SoundCraft M-SERIES User manual

MM-SSEERRIIEESS
UUSSEERRGGUUIIDDEE

1
SAFETY GUIDE
Page
Safety Symbol Guide 2
Approvals and Notice 3
Warranty 4
Important Safety Instructions 5
Cautions 5
Warnings 6

USER GUIDE
2
SAFETY SYMBOL GUIDE
For your own safety and to avoid invalidation of the warranty all text marked with
these Symbols should be read carefully.
CAUTIONS
Must be followed carefully to avoid bodily injury.
WARNINGS
Must be observed to avoid damage to your equipment.
NOTES
Contain important information and useful tips on the
operation of your equipment.

3
© Harman International Industries Ltd. 2001
All rights reserved
Parts of the design of this product may be protected by worldwide patents.
Part No. ZM0252
Issue: 1.2
Soundcraft is a trading division of Harman International Industries Ltd. Information in this
manual is subject to change without notice and does not represent a commitment on the
part of the vendor. Soundcraft shall not be liable for any loss or damage whatsoever aris-
ing 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 Limited
Cranborne House
Cranborne Road
POTTERS BAR
Hertfordshire
EN6 3JN
UK
Tel:[phone]
Fax:[phone]
http://www.soundcraft.com
IMPORTANT
Please read this manual carefully before connecting your Mixer to
the mains for the first time.

USER GUIDE
4
WARRANTY
1Soundcraft 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.

5
IMPORTANT SAFETY INSTRUCTIONS
CAUTIONS
•To avoid the risk of fire, replace the mains fuse only with the correct type
and value fuse, as marked on the rear panel.
•ATTENTION: - Afin de réduire le risque de feu remplacer seulement avec
fusible de même type.
•MAINS VOLTAGE SELECTION
This setting is NOT User Adjustable.
This unit is capable of operating at either 230V AC or 115V AC mains voltages ±10%,
which are set at the time of manufacture and marked on the rear panel. It is important
to ensure that the correct mains voltage is present at your mains outlet and that the cor-
rect fuse is fitted before switching on the unit.
To change the mains operating voltage, refer to qualified service personnel.
•REPLACING MAINS FUSE
Switch the ON/OFF switch to the OFF position. Remove the mains lead from
the connector. Use a small screwdriver to unscrew the fuse carrier from its location
to the left of the mains power connector. Check the fuse is of the correct type and
value and replace if necessary; also check that the voltage selection as marked on
the rear panel is correct for the mains supply level before switching the unit ON again.
If the mains fuse fails repeatedly this may be because an electrical safety
hazard exists. The unit must be taken out of service and referred to the
Soundcraft dealer from where the equipment was purchased.
•THIS UNIT MUST BE EARTHED
Under no circumstances should the mains earth be disconnected from the
mains lead.
•ATTENTION: - Cet appareil doit être branché à la terre.
•The wires in the mains lead are coloured in accordance with the following code:
Replacement Part No: FJ8016 (UK) : FJ8017 (EU) : FJ8018 (US & CAN)
UK & EU US & CAN
Earth / Ground: Green and Yellow Green and Yellow
Neutral: Blue White
Live: Brown Black
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 / ground symbol:
The wire which is coloured Blue or White must be connected to the terminal in
the plug which is marked with the letter N.
The wire which is coloured Brown or Black 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.
•Do not install near any heat sources such as radiators, heat resistors, stoves, or other
apparatus (including amplifiers) that produce heat.
9

