DUAL 31 BAND EQUALIZER
Table of Contents
Introduction
2
3
System Features
Controls and Functions
Front Panel
4
5
Rear Panel
Setting Up and Using the S curve 231
System Configurations
About Equalization
6 - 7
8 - 10
11
Grounding Techniques
Using a Patchbay
12
12
Using the S curve 231 with an RTA
Using the S curve 231 to Remove Feedback
S curve 231 Wiring Guide
Specifications
13
14
15
16
Pass-Band Graphs
16
Block Diagram
17
Copyright 2003, Samson Technologies Corp.
Printed Oct., 2003
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
Introduction
Congratulations on purchasing the Samson S curve 231 dual channel,1/3 Octave, 31 Band Constant Q
Graphic Equalizer! Although this product is designed for easy operation, we suggest you take some
time out first to go through these pages so you can fully understand how we’ve implemented a number
of unique features.
The S curve 231 is a professional quality signal processor that gives you precise tonal control over a
stereo, or two mono audio signals. Center detented sliders with LED illumination allow you to selec-
tively cut or boost selected frequency areas by as much as 24 dB. Front panel controls include output
level sliders, a variable Lowcut filter, as well as Cut Only, Range and Bypass switches. The rear panel
provides electronically balanced inputs and outputs on 1/4-inch and XLR connectors. Thanks to low
noise circuitry, the S curve 231 can be used in a wide variety of applications, including live performance
(in conjunction with either Front Of House or monitor mixers), in broadcast environments, or for record-
ing.
In this manual, you’ll find a more detailed description of the features of the S curve 231, as well as a
guided tour through the front and rear panels, step-by-step instructions for using the unit, suggested
applications for use with a patch bay, a Real Time Analyzer (RTA) or for ringing out monitor systems.
You’ll also find a warranty card enclosed—please don’t forget to fill it out and mail it so that you can
receive online technical support and so we can send you updated information about other Samson
plete information about our full product line.
With proper care and adequate air circulation, your S curve 231 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.
2
S curve 231 Features
The Samson S curve 231 Graphic Equalizer utilizes state-of-the-art, Constant Q filtering technology for
precise tonal control. Here are some of it’s main features:
•
•
The S curve 231 is a two channel equalizer and each channel provides 31 bands of equaliza-
tion, with each frequency band representing 1/3 of an octave in the 20 Hz to 20 kHz range.
Constant Q circuitry ensures that the bandwidth of the selected frequency area stays the same
even when approaching maximum boost or attenuation. As a result, phase shifting and inter-
modulation distortion is greatly reduced, making for pristine sound.
•
•
The S curve 231 can be set for either 6 or 12 dB of gain and attenuation for each of the fre-
quency bands.
For monitor applications, the S curve 231 can be set for CUT ONLY mode providing up to 12dB
of attenuation with full slider range.
•
•
•
•
Ultra-low noise circuity ensures superb audio fidelity.
Variable Low Cut Filter for removing rumble and floor noise can be adjusted from 15 to 200 Hz.
Electronically balanced XLR and TRS inputs and outputs.
Front panel, hard-wired, relay controlled Bypass switches (with dedicated Bypass LEDs) allow
the equalization circuitry and output level control to be activated or deactivated.
•
Main Level control enables output signal to be attenuated or boosted for optimum signal-to
noise ratio.
•
•
•
•
LED faders and 8 segment LED bar VU meters.
Relay power-on circuitry prevents speaker “thumps” when the unit is turned on.
Internal power supply ensures reliability and trouble-free operation.
Standard 19", 2 rack-space design for easy integration into any traveling or fixed installation
audio system.
•
•
•
Optional security cover kit prevents EQ settings from accidentally being altered.
All-steel chassis makes the S curve 231 eminently road-worthy.
Three year extended warranty.
