MULTI-PURPOSE CONSOLES

FX16

16 Mono Channels
with onboard
Lexicon Effects

FX8

8 Mono Channels
with onboard
Lexicon Effects

SX

12 Mono &4 Stereo Inputs

M SERIES

4/8/12 Mono &4 Stereo Inputs

E SERIES

6 or 8 Mono &4 Stereo Inputs

NOTEPAD

4 Mono &2 Stereo Inputs

SPIRIT
RANGE
BROCHURE

CONTENTS
Quick Selector

Spirit Mixers at a glance

4?

Compare Spirit Mixer Inputs & Features Quickly

Features Table

Power Features

Page 4

What makes Spirit consoles special

Features in depth

Power Features

16 Mono Channels with onboard Lexicon Effects

FX16

The Mixers in detailPages 4 - 7

4-7

Full Product Description
Dimensions
Specifications

8 - 18

Pages 8 & 9Page 24
Page 25

8 Mono Channels with onboard Lexicon Effects

FX8

Full Product Description
Dimensions
Specifications

Pages 10 & 11
Page 24
Page 25

12 Mono & 4 Stereo Inputs

sx

Full Product Description
Dimensions
Specifications

M Series

Pages 12 & 13
Page 24
Page 25

4/8/12 Mono & 4 Stereo Inputs
Full Product Description
Dimensions
Specifications

E Series

Pages 14 & 15
Page 24
Page 25

6 or 8 Mono & 4 Stereo Inputs
Full Product Description
Dimensions
Specifications

Notepad4 Mono & 2 Stereo Inputs
Full Product Description
Dimensions
Specifications

Applications

Insert19 - 23

Mic/Line

Mic/Line

24 - 25

Dimensions &Specifications

Page 18
Page 24
Page 25

Using Spirit Mixers in Various Situations

Mic/Line

Mixer Applications

Pages 16 & 17
Page 24
Page 25

Mic/Line

Introduction
Live Mixing
Houses of Worship
Installed Sound
Submixing
Video Editing
Small/Home StudioStudio Recording

Page 19
Page 20
Page 21
Page 21
Page 22
Page 22
Page 22
Page 23

Mic/Line

Frequently Asked
Questions26
Other Soundcraft Products

How to find out more
See Back Cover

Glossary ofTechnical Terms

27

Other Soundcraft
productsback cover

2

WORLD CLASS MIXERSTEXASThe Spirit range fromSoundcraft rates among theworld’s best selling series ofcompact mixers. Designed bysound industry legend, Graham
Blyth, the multi-award-winning
Spirit range is unique inproviding professional featuresand sound quality at a priceeveryone can afford.
Every console in the Spirit
range is designed toincorporate the warm, British
EQ that has made Soundcraft,the leading name in live, studioand broadcast mixing fornearly 30 years.
Soundcraft has always been at
the forefront of console designand since the Spirit range’s
inception in 1991 it has been
responsible for many of thesound industry’s most groundbreaking products including theaward-winning Digital 328 (thelatest generation of which isthe 328XD) and, of course, theoriginal Spirit
console thatlaunched so many
imitations. Spirit
range mixers
include not only recording but
powered and live mixers foruse in installations and live
music applicatiomns Designedin the UK, the latest
manufacturing processes andtechnologies ensure the highquality and exceptional value ofall Spirit range designs.

When the Spirit range was firstlaunched, mixing desks were
either large and expensive, or
small but ineffective.
Soundcraft Spirit changed allthat. Packed with features,
more channels andprofessional-standard soundquality, Soundcraft Spirit wasliterally a revolution.
The original design has now
been refined and developed to
produce an unparalleled range
boasting 100mm faders, theon-board Lexicon effects of
Spirit FX16 and FX8, theextremely compact Spirit
Notepad, the all round usabilityof the Spirit SX and F1, andthe M Series with S/PDIF
digital output.

PORTISHEADALICIA’S ATTICCATATONIA

Famous Spirit users today
include artists like The Orb,
Manic Street Preachers,
INXS, Jean-Michel Jarre,
Sasha, Catatonia, M:People,
the Chemical Brothers, AsianDub Foundation, Texas, Pulp
and Portishead*. To discoverfor yourself why they all
chose Spirit, read on.

GOMEZSoundcraft Series 1- where it all began* No endorsements implied.

The new Soundcraft MH4 Live Performance console

3

SPIRIT FEATURESTHE SPIRITADVANTAGEULTRAMIC™
The mic pre-amp is one of the morecritical points in the signal chain.
Both live and in the studio, any
distortion or noise that is introduced
at this stage will remain a problem.
Graham Blyth’s UltraMic™ design

Soundcraft Spirit mixers sharethe same design philosophy,
aimed at delivering
uncompromising audio quality
and a wide range of features incompact, affordable products.
Many features are common to
all Spirit range models, andthese in turn are often based onfeatures of Soundcraft’s largeformat professional mixer
designs – also designed by
Spirit guru Graham Blyth. Afterall, when you’ve invented thebest ways of building
professional mixers, it makes
sense to use the same
techniques in designsof all sizes.

ies

pose

W

max

12

puts,

nputs

Quick Reference
Mixer Selector
Typical Applications
Band/PA Setups
Small Venues, Conferences
Installed Sound
Schools, Houses of Worship
Studio Recording
Video Pre/Post Production
Sub/Location Mixing
Multimedia

weep)

ixed

puts

eturnsayback

al

™

+4dBu

-10dBu

FX16

FX8

SX

M Series

E Series (ES)

NotepadMultipurpose••••
8/16 Track•

Multipurpose••••
8 Track•

Multipurpose•••

Multipurpose•• (not ES)••
Small/MIDI•• (not ES)•

Multipurpose•••

Multipurpose
•
•
•
•
DAW
•
•
•

•
4/8 Track
•
•
•

•
•
•
•

Rack Mount

OptionOptionOptionYes

OptionNo

Frame Sizes

26 inputs max

16 inputs max

20 inputs max

30 inputs max

26 inputs max (28 ES)

10 inputs max

16

8

12

4, 8 or 12

6, 8 or 12 (4 ES)

4Inserts

Mono Inputs,
Sub-mix, Mix

Mono Inputs,
Sub-mix, Mix

Mono Inputs,
Mix

Mono Inputs,
Mix

Mono Inputs,
Mix

None

Stereo Channels

4 stereo returns

4 stereo inputs

2 channels with
4 stereo inputs

4 stereo inputs

2 (10 ES)

2 stereo inputs

Mono Channels (Mic or Line)

Groupsnnels

sets a new standard for compact
mixer pre-amp performance, and hasearned praise from countlessreviewers and users around theworld. Unlike designs which favour
certain types of microphone, theDirect Outs

2

2

2

No

No

No

Mono Channels 1-16

Mono Channels 1-8

Mono Channels 1 - 8

Mono Channels

No

No

EQ Bands (mono inputs)

3 (mid sweep)

3 (mid sweep)

3 (mid sweep)

3 (mid sweep)

3 (mid sweep)

2 fixedEQ Bands (stereo inputs)None

2 band fixed on main 2

2 band fixed on main 2

2 band fixed

2 band fixed (3 ES)

None

High Pass Filters

Mono inputs

Mono inputs

Mono inputs

Mono inputs

None

None

Auxiliary Sends

3 + Lexicon

2 + Lexicon

3

4

2

1

4 Stereo Returns

Stereo Tape Return

Stereo Tape Returnto Monitor

4 Stereo returns
1 stereo playback

Stereo Tape Returnto Monitor/Mix

1 Stereo

Phantom Power

GlobalGlobalGlobalGlobalGlobalGlobalS/PDIF Output

No

No

No

Yes

No

No

Returns

4

SPIRIT FEATURES

exceptionally wide gain range of the
UltraMic™ (see diagram below) meansthat it can just as easily amplify thesignal from a low-output ribbon mic asa high-output condenser type. In fact
signals as hot as +22dBU can be
accepted, which means that it’s almost
impossible to push an UltraMic™ into
distortion. Over its entire 60dB gain
range, the noise and rejection ofinterference of UltraMic™ are
exceptional – a careful look at the EIN(Equivalent Input Noise) figures in thespecs show that the UltraMic™ is
almost silent. But then again, a careful
listen to any Spirit would tell you thesame thing.
The UltraMic™ input is also easy touse, reflecting another important partof the Soundcraft philosophy. With its
custom pot for gain control, the wholeof the pot’s travel gives usefuladjustment, whereas most mic pre-Compare the typical frequency ranges of different
voices and instruments with the EQ ranges foundon Spirit mixers (shown below):

PIANO (7-8 OCTAVES)BASSBASS DRUMBASS SAXGUITAR
SNARE DRUM
MALE VOICEFEMALE VOICEFOOTSTEPS
20Hz

1k

5k 10kHz

+15dB

-15dB
20Hz

In order to be truly effective, however,high-pass filters need a steep slope.
Spirit filters use an ultra-steep
18dB/octave slope (rather than the
more common 12dB/octave, shown by
a dashed line in the
0dB
diagram) which-3dB
means that all of thelower frequencies areattenuated – a lesssteep slope allows
20Hz
100Hz
more bass
frequencies to slip through, which
is bad. By positioning the filters at
100Hz (-3dB), Spirit’s HPFs act on thefull range of lower frequencies thatcause clarity problems in mixing. The
more commonly-used 50Hz or 75Hz
filter points tend to work only on thevery lowest frequencies.

500

Mid EQ frequency is sweepable on all Spirit mixers(except Notepad)

HIGH-PASS FILTERS
A High-Pass Filter is arguably one of
the most important features on achannel strip, enabling unwanted lowfrequency noise to be removed from asignal. Mics on stage can pick up agood deal of rumble, and by using an
HPF you can still employ the LF partof the channel EQ for creative work,
rather than using it for keeping stage
rumble at bay.

100

THE GREAT BRITISH EQ

100

500

1k

5k 10kHz

15dB of cut or boost is available at low, mid andhigh frequencies, giving plenty of control justwhere it’s needed
+15dB

Lo EQ

Hi EQ

-15dB
20Hz

100

500

1k

5k 10kHzSTEREO INPUTS
Most contemporary electronic
instruments have stereo outputs, andit’s always easier to deal with such a
stereo source with a stereo channel.
All your EQ and aux changes affectboth sides of the stereo signal equally,
and the sound remains balanced.
Stereo inputs don’t always give you
facilities such as EQ, but many Spirit
stereo channels have 2-band EQ withcarefully chosen frequencies thatenable effective adjustment in a live or
studio environment. On the SX, F1 andFX8, the jack inputs to each stereo
channel are supplemented by a second
set of inputs on RCA phonos, with asimple level control, providing still
more inputs in the compact frames.

