SPIRIT By Soundaraft Contents sPintT stuDIO Ze | Introduction i | Sealy Preauitons 1 Principles of Operation 2 Finding your way around 3 Initial Sehing Up 5 The Controls in Detail 6 Applications - Recording 16 = Mixdown, 7 = Live Sound 18 Technical Specifications 9 Connections 20 Glossary a System Block Diagram 22 SPIRIT < d10 USER GUIDE Ccer Thankyou for buying a SPIRITSTUDIO Zo mixer, brought to you with pride by the SPARST team of Peter, Graham, Martin, Peter, George, Colin, Joe, Colin, Roland, James, CChris, Mukesh, Andy, Candy and Simon, We hope you hove os much fun as we di ‘Owning a SPIRIT conse brings you the expertise and support of one ofthe industry's leading manufocturers cand the resuls of over 20 years experience supporting some of the biggest names in the business Built othe highest standards using quality components, SPIRIT STUDIO Ze is designed to be as easy to use as possible, but some time spent NOW, looking through tis anal end geting fo know yur new mine wil give you lots of hl ips end confidence, eway em ihe pressures of a recording session, STUDIO Ze is on eurenel versal ard power carsle, wi fexbly provided by the innovative use ofthe minimum of ont panel controls. The console introduces some concepts Which may be unfamiliar to many users, and this makes it even more important thatthe new user should seek a good understanding of all controls as quickly as ee each control affects the sound ~ this will oly 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 STUDIO Zc desk must only be connected through the Power Supply Unit supplied. ‘The wires in the mains lead are coloured in accordance withthe following code: Green and Yellow: Eorth 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, proceed as fllows: + The wire which is coloured Green and Yellow must be connected to the terminal in the plu which is marked with the leer E or by the ear symbol + The wire which is coloured Blue must be connected fo the terminal in the plug which is ‘marked with the letter N or coloured Black. The wire which is coloured Brown must be connected fo the terminal in the plug which is marked with the letter L or coloured Red. Ensure that these colour codings are followed carefully in the event ofthe plug being changed To avoid the risk of fire replace the fuse only with the correct value fuse, as indicated on the power supply. The power supply contains no user-serviceable parts. Refer all servicing to a qualified service engineer, through the appropriate Soundcraft dealer. SPIRIT STUDIO ZcPrinciples of Operation SPIRIT STUDIO Z> is an In-Line console design, and this may be @ new concept fo some users. A brief explanation of the of the basic principles behind the console il hap hose users fo understand why the STUDIO Ze can be so compad, while offer " nd fexbiiy typceloflarge sia recording consles Once the basie principles are understood the operation ofthe console will be mastered much more quickly, Inte consoles difer from the more sraighforward Input + Output (Split) configuration by effectively plocing these two signal paths on the some physicel tperaing stipe Invis simplest form the fist poh (CHANNEL) receives a variety of sources, and when required con feed tis signl rec! foo tope Wack or recording, The second path (MONITOR) normally receives the outputs of the tape machine, to creole a monitor mix By lacing these we psa he are tinp the tie of the corsole ts substonialy reduced, bringing more controls within the comfortable reach of the engineer ene providing the epportniy for some powerul features unique fo this type of console. ‘The main sections of the console and their functions are summarised below: CHANNEL PATH The channel path normally takes input sources to the console, provides an insert point for external | processing, EG, foldback and effects sends, and feeds | the resuiting signal to stereo mix or direct to a fope | track for recording. In this mode it is essentially identical tothe input of a traditional spit console. MONITOR PATH The secondary signal path is normally called the ‘monitor path, and this provided by the Input B section. This normally receives the relurn from the tape machine ‘ond can be mixed down to a stereo monitor mix. No EQ or inserts provided inthis path in the normal mode. FUP The power ond flexibility of the in-line design is provided