2. Hot(+ve) 3. Cold(-ve) 1. Screen

Unbalanced Mic XLR

2. Hot(+ve) Link 3 to 1

1. Screen

Balanced 3 pole Jack
Hot (+ve) Cold (-ve) Gnd/Screen

Unbalanced 3 pole Jack

Signal Gnd/Screen Gnd/Screen

Tip Ring Sleeve

LINE INPUT
Accepts 3-pole `A gauge jacks, or 2-pole mono jacks which will automatically ground the cold input. 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, although you should then keep cable lengths as short as possible to minimise interference pick-up on the cable. Note that the ring must be grounded if the source is unbalanced. Set the input level using the SENS knob, starting with the knob turned fully anticlockwise. Unplug any MIC connection when using the LINE input.

Inserts

Signal Send Signal Return Gnd/Screen Tip Ring Sleeve

INSERT POINT

The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing limiters, compressors, special EQ or other signal processing units to be added in the signal path. The Insert is a 3-pole A gauge jack socket which is normally bypassed. When a jack is inserted, the signal path is broken, just before the EQ section. The signal from the channel appears on the TIP of the plug and is returned on the RING, with the sleeve as a common ground. The Send may be tapped off as an alternative pre-fade, pre-EQ direct output if required, using a lead with tip and ring shorted together so that the signal path is not interrupted.

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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 do not require any EQ or effects.
Mix & Sub Outputs Aux Outputs Mono Output Signal + Signal Screen
STEREO INPUTS 15/16 & 19/20
These accept 3-pole `A gauge jacks, or 2-pole mono jacks which will automatically ground the cold input. Use these inputs for sources such as keyboards, drum machines, synths, tape machines or as returns from processing units. The input is BALANCED for low noise and immunity from interference, but you can use UNBALANCED sources by wiring up the jacks as shown, although you should then keep cable lengths as short as possible to minimise interference pick-up on the cable. Note that the ring must be grounded if the source is unbalanced. Mono sources can be fed to both paths by plugging into the Left jack only.

Mix Inserts

Signal Send Signal Return Gnd/Screen

MIX INSERTS

The unbalanced, pre-fade Mix insert point is a break in the output signal path to allow the connection of, for example, a compressor/limiter or graphic equaliser. The Insert is a 3-pole A gauge jack socket which is normally bypassed. When a jack is inserted, the signal path is broken, just before the mix fader. The mix signal appears on the TIP of the plug and is returned on the RING. A Y lead may be required to connect to equipment with separate send and return jacks as shown below:

Signal Send Insert Point Send to External Device
Headphones Left Signal Right Signal Ground

Screen

Signal Return
If XLRs are used, join Pins 1 & 3 and connect to cable screen. Connect Pin 2 to signal.
Return from External Device

MIX & SUB OUTPUTS

Monitor Outputs Direct Outputs Signal Ground Ground
The MIX and SUB outputs are on 3-pole 3-pole A gauge jack sockets, wired as shown, and incorporate impedance balancing, allowing long cable runs to balanced amplifiers and other equipment.
From FOLIO SX Impedance Balanced Output

Signal

(a) Balanced Connection

To External Device

Signal Ground
(b) Unbalanced Connection
Signal Ground Experience has shown that sometimes it is better not to connect screen at external device end.

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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 and other equipment.

CHANNEL DIRECT OUTPUTS

The Direct outputs are on 3-pole A gauge jack sockets, wired as shown on the left, and are unbalanced.

HEADPHONES

The PHONES output is a 3-pole A gauge jack, wired as a stereo output as shown, suitable for headphones of 200W or greater. 8W headphones are not recommended.

Polarity (PHASE)

You will probably be familiar with the concept of polarity in electrical signals and this is of particular importance to balanced audio signals. Just as a balanced signal is highly effective at cancelling out unwanted interference, so two microphones picking up the same signal can cancel out, or cause serious degradation of the signal if one of the cables has the +ve and -ve wires reversed. This phase reversal can be a real problem when microphones are close together and you should therefore take care always to connect pins correctly when wiring audio cables.

