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TM300
POWERED
MIXER
OWNERS MANUAL
®
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Table of Contents ENGLISH Introduction 3 TM300 Features 3 Guided Tour 5 Overview 5 Channels 6 Main Section 8 Rear Panel 11 Connecting the TM300 12 TM300 Interconnections - Stereo Configuration 13 TM300 Interconnections - Split Mono Configuration 14 Setting Up and Using the TM300 15 Setting the Correct Gain Structure 16 Grounding Techniques 18 Using Equalization 19 Using Pan 21 Using Aux Sends and Returns 22 Using Inserts 23 Using the Internal Effects Processor (DSP) 24 Specifica
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ENGLISH Introduction / TM300 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 TM300 is a practical, full-featured 6-channel stereo powered mixer— complete
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TM300 Features • Phantom power switch enables you to use the TM300 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 returns—with dedicated front-panel level controls—give you the ability to blend in the return signal from the internal DS
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ENGLISH C C C C C C I I I I I I M M M M M M Guided Tour - Overview The following illustration shows an overview of the front panel of the TM300: 1 2 3 4 5 6 TAPE IN REC OUT MONO OUT+4dB –10dB +4dBu LR LR MIC MIC MIC MIC MIC MIC AUX SEND 1 AUX RET1 INSERT +4dB +4dB R L MAIN R LINE LINE LINE LINE LINE LINE L/MONO INSERT INSERT INSERT INSERT AUX RET 2 POST EQ AUX SEND 2 PEAK PEAK PEAK PEAK PEAK PEAK 0 0 0 0 0 0 SAMSON –6 –50 –6 –50 –6 –50 –6 –50 –6 –50 –6 –50 +14 –30 +14 –30 +14
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C I M Guided Tour - Channels 1: Mic inputs - Use these electronically balanced XLR jacks to connect microphones to the TM300. These are intended to accept signal from low-level, low-impedance mics but 1 can also be used for signal from other sources (such as direct injection boxes) if the channel’s Trim control (see #5 below) is turned down. WARNING: Do not connect a 1 channel’s microphone input if you already have something connected to its line input (see #2 below); all channels are design
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ENGLISH Guided Tour - Channels 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. Aux send 2 is used for routing signal to the TM300’s internal DSP For more information, see the “Using Aux Sends and Returns” and “Using the DSP” sections on pages 20 and 22 in this manual. 8: Pan - This knob allows you to place the input signal anywhere in the left-right stereo spectrum, while keeping the
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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. 3 The 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 TAPE IN REC OUT MONO OUT+4dB external stereo devices such as effects proces- –10dB +4dB LR LR 5 sors to these unbalanced 1/4" jacks. See the 1 “Connecting the TM300” section on page 10 and AUX SEND 1 AUX RET1 INSERT the “
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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 TM300’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: DSP select switches - Allows you to select any of three preset reverb effects for the onboard DSP: Vocal, Long Hall (“L HALL”) or Short Hall (“S HALL”). For more information, see the “Using DSP” section on page 22 of this manual. 18: DSP On/Off switch - When pressed in (“On”), output signal from the internal DSP is routed to Aux Return 2. When up (“Off”), Aux Return 2 instead receives signal from any device connected to the Aux Return 2 jacks. For more informa
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ENGLISH Guided Tour - Rear Panel POWER TM300 6 CHANNEL 150WATT STEREO MIXER CAUTION: DO NOT BLOCK AIRFLOW SAMSON ON SERIAL NUMBER CAUTION OFF RISK OF ELECTRIC SHOCK DO NOT OPEN SPEAKER AVIS; USE CLASS 2 WIRING CAUTION: TO REDUCE THE OUT MINIMUM LOAD RISQUE DE CHOC ELECTRIQUE RISK OF FIRE, REPLACE ONLY IMPEDANCE 4Ω NE PAS OUVRIR WITH SAME TYPE FUSE. DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. FUSE 8A/250V(115V) 4A/250V(230V) AC INPUT 115V/230V,50/60Hz 780W RL 2 1 3 4 5 6 1: Vent - To ens
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Connecting the TM300 The actual connections you’ll make to and from the TM300 will vary according to the environment you use it in and the particular equipment you have. Here are a few basic rules concerning TM300 connections that will apply in most situations: • In general, it’s best to make all connections with the TM300 turned off. If you must make connections with the power on, make sure that all faders are completely down (at their “∞” position). If the TM300 is connected to any external
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ENGLISH C C C C C C I I I I I I M M M M M M SERVO - 240 TM300 Interconnections - Stereo Configuration The illustration below shows typical interconnections between the TM300 and other audio equipment when used in its standard stereo configuration (that is, with the Aux 1 / Monitor switch [see #19 on page 8] out). POWER TM300 6 CHANNEL 150WATT STEREO MIXER CAUTION: DO NOT BLOCK AIRFLOW SAMSON ON CAUTION SERIAL NUMBER OFF RISK OF ELECTRIC SHOCK DO NOT OPEN AVIS; SPEAKER CAUTION: TO REDUCE THE OUT
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C C C C C C I I I I I I M M M M M M TM300 Interconnections - Split Mono Configuration The illustration below shows typical interconnections between the TM300 and other audio equipment when used in its “split mono” configuration (that is, with the Aux 1 / Monitor switch [see #19 on page 8] pressed in). Note that , in this conguration, the Rev To Aux 1 Level control (#16 on page 8) can be used to route internal DSP signal to the onstage wedge monitors (the Aux 2 Return Level can still be used to
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ENGLISH Setting Up and Using The TM300 Setting up your TM300 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 TM300 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 TM300 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 TM300, 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 TM300 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 microphone inputs will re
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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 TM300 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 TM300. 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
