Samson S-Com Plus User Manual
S Class Signal Processors
STEREO COMPRESSOR / LIMITER
STEREO
COMPRESSOR
GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB
30 24 2127 18 15 9 612 4 2 1 -30 -18-12-24 -6 -3 +3 +60 +9 +12 +18
THRESHOLDTRIGGER RATIO ATTACK RELEASE OUTPUT ENHANCER
-10
10
GATE KEY
050
-30
FAST
SLOW
dB
RELEASE SPECTRA KEY AUTO I/O METER
OFF +10
20
dB
COMPRESSOR / LIMITEREXPANDER/GATE
4:1
50
LISTEN
62
+10
1
+20-40
.3 300
mSec
dB
20015
.05 5
-10
+20-20
dB
Sec
0
1
3.15
STEREO LINK
5
73
+10
OFF 10
IN/OUT 1
IN/OUT 2
OFF +10
20
050
dB
GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB
30 24 2127 18 15 9 612 4 2 1 -30 -18-12-24 -6 -3 +3 +60 +9 +12 +18
THRESHOLDTRIGGER RATIO ATTACK RELEASE OUTPUT ENHANCER
-10
10
GATE
GATE KEY
-30
FAST
SLOW
dB
RELEASE
COMPRESSOR / LIMITEREXPANDER/GATE
4:1
50
LISTEN
62
+10
1
+20-40
dB
SPECTRA KEY AUTO I/O METER
.3 300
20015
.05 5
mSec
1
Sec
Sec
POWER
CH 2
CH 2CH 1
0
3.15
-10
5
73
+10
OFF 10
+20-20
dB
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.
1
FOR CONTINUED PROTECTION AGAINST RISK
OF FIRE, REPLACE ONLY WITH SAME TYPE FUSE
CAUTION
ATTENTION
UTILISER UN FUSIBLE DE
RECHANGE DE MÊME TYPE
WARNING
DO NOT EXPOSE THIS EQUIPMENT
TO RAIN OR MOISTURE
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 plus Features 5
Controls and Functions
Front Panel Layout 6-7
Rear Panel Layout 6-7
Operating the S•com plus
Setting Up the S•com Plus 8
Compressing A Signal 8
Gating A Signal 9
Using The Expander 9
Using the Enhancer 10
Using the De-esser 10
Setting Up the Peak Limiter 10
Dynamics Processing 101 11-12
Applications 13-14
System Set-ups 15-16
S•com plus Connections 17
Specifications 60-61
Block Diagram 62
Copyright 2001, Samson Technologies Corp.
Printed April, 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: 516-364-3888
www.samsontech.com
Table of Contents
Table des matières Inhalt Contenido
DEUTSCHE
Vorwort von Ray Kennedy 32
S•com plus Features 33
Regler und Funktionen
Vorderseite 34-35
Rückseite 34-35
Bedienung des S•com plus
S•com plus einrichten 36
Signal komprimieren 36
Signal gaten 37
Expander einsetzen 37
Enhancer einsetzen 38
De-esser einsetzen 38
Peak Limiter einrichten 38
Dynamikbearbeitung 101 39-40
Anwendungen 41-42
System-Einrichtungsbeispiele 43-44
S•com plus Anschlüsse 45
Technische Daten 60-61
ESPAÑOL
Prólogo de Ray Kennedy 46
Características y funciones de S•com plus 47
Controles y funciones
Distribución del panel frontal 48-49
Distribución del panel posterior 48-49
Utilizar el S•com plus
Preparar el S•com Plus 50
Comprimir una señal 50
Aplicar una compuerta a una señal 51
Utilizar el Expander 51
Utilizar el Enhancer 51
Utilizar el De-esser 52
Utilizar el Limiter 52
Procesamiento de dinámica 101 53-54
Aplicaciones 55-56
Instalaciones del sistema 57-58
Conexiones de S•com plus 59
Especificaciones 60-61
FRANÇAIS
Note de Ray Kennedy 18
Caractéristiques du S•com Plus 19
Réglages et fonctions
Face avant 20-21
Face arrière 20-21
Utilisation du S•com Plus
Configuration du S•com Plus 22
Compression d’un signal 22
Utilisation du Noise Gate 23
Utilisation de l’expanseur 23
Utilisation de l’Enhancer 24
Utilisation du dé-esseur 24
Utilisation du limiteur de crêtes 24
Notes élémentaires sur les processeurs
de dynamique 25-26
Applications 27-28
Configurations du système 29-30
Connexions du S•com Plus 31
Caractéristiques techniques 60-61
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
3
Thank you for purchasing the Samson S•com plus dynamics processor. The Samson S•com
plus is a one-space dual channel dynamics processor optimized for recording, live sound
reinforcement systems, DJ set-ups and commercial installations. The S•com plus is a complete dynamics processing solution offering two channels of full function Compressor,
Expander/Gate, Limiter and De-Esser. S•com plus’ 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 plus 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 plus 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
4
S•com plus Features
The Samson S com Plus dynamics processor utilizes the latest technology in gain management design. Here are
some of its main features:
• Full featured, dual channel dynamics processor including Compressor/Limiter, Expander/Gate, De-Esser
and Peak Limiter.
• SKD (Smart Knee Detector) switches from soft to hard knee based on the level of input signal.
• AEG (Automatic Envelope Generator) mode constantly adjusts the Compressor’s Attack and Release
times based on input signal. Manual adjustment of Attack and Release time is also facilitated.
• 12 Segment LED Input/Output Meter, plus 12 Segment LED Gain Reduction Meter.
• External Keying with Key Switch available on front panel.
• Adjustable De-Esser with independent LED meter for reducing annoying sibilance from recorded tracks.
• Expander/Gate with variable Trigger control and switchable Fast and Slow Release time.
• Gate function can be switched from hard Off to Light Downward Expander.
• Gate Open and Closed LED's.
• Peak Limiter with independent Threshold control and Peak LED.
