USING THE CONSOLE

MIC / DJ CHANNEL 1

The Channel 1 has a slightly different arrangement from the other input channels. There are four differences between this channel and all of the others. They are:

The mic input to this channel can be made to form part of a venue’s emergency announcement system.

The output from the channel’s fader is routed directly to the master output buses rather than the A or B buses. This means that the output is never routed through the cross-fader.

When the mic input is selected the output can be blocked from being routed onto the DJ booth buses. If this mode of operation is selected it prevents howlround in the DJ booth.

The EQ is a conventional +/-12dB 3-band type.

THe channel must be activated using the ON switch.

Mic

This switch is a ‘push on, push off’ type. When this switch is pushed down, the MIC input on the rear connector panel is selected. A LED* in the switch lights up to show that the mic is selected. When the switch is in the ‘up’ position the phone or line input is selected (dependiing on the position of the phono/line switch). (Note: if the MIC switch is not selected this LED will flash if the eternal mute is activated. This shows that the mic is now routed to the master outputs.)

Phone/Line

This switch is a ‘push on, push off’ type. It routes the signal from the line input when it is ‘up’, and the phono input when it is ‘down’, The LED in the switch lights when the phono input is selected. This switch only operates when the mic switch is in the ‘up’ position.

Trim

This control gives a range adjustment of 32dB [+12/-20 for the Line/Phono and +20/-12 for the mic]. This allows you to adjust the input level to provide comparable levels on all of the channels’ faders.

Aux

The Aux pot controls the level of the channel’s signal which is sent to the aux buses. The signal can be pre-fade or post fade, depending upon the position of the Pre switch.

Pre

When the pre switch is in the ’down’ position, a pre-fade signal is sent to the Aux buses. This means that the signal level sent to the aux buses does not depend on the position of the channel’s fader.

When the pre switch is in the ’up’ position, a post-fade signal is sent to the aux buses. This means that the signal level sent to the aux buses also depends on the position of the channel’s fader.

EQ

The three EQ controls allow you to apply a cut or boost to different parts of the audio-frequency spectrum.

High

This gives a cut or boost of +/-12dB to frequencies over 8kHz

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SoundCraft 1605, 1603 manual Using the Console, MIC / DJ Channel
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1605, 1603 specifications

The SoundCraft 1603 and 1605 are renowned analog mixing consoles well-regarded in both live sound environments and studio settings. These mixers offer exceptional sound quality coupled with intuitive operation, making them a popular choice among audio engineers and musicians alike.

The SoundCraft 1603 is a 16-channel mixer featuring 3 buses, while the 1605 amplifies this with 16 channels and 5 buses, providing increased routing flexibility. Each channel is equipped with a high-quality microphone preamplifier, which delivers a warm, rich sound. The preamps feature a low-cut filter that aids in eliminating unwanted low-frequency noise, further enhancing audio clarity.

Both models come with an integrated 3-band EQ on each channel, complete with adjustable high, mid, and low frequencies. This allows for precise tone shaping, enabling users to sculpt their sound to fit various musical styles and requirements. The mid-band also features a sweepable frequency, providing the ability to target specific problematic frequencies in live settings, enhancing the overall mix.

Advanced technologies implemented within these consoles include the use of internal components that reduce noise levels and improve overall audio fidelity. The mixers are designed with ruggedness in mind, ensuring they withstand the rigors of live performance while providing the reliability necessary for studio applications.

Additional features that stand out include a range of auxiliary sends, allowing for flexible routing options for effects and monitor mixes. The mixers also support phantom power, making them ideal for use with condenser microphones. The user-friendly layout ensures quick access to all controls, allowing engineers to focus on mixing without unnecessary distractions.

Another key aspect is the mixer’s compact design, making it suitable for small venues, mobile setups, and studio environments where space is a premium. The sturdy construction and high-quality components ensure longevity, a significant advantage for professionals who rely on consistency in their equipment.

In summary, the SoundCraft 1603 and 1605 mixing consoles are excellent choices for those seeking high performance in a compact and user-friendly package. Their combination of advanced features, reliability, and sound quality has established them as essential tools for anyone serious about audio production and live sound reinforcement. Whether in a studio or on stage, these mixers deliver on all fronts, ensuring an exceptional experience for both the engineer and the audience.
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