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Soundcraft MFX12 Manual

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12 PFL When pressed the signal will appear on the monitor and headphone outputs - use
this to monitor the post-EQ signal from the channel.
13 MIX/SUB SWITCH When this switch is up, the channel’s post-pan-pot signal is routed to the Mix (left
and right) buses. When the switch is depressed, the post-pan-pot signal is routed
to the Sub-group (left and right) buses.
14 SP LED The SP LED glows when a signal is present. The feed point for the LED is post-EQ,
pre-mute.
15 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus and post-fade sends.
16 MIX OUTPUTS (XLR) & MONO OUT (¼” Jack) Connect these to your analogue recording device, or to your
amplification system.
17 SUB-GROUP OUTPUTS (¼” Jack) These outputs can be connected to a separate amplifier system or to an external
processor.
18 SUB-GROUP ROUTING The sub-group mix can be routed to the main mix, in mono or stereo.
19 MASTER FADERS These faders control the overall level of the mix and sub-group outputs.
20 MAIN METERS These show the level of the mix outputs. When the AFL/PFL ACTIVE LED is lit, the
meters show the level of the selected AFL/PFL signal.
21 MONITOR OUTPUTS (¼” Jack) These are used to feed your monitoring system. This can be directly connected to
powered monitors, or indirectly via an amplifier to standard monitors.
22 MONITOR CONTROL This controls the level of the signal sent to your monitoring system.
23 MONITOR SELECT SWITCHES These switches select the signal source(s) to be monitored. More than one can be
selected at a time.
24 PHONES CONTROL This controls the level of the signal sent to the headphones jack socket.
25 HEADPHONES (¼” Jack) Plug your headphones into this socket. Recommended headphones impedance is
150 ohms or greater.
26 AUX 1 & 2 OUTPUTS (¼” Jacks) These outputs can be used to send the channel signal to an artist’s monitors
(headphones/in-ear/stage monitors). There are switchable pre/post fade.
27 AUX CONTROLS & AFL SWITCHES The rotary controls set the output levels of the two Aux Outputs. The After Fade
Listen (AFL) switches route their respective aux output signal to the monitor/head-
phones outputs.
28 AUX SWITCHES These switches globally changes their own AUX feed on all the input modules to be
either pre or post-fade.
29 STEREO INPUTS (¼” Jack) These two inputs can be used to connect line level stereo inputs from keyboards,
sound modules, samplers, computer based audio cards etc. These inputs pass
through a stereo channel strip, with EQ, Auxes and a Balance control.
30 2-TRACK INPUTS
(RCA Phono)
You can connect the playback from your recording device here.
31 2-TRACK CONTROLS Use these to control the 2 Track signal. The MONITOR switch sends the signal to the
monitor outputs and phones, whilst the TO MIX switch sends it to the main mix.
32 RECORD OUTPUTS
(RCA Phono)
You can connect these to the inputs of your recording device.
33 PHANTOM POWER Press this to switch the phantom power (48V) on for condenser microphones.
WARNING: Do Not apply Phantom Power before connecting a microphone.
34 STEREO RETURN INPUTS This pair of inputs accept 3-pole ‘A’ gauge (TRS) jacks. Use these inputs for sources
such as keyboards, drum machines, synths or CDs. The inputs are BALANCED.
Mono sources may be used by plugging into the left jack only.
35 STEREO RETURN CONTROL This control sets the level of signal routed to the main mix busses. There is an
associated PK LED to warn of signals which are too high.
36 FX BUS OUTPUT This output carries the signal from the FX bus. It could be used as a second Aux
Output if desired, if the FX Processor is not needed at the time. The FX sends on the
inputs channels to the FX bus are always post-fade.
37 FX CONTROL & PFL SWITCH The rotary control regulates the signal level being fed from the FX bus to the FX
processor and to the FX BUS OUTPUT socket. The Pre-Fade Listen (PFL) switch
routes the post-FX signal to the monitor/headphones outputs.
38 FOOTSWITCH CONNECTOR This is used by the FX Processor, see page 25.
39 LEXICON® FX PROCESSOR See the information starting on page 24.
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