Spirit FOLIO SX mixer инструкция обслуживания

A Harman International Company[...]

Page 1 P AGE 9/12 P AGE 10 P AGE 10 P AGE 1 1 P AGE 14 P AGE 15 P AGE 15 P AGE 15 P AGE 9 P AGE 10 P AGE 9 P AGE 9[...]

Page 2 P AGE 1 1 P AGE 14 P AGE 15 P AGE 14[...]

Page 3 INTRODUCTION Thank you for purchasing a SPIRIT FOLIO SX mixer, brought to you with pride by the SPIRIT team of Andy, Colin, Chris, James, Simon, Mukesh, Graham, Martin, Paul, Matt and Peter, with the support of many others - we hope you will have as much fun using it! Owning a SPIRIT console brings you the expertise and support of one of the[...]

Page 4 CONNECTING IT UP[...]

Page 5 WIRING UP Please refer to pages 27/28 for additional wiring details. MIC INPUT The mic input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED low-level signals, whether from delicate vocals requiring the best low-noise performance or close-miked drum kits needing maximum headroom. Professional dynami[...]

Page 6 STEREO INPUTS 13/14 & 17/18 These accept RCA phono jacks to allow easy connection to hi-fi equipment or DAT players. The input is unbalanced, and ideal for pre-show music sources or signals that do not require any EQ or effects. STEREO INPUTS 15/16 & 19/20 These accept 3-pole `A gauge jacks, or 2-pole mono jacks which will automat[...]

Page 7 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. CHANNEL DIRECT OUTPUTS The Direct outputs are on 3-pole A gauge jack sockets, wired as shown on the left, and are unbalanced. HEADPHO[...]

Page 8 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 29). l Get to know what each component in the system is supposed to do. l Learn where to look for common trouble[...]

Page 9 GETTING TO KNO W YOUR CONSOLE Mono Input Channel 1 DIRECT OUTPUT The first eight channels have a dedicated Direct Output which allows direct connec- tion to external devices, for example to feed Tape Machines or effects units. See the Advanced Features section on page 18 for a full explanation of these outputs. 2 MIC INPUT The mic inpu[...]

Page 10 5 SENS This knob sets how much of the source signal is sent to the rest of the mixer. Too high, and the signal will distort as it overloads the channel. Too low, and the level of any background hiss will be more noticeable and you may not be able to get enough signal level to the output of the mixer. Setting the knob to the `U mark gives[...]

Page 11 AUX SEND 2 This is normally POST-FADE, and would typically be used as an effects send, but may be switched globally to PRE-FADE using the POST/PRE switch on the Master section, providing a second foldback or monitor send if required. AUX SEND 3 This is always POST-FADE for effects sends, external submix (or for Centre Voice cluster or mono [...]

Page 12 STEREO INPUT CHANNEL Each stereo input channel comprises two pairs of inputs per channel strip: 1 INPUTS 13/14 & 17/18 These inputs are unbalanced on RCA phono connectors, and are intended for use with CD players, DAT machines or Hi-Fi equipment. Alternatively they may be used as simple effects returns or stereo instrument inputs. 2 LEV[...]

Page 13 1 4 2 3 5 8 9 10 11 12 6 7 AUX SEND 2 This is normally POST-FADE, and would typically be used as an effects send, but may be switched globally to PRE-FADE using the POST/PRE switch on the Master section, pro- viding a second foldback or monitor send if required. AUX SEND 3 This is always POST-FADE. 8 BALANCE This control sets the amount of [...]

Page 14 Master Section 1 PHANTOM PO WER Many professional condenser mics need PHANTOM POWER, which is a method of sending a powering voltage down the same wires as the mic signal. Press the switch to enable the +48V power to all of the MIC inputs. The adjacent LED illuminates when the power is active. TAKE CARE when using unbalanced mics which may [...]

Page 15 2 1 3 7 11 8 4 5 6 9 10 AUX AFL s Just like the PFL switches on the channels, you can monitor each AUX out- put by pressing the AFL switch. This routes the AUX output signal to the MONITOR or PHONES, replacing any existing signal (normally the Monitor receives either MIX, SUB or 2TK, see above). The METERS also switch from the selected sour[...]

Page 16 USING YOUR FOLIO SX 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. Just as you need to become familiar with the control functions of your mixer, so you must recognise the im[...]

