SamsonメーカーTM 500の使用説明書/サービス説明書
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® OWNERS MANUAL POWERED MIXER TM500.
Produced by On The Right Wavelength for Samson Technologies Corp. Copyright 1999, Samson Technologies Corp. Printed April 1999 Samson Technologies Corp.
Introduction / TM500 F eatures We know you don’t like reading owners manuals, but you’ve just purchased one of the finest powered mixers around, and we want to tell you about it! So, before you plug in and start making music, we’d like to suggest you take just a few moments out to scan these pages.
TM500 F eatures • Onboard digital signal processor (DSP) with 256 high-quality effects, including reverbs, delays, flanging and chorus. • Phantom power switch enables you to use the TM500 with high-quality condenser microphones. When turned on, 48 volts of phantom power is provided to the mic connectors of all channels.
Guided T our - Over view The following illustration shows an overview of the front panel of the TM500: 5 SAMSON MIC 8 7 6 5 4 3 2 1 MIC MIC MIC MIC MIC MIC MIC INSERT INSERT INSERT INSERT INSERT INSER.
Guided T our - Channels 1: Mic inputs - Provided in mono channels only. Use these electronically balanced XLR jacks to connect microphones to the TM500.
Guided T our - Channels the signal is boosted; as it is turned counterclockwise from the “ 0 ” position, it is attenuated. Aux send 1 is post-eq but pre-fader ; that is, the level of the signal is determined solely by its Trim control (see #5 on the previous page).
8 Guided T our - Main Section 1: Tape input (L, R) - Connect the outputs of a tape or CD player to this set of dual phono jacks. The volume of the incoming signal is controlled by the Tape In level control (see #7 on the next page).
9 Guided T our - Main Section 7: Tape In Level - Controls the level of signal arriving at the Tape Input jacks (see #1 on the preceding page). 8: Record Out Level - Controls the level of signal being output by the Record Out jacks (see #3 on the preceding page).
Guided T our - Main Section 17: Bank Control - Allows you to select any of 16 preset effect Banks for the onboard DSP. For more information, see the “ Using DSP ” section on page 22 of this manual. 18: Parameter Control - Allows you to select any of 16 variation parameters on the preset effect Bank selected for the onboard DSP (see #17 above).
Guided T our - Rear P anel 1: Vent - To ensure proper cooling of the TM500 power amplifier, make sure this vent is unobstructed at all times. 2: Fuse holder - Holds a 12 A / 250 V fuse for 115 volt operation or a 6 A / 250 V fuse for 230 volt operation 3: AC input - Connect the supplied heavy gauge 3-pin “ IEC ” power cable here.
12 Connecting the TM500 The actual connections you ’ ll make to and from the TM500 will vary according to the environment you use it in and the particular equipment you have. Here are a few basic rules concerning TM500 connections that will apply in most situations: • In general, it ’ s best to make all connections with the TM500 turned off.
13 TM500 Interconnections - Stereo Configuration The illustration below shows typical interconnections between the TM500 and other audio equipment when used in its standard stereo configuration (that is, with the Aux 1 / Monitor switch [see #20 on page 8] out).
TM500 Interconnections - Split Mono Configuration The illustration below shows typical interconnections between the TM500 and other audio equipment when used in its “ split mono ” configuration (that is, with the Aux 1 / Monitor switch [see #20 on page 8] pressed in).
15 Setting up your TM500 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 TM500 is to be physically placed. Make sure that the rear vent and fan are unobstructed and that there is good ventilation around the entire unit.
16 You ’ re now ready to establish the correct gain structure — the key to getting the best performance from the TM500, or from any mixer, for that matter.
17 Setting the Cor rect Gain Str ucture k. Repeat step (i) above for each instrument connected to the TM500 mono and stereo channel line inputs. l. The procedure for setting optimum microphone levels .
18 Grounding T echniques Hum and buzz are the biggest enemies you face when interconnecting a large number of different pieces of equipment to a central audio mixer.
19 Using Equalization One of the most exciting aspects of using a mixer such as the TM500 is the ability to shape a sound, using a process called equalization . But there are few areas of audio engineering more misunderstood than equalization, and, just as good EQ can really help a sound, bad EQ can really hurt it, so read on.
20 Using Equalization The seven-band graphic master equalizer affects the overall output signal of the TM500. Its main function is to allow you to “ tune ” the device to the particular room environment you are in.
