SamsonメーカーMPL 1502の使用説明書/サービス説明書
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Intr oduction 1 MPL 1502 Features 1 Guided T our 3 Overview 3 Mono and Stereo Channels 4 Main Section 6 Rear Panel 8 Connecting The MPL 1502 - General Suggestions 10 Setting Up and Using the MPL 1502 .
Intr oduction Congratulations on purchasing the Samson MPL 1502 stereo mixer! Although this unit is designed for easy operation, we suggest you first take some time to go through these pages so you can fully understand how we’ve implemented a number of unique features.
Intr oduction • Independent 3-band equalization for each channel, with 15 dB of cut or boost for low (80 Hz) and high (10 kHz) frequencies, and 12 dB of cut or boost for the mid-range (800 Hz) frequency.
Guided T our - Over view The following illustration shows an overview of the front panel of the MPL 1502: 3 1 2 3 −∞ −∞ −∞ +15 1 2 3 −∞ −∞ −∞ 1 2 3 −∞ −∞ −∞ 1 2 3 .
Guided T our - Mono and Ster eo Channels 1: Mic inputs (1 - 5) - Provided in monophonic channels only. Use these electronically balanced XLR jacks to connect microphones to any of the MPL 1502 ’ s five mono channels (channels 1 - 5).
Guided T our - Mono and Ster eo Channels 6: Pan (white) - Provided in mono channels only. This knob allows you to place the input signal anywhere in the left-right stereo spectrum, while keeping the overall signal level constant. When the knob is placed at its center (detented) position, the signal is sent equally to both left and right outputs.
Guided T our - Main Section 1: Meter - This seven-segment bar meter shows the continuous output level of the main stereo output. For optimum signal-to-noise ratio, try to adjust all levels so that program material is usually at or around 0 VU, with occasional but not steady excursions to the red +2 or +6 segments.
Guided T our - Main Section 4: Stereo Auxiliary Return Level (gray) - These knobs determine the input level of signal arriving via the MPL 1502 ’ s two stereo Auxiliary returns. Each return is at unity gain (no boost or attenuation) when set to the “ 0 ” (2 o ’ clock) position.
Guided T our - Rear Panel 1: Power on-off switch - As you may have guessed, this is what you use to turn the MPL 1502 on and off. To avoid potential damage to your speakers, turn the mixer on before you turn on any connected power amps — and turn it off after the power amps are turned off.
Guided T our - Rear Panel 5: Main out (L, R) - These are the MPL 1502 ’ s main outputs. You ’ ll usually use these to connect the MPL 1502 to a power amp and speakers.
Connecting The MPL 1502 - General Suggestions The actual connections you ’ ll make to and from the MPL 1502 will vary accord- ing to the environment you use it in and the particular equipment you have. In the “ MPL 1502 Applications ” sections at the rear of this manual, you ’ ll find some suggested setups.
• For single-fader control over a pair of matched signals (i.e. the left-right out- puts of a stereo effects processor, keyboard, drum machine, tone generator, CD player, or tape recorder), use the MPL 1502 ’ s stereo input channels (6/7, 8/9, 10/11, 12/13, and 14/15).
• Signals that are likely to require “ in-line ” processing (such as compression/limiting or expansion/noise gating) should be connected to channels 1 - 5, since these channels provide an insert connection.
13 Setting up your MPL 1502 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 — it can be used on a table- top or optionally mounted in any standard 19 ” rack, requiring six rack spaces.
14 You ’ re now ready to establish the correct gain structure — the key to getting the best performance from the MPL 1502, or from any mixer, for that matter.
15 Setting the Cor r ect Gain Str uctur e j. The procedure for setting optimum microphone levels is virtually identical; sing or speak into the mic at the level you expect to use in performance while slowly raising the gain control for that channel to its center detented “ 0 ” position.
16 Gr ounding 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.
17 Gr ounding T echniques If you ’ re using the MPL 1502 in a fixed location such as a recording studio, you may want to invest the time and money into creating a star ground network . This is by far the best technique for avoiding grounding problems.
18 Using Pan/Balance The final Main output of the MPL 1502 is stereo — that is, there are two discrete output jacks, labeled “ left ” and “ right, ” which will normally be routed to two discrete speakers.* Because of this, you will usually be working with a stereo field that ranges from hard left to hard right.
19 Using Equalization One of the most exciting aspects of using a mixer such as the MPL 1502 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.
20 Using Aux Sends and Retur ns The MPL 1502 ’ s two Auxiliary sends allow you to combine the signal from multiple channels and send the resulting mix to external devices such as effects processors. When an Aux send knob is at the “ 0 ” position, the signal is routed with unity gain (that is, no boost or attenuation).
21 Using Channel Inser ts In addition to using Auxiliary sends and returns to access outboard devices, the MPL 1502 also provides channel inserts for the first five (mono) input channels.
22 Applications Here are four suggested applications for the MPL 1502; bear in mind that your particular circumstance may dictate changes in these suggested signal connections and routings.
23 Application 2 - Using The MPL 1502 As An Onstage Monitor Mixer Here, the MPL 1502 is receiving monophonic signal into its line inputs from the direct channel outputs of a main live mixer. Its Main output is connected to an outboard signal processor (typically an equalizer) prior to being routed to an amplifier and onstage monitors.
24 Application 3 - Using The MPL 1502 As A Keyboar d Submixer Here, various keyboards and MIDI tone generators are connected to the mono and stereo line inputs of the MPL 1502. Signal processors are connected to Aux sends and returns and to channel inserts as required.
Applications Application 4 - Using The MPL 1502 For Recor ding You can also use the MPL 1502 for making simple recordings — for example, when recording a rehearsal or practice session direct to open-reel two-track, cassette, or DAT recorder.
26 Specifications 1. Frequency Response (0 dB = 1.0 V RMS) 17 Hz to 30 kHz ± 1.5 dB at +4 dB 2. Equivalent Input Noise Ch. 1 - Ch. 5 Mic input -128 dB (A filter, 150 Ω shorted) Ch. 1 - Ch. 15 Line input -131 dB (A filter, input shorted) 3. THD+N (unity gain, 20 Hz - 20 kHz) Less than 0.
デバイスSamson MPL 1502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 MPL 1502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 MPL 1502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 MPL 1502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 MPL 1502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 MPL 1502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 MPL 1502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 MPL 1502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 MPL 1502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。
