User manual SAMSON S215

[. . . ] S Class Signal Processors 25 40 63 100 160 250 400 630 1K 1. 6K 2. 5K 4K 6. 3K 10K 16K CH 1 -30 -18 -6 0 +6 +18 25 40 63 100 160 250 400 630 1K 1. 6K 2. 5K 4K 6. 3K 10K 16K CH 2 -30 -18 -6 0 +6 +18 POWER 12 6 12 6 0 6 12 6 3 0 LOW CUT 12 6 0 12 6 0 6 12 6 3 0 LOW CUT DUAL 15 BAND EQUALIZER 0 6 12 BYPASS BYPASS -20 OFF 6 12 -20 OFF 25 40 63 100 160 250 400 630 1K 1. 6K 2. 5K 4K 6. 3K 10K 16K CH 1 25 40 63 100 160 250 400 630 1K 1. 6K 2. 5K 4K 6. 3K 10K 16K CH 2 DUAL 15 BAND EQUALIZER Safety Instructions Caution: To reduce the hazard of electrical shock, do not remove cover or back. Please refer all servicing to qualified personnel. WARNING: To reduce the risk of fire or electric shock, do not expose this unit to rain or moisture. The lightning flash with an arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated "dangerous voltage" within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. Important Safety Instructions 1. [. . . ] For the main PA, the mixer's MONO output is connected to the S curve 215's Channel 1 INPUT. Then, the S curve 215's Channel 1 OUTPUT is connected to the input of the right main PA active (self-powered) loudspeaker. The left main PA speaker is connected by "daisy-chaining" from the right. For the monitor mix, the mixer's AUX output is connected to the S curve 215's Channel 2 INPUT. The S curve 215's Channel 2 OUTPUT is connected to the input of the monitor power amplifier operating in bridge mode. Finally, the power amplifier's outputs are connected to the passive (non-powered) monitor loudspeakers. 9 S curve 215 System Configurations Using Two S curve 215's for Mains and Monitors 10 In this example, two S curve 215's are used for the stereo main and for the 2-channel monitor mix. The mixer's left and right outputs are connected to the first S curve 215's Channel 1 and Channel 2 inputs for the main PA speakers. Then, the first S curves 215's Channel 1 and Channel 2 outputs are connected to the inputs of the power amplifier for the main speakers. For the monitor mix, the mixer's AUX1 and AUX2 outputs are connected to the second S curve 215's Channel 1 and Channel 2 inputs. Then, the second S curves 215's Channel 1 and Channel 2 outputs are connected to the inputs of the 2-channel power amp. Finally, the power amplifiers outputs are connected to the passive (non-powered) monitor loudspeakers. About Equalization The S curve 215 gives you fine control over shaping 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 frequencies, combined together in a unique way. The range of frequencies that can be heard by humans is sometimes called the audible range, and it includes frequencies from as low as 20 Hz (that is, 20 wavecycles per second) to those as high as 20 kHz (that is, 20, 000 wavecycles per second). The S curve 215 uses high-quality filters, dividing the audible range into 15, 2/3 octave frequency areas, centered at 25 Hz, 40 Hz, 63 Hz, 100 Hz, 160 Hz, 250 Hz, 400 Hz, 630 Hz, 1 kHz, 1. 6 kHz, 2. 5 kHz, 4 kHz, 6. 3 kHz, 10 kHz, and 16 kHz. "Constant Q" circuitry ensures that the bandwidth of each of these frequency areas stays the same even when approaching maximum boost or attenuation resulting in greatly reduced phase shifting and intermodulation distortion. Each frequency area can be cut or boosted by as much as 12 dB, giving you finer control and allowing you to construct gentler frequency curves. In most instances, the best way to approach equalization is to think in terms of which frequency areas you need to attenuate, as opposed to which ones you need to boost (boosting a frequency area also has the effect of boosting the overall signal; too much EQ boost can actually cause overload). Be aware of the phenomenon of masking, where loud sounds in one frequency range obscure softer sounds in the same range; by cutting EQ "notches" in a loud signal, you can actually make room for a softer one to shine through. And try not to think of EQ as a miracle worker--no amount of equalization can put a singer in tune or remove the distortion from an overloaded input signal!The key is to get the signal right in the first place, by using correct gain structure and mic placement. If you are using your S curve 215 to equalize a complex mono or stereo signal (for example, the master mix output of a mixing console), a more natural sound can be obtained by setting up gentle "smile" curves than by simply cutting or boosting individual frequency areas. [. . . ] While watching the RTA, use the front panel Equalizer sliders to make corrections to the signal, boosting any dips in the measured frequency response and attenuating any peaks. Repeat the procedure three or four times from different listening positions, averaging the results if necessary to come up with an equalization curve that works well at all positions. If you get drastically different measurements at different listening positions, you may need to reposition various loudspeakers or change the amount of power applied to some of them. Bear in mind that an analyzer "listening" to pink noise is no substitute for the human ear listening to actual program material. [. . . ]