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M-SERIES USER GUIDE

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1. 8 a A N Put kuud t t oi ku a ku a kui t A Put ku S 4 N 4 N 4 N 7 N 4 N 4 N 4 N 4 N 4 N z N 4 N z N 7 N AFL 1 pi 9 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 POST AUX POST AUX POST AUX POST AUX POST 1 7 AUX POST 1 AUX POST AUX POST 1 7 AUX POST AUX POST 1 AUX POST 7 AUX POST 7 AUX 7 AUXMAST3 N Y N N Y Y N E hy E w Y N Y N Y Na w Y Y N Y 3 3 3 3 3 3 3 3 3 3 3 3 1 2 ee O O O 1 E lo a 050 4 N 4 N 4 N 4 N z N 7 N 4 N 4 N 4 N 7 N 4 N 4 N 4 N 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 AFL 20 POST v Z AUX POST AUX POST 17 AUX POST 17 AUX POST N 17 AUX POST AUX POST x 7 AUX POST y AUX POST v AUX POST 1 AUX POST AUX POST y AUX 17 AUXMAST4 O 9 Y N Y k 4 pe w ie Y Y e Y Me po Me x N N N pe a 20 1 11 11 71 1 1 1 ui Sea ey lt i lt a lt E lt pi lt A lt a lt E lt 7 lt se o 7 lt lt P lt O 3 O 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 AFL 1 0 4 PAN 1 1 PAN 1 0 4 PAN 1 1 PAN 1 0 4 PAN 1 1 PAN 1 0 4 PAN 1 1 PAN 1 0 4 BAL 4 0 4 BAL 1 0 4 BAL 1 9 1 BAL OO 2 gt 2 20 2 2 2 a 2 2 4 2 20 f 2 2 i 2 2 2 2 2 W 2 2 2 2 2 2 2 O 3 O 202 HOS s0 LOS HOS FOS HOS HOS 20 HOS 09 SOS 530 47 4 47 Na 47 Na A7 4 47 4 47 Na 4
2. s1 Sk s m GL s1 ska a1q k 1 14 m sk A i GL 7 m a kr E af lan 0 fata pr as ae la pr an F fas e an las pr jar a po ja A a F il sc g ii g E Ga sg E g 6 G L 5 m Gg 62 6 cg e _ sg FF 6 g ou o m o fos fom fos m pon o0 bs m fom 0o F jon Jom pom Jo jho jo A re g Gg 58 cg 6 56 cg SO 5 ki g Ss g E E 6 Ss E 56 E l 01 ol ol a o oua ou a ol o01 o ub aa uw wba ol 7144 14V Mad DIS Wad DIS Wad DIS Wad DIS Mad DIS Mad DIS Wad DIS Mad DIS Mad DIS Mad DIS Mad DIS Wad DIS Mad DIS Mad DIS Mad DIS Mad DIS 0108 O OT 2 GIO G rG CC lA C O OIO O J GI UIO A O OI 6 a OJO O O Hd Hd Hd Td Hd Hd Hd Hd Hd Hd Hd Hd Hd Hd Jud Jud Jud Jud Jud Jud Jud Jud Jud Jud Jud Jud MOUN Tou e 19380 193810 193810 193810 193410 193410 Joad 193810 193810 193410 193410 193410 O O Cak ar a E a a a a la la Il a Os O INN LNN an JUAN INN Uw N 2UNN INN JAN aw ON an INN INN wo N O 7 O 0 Na Se zaw pS yy YON Py PON a a vy yo yy pis A a ey PON Si KO ii a a pon rs A Py K W a es pid yy yi fs O 202202204 204 204 204 ECA ECAP ECA 204202204 20 20 20 202 Or nO Spi yO AN MAS AMM O AMA ENDS EIA yy Re ee OtO S Wat o Tato Tato Wat o Nd 0 Nd
3. SPIRIT SERIES GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN RETURNS GAIN GAIN RETURN MASTER 20 20 20 20 20 20 20 5 5 5 5 i l ie is 12 MA SPIRIT 10 730 10 HO 10 2730 10 2130 10 730 10 730 10 Pu 3 vt 3 vt 3 Pri 3 T e e O O e O ls ee IAE a la Y N A N A N 7 N OA z A i N BON ZON RON 1 9 1 9 9 1 x 9 M 5 60dB 5 60dB 5 60dB 5 600B 5 600B 5 600B 5 60dB 10 10 10 0 10 4100 4100 100 A400 400 100 400 Hz Hz Hz Hz Hz Hz Hz DIGITAL DUT 3 0 3 HF 3 0 3 HF 3 0 3 HF g 0 3 HF g 0t3 HF 0tg HF 0 g HF MUE 6 6 64 7 6 6 7 6 6 7 6 6 7 6 n 7 6 6 7 6 051102 Aa 127 12 127 1 127 12 127 12 127 or 127 1412 127 12 P B LEVEL MONITOR 15 49 15 15 49 15 15 49 15 15 49 15 15 49 15 15 49 15 15 49 15 E EY 4 MID v17 MID v17 MID 7 MID v17 MID v17 MID v17 MID 3 17 7 3 7 7 za A Pa Y Y Pa Y Wi A N a OH OU SOU O24 JOH 5041 20 0 sO a A ny A e A a A N ee ww 17 9 17 9 240 6kHz 2407 6kHz 240 N6ktiz 2407 NGktiz 2407 N6ktiz 2407 6kHz 2407 N6ktiz 2407 6kHz Vi 3 0 3 3 Ot 3 70 3 g Ot 370t3 370t3 3 0 g 370 3 370t3 HF 3703 HF 370t3 HF 3703 HF a 1 0 0 6 7 6 Bv 7 0 64 7 6 6 7 6 6s 75 647 86 60 7 6 i 7 6 6 6 LAY E e J 47 8 24 229146
4. 88888888866666666606588888888868886866688686 444 6 17 50 482 6 19 00 annannananannnn Hi 0000060886688880808000000066688688888000000066888888888000 12 5 0 49 29 5 1 16 USER GUIDE M4 DIMENSIONS All dimensions are in millimetres Inches shown in brackets 17 2 0 68 118 7 4 67 43 1 1 70 522 7 20 58 396 9 15 63 335 4 13 20 66886686886886886886888886888888886886888888 4 MMMMMMMMM M 42 5 1 67 118 0 4 65 490 1 19 30 483 6 19 04 Fitinto 11U 355 9 14 01 373 4 14 70 anonnnnnn M 0006800000880000088000008800006890000880008888 12 5 0 49 29 5 1 16 335 4 13 20 APPENDIX 1 TYPICAL CONNECTING LEADS Balanced Line Inputs Mix L amp R Outputs Stereo Inputs Auxiliary Outputs TIP O 09 Tip gt gt
5. 25 25 25 2 25 25 25 25 gt 25 3B 30 230 30 30 30 30 30 30 30 30 20 30 n OO 00 OO OO lt Oo OO OO OD OO OO OO k OO OO Ce e r SOUNOCIA vi CONTROL POSITION MARKUP SHEETS To assist you in restoring the console to a previous setting e g for different bands on a gig you may photocopy these pages as many times as you like and use them for mak ing a note of your control positions USER GUIDE Site SERIES BIDPUNOS 2 e o o oo o o co o on oa m ox o om o o Hm eo m co co ws E ves foes a o Joa pH FE jai joes pH fos paz E fai o jaz fF e HH jos po e A m m 7 ls ea E Gg Z BA GZ gg ga gz wa z zo ga gza ga Ta ae FE w4e R R R 0 0 R RO ao Ra R Ra 0 RO 07 Ra gz gq a
6. 0 Nyd 0 Nvd 0 Nvd 0 Nd 0 Nd 0 Nd 0 Nd 0 Nd 0 Nd 0 Nd 0 o 0 oF 0 o 0 o 0 o 0 o 0 OF 0 01 0 o 0 01 0 o 0 OF 0 01 0 o 0 o 0 o 0 OF 0 O E O N NS Ed NY Ze N fi N Z N l A N PA N y A N L S Ed N Pe N 74 NS L N L l ES ola 11221 111 ade le LC La lee eo 120 lol ll Os O xv XAY N 1804 yny N 1804 yay 1804 yay 180d yay N 180d xn 1804 yay N 180d xn 1804 yay 180d yay 1804 yay 180d yay 180d xw 1804 yay 180d yay 480d yay N 180d Cad o 0 ol 01 0 o 0 o 0 o 0 01 0 o 0 o 0 ol 0 o 0 o 0 o 0 ol 0 N L z L N A N L N va N A N L N A N A E Z N L N a N L E L J 1170121 1 11 74 21 E ASW lt SO a BA REAL as ELAS ork AE SAE t e ae rae a M Bp E or Eki A E KD a a ji A XNY Xn 1S0d XNY 1S0d Xn 1S0d XNnY 180d XAV 1S0d Sit gt 504 Xn 1S0d a M XAV 180d Xn 1S0d Xn 1S0d XNY 1S0d ay gt sod XAV 180d XAV 1S0d Xn 1S0d ka di o 0 o 01 o o 0 o o 0 01 o 0 o 0 o ok 0 01 o 0 o 0 o o 0 6 ot N L Xx L N A N L Y Ed N L bS N Li KS ri N L N L W Y Y A N e N Ed N bs Y 60 1 1 1 1 1 1 1 1 1 01 211 21 1 s Ly XV 0 xay 1 gn RES liyny 18 ln ANA oo i A AN 1 n n jy LL ijay E lg 1 ES lg 1 lm 1 A on o 0 ol 0 01 0 01 0 o 0 o 0 ol 0 01 0 o 0 o 0 o 0 ol 0 01 0 o 0 o 0 o 0 ol 0 SINOHd A N A Y N A N 7 N L Ne 4 A N L N Ed N VA pi A W A N A N Ed S y Y e 0 gt MO e a
7. 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 Note that some sound equipment particularly that intended for domestic use operates at a lower level 10dBV than professional equipment and will therefore need a higher gain setting to give the same output level See Initial Set Up on page 23 to learn how to set GAIN correctly O 100Hz HI PASS FILTER Pressing this switch activates a steep 18dB per octave filter which reduces the level of bass frequencies only and is a real bonus for a such a small mixer Use this in live PA situations to clean up the mix reducing stage rumble or popping from microphones EQUALISER The Equaliser EQ allows fine manipulation of the sound particularly to improve the sound in live PA applications where the original signal is often far from ideal and where SA slight boosting or cutting of particular voice frequencies can really make a difference to clarity There are three sections giving the sort of control usually only found on much larger mixers The EQ knobs can have a dramatic effect so use them sparingly and listen carefully as you change any settings so that you get to know how they affect the sound 2 100Hz Frequency Hz HF EQ Turn to the right to boost high treble frequencies ab
8. 12 12 12 12 pi 15 15 15 15 15 15 15 15 5 15 157 45 a Un a Of P B REPLACE MIX o io PRE ly AUX PRE AUX PRE ly AUX PRE x z AUX PRE 7 AUX PRE 7 AUX PRE 7 AUX PRE 7 AUX AUX MAST 1 D 1 D 1 0 1 AD 1 0 1 20 1 CY 1 ad 1 MP C ZOT 4 ZON 2N ES Z T p DA ZON 2N AFL PHONES 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 gee PRE ly AUX PRE AUX PRE ox ly AUX PRE AUX PRE ox AUX PRE 7 AUX PRE 7 AUX PRE 7 AUX ly AUXMAST 3S ly 7 ZON 27N 27N LON pon LON ZOOUN ZN A AFL L e Q 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 POST 7 AUX POST 1 y AUX POST y 7 AUX POST x 1 7 AUX POST 1 y AUX POST x 1 7 AUX POST 1 y AUX POST x3 7 AUX ly AUXMAST3 POT SOT SON SOT 202 207 SOT RO 02 O 9x0 2N 47 AT FON ZON 0 POR ZON OU 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 1 AFL O rO POST 7 AUX POST 1 y AUX POST y 7 AUX POST x 1 7 AUX POST x3 1 7 AUX POST 7 AUX POST x3 1 y AUX POST 1 7 AUX ly AUX MAST 4 O 9 SOT SOT SO 20 20 208 ZOE 207 20 O 18 TO ER A FON ZON ZON AFL Og Q 10 Q 10 Q 10 Q 10 0 10 0 10 0 10 0 10 0 10 4 i 1 PAN 1 1 4 PAN 1 i 1 PAN 1 Ni 1 PAN 1 i 1 BAL 4 i 1 BAL 1 0 1 BAL 4 o 1 BAL O 0 O 2 2 e A 20 2 2 2 as 2 Bi E s SA 2 a qe O 3 O 204 208 208 HOS 202 202 202 20 36 A a TU 47 yp A 47 V4 47 V4 47 7 04 4 4 4 e dy E 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 O 20 O e OILO E ES OO Mn
9. GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN RETURNS GAIN GAIN RETURN MASTER MONO SUM P B PFL O P B REPLACE MIX AUX MAST 1 m a b b bowo 6 SAN 000000000000 OCOOO000000000 a gt SIG o o o o e e T o 10 10 10 10 10 10 20 20 20 20 20 20 20 20 20 30 30 30 30 40 30 30 30 30 30 30 STE 2 STE 3 STE 4 MIX 1 2 3 Soundcraft nos OE To get you working as fast as possible this manual begins with a 10 second tutorial Here you can find quick information on any feature of the console and a page reference e where you can find a more detailed explanation THE 10 SECOND TUTOR MIC INPUT XLR Connect Microphones here If you are using a condensor mic WARNING Do Not apply ensure phantom power is supplied by pressing
