Instrukcja obsługi Soundcraft Spirit Live 4-2 (44 stron)

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USERS GUIDE

USERS

USERS GUIDE

GUIDE

GUIDEUSERS GUIDE

USERS

USERS GUIDE

GUIDE

Warranty . . . . . . . . . . . . . . . . . . . . . . . . . 3

Introduction . . . . . . . . . . . . . . . . . . . . . . . 4

Basic Principles of PA Mixing . . . . . . . . . . . . . 5

Installation & Safety Precautions . . . . . . . . . . . 7

Sicherheitshinweise . . . . . . . . . . . . . . . 9

Precautions . . . . . . . . . . . . . . . . . . . 10

Sicurezza . . . . . . . . . . . . . . . . . . . . 11

Precauciones de Seguridad . . . . . . . . . . 12

Connecting It Up. . . . . . . . . . . . . . . . . . . . 13

Wiring It Up . . . . . . . . . . . . . . . . . . . . . . 14

Getting to Know Your Console . . . . . . . . . . . . 18

Mono Inputs . . . . . . . . . . . . . . . . . . . 18

Stereo Inputs . . . . . . . . . . . . . . . . . . 21

Group Section. . . . . . . . . . . . . . . . . . 23

Master Section . . . . . . . . . . . . . . . . . 24

Using Your Spirit Live 4 Console . . . . . . . . . . 26

Applications . . . . . . . . . . . . . . . . . . . . . . 28

Care Of Your Mixer . . . . . . . . . . . . . . . . . . 34

Glossary . . . . . . . . . . . . . . . . . . . . . . . . 34

Typical Specifications. . . . . . . . . . . . . . . . . 36

Dimensions . . . . . . . . . . . . . . . . . . . . . . 37

System Block Diagram . . . . . . . . . . . . . . . . 38

Panel Layout . . . . . . . . . . . . . . . . . . . . . . 39

Mark-up Sheets . . . . . . . . . . . . . . . . . . . . 40

Typical Connecting Leads . . . . . . . . . . . . . . 42

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CONTENTS

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For your own safety and to avoid invalidation of the warranty please read this

manual carefully before connecting your Mixer and Power Supply Unit for the

first time.

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For your own safety and to avoid invalidation of the warranty all text marked with these Symbols should be

read carefully.

CAUTIONS

These 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.

Parts of the design of this product may be protected by worldwide patents

Part No. ZM0111 Issue 2

Soundcraft is a trading division of Harman Intrnational 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.

Harman International Industries Ltd.,

Cranborne House,

Cranborne Road,

Potters Bar,

Hertfordshire,

EN6 3JN,

U.K.

Tel: +44 (0) 1707 665000

Fax: +44 (0) 1707 660742

http://www.soundcraft.com

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1 Soundcraft is a trading division of Harman International Industries Ltd .

End User means the person who first puts the equipment into regular operation.

Dealer means the person other than Soundcraft (if any) from whom the End User purchased

the Equipment, provided such a person is authorised for this purpose by Soundcraft or its

accredited Distributor.

Equipment means the equipment supplied with this manual.

2 If within the period of twelve months from the date of delivery of the Equipment to the End

User it shall prove defective by reason only of faulty materials and/or workmanship to such an

extent that the effectiveness and/or usability thereof is materially affected the Equipment or the

defective component should be returned to the Dealer or to Soundcraft and subject to the

following conditions the Dealer or Soundcraft will repair or replace the defective components.

Any components replaced will become the property of Soundcraft.

3 Any Equipment or component returned will be at the risk of the End User whilst in transit (both

to and from the Dealer or Soundcraft) and postage must be prepaid.

4 This warranty shall only be valid if:

a) the Equipment has been properly installed in accordance with instructions contained in

Soundcrafts manual; and

b) the End User has notified Soundcraft or the Dealer within 14 days of the defect appearing;

and

c) no persons other than authorised representatives of Soundcraft or the Dealer have

effected any replacement of parts maintenance adjustments or repairs to the Equipment; and

d) the End User has used the Equipment only for such purposes as Soundcraft recommends,

with only such operating supplies as meet Soundcrafts specifications and otherwise in all

respects in accordance Soundcrafts recommendations.

5 Defects arising as a result of the following are not covered by this Warranty: faulty or negligent

handling, chemical or electro-chemical or electrical influences, accidental damage, Acts of God,

neglect, deficiency in electrical power, air-conditioning or humidity control.

6 The benefit of this Warranty may not be assigned by the End User.

7 End Users who are consumers should note their rights under this Warranty are in addition to

and do not affect any other rights to which they may be entitled against the seller of the

Equipment.

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Congratulations on your purchase of a SPIRIT LIVE 42mixer. Owning a Soundcraft console

brings you the expertise and support of one of the industrys leading manufacturers and

the results of over 22 years experience supporting some of the biggest names in the business.

Designed by engineers who understand the individual needs of musicians, SPIRIT LIVE 42

has been built to the highest standards using quality components and employing automated

assembly techniques beyond the reach of most manufacturers of compact mixers.

A rugged steel chassis is combined with moulded side trims to give protection and distinctive

appearance. Custom moulded controls, designed for the best `feel and visual clarity comple-

ment the styling, resulting in a truly professional product which is ideal for both touring and

fixed PA installations.

SPIRIT LIVE 42is available in 12, 16, 24 & 32 channel frame sizes. All frame sizes incorporate

removeable side cheeks to enable the console to be fitted compactly in a flight case.

SPIRIT LIVE 42incorporates circuit technology identical to that used on some of the most

sophisticated Soundcraft consoles. The input channels are able to accept a wide range of

Microphone and Line level signals from separate input sockets. Every channel features a wide

range gain control, Phase switch, 4-band Equalisation with swept Hi and Lo Mid ranges, plus a

Hi-Pass Filter, 6 Auxiliary Sends (2 pre-fade, 2 pre or post and 2 post-fade), PFL(Pre Fade

Listen), Peak LED, Panning to a Stereo Bus and routing in pairs to four Output Groups. Each

channel has a separate Direct Output and is controlled by a high-quality long throw fader. All

input channels may be assigned to a choice of four Mute Groups..

All frame sizes are provided as standard with dedicated stereo inputs. 1 stereo input is

included on the 12 channel frame and 2 stereo inputs on all other frame sizes. Each stereo

input comprises two separate input sections, one provided with comparable facilities to the

mono inputs, and one more basic input for a cassette or CD player which routes to the stereo

mix and two of the Aux outputs only.

The four Output Groups provide submixing to the Mix L/R, either as stereo pairs or as

mono sends to L & R. The Group outputs are available on separate connectors to feed external

equipment directly. Each Group section incorporates matrix sends, PFL monitoring & bargraph

metering. Four external Stereo Return inputs are provided for effects or submixing from exter-

nal sources and these route to Mix or to a pair of Groups.

