Spirit Monitor2 User's Manual
Contents
1. 17 590 5 mm 23 25 87 5 3 44 dim y Width without end trim for flight case mounting Console 24 channel 32 channel 40 channel 1200 6 mm 47 27 1454 6 mm 57 27 1708 6 mm 67 27 1116 6 mm 43 96 1370 6 mm 53 96 1624 6 mm 63 96 Page 18 Specifications Noise Measured RMS 22Hz to 22kHz Bandwidth Inputs at unity gain and terminated 1500 Output Noise 24 inputs routed sends down master unity Mic EIN max gain 150Q terminated THD N Mic sens 10dBu Faders unity send at max 20dBu at all outputs 2 Crosstalk 1kHz Typical Channel send range Channel fader range Mute attenuation Adjacent output isolation CMRR Typical at max gain kHz Typical at any gain 50Hz Frequency Response Input to output medium gain via output Hi pass filter off ISHz to 45kHz 25Hz to 25kHz Typical Input and Output levels Maximum output Maximum signal into mic input Maximum signal into FX return amp insert return Maximum sensitivity of FX return Output faders unity Maximum level into Talkback mic input Maximum level into House mic input Headphones 200Q Input and Output Impedance Mic Input FX returns Monitor Outputs Wedge amp Inserts lt 80dBu 129dBu lt 0 0052. lt Sleeve E EEVE RING 10 0 T RING SLEEVE 6 3 OO 5 1 S E Sleeve O 2 Unbalanced Ti 1 Tip O 01 je E Sleeve 3 1 Centre 3 lt Seten Headphone Splitter 0 Tip Ring 5 Sleeve Sleeve ve Sleeve Tip 9d Ring Sleeve Sleeve Y Leads Unbalanced OA Centro emo E e Ti P 22 co Ring Tip O O Centre rr Sleeve Ring 2 aie Sleeve Screen SLEEVE RING 8 0 1 1 o1 2 Insert Leads Tip Sleeve Tip Send 1 Tip Sleeve Ring RING SLEEVE Sleeve O Tip Return Sleeve 1 2 Send Ring Sleeve 1 o O 2 Return i creen 3 Centre O Screen o O Centre Send ae Sereen Lamp Connections Sleeve Centre Return O Screen O IENNENNENNEENENENHENERENEN Page 15 499UISUy 819 A O o o A a gh aA A RO a ee Ra EIUS EE A al 55 RARA HE 20 SS xm 20 E z 9 9
3. FOH MODE SUBGROUPING MNTR POST EQ PRE EQ METER J POST EQ 1 GRAPHIC EQ INSERT 2 n T B ALL HIGH PASS OFF 160Hz TB amp TO FROM 1 Jr DIM ALL e TALKBACK SIGNAL DIM RET LEVEL FOH MODE SUBGROUPING 9 10 only POST EQ a PRE EQ HOUSE dh y MUTE WEDGE SOURCE 4 SELECT 10NDY METER POST EQ PRE EQ GRAPHIC EQ INSERT 7 a i TB amp DIM TO FROM WEDGE SOURCE SELECT 12 ONLY GRAPHIC EQ INSERT T B ALL 7 TB 8 DiM TO FROM DIM ALL 1 Eh OUT TALKBACK SIGNAL Page 14 D 5E DIM T B 10 12 Connecting Leads Balanced Y Leads Balanced Tip O O Tip P RING aa a Sleeve
4. Page 6 ron Facility A sub grouping facility is included on outputs 1 10 to allow the console to be used as mixer Pressing the 1 12 switch routes the post fade post insert signal to the Monitor 11 12 busses enabling these outputs to be used as a stereo final mix The PAN control positions the monitor signal in the stereo image outputs 1 8 only Final mix level is controlled by the 11 12 Monitor Fader HOUSE On the stereo output pairs 9 10 and 11 12 the HOUSE control injects an ambience signal picked up from the stereo House Mic inputs into the monitor outputs which is particularly important when feeding monitors O MNTR Monitor Engineer s Wedge A separate monitor mix may be created for the Engineer s Wedge monitor or Headphones The POST EQ PRE EQ switch selects the source for the mix as before or after the Graphic EQ insert point and will normally be post EQ switch released Rotate the MNTR control fully anticlockwise when not required O soo When the latching SOLO switch is pressed the post or pre Graphic EQ signal as selected by the POST EQ PRE EQ switch is fed to the headphones and engineer s wedge outputs replacing the selected wedge source and illuminating the SOLO PFL LED on the Master section The adjacent red LED lights to identify the active solo This is a useful way of listening to any required output signal without interrupting any of the monitor sends for making adjustm
5. 9 inso OPORTO 9 9 20 E d ORO TSO ROD OTS EE ae OOO 71946 OUD EPO BO ODDO E Control Position Sheet You may freely copy this page to mark control positions to assist in resetting the desk between performances eet Title M Title Title Title Title i Title Title O 200606606 DCP200 PSU L HOUSE ucs R 1 8 PHONES QU 6 65 GRAPHIC GRAPHIC 05 07 MOMO GRAPHIC tQ 8 MONITOR 2 CONSOLE O 0 O POST EQ a POST EQ a Typical Starting Out Control Positions 2 mur POSTEQA Post oa Post POS POST Ea a e EO wg PRE EQ Y sing wee wa PRE EO 9 25 REM 5 ox 99 o 5 9 898 0 0 40 40 rj 40 le ls 5 e o EN