10. Jack device The signal is sent from the tip of the jack plug and the return path comes back in on the ring of the jack plug OY S PDIF OUTPUT This is a digital version of the Mix Output and can be used to send any source or the entire mix to a digital recorder or computer sequencer via the appropriate hardware O MONITOR O Ps These are used to feed your monitoring system This can be directly to powered monitors or 4 Jack indirectly via an amplifier to standard monitors CD MASTER FADER This fader controls the overall level of the mix bus _ AUX MASTERS These controls can be used to adjust the overall level of a specific auxiliary send to an effects unit MAIN METERS These show the level of the mix outputs When the PFL AFL LED is lit the meters show the level of the signal sourced O MONITOR CONTROL This controls the level of the signal sent to your monitoring system PHONES CONTROL This controls the level of the signal sent to the headphones jack socket CD MONO SUM CONTROL This controls the level of the signal sent to the mono sum output AUX OUTPUTS These four outputs can be used to send the channel signal to an FX unit or an artist s monitors Ya Jack headphones in ear stage monitors Aux 1 amp 2 are pre fade Aux 3 amp 4 are post fade STEREO RETURN INPUTS These four inputs can be used to connect the return signal from an FX unit or a stereo feed from RCA Phono consumer devices such as CD Players Minidisc etc The level of thes
11. Loop Amplifier Right Signal with ground connected WARNING Under NO circumstances must the mains earth be disconnected from the mains lead PROBLEM SOLVING Basic problem solving is within the scope of any user if a few basic rules are followed e Get to know the Block Diagram of your console see page 36 e Get to know what all parameters and or connection in the system are supposed to do e 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 through the system Once you have become familiar with the various component blocks you will find the Block Diagram is quite easy to follow and you will have gained a valuable understand ing 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 e Swap input connections to check that the source is really present Check both Mic and Line inputs e Eliminate sections of the channel by using the insert point to re route the signal to other inputs that are known to
12. O e e a ap 8 e ae e s Y 6 o o OY xny IA y 718 ly 1 gt yay 1 gt yay 1 way TA yay 1 ly 1 gt yay SES ly 1 ly 1S ny 1 gt By 1 ly TA hay 7 TA ly 1S H4 6 Z MANMAN ad SSI AU A A Io S skh shh 4 2 9 us shh shh shh A St sh A sh St m 3 dle aks Bak ot A YO ae lala ol bs zk hk ala Na as od bs ab z ile AN E lala AV 4 C ge 6 6 6 6 AO 6 SAKS J a Ri Le 2 6 O E se 5617 ie ale Se ie e s s a N Z Ne va N N ra S Pi N L 7 Sy La N va 7 SS va e Y IN ME wel wa m SA W ry an 08 2108 nt AS on Es JIN ae G sai a a 0 ey epi FO a N 0 sh dill FRE ay 11 10 as TI FS ja 11 105 ki 11 0 sh dla FOS a 11 0 TI 0 pi 11 BO a 11 0 sh dla 08 ay 11 0 a YOLINOW 7 K 7 7 ia 7 di FK O e b S aa 202 POU Or a ee ae KOZ POU e B a OS POU e as o FS SA SA AN AA oe a i SA TN enn A i Wan SA IS E NA sd ari a ae re ave 9 ove zumo n yon amo How amo t ove amo t oe z edi ore zHy9 yo ore ava yo ore ava Hop amo TO ove zmno 7 yon zum yo ore N a N e Y Y S pe ing ss L ni A a Wg sx Y 8 Q c 8 gpzz 0 apzz 0 apzz 0 apzz 0 ok Of ag Of 1 17 Se 17 Se Y X 2 N7 NSN Pa N Pa XN Pa a a N Ss Pa N Pa xa Pa a Pa SN PA A a US 41 a CO CO Ok am law p GIN 1 GIN dl A GIN YAN GIN 1 GIN 1 GIN 1 dl 1 A GIN YAN GIN 1 a ei op Tb q ap Jet g gi Heh gy gi Jh gy GL WE gy gp W
13. OO MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE O e C Gwo DIRECT C DIRECT C DIRECT C DIRECT C C a C O L der R PRE PRE PRE PRE PFL PFL PFL PFL PFL PFL PFL PFL O O 0O O O O O O 0O LOS O O OQ O SOLO SIG PEAK SIG PEAK SIG PEAK SIG PEAK SIG PEAK SIG PEAK SIG PEAK SIG PEAK AFL PFL n t0 a 0 t0 rv 10 0 10 j 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 i 00 10 10 1 10 1 reo 0 15 6 1 6 15 56 i 15 35 20 2 20 20 2 20 20 2 30 ma 25 25 r 25 25 2 2 2 D 30 H 30 30 30 30 30 30 30 _ 4 o c so co m A OO A OO _ o m OO oOo SO 1 2 3 Soundcraft ron STE 1 STE 2 STE 3 STE 4 MIX CONTROL POSITION MARKUP SHEETS To assist you in restoring the console to a previous setting e g for different bands on a gig you may photocopy these pages as many times as you like and use them for mak ing a note of your control positions USER GUIDE
14. Sides W 506 19 97 x H 119 4 7 x D 523 20 6 M8 12 No Sides rackmount W 483 19 0 x H 119 4 7 x D 490 19 3 WEIGHT Sissi died a MIA AR a AS fe 6 75Kg 14 8lbs MG tcs osa boa a e dla 8 25Kg 18 1lbs PP Bane Sees LOR AAA e Raha n AA do 8 55Kg 18 8lbs INRUSH CURRENT M SERIES FAMILY na Worst Case M12 115V AC 4 Amps Peak AVERAGE POWER CONSUMPTION QUIESCENT A A he dunes ad ewe a ee 19 51 Watts IVS v sik ere Seg se cebada ae 24 48 Watts A et cok anes a Criteria ee antenna da na Sie eames 30 00 Watts MIN MAX OPERATING TEMPERATURE M SERIES FAMILY Centigrade Farenheit 0 0 0 0 cee ee ee 0 C 50 C 32 F 122 F M8 8 M12 DIMENSIONS All dimensions are in millimetres Inches shown in brackets 1 43 1 1 70 522 7 20 58 Ann o O am A D e j O LO gt O o f nt M 42 5 1 67 118 0 4 65 490 1 19 30 483 6 19 04 Fit into 11U 0 0 0 0 e 0 0 O O 465 1 18 31 444 6 17 50
15. acoustic characteristics from sound check to show MICROPHONE PLACEMENT Careful microphone placement and the choice of a suitable type of microphone for the job is one of the essentials of successful sound reinforcement The diagrams on the left show the different pick up patterns for the most common types of microphone Cardioid microphones are most sensitive to sound coming from in front and hypercar dioid microphones offer even greater directivity with a small amount of pickup behind the microphone These types are ideal for recording vocalists or instruments where rejection of unwanted sounds and elimination of feedback is important The aim should be to place the microphone as close as physically 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 W n o o appreciable equalisation There are no exact rules let your ears be the judge In the end the position that gives the desired effect is the correct position INITIAL SET UP Once you have connected up your system see the sections on connection and wiring earlier in this manual for guidance you are ready to set initial positions for the controls Hypercardioid Response on your mixer The front panel drawing on page 8 shows typical initial control positions which is a useful guide to setting up the mixer for the first time S
16. ano Ring Qi ing TIP RING SLEEVE SLEEVE RING TIP Sleeve OW Sleeve p Em ED dd 2 2 ES E 3 3 Tip 1 es a 16 pe S Sleeve 3 TIP RING SLEEVE Unbalanced Direct Output Monitor Output Stereo Return Inputs Tip 1 E HULO a CI Ring 2 a Sleeve 3 TIP RING SLEEVE Tip 1 EET A T ES A e oe TIP SLEEVE Sleeve 3 1 Centre EE Al 2 lt S ae 3 Screen i Em a i ki W gt ES oo A TIP SLEEVE SLEEVE TIP Sleeve O Sleeve TIP OO Tip CD EES os m Em mZ em o O Rro TIP RING SLEEVE SLEEVE RING TIP Sleeve Sleeve KN Ip OQ OO En e Ys ai H E TIP SLEEVE n Sleeve pa AA O Screen n TIP O Centre S CE a EB Fi rw TIP RING SLEEVE 5 Sleeve Screen E 1 1 gt ES CI 2 2 Insert Cables Mono Inserts gt A a Tip send SLEEVE TIP Tip Sleeve SIT Ring TIP RING SLEEVE Sleeve Ring return A gt Sleeve SLEEVE TIP E 1 ES CI 2 send SS Tip 3 Z
17. are consumers should note their rights under this Warranty are in addition to and do not affect any other rights to which they may be entitled against the seller of the Equipment IMPORTANT SAFETY INSTRUCTIONS CAUTIONS e To avoid the risk of fire replace the mains fuse only with the correct type and value fuse as marked on the rear panel e ATTENTION Afin de r duire le risque de feu remplacer seulement avec fusible de m me type MAINS VOLTAGE SELECTION This setting is NOT User Adjustable This unit is capable of operating at either 230V AC or 115V AC mains voltages 10 which are set at the time of manufacture and marked on the rear panel It is important to ensure that the correct mains voltage is present at your mains outlet and that the cor rect fuse is fitted before switching on the unit To change the mains operating voltage refer to qualified service personnel e REPLACING MAINS FUSE Switch the ON OFF switch to the OFF position Remove the mains lead from the connector Use a small screwdriver to unscrew the fuse carrier from its location to the left of the mains power connector Check the fuse is of the correct type and value and replace if necessary also check that the voltage selection as marked on the rear panel is correct for the mains supply level before switching the unit ON again If the mains fuse fails repeatedly this may be because an electrical safety hazard exists The unit must be taken
18. dete ob sen ene ya tet lt 80dB FREQUENCY RESPONSE orar do e os da Mic Line Input to any output 20Hz to 20kHz o o 1dB ERDA deck ati ian end UA a ee re ba ee NA Wii Mic Gain 30dBu 20dBu at all outputs 1kHz lt 0 008 INPUT amp OUTPUT IMPEDANCES 0 2 nananana nnn Microphone Input wel te la pe bee 2 ka Mono Channel Line Input srn sissid 0 0 0 ce eee gt 40 kQ Stereo Input Stereo Mode 0 0 ce es gt 30 kQ Stereo Returns 1 Se ae Aleta sconce ese li cdo gt 10 kQ Headphones Ouput cad A AA ob id eee 40 Q All other audio outputs 0 0 00 cc teens 75Q INPUT amp OUTPUT LEVELS 4444248 aada aadu l ea a dik Mic Input Maximum Level 0 0 00 ee an kn knn 12 dBu Mono Channel Line Input Maximum Level 04 38 dBu Insert Point Send Return Levels o o o oo oo oo eee es 21dBu Stereo Input Maximum Level e renn nn en ene eee 21dBu Headphones 2000 2 3 iaa io a 150mw All other audio outputs e eeeereoen 21dBu into 10kQ FILTER ari aa a a OS A eee O 100Hz 18dB octave Ese a Be hE a e due e O A a HRS Laa a Ge DA O A EAN A ee aa 12KHz 15dB A A A 240Hz 6KHz 15dB LF asocian rr 60Hz 15dB DIMENSIONS cutre rasa aras aaa M4 With Sides W 397 15 6 x H 119 4 7 x D 523 20 6 M4 No Sides W 373 14 7 x H 119 4 7 x D 490 19 3 M8 12 With
