LED illuminates  
when the parameter matches the stored setting.  
FX TO  
AUX1  
BANK A  
0
0
10  
FX TO  
AUX2  
10  
4. Decay / Feedback/Depth Knob - Controls Decay of the reverbs or the  
second parameter (feedback or depth related) of the selected effect. The LED  
illuminates when the parameter matches the stored setting.  
10  
6
BANK B  
5.Variation - Controls Liveliness or Diffusion (depending on the reverb selected)  
or the third parameter of the selected effect. The LED illuminates when the  
parameter matches the stored setting.  
STORE  
2
1
8
TAP  
TEMPO  
FX  
6. Program Select Knob - Navigates through programs, turning to the required  
program will initiate the loading of the program which take approximately 1  
second.The knob can be rotated clockwise or anticlockwise and will alternate  
between BANK A and BANK B every full rotation. The current bank is shown  
by its illuminated LED, which flashes if the FX processor is muted. There is a  
handy aide memoir of the programs printed on the front panel.  
MUTE  
PFL  
12  
11  
7
PK  
SP  
0
13  
7. Clip LED – This LED illuminates when either the incoming audio or the pro-  
cessed audio (within the effect processor) overloads, and causes distortion of  
the signal. If this illuminates reduce the FX Master Level (item 25, page 32).  
-5  
-10  
-15  
-20  
Footswitch Input (not shown on diagram, see item 28 on page 28) - Using a  
single pole, momentary footswitch inserted into the MUTE FX input the effects  
processor can be muted/un-muted.  
-30  
-40  
8. MUTE - This switch mutes the output of the FX processor. It doesn’t mute  
the PFL signal.  
EFFECTS  
9. FX TO AUX 1 - This pot routes a pre-fade signal to the Aux 1-pre bus.  
10. FX TO AUX 2- This pot routes a pre-fade and a post-fade signal to the Aux  
2-pre and Aux 2-post busses respectively.  
11. EFFECTS FADER - This fader controls the level of the signal, from the FX  
processor, routed to the main mix.  
12. PFL - This switch routes a post-effects processor signal to the monitor  
system.  
FX BUS OUT (not shown on diagram, see item 27 on page 28) - This output  
carries the signal from the FX bus. It could be used as a third Aux Output if  
desired.  
13. ‘SP’ LED - This indicates when a signal is present.  
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REVERBS  
Reverberation (or “reverb” for short) is the complex effect created by the way we perceive sound in an en-  
closed 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 closet, 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.  
Hall Reverb  
A Hall is designed to emulate the acoustics of a concert hall – a space large enough to contain an orchestra  
and an audience. Because of the size and characteristics, Halls are the most natural-sounding reverbs, de-  
signed to remainbehindthe direct sound – adding ambience and space,but leaving the source unchanged.  
This effect has a relatively low initial echo density which builds up gradually over time. Vocal Hall and Drum  
Hall reverbs are specifically tailored for those uses.Vocal Hall has as lower overall diffusion which works well  
with program material that has softer initial transients like a voice. Drum Hall has a higher diffusion setting  
which is necessary to smooth out faster transient signals found in drums and percussion instruments. In ad-  
dition to general instrumental and vocal applications, the Hall program is a good choice for giving separately  
recorded tracks the sense of belonging to the same performance.  
Plate Reverb  
A Plate reverb is 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.The Plates in the FX processor model the sound of metal plates with high initial diffusion and a  
relatively bright, colored sound. Plate reverbs are designed to be heard as part of the music, mellowing and  
thickening the initial sound. Plate reverbs are often used to enhance popular music, particularly percussion.  
Room Reverb  
Room produces an excellent simulation of a very small room which is useful for dialog and voiceover appli-  
cations. Room is also practical when used judiciously for fattening up high energy signals like electric guitar  
amp recordings. Historically, recording studio chambers were oddly shaped rooms with a loudspeaker and  
set of microphones to collect ambience in various parts of the room.  
Chamber Reverb  
Chamber programs produce even, relatively dimensionless reverberation with little color change as sound  
decays. The initial diffusion is similar to the Hall programs. However, the sense of size and space is much  
less obvious. This characteristic, coupled with the low color of the decay tail, makes these programs useful  
on a wide range of material - especially the spoken voice, to which Chamber programs add a noticeable  
increase in loudness with low color.  
