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Use r Guid e
Conte nts
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Basic Principles of Monitor Mixing . . . . . . . . . . . . . 5
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . 8
Connections and Connectors . . . . . . . . . . . . . . . 8
Fault Finding Guide . . . . . . . . . . . . . . . . . . . 10
Getting to know your console . . . . . . . . . . . . . . . . 12
Facilities . . . . . . . . . . . . . . . . . . . . . . . . . 12
Input Channel . . . . . . . . . . . . . . . . . . . . . . 12
Output Section . . . . . . . . . . . . . . . . . . . . . . 16
Master Section . . . . . . . . . . . . . . . . . . . . . . 18
Using your SPIRIT Monitor Console . . . . . . . . . . . . 20
Initial Set Up . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Care of your mixer . . . . . . . . . . . . . . . . . . . . . . 23
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Selectable Options . . . . . . . . . . . . . . . . . . . . . . 25
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . 26
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . 28
Front Panel Layout . . . . . . . . . . . . . fold out rear page
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INTRODUCTION
Congratulations on your purchase of a SPIRIT Monitor mixer.
Owning a Soundcraft console brings you the expertise and
support of one of the industry’s leading manufacturers and
the results of over 17 years experience supporting some of the
biggest names in the business.
Designed by engineers who understand the individual needs
of musicians, SPIRIT Monitor has been built to the highest
standards using quality components and employing auto-
mated assembly techniques beyond the reach of most
manufacturers of compact mixers.
A rugged steel chassis is combined with moulded side trims
to give protection and distinctive appearance. Custom-
moulded controls, designed for the best ‘feel’ and visual
clarity complement the styling, resulting in a truly profes-
sional stage monitor mixer which is ideal for both touring and
fixed installations.
SPIRIT Monitor is available in 16 and 24 channel frame sizes,
and is designed to complement the SPIRIT Live range of
front- of-house consoles.
SPIRIT Monitor incorporates circuit technology identical to
that used on some of the most sophisticated Soundcraft con-
soles. The input channels are able to accept a wide range of
Microphone and Line level signals from separate input sock-
ets. Every channel features wide range gain control, phase
reverse switch, 3-band Equalisation with swept Mid and LF
range, plus a Hi-Pass Filter, 8 Monitor Sends, PFL(Pre Fade
Listen), Peak LED and a high-quality linear fader.
Each of the eight Monitor Output sections is provided with a
variable high-pass filter, insert point, LED bargraph meter,
Talkback and Dim switches, a variable send to the engineer’s
wedge and a high quality linear fader.
The master section comprises controls for PFL monitoring, en-
gineer’s wedge, LED bargraph meter for Wedge/ PFL and
master Talkback and Dim switches. The wedge output is pro-
vided with an insert point and high quality linear fader.
SPIRIT Monitor is designed to be as user-friendly as possible,
but a few minutes spent reading through this manual will
help you become familiar with the product away from the
pressure of a live session, and allow you to gain full benefit
from the superb performance offered by your new mixer.
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Above all, remember that your SPIRIT mixer is designed to
extend your creativity. The more you explore the controls
and the effect they have on the sound output, the more you
will appreciate the flexibility offered by your SPIRIT Monitor
mixer.
BASIC PRINCIPLES OF MONITOR MIXING
There was a time when the P.A. system and the operator ex-
isted only to increase the overall volume of the performers, so
that they could be heard in a large room or above high ambi-
ent noise levels. This just isn’t true any more. The sound
system and the sound engineer have become an integral part
of the performance, and the artists are heavily dependent on
the operator’s skill and the quality of the equipment. While
the quality of the front-of-house PA mix is of prime impor-
tance, the ability of the artists to deliver the best performance
may be directly influenced by the quality of the stage monitor
mix. Indeed, the monitor engineer may be required to pro-
vide a number of quite different individual monitor mixes,
often under the most adverse conditions.
The following introduction to the basics of mixing are in-
cluded for the benefit of those users who may not have any
significant familiarity with sound equipment, and who are
baffled by the endless jargon used by engineers and artists
alike.
The Mixe r
As one would expect, the main purpose of the mixer is to
combine sounds, but under precise and smooth control. The
faders provide you with total control of the final sound at
your finger tips and like an artist playing an instrument you
should listen to your fader movements, not look at your
hands.