19. most line level sources WARNING Start with the input GAIN knob turned fully anticlockwise when plugging high level sources into the LINE input to avoid overloading the input channel or giving you a very loud surprise LINE INPUT Accepts 3 pole A gauge jacks or 2 pole mono jacks which will automatically ground the cold input Use this input for sources other than mics such as keyboards drum machines synths tape machines or guitars The input is BALANCED for low noise and immunity from interference but you can use UNBALANCED sources by wiring up the jacks as shown although you should then keep cable lengths as short as possible to minimise interference pick up on the cable Note that the ring must be grounded if the source is unbalanced Set the input level using the GAIN knob starting with the knob turned fully anticlockwise Unplug any MIC connection when using the LINE input INSERT POINT The unbalanced pre EQ insert point is a break in the channel signal path allowing limiters compressors special EQ or other signal processing units to be added in the signal path The Insert is a 3 pole A gauge jack socket which is normally bypassed When a jack is inserted the signal path is broken just before the EQ section The signal from the channel appears on the TIP of the plug and is returned on the RING with the sleeve as a common ground The Send may be tapped off as an alternative pre fade pre EQ direct
20. switch O INPUT CHANNEL FADER The 100mm FADER with a custom designed law to give even smoother control of the overall signal level in the channel strip allows precise balancing of the various source signals being mixed to the Master Section You get most control when the input GAIN is set up correctly giving full travel on the fader See the Initial Set Up section on page 23 for help in setting a suitable signal level O DIRECT PRE POST This button switches the Direct Ouput to be set pre or post the channel fader In the UP position it is POST and in the DOWN position it is PRE O PFL Pre Fade Listen When the latching PFL switch is pressed the pre fade signal is fed to the headphones control room output and meters where it replaces the MIX The PFL AFL LED on the Master section illuminates to warn that a PFL is active This is a useful way of listening to any required input signal without interrupting the main mix for making adjustments or tracing problems When PFL is pressed anywhere on the console the Control Room outputs automatically switch from monitoring the Mix Outputs O SIGNAL PRESENT LED This LED will light when the channel signal exceeds 20dBu O PEAK LED This LED will light when the signal peaks 18dBu internal There is a three point sig nal analysis and if the signal peaks at any of these points then the LED will light a PRE EQ b POST EQ c POST FADE STEREO INPUT CHANNELS Each ster
21. 0000000 000000000 000000000 000000000 000000000 O O 29 09 8 0 0 0 00000000 SEQUENCED KEYBOARD Oooo o ODnnonon MULTITRACK TAPE RECORDER HEADPHONES gt 200R APPLICATION 1 LIVE SOUND REINFORCEMENT STAGE FOLDBACK AMPLIFIER 5 EFFECTS oll 9 o ES CASSETTE OR DAT MACHINE O Oe 10 000 7 0000 ZO OO ooo lao O Mill OO ou orf Lie COMPRESSOR LIMITER O a ae AA AMPLIFIER 4 yee y MONO FILL MAIN PA LEFT AND RIGHT USING DELAY IN REINFORCEMENT SYSTEMS The drawing below illustrates how to calculate delay settings for fill speakers in multiple speaker installations Front of House A If speed of sound 330m s 2 150m 50m 100m Y 100m 330 0 3s i e Delay should be 0 3s Speed of light e 150m 2 gt vs O Delay Tower USER GUIDE APPLICATION 2 MULTISPE
22. 14 ee el me 127 12 127 12 127 512 127 12 127 512 127 12 127 512 12 512 127 512 12 12 12 12 127 gt 12 MONO SUM 57 Mp 5 M5 57 s 5 M5 157 Mg 5 M5 6 5 5 15 157 s 157 M5 157 s 157 M5 P B AFL 37043 LF ads LF 37043 LF 3703 LF 3 3 LF 37043 LF ads LE anota LE 37043 LF 37043 LF 370 3 LF 37043 LF m 4 5 6 6 6 6 6 64 7 6 617 86 64 7 6 6 6 6 6 6 6 68 86 64 7 6 64 7 6 64 6 ee ee 8 Eo Eee fa e on aa a ei e Nen a 127 12 127 12 127 ole 127 cle 122 MARY or 127 12 127 12 127 12 127 Wol ka ole 127 i y Sa 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 P B REPLACE MIX En PRE 7 AUX PRE ox AUX PRE z AUX pre 7 AUX PRE 7z AUX PRE y 7 AUX PRE 7 AUX PRE 3 AUX PRE 7 AUX PRE 13 AUX PRE 7 AUX PRE 7 AUX 17 AUXMAST1 N g E 1 i Y 1 ka g Pa 1 a i Y 1 N 7 1 N i Y 1 W i Y 1 N i Y 1 his l pe 1 i Pe 1 l Y 1 N g Y 1 N Y 7 de x 7 7 A 7 a lt gt o is S W lt W y PHONES 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 AFL 5 PRE 7 AUX PRE s 7 AUX PRE l 7 AUX PR 7 AUX PRE 131 AUX PRE 7 AUX PRE 7 AUX PRE 13 AUX PRE 7 AUX PRE x 7 AUX PRE 7 AUX PRE 7 AUX 57 AUXMAST 2 3 a Pi 7 ty Y w Y N P N Y N Pa lk 3 E L N Y N N Y A N Y N F Solo 1 1 1 eee TE EI PO oe v gt a a E E l E 3 a a M a a a 2
23. 7 Na 47 Na 47 4 47 4 47 Na 47 4 gh s e gt 5 Y s7 No 5 Og gf Sa 5 OS s Se 57 No sf Na gOS 57 YG O20 O O O O O C O Ol O Q 2O MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE O 10 O 2 DIRECT O DIRECT O DIRECT OS DIRECT O DIRECT OS DIRECT OS DIRECT OS DIRECT OS C C O O L dr R PRE PRE PRE PRE PRE PRE PRE PRE PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL O O 0 G Ma O O e ws O a G 9 O O O O G cy 4 G Q o E SOLO SIG PEAK SIG PEAK SIG PEAK SIG PEAK SIG PEAK SIG PEAK SIG PEAK SIG PEAK SIG PEAK SIG PEAK SIG PEAK SIG PEAK AFL PFL 10 10 H10 10 10 10 10 10 10 10 10 10 5 5 _ 5 5 5 5 5 5 5 5 5 5 5 FF e mu m ju as o_o 10 5 5 5 5 5 5 5 5 5 5 5 5 Eb 10 200 10 10 0 10 10 10 10 10 10 10 2M hb 15 eb tb 15 15 15 15 L 15 15 15 L1 Fae 2 La 2 2 2 2 20 20 20 2 20 20 3M0 25 25
24. AKER APPLICATIONS This configuration demonstrates how multiple speaker configurations can be driven by the Spirit M Range FILL FILL BACK FILL e i e a FOH MONITOR B i al 9 0 9 Jo AMPLIFIER Ol 22 22 22 22 5 5 Ta a al i lo 5 o gt 29 99 Oe el e 9 a e OU Jo AMPLIFIER KAA ES BITE tt 058 SS AAA eti AA Se GRAPHIC EA AMPLIFIER AMPLIFIER DIRECTOUT1 DIRECTOUT2 DIRECTOUTG DIRECTOUT4 DIRECTOUTS DIRECTOUT6 DIRECTOUT DIRECTOUT 8 aki 00000010 0 0 0101010101001010 INSTRUMENT AND VOCAL SOURCES GRAPHIC EQ ON INSERT y APPLICATION 3 PLACES OF WORSHIP This mono configuration uses the Mono output to drive the main speaker system and an induction loop for the hard of hearing Aux sends are used for monitors and effects and Mix L amp R feed a cassette or DAT machine to record the occasion if required AMPLIFIER 5 o EFFECTS E o 7 SS Osi e MUSIC AND VOICE MONITORS INSTRUMENT AND VOCAL SOURCES E o ol e kal Ja E cou m SS mon CASSETTE OR DAT MACHINE INDUC
25. ARNINGS Read these instructions e Keep these instructions Heed all warnings Follow all instructions e This unit contains no user serviceable parts Refer all servicing to a qualified service engineer through the appropriate Soundcraft dealer Clean only with a damp cloth DO NOT block any of the ventilation openings DO NOT install where air cannot flow over the rear of the unit DO Install in accordance with the manufacturers instructions CONTENTS Page Overview E The 10 Second Tutor ES Introduction O 7 Advice for Those Who Push the Boundaries O Installation 8 Safety Precautions An Wiring Up 1 ee Mono Input Channels li Stereo Input Channels Sis Master Section AHO Using Your Spirit M Series Console L SE Advanced Features ES Application 1 Live Sound Reinforcement N Application 2 Multispeaker Applications AAA eee Application 3 Places of Worship SE Application 4 Recording ee Application 5 Linking Two Spirit M Series Consoles E Care of Your Mixer O Glossary E Typical Specifications enn Dimensions Appendix 1 Typical Connecting Leads __________ _ _ ES System Block Diagram Control Position Markup Sheets 1 tenn 7 USER GUIDE OVERVIEW DIRECT OUT 1 DIRECT OUT 2 DIRECT OUT 3 DIRECT OUT 4 DIRECT OUT 5 DIRECT OUT 6 DIRECT OUT 7 MONO SUM MIXINSERT SPIRIT S DIGITAL OUT GAIN
26. E gy gp Wt gy gy M gy gy UE gy gi WE gy ci WE gy WNS ONON 7 7 oo 5 6 ASON ca 6 0 E b Ue OS a 6 76 6 ze e ab L SAN 6 6 6 76 6 ze e ze A 6 6 6 6 977 x 9 97 x 9 97 x 9 377 x 9 4411 8 MN 977 x 9 97 x 9 377 x 9 9 jv 9 97 jv 9 no 1v1191a dH 0o faH A faH o IN NI O aH Esa 00 001 ou 001 LAN 00 001 MA od 001 00h 00 MOI G MOI G gP09 G MOY G apos anos Kai LN O G gpo9 g arog apos ka N v A Li idS O LO LO O le Au XO O On Ol 0 Dot 0 zort 08 OL 0 Dot oe Ol oe Ol ope 0 Dot 08 7 Dot 0847 Ol e 02 02 02 02 02 02 NIV9 SNYNLIY NIV9 NIV9 NIV9 NIV9 NIV ee de m NIV9 NIV gon s CONTROL POSITION MARKUP SHEETS To assist you in restoring the console to a previous setting e g for different bands on a gig you may photocopy these pages as many times as you like and use them for mak Va Cc ge A O a O L Cc O UV gt O gt q O uw O Cc Do USER GUIDE Soundcraft Harman International Industries Limited Cranborne House Cranborne Road Potters Bar Hertfordshire EN6 3JN UK Tel 44 0 1707 665000 Fax 44 0 1707 660742 Email spiritinfo soundcraft com Soundcraft USA 1449 Donelson Pike Nashville TN 37217 USA Tel 1 615 360 0707 Toll free 1 800 255 4363 Fax 1 615 360 0273 Email
27. IL gt Ring TIP RING SLEEVE gt Sleeve 1 2 return 3 sl O e Centre send Ja Tip Screen E WE di TIP RING SLEEVE E Sleeve Centre return _ EE Screen USER GUIDE Y Cables Balanced Where used Aux Mix outputs Tip ES Rin gt Er g gt a SLEEVE RING TIP Tip Sleeve TE Ring Sleeve Ti TIP RING SLEEVE ip gt MS Ring Sleeve SLEEVE RING TIP EE 1 ess es CI e 2 gt 1 3 e t E5 3 4 ex gt a e 2 3 c 1 A e ki gt Tip 3 ZIL gt Ring gt TIP RING SLEEVE Sleeve 4 Ge Cl 2 3 Headphone Separator Note for every doubling of headphones the load impedance is halved Do not go below 200R Tip 0 Ring Tip Sleeve SIT Ring TIP RING SLEEVE 0 Sleeve Tip Ring Sleeve ID er INE a Tip Left SLEEVE TIP Tip Sleeve SIT Ring TIP RING SLEEVE Sleeve Tip Right menn ID Sleeve SLEEVE TIP 3 Y C
