SOUNDCRAFT M8 MIXING DESK

Discontinued

490.95 incl. GR VAT

Out of stock

CompareAdd to wishlist Submit Better Price
In a world full of cheap compact mixers, Soundcraft has achieved something exceptional with the Spirit M Series. Equally suited to recording and live sound applications, the Spirit M Series delivers a great-sounding, reliable performance, session after session, mix after mix. A mixer for life. Even before you plug in a Soundcraft Spirit M Series […]

 

Read more

In a world full of cheap compact mixers, Soundcraft has achieved
something exceptional with the Spirit M Series. Equally suited to
recording and live sound applications, the Spirit M Series delivers
a great-sounding, reliable performance, session after session, mix
after mix. A mixer for life.
Even before you plug in a Soundcraft Spirit M Series mixer you know
it?s something very special. The brushed steel side panels aren?t just
beautiful, they can withstand a weight of 60kg (132 lbs) and are designed
to leave the mixer with no sharp edges. Removing these panels is simple,
revealing a robust, integral rack mounting system equipping the M Series
instantly for a life on the road.

The Spirit M Series is also exceptionally easy to use. The control surface
will be immediately familiar to anyone who has used a mixer before and will
quickly become second nature even to a novice. All inputs, EQ, auxes, panning
and level controls are presented clearly, saving you time when creating your mixes
and providing you with more time to spend on achieving the best sound. High quality
100mm faders combine with signal and peak LEDs on every channel and high resolution
output metering places the operator in total control. You?ll find no unsightly screw heads
anywhere on the M Series? front panel to get in the way of your mixing, while a durable,
multi-coat paint finish, ensures that a Spirit M Series console always looks as good as it sounds.

From raw component level through to cosmetic finishing, the Spirit M Series
has been built to last. Just pick one up and you?ll know what we mean. Even
 the knobs are special, custom designed to our own exacting requirements.
We?ve ensured there is plenty of spacing between the controls, enabling you
to comfortably achieve total control of your mix. Even the headphone jack is
located at the bottom right hand corner of the mixer so a trailing cable will never
get in your way. Just another example of the attention to detail which makes the
Soundcraft Spirit M Series the standard against which other compact mixing consoles must now be judged.

The Soundcraft Spirit M Series is available in 4, 8 or 12 mono input channel frame
sizes. All three mixers include four stereo inputs and four stereo returns, with all
other features and specifications identical.

M4 – 4 mono inputs, 4 stereo inputs, 4 stereo returns
M8 – 8 mono inputs, 4 stereo inputs, 4 stereo returns
M12 – 12 mono inputs, 4 stereo inputs, 4 stereo returns

Applications

Live sound reproduction
Home studio recording
Keyboard, samplers, synthesisers and electronic instrument mixing
PA mixing for bars, schools, leisure centres, places of worship, etc.
Location mixing
Multimedia production
Video post production
Multi-speaker systems
Conference sound systems

Features

    * 4, 8 or 12 input versions
    * S/PDIFDigital output
    * 4, 8 or 12 input versions
    * S/PDIFDigital output
    * Low noise, low distortion and RF rejection mic preamps
    * Great British EQ with HF range improvements
    * Ground tracking architecture minises noise and hum
    * 100mm fader throw
    * Professional grade connections throughout
    * IMaster gain control on all aux busses
    * Switchable direct outputs
    * Intelligent rackmounting system
    * Direct outputs ( pre or post fade ) on all mono channels
    * Signal present and peak LEDs on all input channels
    * Mute and PFL on all input channels
    * 4 Stereo inputs on all variants
    * 4 Stereo returns & return master for FX

Weight 8.25 kg

Reviews

There are no reviews yet.

