E Series User Guide
Contents
1. HEADPHONES gt 200R Glossary AFL After Fade Listen auxiliary send balance balanced clipping DAT dB decibel Dl direct injection Box equaliser fader feedback foldback frequency response gain headroom impedance balancing insert pan pot peaking peak LED SOLO 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 mixes 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 equally by the two wires which results 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 R2. GUITAR gt i ore B 1 LIFIER i HH 25 LJ a amp 22 sg 8 INSERT INSERT INSEN Nu Q S Oe eC 0000 17 00090 77 oO MM O 22 20 MMO O aa e O COMPRESSOR LIMITER jam ca 1 e Jaa HEADPHONES O comana 2200R CASSETTE OR DAT MACHINE Using Delay in REINFORCEMENT SYSTEMS The drawing below illustrates how to calculate delay settings for fill speakers in multiple speaker installations z 5 B If speed of sound 330m s D 150 50 100 2 0 MS 100m 330 0 35 7 N Qe i e Delay should be 0 3s 150m 7 2 72 Y ga N wr Delay Tower ELILIU APPLICATION 2 MULTISPEAKER APPLICATIONS This configuration demonstrates how multiple speaker configurations can be driven by the Spirit E Series FILL MONITOR MAIN PA LEFT AND RIGHT 4 5 INSTRU
3. SAFETY GUIDE Page Safety Symbol Guide 2 Approvals and Notice 3 Warranty 4 Important Safety Instructions 5 Cautions 5 Warnings 6 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 M ust be followed carefully to avoid bodily injury WARNINGS M ust be observed to avoid damage to your equipment NOTES Contain important information and useful tips on the operation of your equipment ELILIU 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 E1 EA This product is approved to Product Part Nos safety standards E6 RW5650 EN IEC 60065 2001 E8 RW5651 UL6500 2nd Edition 2000 E12 RW5652 CAN CSA E60065 00 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 660742 e mail info soundcraft com Harman International Industries Ltd 2002 All rights reserved Parts of the design of this product may be protected by worldwide patents Part No ZM0261 Issue 4 Soundcraft is a trading division of Harman International Industries Ltd Information i
4. 12kHz U 1 5 EQ Bands stereo input 15dB 80Hz USER GUIDE WEIGHT EO e 5 75 kg 12 68 Ibs do eu EEEE tase 6 75 kg 14 88 lbs d T 5 kg 17 09 Ibs AVERAGE POWER CONSUMPTION QUIESCENT i 13 Watts Wo NER Tm 14 5 Watts d 17 Watts MIN MAX OPERATING TEMPERATURE E SERIES FAMILY Farenheit 0 C 50 C 32 F 122 F 42 UR L LL 0 28 LO E lts N CN ulus SS 9 98 01 P6 Zi uug gze unug zie 2 ex 5 e e c e e 6 e z LO e lt core E l i lt gt 4S 9 gt GYE 8 SPIRIT E6 Dimensions USER
5. OOOOOOO E E sae LI r3 LT1L0 1 o EE HEADPHONES 2200R CASSETTE OR DAT MACHINE USER GUIDE APPLICATION 4 RECORDING The insert points on channels 1 8 may be used to feed a multitrack recorder as shown link the send and return signals The Mix outputs are used for a preliminary stereo mix on a DAT recorder ARTIST S FOLDBACK AMPLIFIER PASSIVE MONITORS OJ I gt CONTROL ROOM ACTIVE MONITORS J MULTITRACK TAPE RECORDER 100000000 0 C o o o e e e 9 INSTRUMENT AND VOGAL SOURGES maag ca ommno HEADPHONES gt 200 CASSETTE OR DAT MACHINE APPLICATION 5 LINKING TWO SPIRIT E SERIES CONSOLES AMPLIFIER os 79 8 OJ A
6. SLEEVE Sleeve 3 1 Centre 5 zgz d o 0 C m 3 Screen c S TIP SLEEVE SLEEVE Sleeve OAM Sleeve Tip 80 fing 9 Bn gt Sleeve Sleeve TIP RING SLEEVE SLEEVE RING TIP eee Centre a C gt Hb TIP SLEEVE zx Sleeve Screen I gB Q Centre zac qi HH Ring zx Sleeve Screen TIP RING SLEEVE 5 gt gt C 2 2 em emm 3 3 Insert Cables Mono Inserts C Gu Tip send 4 SLEEVE Tip O Sleeve Ring TIP RING SLEEVE Sleeve Ring return P Sleeve SLEEVE EA CI l 2 send Tip 3 qi Ring TIP RING SLEEVE Sleeve 1 2 return Gs 3 Centre send Screen Tip Ring Sleeve MWE TIP RING SLEEVE Wi Centre return Screen 2 lt o
7. lt Gv uulgg 79 400 05mm 16 33 M 4 20 wwger e e y6 8L WW Sy LE 8L 9 N N USER GUIDE TYPICAL CONNECTING LEADS Audio connectors used with Soundcraft consoles WE qi E TIP RING SLEEVE TIP SLEEVE T XLR 3 pole 14 2 pole 14 RCA phono A guage TRS jack A guage TS jack Balanced Line Inputs Mix L amp R Outputs Stereo Inputs Auxiliary Outputs ull RING SLEEVE SLEEVE RING TIP Tip Ring Sleeve S55 ES 1 1 C 2 2 eu SS 3 3 Tip 1 a o I Sleeve 3 TIP RING SLEEVE Unbalanced Direct Output Monitor Output Stereo Return Inputs Tip 1 eS EEE q Ring SS TIP RING SLEEVE Sleeve 3 Tip 1 SS pum ez Em
8. 1 eur NIV 06 Se 06 Sk ol ol Wad 0105 N 06 eur NIV5 08 90 0c sk 0L ol Wad CO C 0105 9 09 9 Spr 01 05 8081 NIV 06 90 06 Sl ol 0L Wad C HAN zr M Fol xe 20 3 cs 05 eur NIV5 YEIOPUNOS 2 0 0g 6 gz oz gz o 6 9 4 0 0 6 Gg o o Nf Wad Wad 0105 ALAIN 0105 6 5 5 6 v 2 2 a is Ndo f Nyd 0 0L 0 OL 0 N 7 2022 20 xnv 1 0L 0 01 0 N y N 7 20 xnv xnv gs 8 eL e n CS 62005 zu lt 9 7 X79 97 9 Jl 40 Jl 49 gl gi SL Sk oap apa essit T d 8 Ae 94 79 40 40 f 21 0 ZHE 0 a 8 m P an 21 21 2 6 COS 6 6 6 9 9 9 JH 6 0 6 0 f gpog 9 909 G Gp C 01 9 01 05 05 8081 eur NIV 9 61 NI
