SPIRIT F1 - Table de mixage SOUNDCRAFT - Free user manual and instructions

USER MANUAL SPIRIT F1 SOUNDCRAFT

Please read this manual carefully before connecting your Mixer and Power Supply Unit for the first time. Safety Symbol Guide For your own safety and to avoid invalidation of the warranty all text marked with these Symbols should be read carefully.

CAUTIONS Must be followed carefully to avoid bodily injury. WARNINGS Must be observed to avoid damage to your equipment. NOTES Contain important information and useful tips on the operation of your equipment.

© Harman International

Industries Ltd. 2001 All rights reserved Parts of the design of these products may be protected by worldwide patents. Part No. ZM0210 Issue: 2 Soundcraft is a trading division of Harman International Industries Ltd. Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor. Soundcraft shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained 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 photocopying and recording, for any purpose without the express written permission of Soundcraft.

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The mic input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED signals. Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. You can use low-cost HIGH IMPEDANCE mics, but the level of background noise will be higher. If you press the 48V switch down (top right-hand side of the mixer) the socket provides a suitable powering voltage for professional condenser mics (this is also known as Phantom Power). ONLY connect condenser microphones with the 48V powering OFF (switch UP), and ONLY turn the 48V powering on or off with all output faders DOWN, to prevent damage to the mixer or external devices. TAKE CARE when using unbalanced sources, which may be damaged by the phantom power voltage on pins 2 & 3 of the XLR connector. Unplug any mics if you want to use the LINE Input. The input level is set using the SENS knob. LINE INPUT Accepts 3-pole `A’ gauge (TRS) jacks. Use this high impedance input for sources other than mics, such as keyboards, drum machines, synths, tape machines or guitars. The input is BALANCED for low noise and top quality from professional equipment, but you can use UNBALANCED sources by wiring up the jacks as shown, although you should then keep cable lengths as short as possible. Unplug anything in the MIC input if you want to use this socket. Set the input level using the SENS knob. INSERT POINT The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing limiters, compressors, special EQ or other signal processing units to be added in the signal path. The Insert is a 3-pole ‘A’ gauge jack socket which is normally bypassed. When a jack is inserted, the signal path is broken, just before the EQ section. The Send may be tapped off as an alternative pre-fade, pre-EQ direct output if required, using a lead with tip and ring shorted together so that the signal path is not interrupted (see left). SENS (Sensitivity)

The Equaliser (EQ) allows fine manipulation of the frequency bands, and is particularly useful for improving the sound in live PA applications where the original signal is often far from ideal and where slight boosting or cutting of particular voice frequencies can really make a difference to clarity. The EQ knobs can have a dramatic effect, so use them sparingly and listen carefully as you change any settings so that you get to know how they affect the sound. HF EQ

Turn clockwise to boost high (treble) frequencies (12kHz and above) by up to 15dB, adding crispness to cymbals, vocals and electronic instruments. Turn anticlockwise to cut by up to 15dB, reducing hiss or excessive sibilance which can occur with certain types of microphone. Set the knob in the centre-detented position when not required. MID EQ

There are two knobs which work together to form a SWEPT MID EQ. The lower knob provides 15dB of boost and cut, just like the HF EQ knob, but the frequency at which this occurs can be set by the upper knob over a range of 240Hz to 6kHz. This allows some truly creative improvement of the signal in live situations, because this mid band covers the range of most vocals. Listen carefully as you use these controls together to find how particular characteristics of, for instance, a vocal signal can be enhanced or reduced. Set the gain (lower) knob to the centre-detented position when not required. Note: Q is set at 1.5. LF EQ

Turn clockwise to boost low (bass) frequencies (60Hz and below) by up to 15dB, adding warmth to vocals or extra punch to synths, guitars and drums. Turn anticlockwise to cut low frequencies by up to 15dB for reducing hum, stage rumble or to improve a mushy sound. Set the knob to the centredetented position when not required. AUX SENDS

These are used to set up a separate mixes for FOLDBACK, EFFECTS or recording, and the combination of each Aux Send is mixed to the respective Aux Output at the rear of the mixer. For Effects it is useful for the signal to fade up and down with the fader (this is called POST-FADE), but for Foldback or Monitor feeds it is important for the send to be independent of the fader (this is called PRE-FADE). All Aux Sends are muted with the other channel outputs when the ON switch is released. AUX SEND 1 This is always PRE-FADE, POST-EQ and therefore most appropriate for foldback or monitor mixes or external submix.

This is always POST-FADE, POST-EQ for use as effects sends, external submix (or for a Centre Voice speaker cluster or mono Tape mix).

All outputs from the channel except inserts are muted when the ON switch is released and enabled when the switch is down, allowing levels to be preset before the signal is required. FADER The 100mm FADER, with a custom-designed law to give even smoother control of the overall signal level in the channel strip, allows precise balancing of the various source signals being mixed to the Master Section. You get most control when the input SENSITIVITY is set up correctly, giving full travel on the fader. See the `Setting Up & Troubleshooting’ section on page 20 for help in setting a suitable signal level.

