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Soundcraft M4 Manual

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USER GUIDE
23
USING YOUR SOUNDCRAFT M SERIES CONSOLE
The final sound from your PA system can only ever be as good as the weakest link in the chain, and
especially important is the quality of the source signal because this is the starting point of the chain. Just
as you need to become familiar with the control functions of your mixer, so you must recognise the
importance of correct choice of inputs, microphone placement and input channel settings. However, no
amount of careful setting up can take account of the spontaneity and unpredictability of live performance.
The mixer must be set up to provide `spare’ control range to compensate for changing microphone position
and the absorption effect of a large audience (different acoustic characteristics from sound check to show).
MICROPHONE PLACEMENT
Careful microphone placement and the choice of a suitable type of microphone for the job is one of the
essentials of successful sound reinforcement. The diagrams on the left show the different pick-up patterns
for the most common types of microphone. Cardioid microphones are most sensitive to sound coming from
in front, and hypercardioid microphones offer even greater directivity, with a small amount of pickup behind
the microphone. These types are ideal for recording vocalists or instruments, where rejection of unwanted
sounds and elimination of feedback is important. The aim should be to place the microphone as close as
physically possible to the source, to cut out unwanted surrounding sounds, allow a lower gain setting on the
mixer and avoid feedback. Also a well-chosen and well-placed microphone should not need any appreciable
equalisation.
There are no exact rules - let your ears be the judge. In the end, the position that gives the desired effect
is the correct position!
INITIAL SET UP
Once you have connected up your system (see the sections on connection and wiring earlier in this manual
for guidance) you are ready to set initial positions for the controls on your mixer.
Set up individual input channel as follows:
• Connect your sources (microphone, keyboard etc.) to the required inputs.
• WARNING: Phantom powered mics should be connected before the +48V is
switched on. Ensure the PA system is OFF when switching phantom power on or off.
• Set Master faders at 0, input faders at 0, and set power amplifier levels to about 70%.
• Provide a typical performance level signal and press the PFL button on the first channel, monitoring
the level on the bargraph meters.
• Adjust the input gain until the meter display is in the amber section, with occasional peaks to the first
red LED at a typical maximum source level. This allows sufficient headroom to accommodate peaks
and establishes the maximum level for normal operation (but see note below).
• Repeat this procedure on other channels as required. As more channels are added to the mix, the
meters may move into the red section. Adjust the overall level using the Master Faders if necessary.
• Listen carefully for the characteristic sound of `feedback’. If you cannot achieve satisfactory input
level setting without feedback, check microphone and speaker placement and repeat the exercise. If
feedback persists, it may be necessary to use a Graphic Equaliser to reduce the system response at
particular resonant frequencies.
NOTE:
The initial settings should only be regarded as a starting point for your mix. It is important to remember that
many factors affect the sound during a live performance, for instance the size of the audience!
The front panel drawing on page 8 shows typical initial control positions which is a
useful guide to setting up the mixer for the first time.
… 25 …


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