Soundcraft SPIRIT 8 USER GUIDE
INTRODUCTION
ongratulations on your purchase of a SPIRIT 8 mixer. Owning a Soundcraft console
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brings you the expertise and support of one of the industrys leading manufacturers
and the results of over 22 years experience supporting some of the biggest names in the
business.
Designed by engineers who understand the individual needs of musicians, SPIRIT 8
has been built to the highest standards using quality components and employing automated assembly techniques beyond the reach of most manufacturers of compact mixers.
A rugged steel chassis is combined with moulded side trims to give protection and
distinctive appearance. Custom moulded controls, designed for the best `feel and visual
clarity complement the styling, resulting in a truly professional product which is ideal for
both touring and fixed PA installations.
SPIRIT 8 is available in 16, 24, 32 & 40 channel frame sizes. All frame sizes incorporate removeable side cheeks to enable the console to be fitted compactly in a flight case.
SPIRIT 8 incorporates circuit technology identical to that used on some of the most
sophisticated Soundcraft consoles, including new surface mount component techniques.
The input channels are able to accept a wide range of Microphone and Line level signals
from separate input sockets. Every channel features the new UltraMic+ input with
wide range gain control, Phase switch, 4-band Equalisation with swept Hi and Lo Mid
ranges, plus a Hi-Pass Filter, 6 Auxiliary Sends (2 pre-fade, 2 pre or post and 2 postfade), PFL(Pre Fade Listen), Peak LED, Panning to a Stereo Bus and routing in pairs to
eight Output Groups. Each channel has a separate Direct Output and is controlled by a
high-quality long throw fader. All input channels may be assigned to a choice of four
Mute Groups.
All frame sizes are provided as standard with 2 dedicated stereo inputs. Each stereo
input comprises two separate input sections, one provided with comparable facilities to
the mono inputs, and one more basic input for a cassette or CD player which routes to
the stereo mix and two of the Aux outputs only.
The eight Output Groups provide submixing to the Mix L/R, either as stereo pairs or
as mono sends to L & R. The Group outputs are available on separate connectors to feed
external equipment directly. Each Group section incorporates matrix sends, PFL monitoring & bargraph metering. Eight external Stereo Return inputs are provided for effects
or submixing from external sources and these route to Mix or to a pair of Groups.
Two Matrix outputs receive sends from each Group or Mix L & R as required.
The Master section provides master level control for the Left, Right, Matrix and
Auxiliary Send buses, with separate AFL monitoring on each Matrix and Auxiliary output.
The Mix L/R and Group outputs all have insert points for the connection of external
signal processing or graphic equalisation.
Comprehensive Talkback facilities are provided, which allow a talkback microphone
to be routed to Mix L/R, Groups and Auxes 1-2 or 3-4. Ten 12-segment, 3-colour peak
reading LED bargraph meters provide clear display of Mix L/R, Group and PFL signals.
Pressing any PFL or AFL switch puts the selected signal onto both sides of the headphones output and the L & R bargraph meters in place of the Mix signal. Two LEDs monitor the status of the console power supply.
SPIRIT 8 is designed to be as user-friendly as possible, but a few minutes spent reading through this manual will help you become familiar with the product away from the
pressure of a live session, and allow you to gain full benefit from the superb performance
offered by your new mixer.
Above all, remember that your SPIRIT mixer is designed to extend your creativity.
The more you explore the controls and the effect they have on the sound output, the
more you will appreciate how you can influence and enhance the final sound.
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BASIC PRINCIPLES OF PA MIXING
here was a time when the P.A. system and the operator existed only to increase the
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overall volume of the performers, so that they could be heard in a large room or
above high ambient noise levels. This just isnt true any more. The sound system and the
sound engineer have become an integral part of the performance, and the artists are
heavily dependent on the operators skill and the quality of the equipment.
The following introduction to the basics of mixing are included for the benefit of
those users who may not have any significant familiarity with sound equipment, and who
are baffled by the endless jargon used by engineers and artists alike.
