Samson S.CURVE 131 User's Manual
Contents
1. SPEAKER INPUT ee SPEAKER EXTENSION OUTPUT __ uu INPUT AO Hhh36 7 t 22720 E I SAMSON SAMSON db500a db500a MONITOR AMP INPUT TO MONITOR SPEAKER 4 INPUTS SPEAKER SPEAKER INPUT INPUT SIGNAL FLOW In this example an individual S curve 131 is used for both the main PA speakers running a mono mix and for the monitor mix also in mono For the main PA the mixer s MONO output is connected to the S curve 131 s input Then the S curve 131 s 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 moni tor mix the mixer s AUX1 output is connected to the second S curve 131 s input The S curve 131 s 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 moni tor loudspeakers See the owners manual for your specific power amplifier for the proper bridge mode operation 9 5 curve 131 System Configurations Using Two 5 curve 131 s for Mains Monitors2. The Samson 5 curve 131 Graphic Equalizer utilizes state of the art Constant Q filtering technology for precise tonal control Here are some of it s main features The S curve 131 has 31 bands of equalization with each frequency band representing 1 3 of an octave in the 20 Hz to 20 kHz range Constant ensures that the bandwidth the selected frequency area stays the same even when approaching maximum boost or attenuation a result phase shifting and inter modulation distortion is greatly reduced making for pristine sound The S curve 131 can be set for either 6 or 12 dB of gain and attenuation for each of the fre quency bands o For monitor applications the S curve 131 can be set for CUT ONLY mode providing up to 24dB of attenuation Ultra low noise circuity ensures superb audio fidelity Variable Low Cut Filter for removing rumble and floor noise adjusted from 80 400 Hz Electronically balanced XLR and TRS inputs and outputs Front panel hard wired relay controlled Bypass switches with dedicated Bypass LEDs allow the equalization circuitry and output level control to be activated or deactivated Main Level control enables output signal to be attenuated or boosted for optimum signal to noise ratio LED faders 8 segment LED bar VU meters Relay power on circuitry prevents speaker th
3. 1 25 k 1 6 k 2 k 2 5 3 15 A k 5 6 3 8k 10k 12 5 16 k 20k 6 dB or 12 dB lt 10 Hz to 90 kHz 3 dB Less than 0 01 6 dB variable 15 to 200 Hz 85 dB 12 dB 1 dB Max 19 in w x 7 5 d x 1 75 h 482 mm w x 190 d x 44 h 5 1 Ib 2 31 kg 12 10 5 RESPONSE dB 12 LOU Cut 20 50 100 200 500 1K 2K FREQUENCY Hz 16 5K 10K 20K 5 curve 131 Block Diagram AV I3d NO d3MOd LAdLNO ngpr OQ e SSVdA8 bol gp9 3A331S q1O0 5 SN OILIA2NNOD SdiL l3 SSVdQONV8 SL 5317113 SSVdONV4 91 pe 2 ZHOOC OL ZHSL ZHOE9 OL ZHOC 8 A lt LAD d3QVvJ NOILVENDIANOD NIVW 3dOW 35NVHU d313W 13 11 1 AINO LND Ngo n UON INO ngpr 17 Samson Technologies Corp 575 Underhill Blvd P O Box 9031 Syosset NY 11791 9031 Phone 1 800 3 SAMSON 1 800 372 6766 Fax 516 364 3888 www samsontech com
4. mance preferably with the performers themselves standing in front of the mics they will be using this is important since the physical placement of objects or people on the stage can affect the genera tion of feedback loops in different frequency areas With power to all audio components turned off connect the S curve 131 to the monitor mixer preferably at its main mix inserts if these are not available connect the unit in line between the monitor mixer outputs and the monitor amplifier inputs See pages 8 10 in this manual for typical configuration diagrams Because you ll only be cutting frequencies press the Cut Only switch so that it is on in the down position Also because you ll want to be able to make deep cuts set the Range switch so it is off in the 12 position Then raise all front panel Equalizer sliders to their upper most position because the Cut Only switch is on this represents flat response no cut or boost Next power up all audio equipment turning on the amplifiers last and using one monitor output only gradually turn up the volume while a performer is speaking or singing into the primary mic for that monitor Continue slowly increasing the volume until a feedback howl just begins Using your ears or an RTA Real Time Analyzer identify the approximate frequency at which this feedback occurs Lower the corresponding Equalizer slider until the feedback disappears Then continue slowly turning up the volume un
5. MONITOR AMP INPUT cc Yr lt ID opo n sa Brod dd jp OE 10 E ececcc000000000000 x O N ecc00000000000000000 0 00000000000000000000 gt lt lt LLI 000000 Q CL SIGNAL FLOW O SAMSON O MAIN POWER AMP INPUTS SIGNAL FLOW woa 00 EE zu x i jg 8008 10 ___tever Gaasaaoa afie Ar 5 SIGNAL FLOW SIGNAL FLOW SIGNAL FLOW SAMSON merio INPUT b SPEAKER SPEAKER 10 SIGNAL FLOW inputs for the main PA speakers Then the outputs are connected to the inputs of