USER GUIDE
6
•Do not use this apparatus near water.
•Do not defeat the safety purpose of the polarized or grounding type plug.
A polarized plug has two blades with one wider than the other. A grounding
type plug has two blades and a third grounding prong. The wide blade or
the third prong are provided for your safety. When the provided plug does
not fit into your outlet, consult an electrician for replacement of the obsolete
outlet.
•Protect the power cord from being walked on or pinched particularly at plugs,
convenience receptacles and the point where they exit from the apparatus.
•Only use cables and hardware specified by the manufacturer.
•Unplug this apparatus during lightning storms or when unused for long
periods of time.
•Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way such as power-supply
cord or plug is damaged., liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed to rain or moisture,
does not operate normally or has been dropped.
•It is recommended that all maintenance and service on the product should
be carried out by Soundcraft or its authorised agents. Soundcraft cannot
accept any liability whatsoever for any loss or damage caused by service,
maintenance or repair by unauthorised personnel.
•If a trolley is used, use caution when moving the trolley / apparatus combina
tion to avoid injury from tip-over.
WARNINGS
•Read these instructions.
•Keep these instructions.
•Heed all warnings.
•Follow all instructions.
•This unit contains no user serviceable parts. Refer all servicing to a
qualified service engineer, through the appropriate Soundcraft dealer.
•Clean only with a damp cloth.
•DO NOT block any of the ventilation openings. DO NOT install where air
cannot flow over the rear of the unit. DO Install in accordance with
the manufacturers instructions.

Page
Overview 8
The 10 Second Tutor 8
Introduction 10
Advice for Those Who Push the Boundaries 10
Installation & Safety Precautions 11
Wiring Up 12
Mono Input Channels 16
Stereo Input Channels 19
Master Section 21
Using Your Spirit M Series Console 23
Advanced Features 25
Application 1
Live Sound Reinforcement 27
Application 2
Multispeaker Applications 28
Application 3
Places of Worship 28
Application 4
Recording 29
Application 5
Linking Two Spirit M Series Consoles 29
Care of Your Mixer 30
Glossary 30
Typical Specifications 32
Dimensions 33
Appendix 1
Typical Connecting Leads 35
System Block Diagram 37
Control Position Markup Sheets 39
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CONTENTS