• Advanced circuit design, utilizing low noise operational amplifiers and high quality VCAs.
• Stereo Link Switch.
• Servo balanced inputs and outputs on XLR and 1/4” connectors.
• Switchable +4 and –10 operating levels.
• High quality 41 position detent pots and backlit switches.
• The stylish bead blasted electric blue anodized front-panel is as easy to read as it is to look at.
• Three-year extended warranty.
ENGLISH
5
Auto Envelope
GENERATOR
Smart Knee
DETECTOR
Enhanced
Frequency
RECOVERY
GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB
30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12+18
EXPANDER/GATE COMPRESSOR / LIMITER
THRESHOLD
STEREO
COMPRESSOR
LIMITER
TRIGGER
OFF +10
-10
10
20
GATE
-30
+10
050
+20-40
dB
dB
RELEASE AUTO I/O METER IN/OUT
ENHANCER
RATIO
ATTACK
.3 300
mSec
RELEASE
1
50
3.15
20015
.05 5
Sec
4:1
62
1
dB
KEY
DE-ESSER LEVEL dB
OUTPUT
0
-10
+10
010
+20-20
dB
-3 -60-9-12
DE-ESSER
LEVEL
5
73
dB
CH 1
LIMITER
0 OFF
LIMIT
STEREO LINK
EXPANDER/GATE COMPRESSOR / LIMITER
+12
dB
TRIGGER
20
IN/OUT 1
16+5
IN/OUT 2
OFF +10
dB
GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB
30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12+18
THRESHOLD
RATIO
ATTACK
.3 300
mSec
RELEASE
1
50
3.15
20015
.05 5
Sec
-10
10
GATE
-30
050
RELEASE AUTO I/O METER IN/OUT
4:1
+10
62
1
+20-40
dB
dB
ENHANCER
KEY
DE-ESSER LEVEL dB
-3 -60-9-12
DE-ESSER
OUTPUT
LEVEL
0
-10
5
+10
73
010
+20-20
dB
dB
CH 2
LIMITER
0 OFF
LIMIT
POWER
+12
16+5
dB
1 GATE OPEN & CLOSED LED - Indicates when
the gate is open or closed.
2 GAIN REDUCTION METER - Displays the
amount of Gain Reduction when Compressor
circuit is activated.
3 INPUT/OUTPUT METER - Displays the Input
or Output signal level based on the settings of
the I/O meter switch.
4 DE-ESSER METER - Displays the amount of
De-Esser effect.
5 LIMITER METER - Display light indicates
when LIMITER circuit is engaged.
6 STEREO LINK SWITCH- When engaged
Channel 2 functions are controlled by the settings on Channel 1.
7 CHANNEL 2 CONTROLS - The same knob and
switch complement as Channel 1 .
Controls and Functions
P
O
R
8 MAINS POWER SWITCH - When turned on, acti-
vates the S•com plus.
9 RACK EARS - Used for mounting into a 19-inch
standard rack.
10 TRIGGER- Controls the threshold level that the
Expander/Gate becomes active.
11 GATE SWITCH - Selects either Gate or Expander
mode.
12 RELEASE SWITCH - Selects FAST or SLOW Release
Time for EXPANDER/GATE.
13 THRESHOLD - Used to set the minimum signal
level at which the Compressor circuit begins to
function.
14 ENHANCE - Activates S• com plus’ Enhanced
Spectrum Recovery circuit restoring the high end
loss resulting from extreme Gain Reduction.
15 RATIO - Controls the amount Gain Reduction in
proportion to the amount of signal over the
selected threshold level.
A AC INLET - IEC standard AC Power cable
Connector.
B CHANNEL 2 XLR INPUT - XLR Balanced line
input.
C CHANNEL 2 1/4” TRS INPUT - 1/4” TRS
Balanced line input.
D OPERATING LEVEL SWITCH - Switches the oper-
ating level from -10dB to +4dB.
E CHANNEL 2 KEY INPUT - Input connection
allowing external control of the S•com plus’
Compressor detection circuit.
F CHANNEL 1 KEY OUTPUT - S• com plus’ detec-
tor circuit is sent here. Use the Key Output to
process the compressor’s detector through an
external effect like an equalizer.
REAR PANEL LAYOUT
ENGLISH
6
FRONT PANEL LAYOUT
1
EXPANDER/GATE COMPRESSOR / LIMITER
STEREO
COMPRESSOR
LIMITER
10
2
11
GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB
30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12 +18
TRIGGER
20
OFF +10
dB
12
THRESHOLD
10
-10
GATE
-30
050
+20-40
dB
RELEASE AUTO I/O METER IN/OUT
13
ENHANCER
14
+10
15
RATIO
1
4:1
dB
16
3
ATTAC K
50
62
.3 300
mSec
KEY
18
17
RELEASE
1
Sec
20
-10
3.15
21
20015
.05 5
19
OUTPUT
0
+20-20
dB
4
+10
22
5
DE-ESSER LEVEL dB
-3 -60-9-12
DE-ESSER
LEVEL
5
73
010
dB
23
24
6
LIMIT
CH 1
LIMITER
+12
0OFF
dB
25
26
STEREO LINK
IN/OUT 1
16+5
IN/OUT 2
EX
T
50
A
B
-10
+4
F G
CHANNEL 2
KEY
INPUT OUTPUT
H
C
D
BALANCED
INPUT
E
LEVEL
BALANCED
OUTPUT
Controls and Functions
16 KEY SWITCH - Selects the key input so that an
external signal may trigger the compressor.
17 ATTACK - Adjusts the amount of time the com-
pressor takes to reach full gain reduction.
18 A U T O - Activates S •com plus’ AEG (Auto Envelope
Generator) which dynamically adjusts the attack
and release time based on signal content.
19 RELEASE - Adjusts the length of time the com-
pressor takes to return the signal to it’s original
level.
20 INPUT/ OUTPUT METER SELECT SWITCH -
Selects either Input or Output level to be displayed on the Input/Output Meter.
