Si Performer 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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Active: Powered. An active crossover is electrically powered and divides the line-level signal prior to amplification. An active speaker includes an active crossover and built-in amplifier.
Actuality: Audio from an announcer speaking.
Amplifier: A component that increases the gain or level of an audio signal.
Balanced Input: A connection with three conductors: two identical signal conductors that are 180 degrees out of phase with each other, and one ground. This type of connection is very resistant to line noise.
Bandpass: A two-part filter that cuts both higher and lower frequencies around a center band. A bandpass enclosure cuts high frequencies by acoustic cancellation and low frequencies by natural physical limitations on bass response.
Bandwidth: In audio, the range of frequencies a device operates within. In video, the range of frequencies passed from the input to the output. Bandwidth can also refer to the transmission capacity of an electronic communications device or system the speed of data transfer,is very important when planning a meeting for the attendees to stay connected.
Bass: Low frequencies; those below approximately 200 Hz.
Bi-Wiring: A method of connecting an amplifier or receiver to a speaker in which separate wires are run between the amp and the woofer and the amp and the tweeter.
Boost: To increase, make louder or brighter; opposite of attenuate.
Bridging: Combining two channels of an amplifier to make one channel that more powerful. One channel amplifies the positive portion of an audio signal and the other channel amplifies the negative portion, which are then combined at the output.
CD: Compact Disc. Ubiquitous digital audio format. Uses 16-bit/44.1-kHz sampling rate PCM digital signal to encode roughly 74 or 80 minutes of two- channel, full-range audio onto a 5-inch disc.
CD-R: Recordable Compact Disc.
CD-RW: Rewritable Compact Disc.
Channel: In components and systems, a channel is a separate signal path. A four-channel amplifier has at least four separate inputs and four separate outputs.
Coloration: Any change in the character of sound (such as an overemphasis on certain tones) that reduces naturalness.
Crossover: A component that divides an audio signal into two or more ranges by frequency, sending, for example, low frequencies to one output and high frequencies to another. An active crossover is powered and divides the line-level audio signal prior to amplification. A passive crossover uses no external power supply and may be used either at line level or, more commonly, at speaker level to divide the signal after amplification and send the low frequencies to the woofer and the high frequencies to the tweeter.
Crossover Frequency: The frequency at which an audio signal is divided. 80 Hz is a typical subwoofer crossover point and is the recommended crossover point in theatrical and home THX systems. Frequencies below 80 Hz are sent to the subwoofer signals above 80 Hz are sent to the main speakers.
Cut: To reduce, lower; opposite of boost.
Decibel (dB): A logarithmic measurement unit that describes a sound`s relative loudness, though it can also be used to describe the relative difference between two power levels. A decibel is one tenth of a Bel. In sound, decibels generally measure a scale from 0 (the threshold of hearing) to 120-140 dB (the threshold of pain). A 3dB difference equates to a doubling of power. A 10dB difference is required to double the subjective volume. A 1dB difference over a broad frequency range is noticeable to most people, while a 0.2dB difference can affect the subjective impression of a sound.
Delay: The time difference between a sonic event and its perception at the listening position (sound traveling through space is delayed according to the distance it travels). People perceive spaciousness by the delay between the arrival of direct and reflected sound (larger spaces cause longer delays.
Diaphragm: The part of a dynamic loudspeaker attached to the voice coil that produces sound. It usually has the shape of a cone or dome.
Diffusion: In audio, the scattering of sound waves, reducing the sense of localization. In video, the scattering of light waves, reducing hot spotting, as in a diffusion screen.
Digital Audio Server: Essentially a hard drive, a digital audio server stores compressed audio files (like MP3 or WMA). Most include the processing to make the files, and all have the ability to play them back.
Direct-Stream Digital: A format for encoding high-resolution audio signals. It uses a 1-bit encoder with a sampling rate of 2,822,400 samples per second (verses 44,100 for CD). Used to encode six high-resolution channels on SACD.
Dispersion: The spread of sound over a wide area.
Distortion: Any undesired change in an audio signal between input and the output.
DNR: Dynamic Noise Reduction. A signal-processing circuit that attempts to reduce the level of high-frequency noise. Unlike Dolby NR, DNR doesn’t require preprocessing during recording.
Dolby B: A noise-reduction system that increases the level of high frequencies during recording and decreases them during playback.
Dolby C: An improvement on Dolby B that provides about twice as much noise reduction.
Dolby Digital: An encoding system that digitally compresses up to 5.1 discrete channels of audio (left front, center, right front, left surround, right surround, and LFE) into a single bitstream, which can be recorded onto a DVD, HDTV broadcast, or other form of digital media. When RF-modulated, it was included on some laser discs, which requires an RF-demodulator before the signal can be decoded. Five channels are full-range; the .1 channel is a band-limited LFE track. A Dolby Digital processor (found in most new receivers, preamps, and some DVD players) can decode this signal back into the 5.1 separate channels. Most films since 1992`s Batman Returns have been recorded in a 5.1 digital format, though a number of films before that had 6-channel analog tracks that have been remastered into 5.1.
Dolby EX: An enhancement to Dolby Digital that adds a surround back channel to 5.1 soundtracks. The sixth channel is matrixed from the left and right surround channels. Often referred to as 6.1. Sometimes referred to as 7.1 if the system uses two surround back speakers, even though both speakers reproduce the same signal. Software is backwards-compatible with 5.1 systems, but requires an EX or 6.1 processor to obtain additional benefit.
Dolby Pro Logic: An enhancement of the Dolby Surround decoding process. Pro Logic decoders derive left, center, right, and a mono surround channel from two-channel Dolby Surround encoded material via matrix techniques.
Dolby Pro Logic II: An enhanced version of Pro Logic. Adds improved decoding for two-channel, non-encoded soundtracks and music.
Driver: A speaker without an enclosure; also refers to the active element of a speaker system that creates compressions and rarefactions in the air.
DSP: Digital Signal Processing. Manipulating an audio signal digitally to create various possible effects at the output. Often refers to artificially generated surround effects derived from and applied to two-channel sources.
DTS: Digital Theater Systems. A digital sound recording format, originally developed for theatrical film soundtracks, starting with Jurassic Park. Records 5.1 discrete channels of audio onto a handful of laser discs, CDs, and DVDs. Requires a player with DTS output connected to a DTS processor.
DTS ES: An enhanced version of the 5.1 DTS system. Like Dolby’s Surround EX, a sixth channel is added. In some cases (DTS ES Discrete), the sixth channel is discrete. Software is backwards-compatible with 5.1 systems, but requires an ES or 6.1 processor to obtain additional benefit. Neo: 6 is a subset of DTS ES that creates 6.1 from material with fewer original channels.
Dynamic Range: The difference between the lowest and the highest levels; in audio, it’s often expressed in decibels. In video, it’s listed as the contrast ratio.
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Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
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Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.
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