MUL TI-PURPOSE CONSOLES SPIRIT RANGE BROCHURE FX16 16 Mono Channels with onboard Lexicon Effects FX8 8 Mono Channels with onboard Lexicon Effects SX12 Mono & 4 Stereo Inputs M SERI ES 4/8/12 Mono & 4 Stereo Inputs NOTEPAD 4 Mono & 2 Stereo Inputs E SERI ES 6 or 8 Mono & 4 Stereo Inputs
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The Spirit range fromSoundcraft rates among theworld’s best selling series ofcompact mixers. Designed bysound industry legend, GrahamBlyth, the multi-award-winningSpirit range is unique inproviding professional featuresand sound quality at a priceeveryone can afford.
Every console in the Spirit
range is designed toincorporate the warm, BritishEQ that has made Soundcraft,the leading name in live, studioand broadcast mixing fornearly 30 years.
Soundcraft has always been atthe forefront of console designand since the Spirit range’sinception in 1991 it has beenresponsible for many of thesound industry’s most ground-breaking products including theaward-winning Digital 328 (thelatest generation of which isthe 328XD) and, of course, theoriginal Spiritconsole thatlaunched so manyimitations. Spiritrange mixersinclude not only recording butpowered and live mixers foruse in installations and livemusic applicatiomns Designedin the UK, the latest
manufacturing processes andtechnologies ensure the highquality and exceptional value ofall Spirit range designs.
TEXAS
PORTISHEAD
ALICIA’S ATTIC
CATATONIA
GOMEZ
Soundcraft Series 1
- where it all began
The new Soundcraft MH4 Live Performance console
* No endorsements implied.
Famous Spirit users todayinclude artists like The Orb,Manic Street Preachers,INXS, Jean-Michel Jarre,Sasha, Catatonia, M:People,the Chemical Brothers, AsianDub Foundation, Texas, Pulpand Portishead*. To discoverfor yourself why they allchose Spirit, read on.
When the Spirit range was firstlaunched, mixing desks wereeither large and expensive, orsmall but ineffective.Soundcraft Spirit changed all
that. Packed with features,more channels andprofessional-standard soundquality, Soundcraft Spirit wasliterally a revolution.
The original design has nowbeen refined and developed toproduce an unparalleled rangeboasting 100mm faders, theon-board Lexicon effects ofSpirit FX16 and FX8, theextremely compact Spirit
Notepad, the all round usabilityof the Spirit SX and F1, andthe M Series with S/PDIFdigital output.
The FX16 offers a combination of powerful live and recordingfeatures, with enough channels and direct outputs to enableuse with 16-track recording systems.
With its 16 mono channels, stereo effects returns and a 2-track return that can
be routed to the mix, the FX16 can handle up to 26 inputs simultaneously.Channel direct outputs on all 16 mono channels can be switched pre or post-
fader, to feed a multitrack recorder on stage or in the studio.
UltraMic™ pre-amps, plus Spirit 3-band EQ, an effective high-pass filter and
full-size 100mm fader equip the mono channels to handle any mic
or instrument source. Channels can be routed either to the
main or to the Sub stereo bus, and the Sub bus
switched into or out of the main mix, which
means that complex mixes can be
easily set up and controlled.
Using the FX16’s
Sub outputs,
you can set up
two separatestereo mixes
to different
sets of
speakers,
which is
particularly
useful in more
demanding live or
installed sound
environments.
Live situations are rarely
free of sources of noise and
interference, which is why theFX16 is built like a tank, and has
balanced connections in and out. The
relocatable jackfield can be rotated
through 90° to suit table-top or
rackmount use, saving space and leading
cables away in a sensible direction.
A studio-grade Lexicon processor offers a broad
range of classic effects treatments, from chorus and
reverbs to combinations such as delay + reverb.
Effects presets can be edited via a simple but versatile interface, and 16 user
variations stored alongside the 16 presets.
As well as the direct outputs, the FX16 also has three aux sends for effects or
monitors. Inserts on all mono channels, and on the main and sub busses, are
provided to make it easy to
patch in vital processors.
16 MIC/LINE INPUT MIXER
26 inputs asstandard
16 mono channels with highquality UltraMic™ pre-amps
4 stereo returns
4-bus architecture, with sub-grouproutable to mix
Built-in Lexicon dual effects processor
Direct outputs for multitrack recording,individually switchable for pre- or post-fade operation
Inserts on all mono channels
Inserts on stereo mix bus
3-band ‘British’ EQ with swept mid-band
Stereo 18dB/octave 100Hz high-passfilter to cut stage rumble
+48V phantom power
Channel Mute control
10-segment tri-coloured metering
Two sub-group outputs
Separate mono sum output
Rackmount option (see p24)
16 Mono UltraMic™ Inputs
FULL FEATURE DESCRIPTIONS – PAGES 4 TO 7
M A I N
F E A T U R E
S
8
WITH LEXICO
Live Sound:Bands, Small Venues, Clubs,Conferences, Schools,Houses of Worship
Studio Recording:Digital/Analogue Multitracking(8 or 16 track), Small/HomeStudios, Pre-/Post-Production
ConnectorsNeutrik XLR for mics. Phantom Poweravailable globally from the master section(condenser mics). 1/4 inch jack for line levelinstruments. Mic and line inputs are balanced.Direct Out and Insert point.
