Soundcraft, Harman International Industries Ltd., Cranborne House, Cranborne Road, Potters Bar, Hertfordshire EN6 3JN, UK T: +44 (0)1707 665000 F: +44 (0)1707 660742 E: soundcraft.marketing@harman.com

Soundcraft USA, 8500 Balboa Boulevard, Northridge, CA 91329, USA T: +1-818-920-3212 F: +1-818-920-3208 E: soundcraft-usa@harman.com

www.soundcraft.com

Part No: BD10.947300 Issue 0511

Direct access to all functions withmaximum information and visibility atall times.

A unique integration of touch screensand encoders eliminating complex andfatiguing mental mapping.

A compact operating surface with aperfectly optimised control density.

A pristine audio path with highlyacclaimed mic preamplifiers givespossibly the cleanest sound of anydigital console available today.

The time has come to forget theconsole and focus on the creativity.

The time has come for SoundcraftVi Series™ digital live sound consoles.

Beyond intuitive.

PAGE 3

Thirty years in the making.

With more than 30 years in thebusiness, no-one knows more aboutlive sound mixing than Soundcraft. Inour opinion, there’s simply no point inpresenting the live sound engineer withthe undeniable power and flexibility ofdigital audio technology if all thatpower is locked away in an ill-conceived and inaccessible mixer that

confuses the operator and impedesworkflow. That’s why our digital livesound consoles put the engineer atthe heart of the process, just like ouranalogue mixers do. The product of adevelopment team that combinesunrivalled Soundcraft live sound know-how with the impressive digital audioexpertise of our sister company Studer,

the Soundcraft Vi6™, Vi4™ and Vi2™are third generation digital live soundconsoles which abandon the layeringand central assignability concepts ofother designs in favour of a systemthat’s altogether more intuitive.

Say goodbye to the learning curve.Say hello to Soundcraft Vi Series™digital live sound consoles.

The Soundcraft Vi system consists ofthree elements: the compact, space-saving control surface, the local rackcontaining the SCore Live processingengine and a stagebox which connectsconveniently to the local rack via Cat5or Cat7 cable, with fibre opticinterfacing available as an option.

The 32 fader Soundcraft Vi6 controlsurface delivers simultaneous mixing of96 mono inputs into 35 outputs, with24 insert send/return pairs assignableto any of the input or output channels.

Up to 5 stageboxes can be connectedto create a digital patchbay from whichthe engineer can select available inputs.

All input channels can have directoutputs in addition to their internalrouting to 32 Group/Aux/Matrix busses,and the main LCR and LR busses.

Pristine sound quality is assured by acombination of Soundcraft ultra-lownoise mic amp designs and Studeradvanced 40-bit floating point digitalaudio processing.

And complete security is assured bydiagnostics of the separate controlsurface, local rack and stagebox powersupplies from the mixing position, withthe facility to add second redundantsupplies to each.

With a competitive price tag andcompatibility with the groundbreakingHarman HiQnet™ communicationsprotocol, the Soundcraft Vi2, Vi4 andVi6 are the flagship consoles in whatis fast becoming a full range of highperformance Soundcraft digital livesound mixers.

The Soundcraft Vi4™ packs all the

powerful Vi functions and features into a

smaller footprint console and, when

space is at an absolute premium, the Vi2

can handle up to 96 inputs from an ultra-

compact, 8-input fader control surface.

Vi2 Vi4 Vi6

Input Faders 8 24 32Mix Channels 96 72 96Output Busses 35 35 35

PAGE 4/5

At the heart of the Soundcraft Vi controlsurface lies the patented Vistonics™ IIsystem. Obviating the ergonomiclimitations of arranging controls aroundor adjacent to a flat TFT screen,Vistonics II builds the rotary encodersand switches right onto the touchscreen. With the visual information andoperational controls combined in onearea, the burden of complex mentalmapping is removed from the operator,streamlining workflow and enhancingthe creative process.