21 LEVEL - Controls the amount of Output level.
22 DE-ESSER LEVEL - Displays light indicating when
Limiter circuit is engaged.
23 DE-ESSER IN/OUT Switch - Activates DE-
ESSER circuit.
24 Limiter - Sets the level at which LIMITING
begins.
25 CHANNEL 1 IN/OUT - Activates S•com plus
Channel 1.
26 CHANNEL 2 IN/OUT - Activates S•com plus
Channel 2.
G CHANNEL 2 XLR OUTPUT - XLR Balanced line out-
put.
H CHANNEL 2 1/4” TRS OUTPUT - 1/4” TRS
Balanced line output.
I CHANNEL 1 - Same inputs and outputs as
Channel 1.
ENGLISH
7
GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB
30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12 +18
INK
EXPANDER/GATE COMPRESSOR / LIMITER
TRIGGER
20
1
2
OFF +10
dB
THRESHOLD
10
-10
GATE
-30
050
+20-40
RELEASE AUTO I/O METER IN/OUT
dB
+10
ENHANCER
RATIO
1
4:1
dB
ATTAC K
50
62
.3 300
mSec
KEY
RELEASE
1
20015
.05 5
Sec
7
8
9
DE-ESSER LEVEL dB
-3 -60 -9 -12
+10
DE-ESSER
LEVEL
5
010
dB
73
OUTPUT
0
-10
3.15
+20-20
dB
LIMIT
CH 2
LIMITER
+12
0OFF
dB
POWER
16+5
I
CHANNEL 1
NCED
PUT
STEREO
COMPRESSOR
LIMITER
BALANCED
INPUT
-10
+4
LEVEL
INPUT OUTPUT
KEY
BALANCED
OUTPUT
Operating The S•com plus
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 plus
• Connect one or both sets of inputs and outputs to the designated 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)
ENHANCER - OUT
RATIO – 1:1
KEY SWITCH - OUT
ATTACK – 0.3 (fully counter-clockwise)
AUTO SWITCH- OUT
RELEASE - 5 (fully clockwise)
METER SWITCH – IN
OUTPUT LEVEL – O dBu
DE-ESSER – 0 (fully counter-clockwise)
DE-ESSER SWITCH – OUT
LIMITER – OFF (fully clockwise)
STEREO LINK SWITCH – OUT
CHANNEL 1 ENGAGE – OUT
In this configuration, the S•com plus is simply passing audio at unity gain with no dynamics processing. It is a
good idea to check your gain structure at this point. Use the Input/Output meter to match the level.
• Send a signal to either or both of the S•com plus’ inputs and outputs.
• Press the METER switch to see that the input and output levels are matched.
COMPRESSING A SIGNAL
S•com plus' 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 plus” for normalizing the controls.
• Press the CHANNEL IN switch (located in the middle of the unit) to the IN position.
• Press in the AUTO switch (located in-between ATTACK and RELEASE).
• Adjust the Ratio to 2:1.
ENGLISH
8
STEREO
COMPRESSOR
LIMITER
EXPANDER/GATE COMPRESSOR / LIMITER
TRIGGER
20
GATE
050
OFF +10
dB
RELEASE AUTO I/O METER IN/OUT
GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB
30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12 +18
THRESHOLD
-30
10
-10
dB
+20-40
ENHANCER
+10
RATIO
1
4:1
dB
ATTAC K
50
62
.3 300
mSec
KEY
RELEASE
1
20015
.05 5
Sec
OUTPUT
0
-10
3.15
+20-20
dB
DE-ESSER LEVEL dB
-3 -60 -9 -12
DE-ESSER
LEVEL
5
+10
010
dB
CH 1
LIMITER
73
0 OFF
LIMIT
+12
dB
STEREO LINK
IN/OUT 1
16+5
IN/OUT 2
9
Operating The S•com plus
• Now gradually turn down the THRESHOLD level and
listen for the compression. For a visual representation,
the amount of compression is indicated on the GAIN
REDUCTION meter.
• Press out the AUTO button to experiment with manually
controlled ATTACK and RELEASE times.
P
3
C
c
0
GATING A SIGNAL
Unwanted noises, buzzes and hisses can be easily removed by using S•com plus’ 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 plus” for normalizing the controls.
• To engage the Gate, make sure that the EXPANDER/GATE switch is pressed in.
G
2
2
H
• Press the RELEASE switch to the IN position to select
FAST release time.
• Now increase the THRESHOLD level and listen as the
signal begins to gate. For a visual representation of the
gate opening and closing, look at the GATE
OPEN/CLOSED LED’s located above the
EXPANDER/GATE TRIGGER control.
USING THE DOWNWARD EXPANDER
You can set the S•com plus' 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 plus” 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
30 24 2127 18 15 9 612 4 2 1 -
R/GATE COM
GATE
-30
0
RELEASE
GAIN REDUCTION dB
THRESHOLD
-10
10
+20-40
dB
ENHANCER
+10
RATIO
4:1
1
dB
ATTA
50
62
15
.3 3
KEY
mSe
30 24
-30
27
THRES
-40
10
-10
dB
STEREO
COMPRESSOR
LIMITER
EXPANDER/GATE
TRIGGER
20
GATE
050
OFF +10
dB
RELEASE
+
10
ENGLISH
Operating The S•com plus
USING THE PEAK LIMITER
The Peak Limiter on S•com plus can be used in recording to insure that the output levels do not exceed a certain
level and in PA applications, for speaker protection. To audition S•com plus’ PEAK LIMITER try the following.
• Follow the section above, “SETTING UP THE S•com plus” for
normalizing the controls.
• To engage the PEAK LIMITER, adjust the LIMITER threshold
control knob to the maximum output level desired.
• The LIMIT LED above the LIMITER threshold control knob
indicates when the limiter circuit is kicking in. If the LED
does not light, you have not reached the maximum level.
