Soundcraft POWERSTATION 1200, POWERSTATION 600, POWERSTATION 350 USER GUIDE

Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . 2

Connecting Up . . . . . . . . . . . . . . . . . . . . . 3

Using the Powerstation . . . . . . . . . . . . . . 4

Setting Up & Troubleshooting . . . . . . . . 10

Applications . . . . . . . . . . . . . . . . . . . . . . 11

System Block Diagram . . . . . . . . . . . . . 17

Connecting Leads . . . . . . . . . . . . . . . . . .19

Dimensions . . . . . . . . . . . . . . . . . . . . . . 20

Typical Specifications . . . . . . . . . . . . . . .20

SAFETY PRECAUTIONS

WARNING: THIS UNIT MUST BE EARTHED

Under no circumstances should the mains earth be

disconnected from the mains lead.

The wires in the mains lead are coloured in accordance with the following code:

Earth: Green and Yellow (Green/Yellow - US) Neutral: Blue (White - US) Live: Brown (Black - US) As the colours of the wires in the mains lead may not correspond with the

coloured markings identifying the terminals in your plug, proceed as follows: l The wire which is coloured Green and Yellow must be connected to

the terminal in the plug which is marked with the letter E or by the earth symbol.

l The wire which is coloured Blue must be connected to the terminal in

the plug which is marked with the letter N.

l The wire which is coloured Brown must be connected to the terminal

in the plug which is marked with the letter L.

Ensure that these colour codings are followed carefully in the event of the plug being changed.

This unit is capable of operating over a range of mains voltages by means of a 4-position mains input fuse carrier. It is important to ensure that the correct voltage setting is selected for the level of local mains voltage supply, for safe, uninterrupted operation. Use a small screwdriver to prise the fuse carrier from its location in the connector.

To avoid the risk of fire, replace the mains fuse only

with the correct value fuse, as marked on the rear

panel.

The internal power supply unit contains no user

serviceable parts. Refer all servicing to a qualified

service engineer, through the appropriate Spirit dealer.

Do not obstruct air vents.

INTRODUCTION

Thank you for purchasing a Powerstation mixer, brought to you with pride by the SPIRIT team of Andy, Colin, Chris, James, Simon, Mukesh, Graham, Martin, Paul, Tony, Adam, Peter, our friends in Boston and with the support of many others - we hope you will have as much fun using it as we did building it!

For your own safety and to

avoid invalidation of the

warranty please

read this section carefully.

Page 3

Connecting Up

Page 4

Using the POWERSTATION

MONO INPUT CHANNEL

MICROPHONE INPUT

The mic input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED signals. Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. You can use low-cost HIGH IMPEDANCE mics, but the level of background noise will be higher. If you press the MIC +48V switch down (on the Master section) the socket provides a suitable powering voltage for professional condenser mics (this is also known as Phantom Power).

ONLY connect condenser microphones with the +48V

powering OFF (switch UP), and ONLY turn the +48V

powering on or off with all output faders DOWN, to

prevent damage to the mixer or external devices.

TAKE CARE when using unbalanced sources, which

may be damaged by the phantom power voltage on

pins 2 & 3 of the XLR connector.

Unplug any mics if you want to use the LINE Input. The input level is set using the GAIN knob.

LINE INPUT

Accepts 3-pole `A gauge (TRS) jacks. Use this high impedance input for sources other than mics, such as keyboards, drum machines, synths, tape machines or guitars. The input is BALANCED for low noise and top quality from professional equipment, but you can use UNBALANCED sources by wiring up the jacks as shown, although you should then keep cable lengths as short as possible. Unplug anything in the MIC input if you want to use this socket. Set the input level using the GAIN knob.

INSERT

The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing limiters, compressors, special EQ or other signal processing units to be added in the signal path. The Insert is a 3-pole A gauge jack socket which is normally bypassed. When a jack is inserted, the signal path is broken just after the High-Pass Filter and before the EQ section. The Send may be tapped off as an alternative pre-fade, pre-EQ direct output if required, using a lead with tip and ring shorted together so that the signal path is not interrupted.

GAIN CONTROL

This knob sets how much of the source signal is sent to the rest of the mixer. Too high, and the signal will distort as it overloads the channel. Too low, and the level of any background hiss will be more noticeable and you may not be able to get enough signal level to the output of the mixer. Setting the knob to the 10dB mark gives unity gain for the LINE input. Note that some sound equipment, particularly that intended for domestic use,

operates at a lower level (-10dBV) than professional equipment and will therefore need a higher gain setting to give the same output level. See `Setting Up & Troubleshooting on page 10 to learn how to set GAIN correctly.

100Hz HI-PASS FILTER

Pressing this switch activates a steep 18dB per octave filter which reduces the level of bass frequencies only. Use this in live PA situations to clean up the mix, reducing stage rumble or popping from microphones.

EQUALISER

The Equaliser (EQ) allows fine manipulation of the frequency bands, and is particularly useful for improving the sound in live PA applications where the original signal is often far from ideal and where slight boosting or cutting of particular voice frequencies can really make a difference to clarity.

HF EQ

Turn clockwise to boost high (treble) frequencies (12kHz and above) by up to 15dB, adding crispness to cymbals, vocals and electronic instruments. Turn anticlockwise to cut by up to 15dB, reducing hiss or excessive sibilance which can occur with certain types of microphone. Set the knob in the centre-detented position when not required.