28. INE INPUT Accepts 3 pole A gauge TRS jacks Use this input for sources other than mics such as keyboards drum machines synths tape machines or guitars The input is BALANCED for low noise and top quality from professional equipment but you can use UNBALANCED sources by wiring up the jacks as shown below although you should then keep cable lengths as short as possible Unplug anything in the MIC input if you want to use this socket Set the input level using the GAIN knob O INSERT POINT ALTERNATIVE DIRECT SEND The unbalanced pre EQ insert point is a break in the channel signal path allowing limiters compressors special EQ or other signal processing units to be added in the signal path The Insert is a 3 pole A gauge jack socket which is normally bypassed When a jack is inserted the signal path is broken just before the EQ section The Send may be tapped off as an alternative pre fade pre EQ direct output if required using a lead with tip and ring shorted together so that the signal path is not interrupted see below 4 A Mono pre fade Insert Point Signal Seno direct send Ei Screen RCA phono 20 Centre Screen XLR E GAIN 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
29. M SERIES USER GUIDE SAFETY GUIDE Page Safety Symbol Guide en Approvals and Notice EN Warranty E Important Safety Instructions T Cautions E Warnings SY USER GUIDE SAFETY SYMBOL GUIDE For your own safety and to avoid invalidation of the warranty all text marked with these Symbols should be read carefully CAUTIONS Must be followed carefully to avoid bodily injury WARNINGS Must be observed to avoid damage to your equipment NOTES Contain important information and useful tips on the operation of your equipment IMPORTANT Please read this manual carefully before connecting your Mixer to the mains for the first time This equipment complies with the EMC directive 89 336 EEC and LVD 73 23 EEC and 93 68 EEC Environment El E4 This product is approved to Product Part Nos safety standards M4 RW5631 EN60065 1994 UK EU M8 RW5632 UL6500 1996 US M12 RW5633 CSA E65 1994 CAN Inrush Current 4 Amps Peak For further details contact Harman International Industries Ltd Cranborne House Cranborne Road Potters Bar Hertfordshire EN6 3JN UK Tel 44 0 1707 665000 Fax 44 0 1707 660482 e mail info soundcraft com Harman International Industries Ltd 2001 All rights reserved Parts of the design of this product may be protected by worldwide patents Part No ZM0252 Issue 1 2 Soundcraft Is a trading division of Harman International Industries Ltd Information
30. NIS TTV TANNVHO ONON MVE UIZ i ONOW L4317 w napoz ND 1N3S38d DIS E Z qu ngp41 gt di Mad ai MSP UZ ZHOOL 4 ait OSTA IVO 1YISNI N AZ uiz lt YIMOd WOLNVHd A8vt ae USER GUIDE EG EEES GAIN GAIN GAIN GAIN GAIN RETURNS GAIN GAIN RETURN MASTER 20 20 20 20 458 155 a 4 Ho 30 Pao 30 J to EST Ma a 177 ele Se SPIRIT O O O 01 Cz ZON ZON ZON ZON 1 TY e n 4 5 60dB 5 60dB 5 60dB 5 60dB 10 0 10 0 10 i m An rae ki ou OU Ou Ce O OO BraitaL oun e ln t MN ae D oe us kli EE O oe 6 17 8 a YA ye E O a a O j ge O ke es OS s GAIN sal GAIN p GAIN fe GAIN 127 512 127 E 1 127 ie ee Vly Vl yl P B LEVEL MONO SUM S a z S a KAN vf C E E C 2 E e a a 22dB 0 22dB 0 22dB 0 2208 C ar T gt E Pa Ss a s s T So 240 N6ktiz 2407 BkHz 240 N6ktz 2407 N6ktiz E 0 10 3 a 3 we 3 ga 3 0 3 3 ta HF 3 Ure HF 3 a 3 HF 3 0 3 HF 0 10 6 1 Zo s 1756 EN 7 8 NI oe s 178 T 8 20 20312041 2031 SOs EOS FOS LOS 02 O 2241 k i YO Z 12 127 vt 127 vt 127 Ya 127 va Ek MONITOR 3 MAE LF 3 a LF 3 dra LF 3 0 3 LF 3 Ta LF 3 MW LF 3 k 3 LF 3 T3 LF 4 i 6 ku 48 BL YA e E s a Ye MA ai KAY TIS uL a TORDE 20215024 0 EO e03 s02 s02 202 Bee 127 ia 127 421 127 iz 4 12 ya S p 17 g N N N 2 12 12 12 12
31. TION Thank you for purchasing a Soundcraft mixer We take great pride in our latest addition to the Spirit range of mixing consoles you have taken a step in the right direction and should never look back The Packaging which your Spirit M Series arrived in forms part of the product and must be retained for future use Owning a Soundcraft console brings you the expertise and support of one of the industry s leading manufacturers and the results of nearly 3 decades of supporting some of the biggest names in the business Our knowledge has been attained though working in close contact with leading professionals and institutes to bring you prod ucts designed to get the best possible results from your mixing Built to the highest standards using quality components and surface mount technology the Spirit M Series is designed to be as easy to use as possible We have spent years researching the most efficient methods of control for two key reasons 1 Engineers musicians writers and programmers all need to have very few interrup tions to the creative process our products have been designed to be almost transpar ent allowing this process to breathe 2 Whether performing or recording time is a very expensive and rare commodity Our products have a user interface which is recognised by millions to be the industry standard because of its efficiency The sonic qualities of our products are exemplary some of the same circuits which are us
32. TION LOOP AMP oo oooO INDUCTION LOOP MAIN PA LEFT AND RIGHT APPLICATION 4 RECORDING The direct outputs on channels 1 8 may be used to feed a multitrack recorder as shown The direct outputs should be set to PRE so that they are unaffected by fader position The Mix outputs are used for a preliminary stereo mix on a DAT recorder ARTIST S FOLDBACK E PASSIVE MONITORS AMPLIFIER 9 ia i2 e Se coo So ce o o o O O Pp STUDIO CONTROL ROOM ACTIVE aaa MONITORS Onim ogo ja MULTITRACK TAPE RECORDER orto our 8 MG ja foi INSTRUMENT AND 4 NANA AA O 16 VOCAL SOURCES GIG G O G O C O OG1O 4 0101010101010 Oo la MIL OEA 20000 MASTERING PROCESSOR os aa o e li o 2500 o O oaman OO CASSETTE OR DAT MACHINE APPLICATION 5 LINKING TWO SPIRIT M SERIES CONSOLES O AMPLIFIER OJ 0000 OO oo USER GUIDE CARE OF YOUR MIXER GENERAL PRECAUTIONS Do Not obstruct any of the ventila
33. ables Unbalanced 1 2 Left Ea Tip 3 SIT Ring TIP RING SLEEVE gt Sleeve 4 ES a 2 Right 3 Tip E53 Fi Ring k i SLEEVE RING TIP Tip Sleeve SIT Ring TIP RING SLEEVE pe Sleeve Tip HD Ring ES SLEEVE RING TIP Sleeve LZ ES FE Tip SLEEVE TIP Ring Sleeve lt i lt Sleeve i TIP SLEEVE Tip EE Sleeve ES SLEEVE TIP C 1 OED a 2 lt a 3 a EN Tip Sleeve E TIP SLEEVE E 1 Ss l 3 E O Centre W Tp li n Centre TIP SLEEVE EE O Screen 2 Y 0 mn SYSTEM BLOCK DIAGRAM 713437 NOW Y XIN 2 a USL 7 XIN a lt p OBE l SINOHd H 03431S ocs OT str OT io ngpr 9 EEs Agpo e mm EE a e p g 6 EHH z OMvad sit T VIINIS XAV 4194 d O EXNV lt YVTINIS ZXNV 451 d O pon L a lt lt UL LNO Y XIIN OSL LNO VXIN SYALAW 8 HOLINON 913 SdaWv SNA s3ssng 77 XIN SYALSVW LIY LS 793437 FLAN AV TT ANN PT tT Tt LTI 13v mill PT tt Manman os 1ndino HH 193810 ANN B O O am T 24 o p a dd 30Wld38 ka ad gt gt gt DOZ ZO AASA KR OO N DJ gt Dm wer YVIINIS 7 1 T a ES a9 NENL38 OSHALS cf 51 H lt a O_O O O 430V 4 DI 39NV 1VB dH 31 NIVO il o di MOVEAV ld AL GS d3143ANI SI Tdd ad ILON uiz gt I XVI NOE _ NIN YOL Z HVIINIS VALS 1315 TANNVHO OJFYIIS 14914 OK le K YVTII
34. be working Route channels to different outputs or to auxiliary sends to identify problems on the Master section w e Compare a suspect channel with an adjacent channel which has been set up rae identically Use PFL and AFL to monitor the signal in each section LI i gt e Insert contact problems may be checked by using a dummy jack with tip and ring shorted together as shown below If the signal appears when the jack is inserted it shows that there is a problem with the normalling contacts on the Dummy Insert Bypass Jack jack socket caused by wear or damage or often just dirt or dust Keep a few in your gig tool box If in doubt please contact Soundcraft customer support PRODUCTS UNDER WARRANTY USA customers should contact Alex Welti e mail awelti harman com National Service Manager at Soundcraft USA Telephone 615 360 0458 UK customers should contact their local Dealer Outside the UK and USA customers are requested to contact their territorial distributor who is able to offer support in the local time zone and language Please see the Distributor listings on our website http www soundcraft com to locate your Local Distributor OUT OF WARRANTY PRODUCTS For out of warranty consoles purchased in the United Kingdom please contact the Customer Services Department e mail csd soundcraft com at the factory in Potters Bar Hertfordshire Telephone 44 0 1707 665000 For all othe
35. cut at 12kHz LF EQ Turn to the right to boost low bass frequencies adding extra punch to synths guitars and drums Turn to the left to reduce hum boominess or improve a mushy sound Set the knob to the centre detented position when not required The control has a shelv ing response giving 15dB of boost or cut at 60Hz x O JO OD O AUX SENDS These are used to set up a separate mixes for FOLDBACK EFFECTS or recording and the combination of each the Aux Send is mixed to the respective Aux Output at the rear of the mixer For Effects it is useful for the signal to fade up and down with the fader this is called POST FADE but for Foldback or Monitor feeds it is important for the send to be independent of the fader this is called PRE FADE AUX SENDS 1 AND 2 These are always PRE FADE and therefore most appropriate for foldback or monitor mixes or external submix AUX SEND 3 AND 4 These are always POST FADE for effects sends external submix or for centre Voice cluster or mono Tape mix bd o 3 BALANCE This control sets the amount of the channel signal feeding the Left and Right 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 only that side of the signal to the mix Unity gain is provided by the control in the centre detented position O MUTE All outputs from the channel are enabled when the MUTE switch is released and muted
