SoundCraft Spirit Live 4 Bedienungsanleitung

Andere Handbücher für Spirit Live 4

1

Inhaltsverzeichnis

Andere SoundCraft Musikmixer Handbücher

SoundCraft

SoundCraft SPIRIT POWERSTATION Bedienungsanleitung

SoundCraft

SoundCraft EFX12 Bedienungsanleitung

SoundCraft

SoundCraft 600 Series Bedienungsanleitung

SoundCraft

SoundCraft Si EXPRESSION Bedienungsanleitung

SoundCraft

SoundCraft Spirit Digital 328 Montage- und Bedienungsanleitung

SoundCraft

SoundCraft MINI STAGEBOX 32 Handbuch

SoundCraft

SoundCraft FX16II Bedienungsanleitung

SoundCraft

SoundCraft Spirit M Series Bedienungsanleitung

SoundCraft

SoundCraft Spirit Digital 328 v2 Bedienungsanleitung

SoundCraft

SoundCraft MH4 Montageanleitung

SoundCraft

SoundCraft MPMI Bedienungsanleitung

SoundCraft

SoundCraft Signature 16 Bedienungsanleitung

SoundCraft

SoundCraft Spirit Folio FX8 Bedienungsanleitung

SoundCraft

SoundCraft Vienna Bedienungsanleitung

SoundCraft

SoundCraft Si EXPRESSION Bedienungsanleitung

SoundCraft

SoundCraft MFXI Bedienungsanleitung

SoundCraft

SoundCraft TS12 Bedienungsanleitung

SoundCraft

SoundCraft Spirit Folio Lite Bedienungsanleitung

SoundCraft

SoundCraft Venue Bedienungsanleitung

SoundCraft

SoundCraft SPIRIT LIVE 4 2 Bedienungsanleitung

SoundCraft

SoundCraft Series 2 Bedienungsanleitung

SoundCraft

SoundCraft Si Series Bedienungsanleitung

SoundCraft

SoundCraft S6000 Bedienungsanleitung

SoundCraft

SoundCraft Si Performer 1 Bedienungsanleitung

Beliebte Musikmixer Handbücher anderer Marken

Neve

Neve 8816 Bedienungsanleitung

Mackie

Mackie Onyx Analogue Mixer Bedienungsanleitung

Behringer

Behringer EUROPOWER PMP518M Bedienungsanleitung

Peavey

Peavey S-32 Sanctuary Series Bedienungsanleitung

Rane

Rane MP 4 Bedienungsanleitung

True

True T9 Touchscreen Console Bedienungsanleitung

Studiomaster

Studiomaster Air Pro 24 Bedienungsanleitung

Pioneer

Pioneer SVM 1000 - Audio/Video Mixer Bedienungsanleitung

Roland

Roland M-160 Bedienungsanleitung

Yamaha

Yamaha MR1642 Bedienungsanleitung

Ecler

Ecler MAC40v Bedienungsanleitung

Pioneer

Pioneer DJM 909 - Battle Mixer W/Effects Bedienungsanleitung

Veeder-Root

Veeder-Root TLS-350 Series Bedienungsanleitung

Alto

Alto APM80.QUAD Bedienungsanleitung

Omnitronic

Omnitronic PM-211 Bedienungsanleitung

Roland

Roland SoundCanvas SC-8820 Bedienungsanleitung

CARVIN

CARVIN RX 1200 Bedienungsanleitung

Roland

Roland M-16E Bedienungsanleitung

All manuals and user guides at all-guides.com

all-guides.com

All manuals and user guides at all-guides.com

User Guide

Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Basic Principles of PA Mixing . . . . . . . . . . . . . . . . . 3

Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . 6

Connections and Connectors . . . . . . . . . . . . . . . 6

Fault Finding Guide . . . . . . . . . . . . . . . . . . . . 9

Getting to know your console . . . . . . . . . . . . . . . . 10

Facilities . . . . . . . . . . . . . . . . . . . . . . . . . 10

Input Channel . . . . . . . . . . . . . . . . . . . . . . 10

Stereo Sections . . . . . . . . . . . . . . . . . . . . . . 15

Group Sections . . . . . . . . . . . . . . . . . . . . . . 17

Master Section . . . . . . . . . . . . . . . . . . . . . . 18

Using yourSPIRIT LIVE 4 Console . . . . . . . . . . . . . 20

Initial Set Up . . . . . . . . . . . . . . . . . . . . . . . 20

Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Public Address . . . . . . . . . . . . . . . . . . . . . . 22

Recording . . . . . . . . . . . . . . . . . . . . . . . . . 24

Care of your mixer . . . . . . . . . . . . . . . . . . . . . . 25

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Selectable Options . . . . . . . . . . . . . . . . . . . . . . 27

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . 29

Front Panel Layout . . . . . . . . . . . . . fold out rear cover

Block Diagram . . . . . . . . . . . . . . . . . inside rear cover

Page 1

All manuals and user guides at all-guides.com

IN TRO DUC TIO N

Congratulations on your purchase of a SPIRIT LIVE 4 mixer.

Owning a Soundcraft console brings you the expertise and

support of one of the industry’s leading manufacturers and

the results of over 20 years experience supporting some of the

biggest names in the business.