6. attenuated by 12 dB if the corresponding Range switch is not pressed in or 6 dB if the corresponding Range switch is pressed in When the Cut Only switch is pressed in When an equalizer slider is at its top most position the frequency area is unaffected that is there is no boost or cut as indicated by the blue O dB label As the Equalizer slider is moved down the frequency area is attenuated As indicated by the 6 dB label when the Equalizer slider is at its center detented position the frequency area is attenuated by 6 dB if the corresponding Range switch is pressed in or 12 dB if the corresponding Range switch is not pressed in When moved all the way down as indicated by the blue 24 dB label the frequency area is attenuated by 12 dB if the corresponding Range switch is pressed in or 24 dB if the corresponding Range switch is not pressed in 2 Main Output level slider Use this to adjust the output level of signal leaving the S curve 131 via its rear panel output connectors see C and D on page 5 for more information When the main slider is at its center detented O position the corresponding output signal is at unity gain that is there is no level cut or boost When the main slider is moved all the way up to the 6 dB position the output signal is boosted by 6 dB When a Level slider is moved all the way down to the co position the output sig nal is infinitely attenuated that is there is
7. equalization circuitry affects the signal as per the setting of the front panel Equalizer and Level sliders see 1 and 2 LOW CUT switch When pressed in the LED in the switch lights yellow and the variable highpass filter is applied to the signal Using the Low Cut can be highly effective in removing rumble and other low fre quencies LOW CUT control When the Low Cut switch is pressed in the varable low cut control is active You can adjust the point at which the low frequencies begin to roll off with a frequency range of from 15 to 200 Hz REAR PANEL LAYOUT gt m o SAMSON EQUALIZER AC input fuseholder Connect the supplied heavy gauge 3 pin IEC power cable here Balanced XLR jack input Electronically balanced XLR jack input Wiring is as follows pin 2 hot pin 3 cold and pin 1 ground Balanced XLR jack output Electronically balanced XLR jack output Wiring is as fol lows pin 2 hot pin 3 cold and pin 1 ground Balanced 1 4 TRS jack input Electronically balanced 1 4 TRS jack input Wiring is as follows tip hot ring cold and sleeve ground Balanced 1 4 TRS jack output Electronically balanced 1 4 TRS jack output Wiring is as follows tip hot ring cold and sleeve ground SETTING UP THE S curve 131 SETTING UP THE S curve 131 Setting up your S curve 131 Graphic Equalizer is a simple procedure which takes only a few minutes 1 Remove all packing materials save them in case
8. no signal Note that the Main level slider is deactivated when the S curve 131 is in Bypass mode see 7 3 CUT ONLY switch When pressed in the LED switch lights and all the Equalizer sliders serve to attenu ate their frequency areas only there is no boost by up to 6 or 12 dB depending upon the setting of the RANGE switch see 45 below The Cut Only switch should be used when you need to notch out cer tain frequencies in order to reduce feedback or ring out a room See the Using the S curve 131 to remove feedback section in this manual page 14 for more information 4 LEVEL METER This eight segment LED bar VU meter displays the Input Level from 30dB to 18dB oO Controls and Functions Range switch When pressed in the LED in the switch lights and the Equalizer sliders cut or boost each frequency area by up to 6 GB allowing fine frequency curves to be set When out in the up position the Equalizer sliders cut or boost each frequency area by up to 12 dB allowing course control The setting of the 12dB switch also affects how Cut Only operates see 3 on the previous page for more information Power switch Use this to turn the power on and off Bypass switch When not pressed in the equalization circuitry is made inactive so that the signal pass es through unaffected regardless of the settings of the Equalizer or Level sliders When pressed in the LED in the switch and the sliders light green and the
9. number of different pieces of equipment to one another 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 dif ferent potential can result in a major electrical shock However there are several steps you can take to avoid grounding problems First assuming you have an isolat ed electrical circuit that can handle the electrical demands of all connected audio equipment these needs will usually be modest you should always plug all connected equipment into the same circuit If possible nothing else but this equipment should be connected to that circuit If you can t do this at least avoid plugging your audio equipment into the same circuit that is already powering things like heavy machinery air conditioners heaters refrigerators washing machines neon signs or fluorescent light fixtures One particular culprit that will almost certainly create problems is the standard light dimmer the kind that uses silicon controlled rectifiers Where low level lighting is desired use incandescent fixtures with autotransformer type dimmers sometimes called Variacs instead these cost considerably more than the standard dimmer you ll find at your local hardware store but are well worth the extra expen
