Samson S-Com 4 Manual

4 CHANNEL COMPRESSOR GATE

s s a l C S

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

STEREO LINK

STEREO LINK

POWER

EXPANDER/GATE

COMPRESSOR / LIMITER

CH 1

EXPANDER/GATE

COMPRESSOR / LIMITER

CH 2

EXPANDER/GATE

COMPRESSOR / LIMITER

CH 3

EXPANDER/GATE

COMPRESSOR / LIMITER

CH 4

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

20

-10

4:1

0

20

-10

4:1

0

20

-10

4:1

0

20

-10

4:1

0

S

GATE

I/O

IN/OUT 1

GATE

I/O

GATE

I/O

IN/OUT 3

GATE

I/O

50

0

-30

10 2

6

-10

+10

50

0

-30

10 2

6

-10

+10

50

0

-30

10 2

6

-10

+10

50

0

-30

10 2

6

-10

+10

IN/OUT 2

IN/OUT 4

OFF +10

-40

+20

1

-20 +20

OFF +10

-40

+20

1

-20 +20

OFF +10

-40

+20

1

-20 +20

OFF +10

-40

+20

1

-20 +20

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

RELEASE

ENHANCER

RELEASE

ENHANCER

RELEASE

ENHANCER

RELEASE

ENHANCER

STEREO COMPRESSOR / LIMITER

l a n g i

s r o s s e c o r P

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.

Safety Instructions

RISK OF ELECTRIC SHOCK

DO NOT OPEN

WARNING

DO NOT EXPOSE THIS EQUIPMENT

TO RAIN OR MOISTURE

AVIS

RISQUE DE CHOC ELECTRONIQUE

NE PAS OUVRIR

CAUTION

FOR CONTINUED PROTECTION AGAINST RISK

OF FIRE, REPLACE ONLY WITH SAME TYPE FUSE

ATTENTION

UTILISER UN FUSIBLE DE

RECHANGE DE MÊME TYPE

WARNING
DO NOT EXPOSE THIS EQUIPMENT
TO RAIN OR MOISTURE
AVIS	RISK OF ELECTRIC SHOCK
RISQUE DE CHOC ELECTRONIQUE	DO NOT OPEN
NE PAS OUVRIR

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

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

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

Important Safety Instructions

1.Please read all instructions before operating the unit.

2.Keep these instructions for future reference.

3.Please heed all 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.

1

Table of Contents

	Table des matières	Inhalt	Contenido
	ENGLISH		DEUTSCHE
	Forward by Ray Kennedy	3	Vorwort von Ray Kennedy	32
	Introduction	4	S•com 4 Features	33
	S•com 4 Features	5	Regler und Funktionen
			Vorderseite	34-35
	Controls and Functions		Rückseite	34-35
	Front Panel Layout	6-7	Bedienung des S•com 4
	Rear Panel Layout	6-7
			S•com 4 einrichten	36
	Operating the S•com 4		Signal komprimieren	36
	Setting Up the S•com 4	8	Signal gaten	37
	Compressing A Signal	8	Expander einsetzen	37
	Gating A Signal	9	Enhancer einsetzen	38
	Using The Expander	9	Dynamikbearbeitung 101	39-40
	Using the Enhancer	10
	Dynamics Processing 101	11-12	Anwendungen	41-42
	Applications	13-14	System-Einrichtungsbeispiele	43-44
	System Set-ups	15-16	S•com 4 Anschlüsse	45
	S•com 4 Connections	17	Technische Daten	60-61
	Specifications	60-61

FRANÇAIS		ESPAÑOL
Note de Ray Kennedy	18	Prólogo de Ray Kennedy	46
Caractéristiques du S•com 4	19	Características y funciones de S•com 4	47
Réglages et fonctions		Controles y funciones
Face avant	20-21	Distribución del panel frontal	48-49
Face arrière	20-21	Distribución del panel posterior	48-49
Utilisation du S•com 4		Utilizar el S•com 4
Configuration du S•com 4	22	Preparar el S•com 4	50
Compression d’un signal	22	Comprimir una señal	50
Utilisation du Noise Gate	23	Aplicar una compuerta a una señal	51
Utilisation de l’expanseur	23	Utilizar el Expander	51
Utilisation de l’Enhancer	24	Utilizar el Enhancer	51
Éléments de base sur les processeurs de dynamique 25-26
Applications	27-28	Procesamiento de dinámica 101	53-54
Configurations du système	29-30	Aplicaciones	55-56
Connexions du S•com 4	31	Instalaciones del sistema	57-58
Caractéristiques techniques	60-61	Conexiones de S•com 4	59
		Especificaciones	60-61

Copyright 2001, Samson Technologies Corp.

