Soundcraft SPIRIT POWERSTATION USER GUIDE

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User Guide

Contents

Safety Precautions . . . . . . . . . . . . . . . . . . . . . . . 2

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Basic Principles of PA Mixing . . . . . . . . . . . . . . . . . 4

Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . 7

Audio Connections and Connectors . . . . . . . . . . . 7

Fault Finding Guide . . . . . . . . . . . . . . . . . . . 10

Getting to know your console . . . . . . . . . . . . . . . . 11

Facilities . . . . . . . . . . . . . . . . . . . . . . . . . 11

Input Channel . . . . . . . . . . . . . . . . . . . . . . 11

Stereo Channel . . . . . . . . . . . . . . . . . . . . . . 14

Master Section . . . . . . . . . . . . . . . . . . . . . . 17

Lexicon . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Grahic Equaliser . . . . . . . . . . . . . . . . . . . . . 21

Power Amplifier . . . . . . . . . . . . . . . . . . . . . 23

Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . 25

Using your

Initial Set Up . . . . . . . . . . . . . . . . . . . . . . . 27

Care of your mixer . . . . . . . . . . . . . . . . . . . . . . 29

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . 31

Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Front Panel Layout . . . . . . . . . . . . . . . . . . . . . . 33

Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . 34

POWERSTATION

Console . . . . . . . . . . . 27

Page 1

Safety Precautions

For your own safety and to avoid invalidation of the
warranty please read this section caref ully

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

• Green and yellow:Earth

• Blue:Neutral

• Brown: Live

As the colours of the wires in the mains lead may not
correspond with the coloured markings identifying the
terminals in your plug, proc ee d as foll ows :

• 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 or
coloured black.

• The wire which is coloured Brown must be conected to the

terminal in the plug which is marked with the letter L or
coloured Red.

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

Ensure correct mains voltage is set an d correct fuse is
fitted before connecting mains supply. Do not change
mains settings while the mains supp ly is connected.
The replacement mains power fu se must be the correct
value, as indicated on the unit.

Do not obstruct air vents. Clean air filter at the front of
the unit regularly.

Page 2

INTRODUCTION

Congratulations on your purchase of a
mixer. Owning a
support of one of the industry’s leading manufacturers and
the results of over 21 yea rs experi ence supporting some of the
biggest names in the business.

Designed by engine ers who understand the individual nee ds
of engineers and musicians,
built to the highest standards using quality Japanese and
Swiss components and employing automated assembly
techniques beyond the reach of most manufacturers of
compact mixers.

SPIRIT POWERSTATION

system, combining a high quality Mixer, Effects Controller,
Graphic Equaliser and Power Amplifier in a single unit.

POWERSTATION

that used on some of the most sophisticated Soundcraft
consoles. The mono input channels are able to accept a wide
range of Microphone and Line level signals from separate
input sockets. Every mono channel features wide range gain
control, 3-band Equalisation with swept Mid section, plus a
Hi-Pass Filter, 2 Auxiliary Sends, one of which may be
switched to a dedicated FX bus to feed the built-in Lexicon
Effects Controller, PFL(Pre Fade Listen) and panning to a
Stereo Bus. Each channel has a pre-EQ, pre-fade insert point
and is controlled by a high-quality li ne ar fa der.

SPIRIT

incorporates circuit technology identical to

console brings you the expertise and

SPIRIT POWERSTATION

is the basis of a complete sound

POWERSTATION

has been

POWERSTATION

inputs. Each stereo input includes a 3-band fixed frequency
EQ and similar facilities to the mono in put.

The Master section provides master faders for the Left and
Right outputs, plus a fade r controlling the mix to the Lexicon
Digital Effects Processor, the output of which feeds back into
the main mix. Master level controls are provided for the
Auxiliary Sends and Stereo and 2-Track Returns, and
headphone liste ning and LED bargraph mete ring is included
to monitor the main mix or PFL signal. A Mono output is
provided which sums the post-fade Left & Right signals to
mono.

is provided as standard with a pair of stereo

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A built-in 7-band Graphic Equaliser offers precise correction
of the output signal i f required, and is normall y patched into
the input to the integral power amplifier.

POWER STATION

possible, but a few minutes spent reading through this
manual will help you bec ome familiar with the product away
from the pressure of a l ive session, and allow you to gain full
benefit from the superb performance offered by your new
mixer.

Above all, remember that your
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.

is designed to be as user-friendly as

SPIRIT

mixer is designed to

BASIC PRINCIPLES OF PA MIXING

There was a time when the P.A. system and the operator
existed only to in crease 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 engi neer have become an integral par t
of the performance, and th e artists are heavily dependent on
the operator’s skill and the qual ity of the equip ment.