Each Vistonics II interface controlseight input channels, and comprises atouch screen with 16 rotary encodersand 16 switches.

A simple touch of the screen is all ittakes to access channel functionsincluding routing, input gain, digitalgain trim, delay, high and low passfilters, 4-band fully parametric EQ,compressor, limiter, gate, de-esser andpan, with immediate access to asophisticated visual status display andstraightforward controls.

In addition, a dedicated Vistonics IIinterface is provided for outputprocessing control, and also functionsas a complete meter overview displayfor all inputs and outputs, as asnapshot cue list display, and as adisplay for diagnostics information.

Vistonics™ II. Free yourself from mental mapping.

PAGE 6/7

Vistonics™ II and FaderGlow™ are justpart of what makes Vi Series™ digitalconsoles such intuitive and creativetools. By optimising the density offaders and controls on the operatingsurface, the engineer is able to reachall critical areas of the consolecomfortably from a central point,without straining or leaning over.

The angle of the touch screens hasbeen carefully chosen to ensure thatthe engineer can always view displaydata clearly during the show. The

brightness and contrast of thedisplays, and the illumination of thecontrol surface itself, are designed tominimise strain on the eye.

User-configurable fader layers allow anengineer to map out his own channelson any of 3 user layers so that acombination of different inputs can beplaced on one layer. This allows, forexample, the main vocalist mics to beprogrammed to appear in the samelocation on every layer, or otheressential channels to be brought

closer to a central operating position.And the 5 main output fader layerscan also be customised so, forexample, that 8 stereo aux masterscan be used on one layer for instantaccess to multiple in-ear sends.

Only by paying such close attention tothe integration of mechanical andoperational design has Soundcraftcreated a digital live sound consolethat truly enhances the operatorexperience, resulting in unimpededworkflow and a more creative mix.

Soundcraft FaderGlow™. Lighting the way to a perfect mix. A better user experience through better ergonomic design.

PAGE 8/9

User configurable layers placechannels and outputs withineasy reach of the operator.

Assignable faders are an inevitablepart of digital mixing. Butassignability can quickly lead toconfusion. That’s why we developedSoundcraft FaderGlow™ for theSoundcraft Vi Series™ – a clever yetsimple idea to illuminate the fadertrack in colours that integrate withthose of Vistonics™ II to show, at aglance, what function a fader iscontrolling at any given time.

Within the output section of theconsole, the bank of 8 faders can beassigned to provide master control ofmatrix outputs, VCA groups andgraphic EQ control. SoundcraftFaderGlow applies cyan, blue andred illumination respectively to thefader track, enabling the operator tosee the different output typesimmediately – even before readingthe text labels which also exist foreach fader.

When controlling inputs, noillumination is applied to themotorised faders. But when the Aux,Group or Matrix bus master is soloedwith the Follow Solo functionswitched on, the fader becomes a‘contributor’ for the soloed bus,lighting up in orange, green or blueaccordingly. Furthermore, customfader pages can be created tocontain, for instance, 10 drum fadersgrouped on a single VCA master,which would glow in blue.

The key to the intuitive operation of theSoundcraft Vi consoles is the VistonicsII channel strip display that functionsboth as a permanent overview of allthe current settings for 8 channels perscreen, and as the access point forimmediate hands-on control of any ofthose settings. Simply touching thescreen in one of the six verticallystacked touch zones immediatelyopens out that part of the strip ontothe 16 real knobs and switchesmounted directly on the lower part ofthe display, allowing immediate, tactile,analogue-style control. The colour-

coded context-sensitive graphicsaround the knobs make it abundantlyclear which type of function is beingadjusted, and a clear white highlight isa constant reminder of which channelis being controlled. Touching the screenagain is all it takes to move to anotherarea of the channel strip, or to closedown the control area.