The Mixer
As one would expect, the main purpose of the mixer is to combine sounds, but under
precise control. This is why long-throw faders are essential on any professional mixer, to
give a responsive and smooth feel to the operator. The faders provide you with clear
and instinctive control of the final sound balance and like an artist playing an instrument
you should listen to the effect of your fader movements, not look at your hands.
Your SPIRIT 8 mixer accepts a wide range of input signals via the UltraMic+
microphone input, for very low level signals, or a line input, for higher level signals from,
for instance, tape machines, effects processors, etc.
The mixer is split into two sections. The Inputs receive, match and process individual source signals, and distribute them at precise mix levels to either a stereo Mix output
or to one of the Groups. The Master section allows overall level control of all outputs,
and provides monitoring of the audio signal at many points in the mixer, either on headphones or meters.
The Equaliser controls are the most flexible and potentially destructive feature of
the mixer. They have a similar effect on the frequency response of the input channel as
the tone controls on a hi-fi system, but with much greater precision, and allow particular
characteristics of the input signal to be emphasised or reduced. It is very important that
you become familiar with the effect each control has on the sound and this is best
achieved by spending time listening to the effect of each control on a well-known track
played through the mixer. An EQ IN/OUT switch is ideal for checking the difference
between the original and equalised signals.
The Auxiliary Sends provide a way of routing the input signals to a number of secondary outputs, for artists foldback, echo units or additional speaker outputs.
The Pan control adjusts the position of the input signal within the stereo mix, and
can be swept from full left, through to full right. This allows particular artists to retain
their correct spatial position within the mix, and can be valuable for live effects.
Pre-Fade-Listen(PFL) allows you to monitor the signal at many points in the mixer.
Pressing any PFL switch places the signal at that particular point onto the headphones
and the right meter, to check the quality of the signal or to pin-point problems. Using
PFL will not affect the signals on the outputs from the desk.
Each mono input channel and the Mix and Group outputs have an Insert `A gauge
jack socket, which is a break point in the signal path. It allows the signal to be taken out
of the mixer, through an external piece of equipment and then back into the mixer
directly after its original exit point. The Insert point is normally bypassed by the `A
gauge jack socket contacts, and is only brought into operation when a plug is inserted.
Typical uses would include Effects Processors, Limiters, additional Equalisers or Delay
units. In addition, each channel has a Direct output which may also be used to feed
external equipment such as multitrack tape machines or effects devices.
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The terms PRE and POST are often used in the context of Inserts, Equalisers and
Auxiliary Sends, and describe whether that facility is placed before (Pre) or after (Post)
another particular section. This is explained further in the Glossary.
A mixer is often judged, amongst other factors, by the amount of Headroom avail-
able. This is a measure of the reserve available to cope with sudden peaks in the input
signal, without distortion caused by Clipping, when the signal becomes so high that it
would exceed the power supply rail voltages and is as a result limited. This commonly
occurs where gain settings are incorrectly set or where sources are improperly matched
to the mixer input. If the source signal is too high, clipping and distortion results. If the
signal is too low it becomes masked by the background noise which is present to some
degree in all mixers. The diagram below illustrates this point.
Clipped
Signal
Noise
If the signal level is too high, clipping distortion
may occur.
Signal
If the signal level is too low it may be masked
by the noise.
Noise
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Installation and Safety Precautions
Installing the Mixer
orrect connection and positioning of your mixer is important for successful and trouble-
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free operation. The following sections are intended to give guidance with cabling, connec-
tions and configuration of your mixer.
o Choose the mains supply for the sound system with care, and do not share sockets or earth-
ing with lighting dimmers.
o Position the mixer where the sound can be heard clearly, preferably within the audience.
o Run audio cables separately from dimmer wiring, using balanced lines wherever possible. If
necessary, cross audio and lighting cables at right angles to minimise the possibility of interference. Keep unbalanced cabling as short as possible.
o Check your cables regularly and label each end for easy identification.