by the FUP button which interchanges the Channel and monitor paths. With FUP pressed the tape return is routed through the full facilities of the channel path (EQ, insert, Solo-in-Place etc.) without any Tepatching, and the Mic/Line input can be used as an tional input to the mix (sequenced keyboards perhaps) via the original Input B controls SPIRIT STUDIO /- SUBMIX INPUT A irate submix input strip provides a simple method shespanding he STUDIOZ* by connecting on external submixer (SPIRIT FOLIO or FOLIO Si are ideal) directly to the Phones, Mix or Mix B signals. This can alternatively be used as an additional general purpose stereo input GROUP The channel path can be routed lo one or more of eight cudio subgroups which then allow a number of sources to be fed as a bolanced group to the mix under the control ofa single fader. STEREO INPUTS: Four stereo inputs provide direct access to the main Mix, Mix B or Phones Mix for stereo effects returns or additional sources such as keyboards or samplers MASTER The masler section provides overall level control of the Mix, Mix B and Auxiliary Sends, plus headphone monitoring, talkback and test escillotr. To help you find you way around the mixer the section ‘Controls in more detail” explains the function of each front panel contra ‘Tips'and guidance on how the contrels canbe used in practice are given throughout this manual. Look out for the boxes in this styleee Ty The Channel Path 7 The Monitor Path (Input B) Accepts a variety of SOURCES, | This path normally receives the provides goin and tone control playback output from the recording cond the resuking signal can be machine, and is used to create o selectively ed to AUX SENDS for dedicated monitor mix (MIX B). Foldback or Effects or fed directly FLIP swops the monitor and channel fo tope tracks for recording, paths to make the comprehensive chonnel path facilities available to the relevant tape track at playback. Alternatively the channel may route the signal toa stereo mix or GROUPS. cy rey aad 5 naa The Sub Mix Input This provides o dedicated input for |. connecting the outputs of a j— submixer, for instance for handling «a large number of keyboards or ther instruments. Itean also be used as en additional Stereo Retumn ‘required, The signal con be mixed directly to phones, Mix B or main Mix. Bee of See rea atc Cori i Effects Returns Three dedicated stereo Effects Returns to Mix. ee A rca atc detail kAuxiliary Masters ‘Masters for the eight Auxiliary Sends AT Page 12 Lata detail AigG e488 - Bo E & a & &, a Master Section This section comprises central control of headphones ond control room monitoring, cxcillator, talkback ond the PFL & Solo-in-Place systems. Stereo Inputs Four Stereo Inputs are included for Effects Returns, Tape Returns or other stereo outboard equipment A Page 13 La detail See roa ats Coci Groups Selected channels can be mixed to one of 8 groups, to be controlled together, or sent as a group to a tape track for recording $73 rar) ag Cor KOINITIAL SETTING UP You will probably use your SPIRIT STUDIO Z= with « we range of diferent types of sound source, ond these vill be of varying signal fevels. itis important to set the TRIM ofthe inputs corcecly to give the best performance. Setup the individual channel inputs as flows ‘© Ensure that all FUP buttons are released and that the master section SOLO MODE button is released. '* Plug in the chosen source (usually the MIC socket formiesand the UNE jack for onything else). Plug in phantom powered mics before swicing the phantom power on using the rear panel switch. ‘Set the Mix Master Fader fully down ond press the MIX button to route the channel signal to the Nix.. * rovid the chosen sure wih 9 ypc sonl level ond press the latching SOLO bution by the Feder,” The level of signal wil be shown on the right-hand Bargraph Meter (the Left meter will be Switched of when the PFL button is down) ‘© Adjust the input GAIN until the meter is just reaching the amber LED (0dB) at @ typical maximum source level wth a steady signal. Ifthe source signal is rich in high-level transients (e.g, cums) 6 rather higher meter reading of +6/+9 will be needed to achieve on equivelent average level. This leaves enough headroom to cope with peaks in the signal without distortion forlive work | fr analogue recording, IF you are using the mixer to record toa