Samson MPL 1640 User Manual
Introduction 1
MPL 1640 Features 1
Guided Tour 3
Overview 3
Channel 4
Main Section 6
Rear Panel 8
Connecting the MPL 1640 10
Balanced connectors 10
Unbalanced connectors 10
Mic connectors 10
Insert connectors 11
Setting Up and Using the MPL 1640 12
Setting the correct gain structure 12
Grounding Techniques 15
Using Bus 3/4 17
Using Pan 18
Using Equalization 19
Using the Auxiliary Sends and Returns 20
Using Channel Inserts 21
Using PFL Solo 22
Changing the MPL 1640 from Rack-mount to
Tabletop 23
Applications 24
Using the MPL 1640 as a main live mixer 24
Using the MPL 1640 as an onstage monitor mixer 25
Using the MPL 1640 as a keyboard submixer 26
Using the MPL 1640 as a recording mixer 27
Appendix A: Changing the MPL 1640 Voltage 28
Appendix B: Block Diagram 29
Specifications 30
Introduction
Congratulations on purchasing the Samson MPL 1640 mixer! In this manual,
we’ll take you on a guided tour through all the features of this powerful and flexible device, and we’ll tell you how to get the most out of the MPL 1640 in your
particular environment. If this is your first mixer, we’re confident that you’ll find
the information in these pages valuable—read them carefully before proceeding
further. If, on the other hand, you’ve had some previous experience with mixers
and dislike reading manuals—well, we have to admit that the 1640 was
designed so you folks can start using it right away—but we still suggest you first
take some time to go through these pages so you can fully understand how
we’ve implemented a number of unique features.
We’ll start with system features and an overview of the MPL 1640, followed by a
guided tour of its front and rear panels. Then we’ll describe how the MPL 1640
should be connected to your existing equipment (including wiring diagrams) and
talk about the important topics of signal flow, gain structure, and grounding
techniques. Next, we’ll cover a number of specific MPL 1640 features (such as
busing, panning, equalization, auxiliary sends and returns, channel inserts, and
soloing) in detail. Finally, we’ll wrap things up with a series of applications notes
describing how you can use the MPL 1640 for both live performance and
recording.
Oh, and one last thing—don’t forget to fill out and mail in the enclosed warranty
card! This will enable you to receive online technical support and will allow us to
send you updated information about this and other Samson products in the
future.
SPECIAL NOTE: Should your unit ever require servicing, a Return Authorization
number (RA) is necessary. Without this number, the unit will not be accepted.
Please call Samson at (516) 932-1062 for a Return Authorization number prior
to shipping your unit. Please retain the original packing materials and, if
possible, return the unit in its original carton and packing materials.
MPL 1640 Features
“MPL” stands for “Microphone/Program/Line” and the name describes the broad
range of signals which can be handled by this powerful console. In fact, the
compact design of the MPL 1640 belies an extraordinary versatility. Add excellent sound quality to the equation, and you’ve got a product which is equally
useful as a live performance mixer, a keyboard submixer, or even a main
recording mixer (you’ll find descriptions of each of these applications at the
conclusion of this manual). Here are some of the MPL 1640’s main features:
• 16 input channels, each providing electronically balanced inputs that can be
used for a broad range of microphone or line-level input sources.
• An electronically balanced main stereo output for connection to a power
amplifier or tape recorder, as well as a secondary Bus 3/4 output for connection to auxiliary equipment such as a monitoring system.
1
Introduction
• 3 auxiliary sends and 3 stereo auxiliary returns (which can be used as 6
monophonic returns). Auxiliary return balance controls allow you to adjust
the relative levels of the left and right inputs for each return. Aux send 1 is
pre-fader and pre-equalizer, making it ideal for use as a headphone or monitor cue mix, while Aux sends 2 and 3 are post-fader and post-equalizer.
• Independent 3-band equalization for each channel, with 15 dB of cut or boost
for low (80 Hz) and high (10 kHz) frequencies and 12 dB of cut or boost for
the mid (800 Hz) frequency.
• Constant level pan controls for placing each channel in the left-right stereo
spectrum.
• Channel PFL (Pre-Fade Listen) switches enable channels to be selectively
soloed.
• Bus switches on each channel allow signal to be muted or routed to a
separate stereo Bus 3/4 output.
• Channel input trim controls are continuously adjustable from +4 to -50 dB,
making it possible to use the MPL 1640 with a wide variety of signal sources
and outboard equipment.
