This VI Series control surface requires a 5059731HU local rack, sold separately.

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

*Additional DSP cards and reduced channel count required for 96kHz operation

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.

Soundcraft Vi7000 Features:
  • 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
  • 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
  • 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
  • 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
  • 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 color-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.
  • 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...
    • All busses can be turned to stereo
    • With a total of
    • Aux VCA mode
    • Auto-increase of ambient mic levels in monitor mixes betweensongs
  • ...and radio mic status monitoring
  • 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.
  • World-class effects and dynamics inside
  • BSS DPR901ii and Graphic EQ
  • 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
  • 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
  • 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' analog 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.
  • Virtual Vi offline set up
  • ViSi remote control via iPad
  • Local Rack - more I/O, more connections, more power to you
  • 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
  • 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
Soundcraft Vi7000 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 (150 Ohm source)
    • Residual Noise, Stagebox line output; no inputs routed, Mix fader @0dB: -91dBu
    • CMRR, Stagebox Mic input: 80dB @ 1kHz
    • Sampling Frequency: 48kHz or 96kHz
    • 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
  • Input & Output Levels:
    • Mic Inputs: +28dBu max
    • Line Inputs: +22dBu max
    • Line Outputs: +22dBu max
    • Nominal Operating Level: +4dBu (-18dBFS)
  • Input & Output Impedances
    • Mic Inputs: 10kOhm
    • All other analog Inputs >10kOhm
    • Line Outputs < 75 Ohms
    • AES/EBU Outputs: 110 Ohms
  • 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: 300W
  • 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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Listed2 years ago
ConditionMint (Used)
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  • Vi7000
  • 2022

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Sandusky, MI, United States
Joined Reverb:2014

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