10. of need for future service and decide where the unit is to be physically placed it can be used free standing or mounted in a standard 19 rack The S curve 131 requires only a single rack space 2 Make sure the power to all mixers and amplifiers in your audio system is off On the front panel of the S curve 131 place the Bypass switche to it s out off position and set the Main Level slider to it s bottom most OFF setting 3 Set all Equalizer sliders to their flat 0 center detented position S curve 13 EQUALIZER a 4 The S curve 131 can be used either as an in line device as an insert device in conjunction with mixer insert points or in an effects send return loop The illustrations on pages 8 10 show each of these typical configurations Choose the configuration that is best for your application and then begin by making the S curve 131 input connections using either the XLR or 1 4 TRS connectors on the rear panel WARNING Both the XLR and 1 4 TRS inputs should not be connected simultaneously or loading problems may result 5 Next make the S curve 131 output connections using the XLR or 1 4 TRS connectors on the rear panel If required connections can be made simultaneously to both 6 Plug in the supplied AC connector and connect it to any standard AC socket Because of the spe cial relay power on circuitry bu
11. with Active Speakers SIGNAL FLOW EXTENSION SPEAKER SPEAKER SPEAKER ce INPUT INPUT poppe S Curve 131 OUTPUT S Curve 131 INPUT SIGNAL FLOW SAMSON O SAMSON db500a SAMSON db500a In this example the mixer s mono output is connected to the S curve 131 s input Then the S curve 131 s output is connected to the input of the first active self powered loudspeaker The second loudspeaker is connected to the first using the first loudspeaker s extension output Using the S curve 131 with Passive Speakers SPEAKER Scene INPUT POWER AMP BRIDGED MONO HE OUTPUT Jd POWER AMP INPUT 0000000000006 9 0000000000006 5 Curve 131 OUTPUT S Curve 131 INPUTS EQUALIZER mum SAMSON Reo 0000 db500 SAMSON ov Sn Mera MENS eee ee db500 GAIN RM GAIN ps eS ES an sa am em gh SAMSON x6 In this example the mixer s mono output is connected to the S curve 131 s input Then the S curve 131 s output is connected to the input of a 2 channel powe
12. 9 Experiment by moving each of the Equalizer sliders up and down carefully listening to the audible result on the audio signal Bear in mind that the very lowest and highest frequency areas may have lit tle or no effect on some signals If there is significant low frequency noise rumble in the signal engage the Low Cut switch Starting with the Low Cut frequency control fully counter clockwise adjust the control so that the rumble is eliminated but the bass content of the signal still remains Some exper imentation with this control may be necessary to acheive a satisfying result As you work with the vari ous front panel controls press the front panel Bypass switch in and out from time to time in order to compare the effect of the equalization curve you are creating with the original input signal 10 Once you ve created the frequency curve required for your particular application see the About Equalization section on the following pages for more information an optional locking security cover available from your local Samson dealer can be placed over the front panel to make sure that your settings are not inadvertently altered If you have followed all the steps above and are experiencing difficulties with any aspect of setting up or using your S curve 131 you can call Samson Technical Support 1 800 372 6766 between 9 AM and 5 PM EST or contact your local distributor S curve 131 System Configurations Using the 5 curve 131
13. Hz 315 Hz 400 Hz 500 Hz 630 Hz 800 Hz 1 kHz 1 25 kHz 1 6 kHz 2 kHz 2 5 kHz 3 15 kHz 4 kHz 5 kHz 6 3 kHz 8 kHz 10 kHz 12 5 kHz and 16 kHz 20 kHz Constant 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 distor tion 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 131 to equalize a complex mono signal for example the master mix out put of a mixing console a more natural sound can be ob
