This console is an interesting study in contrasts. There are aspects of it that are really great and aspects of it that are not so great.
It's a large format console that originally sold in the neighborhood of $70,000, give or take some depending on frame size and features. My particular one is a 32 channel (64 inputs on mixdown) with integral TT patchbay, which means it's on the 48 channel frame - about seven feet long.
First the good stuff - this console has one of the best mic pre's that Soundcraft ever designed; it sounds quite good. It's an inline console, which means that the tape monitor section is inline with the record section and it has two faders per channel - one non-automated for the tracking section, one automated for the mixdown section. Polarity switch. Separate gain controls for the preamp and tape inputs. The EQ section can be assigned to either or split with the high and lowpass filters assigned to tracking and the 2 bands of parametric mids (switched Q) assigned to mixdown or vice-versa. There is also a switch that flips the fader assignments. There are 4 aux sends plus 2 foldback sends that can be assigned pre or post. There are 2 stereo return inputs. The board has 8 mix busses plus L/R, assigned in stereo pairs. The board also has 4 automation groups. Automation is via motorized faders plus automated mutes. The center section has comprehensive facilities for multiple 2 track decks, cuing, control room monitors, talkback, etc. Onboard talkback mic. Onboard oscillator with 2 frequencies. LED meters on all channels plus mains, switchable between record and mixdown sections, and selectable between VU, PPM, and Peak Hold. Massive external power supply. The console reads and writes both SMPTE and MIDI time code for automating with a variety of recording devices.
On mine (patchbay version) all I/O except mic inputs and computer connections are on multipin EDACs, or which it uses two different sizes.
Now the not-so-good stuff. First, although the audio electronics are quite reliable the thing is a royal pain to service due to the fact that the channel electronics are in blocks of 8 rather than being modular. The master section also is a single block, which also incorporates the computer. That makes it difficult to do routine things like cleaning pots when they get dirty. The automation system is fully integrated into the console, which means that you have to go through the onboard computer (vintage mid-90s) to do any of your board setup functions such as assigning meters, etc. The computer is assessed via an onboard touchscreen, which is great as long as it works. However they get glitchy (mine has lines running through it but is still readable) and are known to fail outright. There is, however, a port on the console for connection to an outboard computer where you can run a touchscreen emulator to access the functions via a mouse, which is good. However if the onboard computer were to fail the console would be dead in the water as it simply doesn't run without the computer. That's the big Achilles' heel of this console. On mine the computer glitches occasionally on boot-up and needs to be restarted, but is pretty good once it's running.
THE COMPUTER IS VERY SENSITIVE TO POWER LINE ISSUES. Mine needs a high quality AV rated power line conditioner/stabilizer to run reliably in my location (which has pretty old and dodgy wiring and is above a deli with massive coolers. It did not exhibit these problem at the dealer where I bought it (which has stable, industrial quality power) over several months of testing.
Soundcraft still provides software support. Parts support is more iffy. There's a place in Nashville that specializes on working on them.
This is a fully professional console - a number of charting albums have been made on them. As long as the computer system is working OK it's a great board for the price they go for these days (around $10k-$15k depending on size and options.)
Sure, I'd much rather have an API. But I can't afford an API, and this board has some pretty serious Brit console mojo.