Gain ControlUltraMic™ padless preamp provides 60dB ofgain range. Maximum 22dBu of headroom.
Equaliser SectionSteep 18dB per Octave 100Hz HighPass Filter.
3-band British EQ with swept mid.±15dB at Lo 80Hz, Hi 12kHz and Midvariable 240-6kHz. Q = 1.5.
See page 5 for EQ curves.
Auxiliary Section4 flexible auxiliary controls:
Aux 1 is pre-fader/post EQ for foldback orstage monitor mixes.
Aux 2 and 3 are post-fader/post EQ but Aux 2is switchable pre-fader on each channel.
LexFX dedicated to Lexicon effects(post-fader).
PanTo position signal in stereo mix or forsubgroup routing.
Routing SectionAny channel can be routed to Mix and/or SubOutputs. Signal to Auxes, Mix and Sub Outcan be muted.
SoloMonitors the pre-fade signal of a “solo”channel before it reaches the main mix. If SIPis pressed in master section, gives true stereoposition, after fader and with effects.
Direct PreAllows direct outs to be switched to pre-fader(live recording to prevent multitrack levelsfrom being affected by changes to the FOHmix) or post-fader for studio work.
100mm Fader
GROUP/MASTER SECTION
Connectors are on rear panel – see below.
2-Track ReturnTwo phono connectors allow playback ofmaster stereo recording or for pre-showmusic.
Mono Sum OutputUseful as additional bass bin send, side fillfeed, mono PA feed or for induction loops.
Monitor Outputs
For nearfield monitors via an amplifier.Mix Outputs
2 impedance-balanced XLRs send mix signalto PA speakers or a stereo recorder.
Mix InsertsFor processing all signals routed to mix with acompressor/limiter or other device.
Subgroup Outputs2 impedance-balanced1/4" jacks sendsubgroup signal to amultitrack or additionalspeakers.
3 impedance-balanced 1/4" jacks send signalsto effects units or monitor/foldbackamplifiers.
Phantom PowerSupplies +48V globally to power condensermics. LED indicates +48V active.
Stereo Return Section4 inputs routable to Mix or Submix, withaccess to Auxes 1 or 2.
Aux/FX Master Section4 rotaries govern master levels of Auxes andLexicon effects. Each master may be solo’dafter the fader.
2-Track Return SectionRotary sets playback level.Can be routed to Mix.
Monitor SourceMonitor Mix and/or Submix. Press 2TK to plaback master recordings without repatching.Rotary controls monitor output level.
Solo in Place (SIP)Replaces PFL with SIP. LED lights inSIP mode. See “Solo” mode operation.
MetersTwo 3-colour, 10-segment bargraph metersshow mix, submix, control room or 2-tracklevels. Peak reading (PPM). When any PFL,SIP or AFL switch is pressed, meters switchto show solo level.
PhonesFor headphones of 200 Ohms or greaterimpedance. Rotary pot governs output level.
Sub-Mix and Mix FadersPressing the “Sub to Mix” switch routessubmix buses to the mix. Insert points allowsignal processors to be connected acrosssubmix and mix.
LEXICON EFFECTS SECTION
Effects ControlsThe Lexicon dual effects section providescombinations of delay, reverb and chorus.Each effect has two editable, storable/ recallable parameters.See Lexicon Effects table on page 7.
Programme SelectSelect from 16 pre-programmed effectscombinations.
Parameter AdjustParam 1 / 2 alter values of two effectparameters using encoder. Alterations areheld in memory when Parameter switch isreleased; User Mode LED indicates analteration has been made to factory preset
(restorable).Lexicon Effects ReturnRotary sets Lexicon effects return level,routable to Mix or Sub. Internal effects haveaccess to Aux 1 or 2, allowing you to addreverb to a foldback mix, or to mix externaleffects with the Lexicon processor to createunique combination effects.
Lexicon Foot SwitchAllows effects to be turned on or off on stagusing a guitar foot-pedal.
ConnectorsNeutrik XLR for mics. Phantom Poweravailable globally from the master section(condenser mics). 1/4 inch jack for line levelinstruments. Mic and line inputs arebalanced. Insert point.
Gain ControlUltraMic™ padless preamp provides 60dB ofgain range. Maximum 22dBu of headroom.
Equaliser SectionSteep 18dB per Octave 100Hz High PassFilter.
3-band British EQ with swept mid. ±15dBat Lo 80Hz, Hi 12kHz and Mid variable250-6kHz. Q = 1.5.
