Samson TM 500 manuel d'utilisation

® OWNERS MANUAL POWERED MIXER TM500[...]

Produced by On The Right Wavelength for Samson Technologies Corp. Copyright 1999, Samson Technologies Corp. Printed April 1999 Samson Technologies Corp. 575 Underhill Blvd. P.O. Box 9031 Syosset, NY 11791-9031 Phone: 1-800-3-SAMSON (1-800-372-6766) Fax: 516-364-3888 Table of Contents ENGLISH Introduction 3 TM500 Features 3 Guided Tour 5 Overview 5 [...]

Introduction / TM500 F eatures We know you don’t like reading owners manuals, but you’ve just purchased one of the finest powered mixers around, and we want to tell you about it! So, before you plug in and start making music, we’d like to suggest you take just a few moments out to scan these pages. We’ll make it as painless as possible, we [...]

TM500 F eatures • Onboard digital signal processor (DSP) with 256 high-quality effects, including reverbs, delays, flanging and chorus. • Phantom power switch enables you to use the TM500 with high-quality condenser microphones. When turned on, 48 volts of phantom power is provided to the mic connectors of all channels. • Two Aux sends per ch[...]

Guided T our - Over view The following illustration shows an overview of the front panel of the TM500: 5 SAMSON MIC 8 7 6 5 4 3 2 1 MIC MIC MIC MIC MIC MIC MIC INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT LINE LINE LINE LINE LINE LINE LINE LINE 9L MONO 11L MONO 10R 12R 9/10 11/12 PFL PEAK HIGH -15 +15 0 LOW -15 +15 0 AUX1 ∞ +10 PRE AUX[...]

Guided T our - Channels 1: Mic inputs - Provided in mono channels only. Use these electronically balanced XLR jacks to connect microphones to the TM500. These are intended to accept signal from low-level, low-impedance mics but can also be used for signal from other sources (such as direct injection boxes) if the channel ’ s Trim control (see #5 [...]

Guided T our - Channels the signal is boosted; as it is turned counterclockwise from the “ 0 ” position, it is attenuated. Aux send 1 is post-eq but pre-fader ; that is, the level of the signal is determined solely by its Trim control (see #5 on the previous page). In contrast, Aux send 2 is post-eq and post-fader ; that is, the level of the si[...]

8 Guided T our - Main Section 1: Tape input (L, R) - Connect the outputs of a tape or CD player to this set of dual phono jacks. The volume of the incoming signal is controlled by the Tape In level control (see #7 on the next page). 2: Aux Returns (1, 2) - Connect signal from external stereo devices such as effects processors to these unbalanced 1/[...]

9 Guided T our - Main Section 7: Tape In Level - Controls the level of signal arriving at the Tape Input jacks (see #1 on the preceding page). 8: Record Out Level - Controls the level of signal being output by the Record Out jacks (see #3 on the preceding page). 9: Auxiliary Return Level (1,2) - These knobs determine the input level of signal arriv[...]

Guided T our - Main Section 17: Bank Control - Allows you to select any of 16 preset effect Banks for the onboard DSP. For more information, see the “ Using DSP ” section on page 22 of this manual. 18: Parameter Control - Allows you to select any of 16 variation parameters on the preset effect Bank selected for the onboard DSP (see #17 above). [...]

Guided T our - Rear P anel 1: Vent - To ensure proper cooling of the TM500 power amplifier, make sure this vent is unobstructed at all times. 2: Fuse holder - Holds a 12 A / 250 V fuse for 115 volt operation or a 6 A / 250 V fuse for 230 volt operation 3: AC input - Connect the supplied heavy gauge 3-pin “ IEC ” power cable here. 4: Speaker Out[...]

12 Connecting the TM500 The actual connections you ’ ll make to and from the TM500 will vary according to the environment you use it in and the particular equipment you have. Here are a few basic rules concerning TM500 connections that will apply in most situations: • In general, it ’ s best to make all connections with the TM500 turned off. [...]

13 TM500 Interconnections - Stereo Configuration The illustration below shows typical interconnections between the TM500 and other audio equipment when used in its standard stereo configuration (that is, with the Aux 1 / Monitor switch [see #20 on page 8] out). 9L MONO 11L MONO 10R 12R 9/10 11/12 PFL PEAK HIGH -15 +15 0 LOW -15 +15 0 AUX1 ∞ +10 P[...]

TM500 Interconnections - Split Mono Configuration The illustration below shows typical interconnections between the TM500 and other audio equipment when used in its “ split mono ” configuration (that is, with the Aux 1 / Monitor switch [see #20 on page 8] pressed in). Note that , in this conguration, the Rev To Aux 1 Level control (#16 on page [...]

