Samson S.curve 231 Musical Toy Instrument User Manual
Contents
1. INPUT N SPEAKER SPEAKER INPUT 10 In this example two S curve 231 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 231 s inputs for the main PA speakers Then the outputs are connected to the inputs of the power amplifier connected to passive loudspeakers For the monitor mix the mixer s AUX1 output is con nected to the second S curve 231 s channel 1 input and AUX2 output is connected to the channel input Then the second S curve 231 s channel 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 231 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 s2. YILIN 13441 SYILTIA SHYILIIA SSVdONVA SL SSVAONVA 91 ZH 07 OL ZH008 ZH0 9 OL ZHOT ZHOOb OL ZHOZ LOdNI co i O ngpr gpo J 1ND MOT wadv NOILVYYNDISNOD JIGOW ANY JONVY AINO LND 1N9 1S009 GPTL gp9 JGOW JONVY 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
3. 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 imenting with this control may be necessary to acheive a satisfying result As you work with the various front panel controls press the front panel Equalizer switch in and out from time to time in order to com pare 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 231 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 S curve 231 with Active Speakers SPEAKER gt gt SPEAKER INPUT INPUT SAMSON db500a SAMSON db500a In this example the mixer s stereo output is connected to the S curve
4. 231 s inputs Then the S curve 231 s outputs are connected to the inputs of each active self powered loudspeaker Using the S curve 231 with Passive Speakers SPEAKER ui MAN ra INPUT POWER AMP OUTPUT rd E POWER AMP INPUT Ok T SAMSON SAMSON db500 db500 MASTER SECTION ALLO de lado 9 DEO 00 Q n em Tomo ASTER SECTION In this example the mixer s stereo output is connected to the S curve 231 s inputs Then the S curve 231 s outputs are connected to the input of a 2 channel power amp Next the power amplifier s outputs are connected to the passive non powered loudspeakers 8 S curve 131 System Configurations Using the S curve 231 in Insert Points SOY 4 R Bass Guitar irect D 6 Box Keyboard WI C o SIGNAL FLOW i MO14 1VNDIS py AO 1d IYN IS OQ LINE A UNE _ _ NN_ 6 Uw EINE PO UNET LINE 6 A oc MICA4INE 10 MIC LINE 12 KO NA NA J A LC OO You can use the S curve 231 in your mixer s insert points if you want to equalize two mono channels individually in the mix In this example the S curve
5. Equalizer sliders to their flat 0 center detented position 4 The S curve 231 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 231 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 Next make the S curve 231 output connections using the XLR or 1 4 TRS connectors on the rear panel If required connections can be made simultaneously to both Plug in the supplied AC connector and connect it to any standard AC socket Because of the spe cial relay power on circuitry built into the S curve 231 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 S curve 23
6. G CH1 Balanced 1 4 TRS jack input CH2 Balanced 1 4 TRS jack input Electronically balanced 1 4 TRS jack input Electronically balanced 1 4 TRS jack input Wiring Wiring is as follows tip hot ring cold and is as follows tip hot ring cold and sleeve ground sleeve ground CH2 Balanced XLR jack output Electronically H CH1 Balanced XLR jack output balanced XLR jack output Wiring is as follows Electronically balanced XLR jack output pin 2 hot pin 3 cold and pin 1 ground Wiring is as follows pin 2 hot pin 3 cold and pin 1 ground CH2 Balanced 1 4 TRS jack output Electronically balanced 1 4 TRS jack output Q cH Balanced 1 4 TRS jack output Wiring is as follows tip hot ring cold and sleeve Electronically balanced 1 4 TRS jack out ground put Wiring is as follows tip hot ring cold and sleeve ground SETTING UP THE S curve 231 SETTING UP THE S curve 231 Setting up your S curve 231 Graphic Equalizer 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 free standing or mounted in a standard 19 rack Make sure the power to all mixers and amplifiers in your audio system is off On the front panel of the S curve 231 place the Bypass switch to it s out off position and set the Main Level slider to it s bottom most OFF setting Set all
7. calves j Ground Sleeve ground Ground Signal tip Signal ring Vroun Ground Balanced XLR to XLR Cable End View Solder Foints f Cold Cold 3 T o Cold Female XLR Cold 3 Unbalanced 1 4 to RCA Cable Tip signal Tip signal Sleeve ground Tip signal Sleeve ground 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 k 1 25 k 1 6 k 2 k 2 5 k 3 15k 4 k 5 k 6 3 k 8 k 10 k 12 5 k 16 k 20 k 6 dB or 12 dB lt 10 Hz to 70 kHz 3 dB Less than 0 013 6 dB variable 15 to 200 Hz 85 dB 12 dB 1 dB Max 19 in w x 10 5 d x 3 5 h 482 mm w x 267 d x 89 h 5 1 Ib 2 31 kg 12 10 5 RESPONSE dB 12 i Cut 20 50 100 200 500 1K 2K FREQUENCY Hz 16 5K 10K 20K S curve 231 Block Diagram ngpr LAdLNO AV 13q NO YIMOd SSVdAd lt EELE INO JA341S a10 NId L JTANNVHD SV IWYS Z TANNVHD SNOILIANNOI
8. 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 expense Three prong plugs such as the one used by the S curve 231 should always be used as is don t use adapters If you are using rack mounted audio devices such as the S curve 231 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 231 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 231 is in a fixed location such as a recording studio you may