Your SPIRIT Monitor mixer accepts a wide range of input sig-
nals via a microphone input, for very low level signals, or a
line input, for higher level signals from, for instance, tape ma-
chines, effects processors, etc.
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The mixer is split into two sections. The Inputs receive, match
and process individual source signals, and distributes them at
precise mix levels to a choice of Monitor Outputs. The Mas-
ter section provides monitoring of the audio signal at many
points in the mixer, either on headphones or meters and pro-
vides additional master control of talkback functions.
The Equaliser controls are the most flexible and potentially
destructive feature of the mixer. They have a similar effect on
the frequency response of the input channel as the tone con-
trols on a hi-fi system, but with much greater precision, and
allow particular characteristics of the input signal to be em-
phasised or reduced. It is very important that you become
familiar with the effect each control has on the sound and this
is best achieved by spending time listening to the effect of each
control on a well-known track played through the mixer.
Phase Reversal enables the operator to reverse the polarity of
the signal entering the mixer, as a convenient way of checking
for incorrect wiring or problems with microphone placement.
The Monitor Sends provide a way of routing the input sig-
nals to a number of outputs, to create individual mixes for
artists foldback or additional speaker outputs.
Pre-Fade-Listen(PFL) allows you to monitor the signal at
many points in the mixer. Pressing any PFL switch places the
signal at that particular point onto the headphones and the
PFL meter, to check the quality of the signal or to pin-point
problems. Using PFL will not affect the signals on the moni-
tor outputs.
Each input channel and all outputs have an Insert ‘A’ gauge
jack socket, which is a break point in the signal path. It allows
the signal to be taken out of the mixer, through an external
piece of equipment and then back into the mixer directly after
its original exit point. The Insert point is normally bypassed
by the ‘A’ gauge jack contacts, and is only brought into opera-
tion when a plug is inserted. Typical uses would include
Effects Processors, Limiters, additional Equalisers or Delay
units.
The terms PRE and POST are often used in the context of In-
serts, Equalisers and Channel Sends, and describe whether
that facility is placed before (Pre) or after (Post) another par-
ticular section. This is explained further in the detailed
description of facilities.
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The Wedge output refers to the engineer’s own monitoring
output, which will typically feed a floor-mounted ‘wedge-
shaped’ speaker via a suitable power amplifier.
The Talkback system allows the monitor engineer to talk back
to artists, either individually via selected monitor outputs, or
together using a switch on the master section.
Creating monitor mixes on stage in close proximity to micro-
phones demands constant awareness of the problem of
acoustic feedback. The Dim buttons enable the engineer to in-
stantly lower the output level on any outputs to avoid this
problem while more precise level adjustments are made.
A mixer is often judged, amongst other factors, by the amount
of Headroom available. This is a measure of the reserve avail-
able to cope with sudden peaks in the input signal, without
distortion caused by Clipping, when the signal becomes so
high that it would exceed the power supply rail voltages and
is as a result limited. This commonly occurs where gain set-
tings are incorrectly set or where sources are improperly
matched to the mixer input. If the source signal is too high,
clipping and distortion results. If the signal is too low it be-
comes masked by the background noise which is present to
some degree in all mixers. The diagram below illustrates this
point.
Clipped
Signal
Noise
If the signal level is too high, clipping distortion
may occur.
Signal
Noise
If the signal level is too low it may be masked
by the noise.
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GETTING STARTED
CONNECTIONS AND
CONNECTORS
Although this may seem a simple subject, faulty connectors and
cabling are the source of most sound system problems. Correctly-
made cables of the proper type, with the right connectors for
the job will ensure peak performance from your system with
minimum noise pick-up. The following section will help you
to connect SPIRIT Monitor correctly.
Two different types of audio connectors are used, 3-pin XLR
1
and ⁄4" three pole (‘A’ gauge) jacks. These are used in several
configurations as shown in the diagrams below.
