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 User Guide

Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Basic Principles of PA Mixing . . . . . . . . . . . . . . . . . 3
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . 6
Connections and Connectors . . . . . . . . . . . . . . . 6
Fau lt Find ing Gu id e . . . . . . . . . . . . . . . . . . . . 9
Getting to know your console . . . . . . . . . . . . . . . . 10
Facilities . . . . . . . . . . . . . . . . . . . . . . . . . 10
Inpu t Channel . . . . . . . . . . . . . . . . . . . . . . 10
Stereo Sections . . . . . . . . . . . . . . . . . . . . . . 15
Grou p Sections . . . . . . . . . . . . . . . . . . . . . . 17
Master Section . . . . . . . . . . . . . . . . . . . . . . 18
Using your SPIRIT LIVE 4 Console . . . . . . . . . . . . . 20
Initial Set Up . . . . . . . . . . . . . . . . . . . . . . . 20
Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Pu blic Ad d ress . . . . . . . . . . . . . . . . . . . . . . 22
Record ing . . . . . . . . . . . . . . . . . . . . . . . . . 24
Care of your mixer . . . . . . . . . . . . . . . . . . . . . . 25
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Selectable Options . . . . . . . . . . . . . . . . . . . . . . 27
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . 29
Front Panel Layout . . . . . . . . . . . . . fold out rear cover
Block D iagram . . . . . . . . . . . . . . . . . inside rear cover

Pa g e 1

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 INTRODUCTION

Congratu lations on you r p u rchase of a SPIRIT LIVE 4 m ixer.

Ow ning a Sou nd craft console brings you the exp ertise and
su p p ort of one of the ind u stry’s lead ing m anu factu rers and
the resu lts of over 20 years exp erience su p p orting som e of the
biggest nam es in the bu siness.
Designed by engineers w ho u nd erstand the ind ivid u al need s
of m u sicians, SPIRIT LIVE 4 has been bu ilt to the highest
stand ard s u sing qu ality Jap anese com p onents and em p loying
au tom ated assem bly techniqu es beyond the reach of m ost
m anu factu rers of com p act m ixers.
A ru gged steel chassis is com bined w ith m ou ld ed sid e trim s
to give p rotection and d istinctive ap p earance. Cu stom
m ou ld ed controls, d esigned for the best ‘feel’ and visu al
clarity com p lem ent the styling, resu lting in a tru ly
p rofessional p rod u ct w hich is id eal for both tou ring and fixed
PA installations.
SPIRIT LIVE 4 is available in 12, 16, 24 and 32 channel fram e
sizes, and the 12 and 16 channel sizes m ay be extend ed by
ad d ing an 8 channel Exp and er. The Exp and er can be attached
qu ickly and secu rely to the console, requ iring only a
screw d river to com p lete the installation.
SPIRIT LIVE 4 incorp orates circu it technology id entical to
that u sed on som e of the m ost sop histicated Sou nd craft
consoles. The inp u t channels are able to accep t a w id e range
of Microp hone and Line level signals from sep arate inp u t
sockets. Every channel featu res w id e range gain control and
Line inp u t p ad , 3-band Equ alisation w ith sw ep t Mid and LF
range, p lu s a H i-Pass Filter, 5 Au xiliary Send s, PFL(Pre Fad e
Listen), Peak LED, Panning to a Stereo Bu s and rou ting in
p airs to fou r Ou tp u t Grou p s. Each channel has a sep arate
Direct Ou tp u t and is controlled by a high-qu ality long throw
fad er.
All fram e sizes are p rovid ed as stand ard w ith d ed icated
stereo inp u ts, arranged in p airs. One p air is inclu d ed on the
12 channel fram e and tw o p airs on all other fram e sizes. Each
stereo inp u t inclu d es a 2-band EQ and a single au xiliary send
control w ith sw itching w hich allow s p refad e or p ostfad e
sou rcing w ith access to three of the five Au xiliary bu sses. The
stereo channel signal m ay be rou ted to either the Mix ou tp u t
or to Grou p s 1 & 2 (u p p er) or Grou p s 3 & 4 (low er).

Pa g e 2

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 The fou r Ou tp u t Grou p s p rovid e su bm ixing to the Mix L/ R
ou tp u ts or m ay feed external equ ip m ent d irectly. Each
incorp orates stereo p anning and PFL m onitoring or bargrap h
m etering and inclu d es an external Retu rn inp u t for effects or
su bm ixing from external sou rces.
The Master section p rovid es m aster level control for the Left,
Right, Mono and Au xiliary Send bu sses, w ith sep arate AFL
m onitoring on each Au xiliary Send and the Mono ou tp u t.
The Mix L/ R and Grou p ou tp u ts all have insert p oints for the
connection of external signal p rocessing.
Com p rehensive Talkback facilities are p rovid ed , w hich allow
an external talkback m icrop hone to be rou ted to Mix L/ R,
Grou p s and Au xes 1 & 2 as requ ired . Six 12-segm ent, 3-colou r
p eak read ing LED bargrap h m eters p rovid e clear d isp lay of
Mix L/ R, Grou p and PFL signals. Pressing any PFL or AFL
sw itch p u ts the selected signal onto both sid es of the
head p hones ou tp u t, and the right bargrap h m eter.
SPIRIT Live 4 is d esigned to be as u ser-friend ly as p ossible,
bu t a few m inu tes sp ent read ing throu gh this m anu al w ill
help you becom e fam iliar w ith the p rod u ct aw ay from the
p ressu re of a live session, and allow you to gain fu ll benefit
from the su p erb p erform ance offered by you r new m ixer.
Above all, rem em ber that you r SPIRIT m ixer is d esigned to
extend you r creativity. The m ore you exp lore the controls
and the effect they have on the sou nd ou tp u t, the m ore you
w ill ap p reciate how you can influ ence and enhance the final
sou nd .

BASIC PRINCIPLES OF PA MIXING

There w as a tim e w hen the P.A. system and the op erator

existed only to increase the overall volu m e of the p erform ers,
so that they cou ld be heard in a large room or above high
am bient noise levels. This ju st isn’t tru e any m ore. The sou nd
system and the sou nd engineer have becom e an integral p art
of the p erform ance, and the artists are heavily d ep end ent on
the op erator’s skill and the qu ality of the equ ip m ent.
The follow ing introd u ction to the basics of m ixing are
inclu d ed for the benefit of those u sers w ho m ay not have any
significant fam iliarity w ith sou nd equ ip m ent, and w ho are
baffled by the end less jargon u sed by engineers and artists
alike.