Auxiliary Section3 flexible auxiliary controls:
Aux 1 is pre-fader/post EQ for foldback or
stage monitor mixes.Aux 2 is post-fader/post EQ but switchablepre-fader/post EQ from the master section.
LexFX dedicated to Lexicon effects (post-fader/post-EQ).
PanTo position signal in stereo mix or forsubgroup routing.
Routing SectionChannel can be routed to Mix or SubOutputs. Muted until the Channel On ispressed.
Direct Pre/PostAllows direct outs to be switched either pre-fader (live recording to prevent multitracklevels from being affected by changes to theFOH mix) or post-fader for studio work.
PFL SoloMonitor pre-fade signal of a “solo” channelbefore it reaches the main mix.
100mm Fader
STEREO INPUTS
Stereo Inputs 9-10 & 13-142 simple stereo inputs with phonoconnectors. Can be routed to Mix orSubgroup, with rotary level control.
Stereo Inputs 11-12 & 15-162 balanced line 1/4" jacks. Controls includegain, 2-band EQ (±15dB at 80Hz and12kHz), and balance. Other controls aresame as mic/line inputs.
GROUP/MASTER SECTION
Connectors are at top of Group/Mastersection. Outputs are impedance-balanced.
Subgroup Outputs2 1/4" jacks send subgroup signal to amultitrack or additional speakers.
Mix Outputs2 1/4" jacks send mix signal to PA speakersor a stereo recorder.
Auxiliary Outputs2 1/4" jacks send signals to effects units ormonitor/foldback amplifiers.
Mono Sum OutputUseful as additional bass bin send, side fillfeed, mono PA feed or for induction loops.
Mix InsertsFor processing all signals routed to mixwith a compressor/limiter or other device.
Monitor OutputsFor nearfield monitors via an amplifier.
2-Track ReturnTwo phono connectors allow playback ofmaster stereo recording or for pre-showmusic.
Lexicon Foot SwitchAllows effects to be turned on or off onstage using a guitar foot-pedal.
Phantom PowerSupplies +48V globally to powercondenser mics. LED indicates +48Vactive.
MetersTwo 3-colour, 10-segment bargraph metersshow mix output levels. Peak reading(PPM). When any PFL or AFL solo ispressed, both meters switch to show sololevel.
2-Track Return SectionRotary sets playback level. Pressing 2-TKswitch replaces mix signal with tape returnsignal.
Aux/FX Master Section3 rotaries govern master levels of Auxes 1,2 and Lexicon effects. Aux 2 switchablepre/post-fade; each master may be solo’dafter the fader.
Sub-Mix and Mix FadersPressing the “Sub to Mix” switch routessubmix buses to the mix. Dual insertpoints allow signal processors to beconnected across the mix.
Monitor Phones
For headphones of 200 Ohms or greaterimpedance. Rotary governs output level.
LEXICON EFFECTS SECTION
Effects ControlsThe Lexicon dual effects section providescombinations of delay, reverb and chorus.Each effect has two editable, storable/ recallable parameters.See Lexicon Effects table on page 7.
Programme SelectSelect from 16 pre-programmed effectscombinations.
Parameter AdjustParam 1 / 2 alter values of two effectparameters using encoder. Alterations areheld in memory when Parameter switch is
released; User Mode LED indicates analteration has been made to factory preset(restorable).
Lexicon Effects ReturnRotary sets Lexicon effects return level,routable to Mix or Sub. Internal effectshave access to Aux 1 or 2, allowing you toadd reverb to a foldback mix, or to mixexternal effects with the Lexicon processorto create unique combination effects.
ConnectorsNeutrik XLR for mics, with Phantom Poweravailable. 1/4 inch jack for line levelinstruments. Mic and line inputs are balanced.Insert point.
Direct OutGlobally switchable pre- or post-fader(Channels 1 to 8).
Gain ControlUltraMic™ padless preamp provides 60dB ofgain range. Maximum 22dBu of headroom.
Equaliser SectionSteep 18dB per Octave 100Hz HighPass Filter.
3-band British EQ with swept mid. ±15dBat Lo 80Hz, Hi 12kHz and Mid variable250-6kHz. Q = 1.5.
Auxiliary Section3 flexible auxiliary controls:
Aux 1 is pre-fader/post EQ for foldback orstage monitor mixes, with Aux 3 set post-fader/post EQ as an effects send.
Aux 2 is post-fader/post EQ but switchablepre-fader/post EQ from the master section.
Routing SectionThe Pan control positions the signal in thestereo image. Channel is muted until thechannel ON switch is pressed. Channel can berouted to Mix or Submix. PFL switch allowsyou to solo the channel pre-fader.
100mm fader
STEREO INPUTS
4 stereo inputs in two channel strips:
Inputs A and CTwo unbalanced phono connectors.