2. Ho t(+ve )
1. Sc re e n
3. Co ld (-ve )
(g ro und )
1. Sc re e n
3. Co ld (g ro und se nse )
2. Ho t (In p ha se )
Ba la nc e d
Inp ut
Gro und Co m p e nsa te d
Outp ut
3 POLE (ste re o ) JACK
Se nd
Re turn
Sc re e n
Tip
Ho t(+ve )
Co ld (-ve )
Sc re e n
Le ft Sig na l
Rig ht Sig na l
Gro und
Ring
Sle e ve
Tip
Ring
Sle e ve
Inse rt Points
Line Inp ut
He a d p hone s
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Ba la nc e d a nd
Unb a la nc e d
All channel inputs are balanced, i.e. there are separate
+ve(hot) and -ve (cold) wires for each signal plus a ground.
The design of the differential input amplifiers is such that in-
terference picked up on these wires is cancelled out. This is
because, since both wires are in close proximity, the same in-
terference will be picked up on each wire and balanced input
amplifiers will only amplify the difference between +ve(hot)
and -ve(cold). Any signal on both hot and cold (i.e. noise) will
not be amplified - this is known as common mode rejection
(CMR). Balanced inputs should always have both +ve and -
ve connected or if the source is unbalanced source, the signal
should connect to +ve and the -ve pin of the input should be
shorted to ground.
Note: many modern audio/ musical instruments have elec-
tronically balanced outputs which should not be unbalanced
by shorting one wire to ground. Always use your inputs bal-
anced where possible.
All of the outputs are ground compensated a technique which
provides a very effective way of optimising noise immunity,
without the cost and complexity of balanced outputs. These
outputs employ ground compensation to cancel out the effects
of variation in ground potential between the mixer and other
equipment which would otherwise show up as hum. If the
output is driving a device or amplifier that has an unbalanced
input, connect the -ve(cold) signal to the ground.
Pola rity
You will probably be familiar with the concept of polarity in
electrical signals and this is of particular importance to bal-
anced audio signals. Just as a balanced signal is highly
effective at cancelling out unwanted interference, so two mi-
crophones picking up the same signal can cancel out, or cause
serious degradation of the signal if one of the cables has the
+ve and -ve wires reversed. This phase reversal can be a real
problem when microphones are close together and you
should therefore take care always to connect pins correctly
when wiring audio cables.
Ground ing a nd
Shie ld ing
For optimum performance it is vital that all signals are refer-
enced to a solid, noise-free earthing point and that all signal
cables have their screens connected to ground. To avoid earth
‘loops’, use balanced connections where possible and ensure
that all cable screens and other signal earths are connected to
ground only at their source and not at both ends.
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Source
GROUND COMPENSATED TO BALANCED
Input
Input
Input
+
-
+
-
GND SENSE
GND
LINK
Source
UNBALANCED TO BALANCED
+
+
-
GND
LINK
Source
UNBALANCED TO UNBALANCED
+
+
GND
LINK
If ground link absent, or mains earth isolated from
source ground, then connect shield at both ends
Avoid running audio cables or placing audio equipment,
close to thyristor dimmer units or power cables.
Noise immunity is improved significantly by the use of low
impedance sources, such as good quality professional micro-
phones or the outputs from most modern audio equipment.
Avoid cheaper high impedance microphones, which may suf-
fer from interference over long cable runs, even with
well-made cables.
Fa ult Find ing Guid e
Repairing a sound mixing console requires specialist skills, but
basic Fault Finding is within the scope of any user if a few ba-
sic rules are followed.
•
•
•
Get to know the Block Diagram of your console (see back
of this manual)
Get to know what each component in the system is sup-
posed to do.
Learn where to look for common trouble spots.
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The Block Diagram is a representative sketch of all the com-
ponents of the console, showing how they connect together
and how the signal flows through the system. Once you have
become familiar with the various component blocks you will
find the Block Diagram quite easy to follow and you will have
gained a valuable understanding of the internal structure of
the console.
Each Component has a specific function and only by getting
to know what each part is supposed to do will you be able to
tell if there is a genuine fault! Many ‘faults’ are the result of
incorrect connection or control settings which may have been
overlooked.
Basic Troubleshooting is a process of applying logical
thought to the signal path through the console and tracking
down the problem by elimination.
•
•
Swap input connections to check that the source is really
present. Check both Mic and Line inputs.
Eliminate sections of the channel by using the insert point
to re-route the signal to other inputs that are known to be
working.
•
•
Route channels to other outputs to identify problems on
particular outputs or the Master section.
Compare a suspect channel with an adjacent channel
which has been set up identically. Use PFL to monitor the
signal in each section.