15 Setting up your TM500 is a simple procedure which takes only a few minutes: 1. Remove all packing materials (save them in case of need for future service) and decide where the TM500 is to be physically placed. Make sure that the rear vent and fan are unobstructed and that there is good ventilation around the entire unit. 2. Before even plugging [...]

16 You ’ re now ready to establish the correct gain structure — the key to getting the best performance from the TM500, or from any mixer, for that matter. This is a simple procedure that ensures optimum input and output levels so that no unnecessary noise (caused by too low a signal) or overload distortion (caused by too high a signal) is crea[...]

17 Setting the Cor rect Gain Str ucture k. Repeat step (i) above for each instrument connected to the TM500 mono and stereo channel line inputs. l. The procedure for setting optimum microphone levels is virtually identical; sing or speak into the mic at the level you expect to use in performance while slowly raising the fader for that channel to it[...]

18 Grounding T echniques Hum and buzz are the biggest enemies you face when interconnecting a large number of different pieces of equipment to a central audio mixer. This is because each piece of equipment may operate at a marginally different voltage (this difference is called potential ) and, when two devices at slightly different potential are p[...]

19 Using Equalization One of the most exciting aspects of using a mixer such as the TM500 is the ability to shape a sound, using a process called equalization . But there are few areas of audio engineering more misunderstood than equalization, and, just as good EQ can really help a sound, bad EQ can really hurt it, so read on... Every naturally occ[...]

20 Using Equalization The seven-band graphic master equalizer affects the overall output signal of the TM500. Its main function is to allow you to “ tune ” the device to the particular room environment you are in. Perhaps its most important job is to enable you to eliminate ringing or feedback problems caused when a microphone is too close to a[...]

21 Using P an and Balance The final Main output of the TM500 is stereo — that is, there are discrete speaker output jacks, labeled “ left ” and “ right, ” which will normally be routed to two (or two pairs of) discrete speakers. Because of this, you will usually be working with a stereo field that ranges from hard left to hard right. The [...]

22 Using Aux Sends and Retur ns The two Aux Sends provided by the TM500 allow you to combine the signal from multiple channels and send the resulting mix to the internal Digital Signal Processor (DSP) and/or to external devices such as effects processors. When a channel Aux Send knob is at its 2 o ’ clock “ 0 ” position, the signal is routed [...]

23 Using Inser ts In addition to using Auxiliary Sends and Returns to access outboard devices, the TM500 also provides channel inserts for each of its eight monophonic channels. These should be used when you want to affect just one input signal, as opposed to signal from several inputs — most often, this will be for dynamic processing purposes (s[...]

24 There ’ s probably no better way to enhance audio than with the judicious use of effects such as reverb and echo. The TM500 has its own built-in Digital Signal Processor (DSP) chip which provides some of the best effects around. As discussed in the “ Using The Aux Sends and Returns ” section on page 20 in this manual, each TM500 channel ha[...]

Introduction/caractéristiques du TM 500 Nous savons que vous n’aimez pas lire les modes d’emploi, mais vous venez juste d’acheter l’un des mélangeurs amplifiés les plus sophistiqués du marché, et nous tenons à vous le faire découvrir. Donc, avant de le brancher et de commencer à l’utiliser, nous vous suggérons de prendre quelques[...]

Caract é ristiques T echniques du TM500 • Deux d é parts auxiliaires st é r é o par voie (l ’ un pr é lev é avant Fader et l ’ autre apr è s) vous per- mettent d ’ affecter plusieurs signaux du processeur d ’ effets interne ou vers les processeurs externes. • Deux retours auxiliaires st é r é o, avec r é glages de niveaux ind [...]

27 V isite Guid é e – Les voies 1: Entrées micro - Seules les voies mono en sont é quip é es. Utilisez les connecteurs de type XLR (sym é trie é lectronique) pour relier vos micros au TM500. Ces entr é es sont pr é vues pour recevoir des signaux de niveau micro basse imp é dance, mais peuvent é galement ê tre utilis é es pour des sign[...]

28 V isite Guid é e – Les voies partir de la position “ 0 ” , le signal est accentu é ; si vous le tournez vers la gauche (toujours à partir de la position “ 0 ” ) le signal est att é nu é . Le d é part auxiliaire 1 est pr é lev é avant é galiseur et avant Fader : le niveau du signal est donc uniquement d é termin é par le r é[...]

