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Soundcraft Vi1000 As new

Ref. code: 1.06.174

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.

  • 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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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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