9. 5 5 5 5 5 5 5 15 10 10 10 10 10 10 10 10 2 15 15 15 15 15 15 15 15 25 20 20 20 20 20 20 20 20 30 25 25 25 25 25 25 25 25 35 30 30 30 30 30 30 30 30 40 oo VA T _ MZ s uw Ms LY Soundcraft USER GUIDE CONTROL POSITION MARK UP SHEET To assist you in restoring the console to a previous setting you may copy this sheet as many times as you like and use the copies to make a note of your control settings GAIN Line 15dB GAIN Line 15dB GAIN Line 15dB GAIN Line 15dB GAIN Line 15dB GAIN Line 15dB GAIN Line 15dB GAIN Line 15dB 30 30 30 30 30 30 30 30 10 C 45 10 C 45 10 45 10 C 445 10 45 10 C 445 10 C 445 10 45 E A j N FA VAN 5 6008 5 6008 5 6048 5 60dB 5 6008 5 604 5 60dB 5 6008 3 0
10. YAMOd WOLNVHd C CO Mv 0344315 08 90 0c Sl ol ol Wad 0105 0344315 08 90 06 Sl ol ol Wad C 0105 06 Sc 0c Sk ol ol Wad 0105 9009 9 X Spr C Ol 05 8 81 eur NIV LE 06 1 90 06 91 0L ol Wad 0105 9 9 6 0 f 8 09 G N se coe Sp 01 05 1 NIV5 KCN o 0 0 06 00 Sk Sk 0 0 s 0 0 g s 0 Nac Wad Wad 0105 0105 6 g 5 C 27 47 27 V2 0 o 0L 0 0L 0 N 7 OI LIOX xnv 15 xnv 0L 0 0L 0 N NC P d 2022 O 71 xnv 1 gi SL d ee COLTS eO a 872 779 94 79 E dl E d lbs ues sr Sp eset iml SOCIOL S yq v s S CER 405 Bag f 0pl 0 bs ee Met UM D S St slo St Zx ze 9 9 9 9 JH 6 0 JH 940 9 09 9 809 5 05 08 8081 eur NIV
11. SOLO MUTE CO C PEAK r 20 25 30 STEREO 1 STEREO 2 SOLO MUTE CO C PEAK r 20 25 r 30 STEREO 2 48 C PHANTOM POWER SPIRIT 4 9 6 456 3 5 7 P od 8 2 8 0 10 0 10 MONITOR PHONES AUX1 PRE dBu AUX 1 POST OC 10 AUX2PRE AUX 2 POST m 0 CO MONITOR Oa C PLAYBACK DP PLAYBACK TOMX POWER SOLO a is 0 EIL 5 LL L 10 L 25 w V L MIX R E SPIRIT CONTROL POSITION MARK UP SHEET Vv O 2 e d XIN 1 WY 2 x p e 7 gt WY WY e Lw gt c qu 0 WY X i 0 V UU lt gt e T 0108 YI3MOd 5 XIN 1 Ow O HOLINON Os Os O tb mr 1504 2 XnV CO 5 O mr 1504 LXnV D O O e ngp mixy S3NOHd YOLINOW D 0l 0 0l 0 O WY C O C 42 o0 O 4 O gt 4 WY WY O I make a note of your control settings
12. tored points a PRE EQ b POST EQ c POST FADE MIX L 48 SPIRIT AUX1 PRE dBu AUX 1 POST C 10 AUX2PRE 05 0 0 AUX 2 POST O30 MONITOR 48 O PLAYBACK C om PLAYBACK 2 MX POWER 5010 X n 0 L L ILL 5 LLL L1 20 4 25 30 4 Ros CN L MIX R 5 8 Master Section 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 POWER INDICATOR This LED lights to show when power is connected to the console MASTER FADERS The MASTER FADERS set the final level of the MIX outputs and separate fade
13. 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 1 1 1 1 PAN 1 1 1 i 1 PAN 1 i 1 PAN 1 0 1 PAN 1 1 1 1 PAN El 52 2S T d 20 227 2 ONES ELS f 2 2 2 222 2 POS FOS 202 FOS 203 FOS HOS 47 74 4 7 74 47 4 47 74 47 4 4 7 74 4 74 47 74 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 SOLO MUTE SOLO MUTE SOLO MUTE SOLO MUTE SOLO MUTE SOLO MUTE SOLO MUTE SOLO MUTE PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK x a CX a ai a a a 10 10 10 10 10 10 10 10 5 5 5 5 5 5 5 5 0 0 0 0 0 0 0 0 5 5 5 5 5 5 5 5 10 r 10 10 10 10 r 10 10 r 10 15 15 15 15 15 15 15 15 20 00 20 00 20 20 00 20 25 25 25 25 25 25 25 25 30 30 30 30 30 30 30 30 e Muf Soundcraft STEREO 1
14. 3 3 0 3 HF 3 0 3 HF 3 0 3 HF 3 0 3 HF 3 0 5 3 0 3 HF 3 0 3 HF 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 9_ _9 9_ _9 9_ _9 9_ _ 9_ _9 9_ _9 9_ _9 9_ _9 12 12 12 12 12 12 12 cq 12 12 12 12 12 12 12 12 15 15 15 15 apy 15 15 5 15 15 15 15 15 15 15 y MID MID y MID MID y MID y MID y MID y MID N 7 d 5 140 3kHz 140 N3kHz 140 140 3kHz 140 3kHz 140 3kHz 140 140 3kHz E d goes E 3 0 3 3 0 3 E 3 0 3 go 8 8 V1 7 rg c ug a ud bu 2 de 9 2 9 9 9 9 9 9 9 127 12 127 42 127 42 127 742 127 742 127 742 127 12 127 412 15 15 15 45 157 15 5 157 15 M5 15 5 15 5 3 0 3 LF 0 3 LF 3 0 3 LF 3 0 8 LF 0 3 LF 0 3 LF 3 0 3 LF 3 0 3 LF OS EOS SOR 02 EOS Oa 1275 1 1275 71 127 eet co 127 51 1275 71 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 lt 1 AUX voc AUX xz AUX dr AUX AUX T AUX to AUX AUX Pa N N N x N Z 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 ly AUX ly AUX ly AUX AUX ly AUX ly AUX ly AUX susc 7 AN N 7 A N 7 N 7 N 0
15. 7g 6 6 6 6 6 7g 6 7g pO 4 ai oi meh map 2 42 MONITOR PHONES des ae a ee ee 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 ly AUX ly AUX ly AUX ly AUX ly AUX AUX ly AUX ly AUX AUX 1 PRE A dBu C 16 7 N N Z N Z N 7 N 7 N N 7 N 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 O 1 O ly AUX ly AUX AUX ly AUX ly AUX ly AUX ly AUX ly AUX AUX 2 PRE Aa O 6 O 3 2 7 lt T lt lt lt 72 0 O 0 10 0 10 0 10 0 10 0 10 0 10 0 10 0 10 71 1 0 14 PAN 1 0 14 PAN 1 0 14 PAN 1 0 4 PAN 1 0 1 PAN 1 0 4 PAN 1 9 1 BAL 1 9 1 BAL i E vl Ud 22522 2 B P AGE UN 9516 SOS SOL 0505 03 M ut i ut s ut A d 524 p ut 524 E MONITOR 48 PLAYBACK SOLO MUTE SOLO MUTE SOLO MUTE SOLO MUTE SOLO MUTE SOLO MUTE SOLO MUTE SOLO MUTE e m e OOQOQOQOQOQOQOQOQOQOQOQOQOCJ QOO O g PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK TOMX POWER 5010 n FN A x 10 10 10 10 10 10 10 10 0 5 5 5 5 5 5 5 5 5 0 0 0 0 0 0 0 0 10 5
16. LH ED Remove screws at points EP and remove side mouldings and front extrusion Attach rack ears to sides of mixer at points 6 with the new screws provided Keep all screws and parts in case you want to re fit them at a later date om o OO 525 gt gt 15 05 CO O0 60 0 0 0 CO Qoo OO O O O 00 O 000 00 O 0O 0 O O op De o V V 5 O O E 0 c 0 Y O SU O O 5 5 O O o gt o o Q gt Note when rackmounting the E6 and E8 a rack extender is available from Soundcraft to make the console fit into a 19 frame 9 9 USER GUIDE APPLICATIONS APPLICATION 1 LIVE SOUND REINFORCEM ENT MAIN PA LEFT AND RIGHT qu STAGE FOLDBACK KEYBOARD