9. your unit Please retain the original packing materials and if possible return the unit in the original carton and packing materials S curve 231 Features The Samson S curve 231 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 231 is a two channel equalizer and each channel provides 31 bands of equaliza tion with each frequency band representing 1 3 of an octave in the 20 Hz to 20 kHz range Constant Q circuitry ensures that the bandwidth of the selected frequency area stays the same even when approaching maximum boost or attenuation As a result phase shifting and inter modulation distortion is greatly reduced making for pristine sound The S curve 231 can be set for either 6 or 12 dB of gain and attenuation for each of the fre quency bands For monitor applications the S curve 231 can be set for CUT ONLY mode providing up to 12dB of attenuation with full slider range Ultra low noise circuity ensures superb audio fidelity Variable Low Cut Filter for removing rumble and floor noise can be adjusted from 15 to 200 Hz Electronically balanced XLR
10. 1 7 Press the front panel Power switch to turn on the S curve 231 Press the Equalizer switches in 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 unmut ed 8 Apply an input signal to the S curve 231 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 main level slider to it s center detented 0 point For best signal to noise ratio the main level slider should be at or near the 0 point during normal operation However if the input signal is weak use the main level slider to slightly boost the volume to a maximum of 6 dB Conversely if the signal causes the front panel 18 LEDs to light use the main level slider to attenuate volume as necessary In nor mal operation the 18 LED should not light at all if they do use the main level slider to lower the vol ume of the output signal so that it does not light at all clipping not only sounds awful it can also dam age speakers 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
11. 231 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 and the Channel 2 INPUT and OUTPUT are inserted on a keyboard channel using the same type of cable For more information on cable wiring see the S curve 231 Wiring Guide page 15 in this manual Using the S curve 231 for Mains and Monitors ZS SPEAKER oo SPEAKER EXTENSION OUTPUT __ INPUT LO INPUT OO z5lH1 00 SIGNAL FLOW SAMSON SAMSON db500a S A A A db500a 4 EET 209 UA AMV l e eeeoooooo o i e w D SIGNAL FLOW CH SIGNAL FLOW 1 i PA Lad c SIGNAL FLOW SIGNAL FLOW MONITOR AMP INPUT TO MONITOR SPEAKER Pd INPUTS NA SPEAKER INPUT SPEAKER INPUT In this example an S curve 231 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 231 s Channel 1 input Then the S curve 231 s output is connected to
12. S Class Signal Processors 110 Of 10 10 io of O 251 6 2 2 5K 3 15K 4K 5K 6 3K 8K 10K 12 5K 16K 20K CH 1 Low cur a CHANNEL 1 LEVEL 12 6 gh o e 2 12 6 2 Bi 4K SK 6 3K 8K ol 6 OK 2 U SAMSON A 5 T 2 Q 3 O S curve 23 DUAL 31 BAND EQUALIZER 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 litera
13. 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 and 8 segment LED bar VU meters Relay power on circuitry prevents speaker thumps when the unit is turned on Internal power supply ensures reliability and trouble free operation Standard 19 2 rack space design for easy integration into any traveling or fixed installation audio system Optional security cover kit prevents EQ settings from accidentally being altered All steel chassis makes the S curve 231 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 231 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 a
14. ced inputs and outputs on 1 4 inch and XLR connectors Thanks to low noise circuitry the S curve 231 can be used in a wide variety of applications including live performance in conjunction with either Front Of House or monitor mixers in broadcast environments or for record ing In this manual you ll find a more detailed description of the features of the S curve 231 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 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 231 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
15. curve 231 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 12dB 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 until 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 at
16. econd The S curve 231 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 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 16 kHz and 20 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 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
17. first place by using correct gain structure and mic placement If you are using your S curve 231 to equalize a complex mono signal for example the master mix out put 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 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 231 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 carelul 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 ca
18. ion the Equalizer sliders cut or boost each frequency area by up to 12 dB allowing coarse control The setting of the switch also affects how Cut Only operates see 1 on the previous page for more information Equalizer switch When not pressed in the equalization circuitry is made inactive so that the signal passes 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 equalization circuitry affects the signal as per the setting of the front panel Equalizer and Level sliders see 1 and 2 Power switch Use this to turn the power on and off Channel 2 Same functions and controls and Channel 1 REAR PANEL LAYOUT O mM DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE N AVIS RISQUE DE SHOCK ELECTRIQUE NE PAS OUVRIR SA MSON o 2 POWER 115V 230V GOHZ SOHZ 22W SERIAL NUMBER DUAL 31 BAND ei 3 EQUALIZER AC INLET 115 230 VAC 60 50HZ MADE IN CHINA DESIGNED AND ENGINEERED IN THE UNITED STATES BY SAMSON TECHNOLOGIES LZ AC input fuseholder Connect the supplied heavy gauge 3 pin IEC power cable here F CHI Balanced XLR jack input Electronically balanced XLR jack input CH2 Balanced XLR jack input Electronically Wiring is as follows pin 2 hot pin 3 cold balanced XLR jack input Wiring is as follows pin and pin 1 ground 2 hot pin 3 cold and pin 1 ground
