Samson S-Com 4 User Manual

S Class Signal Processors

STEREO COMPRESSOR / LIMITER

EXPANDER/GATE CH 1

TRIGGER

4 CHANNEL

COMPRESSOR

20

OFF +10

050

dB

RELEASE

GATE

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

-24 -6 -4-12 -2

GATE

COMPRESSOR / LIMITER

THRESHOLD

RATIO

4:1

-10

10-30

-40 +20

1

dB

dB

-18 0 +6-6 +9

METER

62

ENHANCER

STEREO LINK

OUTPUT

0

IN/OUT 1

I/O

+10-10

IN/OUT 2

-20 +20

dB

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

-24 -6 -4-12 -2

EXPANDER/GATE CH 2

TRIGGER

20

GATE

050

OFF +10

dB

RELEASE

COMPRESSOR / LIMITER

THRESHOLD

RATIO

-10 4:1

10-30

-40 +20

1

dB

dB

-18 0 +6-6 +9

METER

I/O

62

ENHANCER

OUTPUT

-20 +20

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

-24 -6 -4-12 -2

EXPANDER/GATE EXPANDER/GATE

TRIGGER

20

0

GATE

050

+10-10

OFF +10

dB

dB

RELEASE

COMPRESSOR / LIMITER

THRESHOLD

RATIO

-10 4:1

10-30

-40 +20

1

dB

dB

-18 0 +6-6 +9

METER

I/O

62

ENHANCER

OUTPUT

-20 +20

STEREO LINK

CH 3

0

IN/OUT 3

+10-10

IN/OUT 4

dB

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

-24 -6 -4-12 -2

COMPRESSOR / LIMITER

TRIGGER

THRESHOLD

20

-10

GATE

050

OFF +10

-40 +20

dB

dB

RELEASE

RATIO

4:1

10-30

1

dB

-18 0 +6-6 +9

METER

I/O

62

ENHANCER

OUTPUT

-20 +20

POWER

CH 4

0

+10-10

dB

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.

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

RISQUE DE CHOC ELECTRONIQUE

AVIS

NE PAS OUVRIR

RISK OF ELECTRIC SHOCK

DO NOT OPEN

ENGLISH

Forward by Ray Kennedy 3

Introduction 4

S•com 4 Features 5

Controls and Functions

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

Operating the S•com 4

Setting Up the S•com 4 8
Compressing A Signal 8
Gating A Signal 9
Using The Expander 9
Using the Enhancer 10

Dynamics Processing 101 11-12

Applications 13-14

System Set-ups 15-16

S•com 4 Connections 17

Specifications 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

Table of Contents

Table des matières Inhalt Contenido

DEUTSCHE

Vorwort von Ray Kennedy 32

S•com 4 Features 33

Regler und Funktionen

Vorderseite 34-35
Rückseite 34-35

Bedienung des S•com 4

S•com 4 einrichten 36
Signal komprimieren 36
Signal gaten 37
Expander einsetzen 37
Enhancer einsetzen 38

Dynamikbearbeitung 101 39-40

Anwendungen 41-42

System-Einrichtungsbeispiele 43-44

S•com 4 Anschlüsse 45

Technische Daten 60-61

ESPAÑOL

Prólogo de Ray Kennedy 46

Características y funciones de S•com 4 47

Controles y funciones

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

Utilizar el S•com 4

Preparar el S•com 4 50
Comprimir una señal 50
Aplicar una compuerta a una señal 51
Utilizar el Expander 51
Utilizar el Enhancer 51

Procesamiento de dinámica 101 53-54

Aplicaciones 55-56

Instalaciones del sistema 57-58

Conexiones de S•com 4 59

Especificaciones 60-61

FRANÇAIS

Note de Ray Kennedy 18

Caractéristiques du S•com 4 19

Réglages et fonctions

Face avant 20-21
Face arrière 20-21

Utilisation du S•com 4

Configuration du S•com 4 22
Compression d’un signal 22
Utilisation du Noise Gate 23
Utilisation de l’expanseur 23
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 4 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 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.

