Page 1
SAMSON
®
S83 / S63
AMPLIFIER
MIXER
Page 2
Introduction 1
S83/S63 Features 2
Guided Tour - S83 4
Overview 4
Channel 5
Main Section 6
Rear Panel 8
Guided Tour - S63 10
Overview 10
Channel 11
Main Section 12
Rear Panel 14
Connecting The S83/S63 - General Suggestions 15
Setting Up and Using the S83/S63 16
Setting the Correct Gain Structure 17
Suggested Performance Applications 20
S83 20
S63 21
Grounding Techniques 22
Using Equalization 23
Using the Effects Sends and Returns 25
Using the Monitor Output 26
Using the Internal Reverb 26
Specifications 27
Page 3
Introduction
Congratulations on purchasing the Samson S83/S63 Mixer Amplifier! 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 S83/S63.
Although 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 S83 and S63 both combine a flexible multi-channel mixer with a clean, powerful amplifier and high-quality spring reverb unit—all in a single compact chassis that mounts easily in any standard 19” rack. Simply plug in your microphones and line-level instruments (such as keyboards, tape decks, CD players,
etc.) and connect the unit to any standard speaker system, and you’ve got a
complete PA system suitable for use in permanent installations such as churches, conference rooms, small clubs, or similar environments.
The S83 and S63 differ in the number of input channels (the S83 has eight while
the S63 has six); the type of equalization (the S83 provides four bands per channel, while the S63 has three); their amplifier power ratings (the S83 delivers 300
watts into 4 ohms, while the S63 delivers 210 watts into 4 ohms); the number of
Effects returns (the S83 has four while the S63 has two) and the presence or
absence of a master metering section, peak LEDs, and headphone preamplifier
(the S83 has all of these while the S63 does not). Both units include a 10-band
graphic master equalizer, a master level control, phantom power, two Effects
sends, and a Monitor output as well as dedicated tape/CD input.
In these pages, we’ll begin with an overview of the main S83/S63 features, followed by a guided tour of both units’ front and rear panels. Then we’ll describe
the various input and output connections (including wiring diagrams) and tell you
in detail how to set up your S83/S63 as well as showing you how best to use the
unit in live performance. Finally, we’ll cover a number of specific topics (such as
grounding techniques, using equalization, and using the effects sends and
returns) and then wrap things up with full specifications.
Oh, and one last thing—don’t forget to fill out and mail in the enclosed warrantee
card! This will enable you to receive online technical support and will allow us to
send you updated information about other Samson products in the future.
1
Page 4
S83/S63 Features
The Samson S83/S63 utilizes state-of-the-art technology in integrated
mixer/amplifier design. Here are some of its main features:
• Standard 19” rack-mount design (taking just four rack spaces) allows the
S83 and S63 to be easily integrated into any setup.
• Multiple channels (eight in the S83; six in the S63) and mic and line inputs
for each channel allow you to blend together a variety of source signals,
including dynamic or condenser microphones, keyboards, CD/tape players,
etc. Standard XLR mic connectors (for microphone inputs) and electronically
balanced 1/4” jacks (for line-level inputs) are provided for each channel;
in addition, there is a dedicated CD/Tape input that provides dual phono
(RCA) jacks.
• Power to spare—both units include a clean, high-quality amplifier, delivering
300 watts (in the case of the S83) or 210 watts (in the case of the S63) into
four ohms. Any standard speaker cabinets (two, four, eight, or sixteen
ohms) can be connected to the rear-panel 1/4” speaker output jacks.
• A built-in three-spring reverb unit allows you to add reverberation effects to
your vocals or instruments without having to use an expensive external
signal processor. A front-panel reverb master volume control allows you to
precisely define the amount of reverb to be added to the signal.
• Each channel provides independent equalization controls (four-band in the
S83; three-band in the S63), enabling you to shape the sound of your input
signal sources. In addition, a ten-band graphic master equalizer allows you
to “tune” the output of the S83/S63 to the particular room environment you
are in. This can be particularly useful for eliminating ringing or feedback
problems.
• In the S83, Peak LEDs for each channel show you at a glance when an
input signal is on the verge of overloading. In the S63, a master Peak LED
shows you at a glance when the internal amplifier is overloading. In both
units, other front-panel LEDs show the current status of the amplifier’s protection relay circuitry and whether or not phantom power is being applied.
• Independent input Trim controls for each channel that allows you to precisely set the correct input gain.
• Two Effects sends per channel (one pre-fade and the other post-fade) allow
you to route multiple signals to the internal reverb unit or to external signal
processors. The pre-fade send (Effects send 1) can be used as a Monitor
control, allowing you to set up an onstage monitor mix that is independent of
the main house mix. A separate Monitor level control is provided on the
front panel.
• In the S83, four Effects returns give you the ability to blend in the return signal from external signal processors or other line-level devices without having
to utilize input channels. Two front-panel Effects return level controls (one
for Effects returns 1-2 and the other for Effects returns 3-4) allow you to
bring in stereo signals, which are then automatically mixed together in mono.
In the S63, two Effects returns are provided, with a single front-panel control
for the two.
2
Page 5
S83/S63 Features
• A phantom power switch enables you to use the S83 and S63 with highquality condenser microphones. When turned on, 48 volts of phantom
power is provided to the mic connectors of all input channels.
• Protection relay circuitry prevents “thumps” when powering on or off. This
means that you can use the S83/S63 with a single power strip into which
other audio devices are connected, without danger of damage to connected
speakers.
• A rear-panel amplifier input allows you to bring external signals from other
mixers or audio devices into the S83/S63 power amplifier.
• A rear-panel preamplifier output allows you to connect the S83/S63 to external power amplifiers when higher power ratings are required and/or when
additional amplifier feeds are necessary.
• In the S83, a built-in headphone amplifier, with a front-panel 1/4” stereo
connector and dedicated level control allows you to monitor your main mix.
• In the S83, a convenient front-panel meter allows you to see at a glance the
continuous output signal level.
We’ll elaborate on many of these terms and features later in this manual. Now
it’s time to take a guided tour of the units, starting with the S83.
3
Page 6
Guided Tour - S83 Overview
The following illustration shows an overview of the front panel of the S83:
4
CHANNEL 1
−∞
LEVEL
−∞
EFF1 MON
−∞
EFF2 REV
10
0
+4
TRIM
LINE
CHANNEL 2
PEAK
0
+15
0
-15
+10
HIGH
0
-12
+10
2.5K
-12
-40
500Hz
-15
LOW
0
+15
−∞
LEVEL
0
0
+15
+10
−∞
EFF1 MON
0
0
−∞
+10
+12
EFF2 REV
0
10
0
+12
+4
-40
TRIM
0
+15
LINE
MIC
CHANNEL 3
PEAK
-15
HIGH
-12
-12
500Hz
-15
LOW
0
+15
−∞
LEVEL
0
0
+15
+10
−∞
EFF1 MON
0
0
+12
+10
−∞
2.5K
EFF2 REV
0
10
0
+12
+4
-40
TRIM
0
+15
LINE
MIC
CHANNEL 4
PEAK
-15
HIGH
-12
-12
500Hz
-15
LOW
0
+15
−∞
LEVEL
0
0
+15
+10
−∞
EFF1 MON
0
0
+12
+10
−∞
2.5K
EFF2 REV
0
10
0
+12
+4
-40
TRIM
0
+15
LINE
MIC
CHANNEL 5
PEAK
0
+15
−∞
LEVEL
0
-15
-12
-12
500Hz
-15
0
+15
+10
−∞
HIGH
EFF1 MON
0
0
+10
+12
−∞
EFF2 REV
2.5K
0
10
0
+12
+4
-40
TRIM
0
+15
LOW
LINE
MIC
CHANNEL 6
PEAK
-15
HIGH
-12
2.5K
-12
500Hz
-15
LOW
0
+15
−∞
LEVEL
0
0
+15
+10
−∞
EFF1 MON
0
0
+12
+10
−∞
EFF2 REV
0
10
0
+12
+4
-40
TRIM
0
+15
LINE
MIC
CHANNEL 7
PEAK
-15
HIGH
-12
2.5K
-12
500Hz
-15
LOW
0
+15
−∞
LEVEL
0
0
+15
+10
−∞
EFF1 MON
0
0
+12
+10
−∞
EFF2 REV
0
10
0
+12
+4
-40
TRIM
0
+15
LINE
MIC
CHANNEL 8
−∞
−∞
EFF1 MON
−∞
EFF2 REV
0
+4
LINE
LEVEL
TRIM
PEAK
0
+15
0
0
-15
+15
+10
HIGH
0
0
-12
+12
+10
2.5K
0
10
-12
+12
-40
500Hz
0
-15
+15
LOW
MIC
S8 MIXER AMPLIFIER
8 CHANNEL MIXER 300 WATT AMPLIFIER
-18 -12 -8 -5-30+2
PHANTOM PROTECTION POWER
30Hz 64Hz
125Hz 250Hz 500Hz 1K2K3K 5K 10K
30Hz 64Hz
125Hz 250Hz 500Hz 1K2K3K 5K 10K
0
0
+10
−∞
RETURN 1-2
0
REVERB
+10
10
−∞
MAIN LEVEL
PHANTOM
−∞
RETURN 3-4
−∞
MONITOR
+15dB
0dB
-15dB
0
10
+10
0
HEADPHONES
0
+10
PEAK
0
-15
+15
HIGH
0
-12
+12
2.5K
0
-12
+12
500Hz
0
-15
+15
LOW
MIC
Main SectionChannels
Page 7
Guided Tour - S83 Channel
1: Level (white) - This knob determines the final signal level being sent by a
channel to the main speaker outputs as well as to Effect send 1 (see #2
below). In practice, this will be used to adjust the levels of the various signals
being blended together by the S83. The “0” position indicates unity gain (no
level attenuation or boost). Moving the knob counterclockwise from “0”
(towards the “∞” position) causes the signal to be attenuated (when fully
counterclockwise, the signal is attenuated infinitely—in other words, there is
no sound). Moving it clockwise from the “0” position (towards the “+15” position) causes the signal to be boosted by as much as 15 db. For best signalto-noise ratio, all channel level controls should be kept at or near the 0 level.