The EQ on a mixer’s channel strip isboth a valuable device for correcting
problems and a creative tool in mixing.
The EQ circuits on Graham Blyth’s
larger Soundcraft designs havespawned many imitators, all trying torecreate the warmth and musicalitythat make the original EQ designs
popular with professionals around theworld. But why settle for an imitation
when you can have the real thing?
Part of the secret is careful positioningof the high and low shelving filters in
the classic 3-band configuration. By
setting the HF shelving frequency
sufficiently high, and choosing theright slope for the filter, the highest
band operates without interfering withthe swept mid-band, and this ensuresa natural sound and more effective
combination of frequency bands.
Similarly, the LF filter works only onfrequencies out of reach of the swept
band. Careful positioning of the LF
and HF bands also ensures that thefrequencies that are cut or boosted are
subjectively the most important ones.
The swept mid-band, with its Q (widthof the filter bell curve) of 1.5 operates
between the high and low bands. By
carefully choosing the right centre
frequency, Spirit’s swept EQ makes
it easy to locate and work on aparticular frequency range – either
to tune out a troublesome noisesuch as feedback, or boost a rangeof frequencies to emphasise thecharacter of an instrument.

5

SPIRIT FEATURESCUSTOM CONTROLSBUILD QUALITY
Soundcraft’s advanced manufacturing
ensures that all of these advanced
designs are produced efficiently and tothe very highest standards. Surfacemount PCB construction means thatcomponents can be soldered directly
to circuit boards, improving reliability
and efficiency, and reducing
susceptibility to vibration fatigue.
By allowing more, smaller components
to be precisely located on a denselypopulated board, surface-mounting
also allows more features to be
included on compact mixers. Yetanother benefit is that it reducescrosstalk, and sources of noise andinterference.

DESIGNER TECHNOLOGY
There are some aspects of good mixer
design that you can’t measure by
specifications and figures - such as
how easy it is to use. And if it’s noteasy to use, you’ll never get the bestout of it. That’s why we’ve always
placed great importance on goodindustrial design. The result is clear
control layout, plenty of space for yourfingers to work - even factors such as
colour choices are considered. This,
alongside the electronic excellence of
the Soundcraft Spirit range, is probably
why we’ve won so many awards.

6

BALANCED INPUTSAND OUTPUTS
Balanced audio connections, inwhich the signal is carried on two
wires plus a return screen, aremuch more resistant tointerference than unbalanced
signals, and are essential in many
professional applications. All Spirit
mixers therefore feature balanced
inputs and outputs.
Our impedance balanced outputs
provide the most cost-effective andtechnically correct method of
preventing external noise andinterference from getting into yourcables. The more widely-used but
cumbersome voltage balancing method
gives no useful advantage, and cancause problems unless the output
impedances are correctly matched.
All Folio channels feature electronicallybalanced inputs, enabling both
instruments and mics to be connected
via a professional balanced interface.

PHANTOM POWER
Condenser microphones are moresensitive, and generally offer better
audio quality than, dynamic
microphones. But they need power
to work, which is why all Spirit mono
input channels offer standard +48V
phantom powering. Of course you
can still use dynamic mics, but most
DI boxes or condenser mics that
require power will also have thepower they need.

Most manufacturers keep their costs
down by using off-the-shelf controls
for their mixers. These are invariably
not designed for professional audio
use, and simply don’t work as well as
custom designs. A small movement of
the control at one end of its travel willproduce an unwanted jump in level,
whereas the same movement at theother end of the scale might produce
only an imperceptible level change.
All Spirit mixers feature custom pots
and faders, ensuring that soundquality is matched by a usable,
effective interface, giving you theconfidence to fine tune a mix
effectively. All of our linear faders are
100mm, which means plenty of fader
resolution for smooth fade-outs andfade-ins.

+10
+10
+5
+5
0

0

-5
-10
-15
-20
-30
-40
-50

-5
-10
-15

∞

Ordinary
60mm fader(above)Folio 100mm
fader (right)

-20

-30

Actual size∞SPIRIT FEATURES
DIRECT OUTPUTS
Direct outputs allow the signal fromeach channel to be sent straight backout of the console as well as into its
audio busses. Individual channels canbe recorded separately to tape, andyou can record on as many
tape tracks at once as you havechannels. Folio direct outputs
can be switched to be either
pre-fade or post-fade. The prefade signal is the output fromthe channel EQ but before themute switch. This allows amulti-track recording to bemade independently of a live
performance (so that you canmix the show later from the multitrackrecording), or allows the faders andpan controls to create a monitor mix
during a recording session. The postfade signal is taken after the muteswitch and the fader, and can therefore
be used in a live situation to feed an
external effects device or allows thelevel to tape to be ‘ridden’ by the fader
when recording.

SUB-GROUPS
The more inputs you have, the harder
it is to control them all in a mix. One
way of making things easier is to send
sets of channels via a sub-group on
their way to the main mix. With Spirit
stereo sub-groups, you can group
together a set of channels - all of thedrum mics, or backing vocals - and mix
them via two 100mm faders into themain mix. We often provide dedicatedsub-group outputs, so that you can
use the sub-group to create an entirely
separate stereo mix from the main mix- which means greater flexibility ininstalled, live or theatre sound. In thestudio, sub-groups can also be used
for additional tape or hard disk sends.

LEXICON EFFECTS
Lexicon is widely acknowledged as
the first name in digital effects, andLexicon reverbs take pride of placein live and studio racks all over theworld. The Lexicon effects processors
built into Spirit mixers feature speciallyprogrammed versions of classic reverb,
delay and chorus effects, plus
combination effects such as reverbplus delay. While it’s very convenient
to have effects built in to a mixer, italso has another benefit as the signal
stays in the console and therefore
there’s no external cabling to add
noise or pick up interference.

Superb audio quality is matched byease of use. The 16 original presets are
selected via a rotaryswitch, and the easyedit system lets you
modify each presetvery quickly.
You can start fromany of the 16 presets
and easily reach yourrequired effectwithin a couple ofbutton presses.

Lexicon Effects Table (FX8 and FX16)
Param 1 control
Reverb decay
Reverb time
Delay time
Depth
Reverb time
Reverb time
Reverb time
Reverb time
Delay time
Delay time
Delay time
Delay time
Delay time
Delay time
Delay time
Delay time

Minimum
0.11 mSec
0.25 SecNo delay
0.34 mSec
0.25 Sec
0.25 Sec
0.25 Sec
0.25 SecNo delay
No delay
No delay
No delay
No delay
No delay
No delay
No delay

Maximum
283 mSec
6.5 Sec
977 mSec
5.8 mSec
6.5 Sec
6.5 Sec
6.5 Sec
6.5 Sec
977 mSec
977 mSec
977 mSec
977 mSec
977 mSec
977 mSec
977 mSec
977 mSec

Program
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16

Description
Gated Reverb
Chorus + Reverb
Chorus + Delay
Large Chorus
Plate
Room
ChamberHall
Delay + Bright Plate
Delay + Dark Plate
Echo + Plate
Delay + Bright Room
Delay + Dark Room
Echo + Room
Delay + Mono Regen
Delay + Stereo Regen

Param 2 control
Timbre
Speed
Speed
Speed
TimbreTimbreTimbreTimbreReverb time
Reverb time
Regeneration
Reverb time
Reverb time
Regeneration
Regeneration
Regeneration

Minimum
420Hz
OFF
OFF
OFF
420Hz
420Hz
420Hz
420Hz
0.25 Sec
0.25 Sec
0%0.25 Sec
0.25 Sec0%0%
0%Maximum
19kHz
16 glides
16 glides
16 glides
19kHz
19kHz
19kHz
19kHz
6.5 Sec
6.5 Sec
94%
6.5 Sec
6.5 Sec
94%
94%
94%

Another use of sub-groups on the FX16 is to make a drum group on towhich you can place an insert
compressor or other processing.

7

16 MIC/LINE INPUT MIXERWITH LEXICON
16 Mono UltraMic™ Inputs
The FX16 offers a combination of powerful live and recording
features, with enough channels and direct outputs to enable
use with 16-track recording systems.

4 Stereo Returns

With its 16 mono channels, stereo effects returns and a 2-track return that canbe routed to the mix, the FX16 can handle up to 26 inputs simultaneously.
Channel direct outputs on all 16 mono channels can be switched pre or postfader, to feed a multitrack recorder on stage or in the studio.

Global 48V Phantom PowerUltraMic™ pre-amps, plus Spirit 3-band EQ, an effective high-pass filter andfull-size 100mm fader equip the mono channels to handle any mic
or instrument source. Channels can be routed either to themain or to the Sub stereo bus, and the Sub bus
switched into or out of the main mix, whichmeans that complex mixes can beeasily set up and controlled.
Using the FX16’s
Sub outputs,
you can set up
two separate
stereo mixes
to different
sets ofspeakers,
which isparticularly
useful in moredemanding live or
installed soundenvironments.

Lexicon Effects built in

3-Band EQ with Swept Mid

Direct Outs forMultitrack Recording
3 Auxes

26 inputs asstandard

Live situations are rarely
free of sources of noise andinterference, which is why the
FX16 is built like a tank, and hasbalanced connections in and out. The
relocatable jackfield can be rotatedthrough 90° to suit table-top or
rackmount use, saving space and leading
cables away in a sensible direction.

16 mono channels with highquality UltraMic™ pre-amps
4 stereo returns
4-bus architecture, with sub-grouproutable to mix
Built-in Lexicon dual effects processor
Direct outputs for multitrack recording,individually switchable for pre- or postfade operation

A studio-grade Lexicon processor offers a broad
range of classic effects treatments, from chorus andreverbs to combinations such as delay + reverb.
Effects presets can be edited via a simple but versatile interface, and 16 user
variations stored alongside the 16 presets.

Inserts on all mono channels
Inserts on stereo mix bus
3-band ‘British’ EQ with swept mid-band
Stereo 18dB/octave 100Hz high-passfilter to cut stage rumble

As well as the direct outputs, the FX16 also has three aux sends for effects ormonitors. Inserts on all mono channels, and on the main and sub busses, areprovided to make it easy topatch in vital processors.