6. gt 90dB gt 80dB gt 100dB gt 90dB gt 85dB gt 65dB lt 3dB dB gt 22dBu 28dBu 22dBu 15dBu 3dBu 8dBu 150mwW 1 8kQ 8 6 750 k SPIRIT By Soundcraft Spirit By Soundcraft Harman International Industries Ltd Cranborne House Cranborne Road Potters Bar Herts EN6 3JN U K Tel 44 0 1707 665000 Fax 44 0 1707 665461 http www spirit by soundcraft co uk Harman International Company Spirit By Soundcraft Inc 11820 Kemper Road Auburn CA 95603 Tel 916 888 0488 Fax 916 888 0480 This equipment complies with the EMC Directive 89 336 EEC and LVD 73 23 EEC and 93 68 EEC For further details contact the address on the left Part No ZM0192
7. FOH CONSOLE x lo BAND INSTRUMENTS VOCALS y HEADPHONES For guidance on splitter earthing see GRAPHIC EQ gt Troubleshooting PROCESSOR 1 1 7 7 A 0 D PS gt 4 2 e 9 m e m nd 9 PY 9 y 4 y y fu gt lo v Lo ES ER ne TO GRAPHIC INSERTS G2 HH Page 10 Theatre HOUSE ANNOUNCE MIC N SPECIAL EFFECTS VARIOUS MONITORS INPUTS MIC LINE 8 P ajajaja GORE lt 010 100 OG TO PROCESSORS Speed of Light Front of House If speed of sound 330 m sec VE 150m 5Om 100m pon 100 330 0 3 5 delay should be 036002 E 150m Delay Tower Page 11 DELAY GRAPHIC LU Wu ON EACH MONITOR OUT REAR FILL REAR SIDE FILL FRONT SIDE FILL SPECIAL EFFECTS OVERHEAD SPECIAL EFFECTS FOH Console FOH SPEAKERS MONIT
8. frequencies Note The initial settings should only be regarded as a starting point for your mix It is important to remember that many factors affect the sound during a live performance for instance the channel EQ settings or even the size of the audience Each monitor mix can now be built up progressively listening carefully for each component in the mix and watching the meters for any hint of overload If this occurs back off the appropriate Input Fader slightly until the level is out of the red segments or adjust the Monitor Faders Troubleshooting No Power O 5 the mains supply present Check the mains outlet with another device O 5 the power lead firmly connected Condenser Mic Not Working O 5 the 48V turned O there an unbalanced device connected to the SPLIT OUT connector O 5 the mic cable a balanced 3 wire type Meters not showing any signal O the input gain been set correctly see above O Are the Monitor faders set at a working level and are input faders set high enough O Is the MUTE switch released the relevant channels O If monitoring on the wedge outputs is the appropriate Monitor output feeding the wedges MNTR control set to working level and the wedge source selected to MNTR O 5 there a PFL AFL pressed on another channel No Monitor output or output low level O 5 the MUTE switch released Graphic EQ or other external device connected to the g
9. the level of background noise will be higher If you press the 48V switch down the socket provides a suitable powering voltage for professional condenser mics this is also known as Phantom Power Each input is provided with a male XLR type SPLIT OUT connector which enables mic signals to be fed directly to a Front of House mixer without the need for specials cables or splitter boxes Always provide 48V powering from the Monitor 2 console if required and turn off the powering at the FOH console An internal jumper option is provided to allow the ground connection to the SPLIT OUT connector to be lifted to prevent ground loops in certain installations ONLY connect condenser microphones with the 48V powering OFF switch UP and ONLY turn the 48V powering on or off with all output faders DOWN to prevent damage to the mixer or external devices If the SPLIT OUT connectors are used to feed another mixer the MONITOR 2 console should be powered up first or the faders on the FOH console should all be down when the MONITOR 2 is powered up or split feeds connected DO NOT turn on the 48V when using unbalanced sources or line level signals which may be damaged by the phantom power voltage on pins 2 amp 3 of the XLR connector and ONLY connect the SPLIT OUT feed to inputs which can tolerate phantom power voltages if the powering is in use PHASE REVERSE Pressing this switch reverses the polarity of the input providing a convenien