DAT | machine, remember that, unlike analogue fope machines, they will not tolerate any overload whatsoever before distortion occurs. It is therefore advisable to seta working level of-6 or -12.dB to allow a margin of saf + Adjust each input channel inthe some way. + Ifyou find that you cannot set a reasoncble level within the range of the GAIN control when using a MIC input, try the LINE input instead, Seri det hve RM oe Se he Sl surcefor these puts willbe exiernel keyboords Defers uns which hve a much more precictoble Signal level” Set the +4/-10 switch to +4 (released) inttolly, ond check the input level with the PEL switch as described above. If the level is too low, switch to the 10 input seting, SETTING UP FOR MULTITRACK RECORDING Following the procedure above will ensure that the input chonnels are correcly adjusted for particular source signals, Multitrack Recording makes additional demands because the mixer is not only required to mix ddown input signals but aso to provide a monitor mix for artists to hear previously recorded tracks when coverdubbing new parts. A typical set-up is as follows: + Connect input sources and set gain os described above. Connect channel Tope Sends to as many tope inputs as required. Press the channel TPE SND (Tape Send) switches on these inputs. This allows an individual source to be sent to an individval tape track. With the switch released the Tope Send will otherwise be fed from the ‘output of one of the eight Groups. A twitch on each channel, accessible from beneath the mixer allows the Tape Send and Return to be matched to either -10dBV signal levels (switch IN) or +4dBu (switch OUT). This enables the mixer to be used with both professional and semi-professional machines. + Ifa compressor isto be used, connect tis to the Channel insert points. While itis often useful to'add a litle compression to Yoza e hep the lee as avn os posible should i ring recording, because it Sire later. You con cays odd re ‘+ Connect the tape outputs to the Tape Returns. This makes the tope outputs available on Input B to creole a monitor mix if required * Connect @ monitor amplifier for foldback headphones to STUDIO PHONES or a control room monitor system to the C/RM MONITORS. output. Set the amplifier volume to a normal Fstening level. ‘* Use the INPUT LEVEL controls io set up monitor mix. Select MIX B as the C/ROOM SOURCE * Connect any effects required using Auxs 3 to 8, ‘ond return them to the mixer on one of the four STEREO inpuls to allow the effect fo be bolanced with the original source. Auxs 1 & 2 are best reserved for foldback. SPIRIT STUDIO /-EE CHANNEL PATH ‘The channel strip comprises two separate signal paths. The channel pah provides comprehensive signal control with EQ, auxiliary sends and insert point, ond would normally receive the input sources to the console, The ‘ltemative Input B (monitor) path normally receives the | returns from the tape machines. During mixdown the feo paths may be fipped to meoke ihe kl fcties of the channel strip available to the return signals and cllowing the channe! inputs to be used as further input sources fo the mix. 1 TRIM TRIM adjusts the gain ofthe signal from either @ MIC or LUNE input, The MIC input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED low-level signals, whether from delicate vocals requiring the best low-noise performance or dose-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 Tot gel the same degre of immunity to interlerence on the microphone cable and as a result the level of bodigrourd note may ba higher PHANTOM POWER on (on the rear panel above the UR) the socket provides suieble powering velage or professional condenser mics. Bolanced Mic put - XR LUnbolanced Mic Input ~XLR hese DO NOT vse unbalanced sources with the phantom power switched on..The voltage on pins 2 & 3 of the XLR connector may cause serious damage. Unplug any mics if you want to use the corresponding LINE Input to avoid the load presented by the mic from affecting the Line Input gain. SPIRIT STUDIO /- IF you tum the | The UNE input accepts 3-pole ‘A’ gauge (TRS) jacks. Use this input for sources other than mics, such as keyboards, drum machines, synths, tope machines or guitars. The input is BALANCED ‘or low noise and Immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as shown below, although you should then