Be the first to review “SOUNDCRAFT M8 MIXING DESK”

Your email address will not be published. Required fields are marked *

Quick Comparison

SOUNDCRAFT M8 MIXING DESK removeDYNACORD CMS 2200-3 Sound Desk 22 Channels removeSOUNDCRAFT LX7 MK II 32 CH - livemixer 32 mono- 2stereo inputs removeDYNACORD CMS 1000-3 Sound Desk 10 Channels removeDYNACORD CMS 1600-3 Mixing Desk 16 Channels (12 mono, 4 stereo) removeSOUNDCRAFT LX7 16CH MKII MIXING DESK remove
NameSOUNDCRAFT M8 MIXING DESK removeDYNACORD CMS 2200-3 Sound Desk 22 Channels removeSOUNDCRAFT LX7 MK II 32 CH - livemixer 32 mono- 2stereo inputs removeDYNACORD CMS 1000-3 Sound Desk 10 Channels removeDYNACORD CMS 1600-3 Mixing Desk 16 Channels (12 mono, 4 stereo) removeSOUNDCRAFT LX7 16CH MKII MIXING DESK remove
Image
SKUSPIRIT M8E003071SPIRIT LX7 32CH MKIIE009271E002849SPIRIT LX7 16CH MKII
Rating
Price 490.95 incl. GR VAT 2,760.00 incl. GR VAT 2,238.00 incl. GR VAT 1,998.00 incl. GR VAT 2,398.00 incl. GR VAT 1,621.99 incl. GR VAT
Stock

Out of stock

Available on backorder

Available on backorder

Available on backorder

Available on backorder

Available on backorder

AvailabilityOut of stockAvailable on backorderAvailable on backorderAvailable on backorderAvailable on backorderAvailable on backorder
Add to cart

Read more

Add to cart

Add to cart

Add to cart

Add to cart

Add to cart

Description
Content

In a world full of cheap compact mixers, Soundcraft has achieved
something exceptional with the Spirit M Series. Equally suited to
recording and live sound applications, the Spirit M Series delivers
a great-sounding, reliable performance, session after session, mix
after mix. A mixer for life.
Even before you plug in a Soundcraft Spirit M Series mixer you know
it?s something very special. The brushed steel side panels aren?t just
beautiful, they can withstand a weight of 60kg (132 lbs) and are designed
to leave the mixer with no sharp edges. Removing these panels is simple,
revealing a robust, integral rack mounting system equipping the M Series
instantly for a life on the road.

The Spirit M Series is also exceptionally easy to use. The control surface
will be immediately familiar to anyone who has used a mixer before and will
quickly become second nature even to a novice. All inputs, EQ, auxes, panning
and level controls are presented clearly, saving you time when creating your mixes
and providing you with more time to spend on achieving the best sound. High quality
100mm faders combine with signal and peak LEDs on every channel and high resolution
output metering places the operator in total control. You?ll find no unsightly screw heads
anywhere on the M Series? front panel to get in the way of your mixing, while a durable,
multi-coat paint finish, ensures that a Spirit M Series console always looks as good as it sounds.

From raw component level through to cosmetic finishing, the Spirit M Series
has been built to last. Just pick one up and you?ll know what we mean. Even
 the knobs are special, custom designed to our own exacting requirements.
We?ve ensured there is plenty of spacing between the controls, enabling you
to comfortably achieve total control of your mix. Even the headphone jack is
located at the bottom right hand corner of the mixer so a trailing cable will never
get in your way. Just another example of the attention to detail which makes the
Soundcraft Spirit M Series the standard against which other compact mixing consoles must now be judged.

The Soundcraft Spirit M Series is available in 4, 8 or 12 mono input channel frame
sizes. All three mixers include four stereo inputs and four stereo returns, with all
other features and specifications identical.

