SoundCraft Spirit FX16 User manual

A Harman International Company
Part No: ZM0221
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Page 1
For your own safety and to
avoid invalidation of the
warranty please
read this section carefully.
SAFETY PRECAUTIONS
The SPIRIT FX16 mixer 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:
lThe 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.
lThe wire which is coloured Blue must be connected to the terminal in the plug
which is marked with the letter N.
lThe 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 marked on the rear panel.
INTRODUCTION
Thank you for purchasing an FX16 mixer, brought to you with pride by the SPIRIT team of Andy, Colin, Chris,
Simon, Mukesh, Graham, Martin, Paul, Tony and Peter, with the support of many others - we hope you will
have as much fun using it as we did building it!
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Page 2
GETTING STARTED - Overview
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Page 3
Connecting Up
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Page 4
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USING THE FX16
Input Channel
Mic 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 press the MIC 48V switch
down (top right of the master section) the XLR socket provides a suitable
powering voltage for professional condenser mics (this is also known as
Phantom Power).
ONLY connect condenser microphones with the 48V
powering OFF (switch UP), and ONLY turn the 48V
powering on or off with all output faders DOWN, to
prevent damage to the mixer or external devices.
TAKE CARE when using unbalanced sources, which
may be damaged by the phantom power voltage on
pins 2 & 3 of the XLR connector.
Unplug any mics if you want to use the LINE Input. The input level is set
using the SENS knob.
LINE INPUT
Accepts 3-pole `A gauge (TRS) jacks. Use this high impedance input for
sources other than mics, such as keyboards, drum machines, synths, tape
machines or guitars. The input is BALANCED for low noise and top quality
from professional equipment, but you can use UNBALANCED sources by
wiring up the jacks as shown, although you should then keep cable lengths
as short as possible. Unplug anything in the MIC input if you want to use
this socket. Set the input level using the SENS knob.
SENS (Sensitivity)
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.
Setting the knob to the 10 mark gives approximately unity gain for the
LINE input. 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 `Setting Up & Troubleshooting on page 8 to learn how to set SENS
correctly.
100Hz HI-PASS FILTER
Pressing this switch activates a steep 18dB per octave filter which reduces
the level of bass frequencies only. Use this in live PA situations to clean up
the mix, reducing stage rumble or popping from microphones.
EQUALISER
The 3 band swept Equaliser (EQ) allows fine manipulation of the frequency
bands, and is particularly useful for improving the sound in live PA
applications where the original signal is often far from ideal and where slight
boosting or cutting of particular voice frequencies can dramatically improve
clarity.
HF EQ
Turn clockwise to boost high (treble) frequencies (12kHz and above) by up
to 15dB, adding crispness to cymbals, vocals and electronic instruments.
Turn anticlockwise to cut by up to 15dB, reducing hiss or excessive sibilance
which can occur with certain types of microphone. Set the knob in the
centre-detented position when not required.
MID EQ
This pair of knobs work together to form a MID frequency EQ section. 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 the mid band covers the range of most
vocals. Listen carefully as you use these controls together to find how
particular characteristics of, for instance, a vocal signal can be enhanced or
reduced. Set the gain (lower) knob to the centre-detented position when
not required. Note: Q is set at 1.5.
LF EQ
Turn clockwise to boost low (bass) frequencies (60Hz and below) by up to
15dB, adding warmth to vocals or extra punch to synths, guitars and drums.
Turn anticlockwise to cut low frequencies by up to 15dB for reducing hum,
stage rumble or to improve a mushy sound. Set the knob to the centre-
detented position when not required.
AUX SENDS
These are used to set up separate mixes for FOLDBACK, EFFECTS or
recording, and the combination of each Aux Send is mixed to the respective
Aux Output at the rear of the mixer. For Effects it is useful for the signal to
fade up and down with the fader (this is called POST-FADE), but for
Foldback or Monitor feeds it is important for the send to be independent of
the fader (this is called PRE-FADE). All Aux Sends are muted with the other
channel outputs when the MUTE switch is pressed.
Aux 1 is always PRE-FADE, POST EQ, and would typically be used as a
foldback or monitor feed. Aux 2 & 3 are normally POST-FADE, POST-EQ
for use as effects sends or additional submixes, but for flexibility Aux 2 may
be switched to PRE-FADE, POST-EQ by pressing the associated PRE
switch.
