Soundcraft Spirit Folio Rac Pac Users Manual Ventura RACPAC.CHP

Rac Pac to the manual 625f2a65-0291-4514-6135-e3bb13324786

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1

1 2 GRPS 3 4 MIX

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 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 quality components, FOLIO RAC PAC is designed to be as easy to use as possible,

but some time spent NOW, looking through this manual and getting to know your new mixer will give you lots of helpful

tips and confidence, away from the pressures of an important session. Dont be afraid to experiment to find out how

each control affects the sound - this will only extend your creativity and help you to get the best from your mixer.

SAFETY PRECAUTIONS

For your own safety and to avoid invalidation of the warranty please read this

section carefully.

The FOLIO RAC PAC

desk must only be connected through the Power Supply

Unit supplied.

The wires in the mains lead are coloured in accordance with the following code:

Green and Yellow: Earth

Blue: Neutral

Brown: Live

As the colours of the wires in the mains lead may not correspond with the coloured markings identifying the terminals

in your plug, proceed as follows:

•• The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is marked with

the letter E or by the earth symbol.

•• The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N

or coloured Black.

•• The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L

or coloured Red.

Ensure that these colour codings are followed carefully in the event of the plug being changed.

The power supply contains no user-serviceable parts. Refer all servicing to a

qualified service engineer, through the appropriate Soundcraft dealer.

SPIRIT FOLIO RAC PAC

1

ConnectORS

Left Signal

Right Signal

Ground

Headphones

Signal (+ve)

Ground Sense (-ve)

Screen

Signal (+ve)

Gnd/Screen

Gnd/Screen

Signal Send

Signal Return

Gnd/Screen

Tip

Ring Sleeve

Inserts Mix Outputs

Group Outputs

Aux Outputs

Direct Outputs

Hot (+ve)

Cold (-ve)

Gnd/Screen

Signal

Gnd/Screen

Gnd/Screen

Tip

Ring Sleeve

Unbalanced

3 pole Jack Unbalanced Mic

XLR

Balanced Mic

XLR

Balanced

3 pole Jack

2. Hot(+ve)

3. Cold(-ve) 1. Screen 1. Screen

2. Hot(+ve)

Link 3

to 1

INPUTS, 2 TRACK RETURNS & FX RETURNS

(Note: All inputs are balanced, but unbalanced sources may be used as shown)

POWER CONNECTOR PINOUTS

(viewed from cable end)

Pin 1

Pin 2

Pin 3

Pin 4

20V AC

n/c

0V

20V AC

1

3

2

4

R

2

SPIRIT FOLIO RAC PAC

ConNections - Input Channels

R

SPIRIT FOLIO RAC PAC

3

CONNECTIONS - MASTER SECTION

R

4

SPIRIT FOLIO RAC PAC

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 fully down.

•• Set the Group and Master Faders at 0 and GROUPS TO MIX pressed.

•• Select MIX to C/Room & Phones.

•• Check that SOLO MODE is released.

•• Release the channel routing switches to route to Groups 1-2

•• Provide the chosen source with a typical signal level and press the latching PFL button by the fader. The level of

signal will be shown on the right-hand Bargraph Meter (the Left meter will be switched off when the PFL button is

down).

•• Adjust the input GAIN until the meter is just reaching the amber LED (0dB) at a typical maximum source level with

a steady signal. If the source signal is rich in high-level transients (e.g. drums) a rather higher meter reading of

+6/+9 will be needed to achieve an equivalent average level. This leaves enough headroom to cope with peaks

in the signal without distortion.

•• Adjust each input channel in the same way.

•• If you find that you cannot set a reasonable level within the range of the GAIN control when using a MIC input

on the Mono channels, try the LINE input instead.

Stereo inputs 11-14 do not have a GAIN control, since the typical source for these inputs will be external tape machines

or effects units which have a much more predictable signal level. Set the +4/-10 switch to +4 (released) initially, and

check the input level with the PFL switch as decribed above. If the level is too low, switch to the -10 input setting.

You will now have initial settings for each of the input sources and are ready to start building a mix.

•• Connect your power amplifiers and speakers and set the gain of the amplifiers to about 70%.

•• Move the individual channel faders gradually to the required working level, listening carefully for any hint of

feedback or overload. You may find that the input gain settings will need to be edged back slightly as the mix is

built up.

•• Listen carefully for the characteristic sound of feedback. If you cannot achieve a satisfactory input level setting

without feedback, adjust microphone and speaker positions and try again.