Pa g e 3

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 The Mixer As one w ou ld exp ect, the m ain p u rp ose of the m ixer is to
com bine sou nd s, bu t u nd er p recise and sm ooth control. This
is w hy long-throw fad ers are essential on any p rofessional
p rod u ct. The fad ers p rovid e you w ith clear and instinctive
control of the final sou nd balance and like an artist p laying an
instru m ent you shou ld listen to the effect of you r fad er
m ovem ents, not look at you r hand s.
You r SPIRIT LIVE 4 m ixer accep ts a w id e range of inp u t
signals via a m icrop hone inp u t, for very low level signals, or a
line inp u t, for higher level signals from , for instance, tap e
m achines, effects p rocessors, etc.
The m ixer is sp lit into tw o sections. The Inputs receive, m atch
and p rocess ind ivid u al sou rce signals, and d istribu te them at
p recise m ix levels to either a stereo Mix ou tp u t or to one of
the Groups. The Master section allow s overall level control
of all ou tp u ts, and p rovid es m onitoring of the au d io signal at
m any p oints in the m ixer, either on head p hones or m eters.
The Equaliser controls are the m ost flexible and p otentially
d estru ctive featu re of the m ixer. They have a sim ilar effect on
the frequ ency resp onse of the inp u t channel as the tone
controls on a hi-fi system , bu t w ith m u ch greater p recision,
and allow p articu lar characteristics of the inp u t signal to be
em p hasised or red u ced . It is very im p ortant that you becom e
fam iliar w ith the effect each control has on the sou nd and this
is best achieved by sp end ing tim e listening to the effect of each
control on a w ell-know n track p layed throu gh the m ixer.
The Auxiliary Sends p rovid e a w ay of rou ting the inp u t
signals to a nu m ber of second ary ou tp u ts, for artists fold back,
echo u nits or ad d itional sp eaker ou tp u ts.
The Pan control ad ju sts the p osition of the inp u t signal w ithin
the stereo m ix, and can be sw ep t from fu ll left, throu gh to fu ll
right. This allow s p articu lar artists to retain their correct
sp atial p osition w ithin the m ix, and can be valu able for live
effects.
Pre-Fade-Listen(PFL) allow s you to m onitor the signal at
m any p oints in the m ixer. Pressing any PFL sw itch p laces the
signal at that p articu lar p oint onto the head p hones and the
right m eter, to check the qu ality of the signal or to p in-p oint
p roblem s. Using PFL w ill not affect the signals on the ou tp u ts
from the d esk.

Pa g e 4

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 Each inp u t channel and the three m ain ou tp u ts have an Insert
‘A’ gau ge jack socket, w hich is a break p oint in the signal
p ath. It allow s the signal to be taken ou t of the m ixer,
throu gh an external p iece of equ ip m ent and then back into the
m ixer d irectly after its original exit p oint. The Insert p oint is
norm ally byp assed by the ‘A’ gau ge jack socket contacts, and
is only brou ght into op eration w hen a p lu g is inserted .
Typ ical u ses w ou ld inclu d e Effects Processors, Lim iters,
ad d itional Equ alisers or Delay u nits. In ad d ition, each
channel has a D irect ou tp u t w hich m ay also be u sed to feed
external equ ip m ent.
The term s PRE and POST are often u sed in the context of
Inserts, Equ alisers and Au xiliary Send s, and d escribe w hether
that facility is p laced before (Pre) or after (Post) another
p articu lar section. This is exp lained fu rther in the d etailed
d escrip tion of facilities.
A m ixer is often ju d ged , am ongst other factors, by the am ou nt
of Headroom available. This is a m easu re of the reserve
available to cop e w ith su d d en p eaks in the inp u t signal,
w ithou t d istortion cau sed by Clipping, w hen the signal
becom es so high that it w ou ld exceed the p ow er su p p ly rail
voltages and is as a resu lt lim ited . This com m only occu rs
w here gain settings are incorrectly set or w here sou rces are
im p rop erly m atched to the m ixer inp u t. If the sou rce signal is
too high, clip p ing and d istortion resu lts. If the signal is too
low it becom es m asked by the backgrou nd noise w hich is
p resent to som e d egree in all m ixers. The d iagram below
illu strates this p oint.

Clipped
Signal

Noise

If the signal level is too high, clipping distortion

may occur.

Signal Noise

If the signal level is too low it may be masked

by the noise.

Pa g e 5

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 GETTING STARTED

CONNECTIONS AND Althou gh this m ay seem a sim p le su bject, faulty connectors and
CONNECTORS cabling are the source of most sound system problems.
Correctly-m ad e cables of the p rop er typ e, w ith the right
connectors for the job w ill ensu re p eak p erform ance from
you r system w ith m inim u m noise p ick-u p . The follow ing
section w ill help you to connect SPIRIT LIVE 4 correctly.
Tw o d ifferent typ es of au d io connectors are u sed , 3-p in XLR
and 1⁄4" three p ole (‘A’ gau ge) jacks. These are u sed in several
configu rations as show n in the d iagram s below .

2. Hot(+ve) Link 3
to 1
2. Hot(+ve)
Link 3
3. Cold(-ve) to 1
1. Screen 1. Screen 1. Screen
2. Hot(+ve)

Unbalanced Unbalanced
Balanced Input Output
Input

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

Send Tip Hot(+ve) Left Signal Signal

Return Ring Cold(-ve) Right Signal
Screen Sleeve Screen Ground Ground

Tip
Ring Sleeve

Insert Points Line Input Headphones Unbalanced

Aux Outputs Output
FX Returns (see text)
Direct Outputs

Pa g e 6

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 Ba la nced a nd All channel inp u ts are balanced , i.e. there are sep arate
Unba la nced +ve(hot) and -ve (cold ) w ires for each signal p lu s a grou nd .
The d esign of the d ifferential inp u t am p lifiers is su ch that
interference p icked u p on these w ires is cancelled ou t. This is
becau se, since both w ires are in close p roxim ity, the same
interference w ill be p icked u p on each w ire and balanced
inp u t am p lifiers w ill only am p lify the difference betw een
+ve(hot) and -ve(cold ). Any signal on both hot and cold (i.e.
noise) w ill not be am p lified - this is know n as com m on m od e
rejection (CMR). Balanced inp u ts shou ld alw ays have both
+ve and -ve connected or if only an u nbalanced sou rce, the
-ve p in shorted to grou nd .
N ote: m any m od ern au d io/ m u sical instru m ents have
electronically balanced ou tp u ts w hich shou ld not be
u nbalanced by shorting one w ire to grou nd . Alw ays u se you r
inp u ts balanced w here p ossible.
The Mix L/ R and Mono ou tp u ts, Grou p and Au xiliary
ou tp u ts are ground compensated and p rovid e a very effective
w ay of op tim ising noise im m u nity, w ithou t the cost and
com p lexity of balanced ou tp u ts. These ou tp u ts em p loy
grou nd com p ensation techniqu es to cancel ou t the effects of
variation in grou nd p otential betw een the m ixer and other
equ ip m ent w hich w ou ld otherw ise show u p as hu m . If the
ou tp u t is d riving a d evice or am p lifier that has an u nbalanced
inp u t, connect the -ve(cold ) signal to the grou nd at the
d estination, not at the ou tp u t of you r SPIRIT LIVE 4 console.

