User manual SOUNDCRAFT SPIRIT FOLIO 4

[. . . ] Introduction Safety Precautions Connections to Folio 4 The Controls at a glance - Mono Input Channel Stereo Input Channel Groups, Returns & Aux Masters Master Section Initial Setting Up Setting Up for Multitrack Recording The Controls in More Detail Stereo PA Applications Stereo PA with Centre Feed Stereo Recording 4-Track Recording Glossary Technical Specifications System Block Diagram 1 1 2 3 5 7 9 11 12 13 20 21 22 23 24 25 27 Introduction Thank you for buying a SPIRIT FOLIO 4 mixer, brought to you with pride by the SPIRIT team of Peter, Graham, Malcolm, Martin, Peter, Brian, George, Colin, Tony, James, Mukesh, Andy, Candy and Simon. Owning a SPIRIT console brings you the expertise and support of one of the industry's leading manufacturers and the results of over 20 years experience supporting some of the biggest names in the business. Built to the highest standards using quality components, FOLIO 4 has evolved from the acclaimed FOLIO mixer with the addition of 4 Audio Subgroups, 8 Auxiliary Sends, Stereo Effects Returns, Dual VU/PPM Metering and comprehensive monitoring. We have designed FOLIO 4 to be an instinctive and simple console to operate, but a few minutes spent reading this manual will help you to become familiar with the product away from the pressure of a live session, and allow you to gain full benefit from the superb performance which it offers. [. . . ] Set the input level using the GAIN knob. Unbalanced Input 3-Pole Jack Balanced Hot (+ve) Cold (-ve) Gnd/Screen Tip Ring Sleeve Unbalanced Signal Gnd/Screen Gnd/Screen GAIN This knob sets how much of the source signal is sent to the rest of the mixer. Too high, and the signal will distort as it overloads the channel (shown by illumination of the PEAK LED) and causes clipping. 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. This is shown in the diagram below: Setting the knob to the `U' mark gives unity gain for the LINE input. 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 Setting Up' for guidance on how to set the GAIN correctly. Clipped Signal Noise If the signal level is too high, clipping distortion may occur. 100Hz HI-PASS FILTER Signal Pressing this switch enables a 12dB/octave Hi-Pass Filter which reduces the level of bass frequencies only, and is a real bonus on a compact mixer. Use this in live PA situations to reduce stage rumble or `popping' from microphones. Noise If the signal level is too low it may be masked by the noise. 13 SPIRIT FOLIO 4 INSERT The pre-EQ Insert is a break point in the channel signal path. It allows the signal to be taken out of the mixer, through an external piece of equipment and then back into the mixer to continue through to the final output. The Insert is a 3-pole `A' gauge jack socket, which is normally bypassed. When a jack is inserted, the signal path is broken at a point just after the Hi-Pass Filter, but before the EQ section. The signal from the channel appears on the TIP of the plug and is returned on the RING. The insert point allows limiters, compressors and other signal processing units to be added as required to particular channels and, because it is located pre-EQ, noise generated by the external equipment may be reduced by a small amount of H. F. cut in the Equaliser. Signal Send Signal Return Gnd/Screen Tip Ring Sleeve dB TYPICAL EQUALISER RESPONSE LF SWEPT MID HF EQUALISER 20. 0 BOOST 15. 0 The Equaliser (EQ) allows precise manipulation of the sound, 10. 0 5. 0 particularly to improve the sound in live PA applications where the 0. 0 original signal is often far from ideal due to poor acoustics or restrictions on where to place microphones and where slight -5. 0 boosting or cutting of particular voice frequencies can really make a -10. 0 difference to clarity. The EQ allows enough control to improve, for -15. 0 instance, bad recordings or the precision to gently enhance vocal CUT-20. 0 20 1k 100 Frequency/Hz or live instrument tracks. There are three sections, HF, MID and LF giving the sort of control usually only found on much larger mixers. The EQ knobs can have a dramatic effect, so use them sparingly and listen carefully as you change any settings so that you get to know how they affect the sound. 10k 20k HF EQ Turn to the right to boost high (treble) frequencies by up to 15dB at 12kHz, adding crispness to cymbals, vocals and electronic instruments. Turn to the left to cut these frequencies by up to 15dB, reducing hiss or other unwanted high-frequency components in the signal, which can be emphasised by certain types of microphone. Set the knob in the centre-detented position when a flat response is required. MID EQ There are two knobs which work together to form a SWEPT MID EQ. The lower knob provides 15dB of boost and cut, just like the HF EQ knob, but the frequency at which this occurs can be set by the upper knob over a range of 250Hz to 6kHz. 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 at 60Hz, adding warmth to vocals or extra punch to synths, guitars and drums. [. . . ] reverb, normally as a mix of the original (`dry') sound and the treated version. a device that allows the boosting or cutting of selected bands of frequencies in the signal path. the `howling' sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal. a feed sent back to the artistes via loudspeakers or headphones to enable them to monitor the sounds they are producing. [. . . ]