Two Matrix outputs receive sends from each Group or Mix L & R as required.

The Master section provides master level control for the Left, Right, Matrix and Auxiliary

Send buses, with separate AFL monitoring on each Matrix and Auxiliary output.

The Mix L/R and Group outputs all have insert points for the connection of external signal

processing or graphic equalisation.

Comprehensive Talkback facilities are provided, which allow a talkback microphone to be

routed to Mix L/R, Groups and Auxes 1-2 or 3-4. Six 12-segment, 3-colour peak reading LED

bargraph meters provide clear display of Mix L/R, Group and PFL signals. Pressing any PFL or

AFL switch puts the selected signal onto both sides of the headphones output and the L & R

bargraph meters in place of the Mix signal. Two LEDs monitor the status of the console power

supply.

SPIRIT LIVE 42is designed to be as user-friendly as possible, but a few minutes spent read-

ing through this manual will help you become familiar with the product away from the pressure

of a live session, and allow you to gain full benefit from the superb performance offered by your

new mixer.

Above all, remember that your SPIRIT mixer is designed to extend your creativity. The

more you explore the controls and the effect they have on the sound output, the more you will

appreciate how you can influence and enhance the final sound.

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There was a time when the P.A. system and the operator existed only to increase the

overall volume of the performers, so that they could be heard in a large room or

above high ambient noise levels. This just isnt true any more. The sound system and the

sound engineer have become an integral part of the performance, and the artists are

heavily dependent on the operators skill and the quality of the equipment.

The following introduction to the basics of mixing are included for the benefit of

those users who may not have any significant familiarity with sound equipment, and who

are baffled by the endless jargon used by engineers and artists alike.

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As one would expect, the main purpose of the mixer is to combine sounds, but under

precise control. This is why long-throw faders are essential on any professional mixer, to

give a responsive and smooth feel to the operator. The faders provide you with clear

and instinctive control of the final sound balance and like an artist playing an instrument

you should listen to the effect of your fader movements, not look at your hands.

Your SPIRIT LIVE 42mixer accepts a wide range of input signals via the microphone

input, for very low level signals, or a line input, for higher level signals from, for instance,

tape machines, effects processors, etc.

The mixer is split into two sections. The Inputs receive, match and process individ-

ual source signals, and distribute them at precise mix levels to either a stereo Mix output

or to one of the Groups. The Master section allows overall level control of all outputs,

and provides monitoring of the audio signal at many points in the mixer, either on head-

phones or meters.

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 controls on a hi-fi system, but with much greater precision, and allow particular

characteristics of the input signal to be emphasised 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.

The Auxiliary Sends provide a way of routing the input signals to a number of sec-

ondary outputs, for artists foldback, echo units or additional speaker outputs.

The Pan control adjusts the position of the input signal within the stereo mix, and

can be swept from full left, through to full right. This allows particular artists to retain

their correct spatial position within the mix, and can be valuable for live effects.

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 right meter, to check the quality of the signal or to pin-point problems. Using

PFL will not affect the signals on the outputs from the desk.

Each mono input channel and the Mix and Group 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 socket contacts, and is only brought into operation when a plug is inserted.

Typical uses would include Effects Processors, Limiters, additional Equalisers or Delay

units. In addition, each channel has a Direct output which may also be used to feed

external equipment such as multitrack tape machines or effects devices.

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The terms PRE and POST are often used in the context of Inserts, Equalisers and

Auxiliary Sends, and describe whether that facility is placed before (Pre) or after (Post)

another particular section. This is explained further in the Glossary.

A mixer is often judged, amongst other factors, by the amount of Headroom avail-

able. This is a measure of the reserve available to cope with sudden peaks in the input

signal, without distortion caused by Clipping, when the signal becomes so high that it

would exceed the power supply rail voltages and is as a result limited. This commonly

occurs where gain settings are incorrectly set or where sources are improperly matched

to the mixer input. If the source signal is too high, clipping and distortion results. If the

signal is too low it becomes masked by the background noise which is present to some

degree in all mixers. The diagram below illustrates this point.

If the signal level is too low it may be masked

by the noise.

Signal Noise

If the signal level is too high, clipping distortion

may occur.

Clipped

Signal

Noise

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Correct connection and positioning of your mixer is important for successful and trouble-

free operation. The following sections are intended to give guidance with cabling, connec-

tions and configuration of your mixer.

oChoose the mains supply for the sound system with care, and do not share sockets or earth-

ing with lighting dimmers.

oPosition the mixer where the sound can be heard clearly, preferably within the audience.

oRun audio cables separately from dimmer wiring, using balanced lines wherever possible. If

necessary, cross audio and lighting cables at right angles to minimise the possibility of inter-

ference. Keep unbalanced cabling as short as possible.

oCheck your cables regularly and label each end for easy identification.

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For your own safety and to avoid invalidation of the warranty

please read this section carefully.

The SPIRIT LIVE 42mixer must only be connected through the

Power Supply supplied.

The wires in the mains lead are coloured in accordance with the following code:

Earth: Green and Yellow (Green/Yellow - US)

Neutral: Blue (White - US)

Live: Brown (Black - US)

As the colours of the wires in the mains lead may not correspond with the coloured markings

identifying the terminals in your plug, proceed as follows:

The wire which is coloured Green and Yellow must be connected to the terminal in the plug

which is marked with the letter E or by the earth symbol.

The wire which is coloured Blue must be connected to the terminal in the plug which is

marked with the letter N.

The wire which is coloured Brown must be connected to the terminal in the plug which is

marked with the letter L.

Ensure that these colour codings are followed carefully in the event of the plug being changed.

To avoid the risk of fire, replace the mains fuse only with the

correct value fuse, as indicated on the power supply.

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Das SPIRIT LIVE 42darf nur an das entsprechend mitgelieferte Netzgerät

angeschlossen werden !

Die Verdrahtung der Hauptleitungen stimmt mit folgendem Farbcode überein:

Grün/gelb Gehäuseschutzleiter

Blau Mittelpunktsleiter

Braun Phase

Falls diese Festlegung nicht mit der Belegung der Steckkontakte in der Steckdose übereinstimmt, gehen Sie bitte

folgendermaßen vor:

lDie grün/gelbe Leitung muß an den mit dem Erde-Symbol bzw. Buchstabe E gekennzeichneten Steckkontakt

angeschlossen werden.

lDie braune Leitung ist mit der Anschlußklemme zu belegen, die mit dem Buchstaben L gekennzeichnet ist. An

diesem Pol liegt liegt die Phase an (stromführender Pol).

lDie blaue Leitung ist mit der Anschlußklemme zu belegen, die mit dem Buchstaben N gekennzeichnet ist.