These high impedance inputs are unbalanced on RCA phono connectors, and are intended for use with CD players, DAT machines or Hi-Fi equipment. Alternatively they may be used as simple effects returns or stereo instrument inputs. LEVEL (Unbalanced inputs) The LEVEL control sets the level of the channel signal to Mix.

GAIN (Balanced inputs)

The GAIN control sets the input level to the channel, allowing matching to a wide range of line level sources. EQUALISER Turn clockwise to boost high (treble) frequencies, adding crispness to percussion from drum machines, synths and electronic instruments. Turn anticlockwise to cut these frequencies, reducing hiss or excessive brilliance. Set the knob in the centre-detented position when not required. The control has a shelving response giving 15dB of boost or cut at 12kHz and above. LF EQ

Turn clockwise to boost low (bass) frequencies, adding extra punch to synths, guitars and drums. Turn anticlockwise to reduce hum, boominess or improve a mushy sound. Set the knob to the centre-detented position when not required. The control has a shelving response giving 15dB of boost or cut at 60Hz and below. AUX SENDS

Es siempre pre-fader, post-EQ, y por tanto apropiado para mezclas de folback o monitores. AUX SEND 2 This is normally POST-FADE, POST-EQ and would typically be used as an effects send, but may be switched globally to PRE-FADE, POST-EQ using the POST/PRE switch on the Master section, providing a second foldback or monitor send if required. AUX SEND 3

This is always POST-FADE, POST-EQ. BALANCE This control sets the amount of the channel signal feeding the Left and Right MIX buses, allowing you to balance the source in the stereo image. When the control is turned fully right or left you feed only that side of the signal to the mix. Unity gain is provided by the control in the centre-detented position.

48 V Many professional condenser mics need an external powering voltage, normally 48V, also known as PHANTOM POWER. This is a method of sending a powering voltage down the same wires as the mic signal. Press the switch to supply the 48V power to all of the MIC inputs. The adjacent LED illuminates when the power is active. The 3-colour peak reading BARGRAPH METERS normally follow the Monitor selection to show either the level of the MIX RIGHT and MIX LEFT outputs or the 2TK input if the MIX/2TK switch (6) is pressed, giving you a constant warning of excessive peaks in the signal which might cause overloading. Aim to keep the signal within the amber segments at peak levels for best performance. Similarly, if the output level is too low and hardly registering at all on the meters, the level of background noise may become significant. Take care to set up the input levels for best performance. When any PFL or AFL switch is pressed, the meters switch to show the selected PFL/AFL signal on both meters, in mono. MONO SUM The Mix Left and Right signals are summed to an impedance balanced MONO output on a 3 pole ‘A’ gauge jack. Output level is set by the dedicated rotary control. Monitoring of the Mono output can, if required, be done at the external equipment it feeds, or when the signal is brought back to a spare console input.

MIX/2TK Pressing the 2TK switch selects the 2TK input as the monitor source, instead of the MIX. 2TK LEVEL The rotary control sets the level of the 2 Track Tape input, which is routed to the headphones, monitor outputs and meters. These unbalanced inputs, on RCA phono connectors, are ideal to connect the playback of a tape machine for monitoring.

Press this switch to add the 2TK signal to the stereo Mix, at a level set by the 2TK LEVEL control (7). The signal is added pre-insert, pre-fader, and is an ideal way of feeding pre-show music to the mix in live applications, or could be used as an alternative effects return or line level input if required. AUX MASTERS

Each of the three Aux outputs has a master output level control and associated AFL switch.

Just like the PFL switches on the channels, you can monitor each AUX output by pressing the AFL switch. This routes the AUX output signal to the MONITOR or PHONES, replacing any existing signal (normally the Monitor receives either MIX, SUB or 2TK, see above). The METERS also switch from the selected source to display the PFL/AFL signal and the PFL/AFL LED lights to warn that a PFL or AFL switch is pressed. When you release the switch the Monitor swaps back to the previous source.

Is a headphone jack plugged in? Is the Monitor + Phones control set high enough? Headphones Distorting

Has the input gain been set correctly (see above)? Is the source connected to the appropriate input socket for the level of signal? Are the Mix faders set at max., and are input faders set high enough? Are the relevant channels turned ON? If monitoring 2TK, is the Master Mix/2TK switch pressed to select the 2TK input? Is there a PFL/AFL pressed on another channel? Set Up & Individuazione dei guasti

Is the mains supply present? Check the mains outlet with another device. Is the power lead firmly connected? If appropriate, is the PortaPower unit connected correctly?

Page 36 Page 37 16/2 version shown, 14/2 version also available Part No: ZM0177 Issue 2