17. 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 con denser 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 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 GAI
18. indirectly via an amplifier to standard monitors These faders control the overall level of the mix bus These show the level of the mix outputs When the SOLO LED is lit the meters show the level of the signal sourced This controls the level of the signal sent to your monitoring system This controls the level of the signal sent to the headphones jack socket These two outputs can be used to send the channel signal to an FX unit or an artist s monitors headphones in ear stage monitors Aux 1 amp 2 are switchable pre post fade These two switches globally switch the AUX1 and AUX2 feeds respectively on all the input modules to be either pre or post fade These two inputs can be used to connect line level stereo inputs from keyboards sound modules samplers computer based audio cards etc These inputs pass through a normal channel strip with EQ Auxes and a Balance control PLAYBACK INPUTS RCA Phono Here you can connect the playback from your recording device PLAYBACK CONTROLS RECORD OUTPUTS PHANTOM POWER HEADPHONES 7 Jack Use these to control the playback signal The MONITOR PLAYBACK switch sends the signal to the monitor outputs and phones whilst the PLAYBACK TO MIX switch sends it to the main mix Here you can connect the input to your recording device Press this to switch the phantom power 48V on for condenser microphones WARNING Do Not apply Phantom Power before connecting a microphone Pl
19. 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 princi pally 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 over loads the channel and causes clipping 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 Clipped Signal VU V AA AAA VUNNVVVNVVN Noise If the signal level is too high clipping distortion may occur Signal Noise MTS AM dered VV VV RY VVVY If the signal level is too low it may be masked by the noise FITTING RACKMOUNT EARS EP Remove screws at points
20. of that band a visual indication of the signal peaking just before the onset of clipping which will distort the signal a function that allows the operator to monitor the pre fade signal in a channel independently of the main mix USER GUIDE phase polarity post fade pre fade rolloff shelving spill transient unbalanced 48V a term used to describe the relationship of two audio signals In phase signals reinforce each other out of phase signals result in cancellation Phase is a measurement of relative displacement between two waves of identical frequency 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 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 n
21. plugging into the left jack only GAIN The GAIN control sets the level of the channel signal 9 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 frequen cies 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 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 shelving response giving 15dB of boost or cut at 60Hz AUX SENDS These are used to set up a separate mixes for FOLDBACK EFFECTS or recording and the combination of each 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 are both globally switchable between pre and post fade see mas ter section on page 21 22 The send pots are fed with a mono sum ofthe L amp R signals BALANCE This control sets the amount of the channel signal feeding the
22. restoring the console to a previous setting you may copy this sheet as many times as you like and use the copies to make a note of your control settings GAIN Line 15dB GAIN Line 15dB GAIN Line 15dB GAIN Line 15dB GAIN Line 15dB GAIN Line 15dB 30 30 30 30 30 30 STEREO 1 STEREO 2 s s s s 5 N X N 7 N N A 5 6008 5 6008 5 6008 5 6098 5 6098 5 6098 48V 6 6 6 amp XU 6 amp v7 og SOR SOR SOR SOR SOR SOR GAIN GAIN 19 12 12 12 12 12 12 12 12 127 12 ae E S SPIRIT 18 19 OUS E 18 15 IB gage 19 18 yay 15 i5 ggg 1 7 MID MID y MID 1 MID 7 MID MID 6 14 6 14 Se P d E NS Ps b gt N N 04 E TOF 94 04 1 USE P d 5 NS S gt 140 N3kHz 140 3kHz 140 N3kHz 140 3kHz 140 3kHz 140 3kHz 0 3 3 0 3 0 3 3 0 3 3 0 3 3 0 3 0 3 HF 0 3 HF 6 V 7g 6 V 7g 6 7g oa 6 6 1 6 107 12 127 we get 12 512 qae 512 127 12 127 12 127 a l7 7 31 7 15 157 15 15 oe 15 15 15 15 15 15 15 A e c t 0 3 LF 0 3 LF 0 3 LF 0 3 0 3 LF 0 3 LF 0 3 LF E 5 TRUE 6 6 V
23. 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 op eration but see note below s Repeat this procedure on other channels as required As more channels are added to the mix the meters may move into the red section Adjust the overall level using the Master Faders if necessary Listen carefully for the characteristic sound of feedback If you cannot achieve satis factory 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 to remember that many factors affect the sound during a live performance for instance the size of the audience USER GUIDE You are now ready to start building the mix and this should be done 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 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