2: Effect 1 / Monitor (gray) - This knob allows you to send signal from one or
more channels to the S83’s Monitor output or to an external signal processor
connected to the Effect Send 1 output jack on the rear panel. This effects
send is pre-fade; that is, the level of the signal is determined solely by the
channel’s input trim, and is unaffected by its EQ settings and the position of
its level control. At the 0 position, the signal is routed with unity gain (that is,
no boost or attenuation). As each Effect 1 / Monitor knob is turned clockwise
from the 0 position, the signal is boosted; as it is turned counterclockwise
from the 0 position, the signal is attenuated.
3: Effect 2 / Reverb (gray) - This knob allows you to send signal from one or
more channels to the S83’s internal reverb unit or to an external signal
processor connected to the Effect Send 2 output jack on the rear panel. This
effects send is post-fade; that is, the level of the signal is determined by the
channel’s input trim, its EQ settings, and the position of its level control. At
the 0 position, the signal is routed with unity gain (that is, no boost or attenuation). As each Effect 2 / Reverb knob is turned clockwise from the 0 position,
the signal is boosted; as it is turned counterclockwise from the 0 position, the
signal is attenuated.
4: Input trim (black) - This knob determines the input level of the connected mic or line signal. Continuously adjustable
from +4 db to -40 db, the input trim is at unity gain (no boost or attenuation) when set to the “0” position. The input signal
is boosted when the trim is turned to the right of “0” and attenuated when turned to the left of “0.”
5: 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 Input
Trim knob (see #4 above) or reduce the amount of equalization boost.
6: Equalizer (blue) - These knobs determine the amount of boost or attenuation in each of four 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 high mid and low mid frequency knobs provide 12 db of cut or boost at 2.5 kHz and 500 Hz, respectively, 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.
7: Line input connector - Connect line-level sources (such as synthesizers, drum machines, CD players, tape decks, or
effects processors) to any of the S83’s eight channels using this electronically balanced 1/4” jack (balanced or unbalanced signals can be accepted here). WARNING: Do not connect a channel’s line input if you already have something
connected to its microphone input; each channel is designed to accept only one source or the other.
8: Mic input connector - Connect a microphone to any of the S83’s eight channels using this standard XLR jack. This
jack is intended to accept signal from low-level, low-impedance mics but can also be used to accept signal from other
sources (such as direct injection boxes) if the Input Trim control is turned down. WARNING: Do not turn the S83’s
Phantom power on if signal sources other than microphones are connected to any of these inputs. Also, do not connect a
channel’s microphone input if you already have something connected to its line input; each channel is designed to accept
only one source or the other.
5
PEAK
0
1
−∞
+15
LEVEL
0
0
5
2
−∞
EFF1 MON
+10
0
-15
+15
HIGH
0
3
−∞
EFF2 REV
10
4
0
+4
TRIM
+10
-40
-12
-12
2.5K
0
500Hz
0
+12
6
+12
7
-15
LINE
+15
LOW
8
MIC
Page 8
Guided Tour - S83 Main Section
1: Meter - This seven-segment bar meter shows the continuous output level of
the S83. For optimum signal-to-noise ratio, try to adjust all levels (channel and
main) so that program material is usually at or around 0 VU, with occasional but
not steady excursions to the +2 segment. See the “Setting Up and Using the
S83/S63” section in this manual for more information.
2: Meter LEDs - These show the status of various conditions within the S83.
The leftmost LED (labeled “Phantom”) lights steadily when Phantom power is
being supplied to all mic inputs (see #5 below). The center LED (labeled
“Protection”) lights for approximately five seconds whenever the S83 is powered
on and fades slowly when the unit is powered off. It indicates the activity of the
built-in protection relay circuitry during which time 0 volts DC are provided to all
connected speakers, thus preventing any “thump.” The rightmost LED (labeled
“Power”) lights steadily whenever the S83 is powered on.
3: Ten-Band Graphic Master EQ - These sliders allow you to add ±15 db of
boost or attenuation to ten different frequency areas, affecting the main output
signal of the S83. When a slider is at its center detented (“0 db”) position, the
selected frequency area is unaffected (it is said to be flat). When a slider is
moved up (above the “0 db” position, towards the “+15 db” position), the selected
frequency area is boosted, and when it is moved down (below the “0 db” position, towards the “-15 db” position), the selected frequency area is being attenuated. For more information, see the “Using Equalization” section in this manual.
4: Main Level (white) - This knob determines the final signal level sent to the
speaker output jacks on the rear panel. At the fully counterclockwise (“∞”) position, the signal is infinitely attenuated—that is, there is no sound. At the “0” position, the mixer is at unity gain and is providing no attenuation or boost to the
6
8 CHANNEL MIXER 300 WATT AMPLIFIER
1
-18 -12 -8 -5
-3
0+2
2
30Hz 64Hz
3
30Hz 64Hz
PHANTOM PROTECTION POWER
125Hz 250Hz 500Hz 1K
125Hz 250Hz 500Hz 1K
3K 5K 10K
2K
3K 5K 10K
2K
+15dB
0dB
-15dB
6
0
0
4
−∞
+10
MAIN LEVEL
−∞
RETURN 1-2
+10
−∞
RETURN 3-4
5
10
8
PHANTOM
0
REVERB
−∞
MONITOR
0
+10
0
+10
10
0
HEADPHONES
10
7
11
9
Page 9
Guided Tour - S83 Main Section
output signal. At the fully clockwise (“+10”) position, approximately 10 db of gain
is being added by the mixer to the output signal. For more information, see the
“Setting Up and Using the S83/S63” section in this manual.
5: Phantom switch - When this switch is pressed in, the S83 delivers 48 volts
of phantom power to pins 2 and 3 of all XLR microphone connectors in all eight
channels. WARNING: Only use this switch with the S83 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 S83. Refer to the owners manual of your microphone to determine
whether or not it requires 48 volts phantom power—we cannot assume
responsibility if you damage a mic by incorrectly applying S83 phantom
power. If you’re not completely certain that one or more connected mics require
48 volts phantom power, leave this switch off (its out position).
6: Return 1-2 Level (green) - This knob determines the input level of signal
arriving via Effects returns 1 and 2 (mixed together in mono). This signal is at
unity gain (no boost or attenuation) when the knob set to the 0 position and 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, see the sections in this
manual entitled “Setting Up and Using the S83/S63” and “Using the Effects
Sends and Returns.”
