Although intended primarily for PA and monitor applications, Soundcraft's Series 200SR consoles could also form the basis of a sophisticated 4- or 8-track studio.

Soundcraft have been a household name, or at least a control room name, for as long as I can remember and of all their products, they are still best known for their mixing consoles. Although it was live sound mixers that earned them their reputation, they have been making serious inroads into the professional and semi-professional studio mixer market. This desk was not designed specifically with recording in mind but it does lend itself to either live recording, where the mixer may handle both the house mix and feed the recorder, or to use in an AV or voice-over studio where more tracks are not needed but where sound quality is of paramount importance.

Available in 8-, 16-, or 24-input versions, the console has four main programme busses and four auxiliary channels. The latter feature is particularly important because of the number of effects units and signal processors that tend to be used both live or in the studio. For purely live use, these auxiliaries could be used to set up independent monitor mixes rather than feed the effects rack.

Constructionally this desk is up to the high standard that we've come to expect from Soundcraft and it manages to combine rugged design with a certain degree of elegance. It's also remarkably compact for such a flexible mixer and a certain amount of tasteful colour coding is used to help guide the user to the right controls. Furthermore, plastic scribble strips are included top and bottom for temporary marking and both these have the channel numbers clearly marked. Both physically and electrically the unit is similar to the 200B we reviewed in January this year, the main differences being in the facilities offered. The 200B is more specifically a recording console.

In order to minimise hum and to save room inside the chassis, the power supply comes as a separate unit. This is quite substantial but may be installed in virtually any well ventilated location near the desk.

There is a rack mounting version of the mixer available but due to the limited chassis space, this is restricted to a maximum of eight channels.

Along the Channel

Like most consoles, this one accepts either line level or low Z microphone level depending on the status of the Line switch. The mic input is balanced using an XLR connector and the line input, also balanced, is on a stereo jack. There's also a 20dB pad that may be switched in when required.

The balancing circuitry itself is transformerless and is of a fairly conventional and well proven design. A pair of low noise PNP transistors feed the differential inputs of a low noise operational amplifier IC and the gain is adjusted by varying the negative feedback by means of a potentiometer circuit between the emitters of the two transistors. Most of the subsequent signal path circuitry is built around the same type of op amp.

Phantom power (48v) is available on all channels and may be selected by means of rear panel switches. Having this separately selectable for individual channels is a very good thing and can prevent the premature demise of non-balanced dynamic mics.

Directly following the input gain stage is a 4-band equaliser section. This goes against the current fashion for sweepable mids and parametrics by offering us four fixed bands, all allowing up to 15dB of cut or boost. These are all based on the original Baxendall design and the circuitry is configured as two, 2-band stages in cascade to minimise inter-band interaction. The HF control operates a shelving filter at 12kHz whilst the two mids are described as having a peak/dip response at 5kHz and 250Hz respectively. This is a bandpass type of filter so that frequencies to either side are not unduly affected. The LF has a shelving filter set at 60Hz.

Though this system of EQ may seem limiting, it has the advantage of being very easy to use and the result is often more musically acceptable than that produced by a more complex filter. The ease of use aspect is of particular importance in live work where time is often in short supply.

Following on from the EQ we have the four auxiliary controls. These may be linked internally to be either pre-fade or post-fade but they may only be switched in pairs, not individually, which could be limiting in some cases. These feed four aux busses which surface in the master section which we shall look at a little later.

The Pan control works in conjunction with the buss select button to steer the channel to the desired output group or groups. It also functions as a pan control proper and uses a ganged pot to provide a correct operational law. The sum of left and right outputs from a pan should always be constant and that is not possible using a single pot arrangement of the type found in most budget mixers.

Rather than provide a Mute control, there's an On button with an indicator LED to perform the same function and below this is the PFL button which is used for isolating channels when setting up.

Depressing any PFL button overrides the headphone/monitor output presenting that channel for individual scrutiny, though more than one channel may be pre-fade listened to at one time if necessary. Below this is the ever watchful PPL LED which illuminates when the channel level rises, even briefly, to more than 4dB below clipping. This is far better than one that lights only when clipping is taking place, because by then it's too late to take evasive action. Finally we have the long travel channel fader which gives better than 90dB attenuation in its off position. The scale is calibrated in dBs and the feel is smooth and reassuring.

Each channel has an insert point in the form of a stereo jack socket but there is no dedicated tape return, you have to use the line input.

Master Section

The master section is the bit on the right that contains the four illuminated, moving coil VU meters, the Group/Returns section and the Auxiliary master level controls. It also provides a home for the headphone and monitor functions so let's make a round trip and see what does what.

