SoundCraft 1601S Music Mixer User Manual
Contents
1. MIC LEVEL SOURCES STEREO SOURCES CASSETTE OR KEYBOARD SYNTHESISER OR SAMPLER o m 22 DB a ww 2 ngk LOUDSPEAKER OUTPUT OEN ENE natan oe KIT O O gt SPEAKERS FOH LBRO o PA SPEAKERS MONO FILL rey EET D merr 0 LINE LEVEL SOUKCES uM GRAPHIC EQ l ri 8 8 je IRE im 2 Q Q m A m 7 m D S O m 77 KEYBOARD SYNTHESISER OR SAMPLER s REVERB SN 5 E bag buod ITA O00000000 Bus DRUM MACHINE ARTISTS FOLDBACK COMPRESSOR LIMITER Page 5 SPIRIT LIVE 32 Balanced Mic XLR 2 Hot ve 3 Cold ve 1 Screen Unbalanced Mic XLR 1 Screen Balanced Unbalanced 3 pole Jack 3 pole Jack Hot ve Li Signal Cold ve Gnd Screen Gnd Screen Gnd Screen Tip Ring Sleeve Inserts Signal Send Signal Return Gnd Screen Tip Ring Sleeve WIRING IT UP MIC INPUT he 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 requiring2. L Do not mix phases on a 3 phase supply without consulting an electrician L 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 The LIVE 32 mixer must only be connected through the Power Supply supplied 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 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 The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N 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 the risk of fire replace the mains fuse only with the correct value fuse as indicated on the power supply Page 4 SPIRIT LIVE 32 CONNECTING 17 UP The diagram below shows various equipment that would be connected to a SPIRIT Live 32
3. input Use these inputs for sources such as keyboards drum machines synths tape machines or as returns from processing units The input is BALANCED for low noise and immunity from interference but you can use UNBALANCED sources by wiring up the jacks as shown although you should then keep cable lengths as short as possible to minimise interference pick up on the cable Note that the ring must be grounded if the source is unbalanced Mono sources can be fed to both paths by plug ging into the Left jack only MIX INSERTS MONO INSERT The unbalanced pre fade insert points are 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 Y lead may be required to connect to equipment with separate send and return jacks as shown below Signal na Tip Send to External Device Insert Point PAWA Signal Return Ring Sleeve Return from External Device Sleeve MIX amp OUTPUTS The Mix and Mono outputs are on 3 pole XLR sockets wired as shown on the left and below and incorporate impedance balancing allowing long cable runs to balanced amplifiers and other equipment From LIVE 32 a Balanced Connection Impedance Balan
4. 10 dBV HI Max Mic Gain through longest path to Mix 74 dB Page 23 SPIRIT LIVE 32 DIMENSIONS 86 1 mm 3 39 dim x gt 7 PE 4 E s k dim y NO Width without end trim d j for flight case mounting o CO m 5 Console di 8 channel d 12 channel 16 channel 24 channel 590 5 mm 23 25 FLIGHT CASE MOUNTING The console is ideal for flight case mounting with all connectors on the top panel The end cheeks may be removed to save space in the flight case if required The example below shows a l6 channel console flight case mounted together with the power supply and space for headphones or other accessories Refer to the Expander Installation Instructions on the next page for guidance on removing the side cheeks if required Page 24 SPIRIT LIVE 32 SPIRIT LIVE 32 EXPANDER INSTALLATION INSTRUCTIONS EQUIPMENT REQUIRED L Screwdriver No Pozidriv Spanner 5 16 AF Open 8mm LJ Spanner M4 Nut spinner Spanner M3 open BASE y INSTALLATION KIT PACKED WITH EXPANDER 1 6 off M5 x 12 Pozi Pan Screws Part No NAO159 12 off M5 Flat Steel Washer Part No 2 16 6 off M5 Nyloc Nut Part No NBOI 16 off M3 Pozi Pan Screw Nut and Washer
5. B O ha BR a Kal un so i S e 8 e 8 TY 000 MONITOR LEFT MONITOR RIGHT 5 5 6 RET 1 RET 2 Wa 1 15 5 Hv Hv e 30 5 135 458 5g 455 Mx 3 7 lux 3 7 ax 5 7 5 2 8 22 5 9 D s E d ut ut G 3 3 i gt XE A 5 Si TY Pra Pu d o E sa az z ES i e E 2 Rat 9 E Qs m 2 ES E 2 E 2 iy Paus 1 2 5 E E 0 0 E E 9 3 bs 2 8 2 8 PFL AFL 1 1 NONO oy oA uoNTOR E 5 435 4 B 6 ON 3 7 m 1 7 2 8 2 8 d 1 1 9 PK PK ow LEN MX TO MONO NONO NONO IONO 8 3 Q 3 10 10 10 0 0 B 0 di SPIRIT By Soundcraft 5 5 5 5 5 5 0 0 0 0 10 10 M 5 5 5 5 15 15 15 40 10 10 10 20 20 I 20 MONITOR 15 15 15 15 25 25 25 PHONES 20 20 20 20 30 30 3 x x x 40 40 40 lalala 1 24 LEFT RIGHT 0 o GA DO D DD 0 OX 0 Qo Mai SPIRIT LIVE3H gt C X CX O TG DOT SPIRIT LIVE 32
6. mance offered by your new mixer Above all remember that your SPIRIT mixer is designed to extend your creativity The more you explore the controls and the effect they have on the sound output the more you will appreciate how you can influence and enhance the final sound Page I SPIRIT LIVE 32 BASIC PRINCIPLES OF PA MIXING here was a time when the P A system and the operator existed only to increase the Toca volume of the performers so that they could be heard in a large room or above high ambient noise levels This just isn t true any more The sound system and the sound engineer have become an integral part of the performance and the artists are heavily dependent on the operator s skill and the quality of the equipment The following introduction to the basics of mixing are included for the benefit of those users who may not have any significant familiarity with sound equipment and who are baffled by the endless jargon used by engineers and artists alike THE MIXER As one would expect the main purpose of the mixer is to combine sounds but under precise and smooth control This is why long throw faders are essential on any profes sional product The faders provide you with clear and instinctive control of the final sound balance and like an artist playing an instrument you should listen to the effect of your fader movements not look at your hands Your SPIRIT LIVE 3 mixer accepts a wide range of input signals via the Ul
