The control you love with the power you need


The control you love with the power you need

The latest Vi7000 digital mixing console delivers the best Vi sound ever, bringing optional 96kHz processing, upgraded channel counts and even more reliable hardware to live sound's most popular mix interface. 

The Vi7000 digital mixing consoles delivers the best Vi sound ever, bringing optional 96kHz processing, upgraded channel counts and even more reliable hardware to live sound's most popular mix interface. 

Partnering a compact control surface with new Local Rack and Active Breakout box hardware, Vi delivers simultaneous mixing of up to 128 inputs and 32 mono/stereo busses. 

Pristine sound quality is assured by ultra-low noise mic amp designs and enhanced 96kHz* 40-bit floating point digital audio processing, while FX come courtesy of 8 independent Lexicon multi-FX units, BSS DPR901ii integration and a BSS graphic EQ on every bus output. Rapid configuration and powerful automation features, radio mic status monitoring and extensive ViSi Connect I/O expansion (EtherSound, CobraNet, Dante, MADI, etc.) complete the package. 


·       The latest Vistonics & FaderGlow interface

·       Up to 128 inputs and 32 mono/stereo busses

·       Enhanced audio processing with 96kHz sample rate option

·       Powerful new features including BSS DPR901ii Dynamic EQ

·       New Local Rack hardware for 384 I/O channels

·       128 channel record interface via MADI or Dante

·       Mix live with UA plug-ins (via Realtime Rack)

·       Huge connectivity options - Dante, Rocknet, Ethersound, Cobranet, MADI and more

Live sound mixing - the way it should be

Our patented Vistonics was designed from a simple start point - create the most intuitive digital mix interface available. Rather than arranging controls around or adjacent to a flat TFT screen, a system that requires constant hand and eye co-ordination and mental mapping, Vistonics simplifies the process and puts the rotary encoders and switches right on the touch screen. 

With graphics behind the controls that change depending on the function, the operator is left in no doubt as to what parameter is being adjusted. 

With the display and relevant controls combined in one area, the operator is immediately presented with a simple, clear mix system that streamlines workflow and enhances the creative process. 

Each Vistonics interface controls eight input channels and comprises a touch screen with 16 rotary encoders and 16 switches. A simple touch in the desired part of the on-screen channel strip is all it takes to access channel functions including routing, input gain, digital gain trim, delay, high and low pass filters, 4-band fully parametric EQ, compressor, limiter, gate, de-esser and pan, with immediate access to a sophisticated visual status display and straightforward controls. 

In addition, a dedicated Vistonics II interface is provided for output processing control, and also functions as a complete meter overview display for all 128 inputs and 32 busses, as a snapshot cue list display, and as a display for diagnostics information. 

Fader layers - like you’ve never seen them before

In the heat of the moment, with the faders flying, fader layers can cause all kinds of headaches. Soundcraft®FaderGlow solves the problem associated with multiple fader layers. At a single glance, illuminated-fader-tracks-in-colours that match those on the Vistonics™; display show immediately what function a fader is controlling. 

Within the output section of the console, the bank of 8 faders can be assigned to provide master control of matrix outputs, VCA groups and graphic EQ control. FaderGlow applies cyan, blue and red illumination respectively to the fader track, enabling the operator to see the different output types immediately – even before reading the text labels for each fader. 

When controlling inputs, no illumination is applied to the motorised faders. But when the Aux, Group or Matrix bus master is soloed with the Follow Solo function switched on, the fader becomes a ‘contributor’ for the soloed bus, lighting up in orange, green or blue accordingly. Furthermore, custom fader pages can be created to contain, for instance, 10 drum faders grouped on a single VCA master, which would glow in blue. 

A console focused on the operator

Vistonics and FaderGlow are just part of what makes Vi Series digital consoles such intuitive and creative tools. Every aspect of the control surface, mechanical and operational, has been engineered around the operator to provide an unimpeded workflow and a more creative mix. 

By optimising the density of faders and controls on the operating surface, the engineer is able to reach all critical areas of the console comfortably from a central point, without straining or leaning over. 

The angle of the touch screens ensures that the engineer can always view display data clearly during the show. The brightness and contrast of the displays, and the illumination of the control surface itself, are designed to minimise strain on the eye. 