19. n 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 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
20. nd 5 When the Cut Only switch is not pressed in When an equalizer slider is at its center detented 0 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 notpressed 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 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 the Equalizer slider is moved down the frequen cy area is attenuated When moved all the way down 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 2 Main Output level slider Use this to adjust the output level of signal leaving the S curve 231 via its rear panel output connectors see D on page 5 for more information When the main slider is at its center detented 0 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 i
21. ning 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 231 to tune a room by the num bers 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 compromise and 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 S curve 231 to Remove Feedback One of the most important applications for the S curve 231 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 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
22. s moved all the way down to the position the output signal is infinitely attenuated that is there is no signal Note that the Main level slider is deactivated when the S curve 231 is in Bypass mode see 7 3 Frequency control When the Low Cut switch is pressed in the variable 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 4 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 Controls and Functions CUT ONLY switch When pressed in the LED switch lights and all the Equalizer sliders serve to attenuate their frequency areas only there is no boost by up to 6 or 12 dB depending upon the setting of the RANGE switch see 7 below The Cut Only switch should be used when you need to notch out certain frequencies in order to reduce feedback or ring out a room See the Using the S curve 231 to remove feedback section in this manual page 14 for more information LEVEL METER This eight segment LED bar VU meter displays the Input Level from 30dB to 18dB 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 dB allowing fine frequency curves to be set When out in the up posit
23. tenuated 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 3 to 15 dB more of usable gain to your monitor system so it s well worth the time and effort 14 S curve 231 Wiring Guide S curve 231 Wiring Guide There are several ways to interface the S curve 231 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 i p CT Send tip Send tip Return ring n TITO Zz Return ring Common i COMMONS leave common Return Sleeve common Tip Un Balanced 1 4 to 1 4 Cable Signal Tip signal Signal Tip signal Ground Ground Ground Ground Sleeve ground Sleeve ground Balanced 1 4 to 1 4 Cable Signal ri A Signal rin ignal ring Signal ring signal ip gnal ring I Tip signal Tip signal King signal Signal tip Signal tip Ring signal
24. 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 231 s Channel 2 input The S curve 231 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 See the owners manual for your specific power amplifier for the proper bridge mode operation S curve 131 System Configurations Using Two S curve 231 s for Mains and Monitors MONITOR AMP INPUT cc SY zo 2 Oe eu SPEAKER udi hd 10 CHANNEL E EVET Bsssssss Bhar MAIN POWER AMP INPUTS SIGNAL FLOW il Sa ba i 9 0S0 oll OCO 3 Ri MOT 1YNDIS OLOKO Sio MOT IVNDIS 00 SIL
25. ture 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 231 System Configurations About Equalization Grounding Techniques Using a Patchbay Using the S curve 231 with an RTA Using the S curve 231 to Remove Feedback S curve 231 Wiring Guide Specifications Pass Band Graphs Block Diagram Copyright 2003 Samson Technologies Corp Printed Oct 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 S curve 231 dual channel 1 3 Octave 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 S curve 231 is a professional quality signal processor that gives you precise tonal control over a stereo or two mono audio signals Center detented sliders with LED illumination allow you to selec tively 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 electronically balan
26. ture 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 safety warnings 4 Follow manufacturers instructions 5 Do not use 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 mois
27. u ll rarely need to make adjustments of more than 6 dB make sure both Cut Only switches are in the out position and the range switch is set to the in 6dB position Start by placing all front panel Equalizer sliders at their flat 0 center detented position Then inject pink 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 RIA 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 liste
28. 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 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 231 with a Patchbay If you are using the S curve 231 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 an
29. y source For example in a recording environment where you are using the S curve 231 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 amplifier s driving the control room speakers For maximum convenience and flexibility we recommend that you half normal these connections to the S curve 231 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 231 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 231 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 uning a room To use this kind of system connect the S curve 231 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 231 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 yo
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