10. the risk of fire replace the mains fuse only with the correct value fuse as marked on the rear panel Page 2 Connecting Up HOUSE MICS INSTRUMENTS dd TALKBACK 9 EFFECTS oie m MIC OR LINE LEVEL e E 7 C 12V LAMP SD w O Z O Y Y E Ut LY 0 y BEER VE oem o BS m OL Olen Olan S A 976760452 5 E a es es Ld Hue ENGINEER S WEDGES fT lt Oy Uy do NA oO E PROCESSOR lt lt e El QU ur 3 V IN IN FOH CONSOLE GRAPHIC EQ 12 SIMILAR IN EAR MONITOR 5 OUTPUTS STAGE MONITORS Page 3 2 Hot ve Screen Unbalanced Balanced Input Send Return Gnd Screen Sleeve a ese 6 0000 e 5 a 5 5 a 0 o o USING MONITOR 2 Mono Input Channel OD AR np 74 The UltraMic Plus padless input preamp is designed to accept BALANCED or UNBALANCED signals at a wide range of input levels up to 28dBu When using microphones professional dynamic condenser or ribbon mics are best because these will be LOW IMPEDANCE You can use low cost HIGH IMPEDANCE mics but
11. 0 0 0 0 0 30 O 3 O 0 0 0 00 3 0 0 3 0 0 3 0 O 0 4 0 lt 3 O O 3 0 O 4 0 2 2 2 6 6 20 0 Q 20 O Q 20 O POST EQ POST EQ 4 POST EQ A METER METER METER PRE EQ Y PRE EQ Y PRE EQ Y POST EQA POST EQ POST EQ a re MNTR 4 3 7 2 8 1 9 o 10 SOLO PRE EQ Y 5 6 5 5 10 RETIA O RET2 Y 456 RETIA Y 90 0 E 9 HOUSE MICS o MNTR RETI A Y 5 00000 OUTPUT SECTION MONITOR OUTPUTS These outputs provide summing of the corresponding input channel monitor sends and drive XLR type output sockets from impedance balanced outputs A break point is included before each output socket for the connection of an external graphic equaliser Outputs 1 8 are configured as mono sends and outputs 9 10 and 11 12 are arranged as stereo pairs O nur The monitor send is completely disabled when the MUTE switch is pressed and the adjacent LED illuminates to warn that the mute is active HIGH PASS FILTER 1 8 only A variable High Pass Filter is provided to reduce the level of stage driven low frequency feedback or particularly to tailor the output frequency to match the frequency range of smaller wedge monitor speakers which may not be able to tolerate high levels of LF signal Rotate the control fully anticlockwise when the fil
12. OR SENDS CONFIGURATION POST PPLICATION DE MONITOR 1 MONITOR 2 MONITOR 3 MONITOR 4 MONITOR 5 MONITOR 6 MONITOR 7 MONITOR amp EFFECTS 1 amp 2 MAIN PA BUSS MONITORS MONITORS HOUSE ANNOUNCEMENT EFFECTS e EJ L 1 VARIOUS INPUTS LTITRACK RECORDER 00000000 GRAPHIC EQ SPLIT OUT PROTRACKER MIXER PROCESSOR GRAPHIC EQ MON MONITORS MONITORS Page 12 FOH Console with Subgrouping MONITOR SENDS CONFIGURATION PRE POST FADE APPLICATION POST POST POST POST POST gt POST gt 11 12 POST EFFECTS 1 POST EFFECTS 2 PRE STAGE MONITORS PRE MAIN PA BUSS Channel Sends not used VARIOUS INPUTS LTITRACK RECORDER 000000007 SPLIT OUT PROTRACKER MIXER PROCESSOR zzzzi MONITORS MONITORS EFFECTO e EJ HOUSE ANNOUNCEMENT GRA
13. PHIC EQ FOH Eb Eh Page 13 HH a GRAPHIC EQ MON System Block Diagram 48V 48V SPLIT OUTPUT Internal Link Link Grounded No Link Ground Lift INPUT PHASE SENS DETECT amp PFL ON DETECT FX 1 FX RET 1 LEFT FXRET 1 RIGHT FX RET 2 LEFT FXRET2 RIGHT LEFT HOUSE MICS E SF INSERT E TIP SEND RING RETURN SIGNAL 7 DETECT 0K gt E PFL MNTR 1 8 MNTR 10 MNTR 11 MNTR 12 TALKBACK DIM ALL WEDGE L WEDGE R SOLO PFL ij MASTER PHONES MASTER DIM WEDGE SOLO WEDGE SOURCE METER L ON PFUSOLO ENABLE OUT 11 OUT 12 WEDGE SOLO METER R MONO OUTPUT 1 of 8 Shown RET LEVEL
14. SOLO signal without interrupting the other outputs from the mixer to allow individual signals to be monitored The original wedge source is restored when the PFL SOLO switches are released BARGRAPH METERS 3 colour peak reading BARGRAPH METERS are provided to monitor the wedge outputs giving you a constant warning of excessive peaks in the signal which might cause overloading Aim to keep the signal within the amber 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 become significant Take care to set up the input levels for best performance The source for the meter is selected by the WEDGE SOURCE switch see above FADER The 100mm fader controls the overall level of the wedges output The 0 mark gives unity gain from the fader leaving 5dB in hand PHONES This control sets the level to the PHONES jack The source for the Phones is selected by the WEDGE SOURCE switch When any PFL or SOLO switch is pressed the source for the Headphones is switched to the PFL SOLO signal without interrupting the other outputs from the mixer to allow individual signals to be monitored The original phones source is restored when the PFL SOLO switches are released SOLO PFL TRIM The TRIM control provides 15dB level adjustment of the SOLO PFL signal to allow for differences in operating levels Note that the position of this
