Soundcraft MULTI-PURPOSE CONSOLES BROCHURE

MULTI-PURPOSE CONSOLES

SPIRIT

RANGE

BROCHURE

FX16

16 Mono Channels with onboard Lexicon Effects

FX8

8 Mono Channels with onboard Lexicon Effects

12 Mono & 4 Stereo Inputs

M SERIES

4/8/12 Mono & 4 Stereo Inputs

NOTEPAD

4 Mono & 2 Stereo Inputs

E SERIES

6 or 8 Mono & 4 Stereo Inputs

CONTENTS

FX16

16 Mono Channels with onboard Lexicon Effects

Full Product Description Pages 8 & 9

Dimensions Page 24

Specifications Page 25

Power Features

What makes Spirit consoles special

Features in depth Pages 4 - 7

Quick Selector

Compare Spirit Mixer Inputs & Features Quickly

Features Table Page 4

FX8

8 Mono Channels with onboard Lexicon Effects

Full Product Description Pages 10 & 11

Dimensions Page 24

Specifications Page 25

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

Live Mixing Page 20

Houses of Worship Page 21

Installed Sound Page 21

Submixing Page 22

Video Editing Page 22

Small/Home Studio Page 22

Studio Recording Page 23

Insert

Mic/Line

Other Soundcraft Products

How to find out more

See Back Cover

Spirit Mixers at a glance

Power Features

4 - 7

The Mixers in detail

8 - 18

Mixer Applications

Dimensions & Specifications

Frequently Asked Questions

Glossary of Technical Terms

Other Soundcraft products

19 - 23

24 - 25

back cover

WORLD CLASS MIXERS

The Spirit range from Soundcraft rates among the world’s best selling series of compact mixers. Designed by sound industry legend, Graham Blyth, the multi-award-winning Spirit range is unique in providing professional features and sound quality at a price everyone can afford.

Every console in the Spirit range is designed to incorporate the warm, British EQ that has made Soundcraft, the leading name in live, studio and broadcast mixing for nearly 30 years.

Soundcraft has always been at the forefront of console design and since the Spirit range’s inception in 1991 it has been responsible for many of the sound industry’s most groundbreaking products including the award-winning Digital 328 (the latest generation of which is the 328XD) and, of course, the original Spirit console that launched so many imitations. Spirit range mixers include not only recording but powered and live mixers for 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.

TEXAS

PORTISHEAD

ALICIA’S ATTIC

CATATONIA

GOMEZ

Soundcraft Series 1

- where it all began

The new Soundcraft MH4 Live Performance console

* No endorsements implied.

Famous Spirit users today include artists like The Orb, Manic Street Preachers, INXS, 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 Spirit, read on.

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, more channels and professional-standard sound quality, Soundcraft Spirit was literally a revolution.

The original design has now been refined and developed to produce an unparalleled range boasting 100mm faders, the on-board Lexicon effects of Spirit FX16 and FX8, the extremely compact Spirit Notepad, the all round usability of the Spirit SX and F1, and the M Series with S/PDIF digital output.

SPIRIT FEATURES

Typical Applications

Band/PA Setups

Small Venues, Conferences

Installed Sound

Schools, Houses of Worship

Studio Recording

Video Pre/Post Production

Sub/Location Mixing

Multimedia

Rack Mount

Frame Sizes

Mono Channels (Mic or Line)

Inserts

Stereo Channels

Groups

Direct Outs

EQ Bands (mono inputs)

EQ Bands (stereo inputs)

High Pass Filters

Auxiliary Sends

Returns

Phantom Power

S/PDIF Output

E Series (ES)

Multipurpose

•

• (not ES)

•

Small/MIDI

•

• (not ES)

•

Option

26 inputs max (28 ES)

6, 8 or 12 (4 ES)

Mono Inputs,

Mix

2 (10 ES)

3 (mid sweep)

2 band fixed (3 ES)

None

Stereo Tape Return

to Monitor/Mix

Global

Notepad

Multipurpose

•

10 inputs max

None

2 stereo inputs

2 fixed

None

1 Stereo

Global

ies

max

nnels

M Series

Multipurpose

•

DAW

•

Yes

30 inputs max

4, 8 or 12

Mono Inputs,

Mix

4 stereo inputs

Mono Channels

3 (mid sweep)