USER GUIDE
8
OVERVIEW
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To get you working as fast as possible, this manual begins with a 10 second tutorial. Here you can find
quick information on any feature of the console, and a page reference where you can find a more
detailed explanation.
THE 10 SECOND TUTOR
1MIC INPUT (XLR) Connect Microphones here. If you are using a condensor mic
WARNING: Do Not apply ensure phantom power is supplied by pressing the switch at the
Phantom Power before top of the master section l
connecting a Microphone.
2LINE INPUT (¼” Jack) Connect Line level sources here
3INSERT POINT (¼” Jack) Connect Signal processors here
4GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal
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5EQ STAGE Adjust these controls to change the signal tone
6AUX SENDS Adjust these controls to change the level of the signal to an FX unit or an artist’s monitors (head
phones/in-ear/stage monitors). Aux 1&2 are pre-fade, while Aux 3&4 are post-fade
7PAN CONTROL Use this control to position the signal within the stereo field
8MUTE SWITCH When this is pressed you will hear no signal from the channel
9PFL (PRE-FADE LISTEN) When pressed the signal will appear on the monitor outputs - use this to monitor the post eq
signal from the channel
0INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus
qDIRECT OUTPUT This output can be used to send the channel signal to a recording device, such as a multi-track
(¼” Jack) recorder
wDIRECT PRE This switch controls the source for the direct output. When the switch is down the D/O is pre-fade,
and when the switch is up the D/O is post-fade
eMIX OUTPUTS (XLR) Connect these to your analogue recording device, or to your amplification system
rMIX INSERTS This is a pre-fade break in the signal path which can be used to feed a dynamics or mastering
(¼” Jack) device. The signal is sent from the tip of the jack plug and the return path comes back in on the
ring of the jack plug
tS/PDIF OUTPUT This is a digital version of the Mix Output and can be used to send any source or the entire mix to
a digital recorder or computer sequencer via the appropriate hardware
yMONITOR O/Ps These are used to feed your monitoring system. This can be directly to powered monitors, or
(¼” Jack) indirectly via an amplifier to standard monitors
uMASTER FADER This fader controls the overall level of the mix bus
iAUX MASTERS These controls can be used to adjust the overall level of a specific auxiliary send to an effects unit
oMAIN METERS These show the level of the mix outputs. When the PFL/AFL LED is lit, the meters show the level of
the signal sourced
pMONITOR CONTROL This controls the level of the signal sent to your monitoring system
aPHONES CONTROL This controls the level of the signal sent to the headphones jack socket
sMONO SUM CONTROL This controls the level of the signal sent to the mono sum output
dAUX OUTPUTS These four outputs can be used to send the channel signal to an FX unit or an artist’s monitors
(¼” Jack) (headphones/in-ear/stage monitors). Aux 1&2 are pre-fade, Aux 3&4 are post-fade
fSTEREO RETURN INPUTS These four inputs can be used to connect the return signal from an FX unit, or a stereo feed from
(RCA Phono) consumer devices such as CD-Players, Minidisc etc. The level of these inputs are controlled by the
RET1,2,3 & 4 controls and are sub-mixed via the returns master control before being sent to the
Mix Outputs
gSTEREO INPUTS These four inputs can be used to connect line level stereo inputs from keyboards, sound modules,
(¼” Jack) samplers, computer based audio cards etc. These inputs pass through a normal channel strip,
with EQ, Auxes and a Balance control
hPLAYBACK INPUT Here you can connect the playback from your recording device
(RCA Phono)
jPLAYBACK CONTROLS Use this to control the level of the playback signal. There is also a PFL/AFL switch and a PLAYBACK
REPLACES MIX switch
kRETURNS MASTER This controls the overall level of the stereo return inputs. There is also a MUTE switch so that you
can quickly compare your mix, with and without FX
lPHANTOM POWER Press this to switch the phantom power (48V) on for condenser microphones
WARNING: Do Not apply Phantom Power before connecting a microphone
;MIXER POWER LED This LED will light when the unit is switched on
zHEADPHONES (¼” Jack) Plug your headphones into this socket
xSIGNAL PRESENT LED This is used to indicate the presence of a signal on a specific channel
cPEAK LED This is used to indicate signal clipping on a specific channel
vMONO SUM OUTPUT This output provides a Mono sum of the main L & R mix outputs
b100Hz FILTER When pressed, this switch significantly reduces the level of frequencies below 100Hz
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USER GUIDE
10
INTRODUCTION
Thank you for purchasing a Soundcraft mixer. We take great pride in our latest addition
to the Spirit range of mixing consoles - you have taken a step in the right direction and
should never look back.
The Packaging which your Spirit M Series arrived in, forms part of the product and
must be retained for future use.
Owning a Soundcraft console brings you the expertise and support of one of the
industry’s leading manufacturers, and the results of nearly 3 decades of supporting
some of the biggest names in the business. Our knowledge has been attained though
working in close contact with leading professionals and institutes to bring you prod-
ucts designed to get the best possible results from your mixing.
Built to the highest standards using quality components and surface mount technology,
the Spirit M Series is designed to be as easy to use as possible. We have spent years
researching the most efficient methods of control for two key reasons:
1) Engineers, musicians, writers and programmers all need to have very few interrup-
tions to the creative process; our products have been designed to be almost transpar-
ent, allowing this process to breathe.
2) Whether performing or recording, time is a very expensive and rare commodity. Our
products have a user interface which is recognised by millions to be the industry
standard because of its efficiency.
The sonic qualities of our products are exemplary - some of the same circuits which are
used on our most expensive consoles are employed in the Spirit M Series, bringing you
the great Soundcraft quality in a small format console without compromise.
You will also be glad to know you have a one year warranty with your product from
the date of purchase. The Spirit M Series has been designed using the latest high-end
software based engineering packages. Every console from Soundcraft has been proven
to stand up to all the stress and rigours of modern day mixing environments.
The entire Spirit M Series is manufactured using some of the most advanced techniques
in the world, from high density surface mount PCB technology, to computer aided test
equipment able to measure signals well outside the range of normal hearing. As each
console passes through to be quality checked before packing there is also a human
listening station. Something we have learnt over the years is that the human touch
counts - and only by using people can you ensure the product meets the high demands
of the user.
ADVICE FOR THOSE WHO PUSH THE BOUNDARIES
Although your new console will not make any noise until you feed it signals, it has the
capability to produce sounds which when monitored through an amplifier or head-
phones can damage hearing over time.
Please take care when working with your audio - if you are manipulating controls
which you don’t understand (which we all do when we need to learn), make sure your
monitors are turned down. Remember that your ears are the most important tool of
your trade, look after them, and they will look after you.
Most importantly - don’t be afraid to experiment to find out how each parameter
affects the sound - this will extend your creativity and help you to get the best from
your mixer and the most respect from your artists and audience.