Gated Reverb  
Gated reverb is created by feeding a reverb, such as a metal plate, through a gate device. Decay Time is set  
to instant, while Hold Time varies duration and sound.The Gated reverb provides a fairly constant sound with  
no decay until the reverb is cut off abruptly. This program works well on percussion — particularly on snare  
and toms; be sure to experiment with other sound sources as well.  
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Reverse Reverb  
Reverse reverb works in the opposite fashion from normal reverb. Whereas a normal reverb has the loudest  
series of reflections heard first that then become quieter over time, the Reverse reverb has the softest reflec-  
tions (essentially the tail of the reverb) heard first, and then grows louder over time until they abruptly cut off.  
Ambience Reverb  
Ambience is used to simulate the effect of a small or medium sized room without noticeable decay. It is often  
used for voice, guitar or percussion.  
Studio Reverb  
Much like Room reverb, Studio produces an excellent simulation of smaller, well controlled acoustic spaces,  
characteristic of the main performance areas in recording studios. Studio is also useful with dialog and  
voiceover applications as well as individual instrument and electric guitar tracks.  
Arena Reverb  
Arena reverb emulates a huge physical space such as an indoor sports venue or stadium.The characteristics  
of Arena reverb are long secondary reflection times and a reduced amount of high frequency content.Arena  
is a mostly mid- and low frequency dominant reverb, and is an ideal selection for “special effect” type ap-  
plications that require extremely long reverb times. It is not a good choice for a very busy mix, since it can  
reduce intelligibility.  
Spring Reverb  
A Spring reverb is created by a pair of piezoelectric crystals—one acting as a speaker 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.  
KARAOKE  
The Golden Karaoke Patch creates a great Karaoke performance sound in any size KTV room.  
REVERB CONTROLS  
Pre Delay  
Creates an additional time delay between the source signal and the onset of reverberation.This control is not  
intended to precisely mimic the time delays in natural spaces, as the build-up of reverberation is gradual,  
and the initial time gap is usually relatively short. For the most natural effect, the Pre Delay values should be  
set in the range of 10-25 milliseconds. However, if a mix is very busy or overly cluttered, increasing the Pre  
Delay time may help clarify it, and set each instrument apart from each other.  
Decay  
Controls the amount of time the reverb can be heard. Higher settings increase reverberation times which are  
usually associated with larger acoustical environments, but can decrease intelligibility. Lower settings shorten  
reverb times and should be used when a smaller apparent space or a more subtle effect is desired.  
Liveliness  
Adjusts the amount of high frequency content in the reverberation tails.Higher settings increase high frequency  
response, creating brighter reverbs; lower settings create darker reverbs with more bass frequency emphasis.  
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Diffusion  
Controls the initial echo density. High settings of Diffusion result in high initial echo density, and low settings  
cause low initial density. In a real-world situation, irregular walls cause high diffusion, while large flat walls  
cause low diffusion. For drums and percussion, try using higher Diffusion settings.  
Shape  
This control helps give a sense of both room shape and room size. Low values for Shape keep the majority  
of sound energy in the early part of the reverb tail. High values move the energy to later in the reverb, and  
are helpful in creating the sense of a strong rear wall or “backslap.  
Boing  
This is a unique parameter to the Spring reverb, designed to increase or decrease the amount of spring rattle  
that is a physical characteristic of spring tank reverbs.  
DELAYS  
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.  
Studio Delay  
The Studio Delay features up to 2.5 seconds of stereo delay and offers a built-in ducker that attenuates the  
delay output whenever signal is present at the input.This can be used to keep the original signal from being  
muddied up by delay repeats.  
Digital Delay  
The Digital Delay is the cleanest, most accurate of the delay programs, with up to 5 seconds of mono delay  
and the built-in ducking feature.  
Tape Delay  
In the days before digital, delays 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 recordings. The Tape Delay offers up to 5 seconds of mono delay.  
Pong Delay  
This delay effect pans the delay repeats from left to right, while the input signal remains at its original (center)  
position. Pong Delay offers up to 5 seconds of mono delay time.  
