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A Harman International Company
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PAGE 15 PAGE 15 PAGE 14 PAGE 15 PAGE 9 PAGE 9/12 PAGE 9 PAGE 9 PAGE 10 PAGE 10 PAGE 10 PAGE 11 Page 1
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PAGE 14 PAGE 14 PAGE 15 PAGE 11 Page 2
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INTRODUCTION Thank you for purchasing a SPIRIT FOLIO SX mixer, brought to you with pride by the SPIRIT team of Andy, Colin, Chris, James, Simon, Mukesh, Graham, Martin, Paul, Matt and Peter, with the support of many others - we hope you will have as much fun using it! Owning a SPIRIT console brings you the expertise and support of one of the industrys leading manufacturers and the results of over 23 years experience supporting some of the biggest names in the business. Built to the highes
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CONNECTING IT UP Page 4
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WIRING UP Please refer to pages 27/28 for additional wiring details. MIC INPUT Balanced Mic XLR The mic input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED low-level signals, whether from delicate vocals requiring the best low-noise performance or close-miked drum kits needing maximum headroom. Professional dynamic, condenser or ribbon mics are best because these 2. Hot(+ve) 3. Cold(-ve) will be LOW IMPEDANCE. While you can use low-cost HIGH IMPEDAN
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STEREO INPUTS 13/14 & 17/18 These accept RCA phono jacks to allow easy connection to hi-fi equipment or DAT players. The input is unbalanced, and ideal for pre-show music sources or signals that do not require any EQ or effects. Mix & Sub Outputs Aux Outputs STEREO INPUTS 15/16 & 19/20 Mono Output These accept 3-pole `A gauge jacks, or 2-pole mono jacks which will automatically Signal + ground the cold input. Use these inputs for sources such as keyboards, drum machines, Signal - synths, ta
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AUX OUTPUTS The Aux outputs are on 3-pole A gauge jack sockets, wired as shown on the left, and incorporate impedance balancing, allowing long cable runs to balanced amplifiers and other equipment. Mix & Sub Outputs Aux Outputs Mono Output CHANNEL DIRECT OUTPUTS Signal + The Direct outputs are on 3-pole A gauge jack sockets, wired as shown on the left, Signal - and are unbalanced. Screen HEADPHONES The PHONES output is a 3-pole A gauge jack, wired as a stereo output as shown, suitable for
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Fault Finding Guide Repairing a sound mixing console requires specialist skills, but basic Fault Finding is within the scope of any user if a few basic rules are followed. l Get to know the Block Diagram of your console (see page 29). l Get to know what each component in the system is supposed to do. l Learn where to look for common trouble spots. The Block Diagram is a representative sketch of all the components of the console, showing how they connect together and how the signal flows throug
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GETTING TO KNOW YOUR CONSOLE 1 Mono Input Channel 1 DIRECT OUTPUT 2 The first eight channels have a dedicated Direct Output which allows direct connec- tion to external devices, for example to feed Tape Machines or effects units. See the 3 Advanced Features section on page 18 for a full explanation of these outputs. 2 MIC INPUT 4 The mic input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED signals. Professional dynamic, condenser or ribbon mics are
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5 SENS This knob sets how much of the source signal is sent to the rest of the mixer. Too high, and the signal will distort as it overloads the channel. Too low, and the level of any background hiss will be more noticeable and you may not be able to get enough signal level to the output of the mixer. Setting the knob to the `U mark gives unity gain for the LINE input. Note that some sound equipment, particularly that intended for domestic use, operates at a lower level (-10dBV) than profe
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AUX SEND 2 This is normally POST-FADE, and would typically be used as an effects send, but may be switched globally to PRE-FADE using the POST/PRE switch on the Master section, 1 providing a second foldback or monitor send if required. AUX SEND 3 2 This is always POST-FADE for effects sends, external submix (or for Centre Voice cluster or mono Tape mix). 3 9 PAN This control sets the amount of the channel signal feeding the Right and Left MIX or 4 SUB buses, allowing you to move the source smo
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STEREO INPUT CHANNEL 1 Each stereo input channel comprises two pairs of inputs per channel strip: 1 INPUTS 13/14 & 17/18 These inputs are unbalanced on RCA phono connectors, and are intended for use 4 with CD players, DAT machines or Hi-Fi equipment. Alternatively they may be used as simple effects returns or stereo instrument inputs. 2 LEVEL The LEVEL control sets the level of the channel signal. 3 MIX/SUB 2 The MIX/SUB switch allows the signal to be routed to either the main MIX (switch 3
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AUX SEND 2 1 This is normally POST-FADE, and would typically be used as an effects send, but may be switched globally to PRE-FADE using the POST/PRE switch on the Master section, pro- viding a second foldback or monitor send if required. AUX SEND 3 4 This is always POST-FADE. 8 BALANCE This control sets the amount of the channel signal feeding the Right and Left MIX or SUB buses, allowing you to balance the source in the stereo image. When the control is turned fully right or left you feed on
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Master Section 1 PHANTOM POWER Many professional condenser mics need PHANTOM POWER, which is a method of sending a powering voltage down the same wires as the mic signal. Press the switch to enable the +48V power to all of the MIC inputs. The adjacent LED illuminates when the power is active. TAKE CARE when using unbalanced mics which may be damaged by the phantom power voltage. Balanced dynamic mics can normally be used with phantom power switched on (contact your micro- 1 2 phone manufactur
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AUX AFLs Just like the PFL switches on the channels, you can monitor each AUX out- put by pressing the AFL switch. This routes the AUX output signal to the MONITOR or PHONES, replacing any existing signal (normally the Monitor receives either MIX, SUB or 2TK, see above). The METERS also switch from the selected source to display the PFL/AFL signal and the PFL/AFL LED lights 1 2 to warn that a PFL or AFL switch is pressed. When you release the switch the Monitor swaps back to the previous sou
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USING YOUR FOLIO SX CONSOLE he final sound from your P.A. system can only ever be as good as the weakest link in the Tchain, and especially important is the quality of the source signal because this is the starting point of the chain. Just as you need to become familiar with the control functions of your mixer, so you must recognise the importance of correct choice of inputs, microphone placement and input channel settings. However, no amount of careful setting up can take account of the spon-
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l Repeat this procedure on other channels as required. As more channels are added to the mix, the meters may move into the red section. Adjust the overall level using the Master Faders if necessary. l Listen carefully for the characteristic sound of `feedback. If you cannot achieve satis- factory input level setting without feedback, check microphone and speaker place- ment and repeat the exercise. If feedback persists, it may be necessary to use a Graphic Equaliser to reduce the system res
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Advanced Features 1 DIRECT OUTPUT The Direct outputs on the first eight channels allow you to record signals direct to a multitrack tape machine. Normally they are set POST-FADER but can be changed to PRE-FADER by moving the internal PRE/POST switch (13) accessible through an aper- ture covered by a grommet beside the fader on channel 1 (see below). POST-FADE PRE-FADE In the POST-FADER position the outputs may be used as individual effects sends or to provide fader control of recording levels
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USING THE FOLIO SX ON LOCATION The FOLIO SX may be powered from a DC source of 11-18V using the optional Portapower unit, for applications where a source of mains power is unavailable. Contact your dealer for further details, quoting Spirit Part No ZZ2849. Page 19
