User manual SOUNDCRAFT SERIES 2 8-1983

[. . . ] 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. Note that some sound equipment, particularly that intended for domestic use, operates at a lower level (-10dBV) than professional equipment and will therefore need a higher gain setting to give the same output level. See `Initial Set Up' on page 23 to learn how to set GAIN correctly. 6 7 100Hz HI-PASS FILTER Pressing this switch activates a steep 18dB per octave filter which reduces the level of bass frequencies only, and is a real bonus for a such a small mixer. Use this in live PA situations to clean up the mix, reducing stage rumble or `popping' from microphones. EQUALISER The Equaliser (EQ) allows fine manipulation of the sound, particularly to improve the sound in live PA applications where the original signal is often far from ideal and where slight boosting or cutting of particular voice frequencies can really make a difference to clarity. [. . . ] Use these inputs for sources such as keyboards, drum machines, synths, tape machines or processing units. The inputs are BALANCED for low noise and top quality from professional equipment, but you can use UNBALANCED sources by wiring up the jacks as shown in the "Wiring it Up" section earlier in this manual, although you should then keep cable lengths as short as possible. Mono sources may be used by plugging into the left jack only. 2 3 4 5 GAIN RETURNS RET-1/2/3/4 The GAIN control sets the level of the channel signal. These inputs are unbalanced on RCA phono connectors, and are intended for use with CD players, DAT machines or Hi-Fi equipment. Alternatively they may be used as simple effects returns or stereo instrument inputs. GAIN The GAIN control sets the input level to the channel, allowing matching to a wide range of line level sources. EQUALISER HF EQ Turn to the right to boost high (treble) frequencies, adding crispness to percussion from drum machines, synths and electronic instruments. Turn to the left to cut these frequencies, reducing hiss or excessive brilliance. Set the knob in the centre-detented position when not required. The control has a shelving response giving 15dB of boost or cut at 12kHz. LF EQ Turn to the right to boost low (bass) frequencies, adding extra punch to synths, guitars and drums. Turn to the left to reduce hum, boominess or improve a mushy sound. Set the knob to the centre-detented position when not required. The control has a shelving response giving 15dB of boost or cut at 60Hz. 6 AUX SENDS These are used to set up a separate mixes for FOLDBACK, EFFECTS or recording, and the combination of each the Aux Send is mixed to the respective Aux Output at the rear of the mixer. 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). AUX SENDS 1 AND 2 These are always PRE-FADE and therefore most appropriate for foldback or monitor mixes or external submix. AUX SEND 3 AND 4 These are always POST-FADE for effects sends, external submix (or for centre Voice cluster or mono Tape mix. 7 8 BALANCE This control sets the amount of the channel signal feeding the Left and Right MIX or SUB buses, allowing you to balance the source in the stereo image. This routes the AUX output signal to the MONITOR or PHONES, replacing the MIX signal. The METERS also switch from the MIX to display the PFL/AFL signal and the PFL/AFL LED lights to warn that a PFL or AFL switch is pressed. However, no amount of careful setting up can take account of the spontaneity and unpredictability of live performance. The mixer must be set up to provide `spare' control range to compensate for changing microphone position and the absorption effect of a large audience (different acoustic characteristics from sound check to show). MICROPHONE PLACEMENT Careful microphone placement and the choice of a suitable type of microphone for the job is one of the essentials of successful sound reinforcement. The diagrams on the left show the different pick-up patterns for the most common types of microphone. Cardioid microphones are most sensitive to sound coming from in front, and hypercardioid microphones offer even greater directivity, with a small amount of pickup behind the microphone. These types are ideal for recording vocalists or instruments, where rejection of unwanted sounds and elimination of feedback is important. The aim should be to place the microphone as close as physically possible to the source, to cut out unwanted surrounding sounds, allow a lower gain setting on the mixer and avoid feedback. Also a well-chosen and well-placed microphone should not need any appreciable equalisation. There are no exact rules - let your ears be the judge. In the end, the position that gives the desired effect is the correct position! INITIAL SET UP Once you have connected up your system (see the sections on connection and wiring earlier in this manual for guidance) you are ready to set initial positions for the controls on your mixer. The front panel drawing on page 8 shows typical initial control positions which is a useful guide to setting up the mixer for the first time. Set up individual input channel as follows: · Connect your sources (microphone, keyboard etc. ) to the required inputs. [. . . ] Also there will be a chance of distortion as the signal overloads the channel and causes clipping. If the gain is set too low, you will not find enough gain on the faders to bring the signal up to an adequate level, and backgound hiss will be more noticeable. This is illustrated below: DIGITAL OUTPUT 24 Each of the models in the Spirit M Series is fitted with a digital output. The output conforms to the S/PDIF standard. [. . . ]