SoundCraft Music Mixer Spirit Live 4 User Manual

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User Guide  
Contents  
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . 2  
Basic Principles of PA Mixing . . . . . . . . . . . . . . . . . 3  
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . 6  
Connections and Connectors . . . . . . . . . . . . . . . 6  
Fault Finding Guide . . . . . . . . . . . . . . . . . . . . 9  
Getting to know your console . . . . . . . . . . . . . . . . 10  
Facilities . . . . . . . . . . . . . . . . . . . . . . . . . 10  
Input Channel . . . . . . . . . . . . . . . . . . . . . . 10  
Stereo Sections . . . . . . . . . . . . . . . . . . . . . . 15  
Group Sections . . . . . . . . . . . . . . . . . . . . . . 17  
Master Section . . . . . . . . . . . . . . . . . . . . . . 18  
Using your SPIRIT LIVE 4Console . . . . . . . . . . . . . 20  
Initial Set Up . . . . . . . . . . . . . . . . . . . . . . . 20  
Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 22  
Public Address . . . . . . . . . . . . . . . . . . . . . . 22  
Recording . . . . . . . . . . . . . . . . . . . . . . . . . 24  
Care of your mixer . . . . . . . . . . . . . . . . . . . . . . 25  
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25  
Selectable Options . . . . . . . . . . . . . . . . . . . . . . 27  
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . 29  
Front Panel Layout . . . . . . . . . . . . . fold out rear cover  
Block Diagram . . . . . . . . . . . . . . . . . inside rear cover  
Pa g e 1  
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I N TRO D UC TI O N  
Congratulations on your purchase of a SPIRIT LIVE 4mixer.  
Owning a Soundcraft console brings you the expertise and  
support of one of the industrys leading manufacturers and  
the results of over 20 years experience supporting some of the  
biggest names in the business.  
Designed by engineers who understand the individual needs  
of musicians, SPIRIT LIVE 4 has been built to the highest  
standards using quality Japanese 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 4is available in 12, 16, 24 and 32 channel frame  
sizes, and the 12 and 16 channel sizes may be extended by  
adding an 8 channel Expander. The Expander can be attached  
quickly and securely to the console, requiring only a  
screwdriver to complete the installation.  
SPIRIT LIVE 4 incorporates 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 wide range gain control and  
Line input pad, 3-band Equalisation with swept Mid and LF  
range, plus a Hi-Pass Filter, 5 Auxiliary Sends, 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 frame sizes are provided as standard with dedicated  
stereo inputs, arranged in pairs. One pair is included on the  
12 channel frame and two pairs on all other frame sizes. Each  
stereo input includes a 2-band EQ and a single auxiliary send  
control with switching which allows prefade or postfade  
sourcing with access to three of the five Auxiliary busses. The  
stereo channel signal may be routed to either the Mix output  
or to Groups 1 & 2 (upper) or Groups 3 & 4 (lower).  
Pa g e 2  
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The four Output Groups provide submixing to the Mix L/ R  
outputs or may feed external equipment directly. Each  
incorporates stereo panning and PFL monitoring or bargraph  
metering and includes an external Return input for effects or  
submixing from external sources.  
The Master section provides master level control for the Left,  
Right, Mono and Auxiliary Send busses, with separate AFL  
monitoring on each Auxiliary Send and the Mono output.  
The Mix L/ R and Group outputs all have insert points for the  
connection of external signal processing.  
Comprehensive Talkback facilities are provided, which allow  
an external talkback microphone to be routed to Mix L/ R,  
Groups and Auxes 1 & 2 as required. 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  
headphones output, and the right bargraph meter.  
SPIRIT Live 4 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 mixer.  
Above all, remember that your SPIRIT mixer is designed to  
extend your creativity. The more you explore the controls  
and the effect they have on the sound output, the more you  
will appreciate how you can influence and enhance the final  
sound.  
BASIC PRINCIPLES O F PA M IXING  
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 isnt 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 operators 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.  
Pa g e 3  
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Th e M ix e r  
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 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.  
You r SPIRIT LIVE 4 mixer accepts a wide range of input  
signals via a 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 individual 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 headphones 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 secondary 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.  
