© Soundcraft Electronics Ltd. 1990 All rights reserved Issue 1 (first draft) Part No. ZZ2686 Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor. Soundcraft Electronics Ltd. shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual.
User Guide Contents Introduction . . . . . . . . . . . . . . . . . . . . . 2 Basic Principles of Multitrack Recording . . . . . . . 4 Getting Started . . . . . . . . . . . . . . . . . . . 6 Connections and Connectors Fault Finding Guide . . . . . . . . . 6 . . . . . . . . . . . . . . 9 Getting to know your console . . . . . . . . . . 10 Facilities . . . . . . . . . . . . . . . . . . . 10 Input - Channel Path . . . . . . . . . . . . . 10 Input - Monitor Path . . . . . . . . . . . . .
INTRODUCTION Congratulations on your purchase of a SPIRIT STUDIO mixer. Owning a Soundcraft console brings you the expertise and support of one of the industrys leading manufacturers and the results of over 17 years experience supporting some of the biggest names in the business. Packed full of features for track-laying, mixdown and overdubbing SPIRIT STUDIO provides you with access to the full range of professional multitrack techniques from an unusually compact mixer.
Channel path. The Auxiliary Sends are similarly split to give 1 Foldback and 2 Auxiliary sends in both the Channel and Monitor paths, or all four Auxiliary sends may be assigned to the Channel path. The Monitor fader is normally a rotary control, but an INPUT REVERSE switch swaps Channel and Monitor inputs, allowing the tape return signal to be brought down the full facilities of the Channel path and mixed on the long throw channel fader.
BASIC PRINCIPLES OF RECORDING The Mixer As one would expect, the main purpose of the mixer is to combine sounds, but under precise and smooth control. This is why long-throw faders are essential on any professional product. The faders provide you with total control of the final sound at your finger tips and like an artist playing an instrument you should listen to your fader movements, not look at your hands.
right meter. This allows the engineer to check the quality of the signal or to pin-point problems. Using PFL will not affect the signals on the Left and Right Mix outputs. Each input channel and the Group and Mix 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.
rectly 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. It is during recording that the greatest demands are made on a mixer in terms of transparency and audio quality.
3 POLE (stereo) JACK Send 2 POLE (mono) JACK Tip Hot(+ve) Left Signal Return Ring Cold(-ve) Right Signal Screen Sleeve Screen Ground Signal Ground Tip Ring Sleeve Insert Points Line Input Aux Outputs FX Returns Headphones Unbalanced Input used in several configurations as shown in the diagrams below. Balanced and Unbalanced All channel inputs are balanced, i.e. there are separate +ve(hot) and -ve (cold) wires for each signal plus a ground.
and other equipment which would otherwise show up as hum. If the output is driving a device or amplifier that has an unbalanced input, connect the -ve(cold) signal to the ground at the destination, not at the output of your SPIRIT STUDIO console. Polarity You will probably be familiar with the concept of polarity in electrical signals and this is of particular importance to balanced audio signals.
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.
GETTING TO KNOW YOUR CONSOLE FACILITIES Refer to the fold-out front panel diagram at the rear of this manual, which shows the control functions on the SPIRIT STUDIO. Each facility is described below, and is identified by a reference number. INPUT - CHANNEL PATH 1. MICROPHONE INPUT The Microphone input is via a standard female XLR-3 connector and is available when the LINE switch is released. It is designed to accept a wide range of balanced or unbalanced low impedance input signals. 2.
channel path (see section 9) the insert is after that section, allowing equalisation of both the insert send and return. 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. 4. LINE INPUT The LINE Input is a 1⁄4" 3 pole Agauge jack socket, to accept balanced or unbalanced line level sources when the LINE switch(5) is pressed.
ing mix-down using the long-throw channel fader. This frees the Monitor path to serve as an extra input. Note that the equalisation section and auxiliary sends are both split to serve both signal paths. 8. DIRECT The DIRECT switch replaces the feed to the tape send jack socket (which is normalled to the Group output) with the channel post-fade signal. This allows direct recording to a tape track from the channel, under the control of the main channel fader.
