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© Soundcraft Electronics Ltd. 1990 All rights reserved Issue 1 (first draft) Part No. ZZ2686 Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor. Soundcraft Electronics Ltd. shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual. No part of this manual may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, el
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User Guide Contents Introduction . . . . . . . . . . . . . . . . . . . . . 2 Basic Principles of Multitrack Recording . . . . . . . 4 Getting Started . . . . . . . . . . . . . . . . . . . 6 Connections and Connectors . . . . . . . . . 6 Fault Finding Guide . . . . . . . . . . . . . . 9 Getting to know your console . . . . . . . . . . 10 Facilities . . . . . . . . . . . . . . . . . . . 10 Input - Channel
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INTRODUCTION Congratulations on your purchase of a SPIRIT STUDIO mixer. Owning a Soundcraft console brings you the expertise and support of one of the industrys leading manufacturers and the results of over 17 years experi- ence supporting some of the biggest names in the business. Packed full of features for track-laying, mixdown and overdubbing SPIRIT STUDIO provides you with access to the full range of professional mul- titrack techniques from an unusually compact mixer. Designed by engine
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Channel path. The Auxiliary Sends are similarly split to give 1 Foldback and 2 Auxiliary sends in both the Channel and Monitor paths, or all four Auxiliary sends may be assigned to the Channel path. The Monitor fader is normally a rotary control, but an INPUT REVERSE switch swaps Channel and Monitor in- puts, allowing the tape return signal to be brought down the full facilities of the Channel path and mixed on the long throw channel fader. The Channel PAN control drives a matrix of routing sw
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BASIC PRINCIPLES OF RECORDING The M The Mixer ixer As one would expect, the main purpose of the mixer is to combine sounds, but under precise and smooth control. This is why long-throw faders are essential on any professional product. 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 STUDIO mixer accepts a wide range of in- put signals via a mic
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right meter. This allows the engineer to check the qual- ity of the signal or to pin-point problems. Using PFL will not affect the signals on the Left and Right Mix out- puts. Each input channel and the Group and Mix 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 equip- ment and then back into the mixer directly after its original exit point. The Insert point is normally b
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rectly 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 be- low illustrates this point. It is during recording that the greatest demands are made on a mixer in terms of transparency and audio quality. While a stereo recording will often be made di- rect to the master tape machine, multi
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3 POLE (stereo) JACK 2 POLE (mono) JACK Send Tip Hot(+ve) Left Signal Signal Return Ring Cold(-ve) Right Signal Screen Sleeve Screen Ground Ground Tip Ring Sleeve Insert Points Line Input Headphones Unbalanced Aux Outputs Input FX Returns used in several configurations as shown in the dia- grams below. Balanced and Balanced and All channel inputs are balanced, i.e. there are separate Unbalanced Unbalanced +ve(hot) and -ve (cold) wires for each signal plus a ground. The design of the differential
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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) sig- nal to the ground at the destination, not at the output of your SPIRIT STUDIO console. Po Polarity larity You will probably be familiar with the concept of polar- ity in electrical signals and this is of particular importance to balanced audio signals. Just as a bal- anced signal is highly effective at cancelling out unwanted interfer
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Avoid running audio cables or placing audio equip- ment, close to thyristor dimmer units or power cables. Noise immunity is improved significantly by the use of low impedance sources, such as good quality profes- sional microphones or the outputs from most modern audio equipment. Avoid cheaper high impedance mi- crophones, which may suffer from interference over long cable runs, even with well-made cables. Fa Faul ult Finding Guide t Finding Guide Repairing a sound mixing console requires speci