+48V phantom power
Channel Mute control
10-segment tri-coloured metering
Two sub-group outputs
Separate mono sum output
Rackmount option (see p24)

“The FX16 is one of thebest thought-out compact
mixing desks ever”.
NIGEL LORD, FUTURE MUSIC“The direct outputs,
comprehensive effects
returns and price all
blow raspberries atthe competition”.
NORMAN FAY, THE MIXAPPLICATIONS

MAIN FEATURES

4-Bus Architecture

Live Sound:
Bands, Small Venues, Clubs,
Conferences, Schools,
Houses of Worship
Studio Recording:
Digital/Analogue Multitracking(8 or 16 track), Small/Home
Studios, Pre-/Post-Production

SEE PAGES 19 - 23
8

FULL FEATURE DESCRIPTIONS – PAGES 4 TO 7

EFFECTS

Auxiliary Outputs

MONO INPUTS

3 impedance-balanced 1/4" jacks send signals
to effects units or monitor/foldback
amplifiers.

Connectors
Neutrik XLR for mics. Phantom Poweravailable globally from the master section(condenser mics). 1/4 inch jack for line level
instruments. Mic and line inputs are balanced.
Direct Out and Insert point.

Phantom Power
Supplies +48V globally to power condenser
mics. LED indicates +48V active.

Stereo Return Section

Gain Control

4 inputs routable to Mix or Submix, withaccess to Auxes 1 or 2.

UltraMic™ padless preamp provides 60dB ofgain range. Maximum 22dBu of headroom.

Aux/FX Master Section

Equaliser Section

4 rotaries govern master levels of Auxes andLexicon effects. Each master may be solo’d
after the fader.

Steep 18dB per Octave 100Hz High
Pass Filter.
3-band British EQ with swept mid.
±15dB at Lo 80Hz, Hi 12kHz and Mid
variable 240-6kHz. Q = 1.5.
See page 5 for EQ curves.

2-Track Return Section
Rotary sets playback level.
Can be routed to Mix.

Monitor Source

Auxiliary Section

Monitor Mix and/or Submix. Press 2TK to playback master recordings without repatching.
Rotary controls monitor output level.

4 flexible auxiliary controls:
Aux 1 is pre-fader/post EQ for foldback orstage monitor mixes.
Aux 2 and 3 are post-fader/post EQ but Aux 2
is switchable pre-fader on each channel.
LexFX dedicated to Lexicon effects(post-fader).

Solo in Place (SIP)
Replaces PFL with SIP. LED lights in
SIP mode. See “Solo” mode operation.

MetersTwo 3-colour, 10-segment bargraph meters
show mix, submix, control room or 2-tracklevels. Peak reading (PPM). When any PFL,SIP or AFL switch is pressed, meters switch
to show solo level.

PanTo position signal in stereo mix or for
subgroup routing.

Routing Section
Any channel can be routed to Mix and/or Sub
Outputs. Signal to Auxes, Mix and Sub Out
can be muted.

PhonesFor headphones of 200 Ohms or greater
impedance. Rotary pot governs output level.

Solo

Sub-Mix and Mix Faders

Monitors the pre-fade signal of a “solo”
channel before it reaches the main mix. If SIP
is pressed in master section, gives true stereo
position, after fader and with effects.

Pressing the “Sub to Mix” switch routes
submix buses to the mix. Insert points allow
signal processors to be connected acrosssubmix and mix.

Direct Pre
Allows direct outs to be switched to pre-fader(live recording to prevent multitrack levels
from being affected by changes to the FOHmix) or post-fader for studio work.

LEXICON EFFECTS SECTION
Effects Controls

100mm Fader

The Lexicon dual effects section provides
combinations of delay, reverb and chorus.
Each effect has two editable, storable/
recallable parameters.
See Lexicon Effects table on page 7.

GROUP/MASTER SECTION
Connectors are on rear panel – see below.

Programme Select2-Track ReturnSelect from 16 pre-programmed effects
combinations.

Two phono connectors allow playback ofmaster stereo recording or for pre-show
music.

Parameter AdjustParam 1 / 2 alter values of two effectparameters using encoder. Alterations areheld in memory when Parameter switch isreleased; User Mode LED indicates analteration has been made to factory preset(restorable).

Mono Sum Output
Useful as additional bass bin send, side fill
feed, mono PA feed or for induction loops.

Monitor Outputs
For nearfield monitors via an amplifier.

Lexicon Effects Return

Mix Outputs

Rotary sets Lexicon effects return level,routable to Mix or Sub. Internal effects haveaccess to Aux 1 or 2, allowing you to add
reverb to a foldback mix, or to mix external
effects with the Lexicon processor to create
unique combination effects.

2 impedance-balanced XLRs send mix signal
to PA speakers or a stereo recorder.

Mix Inserts
For processing all signals routed to mix with acompressor/limiter or other device.

Subgroup Outputs

Lexicon Foot Switch

2 impedance-balanced
1/4" jacks send
subgroup signal to a
multitrack or additional
speakers.

Allows effects to be turned on or off on stage
using a guitar foot-pedal.

Subgroup Inserts
For processing thesubgroup signal.

Rear Connector Panel

LEXICON EFFECTS TABLE – PAGE 7

SPECIFICATIONS – PAGE 25

98 MIC/LINE INPUTMIXER
WITH LEXICON EFFECTS
8 Mono UltraMic™ Inputs

4 Stereo Inputs

Global 48V Phantom Power

3-Band EQ with Swept Mid

Whatever the application, you can add studio-quality digital effects using thebuilt-in Lexicon effects processor. Its 16 preset chorus, delay and reverb
effects are selected with a simple control knob, and an easy-touse interface allows each preset to be quickly edited tocreate your own custom effects.

4-Bus Architecture
Direct Outs for Multitrack
Recording
3 Auxes

18 inputs as standard
All eight monochannels feature an
UltraMic™ pre-amp, plus
a full-size100mm fader for
more accurate and precise
mixing. Direct outputs on eachchannel can be used either as prefader multitrack feeds for live
recording, or post-fader feeds for
tracklaying in the studio. Four pairs ofstereo inputs are provided for effects,
keyboards or other stereo sources.

8 mono channels with
UltraMic™ pre-amps
4 stereo inputs
4-bus architecture, with sub-grouproutable to mix
Direct outputs from channels 1 to 8 formultitrack recording
Direct outputs can be switched globally
pre- or post-fade
Inserts on all mono channels
Inserts on stereo mix bus
3-band ‘British’ EQ with swept mid-band
Stereo 18dB/octave 100Hz high-passfilter to cut stage rumble+48V phantom power
Channel On switch for mute control
10-segment tri-coloured metering
Two sub-group outputs
Separate mono sum output
Can be rackmounted (option)“The rest of the band have been
well impressed with the desk...Theeffects all sound great and it’s very
easy to use – I haven’t actuallylooked at the manual yet”.
PAUL JONES, CATATONIA

All channels can be routed to a true stereo
sub bus or to the main mix bus. In this way thelevels of several channels into the main mix can be controlled with the sub
faders, or you could create a second stereo mix in live or installed use – fora supplementary pair, or array, of speakers. 10-segment LED meters provide
precise level monitoring, and remote control of effects switching is possible
via a footswitch input.
As well as the internal
Lexicon effects send, theFX8 offers two aux
sends for outboard
effects or monitoring.
The internal effects canbe routed to the main or
sub stereo busses, andalso mixed into Aux 1 orAux 2, to add reverb to a
foldback mix.

APPLICATIONS

MAIN FEATURES

Lexicon Effects built in

These days there’s simply no excuse for a live mixer to give
anything away to a studio mixer in terms of audio quality.
With its combination of live and recording-oriented features,plus all the usual Spirit benefits, the Spirit FX8 is ideal forboth stage and studio use, and is particularly suitable forlive recording.

Studio Recording:
Digital/Analogue Multitracking(8 track), Small/Home Studios,
Pre-/Post-Production
Live Sound:
Bands, Small Venues, Clubs,
Conferences, Schools,
Houses of Worship

SEE PAGES 19 - 23
10

FULL FEATURE DESCRIPTIONS – PAGES 4 TO 7

MONO INPUTS

Mix Inserts

Connectors

For processing all signals routed to mix
with a compressor/limiter or other device.

Neutrik XLR for mics. Phantom Poweravailable globally from the master section(condenser mics). 1/4 inch jack for line level
instruments. Mic and line inputs arebalanced. Insert point.

Monitor Outputs
For nearfield monitors via an amplifier.

2-Track Return
Two phono connectors allow playback ofmaster stereo recording or for pre-show
music.

Gain Control
UltraMic™ padless preamp provides 60dB ofgain range. Maximum 22dBu of headroom.

Lexicon Foot Switch

Equaliser Section

Allows effects to be turned on or off onstage using a guitar foot-pedal.

Steep 18dB per Octave 100Hz High Pass
Filter.
3-band British EQ with swept mid. ±15dB
at Lo 80Hz, Hi 12kHz and Mid variable
250-6kHz. Q = 1.5.

Phantom Power
Supplies +48V globally to power
condenser mics. LED indicates +48V
active.

Auxiliary Section

Meters3 flexible auxiliary controls:
Aux 1 is pre-fader/post EQ for foldback orstage monitor mixes.
Aux 2 is post-fader/post EQ but switchable
pre-fader/post EQ from the master section.
LexFX dedicated to Lexicon effects (postfader/post-EQ).

Two 3-colour, 10-segment bargraph meters
show mix output levels. Peak reading(PPM). When any PFL or AFL solo ispressed, both meters switch to show solo
level.

2-Track Return Section
Rotary sets playback level. Pressing 2-TK
switch replaces mix signal with tape return
signal.

Pan
To position signal in stereo mix or for
subgroup routing.

Aux/FX Master Section

Routing Section

3 rotaries govern master levels of Auxes 1,
2 and Lexicon effects. Aux 2 switchable
pre/post-fade; each master may be solo’d
after the fader.

Channel can be routed to Mix or Sub
Outputs. Muted until the Channel On ispressed.

Direct Pre/Post

Sub-Mix and Mix Faders

Allows direct outs to be switched either prefader (live recording to prevent multitracklevels from being affected by changes to the
FOH mix) or post-fader for studio work.

Pressing the “Sub to Mix” switch routes
submix buses to the mix. Dual insert
points allow signal processors to beconnected across the mix.

PFL Solo

Monitor Phones

Monitor pre-fade signal of a “solo” channel
before it reaches the main mix.

For headphones of 200 Ohms or greater
impedance. Rotary governs output level.

100mm Fader

LEXICON EFFECTS SECTION

STEREO INPUTS

Effects Controls

Stereo Inputs 9-10 & 13-14

The Lexicon dual effects section provides
combinations of delay, reverb and chorus.
Each effect has two editable, storable/
recallable parameters.
See Lexicon Effects table on page 7.