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.

System Overview As one would expect, the main purpose of the mixer is to

combine sounds, but under precise an d smooth control. This
is why linear faders are essen tial on any professional product.
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
input signals via a microphone input, for very low level
signals, or a line input, for higher level signals from, for
instance, tape machines, keyboards, etc.

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Page 4

mixer accepts a wi de range of

The

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sound system, and splits into five sections. The Inputs
receive, match and process individual source signals, and
distribute them at precise mix levels to a stereo Mix output.
The Master section allows overall level control of the outputs,
and provides monitori ng of the a udio sign al at man y poi nts in
the mixer, either on headphones or meters. The Graphic
Equaliser provi des a means of correcting the output signal to
suit different room acoustics, a nd the Lexicon Digital Effects

Processor offers a wide range of treatme nts to the sound. The
Power Amplifie r receives the output from the other se ctions

and drives the loudspeaker system. A brief overview of the
facilities is given below:

The Auxiliary Sends provide a way of routing the input
signals to a choice of secondary outputs, for artists foldback,
echo units or additional speaker outputs. The Aux 2 control
also provides access to a dedicated fee d to the Lexicon Digital
Effects Processor.

The Pan control adjusts the position of the input signal within
the stereo mix, and can be swep t 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.

forms the heart of a complete

Pre-Fade-Listen(PFL) allows you to monitor the signal at
many points in the mixer. Pressing any PFL switch pla ces the
signal at that particular point onto the headphones and the
meters (if PFL is selected a s the Monitor Source), to check the
quality of the signal or to pin-poi nt problems. Using PFL will
not affect the signals on the outpu ts from the de sk.

Each input channel a nd the main L/R 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 mixe r
directly after its original exit point. The Insert point is
normally bypassed by the ‘A’ gauge jack soc ket contacts, and
is only brought into operation when a plug is inserted.
Typical uses would include Effects Processors, Limiters,
additional Equalisers or Delay units.

The terms PRE and POST are often used in the context of
Inserts, Equali sers and Au xiliary Sends, a nd describe whe ther
that facility is placed before (Pre) or after (Post) another
particular section. This is explained further in the detailed
description of facilities.

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A mixer is often judge d, amongs t other fa ctors, b y the am ount
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 th e 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

Page 6

GETTING STARTED

Audio Connections
and Connectors

2. Hot(+ve)

3. Cold(-ve)

Balanced

Input

1. Screen

Although this may seem a simple subject, faulty connectors
and cabling are the source of most sound system problems.
Correctly-made cables of the proper type, with the right
connectors for the job will ensure peak performance from
your system with minimum noise pick-up. The following
section will help you to connect

SPIRIT POWERSTATION

correctly.
Three different types of audi o connectors a re used. 3-pi n XLR

and 1⁄4" three pole (‘A’ gauge) jacks are used in several
configurations as shown in the diagra ms below.

2. Hot(+ve)
Link 3

to 1

Unbalanced

1. Screen

Input

Link 3

to 1

1. Screen

2. Hot(+ve)

Unbalanced

Output

Send

Return

Screen

Tip

Ring

Insert Points

3 POLE (stereo) JACK

Tip

Ring

Sleeve

Sleeve

Line, Graphic, Power Amp Inputs

Main, Mono, Graphic, Aux Outputs

Stereo Inputs

In addition, RCA phono connectors are used for the Record
outputs and 2 Track Returns.

Hot(+ve)
Cold(-ve)
Screen

2 POLE (mono) JACK

Left Signal
Right Signal
Ground

Headphones Unbalanced Input

(Ring will be

grounded by console)

Signal

Ground

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Balanced and Unbalanced All channel inputs are balanced, i.e. there are separate

+ve(hot) and -ve (cold) wires for each signal plus a ground.
The design of the differential input amplifiers is such that
interference picke d up on these wire s is cancelled out. This is
because, since both wires are in close proximity, the same
interference will be picked up on each wire and balanced
input amplifiers will only amplify the difference between
+ve(hot) and -ve(cold). Any si gnal on both hot and cold (i.e.
noise) will not be amplified - this is known as common mode
rejection (CMR). Balanced inputs should always have both
+ve and -ve connected or if only an unbalanced source, the

-ve pin shorted to ground.
Note: many modern audio/musical instruments have

electronically balanced outputs which should not be
unbalanced by shorting one wire to groun d. Always use your
inputs balanced where possible to minimise noise.

