Benutzeranleitung / Produktwartung Spirit Live 3-2 des Produzenten SoundCraft
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A Harman International Company.
Thank you for purchasing a SPIRIT LIVE 3 2 mixer, brought to you with pride by the SPIRIT team of Graham, Simon, James, Chris, Colin, Andy, Peter, Martin, René, Roland and Kevin, with the support of .
Page 1 INTRODUCTION T hanks for purchasing a SPIRIT LIVE 3 2 mixer. Owning a Soundcraft console brings you the expertise and support of one of the industrys leading manufacturers and the results of over 22 years experience supporting some of the biggest names in the busi- ness.
Page 2 BASIC PRINCIPLES OF PA MIXING T here 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 isnt true any more.
Page 3 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 facili- ties.
Installa tion and Safety Precautions Installing the Mixer C orrect connection and positioning of your mixer is important for successful and trouble- free operation. The following sections are intended to give guidance with cabling, connec- tions and configuration of your mixer.
Page 5 CONNECTING IT UP The diagram below shows various equipment that would be connected to a SPIRIT Live 3 2 USERMAN.QXD 13/06/97 12:27 Page 5.
WIRING IT UP MIC INPUT T he 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 close-miked drum kits needing maximum headroom.
Page 7 STEREO INPUTs, STEREO RETURNS Accept 3-pole `A gauge jacks, or 2-pole mono jacks which will automatically ground the cold input. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or as returns from processing units.
Page 8 AUX OUTPUTS The Aux outputs are on 3-pole A gauge jack sockets, wired as shown on the left, and incorporate impedance balancing, allowing long cable runs to balanced amplifiers and other equipment.
Page 9 Faul t Finding Guide Repairing a sound mixing console requires specialist skills, but basic Fault Finding is within the scope of any user if a few basic rules are followed. l Get to know the Block Diagram of your console (see page 27). It is just like following a road map.
Page 10 GETTING TO KNO W YOUR CONSOLE INPUT CHANNEL T wo inputs are available to the mono input channel, via XLR connector (normally for microphone sources) or 3-pole 1/4 A gauge jack socket for higher level signals such as keyboards, drum machines, synths or tape machines.
Page 11 The centre two pairs of knobs are arranged as HI MID and LO MID frequency sec- tions, with a cut/boost control (lower knob) of +/- 15dB, and a SWEEP(frequency) con- trol which determines at which frequency the boost/cut action will be centered.
Page 12 When the PFL switch is released the LED on the channel serves as a PEAK indicator, to warn when an excessively high signal level is present in the channel. The signal is sampled at three points in the channel, immediately after the Hi-Pass Filter (PRE- INSERT), PRE-EQ and POST-EQ.
Page 13 15 PFL When the PFL switch is pressed, a mono sum of the pre-fade signal is fed to the headphones and L & R meters, where it replaces the normal Mix L/R or Mono signal.
Page 14 23 22 19 20 18 17 21 22 +48V & PSU MONITOR The +48V switch with its associated LED applies phantom powering to all of the microphone XLR sockets on the input channels. NOTE: Phantom powered mics should not be plugged in with the +48V switched on.
USING YOUR SPIRIT LIVE 3 2 CONSOLE T he final sound from your P.A. system can only ever be as good as the weakest link in the chain, and especially important is the quality of the source signal because this is the starting point of the chain.
Page 16 l Listen carefully for the characteristic sound of `feedback. If you cannot achieve satis- factory input level setting without feedback, check microphone and speaker place- ment and repeat the exercise. Note: The initial settings should only be regarded as a starting point for your mix.
Page 17 Applica tion 1 - LIVE SOUND REINFORCEMENT This drawing shows a typical configuration for sound reinforcement, with the main PA fed from Mix L/R and a separate voice cluster fed from the Mono output.
Page 18 APPLICA TION 2 - LIVE SOUND - MONO SYSTEM ( E.G. CHURCH) This configuration is similar to application 1, but is a mono system. In this configuration Mix Left and Mix Right are used as subgroups by pressing the MIX TO MONO switch.
Page 19 APPLICA TION 3 - LIVE SOUND WITH MONO FILL This is a similar set-up to Application 1, but with the Mono output used to drive a separate amplifier and speaker to provide a mono fill. This can be fed via a delay unit if required, depending on the position of the speakers.
Page 20 APPLICA TION 4 - HOME RECORDING / BROADCAST In this example the desk is used to provide a final mix for stereo recording (or FM radio broadcast), mono recording (or AM radio broadcast) or laying tracks on a multitrack recorder by tapping off the channel insert points.
Page 21 CARE OF YOUR MIXER General Precautions l Avoid storing or using the mixer in conditions of excessive heat or cold, or in positions where it is likely to be subject to vibration, dust or moisture. l Keep the mixer clean using a soft dry brush, and an occasional wipe with a damp cloth or ethyl alcohol.