Careful microphone placement and the choice of a suitable type of microphone is important for vocals. The aim should

be to place the microphone as close as possible to the source, to cut out unwanted surrounding sounds. This allows a

lower gain setting on the mixer and helps to avoid feedback. You will also find that a well-placed microphone will not

need any appreciable equalisation.

SPIRIT FOLIO RAC PAC

5

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 outputs to the tape inputs.

•• Connect the tape outputs to the 2TK Returns. Set the level control on these returns at zero.

•• Connect a monitor amplifier for foldback headphones or a monitor speaker to the Aux 1 output. Set the amplifier

volume to a normal listening level.

•• Use the Aux 1 send controls on the tape channels to set up a mono monitor mix. (make sure that all other Aux 1

controls are fully off)

•• If a compressor is to be used on an individual source, connect this to the channel insert point.

•• Connect any effects required using Aux 2-6, and return them to the mix on the FX Returns or unused Stereo Returns

to allow the effect to be balanced with the original source.

It is important to match the input and output levels of your mixer and recording device to avoid distortion and create the

best recording.

•• Set the recording level as recommended for your recording device, feeding a suitable signal from the Group or

Mix outputs.

•• Monitor the signal going to the recorder by selecting the appropriate source on the C/Room & Phones source

select switches. Gradually increase the 2TK return level control while alternately switching between the monitor

source and 2TK until no change in level is detected.

8 Track Recording

•• Connect input sources and set gain as described above. Set the C/Room & Phones source to MIX.

•• Check that the GROUPS TO MIX button is released.

•• Connect the direct outputs on the eight required channels to the recorder inputs.

•• Connect a monitor amplifier for foldback headphones or a monitor speaker to the Aux 1 or Aux 2 (set PRE) output.

Set the amplifier volume to a normal listening level.

•• If a compressor or other effect is to be used on an individual source, connect this to the channel insert point.

•• Connect the recorder outputs to the 4 stereo returns. Route the returns to MIX. Alternatively, if only one or two

tracks are being recorded, the machine outputs could be brought back to spare mono inputs and routed to a group

for monitoring.

The C/Room & Phones will now be listening to the monitor mix, or, if selected to Groups will carry the source mix. Note

that the balance of these mixes will be essentially the same.

This configuration allows a very high quality recording to be made, with the signal passing through the shortest signal

path. The mixer may be reconfigured for a separate mix-down session to a stereo master at a later date.

6

SPIRIT FOLIO RAC PAC

THE CONTROLS IN DETAIL

MONO INPUT CHANNELS 1-10

1TRIM

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

the mixer. This is shown in the diagram on the

right:

Setting the knob to the "+4U" mark gives unity

gain on the LINE input for nominal +4dBu

sources, which will be suitable for most

professional equipment. Note that some

sound equipment, particularly that intended

for semi-professional use, operates at a lower

level (-10dBV) and will therefore need a higher

gain setting to give the same output level. A

second point marked "-10U" indicates the

unity gain setting for -10dBV sources.

See "Initial Setting Up" to learn how to set the

GAIN correctly.

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 dynamic, condenser or ribbon mics are best because these will be LOW

IMPEDANCE. While you can use low-cost HIGH IMPEDANCE mics, you do not get the

same degree of immunity to interference on the microphone cable and as a result the

level of background noise may be higher. If you turn the PHANTOM POWER on (top

right-hand side of the mixer) the socket provides a suitable powering voltage for

professional condenser mics.

DO NOT use unbalanced sources with the phantom power switched on. The voltage

on pins 2 & 3 of the XLR connector may cause serious damage.

Unplug any mics if you want to use the corresponding LINE Input to avoid the load

presented by the mic from affecting the Line Input gain.

LINE INPUT

Accepts 3-pole A gauge (TRS) jacks. Use this input for sources other than mics, such

as keyboards, drum machines, synths, tape machines or guitars. The input is

BALANCED for low noise and immunity from interference, but you can use

UNBALANCED sources by wiring up the jacks as shown in the "Connectors" section

earlier in this manual, although you should then keep cable lengths as short as possible

to minimise interference pick-up on the cable. Unplug anything in the MIC input if you

want to use this socket.

2100Hz HI-PASS FILTER

Pressing this switch reduces the level of bass frequencies only, and is a real bonus for

such a small mixer. Use this in live PA situations to reduce stage rumble or popping

from microphones.