21 Using P an and Balance The final Main output of the TM500 is stereo — that is, there are discrete speaker output jacks, labeled “ left ” and “ right, ” which will normally be routed to two (or two pairs of) discrete speakers. Because of this, you will usually be working with a stereo field that ranges from hard left to hard right.
22 Using Aux Sends and Retur ns The two Aux Sends provided by the TM500 allow you to combine the signal from multiple channels and send the resulting mix to the internal Digital Signal Processor (DSP) and/or to external devices such as effects processors.
23 Using Inser ts In addition to using Auxiliary Sends and Returns to access outboard devices, the TM500 also provides channel inserts for each of its eight monophonic channels.
24 There ’ s probably no better way to enhance audio than with the judicious use of effects such as reverb and echo. The TM500 has its own built-in Digital Signal Processor (DSP) chip which provides some of the best effects around.
Introduction/caractéristiques du TM 500 Nous savons que vous n’aimez pas lire les modes d’emploi, mais vous venez juste d’acheter l’un des mélangeurs amplifiés les plus sophistiqués du marché, et nous tenons à vous le faire découvrir.
Caract é ristiques T echniques du TM500 • Deux d é parts auxiliaires st é r é o par voie (l ’ un pr é lev é avant Fader et l ’ autre apr è s) vous per- mettent d ’ affecter plusieurs signaux du processeur d ’ effets interne ou vers les processeurs externes.
27 V isite Guid é e – Les voies 1: Entrées micro - Seules les voies mono en sont é quip é es. Utilisez les connecteurs de type XLR (sym é trie é lectronique) pour relier vos micros au TM500.
28 V isite Guid é e – Les voies partir de la position “ 0 ” , le signal est accentu é ; si vous le tournez vers la gauche (toujours à partir de la position “ 0 ” ) le signal est att é nu é .
29 V isite guid é e – Section principale 1: Entr é e Tape In (G, D ) - Connectez les sorties d ’ un lecteur cassette ou d ’ un lecteur CD à ces deux connecteurs RCA. Le niveau du signal d ’ etr é e d é pend du r é glage du niveau de l ’ entr é e Tape (voir point n ° 7 à la page suivante).
30 V isite guid é e – Section principale 9: Niveau de retour auxiliaire (1, 2) - Ces potentiom è tres d é terminent le niveau des signaux arrivant des deux retours auxiliaires du TM500 (voir point n ° 2 de la page pr é c é dente).
31 V isite guid é e – Section principale 19: Touche DSP On/Off - Lorsque cette touche est enfonc é e ( “ On ” ), le signal de sortie provenant du DSP interne est affect é au retour auxiliaire 2.
V isite guid é e – F ace ar ri è re 1: Ventilation - Afin d ’ assurer un refroidissement efficace de l ’ amplificateur de puissance du TM500, assurez-vous que les orifices de ventilation ne sont jamais obstru é s.
33 L ’ installation du m é langeur TM500 est une op é ration assez simple qui ne vous prendra que quelques minutes. 1. Retirez tous les cartons et papiers d ’ emballage (gardez-les au cas o ù vous en auriez besoin plus tard) et d é cidez de l ’ endroit o ù vous allez placer le TM500.
34 Vous ê tes maintenant pr ê t pour r é gler correctement le gain. Ce r é glage est la clef de la r é ussite pour exploiter les meilleures performances de votre TM500 ou de n ’ importe quel m é langeur.
35 R é glages de gain l. Le r é glage optimum des niveaux micros est quasiment identique : chantez ou parler dans le micro au niveau souhait é tout en augmentant le Fader jusqu ’à la position “ 0 ” . R é gler ensuite l ’ att é nuateur de cette voie tout en surveillant l ’ afficheur et la Led d ’é cr ê tage de la voie.
36 Einleitung / TM500 Mer kmale Wir wissen, daß Sie nicht gerne Benutzerhandbücher lesen, aber Sie haben gerade eines der leistungsfähigsten Mischpulte erworben, und wir möchten Ihnen einiges darüber erzählen! Bevor Sie es anschließen und anfangen zu spielen, sollten Sie einige Minuten dem Durchlesen dieser Seiten widmen.