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GETTING TO KNOW YOUR CONSOLE
FACILITIES
Refer to the fold-out front panel diagram at the rear of this
manual, which shows the control functions on the SPIRIT
Monitor. Each facility is described below, and is identified by
a reference number.
INPUT CHANNEL
1.
MIC RO PHO NE INPUT
The Microphone input is via a standard female XLR-3 connec-
tor and is available when the LINE switch is released. It is
designed to accept a wide range of balanced or unbalanced
low impedance input signals.
+48V Phantom Power is available on each input microphone
socket, with an overall ON/ OFF switch at the right hand side
of the console, beside the power input socket.
Transformer-coupled dynamic microphones may be used
without causing damage, even when the +48V power is con-
nected, but care must be taken when using unbalanced
sources, because of the voltage present on pins 2 and 3 of the
XLR connector.
NOTE: The microphone should always be plugged in before
switching the +48V on or off. Also you should be aware that
some microphones draw an unusually large current which
may overload the power supply, resulting in distortion. Con-
sult your microphone supplier for guidance if necessary.
2.
INSERT
The INSERT is a break point in the input channel signal path.
It allows the signal to be taken out of the mixer, through an
external piece of equipment and then back into the mixer to
1
continue through to the final output. The Insert is a 3-pole ⁄4"
‘A’ gauge Jack, which is normally by-passed. When a jack
plug is inserted, the signal path is broken at a point just after
the Hi-Pass Filter, but before the EQ section. The signal from
the channel appears on the TIP of the plug and is returned
on the RING.
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The insert point allows limiters, compressors and other signal
processing units to be added as required to particular input
channels and because it is located PRE EQ, noise generated by
the external equipment may be reduced by a small amount of
H.F. cut in the Equaliser.
3.
LINE INPUT
1
The LINE Input is a 3-pole ⁄4"‘‘A’ gauge jack socket, to accept
balanced or unbalanced line level sources when the LINE
switch(5) is pressed. Unlike the low impedance Microphone
input, this stage presents a high impedance(>10kΩ) to the in-
put signal, enabling many types of instruments to be plugged
straight in without D.I. boxes or external preamplifiers.
4.
PHASE REVERSE(Ø )
The PHASE REVERSE switch reverses the polarity of the se-
lected input, providing a convenient method of compensating
for incorrect wiring or microphone placement. In some cir-
cumstances it may be found that pressing PHASE REVERSE
will help with feedback avoidance. The switch should nor-
mally be released when not required.
5.
6.
LINE SELEC T
The LINE switch selects Line input when pressed, and Micro-
phone input when released. When Line is selected the Gain
range is reduced by 20dB(see 6 below).
G AIN C O NTRO L
When the Microphone input is selected this control acts as a
SENSITIVITY control covering a 50dB range. Channel signal
level increases as the control is turned clockwise. When the
Line input is selected it serves as a GAIN control, with the
scaling reduced by -20dB from the printed scale. A nominal
0dB input signal will pass through at unity gain, with the
knob set at the 20dB position. Some audio equipment, par-
ticularly that intended for domestic use, operates at a nominal
-10dBV level and an increased Gain setting will be required.
7.
HI- PASS FILTER
Pressing this switch inserts a 12dB per octave 100Hz Hi-Pass
Filter in the signal path, immediately after the input amplifier.
This is particularly useful on live vocals, and its use is
strongly recommended, even on male vocals. It can also be
used for filtering out noise such as stage rumble.
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dB
HI-Pass Filter
4.0
3.0
2.0
1.0
0.0
-1.0
-2.0
-3.0
-4.0
20
100
1k
10k 20k
Frequency/Hz
8.
EQ UALISER
The Equaliser(EQ) comprises three sections. The upper con-
trol provides H.F.(treble) boost and cut of +/ -15dB. The
lower two pairs of knobs are arranged as a cut/ boost control
(lower knob) of +/ - 15dB, and a SWEEP(frequency) control
which determines at which frequency the boost/ cut action
will be centred. The LF sections are essentially Swept Low
Frequency controls, covering a range from 40 to 400Hz and
providing much greater flexibility than a conventional
LF(bass) control. The MID section, with a frequency range
from 250Hz to 8kHz is particularly versatile for vocals, ena-
bling particular characteristics of the singer to be lifted or
LF Section
dB
20.0
15.0
10.0
5.0
0.0
-5.0
-10.0
-15.0
-20.0
20
100
1k
10k
20k
Frequency/Hz
MID Section
dB
20.0
15.0
10.0
5.0
0.0
-5.0
-10.0
-15.0
-20.0
20
100
1k
10k
20k
Frequency/Hz
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HF Section
dB
20.0
15.0
10.0
5.0
0.0
-5.0
-10.0
-15.0
-20.0
20
100
1k
10k
20k
Frequency/Hz
suppressed very precisely.
