EPM TYPICAL SPECIFICATIONSGRAHAM BLYTH FRSAIn the year of our 30th anniversary, Soundcraft
co-founder and Technical Director Graham Blyth hastaken a well established and classic Soundcraft
microphone preamplifier to a new level of performance,
resulting in the new GB30 preamp which boasts
extraordinary clarity with exceptionally controlled
overload characteristics.
Soundcraft’s legendary 4-band EQ has also been
improved further with the addition of elements derived
from Soundcraft’s highly successful MH Series consoles.
This new design delivers the sound of the classic ‘British
EQ’ enhanced even further with more focused HF and LF
shelving sections.

Frequency Response

Mic / Line Input to any Output .................................. +/-0.5dB, 20Hz – 20kHz

T.H.D.

Mic Sensitivity -30dBu, +14dBu @ Mix output .................... < 0.007% @ 1kHzNoise

Mic Input E.I.N. (maximum gain).............................. -128dBu (150Ω source)
Aux, Mix and Masters (@ max, faders down) .................................... < -85dBu

Crosstalk(@ 1kHz)Channel Mute .................................................................................... > 96dB
Fader Cut-off (rel +10 mark) .............................................................. > 96dB
Aux Send Pots Offness ....................................................................... > 86dB

EQ
(Mono inputs)

HF ........................................................................................ 12kHz, +/-15dB
MF (swept) ............................................................ 150Hz – 3.5kHz, +/-15dB
LF .......................................................................................... 80Hz, +/-15dB
Q............................................................................................................... 1.5

EQ(Stereo inputs)

HF ........................................................................................ 12kHz, +/-15dB
LF ......................................................................................... 80Hz, +/-15dB

Power Consumption............................................................................................... Less than 20W

Operating Conditions Temperature Range .............................................................. -10°C to +30°C
Input & Output
LevelsMic Input ................................................................................. +17dBu max.
Line Input ................................................................................. +30dBu max.
Stereo Input ............................................................................. +30dBu max.
Mix Output ............................................................................... +20dBu max.
Headphones (@200Ω)....................................................................... 300mW

Input & Output
Impedances

Mic Input ............................................................................................ 2.4kΩ
Line Input ............................................................................................ 11kΩ
Stereo Input ...................................................................................... 100kΩ
Outputs ................................................................................................. 75Ω

MPM TYPICAL SPECIFICATIONSSoundcraft Registered Community Trade Mark/RTM No. 000557827

SOUNDCRAFT
HARMAN INTERNATIONAL INDUSTRIES LTD.,CRANBORNE HOUSE, CRANBORNE ROAD
POTTERS BAR, HERTS, EN6 3JN, UK
T: +44 (0)1707 665000
F: +44 (0)1707 660742
E: info@soundcraft.com
SOUNDCRAFT USA
8500 BALBOA BLVD.
NORTHRIDGE, CA 91329, USA
T: +1-818-920-3212
F: +1-818-920-3208
E: soundcraft-usa@harman.com

www.soundcraft.com
Soundcraft reserves the right to improve or otherwise alter any
information supplied in this document or any other documentation
supplied hereafter. E&OE 09/06
This equipment complies with the EMC Directive 89/336/EEC

Frequency Response

Mic / Line Input to any Output .................................. +/-0.5dB, 20Hz – 20kHz

T.H.D. + Noise

Mic gain 30dB, -20dBu input
Mix out, fader max @ 1kHz, i/p fader @ 0dB .................................... <0.004 %Noise (22Hz-22kHz

Mic Input E.I.N. (maximum gain).............................. -128dBu (150Ω source)

measurement bandwidth) Mix (@ max, faders down) ............................................................... < -83dBu

Crosstalk(@ 1kHz)Channel Mute .................................................................................... > 93dB
Fader Cut-off (rel +10 mark) .............................................................. > 93dB
Aux Send Pots Offness ....................................................................... > 83dB

EQ
(Mono inputs)

HF ........................................................................................ 12kHz, +/-15dB
MF (swept) ............................................................ 150Hz – 3.5kHz, +/-15dB
LF .......................................................................................... 80Hz, +/-15dB
Q............................................................................................................... 1.5

EQ(Stereo inputs)

HF .......................................................................................... 8kHz, +/-15dB
MF ...................................................................................... 720Hz, +/-15dB
LF ......................................................................................... 60Hz, +/-15dB

Power Consumption

MPM20/2......................................................................................... 35 Watts
MPM12/2......................................................................................... 30 Watts

Operating Conditions Temperature Range.................................................................. 0°C to +40°C
Input & Output
LevelsMic Input ................................................................................. +16dBu max.
Line Input ................................................................................. +30dBu max.
Stereo Input ............................................................................. +30dBu max.
Mix Output ............................................................................... +20dBu max.
Headphones (@200Ω)....................................................................... 300mW

Input & Output
Impedances

Mic Input ............................................................................................ 2.4kΩ
Line Input ............................................................................................ 11kΩ
Stereo Input ...................................................................................... 100kΩ
Outputs ................................................................................................. 75Ω

Part No: ZL0647

Note: These figures are typical of performance in a normal electromagnetic environment and are often exceeded. Performance may be
degraded in severe conditions. All measurements refer to electronically balanced inputs and outputs.

