MULTI-PURPOSE CONSOLES

FX16

16 Mono Channels with onboard Lexicon Effects FX8

8 Mono Channels with onboard Lexicon Effects SX SPIRIT RANGE

12 Mono & 4 Stereo Inputs BROCHURE

M SERIES

4/8/12 Mono & 4 Stereo Inputs

E SERIES

6 or 8 Mono & 4 Stereo Inputs

NOTEPAD

4 Mono & 2 Stereo Inputs CONTENTS

Quick Selector Compare Spirit Mixer Inputs & Features Quickly Features Table Page 4 Spirit Mixers at a glance 4 ?

Power Features What makes Spirit consoles special Features in depth Pages 4 - 7 Power Features 4 - 7

FX16 16 Mono Channels with onboard Lexicon Effects Full Product Description Pages 8 & 9 The Mixers in detail 8 - 18 Dimensions Page 24 Specifications Page 25

FX8 8 Mono Channels with onboard Lexicon Effects Full Product Description Pages 10 & 11 Dimensions Page 24 Specifications Page 25

sx 12 Mono & 4 Stereo Inputs Full Product Description Pages 12 & 13 Dimensions Page 24 Specifications Page 25

M Series 4/8/12 Mono & 4 Stereo Inputs Full Product Description Pages 14 & 15 Dimensions Page 24 Specifications Page 25

E Series 6 or 8 Mono & 4 Stereo Inputs Full Product Description Pages 16 & 17 Dimensions Page 24 Specifications Page 25

Notepad 4 Mono & 2 Stereo Inputs Full Product Description Page 18 Dimensions Page 24 Specifications Page 25

Applications Using Spirit Mixers in Various Situations

Introduction Page 19 Mic/Line Live Mixing Page 20 Insert Houses of Worship Page 21 Installed Sound Page 21 Mic/Line Mixer Applications 19 - 23 Submixing Page 22

Mic/Line Video Editing Page 22 Small/Home Studio Page 22 Dimensions & 24 - 25 Mic/Line Studio Recording Page 23 Specifications Mic/Line

Frequently Asked 26 Other Soundcraft Products Questions How to find out more See Back Cover Glossary of 27 Technical Terms

Other Soundcraft back cover products

2 WORLD CLASS MIXERS

TEXAS

When the Spirit range was first launched, mixing desks were either large and expensive, or small but ineffective. Soundcraft Spirit changed all that. Packed with features, The Spirit range from more channels and PORTISHEAD Soundcraft rates among the professional-standard sound world’s best selling series of quality, Soundcraft Spirit was compact mixers. Designed by literally a revolution. sound industry legend, Graham Blyth, the multi-award-winning The original design has now Spirit range is unique in been refined and developed to providing professional features produce an unparalleled range and sound quality at a price boasting 100mm faders, the ALICIA’S ATTIC everyone can afford. on-board Lexicon effects of Spirit FX16 and FX8, the Every console in the Spirit extremely compact Spirit range is designed to Notepad, the all round usability incorporate the warm, British of the Spirit SX and F1, and EQ that has made Soundcraft, the M Series with S/PDIF the leading name in live, studio digital output. and broadcast mixing for nearly 30 years. CATATONIA Famous Spirit users today Soundcraft has always been at include artists like The Orb, the forefront of console design Manic Street Preachers, and since the Spirit range’s INXS, Jean-Michel Jarre, inception in 1991 it has been Sasha, Catatonia, M:People, responsible for many of the the Chemical Brothers, Asian sound industry’s most ground- Dub Foundation, Texas, Pulp breaking products including the and Portishead*. To discover GOMEZ award-winning Digital 328 (the for yourself why they all latest generation of which is chose Spirit, read on. the 328XD) and, of course, the original Spirit console that launched so many imitations. Spirit Soundcraft Series 1 range mixers - where it all began include not only recording but powered and live mixers for * No endorsements implied. use in installations and live music applicatiomns Designed in the UK, the latest manufacturing processes and technologies ensure the high quality and exceptional value of all Spirit range designs.

The new Soundcraft MH4 Live Performance console 3 SPIRIT FEATURES

THE SPIRIT ULTRAMIC™ ADVANTAGE The mic pre-amp is one of the more sets a new standard for compact Soundcraft Spirit mixers share critical points in the signal chain. mixer pre-amp performance, and has Both live and in the studio, any earned praise from countless the same design philosophy, distortion or noise that is introduced reviewers and users around the aimed at delivering at this stage will remain a problem. world. Unlike designs which favour uncompromising audio quality Graham Blyth’s UltraMic™ design certain types of microphone, the and a wide range of features in compact, affordable products. Many features are common to ™ all Spirit range models, and these in turn are often based on features of Soundcraft’s large- format professional mixer +4dBu designs – also designed by Spirit guru Graham Blyth. After -10dBu all, when you’ve invented the best ways of building professional mixers, it makes sense to use the same techniques in designs of all sizes.

Quick Reference FX16 FX8 SX M Series E Series (ES) Notepad ies Mixer Selector

Typical Applications Multipurpose Multipurpose Multipurpose Multipurpose Multipurpose Multipurpose pose Band/PA Setups • • • • • • Small Venues, Conferences • • • • • (not ES) • Installed Sound • • • • Schools, Houses of Worship • • • • • • Studio Recording 8/16 Track 8 Track 4/8 Track DAW Small/MIDI W Video Pre/Post Production • • • • • • Sub/Location Mixing • • • (not ES) • Multimedia • • • • • •

Rack Mount Option Option Option Yes Option No

Frame Sizes 26 inputs max 16 inputs max 20 inputs max 30 inputs max 26 inputs max (28 ES) 10 inputs max max Mono Channels (Mic or Line) 16 8 12 4, 8 or 12 6, 8 or 12 (4 ES) 4 12 Inserts Mono Inputs, Mono Inputs, Mono Inputs, Mono Inputs, Mono Inputs, None puts, Sub-mix, Mix Sub-mix, Mix Mix Mix Mix

Stereo Channels 4 stereo returns 4 stereo inputs 2 channels with 4 stereo inputs 2 (10 ES) 2 stereo inputs nputs 4 stereo inputs

Groups 2 2 2 No No No

Direct Outs Mono Channels 1-16 Mono Channels 1-8 Mono Channels 1 - 8 Mono Channels No No nnels EQ Bands (mono inputs) 3 (mid sweep) 3 (mid sweep) 3 (mid sweep) 3 (mid sweep) 3 (mid sweep) 2 fixed weep) EQ Bands (stereo inputs) None 2 band fixed on main 2 2 band fixed on main 2 2 band fixed 2 band fixed (3 ES) None ixed High Pass Filters Mono inputs Mono inputs Mono inputs Mono inputs None None puts Auxiliary Sends 3 + Lexicon 2 + Lexicon 3 4 2 1

Returns 4 Stereo Returns Stereo Tape Return Stereo Tape Return 4 Stereo returns Stereo Tape Return 1 Stereo eturns to Monitor 1 stereo playback to Monitor/Mix ayback Phantom Power Global Global Global Global Global Global al S/PDIF Output No No No Yes No No

4 SPIRIT FEATURES

Compare the typical frequency ranges of different exceptionally wide gain range of the voices and instruments with the EQ ranges found UltraMic™ (see diagram below) means on Spirit mixers (shown below): that it can just as easily amplify the PIANO (7-8 OCTAVES) signal from a low-output ribbon mic as BASS a high-output condenser type. In fact BASS DRUM signals as hot as +22dBU can be BASS SAX accepted, which means that it’s almost GUITAR THE GREAT BRITISH EQ impossible to push an UltraMic™ into SNARE DRUM MALE VOICE distortion. Over its entire 60dB gain The EQ on a mixer’s channel strip is FEMALE VOICE range, the noise and rejection of FOOTSTEPS both a valuable device for correcting interference of UltraMic™ are problems and a creative tool in mixing. 20Hz 100 500 1k 5k 10kHz exceptional – a careful look at the EIN The EQ circuits on Graham Blyth’s (Equivalent Input Noise) figures in the larger Soundcraft designs have specs show that the UltraMic™ is Mid EQ frequency is sweepable on all Spirit mixers spawned many imitators, all trying to almost silent. But then again, a careful (except Notepad) recreate the warmth and musicality listen to any Spirit would tell you the that make the original EQ designs same thing. +15dB popular with professionals around the world. But why settle for an imitation The UltraMic™ input is also easy to when you can have the real thing? use, reflecting another important part of the Soundcraft philosophy. With its Part of the secret is careful positioning custom pot for gain control, the whole of the high and low shelving filters in of the pot’s travel gives useful the classic 3-band configuration. By -15dB adjustment, whereas most mic pre- setting the HF shelving frequency

20Hz 100 500 1k 5k 10kHz sufficiently high, and choosing the HIGH-PASS FILTERS right slope for the filter, the highest 15dB of cut or boost is available at low, mid and high frequencies, giving plenty of control just band operates without interfering with A High-Pass Filter is arguably one of where it’s needed the swept mid-band, and this ensures the most important features on a a natural sound and more effective +15dB channel strip, enabling unwanted low- combination of frequency bands. frequency noise to be removed from a Lo EQ Hi EQ Similarly, the LF filter works only on signal. Mics on stage can pick up a frequencies out of reach of the swept good deal of rumble, and by using an band. Careful positioning of the LF HPF you can still employ the LF part and HF bands also ensures that the of the channel EQ for creative work, frequencies that are cut or boosted are

rather than using it for keeping stage -15dB subjectively the most important ones. rumble at bay. 20Hz 100 500 1k 5k 10kHz The swept mid-band, with its Q (width In order to be truly effective, however, of the filter bell curve) of 1.5 operates high-pass filters need a steep slope. between the high and low bands. By STEREO INPUTS Spirit filters use an ultra-steep carefully choosing the right centre 18dB/octave slope (rather than the Most contemporary electronic frequency, Spirit’s swept EQ makes more common 12dB/octave, shown by instruments have stereo outputs, and it easy to locate and work on a a dashed line in the it’s always easier to deal with such a particular frequency range – either 0dB diagram) which stereo source with a stereo channel. to tune out a troublesome noise -3dB means that all of the All your EQ and aux changes affect such as feedback, or boost a range lower frequencies are both sides of the stereo signal equally, of frequencies to emphasise the attenuated – a less and the sound remains balanced. character of an instrument. steep slope allows Stereo inputs don’t always give you 20Hz 100Hz more bass facilities such as EQ, but many Spirit frequencies to slip through, which stereo channels have 2-band EQ with is bad. By positioning the filters at carefully chosen frequencies that 100Hz (-3dB), Spirit’s HPFs act on the enable effective adjustment in a live or full range of lower frequencies that studio environment. On the SX, F1 and cause clarity problems in mixing. The FX8, the jack inputs to each stereo more commonly-used 50Hz or 75Hz channel are supplemented by a second filter points tend to work only on the set of inputs on RCA phonos, with a very lowest frequencies. simple level control, providing still more inputs in the compact frames.