• Center detents for all pan, balance, and EQ controls, making it easy to use
the MPL 1640 even in low-light situations such as live performance.
• Sixteen high-quality short-throw channel faders, along with two independent
Main stereo output faders. Each is detented at its “0” (unity gain) position.
• Peak input LEDs for each channel, showing you when an input signal is
overloading or near overloading (these illuminate 5 dB prior to distortion).
• Channel inserts for twelve of the sixteen channels, enabling you to use outboard signal processors such as outboard equalizers, compressor/ limiters,
or noise gates in a standard “effect loop.” In addition, Main Mix and Bus 3/4
inserts allow you to process the final output signal in the same way.
• The provision of 48v phantom power makes it possible to plug high-quality
condenser microphones directly into the MPL 1640, without the need for
expensive and cumbersome external power supplies.
• A powerful and flexible front-panel metering system, which includes a sevensegment meter that allows you to view at a glance the continuous main output level or PFL solo level. Also included are various LEDs which show the
status of various conditions within the MPL 1640.
• An independent front-panel headphone jack with dedicated volume control.
• The MPL 1640 can be mounted in any standard 19” rack (taking 8 rack
spaces), making it easy to integrate into any existing system. When rackmounted, its connector panel rotates to the rear for easy accessibility.
• Last but certainly not least, an affordable price. The MPL 1640 has been
designed from the ground up to provide versatility and excellent sound
quality without breaking the bank.
2
Guided Tour - Overview
The following illustration shows an overview of the front panel of the MPL 1640:
3
SAMSON
MPL 1640
12
-10
-10
0
0
+4
INPUT TRIM
-15
-12
-15
−∞
−∞
−∞
L
OFF
ON
L / R
3 / 4
PEAK
HIGH
LOW
AUX 1
AUX 2
AUX 3
-50
0
+15
0
+12
MID
0
+15
0
+10
0
+10
0
+10
R
PAN
PFL
BUS
1
+4
INPUT TRIM
-15
-12
-15
−∞
−∞
−∞
L
OFF
ON
L / R
3 / 4
PEAK
+15
HIGH
LOW
AUX 1
AUX 2
AUX 3
0
-50
+4
INPUT TRIM
0
+15
-15
0
+12
-12
MID
0
+15
-15
0
+10
−∞
0
+10
−∞
0
+10
−∞
R
L
PAN
PFL
OFF
ON
BUS
L / R
3 / 4
2
PEAK
+15
16 CHANNEL
AUDIO MIXER
4
3
-10
-10
0
+4
-50
-50
INPUT TRIM
0
0
-15
-15
+15
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HIGH
HIGH
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0
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MID
MID
0
0
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LOW
LOW
0
0
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−∞
AUX 1
AUX 2
AUX 3
0
+10
0
+10
R
PAN
PFL
BUS
3
−∞
AUX 1
0
+10
−∞
−∞
AUX 2
0
+10
−∞
−∞
AUX 3
R
L
PAN
PFL
OFF
OFF
ON
ON
BUS
L / R
L / R
3 / 4
3 / 4
4
PEAK
PEAK
+15
+15
5
-10
0
+4
INPUT TRIM
0
HIGH
0
MID
0
LOW
AUX 1
AUX 2
AUX 3
L
PAN
PFL
BUS
5
-10
0
+4
-50
INPUT TRIM
-15
+15
HIGH
-12
+12
MID
-15
+15
LOW
0
+10
−∞
AUX 1
0
+10
−∞
AUX 2
0
+10
−∞
AUX 3
R
L
PAN
PFL
OFF
ON
BUS
L / R
3 / 4
PEAK
+15
678
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0
