Using Your Spirit M Series Console - SoundCraft M-SERIES User Manual

USING YOUR SPIRIT M SERIES CONSOLE

The final sound from your PA 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 spontaneity and unpredictability of live
performance. 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 diagrams on the left
show the different pick-up patterns for the most common types of microphone.
Cardioid microphones are most sensitive to sound coming from in front, and hypercar-
dioid microphones offer even greater directivity, with a small amount of pickup behind
the microphone. These types are ideal for recording vocalists or instruments, where
rejection of unwanted sounds and elimination of feedback is important. The aim
should be to place the microphone 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 on page 8 shows typical initial control
positions which is a useful guide to setting up the mixer for the
Set up individual input channel as follows:
• Connect your sources (microphone, keyboard etc.) to the required inputs.
WARNING: Phantom powered mics should be connected before the +48V is
switched on. Ensure the PA system is OFF when switching phantom power on
or off.
• Set Master faders at 0, input faders at 0, and set power amplifier levels to
about 70%.
Provide a typical performance level signal and press the PFL button on the first
•
channel, monitoring the level on the bargraph meters.
Adjust 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).
Repeat 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.
Listen 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 size of the audience!
You are now ready to start building the mix and this should be done progressively,
first time.
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