User manual SOUNDCRAFT SPIRIT FOLIO LITE

[. . . ] Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. You can use Accepts 3-pole `A' gauge (TRS) jacks. Use this input for sources other than mics, such as keyboards, drum machines, synths, tape machines or guitars. The input is BALANCED for low noise and immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as shown on page 11, although you should then keep cable lengths as short as possible. Unplug anything in the MIC input Set the input low-cost HIGH IMPEDANCE mics, but the level of background noise will be higher. [. . . ] · Connect any effects required using Aux 2, and return them to the mixer on unused Line inputs to allow the effect to be balanced with the original source. It is important to match the input and output levels of your mixer and recording device to avoid distortion and create the best possible recording. Set up the mixer and recorder using the inbuilt oscillator in the following way: · Press OSCILLATOR TO MIX and raise the Master Faders until the bargraph meters just read 0 (amber LEDs), corresponding to a nominal +4dB output level. · Adjust the input level on your recording machine to read zero (conventional tape or cassette) or -12 (if using a DAT recorder, especially if no compressor is included in the mixer output path) · Record between 10 and 30 seconds of oscillator tone on both tape channels at the beginning of the tape. This is a standard procedure and provides a means of checking the replay level whatever machine is used for playback. · Select TAPE RETN (Tape Return) and adjust TAPE RETURN LEVEL until the meters again read 0. · Release TAPE RETN to listen once again to the mix output. There should not now be a significant difference in level between the mix output (TAPE RETN up) and playback (TAPE RETN down). SPIRIT FOLIO LITE LITE 10 THE CONTROLS IN MORE DETAIL MONO INPUT CHANNEL MIC INPUT The mic input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED low-level signals, whether from delicate vocals requiring the best low-noise performance or close-miked drum kits needing maximum headroom. Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. While you can use low-cost HIGH IMPEDANCE mics, you do not get the same degree of immunity to interference on the microphone cable and as a result the level of background noise may be higher. If you turn the PHANTOM POWER on (top right-hand side of the mixer) the socket provides a suitable powering voltage for professional condenser mics. This allows some truly creative improvement of the signal in live situations, because this mid band covers the range of most vocals. Listen carefully as you use these controls together to find how particular characteristics of a vocal signal can be enhanced or reduced. Set the lower knob to the centre-detented position when not required. LF EQ Turn to the right to boost low (bass) frequencies by up to 15dB, adding warmth to vocals or extra punch to synths, guitars and drums. Turn to the left to cut low frequencies by up to 15dB for reducing hum, stage rumble or to improve a mushy sound. Set the knob to the centre-detented position when not required. AUX SEND 1 This is used to set up a separate mix for FOLDBACK, EFFECTS or recording, and the combination of all the Aux 1 Sends is mixed to the Aux 1 Output at the rear of the mixer. The controls are specially chosen to give a particularly smooth control range at the lower end of the scale where it is most needed - quite unique on a mixer of this type. For Effects it is useful for the Aux Send 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 so that, for instance, the mix to artists headphones is not affected by changes in fader level (this is called PRE-FADE). The Master Section AUX1 PRE switch allows you to switch from pre- to post-fade across the whole mixer as required. Leave the knob turned down when not in use. AUX SEND 2 This is similar to the Aux Send 1 control, but is always POST-FADE. PAN This control sets the amount of the channel signal feeding the Right and Left MIX outputs, allowing you to move the source smoothly across the stereo image. When the control is turned fully right or left you are able to place the signal at unity gain to either left or right of the output. FADER The linear 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. You get most control when the input GAIN is set up correctly, giving a normal fader position around the 0 mark, generous control range below and some gain in hand above the mark when you need that little bit extra. [. . . ] a ratio of two voltages or signal levels, expressed by the equation dB=20Log10 (V1/V2). Adding the suffix u denotes the ratio is relative to 0. 775V RMS. (direct injection) the practice of connecting an electric musical instrument directly to the input of the mixing console, rather than to an amplifier and loudspeaker which is covered by a microphone feeding the console. the use of devices to alter or process the sound to add special effects e. g. [. . . ]