Soundcraft SPIRIT FOLIO USER GUIDE

SPIRIT FOLIO

- A quick overview

The Controls - The Mono Input Channel

The Stereo Input Channel

The Master Section
Introduction
Safety Precautions
Initial Setting Up
The Controls in More Detail
Using Folio - Typical Applications

Stereo Public Address

Stereo Recording

Location Recording
Glossary
Technical Specifications
System Block Diagram

1
3
5
7
9
9
10
11
16
16
17
17
18
19
20

MIC is for low level microphone signals such as vocals
(Mono Inputs only)

LINE is for higher level signals such as keyboards,
guitars, drum machines and tapes

NTR

M

R

L

STE

12

AUX

NTR

M

AUX

2

1

9

L

11

STE

10

PHNS

IX

M

You can listen to the signal
from here on stereo
HEADPHONES.

L

L

IX

M

INS

R

TAPE

RETN

R

R

1

Along the CHANNEL STRIP, controls adjust the GAIN
(to get the best quality signal and avoid overload)
and the FILTER and EQUALISER change the
frequency response to clean up or enhance the
sound.

The AUX SENDS let you set up a separate mix for
artists FOLDBACK or to add EFFECTS PROCESSORS.

PAN swings the signal to the LEFT or RIGHT of the
stereo MIX output.

The final MIX OUTPUT is taken from here to a suitable power
amplifier and loudspeakers or to record the mix to a tape machine.

You can listen to the signal on loudspeakers by taking the signal
from the MONITOR OUTPUTS via a suitable power amplifier.

The CHANNEL FADER sets the level of the channel
signal which is fed to the Master Section and adjusts
the sound BALANCE between the different sources.

The MASTER FADERS set the level of the
combined signal from all of the input channels
going to the amps and speakers.

2

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 turn the PHANTOM POWER on
(top right-hand side of the mixer) the
socket provides a suitable powering
voltage for professional condenser mics.
Unplug any mics if you want to use the
LINE Input. Set the input level using the
GAIN knob.

➭

See page 11

Accepts 3-pole `A' gauge (TRS) jacks. 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 on page 11, 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.

➭

See page 11

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. See `Initial Setting Up' to
learn how to set the GAIN correctly.

➭

See page 11

Pressing this switch reduces the level of bass
frequencies only. This feature is very rare for such a
small mixer.

Use this in live PA situations to reduce stage rumble or
`popping' from microphones.

➭

See page 11

Turn to the right to boost low (bass) frequencies, adding warmth to
vocals or extra punch to synths, guitars and drums. Turn to the left to
reduce hum, stage rumble or improve a mushy sound. Set the knob to
the centre-detented position for a neutral EQ response.

3

Turn to the right to boost high (treble) frequencies,
adding crispness to cymbals, vocals and
electronic instruments. Turn to the left to cut these
frequencies, reducing hiss or distorted consonants
which can occur with certain types of microphone.
Set the knob in the centre-detented position for a
neutral EQ response.

There are two knobs which work together to form a SWEPT MID EQ. The lower knob provides boost and cut, just
like the HF EQ knob, but the frequency at which this occurs is set by the upper knob over a wide range. This
allows some truly creative improvement of the signal in live situations, because this mid band covers the range of
most vocals. Listen carefully as you use these controls together to find how particular characteristics of a vocal
signal can be enhanced or reduced. Set the lower knob to the centre-detented position for a neutral EQ
response.

This is used to set up a separate mix for FOLDBACK, EFFECTS or recording, and the combination
of all the Aux 1 Sends is mixed to the Aux 1 Output. For Effects it is useful for this 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). The Master Section AUX1
PRE switch allows you to chose pre- or post-fade across the whole mixer as required. Leave the
knob turned down when not in use.

The Equaliser (EQ) allows fine manipulation of the sound, particularly
to improve the sound in live PA applications where the original signal
is often far from ideal.

There are three sections (HF, MID & LF) giving the sort of control
usually only found on much larger mixers. The EQ knobs can have a
dramatic effect on the sound, so use them sparingly and listen carefully
to the result.

➭

➭

See page 12

See page 12

This is similar to the Aux Send 1
control, but is always POST-FADE.

The linear FADER gives you smooth control of the
overall signal level in the channel strip, allowing
precise balancing of the various source signals
being mixed to the Master Section. It is important to
set up the input GAIN correctly to give full travel
(i.e. maximum control) on the fader. See the `Initial
Setting Up' section on page 10 for help in setting a
suitable signal level.

➭

See page 12

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

➭

See page 12

When the PFL (Pre-Fade-Listen) switch is pressed the pre-fade
channel signal is fed to the monitor output or headphones,
replacing the normal source (either Mix or Tape Return).
You use this switch to listen to a channel signal without
affecting the mixer outputs, to check the signal quality or
simply to check that it is there! You would also use the PFL
switch to set the input GAIN, and this is explained on page
10 - `Initial Setting Up'.

➭

See page 12

4

Accept 3-pole `A' gauge (TRS) jacks. Use
these inputs for sources such as
keyboards, drum machines, synths, tape
machines or as returns from processing
units. The inputs are BALANCED for low
noise and immunity from interference, but
you can use UNBALANCED sources by
wiring up the jacks as shown later in this
guide, although you should then keep
cable lengths as short as possible.

➭

See page 13

Most professional equipment uses input and output
levels of +4dBu, but semi-professional tape machines
use a low level of -10dBV (or hi-fi systems 100mV).
This switch allows you to match the stereo input to
either standard. Release the switch for +4dBu, or
press for -10dBV.

Turn to the right to boost high (treble) frequencies,
adding crispness to percussion from drum machines,
synths and electronic instruments. Turn to the left to cut
these frequencies, reducing hiss or excessive
brilliance. Set the knob in the centre-detented position
when not required.

➭

See page 13

➭

See page 13

Turn to the right to boost low (bass) frequencies, adding extra
punch to synths, guitars and drums.
Turn to the left to reduce hum, boominess or improve a mushy
sound. Set the knob to the centre-detented position when not
required.

➭

See page 13

This is similar to the Aux Send 1 control, but is
always POST-FADE.

5

This is used to set up a separate mono
mix for FOLDBACK or to drive EFFECTS
PROCESSORS, and the combination of
all the Aux 1 Sends is mixed to the Aux 1
Output. For Effects it is useful for this 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).

The Master Section AUX1 PRE switch
allows you to chose pre- or post-fade as
required. Leave the knob turned down
when not in use.

➭

See page 13

This control sets the amount of the channel signal feeding the Right and Left MIX
outputs, allowing you to balance the source in the stereo image. When the
control is turned fully right or left you feed only that side of the signal to the mix.

➭

See page 13

10

When the PFL (Pre-Fade-Listen) switch is pressed a
mono sum of the pre-fade channel signal is fed to the
monitor output or headphones, replacing the normal
source (either Mix or Tape Return).
You use this switch to listen to a channel signal without
affecting the mixer outputs, to check the signal quality
or simply to check that it is there!

➭

See page 13

5

0

5

10

15

20

30

40

50

∞

The linear FADER gives you smooth control of the overall signal level in
the channel strip, allowing precise balancing of the various source
signals being mixed to the Master Section. It is important that the input
level is set correctly to give maximum travel on the fader. See the `Initial
Setting Up' section on page 10 for help in setting the right level.

➭

See page 13

6