MULTI PURPOSE MIXERSSOUNDCRAFT SOUND QUALITY, PERFORMANCEAND VALUE FOR MONEY IN TWO VERSATILERANGES OF MULTI PURPOSE MIXERS.
EPM mixers
bring Soundcraftsound quality,
performance and value-for-money to a wide
range of applications including recording, live
sound, install and broadcast. There are threemodels in the EPM range – the EPM6 (sixmono inputs), EPM8 (eight mono inputs) andEPM12 (twelve mono inputs) - each with twostereo channels as standard. Configured
for desktop use with all audio connectors
conveniently located on the top panel, EPM
mixers can be easily converted for rackmounting using an optional rack kit, witheach mixer occupying just 8U of standard
rack space.
EPM mixers feature professional +48V phantom
power for condenser microphones and use thesame GB30 microphone preamps used on
Soundcraft’s acclaimed, large format GB series
consoles to achieve exceptional clarity, lownoise and controlled overload characteristics.
Drawing on over 30 years of experience
manufacturing professional mixing consoles,
Soundcraft has equipped the EPMs with all theappropriate features for modern mixing
applications, at the same time creating an
uncluttered and intuitive control surface thatenhances the operator experience.

Visual feedback is further enhanced by peakLEDs on all input channels which are fed frommultiple points in the signal path to ensure that
nothing is overlooked. The LEDs illuminate inproportion to the signal level when approachingpeaks, enabling the quality of the signal to be
maximised through using all the available
headroom.
Furthermore, the main stereo mix has 10segment LED meters with a PFL Active LED
to indicate that channels are being solo’d.
KEY FEATURES• Multi-point signal channel status monitoringwith proportional illumination• Precision GB30 mic pre-amps• True, professional +48V phantom power
for condenser microphones• Insert points for external processing• 6, 8 and 12 mono input channel frame
sizes, each with two stereo inputs• 2 Aux sends, each globally switchable
pre or post-fade• Universal internal power supply• Simple rack mounting options

Also suitable formusic production,
Soundcraft’s MPM
mixers are compact and ideally equipped forlive sound applications including fixedinstallations, houses of worship and portable
PA. Both 12 and 20 mono input channel
versions (MPM12 and MPM20) include 2
stereo input channels along with a 2-trackrecord output and a 2-track replay input
which allows interval music to be easily played
from CD, MP3 or other music source. Eachmodel in the MPM range has two subgroups aswell as a main stereo mix, making control ofgroups of channels much easier to manage.
These are supplemented by 3 Auxiliary busses
which can be used for effects sends or toprovide a foldback monitor mix for artists.
Sound quality is assured by Soundcraft’s nowlegendary GB30 mic preamp designs and theuse of professional condenser microphones isfacilitated by the provision of globally switched+48V phantom power. An integral universal
power supply negates the need for an external
power module.

KEY FEATURES• Precision GB30 mic pre-amps• True, professional +48V phantom power forcondenser microphones• 2 Group busses• Stereo Mix output• 12 and 20 mono input channel frame sizes,
each with two stereo inputs• 3 Aux sends, 1 & 2 globally switchable pre or
post-fade, 3 post-fade• Universal internal power supply• Optional rack ears available

MONO INPUT, STEREO INPUT & MASTER SECTIONMONO INPUT, STEREO INPUT & MASTER SECTIONMONO INPUT MODULEMONO INPUT MODULE

Mic Input
A gold-plated balanced female XLR connector accepts balanced or unbalanced mic signals. At -128dbu
EIN the mic amp is extremely quiet and transparent with excellent overload characteristics.

Mic Input
A gold-plated balanced female XLR connector accepts balanced or unbalanced mic signals. At-128dbu EIN the mic amp is extremely quiet and transparent with excellent overload characteristics.

Line Input
A balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards.

Line Input
A balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards.

InsertUsed for patching in compressors or additional EQ or for other signal processors. It can also be used forrecording to multi-track recorders if necessary.

InsertUsed for patching in compressors or additional EQ or for other signal processors. It can also be used
for recording to multi-track recorders if necessary.

Gain
A rotary gain control on each input alters the gain of the input signal, from +5 to +60dB (Line Inputs
have -20dB attenuation). Linear circuitry within the preamp delivers smooth gain control over the entire
gain range.

