SoundCraft SPIRIT LIVE 42 User manual

A Harman International Company
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Page 1
INTRODUCTION
Congratulations on your purchase of a SPIRIT LIVE 42mixer. Owning a Soundcraft console brings you the expertise and support of one of the industrys leading manu-
facturers and the results of over 22 years experience supporting some of the biggest
names in the business.
Designed by engineers who understand the individual needs of musicians, SPIRIT
LIVE 42has been built to the highest standards using quality components and employing
automated assembly techniques beyond the reach of most manufacturers of compact
mixers.
A rugged steel chassis is combined with moulded side trims to give protection and
distinctive appearance. Custom moulded controls, designed for the best `feel and visual
clarity complement the styling, resulting in a truly professional product which is ideal for
both touring and fixed PA installations.
SPIRIT LIVE 42is available in 12, 16, 24 & 32 channel frame sizes, and the 12 and 16
channel sizes may be extended by adding an 8 channel Extender. All frame sizes incor-
porate removeable side cheeks to enable the console to be fitted compactly in a flight
case.
SPIRIT LIVE 42incorporates circuit technology identical to that used on some of the
most sophisticated Soundcraft consoles. The input channels are able to accept a wide
range of Microphone and Line level signals from separate input sockets. Every channel
features the new UltraMic+ input with wide range gain control, Phase switch, 4-band
Equalisation with swept Hi and Lo Mid ranges, plus a Hi-Pass Filter, 6 Auxiliary Sends (2
pre-fade, 2 pre or post and 2 post-fade), PFL(Pre Fade Listen), Peak LED, Panning to a
Stereo Bus and routing in pairs to four Output Groups. Each channel has a separate
Direct Output and is controlled by a high-quality long throw fader. All input channels
may be assigned to a choice of four Mute Groups..
All frame sizes are provided as standard with dedicated stereo inputs. 1 stereo input
is included on the 12 channel frame and 2 stereo inputs on all other frame sizes. Each
stereo input comprises two separate input sections, one provided with comparable facili-
ties to the mono inputs, and one more basic input for a cassette or CD player which
routes to the stereo mix and two of the Aux outputs only.
The four Output Groups provide submixing to the Mix L/R, either as stereo pairs or
as mono sends to L & R. The Group outputs are available on separate connectors to feed
external equipment directly. Each Group section incorporates matrix sends, PFL moni-
toring & bargraph metering. Four external Stereo Return inputs are provided for effects
or submixing from external sources and these route to Mix or to a pair of Groups.
Two Matrix outputs receive sends from each Group or Mix L & R as required.
The Master section provides master level control for the Left, Right, Matrix and
Auxiliary Send buses, with separate AFL monitoring on each Matrix and Auxiliary output.
The Mix L/R and Group outputs all have insert points for the connection of external
signal processing or graphic equalisation.
Comprehensive Talkback facilities are provided, which allow a talkback microphone
to be routed to Mix L/R, Groups and Auxes 1-2 or 3-4. Six 12-segment, 3-colour peak
reading LED bargraph meters provide clear display of Mix L/R, Group and PFL signals.
Pressing any PFL or AFL switch puts the selected signal onto both sides of the head-
phones output and the L & R bargraph meters in place of the Mix signal. Two LEDs mon-
itor the status of the console power supply.
SPIRIT LIVE 42is designed to be as user-friendly as possible, but a few minutes spent
reading through this manual will help you become familiar with the product away from
the pressure of a live session, and allow you to gain full benefit from the superb perfor-
mance offered by your new mixer.
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Page 2
BASIC PRINCIPLES OF PA MIXING
There was a time when the P.A. system and the operator existed only to increase the overall volume of the performers, so that they could be heard in a large room or
above high ambient noise levels. This just isnt true any more. The sound system and the
sound engineer have become an integral part of the performance, and the artists are
heavily dependent on the operators skill and the quality of the equipment.
The following introduction to the basics of mixing are included for the benefit of
those users who may not have any significant familiarity with sound equipment, and who
are baffled by the endless jargon used by engineers and artists alike.
The Mixer
As one would expect, the main purpose of the mixer is to combine sounds, but under
precise control. This is why long-throw faders are essential on any professional mixer, to
give a responsive and smooth feel to the operator. The faders provide you with clear
and instinctive control of the final sound balance and like an artist playing an instrument
you should listen to the effect of your fader movements, not look at your hands.