36. e inputs are controlled by the RET1 2 3 amp 4 controls and are sub mixed via the returns master control before being sent to the Mix Outputs STEREO INPUTS These four inputs can be used to connect line level stereo inputs from keyboards sound modules V4 Jack samplers computer based audio cards etc These inputs pass through a normal channel strip with EQ Auxes and a Balance control PLAYBACK INPUT Here you can connect the playback from your recording device RCA Phono PLAYBACK CONTROLS Use this to control the level of the playback signal There is also a PFL AFL switch and a PLAYBACK REPLACES MIX switch RETURNS MASTER This controls the overall level of the stereo return inputs There is also a MUTE switch so that you can quickly compare your mix with and without FX 000000 6 0 86 PHANTOM POWER Press this to switch the phantom power 48V on for condenser microphones WARNING Do Not apply Phantom Power before connecting a microphone MIXER POWER LED This LED will light when the unit is switched on HEADPHONES A Jack Plug your headphones into this socket SIGNAL PRESENT LED This is used to indicate the presence of a signal on a specific channel PEAK LED This is used to indicate signal clipping on a specific channel MONO SUM OUTPUT This output provides a Mono sum of the main L 8 R mix outputs 100Hz FILTER When pressed this switch significantly reduces the level of freguencies below 100Hz USER GUIDE INTRODUC
37. ed on our most expensive consoles are employed in the Spirit M Series bringing you the great Soundcraft quality in a small format console without compromise You will also be glad to know you have a one year warranty with your product from the date of purchase The Spirit M Series has been designed using the latest high end software based engineering packages Every console from Soundcraft has been proven to stand up to all the stress and rigours of modern day mixing environments The entire Spirit M Series is manufactured using some of the most advanced techniques in the world from high density surface mount PCB technology to computer aided test equipment able to measure signals well outside the range of normal hearing As each console passes through to be quality checked before packing there is also a human listening station Something we have learnt over the years is that the human touch counts and only by using people can you ensure the product meets the high demands of the user ADVICE FOR THOSE WHO PUSH THE BOUNDARIES Although your new console will not make any noise until you feed it signals it has the capability to produce sounds which when monitored through an amplifier or head phones can damage hearing over time Please take care when working with your audio if you are manipulating controls which you don t understand which we all do when we need to learn make sure your monitors are turned down Remember that your ears are t
38. eferenced to a solid noise free earthing point and that all signal cables have their screens connected to ground In some unusual circumstances to avoid earth loops ensure that all cable screens and other signal earths are connected to ground only at their source and not at both ends If the use of unbalanced connections is unavoidable you can mimimise noise by following these wiring guidelines e On INPUTS unbalance at the source and use a twin screened cable as though it were balanced On OUTPUTS connect the signal to the ve output pin and the ground of the output device to ve If a twin screened cable is used connect the screen only at the mixer end Avoid running audio cables or placing audio eguipment 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 microphones or the outputs from most modern audio equipment Avoid cheaper high impedance microphones which may suffer from interference over long cable runs even with well made cables Grounding and shielding is still seen as a black art and the suggestions above are only guidelines If your system still hums an earth loop is the most likely cause Two examples of how an earth loop can occur are shown below Example 1 Audio with ground connected Amplifier Earth Loop Mains Earth Example 2 A A Left Signal with ground connected Earih
39. en l Mix Inserts Signal Send Signal Return Ground Screen Ring Tip Sleeve Oop y Headphones Left Signal Right Signal Ground gt gt AUX OUTPUTS The Aux outputs are on 3 pole A gauge jack sockets wired as shown on the left and are balanced allowing long cable runs to balanced amplifiers and other equipment CHANNEL DIRECT OUTPUTS The Direct outputs are on 3 pole A gauge jack sockets wired as shown on the left and are unbalanced HEADPHONES The PHONES output is a 3 pole A gauge jack wired as a stereo output as shown suitable for headphones of 200Q or greater 8Q headphones are not recommended POLARITY PHASE You will probably be familiar with the concept of polarity in electrical signals and this is of particular importance to balanced audio signals Just as a balanced signal is highly effective at cancelling out unwanted interference so two microphones 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 GROUNDING AND SHIELDING For optimum performance use balanced connections where possible and ensure that all signals are r
40. eo input channel comprises two pairs of inputs per channel strip gt eri gt O INPUTS STE 1 2 3 4 These inputs accept 3 pole A gauge TRS jacks Use these inputs for sources such as keyboards drum machines synths tape machines or processing units The inputs are BALANCED for low noise and top quality from professional equipment but you can use UNBALANCED sources by wiring up the jacks as shown in the Wiring it Up section earlier in this manual although you should then keep cable lengths as short as possible Mono sources may be used by plugging into the left jack only O GAIN The GAIN control sets the level of the channel signal e gt F 4 Y 9 r m O SE O RETURNS RET 1 2 3 4 These inputs are unbalanced on RCA phono connectors and are intended for use with CD players DAT machines or Hi Fi equipment Alternatively they may be used as simple effects returns or stereo instrument inputs O GAIN The GAIN control sets the input level to the channel allowing matching to a wide range of line level sources O EQUALISER HF EQ Turn to the right to boost high treble frequencies adding crispness to percussion from drum machines synths and electronic instruments Turn to the left to cut these frequencies reducing hiss or excessive brilliance Set the knob in the centre detented position when not required The control has a shelving response giving 15dB of boost or
41. et up individual input channel as follows lt lt e Connect your sources microphone keyboard etc to the reguired inputs WARNING Phantom powered mics should be connected before the 48V is Gandeni switched on Ensure the PA system is OFF when switching phantom power on Response or off Set Master faders at 0 input faders at 0 and set power amplifier levels to about 70 e Provide a typical performance level signal and press the PFL button on the first channel monitoring the level on the bargraph meters Adjust the input gain until the meter display is in the amber section with occasional peaks to the first red LED 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 ii e Repeat this procedure on other channels as reguired 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 e Listen carefully for the characteristic sound of feedback If you cannot achieve satisfactory input level setting without feedback check microphone and speaker placement and repeat the exercise If feedback persists it may be necessary to use a Graphic Equaliser to reduce the system response at particular resonant frequencies NOTE The initial settings should only be regarded as a starting point for your mix It is important
42. he most important tool of your trade look after them and they will look after you Most importantly don t be afraid to experiment to find out how each parameter affects the sound this will extend your creativity and help you to get the best from your mixer and the most respect from your artists and audience INSTALLATION AND SAFETY PRECAUTIONS ABOUT THIS MANUAL This manual describes the safety precautions warnings specifications installation and operating procedures specific to the following Soundcraft products only Spirit M4 RW5631 UK EU US Spirit M8 RW5632 UK EU US Spirit M12 RW5633 UK EU US The information in this manual should be read by end users of one of the above prod ucts only In particular this manual should not be read in conjunction with any other product not listed above The above products do not contain any user serviceable parts and the user guide does not contain any technical servicing information Qualified service personnel can obtain a separate Technical Manual incorporating the user guide Part N2 ZM0255 from Soundcraft or one of its accredited distributors Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual INSTALLING THE MIXER Correct connection and positio
43. in this manual is subject to change without notice and does not represent a commitment on the part of the vendor Soundcraft shall not be liable for any loss or damage whatsoever aris ing 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 electrical mechanical optical chemical including photocopying and recording for any purpose without the express written permission of Soundcraft nt Soundcraft Harman International Industries Limited Cranborne House Cranborne Road POTTERS BAR Hertfordshire EN6 3JN UK Tel 44 0 1707 665000 Fax 44 0 1707 660742 http www soundcraft com USER GUIDE WARRANTY 1 Soundcraft is a trading division of Harman International Industries Ltd End User means the person who first puts the equipment into regular operation Dealer means the person other than Soundcraft if any from whom the End User purchased the Equipment provided such a person is authorised for this purpose by Soundcraft or its accredited Distributor Equipment means the equipment supplied with this manual 2 If within the period of twelve months from the date of delivery of the Equipment to the End User it shall prove defective by reason only of faulty materials and or workmanship to such an extent that the effectiveness and or usability thereof is materially affec