Achten Sie auch bei einem Steckdosenwechsel auf den Farbcode an den Steckkontakten der Steckdose.

Die mitgelieferten Netzgeräte enthalten keine Komponenten, die vom Benutzer gewechselt werden könnten.

Eventuelle Serviceleistungen nur qualifiziertem Fachpersonal oder dem SPIRIT-Fachmann überlassen !

Um die Gefahr eines Elektrobrandes zu verhindern, dürfen nur Hauptsicherungen am

Netzgerät ersetzt werden, wie sie entsprechend auf dem Gerätegehäuse aufgeführt

sind.

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 Betreiben Sie das Gerät nicht in direkter Nähe von Wärmequellen wie Radiatoren,

Wärmespeichern, Heizkörpern oder anderen Vorrichtungen (inklusive Leistungsverstärkern), die

Wärme produzieren

 Schützen Sie das Gerät vor Feuchtigkeit und betreiben Sie es nicht in der Nähe von fließendem

Wasser.

 Verlegen Sie das Netzkabel so, daß es keinen äußeren Belastungen ausgesetzt ist. Achten Sie

besonders darauf, daß die Stecker nicht gequetscht werden oder an den Netz- bzw.

Gerätebuchsen unter Zug stehen.

 Verwenden Sie ausschließlich vom Hersteller empfohlene Kabel und Hardware.

 Entfernen Sie das Gerät vom Netz im Falle eines Gewitters oder wenn Sie es für längere Zeit nicht

benutzen werden.

 Wenden Sie sich im Servicefall ausschließlich an qualifiziertes Fachpersonal.

 Es wird empfohlen, alle Wartungsarbeiten und Reparaturen direkt von Soundcraft oder einem

autorisierten Vertreter ausführen zu lassen. Soundcraft kann keine Verantwortung für Verluste

oder Schäden in jeglicher Form übernehmen, die aufgrund von Serviceleistungen,

Wartungsarbeiten oder Reparaturen durch unqualifiziertes Personal auftreten.

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 Lesen Sie diese Anleitung sorgfältig durch.

 Bewahren Sie diese Anleitung auf.

 Leisten Sie allen Hinweisen in jedem Fall Folge.

 Leisten Sie allen Informationen in dieser Anleitung unbedingt Folge.

 Dieses Gerät enthält keine Bauteile, die vom Anwender ausgetauscht werden können. Wenden Sie

sich im Reparaturfall an Ihren Soundcraft-Händler bzw. an qualifiziertes Fachpersonal.

 Reinigen Sie das Gerät nur mit einem trockenen Tuch.

 FÜHREN SIE die Installation gemäß den Anleitungen des Herstellers durch.

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La console SPIRIT LIVE 42doit impérativement être connectée avec lalimentation

fournie.

Les conducteurs du câble secteur sont identifiés comme suit :

Vert/Jaune Terre

Bleu Neutre

Brun Phase

Pour éviter tout risque dincendie, remplacez le fusible uniquement avec un fusible de la

valeur correcte indiquée sur lalimentation.

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 N'installez pas l'appareil à proximité de sources de chaleur telles que radiateurs, résistances chauf-

fantes, réchauds ou autres appareils susceptibles de produire de la chaleur (y compris les amplifica-

teurs) .

 N'utilisez pas cet appareil près d'un point d'eau.

 Veillez à ce que le cordon d'alimentation ne soit ni écrasé ni pincé, en particulier au niveau de l'ap-

pareil et de la prise secteur murale.

 Veillez à n'utiliser que les câbles, connecteurs et accessoires recommandés par le fabricant.

 Débranchez l'appareil en cas d'orage ou d'inutilisation prolongée.

 Adressez-vous à un technicien qualifié pour toute réparation.

 La maintenance et les réparations doivent être assurées par un revendeur agréé par Soundcraft ou

son distributeur. La garantie ne pourra pas s'appliquer en cas de dommage causé par un réparateur

non agréé.

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 Lisez attentivement ces instructions.

 Conservez ces instructions

 Tenez compte de ces instructions.

 Suivez toutes les instructions.

 Aucun élément de cet appareil n'est réparable par l'utilisateur. Adressez-vous à un technicien qual-

ifié pour toute réparation par l'intermédiaire du distributeur Soundcraft.

 Nettoyez l'appareil avec un chiffon sec.

 L'installation doit être conforme aux instructions des fabricants.

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Il mixer SPIRIT LIVE 42deve essere collegato

allalimentatore in dotazione.

I cavi nella presa sono colorati secondo il seguente codice:

Terra: Verde e Giallo

(Verde/Giallo - US)

Neutro: Blu

(Bianco - US)

Vivo: Marrone

(Nero - US)

Poichè i colori potrebbero non corrispondere a quelli dei terminali nella presa, procedere come segue:

lIl cavo Verde e Giallo va collegato al terminale indicato con E o con il simbolo di terra

lIl cavo Blu va collegato al terminale indicato con N.

lIl cavo Marrone va collegato al terminale indicato con L

Assicurarsi che questi colori siano rispettati in caso di sostituzione della spina.

Per evitare il rischio di incendi sostituire il fusibile solo con uno del valore indicato.

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 Non installare vicino a fonti di calore come radiatori, caloriferi, stufe o altre apparecchiature che

producono calore (amplificatori inclusi).

 Non utilizzare queste apparecchiature vicino all'acqua.

 Non manomettere in alcun modo il cavo di alimentazione.

 Proteggere il cavo da evenutali calpestii ed evitare di strappare il cavo dalla presa.

 Usare solo cavi indicati dal fabbricante.

 Scollegare l'alimentazione durante i temporali o quando l'apparecchio non viene utilizzato per

lunghi periodi di tempo.

 Per l'assistenza rivolgersi solo a personale qualificato.

 Si raccomanda che la manutenzione ed il servizio assistenza sul prodotto siano eseguiti da

Soundcraft o dai suoi distributori autorizzati. Soundcraft non accetta nessuna responsabilita per

alcuna perdita o danno causati da assistenza e riparazioni eseguiti da personale non autorizzato.

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 Leggere queste istruzioni.

 Conservare queste istruzioni.

 Fare attenzione a tutte le avvertenze.

 Seguire tutte le istruzioni.

 Questa unita non contiene parti di ricambio. Fare riferimento ai centri di assistenza qualificati attra-

verso il rivenditore Soundcraft autorizzato.

 Pulire solo con un panno morbido ed asciutto.

 Installare seguendo le indicazioni fornite dal costruttore.