Printed August, 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

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

ENGLISH

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.

3

ENGLISH

Introduction

Thank you for purchasing the Samson S•com 4 dynamics processor. The Samson S•com 4 is a one-space, four channel dynamics processor optimized for recording, live sound reinforcement systems, DJ set-ups and commercial installations. The S•com 4 is a complete dynamics processing solution offering four channels of full function Compressor, Expander/Gate, and Enhancer. S•com 4’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 4 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 4 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.

4

S•com 4 Features

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

STEREO LINK

STEREO LINK

POWER

EXPANDER/GATE

COMPRESSOR / LIMITER

CH 1

EXPANDER/GATE

COMPRESSOR / LIMITER

CH 2

EXPANDER/GATE

COMPRESSOR / LIMITER

CH 3

EXPANDER/GATE

COMPRESSOR / LIMITER

CH 4

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

4 CHANNEL

20

-10

4:1

0

20

-10

4:1

0

20

-10

4:1

0

20

-10

4:1

0

COMPRESSOR

GATE

I/O

IN/OUT 1

GATE

I/O

GATE

I/O

IN/OUT 3

GATE

I/O

GATE

50

0

-30

10 2

6

-10

+10

50

0

-30

10 2

6

-10

+10

50

0

-30

10 2

6

-10

+10

50

0

-30

10 2

6

-10

+10

IN/OUT 2

IN/OUT 4

OFF +10

-40

+20

1

-20 +20

OFF +10

-40

+20

1

-20 +20

OFF +10

-40

+20

1

-20 +20

OFF +10

-40

+20

1

-20 +20

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

dB

RELEASE

ENHANCER

RELEASE

ENHANCER

RELEASE

ENHANCER

RELEASE

ENHANCER

The Samson S com 4 dynamics processor utilizes the latest technology in gain management design. Here are

some of its main features:

•Full featured, four channel dynamics processor including Compressor/Limiter and Expander/Gate on each channel.

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

•AEG (Automatic Envelope Generator) feature constantly adjusts the Compressor’s Attack and Release times based on input signal.

•5 Segment LED Input/Output Meter, plus 5 Segment LED Gain Reduction Meter on each channel.

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

•Gate Open and Closed LED's.

•Expander/Gate with switchable Fast and Slow Release times.

•Stereo Link Switch for channels 1 & 2 and 3 & 4.

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

•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

5

ENGLISH

Controls and Functions

Front Panel Layout

1	2	3			4			5					6
		GAIN REDUCTION dB				INPUT / OUTPUT LEVEL dB						GAIN REDUCTION dB		INPUT / OUTPUT LEVEL dB
			-24 -12 -6 -4 -2				-18 -6 0 +6 +9					-24 -12 -6 -4 -2		-18 -6 0 +6 +9
	EXPANDER/GATE		COMPRESSOR / LIMITER					CH 1	STEREO LINK	EXPANDER/GATE		COMPRESSOR / LIMITER			CH 2	EXP
	TRIGGER		THRESHOLD		RATIO		METER	OUTPUT			TRIGGER	THRESHOLD		RATIO METER	OUTPUT	T
4 CHANNEL	20		-10			4:1		0			20	-10		4:1	0
COMPRESSOR		GATE					I/O		IN/OUT 1		GATE			I/O
GATE	50	0	-30	10 2			6 -10	+10		50	0	-30	10 2	6 -10	+10	50
									IN/OUT 2
	OFF +10		-40	+20	1			-20 +20			OFF +10	-40	+20	1	-20 +20	O
	dB		dB			dB		dB			dB	dB		dB	dB
		RELEASE					ENHANCER				RELEASE			ENHANCER
12	13	14	15	16		17	18	19	20

1GATE OPEN & CLOSED LEDS - Indicates when the gate is open and closed.

2GATE SWITCH - Selects either Gate or Expander mode.

3GAIN REDUCTION METER - Displays the amount of Gain Reduction when Compressor circuit is activated.