Pola rity You w ill p robably be fam iliar w ith the concep t of p olarity in
electrical signals and this is of p articu lar im p ortance to
balanced au d io signals. Ju st as a balanced signal is highly
effective at cancelling ou t u nw anted interference, so tw o
m icrop hones p icking u p the sam e signal can cancel ou t, or
cau se seriou s d egrad ation of the signal if one of the cables has
the +ve and -ve w ires reversed . This phase reversal can be a
real p roblem w hen m icrop hones are close together and you
shou ld therefore take care alw ays to connect p ins correctly
w hen w iring au d io cables.

Grounding a nd Shielding For op tim u m p erform ance it is vital that all signals are
referenced to a solid , noise-free earthing p oint and that all
signal cables have their screens connected to grou nd . To
avoid earth ‘loop s’, u se balanced connections w here p ossible
and ensu re that all cable screens and other signal earths are
connected to grou nd only at their sou rce and not at both end s.

Pa g e 7

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 +
✗ UNBALANCED
+
- -
Source
Device Ground loop Mixer
through screen
and chassis

+
✓ BALANCED INPUT
+
- -
GND

Source
Device Mixer

If the u se of u nbalanced connections is u navoid able, you can

m im im ise noise by follow ing these w iring gu id elines:

• On IN PUTS, u nbalance at the sou rce and u se a tw in,

screened cable as thou gh it w ere balanced . (see below )

• On OUTPUTS, connect the signal to the +ve ou tpu t pin,

and the grou nd of the ou tpu t d evice to -ve. If a tw in
screened cable is u sed , connect the screen only at the m ixer
end . (see below )

+ +
-
GND
Source
Device Mixer
INPUT

+ +
- GND
GND
Output
Mixer Device
OUTPUT

Avoid ru nning au d io cables or p lacing au d io equ ip m ent,

close to thyristor d im m er u nits or p ow er cables.
N oise im m u nity is im p roved significantly by the u se of low
impedance sou rces, su ch as good qu ality p rofessional
m icrop hones or the ou tp u ts from m ost m od ern au d io
equ ip m ent. Avoid cheap er high im p ed ance m icrop hones,
w hich m ay su ffer from interference over long cable ru ns, even
w ith w ell-m ad e cables.

Pa g e 8

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 Fa ult Finding Guide Repairing a sou nd m ixing console requ ires sp ecialist skills, bu t
basic Fault Finding is w ithin the scop e of any u ser if a few
basic ru les are follow ed .

• Get to know the Block Diagram of you r console (see insid e

rear cover)

• Get to know w hat each com ponent in the system is

su pposed to d o.

• Learn w here to look for com m on trou ble spots.

The Block D iagram (see insid e rear cover) is a rep resentative

sketch of all the com p onents of the console, show ing how
they connect together and how the signal flow s throu gh the
system . Once you have becom e fam iliar w ith the variou s
com p onent blocks you w ill find the Block Diagram qu ite easy
to follow and you w ill have gained a valu able u nd erstand ing
of the internal stru ctu re of the console.
Each Component has a sp ecific fu nction and only by getting
to know w hat each p art is su p p osed to d o w ill you be able to
tell if there is a genu ine fau lt! Many ‘fau lts’ are the resu lt of
incorrect connection or control settings w hich m ay have been
overlooked .
Basic Troubleshooting is a p rocess of ap p lying logical
thou ght to the signal p ath throu gh the console and tracking
d ow n the p roblem by elim ination.

• Sw ap inpu t connections to check that the sou rce is really

present. Check both Mic and Line inpu ts.

• Elim inate sections of the channel by u sing the insert point

to re-rou te the signal to other inpu ts that are know n to be
w orking.

• Rou te channels to d ifferent ou tpu ts or to au xiliary send s to

id entify problem s on the Master section.

• Com pare a su spect channel w ith an ad jacent channel

w hich has been set u p id entically. Use PFL and AFL to
m onitor the signal in each section.

Pa g e 9

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 INPUT

GETTING TO KNOW YOUR CONSOLE

Refer to the fold -ou t front p anel d iagram w hich show s the
control fu nctions on the SPIRIT LIVE 4. Each facility is
d escribed below , and is id entified by the reference nu m ber.

FACILITIES
INPUT CHANNEL
1. M IC RO PHO NE INPUT
The Microp hone inp u t is via a stand ard fem ale XLR-3
connector and is available w hen the LIN E -20dB sw itch is
released . It is d esigned to accep t a w id e range of balanced or
u nbalanced low im p ed ance inp u t signals.
+48V Phantom Pow er is available on each inp u t m icrop hone
socket. This is sw itched on globally from the p ow er su p p ly in
the case of the 12, 16 and 24 channel d esks, or from a rocker
sw itch ad jacent to the d .c. p ow er connector at the top right of
the 32 channel d esk. Shou ld you w ish to configu re inp u ts
w ithou t +48V p ow er, see Selectable Op tions on Page 27 for
d etails of this m od ification.
Transform er-cou p led d ynam ic m icrop hones m ay be u sed
w ithou t cau sing d am age, even w hen the +48V p ow er is
connected , bu t care m u st be taken w hen u sing u nbalanced
sou rces, becau se of the voltage p resent on p ins 2 and 3 of the
XLR connector. Microp hone inp u t level is set by the GAIN
control(6).
N OTE: Phantom p ow ered m ics shou ld not be p lu gged in
w ith the +48V sw itched on. Also you shou ld be aw are that
som e m icrop hones d raw an u nu su ally large cu rrent w hich
m ay overload the p ow er su p p ly, resu lting in d istortion.
Consu lt you r m icrop hone su p p lier for gu id ance if necessary.

2. DIREC T O UTPUT
A grou nd com p ensated D IRECT ou tp u t is p rovid ed , fed from
the ou tp u t of the fad er bu ffer, w hich is therefore u naffected
by the p osition of the ROUTIN G sw itches or PAN control.
This p rovid es an id eal sou rce for external p rocessing u nits,
the ou tp u t of w hich m ay be brou ght back to the console
throu gh the STEREO sections or grou p RETURN S, or to
d irectly send to the tracks of a tap e m achine for m u ltitrack
record ing. This p rovid es as m any Tap e Send s as there are
m ixer channels, w ithou t u sing the grou p or m ix ou tp u ts.