M4 - 4 mono inputs, 4 stereo inputs, 4 stereo returns
M8 - 8 mono inputs, 4 stereo inputs, 4 stereo returns
M12 - 12 mono inputs, 4 stereo inputs, 4 stereo returns

Applications

Live sound reproduction
Home studio recording
Keyboard, samplers, synthesisers and electronic instrument mixing
PA mixing for bars, schools, leisure centres, places of worship, etc.
Location mixing
Multimedia production
Video post production
Multi-speaker systems
Conference sound systems

Features

    * 4, 8 or 12 input versions
    * S/PDIFDigital output
    * 4, 8 or 12 input versions
    * S/PDIFDigital output
    * Low noise, low distortion and RF rejection mic preamps
    * Great British EQ with HF range improvements
    * Ground tracking architecture minises noise and hum
    * 100mm fader throw
    * Professional grade connections throughout
    * IMaster gain control on all aux busses
    * Switchable direct outputs
    * Intelligent rackmounting system
    * Direct outputs ( pre or post fade ) on all mono channels
    * Signal present and peak LEDs on all input channels
    * Mute and PFL on all input channels
    * 4 Stereo inputs on all variants
    * 4 Stereo returns & return master for FX

MIC/LINE Input Channels
The XLR microphone input is equipped with an extremely high quality, ultra-low noise, discrete preamp.
The +48V phantom power for condenser microphones can be switched in groups of six.
The Line Input and Channel Insert are implemented as jack sockets.
The Gain can be controlled in the range 0-60 dB.
The switchable Lo Cut filter (80Hz, 18dB/oct.) serves to eliminate low-frequency noise. A very typical DYNACORD feature is the asymmetrical Voicing Filter by means of which, if desired, the voice can be powerfully emphasized in the mix.
Optimized for ease-of-use, the 3-band semi-parametric equalizer makes it possible even for unpracticed users to perform the requisite corrections swiftly and intuitively.
With their extended buss structures, the CMS3 mixers offer very flexible configuration options. In all, 6 AUX busses are available in each case:
2 (FX) are assiged to the two effects devices;
2 (AUX) can be configured either as monitor or effects sends by means of a switch in the Main section;
2 (MON) are designed as monitor sends, each being equipped with a sweepable anti-feedback filter in the Master section.
MUTE and PFL switches, each with its own LED, make it possible to mute each input channel individually and/or listen to its pre-fader signal.
Each channel offers a Signal Present and Peak LED for level control.
The channel faders are dust-protected and offer not only excellent crosstalk attenuation but also a practice-optimized control characteristic.
All potentiometers and faders are high-quality components from ALPS.
Stereo MIC/LINE Input Channels
The stereo input channels are equipped in much the same way, but optimized, naturally, to carry stereo signals.
Two of the four stereo inputs of each model are additionally equipped with cinch (RCA) sockets switched in parallel for CD or MP3 players.
The two other stereo inputs receive in addition the four channels of the digital audio interface USB 1-2 and USB 3-4
Separate Gain controls are provided for the Stereo Line and Mic inputs to permit them to be used in parallel if desired.
Three-band tone controls are provided, and a Balance control replaces the PAN control found in the mono channel strips.
MASTER
In the Master Section, too, the CMS3 mixers are lavishly equipped.
The 11-band stereo equalizer can be routed to the Master channels or else to either or both of the Monitor Sends according to choice.
The FX1+2 Returns as well as the AUX1+2 and MON1+2 Sends are on faders just like the Master L/R signal, which makes for comfortable and intuitive operation.