3
Controls and Functions
FRONT PANEL LAYOUT
1
Equalizer level sliders - Independent Equalizer sliders are provided for each frequency area (The S
curve 231 provides 31 frequency areas).Calibration markings on either side of each Equalizer slider
allow you to cut or boost each frequency area. As described below, the exact action of the Equalizer
sliders depends upon the setting of the Range switch as well as the setting of the Cut Only switch (see
#3 and #5).
When the Cut Only switch is not pressed in: When an equalizer slider is at its center detented 0 position, the
frequency area is unaffected (that is, there is no boost or cut). When moved all the way up (to the +12
dB) position, the frequency area is boosted by 12 dB (if the corresponding Range switch is notpressed
in) or 6 dB (if the corresponding Range switch is pressed in). When moved all the way down (to the -12
dB position), the frequency area is attenuated by 12 dB (if the corresponding Range switch is not
pressed in) or 6 dB (if the corresponding Range switch is pressed in).
When the Cut Only switch is pressed in: When an equalizer slider is at its top-most position, the frequency
area is unaffected (that is, there is no boost or cut). As the Equalizer slider is moved down, the frequen-
cy area is attenuated. When moved all the way down, the frequency area is attenuated by 6 dB (if the
corresponding Range switch is pressed in) or 12 dB (if the corresponding Range switch is not pressed
in).
2
Main Output level slider - Use this to adjust the output level of signal leaving the S curve 231 via its
rear-panel output connectors (see D on page 5 for more information). When the main slider is at its
center detented 0 position, the corresponding output signal is at unity gain (that is, there is no level cut
or boost). When the main slider is moved all the way up (to the +6 dB) position, the output signal is
boosted by 6 dB. When a Level slider is moved all the way down (to the ∞ position), the output signal is
infinitely attenuated (that is, there is no signal). Note that the Main level slider is deactivated when the
S curve 231 is in Bypass mode (see #7).
3
4
Frequency control - When the Low Cut switch is pressed in, the variable low cut control is active. You
can adjust the point at which the low frequencies begin to roll off with a frequency range of from 15 to
200 Hz.
Low Cut switch - When pressed in, the LED in the switch lights yellow and the variable highpass filter is
applied to the signal. Using the Low Cut can be highly effective in removing rumble and other low fre-
quencies.
4
Controls and Functions
5
CUT ONLY switch - When pressed in, the LED switch lights and all the Equalizer sliders serve to attenuate
their frequency areas only (there is no boost) by up to 6 or 12 dB, depending upon the setting of the
RANGE switch (see #7 below). The Cut Only switch should be used when you need to notch out certain
frequencies in order to reduce feedback or “ring out” a room. See the “Using the S curve 231 to remove
feedback” section in this manual (page 14) for more information.
6
LEVEL METER - This eight segment LED bar VU meter displays the Input Level from –30dB to +18dB.
7
Range switch - When pressed in, the LED in the switch lights and the Equalizer sliders cut or boost each
frequency area by up to 6 dB, allowing fine frequency curves to be set. When out (in the up position), the
Equalizer sliders cut or boost each frequency area by up to 12 dB, allowing coarse control. The setting of
the switch also affects how Cut Only operates—see #1 on the previous page for more information.
8
Equalizer switch - When not pressed in, the equalization circuitry is made inactive so that the signal
passes through unaffected, regardless of the settings of the Equalizer or Level sliders. When pressed in,
the LED in the switch and the sliders light green and the equalization circuitry affects the signal as per the
setting of the front panel Equalizer and Level sliders (see #1 and #2).
9
Power switch - Use this to turn the power on and off.
10
Channel 2 - Same functions and controls and Channel 1.
REAR PANEL LAYOUT
A
B
AC input fuseholder - Connect the supplied
heavy gauge 3-pin “IEC” power cable here.
F
G
H
I
CH1 Balanced XLR jack input -
Electronically balanced XLR jack input.
Wiring is as follows: pin 2 hot, pin 3 cold,
and pin 1 ground.
CH2 Balanced XLR jack input - Electronically
balanced XLR jack input. Wiring is as follows: pin
2 hot, pin 3 cold, and pin 1 ground.
