Vi4
Only months after the introduction of the highly successful Soundcraft Vi6, the Vi Series of digital live sound consoles has been extended with the new Soundcraft Vi4 model, offering all the functionality and facilities of the Soundcraft Vi6, but in a smaller, more compact footprint more suited for space-conscious applications such as Theatres, Houses of Worship and venues or clubs with space-limited mix positions.
In just under 1.5m/5 feet, the Soundcraft Vi4 offers access to 96 inputs on 24 faders, with a total of 35 output busses available for use as masters, groups, auxes or matrices. All other features of the Soundcraft Vi6, such as the highly acclaimed Vistonics II touch-screen user interface, Soundcraft FaderGlow fader function display and the unequalled audio quality are inherited by the Soundcraft Vi4.
Features
Audio Channels
- Max number of simultaneous mixing channels
96 mono inputs into 35 Outputs. Pairs of mono inputs can be linked to create stereo channels. - Insert points
24 insert send/return pairs can be configured (using available I/O) and assigned to any of the 96 inputs or 35 output channels. - Direct Outputs
All 96 input channels can have direct outputs in addition to their internal bus routing, assuming sufficient I/O is available (eg optical MADI card). - Busses
32 Grp/Aux/Matrix, plus main LCR Mix and LR Solo busses (maximum of 16 matrix outputs can be configured).
Connectivity
- Connection from local rack to stagebox: Standard fit: Cat5 cable, with Amphenol RJF connectors. Optional: Fibre Optical interface card (additional cost).
- Max distance, local rack to stagebox: 100m using Soundcraft-approved flexible reel-mounted Cat5 cable, 130m possible using Cat7 permanent installation cable.
- GPIO facility: There are 16 GPIO contact closure inputs and outputs on the local rack, and 8 inputs and outputs on the stagebox.
- MIDI: There is 1 MIDI In and 2 MIDI Outs on the rear of the control surface.
Offline Editor - Virtual Vi
To compliment the Soundcraft Vi4, an offline editor (Virtual Vi) is available. See below in Downloads section.
Miscellaneous
Controls for Mute Group (x 4) and VCA Group (x 16) assignment. Controls for assignment of Vistonics rows to bus sends (when channel parameters are not selected to Vistonics). Snapshot automation controls. Talkback controls. Controls for Monitor Output level, phones level and Solo Trim and blend level.
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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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Octave: The difference between two frequencies where one is twice the other. For example, 200 Hz is an octave higher than 100 Hz. 400 Hz is one octave higher than 200 Hz.
Optical Digital Cable: Fiber optic cable that transfers digital audio signals as light pulses.
Outcue/Outq/Out-Point: These words all refer to the final few seconds of audio signifying the conclusion of the production.
Package: A completed and fully edited audio piece.
Passive: Not active. A passive crossover uses no external power and results in insertion loss. A passive speaker is one without internal amplification.
Phase: Time relationship between signals; it’s all relative.
Power Output: A measure, usually in watts, of how much energy is modulated by a component.
Preamplifier: A control and switching component that may include equalization functions. The preamp comes in the signal chain before the amplifiers.
Pre Outs: Connectors that provide a line-level output of the internal preamp or surround processor.
Pre Outs/Main Ins: Connectors on a receiver that provide an interruptible signal loop between the output of the internal preamp or surround processor portion of the receiver and the input of the amplifier portion of the receiver.
Pre/Pro: A combination preamp and surround processor.
Processors: Anything that processes an incoming signal in some way. Surround processors, for example, can decode a Dolby Digital signal to send to an amp so you can hear it.
Pulse Code Modulation: (PCM) a way to convert sound or analog information to binary information (0s and 1s) by taking samples of the sound and record the resulting number as binary information. Used on all CDs, DVD-Audio, and just about every other digital audio format. It can sometimes be found on DVD-Video.
Q-and-A: Question and answer session.
Receiver: Any component that receives, or tunes, broadcast signals, be it NTSC, HDTV, DBS, or AM/FM radio. Typically refers to the single component that includes a preamp, surround processor, multichannel amplifier, and AM/FM tuner.
Reverberation: The reflections of sound within a closed space.
RF: Radio Frequency. Television signals are modulated onto RF signals and are then demodulated by your television’s tuner. VCRs and DBS receivers often include channel 3 or 4 modulators, allowing the output signal to be tuned by the television on those channels. Also, laser discs used an RF signal for modulating Dolby Digital 5.1 soundtracks on some movies. This requires an RF demodulator (usually referred to as an AC3-RF demodulator) before or in the surround processor to decode the signal.
RMS: Root Mean Square or the square root of the arithmetic mean (average) of the square’s set of values. A reasonably accurate method of describing an amplifier`s power output.
SACD: Super Audio CD. Enhanced audio format with up to six channels of high-resolution audio encoded using DSD. Requires an SACD player. Multichannel also requires a controller with six-channel analog or proprietary digital inputs for full playback.
Sampling Frequency: How often a digital sample is taken of an analog wave. The more samples taken, the more accurate the recording will be. You need to sample at a minimum of twice the highest frequency you want to capture. For example, the 44.1-kilohertz sampling rate of a CD cannot record sounds higher than 22.05 kilohertz.
Scener: A radio report in which the announcer is recorded at the same time and place as the background sound of an event.
Sensitivity: A measurement (in dB) of the sound-pressure level over a specified frequency range created by a speaker driven by 1 watt (2.83V at 8 ohms) of power with a microphone placed 1 meter away.
Signal-to-Noise Ratio: A comparison of the signal level relative to the noise level. Larger numbers are better.
Simultaneous Interpretation: This system allows attendees to hear the meeting in their own language.
Sound Bite: A portion of audio of someone speaking.
Sound field: The total acoustical characteristics of a space, such as ambience number, timing, and relative level of reflections; ratio of direct to reflected sound RT-60 time etc.
Soundstage: The area between two speakers that appears to the listener to be occupied by sonic images. Like a real stage, a soundstage should have width, depth, and height.
Speaker: A component that converts electrical energy into acoustical energy.
SPL: Sound-Pressure Level. Measured in dB.
Subwoofer: A speaker designed to reproduce very low bass frequencies, usually those below about 80 Hz.
THX: Certification program for home theater equipment. Uses some proprietary features, but mostly assures a base quality level for a given room size. (See THX select or Ultra.) Is compatible with any and all soundtrack formats. Stands for either Tom Holman’s eXperiment, after the engineer who drafted the original standard, or is named after the company’s founder George Lucas first movie, THX 1138. Nobody agrees on which.
THX select: Certification program for speakers and receivers that assures a base level of quality and performance when played in a room that’s between 2,000 and 3,000 cubic feet.
User-Generated Content (UGC): Text, photos, video or audio supplied by the customers of a company.
Voicer: A radio report without background audio taken from a scene or otherwise.
Wrap: A radio report containing both the reporter and an actuality.
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Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.
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