29 V isite guid é e – Section principale 1: Entr é e Tape In (G, D ) - Connectez les sorties d ’ un lecteur cassette ou d ’ un lecteur CD à ces deux connecteurs RCA. Le niveau du signal d ’ etr é e d é pend du r é glage du niveau de l ’ entr é e Tape (voir point n ° 7 à la page suivante). 2: Retours auxiliaires (G, D ) - Connecte[...]

30 V isite guid é e – Section principale 9: Niveau de retour auxiliaire (1, 2) - Ces potentiom è tres d é terminent le niveau des signaux arrivant des deux retours auxiliaires du TM500 (voir point n ° 2 de la page pr é c é dente). La position “ 0 ” de chaque potentiom è tre correspond au gain unitaire (ni att é nuation ni accentuation[...]

31 V isite guid é e – Section principale 19: Touche DSP On/Off - Lorsque cette touche est enfonc é e ( “ On ” ), le signal de sortie provenant du DSP interne est affect é au retour auxiliaire 2. Lorsque la touche est rel â ch é e ( “ Off ” ), le retour auxiliaire 2 re ç oit le signal provenant des connecteurs jack de retours auxilia[...]

V isite guid é e – F ace ar ri è re 1: Ventilation - Afin d ’ assurer un refroidissement efficace de l ’ amplificateur de puissance du TM500, assurez-vous que les orifices de ventilation ne sont jamais obstru é s. 2: Support à fusible - Fusible 250 V/12 A pour un fonctionnement en 115 Volts ou fusible 250 V/6 A pour une utilisation en 230[...]

33 L ’ installation du m é langeur TM500 est une op é ration assez simple qui ne vous prendra que quelques minutes. 1. Retirez tous les cartons et papiers d ’ emballage (gardez-les au cas o ù vous en auriez besoin plus tard) et d é cidez de l ’ endroit o ù vous allez placer le TM500. Assurez-vous que le ventilateur et les orifices de ven[...]

34 Vous ê tes maintenant pr ê t pour r é gler correctement le gain. Ce r é glage est la clef de la r é ussite pour exploiter les meilleures performances de votre TM500 ou de n ’ importe quel m é langeur. Ce r é glage constitue une simple formalit é qui assure des niveaux optimums d ’ entr é es et de sorties afin que des bruits inutiles[...]

35 R é glages de gain l. Le r é glage optimum des niveaux micros est quasiment identique : chantez ou parler dans le micro au niveau souhait é tout en augmentant le Fader jusqu ’à la position “ 0 ” . R é gler ensuite l ’ att é nuateur de cette voie tout en surveillant l ’ afficheur et la Led d ’é cr ê tage de la voie. Les entr ?[...]

36 Einleitung / TM500 Mer kmale Wir wissen, daß Sie nicht gerne Benutzerhandbücher lesen, aber Sie haben gerade eines der leistungsfähigsten Mischpulte erworben, und wir möchten Ihnen einiges darüber erzählen! Bevor Sie es anschließen und anfangen zu spielen, sollten Sie einige Minuten dem Durchlesen dieser Seiten widmen. Wir versuchen es so[...]

TM500 Mer kmale • Zwei Stereo Aux-Abg ä nge pro Kanal (ein Pre- und der andere Post-Fader) erm ö glicht Ihnen mehrere Signale dem internen DSP oder externen Prozessoren zuzuf ü hren. • Zwei Stereo Aux-R ü ckf ü hrungen mit, auf der Vorderseite befindlichen, unabh ä ngigen Pegel- Regler, erm ö glicht Ihnen das Signal des vom internen DSP [...]

38 Über sicht - die Kanäle 1: Mikrofon-Eingänge - Nur die Mono-Kan ä le sind damit besetzt. Benutzen Sie die XLR- Anschl ü sse (elektronische Symmetrie), um Ihre Mikros an den TM500 anzuschlie ß en. Diese Eing ä nge sind f ü r den Empfang der Signale des Mikrofon- und Niedrigimpedanz- Pegels vorgesehen, k ö nnen aber auch f ü r ein von an[...]

39 Ü ber sicht - die Kan ä le zuzuteilen. In der „ 0-Position “ wird das Signal mit der Verst ä rkung eins (d.h. keine Anhebung oder Abschw ä chung) gesendet. Wenn Sie den Potentiometer von der „ 0 “ -Position ab nach rechts drehen, wird das Signal angehoben, wenn Sie ihn nach links drehen (wieder von der „ 0 “ -Position ab), wird d[...]