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The mic input accepts XLR-type connectors and is designed to suit a wide range of

BALANCED or UNBALANCED low-level signals, whether from delicate vocals

requiring the best low-noise performance or close-miked drum kits needing maximum

headroom. Professional dynamic, condenser or ribbon mics are best because these

will be LOW IMPEDANCE. While you can use low-cost HIGH IMPEDANCE mics,

you do not get the same degree of immunity to interference on the microphone cable

and as a result the level of background noise may be higher. If you turn the PHAN-

TOM POWER on, the socket provides a suitable powering voltage for professional

condenser mics.

DO NOT use unbalanced sources with the phantom power switched on. The

voltage on pins 2 & 3 of the XLR connector may cause serious damage.

The input level is set using the INPUT SENS knob.

The LINE input offers the same gain range as the MIC input, but at a higher input

impedance. This is suitable for most line level sources, and provides the gain needed

for lower level keyboards and high impedance microphones.

WARNING - Start with the INPUT SENS knob at the 0 position when

plugging high level sources into the LINE input to avoid overloading the

input channel or giving you a very loud surprise!

L

LI

I

IN

N

NE

E

E I

I

IN

N

NP

P

PU

U

UT

T

Accepts 3-pole `A gauge jacks, or 2-pole mono jacks which will automatically

ground the cold input. Use this input for sources other than mics, such as keyboards,

drum machines, synths, tape machines or guitars. The input is BALANCED for low

noise and immunity from interference, but you can use UNBALANCED sources by

wiring up the jacks as shown, although you should then keep cable lengths as short as

possible to minimise interference pick-up on the cable. Refer to the section How to

Prevent Interference later in this manual. Note that the ring must be grounded if the

source is unbalanced. Set the input level using the INPUT SENS knob, starting with

the knob turned fully anticlockwise. Plugging into the LINE input automatically cuts off

the MIC input.

I

IN

N

NS

S

SE

E

ER

R

RT

T

T P

P

PO

O

OI

I

IN

N

NT

T

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 signal from the channel appears on the TIP of the plug and is returned on the

RING, with the sleeve as a common ground.

Page 14

Signal Send

Signal Return

Gnd/Screen

Tip

Ring Sleeve

Inserts

Hot (+ve)

Cold (-ve)

Gnd/Screen

Signal

Gnd/Screen

Tip

Ring Sleeve

Unbalanced

3 pole Jack

Unbalanced Mic

XLR

Balanced Mic

XLR

Balanced

3 pole Jack

2. Hot(+ve)

3. Cold(-ve)

1. Screen

2. Hot(+ve)

Link 3

to 1

Page 15

S

ST

T

TE

E

ER

R

RE

E

EO

O

O I

I

IN

N

NP

P

PU

U

UT

T

Ts

s

s,

,

, C

C

CA

A

AS

S

SS

S

S/

/

/C

C

CD

D

D I

I

IN

N

NP

P

PU

U

UT

T

TS

S

Accept 3-pole `A gauge jacks, or 2-pole mono jacks which will automatically ground

the cold input. Use these inputs for sources such as keyboards, drum machines, synths,

tape machines or as returns from processing units. The input is BALANCED for low

noise and immunity from interference, but you can use UNBALANCED sources by

wiring up the jacks as shown, although you should then keep cable lengths as short as

possible to minimise interference pick-up on the cable. Note that the ring must be

grounded if the source is unbalanced. Mono sources can be fed to both paths by plug-

ging into the Left jack only.

S

ST

T

TE

E

ER

R

RE

E

EO

O

O R

R

RE

E

ET

T

TU

U

UR

R

RN

N

NS

S

Similar to the Stereo Inputs. Input gain is sufficient to allow the connection of +4dBu

professional or -10dBV semi-professional equipment.

M

Mi

i

ix

x

x I

I

IN

N

NS

S

SE

E

ER

R

RT

T

TS

S

S,

,

, G

G

GR

R

RO

O

OU

U

UP

P

P I

I

IN

N

NS

S

SE

E

ER

R

RT

T

TS

S

The unbalanced, pre-fade Mix insert point is a break in the output signal path to allow

the connection of, for example, a compressor/limiter or graphic equaliser. 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 mix fader.

The mix signal appears on the TIP of the plug and is returned on the RING. A Y

lead may be required to connect to equipment with separate send and return jacks as

shown below:

Left Signal

Right Signal

Ground

Headphones

Signal +

Signal -

Screen

Signal Send

Signal Return

Gnd/Screen

Tip

Ring Sleeve

Mix & Group Inserts

Mix Outputs

Group Outputs

Matrix Outputs

Aux Outputs

Rec Outputs

Direct Outputs

1. Screen

3. Signal -

2. Signal +

M

MI

I

IX

X

X,

,

, G

G

GR

R

RO

O

OU

U

UP

P

P &

&

& M

M

MA

A

AT

T

TR

R

RI

I

IX

X

The Mix, Group and Matrix outputs are on 3-pole XLR sockets, wired as shown on

the left and below, and incorporate impedance balancing, allowing long cable runs to bal-

anced amplifiers and other equipment.

Send to External Device

Signal Send

Screen Signal Return

Insert Point

Return from External Device

(a) Balanced Connection

To External Device

Signal

Screen

Signal Ground

Experience has shown that sometimes it is better

not to connect screen at external device end.

From LIVE 42

Impedance Balanced

Output

From LIVE 42

Impedance Balanced

Output To External Device

(b) Unbalanced Connection

Page 16

A

AU

U

UX

X

X O

O

OU

U

UT

T

TP

P

PU

U

UT

T

TS

S

S,

,

, D

D

Di

i

ir

r

re

e

ec

c

ct

t

t O

O

OU

U

UT

T

TP

P

PU

U

UT

T

TS

S

The Aux and Channel Direct outputs are on 3-pole A gauge jack sockets, wired as

shown on the left, and incorporate impedance balancing, allowing long cable runs to bal-

anced amplifiers and other equipment.

H

HE

E

EA

A

AD

D

DP

P

PH

H

HO

O

ON

N

NE

E

ES

S

The PHONES output is a 3-pole A gauge jack, wired as a stereo output as shown,

suitable for headphones of 200W Wor greater. 8 headphones are not recommended.

P

Po

o

ol

l

la

a

ar

r

ri

i

it

t

ty

y

You will probably be familiar with the concept of polarity in electrical signals and this

is of particular importance to balanced audio signals. Just as a balanced signal is highly

effective at cancelling out unwanted interference, so two microphones picking up the

same signal can cancel out, or cause serious degradation of the signal if one of the cables

has the +ve and -ve wires reversed. This phase reversal can be a real problem when

microphones are close together and you should therefore take care always to connect

pins correctly when wiring audio cables. The mono inputs are provided with a Phase (f)

switch to reverse the polarity of a selected input if a phasing problem is suspected.

