Produced by On The Right Wavelength for Samson Technologies Corp. Copyright 1996, 1997, Samson Technologies Corp. Printed February, 1997 Samson Technologies Corp. 575 Underhill Blvd. P.O.
Table of Contents Introduction 1 MIXPAD Features 2 Guided Tours 4 MIXPAD 12/9 Channels 4 MIXPAD 12/9 Main Section 8 MIXPAD 12/9 Jackfield 10 Connecting the MIXPAD 4 Carrying Strap 11 MIXPAD 4 Channels 12 MIXPAD 4 Main Section 16 MIXPAD 4 Jackfield 18 Connecting the MIXPAD 19 Setting Up and Using the MIXPAD 22 Setting the Correct Gain Structure 23 Grounding Techniques 26 Using Pan/Balance 28 Using Equalization 30 Using Aux Sends and Returns 32 Appendix A: Operating the MIXPAD 12/9 off Battery Power 34 MIX
Introduction Congratulations on your purchase of the Samson MIXPAD! One of the smallest mixers ever made, the MIXPAD provides excellent sound quality and a wealth of features normally found only in full-size units. Although it has been designed for easy operation, we suggest you take some time to go through these pages so you can fully understand how we’ve implemented a number of unique functions. This manual covers three models: the MIXPAD 12, MIXPAD 9, and MIXPAD 4.
MIXPAD Features The compact design of the MIXPAD belies an extraordinary versatility. Add excellent sound quality to the equation, and you’ve got a product which is equally useful as a live performance mixer and for field recording applications.
MIXPAD Features • Constant level pan controls for placing each monophonic channel in the left-right stereo spectrum, as well as balance controls that allow you to blend the relative levels of stereo inputs. • Mic input trims that are continuously adjustable from +4 to -50 dB, making it possible to use the MIXPAD with a wide variety of microphones.
Guided Tour MIXPAD 12 /MIXPAD 9 Channels 1 MIC -10 2 0 TRIM +4 L -50 MONO 3 R LINE O O -15 +15 -15 HIGH -15 +15 HIGH 4 O O +15 -15 LOW +15 LOW O O +10 PRE +10 PRE 5 AUX1 AUX1 O O +10 +10 AUX 2 AUX 2 6 L 7 R PAN O L R BALANCE O 8 +10 +10 LEVEL LEVEL Mono Channel Stereo Channel 4
Guided Tour MIXPAD 12 / MIXPAD 9 Channels 1: Mic inputs - Provided in monophonic channels only (channels 1 - 6 in the MIXPAD 12 and channels 1 - 3 in the MIXPAD 9). Use these electronically balanced XLR jacks to connect microphones to any of the MIXPAD’s monophonic channels. These are intended to accept signal from low-level, low-impedance mics but can also be used for signal from other sources (such as direct injection boxes) if the channel’s Trim control is turned down (see #2 below).
Guided Tour MIXPAD 12 / MIXPAD 9 Channels Balance control)—see the “Using Pan/Balance” section on page 28 for more information. See the “Connecting The MIXPAD” section on page 19 for additional information on how best to use channel inputs. 4: Equalizer (violet) - These knobs determine the amount of boost or attenuation in each of two frequency areas. The high and low frequency knobs provide 15 dB of cut or boost at 10 kHz and 100 Hz, respectively. Both frequency controls utilize a shelving curve.
Guided Tour MIXPAD 12 / MIXPAD 9 Channels 7: Balance (brown) - Provided in stereo channels only. When both inputs are connected to a stereo channel, the upper input signal (channels 7, 9, and 11 in the MIXPAD 12 and channels 4, 6, and 8 in the MIXPAD 9) is automatically panned hard left and the lower input signal (channels 8, 10, and 12 in the MIXPAD 12 and channels 5, 7, and 9 in the MIXPAD 9) is automatically panned hard right.
