Samson SCOM User Manual

S Class Signal Processors

STEREO COMPRESSOR

STEREO

COMPRESSOR

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

30 24 2127 18 15 9 612 4 2 1 -30 -18-12-24 -6 -3 +3 +60 +9 +12 +18

THRESHOLDTRIGGER RATIO ATTACK RELEASE OUTPUT ENHANCER

-10

10

GATE KEY

050

-30

FAST

SLOW

dB

RELEASE SPECTRA KEY AUTO I/O METER

OFF +10

20

dB

COMPRESSOR / LIMITEREXPANDER/GATE

4:1

50

LISTEN

62

+10

1

+20-40

.3 300

mSec

dB

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

20015

.05 5

-10

+20-20

dB

Sec

0

1

3.15

STEREO LINK

5

IN/OUT 1

73

+10

OFF 10

IN/OUT 2

30 24 2127 18 15 9 612 4 2 1 -30 -18-12-24 -6 -3 +3 +60 +9 +12 +18

THRESHOLDTRIGGER RATIO ATTACK RELEASE OUTPUT ENHANCER

-10

10

20

GATE

GATE KEY

050

-30

FAST

OFF +10

SLOW

dB

RELEASE

4:1

+10

1

+20-40

dB

dB

SPECTRA KEY AUTO I/O METER

COMPRESSOR / LIMITEREXPANDER/GATE

50

LISTEN

62

20015

.3 300

mSec

.05 5

0

1

3.15

-10

+10

+20-20

dB
Sec

Sec

OFF 10

CH 2

CH 2CH 1

POWER

5

73

1

Safety Instructions

Caution: To reduce the hazard of electrical
shock, do not remove cover or back.

No user serviceable parts inside. Please refer all
servicing to qualified personnel.

WARNING: To reduce the risk of fire or electric shock, do not expose this unit to rain or moisture.

The lightning flash with an arrowhead symbol within an equilateral triangle, is intended to alert the user to the
presence of uninsulated "dangerous voltage" within the products enclosure that may be of sufficient magnitude
to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the literature accompanying the product.

Important Safety Instructions

1. Please read all instructions before operating the unit.

2. Keep these instructions for future reference.

3. Please heed all safety warnings.

4. Follow manufacturers instructions.

5. Do not use this unit near water or moisture.

6. Clean only with a damp cloth.

7. Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two
blades with one wider than the other. A grounding type plug has two blades and a third grounding
prong. The wide blade or third prong is provided for your safety. When the provided plug does not fit
your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on and pinched particularly at plugs, convenience recepta­cles and at the point at which they exit from the unit.

11. Unplug this unit during lightning storms or when unused for long periods of time.

12. Refer all servicing to qualified personnel. Servicing is required when the unit has been damaged in
any way, such as power supply cord or plug damage, or if liquid has been spilled or objects have fall­en into the unit, the unit has been exposed to rain or moisture, does not operate normally, or has
been dropped.

ENGLISH

FOR CONTINUED PROTECTION AGAINST RISK

OF FIRE, REPLACE ONLY WITH SAME TYPE FUSE

CAUTION

ATTENTION

UTILISER UN FUSIBLE DE

RECHANGE DE MÊME TYPE

WARNING

DO NOT EXPOSE THIS EQUIPMENT

TO RAIN OR MOISTURE

AVIS

RISQUE DE CHOC ELECTRONIQUE

NE PAS OUVRIR

RISK OF ELECTRIC SHOCK

DO NOT OPEN

ENGLISH

Forward by Ray Kennedy 3

Introduction 4

S•com Features 5

Controls and Functions

Front Panel Layout 6-7
Rear Panel Layout 6-7

Operating the S•com

Setting Up the S•com 8
Compressing A Signal 8
Gating A Signal 9
Using The Expander 9
Using the Spectra 10
Using the Enhancer 10

Dynamics Processing 101 11-12

Applications 13-14

System Set-ups 15-16

S•com Connections 17

Specifications 60-61

Block Diagram 62

Copyright 2001, Samson Technologies Corp.

Printed May, 2001

Samson Technologies Corp.

575 Underhill Blvd.

P.O. Box 9031

Syosset, NY 11791-9031

Phone: 1-800-3-SAMSON (1-800-372-6766)

Fax: [phone]

www.samsontech.com

Table of Contents

Table des matières Inhalt Contenido

DEUTSCHE

Vorwort von Ray Kennedy 32

S•com Features 33

Regler und Funktionen

Vorderseite 34-35
Rückseite 34-35

Bedienung des S•com

S•com einrichten 36
Signal komprimieren 36
Signal gaten 37
Expander einsetzen 37
Expander einsetzen 38
Enhancer einsetzen 38

Dynamikbearbeitung 101 39-40

Anwendungen 41-42

System-Einrichtungsbeispiele 43-44

S•com Anschlüsse 45

Technische Daten 60-61

ESPAÑOL

Prólogo de Ray Kennedy 46

Características y funciones del S•com 47

Controles y funciones

Distribución del panel frontal 48-49
Distribución del panel posterior 48-49

Utilizar el S•com

Preparar el S•com 50
Comprimir una señal 50
Aplicar una compuerta a una señal 51
Utilizar el Expander 51
Utilizar el Spectra 52
Utilizar el Enhancer 52

Procesamiento de la dinámica 101 53-54

Aplicaciones 55-56

Instalaciones del sistema 57-58

Conexiones del S•com 59

Especificaciones 60-61

FRANÇAIS

Note de Ray Kennedy 18

Caractéristiques du S•com 19

Réglages et fonctions

Face avant 20-21
Face arrière 20-21

Utilisation du S•com

Configuration du S•com 22
Compression d’un signal 22
Utilisation du Noise Gate 23
Utilisation de l’expanseur 23
Utilisation du circuit Spectra 24
Utilisation de l’Enhancer 24

Éléments de base sur les processeurs de

dynamique 25-26

Applications 27-28

Configurations du système 29-30

Connexions du S•com 31

Caractéristiques techniques 60-61

3

Forward By Ray Kennedy

The use of compressors and limiters in recording and mixing are some of the most important
tools available and much more useful than many realize. To me, compression is much more of a
sound than a dynamics control device. Each model has its own sound and ideal application which
is why I have about forty units to choose from. Learning which type of unit and what settings to use
takes a lot of trial and experimentation but eventually you’ll find the best applications.

Peak limiting and soft compression are basically good for maximizing levels to tape or disk with­out a lot of coloration. Essentially knocking the peaks down and bringing the quieter portions of a
sound up louder by narrowing the dynamic range.Slow attack and fast release times allow for more
transparent sound. I personally like the sound of compression and use it at times to extremes.
Depending on the type of unit and the settings, so many tonal characters can be achieved from
thickening, adding ambience, toughening, softening, equalizing and much more. My favorite 'manic
compression"' trick is to make vocals feel suspended in the mix, dry and intimate, as if the singer
is right there in your face but not too loud. My partner Steve Earle says the amount of compression
we use on the vocals on his records lets people know what he had for breakfast.

In many ways, it becomes a replacement for reverb and used in extreme, it pulls in all the ambience
around a vocal mic as well as digging out character from down in your vocal cords. On an overhead
or room mic, you can actually change the perceived size of the room by making it suck in the decay­ing sound as it travels away. Again slow attack and fast release times will bring the best results
because you can hit the threshold much harder.