5 SPIRIT FEATURES

CUSTOM CONTROLS

BUILD QUALITY Most manufacturers keep their costs Soundcraft’s advanced manufacturing down by using off-the-shelf controls ensures that all of these advanced for their mixers. These are invariably designs are produced efficiently and to not designed for professional audio the very highest standards. Surface- use, and simply don’t work as well as mount PCB construction means that BALANCED INPUTS custom designs. A small movement of components can be soldered directly AND OUTPUTS the control at one end of its travel will to circuit boards, improving reliability produce an unwanted jump in level, and efficiency, and reducing Balanced audio connections, in whereas the same movement at the susceptibility to vibration fatigue. which the signal is carried on two other end of the scale might produce wires plus a return screen, are only an imperceptible level change. By allowing more, smaller components much more resistant to to be precisely located on a densely- interference than unbalanced All Spirit mixers feature custom pots populated board, surface-mounting signals, and are essential in many and faders, ensuring that sound also allows more features to be professional applications. All Spirit quality is matched by a usable, included on compact mixers. Yet mixers therefore feature balanced effective interface, giving you the another benefit is that it reduces inputs and outputs. confidence to fine tune a mix crosstalk, and sources of noise and effectively. All of our linear faders are interference. Our impedance balanced outputs 100mm, which means plenty of fader provide the most cost-effective and resolution for smooth fade-outs and technically correct method of fade-ins. preventing external noise and interference from getting into your cables. The more widely-used but +10 cumbersome voltage balancing method +10 gives no useful advantage, and can cause problems unless the output +5 impedances are correctly matched. +5

All Folio channels feature electronically 0 0 balanced inputs, enabling both instruments and mics to be connected -5 DESIGNER TECHNOLOGY via a professional balanced interface. -5 There are some aspects of good mixer -10 design that you can’t measure by -15 specifications and figures - such as -20 -10 how easy it is to use. And if it’s not easy to use, you’ll never get the best -30 out of it. That’s why we’ve always -40 -15 placed great importance on good -50 industrial design. The result is clear PHANTOM POWER ∞ control layout, plenty of space for your Condenser microphones are more Ordinary -20 fingers to work - even factors such as sensitive, and generally offer better 60mm fader colour choices are considered. This, audio quality than, dynamic (above) alongside the electronic excellence of microphones. But they need power Folio 100mm the Soundcraft Spirit range, is probably to work, which is why all Spirit mono fader (right) -30 why we’ve won so many awards. input channels offer standard +48V Actual size phantom powering. Of course you can still use dynamic mics, but most DI boxes or condenser mics that ∞ require power will also have the power they need.

6 SPIRIT FEATURES

DIRECT OUTPUTS

Direct outputs allow the signal from each channel to be sent straight back out of the console as well as into its audio busses. Individual channels can SUB-GROUPS be recorded separately to tape, and you can record on as many The more inputs you have, the harder tape tracks at once as you have it is to control them all in a mix. One channels. Folio direct outputs way of making things easier is to send can be switched to be either sets of channels via a sub-group on pre-fade or post-fade. The pre- their way to the main mix. With Spirit fade signal is the output from stereo sub-groups, you can group the channel EQ but before the together a set of channels - all of the mute switch. This allows a drum mics, or backing vocals - and mix multi-track recording to be them via two 100mm faders into the made independently of a live main mix. We often provide dedicated performance (so that you can sub-group outputs, so that you can mix the show later from the multitrack use the sub-group to create an entirely recording), or allows the faders and separate stereo mix from the main mix pan controls to create a monitor mix - which means greater flexibility in during a recording session. The post- installed, live or theatre sound. In the fade signal is taken after the mute studio, sub-groups can also be used switch and the fader, and can therefore for additional tape or hard disk sends. be used in a live situation to feed an external effects device or allows the level to tape to be ‘ridden’ by the fader when recording.

LEXICON EFFECTS Lexicon is widely acknowledged as Superb audio quality is matched by the first name in digital effects, and ease of use. The 16 original presets are Lexicon reverbs take pride of place selected via a rotary in live and studio racks all over the switch, and the easy- world. The Lexicon effects processors edit system lets you built into Spirit mixers feature specially modify each preset programmed versions of classic reverb, very quickly. delay and chorus effects, plus combination effects such as reverb You can start from plus delay. While it’s very convenient any of the 16 presets to have effects built in to a mixer, it and easily reach your also has another benefit as the signal required effect stays in the console and therefore within a couple of there’s no external cabling to add button presses. noise or pick up interference.

Lexicon Effects Table (FX8 and FX16) Another use of sub-groups on the FX- 16 is to make a drum group on to Param 1 control Minimum Maximum Program Description Param 2 control Minimum Maximum which you can place an insert Reverb decay 0.11 mSec 283 mSec 1 Gated Reverb Timbre 420Hz 19kHz Reverb time 0.25 Sec 6.5 Sec 2 Chorus + Reverb Speed OFF 16 glides compressor or other processing. Delay time No delay 977 mSec 3 Chorus + Delay Speed OFF 16 glides Depth 0.34 mSec 5.8 mSec 4 Large Chorus Speed OFF 16 glides Reverb time 0.25 Sec 6.5 Sec 5 Plate Timbre 420Hz 19kHz Reverb time 0.25 Sec 6.5 Sec 6 Room Timbre 420Hz 19kHz Reverb time 0.25 Sec 6.5 Sec 7 Chamber Timbre 420Hz 19kHz Reverb time 0.25 Sec 6.5 Sec 8 Hall Timbre 420Hz 19kHz Delay time No delay 977 mSec 9 Delay + Bright Plate Reverb time 0.25 Sec 6.5 Sec Delay time No delay 977 mSec 10 Delay + Dark Plate Reverb time 0.25 Sec 6.5 Sec Delay time No delay 977 mSec 11 Echo + Plate Regeneration 0% 94% Delay time No delay 977 mSec 12 Delay + Bright Room Reverb time 0.25 Sec 6.5 Sec Delay time No delay 977 mSec 13 Delay + Dark Room Reverb time 0.25 Sec 6.5 Sec Delay time No delay 977 mSec 14 Echo + Room Regeneration 0% 94% Delay time No delay 977 mSec 15 Delay + Mono Regen Regeneration 0% 94% Delay time No delay 977 mSec 16 Delay + Stereo Regen Regeneration 0% 94%

7 16 MIC/LINE INPUT MIXER WITH LEXICON

16 Mono UltraMic™ Inputs

The FX16 offers a combination of powerful live and recording 4 Stereo Returns features, with enough channels and direct outputs to enable use with 16-track recording systems.

With its 16 mono channels, stereo effects returns and a 2-track return that can Global 48V Phantom Power be routed to the mix, the FX16 can handle up to 26 inputs simultaneously. Channel direct outputs on all 16 mono channels can be switched pre or post- fader, to feed a multitrack recorder on stage or in the studio. Lexicon Effects built in UltraMic™ pre-amps, plus Spirit 3-band EQ, an effective high-pass filter and full-size 100mm fader equip the mono channels to handle any mic or instrument source. Channels can be routed either to the main or to the Sub stereo bus, and the Sub bus 3-Band EQ with Swept Mid switched into or out of the main mix, which means that complex mixes can be easily set up and controlled. 4-Bus Architecture Using the FX16’s Sub outputs, you can set up Direct Outs for two separate Multitrack Recording stereo mixes to different sets of 3 Auxes speakers, which is particularly useful in more demanding live or installed sound 26 inputs as standard environments. 16 mono channels with high Live situations are rarely quality UltraMic™ pre-amps free of sources of noise and 4 stereo returns interference, which is why the FX16 is built like a tank, and has 4-bus architecture, with sub-group routable to mix balanced connections in and out. The

MAIN FEATURES relocatable jackfield can be rotated Built-in Lexicon dual effects processor through 90° to suit table-top or Direct outputs for multitrack recording, rackmount use, saving space and leading individually switchable for pre- or post- fade operation cables away in a sensible direction. Inserts on all mono channels A studio-grade Lexicon processor offers a broad range of classic effects treatments, from chorus and Inserts on stereo mix bus reverbs to combinations such as delay + reverb. 3-band ‘British’ EQ with swept mid-band Effects presets can be edited via a simple but versatile interface, and 16 user Stereo 18dB/octave 100Hz high-pass variations stored alongside the 16 presets. filter to cut stage rumble As well as the direct outputs, the FX16 also has three aux sends for effects or +48V phantom power monitors. Inserts on all mono channels, and on the main and sub busses, are Channel Mute control provided to make it easy to 10-segment tri-coloured metering patch in vital processors. Two sub-group outputs Live Sound: Separate mono sum output Bands, Small Venues, Clubs, Rackmount option (see p24) “The direct outputs, Conferences, Schools, comprehensive effects Houses of Worship returns and price all Studio Recording: blow raspberries at Digital/Analogue Multitracking “The FX16 is one of the the competition”. (8 or 16 track), Small/Home best thought-out compact NORMAN FAY, THE MIX Studios, Pre-/Post-Production mixing desks ever”.