7. EQ The Peak LED will illuminate approximately 4dB before clipping and therefore give warning of a possible overload even if the peaks are removed by external equipment plugged into the Insert 9 FADER This 100mm long throw fader determines the proportion of the channel in the mix and provides a clear visual indication of channel level Normal operating position is at the O mark providing OdB of gain above that point if required STEREO INPUTS RETURNS 10 STEREO RETURNS Two STEREO RETURNS are provided to allow external equipment to be returned to the mixer and routed to the stereo Mix without using up valuable input channels These are an ideal way of mixing in the output of a reverb or effects unit additional keyboards or the output of other consoles used as sub mixers mono return signal may be plugged into the Left socket only of each pair to be fed equally to Left and Right busses The knobs should turned fully anticlockwise when not required STEREO INPUTS 11 LOHI The LO HI switch provides two input sensitivities The LO setting switch released should be selected for 4dBu professional equipment and the HI setting switch pressed should be selected for OdBV semi professional equipment Start with the LO setting if the source level is unknown 12 EQUALISER The Equaliser section has HF and LF shelving controls Turn the HF knob to the right to boost high treble frequencies by up to 154 adding crispness to perc
8. JUMPER SETTINGS The settings for internal jumpers as fitted in the factory are as follows MONO INPUT SC3611 PEQ Not Fitted PRE Fitted OUTPUT FX STEREO SC3612 SUML Fitted for LEFT Output SUMR Fitted for RIGHT Output MASTER 563613 JI Not Fitted 2 Fitted Mono On Record kaa SPIRIT By Soundcraft Spirit By Soundcraft Harman International Industries Ltd Cranborne House Cranborne Industrial Estate Cranborne Road Potters Bar Herts EN6 7JN U K Tel 44 0 1707 665000 Fax 44 0 1707 665461 A Harman International Company Part No ZM0127
9. signal becomes so high that it would exceed the power supply rail voltages and is as a result limited This commonly occurs where gain settings are incorrectly set or where sources are improperly matched to the mixer input If the source signal is too high clipping and distortion results If the signal is too low it becomes masked by the background noise which is present to some degree in all mixers although minimal in SPIRIT products The diagram below illustrates this point Clipped 7 Signal If the signal level is too high clipping distortion may occur Signal If the signal level is too low it may be masked by the noise Page 3 SPIRIT LIVE 32 INSTALLATION AND SAFETY PRECAUTIONS INSTALLING THE MIXER orrect connection and positioning of your mixer is important for successful and trouble free operation The following sections are intended to give guidance with cabling connec tions and configuration of your mixer L Choose the mains supply for the sound system with care and do not share sockets or earthing with lighting dimmers 1 Position the mixer where the sound can be heard clearly preferably in the centre and with in the audience Run audio cables separately from lighting circuits using balanced lines wherever possible If necessary cross audio and lighting cables at right angles to minimise the possibility of inter ference Keep unbalanced cabling as short as possible
10. who understand the individual needs of musicians SPIRIT LIVE 3 has been built to the highest standards using quality components and employing automated assembly techniques beyond the reach of most manufacturers of compact mixers A rugged steel chassis is combined with moulded side trims to give protection and a distinctive appearance Custom moulded controls designed for the best feel and visual clarity complement the styling resulting in a truly professional product which is ideal for both touring and fixed PA installations SPIRIT LIVE 3 is available in 8 12 16 and 24 channel frame sizes which may be extended by adding an 8 channel Expander The Expander can be attached quickly and securely to the console requiring only a screwdriver and a steady hand to complete the installation SPIRIT LIVE 32 incorporates circuit technology identical to that used on some of the most sophisticated Soundcraft consoles The input channels are able to accept a wide range of Microphone and Line level signals from separate input sockets Every channel features wide range gain control 4 band Equalisation with swept Hi and Lo Mid ranges plus a Hi Pass Filter 4 Auxiliary Sends PFL Pre Fade Listen Peak LED Panning to a Stereo bus and routing to a separate Mono bus The additional bus is a unique feature at this price level and is ideal for driving a centre loudspeaker cluster or with the Left and Right busses used as subgroups and mixed down to the Mo
11. 42 5 1 9 ne NONO d Y DE MONITOR 4 5 5 22 23 19 2 18 i7 21 MONITOR PHONES 22 748V6 PSU MONITOR The 48V switch with its associated LED applies phantom powering to all of the microphone XLR sockets on the input channels NOTE Phantom powered mics should not be plugged in with the 48V switched on Also you should be aware that some microphones draw an unusu ally large current which may overload the power supply resulting in distortion Consult your microphone supplier for guidance if necessary The PSU OK LED monitors the voltage from the power supply to give failure warn ing and will be illuminated under normal circumstances 23 RECORD OUT A pair of RCA phono jacks provide a 20dBV output of the stereo Mix and Mono out put for recording The Mono output may be excluded from the Record Out signal by repositioning internal jumpers if required Page 14 SPIRIT LIVE 32 USING YOUR SPIRIT LIVE 32 CONSOLE he final sound from your P A system can only ever be as good as the weakest link in the Ta and especially important is the quality of the source signal because this is the starting point of the chain Just as you need to become familiar with the control functions of your mixer so you must recognise the importance of correct choice of inputs microphone placement and input channel settings However no amount of careful setting up can take account of the spon taneity and unpredi