Stereo bus limiting and compression is also a very good method for actually gluing tracks together
and making bands sound tighter than they really are. It also allows for more saturation to analog
two track as well as fuller modulation to digital formats. For me, it is not unusual to hit three stereo
limiters before getting to the hard disk in mastering, which the final parts will be cut from.

Quite often running a signal through several compressors will allow some interesting results which
cannot be achieved with one unit.There certainly are no rules but it is important to know that there
are many different designs in squashing sound. Some are entirely tube, some tube and optical, just
optical, FET transistors, VCA's (voltage control amplifiers) Pure Class A, Class A/B, Digital, as well
as other combinations.

Now, we have finally arrived in an age of very high quality VCA's which are not too expensive and
are allowing for very sophisticated and versatile designs, as are the S-Class units from Samson.

Ray Kennedy

Ray Kennedy is a Nashville based Producer, Engineer and
Songwriter whose production company Twang Trust, a partner­ship between Ray and singer songwriter Steve Earle, has been
credited with well known artist recordings and performances
including Steve Earle, Art Garfunkel, Willie and Waylon, Farm
Aid, The Del McCoury Band, Nancy Griffith, Lucinda Williams,
David Alan Coe, Shaver, V-Roys, and Rosie Flores.

ENGLISH

4

Thank you for purchasing the Samson S•com dynamics processor. The Samson S•com is
a one-space dual channel dynamics processor optimized for recording, live sound reinforce­ment systems, DJ set-ups and commercial installations. The S•com is a complete dynamics
processing solution offering two channels of full function Compressor, Expander/Gate,
Spectra and Enhancer. S•com’s convenient meters provide instant status of important gain
management settings.

In these pages, you’ll find a detailed description of the features of the S•com dynamics
processor, as well a description of its front and rear panels, step-by-step instructions for its
setup and use, and full specifications.You’ll also find a warranty card enclosed—please
don’t forget to fill it out and mail it in so that you can receive online technical support and so
we can send you updated information about these and other Samson products in the future.

With proper care and adequate air circulation, your S•com will operate trouble free for many
years. We recommend you record your serial number in the space provided below for future
reference.

Serial number:

Date of purchase:

Should your unit ever require servicing, a Return Authorization number (RA) must be
obtained before shipping your unit to Samson. Without this number, the unit will not be
accepted. Please call Samson at 1-800-3SAMSON (1-800-372-6766) for a Return
Authorization number prior to shipping your unit. Please retain the original packing materi­als and if possible, return the unit in the original carton and packing materials.

Introduction

ENGLISH

5

S•com Features

The Samson S com dynamics processor utilizes the latest technology in gain management design. Here are
some of its main features:

• Full featured, dual channel dynamics processor including Compressor/Limiter, Expander/Gate, Spectra
and Variable Enhancer.

• SKD (Smart Knee Detector) switches from soft to hard knee based on the level of input signal.

• AEG (Automatic Envelope Generator) mode constantly adjusts the Compressor’s Attack and Release

times based on input signal. Manual adjustment of Attack and Release time is also facilitated.

• 12 Segment LED Input/Output Meter, plus 12 Segment LED Gain Reduction Meter.

• External Keying with Key Listen Switch available on front panel.

• Adjustable Enhancer to restore high-end loss resulting from heavy gain reduction.

• Expander/Gate with variable Threshold control and switchable Fast and Slow Release time.

• Gate function can be switched from hard Off to Light Downward Expander.

• Gate Open and Closed LED's.

• Spectra circuit enabling mid-high frequency contour for removing sibilance.

• Advanced circuit design, utilizing low noise operational amplifiers and high quality VCAs.

• Stereo Link Switch.

• Servo balanced inputs and outputs on XLR and 1/4” connectors.

• Switchable +4 and –10 operating levels.

• High quality 41 position detent pots and backlit switches.

• The stylish bead blasted electric blue anodized front-panel is as easy to read as it is to look at.

• Three-year extended warranty.

ENGLISH

Auto Envelope
GENERATOR

Smart Knee
DETECTOR

Enhanced
Frequency
RECOVERY

STEREO

COMPRESSOR

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12 +18

THRESHOLDTRIGGER RATIO ATTACK RELEASE OUTPUT ENHANCER

-10

10

GATE KEY

-30

FAST

+20-40

SLOW

dB

RELEASE SPECTRA KEY AUTO I/O METER

OFF +10

20

050

dB

COMPRESSOR / LIMITEREXPANDER/GATE

4:1

50

LISTEN

62

+10

.3 300

1

dB

mSec

OFF 10

STEREO LINK

IN/OUT 1

IN/OUT 2

20

GATE

GATE KEY

050

OFF +10

dB

RELEASE

5

73

0

1

20015

3.15

-10

.05 5

Sec

+10

+20-20

dB

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12+18

THRESHOLDTRIGGER RATIO ATTACK RELEASE OUTPUT ENHANCER

-10

10

-30

FAST

+20-40

SLOW

dB

COMPRESSOR / LIMITEREXPANDER/GATE

4:1

50

LISTEN

62

+10

SPECTRA KEY AUTO I/O METER

.3 300

1

dB

1

20015

3.15

.05 5

mSec

Sec

Sec

0

-10

+10

+20-20

dB

CH 2

CH 2CH 1

OFF 10

POWER

5

73

6

Controls and Functions

A AC INLET - IEC standard AC Power cable

Connector.

B CHANNEL 2 XLR INPUT - XLR Balanced line

input.

C CHANNEL 2 1/4”TRS INPUT - 1/4” TRS

Balanced line input.

D OPERATING LEVEL SWITCH - Switches the oper-

ating level from -10dB to +4dB.

E CHANNEL 2 KEY INPUT - Input connection

allowing external control of the S•com plus’
Compressor detection circuit.

F CHANNEL 1 KEY OUTPUT - S• com plus’ detec-

tor circuit is sent here. Use the Key Output to
process the compressor’s detector through an
external effect like an equalizer.

1 GATE OPEN & CLOSED LED - Indicates when the

gate is open and closed

2 GATE SWITCH - Selects either Gate or Expander

mode.

3 GAIN REDUCTION METER - Displays the amount of

Gain Reduction when Compressor circuit is activated.

4 INPUT/OUTPUT METER - Displays the Input or

Output signal level based on the settings of the I/O
meter switch.

5 ENHANCE LEVEL- Used to set the level of the S•

com’s Enhanced Spectrum Recovery circuit restoring
the high end loss resulting from extreme Gain
Reduction.

6 STEREO LINK SWITCH- When engaged channel 2’s

functions are controlled by the settings on channel 1.

.

0

7 CHANNEL 2 CONTROLS - The same knob and

switch complement as channel 1 .

8 MAINS POWER SWITCH -

When turned on, acti-

vates the S•com plus.

9 RACK EARS - Used for mounting into a standard 19

inch rack.

10 TRIGGER- Controls the threshold level that the

Expander/Gate becomes active.

11 RELEASE SWITCH - Selects FAST or SLOW Release

Time for EXPANDER/GATE.

12 THRESHOLD - Used to set the minimum signal

level at which the Compressor circuit begins to
function.

13 SPECTRA SWITCH - Enables the S•com’s SPECTRA

circuit for high frequency contouring.

14 RATIO - Controls the amount of Gain Reduction in

proportion to the amount of signal over the select­ed threshold level.