CH1 Balanced 1/4" TRS jack input -
Electronically balanced 1/4" TRS jack input.
Wiring is as follows: tip hot, ring cold, and
sleeve ground.
C
D
E
CH2 Balanced 1/4" TRS jack input -
Electronically balanced 1/4" TRS jack input. Wiring
is as follows: tip hot, ring cold, and sleeve ground.
CH1 Balanced XLR jack output -
Electronically balanced XLR jack output.
Wiring is as follows: pin 2 hot, pin 3 cold,
and pin 1 ground.
CH2 Balanced XLR jack output - Electronically
balanced XLR jack output. Wiring is as follows:
pin 2 hot, pin 3 cold, and pin 1 ground.
CH2 Balanced 1/4" TRS jack output -
Electronically balanced 1/4" TRS jack output.
Wiring is as follows: tip hot, ring cold, and sleeve
ground.
CH1 Balanced 1/4" TRS jack output -
Electronically balanced 1/4" TRS jack out-
put. Wiring is as follows: tip hot, ring cold,
and sleeve ground.
SETTING UP THE S curve 231
SETTING UP THE S curve 231
Setting up your S curve 231 Graphic Equalizer 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 free-standing or mounted in a standard 19" rack.
2. Make sure the power to all mixers and amplifiers in your audio system is off. On the front panel of the S curve
231, place the Bypass switch to it’s out (off) position and set the Main Level slider to it’s bottom-most “OFF”
setting.
3. Set all Equalizer sliders to their flat (“0”) center detented position.
4. The S curve 231 can be used either as an “in-line” device, as an insert device (in conjunction with
mixer insert points), or in an effects send-return loop. The illustrations on pages 8-10 show each of
these typical configurations. Choose the configuration that is best for your application and then
begin by making the S curve 231 input connections, using either the XLR or 1/4" TRS connectors
on the rear panel. WARNING: Both the XLR and 1/4" TRS inputs should not be connected
simultaneously, or loading problems may result.
5. Next, make the S curve 231 output connections, using the XLR or 1/4" TRS connectors on the rear
panel. If required, connections can be made simultaneously to both.
6. Plug in the supplied AC connector and connect it to any standard AC socket. Because of the spe-
cial relay power-on circuitry built into the S curve 231, you can even plug it into the same power
strip that other audio devices (such as a mixing console) are connected to. You can then turn on all
devices at once with the single power strip on-off switch, without generating speaker “thumps”.
6
SETTING UP THE S curve 231
7. Press the front panel Power switch to turn on the S curve 231. Press the Equalizer switches in to
activate the equalizer. Note that audio signal will be muted for approximately five seconds until the
relay power-on circuitry is activated (at which time you’ll hear a click and the audio signal will be unmut-
ed).
8. Apply an input signal to the S curve 231 (if sending signal from a mixer output bus, drive the mixer’s
output meters at approximately 0 VU). While the input signal is present, slowly raise the front panel
main level slider to it’s center detented “0” point. For best signal-to-noise ratio, the main level slider
should be at or near the “0” point during normal operation. However, if the input signal is weak, use the
main level slider to slightly boost the volume (to a maximum of 6 dB). Conversely, if the signal causes
the front panel +18 LEDs to light, use the main level slider to attenuate volume as necessary. In nor-
mal operation, the +18 LED should not light at all; if they do, use the main level slider to lower the vol-
ume of the output signal so that it does not light at all (clipping not only sounds awful, it can also dam-
age speakers!).
9. Experiment by moving each of the Equalizer sliders up and down, carefully listening to the audible
result on the audio signal. Bear in mind that the very lowest and highest frequency areas may have lit-
tle or no effect on some signals. If there is significant low frequency noise (rumble) in the signal,
engage the Low Cut switch. Starting with the Low Cut frequency control fully counter-clockwise, adjust
the control so that the rumble is eliminated but the bass content of the signal still remains. Some exper-
imenting with this control may be necessary to acheive a satisfying result. As you work with the various
front panel controls, press the front panel Equalizer switch in and out from time to time in order to com-
pare the effect of the equalization curve you are creating with the original input signal.