40 Ü ber sicht - Hauptabschnitt 1: Tape In Eingang (L,R) - Verbinden Sie die Eing ä nge eines Kassetten- oder CD-Spielers mit diesen zwei RCA-Anschl ü ssen. Die Lautst ä rke des Eingangssignals h ä ngt von der Einstellung des Pegels des Eingang Tape ab (siehe Nr.7 auf der folgenden Seite). 2: Aux-R ü ckf ü hrungen (1,2) - Verbinden Sie das S[...]

41 Ü ber sicht - Hauptabschnitt 7: Tape In Pegel - Bestimmt den Pegel des Eingangssignals Tape (siehe Nr.1 der vorherigen Seite). 8: Pegel des Aufnahme-Ausgangs Record Out - Bestimmt den Pegel des verf ü gbaren Ausgangssignals auf den RCA (siehe unter Nr. 3 der vorherigen Seite). 9: Aux-R ü ckf ü hrungspegel (1,2) - Diese Potentiometer bestimme[...]

42 Ü ber sicht - Hauptabschnitt 17: Bank Regler - Erm ö glicht irgendeine der 16 Preset-Banken f ü r den eingebauten DSP einzustellen. 18: Parameter Regler - Erm ö glicht eine der 16 Effekt-Variationen der gew ä hlten Preset-Bank einzustellen (siehe Nr.17). 19: DSP On/Off Taste - Wenn diese hereingedr ü ckt ist ( „ On “ ), wird das vom in[...]

Ü ber sicht - R ü ckseite 1: Bel ü ftung - Um eine wirksame K ü hlung Ihres TM500 zu sichern, garantieren Sie, da ß die Bel ü ftungs ö ffnungen immer freistehen. 2: Sicherungsfach - Eine 12 A / 250 V Sicherung f ü r eine 115 Volt Bedienung, oder eine 6 A / 250 V Sicherung f ü r eine 230 Volt Bedienung. 3: Netzanschlu ß - Schlie ß en Sie [...]

44 Sie ben ö tigen nur wenige Minuten, um Ihren TM500 betriebsf ä hig zu machen: 1. Entfernen Sie alle Verpackungsmaterialien (bewahren Sie diese jedoch f ü r den Fall auf, da ß Sie sie noch einmal ben ö tigen) und suchen Sie einen Standplatz f ü r den TM500 aus. Versichern Sie sich, da ß die Bel ü ftungs ö ffnung der R ü ckseite und der [...]

45 Sie sind nun bereit den Gain korrekt einzustellen. Diese Einstellung ist notwendig, um die vielen M ö glichkeiten Ihres TM500 oder jedes Mischpults zu benutzen. Die Einstellung ist eine Kleinigkeit, die optimale Eingangs- und Ausgangspegel versichert, damit unn ö tige Ger ä usche (von einem zu schwachen Signal horvorgerufen) oder eine Verzerr[...]

46 Einstellung der Gain-Str uktur l. Die optimale Einstellung der Mikrofon-Pegel wird fasr identisch vorgenommen: Singen oder sprechen Sie in das Mikro mit dem gew ü nschten Pegel, wobei Sie w ä hrendessen die Fader bis zur „ 0 “ -Position erh ö hen. Regeln Sie dann den Abgleichpotentiometer dieses Kanals, w ä hrend Sie die Anzeige und die [...]

Introducción / Características de la TM500 Sabemos que no le gusta leer libros de instrucciones, pero lo que acaba de adquirir es una de las más poderosas mesas de mezclas amplificadas del mundo, y queremos que la domine totalmente! Por ello, antes de que comience a conectar cables y a hacer música, le recomendamos que pierda unos pocos minutos[...]

Caracter í sticas de la TM500 • Un interruptor de alimentaci ó n fantasma le permite usar la TM500 con micr ó fonos condensadores de alta calidad. Cuando se activa este interruptor, se suministran 48 voltios de alimentaci ó n fantasma a los conectores de micro de todos los canales. • Dos env í os auxiliares por canal (uno pre y el otro pos[...]

49 Recor rido guiado - Canales 1: Entradas de micro – Disponibles solo en los canales mono. Utilice estos conectores XLR balanceados electr ó nicamente para conectar micr ó fonos a la TM500. Estas clavijas est á n pensadas para aceptar se ñ ales de micros de bajo nivel, baja impedancia, si bien pueden ser usadas tambi é n para se ñ ales de [...]

50 Recor rido guiado - Canales ‘ 0 ’ , la se ñ al es realzada; al mover cada mando hacia la izquierda desde esta posici ó n ‘ 0 ’ , la se ñ al es atenuada. El env í o auxiliar 1 es pre-eq y pre-fader; es decir, el nivel de la se ñ al es determinado ú nicamente por su control de ajuste o Trim (vea el punto 5 de la p á gina anterior). [...]

