User manual SOUNDCRAFT SPIRIT LX7

[. . . ] It is recommended that all maintenance and service on the product should be carried out by Spirit By Soundcraft or its authorised agents. Spirit By Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or repair by unauthorised personnel. Harman International Industries Ltd. , Cranborne House, Cranborne Industrial Estate, Cranborne Road, Potters Bar, Hertfordshire, EN6 3JN, U. K. Tel: Fax: +44 (0) 1707 665000 +44 (0) 1707 660461 INTRODUCTION T hanks for purchasing a SPIRIT LX7 mixer. [. . . ] 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. An unbalanced INSERT is provided which 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 continue through to the final output. The Insert is a 3-pole 1/4 `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. Y cables are required for connection to and from insert points / limiters, compressors etc. 4 5 6 1 7 8 INPUT SENSITIVITY 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 (shown by illumination of the PEAK LED), 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. 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. 9 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. STEREO INPUTS/RETURNS 16 10 STEREO RETURNS Two STEREO RETURNS are provided to allow external equipment to be returned to the mixer and routed to the stereo Mix without using up valuable input channels. These are an ideal way of mixing in the output of a reverb or effects unit, additional keyboards or the output of other consoles used as sub-mixers. A mono return signal may be plugged into the Left socket only of each pair to be fed equally to Left and Right busses. The knobs should turned fully anticlockwise when not required. 10 11 STEREO INPUTS 11 LO/HI The LO/HI switch provides two input sensitivities. The LO setting (switch released) should be selected for +4dBu professional equipment, and the HI setting (switch pressed) should be selected for -10dBV semi-professional equipment. Start with the LO setting if the source level is unknown. 12 12 13 EQUALISER The Equaliser section has HF and LF shelving controls. Turn the HF knob to the right to boost high (treble) frequencies by up to 15dB, adding crispness to percussion from drum machines, synths and electronic instruments. Turn to the left to cut these frequencies, reducing hiss or excessive brilliance. Turn the LF knob to the right to boost low (bass) frequencies by up to 15dB, adding extra punch to synths, guitars and drums. Set both knobs in the centre-detented position when not required. 14 15 17 13 AUXILIARY SENDS These controls route a mono sum of the input channel signal to Auxiliary busses 1 & 2. [. . . ] an input specifically designed to receive the output of effects or other external processing devices the operator speaking to the artistes or to tape via the auxiliary or group outputs. a method of audio connection which uses a single wire and the cable screen as the signal return. This method does not provide the noise immunity of a balanced input (see above) the phantom power supply, available at the channel mic inputs, for condenser microphones and active DI boxes. mute groups pan (pot) peaking PFL (pre-fade listen) polarity post-fade pre-fade rolloff shelving spill stereo return talkback transient unbalanced +48V Page 22 TYPICAL SPECIFICATIONS NOISE Measured RMS, 22Hz to 22kHz Bandwidth Line inputs selected at unity gain and terminated 150R MIX AUX E. I. N. routed to Mix, input faders down, masters up Output at max. , input faders down Microphone Input, Maximum Gain, terminated 150R @ 1kHz Typical Channel Fader Attenuation Typical Aux Attenuation Typical Pan Isolation Adjacent Channel Crosstalk FREQUENCY RESPONSE 20Hz to 20kHz T. H. D. [. . . ]