NIGEL LORD, FUTURE MUSIC

APPLICATIONS SEE PAGES 19 - 23

8 FULL FEATURE DESCRIPTIONS – PAGES 4 TO 7 EFFECTS

MONO INPUTS Auxiliary Outputs 3 impedance-balanced 1/4" jacks send signals Connectors to effects units or monitor/foldback Neutrik XLR for mics. Phantom Power amplifiers. available globally from the master section Phantom Power (condenser mics). 1/4 inch jack for line level Supplies +48V globally to power condenser instruments. Mic and line inputs are balanced. mics. LED indicates +48V active. Direct Out and Insert point. Stereo Return Section Gain Control 4 inputs routable to Mix or Submix, with UltraMic™ padless preamp provides 60dB of access to Auxes 1 or 2. gain range. Maximum 22dBu of headroom. Aux/FX Master Section Equaliser Section 4 rotaries govern master levels of Auxes and Steep 18dB per Octave 100Hz High Lexicon effects. Each master may be solo’d Pass Filter. after the fader. 3-band British EQ with swept mid. 2-Track Return Section ±15dB at Lo 80Hz, Hi 12kHz and Mid Rotary sets playback level. variable 240-6kHz. Q = 1.5. Can be routed to Mix. See page 5 for EQ curves. Monitor Source Auxiliary Section Monitor Mix and/or Submix. Press 2TK to play 4 flexible auxiliary controls: back master recordings without repatching. Aux 1 is pre-fader/post EQ for foldback or Rotary controls monitor output level. stage monitor mixes. Aux 2 and 3 are post-fader/post EQ but Aux 2 Solo in Place (SIP) is switchable pre-fader on each channel. Replaces PFL with SIP. LED lights in SIP mode. See “Solo” mode operation. LexFX dedicated to Lexicon effects (post-fader). Meters Pan Two 3-colour, 10-segment bargraph meters show mix, submix, control room or 2-track To position signal in stereo mix or for levels. Peak reading (PPM). When any PFL, subgroup routing. SIP or AFL switch is pressed, meters switch Routing Section to show solo level. Any channel can be routed to Mix and/or Sub Phones Outputs. Signal to Auxes, Mix and Sub Out For headphones of 200 Ohms or greater can be muted. impedance. Rotary pot governs output level. Solo Sub-Mix and Mix Faders Monitors the pre-fade signal of a “solo” Pressing the “Sub to Mix” switch routes channel before it reaches the main mix. If SIP submix buses to the mix. Insert points allow is pressed in master section, gives true stereo signal processors to be connected across position, after fader and with effects. submix and mix. Direct Pre Allows direct outs to be switched to pre-fader (live recording to prevent multitrack levels from being affected by changes to the FOH LEXICON EFFECTS SECTION mix) or post-fader for studio work. Effects Controls 100mm Fader The Lexicon dual effects section provides combinations of delay, reverb and chorus. Each effect has two editable, storable/ GROUP/MASTER SECTION recallable parameters. See Lexicon Effects table on page 7. Connectors are on rear panel – see below. Programme Select 2-Track Return Select from 16 pre-programmed effects Two phono connectors allow playback of combinations. master stereo recording or for pre-show Parameter Adjust music. Param 1 / 2 alter values of two effect Mono Sum Output parameters using encoder. Alterations are Useful as additional bass bin send, side fill held in memory when Parameter switch is feed, mono PA feed or for induction loops. released; User Mode LED indicates an Monitor Outputs alteration has been made to factory preset For nearfield monitors via an amplifier. (restorable). Mix Outputs Lexicon Effects Return 2 impedance-balanced XLRs send mix signal Rotary sets Lexicon effects return level, to PA speakers or a stereo recorder. routable to Mix or Sub. Internal effects have Mix Inserts access to Aux 1 or 2, allowing you to add For processing all signals routed to mix with a reverb to a foldback mix, or to mix external compressor/limiter or other device. effects with the Lexicon processor to create unique combination effects. Subgroup Outputs 2 impedance-balanced Lexicon Foot Switch 1/4" jacks send Allows effects to be turned on or off on stage subgroup signal to a using a guitar foot-pedal. multitrack or additional speakers. Subgroup Inserts For processing the subgroup signal.

Rear Connector Panel

LEXICON EFFECTS TABLE – PAGE 7 SPECIFICATIONS – PAGE 25 9 8 MIC/LINE INPUT MIXER WITH LEXICON EFFECTS

8 Mono UltraMic™ Inputs

These days there’s simply no excuse for a live mixer to give anything away to a studio mixer in terms of audio quality. 4 Stereo Inputs With its combination of live and recording-oriented features, plus all the usual Spirit benefits, the Spirit FX8 is ideal for both stage and studio use, and is particularly suitable for Global 48V Phantom Power live recording.

Whatever the application, you can add studio-quality digital effects using the Lexicon Effects built in built-in Lexicon effects processor. Its 16 preset chorus, delay and reverb effects are selected with a simple control knob, and an easy-to- use interface allows each preset to be quickly edited to create your own custom effects. 3-Band EQ with Swept Mid

4-Bus Architecture

Direct Outs for Multitrack Recording

3 Auxes

18 inputs as standard All eight mono 8 mono channels with UltraMic™ pre-amps channels feature an UltraMic™ pre-amp, plus 4 stereo inputs MAIN FEATURES a full-size100mm fader for 4-bus architecture, with sub-group more accurate and precise routable to mix mixing. Direct outputs on each Direct outputs from channels 1 to 8 for channel can be used either as pre- multitrack recording fader multitrack feeds for live Direct outputs can be switched globally recording, or post-fader feeds for pre- or post-fade tracklaying in the studio. Four pairs of Inserts on all mono channels stereo inputs are provided for effects, Inserts on stereo mix bus keyboards or other stereo sources. 3-band ‘British’ EQ with swept mid-band All channels can be routed to a true stereo sub bus or to the main mix bus. In this way the Stereo 18dB/octave 100Hz high-pass filter to cut stage rumble levels of several channels into the main mix can be controlled with the sub faders, or you could create a second stereo mix in live or installed use – for +48V phantom power a supplementary pair, or array, of speakers. 10-segment LED meters provide Channel On switch for mute control precise level monitoring, and remote control of effects switching is possible 10-segment tri-coloured metering via a footswitch input. Two sub-group outputs As well as the internal Separate mono sum output Lexicon effects send, the FX8 offers two aux Can be rackmounted (option) Studio Recording: sends for outboard Digital/Analogue Multitracking effects or monitoring. (8 track), Small/Home Studios, The internal effects can Pre-/Post-Production “The rest of the band have been be routed to the main or Live Sound: well impressed with the desk...The sub stereo busses, and Bands, Small Venues, Clubs, effects all sound great and it’s very also mixed into Aux 1 or easy to use – I haven’t actually Conferences, Schools, Aux 2, to add reverb to a Houses of Worship looked at the manual yet”. foldback mix. PAUL JONES, CATATONIA

APPLICATIONS SEE PAGES 19 - 23

10 FULL FEATURE DESCRIPTIONS – PAGES 4 TO 7 MONO INPUTS Mix Inserts Connectors For processing all signals routed to mix Neutrik XLR for mics. Phantom Power with a compressor/limiter or other device. available globally from the master section Monitor Outputs (condenser mics). 1/4 inch jack for line level For nearfield monitors via an amplifier. instruments. Mic and line inputs are balanced. Insert point. 2-Track Return Two phono connectors allow playback of Gain Control master stereo recording or for pre-show UltraMic™ padless preamp provides 60dB of music. gain range. Maximum 22dBu of headroom. Lexicon Foot Switch Equaliser Section Allows effects to be turned on or off on Steep 18dB per Octave 100Hz High Pass stage using a guitar foot-pedal. Filter. 3-band British EQ with swept mid. ±15dB Phantom Power at Lo 80Hz, Hi 12kHz and Mid variable Supplies +48V globally to power 250-6kHz. Q = 1.5. condenser mics. LED indicates +48V active. Auxiliary Section 3 flexible auxiliary controls: Meters Two 3-colour, 10-segment bargraph meters Aux 1 is pre-fader/post EQ for foldback or show mix output levels. Peak reading stage monitor mixes. (PPM). When any PFL or AFL solo is Aux 2 is post-fader/post EQ but switchable pressed, both meters switch to show solo pre-fader/post EQ from the master section. level. LexFX dedicated to Lexicon effects (post- fader/post-EQ). 2-Track Return Section Rotary sets playback level. Pressing 2-TK Pan switch replaces mix signal with tape return To position signal in stereo mix or for signal. subgroup routing. Aux/FX Master Section Routing Section 3 rotaries govern master levels of Auxes 1, Channel can be routed to Mix or Sub 2 and Lexicon effects. Aux 2 switchable Outputs. Muted until the Channel On is pre/post-fade; each master may be solo’d pressed. after the fader. Direct Pre/Post Sub-Mix and Mix Faders Allows direct outs to be switched either pre- Pressing the “Sub to Mix” switch routes fader (live recording to prevent multitrack submix buses to the mix. Dual insert levels from being affected by changes to the points allow signal processors to be FOH mix) or post-fader for studio work. connected across the mix. PFL Solo Monitor Phones Monitor pre-fade signal of a “solo” channel For headphones of 200 Ohms or greater before it reaches the main mix. impedance. Rotary governs output level. 100mm Fader