7: Return 3-4 Level (green) - This knob determines the input level of signal
arriving via Effects returns 3 and 4 (mixed together in mono). This signal is at
unity gain (no boost or attenuation) when the knob set to the 0 position and 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, see the sections in this
manual entitled “Setting Up and Using the S83/S63” and “Using the Effects
Sends and Returns.”
8: Reverb Level (green) - This knob determines the level of the return signal
from the internal reverb unit. The amount of incoming reverb signal is increased
as the knob is turned clockwise. For more information, see the “Using the
Effects Sends and Returns” section in this manual.
9: Monitor Level (green) - This knob determines the overall level of the signal
being output from the rear panel Monitor jack. The amount of signal sent is
increased as the knob is turned clockwise. For more information, see the “Using
the Effects Sends and Returns” section in this manual.
10: Headphone Level (black) - This knob sets the level of the signal sent to the
headphone jack. 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 Headphone Level has no effect on the
final output level.
11: Headphone jack - Connect any standard stereo headphones to this jack
(via a standard 1/4” TRS plug) for private monitoring of the final output signal.
NOTE: The S83 main speaker outputs are not muted when headphones are
inserted into the Headphone jack—to monitor your main mix in privacy, it is
necessary to set the Main Level control to its fully counterclockwise (“∞”)
position. The built-in S83 headphone amplifier delivers 20 mW into 8 ohms.
7
Page 10
Guided Tour - S83 Rear Panel
1: Power switch - As you may have guessed, this is what you use to turn the
S83 on and off. The built-in protection relay circuitry (which mutes the outputs
for approximately five seconds after powering on) prevents power-on “thumping,”
which can potentially damage connected speakers.
2: Fuse holder - Insert a 6 amp fuse here for 120 volt operation. Insert a 3.5
amp fuse here for 220 volt operation.
3: Effect Returns - These unbalanced inputs allow you to route signal from
external devices such as effects processors to the Effects Return section of the
S83. Stereo devices should be connected to the matched pairs 1-2 and 3-4;
mono devices should be connected to one input in each pair (that is, 1 and 3 or 2
and 4). Because the S83 is a monophonic system, stereo signals routed to
either pair of Effects returns are automatically mixed to mono. See the “Using
the Effects Sends and Returns” section in this manual for more information.
4: Effects Sends - These unbalanced outputs allow you to route signal from
each of the two discrete Effects Sends to external devices such as effects
processors. Effects Send 1 is pre-fader and pre-EQ, while Effects Send 2 is
post-fader and post-EQ. See the “Using the Effects Sends and Returns” section
in this manual for more information.
8
4
3
7
+4dB
47KΩ
+4dB
10KΩ
!
EFFECT RETURNS
1
3
AMP IN
SPEAKER OUTPUT
MINIMUM 2 Ω
POWER
o
FUSE
F
E
U
S
120 VOLT 6 AMP
220 VOLT 3.5 AMP
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
POWER RATING
120V/60Hz 450 W
ON
OFF
1
2
5
8
2
4
PRE AMP OUT
6
+4dB
600Ω
LEFT
EFFECT SENDS
1
2
MON OUT
CD/TAPE
IN
9
S8 MIXER AMPLIFIER 8 CHANNEL 300 WATT 4 Ω SAMSON TECHNOLOGIES CORP., HICKSVILLE, NEW YORK
+4dB
600Ω
RIGHT
TO PREVENT SHOCK,
DO NOT OPEN. NO USER
SERVICABLE PARTS
INSIDE. REFER SERVICING TO QUALIFIED SERVICE
PERSONNEL. TO PREVENT
FIRE OR SHOCK HAZARD
DO NOT EXPOSE TO RAIN
OR MOISTURE
CAUTION
HEATSINK MAY BE HOT!
DO NOT BLOCK AIRFLOW
OR OVERHEATING MAY
OCCUR
SERIAL NUMBER
ASSEMBLED
IN R.O.K.
10
Page 11
Guided Tour - S83 Rear Panel
5: Amp In - This unbalanced input allows you to connect any external monophonic line-level signal directly to the S83 power amplifier. This input is not
affected by either the ten-band graphic master equalizer or the S83’s Main Level
control. The Amp In jack can optionally also be used as an insert patch point as
follows:
• Ring - A preamp output which is affected by both the ten-band
graphic master equalizer and the S83’s Main Level control.
• Tip - An amp input which is not affected by either the ten-band
graphic master equalizer or the S83’s Main Level control.
For more information about the use of the Amp In jack as an insert patch point,
contact Samson Technical Support (516-932-1062) between 9 AM and 5 PM
EST.
6: Preamp Out - This unbalanced output provides a monophonic line-level
output from the S83 mixer section; it is normally used to connect the unit to an
external power amplifier and speakers where additional power is required or
where additional amplifier feeds are necessary. This output is not affected by
the ten-band graphic master equalizer but it is affected by the S83’s Main Level
control.
7: Monitor Out - This unbalanced output provides a monophonic line-level
output from Effects Send 1, post-Monitor level control (but unaffected by the
Main Level control). It is normally used to connect the unit to an external monitor
mixer/amplifier/speaker system so that the performers can receive an onstage
monitor mix independent of the house mix. See the “Using the Effects Sends
and Returns” section of this manual for more information.
8: Speaker Output - These are the S83’s main outputs; use these unbalanced
jacks to connect the S83 to any speakers rated at 4 ohms or greater (that is, 4,
8, or 16 ohms). The lower the ohm rating, the greater the power output. We
recommend the use of 4 ohm speakers for long-term usage. The S83 delivers
300 watts of power into 4 ohms at less than 1% THD (Total Harmonic Distortion).
In order to ensure correct phase correlation, the tip of the S83 speaker jack
should be connected to the “+” (hot) input of your loudspeaker, and the sleeve
of the S83 speaker jack should be connected to the “-” (ground) input of your
loudspeaker.
9: CD/Tape In - Use these dual RCA input jacks to connect the output from a
CD or tape player to the S83. When connected, the signal is mixed to mono and
appears at Channel 8, at unity gain (the Trim control has no effect). From there,
it can be equalized if necessary and routed to either of the two Effects sends (for
routing to connected external processors, to the internal reverb unit, and/or to
the Monitor output).
10: Heat sink - Make sure this anodized aluminum heat sink is unobstructed
when the S83 is powered on. In particular, we recommend that you keep the
rear of the rack open in order to release heat. If your rack does not have a
removable rear, space should be left open on the front of the rack cabinet, especially immediately above the S83—remember, heat rises!
9
Page 12
Guided Tour - S63 Overview
The following illustration shows an overview of the front panel of the S63:
10
−∞
LEVEL
−∞
EFF1 MON
−∞
EFF2 REV
10
0
+4
TRIM
LINE
CHANNEL 1
0
+15
0
-15
+10
0
-12
+10
-15
-40
CHANNEL 2
0
+15
−∞
LEVEL
−∞
EFF1 MON
−∞
EFF2REV
10
0
+4
TRIM
LINE
0
0
-15
+10
HIGH
0
0
-12
+10
1 kHz
0
-15
-40
LOW
0
+15
HIGH
0
+12
1 kHz
0
+15
LOW
MIC
CHANNEL 3
0
+15
−∞
LEVEL
0
−∞
EFF1 MON
−∞
EFF2 REV
0
+4
TRIM
LINE
-15
+10
HIGH
0
-12
+10
1 kHz
10
-15
-40
LOW
+15
+12
+15
MIC
Channels
CHANNEL 4
0
+15
−∞
LEVEL
0
0
0
MIC
0
−∞
EFF1 MON
−∞
EFF2 REV
0
+4
TRIM
LINE
-15
+10
HIGH
0
-12
+10
1 kHz
10
-15
-40
LOW
+15
+12
+15
CHANNEL 5
0
+15
−∞
LEVEL
0
0
0
0
−∞
EFF1 MON
−∞
EFF2 REV
10
0
+4
TRIM
LINE
-15
+10
HIGH
0
-12
+10
1 kHz
-15
-40
LOW
+15
+12
+15
MIC
CHANNEL 6
0
+15
−∞
LEVEL
0
+15
0
+12
0
+15
MIC
−∞
EFF1 MON
−∞
EFF2 REV
0
+4
TRIM
LINE
0
0
-15
+10
HIGH
0
0
-12
+10
1 kHz
0
10
-15
-40
LOW
0
+10
−∞
RETURN 1-2
0
+15
+10
−∞
MONITOR
+12
10
0
REVERB
+15
0
+10
−∞
MAIN LEVEL
PHANTOM
MIC
S6 MIXER AMPLIFIER
30Hz 64Hz
125Hz 250Hz 500Hz 1K2K3K 5K 10K
30Hz 64Hz
125Hz 250Hz 500Hz 1K2K3K 5K
PEAK PROTECTION POWER LEFT RIGHT
CD/TAPE
+15dB
0dB
-15dB
10K
IN
Main Section
Page 13
1: Level (white) - This knob determines the final signal level being sent by
a channel to the main speaker outputs as well as to Effect send 1 (see #2
below). In practice, this will be used to adjust the levels of the various
signals being blended together by the S63. The “0” position indicates
unity gain (no level attenuation or boost). Moving the knob counterclockwise from “0” (towards the “∞” position) causes the signal to be attenuated
(when fully counterclockwise, the signal is attenuated infinitely—in other
words, there is no sound). Moving it clockwise from the “0” position
(towards the “+15” position) causes the signal to be boosted by as much
as 15 db. For best signal-to-noise ratio, all channel level controls should
be kept at or near the 0 level.