SAFETY PRECAUTIONS
For your own safety and to avoid invalidation of the warranty
please read this section carefully.
The SPIRIT 8 mixer must only be connected through the Power
Supply supplied.
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:
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.
The wire which is coloured Blue must be connected to the terminal in the plug which is
marked with the letter N.
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.
To avoid the risk of fire, replace the mains fuse only with the
correct value fuse, as indicated on the power supply.
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CONNECTING IT UP
MONO STEREO GROUP MASTER
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2. Hot(+ve)
3. Cold(-ve)
2. Hot(+ve)
Link 3
to 1
Balanced Mic
XLR
1. Screen
Unbalanced Mic
XLR
1. Screen
WIRING IT UP
MIC INPUT
The mic input accepts XLR-type connectors and is designed to suit a wide range of
BALANCED or UNBALANCED low-level signals, whether from delicate vocals
requiring the best low-noise performance or close-miked drum kits needing maximum
headroom. Professional dynamic, condenser or ribbon mics are best because these
will be LOW IMPEDANCE. While you can use low-cost HIGH IMPEDANCE mics,
you do not get the same degree of immunity to interference on the microphone cable
and as a result the level of background noise may be higher. If you turn the PHANTOM POWER on, the socket provides a suitable powering voltage for professional
condenser mics.
DO NOT use unbalanced sources with the phantom power switched on. The
voltage on pins 2 & 3 of the XLR connector may cause serious damage.
The input level is set using the INPUT SENS knob.
The LINE input offers the same gain range as the MIC input, but at a higher input
impedance. This is suitable for most line level sources, and provides the gain needed
for lower level keyboards and high impedance microphones.
Balanced
3 pole Jack
Hot (+ve)
Cold (-ve)
Gnd/Screen
Tip
Ring
Tip
Ring
Inserts
Unbalanced
3 pole Jack
Signal
Gnd/Screen
Gnd/Screen
Sleeve
Signal Send
Signal Return
Gnd/Screen
Sleeve
WARNING - Start with the INPUT SENS knob at the 0 position when
plugging high level sources into the LINE input to avoid overloading the
input channel or giving you a very loud surprise!
LINE INPUT
Accepts 3-pole `A gauge jacks, or 2-pole mono jacks which will automatically
ground the cold input. Use this input for sources other than mics, such as keyboards,
drum machines, synths, tape machines or guitars. The input is BALANCED for low
noise and immunity from interference, but you can use UNBALANCED sources by
wiring up the jacks as shown, although you should then keep cable lengths as short as
possible to minimise interference pick-up on the cable. Refer to the section How to
Prevent Interference later in this manual. Note that the ring must be grounded if the
source is unbalanced. Set the input level using the INPUT SENS knob, starting with
the knob turned fully anticlockwise. Plugging into the LINE input automatically cuts off
the MIC input.
INSERT POINT
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 before the EQ section.
The signal from the channel appears on the TIP of the plug and is returned on the
RING, with the sleeve as a common ground.
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.
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Group Outputs
Matrix Outputs
1. Screen
Mix Outputs
3. Signal -
2. Signal +
STEREO INPUTs, CASS/CD INPUTS
Accept 3-pole `A gauge jacks, or 2-pole mono jacks which will automatically ground
the cold input. Use these inputs for sources such as keyboards, drum machines, synths,
tape machines or as returns from processing units. The input is BALANCED for low
noise and immunity from interference, but you can use UNBALANCED sources by
wiring up the jacks as shown, although you should then keep cable lengths as short as
possible to minimise interference pick-up on the cable. Note that the ring must be
grounded if the source is unbalanced. Mono sources can be fed to both paths by plugging into the Left jack only.
STEREO RETURNS
Similar to the Stereo Inputs. Input gain is sufficient to allow the connection of +4dBu
professional or -10dBV semi-professional equipment. HF and LF Equalisation is included
on Returns 1,3,5 & 7 for those sources which need additional treatment.
