Performance 2
Drawing on the combined heritage of legendary Soundcraft quality and the powerful and intuitive Vi Series digital live sound mixers, the Si Performer brings unparalleled mix power and performance to small format digital live sound mixers.
Sitting where a plethora of gear once was, the Si Performer delivers the equivalent of 448 rack units of DSP including sophisticated 4-band fully parametric EQ, full dynamics processing, a comprehensive range of output options, totally flexible routing and, as with all Soundcraft consoles, an unmatched range of options to fully integrate the Si Performer into an existing system or become the centre of a thriving new installation.
The Si Performer also takes mixing out of the dark with powerful digital audio mixing facilities married to a DMX 512 controller allowing for the first time the mixing console to also run the lighting rig! `Music & Lights these have been partners in the entertainment and production industry since amplified sound met the electric light but until now even the simplest lighting setup would require a separate lighting controller console, road case and somewhere to put it Soundcraft Si Performer changes everything. Empowering the console with a DMX interface, the Soundcraft Si Performer is able to utilize the power of motorised faders, Soundcraft FaderGlow and a console automation system to provide a flexible automated lighting controller ideal for schools, churches, touring theatre companies and conference productions.
The Si Performer 2 features 24 local recallable mic pre amps and 8 stereo inputs along with two ViSi Connect? option card slots with an additional 128x96 input/output paths (one 64x64 expansion slot and another 64x32 expansion slot). Able to utilise Si series ViSi Connect option cards, the Si Performer gives a large range of additional digital I/O connectivity including the MADI USB Combo, BSS Digital Audio Bus (BLU Link), Dante, CAT5 or optical MADI, AVIOM, CobraNet and others with a massive mix capacity of 64 mono inputs for a total of 80 inputs to mix. Each input channel has dedicated processing for high pass filter, input delay, gate, compressor and parametric EQ. Keeping you in control are 8 VCA busses, 8 mute groups, FaderGlow and colour backlit name displays on every channel so you are never lost.
All Si Performer consoles have busses and output processing to match the versatility of the inputs; the 14 aux/group mixes can be configured as 14 mono mixes or 8 mono plus 6 stereo mixes, whilst the matrix mixes can be mono or stereo as needed. The bus and matrix mixes are complemented with four mix busses dedicated to the internal Lexicon FX processors and left, right and centre busses with options for mixing left/right + mono/centre or left/centre/right (LCR). Each bus features a compressor, 4 band fully parametric EQ, graphic EQ and delay always available all of the time.
To complement the channel and bus processing all Si Performer consoles integrate four Stereo Lexicon FX processors based on the MX400 providing a wealth of sounds, user adjustable parameters and dedicated tap-tempo keys. As the FX are hardware based use of all the effects even on the most demanding programmes do not affect the processing in any way and all dynamics, PEQ and all bands of all 31 graphic EQs are available all of the time.
Flexible onboard and expansion I/O options ensure the Si Performer integrates effortlessly with other system components; along with the 16 mic inputs there are eight analogue line inputs, AES in and out, 16 analogue line outputs, headphone monitor out, a 64x64 channel expansion slot and another 64x32 expansion slot each capable of utilising any of the Si series option cards including CAT5 or optical MADI. The MADI card, as well as being an interface to multi-track recording systems or plug-in systems like Waves, enables linking the Si Performer to any of the Soundcraft or Studer stageboxes to extend the I/O power and flexibility; but all this power is nothing without control and here the Si Performer excels with a comprehensive but `simple to use` control surface.
As you would expect from any Soundcraft digital mixer the facilities are extensive and include legendary audio quality courtesy of latest generation EMMA DSP processors, the same DSP platform that has helped propel the Si and Si Compact series to industry standard status; this power united with reliability and flexibility puts the Si Performer in a class of its own.
Features
- 24 mono mic inputs
- 8 line inputs
- 80 channels to mix
- 2 ViSi Connect option card slots for 128 x 96 input/output paths
- Pre/Post selection per input per bus
- Freely assignable faders and patching
- Soundcraft FaderGlow
- Colour backlit LCD screens per fader
- GEQ on every bus
- 20 sub-group / aux busses
- 4 FX busses
- 8 Matrix busses
- LRC Mix busses
- LCR panning
- 4 Stereo Lexicon Effects engines
- Delay on inputs and outputs
- 8 Mute Groups
- 8 VCA Groups
- AES in and out
- DMX interface and control - control sound and light simultaneously
- Freely assignable insert loops
- Harman HiQnet integration
- Colour touch screen interface
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Used Soundcraft
Soundcraft is a British designer and importer (formerly a manufacturer) of mixing consoles and other professional audio equipment. It is a subsidiary of Harman International Industries, which is owned by South Korean company Samsung Electronics.
It was founded by sound engineer Phil Dudderidge and electronics designer Graham Blyth in 1973.
Soundcraft first made its mark by manufacturing the Series 1, the first mixing console built into a flight-case. It was available with 12 or 16 input channels and 4 main stereo outputs, plus a post-fader ‘echo’ send and pre-fader foldback. Each channel had four-band fixed-frequency EQ. The Series 1 also included a multi-pin connector that integrated with a multi-channel microphone snake to route signals from and to the stage from a mix position in the audience.
The Series 1S was introduced in 1975 as an upgraded Series 1. The Series 1S introduced the classic Soundcraft four-band EQ with two sweepable mid-range sections. In addition to The Series 1S added a second foldback send and was available in a 20 channel version.