Grounding and Shielding

For optimum performance use balanced connections where possible and ensure that all signals are referenced to a solid, noise-free earthing point and that all signal cables have their screens connected to ground. In some unusual circumstances, to avoid earth `loops ensure that all cable screens and other signal earths are connected to ground only at their source and not at both ends. If the use of unbalanced connections is unavoidable, you can mimimise noise by following these wiring guidelines: l On INPUTS, unbalance at the source and use a twin, screened cable as though it were balanced.
l On OUTPUTS, connect the signal to the +ve output pin, and the ground of the output device to -ve. If a twin screened cable is used, connect the screen only at the mixer end. l Avoid running audio cables or placing audio equipment, close to thyristor dimmer units or power cables. l Noise immunity is improved significantly by the use of low impedance sources, such as good quality professional microphones or the outputs from most modern audio equipment. Avoid cheaper high impedExample 1 ance microphones, which may suffer Audio (with ground connected) Mixer Amplifier from interference over long cable runs, even with well-made cables. Supply Earth Loop Supply l Grounding and shielding is still seen as a black art, and the suggestions above are only guidelines. If your system still hums, an earth loop is the most likely cause. Two examples of how an earth loop can occur are shown on the right

Page 7

Mains Earth

Example 2

Left Signal (with ground connected)

Earth Loop

Amplifier
Right Signal (with ground connected)

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 supposed to do. l Learn where to look for common trouble spots. The Block Diagram is a representative sketch of all the components of the console, showing how they connect together and how the signal flows through the system. Once you have become familiar with the various component blocks you will find the Block Diagram quite easy to follow and you will have gained a valuable understanding of the internal structure of the console. Each Component has a specific function and only by getting to know what each part is supposed to do will you be able to tell if there is a genuine fault! Many `faults are the result of incorrect connection or control settings which may have been overlooked. Basic Troubleshooting is a process of applying logical thought to the signal path through the console and tracking down the problem by elimination. l Swap input connections to check that the source is really present. Check both Mic and Line inputs. l Eliminate sections of the channel by using the insert point to re-route the signal to other inputs that are known to be working. l Route channels to different outputs or to auxiliary sends to identify problems on the Master section. l Compare a suspect channel with an adjacent channel which has been set up identically. Use PFL and AFL to monitor the signal in each section. Insert contact problems may be checked by using a dummy jack with tip and ring shorted together as shown below. If the signal appears when the jack is inserted it shows that there is a problem with the normalling contacts on the jack socket, caused by wear or damage, or often just dirt or dust. Keep a few in your gig tool box.

Wire Link

Dummy Insert Bypass Jack

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GETTING TO KNOW YOUR CONSOLE

Mono Input Channel

1 DIRECT OUTPUT
The first eight channels have a dedicated Direct Output which allows direct connection to external devices, for example to feed Tape Machines or effects units. See the Advanced Features section on page 18 for a full explanation of these outputs.

The mic input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED signals. Professional dynamic, condenser or ribbon mics are best because these will be LOW IMPEDANCE. You can use low-cost HIGH IMPEDANCE mics, but the level of background noise will 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.
ONLY connect condenser microphones with the +48V powering OFF, and ONLY turn the +48V powering on or off with all output faders DOWN, to prevent damage to the mixer or external devices.
TAKE CARE when using unbalanced sources, which may be damaged by the phantom power voltage on pins 2 & 3 of the XLR connector. Unplug any mics if you want to use the LINE Input. The input level is set using the SENS knob.
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 top quality from professional equipment, but you can use UNBALANCED sources by wiring up the jacks as shown below, although you should then keep cable lengths as short as possible. Unplug anything in the MIC input if you want to use this socket. Set the input level using the SENS knob.
INSERT POINT (ALTERNATIVE DIRECT SEND)
The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing limiters, compressors, special EQ or other signal processing units to be added in the signal path. The Insert is a 3-pole A gauge jack socket which is normally bypassed. When a jack is inserted, the signal path is broken, just before the EQ section. The Send may be tapped off as an alternative pre-fade, pre-EQ direct output if required, using a lead with tip and ring shorted together so that the signal path is not interrupted (see below).
Signal Send Insert Point Wire Link Mono pre-fade Direct Send

Screen RCA Phono centre

Link pins 1 & 3 XLR XLR Screen 2 Signal

Page 9

This knob 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. 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. Setting the knob to the `U mark gives unity gain for the LINE input. Note that some sound equipment, particularly that intended for domestic use, operates at a lower level (-10dBV) than professional equipment and will therefore need a higher gain setting to give the same output level. See `Initial Set Up on page 16 to learn how to set SENS correctly.