Modulated Delay  
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 thatspecial something.”  
The Modulated Delay features up to 2.5 seconds of stereo modulated delay.  
Reverse Delay  
This delay effect emulates the old studio trick of flipping a tape over, playing it backwards through a tape  
delay, and recording the effect. The delays “build up” from softer to louder – creating the sensation that the  
delays come before the signal. Up to 5 seconds of mono delay time are available.  
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DELAY CONTROLS  
Time Range  
Controls the length of the delay relative to Tap Tempo. At the 12 o’clock position, delay repeats are synchro-  
nous with the Tempo light (represented by a Quarter Note); lower values create faster repeats, higher values  
increase the time between repeats. Range 0-72. See the Effects Data Chart for exact note values.  
Feedback  
Controls the number of delay repeats by feeding the delay output signal back into the delay input.This creates  
a series of delay repeats, each slightly attenuated until they become inaudible. Higher settings create more  
repeats; lower settings reduce the number of repeats. When this knob is turned fully clockwise, it engages  
Repeat Hold – delay repeats play back in an infinite loop, but no further input signal is introduced into the  
delay effect. Repeat Hold is available only on Studio, Digital and Pong Delay.  
Ducker Threshold  
Studio and Digital delays offer aduckingfeature, which causes the delay repeats to attenuate (or get softer)  
by -6dB when live (or input) signal is present.This allows the delay to remain as an effect, and not clash with  
the original signal.The higher this value is set,the louder an input signal must be for the ducking to take place.  
Smear  
This parameter controls the amount of “smear,” or signal degradation and frequency loss. Particularly evident  
in the Tape Delay, the higher the setting, the more each delay repeat loses intelligibility compared to the  
original signal.  
Tap Ratio  
Tap Ratio sets the length between the first and second tap repeats of the Pong Delay. With this control set  
at 12 o’clock, repeats are evenly alternated between left and right channels.As this knob is turned counter-  
clockwise, the first tap occurs earlier and the second tap occurs later than they did at the 12 o’clock position.  
When the knob is turned clockwise, the first tap occurs later and the second tap occurs earlier.  
Depth  
This controls the intensity of modulation, or “depth” in the Modulated Delay. Lower settings produce a more  
subtle effect, while higher values give a more “seasick” feeling.  
Tempo Button  
Tapping this button twice sets the delay times.The Tempo button LED flashes the tempo tapped in, and delay  
taps will be synchronized to the flashing LED. Use the Time Range knob to increase or decrease delay times  
after tapping in a tempo.  
Note: When Delay Feedback is at maximum (fully clockwise) in some programs the mode changes to hold  
the audio in a constant loop. This is indicated in the Effects Data Chart as “+H”.  
MODULATED EFFECTS  
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 coloring the original tone. Chorus can also be used with discretion to thicken a vocal track.  
Knob 1: Speed Controls the modulation rate of the Chorus effect. Lower settings are subtle, while higher  
values are much more pronounced.  
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Knob 2: Depth Controls the amount of pitch shifting for each voice. Lower settings provide subtle thickening  
and warmth to a track, while higher settings give a more pronounced, multi-voice effect.  
Knob 3: Voices Controls the number of additional Chorus voices. Up to 8 voices can be added, continuously  
variable in 100 individual steps.  
Flanger  
This effect was originally created by simultaneously recording and playing back two identical programs on  
two tape recorders, then using hand pressure against the flange of the tape reels to slow down first one  
machine, then the other. The result was a series of changing phase cancellations and reinforcements, with  
characteristic swishing, tunneling, and fading sounds.  
Knob 1: Speed Controls the modulation rate of the Flanger effect.  
Knob 2: Depth Controls the intensity of the Flanger effect. Lower settings provide a slight “whooshing” sound  
while higher settings provide a much more dramatic “jet airplane” sound.  
Knob 3: Regeneration This knob controls the amount of modulated signal being fed back into the input,  
creating feedback. Higher amounts add a metallic resonance to the signal.  
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 userful on  
keyboards (especially pad presets) and guitars.  
Knob 1: Speed Controls the modulation rate of the Phaser effect.  
Knob 2: Depth Controls the intensity of the Phaser effect.  