44. le A gauge jacks and are unbalanced O PLAYBACK INPUTS These two RCA phono sockets are unbalanced Left and Right line level inputs used for connecting the playback devices selected using button O see also p 21 e g DAT or CD players Minidisc Cassette tape recorders etc O MONO SUM OUTPUT The MONO Sum output is on a 3 pole A gauge jack output and is balanced O RETURN MASTER MUTE This rotary control adjusts the overall level of the four stereo return inputs to the Mix There is also a mute switch which can be used to quickly compare the level of the Mix with and without effects O HEADPHONES JACK This output is on a 3 pole A gauge stereo jack socket and accepts headphones of approximately 200Q impedance USING YOUR SPIRIT M SERIES CONSOLE The final sound from your PA system can only ever be as good as the weakest link in the chain 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 spontaneity and unpredictability of live performance The mixer must be set up to provide spare control range to compensate for changing microphone position and the absorption effect of a large audience different
45. lter that rejects low frequencies a technique used on unbalanced outputs to minimise the effect of hum and interference when connecting to external balanced inputs insert pan pot peaking peak LED PFL pre fade listen phase polarity post fade pre fade rolloff shelving spill transient unbalanced 48V a break point in the signal path to allow the connection of external devices for instance signal processors or other mixers at line level signals Nominal levels can be anywhere between 10dBu to 6dBu usually coming from a low impedance source abbreviation of panorama controls levels sent to left and right outputs the point at which a signal rises to its maximum instantaneous level before falling back down again It can also describe an equaliser response curve affecting only a band of frequencies like on a graphic equaliser peaking at the centre of that band a visual indication of the signal peaking just before the onset of clipping a function that allows the operator to monitor the pre fade signal in a channel independently of the main mix a term used to describe the relationship of two audio signals In phase signals reinforce each other out of phase signals result in cancellation a term used to describe the orientation of the positive and negative poles of an audio connection Normally connections are made with positive to positive negative to negative If this is
46. me significant Take care to set up the input levels for best performance When any PFL switch is pressed the meters switch to show the selected PFL signal on both meters in mono O PLAYBACK The rotary control sets the level of the 2 Track Tape input which Is routed to the headphones monitor outputs and meters These inputs on RCA phono connectors are an ideal way to connect the playback of a tape machine for monitoring O PLAYBACK REPLACES MIX Press this switch to replace the MIX Left Right signal at the MIX outputs with the Playback signal connected to the Left and Right RCA sockets O see also p 22 O PLAYBACK PFL Press this switch to route the Playback signal to the monitor and phones over riding the default monitor Phones signal This listening point is before the PB LEVEL control so material can be previewed before being routed O MONITOR LEVEL This control sets the level to the MONITOR LEFT amp RIGHT outputs If headphones are plugged into the PHONES jack the headphone level will track the Monitor Level O PHONES LEVEL This control sets the output level to the Headphone outputs If headphones are plugged into the PHNS jack then the knob sets a comfortable headphone listening level without affecting the Monitor output levels O AUX MASTERS Each Aux output has a master output level control and associated AFL switch AUX AFLs Just like the PFL switches on the channels you can monitor each AUX output by p
47. n 3 pole A gauge jacks and are balanced outputs 6008 6 54 o o RETURN MASTER MIX INSERT DIGITAL OUT MONITOR OGBOGOGOOO i eS n ni 1 i 280000000 O 5 I MIX PHONES O A MASTER SECTION ap 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 WARNING 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 microphone manufacturer for guidance Mics should always be plugged in and all output faders set to mini mum before switching the Phantom Power ON to avoid damage to external equipment gt POWER INDICATOR This LED lights to show when power is connected to the console O BARGRAPH METERS The three colour peak reading BARGRAPH METERS normally show the level of the MIX RIGHT and MIX LEFT outputs giving you a constant warning of excessive peaks in the signal which might cause overloading Aim to keep the signal just touching the red segments at peak levels for best performance Similarly if the output level is too low and hardly registering at all on the meters the level of background noise may beco
48. ning of your mixer is important for successful and trouble free operation The following sections are intended to give guidance with cabling connections and configuration of your mixer e Choose the mains supply for the sound system with care and do not share sockets or earthing with lighting dimmers e Position the mixer where the sound can be heard clearly e Run audio cables separately from dimmer wiring using balanced lines wherever possible If necessary cross audio and lighting cables at right angles to minimise the possibility of interference Keep unbalanced cabling as short as possible e Check your cables regularly and label each end for easy identification SAFETY PRECAUTIONS For your own safety and to avoid invalidation of the warranty please read this section carefully In particular you should also read the Cautions and Warnings on pages 5 6 of this manual The console must only be connected to the Mains Power voltage indicated on the rear panel To avoid the risk of fire replace the mains fuse only with the correct value fuse as indicated on the rear panel USER GUIDE gt Balanced Mic XLR gt 1 Screen 2 Hot ve 3 Cold ve JI a Unbalanced Mic XLR gt 3 1 Screen i Link 3 to 1 JI 3 pole jack 2 pole jack Balanced Unbalanced Hot ve Signal Cold ve Ground Ground Screen Screen ve lead to Tip ve lead to Tip ve lead t
49. o Ring ve lead and Sleeve Sleeve to Ground Wi L Mit gt Inserts Signal send Signal return Ground Screen Ring Tip Sleeve i 2 Hot ve WIRING UP Please refer to pages 35 36 for additional wiring details MIC INPUT 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 will be LOW IMPEDANCE While you can use low cost HIGH IMPEDANCE mics you do not get the same degree of immunity to interference on the microphone cable and as a result the level of background noise may be higher If you turn the PHANTOM POWER on the socket provides a suitable powering voltage for professional condenser mics DO NOT use UNBALANCED sources with the phantom power switched on The voltage on pins 2 amp 3 of the XLR connector may cause serious damage BALANCED dynamic mics may normally be used with phantom power switched on contact your microphone manufacturer for guidance The input level is set using the input GAIN knob The LINE input offers the same gain range as the MIC input but at a higher input impedance and is 20dB less sensitive This is suitable for
50. out of service and referred to the Soundcraft dealer from where the equipment was purchased e THIS UNIT MUST BE EARTHED Under no circumstances should the mains earth be disconnected from the mains lead ATTENTION Cet appareil doit tre branch la terre e The wires in the mains lead are coloured in accordance with the following code Replacement Part No FJ8016 UK FJ8017 EU FJ8018 US amp CAN UK amp EU US amp CAN Earth Ground Green and Yellow Green and Yellow Neutral Blue White Live Brown Black As the colours of the wires in the mains lead may not correspond with the coloured markings identifying the terminals in your plug proceed as follows The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is marked with the letter E or by the earth ground symbol The wire which is coloured Blue or White must be connected to the terminal in the plug which is marked with the letter N The wire which is coloured Brown or Black must be connected to the terminal in the plug which is marked with the letter L Ensure that these colour codings are followed carefully in the event of the plug being changed Do not install near any heat sources such as radiators heat resistors stoves or other apparatus including amplifiers that produce heat USER GUIDE Do not use this apparatus near water Do not defeat the safety purpose of the polarized or grounding t
51. output If required using a lead with tip and ring shorted together so that the signal path is not interrupted Mix Output Aux Outputs Mono Output Monitor Outputs Direct Outputs Signal Signal Screen Mix Inserts Signal Send Signal Return Ground Screen LI Headphones Left Signal Right Signal kb A STEREO RETURNS RET 1 2 3 4 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 These can also be used as effect returns using cables described later in this document STEREO INPUTS STE 1 2 3 4 These accept 3 pole A gauge jacks or 2 pole mono jacks which will automatically ground the cold input Use these inputs for sources such as keyboards drum machines synths tape machines or as returns from processing units The input is BALANCED for low noise and immunity from interference but you can use UNBALANCED sources by wiring up the jacks as shown although you should then keep cable lengths as short as possible to minimise interference pick up on the cable Note that the ring must be grounded if the source is unbalanced Mono sources can be fed to both paths by plugging into the Left jack only MIX INSERTS The unbalanced pre fade Mix insert point is a break in the outp