LEXICON EFFECTS SECTION STEREO INPUTS Effects Controls Stereo Inputs 9-10 & 13-14 The Lexicon dual effects section provides 2 simple stereo inputs with phono combinations of delay, reverb and chorus. connectors. Can be routed to Mix or Each effect has two editable, storable/ Subgroup, with rotary level control. recallable parameters. Stereo Inputs 11-12 & 15-16 See Lexicon Effects table on page 7. 2 balanced line 1/4" jacks. Controls include Programme Select gain, 2-band EQ (±15dB at 80Hz and Select from 16 pre-programmed effects 12kHz), and balance. Other controls are combinations. same as mic/line inputs. Parameter Adjust Param 1 / 2 alter values of two effect parameters using encoder. Alterations are GROUP/MASTER SECTION held in memory when Parameter switch is Connectors are at top of Group/Master released; User Mode LED indicates an section. Outputs are impedance-balanced. alteration has been made to factory preset (restorable). Subgroup Outputs Mid EQ sweepable 250Hz - 6kHz 2 1/4" jacks send subgroup signal to a Lexicon Effects Return Lo EQ Hi EQ Rotary sets Lexicon effects return level, multitrack or additional speakers. ±15dB ±15dB at 80Hz at 12kHz routable to Mix or Sub. Internal effects Mix Outputs have access to Aux 1 or 2, allowing you to 2 1/4" jacks send mix signal to PA speakers add reverb to a foldback mix, or to mix or a stereo recorder. external effects with the Lexicon processor Auxiliary Outputs to create unique combination effects. 2 1/4" jacks send signals to effects units or 20 100 500 1k 5k 10k 20k 20 100 500 1k 5k 10k 20k monitor/foldback amplifiers. LF and HF EQ curves Swept Mid EQ curve Mono Sum Output Useful as additional bass bin send, side fill feed, mono PA feed or for induction loops.

Steep 18dB/octave 100Hz High Pass Filter (ordinary HPF shown dashed)

20 100 500 1k 5k 10k 20k High Pass Filter

LEXICON EFFECTS TABLE – PAGE 7 SPECIFICATIONS – PAGE 25 11 COMPACT 20-INPUT MIXER FOR LIVE

12 Mono UltraMic™ Inputs

Controlling more inputs in more complex mixing environments is hard work – that’s why the 20-input Spirit SX has a true 4 Stereo Inputs stereo sub-group. By routing groups of channels to this sub-group and then routing it to the main mix bus, you can control a set of instrument levels within the main mix, or use Global 48V Phantom Power it independently to feed a second set of stereo speakers in a live situation.

Channel Mute The SX has 12 mono channels for mic or line sources, each with an UltraMic pre-amp, classic 3-band British EQ with a swept mid band, and a 100mm fader for precise level control. Direct outputs are provided for recording, and these can be switched pre-or post fade to suit live or studio use. Three auxes – 3-Band EQ with Swept Mid one pre, one post, and one switchable – can be used for live monitor or studio effects sends, and each channel can be routed to the main or the sub stereo busses. Two stereo channels each accept an RCA stereo input and a second 4-Bus Architecture pair of jack inputs with 2-band EQ, aux sends and main/sub routing.

Direct Outs for Multitrack Recording

3 Auxes

20 inputs as standard 18 outputs including aux and “... Spirit SX seems direct outputs such a bargain I feel 12 mono channels with high quality I should have one”.

MAIN FEATURES UltraMic™ pre-amps BOB DORMAN, THE MIX 4 stereo inputs 4-bus architecture, with sub-group The SX is well-equipped with outputs – as routable to mix well as the main and sub mix outputs, each fed Direct outputs from channels 1 to 8 for via 100mm faders for precision control, there’s a multitrack recording mono sum output, stereo monitor outputs, and the Direct outputs can be switched globally three aux sends. Insert points on the mono inputs and the pre- or post-fade stereo mix bus allow compressors and EQs to be patched in, and Inserts on all mono channels 2-track inputs are provided for playback. 3-band ‘British’ EQ with swept mid-band And just to make sure Stereo 18dB/octave 100Hz high-pass that the SX really is as filter to cut stage rumble versatile as possible, its +48V phantom power rugged frame incorporates Live Sound: Channel On switch for mute control a convenient carry handle, Bands, Small Venues, Schools, and rackmount ears can Conferences, Houses of Worship Two sub-group outputs be fitted for touring, Separate mono sum output installed and studio use. Studio Recording: Digital/Analogue Multitracking Impedance balanced XLR outputs (4/8 track), Small/Home Studios, “I can’t think of all Rugged aluminium chassis with integral Pre- and Post-Production carry handle that many PA jobs I’ve ever done where Submixing Excellent protection against RF emissions this desk wouldn’t Location Sound Rackmount option have coped easily”. APPLICATIONS SEE PAGES 19 - 23 MIKE CROFTS, SOUND ON STAGE

12 FULL FEATURE DESCRIPTIONS – PAGES 4 TO 7 & STUDIO USE WITH 100MM FADERS

MASTER SECTION Phantom Power Switch for global +48V phantom power on/off. LED indicates +48V active. 2 Track Return Two unbalanced phono connectors. 2TK LEVEL rotary controls playback levels. Monitoring Two impedance balanced 1/4 inch jacks for MONO INPUTS connection to an amplifier and monitor speakers. Monitor Mix, Submix, any Solo Connectors or 2-Track Return through monitor outputs Neutrik XLR for mics, with Phantom Power or phones. available. 1/4 inch jack for line level Meters instruments. Mic and line inputs are balanced. Two 3-colour, 10-segment bargraph meters Insert point. show mix output levels. Peak reading (PPM). Direct Out When any PFL or AFL solo is pressed, both Globally switchable pre- or post-fader meters switch to show solo level. (Channels 1 to 8). Auxiliary Masters Gain Control 3 rotary controls govern the output levels UltraMic™ padless preamp provides 60dB of from the impedance-balanced auxiliary gain range. Maximum 22dBu of headroom. outputs. Each master can be solo’d using Equaliser Section AFL switch. Pre/Post button switches all Steep 18dB per Octave 100Hz High Aux 2 signals between post- and pre-fader. Pass Filter. Mono Output 3-band British EQ with swept mid. ±15dB Impedance balanced 1/4 inch jack provides a at Lo 80Hz, Hi 12kHz and Mid variable mono sum from the mix. Rotary control alters 250-6kHz. Q = 1.5. output level. Auxiliary Section Submix Outputs 3 flexible auxiliary controls: Two impedance-balanced 1/4 inch jacks with Aux 1 is pre-fader/post EQ for foldback or 100mm faders. For recording a group of stage monitor mixes, with Aux 3 set post- instruments or for controlling a separate fader/post EQ as an effects send. amp/speakers in a live setup. Aux 2 is post-fader/post EQ but switchable Mix Outputs pre-fader/post EQ from the master section. The MIX L & R outputs are taken from two Routing Section impedance balanced XLR connectors, with The Pan control positions the signal in the two insert points available. Mix level governed stereo image. Channel is muted until the by two 100mm faders. channel ON switch is pressed. Channel can be Phones routed to Mix or Submix. PFL switch allows For headphones of 200 Ohms or greater. you to solo the channel pre-fader. Rotary control for headphone volume or 100mm fader monitor outputs.

STEREO INPUTS GENERAL 4 stereo inputs in two channel strips: Integral handle Inputs A and C Integral handle which doubles as a tilt for the Two unbalanced phono connectors. control surface. Level control, Mix/Submix routing. Power Connector Inputs B and D Latched for reliability. Two balanced line jacks for balanced or Rackmount Option unbalanced stereo source. Can be used as Optional rackmount ears available. Occupies mono channels by connecting a signal to the 10U of rack space (additional 1U is advised left jack only. for cables). Gain control, 2-band EQ (±15dB at Lo 80Hz and Hi 12kHz), Balance control, Mix/Submix routing, PFL.

Mid EQ sweepable 250Hz - 6kHz Lo EQ Hi EQ ±15dB ±15dB at 80Hz at 12kHz Steep 18dB/octave 100Hz High Pass Filter (ordinary HPF shown dashed)

20 100 500 1k 5k 10k 20k 20 100 500 1k 5k 10k 20k 20 100 500 1k 5k 10k 20k LF and HF EQ curves Swept Mid EQ curve High Pass Filter

SPECIFICATIONS – PAGE 25 13 HIGH PERFORMANCE COMPACT MIXE

Effective grounding eliminates noise and crosstalk In a world full of cheap compact mixers, Soundcraft has 3-band EQ with swept achieved something exceptional with the Spirit M Series. mid band Suited to a wide range of live sound applications, the Spirit M