4INPUT/OUTPUT METER - Displays the Input or Output signal level based on the setting of the I/O meter switch.

5STEREO LINK SWITCH- When engaged channel 2 functions are controlled by the settings on channel 1.

6CHANNEL 2 CONTROLS - The same knob and switch complement as channel 1 .

7CHANNEL 3 CONTROLS - The same knob and switch complement as channel 1.

8STEREO LINK SWITCH (3 & 4)-When engaged, channel 4 functions are controlled by the settings on channel 3.

9CHANNEL 4 CONTROLS - The same knob and switch complement as channel 1.

10MAINS POWER SWITCH - When turned on, activates the S•com.

11RACK EARS - Used for mounting into a 19inch standard rack.

12TRIGGER- Controls the threshold level that the Expander/Gate becomes activated.

13RELEASE SWITCH - Selects FAST or SLOW Release Time for EXPANDER/GATE.

Rear Panel Layout

A	B	C	D	E	F	G
			-10	LEVEL	CH 4	-10 LEVEL	CH 3
			+4			+4
			BALANCED		BALANCED	BALANCED	BALANCED
				INPUT	OUTPUT	INPUT	OUTPUT

AAC INLET - IEC standard AC power cable connector with external fuse.

BCHANNEL 4 XLR LINE INPUT - XLR Balanced line input.

CCHANNEL 4 1/4” TRS LINE INPUT - 1/4” TRS Balanced line input.

DOPERATING LEVEL SWITCH - Switches the operating level from -10 to +4.

6

Controls and Functions

7

8

9

10

11

ENGLISH

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

XPANDER/GATE

COMPRESSOR / LIMITER

CH 3

STEREO LINK

EXPANDER/GATE

COMPRESSOR / LIMITER

CH 4

POWER

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

20

-10

4:1

0

20

-10

4:1

0

GATE

I/O

IN/OUT 3

GATE

I/O

0

-30

10 2

6

-10

+10

50

0

-30

10 2

6

-10

+10

IN/OUT 4

OFF +10

-40

+20

1

-20 +20

OFF +10

-40

+20

1

-20 +20

dB

dB

dB

dB

dB

dB

dB

dB

RELEASE

ENHANCER

RELEASE

ENHANCER

21

22

14THRESHOLD - Used to set minimum signal level at which the Compressor circuit begins to function.

15RATIO - Controls the amount Gain Reduction in proportion to the amount of signal over the selected threshold level.

16I/O METER SWITCH - Selects either the input or output level to be displayed on the Input/Output meter.

17ENHANCE SWITCH- Activates S•com 4’s ERF (Enhanced Frequency Recovery) circuit restoring the high end loss resulting from extreme Gain Reduction.

18OUTPUT- Controls the level of output signal.

19CHANNEL 1 IN/OUT - Activates S•com 4 Channel 1.

20CHANNEL 2 IN/OUT - Activates S•com 4 Channel 2.

21CHANNEL 1 IN/OUT - Activates S•com 4 Channel 3.

22CHANNEL 2 IN/OUT - Activates S•com 4 Channel 4.

.

H I

3	-10	LEVEL	CH 2	-10	LEVEL	CH 1
	+4			+4
NCED	BALANCED		BALANCED	BALANCED		BALANCED
PUT		INPUT	OUTPUT		INPUT	OUTPUT

ECHANNEL 4 XLR LINE OUTPUT - XLR Balanced line output.

FCHANNEL 4 1/4” TRS LINE OUTPUT - 1/4” TRS Balanced line output.

GCHANNEL 3 - Same Inputs and Outputs as channel 4

HCHANNEL 2 - Same Inputs and Outputs as channel 4

I CHANNEL 1 - Same Inputs and Outputs as channel 4

7

ENGLISH

Operating The S•com 4

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 4

•Connect one set of inputs and outputs to the Channel 1 connectors on the rear panel.