2 simple stereo inputs with phono
connectors. Can be routed to Mix or
Subgroup, with rotary level control.

Stereo Inputs 11-12 & 15-16
2 balanced line 1/4" jacks. Controls include
gain, 2-band EQ (±15dB at 80Hz and
12kHz), and balance. Other controls aresame as mic/line inputs.

Programme SelectSelect from 16 pre-programmed effects
combinations.

Parameter AdjustParam 1 / 2 alter values of two effectparameters using encoder. Alterations areheld in memory when Parameter switch isreleased; User Mode LED indicates analteration has been made to factory preset(restorable).

GROUP/MASTER SECTION
Connectors are at top of Group/Master
section. Outputs are impedance-balanced.

Subgroup Outputs
2 1/4" jacks send subgroup signal to a
multitrack or additional speakers.

Mix Outputs

Mid EQ sweepable 250Hz - 6kHz
Lo EQ
±15dB
at 80Hz

Lexicon Effects Return

Hi EQ
±15dB
at 12kHz

Rotary sets Lexicon effects return level,routable to Mix or Sub. Internal effects
have access to Aux 1 or 2, allowing you to
add reverb to a foldback mix, or to mix
external effects with the Lexicon processor
to create unique combination effects.

2 1/4" jacks send mix signal to PA speakers
or a stereo recorder.

Auxiliary Outputs
2 1/4" jacks send signals to effects units ormonitor/foldback amplifiers.

20

100

500

1k

5k

10k 20k

20

LF and HF EQ curves

100

500

1k

5k

10k 20k

Swept Mid EQ curve

Mono Sum Output
Useful as additional bass bin send, side fill
feed, mono PA feed or for induction loops.

Steep 18dB/octave 100Hz
High Pass Filter (ordinary
HPF shown dashed)
20

100

500

1k

5k

10k 20k

High Pass Filter
LEXICON EFFECTS TABLE – PAGE 7

SPECIFICATIONS – PAGE 25

11

COMPACT 20-INPUT MIXER FOR LIVE
12 Mono UltraMic™ Inputs

4 Stereo Inputs

Global 48V Phantom Power

Channel Mute

4-Bus Architecture

The SX has 12 mono channels for mic or line sources, each with an UltraMic
pre-amp, classic 3-band British EQ with a swept mid band, and a 100mm
fader for precise level control. Direct outputs are provided for recording, andthese can be switched pre-or post fade to suit live or studio use. Three auxes –one pre, one post, and one switchable – can be used for live monitor or studioeffects sends, and each channel can be routed to the main or the sub stereo
busses. Two stereo channels each accept an RCA stereo input and a second
pair of jack inputs with 2-band EQ, aux sends and main/sub routing.

Direct Outs for Multitrack
Recording
3 Auxes

20 inputs as standard“... Spirit SX seems
such a bargain I feel
I should have one”.

18 outputs including aux anddirect outputs
12 mono channels with high quality
UltraMic™ pre-amps

BOB DORMAN, THE MIX

4 stereo inputs
4-bus architecture, with sub-grouproutable to mix
Direct outputs from channels 1 to 8 formultitrack recording
Direct outputs can be switched globally
pre- or post-fade
Inserts on all mono channels
3-band ‘British’ EQ with swept mid-band
Stereo 18dB/octave 100Hz high-passfilter to cut stage rumble+48V phantom power
Channel On switch for mute control
Two sub-group outputs
Separate mono sum output

The SX is well-equipped with outputs – aswell as the main and sub mix outputs, each fed
via 100mm faders for precision control, there’s amono sum output, stereo monitor outputs, and thethree aux sends. Insert points on the mono inputs and thestereo mix bus allow compressors and EQs to be patched in, and2-track inputs are provided for playback.
And just to make surethat the SX really is asversatile as possible, itsrugged frame incorporates
a convenient carry handle,
and rackmount ears canbe fitted for touring,
installed and studio use.

Impedance balanced XLR outputs
Rugged aluminium chassis with integral
carry handle
Excellent protection against RF emissions
Rackmount option“I can’t think of allthat many PA jobs
I’ve ever done where
this desk wouldn’t
have coped easily”.
MIKE CROFTS,
SOUND ON STAGE

12APPLICATIONS

MAIN FEATURES

3-Band EQ with Swept Mid

Controlling more inputs in more complex mixing environments
is hard work – that’s why the 20-input Spirit SX has a true
stereo sub-group. By routing groups of channels to thissub-group and then routing it to the main mix bus, you cancontrol a set of instrument levels within the main mix, or use
it independently to feed a second set of stereo speakers in alive situation.

Live Sound:
Bands, Small Venues, Schools,
Conferences, Houses of Worship
Studio Recording:
Digital/Analogue Multitracking(4/8 track), Small/Home Studios,Pre- and Post-Production
Submixing
Location Sound
SEE PAGES 19 - 23

FULL FEATURE DESCRIPTIONS – PAGES 4 TO 7

& STUDIO USE
WITH 100MM FADERS

MASTER SECTION
Phantom Power
Switch for global +48V phantom power
on/off. LED indicates +48V active.

2 Track ReturnTwo unbalanced phono connectors. 2TK
LEVEL rotary controls playback levels.

Monitoring
Two impedance balanced 1/4 inch jacks forconnection to an amplifier and monitor
speakers. Monitor Mix, Submix, any Soloor 2-Track Return through monitor outputs
or phones.

MONO INPUTS
Connectors
Neutrik XLR for mics, with Phantom Poweravailable. 1/4 inch jack for line level
instruments. Mic and line inputs are balanced.
Insert point.

MetersTwo 3-colour, 10-segment bargraph meters
show mix output levels. Peak reading (PPM).
When any PFL or AFL solo is pressed, bothmeters switch to show solo level.

Direct Out
Globally switchable pre- or post-fader(Channels 1 to 8).

Auxiliary Masters

Gain Control

3 rotary controls govern the output levels
from the impedance-balanced auxiliary
outputs. Each master can be solo’d using
AFL switch. Pre/Post button switches all
Aux 2 signals between post- and pre-fader.

UltraMic™ padless preamp provides 60dB ofgain range. Maximum 22dBu of headroom.

Equaliser Section
Steep 18dB per Octave 100Hz High
Pass Filter.
3-band British EQ with swept mid. ±15dB
at Lo 80Hz, Hi 12kHz and Mid variable
250-6kHz. Q = 1.5.

Mono Output
Impedance balanced 1/4 inch jack provides amono sum from the mix. Rotary control alters
output level.

Auxiliary Section

Submix Outputs

3 flexible auxiliary controls:
Aux 1 is pre-fader/post EQ for foldback orstage monitor mixes, with Aux 3 set postfader/post EQ as an effects send.
Aux 2 is post-fader/post EQ but switchable
pre-fader/post EQ from the master section.

Two impedance-balanced 1/4 inch jacks with
100mm faders. For recording a group of
instruments or for controlling a separate
amp/speakers in a live setup.

Mix Outputs
The MIX L & R outputs are taken from two
impedance balanced XLR connectors, with
two insert points available. Mix level governedby two 100mm faders.

Routing Section
The Pan control positions the signal in thestereo image. Channel is muted until thechannel ON switch is pressed. Channel can berouted to Mix or Submix. PFL switch allows
you to solo the channel pre-fader.

PhonesFor headphones of 200 Ohms or greater.
Rotary control for headphone volume ormonitor outputs.

100mm fader

GENERAL

STEREO INPUTS
4 stereo inputs in two channel strips:

Integral handle
Integral handle which doubles as a tilt for thecontrol surface.

Inputs A and C
Two unbalanced phono connectors.
Level control, Mix/Submix routing.

Power Connector
Latched for reliability.

Inputs B and D
Two balanced line jacks for balanced or
unbalanced stereo source. Can be used as
mono channels by connecting a signal to theleft jack only.
Gain control, 2-band EQ (±15dB at Lo 80Hz
and Hi 12kHz), Balance control, Mix/Submix
routing, PFL.

Rackmount Option
Optional rackmount ears available. Occupies
10U of rack space (additional 1U is advisedfor cables).

Mid EQ sweepable 250Hz - 6kHz
Lo EQ
±15dB
at 80Hz

Hi EQ
±15dB
at 12kHz
Steep 18dB/octave 100Hz
High Pass Filter (ordinary
HPF shown dashed)

20

100

500

1k

LF and HF EQ curves

5k

10k 20k

20

100

500

1k

Swept Mid EQ curve

SPECIFICATIONS – PAGE 25

5k

10k 20k

20

100

500

1k

5k

10k 20k

High Pass Filter

13

HIGH PERFORMANCE COMPACT MIXE
Effective grounding
eliminates noise and crosstalk
3-band EQ with swept
mid bandHigh quality, linear mic
preamps with smooth gain
control

Sonic integrity through design
Through a fresh and innovative approach, Soundcraft designers have created amixer that rivals the sonic performance of many high end live consoles.
Attention to detail in the design of the Spirit M Series makes mixing a positivepleasure. A no-compromise approach to circuit design and to the quality of thecomponents throughout has resulted in a console that delivers exceptionally
low noise and crosstalk figures. Mic and line inputs areprovided on balanced XLR and 1/4"
jack connectors for optimum
performance, with the main stereo
outputs on balanced XLRs for better
integration with other professional
equipment. There are also insert points
on every mono channel and the mix
outputs for external signal processing.

Built for all eventualities

4 stereo inputs

Live sound reinforcement requires different mixes– a stereo master mix for the audience and one ormore monitor mixes for the performers on stage.
The monitor mixes can be set up using Aux 1-4 on the
M Series mixer. When a venue uses multiple fill speakers,
delay should be added to speakers that are closer to thelistener.
The direct outputs on the Spirit M Series can be used torecord each of the mono input channels to a multitrackrecorder. Each direct output can be individually switched to be pre-fade,ensuring the signal at these outputs remains unaffected by any movements ofthe channel faders during the live performance. Different mixes of theperformance can then be made after the event.

100mm faders

Integral rack mounting

4, 8, and 12-mono input channel frame
sizes
18dB/octave high-pass filter
4 aux sends, 2 pre-fade and 2 post-fade
4 stereo returns

Internal power supply
Integral rack mounting

Through integral rack ears, the M Series can be quickly transformed into arack-mounted desk suitable for use on the road. All three mixers in the range
occupy 11U of standard rack space.

Comprehensive monitoring control
Because levels are constantly changing throughout the signal path – from thepreamp stage, through filtering and EQ – the Spirit M Series provides signal
detect and peak LEDs on all input channels. These monitoring LEDs are fed
from multiple points in the circuit path to ensure nothing gets overlooked. The
main stereo mix has two 12-segment LED meters, with a SOLO AFL/PFL
indicator to show whether any solo channels or aux masters are being
monitored. With all this information instantly available, efficient control is easy
to maintain.