Designed by engineers who understand the individual needs

of musicians, SPIRIT LIVE 4 has been built to the highest

standards using quality Japanese 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 LIVE 4 is available in 12, 16, 24 and 32 channel frame

sizes, and the 12 and 16 channel sizes may be extended by

adding an 8 channel Expander. The Expander can be attached

quickly and securely to the console, requiring only a

screwdriver to complete the installation.

SPIRIT LIVE 4 incorporates circuit technology identical to

that used on some of the most sophisticated Soundcraft

consoles. The input channels are able to accept a wide range

of Microphone and Line level signals from separate input

sockets. Every channel features wide range gain control and

Line input pad, 3-band Equalisation with swept Mid and LF

range, plus a Hi-Pass Filter, 5 Auxiliary Sends, PFL(Pre Fade

Listen), Peak LED, Panning to a Stereo Bus and routing in

pairs to four Output Groups. Each channel has a separate

Direct Output and is controlled by a high-quality long throw

fader.

All frame sizes are provided as standard with dedicated

stereo inputs, arranged in pairs. One pair is included on the

12 channel frame and two pairs on all other frame sizes. Each

stereo input includes a 2-band EQ and a single auxiliary send

control with switching which allows prefade or postfade

sourcing with access to three of the five Auxiliary busses. The

stereo channel signal may be routed to either the Mix output

or to Groups 1 & 2 (upper) or Groups 3 & 4 (lower).

Page 2

All manuals and user guides at all-guides.com

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 four Output Groups provide submixing to the Mix L/ R

outputs or may feed external equipment directly. Each

incorporates stereo panning and PFL monitoring or bargraph

metering and includes an external Return input for effects or

submixing from external sources.

The Master section provides master level control for the Left,

Right, Mono and Auxiliary Send busses, with separate AFL

monitoring on each Auxiliary Send and the Mono output.

The Mix L/ R and Group outputs all have insert points for the

connection of external signal processing.

Comprehensive Talkback facilities are provided, which allow

an external talkback microphone to be routed to Mix L/ R,

Groups and Auxes 1 & 2 as required. Six 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 right bargraph meter.

SPIRIT Live 4 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.

Page 3

All manuals and user guides at all-guides.com

Th e M ix e r

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

combine sounds, but under precise and smooth control. This

is why long-throw faders are essential 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 SPIRIT LIVE 4 mixer accepts a wide range of input

signals via a 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.

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.

Page 4

All manuals and user guides at all-guides.com

all-guides.com

Each input channel and the three main 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.

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 detailed

description of facilities.

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.

If the signal level is too low it may be masked

by the noise.

Signal

Noise

If the signal level is too high, clipping distortion

may occur.

Clipped

Signal

Noise

Page 5

All manuals and user guides at all-guides.com

GETTING STARTED

CONNECTIONSAND

CONNECTORS

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 LIVE 4 correctly.

Two different types of audio connectors are used, 3-pin XLR

and 1⁄4" three pole (‘A’gauge) jacks. These are used in several

configurations as shown in the diagrams below.

Balanced

Input

2. Hot(+ve)

3. Cold(-ve) 1. Screen

Unbalanced

Input

1. Screen

2. Hot(+ve)

Link 3

to 1

Unbalanced

Output

1. Screen 2. Hot(+ve)

Link 3

to 1

3 POLE (stereo) JACK 2 POLE (mono) JACK

Tip

Ring

Sleeve

Send

Return

Screen

Left Signal

Right Signal

Ground

Signal

Ground

Tip

Ring Sleeve

Hot(+ve)

Cold(-ve)

Screen

Headphones Unbalanced

Output

(see text)

Line Input

Aux Outputs

FX Returns

Direct Outputs

Insert Points

Page 6

All manuals and user guides at all-guides.com

Ba la nc e d a nd

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 picked up on these wires 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 signal 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 ground. Always use your

inputs balanced where possible.

The Mix L/ R and Mono outputs, Group and Auxiliary

outputs are ground compensated and provide a very effective

way of optimising noise immunity, without the cost and

complexity of balanced outputs. These outputs employ

ground compensation techniques to cancel out the effects of

variation in ground potential between the mixer and other

equipment which would otherwise show up as hum. If the

output is driving a device or amplifier that has an unbalanced

input, connect the -ve(cold) signal to the ground at the

destination, not at the output of your SPIRIT LIVE 4 console.

Pola rity

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.

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. To

avoid earth ‘loops’, use balanced connections where possible

and ensure that all cable screens and other signal earths are

connected to ground only at their source and not at both ends.

Page 7

All manuals and user guides at all-guides.com

If the use of unbalanced connections is unavoidable, you can

mimimise noise by following these wiring guidelines:

•On INPUTS,unbalance at thesource and use a twin,

screened cable as though it were balanced. (see below)

•On 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. (see below)

+

+

+

+

-

-

Mixer

Mixer

Source

Device

Output

Device

GND

GND

GND

INPUT

OUTPUT

+

+

+

+

-

-

-

-

Ground loop

through screen

and chassis

Mixer

Mixer

Source

Device

Source

Device

GND

UNBALANCED

BALANCED INPUT

✗

✓

Avoid running audio cables or placing audio equipment,

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.

Page 8

All manuals and user guides at all-guides.com