Your SPIRIT LIVE 42mixer accepts a wide range of input signals via the UltraMic+
microphone input, for very low level signals, or a line input, for higher level signals from,
for instance, tape machines, effects processors, etc.
The mixer is split into two sections. The Inputs receive, match and process individ-
ual source signals, and distribute them at precise mix levels to either a stereo Mix output
or to one of the Groups. The Master section allows overall level control of all outputs,
and provides monitoring of the audio signal at many points in the mixer, either on head-
phones or meters.
The Equaliser controls are the most flexible and potentially destructive feature of
the mixer. They have a similar effect on the frequency response of the input channel as
the tone controls on a hi-fi system, but with much greater precision, and allow particular
characteristics of the input signal to be emphasised or reduced. It is very important that
you become familiar with the effect each control has on the sound and this is best
achieved by spending time listening to the effect of each control on a well-known track
played through the mixer.
The Auxiliary Sends provide a way of routing the input signals to a number of sec-
ondary outputs, for artists foldback, echo units or additional speaker outputs.
The Pan control adjusts the position of the input signal within the stereo mix, and
can be swept from full left, through to full right. This allows particular artists to retain
their correct spatial position within the mix, and can be valuable for live effects.
Pre-Fade-Listen(PFL) allows you to monitor the signal at many points in the mixer.
Pressing any PFL switch places the signal at that particular point onto the headphones
and the right meter, to check the quality of the signal or to pin-point problems. Using
PFL will not affect the signals on the outputs from the desk.
Each mono input channel and the Mix and Group outputs have an Insert `A gauge
jack socket, which is a break point in the signal path. It allows the signal to be taken out
of the mixer, through an external piece of equipment and then back into the mixer
directly after its original exit point. The Insert point is normally bypassed by the `A
gauge jack socket contacts, and is only brought into operation when a plug is inserted.
Typical uses would include Effects Processors, Limiters, additional Equalisers or Delay
units. In addition, each channel has a Direct output which may also be used to feed
external equipment such as multitrack tape machines or effects devices.
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Page 3
The terms PRE and POST are often used in the context of Inserts, Equalisers and
Auxiliary Sends, and describe whether that facility is placed before (Pre) or after (Post)
another particular section. This is explained further in the Glossary.
A mixer is often judged, amongst other factors, by the amount of Headroom avail-
able. This is a measure of the reserve available to cope with sudden peaks in the input
signal, without distortion caused by Clipping, when the signal becomes so high that it
would exceed the power supply rail voltages and is as a result limited. This commonly
occurs where gain settings are incorrectly set or where sources are improperly matched
to the mixer input. If the source signal is too high, clipping and distortion results. If the
signal is too low it becomes masked by the background noise which is present to some
degree in all mixers. The diagram below illustrates this point.
If the signal level is too low it may be masked
by the noise.
Signal Noise
If the signal level is too high, clipping distortion
may occur.
Clipped
Signal
Noise
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Page 4
Installation and Safety Precautions
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, connec-
tions and configuration of your mixer.
oChoose the mains supply for the sound system with care, and do not share sockets or earth-
ing with lighting dimmers.
oPosition the mixer where the sound can be heard clearly, preferably within the audience.
oRun audio cables separately from dimmer wiring, using balanced lines wherever possible. If
necessary, cross audio and lighting cables at right angles to minimise the possibility of inter-
ference. Keep unbalanced cabling as short as possible.
oCheck your cables regularly and label each end for easy identification.
SAFETY PRECAUTIONS
For your own safety and to avoid invalidation of the warranty
please read this section carefully.
The LIVE 42mixer must only be connected through the Power
Supply supplied.
The wires in the mains lead are coloured in accordance with the following code:
Earth: Green and Yellow (Green/Yellow - US)
Neutral: Blue (White - US)
Live: Brown (Black - US)
As the colours of the wires in the mains lead may not correspond with the coloured markings
identifying the terminals in your plug, proceed as follows:
The wire which is coloured Green and Yellow must be connected to the terminal in the plug
which is marked with the letter E or by the earth symbol.
The wire which is coloured Blue must be connected to the terminal in the plug which is
marked with the letter N.
The wire which is coloured Brown must be connected to the terminal in the plug which is
marked with the letter L.
Ensure that these colour codings are followed carefully in the event of the plug being changed.
To avoid the risk of fire, replace the mains fuse only with the
correct value fuse, as indicated on the power supply.
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Page 5
CONNECTING IT UP
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WIRING IT UP
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 PHAN-
TOM POWER on, the socket provides a suitable powering voltage for professional
condenser mics.