Switchable direct outputs
Use a single console for yourlive mix and recording.
Switchable direct outputs
enable the pre-fade signal to
be sent directly to therecorder regardless of thefader settings used for the live
mix, allowing total postproduction flexibility.

APPLICATIONS

MAIN FEATURES

01010101010101 Integrated S/PDIF digital
0101010 output
1010101

In a world full of cheap compact mixers, Soundcraft has
achieved something exceptional with the Spirit M Series.
Suited to a wide range of live sound applications, the Spirit M
Series delivers a great-sounding, reliable performance, gig
after gig, mix after mix. A mixer for life.

Digital audio workstation front-end
Public address
Small PA hire
Multi-speaker systems
PA mixing for bars, schools,
leisure centres, etc
Conferencing
Small-medium size band mixing
SEE PAGES 19 – 23

14

FULL FEATURE DESCRIPTIONS – PAGES 4 TO 7

ERS
CONTROLS & CONNECTIONSMONO INPUTS
Direct Out (switchable)
For connection to external multitrackrecorders or effects units.

Mic Input
A balanced female XLR connector accepts
balanced or unbalanced mic signals. At-128dbu EIN the mic amp is extremely quiet
and transparent.

Line Input
A balanced 1/4" jack for connecting balanced
or unbalanced electronic instruments, such as
keyboards.

Insert

RETURNS CONTROLS
Gain Control
Positioned at the top of each stereo channel strip, adjusts
the gainfor each stereo return, with a peak signal LED indicatingwhen the signal exceeds +17dBu.

Return Master
Adjusts the overall level of the stereo returns in the main mix.

Mute Button
When stereo returns are used to return a signal from aneffects unit, the mute button offers a fast method ofcomparing your mix with or without FX.

For patching in compressors or additional EQ
or for other signal processors. It can also be
used for recording.

CONNECTOR PANELGain
A rotary gain control on each input alters thegain of the input signal, from +5 to +60dB.
Linear circuitry within the preamp delivers
smooth gain control over the entire gain
range.

MASTER SECTION
Phantom Power
Global control over phantom power isoffered via a push button. When active, an
LED will illuminate.

Filter Section

2-Track Inputs

A high pass filter with an 18dB per octave
slope can be used to reduce frequencies
below 100Hz. Ideal for reducing unwanted
stage rumble or popping from microphones.

2-track recorder playback inputs are on
unbalanced RCA phonos.

Monitor Output and Mix Insert

EQ Section

Available on balanced 1/4" jacks.

Equalisation is split into three bands. The HF
control provides 15dB of cut or boost (gainadjustment) for frequencies above 12kHz. Two
swept mid frequency controls enablefrequencies from 240Hz to 6kHz to be
adjusted, offering 15dB of cut or boost at the
selected frequency. Signals below 60Hz can be
adjusted with the LF control, which features±15dB of gain adjustment (cut or boost).

Mix Outputs and Mono Sum
The main left and right mix outputs areprovided on balanced XLR connectors with amono sum signal available on a balanced 1/4"
jack.

Playback Level
The playback gain control adjusts the levelfrom the 2-track playback inputs. This
playback signal can be monitored separately
by pressing the PFL button, which routes it
to your monitoring system or to theheadphones, replacing any existing
monitoring signals. The ‘P/B Replace Mix’
button routes the playback signal directly tothe main mix, replacing any signal that may
be present.

Auxiliary Section
For sending separate monitor mixes in live
applications, four aux busses, with two prefade and two post-fade aux sends on each
input channel cater for all requirements.

Pan, Muting, PFL & Direct Pre
The pan control positions each channel’s signal
across the stereo image, with a mute button
to cut the signal completely. A PFL (Pre Fade
Listen) button solos the signal for monitoring.
The Direct Pre button selects the direct
outputs to be pre-fader.

Mono Sum, Monitor & Phones Level
Levels sent to the mono sum output,
monitor output and headphones can be
adjusted using these three rotary controls.
And when a pair of headphones are plugged
into the phones socket at the bottom rightof the mixer, the monitor outputs are cut foreasier headphone listening.

Faders and Metering
Each mono channel features a smooth
100mm fader, a signal LED to show whether
a signal is present and a peak level LED
indicating signal levels in excess of +17dBu.

Auxiliary Masters
The aux output contains a mix of the aux
send signals sent from each input channel,
which can then be sent as a monitor mix tostage loudspeakers or to send to an
external effects unit.
Each aux bus features a master level control,with an AFL (After Fade Listen) button
enabling monitoring of each aux output.
When pressed, the AFL button routes theaux output to the monitor ouputs or to theheadphones, where it can be monitored on
the master stereo meters.

STEREO INPUTS
Input Connectors
The stereo inputs are connected via balanced
1/4" jack inputs delivering optimum
performance with other professional audio
equipment.

Stereo Returns
Stereo returns for effects processors are via
RCA phono inputs – these returns can also be
used with CD players and other hi-fi
equipment.

Faders and Metering

EQ Section
Equalisation on the stereo channel strip is
simpler than the EQ featured on the monochannels. There are two controls, adjusting
HF signals at 12kHz and LF signals at 60Hz
by ±15dB.

Auxiliary Section
With 4 aux sends on the stereo input channels,
the signal can be sent pre-fade for use in amonitor mix (using aux sends 1 & 2) or sent
post-fade (via aux sends 3 & 4) for effects
processing.

Bal, Muting, PFL & Direct Pre
The balance control adjusts the amount of
the signal sent to the left and right busses.
Mute and PFL buttons operate as on themono input channels, cutting or soloing thestereo channel. With PFL pressed, the pre-SPECIFICATIONS – PAGE 25

fade signal is fed to the headphones, control room output andmeters, with levels displayed on the left and right meters inmono to enable levels to be monitored without interruption to
the main mix.

Controlling the overall stereo mix level are
two 100mm faders, with two 12-segment 3colour LED peak-reading bargraph meters
monitoring the mix right and mix left
outputs. These meters normally follow thecurrent monitor selection, so if any PFL or
AFL is pressed, the meters will switch tomonitor this and the Solo AFL/PFL LED willlight.

Faders and Metering
Each stereo channel features a smooth 100mm fader, a signal
LED to show whether a signal is present and a peak level LED
indicating signal levels in excess of +17dBu.

15

HIGH PERFORMANCE COMPACT MIXE
Multi-point signal channel
status monitoring (post-Mic
pre, post-EQ, post-fade) withproportional illumination
Close tolerance surfacemount components for highaccuracy repeateable EQ

Looking for a simple, easy to use mixer that delivers an
exceptional audio performance? The Spirit E Series is here. For
recording, live, install or broadcast use there’s a Spirit E
Series for you.
Sonic integrity through design

Precision, ultra-linear mic
pre-amps

Professional insert points
for external processing

6, 8 and 12 mono input
channel frame sizes, each with twostereo inputs
ES version has 10 full-function stereo
inputs and 4 mono inputs
2 aux sends, each globally switchable preor post-fade
100 mm faders

Catering for today’s
stereo environment
With so many stereo sources needing
simultaneous connection and mixing,
we’ve given you a mixer that can cope. The ESmodel has ten full-function stereo inputs with 3 band EQ as well as fourmono mic/line inputs, so you’ll have all the inputs you need without constantre-patching. You’ll also be able to plug in record turntables so you can include
DJ production in your mix.

Internal power supply
Simple rack mounting options

APPLICATIONS

MAIN FEATURES

True, professional +48V
phantom power forcondensor microphones

The emphasis with the Spirit E Series is very firmly on quality audio performance,with an easy to understand control surface uncluttered by unnecessary facilities.
Mic and line inputs are provided on balanced XLR and 1/4" jack connectors for
optimum performance, with the main stereo outputs on balanced XLRs for better
integration with other professional equipment. There are also insert points on every
mono channel and the mix outputs for external signal processing.

Quality audio mixing of any source
for recording
Multiple stereo source mixing andrecording (ES)PA mixing for bars, schools, leisurecenters etc
Live keyboard submixing (ES)
Small-medium size band mixing
Public Address
Multiple speaker installations
SEE PAGES 19 - 23

16

Rack mounting options
Through additional rack ears, the E Series canquickly be transformed into a rack-mounted desk
suitable for use on the road or in custom furniture.
All four mixers in the range occupy just 9U ofstandard rack space.

Comprehensive monitoring control
Because levels are constantly changing throughout
the signal path — from the preamp stage, throughfiltering and EQ — the Spirit E Series provides
peak LEDs on all input channels. These monitoring
LEDs are fed from multiple points in the circuit
path to ensure nothing gets overlooked. The main stereo mix has two 10-segment
LED meters, with a SOLO indicator to show whether any solo channels or aux
masters are being monitored. With all this information instantly available, efficient
control is easy to maintain. The LEDs also employ proportional illumination to show
signal level when approaching peaks. This feature allows you to maximise thequality of any signal by utilising all of the available headroom.

FULL FEATURE DESCRIPTIONS – PAGES 4 TO 7

ERS WITH 100MM FADERSMONO INPUTS (E and ES Models)

MASTER SECTION

Mic Input

Phantom Power

A balanced female XLR connector accepts
balanced or unbalanced mic signals. At -128dbu
EIN the mic amp is extremely quiet andtransparent.

Global control over professional +48V phantom
power is offered via a push button. When active,
an LED will illuminate.
2-Track Inputs and Outputs
2-track recorder playback inputs and record sends
are on unbalanced RCA phonos.
Monitor Playback routes the playback input toyour monitoring system or to the headphones,
replacing any existing monitoring signals.
Plyback to Mix routes the playback signal directly
to the main mix, replacing any signal that may bepresent.

Line Input
A balanced 1/4” jack for connecting balanced or
unbalanced electronic instruments, such as
keyboards.

InsertUsed for patching in compressors or additional
EQ or for other signal processors. It can also be
used for recording to multi-track recorders if
necessary.

Gain
A rotary gain control on each input alters thegain of the input signal, from +5 to +60dB.
Linear circuitry within the preamp delivers
smooth gain control over the entire gain range.

EQ Section
Equalisation is split into three bands. The HF
control provides 15dB of cut or boost (gainadjustment) for frequencies above 12kHz. Two
swept mid frequency controls enable frequencies
from 140Hz to 3kHz to be adjusted, offering
15dB of cut or boost at the selected frequency.
Signals below 80Hz can be adjusted with the LF
control, which features ±15dB of gain
adjustment (cut or boost).

