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.
1
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.
8
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).
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
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.
2TRK TO MIX should not be used when recording
from the REC O/P sockets, as there is the possibility of
serious feedback.
MONITOR LEVEL
The MONITOR LEVEL control sets the level of signal to the
Monitor Headphones jack.
PFL ACTIVE
This LED illuminates when any PFL switch is pressed to warn that
the headphones and meters are now monitoring the PFL signal
instead of the Mix.
DIGITAL EFFECTS PROCESSOR
The controller provides a wide range of echo, reverb and acoustic treatments to add fullness to the sound, complement room acoustics or for specific effects.
INPUT TRIM
The input level to the integral Effects Controller from the mixer is set by
the INPUT TRIM control, with an associated LED to warn of levels high
enough to cause clipping at the input of the Effects. The control should
where possible be kept in the centre detent position to minimise noise, and
if a setting over 0 is required this would indicate that the input is not being
driven hard enough from the LEX FX channel sends.
PROGRAM SELECT/PARAMETER ADJUST
PROGRAM SELECT
This rotary switch allows any one of 16 factory-programmed effect combinations to be selected, as listed on the panel legend below the controls.
These factory presets have been carefully selected and should be suitable
for most applications.
PARAMETER ADJUST
Two effects Parameters may be adjusted and saved in the onboard RAM for
each of the pre-programmed effects, using the encoder knob and the two
PARAMeter switches. The best setting for a particular application will be
found by experimentation and careful listening to the final sound.
Adjustments are made with the encoder knob while pressing and holding
the required PARAM switch, listening to the result. As soon as the PARAM
switch is released the setting will be held in internal flash RAM memory.
Any alterations to the pre-programmed settings are retained, even if the
mixer is turned off, and will be recalled the next time that the particular program is selected. If these settings differ from the original default settings the
USER MODE LED illuminates. Factory default settings may be restored by
pressing and holding both PARAM switches until the USER MODE LED
goes out.
MASTER SECTION
LEXICON EFFECTS MASTER FADER
The EFFECTS fader controls the volume of the effect which is added directly to the Left/Right mix, and is subject to the control of the Main L/R Master
Faders (see 2 below).
MIX LEFT & RIGHT MASTER FADERS
The MAIN L & R MASTER FADERS control the final output level of the signal to the Main impedance balanced Mix outputs (after the Insert Point).
AUX 2 PRE
Aux Send 2 is normally post-fade, Post EQ, but for flexibility it may be
switched to PRE-FADE, POST EQ by pressing the AUX 2 PRE switch. This
simultaneously affects all Aux 2 sends across the mixer.
LEXICON EFFECTS TO AUX 1
This control allows the output of the Lexicon Digital Effects Processor to be
mixed in mono with the Aux 1 Sends if required to provide a wet foldback
feed or alternative output.
AUX 1 MASTER
The AUX 1 MASTER control sets the final level of the Aux 1 mix sent to the
impedance balanced Aux 1 output.
AUX 2 MASTER
The AUX 2 MASTER control sets the final level of the Aux 2 mix sent to the
impedance balanced Aux 2 output.
STEREO RETURN
A balanced Stereo Return is available for the output of effects units and this
is mixed directly to the Mix L/R busses at a level set by the STEREO
RETURN control. If a mono source is used, plugging into the Left jack only
automatically feeds the signal to both Left and Right.
2 TRACK RETURN
The unbalanced 2Track Return, at a nominal -10dBV on RCA phono sockets, feeds via the 2TRK TO MIX switch and the 2 TRACK RETURN control
to Mix L/R, before the Mix L/R Master faders. This input is ideal for preshow or interval music from an external source, or as an additional effects
return.
PFL
When the PFL switch is pressed, the pre-fade 2 Track Return signal is fed in
mono to the headphones and meters, where it replaces the Mix as the monitor source. This is a useful way of listening to the Return for making adjustments or tracing problems.
2TRK TO MIX
This switch routes the 2 Track Return to Mix L/R, and provides a very simple method of feeding an external source (e.g. interval music) to the Mix
outputs.