0101010 Series delivers a great-sounding, reliable performance, gig 1010101 Integrated S/PDIF digital after gig, mix after mix. A mixer for life. 0101010 output 1010101 Sonic integrity through design High quality, linear mic Through a fresh and innovative approach, Soundcraft designers have created a preamps with smooth gain mixer that rivals the sonic performance of many high end live consoles. control Attention to detail in the design of the Spirit M Series makes mixing a positive pleasure. A no-compromise approach to circuit design and to the quality of the components throughout has resulted in a console that delivers exceptionally low noise and crosstalk figures. Mic and line inputs are provided on balanced XLR and 1/4" jack connectors for optimum performance, with the main stereo outputs on balanced XLRs for better integration with other professional equipment. There are also insert points on every mono channel and the mix outputs for external signal processing. Built for all eventualities Live sound reinforcement requires different mixes – a stereo master mix for the audience and one or more monitor mixes for the performers on stage. The monitor mixes can be set up using Aux 1-4 on the M Series mixer. When a venue uses multiple fill speakers, delay should be added to speakers that are closer to the MAIN FEATURES 4, 8, and 12-mono input channel frame listener. sizes The direct outputs on the Spirit M Series can be used to 18dB/octave high-pass filter record each of the mono input channels to a multitrack recorder. Each direct output can be individually switched to be pre-fade, 4 aux sends, 2 pre-fade and 2 post-fade ensuring the signal at these outputs remains unaffected by any movements of 4 stereo returns the channel faders during the live performance. Different mixes of the 4 stereo inputs performance can then be made after the event. 100mm faders Integral rack mounting Through integral rack ears, the M Series can be quickly transformed into a Internal power supply rack-mounted desk suitable for use on the road. All three mixers in the range Integral rack mounting occupy 11U of standard rack space. Comprehensive monitoring control Because levels are constantly changing throughout the signal path – from the preamp stage, through filtering and EQ – the Spirit M Series provides signal detect and peak LEDs on all input channels. These monitoring LEDs are fed from multiple points in the circuit path to ensure nothing gets overlooked. The main stereo mix has two 12-segment LED meters, with a SOLO AFL/PFL indicator to show whether any solo channels or aux masters are being monitored. With all this information instantly available, efficient control is easy to maintain. Switchable direct outputs Use a single console for your Digital audio workstation front-end live mix and recording. Public address Switchable direct outputs enable the pre-fade signal to Small PA hire be sent directly to the Multi-speaker systems recorder regardless of the PA mixing for bars, schools, fader settings used for the live leisure centres, etc mix, allowing total post production flexibility. Conferencing Small-medium size band mixing APPLICATIONS SEE PAGES 19 – 23

14 FULL FEATURE DESCRIPTIONS – PAGES 4 TO 7 ERS CONTROLS & CONNECTIONS

MONO INPUTS Direct Out (switchable) RETURNS CONTROLS For connection to external multitrack Gain Control recorders or effects units. Positioned at the top of each stereo channel strip, adjusts Mic Input the gain A balanced female XLR connector accepts for each stereo return, with a peak signal LED indicating balanced or unbalanced mic signals. At when the signal exceeds +17dBu. -128dbu EIN the mic amp is extremely quiet Return Master and transparent. Adjusts the overall level of the stereo returns in the main mix. Line Input Mute Button A balanced 1/4" jack for connecting balanced When stereo returns are used to return a signal from an or unbalanced electronic instruments, such as effects unit, the mute button offers a fast method of keyboards. comparing your mix with or without FX. Insert For patching in compressors or additional EQ or for other signal processors. It can also be CONNECTOR PANEL used for recording. Gain A rotary gain control on each input alters the MASTER SECTION gain of the input signal, from +5 to +60dB. Linear circuitry within the preamp delivers Phantom Power smooth gain control over the entire gain Global control over phantom power is range. offered via a push button. When active, an Filter Section LED will illuminate. A high pass filter with an 18dB per octave 2-Track Inputs slope can be used to reduce frequencies 2-track recorder playback inputs are on below 100Hz. Ideal for reducing unwanted unbalanced RCA phonos. stage rumble or popping from microphones. Monitor Output and Mix Insert EQ Section Available on balanced 1/4" jacks. Equalisation is split into three bands. The HF Mix Outputs and Mono Sum control provides 15dB of cut or boost (gain The main left and right mix outputs are adjustment) for frequencies above 12kHz. Two provided on balanced XLR connectors with a swept mid frequency controls enable mono sum signal available on a balanced 1/4" frequencies from 240Hz to 6kHz to be jack. adjusted, offering 15dB of cut or boost at the Playback Level selected frequency. Signals below 60Hz can be The playback gain control adjusts the level adjusted with the LF control, which features from the 2-track playback inputs. This ±15dB of gain adjustment (cut or boost). playback signal can be monitored separately Auxiliary Section by pressing the PFL button, which routes it For sending separate monitor mixes in live to your monitoring system or to the applications, four aux busses, with two pre- headphones, replacing any existing fade and two post-fade aux sends on each monitoring signals. The ‘P/B Replace Mix’ input channel cater for all requirements. button routes the playback signal directly to Pan, Muting, PFL & Direct Pre the main mix, replacing any signal that may The pan control positions each channel’s signal be present. across the stereo image, with a mute button Mono Sum, Monitor & Phones Level to cut the signal completely. A PFL (Pre Fade Levels sent to the mono sum output, Listen) button solos the signal for monitoring. monitor output and headphones can be The Direct Pre button selects the direct adjusted using these three rotary controls. outputs to be pre-fader. And when a pair of headphones are plugged Faders and Metering into the phones socket at the bottom right Each mono channel features a smooth of the mixer, the monitor outputs are cut for 100mm fader, a signal LED to show whether easier headphone listening. a signal is present and a peak level LED Auxiliary Masters indicating signal levels in excess of +17dBu. The aux output contains a mix of the aux send signals sent from each input channel, which can then be sent as a monitor mix to STEREO INPUTS stage loudspeakers or to send to an external effects unit. Input Connectors Each aux bus features a master level control, The stereo inputs are connected via balanced with an AFL (After Fade Listen) button 1/4" jack inputs delivering optimum enabling monitoring of each aux output. performance with other professional audio When pressed, the AFL button routes the equipment. aux output to the monitor ouputs or to the Stereo Returns headphones, where it can be monitored on Stereo returns for effects processors are via the master stereo meters. RCA phono inputs – these returns can also be Faders and Metering used with CD players and other hi-fi Controlling the overall stereo mix level are equipment. two 100mm faders, with two 12-segment 3- EQ Section colour LED peak-reading bargraph meters Equalisation on the stereo channel strip is monitoring the mix right and mix left simpler than the EQ featured on the mono outputs. These meters normally follow the channels. There are two controls, adjusting current monitor selection, so if any PFL or HF signals at 12kHz and LF signals at 60Hz AFL is pressed, the meters will switch to by ±15dB. monitor this and the Solo AFL/PFL LED will Auxiliary Section fade signal is fed to the headphones, control room output and light. With 4 aux sends on the stereo input channels, meters, with levels displayed on the left and right meters in the signal can be sent pre-fade for use in a mono to enable levels to be monitored without interruption to monitor mix (using aux sends 1 & 2) or sent the main mix. post-fade (via aux sends 3 & 4) for effects Faders and Metering processing. Each stereo channel features a smooth 100mm fader, a signal Bal, Muting, PFL & Direct Pre LED to show whether a signal is present and a peak level LED The balance control adjusts the amount of indicating signal levels in excess of +17dBu. the signal sent to the left and right busses. Mute and PFL buttons operate as on the mono input channels, cutting or soloing the stereo channel. With PFL pressed, the pre-

SPECIFICATIONS – PAGE 25 15 HIGH PERFORMANCE COMPACT MIXE

Multi-point signal channel status monitoring (post-Mic pre, post-EQ, post-fade) with proportional illumination Looking for a simple, easy to use mixer that delivers an exceptional audio performance? The Spirit E Series is here. For Close tolerance surface- recording, live, install or broadcast use there’s a Spirit E mount components for high Series for you. accuracy repeateable EQ Sonic integrity through design Precision, ultra-linear mic pre-amps The emphasis with the Spirit E Series is very firmly on quality audio performance, with an easy to understand control surface uncluttered by unnecessary facilities. True, professional +48V Mic and line inputs are provided on balanced XLR and 1/4" jack connectors for phantom power for optimum performance, with the main stereo outputs on balanced XLRs for better condensor microphones integration with other professional equipment. There are also insert points on every mono channel and the mix outputs for external signal processing. Professional insert points for external processing

Catering for today’s stereo environment 6, 8 and 12 mono input channel frame sizes, each with two With so many stereo sources needing stereo inputs MAIN FEATURES simultaneous connection and mixing, ES version has 10 full-function stereo we’ve given you a mixer that can cope. The ES inputs and 4 mono inputs model has ten full-function stereo inputs with 3 band EQ as well as four 2 aux sends, each globally switchable pre- mono mic/line inputs, so you’ll have all the inputs you need without constant or post-fade re-patching. You’ll also be able to plug in record turntables so you can include 100 mm faders DJ production in your mix. Internal power supply Rack mounting options Simple rack mounting options Through additional rack ears, the E Series can quickly be transformed into a rack-mounted desk suitable for use on the road or in custom furniture. All four mixers in the range occupy just 9U of standard rack space. Quality audio mixing of any source for recording Comprehensive monitoring control

Multiple stereo source mixing and Because levels are constantly changing throughout recording (ES) the signal path — from the preamp stage, through PA mixing for bars, schools, leisure filtering and EQ — the Spirit E Series provides centers etc peak LEDs on all input channels. These monitoring Live keyboard submixing (ES) LEDs are fed from multiple points in the circuit path to ensure nothing gets overlooked. The main stereo mix has two 10-segment Small-medium size band mixing LED meters, with a SOLO indicator to show whether any solo channels or aux Public Address masters are being monitored. With all this information instantly available, efficient Multiple speaker installations control is easy to maintain. The LEDs also employ proportional illumination to show APPLICATIONS SEE PAGES 19 - 23 signal level when approaching peaks. This feature allows you to maximise the quality of any signal by utilising all of the available headroom.