Introduction

ENGLISH

5

S•com 4 Features

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

4 CHANNEL

COMPRESSOR

GATE

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

-24 -6 -4-12 -2

TRIGGER

OFF +10

20

dB

GATE

050

RELEASE

COMPRESSOR / LIMITER

THRESHOLD

-40 +20

EXPANDER/GATE CH 1

-18 0 +6-6 +9

RATIO

METER

OUTPUT

4:1

-10

dB

I/O

10-30

62

1

-20 +20

dB

ENHANCER

STEREO LINK

0

IN/OUT 1

+10-10

IN/OUT 2

dB

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

-24 -6 -4-12 -2

TRIGGER

OFF +10

20

dB

GATE

050

RELEASE

COMPRESSOR / LIMITER

THRESHOLD

-40 +20

EXPANDER/GATE CH 2

-10 4:1

10-30

dB

RATIO

1

dB

-18 0 +6-6 +9

METER

OUTPUT

I/O

62

-20 +20

ENHANCER

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

-24 -6 -4-12 -2

TRIGGER

20

OFF +10

dB

GATE

050

RELEASE

COMPRESSOR / LIMITER

THRESHOLD

-40 +20

EXPANDER/GATE EXPANDER/GATE

0

+10-10

dB

-10 4:1

10-30

dB

RATIO

1

dB

-18 0 +6-6 +9

METER

I/O

62

ENHANCER

OUTPUT

-20 +20

STEREO LINK

CH 3

0

IN/OUT 3

+10-10

IN/OUT 4

dB

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

-24 -6 -4-12 -2

COMPRESSOR / LIMITER

TRIGGER

THRESHOLD

20

-10

GATE

050

OFF +10

-40 +20

dB

RELEASE

-18 0 +6-6 +9

RATIO

METER

4:1

I/O

10-30

62

1

dB

dB

ENHANCER

OUTPUT

-20 +20

POWER

CH 4

0

+10-10

dB

Controls and Functions

1 GATE OPEN & CLOSED LEDS - 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 setting of the I/O
meter switch.

5 STEREO LINK SWITCH- When engaged channel 2

functions are controlled by the settings on channel 1.

6 CHANNEL 2 CONTROLS - The same knob and switch

complement as channel 1 .

O

P

7 CHANNEL 3 CONTROLS - The same knob and switch

complement as channel 1.

8 STEREO LINK SWITCH (3 & 4)-When engaged, chan-

nel 4 functions are controlled by the settings on chan­nel 3.

9 CHANNEL 4 CONTROLS - The same knob and switch

complement as channel 1.

10 MAINS POWER SWITCH - When turned on, activates

the S•com.

11 RACK EARS - Used for mounting into a 19inch stan-

dard rack.

12 TRIGGER- Controls the threshold level that the

Expander/Gate becomes activated.

13 RELEASE SWITCH - Selects FAST or SLOW Release

Time for EXPANDER/GATE.

A AC INLET - IEC standard AC power cable connector

with external fuse.

B CHANNEL 4 XLR LINE INPUT - XLR Balanced line

input.

C CHANNEL 4 1/4” TRS LINE INPUT - 1/4” TRS

Balanced line input.

D OPERATING LEVEL SWITCH - Switches the operat-

ing level from -10 to +4.

6

Front Panel Layout

Rear Panel Layout

ENGLISH

4 CHANNEL

COMPRESSOR

GATE

1

12

2

TRIGGER

20

OFF +10

dB

13

3

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

-24 -6 -4-12 -2

COMPRESSOR / LIMITEREXPANDER/GATE CH 1

THRESHOLD

GATE

050

-40 +20

RELEASE

14

15

4

-10 4:1

dB

RATIO

10-30

1

dB

16

-18 0 +6-6 +9

62

ENHANCER

17

METER

I/O

18

5

OUTPUT

0

-20 +20

dB

19

STEREO LINK

+10-10

20

IN/OUT 1

IN/OUT 2

TRIGGER

20

OFF +10

dB

6

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

GATE

050

RELEASE

-24 -6 -4-12 -2

COMPRESSOR / LIMITEREXPANDER/GATE CH 2

THRESHOLD

-10 4:1

10-30

-40 +20

dB

RATIO

1

dB

-18 0 +6-6 +9

METER

62

ENHANCER

EX

OUTPUT

0

I/O

-20 +20

dB

T

50

+10-10

A

B ED

C F

LEVEL

-10

+4

BALANCED

INPUT

G

CH 4

BALANCED

OUTPUT

LEVEL

-10

+4

BALANCED

INPUT

CH 3

BALANCED

OUTPUT

Controls and Functions

R

14 THRESHOLD - Used to set minimum signal level at

which the Compressor circuit begins to function.