2: Effect 1 / Monitor (gray) - This knob allows you to send signal from
one or more channels to the S63’s Monitor output or to an external signal
processor connected to the Effect Send 1 output jack on the rear panel.
This effects send is pre-fade; that is, the level of the signal is determined
solely by the channel’s input trim, and is unaffected by its EQ settings and
the position of its level control. At the 0 position, the signal is routed with
unity gain (that is, no boost or attenuation). As each Effect 1 / Monitor
knob is turned clockwise from the 0 position, the signal is boosted; as it is
turned counterclockwise from the 0 position, the signal is attenuated.
3: Effect 2 / Reverb (gray) - This knob allows you to send signal from one
or more channels to the S63’s internal reverb unit or to an external signal
processor connected to the Effect Send 2 output jack on the rear panel.
This effects send is post-fade; that is, the level of the signal is determined
by the channel’s input trim, its EQ settings, and the position of its level
control. At the 0 position, the signal is routed with unity gain (that is, no
boost or attenuation). As each Effect 2 / Reverb knob is turned clockwise
from the 0 position, the signal is boosted; as it is turned counterclockwise
from the 0 position, the signal is attenuated.
4: Input trim (black) - This knob determines the input level of the connected mic or line signal. Continuously adjustable
from +4 db to -40 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 trim is turned to the right of “0” and attenuated when turned to the left of “0.”
5: 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 middle frequency knobs provide 12 db of cut or boost at 1 kHz, 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.
6: Line input connector - Connect line-level sources (such as synthesizers, drum machines, CD players, tape decks, or
effects processors) to any of the S63’s six channels using this electronically balanced 1/4” jack (balanced or unbalanced
signals can be accepted here). WARNING: Do not connect a channel’s line input if you already have something connected to its microphone input; each channel is designed to accept only one source or the other.
7: Mic input connector - Connect a microphone to any of the S63’s six channels using this standard XLR jack. This
jack is intended to accept signal from low-level, low-impedance mics but can also be used to accept signal from other
sources (such as direct injection boxes) if the Input Trim control is turned down. WARNING: Do not turn the S63’s
Phantom power on if signal sources other than microphones are connected to any of these inputs. Also, do not connect a
channel’s microphone input if you already have something connected to its line input; each channel is designed to accept
only one source or the other.
11
Guided Tour - S63 Channel
1
0
+15
−∞
LEVEL
0
0
2
-15
+10
−∞
EFF1 MON
10
TRIM
0
+10
-40
-12
-15
3
−∞
EFF2 REV
4
0
+4
+15
HIGH
0
5
+12
1 kHz
0
+15
LOW
6
LINE
7
MIC
Page 14
1: Return 1-2 Level (green) - This knob determines the input level of signal
arriving via Effects returns 1 and 2 (mixed together in mono). This signal is at
unity gain (no boost or attenuation) when the knob set to the 0 position and 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, see the sections in this
manual entitled “Setting Up and Using the S83/S63” and “Using the Effects
Sends and Returns.”
2: Monitor Level (green) - This knob determines the overall level of the signal
being output from the rear panel Monitor jack. The amount of signal sent is
increased as the knob is turned clockwise. For more information, see the “Using
the Effects Sends and Returns” section in this manual.
3: Reverb Level (green) - This knob determines the level of the return signal
from the internal reverb unit. The amount of incoming reverb signal is increased
as the knob is turned clockwise. For more information, see the “Using the
Effects Sends and Returns” section in this manual.
12
Guided Tour - S63 Main Section
0
1
−∞
RETURN 1-2
2
−∞
+10
+10
MONITOR
0
30Hz 64Hz
125Hz 250Hz 500Hz 1K
4
3K 5K 10K
2K
+15dB
3
10
0
REVERB
30Hz 64Hz
0
5
−∞
+10
MAIN LEVEL
125Hz 250Hz 500Hz 1K
2K
3K 5K
CD/TAPE
IN
0dB
-15dB
10K
6
PHANTOM
7
PEAK PROTECTION POWER LEFT RIGHT
89 10
11
Page 15
4: Ten-Band Graphic Master EQ - These sliders allow you to add ±15 db of
boost or attenuation to ten different frequency areas, affecting the main output
signal of the S63. When a slider is at its center detented (“0 db”) position, the
selected frequency area is unaffected (it is said to be flat). When a slider is
moved up (above the “0 db” position, towards the “+15 db” position), the selected
frequency area is boosted, and when it is moved down (below the “0 db” position, towards the “-15 db” position), the selected frequency area is being attenuated. For more information, see the “Using Equalization” section in this manual.
5: Main Level (white) - This knob determines the final signal level sent to the
speaker output jacks on the rear panel. At the fully counterclockwise (“∞”)
position, the signal is infinitely attenuated—that is, there is no sound. At the “0”
position, the mixer is at unity gain and is providing no attenuation or boost to the
output signal. At the fully clockwise (“+10”) position, approximately 10 db of gain
is being added by the mixer to the output signal. For more information, see the
“Setting Up and Using the S83/S63” section in this manual.
6: Phantom switch - When this switch is pressed in, the S63 delivers 48 volts
of phantom power to pins 2 and 3 of all XLR microphone connectors in all six
channels. WARNING: Only use this switch with the S63 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 S63. Refer to the owners manual of your microphone to determine
whether or not it requires 48 volts phantom power—we cannot assume
responsibility if you damage a mic by incorrectly applying S63 phantom
power. If you’re not completely certain that one or more connected mics require
48 volts phantom power, leave this switch off (its out position).
7: Phantom LED - This lights steadily when Phantom power is being supplied
to all mic inputs (see #6 above).
8: Peak LED - This warning light indicates an overload situation in the S63
amplifier. To stop it from lighting (and to eliminate the accompanying sonic distortion), turn down one or more channel’s Input Trim knob or reduce the amount
of equalization boost in the offending channel(s). See the “Setting Up and Using
the S83/S63” and “Using Equalization” sections in this manual for more information.
9: Protection LED - This lights for approximately five seconds whenever the
S63 is powered on and fades slowly when the unit is powered off. It indicates
the activity of the built-in protection relay circuitry during which time 0 volts DC
are provided to all connected speakers, thus preventing any “thump.”
10: Power LED - This lights steadily whenever the S63 is powered on.
11: CD/Tape In - Use these dual RCA input jacks to connect the output from a
CD or tape player to the S63. When connected, the signal is mixed to mono and
appears at Channel 6, at unity gain (the Trim control has no effect). From there,
it can be equalized if necessary and routed to either of the two Effects sends (for
routing to connected external processors, to the internal reverb unit, and/or to
the Monitor output).
13
Guided Tour - S63 Main Section
Page 16
1: Power switch - As you may have guessed, this is what you use to turn the
S63 on and off. The built-in protection relay circuitry (which mutes the outputs for
approximately five seconds after powering on) prevents power-on “thumping,”
which can potentially damage connected speakers.
2: Fuse holder - Insert a 6 amp fuse here for 120 volt operation. Insert a 3.5
amp fuse here for 220 volt operation.