USING THE ENHANCER
The S•com plus’ ENHANCER switch can be engaged to activate the EFR (Enhanced Frequency Recovery) circuit. By engaging the ENHANCER, the S•com plus EFR restores the high frequency content that can be lost
when high gain reduction is applied. The S•com plus EFR achieves this by adding back the high-end of the original signal in an amount that is equal to the amount of gain reduction.
• Follow the section above, “SETTING UP THE S•com plus” for normalizing the controls and run a signal such as a CD through the
S•com plus.
• Press the CHANNEL IN switch (located in the middle of the unit) to
the IN position.
• Press in the AUTO switch (located in-between ATTACK and
RELEASE).
• Adjust the Ratio to 6 - 8:1.
• Switch on the ENHANCER and listen to how the high end is
restored when the ENHANCER is on.
USING THE DE-ESSER
The S•com plus’ De-Esser is a powerful tool for removing annoying problems like heavily sibilant vocal tracks or
bright cymbals. To listen to the De-Esser try the following:
• Follow the section above, “SETTING UP THE S•com plus” for
normalizing the controls.
• To engage the De-ESSER, make sure that the DEESSER switch is pressed in.
• Now increase the De-ESSER level and listen as the high
frequency component of the signal begins get softer.
• You will see the amount of high frequency gain reduction
displayed in the De-ESSER level meter.
Note: For Detailed De-Essing - Since the Compressor and DE-ESSER share the same ATTACK and RELEASE
settings you may consider using one of the S•com plus’ channels exclusively for DE-ESSING. Experiment with
fast ATTACK and RELEASE times when using the channel for DE-ESSING only.
Y
5
S
30 24 2127 18 15 9 612 4 2
GATE
GAIN REDUCTION dB
THRESHOLD
-10
10
-30
+10
GATE
+20-40
ELEASE
dB
ENHANCER
9 +12 +18
OUTPUT
0
DE-ESSER LEVEL dB
-3 -60 -9 -12
DE-ESSER
LEVEL
5
RATIO
4:1
1
dB
CH 1
LIMITER
62
KE
LIMIT
+12
+10
73
16+5
0 OFF
dB
dB
+20-20
010
dB
IN/OUT
-ESSER LEVEL dB
DE-ESSER
LEVEL
010
-3 -6
5
dB
-9 -12
7
IN/OUT
LIMIT
CH 1
LIMITER
+12
0OFF
dB
STEREO LINK
IN/OUT 1
16+5
IN/OUT 2
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 plus 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 50µs to 5 seconds.
In normal use, faster release times are used for spoken word and longer release times are generally better for
instrumental music.
Auto Attack and Release
Today, sophisticated compressors often incorporate a dynamic or Auto Attack and Release mode. The S•com
plus’ AEG (Auto Envelope Generator) is such a mode which when engaged, automatically adjusts the attack and
release time based on the dynamically changing input signal.
ENGLISH
12
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 plus 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 plus 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. The
S•com plus offers a Limiter section with independent controls designed to work in conjunction with the
Compressor section. The operating range of the Limiter is from 0 to +20dB and when engaged, protects against
signal peaks, overloads and excess modulation in broadcast situations.
Stereo Link Mode
The S•com plus 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.
Side Chain / External Key
The S•com plus features a side-chain or external Key function. The external Key function is used to externally
process the compressor’s detector circuit. There are many useful applications for processing the detector circuit
including Equalizing for frequency dependent compression, De-Essing - the use of EQ to remove sibilance, and
externally keying off a vocal track for Ducking effects to name a few. Selecting the Key function on S•com plus’
front panel, interrupts the compressors detector path and routes it to the Key Output jack. The Key Input jack
receives the externally processed signal, which will now control the compressor’s detector.
13
Applications
Using the Expander/Gate to Remove Hiss and Noise
The S•com plus 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 plus to Expander mode with the
Release switch to Slow and adjust the Threshold so that the acoustic guitar signal is well above the threshold
level. When the signal from the acoustic guitar track falls below the threshold level, the signal subtly fades into
the noise floor.
Now let’s say you’re attempting to remove the pick-up noise and hum from a guitar track that was recorded
through a loud amplifier. The hum and noise is most noticeable in-between the rhythm of the performance, so you
want to have the gate close during the silent parts and open during the musical passages. To do this, set the
S•com plus 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 plus 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 plus 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.
ENGLISH
14
ENGLISH
Leveling a Vocal Track
When recording a vocal track, the vocalist may change the distance between them and the microphone, or they
may naturally have a lot of dynamic range in their performance. In either case, the sound engineer must decide
how much compression should be used to balance the natural performance and printing a good level to tape or
disk. Set up the S•com plus with a medium attack and release time and a ratio of 4:1. You can also use the Auto
button to engage the AEG (Auto Envelope Generator) for automatic attack and release. Now adjust the Threshold
level so that the Gain Reduction meters show 6 to 10 dB of gain reduction. Adjust the Ratio control if necessary.
Leveling a Guitar or Bass
Guitar and especially bass guitar can have a lot of level change between strings and even frets on the fingerboard. Using compression when recording guitars and bass will even out these differences. Set up the compressor section of the S•com plus with a medium attack and release time and a ratio of 4:1. You can also use the
Auto button to engage the AEG (Auto Envelope Generator) for automatic attack and release. Now adjust the
Threshold level so that the Gain Reduction meters show 10 to 12 dB of gain reduction. You’ll notice that the each
note is at the same loudness and the overall sustain is increased.
Compressing Drums
Adding compression on drums can make a boomy kick drum tighten up, almost as if you were tightening the head
of a drum. Set the S•com plus to a fairly quick attack time and use a ratio of 6:1. Set the Threshold so that the
Gain Reduction meter reads 12 to 15 dB. Adjust the Ratio control if necessary. You can use the same basic set
up on snare and toms as well.
Getting a Track to Sit in the Mix
By using a heavy amount of compression you can get the effect of the vocal suspending in the mix. While this
may be a bit radical for some, the effect can be dramatic especially if the vocal is mixed without any reverb or
delay. Set up the compressor section of the S•com plus with a medium attack and release time and a ratio of 6:1.