Pa g e 4  
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Each input channel and the three main 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.  
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 detailed  
description of facilities.  
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. 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.  
Clipped  
Signal  
Noise  
If the signal level is too high, clipping distortion  
may occur.  
Signal  
Noise  
If the signal level is too low it may be masked  
by the noise.  
Pa g e 5  
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GETTING STARTED  
CONNECTIONSAND  
CONNECTORS  
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 SPIRIT LIVE 4correctly.  
Two different types of audio connectors are used, 3-pin XLR  
1
and 4" three pole (A’ gauge) jacks. These are used in several  
configurations as shown in the diagrams below.  
Link 3  
to 1  
2. Ho t(+ve )  
2. Ho t(+ve )  
3. Co ld (-ve )  
Link 3  
to 1  
1. Sc re e n  
1. Sc re e n  
1. Sc re e n  
2. Ho t(+ve )  
Unb a la nc e d  
Unb a la nc e d  
Ba la nc e d  
Inp ut  
Inp ut  
Outp ut  
3 POLE (ste re o ) JACK  
2 POLE (m o no ) JACK  
Se nd  
Re turn  
Sc re e n  
Tip  
Ho t(+ve )  
Co ld (-ve )  
Sc re e n  
Le ft Sig na l  
Sig na l  
Ring  
Rig ht Sig na l  
Gro und  
Sle e ve  
Gro und  
Tip  
Sle e ve  
Ring  
Insert Points  
Line Input  
Aux Outputs  
FX Returns  
Headphones  
Unbalanced  
Output  
(see text)  
Direct Outputs  
Pa g e 6  
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Ba la nc e d a nd  
Unba la nced  
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  
+ve(hot) and -ve(cold). Any signal on both hot and cold (i.e.  
noise) will not be amplified - this is known as common mode  
rejection (CMR). Balanced inputs should always have both  
+ve and -ve connected or if only an unbalanced source, the  
-ve pin shorted to ground.  
Note: many modern audio/ musical instruments have  
electronically balanced outputs which should not be  
unbalanced by shorting one wire to ground. Always use your  
inputs balanced where possible.  
The Mix L/ R and Mono outputs, Group and Auxiliary  
outputs are ground compensated and provide a very effective  
way of optimising noise immunity, without the cost and  
complexity of balanced outputs. These outputs employ  
ground compensation techniques to cancel out the effects of  
variation in ground potential between the mixer 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 LIVE 4console.  
Pola rity  
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.  
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.  
Pa g e 7  
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UNBALANCED  
+
-
+
-
Source  
Device  
Mixer  
Ground loop  
through screen  
and chassis  
BALANCED INPUT  
+
-
+
-
GND  
Source  
Device  
Mixer  
If the use of unbalanced connections is unavoidable, you can  
mimimise noise by following these wiring guidelines:  
On INPUTS, unbalance at the source and use a twin,  
screened cable as though it were balanced. (see below)  
On OUTPUTS, connect the signal to the +ve output pin,  
and the ground of the output device to -ve. If a twin  
screened cable is used, connect the screen only at the mixer  
end. (see below)  
+
+
-
GND  
Source  
Device  
Mixer  
INPUT  
+
-
+
GND  
GND  
Output  
Device  
Mixer  
OUTPUT  
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.  
Pa g e 8  
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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.  
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.  
Learn where to look for common trouble spots.  
The Block Diagram (see inside rear cover) 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.  
Swap input connections to check that the source is really  
present. Check both Mic and Line inputs.  
Eliminate sections of the channel by using the insert point  
to re-route the signal to other inputs that are known to be  
working.  
Route channels to different outputs or to auxiliary sends to  
identify problems on the Master section.  
Compare a suspect channel with an adjacent channel  
which has been set up identically. Use PFL and AFL to  
monitor the signal in each section.  
Pa g e 9  
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INPUT  
GETTING TO KNOW YOURCONSOLE  
Refer to the fold-out front panel diagram which shows the  
control functions on the SPIRIT LIVE 4. Each facility is  
described below, and is identified by the reference number.  
FAC ILITIES  
1.  