3: Effect Returns - These unbalanced inputs allow you to route signal from
external devices such as effects processors to the Effects Return section of the
S63. Because the S63 is a monophonic system, stereo signals input to the pair
of Effects returns 1-2 are automatically mixed to mono. See the “Using the
Effects Sends and Returns” section in this manual for more information.
4: Effects Sends - These unbalanced outputs allow you to route signal from
each of the two discrete Effects Sends to external devices such as effects
processors. Effects Send 1 is pre-fader and pre-EQ, while Effects Send 2 is
post-fader and post-EQ. See the “Using the Effects Sends and Returns” section
in this manual for more information.
14
Guided Tour - S63 Rear Panel
21
+4dB
600Ω
!
6 7
4
EFFECT SENDS
1
2
MON OUT
S6 MIXER AMPLIFIER 6 CHANNEL 210 WATT 4 Ω SAMSON TECHNOLOGIES CORP., HICKSVILLE, NEW YORK
+4dB
600Ω
9
TO PREVENT SHOCK,
DO NOT OPEN. NO USER
SERVICABLE PARTS
INSIDE. REFER SERVICING TO QUALIFIED SERVICE
PERSONNEL. TO PREVENT
FIRE OR SHOCK HAZARD
DO NOT EXPOSE TO RAIN
OR MOISTURE
CAUTION
HEATSINK MAY BE HOT!
DO NOT BLOCK AIRFLOW
OR OVERHEATING MAY
OCCUR
SERIAL NUMBER
ASSEMBLED
IN R.O.K.
5
POWER
o
FUSE
F
E
U
S
120 VOLT 6 AMP
220 VOLT 3.5 AMP
ON
OFF
1
2
8
POWER RATING
120V/60Hz 450 W
3
EFFECT RETURNS
+4dB
47KΩ
+4dB
10KΩ
AMP IN PRE AMP OUT
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
SPEAKER OUTPUT
MINIMUM 2 Ω
Page 17
Guided Tour - S63 Rear Panel
5: Amp In - This unbalanced input allows you to connect any external monophonic line-level signal directly to the S63 power amplifier. This input is not
affected by either the ten-band graphic master equalizer or the S63’s Main Level
control. The Amp In jack can optionally also be used as an insert patch point as
follows:
• Ring - A preamp output which is affected by both the ten-band
graphic master equalizer and the S63’s Main Level control.
• Tip - An amp input which is not affected by either the ten-band
graphic master equalizer or the S63’s Main Level control.
For more information about the use of the Amp In jack as an insert patch point,
contact Samson Technical Support (516-932-1062) between 9 AM and 5 PM
EST.
6: Preamp Out - This unbalanced output provides a monophonic line-level
output from the S63 mixer section; it is normally used to connect the unit to an
external power amplifier and speakers where additional power is required or
where additional amplifier feeds are necessary. This output is not affected by
the ten-band graphic master equalizer but it is affected by the S63’s Main Level
control.
7: Monitor Out - This unbalanced output provides a monophonic line-level
output from Effects Send 1, post-Monitor level control (but unaffected by the
Main Level control). It is normally used to connect the unit to an external monitor
mixer/amplifier/speaker system so that the performers can receive an onstage
monitor mix independent of the house mix. See the “Suggested Setups” section
of this manual for more information.
8: Speaker Output - These are the S63’s main outputs; use these unbalanced
jacks to connect the S63 to any speakers rated at 4 ohms or greater (that is, 4,
8, or 16 ohms). The lower the ohm rating, the greater the power output. We
recommend the use of 4 ohm speakers for long-term usage. The S63 delivers
210 watts of power into 4 ohms at less than 1% THD (Total Harmonic Distortion).
In order to ensure correct phase correlation, the tip of the S63 speaker jack
should be connected to the “+” (hot) input of your loudspeaker, and the sleeve
of the S63 speaker jack should be connected to the “-” (ground) input of your
loudspeaker.
9: Heat sink - Make sure this anodized aluminum heat sink is unobstructed
when the S63 is powered on. In particular, we recommend that you keep the
rear of the rack open in order to release heat. If your rack does not have a
removable rear, space should be left open on the front of the rack cabinet, especially immediately above the S63—remember, heat rises!
15
Page 18
16
The actual connections you’ll make to and from the S83/S63 will vary according
to the environment you use it in and the particular equipment you have.
However, here are a few basic rules concerning connections that will apply in
pretty much all situations:
• In general, it’s best to make all connections with the S83/S63 turned off—
this particularly applies to speaker connections. If you must make connections with the power on, make sure that the Main Level control is completely
down (turn the knob fully counterclockwise). Before powering down, turn
the Main Level control completely down.
• When using line inputs, try to use balanced connectors and cabling
wherever possible. These kind of connections do a better job of rejecting
extraneous noise and hum and generally provide a cleaner signal. If your
equipment doesn’t provide balanced outputs, however, not to worry: All
S83/S63 channel line inputs will accept either balanced or unbalanced
connectors. The diagram below shows how balanced 1/4” TRS
(Tip/Ring/Sleeve) connectors should be wired:
Unbalanced cables use standard 1/4” phone connectors, wired as follows:
• Make one connection at a time and then monitor the incoming signal. If you
hear a distinct hum or buzz, you may have a grounding problem with that
particular device. See the section in this manual entitled “Grounding
Techniques” for information on how to avoid grounding problems.
• NEVER connect a microphone and line level input to the same channel
simultaneously—use one or the other. You can have some channels
connected to microphones and others to line level signals (for example, you
might want to plug mics into channels 1 - 4 and line level signals into the
remaining channels)—just don’t have both kinds of inputs connected to the
same channel. The diagram below shows how your mic connectors should
be wired:
Connecting The S83/S63 - General Suggestions
TIP
+ SIGNAL
SLEEVE
TIP +
GROUND
RING
RING -
+ SIGNAL
GROUND
GROUND
3 - SIGNAL
1 GROUND
2 + SIGNAL
TO MIXER
Page 19
17
Setting up your S83/S63 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 mounted in any
standard 19” rack, requiring four rack spaces. Be careful when handling the
S83/S63—the rear heat sink fins and side rack panels have sharp edges. Make
sure that the rear heat sink fins are unobstructed and that there is good ventilation around the entire unit. If your rack contains multiple amplifiers, we recommend that you avoid potential overheating problems by using spacer panels to
ensure that the amps are not directly on top of one another.
2. Before even plugging the unit into an AC socket, begin by making the speaker connections. It is never a good idea to power up any amplifier that is not connected to loudspeakers. Any loudspeakers with a minimum impedance load of
2 ohms (that is, 2 ohms or greater) can be used. However, we recommend the
use of 4 ohm speakers for long-term usage. In order to ensure correct phase
correlation, be sure that the connection from the tip of the S83/S63 speaker jack
goes to the “+” (hot) input of your loudspeaker, and that the sleeve of the
S83/S63 speaker jack is connected to the “-” (ground) input of your loudspeaker.
3. Next, make the signal input connections to the mic or line inputs of the various channels. WARNING: Do not connect a channel’s line input if you already
have something connected to its microphone input, or vice versa; each channel
is designed to accept only one source or the other.
4. Turn all channel Trim and Level controls as well as the Main Level control
fully counterclockwise, to their “∞” setting. Then plug the unit into any grounded
AC socket. Because of the special relay protection circuitry built into the
S83/S63, 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, with no danger of damaging connected speakers by generating “thumps.”
5. Press the rear panel Power switch in order to turn on the unit. The Protection
LED will go on for approximately five seconds, and then switch off (you’ll hear a
click when it does).