10. EQ TO MONITOR As mentioned above, the HF/LF EQ section is usually in the Channel path. Pressing EQ TO MNTR switches these controls to the Monitor path, while leaving the HIGH MID and LOW MID controls in the Channel path. 11. HIGH AND LOW MID SWEEP EQ The HMID and LMID EQ controls are usually in the Channel path, and by careful choice of frequency limits provide a comprehensive range of equalisation.
from the main outputs and can therefore provide additional outputs for foldback or external processing units. The six Auxiliary busses are arranged in two sections of three, with each section comprising a pre-fade Foldback (FB) send and two post-fade, post-cut switch auxiliary sends. Normally FB1 and AUX 1 & 2 are in the Channel path, while FB2 and AUX 3 & 4 are in the Monitor path. 13. CHANNEL PAN The Pan control determines the position of the Channel signal within the stereo image.
16. MIX & GROUPS 1-8 The input channel signal is routed to the main STEREO mix (MIX) or to the GROUPS as stereo pairs (1-2, 3-4, 56, 7-8) as selected by these switches. 17. CHANNEL FADER This 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. INPUT - MONITOR PATH 18.
21. AUXILIARIES TO CHANNEL FB2 and AUX 3 & 4 are normally in the Monitor path. Pressing CHAN routes AUX 3 & 4 to the Channel path, while FB2 remains unaltered. 22. MONITOR PAN The Monitor PAN control determines the position of the signal within the stereo image. Rotation fully anticlockwise feeds the signal solely to the Left mix buss, while rotation clockwise sweeps the image to the Right. 23. MONITOR FADER This rotary control determines the overall level of the Monitor signal path.
26. GROU P FAD ERS Long-throw master faders for each Group. Unity gain is at the top of their travel. 27. GROUP OUTPUTS The output from each Group is driven by a groundcompensated amplifier and fed to standard 1⁄4" 3 pole A gauge jack sockets. 28. GROUP INSERTS These allow external processing equipment to be inserted into the Group signal path. The 1⁄4" 3 pole A gauge jack sockets are by-passed except when a plug is inserted. 29.
The bargraphs may be calibrated by trimmers fitted on the edge of the PCBs and accessed via holes in the panel above each meter. Adjustments may be made using a small screwdriver, taking care not to damage Frequency Response Curves of the Equaliser HF Section dB 20.0 15.0 10.0 5.0 0.0 -5.0 -10.0 -15.0 -20.0 20 100 Frequency/Hz 1k 10k 20k 1k 10k 20k LF Section dB 20.0 15.0 10.0 5.0 0.0 -5.0 -10.0 -15.0 -20.0 20 100 Frequency/Hz the trimmers. 32.
control giving adjustment of -10dB to +20dB. 36. EQUALISATION Each pair of Effects Returns is provided with a 2-band shelving EQ section giving +/- 15dB boost and cut. 37. FOLDBACK SENDS Two pre-fade controls feed the Effects Return signals to FB1 and FB2 busses in mono. 38. FX PAN The PAN control determines the contribution each Effects Return signal makes to the stereo Mix. 39. FX FADER A stereo rotary fader provides overall master level control for the Effects Return. 40.
44. MIX INSERTS These are similar to the Input Channel Inserts and allow external processing equipment to be inserted into the output signal path. The 1⁄4" 3 pole A gauge jack sockets are by-passed except when a plug is inserted. 45. BARGRAPH METERS Two 16-segment, three colour bargraph meters provide visual monitoring of Mix L & R output levels. These are factory set to a PEAK characteristic, but may be changed internally to a VU characteristic.
49. LINK The FB1 and FB2 outputs can be linked by pressing the LINK switch, so that each output has the sum of both signals. This gives greater flexibility in deriving combined headphone feeds from the Channel and Monitor paths. 50. FOLDBACK OUTPUTS The FB1 and FB2 outputs are driven via ground-compensated amplifiers to standard 1⁄4" 3 pole A gauge jack sockets. 51.