Gain
A rotary gain control on each input alters the gain of the input signal, from +5 to +60dB (Line Inputs
have -20dB attenuation). Linear circuitry within the preamp delivers smooth gain control over theentire gain range.

EQ Section
Equalisation is split into three bands. The shelving HF control provides 15dB of cut or boost (gainadjustment) for frequencies above 12kHz. A swept mid frequency control enables frequencies from
150Hz to 3.5kHz to be adjusted with up to 15dB of cut or boost at the selected frequency. Signals below
80Hz can be adjusted with the LF control, which features ±15dB of gain adjustment (cut or boost).

EQ Section
Equalisation is split into three bands. The shelving HF control provides 15dB of cut or boost (gainadjustment) for frequencies above 12kHz. A swept mid frequency control enables frequencies from
150Hz to 3.5kHz to be adjusted with up to 15dB of cut or boost at the selected frequency. Signals
below 80Hz can be adjusted with the LF control, which features ±15dB of gain adjustment (cut or
boost).

Auxiliary Section
For sending separate monitor mixes in live applications, or for use with fx units two aux sends on each
input channel cater for all requirements. Each Aux bus can be globally switched to be pre or post fade on
the master section.

Auxiliary Section
For sending separate monitor mixes in live applications, or for use with fx units, three aux sends oneach input channel cater for all requirements. In the Master Section, each Aux bus has its own masterlevel control and AFL switch. Auxes 1 and 2 can be globally switched pre or post fader (Aux 3 is post
fader).

Pan, Muting, and PFL
The Pan control positions each channel’s signal across the stereo image, with a Mute button to cut thesignal completely. A PFL button solos the signal for monitoring.
Faders and Metering
Each mono channel features a smooth 60mm fader, and a peak level LED indicating signal levels inexcess of +17dBu.

Pan, Muting, PFL and Routing
The Pan control positions each channel’s signal across the stereo image, with an illuminated Muteswitch to cut the signal completely. A PFL button solos the signal for monitoring. The mono channels
can be routed to either the main Mix outputs or the Sub Groups via the Mix/Grp switch.

STEREO INPUT CHANNEL

Faders and Metering
Each mono channel features a smooth 60mm fader, and a peak level LED indicating signal levels inexcess of +17dBu.

Input Connectors
The stereo inputs are connected via balanced 1/4" jack inputs, delivering optimum performance withother professional audio equipment.

STEREO INPUT CHANNEL

EQ Section
There are two fixed shelving controls, adjusting HF signals at 12kHz and LF signals at 80Hz by ±15dB.

Input Connectors
The stereo inputs are connected via balanced 1/4" jack inputs, delivering optimum performance withother professional audio equipment.

Auxiliary Section
With 2 aux sends on the stereo input channels, the signal can be sent pre-fade or post-fade according tomaster selection, for use in a monitor mix or for effects processing.

EQ Section
There are three fixed shelving controls, adjusting HF signals at 8kHz, MF signals at 720Hz and LF
signals at 60Hz by ±15dB.

Bal, Muting, and PFL
The Balance control adjusts the amount of the signal sent to the left and right busses. Mute and PFL buttons
operate as on the mono input channels, cutting or soloing the stereo channel. With PFL pressed, the prefade
signal is fed to the headphones, control room output and meters.

Auxiliary Section
With 3 aux sends on the stereo input channels, the signal can be sent pre-fade or post-fadeaccording to master selection, for use in a monitor mix or for effects processing.
Bal, Muting, PFL and Routing
The balance control adjusts the amount of the signal sent to the left and right busses. Mute and PFL
buttons operate as on the mono input channels, cutting or soloing the stereo channel. With PFL pressed,
the prefade signal is fed to the headphones, control room output and meters. The stereo input channels
can be routed to either the main Mix outputs or the Sub Groups via the Mix/Grp switch.

Faders and Metering
Each stereo channel features a smooth 60mm fader, and a peak level LED indicating signal levels inexcess of +17dBu.

Faders and Metering
Each stereo channel features a smooth 60mm fader, and a peak level LED indicating signal levels inexcess of +17dBu.

MASTER SECTION+48V Phantom Power
Global control over professional +48V phantom power is offered via a push button. When active, an LED
will illuminate.

MASTER SECTION

2-Track Inputs and Outputs
2-track recorder playback inputs and record sends are on unbalanced RCA phono connectors. Monitor
Playback routes the playback input to your monitoring system or to the headphones, replacing any
existing monitoring signals. Playback to Mix routes the playback signal directly to the main mix, replacing
any signal that may be present, perfect for intermission music or as a master mute.