The Master B signal is available pre or post MASTER L/R fader and can be mono-summed if desired. The Master signal is also available on the REC Send cinch (RCA) output with level control.
The level meters of the CMS3 comprise two LED chains of 12 LEDs each. The display range covers 40 dB; what is shown is the level in dBu at the master outputs. When the PFL switch is activated, the left-hand LED chain shows the internal level of the master buss in dBu.
The Standby switch mutes all channels e.g. during pauses, with only the 2TRACK-to-Master input remaining active for the playback of interval music.
A 4-pin XLR socket is provided for the connection of a standard 12V/5W gooseneck lamp.
DIGITAL USB 2.0 AUDIO INTERFACE  
The USB 2.0 port serves as a digital audio interface between the CMS3 and a PC or Mac. Four channels can be transmitted in either direction simultaneously. This interface can therefore be used either for the input of audio signals (e.g. for playback or interval music) or else for live- or studio-recording applications. It is configured by selecting the relevant setting in the menu.
For the use of the CMS3 with a PC or Mac, a free Cubase LE license as well as the requisite USB drivers are included free-of-charge on the supplied DVD.
PC MIDI Interface
The CMS3 also offers a fully-featured PC MIDI interface.
The MIDI input also supports the remote switching of both internal effects units using a master keyboard or MIDI footswitch.
Professional Effects, OLED Display and Processing Menus
The CMS3 has two integrated stereo multi-effects processors that work independently of one another, each offering 100 effects algorithms optimized for live performance, the most important parameters of which are editable.
Linear 24-bit AD/DA converters and 48-bit double-precision processing guarantee the finest studio quality based on state-of-the-art technology.
The 100 program locations of each device are packed with high-quality reverbs, halls and plates that deliver professional results in live performance on stage as well as in both studio and home recording environments.
Other presets include Echo/Reverb and Chorus/Echo combinations, a variety of delay, flanger, chorus and doubling algorithms, as well as special reverb and delay programs. When a delay effect is active, the delay time can be synchronized to the beat of the music using the TAP key.
Edited effects programs can be stored in the 20 User memories offered by each device, assigned names, and later selected and used in the same way as the presets.
The large, high-contrast OLED display is easily read from a wide range of viewing angles—even in very bright surroundings. The operation of the effects units and processing menus is intuitive and made easier still through the use of soft keys and a rotary encoder.
Processing Menus
For the basic settings, configuration, use of the effects and special functions, a wide variety of editing options can be selected from the clearly arranged menus.
Innovative Solution for Protection and Transportation
Optionally available for the CMS 1000 and 1600 is a very robust plastic lid with an integrated handle—a highly innovative solution that offers optimal protection for the device as well as greater carrying comfort.
For the CMS 2200, due to its greater size, a flight-case solution is recommended (available as a further option is a dust cover: the DC-PM2200-COVER).
Accessories
For rack installation of the CMS 1000 (or table installation of the models 1600 and 2200), the mounting kit RMK 1000-3 is available.
Other accessories include the gooseneck light DC-LITLITE-4P and the DC-FS11 ON/OFF footswitch for the effects units.

