Soundcraft LIVE RANGE BROCHURE

BEYOND LIVE...

324 LIVE

32 Input Live Digital Mixing Console

DIGITAL 328XD

Soundcraft’s Spirit range of live

and powered mixing consoles are

just part of their extensive range

of Professional Audio Equipment.

In the studio as well as on stage, Soundcraft’s designs have become synonymous with versatility, innovation and sonic excellence.

LIVE MIXING CONSOLES

SPIRIT 8

8-Bus Professional Mixing Console

32 Channel Digital Mixing Console

STUDIO

Professional Multitrack Recording Mixing Consoles

ABSOLUTE

A Range of Professional Nearfield Monitors

FX16

16 Mono Channels with onboard Lexicon Effects

FX8

On the

ROAD

and in the

STUDIO

Around the

WORLD

Since the launch of the original Spirit Folio in 1992, the Folio Range of mixers has set the standards in the field of compact mixers. Ideal for both studio and live applications, FX16, FX8, SX, F1 and Notepad still represent the pinnacle in compact mixers for usability, sound quality and value for money.

Spirit Studio, a design that has remained virtually unchanged since its introduction in 1991, has become a recording classic used by the likes of Portishead, M:People and Radiohead.

Since its launch in 1998, the multi-award-winning Digital 328 console, with its ground breaking easy-to-use interface, has revolutionized low cost digital mixing in studios and live applications.

Soundcraft’s award-winning range of nearfield studio monitors – Absolute Zero, Absolute 2 and Absolute 4P – have taken the Soundcraft name into top studios such as The Roundhouse and Ridge Farm, and won many friends in the production world. John Leckie and Tony Tavenor are just two internationally acclaimed producers to use Soundcraft monitoring.

Soundcraft is committed to excellence in audio. In eighty-eight countries, in countless studios, venues and recordings Soundcraft provides the inspiration. You simply have to do the rest.

For details of the complete Soundcraft range contact your Soundcraft dealer or visit the Soundcraft website where you’ll find comprehensive details of every product, including downloadable PDF brochures, technical support and user group information.

MONITOR 2

12-Bus Stage Monitor/ FOH/Theatre Mixer

LIVE 4

4-Bus Professional Mixing Console

SPIRIT M

SERIES

Compact Mixing Consoles with integral rack mounting

LX7

MIXING CONSOLES

8 Mono Channels with onboard Lexicon Effects

12 Mono & 4 Stereo Inputs

6 or 8 Mono & 4 Stereo Inputs

NOTEPAD

4 Mono & 2 Stereo Inputs

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 E: info@soundcraft.com

Soundcraft USA

1449 Donelson Pike, Nashville, TN 37217, USA. Tel: +1 (615) 360 0471 Fax: +1 (615) 360 0273 E: soundcraft-usa@harman.com

www.soundcraft.com

Soundcraft reserves the right to improve or otherwise alter any information in this document or any other documentation supplied hereafter. E&OE 02/02 This equipment complies with the EMC Directive 89/336/EEC Spirit by Soundcraft Registered Community Trademark / RTM Nº 000557793 Soundcraft Registered Community Trademark / RTM Nº 000557827 Part Nº A4: ZL0527 US: ZL0528 02/02

7-Bus Professional Mixing Console

POWERSTATION

1200 AND 600

Mixing Consoles with integral power amps and Lexicon effects

POWERPAD

Compact 10 Input Mixing Console with 2 x 30W power amp

LIVE

RANGE

BROCHURE

POWERED MIXERS

CONTENTS

Choosing & Using a Live Mixer; FAQs

4 - 9

Choosing & Using Soundcraft Live Mixers

Quick Selection Table Page 4

Major features explained Pages 5 - 7 Frequently Asked Questions Pages 8 - 9

AT THE HEART OF LIVE SOUND

TEXAS

The Mixers in detail

Live Mixer Applications

Choosing Powered Mixers

Powered Mixers in detail

10 - 32

33 - 35

36 - 37

38 - 44

Spirit 8

Monitor 2

Live 4

M Series

LX7

8-Bus Professional Mixing Console

Features Pages 10 - 11 Controls & Connections Pages 12 - 14 Specifications; Block Diagram Pages 15

12-Bus Stage Monitor / FOH / Theatre Console

Features Pages 16 - 17 Controls & Connections Page 18 Specifications; Block Diagram Page 19

4-Bus Professional Mixing Console

Features Pages 20 - 21 Controls & Connections Pages 22 - 23 Specifications; Block Diagram Page 24

Compact Mixing Consoles

Features Page 25 Controls & Connections Page 26 Specifications; Block Diagram Page 27

7-Bus Professional Mixing Console

Features Pages 28 - 29 Controls & Connections Pages 30 - 31 Specifications; Block Diagram Page 32

Applications Using Live Mixers in various applications

Live Mixing Page 33 Houses of Worship 34 Installed Sound 34

Outdoor Events Page 34 Theatre Sound 35 Presentations 35

Powered Mixers

Choosing Powered Mixers Page 36 Powered Mixer Features Page 37

PowerStation

aPowerpad

Powered Mixing Consoles

Features Pages 38 - 39 Controls & Connections Pages 40 - 41 Specifications; Block Diagram Page 42

Compact Powered Mixing Console

Features Page 43 Controls & Connections Pages 43 - 44 Specifications; Block Diagram Page 44

For nearly thirty years, Soundcraft consoles have been at the heart of live production around the world. From venues, theatres and houses of worship to global stadium tours by artists such as Bruce Springsteen, Bryan Adams and Garbage, Soundcraft consoles are chosen for their uncompromising sound quality, comprehensive facilities, intuitive operation and rugged reliability.