G

Gr

r

ro

o

ou

u

un

n

nd

d

di

i

in

n

ng

g

g a

a

an

n

nd

d

d S

S

Sh

h

hi

i

ie

e

el

l

ld

d

di

i

in

n

ng

g

For optimum performance it is vital that all signals are referenced to a solid, noise-

free earthing point and that all signal cables have their screens connected to ground. To

avoid earth `loops, use balanced connections where possible and ensure that all cable

screens and other signal earths are connected to ground only at their source and not at

both ends.

If the use of unbalanced connections is unavoidable, you can mimimise noise by fol-

lowing these wiring guidelines:

lOn INPUTS, unbalance at the source and use a twin, screened cable as though it

were balanced.

lOn OUTPUTS, connect the signal to the +ve output pin, and the ground of the out-

put device to -ve. If a twin screened cable is used, connect the screen only at the

mixer end.

lAvoid running audio cables or placing audio equipment, close to thyristor dimmer

units or power cables.

lNoise immunity is improved significantly by the use of low impedance sources, such

as good quality professional microphones or the outputs from most modern audio

equipment. Avoid cheaper high impedance microphones, which may suffer from

interference over long cable runs, even with well-made cables.

Page 17

F

Fa

a

au

u

ul

l

lt

t

t F

F

Fi

i

in

n

nd

d

di

i

in

n

ng

g

g G

G

Gu

u

ui

i

id

d

de

e

Repairing a sound mixing console requires specialist skills, but basic Fault Finding is

within the scope of any user if a few basic rules are followed.

lGet to know the Block Diagram of your console (see page 38). It is just like following

a road map.

lGet to know what each component in the system is supposed to do.

lLearn where to look for common trouble spots.

The Block Diagram (see page 38) is a representative sketch of all the components of

the console, showing how they connect together and how the signal flows through the

system. Once you have become familiar with the various component blocks you will find

the Block Diagram quite easy to follow and you will have gained a valuable understanding

of the internal structure of the console.

Each 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 or control settings which may have been overlooked.

Basic Troubleshooting is a process of applying logical thought to the signal path

through the console and tracking down the problem by elimination.

lSwap input connections to check that the source is really present. Check both Mic

and Line inputs.

lEliminate sections of the channel by using the insert point to re-route the signal to

other inputs that are known to be working.

lRoute channels to different outputs or to auxiliary sends to identify problems on the

Master section.

lCompare a suspect channel with an adjacent channel which has been set up identical-

ly. Use PFL and AFL to monitor the signal in each section.

Page 18

G

GE

E

ET

T

TT

T

TI

I

IN

N

NG

G

G T

T

TO

O

O K

K

KN

N

NO

O

OW

W

W Y

Y

YO

O

OU

U

UR

R

R C

C

CO

O

ON

N

NS

S

SO

O

OL

L

LE

E

M

MO

O

ON

N

NO

O

O I

I

IN

N

NP

P

PU

U

UT

T

T C

C

CH

H

HA

A

AN

N

NN

N

NE

E

EL

L

Two inputs are available to the mono input channel, via XLR connector (normally for

microphone sources) or 3-pole 1/4 A gauge jack socket for higher level signals

such as keyboards, drum machines, synths or tape machines. Both input sockets are

permanently active, and may be used simply by plugging the source into the required

input. You do not need to unplug anything in the MIC socket if you want to use the

LINE input. The new UltraMic+ input provides very wide gain control without the

need for a pad, high CMRR and +28dBu input capability.

An impedance balanced DIRECT output is provided, fed from the output of the fader

buffer, which is therefore unaffected by the position of the ROUTING switches or PAN

control. This provides an ideal source for external processing units, the output of which

may be brought back to the console through the STEREO INPUTS or STEREO

RETURNS, or to directly send to the tracks of a tape machine for multitrack recording.

This provides as many Tape Sends as there are mixer channels, without using the group

or mix outputs.

An unbalanced INSERT is provided which is a break point in the input channel 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 to continue through to the final output. The

Insert is a 3-pole 1/4 `A gauge Jack Socket, which is normally by-passed. When a jack

plug is inserted, the signal path is broken at a point just after the Hi-Pass Filter, but

before the EQ section. The signal from 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 channels and because it is

located PRE EQ, noise generated by the external equipment may be reduced by a small

amount of H.F. cut in the Equaliser.

1

1 +

+

+4

4

48

8

8V

V

The +48V switch applies phantom powering to the MIC input socket for condenser

microphones. Transformer-coupled dynamic microphones may be used without 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 connec-

tor.

NOTE: Phantom powered mics should not be plugged in with the +48V

switched on. Also you should be aware that some microphones draw an unusu-

ally large current which may overload the power supply, resulting in distortion.

Consult your microphone supplier for guidance if necessary.

2

2 P

P

PH

H

HA

A

AS

S

SE

E

E S

S

SW

W

WI

I

IT

T

TC

C

CH

H

The Phase switch reverses the polarity of the input signal to compensate for phase

differences due to microphone placement or incorrect wiring of input cables. This

switch should be released for normal operation.

3

3 I

I

IN

N

NP

P

PU

U

UT

T

T S

S

SE

E

EN

N

NS

S

SI

I

IT

T

TI

I

IV

V

VI

I

IT

T

TY

Y

This knob sets how much of the source signal is sent to the rest of the mixer. Too

high and the signal will distort as it overloads the channel (shown by illumination of the

PEAK LED), and causes clipping. Too low, and the level of any background hiss will be

more noticeable and you may not be able to get enough signal level to the output of the

mixer. Set the knob fully anticlockwise as a preliminary position for LINE level sources.

1

2

3

4

5

7

6

8

9

10

11

12

Page 19

4

4 H

H

HI

I

I-P

P

PA

A

AS

S

SS

S

S F

F

FI

I

IL

L

LT

T

TE

E

ER

R

Pressing this switch inserts a 18dB per octave 100Hz Hi-Pass Filter in the signal path,

immediately after the input amplifier. This is particularly useful in live PA situations to

reduce stage rumble or popping, and its use is strongly recommended, even on male

vocals. It can also be used for filtering out low frequency hum.

5

5 E

E

EQ

Q

QU

U

UA

A

AL

L

LI

I

IS

S

SE

E

ER

R

The Equaliser(EQ) comprises four sections. The upper control provides H.F.(treble)

boost and cut of +/-15dB and the lower control provides L.F. (bass) boost and cut of

+/-15dB.

The centre two pairs of knobs are arranged as HI and LO MID frequency sections,

with a cut/boost control (lower knob) of +/- 15dB, and a SWEEP(frequency) control

which determines at which frequency the boost/cut action will be centered. These MID

sections, with a combined frequency range from 80Hz to 13kHz are particularly versatile

for vocals, enabling particular characteristics of the singer to be lifted or suppressed very

precisely.