You can also use the Auto button to engage the AEG (Auto Envelope Generator) for automatic attack and
release. Now adjust the Threshold level to so that the Gain Reduction meters show 21 to 24 dB of gain 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 plus inputs. The S•com plus should be last in the chain before the power amps with its
outputs feeding the inputs of the amp. Now set the S•com plus to Stereo Link mode and use the Auto button to
engage the AEG (Auto Envelope Generator) for automatic attack and release. Adjust the Threshold and Ratio so
that the system’s entire dynamic range is under control. Set the Limiter control to +12 and gradually adjust it until
it is 1 to 2dB below the clip level of your power amps.
When using an active crossover, multiple compressors can be used to compress each section of the PA. For example, if the PA is using an active crossover to run a four-way mono system, two S•com plus’ can be used for four
band compression. By compressing each output of the crossover, you can maximize the output level while minimizing the gain to sensitive speakers like the mid-range. Run the low and low-mid frequencies into two channels of the
first S•com plus and the high-mid and high frequencies into channel one and two of the second S•com plus.
Applications
15
S•com plus System Set-Ups
LIVE SOUND SYSTEM WITH STEREO COMPRESSION
In this example, the S•com plus is inserted after the mixer and before the graphic equalizer,
thereby compressing the full range signal from the mixer.
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
RISK OF ELECTRIC SHOCK
~115V(0.3A)
230V(0.15A)
50/60Hz 30W
S•Com Plus
SERIAL NUMBER
MADE IN CHINA
_ mA SLOW BLOW FUSE FOR 115V
_ mA SLOW BLOW FUSE FOR 220V
E30 Dual 15 Band EQ
E30 2/3 OCTAVE STEREO 15 BAND GRAPHIC EQUALIZER
AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. DO NOT EXPOSE
THIS EQUIPMENT TO RAIN OR MOISTURE.
ON
~AC INPUT
OFF
POWER
115V/230V 50/60Hz13W
S•3 Way
BUS
CAUTION
INSERTS
BALANCED 600 +4db
!
MIXER LINKING
DO NOT OPEN
TIP + RING - SLEEVE GND
+4
BALANCED
CAUTION
INPUT
RISK OF ELECTRIC SHOCK
DO NOT OPEN.
POWER
RATING
2
RISK OF ELECTRIC SHOCK
1
3
120V - 60 Hz 20W
CAUTION
DO NOT OPEN
-10
INPUT OUTPUT
2
1
LEVEL
3
BALANCED <100Ω
0db UNITY GAIN
SERIAL NUMBER
!
CH 2
HIGH
OUTPUT
2
2
1
CH 2
CH 2
MID
HIGH
3
3
OUTPUT
OUTPUT
MONO
MONO
HIGH-MID
HIGH
OUTPUT
OUTPUT
INPUTS BALANCED 10KΩ -30 to +4db TIP + RING - SLEEVE GND.
AUX
RETURNS
UNBALANCED 10KΩ
CHANNEL 2
KEY
2
3
OUTPUTS
BALANCED
<100KΩ 0db
UNITY GAIN
CH 2
LOW
OUTPUT
2
1
1
CH 2
LOW
3
OUTPUT
2R
1L2R3L4RLRLR
1L
AUX SEND
UNBALANCED
2KΩ +4db
XLR
BALANCED
PIN 1 GND
OUTPUT
PIN 2 HOT
PIN 3 NEG
1
S com Plus
PHONE
TIP - POS
RING - NEG
SLEEVE - GND
BALANCED <100Ω
0db UNITY GAIN
CH 2
INPUT
2
1
CH 2
INPUT
3
SAMSON TECHNOLOGIES CORP., NEW YORK, U.S.A.
1L2R3L4R5L6R7L8R9L10R11L12R13L14R15L16R
6R 5L 4R 3L 2R 1L
INSERTS TIP RETURN RING SEND
CHANNEL 1
+4
KEY
BALANCED
INPUT
INPUT
-10
OUTPUT
2
1
LEVEL
3
INPUTS
BALANCED
0db UNITY GAIN
BALANCED
BALANCED
<100KΩ 0db
10KΩ
UNITY GAIN
CH 1
HIGH
OUTPUT
CH 1
HIGH
OUTPUT
CHANNEL ACHANNEL BCHANNEL ACHANNEL B
CH 1
LOW
OUTPUT
2
2
1
1
CH 1
CH 1
LOW
MID
3
3
OUTPUT
OUTPUT
MONO
MONO
LOW
LOW-MID
OUTPUT
OUTPUT
MIC 1
-10
2
3
0
1
-40+4
TRIM
-10
3
0
-40+4
TRIM
MIC 3MAIN OUT
2
1
3
BALANCED
0db UNITY GAIN
BALANCED
10KΩ
SAMSON
TECHNOLOGIES
CORP.,
NEW YORK, U.S.A.
Servo 550 Power Amp (High)
2
1
BALANCED
OUTPUT
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
F
E
U
S
SERIAL
FUSE
NUMBER
FUSE RATING
12A/250V (115V)
6A/250V (230V)
USE CLASS 2 WIRING MAXIMUM LOAD IMPEDANCE 4Ω
CAUTION
HEATSINK MAY BE
HOT! DO NOT BLOCK
AIRFLOW OR OVERHEATING MAY OCCUR
TO PREVENT SHOCK DO
+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
115V/230W, 50/60HZ
510W (115V)900W (230V)
SERVO 550 STUDIO AMPLIFIER
!