15 RATIO - Controls the amount Gain Reduction in pro-

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

16 I/O METER SWITCH - Selects either the input or out-

put level to be displayed on the Input/Output meter.

17 ENHANCE SWITCH- Activates S•com 4’s ERF

(Enhanced Frequency Recovery) circuit restoring the
high end loss resulting from extreme Gain Reduction.

18 OUTPUT- Controls the level of output signal.

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

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

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

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

.

E CHANNEL 4 XLR LINE OUTPUT - XLR Balanced line

output.

F CHANNEL 4 1/4” TRS LINE OUTPUT - 1/4” TRS

Balanced line output.

G CHANNEL 3 - Same Inputs and Outputs as channel 4

H CHANNEL 2 - Same Inputs and Outputs as channel 4

I CHANNEL 1 - Same Inputs and Outputs as channel 4

7

ENGLISH

7

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

-24 -6 -4-12 -2

PANDER/GATE EXPANDER/GATE

TRIGGER

20

0

OFF +10

dB

RELEASE

COMPRESSOR / LIMITER CH 3

THRESHOLD

-10 4:1

GATE

-40 +20

dB

10-30

RATIO

1

dB

-18 0 +6-6 +9

METER

OUTPUT

I/O

62

-20 +20

ENHANCER

8

STEREO LINK

0

IN/OUT 3

+10-10

IN/OUT 4

dB

21

22

TRIGGER

20

OFF +10

dB

GATE

050

RELEASE

OUTPUT

0

-20 +20

dB

10

+10-10

POWER

POWE

11

9

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

-24 -6 -4-12 -2

COMPRESSOR / LIMITER CH 4

THRESHOLD

-10

10-30

-40 +20

dB

RATIO

1

4:1

dB

-18 0 +6-6 +9

METER

I/O

62

ENHANCER

H I

3

CED
UT

LEVEL

-10

+4

BALANCED

INPUT

CH 2

BALANCED

OUTPUT

LEVEL

-10

+4

BALANCED

INPUT

CH 1

BALANCED

OUTPUT

8

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:

EXPANDER/GATE TRIGGER – OFF
GATE SWITCH – OUT
FAST RELEASE – OUT
COMPRESSOR THRESHOLD – +20dBu (fully clockwise)
RATIO – 1:1
ENHANCER - OUT

METER SWITCH – IN
OUTPUT LEVEL – O dBu
STEREO LINK SWITCH – OUT
CHANNEL 1 IN/OUT – 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.

ENGLISH

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

4 CHANNEL

COMPRESSOR

GATE

TRIGGER

20

OFF +10

dB

GATE

050

RELEASE

-24 -6 -4-12 -2

COMPRESSOR / LIMITEREXPANDER/GATE CH 1

THRESHOLD

-10

10-30

-40 +20

dB

RATIO

1

4:1

dB

-18 0 +6-6 +9

METER

OUTPUT

I/O

62

-20 +20

ENHANCER

dB

0

STEREO LINK

+10-10

IN/OUT 1

IN/OUT 2

TRIGGER

20

OFF +10

dB

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

GATE

050

RELEASE

-24 -6 -4-12 -2

COMPRESSOR / LIMITEREXPANDER/GATE CH 2

THRESHOLD

-10 4:1

10-30

-40 +20

dB

RATIO

1

dB

-18 0 +6-6 +9

METER

62

ENHANCER

OUTPUT

0

I/O

-20 +20

dB

+10-10

9

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.

U

C

R

1

GATING A SIGNAL

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.