USING YOUR SPIRIT STUDIO CONSOLE Your choice of a SPIRIT STUDIO console has provided you with a professional product capable of top quality recording. But good results will only come through experience and time spent understanding the facilities on your console. Recording sessions must focus on the creativity of the artists, and not be disrupted by unfamiliarity and difficulty with the operation of the console.
change with alteration in EQ settings, and should be rechecked later if necessary. • Repeat this procedure on other channels as required. Next, the Group faders must be adjusted to give an optimum level to the tape machine. • Route an input channel to the first pair of groups using the routing switches beside the channel fader. • Feed the input channel with a typical maximum signal level. • Set up the Tape Machine so that its input levels are displayed on the Track Meters.
and to return them to PLAYBACK when recording is complete. Individual input channels can be routed via the DIRECT button to feed a selected track, replacing the Group output which is normalled to the Tape Send. This provides the shortest possible signal path from input to tape. Alternatively you may create GROUPS from a number of inputs, e.g. for a drum mix, and feed a track from the Group outputs which are normalled to the Tape Sends.
APPLICATIONS SPIRIT STUDIO is designed primarily as a multitrack recording mixer, but may also be used for basic sound reinforcement. The following diagrams show typical configurations which will illustrate how the mixer is connected to other equipment. Example 1 - Recording In this basic recording set-up, various sources are connected to the input channels, microphones to mic inputs and keyboards, guitars and other instruments to line inputs.
sor which is returned on Effects Return 1. Example 2 - Playback/ Mix-Down In this example the tracks on the multitrack machine are to be mixed down to a stereo master on a 2-track tape machine. Playback is via the Monitor path on the channels, and pressing the CHANMNTR INPUT REV switches allows mixing using the long-throw faders. Channels are routed to MIX, and the 2-track machine is fed from the Mix L & R outputs.
be used for extra sources, e.g. sequenced keyboards, synths, drum machines etc. during mixdown. Example 3 Overdubbing This is a variation on the mix-down configuration. Overdubbing allows one or more tracks to be recorded as other tracks are being played back in synchronisation. A Foldback mix is created for the overdub artist using FB2.
plugging the Tape input to the appropriate Group Output. Example 4 - Live Public Although primarily designed for recording, your Address SPIRIT STUDIO console can also serve very well as a mixer for live sound reinforcement. In the basic configuration shown, an assortment of sources are connected to the input channels, microphone to mic inputs and a keyboard and guitar to line inputs. Note that some guitars would not produce sufficient level for a direct connection, and would require a D.I.
CARE OF YOUR MIXER General Precautions Avoid storing or using the mixer in conditions of excessive heat or cold, or in positions where it is likely to be subject to vibration, dust or moisture. Keep the mixer clean using a soft dry brush, and an occasional wipe with a damp cloth or ethyl alcohol. Do not use any other solvents which may cause damage to paint or plastic parts. Avoid placing drinks or smoking materials on or near the mixer.
feedback the howling sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal. foldback a feed sent back to the artistes via loudspeakers or headphones to enable them to monitor the sounds they are producing. frequency response the variation in gain of a device with frequency. (sub) group an output into which a group of signals can be mixed. headroom the available signal range above the nominal level before clipping occurs.
Selectable Options Selecting Average Response on Bargraphs The Bargraph Meters on your SPIRIT STUDIO are capable of two modes of operation: PEAK and AVERAGE. In Peak mode the meter responds rapidly to initial signal transients and decays slowly, making it easy to detect overload. In Average mode the bargraph takes on the characteristics of a VU meter with evenly fast attack and decay times.
Modification of Tape Sends & 2 Track Return Level All input Tape Sends are factory set to suit -10dBV equipment. If a level of +4dBu is required the output level may be changed by removing resistors R130/R131 from the Input PCB SC2970. This can be done without removing the PCB by carefully cutting the leads of the resistor above the board at the points marked as shown below.
Specifications Noise Measured RMS, 22Hz to 22kHz Bandwidth Line inputs selected at unity gain and terminated 150R. Buss Noise: Masters Down Masters Up, 24 Ch.
Tape Send with +20dBu @ Group out < 0.006% Crosstalk Measured 1kHz sine wave Routing Isolation (Mix L/R & Group) > 100dB Frequency Response Max. Fader Attenuation > 86dB Typical Max. Aux Send Attenuation > 89dB Typical Channel Pan to Group Isolation > 76dB Channel ON Switch Isolation > 100dB Monitor ON Switch Isolation > 100dB FX Return to Mix > 100dB FX Return to Group > 85dB Measured 20Hz to 20kHz Bandwidth, Relative to 1kHz Mix Left/Right Outputs +/- 0.