Mix & Group Inserts
Signal Send
Signal Return
Gnd/Screen
Tip
Ring
Sleeve
Aux Outputs
Rec Outputs
Direct Outputs
Signal +
Signal Screen
Mix INSERTS, GROUP INSERTS
The unbalanced, pre-fade Mix insert point is a break in the output signal path to allow
the connection of, for example, a compressor/limiter or graphic equaliser. 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 before the mix fader.
The mix signal appears on the TIP of the plug and is returned on the RING. A Y
lead may be required to connect to equipment with separate send and return jacks as
shown below:
Insert Point
Signal Send
Screen
Signal Return
Send to External Device
Return from External Device
MIX, GROUP & MATRIX
The Mix, Group and Matrix outputs are on 3-pole XLR male connectors, wired as
shown on the left and below, and incorporate impedance balancing, allowing long cable
runs to balanced amplifiers and other equipment.
Typical uses would be feeds for speaker fills, effects speakers or multitrack tape
sends.
Headphones
Left Signal
Right Signal
Ground
From SPIRIT 8
Impedance Balanced
Output
From SPIRIT 8
Impedance Balanced
Output
Signal
Screen
Signal
Screen
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(a) Balanced Connection
Signal Ground
(b) Unbalanced Connection
Signal Ground
Experience has shown that sometimes it is better
not to connect screen at external device end.
To External Device
To External Device
AUX OUTPUTS, Direct OUTPUTS
The Aux and Channel Direct outputs are on 3-pole A gauge jack sockets, wired as
shown on the left, and incorporate impedance balancing, allowing long cable runs to balanced amplifiers and other equipment.
HEADPHONES
The PHONES output is a 3-pole A gauge jack, wired as a stereo output as shown,
suitable for headphones of 200W or greater. 8W headphones are not recommended.
Polarity
You will probably be familiar with the concept of polarity in electrical signals and this
is of particular importance to balanced audio signals. Just as a balanced signal is highly
effective at cancelling out unwanted interference, so two microphones picking up the
same signal can cancel out, or cause serious degradation of the signal if one of the cables
has the +ve and -ve wires reversed. This phase reversal can be a real problem when
microphones are close together and you should therefore take care always to connect
pins correctly when wiring audio cables. The mono inputs are provided with a Phase (f)
switch to reverse the polarity of a selected input if a phasing problem is suspected.
Grounding and Shielding
For optimum performance use balanced connections where possible and ensure that
all signals are referenced to a solid, noise-free earthing point and that all signal cables
have their screens connected to ground. In some unusual circumstances, to avoid earth
`loops ensure that all cable screens and other signal earths are connected to ground
only at their source and not at both ends.
If the use of unbalanced connections is unavoidable, you can mimimise noise by following these wiring guidelines:
l On INPUTS, unbalance at the source and use a twin, screened cable as though it
were balanced.
l On OUTPUTS, connect the signal to the +ve output pin, and the ground of the out-
put device to -ve. If a twin screened cable is used, connect the screen only at the
mixer end.
l Avoid running audio cables or placing audio equipment, close to thyristor dimmer
units or power cables.
l Noise immunity is improved significantly by the use of low impedance sources, such
as good quality professional microphones or the outputs from most modern audio
equipment. Avoid cheaper high impedance microphones, which may suffer from
interference over long cable runs, even with well-made cables.
Page 8
Fault Finding Guide
Repairing a sound mixing console requires specialist skills, but basic Fault Finding is
within the scope of any user if a few basic rules are followed.
l Get to know the Block Diagram of your console (see page 34).
l Get to know what each component in the system is supposed to do.
l Learn where to look for common trouble spots.
The Block Diagram (see page 34) is a representative sketch of all the components of
the console, showing how they connect together and how the signal flows through the
system. Once you have become familiar with the various component blocks you will find
the Block Diagram quite easy to follow and you will have gained a valuable understanding
of the internal structure of the console.
Each Component has a specific function and only by getting to know what each part
is supposed to do will you be able to tell if there is a genuine fault! Many `faults are the
result of incorrect connection or control settings which may have been overlooked.