HiQnet™ integration allows the simplecreation of Cue Lists from consolesnapshots, MIDI events and HiQnetVenue Recall commands, which canbe used to trigger changes in amplifierlevels, loudspeaker processing EQ and

routing across an entire HiQnetsystem. Compatibility with the HiQnetprotocol also enables the console toreceive and display system diagnosticmessages from other devices on theHiQnet network.

Touch and control. Digital live sound mixing the way it should be.

The blue input stage and routing screen allows adjustment of input delay, mic gain, digital trim, high and low-pass filter frequency, channel patching, channel naming and stereo pairing.

The dynamics section controls a Noise Gate with attack, hold and release, and a key facilitywith filtering. The Gate can be replaced with a De-Esser function. Working in series with theGate, the full-function Compressor maps gain reduction metering onto the LED meter in thefader area, with full control of threshold, ratio and release with an independent Limitersection and overall gain makeup.

The four-band fully parametric EQ is graphically displayed with the settings for boost/cut,frequency and Q (bandwidth), with the main screen showing the composite EQ curve.Frequency is displayed in a similar style to a radio tuner scale for easy assimilation, andthe HF and LF bands can be switched to shelving EQ.

Two areas of the channel strip allow access to routing and control of the output busses,arranged in two banks. The ALL BUSSES mode allows assignment of each of the busses asan Aux, Group, or Matrix output (maximum of 16 Matrix busses possible), with additionalstereo pairing controls if busses are required as stereo sends.

The final section of the channel strip controls the Pan, Insert and Direct out functions, withassignable LR and C, or LCR panning modes. Inserts can be switched pre or postEQ/dynamics, with the Direct output send assignable to pre-filters, pre-EQ/dynamics, postEQ/dynamics and post-fade points.

Subsequently within each channel strip setup, busses can be switched on or off with levelcontrol, or switched pre or post fader, with a global mode allowing pre or post EQ feeds.

Touching the chosen function area on the VistonicsTM IIchannel strip opens up the corresponding control panel inthe lower area, with that area being highlighted to easilyidentify which part of the channel strip is active.

The 16 switches and rotary encoders change functionaccording to the mode selected. This real ‘where you look iswhere you control’ philosophy makes operation of aSoundcraft Vi Series™ console highly intuitive.

PAGE 10/11

Virtual Vi editing software can be downloaded at soundcraftdigital.com

Engineers can set up shows offline on a PC, and load them into the console via a USB memory drive.

Vi Series consoles are packed withpowerful automation features which placethe operator in total control of the show.

A sophisticated Cue List Managementsuite includes an Apply Changesfunction, where parameter changes canbe applied to multiple snapshots, andcues can trigger or be triggered by MIDIor GPIO events, including MIDITimecode. Harman’s HiQnet VenueRecall function is tightly integratedwithin the Cue List.

Theatre users will welcomesophisticated snapshot filtering. Inaddition to a conventional Isolatefunction where a channel may beisolated from snapshot recall, it’s alsopossible to apply high-granularity recallfiltering both globally and on eachsnapshot, right down to parameterlevel – for example, a Pan setting or anindividual Aux send.

Also important in theatre applications isthe facility for snapshot recalls to use

crossfades to smoothly transition fromone setting to the next. A snapshotpreview mode allows the engineer tocheck in advance what settings areabout to be recalled, and also allowsediting of other cues without affectingthe audio.

Software control. Rapid configuration and powerful automation.

PAGE 12/13

COPY/PASTEPROCESSINGELEMENTSOperators can drill downto copy and paste evensingle processingelements, and the lastpaste operation can always be quicklyreversed with an UNDOfunction.

SELECT FROM ALIBRARY OFSETTINGSAlong with a useful libraryof EQ and Dynamicssettings, operators canstore their own settings inthe console or to a USBmemory stick, makinginitial set up andtransition between showseven easier.

ADVANCEDEVENTSINTEGRATIONINCLUDINGMIDI, GPIOAND HiQnet.

