Soundcraft Vi1000
The Soundcraft Vi1000 digital mixing console represents the culmination of the groundbreaking achievements and rich feature set offered by Soundcraft`s acclaimed Vi Series, now in a more compact form factor.
The reduced footprint of the Vi1000 makes it ideal for smaller touring projects, rental companies, corporate AV applications, as well as music venue, theater and HOW installations in search of a versatile digital mixer. Among its many features, the Vi1000 incorporates Vistonics II `knobs-on-glass` functionality, making it easy to see and access the power and versatility of the mixing environment along with Soundcraft Faderglow colour coding, which illuminates the fader slots according to function using clearly defined colours. Offering pristine audio quality, a wealth of functionality, an intuitive user interface for streamlined operation, and the roadworthy reliability that Soundcraft`s Vi Series consoles are known for, the new Vi1000 delivers space saving, world-class audio mixing capability.
Innovation That Never Loses Sight Of The End User
All the cutting-edge features in the world mean little if a mixing console isn't intuitive to use. Recognizing that many audio engineers are freelance technicians, the ability to sit down behind the console and quickly and easily grasp its layout and functionality was of paramount importance throughout the Vi1000's design phase. With this in mind, Soundcraft engineers made easy-to-understand, streamlined operation a priority. From its Vistonics II and Faderglow integration to the inclusion of built-in microphone monitoring, every aspect of the Soundcraft Vi1000 exudes painstaking attention to detail, ensuring a mixing environment that inspires one's best efforts.
Vistonics II Functionality
Central to the Vi1000's intuitive design is the Vistonics II "knobs-on-glass" user interface. With Vistonics II, each control is always clearly labeled as to its function, despite their assignable nature. The functions are colour coded and use icons to clearly indicate the parameter being adjusted whether it's a signal level, filter frequency, or attack/release time. A simple touch of the screen is all it takes to access all the parameters associated with a particular channel strip. The amount of information presented in an easy-to-read format enables you to quickly scan the entire desk and see all channel strip settings at a glance, an inherent capability of analog consoles, but sadly lacking on most digital consoles.
Spidercore Integrated DSP
The SpiderCore DSP engine used in the Vi1000 runs the same 40-bit floating point audio processing algorithms found in Studer's high-end broadcast consoles - ensuring pristine audio quality. This engine mixes FPGA and DSP technology in a unique combination that maximizes I/O routing and DSP mixing capability and also includes dedicated Lexicon multi-effects processing chips. The SpiderCore engine provides a total capacity of 96 channels to mix, and 24 mono or stereo mix busses, configurable as auxiliary, group or matrix, plus the main LR and C busses.
Flexible And Expandable I/O
Linked directly to the SpiderCore DSP engine, the Vi1000's comprehensive I/O system provides a total of 212 x 212 simultaneous inputs and outputs. These comprise 16 channels of on-board HQ mic preamps, 16 on-board line outs 2 pairs of AES/EBU inputs and outputs and a 64ch MADI and Dante recording interface. In addition, two double expansion card slots provide industry standard audio networking protocol support and stagebox connection. Optional I/O expansion cards can be chosen from the extensive ViSi Connect range, which include MADI, Dante, Aviom, Rocknet, BLU link, SDI, TDIF, ADAT and other industry-standard formats.
Dante Networking Is Standard
Dante networking-the uncompressed, multi-channel digital media networking technology with near-zero latency and synchronization is standard issue on the Vi1000. This interface provides an instant connection to the popular, industry standard audio networking protocol and makes recording and virtual sound check tasks quick and easy.
Integrated World-Class Lexicon Reverb And Delay
Lexicon reverb and delay effects have long been recognized as the standard by which all others are judged. With the Vi1000 digital console, the industry's best reverb and delay come standard, ready for use anytime, and reminiscent of the unparalleled Lexicon PCM81 Multi-Effects Processor, known for its smooth, natural sounding reverb.
Built-In BSS DPR901II Dynamic EQ Processing
For years, the BSS DPR901II dynamic equalizer has been known for its superior performance. While this classic analog audio problem solver has been imitated by all BSS' competitors, none have matched the overall quality of the original. Onboard Soundcraft Vi consoles, users will find the only officially-approved digitally modelled version of the original further contributing to this console's superior audio performance.
Microphone Monitoring For AKG, Shure, And Sennheiser Wireless Systems
Mix engineers will certainly appreciate the built-in monitoring support for wireless microphone systems from AKG (WMS & DMS), Shure (ULXD/QLXD) and Sennheiser (6000 series). This capability makes it easy to check battery power, RF levels, plus the mute and clipping status of the attached wireless microphones, right on the channel strip that controls each mic.
vMIX Automatic Microphone Mixing For Stress-Free Dialogue Mixing
With the Vi1000's included vMIX Automatic Microphone Mixing capability, engineers can automatically mix up two separate groups of up to 16 microphones in conference or theatrical applications to free up hands or reduce the number of snapshots needed to control ambience in multi-mic speech applications. vMIX comes directly from high-end Studer Vista broadcast consoles and is another key system attribute that streamlines workflow.
Soundcraft Faderglow Technology
With Faderglow technology, colour coding of the Vi1000's faders help audio engineers avoid costly mistakes caused by adjusting the wrong parameter after changing layers. Fader tracks are illuminated in colours that integrate with the Vistonics screens to provide quick, at-a-glance information. Regardless of whether a fader is assigned to Matrix outputs, sends on faders, VCA groups, or graphic EQ, Faderglow makes it quick and easy to identify what function is being controlled by what fader at any given time.
Proven Electronic And Mechanical Design For Rock-Solid Reliability
The Vi1000 incorporates the same electronics and mechanical frame design found in the larger Vi consoles. The benefit? Proven road-worthy performance and reliability. We realize a digital console is a serious investment and, hence, expectations are high. The Vi1000'like all Soundcraft Vi Series mixing consoles is designed to deliver unparalleled performance.
Features
- 96 input channels with 24 mono/stereo mix busses, plus LRC master busses
- Vistonics II proprietary "knobs-on-glass" functionality, key to the console's streamlined, intuitive operational interface and widely praised as the easiest-to-use digital console on the market
- SpiderCore integrated DSP engine ensures superior audio performance
- Soundcraft Faderglow color coding illuminates the fader slots according to function
- Integrated Dante interface facilitates instant connection to industry standard Dante audio networks
- Two double-slot expansion slots for Stagebox connection or option card installation
- Built-in Lexicon world-class reverb, delay, and pitch effects from the industry's leading brand
- Onboard BSS DPR901ii dynamic EQ digitally modelled after the original, industry-standard BSSanalog unit
- Integrated microphone monitoring for AKG, Shure, and Sennheiser wireless systems
- Included vMIX automatic microphone mixing for two groups of up to 16 mics in conference ortheatrical applications
- Proven electronic and mechanical design delivers the performance and reliability Vi Seriesconsoles are known for
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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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