Auxiliary Section
For sending separate monitor mixes in live
applications, or for use with fx units two aux
sends on each input channel cater for all
requirements. Each Aux bus can be globallyswitched to be pre or post fade on the master
section.

Pan, Muting, and SOLO

Monitor Output and Mix Insert
Available on balanced 1/4” jacks.

Mix Outputs and Mono Sum
The main left and right mix outputs are provided
on balanced XLR connectors.

Playback Level
The playback gain control adjusts the level fromthe 2-track playback inputs.

Monitor & Phones Level
Levels sent to the monitor output and headphones
can be adjusted using these two rotary controls.
And when a pair of headphones are plugged into
the phones socket at the bottom right of themixer, the monitor outputs are still operational for
simultaneous listening by a performer andengineer.

Faders and Metering
Controlling the overall stereo mix level are two
100mm faders, with two 10-segment 3-colour
LED peak-reading bargraph meters monitoring themix right and mix left outputs. These meters
normally follow the current monitor selection, so if
any PFL or AFL is pressed, the meters will switch
to monitor this and the Solo AFL/PFL LED willlight.

The pan control positions each channelís signal
across the stereo image, with a mute button to
cut the signal completely. A SOLO button solos
the signal for monitoring.

Faders and Metering
Each mono channel features a smooth 100mm
fader, and a peak level LED indicating signal
levels in excess of +17dBu.

STEREO INPUT (E6, 8 and 12 models)
Input Connectors
The stereo inputs are connected via balanced
1/4” jack inputs delivering optimum performancewith other professional audio equipment.

EQ Section
Equalisation on the stereo channel strip is
simpler than the EQ featured on the monochannels. There are two controls, adjusting HF
signals at 12kHz and LF signals at 80Hz by±15dB.

Auxiliary Section
With 2 aux sends on the stereo input channels,
the signal can be sent pre-fade or post-fadeaccording to master selection, for use in amonitor mix or for effects processing.

STEREO INPUT (ES Model)
The full-function stereo input on the ES has thesame line input gain, auxiliary and fader controls
as the standard E Series stereo input, but has anenhanced connectivity set and EQ section.

ES Stereo Input Connections
Each stereo input has a balanced 1/4” jack forconnecting line level balanced or unbalanced
electronic instruments, such as keyboards. Stereo
inputs 1-2 also feature RIAA-equalised inputs on
RCA Phono connectors for turntable inputs. Stereo
inputs 3-6 also have parallel unbalanced RCA
Phono inputs for line level signals.

EQ Section
Equalisation is split into three bands. The HF
control provides 15dB of cut or boost (gainadjustment) for frequencies above 12kHz. A Mid
control offers 15dB of cut or boost at a frequencyof 600Hz. Signals below 80Hz can be adjustedwith the LF control, which features ±15dB of gain
adjustment (cut or boost).

Bal, Muting, and PFL
The balance control adjusts the amount of thesignal sent to the left and right busses. Muteand SOLO buttons operate as on the mono
input channels, cutting or soloing the stereo
channel. With SOLO pressed, the prefade signal
is fed to the headphones, control room output
and meters.

Faders and Metering
Each stereo channel features a smooth 100mm
fader, and a peak level LED indicating signal
levels in excess of +17dBu.

SPECIFICATIONS – PAGE 25

17

COMPACT MIXER

MAIN FEATURES

4 Mono Inputs

2 Stereo Inputs
If ever a mixer deserved to be called“small but perfectly formed”, it’s the Spirit
Notepad that earned the title. Despite its
ultra-compact size and very affordable price tag,the Notepad comes with the same professional
pedigree as all Spirit mixers,
and is packed with enoughfeatures to handle asurprisingly wide range of
mixing tasks.

Global 48V Phantom Power

10 inputs
4 mic inputs
2 stereo inputs
High-quality mic
pre-amp inputs
2-band EQ on all 4
mono channels

Notepad squeezes into its sub-250mm
wide frame an amazing 10 inputs,
designed to handle everything fromphantom-powered studio condensor mics
to DJ decks and samplers. Its high-quality
components and advanced design ensure
CD-quality sound, while its ergonomic
layout makes the Notepad very easy touse. And even on the smallest Spirit, as
well as essential features such as separate
mix and monitoring outputs, you getcustom-built pots designed to give thesame precision control and carefullytailored responses that grace the biggest
Soundcraft desks. However you look at it,
the Spirit Notepad is the most fullyfeatured small mixer in town.

Post-fade aux send on
every input
Stereo effects return
Switchable +48V
phantom power
Stereo inputs with switchable
RIAA pre-amps for turntables
2-track tape return
Separate mix and monitor
outputs
Peak and VU metering
Headphone output
Compact, lightweight design
Power on indicator
Custom designed rotary controls forconsistent, accurate response

MONO INPUTS
Connectors“A definite winner”.
NICK SERRE, THE MIX“Represents a new breed of pro
audio product”.
FRANK BEACHAM, PRO AUDIO REVIEW“What the Notepad does well, it
does magnificently...It’s a winner”.
DAVID ETHERIDGE, MUSIC MART

Four inputs for mics or instruments. Highquality preamps with XLR connectors formics and 1/4 inch jacks for electronic
instruments. 50dB of gain available.

Controls
Each channel has a Pre-Amp Level control tomatch input levels, Treble and Bass controls(Hi and Lo EQ), a post-fader Effects Sendlevel control, a Pan control to position thesignal in the stereo image and a Volume(Level) control.

APPLICATIONS

Personal Practice Mixing
DJ Mixing; Sub-Mixing

STEREO INPUTS
Two pairs of phono inputs will accept signals
from most line-level sources and, using theassociated switch, stereo turntables(activates internal RIAA preamp).

Controls
Each channel has a Pre-Amp Level control tomatch input levels, a post-fader Effects Sendlevel control, a Balance control to set relative
levels of left and right signals and a Volume(Level) control.

Location Mixing
Video Post Production
Multimedia; Home Studios
SEE PAGES 19-23

18

Two phono connectors for amp/speakers anda stereo 1/4 inch jack for headphones (200ohms or greater impedance) to monitor
signals before they go to the Master Mix.
Volume control on rotary pot.

Tape (In)Two phono connectors for stereo playback ofrecordings. Volume (Level) control.

Master Mix / Tape Switch
Switches between the Master Mix and Tape
(In) signals.

FX Section

Connectors

Small PA Setups: Bars,
Schools, House of Worship etc

Monitor Amp (Out) & H/Phones

One 1/4 jack for sending a signal out to aneffects unit (FX Send) and two 1/4 jacks toaccept the return signal. Volume (Level)
control for return signal.

Mic Power
Provides +48V phantom power forcondenser mics. Warning LED.

Metering
Amber AVG (Average) indicators show normal
signal levels; red PK (Peak) indicators warnof overload.

OPTIONSMic Stand Adaptor

MASTER SECTION

Allows Notepad to be fitted to a
microphone stand.

Master Mix (Out)Two 1/4 inch jacks for sending main mix to a
PA system or stereo recorder (e.g. DAT,
cassette deck or CD-R). Volume (Level)
control.

FULL FEATURE DESCRIPTIONS – PAGES 4 – 7

SPECIFICATIONS – PAGE 25

SPIRIT APPLICATIONS
Whatever the application – studio recording, live mixing or live recording – a mixer invariably does thesame basic job of combining and routing several signals at once.

But in situations as different as mixing a band ina small bar, sound reinforcement in a large
church hall, or recording in a compact studio,
this basic job comes with widely varied
additional requirements. Some situations requirevery specific features – mixing a turntable withother sources calls for RIAA pre-amps, forexample – whereas others require basic mixer
features such as auxiliary sends to be used inparticular ways. In the studio, they are generally
used to route signals through a choice of several
effects processors, whereas in live use the aux
sends are more useful to provide essential
monitor mixes for artists.

FX16

FX8

The diagrams on the following pages areintended as guides for how Spirit consoles canbe used in typical audio applications. We’ve
suggested how instruments, microphones andprocessors can be connected, and which outputs
are suitable for amplifiers, monitor sends and soon, but these are only suggestions.
While it’s important to stick to certain basics –getting inputs and outputs mixed up is usually abad thing – the requirements of a particularsituation could mean that you connect
equipment up in a different manner to anything
we’ve shown here. Use these examples as
starting points, and adapt them to the particularsituation. When you run out of stereo inputs for
keyboards, use two mono channels instead – justremember to use identical EQ settings on bothchannels. And remember: getting to know yourmixer properly makes any task a whole loteasier…

Stereo Returns
1-4, L&R

Auxes
1, 2, 3 & 4

Mix L

M Series

Playback
L&R

SX

Monitor L&R

StereoInputs
1-4 L&R

Mono
Sum

Mix R

Mix Insert L&R

Connector Panels
E Series

Auxes
1&2

Monitor L&R
Mix L&R
Mix Insert L&R
Playback In
Record Out

StereoInputs
1& 2 L&R

On the following pages, you will see
suggested applications and theconnections from each item ofequipment to Soundcraft Spirit mixers.
The illustrations on the left show you
exactly where all of the connectors foreach mixer are located so that you can
use them as guides for connecting up
your equipment.

Notepad

19

SPIRIT APPLICATIONS
FX8
FX16
SX
E Series
M Series

NotepadVocal Mic
Mic/Line

Mic/Line

Compressor/De-Esser

Mic'd Drum Kit

Insert

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Guitarthrough
DI Box

Mic/Line

Mic/Line

Mic/Line

Stereo A

Bass Guitar
Amp Mic'd

Stereo A

Keyboards
Effects

Stereo B

Stereo B

Stereo C

Stage Monitors
FX Send

Aux 1

Monitor
Amp L

Aux 2

Monitor
Amp R

Aux 3
[Not E Series]

Stage Monitor Amp

Tape In

2-Track Return

Master Mix Out

Monitor L/R

Cassette or CD Player for
Pre-Show / Interval Music
Main PA Amp
Main PA Speakers
Effects

Sub Insert[FX16 only]

Mono Amp
Mono
Sum Out[Not E Series]

Sub-Bass
Speaker with
Low Pass Filter

Graphic EQ across the mix
Mix Insert L/R

DAT or other Stereo Recorder
Mix Out L/RLive Mixing
Several different mixes are often required in live sound – a main stereo mix
for the audience, and one or more monitor mixes for artists. Rememberthat pumping more volume in to a room tends to make any acoustic
problems worse, and that radical EQ settings make feedback more likely.

Key toConnections
The connections shown in theseapplications have been colourcoded to assist viewing.