+4
-50
-50
INPUT TRIM
0
0
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HIGH
0
0
-12
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MID
0
0
-15
+15
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LOW
0
0
+10
+10
−∞
AUX 1
0
0
+10
+10
−∞
AUX 2
0
0
+10
+10
−∞
AUX 3
R
L
R
PAN
PFL
OFF
ON
BUS
L / R
3 / 4
6
7
PEAK
PEAK
+15
+15
-10
0
+4
INPUT TRIM
0
-15
HIGH
0
-12
MID
0
-15
LOW
−∞
AUX 1
−∞
AUX 2
−∞
AUX 3
L
PAN
PFL
OFF
ON
BUS
L / R
3 / 4
8
9
-10
0
+4
-50
-50
INPUT TRIM
0
-15
+15
+15
HIGH
0
-12
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MID
0
-15
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+15
LOW
0
0
+10
+10
−∞
AUX 1
0
0
+10
+10
−∞
AUX 2
0
0
+10
+10
−∞
AUX 3
R
R
L
PAN
PFL
OFF
ON
BUS
L / R
3 / 4
9
PEAK
PEAK
+15
+15
10
-10
0
+4
INPUT TRIM
0
-15
HIGH
0
-12
MID
0
-15
LOW
−∞
AUX 1
−∞
AUX 2
−∞
AUX 3
L
PAN
PFL
OFF
ON
BUS
L / R
3 / 4
10
11
12 13 14
-10
0
+4
-50
-50
INPUT TRIM
0
+15
-15
+15
HIGH
0
+12
-12
+12
MID
0
+15
-15
+15
LOW
0
0
+10
+10
−∞
AUX 1
0
0
+10
+10
−∞
AUX 2
0
0
+10
+10
−∞
AUX 3
R
L
R
PAN
PFL
OFF
ON
BUS
L / R
3 / 4
11
PEAK
+15
0
+4
INPUT TRIM
-15
-12
-15
−∞
−∞
−∞
L
OFF
ON
L / R
3 / 4
PEAK
+15
-10
-10
0
+4
-50
-50
INPUT TRIM
0
0
-15
+15
+15
HIGH
HIGH
0
0
-12
+12
+12
MID
MID
0
0
-15
+15
+15
LOW
LOW
0
0
+10
+10
−∞
AUX 1
AUX 1
AUX 2
AUX 3
0
0
+10
+10
−∞
AUX 2
0
0
+10
+10
−∞
AUX 3
R
R
L
PAN
PAN
PFL
PFL
OFF
ON
BUS
BUS
L / R
3 / 4
13
12
PEAK
+15
+15
-10
0
+4
INPUT TRIM
-15
-12
-15
−∞
AUX 1
−∞
AUX 2
−∞
AUX 3
L
OFF
ON
L / R
3 / 4
PEAK
15 16
-10
-10
0
0
+4
INPUT TRIM
-15
-12
-15
−∞
−∞
−∞
L
OFF
ON
L / R
3 / 4
PEAK
+15
HIGH
LOW
AUX 1
AUX 2
AUX 3
BUS
+4
-50
-50
INPUT TRIM
0
0
-15
+15
+15
HIGH
0
0
-12
+12
+12
MID
MID
0
0
-15
+15
+15
LOW
0
0
+10
+10
−∞
AUX 1
0
0
+10
+10
−∞
AUX 2
0
0
+10
+10
−∞
AUX 3
R
L
R
PAN
PAN
PFL
PFL
OFF
ON
BUS
L / R
MUTEMUTEMUTEMUTEMUTEMUTE MUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTE MUTE
3 / 4
15
16
PEAK
+15
MPL 1640
16 CHANNEL AUDIO MIXER
STERE0 PFL
-20 -10 -6 -3
LEFT
RIGHT
-20 -10 -6 -3
PFL
PHANTOM
0+3+6
0+3+6
STEREO AUXILIARY RETURNS
0
+20
L
−∞
RETURN 1 LEVEL
BALANCE
0
L
+20
−∞
BALANCE
RETURN 2 LEVEL
0
+20
L
−∞
BALANCE
RETURN 3 LEVEL
0
0
10
+15
−∞
3 - 4
HEADPHONES
LEVEL
MAIN
LR
+15
POWER
R
R
R
-50
0
+15
HIGH
0
+12
MID
0
+15
LOW
0
+10
0
+10
0
+10
R
PAN
PFL
BUS
14
0
0
0
-∞
-∞
dB
-∞
dB
dB
0
0
-∞
dB
0
0
0
0
0
0
-∞
-∞
-∞
-∞
-∞
-∞
dB
dB
dB
dB
dB
-∞
dB
dB
0
0
-∞
dB
0
0
-∞
-∞
dB
-∞
dB
dB
0
-∞
dB
Main SectionInput Channels
Guided Tour - Channel
Let’s start our guided tour by examining the various controls provided by each
channel:
1: Input Trim (black) - This knob determines the input level of the connected
mic or line signal. Continuously adjustable from +4 dB to -50 dB, the input trim is
at unity gain (no boost or cut) when set to the 0 position. The input signal is
boosted when the knob is turned to the right of 0 and attenuated when turned to
the left of 0. For information on how to properly set this for each channel, see the
section on page 12 entitled “Setting The Correct Gain Structure.”
