Page 2 - MIXPAD Features 2; Table of Contents
Introduction 1 MIXPAD Features 2 Guided Tours 4 MIXPAD 12/9 Channels 4MIXPAD 12/9 Main Section 8MIXPAD 12/9 Jackfield 10Connecting the MIXPAD 4 Carrying Strap 11MIXPAD 4 Channels 12MIXPAD 4 Main Section 16MIXPAD 4 Jackfield 18 Connecting the MIXPAD 19 Setting Up and Using the MIXPAD 22 Setting the C...
Page 3 - Introduction; SPECIAL NOTE: Should your MIXPAD ever require servicing, a
Introduction Congratulations on your purchase of the Samson MIXPAD! One of thesmallest mixers ever made, the MIXPAD provides excellent soundquality and a wealth of features normally found only in full-size units.Although it has been designed for easy operation, we suggest you takesome time to go thr...
Page 4 - MIXPAD Features
MIXPAD Features The compact design of the MIXPAD belies an extraordinary versatility.Add excellent sound quality to the equation, and you’ve got a productwhich is equally useful as a live performance mixer and for fieldrecording applications. Here are some of the MIXPAD’s main features: • In the MIX...
Page 7 - MIXPAD 12 / MIXPAD 9 Channels
5 Guided Tour - MIXPAD 12 / MIXPAD 9 Channels 1: Mic inputs - Provided in monophonic channels only (channels 1 - 6in the MIXPAD 12 and channels 1 - 3 in the MIXPAD 9). Use theseelectronically balanced XLR jacks to connect microphones to any of theMIXPAD’s monophonic channels. These are intended to a...
Page 8 - pre-fade that is, the level of the signal is determined solely
6 Guided Tour - MIXPAD 12 / MIXPAD 9 Channels Balance control)—see the “Using Pan/Balance” section on page 28 formore information. See the “Connecting The MIXPAD” section on page19 for additional information on how best to use channel inputs. 4: Equalizer (violet) - These knobs determine the amount ...
Page 9 - relative levels
7 7: Balance (brown) - Provided in stereo channels only. When bothinputs 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 inthe MIXPAD 9) is automatically panned hard left and the lower inputsignal (channels 8, 10, and 12 in th...
Page 11 - MIXPAD 9 Main Section; before you turn on any connected power
9 Guided Tour - MIXPAD 12 / MIXPAD 9 Main Section 2: Left/Right Peak LEDs (red) - These warning lights indicate anoverload situation. They light whenever the main left or right outputsignal is 5 dB short of clipping. To stop them from lighting (and toeliminate the accompanying sonic distortion), tur...
Page 13 - MIX
The MIXPAD 4 is supplied with a handy carrying strap for easyportability. As shown in the illustration above, attach the strap to theMIXPAD 4 by placing the buckles in the connector slots and pressingthem in firmly until they snap in place. Remove the carrying strap bygently squeezing together the o...
Page 15 - MIXPAD 4 Channels
13 Guided Tour - MIXPAD 4 Channels 1: Mic inputs - Provided in monophonic channels only (channels 1 and2). Use these electronically balanced XLR jacks to connect microphonesto either of the MIXPAD 4’s two monophonic channels. These areintended to accept signal from low-level, low-impedance mics but ...
Page 17 - relative
15 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, thechannel 3 input signal is automatically panned hard left and the channel4 input signal is automatically panned hard right. In this cas...
Page 19 - MIXPAD 4 Main Section
Guided Tour - MIXPAD 4 Main Section 3: Left/Right Peak LEDs (red) - These warning lights indicate anoverload situation. They light whenever the main left or right outputsignal is 5 dB short of clipping. To stop them from lighting (and toeliminate the accompanying sonic distortion), turn down the Mai...
Page 21 - • In general, it’s best to make all connections with the MIXPAD and
19 Connecting the MIXPAD - General Suggestions The actual connections you’ll make to and from the MIXPAD will varyaccording to the environment you use it in and the particular equipmentyou have, but here are a few basic rules concerning MIXPADconnections that will apply in most situations: • In gene...
Page 23 - • In the MIXPAD 12 and MIXPAD 9, when connecting only one
21 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, theMIXPAD 12/9 treats that channel as if it is a mono channel and the...
Page 25 - off, set the power amplifier volume to
23 Setting the Correct Gain Structure You’re now ready to establish the correct gain structure—the key togetting the best performance from the MIXPAD, or from any mixer, forthat matter. This is a simple procedure that ensures optimum input andoutput levels so that no unnecessary noise (caused by too...
Page 28 - Grounding Techniques; very different potential can result in a major
26 Grounding Techniques Hum and buzz are the biggest enemies you face when interconnectinga large number of different pieces of equipment to a central audio mixer.This is because each piece of equipment may operate at a marginallydifferent voltage (this difference is called potential) and, when two ...
Page 29 - Another, less common problem you may encounter is that of
27 Grounding Techniques We also recommend that you use balanced audio cabling andconnectors wherever possible. The MIXPAD provides electronicallybalanced inputs for mono line channel inputs and for its main outputs.The wiring diagram in the “Connecting The MIXPAD” section of thismanual (on page 19) ...
Page 31 - relative levels of the
29 Using Pan/Balance In the MIXPAD 4 stereo channel (channels 3/4) and in MIXPAD 12 andMIXPAD 9 stereo channels (channels 7/8, 9/10, and 11/12 in theMIXPAD 12; channels 4/5, 6/7, and 8/9 in the MIXPAD 9) where bothinputs are connected, the upper input signal is automatically pannedhard left and the ...
Page 32 - Using Equalization
30 One of the most exciting aspects of using a mixersuch as the MIXPAD is the ability to shape asound, using a process called equalization. But there are few areas of sound engineering moremisunderstood than equalization, and, just asgood EQ can really help a sound, bad EQ canreally hurt it, so read...
Page 33 - masking, where loud sounds in one
31 Using Equalization In most instances, the best way to approach equalization is to think interms of which frequency areas you need to attenuate, as opposed towhich ones you need to boost (boosting a frequency area also has theeffect of boosting the overall signal; too much EQ boost can actuallycau...
Page 34 - Using Aux Sends and Returns; necessary and optionally sent on to other
32 Using Aux Sends and Returns The purpose of Auxiliary sends are to allow youto combine the signal from multiple channelsand send the resulting mix to external devicessuch as effects processors. The MIXPAD 12and MIXPAD 9 provide two such sends, whilethe MIXPAD 4 provides one. When a channel’s Aux s...
Page 37 - Recommended batteries:
35 Appendix A: Operating the MIXPAD 12/9 off Batter y 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 ...
Page 38 - MIXPAD 12 / 9 Specifications
36 MIXPAD 12 / 9 Specifications Normal Limit Frequency Response (Trim @ Min, unity gain ± 3 dB) Mic to Main 5 Hz - 65 kHz 10 Hz - 50 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 T.H.D. (Trim @ Min, +4dBu output, unity gain, 1 kHz w/30 Hz LPF) Mic...
Page 39 - MIXPAD 4 Specifications
37 MIXPAD 4 Specifications Normal Limit Frequency Response (Trim @ Min, unity gain ± 3 dB) Mic to Main 5 Hz - 54 kHz 10 Hz - 50 kHz Line to Main 5 Hz - 54 kHz Aux Return to Main 5 Hz - 98 kHz Line to Aux Send 5 Hz - 57 kHz T.H.D. (Trim @ Min, +4dBu output, unity gain, 1 kHz w/30 Hz LPF) Mic/Line to ...
Page 40 - Notes
