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.

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