Guided Tour - MIXPAD 12 / MIXPAD 9 Main Section TAPE/CD 1 LEFT RIGHT LEFT RIGHT 2 4 3 POWER O AUX +10 RET.1/2 5 O AUX +10 RET. 3/4 6 O 7 +10 MAIN LEVEL 1: Tape/CD inputs (L, R) - Use this set of dual RCA jacks to connect the outputs of a tape or CD player to the MIXPAD. In the MIXPAD 12, signal connected here appears at stereo channel 11/12 and is mixed at unity gain with any line input signal connected to channel 11/12.
Guided Tour - MIXPAD 12 / MIXPAD 9 Main Section 2: Left/Right Peak LEDs (red) - These warning lights indicate an overload situation. They light whenever the main left or right output signal is 5 dB short of clipping. To stop them from lighting (and to eliminate the accompanying sonic distortion), turn down the Main Level control (see #7 below). See the “Setting the Correct Gain Structure” section on page 23 in this manual for more information.
Guided Tour MIXPAD 12 / MIXPAD 9 Jackfield 2 1 AUX SEND 1 AUX SEND 2 LEFT OUTPUT BALANCED +4dBu RIGHT AUX RETURN 1/2 AUX RETURN 3/4 3 1: Aux Sends (1, 2) - These unbalanced 1/4" outputs allow you to route signal from each of the two discrete Aux Sends to external devices such as effects processors. Aux send 1 is pre-fade but post-EQ, while Aux send 2 is both post-fade and post-EQ. See the “Using the Aux Sends and Returns” section on page 32 in this manual for more information.
Connecting the MIXPAD 4 Carrying Strap MIXPAD4 XLR/LINE INPUT 2/TIP + 3/RING - 1 5 1/SLEEVE GND 2 AUX SEND/RETURN TIP 4 AVIS; RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE 3 + SLEEVE GND. D.C. INPUT DC INPUT PIN 1 +15V PIN 4 +32V PIN 2 -15V PIN 5 GND S/N PIN 3 GND M IXPAD 4 The MIXPAD 4 is supplied with a handy carrying strap for easy portability.
Guided Tour MIXPAD 4 Channels 1 MIC -20 -10 2 0 TRIM -50 -6 4R 3L 3 LINE LINE O -15 O +15 HIGH -15 +15 HIGH O O 4 -12 +12 MID -12 -15 +12 MID O O +15 LOW -15 +15 LOW O O 5 ∞ ∞ +10 AUX +10 AUX 6 L R PAN L R BALANCE 7 O O 8 ∞ ∞ +10 LEVEL +10 LEVEL 12
Guided Tour MIXPAD 4 Channels 1: Mic inputs - Provided in monophonic channels only (channels 1 and 2). Use these electronically balanced XLR jacks to connect microphones to either of the MIXPAD 4’s two monophonic channels. These are intended to accept signal from low-level, low-impedance mics but can also be used for signal from other sources (such as direct injection boxes) if the channel’s Trim control is turned down (see #2 below).
Guided Tour MIXPAD 4 Channels 4: Equalizer (violet) - These knobs determine the amount of boost or attenuation in each of three frequency areas. Each knob provides 15 dB of cut or boost at 12 kHz (High) and 80 Hz (Low) frequencies, and 12 dB of cut or boost at the Mid (2.5 kHz) frequency. The High and Low frequencies utilize shelving curves and the Mid frequency utilizes a bell (peaking) curve. In the stereo channel (channels 3 - 4), the EQ settings affect both inputs, although the signals remain separate.
Guided Tour MIXPAD 4 Channels 7: Balance (brown) - Provided in the stereo channel (channels 3 - 4) only. When both inputs are connected to the stereo channel, the channel 3 input signal is automatically panned hard left and the channel 4 input signal is automatically panned hard right. In this case, the “Balance” knob controls the relative levels of the paired input signals. When the knob is placed at its center (detented) position, both signals are at equal strength.
Guided Tour MIXPAD 4 Main Section TAPE/CD INPUT 1 3L 4R PHANTOM POWER 2 CH1 L CH2 3 PEAK R 5 4 POWER O 6 ∞ +10 AUX RET 1/2 7 O 8 ∞ +10 MAIN LEVEL 1: Tape/CD inputs (L, R) - Use this set of dual RCA jacks to connect the outputs of a tape or CD player to the MIXPAD 4. Signal connected here appears at the stereo channel (channels 3 and 4) and is mixed at unity gain with any line input signal connected to channel 3/4.