52. ove 12kHz by up to 15dB adding crispness to cymbals vocals and electronic instruments Turn to the left to cut by up to 15dB reducing hiss or excessive sibilance which can occur with certain types of microphone Set the knob in the centre detented position when not required MID EQ There are two knobs which work together to form a SWEPT MID EQ The lower knob provides 15dB of boost and cut just like the HF EQ knob but the frequency at which kk si this occurs can be set by the upper knob over a range of 240Hz to 6kHz This allows some truly creative improvement of the signal in live situations because this mid band covers the range of most vocals Listen carefully as you use these controls together to find how particular characteristics of a vocal signal can be enhanced or reduced Set the lower knob to the centre detented position when not required LF EQ E Turn to the right to boost low bass frequencies below 60Hz by up to 15dB adding Frequency Hz warmth to vocals or extra punch to synths guitars and drums Turn to the left to cut low frequencies by up to 15dB for reducing hum stage rumble or to improve a mushy sound Set the knob to the centre detented position when not required O AUX SENDS These are used to set up separate mixe
53. pping 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 and backgound hiss will be more noticeable This is illustrated below DIGITAL OUTPUT Clipped Signal Aa TAN Noise lf the signal level is too high clipping distortion may occur lf the signal level is too low it may be masked by the noise Each of the models in the Spirit M Series is fitted with a digital output The output con forms to the S PDIF standard The S PDIF output conforms to the consumer standard IEC958 1989 03 and also the Japanese standard ElAJ CP 340 1987 9 SPECIFICATION Signal bit rate is 2 8Mhz based on the sampling frequency Fs of 44 1kHz Physical connection Cable 75Q 5 I 10m or 750 35 1 gt 10m Line driver Zout 750 20 100kHz 6Mhz Vout 0 4Vpp 0 6Vpp lt 0 05Vdc 75Q terminated SYNCHRONISATION The digital output sample frequency is fixed 44 1kHz operation when connecting to a piece of external equipment you must ensure that the two are synchronised There are two ways to achieve synchronisation when operating the Spirit M Series consoles 1 Ensure the device receiving the digital signal is set to slave to the embedded clock in the S PDIF output from your console 2 Ensure the device receiving the digital signal is fitted with a sample rate convertor which eliminates the need for synchroni
54. r out of warranty consoles please contact the appropriate territorial distributor When mailing or faxing please remember to give as much information as possible This should include your name address and a daytime telephone number Should you experience any difficulty please contact Customer Services Department e mail csd soundcraft com USER GUIDE MONO INPUT CHANNEL A O DIRECT OUTPUT The first eight channels have a dedicated Direct Output which allows direct connection to external devices for example to feed Tape Machines or effects units O e O MIC INPUT 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 best because these will be LOW IMPEDANCE You can use low cost HIGH IMPEDANCE mics but the level of background noise will be higher If you turn the PHANTOM POWER on top right hand side of the mixer the socket provides a suitable powering voltage for professional condenser mics ONLY connect condenser microphones with the 48V powering OFF and ONLY turn the 48V powering on or off with all output faders DOWN to prevent damage to the mixer or external devices TAKE CARE when using unbalanced sources which may be damaged by the phantom power voltage on pins 2 3 of the XLR connector Unplug any mics if you want to use the LINE Input The input level is set using the GAIN knob L
55. ressing the AFL switch This routes the AUX output signal to the MONITOR or PHONES replacing the MIX signal The METERS also switch from the MIX to display the PFL AFL signal and the PFL AFL LED lights to warn that a PFL or AFL switch is pressed When you release the switch the Monitor swaps back to the MIX USER GUIDE MONO SUM RETURN MASTER P B LEVEL P B PFL o_O P B REPLACE MIX AUX MAST 1 rd AUX MAST 2 SS val AUX MAST 3 W va AUX MAST 4 MIX INSERT R MONITOR 20000000 A v i ni n i i o a N 000000000 O 8 pou SOLO AFL PFL MIX PHONES CO O MONO SUM The Mix Left and Right signals are summed to a MONO output on a 3 pole A gauge jack O Output level is set by the dedicated rotary control Monitoring of the Mono output if required must be done at the external equipment it feeds or the signal brought back to a spare console input O MASTER FADERS The MASTER FADERS set the final level of the MIX outputs and separate faders are pro vided for each output These should normally be set close to the O mark if the input GAIN settings have been correctly set to give maximum travel on the faders for smoothest control O MONITOR OUTPUTS The Monitor Outputs are on 3 pole A gauge jacks and are balanced connections O MIX OUTPUTS amp INSERTS The Mix LEFT and RIGHT outputs are sent from the XLR sockets as balanced signals The Mix INSERT points are on 3 po
56. reversed the result will be out of phase signals see phase above the point in the signal path after the monitor or master fader and therefore affected by fader position the point in the signal path before the monitor or master fader position and therefore unaffected by the fader position a fall in gain at the extremes of the frequency response an equaliser response affecting all frequencies above or below the break frequency i e a highpass or lowpass derived response acoustic interference from other sources a momentary rise in the signal level a method of audio connection which uses a single wire and the cable screen as the signal return This method does not provide the noise immunity of a balanced input see above the phantom power supply available at the channel mic inputs for condenser microphones and active DI boxes USER GUIDE TYPICAL SPECIFICATIONS FOR DIGITAL S PDIF SPECIFICATIONS SEE P 25 NOISE ut id aa al a ee ee al eae Measured 22Hz to 22kHz unweighted AUX amp MIX O Ps 8 Channels routed faders down lt 84 dBu EAN a a AN Microphone Input Maximum Gain measured 22Hz 22KHz unweighted 128 dBu CROSSTALK 20Hz 10kHZ 10kHz 20kHz Channel mute lt 90 AB cera tad ae Se dr lt 80 dB Fader cutoff rel to O mark lt 90dB e lt 80dB Routing isolation QO Bs sk heck eek ae Spe
57. s for FOLDBACK EFFECTS or recording and the combination of each the Aux Send is mixed to the respective Aux Output at the rear of the mixer For Effects it is useful for the signal to fade up and down with the fader Frequency this is called POST FADE but for Foldback or Monitor feeds it is important for the send to be independent of the fader this is called PRE FADE AUX SENDS 1 AND 2 These are always PRE FADE and therefore most appropriate for foldback or monitor mixes or external submix AUX SENDS 3 AND 4 These are always POST FADE for effects sends external submix or for Centre Voice cluster or mono Tape mix O PAN This control sets the amount of the channel signal feeding the Left and Right MIX or SUB buses allowing you to move the source smoothly across the stereo image When the control is turned fully left or right you are able to route the signal at unity gain to either left or right outputs individually USER GUIDE DIRECT OUT 1 O MUTE All outputs from the channel except inserts are on when the MUTE switch is released and muted when the switch is down allowing levels to be pre set before the before the signal is required The only exception to the muting is any DIRECT OUTPUT configured as PRE fade which will be sent regardless of the status of the mute
58. s in cancellation of the unwanted signal In this guide the term can refer to various circuit architectures Connection details are given in relevant sections 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 Digital Audio Tape a cassette based digital recording format a ratio of two voltages or signal levels expressed by the equation dB 20Log10 V1 V2 Adding the suffix u denotes the ratio is relative to 0 775V RMS the practice of connecting an electric musical instrument directly to the input of the mixing console rather than to an amplifier and loudspeaker which is covered by a microphone feeding the console a post fade line level output from the input channel bypassing the summing amplifiers typically for sending to individual tape tracks during recording a device that allows the boosting or cutting of selected bands of frequencies in the signal path a linear control providing level adjustment the howling sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal a feed sent back to the artistes via loudspeakers or headphones to enable them to monitor the sounds they are producing the variation in gain of a device with frequency the amount of amplication in level of the signal the available signal range above the nominal level before clipping occurs a fi
