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Contents
Introduction
Thank you for buying a SPIRIT ProTracker mixer, brought to you with pride by the SPIRIT team of Trevor, Martin, Gary, Ian, Martin, Peter,
George, Colin, Mukesh, Andy and Simon. We hope you have as much fun as we did!
Introduction 1
Safety Precautions 1
Connections 2
System Overview 3
Controls in Detail
Inputs 5
Master 7
Advanced Features 8
Initial Setting Up 9
Applications 10
Specifications 14
Glossary 15
System Block Diagram 16
Owning a SPIRIT console 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.
Built to the highest standards using quality components, ProTracker offers superbly clean sound for live recording direct-to-tape, simultaneous
recording and monitoring of live concerts, small scale PA or high quality overdub mixing in the smaller studio or bedroom.
ProTracker packs tremendous flexibility into a small unit and is designed to be as easy to use as possible, but some time spent NOW, looking
through this manual and getting to know your new mixer will give you lots of helpful tips and confidence, away from the pressures of an important
session. Dont be afraid to experiment to find out how each control affects the sound - this will only extend your creativity and help you to get the
best from your mixer.
SAFETY PRECAUTIONS
For your own safety and to avoid invalidation of the warranty please read this section carefully.
The ProTracker mixer must only be connected to a mains supply in the range 100-240V AC, 50-60Hz and must be earthed.
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.
The unit contains no user-serviceable parts. Refer all servicing to a qualified service engineer, through the appropriate Soundcraft dealer.
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Connections
Protracker uses three types of audio connector - XLR, 3-pole jack and RCA phono. XLR and jack connectors may be used in balanced and unbalanced configurations as shown below:
Balanced Mic Input
2. Hot(+ve)
3. Cold(-ve)
2. Hot(+ve)
Link 3
to 1
2TK Monitor Input
XLR
1. Screen
Unbalanced Mic
XLR
1. Screen
Line/Instrument Inputs
Insert Returns
Tape Sends
Hot (+ve)
Cold (-ve)
Gnd/Screen
Tip
Ring
Monitor, Aux Outputs
Insert Sends
Unbalanced
Line Input
Signal
Gnd/Screen
Gnd/Screen
Sleeve
XLR
Headphones
RCA
PHONO
JACK
1. Screen
Mix Outputs
XLR
3. Cold (-ve)
2. Hot (+ve)
Signal (+ve)
Gnd/Screen
Gnd/Screen
Left Signal
Right Signal
Ground
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System Overview - The basic Signal Paths
The ProTracker is designed as a very high quality in-line mixer for recording direct to tape. The basic signal paths provide a minimum route from input to tape, and versatile monitoring
off tape as shown below:
+4dBu/
-10dBV
INPUT
Channel Path
TAPE
RETURN
Monitor Path
INPUT
AMPLIFIER
+4dBu/
-10dBV
INPUT
AMPLIFIER
HI-PASS
FILTER
INSERT POINT
(if switched
to MNTR)
INSERT POINT
(if switched
to INPUT)
PRE POST
FADER
LIMITER
(if switched to INPUT)
FADER
BUFFER
(if switched to MNTR)
TAPE SEND
AUX
SEND
L
MIX
R
PAN
AUX
SEND
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System Overview - Live Recording
Protracker incorporates advanced features to allow the mixer to be used simultaneously for recording and live mixing. Two status buttons on the Master section, I/P to MIX and MIX to
7/8 enable the channel signal to bypass the normal tape send/return loop and feed direct to the stereo mix output to drive a PA system, and the Mix signal to be brought back to the
tape send path on channels 7 & 8 to feed to tape. These features are illustrated below:
+4dBu/
-10dBV
INPUT
TAPE
RETURN
INPUT
AMPLIFIER
+4dBu/
-10dBV
INPUT
AMPLIFIER
MIX
HI-P ASS
FILTER
CH 7/8 ONLY
INSERT POINT
(if switched
to MNTR)
INSERT POINT
(if switched
to INPUT)
NOT CH 7/8 if ’MIX TO 7/8’ PRESSED
FADER
PRE
LIMITER
FADER
BUFFER
TAPE SEND
AUX
SEND
(if switched to INPUT)
L
POST
MIX
R
PAN
AUX
SEND
(if switched to MNTR)
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Controls in Detail
ProTracker is an in-line format mixer, combining a channel path (normally feeding direct to tape) and a monitor path within the same vertical strip. The Insert point and the Auxiliary send may be swapped
between the two paths for flexibility, which together with some
advanced features controlled from the Master section make the mixer
suitable for a wide range of applications.