100Hz HI-PASS FILTER

Pressing this switch activates a steep 18dB per octave filter which reduces the level of bass frequencies only, and is a real bonus for a such a small mixer. Use this in live PA situations to clean up the mix, reducing stage rumble or `popping from microphones.

EQUALISER

The Equaliser (EQ) allows fine manipulation of the sound, particularly to improve the sound in live PA applications where the original signal is often far from ideal and where slight boosting or cutting of particular voice frequencies can really make a difference to clarity. There are three sections 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.

Frequency/Hz

Muddiness & Rumble
Turn to the right to boost high (treble) frequencies above 12kHz by up to 15dB, adding crispness to cymbals, vocals and electronic instruments. Turn to the left to cut by up to 15dB, reducing hiss or excessive sibilance which can occur with certain types of microphone. Set the knob in the centre-detented position when not 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 240Hz 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.

20 Frequency/Hz 20k

Turn to the right to boost low (bass) frequencies below 60Hz by up to 15dB, 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.

AUX SENDS

These are used to set up a separate mixes for FOLDBACK, EFFECTS or recording, and the combination of each the Aux Send is mixed to the respective Aux Output at the rear of the mixer. For Effects it is useful for the signal to fade up and down with the fader (this is called POST-FADE), but for Foldback or Monitor feeds it is important for the send to be independent of the fader (this is called PRE-FADE).

AUX SEND 1

This is always PRE-FADE and therefore most appropriate for foldback or monitor mixes or external submix.

Page 10

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, external submix (or for Centre Voice cluster or mono Tape mix).
This control sets the amount of the channel signal feeding the Right and Left MIX or SUB buses, allowing you to move the source smoothly across the stereo image. When the control is turned fully right or left you are able to route the signal at unity gain to either left or right outputs individually.
All outputs from the channel except inserts are muted when the ON switch is released and enabled when the switch is down, allowing levels to be pre-set before the before the signal is required.

MIX / SUB

The channel signal may be routed to either the main MIX (switch UP) or SUB buses (switch DOWN). The left/right balance is set by the PAN control (see above) allowing the signal to be sent proportionately to any of the buses.
The 100mm FADER, with a custom-designed law to give even smoother control of the overall signal level in the channel strip, allows precise balancing of the various source signals being mixed to the Master Section. You get most control when the input SENSITIVITY is set up correctly, giving full travel on the fader. See the `Initial Set Up section on page 16 for help in setting a suitable signal level.

DIRECT PRE/POST

See Direct Output (1) and Advanced Features on page 18 for an explanation of the Direct Output. The output may be selected as either PRE or POST fader. The factory default setting is POST-FADER, but this may be changed by moving an internal switch as shown on the right. Remove the protective grommet to gain access to the switch and move the switch carefully upwards using a small screwdriver or the end of a POST-FADE pencil. It is advisable to turn the unit off before making this adjustment.

PRE-FADE

Always check all outputs after adjusting to ensure that switching has been successful.
When the latching PFL switch is pressed, the pre-fade signal is fed to the headphones, control room output and meters, where it replaces the selected monitor source (MIX, SUB or 2TK). The PFL/AFL LED on the Master section illuminates to warn that a PFL is active. This is a useful way of listening to any required input signal without interrupting the main mix, for making adjustments or tracing problems.

When the latching PFL switch is pressed, the pre-fade signal is fed in mono to the headphones, control room output and meters, where it replaces the selected monitor source (MIX, SUB or 2TK). The PFL/AFL LED on the Master section illuminates to warn that a PFL is active. The Left and Right meters display the PFL signal in mono. This is a useful way of listening to any required input signal without interrupting the main mix, for making adjustments or tracing problems.