2: Equalizer (blue) - These knobs determine the amount of boost or attenuation
in each of three frequency areas. The “High” and “Low” frequency knobs provide
15 dB of cut or boost at 10 kHz and 80 Hz, respectively, with shelving-type
control. The “Mid” frequency knob provides 12 dB of cut or boost at 800 Hz, with
a bell (peaking) curve. A center detent in each knob (at the 12 o’clock position)
indicates no boost or attenuation (that is, flat response). As each knob is turned
clockwise from the center detent position, the frequency area is boosted; as it is
turned counterclockwise from the center detent position, the frequency area is
attenuated. For more information on the application of EQ, see the “Using
Equalization” section on page 19 of this manual.
3: Auxiliary sends (light gray) - These knobs allow you to route signal to any of
the MPL 1640’s three monophonic auxiliary outputs. These are typically used to
create submixes (for example, a monitor mix or headphone cue mix) or to feed
signal from single or multiple channels to outboard effects devices. At the 0 position, the send signal is routed with unity gain (that is, no boost or attenuation).
As each knob is turned clockwise from the 0 position, the signal is boosted; as it
is turned counterclockwise from the 0 position, it is attenuated. At the fully
counterclockwise “-∞” position, the send signal is infinitely attenuated—that is,
no signal is routed. At the fully clockwise “+10” position, the send signal is routed
with 10 dB of gain. Auxiliary send 1 is always pre-fader; that is, the level of the
send signal is determined solely by the channel’s input trim and is unaffected by
its fader position and EQ settings. Auxiliary sends 2 and 3 are post-fader; that is,
the level of the send signal is determined by the channel’s input trim, its EQ
settings, and the position of its fader.
4: Pan (white) - This knob allows you to place each channel’s signal anywhere
in the left-right stereo spectrum, while keeping the overall signal level constant.
When the knob is placed at its center (detented) position, the signal is sent
equally to both left and right outputs. When moved left of center, less signal is
sent to the right output (making the sound appear left of center) and when moved
right of center, less signal is sent to the left output (making the sound appear
right of center). To route a signal hard left or right, place the pan knob either fully
counterclockwise or fully clockwise. See the “Using Pan” section on page 18 of
this manual for more information.
5: PFL switch (gray) - When pressed in, the channel is soloed in PFL (Pre-Fade
Listen) mode, affecting headphone monitoring only. For more information, see
the section on page 22 entitled “Using PFL Solo.”
4
-10
0
+4
INPUT TRIM
-15
HIGH
-12
MID
-15
LOW
−∞
AUX 1
−∞
AUX 2
−∞
AUX 3
L
PAN
PFL
OFF
ON
BUS
L / R
3 / 4
1
PEAK
1
-50
0
+15
0
+12
0
+15
1
2
0
+10
0
+10
3
0
+10
R
4
MUTE
5
6
7
+15
0
8
-∞
dB
Guided Tour - Channel
6: Bus switch (gray) - When up, the channel’s signal is routed to the Main L/R
faders (as described on page 7) and then on to the MPL 1640 Main Mix output
jacks (as described on page 8). When pressed in, the channel’s signal is
removed from the Main L/R output and is instead routed to the 3/4 Level knob
(as described on page 6) and then to the 3L/4R output jacks (as described on
page 8). If you don‘t have anything connected to the MPL 1640 Bus 3/4 output
jacks, this switch can be used for channel muting. See the “Using Bus 3/4”
section on page 17 for more information.
7: Peak LED (red) - This warning light indicates an overload situation. It lights
whenever a channel’s signal is 5 dB short of clipping. To stop it from lighting
(and to eliminate the accompanying sonic distortion), turn down the channel’s
Trim knob (see #1 on the previous page) or reduce the amount of equalization
boost. See the “Setting the Correct Gain Structure” and “Using Equalization”
sections on pages 12 and 19 for more information.
8: Channel fader (gray with a blue line) - This linear slider determines the signal
level being sent to the main output as well as affecting the signal level being
routed to Aux sends 2 and 3 (which are post-fader; Aux 1 is always pre-fader).
