User manual SOUNDCRAFT SERIES 2 8-1983

[. . . ] Use this in live PA situations to clean up the mix, reducing stage rumble or `popping' from microphones. EQUALISER The Equaliser (EQ) allows fine manipulation of the sound, particularly to improve the sound in live PA applications where the original signal is often far from ideal and where slight boosting or cutting of particular voice frequencies can really make a difference to clarity. There are three sections giving the sort of control usually only found on much larger mixers. The EQ knobs can have a dramatic effect, so use them sparingly and listen carefully as you change any settings so that you get to know how they affect the sound. HF EQ Turn to the right to boost high (treble) frequencies above 12kHz by up to 15dB, adding crispness to cymbals, vocals and electronic instruments. Turn to the left to cut by up to 15dB, reducing hiss or excessive sibilance which can occur with certain types of microphone. [. . . ] In the UP position it is POST and in the DOWN position it is PRE. PFL (Pre-Fade Listen) When the latching PFL switch is pressed, the pre-fade signal is fed to the headphones, control room output and meters, where it replaces the MIX. The PFL/AFL LED on the Master section illuminates to warn that a PFL is active. This is a useful way of listening to any required input signal without interrupting the main mix, for making adjustments or tracing problems. When PFL is pressed anywhere on the console, the Control Room outputs automatically switch from monitoring the Mix Outputs. r t SIGNAL PRESENT LED PEAK LED This LED will light when the channel signal exceeds -20dBu. This LED will light when the signal peaks (+18dBu internal). There is a three point signal analysis, and if the signal peaks at any of these points then the LED will light: a) PRE-EQ b) POST-EQ c) POST-FADE 18 STEREO INPUT CHANNELS Each stereo input channel comprises two pairs of inputs per channel strip: 1 INPUTS STE-1/2/3/4 These inputs accept 3-pole `A' gauge (TRS) jacks. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or processing units. The inputs are BALANCED for low noise and top quality from professional equipment, but you can use UNBALANCED sources by wiring up the jacks as shown in the "Wiring it Up" section earlier in this manual, although you should then keep cable lengths as short as possible. Mono sources may be used by plugging into the left jack only. 2 3 4 5 GAIN RETURNS RET-1/2/3/4 The GAIN control sets the level of the channel signal. These inputs are unbalanced on RCA phono connectors, and are intended for use with CD players, DAT machines or Hi-Fi equipment. Alternatively they may be used as simple effects returns or stereo instrument inputs. GAIN The GAIN control sets the input level to the channel, allowing matching to a wide range of line level sources. EQUALISER HF EQ Turn to the right to boost high (treble) frequencies, adding crispness to percussion from drum machines, synths and electronic instruments. Turn to the left to cut these frequencies, reducing hiss or excessive brilliance. The control has a shelving response giving 15dB of boost or cut at 12kHz. LF EQ Turn to the right to boost low (bass) frequencies, adding extra punch to synths, guitars and drums. 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 hypercardioid 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. 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 first time. 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. [. . . ] 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. Also there will be a chance of distortion as the signal overloads the channel and causes clipping. 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, and backgound hiss will be more noticeable. This is illustrated below: DIGITAL OUTPUT 24 Each of the models in the Spirit M Series is fitted with a digital output. [. . . ]