11
INSTALLATION AND SAFETY PRECAUTIONS
ABOUT THIS MANUAL
This manual describes the safety precautions, warnings, specifications, installation and
operating procedures specific to the following Soundcraft products only:
•Spirit M4 RW5631 UK / EU / US
•Spirit M8 RW5632 UK / EU / US
•Spirit M12 RW5633 UK / EU / US
The information in this manual should be read by end users of one of the above prod-
ucts only. In particular, this manual should not be read in conjunction with any other
product not listed above.
The above products do not contain any user-serviceable parts and the user guide does
not contain any technical servicing information. Qualified service personnel can obtain
a separate Technical Manual incorporating the user guide, Part NoZM0255 from
Soundcraft or one of its accredited distributors.
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.
INSTALLING THE MIXER
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, connections and configuration of your mixer.
•Choose the mains supply for the sound system with care, and do not share
sockets or earthing with lighting dimmers.
•Position the mixer where the sound can be heard clearly.
•Run 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 interference. Keep unbalanced cabling as short
as possible.
•Check your cables regularly and label each end for easy identification.
SAFETY PRECAUTIONS
For your own safety and to avoid invalidation of the warranty please read this section
carefully.
In particular, you should also read the Cautions and Warnings on pages 5-6 of this
manual.
The console must only be connected to the Mains
Power voltage indicated on the rear panel.
To avoid the risk of fire, replace the mains fuse only with the
correct value fuse, as indicated on the rear panel.

USER GUIDE
12
WIRING UP
Please refer to pages 35/36 for additional wiring details.
MIC INPUT
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 PHANTOM POWER on, the
socket provides a suitable powering voltage for professional condenser mics.
The input level is set using the input GAIN knob.
The LINE input offers the same gain range as the MIC input, but at a higher input
impedance, and is 20dB less sensitive. This is suitable for most line level sources
LINE INPUT
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. Note that the ring must be grounded if the
source is unbalanced. Set the input level using the GAIN knob, starting with the knob
turned fully anticlockwise. Unplug any MIC connection when using the LINE input.
INSERT POINT
The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing
limiters, compressors, special EQ or other signal processing units to be added in the
signal path. The Insert is a 3-pole ‘A’ gauge jack socket which is normally bypassed.
When a jack is inserted, the signal path is broken, just before the EQ section.
The signal from the channel appears on the TIP of the plug and is returned on the
RING, with the sleeve as a common ground.
The Send may be tapped off as an alternative pre-fade, pre-EQ direct output if
required, using a lead with tip and ring shorted together so that the signal path is not
interrupted.
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. BALANCED dynamic mics may
normally be used with phantom power switched on
(contact your microphone manufacturer for guidance)
WARNING !
Start with the input GAIN knob turned fully anticlockwise when
plugging high level sources into the LINE input to avoid
overloading the input channel or giving you
a very loud surprise!

13
STEREO RETURNS RET-1/2/3/4
These accept RCA phono jacks to allow easy connection to hi-fi equipment or DAT
players. The input is unbalanced, and ideal for pre-show music sources or signals that
do not require any EQ or effects. These can also be used as effect returns using cables
described later in this document.
STEREO INPUTS STE-1/2/3/4
These 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 plugging into the Left jack only.
MIX INSERTS
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:
MIX & SUB OUTPUTS
The MIX and SUB outputs are on 3-pole ‘A’ gauge jack sockets, wired as shown, and
incorporate impedance balancing, allowing long cable runs to balanced amplifiers and
other equipment.