D

OUTPUT

D

UT

UT

OUTPUT

CHANNEL 2

0

ENGLISH

REAR PANEL LAYOUT

FRONT PANEL LAYOUT

1

STEREO

COMPRESSOR

OFF +10

10

2

3

30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12 +18

20

GATE KEY

050

dB

11

FAST

SLOW

RELEASE SPECTRA KEY AUTO I/O METER

12

13

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

THRESHOLDTRIGGER RATIO ATTACK RELEASE OUTPUT ENHANCER

10

-10

-30

+10

+20-40

dB

14

15

4

COMPRESSOR / LIMITEREXPANDER/GATE

4:1

LISTEN

62

1

dB

17

16

50

.3 300

mSec

18

20015

19

.05 5

20

Sec

CH 1

5

OFF 10

22

6

73

23

STEREO LINK

IN/OUT 1

IN/OUT 2

5

5

1

3.15

21

0

-10

+10

+20-20

dB

A

B

-1

F G

INP

H

C

D

BALANCE

INP

E

BALANCE

7

Controls and Functions

G CHANNEL 2 XLR OUTPUT - XLR Balanced line out-

put.

H CHANNEL 2 1/4”TRS OUTPUT - 1/4” TRS

Balanced line output.

I CHANNEL 1 - Same inputs and outputs as

Channel 1.

15 KEY LISTEN SWITCH - When engaged, the signal pres-

ent at the KEY INPUT is sent directly to the channel out­put.

16 KEY SWITCH- Selects the key input so that an external

signal may trigger the compressor.

17 ATTACK - Adjusts the amount of time the compressor

takes to reach full gain reduction.

18 AUTO - Activates S •com plus’ AEG (Auto Envelope

Generator) which dynamically adjusts the attack and
release time based on signal content.

19 RELEASE - Adjusts the length of time the compressor

takes to return the signal to it’s original level.

20 INPUT/ OUTPUT METER SELECT SWITCH - Selects

either Input or Output level to be displayed on the
Input/Output Meter.

21 LEVEL - Controls the amount of Output level.

22 CHANNEL 1 IN/OUT SWITCH- Activates

S•com Channel 1.

23 CHANNEL 2 IN/OUT SWITCH- Activates

S•com Channel 2.

D

D

OUTPUT

D

UT

UT

OUTPUT

C

1

0

ENGLISH

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

THRESHOLDTRIGGER RATIO ATTACK RELEASE OUTPUT ENHANCER

-10

10

-30

+10

+20-40

dB

SPECTRA KEY AUTO I/O METER

COMPRESSOR / LIMITEREXPANDER/GATE

4:1

LISTEN

62

1

dB

50

.3 300

mSec

LINK

1

2

20

OFF +10

dB

30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12 +18

GATE KEY

GATE

050

RELEASE

FAST

SLOW

7

8

9

POWER

CH 2

CH 2

1

20015

.05 5

Sec

Sec

3.15

0

-10

+10

+20-20

dB

5

OFF 10

POWER

73

I

HANNEL

E

BALANCE

INP

-1

INP

BALANCE

8

Operating The S•com

Whether you are an experienced audio engineer, just starting out, or you just want to experiment, follow the
steps below to get going. Further sections in this manual will cover basic dynamics and the associated parame­ters, system set-ups and applications for using dynamics processing in recording and live sound applications.

SETTING UP THE S•com

• Connect one or both sets of inputs and outputs to the designated connectors on the rear panel.

• Set the controls to the following positions:

In this configuration, the S•com is simply passing audio at unity gain with no dynamics processing. It is a good
idea to check your gain structure at this point. Use the Input/Output meter to match the level.

Send a signal to either or both of the S•com’s inputs and outputs.

• Press the METER switch to see that the input and output levels are matched.

COMPRESSING A SIGNAL

S•com's Compressor section can be used for a variety of gain management tasks including printing signals to a
multi-track recorder, as a mix-down effect, mastering, and for increasing the loudness of a live PA system. To
begin compressing your signal, follow the steps below:

• Follow the section above, “SETTING UP THE S•com” for normalizing the controls.

• Press the CHANNEL IN switch (located in the middle of the unit) to the IN position.

• Press in the AUTO switch (located in-between ATTACK and RELEASE).

• Adjust the Ratio to 2:1.

EXPANDER/GATE TRIGGER – OFF
GATE SWITCH – OUT
FAST RELEASE – OUT
COMPRESSOR THRESHOLD – +20dBu (fully clockwise)
SPECTRA - OUT
RATIO – 1:1
KEY SWITCH - OUT
ATTACK – 0.3 (fully counter-clockwise)

AUTO SWITCH- OUT
RELEASE -5 (fully clockwise)
METER SWITCH – IN
OUTPUT LEVEL – O dBu
ENHANCER - OFF (fully counter-clockwise)
STEREO LINK SWITCH – OUT
CHANNEL 1 ENGAGE – OUT

ENGLISH

STEREO

COMPRESSOR

20

OFF +10

dB

30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12 +18

GATE KEY

050

FAST

SLOW

RELEASE SPECTRA KEY AUTO I/O METER

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

THRESHOLDTRIGGER RATIO ATTACK RELEASE OUTPUT ENHANCER

-10

10

-30

+10

+20-40

dB

COMPRESSOR / LIMITEREXPANDER/GATE

-10

0

+10

+20-20

dB

4:1

LISTEN

62

1

dB

50

.3 300

mSec

1

20015

.05 5

Sec

3.15

CH 1

OFF 10

STEREO LINK

5

IN/OUT 1

73

IN/OUT 2

9

Operating The S•com

• Now gradually turn down the THRESHOLD level and

listen for the compression. For a visual representation,
the amount of compression is indicated on the GAIN
REDUCTION meter.

• Press out the AUTO button to experiment with manually

controlled ATTACK and RELEASE times.

OT

S

5

T

GATING A SIGNAL

Unwanted noises, buzzes and hisses can be easily removed by using S•com’ s GATE. The idea is to have the
Gate open only when your desired signal is playing and to mute off (Gate closed) the unwanted noise, buzz and
hiss. To Gate your signal, do the following:

• Follow the section above,” SETTING UP THE S•com” for normalizing the controls.

• To engage the Gate, make sure that the EXPANDER/GATE switch is pressed in.

0

3

• Press the RELEASE switch to the IN position to select

FAST release time.

• Now increase the THRESHOLD level and listen as the

signal begins to gate. For a visual representation of the
gate opening and closing, look at the GATE
OPEN/CLOSED LED’s located above the
EXPANDER/GATE TRIGGER control.

USING THE DOWNWARD EXPANDER

You can set the S•com's Gate section to work as a DOWNWARD EXPANDER to lower the volume of a signal.
Try the simple steps below:

• Follow the section above, “SETTING UP THE S•com” for normalizing the controls.

• To engage the EXPANDER, make sure that the EXPANDER/GATE button is switched to the OUT posi-

tion.

• Press the RELEASE switch out to select a SLOW RELEASE.

• Now increase the TRIGGER level and listen as the signal begins to get softer.

ENGLISH

30 24 2127 18 15 9 612 4 2 1 -3

E

E KEY

-30

FAST

SLOW

SE SPECTRA KEY

GAIN REDUCTION dB

THRESHOLD RATIO AT

-10

10

+10

dB

+20-40

1

4:1

dB

COMPRESS

LISTEN

62

15

.3

m

3

STEREO

COMPRESSOR

EXPANDER/GATE

TRIGGER

20

GATE

050

OFF +10

dB

RELEASE

-

FAST

SLOW

10

Operating The S•com

USING THE ENHANCER

The S•com’s ENHANCER switch can be engaged to activate the EFR (Enhanced Frequency Recovery) circuit.
By engaging the ENHANCER, the S•com EFR restores the high frequency content that can be lost when high
gain reduction is applied. The S•com EFR achieves this by adding back the high-end of the original signal in an
amount that is equal to the amount of gain reduction.

