User manual SOUNDCRAFT MONITOR 2

[. . . ] Featuring INTRODUCTION Thank you for purchasing a Monitor 2 mixer, brought to you with pride by the SPIRIT team of Andy, Colin, Chris, James, Simon, Mukesh, Graham, Martin, Paul, Tony and Peter, with the support of many others - we hope you will have as much fun using it as we did building it! SAFETY PRECAUTIONS For your own safety and to avoid invalidation of the warranty please read this section carefully. The SPIRIT MONITOR 2 mixer must only be connected through the Power Supply supplied. The wires in the mains lead are coloured in accordance with the following code: Earth: Green and Yellow (Green/Yellow - US) Neutral: Blue (White - US) Live: Brown (Black - US) As the colours of the wires in the mains lead may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: l The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is marked with the letter E or by the earth symbol. l The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N. [. . . ] Rotate the control fully anticlockwise when the filter is not required. A sub-grouping facility is included on outputs 1-10 to allow the console to be used as a FOH mixer. Pressing the 11-12 switch routes the post-fade, post-insert signal to the Monitor 11/12 busses, enabling these outputs to be used as a stereo final mix. The PAN control positions the monitor signal in the stereo image (outputs 1-8 only). Final mix level is controlled by the 11-12 Monitor Fader. On the stereo output pairs (9/10 and 11/12) the HOUSE control injects an ambience signal picked up from the stereo House Mic inputs into the monitor outputs, which is particularly important when feeding in-ear monitors. A separate monitor mix may be created for the Engineers Wedge monitor or Headphones. The POST EQ/PRE EQ switch selects the source for the mix as before or after the Graphic EQ insert point, and will normally be post-EQ (switch released). Rotate the MNTR control fully anticlockwise when not required. When the latching SOLO switch is pressed, the post- or pre-Graphic EQ signal (as selected by the POST EQ/PRE EQ switch) is fed to the headphones and engineers wedge outputs, replacing the selected wedge source and illuminating the SOLO/PFL LED on the Master section. The adjacent red LED lights to identify the active solo. This is a useful way of listening to any required output signal without interrupting any of the monitor sends, for making adjustments or tracing problems. In the case of outputs 1-8 the SOLO signal will be mono to left and right, while 9/10 and 11/12 are fed as stereo. 3-colour peak reading BARGRAPH METERS are provided to monitor the final output, giving you a constant warning of excessive peaks in the signal which might cause overloading. Aim to keep the signal within 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. The source for the meter may be selected as PRE or POST the Graphic EQ insert point, as set by the adjacent METER switch. With the switch released the meter will be fed from the POST-EQ signal. FOH Facility HOUSE MUTE HIGH PASS FILTER (1-8 only) MNTR (Monitor - Engineers Wedge) 9 10 8 7 6 1 2 3 4 60Hz Filter (9-12 only) A fixed 60Hz high-pass filter is provided on outputs 9/10 and 11/12, which might typically be used for in-ear monitor transmitters, effects sends or FOH PA. The filter helps to clean up the mix and reduce large low frequency transients. Pressing the T/B (Talkback) switch routes the talkback mic signal to the monitor output and simultaneously dims the monitor signal to allow the engineers voice to be heard over the mix. The Talkback level is set by the T/B SENS control on the Master section. Talkback is disabled when the DIM switch is pressed. [. . . ] If you cannot achieve satisfactory input level setting without feedback, check microphone and speaker placement and repeat the exercise. If feedback persists, it may be necessary to use a Graphic Equaliser to reduce the system response at particular resonant frequencies. Note: The initial settings should only be regarded as a starting point for your mix. It is important to remember that many factors affect the sound during a live performance, for instance the channel EQ settings or even the size of the audience! [. . . ]