SoundCraft SPIRIT POWERSTATION User Manual
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SoundCraft SPIRIT POWERSTATION User Manual

Spirit powerstation mixer
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Summary of Contents for SoundCraft SPIRIT POWERSTATION

  • Page 1 AUX 1...

  • Page 2: Table Of Contents

    Safety Precautions ..... . . 2 Introduction ......3 Basic Principles of PA Mixing .
  • Page 3 For your own safety and to avoid invalidation of the warranty please read this section carefully The wires in the mains lead are coloured in accordance with the following code: Green and yellow:Earth Blue:Neutral Brown: Live 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...
  • Page 4 Graphic Equaliser and Power Amplifier in a single unit. incorporates circuit technology identical to that used on some of the most sophisticated Soundcraft consoles. The mono input channels are able to accept a wide range of Microphone and Line level signals from separate input sockets.
  • Page 5 A built-in 7-band Graphic Equaliser offers precise correction of the output signal if required, and is normally patched into the input to the integral power amplifier. is 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 performance offered by your new...

  • Page 6: Facilities

    forms the heart of a complete sound system, and splits into five sections. The Inputs receive, match and process individual source signals, and distribute them at precise mix levels to a stereo Mix output. The Master section allows overall level control of the outputs, and provides monitoring of the audio signal at many points in the mixer, either on headphones or meters.
  • Page 7 A mixer is often judged, amongst other factors, by the amount of Headroom available. 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.
  • Page 8 Although this may seem a simple subject, faulty connectors and cabling are the source of most sound system problems. Correctly-made cables of the proper type, with the right connectors for the job will ensure peak performance from your system with minimum noise pick-up. The following section will help you to connect correctly.
  • Page 9 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 interference picked up on these wires is cancelled out. This is because, since both wires are in close proximity, the same interference will be picked up on each wire and balanced input amplifiers will only amplify the difference between...
  • Page 10 Normally the use of standard stereo jack leads will be suitable for most puposes, but do not be afraid to clip a ground wire at one end of the lead if a ground loop is suspected. Make sure that the end with the ground removed is marked for future identification.
  • Page 11 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. Get to know the Block Diagram of your console (see inside rear cover) Get to know what each component in the system is supposed to do.
  • Page 12 The MICROPHONE input (1) is via a standard female XLR-3 connector and shares an input stage with the Line input. It is designed to accept a wide range of balanced or unbalanced low impedance input signals. The LINE (2) input is a 3-pole "...
  • Page 13 When the Microphone input is selected this control acts as a SENSITIVITY control covering a 60dB range. Channel signal level increases as the control is turned clockwise. The control is a custom design which distributes the gain evenly across the range. When the Line input is selected it serves as a GAIN control, with the scaling reduced by approximately 20dB.
  • Page 14 These controls route the input channel signal to any one or more Auxiliary busses. These are separate from the main outputs and can therefore provide additional outputs for foldback, echo units or extra loudspeaker ‘fills’, or provide a dedicated mix to the on-board Lexicon Digital Effects Processor.
  • Page 15 Each Stereo Input section comprises a pair of similar inputs. The inputs are electronically balanced and separate 3-pole ‘A’ gauge (TRS) jacks are provided for the Left and Right source signals. A mono signal may be plugged into the upper (left) socket only to be fed equally to both paths.
  • Page 16 These controls route the input channel signal in mono to any one or more Auxiliary busses. These are separate from the main outputs and can therefore provide additional outputs for foldback, echo units or extra loudspeaker ‘fills’, or provide a dedicated mix to the on-board Lexicon Digital Effects Processor.
  • Page 17 AUX 1 Page 16...
  • Page 18 The EFFECTS linear fader controls the level of the stereo output signal of the on-board Lexicon Digital Effects Processor, which feeds directly to the Left/Right mix, and is subject to the control of the Main L/R Master Faders (see 2 below).
  • Page 19 AUX 1 Page 18...
  • Page 20 The unbalanced 2Track Return, at a nominal -10dBV on RCA phono sockets, feeds via the MAIN switch (see 10 below) and the 2TRACK RETURN control to the Main L/R mix, before the L/R Master faders. This input is ideal for interval music from an external source, or as an additional effects return When the PFL switch is pressed, the pre-fade signal is fed in stereo to the monitor, where it is available as a switched...
  • Page 21 AUX 1 Page 20...

  • Page 22: Grahic Equaliser

    The input level to the integral Effects Controller is set by the INPUT TRIM control, with an associated LED to warn of levels high enough to cause clipping. The control should where possible be kept in the centre detent position to minimise noise, and if a setting over ‘0’...
  • Page 23 AUX 1 Page 22...

  • Page 24: Power Amplifier

    Many professional condenser microphones need Phantom Power, and this is enabled to all of the Mic input connectors by pressing the +48V switch. Three LEDs provide visual indication of the status of the mixer. POWER (green) lights to show that power is switched on, and senses the power amplifier voltage rails.
  • Page 25 WARNING Do not obstruct air vents. Clean air filter at front of unit regularly. (OK, so we know you probably won’t do this regularly, but you’ve been warned...!) The signals from the balanced Power Amp Inputs jacks (normally the output from the Graphic Equaliser) are fed via the POWER AMP LEVEL control to the integral stereo power amplifier.
  • Page 26 The line level outputs from the mixer, inserts and returns are arranged together on the top right of the mixer. maximum flexibility the inputs to the Mixer, Graphic Equaliser and the Power Amplifier are available separately to allow replugging for particular purposes. The three sections are ‘normalled’...

  • Page 27: Patchbay

    The individual access that the patchbay offers to each of the main sections of the allows the mixer, the graphic equaliser and the power amplifier to be interfaced separately to external equipment if required, or used in different configurations for particular applications. Three typical examples are given below: Example 1...
  • Page 28 The final sound from your P.A. system can only ever be as good as the quality of the source signal. 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.
  • Page 29 If you cannot obtain a satisfactory setting, e.g. the gain control is right at the extreme low end of the scale on Microphone Input, try using the Line Input instead. 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.
  • Page 30 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.
  • Page 31 the practice of connecting an electric musical instrument DI(direct injection) directly to the input of the mixing console, rather than to an amplifier and loudspeaker which is covered by a microphone feeding the console. a post fade line level output from the input channel, bypassing direct output the summing amplifiers, typically for sending to individual tape tracks during recording.
  • Page 32 Mic, Line or stereo input to Main Outputs, +20dB at outputs, any input gain < 0.009% Fader Attenuation 100dB @1kHz Aux Send Attenuation 80dB @1kHz Stereo Separation 70dB @1kHz Measured RMS, 22Hz to 22kHz bandwidth Aux Outputs -83dBu Main Outputs -80dBu Microphone Input, Maximum Gain, terminated 150R...

  • Page 33: Dimensions

    Power Output @1%THD 175W + 175W into 8 265W + 265W into 4 300W into 4 toneburst Amplifier will deliver rated power output with +4dBu at power amp in- put sockets, power amp level control at maximum. THD @ 1kHz with both channels driven just below clipping: Into 4 <...
  • Page 34 AUX 1 MONO STEREO MASTER Page 33...

  • Page 35: Block Diagram

    Page 34 System Block Diagram...
  • Page 36 Page 35...
  • Page 37 Page 36...

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