TM500 Mer kmale • Zwei Stereo Aux-Abg ä nge pro Kanal (ein Pre- und der andere Post-Fader) erm ö glicht Ihnen mehrere Signale dem internen DSP oder externen Prozessoren zuzuf ü hren.
38 Über sicht - die Kanäle 1: Mikrofon-Eingänge - Nur die Mono-Kan ä le sind damit besetzt. Benutzen Sie die XLR- Anschl ü sse (elektronische Symmetrie), um Ihre Mikros an den TM500 anzuschlie ß en.
39 Ü ber sicht - die Kan ä le zuzuteilen. In der „ 0-Position “ wird das Signal mit der Verst ä rkung eins (d.h. keine Anhebung oder Abschw ä chung) gesendet.
40 Ü ber sicht - Hauptabschnitt 1: Tape In Eingang (L,R) - Verbinden Sie die Eing ä nge eines Kassetten- oder CD-Spielers mit diesen zwei RCA-Anschl ü ssen. Die Lautst ä rke des Eingangssignals h ä ngt von der Einstellung des Pegels des Eingang Tape ab (siehe Nr.
41 Ü ber sicht - Hauptabschnitt 7: Tape In Pegel - Bestimmt den Pegel des Eingangssignals Tape (siehe Nr.1 der vorherigen Seite). 8: Pegel des Aufnahme-Ausgangs Record Out - Bestimmt den Pegel des verf ü gbaren Ausgangssignals auf den RCA (siehe unter Nr.
42 Ü ber sicht - Hauptabschnitt 17: Bank Regler - Erm ö glicht irgendeine der 16 Preset-Banken f ü r den eingebauten DSP einzustellen. 18: Parameter Regler - Erm ö glicht eine der 16 Effekt-Variationen der gew ä hlten Preset-Bank einzustellen (siehe Nr.
Ü ber sicht - R ü ckseite 1: Bel ü ftung - Um eine wirksame K ü hlung Ihres TM500 zu sichern, garantieren Sie, da ß die Bel ü ftungs ö ffnungen immer freistehen. 2: Sicherungsfach - Eine 12 A / 250 V Sicherung f ü r eine 115 Volt Bedienung, oder eine 6 A / 250 V Sicherung f ü r eine 230 Volt Bedienung.
44 Sie ben ö tigen nur wenige Minuten, um Ihren TM500 betriebsf ä hig zu machen: 1. Entfernen Sie alle Verpackungsmaterialien (bewahren Sie diese jedoch f ü r den Fall auf, da ß Sie sie noch einmal ben ö tigen) und suchen Sie einen Standplatz f ü r den TM500 aus.
45 Sie sind nun bereit den Gain korrekt einzustellen. Diese Einstellung ist notwendig, um die vielen M ö glichkeiten Ihres TM500 oder jedes Mischpults zu benutzen.
46 Einstellung der Gain-Str uktur l. Die optimale Einstellung der Mikrofon-Pegel wird fasr identisch vorgenommen: Singen oder sprechen Sie in das Mikro mit dem gew ü nschten Pegel, wobei Sie w ä hrendessen die Fader bis zur „ 0 “ -Position erh ö hen.
Introducción / Características de la TM500 Sabemos que no le gusta leer libros de instrucciones, pero lo que acaba de adquirir es una de las más poderosas mesas de mezclas amplificadas del mundo, y.
Caracter í sticas de la TM500 • Un interruptor de alimentaci ó n fantasma le permite usar la TM500 con micr ó fonos condensadores de alta calidad. Cuando se activa este interruptor, se suministran 48 voltios de alimentaci ó n fantasma a los conectores de micro de todos los canales.
49 Recor rido guiado - Canales 1: Entradas de micro – Disponibles solo en los canales mono. Utilice estos conectores XLR balanceados electr ó nicamente para conectar micr ó fonos a la TM500.
50 Recor rido guiado - Canales ‘ 0 ’ , la se ñ al es realzada; al mover cada mando hacia la izquierda desde esta posici ó n ‘ 0 ’ , la se ñ al es atenuada. El env í o auxiliar 1 es pre-eq y pre-fader; es decir, el nivel de la se ñ al es determinado ú nicamente por su control de ajuste o Trim (vea el punto 5 de la p á gina anterior).