Knob 3: Regeneration This knob controls the amount of modulated signal being fed back into the input,  
creating feedback. Higher amounts add more resonance to the effect signal.  
Tremelo/Pan  
Tremolo and Panner create rhythmic changes in signal amplitude. Tremolo affects both channel’s amplitude  
simultaneously, while the Panner affects the amplitude of each channel in an alternating manner.  
Knob 1: Speed Controls the modulation rate of the Tremolo/Panner.  
Knob 2: Depth Controls the intensity of the volume amplitude change.  
Knob 3: Phase Controls whether the amplitude change occurs in both channels simultaneously (Tremolo)  
or alternates between channels (Panner).  
Vibrato  
Vibrato is obtained by smoothly varying the pitch of the signal just sharp and flat of the original at a deter-  
mined rate. Vibrato Stereo (Wet only) Rotary Mono (Wet only) Tremolo/Pan Stereo (Wet only)  
Knob 1: Speed Controls the modulation rate of Vibrato.  
Knob 2: Depth Controls the maximum amount of pitch shift. Lower settings result in a mere “warble,” while  
higher settings produce a more exaggerated “wow” sound.  
Knob 3: Phase This control sets left and right channel waveforms out of phase, resulting in a left-to-right  
panning motion. This effect shifts the frequency spectrum of the input signal. Altering the pitch of a sound  
produces a wide range effects - from subtle detunes to full interval shifts up or down a two octave range.  
FACTORY RESET  
Use this function if you want to erase all program data and restore the effects processor to its factory state.To  
perform a Factory Reset press and hold the STORE button while powering up the console. Once the effects  
processor has initialized (after three seconds), then release the STORE button and the effects processor will  
be restored to its factory state.  
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EFFECTS DATA CHART  
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MFXi/MPMi TYPICAL SPECIFICATIONS  
Frequency Response  
Mic / Line Input to any Output ..........................................+/-1.5dB, 20Hz – 20kHz  
T.H.D.  
Mic Sensitivity -30dBu, +14dBu @ Mix output .............................< 0.01% @ 1kHz  
Noise  
Mic Input E.I.N. (maximum gain) ............................……..-126.5dBu (150source)  
Aux, Mix and Masters (@ 0dB, faders down)....................................………< -82dBu  
Crosstalk (@ 1kHz)  
Channel Mute..............................................................................................> 90dB  
Aux Send Pots Offness..................................................................................> 82dB  
EQ (Mono inputs)  
HF .................................................................................................12kHz,+/-15dB  
MF (swept)......................................................................150Hz – 3.5kHz, +/-15dB  
LF.....................................................................................................80Hz,+/-15dB  
Q (MF)..................................................................................................................1.5  
EQ (Stereo inputs)  
HF .................................................................................................12kHz,+/-15dB  
MF……………………………………………………………….............………..720Hz, +/-15dB  
LF ....................................................................................................80Hz,+/-15dB  
Q (MF)..................................................................................................................0.8  
Power Consumption.........................................................................Less than 40W  
Operating Conditions  
Temperature Range.............................................................................5°C to 40°C  
Input & Output Levels  
Mic Input .............................................................................................+15dBu max  
Line Input.............................................................................................+30dBu max  
Stereo Input ........................................................................................+30dBu max  
Mix Output ..........................................................................................+20dBu max  
Headphones (@150) (recommended impedance 32 to 200Ω)...................300mW  
Input & Output Impedances  
Mic Input ...........................................................................................................2kΩ  
Line Input ........................................................................................................10kΩ  
Stereo Input ....................................................................................................45kΩ  
Outputs ......................................................150(balanced), 75(unbalanced)  
E & OE.  
Soundcraft reserves the right to change specifications without notice.  
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USING YOUR MFXi/MPMi CONSOLE  
The final output from your sound system can only ever be as good as the  
weakest link in the chain, and especially important is the quality of the  
source signal because this is the starting point of the chain. Just as you  
need to become familiar with the control functions of your mixer, so you  
must recognise the importance of correct choice of inputs, microphone  
placement and input channel settings. However, no amount of careful  
setting up can take account of the spontaneity and unpredictability of  
live performance. The mixer must be set up to provide “spare” control  
range to compensate for changing microphone position and the absorp-  
tion effect of a large audience (different acoustic characteristics from  
soundcheck to show).  