Page 7
8
Page 8
LEXICON MUTE FOOT SWITCH
The Effects may be turned ON or
OFF remotely by connecting a standard latching or non-latching guitar
foot-switch, or similar unit providing
an isolated switch closure, to the rear
panel Lexicon Foot Switch jack socket
as shown. The Effect is muted when
the switch is closed.
GRAPHIC EQUALISER
GRAPHIC EQUALISER
The stereo GRAHIC EQUALISER is
normalled to the Mix L/R outputs.
Seven frequency bands, with cut or
boost of 6dB, allow very precise global control over subtle tonal changes to
the PA rig in a particular room. (This
is in contrast to the much more dangerous +/-12 or +/-15dB offered on some other units where a deceptively small movement of the faders can result in feedback or similar unwanted
effects.)
The built-in graphic equaliser is intended to trim the overall sound to suit
the room, and is not designed to null out frequencies to prevent feedback.
A full 31-band EQ is recommended for that purpose.
LEFT/RIGHT BYPASS
Each channel of the Graphic Equaliser may be bypassed by pressing the
LEFT BYPASS or RIGHT BYPASS switches. This allows a direct comparison to made of the treated signal (with EQ) and untreated signal, to judge
the effect of the Graphic EQ settings.
+48V
Many professional condenser microphones need Phantom Power, and this
can be supplied to all of the Mic input connectors by pressing the +48V
switch.
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.
8
STATUS INDICATORS
Three LEDs provide visual indication of the status of the mixer.
POWER
The POWER (green) lights to show that power is switched on, and senses
the power amplifier voltage rails.
THERMAL
The THERMAL (yellow) indicates that power amplifier over-temperature
has been detected.
MUTE
The MUTE (red) lights when the power amplifier output relays are open.
This happens momentarily on power-up to isolate surges as the power rails
stabilise, or will happen if the protection circuits detect a d.c. fault situation
or overheating, in which case the relays will open as protection for the
loudspeakers.
If a d.c. offeset or overheating is suspected, check that the air vents at the
front and rear of the mixer have not been inadvertently covered.
POWER AMPLIFIER
The Power Amplifier contains no user-serviceable
parts. Refer all servicing to a qualified service
engineer, through the appropriate Spirit dealer
The POWERSTATION contains an integral power amplifier, the inputs to
which are normalled to the Graphic Equaliser outputs, or may be accessed
directly via the Power Amp Input jacks. The amplifier incorporates a
sophisticated protection system which guards against overheating, to protect the output transistors, and isolates the speaker outputs via relays if a
damaging fault condition is detected in the output stage. The amplifier is
cooled by a variable speed music-sensing fan which senses the output signal level and delivers greater airflow as the signal level, and corresponding
heat dissipation in the output devices, increases. When there is no signal or
a very low level signal, the fan will be running very slowly and quietly.
Air is drawn in along the front of the unit and expelled through vents at the
left-hand side at the rear. It is important that sufficient clearance is allowed
at the front and rear of the mixer to ensure unrestricted airflow, especially
in rack-mounted or flight case installation.
WARNING
Do not obstruct air vents.
POWER AMP OUTPUT LEVEL
The signals from the balanced Power Amp Inputs jacks (normally the output from the Graphic Equaliser) are fed via the POWER AMP LEVEL control to the integral stereo power amplifier. Use this control to set the level
to your speakers, as with any amplifier level control.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
DO NOT apply any
external voltage to
the jack socket
Switch open
= Effect ON
Switch closed
= Effect OFF
Page 9
SUB-SONIC FILTER
An 18dB/octave 40Hz SUB-SONIC FILTER may be switched into the feed
to the amplifier, and for most applications it is recommended that this filter
be switched in. Using the filter avoids potential loss of control in PA cabinets with reflex ports when driven below their frequency range, and offers
some protection against damage from heavy ultra-bass signals.
Switching the filter into circuit is almost always a good idea, but may unnecessarily restrict the dynamic range of a system with particularly wide-range
PA cabinets, and should be switched out if very low frequency rumbles are
specifically required and the speaker system has the capability. The filter
also allows you to use your LF boost to warm up the bottom end of your
mix without the usual problems of bass distortion.
