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The mixer is split into two sections. The Inputs receive, match
and process individual source signals, and distributes them at
precise mix levels to a choice of Monitor Outputs.  The Mas-
ter

 section provides monitoring of the audio signal at many

points in the mixer, either on headphones or meters and pro-
vides additional master control of talkback functions.

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 con-
trols on a hi-fi system, but with much greater precision, and
allow particular characteristics of the input signal to be em-
phasised 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.

Phase Reversal

 enables the operator to reverse the polarity of

the signal entering the mixer, as a convenient way of checking
for incorrect wiring or problems 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-Fade-Listen(PFL)

 allows you to monitor the signal at

many points in the mixer.  Pressing any PFL switch places the
signal at that particular point onto the headphones and the
PFL meter, to check the quality of the signal or to pin-point
problems.  Using PFL will not affect the signals on the moni-
tor outputs.

Each input channel and all 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 contacts, and is only brought into opera-
tion when a plug is inserted.  Typical uses would include
Effects Processors, Limiters, additional Equalisers or Delay
units.

The terms PRE and POST are often used in the context of In-
serts, Equalisers and Channel Sends, and describe whether
that facility is placed before (Pre) or after (Post) another par-
ticular section. This is explained further in the detailed
description of facilities.

Page 6

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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