DO NOT use unbalanced sources with the phantom power switched on. The
voltage on pins 2 & 3 of the XLR connector may cause serious damage.
The input level is set using the INPUT SENS knob.
The LINE input offers the same gain range as the MIC input, but at a higher input
impedance. This is suitable for most line level sources, and provides the gain needed
for lower level keyboards and high impedance microphones.
WARNING - Start with the INPUT SENS knob at the 0 position when
plugging high level sources into the LINE input to avoid overloading the
input channel or giving you a very loud surprise!
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. Refer to the section How to
Prevent Interference later in this manual. Note that the ring must be grounded if the
source is unbalanced. Set the input level using the INPUT SENS knob, starting with
the knob turned fully anticlockwise. Plugging into the LINE input automatically cuts off
the MIC input.
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.
Page 6
Signal Send
Signal Return
Gnd/Screen
Tip
Ring Sleeve
Inserts
Hot (+ve)
Cold (-ve)
Gnd/Screen
Signal
Gnd/Screen
Gnd/Screen
Tip
Ring Sleeve
Unbalanced
3 pole Jack
Unbalanced Mic
XLR
Balanced Mic
XLR
Balanced
3 pole Jack
2. Hot(+ve)
3. Cold(-ve) 1. Screen
1. Screen
2. Hot(+ve)
Link 3
to 1
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Page 7
STEREO INPUTs, CASS/CD INPUTS
Accept 3-pole `A gauge jacks, or 2-pole mono jacks which will automatically ground
the cold input. Use these inputs for sources such as keyboards, drum machines, synths,
tape machines or as returns from processing units. The input is BALANCED for low
noise and immunity from interference, but you can use UNBALANCED sources by
wiring up the jacks as shown, although you should then keep cable lengths as short as
possible to minimise interference pick-up on the cable. Note that the ring must be
grounded if the source is unbalanced. Mono sources can be fed to both paths by plug-
ging into the Left jack only.
STEREO RETURNS
Similar to the Stereo Inputs. Input gain is sufficient to allow the connection of +4dBu
professional or -10dBV semi-professional equipment.
Mix INSERTS, GROUP 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:
Left Signal
Right Signal
Ground
Headphones
Signal +
Signal -
Screen
Signal Send
Signal Return
Gnd/Screen
Tip
Ring Sleeve
Mix & Group Inserts
Mix Outputs
Group Outputs
Matrix Outputs
Aux Outputs
Rec Outputs
Direct Outputs
1. Screen
3. Signal -
2. Signal +
MIX, GROUP & MATRIX
The Mix, Group and Matrix outputs are on 3-pole XLR sockets, wired as shown on
the left and below, and incorporate impedance balancing, allowing long cable runs to bal-
anced amplifiers and other equipment.
Send to External Device
Signal Send
Screen Signal Return
Insert Point
Return from External Device
(a) Balanced Connection To External Device
Signal
Signal
Screen
Screen
Signal Ground
Signal Ground
Experience has shown that sometimes it is better
not to connect screen at external device end.
From LIVE 42
Impedance Balanced
Output
From LIVE 42
Impedance Balanced
Output To External Device
(b) Unbalanced Connection
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Page 8
AUX OUTPUTS, Direct OUTPUTS
The Aux and Channel Direct outputs are on 3-pole A gauge jack sockets, wired as
shown on the left, and incorporate impedance balancing, allowing long cable runs to bal-
anced amplifiers and other equipment.
HEADPHONES
The PHONES output is a 3-pole A gauge jack, wired as a stereo output as shown,
suitable for headphones of 200Wor greater. 8Wheadphones are not recommended.
Polarity
You will probably be familiar with the concept of polarity in electrical signals and this
is of particular importance to balanced audio signals. Just as a balanced signal is highly
effective at cancelling out unwanted interference, so two microphones picking up the
same signal can cancel out, or cause serious degradation of the signal if one of the cables
has the +ve and -ve wires reversed. This phase reversal can be a real problem when
microphones are close together and you should therefore take care always to connect
pins correctly when wiring audio cables. The mono inputs are provided with a Phase (f)
switch to reverse the polarity of a selected input if a phasing problem is suspected.
Grounding and Shielding
For optimum performance it is vital that all signals are referenced to a solid, noise-
free earthing point and that all signal cables have their screens connected to ground. To
avoid earth `loops, use balanced connections where possible and ensure that all cable
screens and other signal earths are connected to ground only at their source and not at
both ends.