Guided Tour MIXPAD 4 Main Section 3: Left/Right Peak LEDs (red) - These warning lights indicate an overload situation. They light whenever the main left or right output signal is 5 dB short of clipping. To stop them from lighting (and to eliminate the accompanying sonic distortion), turn down the Main Level control (see #8 below). See the “Setting the Correct Gain Structure” section on page 23 in this manual for more information. 4: Power LED (green) - This LED indicates battery strength.
Guided Tour MIXPAD 4 Jackfield 1 LEFT MAIN OUTPUT RIGHT BALANCED +4dBu AUX SEND AUX RET 1/MONO 3 2 AUX RET 2 1: Main out (L, R) - These are the MIXPAD 4’s main outputs. You’ll usually use these to connect the MIXPAD 4 to a tape recorder or to a power amp and loudspeakers.
Connecting the MIXPAD General Suggestions The actual connections you’ll make to and from the MIXPAD will vary according to the environment you use it in and the particular equipment you have, but here are a few basic rules concerning MIXPAD connections that will apply in most situations: • In general, it’s best to make all connections with the MIXPAD and any connected power amplifiers turned off.
Connecting the MIXPAD General Suggestions • Make one connection at a time and then monitor the incoming signal. If you hear a distinct hum or buzz, you may have a grounding problem with that particular device. See the section in this manual entitled “Grounding Techniques” (on page 26) for more information. • NEVER connect a microphone and line level input to the same channel simultaneously—use one or the other.
Connecting the MIXPAD General Suggestions • In the MIXPAD 12 and MIXPAD 9, when connecting only one monophonic signal to a stereo channel, always use the upper input. When only the upper input is connected in a stereo channel, the MIXPAD 12/9 treats that channel as if it is a mono channel and the signal can then be panned (using the Balance control). See the “Using Pan/Balance” and “Using Aux Sends And Returns” sections in this manual (pages 28 and 32) for more information.
Setting Up and Using the MIXPAD Setting up your MIXPAD is a simple procedure which takes only a few minutes: 1. Remove all packing materials (save them in case of need for future service) and decide where the unit is to be physically placed. 2. Begin by connecting the MIXPAD main left/right outputs to a tape recorder or power amp (and the amp into loudspeakers). It is never a good idea to power up any amplifier that is not connected to loudspeakers. 3.
Setting the Correct Gain Structure You’re now ready to establish the correct gain structure—the key to getting the best performance from the MIXPAD, or from any mixer, for that matter. This is a simple procedure that ensures optimum input and output levels so that no unnecessary noise (caused by too low a signal) or overload distortion (caused by too high a signal) is created. Here’s a step-by-step description of how to do so: a.
Setting the Correct Gain Structure h. Once you’ve set the optimum level in step (g) above, continue playing the instrument and slowly raise the power amplifier volume until you reach the level you want to hear. i. Repeat step (g) above for each instrument connected to the MIXPAD channel line inputs. j.
Setting the Correct Gain Structure l. The gain structure is now correctly set—you’ve optimized the level of all signals coming into and out of the MIXPAD, and the end result will be minimum noise and distortion and maximum clean sound.
Grounding Techniques Hum and buzz are the biggest enemies you face when interconnecting a large number of different pieces of equipment to a central audio mixer.
Grounding Techniques We also recommend that you use balanced audio cabling and connectors wherever possible. The MIXPAD provides electronically balanced inputs for mono line channel inputs and for its main outputs. The wiring diagram in the “Connecting The MIXPAD” section of this manual (on page 19) shows how 1/4" TRS (Tip/Ring/Sleeve) connectors should be wired for use with these inputs and outputs.
Using Pan/Balance L The final Main output of the MIXPAD is stereo—that is, there are two discrete output jacks, labeled “left” and “right,” which will normally be routed to a stereo power amplifier and two discrete speakers.* Because of this, you will usually be working with a stereo field that ranges from hard left to hard right.
