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1
Introduction
1
Safety Precautions
2
Connections to Folio 4
Mono Input Channel 3
The Controls at a glance -
Stereo Input Channel 5
Groups, Returns & Aux Masters 7
Master Section 9
11
Initial Setting Up
12
Setting Up for Multitrack Recording
13
The Controls in More Detail
Stereo A P 20
Applications -
Stereo A P with Centre Feed 21
Stereo Recording 22
rack 4-T Recording 23
24
Glossar y
25
echnical T Specifications
27
System Block Diagram
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ion roduct Int Thank you for buying a SPIRIT FOLIO 4 mixer, brought to you with pride by the SPIRIT team of Peter, Graham, Malcolm, Martin, Peter, Brian, George, Colin, Tony, James, 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 industry’s 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 q
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These sockets accept 3-pole ’ ‘A The mic input socket at the rear of the LINE INPUT Accepts 3-pole gauge (TRS) jacks. Use these inputs mixer accepts XLR-type connectors and ’ ‘A gauge (TRS) jacks. Use for sources such as keyboards, is designed to suit a wide range of this input for sources other drum machines, synths, tape BALANCED or UNBALANCED low-level than mics, such as machines or as returns from signals. Professional dynamic, keyboards, drum machines, processing units. The inputs are conde
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This knob sets how much of the source signal is sent to the rest of the . mixer oo T high, and urn T to the right to boost high the signal will distor t sa it overloads the channel (shown by illumination of the PEAK LED), (treble) frequencies by up to and causes clipping. oo T , low and the level of any background hiss will be more 15dB, adding crispness to noticeable and you may not be able to get enough signal level to the output of the . mixer cymbals, vocals and electronic Setting the knob t
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The Equaliser (EQ) allows precise manipulation of the sound, These controls route the input channel signal par ticularly to improve the sound in live A P applications where the to any one or more of eight Auxiliar y busses, original signal is often far from ideal. There are three sections, , HF which combine the sends from each channel, MID and LF giving the sor t fo control usually only found on much mixing them to separate outputs on the rear of larger mixers. The EQ knobs can have a dramatic
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Most professional equipment uses input and output levels of +4dBu, but The EQ switch disables the semi-professional tape machines or hi-fi systems use a lower level of . -10dBV equaliser when released and This switch allows you to match the sources connected to the Stereo input jacks to activates it when pressed. It either standard, which is impor tant to ensure the best possible sound . quality fI would typically be used for you are not sure what input level is appropriate, star t with the swit
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These controls route the input channel signal to any one or more of eight Auxiliar y busses, which combine the sends from each channel, mixing them to separate outputs on the rear of the . mixer Since they are independent of the main outputs they can provide additional sources for foldback, ef fects processors or extra loudspeaker ‘fills’. Leave the knobs turned down when not in use. These are always ADE -F POST and would normally be used to drive ef fects processing units which are fed back int
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wo T Stereo Return sections each comprise a pair of unbalanced inputs suitable for -10dBV or +4dBu sources. A mono signal may be plugged into the Left socket only for each pair to be fed equally to left and right busses. Each section is provided with a routing switch to select between a pair of Groups (switch released) or MIX (switch pressed). Stereo Return sA&B feed Groups 1 and 2, while Retur ns C & D feed Groups 3-4. AUX 3 PRE The input channels provide both Pre- and Post-Fade AUX 3 sends whi
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MASTER LEVEL Each of the Auxiliar y Send busses is provided with a rotar y master level control. Aux 1-4 are individual A MONO switch is provided to turn Aux controls, while Aux 5/6 and Aux 7/8 are stereo pairs. 7/8 into summed mono outputs if a greater number of mono sends is required. Note that in this instance the position of the channel AN P and BAL controls may af fect the Aux 7/8 output level. Just like the PFL switches on the channels, you can monitor the AUX 1-4 outputs by pressing the A
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A built-in 1kHz OSCILLATOR provides a test tone for system tests or aligning Tape Machines. Press the switch to turn ON the oscillator and This group of switches selects feed a 1kHz tone to the MIX and GROUP outputs at a fixed level. a choice of sources for the DON’T DO THIS DURING A LIVE PERFORMANCE, OR WITH THE STEREO LISTEN switch AMPLIFIERS TURNED UP HIGH - a sudden, very loud burst of tone will (see below). Any combination not do your ears or your loudspeakers any good! The mauve
