Vi7000
The Vi7000 digital mixing consoles delivers the best Vi sound ever, bringing optional 96kHz processing, upgraded channel counts and even more reliable hardware to live sound`s most popular mix interface.
Partnering a compact control surface with new Local Rack and Active Breakout box hardware, Vi delivers simultaneous mixing of up to 128 inputs and 32 mono/stereo busses.
Pristine sound quality is assured by ultra-low noise mic amp designs and enhanced 96kHz* 40-bit floating point digital audio processing, while FX come courtesy of 8 independent Lexicon multi-FX units, BSS DPR901ii integration and a BSS graphic EQ on every bus output. Rapid configuration and powerful automation features, radio mic status monitoring and extensive ViSi Connect I/O expansion (EtherSound, CobraNet, Dante, MADI, etc.) complete the package.
Additional DSP cards and reduced channel count required for 96kHz operation
Key New Features:
- The latest Vistonics & FaderGlow interface
- Up to 128 inputs and 32 mono/stereo busses
- Enhanced audio processing with 96kHz sample rate option
- Powerful new features including BSS DPR901ii Dynamic EQ
- STUDER vMIX automatic microphone mixing built-in
- New Local Rack hardware for 384 I/O channels
- 128 channel record interface via MADI or Dante
- Mix live with UA plug-ins (via Realtime Rack)
- Huge connectivity options - Dante, Rocknet, Ethersound, Cobranet, MADI and more
Features
Live sound mixing - the way it should be
Our patented Vistonics was designed from a simple start point - create the most intuitive digital mix interface available. Rather than arranging controls around or adjacent to a flat TFT screen, a system that requires constant hand and eye co-ordination and mental mapping, Vistonics simplifies the process and puts the rotary encoders and switches right on the touch screen.
With graphics behind the controls that change depending on the function, the operator is left in no doubt as to what parameter is being adjusted.
With the display and relevant controls combined in one area, the operator is immediately presented with a simple, clear mix system that streamlines workflow and enhances the creative process.
Each Vistonics interface controls eight input channels and comprises a touch screen with 16 rotary encoders and 16 switches. A simple touch in the desired part of the on-screen channel strip is all it takes to access channel functions including routing, input gain, digital gain trim, delay, high and low pass filters, 4-band fully parametric EQ, compressor, limiter, gate, de-esser and pan, with immediate access to a sophisticated visual status display and straightforward controls.
In addition, a dedicated Vistonics II interface is provided for output processing control, and also functions as a complete meter overview display for all 128 inputs and 32 busses, as a snapshot cue list display, and as a display for diagnostics information.
Enhanced monitor mix features...
Vi consoles are equally designed for FOH and monitor mixing, with powerful features that makes it easy to mix large scale monitoring applications or deal with the compromises necessitated by mixing FOH and monitors from one surface.
All busses to stereo
All busses can be turned to stereo without tying up two busses, providing a massive 32 stereo mix capability - perfect for mixing large monitor applications.
4 Aux send points
With a total of 4 aux send pick-off points from the input channel for each send, monitor mix engineers have the flexibility to tailor mixes more closely to performers requirements. Sends can be pre-EQ, pre-compressor, pre-fade or post-fade on a per channel/per bus basis.
Aux VCA mode
VCA master faders can control the aux sends of their member channels on a per mix basis, with FaderGlow illuminating in white to indicate the VCA's operation on the current mix. Monitor engineers can retain control of important global elements such as ambient mics while also having a monitor mix selected and adjusting groups of sources within the current mix using the Aux-VCAs. Blue illumination of FaderGlow indicates that the VCA is controlling the global channel level to all mixes.
Auto-increase of ambient mic levels in monitor mixes between songs
Performers using in-ear monitors want to hear the audience between songs? No problem. Vi consoles have the facility to externally control the Gate or Ducking processing from a bus in the console, so all you have to do is insert a ducker on an ambient mic with an external source of the LR bus or a spare bus, and the audience level increases automatically when the performers stop playing.
...and radio mic status monitoring
You know what it's like. The radio mics check out fine on the RF Tech's laptop, but that's before the talent walks onto the stage. Reception black spots, drained batteries, accidental mutes, anything can happen once the show gets underway.