Firstly the VU meters. Under normal circumstances, these keep an eye (or is it an ear), on the four group outputs or the return lines. However, pressing the MNTR button changes the operation of meters three and four so that they may be used to monitor the main mix buss or the auxiliaries with meter number three reading the left hand levels and meter four the right. When PFL or AFL is selected, these meters track the PFL/AFL busses which will also be monitored in the headphones.

Unlike some desks which provide you with lots of aux sends and then give you nowhere to return them, this console boasts four return channels, each equipped with gain, pan and two band shelving EQ controls operating at 10kHz and 60Hz. Additionally, each return has a send control routed to the Aux 1 buss (post-fade) which may be used for setting up a monitor mix for recording. There's also a master return level control and the return inputs are balanced. The circuitry here is simple but rather elegant as it allows the gain to be varied around the balanced input stage without altering the impedance of either differential input... I knew you'd want to know that.

"Split consoles have been around for a long time and, though they may not be as fashionable as some of the current in-line designs, they are on the whole a lot easier to use."

When the mix button is depressed, the aux return is routed to the stereo mix buss, otherwise its destination depends on the setting of some internal linking which may be varied according to the user's requirements. As supplied, the returns are routed to their respective output groups when not set to Mix. Each return has a PFL button which is a very valuable asset when tracking down problems or when setting up levels at the start of a session.

The group outputs themselves are quite straightforward in that they have long travel faders and pan controls allowing any sounds routed to those faders to be positioned correctly in the mix. The Mix button routes the group to the stereo buss which would be normal for mixing if any channels are subgrouped. Otherwise, the groups may be disengaged from the stereo buss. A PFL button is fitted to each group.

Moving on we find that each of the four auxiliary busses has its own Master Level control, each with an AFL button. Below these is the Phones Level control which regulates whatever signal is currently routed to the phones. The phones output is stereo and is designed for headphones over 400Ω impedance; it doesn't like low Z phones or loudspeakers.

An innocuous little button bearing the legend 2 TRK Replay allows any 2-track machine connected to the rear 2-track inputs to be monitored and below this is the PFL/AFL solo LED which comes in handy on those all too frequent occasions when you can't hear anything due to having inadvertently left a PFL button down.

In the connection department, Soundcraft have been quite generous in that both the 2-track output and the four group outputs have insert points. You don't however get a separate feed for your 2-track machine and for your monitor system, again because this is foremost a live sound desk. The main group and L/R outputs are on balanced XLRs wired pin two hot. The rest of the connections are jacks, again all balanced except for the insert points. The power supply feeds into a multi-pin connector which can't be inadvertently plugged into the wrong socket, unlike some manufacturers who use XLRs for power as well as signals.

In Practice

This mixer, like others in the Soundcraft range, does its job with the minimum of fuss and without the annoying clicks and crackles present on some lesser mixers. The simple EQ was as predicted very musical and easy to set up though it did show up the old 'itch you can't scratch' syndrome on one or two occasions when there were boomy low mid frequencies that needed cutting.

Four auxiliaries was quite adequate for most occasions but I found that the pre-linked pre/post option was somewhat restricting for studio use. Switching would have been more flexible though this would understandably add to the cost. For live use this is less of a limitation as you are likely to use the console in more or less the same way every time.

One other limitation only noticeable in a recording context is that there are no tape return sockets so you have to use up some of the line inputs. For 4-track use, that shouldn't pose a problem but for 8-track set-ups, it could mean a lot of patching.

Another point worthy of mention is the excellent manual that is supplied with the desk. This covers the use of the desk most thoroughly and contains service information in the form of circuit diagrams. Also included is a very welcome section on avoiding earth loops with suggested cabling conventions to follow.

Summary

Despite its PA and monitor origins, the 200SR does lend itself to 4-or 8-track recording. Having said that, it's not really the console to buy if you're interested in recording alone as Soundcraft have other models specifically designed for that purpose, but if you are one of the many gigging musicians who have to share their gear between stage and studio, then this model would be a very practical choice.

For recording, the biggest limitations are the linking system used for setting the Aux pre/post status and the lack of tape returns or tape monitors. In terms of the features provided, I found no cause for complaint; everything worked smoothly and quietly. The EQ is a good compromise between flexibility and ease of use, and it sounds good which is really what counts.

Split consoles have been around for a long time and, though they may not be as fashionable as some of the current in-line designs, they are on the whole a lot easier to use. Even if you've only ever used a very basic mixer before, it shouldn't take you long to find your way around this one. The Soundcraft 200SR series mixers are soundly engineered for a long working life and if they fit your basic needs, I don't think you'll regret buying one.

Soundcraft 200SR series prices: 8-channel: £1256, 8-channel: rack mounted: £1100, 16-channel: £1725, 24-channel: £2185.

Further details from Soundcraft Electronics Ltd. (Contact Details).