Set the cut/boost control of each section to the centre-detented position when not

required.

6

6 E

E

EQ

Q

Q S

S

SW

W

WI

I

IT

T

TC

C

CH

H

The EQ switch bypasses the Equalisation section when released. Alternately pressing

and releasing the switch provides an easy way of comparing the equalised and

unequalised signals.

7

7 A

A

AU

U

UX

X

XI

I

IL

L

LI

I

IA

A

AR

R

RY

Y

Y S

S

SE

E

EN

N

ND

D

DS

S

These controls route the input channel signal to any one or more Auxiliary buses.

These are separate from the main outputs and can therefore provide additional outputs

for foldback, echo units or extra loudspeaker `fills.

AUX 1, 2 & 3 are derived before the channel fader (PRE-FADE), and are therefore

unaffected by the fader position. This makes them particularly suitable for foldback or

monitor feeds, which need to be controlled separately from the main P.A. mix. Aux 3

may be selected internally to be post-fade if required.

AUX 5 and 6 are derived after 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 with the input channel.

AUX 4 is normally POST-FADE, but may be altered globally to be PRE-FADE by

pressing the AUX 4 PRE switch on the Master section.

All pre-fade sends are normally POST-EQ, but may be selected to PRE-EQ by changing

internal jumpers. Note that the sends are not affected by the position of the EQ switch

All of the Aux Sends are muted when the MUTE switch is pressed.

8

8 P

P

PA

A

AN

N

The PAN control determines the position of the signal within the stereo mix image or

may be used to route the channel signal to particular output GROUPS as selected by the

ROUTING SWITCHES (see below). Rotation fully anticlockwise feeds the signal solely

to the Left mix buss or Groups 1 and 3, while rotation clockwise sweeps the image to

the Right buss or Groups 2 and 4.

9

9 R

R

RO

O

OU

U

UT

T

TI

I

IN

N

NG

G

G S

S

SW

W

WI

I

IT

T

TC

C

CH

H

HE

E

ES

S

The input channel signal may be routed to the main Stereo MIX (L-R) or pairs of

GROUP busses (1-2, 3-4), by pressing the respective switches. These may be used in

conjunction with the PAN control (8 above) to route the channel signal proportionately

to any of the selected busses.

Page 20

1

10

0

0 F

F

FA

A

AD

D

DE

E

ER

R

This 100mm long-throw fader determines the proportion of the channel in the mix

and provides a clear visual indication of channel level. Normal operating position is at the

`0 mark, providing 10dB of gain above that point if required.

1

11

1

1 M

M

MU

U

UT

T

TI

I

IN

N

NG

G

All post-fade outputs from the channel may be muted by pressing the MUTE switch,

and the associated LED illuminates to show that the channel is OFF.

Alternatively the channel may be selected to any one or more MUTE BUSES to pro-

vide grouped muting under the control of the MUTE masters on the far right-hand side

of the console. In either case the mute status is shown by the LED.

1

12

2

2 P

P

PF

F

FL

L

L/

/

/P

P

PE

E

EA

A

AK

K

When the PFL switch is pressed, the Pre-Fade signal is fed to the headphones and L

& R meters, where it replaces the normal Mix L/R signal. The PFL/AFL ON LED on the

master section illuminates to warn that the headphones and the meters are now

responding to the PFL/AFL selection and the PFL LED on the input channel lights to

identify the active channel. This is a useful way of listening to any required input signal

without interrupting the main mix, for making adjustments or tracing problems.

When the PFL switch is released the LED on the channel serves as a PEAK indicator,

to warn when an excessively high signal level is present in the channel. The signal is

sampled at three points in the channel, immediately after the Hi-Pass Filter (Pre Insert),

post Mid EQ and pre HF EQ, and POST EQ. The Peak LED will illuminate approximate-

ly 4dB before clipping and therefore give warning of a possible overload even if the peaks

are removed by external equipment plugged into the Insert.

1

2

3

4

5

7

6

8

9

10

11

12

Page 21

S

ST

T

TE

E

ER

R

RE

E

EO

O

O I

I

IN

N

NP

P

PU

U

UT

T

TS

S

Each Stereo Input section comprises two independent pairs of inputs. The Stereo

Input (upper pair of jacks) feeds a full-facility input channel, very similar to the mono

input. The lower pair of jacks are intended for a cassette or CD source, typically to pro-

vide background music before a performance and are fed to the stereo mix only and Aux

1 & 2.

C

CA

A

AS

S

SS

S

S/

/

/C

C

CD

D

D I

I

IN

N

NP

P

PU

U

UT

T

T S

S

SE

E

EC

C

CT

T

TI

I

IO

O

ON

N

1

13

3

3 G

G

GA

A

AI

I

IN

N

The GAIN switch provides two input sensitivities. The LO setting (switch released)

should be selected for -10dBV semi-professional equipment such as CD players or cas-

sette, and the HI setting (switch pressed) should be selected for -20dBV Hi-Fi equip-

ment. Start with the LO setting if the source level is unknown.

1

14

4

4 A

A

AU

U

UX

X

XI

I

IL

L

LI

I

IA

A

AR

R

RY

Y

Y S

S

SE

E

EN

N

ND

D

DS

S

These controls route a mono sum of the input channel signal to Auxiliary busses 1 &

2. These are separate from the main outputs and can therefore provide additional out-

puts for foldback, echo units or extra loudspeaker `fills.

The sends are derived before the LEVEL TO MIX control (Pre-fade) and are there-

fore not affected by the position of that control. This makes them particularly suitable

for foldback or monitor feeds, which need to be controlled separately from the main

P.A. mix. These sends are not affected by the mute switching.

1

15

5

5 P

P

PF

F

FL

L

When the PFL switch is pressed, a mono sum of the pre-fade signal is fed to the head-

phones and L & R meters, where it replaces the normal Mix L/R signal. The PFL/AFL ON

LED on the master section illuminates to warn that the headphones and the meters are

now responding to the PFL/AFL selection and the PFL LED on the input section lights to

identify the active channel. This is a useful way of listening to any required input signal

without interrupting the main mix, for making adjustments or tracing problems.

1

16

6

6 L

L

LE

E

EV

V

VE

E

EL

L

L T

T

TO

O

O M

M

MI

I

IX

X

This control sets the level of the stereo signal to the stereo MIX. The knob should

be left fully anticlockwise when not required.