COPY/PASTECHANNEL, BUSAND FX SETTINGSDedicated Copy and Pastebuttons on the surfaceallow the settings of anychannel, bus or FX sectionto be copied and pasted,dramatically cutting downthe set up time.

SOPHISTICATED CUE LIST MANAGEMENT ALLOWSCHANGES TO BE APPLIED TO MULTIPLE CUES ANDRECALL SCOPE TO BE SET PER SNAPSHOT.

SNAPSHOT RECALLS CAN USE CROSSFADES TOSMOOTHLY TRANSITION FROM ONE SETTING TOTHE NEXT.

The acclaimed Soundcraft Vi Seriesoperating system is designed todramatically reduce set up time andprotect every critical setting withenhanced data security in the event ofpower failure. The Copy/Paste functionallows the settings of any channel,bus, FX section or processing elementto be copied and pasted to anynumber of other channels, saving setup time and helping eliminate errors.

The last paste operation can bequickly reversed with an UNDOfunction. Blocks or individualparameters within a channel areselected for copying via touch screenselection on the same intuitive

Vistonics™ II screens that are used foraudio control functions. AdvancedLibrary functionality allows a user toselect any set of parameters in use onthe desk, for example a single channelEQ setting or a group of channels setup for a drum kit, to be stored in theinternal library and recalled at will.These libraries can be exported to, orimported from, a USB memory stick,allowing users to build up their ownportable channel and processinglibraries that can easily be transferredto any Vi console they have to workon. This is done independently of theShow Files which already allow entiredesk settings to be exported. Withinthe software are a number of useful

libraries of EQ and Dynamics settingsto suit common applications.

In the event of mains power to thesurface being interrupted during ashow, the auto-backup system ensuresthat the last settings of the desk willbe retained and restored automaticallywhen power is restored, meaning nochanges to the audio - or the set up.

The Soundcraft Vi Series™ Processor

Card adds world-renowned Lexicon

and BSS processing to the Soundcraft

Vi digital mixing platform. The single,

high-powered card provides on-board

BSS third-octave Graphic Equalisation

to every bus output, in addition to 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.

The Vistonics™ II interface providesthe perfect vehicle for displaying andediting effects parameters.

Controlling the Graphic EQ is similarlystraightforward. Simply bringing up theoutput channel strip and touching theGraphic EQ button immediately assignsthe first 30 faders on the console toGraphic EQ. Master output graphic andparametric equalisers can be linked foreasier LR or LCR EQ adjustments, whilston stereo input channels, the Pan andGain controls are individuallyadjustable on left and right.

With the Soundcraft Vi SeriesProcessor card, the most intuitivedigital live sound mixer in the worldgains some of the most powerfulprocessing in the business. No wonderengineers are claiming this is probablythe only console they would considerusing without any additional outboardprocessing equipment.

Very special FX.

Bringing up the output channel strip and touching the Graphic EQ button immediately

assigns the first 30 faders on the console to Graphic EQ, with the Soundcraft FaderGlow™

changing to red, indicating that the console is no longer in channel fader mode.

Alternatively, all 30 bands can be ‘condensed’ onto 8 faders, to save operating space and allow

access to input channels while working on output EQ. The original ‘full width’ GEQ mode is still

available if required. The cut or boost values of the GEQ bands are also displayed above each

fader as they are adjusted.

Another important feature is that the Master output graphic and parametric equalisers can

be linked for easier LR or LCR EQ adjustments, whilst on stereo input channels, the Pan

and Gain controls are individually adjustable on left and right.

The Vistonics™ II interface

provides the perfect vehicle for

displaying and editing effects

parameters.

The Soundcraft Vi Series™

Processor Card plugs into the

local rack to add world-

renowned Lexicon and BSS

processing to the Soundcraft Vi

digital mixing platform.

PAGE 14/15

PAGE 16/17

Radio mic status monitoring, directly from the console.

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.