INPUTCHANNEL  
MICROPHONE INPUT  
The Microphone input is via a standard female XLR-3  
connector and is available when the LINE -20dB switch is  
released. It is designed to accept a wide range of balanced or  
unbalanced low impedance input signals.  
+48V Phantom Power is available on each input microphone  
socket. This is switched on globally from the power supply in  
the case of the 12, 16 and 24 channel desks, or from a rocker  
switch adjacent to the d.c. power connector at the top right of  
the 32 channel desk. Should you wish to configure inputs  
without +48V power, see Selectable Options on Page 27 for  
details of this modification.  
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 connector. Microphone input level is set by the GAIN  
control(6).  
NOTE: Phantom powered mics should not be plugged in  
with the +48V switched on. Also you should be aware that  
some microphones draw an unusually large current which  
may overload the power supply, resulting in distortion.  
Consult your microphone supplier for guidance if necessary.  
2.  
DIRECT OUTPUT  
A ground compensated 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 sections or group 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.  
Pa g e 10  
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INPUT  
3.  
LINE INPUT  
1
The LINE Input is a 3-pole 4"‘A’ gauge jack socket, to accept  
balanced or unbalanced line level sources when the LINE  
switch(5) is pressed. Unlike the low impedance Microphone  
input, this stage presents a high impedance(>10k) to the  
input signal, enabling many types of instruments to be  
plugged straight in without D.I. boxes or external  
preamplifiers.  
Line inputs will be found useful as extra Effects Returns,  
where additional post-effect equalisation is required.  
4.  
INSERT  
The INSERT 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  
1
continue through to the final output. The Insert is a 3-pole 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.  
5.  
6.  
LIN E SELEC T  
The LINE switch selects Line input when pressed, and  
Microphone input when released. When Line is selected the  
Gain range is reduced by 20dB (see 6 below).  
GAIN CONTROL  
When the Microphone input is selected this control acts as a  
SENSITIVITY control covering a 50dB range. Channel signal  
level increases as the control is turned clockwise. When the  
Line input is selected it serves as a GAIN control, with the  
scaling reduced by -20dB from the printed scale. A nominal  
0dB input signal will pass through at unity gain, with the  
knob set at the 20dB position. Some audio equipment,  
particularly that intended for domestic use, operates at a  
nominal -10dBV level and an increased Gain setting will be  
required.  
Pa g e 11  
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INPUT  
7.  
HI- PA SS FILTER  
Pressing this switch inserts a 12dB per octave 100Hz Hi-Pass  
Filter in the signal path, immediately after the input amplifier.  
This is particularly useful on live vocals, and its use is  
strongly recommended, even on male vocals. It can also be  
used for filtering out low frequency hum.  
Frequency Response Curves of the Hi-Pass Filter  
dB  
HI-Pass Filter  
4.0  
3.0  
2.0  
1.0  
0.0  
-1.0  
-2.0  
-3.0  
-4.0  
20  
100  
1k  
10k  
20k  
Frequency/Hz  
8.  
EQ UA LISER  
The Equaliser(EQ) comprises three sections. The upper  
control provides H.F.(treble) boost and cut of +/ -15dB. The  
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 centered. The LF sections are essentially Swept Low  
Frequency controls, covering a range from 40 to 400Hz and  
providing much greater flexibility than a conventional  
LF(bass) control. The MID section, with a frequency range  
from 250Hz to 8kHz is particularly versatile for vocals,  
enabling particular characteristics of the singer to be lifted or  
suppressed very precisely.  
Frequency Response Curves of the Equaliser  
LF Section  
dB  
20.0  
15.0  
10.0  
5.0  
0.0  
-5.0  
-10.0  
-15.0  
-20.0  
20  
100  
1k  
10k  
20k  
Frequency/Hz  
Pa g e 12  
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INPUT  
Frequency Response Curves of the Equaliser  
MID Section  
dB  
20.0  
15.0  
10.0  
5.0  
0.0  
-5.0  
-10.0  
-15.0  
-20.0  
20  
100  
1k  
10k  
20k  
Frequency/Hz  
HF Section  
dB  
20.0  
15.0  
10.0  
5.0  
0.0  
-5.0  
-10.0  
-15.0  
-20.0  
20  
100  
1k  
10k  
20k  
Frequency/Hz  
9.  