Since its launch in 1991, the Spirit range has continued the Soundcraft tradition and has been responsible for many ground-breaking new products including the revolutionary Folio and the multi-award winning Digital 328. From young musicians to international artists such as Jean-Michel Jarre, the Manic Street Preachers and the Chemical Brothers, the Spirit range has become synonymous with professional features, sound quality and reliability, all at affordable prices.

Soundcraft’s success stems from years of experience specialising in the design and manufacture of mixing consoles. Our Product Managers are in constant communication with sound engineers and musicians around the world, ensuring the development of consoles that truly match the needs of our customers.

Famous Soundcraft users today include artists like The Orb, Manic Street Preachers, Gomez, Jean-Michel Jarre, Sasha, Catatonia, M:People, the Chemical Brothers, Asian Dub Foundation, Texas, Pulp and Portishead*. To discover for yourself why they all chose Soundcraft, read on.

At Soundcraft’s manufacturing facility outside London, we use world class production techniques including the latest surface mount technologies to ensure every console is packed with features. At the same time, we ensure reliability with continual investment in the latest testing systems, ensuring every Soundcraft console is built and tested to the same exacting standards.

This brochure outlines the key features and specifications of the Spirit range of Soundcraft live mixing consoles. For more detailed information on individual products, please contact Soundcraft or your nearest dealer, or visit the Soundcraft website shown on the back cover.

GOMEZ

ASIAN DUB FOUNDATION

* No endorsements implied.

Powered Mixer Applications

More Soundcraft products

2 3

46 - 47

back cover

Applications Using Powered Mixers in various applications

Live Mixing Page 45 Installed Sound 46 Outdoor Events 46

Presentations Page 46 Power Supply Data 47 (all models)

Other Soundcraft Products

See Back Cover

QUICK REFERENCE TABLE

USING LIVE MIXERSCHOOSING A LIVE MIXER

To help you find the right live mixing console for your needs, we’ve summarised the key features and recommended applications of each model below.

Quick Reference Mixer Selector

Applications

Large Bands FOH • •

Medium Bands FOH • • •

Small Bands FOH • • •

Touring • •

Stage Monitors • • •

Large Venue Installed •

Medium Venue Installed • • • •

Small Venue Installed ••

Club • • • •

Houses of Worship • • • •

Theatre • • • • •

Mono Inputs 4 •

8 • 12 •• 16 •• 24 • • • • 32 • • • 40 • • •

Sub Groups 8 12 (monitor) 4 4

Master Outputs 22222

Matrix 2-2--

Stereo Inputs 4 - 2 (12 ch) 4 2

EQ Bands Lo Fixed 80Hz 80Hz 80Hz 60Hz 80Hz Mono Lo Mid Sweep 80Hz-1.9kHz 80Hz-1.9kHz 80Hz-1.9kHz - 80Hz-1.9kHz

(±15dB) Hi Mid Sweep 550Hz-13kHz 550Hz-13kHz 550Hz-13kHz 240Hz-6kHz 550Hz-13kHz

Hi Fixed 13kHz 13kHz 13kHz 12kHz 13kHz

EQ Bands Lo Fixed 80/120Hz - 80/120Hz 60Hz 80Hz Stereo Hi Fixed 6/12kHz - 6/12kHz 12kHz 12kHz

(±15dB)

High Pass Filters Mono inputs Mono inputs Mono inputs Mono inputs Mono inputs

Auxiliary Sends Pre Fade 2 12 3 2 4

Post Fade 2 12 3 2 6

Pre/Post switchable 2 12 1 - 4

Mute Groups 4-4--

FX Returns 8 x stereo 2 x stereo 4 x stereo 4 x stereo 2 x stereo

Inserts Mono inputs, Mono inputs,mix, Mono inputs, Mono inputs, Mono inputs,

Phantom Power Individual Individual Individual Global Global

For full information turn to pages... 10 - 15 16 - 19 20 - 24 25 - 27 28 - 32

Spirit 8

groups, mix monitor sends groups, mix mix, mono out mix

Monitor 2

Live 4

4 (16+ ch)

M Series

For full product information and specifications, please turn to the page numbers shown.

LX7

USING LIVE MIXERS

You don’t have to take centre stage to feel the heat of live performance – ask any engineer, and they’ll tell you that live mixing places special demands on equipment and on personnel. In the recording studio or in the dubbing suite there’s always a second chance, but in live sound you get only one chance to get it right.

So when the pressure’s on, why do so many engineers choose Soundcraft? Perhaps because we’ve had nearly 30 years experience at the forefront of professional live sound, listening to engineers, and turning their comments into practical products at all levels of the market. From houses of worship to concert halls, and from clubs and bars to touring theatre companies, we know what it takes to make a live mixer perform: the right combination of control features, presented in as intuitive a manner as possible, plus crystal-clear audio quality, to satisfy audiences and performers who expect ‘CD-quality’ digital audio from even the cheapest portable players or keyboards. And to all this we add something just as important – value for money.

Thanks to smart design and advanced manufacturing techniques – such as automated surface mount technology – you get more features per square inch on a Soundcraft desk. And thanks to efficient production, we can deliver the best in audio quality and control at a very reasonable price.