14. S curve 13 31 BAND EQUALIZER Owners Manual SAMSON Un 9 un un Un e cy UJ mm A fb un un un Safety Instructions Caution To reduce the hazard of electrical shock do not remove cover or back CAUTION FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE ONLY WITH SAME TYPE FUSE No user serviceable parts inside Please refer all servic ATTENTION ing to qualified personnel UTILISER UN FUSIBLE DE RECHANGE DE M ME TYPE WARNING DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE CAUTION AVIS RISK OF ELECTRIC SHOCK RISQUE DE CHOC ELECTRONIQUE DO NOT OPEN NE PAS OUVRIR 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 Please read all instructions before operating the unit 2 Keep these instructions for future reference 3 Please heed all
15. eech etc through your system and continue to fine tune by ear Be prepared to if there s a discrepancy between what the RTA says and what your own ears tell you always go with the latter Bear in mind that an analyzer listening to pink noise is no substitute for the human ear listening to actual pro gram material A perfectly flat frequency response is not necessarily the best sounding frequency response so once you have used the RTA and the S curve 131 to tune a room by the numbers be sure to audition the results by playing typical audio signal music speech etc through your system and continue to fine tune by ear Be prepared to if there s a discrepancy between what the RTA says and what your own ears tell you always go with the latter 13 Using the 5 curve 131 to Remove Feedback One of the most important applications for the S curve 131 is removing feedback from an onstage monitor system This procedure is sometimes called ringing out since feedback usually begins with a slight ringing sound at the resonant frequencies where the loop between microphone and speaker is loudest The advanced Constant Q circuitry ensures that adjacent program frequencies which may not be causing any problems are unaffected even when attenuating problem frequencies by their maximum amount To ring out a monitor system start by setting up the stage exactly as it will be used during perfor
16. gnal Signal Signal Tip signal Tip signal Ground Ground Ground Sleeve ground Sleeve ground Balanced 1 4 to 1 4 Cable Signal ring Tip signal Signal tip Ring signal 2 Signal ring BINA gnal ring Tip signal Ring signal Signal tip Signal tip Signal tip san Ground Sleeve ground Ground Sleeve ground Balanced XLR to XLR Cable Hot 2 Common 1 Common Hot Hot Common Common 1 Hot 2 Solder Fointe End View End View Solder Points Cold 3 Cold Cold Female XLR Cold 3 Unbalanced 1 4 to RCA Cable Tip signal Tip signal Sleeve ground Tip signal X E Cj EO Sleeve ground Sleeve ground Un Balanced XLR to RCA Cable Hot 2 Common 1 Tip signal Tip signal Cold Pin 3 End View Solder Fointe j MA ini Sleeve ground Cold 3 Male XLR Sleeve ground 15 Specifications 1 Center frequencies Hz Variable range Frequency response unity THD N unity gain 20Hz to 20kHz Main level Max gain Low cut filter Noise with 22 kHz LPF all faders flat Cut Only mode Dimensions 10 Weight Boost 20 25 31 5 40 50 63 80 100 125 160 200 250 315 400 500 630 800 1
17. ilt into the S curve 131 you can even plug it into the same power strip that other audio devices such as a mixing console are connected to You can then turn on all devices at once with the single power strip on off switch without generating speaker thumps SETTING UP THE 5 curve 131 7 Press the front panel Power switch in order to turn on the S curve 131 Press the Bypass switches to activate the equalizer Note that audio signal will be muted for approximately five seconds until the relay power on circuitry is activated at which time you ll hear a click and the audio signal will be unmuted 8 Apply an input signal to the S curve 131 if sending signal from a mixer output bus drive the mixer s output meters at approximately 0 VU While the input signal is present slowly raise the front panel mainlevel slider to it s center detented O point For best signal to noise ratio the main level slider should be at or near the O point during normal operation However if the output signal is weak use themain level slider to slightly boost the volume to a maximum of 6 dB Conversely if the signal caus es the front panel 18 LEDs to light use the main level slider to attenuate volume as necessary In normal operation the 18 LED should not light at all if they do use the main level slider to lower the volume of the output signal so that it does not light at all clipping not only sounds awful it can also damage speakers