LEX FX
The LEX FX control is identical to the post-fade Aux 3, but the signal is sent
to the internal bus which feeds the input of the built-in LEXICON digital
effects processor. The output of the LEXICON processor may be added to
the Mix or Aux 1 or 2. The further round the dial the more channel signal
you send to the Lexicon effects unit.
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Page 5
PAN
This control sets the amount of the channel signal feeding the MIX L & R or
SUB L & R busses (see SUB & MIX below), allowing you to move the source
smoothly across the stereo image. When the control is turned fully right or
left you are able to route the signal at unity gain to either left or right
outputs individually. A mono sum of the post-fader channel signal is also
fed to the Mono output, unaffected by the position of the PAN control.
MUTE
All outputs from the channel except inserts and pre-fade Direct outputs are
active when the MUTE switch is released and muted when the switch is
down, allowing levels to be pre-set before the signal is required.
SUB
The channel signal may be routed to the SUB L & R busses by pressing this
switch, with the channel signal fed proportionately to left or right depending
on the position of the PAN control.
MIX
The channel signal may be routed to the MIX L & R busses by pressing this
switch, with the channel signal fed proportionately to left or right depending
on the position of the PAN control.
SOLO/PK
The FX16 provides versatile non-destructive PFL (Pre-Fade-Listen) and
SOLO-IN-PLACE monitoring, as selected by the SOLO MODE switch on
the Master section.
PFL
When the latching SOLO switch is pressed, the pre-fade, post-EQ signal is
fed to the headphones, control room output and meters, where it replaces
the selected monitor source. The adjacent LED illuminates to identify the
selected channel and 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 the PFL switch is released the LED serves as a PEAK indicator which
illuminates approximately 4dB before clipping to give warning of a possible
overload. The signal is sampled both pre-insert and after the HF EQ.
Note: It is normal for the Peak/PFL LED to go off slowly when the switch
is pressed.
SOLO-IN-PLACE
In contrast to PFL, SOLO-IN-PLACE mode allows an individual channel, or
selection of channels to be monitored in isolation from the rest of the mix,
but at the correct mix levels and with all sends and effects active. With
SOLO MODE active, pressing any one or more SOLO switches mutes all
channels which are not SOLOed, leaving only the selected channels in the
mix. When the SOLO switches are released the original mix is restored
(See also Page 7).
FADER
The 100mm FADER allows precise balancing of the various source signals
being mixed to the selected outputs. You get most control when the input
Sensitivity is set up correctly, giving full travel on the fader. See the `Setting
Up & Troubleshooting section on page 8 for help in setting a suitable signal
level.
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DIRECT OUTPUT
Each channel has a dedicated Direct Output which allows direct connection
to external devices, for example to feed Tape Machines or effects units.
The pre-fade direct output level may be monitored by pressing the SOLO
switch on the appropriate channel (with the mixer in PFL mode) to feed the
pre-fade signal to the monitors and the bargraph meters.
DIR. PRE
The Direct Outputs are normally POST-FADE for use as effects sends or to
provide fader control of recording levels in a studio recording application.
For live recording the outputs can be individually changed to PRE-FADE by
pressing this switch, so that the direct output level remains unaffected by
fader settings for the main PA mix.
INSERT POINT
The unbalanced, pre-EQ insert point is a break in the channel signal path,
allowing limiters, compressors, special EQ or other signal processing units
to be added in the signal path. The Insert is a 3-pole A gauge jack socket
which is normally bypassed. When a jack is inserted, the signal path is
broken, just before the EQ section. The Send may be tapped off as an
alternative pre-fade, pre-EQ direct output if required, using a lead with tip
and ring shorted together so that the signal path is not interrupted.
Inserts can also be used to send and return from a multitrack tape machine.
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Master Section
AUX MASTERS
Each of the three AUX outputs has a master level control which sets the
output level of the combined Aux signals from the channels, and an
associated AFL switch. Just as the Channel PFL switches allow pre-fade
listening, so you can monitor each AUX output after the level control by
pressing the AFL switch (when PFL mode is selected by the SOLO MODE
switch), allowing you to determine what level is leaving the output
connector. This routes the AUX output signal to the MONITOR or
PHONES, replacing any existing signal which is selected. The METERS also
switch from the selected source to display the PFL/AFL signal and the
PFL/AFL LED lights to warn that a PFL or AFL switch is pressed. When you
release the switch the Monitor swaps back to the previous source.
LEX FX MASTER
The LEX FX master control sets the overall level of the FX sends from the
channels before the input of the LEXICON Digital Effects Processor. An
associated AFL switch allows the signal to be monitored in the same way as
the Aux masters (see above).
