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Introduction 1 System Features 2 Guided Tour 3 Overview 3 Channels 4 Main Section 5 Rear Panel 7 Connecting The PL 1602 - General Suggestions 9 Setting Up and Using the PL 1602 11 Setting the Correct Gain Structure 12 Grounding Techniques 14 Using the Balance Control 16 Using Equalization 17 Using Aux Sends and Returns 18 Using Channel Inserts 19 Applications Notes 20 Using The PL 1602 As A Main Live Mixer 20 Using The PL 1602 As An Onstage Monitor Mixer 21 Using The PL 1602 As
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Introduction Congratulations on purchasing the Samson PL 1602 stereo mixer! Although this unit is designed for easy operation, we suggest you first take some time to go through these pages so you can fully understand how we’ve implemented a number of unique features. In this manual, we’ll provide you with an overview of the PL 1602 features, followed by a guided tour of its front and rear panels. Then we’ll describe how the PL 1602 should be connected to your existing equipment (including wiri
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System Features “PL” stands for “Program/Line” and the name describes the broad range of signals which can be handled by this powerful stereo mixer. In fact, the com- pact design of the PL 1602 belies an extraordinary versatility. Add excellent sound quality to the equation, and you’ve got a product which is equally useful as a live performance mixer, onstage monitor mixer, or keyboard submixer (you’ll find descriptions of each of these applications at the conclusion of this manual). Here are
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Guided Tour - Overview The following illustration shows an overview of the front panel of the PL 1602: CHANNEL 1/2 CHANNEL 11/12 CHANNEL 15/16 AUXILIARY RETURNS CHANNEL 3/4 CHANNEL 5/6 CHANNEL 7/8 CHANNEL 9/10 CHANNEL 13/14 SAMSON PL 1602 LINE MIXER 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 +15 +15 -15 +15 ∞ +10 -15 +15 ∞ +10 -15 +15 ∞ +10 -15 +15 ∞ +10 -15 +15 ∞ +10 -15 +15 ∞ +10 -15 +15 ∞ +10 -15 +15 ∞ +10 ∞ +10 L R HIGH AUX 1L HIGH AUX 1L HIGH AUX 1L HIGH AUX 1L HIGH AUX 1L HIGH AUX 1L HIGH AUX 1L
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Guided Tour - Channels 1: Equalizer (white) - These knobs determine the amount of boost or attenuation in each CHANNEL 1/2 of two frequency areas. The high and low frequency knobs provide 15 dB of cut or boost 0 0 at 10 kHz and 100 Hz, respectively, with both utilizing a shelving curve. The EQ setting -15 +15 ∞ +10 AUX 1L HIGH affects both the odd- and even-numbered channel inputs, although the signals remain 1 3 0 0 separate. A center detent in each knob (at the “0” position) indicates no b
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Guided Tour - Main Section 2 AUXILIARY RETURNS SAMSON PL 1602 LINE MIXER 0 +15 +15 ∞ +10 L R AUX 1/2 RETURN BALANCE 5 0 0 1 0 ∞ +10 L R AUX 3/4 RETURN BALANCE ∞ ∞ 3 0 +10 LEFT RIGHT PHONES POWER 4 6 1: Stereo Auxiliary Return Level (blue) - These knobs determine the input level of signal arriving via the PL 1602’s two stereo Auxiliary returns. The “0” (2 o’clock) position of each knob indicates unity gain (no level attenuation or boost). Moving each knob counterclockwise from the “0” positi
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Guided Tour - Main Section 4: Headphone jack - Connect any standard stereo headphones to this jack (via a 1/4" TRS plug) for private monitoring of the main stereo output (including all connected Aux returns). The built-in PL 1602 headphone preamp delivers 100 mw at 32 ohms. 5: Main L/R faders These faders determine the final output signal level. Signals from all channels and Auxiliary returns are routed here just before leaving the PL 1602 via its left and right Main Out jacks (see #7 on page
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2 1 2 1 3 3 Guided Tour - Rear Panel 1 3 4 6 PL 1602 16 CHANNEL LINE MIXER SAMSON TECHNOLOGIES CORP., NEW YORK, U.S.A. S / N POWER MIC 1 INPUTS BALANCED 10KΩ -30 to +4db TIP + RING - SLEEVE GND. -10 110 ON 0 OFF +4 -40 TRIM 16R 15L 14R 13L 12R 11L 10R 9L 8R 7L 6R 5L 4R 3L 2R 1L AVIS: 5 RISQUE DE CHOC ELECTRIQUE -10 NE PAS OUVRIR DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE 0 +4 -40 TRIM POWER 120V - 60 Hz 35W RATING R L R L 4R 3L 2R 1L 2R 6R 5L 4R 3L 2R 1L 1L CAUTION MAIN OUT BU
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Guided Tour - Rear Panel 5: Mic inputs (channels 1 and 3) - Use these electronically balanced XLR jacks to connect a microphone to channels 1 and/or channel 3. 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 #6 below) is turned down. WARNING: Do not connect a channel’s micro- phone input if you already have something connected to its line input (see #4
