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SoundCraft Spirit Monitor User Manual

Spirit owner's manual monitor mixer
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  • Page 2 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.

  • Page 3: Table Of Contents

    Master Section ..... . 18 Using your SPIRIT Monitor Console ... . 20 Initial Set Up .

  • Page 4: Introduction

    SPIRIT Monitor is available in 16 and 24 channel frame sizes, and is designed to complement the SPIRIT Live range of front- of-house consoles.

  • Page 5: Basic Principles Of Monitor Mixing

    Your SPIRIT Monitor mixer accepts a wide range of input sig- nals via a microphone input, for very low level signals, or a line input, for higher level signals from, for instance, tape ma- chines, effects processors, etc.
  • Page 6 The mixer is split into two sections. The Inputs receive, match and process individual source signals, and distributes them at precise mix levels to a choice of Monitor Outputs. The Mas- ter section provides monitoring of the audio signal at many points in the mixer, either on headphones or meters and pro- vides additional master control of talkback functions.
  • Page 7 The Wedge output refers to the engineer’s own monitoring output, which will typically feed a floor-mounted ‘wedge- shaped’ speaker via a suitable power amplifier. The Talkback system allows the monitor engineer to talk back to artists, either individually via selected monitor outputs, or together using a switch on the master section.

  • Page 8: Getting Started

    The following section will help you to connect SPIRIT Monitor correctly. Two different types of audio connectors are used, 3-pin XLR " three pole (‘A’ gauge) jacks. These are used in several configurations as shown in the diagrams below.
  • Page 9 Balanced and Unbalanced Polarity Grounding and Shielding All channel inputs are balanced, i.e. there are separate +ve(hot) and -ve (cold) wires for each signal plus a ground. The design of the differential input amplifiers is such that in- terference picked up on these wires is cancelled out. This is because, since both wires are in close proximity, the same in- terference will be picked up on each wire and balanced input amplifiers will only amplify the difference between +ve(hot)

  • Page 10: Fault Finding Guide

    Fault Finding Guide Source GROUND COMPENSATED TO BALANCED GND SENSE LINK Source UNBALANCED TO BALANCED LINK Source UNBALANCED TO UNBALANCED LINK If ground link absent, or mains earth isolated from source ground, then connect shield at both ends Avoid running audio cables or placing audio equipment, close to thyristor dimmer units or power cables.
  • Page 11 The Block Diagram is a representative sketch of all the com- ponents 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.

  • Page 12: Getting To Know Your Console

    FACILITIES GETTING TO KNOW YOUR CONSOLE Refer to the fold-out front panel diagram at the rear of this manual, which shows the control functions on the SPIRIT Monitor. Each facility is described below, and is identified by a reference number. INPUT CHANNEL MICROPHO NE INPUT The Microphone input is via a standard female XLR-3 connec-...
  • Page 13 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.
  • Page 14 HI-Pass Filter -1.0 -2.0 -3.0 -4.0 Frequency/Hz EQUALISER The Equaliser(EQ) comprises three sections. The upper con- trol provides H.F.(treble) boost and cut of +/-15dB. lower two pairs of knobs are arranged as a cut/boost control (lower knob) of +/- 15dB, and a SWEEP(frequency) control which determines at which frequency the boost/cut action will be centred.
  • Page 15 HF Section 20.0 15.0 10.0 -5.0 -10.0 -15.0 -20.0 Frequency/Hz suppressed very precisely. MONITOR SENDS These controls route the input channel signal to any one or more Monitor busses and the associated Monitor Outputs, al- lowing a number of completely different monitor mixes to be created.

  • Page 16: Output Section

    can be made or problems traced. 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 two points in the channel, PRE INSERT (PRE Hi-PASS FIL- TER), and POST EQ.
  • Page 17 switch is pressed (LED illuminated). HI-PASS FILTER A variable frequency filter is provided covering a range of 20Hz to 200Hz., and this is always in circuit. This may be found useful to reduce the level of stage-driven low frequency feedback, or particularly to tailor the output frequency to match more closely the frequency range of smaller wedge monitor speakers which may not be able to tolerate high lev- els of LF signal.

  • Page 18: Master Section

    small screwdriver, taking care not to damage the trimmer. FADER A linear fader controls the overall level of each output. Unity gain is at the top of the travel. MASTER SECTION D.C. POWER SOCKET The cable from the power supply connects to the console via this 5- pin SRC connector.
  • Page 19 or plugged in via a cable. BARGRAPH METER A sixteen segment, three colour bargraph meter provides vis- ual monitoring of WEDGE/PFL level. Normally the post-fade Wedge signal is displayed, unless any PFL switch is active, in which case the PFL signal is shown. The level of the dis- played Wedge signal follows the actual Wedge output, including the effect of the Dim circuit if active.

  • Page 20: Using Your Spirit Monitor Console

    WEDGE FADER The master fader for the Submix or PFL signals feeding the USING YOUR SPIRIT Monitor CONSOLE Your choice of a SPIRIT Monitor console has provided you with a professional product capable of top quality sound mix- ing. Good results will however only come through experience and time spent understanding the facilities on your console.
  • Page 21 Microphone Placement Careful microphone placement and the choice of a suitable Adjust the input gain until the meter is just reaching the amber section (0dB) 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).

  • Page 22: Applications

    cessful sound mixing. The aim should be to place the microphone as close as physi- cally 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.

  • Page 23: Care Of Your Mixer

    General Precautions balance clipping dB (decibel) DI(direct injection) equaliser feedback foldback frequency response CARE OF YOUR MIXER 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.
  • Page 24 (sub) group headroom highpass filter line level signals peaking PFL (pre-fade listen) rolloff shelving spill talkback transient an output into which a group of signals can be mixed. the available signal range above the nominal level before clipping occurs. a filter that rejects low frequencies. at a nominal level of -10 to +6dBu, usually coming from a low impedance source.

  • Page 25: Selectable Options

    Selectable Options The eight channel Monitor Sends are factory set as POST FADE, but may be altered to PRE FADE in blocks of four (1-4 and 5-8) by repositioning a link on the Input PCB SC3005 as shown below, after removing the PCB from the console. INPUT BOARD SC3005 POST To change Sends 1-4 to PRE FADE carefully unsolder link J4...

  • Page 26: Specifications

    E.I.N. OUTPUT NOISE C.M.R.R. DISTORTION CROSSTALK FREQUENCY RESPONSE INPUT & OUTPUT IMPEDANCES SPECIFICATIONS Typical Figures for a 24 Channel Console Measured RMS, 22Hz to 22kHz Bandwidth Microphone Input, max gain, 150R 24 channel console, channels sends turned down Measured at 1kHz Microphone Input at maximum gain Line Input at unity gain THD measured 1kHz at +20dBu, 20Hz to 20kHz Bandwidth...

  • Page 27: Dimensions

    INPUT & O UTPUT LEVELS M ETERING Outputs Mic Input Maximum Level Line Input Maximum Level Any Output Maximum Level 16 Segment LED Bargraphs Accuracy Relative to 0dB Dimensions 590.5 Page 27 +10dBu +30dBu +21dBu +/- 1dB 1088 (24 ch) (16 ch) 82.8...

  • Page 28: Block Diagram

    Page 28...

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