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INTRODUCTION

Congratu lations on you r p u rchase of a 

SPIRIT LIVE 4

 m ixer.

Ow ning a Sou nd craft console brings you  the exp ertise and
su p p ort of one of the ind u stry’s lead ing m anu factu rers and
the resu lts of over 20 years exp erience su p p orting som e of the
biggest nam es in the bu siness.

Designed   by  engineers  w ho  u nd erstand   the  ind ivid u al  need s
of m u sicians, 

SPIRIT LIVE 4

 has been bu ilt to the highest

stand ard s u sing qu ality Jap anese com p onents and  em p loying
au tom ated  assem bly techniqu es beyond  the reach of m ost
m anu factu rers of com p act m ixers.

A  ru gged   steel  chassis  is  com bined   w ith  m ou ld ed   sid e  trim s
to give p rotection and  d istinctive ap p earance. Cu stom
m ou ld ed   controls,  d esigned   for  the  best  ‘feel’  and   visu al
clarity com p lem ent the styling, resu lting in a tru ly
p rofessional p rod u ct w hich is id eal for both tou ring and  fixed
PA installations.

SPIRIT LIVE 4

 is available in 12, 16, 24 and  32 channel fram e

sizes, and  the 12 and  16 channel sizes m ay be extend ed  by
ad d ing an 8 channel Exp and er.  The Exp and er can be attached
qu ickly and  secu rely to the console, requ iring only a
screw d river to com p lete the installation.

SPIRIT LIVE 4

 incorp orates circu it technology id entical to

that u sed  on som e of the m ost sop histicated  Sou nd craft
consoles. The inp u t channels are able to accep t a w id e range
of Microp hone and  Line level signals from  sep arate inp u t
sockets. Every channel featu res w id e range gain control and
Line  inp u t  p ad ,  3-band   Equ alisation  w ith  sw ep t  Mid   and   LF
range, p lu s a H i-Pass Filter, 5 Au xiliary Send s, PFL(Pre Fad e
Listen), Peak LED, Panning to a Stereo Bu s and  rou ting in
p airs to fou r Ou tp u t Grou p s.  Each channel has a sep arate
Direct Ou tp u t and  is controlled  by a high-qu ality long throw
fad er.

All fram e sizes are p rovid ed  as stand ard  w ith d ed icated
stereo inp u ts, arranged  in p airs. One p air is inclu d ed  on the
12 channel fram e and  tw o p airs on all other fram e sizes.  Each
stereo inp u t inclu d es a 2-band  EQ and  a single au xiliary send
control  w ith  sw itching  w hich  allow s  p refad e  or  p ostfad e
sou rcing w ith access to three of the five Au xiliary bu sses.  The
stereo channel signal m ay be rou ted  to either the Mix ou tp u t
or to Grou p s 1 & 2 (u p p er) or Grou p s 3 & 4 (low er).

Pa g e 2

All manuals and user guides at all-guides.com

Summary of Contents for Spirit Live 4

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

Page 3: ...es 10 Input Channel 10 Stereo Sections 15 Group Sections 17 Master Section 18 Using your SPIRIT LIVE 4Console 20 Initial Set Up 20 Applications 22 Public Address 22 Recording 24 Care of your mixer 25...

Page 4: ...e attached quickly and securely to the console requiring only a screwdriver to complete the installation SPIRIT LIVE 4 incorporates circuit technology identical to that used on some of the most sophis...

Page 5: ...r the Left Right Mono and Auxiliary Send busses with separate AFL monitoring on each Auxiliary Send and the Mono output The Mix L R and Group outputs all have insert points for the connection of exter...

Page 6: ...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 sign...

Page 7: ...another particular section This is explained further in the detailed description of facilities A mixer is often judged amongst other factors by the amount of Headroom available This is a measure of t...

Page 8: ...pes of audio connectors are used 3 pin XLR and 1 4 three pole A gauge jacks These are used in several configurations as shown in the diagrams below Balanced Input 2 Hot ve 3 Cold ve 1 Screen Unbalance...

Page 9: ...cancel out the effects of variation in ground potential between the mixer and other equipment which would otherwise show up as hum If the output is driving a device or amplifier that has an unbalanced...