•Set the controls to the following positions:

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

EXPANDER/GATE

COMPRESSOR / LIMITER

CH 1

STEREO LINK

EXPANDER/GATE

COMPRESSOR / LIMITER

CH 2

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

4 CHANNEL

20

-10

4:1

0

20

-10

4:1

0

COMPRESSOR

GATE

I/O

IN/OUT 1

GATE

I/O

GATE

50

0

-30

10 2

6

-10

+10

50

0

-30

10 2

6

-10

+10

IN/OUT 2

OFF +10

-40

+20

1

-20 +20

OFF +10

-40

+20

1

-20 +20

dB

dB

dB

dB

dB

dB

dB

dB

RELEASE

ENHANCER

RELEASE

ENHANCER

EXPANDER/GATE TRIGGER – OFF	METER SWITCH – IN
GATE SWITCH – OUT	OUTPUT LEVEL – O dBu
FAST RELEASE – OUT	STEREO LINK SWITCH – OUT
COMPRESSOR THRESHOLD – +20dBu (fully clockwise)	CHANNEL 1 IN/OUT – OUT
RATIO – 1:1
ENHANCER - OUT

In this configuration, the S•com 4 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 the S•com 4’s inputs and outputs.

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

COMPRESSING A SIGNAL

S•com 4'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 4” for normalizing the controls.

•Press the In/Out switch (located between Channels 1 and 2) to the IN position.

•Adjust the Ratio to 2:1.

8

Operating The S•com 4

•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.

GATING A SIGNAL

GAIN REDUCTION dB	INPUT / OU
-24 -12 -6 -4 -2	-18 -6

EXPANDER/GATE		COMPRESSOR / LIMITER
	TRIGGER	THRESHOLD		RATIO METE
	20	-10		4:1
	GATE			I/O
50	0	-30	10 2	6 -1
	OFF +10	-40	+20	1
	dB	dB		dB
	RELEASE			ENHANC

Unwanted noises, buzzes and hisses can be easily removed by using S•com 4’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 4” for normalizing the controls.

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

•Press the RELEASE switch to the IN position to select

	FAST release time.				GAIN REDU
					-24 -12 -6
•	Now increase the TRIGGER level and listen as the signal		EXPANDER/GATE		COM
	begins to gate. For a visual representation of the		TRIGGER		THRESH
		4 CHANNEL	20		-10
	gate opening and closing, look at the GATE
		COMPRESSOR
	OPEN/CLOSED LED’s located above the			GATE
		GATE	50	0	-30
	EXPANDER/GATE TRIGGER control.
			OFF +10		-40 +
			dB		dB
				RELEASE

USING THE DOWNWARD EXPANDER

You can set the S•com 4'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 4” for normalizing the controls.

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

•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

9

ENGLISH

Operating The S•com 4

USING THE ENHANCER

The S•com 4’s ENHANCER switch can be engaged to activate the EFR (Enhanced Frequency Recovery) circuit. By engaging the ENHANCER, the S•com 4 EFR restores the high frequency content that can be lost when high gain reduction is applied. The S•com 4 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.

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

GAIN REDUCTION dB

INPUT / OUTPUT LEVEL dB

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

-24 -12 -6 -4 -2

-18 -6 0 +6 +9

EXPANDER/GATE

COMPRESSOR / LIMITER

CH 1

STEREO LINK

EXPANDER/GATE

COMPRESSOR / LIMITER

CH 2

E

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

TRIGGER

THRESHOLD

RATIO

METER

OUTPUT

4 CHANNEL

20

-10

4:1

0

20

-10

4:1

0

COMPRESSOR

GATE

I/O

IN/OUT 1

GATE

I/O

GATE

50

0

-30

10 2

6

-10

+10

50

0

-30

10 2

6

-10

+10

50

IN/OUT 2

OFF +10

-40

+20

1

-20 +20

OFF +10

-40

+20

1

-20 +20

dB

dB

dB

dB

dB

dB

dB

dB

RELEASE

ENHANCER

RELEASE

ENHANCER

•Follow the section above, “SETTING UP THE S•com 4” for normalizing the controls and run a signal such as a CD through the S•com 4.

•Press the In/Out switch (located between Channels 1 and 2) to the IN position.

•Adjust the Ratio to 6 - 8:1.

•Switch on the ENHANCER and listen to how the high end is restored when the ENHANCER is on.

10

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 De-Essers. 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 4 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 100 µs (microseconds) to 150 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 500µs 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 4’s AEG (Auto Envelope Generator) automatically adjusts the attack and release times based on the dynamically changing input signal.

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ENGLISH

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 4 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 4 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.

Limiter

A Limiter is a specific form of a compressor configured to prevent peaks and for general overload protection. It is often characterized by a high ratio setting (10 or above), as well as a relatively high threshold level.