keep cable lengths as, short os posible to minimise interference pick-up onthe cable, Unig amin inthe MIC inp you want to se this socket The TRIM knob sets how much of the source signal is sent lo the rest of the mixer. Too high, ond the signal will distor ost overogds the channel and causes clippin Too low, ard the level ony background iss wll be more noticeable and you may not be able to get enough signal level to the output of the mixer, This is shown in the diagram below: Te gallo wo A aire etn ‘A markeat the 9 o‘clock position indicates unity gain for the UNE input with a +4dBu source. Note Aor come sound equipment, particularly that intended for domestic Use, operates al a lower level (-10dBV) than profesional equipmentandwilthereforenced higher gain seting to give the some output level, indi a second mark at approx. 12 o'clock a 2 100Hz HI-PASS FILTER Pressing this switch reduces the level ofbass frequencies nly by inserting a 1248 /octave filer. Use this to reduce ‘popping! from microphon hum or stage rumble in live stations.3 EQUALISER The Equaliser (EQ) allows precise manipulation of the sound, cl otros sand inlivePA applications wherethe original signal is often for from ideal due to poor acoustics or restrictions on where o place microphones and where sight boosting or cuting of particolar voice frequencies can really make a diference to clarity. The EQ allows enough control to improve, for instance, bad recordings or the precision to gently enhance vocal or live argon rocks, hee ere byes eos ixed: frequency HF and swept frequency MID cand LF sections, giving the sort of control usvoll only found on much larger mixers. The EQ knobs can have a dramatic efecto use them sparingly and listen carefully as you che ‘sett that: to know Sa aa Poe be HF EQ Turn to the right to boost high (treble) frequencies by up to 15dB at 12kHz, adding crispness to cymbals, vocals and electronic ierunents Tum the I to eu hese yencies by up to 15dB, reducing hiss or cther high-frequency components inthe signal, sthich can be emphesised with censin ypes of microphone. Set the knob in the centre-detenied position when a flat response is required. ‘MID EQ ee es form a SWEPT MID EQ. The lower knob provides 15dB of boost and cu, us like the HE EQ knob, butthe frequency at which his occurs can be se by the upper knob over a renge of 250K to tz Th allowe seme ry crstve improvement of the signal in lve stucons, becouse this mid band covers the range of most vocals, Liven carefully «x you ute these Controls together to Rnd how parficulor characteristics of a vocal signal can be enhanced or reduced. ‘St the lower knob to the cortre-delented poiition when not required. LFEQ There are two knobs which work together to form a SWEPT LF EQ. The lower knob. provides 15dB of boost and cut, us like the HF EQ knob, butthe frequency a which his occurs can be set by the upper knob over a range of 25Hz to A00Hz. “@— 4484 44>—_4—_ |__4@ __ gaaa Boosting at a chosen frequencies can add warmth to vocals or extra, punch to synths, guitars ond drums. Cutting low frequencies on reduce hum, stage rumble or to improve a mushy sound. Set the knob to the centre-detented position when not required. FQIN/OUT When the EQ switch is released the complete EQ section is bypassed. Pressing the switch places the EQ in the channel signal path. sing and Feleasing| the EQ switch gives instont comparison ofthe treated and untreated Signals, 10 show the effe thal the EG controls ‘are having onthe signal : 4 Auxiliary Sends ‘The channel signal can be routed to any one or more of eight AUXILIARY busses,” These Combine the sends om each channel, ming them fo separate outputs on the rear of the imine Since they ore independent ofthe Mix ‘or Group busses they can provide sources for rtsts feldback, effets processor or extra loudspeakers in live sound epplications. This seclon is designed tobe extremely esl, and the options for each of the eight channels are shown below. Turn the knobs anticlockwise when not in use. ‘you run out of Aux sends, you can use INPUT Bas an additional stereo send (Aux 9'& 10) = 460 he INPUTS sedion below) : The following table shows he options avoilable with the eight Auziliary Sends wo 1 fame em tails |B eam 7 lemme Tete SF eon | hn nt pee 4. — ~ |e taitoen [BREE fo pees 7 fuse Yet | 586 | ous always | ost aways | ay | al | res | 2. Paes POSTED SPIRIT STUDIO /-Using the Auxiliary Sends PRE-FADE sends are unaffected by fader position or the CUT switch. They would pial be used for Foldbock or Monilor feeds, where iti important that, for instance, the mix fo ariss’ headphones is not by fader level POST-FADE sends would normally be used to food eximel signed processing unis which ore fed back into the console ond rust fade out with the input chonmel AUX 1 is af in the Channel 1, and is fherloridesl 2s shodgheneor eonor feed hen sched fo PRE ‘AUX 2'can be switched to input B, providir iis of ng heres ho © ope ‘AUX 3.