SOUNDCRAFT-SPIRIT
LX-7 32 II

Soundcraft Spirit LX-7 32 II, livemixer 32 mono-, 2stereoinputs, 2 st.-returns, 4 subgroups, 3 master, 6aux., built-in-powersupply, 4 band EQ with 2 param. mids

Dimensions: 16.51H x 50.29D x 105.9W
Weight: 25.45kgs

MIC/LINE Input Channels
The XLR microphone input is equipped with an extremely high quality, ultra-low noise, discrete preamp.
The +48V phantom power for condenser microphones can be switched in groups of six.
The Line Input and Channel Insert are implemented as jack sockets.
The Gain can be controlled in the range 0-60 dB.
The switchable Lo Cut filter (80Hz, 18dB/oct.) serves to eliminate low-frequency noise. A very typical DYNACORD feature is the asymmetrical Voicing Filter by means of which, if desired, the voice can be powerfully emphasized in the mix.
Optimized for ease-of-use, the 3-band semi-parametric equalizer makes it possible even for unpracticed users to perform the requisite corrections swiftly and intuitively.
With their extended buss structures, the CMS3 mixers offer very flexible configuration options. In all, 6 AUX busses are available in each case:
2 (FX) are assiged to the two effects devices;
2 (AUX) can be configured either as monitor or effects sends by means of a switch in the Main section;
2 (MON) are designed as monitor sends, each being equipped with a sweepable anti-feedback filter in the Master section.
MUTE and PFL switches, each with its own LED, make it possible to mute each input channel individually and/or listen to its pre-fader signal.
Each channel offers a Signal Present and Peak LED for level control.
The channel faders are dust-protected and offer not only excellent crosstalk attenuation but also a practice-optimized control characteristic.
All potentiometers and faders are high-quality components from ALPS.
Stereo MIC/LINE Input Channels
The stereo input channels are equipped in much the same way, but optimized, naturally, to carry stereo signals.
Two of the four stereo inputs of each model are additionally equipped with cinch (RCA) sockets switched in parallel for CD or MP3 players.
The two other stereo inputs receive in addition the four channels of the digital audio interface USB 1-2 and USB 3-4
Separate Gain controls are provided for the Stereo Line and Mic inputs to permit them to be used in parallel if desired.
Three-band tone controls are provided, and a Balance control replaces the PAN control found in the mono channel strips.
MASTER
In the Master Section, too, the CMS3 mixers are lavishly equipped.
The 11-band stereo equalizer can be routed to the Master channels or else to either or both of the Monitor Sends according to choice.
The FX1+2 Returns as well as the AUX1+2 and MON1+2 Sends are on faders just like the Master L/R signal, which makes for comfortable and intuitive operation.
The Master B signal is available pre or post MASTER L/R fader and can be mono-summed if desired. The Master signal is also available on the REC Send cinch (RCA) output with level control.
The level meters of the CMS3 comprise two LED chains of 12 LEDs each. The display range covers 40 dB; what is shown is the level in dBu at the master outputs. When the PFL switch is activated, the left-hand LED chain shows the internal level of the master buss in dBu.
The Standby switch mutes all channels e.g. during pauses, with only the 2TRACK-to-Master input remaining active for the playback of interval music.
A 4-pin XLR socket is provided for the connection of a standard 12V/5W gooseneck lamp.
DIGITAL USB 2.0 AUDIO INTERFACE  
The USB 2.0 port serves as a digital audio interface between the CMS3 and a PC or Mac. Four channels can be transmitted in either direction simultaneously. This interface can therefore be used either for the input of audio signals (e.g. for playback or interval music) or else for live- or studio-recording applications. It is configured by selecting the relevant setting in the menu.
For the use of the CMS3 with a PC or Mac, a free Cubase LE license as well as the requisite USB drivers are included free-of-charge on the supplied DVD.
PC MIDI Interface
The CMS3 also offers a fully-featured PC MIDI interface.
The MIDI input also supports the remote switching of both internal effects units using a master keyboard or MIDI footswitch.
Professional Effects, OLED Display and Processing Menus
The CMS3 has two integrated stereo multi-effects processors that work independently of one another, each offering 100 effects algorithms optimized for live performance, the most important parameters of which are editable.
Linear 24-bit AD/DA converters and 48-bit double-precision processing guarantee the finest studio quality based on state-of-the-art technology.
The 100 program locations of each device are packed with high-quality reverbs, halls and plates that deliver professional results in live performance on stage as well as in both studio and home recording environments.
Other presets include Echo/Reverb and Chorus/Echo combinations, a variety of delay, flanger, chorus and doubling algorithms, as well as special reverb and delay programs. When a delay effect is active, the delay time can be synchronized to the beat of the music using the TAP key.
Edited effects programs can be stored in the 20 User memories offered by each device, assigned names, and later selected and used in the same way as the presets.
The large, high-contrast OLED display is easily read from a wide range of viewing angles—even in very bright surroundings. The operation of the effects units and processing menus is intuitive and made easier still through the use of soft keys and a rotary encoder.
Processing Menus
For the basic settings, configuration, use of the effects and special functions, a wide variety of editing options can be selected from the clearly arranged menus.
Innovative Solution for Protection and Transportation
Optionally available for the CMS 1000 and 1600 is a very robust plastic lid with an integrated handle—a highly innovative solution that offers optimal protection for the device as well as greater carrying comfort.
For the CMS 2200, due to its greater size, a flight-case solution is recommended (available as a further option is a dust cover: the DC-PM2200-COVER).
Accessories
For rack installation of the CMS 1000 (or table installation of the models 1600 and 2200), the mounting kit RMK 1000-3 is available.
Other accessories include the gooseneck light DC-LITLITE-4P and the DC-FS11 ON/OFF footswitch for the effects units.