• Follow the section above, “SETTING UP THE S•com” for normalizing the controls and run a signal such
as a CD through the S•com plus.

• Press the CHANNEL IN switch (located in the middle of the
unit) to the IN position.

• Press in the AUTO switch (located in-between ATTACK and
RELEASE).

• Adjust the Ratio to 6 - 8:1.

• Gradually turn up the ENHANCER and listen to how the
high end is restored.

USING THE SPECTRA

The S•com’s SPECTRA is a powerful tool for removing annoying problems like heavy sibilance on vocal tracks
or bright cymbals. To listen to the SPECTRA try the following:

• Follow the section above, “SETTING UP THE S•com” for nor-

malizing the controls.

• Press the CHANNEL IN switch (located in the middle of the

unit) to the IN position.

• Run a signal with extra sibilance through the S•com.

• To engage the SPECTRA, make sure that the SPECTRA

switch is pressed in.

• Now listen how S•com’s Spectra reduces the sibilance.

E

5

A

1

E

ENGLISH

30 24 2127 18 15 9 612 4 2 1

GAIN REDUCTION dB

THRESHOLD RATIO

-10

10

-30

FAST

SLOW

+10

+20-40

dB

SPECTRA KEY

COMPR

4:1

KEY

LISTEN

62

1

1

dB

+10

CH 1

ENHANCER

5

OFF 10

73

STEREO LINK

IN/OUT 1

IN/OUT 2

50

EXP

TRIGG

20

OFF +

dB

11

Dynamics Processing 101

To begin to understand dynamics processing, we must first understand what dynamics are. Dynamics, or the
dynamic range of a signal or audio device, is the amount of level between the softest and loudest possible out­put. Dynamics processing is applied to a signal to manage the changes in level. Various types of processing
units are available to control dynamics including Noise Gates, Expanders, Compressors, Limiters and De­Essers. All of these processes have a unique effect on a signal, but one common element they share is that in
one way or another they control gain. Some dynamics processors control gain in a subtle way by slightly reduc­ing how soft and loud a signal is, while others make drastic changes in gain like reducing the signal until it’s off.
Applications for dynamics processing can be categorized by two distinct groups; first, to treat a signal that has
an unpredictable dynamic range and make it predictable, and second, to create a "sound" by squeezing out the
dynamic range. Whether used for a live sound application, recording, mixing or mastering, dynamic processors
like the S•com are valuable tools for controlling gain. The following is a basic overview of dynamics processing
and how it is used to improve the quality of recorded and live sound.

COMPRESSOR

A good compressor is one of the most useful tools in live sound and recording. Compressors are used to control
the dynamic range of a signal, which offers a variety of benefits including leveling a signal that’s being recorded,
having an instrument sit in the mix, and increasing the loudness of a sound system to name a few. Drastic
amounts of compression will also result in an effect that becomes more of a sound, than just controlling gain. To
understand how a compressor works, it is necessary to become familiar with the basic parameters which include
threshold, ratio, attack time, and release time.

Threshold

Threshold is the level that once the signal exceeds, gain reduction is applied. The normal range of adjustment for
the threshold level is –40 to +20 dBu. If the threshold level is set above the highest level of the signal being sent
to the compressors, the gain reduction is never triggered. Therefore, the compressor is virtually by-passed. If
the threshold level is set very low so that any signal will trigger gain reduction, the compressor is working as an
automatic leveler.

Ratio

The ratio control is used to set the proportion of gain reduction in relationship to the input signal. For example if
the ratio is set to 2:1 and the signal crosses above the threshold level, an increase in level of 2 dB will produce a
1 dB increase in level at the output. A ratio setting of ∞ to 1 means that an infinite amount of input signal is
needed to raise the output level by 1 dB. This means that the output level stays constant even when the input
crosses over the threshold level.

Attack Time

Attack time is the amount of time that a compressor takes to effect the gain reduction after the signal rises above
the threshold level. A well-designed compressor has adjustable attack times ranging from 300 µs (microsec­onds) to 300 ms (milliseconds). A good compressor will sound smooth as it begins to control the gain regardless
of the attack time.

Release Time

The release time is set to control how long the compressor takes to return the input signal back to its original
level once the signal falls below the threshold level. The acceptable range for release time is from 50µs to 5 sec­onds. In normal use, faster release times are used for spoken word and longer release times are generally better
for instrumental music.

Auto Attack and Release

Today, sophisticated compressors often incorporate a dynamic or Auto Attack and Release mode. The S•com’s
AEG (Auto Envelope Generator) is such a mode which when engaged, automatically adjusts the attack and
release time based on the dynamically changing input signal.

ENGLISH

12

Dynamics Processing 101 - Continued

Soft-Knee / Hard-Knee

In order to prevent harsh, unnatural envelopes on compressed signals sophisticated dynamics processors like
the S•com feature an SKD (Smart Knee Detector) or automatic knee circuit. The Smart Knee Detector automati­cally switches from Soft-Knee when the signal is less than 10 dB over Threshold, to Hard-Knee when the signal
is 10db above Threshold. In Soft-Knee mode, there is a gradual effect on gain change, which begins as the sig­nal approaches the Threshold level. In Hard-Knee mode, gain reduction is linear based on the Threshold and
Ratio controls. Any signal that falls below the Threshold level will be unprocessed.

Noise Gates

Noise gates are used to remove unwanted noise and/or bleed from recorded tracks in the studio or from open
microphones in live sound systems. Noise gates can also be used as a sound effect, most commonly to chop
the end of a reverb let’s say on a snare drum so that the entire snare sound ends just before the beat. The basic
principle of a noise gate is to work as an automatic mute switch. Mute off (Gate Open) when the desired signal
is present and mute on (Gate Closed) when the desired signal is not present. In order to get the gate to work
predictably, it is necessary to set a threshold, or trigger level that will determine when the gate will open. If the
signal is below the trigger the gate will remain closed. When the signal is above the trigger, the gate will trigger
open allowing the desired signal to pass and be heard. Noise gates often have other adjustable controls like
attack, hold, range and release. Many noise gates like the S•com use sophisticated circuits to control some of

these parameters automatically.

Downward Expander

The purpose of a well-designed Downward Expander is to increase the perceived dynamic range of a system.
This is accomplished by decreasing the gain during the softer sections, thereby lowering the relative noise floor.
When the signal level is below the desired trigger level, the expander lowers the overall gain by the selected

amount.

Stereo Link Mode

The S•com can be configured from dual-mono operation to stereo by using the Stereo Link switch. In Stereo
Link mode, Channel 2 functions are controlled by the settings of Channel 1 with the exception of IN/OUT and

KEY.

Side Chain / External Key

The S•com features a side-chain or external Key function. The external Key function is used to externally
process the compressor’s detector circuit. There are many useful applications for processing the detector circuit
including Equalizing for frequency dependent compression, De-Essing - the use of EQ to remove sibilance, and
externally keying off a vocal track for Ducking effects to name a few. Selecting the Key function on S•com’s front
panel, interrupts the compressors detector path and routes it to the Key Output jack.The Key Input jack receives
the externally processed signal, which will now control the compressor’s detector.

ENGLISH

13

Applications

Using the Expander/Gate to Remove Hiss and Noise

The S•com is an extremely useful tool in reducing the level of unwanted noises. By using the Expander/Gate you
can effectively fade the noise into the noise floor or abruptly turn the unwanted signal completely off.