MID EQ

This pair of knobs work together to form a MID frequency EQ section. The lower knob provides 15dB of boost and cut, just like the HF EQ knob, but the frequency at which this occurs can be set by the upper knob over a range of 250Hz to 6kHz. This allows some truly creative improvement of the signal in live situations, because the mid band covers the range of most vocals. Listen carefully as you use these controls together to find how particular characteristics of, for instance, a vocal signal can be enhanced or reduced. Set the gain (lower) knob to the centre-detented position when not required. Note: Q is set at 1.5.

LF EQ

Turn clockwise to boost low (bass) frequencies (60Hz and below) by up to 15dB, adding warmth to vocals or extra punch to synths, guitars and drums. Turn anticlockwise to cut low frequencies by up to 15dB for reducing hum, stage rumble or to improve a mushy sound. Set the knob to the centredetented position when not required.

AUXILIARY SENDS

These are used to set up separate mixes for FOLDBACK, EFFECTS or recording, and the combination of each Aux Send is mixed to the respective Aux Output at the rear of the mixer. For Effects it is useful for the signal to fade up and down with the fader (this is called POST-FADE), but for Foldback or Monitor feeds it is important for the send to be independent of the fader (this is called PRE-FADE).

Aux 1 is always PRE-FADE, POST-EQ, for typical use as a monitor or foldback feed. Aux 2 is normally POST-FADE, POST-EQ for use as an effects send. By pressing the AUX 2 PRE switch on the Master section the Aux 2 send is set PRE-FADE, POST-EQ. Both knobs should be turned down when not in use.

Page 5

LEX FX

This control routes the post-fade, post-EQ channel signal to the Lexicon FX bus, which feeds the internal LEXICON Digital Effects Processor. The knob should be turned down when not in use. The output of the LEXICON unit feeds the Stereo Mix directly or may be mixed to the Aux 1output (see Master section, no. 4).

PAN

This control sets the amount of the channel signal feeding the Left and Right MIX buses, allowing you to move the source smoothly across the stereo image. When the control is turned fully right or left you are able to route the signal at unity gain to either left or right outputs individually.

PFL

When the latching PFL switch is pressed, the pre-fade, post-EQ signal is fed to the headphones and meters, where it replaces the Stereo Mix as the normal monitor source. The PFL ACTIVE LED on the Master section illuminates to warn that the headphones and meters are now carrying a PFL signal. This is a useful way of listening to any required input signal without interrupting the main mix, for making adjustments or tracing problems. The monitors and meters revert to stereo Mix when the PFL switch is released.

CHANNEL FADER

The 60mm FADER allows precise balancing of the various source signals being mixed to the Master Section. You get most control when the input Sensitivity is set up correctly, giving full travel on the fader. See the `Setting Up & Troubleshooting section on page 10 for help in setting a suitable signal level.

Page 6

STEREO INPUT CHANNEL

STEREO INPUTS

Each Stereo Input section comprises a pair of similar inputs. The inputs are electronically balanced and separate 3-pole A gauge (TRS) jacks are provided for the Left and Right source signals. A mono signal may be plugged into the upper (left) socket only and will be fed equally to both paths.

GAIN

This knob allows you to match the input level to suit a wide variety of professional, semi-professional and hi-fi sources.

Start with a low setting, especially for professional equipment, and increase it if you cannot reach an adequate signal level with the fader at the nominal `0 mark. See `Setting Up & Troubleshooting on page 10 to learn how to set GAIN correctly.

EQUALISER

The Equaliser(EQ) comprises three sections.

HF EQ

The upper control provides H.F. (treble) boost and cut of 15dB at 12kHz. Turning to the right provides boost, adding crispness to drum machines, synths and electronic instruments. Turning to the left cuts the same frequencies, reducing hiss or excessive brilliance.

MID EQ

The MID control provides cut and boost of 15dB, at a 1kHz.

LF EQ

The lowest knob is an LF (bass) section providing boost and cut of 15dB at 80Hz. Turning to the right provides boost, adding extra punch to synths, guitars or drums. Turning to the left can be helpful to reduce hum or boominess or to improve a mushy sound.

Set the controls to the centre-detented position when not required.

AUXILIARY SENDS

These are used to set up separate mono mixes for FOLDBACK, EFFECTS or recording, and the combination of each Aux Send is mixed to the respective Aux Output at the rear of the mixer. For Effects it is useful for the signal to fade up and down with the fader (this is called POST-FADE), but for Foldback or Monitor feeds it is important for the send to be independent of the fader (this is called PRE-FADE).

Aux 1 is always PRE-FADE, POST-EQ, for typical use as a monitor or foldback feed. Aux 2 is normally POST-FADE, POST-EQ for use as an effects send.. By pressing the AUX 2 PRE switch on the Master section the Aux 2 send is set PRE-FADE, POST-EQ. Both knobs should be turned down when not in use.

LEX FX

BALANCE

The BAL (Balance) control determines the position of the signal within the stereo mix image. Rotation fully anticlockwise feeds the signal solely to the Left mix bus, while rotation clockwise sweeps the image to the Right bus.

PFL

When the latching PFL switch is pressed, a mono sum of the pre-fade, postEQ signal is fed to the headphones and meters, where it replaces the Stereo Mix as the normal monitor source. The PFL ACTIVE LED on the Master section illuminates to warn that the headphones and meters are now carrying a PFL signal. This is a useful way of listening to any required input signal without interrupting the main mix, for making adjustments or tracing problems. The monitors and meters revert to stereo Mix when the PFL switch is released.

CHANNEL FADER

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