12. By Soundcraft o 9 o e c SPIRIT CONTENTS Introduction eoo ep hoe tA AOI ta a Rose f Basic Principles of PA Mixing ohne els dete temer ts 2 Installation amp Safety Precautions 4 Connecting Up as ote dens 5 Wiring 6 Getting to Know Your Console 10 Input AA ARE NE 10 Stereo Inputs Returns sss 12 Master Section 13 Using Your Spirit Live 32 Console 15 Applications Gm ling 17 Care Of Your Mixer c e Oe 21 Glossary esce E Sete o ots 21 Typical Specifications 2 cede de ee RO Gala 23 Dimensions eee oen Lead Hee beds 24 Expander Installation Instructions eene 25 27 System Block Diagram Panel Layouts uus eon dotem taga rhy obti XT w W T PIRIT B PIRIT LIVE3 USERS GUID J SS Cy S06 gt a gt M SPIRIT LIVE 32 Thank you for purchasing a SPIRIT LIVE 32 mixer brought to you with pride by the SPIRIT team of Graham Simon James Chris Colin Andy Peter Martin Ren Roland and Kevin with the support of many others we hope you will have as much fun using it Spirit By Soundcraft 1995 All rights reserved Parts of the design of this product may be
13. ER AMP amp GRAPHIC EQ STAGE FOLDBACK THA amp GRAPHIC EQ HEADPHONES STAGE FOLDBACK Page 18 SPIRIT LIVE 32 APPLICATION 3 LIVE SOUND WITH MONO FILL This is a similar set up to Application but with the Mono output used to drive a separate amplifier and speaker to provide a mono fill This can be fed via a delay unit if required depending on the position of the speakers PA SPEAKER PA SPEAKER MONO FILL Ea KEYBOARD SYNTHESISER OR DRUM MACHINE GRAPHIC EQ nM VIA DELAY IF REQUIRED GRAPHIC EQ COMPRESSOR REVERB M M i i CA Front of House i 1 EE If speed of sound 330 m sec TE S 150m 50m 100m E 150m o 100m 330 0 3sec EE ie delay should be O 5e 1 KS E i i 3 i E i rom ene O Br Delay Tower CASSETTE OR DAT MACHINE iM POWER AMP amp GRAPHIC EQ STAGE FOLDBACK TRH POWER AMP amp GRAPHIC EQ STAGE FOLDBACK SPIRIT LIVE 32 APPLICATION 4 HOME RECORDING BROADCAST In this example the desk is used to provide a final mix for stereo recordi
14. N T ill ASSEMBLY INSTRUCTIONS nT Place the console on a flat clear surface allowing plenty of space in which to work 2 Undo the pozidriv screws on both the top and base of the Console and Expander Keep all screws safely for reassembly 3 Place the console base down with the faders towards you Holding the top panel at the front lift the panel upwards while sliding gently to the rear Place the top panel face down on a flat surface Repeat the oper ation on the Expander 4 Using a screwdriver remove the screws securing the right hand side cheek of the console chassis BASE 5 Fit the side cheek to the right hand side of the Expander using the screws removed in stage 4 Page 25 SPIRIT LIVE 32 Earthing Screw Location BASE Ground lead from power sl connector D lead expander Power Connector RV2280 M3 Nut N j washer Using the M3 screw washer and nut provided secure one end of the earth lead supplied to the screw hole on the left hand side of the Expander front panel underneath the arm rest as shown Ensure that any paint overspray is removed from the inside of the panel to provide a good electrical contact with the panel Using the M5 screws washers and nuts supplied bolt the Expander chassis to th
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16. are followed Get to know the Block Diagram of your console see page 27 It is just like following a road map The Block Diagram is a representative sketch of all the components of the console showing how they connect together and how the signal flows through the system Once you have become familiar with the various component blocks you will find the Block Diagram quite easy to follow and you will have gained a valuable understanding of the internal structure of the console Get to know what each component in the system is supposed to do 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 over looked Learn where to look for common trouble spots Basic Troubleshooting is a process of applying logical thought to the signal path 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 Route channels to different outputs or to auxiliary sends to identify problems on the Master section Compare a suspect channel with an adjacent channel which has been set up identical ly Use PFL and AFL to
17. aring the equalised and unequalised signals 5 AUXILIARY SENDS These controls route the input channel signal to any one or more Auxiliary busses These are separate from the main outputs and can therefore provide additional outputs for foldback echo units or extra loudspeaker fills AUX 1 is normally derived after the EQ section and channel fader PRE FADE POST EQ and is therefore unaffected by the fader position and routing status This makes the send particularly suitable for foldback or monitor feeds which need to be controlled separately from the main P A mix All pre fade sends see also Aux 2 amp 3 below may be selected internally to be PRE FADE PRE EQ AUX 2 3 and 4 are normally derived after the EQ and channel fader POST FADE POST EQ and therefore follow any changes in fader level They are normally used to drive effects processing units which are fed back into the mixer and which must fade out with the input channel AUX 2 and 3 may be altered globally to be PRE FADE PRE EQ by pressing the AUX 2 PRE and AUX 3 PRE switches on the Master section The pre fade source on each channel may be selected internally to be POST EQ if required All of the post fade Aux Sends are muted when neither MIX or MONO routing switch is pressed 6 PAN The PAN control determines the position of the signal within the stereo mix image Rotation fully anticlockwise feeds the signal solely to the Left mix bus while rotation clockwis
18. assette based digital recording format a ratio of two voltages or signal levels expressed by the equation dB 20Log o V V Adding the suffix denotes the ratio is relative to 0 775V RMS Adding the suffix V denotes the ratio is relative to V rms the practice of connecting an electric musical instrument directly to the input of the mixing console rather than to an amplifier and loudspeaker which is covered by a microphone feeding the console a device that allows the boosting or cutting of selected bands of frequen cies in the signal path a linear control providing level adjustment the howling sound caused by bringing a microphone too close to a loud speaker 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 variation in level of the signal an output into which a group of signals can be mixed the available signal range above the nominal level before clipping occurs Page 21 highpass filter impedance balancing insert mute groups pan pot peaking PFL pre fade listen polarity post fade pre fade rolloff shelving spill stereo return talkback transient unbalanced 48V SPIRIT LIVE 32 a filter that rejects low frequencies a technique used on unbalanced outputs to minimise the effect of hum and