The Mixer and Graphic Equaliser outputs are all impedance
balanced and provide a very e ffective way of opti mising noise
immunity, without the cost and complexity of balanced
outputs (note: This is the method used in most condenser
mics)

Polarity You will probably be fa miliar 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 cabl es has
the +ve and -ve wires reverse d. 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.

Grounding and Shielding For optimum performance it is vital that all signals are

referenced to a solid, noise-free earthing point and that all
signal cables have their screens connected to ground. You
should be aware that you may introduce ground loops with
screens connected to ground at both ends of a cable, and it
may be necessary to lift the ground at one end to avoid this
problem. Note that mic rophones must always be grounded .
The
grounding point for the system, and an earth stu d is provided
beside the power connector.

SPIRIT POWERSTATION

should be used as the

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Normally the use of standard ste reo jack leads will be suitable
for most puposes, but do n ot be af rai d to cli p a groun d wire at
one end of the lead if a ground loop is suspected. Make sure
that the end with the ground removed is marked for future
identification.

Ideally, where a ground wire is removed, a 0.1µF tubular
capacitor should be connected in its place to provide RF
protection.

Avoid running audio cables or p laci ng audi o equ ipme nt, close
to thyristor dimmer units or power cables.

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.

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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.

• Get to know the Block Diagram of your console (see inside

rear cover)

• Get to know what each component in the system is

supposed to do.

• Learn where to look for common trouble spots.
The Block Diagram (see i nside rear cover) 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 B lock Diagram quite easy
to follow and you will ha ve gained a valuable unde rstanding
of the internal structure of the console .

Each Component has a specific function and only by getting
to know what each part is sup posed 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 Troubleshooti ng is a proc ess of ap plying logi cal though t
to the signal path through th e console and tracking down the
problem by eliminati on.

• Swap input connections to check that the source is really

present. Check both Mic and Line inputs.

• Eliminate sections of the channel by using the insert point

to re-route the signal to other inputs that are known to be
working.

• Route channels to different outputs or to auxiliary sends to

identify problems on the Master section.

• Compare a suspect channel with an adjacent channel

which has been set up identically. Use PFL to monitor the
signal in each section.

Page 10

1

GETTING TO KNOW YOUR CONSOLE

2

MONO INPUT CHANNEL

3

1 & 2 MICROPHONE/LINE INPUT

The MICROPHONE input (1) is via a standard femal e XLR-3

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5

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connector and shares an input stage wi th the Line input. It is
designed to accept a wide range of balanced or unbalanced
low impedance i nput signals. The LINE (2) input is a 3-pole

1

⁄4" ‘A’ gauge jack socket and presents a high impedance

(>10kΩ) to the input signal, enabling many types of
instruments to be plugged straight in without D.I. boxes or
external preamplifiers. Any connection to the Mic input
should be unplugged when th e Line inp ut is in use.

+48V Phantom Power is available on each input microphone
socket. This is switched on globa ll y from the ma ste r se cti on a t
the top right corner of the mixer. All faders should be

DOWN when switching on phantom power.

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2

1

5

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NOTE: Phantom powered mics should not be plugged in

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with the +48V switched on. DO NOT use phantom power
with unbalanced mics or damage may result.
Transformer-coupled dynamic microphones may be used
without causing damage, even when the +48V power is
connected.

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9

10

Input level is set by the GAIN control (4).

3 INSERT

The INSERT is a b reak poin t in the in put chan nel sign al path.
It allows the signal to be taken out of the mixer, through an
external piece of equipment such as a compressor and then
back into the mixer to continue through to the final mix
output. The Insert is a 3 -pole 1⁄4" ‘A’ gauge Jack Socket, which

11

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 plu g and is returned on the RING.
The insert point a llows limiters, comp ressors and other signal
processing units to be added as required to particular input
channels and because it is located PRE E Q, noise ge nerated by
the external equip ment may be reduced by a small amount of
H.F. cut in the Equaliser.

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1

4 GAIN CONTROL

When the Microphone input is selected this control acts as a

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3

SENSITIVITY control covering a 60dB ra nge. Channel signal
level increases as th e control is turne d clockwise. The control
is a custom design which distributes the gain evenly across
the range. When the Li ne in pu t is se le cte d i t se rves as a GAIN
control, with the scaling reduced by approxi mately 20 dB. The
control range suits both professional equipmen t operating at a

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nominal +4dBu or semi- profes sional e quipment op eratin g at a
lower -10dBV.

