The latest addition to Soundcraft`s Vi range of digital live consoles, the new Vi2000 brings unparalleled mixing power to the live touring, install and corporate AV markets in a single-box, cost-effective package. The new console combines the unique Vistonics-based control surface concepts of the highly successful Vi3000, 5000 and 7000 consoles, with Soundcraft? SpiderCore - a powerful integrated DSP and IO engine based on STUDER technology and compact enough to reside inside the control surface itself.
Running the latest V6.3 console software, the Vi2000 now includes vMIX automatic microphone mixing, alongside the acclaimed BSS DPR901ii Dynamic EQ via an insertable processing pool which also includes Lexicon Multi-effects and the ability to insert any external device.
In addition to a full complement of on-board mic and line IO, configurable up to 48 mic line inputs and 16 line outputs using combinations of 16ch XLR modules in 4 rear-mounted slots, the console includes two 64ch expansion slots allowing up to two MADI-based Stageboxes to be connected, or alternatively the slots provide access to the extensive range of D21m IO option cards, addressing all industry standard audio formats. The total I/O count of the console is 246 in 246 out.
In common with other Vi000-series consoles, a built-in 64x64ch Dante interface provides direct recording/playback connection via Ethernet to any PC or Mac-based recording software, or allows the Vi2000 to integrate into an existing Dante network.
The Dante interface is complimented by an additional optical MADI interface designed for either record feeds or connection of the Soundcraft Realtime Rack Plug-in engine, adding the power of Universal Audio UAD-powered plug-ins to the Vi2000`s pristine audio quality.
The package is completed by an ultra-compact frame design only 1.15m in width, with 16 input faders and 8 output faders, allowing the console to fit into both space and budget restricted applications. Patented features like Faderglow, VM2 microphone monitoring and Vistonics provide a uniquely user-friendly mixing experience and superb sound quality is assured by a 40-bit floating-point DSP environment, running STUDER, BSS, Lexicon and dbx algorithms.
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.
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.