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Connecting The PL 1602 - General Suggestions The actual connections you’ll make to and from the PL 1602 will vary according to the environment you use it in and the particular equipment you have. In the “PL 1602 Applications” sections at the rear of this manual, you’ll find some suggested setups. Here are a few basic rules concerning PL 1602 connections that will apply in most situations: • In general, it’s best to make all connections with the PL 1602 and any con- nected power amplifiers turn
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Connecting The PL 1602 - General Suggestions • Matched signals (i.e. the stereo left-right outputs of a keyboard, drum machine, tone generator, effects processor, CD player, or tape recorder), should always be connected to the PL 1602’s paired odd/even channels (i.e. 1L/2R, 3L/4R, etc.). The channel Balance control will allow you to adjust the relative levels of the two inputs, and you can also equalize the stereo signal, with the same EQ settings applied to both inputs. • There are two more “h
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SERVO - 240 Setting Up and Using The PL 1602 Setting up your PL 1602 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 mounted in any standard 19" rack, requiring two rack spaces, or used on a tabletop. MAIN OUT BALANCED 600 +4db TIP + RING - SLEEVE GND 2. Before even plugging the unit into an AC socket, begin by connecting the R L PL 1602
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Setting the Correct Gain Structure You’re now ready to establish the correct gain structure—the key to getting the best performance from the PL 1602, 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 created. Here’s a step-by-step description of how to do so: a. With all connections made (as described on the previous page)
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Setting the Correct Gain Structure j. If you have any outboard signal processors connected to the Aux send and return jacks on the rear panel, follow this step. Because outboard effects processors can sometimes be quite noisy, it’s particularly important to maximize the amount of signal being sent to them via the PL 1602 Aux sends. The idea is to drive these devices as hot as possible (short of overloading them) and then to use the corresponding Aux return level to carefully adjust the amount
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Grounding Techniques 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 physically connected with audio cabling, the end result can be nasty, extraneous noise (mind you, connecting two devices at very different potential can re
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Grounding Techniques If you’re using the PL 1602 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 the earth. A thick grounding cable is connected to that source and then brought to a central distribution point; from there, individual cables are connec
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Using the Balance Control The final Main output of the PL 1602 is stereo—that is, there are two discrete Main output jacks, labeled “left” and “right,” which will normally be routed to two discrete speakers.* Because of this, you will usually be working with a stereo field that ranges from hard left to hard right. The PL 1602 provides eight stereo channels, each with two inputs—an odd-numbered (left) input and an even-num- L R bered (right) input. When only the odd-numbered (left) input is c
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Using Equalization One of the most exciting aspects of using a mixer such as the PL 1602 is 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 naturally occurring sound consists of a broad range of pitches, or 0 frequencies, combined together in a unique way. This blend is what gives every sound its disti
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Using Aux Sends and Returns The PL 1602’s two Auxiliary sends allow you to combine the signal from multiple 0 channels and send the resulting mix to external devices such as effects proces- sors. When an Aux send knob is at the “0” position, the signal is routed with ∞ +10 AUX 1L unity gain (that is, no boost or attenuation). As it is turned clockwise from the 0 position, the signal is boosted; as it is turned counterclockwise from the 0 posi- tion, it is attenuated. Both Aux sends are pre-fa