Basic Troubleshooting is a process of applying logical thought to the signal path
through the console and tracking down the problem by elimination.
l Swap input connections to check that the source is really present. Check both Mic
and Line inputs.
l Eliminate sections of the channel by using the insert point to re-route the signal to
other inputs that are known to be working.
l Route channels to different outputs or to auxiliary sends to identify problems on the
Master section.
l Compare a suspect channel with an adjacent channel which has been set up identical-
ly. Use PFL and AFL to monitor the signal in each section.
l Insert contact problems may be checked by using a dummy jack with tip and ring
shorted together. If the signal appears when the jack is inserted it shows that there is
a problem with the normalling contacts on the jack socket, caused by wear or dam-
age, or often just dirt or dust.
Signal Operating Levels
dBu
+28dBu max.
L
I
N
E
+30
+20
+10
+6dBu
0
-10
-20
-30
-40
-50
-60
-70
-80
-90
-100
-110
-120
Mic input EIN -129.5 (150 ohm source)
-130
Channel Inserts
Channel Fader
Direct Output
Mix/Group Bus
Group Inserts
Group Fader
+22dBu max.
Group Out
Mix Inserts
Mix Fader
+4dBu+4dBu
Mix Output
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GETTING TO KNOW YOUR CONSOLE
1
MONO INPUT CHANNEL
wo inputs are available to the mono input channel, via XLR connector (normally for
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microphone sources) or 3-pole 1/4 A gauge jack socket for signals needing a higher input impedance such as keyboards, drum machines, synths or tape machines. Both
input sockets are permanently active, and may be used simply by plugging the source into
the required input. You do not need to unplug anything in the MIC socket if you want to
2
3
4
5
6
use the LINE input. The new UltraMic+ input provides very wide gain control without the need for a pad, high CMRR and +28dBu input capability.
An impedance balanced DIRECT output is provided, fed from the output of the fader
buffer, which is therefore unaffected by the position of the ROUTING switches or PAN
control. This provides an ideal source for external processing units, the output of which
may be brought back to the console through the STEREO INPUTS or STEREO
RETURNS, or to directly send to the tracks of a tape machine for multitrack recording.
This provides as many Tape Sends as there are mixer channels, without using the group
or mix outputs.
An unbalanced INSERT is provided which is a break point in the input channel signal
path. It allows the signal to be taken out of the mixer, through an external piece of
equipment and then back into the mixer to continue through to the final output. The
Insert is a 3-pole 1/4 `A gauge Jack Socket, which is normally by-passed. When a jack
plug is inserted, the signal path is broken at a point just after the Hi-Pass Filter, but
before the EQ section. The signal from the channel appears on the TIP of the plug and is
returned on the RING. The insert point allows limiters, compressors and other signal
processing units to be added as required to particular input channels and because it is
located PRE EQ, noise generated by the external equipment may be reduced by a small
amount of H.F. cut in the Equaliser.
10
11
12
1 +48V
7
8
9
The +48V switch applies phantom powering to the MIC input socket for condenser
microphones. Transformer-coupled dynamic microphones may be used without causing
damage, even when the +48V power is connected, but care must be taken when using
unbalanced sources, because of the voltage present on pins 2 and 3 of the XLR connector.
NOTE: Phantom powered mics should not be plugged in with the +48V
switched on. Also you should be aware that some microphones draw an unusually large current which may overload the power supply, resulting in distortion.
Consult your microphone supplier for guidance if necessary.
2 PHASE SWITCH
The Phase switch reverses the polarity of the input signal to compensate for phase
differences due to microphone placement or incorrect wiring of input cables. This
switch should be released for normal operation.
3 INPUT SENSITIVITY
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 (shown by illumination of the
PEAK LED), and causes clipping. 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. Set the knob fully anticlockwise as a preliminary position for LINE level sources.
An individual channel meter monitors the input level at the Insert point, making it easy to
spot input overload.
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