Level control, Mix/Submix routing.Inputs B and D
Two balanced line jacks for balanced orunbalanced stereo source. Can be used asmono channels by connecting a signal to theleft jack only.
Gain control, 2-band EQ (±15dB at Lo 80Hzand Hi 12kHz), Balance control, Mix/Submixrouting, PFL.
MASTER SECTION
Phantom PowerSwitch for global +48V phantom poweron/off. LED indicates +48V active.
MonitoringTwo impedance balanced 1/4 inch jacks forconnection to an amplifier and monitorspeakers. Monitor Mix, Submix, any Soloor 2-Track Return through monitor outputsor phones.
MetersTwo 3-colour, 10-segment bargraph metersshow mix output levels. Peak reading (PPM).When any PFL or AFL solo is pressed, bothmeters switch to show solo level.
Auxiliary Masters3 rotary controls govern the output levelsfrom the impedance-balanced auxiliaryoutputs. Each master can be solo’d usingAFL switch. Pre/Post button switches allAux 2 signals between post- and pre-fader.
Mono OutputImpedance balanced 1/4 inch jack provides amono sum from the mix. Rotary control altersoutput level.
Submix OutputsTwo impedance-balanced 1/4 inch jacks with
100mm faders. For recording a group ofinstruments or for controlling a separateamp/speakers in a live setup.
Mix OutputsThe MIX L & R outputs are taken from twoimpedance balanced XLR connectors, withtwo insert points available. Mix level governedby two 100mm faders.
PhonesFor headphones of 200 Ohms or greater.Rotary control for headphone volume ormonitor outputs.
GENERAL
Integral handleIntegral handle which doubles as a tilt for thecontrol surface.
Power ConnectorLatched for reliability.
Rackmount OptionOptional rackmount ears available. Occupies10U of rack space (additional 1U is advisedfor cables).
13
WITH 100MM FADERS
LF and HF EQ curves Swept Mid EQ curve High Pass Filter
Direct Out (switchable)For connection to external multitrackrecorders or effects units.
Mic InputA balanced female XLR connector acceptsbalanced or unbalanced mic signals. At-128dbu EIN the mic amp is extremely quiet
and transparent.Line Input
A balanced 1/4" jack for connecting balancedor unbalanced electronic instruments, such askeyboards.
InsertFor patching in compressors or additional EQor for other signal processors. It can also beused for recording.
GainA rotary gain control on each input alters thegain of the input signal, from +5 to +60dB.Linear circuitry within the preamp deliverssmooth gain control over the entire gainrange.
Filter SectionA high pass filter with an 18dB per octaveslope can be used to reduce frequenciesbelow 100Hz. Ideal for reducing unwanted
stage rumble or popping from microphones.EQ Section
Equalisation is split into three bands. The HFcontrol provides 15dB of cut or boost (gainadjustment) for frequencies above 12kHz. Twoswept mid frequency controls enablefrequencies from 240Hz to 6kHz to beadjusted, offering 15dB of cut or boost at theselected frequency. Signals below 60Hz can beadjusted with the LF control, which features±15dB of gain adjustment (cut or boost).
Auxiliary SectionFor sending separate monitor mixes in liveapplications, four aux busses, with two pre-fade and two post-fade aux sends on eachinput channel cater for all requirements.
Pan, Muting, PFL & Direct PreThe pan control positions each channel’s signalacross the stereo image, with a mute button
to cut the signal completely. A PFL (Pre FadeListen) button solos the signal for monitoring.The Direct Pre button selects the directoutputs to be pre-fader.
Faders and MeteringEach mono channel features a smooth100mm fader, a signal LED to show whethera signal is present and a peak level LEDindicating signal levels in excess of +17dBu.
STEREO INPUTS
Input ConnectorsThe stereo inputs are connected via balanced1/4" jack inputs delivering optimumperformance with other professional audioequipment.
Stereo Returns
Stereo returns for effects processors are viaRCA phono inputs – these returns can also beused with CD players and other hi-fiequipment.
EQ SectionEqualisation on the stereo channel strip issimpler than the EQ featured on the monochannels. There are two controls, adjustingHF signals at 12kHz and LF signals at 60Hzby ±15dB.
Auxiliary SectionWith 4 aux sends on the stereo input channels,the signal can be sent pre-fade for use in amonitor mix (using aux sends 1 & 2) or sentpost-fade (via aux sends 3 & 4) for effectsprocessing.
Bal, Muting, PFL & Direct PreThe balance control adjusts the amount ofthe signal sent to the left and right busses.
Mute and PFL buttons operate as on themono input channels, cutting or soloing thestereo channel. With PFL pressed, the pre-
fade signal is fed to the headphones, control room output andmeters, with levels displayed on the left and right meters inmono to enable levels to be monitored without interruption tothe main mix.
Faders and MeteringEach stereo channel features a smooth 100mm fader, a signalLED to show whether a signal is present and a peak level LEDindicating signal levels in excess of +17dBu.
