Introduction 1 PL 2404 Features 1 Guided Tour 3 Overview 3 Channels 4 Main Section 6 Rear Panel 8 Connecting The PL 2404 - General Suggestions 10 Setting Up and Using the PL 2404 12 Setting the Correct Gain Structure 13 Grounding Techniques 15 Busing, Submixing, and Channel Muting 17 Using the Balance Control 18 Using Equalization 19 Using Aux Sends and Returns 20 Using Channel Inserts 21 Using PFL/AFL 22 Applications Notes 23 Using The PL 2404 As A Recording Mixer 23 Using The PL 2404 As A Main Live Mix
Introduction Congratulations on purchasing the Samson PL 2404 four-bus line mixer! The PL 2404 is optimized for use as a keyboard submixer in both live performance and recording applications, and it can be used wherever there are a number of stereo or mono line-level sources that need to mixed down to two or four outputs.
PL 2404 Features • An independent electronically balanced Control Room output (with dedicated level control) for connection to a power amplifier and studio monitors. • Four Bus faders enable easy control of bus output levels. • Input trims for the mic inputs of channels 1 and 3 are continuously adjustable from +4 to -50 dB, making it possible to use the PL 2404 with a wide variety of microphone types. • Four auxiliary sends and four stereo auxiliary returns (which can be routed to any of the four buses).
Guided Tour - Overview The following illustration shows an overview of the front panel of the PL 2404: CH 1/2 CH 3/4 0 HIGH CH 5/6 0 HIGH CH 7/8 0 HIGH HIGH CH 9/10 CH 11/12 0 HIGH 0 0 HIGH CH 13/14 0 HIGH CH 15/16 0 HIGH CH 17/18 0 HIGH CH 21/22 CH 19/20 0 HIGH 0 HIGH CH 23/24 SAMSON AUX RETURNS PL 2404 STEREO MIXER 0 HIGH 0 +15 -15 MID +15 -15 +15 -15 MID 0 MID 0 +15 -15 +15 -15 MID 0 MID 0 +15 -15 MID 0 +15 -15 MID 0 +15 -15 MID 0 +15 -15 MID
Guided Tour - Channels CH 1/2 0 HIGH +15 -15 MID 0 1 +15 -15 0 LOW +15 -15 1L-2R AUX 0 ∞ +10 AUX 3L 0 2 ∞ +10 AUX 4R 0 ∞ +10 3 SOLO ON OFF 4 MUTE 3/4 5 1: Equalizer (violet) - These knobs determine the amount of boost or attenuation in each of three frequency areas (up to 15 dB for each area).
Guided Tour - Channels fully clockwise, only the even-numbered (right) input signal is heard (panned hard right). When only the odd-numbered (left) input is connected, the Balance knob functions as a constant level Pan control, allowing you to continuously place the incoming signal anywhere in the left-right stereo field. For more information, see the “Using the Balance Control” section on page 18 in this manual.
Guided Tour - Main Section SAMSON PL 2404 STEREO MIXER AUX RETURNS 0 ∞ +10 AUX RET.1 1/2 -18 -12 -9 -6 -3 0 +3 +6 +9 +12 -18 -12 -9 -6 -3 0 +3 +6 +9 +12 5 LEFT 3/4 RIGHT PFL 0 AFL POWER 6 ∞ +10 AUX RET.2 1 PFL AFL SOLO MAIN 3/4 1/2 0 9 0 0 ∞ ∞ +10 AUX RET.3 MAIN LEVEL 3/4 1/2 +10 0 L R ∞ +10 8 7 10 CONTROL ROOM L 11 R +10 dB +10 dB ∞ +10 AUX RET.
Guided Tour - Main Section 5: Meter - This ten-segment bar meter shows the continuous output level of the Main left/right 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 “+” segments. See the “Setting the Correct Gain Structure” section on page 13 in this manual for more information. 6: Meter LEDs - These show the status of various conditions within the PL 2404.
Guided Tour - Rear Panel 4 7 SAMSON PL 2404 24 CHANNEL PROGRAM STEREO / LINE MIXER POWER ON BUS OUTPUTS UNBALANCED <75Ω+4dBu 1 2 OFF 1 TRS STEREO INPUT TIP = LEFT RING = RIGHT SLEEVE = COM TRS BALANCED TIP = HI RING = LO SLEEVE = COM TRS INSERT UNBALANCED TIP = RETURN RING = SEND SLEEVE = COM 2 XLR BALANCED 3 = LO 2 = HI 1 = COM 1 3 0 -10 2 MIC 3 23 21 19 17 15 13 11 9 0 1 3 −50 +4 +4 -10 −50 8 MIC 1 7 5 3 1 LEFT / MONO 9 RIGHT AVIS: FUSE 1A/250V 2 RISQUE DE CHOC E
Guided Tour - Rear Panel 7: Mic inputs (channels 1 and 3) - Use these electronically balanced XLR jacks to connect a microphone to channel 1 and/or channel 3. These are intended to accept signal from low-level, low-impedance mics but can also be used for signal from other sources (such as direct injection boxes) if the channel’s Trim control (see #8 below) is turned down.
Connecting The PL 2404 - General Suggestions The actual connections you’ll make to and from the PL 2404 will vary according to the environment you use it in and the particular equipment you have. In the “PL 2404 Applications” sections at the rear of this manual, you’ll find some suggested setups. Here are a few basic rules concerning PL 2404 connections that will apply in most situations: • In general, it’s best to make all connections with the PL 2404 and any connected power amplifiers turned off.