Pa g e 10

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 INPUT

3. LINE INPUT
The LIN E Inp u t is a 3-p ole 1⁄4"‘A’ gau ge jack socket, to accep t
balanced or u nbalanced line level sou rces w hen the LIN E
sw itch(5) is p ressed . Unlike the low im p ed ance Microp hone
inp u t, this stage p resents a high im p ed ance(>10kΩ) to the
inp u t signal, enabling m any typ es of instru m ents to be
p lu gged straight in w ithou t D.I. boxes or external
p ream p lifiers.
Line inp u ts w ill be fou nd u sefu l as extra Effects Retu rns,
w here ad d itional p ost-effect equ alisation is requ ired .

4. INSERT
The IN SERT is a break p oint in the inp u t channel signal p ath.
It allow s the signal to be taken ou t of the m ixer, throu gh an
external p iece of equ ip m ent and then back into the m ixer to
continu e throu gh to the final ou tp u t. The Insert is a 3-p ole 1⁄4"
‘A’ gau ge Jack Socket, w hich is norm ally by-p assed . When a
jack p lu g is inserted , the signal p ath is broken at a p oint ju st
after the H i-Pass Filter, bu t before the EQ section. The signal
from the channel appears on the TIP of the plug and is
returned on the RIN G. The insert p oint allow s lim iters,
com p ressors and other signal p rocessing u nits to be ad d ed as
requ ired to p articu lar inp u t channels and becau se it is located
PRE EQ, noise generated by the external equ ip m ent m ay be
red u ced by a sm all am ou nt of H .F. cu t in the Equ aliser.

5. LINE SELEC T
The LIN E sw itch selects Line inp u t w hen p ressed , and
Microp hone inp u t w hen released . When Line is selected the
Gain range is red u ced by 20d B (see 6 below ).

6. G AIN C O NTRO L
When the Microp hone inp u t is selected this control acts as a
SEN SITIVITY control covering a 50d B range. Channel signal
level increases as the control is tu rned clockw ise. When the
Line inp u t is selected it serves as a GAIN control, w ith the
scaling red u ced by -20d B from the p rinted scale. A nom inal
0d B inp u t signal w ill p ass throu gh at u nity gain, w ith the
knob set at the 20d B p osition. Som e au d io equ ip m ent,
p articu larly that intend ed for d om estic u se, op erates at a
nom inal -10d BV level and an increased Gain setting w ill be
requ ired .

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 INPUT

7. HI- PASS FILTER

Pressing this sw itch inserts a 12d B p er octave 100H z H i-Pass
Filter in the signal p ath, im m ed iately after the inp u t am p lifier.
This is p articu larly u sefu l on live vocals, and its u se is
strongly recom m end ed , even on m ale vocals. It can also be
u sed for filtering ou t low frequ ency hu m .

Frequency Response Curves of the Hi-Pa ss Filter

dB HI-Pass Filter
4.0

3.0

2.0

1.0

0.0

-1.0

-2.0

-3.0

-4.0
20 100 1k 10k 20k
Frequency/Hz

8. EQ UALISER
The Equ aliser(EQ) com p rises three sections. The u p p er
control p rovid es H .F.(treble) boost and cu t of +/ -15d B. The
low er tw o p airs of knobs are arranged as a cu t/ boost control
(low er knob) of +/ - 15d B, and a SWEEP(frequ ency) control
w hich d eterm ines at w hich frequ ency the boost/ cu t action
w ill be centered . The LF sections are essentially Sw ep t Low
Frequ ency controls, covering a range from 40 to 400H z and
p rovid ing m u ch greater flexibility than a conventional
LF(bass) control. The MID section, w ith a frequ ency range
from 250H z to 8kH z is p articu larly versatile for vocals,
enabling p articu lar characteristics of the singer to be lifted or
su p p ressed very p recisely.

Frequency Response Curves of the Equa liser

dB LF Section
20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.0
20 100 1k 10k 20k
Frequency/Hz

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 INPUT

Frequency Response Curves of the Equa liser

dB MID Section
20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.0
20 100 1k 10k 20k
Frequency/Hz

dB HF Section
20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.0
20 100 1k 10k 20k
Frequency/Hz

9. AUXILIARY SENDS
These controls rou te the inp u t channel signal to any one or
m ore Au xiliary bu sses. These are sep arate from the m ain
ou tp u ts and can therefore p rovid e ad d itional ou tp u ts for
fold back, echo u nits or extra lou d sp eaker ‘fills’.
AUX 1 & 2 are d erived before the channel fad er(PRE FADE),
and are therefore u naffected by the fad er p osition. This
m akes them p articu larly su itable for fold back or m onitor
feed s, w hich need to be controlled sep arately from the m ain
P.A. m ix.
AUX 3, 4 and 5 are d erived after the channel fad er(POST
FADE), and therefore follow any changes in fad er level. They
are norm ally u sed to d rive effects p rocessing u nits w hich are
fed back into the m ixer and w hich m u st fad e ou t w ith the
inp u t channel.
AUX 2 m ay be altered internally to be POST FADE. Refer to
the Selectable Op tions section (Page 28) for a d escrip tion of
this m od ification.
All of the Au x Send s are m u ted w hen the ON sw itch(12) is
released .

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 INPUT
10. PAN
The PAN control d eterm ines the p osition of the signal w ithin
the stereo m ix im age or m ay be u sed to rou te the channel
signal to p articu lar ou tp u t GROUPS as selected by the
ROUTIN G SWITCHES (13). Rotation fu lly anticlockw ise
feed s the signal solely to the Left m ix bu ss or Grou p s 1 and 3,
w hile rotation clockw ise sw eep s the im age to the right bu ss or
Grou p s 2 and 4.

11. PFL/ PEAK LED

When the PFL sw itch is p ressed , the Pre-Fad e signal is fed to
the head p hones, w here it rep laces the selected sou rce. The
PFL/AFL LED on the m aster section illu m inates to w arn that
the head p hones and the m eters are now resp ond ing to the
PFL/ AFL selection and the PFL LED on the inp u t channel
lights to id entify the active channel. This is a u sefu l w ay of
listening to any requ ired inp u t signal w ithou t interru p ting the
m ain m ix, for m aking ad ju stm ents or tracing p roblem s.
When the PFL sw itch is released the LED on the channel
serves as a PEAK ind icator, to w arn w hen an excessively high
signal level is p resent in the channel. The signal is sam p led
at tw o p oints in the channel, im m ed iately after the inp u t
am p lifier (PRE H I-PASS FILTER & PRE IN SERT) and POST
EQ. The Peak LED w ill illu m inate ap p roxim ately 4d B before
clip p ing and therefore give w arning of a p ossible overload
even if the p eaks are rem oved by external equ ip m ent p lu gged
into the Insert.