GROUND
LEFT+
~AC INPUT
SAMSON TECHNOLOGIES CORP., HICKSVILLE, NEW YORK
BRIDGED
TIP RING SLEEVE
SLEEVE GND
MONO STEREO
LEFT
RIGHT
INPUTS
(BALANCED
10KΩ/0dBm0)
TIP +
RING -
S1500 Power Amp (Mid)
INPUT
MODE
CHANNEL
STEREO
1 INPUT
2 WAY
2
1
CHANNEL
STEREO
1 INPUT
3 WAY
3
MONO
MONO
INPUT
4 WAY
PUSH TO RESET
115V 60Hz, 920W
OUTPUT
20A/250V
(4Ω~8Ω) (4Ω~8Ω)
~AC INPUT
(4Ω~8Ω) (4Ω~8Ω)
CH 2 CH 1
BALANCED
0dBm
TIP=HOT
TRS
RING=COLD
BALANCED
SLEEVE=GND
CH 2 CH 1
BRIDGED PARALLEL
STEREO
BALANCED
0dBm
3=COLD
XLR
2=HOT
BALANCED
1=GND
Left High / Mid
Right High / Mid
S2000 Power Amp
(Bridged Mono Low)
INPUT
OUTPUT
PUSH TO RESET
25A/250V
115V 60Hz, 1100W
(4Ω~8Ω) (4Ω~8Ω)
~AC INPUT
(4Ω~8Ω) (4Ω~8Ω)
CH 2 CH 1
BALANCED
0dBm
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
16
ENGLISH
S•com plus System Set-Ups
LIVE SOUND SYSTEM WITH MULTIBAND COMPRESSION
In this example, three S•com plus’ are inserted after the mixer, equalizer and crossover, thereby providing individual compression on the low, mid and high frequencies.
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
!
DO NOT OPEN
TIP + RING - SLEEVE GND
E30 2/3 OCTAVE STEREO 15 BAND GRAPHIC EQUALIZER
AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. DO NOT EXPOSE
THIS EQUIPMENT TO RAIN OR MOISTURE.
ON
~AC INPUT
POWER
120V - 60 Hz 20W
RATING
OFF
CAUTION
RISK OF ELECTRIC SHOCK
POWER
DO NOT OPEN
115V/230V 50/60Hz13W
CH 2
HIGH
OUTPUT
2
1
CH 2
HIGH
3
OUTPUT
MONO
HIGH
OUTPUT
S•Com Plus
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN.
SERIAL NUMBER
MADE IN CHINA
_ mA SLOW BLOW FUSE FOR 115V
_ mA SLOW BLOW FUSE FOR 220V
S•Com Plus
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN.
SERIAL NUMBER
MADE IN CHINA
_ mA SLOW BLOW FUSE FOR 115V
_ mA SLOW BLOW FUSE FOR 220V
S•Com Plus
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN.
SERIAL NUMBER
MADE IN CHINA
_ mA SLOW BLOW FUSE FOR 115V
_ mA SLOW BLOW FUSE FOR 220V
SAMSON TECHNOLOGIES CORP., NEW YORK, U.S.A.
INPUTS BALANCED 10KΩ -30 to +4db TIP + RING - SLEEVE GND.
2R
6R 5L 4R 3L 2R 1L
1L2R3L4RLRLR
1L
AUX
BUS
INSERTS
MIXER LINKING
SERIAL NUMBER
!
2
1
CH 2
MID
3
OUTPUT
MONO
HIGH-MID
OUTPUT
AUX SEND
RETURNS
UNBALANCED 10KΩ
BALANCED <100Ω
OUTPUTS
0db UNITY GAIN
BALANCED
<100KΩ 0db
UNITY GAIN
CH 2
LOW
OUTPUT
2
2
1
1
CH 2
LOW
3
3
OUTPUT
INSERTS TIP RETURN RING SEND
UNBALANCED
2KΩ +4db
BALANCED <100Ω
BALANCED
0db UNITY GAIN
0db UNITY GAIN
BALANCED
<100KΩ 0db
UNITY GAIN
CH 1
CH 2
HIGH
INPUT
OUTPUT
2
2
1
1
CH 2
INPUT
CH 1
CH 1
MID
HIGH
3
3
OUTPUT
OUTPUT
MONO
LOW-MID
OUTPUT
MIC 1
-10
2
3
0
1
-40+4
TRIM
1L2R3L4R5L6R7L8R9L10R11L12R13L14R15L16R
-10
2
3
0
1
-40+4
TRIM
MIC 3MAIN OUT
INPUTS
BALANCED
0db UNITY GAIN
BALANCED
BALANCED
10KΩ
10KΩ
SAMSON
TECHNOLOGIES
CORP.,
NEW YORK, U.S.A.