Let’s look at a few of the more important features of live mixers, and how they are used.

USING INPUTS

When choosing a live mixer, one of the first things you should think about is how many inputs and outputs you need. Also, what types of inputs and outputs are required – where do they need to fit into the mixer’s signal path, and what kind of physical connectors should be present. Mono input channels are generally best suited to microphones, or guitars and bass guitars connected via DI boxes. Both XLR and jack inputs are offered on most consoles, providing excellent flexibility. Most inputs are balanced

preferred since a balanced cable will reject interference and noise where an unbalanced cable may pick up unwanted signals from lighting and other equipment.

BALANCED

SOURCE

Interference appears at the input with same polarity on both the + and - wires, and is rejected

INTERFERENCE

SCREEN

BALANCED

MIC/LINE

INPUT

STEREO INPUTS

Many sources in live and installed sound are stereo – stereo keyboard and sampler outputs, for example, CD or MiniDisc players for background or pre-show music, and stereo cart players for effects in theatre. Although you can use two mono channels for a stereo source, stereo channels take up half as much space on the desk, which means more inputs in total. Stereo channels are also easier to use, as you only have a single set of controls for level, aux sends and equalisation of the stereo signal.

Other inputs, such as stereo returns and effect returns, are intended mainly for routing a signal back into the mixer after it has passed through an external processor (such as a reverb or delay), but they can be also used for extra instrument inputs. 2-track inputs, where available, give a clean and direct signal path from a stereo playback unit to the mixer’s main outputs.

TAKING CONTROL

No matter how many advanced features a desk has, they’re useless if the mixer is too hard to use – so we make sure that Soundcraft designs are always easy to get to grips with. When you’re working with a lot of inputs, or when you have to accommodate several bands or scenes in a show, Mute Groups help to keep control of a mix. Groups of channels can be set up for different bands or scenes, and switched in and out rather than clumsily faded up and down.

Clear layout is an important aspect of mixer design that is often overlooked. All Soundcraft desks follow the familiar conventions of using white fader tops for channels, and red fader tops for groups. While it may sound trivial, under pressure and in dimly-lit clubs, it makes a big difference. Furthermore, all Soundcraft live mixers feature custom pots and faders, ensuring that their sound quality is matched by a usable, effective interface. Both rotary pots and linear faders have useful resolution all along their travel, giving you the confidence to fine tune a mix properly.

USING HIGH-PASS FILTERS

Many engineers would say that a highpass filter is the most important channel feature, enabling unwanted low-frequency noise to be removed from a signal. Mics on stage can pick up a good deal of rumble, and by using a HPF you can still employ the

low frequency

0dB

-3dB

30Hz 100Hz

high-pass filters have a 12dB/octave slope, Soundcraft filters have an ultrasteep 18dB/octave slope which means that more of the lower frequencies are attenuated – a shallower slope allows more bass frequencies to slip through, making it less effective. By positioning the filters at 100Hz, Soundcraft’s HPFs act on the full range of lower frequencies that can cause clarity problems in mixing. (The more commonly-used 50Hz or 75Hz filter points work only on the very lowest frequencies.)

part of the channel EQ for creative work, rather than using it for keeping stage rumble at bay.

Whereas most

USING LIVE MIXERS

SETTING CHANNEL GAIN

If you want to be sure of getting a good mix, you have to start with the basics – and correctly setting the gain on each channel comes first at most soundchecks. Channel gain sets the amount by which the input signal is raised or lowered to match the operating level of the desk – high enough to give the best signal-to-noise ratio, but low enough to avoid distortion. A good way to do this is to ensure that a typical input signal is present on a channel, by simply having someone play a riff over and over, and adjust the gain pot until the meters read within the yellow range (‘3’ to ‘6’ on the meter scale). This leaves enough headroom for transients and peaks. By setting appropriate gain on all channels, you can bring all the faders up to 0dB and know that all the instruments and mics will come through at roughly the same level. As well as making it easier to set up a basic mix, it helps to keep things clear and simple during a performance.

Thanks to the renowned UltraMic+ preamps used on all the Spirit range of Live mixers, their input channels can easily handle a wide range of signal levels – but even with this added flexibility, it’s still good practice to set the gain properly.

One of the hardest types of signals for preamps are sudden transients – sharp peaks, often with a lot of highfrequency content. By using a feedforward circuit configuration rather than a negative feedback design, the UltraMic+ is more stable and sounds cleaner when it has to deal with these signals. In a negativefeedback circuit, transients tend to draw power from the power rail, in turn limiting the circuit’s ability to control the feedback. With the UltraMic+, however, the

Unity Gain

performance of the preamp remains linear, which means less distortion and more usable headroom.

USING EQ

Channel EQ is a vital live tool, for both corrective and creative work. Soundcraft’s classic British EQ design combines well-focused HF and LF bands with two swept mid bands. Carefully chosen frequency ranges and slopes give simple, effective control of the high and low frequency ranges, without interfering with the area covered by the two swept mid bands. The result is EQ controls that give you more power to, for example, correct the change in sound as a radio mic slips out of position.

GRAPHIC EQUALISERS

Whereas channel EQ is used for changing the sound of individual channels, graphic equalisers are more suited to changing the overall sound. By patching a graphic EQ into the mix inserts, you can tailor the output of the desk to suit the room acoustics, rather than making the same corrections on all channels. To set the graphic EQ up properly, start by setting all of its faders to their centre positions, and turn the amplifier volume up until you can just hear the onset of feedback. Back the amp volume off slightly and, starting with the lowest frequency band, one by one slowly push the faders up. If no feedback occurs, return the fader to the centre position (0dB gain). If feedback does kick in, reduce the fader’s level to the same amount below 0dB by which you had to raise it in order to induce feedback. Now do the same for the rest of the frequency bands.