Thankfully, Soundcraft and AKG are here to

make the FOH engineer’s life easier. Now

you can monitor the status of any HiQnet-

compatible AKG 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 hard-

pressed engineer to worry about.

Shows the wireless mic status directly onthe relevant channel strip. VM2 displaysbattery life, RF status and mute status.

Simply touch the input section to seemore detail.

VM2 is available on all Soundcraft Vi Series consoles in V4.5 software, including Vi1, Vi2, Vi4 and Vi6.

Compatible AKG Wireless mic systems are WMS 4000, WMS 4500 and DMS 700 (optional HUB 4000Q HiQnet Ethernet interface required).

Configuration is simple - just plug in themics, associate to a console channel andyou’re done.

Pressing the Locate button identifies therelevant mic receiver in the rack byflashing its front panel display.

Communicating with the outside world.

PAGE 18/19

A series of optional interface cards, designed to fit either the local rack or stagebox, enable Vi Series™ consolesto directly interface with a wide range of other systems and audio networks using industry standard protocols.

The Digigram EtherSound cardallows up to 128 channels ofaudio (64 inputs/64 outputs) tobe connected to the rack via asingle Cat5 connection.A second Cat5 connection allowsdaisy chaining or full redundancycapability, ensuring the networkremains uninterrupted should acable be broken.

Available in both stagebox andlocal rack versions. This card isonly available via Digigram'sdistribution network.

The Soundcraft A-NET® 16V cardprovides direct digital connection on asingle Cat5e cable from the Aux orGroup outputs into an Aviom® A-NET®Pro16™ Series Personal Mixer(compatible with A-16II and A-16R).The Pro16 System enables musicians onstage to be fed with up to 16 subgroupsof instruments or vocals which they canthen mix to their own taste using theirown on-stage controller. The cardincludes a switchable test tone andstereo pair linking via DIP switches.

Available in both stagebox and localrack versions.

The CobraNet™ card allows up to 32channels of input or output signals (or acombination of both) to be received by orsent from console onto a CobraNet™network. The card must be used as theConductor for the network. By default, thecard is configured for 32 outputs.

Available in both stagebox and local rackversions.

In addition to the optional cardchoices, an optical MADIinterface is fitted as standard,allowing direct connection to aPro Tools HD™ recording systemvia a third party converter boxor any MADI compatible device(eg SSL XLogic Delta-Link).Along with the ADAT card, theMADI card offers a simplerecording solution for the ViSeries. Additional MADI cardsmay be fitted by exchangingwith other I/O cards, in order toconnect additional stageboxesor other MADI equipment.

MADI

The ADAT card provides two opticaleight-channel ADAT inputs and outputs,with selectable 44.1/48/88.2/96 kHzoperation. Optical inputs and outputsare provided on Toslink connectors andcan be used to record to, for example,an Alesis HD-24 hard disk recorder orother device with ADAT inputs andoutputs, and receive playback audio.In 96kHz operation, the number ofchannels is limited to eight, i.e.four per I/O.

ADAT

The Dolby E card decodes the audiochannels from a Dolby E or Dolby Digitalstream and allows them to be patchedinto separate inputs on the console formixing. Each card provides two fulldecoder sections, and can dramaticallysave external hardware cost, space andweight.

DOLBY E

The SDI card can de-embed up to 16audio channels from an SDI (SerialDigital Interface) stream, and re-embedthem back on to the stream for onwardtransmission in a broadcastenvironment, saving high costs ofexternal units and, of course, weight.These channels may be patched in toany input as usual.

SDI AES/EBU OUT

LOCK

LOCK

LOCK

LOCK

1/2

3/4

5/6

7/8

LOCK

PUSH

PUSH

PUSH

PUSH

AES/EBU IN

LOCK

LOCK

LOCK

LOCK

1/2

3/4

5/6

7/8

LOCK

PUSH

PUSH

PUSH

PUSH

Each stagebox analogue input card(8 inputs) can be replaced by anoptional AES/EBU input card whichholds 4 pairs of AES/EBU inputs,with built-in Sample RateConvertors.