16 FULL FEATURE DESCRIPTIONS – PAGES 4 TO 7 ERS WITH 100MM FADERS

MONO INPUTS (E and ES Models) MASTER SECTION Mic Input Phantom Power A balanced female XLR connector accepts Global control over professional +48V phantom balanced or unbalanced mic signals. At -128dbu power is offered via a push button. When active, EIN the mic amp is extremely quiet and an LED will illuminate. transparent. 2-Track Inputs and Outputs Line Input 2-track recorder playback inputs and record sends A balanced 1/4” jack for connecting balanced or are on unbalanced RCA phonos. unbalanced electronic instruments, such as Monitor Playback routes the playback input to keyboards. your monitoring system or to the headphones, replacing any existing monitoring signals. Insert Plyback to Mix routes the playback signal directly Used for patching in compressors or additional to the main mix, replacing any signal that may be EQ or for other signal processors. It can also be present. used for recording to multi-track recorders if Monitor Output and Mix Insert necessary. Available on balanced 1/4” jacks. Gain Mix Outputs and Mono Sum A rotary gain control on each input alters the The main left and right mix outputs are provided gain of the input signal, from +5 to +60dB. on balanced XLR connectors. Linear circuitry within the preamp delivers smooth gain control over the entire gain range. Playback Level The playback gain control adjusts the level from EQ Section the 2-track playback inputs. Equalisation is split into three bands. The HF Monitor & Phones Level control provides 15dB of cut or boost (gain Levels sent to the monitor output and headphones adjustment) for frequencies above 12kHz. Two can be adjusted using these two rotary controls. swept mid frequency controls enable frequencies And when a pair of headphones are plugged into from 140Hz to 3kHz to be adjusted, offering the phones socket at the bottom right of the 15dB of cut or boost at the selected frequency. mixer, the monitor outputs are still operational for Signals below 80Hz can be adjusted with the LF simultaneous listening by a performer and control, which features ±15dB of gain engineer. adjustment (cut or boost). Faders and Metering Auxiliary Section Controlling the overall stereo mix level are two For sending separate monitor mixes in live 100mm faders, with two 10-segment 3-colour applications, or for use with fx units two aux LED peak-reading bargraph meters monitoring the sends on each input channel cater for all mix right and mix left outputs. These meters requirements. Each Aux bus can be globally normally follow the current monitor selection, so if switched to be pre or post fade on the master any PFL or AFL is pressed, the meters will switch section. to monitor this and the Solo AFL/PFL LED will Pan, Muting, and SOLO light. The pan control positions each channelís signal across the stereo image, with a mute button to cut the signal completely. A SOLO button solos the signal for monitoring. Faders and Metering Each mono channel features a smooth 100mm fader, and a peak level LED indicating signal STEREO INPUT (ES Model) levels in excess of +17dBu. The full-function stereo input on the ES has the same line input gain, auxiliary and fader controls as the standard E Series stereo input, but has an STEREO INPUT (E6, 8 and 12 models) enhanced connectivity set and EQ section. ES Stereo Input Connections Input Connectors Each stereo input has a balanced 1/4” jack for The stereo inputs are connected via balanced connecting line level balanced or unbalanced 1/4” jack inputs delivering optimum performance electronic instruments, such as keyboards. Stereo with other professional audio equipment. inputs 1-2 also feature RIAA-equalised inputs on EQ Section RCA Phono connectors for turntable inputs. Stereo Equalisation on the stereo channel strip is inputs 3-6 also have parallel unbalanced RCA simpler than the EQ featured on the mono Phono inputs for line level signals. channels. There are two controls, adjusting HF EQ Section signals at 12kHz and LF signals at 80Hz by Equalisation is split into three bands. The HF ±15dB. control provides 15dB of cut or boost (gain Auxiliary Section adjustment) for frequencies above 12kHz. A Mid With 2 aux sends on the stereo input channels, control offers 15dB of cut or boost at a frequency the signal can be sent pre-fade or post-fade of 600Hz. Signals below 80Hz can be adjusted according to master selection, for use in a with the LF control, which features ±15dB of gain monitor mix or for effects processing. adjustment (cut or boost). Bal, Muting, and PFL The balance control adjusts the amount of the signal sent to the left and right busses. Mute and SOLO buttons operate as on the mono input channels, cutting or soloing the stereo channel. With SOLO pressed, the prefade signal is fed to the headphones, control room output and meters. Faders and Metering Each stereo channel features a smooth 100mm fader, and a peak level LED indicating signal levels in excess of +17dBu.

SPECIFICATIONS – PAGE 25 17 COMPACT MIXER

4 Mono Inputs

2 Stereo Inputs If ever a mixer deserved to be called “small but perfectly formed”, it’s the Spirit Global 48V Phantom Power Notepad that earned the title. Despite its ultra-compact size and very affordable price tag, the Notepad comes with the same professional 10 inputs pedigree as all Spirit mixers, 4 mic inputs and is packed with enough 2 stereo inputs features to handle a surprisingly wide range of High-quality mic pre-amp inputs mixing tasks. 2-band EQ on all 4 mono channels Notepad squeezes into its sub-250mm wide frame an amazing 10 inputs, Post-fade aux send on every input designed to handle everything from phantom-powered studio condensor mics Stereo effects return to DJ decks and samplers. Its high-quality MAIN FEATURES Switchable +48V components and advanced design ensure phantom power CD-quality sound, while its ergonomic Stereo inputs with switchable layout makes the Notepad very easy to RIAA pre-amps for turntables use. And even on the smallest Spirit, as 2-track tape return well as essential features such as separate Separate mix and monitor mix and monitoring outputs, you get outputs custom-built pots designed to give the Peak and VU metering same precision control and carefully- tailored responses that grace the biggest Headphone output Soundcraft desks. However you look at it, Compact, lightweight design the Spirit Notepad is the most fully- Power on indicator featured small mixer in town. Custom designed rotary controls for consistent, accurate response MONO INPUTS Connectors Monitor Amp (Out) & H/Phones Four inputs for mics or instruments. High Two phono connectors for amp/speakers and “A definite winner”. quality preamps with XLR connectors for a stereo 1/4 inch jack for headphones (200 mics and 1/4 inch jacks for electronic ohms or greater impedance) to monitor NICK SERRE, THE MIX instruments. 50dB of gain available. signals before they go to the Master Mix. “Represents a new breed of pro Controls Volume control on rotary pot. Each channel has a Pre-Amp Level control to Tape (In) audio product”. match input levels, Treble and Bass controls Two phono connectors for stereo playback of recordings. Volume (Level) control. FRANK BEACHAM, PRO AUDIO REVIEW (Hi and Lo EQ), a post-fader Effects Send level control, a Pan control to position the Master Mix / Tape Switch “What the Notepad does well, it signal in the stereo image and a Volume Switches between the Master Mix and Tape (Level) control. (In) signals. does magnificently...It’s a winner”. FX Section DAVID ETHERIDGE, MUSIC MART One 1/4 jack for sending a signal out to an STEREO INPUTS effects unit (FX Send) and two 1/4 jacks to accept the return signal. Volume (Level) Connectors control for return signal. Two pairs of phono inputs will accept signals from most line-level sources and, using the Mic Power Provides +48V phantom power for associated switch, stereo turntables condenser mics. Warning LED. Small PA Setups: Bars, (activates internal RIAA preamp). Controls Metering Schools, House of Worship etc Amber AVG (Average) indicators show normal Each channel has a Pre-Amp Level control to signal levels; red PK (Peak) indicators warn match input levels, a post-fader Effects Send Personal Practice Mixing of overload. level control, a Balance control to set relative DJ Mixing; Sub-Mixing levels of left and right signals and a Volume (Level) control. OPTIONS Location Mixing Mic Stand Adaptor Allows Notepad to be fitted to a Video Post Production MASTER SECTION microphone stand. Master Mix (Out) Multimedia; Home Studios Two 1/4 inch jacks for sending main mix to a PA system or stereo recorder (e.g. DAT,

APPLICATIONS cassette deck or CD-R). Volume (Level) SEE PAGES 19-23 control.

18 FULL FEATURE DESCRIPTIONS – PAGES 4 – 7 SPECIFICATIONS – PAGE 25 SPIRIT APPLICATIONS

Whatever the application – studio recording, live mixing or live recording – a mixer invariably does the same basic job of combining and routing several signals at once.

But in situations as different as mixing a band in a small bar, sound reinforcement in a large FX16 church hall, or recording in a compact studio, this basic job comes with widely varied additional requirements. Some situations require very specific features – mixing a turntable with other sources calls for RIAA pre-amps, for example – whereas others require basic mixer features such as auxiliary sends to be used in particular ways. In the studio, they are generally used to route signals through a choice of several effects processors, whereas in live use the aux FX8 sends are more useful to provide essential monitor mixes for artists. The diagrams on the following pages are intended as guides for how Spirit consoles can be used in typical audio applications. We’ve suggested how instruments, microphones and processors can be connected, and which outputs are suitable for amplifiers, monitor sends and so on, but these are only suggestions. While it’s important to stick to certain basics – SX getting inputs and outputs mixed up is usually a bad thing – the requirements of a particular situation could mean that you connect equipment up in a different manner to anything we’ve shown here. Use these examples as starting points, and adapt them to the particular situation. When you run out of stereo inputs for keyboards, use two mono channels instead – just remember to use identical EQ settings on both channels. And remember: getting to know your M Series Stereo Returns Auxes mixer properly makes any task a whole lot 1-4, L&R 1, 2, 3 & 4

Playback L&R easier… Mix L

Monitor L&R

Mix Insert L&R

Stereo Mono Inputs Sum 1-4 L&R Mix R Connector Panels

E Series Auxes On the following pages, you will see 1 & 2 Monitor L&R suggested applications and the Mix L&R connections from each item of Mix Insert L&R equipment to Soundcraft Spirit mixers. Playback In Record Out The illustrations on the left show you exactly where all of the connectors for Stereo each mixer are located so that you can Inputs 1& 2 L&R use them as guides for connecting up your equipment. Notepad

19 SPIRIT APPLICATIONS Series M Notepad Series E FX16 FX8 SX

Vocal Mic

Mic/Line Mic/Line Mic'd Drum Kit Compressor/De-Esser

Insert

Mic/Line Mic/Line Guitar through Mic/Line Mic/Line DI Box

Mic/Line Mic/Line

Mic/Line

Mic/Line

Mic/Line Bass Guitar Amp Mic'd

Stereo A Stereo A Keyboards Effects Stereo B Stereo B

Stereo C Stage Monitors

FX Send Aux 1 Stage Monitor Amp

Monitor Aux 2 Amp L

Monitor Aux 3 Amp R [Not E Series]

Tape In 2-Track Return Cassette or CD Player for Pre-Show / Interval Music Main PA Amp

Master Mix Out Monitor L/R Main PA Speakers

Effects Sub Insert [FX16 only] Mono Amp Mono Sum Out [Not E Series] Sub-Bass Graphic EQ across the mix Speaker with Mix Insert L/R Low Pass Filter DAT or other Stereo Recorder

Mix Out L/R

Live Mixing

Several different mixes are often required in live sound – a main stereo mix for the audience, and one or more monitor mixes for artists. Remember that pumping more volume in to a room tends to make any acoustic problems worse, and that radical EQ settings make feedback more likely.