C

P

H

+

• Press the RELEASE switch to the IN position to select

FAST release time.

• Now increase the TRIGGER 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 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 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

TRIGGER

20

OFF +10

dB

GAIN REDUCTION dB INPUT / O

-24 -6 -4-12 -2

COMPRESSOR / LIMITEREXPANDER/GATE

THRESHOLD

-10

GATE

050

-40 +20

RELEASE

10-30

dB

RATIO

4:1

1

dB

-18 -6

METE

62

ENHAN

4 CHANNEL

COMPRESSOR

GATE

EXPANDER/GATE

TRIGGER

20

OFF +10

dB

GATE

050

RELEASE

GAIN REDU

-24 -6-12

COM

THRES

-30

-40

I/O

-

-10

dB

10

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.

X

• 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.

ENGLISH

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

4 CHANNEL

COMPRESSOR

GATE

TRIGGER

20

OFF +10

dB

GATE

050

RELEASE

-24 -6 -4-12 -2

COMPRESSOR / LIMITEREXPANDER/GATE CH 1

THRESHOLD

-10

10-30

-40 +20

dB

RATIO

4:1

1

dB

-18 0 +6-6 +9

METER

OUTPUT

I/O

62

-20 +20

ENHANCER

STEREO LINK

0

IN/OUT 1

+10-10

IN/OUT 2

dB

TRIGGER

20

OFF +10

dB

GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB

GATE

050

RELEASE

-24 -6 -4-12 -2

COMPRESSOR / LIMITEREXPANDER/GATE CH 2

THRESHOLD

-10 4:1

10-30

-40 +20

dB

RATIO

1

dB

-18 0 +6-6 +9

METER

62

ENHANCER

OUTPUT

0

I/O

-20 +20

dB

E

50

+10-10

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 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.

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 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.

ENGLISH

13

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 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. 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.

Applications

14

ENGLISH

S•com 4 System Set-Ups

LIVE SOUND SYSTEM WITH STEREO COMPRESSION

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.

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

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

S•Com 4

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

S•3 Way

RISK OF ELECTRIC SHOCK

BUS

CAUTION

INSERTS

BALANCED 600 +4db

!

MIXER LINKING

DO NOT OPEN

TIP + RING - SLEEVE GND

CH 4

LEVEL

-10

+4

BALANCED

BALANCED

OUTPUT

INPUT

BALANCED <100Ω

120V - 60 Hz 20W

CAUTION

DO NOT OPEN

0db UNITY GAIN

SERIAL NUMBER

!

CH 2
HIGH
OUTPUT

2

2

1

1

CH 2

CH 2

MID

HIGH

3

3

OUTPUT

OUTPUT

MONO

MONO

HIGH-MID

HIGH

OUTPUT

OUTPUT

POWER
RATING

RISK OF ELECTRIC SHOCK

2

1

3

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

1L2R3L4RLRLR

AUX

RETURNS

UNBALANCED 10KΩ

CH 3

LEVEL

-10

+4

BALANCED

BALANCED

OUTPUT

INPUT

OUTPUTS

BALANCED
<100KΩ 0db
UNITY GAIN

CH 2

CH 2

INPUT

LOW

OUTPUT

2

1

CH 2

CH 2

LOW

INPUT

3

OUTPUT

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

2R

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

1L

AUX SEND

INSERTS TIP RETURN RING SEND
UNBALANCED
2KΩ +4db

LEVEL

-10

+4

BALANCED

INPUT

BALANCED <100Ω
0db UNITY GAIN

BALANCED
<100KΩ 0db
UNITY GAIN

CH 1
HIGH

OUTPUT

2

2

1

CH 1
HIGH

3

3

OUTPUT

MIC 1

-10
2

3

0

1

-40+4

TRIM

1L2R3L4R5L6R7L8R9L10R11L12R13L14R15L16R

-10

3

0

-40+4

TRIM

MIC 3MAIN OUT

CH 2

LEVEL

-10

+4

BALANCED

BALANCED

INPUT

OUTPUT

INPUTS

BALANCED

BALANCED

0db UNITY GAIN

0db UNITY GAIN

BALANCED

BALANCED

10KΩ

10KΩ

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

CHANNEL ACHANNEL BCHANNEL ACHANNEL B

Servo 550 Power Amp (High)

2

1

CH 1

BALANCED

OUTPUT

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 OVER-

HEATING MAY OCCUR

TO PREVENT SHOCK DO

+RIGHT

NOT OPEN. NO USER
SERVICABLE PARTS
INSIDE. REFER SERVICING

OUTPUT 250W/4Ω

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

RIGHT

LEFT

CAUTION

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

SERVO 550 STUDIO AMPLIFIER

!