Similarly, each analogue output card(8 outputs) can be replaced by anoptional AES/EBU output cardwhich holds 4 pairs of AES/EBUoutputs.

AES/EBU

Optocore DD2FR-FX network interface

Using a MADI connection on the Vi Series local and stage racks, the Optocore DD2FR-FX interface allows notonly the connection of up to 128 channels of audio onto the Optocore network, but also the Vi Series is able toremotely control the microphone preamplifiers in either its own stagebox or the Optocore LX4AP stagebox,giving an additional degree of flexibility and allowing multiple consoles and stageboxes to be interconnectedwith full redundancy.

Soundcraft Local Rack

DD2FR-FX ID1

DD2FR-FXID2

DD2FR-FXID3

OptocoreStageboxStage 2LX4APID4Optical or Cat5

Redundant Loop

SoundcraftStageboxStage 1

Soundcraft Vi6Front of House

Soundcraft Vi4Monitors

SoundcraftLocal Rack

Optical MADI

Optocore Redundant Ring

Cat5 or Cat7 cables with AmphenolRJF connectors provide a convenient,highly robust connection between theSoundcraft Vi Series™ stageboxes andlocal rack.

Flexible, reel-mounted Cat5 cablingenables the mixing position to belocated up to 100 metres from thestage, while Cat7 increases that distanceby 30 metres in fixed installations.

And in larger venues and installations,an optional Fibre Optic interface allowsa run of up to 1.5 kilometres betweenthe stagebox and the local rack.

A comprehensive provision of inputsand outputs can be patched to anychannel input, direct output, busoutput or insert point as required.

The standard Vi stagebox houses 64analogue mic/line inputs and 32analogue line outputs, with 48Vphantom power and a 100Hz HPFbefore the A-D converters. Mic ampgain can be controlled remotely fromthe control surface. Optional AES/EBUinputs and outputs are available forthe stagebox in sections of 8.

The local rack has 16 analogue lineinputs, 3 analogue mic/line inputs, atalkback mic input (mounted on thecontrol surface) and 8 pairs ofAES/EBU inputs. Outputs include 16analogue line, 8 pairs of AES/EBU, 3LCR local monitor A line, 2 LR localmonitor B line and TB line.

Up to 5 stageboxes can be connectedto create a digital patchbay, where theoperator can select the 64 or 96inputs to the console from a selectionof inputs available on any of theconnected stageboxes.

64 channel MADI I/O via optical SCconnectors is fitted as standard andcan be replaced by optional CobraNET™or Soundcraft A-NET 16V cards.

There are 16 GPIO contact closureinputs and outputs on the local rack,and 8 inputs and outputs on thestagebox.

With connectors almost entirelyabsent from its rear panel, the controlsurface does however feature 1 MIDIinput and 2 MIDI outputs.

All the right connections.

PAGE 20/21

Alongside the standard stagebox, theCompact Stagebox adds a cost-effectiveexpansion option to all Vi Series consoles,offering a high density of I/O connections inonly 4U of rack space. The modular unit isfully configurable but is offered with astandard configuration of 32 mic/line inputs,8 line outputs, 8 channels of AES/EBUoutputs and 2 expansion slots for standardStuder D21m I/O cards. The D21m is the I/Oarchitecture for Studer as well as Soundcraftdigital mixing systems and allows connectionto most popular digital formats includingCobraNet®, AVIOM A-Net®16, Ethersound,ADAT and RockNet. A MADI recording interfacecan also be fitted to the expansion slots.

It is possible to equip the Compact Stageboxwith an additional 16 mic/line input XLRmodule instead of the output module,providing 48 inputs. In this case, analogue orAES outputs could still be obtained on D-Typeconnectors via D21m cards fitted to theexpansion slots.

