A PowerStation user for over a year now, MIKE CROFTS does some wishful thinking and provides the lowdown on this highly practical, compact 12-channel powered mixer.

The Spirit PowerStation has been around for a little while now, and I have been using one for just over a year. Initially attracted by a combination of the unit's pedigree and on-board facilities, I have by now had the opportunity to get to know this compact powered mixer pretty well, and to reflect on its overall 'on the road' performance.

What you get for your money (ie. just under £1,400 including VAT) is a 12-channel mixer section, stereo power amplifier stage, and built-in Lexicon reverb unit. The whole package is compact and tidy in appearance, finished in a discreet grey, and, although not exactly featherweight, is quite easy to pick up by the built-in side grips and carry a reasonable vehicle-to-stage distance without any trouble.

UNDER THE SPOTLIGHT

In more detail, the mixer has eight mono channels, each of which is accessed via either an XLR microphone input or a high impedance line input by means of a standard three-pole jack socket. This allows various types of instruments to be directly connected to the desk without the need for a DI box. An insert jack point is provided on each mono channel, to enable the connection of external effects into the signal path ahead of the EQ section. This is a practical arrangement, which means that any additional noise generated by the external equipment can be reduced by careful HF cutting. As the insert point is a single three-pole socket, the signal is sent on the jack tip, and returns on the ring, so it is sometimes necessary to make up special leads to match up with outboard equipment.

Input level is trimmed by the gain control, located directly below the input/insert connectors and above the EQ section. This control has two functions depending upon whether you are using the microphone (XLR) or line (jack) input. When used in conjunction with the mic input, the gain control alters the input sensitivity setting over a 60dB range, but this is reduced by about 20dB when the line jack is connected. Just before the EQ section is a switchable high-pass filter, which introduces an 18dB per octave attenuation below 100Hz and is useful for reducing stage rumble and popping on vocal mics.

The three-band equalisation provides a good degree of practical control for most situations. It also facilitates treble and bass cut or boost of 15dB, with a swept mid control, again allowing 15dB cut or boost but with a second knob which sets the centre frequency anywhere between 250Hz and 6kHz. All the cut/boost controls are centre-detented, which I have always found to be a helpful feature especially if you need to make numerous changes in low-light situations — it also helps to develop a 'feel' for the EQ.

"Basic operation is intuitive; the controls are sensibly and logically-placed; the layout of the panel makes it a pleasure to use; the rotary controls are especially smooth, with just the right amount of physical resistance."

The two auxiliary sends come next, with the first being (globally) assignable to pre or post-fade and pre-EQ, whilst the second, which is always post-fade, is switchable between the Aux 2 buss or direct to the internal effects unit by means of the button marked 'Lexicon' just below it. The pan control sits in the usual place just above the channel fader, with an accompanying PFL button which feeds the pre-fade channel signal direct to the monitor section. The channel fader has a normal operating setting indicated as '0' at about two-thirds of its travel, thus providing an additional 10dB of gain above that point if needed.

The two stereo input channels are grouped as channel numbers 9/10 and 11/12. They are similar in function to the mono channels, except that they each have two three-pole electronically balanced standard jack inputs, gain control, and fixed three-band EQ at 12kHz, 1kHz, and 80Hz. The auxiliary sends will direct a mono signal to the appropriate buss; the PFL button sends a stereo signal to the monitor section; the pan control is now labelled 'balance'.

For a more detailed insight into the Powerstation's facilities and features, see Paul White's review in Sound On Sound, April 1995.

MASTERING THE POWER

The PowerStation's master section provides not only the usual master left/right output level and auxiliary send and return functions plus metering, but includes a number of other very useful features not found on more basic desks. In order to fully appreciate the facilities on offer, you really have to try them out for yourself, but here is a brief rundown on what is provided.

There are three master fader controls, for main left and right plus effects master. Located above the main faders is a dual LED bar graph display, which can be set to indicate either main left/right output levels or PFL settings. The auxiliary controls are comprehensive and include the ability to mix the effects unit output with the Aux 1 buss signal to provide a wet foldback feed if required. Also grouped within this section are the controls for 'stereo return', which is normally the external effects return signal and 'two-track return', a very useful extra stereo signal input accessed via two RCA phonos and used to feed in (for example) an external tape/CD source or as an additional effects return.

At the top of the master section, just below the main connectors and patchbay, is a two-channel, seven-band graphic equaliser, which is normally in line with the main outputs. Each frequency band has a very sensible 6dB of cut or boost available, which should be more than enough for most applications, although I have never needed to use it — to this end there is a defeat switch for each channel which comes in handy for making comparison checks.

Tucked discreetly away in the lower right-hand corner sits the Lexicon digital effects processor, which offers a choice of room acoustic settings, with each setting having a further dark/bright option. With the control set to 'effects', a further bank of digital reverb effects is brought into play.

The internal stereo power amplifier delivers 265W per channel into a 4 Ohm load. It also incorporates temperature protection and further protection circuitry, which will isolate the speaker outputs if a fault is detected in the amplifier output stage. A quality touch is provided in the form of a variable-speed cooling fan, which is quiet and unobtrusive in operation.