10. Once you’ve created the frequency curve required for your particular application (see the “About
Equalization” section on the following pages for more information), an optional locking security cover
(available from your local Samson dealer) can be placed over the front panel to make sure that your
settings are not inadvertently altered.
If you have followed all the steps above and are experiencing difficulties with any aspect of setting up
or using your S curve 231, you can call Samson Technical Support (1-800-372-6766) between 9 AM
and 5 PM EST, or contact your local distributor.
7
S curve 131 System Configurations
Using the S curve 231 with Active Speakers
In this example, the mixer’s stereo output is connected to the S curve 231’s inputs. Then, the S curve 231’s outputs are connected to the
inputs of each active (self-powered) loudspeaker.
Using the S curve 231 with Passive Speakers
In this example the mixer’s stereo output is connected to the S curve 231’s inputs. Then, the S curve 231’s outputs are connected to the input
of a 2-channel power amp. Next, the power amplifier’s outputs are connected to the passive (non-powered) loudspeakers.
8
S curve 131 System Configurations
Using the S curve 231 in Insert Points
You can use the S curve 231 in your mixer’s insert points if you want to equalize two mono channels individually in the mix. In this example
the S curve 231’s Channel 1 INPUT and OUTPUT are inserted on a bass guitar channel using a 1/4-inch TRS to 2 x 1/4-inch TS “Y” cable, and
the Channel 2 INPUT and OUTPUT are inserted on a keyboard channel using the same type of cable. For more information on cable wiring
see the S curve 231 Wiring Guide page 15 in this manual.
Using the S curve 231 for Mains and Monitors
In this example, an S curve 231 is used for both the main PA speakers running a mono mix, and for the monitor mix, also in mono. For the
main PA, the mixer’s MONO output is connected to the S curve 231’s Channel 1 input. Then, the S curve 231’s output is connected to the
input of the right main PA active (self-powered) loudspeaker. The left main PA speaker is connected by “daisy-chaining” from the right. For
the monitor mix, the mixer’s AUX output is connected to the S curve 231’s Channel 2 input. The S curve 231’s Channel 2 output is connected
to the input of the monitor power amplifier operating in bridge mode. Finally, the power amplifier’s outputs are connected to the passive
(non-powered) monitor loudspeakers. (See the owners manual for your specific power amplifier for the proper bridge mode operation.)
9
S curve 131 System Configurations
Using Two S curve 231’s for Mains and Monitors
10
About Equalization
The S curve 231 gives you fine control over shaping 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...
Every naturally occurring sound consists of a broad range of pitches, or frequencies, combined togeth-
er in a unique way. This blend is what gives every sound its distinctive tonal color. The range of fre-
quencies that can be heard by humans is sometimes called the audible range, and it includes frequen-
cies from as low as 20 Hz (that is, 20 wavecycles per second) to those as high as 20 kHz (that is,
20,000 wavecycles per second).
The S curve 231 uses high-quality filters, dividing the audible range into 31, 1/3 octave frequency
areas, centered at 20 Hz, 25 Hz, 31.5 Hz, 40 Hz, 50 Hz, 63 Hz, 80 Hz,100 Hz, 125 Hz, 160 Hz, 200
Hz, 250 Hz, 315 Hz, 400 Hz, 500 Hz, 630 Hz, 800 Hz, 1 kHz, 1.25 kHz, 1.6 kHz, 2 kHz, 2.5 kHz, 3.15
kHz, 4 kHz, 5 kHz, 6.3 kHz, 8 kHz 10 kHz, 12.5 kHz, 16 kHz, and 20 kHz. “Constant Q” circuitry
ensures that the bandwidth of each of these frequency areas stays the same even when approaching
maximum boost or attenuation, resulting in greatly reduced phase shifting and intermodulation distor-
tion.
