Resumen del contenido incluido en la página 1
Resumen del contenido incluido en la página 2
Introduction 1 MPL 1640 Features 1 Guided Tour 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 Techniques 15 Using Bus 3/4 17 Using Pan 18 Using Equalization 19 Using the Auxiliary Sends and Returns 20 Using Channel Inserts 21 Using PFL Solo 22 Changing the MPL 1640 from Rack
Resumen del contenido incluido en la página 3
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 information in these pages valuable—read them carefully before proceeding further. If, on the other hand, you’ve had some previous experience with mixers and
Resumen del contenido incluido en la página 4
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 2 and 3 are post-fader and post-equalizer. • Independent 3-band equalization for each channel, with 15 dB of cut or boost for low (80 Hz) and high (1
Resumen del contenido incluido en la página 5
MPL 1640 MPL 1640 Guided Tour - Overview The following illustration shows an overview of the front panel of the MPL 1640: SAMSON 16 CHANNEL AUDIO MIXER 12 3 4 5 67 8 9 10 11 12 13 14 15 16 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 +4 -50 +4 -50 +4 -50 +4 -50 +4 -50 +4 -50 +4 -50 +4 -50 +4 -50 +4 -50 +4 -50 +4 -50 +4 -50 +4 -50 +4 -50 +4 -50 INPUT TRIM INPUT TRIM INPUT TRIM INPUT TRIM INPUT TRIM INPUT TRIM INPUT TRIM INPUT TRIM INPUT TRIM INP
Resumen del contenido incluido en la página 6
Guided Tour - 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 1 mic or line signal. Continuously adjustable from +4 dB to -50 dB, the input trim is -10 0 at unity gain (no boost or cut) when set to the 0 position. The input signal is 1 +4 -50 INPUT TRIM boosted when the knob is turned to the right of 0 and attenuated when turned to the left of 0. For information on h
Resumen del contenido incluido en la página 7
Guided Tour - 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 on page 6) and then to the 3L/4R output jacks (as described on page 8). If you don‘t have anything connected to the MPL 1640 Bus 3/4 output jacks, this swit
Resumen del contenido incluido en la página 8
MPL 1640 Guided Tour - 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 16 CHANNEL AUDIO MIXER STERE0 PFL levels so that program material is usually at or around 0 VU, with occasional but -20 -10 -6 -3 0+3 +6 LEFT not steady excursions to the red +3 or +6 segments. See the “Setting the RIGHT 0+3 +6 -20 -10 -6 -3 1 Correct Gain Structure” section on page 12 for more informa
Resumen del contenido incluido en la página 9
Guided Tour - 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 headphones—then raise the level slowly while listening. The Headphones control has no effect on the final Main Mix or Bus 3/4 output levels. 7: Headphone jack
Resumen del contenido incluido en la página 10
MPL 1640 Guided Tour - Rear Panel 1 5 6 14 13 12 AVIS: XLR TIP RING SLEEVE CAUTION 16 CHANNEL SERIAL RISQUE DE CHOC ELECTRIQUE AUDIO MIXER TIP + ! 1 GND RISK OF ELECTRIC SHOCK NE PAS OUVRIR. SAMSON RING - NUMBER 2 + DO NOT OPEN DO NOT EXPOSE THIS EQUIPMENT SLEEVE GND 3 - ASSEMBLED IN R.O.K. TO RAIN OR MOISTURE. SAMSON TECHNOLOGIES CORP., NEW YORK, U.S.A. PHANTOM MAIN MIX OUT CH 8 CH 5 CH 2 CH 1 CH 10 CH 9 CH 7 CH 6 CH 4 CH 3 (BALANCED 600Ω + 4dB) CH 16 CH 14 CH 13 CH 12 CH 11 C
Resumen del contenido incluido en la página 11
Guided Tour - Rear Panel 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. Normally, this will be connected to a Y-cable; see the “Connecting The MPL 1640” section on page 10 for more information and a wiring diagram. 9: Aux Outs - T
Resumen del contenido incluido en la página 12
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- ing MPL 1640 connections that will apply in pretty much all situations: • In general, it’s best to make all connections with the MPL 1640 and all power amplifier
Resumen del contenido incluido en la página 13
Connecting The MPL 1640 • 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 used as six monophonic returns (with the Aux return Balance controls giving you the ability to adjust the relative levels of the left/r
Resumen del contenido incluido en la página 14
SERVO - 240 Setting Up and Using the MPL 1640 Setting up your MPL 1640 is a simple procedure which takes only a few minutes: MAIN MIX OUT (BALANCED 600Ω + 4dB) 1. Remove all packing materials (save them in case of need for future service) L 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. SAMSON 2. Before even plugging the unit into an AC socket, begin by connecting the R MPL 1640 Main Mix outputs (or
Resumen del contenido incluido en la página 15
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 the corresponding channel fader to the “0” position. You should see the segment meter begin to move—adjust the input trim control for that channel so that the “
Resumen del contenido incluido en la página 16
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 and both Main L/R faders at or near their 0 (unity gain) position and that the channel peak LEDs rarely if ever light (remember, if they do light, it means that some
Resumen del contenido incluido en la página 17
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 r
Resumen del contenido incluido en la página 18
Grounding Techniques 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 the earth. A thick grounding cable is connected to that source and is then brought to a central distribution point; from there, individual cables are co
Resumen del contenido incluido en la página 19
Using Bus 3/4 In addition to the Main Mix stereo output, the MPL 1640 provides two indepen- MAIN MIX OUT (BALANCED 600Ω + 4dB) dent bus outputs (Bus 3/4).* A “bus” is simply a pathway through which a signal L 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 output jacks (via the Main L/R faders) while other channels send signal to the Bus 3 and 4 output jacks.** For example, w
Resumen del contenido incluido en la página 20
Using Pan 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- L R ly be working with a stereo field that ranges from hard left to hard right. The Pan PAN control in each channel allows you to place each individual sound at any point within this left-right field, while keeping the overall level constan