USER GUIDE
14
AUX OUTPUTS
The Aux outputs are on 3-pole ‘A’ gauge jack sockets, wired as shown on the left, and
are balanced, allowing long cable runs to balanced amplifiers and other equipment.
CHANNEL DIRECT OUTPUTS
The Direct outputs are on 3-pole ‘A’ gauge jack sockets, wired as shown on the left,
and are unbalanced.
HEADPHONES
The PHONES output is a 3-pole ‘A’ gauge jack, wired as a stereo output as shown,
suitable for headphones of 2009or greater. 89headphones are not recommended.
POLARITY (PHASE)
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.
GROUNDING AND SHIELDING
For optimum performance use balanced connections where possible and ensure that all
signals are referenced to a solid, noise-free earthing point and that all signal cables
have their screens connected to ground. In some unusual circumstances, to avoid earth
`loops’ 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
following these wiring guidelines:
•On INPUTS, unbalance at the source and use a twin, screened cable as though
it were balanced.
•On OUTPUTS, connect the signal to the +ve output pin, and the ground of the
output device to -ve. If a twin screened cable is used, connect the screen only
at the mixer end.
•Avoid running audio cables or placing audio equipment, close to thyristor
dimmer units or power cables.
•Noise 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.
Grounding and shielding is still seen as a black art, and the suggestions above are only
guidelines. If your system still hums, an earth loop is the most likely cause. Two
examples of how an earth loop can occur are shown below.
WARNING! Under NO circumstances must the mains earth be
disconnected from the mains lead.

15
PROBLEM SOLVING
Basic problem solving is within the scope of any user if a few basic rules are followed.
•Get to know the Block Diagram of your console (see page 36).
•Get to know what all parameters and/or connection in the system are
supposed to do.
•Learn where to look for common trouble spots.
The Block Diagram 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 is quite easy to follow and you will have gained a valuable understand-
ing 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.
•Swap input connections to check that the source is really present. Check both
Mic and Line inputs.
•Eliminate sections of the channel by using the insert point to re-route the
signal to other inputs that are known to be working.
•Route channels to different outputs or to auxiliary sends to identify problems
on the Master section.
•Compare a suspect channel with an adjacent channel which has been set up
identically. Use PFL and AFL to monitor the signal in each section.
•Insert contact problems may be checked by using a dummy jack with tip and
ring shorted together as shown below. If the signal appears when the jack is
inserted it shows that there is a problem with the normalling contacts on the
jack socket, caused by wear or damage, or often just dirt or dust. Keep a few
in your gig tool box.
If in doubt please contact Soundcraft customer support.
PRODUCTS UNDER WARRANTY
USA customers should contact Alex Welti (e-mail: [email protected])
National Service Manager at Soundcraft USA. Telephone: [phone]
UK customers should contact their local Dealer.
Outside the UK and USA, customers are requested to contact their territorial
distributor who is able to offer support in the local time zone and language. Please see
the Distributor listings on our website (http://www.soundcraft.com) to locate your
Local Distributor.
OUT-OF-WARRANTY PRODUCTS
For out-of-warranty consoles purchased in the United Kingdom, please contact the
Customer Services Department (e-mail: [email protected]) at the factory in
Potters Bar, Hertfordshire: Telephone [phone].
For all other out-of-warranty consoles, please contact the appropriate territorial
distributor.
When mailing or faxing please remember to give as much information as possible. This
should include your name, address and a daytime telephone number.
Should you experience any difficulty please contact Customer Services Department
(e-mail: [email protected])