For clarity, facilities are numbered differently to show which channel
path they normally serve.
normally in Channel path normally in Monitor path
CHANNEL PATH
The Microphone input is via a standard female XLR-3 connector
1
and is available when the Mic-Line/DI switch (4) is released. It 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.
2 The +48V switch applies PHANTOM POWER to the mic input
socket providing 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.
3 The Line/Instrument input accepts 3-pole or 2-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,
15
16
18
19
13
11
10
but you can use UNBALANCED sources by wiring up the jacks as
shown on page 2 of this manual, although you should then keep
5
4
cable lengths as short as possible to minimise interference pick-up
on the cable.
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4
6
3
7
8
2
1
9
10
0
7
14
4 The Mic-Line/DI switch selects between the Mic input socket
(switch released) and the Line/Instrument socket (switch pressed).
5 The GAIN control sets the
level of the selected input
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9
feeding the tape send. Too
high, and the signal will distort as it overloads the channel and causes clipping
within the mic amp. Too
If the signal level is too high, clipping distortion
may occur.
low, and the level of any
8
background hiss will be
more noticeable and you
may not be able to get
enough signal level to feed
the tape machine adequately. This is shown in the dia-
If the signal level is too low it may be masked
by the noise.
gram on the right:
1
6 The red O/L (Overload) LED monitors the channel source signal at
the output of the input amplifier and the monitor signal at the output of the fader buffer amplifier, giving a visual warning if the sig-
2
3
nal exceeds a safe working level.
7 Pressing the 100Hz switch inserts a 12dB per octave Hi-Pass Filter
into the signal path. Use this in live recording applications to
reduce stage rumble or popping from microphones.
Signal
Clipped
Signal
Noise
Noise
8 A built-in Limiter with an attack time of 300msec is always avail-
able in the path to the tape send, to avoid the possibility of transients overloading the inputs of a digital tape machine. The
12
Limiter threshold is set globally from the Master section, but the
Limiter may be switched in individually on each channel using this
switch.
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9 The yellow LIMIT LED lights when the Limiter is active.
10 The balanced TAPE SEND jack is fed from the output of the
Limiter.
11 The output level of the Tape Send may be switched between a
nominal +4dBu to match professional tape machines, or a nominal -10dBV to suit semi-professional equipment. The position of
this switch simultaneously changes the input level of the Tape
Return.
MONITOR PATH
12 The electronically balanced Tape Return is the input to the Monitor
path, and has switchable input level as set by the -10dBV/+4dBu
switch.
13 An Insert Point is provided for the connection of external process-
ing equipment. The Send is unbalanced, and the the Return is
balanced. The Insert is normally in the Monitor path, but may be
switched to the Channel path if required (see 14 below).
The Insert Send and Return are on separate jacks which are normalled together, but the non-breaking Send allows a separate
feed to be taken from the channel path, for instance to feed a PA
desk.
14 The Insert is normally in the Monitor path, but may be swapped to
the Channel path if required by pressing this switch.
15
16
18
19
16 The Aux Send is normally in the Monitor path, but may be
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swapped to the Channel path if required by pressing this switch.
When switched to the Channel path the Send is always effectively
pre-fade.
17 The Fader sets the overall level of the Monitor signal path. Unity
gain is at the 0 position, with 10dB gain in hand.