Mono Inputs

Auxes

Stereo Inputs

Outputs

Inserts

20

SPIRIT APPLICATIONS
FX8
FX16
SX
E Series
M Series

NotepadInduction Loop for the Hard of Hearing
Main Mic

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Houses ofWorship

Vocal MicAs in live music
mixing, a graphic
equaliser across themain outputs can bevery effective incorrecting room
acoustics (every hallor room tends toboost or cut somefrequencies relative toothers).

Vocal Mic

Choir Mics
Mic/Line

Guitarthrough
DI Box

Mic/Line

Mic/Line

Keyboard
StereoStereoAA

Main PA Speakers

Amp for Induction Loop
FX
ReturnAux 1

Amp with Monitor Speaker
Aux 2

MonitorL

MonitorL

MonitorR

MonitorR

Main PA Amp

Remember that themore mics you use,
the more chance there
is for feedback oramplifying unwanted
noise, so mute allunused channels.

Graphic EQ across the mix

Mix
Insert L

Mix
Insert R

Stereo Recorder
Mix OutL

Mix OutL

Mix OutR

Mix Out
R

Installed Sound
Notepad

E Series
M Series

FX8
FX16
SX

Mic/Line

Mic/Line

Mic/Line

FX
Send

Aux 1

Aux 1

Aux 2

Aux 2

Aux 3

Aux 3

Using aux outputs, rather than any form of signal splitter, means that sound levels
in different areas of a building or installation can be independently controlled.

Main Mic
Amp
Amp
Amp
[Not E Series]
Tape In

2-Track Return

Zone 3 Speakers
Zone 4 Speakers
Zone 5 Speakers

Music Playback

2-Track Return

Amp

Zone 6 Speakers

Sub Mix Out

Amp
Mono
Mono
Sum Out
Sum Out[Not E Series]
Mix Insert

Mix Insert

Mix Out L/R

Mix Out L/R

Graphic EQ
Amp

Master Mix Out

Control
Monitor

100 Volt Line System can be used
for long cable runs to speakers

Zone 1 Speakers
Zone 2 Speakers

21

SPIRIT APPLICATIONS
FX8
FX16
SX
M Series
M Series

Notepad

FX8
FX16
SX
E Series
M Series

NotepadKeyboards
Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Vocal Mic

Mic/Line

Compressor/Exciter
Insert

Mic/Line

Guitar throughEffects Processor
Output 1

SamplerStereoOutput

Mic/Line

Output 2

Synthesizer

Synthesizer

Mic/Line

StereoSeparate
OutputA

Mic/Line

Mic/Line

Mic/Line

StereoOutputStereo Output
Stereo A

Stereo A

StereoStereoBA

PC withHard Disc
Recordingcapability

SamplerStereo B

Stereo B

Master Mix Out

Mix Out L/R

FX
ReturnStereoSoundcard Output
B

Main Mixer

Effects (not on FX8)Soundcard
Input

StereoC

FX
Send

Submixing
If you’re running out of inputs on your main mixer, a
sub-mixer is an excellent way of adding however many
extra channels you need.

Aux 1

Aux 2

Aux 2

FX8
FX16
SX
E Series
M Series

Notepad

MonitorL

MonitorL

MonitorR

MonitorR

Amp

Nearfield
Monitors

DAT Player
Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mix
Insert L

Compressor

Mix
Insert R

CD Player
Mic/Line

Mic/Line

Mic/Line

Mic/Line

Mic/Line

Video 1

Mic/Line

Effects

Tape

2 Track

In

ReturnMix OutL

Mix OutL

Mix OutR

Mix OutR

DAT RecorderVideo 2
Stereo A

Stereo A

Stereo B

Stereo B

Video 3
Video 4
Stereo C

Stereo D

Video Editing
Aux 1

Amp
Monitor Amp

Monitor L/R

Master Mix Out

Mix Out L/R

22

MasterVideo
Monitor Speakers

A clean signal path and compact size are often more
important in video editing and post applications than awide array of features. Good EQ is valuable however,
either to correct for problems in recording, or to makeseveral video sequences sound more similar.

SPIRIT APPLICATIONS
Small/Home Studio Recording
Most small studios employ computer-based digital recording systems. Although we’veshown stereo inputs and outputs, most hard disk systems will allow multitrackrecording, sub-mixing digitally to a stereo output. Using aux rather than main outputs
allows the input levels to the soundcard to be set independently of the monitoringlevels, and ensures that feedback through the card is avoided.

FX8
FX16
SXM
E Series
M Series

Multitrack Analogue orDigital Recorder:
all Direct Outs from Mixer
connected to inputs

x8
x8
DirectOut

Insert

Mic/Line

DirectOut

Insert

Mic/Line

DirectOut

Insert

Mic/Line

DirectOut

Insert

Mic/Line

DirectOut

Insert

Mic/Line

DirectOut

Insert

Mic/Line

DirectOut

Insert

Mic/Line

DirectOut

Insert

Mic/Line

Mic'd Drum Kit

Mic'd
Acoustic
GuitarVocal Mic

Guitarthrough
DI Box

Vocal Mic
Keyboard

Artists' Headphones

Stereo A

Stereo B

Effects
Aux 1

Main Monitors

Headphone Amp
Aux 2

Nearfield Monitors

Headphone Amp
Aux 3[Not E Series]

Monitor Selector
Monitor L/R

Compressor
Sub Insert[FX16 only]

Graphic EQ

Monitor Amps

Mix Insert L/R

Stereo Mastering Recorder
Mix Out L/R

2-Track Return

Studio Recording
There are few hard and fast rules in the studio; if it sounds right, it is right. Although
for simplicity we’ve shown three mics on the drum kit, you might use a simple hungstereo pair, or multi-mic the entire kit. When recording vocals, avoid unwanted pops byusing a fine mesh in front of the mic.

23

DIMENSIONS
248.0 (9.76")

50.0(1.97")

Notepad
EQ Bands (mono inputs) ±15dB.

Lo
Mid (swept)
Hi
Q

EQ Bands (stereo inputs)

Lo
HiHigh Pass Filters

Frequency
Slope

237.0
(9.33")

224.0 (8.82")
148.0(5.83")

443.6 (17.46")

Noise
Mic EIN @ max gain, 150Ω source impedance
Aux, Mix & Masters @ max, faders down

FX16

Crosstalk (typical, @ 1kHz)
Channel Mute
Fader Cut-off (rel 0 mark)Routing Isolation
Aux Send Pots offness

442.0(17.42")10U

Frequency Response
Mic/Line Input to any output
482.0 (19") with rack brackets

106.1(4.18")

FX8

9.0 (0.35")

96.8(3.81")

420.0(16.54")96.8(0.39")

THD & NoiseMic Sensitivity -30dBu, +14dBu@ Mix output @ 1kHz

53.8
(2.12")

Rack
Brackets
Fitted449.1(17.68")Input & Output Impedances (Z)Mic Input
Line Input
Stereo Inputs – A, B / C, D
Outputs
Input & Output Levels
Mic Input max level
Line Input max level
Stereo (Return) Input max level
Headphones (@ 200Ω)

442.0(17.42")

Weights
Weight including power supply
58.9(2.32")

482.0 (19") with rack brackets

SX

M4(3.15")

335.4 (13.20")

M 8 / M 12118.7
(4.67")

444.6 (17.50")

118.7(4.67")

43.1 (1.70")

Inc.
Conns

33.0
(1.29”)

522.7(20.58")522.7(20.58")511.5(20.14”)440.0 (17.32")
479.0 (18.86")

443.5(17.46”)10U

40.0(5.7")
60.0(2.36")Inc.
Knobs

396.9 (15.63")

43.1 (1.70")

506.1 (19.93")

335.4 (13.20")

118.0 (4.65")

444.6 (17.50")

483.6(19.04")483.6(19.04")440.0 (17.32”)
483.0 (19”) with rack brackets

24373.4 (14.70")

42.5 (1.67")

482.6 (19.00")

42.5 (1.67")

SPECIFICATIONS
Notepad

FX16

FX8

SX

M Series

E Series

80Hz
240Hz-6kHz
12kHz
1.5

80Hz
250Hz-6kHz
12kHz
1.5

80Hz
250Hz-6kHz
12kHz
1.5

60Hz
240Hz-6kHz
12kHz
0.77

80Hz
140Hz-3kHz
12kHz
1.5

N/A
N/A

80Hz
12kHz

80Hz
12kHz

100Hz
18dB/Octave

100Hz
18dB/Octave

100Hz
18dB/Octave

100Hz
18dB/octave-129dBu<-80dBu-129dBu<-85dBu-129dBu<-85dBu-128dBu<-84dBu-128dBu<-85dBu-128.5dBu-80dBu

>96dB
>90dB
>90dB
>84dB

>96dB
>90dB
>90dB
>80dB

>95dB
>90dB
>90dB
>85dB

>90dB
>90dB
>90dB

>96dB
>96dB

>90dB

±0.5dB
20Hz-30kHz±0.5dB
20Hz-20kHz±1dB
20Hz-30kHz±1dB
20Hz-20kHz±0.5dB
20Hz-20kHz±1dB
20Hz-20kHz<0.009%<0.009%<0.006%<0.008%<0.007%<0.005%

1.8kΩ
10kΩ
N/A
75Ω

1.8kΩ
10kΩ
>10kΩ / 75Ω

1.8kΩ
10kΩ
12kΩ /10kΩ
75Ω

-2kΩ
>40kΩ
>30kΩ
75Ω

2.4kΩ
11kΩ
100kΩ
75Ω

1.8kΩ
20kΩ
20kΩ / 75Ω+22dBu+30dBu+30dBu150mW+22dBu+30dBu+30dBu150mW+22dBu+30dBu+30dBu150mW+12dBu+38dBu+21dBu150mW+17dBu+30dBu+30dBu300mW+14dBu+30dBu11.2kg / 24.6lb

8.0k /17.6lb

7.2kg/15.8lb

M4: 6.75kg /14.8lb
M8: 8.25kg /18.1lb
M12: 8.55kg /18.8lb

E6: 5.75kg /12.68lb
E8: 6.75kg /14.88lb
E12/ES: 7.75kg /17.09lb

1.9kg / 4.2lb

E680Hz (Mid 600Hz, ES)
12kHz

>90dB
>86dB

E8
95.11
(3.74")

275.6 (10.85")

E12/ES
95.11(3.74")

326.4 (12.85")

451.43(17.77")451.43(17.77")375.6 (14.79")
283.6 (11.77")

451.43(17.77")426.4 (16.79")
334.4 (13.17")

528 (20.79")
436 (17.17")

400.05(16.33")400.05(16.33")400.05(16.33")35.6(1.40")

35.6(1.40")
87.58(3.45")

95.11(3.74")

428 (16.85")

87.58(3.45")

35.6(1.40")
87.58(3.45")

25

FREQUENTLY ASKED QUESTIONSWhat are the maximum andminimum input levels to the mic
and line inputs?
The maximum levels are: +22dBu for
UltraMic™ preamp inputs (i.e. mic inputs on
all Spirits apart from the Notepad), +14dBu
for the Spirit Notepad mic inputs, and+30dBu for all line inputs.
There is no minimum level – but rememberthat the lower your input level, the morenoise will be noticeable. The noise floor of
UltraMic™ inputs is around -150dBu, so any
signal at this level will be effectively lost.

