User manual SOUNDCRAFT LIVE RANGE BROCHURE

[. . . ] BEYOND LIVE. . . 324 LIVE LIVE MIXING CONSOLES 32 Input Live Digital Mixing Console Soundcraft's Spirit range of live and powered mixing consoles are just part of their extensive range of Professional Audio Equipment. In the studio as well as on stage, Soundcraft's designs have become synonymous with versatility, innovation and sonic excellence. SPIRIT 8 DIGITAL 328XD 8-Bus Professional Mixing Console 32 Channel Digital Mixing Console On the MONITOR 2 Since the launch of the original Spirit Folio in 1992, the Folio Range of mixers has set the standards in the field of compact mixers. Ideal for both studio and live applications, FX16, FX8, SX, F1 and Notepad still represent the pinnacle in compact mixers for usability, sound quality and value for money. 12-Bus Stage Monitor/ FOH/Theatre Mixer STUDIO ROAD and in the STUDIO Professional Multitrack Recording Mixing Consoles ABSOLUTE Since its launch in 1998, the multi-award-winning Digital 328 console, with its ground breaking easy-to-use interface, has revolutionized low cost digital mixing in studios and live applications. Soundcraft's award-winning range of nearfield studio monitors ­ Absolute Zero, Absolute 2 and Absolute 4P ­ have taken the Soundcraft name into top studios such as The Roundhouse and Ridge Farm, and won many friends in the production world. John Leckie and Tony Tavenor are just two internationally acclaimed producers to use Soundcraft monitoring. LIVE 42 A Range of Professional Nearfield Monitors 4-Bus Professional Mixing Console FX16 Around the SPIRIT M SERIES Soundcraft is committed to excellence in audio. [. . . ] The stereo switch combines the Matrix Outputs into a Stereo pair. Input Sensitivity Soundcraft's low noise UltraMic+TM padless preamp provides up to 66dB of gain range, allowing the connection of items such as line level sources, active DI boxes and the most sensitive condenser mics. The custom designed gain control provides a uniform increase in gain and smooth response across the entire range. Pan Control Determines the position of the signal in the stereo image. Panning hard left or right allows the signal to be routed to only odd or even groups, or the L or R bus separately. TalkBack Section Allows the engineer to talk to the musicians through Auxes 1-4, the Mix or the Groups. Level control and mic XLR provided. EQ Section A two band fixed EQ section with 15dB of boost and cut is provided. High frequency is selectable between 6 and 12kHz, and the LF between 80 and 120Hz, for extra flexibility. PFL Switch Each group can be soloed pre-fader for monitoring. The PFL light below each switch illuminates when a group PFL is active. Matrix Masters These control the overall level of the Matrix Outputs. Routing Input signals may be routed to Mix, or to the four Groups. EQ Section A 4 band EQ includes two swept mid frequencies with 15dB of cut and boost in the ranges 550Hz­13kHz and 80Hz­1. 9kHz. Two shelving controls at 12kHz and 80Hz provide 15dB of cut and boost for high and low frequencies. The frequency ranges of each band overlap, allowing the simultaneous cut and boost of adjacent frequencies. Mute Switch and Groups The Mute switch mutes all channel outputs. Alternatively, a channel can be assigned to one of four Mute Groups. These groups allow a combination of open mic or line inputs to be muted ideal for scene-setting in theatre applications or for multi-band performances. Aux Section The Aux section is similar to the mono inputs' except that Auxes 1, 2 and 3 are Pre-Fade, Post-EQ. Master Faders 100mm faders set the final level of the Mix Outputs. Group Faders 100mm faders control Group levels. The Groups can be routed to Mix, or assigned as mono pairs. Aux Masters For controlling the master levels of each aux bus. Each Master can be soloed after the fader to monitor levels. Aux 4 can be switched Pre-Fade globally by pressing the Aux 4 PRE switch. Balance Sets the relative levels of the Left and Right inputs. Routing Input signals may be routed to Mix, or to the four Groups. Pre Fade Listen When pressed, the PFL switch sends a Pre-Fade solo to the headphones and the L & R meters for setting and monitoring gain levels: the main mix output is unaffected. The PFL LED glows when a solo is active, otherwise it acts as a peak indicator. PFL/AFL LED Indicates if any PFL or AFL has been activated. High Pass Filter A steep 18dB per Octave High Pass Filter at 100Hz is ideal for minimising on-stage rumble and mic popping. Mute Switch and Groups The Mute switch mutes all channel outputs. Alternatively, a channel can be assigned to one of four Mute Groups. These groups allow a combination of open mic or line inputs to be muted - ideal for scenesetting in theatre applications or for multi-band performances. Headphones Level Sets the level of the headphones. Mono Check This sums the L & R outputs allowing checks for phasing problems. 