RETURNS CONTROLS
Gain ControlPositioned at the top of each stereo channel strip, adjuststhe gainfor each stereo return, with a peak signal LED indicatingwhen the signal exceeds +17dBu.
Return Master
Adjusts the overall level of the stereo returns in the main mix.Mute Button
When stereo returns are used to return a signal from aneffects unit, the mute button offers a fast method ofcomparing your mix with or without FX.
CONNECTOR PANEL
MASTER SECTION
Phantom PowerGlobal control over phantom power isoffered via a push button. When active, anLED will illuminate.
2-Track Inputs2-track recorder playback inputs are onunbalanced RCA phonos.
Monitor Output and Mix InsertAvailable on balanced 1/4" jacks.
Mix Outputs and Mono SumThe main left and right mix outputs areprovided on balanced XLR connectors with amono sum signal available on a balanced 1/4"jack.
Playback LevelThe playback gain control adjusts the levelfrom the 2-track playback inputs. Thisplayback signal can be monitored separatelyby pressing the PFL button, which routes itto your monitoring system or to theheadphones, replacing any existingmonitoring signals. The ‘P/B Replace Mix’button routes the playback signal directly tothe main mix, replacing any signal that maybe present.
Mono Sum, Monitor & Phones LevelLevels sent to the mono sum output,monitor output and headphones can beadjusted using these three rotary controls.And when a pair of headphones are pluggedinto the phones socket at the bottom rightof the mixer, the monitor outputs are cut foreasier headphone listening.
Auxiliary MastersThe aux output contains a mix of the auxsend signals sent from each input channel,which can then be sent as a monitor mix tostage loudspeakers or to send to anexternal effects unit.
Each aux bus features a master level control,with an AFL (After Fade Listen) buttonenabling monitoring of each aux output.When pressed, the AFL button routes theaux output to the monitor ouputs or to theheadphones, where it can be monitored on
the master stereo meters.Faders and Metering
Controlling the overall stereo mix level aretwo 100mm faders, with two 12-segment 3-colour LED peak-reading bargraph metersmonitoring the mix right and mix leftoutputs. These meters normally follow thecurrent monitor selection, so if any PFL orAFL is pressed, the meters will switch tomonitor this and the Solo AFL/PFL LED willlight.
Mic InputA balanced female XLR connector acceptsbalanced or unbalanced mic signals. At -128dbuEIN the mic amp is extremely quiet andtransparent.
Line InputA balanced 1/4” jack for connecting balanced orunbalanced electronic instruments, such askeyboards.
InsertUsed for patching in compressors or additionalEQ or for other signal processors. It can also beused for recording to multi-track recorders ifnecessary.
GainA rotary gain control on each input alters thegain of the input signal, from +5 to +60dB.Linear circuitry within the preamp deliverssmooth gain control over the entire gain range.
EQ SectionEqualisation is split into three bands. The HFcontrol provides 15dB of cut or boost (gainadjustment) for frequencies above 12kHz. Twoswept mid frequency controls enable frequenciesfrom 140Hz to 3kHz to be adjusted, offering15dB of cut or boost at the selected frequency.Signals below 80Hz can be adjusted with the LFcontrol, which features ±15dB of gainadjustment (cut or boost).
Auxiliary SectionFor sending separate monitor mixes in liveapplications, or for use with fx units two auxsends on each input channel cater for allrequirements. Each Aux bus can be globallyswitched to be pre or post fade on the mastersection.
Pan, Muting, and SOLO
The pan control positions each channelís signalacross the stereo image, with a mute button tocut the signal completely. A SOLO button solosthe signal for monitoring.
Faders and MeteringEach mono channel features a smooth 100mmfader, and a peak level LED indicating signallevels in excess of +17dBu.
STEREO INPUT (E6, 8 and 12 models)
Input ConnectorsThe stereo inputs are connected via balanced1/4” jack inputs delivering optimum performancewith other professional audio equipment.
EQ SectionEqualisation on the stereo channel strip is
simpler than the EQ featured on the monochannels. There are two controls, adjusting HFsignals at 12kHz and LF signals at 80Hz by±15dB.
Auxiliary SectionWith 2 aux sends on the stereo input channels,the signal can be sent pre-fade or post-fadeaccording to master selection, for use in amonitor mix or for effects processing.
Bal, Muting, and PFLThe balance control adjusts the amount of thesignal sent to the left and right busses. Muteand SOLO buttons operate as on the monoinput channels, cutting or soloing the stereochannel. With SOLO pressed, the prefade signalis fed to the headphones, control room outputand meters.
Faders and MeteringEach stereo channel features a smooth 100mm
fader, and a peak level LED indicating signallevels in excess of +17dBu.
STEREO INPUT (ES Model)
The full-function stereo input on the ES has thesame line input gain, auxiliary and fader controlsas the standard E Series stereo input, but has anenhanced connectivity set and EQ section.