Note: When LEX FX AFL switch is pressed, the meters become the
Lexicon Input level indicators.
SUB MASTER FADERS
The MASTER FADERS set the final level of the SUB L & R outputs. These
should normally be set close to the `0 mark if the input GAIN settings have
been correctly set, to give maximum travel on the faders for smoothest
control.
SUB TO MIX
The SUB mix may be used to provide alternative outputs from the mixer,
or, by pressing SUB TO MIX the SUB L & R master faders may be used as
audio subgroups, setting the level of a combination of input channels which
are added to the main mix under the control of a pair of faders.
MIX MASTER FADERS
The MASTER FADERS set the final level of the MIX L & R outputs. These
should normally be set close to the `0 mark if the input GAIN settings have
been correctly set, to give maximum travel on the faders for smoothest
control.
STEREO RETURNS
Four balanced Stereo Returns are available for the outputs of effects units
or other stereo sources and are mixed directly to the AUX or MIX/SUB
busses at a level set by the respective controls. The left-hand control sets
the level to a choice of AUX 1 or AUX 2 (AUX 3 or LEX FX in the case of
RET 4), depending on the postion of the adjacent switch. The right-hand
control sets the level to MIX or SUB depending on the position of the
adjacent switch (it is effectively a rotary fader).
If a mono source is used, plugging into the Left jack only automatically feeds
the signal to both Left and Right.
LEXICON RETURN
The Lexicon Return is similar to the Stereo Returns, but instead of taking an
external source this section is fed from the output of the internal LEXICON
Digital Effects Processor. Routing is to a choice of AUX 1/2 or MIX/SUB.
Page 6
DIGITAL EFFECTS PROCESSOR
The built-in processor provides a wide range of echo, reverb and acoustic
treatments to add fullness to the sound, complement room acoustics or for
specific effects.
PROGRAM SELECT
This rotary switch allows any one of 16 factory-programmed effect
combinations to be selected, as listed on the panel legend below the
controls. These factory presets have been carefully selected and should be
suitable for most applications.
PARAMETER ADJUST
Two effects Parameters may be adjusted and saved in the onboard RAM for
each of the pre-programmed effects, using the encoder knob (9) and the
two PARAMeter switches (10). The best setting for a particular application
will be found by experimentation and careful listening to the final sound.
Adjustments are made by turning the encoder knob while pressing and
holding the required PARAM switch, listening to the result. As soon as the
PARAM switch is released the setting will be held in internal flash RAM
memory. Any alterations to the pre-programmed settings are retained,
even if the mixer is turned off, and will be recalled the next time that the
particular program is selected. If these settings differ from the original
default settings the USER MODE LED illuminates.
Each factory default setting may be restored by
pressing and holding both PARAM switches until the
USER MODE LED goes out.
LEXICON MUTE
FOOT SWITCH
The Effects may be turned ON
or OFF remotely by
connecting a standard latching
or non-latching guitar foot-
switch, or similar unit
providing an isolated switch
closure, to the rear panel
Lexicon Foot Switch jack
socket as shown. The Effect is
muted when the switch is
closed.
Switch open
= Effect ON
Switch closed
= Effect OFF
DO NOT apply any
external voltage to
the jack socket
L SUB R L MIX R
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Page 7
SOLO-IN-PLACE
In contrast to PFL, SOLO-IN-PLACE mode allows an individual channel, or
selection of channels to be monitored in isolation from the rest of the mix,
but at the correct mix levels and with all sends, pans and effects active.
With SOLO MODE active (switch down), pressing any one or more SOLO
switches on the input channel mutes all channels which are not SOLOed,
leaving only the selected channels in the mix. When the SOLO switches are
released the original mix is restored.
Note that when SOLO MODE is active, pressing any
SOLO switch interrupts the main MIX, and should
therefore not be used during live performance.
PFL/AFL
The PFL/AFL LED illuminates to show that a PFL/AFL is active and is the
source for the monitors and meters. The LED will normally be OFF
BARGRAPH METERS
3-colour peak reading BARGRAPH METERS are provided to monitor the
2TK, MIX or SUB signals, giving you a constant warning of excessive peaks
in the signal which might cause overloading. Aim to keep the signal within
the amber segments at peak levels for best performance.
Similarly, if the output level is too low and hardly registering at all on the
meters, the level of background noise may become significant. Take care to
set up the input levels for best performance.
When any SOLO or AFL switch is pressed, the L & R meters automatically
switch to show the selected PFL/AFL signal on both meters, in mono.