The Compact Stagebox is connected to thehost console using either Cat-5 or Optical-fibre MADI, the same way as the larger 64Mic/line Vi6 Stagebox is hooked up, andshares the same redundant MADI cablecapability. Cat5 Version: E947.350000Optical version: E947.351000.

The unit comes complete with twin redundantpower supplies, thermostatically-controlledfan cooling and full LED status monitoring.An 8ch GPIO interface is also provided.

The Compact Stagebox is ideal for existingowners of Vi Series consoles as a cost-effective method of expanding the inputcapability by expanding to up to 96 mic/lineanalogue inputs from remote stageboxes.

All Soundcraft stageboxes are compatible withSoundcraft Si Series and Si Compactconsoles, and with the Studer Vista 5 SRconsole, allowing owners of multiple consolesto maximise use of inventory.

Custom configurable Compact Stagebox.

System hardware diagram. Multiple stageboxes.

Cable specifications64 Channel MADI I/O

64 Analogue Mic/Line Inputs

Stagebox

Optional card with 4pairs of AES/EBU inputsRS2446 (replaces 8Mic/Line inputs)

Redundant64 Channel MADI I/Oconnection

16 Analogue Line Inputs

16 Analogue Line Outputs

Local Rack

Console Surface

See card options onpage 8: 3 (LCR) local

35 Analogue Line Outputs

8 GPIO ContactClosures

Optional card with 4pairs of AES/EBU outputsRS2447 (replaces 8 Line outputs)

8 pairs of AES/EBU Outputs

3 (LCR) local monitor AAnalogue Line Outputs

2 (LR) local monitor B Analogue Line Outputs

Talkback Line Output

16 GPIO Contact Closures

Cat5e:

Maximum 100m (330 feet) using EvolutionXPC Heavy Duty Tactical CAT5e, terminatedwith Amphenol RJF connectors.

Suitable 100m cable mounted on alightweight drum is available from Soundcraft,part number RZ2746.

These cables are not included with thestandard console and must be orderedseparately.

Two 5m patch cables are supplied with eachconsole as standard.

Cat7:

Maximum 130m (422 feet) using AMPNetconnect 57893 PiMF cable.

Note: This cable is solid core and onlysuitable for fixed installations, not for touring use.

Not available from Soundcraft.

Optical Multimode Fibre:

Maximum distance 1500m (4875 feet) usingcontinuous run of 50/125 multimode fibre,terminated with Fibrecast™ expanded beamconnectors.

Suitable cable is available from Soundcraft ona lightweight drum in the following lengths:

5m RZ2709

50m RZ2714

150m RZ2702

200m RZ2701

Note: One of the above cables must beordered if the optical stagebox link isrequested.

Single Mode Fibre:

Maximum distance 10km

Note: Special Optical MADI card is required,please contact Soundcraft for delivery time.

Cat5 Data Link

Phones & TB Audio

PAGE 22/23

64 inputs

32 outputs

32 outputs

32 outputs

64 inputs

64 inputsConsole Surface

Vi consoles support up to 5 stageboxes. This means that a digitalpatchbay can be created, where the engineer can select the 64/96inputs to a Vi6/Vi2 (or 48/72 on a Vi4) from a selection of inputsavailable on any of the connected stageboxes. So, for example, withtwo stageboxes connected there are 128 inputs to select from, withthree there would be 172, and so on, up to a limit of 192 channels,which is the combined maximum of local plus stagebox inputs.

(Note that if more than 2 stageboxes are required, additional MADIcards must be fitted to the Local Rack, which will result in a differentconfiguration to that shown on the facing page).

Flightcases. Soundcraft Vi6 shown.