12. O N SWITC H
The ON sw itch enables all ou tp u ts from the channel w hen
p ressed , and the associated LED illu m inates to show that the
channel is active.

13. RO UTING SWITC HES

The inp u t channel signal m ay be rou ted to the m ain STEREO
MIX (L-R) or p airs of GROUP bu sses (1-2, 3-4), by p ressing
the resp ective sw itches. These m ay be u sed in conju nction
w ith the PAN control (10 above) to rou te the channel signal
p rop ortionately to any of the selected bu sses.

13. C HANNEL FADER

This long-throw fad er d eterm ines the p rop ortion of the
channel in the m ix and p rovid es a clear visu al ind ication of
channel level. N orm al op erating p osition is at the ‘0’ m ark,
p rovid ing 10d B of gain above that p oint if requ ired .

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 STEREO

STEREO SECTIONS

1. STEREO INPUTS
Each Stereo Inp u t section com p rises a p air of sim ilar inp u ts.
The inp u ts are electronically balanced and sep arate jacks are
p rovid ed for the Left and Right sou rce signals. A m ono signal
m ay be p lu gged into the u p p er socket only for each p air to be
fed equ ally to left and right bu sses.

2. - 10 SWITC H
The inp u t jacks are norm ally set to m atch +4d Bu nom inal
signal levels. Pressing the -10 sw itch alters the inp u t
sensitivity to m atch the -10d BV signals from m ost H i-Fi
system s or sem i-p rofessional tap e m achines allow ing the
inp u ts to be qu ickly sw itched to m atch, for instance, a cassette
p layer for p re-show m u sic.

3. EQ UALISATIO N
Each Stereo Inp u t is p rovid ed w ith a 2-band shelving EQ
section giving ±15d B boost & cu t at fixed frequ encies of 60H z
and 12kH z.

Frequency Response Curves of the Equa liser

dB LF Section
20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.0
20 100 1k 10k 20k
Frequency/Hz

dB HF Section
20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.0
20 100 1k 10k 20k
Frequency/Hz

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 STEREO

4. AUX SEND
A single control feed s a m ono su m of the stereo signal to a
choice of Au x Send bu sses (see 5 below ).

5. AUX SELEC TIO N

The flexibility of the Au x send control (4) is m axim ised by a
choice of d estinations on the tw o Stereo sections. On the
u p p er section (Stereo 1) this sw itch rou tes the Au x Send to
either AUX 1 (Prefad e) w hen released , or AUX 3 (Postfad e)
w hen p ressed . On the low er section the choice is betw een
AUX 1 (Prefad e) w hen released and AUX 4 (Postfad e) w hen
p ressed .

6. BALANC E
The BAL control sets the relative level of the Left and Right
signals. In the centre p osition its gain is u nity. Tu rning the
control fu lly clockw ise increases the Right signal by +4d B,
and totally kills the Left signal. Fu ll anticlockw ise rotation
has the op p osite effect. Balance left biases the signal to the
Left bu ss and Grou p s 1 & 3, balance right to the Right bu ss
and Grou p s 2 & 4.

7. PFL
When the PFL sw itch is p ressed the p refad e signal is fed to
the H ead p hones w here it rep laces the selected sou rce. The
AFL/PFL LED on the Master Section illu m inates to w arn that
the head p hones and RIGHT/PFL METER are now
resp ond ing to the PFL selection and the PFL LED on the
Stereo Section lights to id entify the active sou rce.

8. ON
Pressing this sw itch tu rns ON the feed s to the Au x Send s and
ou tp u t bu sses. The associated LED illu m inates to show that
the section is active.

9. RO UTING
A single Rou ting Sw itch p er section p rovid es access to Mix
L-R and Grou p s 1-2 or 3-4. The u p p er section rou tes betw een
Mix L-R w ith the sw itch released , and Grou p s 1-2 w hen
p ressed . The low er section rou tes betw een Mix L-R w ith the
sw itch released and Grou p s 3-4 w hen p ressed . The relative
levels of the left and right signals is controlled by the
BALance control (6).

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 G RO UP

10. FADER
Linear fad ers are p rovid ed for p recise and sm ooth level
control for each Stereo section.

GROUP SECTION

1. RETURN
A m ono Retu rn is p rovid ed to each ou tp u t Grou p , w hich is
intend ed for u se as a su b-m ix from another d esk or as an
effects inp u t. The inp u t is electronically balanced on a
stand ard 1⁄4" 3-p ole ‘A’ gau ge jack.

2. INSERT
An Insert is p rovid ed for each ou tp u t Grou p to allow external
p rocessing equ ip m ent to be ‘inserted ’ into the ou tp u t p ath.
The 1⁄4" 3-p ole ‘A’ gau ge jacks are byp assed excep t w hen a
p lu g is inserted .

3. RETURN LEV EL
The level of the signal at the RETURN inp u t (1, above) is set
by a rotary control. A p anel m arking ind icates the nom inal
u nity gain p osition.

4. PAN
The Grou p PAN control d eterm ines the p osition of the signal
w ithin the stereo im age w hich is rou ted to the m ix L/ R bu sses
w hen L-R is p ressed . Rotation fu lly anticlockw ise feed s the
signal solely to the Left m ix bu ss, w hile rotation clockw ise
sw eep s the im age to the right.

5. PFL
When the PFL sw itch is p ressed , the p re-fad e Grou p signal is
fed to the head p hones and RIGHT/PFL METER w here it
rep laces the m ix signal. The AFL/PFL LED on the m aster
section illu m inates to w arn that the head p hones and m eter
are now resp ond ing to the AFL/ PFL selection and the PFL
LED on the Grou p lights to id entify the active Grou p .

6. G RO UP FADER
Long throw fad ers are p rovid ed for each Grou p w ith u nity
gain at the top of their travel.

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 M ASTER

7. G RO UP O UTPUT
The Grou p ou tp u ts are d riven by grou nd com p ensated
am p lifiers to a stand ard 1⁄4" 3 p ole ‘A’ gau ge jack socket.

MASTER SECTION
8. D.C . PO WER SO C KET
The cable from the p ow er su p p ly connects to the console via
this 5-p in socket.
Ensu re that you alw ays u se the correct p ow er su p p ly for you r
console. The 12, 16 and 24 channel fram e sizes requ ire the
DCP100 p ow er su p p ly and the 32 channel fram e u ses the
CPS150 p ow er su p p ly.