AUXILIARY SENDS  
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’.  
AUX 1 & 2 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, 4 and 5 are derived after the 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 2 may be altered internally to be POST FADE. Refer to  
the Selectable Options section (Page 28) for a description of  
this modification.  
All of the Aux Sends are muted when the ON switch(12) is  
released.  
Pa g e 13  
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INPUT  
10.  
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 (13). 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.  
11.  
PFL/ PEAK LED  
When the PFL switch is pressed, the Pre-Fade signal is fed to  
the headphones, where it replaces the selected source. The  
PFL/AFL 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 two points in the channel, immediately after the input  
amplifier (PRE HI-PASS FILTER & PRE INSERT) and POST  
EQ. The Peak LED will illuminate approximately 4dB before  
clipping and therefore give warning of a possible overload  
even if the peaks are removed by external equipment plugged  
into the Insert.  
12.  
13.  
ON SWITCH  
The ON switch enables all outputs from the channel when  
pressed, and the associated LED illuminates to show that the  
channel is active.  
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 (10 above) to route the channel signal  
proportionately to any of the selected busses.  
13.  
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.  
Pa g e 14  
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STEREO  
STEREO SEC TIO N S  
1.  
STEREO INPUTS  
Each Stereo Input section comprises a pair of similar inputs.  
The inputs are electronically balanced and separate jacks are  
provided for the Left and Right source signals. A mono signal  
may be plugged into the upper socket only for each pair to be  
fed equally to left and right busses.  
2.  
-10 SWITCH  
The input jacks are normally set to match +4dBu nominal  
signal levels. Pressing the -10 switch alters the input  
sensitivity to match the -10dBV signals from most Hi-Fi  
systems or semi-professional tape machines allowing the  
inputs to be quickly switched to match, for instance, a cassette  
player for pre-show music.  
3.  
EQ UA LISA TIO N  
Each Stereo Input is provided with a 2-band shelving EQ  
section giving ±15dB boost & cut at fixed frequencies of 60Hz  
and 12kHz.  
Frequency Response Curves of the Equaliser  
LF Section  
dB  
20.0  
15.0  
10.0  
5.0  
0.0  
-5.0  
-10.0  
-15.0  
-20.0  
20  
100  
1k  
10k 20k  
Frequency/Hz  
HF Section  
dB  
20.0  
15.0  
10.0  
5.0  
0.0  
-5.0  
-10.0  
-15.0  
-20.0  
20  
100  
1k  
10k 20k  
Frequency/Hz  
Pa g e 15  
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STEREO  
4.  
5.  
A UX SEN D  
A single control feeds a mono sum of the stereo signal to a  
choice of Aux Send busses (see 5 below).  
A UX SELEC TIO N  
The flexibility of the Aux send control (4) is maximised by a  
choice of destinations on the two Stereo sections. On the  
upper section (Stereo 1) this switch routes the Aux Send to  
either AUX 1 (Prefade) when released, or AUX 3 (Postfade)  
when pressed. On the lower section the choice is between  
AUX 1 (Prefade) when released and AUX 4 (Postfade) when  
pressed.  
6.  
BALANCE  
The BAL control sets the relative level of the Left and Right  
signals. In the centre position its gain is unity. Turning the  
control fully clockwise increases the Right signal by +4dB,  
and totally kills the Left signal. Full anticlockwise rotation  
has the opposite effect. Balance left biases the signal to the  
Left buss and Groups 1 & 3, balance right to the Right buss  
and Groups 2 & 4.  
7.  
PFL  
When the PFL switch is pressed the prefade signal is fed to  
the Headphones where it replaces the selected source. The  
AFL/PFL LED on the Master Section illuminates to warn that  
the headphones and RIGHT/PFL METER are now  
responding to the PFL selection and the PFL LED on the  
Stereo Section lights to identify the active source.  
8.  
9.  
ON  
Pressing this switch turns ON the feeds to the Aux Sends and  
output busses. The associated LED illuminates to show that  
the section is active.  