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GETTING TO KNOW YOUR CONSOLE FACILITIES FACILITIES Refer to the fold-out front panel diagram at the rear of this manual, which shows the control functions on the SPIRIT STUDIO. Each facility is described below, and is identified by a reference number. INPUT - CHANNEL PATH 1. MICROPHONE INPUT The Microphone input is via a standard female XLR-3 connector and is available when the LINE switch is re- leased. It is designed to accept a wide range of balanced or unbalanced low impedance input signal
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channel path (see section 9) the insert is after that sec- tion, allowing equalisation of both the insert send and return. The signal from the channel appears on the TIP of the plug and is returned on the RING. The insert point allows limiters, compressors and other signal processing units to be added as required to particular input channels. 4. LINE INPUT 1 The LINE Input is a ⁄ " 3 pole Agauge jack socket, to 4 accept balanced or unbalanced line level sources when the LINE switch(5) is pr
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ing mix-down using the long-throw channel fader. This frees the Monitor path to serve as an extra input. Note that the equalisation section and auxiliary sends are both split to serve both signal paths. 8. DIRECT The DIRECT switch replaces the feed to the tape send jack socket (which is normalled to the Group output) with the channel post-fade signal. This allows direct re- cording to a tape track from the channel, under the control of the main channel fader. Note that the Tape Send is factor
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10. EQ TO MONITOR As mentioned above, the HF/LF EQ section is usually in the Channel path. Pressing EQ TO MNTR switches these controls to the Monitor path, while leaving the HIGH MID and LOW MID controls in the Channel path. 11. HIGH AND LOW MID SWEEP EQ The HMID and LMID EQ controls are usually in the Channel path, and by careful choice of frequency limits provide a comprehensive range of equalisation. The two pairs of knobs are arranged as a CUT/BOOST con- trol (lower knob) of +/-15dB and a S
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from the main outputs and can therefore provide addi- tional outputs for foldback or external processing units. The six Auxiliary busses are arranged in two sections of three, with each section comprising a pre-fade Fold- back (FB) send and two post-fade, post-cut switch auxiliary sends. Normally FB1 and AUX 1 & 2 are in the Channel path, while FB2 and AUX 3 & 4 are in the Monitor path. 13. CHANNEL PAN The Pan control determines the position of the Channel signal within the stereo image. Rotat
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16. MIX & GROUPS 1-8 The input channel signal is routed to the main STEREO mix (MIX) or to the GROUPS as stereo pairs (1-2, 3-4, 5- 6, 7-8) as selected by these switches. 17. CHANNEL FADER This long-throw fader determines the proportion of the channel in the mix and provides a clear visual indica- tion of channel level. Normal operating position is at the 0 mark, providing 10dB of gain above that point if required. INPUT - MONITOR PATH 18. TAPE SEND & RETURN The TAPE SEND is normally fed from
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21. AUXILIARIES TO CHANNEL FB2 and AUX 3 & 4 are normally in the Monitor path. Pressing CHAN routes AUX 3 & 4 to the Channel path, while FB2 remains unaltered. 22. MONITOR PAN The Monitor PAN control determines the position of the signal within the stereo image. Rotation fully anticlock- wise feeds the signal solely to the Left mix buss, while rotation clockwise sweeps the image to the Right. 23. MONITOR FADER This rotary control determines the overall level of the Monitor signal path. Unity ga
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26. GROUP FADERS Long-throw master faders for each Group. Unity gain is at the top of their travel. 27. GROUP OUTPUTS The output from each Group is driven by a ground- 1 compensated amplifier and fed to standard ⁄ " 3 pole 4 A gauge jack sockets. 28. GROUP INSERTS These allow external processing equipment to be in- 1 serted into the Group signal path. The ⁄ " 3 pole A 4 gauge jack sockets are by-passed except when a plug is inserted. 29. PFL When the PFL switch is pressed, the pre-fade Gr
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The bargraphs may be calibrated by trimmers fitted on the edge of the PCBs and accessed via holes in the panel above each meter. Adjustments may be made using a small screwdriver, taking care not to damage Frequency Response Curves of the Equaliser dB HF Section 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 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 the trimmers. 32. AUXILIARY MASTER Each of the Auxiliary Send busses