18 The PAN control sets the amount of the Monitor signal feeding the
stereo Mix output, allowing you to move the signal smoothly
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2
4
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17
across the stereo image. Rotation fully anticlockwise feeds the signal solely to the Left mix buss, while rotation clockwise sweeps the
image to the Right.
6
19 When the PFL switch is pressed, the pre-fade signal is fed to the
9
8
1
2
3
Monitor/Phones outputs, where it replaces the selected source.
The meters follow the monitor source to display the PFL signal.
The SOLO LED lights to warn that the monitor and meters are now
responding to the PFL selection.
15 A single Auxiliary Send is provided, normally in the Monitor path
(but see 16 below) which may be used to set up a separate mix
for Foldback or Effects. The combination of all the Aux Sends is
mixed to the Aux output at the rear of the unit. The Send may be
globally switched as pre-fade (ideal for foldback applications) or
post-fade (ideal for effects, so that the send follows the fader position). Leave the knob turned fully anticlockwise when not in use.
13
11
10
12
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Aux Master
The Aux Master control sets the output level of
1
the combined input Aux Sends. The output is
unbalanced at a nominal 0dBu.
2 The input Aux Sends may be globally switched
to be pre-fade (for foldback, switch released) or
post-fade (for effects, switch pressed). Note
that when the Aux Send is switched to the
Channel path (INPUT) this switch has no effect.
Stereo Return
The balanced Stereo Return, on 3-pole jacks, is
3
an ideal place to connect the output of an
Effects unit. The Fader sets the level of the signal fed directly to the MIX.
4 When the PFL switch is pressed, a mono pre-
fade signal is fed to the Monitor/Phones outputs, where it replaces the selected source. The
meters follow the monitor source to display the
PFL signal. The SOLO LED lights to warn that
the monitor and meters are now responding to
the PFL selection.
Mix Outputs
at +4dBu, or unbalanced on RCA phone at 10dBV), Aux output, Tape Returns on inputs 7 & 8
(MON 7/8) or the stereo Mix output. In all cases
the meters follow the monitor selection.
When a PFL is active, the selected monitor
9
1
10
2
6
source is replace by a the mono PFL signal on
both meters and both sides of the monitor and
phones. The SOLO LED lights to show that a
PFL is active.
7 The Phones and Monitor outputs are controlled
by the MONITOR/PHONES control.
8 A standard 3-pole A gauge jack socket feeds
headphones (100W or greater). The monitor
outputs are muted when headphones are connected.
9 Two 8-segment LED Bargraph meters display
the level of the selected monitor source or PFL
when active.
7
Limiter
The seven position switch sets the common
10
threshold of the built-in fast Limiter on each
input channel. This should be set to 1-2dB
below the clipping level of the tape machine.
3
Two Faders control the output level of the stereo
5
Monitor Mix. The outputs are balanced on XLR3 connectors at a nominal +4dBu, or -10dBV
on RCA phono connectors.
Monitoring and Metering
The stereo monitor outputs (3-pole jacks) and
6
phones output may be sourced from four signals,
selected on these switches. The source may be
the 2Track Tape Monitor (balanced on 3-pole XLR
4
5
11
8
Note that although the threshold is set globally,
the Limiter on each channel may be activated
individually.
11 The main Power switch for the mixer. The LED
illuminates when power is switched on.
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Advanced Features
ProTracker incorporates additional features to give versatilty as a mixer
in live recording applications, while still providing a clean direct to tape
signal.
MIX TO 7/8
When the MIX TO 7/8 switch is pressed, the stereo mix output is
1
fed to channels 7 & 8 pre-insert (if switched to INPUT) to replace
the normal channel source. This allows a mix to be fed to tape
from tape sends 7/8, while still recording tracks direct from channels 1-6.
I/P TO MIX
When the I/P TO MIX switch is pressed, the post-filter channel sig-
2
nal bypasses the normal tape send/return loop and is fed to the
top of the fader, allowing inputs to be sent direct to the stereo mix.