18. noise into your loudspeakers via your mixer at a normal operating level make sure the pink noise is loud enough to drown out any ambient noise floor caused by air conditioners or outside traffic etc Finally connect a quality microphone to the RTA and place the mic in a typical listening position Because pink noise consists of all audible frequencies blended together at equal level the RTA should in theory show all frequency bands to be flat However due to anomalies in every physical environment this will rarely if ever be the case 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 posi tions 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 A perfectly flat frequency response is not necessarily the best sounding fre quency response so once you have used the RTA and the S curve 131 to tune a room the num bers be sure to audition the results by playing typical audio signal music sp
19. r amp running in mono bridge mode Next the power amplifier s mono output is connected to the passive non powered loudspeakers See the owners manual for your specific power amplifier for the proper bridge mode operation 5 curve 131 System Configurations Using the S curve 131 in Insert Points Direct u Box 8 ZZ z gt EQUALIZER gt C T i 2 5 Bass Guitar m SIGNAL FLOW INSERT CABLE MICLINE MIC AINE 4 Ol o INSERT Insert INsERT You can use the S curve 131 in your mixer s insert points if you want to equalize a mono channel individually in the mix In this example the S curve 131 s Channel 1 INPUT and OUTPUT are inserted on a bass guitar channel using a 1 4 inch TRS to 2 x 1 4 inch TS Y cable For more information on cable wiring see the S Curve 131 Wiring Guide page 15 in this manual Using the S curve 131 for Mains and Monitors
20. r s driving the control room speakers For maximum convenience and flexibility we recommend that you half normal these connections to the S curve 131 patchpoints so that the routing will automatically be made unless a patch cable is inserted If a different signal such as a bus output or insert needs to be substituted you can then override the half normalled connection simply by inserting a patch cable 12 Using the S curve 131 with an RTA An RTA Real Time Analyzer is a device which measures the relative levels of multiple frequency areas This device in conjunction with a pink noise generator is the perfect companion for your S curve 131 Together with a high quality microphone these tools allow you to fine tune the overall fre quency response of your audio system in any given environment this procedure is sometimes known as tuning a room To use this kind of system connect the S curve 131 to your mixer s main outputs or across main mix output inserts see pages 8 9 in this manual for typical configuration diagrams Set the S curve 131 Level slider s to the center detented O dB position Because you ll probably need to boost as well as cut certain frequencies and because you ll rarely need to make adjustments of more than 6 dB make sure all Cut Only switch and Range switch are out in their up position Start by placing all front panel Equalizer sliders at their flat 0 center detented position Then inject pink
21. rth A thick grounding cable is connected to that source and is then brought to a central distribution point from there individ ual cables are connected to each piece of equipment This setup also requires that you lift the ground plug of all three prong AC connectors so there is the possibility of danger if it is done incorrectly We strongly recommend that you contract with a qualified professional to carry out this or any kind of electrical work Another less common problem you may encounter is that of oscillation a ringing tone which apart from being annoying is potentially dangerous to your speakers This is generally caused either by poor outside wiring or by having an out of phase signal most commonly from an outboard signal processor If audible oscillation occurs you should be able to eliminate the problem by reversing that signal s phase many signal processors have a switch that allows you to do this Using the S curve 131 with a Patchbay If you are using the S curve 131 with an audio patchbay such as S patch or S patch plus you may find it advan tageous to connect its inputs and outputs directly to a pair of patch points This way you can opt to route signal to the equalizer from any source For example in a recording environment where you are using the S curve 131 to tune the room you may typically want to have the control room outputs routed to the equalizer inputs and the equalizer outputs routed to the power amplifie
22. safety warnings 4 Follow manufacturers instructions 5 Donotuse this unit near water or moisture 6 Clean only with a damp cloth 7 Do not block any of the ventilation openings Install in accordance with the manufacturers instructions 8 Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat 9 Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or third prong is provided for your safety When the provided plug does not fit your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on and pinched particularly at plugs convenience receptacles and at the point at which they exit from the unit 11 Unplug this unit during lightning storms or when unused for long periods of time 12 Refer all servicing to qualified personnel Servicing is required when the unit has been damaged in any way such as power supply cord or plug damage or if liquid has been spilled or objects have fallen into the unit the unit has been exposed to rain or moisture does not operate normally or has been dropped Table of Contents Introduction System Features Controls and Functions Front Panel Rear Panel Setting Up and Using the S curve 131 S
