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SPIRIT FOLIO RAC CA P
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Connections 1
Mono Input
The Controls in Detail - 3
Stereo Input
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Stereo Returns
8
Master Section 10
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echnical T Specifications
15
System Block Diagram
1 2 GRPS 3 4 MIX
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Introduction Thank you for buying a SPIRIT FOLIO RAC PAC mixer, brought to you with pride by the SPIRIT team of Peter, Graham, Martin, Ian, Stuart, Peter, George, Colin, James, Chris, Mukesh, Andy, Candy and Simon. We hope you have as much fun as we did! Owning a SPIRIT console brings you the expertise and support of one of the industrys leading manufacturers and the results of over 20 years experience supporting some of the biggest names in the business. Built to the highest standards using
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ConnectORS R Signal (+ve) Signal (+ve) Left Signal Signal Send Ground Sense (-ve) Gnd/Screen Right Signal Signal Return Screen Gnd/Screen Ground Gnd/Screen Tip Ring Sleeve Headphones Inserts Mix Outputs Direct Outputs Group Outputs Aux Outputs INPUTS, 2 TRACK RETURNS & FX RETURNS (Note: All inputs are balanced, but unbalanced sources may be used as shown) Balanced Unbalanced Balanced Mic Unbalanced Mic 3 pole Jack 3 pole Jack XLR XLR Hot (+ve) Signal Cold (-ve) Gnd/Screen 2.
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ConNections - Input Channels R SPIRIT FOLIO RAC PAC 3
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CONNECTIONS - MASTER SECTION R SPIRIT FOLIO RAC PAC 4
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INITIAL SETTING UP You will probably use your SPIRIT FOLIO RAC PAC with a wide range of different types of sound source, and these will be at varying signal levels. It is important to set the GAIN of the inputs correctly to give the best performance. Set up the individual Mono input channels as follows: • • Plug in the chosen source (usually the MIC input for mics and the LINE input for anything else). Plug in phantom powered mics before switching the phantom power on. Set the channel fader f
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SETTING UP FOR RECORDING While the connections to the FOLIO RAC PAC for PA work are quite straightforward, recording is rather more demanding because the mixer is not only required to mix down input signals but also to provide a monitor mix for artists to hear previously recorded tracks when overdubbing new parts. Two typical set-ups are as follows: Stereo Recording to DAT • • Connect input sources and set gain as described above. Route the channels via the groups to Mix. Connect the Mix L/R
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THE CONTROLS IN DETAIL 1 MONO INPUT CHANNELS 1-10 100 2 1 TRIM The TRIM control 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 and causes clipping. 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 Clipped the mixer. This is shown in the diagram on the Signal 3 right: Noise Setting the knob to the "+4U" mark gives unity
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3 EQUALISER dB TYPICAL EQUALISER RESPONSE 20.0 BOOST LF SWEPT MID HF The Equaliser (EQ) allows 15.0 precise manipulation of the 10.0 sound, particularly to 5.0 improve the sound of microphone sources where 0.0 the original signal is often far -5.0 from ideal due to poor -10.0 acoustics or restrictions on -15.0 where to place microphones CUT -20.0 and where slight boosting or 20 100 1k 10k 20k Frequency/Hz cutting of particular voice frequencies can really make a difference to clarity. The EQ al
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Aux 3 and 4 are always POST-FADE, ideal for Effects where it is useful for the Aux Send to fade up and down with the fader. For flexibility, the Master Section AUX2 PRE switch allows you to switch AUX 2 from post- to pre-fade across the whole mixer as required. 1 Aux 5 & 6 are identical to Aux 3 & 4 and may be selected as an alternative by pressing the 5-6 switch. 100 2 Leave all of the knobs turned fully left when not in use. 5 PAN This control sets the amount of the channel signal feeding the
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STEREO INPUT CHANNELs 11-14 These inputs accept 3-pole A gauge (TRS) jacks. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or as returns from processing units. The inputs are BALANCED for low noise and immunity from interference, but you can 1 use UNBALANCED sources by wiring up the jacks as shown in the "CONNECTIONS" section earlier in this manual, although you should then keep cable lengths as short as possible to minimise interference pick-up. If you w
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4BALANCE This control sets the amount of the channel signal feeding the pairs of Groups, allowing you to balance the source in the stereo image. When the control is turned fully right or left you feed only that side of the signal to the Groups selected by the Routing switch 1 (see below). 5 ROUTING This switch selects either Groups 1 & 2 (switch released) or Groups 3 & 4 (switch pressed) as the destination for the channel signal after it has passed through the BAL control. 2 6 FADER The linea
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STEREO RETURNS There are four Stereo Returns, which have similar controls but different routing configurations to provide the maximum flexibility. Each Return has an unbalanced stereo input on 3-pole A gauge (TRS) jacks. If a mono source is to be used, plugging into the Left jack automatically feeds the signal equally to both sides of the Return. 2 1LEVEL 1 The LEVEL control sets the overall signal level, and enough gain is available to match both +4dBu and -10dBV sources. Rotation clockwis
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12 11 10 1 1 4 4 7 9 8 4 2 5 6 1 3 1 2 GRPS 3 4 MIX SPIRIT FOLIO RAC PAC 13
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MASTER SECTION 1 GROUP FADERS Four Group FADERS set the overall level of the Groups, allowing the combined control of a selected number of input sources. The Groups may feed external equipment directly through the ground compensated Group output jacks, or may be mixed together to the stereo Mix output (see below). The faders should normally be set close to the 0 mark if the input GAIN settings have been correctly set, giving plenty of control below the mark and additional gain in hand if req
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12 11 10 1 1 4 4 7 9 8 4 2 5 6 1 3 1 2 GRPS 3 4 MIX SPIRIT FOLIO RAC PAC 15
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AUXILIARY MASTERS The Master section houses the summing amplifiers for each of the Auxiliary Send , and feeds the signal via ground compensated output amplifiers to the Auxiliary Output jacks. 7AUX AFL The individual outgoing Aux signals may be monitored on the control room outputs or headphones by pressing the appropriate AFL (After-Fade-Listen) switch. The selected signal is also displayed on the right bargraph meter. 8AUX 2 PRE Aux 2 is normally post-fade, but for flexibility it may be swi
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Applications Multitrack Recording This example illustrates how Rac Pac may be set up for multitrack recording to eight tracks. Individual instrument or vocal tracks are recorded on Digital Multitracks by connecting the channel Direct Outputs to the tape inputs. The outputs from the Multitrack are brought back on the Stereo Returns (or spare mono channels if only one or two tracks are being recorded). A compressor is included on the insert of one of the vocal channels. An Artists Phones mix i
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Stereo Public Address In this basic PA set-up, various sources are connected to the inputs, microphones to Mic inputs and keyboards etc. to Line inputs. Note that some guitars will not produce sufficient level for a direct connection, and will require a Direct Injection (DI) box connected via the microphone input. The mic channel has a compressor/limiter included in the insert point and a feed to a reverb unit from the direct output. The reverb output is brought back to the mix on FX Return 1
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MSPS MSPS MSPS MSPS M MSPS SPS M MSPS SPS Connector Panel Relocating the connector panel The connector panel is fitted as standard to the rear of the frame, allowing the mixer to be used as a free-standing, desktop unit. If the mixer is to be rack-mounted, it may be found more convenient to move the connector panel to the optional position in the base of the frame, opposite the front panel, giving rear access to connectors when fitted in the rack. A cover plate is mounted in the alternative po