If the use of unbalanced connections is unavoidable, you can mimimise noise by fol-
lowing these wiring guidelines:
lOn INPUTS, unbalance at the source and use a twin, screened cable as though it
were balanced.
lOn OUTPUTS, connect the signal to the +ve output pin, and the ground of the out-
put device to -ve. If a twin screened cable is used, connect the screen only at the
mixer end.
lAvoid running audio cables or placing audio equipment, close to thyristor dimmer
units or power cables.
lNoise immunity is improved significantly by the use of low impedance sources, such
as good quality professional microphones or the outputs from most modern audio
equipment. Avoid cheaper high impedance microphones, which may suffer from
interference over long cable runs, even with well-made cables.
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Page 9
Fault Finding Guide
Repairing a sound mixing console requires specialist skills, but basic Fault Finding is
within the scope of any user if a few basic rules are followed.
lGet to know the Block Diagram of your console (see page 32). It is just like following
a road map.
lGet to know what each component in the system is supposed to do.
lLearn where to look for common trouble spots.
The Block Diagram (see page 32) is a representative sketch of all the components of
the console, showing how they connect together and how the signal flows through the
system. Once you have become familiar with the various component blocks you will find
the Block Diagram quite easy to follow and you will have gained a valuable understanding
of the internal structure of the console.
Each Component has a specific function and only by getting to know what each part
is supposed to do will you be able to tell if there is a genuine fault! Many `faults are the
result of incorrect connection or control settings which may have been overlooked.
Basic Troubleshooting is a process of applying logical thought to the signal path
through the console and tracking down the problem by elimination.
lSwap input connections to check that the source is really present. Check both Mic
and Line inputs.
lEliminate sections of the channel by using the insert point to re-route the signal to
other inputs that are known to be working.
lRoute channels to different outputs or to auxiliary sends to identify problems on the
Master section.
lCompare a suspect channel with an adjacent channel which has been set up identical-
ly. Use PFL and AFL to monitor the signal in each section.
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Page 10
GETTING TO KNOW YOUR CONSOLE
MONO INPUT CHANNEL
Two inputs are available to the mono input channel, via XLR connector (normally for microphone sources) or 3-pole 1/4 A gauge jack socket for higher level signals
such as keyboards, drum machines, synths or tape machines. Both input sockets are
permanently active, and may be used simply by plugging the source into the required
input. You do not need to unplug anything in the MIC socket if you want to use the
LINE input. The new UltraMic+ input provides very wide gain control without the
need for a pad, high CMRR and +28dBu input capability.
An impedance balanced DIRECT output is provided, fed from the output of the fader
buffer, which is therefore unaffected by the position of the ROUTING switches or PAN
control. This provides an ideal source for external processing units, the output of which
may be brought back to the console through the STEREO INPUTS or STEREO
RETURNS, or to directly send to the tracks of a tape machine for multitrack recording.
This provides as many Tape Sends as there are mixer channels, without using the group
or mix outputs.
An unbalanced INSERT is provided which is a break point in the input channel signal
path. It allows the signal to be taken out of the mixer, through an external piece of
equipment and then back into the mixer to continue through to the final output. The
Insert is a 3-pole 1/4 `A gauge Jack Socket, which is normally by-passed. When a jack
plug is inserted, the signal path is broken at a point just after the Hi-Pass Filter, but
before the EQ section. The signal from the channel appears on the TIP of the plug and is
returned on the RING. The insert point allows limiters, compressors and other signal
processing units to be added as required to particular input channels and because it is
located PRE EQ, noise generated by the external equipment may be reduced by a small
amount of H.F. cut in the Equaliser.
1 +48V
The +48V switch applies phantom powering to the MIC input socket for condenser
microphones. Transformer-coupled dynamic microphones may be used without causing
damage, even when the +48V power is connected, but care must be taken when using
unbalanced sources, because of the voltage present on pins 2 and 3 of the XLR connec-
tor.
NOTE: Phantom powered mics should not be plugged in with the +48V
switched on. Also you should be aware that some microphones draw an unusu-
ally large current which may overload the power supply, resulting in distortion.
Consult your microphone supplier for guidance if necessary.
2 PHASE SWITCH
The Phase switch reverses the polarity of the input signal to compensate for phase
differences due to microphone placement or incorrect wiring of input cables. This
switch should be released for normal operation.
3 INPUT 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 (shown by illumination of the
PEAK LED), and causes clipping. Too low, and the level of any background hiss will be
more noticeable and you may not be able to get enough signal level to the output of the
mixer. Set the knob fully anticlockwise as a preliminary position for LINE level sources.