15. SPIRIT By Soundcraft uu Y USERS G Handbuch Manuele Utente Manuel d utilisation Gu a del usuario INTRODUCTION Thank you for purchasing a Monitor 2 mixer brought to you with pride by the SPIRIT team of Andy Colin Chris James Simon Mukesh Graham Martin Paul Tony and Peter with the support of many others we hope you will have as much fun using it as we did building it SAFETY PRECAUTIONS The SPIRIT MONITOR 2 mixer must only be connected For your own safety and to avoid invalidation of the through the Power Supply supplied warranty please read this section carefully The wires in the mains lead are coloured in accordance with the following code Earth Green and Yellow Green Yellow US Neutral Blue White US Live Brown Black US 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 O 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 symbol O The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N O The wire which is coloured Brown 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 To avoid
16. clockwise to boost low bass frequencies 60Hz and below by up to 15dB adding warmth to vocals or extra punch to synths guitars and drums Turn anticlockwise 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 EQ SWITCH The EQ switch bypasses the Equalisation section when released Alternately pressing and releasing the switch provides an easy way of comparing the equalised and unequalised signals 11 12 gt gt m 4 960600000099 GH MONITOR SENDS These controls route the input channel signal to any one or more Monitor busses and the associated Monitor Outputs allowing a number of unique monitor mixes to be created The sends are arranged as a group of mono sends 1 8 and two stereo pairs 9 10 amp 11 12 Each group of sends is normally POST FADE POST EQ but may be switched to PRE FADE POST EQ by pressing the corresponding PRE switch All sends are muted when the MUTE switch 9 is pressed Sends 9 12 are arranged as two stereo pairs with a send level control and a PAN control to position the channel signal in the stereo image With the PAN control centered the signal is fed equally to both sends in the pair You get most control when the input Sensitivity is set up correctly giving maximum travel on the send controls See the Setting Up amp Troubleshooting
17. control does not affect the level to the meters O House mics Two balanced XLR inputs are provided for House Mics and the HOUSE SENS control sets the input level Pressing 48V switches on the powering voltage for condenser microphones if required ONLY connect condenser microphones with the 48V powering OFF switch UP and ONLY turn the 48V powering on or off with all output faders DOWN to prevent damage to the mixer or external devices Page 7 FX RETURNS Two balanced Stereo Returns are included for the outputs of effects units and are made available for mixing directly to the Monitor outputs at a level set by the or FX2 RET controls If a mono source is used plugging into the Left jack only automatically feeds the signal to both Left and Right Pressing the HOUSE switch replaces the FX Return signal with the House Mics signal at a level set by the HOUSE SENS control to allow the House Mics signal to be fed to any of the monitor outputs Note that the House Mics signal can be injected directly into outputs 9 10 and 11 12 without using this facility 1 8 sens A balanced XLR input is provided for a local talkback microphone and this controls sets the level that this mic signal is fed to the selected monitor outputs O master 1 8 Pressing this switch routes the Talkback signal to ALL monitor outputs and simultaneously dims the monitor signals to allow the engineer s voice to be heard ov
18. ents or tracing problems In the case of outputs 8 the SOLO signal will be mono to left and right while 9 10 and 1 12 are fed as stereo O BARGRAPH METERS 3 colour peak reading BARGRAPH METERS are provided to monitor the final output giving you a constant warning of excessive peaks in the signal which might cause overloading Aim to keep the signal within the amber 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 become significant Take to set up the input levels for best performance The source for the meter may be selected as PRE or POST the Graphic EQ insert point as set by the adjacent METER switch With the switch released the meter will be fed from the POST EQ signal T B SENS as 5 4 8 MASTER lt 0 6 99 06006 0 MASTER SECTION O source The Engineer s Wedge outputs are normally fed from a mix of the MNTR feeds from outputs 1 12 The pre fade wedge signal feeds the headphones and meters and the post fade signal feeds the XLR outputs Pressing the WEDGE SOURCE switch selects monitor outputs 11 12 as the source for the wedge outputs and would be used to monitor those outputs when the mixer is used as FOH console with outputs 1 10 submixing to 11 12 When PFL or SOLO switch is pressed the source for the Wedges is switched to the PFL