5 HI-PASS FILTER

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2

1

5

4

0 10

6

Pressing this switch inserts a 3rd order, 18dB per octave
100Hz Hi-Pass Filter in the signal pa th, immediately after the
input amplifier. This is particularly useful on live vocals to
reduce stage rumble or ‘popping’ from mics, and its use is
strongly recommended, even on male vocals. It can also be
used for filtering out low frequency hum.

6 EQUALISER

The Equaliser(EQ) com pri se s three se cti ons .

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The upper control provides H.F. (treble) boost and cut of
15dB. Turning to the right provides boost, adding crispness
to vocals and electronic in struments. Turning to the left cuts
the same frequencies, reducing hiss or distorted consonants
which can occur with certain type s of microp hon e.

The middle pair of knobs is arranged as a cut/boost control
(lower knob) of +/- 15dB, and a SWEEP (frequency) control
which determines at which frequency the boost/cut action
will be centered. This section, with a frequency range from
250Hz to 6kHz is particularly versatile for vocals, enabling
particular characteristics of the singer to be lifted or
suppressed very precisely.

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The lowest knob is an LF (bass) section providing boost and
cut of 15dB. Turning to the right provides boost, adding
warmth to vocals or extra punch to synths, guitars or drums.
Turning to the left can be helpful to reduce stage rumble or to
improve a mushy sound, although the Hi-Pass Filter will
often be found more effective for this purpose. Combining
the Hi-Pass Filter and bass boos t is a good way of providing
warmth to a sound without rumble.

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

Page 12

7 AUXILIARY SENDS

These controls route the input channel signal to any one or
more Auxiliary busses. These are separate from the main
outputs and can therefore provide additional outputs for
foldback, echo units or extra loudspeaker ‘fills’, or provide a
dedicated mix to the on-board Lexicon Digital Effects
Processor.

AUX 1 is normally POST-FADE, and will therefore fade up
and down with the fader, which is useful for effects. By
pressing the AUX1 PRE switch on the Master section, the
AUX 1 send is set PRE-FADE and PRE-EQ, and will be
independent of the fader which is important for foldback or
monitor feeds. The knob should be tu rned down when not in
use.

The AUX 2 control is always POST-FADE, and may be
switched between the Aux 2 buss or, by pressing the
LEXICON switch, feeds the channel signal to the Effects bus.
The knob should be turned down when not in use.

8 LEXICON SWITCH

This switch, when pressed, enables the post-fade Aux 2
control to send the chanel signal to the Lexic on Digital Effects
Processor on the right hand sid e of the console .

9 PAN

The PAN control determi nes the position of the si gnal within
the stereo mix image. Rotation fully anticlockwise feeds the
signal solely to the Left mix buss, while rotation clockwise
sweeps the image to the Right buss.

10 PFL

When the PFL switch is pressed, the pre-fade signal is fed
equally to both sides of th e mon itors, where it is a vaila ble as a
switched choice of source s for the headphones or meters (see
Master Section). This is a useful way of listening to any
required input signal without interrupting the main mix, for
making adjustments or tracing problems.

11 CHANNEL FADER

This linear fader determi nes the proportion of the channel in
the mix and provides a clear visual indication of channel
level. Normal operating posi tion is at the ‘0’ mark, providing
10dB of gain above that point if required.

Page 13

1

STEREO INPUT CHANNEL

1 STEREO INPUTS

Each Stereo Input section comprises a pair of similar inputs.
The inputs are ele ctronically bala nced and separa te 3-pole ‘A’
gauge (TRS) jacks are provi ded for the Left and Right source

2

signals. A mono signal may be plugged in to the upper (left)
socket only to be fed equally to both paths .

2 GAIN CONTROL

3

This knob allows you to match the input level to suit a wide
variety of professional, semi-prof essi onal an d hi -fi sou rce s.

Start with a low setting, especially for professional equipme nt,
and increase it if you cannot rea ch an adequate signal level
with the fader at the nominal ‘0’ mark.

3 EQUALISER

The Equaliser(EQ) com pri se s three se cti ons .

4

5

6
7

8

The upper control provides H .F. (treb le ) boos t a nd cut of 15 dB
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.

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

Page 14

4 AUXILIARY SENDS

These controls route the input channel signal in mono to any
one or more Auxiliary busses. These are separate from the
main outputs and can therefore provide additional outputs
for foldback, echo units or extra loudspea ker ‘fills’, or provide
a dedicated mix to the on-board Lexicon Digital Effects
Processor.

