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© Soundcraft Electronics Ltd. 1991 All rights reserved Issue 1 Part No. ZZ2727 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, electronic, elec
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User Guide Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Basic Principles of Monitor Mixing . . . . . . . . . . . . . 5 Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . 8 Connections and Connectors . . . . . . . . . . . . . . . 8 Fault Finding Guide . . . . . . . . . . . . . . . . . . . 10 Getting to know your console . . . . . . . . . . . .
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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
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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
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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 freque
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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 engi
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GETTING STARTED CONNECTIONS AND Although this may seem a simple subject, faulty connectors and CONNECTORS 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 ⁄ " three pole (‘A’ gauge) jacks. These are u
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Balanced and All channel inputs are balanced, i.e. there are separate Unbalanced +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 col
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Source GROUND COMPENSATED TO BALANCED Input + + -- GND SENSE GND LINK Source UNBALANCED TO BALANCED Input + + - GND LINK Source UNBALANCED TO UNBALANCED Input + + 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- phone
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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 i
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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. MICROPHONE 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
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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 ⁄ "‘‘A’ gauge jack socket, to accept 4 balanced or unbalanced line level sources when the LINE switch(5) is pressed. Unlike the low impedance Microphone input, this stage presents a h
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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. EQUALISER 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
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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 suppressed very precisely. 9. MONITOR 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
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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. CHANNEL FADER
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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 r
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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. D.C. POWER SOCKET 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. 2. WEDGE OUTPUT The WEDGE output normally drives the engineer’s monitor speaker via a power amplifier, a
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or plugged in via a cable. 6. BARGRAPH 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 m
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the bargraph reading. 13. HEADPHONE VOLUME The master volume control for the wedge or PFL signal being fed to the headphone socket (4). 14. WEDGE FADER The master fader for the Submix or PFL signals feeding the USING YOUR SPIRIT Monitor 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