59. sation DIGITAL AUDIO CABLE S PDIF IEC 958 uses 75Q coaxial cable and RCA connectors 75Q coaxial cable is inex pensive because it is the same cable as used in video transmission you can buy a video cable with RCA connectors to connect your S PDIF equipment together Coaxial S PDIF connections work typically at least to 10 15 metre distances with good 75Q coaxial cable REMEMBER The Soundcraft website will contain the latest set up files for describing the synchroni sation settings for many digital pieces of equipment http www soundcraft com USER GUIDE RACKMOUNTING PROCEDURES FOR M8 AND M12 To turn the sleek looking Spirit M Series console into the rugged rackmount version fol low the 3 point procedure below O Remove screws at points O and remove the arm rest O Remove screws at points O and remove the side extrusions O Remove the two screws at points O and remove both end caps Remember to re fit the screws as they are used to strengthen the console Keep all parts and screws carefully in case you need to re fit them at a later date eO EN ki a Note Screws C1 and C2 must 0888898808689880808808988080888808088089080B088A8980080898 be replaced once the end caps have been removed oo jo oo jo Goa oo jo co o oo jo oo o CoC ja O O O O O O O O 88080060 0 000000000 O O QOO 0 0 0 0 0 00
60. soundcraft usa harman com Soundcraft reserve the right to improve or otherwise alter any information supplied in this document or any other document supplied hereafter E amp OE 09 00 H A Harman International Company CE Part No ZM0252 Issue 1 2
61. ted the Equipment or the defective component should be returned to the Dealer or to Soundcraft and subject to the following conditions the Dealer or Soundcraft will repair or replace the defective components Any components replaced will become the property of Soundcraft 3 Any Equipment or component returned will be at the risk of the End User whilst in transit both to and from the Dealer or Soundcraft and postage must be prepaid 4 This warranty shall only be valid if a the Equipment has been properly installed in accordance with instructions contained in Soundcraft s manual and b the End User has notified Soundcraft or the Dealer within 14 days of the defect appearing and C no persons other than authorised representatives of Soundcraft or the Dealer have effected any replacement of parts maintenance adjustments or repairs to the Equipment and d the End User has used the Equipment only for such purposes as Soundcraft recommends with only such operating supplies as meet Soundcraft s specifications and otherwise in all respects in accordance Soundcraft s recommendations 5 Defects arising as a result of the following are not covered by this Warranty faulty or negligent handling chemical or electro chemical or electrical influences accidental damage Acts of God neglect deficiency in electrical power air conditioning or humidity control 6 The benefit of this Warranty may not be assigned by the End User 7 End Users who
62. the switch at the Phantom Power before top of the master section EY L connecting a Microphone CO LINE INPUT 14 Jack Connect Line level sources here INSERT POINT 14 Jack Connect Signal processors here CO GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal SPIRIT SERIES EQ STAGE Adjust these controls to change the signal tone AUX SENDS Adjust these controls to change the level of the signal to an FX unit or an artist s monitors head phones in ear stage monitors Aux 1 amp 2 are pre fade while Aux 3 amp 4 are post fade PAN CONTROL Use this control to position the signal within the stereo field MUTE SWITCH When this is pressed you will hear no signal from the channel PFL PRE FADE LISTEN When pressed the signal will appear on the monitor outputs use this to monitor the post eq signal from the channel INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus O DIRECT OUTPUT This output can be used to send the channel signal to a recording device such as a multi track 4 Jack recorder CD DIRECT PRE This switch controls the source for the direct output When the switch is down the D O is pre fade and when the switch is up the D O is post fade 18 O MIX OUTPUTS XLR Connect these to your analogue recording device or to your amplification system O MIX INSERTS This is a pre fade break in the signal path which can be used to feed a dynamics or mastering Va
63. tion openings 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 occasional wipe with a damp cloth or ethyl alcohol Do not use any other solvents which may cause damage to paint or plastic 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 and maximum reliability GLOSSARY AFL After Fade Listen auxiliary send balance balanced clipping DAT dB decibel DI direct injection DI Box direct output egualiser fader feedback foldback freguency response gain headroom highpass filter impedance balancing a function that allows the operator to monitor the post fade signal in a channel independently of the main mix an output from the console comprising a mix of signals from channels and groups derived independently of the main stereo group mixes Typically the feeds to the mix are implemented on rotary level controls the relative levels of the left and right channels of a stereo signal a method of audio connection which balances the wanted signal between two wires and a screen which carries no signal Any interference is picked up egually by the two wires which result
64. to remember that many factors affect the sound during a live performance for instance the size of the audience gt now ready to start building the mix and this should be done progressively USER GUIDE listening carefully for each component in the mix and watching the meters for any hint of overload If this occurs back off the appropriate Channel Fader slightly until the level is out of the red segments or adjust the Master Faders Remember that the mixer is a mixer not an amplifier Increasing the overall level is the job of the amplifier and if it is impossible to provide adequate level it is probable that the amplifier is too small for the application Choose your amplifier carefully and do not try to compensate for lack of power by using the mixer to increase output level NOTE The level of any source signal in the final output is affected by many factors principally the Input Gain control Channel Fader and Mix Faders You should try to use only as much microphone gain as required to achieve a good balance between 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 Also there will be a chance of distortion as the signal overloads the channel and causes cli
65. ut signal path to allow the connection of for example a compressor limiter or graphic equaliser The Insert is a 3 pole A gauge jack socket which is normally bypassed When a jack is inserted the signal path is broken just before the mix fader Signal Send Insert Point Send to External Device SIL A DD LA Note If XLRs are used join Pins 1 83 Screen and connect to cable screen Signal Return Connect Pin 2 to signal Return from External Device The mix signal appears on the TIP of the plug and is returned on the RING A Y lead may be required to connect to equipment with separate send and return jacks as shown below MIX 8 SUB OUTPUTS The MIX and SUB outputs are on 3 pole A gauge jack sockets wired as shown and incorporate impedance balancing allowing long cable runs to balanced amplifiers and other equipment From M Range Balanced Connection Impedance Balanced Output Signal To External Device AE ee E ES Screen Signal Ground From M Range Unbalanced Connection Impedance Balanced Output Signal To External Device SIL ID Signal Ground Experience has shown that sometimes it is better not to connect screen at external device end USER GUIDE Mix Output Aux Outputs Mono Output Monitor Outputs Direct Outputs Signal Signal Scre
66. when the switch is down USER GUIDE O FADER The 100mm FADER gives you smooth control of the overall signal level in the channel strip allowing precise balancing of the various source signals being mixed to the Master Section It is important that the input level is set correctly to give maximum travel on the fader which should normally be used at around the 0 mark See the Initial Set Up section on page 23 for help in setting the right level O PFL When the latching PFL switch is pressed the pre fade signal is fed in mono to the headphones control room output and meters where it replaces the MIX The PFL AFL LED on the Master section illuminates to warn that a PFL is active The Left and Right meters display the PFL signal in mono This is a useful way of listening to any required input signal without interrupting the main mix for making adjustments or tracing problems gt gt alo 7 LA a d O y en m O Se O RETURN PEAK LED This LED will light when the return input signal peaks 18dBu internal O CHANNEL PEAK LED This LED will light when the signal peaks 18dBu internal There is a three point signal analysis and if the signal peaks at any of these points then the LED will light a PRE EQ b POST EQ c POST FADE O SIGNAL PRESENT LED This LED will light when the channel signal exceeds 20dBu O AUX OUTPUTS 1 4 These outputs are o
67. ype plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety When the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus e Only use cables and hardware specified by the manufacturer Unplug this apparatus during lightning storms or when unused for long periods of time Refer all servicing to gualified service personnel Servicing is reguired when the apparatus has been damaged in any way such as power supply cord or plug is damaged liguid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped It is recommended that all maintenance and service on the product should be carried out by Soundcraft or its authorised agents Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service maintenance or repair by unauthorised personnel If a trolley is used use caution when moving the trolley apparatus combina tion to avoid injury from tip over CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN AVIS RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR W

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