In practice, you will use the channel faders to continuously adjust the levels of
the various signals being blended together by the MPL 1640. The detented “0”
position of the fader indicates unity gain (no level attenuation or boost). Moving
the fader down from the “0” position (towards “-∞”) causes the signal to be attenuated (at the very bottom, it is attenuated infinitely—in other words, there is no
sound). Moving it up from the “0” position (towards “+15”) causes the signal to
be boosted by as much as 15 dB.
For best signal-to-noise ratio, all faders for channels carrying signal should generally be kept at or near the “0” detented position. Channels that are unused
should have their faders kept all the way down at their "-∞" (minimum) level. See
the “Setting the Correct Gain Structure” section on page 12 for more information.
5
Guided Tour - Main Section
1: Meter - This seven-segment bar meter shows the continuous output level of
the Main L/R stereo output. For optimum signal-to-noise ratio, try to adjust all
levels so that program material is usually at or around 0 VU, with occasional but
not steady excursions to the red +3 or +6 segments. See the “Setting the
Correct Gain Structure” section on page 12 for more information.
2: Meter LEDs - These show the status of various conditions within the MPL
1640. The bottom left LED (labeled “PFL”) lights steadily red whenever one or
more channels is soloed. The bottom center LED (labeled “Phantom”) lights
steadily red when Phantom power is being supplied to all mic connectors (see #1
on page 8 of this manual for more information). The bottom right LED (labeled
“Power”) lights steadily red whenever the MPL 1640 is powered on.
3: Stereo Auxiliary Return Level (green) - These knobs determine the input
level of signal arriving via the MPL 1640’s three stereo Auxiliary returns. Each
return is at unity gain (no boost or attenuation) when set to the 0 position. The
input signal is boosted when the knob is turned to the right of 0 and attenuated
when turned to the left of 0. When turned fully clockwise (to the “+20” position),
the return signal is boosted by 20 dB; when turned fully counterclockwise (to the
“-∞” position), the return signal is infinitely attenuated—that is, there is no sound.
For information on how to properly set these, see the sections on pages 12 and
20 entitled “Setting the Correct Gain Structure” and “Using the Auxiliary Sends
and Returns.”
4: Stereo Auxiliary Return Balance (dark gray) - These knobs determine the
relative levels of the left and right input signals connected to the MPL 1640’s
three stereo Auxiliary returns. When the knob is placed at its center (detented)
position, both left and right input signals for that Aux return are at equal strength.
When moved left of center, the left input signal remains at the same strength but
the right input signal is attenuated; when the knob is moved right of center, the
right input signal remains at the same strength but the left input signal is attenuated. When placed fully counter-clockwise, only the left input signal is heard
(panned hard left); when placed fully clockwise, only the right input signal is
heard (panned hard right). These “radical” positions are useful when you are
using a stereo Aux return as two mono returns—see the “Using the Auxiliary
Sends and Returns” section on page 20 for more information.
When only the left input of an Aux return is connected, its Balance knob functions as a constant level Pan control, allowing you to continuously place the
incoming signal anywhere in the left-right stereo field.
5: 3/4 Level (green) - This knob determines the final output level of the Bus 3/4
signal. We made this knob extra big so you won’t miss it even under low-light
performance conditions. Signals from all channels that have their Bus
switch (see page 5) set to the “3/4” position are routed here prior to being sent to
the rear panel 3/4 output jacks (as described on on page 8). The center detented “0” position of the knob indicates unity gain (no level attenuation or boost).
Moving the knob counterclockwise from the “0” position (towards “-∞”) causes
the signal to be attenuated (at the fully counterclockwise position, it is attenuated
infinitely—in other words, there is no sound). Moving the knob clockwise from
the “0” position (towards “+15”) causes the signal to be boosted by as much as
15 dB. For more information, see the “Using Bus 3/4” section on page 17 of this
manual.
6
MPL 1640
16 CHANNEL AUDIO MIXER
STERE0 PFL
-20 -10 -6 -3
LEFT
RIGHT
-20 -10 -6 -3
PFL
PHANTOM
0+3+6
0+3+6
POWER
1
2
STEREO AUXILIARY RETURNS
+20
−∞
RETURN 1 LEVEL
0
R
L
BALANCE
3
0
R
L
+20
−∞
RETURN 2 LEVEL
BALANCE
4
0
+20
−∞
RETURN 3 LEVEL
L
BALANCE
R
6
0
5
−∞
LEVEL
0
10
+15
3 - 4
HEADPHONES
MAIN
LR
+15
7
0
8
-∞
dB
Guided Tour - Main Section
6: Headphones control (black) - This knob sets the level of the signal sent to
the headphone jack (see #7 below). WARNING: To avoid possible damage
to connected headphones (or, worse yet, to your ears!), always turn this all
the way off (to the fully counterclockwise “0” position) before plugging in a
pair of headphones—then raise the level slowly while listening. The
Headphones control has no effect on the final Main Mix or Bus 3/4 output levels.