19. b Aux or 2 amp 3 switched to PRE and for artists foldback Aux 4 or 2 amp 3 switched to POST PA SPEAKER PA SPEAKER CENTRE VOICE CLUSTER am KEYBOARD SYNTHESISER OR DRUM MACHINE THA EQ COMPRESSOR LLL POWER AMP amp GRAPHIC EQ EFFECTS STAGE FOLDBACK HHA ARH a amp GRAPHIC EQ HEADPHONES STAGE FOLDBACK Page 17 SPIRIT LIVE 32 APPLICATION 2 LIVE SOUND MONO SYSTEM t c CHURCH This configuration is similar to application but is a mono system In this configuration Mix Left and Mix Right are used as subgroups by pressing the MIX TO MONO switch As an example one group could contain a small band while the other might contain a choir or vocals and the Left and Right faders are then available to balance the mix to the Mono out put Aux sends 2 4 are used as mono feeds for foldback LAKI LAKI MONO AME PN FA SPEAKER FA SPEAKER GRAPHIC EQ CASSETTE OR DAT MACHINE COMPRESSOR ee POW
20. ced Signal To Ext Devi Output Ke External Device Ser en Signal Ground From LIVE 32 b Unbalanced Connection aa nS EA Signal To External Device 7 a Screen Signal Ground Experience has shown that sometimes it is better not to connect screen at external device end Page 7 SPIRIT LIVE Mix Outputs Mono Output 3 Signal 2 Signal Mix amp Mono Inserts Signal Send Signal Returr Gnd Screen Tip Ring Sleeve Aux Outputs Signal Signal Screen Headphones Left Signal Right Signal Ground AUX OUTPUTS The Aux outputs are on 3 pole A gauge jack sockets wired as shown on the left and incorporate impedance balancing allowing long cable runs to balanced amplifiers and other equipment HEADPHONES The PHONES output is a 3 pole A gauge jack wired as a stereo output as shown suitable for headphones of 2000 or greater 80 headphones are not recommended POLARITY You will probably be familiar with the concept of polarity in electrical signals and this is of particular importance to balanced audio signals Just as a balanced signal is highly effective at cancelling out unwanted interference so two microphones picking up the same signal can cancel out or cause serious degradation of the signal if one of the cables has the ve and ve wires reversed This phase reversal can be a real problem when microphones are close together and you shou
21. ctability of live performance and 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 sound check to show MICROPHONE PLACEMENT Careful microphone placement and the choice of a suitable type of microphone for the job is one of the essentials of successful sound reinforcement The aim should be to place the micro phone as close as physically possible to the source to cut out unwanted surrounding sounds allowing a lower gain setting on the mixer and thereby avoiding 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 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 inside the rear cover shows typical initial control positions which may be found a useful guide to setting up the mixer for the first time The diagram on page 3 demonstrated how the matching of input gain to the signal source was crucial to avoid distortion at one extreme and excessive noise at the other Set up indi vidual input channels as follows Connect your sourc
22. e Console chassis as shown N B Ensure correct orientation and alignment Re assemble the Expander top panel and base gently sliding the units together as the panel is lowered and threading the Expander bus loom and earthing lead through the aperture into the console base The Expander earthing lead must now be joined to the existing earthing point on the power connector on the main console top panel which should be placed knobs down with the rear of the panel next to the rear of the chassis Remove the securing nut and washer and reassemble with the expander earthing lead connected in contact with the existing earthing lead as shown opposite Ensure that the nut is tightened securely 10 Rotate the main console top panel backwards and reassemble to the base taking care not to strain the earthing lead and connecting the bus loom from the Expander onto the track side pins of the bus connector on the Console Master PCB as shown Carefully adjust the position of the bus loom as the panel is lowered to ensure that the slack in the cable folds on the right hand side of the Master PCB and does not become trapped between the boards and the base panel To ensure good mechanical fit some realignment can be carried out as the top and base panel screws are tightened N B Taking care with paintwork use the correct tools keep screws safely and the expansion of your SPIRIT LIVE 32 should take no longer than 15 minutes Page 26 SPIRI
23. e sweeps the image to the Right 7 ROUTING SWITCHES The input channel signal may be routed to the main Stereo MIX subject to the posi tion of the PAN control or MONO by pressing the respective switches If either or both switches are pressed the ON LED illuminates to show that the channel is con tributing to the output and that any Auxiliary Send is potentially active 8 PFL PEAK When the PFL switch is pressed the Pre Fade signal is fed to the headphones and L amp R meters where it replaces the normal Mix L R or Mono signal The PFL AFL ON LED on the Master section illuminates to warn that the headphones and the meters are now responding to the PFL AFL selection and the PFL LED on the input channel lights to identify the active channel This is a useful way of listening to any required input signal without interrupting the main mix for making adjustments or tracing problems Page I SPIRIT LIVE 32 RIGHT NG tat 1 o0 o 54 OOO0O0O0O0000 5 3 MONITOR LEFT RET 1 D 5 Z a S e d iab a Sao LF 9 gt E NG MONO 3 Mx 3 2 o When the PFL switch is released the LED on the channel serves as a PEAK indicator to warn when an excessively high signal level is present in the channel The signal is sampled at three points in the channel immediately after the Hi Pass Filter PRE INSERT PRE EQ and POST
