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Introduction 1 MPL 1502 Features 1 Guided Tour 3 Overview 3 Mono and Stereo Channels 4 Main Section 6 Rear Panel 8 Connecting The MPL 1502 - General Suggestions 10 Setting Up and Using the MPL 1502 13 Setting the Correct Gain Structure 14 Grounding Techniques 16 Using Pan/Balance 18 Using Equalization 19 Using Aux Sends and Returns 20 Using Channel Inserts 21 Applications Notes 22 Using The MPL 1502 As A Main Live Mixer 22 Using The MPL 1502 As A Monitor Mixer 23 Using The MPL
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Introduction Congratulations on purchasing the Samson MPL 1502 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 MPL 1502 features, followed by a guided tour of its front and rear panels. Then we’ll describe how the MPL 1502 should be connected to your existing equipment (including w
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Introduction • Independent 3-band equalization for each channel, with 15 dB of cut or boost for low (80 Hz) and high (10 kHz) frequencies, and 12 dB of cut or boost for the mid-range (800 Hz) frequency. • Constant level pan controls for placing each monophonic channel in the left- right stereo spectrum, as well as balance controls for each stereo channel and Aux return that allow you to blend the relative levels of stereo inputs. • Channel inserts are provided for each of the 5 monophonic input
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MPL 1502 MPL 1502 Guided Tour - Overview The following illustration shows an overview of the front panel of the MPL 1502: 123 5 6 / 7 8 / 9 10 / 11 12 / 13 14 / 15 4 MIC INPUT (BALANCED -50dB TO +4dB) LEFT/MONO LEFT/MONO LEFT/MONO LEFT/MONO LEFT/MONO 2 2 1 2 1 2 1 2 1 1 3 3 3 3 3 SAMSON 15 CHANNEL LINE INPUT (BALANCED 10KΩ -30dB TO +4dB) STEREO MIXER LINE INPUT (BALANCED 10KΩ -40dB TO +4dB RIGHT RIGHT RIGHT RIGHT RIGHT 10 10 10 10 10 10 10 10 10 10 0 0 0 0 0 0 0 0 0 0 15 CHANNEL STEREO MIXER +4
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Guided Tour - Mono and Stereo Channels 1: Mic inputs (1 - 5) - Provided in monophonic channels only. Use these electronically balanced 1 XLR jacks to connect microphones to any of the MPL 1502’s five mono channels (channels 1 - 5). These are intended to accept signal from low-level, low-impedance mics but can also be used for 2 1 1 signal from other sources (such as direct injection boxes) if the channel’s Trim control is turned 3 down. WARNING: Do not turn Phantom power on if signal sources
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Guided Tour - Mono and Stereo Channels 6: Pan (white) - Provided in mono channels only. This knob allows you to place the input signal 14 / 15 anywhere in the left-right stereo spectrum, while keeping the overall signal level constant. When LEFT/MONO the knob is placed at its center (detented) position, the signal is sent equally to both left and right outputs. When moved left of center, less signal is sent to the right output (making the sound appear left of center) and when moved right of
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MPL 1502 Guided Tour - Main Section 15 CHANNEL STEREO MIXER -20 -10 -6 -2 0+2 +6 LEFT 1 RIGHT -20 -10 -6 -2 0+2 +6 PHANTOM POWER 2 TAPE IN ON 3 OFF CHANNEL 14 / 15 0 L R +20 −∞ AUX 1 LEVEL BALANCE 4 5 0 L R +20 −∞ AUX 2 LEVEL BALANCE 6 7 010 HEADPHONE LEVEL 0 8 +15 −∞ MAIN 1: Meter - This seven-segment bar meter shows the continuous output level of the main 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 occ
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Guided Tour - Main Section 4: Stereo Auxiliary Return Level (gray) - These knobs determine the input level of signal arriving via the MPL 1502’s two stereo Auxiliary returns. Each return is at unity gain (no boost or attenuation) when set to the “0” (2 o’clock) position. The input signal is boosted when the knob is turned to the right of “0” and attenuated when turned to the left of “0.” For information on how to properly set these, see the sections in this manual entitled “Setting the Corre
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MPL 1502 Guided Tour - Rear Panel 1 2 POWER PHANTOM TIP RING SLEEVE AVIS: ON CAUTION RISQUE DE CHOC ELECTRIQUE SAMSON 15 CHANNEL STEREO MIXER TIP + ! NE PAS OUVRIR RISK OF ELECTRIC SHOCK RING - DO NOT OPEN OFF DO NOT EXPOSE THIS EQUIPMENT SAMSON TECHNOLOGIES CORP., HICKSVILLE, NEW YORK SLEEVE GND TO RAIN OR MOISTURE 48V TAPE OUT 5 4 3 2 1 RIGHT LEFT 2 1 RIGHT LEFT/MONO RIGHT LEFT/MONO FUSE RATING (600Ω +4 dΒ) 0.3A/250V(115V) L VOLTAGE SELECTOR 0.15A/250V(230V) 2 1 115V 230V R SERIAL
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Guided Tour - Rear Panel 5: Main out (L, R) - These are the MPL 1502’s main outputs. You’ll usually use these to connect the MPL 1502 to a power amp and speakers. The Main out jacks are electronically balanced, so you should use balanced three-conductor cabling and TRS plugs wherever possible (unbalanced two-conductor plugs can also be inserted into these outputs, but you’ll get better signal quality and less outside noise and hum if you use balanced lines). See the “Connecting the MPL 1502”
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Connecting The MPL 1502 - General Suggestions The actual connections you’ll make to and from the MPL 1502 will vary accord- ing to the environment you use it in and the particular equipment you have. In the “MPL 1502 Applications” sections at the rear of this manual, you’ll find some suggested setups. Here are a few basic rules concerning MPL 1502 connections that will apply in most situations: • In general, it’s best to make all connections with the MPL 1502 and any connected power amplifiers
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Connecting The MPL 1502 - General Suggestions • For single-fader control over a pair of matched signals (i.e. the left-right out- puts of a stereo effects processor, keyboard, drum machine, tone generator, CD player, or tape recorder), use the MPL 1502’s stereo input channels (6/7, 8/9, 10/11, 12/13, and 14/15). The Balance control in these channels 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
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Connecting The MPL 1502 - General Suggestions • Signals that are likely to require “in-line” processing (such as compression/limiting or expansion/noise gating) should be connected to channels 1 - 5, since these channels provide an insert connection. Insert cables (sometimes called “Y-cords”) should terminate in standard 1/4” TRS jacks (ring to send and tip to return), wired as follows: SLEEVE TIP RETURN TIP GROUND RING SEND RING 12
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SERVO - 240 Setting Up and Using The MPL 1502 Setting up your MPL 1502 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 table- top or optionally mounted in any standard 19” rack, requiring six rack spaces. MAIN OUT (BALANCED 600 Ω +4dB) RIGHT LEFT 2. Before even plugging the unit into an AC socket, begin by connecting the MPL 1502 main out
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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 MPL 1502, 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 above) but with the p
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Setting the Correct Gain Structure j. 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 gain control for that channel to its center detented “0” position. Then carefully adjust the input trim control for that channel while watching the meter, until the “0” segment lights frequently and the “+2” segment lights only occasion- ally. You should expect that microphone inputs
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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 MPL 1502 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 conne
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Using Pan/Balance The final Main output of the MPL 1502 is stereo—that is, there are two discrete 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 Pan control in each mono channel (and the Balance control in each stereo channel, when only the left LR PAN [even-numbered] input is connected) allows you to place each individual sound at a