9. M O NO O UTPUT
The grou nd com p ensated MON O ou tp u t is a su m of the
p ostfad e Mix Left and Right ou tp u ts, p rovid ing a sep arately
controlled feed w hich m ay for instance be u sed to d rive a
centre lou d sp eaker clu ster via a su itable p ow er am p lifier.

10. M IX L & R O UTPUTS

The MIX L & R ou tp u ts are stand ard m ale XLR-3 connectors,
d riven by grou nd com p ensated am p lifiers.

11. INSERTS
These are sim ilar to the Inp u t Channel Inserts and allow
external p rocessing equ ip m ent to be ‘inserted ’ into the ou tp u t
signal p ath. The 1⁄4" 3 p ole ‘A’ gau ge jack sockets are
by-p assed excep t w hen a p lu g is inserted .

12. BARG RAPH M ETERS

Six 12-segm ent, three colou r bargrap h m eters p rovid e visu al
m onitoring of the levels of the Mix Left and Right, and Grou p
ou tp u ts. All the m eters are p eak read ing.
N orm ally the Left and Right m eters show the level of the Mix
Left and Right ou tp u ts. If any PFL or AFL sw itch is activated
the left m eter is tu rned off and the right m eter d isp lays the
level of the selected PFL or AFL signal.
The bargrap hs m ay be calibrated by trim m ers accessed via
holes in the p anel below each m eter. Ad ju stm ents m ay be
m ad e u sing a sm all screw d river, taking care not to d am age
the trim m ers.

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 M ASTER

13. M O NO
The level of the MON O ou tp u t (9) is set by a rotary fad er.
The associated AFL sw itch w ith ind icating LED m onitors the
final ou tp u t after the fader.

14. AUXILIARY M ASTERS

Each of the Au xiliary Send bu sses is p rovid ed w ith a rotary
m aster level control and an AFL sw itch w ith ind icating LED
w hich m onitors the final ou tp u t after the fader.

15. AUXILIARY O UTPUTS

The Au xiliary Send ou tp u ts are d riven by grou nd
com p ensated am p lifiers to a stand ard 1⁄4" 3 p ole ‘A’ gau ge
jack socket.

16. TALKBAC K
A fem ale XLR-3 connector p rovid es the inp u t for a head p hone
m ou nted , gooseneck or floating d ynam ic m icrop hone for
TALKBACK to selected ou tp u ts. Level is set by the TB
control and three sw itches rou te the signal selectively to Mix
L-R, Grou p s (GRPS) or AUX 1-2.

17. HEADPHO NE V O LUM E

This control sets the level of the PHON ES ou tp u t at the socket
below the front arm rest. N orm ally this is fed by the Mix L/ R
ou tp u t, u nless an AFL or PFL sw itch is p ressed , in w hich case
the Mix signal is rep laced by the AFL/ PFL signal and the
AFL/PFL LED lights to show that the AFL/ PFL system is
active.
N ote that d u e to the w ay that the grou nd com p ensated
ou tp u ts op erate, it is p ossible that a hu m m ight be au d ible
u nd er AFL listening, w hich is in fact cancelled on the actu al
ou tp u t. This w ou ld ind icate that there is a grou nd loop in
you r system w hich you m ay w ish to correct.

18. M IX FADERS
Master fad ers for Left and Right m ix ou tp u ts. Unity gain is at
the top of their travel.

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 USING YOUR SPIRIT LIVE 4 CONSOLE

The final sou nd from you r P.A. system can only ever be as
good as the qu ality of the sou rce signal. Ju st as you need to
becom e fam iliar w ith the control fu nctions of you r m ixer, so
you m u st recognise the im p ortance of correct choice of inp u ts,
m icrop hone p lacem ent and inp u t channel settings. H ow ever,
no am ou nt of carefu l setting u p can take accou nt of the
sp ontaneity and u np red ictability of live p erform ance and the
m ixer m u st be set u p to p rovid e ‘sp are’ control range to
com p ensate for changing m icrop hone p osition and the
absorp tion effect of a large au d ience (d ifferent acou stic
characteristics from sou nd check to show ).

The front panel drawing inside the rear cover shows

typical initial control positions which may be found a
useful guide to setting up the mixer for the first time.

Initia l Set Up The d iagram on p age 5 d em onstrated how the m atching of

inp u t gain to the signal sou rce w as cru cial to avoid d istortion
at one extrem e and excessive noise at the other. Set u p
ind ivid u al inp u t channel as follow s:

• Connect the inpu t requ ired (m icrophone, keyboard etc.)

N ote: Phantom pow ered m ics shou ld be connected before
the +48V is sw itched on.

• Set Master fad ers at 0, inpu t fad ers at 0, and set pow er
am plifier levels to abou t 70%.

• Provid e a typical perform ance level signal and press the

PFL bu tton on the particu lar channel, m onitoring the level
on the right-hand m eter.

• Ad ju st the inpu t gain u ntil the m eter is ju st reaching the

am ber section (0d B) at a typ ical m axim u m sou rce level.
This allow s su fficient head room to accom m od ate peaks
and establishes the m axim u m level for norm al operation
(bu t see note below ).

• Repeat this proced u re on other channels as requ ired . As

m ore channels are ad d ed to the m ix, the m eters m ay m ove
into the red section. Ad ju st the overall level u sing the
Master Fad ers if necessary.

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 • If you cannot obtain a satisfactory setting, e.g. the gain
control is right at the extrem e low end of the scale on
Microphone Inpu t, try u sing the Line Inpu t instead .

• Listen carefu lly for the characteristic sou nd of ‘feed back’.

If you cannot achieve satisfactory inpu t level setting
w ithou t feed back, check m icrophone and speaker
placem ent and repeat the exercise.

You are now read y to start bu ild ing the m ix and this shou ld
be d one p rogressively, listening carefu lly for each com p onent
in the m ix and w atching the m eters for any hint of overload .
If this occu rs, back off the ap p rop riate Channel Fad er slightly
u ntil the level is ou t of the red segm ents, or ad ju st the Master
Fad er.
N ote: The level of any sou rce signal in the final ou tp u t is
affected by m any factors, p rincip ally the Gain control,
Channel Fad er and Ou tp u t Fad ers. You shou ld try to u se only
as m u ch m icrop hone gain as requ ired to achieve a good
balance betw een signals, w ith the fad ers set as d escribed
above. If the inp u t gain is set too high, the channel fad er w ill
need to be p u lled d ow n too far in com p ensation to leave
enou gh travel for su ccessfu l m ixing and there is a greater risk
of feed back becau se sm all fad er m ovem ents w ill have a very
significant effect on ou tp u t level. If the gain is set too low ,
you w ill not find enou gh gain on the fad ers to bring the signal
u p to an ad equ ate level.