24. er clean using a soft dry brush and an occasional wipe with a damp cloth or ethyl alcohol Do not use any other solvents which may cause damage to paint or plastic parts Avoid placing drinks or smoking materials on or near the mixer Sticky drinks and cigarette ash are frequent causes of damage to faders and switches Regular care and inspection will be rewarded by a long life and maximum reliability GLOSSARY AFL After Fade Listen a function that allows the operator to monitor the post fade signal in a auxiliary send balance balanced dipping DAT dB decibel Di direct injection equaliser fader feedback foldback frequency response gain input sensitivity sub group headroom channel independently of the main mix an output from the console comprising a mix of signals from channels and groups derived independently of the main stereo group mixes Typically the feeds to the mix are implemented on rotary level controls the relative levels of the left and right channels of a stereo signal a method of audio connection which balances the signal between two wires and a screen which carries no signal Any interference is picked up equally by the two wires but out of phase resulting in cancellation of the interference signal 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 c
25. es microphone keyboard etc to the required inputs Note Phantom powered mics should be connected before the 48V is switched on Route the channel to Mix Set Master faders at O input faders at 0 and set power amplifier levels to about 7096 Provide a typical performance level signal and press the PFL button on the first channel monitoring the level on the bargraph meters Adjust the input gain until the meter display is in the amber section with occasional peaks to the first red LED at a typical maximum source level This allows sufficient headroom to accommodate peaks and establishes the maximum level for normal operation but see note below 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 Note O is the unity level not level with the fader right down On SPIRIT consoles 0 or un ity is marked at or near the top of the fader travel Page 15 SPIRIT LIVE 32 Listen carefully for the characteristic sound of feedback If you cannot achieve satis factory input level setting without feedback check microphone and speaker place ment and repeat the exercise 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 i
26. f any background hiss will be more noticeable and you may not be able to get enough signal level to the output of the mixer Set the knob fully anticlockwise as a preliminary position for LINE level sources HI PASS FILTER Pressing this switch inserts a 8dB per octave 00Hz Hi Pass Filter in the signal path immediately after the input amplifier This is particularly useful in live PA situations to reduce stage rumble or popping and its use is strongly recommended even on male vocals It can also be used for filtering out low frequency hum EQUALISER The Equaliser EQ comprises four sections The upper control provides H F treble boost and cut of 154 and the lower control provides L F bass boost and cut of t I5dB Page 10 SPIRIT LIVE 32 The centre two pairs of knobs are arranged as HI MID and LO MID frequency sec tions with a cut boost control lower knob of 15dB and a SWEEP frequency con trol which determines at which frequency the boost cut action will be centered These MID sections with a combined frequency range from 75Hz to I5kHz are particularly versatile for vocals enabling particular characteristics of the singer to be lifted or sup pressed very precisely Set the cut boost control of each section to the centre detented position when not required 4 EQSWITCH The EQ switch bypasses the Equalisation section when released Alternately pressing and releasing the switch provides an easy way of comp
27. i x xb y NEL 034318 UR IH O1 4 Sw Uu Y 1 YO NSd A Ti SINdNI 03834 SNUNLIY XA M en AA SE E pm memo PANEM ge OEE I LEES Lice STR T ALLE vxnv t 63 J lt 1H9lH 1 ng NANI T ines 1H3SNI Wea t exnv Oy t LE 1no T T 154 zxnv T Quoo3u Yad va T 63 lt 1 1 y NO o3 SSYd HOIH 1331 Xe 1331 exnv 1H3SNI T gt lt m CO 55 EN INANI 1 4 ri A t OIN C 5 193130 x i V3d c NIVO Nep y lt Hd s ZHOOL SNIT OIW Ls SLNANI ONON LHISNI ONON OL A8r o m UO UU NOILOAS H3lSVIWN To omm 4 SYSTEM BLOCK DIAGRAM Page 27 SPIRIT LIVE 32 POWER e e MC MC MX 1 w R UNE UNE UNE INSERT INSERT INSERT INSERT INSERT INSERT 1 STE 2 PSU KO RIGHT out L INPUT op INPUT v INPUT py o sens 720 20 56 720 gt sens 720 2 R A E A LEFT Bi 2 Kiray AUX r 9 r RIGHT i 325 325 305 B 5 B B 5 B AUX Ho a nro b 3 12 wt La e Ka d 12 a 10 0 16 0 3k 3k 12 0 12 0 2 0 3 0 Ax 13k g d g g e g 13k 3 O 3 O MD sah Hosan fimo oh 0 0 jx L 5 L D D D L 5 L D 5 0 1 9 g P g 9 g p 9
28. 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 to another mixer line level signals at a nominal level of 10 to 6dBu usually coming from a low impedance source a method of combining the on off status of a selection of channels under a single control button abbreviation of panorama controls levels sent to left and right out puts an equaliser response curve affecting only a band of frequencies i e based on a bandpass response a function that allows the operator to monitor the pre fade signal in a channel independently of the main mix 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 and this would correct polarity 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 posi tion 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 an input specificall