S

ST

T

TE

E

ER

R

RE

E

EO

O

O I

I

IN

N

NP

P

PU

U

UT

T

T S

S

SE

E

EC

C

CT

T

TI

I

IO

O

ON

N

1

17

7

7 G

G

GA

A

AI

I

IN

N

This knob allows you to match the input level to suit a wide variety of professional, semi-

professional and hi-fi sources. Start with a low setting, especially for professional equipment,

and increase it if you cannot reach an adequate signal level with the fader at maximum.

1

18

8

8 E

E

EQ

Q

QU

U

UA

A

AL

L

LI

I

IS

S

SE

E

ER

R

The Equaliser section has HF and LF shelving controls, each with a range switch to

provide two centre frequencies for each control.

Turn the HF knob to the right to boost high (treble) frequencies by up to 15dB at a

choice of 6kHz or 12kHz centre frequencies, adding crispness to percussion from drum

machines, synths and electronic instruments. Turn to the left to cut these frequencies,

reducing hiss or excessive brilliance.

Turn the LF knob to the right to boost low (bass) frequencies by up to 15dB at a

choice of 60Hz or 120Hz centre frequencies, adding extra punch to synths, guitars and

drums. Turn to the left to reduce hum, boominess or improve a mushy sound.

Set both knobs in the centre-detented position when not required.

13

14

15

16

18

20

19

17

21

22

23

24

25

Page 22

13

14

15

16

18

20

19

17

21

22

23

24

25

1

19

9

9 E

E

EQ

Q

Q S

S

SW

W

WI

I

IT

T

TC

C

CH

H

The EQ switch bypasses the Equalisation section when released. Alternately pressing

and releasing the switch provides an easy way of comparing the equalised and

unequalised signals.

2

20

0

0 A

A

AU

U

UX

X

XI

I

IL

L

LI

I

IA

A

AR

R

RY

Y

Y S

S

SE

E

EN

N

ND

D

DS

S

These controls route a mono sum of the input channel signal to any one or more

Auxiliary buses. These are separate from the main outputs and can therefore provide

additional outputs for foldback, echo units or extra loudspeaker `fills.

AUX 1, 2 & 3 are derived after the EQ section and before the channel fader (PRE

FADE, POST EQ), and are therefore unaffected by the fader position and mute status.

This makes them particularly suitable for foldback or monitor feeds, which need to be

controlled separately from the main P.A. mix. Aux 3 may be selected internally to be

post-fade.

AUX 4, 5 and 6 are derived after the EQ and channel fader (POST FADE, POST EQ),

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 with the

input channel.

AUX 4 may be altered globally to be PRE FADE by pressing the AUX 4 PRE switch

on the Master section.

All of the post-fade Aux Sends are muted when the MUTE switch is pressed.

2

21

1

1 B

B

BA

A

AL

L

LA

A

AN

N

NC

C

CE

E

The BALANCE control sets the amount of the channel signal feeding the Left and

Right Mix outputs, allowing you to balance the source in the stereo image. When the

control is turned fully left or right you feed only that side of the signal to the mix.

2

22

2

2 R

R

RO

O

OU

U

UT

T

TI

I

IN

N

NG

G

G S

S

SW

W

WI

I

IT

T

TC

C

CH

H

HE

E

ES

S

The input channel signal may be routed in stereo to the main Stereo MIX (L-R) or

pairs of GROUP busses (1-2, 3-4), by pressing the respective switches. The Left side of

the channel feeds Groups 1 & 3, and the Right side feeds Groups 2 & 4, subject to the

position of the BALANCE control (21).

2

23

3

3 F

F

FA

A

AD

D

DE

E

ER

R

This long-throw fader determines the proportion of the channel in the mix and pro-

vides a clear visual indication of channel level. Normal operating position is at the `0

mark, providing 10dB of gain above that point if required.

2

24

4

4 M

M

MU

U

UT

T

TI

I

IN

N

NG

G

All post-fade outputs from the channel may be muted by pressing the MUTE switch,

and the associated LED illuminates to show that the channel is OFF.

Alternatively the channel may be selected to any one or more MUTE BUSES to pro-

vide grouped muting under the control of the MUTE masters on the far right-hand side

of the console. In either case the mute status is shown by the LED.

2

25

5

5 P

P

PF

F

FL

L

When the PFL switch is pressed, a mono sum of the pre-fade signal is fed to the

headphones and L & R meters, where it replaces the normal Mix L/R signal. The

PFL/AFL ON LED on the master section illuminates to warn that the headphones and

the meters are now responding to the PFL/AFL selection and the PFL LED on the input

channel lights to identify the active channel. This is a useful way of listening to any

required input signal without interrupting the main mix, for making adjustments or trac-

ing problems.

Page 23

G

GR

R

RO

O

OU

U

UP

P

P S

S

SE

E

EC

C

CT

T

TI

I

IO

O

ON

N

The Group outputs are available on XLR connectors, and a pre-fade insert point is

also provided on 3-pole 1/4 jacks. The Groups may also feed the stereo Mix (see

27, below) or the Matrix outputs (see 28, below).

2

26

6

6 G

G

GR

R

RO

O

OU

U

UP

P

P F

F

FA

A

AD

D

DE

E

ER

R

RS

S

These 100mm long-throw fader determine the level of the Group signal. Normal

operating position is at the `0 mark, providing 10dB of gain above that point if required.

2

27

7

7 G

G

GR

R

RO

O

OU

U

UP

P

PS

S

S T

T

TO

O

O M

M

MI

I

IX

X

X,

,

, S

S

ST

T

TE

E

ER

R

RE

E

EO

O

O/

/

/M

M

MO

O

ON

N

NO

O

Pressing the GROUPS TO MIX switch feeds the post-fade Group signals in stereo to

both sides of the stereo Mix. Groups 1 and 3 feed Mix Left, and Groups 2 & 4 feed Mix

Right.

Alternatively pairs of Groups may be used as mono subgroups feeding both sides of

the Mix, by pressing the STEREO/MONO switch.

2

28

8

8 M

M

MA

A

AT

T

TR

R

RI

I

IX

X

X S

S

SE

E

EN

N

ND

D

DS

S

S (

(

(G

G

GR

R

RO

O

OU

U

UP

P

PS

S

S)

)

The console is provided with two independent Matrix outputs A & B. These may

receive feeds from each Group or Mix Left and Right to create additional mixes for extra

speaker outputs (e.g. side fills or delays) without affecting the main mix. The MATRIX

SENDS control the level of the Group signal sent to Matrix A & B buses. They should be

turned fully anticlockwise when not required.

If required the Matrix outputs may be used to create an additional stereo output

from the console, and in this case the Groups may be fed as stereo pairs, for instance

with Groups 1 & 3 feeding Matrix A and Groups 2 & 4 feeding Matrix B.