7: Headphone jack - Connect any standard stereo headphones to this jack (via
a standard 1/4” TRS plug) for private monitoring of the main stereo output. The
built-in MPL 1640 headphone preamp delivers 150 mw at 30 ohms.
8: Main L/R Faders (white with blue line) - These linear sliders determine the
relative level of the two Main Left/Right outputs just prior to being sent to the rear
panel Main Mix output jacks (as described on page 8). The “0” (detented)
position of each fader indicates unity gain (no level boost or attenuation).
Moving the fader below this position (towards the “-∞” dB position) causes the
signal to be attenuated (at the very bottom, it is attenuated infinitely—in other
words, there is no sound). Moving it above this position (towards the “+15”
position) causes the signal to be boosted by as much as 15 dB.
For best signal-to-noise ratio, both Main L/R faders should generally be kept at
or near the detented 0 level. See the “Setting The Correct Gain Structure”
section on page 12 of this manual for more information.
7
Guided Tour - Rear Panel
1: Phantom switch - When this switch is turned on, the MPL 1640 delivers 48 volts of
phantom power to pins 2 and 3 of all XLR microphone connectors (channels 1 - 10).
WARNING: Only turn this on or off with the MPL 1640 powered down. Before turning phantom power on, be sure to disconnect all non-microphone signal sources (such as
direct injection boxes) from the XLR mic jacks. Although phantom power will have no
adverse affect on connected dynamic microphones, it should be used only when one or
more condenser microphones are connected to the MPL 1640 (refer to the owners manual of your microphone to determine whether or not it requires 48 volts phantom power).
If you’re not completely certain that one or more connected mics require 48 volts
phantom power, leave this switch OFF.
2: Power switch - This is what you use to turn the MPL 1640 on and off. To avoid
potential damage to your speakers, turn the mixer on before you turn on any connected
power amps—and turn it off after the power amps are turned off.
3: AC Input - Connect the supplied standard 3-pin “EEC” plug here.
4: Fuse sled - Fuse ratings are 1 amp for 115 V usage and .5 amp for 230 volt usage.
See Appendix A on page 28 for more information.
5: Main Mix Out (L,R) - These are the MPL 1640’s main outputs. You’ll usually use
these to connect the MPL 1640 to a power amplifier or to a tape recorder. These jacks
are electronically balanced, so use balanced three-conductor cabling and 1/4" TRS plugs
wherever possible (unbalanced two-conductor plugs can also be inserted into these jacks,
but you’ll get better signal quality and less noise and hum if you use balanced lines). See
the “Connecting the MPL 1640” section on page 10 for more information.
6: 3L/4R Out - These are the MPL 1640’s secondary outputs. The 3/4 Out jacks are
unbalanced, accepting standard two-conductor 1/4" plugs. For this reason, it is generally
preferable to use the Main Mix outputs when only two outputs are required. See the
“Using Bus 3/4” section on page 17 for more information.
7: Main Mix Insert (L,R) - Use these to insert an external in-line effects processor (such
as outboard equalizer, compressor/limiter or noise gate) into the Main Mix output in an
“effects loop” configuration. These jacks accept 1/4" TRS plugs, with the ring carrying the
send signal and the tip carrying the return signal. Normally, this will be connected to a
Y-cable; see the “Connecting The MPL 1640” section on page 10 for more information
and a wiring diagram.
8
5 6
1
14
1213
PHANTOM
(BALANCED 600Ω + 4dB)
ON
P
OFF
O
W
ON
E
R
OFF
3L - 4R(UNBAL.2KΩ +4dB)
~115V /230V
50/60Hz 42W
2 3 4
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
MAIN MIX OUT
L
R
115
CH 16
7
!
BUS INSERT
L
R
CH 15
3L - 4RMAIN MIX
AVIS:
AUX OUT
(UNBAL.2KΩ +4dB)
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR.
DO NOT EXPOSE THIS EQUIPMENT
TO RAIN OR MOISTURE.