29. ks as shown although you should then keep cable lengths as short as possible to minimise interference pick up on the cable Refer to the section How to Prevent Interference later in this manual Note that the ring must be grounded if the source is unbalanced Set the input level using the INPUT knob starting with the knob turned fully anticlock wise Plugging into the LINE input automatically cuts off the MIC input Note that with high level sources it may be necessary to reduce the level at source to avoid overloading the input INSERT POINT The unbalanced pre EQ insert point is a break in the channel signal path allowing limiters compressors special EQ or other signal processing units to be added in the signal path The Insert is a 3 pole A gauge jack socket which is normally bypassed When a jack is inserted the signal path is broken just before the EQ section The signal from the channel appears on the TIP of the plug and is returned on the RING with the sleeve as a common ground Page 6 1 Mix Outputs Mono Output Screen 6 3 Signal 2 Signal Mix amp Mono Inserts Signal Send Signal Return Gnd Screen Sleeve Aux Outputs Signal Signal Screen Headphones Left Signal Right Signal Ground SPIRIT LIVE 32 STEREO INPUTS STEREO RETURNS Accept 3 pole A gauge jacks or 2 pole mono jacks which will automatically ground the cold
30. ld therefore take care always to connect pins correctly when wiring audio cables GROUNDING AND SHIELDING For optimum performance it is vital that all signals are referenced to a solid noise free earthing point and that all signal cables have their screens connected to ground To avoid earth loops use balanced connections where possible and ensure that all cable screens and other signal earths are connected to ground only at their source and not at both ends If the use of unbalanced connections is unavoidable you can mimimise noise by fol lowing 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 out put device to ve If a twin screened cable is used connect the screen only at the mixer end Avoid running audio cables or placing audio 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 microphones which may suffer from interference over long cable runs even with well made cables Page 8 SPIRIT LIVE 32 FAULT FINDING GUIDE Repairing a sound mixing console requires specialist skills but basic Fault Finding is within the scope of any user if a few basic rules
31. lows particular artists to retain their correct spatial position within the mix and can be valuable for live effects Pre Fade Listen PFL allows you to monitor the signal at many points in the mixer Pressing any PFL switch routes the signal at that particular point into the headphones and the meters to check the quality of the signal or to pin point problems Using PFL will not affect the signals on the outputs from the desk Each input channel and the three main outputs have an Insert A gauge jack socket which is a break point in the signal path It allows the signal to be taken out of the mixer through an external piece of equipment and then back into the mixer directly after its original exit point The Insert point is normally bypassed by the A gauge jack socket contacts and is only brought into operation when a plug is inserted Typical uses would include Effects Processing Limiting additional Equalisation or Delay Page 2 SPIRIT LIVE 32 The terms PRE and POST are often used in the context of Inserts Equalisers and Auxiliary Sends and describe whether that facility is placed before Pre or after Post another particular section This is explained further in the detailed description of facili ties A mixer is often judged amongst other factors by the amount of Headroom avail able This is a measure of the reserve available to cope with sudden peaks in the input signal without distortion caused by Clipping when the
32. monitor the signal in each section If all else fails call your local dealer for technical assistance Page 9 SPIRIT LIVE 32 MC INSERT INPUT 20 30 SENS i 40 1 50 B0dBu 5 e edd 3395 ID 35 e d ut AUX 3 PRE 1 POST D gt 5 POST D os elu POST 1 PAN 2 8 dX gt ani 3 GETTING TO KNOW YOUR CONSOLE INPUT CHANNEL wo inputs are available to the mono input channel via XLR connector normally for microphone sources or 3 pole 1 4 A gauge jack socket for higher level signals such as keyboards drum machines synths or tape machines Both input sockets are permanently active and may be used simply by plugging the source into the required input You do not need to unplug anything in the MIC socket if you want to use the LINE input The new UltraMic input provides very wide gain control without the need for a pad high CMRR and 28dBu input capability 48V phantom powering may be applied to the MIC input sockets for condenser microphones and this is switched globally by the 48V switch on the Master section Transformer coupled dynamic microphones may be used without causing damage even when the 48V power is turned on but care must be taken when using unbalanced sources because of the volt age present on pins 2 and 3 of the XLR connecto
33. ng or FM radio broadcast mono recording or AM radio broadcast or laying tracks on a multitrack recorder by tapping off the channel insert points A separate back up recording can be made using the Record Out sockets Effects units may be connected via Aux 2 4 switched to post fade and returned to the mix via the Stereo Returns or Effects Returns Foldback can be provided from Aux if required MAIN SPEAKER MAIN SPEAKER STEREO MONO RECORDING RECORDING OR OR FM RADIO AM RADIO FEED FEED KEYBOARD SYNTHESISER OR DRUM MACHINE ACTIVE DI BOX EFFECTS TORET1 EFFECTS TO RET 2 PHONES OUTPUT ARTISTS 1 FOLDBACK IF REQUIRED MULTITRACK RECORDER SEND amp RETURN ARE LINKED FOR NORMAL OPERATION INSERTING A JACK BREAKS THIS CONNECTION WHICH MUST BE RESTORED BY A LINK ON THE JACK HEADPHONES THE SEND IS TAPPED OFF TO FEED THE TAPE MACHINE FOR RECORDING 11 _ Me HAH a lo SEND RETURN SCREEN POWER AMP amp GRAPHIC EQ ORS EI MULTITRACK MONITOR SPEAKER MONITOR SPEAKER Page 20 SPIRIT LIVE 32 CARE OF YOUR MIXER GENERAL PRECAUTIONS 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 mix