MIC/LINE Input Channels
The XLR microphone input is equipped with an extremely high quality, ultra-low noise, discrete preamp.
The +48V phantom power for condenser microphones can be switched in groups of six.
The Line Input and Channel Insert are implemented as jack sockets.
The Gain can be controlled in the range 0-60 dB.
The switchable Lo Cut filter (80Hz, 18dB/oct.) serves to eliminate low-frequency noise. A very typical DYNACORD feature is the asymmetrical Voicing Filter by means of which, if desired, the voice can be powerfully emphasized in the mix.
Optimized for ease-of-use, the 3-band semi-parametric equalizer makes it possible even for unpracticed users to perform the requisite corrections swiftly and intuitively.
With their extended buss structures, the CMS3 mixers offer very flexible configuration options. In all, 6 AUX busses are available in each case:
2 (FX) are assiged to the two effects devices;
2 (AUX) can be configured either as monitor or effects sends by means of a switch in the Main section;
2 (MON) are designed as monitor sends, each being equipped with a sweepable anti-feedback filter in the Master section.
MUTE and PFL switches, each with its own LED, make it possible to mute each input channel individually and/or listen to its pre-fader signal.
Each channel offers a Signal Present and Peak LED for level control.
The channel faders are dust-protected and offer not only excellent crosstalk attenuation but also a practice-optimized control characteristic.
All potentiometers and faders are high-quality components from ALPS.
Stereo MIC/LINE Input Channels
The stereo input channels are equipped in much the same way, but optimized, naturally, to carry stereo signals.
Two of the four stereo inputs of each model are additionally equipped with cinch (RCA) sockets switched in parallel for CD or MP3 players.
The two other stereo inputs receive in addition the four channels of the digital audio interface USB 1-2 and USB 3-4
Separate Gain controls are provided for the Stereo Line and Mic inputs to permit them to be used in parallel if desired.
Three-band tone controls are provided, and a Balance control replaces the PAN control found in the mono channel strips.
MASTER
In the Master Section, too, the CMS3 mixers are lavishly equipped.
The 11-band stereo equalizer can be routed to the Master channels or else to either or both of the Monitor Sends according to choice.
The FX1+2 Returns as well as the AUX1+2 and MON1+2 Sends are on faders just like the Master L/R signal, which makes for comfortable and intuitive operation.
The Master B signal is available pre or post MASTER L/R fader and can be mono-summed if desired. The Master signal is also available on the REC Send cinch (RCA) output with level control.
The level meters of the CMS3 comprise two LED chains of 12 LEDs each. The display range covers 40 dB; what is shown is the level in dBu at the master outputs. When the PFL switch is activated, the left-hand LED chain shows the internal level of the master buss in dBu.
The Standby switch mutes all channels e.g. during pauses, with only the 2TRACK-to-Master input remaining active for the playback of interval music.
A 4-pin XLR socket is provided for the connection of a standard 12V/5W gooseneck lamp.
DIGITAL USB 2.0 AUDIO INTERFACE  
The USB 2.0 port serves as a digital audio interface between the CMS3 and a PC or Mac. Four channels can be transmitted in either direction simultaneously. This interface can therefore be used either for the input of audio signals (e.g. for playback or interval music) or else for live- or studio-recording applications. It is configured by selecting the relevant setting in the menu.
For the use of the CMS3 with a PC or Mac, a free Cubase LE license as well as the requisite USB drivers are included free-of-charge on the supplied DVD.
PC MIDI Interface
The CMS3 also offers a fully-featured PC MIDI interface.
The MIDI input also supports the remote switching of both internal effects units using a master keyboard or MIDI footswitch.
Professional Effects, OLED Display and Processing Menus
The CMS3 has two integrated stereo multi-effects processors that work independently of one another, each offering 100 effects algorithms optimized for live performance, the most important parameters of which are editable.
Linear 24-bit AD/DA converters and 48-bit double-precision processing guarantee the finest studio quality based on state-of-the-art technology.
The 100 program locations of each device are packed with high-quality reverbs, halls and plates that deliver professional results in live performance on stage as well as in both studio and home recording environments.
Other presets include Echo/Reverb and Chorus/Echo combinations, a variety of delay, flanger, chorus and doubling algorithms, as well as special reverb and delay programs. When a delay effect is active, the delay time can be synchronized to the beat of the music using the TAP key.
Edited effects programs can be stored in the 20 User memories offered by each device, assigned names, and later selected and used in the same way as the presets.
The large, high-contrast OLED display is easily read from a wide range of viewing angles—even in very bright surroundings. The operation of the effects units and processing menus is intuitive and made easier still through the use of soft keys and a rotary encoder.
Processing Menus
For the basic settings, configuration, use of the effects and special functions, a wide variety of editing options can be selected from the clearly arranged menus.
Innovative Solution for Protection and Transportation
Optionally available for the CMS 1000 and 1600 is a very robust plastic lid with an integrated handle—a highly innovative solution that offers optimal protection for the device as well as greater carrying comfort.
For the CMS 2200, due to its greater size, a flight-case solution is recommended (available as a further option is a dust cover: the DC-PM2200-COVER).
Accessories
For rack installation of the CMS 1000 (or table installation of the models 1600 and 2200), the mounting kit RMK 1000-3 is available.
Other accessories include the gooseneck light DC-LITLITE-4P and the DC-FS11 ON/OFF footswitch for the effects units.