Key to Connections Mono Inputs Auxes The connections shown in these applications have been colour- Stereo Inputs Outputs coded to assist viewing. Inserts

20 SPIRIT APPLICATIONS Series M Series E Notepad FX16 FX8 SX

Induction Loop for the Hard of Hearing

Main Mic Mic/Line Mic/Line Houses of Vocal Mic Worship Mic/Line Mic/Line

Vocal Mic As in live music Mic/Line Mic/Line mixing, a graphic equaliser across the Mic/Line Mic/Line Guitar main outputs can be Choir Mics through very effective in Mic/Line DI Box correcting room

Mic/Line acoustics (every hall or room tends to Mic/Line boost or cut some frequencies relative to Keyboard Stereo Stereo others).

A A Main PA Speakers Remember that the Amp for Induction Loop more mics you use, FX Return Aux 1 the more chance there Amp with Monitor Speaker is for feedback or Aux 2 amplifying unwanted noise, so mute all Monitor Monitor Main PA Amp L L unused channels.

Monitor Monitor R R

Mix Graphic EQ across the mix Insert L

Mix Insert R

Stereo Recorder Mix Out Mix Out L L

Mix Out Mix Out R R

Installed Sound

Using aux outputs, rather than any form of signal splitter, means that sound levels Series M Series E Notepad

FX16 in different areas of a building or installation can be independently controlled. FX8 SX

Main Mic Mic/Line Mic/Line Mic/Line Amp FX Zone 3 Speakers Send Aux 1 Aux 1 Amp Zone 4 Speakers Aux 2 Aux 2 Amp Zone 5 Speakers Aux 3 Aux 3 [Not E Series] Music Playback Tape In 2-Track Return 2-Track Return Amp Zone 6 Speakers Sub Mix Out Amp Control Mono Mono Monitor 100 Volt Line System can be used Sum Out Sum Out [Not E Series] for long cable runs to speakers Graphic EQ Mix Insert Mix Insert Amp Zone 1 Speakers Master Mix Out Mix Out L/R Mix Out L/R Zone 2 Speakers

21 SPIRIT APPLICATIONS Series M Series M Series M Notepad Series E Notepad FX16 FX16 FX8 FX8 SX SX

Keyboards Vocal Mic Mic/Line Mic/Line Mic/Line Mic/Line Compressor/Exciter Mic/Line Mic/Line Insert

Mic/Line Mic/Line Mic/Line Mic/Line Guitar through Mic/Line Mic/Line Mic/Line Mic/Line Effects Processor Sampler Output 1 Mic/Line Mic/Line Mic/Line Stereo Mic/Line Mic/Line Output Synthesizer Output 2 Synthesizer Mic/Line Mic/Line Stereo Separate Stereo Output A Output Mic/Line Mic/Line

Stereo Output PC with Stereo A Stereo A Stereo Stereo Hard Disc Sampler Recording B A Stereo B Stereo B capability

Stereo FX Master Mix Out Mix Out L/R Return Soundcard Output B Main Mixer Effects (not on FX8) Stereo Soundcard Input C

Submixing FX Send Aux 1 If you’re running out of inputs on your main mixer, a Aux 2 sub-mixer is an excellent way of adding however many

extra channels you need. Aux 2 Series M Notepad Series E FX16

FX8 Nearfield SX Monitor Monitor Amp L L Monitors

Monitor Monitor R R DAT Player Mix Compressor Mic/Line Mic/Line Insert L

Mix Mic/Line Mic/Line Insert R CD Player Mic/Line Mic/Line Tape 2 Track

In Return Mic/Line Mic/Line

DAT Recorder Mic/Line Mix Out Mix Out L L

Video 1 Mic/Line Mix Out Mix Out Effects R R Video 2 Stereo A Stereo A

Video 3 Stereo B Stereo B

Video 4 Stereo C

Stereo D Video Editing

Aux 1 A clean signal path and compact size are often more Amp important in video editing and post applications than a Monitor Amp Monitor L/R Master Video wide array of features. Good EQ is valuable however, Monitor Speakers Master Mix Out Mix Out L/R either to correct for problems in recording, or to make several video sequences sound more similar.

22 SPIRIT APPLICATIONS

Small/Home Studio Recording

Most small studios employ computer-based digital recording systems. Although we’ve shown stereo inputs and outputs, most hard disk systems will allow multitrack recording, sub-mixing digitally to a stereo output. Using aux rather than main outputs allows the input levels to the soundcard to be set independently of the monitoring levels, and ensures that feedback through the card is avoided. Series M E Series FX16 SXM FX8

Multitrack Analogue or x8 Digital Recorder: x8 all Direct Outs from Mixer connected to inputs

Direct Mic'd Drum Kit Out Insert Mic/Line

Direct Out Insert Mic/Line

Direct Out Insert Mic/Line Mic'd Acoustic Direct Out Insert Mic/Line Guitar

Direct Out Insert Mic/Line

Vocal Mic Direct Guitar Insert Mic/Line Out through DI Box Direct Out Insert Mic/Line

Vocal Mic Direct Out Insert Mic/Line Keyboard Artists' Headphones Stereo A

Stereo B Effects

Aux 1 Main Monitors Headphone Amp

Aux 2 Nearfield Monitors Headphone Amp

Aux 3 [Not E Series] Monitor Selector

Monitor L/R Compressor Sub Insert [FX16 only] Monitor Amps Graphic EQ

Mix Insert L/R Stereo Mastering Recorder

Mix Out L/R

2-Track Return

Studio Recording

There are few hard and fast rules in the studio; if it sounds right, it is right. Although for simplicity we’ve shown three mics on the drum kit, you might use a simple hung stereo pair, or multi-mic the entire kit. When recording vocals, avoid unwanted pops by using a fine mesh in front of the mic.

23 DIMENSIONS

248.0 (9.76") 50.0 (1.97") Notepad

EQ Bands (mono inputs) ±15dB. Lo 237.0 Mid (swept) (9.33") Hi Q EQ Bands (stereo inputs) Lo Hi

224.0 (8.82") High Pass Filters Frequency Slope 148.0 443.6 (17.46") (5.83") Noise Ω FX16 Mic EIN @ max gain, 150 source impedance Aux, Mix & Masters @ max, faders down Crosstalk (typical, @ 1kHz) 442.0 Channel Mute (17.42") Fader Cut-off (rel 0 mark) 10 U Routing Isolation Aux Send Pots offness Frequency Response Mic/Line Input to any output

482.0 (19") with rack brackets 9.0 (0.35") 53.8 THD & Noise (2.12") Mic Sensitivity -30dBu, +14dBu @ Mix output @ 1kHz 106.1 (4.18") 96.8 Input & Output Impedances (Z) 420.0 (3.81") 96.8 (16.54") Mic Input FX8 (0.39") Line Input Rack Stereo Inputs – A, B / C, D Brackets Fitted Outputs

442.0 Input & Output Levels 449.1 (17.42") (17.68") Mic Input max level Line Input max level Stereo (Return) Input max level Headphones (@ 200Ω) Weights Weight including power supply

58.9 (2.32") 482.0 (19") with rack brackets

SX M4 M 8 / M 12

118.7 118.7 (3.15") 335.4 (13.20") (4.67") 444.6 (17.50") (4.67")

Inc. 33.0 Conns (1.29”)

511.5 522.7 522.7 (20.14”) (20.58") (20.58")

40.0 (5.7") 396.9 (15.63") 506.1 (19.93") 43.1 (1.70") 440.0 (17.32") 43.1 (1.70") 60.0 335.4 (13.20") 444.6 (17.50") 479.0 (18.86") (2.36") 118.0 (4.65") Inc. Knobs

443.5 (17.46”) 10U 483.6 483.6 (19.04") (19.04")

440.0 (17.32”)

483.0 (19”) with rack brackets 373.4 (14.70") 42.5 (1.67") 482.6 (19.00") 42.5 (1.67")

24 SPECIFICATIONS

FX16 FX8 SX M Series E Series Notepad

80Hz 80Hz 80Hz 60Hz 80Hz 240Hz-6kHz 250Hz-6kHz 250Hz-6kHz 240Hz-6kHz 140Hz-3kHz 12kHz 12kHz 12kHz 12kHz 12kHz 1.5 1.5 1.5 0.77 1.5 N/A 80Hz 80Hz 80Hz (Mid 600Hz, ES) N/A 12kHz 12kHz 12kHz 100Hz 100Hz 100Hz 100Hz 18dB/Octave 18dB/Octave 18dB/Octave 18dB/octave

-129dBu -129dBu -129dBu -128dBu -128dBu -128.5dBu <-80dBu <-85dBu <-85dBu <-84dBu <-85dBu -80dBu

>96dB >96dB >95dB >90dB >96dB >90dB >90dB >90dB >90dB >90dB >96dB >90dB >90dB >90dB >90dB >90dB >84dB >80dB >85dB >86dB

±0.5dB ±0.5dB ±1dB ±1dB ±0.5dB ±1dB 20Hz-30kHz 20Hz-20kHz 20Hz-30kHz 20Hz-20kHz 20Hz-20kHz 20Hz-20kHz