34. no bus as the main output Each channel is controlled by a high quality long throw fader All frame sizes are provided as standard with two dedicated stereo inputs Each stereo input comprises switchable input gain two band EQ and sends to Aux amp 2 Mix and Mono busses The Master section provides master level control for the Left Right Mono and Auxiliary Send buses with separate AFL monitoring on each Auxiliary Send Aux 2 amp 3 may both be selected as PRE or POST fade sends allowing flexibility for foldback or effects Two Stereo Effects Returns are provided with switchable input gain and mixing to Left and Right busses A dedicated stereo output is provided for recording the Mix By selecting internal links the Mono output can also be recorded via this stereo output The Mix L R and Mono outputs all have insert points for the connection of external signal processors Two 2 segment 3 colour peak reading LED bargraph meters display the selected headphones source allowing monitoring of Mix or Mono signals Pressing any PFL or AFL switch puts the selected signal onto both sides of the headphones out put and the L amp R bargraph meters in place of the selected signal SPIRIT Live 3 is designed to be as user friendly as possible but a few minutes spent reading through this manual will help you become familiar with the product away from the pressure of a live session and allow you to gain full benefit from the superb perfor
35. nstance the size of the audience 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 Fader NOTE The level of any source signal in the final output is affected by many factors principal ly the Input Sensitivity control Channel Fader and Output 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 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 Page 16 SPIRIT LIVE 32 APPLICATION 1 LIVE SOUND REINFORCEMENT This drawing shows a typical configuration for sound reinforcement with the main PA fed from Mix L R and a separate voice cluster fed from the Mono output The illustration shows the flexibility of the inputs to the mixer and how the Record Output and Stereo Return can be used to link to a cassette or tape machine The Aux Sends are used for rever
36. protected by worldwide patents Issue Part No ZM0 Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor Spirit By 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 transmitted in any form or by any means electronic electrical mechanical optical chemical including photocopying and recording for any purpose without the express written permission of Spirit By Soundcraft It is recommended that all maintenance and service on the product should be carried out by Spirit By Soundcraft or its authorised agents Spirit By Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service maintenance or repair by unauthorised personnel Spirit By Soundcraft Harman International Industries Ltd Cranborne House Cranborne Industrial Estate Cranborne Road Potters Bar Hertfordshire EN6 3JN Tel 44 0 1707 665000 Fax 44 0 1707 660461 SPIRIT LIVE 32 INTROOUCTION for purchasing a SPIRIT LIVE 32 mixer Owning a Soundcraft console brings you the expertise and support of one of the industry s leading manufacturers and the results of over 22 years experience supporting some of the biggest names in the busi ness Designed by engineers
37. r NOTE Phantom powered mics should not be plugged in with the 48V switched on Plug in THEN switch on Also you should be aware that some microphones draw an unusually large current which may overload the power supply resulting in distortion Consult your microphone supplier for guidance if necessary An unbalanced INSERT is provided which is a break point in the input channel signal path It allows the signal to be taken out of the mixer through an external piece of equipment and then back into the mixer to continue through to the final output The Insert is a 3 pole 1 4 A gauge Jack Socket which is normally by passed When a jack plug is inserted the signal path is broken at a point just after the Hi Pass Filter but before the EQ section The signal from the channel appears on the TIP of the plug and is returned on the RING The insert point allows limiters compressors and other signal processing units to be added as required to particular input channels and because it is located PRE EQ noise generated by the external equipment may be reduced by a small amount of H F cut in the Equaliser Y cables are required for connection to and from insert points limiters compressors etc INPUT 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 shown by illumination of the PEAK LED and causes clipping Too low and the level o
38. the PFL switch is pressed a mono sum of the pre fade signal is fed to the headphones and L amp R meters where it replaces the normal Mix L R or Mono signal The PFL AFL ON LED on the master section illuminates to warn that the headphones and the meters are now responding to the PFL AFL selection and the PFL LED on the input section lights to identify the active channel This is a useful way of listening to any required input signal without interrupting the main mix for making adjustments or trac ing problems MASTER SECTION 16 BARGRAPH METERS Two 2 segment three colour peak reading bargraph meters provide visual moni toring of the levels of the Mix Left and Right Mono or PFL AFL signals The meters follow the source selection for the Phones Mono Mix or both If any PFL or AFL switch is activated the meters are switched to display the level of the select ed PFL or AFL signal 17 MIX MONO FADERS The MIX and MONO Faders set the final level of the Mix and Mono outputs Unity gain is at the top of their travel Pre fade INSERTS are provided for connection of external processing equipment e g Graphic EQ if required 18 MIX TO MONO This switch routes the Left and Right Mix outputs to the Mono bus allowing the stereo bus to be used as two mono subgroups mixed down to a single output when stereo is not required This facility is also a quick method of using the Mono bus to restore the output if a fault occurs on external eq