5-6

100

10

1

2

3

4

5

6

7

8

If the signal level is too low it may be masked

by the noise.

Signal Noise

If the signal level is too high, clipping distortion

may occur.

Clipped

Signal

Noise

SPIRIT FOLIO RAC PAC

7

3EQUALISER

The Equaliser (EQ) allows

precise manipulation of the

sound, particularly to

improve the sound of

microphone sources where

the original signal is often far

from ideal due to poor

acoustics or restrictions on

where to place microphones

and where slight boosting or

cutting of particular voice

frequencies can really make

a difference to clarity. The EQ allows enough control to improve, for instance, bad

recordings or the precision to gently enhance vocal or live instrument tracks. There are

three sections, HF, MID and LF giving the sort of control usually only found on much

larger mixers. The EQ knobs can have a dramatic effect, so use them sparingly and

listen carefully as you change any settings so that you get to know how they affect the

sound.

HF EQ

Turn to the right to boost high (treble) frequencies by up to 15dB at 12kHz, adding

crispness to cymbals, vocals and electronic instruments. Turn to the left to cut these

frequencies by up to 15dB, reducing hiss or over-emphasis of high-frequency

consonants, which can occur with certain types of microphone. Set the knob in the

centre-detented position when a flat response is required.

MID EQ

There are two knobs which work together to form a SWEPT MID EQ. The lower knob

provides 15dB of boost and cut, just like the HF EQ knob, but the frequency at which

this occurs can be set by the upper knob over a range of 250Hz to 6kHz. This allows

some truly creative improvement of the signal in live situations, because this mid band

covers the range of most vocals. Listen carefully as you use these controls together to

find how particular characteristics of a vocal signal can be enhanced or reduced. Set

the lower knob to the centre-detented position when not required.

LF EQ

Turn to the right to boost low (bass) frequencies by up to 15dB at 60Hz, adding warmth

to vocals or extra punch to synths, guitars and drums. Turn to the left to cut low

frequencies by up to 15dB for reducing hum, stage rumble or to improve a mushy sound.

Set the knob to the centre-detented position when not required.

4AUX SENDS

These controls route the input channel signal to any one or more of six Auxiliary which

are used to set up separate mixes for FOLDBACK, EFFECTS or recording, and the

combination of all the Aux Sends is mixed to the corresponding Aux Output at the rear

of the mixer. The controls are specially chosen to give a particularly smooth and useful

control range all round the scale while still maintaining nearly 90dB cut-off when turned

anticlockwise.

Aux 1 is always PRE-FADE and pre-EQ which is ideal for Foldback or Monitor feeds

where the send needs to be independent of the fader so that, for instance, the mix to

artists headphones is not affected by changes in fader level.

20.0

15.0

10.0

5.0

0.0

-5.0

-10.0

-15.0

-20.0

20 1k 10k 20k

100

dB

Frequency/Hz

TYPICAL EQUALISER RESPONSE

LF SWEPT MID HF

BOOST

CUT

8

SPIRIT FOLIO RAC PAC

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.

Aux 5 & 6 are identical to Aux 3 & 4 and may be selected as an alternative by pressing

the 5-6 switch.

Leave all of the knobs turned fully left when not in use.

5PAN

This control sets the amount of the channel signal feeding the pairs of Groups, allowing

you to move the source smoothly across the stereo image. When the control is turned

fully right or left you are able to place the signal at unity gain to either Groups 2 & 4

or 1 & 3 respectively.

6ROUTING

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 PAN control.

7FADER

The linear FADER gives you smooth control of the overall signal level in the channel

strip, allowing precise balancing of the various source signals being mixed to the Master

Section. You get most control when the input GAIN is set up correctly, giving a normal

fader position around the 0 mark, generous control range below and some gain in

hand above the mark when you need that little bit extra. See the Initial Setting Up

section for help in setting a suitable signal level.

Note that the post-fader signal is available as a DIRECT OUTPUT from the channel to

feed tape tracks or other external equipment.

8SOLO

The latching SOLO switch has two distinctive modes of operation, depending on the

position of the master section SOLO MODE switch. When this switch is released

(AFL/PFL) all channel SOLO switches function as PFL (Pre-Fade-Listen). When SOLO

MODE is pressed (IN PLACE) all SOLO switches become a SOLO-IN-PLACE facility.