100mm Fader Custom-built 100mm long throw faders ensure smooth, precise control over levels. Normal operating position is at zero with an extra 10dB available if required. Mute Masters Pre Fade Listen When pressed, the PFL switch sends a Pre-Fade solo to the headphones and the L & R meters for setting and monitoring gain levels: the main mix output is unaffected. The PFL LED glows when a solo is active, otherwise it acts as a peak indicator. ACCESSORIES AND EXTRAS Flightcasing Live 42's side panels can be easily removed to save space when flight case mounting is required. Provide muting control over any channels that have been assigned to one of the four Mute busses. Phones Socket Suitable for use with headphones having an impedance of 200 Ohms or higher. Power LED Indicates when Live 42 is powered up. CONNECTOR PANEL Dustcover Option To protect Live 4 from dust, dirt and minor spillages when not in use. 2 100mm Fader Custom-built 100mm long throw faders ensure smooth, precise control over levels. Normal operating position is at zero with an extra 10dB available if required. Power Input An external power supply unit minimises mains hum. See page 47 for details. FULL FEATURE DESCRIPTIONS ­ PAGES 5 TO 8 SPECIFICATIONS ­ PAGE 24 BLOCK DIAGRAM ­ PAGE 24 22 23 LIVE 42 SPECIFICATIONS 87. 5MM (3. 44") SPIRIT M SERIES HIGH PERFORMANCE COMPACT MIXERS MAIN FEATURES Frequency Response 20Hz to 20kHz THD -10dBu Input routed to Mix, +20dBu out @ 1kHz CMRR Typical at max gain @ 1kHz Typical at any gain @ 50Hz Input & Output Impedances Microphone Input Line Input Stereo Input Cass/CD Input Stereo Return Input & Output Levels Mic/Line Input Maximum Level Stereo Input Cass/CD Input Stereo Return Nominal Input for + 4dBu at Mix Output, level at `7' -1dB 12 CHANNEL 685MM (27") 16 CHANNEL 845MM (33. 3") 24 CHANNEL 1101MM (43. 3") 32 CHANNEL 1362MM (53. 6") 40 CHANNEL 1616MM (63. 6") PACKED WEIGHT: 12ch = 17. 4kg (38. 3lbs) 16ch = 21. 4kg (47. 1lbs) 24ch = 28kg (61. 6lbs) 32ch = 34. 8kg (76. 6lbs) 40ch = 41. 8kg (92lbs) 590. 5MM (23. 44") Noise Measured RMS, 22Hz to 22kHz Bandwidth. Line inputs selected at unity gain and terminated 150 Mix 26 Inputs routed to Mix, faders at unity, muted -82dBu Mix Faders down -97dBu Aux 26 Inputs routed, output at max, input faders down -84dBu Direct Output Input to Direct Output @ unity gain -87dBu Input to Direct Output @ 40dB gain -77dBu Matrix Output Matrix Output at max, Sends down -95dBu EIN Microphone Input, Maximum Gain, terminated 150R -129dBu Crosstalk Wide Band except where stated Typical Channel Fader Attenuation >80dB Typical Aux Attenuation >80dB Typical Pan Isolation >70dB Adjacent Channel Crosstalk >85dB 100dB @ 1kHz Effective grounding eliminates noise and crosstalk 3-band EQ with two swept mid bands Integrated S/PDIF digital output High quality, linear mic preamps with smooth gain control <0. 006% -85dB -65dB 1. 8k 10k 8. 6k 12. 8k 19k +28dBu +25dBu +18dBu +22dBu In a world full of cheap compact mixers, Soundcraft has achieved something exceptional with the Spirit M Series. Suited to a wide range of live sound applications, the Spirit M Series delivers a greatsounding, reliable performance, gig after gig, mix after mix. [. . . ] -30dBu, +14dBu at output <0. 005% Inputs Mic Input Input Impedance 1. 8k Max. Mic Gain to output 68dB Line Input Input Impedance 20k Max. Mic gain to output +68dB Stereo Input Input Impedance 20k Output Max. Output (typical) +21dBu Connectors Mic (Bal or unbal) XLR Line/Instrument (Bal or unbal) Jack* Stereo Input, Tape In (Unbal), Monitor Amp Out RCA Phono FX Return (Bal or unbal) Jack* Master Mix Out Impedance-Balanced Jack* FX Send Impedance-Balanced Jack* Headphone Stereo Jack* * All Jacks are 3-pole TRS 'A' gauge POWERED MIXER APPLICATIONS FX Ret Level Sets the level of the signal returning from an effects unit. MASTER SECTION Master Mix (Out) Impedance-balanced 1/4" jacks take the combined "mix" of all sound sources out from Powerpad to a stereo mastering device such as a tape machine for recording the mix. [. . . ]