2 band fixed

Mono inputs

4 Stereo returns

1 stereo playback

Global

Yes

Multipurpose

•

4/8 Track

•

Option

20 inputs max

Mono Inputs,

Mix

2 channels with

4 stereo inputs

Mono Channels 1 - 8

3 (mid sweep)

2 band fixed on main 2

Mono inputs

Stereo Tape Return

to Monitor

Global

Quick Reference Mixer Selector

ULTRAMIC™

The mic pre-amp is one of the more critical points in the signal chain. Both live and in the studio, any distortion or noise that is introduced at this stage will remain a problem. Graham Blyth’s UltraMic™ design

sets a new standard for compact mixer pre-amp performance, and has earned praise from countless reviewers and users around the world. Unlike designs which favour certain types of microphone, the

™

FX16

Multipurpose

•

8/16 Track

•

Option

26 inputs max

Mono Inputs,

Sub-mix, Mix

4 stereo returns

Mono Channels 1-16

3 (mid sweep)

None

Mono inputs

3 + Lexicon

4 Stereo Returns

Global

FX8

Multipurpose

•

8 Track

•

Option

16 inputs max

Mono Inputs,

Sub-mix, Mix

4 stereo inputs

Mono Channels 1-8

3 (mid sweep)

2 band fixed on main 2

Mono inputs

2 + Lexicon

Stereo Tape Return

Global

THE SPIRIT ADVANTAGE

Soundcraft Spirit mixers share

the same design philosophy,

aimed at delivering

uncompromising audio quality

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

designs – also designed by

Spirit guru Graham Blyth. After

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.

+4dBu

-10dBu

SPIRIT FEATURES

PIANO (7-8 OCTAVES)

BASS

BASS DRUM

BASS SAX

GUITAR

SNARE DRUM

MALE VOICE

FEMALE VOICE

FOOTSTEPS

20Hz 100 500 1k 5k 10kHz

Lo EQ

Hi EQ

20Hz 100 500 1k 5k 10kHz

Mid EQ frequency is sweepable on all Spirit mixers (except Notepad)

15dB of cut or boost is available at low, mid and high frequencies, giving plenty of control just where it’s needed

20Hz 100 500 1k 5k 10kHz

+15dB

-15dB

+15dB

-15dB

THE GREAT BRITISH EQ

The EQ on a mixer’s channel strip is both a valuable device for correcting problems and a creative tool in mixing. The EQ circuits on Graham Blyth’s larger Soundcraft designs have spawned many imitators, all trying to recreate the warmth and musicality that make the original EQ designs popular with professionals around the world. But why settle for an imitation when you can have the real thing?

Part of the secret is careful positioning of the high and low shelving filters in the classic 3-band configuration. By setting the HF shelving frequency sufficiently high, and choosing the right slope for the filter, the highest band operates without interfering with the swept mid-band, and this ensures a natural sound and more effective combination of frequency bands. Similarly, the LF filter works only on frequencies out of reach of the swept band. Careful positioning of the LF and HF bands also ensures that the frequencies that are cut or boosted are subjectively the most important ones.

The swept mid-band, with its Q (width of the filter bell curve) of 1.5 operates between the high and low bands. By carefully choosing the right centre frequency, Spirit’s swept EQ makes it easy to locate and work on a particular frequency range – either to tune out a troublesome noise such as feedback, or boost a range of frequencies to emphasise the character of an instrument.

Compare the typical frequency ranges of different voices and instruments with the EQ ranges found on Spirit mixers (shown below):

HIGH-PASS FILTERS

A High-Pass Filter is arguably one of the most important features on a channel strip, enabling unwanted lowfrequency noise to be removed from a signal. Mics on stage can pick up a good deal of rumble, and by using an HPF you can still employ the LF part of the channel EQ for creative work, rather than using it for keeping stage rumble at bay.

In order to be truly effective, however, high-pass filters need a steep slope. Spirit filters use an ultra-steep 18dB/octave slope (rather than the more common 12dB/octave, shown by

a dashed line in the diagram) which means that all of the lower frequencies are attenuated – a less steep slope allows

more bass frequencies to slip through, which is bad. By positioning the filters at 100Hz (-3dB), Spirit’s HPFs act on the full range of lower frequencies that cause clarity problems in mixing. The more commonly-used 50Hz or 75Hz filter points tend to work only on the very lowest frequencies.