<0.009% <0.009% <0.006% <0.008% <0.007% <0.005%

1.8kΩ 1.8kΩ 1.8kΩ -2kΩ 2.4kΩ 1.8kΩ 10kΩ 10kΩ 10kΩ >40kΩ 11kΩ 20kΩ N/A >10kΩ / - 12kΩ /10kΩ >30kΩ 100kΩ 20kΩ / - 75Ω 75Ω 75Ω 75Ω 75Ω 75Ω

+22dBu +22dBu +22dBu +12dBu +17dBu +14dBu +30dBu +30dBu +30dBu +38dBu +30dBu +30dBu +30dBu +30dBu +30dBu +21dBu +30dBu 150mW 150mW 150mW 150mW 300mW

11.2kg / 24.6lb 8.0k /17.6lb 7.2kg/15.8lb M4: 6.75kg /14.8lb E6: 5.75kg /12.68lb 1.9kg / 4.2lb M8: 8.25kg /18.1lb E8: 6.75kg /14.88lb M12: 8.55kg /18.8lb E12/ES: 7.75kg /17.09lb

E6 E8 E12/ES

95.11 95.11 95.11 (3.74") (3.74") 275.6 (10.85") 326.4 (12.85") 428 (16.85") (3.74")

451.43 451.43 451.43 (17.77") (17.77") (17.77")

375.6 (14.79") 426.4 (16.79") 528 (20.79") 283.6 (11.77") 334.4 (13.17") 436 (17.17")

400.05 400.05 400.05 (16.33") (16.33") (16.33")

35.6 35.6 35.6 (1.40") (1.40") (1.40") 87.58 87.58 87.58 (3.45") (3.45") (3.45")

25 FREQUENTLY ASKED QUESTIONS

What are the maximum and What is the typical output noise What is a 2-track return? minimum input levels to the mic on a Spirit model? and line inputs? 2-track return is a very important input, as -80dBu at the master outputs, with the it is there mainly to accept the output from The maximum levels are: +22dBu for master fader at max. your studio master recorder. Suppose UltraMic™ preamp inputs (i.e. mic inputs on you’re mixing down a recording, and all Spirits apart from the Notepad), +14dBu running your final mix to DAT. You have the for the Spirit Notepad mic inputs, and What is an auxiliary send? Spirit’s Mix outputs connected to the DAT +30dBu for all line inputs. inputs, and the DAT outputs to the 2-track return on your Spirit. If your DAT recorder There is no minimum level – but remember An auxiliary send, usually abbreviated to allows off-tape monitoring, turn this on. By that the lower your input level, the more aux send or aux, is an extra output from a switching from Mix to Tape monitoring on noise will be noticeable. The noise floor of mixer that can carry a quite separate the Folio’s master section, you will hear UltraMic™ inputs is around -150dBu, so any balance of sources to that sent to the the master recording a split-second after it signal at this level will be effectively lost. master outputs. In the studio aux sends has been laid down to tape, and will are used mainly for patching effects therefore know immediately whether there processors in, by sending an aux mix to a is any problem in the all-important master. What cables should I use to effects unit and then returning the connect my Spirit? processed signal to the desk. Auxes are also useful for setting up on-stage monitor What is a ground-compensated mixes at gigs, for multi-speaker mixing in The best you can afford! Cheap cables will installed sound, and for routing signals to output? have poor quality connectors that will be samplers in programming/MIDI suites. more likely to give trouble (such as crackle and buzz) than good connectors. Also, Ground-compensation (or ground-cancelling) is good cables will offer higher audio quality an electronic means of avoiding ground loops and better rejection of interference, What are the nominal output even where the receiving equipment has particularly over long runs. unbalanced inputs. Unwanted noise is rejected levels of the different outputs on by the addition of signals at the output end of Spirit desks? the connection rather than subtraction at the What are the maximum output input, in such a way that any differences in levels of the different outputs on +4dBu for the mix, aux and group ground voltage between input and output Spirit desks? outputs, and 0dBu for insert points and are negated. direct outputs (where they are present). +21dBu.

How should I wire up insert and other cables for my Spirit? Here are diagrams to show how some standard leads should be made up.

BALANCED UNBALANCED INSERT LEADS Line, Mix L&R, Sub L&R, Direct Output, Control Room L&R, Stereo Inputs Mono Inserts, Mix L&R Inserts Aux, Stereo Inputs

26 GLOSSARY

AFL (After Fade Listen) Foldback Multicore A solo function that sends the post-fade On stage or in the studio, a feed sent A cable with multiple cores, allowing signal of a channel to the monitor output. back to an artist via loudspeakers, several signals to be carried independently headphones or in-ear monitors, to but within the same physical casing. Used Attenuate enable them to hear the sound they are extensively in live sound to carry signals to Another way of saying ‘reduce in level’. producing. A foldback mix is usually and from the stage, and in studios for similar to the main mix, but with more linking multitrack recorders to mixing Auxiliary output vocals or a particular instrument consoles. An output consisting of a mix of signals as appropriate. (from channels and sub-groups) derived Near-field monitor independently of the main stereo and Front Of House (FOH) A compact monitor speaker designed to sub-group mixes. Auxiliary sends can be In live sound, FOH refers to the sound be used at a distance of three or four used for foldback and for effects sends. and parts of the sound system provided feet. By listening in the near field (hence for the audience – the main system, in the name), any effects of poor room Balance other words. See ‘Monitoring’. acoustics are minimised. On a stereo channel, the balance control is used to vary the relative levels of the Gain Outboard processors left and right signals into the stereo Amplitude above a given level. Negative Strictly speaking, any effect or other mix bus. gain means a signal reduction. processor – but the term more usually refers to processors such as compressors, Balanced Gate equalisers or exciters, through which a A method of audio connection which Short for noise gate. An electronic device channel or mix bus signal passes. balances the sound signal between two that mutes the signal path when the input Compressors and equalisers are usually wires and a screen which carries no signal drops below a threshold level. They connected to a mixer via insert points, signal. Any interference is picked up are used to maintain silence in pauses in which break the internal signal path so equally by the two wires, but the signal the signal, such as in between vocal that it can be routed out and back via on one wire is out of phase with the phrases or drum hits, when noise might the outboard. other, which means that when they are otherwise become noticeable. recombined the interference is rejected. Pan Graphic equaliser. Short for panorama. Controls the levels Condenser Mic An equaliser with small faders (or sent to the right and left outputs or bus. A microphone that uses a capacitor to programmable ‘virtual’ faders in software) convert air movements into electrical that cut or boost the level of narrow Phantom power signals. They require power, which can be bands of the audio spectrum. Mainly used This is a way of adding voltage to a supplied by the Phantom Power found on to compensate for imperfect room condensor microphone or active DI box, Folio desks. acoustics, especially live. to power the internal amplifier circuits without the need for batteries. DAT (Digital Audio Tape) High Pass Filter (HPF) A cassette-based digital recording format. An electronic circuit designed to filter out Phase frequencies below the filter’s cut-off A term used to describe the relationship dB (decibel) point. If this is set just above deep bass of two signals. In phase signals reinforce A ratio of two voltages or signal levels. A frequencies, it removes only these from a each other, out of phase signals produce change in level of 3dB corresponds to a signal, and is useful for stopping low- cancellation. perceived doubling of volume to the frequency rumble from on-stage mics human ear. 0dB means no level change. from muddying a mix. Unbalanced A method of audio connection which uses DI box Impedance a single wire and the cable screen as the A device that enables an instrument with For good audio performance, the signal return. This method does not a low-level output, such as a guitar or impedance of audio outputs should be provide the noise immunity of a balanced bass, to be connected directly to the line low, and input impedances should be connection (see Balanced above). level input of a mixer. very high. Unity Gain Dynamic Range Line level A level where a signal is neither boosted The ability of equipment (such as a Spirit A nominal standard signal level used when nor cut. console) to reproduce very quiet and connecting one piece of audio equipment very loud sounds – the greater the range, to another. There are two line levels in the better. use: +4dBu, the ‘professional’ level, and -10dBV, which is more commonly used in Equaliser semi-professional and consumer audio A device that allows selected bands within equipment. the audio spectrum to be boosted or cut. Monitoring FX Unit The act of listening to an audio signal over Slang term for effects unit, either a loudspeakers or via headphones. In live dedicated processor such as a digital sound, monitoring also refers to any reverb or delay, or a multi-effects separate mix for speakers placed on-stage processor which can produce many so that the musicians can hear themselves different effects. Effects are usually properly (see FOH). connected so that the processed sound can be mixed back in with the Monitor loudspeakers unprocessed sound in the mixer. Or monitors. Accurate loudspeakers used See also ‘outboard’. to make critical judgements about a mix. 27 ...AND BEYOND

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16 to 40 Ch 8-Bus Live Mixing Consoles For details of the complete Soundcraft range contact your Soundcraft dealer or LIVE 42 visit the Soundcraft website where you’ll find comprehensive details of every product, including downloadable PDF brochures, technical support and user group information.

A Range of 8 to 40 Ch Live Mixing Consoles LX7 Soundcraft Harman International Industries Ltd., Cranborne House, Cranborne Road, Potters Bar, Herts EN6 3JN, UK. Tel: +44 (0)1707 665000 Fax: +44 (0)1707 660742 24 to 40 Input Email: [email protected] Live Mixing Consoles MONITOR 2 Soundcraft USA 1449 Donelson Pike, Nashville, TN 37217, USA. Tel: +1-615-360-0471 Fax: +1-615-360-0273 Email: [email protected] www.soundcraft.com 24 to 40 Ch Stage Monitor Consoles POWERSTATION Soundcraft reserves the right to improve or otherwise alter any information supplied in this document or any other documentation supplied hereafter. E&OE 11/02

This equipment complies with the EMC Directive 89/336/EEC

16 to 24 Ch Powered Live Mixing Consoles Soundcraft Registered Community Trademark / RTM Nº 000557827 Part Nº: ZL0522