USING INSERTS

Sometimes you need more specialised signal processing than a mixer can offer, which is where insert points come in. At key points in the signal chain, an insert point allows the signal to be diverted from its normal, internal, path, and instead routed out of the mixer and back in via an external processor. Inserts on input channels are often used to patch in dynamics processors – noise gates on drum kit mics to keep things clean, and perhaps compressors on the lead vocal and DI’d bass guitar to even out levels on these critical sources.

Inserts at the outputs are more likely to be used for extra equalisers. Theatres, bars and concert halls rarely have very controlled acoustics, and a graphic equaliser is one of the best ways of putting things right. The main stereo outputs are generally the most important, as they’re usually feeding the loudest sources in your sound system. But if you’re putting speakers on-stage or in an orchestra pit (so that performers can hear themselves properly), these too may require some EQ’ing to produce a more natural sound. The interplay of speaker design and a speaker’s position in a venue are very complex, and experienced engineers know that there’s simply no way to predict exactly how a speaker stack will sound in a particular space until it’s up and working.

MIC/LINE

PROCESSOR

Compressor Noise Gate Limiter Expander

USING LIVE MIXERS

ROUTING TO OUTPUTS

Outputs are the business end of any live mixer – the means by which you ensure that the right people hear the right sound. For a start that means routing signals to amplifiers and speakers, but there are numerous other sources to which you may need to route signals – such as effects processors, and DAT or multitrack tape recorders – and that’s why live mixers have so many outputs.

The audience is usually your first concern – making sure that they’re hearing things loud and clear. As well as the main Front-of-House speaker system, there are several ways in which a mono output from the mixer, as well as the main stereo outputs, can help in this respect. You could feed a mono mix to a centre ‘fill’ speaker cluster, or a sub-bass cabinet. Keeping the mono feed separate, with its own level control on a fader, makes it easy to balance the sub-bass or fill against the main stereo mix. Other uses for the mono feed could include feeding an extra room, or in a larger room or outdoor event, feeding a delay stack.

Vocals may be emphasised for the centre FOH stacks to help create a more solid stereo image, especially at the front of the venue.

The mix balance to the rear stacks may be vocal weighted to improve clarity

USING A MONO MIX

At larger venues and outdoors, a delay connected to the output’s insert points may be required for the rear stacks

GROUP 1 GROUP 2 GROUP 3 GROUP 4

SUBGROUPS

SUB-GROUPS & AUX SENDS

Sub-groups on a mixer are a valuable means of controlling sets of inputs as if they were one input. Apart from making it easier to balance the main elements in a live music performance – say, lead and backing vocals on groups 1 and 2 respectively, with the band as a stereo mix on groups 3 and 4 – these groups can be used to provide additional mixes via matrix outputs.

Different zones in a building could be fed in this manner, or a mix with slightly higher vocal levels fed to rear speaker stacks in a large room to aid intelligibility. In theatre and installed sound, you might drive an induction loop (to help people with hearing problems); a mono or matrix feed is ideal for this purpose.

Auxiliary sends provide yet another means of deriving mix outputs carrying a different balance of input signals, but without a dedicated linear output fader. Prefade aux send levels are unaffected by channel fader levels, and are therefore ideal for setting up monitor mixes

– performers still need to be able to hear their performance, even when you cut them out of the FOH mix. Post-fade sends, on the other hand, are better suited to feeding effect processors, as the balance of dry to effected sound remains constant as you raise and lower channel faders. As with inputs, however, at a pinch you can put outputs to different uses – feeding extra speaker stacks from an auxiliary send, for example.

OTHER INPUTS & OUTPUTS

As well as the main mix or mixes, there may be other signals that you need to route to different zones in a building – a talkback mic to the artists’ dressing room, for example. ‘House mics’ may be useful if you are using inear monitors. Adding background noise by sending these mics to the otherwise ‘dry’ in-ear mix, you create a much more natural monitor mix that performers usually prefer.

When you need to record a live performance, the easiest way to do it is to record via stereo tape outputs, found on all Soundcraft live mixers. When you need to make multitrack recordings, look for direct channel outputs, which are usually switchable to take either a pre- or a post-fade channel signal out to a multitrack recorder. Group outputs can also be used, though as a rule, the less ‘mixed’ your recorded tracks are, the better.

FREQUENTLY ASKED QUESTIONS

Why use Balanced Inputs?

Balanced inputs provide better rejection of interference and noise than unbalanced inputs. This is especially important in a live environment, as lights and other equipment tend to introduce a good deal of hum in unbalanced cable runs.

What is Phantom Power?

Phantom power is a simple DC power supply, usually 48V, available via the balanced inputs of a mixer. It allows condenser microphones and DI boxes to be powered without batteries or any external power supplies.

What is Talkback?

Talkback is a way of allowing an engineer to talk to performers onstage or backstage, via a dedicated mic input that can be routed to (usually) group or aux outputs, or the main mix outputs.

What is in-ear monitoring (IEM), and what’s so good about it?