Each frequency area can be cut or boosted by as much as 12 dB, giving you finer control and allowing
you to construct gentler frequency curves.
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). Be
aware of the phenomenon of masking, where loud sounds in one frequency range obscure softer
sounds in the same range; by cutting EQ “notches” in a loud signal, you can actually make room for a
softer one to shine through. And try not to think of EQ as a miracle worker—no amount of equalization
can put a singer in tune or remove the distortion from an overloaded input signal! The key is to get the
signal right in the first place, by using correct gain structure and mic placement.
If you are using your S curve 231 to equalize a complex mono signal (for example, the master mix out-
put of a mixing console), a more natural sound can be obtained by setting up gentle “smile” curves than
by simply cutting or boosting individual frequency areas. For example, if you decide that you want to
boost one particular frequency area by 6 dB, try boosting the adjacent areas (the frequency directly
above and below the target frequency) by 3 dB each.
If you are using your S curve 231 to equalize signal from individual instruments, here are a few general
suggestions: Boosting the low frequency areas of instruments such as bass drums or bass guitar will
add warmth and make the sound “fatter”; conversely, you may want to attenuate the low frequency
components of instruments such as cymbals, high-hats, and shakers so as to “thin” them out.
Attenuating mid-range frequencies (the 1 kHz - 5 kHz area) can give a vocal performance more of an
“FM-radio” feel, while boosting those frequencies can help a vocal cut through dense instrumentation.
Be careful not to boost high frequencies too much or you risk adding hiss to the signal, though just a
touch can help add “shimmer” to an acoustic guitar, ride cymbal, or high-hat. You can also use the
highest or lowest equalizer sliders to reduce hiss (by attenuating high frequencies) or rumble (by atten-
uating low frequencies). Rumble can also be attenuated by engaging the front panel Low Cut switch,
which inserts a High Pass Filter that is variable from 15 to 200 Hz.
11
Grounding Techniques
Hum and buzz are the biggest enemies you face when interconnecting a large number of different pieces of
equipment to one another. This is because each piece of equipment may operate at a marginally different voltage
(this difference is called potential) and, when two devices at slightly different potential are physically connected
with audio cabling, the end result can be nasty, extraneous noise (mind you, connecting two devices at very dif-
ferent potential can result in a major electrical shock!).
However, there are several steps you can take to avoid grounding problems. First, assuming you have an isolat-
ed electrical circuit that can handle the electrical demands of all connected audio equipment (these needs will
usually be modest), you should always plug all connected equipment into the same circuit. If possible, nothing
else but this equipment should be connected to that circuit. If you can’t do this, at least avoid plugging your audio
equipment into the same circuit that is already powering things like heavy machinery, air conditioners, heaters,
refrigerators, washing machines, neon signs or fluorescent light fixtures. One particular culprit that will almost
certainly create problems is the standard light dimmer (the kind that uses silicon controlled rectifiers). Where low-
level lighting is desired, use incandescent fixtures with autotransformer-type dimmers (sometimes called Variacs)
instead—these cost considerably more than the standard dimmer you’ll find at your local hardware store, but are
well worth the extra expense.
Three-prong plugs (such as the one used by the S curve 231) should always be used as is; don’t use adapters. If
you are using rack-mounted audio devices such as the S curve 231 and are experiencing hum or buzz, there's a
simple test to determine the source of the problem: while keeping all devices powered on and connected with
audio cabling, physically remove each device, one by one, from the rack. If the hum disappears when a particular
device is removed, that device is the culprit.
We also recommend that you use balanced audio cabling and connectors wherever possible. S curve 231 pro-
vides electronically balanced inputs and outputs. The diagram on pg. 15 shows how XLR connectors should be
wired for use with these inputs and outputs.
In addition, you can minimize possible interference by planning your audio, electrical, and computer cable runs so
that they are as far apart from one another as possible and so they don’t run parallel to one another. If they have
to cross, try to ensure that they do so at a 90° angle (that is, perpendicular to one another). In particular, try to
keep audio cabling away from external AC/DC adapters.