ES Stereo Input ConnectionsEach stereo input has a balanced 1/4” jack forconnecting line level balanced or unbalancedelectronic instruments, such as keyboards. Stereoinputs 1-2 also feature RIAA-equalised inputs onRCA Phono connectors for turntable inputs. Stereoinputs 3-6 also have parallel unbalanced RCA
Phono inputs for line level signals.EQ SectionEqualisation is split into three bands. The HFcontrol provides 15dB of cut or boost (gainadjustment) for frequencies above 12kHz. A Midcontrol offers 15dB of cut or boost at a frequencyof 600Hz. Signals below 80Hz can be adjustedwith the LF control, which features ±15dB of gainadjustment (cut or boost).
MASTER SECTION
Phantom PowerGlobal control over professional +48V phantompower is offered via a push button. When active,an LED will illuminate.2-Track Inputs and Outputs2-track recorder playback inputs and record sendsare on unbalanced RCA phonos.Monitor Playback routes the playback input toyour monitoring system or to the headphones,replacing any existing monitoring signals.Plyback to Mix routes the playback signal directlto the main mix, replacing any signal that may bepresent.
Monitor Output and Mix InsertAvailable on balanced 1/4” jacks.
Mix Outputs and Mono SumThe main left and right mix outputs are providedon balanced XLR connectors.
Playback Level
The playback gain control adjusts the level fromthe 2-track playback inputs.
Monitor & Phones LevelLevels sent to the monitor output and headphonecan be adjusted using these two rotary controls.And when a pair of headphones are plugged intothe phones socket at the bottom right of themixer, the monitor outputs are still operational forsimultaneous listening by a performer andengineer.
Faders and MeteringControlling the overall stereo mix level are two100mm faders, with two 10-segment 3-colourLED peak-reading bargraph meters monitoring themix right and mix left outputs. These metersnormally follow the current monitor selection, so any PFL or AFL is pressed, the meters will switchto monitor this and the Solo AFL/PFL LED willlight.
phantom-powered studio condensor micsto DJ decks and samplers. Its high-quality
components and advanced design ensure
CD-quality sound, while its ergonomic
layout makes the Notepad very easy to
use. And even on the smallest Spirit, as
well as essential features such as separate
mix and monitoring outputs, you get
custom-built pots designed to give the
same precision control and carefully-
tailored responses that grace the biggest
Soundcraft desks. However you look at it,
the Spirit Notepad is the most fully-
featured small mixer in town.
Small PA Setups: Bars,Schools, House of Worship etc
Personal Practice Mixing
DJ Mixing; Sub-Mixing
Location Mixing
Video Post Production
Multimedia; Home Studios
10 inputs
4 mic inputs
2 stereo inputs
High-quality micpre-amp inputs
2-band EQ on all 4mono channels
Post-fade aux send onevery input
Stereo effects return
Switchable +48Vphantom power
Stereo inputs with switchableRIAA pre-amps for turntables
2-track tape return
Separate mix and monitoroutputs
Peak and VU metering
Headphone output
Compact, lightweight design
Power on indicator
Custom designed rotary controls forconsistent, accurate response
A
P P L I C A T I O N S
SEE PAGES 19-23
FULL FEATURE DESCRIPTIONS – PAGES 4 – 7
M A I N
F E A T U R
E S
2 Stereo Inputs
Global 48V Phantom Power
4 Mono Inputs
MONO INPUTS
ConnectorsFour inputs for mics or instruments. Highquality preamps with XLR connectors formics and 1/4 inch jacks for electronicinstruments. 50dB of gain available.
ControlsEach channel has a Pre-Amp Level control tomatch input levels, Treble and Bass controls(Hi and Lo EQ), a post-fader Effects Sendlevel control, a Pan control to position thesignal in the stereo image and a Volume(Level) control.
STEREO INPUTS
ConnectorsTwo pairs of phono inputs will accept signalsfrom most line-level sources and, using theassociated switch, stereo turntables(activates internal RIAA preamp).
ControlsEach channel has a Pre-Amp Level control tomatch input levels, a post-fader Effects Sendlevel control, a Balance control to set relativelevels of left and right signals and a Volume(Level) control.
MASTER SECTION
Master Mix (Out)Two 1/4 inch jacks for sending main mix to a
PA system or stereo recorder (e.g. DAT,cassette deck or CD-R). Volume (Level)control.
Monitor Amp (Out) & H/PhonesTwo phono connectors for amp/speakers anda stereo 1/4 inch jack for headphones (200ohms or greater impedance) to monitorsignals before they go to the Master Mix.Volume control on rotary pot.
Master Mix / Tape SwitchSwitches between the Master Mix and Tape(In) signals.
FX SectionOne 1/4 jack for sending a signal out to aneffects unit (FX Send) and two 1/4 jacks toaccept the return signal. Volume (Level)control for return signal.
