23
USING YOUR
USING YOUR
USING YOUR
USING YOUR
USING YOUR SPIRIT
SPIRIT
SPIRIT
SPIRIT
SPIRIT E SERIES CONSOLE
E SERIES CONSOLE
E SERIES CONSOLE
E SERIES CONSOLE
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. These types are ideal
for recording vocalists or instruments, where rejection of unwanted sounds and elimination of
feedback is important. The aim should be to place the microphone as close as physically
possible to the source, to cut out unwanted surrounding sounds, allow a lower gain setting on
the mixer and avoid feedback. Also a well chosen and well placed microphone should not need
any 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.
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 +48V 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 and press the SOLO button on the first chan-
nel, 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 op-
eration (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.
•
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:
Note:
Note:
Note:
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!
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.