Using Pan/Balance In the MIXPAD 4 stereo channel (channels 3/4) and in MIXPAD 12 and MIXPAD 9 stereo channels (channels 7/8, 9/10, and 11/12 in the MIXPAD 12; channels 4/5, 6/7, and 8/9 in the MIXPAD 9) where both inputs are connected, the upper input signal is automatically panned hard left and the lower input signal is automatically panned hard right. The Balance knob in these channels controls the relative levels of the two input signals.
Using Equalization O -15 +15 HIGH O -15 +15 LOW MIXPAD 12/9 EQ O -15 HIGH +15 O -12 MID +12 One of the most exciting aspects of using a mixer such as the MIXPAD is the ability to shape a sound, using a process called equalization. But there are few areas of sound engineering more misunderstood than equalization, and, just as good EQ can really help a sound, bad EQ can really hurt it, so read on...
Using Equalization In most instances, the best way to approach equalization is to think in terms of which frequency areas you need to attenuate, as opposed to which ones you need to boost (boosting a frequency area also has the effect of boosting the overall signal; too much EQ boost can actually cause overload—with the accompanying Left/Right Peak LED warning!).
Using Aux Sends and Returns O +10 PRE AUX1 The purpose of Auxiliary sends are to allow you to combine the signal from multiple channels and send the resulting mix to external devices such as effects processors. The MIXPAD 12 and MIXPAD 9 provide two such sends, while the MIXPAD 4 provides one. O When a channel’s Aux send knob is at its “0” position, the signal is routed with unity gain AUX 2 (that is, no boost or attenuation).
Using Aux Sends and Returns outboard devices (via Aux sends). In AUX RETURN practice, you’ll probably want to use the 1/2 Aux returns to bring in signal from connected effects processors. If the effects processors have stereo outputs, they should be connected to both the left and AUX RETURN right Auxiliary return inputs so that their 3/4 stereo integrity is retained. If they have mono outputs, you can route them to either the left or right inputs.
Appendix A: Operating the MIXPAD 12/9 off Battery Power The MIXPAD 12 and MIXPAD 9 can optionally be battery powered. This requires the use of two 12 Volt rechargeable Lead-Acid (Gelcell) batteries, connected to the rear panel AC connector, wired as shown in the illustration below. These batteries will provide the necessary bi-polar voltages needed to operate and maintain excellent audio quality.
Appendix A: Operating the MIXPAD 12/9 off Battery Power The current draw of the two models (without phantom power) are: MIXPAD9: 125mA (.125A) MIXPAD12: 160mA (.160A) Typical usage times for the two models: MIXPAD9 10 hours MIXPAD12 8 hours If you are using dynamic microphones, no phantom power is necessary. To power a condenser microphone, we recommend the use of one additional 12 Volt rechargeable battery. (Note: Batteries come with many connector options. We recommend the type with .
MIXPAD 12 / 9 Specifications Normal Frequency Response (Trim @ Min, unity gain ± 3 dB) Mic to Main 5 Hz - 65 kHz Line to Main 5 Hz - 65 kHz Aux Return to Main 5 Hz - 75 kHz Line to Aux Send 1/2 5 Hz - 75 kHz Limit 10 Hz - 50 kHz T.H.D. (Trim @ Min, +4dBu output, unity gain, 1 kHz w/30 Hz LPF) Mic/Line to Main (Mono Ch) 0.002% 0.01% Line to Main (Stereo Ch) 0.002% 0.01% Line to Aux Send 0.002% 0.
MIXPAD 4 Specifications Normal Frequency Response (Trim @ Min, unity gain ± 3 dB) Mic to Main 5 Hz - 54 kHz Line to Main 5 Hz - 54 kHz Aux Return to Main 5 Hz - 98 kHz Line to Aux Send 5 Hz - 57 kHz Limit 10 Hz - 50 kHz T.H.D. (Trim @ Min, +4dBu output, unity gain, 1 kHz w/30 Hz LPF) Mic/Line to Main (Mono Ch) 0.02% 0.05% Line to Main (Stereo Ch) 0.02% 0.05% Line to Aux Send 0.02% 0.
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