USER GUIDE
16
MONO INPUT CHANNEL
1DIRECT OUTPUT
The first eight channels have a dedicated Direct Output which allows direct connection
to external devices, for example to feed Tape Machines or effects units.
2MIC INPUT
The mic input accepts XLR-type connectors and is designed to suit a wide range of
BALANCED or UNBALANCED signals. Professional dynamic, condenser or ribbon mics
are best because these will be LOW IMPEDANCE. You can use low-cost HIGH
IMPEDANCE mics, but the level of background noise will be higher. If you turn the
PHANTOM POWER on (top right-hand side of the mixer) the socket provides a suitable
powering voltage for professional condenser mics.
TAKE CARE when using unbalanced sources, which may be damaged by the phantom
power voltage on pins 2 & 3 of the XLR connector.
Unplug any mics if you want to use the LINE Input. The input level is set using the
GAIN knob.
3LINE INPUT
Accepts 3-pole `A’ gauge (TRS) jacks. 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 top quality from professional equipment, but you can use
UNBALANCED sources by wiring up the jacks as shown below, although you should
then keep cable lengths as short as possible. Unplug anything in the MIC input if you
want to use this socket. Set the input level using the GAIN knob.
4INSERT POINT (ALTERNATIVE DIRECT SEND)
The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing
limiters, compressors, special EQ or other signal processing units to be added in the
signal path. The Insert is a 3-pole ‘A’ gauge jack socket which is normally bypassed.
When a jack is inserted, the signal path is broken, just before the EQ section.
The Send may be tapped off as an alternative pre-fade, pre-EQ direct output if
required, using a lead with tip and ring shorted together so that the signal path is not
interrupted (see below).
ONLY connect condenser microphones with the +48V
powering OFF, and ONLY turn the +48V powering on or off
with all output faders DOWN, to prevent damage to the
mixer or external devices.

17
5GAIN
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. 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.
Note that some sound equipment, particularly that intended for domestic use, operates
at a lower level (-10dBV) than professional equipment and will therefore need a higher
gain setting to give the same output level.
See `Initial Set Up’ on page 23 to learn how to set GAIN correctly.
6100Hz HI-PASS FILTER
Pressing this switch activates a steep 18dB per octave filter which reduces the level of
bass frequencies only, and is a real bonus for a such a small mixer. Use this in live PA
situations to clean up the mix, reducing stage rumble or `popping’ from microphones.
7EQUALISER
The Equaliser (EQ) allows fine manipulation of the sound, particularly to improve the
sound in live PA applications where the original signal is often far from ideal and where
slight boosting or cutting of particular voice frequencies can really make a difference to
clarity. There are three sections giving the sort of control usually only found on much
larger mixers. The EQ knobs can have a dramatic effect, so use them sparingly and
listen carefully as you change any settings so that you get to know how they affect the
sound.
HF EQ
Turn to the right to boost high (treble) frequencies above 12kHz by up to 15dB, adding
crispness to cymbals, vocals and electronic instruments. Turn to the left to cut by up to
15dB, reducing hiss or excessive sibilance which can occur with certain types of
microphone. Set the knob in the centre-detented position when not required.
MID EQ
There are two knobs which work together to form a SWEPT MID EQ. The lower knob
provides 15dB of boost and cut, just like the HF EQ knob, but the frequency at which
this occurs can be set by the upper knob over a range of 240Hz to 6kHz. This allows
some truly creative improvement of the signal in live situations, because this mid band
covers the range of most vocals. Listen carefully as you use these controls together to
find how particular characteristics of a vocal signal can be enhanced or reduced. Set
the lower knob to the centre-detented position when not required.
LF EQ
Turn to the right to boost low (bass) frequencies below 60Hz by up to 15dB, adding
warmth to vocals or extra punch to synths, guitars and drums. Turn to the left to cut
low frequencies by up to 15dB for reducing hum, stage rumble or to improve a mushy
sound. Set the knob to the centre-detented position when not required.
8AUX SENDS
These are used to set up separate mixes for FOLDBACK, EFFECTS or recording, and the
combination of each the Aux Send is mixed to the respective Aux Output at the rear of
the mixer. For Effects it is useful for the signal to fade up and down with the fader
(this is called POST-FADE), but for Foldback or Monitor feeds it is important for the
send to be independent of the fader (this is called PRE-FADE).
AUX SENDS 1 AND 2
These are always PRE-FADE and therefore most appropriate for foldback or monitor
mixes or external submix.
AUX SENDS 3 AND 4
These are always POST-FADE for effects sends, external submix (or for Centre Voice
cluster or mono Tape mix).
9PAN
This control sets the amount of the channel signal feeding the Left and Right MIX or
SUB buses, allowing you to move the source smoothly across the stereo image. When
the control is turned fully left or right you are able to route the signal at unity gain to
either left or right outputs individually.