51 Recor rido guiado – Secci ó n principal 1: Entrada de cinta (L, R) – Conecte las salidas de un reproductor de CD o de cinta a este grupo de conectores phono duales. El volumen de la se ñ al entrante es controlado por el control de nivel de entra- da de cinta (vea el punto 7 de la p á gina siguiente). 2: Retornos auxiliares (1, 2) – Cone[...]

52 Recor rido guiado – Secci ó n principal 7: Nivel de entrada de cinta – Controla el nivel de la se ñ al que llega a las tomas de entrada de cinta (vea el punto 1 de la p á gina anterior). 8: Nivel de salida de grabaci ó n – Controla el nivel de la se ñ al que est á siendo emitida por las conexiones de salida de grabaci ó n (vea el pu[...]

53 Recor rido guiado – Secci ó n principal auriculares conectados en la clavija de env í o auxiliar 1 de la TM500 (cuando est é usando la TM500 en la configuraci ó n stereo standard) o en las salidas de altavoz derecho (cuando est é usando la TM500 en la configuraci ó n ‘ mono dividido ’ ; es decir, cuando el interruptor Auxiliar 1 / Mo[...]

Recor rido guiado – P anel trasero 1: Ranuras de ventilaci ó n – Para asegurar una correcta ventilaci ó n de la etapa de potencia de la TM500, aseg ú rese que estas ranuras de ventilaci ó n no queden obstru- idas en ning ú n momento. 2: Recept á culo del fusible – Encierra un fusible de 12 A / 250 V para el funcionamien- to a 115 voltio[...]

55 El ajuste de la TM500 es un proceso muy sencillo que solo le llevar á unos pocos minutos: 1. Quite todos los materiales de protecci ó n del embalaje (gu á rdelo por si fuese necesaria cualquier reparaci ó n en el futuro) y decida d ó nde quiere colocar f í sicamente la TM500. Aseg ú rese de que el ventilador y las ranuras de ventilaci ó [...]

56 Ahora ya est á preparado para establecer la estructura de ganancia correcta – la clave para obtener el mejor rendimiento de la TM500, o de cualquier mesa de mezclas, en este aspecto. Esto es un proceso muy sencillo que le asegura unos niveles ó ptimos de entrada y salida de tal forma que no se creen ruidos innecesarios (producidos por se ñ [...]

57 Ajuste de la estr uctura de ganancia cor recta l. El proceso para el ajuste de los niveles ó ptimos de micr ó fono es pr á cticamente id é ntico; cante o hable en el micro con el nivel que vaya a usar en la actuaci ó n mientras va aumentando lentamente el fader de ese canal hasta la posici ó n ‘ 0 ’ . Despu é s ajuste el control Trim [...]

58 Appendix A: T able of TM500 Effects (Banks 1 - 8) DESCRIPTION Para # EFFECT DESCRIPTION Para # EFFECT 1 Medium-Slow wide chorus/50ms Bright Gate 1 0.5s Bright Room w/100ms Slap DDL Gated Reverb 2 Medium-Fast wide chorus/50ms Dark gate Reverb/Delay+ 2 0.8s Bright Room w/125ms Slap DDL 3 Medium-Slow wide flange/50ms Bright Gate Flanger/Chorus 3 1.[...]

Appendix A: T able of TM500 Effects (Banks 9 - 16) DESCRIPTION Para # EFFECT DESCRIPTION Para # EFFECT 1 0.5s Dark Plate + 0.5s Bright Plate 1 2-tap 25ms/65ms Slap + 2-tap 185ms/225ms 50% regen Reverb+ 2 0.5s Dark Room + 0.8s Bright Room Delays+Delays 2 2-tap 55ms/70ms Slap + 2-tap 200ms/265ms 50% regen Reverb 3 0.5s Dark Chamber + 1.2s Bright Cham[...]

60 Specifications Mixer / Pre Amp Section: 1. Frequency Response (± 1 dB) 20 Hz - 20 kHz 2. Total Harmonic Distortion (20 Hz to 20 kHz, trim minimum) 0.02% 3. Maximum Voltage Gain Mic to Post EQ Main Insert L,R +64 dB Mic to Aux Send 1,2 +74 dB Mic to Mono Out +54 dB Line to Post EQ Main Insert L,R +44 dB Stereo to Post EQ Main Insert L,R +24 dB A[...]