9.
MO NITO R SENDS
These controls route the input channel signal to any one or
more Monitor busses and the associated Monitor Outputs, al-
lowing a number of completely different monitor mixes to be
created. The sends are arranged as two groups of four (1-4
and 5-8) and both groups are normally fed after the channel
fader (POST FADE) and therefore follow any changes in fader
level. Either group may be reconfigured with the feed before
the channel fader (PRE FADE) by changing internal links, and
details of this modification will be found under Selectable Op-
tions on page 25. Any Monitor Sends configured as PRE
FADE will be unaffected by the input fader position. All
sends are muted when the ON switch (see 10 below) is re-
leased, regardless of the Pre/ Post setting.
10.
11.
O N
The ON switch routes the channel signal to the monitor sends,
and is positioned PRE FADER to mute all outputs from the re-
spective channel. The associated LED is illuminated when the
switch is pressed, showing that the channel is active.
PFL/ PEAK LED
When the PFL switch is pressed, the Pre-Fade signal is fed to
the headphones and wedge output, where it replaces the se-
lected source. The PFL ACTIVE LED on the master section
illuminates to warn that the wedge/ phones outputs and the
meter are now responding to the PFL selection and the PFL
LED on the input channel lights to identify the active channel.
This is a useful way of listening to any required input signal
without interrupting the monitor mixes, so that adjustments
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can be made or problems traced.
When the PFL switch is released the LED on the channel
serves as a PEAK indicator, to warn when an excessively high
signal level is present in the channel. The signal is sampled at
two points in the channel, PRE INSERT (PRE Hi-PASS FIL-
TER), and POST EQ.
The Peak LED will illuminate
approximately 4dB before clipping and therefore give warn-
ing of a possible overload even if the peaks are removed by
external equipment plugged into the Insert.
12.
C HANNEL FADER
This linear fader determines the proportion of the channel in
the mixes and provides a clear visual indication of channel
level. Normal operating position is at the ‘0’ mark, providing
10dB of gain above that point if required.
OUTPUT SECTIONS
There are eight Monitor Outputs, arranged in pairs. Each
Output offers identical facilities.
1.
2.
MO NITO R O UTPUTS
Each Monitor Output is driven by a ground-compensated am-
plifier and fed to standard male XLR-3 connectors.
MO NITO R INSERTS
These allow external processing equipment to be ‘inserted’ into
the monitor signal path. The 1⁄4" 3 pole ‘A’ gauge jacks are by-
passed except when a plug is inserted.
3.
SUB
The SUB control and associated switch and LED feed the
monitor output to the engineer’s submix, which is the normal
source for the headphones and wedge outputs. The signal is
derived before the Talkback and Dim circuitry, and the sub-
mix is therefore unaffected by either of those functions in the
Output section. The submix feed is enabled when the ON
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switch is pressed (LED illuminated).
4.
HI- PASS FILTER
A variable frequency filter is provided covering a range of
20Hz to 200Hz., and this is always in circuit. This may be
found useful to reduce the level of stage-driven low frequency
feedback, or particularly to tailor the output frequency to
match more closely the frequency range of smaller wedge
monitor speakers which may not be able to tolerate high lev-
els of LF signal. Rotate the control fully anticlockwise when
the filter is not required.
5.
TALKBAC K
Pressing the TALKBACK switch routes the engineer’s talk-
back microphone signal to the monitor output, at the level set
on the T/ B gain control on the Master section, and inde-
pendent of the output fader level. At the same time the local
monitor mix is dimmed by approximately 6dB to allow the
engineer’s voice to be heard over the mix, and the Wedge out-
put also dims to prevent feedback through the talkback mic.
Note that Talkback is disabled when DIM is pressed.
6.
7.