AUX 1 is normally POST-FADE, and will therefore fade up
and down with the fader, which is useful for effects. By
pressing the AUX1 PRE switch on the Master section, the
AUX 1 send is set PRE-FAD E, and will be indepen dent of the
fader which is important for foldback or monitor feeds. The
knob should be turned down whe n not in use.

The AUX 2 control is always POST-FADE, and may be
switched between the Aux 2 buss or, by pressing the
LEXICON switch, feeds the channel signal to the Effects bus.
The knob should be turned down when not in use.

5 LEXICON SWITCH

This switch, when pressed, enables the post-fade Aux 2
control to send the chanel signal to the Lexic on Digital Effects
Processor on the right hand sid e of the console .

6 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 buss,
while rotation clockwise sweeps the image to the Right buss.

7 PFL

When the PFL switch i s pressed, the pre-fade signal is fed in
stereo to the monitor, where it is available as a switched
choice of sources for the headphones or meters (see Master
Section). This is a useful way of listening to any required
input signal without interrupting the main mix, for making
adjustments or tracing problems.

8 CHANNEL FADER

This linear fader determi nes the proportion of the channel in
the mix and provides a clear visual indication of channel
level. Normal operating posi tion is at the ‘0’ mark, providing
10dB of gain above that point if required.

Page 15

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1

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3

AUX 1

PRE

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2

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MASTER SECTION

1 EFFECTS MASTER FADER

The EFFECTS linear fader controls the level of the stereo
output signal of the on-board Lexicon Digital Effects
Processor, which feeds directly to the Left/Right mix, and is
subject to the control of the Main L/R Master Faders (see 2
below).

2 MAIN LEFT & RIGHT MASTER FADERS

The MAIN L & R MASTER FAD ERS control the final output
level of the signal to the Main impedance balanced outputs,
after the Insert Point.

3 AUX 1 PRE

Aux Send 1 is normally post-fade, but for flexibility it may be
switched to PRE-FADE by pressing the AUX 1 PRE switch.
This simultaneously affec ts al l Aux 1 se nd s across the mixer.

4 EFFECTS TO AUX 1

The EFFECTS TO AUX 1 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’ foldb ack feed o r
alternative output.

5 AUX 1 MASTER

The AUX 1 MASTER control sets the final level of the Aux 1
mix to the impedance balanced Aux 1 output.

6 AUX 2 MASTER

The AUX 2 MASTER control sets the final level of the Aux 2
mix to the impedance balanced Aux 2 output.

7 STEREO RETURN

The unbalanced Stereo Return, a t a nominal -10dBV , feeds via
the STEREO RETURN control to th e Main L/R m ix, be fore the
L/R Master faders. If a mono source is to be used, plu gging
into the Left jack automatically feeds the signal equally to
both sides of the Return.

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8 2TRACK RETURN

The unbalanced 2 Track Return, at a n ominal -10dBV on RCA
phono sockets, feeds via the MAIN switch (see 10 below) and
the 2TRACK RETURN control to the Main L/R mix, before
the L/R Master fade rs. This input is ideal for interval music
from an external source, or as an additi ona l ef fe cts re turn

9 PFL

When the PFL switch i s pressed, the pre-fade signal is fed in
stereo to the monitor, where it is available as a switched
choice of sources for the head phones or meters (see 12). This
is a useful way of listening to the Return for making
adjustments or tracing problems.

10 MAIN

The MAIN switch routes the 2Track Return to the Main L/R
mix, and provides a very simple method of feeding an
external machine to the mix output, for interval music for
instance.

If the input to the same machine is fed from the Record
Output, there is the possibilit y of serious feedback
when recording, and this switch must therefore NOT be
used in those circumstances.

11 MONITOR LEVEL

The MONITOR LEVEL control sets the level of signal to the
Monitor Headphones jack.

12 MONITOR SOURCE

This switch selects the source for the Monitor Headphones
and bargraph meters, providing the option of either MAIN
L/R Mix (switch UP), or PFL (switch DOWN). When
switched to PFL the m eters may be used to set the optimum
gain on the input channels.

RECORD OUTPUT

A RECORD OUTPUT, on RCA phone sockets, provides a

-10dBV pre-mix-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.

Page 19

15

16

7
6

17

18

1

20

19

8

5

11

9

3

AUX 1

PRE

10
12

4

2

13

14

1

Page 20

Switch open

= Effect ON

Switch closed

= Effect OFF

DO NOT apply any
external voltage to

the jack socket

Lexicon Foot Switch

Connections

13 INPUT TRIM

The input level to the integral Effects Controller is set by the
INPUT TRIM control, with an associated LED to warn of levels
high enough to cause clipping. The control should where possible
be kept in the centre detent position to minimise noise, and if a
setting over ‘0’ is required this woul d in dicate that the input i s not
being driven hard enough from the chann el sends .

