Samson MPL 1640 manuale d’uso

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Introduction 1 MPL 1640 Features 1 Guided T our 3 Overview 3 Channel 4 Main Section 6 Rear Panel 8 Connecting the MPL 1640 10 Balanced connectors 10 Unbalanced connectors 10 Mic connectors 10 Insert connectors 11 Setting Up and Using the MPL 1640 12 Setting the correct gain structure 12 Grounding T echniques 15 Using Bus 3/4 17 Using P an 18 Using [...]

Introduction Congratulations on purchasing the Samson MPL 1640 mixer! In this manual, we’ll take you on a guided tour through all the features of this powerful and flexi- ble device, and we’ll tell you how to get the most out of the MPL 1640 in your particular environment. If this is your first mixer, we’re confident that you’ll find the in[...]

Introduction • 3 auxiliary sends and 3 stereo auxiliary returns (which can be used as 6 monophonic returns). Auxiliary return balance controls allow you to adjust the relative levels of the left and right inputs for each return. Aux send 1 is pre-fader and pre-equalizer, making it ideal for use as a headphone or moni- tor cue mix, while Aux sends[...]

Guided T our - Over view The following illustration shows an overview of the front panel of the MPL 1640: 3 +4 -50 INPUT TRIM 0 -10 -15 +15 HIGH 0 -12 +12 MID 0 -15 +15 LOW 0 +10 AUX 1 0 −∞ +10 AUX 2 0 −∞ +10 AUX 3 0 −∞ PFL BUS ON OFF 3 / 4 L / R 1 - ∞ dB PEAK +4 -50 INPUT TRIM 0 -10 -15 +15 HIGH 0 -12 +12 MID 0 -15 +15 LOW 0 +10 AUX [...]

Guided T our - Channel Let ’ s start our guided tour by examining the various controls provided by each channel: 1: Input Trim (black) - This knob determines the input level of the connected mic or line signal. Continuously adjustable from +4 dB to -50 dB, the input trim is at unity gain (no boost or cut) when set to the 0 position. The input sig[...]

Guided T our - Channel 6: Bus switch (gray) - When up, the channel ’ s signal is routed to the Main L/R faders (as described on page 7) and then on to the MPL 1640 Main Mix output jacks (as described on page 8). When pressed in, the channel ’ s signal is removed from the Main L/R output and is instead routed to the 3/4 Level knob (as described [...]

Guided T our - Main Section 1: Meter - This seven-segment bar meter shows the continuous output level of the Main L/R stereo output. For optimum signal-to-noise ratio, try to adjust all levels so that program material is usually at or around 0 VU, with occasional but not steady excursions to the red +3 or +6 segments. See the “ Setting the Correc[...]

Guided T our - Main Section 6: Headphones control (black) - This knob sets the level of the signal sent to the headphone jack (see #7 below). WARNING: To avoid possible damage to connected headphones (or, worse yet, to your ears!), always turn this all the way off (to the fully counterclockwise “0” position) before plugging in a pair of headpho[...]

Guided T our - Rear P anel 1: Phantom switch - When this switch is turned on, the MPL 1640 delivers 48 volts of phantom power to pins 2 and 3 of all XLR microphone connectors (channels 1 - 10). WARNING: Only turn this on or off with the MPL 1640 powered down. Before turn- ing phantom power on, be sure to disconnect all non-microphone signal sources[...]

Guided T our - Rear P anel 8: Bus Insert - Use these to insert an external in-line effects processor (such as out- board equalizer, compressor/limiter or noise gate) into the Bus 3/4 output in an “ effects loop ” configuration. These jacks accept 1/4" TRS plugs, with the ring carrying the send signal and the tip carrying the return signal.[...]

Connecting The MPL 1640 The actual connections you ’ ll make to and from the MPL 1640 will vary accord- ing to the environment you use it in and the particular equipment you have. In the “ Applications ” sections at the conclusion of this manual (pages 24 - 27), you ’ ll find some suggested setups. Here we present a few basic rules concern-[...]

• In addition to the sixteen monophonic input channels, there are three “ hid- den ” (or at least not so obvious) stereo inputs to the MPL 1640; these are the Auxiliary returns.* Use these whenever you want to bring in a stereo signal that will not need to be equalized. Also bear in mind that the three stereo Auxiliary returns can also be use[...]

12 Setting up your MPL 1640 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 unit is to be physically placed — it can be used on a tabletop or mounted in any standard 19 ” rack, requiring 8 rack spaces. 2. Before even plugging the unit into [...]

13 Setting Up and Using the MPL 1640 f. If any condenser microphones are connected to the MPL 1640, turn on the Phantom switch.* Then turn on the MPL 1640 — the Power LED in the meter section will light up. Finally, turn on the power amplifier. g. Play an instrument connected to one of the MPL 1640 ’ s line inputs** and, while doing so, raise t[...]

14 Setting Up and Using the MPL 1640 l. The gain structure is now correctly set — you ’ ve optimized the level of all sig- nals coming into and out of the MPL 1640, and the end result will be mini- mum noise and distortion and maximum clean sound. You ’ ll now find that the majority of your mixes can be accomplished with most channel faders a[...]

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 phys[...]

Grounding T echniques If you ’ re using the MPL 1640 in a fixed location such as a recording studio, you may want to invest the time and money into creating a star ground network . This is by far the best technique for avoiding grounding problems. It involves using a formidable ground source such as a cold water pipe or a copper spike driven into[...]