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The TAPE RETURN jacks are an ideal place to connect the playback of a tape machine, without using up any of the LINE inputs. This pot sets the level of playback signal fed either to the MIX (when MIX is pressed) or MONITOR, when MIX/2TK is pressed. The inputs accept signals from either 100mV semi-professional equipment or +4dBu professional machines. The TAPE RETURN is also the best way of connecting a tape or CD player to feed pre-show music to a PA rig, since this leaves all input se
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L TIA INI G TIN SET P U You will probably use your SPIRIT FOLIO 4 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 Master and
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ING SETT UP FOR CK TRA TI MUL G RECORDIN While the connections to the FOLIO 4 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. A typical 4-track set-up is as follows: • • Connect input sources and set gain as described above. Connect the Group outputs to the tape inputs. • • Route the channel sign
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THE SO LRTO NC IN MORE IL DETA MONO INPUT CHANNEL Balanced Mic Input - XLR MIC INPUT The mic input socket at the rear of the mixer accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED 2. Hot(+ve) low-level signals, whether from delicate vocals requiring the best low-noise 3. Cold(-ve) performance or close-miked drum kits needing maximum headroom. 1. Screen Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. While you
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INSERT Signal Send The pre-EQ Insert is a break point in the channel signal path. It allows the signal Signal Return to be taken out of the mixer, through an external piece of equipment and then Gnd/Screen back into the mixer to continue through to the final output. The Insert is a 3-pole ‘A’ gauge jack socket, which is normally bypassed. When a jack is inserted, the signal path is broken at a point just after the Hi-Pass Filter, but before the EQ Tip section. The signal from the channel app
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These controls route the input channel signal to any one or more of eight Auxiliary busses. These combine the sends from each channel, mixing them to separate outputs on the rear of the mixer. Since they are independent of the main outputs they can provide additional sources for foldback, effects processors or extra loudspeaker ‘fills’. The controls are specially chosen to give a particularly smooth control range at the lower end of the scale where it is most needed - quite unique on a mixe
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STEREO INPUT CHANNELS 13-20 Balanced Unbalanced Hot (+ve) Signal STEREO INPUT L & R Cold (-ve) Gnd/Screen These inputs accept 3-pole ‘A’ gauge (TRS) jacks. Use these inputs Gnd/Screen Gnd/Screen 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 Tip use UNBALANCED sources by wiring up the jacks as shown, although you should then keep cable lengths as short as
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This send can be pre-fade and used in the same way as Aux Sends 1 & 2 for Foldback or as a Monitor feed, but for Effects it is more appropriate for the Aux Send to fade up and down with the fader (POST-FADE). A Master Section AUX3 PRE switch allows you to switch all channel Aux 3 sends from pre- to post-fade across the whole mixer as required. The send is fed from a mono sum of the channel Left and Right signals. AUX SENDS 4-8 These are always POST-FADE and would normally be used to drive effe
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Just like the PFL switches on the channels, you can monitor the AUX 1-4 outputs by pressing the latching AFL switch. This routes the AUX output signal to the MONITOR or PHONES, replacing any existing signal (normally the Monitor receives either MIX or the Tape Return, depending on the position of the MIX switch - see below). The RIGHT PPM METER also switches from the selected source to display the PFL/AFL signal and the PFL/AFL LED lights to warn that a PFL or AFL switch is pressed. When you
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The three colour PPM Bargraph Meters normally follow the Monitor selection to show the level of the Stereo MIX outputs or 2-Track Tape Returns, giving you a constant warning of excessive peaks in the signal which might cause overloading. Alternatively they may be switched to monitor a choice of Group or Auxiliary outputs, the Stereo Returns or the Tape Returns. The fast attack of the meters means that a signal with high level transients (e.g. kick drum) will tend to give a higher reading than a