RECORD OUTPUT
The RECORD OUTPUT, on RCA phone sockets, provides a -10dBV premix-fader (post insert feed), for recording. Since the signal is derived after
the insert, a compressor can be included in the signal path if required.
LOUDSPEAKER OUTPUT TERMINALS
The power amplifier output is available on standard dual banana terminals
and speakon connectors on the rear of the mixer.
Minimum recommended load impedance is 4W but
the amplifier guards itself against damaging overload,
switching in the protection systems when necessary.
While this will maintain safe operating limits, the
result will be serious distortion and a very unmusical
sound. Always follow the load recommendations
where possible.
To avoid damage to the amplifiers DO NOT GROUND
any of the Loudspeaker output terminals, or connect
any terminal to any other terminal.
Multiple speaker configurations may be used,
but load impedance
should be maintained
above 4W. It is therefore important to
understand the difference between SERIES
connection (impedances ADD) and PARALLEL connection
(impedances are divided) as shown in the
illustrations.
STEREO
RETURN
FX
BUS
L/R
BUSSES
2 TRACK
RETURN
TO
POWER
AMP
MIX
L/R
EFFECTS
MIX
INSERT
GRAPHIC
EQUALISER
MIX
OUTPUT
NORMALLING NORMALLING
GRAPHIC EQ
INPUT
GRAPHIC EQ
OUTPUT
POWER AMP
INPUT
LEVEL
LEVEL
LEVEL
LEXICON
DIGITAL
EFFECTS
CONTROLLER
MIXER OUTPUTS
SIGNAL FLOW DIAGRAM
To external
amplifier
Example 1
Example 2
Example 3
Left Power Amp Output = Main Out
Right Power Amp output = Foldback
Pre Graphic
Equaliser
Post Graphic
Equaliser
From external
mixer to EQ
From mixer
From external
mixer to PA
no EQ
PATCHBAY
The line level mixer outputs, inserts and returns are arranged together on
the top right of the mixer. For maximum flexibility the inputs to the Mixer,
Graphic Equaliser and the Power Amplifier are available separately to allow
replugging for particular purposes. The three sections are normalled
together by the internal switch contacts on the jacks, as shown in the diagram.
The normalling is broken as soon as a jack is inserted, allowing the signal to
be re-routed as required. Note that separate left and right jacks are provided for all signals shown in the diagram above . Only one side is shown
for clarity.
PATCHBAY APPLICATIONS
The flexibility of the POWERSTATION Patchbay is illustrated with three
examples:
Example 1
Feeding an external amplifier, either pre- or post-Graphic Equaliser.
Normalling is unaffected. The output acts as a Y splitter, one feed to the
internal amplifier, the other to the external amplifier.
Example 2
Feeding the amplifier from an external mixer, for a secondary band perhaps,
plugging directly into the power amplifier jacks. Alternatively the external
feeds could plug into the Graphic EQ Inputs jacks, providing some signal
correction if required. Alternatively you can add the external signal/mixer
to the Powerstations MIX using the Stereo Return or any line level input.
Example 3
If only a mono PA output is required, one channel of the power amplifier
can be fed from the Mono Output by overplugging as shown, and the second channel may be used to drive, for example, foldback from Aux 1. In
both cases the Graphic EQ is left in the signal path.
Ω
Ω Ω Ω
Ω + Ω = Ω
Ω ÷ Ω
Ω ÷ Ω
Ω
Ω
Ω
Ω
Ω
Ω
Ω
Ω
Page 10
Setting Up & Troubleshooting
INITIAL SET UP
Once you have connected up your system, you are
ready to set initial positions for the controls on your
mixer.
The front panel drawing on page 18 shows typical initial control positions which may serve as a useful guide
to setting up the mixer for the first time.
Set up individual input channels as follows:
l Connect the source required (microphone, key-
board etc.) to the appropriate inputs.