USER GUIDE
18
0MUTE
All outputs from the channel except inserts are on when the MUTE switch is released
and muted when the switch is down, allowing levels to be pre-set before the before
the signal is required. The only exception to the muting is any DIRECT OUTPUT
configured as PRE-fade, which will be sent regardless of the status of the mute switch.
qINPUT CHANNEL FADER
The 100mm FADER, with a custom-designed law to give even smoother control of the
overall signal level in the channel strip, allows precise balancing of the various source
signals being mixed to the Master Section. You get most control when the input GAIN
is set up correctly, giving full travel on the fader. See the `Initial Set Up’ section on
page 23 for help in setting a suitable signal level.
wDIRECT PRE/POST
This button switches the Direct Ouput to be set pre or post the channel fader. In the
UP position it is POST and in the DOWN position it is PRE.
ePFL (Pre-Fade Listen)
When the latching PFL switch is pressed, the pre-fade signal is fed to the headphones,
control room output and meters, where it replaces the MIX. The PFL/AFL LED on the
Master section illuminates to warn that a PFL is active. This is a useful way of listening
to any required input signal without interrupting the main mix, for making adjustments
or tracing problems. When PFL is pressed anywhere on the console, the Control Room
outputs automatically switch from monitoring the Mix Outputs.
rSIGNAL PRESENT LED
This LED will light when the channel signal exceeds -20dBu.
tPEAK LED
This LED will light when the signal peaks (+18dBu internal). There is a three point sig-
nal analysis, and if the signal peaks at any of these points then the LED will light:
a) PRE-EQ
b) POST-EQ
c) POST-FADE

19
STEREO INPUT CHANNELS
Each stereo input channel comprises two pairs of inputs per channel strip:
1INPUTS STE-1/2/3/4
These inputs accept 3-pole `A’ gauge (TRS) jacks. Use these inputs for sources such as
keyboards, drum machines, synths, tape machines or processing units. The inputs are
BALANCED for low noise and top quality from professional equipment, but you can use
UNBALANCED sources by wiring up the jacks as shown in the “Wiring it Up” section
earlier in this manual, although you should then keep cable lengths as short as
possible. Mono sources may be used by plugging into the left jack only.
2GAIN
The GAIN control sets the level of the channel signal.
3RETURNS RET-1/2/3/4
These inputs are unbalanced on RCA phono connectors, and are intended for use with
CD players, DAT machines or Hi-Fi equipment. Alternatively they may be used as simple
effects returns or stereo instrument inputs.
4GAIN
The GAIN control sets the input level to the channel, allowing matching to a wide
range of line level sources.
5EQUALISER
HF EQ
Turn to the right to boost high (treble) 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. Set the knob in the centre-detented
position when not required. The control has a shelving response giving 15dB of boost
or cut at 12kHz.
LF EQ
Turn to the right to boost low (bass) frequencies, adding extra punch to synths, guitars
and drums. Turn to the left to reduce hum, boominess or improve a mushy sound. Set
the knob to the centre-detented position when not required. The control has a shelv-
ing response giving 15dB of boost or cut at 60Hz.
6AUX SENDS
These are used to set up a separate mixes for FOLDBACK, EFFECTS or recording, and the
combination of each the Aux Send is mixed to the respective Aux Output at the rear of
the mixer. For Effects it is useful for the signal to fade up and down with the fader
(this is called POST-FADE), but for Foldback or Monitor feeds it is important for the
send to be independent of the fader (this is called PRE-FADE).
AUX SENDS 1 AND 2
These are always PRE-FADE and therefore most appropriate for foldback or monitor
mixes or external submix.
AUX SEND 3 AND 4
These are always POST-FADE for effects sends, external submix (or for centre Voice
cluster or mono Tape mix.
7BALANCE
This control sets the amount of the channel signal feeding the Left and Right MIX or
SUB buses, allowing you to balance the source in the stereo image. When the control
is turned fully right or left you feed only that side of the signal to the mix. Unity gain
is provided by the control in the centre-detented position.
8MUTE
All outputs from the channel are enabled when the MUTE switch is released and muted
when the switch is down.