Let’s say you want to reduce the bleed or cross talk that occurs when different instruments are recorded in close
proximity to each other. You have recorded an acoustic guitar simultaneously in the same room as with some
other acoustic instruments. The problem is that you hear a lot of the other instruments playing when the acoustic
guitar is silent. This can cause phasing and comb filtering problems due to microphone placement, so having the
bleeding signal drop into the noise floor is desirable.To do this, set the S•com to Expander mode with the
Release switch set to Slow and adjust the Threshold so that the acoustic guitar signal is well above the threshold
level. When the signal from the acoustic guitar track falls below the threshold level, the signal subtly fades into
the noise floor.

Now let’s say you’re attempting to remove the pick-up noise and hum from a guitar track that was recorded
through a loud amplifier. The hum and noise is most noticeable in-between the rhythm of the performance, so
you want to have the gate close during the silent parts and open during the musical passages. To do this, set the
S•com to Gate mode and adjust the Trigger level so that the gate is open just during the musical guitar parts,
and so that the gate is closed during the silent passages so that the hum and noise is muted.

Gating Drums

Using noise gates on drums is particularly useful in recording and in live sound. When a drum kit is set up with
individual microphones on each drum in a live PA system, there’s potential for great sound. However, there are
several gain management problems that can occur. Several microphones like the ones on the tom-toms, will
only be used occasionally and until the time that the tom-tom is actually played, its microphone is merely picking
up unwanted sound from other instruments on stage. This adds a lot of unwanted mush in the mix and also
adds to feedback problems. Use the S•com to gate the signal of the tom-tom by selecting Gate with the
Expander/Gate switch. Now adjust the Trigger control so that the gate opens only when the tom-tom is played,
and at the same time, so that the gate is closed even when the adjacent tom-tom is played. This same tech­nique is useful on drums that have been recorded on individual tracks. By using the Gate to mute the bleed of
the other drums ,you can effectively reduce the comb filtering produced by phase cancellation due to micro­phone proximity.

Gating Longer Sounds

When using a noise-gate on sound with a longer decay like piano, it is usually necessary to use a longer release
time. Run the piano signal through the S•com and set the Expander/Gate Release switch to Slow. Adjust the
Trigger level on sustained passages to get the best results. Be sure to listen for the natural decay of the instru-

ment and allow the gate to remain open until just after end of the decay.

ENGLISH

Leveling a Vocal Track

When recording a vocal track, the vocalist may change the distance between them and the microphone, or they
may naturally have a lot of dynamic range in their performance. In either case, the sound engineer must decide
how much compression should be used to balance the natural performance and printing a good level to tape or
disk. Set up the S•com with a medium attack and release time and a ratio of 4:1. You can also use the Auto
button to engage the AEG (Auto Envelope Generator) for automatic attack and release. Now adjust the
Threshold level so that the Gain Reduction meters show 6 to 10 dB of gain reduction. Adjust the Ratio control if

necessary.

Leveling a Guitar or Bass

Guitar and especially bass guitar can have a lot of level change between strings and even frets on the finger­board. Using compression when recording guitars and bass will even out these differences. Set up the com­pressor section of the S•com with a medium attack and release time and a ratio of 4:1. You can also use the
Auto button to engage the AEG (Auto Envelope Generator) for automatic attack and release. Now adjust the
Threshold level so that the Gain Reduction meters show 10 to 12 dB of gain reduction. You’ll notice that the each

note is at the same loudness and the overall sustain is increased.

Compressing Drums

Adding compression on drums can make a boomy kick drum tighten up, almost as if you were tightening the
head of a drum. Set the S•com to a fairly quick attack time and use a ratio of 6:1. Set the Threshold so that the
Gain Reduction meter reads 12 to 15 dB. Adjust the Ratio control if necessary. You can use the same basic set

up on snare and toms as well.

Getting a Track to Sit in the Mix

By using a heavy amount of compression you can get the effect of the vocal suspending in the mix. While this
may be a bit radical for some, the effect can be dramatic especially if the vocal is mixed without any reverb or
delay. Set up the compressor section of the S•com with a medium attack and release time and a ratio of 6:1.
You can also use the Auto button to engage the AEG (Auto Envelope Generator) for automatic attack and
release. Now adjust the Threshold level to so that the Gain Reduction meters show 21 to 24 dB of gain reduc-

tion.

Speaker Protection

There are several ways to use a compressor to protect a speaker system and many considerations can be made
including whether the speaker system is crossed-over actively or passively.

If the speaker system is stereo using a passive crossover, then the line output of the mixer or equalizer is run
directly into the S•com inputs. The S•com should be last in the chain before the power amps with its outputs
feeding the inputs of the amp. Now set the S•com to Stereo Link mode and use the Auto button to engage the
AEG (Auto Envelope Generator) for automatic attack and release. Adjust the Threshold and Ratio so that the
system’s entire dynamic range is under control.

When using an active crossover, multiple compressors can be used to compress each section of the PA. For
example, if the PA is using an active crossover to run a four-way mono system, two S•coms’ can be used for four
band compression. By compressing each output of the crossover, you can maximize the output level while mini­mizing the gain to sensitive speakers like the mid-range. Run the low and low-mid frequencies into two channels

of the first S•com and the high-mid and high frequencies into channel one and two of the second S•com.

Applications

14

ENGLISH

S•com System Set-Ups

LIVE SOUND SYSTEM WITH STEREO COMPRESSION

In this example, the S•com is inserted after the mixer and before the graphic equalizer,
thereby compressing the full range signal from the mixer.

15

ENGLISH

PL1602 Mixer

PL 1602

16 CHANNEL LINE MIXER

S / N

POWER

110

ON
OFF

AVIS:

RISQUE DE CHOC ELECTRIQUE

NE PAS OUVRIR

DO NOT EXPOSE THIS EQUIPMENT

TO RAIN OR MOISTURE

POWER

120V - 60 Hz 35W

RATING

CAUTION

RISK OF ELECTRIC SHOCK

~115V(0.3A)
230V(0.15A)
50/60Hz 30W

S•Com

SERIAL NUMBER

MADE IN CHINA

_ mA SLOW BLOW FUSE FOR 115V
_ mA SLOW BLOW FUSE FOR 220V

E30 Dual 15 Band EQ

E30 2/3 OCTAVE STEREO 15 BAND GRAPHIC EQUALIZER

AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. DO NOT EXPOSE

THIS EQUIPMENT TO RAIN OR MOISTURE.

ON

~AC INPUT

OFF

POWER

115V/230V 50/60Hz13W

BUS
INSERTS

BALANCED 600 +4db

!

MIXER LINKING

DO NOT OPEN

TIP + RING - SLEEVE GND

+4

BALANCED

CAUTION

INPUT

RISK OF ELECTRIC SHOCK
DO NOT OPEN.

POWER
RATING

RISK OF ELECTRIC SHOCK

120V - 60 Hz 20W

CAUTION

DO NOT OPEN

-10
INPUT OUTPUT

2

1

LEVEL

3

BALANCED <100Ω
0db UNITY GAIN

SERIAL NUMBER

!

S•3 Way

CH 2
HIGH

OUTPUT

2

2

2

1

1

CH 2

CH 2

MID

HIGH

3

3

3

OUTPUT

OUTPUT

MONO

MONO

HIGH-MID

HIGH

OUTPUT

OUTPUT

INPUTS BALANCED 10K‰ -30 to +4db TIP + RING - SLEEVE GND.