Note: Phantom powered mics should be
connected before the +48V is switched on.
l Set Mix faders at 0, input faders at 0, and set the
Power Amp Output level to the required level.
l Set all EQ controls to the centre flat position.
l Press the PFL button on the particular channel,
monitoring the level on the meters.
l Adjust the input gain until the meter is just reach-
ing the amber section (0dB) at a typical maximum source level. This allows sufficient headroom to accommodate peaks and establishes the
maximum level for normal operation (but see
note below).
l Release the PFL button
l Repeat this procedure on other channels as
required. As more channels are added to the
mix, the meters may move into the red section.
l Listen carefully for the characteristic sound of
feedback. If you cannot achieve satisfactory
input level setting without feedback, check
microphone and speaker placement and repeat
the exercise.
Having set the correct input Gain settings for each
channel, you are now ready to start building the mix
and this should be done progressively, listening carefully for each component in the mix and watching the
meters for any hint of overload. If this occurs, back off
the appropriate Channel Fader slightly until the level is
out of the red segments, or adjust the Mix Faders.
Note: The level of any source signal in the final output
is affected by many factors, principally the Gain control, Channel Fader, Mix Faders and Power Amp level.
You should try to use only as much microphone gain as
required to achieve a good balance between signals,
with the faders set as described above.
If the input gain is set too high, the channel fader will
need to be pulled down too far in compensation to
leave enough travel for successful mixing and there is a
greater risk of feedback because small fader movements will have a very significant effect on output level.
If the gain is set too low, you will not find enough gain
on the faders to bring the signal up to an adequate
level.
Boosting or cutting EQ also affects gain. It is often necessary to readjust input gain using the PFL switch after
changing a channels EQ settings
Microphone Placement
Careful microphone placement and the choice of a
suitable type of microphone for the job is one of the
essentials of successful sound reinforcement. The aim
should be to place the microphone as close as physically possible to the source, to cut out unwanted surrounding sounds, allow a lower gain setting on the
mixer and avoid feedback. Also a well-chosen and
well-placed microphone should not need any appreciable equalisation.
TROUBLESHOOTING
No Power
l Is the mains supply present? Check that mains
voltage selection is correct for your country.
l Is the mains lead firmly connected?
l Check the mains fusing
Condenser Mic Not Working
l Is the +48V turned on?
l Is the mic plugged into the Mic input?
l Is the mic cable a balanced 3-wire type?
Meters not showing any signal
l Has the input gain been set correctly? (see
above.)
l Is the source connected to the appropriate input
socket for the level of signal?
l Do you have something connected on the
Inserts, and is that external device switched on?
l Are the Master faders set at max., and are input
faders set high enough?
l Is there a PFL/AFL pressed on another channel?
No Mix output
l Check that the Mix Master Fader is up?
l Do you have something connected on the Mix
Inserts, and is that external device switched on?
Headphones Distorting
l Are the headphones less than 200W impedance?
l Is the Monitor level set too high?
No Loudspeaker output
l Is the power amp level control set high enough?
l Is the power input bypassed by a jack inserted in
the power amp input jack?
Thermal LED On
l This is a warning that you should allow the ampli-
fier to cool down. The internal temperature has
reached safe limits and the amplifier may shut
down if no action is taken.
Thermal LED On and Mute LED On with no output to
Speakers
l The amplifier has shut down due to overheating
and the output relays have opened. Switch off
and allow the unit to cool down! Check that the
unit has adequate ventilation, that operating levels are set correctly and that the speaker load is
4W or greater.
Page 11
Large Live Setup
APPLICATIONS
Page 12
To Multitrack
Insert Point
From Multitrack
CONNECTED VIA "Y" LEAD
AS SHOWN BELOW
Recording
Page 13
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
Live Setup with
maximum foldback
Page 14
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
Mix
L
Mix
R
Note: Mix Outputs will
feed Powerstation &
External Amp.
