The Soundcraft LX7ii is a 7-bus mid-sized mixing console capable of handling both FOH and monitors, making it ideal for live sound applications in small to medium-sized venues. Direct channel outputs allow for simple connection of multitrack recording equipment, making the LX7ii equally at home in the studio.
MONO INPUT CHANNEL
A balanced XLR connector accepts balanced or unbalanced mic signals.
The balanced 1/4" jack allows connection of balanced or unbalanced electronic instruments, such as keyboards.
+48V Phantom Power
+48V Phantom Power is available switched in blocks of 4 for condenser mics and active DI boxes.
LX7ii’s exclusive GB30 padless mic preamp provides up to +15dBu input capability with the input gain control operating between 5dB and 60dB on all mic inputs.
HIgh Pass Filter
A steep 18dB per Octave High Pass Filter is included straight after the preamp to reduce low frequency rumble on stage and clean up vocal performances.
A pre-fade, pre-EQ (but post-HPF) insert point is provided for patching in Limiters, Graphic Equalisers or other signal processors. It may also be used for recording.
A direct output is also available on all but the last 8 channels with individual pre/post fader switching situated in the EQ section. This allows LX7ii’s direct outputs to be equally useful for effects send applications or multitrack tape feeds.
LX7ii’s GB30, 4 band equaliser section is based on that used in the high-end MH Series. Both the HF and LF shelving sections have steeper slopes than usual which substantially reduces mid frequency harshness in the HF band and muddiness in the LF. This increase in “cleanliness” of response is further enhanced by an element of undershoot and overshoot in the boost/cut response. It has two swept mid frequencies carefully selected for optimum control during live performances. All bands provide 15dB of cut or boost. The Low frequency equaliser response shelves at 80Hz. The swept Lo Mid control operates between 80Hz and 1.9kHz. The swept Hi Mid control operates at frequencies between 550Hz and 13kHz. The fixed High frequency equaliser response shelves at 13kHz.
The EQ section can be bypassed using the EQ switch, allowing comparison of treated and untreated sounds without having to reset controls.
6 flexible auxiliary sends allow the choice of either monitor or effects orientated mixes. Auxes 1-4 are normally post-fader, post-EQ but can be switched in pairs from each channel to be pre-fader, post-EQ. Auxes 5 and 6 are always post-fader, post-EQ. In this way a maximum of 4 pre-fader foldback mixes or 6 post-fader effects sends are possible.
Level Control and Routing
Each input channel can be routed to Mix, the separate Centre (Mono) bus, and/or any of the 4 Groups in pairs.
Turning the pan control full left or right enables odd or even groups or the left or right Mix bus to be accessed individually.
Each channel can be soloed pre-fader, post-EQ to check gain levels.
The PFL indicator LED also doubles as a PEAK indicator, illuminating 4dB before clipping occurs to make the maximum headroom available.
Professional-grade 100mm faders provide accurate, consistent control of audio levels and have superb cut-off performance.
STEREO INPUT SECTION
Two stereo inputs allow stereo sources such as CD players, keyboards or samplers to be connected. Alternatively, they may be used as sophisticated effects returns.
2 balanced pairs of line inputs allow the stereo inputs to be accessed. Plugging in the left jack only will feed a mono source to both paths.
Input Gain control
A rotary control provides 22dBu of gain range to boost even the weakest line-level signals.
The two band High and Low frequency EQ sections provide 15dB of boost or cut at 12kHz and 80Hz respectively.
The stereo inputs have access to either Auxes 1 & 2 or 3 & 4, by toggling the “3-4” switch.
Inputs can be soloed pre-fader, post-EQ and routed direct to Mix, or to the Group immediately below each input strip. A rotary control governs signal level.
GB30 MIC PREAMP AND EQ
Soundcraft founder Graham Blyth explains the development of his GB30 designs:
“It is particularly important in live applications to have a mic preamp that has a well controlled overload response. Many preamp designs achieve excellent THD figures by wrapping tons of negative feedback around the front end. Unfortunately, these topologies tend to behave badly under overload conditions, creating an untidy and muddy sound.”
“The new preamp in the LX7ii achieves excellent performance figures by using local linearisation techniques rather than global feedback, together with a wide frequency response and excellent phase linearity. All these factors result in an exemplary preamp for all applications.”
Each Group has an impedance-balanced 1/4" jack output connector, allowing long cable runs on stage.
Pre-fade insert points are provided on each Group for the connection of Limiters, Graphic Equalisers or other signal processors.
There are 6 impedance-balanced jack outputs for the Auxiliary outputs.
Six rotary controls govern Auxiliary send level. Each Auxiliary may be soloed after the fader.
Four 12-segment Peak reading bargraph meters display Group output levels.
100mm Group Faders
The Group faders provide 10dB of extra gain above the “zero” mark, whilst still ensuring smooth operation. Each pair of Groups may be routed to Mix.
3 impedance-balanced XLR connectors cater for the Mix and C (Mono) Outputs, with a balanced XLR input allowing talkback microphones to be connected. Two control room outputs for engineer monitoring are available on impedance balanced 1/4" jacks.
A pair of unbalanced -10dBv phono connectors labelled “2TRK” allow pre-show music to be replayed.
Once connected, the engineer’s talkback mic can be routed to Aux 1-2, Aux 3-4 or the Mix by momentary action switches. A rotary control governs talkback level.
Two stereo returns are provided for use with effects units, or as simple stereo instrument inputs. The rotary controls govern level and are automatically routed to Mix.
CONTROL ROOM SECTION
The control room section allows the engineer to monitor either the 2-track return, the C (Mono) Bus, the Mix, or either pair of Groups via the control room outputs or headphones. A headphone jack is provided for use with headphones with impedances of 100 Ohms or greater. Both the control room and 2-track return levels can be altered using the associated controls. It is also possible to replace the Mix output signal with the 2-track return by pressing “2 TRK TO MIX OUT”. This allows easy playing of pre-show music at a single button press, without having to make any alterations to the band’s settings.
A 12-segment bargraph meter normally displays Mix output levels, but switches to display Group, C (Mono) output or 2-track levels when the appropriate control room selection is made. If any input or Auxiliary master is soloed then the PFL/AFL LED illuminates, and the master meters show PFL/AFL levels instead.
100mm Master Faders
Mix and C (Mono) Output levels are controlled by custom built 100mm long throw faders. The Mix outputs may be routed to the C (Mono) bus should only a mono PA be required, or an induction loop need to be fed.
The LEDs illuminate if LX7ii is powered up, showing the status of the +/-17v voltage rails used within the console.
Integral Power Supply
The LX7ii is fitted with a high-efficiency SMPS design (Switched Mode Power Supply) unit that makes for cooler operation and lighter weight. The PSU is capable of accepting a wide range of AC input voltages without any internal or external switch changes.