ROUTING  
A single Routing Switch per section provides access to Mix  
L-R and Groups 1-2 or 3-4. The upper section routes between  
Mix L-R with the switch released, and Groups 1-2 when  
pressed. The lower section routes between Mix L-R with the  
switch released and Groups 3-4 when pressed. The relative  
levels of the left and right signals is controlled by the  
BALance control (6).  
Pa g e 16  
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GROUP  
10.  
FADER  
Linear faders are provided for precise and smooth level  
control for each Stereo section.  
GROUP SECTION  
1.  
2.  
RETURN  
A mono Return is provided to each output Group, which is  
intended for use as a sub-mix from another desk or as an  
effects input. The input is electronically balanced on a  
1
standard 4" 3-pole A’ gauge jack.  
INSERT  
An Insert is provided for each output Group to allow external  
processing equipment to be inserted’ into the output path.  
1
The 4" 3-pole A’ gauge jacks are bypassed except when a  
plug is inserted.  
3.  
4.  
RETURN LEV EL  
The level of the signal at the RETURN input (1, above) is set  
by a rotary control. A panel marking indicates the nominal  
unity gain position.  
PAN  
The Group PAN control determines the position of the signal  
within the stereo image which is routed to the mix L/ R busses  
when L-R is pressed. Rotation fully anticlockwise feeds the  
signal solely to the Left mix buss, while rotation clockwise  
sweeps the image to the right.  
5.  
PFL  
When the PFL switch is pressed, the pre-fade Group signal is  
fed to the headphones and RIGHT/PFL METER where it  
replaces the mix signal. The AFL/PFL LED on the master  
section illuminates to warn that the headphones and meter  
are now responding to the AFL/ PFL selection and the PFL  
LED on the Group lights to identify the active Group.  
6.  
GROUP FADER  
Long throw faders are provided for each Group with unity  
gain at the top of their travel.  
Pa g e 17  
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M A STER  
7.  
8.  
GROUP OUTPUT  
The Group outputs are driven by ground compensated  
amplifiers to a standard 4" 3 pole A’ gauge jack socket.  
1
M A STER SEC TIO N  
D.C. POWER SOCKET  
The cable from the power supply connects to the console via  
this 5-pin socket.  
Ensure that you always use the correct power supply for your  
console. The 12, 16 and 24 channel frame sizes require the  
DCP100 power supply and the 32 channel frame uses the  
CPS150 power supply.  
9.  
MONO OUTPUT  
The ground compensated MONO output is a sum of the  
postfade Mix Left and Right outputs, providing a separately  
controlled feed which may for instance be used to drive a  
centre loudspeaker cluster via a suitable power amplifier.  
10.  
11.  
MIX L & R OUTPUTS  
The MIX L & R outputs are standard male XLR-3 connectors,  
driven by ground compensated amplifiers.  
INSERTS  
These are similar to the Input Channel Inserts and allow  
external processing equipment to be inserted’ into the output  
1
signal path. The 4" 3 pole A’ gauge jack sockets are  
by-passed except when a plug is inserted.  
12.  
BARG RAPH M ETERS  
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 reading.  
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 left meter is turned off and the right meter displays the  
level of the selected PFL or AFL signal.  
The bargraphs may be calibrated by trimmers accessed via  
holes in the panel below each meter. Adjustments may be  
made using a small screwdriver, taking care not to damage  
the trimmers.  
Pa g e 18  
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M A STER  
13.  
MONO  
The level of the MONO output (9) is set by a rotary fader.  
The associated AFL switch with indicating LED monitors the  
final output after the fader.  
14.  
15.  
16.  
AUXILIARY MASTERS  
Each of the Auxiliary Send busses is provided with a rotary  
master level control and an AFL switch with indicating LED  
which monitors the final output after the fader.  
AUXILIARY OUTPUTS  
The Auxiliary Send outputs are driven by ground  
compensated amplifiers to a standard 4" 3 pole A’ gauge  
jack socket.  
1
TALKBACK  
A female XLR-3 connector provides the input for a headphone  
mounted, gooseneck or floating dynamic microphone for  
TALKBACK to selected outputs. Level is set by the TB  
control and three switches route the signal selectively to Mix  
L-R, Groups (GRPS) or AUX 1-2.  
17.  