In 1975, Soundcraft introduced the Series 2 console as a live and recording console. The Series 2 began to build Soundcraft's reputation for quality desks with the classic British sound. The Series 2 launched as a four-bus console, and was later available in an eight-bus version. It was initially offered in 12 and 16 channel versions, and a 24 channel version was later added.
The design used a semi-modular approach with individual channels in separate modules. The master section was made up of echo return, group output, cue master and monitoring modules. The input channels were available in fixed-frequency EQ standard channel and swept EQ versions. The swept EQ version also allowed switching between microphone input and line input, which was typically attached to a multi-track recorder output. All channels provided stereo pan as well as four cue send buses that could be configured as pre- or post-fader and allowed individual monitoring via a pre-fade listen (PFL) function. Each channel could be routed directly to the left–right mix bus or to odd/even pairs of sub-mix buses.
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Efficiency Rating: Level of sound output measured at a prescribed distance with a standard input power. Efficiency rating standard is 1 watt (2.83V at 8 ohms) at 1 meter over a specified frequency range and is measured in decibels.
Equalization: Loosely, any type of relative frequency adjustment. Specifically, the process of changing the frequency balance of an electrical signal to alter the acoustical output.
Equalizer: A component designed to alter the frequency balance of an audio signal. Equalizers may be graphic, parametric, or a combination of both.
Fade: A gradual increase in audio, i.e. a fade-up, or a gradual decrease in audio, i.e. a fade-down.
Feedback: The transmission of current or voltage from the output of a device back to the input, where it interacts with the input signal to modify operation of the device. Feedback is positive when it’s in phase with the input and negative when it's out of phase.
FM: Frequency Modulated.
Frequency: The number of cycles (vibrations) per second. In audio, audible frequencies commonly range from 20 to 20,000 cycles per second (Hz). In video, frequency is used to define the image resolution. Low-frequency video images depict large objects or images. Higher frequencies depict smaller objects (finer details.
Frequency Response: A measure of what frequencies can be reproduced and how accurately they are reproduced. A measurement of 20 to 20,000 Hz, 3dB means those frequencies between 20 and 20,000 Hz can be reproduced no more than 3 dB above or below a reference frequency level.
Full-Range: A speaker designed to reproduce the full range (20 Hz to 20 kHz) of audio frequencies.
Gain: Increase in level or amplitude.
Gooseneck: This refers to a microphone with a flexible neck that is most frequently attached to a podium or lectern. It is designed to allow the speaker to raise or lower the microphone to a suitable height.
Graphic Equalizer: A type of equalizer with sliding controls that creates a pattern representing a graph of the frequency-response changes. Raising sliders boosts the affected frequencies lowering sliders cuts (attenuates) the affected frequencies.
HDCP: High-Bandwidth Digital Content Protection. Created by Intel, HDCP is used with HDTV signals over DVI and HDMI connections and on D-Theater D-VHS recordings to prevent unauthorized duplication of copyright material.
HDR: Hard-Drive Recorder. Device that uses a computer hard drive to store compressed digital audio and video signals.
High Pass: A filter that passes high frequencies, and attenuates low frequencies. Same as low cut.
Hz: Hertz or cycles per second. Something that repeats a cycle once each second moves at a rate of 1 Hz.
Incue/Inq/In-Point: These words all refer to the initial few seconds of audio signifying the beginning of the production.
Integrated Amplifier: A combination preamp and amplifier.
Impedance: A measure of the impediment to the flow of alternating current, measured in ohms at a given frequency. Larger numbers mean higher resistance to current flow.
KHz: Kilohertz or one thousand Hz.
Lavaliere: A small microphone that attaches to clothing, allowing the speaker to have a hands-free presentation.
Line Array: A group of speakers that have been arrayed or ” built up” in the vertical or horizontal plane, which allow for a highly consistent sound field. A Line Array is perfect for medium to large audiences.
Line-Level (Low-Level): A level of electrical signals too low to make the average speaker move sufficiently. Amplifiers receive line-level signals and amplify them to speaker level.
lockout: The final words of a segment used to signify the production’s conclusion.
Low Pass: A filter that lets low frequencies go through but doesn’t let high frequencies go through. Same as high cut.
MHz: Megahertz, or 1 million Hz.
Midbass: The middle of the bass part of the frequency range, from approximately 50 to 100 Hz (upper bass would be from 100 to 200 Hz). Also used as a term for loudspeaker drivers designed to reproduce both bass and midrange frequencies.
Midrange: The middle of the audio frequency range. Also used as a term for loudspeaker drivers designed to reproduce this range.
Mixer: This is the unit in which audio signals are directed from. A mixer provides for both mic and line input combinations while allowing you to control one or more outputs.
MLP: Meridian Lossless Packing. Encoding format that is able to completely reconstruct the original signal at the receiving end. No information is lost or discarded, regardless of how trivial it might be. Used to encode six channels of high-resolution audio on DVD-A.
Mono: Monophonic sound. One channel.
MP3: MPEG-1 Audio Layer-3. Compression scheme used to transfer audio files via the Internet and store in portable players and digital audio servers.
Natural Sound (NATS): The nonverbal audio that occurs in a non-studio setting. NATS can be used to help characterize the setting.
Noise: An unwanted portion of a signal such as hiss, hum, whine, static, or buzzing.
Nonlinear Editing: Digital audio systems that allow for clips to be extracted without affecting the master recording.
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