Setting Up and Using the S83/S63
Page 20
18
You’re now ready to establish the correct gain structure—the key to getting the
best performance from the S83/S63, or from any mixer, for that matter. This is a
simple procedure that ensures optimum input and output levels so that no
unnecessary noise (caused by too low a signal) or overload distortion (caused by
too high a signal) is created. Here’s a step-by-step description of how to do so:
a. With all connections made (as described above) but with the power off, start
by setting all channel level controls fully counterclockwise (to their “∞” position),
and then set the Main Level knob to its “0” position.
b. Set all channel input trim knobs to their fully counterclockwise (+4) position.
c. Set all channel equalizer knobs to their center detent “0” positions and set the
ten-band graphic master equalizer completely flat (all sliders at their center
detent “0” positions).
d. Set all channel Effects send knobs and all Effects return level knobs to their
fully counterclockwise (“∞”) position.
e. Turn on all devices connected to channel line inputs and Effects returns and
set their level controls to unity gain or, if there is no unity gain indicated on their
output control, to maximum. If you’ve got outboard effects processors connected
to Effects returns, make sure they are sending completely “wet” (processed) signal, with no “dry” (unprocessed) signal mixed in.
f. If any condenser microphones are connected to the S83/S63, turn on the
Phantom switch.* Then turn on the S83/S63’s main power.
g. Play an instrument connected to one of the S83/S63’s line inputs** and, while
doing so, raise the corresponding channel level control to the “0” position. If you
are using an S83, you should see the segment meter begin to move—adjust the
input trim control for that channel so that the “0” segment lights frequently and
the “+2” segment lights only occasionally. If you are using an S63, adjust the
input trim control for that channel until the Peak LED just begins flashing and
then back off just to the point at which it does not flash at even the highest level
input signals. In both the S83 and S63, if the incoming signal seems too hot
even with the input channel trim all the way at its minimum (+4) setting, you may
need to lower the output level of the instrument, though this will rarely occur.
Conversely, if the signal is too low even with the input channel trim all the way
up, something’s definitely wrong: in all likelihood, the connecting audio cable is
faulty.
h. Once you’ve set the optimum level in step (g) above, continue playing the
instrument and slowly raise the main level knob until you get the level you want
to hear.
* CAUTION: Before turning phantom power on, be sure to verify that the connected mic(s) require 48 volts. Also, disconnect all non-microphone signal
sources (such as direct injection boxes) from the XLR mic jacks.
** If you’re using an instrument such as electric guitar or bass, we recommend
that you connect it to the S83/S63 with a direct injection box to ensure correct
impedance.
Setting the Correct Gain Structure
Page 21
19
i. Repeat step (g) above for each instrument connected to the S83/S63 channel
line inputs.
j. The procedure for setting optimum microphone levels is virtually identical; sing
or speak into the mic at the level you expect to use in performance while slowly
raising the level control for that channel to its “0” position. Then adjust the input
trim control for that channel while watching the meter (if you’re using an S83) or
Peak LED (if you’re using an S63). You should expect that microphone inputs
will require rather more in the way of input trim boost than line inputs.
k. If you have any outboard signal processors connected to the Effects send
jacks on the rear panel, follow this step. Because outboard effects processors
can sometimes be quite noisy, it’s particularly important to maximize the amount
of signal being sent to them via the S83/S63 Effects sends. The idea is to drive
these devices as hot as possible (short of overloading them) and then to use the
corresponding Effects return level to carefully adjust the amount of processed
signal being blended with the dry signal. To set optimum Effects send levels,
use a channel that has already had its gain structure adjusted in step (g) or (j)
above. Turn both Effects send knobs for that channel to their “0” (unity gain)
position and then play the instrument (or sing into the microphone) connected to
that channel. Adjust the input levels of connected outboard effects processors
so that their meter shows incoming signal normally in the 0 vu range (with just
occasional higher excursions). Then it’s time to optimize the Effects return levels. While continuing to play your instrument (or continuing to sing into the
microphone), slowly raise each Effects return level control until you hear the
desired amount of processed signal added to the dry signal. For information on
how to correctly set the levels for the internal reverb unit or Monitor output, see
the “Using the Effects Sends and Returns” section in this manual.
l. The gain structure is now correctly set—you’ve optimized the level of all signals coming into and out of the S83/S63, and the end result will be minimum
noise and distortion and maximum clean sound. You’ll now find that the majority
of your mixes can be accomplished with most channel level controls at or near
their 0 (unity gain) position and that (in the case of the S83) channel peak LEDs
or (in the case of the S63) the main Peak LED rarely if ever lights (remember, if
they do light, it means that something is distorting!). If you need to make adjustments to the overall level, use the main level control.
If you encounter difficulty with any aspect of setting up or using your S83/S63,
you can call Samson Technical Support (516-932-1062) between 9 AM and 5
PM EST.
Setting the Correct Gain Structure
Page 22
20
Suggested Performance Application - S83
The following illustration shows the basic interconnections between an S83 and external equipment when used in a typical live performance application:
The main connections here involve connecting the S83 speaker outputs to PA speakers and the Monitor output to the
input of an external amplifier driving onstage monitors. Various microphones and line level signals are connected to
channel mic and line inputs and a tape player is connected to the CD/Tape input. A signal processor is connected to
Effects Send 2, with the resulting processed signal returned to Effects Returns 1 and 2.
AMPLIFIER
CHANNEL 1
PEAK
0
+15
−∞
LEVEL
0
0
-15
+15
+10
−∞
HIGH
EFF1 MON
0
0
−∞
-12
+12
+10
2.5K
EFF2 REV
0
10
0
-12
+12
+4
-40
500Hz
TRIM
0
-15
+15
LOW
LINE
MIC
MIDI TONE GENERATOR
0
SIGNAL PROCESSOR
POWER
o
ON
OFF
FUSE
F
E
U
S
120 VOLT 6 AMP
220 VOLT 3.5 AMP
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
POWER RATING
120V/60Hz 450 W
+4dB
47KΩ
+4dB
10KΩ
−∞
−∞
EFF1 MON
−∞
EFF2 REV
0
+4
LINE
CHANNEL 2
LEVEL
10
TRIM
!
0
+15
0
+10
0
+10
-12
-40
-15
0
EFFECT RETURNS
3
AMP IN
SPEAKER OUTPUT
MINIMUM 2 Ω
CHANNEL 3
PEAK
PEAK
0
+15
−∞
LEVEL
0
0
0
-15
+15
-15
+10
−∞
HIGH
HIGH
EFF1 MON
0
0
0
-12
+12
-12
+10
−∞
2.5K
EFF2 REV
2.5K
0
0
10
0
+12
-12
+4
-40
500Hz
500Hz
TRIM
0
0
+15
-15
LOW
LOW
LINE
MIC
0 000
0 000
EFFECT SENDS
12241
+4dB
600Ω
MON OUT
PRE AMP OUT
LEFT
CD/TAPE
IN
CHANNEL 5
CHANNEL 4
PEAK
0
+15
−∞
LEVEL
0
0
-15
+15
+10
−∞
HIGH
EFF1 MON
0
0
-12
+12
+10
−∞
2.5K
EFF2 REV
0
10
0
-12
+12
+4
-40
500Hz
TRIM
0
-15
+15
LOW
LINE
MIC
CHANNEL 6
PEAK
PEAK
0
0
+15
+15
−∞
−∞
LEVEL
LEVEL
0
0
0
0
-15
+15
+15
−∞
+12
−∞
+12
+15
LINE
MIC
-15
+10
+10
−∞
HIGH
EFF1 MON
EFF2 REV
0
+4
TRIM
HIGH
EFF1 MON
0
0
0
0
-12
+12
+10
-12
+10
−∞
2.5K
2.5K
EFF2 REV
0
10
0
10
0
-12
+12
-12
-40
+4
-40
500Hz
500Hz
TRIM
0
0
-15
+15
-15
LOW
LOW
LINE
MIC
MIC
S8 MIXER AMPLIFIER 8 CHANNEL 300 WATT 4 Ω SAMSON TECHNOLOGIES CORP., HICKSVILLE, NEW YORK
+4dB
600Ω
RIGHT
CHANNEL 8
CHANNEL 7
PEAK
PEAK
0
0
−∞
+15
−∞
LEVEL
LEVEL
0
0
-15
+15
+15
−∞
+10
−∞
HIGH
EFF1 MON
EFF1 MON
0
0
-12
+12
−∞
+12
+10
−∞
EFF2 REV
2.5K
EFF2 REV
0
10
10
0
0
-12
+12
+12
+4
+4
-40
500Hz
TRIM
TRIM
0
-15
+15
+15
LOW
LINE
LINE
MIC
+15
0
-15
+10
0
-12
+10
-12
-40
-15
0
+15
HIGH
0
+12
2.5K
0
+12
500Hz
0
+15
LOW
MIC
S8 MIXER AMPLIFIER
8 CHANNEL MIXER 300 WATT AMPLIFIER
-18 -12 -8 -5-30+2
PHANTOM PROTECTION POWER
30Hz 64Hz
125Hz 250Hz 500Hz 1K2K3K 5K 10K
30Hz 64Hz
125Hz 250Hz 500Hz 1K2K3K 5K 10K
0
0
+10
+10
−∞
−∞
MAIN LEVEL
RETURN 1-2
10
0
REVERB
PHANTOM
−∞
RETURN 3-4
−∞
MONITOR
0
+10
0
+10
TO PREVENT SHOCK,
DO NOT OPEN. NO USER
SERVICABLE PARTS
INSIDE. REFER SERVICING TO QUALIFIED SERVICE
PERSONNEL. TO PREVENT
FIRE OR SHOCK HAZARD
DO NOT EXPOSE TO RAIN
OR MOISTURE
CAUTION
HEATSINK MAY BE HOT!