Vi makes the engineer's life easier, letting you monitor the status of any compatible AKG or Shure radio mic directly from the Soundcraft Vi Series console surface, courtesy of VM2 (Vistonics Microphone Monitoring). With realtime visual displays of battery life, RF status, mic muting and internal clipping, you'll be able to see a problem long before you hear it, right there on the relevant channel strip with expanded information instantly available just by touching the Vistonics screen.
And system configuration couldn't be more straightforward - simply plug in the mics, associate them to the related console channels, and you're done. You can even identify the relevant mic receiver in the rack by pressing the Locate button, causing the receiver front panel display to flash.
It all adds up to much more efficient workflow and one less thing for the engineer to worry about.
Automixing for Corporate Events
Vi5000 & 7000 now feature built-in STUDER vMIX processing, allowing seamless automixing of up to 4 separate groups of 16 microphone channels. vMIX allows the levels of multiple microphones to be managed to automatically to reduce the gain of any person who is not speaking, whilst keeping overall gain constant and reacting faster than a human hand to the sudden level changes in a dynamic panel discussion.
World-class effects and dynamics inside
Minimising the need for outboard processing gear, Vi5000 and Vi7000 put class-leading effects and dynamics from Lexicon and BSS directly within the console. Via the Vistonics interface and FaderGlow surface, Vi provides the perfect vehicle for effects control. No wonder many engineers are claiming that Vi is the only console they would use without any additional processing equipment.
BSS DPR901ii and Graphic EQ
The BSS DPR901ii was an industry-standard analogue dynamic equaliser used the world over for its capability as a powerful tool for awkward corrective tasks. A unique feature of the DPR901ii was the under/over threshold switch on each band, enabling the equaliser to react in either cut or boost mode to correct problems that occur only on loud or only on quiet signals. The Vi5000 and Vi7000 bring the world's first accurately modelled version of the original analogue unit, to the digital domain. 16 instances of this classic processor are available via the console's insert pool to use as required.
In addition to the BSS DPR901ii, there's also a BSS third-octave Graphic Equaliser on every bus output. The Equaliser is modelled on the BSS960 analogue unit and includes a global Q adjustment allowing narrow bandwidth for stage monitor applications, or wider Q for system tuning on the main outputs.
Lexicon Effects
Vi puts powerful Lexicon effects at the hands of the operator via the Vi Series Processor Card.
The card empowers the console with 8 independent stereo Lexicon multi-effects units - each providing 14 reverbs, 7 delays and 8 pitch shifting effects, patchable to input channels, aux outputs and channel inserts.
Mix live with UA plug-ins
Answering the call for high-fidelity "off-the-record" studio processing at live events, Soundcraft Realtime Rack unlocks a world of creative possiblilities by placing Universal Audio's acclaimed analogue audio processing emulations and award- winning UAD Plug-Ins seamlessly within your mix environment.
Realtime Rack software gives Vi console operators all the control they need to insert UAD Plug-Ins on individual channels, auxiliary channels, and master busses just as easily as real hardware. Control of the plug- ins is via an intuitive and responsive external touchscreen interface. A comprehensive snapshot system allows total recall of all plug-ins and their settings, while tight network integration with the Vi Series ensures that all settings of the application are stored inside the console. Two versions are available:
- The Realtime Rack Ultimate Live with 74 plug-ins, and the Realtime Rack Core Live with 14 plug-ins. Additional UAD Plug-Ins can be purchased any time from UA's Online store.
- The UAD Powered Plug-Ins platform offers the world's most authentic analogue hardware emulations and award-winning audio plug-ins. Powered by Universal Audio's DSP Accelerator hardware, UAD Powered Plug-Ins deliver rich, analogue sound quality that would be difficult or impossible to achieve with native plug-in host systems. From rare compressors and equalizers, to vintage reverb processors and tape machines, UAD Powered Plug-Ins inject three-dimensional "out-of-the- box" analogue sound to your mixes.
The factory-designed flightcases for the Vi5000 and Vi7000 control surfaces include rack space and fittings to allow integration of up to three Realtime Racks, a Mac Mini computer for control and provision for storage and mounting of an external touchscreen monitor.
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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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