Microphone Pla cement Carefu l m icrop hone p lacem ent and the choice of a su itable
typ e of m icrop hone for the job is one of the essentials of
su ccessfu l sou nd reinforcem ent. The aim shou ld be to p lace
the m icrop hone as close as p hysically p ossible to the sou rce,
to cu t ou t u nw anted su rrou nd ing sou nd s, allow a low er gain
setting on the m ixer and avoid feed back. Also a w ell-chosen
and w ell-p laced m icrop hone shou ld not need any ap p reciable
equ alisation.

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 APPLICATIONS

SPIRIT LIVE 4 is d esigned p rim arily as a sou nd

reinforcem ent m ixer, bu t m ay also be u sed for basic
m u ltitrack record ing. The follow ing d iagram s show typ ical
configu rations w hich w ill illu strate how the m ixer is
connected to other equ ip m ent.

Exa mple 1 - Public In this basic set-u p , an assortm ent of sou rces are connected to
Address - Stereo Output the inp u t channels, m icrop hone to m ic. inp u ts, and a
keyboard and gu itar to line inp u ts. N ote that som e gu itars
w ou ld not p rod u ce su fficient level for a d irect connection, and
w ou ld requ ire a D.I. box connected via the m icrop hone inp u t.
The m ix L/ R ou tp u ts are connected to the p ow er am p lifier
and sp eakers, and a com p ressor/ lim iter is inclu d ed in the

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 ou tp u t signal p ath via the Left and Right insert p oints.

Exa mple 2: Public In this second exam p le the Grou p 1 Ou tp u t is u sed to d rive an
Address - Stereo ad d itional centre sp eaker, w ith ind ivid u al fad er control. The
+ Centre Feed rou ting on the inp u t channels allow s ind ivid u al selection to

the Centre ou tp u t by rou ting to Grou p 1.

Exa mple 3: Public In this exam p le the console is u sed to feed lou d sp eakers in
Address - Mono Output Mono only. The com p ressor rem ains in the Left and Right
Inserts for u se on these ou tp u ts if requ ired . A feed from
another m ixer is su bm ixed to the d esk on Retu rns 1 & 2. N ote
that the Grou p s m ay be u sed for su bgrou p ing channels to the

FROM
SUBMIXER

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 final ou tp u t.

Exa mple 4: The console m ay also be u sed for 2-Track or basic m u ltitrack
Stereo Recording record ing live or in the stu d io. The set u p is sim ilar to the
p reviou s exam p les bu t w ith the Mix L/ R Ou tp u t feed ing a
2-track Tap e Machine. Au x 1 is u sed to p rovid e artists
fold back on head p hones, and Au x 3 and 4 feed a reverb u nit

2 TRACK TAPE
MACHINE

REVERB

w hich is retu rned to the console on RET1 and RET2.

Exa mple 5: In this last exam p le the m ixer is connected to a m u ltitrack

Multitra ck Recording tap e m achines, and the m ain ou tp u ts to a 2-track m achine for
m ixd ow n. Once again a com p ressor has been inclu d ed in the
insert p oints.
Feed s to the m u ltitrack are taken from the channel DIRECT
ou tp u ts. Ou tp u ts from tap e are fed back to the channel line
inp u ts and can be m ixed d ow n to the stereo m ix ou tp u t as
requ ired . Au x 3 & 4 feed an effects u nit as in the p reviou s

EFFECTS PROCESSOR

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 CARE OF YOUR MIXER

Genera l Preca utions Avoid storing or u sing the m ixer in cond itions of excessive
heat or cold , or in p ositions w here it is likely to be su bject to
vibration, d u st or m oistu re.
Keep the m ixer clean u sing a soft d ry bru sh, and an
occasional w ip e w ith a d am p cloth or ethyl alcohol. Do not
u se any other solvents w hich m ay cau se d am age to p aint or
p lastic p arts.
Avoid p lacing d rinks or sm oking m aterials on or near the
m ixer. Sticky d rinks and cigarette ash are frequ ent cau ses of
d am age to fad ers and sw itches.
Regu lar care and insp ection w ill be rew ard ed by a long life
and m axim u m reliability.

Glossa ry

auxiliary send an ou tp u t from the console com p rising a m ix of signals from

channels and grou p s d erived ind ep end ently of the m ain
stereo/ grou p m ixes. Typ ically the feed s to the m ix are
im p lem ented on rotary level controls.
balance the relative levels of the left and right channels of a
stereo signal.
clipping the onset of severe d istortion in the signal p ath, u su ally
cau sed by the p eak signal voltage being lim ited by the
circu it’s p ow er su p p ly voltage.
dB (decibel) a ratio of tw o voltages or signal levels, exp ressed by the
equ ation d B=20Log 10 (V1/ V2). Ad d ing the su ffix ’u ’ d enotes
the ratio is relative to 0.775V RMS.
D I(direct injection) the p ractice of connecting an electric m u sical instru m ent
d irectly to the inp u t of the m ixing console, rather than to an
am p lifier and lou d sp eaker w hich is covered by a m icrop hone
feed ing the console.
direct output a p ost fad e line level ou tp u t from the inp u t channel, byp assing
the su m m ing am p lifiers, typ ically for send ing to ind ivid u al
tap e tracks d u ring record ing.
equaliser a d evice that allow s the boosting or cu tting of selected
band s of frequ encies in the signal p ath.

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 feedback the ‘how ling’ sou nd cau sed by bringing a m icrop hone
too close to a lou d sp eaker d riven from its am p lified signal.
foldback a feed sent back to the artistes via lou d sp eakers or
head p hones to enable them to m onitor the sou nd s they are
p rod u cing.
frequency response the variation in gain of a d evice w ith frequ ency.
(sub) group an ou tp u t into w hich a grou p of signals can be m ixed .
headroom the available signal range above the nom inal level
before clip p ing occu rs.
highpass filter a filter that rejects low frequ encies.
line level signals at a nom inal level of -10 to +6d Bu , u su ally com ing from a low
im p ed ance sou rce.
mono output a m ono su m of the left/ right m ix ou tp u ts, p rovid ing a
sep arately controlled line level feed for ad d itional
lou d sp eakers.
pan (pot) abbreviation of ’p anoram a’: controls levels sent to left
and right ou tp u ts.
peaking an equ aliser resp onse cu rve affecting only a band of
frequ encies i.e. based on a band p ass resp onse.
PFL (pre-fade listen) a fu nction that allow s the op erator to m onitor the p re-fad e
signal in a channel ind ep end ently of the m ain m ix.
rolloff a fall in gain at the extrem es of the frequ ency resp onse.
shelving an equ aliser resp onse affecting all frequ encies above or
below the break frequ ency i.e. a highp ass or low p ass d erived
resp onse.
spill acou stic interference from other sou rces.
talkback the op erator sp eaking to the artistes or to tap e via the
au xiliary or grou p ou tp u ts.
transient a m om entary rise in the signal level.
+48V the p hantom p ow er su p p ly, available at the channel m ic
inp u ts, for cond enser m icrop hones and active DI boxes.