CHANNEL ACHANNEL BCHANNEL ACHANNEL B
MODE
CHANNEL
CH 1
STEREO
1 INPUT
LOW
2 WAY
OUTPUT
2
2
1
1
CH 1
CHANNEL
STEREO
LOW
1 INPUT
3 WAY
3
3
OUTPUT
MONO
MONO
MONO
LOW
INPUT
4 WAY
OUTPUT
Servo 550 Power Amp (High)
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
F
E
U
S
SERIAL
FUSE
NUMBER
FUSE RATING
12A/250V (115V)
6A/250V (230V)
USE CLASS 2 WIRING MAXIMUM LOAD IMPEDANCE 4Ω
CAUTION
HEATSINK MAY BE
HOT! DO NOT BLOCK
AIRFLOW OR OVERHEATING MAY OCCUR
TO PREVENT SHOCK DO
GROUND
+RIGHT
NOT OPEN. NO USER
SERVICABLE PARTS
INSIDE. REFER SERVICING
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
BRIDGED
MONO STEREO
TIP RING SLEEVE
TIP +
RING -
SLEEVE GND
LEFT
RIGHT
INPUTS
(BALANCED
10KΩ/0dBm0)
S1500 Power Amp (Mid)
INPUT
PUSH TO RESET
115V 60Hz, 1100W
PUSH TO RESET
115V 60Hz, 920W
~AC INPUT
OUTPUT
20A/250V
(4Ω~8Ω) (4Ω~8Ω)
~AC INPUT
(4Ω~8Ω) (4Ω~8Ω)
CH 2 CH 1
OUTPUT
25A/250V
(4Ω~8Ω) (4Ω~8Ω)
(4Ω~8Ω) (4Ω~8Ω)
CH 2 CH 1
BALANCED
0dBm
TRS
BALANCED
CH 2 CH 1
BRIDGED PARALLEL
STEREO
BALANCED
0dBm
TIP=HOT
TRS
RING=COLD
BALANCED
SLEEVE=GND
CH 2 CH 1
BRIDGED PARALLEL
STEREO
BALANCED
0dBm
TIP=HOT
3=COLD
XLR
RING=COLD
2=HOT
BALANCED
SLEEVE=GND
1=GND
INPUT
BALANCED
0dBm
3=COLD
XLR
2=HOT
BALANCED
1=GND
CHANNEL 2
+4
KEY
BALANCED
INPUT
-10
INPUT OUTPUT
2
1
LEVEL
3
CHANNEL 2
+4
KEY
BALANCED
INPUT
-10
INPUT OUTPUT
2
1
LEVEL
3
CHANNEL 2
+4
KEY
BALANCED
INPUT
-10
INPUT OUTPUT
2
1
LEVEL
3
XLR
BALANCED
PIN 1 GND
OUTPUT
PIN 2 HOT
PIN 3 NEG
2
1
S com Plus
3
PHONE
TIP - POS
RING - NEG
SLEEVE - GND
XLR
BALANCED
PIN 1 GND
OUTPUT
PIN 2 HOT
PIN 3 NEG
2
1
S com Plus
3
PHONE
TIP - POS
RING - NEG
SLEEVE - GND
XLR
BALANCED
PIN 1 GND
OUTPUT
PIN 2 HOT
PIN 3 NEG
2
1
S com Plus
3
PHONE
TIP - POS
RING - NEG
SLEEVE - GND
CHANNEL 1
+4
KEY
BALANCED
INPUT
2
1
3
BALANCED
INPUT
2
1
3
BALANCED
INPUT
2
1
3
BALANCED
OUTPUT
INPUT
-10
OUTPUT
2
1
LEVEL
3
CHANNEL 1
+4
KEY
BALANCED
OUTPUT
INPUT
-10
OUTPUT
2
1
LEVEL
3
CHANNEL 1
+4
KEY
BALANCED
OUTPUT
INPUT
-10
OUTPUT
2
1
LEVEL
3
S2000 Power Amp
(Bridged Mono Low)
Left High / Mid
Right High / Mid
Mono
Sub
17
S•com plus 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 plus
The are several ways to interface the S•com plus to support a variety of applications. The S•com plus features
servo-balanced inputs and outputs, so connecting balanced and unbalanced signals is possible without any signal loss. The S•com plus can be used on a single instrument by connecting to a channel’s insert points, or on an
entire mix "in-line" between a mixer’s outputs and a power amp or equalizer.
INSERT POINTS
Many mixers today provide channel and bus or group inserts. Insert points are input and output patch points that
interrupt the channel or bus signal so that external processors can be connected. Channel insert points are ideal
for connecting to when using the S•com plus 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 plus can be installed in-line between a mixer and equalizer or power amplifier.
For these applications the S•com plus provides both 1/4" TRS connectors and XLR connectors to easily interface
with most any professional audio device. Follow the wiring examples below for your particular installation.
Balanced TRS 1/4” Connector
ENGLISH
Tip (send)
Sleeve (common)
Send (tip)
Send (tip)
Return (ring)
Ring (return)
Tip (send)
Return (ring)
Sleeve (common)
Tip (return)
Common
Common
Sleeve (common)
Signal
Ground
Ground
Tip (signal)Signal
Sleeve (ground)
Hot
Cold
Female XLR
Hot (2)
Common (1)Common
1
2
21
3
Solder Points End View
Cold (3)
3
Signal (tip)
Signal (ring)
Ground
Signal (ring)
Signal (tip)
Ground
Ring (signal)
Sleeve (ground)
Tip (signal
2
12
3
End View Solder Points
1
3
Hot (2)
Common (1) Common
Cold (3)
Male XLR
Hot
Cold
18
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 trou-
vait 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 sur des Overheads, 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.
19
Caractéristiques du S•com plus
Le processeur de dynamique Samson S com Plus utilise une technologie de pointe en matière de gestion du
gain. Voici quelques-unes de ses principales caractéristiques :
• Processeur de dynamique complet à deux canaux, avec compresseur/limiteur, expanseur/Noise Gate,
dé-esseur et limiteur de crêtes.
• La fonction SKD (détecteur Smart Knee) permet de passer d’une courbe Soft Knee à Hard Knee, selon le
niveau d’entrée du signal.
• Le mode AEG (générateur d’enveloppe automatique) ajuste automatiquement les temps d’attaque et de
rétablissement du compresseur en fonction du signal d’entrée. Il est également possible d’effectuer un
réglage manuel des temps d’attaque et de rétablissement.
• Afficheur de niveau d’entrée/sortie 12 segments à LED et afficheur de réduction de gain 12 segments à LED.
• Possibilité de contrôle externe du circuit de commande avec commutateur Key en face avant.
• Dé-esseur réglable avec afficheur à LED indépendant permettant de supprimer les sibilantes indésirables
des enregistrements.
• Expanseur/Noise Gate avec seuil de déclenchement variable et temps de rétablissement réglable (rapide/lent).
• La fonction de Noise Gate peut être réglée de Off (désactivée) à une fonction d’expanseur léger.
• LED d’indication d’ouverture et de fermeture du Noise Gate.
• Limiteur de crêtes avec réglage de seuil indépendant et LED d’indication d’activité.
• Circuits haute technologie, utilisant des amplificateurs à faible bruit et des VCA de haute qualité.
• Fonction Stereo Link de couplage stéréo.
• Entrées et sorties à symétrie électronique sur connecteurs XLR et Jacks 6,35 mm.
• Niveau d’utilisation commutable +4 dBu/ -10 dBV.
• Potentiomètres crantés 41 positions de haute qualité et touches rétro-éclairées.
