Page 2 - Setting the correct gain structure 12
Introduction 1 MPL 1640 Features 1 Guided Tour 3 Overview 3Channel 4Main Section 6Rear Panel 8 Connecting the MPL 1640 10 Balanced connectors 10Unbalanced connectors 10Mic connectors 10Insert connectors 11 Setting Up and Using the MPL 1640 12 Setting the correct gain structure 12 Grounding Technique...
Page 3 - Introduction; SPECIAL NOTE: Should your unit ever require servicing, a
Introduction Congratulations on purchasing the Samson MPL 1640 mixer! In this manual,we’ll take you on a guided tour through all the features of this powerful and flexi-ble device, and we’ll tell you how to get the most out of the MPL 1640 in yourparticular environment. If this is your first mixer, ...
Page 4 - • Bus switches on each channel allow signal to be muted or routed to a
Introduction • 3 auxiliary sends and 3 stereo auxiliary returns (which can be used as 6 monophonic returns). Auxiliary return balance controls allow you to adjustthe relative levels of the left and right inputs for each return. Aux send 1 ispre-fader and pre-equalizer, making it ideal for use as a h...
Page 5 - Guided Tour - Over view; SAMSON; Main Section
Guided Tour - Over view The following illustration shows an overview of the front panel of the MPL 1640: 3 +4 -50 INPUT TRIM 0 -10 -15 +15 HIGH 0 -12 +12 MID 0 -15 +15 LOW 0 +10 AUX 1 0 −∞ +10 AUX 2 0 −∞ +10 AUX 3 0 −∞ PFL BUS ON OFF 3 / 4 L / R 1 - ∞ dB PEAK +4 -50 INPUT TRIM 0 -10 -15 +15 HIGH 0 -...
Page 6 - Guided Tour - Channel; (black) - This knob determines the input level of the connected
Guided Tour - Channel Let’s start our guided tour by examining the various controls provided by eachchannel: 1: Input Trim (black) - This knob determines the input level of the connected mic or line signal. Continuously adjustable from +4 dB to -50 dB, the input trim isat unity gain (no boost or cut...
Page 7 - (gray with a blue line) - This linear slider determines the signal
Guided Tour - Channel 6: Bus switch (gray) - When up, the channel’s signal is routed to the Main L/R faders (as described on page 7) and then on to the MPL 1640 Main Mix outputjacks (as described on page 8). When pressed in, the channel’s signal isremoved from the Main L/R output and is instead rout...
Page 8 - Guided Tour - Main Section; - This seven-segment bar meter shows the continuous output level of; : Stereo Auxiliary Return Level
Guided Tour - Main Section 1: Meter - This seven-segment bar meter shows the continuous output level of the Main L/R stereo output. For optimum signal-to-noise ratio, try to adjust alllevels so that program material is usually at or around 0 VU, with occasional butnot steady excursions to the red +3...
Page 9 - : Headphones control; The
Guided Tour - Main Section 6: Headphones control (black) - This knob sets the level of the signal sent to the headphone jack (see #7 below). WARNING: To avoid possible damage to connected headphones (or, worse yet, to your ears!), always turn this allthe way off (to the fully counterclockwise “0” po...
Page 10 - Guided Tour - Rear Panel; WARNING: Only turn this on or off with the MPL 1640 powered down.
Guided Tour - Rear Panel 1: Phantom switch - When this switch is turned on, the MPL 1640 delivers 48 volts of phantom power to pins 2 and 3 of all XLR microphone connectors (channels 1 - 10). WARNING: Only turn this on or off with the MPL 1640 powered down. Before turn- ing phantom power on, be sure...
Page 11 - - Use these to insert external in-line effects processors; WARNING: Do not connect a channel’s line input if you already have; - Use these standard XLR jacks to connect microphones to; WARNING: Do not turn Phantom power on if signal sources other than
Guided Tour - Rear Panel 8: Bus Insert - Use these to insert an external in-line effects processor (such as out- board equalizer, compressor/limiter or noise gate) into the Bus 3/4 output in an “effectsloop” configuration. These jacks accept 1/4" TRS plugs, with the ring carrying the sendsignal ...
Page 12 - GROUND
Connecting The MPL 1640 The actual connections you’ll make to and from the MPL 1640 will vary accord-ing to the environment you use it in and the particular equipment you have. Inthe “Applications” sections at the conclusion of this manual (pages 24 - 27),you’ll find some suggested setups. Here we p...
Page 14 - Setting the Correct Gain Structure; Setting Up and Using the MPL 1640
12 Setting up your MPL 1640 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 atabletop or mounted in any standard 19” rack, requiring 8 rack spac...
Page 15 - i. Repeat step (g) above for each instrument connected to the MPL 1640
13 Setting Up and Using the MPL 1640 f. If any condenser microphones are connected to the MPL 1640, turn on the Phantom switch.* Then turn on the MPL 1640—the Power LED in themeter section will light up. Finally, turn on the power amplifier. g. Play an instrument connected to one of the MPL 1640’s l...
Page 17 - Grounding Techniques; potential
Grounding Techniques Hum and buzz are the biggest enemies you face when interconnecting a largenumber of different pieces of equipment to a central audio mixer. This isbecause each piece of equipment may operate at a marginally different voltage(this difference is called potential ) and, when two de...
Page 18 - star ground network
Grounding Techniques If you’re using the MPL 1640 in a fixed location such as a recording studio, youmay 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 aformidable ground source such as a co...