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4
5
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6
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Page 11
4 HI-PASS FILTER
Pressing this switch inserts a 18dB per octave 100Hz Hi-Pass Filter in the signal path,
immediately after the input amplifier. This is particularly useful in live PA situations to
reduce stage rumble or popping, and its use is strongly recommended, even on male
vocals. It can also be used for filtering out low frequency hum.
5 EQUALISER
The Equaliser(EQ) comprises four sections. The upper control provides H.F.(treble)
boost and cut of +/-15dB and the lower control provides L.F. (bass) boost and cut of
+/-15dB.
The centre two pairs of knobs are arranged as HI and LO MID frequency sections,
with a cut/boost control (lower knob) of +/- 15dB, and a SWEEP(frequency) control
which determines at which frequency the boost/cut action will be centered. These MID
sections, with a combined frequency range from 80Hz to 13kHz are particularly versatile
for vocals, enabling particular characteristics of the singer to be lifted or suppressed very
precisely.
Set the cut/boost control of each section to the centre-detented position when not
required.
6 EQ SWITCH
The EQ switch bypasses the Equalisation section when released. Alternately pressing
and releasing the switch provides an easy way of comparing the equalised and
unequalised signals.
7 AUXILIARY SENDS
These controls route the input channel signal to any one or more Auxiliary buses.
These are separate from the main outputs and can therefore provide additional outputs
for foldback, echo units or extra loudspeaker `fills.
AUX 1, 2 & 3 are derived before the channel fader (PRE-FADE), and are therefore
unaffected by the fader position. This makes them particularly suitable for foldback or
monitor feeds, which need to be controlled separately from the main P.A. mix. Aux 3
may be selected internally to be post-fade if required.
AUX 5 and 6 are derived after channel fader (POST-FADE), and therefore follow any
changes in fader level. They are normally used to drive effects processing units which
are fed back into the mixer and which must fade out with the input channel.
AUX 4 is normally POST-FADE, but may be altered globally to be PRE-FADE by
pressing the AUX 4 PRE switch on the Master section.
All pre-fade sends are normally POST-EQ, but may be selected to PRE-EQ by changing
internal jumpers. Note that the sends are not affected by the position of the EQ switch
All of the Aux Sends are muted when the MUTE switch is pressed.
8 PAN
The PAN control determines the position of the signal within the stereo mix image or
may be used to route the channel signal to particular output GROUPS as selected by the
ROUTING SWITCHES (see below). Rotation fully anticlockwise feeds the signal solely
to the Left mix buss or Groups 1 and 3, while rotation clockwise sweeps the image to
the Right buss or Groups 2 and 4.
9 ROUTING SWITCHES
The input channel signal may be routed to the main Stereo MIX (L-R) or pairs of
GROUP busses (1-2, 3-4), by pressing the respective switches. These may be used in
conjunction with the PAN control (8 above) to route the channel signal proportionately
to any of the selected busses.
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Page 12
10 FADER
This 100mm long-throw fader determines the proportion of the channel in the mix
and provides a clear visual indication of channel level. Normal operating position is at the
`0 mark, providing 10dB of gain above that point if required.
11 MUTING
All post-fade outputs from the channel may be muted by pressing the MUTE switch,
and the associated LED illuminates to show that the channel is OFF.
Alternatively the channel may be selected to any one or more MUTE BUSES to pro-
vide grouped muting under the control of the MUTE masters on the far right-hand side
of the console. In either case the mute status is shown by the LED.
12 PFL/PEAK
When the PFL switch is pressed, the Pre-Fade signal is fed to the headphones and L
& R meters, where it replaces the normal Mix L/R signal. The PFL/AFL ON LED on the
master section illuminates to warn that the headphones and the meters are now
responding to the PFL/AFL selection and the PFL LED on the input channel lights to
identify the active channel. This is a useful way of listening to any required input signal
without interrupting the main mix, for making adjustments or tracing problems.
When the PFL switch is released the LED on the channel serves as a PEAK indicator,
to warn when an excessively high signal level is present in the channel. The signal is
sampled at three points in the channel, immediately after the Hi-Pass Filter (Pre Insert),
post Mid EQ and pre HF EQ, and POST EQ. The Peak LED will illuminate approximate-
ly 4dB before clipping and therefore give warning of a possible overload even if the peaks
are removed by external equipment plugged into the Insert.