Page 17 l Repeat this procedure on other channels as required. As more channels are added to the mix, the meters may move into the red section. Adjust the overall level using the Master Faders if necessary. l Listen carefully for the characteristic sound of `feedback. If you cannot achieve satis- factory input level setting without feedback, che[...]

Page 18 Advanced Fea tures 1 DIRECT OUTPUT The Direct outputs on the first eight channels allow you to record signals direct to a multitrack tape machine. Normally they are set POST-FADER but can be changed to PRE-FADER by moving the internal PRE/POST switch (13) accessible through an aper- ture covered by a grommet beside the fader on channel 1 (s[...]

Page 19 USING THE FOLIO SX ON LOCA TION The FOLIO SX may be powered from a DC source of 11-18V using the optional Portapower unit, for applications where a source of mains power is unavailable. Contact your dealer for further details, quoting Spirit Part No ZZ2849.[...]

Page 20 Applica tion 1 - LIVE SOUND REINFORCEMENT This drawing shows a typical configuration for sound reinforcement with the main PA fed from Mix L & R, plus an addi- tional centre fill fed from the Mono output. The Aux sends are used for foldback and effects, and Sub L & R are used to feed a recorder. In this case all channels would be ro[...]

Page 21 APPLICA TION 3 - PLACES OF WORSHIP This mono configuration uses the Mono output to drive the main speaker system and an induction loop for the hard of hearing. Aux sends are used for monitors and effects and Mix L & R feed a cassette or DAT machine to record the occa- sion if required. APPLICA TION 2 - MUL TISPEAKER APPLICA TIONS This c[...]

APPLICA TION 4 - RECORDING The direct outputs on channels 1-8 may be used to feed a multitrack recorder as shown. The direct outputs should be set to PRE, so that they are unaffected by fader position. The Mix outputs are used for a preliminary stereo mix on a DAT recorder. Page 22 Applica tion 5 - LINKING TWO FOLIO SX CONSOLES Two or more FOLIO SX[...]

Page 23 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. Do not use any other solvents which may [...]

Page 24 (sub) group an output into which a group of signals can be mixed. headroom the available signal range above the nominal level before clipping occurs. 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 bal[...]

Page 25 TYPICAL SPECIFICA TIONS NOISE Measured RMS, 20Hz to 20kHz Bandwidth Line inputs selected at unity gain and terminated 150R AUX, MIX, SUB O/Ps 16 Inputs routed, faders & pots down <85 dBu E.I.N. Microphone Input, Maximum Gain, terminated 150R -129 dBu CROSSTALK 1kHz 10kHz Channel mute <95 dB <85 dB Fader cutoff (rel to 0 mark) &[...]

Page 26 51 1.5 (20.14") 443.5 (17.46") 10U 33.0 (1.29") 80.0 (3.15") 60.0 (2.36") 40.0 (1.57") 479.0 (18.86") 440.0 (17.32") 440.0 (17.32") 483.0 (19") inc. conns inc. knobs DIMENSIONS All dimensions are in millimetres (inches in brackets). Rack Mount Option FITTING THE Rack MounT OPTION The FOLIO S[...]

Page 27 APPENDIX 1 - TYPICAL CONNECTING LEADS Balanced - Line, Mix L & R, Sub L & R, Aux, Stereo Inputs Unbalanced - Direct Output, Control Room L & R, Stereo Inputs Insert Leads - Mono Inserts, Mix L & R Inserts[...]

Page 28 ’Y’ Leads (Unbalanced) ’Y’ Leads (Balanced) Headphone Splitter Headphone Separator[...]

Page 29 3 1 2 +48V +48V +48V MIC INPUT LINE INPUT DIRECT OUTPUT POWER MIX / SUB 2 TRK MIC/LINE GAIN AUX1 AUX1 AUX2 AUX2 AUX3 AUX3 PA N FADER PFL / ENABLE ON PRE POST DIRECT PRE / POST CH. 1 - 8 ONL Y MIX / SUB MIX / SUB EQ ▲ ▲ INSERT HIGH P ASS FIL TER 100Hz AUX BUSSES MIX LEFT BUS MIX RIGHT BUS SUB LEFT BUS SUB RIGHT BUS PFL/AFL BUS MIX RIGHT [...]

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