MICROPHONE PLACEMENT  
Careful microphone placement and the choice of a suitable type of micro-  
phone for the job is one of the essentials of successful sound reinforce-  
ment. The diagrams on the left show the different pick-up patterns for  
the most common types of microphone. Cardioid microphones are most  
sensitive to sound coming from in front, and hypercardioid microphones  
offer even greater directivity, with a small amount of pickup behind the  
microphone. These types are ideal for recording vocalists or instruments,  
where rejection of unwanted sounds and elimination of feedback is impor-  
tant. The aim should be to place the microphone as close as physically  
possible to the source, to cut out unwanted surrounding sounds, allow a  
lower gain setting on the mixer and avoid feedback.Also a well chosen and  
well placed microphone should not need any appreciable equalisation.  
There are no exact rules - let your ears be the judge. In the end, the  
position that gives the desired effect is the correct position!  
INITIAL SETUP  
Once you have connected up your system (see the sections on connec-  
tion and wiring earlier in this manual for guidance) you are ready to set  
initial positions for the controls on your mixer.  
Set up individual input channel as follows:  
Connect your sources (microphone, keyboard etc.) to the required  
inputs.  
WARNING: Phantom powered mics should be connected before the  
+48V is switched on. Ensure the PA system is OFF when switching  
phantom power on or off.  
Set Master faders at 0, input faders at 0, and set power amplifier  
levels to about 70%.  
Provide a typical performance level signal and press the PFL button  
on the first channel, monitoring the level on the bargraph meters.  
Adjust the input gain until the meter display is in the amber section,  
with occasional peaks to the first red LED at a typical maximum  
source level. This allows sufficient headroom to accommodate  
peaks and establishes the maximum level for normal operation  
(but see note below).  
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Repeat this procedure on other channels as required. As more channels  
are added to the mix, the meters may move into the red section. Adjust the  
overall level using the Master Faders if necessary.  
Listen carefully for the characteristic sound of “feedback”. If you cannot  
achieve satisfactory input level setting without feedback, check microphone  
and speaker placement and repeat the exercise. If feedback persists, it may  
be necessary to use a Graphic Equaliser to reduce the system response at  
particular resonant frequencies.  
Note:  
The initial settings should only be regarded as a starting point for your mix. It is  
important to remember that many factors affect the sound during a live performance,  
for instance the size of the audience!  
You are now ready to start building the mix and this should be done progressively,  
listening carefully for each component in the mix and watching the meters for any  
hint of overload. If this occurs,back off the appropriate Channel Fader slightly until  
the level is out of the red segments, or adjust the Master Faders.  
Remember that the mixer is a mixer, not an amplifier. Increasing the overall level  
is the job of the amplifier, and if it is impossible to provide adequate level, it is  
probable that the amplifier is too small for the application. Choose your amplifier  
carefully, and do not try to compensate for lack of power by using the mixer to  
increase output level.  
Note:  
The level of any source signal in the final output is affected by many factors, prin-  
cipally the Input Gain control, Channel Fader and Mix Faders.You should try to use  
only as much microphone gain as required to achieve a good balance between  
signals, with the faders set as described above.  
If the input gain is set too high,the channel fader will need to be pulled down too far  
in compensation to leave enough travel for successful mixing and there is a greater  
risk of feedback because small fader movements will have a very significant effect  
on output level. Also there will be a chance of distortion as the signal overloads  
the channel and causes clipping.  
If the gain is set too low, you will not find enough gain on the faders to bring the  
signal up to an adequate level, and backgound hiss will be more noticeable.  
This is illustrated below:  
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You may freely copy this page, and use it to record the settings used for  
particular applications/gigs.  
MFXi MARK-UP SHEETS  
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You may freely copy this page, and use it to record the settings used for  
particular applications/gigs.  
MPMi MARK-UP SHEETS  
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FITTING OPTIONAL RACK-MOUNT BRACKETS  
The rack-mount kit is included with the MFXi12/2 and MPMi12/2.  