User-configurable fader layers allow an engineer to map out channels on any of 5 user layers so that a combination of different inputs can be placed on one layer. This allows, for example, the main vocalist mics to be programmed to appear in the same location on every layer, or other essential channels to be brought closer to a central operating position. At a festival, each engineer can quickly assign to the surface only those channels needed for their band. 

Output fader layers can also be customised, for example, stereo aux masters can be placed alongside VCAs or matrix masters for faster access to the most used outputs. 

The fastest, most intuitive channel strip in the business

No button pushes or page scrolling - just one touch of the Vistonics screen gives you instant access to every aspect of the Vi channel strip. 

Each Vistonics screen functions both as a permanent overview of all the current settings (8 channels per screen), and as the access point for immediate hands-on control of any of those settings. 

Simply touching the screen in one of the six vertically stacked touch zones immediately opens out that part of the strip onto the 16 real knobs and switches mounted directly on the lower part of the display, allowing immediate, tactile, analogue-style control. 

The colour-coded context-sensitive graphics around the knobs make it abundantly clear which type of function is being adjusted, and a clear white highlight is a constant reminder of which channel is being controlled. Touching the screen again is all it takes to move to another area of the channel strip, or to close the control area. 

Software control - rapid configuration and powerful automation.

Save time. Save money. Save your neck. 

Whatever the show, the Vi operating system is designed to dramatically reduce set up time and protect every critical setting with enhanced data security in the event of power failure. 

Familiar Copy/Paste functionality allows the settings of any channel, bus, FX section or processing element to be rapidly copied to any number of other channels, saving set up time and helping eliminate errors. The last paste operation can be quickly reversed with an UNDO function. 

Blocks or individual parameters within a channel are selected for copying via touch screen selection on the same intuitive Vistonics screens that are used for audio control functions. Advanced Library functionality allows a user to select any set of parameters in use on the desk, for example a single channel EQ setting or a group of channels set up for a drum kit, to be stored in the internal library and recalled at will. These libraries can be exported to, or imported from, a USB memory stick, allowing users to build up their own portable channel and processing libraries that can easily be transferred to any other Vi console. 

This is done independently of the Show Files which already allow entire desk settings to be exported. Within the software are a number of useful libraries of EQ and Dynamics settings to suit common applications. 

In the event of mains power to the surface being interrupted during a show, the auto-backup system ensures that the last settings of the desk will be retained and restored automatically when power is restored, meaning no changes to the audio - or the set up. 

In addition, the Vi control surface can be switched off, disconnected or rebooted without any interruption to the audio in the Local Rack. The Local Rack incorporates an extremely fast boot time, returning the audio to its previous state within 10 seconds of a power cylce, with or without the control surface connected. 

Vi Series consoles are packed with powerful automation features which place the operator in total control of the show. A sophisticated Cue List Management suite includes an Apply Changes function, where parameter changes can be applied to multiple snapshots, and cues can trigger or be triggered by MIDI or GPIO events, including MIDI Timecode. Harman’s HiQnet Venue Recall function is tightly integrated within the Cue List. 

Theatre users will welcome sophisticated snapshot filtering. In addition to a conventional Isolate function where a channel may be isolated from snapshot recall, it’s also possible to apply high-granularity recall filtering both globally and on each snapshot, right down to parameter level – for example, a Pan setting or an individual Aux send. 

Also important in theatre applications is the facility for snapshot recalls to use crossfades to smoothly transition from one setting to the next. A snapshot preview mode allows the engineer to check in advance what settings are about to be recalled, and also allows editing of other cues without affecting the audio. 

Enhanced monitor mix features...

Vi consoles are equally designed for FOH and monitor mixing, with powerful features that makes it easy to mix large scale monitoring applications or deal with the compromises necessitated by mixing FOH and monitors from one surface. 

All busses to stereo

All busses can be turned to stereo without tying up two busses, providing a massive 32 stereo mix capability – perfect for mixing large monitor applications. 

4 Aux send points

With a total of 4 aux send pick-off points from the input channel for each send, monitor mix engineers have the flexibility to tailor mixes more closely to performers’ requirements. Sends can be pre-EQ, pre-compressor, pre-fade or post-fade on a per channel/per bus basis. 

