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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 15kHz 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

EQ SWITCH

The EQ switch bypasses the Equalisation section when released.  Alternately pressing

and releasing the switch provides an easy way of comparing the equalised and
unequalised signals.

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 & 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
clockwise 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

& 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.

USERMAN.QXD  13/06/97 12:27  Page 11

All manuals and user guides at all-guides.com

Summary of Contents for Spirit Live 3-2

Page 1: ...All manuals and user guides at all guides com a l l g u i d e s c o m...

Page 2: ...ontained 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 pho...

Page 3: ...centre loudspeaker cluster or with the Left and Right busses used as subgroups and mixed down to the Mono bus as the main output Each channel is controlled by a high quality long throw fader All frame...

Page 4: ...gnal 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 frequen...

Page 5: ...the 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 m...

Page 6: ...y 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 ac...

Page 7: ...Page 5 CONNECTING IT UP The diagram below shows various equipment that would be connected to a SPIRIT Live 32 All manuals and user guides at all guides com...

Page 8: ...ld 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 U...

Page 9: ...al 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 jac...

Page 10: ...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 gr...

Page 11: ...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 l Learn where to look...

Page 12: ...hrough 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 bu...

Page 13: ...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...

Page 14: ...h released should be selected for 4dBu professional equipment and the HI setting switch pressed should be selected for 10dBV semi professional equipment Start with the LO setting if the source level i...

Page 15: ...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 externa...

Page 16: ...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...

Page 17: ...our 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 c...

Page 18: ...ate 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 In...

Page 19: ...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 T...

Page 20: ...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...

Page 21: ...p to Application 1 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...

Page 22: ...st 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 s...

Page 23: ...phase resulting in cancellation of the interference signal clipping the onset of severe distortion in the signal path usually caused by the peak signal voltage being limited by the circuit s power su...

Page 24: ...sitive negative to negative and this would correct polarity If this is reversed the result will be out of phase signals see phase above post fade the point in the signal path after the monitor or mast...

Page 25: ...Typical Pan Isolation 70 dB Adjacent Channel Crosstalk 90 dB FREQUENCY RESPONSE 20Hz to 20kHz 1dB T H D 20dBu Input routed to Mix 14dBu out 1kHz 0 004 C M R R Typical at max gain 1 kHz 85 dB Typical a...

Page 26: ...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 16 channel conso...

Page 27: ...face 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...

Page 28: ...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 to...

Page 29: ...AFL AUX2 AUX3 AUX3 AUX4 AUX4 PHONES L MONO PFL METER R MONO PFL METER PFL ENABLE LEFT INSERT INSERT INSERT MONO RIGHT LEFT L R RECORD OUT STEREO RETURN TWO OF EACH SECTION FITTED ONE ONLY SHOWN STERE...

Page 30: ...All manuals and user guides at all guides com...

Page 31: ...tory are as follows MONO INPUT SC3611 PEQ Not Fitted PRE Fitted OUTPUT FX STEREO SC3612 SUM L Fitted for LEFT Output SUM R Fitted for RIGHT Output MASTER SC3613 J1 Not Fitted J2 Fitted Mono On Record...

Page 32: ...A Harman International Company All manuals and user guides at all guides com...

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