User manual SOUNDCRAFT SPIRIT FOLIO

[. . . ] SPIRIT FOLIO - A quick overview The Controls - The Mono Input Channel The Stereo Input Channel The Master Section Introduction Safety Precautions Initial Setting Up The Controls in More Detail Using Folio Typical Applications Stereo Public Address Stereo Recording Location Recording Glossary Technical Specifications System Block Diagram 1 3 5 7 9 9 10 11 16 16 17 17 18 19 20 MIC is for low level microphone signals such as vocals (Mono Inputs only) LINE is for higher level signals such as keyboards, guitars, drum machines and tapes You can listen to the signal from here on stereo HEADPHONES. PHNS M NTR L AUX AUX 1 2 L 11 9 STE 10 STE 12 M IX R M NTR R L L M IXINS R E TAPRETN R Along the CHANNEL STRIP controls adjust the GAIN , (to get the best quality signal and avoid overload) and the FILTER and EQUALISER change the frequency response to clean up or enhance the sound. The AUX SENDS let you set up a separate mix for artists FOLDBACK or to add EFFECTS PROCESSORS. PAN swings the signal to the LEFT or RIGHT of the stereo MIX output. The final MIX OUTPUT is taken from here to a suitable power amplifier and loudspeakers or to record the mix to a tape machine. You can listen to the signal on loudspeakers by taking the signal from the MONITOR OUTPUTS via a suitable power amplifier. The MASTER FADERS set the level of the combined signal from all of the input channels going to the amps and speakers. The CHANNEL FADER sets the level of the channel signal which is fed to the Master Section and adjusts the sound BALANCE between the different sources. Accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED signals. [. . . ] · Select TAPE RETN (Tape Return) and adjust TAPE RETURN LEVEL until the meters again read 0. There should not now be a significant difference in level between the mix output (TAPE RETN up) and playback (TAPE RETN down). SPIRIT FOLIO 10 THE CONTROLS IN MORE DETAIL MONO INPUT CHANNEL MIC INPUT The mic input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED low-level signals, whether from delicate vocals requiring the best low-noise performance or close-miked drum kits needing maximum headroom. Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. While you can use low-cost HIGH IMPEDANCE mics, you do not get the same degree of immunity to interference on the microphone cable and as a result the level of background noise may be higher. If you turn the PHANTOM POWER on (top right-hand side of the mixer) the socket provides a suitable powering voltage for professional condenser mics. The voltage on pins 2 & 3 of the XLR connector may cause serious damage. Unplug any mics if you want to use the corresponding LINE Input to avoid the load presented by the mic from affecting the Line Input gain. Use this input for sources other than mics, such as keyboards, drum machines, synths, tape machines or guitars. The input is BALANCED for low noise and immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as shown below, although you should then keep cable lengths as short as possible to minimise interference pick-up on the cable. Set the input level using the GAIN knob. Unbalanced Input 3-Pole Jack Balanced Hot (+ve) Cold (-ve) Gnd/Screen Tip Ring Sleeve Unbalanced Signal Gnd/Screen Gnd/Screen GAIN This knob sets how much of the source signal is sent to the rest of the mixer. Too high, and the signal will distort as it overloads the channel and causes clipping. Too low, and the level of any background hiss will be more noticeable and you may not be able to get enough signal level to the output of the mixer. This is shown in the diagram below: Setting the knob to the U mark gives unity gain for the LINE input. Note that some sound equipment, particularly that intended for domestic use, operates at a lower level (-10dBV) than professional equipment and will therefore need a higher gain setting to give the same output level. See Initial Setting Up on page 10 to learn how to set the GAIN correctly. Clipped Signal 100Hz HI-PASS FILTER Pressing this switch reduces the level of bass frequencies only, and is a real bonus for a such a small mixer. Use this in live PA situations to reduce stage rumble or popping from microphones. 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. 11 SPIRIT FOLIO EQUALISER The Equaliser (EQ) allows precise manipulation of the sound, particularly to improve the sound in live PA applications where the original signal is often far from ideal due to poor acoustics or restrictions on where to place microphones and where slight boosting or cutting of particular voice frequencies can really make a difference to clarity. The EQ allows enough control to improve, for instance, bad recordings or the precision to gently enhance vocal or live instrument tracks. There are three sections, HF, MID and LF 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. dB TYPICAL EQUALISER RESPONSE LF SWEPT MID HF 20. 0 BOOST HF EQ Turn to the right to boost high (treble) frequencies by up to 15dB, adding crispness to cymbals, vocals and electronic instruments. Turn to the left to cut these frequencies by up to 15dB, reducing hiss or over-emphasis of high-frequency consonants, which can occur with certain types of microphone. Set the knob in the centre-detented position when a flat response is required. 15. 0 10. 0 5. 0 0. 0 -5. 0 -10. 0 -15. 0 CUT -20. 0 20 100 Frequency/Hz 1k 10k 20k MID EQ There are two knobs which work together to form a SWEPT MID EQ. The lower knob provides 15dB of boost and cut, just like the HF EQ knob, but the frequency at which this occurs can be set by the upper knob over a range of 250Hz to 6kHz. [. . . ] Any interference is picked up equally by the two wires, but out of phase resulting in cancellation of the interference signal. the onset of severe distortion in the signal path, usually caused by the peak signal voltage being limited by the circuits power supply voltage. a ratio of two voltages or signal levels, expressed by the equation dB=20Log10 (V1/V2). (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. [. . . ]