User manual SOUNDCRAFT FOLIO SX

[. . . ] PAGE 15 PAGE 15 PAGE 14 PAGE 15 PAGE 9 PAGE 9/12 PAGE 9 PAGE 9 PAGE 10 PAGE 10 PAGE 10 PAGE 11 Page 1 PAGE 14 PAGE 14 PAGE 15 PAGE 11 Page 2 INTRODUCTION Thank you for purchasing a SPIRIT FOLIO SX mixer, brought to you with pride by the SPIRIT team of Andy, Colin, Chris, James, Simon, Mukesh, Graham, Martin, Paul, Matt and Peter, with the support of many others - we hope you will have as much fun using it!Owning a SPIRIT console brings you the expertise and support of one of the industrys leading manufacturers and the results of over 23 years experience supporting some of the biggest names in the business. Built to the highest standards using quality components and new surface mount technology, FOLIO SX is designed to be as easy to use as possible, but some time spent NOW, looking through this manual and getting to know your new mixer will give you lots of helpful tips and confidence, away from the pressures of a live session. Dont be afraid to experiment to find out how each control affects the sound - this will only extend your creativity and help you to get the best from your mixer. Installation and Safety Precautions Installing the Mixer C orrect connection and positioning of your mixer is important for successful and trouble-free operation. [. . . ] For Effects it is useful for the signal to fade up and down with the fader (this is called POST-FADE), but for Foldback or Monitor feeds it is important for the send to be independent of the fader (this is called PRE-FADE). 12 AUX SEND 1 This is always PRE-FADE and therefore most appropriate for foldback or monitor mixes. Page 12 AUX SEND 2 1 This is normally POST-FADE, and would typically be used as an effects send, but may be switched globally to PRE-FADE using the POST/PRE switch on the Master section, providing a second foldback or monitor send if required. 4 AUX SEND 3 This is always POST-FADE. 8 BALANCE This control sets the amount of the channel signal feeding the Right and Left MIX or SUB buses, allowing you to balance the source in the stereo image. When the control is turned fully right or left you feed only that side of the signal to the mix. Unity gain is provided by the control in the centre-detented position. 2 3 5 9 ON All outputs from the channel except inserts are muted when the ON switch is released and enabled when the switch is down. 10 6 MIX / SUB The channel signal may be routed in stereo to either the main MIX (switch UP) or SUB buses (switch DOWN). The left/right balance is set by the BAL control (see above). 11 FADER The 100mm FADER gives you smooth control of the overall signal level in the channel strip, allowing precise balancing of the various source signals being mixed to the Master Section. It is important that the input level is set correctly to give maximum travel on the fader which should normally be used at around the `0 mark. See the `Initial Set Up section on page 16 for help in setting the right level. 7 12 PFL When the latching PFL switch is pressed, the pre-fade signal is fed in mono to the headphones, control room output and meters, where it replaces the selected monitor source (MIX, SUB or 2TK). The PFL/AFL LED on the Master section illuminates to warn that a PFL is active. The Left and Right meters display the PFL signal in mono. This is a useful way of listening to any required input signal without interrupting the main mix, for making adjustments or tracing problems. 8 9 10 11 12 Page 13 Master Section 1 PHANTOM POWER Many professional condenser mics need PHANTOM POWER, which is a method of sending a powering voltage down the same wires as the mic signal. Press the switch to enable the +48V power to all of the MIC inputs. The adjacent LED illuminates when the power is active. TAKE CARE when using unbalanced mics which may be damaged by the phantom power voltage. Balanced dynamic mics can normally be used with phantom power switched on (contact your microphone manufacturer for guidance) 1 2 3 4 5 6 Mics should always be plugged in, and all output faders set to minimum before switching the Phantom Power ON to avoid damage to external equipment 2 3 POWER INDICATOR This LED lights to show when power is connected to the console. 7 BARGRAPH METERS The three colour peak reading BARGRAPH METERS normally follow the Monitor selection to show the level of the MIX RIGHT and MIX LEFT outputs, giving you a constant warning of excessive peaks in the signal which might cause overloading. Aim to keep the signal just touching the amber segments at peak levels for best performance. Similarly, if the output level is too low and hardly registering at all on the meters, the level of background noise may become significant. Take care to set up the input levels for best performance. When any PFL switch is pressed, the meters switch to show the selected PFL signal on both meters, in mono. 8 9 11 10 4 2TK LEVEL The rotary control sets the level of the 2 Track Tape input, which is routed to the headphones, monitor outputs and meters. These inputs, on RCA phono connectors are an ideal to connect the playback of a tape machine for monitoring. 5 MIX/SUB When this switch is released the meters and headphones monitor the Mix signal. Alternatively, pressing the switch selects the SUB mix as the monitor source. 6 2TK Pressing the 2TK switch selects the 2TK input as the monitor source, instead of the MIX or SUB signal (see MIX/SUB above). 7 MONITOR & PHONES LEVEL This control sets the output level to the MONITOR LEFT & RIGHT outputs. If HEADPHONES are plugged into the PHNS jack the Monitor outputs are cut off, and the knob then sets the headphone listening level. When the PHONES are unplugged the Monitor output is restored. 8 AUX MASTERS Each Aux output has a master output level control and associated AFL switch. Page 14 AUX AFLs Just like the PFL switches on the channels, you can monitor each AUX output by pressing the AFL switch. This routes the AUX output signal to the MONITOR or PHONES, replacing any existing signal (normally the Monitor receives either MIX, SUB or 2TK, see above). [. . . ] an equaliser response curve affecting only a band of frequencies i. e. a function that allows the operator to monitor the pre-fade signal in a channel independently of the main mix. a term used to describe the relationship of two audio signals. In-phase signals reinforce each other, out-of-phase signals result in cancellation. [. . . ]