DIM
Pressing the large DIM switch attenuates the monitor output
by 6dB as an immediate way of eliminating feedback while
the source of the problem is identified.
PFL
When the PFL switch is pressed, the Pre-Fade signal is fed to
the headphones, replacing the normal submix signal. The
PFL ACTIVE LED on the master section illuminates to warn
that the wedge/ phones outputs and the meter are now re-
sponding to the PFL selection and the PFL LED on the input
channel lights to identify the active channel. This is a useful
way of listening to any required signal so that adjustments
can be made or problems traced.
8.
BARG RAPH METER
A sixteen segment, three colour bargraph meter monitors the
output signal. The meter has a peak response, and since it
reads the final output signal it will also be affected by the
DIM switch and include any talkback signal. The bargraph
may be calibrated by a trimmer accessed via a hole in the
panel above the meter. Adjustments may be made using a
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small screwdriver, taking care not to damage the trimmer.
9.
FADER
A linear fader controls the overall level of each output. Unity
gain is at the top of the travel.
MASTER SECTION
1.
2.
D.C . PO WER SO C KET
The cable from the power supply connects to the console via
this 5- pin SRC connector. To the right of the power connec-
tor is the master switch for +48V Phantom Power to all inputs.
WEDG E O UTPUT
The WEDGE output normally drives the engineer’s monitor
speaker via a power amplifier, and when no PFL switches are
pressed this is fed by the submix signal. The WEDGE output
automatically switches to the PFL signal when any PFL switch
is active.
The WEDGE output always listens to the same source signal
as the headphones, but is also affected by DIM status and any
external connections to the Insert socket.
3.
4.
WEDG E INSERT
This is similar to the Input Channel Inserts and allow external
processing equipment to be ‘inserted’ into the output signal
1
path. The ⁄4" 3 pole ‘A’ gauge jacks are by-passed except
when a plug is inserted.
PHO NES
1
A standard ⁄4" 3 pole‘A’ gauge jack for monitoring head-
phones. See the diagram on Page 8 for connection details.
This output is suitable for headphones with an impedance of
400Ω or greater.
5.
TALKBAC K MIC RO PHO NE SO C KET
A standard female XLR-3 connector is provided for a low im-
pedance dynamic talkback microphone on a gooseneck mount
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or plugged in via a cable.
6.
BARG RAPH METER
A sixteen segment, three colour bargraph meter provides vis-
ual monitoring of WEDGE/ PFL level. Normally the post-fade
Wedge signal is displayed, unless any PFL switch is active, in
which case the PFL signal is shown. The level of the dis-
played Wedge signal follows the actual Wedge output,
including the effect of the Dim circuit if active. The bargraph
may be calibrated by a trimmer accessed via a hole in the
panel above the meter. Adjustments may be made using a
small screwdriver, taking care not to damage the trimmer.
7.
8.
TALKBAC K G AIN
Sets the level of Talkback microphone signal which may be
routed to any Monitor Output.
ALL TALKBAC K
Pressing the ALL T/ B switch dims all monitor outputs and
adds the Talkback mic signal, also dimming the wedge output
to prevent feedback. Note that ALL T/ B is disabled when
ALL DIM is pressed.
9.
ALL DIM
Pressing ALL DIM attenuates all outputs, except the wedge
output. This provides an instant remedy for serious feedback,
while the source of the problem is identified.
10.
11.
PFL AC TIVE LED
The LED illuminates whenever a PFL switch is pressed to
show that the Wedge and Phones outputs and the
Wedge(PFL) bargraph are now receiving the PFL signal.
PFL TRIM
The rotary PFL TRIM control provides level adjustment of the
PFL signal to allow for differences in operating levels. The
TRIM control has no effect on the level of PFL signal fed to the
Wedge(PFL) meter.
12.
SUB TRIM
The rotary SUB TRIM control provides level adjustment of the
engineer’s Submix. The TRIM is pre-insert and pre-fader, and
will therefore affect both the level at the wedge output and
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the bargraph reading.
13.
14.
HEADPHO NE VO LUME
The master volume control for the wedge or PFL signal being
fed to the headphone socket (4).
WEDG E FADER
The master fader for the Submix or PFL signals feeding the
USING YOUR SPIRIT Mo nito r CONSOLE
Your choice of a SPIRIT Monitor console has provided you
with a professional product capable of top quality sound mix-
ing.