14 EFFECTS CONTROLS

The controller provides a wide range of echo, reverb and acous tic
treatments to add fullness to the sound, complement room
acoustics or for specific effects.

The upper knob selects a range of room acoustics, with a switc h to
chose DARK or BRIGHT settings, or a choice of three echo
treatments. The Effects position (fully clockwise) provides a
choice of reverb effects selected by the lower knob. The best
setting for a particular application will be found by
experimentation and careful li ste ning to th e fina l sou nd .

The controller may be turned ON or OFF rem otely by connecting
a standard guitar foot switch, or sim ilar unit providi ng a n isolated
switch closure, to the rear pa ne l Le xic on Foot Swi tch jack socke t as
shown. The Effect is muted when the switch is closed.

GRAPHIC EQUALISER

15 GRAPHIC EQUALISER

The stereo GRAHIC EQUALISER is normalled to the Main L/R
outputs. Seven freq uency bands, with cut or boost of 6dB, allow
very precise control over subtle tonal changes to the PA rig in a
particular room. This is in contrast to the much more dramatic
+/-12 or +/-15dB on some oth er units where a deceptively small
movement of the faders can result in feedback or similar
unwanted effe cts .

The graphic equaliser is not intended to be used to null out
ringing. A full 31-band EQ is essential for that pu rpos e.

16 LEFT/RIGHT OUT

Each channel of the Graphic Equaliser may be bypassed by
pressing the LEFT OUT or RIGHT OUT 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.

Page 21

15

16

7
6

17

18

1

20

19

8

5

11

9

3

AUX 1

PRE

10
12

4

2

13

14

1

Page 22

17 +48V

Many professional condenser microphones need Phantom
Power, and this i s enabled to all of the Mic inpu t connectors
by pressing the +48V switch.

18 STATUS INDICATORS

Three LEDs provide visual indication of the status of the
mixer. POWER (green) lights to show that power is switched
on, and senses the power amplif ier voltage rails. THERMAL
(yellow) indicates that powe r amplifier over-temperature has
been detected, and MUTE (red) lights when the power
amplifier output rela ys 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 a thermal condition, and open the relays as
protection for the loudspeakers. If overheating is suspected,
check that the air ven ts at the fron t and rear of the mixer have
not been inadvertently covered.

POWER AMPLIFIER

The Power Amplifier contains no u ser-serviceable
parts. Refer all servicing to a qualified service
engineer, through the appropriate Spirit dealer

The

POWERSTATION

4Ω power amplifie r, the inputs to which are normall ed to the
Graphic Equalise r outputs , or may b e acce ssed dire ctly via the
jackfield. The a mplifier incorporate s a sohisticated protec tion
system which guards against over-tem perature, to protect the
output transistors, and isol ates the speaker outputs via relays
if a damaging fa ult condition is detected in the output sta ge.
The amplifier is cooled by a variable speed fa n which senses
the output signal level and delivers greater airflow as the
signal level, and corres ponding heat dissipation i n the output
devices increase s. When there is no s ignal or a very low level
signal, the fan will be running very slowly and quietly.

contains an integral 265W + 265W into

Air is drawn in along the front of the unit and expelled
through vents at the left-han d side at the rear. It is important
that sufficient clearance is all owed at the front and re ar of the
mixer to ensure unrestricted airflow, especially in a
rack-mounted installation.

Page 23

WARNING
Do not obstruct air vents. Clean air filter at front of unit
regularly. (OK, so we know you probably won’t do this
regularly, but you’ve been warned...!)

19 POWER AMP 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. Set the control at position 7 for norm al opera tion .

20 SUB-SONIC FILTER

An 18dB/octave 40H z SUB-SONIC FILTER may be switched
into the feed to the amplifier, and in most applications it is
recommended that this fil ter shou ld be switche d i n. Usi ng th e
filter avoids potential loss of control in PA cab inets with re flex
ports when driven below their frequency range, and offers
some protection against damage from heavy ultra-bass
signals.

Switching the filter in to circuit is almost always a good idea,
but may unnecessaril y 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 capabili ty. 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.

Loudspeaker Output Terminals

The power amplifier output is available on standard dual
banana terminals and ’s peakon’ connectors on the rear of the
mixer, above the power switch.

Minimum recommended load impedance is 4Ω 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.