Mic PowerProvides +48V phantom power forcondenser mics. Warning LED.
MeteringAmber AVG (Average) indicators show normalsignal levels; red PK (Peak) indicators warnof overload.
OPTIONS
Mic Stand AdaptorAllows Notepad to be fitted to amicrophone stand.
2-track return is a very important input, asit is there mainly to accept the output fromyour studio master recorder. Supposeyou’re mixing down a recording, and
running your final mix to DAT. You have theSpirit’s Mix outputs connected to the DATinputs, and the DAT outputs to the 2-trackreturn on your Spirit. If your DAT recorderallows off-tape monitoring, turn this on. Byswitching from Mix to Tape monitoring onthe Folio’s master section, you will hearthe master recording a split-second after ithas been laid down to tape, and willtherefore know immediately whether thereis any problem in the all-important master.
What are the maximum andminimum input levels to the micand line inputs?
The maximum levels are: +22dBu forUltraMic™ preamp inputs (i.e. mic inputs on
all Spirits apart from the Notepad), +14dBufor the Spirit Notepad mic inputs, and+30dBu for all line inputs.
There is no minimum level – but rememberthat the lower your input level, the morenoise will be noticeable. The noise floor ofUltraMic™ inputs is around -150dBu, so anysignal at this level will be effectively lost.
What are the nominal outputlevels of the different outputs onSpirit desks?
+4dBu for the mix, aux and groupoutputs, and 0dBu for insert points anddirect outputs (where they are present).
What is the typical output noiseon a Spirit model?
-80dBu at the master outputs, with themaster fader at max.
What is an auxiliary send?
An auxiliary send, usually abbreviated toaux send or aux, is an extra output from amixer that can carry a quite separatebalance of sources to that sent to themaster outputs. In the studio aux sendsare used mainly for patching effectsprocessors in, by sending an aux mix to aeffects unit and then returning theprocessed signal to the desk. Auxes arealso useful for setting up on-stage monitormixes at gigs, for multi-speaker mixing ininstalled sound, and for routing signals tosamplers in programming/MIDI suites.
What cables should I use toconnect my Spirit?
The best you can afford! Cheap cables willhave poor quality connectors that will bemore likely to give trouble (such as crackle
and buzz) than good connectors. Also,good cables will offer higher audio qualityand better rejection of interference,particularly over long runs.
Here are diagrams to show how some standardleads should be made up.
BALANCED
Line, Mix L&R, Sub L&R,Aux, Stereo Inputs
UNBALANCED
Direct Output, Control Room L&R, Stereo Inputs
INSERT LEADS
Mono Inserts, Mix L&R Inserts
What are the maximum outputlevels of the different outputs onSpirit desks?
+21dBu.
How should I wire up insert and other cables for my Spirit?
What is a ground-compensatedoutput?
Ground-compensation (or ground-cancellingan electronic means of avoiding ground looeven where the receiving equipment hasunbalanced inputs. Unwanted noise is rejecby the addition of signals at the output endthe connection rather than subtraction at thinput, in such a way that any differences inground voltage between input and outputare negated.
AFL (After Fade Listen)A solo function that sends the post-fadesignal of a channel to the monitor output.
AttenuateAnother way of saying ‘reduce in level’.
Auxiliary outputAn output consisting of a mix of signals(from channels and sub-groups) derivedindependently of the main stereo andsub-group mixes. Auxiliary sends can beused for foldback and for effects sends.
BalanceOn a stereo channel, the balance controlis used to vary the relative levels of theleft and right signals into the stereomix bus.
BalancedA method of audio connection which
balances the sound signal between twowires and a screen which carries nosignal. Any interference is picked upequally by the two wires, but the signalon one wire is out of phase with theother, which means that when they arerecombined the interference is rejected.
Condenser MicA microphone that uses a capacitor toconvert air movements into electricalsignals. They require power, which can besupplied by the Phantom Power found onFolio desks.
DAT (Digital Audio Tape)A cassette-based digital recording format.
dB (decibel)A ratio of two voltages or signal levels. Achange in level of 3dB corresponds to aperceived doubling of volume to thehuman ear. 0dB means no level change.
DI boxA device that enables an instrument witha low-level output, such as a guitar orbass, to be connected directly to the linelevel input of a mixer.
Dynamic RangeThe ability of equipment (such as a Spiritconsole) to reproduce very quiet andvery loud sounds – the greater the range,the better.
EqualiserA device that allows selected bands withinthe audio spectrum to be boosted or cut.
FX UnitSlang term for effects unit, either adedicated processor such as a digitalreverb or delay, or a multi-effectsprocessor which can produce manydifferent effects. Effects are usually
connected so that the processed soundcan be mixed back in with theunprocessed sound in the mixer.See also ‘outboard’.
