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Adjust the input gain until the meter is just reaching the
amber section (0dB) 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.  

If you cannot obtain a satisfactory setting, e.g. the gain con-
trol is right at the extreme low end of the scale on
Microphone Input, and +48V powering is not required, try
using the Line Input instead to give an extra 20dB range.

Listen carefully for the characteristic sound of ‘feedback’.
If you cannot achieve satisfactory input level setting with-
out feedback, check microphone and speaker placement
and repeat the exercise.

Build up the required individual monitor mixes by feeding
the selected channels to the monitor outputs using the
channel monitor send controls.  The corresponding output
faders should be initially set at the ‘0’ mark.  Listen care-
fully for each component in the mix and watch the
respective output meter for any hint of overload.  As more
channels are added to the mix, the meters may move into
the red section.  Adjust the overall level using the Output
Faders if necessary, or back off the appropriate channel
faders until the level is out of the red segments.

Note:

  The level of any source signal in the final output is af-

fected by many factors, principally the Gain control, Channel
Fader and Output Fader.  You should try to use only as much
microphone gain as required to achieve a good balance be-
tween 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. 

Microphone Placement

Careful microphone placement and the choice of a suitable
type of microphone for the job is one of the essentials of suc-

Page 21

Summary of Contents for Spirit Monitor

Page 1: ...Page 1...

Page 2: ...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 Soundcraft Electronics Ltd...

Page 3: ...g Guide 10 Getting to know your console 12 Facilities 12 Input Channel 12 Output Section 16 Master Section 18 Using your SPIRIT Monitor Console 20 Initial Set Up 20 Applications 22 Care of your mixer...

Page 4: ...Monitor incorporates circuit technology identical to that used on some of the most sophisticated Soundcraft con soles The input channels are able to accept a wide range of Microphone and Line level si...

Page 5: ...best performance may be directly influenced by the quality of the stage monitor mix Indeed the monitor engineer may be required to pro vide a number of quite different individual monitor mixes often...

Page 6: ...lems with microphone placement The Monitor Sends provide a way of routing the input sig nals to a number of outputs to create individual mixes for artists foldback or additional speaker outputs Pre Fa...

Page 7: ...r is often judged amongst other factors by the amount of Headroom available This is a measure of the reserve avail able to cope with sudden peaks in the input signal without distortion caused by Clipp...

Page 8: ...llowing section will help you to connect SPIRIT Monitor correctly Two different types of audio connectors are used 3 pin XLR and 1 4 three pole A gauge jacks These are used in several configurations a...

Page 9: ...plexity of balanced outputs These outputs employ ground compensation to cancel out the effects of variation in ground potential between the mixer and other equipment which would otherwise show up as h...

Page 10: ...Finding Guide Repairing a sound mixing console requires specialist skills but basic Fault Finding is within the scope of any user if a few ba sic rules are followed Get to know the Block Diagram of yo...

Page 11: ...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 through th...

Page 12: ...er is con nected but care must be taken when using unbalanced sources because of the voltage present on pins 2 and 3 of the XLR connector NOTE The microphone should always be plugged in before switchi...

Page 13: ...avoidance The switch should nor mally be released when not required 5 LINE SELECT The LINE switch selects Line input when pressed and Micro phone input when released When Line is selected the Gain ra...

Page 14: ...cy controls covering a range from 40 to 400Hz and providing much greater flexibility than a conventional LF bass control The MID section with a frequency range from 250Hz to 8kHz is particularly versa...

Page 15: ...en the ON switch see 10 below is re leased regardless of the Pre Post setting 10 ON The ON switch routes the channel signal to the monitor sends and is positioned PRE FADER to mute all outputs from th...

Page 16: ...is at the 0 mark providing 10dB of gain above that point if required OUTPUT SECTIONS There are eight Monitor Outputs arranged in pairs Each Output offers identical facilities 1 MONITOR OUTPUTS Each Mo...

Page 17: ...revent feedback through the talkback mic Note that Talkback is disabled when DIM is pressed 6 DIM Pressing the large DIM switch attenuates the monitor output by 6dB as an immediate way of eliminating...

Page 18: ...ches to the PFL signal when any PFL switch is active The WEDGE output always listens to the same source signal as the headphones but is also affected by DIM status and any external connections to the...

Page 19: ...monitor outputs and adds the Talkback mic signal also dimming the wedge output to prevent feedback Note that ALL T B is disabled when ALL DIM is pressed 9 ALL DIM Pressing ALL DIM attenuates all outpu...

Page 20: ...nise and learn by ex periment the importance of correct choice of inputs microphone placement and control settings particularly with respect to feedback avoidance Suitable initial control positions ar...

Page 21: ...r each component in the mix and watch the respective output meter for any hint of overload As more channels are added to the mix the meters may move into the red section Adjust the overall level using...

Page 22: ...s particularly important to ensure that the input connections provide complete isolation between the two consoles to avoid hum problems and possible degradation of the signal The provision of balanced...

Page 23: ...signal path usually caused by the peak signal voltage being limited by the circuit s power supply voltage dB decibel a ratio of two voltages or signal levels expressed by the equation dB 20Log10 V1 V...

Page 24: ...ncies i e based on a bandpass response PFL pre fade listen a function that allows the operator to monitor the pre fade signal in a channel independently of the main mix rolloff a fall in gain at the e...

Page 25: ...BOARD SC3005 R48 R55 C21 C28 C27 R51 R50 R47 R45 R44 L9 To change Sends 1 4 to PRE FADE carefully unsolder link J4 using the minimum of heat to avoid the possibility of tracks lifting on the PCB Repl...

Page 26: ...gain 50dB DISTORTION THD measured 1kHz at 20dBu 20Hz to 20kHz Bandwidth Line in to Output 0 006 CROSSTALK Measured 1kHz Sine Wave Channel Send attenuation 90dB Channel Fader Attenuation 85dB Channel...

Page 27: ...UTPUT LEVELS Mic Input Maximum Level 10dBu Line Input Maximum Level 30dBu Any Output Maximum Level 21dBu METERING 16 Segment LED Bargraphs Accuracy Relative to 0dB 1dB Dimensions 590 5 824 16 ch 1088...

Page 28: ...3 1 2 3 1 2 3 3 1 1 2 2 S S Y Y S S T T E E M M B B L L O O C C K K D D I I A A G G R R A A M M Page 28...

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