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Page 13
STEREO INPUTS
Each Stereo Input section comprises two independent pairs of inputs. The Stereo Input (upper pair of jacks) feeds a full-facility input channel, very similar to the mono
input. The lower pair of jacks are intended for a cassette or CD source, typically to pro-
vide background music before a performance and are fed to the stereo mix only and Aux
1 & 2.
CASS/CD INPUT SECTION
13 GAIN
The GAIN switch provides two input sensitivities. The LO setting (switch released)
should be selected for -10dBV semi-professional equipment such as CD players or cas-
sette, and the HI setting (switch pressed) should be selected for -20dBV Hi-Fi equip-
ment. Start with the LO setting if the source level is unknown.
14 AUXILIARY SENDS
These controls route a mono sum of the input channel signal to Auxiliary busses 1 &
2. These are separate from the main outputs and can therefore provide additional out-
puts for foldback, echo units or extra loudspeaker `fills.
The sends are derived before the LEVEL TO MIX control (Pre-fade) and are there-
fore not affected by the position of that control. This makes them particularly suitable
for foldback or monitor feeds, which need to be controlled separately from the main
P.A. mix. These sends are not affected by the mute switching.
15 PFL
When the PFL switch is pressed, a mono sum of the pre-fade signal is fed to the head-
phones and L & R meters, where it replaces the normal Mix L/R signal. The PFL/AFL ON
LED on the master section illuminates to warn that the headphones and the meters are
now responding to the PFL/AFL selection and the PFL LED on the input section lights to
identify the active channel. This is a useful way of listening to any required input signal
without interrupting the main mix, for making adjustments or tracing problems.
16 LEVEL TO MIX
This control sets the level of the stereo signal to the stereo MIX. The knob should
be left fully anticlockwise when not required.
STEREO INPUT SECTION
17 GAIN
This knob allows you to match the input level to suit a wide variety of professional, semi-
professional and hi-fi sources. Start with a low setting, especially for professional equipment,
and increase it if you cannot reach an adequate signal level with the fader at maximum.
18 EQUALISER
The Equaliser section has HF and LF shelving controls, each with a range switch to
provide two centre frequencies for each control.
Turn the HF knob to the right to boost high (treble) frequencies by up to 15dB at a
choice of 6kHz or 12kHz centre frequencies, adding crispness to percussion from drum
machines, synths and electronic instruments. Turn to the left to cut these frequencies,
reducing hiss or excessive brilliance.
Turn the LF knob to the right to boost low (bass) frequencies by up to 15dB at a
choice of 60Hz or 120Hz centre frequencies, adding extra punch to synths, guitars and
drums. Turn to the left to reduce hum, boominess or improve a mushy sound.
Set both knobs in the centre-detented position when not required.
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19 EQ SWITCH
The EQ switch bypasses the Equalisation section when released. Alternately pressing
and releasing the switch provides an easy way of comparing the equalised and
unequalised signals.
20 AUXILIARY SENDS
These controls route a mono sum of the input channel signal to any one or more
Auxiliary buses. These are separate from the main outputs and can therefore provide
additional outputs for foldback, echo units or extra loudspeaker `fills.
AUX 1, 2 & 3 are derived after the EQ section and before the channel fader (PRE
FADE, POST EQ), and are therefore unaffected by the fader position and mute status.
This makes them particularly suitable for foldback or monitor feeds, which need to be
controlled separately from the main P.A. mix. Aux 3 may be selected internally to be
post-fade.
AUX 4, 5 and 6 are derived after the EQ and channel fader (POST FADE, POST EQ),
and therefore follow any changes in fader level. They are normally used to drive effects
processing units which are fed back into the mixer and which must fade out with the
input channel.
AUX 4 may be altered globally to be PRE FADE by pressing the AUX 4 PRE switch
on the Master section.
All of the post-fade Aux Sends are muted when the MUTE switch is pressed.
21 BALANCE
The BALANCE control sets the amount of the channel signal feeding the Left and
Right Mix outputs, allowing you to balance the source in the stereo image. When the
control is turned fully left or right you feed only that side of the signal to the mix.
22 ROUTING SWITCHES
The input channel signal may be routed in stereo to the main Stereo MIX (L-R) or
pairs of GROUP busses (1-2, 3-4), by pressing the respective switches. The Left side of
the channel feeds Groups 1 & 3, and the Right side feeds Groups 2 & 4, subject to the
position of the BALANCE control (21).
23 FADER
This long-throw fader determines the proportion of the channel in the mix and pro-
vides a clear visual indication of channel level. Normal operating position is at the `0
mark, providing 10dB of gain above that point if required.