Using Bus 3/4 In addition to the Main Mix stereo output, the MPL 1640 provides two indepen- dent bus outputs (Bus 3/4).* A “ bus ” is simply a pathway through which a signal can be routed. The provision of these secondary outputs makes it possible for you to create two mixes simultaneously, so that some channels send signal to the Main Mix outp[...]

18 Using P an The final Main output of the MPL 1640 is stereo — that is, there are two discrete Main Mix output jacks, labeled “ left ” and “ right, ” which will normally route signal (via a power amplifier) to two discrete speakers.* Because of this, you will usual- ly be working with a stereo field that ranges from hard left to hard rig[...]

19 Using Equalization One of the most exciting aspects to using a mixer such as the MPL 1640 is hav- ing the ability to shape a sound, using a process called equalization . But there are few areas of sound 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 n[...]

20 Using the Auxiliar y Sends and Retur ns The MPL 1640 ’ s system of Auxiliary sends allow you to combine the signal from multiple channels and send the resulting mix to external devices such as effects processors. When an Aux send knob is at the “ 0 ” position, the signal is routed with unity gain (that is, no boost or attenuation). As it i[...]

21 Using Channel Inser ts In addition to using Auxiliary sends and returns to access outboard devices, the MPL 1640 also provides channel inserts for input channels 1 - 12 as well as for the Main Mix and Bus 3/4 outputs. Channel inserts should be used when you want to affect just one signal, as opposed to signal from several channels — most often[...]

22 Using PFL Solo The MPL 1640 provides PFL (Pre-Fade Listen) solo switches for each of its six- teen input channels. The main function of PFL is to allow you to check that a signal is actually arriving at a particular input. When a PFL(solo) switch is pressed, the pre-fader (but post-EQ) signal of that channel alone is routed to the headphone outp[...]

Changing the MPL 1640 from Rack-mount to T abletop The diagrams below show the steps required to convert the MPL 1640 from rack-mount to tabletop usage or vice-versa. CAUTION: These servicing instructions are for use by qualified personnel only. Refer all servicing to qualified service personnel. 23 REMOVE COVERPLATE SCREWS RACKMOUNT ARRANGEMENT (R[...]

24 Applications Here are four suggested applications for the MPL 1640; bear in mind that your particular circumstance may dictate changes in these suggested signal connections and routings. Application 1 - Using the MPL 1640 as a main live mixer The main connections here involve routing the MPL 1640 ’ s Main Mix output to the input of a power amp[...]

25 Applications Application 2 - Using the MPL 1640 as an onstage monitor mixer Here, the MPL 1640 is receiving signal into its line inputs from the direct channel outputs of a main live mixer. Its Main Mix output is connected to an amplifier and onstage monitors, and the Main Mix inserts are connected to a graphic equalizer. This allows the overall[...]

26 Applications Application 3 - Using the MPL 1640 as a ke yboard submixer Here, various keyboards and MIDI tone generators are connected to various line inputs of the MPL 1640. Signal proces- sors are connected to Aux sends and returns and to channel inserts as required. The Main Mix output is routed to stereo input channels of a live performance [...]

27 Applications Application 4 - Using the MPL 1640 as a recording mixer You can also use the MPL 1640 as a recording mixer when making simple recordings (for example, when recording a rehearsal or practice session direct to open-reel two-track, cassette, or DAT recorder). Microphones and line level signals are connected to various channel inputs. S[...]

Appendix A: Changing the MPL 1640 V oltage 28 Note that the fuse sled carries two fuses — one for 115 volt operation (actually 105 - 120 volts) and another for 230 volt operation (actually 220 - 240 volts). The position of the two fuses in the sled as well as the fuse ratings must be maintained for adequate protection. Fuse ratings for the MPL 16[...]

Appendix B: Block Diagram 29 PHANTOM POWER MIC INPUT LINE INPUT 3 - BAND EQUALIZER LOW MID HIGH INSERT 1 2 3 PAN CH FADER CLIP LED AUX 3 AUX 2 AUX 1 BUS SELECTOR SW RLY LEVEL BALANCE R L L R R L L OUTPUT R OUTPUT HEADPHONE OUTPUT BALANCED MAIN MIX R OUTPUT BALANCED MAIN MIX L OUTPUT LED LEVEL METER R L AUX 1 AUX 2 AUX 3 L R HEADPHONE VR 3L/4R VR CH[...]

Specifications Normal Limit Frequency Response Mic/Line to Main ± 1 dB 10 Hz - 45 kHz 20 Hz - 20 kHz (Trim @ min, output @ 0 dB, In/Out fader @ center position) Aux Return to Main ± 1 dB 11 Hz - 26 kHz 20 Hz - 20 kHz (Return VR @ “ 0 ” position, Main fader @ center position, output @ 0 dB) Total Harmonic Distortion (Output 600 ohm balanced) L[...]

31 Specifications Maximum Input Level (±3 dB) Ch Input Mic +14 dB Ch Input Line +24 dB Channel fader range +15 dB to -80 dB Aux send gain range +10 dB to -75 dB Input Channel Equalization (± 2 dB) High (10 kHz) ± 15 dB Mid (800 Hz) ± 12 dB Low (80 Hz) ± 15 dB Dimensions (W x D x H) 482 x 373 x 112 mm 19 x 14.7 x 4.4 in Weight 7 kg • 15.4 lbs[...]

Produced by On The Right Wavelength for Samson Technologies Corp. Copyright 1994, Samson Technologies Corp. Printed August 1994 Samson Technologies Corp. 262 Duffy Avenue Hicksville, NY 11801 Phone: 516-932-1062 Fax: 516-932-3815[...]