Using Powerstation with an
External Mixer and PA
Page 15
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
Splitting FOH and
On-Stage Monitor
Page 16
Powerstation as a Submixer
(Amplifier still used for on-stage Monitors)
3
1
2
PHANTOM
POWER
MIC
INPUT
STEREO
LEFT
LINE
INPUT
INSERT
STEREO
RIGHT
GAIN
LEFT BUS
RIGHT BUS
AUX 1 BUS
AUX 2 PRE BUS
AUX 2 POST BUS
PFL
LEX FX
PHANTOM
POWER
AUX 2
PRE
AUX 2
LEVEL
AUX 1
LEVEL
2TRK
TO MIX
PFL
LEFT
BYPASS
RIGHT
BYPASS
AUX 2
EXTERNAL
LEXICON
FOOT
SWITCH
+48V
AUX 1
MONO INPUT CHANNEL
STEREO INPUT CHANNEL
MASTER SECTION
MASTER SECTION
EQ
EQ
GAIN
FADER
FADER
PAN
BALANCE
▲
▲
100Hz
HIGH PASS
40Hz
FILTER
POWER AMP
OUTPUT LEVEL
POWER AMP
OUTPUT LEFT
POWER AMP
OUTPUT RIGHT
PFL
PFL
AUX 1
LEX FX
AUX 1
LEX FX
AUX 2
AUX 2
POST
POST
PRE
PRE
MIX
INSERT
LEFT
MIX
INSERT
RIGHT
FADER
EFFECTS
FADER
LEXICON
EFFECTS
TO AUX 1
MIX
LEFT
MONO/SUB
GRAPHIC EQ
INPUT LEFT
GRAPHIC EQ
OUTPUT LEFT
POWER AMP
INPUT LEFT
MIX
RIGHT
GRAPHIC EQ
INPUT RIGHT
GRAPHIC EQ
OUTPUT RIGHT
POWER AMP
INPUT RIGHT
PHONES
LEFT METER
MONITOR
LEVEL
RIGHT METER
2TRACK
RETURN
LEFT
TO
MONITOR
MIX O/P
L&R
PFL ENABLE
STEREO
RETURN
LEFT
2TRACK
RETURN
RIGHT
REC.
O/P L
REC.
O/P R
STEREO
RETURN
RIGHT
INPUT
TRIM
DIGITAL EFFECTS
PROCESSOR
(MONO)
PFL ACTIVE
PRE
PRE
CLIP
Page 17
System Block Diagram
Page 18
Powerstation Console
Typical Starting Out Control Positions
Balanced
Unbalanced
Insert Leads
’Y’ Leads (Unbalanced)
’Speakon’ Leads
’Y’ Leads (Balanced)
Headphone Splitter
Page 19
Connecting Leads
Page 20
Dimensions
Free Standing
Rack Mounting
(350 & 600 only)
183.5
(7.22")
Dim "Y"
Dim "X"
172.8
(6.80")
443.5
(17.46")
454.4
(17.89")
Dimension "X" Dimension "Y"
Powerstation 350
Powerstation 600
Powerstation 1200
456.0 (17.95")
504.0 (19.84")
736.0 (28.98")
390.0 (15.35")
438.0 (17.24")
670.0 (26.38")
135.9
(5.31")
Typical Specifications
T.H.D.
Mic, Line or stereo input to Main Outputs,
+20dB at outputs, any input gain <0.009%
Crosstalk
Fader Attenuation 100dB @1kHz
Aux Send Attenuation 80dB @1kHz
Stereo Separation 70dB @1kHz
Noise
Measured RMS, 22Hz to 22kHz bandwidth
Aux Outputs -83dBu
Main Outputs -80dBu
E.I.N.
Microphone Input, Maximum Gain, terminated 150R 129dBu
Max. Gain to Main Outputs
Mic Input 74dB
Line Input 54dB
Stereo Input 32dB
Stereo Return & 2Track Return 12dB
Maximum Input Levels
Mic Input +21dBu
Line Input >30dBu
Stereo Input +26dBu
Stereo Return & 2Track Return >30dBu
Maximum Output Levels
Any Output +22dBu
Power Amplifier Power Output
Powerstation 350 175W + 175W RMS into 4W
Powerstation 600 300W + 300W RMS into 4W
Powerstation 1200 600W + 600W RMS into 4W
Amplifier will deliver rated power output with +4dBu at power amp input sockets, power amp level control at maximum. (+15dBU for 350)
THD @ 1kHz with both channels driven just below clipping:
Into 4W <0.025%
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