Page 22 highpass filter a filter that rejects low frequencies. impedance balancing a technique used on unbalanced outputs to minimise the effect of hum and interference when connecting to external balanced inputs. insert a break point in the signal path to allow the connection of external devices, for instance signal processors or to another mixer.
Page 23 TYPICAL SPECIFICA TIONS NOISE Measured RMS, 22Hz to 22kHz Bandwidth Line inputs selected at unity gain and terminated 150R MIX 16 ch. routed to Mix, input faders down, masters up - 85 dBu AUX Output at max.
Page 24 dim. ’x’ dim. ’y’ Console 8 channel 12 channel 16 channel 24 channel 456 mm (18.0") 572 mm (22.6") 688 mm (27.1") 920 mm (36.3") 381 mm (15.0") 497 mm (19.6") 613 mm (24.1") 845 mm (33.3") dim ’x’ dim ’y’ 86.
SPIRIT LIVE 3 2 EXPANDER Installa tion INSTRUCTIONS Page 25 Equipment required: o Screwdriver: No. 1 Pozidriv o Spanner: 5/16 AF Open (8mm.) o Spanner: M4 o Nut spinner M3 o Spanner M3 (open) Installa tion Kit (packed with expander) o 6 off M5 x 12 Pozi Pan Screws (Part No.
Page 26 6. Using the M3 screw, washer and nut provided, secure one end of the earth lead supplied to the screw hole on the left hand side of the Expander front panel, underneath the arm rest as shown. Ensure that any paint overspray is removed from the inside of the panel to provide a good electrical contact with the panel.
Page 27 PREQ AUX2 PST AUX1 AUX1 AUX3 PRE AUX2 PRE AUX2 PRE AUX3 PST MONO MIX AUX4 PRE PA N F ADER PFL PK MONO ON MIX 3 1 2 3 1 2 3 1 2 AUX1 AUX2 PRE AUX2 POST AUX3 PRE AUX3 POST AUX4 MIX LEFT MONO MIX.
USERMAN.QXD 13/06/97 13:09 Page 28.
JUMPER SETTINGS The settings for internal jumpers, as fitted in the factory, are as follows: MONO INPUT (SC3611) PEQ Not Fitted PRE Fitted OUTPUT/FX/STEREO (SC3612) SUM L Fitted for LEFT Output SUM R Fitted for RIGHT Output MASTER (SC3613) J1 Not Fitted J2 Fitted (Mono On Record) USERMAN.
A Harman International Company.
Ein wichtiger Punkt beim Kauf des Geräts SoundCraft Spirit Live 3-2 (oder sogar vor seinem Kauf) ist das durchlesen seiner Bedienungsanleitung. Dies sollten wir wegen ein paar einfacher Gründe machen:
Wenn Sie SoundCraft Spirit Live 3-2 noch nicht gekauft haben, ist jetzt ein guter Moment, um sich mit den grundliegenden Daten des Produkts bekannt zu machen. Schauen Sie zuerst die ersten Seiten der Anleitung durch, die Sie oben finden. Dort finden Sie die wichtigsten technischen Daten für SoundCraft Spirit Live 3-2 - auf diese Weise prüfen Sie, ob das Gerät Ihren Wünschen entspricht. Wenn Sie tiefer in die Benutzeranleitung von SoundCraft Spirit Live 3-2 reinschauen, lernen Sie alle zugänglichen Produktfunktionen kennen, sowie erhalten Informationen über die Nutzung. Die Informationen, die Sie über SoundCraft Spirit Live 3-2 erhalten, werden Ihnen bestimmt bei der Kaufentscheidung helfen.
Wenn Sie aber schon SoundCraft Spirit Live 3-2 besitzen, und noch keine Gelegenheit dazu hatten, die Bedienungsanleitung zu lesen, sollten Sie es aufgrund der oben beschriebenen Gründe machen. Sie erfahren dann, ob Sie die zugänglichen Funktionen richtig genutzt haben, aber auch, ob Sie keine Fehler begangen haben, die den Nutzungszeitraum von SoundCraft Spirit Live 3-2 verkürzen könnten.
Jedoch ist die eine der wichtigsten Rollen, die eine Bedienungsanleitung für den Nutzer spielt, die Hilfe bei der Lösung von Problemen mit SoundCraft Spirit Live 3-2. Sie finden dort fast immer Troubleshooting, also die am häufigsten auftauchenden Störungen und Mängel bei SoundCraft Spirit Live 3-2 gemeinsam mit Hinweisen bezüglich der Arten ihrer Lösung. Sogar wenn es Ihnen nicht gelingen sollte das Problem alleine zu bewältigen, die Anleitung zeigt Ihnen die weitere Vorgehensweise – den Kontakt zur Kundenberatung oder dem naheliegenden Service.