In PFL/AFL mode, pressing the SOLO switch feeds the pre-fade channel signal to the

monitor output, headphones and Right Bargraph Meter, replacing the selected source.

You use this switch to listen to a channel signal without affecting the mixer outputs, to

check the signal quality or simply to check that it is there!

In SOLO mode, pressing one or more channel SOLO switches mutes all other channels

leaving the selected channels alone in the mix. The Stereo Returns or FX Returns are

not muted, and this allows the selected channels to be monitored in their true stereo

position, including any effects which may have been added.

The associated PEAK LED indicator normally warns when an excessively high signal

level is present in the channel. The signal is sampled just after the EQ section and the

LED will light approximately 4dB before clipping. This point is post-insert, and will

therefore take into account the effect of any equipment connected to the Insert jack.

When the SOLO switch is pressed the LED lights continuously to show which channels

are being monitored.

5-6

100

10

1

2

3

4

5

6

7

8

SPIRIT FOLIO RAC PAC

9

5-6

13 14

1

2

3

4

5

6

7

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

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 wish to use the channel with a mono source, plugging into the Left jack

automatically feeds the source to both sides of the channel.

1INPUT +4/-10

Most professional equipment uses input and output levels of +4dBu, but

semi-professional tape machines or hi-fi systems use a lower level of -10dBV. This switch

allows you to match the sources connected to the Stereo input jacks to either standard,

which is important to ensure the best possible sound quality. If you are not sure which

input level is appropriate, start with the switch UP to select +4dBu. If you are unable

to achieve an adequate signal level (even with the fader at maximium), press the switch

in for -10dBV.

2EQUALISATION

HF EQ

Turn to the right to boost high (treble) frequencies, adding crispness to percussion from

drum machines, synths and electronic instruments. Turn to the left to cut these

frequencies, reducing hiss or excessive brilliance. Set the knob in the centre-detented

position when not required. The control has a shelving response giving 12dB of boost

or cut at a fixed frequency of 12kHz.

LF EQ

Turn to the right to boost low (bass) frequencies, adding extra punch to synths, guitars

and drums. Turn to the left to reduce hum, boominess or improve a mushy sound. Set

the knob to the centre-detented position when not required. The control has a shelving

response giving 12dB of boost or cut at a fixed frequency of 60Hz.

3AUX SENDS

These controls route a mono sum of the channel signal to any one or more of six Auxiliary

which are used to set up separate mixes for FOLDBACK, EFFECTS or recording, and

the combination of all the Aux Sends is mixed to the corresponding Aux Output at the

rear of the mixer. 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 mixer

of this type.

Aux 1 is always PRE-FADE which is ideal for Foldback or Monitor feeds where the send

needs to be independent of the fader so that, for instance, the mix to artists headphones

is not affected by changes in fader level.

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 pre- to post-fade across the whole mixer as required.

Aux 5 & 6 are identical to Aux 3 & 4 and may be selected as an alternative by pressing

the 5-6 switch.

Leave all of the knobs turned fully left when not in use.

10

SPIRIT FOLIO RAC PAC

5-6

13 14

1

2

3

4

5

6

7

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

(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.

6 FADER

The linear FADER gives you smooth control of the overall signal level in the channel

strip, allowing precise balancing of the various source signals being mixed to the Master

Section. It is important that the input level is set correctly with the +4/-10 switch to give

maximum travel on the fader which should normally be used at around the 0 mark.

See the Initial Setting Up section for help in setting a suitable signal level.

7 SOLO

The latching SOLO switch has two distinctive modes of operation, depending on the

position of the master section SOLO MODE switch. When this switch is released

(AFL/PFL) all channel SOLO switches function as PFL (Pre-Fade-Listen). When SOLO

MODE is pressed (IN PLACE) all SOLO switches become a SOLO-IN-PLACE facility.

In PFL/AFL mode, pressing the SOLO switch feeds a mono sum of the pre-fade channel

signal to the monitor output, headphones and Right Bargraph Meter, replacing the

selected source. You use this switch to listen to a channel signal without affecting the

mixer outputs, to check the signal quality or simply to check that it is there!

In SOLO mode, pressing one or more channel SOLO switches mutes all other channels

leaving the selected channels alone in the mix. The Stereo Returns or FX Returns are

not muted, and this allows the selected channels to be monitored in their true stereo

position, including any effects which may have been added.

When the SOLO switch is pressed the associated LED lights continuously to show which

channels are being monitored.