For MFXi8/2 the rack-mount bracket kit is part number RW5765. This may also be used on the MFXi 20/2  
and MPMi 20/2 for furniture mounting.  
WARNING: ensure that the mixer is disconnected from the mains supply  
and all other equipment before fitting the rack-mounting brackets.  
Undo and remove the screws at  
and remove the side mouldings.  
A
A
A
Remove the screw at point  
,repeat on the other side of the mixer.  
B1  
Attach the rack brackets to both sides of mixer at points  
with the screws  
B2  
removed at  
and  
above.  
B1  
A
B1  
B2  
Keep the side mouldings in case you want to re-fit them at a later date.  
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Fitting the Extender Plate (MFXi8 ONLY)  
The extender plate is fitted to the rackmounting bracket as shown  
below with M6 screws/cage nuts.  
1
2
3
Attach captive rack nuts at points  
Attach rack bolts through points  
.
A
and into fitted rack nuts at points  
. Tighten securely!  
A
B
The console can now be fitted to a standard 19” rack.  
Note: the extender can be fitted to the left or right-hand side as required.  
m6 rack screw  
A
B
extender  
mixer  
m6  
captive rack nut  
DIMENSIONS  
DIMENSION “X”  
DIMENSION “Y”  
93.52mm  
DIMENSION “X”  
383mm  
482mm  
DIMENSION “Y”  
333mm  
432mm  
MFXi8/2  
MFXi12/2  
MFXi20/2  
688mm  
638mm  
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APPLICATIONS  
APPLICATION 1 - LIVE SOUND REINFORCEMENT  
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APPLICATION 2 - MULTISPEAKER APPLICATIONS  
This configuration demonstrates how multiple speaker configurations can be driven by the MFXi.  
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APPLICATION 3 - PLACES OF WORSHIP  
This configuration uses theAux 2 output to drive an induction loop for the hard of hearing. Aux 1 output is used  
to generate foldback monitoring for the speaker/singer.The main outputs are used to drive the main speaker  
system. The record and playback connections are used to pass audio to and from a DAT machine or CDR.  
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APPLICATION 4 - RECORDING  
The insert points on channels 1-8 may be used to feed a multitrack recorder as shown (link the send and  
return signals). The Mix outputs are used for a preliminary stereo mix on a DAT recorder.  
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TYPICAL CONNECTING LEADS  
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‘Y’ Cables (Balanced) Where used … Aux, Mix outputs  
Tip  
Ring  
Sleeve  
Tip  
Ring  
SLEEVE RING TIP  
SLEEVE RING TIP  
Sleeve  
Tip  
TIP RING SLEEVE  
Ring  
Sleeve  
1
2
3
1
2
3
1
2
3
1
2
3
Tip  
Ring  
Sleeve  
1
2
3
TIP RING SLEEVE  
Headphone Separator Note: for every doubling of headphones the load impedance is halved. Do not go below 32 Ohms.  
Tip  
Ring  
Sleeve  
Tip  
Ring  
Sleeve  
Tip  
TIP RING SLEEVE  
Ring  
Sleeve  
Tip (Left)  
Tip  
Sleeve  
SLEEVE  
SLEEVE  
TIP  
TIP  
Ring  
Sleeve  
Tip (Right)  
TIP RING SLEEVE  
Sleeve  
‘Y’ Cables (Unbalanced)  
1
2 (Left)  
Tip  
Ring  
3
Sleeve  
1
TIP RING SLEEVE  
2 (Right)  
3
Tip  
Ring  
Sleeve  
Tip  
Ring  
SLEEVE RING TIP  
SLEEVE RING TIP  
Sleeve  
Tip  
TIP RING SLEEVE  
Ring  
Sleeve  
Tip  
Sleeve  
SLEEVE  
SLEEVE  
TIP  
TIP  
Ring  
Sleeve  
Tip  
TIP  
TIP  
TIP  
SLEEVE  
SLEEVE  
SLEEVE  
Sleeve  
1
2
3
Tip  
Sleeve  
1
2
3
Centre  
Screen  
Tip  
Sleeve  
Centre  
Screen  
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GLOSSARY  
AFL  
After-fade listen: a function that allows the operator to monitor the post-fade signal  
in a channel independently of the main mix.  