20Hz 100Hz

0dB

-3dB

STEREO INPUTS

Most contemporary electronic instruments have stereo outputs, and it’s always easier to deal with such a stereo source with a stereo channel. All your EQ and aux changes affect both sides of the stereo signal equally, and the sound remains balanced. Stereo inputs don’t always give you facilities such as EQ, but many Spirit stereo channels have 2-band EQ with carefully chosen frequencies that enable effective adjustment in a live or studio environment. On the SX, F1 and FX8, the jack inputs to each stereo channel are supplemented by a second set of inputs on RCA phonos, with a simple level control, providing still more inputs in the compact frames.

exceptionally wide gain range of the UltraMic™ (see diagram below) means that it can just as easily amplify the signal from a low-output ribbon mic as a high-output condenser type. In fact signals as hot as +22dBU can be accepted, which means that it’s almost impossible to push an UltraMic™ into distortion. Over its entire 60dB gain range, the noise and rejection of interference of UltraMic™ are exceptional – a careful look at the EIN (Equivalent Input Noise) figures in the specs show that the UltraMic™ is almost silent. But then again, a careful listen to any Spirit would tell you the same thing.

The UltraMic™ input is also easy to use, reflecting another important part of the Soundcraft philosophy. With its custom pot for gain control, the whole of the pot’s travel gives useful adjustment, whereas most mic pre-

SPIRIT FEATURES

BUILD QUALITY

Soundcraft’s advanced manufacturing ensures that all of these advanced designs are produced efficiently and to the very highest standards. Surfacemount PCB construction means that components can be soldered directly to circuit boards, improving reliability and efficiency, and reducing susceptibility to vibration fatigue.

By allowing more, smaller components to be precisely located on a denselypopulated board, surface-mounting also allows more features to be included on compact mixers. Yet another benefit is that it reduces crosstalk, and sources of noise and interference.

+10

-5

-15

-20

-30

-40

-50

-10

∞

+10

-5

-10

-30

-20

-15

∞

Ordinary 60mm fader (above)

Folio 100mm fader (right)

Actual size

BALANCED INPUTS AND OUTPUTS

Balanced audio connections, in which the signal is carried on two wires plus a return screen, are

much more resistant to

interference than unbalanced signals, and are essential in many professional applications. All Spirit

mixers therefore feature balanced

inputs and outputs.

Our impedance balanced outputs

provide the most cost-effective and

technically correct method of

preventing external noise and

interference from getting into your

cables. The more widely-used but

cumbersome voltage balancing method gives no useful advantage, and can cause problems unless the output impedances are correctly matched.

All Folio channels feature electronically balanced inputs, enabling both instruments and mics to be connected via a professional balanced interface.

CUSTOM CONTROLS

Most manufacturers keep their costs down by using off-the-shelf controls for their mixers. These are invariably not designed for professional audio use, and simply don’t work as well as custom designs. A small movement of the control at one end of its travel will produce an unwanted jump in level, whereas the same movement at the other end of the scale might produce only an imperceptible level change.

All Spirit mixers feature custom pots and faders, ensuring that sound quality is matched by a usable, effective interface, giving you the confidence to fine tune a mix effectively. All of our linear faders are 100mm, which means plenty of fader resolution for smooth fade-outs and fade-ins.

DESIGNER TECHNOLOGY

There are some aspects of good mixer design that you can’t measure by specifications and figures - such as how easy it is to use. And if it’s not easy to use, you’ll never get the best out of it. That’s why we’ve always placed great importance on good industrial design. The result is clear control layout, plenty of space for your fingers to work - even factors such as colour choices are considered. This, alongside the electronic excellence of the Soundcraft Spirit range, is probably why we’ve won so many awards.

PHANTOM POWER

Condenser microphones are more sensitive, and generally offer better audio quality than, dynamic microphones. But they need power to work, which is why all Spirit mono input channels offer standard +48V 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.