AUX

RETURNS

UNBALANCED 10K‰

CHANNEL 2

KEY

2

3

OUTPUTS

BALANCED
<100KΩ 0db
UNITY GAIN

CH 2
LOW

OUTPUT

2

1

1

CH 2
LOW

3

OUTPUT

2R

1L2R3L4RLRLR

1L
AUX SEND
UNBALANCED
2K‰ +4db

XLR

PIN 1 GND

BALANCED

PIN 2 HOT

OUTPUT

PIN 3 NEG

1

S com Plus

PHONE

TIP - POS
RING - NEG
SLEEVE - GND

BALANCED <100Ω
0db UNITY GAIN

CH 2
INPUT

2

1

CH 2
INPUT

3

SAMSON TECHNOLOGIES CORP., NEW YORK, U.S.A.

1L2R3L4R5L6R7L8R9L10R11L12R13L14R15L16R

6R 5L 4R 3L 2R 1L

INSERTS TIP RETURN RING SEND

CHANNEL 1

+4

KEY

BALANCED

INPUT

INPUT

-10
OUTPUT

2

1

LEVEL

3

INPUTS

BALANCED

0db UNITY GAIN

BALANCED

BALANCED

10KΩ

<100KΩ 0db
UNITY GAIN

CH 1
HIGH

OUTPUT

CH 1
HIGH

OUTPUT

CHANNEL ACHANNEL BCHANNEL ACHANNEL B

CH 1
LOW

OUTPUT

2

2

1

1

CH 1

CH 1

LOW

MID

3

3

OUTPUT

OUTPUT

MONO

MONO

LOW

LOW-MID

OUTPUT

OUTPUT

MIC 1

-10
2

3

0

1

-40+4

TRIM

-10
2

3

0

1

-40+4

TRIM

MIC 3MAIN OUT

BALANCED

OUTPUT

2

1

3

BALANCED

0db UNITY GAIN

BALANCED

10KΩ

SAMSON
TECHNOLOGIES
CORP.,
NEW YORK, U.S.A.

Servo 550 Power Amp (High)

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

F

E

U

S

SERIAL

FUSE

NUMBER

FUSE RATING

12A/250V (115V)

6A/250V (230V)

USE CLASS 2 WIRING MAXIMUM LOAD IMPEDANCE 4Ω

CAUTION

HEATSINK MAY BE
HOT! DO NOT BLOCK
AIRFLOW OR OVER­HEATING MAY OCCUR

TO PREVENT SHOCK DO

GROUND

+RIGHT

NOT OPEN. NO USER
SERVICABLE PARTS
INSIDE. REFER SERVICING
TO QUALIFIED SERVICE

OUTPUT 250W/4Ω

PERSONNEL. TO PREVENT
FIRE OR SHOCK HAZARD
DO NOT EXPOSE TO RAIN
OR MOISTURE.

RIGHT

~AC INPUT

LEFT

115V/230W, 50/60HZ

510W (115V)900W (230V)

SERVO 550 STUDIO AMPLIFIER

!

LEFT+

SAMSON TECHNOLOGIES CORP., HICKSVILLE, NEW YORK

BRIDGED

TIP RING SLEEVE

SLEEVE GND

MONO STEREO

LEFT

RIGHT

INPUTS
(BALANCED
10KΩ/0dBm0)

TIP +
RING -

S1500 Power Amp (Mid)

INPUT

MODE

CHANNEL

STEREO

1 INPUT

2 WAY

2

1

CHANNEL

STEREO

1 INPUT

3 WAY

3

MONO

MONO

INPUT

4 WAY

PUSH TO RESET

115V 60Hz, 920W

OUTPUT

20A/250V

(4Ω~8Ω) (4Ω~8Ω)

~AC INPUT

(4Ω~8Ω) (4Ω~8Ω)

CH 2 CH 1

BALANCED

0dBm

TIP=HOT

TRS

RING=COLD

BALANCED

SLEEVE=GND

CH 2 CH 1

BRIDGED PARALLEL

STEREO

BALANCED

0dBm

3=COLD

XLR

2=HOT

BALANCED

1=GND

Left High / Mid

Right High / Mid

S2000 Power Amp
(Bridged Mono Low)

INPUT

OUTPUT

PUSH TO RESET

25A/250V

115V 60Hz, 1100W

(4Ω~8Ω) (4Ω~8Ω)

~AC INPUT

(4Ω~8Ω) (4Ω~8Ω)

CH 2 CH 1

BALANCED

0dBm

TRS

BALANCED

CH 2 CH 1

BRIDGED PARALLEL

STEREO

BALANCED

0dBm

TIP=HOT

3=COLD

XLR

RING=COLD

2=HOT

BALANCED

SLEEVE=GND

1=GND

Mono

Sub

16

S•com System Set-Ups

LIVE SOUND SYSTEM WITH MULTIBAND COMPRESSION

In this example, three S•com’s are inserted after the mixer, equalizer and crossover, thereby
providing individual compression on the low, mid and high frequencies.

ENGLISH

PL1602 Mixer

PL 1602

16 CHANNEL LINE MIXER

S / N

POWER

110

ON
OFF

AVIS:

RISQUE DE CHOC ELECTRIQUE

NE PAS OUVRIR

DO NOT EXPOSE THIS EQUIPMENT

TO RAIN OR MOISTURE

POWER

120V - 60 Hz 35W

RATING

CAUTION

RISK OF ELECTRIC SHOCK

~115V(0.3A)
230V(0.15A)
50/60Hz 30W

E30 Dual 15 Band EQ

ON

OFF

POWER

S•3 Way

BALANCED 600 +4db

!

DO NOT OPEN

TIP + RING - SLEEVE GND

E30 2/3 OCTAVE STEREO 15 BAND GRAPHIC EQUALIZER

AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. DO NOT EXPOSE

THIS EQUIPMENT TO RAIN OR MOISTURE.

~AC INPUT

POWER

120V - 60 Hz 20W

RATING

CAUTION

RISK OF ELECTRIC SHOCK

!

DO NOT OPEN

115V/230V 50/60Hz13W

CH 2
HIGH

OUTPUT

2

2

1

CH 2
HIGH

3

OUTPUT

MONO
HIGH

OUTPUT

S•Com

CAUTION

RISK OF ELECTRIC SHOCK
DO NOT OPEN.

2

SERIAL NUMBER

MADE IN CHINA

_ mA SLOW BLOW FUSE FOR 115V
_ mA SLOW BLOW FUSE FOR 220V

S•Com

CAUTION

RISK OF ELECTRIC SHOCK
DO NOT OPEN.

2

SERIAL NUMBER

MADE IN CHINA

_ mA SLOW BLOW FUSE FOR 115V
_ mA SLOW BLOW FUSE FOR 220V

S•Com

CAUTION

RISK OF ELECTRIC SHOCK
DO NOT OPEN.

2

SERIAL NUMBER

MADE IN CHINA

_ mA SLOW BLOW FUSE FOR 115V
_ mA SLOW BLOW FUSE FOR 220V

Left High / Mid

Right High / Mid

Mono

Sub

2R

1L2R3L4RLRLR

AUX SEND

UNBALANCED

2KΩ +4db

OUTPUTS

BALANCED

<100KΩ 0db

UNITY GAIN

CH 2
INPUT

2

1

CH 2
INPUT

3

SAMSON TECHNOLOGIES CORP., NEW YORK, U.S.A.