Page 13

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 adjacent LED illuminates when the power is active. TAKE CARE when using unbalanced mics which may be damaged by the phantom power voltage. Balanced dynamic mics can normally be used with phantom power switched on (contact your microphone manufacturer for guidance)
Mics should always be plugged in, and all output faders set to minimum before switching the Phantom Power ON to avoid damage to external equipment POWER INDICATOR
This LED lights to show when power is connected to the console.

BARGRAPH METERS

The three colour peak reading BARGRAPH METERS normally follow the Monitor selection to show the level of the MIX RIGHT and MIX LEFT outputs, giving you a constant warning of excessive peaks in the signal which might cause overloading. Aim to keep the signal just touching the amber segments at peak levels for best performance. Similarly, if the output level is too low and hardly registering at all on the meters, the level of background noise may become significant. Take care to set up the input levels for best performance. When any PFL switch is pressed, the meters switch to show the selected PFL signal on both meters, in mono.

2TK LEVEL

The rotary control sets the level of the 2 Track Tape input, which is routed to the headphones, monitor outputs and meters. These inputs, on RCA phono connectors are an ideal to connect the playback of a tape machine for monitoring.

SUB TO MIX

The SUB outputs may be used as independent outputs from the console, or used as true subgroups, routed to the main Mix outputs. When the switch is released the SUB signal feeds the SUB outputs only. With the switch pressed the post-fade Sub Left and Right signals are routed to Mix Left and Right respectively. The Sub outputs remain unaffected.

Page 15

USING YOUR FOLIO SX CONSOLE
he final sound from your P.A. system can only ever be as good as the weakest link in the chain, 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 functions of your mixer, so you must recognise the importance of correct choice of inputs, microphone placement and input channel settings. However, no amount of careful setting up can take account of the spontaneity and unpredictability of live performance and the mixer must be set up to provide `spare control range to compensate for changing microphone position and the absorption effect of a large audience (different acoustic characteristics from sound check to show).

Microphone Placement

Cardioid Response

Hypercardioid Response

Careful microphone placement and the choice of a suitable type of microphone for the job is one of the essentials of successful sound reinforcement. The diagrams on the left show the different pick-up patterns for the most common types of microphone. Cardioid microphones are sensitive to sound coming from in front, and hypercardioid microphones offer even greater directivity, with a small amount of pickup behind the microphone. These types are ideal for recording vocalists or instruments, where rejection of unwanted sounds and elimination of feedback is important. The aim should be to place the microphone as close as physically possible to the source, to cut out unwanted surrounding sounds, allow a lower gain setting on the mixer and avoid feedback. Also a well-chosen and well-placed microphone should not need any appreciable equalisation. There are no exact rules - let your ears be the judge. In the end, the position that gives the desired effect is the correct position!

Omnidirectional Response

Initial Set Up
Once you have connected up your system (see the sections on connection and wiring earlier in this manual for guidance) you are ready to set initial positions for the controls on your mixer.
The front panel drawing inside the rear cover shows typical initial control positions which may be found a useful guide to setting up the mixer for the first time.
Set up individual input channel as follows: l Connect your sources (microphone, keyboard etc.) to the required inputs. Note: Phantom powered mics should be connected before the +48V is switched on. Route the channel to Mix. l Set Master faders at 0, input faders at 0, and set power amplifier levels to about 70%. l Provide a typical performance level signal and press the PFL button on the first channel, monitoring the level on the bargraph meters. l Adjust the input gain until the meter display is in the amber section, with occasional peaks to the first red LED at a typical maximum source level. This allows sufficient headroom to accommodate peaks and establishes the maximum level for normal operation (but see note below).

If the signal level is too low it may be masked by the noise.

Page 17

Advanced Features
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 to PRE-FADER by moving the internal PRE/POST switch (13) accessible through an aperture covered by a grommet beside the fader on channel 1 (see below).

POST-FADE

In the POST-FADER position the outputs may be used as individual effects sends or to provide fader control of recording levels in a studio recording application. For live recording, the outputs would normally be set to PRE-FADE, so that the direct output levels remain unaffected by fader settings for the main PA mix. The direct output level may be monitored by pressing the PFL switch on the appropriate channel to feed the pre-fade signal to the monitors and the bargraph meters. In applications where more than 8 tracks are being created, the Direct outputs may be split to feed multiple tape tracks in blocks of 8, and individual tracks enabled on the recorder. Note also that the insert sends may also be used as an alternative pre-fade, pre-EQ direct output, using a lead with tip and ring shorted together so that the signal path is not interrupted. Refer to page 9 for an example.