The tape send is not interrupted, enabling recording of individual
sources as normal.
Note that when MIX to 7/8 is pressed it cuts off the feed from the
Tape Return to the mix bus on channels 7 & 8 to avoid internal
feedback.
EXPAND IN/OUT
9-way D-type Expansion connnectors are included on the rear
panel to allow a number of ProTracker units to be cascaded to
provide more than 8 inputs. Connection is simply made by
daisy-chaining the EXPAND OUT on one unit with the
1
2
EXPAND IN on the next unit.
The last unit in the chain provides a mix of all units and a sum
of all PFLs. Local submixes can still be taken from individual
ProTrackers if required.
The Limit Threshold is set by the local control on each unit.
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Initial Setting Up
You will probably use your SPIRIT ProTracker with a wide range of different types of
sound source, and these will be at varying signal levels. It is important to set the GAIN of
the inputs correctly to give the best performance.
Set up the individual channel inputs as follows:
o Plug in the chosen source (usually the MIC socket for mics and the LINE jack for any-
thing else). Plug in phantom powered mics before switching the phantom power on
using the rear panel switch.
o Set the Mix Master Faders fully down and press the I/P TO MIX button on the Master
section to route the channel signals to the monitor path.
o Provide the chosen source with a typical signal level and press the latching PFL button
by the fader. The level of signal will be shown on the Bargraph Meters and can be
monitored on Headphones or the Monitor outputs.
o Adjust the input GAIN until the meter is just reaching the amber LED (0dB) at a typical
maximum source level with a steady signal. Since the internal LED meters have a true
peak-reading response, when the source signal is rich in high-level transients (e.g.
drums) a rather higher meter reading of +6/+9 will be needed to achieve an equivalent average level. This leaves enough headroom to cope with peaks in the signal without distortion for live work or analogue recording. If you are using the mixer to record
to a DAT machine, remember that, unlike analogue tape machines, they will not tolerate any overload whatsoever before distortion occurs. It is therefore advisable to set a
working level of -6 or -12 dB to allow a margin of safety, or preferably to set the level
using the meters on the digital multitrack.
o Adjust each input channel in the same way.
If you find that you cannot set a reasonable level within the range of the GAIN control
when using a MIC input, try the LINE input instead.
The Stereo Return does not have a GAIN control, since the typical source for these inputs
will be external keyboards or effects units which have a much more predictable signal
level. The signal may be checked with the PFL switch as described above.
Keep all faders down when switching on phantom power.
SETTING UP FOR RECORDING
Following the procedure above will ensure that the input channels are correctly adjusted
for particular source signals. Multitrack Recording makes additional demands because
the mixer is not only required to mix down input signals but also to provide a monitor mix
for artists to hear previously recorded tracks when overdubbing new parts. A typical setup is as follows:
o Connect input sources and set gain as described above. Connect channel Tape Sends
to as many tape inputs as required. A switch on each channel, above the Tape Send
and Return jacks, allows the Tape Send and Return to be matched to either -10dBV
signal levels (switch OUT) or +4dBu (switch IN). This enables the mixer to be used with
both professional and semi-professional machines.
o If a compressor or effects processor is to be used, connect this to the insert points and
switch the Insert to INPUT.
While it is often useful to add a little compression to vocals to keep the level as even as
possible, it should only be used sparingly during recording, because it cannot be
undone later. You can always add more during mixing if necessary.
o Connect the tape outputs to the Tape Returns. This brings the tape outputs up on the
faders to create a monitor mix if required.
o Connect a monitor amplifier and speakers to the MIX OUTPUTS and set the amplifier
volume to a normal listening level.
o Use the FADERS to set up a monitor mix. Select MIX as the Monitor/Phones source.
o Connect any effects required using the Aux Send, and return them to the mixer on the
STEREO RETURN to allow the effect to be balanced with the original source. Set Aux 1
PRE to select pre-fade sources if the send is being used for foldback.
o The built-in limiter may be used on any channel by pressing the local LIMITER button,
with the threshold set globally across the mixer by the LIMIT THRESHOLD control.
o Once all channels have been adjusted, release the I/P TO MIX button.