SPIRIT FEATURES

Lexicon Effects Table (FX8 and FX16)

Param 1 control Minimum Maximum Program Description Param 2 control Minimum Maximum

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

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%

LEXICON EFFECTS

Lexicon is widely acknowledged as the first name in digital effects, and Lexicon reverbs take pride of place in live and studio racks all over the world. The Lexicon effects processors built into Spirit mixers feature specially programmed versions of classic reverb, delay and chorus effects, plus combination effects such as reverb plus delay. While it’s very convenient to have effects built in to a mixer, it also has another benefit as the signal stays in the console and therefore there’s no external cabling to add noise or pick up interference.

SUB-GROUPS

The more inputs you have, the harder it is to control them all in a mix. One way of making things easier is to send sets of channels via a sub-group on their way to the main mix. With Spirit stereo sub-groups, you can group together a set of channels - all of the drum mics, or backing vocals - and mix them via two 100mm faders into the main mix. We often provide dedicated sub-group outputs, so that you can use the sub-group to create an entirely separate stereo mix from the main mix

- which means greater flexibility in installed, live or theatre sound. In the studio, sub-groups can also be used for additional tape or hard disk sends.

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

be recorded separately to tape, and

you can record on as many tape tracks at once as you have channels. Folio direct outputs can be switched to be either pre-fade or post-fade. The prefade signal is the output from the channel EQ but before the mute switch. This allows a multi-track recording to be made independently of a live

performance (so that you can mix the show later from the multitrack recording), or allows the faders and pan controls to create a monitor mix during a recording session. The postfade signal is taken after the mute switch and the fader, and can therefore 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.

Superb audio quality is matched by ease of use. The 16 original presets are selected via a rotary switch, and the easyedit system lets you modify each preset very quickly.

You can start from any of the 16 presets and easily reach your required effect within a couple of button presses.

Another use of sub-groups on the FX16 is to make a drum group on to which you can place an insert compressor or other processing.

4 Stereo Returns

Global 48V Phantom Power

3-Band EQ with Swept Mid

The FX16 offers a combination of powerful live and recording 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 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 postfader, to feed a multitrack recorder on stage or in the studio.

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

switched into or out of the main mix, which

means that complex mixes can be

easily set up and controlled.

Using the FX16’s

Sub outputs,

you can set up two separate stereo mixes to different sets of speakers, which is

particularly

useful in more

demanding live or

installed sound

environments.

Live situations are rarely

free of sources of noise and

interference, which is why the

FX16 is built like a tank, and has

balanced connections in and out. The

relocatable jackfield can be rotated

through 90° to suit table-top or

rackmount use, saving space and leading

cables away in a sensible direction.

A studio-grade Lexicon processor offers a broad

range of classic effects treatments, from chorus and

reverbs to combinations such as delay + reverb. Effects presets can be edited via a simple but versatile interface, and 16 user variations stored alongside the 16 presets.

As well as the direct outputs, the FX16 also has three aux sends for effects or monitors. Inserts on all mono channels, and on the main and sub busses, are provided to make it easy to patch in vital processors.

16 MIC/LINE INPUT MIXER

26 inputs as standard

16 mono channels with high quality UltraMic™ pre-amps

4 stereo returns

4-bus architecture, with sub-group routable to mix

Built-in Lexicon dual effects processor

Direct outputs for multitrack recording, individually switchable for pre- or postfade operation

Inserts on all mono channels

Inserts on stereo mix bus

3-band ‘British’ EQ with swept mid-band

Stereo 18dB/octave 100Hz high-pass filter to cut stage rumble

+48V phantom power

Channel Mute control

10-segment tri-coloured metering

Two sub-group outputs

Separate mono sum output

Rackmount option (see p24)

16 Mono UltraMic™ Inputs

FULL FEATURE DESCRIPTIONS – PAGES 4 TO 7

MAIN FEATURES

WITH LEXICON

Live Sound: Bands, Small Venues, Clubs, Conferences, Schools, Houses of Worship

Studio Recording: Digital/Analogue Multitracking (8 or 16 track), Small/Home Studios, Pre-/Post-Production

APPLICATIONS

SEE PAGES 19 - 23

Lexicon Effects built in

“The FX16 is one of the best thought-out compact mixing desks ever”.

IGEL LORD, FUTURE MUSIC

“The direct outputs, comprehensive effects returns and price all blow raspberries at the competition”.

