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TM500
POWERED
MIXER
OWNERS MANUAL
®
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Table of Contents ENGLISH Introduction 3 TM500 Features 3 Guided Tour 5 Overview 5 Channels 6 Main Section 8 Rear Panel 11 Connecting the TM500 12 TM500 Interconnections - Stereo Configuration 13 TM500 Interconnections - Split Mono Configuration 14 Setting Up and Using the TM500 15 Setting the Correct Gain Structure 16 Grounding Techniques 18 Using Equalization 19 Using Pan and Balance 21 Using Aux Sends and Returns 22 Using Inserts 23 Using the Internal Effects Processor (DSP)
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ENGLISH Introduction / TM500 Features 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 promise—and, who knows, you might just pick up a tip or two. The Samson TM500 is a practical, full-featured 12-channel stereo powered mixer— complete
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TM500 Features • 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 channel (one pre-fader and the other post-fader) allow you to route multiple signals to the internal DSP or to external signal processors. • Dual stereo aux r
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ENGLISH C C C C C C C C I I I I I I I I M M M M M M M M Guided Tour - Overview The following illustration shows an overview of the front panel of the TM500: 1 2 3 4 5 6 7 8 9/10 11/12 TAPE IN REC OUT MONO OUT +4dB -10dB +4dB LR LR 9L 11L MIC MIC MIC MIC MIC MIC MIC MIC MONO AUX RET1 INSERT AUX SEND 1 MONO +4dB MAIN RLR +4dB LINE LINE LINE LINE LINE LINE L/MONO LINE LINE AUX RET2 POST EQ INSERT 12R INSERT INSERT INSERT INSERT INSERT INSERT INSERT 10R AUX SEND 2 PEAK PEAK PEAK PEAK PEAK PEAK P
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C I M Guided Tour - 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 1 direct injection boxes) if the channel’s Trim control (see #5 below) is turned down. WARNING: Do not connect a channel’s microphone input if you already have something 1 connected to its line input (see #2
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ENGLISH Guided Tour - 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 9/10 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 signal is determined by the channel’s Trim control, its EQ settings, and the position of its fader. 9L Aux send 2 is also used for routing signal
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Guided Tour - Main Section 1: Tape input (L, R) - Connect the outputs of a tape or CD player to this set of dual phono jacks. The 3 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 TAPE IN REC OUT MONO OUT +4dB -10dB +4dB unbalanced 1/4" jacks. See the “Connecting the LR LR 5 TM500” section on page 10 and the “Using Aux 1 AUX RET1 INSERT
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ENGLISH Guided Tour - 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 arriving via the TM500’s two stereo Auxiliary return jacks (see #2 on the previous page). The “0” (2 o’clock) position of each knob indicates unity
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Guided Tour - 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). For more information, see the “Using DSP” section on page 22 of this manual. 19: DSP On/Off switch - When pressed in (“On”), output signal from the int
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ENGLISH Guided Tour - Rear Panel POWER TM500 12 CHANNEL 250WATT STEREO MIXER CAUTION: DO NOT BLOCK AIRFLOW SAMSON ON SERIAL NUMBER CAUTION OFF RISK OF ELECTRIC SHOCK DO NOT OPEN SPEAKER AVIS; CAUTION: TO REDUCE THE USE CLASS 2 WIRING OUT MINIMUM LOAD RISQUE DE CHOC ELECTRIQUE RISK OF FIRE, REPLACE ONLY Ω NE PAS OUVRIR IMPEDANCE 4 WITH SAME TYPE FUSE. DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. FUSE 12A/250V(115V) 6.3A/250V(230V) ~AC INPUT 115/230V, 50/60Hz 1100W RL 2 3 5 1 4 6 1: Vent -
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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. If you must make connections with the power on, make sure that all faders are completely down (at their “∞” position). If the TM500 is connected to any external
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ENGLISH SERVO - 240 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). POWER ON OFF ~AC INPUT SAMSON 115V 60Hz 890W SPEAKER TM500 12CHANNEL 250WATT STEREO MIXER OUT 5 A CAUTION M RISK OF ELECTRIC SHOCK P DO NOT OPEN PUSH TO AVIS; SERIAL NUMBER REST RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR DO
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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 7) can be used to route internal DSP signal to the onstage wedge monitors (the Aux Return 2 Level can still be used to route DSP signal to the main PA spea
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ENGLISH Setting Up and Using The TM500 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 the TM500 into an AC socket, begin by making its speaker connections. It is never a good idea to power up any
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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 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 created. Here’s a step-by-step description of how to do so: a. With all connections made (as described in the previous section)
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ENGLISH Setting the Correct Gain Structure 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 its “0” position. Then adjust the Trim control for that channel while watching the segment meter and channel Peak LED. You should expect that micro
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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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ENGLISH 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... 0 Every naturally occurring sound consists of a broad range of pitches, or frequencies, combined together in a unique way. This blend is what gives every sound its
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Using Equalization AUX1/MONITOR EQ ON/OFF LEFT RIGHT 63Hz 160Hz 400Hz 1KHz 2.5KHz 6.4KHz 15KHz +12dB 0dB -12dB 63Hz 160Hz 400Hz 1KHz 2.5KHz 6.4KHz 15KHz +12dB 0dB -12dB 63Hz 160Hz 400Hz 1KHz 2.5KHz 6.4KHz 12KHz Seven-band graphic master equalizer 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 r