23. se Three prong plugs such as the one used by the S curve 131 should always be used as is don t use adapters If you are using rack mounted audio devices such as the S curve 131 and are experiencing hum or buzz there s a simple test to determine the source of the problem while keeping all devices powered on and connected with audio cabling physically remove each device one by one from the rack If the hum disappears when a particular device is removed that device is the culprit We also recommend that you use balanced audio cabling and connectors wherever possible S curve 131 pro vides electronically balanced inputs and outputs The diagram on pg 15 shows how XLR connectors should be wired for use with these inputs and outputs In addition you can minimize possible interference by planning your audio electrical and computer cable runs so that they are as far apart from one another as possible and so they don t run parallel to one another If they have to cross try to ensure that they do so at a 90 angle that is perpendicular to one another In particular try to keep audio cabling away from external AC DC adapters If your S curve 131 is 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 ea
24. t Of House or monitor mixers in broadcast environments or for recording In this manual you ll find a more detailed description of the features of the S curve 131 as well as a guided tour through the front and rear panels step by step instructions for using the unit suggested applications for use with a patch bay a Real Time Analyzer RTA or for ringing out monitor systems reference appendices and full specifications You ll also find a warranty card enclosed please don t forget to fill it out and mail it so that you can receive online technical support and so we can send you updated information about other Samson products in the future Also be sure to check out our website http www samsontech com for com plete information about our full product line With proper care and adequate air circulation your S curve 131 will operate trouble free for many years We recommend you record your serial number in the space provided below for future reference Serial number Date of purchase Should your unit ever require servicing a Return Authorization number RA must be obtained before shipping your unit to Samson Without this number the unit will not be accepted Please call Samson at 1 800 3SAMSON 1 800 372 6766 for a Return Authorization number prior to shipping your unit Please retain the original packing materials and if possible return the unit in the original carton and packing materials S curve 131 Features
25. tained by setting up gentle smile curves than by simply cutting or boosting individual frequency areas For example if you decide that you want to boost one particular frequency area by 6 dB try boosting the adjacent areas the frequency directly above and below the target frequency by 3 dB each If you are using your S curve 131 to equalize signal from individual instruments here are a few general suggestions Boosting the low frequency areas of instruments such as bass drums or bass guitar will add warmth and make the sound fatter conversely you may want to attenuate the low frequency components of instruments such as cymbals high hats and shakers so as to thin them out Attenuating mid range frequencies the 1 kHz 5 kHz area can give a vocal performance more of an FM radio feel while boosting those frequencies can help a vocal cut through dense instrumentation Be careful not to boost high frequencies too much or you risk adding hiss to the signal though just a touch can help add shimmer to an acoustic guitar ride cymbal or high hat You can also use the highest or lowest equalizer sliders to reduce hiss by attenuating high frequencies or rumble by atten uating low frequencies Rumble can also be attenuated by engaging the front panel Low Cut switch which inserts a High Pass Filter that is variable from 15 to 200 Hz 11 Grounding Techniques Hum and buzz are the biggest enemies you face when interconnecting a large