GROUND

LEFT+

~AC INPUT

115V/230W, 50/60HZ

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

CH 1
MID

OUTPUT

MONO
LOW-MID
OUTPUT

CHANNEL

STEREO

LOW

1 INPUT

3 WAY

3

3

OUTPUT

MONO

MONO

MONO

LOW

INPUT

4 WAY

OUTPUT

MODE

CHANNEL

CH 1

STEREO

1 INPUT

LOW

2 WAY

OUTPUT

2

2

1

1

1

CH 1

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

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

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

TIP=HOT

TRS

BALANCED

CH 2 CH 1

BRIDGED PARALLEL

STEREO

BALANCED

0dBm

3=COLD

XLR

2=HOT

RING=COLD

BALANCED

SLEEVE=GND

1=GND

Mono

Sub

16

S•com 4 System Set-Ups

LIVE SOUND SYSTEM WITH MULTIBAND COMPRESSION

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.

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

BALANCED 600 +4db

RISK OF ELECTRIC SHOCK

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

E30 Dual 15 Band EQ

S•3 Way

S•Com 4

S•Com 4

!

DO NOT OPEN

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

POWER

120V - 60 Hz 20W

RATING

OFF

CAUTION

RISK OF ELECTRIC SHOCK

POWER

DO NOT OPEN

115V/230V 50/60Hz13W

OUTPUT

2

1

3

OUTPUT

MONO

OUTPUT

-10

+4

BALANCED

-10

+4

BALANCED

TIP + RING - SLEEVE GND

CH 2
HIGH

CH 2
HIGH

HIGH

LEVEL

INPUT

LEVEL

INPUT

Left High / Mid

Right High / Mid

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

BALANCED

0db UNITY GAIN

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

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 OVER-

HEATING MAY OCCUR

TO PREVENT SHOCK DO

GROUND

+RIGHT

NOT OPEN. NO USER
SERVICABLE PARTS
INSIDE. REFER SERVICING

OUTPUT 250W/4Ω

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

RIGHT

~AC INPUT

LEFT

115V/230W, 50/60HZ
510W (115V)900W (230V)

SERVO 550 STUDIO AMPLIFIER

!

LEFT+

SAMSON TECHNOLOGIES CORP., HICKSVILLE, NEW YORK

TIP RING SLEEVE

BRIDGED

MONO STEREO

LEFT

RIGHT

INPUTS
(BALANCED
10KΩ/0dBm0)

TIP +
RING -

SLEEVE GND

S1500 Power Amp (Mid)

INPUT

OUTPUT

CH 4

BALANCED

OUTPUT

CH 4

BALANCED

OUTPUT

CH 3

LEVEL

-10

+4

BALANCED

BALANCED

OUTPUT

INPUT

CH 3

LEVEL

-10

+4

BALANCED

BALANCED

OUTPUT

INPUT

CH 2

LEVEL

-10

+4

BALANCED

BALANCED

OUTPUT

INPUT

CH 2

LEVEL

-10

+4

BALANCED

BALANCED

OUTPUT

INPUT

CH 1

LEVEL

-10

+4

BALANCED

BALANCED

OUTPUT

INPUT

CH 1

LEVEL

-10

+4

BALANCED

BALANCED

OUTPUT

INPUT

PUSH TO RESET

115V 60Hz, 920W

20A/250V

(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

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

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

Mono

Sub

17

S•com 4 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 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.

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.

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

3

Solder Points End View

Cold (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

21

3

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 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.

FRANÇAIS