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Applications
Protracker provides a very flexible and compact solution to many live and location recording applications.
The following diagrams show typical set-ups to illustrate how the features may be used.
Example 1 - Location Recording
In this example a single Protracker, or several linked
units may be used to simultaneously lay a number of
tracks to tape and also record an initial mix on tracks
7/8.
Sources are connected to any inputs except 7/8 on
the last ProTracker unit which has MIX to 7/8 pressed
to route the stereo mix to tape tracks 7 & 8.
A DAT recorder is also shown connected to
the Mix output to make an additional backup copy of the mix in DAT format. The output of this machine is fed back to the 2TK
Return for monitoring if required.
Alternatively the -10dBV phono outputs
may be used if recording on a cassette
machine is required, with monitoring on the
2TK Monitor phono connectors.
Effects may added to individual channels
using the insert points (switched to INPUT to
record signal + effect to tape, or switched to
MNTR to add effects to the monitor mix
only), or via the Aux send, fed to mix from
the Stereo Return.
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Example 2 Professional/
Live Recording
In this example the
ProTracker (or several linked
units) receives a split feed
from microphones, instruments or other sources, independent
of the main PA mixer.
The Tape Sends and Returns connect to the
recording machine, providing a very clean
path direct to tape (with limiter available on
each track if required) and monitoring
off tape on the faders, to the stereo Mix
output.
EQ or effects may be added via the
Insert points if required, either before
the tape send (with Insert switched to
INPUT) or to the monitor mix only (with
Insert switched to MNTR). In addition
the Aux send may be used to feed an
effects device, returned to the mix on the
Stereo Return.
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Page 13
Example 3 - Linking Several ProTrackers
in detail
This example illustrates how several ProTracker units are
linked together to create a system with a large number
of channels.
The units are daisy-chained together, with the
EXPAND OUT on one unit linked to the EXPAND IN
on the next. Each Protracker may be connected to a
recording machine via the local Tape Sends and
Returns. The limiter may be switched in on any channels, with the threshold set locally by the LIMIT
THRESHOLD on each ProTracker unit.
A tape monitor mix may be created on the last
ProTracker unit, which is a sum of all tracks. In addition the Aux Send and PFL signals are summed to the
last unit.
The monitor mix may be recorded to DAT or cassette
at a nominal +4dBu (on the Mix O/P XLR connectors)
or at -10dBV (on the Mix O/P phono jacks)
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Example 4 - BASIC Location Recording
In this example the proTracker is used for dedicated recording, without
PA, doing a straight-to-stereo mix with the backup of tracklaying to a
multitrack to enable further mixes to be produced after the event.
INPUT TO MIX is selected on the proTracker to provide a straightthrough path to the mix output, with level control for mixing on the faders.
The mix output feeds a DAT machine or similar, with monitoring via the 2Track
Monitor inputs.
EQ or effects may be added to
the inserts if required (switched
to INPUT).
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Preliminary Specifications
T.H.D.
Mic In to Tape Send @1kHz, +20dBu Output, 40dB Gain <0.003%
Tape Return to Mix Output @ 1kHz, +20dBu Output <0.003%
Noise
Mic In Rs=150W, 22Hz - 22kHz RMS, 60dB Gain <-128dBu
Line In Rs=50W, 22Hz - 22kHz RMS, 0dB Gain <-95dBu
Mix, Pans centre <-92dBr
Aux <-88dBr
Frequency Response
Mic In to Tape Send @ 5Hz-150kHz, 40dB Gain +0/-3dB
Tape Return to Mix Output @ 5Hz-150kHz, 0dB Gain +0/-3dB
Limiter
Attack Time <300mSec
Release Time <3 Sec
Flatness <2dB
Offness, Crosstalk
Dimensions
482.00mm (18.98")
446.00mm (17.56")
200.00mm
(7.87")
(All measured with +20dBu on Source Input or Output)
Channel Faders @ 1kHz >90dB
Pan (=Mix L-R Crosstalk) @1kHz >70dB
132.40mm
(5.21")
57.4mm
(2.26")
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Glossary
auxiliary send an output from the console comprising a mix of signals from
channels and groups derived independently of the main
stereo/ group mixes. Typically the feeds to the mix are
implemented on rotary level controls. Ideal for foldback or effects.