26. the active self powered loudspeakers For the monitor mix the mixer s AUX1 output is connected to the third S curve 131 and AUX2 output is connected to the fourth S curve 1315 input Then the outputs are connected to the inputs of the 2 channel power amp Finally the power In this example two S curve 131 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 pair of S curve 131 s amplifiers outputs are connected to the passive non powered monitor loudspeakers About Equalization The S curve 131 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 togeth er in a unique way This blend is what gives every sound its distinctive tonal color The range of fre quencies that can be heard by humans is sometimes called the audible range and it includes frequen cies 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 131 uses high quality filters dividing the audible range into 31 1 3 octave frequency areas centered at 20 Hz 25 Hz 31 5 Hz 40 Hz 50 Hz 63 Hz 80 Hz 100 Hz 125 Hz 160 Hz 200 Hz 250
27. til another feedback howl just begins Again identify the approximate frequency of this feedback and lower the corresponding Equalizer slider until the feedback disap pears Repeat this procedure until you reach the point where many different frequencies begin to feedback at once or when you find that you ve already attenuated most of the feedback frequencies that are occurring This is the point at which the process stops you ve gotten as much gain out of the monitor system as you can without adjusting the physical placement of the mic or monitor speak er Repeat this procedure for each monitor output each time using the primary mic for that monitor When done successfully ringing out which should be done before every performance can add another to 15 dB more of usable gain to your monitor system so it s well worth the time and effort 14 5 curve 231 Wiring Guide 5 curve 131 Wiring Guide There are several ways to interface the S curve 131 depending on your exact monitoring set up Follow the cable diagrams below for connecting your monitor system 1 4 TRS Insert Cable Tip Sleeve common Return ring Send tip 44 Send tip Send tip Return ring Send b E Return ring Common Common Sleeve common j Return Sleeve common Tip Un Balanced 1 4 to 1 4 Cable Signal Si
28. umps when the unit is turned on Internal power supply ensures reliability trouble free operation Standard 19 rack design the S curve 131 requires only a single rack space for easy integra tion into any traveling or fixed installation audio system Optional security cover kit prevents settings from accidentally being altered All steel chassis makes the 5 curve 131 eminently road worthy Three year extended warranty Controls and Functions FRONT PANEL LAYOUT 1 Equalizer level sliders Independent Equalizer sliders are provided for each frequency area The S curve 131 provides 31 frequency areas Calibration markings on either side of each Equalizer slider allow you to cut or boost each frequency area As described below the exact action of the Equalizer sliders depends upon the setting of the Range switch as well as the setting of the Cut Only switch see 3 and 5 When the Cut Only switch is not pressed When an equalizer slider is at its center detented O position the frequency area is unaffected that is there is no boost or cut When moved all the way up to the 12 dB position the frequency area is boosted by 12 dB if the corresponding Range switch is not pressed in or 6 dB if the corresponding Range switch is pressed in When moved all the way down to the 12 dB position the frequency area is
29. ystem Configurations About Equalization Grounding Techniques Using a Patchbay Using the S curve 131 with an RTA Using the 5 curve 131 to Remove Feedback S curve 131 Wiring Guide Specifications Pass Band Graphs Block Diagram Copyright 2003 Samson Technologies Corp Printed June 2003 Samson Technologies Corp 575 Underhill Blvd P O Box 9031 Syosset NY 11791 9031 Phone 1 800 3 SAMSON 1 800 372 6766 Fax 516 364 3888 www samsontech com 12 13 14 15 16 16 17 Introduction Congratulations on purchasing the Samson 5 curve 131 1 3 Octave single channel 31 Band Constant Q Graphic Equalizer Although this product is designed for easy operation we suggest you take some time out first to go through these pages so you can fully understand how we ve implemented a number of unique features The 5 curve 131 is a professional quality signal processor that gives you precise tonal control over mono audio signal Center detented sliders with LED illumination allow you to selectively cut or boost selected frequency areas by as much as 24 dB Front panel controls include output level sliders a variable Lowcut filter as well as Cut Only Range and Bypass switches The rear panel provides elec tronically balanced inputs and outputs on 1 4 inch and XLR connectors Thanks to low noise circuitry the S curve 131 can be used in a wide variety of applications including live performance in conjunc tion with either Fron
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