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DescriptionInput Section Each input channel strip has a 'Channel' and 'Monitor' path - This is known as in-line monitoring... where the monitor tape returns come back and share 'Switchable' channel strips with normal CHANNEL inputs carrying synths, mic's etc, as opposed to having a dedicated area of the board... So each channel-strip can be switched so you are accessing the CHANNEL: carries the input line or mic signals.... or the MONITOR: designed to carry tape returns from a multitrack... you can't have BOTH at once..... each channel also has a DIRECT send to a dedicated output socket ... you also get inserts all round to patch in processors... mutes and solo's etc...
Mic input accepts balanced or unbalanced signals, with a +48v phantom power switch available. A 10 to 60dB Gain control boosts low sensitivity signals without adding unwanted noise.
Line reduces gain by 20dB for sources from the Line input.
Direct routes a post-fader mic or line signal from the send jack to be recorded by a multitrack.
Input Reverse This switches Channel and Monitor signals, giving the tape return all the channel input's facilities. This is vital at mixdown when full control over the main signal source is required.
Four band eq: HF and LF bands are shelving controls, with 15dB of cut or boost at 10kHz and 100Hz. The HMid and LMid bands are swept, with frequencies ranging from 500Hz to 16kHz and 50Hz to 1.6kHz. The HF and LF sections can be switched into the
here's some Spoundcraft blurb
The Channel path has three auxs. FB1 is prefader for foldback mixes, while auxs 1 and 2 may be used as post-fader effects sends.
The channel signal can be routed to the stereo mix or to the eight groups as stereo pairs, and can be isolated for PFL moni-toring. The on switch activates the Channel path: this facility can be automated on Spirit Auto.
Long Throw Fader
The 100mm long-throw fader gives you smooth precise control, with up to 10dB gain over normal level. Spirit Auto's channel faders have Voltage Controlled Amplifiers (VCAs) which allow fader movements to be recorded and edited in sequencer or dedicated software.
The Monitor path normally receives signals from the Tape Return. The Tape Trim provides gain control from -10 to +20dB while the Pan control alters the position of the monitor signal in the stereo image. The PFL switch isolates the signal for monitoring, with the switch's LED also warning of potential overload.
There are three sends: FB2 is pre-fader, for headphone mixes. AUXs 3 and 4 are post fader and feed external effects processors; they can be switched into the Channel path for additional effects sends.
The eight bus group section is ideal for mixdown subgrouping or sending sub-mixed groups of instruments to individual tape tracks.
Each group has an output jack, with an insert point for signal processors.
A 16 segment, three colour bargraph meter displays each group's output level.
Rotary faders provide master level control of the four post-fader auxiliary outputs. All the aux masters have AFL monitoring.
There are four stereo effects returns, each with two band shelving EQ, and two foldback sends. A Trim control boosts gain for each return, and a Pan control determines the return's stereo position. The return can be routed to the mix bus or to the pair of groups below it.
Mix routes odd and even pairs of groups to the stereo mix. Pressing Mono feeds them equally to both sides of the mix.
A 100mm fader has unity gain at the top of its travel. Each group has PFL monitoring.
This provides final control of the Mix outputs, along with monitoring and talkback facilities.
(H x W x D from armrest to rear panel, mm)
32 Channel 88 x 1454 x 771.5
Delivery notesCollection from me17 3hd Maidstone Kent
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