HEADPHONE VOLUME  
This control sets the level of the PHONES output at the socket  
below the front armrest. Normally this is fed by the Mix L/ R  
output, unless an AFL or PFL switch is pressed, in which case  
the Mix signal is replaced by the AFL/ PFL signal and the  
AFL/PFL LED lights to show that the AFL/ PFL system is  
active.  
Note that due to the way that the ground compensated  
outputs operate, it is possible that a hum might be audible  
under AFL listening, which is in fact cancelled on the actual  
output. This would indicate that there is a ground loop in  
your system which you may wish to correct.  
18.  
MIX FADERS  
Master faders for Left and Right mix outputs. Unity gain is at  
the top of their travel.  
Pa g e 19  
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USING YOUR SPIRIT LIVE 4 CONSOLE  
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. However,  
no amount of careful setting up can take account of the  
spontaneity 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).  
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.  
Initial Set Up  
The diagram on page 5 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  
individual input channel as follows:  
Connect the input required (microphone, keyboard etc.)  
Note: Phantom powered mics should be connected before  
the +48V is switched on.  
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 particular channel, monitoring the level  
on the right-hand meter.  
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).  
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.  
Pa g e 20  
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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.  
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, principally the Gain control,  
Channel Fader and Output Faders. You should try to use only  
as much microphone gain as required to achieve a good  
balance between signals, 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 successful 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.  
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 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.  
Pa g e 21  
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APPLICATIONS  
SPIRIT LIVE 4 is designed primarily as  
a
sound  
reinforcement mixer, but may also be used for basic  
multitrack recording. The following diagrams show typical  
configurations which will illustrate how the mixer is  
connected to other equipment.  
Example 1 - Public  
Ad dre ss - Ste re o O utp ut  
In this basic set-up, 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. box connected via the microphone input.  
The mix L/ R outputs are connected to the power amplifier  
and speakers, and a compressor/ limiter is included in the  
Pa g e 22  
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output signal path via the Left and Right insert points.  
Exa m p le 2: Pub lic  
Ad dre ss - Ste re o  
+ Centre Feed  
In this second example the Group 1 Output is used to drive an  
additional centre speaker, with individual fader control. The  
routing on the input channels allows individual selection to  
the Centre output by routing to Group 1.  
Exa m p le 3: Pub lic  
Ad dre ss - M ono O utp ut  
In this example the console is used to feed loudspeakers in  
Mono only. The compressor remains in the Left and Right  
Inserts for use on these outputs if required. A feed from  
another mixer is submixed to the desk on Returns 1 & 2. Note  
that the Groups may be used for subgrouping channels to the  
FROM  
SUBMIXER  
Pa g e 23  
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final output.  
Exa m p le 4:  
Stereo Recording  
The console may also be used for 2-Track or basic multitrack  
recording live or in the studio. The set up is similar to the  
previous examples but with the Mix L/ R Output feeding a  
2-track Tape Machine. Aux 1 is used to provide artists  
foldback on headphones, and Aux 3 and 4 feed a reverb unit  
2 TRACK TAPE  
MACHINE  
REVERB  
which is returned to the console on RET1 and RET2.  
Exa m p le 5:  
Multitrack Recording  
In this last example the mixer is connected to a multitrack  
tape machines, and the main outputs to a 2-track machine for  
mixdown. Once again a compressor has been included in the  
insert points.  
Feeds to the multitrack are taken from the channel DIRECT  
outputs. Outputs from tape are fed back to the channel line  
inputs and can be mixed down to the stereo mix output as  
required. Aux 3 & 4 feed an effects unit as in the previous  
EFFECTS PROCESSOR  
Pa g e 24  
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CAREOFYOURMIXER  
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. Sticky drinks and cigarette ash are frequent causes of  
damage to faders and switches.  
Regular care and inspection will be rewarded by a long life  
and maximum reliability.  
G lossa ry  
auxiliary send  
an output from the console comprising a mix of signals from  
channels and groups derived independently of the main  
stereo/ group mixes. Typically the feeds to the mix are  
implemented on rotary level controls.  
balance  
clipping  
the relative levels of the left and right channels of a  
stereo signal.  
the onset of severe distortion in the signal path, usually  
caused by the peak signal voltage being limited by the  
circuit’s power supply voltage.  
dB (decibel)  
a ratio of two voltages or signal levels, expressed by the  
equation dB=20Log (V1/ V2). Adding the suffix u’ denotes  
10  
the ratio is relative to 0.775V RMS.  