Aux VCA mode

VCA master faders can control the aux sends of their member channels on a per mix basis, with FaderGlow illuminating in white to indicate the VCA’s operation on the current mix. Monitor engineers can retain control of important global elements such as ambient mics while also having a monitor mix selected and adjusting groups of sources within the current mix using the Aux-VCAs. Blue illumination of FaderGlow indicates that the VCA is controlling the global channel level to all mixes. 

Auto-increase of ambient mic levels in monitor mixes between songs

Performers using in-ear monitors want to hear the audience between songs? No problem. Vi consoles have the facility to externally control the Gate or Ducking processing from a bus in the console, so all you have to do is insert a ducker on an ambient mic with an external source of the LR bus or a spare bus, and the audience level increases automatically when the performers stop playing. 

...and radio mic status monitoring

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. 

Vi makes the engineer’s life easier, letting you monitor the status of any compatible AKG or Shure 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 engineer to worry about. 

World-class effects and dynamics inside

Minimising the need for outboard processing gear, Vi5000 and Vi7000 put class-leading effects and dynamics from Lexicon and BSS directly within the console. Via the Vistonics interface and FaderGlow surface, Vi provides the perfect vehicle for effects control. No wonder many engineers are claiming that Vi is the only console they would use without any additional processing equipment. 

BSS DPR901ii and Graphic EQ

The BSS DPR901ii was an industry-standard analogue dynamic equaliser used the world over for its capability as a powerful tool for awkward corrective tasks. A unique feature of the DPR901ii was the under/over threshold switch on each band, enabling the equaliser to react in either cut or boost mode to correct problems that occur only on loud or only on quiet signals. The Vi5000 and Vi7000 bring the world’s first accurately modelled version of the original analogue unit, to the digital domain. 16 instances of this classic processor are available via the console’s insert pool to use as required. 

In addition to the BSS DPR901ii, there’s also a BSS third-octave Graphic Equaliser on every bus output. The Equaliser is modelled on the BSS960 analogue unit and includes a global Q adjustment allowing narrow bandwidth for stage monitor applications, or wider Q for system tuning on the main outputs. 

Lexicon Effects
Vi puts powerful Lexicon effects at the hands of the operator via the Vi Series Processor Card. 

The card empowers the console with 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. 

Mix live with UA plug-ins

Answering the call for high-fidelity ‘off-the-record’ studio processing at live events, Soundcraft® Realtime Rack unlocks a world of creative possiblilities by placing Universal Audio’s acclaimed analogue audio processing emulations and award- winning UAD Plug-Ins seamlessly within your mix environment. 

Realtime Rack software gives Vi console operators all the control they need to insert UAD Plug-Ins on individual channels, auxiliary channels, and master busses – just as easily as real hardware. Control of the plug- ins is via an intuitive and responsive external touchscreen interface. A comprehensive snapshot system allows total recall of all plug-ins and their settings, while tight network integration with the Vi Series ensures that all settings of the application are stored inside the console. 

Two versions are available: The Realtime Rack Ultimate Live with 74 plug-ins, and the Realtime Rack Core Live with 14 plug-ins. Additional UAD Plug-Ins can be purchased any time from UA’s Online store. 

The UAD Powered Plug-Ins platform offers the world’s most authentic analogue hardware emulations and award-winning audio plug-ins. Powered by Universal Audio’s DSP Accelerator hardware, UAD Powered Plug-Ins deliver rich, analogue sound quality that would be difficult or impossible to achieve with native plug-in host systems. From rare compressors and equalizers, to vintage reverb processors and tape machines, UAD Powered Plug-Ins inject three-dimensional ‘out-of-the- box’ analogue sound to your mixes. 

The factory-designed flightcases for the Vi5000 and Vi7000 control surfaces include rack space and fittings to allow integration of up to three Realtime Racks, a Mac Mini computer for control and provision for storage and mounting of an external touchscreen monitor. 

Click here for more information on the Soundcraft Realtime Rack 

Virtual Vi offline set up

Saving prep time and letting you set up your shows offline, Virtual Vi software is the fast and easy way to create scenes and store to USB ready for loading directly into the Vi5000 or Vi7000 console. The Virtual Vi software also allows direct online control of the Local Rack’s DSP engine, in the unlikely event that the control surface should fail. 

