Page 4 - Installing the Mixer; Position the mixer where the sound can be heard clearly.; SAFETY PRECAUTIONS; Green and Yellow; indicated on the power supply.
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 willhave as much fun using it! Owning a SPIRIT console b...
Page 5 - CONNECTING IT UP
Page 6 - WIRING UP; MIC INPUT
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 vocalsrequiring the best low-noise performance or close-miked drum k...
Page 7 - MIX INSERTS
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 donot require any EQ or effects. STEREO INPUTS 15/16 & 19/20 These accept 3-pole `A gauge...
Page 8 - suitable for headphones of 200; Grounding and Shielding; lowing these wiring guidelines:
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 andother equipment. CHANNEL DIRECT OUTPUTS The Direct outputs are on 3-pole A gauge jack sockets, wired as shown...
Page 9 - Fault Finding Guide; within the scope of any user if a few basic rules are followed.; Dummy Insert Bypass Jack
Page 8 Fault 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 suppose...
Page 10 - tom power voltage on pins 2 & 3 of the XLR connector.; LINE INPUT
Page 9 GETTING TO KNOW YOUR CONSOLEMono 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 theAdvanced Features section on page 18 for a full explanation...
Page 12 - R e m o v e t h e p r o t e c t i v e
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, exte...
Page 13 - STEREO INPUT CHANNEL; LEVEL; The LEVEL control sets the level of the channel signal.; GAIN; range of line level sources.; LF EQ
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 assimple e...
Page 14 - and enabled when the switch is down.
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...
Page 15 - Master Section; Many professional condenser mics need PHANTOM POWER, which is a; Mics should always be plugged in, and all output faders; This LED lights to show when power is connected to the console.
Page 14 Master Section 1 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 all of the MIC inputs. The adjacentLED illuminates when the power is active. ...
Page 16 - AUX AFL; The input channels provide both Pre- and Post-Fade AUX 2 sends which; MONO SUM; The Mix Left and Right signals are summed to a MONO output on a 3 pole; MASTER FADERS; The MASTER FADERS set the final level of the MIX and SUB outputs, and; SUB TO MIX
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 theMONITOR or PHONES, replacing any existing signal (normally the Monitorreceives either MIX, SUB or 2TK, see above...
Page 17 - USING YOUR FOLIO SX CONSOLE; Microphone Placement; desired effect is the correct position!; Initial Set Up; Set up individual input channel as follows:
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 thechain, 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 func...
Page 19 - Advanced Features; DIRECT OUTPUT; Refer to page 9 for an example.
Page 18 Advanced Features 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 toPRE-FADER by moving the internal PRE/POST switch (13) accessible through an aper-ture covere...
Page 20 - USING THE FOLIO SX ON LOCATION
Page 19 USING THE FOLIO SX ON LOCATION 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 24 - CARE OF YOUR MIXER; General Precautions; Glossary
Page 23 CARE OF YOUR MIXER General Precautions l Avoid storing or using the mixer in conditions of excessive heat or cold, or in positionswhere 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 orethyl a...
Page 25 - balanced
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 hu...
Page 26 - TYPICAL SPECIFICATIONS; NOISE
Page 25 TYPICAL SPECIFICATIONS 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 &...
Page 27 - DIMENSIONS; Rack Mount Option; and pliers for installation. The procedure is as follows:
Page 26 511.5 (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 FI...
Page 28 - APPENDIX 1 - TYPICAL CONNECTING LEADS
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 30 - SYSTEM BLOCK DIAGRAM
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 F ADER PFL / ENABLE ON PRE POST DIRECT PRE / POST CH. 1 - 8 ONL Y MIX / SUB MIX / SUB EQ ▲ ▲ INSERT HIGH P ASS FIL T ER 100Hz AUX BUSSES MIX LEFT BUS MIX RIGHT BUS S...
Page 32 - A Harman International Company