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 Selecta ble Options

Remova l of +48V on Mic Inputs

To d isable the +48V p hantom p ow ering on the m icrop hone

inp u ts, rem ove link J3 from Inp u t PCB SC3209. This can be
d one w ithou t rem oving the PCB as show n below , by carefu lly
cu tting the lead s of the link above the PCB at the p oints
m arked .
To reinstate the +48V, fit a rep lacem ent link, Part N o. AZ2222,
w hich is available from you r d ealer.

INPUT BOARD SC3209

JSKT1 JSKT2 JSKT3

CUT J3 CUT
C6
D3

C4
Edge view of PCB
C26

R24

R26

C22
IC1

L5

R34

R19 R25

J3

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 Reconfiguring Aux 2 a s a Post Fa de Send

Au x 2 is configu red as a PRE FADE send at the factory, bu t

m ay be altered to be POST FADE if requ ired by rep ositioning
a link on the Inp u t PCB SC3209 as show n below .

INPUT BOARD SC3209

J1

J2

J1

J2
PRE POST
L10

C28
R56
C27 PRE POST
R51

R50

R54
R52

R48

To change AUX 2 to POST FADE, rem ove the PCB from the
console and carefu lly u nsold er link J1 u sing the m inim u m of
heat to avoid the p ossibility of tracks lifting on the PCB.
Rep lace the link in p osition J2.
This operation should only be carried out by competent
technicians w ho possess the necessary soldering skills.

Pa g e 28

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 SPECIFICATIONS

Typ ical Figu res for a 16 Channel Console

NOISE
Measu red RMS, 22H z to 22kH z Band w id th
Line inp u ts selected at u nity gain and term inated 150R

MIX NOISE
Inp u t fad ers d ow n, channels rou ted to L-R, Pans central, Masters at m axim u m
Mix Left -82d Bu
Mix Right -82d Bu

AUX NOISE
Inp u t fad ers d ow n, Au x ou tp u ts at m axim u m , Fou r Stereo sections rou ted to Au x 1
Au x 1 -81d Bu
Au x 2 -84.5d Bu
Au x 3 -84.5d Bu
Au x 4 -84.5d Bu
Au x 5 -84.5d Bu

GROUP NOISE
Inp u t fad ers d ow n, channels rou ted to Grou p s, Pans central, Grou p gain at u nity.
Grou p 1 -84.5d Bu
Grou p 2 -84.5d Bu
Grou p 3 -84.5d Bu
Grou p 4 -84.5d Bu

E.I.N.
Microp hone Inp u t,
Maxim u m Gain, term inated 150R -127.8d Bu

CROSSTALK
Channel ON sw itch Isolation
Max. Channel Fad er Attenu ation
Rou ting Sw itch Isolation
Max. Master Fad er Attenu ation
Max. Grou p Fad er Attenu ation
Max. Au x Send Attenu ation
Max. Stereo Fad er Attenu ation
Stereo ON sw itch Isolation
Stereo Rou ting Sw itch Isolation
> 103d B to Mix L/ R @ 1kH z
> 87d B @ 10kH z, > 97d B @ 1kH z
> 87d B @ 10kH z, > 105d B @ 1kH z
> 100d B w id e band
> 90d B @ 10kH z, > 100d B @ 1kH z
> 85d B @ 10kH z, > 90d B @ 1kH z
> 95d B @ 1kH z
> 100d B w id e band
> 90d B @ 1kH z

Pa g e 29

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 DISTORTION
TH D m easu red at +20d Bu
Line Inp u t to Mix Ou tp u t < 0.0025% @ 1kH z, < 0.015% @ 10kH z

INPUT & OUTPUT IMPEDANCES

Microp hone Inp u t > 2kΩ
Line Inp u t > 10kΩ
Insert Send s 75Ω
Insert Retu rns 10kΩ
Ou tp u ts 75Ω

INPUT & OUTPUT LEVELS

Mic Inp u t Maxim u m Level +10d Bu
Line Inp u t Maxim u m Level +30d Bu
Mix Ou t Maxim u m Level +21d Bu
Mono Ou t Maxim u m Level +21d Bu
Au x Ou t Maxim u m Level +21d Bu

METERING
12 Segm ent LED Bargrap h
Accu racy Relative to 0d B +/ - 1d B

Pa g e 30

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 stereo master

GRP 1 GRP 2 GRP 3 GRP 4

1 1 7 8

DC POWER
MIC STE 1 AUX 1 AUX 2 AUX 3 AUX 4 AUX 5 INPUT

2 15
DIRECT MONO 9
RET 1 RET 2 RET 3 RET 4 INS L
10
3 1
LINE MIX

STE 2 INS 1 INS 2 INS 3 INS 4 INS R

4 INS
2
11
5 LINE 2 1
-10
-20dB

6
GAIN
3 HF 12

7
LF

8 HF

4 AUX

5 PRE
AUX1
LEFT RIGHT
AUX3 GRP 1 GRP 2 GRP 3 GRP 4
PFL
PST
MID
6 BAL
AUX 1 AUX 2 AUX 3 AUX 4 AUX 5 MONO

7 14
PFL 13
8
ON AFL AFL AFL AFL AFL AFL
LF

10 L-R
1-2
TB MIC

AUX
9 1 16

AUX
9
2

RET 1 RET 2 RET 3 RET 4 TB

PRE
AUX
3 3
L-R
2
-10
AUX GRPS
4
L-R L-R L-R L-R
HF AUX
1-2
AUX
5
4
AFL
LF PFL
PAN PAN PAN PAN

PAN
PST
5 PFL PFL PFL PFL 17
10 PHONES

AUX
GRP 1 GRP 2 GRP 3 GRP 4 LEFT RIGHT

PFL
11 PRE
AUX1

12
AUX4
PST 18
BAL
13
PFL

6
ON

L-R
3-4

14

stereo master

INPUT STEREO GROUPS & MASTER