ORMAN FAY, THE MIX

4-Bus Architecture

Direct Outs for Multitrack Recording

3 Auxes

SPECIFICATIONS – PAGE 25

LEXICON EFFECTS TABLE – PAGE 7

EFFECTS

MONO INPUTS

Connectors

Neutrik XLR for mics. Phantom Power available globally from the master section (condenser mics). 1/4 inch jack for line level instruments. Mic and line inputs are balanced. Direct Out and Insert point.

Gain Control

UltraMic™ padless preamp provides 60dB of gain range. Maximum 22dBu of headroom.

Equaliser Section

Steep 18dB per Octave 100Hz High Pass Filter. 3-band British EQ with swept mid. ±15dB at Lo 80Hz, Hi 12kHz and Mid variable 240-6kHz. Q = 1.5. See page 5 for EQ curves.

Auxiliary Section

4 flexible auxiliary controls: Aux 1 is pre-fader/post EQ for foldback or stage monitor mixes. Aux 2 and 3 are post-fader/post EQ but Aux 2 is switchable pre-fader on each channel. LexFX dedicated to Lexicon effects (post-fader).

Pan

To position signal in stereo mix or for subgroup routing.

Routing Section

Any channel can be routed to Mix and/or Sub Outputs. Signal to Auxes, Mix and Sub Out can be muted.

Solo

Monitors the pre-fade signal of a “solo” channel before it reaches the main mix. If SIP is pressed in master section, gives true stereo position, after fader and with effects.

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 mix) or post-fader for studio work.

100mm Fader

GROUP/MASTER SECTION

Connectors are on rear panel – see below.

2-Track Return

Two phono connectors allow playback of master stereo recording or for pre-show music.

Mono Sum Output

Useful as additional bass bin send, side fill feed, mono PA feed or for induction loops.

Monitor Outputs

For nearfield monitors via an amplifier.

Mix Outputs

2 impedance-balanced XLRs send mix signal to PA speakers or a stereo recorder.

Mix Inserts

For processing all signals routed to mix with a compressor/limiter or other device.

Subgroup Outputs

2 impedance-balanced 1/4" jacks send subgroup signal to a multitrack or additional speakers.

Subgroup Inserts

For processing the subgroup signal.

Rear Connector Panel

Auxiliary Outputs

3 impedance-balanced 1/4" jacks send signals to effects units or monitor/foldback amplifiers.

Phantom Power

Supplies +48V globally to power condenser mics. LED indicates +48V active.

Stereo Return Section

4 inputs routable to Mix or Submix, with access to Auxes 1 or 2.

Aux/FX Master Section

4 rotaries govern master levels of Auxes and Lexicon effects. Each master may be solo’d after the fader.

2-Track Return Section

Rotary sets playback level. Can be routed to Mix.

Monitor Source

Monitor Mix and/or Submix. Press 2TK to play back master recordings without repatching. Rotary controls monitor output level.

Solo in Place (SIP)

Replaces PFL with SIP. LED lights in SIP mode. See “Solo” mode operation.

Meters

Two 3-colour, 10-segment bargraph meters show mix, submix, control room or 2-track levels. Peak reading (PPM). When any PFL, SIP or AFL switch is pressed, meters switch to show solo level.

Phones

For headphones of 200 Ohms or greater impedance. Rotary pot governs output level.

Sub-Mix and Mix Faders

Pressing the “Sub to Mix” switch routes submix buses to the mix. Insert points allow signal processors to be connected across submix and mix.

LEXICON EFFECTS SECTION

Effects Controls

The Lexicon dual effects section provides combinations of delay, reverb and chorus. Each effect has two editable, storable/ recallable parameters. See Lexicon Effects table on page 7.

Programme Select

Select from 16 pre-programmed effects combinations.

Parameter Adjust

Param 1 / 2 alter values of two effect parameters using encoder. Alterations are held in memory when Parameter switch is released; User Mode LED indicates an alteration has been made to factory preset (restorable).

Lexicon Effects Return

Rotary sets Lexicon effects return level, routable to Mix or Sub. Internal effects have access to Aux 1 or 2, allowing you to add reverb to a foldback mix, or to mix external effects with the Lexicon processor to create unique combination effects.

Lexicon Foot Switch

Allows effects to be turned on or off on stage using a guitar foot-pedal.

+ 19 hidden pages