Vi1
With the Soundcraft Vi Series now firmly established as a firm favourite digital desk on both the touring, broadcast and installed sound scenes, Soundcraft have taken this amazing platform to another, more affordable level with the release of the new Vi1 console. Many users have asked for a smaller, lower-priced desk that still has the acclaimed Vistonics user interface, and of course the now-legendary optimal sound quality established with the Vi Series.
So here it is, the Soundcraft Vi1
A complete standalone console package with 32 channels of analogue input to 27 analogue outputs, plus 6 digital inputs, 4 Stereo FX Returns and 6 digital outputs in one chassis. As standard, Input to mix capacity is 46chs, but by adding a stagebox (compatible with the existing Vi racks), simultaneous channel count increases to 64. Channels are routable to 24 multifunction busses, plus LR and Mono Mix busses.
Up to 8 of the busses can be configured as Matrix mixes, each with up to 16 sources.
The surface is just over a metre wide, and includes 16 motorised channel faders with fixed and user-definable layers, 8 output/VCA faders and 2 master faders.
What`s really cool about the Vi1 though, is the new Widescreen Vistonics interface, which will be instantly familiar to anyone who`s driven a Vi6 or Vi4, as well as retaining the same `walk-up` user-friendliness of the other Vi consoles. This new development displays all parameters for 16 channels side by side, on a single 22" Vistonics touch screen. The upper half of the screen handles the Output section control as well as Cue List or Menu displays. Parameter control is via two rows of 16 rotary encoders. Exactly the same channel functionality as the Vi6 and Vi4 is available here, along with all the same core snapshot, talkback and monitoring facilities.
Naturally, the Vi1 inherits many of the facilities of its larger siblings, including Soundcraft FaderGlow, 4 stereo Lexicon effects engines, BSS Audio graphic EQs on all output busses, and integral dynamics on all channels. The desk is also compatible with Vi2, 4 and 6 show files.
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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.
Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.
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