DI(direct injection)  
the practice of connecting an electric musical instrument  
directly to the input of the mixing console, rather than to an  
amplifier and loudspeaker which is covered by a microphone  
feeding the console.  
direct output  
equaliser  
a post fade line level output from the input channel, bypassing  
the summing amplifiers, typically for sending to individual  
tape tracks during recording.  
a device that allows the boosting or cutting of selected  
bands of frequencies in the signal path.  
Pa g e 25  
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feedback  
foldback  
the howling’ sound caused by bringing a microphone  
too close to a loudspeaker driven from its amplified signal.  
a feed sent back to the artistes via loudspeakers or  
headphones to enable them to monitor the sounds they are  
producing.  
frequency response  
(sub) group  
the variation in gain of a device with frequency.  
an output into which a group of signals can be mixed.  
headroom  
the available signal range above the nominal level  
before clipping occurs.  
highpass filter  
a filter that rejects low frequencies.  
line level signals  
at a nominal level of -10 to +6dBu, usually coming from a low  
impedance source.  
mono output  
a mono sum of the left/ right mix outputs, providing a  
separately controlled line level feed for additional  
loudspeakers.  
pan (pot)  
abbreviation of panorama: controls levels sent to left  
and right outputs.  
peaking  
an equaliser response curve affecting only a band of  
frequencies i.e. based on a bandpass response.  
PFL (pre-fade listen)  
a function that allows the operator to monitor the pre-fade  
signal in a channel independently of the main mix.  
rolloff  
a fall in gain at the extremes of the frequency response.  
shelving  
an equaliser response affecting all frequencies above or  
below the break frequency i.e. a highpass or lowpass derived  
response.  
spill  
acoustic interference from other sources.  
talkback  
the operator speaking to the artistes or to tape via the  
auxiliary or group outputs.  
transient  
+48V  
a momentary rise in the signal level.  
the phantom power supply, available at the channel mic  
inputs, for condenser microphones and active DI boxes.  
Pa g e 26  
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Selectable Options  
Removal of +48V on Mic Inputs  
To disable the +48V phantom powering on the microphone  
inputs, remove link J3 from Input PCB SC3209. This can be  
done without removing the PCB as shown below, by carefully  
cutting the leads of the link above the PCB at the points  
marked.  
To reinstate the +48V, fit a replacement link, Part No. AZ2222,  
which is available from your dealer.  
INPUT BOARD SC3209  
JSKT1  
JSKT2  
JSKT3  
J3  
CUT  
CUT  
C6  
C4  
Edge view of PCB  
C22  
R19  
R25  
J3  
Pa g e 27  
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Reconfiguring Aux 2 as a Post Fade Send  
Aux 2 is configured as a PRE FADE send at the factory, but  
may be altered to be POST FADE if required by repositioning  
a link on the Input PCB SC3209 as shown below.  
INPUT BOARD SC3209  
PRE  
L10  
POST  
C28  
C27  
R56  
PRE  
POST  
R54  
R52  
R48  
To change AUX 2 to POST FADE, remove the PCB from the  
console and carefully unsolder link J1 using the minimum of  
heat to avoid the possibility of tracks lifting on the PCB.  
Replace the link in position J2.  
This operation should only be carried out by competent  
technicians who possess the necessary soldering skills.  
Pa g e 28  
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SPEC IFIC A TIO NS  
Typical Figures for a 16 Channel Console  
NOISE  
Measured RMS, 22Hz to 22kHz Bandwidth  
Line inputs selected at unity gain and terminated 150R  
MIX NOISE  
Input faders down, channels routed to L-R, Pans central, Masters at maximum  
Mix Left  
Mix Right  
-82dBu  
-82dBu  
AUX NOISE  
Input faders down, Aux outputs at maximum, Four Stereo sections routed to Aux 1  
Aux 1  
Aux 2  
Aux 3  
Aux 4  
Aux 5  
-81dBu  
-84.5dBu  
-84.5dBu  
-84.5dBu  
-84.5dBu  
GROUP NOISE  
Input faders down, channels routed to Groups, Pans central, Group gain at unity.  