39. the best low noise performance or close miked drum kits needing maximum headroom Professional dynamic condenser or ribbon mics are best because these will be LOW IMPEDANCE While you can use low cost HIGH IMPEDANCE mics you do not get the same degree of immunity to interference on the microphone cable and as a result the level of background noise may be higher If you turn the PHAN TOM POWER on the socket provides a suitable powering voltage for professional condenser mics DO NOT use unbalanced sources with the phantom power switched on The voltage on pins 2 amp 3 of the XLR connector may cause serious damage The input level is set using the INPUT knob WARNING Start with the INPUT knob at the 6 position when plugging high level sources into the LINE input to avoid overloading the input channel or giving you a very loud surprise LINE INPUT The LINE input offers the same gain range as the MIC input but at a higher input impedance This is suitable for most line level sources and provides the gain needed for lower level keyboards and high impedance microphones The 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 jac
40. traMic Plus microphone input for very low level signals or a line input for higher level signals from for instance tape machines effects processors etc Note Mic and Line inputs have the same gain range differing only in source impedance The mixer is split into two sections The Inputs receive match and process individ ual source signals and distribute them at precise mix levels to either a stereo Mix output or Mono output The Master section allows overall level control of all outputs and provides monitoring of the audio signal at many points in the mixer either on head phones or meters The Equaliser controls are the most flexible and potentially destructive feature of the mixer They have a similar effect on the frequency response of the input channel as the tone controls on a hi fi system but with much greater precision and allow particular characteristics of the input signal to be emphasised or reduced It is very important that you become familiar with the effect each control has on the sound and this is best achieved by spending time listening to the effect of each control on a well known track played through the mixer The Auxiliary Sends provide a way of routing the input signals to a number of sec ondary outputs for artists foldback FX units or additional speaker outputs The Pan control adjusts the position of the input signal within the stereo mix and can be swept from full left through to full right This al
41. uipment perhaps the power amplifiers or speakers fed from the stereo output of the mixer or for reinforcing the stereo mix in the centre cluster of large sound systems where the distance between left and right loudspeakers is consider able 19 AUXILIARY MASTERS Each of the Auxiliary Send busses is provided with a rotary MASTER LEVEL fader and an AFL switch with indicating LED which monitors the final output after the fader AUX 2 and AUX 3 normally receive post fade sends from the input channels but may be switched to pre fade by pressing the respective PRE switch 20 HEADPHONE MONITORING The source for the headphones output may be either the stereo Mix or Mono out puts or both as selected by these switches The meters also display the selected source When any PFL or AFL switch is pressed the selected signal replaces the normal source for the headphones and meters allowing the signal to be monitored in isolation The PFL LED illuminates to show that a PFL or AFL is active The PHONES control sets the level to the Phones jack 21 PHONES JACK The PHONES output is a 3 pole A gauge jack suitable for headphones of 2000 or greater 80 headphones are not recommended Page 13 SPIRIT LIVE 32 MONO INSERT T PSU OKO REC QUT gt o AUX 4 AUX 3 AUX 2 AUX 455 3 7 2 8 9 w AUX 1 PRE e 435 Aux 7 2 8 1 9 0 ML e PRE 435 AUX 3 7 at 8 1 10 FL LES 4 Dg Aux 3 7
42. ussion from drum machines synths and electronic instruments Turn to the left to cut these frequencies reducing hiss or excessive brilliance Turn the LF knob to the right to boost low bass frequencies by up to 154 adding extra punch to synths guitars and drums Turn to the left to reduce hum boominess or improve a mushy sound Set both knobs in the centre detented position when not required 13 AUXILIARY SENDS These controls route a mono sum of the input channel signal to Auxiliary busses amp 2 These are separate from the main outputs and can therefore provide additional out puts for foldback echo units or extra loudspeaker fills The sends are always derived before the MIX or MONO controls and are not affect ed by the position of those controls or the Master section AUX 2 PRE switch This makes them particularly suitable for foldback or monitor feeds which need to be con trolled separately from the main P A mix 14 MIX MONO These controls set the level of the signal in stereo to MIX or as a mono sum to MONO The knobs should be turned fully anticlockwise when not required Page 12 5 INSERT 5 59 SS EJ PT gt ag NG 1 O A li D m gt NG Lam SIN x 5 n m m gt ELE 5 5 AUX 3 42 gt As 85000 21 MONITOR PHONES SPIRIT LIVE 32 15 PFL When
43. y designed to receive the output of effects or other external processing devices the operator speaking to the artistes or to tape via the auxiliary or group outputs a momentary rise in the signal level a method of audio connection which uses a single wire and the cable screen as the signal return This method does not provide the noise immunity of a balanced input see above the phantom power supply available at the channel mic inputs for condenser microphones and active DI boxes Page 22 SPIRIT LIVE 32 TYPICAL SPECIFICATIONS NOISE Measured RMS 22Hz to 22kHz Bandwidth Line inputs selected at unity gain and terminated 150R MIX 16 ch routed to Mix input faders down masters up 85 dBu AUX Output at max input faders down 90 dBu E 4 N Microphone Input Maximum Gain terminated 1508 129 dBu CROSSTALK IkHz Typical Channel Fader Attenuation gt 84dB Typical Aux Attenuation gt 80dB Typical Pan Isolation gt 70dB Adjacent Channel Crosstalk gt 90 dB FREQUENCY RESPONSE 20Hz to 20kHz I dB 7 4 0 20dBu Input routed to Mix 14dBu out IkHz lt 0 004 C M R R Typical at max gain kHz 85 dB Typical at any gain 50 Hz 65 dB INPUT amp OUTPUT IMPEDANCES Microphone Input 1 8 Line Input 10 kQ Stereo Input 10 kQ Stereo Return 10 kQ INPUT amp OUTPUT LEVELS Mic Line Input Maximum Level 28 dBu Stereo Input Stereo Return 26 dBu Nominal Input for 4dBu at Mix Output level at 7 4 dBu LO
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