••
Adjust the input GAIN until the meter is just reaching the amber LED (0dB) at a typical maximum source level with
a steady signal. If the source signal is rich in high-level transients (e.g. drums) a rather higher meter reading of
+6/+9 will be needed to achieve an equivalent average level. This leaves enough headroom to cope with peaks
in the signal without distortion.
••
Adjust each mono input channel in the same way.
••
If you find that you cannot set a reasonable level within the range of the GAIN control when using a MIC input,
try the LINE input instead.
The Stereo inputs do not have a GAIN control, since the typical source for these inputs will be external tape machines
or effects units which have a much more predictable signal level. Set the +4/-10 switch to +4 (released) initially, and
check the input level with the PFL switch as decribed above. If the level is too low, switch to the -10 input setting.
You will now have initial settings for each of the input sources and are ready to start building a mix.
••
Connect your power amplifiers and speakers and set the gain of the amplifiers to about 70%. Move the Master
Faders gradually to the top, listening carefully for any hint of feedback or overload. You may find that the input
gain settings will need to be edged back slightly as the mix is built up.
••
Listen carefully for the characteristic sound of feedback. If you cannot achieve a satisfactory input level setting
without feedback, adjust microphone and speaker positions and try again.
Careful microphone placement and the choice of a suitable type of microphone is essential for successful PA use. The
aim should be to place the microphone as close as possible to the source, to cut out unwanted surrounding sounds. This
allows a lower gain setting on the mixer and helps to avoid feedback. You will also find that a well-placed microphone
will not need any appreciable equalisation.
SETTING UP FOR RECORDING
While the connections to the folio for PA work are quite straightforward, recording is rather more demanding because
the mixer is not only required to mix down input signals but also to provide a monitor mix for artists to hear previously
recorded tracks when overdubbing new parts. A typical set-up is as follows:
••
Connect input sources and set gain as described above. Connect Mix Left & Right outputs to the tape inputs.
••
Route the channel signal to the required tape input by setting the PAN fully left or right. For example, panning
fully left will route the signal from the Left Mix output only. This allows an individual source to be sent to an
individual tape track.
••
Connect the tape outputs to unused mixer Line Inputs. Set the faders on these channels at zero.
••
Connect a monitor amplifier for foldback headphones or a monitor speaker to the Aux 1 output. Set the amplifier
volume to a normal listening level.
••
Use the Aux 1 send controls on the tape channels to set up a mono monitor mix. (make sure that all other Aux 1
controls are fully off)
••
If a compressor is to be used, connect this to the master insert points.
••
Connect any effects required using Aux 2, and return them to the mixer on unused Line inputs to allow the effect
to be balanced with the original source.
It is important to match the input and output levels of your mixer and recording device to avoid distortion and create the
best possible recording. Set up the mixer and recorder using the inbuilt oscillator in the following way:
••
Press OSCILLATOR TO MIX and raise the Master Faders until the bargraph meters just read 0 (amber LEDs),
corresponding to a n4dB output level.
••
Adjust the input level on your recording machine to read zero (conventional tape or cassette) or -12 (if using a
DAT recorder, especially if no compressor is included in the mixer output path)
••
Record between 10 and 30 seconds of oscillator tone on both tape channels at the beginning of the tape. This is
a standard procedure and provides a means of checking the replay level whatever machine is used for playback.
••
Select TAPE RETN (Tape Return) and adjust TAPE RETURN LEVEL until the meters again read 0.
••
Release TAPE RETN to listen once again to the mix output. There should not now be a significant difference in
level between the mix output (TAPE RETN up) and playback (TAPE RETN down).
10
SPIRIT FOLIO
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