24. 36 SPIRIT E Y Cables Balanced Where used Aux Mix outputs Tip Ring SLEEVE RING TIP Tip Sleeve Ring Sleeve Tip Ring WE RING SLEEVE SLEEVE RING Sleeve Ring Sleeve 1 MWE TIP RING SLEEVE N Separator Note for every doubling of headphones the load impedance is halved Do not go below 200R Tip Ring E Tip Sleeve Ring TIP RING SLEEVE Sleeve Tip Ring Sleeve ED a Tip Left d SLEEVE Tip Sleeve qi Ring TIP RING SLEEVE Sleeve Tip Right ED Sleeve SLEEVE 4 E Y Cables Unbalanced 1 Cas C 2 Left Tip 3 MWE Ring TIP RING SLEEVE eS Sleeve 1 C 2 Right 3 Tip e Qu Ring SLEEVE RING TIP Tip Sleeve MWE Ring TIP RING SLEEVE Sleeve Tip T7 gt Ring gt n SLEEVE RING TIP Slee
25. AK 7 PEAK CO PEAK PEAK C PEAK POWE C STEREO 1 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 where you can find a more detailed explanation ELILIU THE 10 SECOND TUTOR INPUT XLR A LINE INPUT 4 Jack INSERT POINT 4 Jack GAIN CONTROL EQ STAGE SENDS PAN CONTROL MUTE SWITCH Q 500 PEAK LED INPUT CHANNEL FADER MIX OUTPUTS XLR MIX INSERTS 7 Jack MONITOR 0 Ps Jack MASTER FADERS MAIN METERS MONITOR CONTROL PHONES CONTROL AUX OUTPUTS Jack AUX CONTROLS STEREO INPUTS Jack Connect Microphones here If y
26. GUIDE IMENSIONS E8 D 6 uuu LL S6 Soundcraft 451 43mm 17 777 1 H 68721 926 64 90 92 d ex em PA lt 9 Z8 400 05 16 33 i H V6 vL 6 6 uuu eoe c YLE 66 Soundcraft 451 43mm 17 777 E imensions SPIRIT E12 D C o 68 9 6 00 uuugzg 5 e e e e 1 1
27. Left and Right MIX 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 MUTE All outputs from the channel are enabled when the MUTE switch is released and muted when the switch is down USER GUIDE MONITOR OUT SOLO MUTE qu D STEREO 1 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 Setup section on page 23 for help in setting the right level SOLO When the latching SOLO switch is pressed the pre fade pre mute signal is fed in mono to the headphones control room output and meters where it replaces the MIX The SOLO LED on the Master section illuminates to warn that a SOLO is active The Left and Right meters display the SOLO 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 CHANNEL PEAK LED This LED will light when the signal level approaches clipping at any of the three moni
28. Line 15dB SOLO When the latching SOLO switch is pressed the pre fade pre mute signal is fed to the headphones control room output and meters where it replaces the MIX The SOLO LED on the Master section illuminates to warn that a SOLO is active This is a useful way of listening to any required input signal without interrupting the main mix for making adjust ments or tracing problems When SOLO is pressed anywhere on the console the Control Room outputs automatically switch from monitoring the Mix Outputs PEAK LED This LED will light when the signal level approaches clipping at any of the three monitored points a PRE EQ b POST EQ c POST FADE 20 25 7 30 ELILIU L MONITOR OUT AUXI SOLO MUTE m 20 c 25 1 30 Nd STEREO 1 STEREO INPUT CHANNELS INPUTS STEREO 1 2 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
29. MENT AND SOURCES wills T INSERT INSERT INSERT INSERT RT N a zi N 20 EREO 1 STEREO ND 2 0 PHONES Oe 0000 0000 FZ oO MIND o o MM O coo COMPRESSORILIMITER APPLICATION 3 PLACES OF WORSHIP This configuration uses the Aux 2 output to drive an induction loop for the hard of hearing Aux 1 output is used to generate foldback monitoring for the speaker singer The main outputs are used to drive the main speaker system The record and playback connections are used to pass audio to and from a DAT machine or CDR ON INDUCTION LOOP P INDUCTION LOOP AMP C D E 1 AMPLIFIER 1 e FOLDBACK INSTRUMENT AND VOGAL SOURGES 0 A APHIC EQ 1 D o AUX2 N 7 PI INSERT INSERT INSERT INSERT INSERT INSERT 6 SZ 9 2 22 22 SZ 2 NL PHANTOM POWER PHONES CD PLAYER
30. MS 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 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 technique used on unbalanced outputs to minimise the effect of hum and interference when connecting to external balanced inputs 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 OdBu 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
31. N knob starting with the knob turned fully anticlockwise Unplug any MIC connection when using the LINE input Sleeve to Ground 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 output if required using a lead with tip and ring shorted together so that the signal path is not interrupted SPIRIT ISERIES Mix Outputs t 21 Screen Pd 3 Signal Aux Outputs Monitor Outputs Signal Signal Screen Mix Inserts Signal Send Signal Return Ground Screen Ring Sleeve Headphones Left Signal Right Signal Ground gt Stereo Inputs STEREO 1 2 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 i