In-ear monitoring is an alternative way of providing a monitor mix to performers. Rather than play the mix over on-stage speaker cabinets, IEM carries the mix from the mixer’s outputs via a wireless or hard-wired link to a performer’s compact bodyworn receiver, complete with earphones.

This offers several key advantages over traditional monitoring: a higher quality monitor mix can be provided, and by reducing or (if the whole band is on IEM) eliminating the extra on-stage volume due to monitor speakers, there’s less chance of feedback and a better FOH mix is possible. There’s also less equipment to move around, and provided that transmitters are correctly placed, performers can wander all over the stage without compromising their monitor mix.

What are matrices for?

Matrices are extra outputs which can carry yet another separate mix, derived from the main and group busses. They could be used for something as simple as duplicating the main mix to feed a MiniDisc recorder or another set of speakers, or used to carry a mix with more vocal, for example, for a set of rear speakers.

What is a high-pass filter for?

A high-pass filter is one of the most useful facilities that you will find on a live mixer. By cutting out all lowfrequency sounds, a high-pass filter can eliminate stage rumble and other unwanted low-end ‘mush’ that you don’t want to hear over the main PA.

What is a DI box?

Some instruments, usually keyboards and bass guitars, are best connected to a mixer electrically rather than via a microphone. This is where a Direct Injection box comes in. A DI box converts the unbalanced instrument output into a balanced signal which can be run to the mixer. This avoids the noise problems associated with long runs of unbalanced cable, and provides a convenient point to lift the earth connection without butchering your cables.

DI boxes may be passive (i.e. a simple transformer), or powered by either batteries or the mains. Some accept 48V phantom power. If you get problems with DI boxes or other equipment humming, you can use the ‘Earth Lift’ switch; but whatever you do, don’t resort to removing the Mains earth connection. This is potentially lethal, so if you can’t solve it, get the equipment fixed properly by a qualified engineer.

What is a foldback?

A foldback mix is another name for a monitor mix, totally separate from the main front-of-house mix, and provided so that performers can hear themselves properly on stage or backstage.

What’s the Inverse Square Law?

Every time you double the distance from a sound source, you halve the volume (ie. a 6dB drop). Halve the distance and you double the volume. Remember this when positioning microphones.

What are the maximum input levels to each type of input?

+22dBu for UltraMic preamp inputs (ie. mic inputs apart from those on the Powerpad), +14dBu for the Powerpad mic inputs, and +30dBu for all line inputs.

What are the maximum output levels of the different outputs on the Spirit range of desks?

Around +21dBu.

What is the typical output noise on a Spirit range live desk?

-80dBu at the master outputs, with the master fader at max.

What is a 2-track return?

A 2-track return is intended primarily to accept the output from a stereo playback source such as a CD, cassette or MD player.

What cables should I use to connect my console?

The best you can afford! Cheap cables will have poor quality connectors that will be more likely to give trouble (such as crackle and buzz) than good connectors. Also, good cables will offer higher audio quality and better rejection of interference, particularly over long runs in hostile live environments.

What is an auxiliary send?

An auxiliary send, usually abbreviated to aux send or aux, is an extra output from a mixer that can carry a quite separate balance of sources to that sent to the master outputs. In the studio aux sends are used mainly for patching effects processors in, by sending an aux mix to a effects unit and then returning the processed signal to the desk. Auxes are also useful for setting up on-stage or in-ear monitor mixes, and for multi-speaker mixing in installed sound.

How should I wire up insert and other cables for my console?

BALANCED

Line, Mix L&R, Sub L&R, Aux, Stereo Inputs

UNBALANCED

Direct Output, Control Room L&R, Stereo Inputs

Why are cardioid mics usually preferred for live work?

A cardioid mic, with its directional pick-up characteristics, can fairly easily be positioned so as to avoid feedback and unwanted spill. An omni mic, by comparison, may offer slightly higher sound quality, but must be placed with care – remember the inverse square law, and place omnis as close as possible to sound sources.

Is it a good idea to use a wide range of microphones?

It is generally good practice to use similar microphones, and as few of them as possible. By sticking to mics with similar characteristics, you will find it easier to achieve a balanced sound, and there’s less chance of a single cheap mic spoiling the party. By using fewer mics, you reduce leakage, and therefore reduce the chance of feedback. (The more open mics are on stage, the more the amount of gain before feedback is cut.)

I’m having real problems avoiding feedback. Help!

You’ve moved all the mics again, you’ve done the best you can with your graphic EQ, moved the monitor speakers – but feedback still threatens whenever you push the levels. Try reversing the phase of one of your monitor outputs to deal with this. This will not affect the subjective sound quality of the stage monitor mixes, but it may make a big difference to how much gain can be dialled into the monitor system before the onset of feedback.

These diagrams show how some standard leads should be made up.

INSERT LEADS

Mono Inserts, Mix L&R Inserts

Why do you need a mono bus?

A mono bus on a live mixer is a valuable addition to the main stereo outputs. Unlike studio and domestic hi-fi situations, live sound often presents problems for a simple L-R stereo mixing – mainly because the audience is spread over far too large an area to be properly covered by a system’s ‘sweet spot’. Rear speakers are often used to reinforce sound at the back of a hall, and a mono bus can be used to provide a ‘fill’ in between speakers at the front. If the centre speakers carry more vocals than the L-R mix to the main speaker stacks, overall intelligibility and clarity are often improved.