Page 24

FX

BUS

L/R

BUSSES

Patchbay

The line level outputs from the mixer, 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 Amp lifier are available sepa rately to
allow replugging for particular purposes. The three sections
are ‘normalled’ togethe r by th e switch con tac ts on the jacks, as
shown below:

LEXICON
EFFECTS

CONTROLLER

MIXER OUTPUTS

EFFECTS

LEVEL

SIGNAL FLOW DIAGRAM

2 TRACK
RETURN

TO

POWER

AMP

LEVEL

GRAPHIC

STEREO
RETURN

MAIN

INSERTS

MAIN

L/R

EQUALISER

MAIN

OUTPUTS

NORMALLING NORMALLING

GRAPHIC

INPUT

GRAPHIC

OUTPUT

LEVEL

POWER AMP

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 righ t jacks are provid ed for a ll sign al s shown
in the diagram above . Only one side is shown for clarity.

INPUT

Page 25

Example 1

Example 2

Patchbay Applications

The individual access that the patchbay offers to each of the
main sections of the

POWERSTATION

allows the mixer, the
graphic equaliser and the power amplifier to be interfaced
separately to external equipment if required, or used in
different configurations for particular applications. Three
typical examples are given below:

Example 1

In this example the ou tputs from the
console are used to feed an external
power amplifier. The feed may be
taken pre-graphic equaliser (from
the main outputs jacks) or
post-graphic equaliser (from the

Pre Graphic
Equaliser

Post Graphic
Equaliser

To external
amplifier

graphic EQ outputs jacks). In either
case, plugging a jack into the output
sockets breaks the normalling to
bypass the following sections (see
diagram on previous pag e).

Example 3

From external
mixer to PA

Left Power Amp Output = Main Out
Right Power Amp output = Foldback

Example 2

In this example a feed from an
external mixer, for a secondary band
perhaps, plugs directly into the
power amplifier jacks, bypass the

POWERSTATION

mixer and graphic
equaliser. Alternati vely the external
feeds could plug into the Graphic
EQ Inputs jacks, providing some
signal correction if required.

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.

Page 26

USING YOUR SPIRIT POWERSTATION CONSOLE

The final sound from your P.A. system can only ever be as
good as the quality of the source signal. Just as you need to
become familiar with the control functions of your mixer, so
you must recognise the importance of correct choic e of inputs,
microphone placement a nd input channel settin gs. However,
no amount of careful setting up can take account of the
spontaneity and unpre dictability of live performance and the
mixer must be set up to provide ‘spare’ control range to
compensate for changing microphone position and the
absorption effect of a large audience (different acoustic
characteristics from soun d chec k to show) .

Initial Set Up The diagram on page 6 demonstrated how the matching of

input gain to the signal source was cru cial to avoid distortion
at one extreme and excessive noise at the other. Set up
individual input channel as follows:

• Connect the input required (microphone, keyboard etc.)

Note: Phantom powered mics should be connected before
the +48V is switched on.

• Set Master faders at 0, input faders at 0, and set the Power

Amplifier level to about 70%.

• Press the Monitor Source button on the Master section to

select PFL listening and metering. Provide a typical
performance level signal and press the PFL button on the
particular channel, monitoring the level on the meters.

• Adjust the input gain until the meter is just reaching 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).

• Repeat this procedure on other channels as required. As

more channels are added to the mix, the meters may move
into the red section. Adjust the overall level using the
Master Faders if necessary.

Page 27

• If you cannot obtain a satisfactory setting, e.g. the gain

control is right at the extreme low end of the scale on
Microphone Input, try using the Line Input instead.

• 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.

• Once individual input channel settings are complete,

release the Monitor Source switch to select the Main mix.

You are now ready to start building the mix and this should
be done progressively, listen ing 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 Master
Faders.

Note: The level of any source signal in the final output is
affected by many factors, principally the Gain control,
Channel Fader and Outp ut Faders. You shoul d 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 mixin g and there is a greater risk
of feedback be cause 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.

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 surroundi ng sounds, allow a lower ga in
setting on the mixer and avoid feedback. Also a well-chosen
and well-pla ced microp hone should n ot need any ap preciable
equalisation.

Page 28

CARE OF YOUR MIXER

General Precautions Avoid storing or using the mixer in conditions of excessive

heat or cold, or in positions where it is likely to be subject to
vibration, dust or moisture.

Keep the mixer clean using a sof t dry brus h, an d a n occas ion al
wipe with a damp cloth or ethyl alcohol. Do not use any
other solvents which may cause damage to paint or plastic
parts.

Avoid placing drinks or smoking materials on or near the
mixer. Sticky drinks and cigarette ash are frequent causes of
damage to faders and switches.