Stereo Link Mode

The S•com 4 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, KEY and LIMITER. The same holds true for Channels 3 and 4.

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Applications

Using the Expander/Gate to Remove Hiss and Noise

The S•com 4 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 4 to Expander mode with the Release switch to Slow and adjust the Trigger 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 4 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 4 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 4 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 instrument and allow the gate to remain open until just after end of the decay.

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Applications

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. Adjust the S•com 4’s Ratio to 4:1. The S•com 4 uses 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. Adjust the S•com 4’s Ratio to 4:1. The S•com 4 uses 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 the drum. Adjust the S•com 4’s Ratio to 6:1. The S•com 4 uses the AEG (Auto Envelope Generator) for automatic attack and release. 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. Adjust the S•com 4’s Ratio to 6:1. The S•com 4 uses 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 reduction.

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 4 inputs. The S•com 4 should be last in the chain before the power amps with its outputs feeding the inputs of the amp. Now set the S•com 4 to Stereo Link mode. 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, the S•com 4 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 channel 1 and 2 of S•com 4 and the high-mid and high frequencies into channel 3 and 4 of the second S•com 4.

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S•com 4 System Set-Ups

LIVE SOUND SYSTEM WITH STEREO COMPRESSION

PL1602 Mixer

PL 1602 16 CHANNEL LINE MIXER		SAMSON TECHNOLOGIES CORP., NEW YORK, U.S.A.
POWER	S / N	MIC 1

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

110

ON

OFF

16R

15L

14R

13L

12R

11L

10R

9L

8R

7L

6R

5L

4R

3L

2R

1L

AVIS:

R

L

R

L

4R

3L

2R

1L

2R

1L

6R

5L

4R

3L

2R

1L

CAUTION

MAIN OUT

BUS

AUX

AUX SEND

INSERTS TIP RETURN RING SEND

MIC 3

!

BALANCED 600 +4db

INSERTS

RETURNS

UNBALANCED

TIP + RING - SLEEVE GND MIXER LINKING

UNBALANCED 10KΩ

2KΩ

+4db

S•Com 4

E30 Dual 15 Band EQ

E30 2/3 OCTAVE STEREO 15 BAND GRAPHIC EQUALIZER

OUTPUTS

INPUTS

AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE.

~AC INPUT

					SAMSON
120V - 60 Hz 20W	SERIAL NUMBER				TECHNOLOGIES
					CORP.,
115V/230V 50/60Hz13W	!				NEW YORK, U.S.A.
		CHANNEL B	CHANNEL A	CHANNEL B	CHANNEL A

S•3 Way

Servo 550 Power Amp (High)
	SERVO 550 STUDIO AMPLIFIER		SAMSON TECHNOLOGIES CORP., HICKSVILLE, NEW YORK
	!
ESU
FUSE
FUSE RATING
USE CLASS 2 WIRING MAXIMUM LOAD IMPEDANCE 4Ω
CAUTION
+RIGHT GROUND	LEFT+
OUTPUT 250W/4Ω
				TIP RING SLEEVE
				TIP	+
				RING -
				SLEEVE GND
S1500 Power Amp (Mid)
	OUTPUT			INPUT
	PUSH TO RESET
	20A/250V
	(4Ω~8Ω)	(4Ω~8Ω)
			BALANCED	BALANCED
			0dBm	0dBm
	~AC INPUT
	115V 60Hz, 920W
	(4Ω~8Ω)	(4Ω~8Ω)
	CH 2	CH 1	CH 2	CH 1

S2000 Power Amp

(Bridged Mono Low)

OUTPUT			INPUT
PUSH TO RESET
25A/250V
(4Ω~8Ω)	(4Ω~8Ω)
		BALANCED	BALANCED
		0dBm	0dBm
~AC INPUT
115V 60Hz, 1100W
(4Ω~8Ω)	(4Ω~8Ω)
CH 2	CH 1	CH 2	CH 1

Left High / Mid

Right High / Mid

Mono

Sub

ENGLISH

In this example, the S•com 4 is inserted after the mixer and before the graphic equalizer, thereby compressing the full range signal from the mixer.