Page 19 - LEVEL
Using Bus 3/4 In addition to the Main Mix stereo output, the MPL 1640 provides two indepen-dent bus outputs (Bus 3/4).* A “bus” is simply a pathway through which a signal can be routed. The provision of these secondary outputs makes it possible foryou to create two mixes simultaneously, so that some...
Page 20 - Using Pan; dynamic panning
18 Using Pan The final Main output of the MPL 1640 is stereo—that is, there are two discreteMain Mix output jacks, labeled “left” and “right,” which will normally route signal(via a power amplifier) to two discrete speakers.* Because of this, you will usual-ly be working with a stereo field that ran...
Page 21 - Using Equalization; equalization
19 Using Equalization One of the most exciting aspects to using a mixer such as the MPL 1640 is hav-ing 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, ...
Page 22 - Using the Auxiliar y Sends and Returns
20 Using the Auxiliar y Sends and Returns The MPL 1640’s system of Auxiliary sends allow you to combine the signal frommultiple channels and send the resulting mix to external devices such as effectsprocessors. When an Aux send knob is at the “0” position, the signal is routedwith unity gain (that i...
Page 23 - Using Channel Inser ts; normal
21 Using Channel Inser ts In addition to using Auxiliary sends and returns to access outboard devices, theMPL 1640 also provides channel inserts for input channels 1 - 12 as well as forthe Main Mix and Bus 3/4 outputs. Channel inserts should be used when you want to affect just one signal, asopposed...
Page 24 - Using PFL Solo
22 Using PFL Solo The MPL 1640 provides PFL (Pre-Fade Listen) solo switches for each of its six-teen input channels. The main function of PFL is to allow you to check that asignal is actually arriving at a particular input. When a PFL(solo) switch ispressed, the pre-fader (but post-EQ) signal of tha...
Page 25 - Changing the MPL 1640 from Rack-mount to Tabletop; REMOVE COVERPLATE SCREWS
Changing the MPL 1640 from Rack-mount to Tabletop The diagrams below show the steps required to convert the MPL 1640 from rack-mount to tabletop usage or vice-versa.CAUTION: These servicing instructions are for use by qualified personnel only. Refer all servicing to qualified service personnel. 23 R...
Page 26 - Applications; Application 1 - Using the MPL 1640 as a main live mixer
24 Applications Here are four suggested applications for the MPL 1640; bear in mind that your particular circumstance may dictatechanges in these suggested signal connections and routings. Application 1 - Using the MPL 1640 as a main live mixer The main connections here involve routing the MPL 1640’...
Page 27 - Application 2 - Using the MPL 1640 as an onstage monitor mixer
25 Applications Application 2 - Using the MPL 1640 as an onstage monitor mixer Here, the MPL 1640 is receiving signal into its line inputs from the direct channel outputs of a main live mixer. Its MainMix output is connected to an amplifier and onstage monitors, and the Main Mix inserts are connecte...
Page 28 - Application 3 - Using the MPL 1640 as a keyboard submixer
26 Applications Application 3 - Using the MPL 1640 as a keyboard submixer Here, various keyboards and MIDI tone generators are connected to various line inputs of the MPL 1640. Signal proces-sors are connected to Aux sends and returns and to channel inserts as required. The Main Mix output is routed...
Page 29 - Application 4 - Using the MPL 1640 as a recording mixer
27 Applications Application 4 - Using the MPL 1640 as a recording mixer You can also use the MPL 1640 as a recording mixer when making simple recordings (for example, when recording arehearsal or practice session direct to open-reel two-track, cassette, or DAT recorder). Microphones and line levelsi...
Page 30 - Appendix A: Changing the MPL 1640 Voltage; maintained for adequate protection.; Insert a small screwdriv-
Appendix A: Changing the MPL 1640 Voltage 28 Note that the fuse sled carries two fuses—one for 115 volt operation (actually 105 - 120 volts) and another for 230 voltoperation (actually 220 - 240 volts). The position of the two fuses in the sled as well as the fuse ratings must be maintained for adeq...
Page 31 - Appendix B: Block Diagram
Appendix B: Block Diagram 29 PHANTOM POWER MIC INPUT LINE INPUT 3 - BAND EQUALIZER LOW MID HIGH INSERT 1 2 3 PAN CH FADER CLIP LED AUX 3 AUX 2 AUX 1 BUS SELECTOR SW RLY LEVEL BALANCE R L L R R L L OUTPUT R OUTPUT HEADPHONE OUTPUT BALANCED MAIN MIX R OUTPUT BALANCED MAIN MIX L OUTPUT LED LEVEL METER ...
Page 32 - Specifications
Specifications Normal Limit Frequency Response Mic/Line to Main ± 1 dB 10 Hz - 45 kHz 20 Hz - 20 kHz (Trim @ min, output @ 0 dB, In/Out fader @ center position) Aux Return to Main ± 1 dB 11 Hz - 26 kHz 20 Hz - 20 kHz (Return VR @ “0” position, Main fader @ center position,output @ 0 dB) Total Harmon...
Page 33 - Ch Input Mic
31 Specifications Maximum Input Level (±3 dB) Ch Input Mic +14 dB Ch Input Line +24 dB Channel fader range +15 dB to -80 dB Aux send gain range +10 dB to -75 dB Input Channel Equalization (± 2 dB) High (10 kHz) ± 15 dB Mid (800 Hz) ± 12 dB Low (80 Hz) ± 15 dB Dimensions (W x D x H) 482 x 373 x 112 m...