Auxiliary send  
An output from the console comprising a mix of signals from channels derived inde-  
pendently of the main stereo mix.  
Balance  
Balanced  
The relative levels of the left and right channels of a stereo signal.  
A method of audio connection which ‘balances’ the wanted signal between two wires,  
these wires also have a screen which carries no signal. Any interference is picked up  
equally by the two wires, which results in cancellation of the unwanted signal. In this  
guide, the term can refer to various circuit architectures. Connection details are given  
in relevant sections.  
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.  
DAT  
Digital Audio Tape, a cassette-based digital recording format.  
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)/DI Box  
The practice of connecting an electric 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.  
Fader  
A linear control providing level adjustment.  
Feedback  
The `howling’ sound caused by bringing a microphone too close to a loudspeaker  
driven from its amplified signal.  
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.  
Gain  
The amount of amplication in level of the signal.  
Headroom  
The available signal range above the nominal level before clipping occurs.  
Impedance balancing A technique used on unbalanced outputs to minimise the effect of hum and interfer-  
ence when connecting to external balanced inputs.  
Insert  
A break point in the signal path to allow the connection of external devices,for instance  
signal processors or other mixers at line level signals. Nominal levels can be anywhere  
between 0dBu to +6dBu, usually coming from a low impedance source.  
Abbreviation of ‘panorama’: controls the levels sent to left and right outputs.  
The point at which a signal rises to its maximum instantaneous level, before falling  
back down again. It can also describe an equaliser response curve affecting only a  
band of frequencies,(like on a graphic equaliser),“peakingat the centre of that band.  
A visual indication of the signal peaking just before the onset of clipping, which will  
distort the signal.  
Pan (pot)  
Peaking  
Peak LED  
PFL  
Pre-fade listen: a function that allows the operator to monitor the pre-fade signal in  
a channel independently of the main mix.  
Phase  
A term used to describe the relationship of two audio signals.In-phase signals reinforce  
each other, out-of-phase signals result in cancellation. Phase is a measurement of  
relative displacement between two waves of identical frequency.  
Polarity  
A term used to describe the orientation of the positive and negative poles of an audio  
connection. Normally connections are made with positive to positive,negative to nega-  
tive. If this is reversed, the result will be out-of-phase signals (see ‘phase’ above).  
The point in the signal path after a fader and therefore affected by the fader position.  
Post-fade  
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Pre-fade  
The point in the signal path before a fader, and therefore unaffected by the fader  
position.  
Rolloff  
Shelving  
A fall in gain at the extremes of the frequency response.  
An equaliser response affecting all frequencies above or below the break frequency  
i.e. a highpass or lowpass derived response.  
Solo  
Spill  
An almost generic term used to describe PFL or AFL functions.  
Acoustic interference from other sources.  
Transient  
Unbalanced  
A momentary rise in the signal level.  
A method of audio connection which uses a single wire and the cable screen as the  
signal return. This method does not provide the noise immunity of a balanced input  
(see above).  
+48V  
The phantom power supply, available at the channel mic inputs, for condenser micro-  
phones and active DI boxes.  
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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, 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 com-  
ponent 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
4
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.  
This warranty shall only be valid 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 with Soundcraft’s recommendations.  
5
Defects arising as a result of the following are not covered by this Warranty: faulty or negligent han-  
dling, 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.  
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Soundcraft MFXi MPMi User Guide Issue 1210  
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Soundcraft MFXi MPMi User Guide Issue 1210  
57  
Download from Www.Somanuals.com. All Manuals Search And Download.  
®
SOUNDCRAFT  
SOUNDCRAFT USA  
A Division of Harman International Industries Ltd  
Cranborne House, Cranborne Road,  
Potters Bar, Herts, EN6 3JN, UK  
Tel +44 (0) 1707 665000  
Fax: +44 (0) 1707 660742  
Email: soundcraft@harman.com  
8500 Balboa Boulevard  
Northridge  
CA 91329 USA  
Tel: +1-818-920-3212  
Fax: +1-818-920-3208  
Toll Free: 888-251-8352  
Email: soundcraft-usa@harman.com  
Download from Www.Somanuals.com. All Manuals Search And Download.  

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