32. NSTALLING THE MIXER Correct connection and positioning 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 Choose the mains supply for the sound system with care and do not share sockets or earthing with lighting dimmers s Position the mixer where the sound can be heard clearly x Run audio cables separately from dimmer wiring using balanced lines wherever possi ble If necessary cross audio and lighting cables at right angles to minimise the pos sibility of interference Keep unbalanced cabling as short as possible x 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 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 General Precautions Do not obstruct any of the ventilation 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 clot
33. V 06 S6 04 Sk ol ol Wad C 0105 9009 G 01 05 8081 eur NIV5 08 90 06 Sk 0L 0L Wad CO C 0105 8 09 G o oZ Sh C 01 05 1 NIV5 06 90 06 91 ol 0L Wad 0105 05 eur NIV5 USER GUIDE
34. cts are exemplary some of the same circuits which are used on our most expensive consoles are employed in the Spirit E 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 E 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 E 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 headphones 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 are learning make sure your monit
35. d sources which may be damaged by the phantom power voltage on pins 2 amp 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 Line 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 Q 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 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 From E Series Balanced Connection Impedance Balanced Output To External Device Signal Screen Signal Ground From E Series Unbalanced Connection Impedance Balanced Output Signal To Ex
36. e Two examples of how an earth loop can occur are shown below Audio with ground connected Mixer Amplifier Supply Supply Example 1 Mains Earth Example 2 Left Signal with ground connected Mixer Earth Loop Amplifier Right Signal with ground connected WARNING Under NO circumstances must the AC power 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 Get to know the Block Diagram of your console see page 38 Get to know what all parameters and or connections in the system supposed to do s Learn where to look for common trouble spots The Block Diagram is a representative sketch of all the components of the con sole 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 understanding of the internal structure of the console Each Component has a specific function and only by getting to know what each part is supposed to do will you be able to tell 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
37. e Balanced Output To External Device f Screen Signal Experience has shown that sometimes it is better not to connect screen at external device end USER GUIDE m d Mix Outputs 1 Screen 3 Signal C Aux Outputs Monitor Outputs Signal Signal Screen Mix Inserts Signal Send Signal Return Ground Screen Ring Tip Sleeve Headphones Left Signal Right Signal Ground mE 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 equip ment Headphones The PHONES output is a 3 pole A gauge jack wired as a stereo output as shown ideally for headphones of 200Q or greater 862 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 micro phones 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 therefo
38. e 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 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 SETUP 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 8 shows typical initial control positions which is a useful guide to setting up the mixer for the first time Set up individual input channel as follows Connect your sources microphone keyboard etc to the required inputs WARNING Phantom powered mics should be connected before the 48 is switched on Ensure the PA system is OFF when switching phantom power on or off Set Master faders at 0 input faders at 0 and set power amplifier levels to about 70 Provide a typical performance level signal press the SOLO button on the first chan nel monitoring the level on the bargraph meters s Adjust the input gain until the meter display is in the amber
39. g 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 doesnot 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 conven ience receptacles and the point where they exit from the apparatus d 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 qualified service personnel Servicing is required when the appa ratus has been damaged in any way such as power supply cord or plug is damaged liquid 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 what soever for any loss or damage caused by service maintenance or repair by unauthor ised personnel If a trolley is used use caution when moving the trolley apparatus combination to avoid injury from tip over CAUTION RISK OF ELECTRIC SHOCK AVIS ier DE CHOC ELECTRIQUE E PAS OUVRIR WARNINGS Read these instructions Keep these instructions Heed all warnings M Follow al