balance the relative levels of the left and right channels of a
stereo signal.
balanced a method of audio connection which balances the signal between
two wires and a screen which carries on signal. Any interference is
picked up equally by the two wires, but out of phase, resulting in can-
cellation of the interference signal.
bus a mix of a number of audio signals, feeding to a common output.
clipping the onset of severe distortion in the signal path, usually
caused by the peak signal voltage being limited by the
circuits power supply voltage.
DAT Digital Audio Tape, a cassette-based digital recording format.
dB (decibel) a ratio of two voltages or signal levels. Adding the suffix u denotes
the ratio is relative to 0.775V RMS. Adding the suffix V denotes the
ratio is relative to 1V RMS.
DI(direct injection) the practice of connecting an electric musical instrument
directly to the input of the mixing console, rather than to an amplifier
and loudspeaker which is covered by a microphone feeding the con-
sole.
equaliser (EQ) a device that allows the boosting or cutting of selected
bands of frequencies in the signal path.
effects the use of devices to alter or process the sound to add special effects,
e.g. reverb, normally as a mix of the original (dry) sound and the
treated version.
fader a linear control providing level adjustment
feedback the `howling sound caused by bringing a microphone
too close to a loudspeaker driven from its amplified signal.
foldback a feed sent back to the artistes via loudspeakers or
headphones to enable them to monitor the sounds they are producing.
frequency response the variation in gain of a device with frequency.
gain the variation in level of the signal
headroom the available signal range above the nominal level
before clipping occurs.
highpass filter a filter that rejects low frequencies.
insert a break point in the signal path to allow the connection of external
devices, for instance signal processors or to another mixer.
instrument input an input for keyboards, drum machines and other electronic instru-
ments. Also suitable for guitars with a high output level, not requiring
connection through a DI box.
limiter a device which clamps the level of the audio signal below a preset
limit, to avoid the possibility of overloading other parts of the signal
chain.
line level signals at a nominal level of -10 to +6dBu, usually coming from a low
impedance source.
pan (pot) abbreviation of panorama: controls levels sent to left
and right outputs.
peak the high point in signal level
PFL (pre-fade listen) a function that allows the operator to monitor the pre-fade
signal in a channel independently of the main mix.
phantom power the +48V power supply, available at the channel mic
inputs, for condenser microphones and active DI boxes.
post-fade the point in the signal path after the monitor or master fader and
therefore affected by fader position.
pre-fade the point in the signal path before the monitor or master fader position
and therefore unaffected by the fader position.
splitter a device which splits the audio signal to feed two or more inputs, pro-
viding isolation between those inputs.
stereo return an input specifically designed to receive the output of effects or other
external processing devices
tape return a line level input provided specifically to receive the playback output
of a tape machine for monitoring.
transient a momentary rise in the signal level.
unbalanced a method of audio connection which uses a single wire and the cable
screen as the signal return. This method does not provide the noise
immunity of a balanced input (see above).
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INPUT CHANNEL
➚
➚
2
3
1
➚
➚
2
3
1
2
3
1
MASTER SECTION
System Block Diagram
➚
➚
2
3
1
2
3
1
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Soundcraft Electronics Ltd., Cranborne House, Cranborne Industrial Estate,
Cranborne Road, Potters Bar, Herts., EN6 7JN U.K.
Tel: +44 (0) 1707 665000 Fax: +44 (0) 1707 665461
Part No: ZM0093
A Harman International Company
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