ViSi remote control via iPad

The ViSi remote app gives you control over all major mixing functions, empowering operators to mix from anywhere in the venue. Check the FOH from audience locations, or adjust monitor mixes direct from the performers’ positions on the stage. 

New Local Rack - more I/O, more connections, more power to you

The latest incarnation of the Local Rack boosts I/O up to 384 and is loaded with additional card slots to allow simultaneous use with two Stageboxes, 2 recording cards and the Realtime Rack MADI interface. 

Various operating modes are available using a combination of DSP cards - 128 inputs/32 stereo busses @ 48kHz (5 DSP cards) - 64 inputs/32 stereo busses @ 96kHz (8 DSP cards) 

Cat5 or Cat7 cables with Amphenol RJF connectors provide a convenient, highly robust connection between the Soundcraft Vi SeriesTM stageboxes and local rack enabling the mixing position to be located up to 100 metres from the stage. And in larger venues and installations, an optional Fibre Optic interface allows a run of up to 1.5 kilometres between the stagebox and the local rack. 

A comprehensive provision of inputs and outputs can be patched to any channel input, direct output, bus output or insert point as required. 

The local rack has 16 analogue line inputs, 3 analogue mic/line inputs, a talkback mic input (mounted on the control surface) and 8 pairs of AES/ EBU inputs. Outputs include 16 analogue line, 8 pairs of AES/EBU, 3 LCR local monitor A line, 2 LR local monitor B line and TB line. 

Stageboxes - High-density, 64 mic in/32 line out, configurable I/O modules

The standard Vi stagebox houses 64 analogue mic/line inputs and 32 analogue line outputs, with 48V phantom power and a 100Hz HPF before the A-D converters. Mic amp gain can be controlled remotely from the control surface. Optional AES/EBU inputs and outputs are available for the stagebox in sections of 8, as are optional cards for a wide variety of audio interface standards including Dante, Blulink, Cobranet, Aviom A-Net16 and Ethersound. 

Up to 5 stageboxes can be connected to create a digital patchbay, where the operator can select the sources for the 128 inputs to the console from a selection of inputs available on any of the connected stageboxes. 

In addition to the 64-input Stagebox, Vi5000 and Vi7000 consoles can also be used with the smaller Compact Stagebox (32 or 48 inputs) or the Mini Stagebox MSB16 or MSB32, where I/O needs to be expanded in space-restricted environments. 

Interface cards - integrate with any system quickly and easily

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


Frequency Response

Stagebox Mic input to Line output

+0/-1dB, 20Hz-20kHz


+0/-0.2dB, 20Hz-20kHz


Mic In (min gain) to Local Line Out, 22Hz-22kHz

<0.003% @ 1kHz

Mic In (max gain) to Local Line Out, 22Hz-22kHz

<0.020% @ 1kHz

Mic Input E.I.N (22Hz-22kHz bandwidth, unweighted

<-126dBu (150Ω source)

Residual Noise, local Line output; no inputs routed, Mix fader @0dB


CMRR, Mic input

80dB @ 1kHz

Sampling Frequency


Latency, Mic Input to 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

< +/-12ns

External Sync

BNC Wordclock

Input and Output Levels

Mic Input

+28dBu max

Line input

+22dBu max

Line Outputs

+22dBu max

Nominal Operating Level

+4dBu (-18dBFS)

Input and Output Impedances

Mic input


All other analogue Inputs


Line Outputs


AES/EBU Outputs




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)


20Hz-20kHz, +/-18dB, Q= 0.3-8.7 or shelving


20Hz-20kHz, +/-18dB, Q=0.3-8.7


20Hz-20kHz, +/-18dB, Q=0.3-8.7


20Hz-20kHz, +/-18dB, Q= 0.3-8.7 or shelving


Internal 11-segment LED bargraphs plus 4-segment gain reduction meters for all inputs and Outputs

Mains Voltage operating range


90-264V, 47-63Hz, autoranging

Mains Power Consumption



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)

Net Weight


37.0kg (82.0lbs)

Unit Dimensions (WxDxH)


1732mm (68.1") x 725mm (28.5") x 326mm (12.8") 

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