SPIRIT 8

8-BUS PROFESSIONAL MIXING CONSOLE

Up to 56 inputs

8 group busses

UltraMic+ preamp with up to 66dB gain range

+48V phantom power, individually switchable on each channel

4-band EQ with two swept mid bands

4 mute groups

Additional outputs on 10 x 2 matrix

16, 24, 32 and 40-channel frame sizes

Two stereo input channels

8 stereo returns

MAIN FEATURES

Phase reverse on mono inputs

18dB/octave high-pass filter

6 aux sends, configurable to give up to 4 pre or post-fade sends

Separate rackmountable PSU

Applications:

• 8-bus live mixing

• FOH mixing

• Touring bands

• Venues and theatres

• Installations

• Recording direct to multitrack

APPLICATIONS

Frame sizes available:

SEE PAGES 33 – 35

The Spirit 8 is the ultimate Spirit range live console, a fullyfeatured 8-bus desk that combines a comprehensive range of professional control and routing facilities with costeffective and compact design. You can choose the Spirit 8 in any of four frame sizes, from 16 to 40 mono channels, all featuring eight sub-groups for routing sets of channels together, giving you fewer faders to ride when balancing the overall mix.

Outputs for every application

In live music or in theatre, the Spirit 8’s eight sub-groups can also provide extra outputs, for additional zones or speaker stacks. Still more outputs, besides the main stereo and six aux outputs are available via a 10 x 2 matrix section, bringing to 18 the total number of independent outputs on the

Spirit 8. All are on balanced XLRs, with transformerbalanced output circuitry that offers excellent rejection

against interference from electronics such as lights and computers.

The Spirit 8’s six auxiliary sends can be configured in various ways to suit uses such as monitor, effects and other sends. Front-panel switches allow four of the auxes to be routed either preor post-fade, while internal jumpers are used to change options such as

whether a send is pre- or post-EQ

- even whether an aux send is muted along with the

channel. A more

specialised facility

is the channel

direct

output, switchable for either pre- or post-fade, provided on all mono input channels for multitrack recording or extra effect sends.

All mono input channels feature Soundcraft’s legendary UltraMic+ mic preamp, designed to get the best out of almost any input source, from lowoutput dynamic mics to the hottest stage box or keyboard outputs. Other important professional features for mic mixing are also provided. Phase reverse switching enables quick and easy correction of out-of phase mics in a multi-mic system, and +48V phantom power for condenser mics is switchable on all channels. As on all of the Spirit range of live mixers, powerful 4-band EQ with two swept mid bands provides all the corrective power you need. Carefully chosen, well-focussed frequency bands and filter slopes mean that you can dial in just the right amount of high frequency shimmer without bringing up unwanted mid-range boominess. Similarly, you can cut or boost only the narrow range of bass frequencies required to avoid speaker distortion or bring out the character of a bass guitar, without muddying the whole mix.

Stereo inputs

The Spirit 8 is well-equipped

with stereo inputs,

suitable for everything

from instruments

to CD players.

Besides

four

stereo channels, complete with EQ and aux routing, the master section includes a further eight stereo effect returns. Four of the returns even have EQ controls – a refinement that brings greater tonal control to effect mixing, as well as making it easier to bring in stereo instruments, or stereo playback of pre-show music from a CD or MD player. The construction of the Spirit 8 is everything you’d expect of a full-size professional live board, with individual channel circuit boards firmly bolted into a solid steel frame. Its ergonomic design and familiar colours, important

factors in ensuring easy and intuitive operation, are based on years of inhouse live experience. Even in low light, EQ pots can easily be distinguished from aux controls, and there’s enough room around all the rotary pots to allow control movements without knocking adjacent pots out of alignment.

With its integral meterbridge, the Spirit 8 provides accurate and comprehensive monitoring of levels throughout the signal chain – channels, groups, and the main mix busses. More than just a way of seeing which channels are in use, this helps the engineer to maintain optimum levels throughout the signal path, avoiding both unwanted noise and distortion. Thanks to PFL and AFL facilities, channels and groups can be isolated and checked on headphones – even in mono when looking for phasing problems.

Mute groups

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8

full

BLOCK DIAGRAM –

SPIRIT 8

CONTROLS & CONNECTIONS

HI MID SWEEP EQ

HI EQ

LO EQ

LO MID SWEEP EQ

MONO INPUT

The UltraMic Plus™ padless mic preamp provides up to +28dBu capability with the input sensitivity control operating between +6dB and -60dB on Mic and Line inputs.

180° Phase Reverse switch

This switch reverses the polarity of the input to compensate for signal phase differences.

Connector Bay (behind meterbridge)

Both Mic and Line inputs are balanced with +48V phantom power available individually per channel for condenser mics. Direct Out is factory set postfader/post-EQ, but can be set to prefader, pre/post EQ. The insert point is pre-fader, pre-EQ but post HPF.

EQ Section

The 4 band equaliser section has two swept mids for extra control during live performances. All bands provide 15dB of cut or boost.The HF shelving filter operates above 13kHz. The Hi Mid control operates between 550Hz and 13kHz with Lo Mid operating between 80Hz and 1.9kHz. The LF shelving filter operates below 80Hz.

EQ In/Out switch

Selecting the EQ allows comparison of treated and untreated sounds.

High Pass Filter

A 100Hz/18dB/octave High Pass Filter is set pre-EQ to ‘clean up’ low frequencies.