Group 1  
Group 2  
Group 3  
Group 4  
-84.5dBu  
-84.5dBu  
-84.5dBu  
-84.5dBu  
E.I.N.  
Microphone Input,  
Maximum Gain, terminated 150R  
-127.8dBu  
C RO SSTALK  
Channel ON switch Isolation  
> 103dB to Mix L/ R @1kHz  
Max. Channel Fader Attenuation > 87dB @10kHz, > 97dB @1kHz  
Routing Switch Isolation  
> 87dB @10kHz, > 105dB @1kHz  
> 100dB wide band  
> 90dB @10kHz, > 100dB @1kHz  
> 85dB @10kHz, > 90dB @1kHz  
> 95dB @1kHz  
Max. Master Fader Attenuation  
Max. Group Fader Attenuation  
Max. Aux Send Attenuation  
Max. Stereo Fader Attenuation  
Stereo ON switch Isolation  
Stereo Routing Switch Isolation  
> 100dB wide band  
> 90dB @1kHz  
Pa g e 29  
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DISTORTION  
THD measured at +20dBu  
Line Input to Mix Output  
< 0.0025% @1kHz, < 0.015% @10kHz  
I N PUT & O UTPUT I M PED A N C ES  
Microphone Input  
> 2k  
Line Input  
> 10kΩ  
75Ω  
Insert Sends  
Insert Returns  
Outputs  
10kΩ  
75Ω  
I N PUT & O UTPUT LEV ELS  
Mic Input Maximum Level  
+10dBu  
+30dBu  
+21dBu  
+21dBu  
+21dBu  
Line Input Maximum Level  
Mix Out Maximum Level  
Mono Out Maximum Level  
Aux Out Maximum Level  
METERING  
12 Segment LED Bargraph  
Accuracy Relative to 0dB  
+/ - 1dB  
Pa g e 30  
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stereo  
master  
GRP 1  
GRP 2  
AUX 2  
RET 2  
INS 2  
GRP 3  
AUX 3  
RET 3  
INS 3  
GRP 4  
AUX 4  
RET 4  
INS 4  
1
8
1
7
DC POWER  
INPUT  
STE 1  
AUX 1  
RET 1  
INS 1  
AUX 5  
INS L  
INS R  
MIC  
15  
2
3
MONO  
9
DIRECT  
10  
1
2
LINE  
MIX  
STE 2  
4
5
INS  
11  
12  
2
3
1
LINE  
-20dB  
-10  
GAIN  
6
7
HF  
LF  
HF  
8
4
5
AUX  
PRE  
AUX1  
LEFT  
RIGHT  
PFL  
GRP 1  
GRP 2  
GRP 3  
GRP 4  
AUX3  
PST  
MID  
6
7
8
BAL  
AUX 1  
AUX 2  
AUX 3  
AUX 4  
AU X 5  
MONO  
PFL  
14  
13  
16  
ON  
AFL  
AFL  
AFL  
AFL  
AFL  
AFL  
LF  
L-R  
1-2  
10  
9
TB MIC  
AUX  
1
9
AUX  
2
RET 1  
RET 2  
RET 3  
RET 4  
TB  
PRE  
AUX  
3
3
L - R  
2
-10  
AUX  
4
GRPS  
L - R  
L - R  
L - R  
L - R  
HF  
AUX  
1 - 2  
AUX  
5
4
5
AFL  
PFL  
LF  
PAN  
PFL  
PAN  
PFL  
PAN  
PFL  
PAN  
PFL  
PST  
PAN  
17  
18  
PHONES  
10  
AUX  
LEFT  
RIGHT  
GRP 1  
GRP 2  
GRP 3  
GRP 4  
11  
PRE  
AUX1  
PFL  
AUX4  
PST  
12  
13  
BAL  
PFL  
6
ON  
L-R  
3-4  
14  
stereo  
master  
INPUT  
STEREO  
GROUPS & MASTER  
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