Good results will however only come through
experience and time spent understanding the facilities on
your console. Rehearsal sessions and live performances must
focus on the skill and creativity of the artists, which must not
be hindered by unfamiliarity and difficulty with the operation
of the console. It is important to recognise, and learn by ex-
periment, the importance of correct choice of inputs,
microphone placement and control settings, particularly with
respect to feedback avoidance.
Suitable initial control positions are shown on the front panel
drawing inside the rear cover.
Initia l Se t Up
The diagram on page 7 demonstrated how the matching of in-
put gain to the signal source was crucial to avoid distortion at
one extreme and excessive noise at the other. Set up individ-
ual input channel as follows:
•
•
•
Connect the input required (microphone, keyboard etc.)
Note: Phantom powered mics should be connected before
the +48V is switched on.
Set Output faders at 0, input faders at 0, channel monitor
sends fully anticlockwise (off) and set power amplifier lev-
els to about 70%.
With a typical performance level signal present, press the
PFL button on the particular channel, monitoring the level
on the Wedge(PFL) meter.
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•
Adjust the input gain until the meter is just reaching the
amber section (0dB) at a typical maximum source level.
This allows sufficient headroom to accommodate peaks
and establishes the maximum level for normal operation
(but see note below).
•
•
Repeat this procedure on other channels as required.
If you cannot obtain a satisfactory setting, e.g. the gain con-
trol is right at the extreme low end of the scale on
Microphone Input, and +48V powering is not required, try
using the Line Input instead to give an extra 20dB range.
•
•
Listen carefully for the characteristic sound of ‘feedback’.
If you cannot achieve satisfactory input level setting with-
out feedback, check microphone and speaker placement
and repeat the exercise.
Build up the required individual monitor mixes by feeding
the selected channels to the monitor outputs using the
channel monitor send controls. The corresponding output
faders should be initially set at the ‘0’ mark. Listen care-
fully for each component in the mix and watch the
respective output meter for any hint of overload. As more
channels are added to the mix, the meters may move into
the red section. Adjust the overall level using the Output
Faders if necessary, or back off the appropriate channel
faders until the level is out of the red segments.
Note: The level of any source signal in the final output is af-
fected by many factors, principally the Gain control, Channel
Fader and Output Fader. You should try to use only as much
microphone gain as required to achieve a good balance be-
tween signals, with the faders set as described above. If the
input gain is set too high, the channel fader will need to be
pulled down too far in compensation to leave enough travel
for successful mixing and there is a greater risk of feedback
because small fader movements will have a very significant
effect on output level. If the gain is set too low, you will not
find enough gain on the faders to bring the signal up to an
adequate level.
Mic rop hone Pla c e m e nt Careful microphone placement and the choice of a suitable
type of microphone for the job is one of the essentials of suc-
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cessful sound mixing.
The aim should be to place the microphone as close as physi-
cally possible to the source, to cut out unwanted surrounding
sounds, allow a lower gain setting on the mixer and avoid
feedback. Also a well-chosen and well-placed microphone
should not need any appreciable equalisation.
Inp ut Co nne c tions
The monitor mixer will often share inputs with a front-of-
house mixer and it is particularly important to ensure that the
input connections provide complete isolation between the two
consoles to avoid hum problems and possible degradation of
the signal. The provision of balanced splitter transformers or
isolating transformers will ensure a clean signal to both con-
APPLICATIONS
The diagram below shows a typical application of the SPIRIT
Monitor as a stage monitor console, with inputs shared via a
splitter box with the front-of-house console
STAGE MONITORS
AMP RACK
MICROPHONE SPLITTER
MULTICORES TO
HOUSE CONSOLE
POWER
MIC INPUTS
ENGINEER’S
WEDGE
PHONES/
T/B
MIC
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CARE OF YOUR MIXER
Ge ne ra l Pre c a utions
Avoid storing or using the mixer in conditions of excessive
heat or cold, or in positions where it is likely to be subject to
vibration, dust or moisture.
Keep the mixer clean using a soft dry brush, and an occa-
sional wipe with a damp cloth or ethyl alcohol. Do not use
any other solvents which may cause damage to paint or plas-
tic parts.
Avoid placing drinks or smoking materials on or near the
mixer. Sticky drinks and cigarette ash are frequent causes of
damage to faders and switches.