6R 5L 4R 3L 2R 1L

1L

INSERTS TIP RETURN RING SEND

BALANCED <100Ω
0db UNITY GAIN

BALANCED

0db UNITY GAIN
BALANCED
<100KΩ 0db
UNITY GAIN

CH 1
HIGH

OUTPUT

2

2

1

1

CH 1

CH 1

MID

HIGH

3

3

OUTPUT

OUTPUT

MONO

LOW-MID

OUTPUT

INPUTS BALANCED 10KΩ -30 to +4db TIP + RING - SLEEVE GND.

AUX

BUS

RETURNS

INSERTS

MIXER LINKING

UNBALANCED 10KΩ

BALANCED <100Ω
0db UNITY GAIN

SERIAL NUMBER

CH 2
LOW

OUTPUT

2

1

1

CH 2

CH 2

LOW

MID

3

3

OUTPUT

OUTPUT

MONO

HIGH-MID

OUTPUT

MIC 1

-10
2

3

0

1

-40+4

TRIM

1L2R3L4R5L6R7L8R9L10R11L12R13L14R15L16R

-10
2

3

0

1

-40+4

TRIM

MIC 3MAIN OUT

INPUTS

BALANCED
0db UNITY GAIN

BALANCED

BALANCED

10KΩ

10KΩ

SAMSON
TECHNOLOGIES
CORP.,
NEW YORK, U.S.A.

CHANNEL ACHANNEL BCHANNEL ACHANNEL B

MODE

CHANNEL

CH 1

STEREO

1 INPUT

LOW

2 WAY

OUTPUT

2

2

1

1

CH 1

CHANNEL

STEREO

LOW

1 INPUT

3 WAY

3

3

OUTPUT

MONO

MONO

MONO

LOW

INPUT

4 WAY

OUTPUT

Servo 550 Power Amp (High)

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

F

E

U

S

SERIAL

FUSE

NUMBER

FUSE RATING

12A/250V (115V)
6A/250V (230V)

USE CLASS 2 WIRING MAXIMUM LOAD IMPEDANCE 4Ω

CAUTION

HEATSINK MAY BE
HOT! DO NOT BLOCK
AIRFLOW OR OVER­HEATING MAY OCCUR

TO PREVENT SHOCK DO

GROUND

+RIGHT

NOT OPEN. NO USER
SERVICABLE PARTS
INSIDE. REFER SERVICING
TO QUALIFIED SERVICE

OUTPUT 250W/4Ω

PERSONNEL. TO PREVENT
FIRE OR SHOCK HAZARD
DO NOT EXPOSE TO RAIN
OR MOISTURE.

RIGHT

~AC INPUT

LEFT

115V/230W, 50/60HZ

510W (115V)900W (230V)

SERVO 550 STUDIO AMPLIFIER

!

LEFT+

SAMSON TECHNOLOGIES CORP., HICKSVILLE, NEW YORK

BRIDGED

TIP RING SLEEVE

MONO STEREO

LEFT

RIGHT

INPUTS
(BALANCED
10KΩ/0dBm0)

TIP +
RING ­SLEEVE GND

S1500 Power Amp (Mid)

INPUT

PUSH TO RESET

115V 60Hz, 1100W

PUSH TO RESET

~AC INPUT

115V 60Hz, 920W

25A/250V

~AC INPUT

OUTPUT

20A/250V

(4Ω~8Ω) (4Ω~8Ω)

(4Ω~8Ω) (4Ω~8Ω)

CH 2 CH 1

OUTPUT

(4Ω~8Ω) (4Ω~8Ω)

(4Ω~8Ω) (4Ω~8Ω)

CH 2 CH 1

BALANCED

TRS

BALANCED

BRIDGED PARALLEL

BALANCED

0dBm

TIP=HOT

TRS

RING=COLD

BALANCED

SLEEVE=GND

CH 2 CH 1

BRIDGED PARALLEL

STEREO

0dBm

TIP=HOT
RING=COLD
SLEEVE=GND

CH 2 CH 1

STEREO

INPUT

BALANCED

BALANCED

0dBm

3=COLD

XLR

2=HOT

BALANCED

1=GND

BALANCED

0dBm

3=COLD

XLR

2=HOT

1=GND

CHANNEL 2

+4

KEY

BALANCED

INPUT

-10
INPUT OUTPUT

1

LEVEL

3

CHANNEL 2

+4

KEY

BALANCED

INPUT

-10
INPUT OUTPUT

1

LEVEL

3

CHANNEL 2

+4

KEY

BALANCED

INPUT

-10

INPUT OUTPUT

1

LEVEL

3

XLR

PIN 1 GND

BALANCED

PIN 2 HOT

OUTPUT

PIN 3 NEG

2

1

S com

3

PHONE

TIP - POS
RING - NEG
SLEEVE - GND

XLR

PIN 1 GND

BALANCED

PIN 2 HOT

OUTPUT

PIN 3 NEG

2

1

S com

3

PHONE

TIP - POS
RING - NEG
SLEEVE - GND

XLR

PIN 1 GND

BALANCED

PIN 2 HOT

OUTPUT

PIN 3 NEG

2

1

S com

3

PHONE
TIP - POS
RING - NEG

SLEEVE - GND

CHANNEL 1

+4

KEY

BALANCED

INPUT

2

1

3

BALANCED

INPUT

2

1

3

BALANCED

INPUT

2

1

3

BALANCED

OUTPUT

INPUT

-10
OUTPUT

2

1

LEVEL

3

CHANNEL 1

+4

KEY

BALANCED

OUTPUT

INPUT

-10
OUTPUT

2

1

LEVEL

3

CHANNEL 1

+4

KEY

BALANCED
OUTPUT

INPUT

-10
OUTPUT

2

1

LEVEL

3

S2000 Power Amp
(Bridged Mono Low)

17

S•com Connections

Unbalanced 1/4”Connector

Insert Cable 1/4” male TRS connector to two male 1/4”
in send and return configuration.

XLR Balanced Wiring Guide

CONNECTING THE S•com

The are several ways to interface the S•com to support a variety of applications. The S•com features servo-bal­anced inputs and outputs, so connecting balanced and unbalanced signals is possible without any signal loss.
The S•com can be used on a single instrument by connecting to a channel’s insert points, or on an entire mix
"in-line" between a mixer’s outputs and a power amp or equalizer.

INSERT POINTS

Many mixers today provide channel and bus or group inserts. Insert points are input and output patch points
that interrupt the channel or bus signal so that external processors can be connected. Channel insert points are
ideal for connecting to when using the S•com to process a single channel like a vocal, bass or guitar. Bus
insert points are ideal for compressing groups of instruments like vocals, strings or drums. If you are connecting
to a channel’s insert points, you may have a single TRS jack for Send & Return. In this case, use an Insert "Y"
Cable that configured like the one in the wiring diagram below.

IN-LINE

In live sound operation the S•com can be installed in-line between a mixer and equalizer or power amplifier. For
these applications the S•com provides both 1/4" TRS connectors and XLR connectors to easily interface with
most any professional audio device. Follow the wiring examples below for your particular installation.