Auxiliary Section

6 Auxiliary Sends allow the choice of either monitor or effects-orientated mixes. Auxes 1 and 2 are pre-fader, post-EQ for monitor mixes. Auxes 3 and 4 are normally post-fader, post-EQ but are individually globally switchable to pre-fader, post-EQ from the master section. Auxes 5 and 6 are post-fader, post-EQ. The pre- or post-EQ parameters on Auxes 1, 2, 3 and 4 are all easily resettable via internal jumpers for custom configurations.

Pan

Each input channel can be routed to mix and/or any of the 8 groups in pairs.

Mute

All pre- and post-fade outputs are muted on the channel when the mute switch is pressed. Alternatively, the channel can be assigned to one of the 4 mute busses for scene setting.

PFL/Solo

Each channel can be soloed pre-fader, post-EQ to check gain levels. The PFL LED also doubles as a PEAK indicator.

Faders

Custom-built 100mm long throw linear faders provide 10dB of extra gain above “zero”.

STEREO INPUT

Two stereo input channel strips, each comprise two independent pairs of inputs.

Connector Bay (behind meterbridge)

Both pairs of line inputs are balanced. Plugging in the left jack only will feed a mono source to both paths.

Cassette/CD Input Section

This features two gain settings: LO for

-10dBV semi-pro devices such as CD or cassette players, or HI for -20dBV hi-fi equipment. Signals are controlled by the LEVEL TO MIX pot and directed straight to Mix. The input can be soloed pre-fader, with two pre-fade auxes allowing the signal to be sent to stage monitor mixes.

Stereo Input Section

A gain control operates from 0 to 22dB allowing the connection of line level devices as well as most professional and hi-fi sources.

EQ Section

A two band frequency switchable EQ provides 15dB of cut or boost over high or low frequencies. The HF control is selectable between 6 or 12kHz, with LF selectable between 80 and 120Hz.

EQ In/Out Switch

This switch allows comparison of treated and untreated sounds.

Aux Section

The Stereo Input has 6 Auxiliaries with identical pre/post-fader settings to the mono inputs.

Balance

This control sets the amount of signal feeding the left and right mix outputs and the odd or even groups. Acts as a Pan control when a mono signal is used.

PFL/Solo

Pressing the PFL switch provides a mono sum solo of the pre-fade, postEQ signal.

Fader/Route/Muting switch

The fader, mute switch and routing switch behave identically to the mono channels.

GROUP SECTION

Connectors (see below)

Each group has an impedance-balanced output with a male XLR connector and a pre-fade insert point. All stereo returns are balanced.

Stereo Returns

8 Stereo Returns are provided in the group section, for use as effects returns, or as additional stereo inputs. The returns in the top row include 2 band EQ with 15dB of cut or boost at 12kHz and 80Hz. Each return can be routed to Mix or to the pair of groups directly below it. A rotary control determines the level of the signal.

Matrix Sends

For the creation of two independent mixes derived from the groups, in addition to the group and mix outputs: ideal for monitor sends and speaker fills. Each group signal can be fed independently to Matrix A, Matrix B, or a combination of the two.

Group Controls

Custom-built 100mm long throw linear faders provide 10dB of extra gain above the “zero” mark whilst still ensuring smooth operation. Each group can be soloed pre-fader by using the PFL switch.Pressing the STEREO/ MONO switch routes the groups to mix in pairs or for use as mono subgroups feeding both sides of the mix.

CONNECTOR PANEL

MASTER SECTION

Mix and Matrix outputs are provided on 4 impedance-balanced XLR connectors . The Mix inserts are pre-fader. A pair of unbalanced

-10dBV jacks allow the performance to be recorded. The six Aux master outputs are also impedance-balanced.

Matrix Sends and Masters

Two rotary controls allow the Mix L and R busses to be fed to the Matrix outputs, either as a mono sum or individually to Matrix A and B respectively. The Matrix masters above govern the level of Matrix A and B outputs. Both may be soloed after the fader.

Talkback Section

A balanced XLR connector allows a microphone signal to be routed to Aux 1-2, Aux 3-4, the Mix, or the Groups. A rotary control governs talkback level.

Auxiliary Masters

Six rotary controls govern the overall level of each Aux master. Each can be soloed after the fader for monitoring. In addition, Auxes 3 and 4 can be switched post-fader, post-EQ globally.

Mute Masters

Four switches control the status of the Mute Groups. The associated LED illuminates when any mute group is active.

Headphones Section

A jack is provided for use with headphones with impedances of 200 Ohms or greater. Level is controlled by a rotary fader. The PFL master LED illuminates if any solo is active.

Master Faders

The Mix L & R levels are controlled by 2 custom-built 100mm long throw linear faders.

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8

SPECIFICATIONS – PAGE 15 BLOCK DIAGRAM – PAGE 15

SPIRIT 8

+48V

MIC

INPUT

TALKBACK

MIC

INPUT

LINE

INPUT

DIRECT OUTPUT

+48V

MIC/LINE

GAIN

POST EQ

POST

AUX1

PRE

POST

AUX2

AUX3

AUX4

AUX5

AUX6

PRE EQ

PRE

DIRECT PRE

SOURCE

DIRECT

SOURCE

PRE EQ

POST EQ

AUX PRE SOURCE

PAN

FADER

PFL

MUTE

M1M1M2M2M3M3M4

MUTE

BUSES

MUTE

BUSES

3-4 7-8

3-4 5-6 7-8

1-2 5-6

1-2

L-R

▲▲▲

▲

INSERT

HIGH PASS

FILTER

100Hz

AUX 1-6 BUSES

MIX LEFT BUS

MIX RIGHT BUS

GROUP BUSES

PFL/AFL BUS

MIX RIGHT

REC R

REC L

GRPS

MIX

AUX

3-4

AUX

1-2

STEREO

MONO CHECK

MIX LEFT

INSERT

MIX

RIGHT

MIX

LEFT

MATRIX

A OUT

GROUP

OUT

MATRIX

B OUT

MATRIX A

BUS

MATRIX B

BUS

FADER

MATRIX A

CONTROL

ROOM

MATRIX B

FADER

AUX1

(AUX 2,3,5,6 SIMILAR)