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S•com 4 System Set-Ups

ENGLISH

LIVE SOUND SYSTEM WITH MULTIBAND COMPRESSION

OFF

PL1602 Mixer

PL 1602 16 CHANNEL LINE MIXER

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

POWER

S / N

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

MIC 1

110

ON

Servo 550 Power Amp (High)

AVIS:

16R

15L

14R

13L

12R

11L

10R

9L

8R

7L

6R

5L

4R

3L

2R

1L

SERVO 550 STUDIO AMPLIFIER

SAMSON TECHNOLOGIES CORP., HICKSVILLE, NEW YORK

!

R

L

R

L

4R

3L

2R

1L

2R

1L

6R

5L

4R

3L

2R

1L

E

SU

CAUTION

MAIN OUT

BUS

AUX

AUX SEND

INSERTS TIP RETURN RING SEND

MIC 3

!

BALANCED 600 +4db

INSERTS

RETURNS

UNBALANCED

FUSE

TIP + RING - SLEEVE GND MIXER LINKING

UNBALANCED 10KΩ

2KΩ +4db

FUSE RATING

USE CLASS 2 WIRING MAXIMUM LOAD IMPEDANCE 4Ω

CAUTION

E30 Dual 15 Band EQ

+RIGHT GROUND

LEFT+

OUTPUT 250W/4Ω

TIP RING SLEEVE

TIP +

E30 2/3 OCTAVE STEREO 15 BAND GRAPHIC EQUALIZER

RING -

OUTPUTS

INPUTS

SLEEVE GND

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

~AC INPUT

THIS EQUIPMENT TO RAIN OR MOISTURE.

SAMSON

120V - 60 Hz 20W

SERIAL NUMBER

TECHNOLOGIES

CORP.,

115V/230V 50/60Hz13W

!

NEW YORK, U.S.A.

CHANNEL B

CHANNEL A

CHANNEL B

CHANNEL A

S•3 Way

S1500 Power Amp (Mid)

S•Com 4

OUTPUT			INPUT
PUSH TO RESET
20A/250V
(4Ω~8Ω)	(4Ω~8Ω)
		BALANCED	BALANCED
		0dBm	0dBm
~AC INPUT
115V 60Hz, 920W
(4Ω~8Ω)	(4Ω~8Ω)
CH 2	CH 1	CH 2	CH 1

S•Com 4

S2000 Power Amp

(Bridged Mono Low)

OUTPUT			INPUT
PUSH TO RESET
25A/250V
(4Ω~8Ω)	(4Ω~8Ω)
		BALANCED	BALANCED
		0dBm	0dBm
~AC INPUT
115V 60Hz, 1100W
(4Ω~8Ω)	(4Ω~8Ω)
CH 2	CH 1	CH 2	CH 1

Left High / Mid

Right High / Mid

Mono

Sub

In this example, two S•com 4’s are inserted after the mixer, equalizer and crossover, thereby providing individual compression on the low, mid and high frequencies.

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S•com 4 Connections

CONNECTING THE S•com 4

The are several ways to interface the S•com 4 to support a variety of applications. The S•com 4 features servobalanced inputs and outputs, so connecting balanced and unbalanced signals is possible without any signal loss. The S•com 4 can be used on a single instrument by connecting to a mixer 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 4 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.

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

Tip (send)

Sleeve (common)

	Send (tip)	Return (ring)		Tip (send)
		Send (tip)	Ring (return)
	Return (ring)	Common
		Common	Sleeve (common)

Sleeve (common)

Tip (return)

IN-LINE

In live sound operation the S•com 4 can be installed in-line between a mixer and equalizer or power amplifier. For these applications the S•com 4 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.

Unbalanced 1/4” Connector				XLR Balanced Wiring Guide
Signal		Signal		Tip (signal)		Hot	Common	Common (1) Hot (2)
								1	2	2	1
									3		3
						Cold		Solder Points		End View
							Female XLR	Cold (3)
Ground		Ground
			Sleeve (ground)
Balanced TRS 1/4” Connector
Signal (tip)		Signal (ring)		Tip (signal)			Hot (2) Common (1)	Common	Hot
		Signal (tip)
				Ring (signal)
				1	2	2	1
					3		3
				End View		Solder Points			Cold
Signal (ring)	Ground						Cold (3)
		Ground	Sleeve (ground)				Male XLR

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FRANÇAIS

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 transparent. 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 caractéristiques 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.

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