WARNING: To reduce the risk of fire or electric shock,
do not expose this unit to rain or moisture.

Regular care and inspection will be rewarded by a long life
and maximum reliab il ity.

Glossary

auxiliary send an output from the console com pri si ng a mi x of signal s from

channels and groups derived independently of the main
stereo/group mixes. Typically the feeds to the mix are
implemented on rotary level controls.

balance the relative levels of the left a nd right chan ne ls of a

stereo signal.

clipping the onset of severe distortion in the signal path, usually

caused by the peak signal voltage bein g limite d by the
circuit’s power supply voltage.

dB (decibel) a ratio of two volta ges or signal le vel s, expre ssed by the

equation dB=20Log10 (V1/V2). Adding the suffix ’u’ denotes
the ratio is relative to 0.775V RMS.

Page 29

DI(direct in jection) the practice of connecting an el ec tric music al instrum en t

directly to the input of the mixing console , rath er tha n to an
amplifier and loudspeaker whic h is covered by a mi crop hon e
feeding the console.

direct output a post fade line level outpu t from the input ch an ne l, bypa ssin g

the summing amplifiers, typic al ly for se nd in g to indi vid ua l
tape tracks during recording.

equaliser a device that allows the boosting or cutti ng of se le cte d

bands of frequencies in the signal path.

feedback the ‘howling’ sound cause d by bri ngi ng a mi crop hon e

too close to a loudspeaker driven from its ampli fied sign al.

foldback a feed sent back to the artistes via loudspeakers or

headphones to enable them to monitor th e sound s they a re
producing.

frequency response the variati on in gain of a device with freque ncy.
headroom the available signal range above the nom inal leve l

before clipping occurs.

highpass filt er a filter that rejects low frequen cies.
line level signals at a nominal level of -10 to +6dBu , usua ll y comi ng from a low

impedance source .

mono output a mono sum of the left/right mix outputs, provi di ng a

separately controlled line le vel fee d for addi tion al
loudspeakers.

pan (pot) abbreviation of ’panorama’: con trols leve ls sent to le ft

and right outputs.

PFL (pre-fade listen) a function that allows the operator to monitor the pre-fade

signal in a channel independently of the main mix.

spill acoustic interference from other sou rce s.
transient a momentary rise in the signal leve l.
+48V the phantom power supply, avai la bl e at the cha nnel mic

inputs, for condenser microphone s and ac tive DI boxes.

Page 30

T.H.D.

Crosstalk

Noise

TYPICAL SPECIFICATIONS

Mic, Line or stereo input to
Main Outputs, +20dB at outputs,
any input gain < 0.009%

Fader Attenuation 100dB @1kHz
Aux Send Attenuation 80dB @1kHz
Stereo Separation 70dB @1kHz

Measured RMS, 22Hz to 22kHz bandwidth
Aux Outputs -83dBu

Main Outputs -80dBu

E.I.N.

Max. Gain to Main Outputs

Maximum Input Levels

Maximum Output Levels

Microphone Input, Maximum Gain,
terminated 150R -129dBu

Mic Input 74dB
Line Input 54dB
Stereo Input 32dB
Stereo Return & 2Track Return 12dB

Mic Input +21dBu
Line Input > 30dBu
Stereo Input +26dBu
Stereo Return & 2Track Return > 30dBu

Any Output +22dBu

Page 31

Power Amplifier

Metering

Weight

Dimensions

Power Output @1%THD 175W + 175W into 8 Ω

265W + 265W into 4Ω
300W into 4Ω toneburst

Amplifier will deliver rated power output with +4dBu at powe r amp in­put sockets, power amp level control at maximum.

THD @ 1kHz with both channels driven ju st below clipping:
Into 4Ω < 0.025%
Into 8Ω < 0.015%

10 Segment LED Bargraph
Accuracy Relative to 0dB +/- 1dB

18.2Kg

All dimensions are given in millimetres and inches (in brackets)

505.0

(19.88")

191.3

(7.53")

Free Standing Rack Mounting

437.4

(17.22")

442.5

(17.42")

172.0

(6.77")

Page 32

5 5

6 6

4 4

3 3

7 7

8 8

2 2

1 1

9 9

0 010 10

AUX 1

PRE

1

MONO STEREO MASTER

Page 33

MASTER SECTION

MASTER SECTION

▲

▲

3

2

MONO INPUT CHANNEL (1-8)

1

System Block Diagram

STEREO INPUT CHANNEL (9-12)

Page 34

Notes:

Page 35

Notes:

Page 36