User manual SOUNDCRAFT SPIRIT LIVE 42

[. . . ] INTRODUCTION ongratulations on your purchase of a SPIRIT LIVE 42 mixer. Owning a Soundcraft console brings you the expertise and support of one of the industrys leading manufacturers and the results of over 22 years experience supporting some of the biggest names in the business. C Designed by engineers who understand the individual needs of musicians, SPIRIT LIVE 42 has been built to the highest standards using quality 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. [. . . ] 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 4 is normally POST-FADE, but may be altered globally to be PRE-FADE by pressing the AUX 4 PRE switch on the Master section. All pre-fade sends are normally POST-EQ, but may be selected to PRE-EQ by changing internal jumpers. Note that the sends are not affected by the position of the EQ switch All of the Aux Sends are muted when the MUTE switch is pressed. 8 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 (see below). 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. 9 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 (8 above) to route the channel signal proportionately to any of the selected busses. Page 11 10 1 FADER This 100mm 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. 11 MUTING All post-fade outputs from the channel may be muted by pressing the MUTE switch, and the associated LED illuminates to show that the channel is OFF. 2 3 4 Alternatively the channel may be selected to any one or more MUTE BUSES to provide grouped muting under the control of the MUTE masters on the far right-hand side of the console. In either case the mute status is shown by the LED. 12 PFL/PEAK When the PFL switch is pressed, 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 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 three points in the channel, immediately after the Hi-Pass Filter (Pre Insert), post Mid EQ and pre HF EQ, 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. 5 6 7 8 9 10 11 12 Page 12 STEREO INPUTS E ach Stereo Input section comprises two independent pairs of inputs. The Stereo Input (upper pair of jacks) feeds a full-facility input channel, very similar to the mono input. The lower pair of jacks are intended for a cassette or CD source, typically to provide background music before a performance and are fed to the stereo mix only and Aux 1 & 2. 13 CASS/CD INPUT SECTION 13 GAIN The GAIN switch provides two input sensitivities. The LO setting (switch released) should be selected for -10dBV semi-professional equipment such as CD players or cassette, and the HI setting (switch pressed) should be selected for -20dBV Hi-Fi equipment. Start with the LO setting if the source level is unknown. 14 15 16 17 14 AUXILIARY SENDS These controls route a mono sum of the input channel signal to Auxiliary busses 1 & 2. These are separate from the main outputs and can therefore provide additional outputs for foldback, echo units or extra loudspeaker `fills. The sends are derived before the LEVEL TO MIX control (Pre-fade) and are therefore not affected by the position of that control. This makes them particularly suitable for foldback or monitor feeds, which need to be controlled separately from the main P. A. These sends are not affected by the mute switching. 18 19 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. [. . . ] 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. the available signal range above the nominal level before clipping occurs. a technique used on unbalanced outputs to minimise the effect of hum and interference when connecting to external balanced inputs. a break point in the signal path to allow the connection of external devices, for instance signal processors or to another mixer. line level signals at a nominal level of -10 to +6dBu, usually coming from a low impedance source. [. . . ]