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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.

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Application 1 - LIVE SOUND REINFORCEMENT
This drawing shows a typical configuration for sound reinforcement with the main PA fed from Mix L & R, plus an additional centre fill fed from the Mono output. The Aux sends are used for foldback and effects, and Sub L & R are used to feed a recorder. In this case all channels would be routed to SUB, and SUB TO MIX pressed to routed all sources to SUB and MIX.
Using Delay IN REINFORCEMENT SYSTEMS

The drawing below illustrates how to calculate delay settings for fill speakers in multiple speaker installations.

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APPLICATION 2 - MULTISPEAKER APPLICATIONS
This configuration demonstrates how multiple speaker configurations can be driven by the FOLIO SX.
APPLICATION 3 - PLACES OF WORSHIP
This mono configuration uses the Mono output to drive the main speaker system and an induction loop for the hard of hearing. Aux sends are used for monitors and effects and Mix L & R feed a cassette or DAT machine to record the occasion if required.

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APPLICATION 4 - RECORDING
The direct outputs on channels 1-8 may be used to feed a multitrack recorder as shown. The direct outputs should be set to PRE, so that they are unaffected by fader position. The Mix outputs are used for a preliminary stereo mix on a DAT recorder.
Application 5 - LINKING TWO FOLIO SX CONSOLES
Two or more FOLIO SX consoles may be combined to create a larger number of input channels by connecting Mix and Aux outputs from one console to the Stereo and Line inputs on another as shown. Note that the PFL/AFL systems remain separate on each console.

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CARE OF YOUR MIXER

General Precautions

l Avoid storing or using the mixer in conditions of excessive heat or cold, or in positions where 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 or ethyl alcohol. Do not use any other solvents which may cause damage to paint or plastic parts. l Avoid placing drinks or smoking materials on or near the mixer. Sticky drinks and cigarette ash are frequent causes of damage to faders and switches. Regular care and inspection will be rewarded by a long life and maximum reliability.

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. auxiliary send an output from the console comprising a mix of signals from channels and groups derived independently of the main stereo/group mixes. Typically the feeds to the mix are implemented on rotary level controls. the relative levels of the left and right channels of a stereo signal. 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. the onset of severe distortion in the signal path, usually caused by the peak signal voltage being limited by the circuits power supply voltage. Digital Audio Tape, a cassette-based digital recording format. 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)/DI Box 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. direct output equaliser fader feedback foldback frequency response gain/input sensitivity a post fade line level output from the input channel, bypassing the summing amplifiers, typically for sending to individual tape tracks during recording. a device that allows the boosting or cutting of selected bands of frequencies in the signal path. a linear control providing level adjustment the `howling sound caused by bringing a microphone too close to a loudspeaker driven from its amplified signal. a feed sent back to the artistes via loudspeakers or headphones to enable them to monitor the sounds they are producing. the variation in gain of a device with frequency. the variation in level of the signal

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 E.I.N. CROSSTALK Channel mute Fader cutoff (rel to 0 mark) Routing isolation Aux Sends pots offness FREQUENCY RESPONSE Mic/Line In to any output 25Hz to 30kHz T.H.D. Mic Sens. -30dBu, +20dBu at all outputs @ 1kHz Microphone Input Line Input Stereo Input A/B Stereo Input C/D Direct Out, Sub-Mix, Aux, Insert INPUT & OUTPUT LEVELS Mic Input Maximum Level Line Input Maximum Level Stereo Input Maximum Level Headphones (@200W) +22 dBu >+30dBu >+30 dBu 150mW INPUT & OUTPUT IMPEDANCES 1.8 kW 10 kW 12 kW 10 kW 75 W <1dB < 0.006% Microphone Input, Maximum Gain, terminated 150R 1kHz <95 dB <90dB <90dB <85dB <85 dBu -129 dBu 10kHz <85 dB <80dB <80dB <80dB

Page 25

DIMENSIONS
All dimensions are in millimetres (inches in brackets).
80.0 (3.15") inc. conns