19. er the mix The Talkback level is set by the T B SENS control Talkback is disabled when the Master DIM switch is pressed O master vim Pressing the DIM switch attenuates ALL monitor outputs and the wedges output by 6dB as an immediate way of eliminating feedback while the source of the problem is identified The previous level is restored when the switch is released LAMP CONNECTOR not illustrated Two 4 pin XLR type connectors are fitted at either end of the console for the mounting of 2 gooseneck lamps Littlite or similar The connector pinout is as follows Pinl I2V AC 1 Pin2 No connection Pin3 I2V AC 1 Pin4 12V AC 2 Setting Up 8 Troubleshooting 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 on your mixer The front panel drawing on page 17 shows typical initial control positions which may serve as a useful guide to setting up the mixer for the first time Set up individual input channel as follows O Connect your sources microphone keyboard etc to the required inputs Note Phantom powered mics should be connected before the 48V is switched on The input provides very wide gain range without the need for a pad When using LINE level sources set the INPUT SENS control fully anticlockwise as a preliminary position O Set Monitor faders at 0 input
20. faders at 0 and set power amplifier levels to suit the application Make sure that the EQ switches are released to bypass the EQ sections O Provide a typical performance level signal and press the PFL button on the first channel monitoring the level on the L R bargraph meters Adjust the input sensitivity 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 O Feed the signal to selected monitor outputs by setting the appropriate monitor sends to an initial working level approx position 7 on the send knob Listen to the signal by feeding the selected monitor signal to the engineer s wedge by turning up the MNTR control on the appropriate outputs checking that the wedge source is selected to O Repeat this procedure on other channels as required As more channels are added to the mix the meters may move into the red section Adjust the overall level using the Monitor Output faders if necessary O 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
21. quired using a lead with tip and ring shorted together so that the signal path is not interrupted EQUALISER Powerful corrective Equalisation EQ is essential in live situations to cope with varying venue acoustics and original signals which may be far from ideal Each Monitor 2 input is provided with a comprehensive 4 Band EQ section with two swept mids for extra control HF EQ Turn clockwise to boost high treble frequencies 12kHz and above by up to 15dB adding crispness to cymbals vocals and electronic instruments Turn anticlockwise 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 HMID amp LMID There are two pairs of knobs which work together to form HI and LO MID frequency EQ sections The lower knob in each pair provides 5dB of boost and cut just like the HF EQ knob but the frequency at which this occurs can be set by the upper knob over a range of 550Hz to 13kHz HMID or 80Hz to 9kHz This allows some truly creative improvement of the signal in live situations because the mid bands cover the range of most vocals Listen carefully as you use these controls together to find how particular characteristics of for instance a vocal signal can be enhanced or reduced Set the gain lower knob to the centre detented position when not required Note is set at 1 5 LF EQ Turn
22. raphic Insert and is this device switched on and set up correctly Are the local or Master DIM or T B switches released Headphones Distorting O Are the headphones less than 2000 impedance O 5 the Phones level set too high Page 8 Hum on outputs when SPLIT OUT sockets are used O Check for ground loops and try isolating the SPLIT OUT ground connection by removing the internal jumper which is normally fitted see below O 1 PIN 1 GROUNDING LINK GROUNDED LNO LINK GROUND LIFT SPLIT OUTPUT APPLICATIONS Live Monitor with Effects FOH CONSOLE BAND INSTRUMENTS VOCALS For guidance on splitter earthing see Setting Up amp Troubleshooting PROCESSOR MONITORS EFFECTS MONITORS ENGINEER S WEDGES AMP HAH HHH TALKBACK wc Mo S y HEADPHONES GRAPHIC EQ O Bg eio o t 1 fee sk Page 9 TO GRAPHIC INSERTS Hip Live Monitor with In Ear Monitoring POWERED Y Y MONITORS MONITORS MONITOR receivers FAN WIRELESS IN EAR MONITORS transmitters O ENGINEE WEDG TALKBACK