2

29

9

9 P

P

PF

F

FL

L

When the PFL switch is pressed, the pre-fade signal of the relevant Group is fed to

the headphones and L & R meters, where it replaces the normal Mix L/R signal. The

PFL/AFL ON LED on the master section illuminates to warn that the headphones and

the meters are now responding to the PFL/AFL selection and the associated PFL LED

lights to identify the active Group. This is a useful way of listening to any required Group

signal without interrupting the main mix, for making adjustments or tracing problems.

3

30

0

0 S

S

ST

T

TE

E

ER

R

RE

E

EO

O

O R

R

RE

E

ET

T

TU

U

UR

R

RN

N

NS

S

Four STEREO RETURNS are provided which feed either to the stereo Mix or the

local pair of Groups, as selected by the 1-2(3-4)/Mix switches. These are an ideal way of

mixing in the output of a reverb or effects unit, additional keyboards or the output of

other consoles used as sub-mixers. The knobs should turned fully anticlockwise when

not required.

31

30

27

28

29

26

Page 24

M

MA

A

AS

S

ST

T

TE

E

ER

R

R S

S

SE

E

EC

C

CT

T

TI

I

IO

O

ON

N

3

31

1

1 B

B

BA

A

AR

R

RG

G

GR

R

RA

A

AP

P

PH

H

H M

M

ME

E

ET

T

TE

E

ER

R

RS

S

Six 12-segment, three colour bargraph meters provide visual monitoring of the

levels of the Mix Left and Right, and Group outputs. All the meters are peak read-

ing.

Normally the Left and Right meters show the level of the Mix Left and Right

outputs. If any PFL or AFL switch is activated the meters are switched to display

the level of the selected PFL or AFL signal.

3

32

2

2 M

M

MI

I

IX

X

X F

F

FA

A

AD

D

DE

E

ER

R

RS

S

The MIX FADERS set the final level of the Mix outputs. The faders should nor-

mally be set close to the 0 mark if the input channel levels have been set correct-

ly.

Pre-fade INSERTS are provided for connection of external processing equip-

ment (e.g. Graphic EQ) if required.

3

33

3

3 M

M

MA

A

AT

T

TR

R

RI

I

IX

X

X S

S

SE

E

EN

N

ND

D

DS

S

The console is provided with two independent Matrix outputs A & B, which

may receive feeds from each Group or Mix Left and Right to create additional

mixes for extra speaker outputs (e.g. side fills or delays) without affecting the main

mix. These knobs control the level of the Mix signal sent to Matrix A & B buses.

They should be turned fully anticlockwise when not required.

Normally the Matrix Sends are derived from a mono sum of Mix L & R.

Pressing the STEREO switch routes Mix L to Matrix A and Mix R to Matrix B to

allow the Matrix outputs to be used as a separate stereo output from the console.

3

34

4

4 M

M

MA

A

AT

T

TR

R

RI

I

IX

X

X M

M

MA

A

AS

S

ST

T

TE

E

ER

R

RS

S

Each Matrix section has a MASTER control which sets the final output level.

When the AFL switch is pressed, the post-fade signal is fed to the headphones

and L & R meters, where it replaces the normal Mix L/R signal. The PFL/AFL ON

LED on the master section illuminates to warn that the headphones and the

meters are now responding to the PFL/AFL selection and the PFL LED on the

input channel lights to identify the active Matrix output. This is a useful way of lis-

tening to any required output signal without interrupting the main mix, for making

adjustments or tracing problems.

3

35

5

5 T

T

TA

A

AL

L

LK

K

KB

B

BA

A

AC

C

CK

K

An XLR connector is provided to accept the input from a local talkback mic or

gooseneck mic. Gain is set by the TB LEVEL control and the signal may be routed

to a choice of AUX 1-2, AUX 3-4, MIX or GROUP buses using the four adjacent

switches.

3

36

6

6 P

P

PO

O

OW

W

WE

E

ER

R

R O

O

ON

N

N L

L

LE

E

ED

D

DS

S

Two LEDs monitor the status of the console power supply and will be illumi-

nated when power is connected. Check that both LEDs are lit after turning on the

console power supply.

Page 25

3

37

7

7 A

A

AU

U

UX

X

XI

I

IL

L

LI

I

IA

A

AR

R

RY

Y

Y M

M

MA

A

AS

S

ST

T

TE

E

ER

R

RS

S

Each of the Auxiliary Send busses is provided with a rotary MASTER LEVEL fader and

an AFL switch with indicating LED which monitors the final output after the fader.

AUX 4 normally receives post-fade sends from the input channels, but may be

switched to pre-fade by pressing the AUX 4 PRE switch.

3

38

8

8 P

P

PF

F

FL

L

L/

/

/A

A

AF

F

FL

L

L O

O

ON

N

This LED illuminates to show that a PFL or AFL is active on the headphones, and to

show that the Left & Right meters will be displaying the PFL/AFL signal.

3

39

9

9 P

P

PH

H

HO

O

ON

N

NE

E

ES

S

This control sets the level of the PHONES output jack.

4

40

0

0 M

M

MO

O

ON

N

NO

O

O C

C

CH

H

HE

E

EC

C

CK

K

Normally the Phones output monitors the Stereo Mix. Pressing the MONO CHECK

switch sums the L & R outputs to check for phasing problems. The main outputs are not

affected by the position of the switch.

4

41

1

1 M

M

MU

U

UT

T

TE

E

E M

M

MA

A

AS

S

ST

T

TE

E

ER

R

RS

S

Four MUTE MASTER switches provide muting control of any channels which have

been assigned to a mute group using the M1-M4 switches on the input channels. The

associated LED illuminates when the MUTE is active.

4

42

2

2 P

P

PH

H

HO

O

ON

N

NE

E

ES

S

S J

J

JA

A

AC

C

CK

K

The PHONES output appears on a 3-pole 1/4 jack, suitable for headphones with an

impedance of 200Wor higher.

Page 28

A

Ap

p

pp

p

pl

l

li

i

ic

c

ca

a

at

t

ti

i

io

o

on

n

n 1

1

1 - L

L

LI

I

IV

V

VE

E

E S

S

SO

O

OU

U

UN

N

ND

D

D R

R

RE

E

EI

I

IN

N

NF

F

FO

O

OR

R

RC

C

CE

E

EM

M

ME

E

EN

N

NT

T

This drawing shows a typical configuration for sound reinforcement, with the main PA fed from Mix L/R and a sec-

ondary system fed from the Matrix outputs. The illustration shows the flexibility of the inputs to the mixer and how the

direct outputs are available as sources for a multitrack tape machine. The Aux Sends are used for reverb (Aux 1 & 2

which are pre-fade) and for artists foldback (Aux 4-6).

Marka:	Soundcraft
Kategoria:	Niesklasyfikowane
Model:	Spirit Live 4-2

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