Connecting The PL 2404 - General Suggestions • Matched signals (i.e. the stereo left-right outputs of a keyboard, drum machine, tone generator, effects processor, CD player, or tape recorder), should always be connected to the PL 2404’s paired odd/even channels (i.e. 1L/2R, 3L/4R, etc.). The channel Balance control will allow you to adjust the relative levels of the two inputs, and you can also equalize the stereo signal, with the same EQ settings applied to both inputs.
Setting Up and Using The PL 2404 Setting up your PL 2404 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 mounted in any standard 19" rack, requiring four rack spaces, or used on a tabletop. R L MAIN BALANCED <75Ω+4dBu SAMSON 2.
Setting the Correct Gain Structure You’re now ready to establish the correct gain structure—the key to getting the best performance from the PL 2404, or from any mixer, for that matter. This is a simple procedure that ensures optimum input and output levels so that no unnecessary noise (caused by too low a signal) or overload distortion (caused by too high a signal) is created. Here’s a step-by-step description of how to do so: a.
Setting the Correct Gain Structure i. If you have a microphone connected to channel 1 or channel 3, the procedure for setting optimum microphone levels is as follows: sing or speak into the mic at the level you expect to use in performance while slowly raising the Level control for that channel to its 2 o’clock “0” position. Again, slowly raise the power amplifier volume until you reach the level you want to hear.
Grounding Techniques Hum and buzz are the biggest enemies you face when interconnecting a large number of different pieces of equipment to a central audio mixer.
Grounding Techniques If you’re using the PL 2404 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.
Busing, Submixing and Channel Muting As we’ve seen, the PL 2404 uses a system of four buses—pathways through which signal can be routed. The four PL 2404 bus faders control the overall level of the signal being output through the four buses. When the “L/R” switches above each bus fader are pressed in, the signal from that bus is also routed to the Main and Control Room outputs.
Using the Balance Control R L BALANCE The final Main output of the PL 2404 is stereo—that is, there are two discrete Main output jacks (and two discrete Control Room 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. The PL 2404 provides twenty-four stereo channels, each with two inputs—an odd-numbered (left) input and an even-numbered (right) input.
Using Equalization One of the most exciting aspects of using a mixer such as the PL 2404 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... Every naturally occurring sound consists of a broad range of pitches, or frequencies, combined together in a unique way.
Using Aux Sends and Returns 1L-2R AUX 0 ∞ +10 AUX 3L 0 ∞ +10 AUX 4R 0 ∞ The PL 2404 can accommodate up to twenty-four stereo channels, so we’ve designed the Aux sends so that, when a “matched” pair of consecutive channel inputs (that is, both odd-numbered and even-numbered) are connected, the oddnumbered (left) input signal can only be routed to Aux 1L and Aux 3L, while the even-numbered (right) input can only be routed to Aux 2R and Aux 4R.
Using Channel Inserts In addition to using Auxiliary sends and returns to access outboard devices, the PL 2404 also provides channel inserts for the first four input channels. These should be used when you want to affect just one input signal, as opposed to signal from several inputs—most often, this will be for dynamic processing purposes (such as outboard equalization, compression/limiting, or noise gating).
Using PFL/AFL PFL AFL SOLO ON OFF SOLO MAIN The PL 2404 provides two options for soloing input signals in headphones connected to the front panel headphone jack—Pre Fade Listen (PFL) and After-Fade Listen (AFL). The PFL/AFL switch in the main section allows you to choose between these two modes of operation. Although they may at first glance appear similar (and both are non-mix-destructive), there are in fact several significant differences between the two.
Applications Here are four suggested applications for the PL 2404; bear in mind that your particular circumstance may dictate changes in these suggested signal connections and routings. Application 1 - Using The PL 2404 As A Recording Mixer The PL 2404 is optimized for use as a recording mixer with multitrack digital or analog recorders. As shown in the illustration below, microphones and line level signals are connected to various channel inputs.
Applications Application 2 - Using The PL 2404 As A Main Live Mixer Here, the PL 2404’s Main output is connected to the input of a power amplifier, and, from there, to PA speakers. Microphones are connected to channels 1 and 3, while line level signals are connected to other channel inputs (stereo signals are routed to “matched” consecutive odd- and even-numbered inputs).
Applications Application 3 - Using The PL 2404 As A Keyboard Submixer Here, various keyboards and MIDI tone generators are connected to the channel line inputs of the PL 2404, with stereo signals routed to “matched” consecutive odd- and even-numbered inputs. Signal processors are connected to Aux sends and returns and to channel inserts as required.
Applications Application 4 - Linking The PL 2404 With Other Mixers The provision of four rear-panel Bus Inserts makes it easy to link multiple PL 2404s or to link the PL 2404 with other mixers, without the need to use up channel line inputs. As shown in this illustration, simply connect the main output of another mixer to the PL 2404 Bus Inserts.
27 HA + 4db, 2Kohm AUX RETURN 1-4 D) ALL MONO BRIDGE LINE LEVEL INPUTS > 5K ohms C) ALL LINE LEVEL OUTPUTS < 75 ohms B) ALL LINE LEVEL INPUTS > 10K ohms 4. A) ALL MIC LEVEL INPUTS > 1.5K ohms 3. TRS INSERT UNBALANCED : T1p-Return, Ring-Send, Sleeve-Com 2. XLR BALANCED : 3-H1, 2-Lo, 1-Com 1.
Specifications 1. Frequency Response (unity gain, line input 0 dB) Mic in to Main out Line in to Main out Aux return to Main out Mic in to Control Room out Line in to Control Room out 2. THD+N (unity gain, line input 0 dB, with 30 kHz LPF) Line in to Main out Line in to Aux send Line in to Control Room out 3.
Produced by On The Right Wavelength for Samson Technologies Corp. Copyright 1996, Samson Technologies Corp. Printed March 1996 Samson Technologies Corp. 575 Underhill Blvd. P.O.