+48V Phantom Power
Global control over professional +48V phantom power is offered via a push button. When active, an
LED will illuminate.

Monitor Output and Mix Insert
Available on balanced 1/4" jacks.

2-Track Inputs and Outputs
2-track recorder playback inputs and record sends are on unbalanced RCA phono connectors. The
Playback to Mix control routes the signal directly to the main mix, replacing the signal that is present.

Mix Outputs
The main left and right mix outputs are provided on balanced XLR connectors.

Monitor Switching
Monitor outputs are switchable between 2-track Replay, Mix and Groups.

Monitor & Phones Level
Levels sent to the monitor output and headphones can be independently adjusted using these two rotary
controls. And when a pair of headphones are plugged into the phones socket at the bottom right of themixer, the monitor outputs are still operational for simultaneous listening by a performer and engineer.

Monitor Outputs
Available on balanced 1/4" jacks, the Headphone and Control Room monitor outputs feature
independent level control.
Mix Outputs
The main left and right mix outputs are provided on balanced XLR connectors.

Faders and Metering
Controlling the overall stereo mix level are two 60mm faders, with two 10-segment 3-colour LED peakreading bargraph meters monitoring the mix left and right outputs. These meters normally follow thecurrent monitor selection, so if any PFL button is pressed, the meters will switch to monitor this and the
PFL Active LED will light.

EPM Mono
Input Channel

EPM Stereo
Input Channel

EPM Master
SectionSub Groups
Control over the Sub Groups comes via L-R Sub Group faders. The Sub Group outputs are 1/4" jacks

MPM Mono
Input Channel

MPM Stereo
Input Channel

MPM Master
SectionFaders and Metering
L-R Group faders control the Sub Group levels while overall stereo mix is handled by a single 60mm
fader, with two 10-segment 3-colour LED peak-reading bargraph meters monitoring the mix left andright outputs. These meters normally follow the current monitor selection, so if any PFL button ispressed, the meters will switch to monitor this and the PFL Active LED will light.

BLOCK DIAGRAMSTOP PANELS, CONNECTORS, DIMS & WEIGHTS

Width
280mm (11.0")330mm (13.0")432mm (17.0")

Height91mm (3.6")
91mm (3.6")
91mm (3.6")

Depth362mm (14.3")362mm (14.3")362mm (14.3")

Weight4.0 kg (8.8 lbs)
4.6 kg (10.1 lbs)
5.8 kg (12.8 lbs)

Width
MPM12 432mm (17.0")
MPM20 688mm (27.0")

Height94mm (3.7")
94mm (3.7")

Depth405mm (16.0")405mm (16.0")

Weight6.7 kg (14.8 lbs)
9.3 kg (20.4 lbs)

EPM6
EPM8
EPM12

MIX(RIGHT)
MIX(LEFT)

AUX 3 POST
AUX2 POST
AUX2 PRE
AUX1 POST
AUX1 PREGRP(RIGHT)
GRP (LEFT)

PFL / AFLPFL / AFL ENABLE

AUX OUTPUTS

AUX1

PRE/POSTMONO CHANNEL (1 - 20 or 1 - 12 ALL IDENTICAL)AUX1 O/P

AFL

‘SP’

+48V

PFL
d/c
MIC

INSERT POINT
TIP=SEND
RING=RETURN

GAIN

LF
-20dB

d/c

EQ

HPF

AUX2

PRE/POST

MUTE
LINE

MIX/GRP

PRE-FADER
SIGNAL

MF & HF
SWEEP

POST-FADER
SIGNAL

AUX2 O/P
PAN

AFL

FADER

d/c

‘PK’

AUX3

AUX1

AUX3 O/P

AFL

d/c
AFL/PFL ACTIVE

AUX2METERSR
L

STEREO CHANNEL (STEREO 1 & 2 IDENTICAL)

‘SP’

+16
+1 0
+6
+3
0
-3
-6
-12
-18
-24

AUX3

GAIN
MIX/GRP

EQ
MUTE
LEFT/MONO

STEREO
H/PHONESSTEREO/MONO
PHONES OUTSUB TO MIX

RIGHT
LF

MF

MONITOR &METERSHF
BALANCE/PAN

FADER

SOLO

MONITORING SELECT
2 TRACKGRPMON(MIX/L)MIX
MONITOR OUT

d/c

‘PK’

MON
(MIX/R)

AUX1
L

REC OUT

POST-FADER
SIGNALR

AUX2

MIX OUTPUTS
MIX/L
OUT

PRE-FADER SIGNAL
FADER

MONO
OUTPUT
AUX3

L

MIX/R
OUT

2 TRACK
FADER
GRP/L
OUT

TO MIX

2 TRACK INRGRP OUTPUTS

FADER
GRP/R
OUT