AUX3

(AUX 4 SIMILAR)

PRE

POST

AUX1

(2,5,6)

AUX3,4

AFL AFL

M1 M2 M3 M4

AUX4

PRE

MONO INPUT

MASTER

PEAK

DETECT

STEREO RETURN (1 of 4)

METER

FADER

PFL

STEREO

MONO

GROUPS

TO MIX

GROUP

2,4,6,8

INSERT

MIX L

MIX R

GROUP ASSIGN

GROUP 1 (2 - 8 SIMILAR)

GAIN LO/HI

STEREO INPUT

STEREO

INPUT

CASS/CD

INPUT

STEREO RETURN

1,3,5,7

STEREO RETURN

2,4,6,8

PFL

LEVEL

1-2 MIX

3-4 MIX

5-6

MIX

5-6

MIX

7-8 MIX

HF & LF

BAL FADER

PFL/AFL

PHONES

L METER/

PFL/AFL

R METER/

PFL/AFL

INPUT METER

MUTE BUSES

PFL

ENABLE

HF & LF

USING MATRIX & MUTE GROUPS

SPIRIT 8

SPECIFICATIONS

10 X 2 MATRIX

The output from any of the eight groups and the L&R Mix busses can be mixed into the Matrix A and Matrix B outputs using the Matrix section’s rotary controls.

GROUPS TO

MATRIX SENDS

MATRIX

OUT

MATRIX

MASTER

A & B

MIX TO MATRIX

SENDS

Here, groups 1-4 are used to create the mix to the Matrix outputs, feeding additional speaker stacks. Groups 3 & 4 are mixed at a slightly higher level than 1 & 2, giving more lead and backing vocals in the extra speakers relative to the basic band mix.

Groups 5 & 6 are used on their own for a feed to backstage speakers - this could consist of totally separate sources to the main mix, perhaps house mics and a talkback mic.

Noise

Measured RMS, 20Hz to 20kHz Bandwidth Line

inputs selected at unity gain and terminated 150Ω

Mix

32 mono and 4 stereo inputs routed to

Mix, faders at unity -81dBu

Mix Faders down -95dBu

Aux

32 mono and 4 stereo inputs routed,

output at max., input faders down -86dBu

Direct Output

Input to Post-Fade Output @ unity gain -90dBu Input to Post-Fade Output @ 40dB gain -81dBu

Matrix Output

Matrix Output at max., sends down -93dBu

178MM

(7")

PACKED WEIGHT:

16ch = 29.6kg (65lbs) 24ch = 38.2kg (84lbs)

32ch = 45.6kg (100lbs) 40ch = 53.6kg (118lbs)

658MM (26")

EIN

Microphone Input, Maximum Gain,

terminated 150Ω -129dBu

Crosstalk

@ 1kHz 1kHz 10kHz Fader Attenuation to

Direct Output 92dB 80dB

Fader Attenuation to Mix

(36ch. routed) 94dB 89dB

Fader Attenuation to Mix

(1ch. routed) 101dB 89dB Typical Aux Attenuation 88dB 83dB Pan Isolation (36ch. to Mix) 76dB 68dB Adjacent Channel Crosstalk 99dB 95dB Routing Isolation 86dB 86dB Mute Offness 104dB 88dB

CONSOLE WIDTHS

16 CHANNEL: 875MM (34.5") 24 CHANNEL: 1114MM (44") 32 CHANNEL: 1347MM (53") 40 CHANNEL: 1581MM (62.3")

86MM (3.4")

Frequency Response

Line In to Mix Out via Group

(longest path) 25Hz to 20kHz -1dB

THD

-10dBu Input routed to Mix, +20dBu out @ 1kHz <0.005%

CMRR

Typical at medium gain, 50Hz to 10kHz >80dB Typical at high gain, 50Hz to 10kHz >85dB

Input and Output Impedances

Microphone Input 1.8kΩ Line Input >10kΩ Stereo Input 8.6kΩ Cass/CD Input >10k Stereo Return >10k

Input & Output Levels

Mic/.Line input Maximum Level +28dBu Stereo Input +25dBu Cass/CD Input +18dBu Nominal Input for +4dBu at Mix Output, level at ‘7’ -10dBV (LO)

-20dBV (HI)

Stereo Return +22dBu Max. Mic Gain through longest path to Mix 84dB

Power Supply Unit

Please see page 47 for details

MUTE GROUPS

FULL FEATURE DESCRIPTIONS – PAGES 5 TO 8

Here, Mute Group 1 is used on the channels used by a support band, enabling their mics and instruments to be brought up or silenced with a single button push.

By assigning two on-stage mics and a ‘bug’ mic used for the brass section to Mute Group 2, these can be easily silenced during songs and passages where the brass isn’t used.

In a theatre production, two sets of radio mics used during different scenes are assigned to Mute Groups 2 and 3.

+ 16 hidden pages