SPIRIT FOLIO RAC PAC

11

1

44

1

1

2

3

4

5

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.

1LEVEL

The LEVEL control sets the overall signal level, and enough gain is available to

match both +4dBu and -10dBV sources. Rotation clockwise increases the gain

of the input.

2 AUXILIARY SENDS

Each Return may access Aux 1 (Pre-fade) and one of the post-fade sends.

Returns A & C feed to Aux 3 and Returns B & D feed to Aux 4. The controls

should be turned fully anticlockwise when not in use.

3BALANCE

This control sets the amount of the channel signal feeding the pairs of Groups

or Mix, 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 destination

selected by the Routing switch (see below).

4PFL

When the PFL (Pre-Fade-Listen) switch is pressed a mono sum of the pre-fade

signal is fed to the headphones or monitor output, replacing the selected source.

The PFL LED on the Master section illuminates to warn that the headphones,

monitor and right bargraph meter are now responding to the PFL/AFL selection.

5 ROUTING

This switch selects either a pair of Groups (switch released) or Mix (switch

pressed) as the destination for the Stereo Return signal after it has passed through

the BAL control. Returns A & B route to Groups 1 & 2, and Returns C & D route

to Groups 3 & 4. The left return signal feeds the odd-numbered Group or Mix

Left, while the right return signal feeds the even-numbered Group or Mix Right.

12

SPIRIT FOLIO RAC PAC

1

44

1

1 2 GRPS 3 4 MIX

11

10

7

4

6

3

2

1

12

5

9

8

SPIRIT FOLIO RAC PAC

13

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

required.

2 GROUPS TO MIX

Pressing this switch routes all Groups to the main stereo Mix. Groups 1 & 3 feed Mix Left and Groups 2 & 4 feed Mix

Right.

3 MIX FADER

A stereo fader controls the output level of the stereo Mix. The outputs are ground compensated 3-pole A gauge (TRS)

jacks. The Mix Left and Right signal paths have pre-fade INSERT points which provide a means of diverting the signal

to an external processing unit such as a compressor or limiter. Inserting a jack into the insert breaks the signal path and

allows the INSERT SEND (on the tip of the jack) to feed the input of the external unit and the INSERT RETURN (on the

ring of the jack) to receive the corresponding output. Note that if the tip and ring of the jack are shorted together the

signal path remains unbroken and the Insert may then be used as a way of tapping off the Mix signal before the fader.

4 2 TRACK (2TK) RETURN LEVEL

The unbalanced 2TK return jacks are an ideal place to connect the playback of a tape machine, without using up any

of the LINE inputs. This control sets the level of playback signal fed either to the MIX (when 2TK TO MIX is pressed) or

the headphones or monitor output, when 2TK is pressed. When set fully clockwise the inputs will be matched to -10dBV

sources, or will suit a +4dBu source with the LEVEL control at a lower setting. A mono source may be fed automatically

to both left and right by plugging into the Left return jack only.

The 2TK 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 settings unaltered. It can also serve as the return from an Effects unit to save using up Line Inputs.

5 2TK TO MIX

Press this switch to route the 2TK RETURN signal directly to the mix outputs. Adjust the input level with the 2TK RETURN

LEVEL control. The 2TK Return signal will now be present at the Mix outputs, at a level set by the Master Fader.

6 C/ROOM & PHONES SECTION

The rotary control sets the output level to the MONITOR LEFT & RIGHT outputs. If HEADPHONES are plugged into the

PHNS jack the Monitor outputs are cut off, and the knob then sets the headphone listening level. When the PHONES

are unplugged the Monitor output is restored.

The section may listen to a choice of sources: 2TK Return, Groups and Mix as selected on the four switches. The selected

source is also displayed on the bargraph meters.

If any PFL or AFL switch is pressed the selected signal is replaced by the appropriate PFL or AFL signal, which will also

be displayed on the right bargraph meter.

14

SPIRIT FOLIO RAC PAC

1

44

1

1 2 GRPS 3 4 MIX

11

10

7

4

6

3

2

1

12

5

9

8

SPIRIT FOLIO RAC PAC

15

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 switched to pre-fade by pressing the AUX 2 PRE switch. This

simultaneously affects all Aux 2 sends across the mixer.