What cables should I use toconnect my Spirit?
The best you can afford! Cheap cables will
have poor quality connectors that will be
more likely to give trouble (such as crackle
and buzz) than good connectors. Also,
good cables will offer higher audio quality
and better rejection of interference,
particularly over long runs.

What are the maximum output
levels of the different outputs on
Spirit desks?

What is the typical output noise
on a Spirit model?
-80dBu at the master outputs, with themaster fader at max.

What is an auxiliary send?
An auxiliary send, usually abbreviated to
aux send or aux, is an extra output from amixer that can carry a quite separate
balance of sources to that sent to themaster outputs. In the studio aux sends
are used mainly for patching effects
processors in, by sending an aux mix to aeffects unit and then returning theprocessed signal to the desk. Auxes arealso useful for setting up on-stage monitor
mixes at gigs, for multi-speaker mixing ininstalled sound, and for routing signals tosamplers in programming/MIDI suites.

What are the nominal output
levels of the different outputs on
Spirit desks?
+4dBu for the mix, aux and group
outputs, and 0dBu for insert points anddirect outputs (where they are present).

What is a 2-track return?
2-track return is a very important input, as
it is there mainly to accept the output fromyour studio master recorder. Suppose
you’re mixing down a recording, andrunning your final mix to DAT. You have theSpirit’s Mix outputs connected to the DAT
inputs, and the DAT outputs to the 2-track
return on your Spirit. If your DAT recorder
allows off-tape monitoring, turn this on. By
switching from Mix to Tape monitoring on
the Folio’s master section, you will hear
the master recording a split-second after it
has been laid down to tape, and will
therefore know immediately whether there
is any problem in the all-important master.

What is a ground-compensatedoutput?
Ground-compensation (or ground-cancelling) isan electronic means of avoiding ground loops
even where the receiving equipment has
unbalanced inputs. Unwanted noise is rejectedby the addition of signals at the output end of
the connection rather than subtraction at the
input, in such a way that any differences inground voltage between input and output
are negated.

+21dBu.

How should I wire up insert and other cables for my Spirit?

Here are diagrams to show how some standard
leads should be made up.

BALANCEDUNBALANCEDINSERT LEADS

Line, Mix L&R, Sub L&R,
Aux, Stereo Inputs

Direct Output, Control Room L&R, Stereo Inputs

Mono Inserts, Mix L&R Inserts

26

GLOSSARY
AFL (After Fade Listen)

Foldback

Multicore

A solo function that sends the post-fadesignal of a channel to the monitor output.

On stage or in the studio, a feed sent
back to an artist via loudspeakers,
headphones or in-ear monitors, toenable them to hear the sound they are
producing. A foldback mix is usuallysimilar to the main mix, but with more
vocals or a particular instrument
as appropriate.

A cable with multiple cores, allowing
several signals to be carried independently
but within the same physical casing. Used
extensively in live sound to carry signals toand from the stage, and in studios forlinking multitrack recorders to mixing
consoles.

Attenuate
Another way of saying ‘reduce in level’.

Auxiliary output
An output consisting of a mix of signals(from channels and sub-groups) derived
independently of the main stereo andsub-group mixes. Auxiliary sends can beused for foldback and for effects sends.

Balance
On a stereo channel, the balance control
is used to vary the relative levels of theleft and right signals into the stereo
mix bus.

Near-field monitor
Front Of House (FOH)
In live sound, FOH refers to the soundand parts of the sound system provided
for the audience – the main system, inother words. See ‘Monitoring’.

A compact monitor speaker designed to
be used at a distance of three or four
feet. By listening in the near field (hence
the name), any effects of poor room
acoustics are minimised.

Gain

Outboard processors

Amplitude above a given level. Negative
gain means a signal reduction.

Strictly speaking, any effect or otherprocessor – but the term more usuallyrefers to processors such as compressors,equalisers or exciters, through which achannel or mix bus signal passes.
Compressors and equalisers are usuallyconnected to a mixer via insert points,
which break the internal signal path sothat it can be routed out and back via
the outboard.

BalancedGate

A method of audio connection whichbalances the sound signal between two
wires and a screen which carries nosignal. Any interference is picked up
equally by the two wires, but the signal
on one wire is out of phase with theother, which means that when they arerecombined the interference is rejected.

Short for noise gate. An electronic device
that mutes the signal path when the input
signal drops below a threshold level. They
are used to maintain silence in pauses inthe signal, such as in between vocal
phrases or drum hits, when noise mightotherwise become noticeable.

Pan
Graphic equaliser.

A microphone that uses a capacitor toconvert air movements into electricalsignals. They require power, which can besupplied by the Phantom Power found on
Folio desks.

An equaliser with small faders (orprogrammable ‘virtual’ faders in software)that cut or boost the level of narrow
bands of the audio spectrum. Mainly used
to compensate for imperfect room
acoustics, especially live.

DAT (Digital Audio Tape)High Pass Filter (HPF)

A cassette-based digital recording format.

A ratio of two voltages or signal levels. Achange in level of 3dB corresponds to aperceived doubling of volume to thehuman ear. 0dB means no level change.

An electronic circuit designed to filter out
frequencies below the filter’s cut-off
point. If this is set just above deep bass
frequencies, it removes only these from asignal, and is useful for stopping lowfrequency rumble from on-stage mics
from muddying a mix.

DI box

Impedance

A device that enables an instrument witha low-level output, such as a guitar or
bass, to be connected directly to the line
level input of a mixer.

For good audio performance, theimpedance of audio outputs should be
low, and input impedances should bevery high.

Dynamic Range

Line level

The ability of equipment (such as a Spirit
console) to reproduce very quiet andvery loud sounds – the greater the range,
the better.

A nominal standard signal level used whenconnecting one piece of audio equipment
to another. There are two line levels in
use: +4dBu, the ‘professional’ level, and-10dBV, which is more commonly used insemi-professional and consumer audio
equipment.

Condenser Mic

dB (decibel)

Short for panorama. Controls the levels
sent to the right and left outputs or bus.

Phantom power
This is a way of adding voltage to acondensor microphone or active DI box,
to power the internal amplifier circuits
without the need for batteries.

Phase
A term used to describe the relationshipof two signals. In phase signals reinforce
each other, out of phase signals produce
cancellation.

Unbalanced
A method of audio connection which uses
a single wire and the cable screen as thesignal return. This method does notprovide the noise immunity of a balanced
connection (see Balanced above).

Unity Gain

Equaliser
A device that allows selected bands within
the audio spectrum to be boosted or cut.

FX UnitSlang term for effects unit, either adedicated processor such as a digital
reverb or delay, or a multi-effects
processor which can produce manydifferent effects. Effects are usuallyconnected so that the processed soundcan be mixed back in with theunprocessed sound in the mixer.
See also ‘outboard’.

A level where a signal is neither boosted
nor cut.

Monitoring
The act of listening to an audio signal overloudspeakers or via headphones. In live
sound, monitoring also refers to any
separate mix for speakers placed on-stage
so that the musicians can hear themselvesproperly (see FOH).

Monitor loudspeakers
Or monitors. Accurate loudspeakers used
to make critical judgements about a mix.

27

...AND BEYOND
328XD

spirit Mixers are just part of acomprehensive range of soundcraft
professional audio equipment.

32 Ch Digital
Mixing Console

From project studios to world famous recording facilities, from clubs to stadiums,
from young musicians to international superstars, Soundcraft designs havebecome synonymous with versatility, innovation and sonic excellence.

ABSOLUTE

In theSTUDIO
Range of Professional
Nearfield Monitors

Soundcraft’s range of nearfield studio monitors – Absolute Zero and Absolute 2 –have taken the Soundcraft name into top studios such as The Roundhouse andRidge Farm, and won many friends in the production world.
John Leckie and Tony Tavenor are just two internationally acclaimed producers to
use Soundcraft monitoring.

324 LIVE

32 Ch Digital LiveSound Mixing Console

The 328XD Digital Production Console, with its ground breaking easy-to-use
interface, has revolutionized low cost digital mixing in studios and live
applications.

On theROAD

A dedicated stable of live and powered mixers – Spirit 8, Live 42, LX7, Monitor 2
and the PowerStation range – are now employed by venues across the world from
London’s Barbican Theatre to the Olympic Stadium in Barcelona.

SPIRIT 8

Around theWORLD
16 to 40 Ch 8-Bus
Live Mixing ConsolesLIVE 42

Soundcraft is committed to excellence in audio. In eighty-eight countries, incountless studios, venues and recordings Soundcraft provides the inspiration.
You simply have to do the rest.

For details of the complete Soundcraft range contact your Soundcraft dealer orvisit the Soundcraft website where you’ll find comprehensive details of every
product, including downloadable PDF brochures, technical support and user group
information.

A Range of 8 to 40 Ch
Live Mixing Consoles

LX7

24 to 40 Input
Live Mixing Consoles

MONITOR 2

Soundcraft
Harman International Industries Ltd., Cranborne House,
Cranborne Road, Potters Bar, Herts EN6 3JN, UK.
Tel: +44 (0)1707 665000 Fax: +44 (0)1707 660742
Email: info@soundcraft.com
Soundcraft USA
1449 Donelson Pike, Nashville, TN 37217, USA.
Tel: +1-615-360-0471 Fax: +1-615-360-0273
Email: soundcraft-usa@harman.com

www.soundcraft.com
24 to 40 Ch Stage
Monitor Consoles

POWERSTATIONSoundcraft reserves the right to improve or otherwise alter any information
supplied in this document or any other documentation supplied hereafter.
E&OE 11/02
This equipment complies with the
EMC Directive 89/336/EEC

16 to 24 Ch Powered
Live Mixing Consoles

Soundcraft Registered Community Trademark / RTM Nº 000557827
Part Nº: ZL0522