The LX7 combines the essential Soundcraft live mixer qualities
with basic recording-oriented features, in a compact frame that's
light enough for one person to carry yet easy to configure and use.
This makes it especially suitable for multi-purpose use in venues
such as small halls and community centres, while its direct channel
outputs make the LX7 an ideal choice for bands who need a live desk
that can double up in the studio.

Housed in a choice of 16, 24 or 32 channel frame, LX7 provides 24,
32 or 40 inputs - with no less than 7 separate bus outputs including
mix, 4 groups and a dedicated mono bus for centre speaker clusters,
side or rear fills. The output count rises to 29 with the inclusion of direct
outs on the first 16 mono inputs and six auxiliary busses.

LX7's balanced mic inputs all use patented Ultramic preamps,
providing 60dB of gain range and 22dBu of headroom. Each input
also includes 4 band EQ with two swept mid frequency controls.
In addition, EQ In/Out switch and steep 18dB/Octave High Pass Filter,
allow effective audio control in difficult venues whilst the six auxiliary sends
are pre-post switchable in pairs from each channel, providing a maximum of
4 pre-fader and six post-fader. This makes LX7 equally applicable
for foldback - heavy performance or in situations where more effects are required.

LX7's groups section houses two further stereo inputs - with EQ, auxiliaries
for keyboards or stereo recording devices - as well as two FX returns. All four
groups are routable to mix and include 12 segment bargraph metering for
accurate monitoring and inserts. Six auxiliary masters on rotary controls also
included AFL soloing.

In the master section there is talkback provision to all pre-fade auxiliaries and
the mix. Global phantom power and a two track return for pre-show music are
also present. A "two-track" to mix switch allows the engineer to play CD's over
the main PA whilst back-stage set-up is going on, with one press of a button.
The mix is also routable to the separate mono bus if mono PAs are required.

LX7 is built in a rugged wedge-shaped steel chassis with an internal power supply,
professional all-metal jackfield and connectors on the rear of the console. All inputs and outputs are balanced.

Applications:

    * Gigging Bands
    * Small installations
    * Small venues
    * Theatres
    * Houses of Worship
    * Live and studio recording

 
    *  100mm faders
    * +48V phantom power
    * 16, 24 or 32 channel frame sizes
    * Up to 40 inputs (including stereo inputs and returns)
    * 18dB/octave high-pass filter
    * 6 aux sends, 4 of them pre/post switchable
    * Group and mix inserts
    * 12-segment LED metering
    * Integral PSU

Weight8.25 kg12.00 kg25.45 kg9.20 kg13.00 kg18.20 kg
DimensionsN/AN/AN/AN/AN/AN/A
Additional information
Weight 8.25 kg
Weight 12.00 kg
Weight 25.45 kg
Weight 9.20 kg
Weight 13.00 kg
Weight 18.20 kg