9 SOLO MODE

All channel SOLO switches are normally a non-destructive PFL (Pre-Fade-Listen). When SOLO MODE is pressed,

SOLO-IN-PLACE mode is activated. If any channel SOLO switch is pressed the SIP LED will illuminate and all other

channels (but not Stereo, FX or 2TK Returns) are cut, leaving the selected channel, complete with effects in the mix. While

SOLO-IN-PLACE is active, if any PFL or AFL switch is pressed the C/Room & Phones and meters will silently switch over

to monitor the selected signal, but the mix output will remain. Releasing the AFL/PFL re-instates the solo signal.

10 FX RETURNS

The unbalanced FX Return jacks are an ideal place to connect the output of an effects unit, without using up any of the

LINE inputs. This control sets the level of the signal fed directly to the MIX. When set fully clockwise the inputs will be

matched to -10dBV sources, or will suit +4dBu sources with the controls at a lower setting. A mono source may be fed

automatically to both left and right by plugging into the Left return jack only. A CUT switch mutes both FX Returns if

required.

11 BARGRAPH METERS

The three colour BARGRAPH METERS have a PEAK response and normally follow the Monitor selection, giving you a

constant warning of excessive peaks in the signal which might cause overloading. 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 less dynamic signal (e.g.

a synth) at the same level. You should therefore aim for an average reading of +6/+9 if the mix contains a high

proportion of high level transients and a lower reading of around 0 for steadier signals with the Master Faders at

about the 0 mark.

If the output level is too low and hardly registering at all on the meters, the level of background noise may become

significant. In this case check that input levels and gain settings are correct (see the section -- Initial Setting Up)

When an AFL or PFL switch is pressed the selected meter signal is muted and the right meter will display the selected

PFL/AFL signal.

N.B. The 0 position on the meters corresponds to +4dBu at the selected output.

12 PHANTOM POWER

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 the MIC inputs on channels 1-10.

DO NOT turn on the phantom power when using unbalanced mics which may be damaged by the voltage applied to

pin 2 & 3 of the mic input XLR.

Note: Mics should always be plugged in before switching the Phantom Power ON.

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R

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 is derived from

Aux 1 (or Aux 2 selected pre-fade).

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17

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.

The output is taken from Mix L & R and connected to the speakers via a suitable power amplifier. A compressor/limiter

(or graphic equaliser if required) is included in the Mix Inserts, and a cassette machine connects to the 2TK Return to

provide interval music. The Groups may be used to combine several inputs under the control of a single fader before

mixing to the L & R outputs.

R

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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 position, and this is swapped with the connector panel in a

straightforward procedure described below:

1 Carefully lay the mixer face down on a flat surface provided with some protective padding. During the following

steps take care not to apply excessive pressure or damage the control knobs.

2 Using a cross-head screwdriver remove the four screws "A" (2 each side) fixing the cover plate through the side

panels of the mixer.

3 Release the cover plate by next removing the

six screws "B" fixing the plate to the base

panel and connector panel. Lay the cover

plate to one side.

4 Now remove the three screws "D" fixing the

connector panel to the top edge of the

mixer. The connector panel will still be

supported by the fixings through the side

panels.

5 Loosen the four screws "C" fixing the

connector panel to the side panels. Now,

supporting the connector panel with one

hand, remove the four screws completely,

freeing the panel.

6 Swapping the supporting hand, rotate the

panel backwards, taking care not to strain

or snag any of the ribbon cables, so that the

bottom edge now rests on the flange of the

base panel, and loosely fit the screws ("A",

4 off) once again through the side panels.

7 Pick up the cover plate and, turning it

lengthways locate it in the position originally

occupied by the connector panel. (Note that

the cover plate has one flat edge, and one

folded flange. The folded edge ALWAYS

faces the back corner of the mixer.)

8 Loosely fit the four screws "C" through the

side panels, three screws "D" at the top edge, and six screws "B" fixing the connector panel.

9 Once you are satisfied that the panels are seated correctly, tighten all screws firmly.

This completes the relocation of the connector panel. Simply reverse the procedure if you wish to return the panel to the

original position.

