User manual SOUNDCRAFT SPIRIT FOLIO FX8

[. . . ] 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 FOLIO FX8 is available in 16, 24, 32 & 40 channel frame sizes. All frame sizes incorporate removeable side cheeks to enable the console to be fitted compactly in a flight case. SPIRIT FOLIO FX8 incorporates circuit technology identical to that used on some of the most sophisticated Soundcraft consoles, including new surface mount component techniques. [. . . ] 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. Set the knob fully anticlockwise as a preliminary position for LINE level sources. An individual channel meter monitors the input level at the Insert point, making it easy to spot input overload. Page 10 12 4 HI-PASS FILTER Pressing this switch inserts an 18dB per octave 100Hz Hi-Pass Filter in the signal path, immediately after the input amplifier. This is particularly useful in live PA situations to reduce stage rumble or popping, and its use is strongly recommended, even on male vocals. It can also be used for filtering out low frequency hum. 5 EQUALISER The Equaliser(EQ) comprises four sections. The upper control provides H. F. (treble) boost and cut of +/-15dB at 13kHz, and the lower control provides L. F. The centre two pairs of knobs are arranged as HI and LO MID frequency sections, with 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. These MID sections, with a combined frequency range from 80Hz to 13kHz are particularly versatile for vocals, enabling particular characteristics of the singer to be lifted or suppressed very precisely. Set the cut/boost control of each section to the centre-detented position when not required. dB LF Section dB HF Section 20. 0 15. 0 10. 0 5. 0 0. 0 -5. 0 -10. 0 -15. 0 -20. 0 20 100 1k 10k 20k 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 Frequency/Hz dB LMF Section dB HMF Section 20. 0 15. 0 10. 0 5. 0 0. 0 -5. 0 -10. 0 -15. 0 -20. 0 20 100 1k 10k 20k 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 Frequency/Hz 6 EQ SWITCH The EQ switch bypasses the Equalisation section when released. Alternately pressing and releasing the switch provides an easy way of comparing the equalised and unequalised signals. 7 AUXILIARY SENDS These controls route the input channel signal to any one or more Auxiliary buses. These are separate from the main outputs and can therefore provide additional outputs for foldback, echo units or extra loudspeaker `fills. mix. 18 15 PFL When the PFL switch is pressed, a mono sum of the pre-fade signal is fed to the headphones and L & R meters, where it replaces the normal Mix L/R signal. The PFL/AFL ON 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 section 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. 19 20 16 LEVEL TO MIX This control sets the level of the stereo signal to the stereo MIX. It is therefore important that the knob should be left fully anticlockwise when not required. 21 STEREO INPUT SECTION 17 GAIN This knob allows you to match the input level to suit a wide variety of professional, semiprofessional and hi-fi sources. Start with a low setting, especially for professional equipment, checking the level on the meters using PFL, and increase it if you cannot reach an adequate signal level with the fader at maximum. 22 23 18 24 EQUALISER The Equaliser section has HF and LF shelving controls, each with a range switch to provide two centre frequencies for each control. Turn the HF knob to the right to boost high (treble) frequencies by up to 15dB at a choice of 6kHz or 12kHz centre 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. 25 Page 13 Turn the LF knob to the right to boost low (bass) frequencies by up to 15dB at a choice of 60Hz or 120Hz centre frequencies, adding extra punch to synths, guitars and drums. Set both knobs in the centre-detented position when not required. 19 EQ SWITCH The EQ switch bypasses the Equalisation section when released. Alternately pressing and releasing the switch provides an easy way of comparing the equalised and unequalised signals. 20 13 AUXILIARY SENDS These controls route a mono sum of the input channel signal to any one or more Auxiliary buses. 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 normally derived after the EQ section and before the channel fader (PRE FADE, POST EQ), and are therefore unaffected by the fader position and mute status. [. . . ] a device that allows the boosting or cutting of selected bands of frequencies in the signal path. a linear control providing level adjustment 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. the variation in level of the signal Page 26 balance balanced clipping DAT dB (decibel) direct output equaliser fader feedback foldback frequency response gain/input sensitivity (sub) group headroom highpass filter impedance balancing insert an output into which a group of signals can be mixed. [. . . ]