• L’aspect agréable de la façade stylée en acier anodisé bleu électrique facilite la lecture des réglages.
• Garantie de 3 ans.
FRANÇAIS
GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB
30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12+18
EXPANDER/GATE COMPRESSOR / LIMITER
THRESHOLD
STEREO
COMPRESSOR
LIMITER
TRIGGER
OFF +10
-10
10
20
GATE
-30
+10
050
+20-40
dB
dB
RELEASE AUTO I/O METER IN/OUT
ENHANCER
RATIO
ATTACK
.3 300
mSec
RELEASE
1
50
3.15
20015
.05 5
Sec
4:1
62
1
dB
KEY
DE-ESSER LEVEL dB
OUTPUT
0
-10
+10
010
+20-20
dB
-3 -60-9-12
DE-ESSER
LEVEL
5
73
dB
CH 1
LIMITER
0 OFF
LIMIT
STEREO LINK
EXPANDER/GATE COMPRESSOR / LIMITER
+12
dB
TRIGGER
20
IN/OUT 1
16+5
IN/OUT 2
OFF +10
dB
GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB
30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12+18
THRESHOLD
RATIO
ATTACK
.3 300
mSec
RELEASE
1
50
3.15
20015
.05 5
Sec
-10
10
GATE
-30
050
RELEASE AUTO I/O METER IN/OUT
4:1
+10
62
1
+20-40
dB
dB
ENHANCER
KEY
DE-ESSER LEVEL dB
-3 -60-9-12
DE-ESSER
OUTPUT
LEVEL
0
-10
5
+10
73
010
+20-20
dB
dB
CH 2
LIMITER
0 OFF
LIMIT
POWER
+12
16+5
dB
20
FRANÇAIS
1 LED GATE OUVERT & FERMÉ - Signale
lorsque le Noise Gate est ouvert ou fermé.
2 AFFICHEUR DE RÉDUCTION DE GAIN -
Affiche la réduction de gain lorsque le circuit
de compression est activé.
3 AFFICHEUR DE NIVEAU D’ENTRÉE/SORTIE -
Affiche le niveau du signal d’entrée ou de sortie selon le réglage du commutateur.
4 AFFICHEUR DE NIVEAU DU DÉ-ESSEUR -
Affiche le niveau de l’effet de dé-esseur.
5TÉMOIN DU LIMITEUR - Ce témoin s’allume
lorsque le circuit du limiteur est activé.
6 COMMUTATEUR STEREO LINK - Lorsqu’il est
activé, les fonctions du canal 2 sont contrôlées par les réglages du canal 1.
7RÉGLAGES DU CANAL 2 - Mêmes commuta-
teurs et potentiomètres que pour le canal 1.
Réglages et fonctions
P
O
R
8 INTERRUPTEUR POWER - Permet d’activer/dés-
activer le S•com plus.
9 PLAQUES DE FIXATION DU RACK - Permettent
de fixer l’appareil dans un rack 19” standard.
10 TRIGGER - Contrôle le niveau de seuil de
déclenchement de l’expanseur/Noise Gate.
11 COMMUTATEUR GATE - Sélectionne le mode
Noise Gate ou expanseur.
12 COMMUTATEUR RELEASE - Sélectionne le temps
de rétablissement rapide ou lent de
l’expanseur/ Noise Gate.
13 THRESHOLD - Ce potentiomètre détermine le
niveau de seuil minimum auquel le circuit du
compresseur commence à fonctionner.
14 ENHANCE - Cette touche active le circuit
Enhanced Spectrum Recovery du S• com Plus, permettant de compenser la perte dans les aigus due
à une extrême réduction de gain.
15 RATIO - Détermine le taux de compression
appliqué au signal à partir du niveau de seuil.
A EMBASE SECTEUR - Embase secteur IEC stan-
dard.
B ENTRÉE XLR DU CANAL 2 - Entrée ligne
symétrique sur XLR.
C ENTRÉE JACK STÉRÉO 6,35 MM DU CANAL 2 -
Entrée ligne symétrique sur Jack stéréo
6,35 mm.
DSÉLECTEUR DE NIVEAU D’UTILISATION -
Commutation du niveau d’utilisation de -10 dB à +4 dB.
E
ENTRÉE DU CIRCUIT DE COMMANDE DU CANAL
2-
Entrée permettant le contrôle externe du circuit
de commande du compresseur S•com Plus.
F
SORTIE DU CIRCUIT DE COMMANDE DU CANAL 1
Le circuit de commande du S• com plus est affecté à
cette sortie, permettant de traiter ce circuit avec un
égaliseur externe, par exemple.
FACE ARRIERE
FACE AVANT
STEREO
COMPRESSOR
LIMITER
1
EXPANDER/GATE COMPRESSOR / LIMITER
TRIGGER
OFF +10
10
2
11
GAIN REDUCTION dB INPUT / OUTPUT LEVEL dB
30 24 2127 18 15 9 612 4 2 1 -30 -18 -12-24 -6 -3 +3 +60 +9 +12 +18
THRESHOLD
10
13
-10
-30
+20-40
dB
ENHANCER
14
20
GATE
050
dB
RELEASE AUTO I/O METER IN/OUT
12
+10
15
RATIO
1
4:1
dB
16
3
ATTAC K
50
62
KEY
17
.3 300
mSec
18
20015
19
RELEASE
1
.05 5
Sec
20
4
DE-ESSER LEVEL dB
22
+10
DE-ESSER
LEVEL
010
OUTPUT
0
-10
3.15
+20-20
dB
21
5
-3 -60-9-12
5
73
dB
23
24
6
LIMIT
CH 1
LIMITER
+12
0OFF
dB
25
26
STEREO LINK
IN/OUT 1
16+5
IN/OUT 2
EX
T
50
A
B
-10
+4
F G
CHANNEL 2
KEY
INPUT OUTPUT
C
D
BALANCED
INPUT
E
LEVEL
H
BALANCED
OUTPUT
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