IN A BOX

During the past year, I have used the Powerstation in a fairly wide variety of applications, including theatre productions, club/cabaret systems, product launches, and open air band events. The smaller indoor and background reinforcement events are a doddle, but where a foldback facility is required to keep the performers happy, then this alone is always far more trouble to set up than the main system. If the Powerstation had a third power amplifier channel which could be used to drive a couple of monitors, then for me, it would be a complete all-in-one box which would be absolutely ideal and would make most situations stress-free. Personally, I would happily sacrifice some of the effects options if I could have the option of a third (lower power, say 100W) amp channel, as in practice I tend to use only a couple of the more moderate room acoustic settings. Having said that, you never know quite what you're going to need, and it's quite comforting to have a good range of high quality reverb facilities at your fingertips.

"There is definitely something about this unit which inspires confidence."

The connectors and various access/insert points provided by the patchbay are comprehensive to say the least. All sorts of operating permutations are possible, and — in addition to 'normal' use — I have employed the Powerstation as a desk to drive other rigs, as an extra couple of power amp channels stageside, and I am currently exploring the feasibility of a setup involving two Powerstations used in tandem (possibly by means of the two-track returns) to achieve 16 mono channels plus four stereo pairs driving four power amps. In general, I tend to run out of mono mic channels before needing to use the stereo inputs, and I would happily exchange these for additional mono channels. With regard to my wish for a built-in monitor power amp, the patchbay facilities do allow — if stereo operation is not essential — the foldback mix to be patched to one channel of the power amp, with the main output connected in mono to the other.

The use of jack connectors for the main signal outputs (ie. the power amplifier input signal point) is a slight pain when driving an additional external power amp, merely because XLRs would often be more convenient. Given that these sockets are in effect insert points which interrupt the signal path, however, this is entirely understandable. When using the Powerstation to drive an external power amplifier, plugging into the main output jacks will break the internal signal path, so if the internal amps are needed as well, the signal has to be patched back in at the power amp input jacks — for me, a pair of parallel XLR line-level outputs would be most welcome.

In physical terms, the PowerStation is easy enough to handle at a tad over 18kg. As there is no strap or bar-type handle, it is a two-handed operation, which means that you have to carry it in front of you using the two (comfortable) side grips. The case appears very sturdy, and the rear connectors are adequately protected by rounded extensions of the side panels.

My main worry has always been the top cover, which is not (and presumably was never intended as) a proper lid, and tends to function more as an anti-tamper device than anything offering much in the way of heavy-duty protection. Not overly flexible, it is held in place by pushing six small feet into holes on the mixer top panel. On occasion, this has managed to come undone whilst the unit was being carried. Its best point, however, is that due to its hinged design, it can remain in place, protecting your precious desk settings with all the input and output leads connected.

A point to remember if you're more used to unpowered mixing desks is that space must be allowed around the PowerStation during operation to allow unrestricted airflow for power amplifier cooling. This is definitely something to bear in mind if you want to build a nice cosy foam-lined flightcase around it, and it would perhaps be safer (and take up less room) to remove it from any outer shell before use.

"... I have nothing but praise for the overall sound quality and ease of use."

The Speakon connectors are excellent things to have in a portable sound system and are field-serviceable — only an Allen key is required. If it's not tempting fate to use a Murrayism, so far, they have been utterly reliable, and the positive click when making a connection is very reassuring.

As previously mentioned, the PowerStation has been put to many different uses, and I have nothing but praise for the overall sound quality and ease of use. There is definitely something about this unit which inspires confidence. Basic operation is intuitive; the controls are sensibly and logically-placed; the layout of the panel makes it a pleasure to use; the rotary controls are especially smooth, with just the right amount of physical resistance. The quiet signal path and obvious quality of the power amps soon show up any shortcomings in any equipment connected to it. Setting-up time at engagements has been significantly reduced compared to the wiring horrors of my previous system. The write-on strip is printed on the main panel, just below the channel faders, and the use of a proper chinagraph pencil avoids the possibility of permanent scratching — replaceable plastic strip would better withstand the odd biro or marker pen abuse.

With any powered mixer, the speaker leads should be kept as short as possible, within reason, and should be made of sufficiently heavy-duty cable. In practice, this doesn't mean that you must always place the PowerStation right under the feet of the performers, or use surplus cable from the National Grid, but with a long cable run, the overall system efficiency would tend to suffer. At reasonably modest volume, I could hear no noticeable difference when using 20 metre speaker leads compared to others of 5 metres, and in most small or medium venues, this shouldn't really be a problem. A further point in favour of powered mixers is that decent two-core cable is not too expensive, and a quick trip to Do It All will normally get you out of trouble on a Sunday afternoon.

The PowerStation is very compact and inconspicuous in use, which is very much appreciated when using it in small clubs and theatres. The only problem I can recall was on one occasion when it had to be located in the orchestra pit of a local theatre and operated by one of the musicians — I had to tape over the LED bar graph display because the front row of the audience kept pointing at the pretty lights during the show!

One year on, I have come to take for granted the quality and reliability of this highly practical unit, which I think represents an excellent combination of facilities and common sense. I certainly consider the Spirit PowerStation to be one of my better buys — so far, so pretty damn good.

Spirit by Soundcraft, (Contact Details).