FoldbackOn stage or in the studio, a feed sentback to an artist via loudspeakers,headphones or in-ear monitors, toenable them to hear the sound they areproducing. A foldback mix is usuallysimilar to the main mix, but with morevocals or a particular instrumentas appropriate.
Front Of House (FOH)In live sound, FOH refers to the soundand parts of the sound system providedfor the audience – the main system, inother words. See ‘Monitoring’.
GainAmplitude above a given level. Negativegain means a signal reduction.
GateShort for noise gate. An electronic device
that mutes the signal path when the inputsignal drops below a threshold level. Theyare used to maintain silence in pauses inthe signal, such as in between vocalphrases or drum hits, when noise mightotherwise become noticeable.
Graphic equaliser.An equaliser with small faders (orprogrammable ‘virtual’ faders in software)that cut or boost the level of narrowbands of the audio spectrum. Mainly usedto compensate for imperfect roomacoustics, especially live.
High Pass Filter (HPF)An electronic circuit designed to filter outfrequencies below the filter’s cut-offpoint. If this is set just above deep bassfrequencies, it removes only these from asignal, and is useful for stopping low-frequency rumble from on-stage micsfrom muddying a mix.
ImpedanceFor good audio performance, theimpedance of audio outputs should below, and input impedances should bevery high.
Line levelA nominal standard signal level used whenconnecting one piece of audio equipmentto another. There are two line levels inuse: +4dBu, the ‘professional’ level, and-10dBV, which is more commonly used insemi-professional and consumer audioequipment.
MonitoringThe act of listening to an audio signal overloudspeakers or via headphones. In livesound, monitoring also refers to anyseparate mix for speakers placed on-stageso that the musicians can hear themselvesproperly (see FOH).
Monitor loudspeakersOr monitors. Accurate loudspeakers usedto make critical judgements about a mix.
MulticoreA cable with multiple cores, allowingseveral signals to be carried independentlybut within the same physical casing. Usedextensively in live sound to carry signals toand from the stage, and in studios forlinking multitrack recorders to mixingconsoles.
Near-field monitorA compact monitor speaker designed tobe used at a distance of three or fourfeet. By listening in the near field (hencethe name), any effects of poor roomacoustics are minimised.
Outboard processorsStrictly speaking, any effect or otherprocessor – but the term more usuallyrefers to processors such as compressors,equalisers or exciters, through which achannel or mix bus signal passes.
Compressors and equalisers are usuallyconnected to a mixer via insert points,which break the internal signal path sothat it can be routed out and back viathe outboard.
PanShort for panorama. Controls the levelssent to the right and left outputs or bus.
Phantom powerThis is a way of adding voltage to acondensor microphone or active DI box,to power the internal amplifier circuitswithout the need for batteries.
PhaseA term used to describe the relationshipof two signals. In phase signals reinforceeach other, out of phase signals producecancellation.
UnbalancedA method of audio connection which usesa single wire and the cable screen as thesignal return. This method does notprovide the noise immunity of a balancedconnection (see Balanced above).
Unity GainA level where a signal is neither boosted
The 328XD Digital Production Console, with its ground breaking easy-to-use
interface, has revolutionized low cost digital mixing in studios and live
applications.
Soundcraft’s range of nearfield studio monitors – Absolute Zero and Absolute 2 –
have taken the Soundcraft name into top studios such as The Roundhouse and
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A dedicated stable of live and powered mixers – Spirit 8, Live 42, LX7, Monitor 2
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Soundcraft is committed to excellence in audio. In eighty-eight countries, in
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You simply have to do the rest.
For details of the complete Soundcraft range contact your Soundcraft dealer or
visit the Soundcraft website where you’ll find comprehensive details of every
product, including downloadable PDF brochures, technical support and user grou
information.
In theSTUDIO
On theROAD
Around theWORLD
LX7
24 to 40 Input
Live Mixing Consoles
LIVE 42
A Range of 8 to 40 ChLive Mixing Consoles
SPIRIT 8
16 to 40 Ch 8-BusLive Mixing Consoles
MONITOR 2
24 to 40 Ch StageMonitor Consoles
POWERSTATION
16 to 24 Ch Powered
Live Mixing Consoles
328XD
32 Ch Digital
Mixing Console
ABSOLUTE
Range of Professional
Nearfield Monitors
spirit Mixers are just part of a
comprehensive range of soundcraft
professional audio equipment.
From project studios to world famous recording facilities, from clubs to stadiums,
from young musicians to international superstars, Soundcraft designs havebecome synonymous with versatility, innovation and sonic excellence.
Soundcraft Registered Community Trademark / RTM Nº 000557827
Part Nº: ZL0522
324 LIVE
32 Ch Digital LiveSound Mixing Console
Soundcraft reserves the right to improve or otherwise alter any informationsupplied in this document or any other documentation supplied hereafter.E&OE 11/02
This equipment complies with theEMC Directive 89/336/EEC