33.0 (1.29")

511.5 (20.14")
440.0 (17.32") 479.0 (18.86")

40.0 (1.57")

Rack Mount Option
60.0 (2.36") inc. knobs

443.5 (17.46") 10U

440.0 (17.32") 483.0 (19")
FITTING THE Rack MounT OPTION
The FOLIO SX may be rack mounted using the optional rack-mounting kit which requires only a posidriv screwdriver and pliers for installation. The procedure is as follows: o Remove the moulded side cheeks by releasing 3 screws each side. o Remove the base panel by releasing 10 screws, noting the small cutout at the front edge. o Carefully release the power connector by sqeezing the moulded side clips with pliers (note that you do not have to disconnect the wiring) and reposition it in the cutout on the bottom edge of the panel (see illustration). o Replace the base panel with the cutout at the rear of the desk, positioned over the power connector. o Fit the rack-mount side brackets with the mounting flanges to the front of the desk.

Normal Rack Mount

Rear of fascia
Power Supply Connector Location

Page 26

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 27

Y Leads (Balanced)

Headphone Splitter

Headphone Separator

Y Leads (Unbalanced)

Page 28

MASTER

POWER +48V +48V INSERT FADER

MIX LEFT

AUX BUSSES

MIX LEFT BUS

MIX RIGHT BUS SUB LEFT BUS
SUB RIGHT BUS PFL/AFL BUS
MIC/LINE GAIN 100Hz MIC INPUT

PFL / ENABLE

LINE INPUT INSERT INSERT AUX2 DIRECT PRE / POST AUX3 PRE MIX / SUB FADER

2 TRACK L

MIX RIGHT

HIGH PASS FILTER

DIRECT OUTPUT

MONO OUT

CH. 1 - 8 ONLY PAN

POST L METER/ PFL/AFL

MONO INPUTS 1 - 12

PHONES

SYSTEM BLOCK DIAGRAM

PHONES C/RM L

PFL / ENABLE ON FADER BAL

PFL/AFL

HF & LF EQ

MIX / SUB PFL ENABLE

R METER/ PFL/AFL

C/RM R

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R HF & LF EQ

SUB LEFT

SUB LEFT OUT

STEREO INPUTS 15/16 (19/20 SIMILAR)

FADER SUB RIGHT

SUB RIGHT OUT

SUB TO MIX MIX L

STEREO INPUTS 13/14 (17/18 SIMILAR)
AUX1 (AUX 3 SIMILAR) AUX1 (3)

STEREO INPUTS 13 - 20

AUX2 POST AUX2 PRE

AUX2 POST / PRE AUX2

Page 30

FOH CONTROL SYSTEM COMPARISON TABLE

System No. 1

FOH Desk Soundcraft Spirit Folio SX A&H GL2200 Midas Venice 240 Yamaha M7CL-48 Soundcraft K3 Control, Inserts & Effects Racks FOH Drive Rack 1 FOH Drive Rack 2 Gig Rack Inserts Rack 1 Inserts Rack 2 Inserts Rack 3 Effects Rack 1 Effects Rack 2 Specification Mono Inputs Stereo Inputs Stereo Aux Returns Aux Sends Sub Groups Direct Outs Gates Compressors Effects Processors Graphic EQs (mono) CD Playback MD Playback Ez-Tilt Desk Tipper Other Information Minimum Power Supply Approximate System Weight (Kg) 1 x 13A 1 x 13A 1 x 13A 1 x 13A 1 x 13A 1 x 13A 1 x 13A 1 x 13A 1 x 13A 1 x 13A 48 4* 16* Omni outs 48 4* 16* Omni outs 48 4* 16* Omni outs
Available on all Inputs, Outputs and Busses. 4** 8** 4** 10** 4** 10**
* NB: These numbers represent the maximum total available across the rows of the table that they span. ** NB: A maximum of 4 Stereo Effects Processors or 8 Mono Graphic EQs are available on the M7CL, with a shared maximum of 8 units.
If you need any further information on any of the above systems please dont hesitate to contact us on 959.
Hire any one of the above as part of a Complete Event System and receive further discounts on your Complete Event System.

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