Balanced TRS 1/4” Connector

ENGLISH

Tip (send)

Sleeve (common)

Send (tip)

Send (tip)

Return (ring)

Ring (return)

Tip (send)

Return (ring)

Sleeve (common)

Tip (return)

Common

Common

Sleeve (common)

Signal

Ground

Ground

Tip (signal)Signal

Sleeve (ground)

Hot

Cold

Female XLR

Hot (2)

Common (1)Common

1

2

21

3

Solder Points End View

Cold (3)

3

Signal (tip)

Signal (ring)

Ground

Signal (ring)

Signal (tip)

Ground

Ring (signal)

Sleeve (ground)

Tip (signal)

2

12

3

End View Solder Points

1

3

Hot (2)

Common (1) Common

Cold (3)

Male XLR

Hot

Cold

18

Note de Ray Kennedy

Les compresseurs et limiteurs sont des outils fondamentaux pour l’enregistrement et le mixage.
Beaucoup ne réalisent pas à quel point ils sont essentiels. Pour moi, la compression est bien plus
qu’un simple processeur de dynamique. Chaque modèle possède son propre son et se révèle idéal
pour des applications bien spécifiques. C’est pourquoi je dispose d’un choix d’environ quarante com­presseurs. L’apprentissage des spécificités de chaque compresseur et de ses réglages est un
procédé qui nécessite beaucoup d’expérimentations.

Les limiteurs de crêtes et les compresseurs conviennent généralement très bien pour optimiser le
niveau des bandes ou des disques sans ajouter trop de coloration sonore.En somme, il s’agit de sup­primer les crêtes et d’accentuer les passages les plus faibles d’un signal en resserrant la plage
dynamique. Des temps d’attaque et de rétablissement élevés permettent d’obtenir un son plus trans-
parent. Personnellement, j’apprécie vraiment le son de la compression et je l’utilise parfois de manière
assez poussée. Selon le type d’appareil et de réglage, vous pouvez obtenir tellement de caractéris-
tiques sonores grâce à la compression, en ajoutant de l’ambiance, en durcissant, en adoucissant le
son ou en appliquant une correction... Mon réglage de compression préféré est de “suspendre” les
voix dans le mixage, sans réverbération et intimistes, comme si le chanteur se trouvait juste devant
vous, sans que le son soit trop fort. Steve Earl, mon partenaire, dit que la compression de sa voix
durant les enregistrements permet presque à l’auditeur de savoir ce qu’il a mangé au petit-déjeuner.

De bien des manières, la compression finit par remplacer la réverbération et, poussée à l’extrême,
elle ajoute toute l’ambiance nécessaire à un micro et fait ressortir le caractère profond de vos cordes
vocales.Sur un micro d’ambiance, vous pouvez modifier la perception de la taille de la pièce en faisant
durer le son en cours de déclin. De nouveau, un long temps d’attaque et un court temps de rétab­lissement offrent les meilleurs résultats car vous pouvez utiliser des réglages de seuil plus poussés.

La limitation et la compression du bus stéréo est aussi une excellente manière de souder les pistes
ce qui donne l’impression que les groupes ont un son plus dense. Cela permet également d’obtenir
un niveau supérieur avant saturation lors de la copie sur deux pistes analogiques, ainsi qu’une mod­ulation accrue des formats numériques. Il est assez fréquent que j’applique trois limiteurs stéréo avant
d’en arriver au Mastering sur disque dur et d’en garder les parties définitives qui en seront extraites.

Souvent, le fait d’appliquer plusieurs compresseurs à un même signal permet d’obtenir des résultats
intéressants, qui ne peuvent être obtenus avec un seul compresseur. Bien entendu, il n’y a pas de
règles fixes, mais il est important de savoir que le traitement du son peut être réalisé de nombreuses
façons. Certains traitements sont entièrement à lampes, d’autres lampes et optique, uniquement
optiques, transistors FET, VCA pure classe A, classe A/B, numériques, et bien d’autres combinaisons
encore.

Aujourd’hui, nous pouvons enfin disposer de VCA de très haute qualité, pas trop chers et permettant
des traitements sonores sophistiqués et polyvalents, comme les appareils S-Class de Samson.

Ray Kennedy

Ray Kennedy est producteur, ingénieur du son et parolier. Il est
basé à Nashville où se trouve la société de production
Twang Trust, créée en partenariat par Ray et le chanteur/paroli­er Steve Earle. Twang Trust a réalisé les enregistrements
d’artistes de renom comme Steve Earle,
Art Garfunkel, Willie Nelson et Waylon Jennings, Farm Aid,
The Del McCoury Band, Nancy Griffith, Lucinda Williams,
David Alan Coe, Shaver, V-Roys et Rosie Flores.

FRANÇAIS

Caractéristiques du S•com

Le processeur de dynamique Samson S com utilise une technologie de pointe en matière de gestion du gain.
Voici quelques-unes de ses principales caractéristiques :

• Processeur de dynamique complet à deux canaux, avec compresseur/limiteur, expanseur/Noise Gate et
Enhancer.

• La fonction SKD (détecteur Smart Knee) permet de passer d’une courbe Soft Knee à Hard Knee, selon
le niveau d’entrée du signal.

• Le mode AEG (générateur d’enveloppe automatique) ajuste automatiquement les temps d’attaque et de
rétablissement du compresseur en fonction du signal d’entrée. Il est également possible d’effectuer un
réglage manuel des temps d’attaque et de rétablissement.

• Afficheur de niveau d’entrée/sortie 12 segments à LED et afficheur de réduction de gain 12 segments à LED.

• Possibilité de contrôle externe du circuit de commande avec commutateur Key en face avant.

• Enhancer réglable permettant de restaurer la perte des aigus résulant d’une réduction de gain massive.

• Expanseur/Noise Gate avec seuil de déclenchement variable et temps de rétablissement réglable (rapi-

de/lent).

• La fonction de Noise Gate peut être réglée de Off (désactivée) à une fonction d’expanseur léger.

• LED d’indication d’ouverture et de fermeture du Noise Gate.

• Circuit Spectra permettant un ciselage des médiums pour supprimer les sibilantes.

• Circuits haute technologie, utilisant des amplificateurs à faible bruit et des VCA de haute qualité.

• Fonction Stereo Link de couplage stéréo.

• Entrées et sorties à symétrie électronique sur connecteurs XLR et Jacks 6,35 mm.

• Niveau d’utilisation commutable +4 dBu/ -10 dBV.

• Potentiomètres crantés 41 positions de haute qualité et touches rétro-éclairées.

• L’aspect agréable de la façade stylée en acier anodisé bleu électrique facilite la lecture des réglages.

• Garantie de 3 ans.

19

FRANÇAIS

STEREO

COMPRESSOR

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12+18

THRESHOLDTRIGGER RATIO ATTACK RELEASE OUTPUT ENHANCER

-10

10

GATE KEY

-30

FAST

+20-40

SLOW

dB

RELEASE SPECTRA KEY AUTO I/O METER

OFF +10

20

050

dB

COMPRESSOR / LIMITEREXPANDER/GATE

4:1

50

LISTEN

62

+10

.3 300

1

dB

mSec

OFF 10

STEREO LINK

IN/OUT 1

IN/OUT 2

20

GATE

GATE KEY

050

OFF +10

dB

RELEASE

5

73

0

1

20015

3.15

-10

.05 5

Sec

+10

+20-20

dB

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12+18

THRESHOLDTRIGGER RATIO ATTACK RELEASE OUTPUT ENHANCER

-10

10

-30

FAST

+20-40

SLOW

dB

COMPRESSOR / LIMITEREXPANDER/GATE

4:1

50

LISTEN

62

+10

SPECTRA KEY AUTO I/O METER

.3 300

1

dB

1

20015

3.15

.05 5

mSec

Sec

Sec

0

-10

+10

+20-20

dB

CH 2

CH 2CH 1

OFF 10

POWER

5

73