Weight when cased

Control Surface, Soundcraft Vi6 167kg/367lbs

Control Surface, Soundcraft Vi4 133kg/292lbs

Control Surface, Soundcraft Vi2 81kg/180lbs

Local Rack/ Stagebox 50kg/110lbs

1823mm/71.8" (Vi6) 1528mm/66.1" (Vi4)

938m

m/3

6.9"

467mm/18.4"

28m

m/1

.1"

762m

m/3

0"148mm/5.82"

467m

m/1

8.4"

28mm/1.1" 754mm/29.6" 28mm/1.1"

635m

m/2

5"

145mm/5.7"

568m

m/2

2.3"

780m

m/3

0.7”

Script TrayAn optional Script Tray is available for use on the Vi2,

Vi4 and Vi6 control surface. Part No. A947.006000

PAGE 24/25

Part No.Control Surface, Soundcraft Vi6 BH10.947401

Control Surface, Soundcraft Vi4 BH10.947400

Control Surface, Soundcraft Vi2 BH10.947405

Part No.Local Rack/Stagebox BH10.947402

Control Surface Dimensions.

Soundcraft Vi2

Soundcraft Vi4

Soundcraft Vi6

Soundcraft Vi2/Vi4/Vi6

Technical Specifications.

FREQUENCY RESPONSE Stagebox Mic input to Line output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +0/-1dB, 20Hz-20kHz AES/EBU In to AES/EBU Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +0/-0.2dB, 20Hz-20kHz T.H.D. & NOISE Stagebox Mic In (min gain) to Local Line Out, 22Hz-22kHz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <0.003% @ 1kHz Stagebox Mic In (max gain) to Local Line Out, 22Hz-22kHz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <0.020% @ 1kHz Local Line In to Line Out, 22Hz-22kHz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <0.003% @ 1kHz Mic Input E.I.N (22Hz-22kHz bandwidth, unweighted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-126dBu (150Ω source) Residual Noise, Stagebox line output; no inputs routed, Mix fader @0dB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -91dBu CMRR, Stagebox Mic input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80dB @ 1kHz Sampling Frequency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48kHz Latency, Stagebox Mic Input to Local Line output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 2ms @48kHz AES/EBU Input Sample Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32–108kHz (with SRC enabled) DSP resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40-bit floating point Internal clock accuracy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < +/-50ppm Internal clock jitter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < +/-5ns External Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BNC Wordclock, AES/EBU sync in, Video sync in

Input & Output Levels Mic Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +28dBu max Line Inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +22dBu max Line Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +22dBu max Nominal Operating Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0dBu (-18dBFS)

Input & Output Impedances Mic Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2k7Ω

All other analogue Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . >10kΩLine Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <75Ω

AES/EBU Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Ω

Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Hz to 20kHz/Pink/White Noise, variable level

Stagebox HP Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Hz fixed, 12dB per octave Channel HP filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Hz-600Hz, 18dB per octave Channel LP filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1kHz-20kHz, 18dB per octave EQ (Inputs and bus Outputs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HF: 20Hz-20kHz, +/-18dB, Q= 0.3-8.7 or shelving

Hi-Mid: 20Hz-20kHz, +/-18dB, Q=0.3-8.7 Lo-Mid: 20Hz-20kHz, +/-18dB, Q=0.3-8.7 LF: 20Hz-20kHz, +/-18dB, Q= 0.3-8.7 or shelving

Metering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Internal 20-segment LED bargraphs plus 9-segment gain reduction meters for all inputs and Outputs.Peak hold variable from 0-2s.

Mains Voltage operating range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90-264V, 47-63Hz, autoranging Mains Power Consumption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Control Surface: 155W (165W with redundant option)

Local Rack: 140W (150W with redundant option) Stagebox: 140W (150W with redundant option)

Operating Temperature Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0°C – 45°C (32°F – 113°F) Relative Humidity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0% – 90%, non-condensing Ta=40°C (104°F) Storage Temperature Range. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -20°C – 60°C (-4°F – 140°F)

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Soundcraft reserves the right to improve or otherwise alter any information supplied in this document or any documentation supplied hereafter. E&OE 05/11.

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