23. section on page 8 for help in setting a suitable signal level Q All monitor sends are disabled when the MUTE switch is down and the associated amber LED illuminates to show that the switch is pressed O The FADER provides overall level control of any Monitor Sends which are selected as post fade You get most control when the input Sensitivity is set up correctly giving full travel on the fader See the Setting Up amp Troubleshooting section on page 8 for help in setting a suitable signal level OD seu up This green LED illuminates to show that a signal with a level greater than 20dB is present in the channel QD nr When the latching PFL switch is pressed the pre fade post EQ signal is fed to the headphones and engineer s wedge outputs replacing the selected wedge source and illuminating the SOLO PFL LED on the Master section to show that a PFL is active The adjacent red LED lights to identify the selected channel This is a useful way of listening to any required input signal without interrupting any of the monitor sends for making adjustments or tracing problems When the PFL switch is released the LED serves as a PEAK indicator which illuminates approximately 4dB before clipping to give warning of a possible overload The signal is sampled at two points in the EQ section and at the Insert Send Page 5 MNTR PRE 4 3 8 5 2 0 O r O O r O 0 9
24. t method of compensating for incorrect wiring or microphone placement In some circumstances it may be found that pressing PHASE REVERSE will help with feedback avoidance The switch should normally be released when not required Note that the SPLIT OUT feed is NOT affected by this switch SENS Sensitivity This knob sets how much of the source signal is sent to the rest of the mixer Too high and the signal will distort as it overloads the channel Too low and the level of any background hiss will be more noticeable and you may not be able to get enough signal level to the output of the mixer Setting the knob to the 0 mark gives unity gain for line level signals See Setting Up amp Troubleshooting on page 8 to learn how to set SENS correctly Page 4 O HI PASS FILTER Pressing this switch activates a steep 18dB per octave filter which reduces the level of bass frequencies only Use this in live PA situations to clean up the mix reducing stage rumble or popping from microphones O 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 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 a line level pre fade pre EQ send of a mic source if re
25. ter is not required 60Hz Filter 9 12 only A fixed 60Hz high pass filter is provided on outputs 9 10 and 11 12 which might typically be used for in ear monitor transmitters effects sends or FOH PA The filter helps to clean up the mix and reduce large low frequency transients Pressing the T B Talkback switch routes the talkback mic signal to the monitor output and simultaneously dims the monitor signal to allow the engineer s voice to be heard over the mix The Talkback level is set by the T B SENS control on the Master section Talkback is disabled when the DIM switch is pressed Pressing the DIM switch attenuates the monitor output by 6dB as an immediate way of eliminating feedback while the source of the problem is identified O The 100mm fader controls the overall level of each output The 0 mark gives unity gain from the fader leaving 5dB in hand O FX RETURNS The signal from either of the two stereo FX Returns may be mixed directly to the Monitor output at a level set by the local control overall level is set the and FX2 controls on the Master section The RETI RET2 switch selects FX Return when released and FX Return 2 when pressed On outputs 8 the FX Return signal will be a mono sum of left and right and on 9 10 and 11 12 the signal will be fed in stereo Note that FX Return may be globally switched from the Master section to be the House Mic signal if required
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