& 4 may be summed by pressing the 3-4 UNK: switch on the Aux Master ‘section, ‘Since Aux3 moybe placed in the INPUT path, this allows an effects device to be fed from both, the Channel and Input B-at the same time, for instance for reverb. 5 CHANNEL PAN ‘The CHAN PAN control sets the amount of the henna signal Feeding the Right and Lot MIX or odd and even GROUP busses, allowing you to position the source within the stereo image. Rotation fully anticlockwise feeds the signal solely to the Mix Left or odd number Groups, wil retaion dockwise sweeps the image fo the Mix fight or even Groups ROUTING The input channel may be routed to Mix or Groups as selected by the ROUTING switches. The Groups are selected in pairs which may be used as slereo groups or as individual mono groups by panning the channel signal fully eft or right. lo 7_ FADER The long travel FADER gives you smooth level control of the channel signal, allowing precise balancing of the various source signels being fed to the Mix or Groups. Normal operating position should be at about OdB, giving 10d8 imhand above normal operating level. Careful setting up ofthe input TRIM will ensure that this, ‘optimum position is achieved SPIRIT STUDIO 7- ot ok 8 PEAK LED The PEAK LED indicator warns when an excessively high Signal level is present in the channel, the signals sampled just oer the EQ section and the LED wal light approximately 4d before clipping, This point is postinsert, and will herefore take into account te efect of ony ‘equipment connected to the Insert jack. 9 OT The CUT switch mutes the channel signal, and con adjacent LED lights when CUT is active. 10 SOLO Pressing the SOLO switch routes the channel signal fo the Studio Phones and Right Meter for monitoring or level matching, is normally a PFL (Pre Fade Listen) function, but becomes o Solo-in-Place when SOLO MODE on the Master section is pressed, This allows the channel to be monitored in its true stereo position, including any effects which may have been codded. T1_TAPE SEND. ‘The TAPE SEND on each channel is normally fed by one ofthe eight Group buses For ‘example Group 1 feeds the tape sends on channels 1, 9 & 17, Group 2 fee pecans channels 2, 10 & 18 ete. This enables grou signals fo feed on individual tope rock. Wh eae is pressed the Group feed is spblace ‘the post-EQ output (DIRECT output) from the hanna faerto encble he'd channel signal to be sent direct to. tape trod ed en ced INPUT B 12_ LEVEL The second signal path in the channel strip is INPUT B, and this normaly receives the TAPE RETURN. LEVEL ccs 0.0 fader onthe return signal 13, OT Pressing CUT mutes the input B signal14_ PAN The npu 8 signals normaly fed to stereo MX The PAN conial sats the amount of the Channel signal feeding MK Leh ond Right, dllowing you fo position the signal within the sloreointage, Retorion fully anticlockwise feeds the signal solely to Mix B Left, while rotation clockwise sweeps the image to Mix B Right. 15 CHANNEL POST CCHN PST (Channel Post) extends the versofity of the channel by swapping the Input B source from the Tape Return tothe Channel Post Fade signal, creating an oddional stereo auxiliary send from the channel (Aux 9 & 10). The MIX B master then becomes an AUXILIARY 9 & 10 master, with the advantage of a pre-fade Insert point 16 PFL When the PFL switch is pressed the pre-fade signal is fed to the headphones or monitor outputs, replacing the selected source. The PFL/AFL LED on the Master section illuminates fe wor ha fe headphones, mnir ou cand right borgroph meter ore now respondi tothe PLAN selection. This is a use woy of listening to one oF more signals without interrupting the main mix, for adjusting signal gp, ov matching or imply o check ht it is there! 