User manual SOUNDCRAFT SPIRIT LX7

[. . . ] It is recommended that all maintenance and service on the product should be carried out by Spirit By Soundcraft or its authorised agents. Spirit By Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or repair by unauthorised personnel. Harman International Industries Ltd. , Cranborne House, Cranborne Industrial Estate, Cranborne Road, Potters Bar, Hertfordshire, EN6 3JN, U. K. Tel: Fax: +44 (0) 1707 665000 +44 (0) 1707 660461 INTRODUCTION T hanks for purchasing a SPIRIT LX7 mixer. [. . . ] 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 1/4 `A gauge Jack Socket, which is normally by-passed. When a jack plug 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 input channels and because it is located PRE EQ, noise generated by the external equipment may be reduced by a small amount of H. F. Y cables are required for connection to and from insert points / limiters, compressors etc. 4 5 6 1 7 8 INPUT SENSITIVITY 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. Set the knob fully anticlockwise as a preliminary position for LINE level sources. 2 9 HI-PASS FILTER Pressing this switch inserts a 18dB per octave 100Hz Hi-Pass Filter in the signal path, immediately after the input amplifier. This is particularly useful in live PA situations to reduce stage rumble or popping, and its use is strongly recommended, even on male vocals. It can also be used for filtering out low frequency hum. 3 EQUALISER The Equaliser(EQ) comprises four sections. A mono return signal may be plugged into the Left socket only of each pair to be fed equally to Left and Right busses. The knobs should turned fully anticlockwise when not required. 10 11 STEREO INPUTS 11 LO/HI The LO/HI switch provides two input sensitivities. The LO setting (switch released) should be selected for +4dBu professional equipment, and the HI setting (switch pressed) should be selected for -10dBV semi-professional equipment. Start with the LO setting if the source level is unknown. 12 12 13 EQUALISER The Equaliser section has HF and LF shelving controls. Turn the HF knob to the right to boost high (treble) frequencies by up to 15dB, adding crispness to percussion from drum machines, synths and electronic instruments. Turn to the left to cut these frequencies, reducing hiss or excessive brilliance. Turn the LF knob to the right to boost low (bass) frequencies by up to 15dB, adding extra punch to synths, guitars and drums. Turn to the left to reduce hum, boominess or improve a mushy sound. Set both knobs in the centre-detented position when not required. 14 15 17 13 AUXILIARY SENDS These controls route a mono sum of the input channel signal to Auxiliary busses 1 & 2. These are separate from the main outputs and can therefore provide additional outputs for foldback, echo units or extra loudspeaker `fills. The sends are always derived before the MIX or MONO controls and are not affected by the position of those controls or the Master section AUX 2 PRE switch. [. . . ] Mic Gain through longest path to Mix +28 dBu +26 dBu +4 dBu (LO) -10 dBV (HI) 74 dB -1dB < 0. 004% - 85 dB - 65 dB 1. 8 kW 10 kW 10 kW 10 kW > > > > 84 dB 80 dB 70 dB 90 dB - 85 dBu - 90 dBu -129 dBu INPUT & OUTPUT IMPEDANCES Page 23 DIMENSIONS 86. 1 mm (3. 39") dim. 'y' Width without end trim (for flight case mounting) Console 8 channel 12 channel 16 channel 24 channel dim 'x' 456 mm (18. 0") 572 mm (22. 6") 688 mm (27. 1") 920 mm (36. 3") dim 'y' 381 mm (15. 0") 497 mm (19. 6") 613 mm (24. 1") 845 mm (33. 3") 590. 5 mm (23. 25") FLIGHT CASE MOUNTING The console is ideal for flight case mounting, with all connectors on the top panel. The end cheeks may be removed to save space in the flight case if required. The example below shows a 16-channel console, flight case mounted together with the power supply and space for headphones or other accessories. [. . . ]