DO NOT BLOCK AIRFLOW
OR OVERHEATING MAY
OCCUR
SERIAL NUMBER
ASSEMBLED
IN R.O.K.
0
HEADPHONES
+15dB
0dB
-15dB
10
Page 23
21
Suggested Performance Application - S63
The following illustration shows the basic interconnections between an S63 and external equipment when used in a typical live performance application:
The main connections here involve connecting the S63 speaker outputs to PA speakers and the Monitor output to the
input of an external amplifier driving onstage monitors. Various microphones and line level signals are connected to
channel mic and line inputs and a tape player is connected to the CD/Tape input. A signal processor is connected to
Effects Send 2, with the resulting processed signal returned to Effects Returns 1 and 2.
AMPLIFIER
CHANNEL 3
CHANNEL 4
CHANNEL 5
CHANNEL 2
CHANNEL 1
0
+15
−∞
−∞
LEVEL
LEVEL
0
0
-15
+15
+10
−∞
−∞
HIGH
EFF1 MON
EFF1 MON
0
0
-12
+12
+10
−∞
−∞
EFF2REV
1 kHz
EFF2 REV
0
10
0
0
+4
-15
+15
+4
-40
TRIM
LOW
TRIM
LINE
LINE
MIC
0
0
+15
−∞
0
0
-15
+15
+10
−∞
HIGH
EFF1 MON
0
0
-12
+12
+10
−∞
EFF2 REV
1 kHz
0
10
0
+4
-15
+15
-40
LOW
MIC
0
+15
+15
−∞
LEVEL
LEVEL
0
0
+10
0
+10
10
-40
TRIM
LINE
0
0
-15
-15
+15
+15
+10
−∞
HIGH
HIGH
EFF1 MON
0
0
0
-12
-12
+12
+12
+10
−∞
1 kHz
1 kHz
EFF2 REV
0
0
10
0
-15
-15
+15
+15
+4
-40
LOW
LOW
TRIM
LINE
MIC
MIC
CHANNEL 6
0
0
+15
−∞
−∞
LEVEL
0
0
-15
+15
+10
−∞
−∞
HIGH
EFF1 MON
EFF1 MON
0
0
-12
+12
+10
−∞
−∞
1 kHz
EFF2 REV
EFF2 REV
0
10
0
0
-15
+15
+4
+4
-40
LOW
TRIM
LINE
MIC
0
+15
+10
−∞
LEVEL
0
0
-15
+15
+10
HIGH
0
0
-12
+12
+10
1 kHz
0
10
-15
+15
-40
LOW
TRIM
LINE
MIC
RETURN 1-2
−∞
−∞
MONITOR
0
REVERB
MAIN LEVEL
0
+10
30Hz 64Hz
10
30Hz 64Hz
0
+10
PHANTOM
S6 MIXER AMPLIFIER
125Hz 250Hz 500Hz 1K2K3K 5K 10K
125Hz 250Hz 500Hz 1K2K3K 5K
PEAK PROTECTION POWER LEFT RIGHT
+15dB
0dB
-15dB
10K
CD/TAPE
IN
MIDI TONE GENERATOR
0
SIGNAL PROCESSOR
POWER
o
ON
OFF
FUSE
F
E
U
S
120 VOLT 6 AMP
220 VOLT 3.5 AMP
RISK OF ELECTRIC SHOCK
POWER RATING
120V/60Hz 450 W
+4dB
10KΩ
DO NOT OPEN
0
EFFECT RETURNS
+4dB
47KΩ
AMP IN PRE AMP OUT
CAUTION
SPEAKER OUTPUT
MINIMUM 2 Ω
0 000
0 000
EFFECT SENDS
S6 MIXER AMPLIFIER 6 CHANNEL 210 WATT 4 Ω SAMSON TECHNOLOGIES CORP., HICKSVILLE, NEW YORK
1221
+4dB
600Ω
+4dB
600Ω
!
MON OUT
TO PREVENT SHOCK,
DO NOT OPEN. NO USER
SERVICABLE PARTS
INSIDE. REFER SERVIC-
ING TO QUALIFIED SERVICE
PERSONNEL. TO PREVENT
FIRE OR SHOCK HAZARD
DO NOT EXPOSE TO RAIN
OR MOISTURE
CAUTION
HEATSINK MAY BE HOT!
DO NOT BLOCK AIRFLOW
OR OVERHEATING MAY
OCCUR
SERIAL NUMBER
ASSEMBLED
IN R.O.K.
Page 24
22
Grounding Techniques
Hum and buzz are the biggest enemies you face when interconnecting a large number of different pieces
of equipment to a central audio mixer. This is because each piece of equipment may operate at a marginally different voltage (this difference is called potential) and, when two devices at slightly different
potential are physically connected with audio cabling, the end result can be nasty, extraneous noise
(mind you, connecting two devices at very different potential can result in a major electrical shock!).
However, there are several steps you can take to avoid grounding problems. First, assuming you have
an isolated electrical circuit that can handle the electrical demands of your mixer and all connected audio
equipment (these needs will usually be modest), you should always plug your mixer and 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 mixer and 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 hard-
ware store, but are well worth the extra expense.
Three-prong plugs (such as the one used by the S83/S63) should always be used as is; don’t use
adapters to lift the ground (unless you’re using a “star ground network”—see below). If you hear hum or
buzz from a device that uses a two-prong plug (or an external two-prong AC/DC adapter), you can try
reversing the plug in the socket. If that doesn’t work, you may need to physically ground that device’s
chassis by connecting a wire (called a strap) from it to a grounded piece of metal such as rack ears.
Some pieces of equipment have a screw-type ground post to which the strap can be connected; if not,
you can attach some kind of metallic binding post to the case itself. If you are using rack-mounted audio
devices 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, you’ll know that
that device is the culprit.
We also recommend that you use balanced audio cabling and connectors wherever possible. The
S83/S63 provides electronically balanced inputs for all line channel inputs. The wiring diagram in the
“Connecting The S83/S63” section of this manual shows how 1/4” TRS (Tip/Ring/Sleeve) 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 you’re using the S83 or S63 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 earth. A thick grounding cable is connected to that source and is then brought to a
central distribution point; from there, individual 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 returning a signal out of phase (most commonly from an outboard signal processor). If
audible oscillation occurs, try isolating each input signal by turning down all other inputs. If one signal
alone is causing the problem, you should be able to eliminate the oscillation by reversing that signal’s
phase (many signal processors have a switch that allows you to do this).
Page 25
23
Using Equalization
One of the most exciting aspects to using a mixer such as the S83 or S63 is having the ability to shape 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 frequen-
cies, combined together in a unique way. This blend is what gives every sound
its distinctive tonal color. The EQ section in a mixer allows you to alter a sound
by boosting or attenuating specific frequency areas. Both the S83 and S63 provide a ten-band graphic master equalizer (more about this shortly) as well as
independent equalization for each channel. The S83 offers four-band equalization controls for each of the eight input channels. The center frequency areas
are, from high to low: 10 kHz, 2.5 kHz, 500 Hz, and 80 Hz. Each EQ knob is
labeled with the maximum amount of cut or boost provided (± 15 db in the case
of the highest and lowest frequencies and ± 12 db in the case of the two mid
frequencies). The S63 provides three-band equalization controls for each of the
six input channels. The center frequency areas are, from high to low: 10 kHz,
1 kHz, and 80 Hz. Again, each EQ knob is labeled with the maximum amount of
cut or boost provided (± 15 db in the case of the highest and lowest
frequencies and ± 12 db in the case of the middle frequency).
We provided these particular frequency areas because they have maximum
impact on musical signals—that’s why they are sometimes known as “sweet
spots.” When an EQ knob is in its center detented position (“0”), it is having no
effect. When it is moved right of center, the particular frequency area is being
boosted; when it is moved left of center, the frequency area is being attenuated.
