Soundcraft SPIRIT 8 USER GUIDE

INTRODUCTION

Congratulations on your purchase of a SPIRIT 8 mixer. Owning a Soundcraft console brings you the expertise and support of one of the industry’s 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

There was a time when the P.A. system and the operator existed only to increase the overall volume of the performers, so that they could be heard in a large room or above high ambient noise levels. This just isn’t 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 operator’s 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 available. 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 Noise

If the signal level is too low it may be masked by the noise.

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Installation and Safety Precautions

Installing the Mixer

Correct connection and positioning of your mixer is important for successful and troublefree operation. The following sections are intended to give guidance with cabling, connec-

tions and configuration of your mixer.

oChoose the mains supply for the sound system with care, and do not share sockets or earthing with lighting dimmers.

oPosition the mixer where the sound can be heard clearly, preferably within the audience.

oRun 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.

oCheck 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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Balanced Mic

XLR

2. Hot(+ve)

3. Cold(-ve)

1. Screen

Unbalanced Mic

XLR

2. Hot(+ve)

Link	3
to	1						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									Unbalanced
3 pole Jack									3 pole Jack
Hot	(+ve)								Signal
Cold	(-ve)								Gnd/Screen
Gnd/Screen									Gnd/Screen

Tip

Ring Sleeve

Inserts

Signal Send

Signal Return

Gnd/Screen

Tip

Ring 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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Mix Outputs

Group Outputs

Matrix Outputs

1. Screen

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

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:

Signal Send

Send to External Device

Insert Point

Aux Outputs			Screen Signal Return
Rec Outputs
Direct Outputs			Return from External Device
		Signal	+
		Signal	-
		Screen	MIX, GROUP & MATRIX

Headphones

Left Signal

Right Signal

Ground

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.

From SPIRIT 8	Signal	(a) Balanced Connection
Impedance Balanced					To External Device
Output
	Screen	Signal Ground
From SPIRIT 8	Signal	(b) Unbalanced Connection
Impedance Balanced					To External Device
Output
	Screen	Signal Ground
				Experience has shown that sometimes it is better
				not to connect screen at external device end.

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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:

lOn INPUTS, unbalance at the source and use a twin, screened cable as though it were balanced.

lOn OUTPUTS, connect the signal to the +ve output pin, and the ground of the output device to -ve. If a twin screened cable is used, connect the screen only at the mixer end.

lAvoid running audio cables or placing audio equipment, close to thyristor dimmer units or power cables.

lNoise 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.

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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.

lGet to know the Block Diagram of your console (see page 34).

lGet to know what each component in the system is supposed to do.

lLearn 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.

lSwap input connections to check that the source is really present. Check both Mic and Line inputs.

lEliminate sections of the channel by using the insert point to re-route the signal to other inputs that are known to be working.

lRoute channels to different outputs or to auxiliary sends to identify problems on the Master section.

lCompare a suspect channel with an adjacent channel which has been set up identically. Use PFL and AFL to monitor the signal in each section.

lInsert 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 damage, or often just dirt or dust.

Signal Operating Levels

dBu +30 +20 [phone] -70 -80 -90 -100 -110 -120 -130

+28dBu max.

	+22dBu max.
+6dBu	+4dBu	+4dBu

ChannelInserts

ChannelFader

DirectOutput

Mix/GroupBus

GroupInserts

GroupFader

GroupOut

MixInserts

MixFader

MixOutput

Mic input EIN -129.5 (150 ohm source)

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GETTING TO KNOW YOUR CONSOLE

1

2

MONO INPUT CHANNEL

Two inputs are available to the mono input channel, via XLR connector (normally for 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 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.

3	An impedance balanced DIRECT output is provided, fed from the output of the fader

4buffer, 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.

5 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

6returned 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.

7

8

9

10

11

12

1+48V

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.

2PHASE 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.

3INPUT 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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