40. h 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 ciga rette ash are frequent causes of damage to faders and switches Regular care and inspection will be rewarded by a long life and maximum reliability USER GUIDE gt Balanced Mic XLR T I 9 1 Screen 2 Hot ve 3 Cold ve Unbalanced Mic XLR 2 Hot ve 1 Soesi en Link 3 to 1 3 pole jack 2 pole jack Balanced Unbalanced Hot ve Signal Cold ve Ground Ground Screen Screen ve lead to Tip ve lead to Ring Sleeve ve lead to Tip ve lead and Inserts Signal send Signal return Ground Screen Ring Tip Sleeve WIRING UP Please refer to pages 36 37 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 requir ing the best low noise performance or 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
41. he 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 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 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 with Soundcraft s recommendations 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 The benefit of this Warranty may not be assigned by the End User End Users who are consumers s
42. hould 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 SPIRIT IMPORTANT SAFETY INSTRUCTIONS 1 CAUTIONS d To avoid the risk of fire replace the mains fuse only with the correct type and value fuse as marked on the bottom of the product 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 The units are capable of operating at either 230V AC or 115V AC mains voltages 10 REPLACING MAINS FUSE 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 out of service and referred to the Soundcraft dealer from where the equipment was purchased 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 The wires in the mains lead are coloured in accordance with the fol
43. istributor 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 other out of warranty consoles please contact the appropriate territorial distributor When mailing or faxing please remember to give as much information as possi ble This should include your name address and a daytime telephone number Should you experience any difficulty please contact Customer Services Depart ment e mail csd soundcraft com USER GUIDE LINE GAIN Line 15dB SOLO MUTE Mono Input Channel 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 IMPED ANCE 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 48 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 unbalance
44. l instructions This unit contains no user serviceable parts Refer all servicing to a qualified service engineer through the appropriate Soundcraft dealer Clean the apparatus only with a dry 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 ELILIU CONTENTS Page Overview 8 The 10 Second Tutor 9 Introduction 10 Advice for Those Who Push the Boundaries 10 Installation amp Safety Precautions 11 Wiring Up 12 Mono Input Channels 16 Stereo Input Channels 19 Master Section 21 Using Your Spirit E Series Console 23 Fitting Rackmount Ears 25 Application 1 Live Sound Reinforcement 26 Application 2 Multispeaker Applications 27 Application 3 Places of Worship 27 Application 4 Recording 28 Application 5 Linking Two Spirit E Series Consoles 28 Glossary 29 Typical Specifications 31 Dimensions 33 Typical Connecting Leads 36 System Block Diagram 38 Control Position Markup Sheets 39 USER GUIDE Overview GAIN Line 1545 GAIN 154 30 30 82 24 99 600 6 2020000000000 0000000000 d d oO m SOLO MUTE 500 MUTE 500 MUTE 500 MUTE 5010 MUTE SOLO MUTE 500 MUTE SOLO MUTE SOLO MUTE SOLO MUTE SOLO MUTE SOLO MUTE 500 MUTE 500 MUTE D PEAK FEK C PEAK C PEAK C PEAK CO PEAK C PE
45. lowing 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 id 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 The apparatus must not be exposed to dripping or splashing Objects containing liquid must not be placed on the apparatus The disconnect device is the mains plug or the appliance connector either one must remain accessible so as to be readily operable in use Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A groundin
46. mmunity 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 output 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 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 Signal Send Insert Point Send to External Device Note If XLRs are used join Pins 1 amp 3 Screen and connect to cable screen Connect Pin 2 to signal Signal Return Return from External Device Mix Outputs The MIX outputs are on XLR s wired as shown and incorporate impedance balanc ing allowing long cable runs to balanced amplifiers and other equipment From M Range Balanced Connection Impedance Balanced Output Signal To External Device gs Screen Signal From M Range Unbalanced Connection Impedanc
47. n this manual is subject to change without notice and does not represent a com mitment 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 No part of this manual may be reproduced stored in a retrieval system or transmit ted in any form or by any means electronic electrical mechanical optical chemi cal including photocopying and recording for any purpose without the express written permission of Soundcraft 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 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 affected t