In both the S83 and S63, the high and low EQ controls employ what is known as
a shelving curve (where frequencies either above or below the specified area are
affected) while the mid frequency controls employ what is known as a bell curve
(where frequencies both above and below the specified area are affected).
The ten-band graphic master equalizer affects the overall output signal of the
S83/S63. Its main function is to allow you to “tune” the device to the particular
room environment you are in. Perhaps its most important job is to enable you to
eliminate ringing or feedback problems caused when a microphone is too close
to a loudspeaker. To accomplish this, start with all ten bands flat (that is, all ten
sliders at their detented “0” center position). Then, one by one, raise each slider
until you hear the feedback or ringing markedly increase. This allows you to
identify the problematic frequency area (it will most commonly be one or more of
the high mid-range or high frequency areas). When you’ve located the problem
area(s), it’s simply a matter of lowering that slider or sliders below the 0 point
S83 EQ section
S63 EQ section
Ten-band graphic master equalizer
0
-15
-12
-12
-15
+15
HIGH
0
+12
2.5K
0
+12
500Hz
0
+15
LOW
0
-15
-12
+15
HIGH
0
+12
1 kHz
0
30Hz 64Hz
30Hz 64Hz
125Hz 250Hz 500Hz 1K
125Hz 250Hz 500Hz 1K
3K 5K 10K
2K
3K 5K
2K
+15dB
0dB
-15dB
10K
-15
+15
LOW
Page 26
24
Using Equalization
until the ringing or feedback disappears. Don’t lower the frequency area any
further than you need to, or the quality of the overall sound may suffer. If you
don’t specifically need to utilize the ten-band graphic master equalizer in a particular environment, leave it completely flat (all sliders at their center detented “0”
position).
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—with the
accompanying Peak LED warning!). 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.
Although the specific EQ you will apply to a channel signal is very much a matter
of personal taste, here are a few general suggestions: Boosting the low
frequency 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 component of instruments such as cymbals, high-hats, and shakers
so as to “thin” them out. The mid-range controls are particularly effective for
vocals—attenuating the low-mid control can give a vocal performance more of
an “FM-radio” feel and boosting the high-mid control 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.
Page 27
25
Using The Effects Sends and Returns
The two Effects sends provided by the S83 and S63 allow you to combine the
signal from multiple channels and send the resulting mix to the rear panel
Monitor output jack, to the internal reverb unit, or to external devices such as
effects processors.
When an Effects send knob is at the “0” position, the signal is routed with unity
gain (that is, no boost or attenuation). As it is turned clockwise from the 0 position, the signal is boosted; as it is turned counterclockwise from the 0 position, it
is attenuated. Effects send 1 (Monitor) is pre-fade; that is, the level of the signal
is determined solely by the input trim and is unaffected by the EQ settings or the
position of the channel level control. In contrast, Effects send 2 (Reverb) is post-
fade; that is, the level of the signal is determined by the input trim, the EQ settings, and the position of the channel level control (raising or lowering the level of
the channel will affect the send level as well). It is particularly important to keep
this distinction in mind when you connect external signal processors to the
S83/S63 via either or both of the two Effects Send jacks on the rear panel.
In addition, both the S83 and S63 offer a number of Effects returns (the S83 provides four while the S63 provides two). These allow you to return signal from
outboard devices, either in stereo pairs or monophonically (many popular effects
processors provide a single mono input but two stereo outputs). In practice,
you’ll probably want to use the Effects returns to bring in signal from connected
effects processors. Because both the S83 and S63 are monophonic devices,
the signal returned to the Effects return pair (1-2 in the S63) or pairs (1-2 and 3-4
in the S83) are automatically mixed down to mono. The front panel Effects
return knob controls the input level of both signals mixed together.
Effects Send knobs
Effects Send jacks
S83 Effects Return jacks
S63 Effects Return jacks
S63 Effects Return knob
S83 Effects Return knobs
−∞
EFF1 MON
−∞
EFF2 REV
1
2
+4dB
47KΩ
1
3
0
+10
0
+10
+4dB
600Ω
2
4
+4dB
21
47KΩ
0
+10
−∞
RETURN 3-4
+10
−∞
RETURN 1-2
0
0
+10
−∞
RETURN 1-2
Page 28
26
Using the Monitor Output and Internal Reverb
Using the Monitor Output
In live performance, it is usually desirable to have onstage monitor speakers that allow
the performer to clearly hear the music being played. Often, however, the performer
requires a different mix than that being sent to the house speakers. The S83 and S63
Monitor output accommodates this need. A separate output jack on the rear panel
allows an independent Monitor mix (sometimes called a submix) to be routed to an
external amplifier/speaker system. The blend of sounds sent to the Monitor mix is controlled by the Effects send 1 knob for each channel, with the master Monitor mix volume
controlled by the main section Monitor Level knob. Because Effects send 1 is pre-fade,
the Monitor mix is completely independent of the Main Level control setting, the 10-band
graphic master EQ setting, the individual channel levels, and the individual channel EQ
settings.
Using the Internal Reverb
Both the S83 and S63 contain a high-quality internal three-spring reverb unit that adds a
quality called ambience; this is roughly equivalent to the diffuse kinds of echoes produced when you make a sound in a large hall or “live” room such as a tiled bathroom.
To add reverb to a sound, simply raise the Effects send 2 knob for the channel you want
to affect* and then slowly raise the Reverb Level knob in the front panel main section.
For best signal-to-noise ratio, keep the Reverb level as low as possible while raising the
individual channel Effects 2 sends as necessary (don’t raise them too high, though, or
distortion may result). If you are not using the S83/S63 internal reverb unit, keep the
Reverb Level knob at its fully counterclockwise (“0”) position so that no unwanted noise
is added to the master output.
* Bear in mind that this will also route signal to any devices connected to the S83/S63
Effects Send 2 jack.
Monitor output jack
Monitor Level knob
Reverb Level knob
MON OUT
0
−∞
+10
MONITOR
10
0
REVERB
Page 29
27
Specifications
Mixer / Pre Amp Section:
Total Harmonic Distortion (with 30 kHz LPF, trim center)
S83 0.045%
S63 0.01%
Signal To Noise Ratio (both models, with 30 kHz LPF, trim center) 78 dB
Maximum Voltage Gain (both models)
Mic in to Pre Amp out: Eff send 1, 2, mon out 62 dB
Line in to Pre Amp out: Eff send 1, 2, mon out 52 dB
Tape in to Pre Amp out: Eff send 2 10 dB
Tape Return to Pre Amp out 5 dB
Residual Noise (with 30 kHz LPF, VR min)
Pre Amp out (S83) -110 dB
Pre Amp out (S63) -115 dB
Mon out (both models) -100 dB
Trim Gain (both models) 40 dB
Tone Control
S83
High (10 kHz) ±15 dB
2.5 kHz ±12 dB
500 Hz ±12 dB
Low (80 Hz) ±15 dB
S63
High (10 kHz) ±15 dB
Mid (1 kHz) ±12 dB
Low (80 Hz) ±15 dB
Graphic Equalizer (both models)
(30, 64, 125, 250, 500 Hz, 1, 2, 3, 5, 10 kHz) ±15 dB
Peak LED 5 dB before clipping
Tape Input Sensitivity (-10 dB) 300 mV
Headphone (S83) 20 mW (8 ohms)
Power Amp Section:
Rated Output Power (1 kHz) @ 4 ohm @ 8 ohm
S83 300 watt 220 watt
S63 200 watt 130 watt
Total Harmonic Distortion (with 30 kHz LPF)
S83 0.0045%
S63 0.0035%
Signal To Noise Ratio (with 30 kHz LPF)
S83 105 dB
S63 110 dB
Frequency Response (-1 dB) 10 Hz - 28 kHz
Input Sensitivity / Impedance 1.2 V / 10 kOhm
Residual Noise (VR min) 74 dB typical
Idle Current (across the 0.47Ω emitter resistor) less than 7 mA
DC Offset Voltage 0 ± 50 mV
General:
Dimensions (W x D x H) 480 x 125 x 280 mm
Weight
S83 31 lb • 14 kg
S63 29 lb • 13 kg
Power Requirements 115 V AC 50/60 Hz 230/240 V AC 50/60 Hz
Power Consumption (1/3 power) 220 w 340 w
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