Page 10: ...e Device Output Device GND GND GND INPUT OUTPUT Ground loop through screen and chassis Mixer Mixer Source Device Source Device GND UNBALANCED BALANCED INPUT Avoid running audio cables or placing audio...

Page 11: ...h 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...

Page 12: ...hout causing damage even when the 48V power is connected but care must be taken when using unbalanced sources because of the voltage present on pins 2 and 3 of the XLR connector Microphone input level...

Page 13: ...m 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 chan...

Page 14: ...es at which frequency the boost cut action will be centered The LF sections are essentially Swept Low Frequency controls covering a range from 40 to 400Hz and providing much greater flexibility than a...

Page 15: ...after the channel fader POST FADE 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 wit...

Page 16: ...an excessively high signal level is present in the channel The signal is sampled at two points in the channel immediately after the input amplifier PRE HI PASS FILTER PRE INSERT and POST EQ The Peak...

Page 17: ...he input sensitivity to match the 10dBV signals from most Hi Fi systems or semi professional tape machines allowing the inputs to be quickly switched to match for instance a cassette player for pre sh...

Page 18: ...Left buss and Groups 1 3 balance right to the Right buss and Groups 2 4 7 PFL When the PFL switch is pressed the prefade signal is fed to the Headphones where it replaces the selected source The AFL...

Page 19: ...arking indicates the nominal unity gain position 4 PAN The Group PAN control determines the position of the signal within the stereo image which is routed to the mix L R busses when L R is pressed Rot...

Page 20: ...LR 3 connectors driven by ground compensated amplifiers 11 INSERTS These are similar to the Input Channel Inserts and allow external processing equipment to be inserted into the output signal path The...

Page 21: ...and three switches route the signal selectively to Mix L R Groups GRPS or AUX 1 2 17 HEADPHONE VOLUME This control sets the level of the PHONES output at the socket below the front armrest Normally t...

Page 22: ...ram on page 5 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 individual input channel as follow...

Page 23: ...uld 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 t...

Page 24: ...Stereo Output In this basic set up an assortment of sources are connected to the input channels microphone to mic inputs and a keyboard and guitar to line inputs Note that some guitars would not prod...

Page 25: ...individual selection to the Centre output by routing to Group 1 Example 3 Public Address Mono Output In this example the console is used to feed loudspeakers in Mono only The compressor remains in the...

Page 26: ...ich is returned to the console on RET1 and RET2 Example 5 Multitrack Recording In this last example the mixer is connected to a multitrack tape machines and the main outputs to a 2 track machine for m...

Page 27: ...he mix are implemented on rotary level controls balance the relative levels of the left and right channels of a stereo signal clipping the onset of severe distortion in the signal path usually caused...

Page 28: ...vel feed for additional loudspeakers pan pot abbreviation of panorama controls levels sent to left and right outputs peaking an equaliser response curve affecting only a band of frequencies i e based...

Page 29: ...removing the PCB as shown below by carefully cutting the leads of the link above the PCB at the points marked To reinstate the 48V fit a replacement link Part No AZ2222 which is available from your de...

Page 30: ...E J2 J2 POST POST INPUT BOARD SC3209 R48 C28 C27 R51 R50 L10 To change AUX 2 to POST FADE remove the PCB from the console and carefully unsolder link J1 using the minimum of heat to avoid the possibil...

Page 31: ...to Groups Pans central Group gain at unity Group 1 84 5dBu Group 2 84 5dBu Group 3 84 5dBu Group 4 84 5dBu E I N Microphone Input Maximum Gain terminated 150R 127 8dBu CROSSTALK Channel ON switch Iso...

Page 32: ...ut 10k Insert Sends 75 Insert Returns 10k Outputs 75 INPUT OUTPUTLEVELS Mic Input Maximum Level 10dBu Line Input Maximum Level 30dBu Mix Out Maximum Level 21dBu Mono Out Maximum Level 21dBu Aux Out Ma...

Page 33: ...All manuals and user guides at all guides com...

Page 34: ...3 RET 4 RET 4 PAN PAN PAN PAN PFL PFL PFL PFL LEFT RIGHT PHONES AFL PFL AFL PFL AUX 1 2 AUX 1 2 GRPS TB TB MIC TB MIC AFL AFL AUX 5 AUX 5 LEFT RIGHT PFL RIGHT PFL MONO L R GRP 1 GRP 1 GRP 2 GRP 2 GRP...

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