If your S curve 231 is 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. It involves
using a formidable ground source such as a cold water pipe or a copper spike driven into the earth. A thick
grounding cable is connected to that source and is then brought to a central distribution point; from there, individ-
ual cables are connected to each piece of equipment. This setup also requires that you lift the ground plug of all
three-prong AC connectors, so there is the possibility of danger if it is done incorrectly. We strongly recommend
that you contract with a qualified professional to carry out this or any kind of electrical work.
Another, less common problem you may encounter is that of oscillation (a ringing tone), which, apart from being
annoying, is potentially dangerous to your speakers. This is generally caused either by poor outside wiring or by
having an out of phase signal (most commonly from an outboard signal processor). If audible oscillation occurs,
you should be able to eliminate the problem by reversing that signal’s phase (many signal processors have a
switch that allows you to do this).
Using the S curve 231 with a Patchbay
If you are using the S curve 231 with an audio patchbay (such as S patch or S patch plus), you may find it advan-
tageous to connect its inputs and outputs directly to a pair of patch points. This way, you can opt to route signal
to the equalizer from any source. For example, in a recording environment where you are using the S curve 231
to “tune” the room, you may typically want to have the control room outputs routed to the equalizer inputs and the
equalizer outputs routed to the power amplifier(s) driving the control room speakers. For maximum convenience
and flexibility, we recommend that you half-normal these connections to the S curve 231 patchpoints, so that the
routing will automatically be made unless a patch cable is inserted. If a different signal (such as a bus output or
insert) needs to be substituted, you can then override the half-normalled connection simply by inserting a patch
cable.
12
Using the S curve 231 with an RTA
An RTA (Real Time Analyzer) is a device which measures the relative levels of multiple frequency
areas. This device, in conjunction with a pink noise generator, is the perfect companion for your S
curve 231. Together with a high quality microphone, these tools allow you to fine tune the overall fre-
quency response of your audio system in any given environment (this procedure is sometimes known
as “tuning” a room).
To use this kind of system, connect the S curve 231 to your mixer’s main outputs or across main mix
output inserts (see pages 8 - 9 in this manual for typical configuration diagrams). Set the S curve 231
Level slider(s) to the center detented “0 dB” position. Because you’ll probably need to boost as well as
cut certain frequencies—and because you’ll rarely need to make adjustments of more than 6 dB, make
sure both Cut Only switches are in the out position and the range switch is set to the in (6dB) position.
Start by placing all front panel Equalizer sliders at their flat (“0”) center detented position. Then inject
pink noise into your loudspeakers via your mixer at a normal operating level (make sure the pink noise
is loud enough to drown out any ambient noise floor caused by air conditioners or outside traffic, etc.).
Finally, connect a quality microphone to the RTA and place the mic in a typical listening position.
Because pink noise consists of all audible frequencies blended together at equal level, the RTA
should, in theory, show all frequency bands to be flat. However, due to anomalies in every physical
environment, this will rarely if ever be the case. While watching the RTA, use the front panel Equalizer
sliders to make corrections to the signal, boosting any dips in the measured frequency response and
attenuating any peaks. Repeat the procedure three or four times from different listening positions,
averaging the results if necessary to come up with an equalization curve that works well at all posi-
tions. If you get drastically different measurements at different listening positions, you may need to
reposition various loudspeakers or change the amount of power applied to some of them.
Bear in mind that an analyzer “listening” to pink noise is no substitute for the human ear listening to
actual program material. A perfectly flat frequency response is not necessarily the best sounding fre-
quency response, so, once you have used the RTA and the S curve 231 to tune a room “by the num-
bers” be sure to audition the results by playing typical audio signal (music, speech, etc.) through your
system and continue to fine tune by ear. Be prepared to compromise—and if there’s a discrepancy
between what the RTA says and what your own ears tell you, always go with the latter.