Regular care and inspection will be rewarded by a long life
Glossa ry
balance
clipping
the relative levels of the left and right channels of a stereo
signal.
the onset of severe distortion in the signal path, usually caused
by the peak signal voltage being limited by the circuit’s
power supply voltage.
dB (decibel)
a ratio of two voltages or signal levels, expressed by the
equation dB=20Log (V1/ V2). Adding the suffix ’u’ denotes
10
the ratio is relative to 0.775V RMS.
DI(direct injection)
the practice of connecting an electric musical instrument directly t
the input of the mixing console, rather than to an amplifier
and loudspeaker which is covered by a microphone feeding
the console.
equaliser
a device that allows the boosting or cutting of selected bands
of frequencies in the signal path.
feedback
the ‘howling’ sound caused by bringing a microphone too close
to a loudspeaker driven from its amplified signal.
foldback
a feed sent back to the artistes via loudspeakers or headphones
to enable them to monitor the sounds they are producing.
frequency response
the variation in gain of a device with frequency.
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(sub) group
headroom
an output into which a group of signals can be mixed.
the available signal range above the nominal level before
clipping occurs.
highpass filter
a filter that rejects low frequencies.
line level signals
at a nominal level of -10 to +6dBu, usually coming from a low
impedance source.
peaking
an equaliser response curve affecting only a band of frequencies
i.e. based on a bandpass response.
PFL (pre-fade listen)
a function that allows the operator to monitor the pre-fade
signal in a channel independently of the main mix.
rolloff
a fall in gain at the extremes of the frequency response.
shelving
an equaliser response affecting all frequencies above or
below the break frequency i.e. a highpass or lowpass derived
response.
spill
acoustic interference from other sources.
talkback
the operator speaking to the artistes or to tape via the
auxiliary or group outputs.
transient
a momentary rise in the signal level.
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Se le c ta b le Op tions
The eight channel Monitor Sends are factory set as POST
FADE, but may be altered to PRE FADE in blocks of four (1-4
and 5-8) by repositioning a link on the Input PCB SC3005 as
shown below, after removing the PCB from the console.
INPUT BOARD SC3005
PRE
J1
POST
J2
PRE
J1
POST
J2
L9
R56
R54
C21
C28
C27
R48
To change Sends 1-4 to PRE FADE carefully unsolder link J4
using the minimum of heat to avoid the possibility of tracks
lifting on the PCB. Replace the link in position J3.
To change Sends 5-8 to PRE FADE carefully unsolder link J2
using the minimum of heat to avoid the possibility of tracks
lifting on the PCB. Replace the link in position J1.
This operation should only be carried out by competent
technicians who possess the necessary soldering skills.
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SPECIFICATIONS
Typical Figures for a 24 Channel Console
Measured RMS, 22Hz to 22kHz Bandwidth
E.I.N.
Microphone Input,
max gain, 150R
-128.5dBu
O UTPUT NO ISE
C .M.R.R.
24 channel console,
channels sends turned down
-80dBu
Measured at 1kHz
Microphone Input at maximum gain
Line Input at unity gain
80dB
50dB
DISTO RTIO N
C RO SSTALK
THD measured 1kHz at +20dBu, 20Hz to 20kHz Bandwidth
Line in to Output
< 0.006%
Measured 1kHz Sine Wave
Channel Send attenuation
Channel Fader Attenuation
90dB
85dB
100dB
Channel ‘ON’ switch isolation
Between any outputs 80dB
FREQ UENC Y RESPO NSE
Any Input to Output
-3dB @20Hz,
(Output hi-pass filter, which is always -1dB @ 20kHz
in circuit, turned fully anticlockwise)
INPUT & O UTPUT IMPEDANC ES
Microphone Input
> 2kΩ
> 10kΩ
75Ω
Line Input
Insert Sends
Insert Returns
10kΩ
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Outputs
75Ω
INPUT & O UTPUT LEVELS
Mic Input Maximum Level
Line Input Maximum Level
Any Output Maximum Level
+10dBu
+30dBu
+21dBu
METERING
16 Segment LED Bargraphs
Accuracy Relative to 0dB
+/ - 1dB
Dim e nsions
1088
(24 ch)
824
(16 ch)
82.8
590.5
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