24 MUTING
All post-fade outputs from the channel may be muted by pressing the MUTE switch,
and the associated LED illuminates to show that the channel is OFF.
Alternatively the channel may be selected to any one or more MUTE BUSES to pro-
vide grouped muting under the control of the MUTE masters on the far right-hand side
of the console. In either case the mute status is shown by the LED.
25 PFL
When the PFL switch is pressed, a mono sum of the pre-fade signal is fed to the
headphones and L & R meters, where it replaces the normal Mix L/R signal. The
PFL/AFL ON LED on the master section illuminates to warn that the headphones and
the meters are now responding to the PFL/AFL selection and the PFL LED on the input
channel lights to identify the active channel. This is a useful way of listening to any
required input signal without interrupting the main mix, for making adjustments or trac-
ing problems.
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Page 15
GROUP SECTION
The Group outputs are available on XLR connectors, and a pre-fade insert point is also provided on 3-pole 1/4 jacks. The Groups may also feed the stereo Mix (see
27, below) or the Matrix outputs (see 28, below).
26 GROUP FADERS
These 100mm long-throw fader determine the level of the Group signal. Normal
operating position is at the `0 mark, providing 10dB of gain above that point if required.
27 GROUPS TO MIX, STEREO/MONO
Pressing the GROUPS TO MIX switch feeds the post-fade Group signals in stereo to
both sides of the stereo Mix. Groups 1 and 3 feed Mix Left, and Groups 2 & 4 feed Mix
Right.
Alternatively pairs of Groups may be used as mono subgroups feeding both sides of
the Mix, by pressing the STEREO/MONO switch.
28 MATRIX SENDS (GROUPS)
The console is provided with two independent Matrix outputs A & B. These may
receive feeds from each Group or Mix Left and Right to create additional mixes for extra
speaker outputs (e.g. side fills or delays) without affecting the main mix. The MATRIX
SENDS control the level of the Group signal sent to Matrix A & B buses. They should be
turned fully anticlockwise when not required.
If required the Matrix outputs may be used to create an additional stereo output
from the console, and in this case the Groups may be fed as stereo pairs, for instance
with Groups 1 & 3 feeding Matrix A and Groups 2 & 4 feeding Matrix B.
29 PFL
When the PFL switch is pressed, the pre-fade signal of the relevant Group is fed to
the headphones and L & R meters, where it replaces the normal Mix L/R signal. The
PFL/AFL ON LED on the master section illuminates to warn that the headphones and
the meters are now responding to the PFL/AFL selection and the associated PFL LED
lights to identify the active Group. This is a useful way of listening to any required Group
signal without interrupting the main mix, for making adjustments or tracing problems.
30 STEREO RETURNS
Four STEREO RETURNS are provided which feed either to the stereo Mix or the
local pair of Groups, as selected by the 1-2(3-4)/Mix switches. These are an ideal way of
mixing in the output of a reverb or effects unit, additional keyboards or the output of
other consoles used as sub-mixers. The knobs should turned fully anticlockwise when
not required.
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MASTER SECTION
31 BARGRAPH METERS
Six 12-segment, three colour bargraph meters provide visual monitoring of the
levels of the Mix Left and Right, and Group outputs. All the meters are peak read-
ing.
Normally the Left and Right meters show the level of the Mix Left and Right
outputs. If any PFL or AFL switch is activated the meters are switched to display
the level of the selected PFL or AFL signal.
32 MIX FADERS
The MIX FADERS set the final level of the Mix outputs. The faders should nor-
mally be set close to the 0 mark if the input channel levels have been set correct-
ly.
Pre-fade INSERTS are provided for connection of external processing equip-
ment (e.g. Graphic EQ) if required.
33 MATRIX SENDS
The console is provided with two independent Matrix outputs A & B, which
may receive feeds from each Group or Mix Left and Right to create additional
mixes for extra speaker outputs (e.g. side fills or delays) without affecting the main
mix. These knobs control the level of the Mix signal sent to Matrix A & B buses.
They should be turned fully anticlockwise when not required.
Normally the Matrix Sends are derived from a mono sum of Mix L & R.
Pressing the STEREO switch routes Mix L to Matrix A and Mix R to Matrix B to
allow the Matrix outputs to be used as a separate stereo output from the console.
34 MATRIX MASTERS
Each Matrix section has a MASTER control which sets the final output level.