MONITOR
This control sets the output level to the MONITOR LEFT & RIGHT outputs
without affecting the level to the meters.
PHONES
This control sets the level of the monitor signal to the MONITOR PHONES
output.
MONITOR PHONES
The MONITOR PHONES output appears on a 3-pole 1/4 jack, suitable
for headphones with an impedance of 200WWor higher.
L SUB R L MIX R
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POWER INDICATOR
This LED illuminates to show that power is being supplied to the console.
MIC 48V (Phantom Power)
Many professional condenser mics need an external powering voltage,
normally 48V, also known as PHANTOM POWER. This is a method of
sending a powering voltage down the same wires as the mic signal. Press
the switch to supply the 48V power to all of the MIC inputs. The adjacent
LED illuminates when the power is active.
DO NOT USE unbalanced mics with 48V switched on
as they may be damaged by the phantom power
voltage. Balanced dynamic mics and leads can
normally be used with 48V switched on (contact your
microphone manufacturer for guidance)
Mics should always be plugged in, and all output faders
set to minimum before switching 48V ON to avoid
damage to external equipment
2TK LEVEL
The rotary control sets the level of the 2 Track Tape input, which is routed
to the headphones, monitor outputs and meters, or directly to the Mix
outputs by pressing the adjacent switch (14). These unbalanced inputs, on
RCA phono connectors, are ideal to connect the playback of a tape machine
for monitoring.
2TK TO MIX
Pressing this switch adds the 2Track Tape input to the Mix and is an ideal
way of feeding pre-show music to the main outputs in live applications
without using up valuable input channels.
MONITOR SOURCE SELECT
These switches allow a choice source for the Phones, Monitor outputs and
meters. Normally the monitor source is either MIX or SUB (or both,
depending on which of the two right-hand switches is selected), but
pressing the 2TK switch swaps the monitoring to the 2 Track input. When
the switch is released the normal MIX/SUB selection is restored.
SOLO MODE
This switch selects either non-destructive AFL/PFL (switch UP), or SOLO-
IN-PLACE monitoring (switch DOWN). The two modes are described
below:
PFL
When any input channel SOLO switch or master section AFL switch is
pressed, the selected signal is fed to the headphones, control room output
and meters, where it replaces the selected monitor source. The PFL/AFL
LED 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.
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Troubleshooting
Note: It is normal for the right-hand side of the mixer to become warm in
normal use..
No Power
lIs the mains supply present? Check that mains voltage
selection is correct for your country.
lIs the power lead firmly connected?
lCheck the mains fusing
lIf you have checked all the points above and the power
indicator is still not illuminated, consult your Spirit dealer
Condenser Mic Not Working
lIs the 48V turned on?
lIs the mic plugged into the Mic input?
lIs the mic cable a balanced 3-wire type?
Meters not showing any signal
lHas the input gain been set correctly? (see above.)
lIs the source connected to the appropriate input socket for
the level of signal?
lDo you have something connected on the Inserts, and is
that external device switched on?
lAre the Master faders set at max., are input faders set high
enough and is the channel routed to the output being
monitored?
lIs the MUTE switch released on the relevant channels?
lIs the appropriate monitor select switch pressed?
lIs there a SOLO or AFL pressed on another channel?
No Mix output
lCheck that the Mix Master Fader is up.
lDo you have something connected on the Mix Inserts, and
is that external device switched on?
No Monitor output
lIs the Monitor control set high enough?
lIs the appropriate monitor select switch pressed?
Headphones Distorting
lAre the headphones less than 200Wimpedance?
lIs the Phones level set too high?
Lexicon Effects Level too high
lEnsure that the Input to the Lexicon processor is setup
correctly. If the input is too high the signal will distort. If
the level is too low the level of noise may be excessive.
Use the Lex FX AFL button to monitor the input level to
the Lexicon processor in the same way as you set up input
channel gain levels (see Initial Set Up), adjusting the LEX
FX level until the meters are just reaching the amber
sections.
lOnce the Lexicon input level has been set correctly the
LEXICON RET controls can be used to set the required
effects level.
Setting Up & Troubleshooting
Initial Set Up
Once you have connected up your system (see the sections on
connection and wiring earlier in this manual for guidance) you are ready
to set initial positions for the controls on your mixer.
The front panel drawing on page 20 shows typical initial control
positions which may serve as a useful guide to setting up the
mixer for the first time.