48. nd Right RCA sockets to the MIX Left Right signal at the MIX outputs MONITOR PLAYBACK Press this switch to route the Playback signal to the monitor and phones over riding the default Monitor Phones signal ERT PLAYBACK IN L R MONITOR LEVEL 6 D 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 48V e PHONES oem T MONITOR OUTPUTS SPIRIT The Monitor Outputs are on 3 pole A gauge jacks and are balanced connections PHONES LEVEL This control sets the output level to the Headphone outputs If headphones are plugged into the PHONES jack then the knob sets a comfortable headphone listening level without affecting the Monitor output levels HEADPHONES JACK AUX1PRE Bu The PHONES output is a 3 pole A gauge jack wired as a stereo output as C O t O shown ideally for headphones of 2000 or greater 862 headphones are not AUX1POST 10 5 5 0 recommended CQ 9 9 emma AUX OUTPUTS 1 amp 2 i These outputs are on 3 pole A gauge jacks and are balanced outputs C2 MONITOR O 18 22 AUX PRE POST SWITCHES lt ol o These two switches globally switch the AUX 1 and AUX 2 feeds respectively on POWER 5010 all the input modules to be either pre fade or po
49. ors are turned down Remember that your ears are the 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 SPIRIT ISERIES INSTALLATION AND SAFETY PRECAUTIONS ABOUT THIS MANUAL This manual describes the safety precautions warnings specifications installation and operat ing procedures specific to the following Soundcraft products only Spirit E6 RW5650 UK EU US Spirit E8 RW5651 UK EU US Spirit E12 RW5652 UK EU US The information in this manual should be read by end users of one of the above products 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 No ZM0262 from Soundcraft or one of its accredited distributors Information in this manual is subject to change without notice and does not represent a com mitment 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 I
50. ot 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 ELILIU TYPICAL SPECIFICATIONS Noise 22Hz 22kHz measurement bandwidth Mic EIN max gain 150 W source impedance 128dBu Mix max faders dOWN lt 85dBu Crosstalk typ 1 2 channe MUU EEE ASEE AA ERS gt 96dB CU OL Rm gt 96dB AD Snad POLONO 6 gt 86dB Frequency response Line 20Hz 20kHz THD Noise Mic gain 30dB 30dBu input Mix out fader CAE lt 0 007 96 Input amp output Impedances TE 2 4kQ 11kQ 100 0 Sce 150 Input amp output levels 010 HB RES NI RE 1 7 Ene IO 30dBu Stereo OE max 30dBu OMI 20dBu Headphones 816 300mW EQ EQ Bands Mono input 15dB foe cT 80Hz Md 140Hz 3kHz RR
51. ou are using a condenser mic ensure phantom power is Supplied by pressing the switch at the top of the master section WARNING Do Not apply Phantom Power before connecting a microphone Connect Line level sources here e g Synth Drum Machine DI etc Connect Signal processors here e g Compressor Gate etc Adjust this to increase or decrease the level of the incoming signal Adjust these controls to change the signal tone the character of the signal Adjust these controls to change the level of the signal to an FX unit or an artist s monitors headphones in ear stage monitors Aux 1 amp 2 are switchable pre post fade Use this control to position the signal within the stereo field When this is pressed you will hear no signal from the channel post mute signals When pressed the signal will appear on the monitor outputs use this to monitor the post EQ signal from the channel This is used to indicate that the signal close to distorting clipping on a specific channel This is used to control the level fed to the Mix Bus and post fade sends Connect these to your analogue recording device or to your amplification system This is a pre fade break in the signal path which can be used to feed a dynamics or mastering 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 These are used to feed your monitoring system This can be directly connected to powered monitors or
52. re always take care 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 referenced 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 or ground 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 minimise noise by following these wiring guidelines 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 M Avoid running audio cables or placing audio equipment close to thyristor dimmer units or power cables Noise immunity is improved significantly by the use of low impedance sources such as good quality professional microphones or the outputs from most modern audio equipment Avoid cheaper high impedance micro phones 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 ground loop is the most likely caus
53. rol 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 HF EQ Turn to the right to boost high treble frequencies above 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 micro phone 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 this occurs can be set by the upper knob over a range of 140Hz to 3kHz 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 Turn to the right to boost low bass frequencies below 60Hz by up to 15dB adding 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 Q Aux Send