When the AFL switch is pressed, the post-fade signal is fed to the headphones
and L & R meters, where it replaces the normal Mix L/R signal. The PFL/AFL ON
LED on the master section illuminates to warn that the headphones and the
meters are now responding to the PFL/AFL selection and the PFL LED on the
input channel lights to identify the active Matrix output. This is a useful way of lis-
tening to any required output signal without interrupting the main mix, for making
adjustments or tracing problems.
35 TALKBACK
An XLR connector is provided to accept the input from a local talkback mic or
gooseneck mic. Gain is set by the TB LEVEL control and the signal may be routed
to a choice of AUX 1-2, AUX 3-4, MIX or GROUP buses using the four adjacent
switches.
36 POWER ON LEDS
Two LEDs monitor the status of the console power supply and will be illumi-
nated when power is connected. Check that both LEDs are lit after turning on the
console power supply.
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Page 17
37 AUXILIARY MASTERS
Each of the Auxiliary Send busses is provided with a rotary MASTER LEVEL fader and
an AFL switch with indicating LED which monitors the final output after the fader.
AUX 4 normally receives post-fade sends from the input channels, but may be
switched to pre-fade by pressing the AUX 4 PRE switch.
38 PFL/AFL ON
This LED illuminates to show that a PFL or AFL is active on the headphones, and to
show that the Left & Right meters will be displaying the PFL/AFL signal.
39 PHONES
This control sets the level of the PHONES output jack.
40 MONO CHECK
Normally the Phones output monitors the Stereo Mix. Pressing the MONO CHECK
switch sums the L & R outputs to check for phasing problems. The main outputs are not
affected by the position of the switch.
41 MUTE MASTERS
Four MUTE MASTER switches provide muting control of any channels which have
been assigned to a mute group using the M1-M4 switches on the input channels. The
associated LED illuminates when the MUTE is active.
42 PHONES JACK
The PHONES output appears on a 3-pole 1/4 jack, suitable for headphones with an
impedance of 200Wor higher.
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USING YOUR SPIRIT LIVE 42CONSOLE
The final sound from your P.A. system can only ever be as good as the weakest link in the chain, and especially important is the quality of the source signal because this is the starting
point of the chain. Just as you need to become familiar with the control functions of your mixer,
so you must recognise the importance of correct choice of inputs, microphone placement and
input channel settings. However, no amount of careful setting up can take account of the spon-
taneity and unpredictability of live performance and the mixer must be set up to provide `spare
control range to compensate for changing microphone position and the absorption effect of a
large audience (different acoustic characteristics from sound check to show).
Microphone Placement
Careful microphone placement and the choice of a suitable type of microphone for the job is
one of the essentials of successful sound reinforcement. The aim should be to place the micro-
phone as close as physically possible to the source, to cut out unwanted surrounding sounds,
allow a lower gain setting on the mixer and avoid feedback. Also a well-chosen and well-placed
microphone should not need any appreciable equalisation.
There are no exact rules - let your ears be the judge. In the end, the position that gives the
desired effect is the correct position!
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 inside the rear cover shows typical initial
control positions which may be found a useful guide to setting up
the mixer for the first time.
The diagram on page 3 demonstrated how the matching of input gain to the signal source
was crucial to avoid distortion at one extreme and excessive noise at the other. Set up individ-
ual input channel as follows:
lConnect your sources (microphone, keyboard etc.) to the required inputs.
Note: Phantom powered mics should be connected before the +48V is switched on.
Route the channel to Mix.
lSet Master faders at 0, input faders at 0, and set power amplifier levels to about 70%.
lProvide a typical performance level signal and press the PFL button on the first channel,
monitoring the level on the bargraph meters.
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).
lRepeat this procedure on other channels as required. As more channels are added to the
mix, the meters may move into the red section. Adjust the overall level using the Master
Faders if necessary.
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Page 19
lListen carefully for the characteristic sound of `feedback. If you cannot achieve satis-
factory input level setting without feedback, check microphone and speaker place-
ment and repeat the exercise.
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 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 Master Fader.
Note:
The level of any source signal in the final output is affected by many factors, principal-
ly the Input Sensitivity control, Channel Fader, Group and Output Faders. You should try
to use only as much microphone gain as required to achieve a good balance between sig-
nals, with the faders set as described above. If the input gain is set too high, the channel
fader will need to be pulled down too far in compensation to leave enough travel for suc-
cessful mixing and there is a greater risk of feedback because small fader movements will
have a very significant effect on output level. If the gain is set too low, you will not find
enough gain on the faders to bring the signal up to an adequate level.
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