Set up individual input channels as follows:
lConnect your sources (microphone, keyboard etc.) to the required
inputs and release the MUTE switches. Note: Phantom powered
mics should be connected before the 48V is switched on.
lSet Master faders at 0, input faders at 0, route the channels to MIX
and set power amplifier level to suit the application. Select MIX as
the monitor source on the Master section.
lProvide a typical performance level signal and press the SOLO
button on the first channel, monitoring the level on the bargraph
meters (make sure that PFL Mode is selected on the Master
section).
lAdjust the input gain until the meter display is in the amber section,
with occasional peaks to the first red LED at a typical maximum
source level. This allows sufficient headroom to accommodate
peaks and establishes the maximum level for normal operation (but
see note below).
lRelease the SOLO button.
lRepeat this procedure on other channels as required.
lListen carefully for the characteristic sound of feedback. If you
cannot achieve satisfactory input level setting without feedback,
check microphone and speaker placement and repeat the exercise.
If feedback persists, it may be necessary to use a Graphic Equaliser
to reduce the system response at particular resonant frequencies.
Note: The initial settings should only be regarded as a starting point for your
mix. It is important to remember that many factors affect the sound during
a live performance, for instance the channel EQ settings or even the size of
the audience!
You are now ready to start building the mix and this should be done
progressively, listening carefully for each component in the mix and
watching the meters for any hint of overload. If this occurs, back off the
appropriate Channel Fader slightly until the level is out of the red
segments, or adjust the Mix Master Faders. This procedure will ensure
that the mixer is set up correctly, with adequate headroom. If more
amplification is needed, adjust the power amplifier level controls.
Page 8
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Page 9
Live Applications
APPLICATIONS
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Page 10
Recording
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Page 11
Installation
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Page 12
Places of Worship
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Page 13
*Note:Two Inputs
used as Stereo pair
On Location Broadcasting
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Page 14
Post Production Video Editing
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Page 15
UNLOCK
UNLOCK
LOCK LOCK
RESET
RESET
*Aux 1 & 2 are in
Pre - Fade Mode
Multimedia/Hard Disk Recording
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Page 16
Conferencing PA
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Page 17
3
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3
12
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12
+48V MIC 48V
+48V
MIC
INPUT
LINE
INPUT
DIRECT
OUTPUT
POWER
MIX
SUB
2 TRK
SENS
AUX1
AUX2
AUX3
PAN
FADER
SOLO / ENABLE
MUTE
PRE
POST
DIR
PRE
SUB
MIX
EQ
▲ ▲
INSERT
HIGH PASS
FILTER
100Hz
AUX BUSSES MIX LEFT BUS MIX RIGHT BUS SUB LEFT BUS SUB RIGHT BUS PFL/AFL BUS
MIX RIGHT
MIX LEFT
INSERT
INSERT
INSERT
INSERT
MIX
RIGHT
MIX
LEFT
FADER
FADER
MONO INPUTS 1 - 16
MASTER
PFL/AFL
PFL/AFL SIP ACTIVE PHONES
C/RM L
C/RM R
L METER/
PFL/AFL
MONITOR
PHONES
R METER/
PFL/AFL
PFL
ENABLE
AUX1 (AUX2,3) AUX1 (AUX2,3)
LEX FX
AFL AFL
PARAM
1
PARAM
1
PROGRAM PARAMETER
ADJUST USER
MONO
OUT
2 TRACK
R
L
MIX
SUB
MIX
SUB
STEREO RETURNS 1 - 3
STEREO RETURN 4
SUB
TO MIX
MIX L
MIX R
SUB LEFT
OUT
FADER
SUB LEFT
SUB RIGHT
OUT
FADER
SUB RIGHT
PEAK PFL/PK
PRE
POST
LEX FX
AUX2
POST
\PRE
LEX FX BUSS
SIP MUTE
L
L
R
R
AUX1
AUX2
AUX3
FX
AUX1
AUX3
AUX2
FX
EXTERNAL
LEXICON
FOOT SWITCH
LEXICON
DIGITAL EFFECTS PROCESSOR
MIX
SUB
LEXICON RETURN AUX1
AUX2 AUX1
AUX2
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
AUX
AUX
AUX
2 TRK
TO MIX
PFL
SOLO
MUTE
ON = NO EFFECT
OFF = EFFECT
System Block Diagram
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Balanced
Unbalanced
Insert Leads
’Y’ Leads (Unbalanced)
’Y’ Leads (Balanced)
Headphone Splitter
Page 18
Connecting Leads
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Control Position Sheet You may freely copy this page to mark control positions to assist in resetting the desk between performances.
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