54. rs are provided for each output These should normally be set close to the 0 mark if the input GAIN settings have been correctly set to give maxi mum travel on the faders for smoothest control 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 pole A gauge jacks and are unbal anced 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 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 When any SOLO switch is pressed the meters switch to show the selected SOLO signal on both meters in mono the SOLO LED also lights RECORD OUTPUTS These two RCA outputs carry a copy of the MIX Land MIX signals They allow the use of a recording device e g DAT player Minidisc Cassette tape recorder etc PLAYBACK IN These two RCA phono sockets are unbalanced Left and Right line level in puts used for connecting a recording device USER GUIDE PLAYBACK TO MIX Press this switch to route the Playback in signals connected to the Left a
55. s These are used to set up separate mixes for FOLDBACK EFFECTS or recording and the combination of each Aux Send is mixed to the respective Aux Output 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 are both globally switchable between pre and post fade see master section on page 21 22 PAN This control sets the amount of the channel signal feeding the Left and Right MIX 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 MIC MUTE All outputs 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 signal is required _ LINE 7 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 m set up correctly giving full travel on the fader See the Initial Setup section on page 23 for help in setting a suitable signal level GAIN
56. st fade 20 4 SPIRIT ISERIES QU Cardioid Response Hypercardioid Response Omnidirectional Response wm lt lt USING YOUR SPIRIT E 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 acoustic characteristics from soundcheck 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 hypercardioid microphones offer even greater directivity with a small amount of pickup behind the microphone Thes
57. ternal Device Screen Signal Ground Experience has shown that sometimes it is better not to connect screen at external device end 20 Frequency Hz 20k dB 20 Frequency Hz 20k dB 20 Frequency Hz 20k 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 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 Setup on page 23 to learn how to set GAIN correctly 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 slight boosting or cutting of particular voice frequencies can really make a difference to clarity There are three sections giving the sort of cont
58. through the console and tracking down the problem by elimination Swap input connections to check that the source is really present Check both Mic and Line inputs Eliminate sections of the channel by using the insert point to re route the signal to other inputs that are known to be working x Route channels to different outputs orto auxiliary sends to identify prob m lems on the Master section Cu a Compare a suspect channel with an adjacent channel which has been set up identically Use SOLO to monitor the signal in each section Insert Bypass Jack x Insert contact problems may be checked by using an insert bypass 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 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 the National Service Manager at Soundcraft USA telephone 615 360 0458 e mail soundcraft usa harman com 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 D
59. ug your headphones into this socket USER GUIDE INTRODUCTION 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 E 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 through working in close contact with leading professionals and institutes to bring you products designed to get the best possible results from your mixing Built to the highest standards using quality components and surface mount technology the Spirit E 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 interruptions to the creative process our products have been designed to be almost transparent 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 produ
60. ve eM gt Tip Sleeve gt Sp SLEEVE Ring Sleeve TIP SLEEVE Cz S 1 Sleeve SLEEVE EE 1 1 2 3 WwW Tip Sleeve E TIP SLEEVE 1 Cz C 2 3 BI o Centre Screen dq TR 5 SLEEVE BH o Screen USER GUIDE SYSTEM BLOCK DIAGRAM MOVEAV ld YOLINOW SIAdLNO XIAN i XIN ass Sassna o NOW SNI Po lt lt Jo _ OXN NON NN 5 uS INO f Win E 9 ALL lt SLAdNI OV8AV ld XIN OL MOWEAV ld 13471 NOW N TWNOIS 2343 3894 NOW E 91 OXIA NOW N Lxnv 24 TWNOIS 030751509 1504 S d H Hm S3NOHd H O3 l3IS E pol O1OS ez L1 j JONVIVE iis 8t 1 gH SUSI 9 UOLINOW OL i etC i i i TH 1 E T JNN gt K 29 100315 TANNVHO amp 16 11 NIVO 39 UIZ ONOW 1331 af 1VOILN3dI TIV JANNVHO ONON 9 30 MN 724 150 ALL lt uz asi 7 3Nn uS d O CXnv lt Neifil3t ON T HAN QN3S dll i 1NIOd 1 3SNI SINdLINO XV TWNOIS 30941504 NNOIS m a UIZ SIN 484 d O LXNV e OTOS SN I Q oXNW LXNW INOINVHd 8 1 CONTROL POSITION MARK UP SHEET To assist you in
Download Pdf Manuals
Related Search