MSPS

MSPS

MSPS

MSPS

MSPS

MSPS

MSPS

MSPS

D

C

C

B

B

A

A

Cover Panel

Connector Panel

Front Panel

SPIRIT FOLIO RAC PAC

19

Technical Specification

Output Noise Typical Group Output,

Input faders down -87dBu

Group fader down -92dBu

Mix output with groups routed to mix -83dBu

Mix fader down -98dBu

Aux Noise Typical, input sends down -85dBu

E.I.N. 150R source -129dBu

Distortion Mic gain 30dB, to group output @ 14dBu < 0.005%

Crosstalk @1kHz Input fader attenuation (top to bottom) >95dB

Aux send attenuation >88dB

Adjacent channel >92dB

Frequency Response 20Hz - 20kHz

Line input, via group, to mix output +/-1dB

INPUT & OUTPUT IMPEDANCES Mic 2kΩ

Line 10kΩ

Outputs 75Ω

INPUT & OUTPUT LEVELS Max mic input +16dBu

Max line input +28dBu

Any output +22dBu

Headphones 150mW into 600Ω

WEIGHT Console Power Pack

6.6 Kg 1.0 Kg

250 482.0

450

(minimum rack opening)

146.8

(depth for connectors)

354.6

(8U)

DIMENSIONS

All dimensions are

in millimetres

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SPIRIT FOLIO RAC PAC

GloSSARY

AFL (After Fade Listen) a function that allows the operator to monitor the post-fade signal in a channel independently of the

main mix.

Balance the relative levels of the left and right channels of a stereo signal.

Balanced a method of audio connection which balances the signal between two wires and a screen which carries

no signal. Any interference is picked up equally by the two wires, but out of phase resulting in

cancellation of the interference signal.

Clipping the onset of severe distortion in the signal path, usually caused by the peak signal voltage being limited

by the circuits power supply voltage.

dB (decibel) a ratio of two voltages or signal levels, expressed by the equation dB=20Log10 (V1/V2).

Adding the suffix u denotes the ratio is relative to 0.775V RMS.

DI (direct injection) the practice of connecting an electric musical instrument directly to the input of the

mixing console, rather than to an amplifier and loudspeaker which is covered by a microphone feeding

the console.

Effects the use of devices to alter or process the sound to add special effects e.g. reverb, normally as a mix of

the original (dry) sound and the treated version.

Equaliser a device that allows the boosting or cutting of selected bands of frequencies in the signal path.

Feedback the howling sound caused by bringing a microphone too close to a loudspeaker driven from

its amplified signal.

Foldback a feed sent back to the artistes via loudspeakers or headphones to enable them to monitor the

sounds they are producing.

Frequency response the variation in gain of a device with frequency.

Ground Compensation a technique used on unbalanced outputs to cancel out the effect of ground loops caused by connections

to external equipment.

Headroom the available signal range above the nominal level before clipping occurs.

High Pass filter a filter that rejects low frequencies.

Line level signals at a nominal level of -10 to +6dBu, usually coming from a low impedance source.

Oscillator a built-in tone generator for test and line-up purposes.

Peaking an equaliser response curve affecting only a band of frequencies i.e. based on a bandpass response.

PFL (pre-fade listen) a function that allows the operator to monitor the pre-fade signal in a channel independently of the

main mix.

Phantom Power the +48V d.c. voltage applied equally to the two signal pins of a balanced mic input to provide

powering for condenser microphones.

Post-Fade the point in the signal path afterafter the channel or master fader and therefore affected by fader position.

Processor a device which affects the whole of the signal passing through it, e.g. gate, compressor or equaliser

Rolloff a fall in gain at the extremes of the frequency response.

Shelving an equaliser response affecting all frequencies above or below the break frequency

i.e. a highpass or lowpass derived response.

Signal to Noise Ratio a expression of the difference in level between the audio signal and background system noise.

Solo-in-Place a function that allows the operator to listen to a selected channel on its own but complete with all relevant

effects, by automatically muting all other inputs.

Spill acoustic interference from other sources.

Sweep EQ an Equaliser section ( e.g. MID EQ) which operates at a variable rather than fixed frequency giving

increased flexibility to the user.

Talkback the operator speaking to the artistes or to tape via the auxiliary or group outputs.

Tape Return a line level input provided specifically to receive the playback output of a tape machine

Transient a momentary rise in the signal level.

TRS Jacks a 3-pole jack with Tip, Ring and Sleeve connections

Unbalanced a methode of audio connection which uses a single signal wire and the cable screen as the signal return.

This method does not provide the noise immunity of a balanced input (see above).

SPIRIT FOLIO RAC PAC

21

3

1

2

MONO INPUT CHANNELS (1-10)

STEREO INPUT CHANNELS (11-14)

TYPICAL STEREO RETURN (A-D)

▲

▲

➚

➚

➚

➚

➚

➚

➚

➚

MASTER SECTION

System Block Diagram

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