51 Recor rido guiado – Secci ó n principal 1: Entrada de cinta (L, R) – Conecte las salidas de un reproductor de CD o de cinta a este grupo de conectores phono duales. El volumen de la se ñ al entrante es controlado por el control de nivel de entra- da de cinta (vea el punto 7 de la p á gina siguiente).
52 Recor rido guiado – Secci ó n principal 7: Nivel de entrada de cinta – Controla el nivel de la se ñ al que llega a las tomas de entrada de cinta (vea el punto 1 de la p á gina anterior).
53 Recor rido guiado – Secci ó n principal auriculares conectados en la clavija de env í o auxiliar 1 de la TM500 (cuando est é usando la TM500 en la configuraci ó n stereo standard) o en las sa.
Recor rido guiado – P anel trasero 1: Ranuras de ventilaci ó n – Para asegurar una correcta ventilaci ó n de la etapa de potencia de la TM500, aseg ú rese que estas ranuras de ventilaci ó n no queden obstru- idas en ning ú n momento.
55 El ajuste de la TM500 es un proceso muy sencillo que solo le llevar á unos pocos minutos: 1. Quite todos los materiales de protecci ó n del embalaje (gu á rdelo por si fuese necesaria cualquier reparaci ó n en el futuro) y decida d ó nde quiere colocar f í sicamente la TM500.
56 Ahora ya est á preparado para establecer la estructura de ganancia correcta – la clave para obtener el mejor rendimiento de la TM500, o de cualquier mesa de mezclas, en este aspecto.
57 Ajuste de la estr uctura de ganancia cor recta l. El proceso para el ajuste de los niveles ó ptimos de micr ó fono es pr á cticamente id é ntico; cante o hable en el micro con el nivel que vaya a usar en la actuaci ó n mientras va aumentando lentamente el fader de ese canal hasta la posici ó n ‘ 0 ’ .
58 Appendix A: T able of TM500 Effects (Banks 1 - 8) DESCRIPTION Para # EFFECT DESCRIPTION Para # EFFECT 1 Medium-Slow wide chorus/50ms Bright Gate 1 0.5s Bright Room w/100ms Slap DDL Gated Reverb 2 Medium-Fast wide chorus/50ms Dark gate Reverb/Delay+ 2 0.
Appendix A: T able of TM500 Effects (Banks 9 - 16) DESCRIPTION Para # EFFECT DESCRIPTION Para # EFFECT 1 0.5s Dark Plate + 0.5s Bright Plate 1 2-tap 25ms/65ms Slap + 2-tap 185ms/225ms 50% regen Reverb+ 2 0.5s Dark Room + 0.8s Bright Room Delays+Delays 2 2-tap 55ms/70ms Slap + 2-tap 200ms/265ms 50% regen Reverb 3 0.
60 Specifications Mixer / Pre Amp Section: 1. Frequency Response (± 1 dB) 20 Hz - 20 kHz 2. Total Harmonic Distortion (20 Hz to 20 kHz, trim minimum) 0.
デバイスSamson TM 500の購入後に（又は購入する前であっても）重要なポイントは、説明書をよく読むことです。その単純な理由はいくつかあります：
Samson TM 500をまだ購入していないなら、この製品の基本情報を理解する良い機会です。まずは上にある説明書の最初のページをご覧ください。そこにはSamson TM 500の技術情報の概要が記載されているはずです。デバイスがあなたのニーズを満たすかどうかは、ここで確認しましょう。Samson TM 500の取扱説明書の次のページをよく読むことにより、製品の全機能やその取り扱いに関する情報を知ることができます。Samson TM 500で得られた情報は、きっとあなたの購入の決断を手助けしてくれることでしょう。
Samson TM 500を既にお持ちだが、まだ読んでいない場合は、上記の理由によりそれを行うべきです。そうすることにより機能を適切に使用しているか、又はSamson TM 500の不適切な取り扱いによりその寿命を短くする危険を犯していないかどうかを知ることができます。
ですが、ユーザガイドが果たす重要な役割の一つは、Samson TM 500に関する問題の解決を支援することです。そこにはほとんどの場合、トラブルシューティング、すなわちSamson TM 500デバイスで最もよく起こりうる故障・不良とそれらの対処法についてのアドバイスを見つけることができるはずです。たとえ問題を解決できなかった場合でも、説明書にはカスタマー・サービスセンター又は最寄りのサービスセンターへの問い合わせ先等、次の対処法についての指示があるはずです。