13
Using the S curve 231 to Remove Feedback
One of the most important applications for the S curve 231 is removing feedback from an onstage
monitor system. This procedure is sometimes called “ringing out,” since feedback usually begins with
a slight ringing sound at the resonant frequencies where the loop between microphone and speaker
is loudest. The advanced Constant Q circuitry ensures that adjacent program frequencies which may
not be causing any problems are unaffected even when attenuating problem frequencies by their
maximum amount.
To ring out a monitor system, start by setting up the stage exactly as it will be used during perfor-
mance, preferably with the performers themselves standing in front of the mics they will be using (this
is important since the physical placement of objects—or people—on the stage can affect the genera-
tion of feedback loops in different frequency areas). With power to all audio components turned off,
connect the S curve 231 to the monitor mixer, preferably at its main mix inserts (if these are not
available, connect the unit in-line, between the monitor mixer outputs and the monitor amplifier
inputs). (See pages 8-10 in this manual for typical configuration diagrams.) Because you’ll only be
cutting frequencies, press the Cut Only switch so that it is on (in the down position). Also, because
you’ll want to be able to make deep cuts, set the Range switch so it is off (in the 12dB position).
Then raise all front panel Equalizer sliders to their upper-most position; because the Cut Only switch
is on, this represents flat response (no cut or boost).
Next, power up all audio equipment (turning on the amplifiers last) and, using one monitor output
only, gradually turn up the volume while a performer is speaking or singing into the primary mic for
that monitor. Continue slowly increasing the volume until a feedback howl just begins. Using your
ears or an RTA (Real Time Analyzer), identify the approximate frequency at which this feedback
occurs. Lower the corresponding Equalizer slider until the feedback disappears. Then continue
slowly turning up the volume until another feedback howl just begins. Again identify the approximate
frequency of this feedback and lower the corresponding Equalizer slider until the feedback disap-
pears. Repeat this procedure until you reach the point where many different frequencies begin to
feedback at once or when you find that you’ve already attenuated most of the feedback frequencies
that are occurring. This is the point at which the process stops—you’ve gotten as much gain out of
the monitor system as you can without adjusting the physical placement of the mic or monitor speak-
er. Repeat this procedure for each monitor output (each time using the primary mic for that monitor).
When done successfully, “ringing out” (which should be done before every performance) can add
another 3 to 15 dB more of usable gain to your monitor system—so it’s well worth the time and effort!
14
S curve 231 Wiring Guide
S curve 231 Wiring Guide
There are several ways to interface the S curve 231, depending on your exact monitoring set-up.
Follow the cable diagrams below for connecting your monitor system.
1/4” TRS Insert Cable
Un-Balanced 1/4” to 1/4” Cable
Balanced 1/4” to 1/4” Cable
Balanced XLR to XLR Cable
Unbalanced 1/4” to RCA Cable
15
Specifications
1: Center frequencies (Hz)
20, 25, 31.5, 40, 50, 63, 80, 100, 125,
160, 200, 250, 315, 400, 500, 630, 800,
1 k, 1.25 k, 1.6 k, 2 k, 2.5 k, 3.15 k, 4 k,
5 k, 6.3 k, 8 k, 10 k, 12.5 k, 16 k, 20 k
2: Variable range
6 dB or 12 dB
3: Frequency response (unity)
<10 Hz to 70 kHz -3 dB
Less than 0.013%
4: THD+N, unity gain
(20Hz to 20kHz)
5: Main level Max. gain
6: Low cut filter
+6 dB
variable, 15 to 200 Hz
7: Noise (with 22 kHz LPF, all faders flat)
8: Cut Only mode
-85 dB
-12 dB 1 dB Max
9: Dimensions
19 in. (w) x 10.5 (d) x 3.5 (h)
482 mm (w) x 267 (d) x 89 (h)
10: Weight
5.1 lb.(2.31 kg)
Boost
+12
+10
+5
0
-5
-10
-12
Cut
1K
100
20
50
200
500
2K
5K
10K 20K
FREQUENCY (Hz)
16
S curve 231 Block Diagram
17
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
|