17_FUP Pressing FUP swaps over the channel and ‘monitor (Input 8) signal poths, allowing the tape return tohaveaccessto the comprehensive EQ, auxiliary facilities and the long-throw fader. This saves a considerable amount of repatching at mixdown, ondleaves the original channel inputs available as additional inputs to the mix Press FUP at mixdown to give long travel foders Gabe ope fae ae ae ced - Uf 6 aaa aa —@a— tC _4@__ 9444 SPIRIT STUDIO Zc‘SUB MIX INPUT 18 SUB MIX INPUT The stereo SUB MIX INPUT enables another mixing console lobe connected as a submixer without using up valuable channel inputs, The input is elecronically balanced on 3-pole ‘A’ ge (TRS) jacks. See opposite for connection ‘A mono source plugged into the left jack feeds both sides in mono. 19 PHONES ‘The PHONES control feeds the stereo submi Sgro fom the submix input fo the Sto Phones mix. 20 MIXB The MIX B control feeds the stereo submix signal from the submix input to the MIX B busses. IFMIXB is being used as Aux 9/10, this control becomes a stereo Aux Send. : zi 21_ MIX The MIX control feeds the stereo submix signal from the submix input to the main Mix 22 ‘When the PFL switch is pressed a mono sum of the submix signal is fed to the headphones or mentor outputs, replocng he seeded source The PFL/AFL LED on the Master section illuminates to warn thot the headphones, monitor outpuls and right borgraph meter are now responding to the PFL/AFL selection. SPIRIT STUDIO 7, aa a a a STEREO EFFECTS RETURNS 1-3 23 STEREO EFFECTS RETURNS Three unbolanced stereo EFFECTS RETURNS core provided, with individual LEVEL controls, to bring external effects units back into the mix. ‘A mono source plugged ino the left jack Feeds cere ' 3 Pole Jock Bolonced = Unbotonceg Hot (ve) Snot Cold ve) GnaySereen Gnaysereen —{ |—Gnayscreen Tip ing SeeveSTEREO INPUTS A-D Four STEREO INPUTS are provided sh Sle “A’ gauge (TRS) jacks. A mono source plu into heel jock feeds bath sides in mone. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or as furs rm pocesing unis The nou ore BALANCED for low noise and immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as shown, although you should then keep cable lengths as shor os posible to minimise ifererence pick-up. 3 Pole Jack Boionced ——_Unbalonces Hot (ve) —Q)— signat cod (vey —]—naiscreen Gnarscreen —| ]— Gnayscreen t Ring Sleeve 24_ INPUT +4/- ‘Most professional equipment uses input and outpul levels of +-4dbu, but semi professional fope machines or hifi systems use 6 lower level of 0eBV. This switch allows you to match the Sources connected fo he Serco put fcks fo either standard, which is important to ensure the best possible sound quality. Ifyou are not sure wha input levels appropriate, stort with the switch UP to select +4dBu. if you are noble to achieve cn odequate signa level {even wih the feder of mentor, presse switch in for -10dBV. 25 FADER The linear FADER controls the overall signal level in the input strip. tis important that the input level is set correctly with the +4/-10 switch fo give maximum fravel on the foder wich should nomely be used at oourd the ‘0’ mar 26 BALANCE This control sets the L/R balance of the channel signal feeding MIX B or the routing switches. ‘When the contro s turned fly right orleft you feed only that side of the signal to the mix. Unity gain is provided by the control in the ceniveceeried poson, Oo: a a a 9508 24 Channel 28kg Typical Aux Send cut-off > 90dB 32 Channel 30kg aaa 2 POWER SUPPLIES oer a 16 & 24 Channel consoles CPS150 an contol stereo isolation > ae wie CMR @ Ihtiz pumensions Mic input at Max Gain -70dB ‘alld lime ues ae mensions are in ilimetres DISTORTION Line input to Mix or Group, via EQ (set flat) at unity gain, ++20dBu input and output, typical 0.008% Stereo Returns fo Mix at 20dBu—_0,003% Mic ot 30¢B sensitivity, -14dBu in, 2M Ghonmel- 00 +20dBu at Mix output 0.006% } Channel - 1400 | A FREQUENCY RESPONSE ‘Any input o any output, Done ° 20k +0.5dB ‘MAXIMUM OUTPUT LEVELS ‘Any oulputmax. level into 10kQ——+21dBu ‘MAXIMUM INPUT LEVELS ‘Mic input at minimum “+14dBu Line input ot minimum +21 dBu Tope Return (set to +4dBu input] +25dB0 Stereo Return (set to +4dBu input) +25dBu DIvock Return +2dbu ‘Sub Mix input +2)dBu Hi SPIRIT STUDIO ZcOTe 6600 dloe0e — Signal Send Q—signal (ve) —Lett Signal — Signal Return —Ground Sense (-ve) —Right Signal —Gnd/Sereen —Sereen —Ground ve Sleeve [__ tnvers Mix Outputs Headphones ‘Aux Outputs Monitor Outputs ‘Tape Sends “INPUTS & TAPE RETURNS (Note: All inputs are balanced, but unbalanced sources may be used as shown) Balanced Unbalanced Balanced Mic Unbalanced Mic 3 pole Jack 3 pole Jack Hot (+ve)—Q— Signal Cold (-ve)—[] — Gnasereen Gna/Screen—| |— GndvScreen 2. Hot(+ve) 2. Hot(sve) Link 8 in Ti 3. Coldt-ve) is ° 1. Screen 1 1. Screen Ring Sleove POWER CONNECTOR PINOUTS Pint GND Pin 2 GND Pin3 448V Ping 417V 7 Pins -17V (viewed from cable end) SPIRIT STUDIO Z-AFL (Alter Fade Listen) Bolonce Bolanced Clipping B (decibel) oO Effects Equaliser Feedback Foldback Frequency response Ground Compensation Headroom High Pass fiter Line level signals Oxcilator Peaking PL (pre fade listen} Phantom Power PostFade Processor Rollo Shelving Signal to Noise Ratio Spill Sweep EQ Toalkbock Tope Return Transient TRS Jocks Unbolonced < funtion that lows the eperator lo monitor the pos-fade signal in a channel independently of the the relative levels of the let and right channels of a stereo signal a mehod of aco comaion ih ley ol ween wo wis and sean wich cori to signal. Any interference fs picked up equally bythe wo wires, but out of phase resuling in Conctlition of the ineerence signal.” a "° the onset of severe distortion inthe signal path, usually caused by the peak signal voltage being limited by the circuit's power supply voltage. © rotio of ho wollages or signal levels, expressed by the equation dB=20logi0 (V1/V2. ‘Adding the slfix’U' denotes the rt is relative to 0.775V RMS. {direct injection) the practice of connecting an electric musical instrument directly tothe input ofthe tixing consol, rahe han fo on amplifier oe ludspeker which s covered by a microphone feeding the consol. the ve of device ocr or process the sound to ad special elects eg reverb, normally asa mix of the orignal (dry) sound ond he eatedverson, ne J © device that llows the boosting or cuting of selected bonds of frequencies in the signal path, the ‘howling’ sound caused by bringing a microphone too dose to loudspeaker driven from iis emplified ignol by bring mirophone too dove to © feed sent back to the artistes va loudspeakers or headphenes to enable them to monitor the sounds they are producing, the variation in gain ofa device with requency. « technique used on unbolanced outputs 1 cance out the effec of ground loops coused by connections to fexernal equipment the available signal range above the nominal level before clipping occurs «filter that rejects low frequencies ct a nominal level of-10 to +6dBu, usvally coming from a low impedance source. ce builtin tone generator for test and line-up purposes. on equaliser response cure affecting only a band of frequencies i.e. based on a bandpass response, « function that allows the operotor fo monitor the pre-fade signal in a channel independently of the the +48V d.c, voltage applied equally to the two signal pins of a balanced mic input to provide powering for condenser microphones. ae mea the point inthe signal path afer the channel or master fader and therefore affected by fader poston. «device which affect the whole of he signal posting through i, e.g. gate, compressor or equaliser © fll in goin a the exremes ofthe frequency response €n equaliser response affecing al requencies above or below the break frequency i. @ highpass or lowpass derived response. © expression of the difference in evel between the audio signal and background system noise, ‘acoustic interference from other sources. ‘an Equaliser section { e.g. MID EQ) which operates at a variable rather than fixed frequency givir sncretsed fexbilty Yo the user, ve eee the operator speaking othe artistes orto tape via the auxiliary oF group ouput, «line level input provided specifically to receive the playback output of a tape machine <2 momentary rise in the signal level «2 3-pole jack with Tp, Ring ond Sleve connections ‘a methode of audio connection which uses 0 single signal wice ond the cable screen asthe signl rtm This method does not provide the noise immunity of a balanced input |see above). SPIRIT STUDIO ZcSn eu SPIRIT STUDIO Z-Soundcratt Soundcraft Electronics Lid., Cranborne House, Cranborne Industrial Estate, Cranborne Road, Potters Bar, Herts., EN6 7JN_ England. Tel: (+44) 707 665000 Fax: (+44) 707 660. PartNo ZMOO0S?