CH 11
CH 12CH 13CH 14
(BALANCED - 50dB TO + 4dB)
AUX 1AUX 2
L
AUX 3
RR
AUX RETURN (UNBAL.2KΩ + 4dB)
2
AUX 2
10
SERIAL
NUMBER
ASSEMBLED IN R.O.K.
MIC INPUT
AUX 3
9
8
XLR
1 GND
2 +
3 -
SAMSON TECHNOLOGIES CORP., NEW YORK, U.S.A.
CH 9
CH 10
1
3
LL
2
2
1
3
3
AUX 1
R
SAMSON
CH 8
CH 7
CH 6
2
2
1
3
1
1
3
LINE INPUT
2
3
CHANNEL INSERT
MPL 1640
CH 5
2
1
1
3
(BALANCED 10 KΩ - 40dB TO + 4dB)
CH 7CH 8CH 9CH 10CH 11CH 12CH 13CH 14CH 15CH 16
CH 6
(TIP RETURN - RING SEND)
11
16 CHANNEL
AUDIO MIXER
TIP RING SLEEVE
TIP +
RING -
SLEEVE GND
CH 3CH 4
2
2
3
1
1
3
CH 4CH 5
CH 2CH 3
CH 1CH 2
2
1
3
CH 1
Guided Tour - Rear Panel
8: Bus Insert - Use these to insert an external in-line effects processor (such as outboard equalizer, compressor/limiter or noise gate) into the Bus 3/4 output in an “effects
loop” configuration. These jacks accept 1/4" TRS plugs, with the ring carrying the send
signal and the tip carrying the return signal. Normally, this will be connected to a
Y-cable; see the “Connecting The MPL 1640” section on page 10 for more information
and a wiring diagram.
9: Aux Outs - These unbalanced 1/4" outputs allow you to route signal from each of the
three discrete Aux sends to external devices such as effects processors. Aux send 1 is
pre-fader and pre-EQ, while Aux sends 2 and 3 are post-fader and post-EQ. See the
“Using the Auxiliary Sends and Returns” section on page 20 for more information.
10: Aux Returns - These unbalanced 1/4" inputs allow you to route signal from external devices such as effects processors to any of the three stereo Aux Returns. See the
“Using the Auxiliary Sends and Returns” section on page 20 for more information.
11: Channel Inserts (1 - 12) - Use these to insert external in-line effects processors
(such as outboard equalizers, compressor/limiters or noise gates) into channels 1 - 12 in
an “effects loop” configuration. These jacks accept 1/4” TRS plugs, with the ring
carrying the send signal and the tip carrying the return signal. Normally, this will be
connected to a Y-cable; see the “Connecting The MPL 1640” section on page 10 for
more information and a wiring diagram.
12: Line Inputs (1 - 16) - Use these standard balanced 1/4" jacks to connect line-level
sources such as synthesizers, drum machines, CD players, tape decks, or effects
processors to any of the MPL 1640’s input channels. All channel line input jacks are
electronically balanced, so you should use balanced three-conductor cabling and plugs
wherever possible (unbalanced two-conductor plugs can also be inserted into these
inputs, but you’ll get better signal quality and less outside noise and hum if you use
balanced lines). See the “Connecting The MPL 1640” section on page 10 for more
information. WARNING: Do not connect a channel’s line input if you already have
something connected to its mic input; each channel is designed to accept only
one or the other.
13: XLR Mic Inputs (1 - 10) - Use these standard XLR jacks to connect microphones to
any of the MPL 1640’s first ten channels (channels 1 - 10). These are intended to
accept signal from low-level, low-impedance mics but can also be used for signal from
other sources (such as direct injection boxes) if the channel’s Trim control is turned
down. WARNING: Do not turn Phantom power on if signal sources other than
microphones are connected to any of these inputs. Also, do not connect a channel’s mic input if you already have something connected to its line input; each
channel is designed to accept only one or the other.
14: 1/4" Mic Inputs (11 - 16) - Use these standard balanced 1/4" jacks to connect
microphones to any of the MPL 1640’s last six channels (channels 11 - 16). These are
intended to accept signal from low-level, low-impedance mics but can also be used for
signal from other sources (such as direct injection boxes) if the channel’s Trim control is
turned down. WARNING: Do not connect a channel’s mic input if you already have
something connected to its line input; each channel is designed to accept only
one or the other.
9
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