Samson E30I User manual

G R A P H I C
EQUALIZER
SAMSON®
EQUALIZER
E62i/E31i/E30iGRAPHIC

Produced by On The Right Wavelength for Samson Technologies Corp.
Copyright 1998, 1999, Samson Technologies Corp.
Printed August, 1999
Samson Technologies Corp.
575 Underhill Blvd.
P.O. Box 9031
Syosset, NY 11791-9031
Phone: 1-800-3-SAMSON (1-800-372-6766)
Fax: [phone]
ENGLISH
Introduction 1
System Features 2
Guided Tour 3
Front Panel 3
Rear Panel 6
System Configurations 8
Setting Up and Using the E62i/ E31i/ E30i10
About Equalization 12
Grounding Techniques 14
Using A Patchbay 15
Using the E62i/ E31i/ E30iwith an RTA 16
Using the E62i/ E31ito “Ring Out”
A Monitor System 17
Appendix A: Pass-Band Graphs 45
Specifications 46
FRANCAIS
Introduction 18
Fonctions 19
Visite guidée 20
Face avant 20
Face arrière 23
Réglages et utilisation du E62i/ E31i/ E30i25
Appendix A: Pass-Band Graphs 45
Spécifications 46
DEUTSCHE
Einleitung 27
System-Merkmale 28
Übersicht 29
Vorderseite 29
Rückseite 32
Einstellungen und Einsatz des
E62i/ E31i/ E30i34
Appendix A: Pass-Band Graphs 45
Technische Daten 46
ESPANOL
Introducción 36
Características del Sistema 37
Recorrido guiado 38
Panel frontal 38
Panel trasero 41
Ajuste y funcionamiento del
E62i/ E31i/ E30i43
Appendix A: Pass-Band Graphs 45
Especificaciones 46
Table of Contents

Introduction
Congratulations on purchasing the Samson E62i1/3 Octave Stereo 31 Band, E31i1/3
Octave Mono 31 Band Equalizer or E30i2/3 Octave Stereo 15 Band Constant Q Graphic
Equalizer! Although these products are 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 E62i, E31iand E30iare all professional quality signal processors that give you precise
tonal control over one or two channels of audio. Center detented sliders allow you to
selectively cut or boost selected frequency areas by as much as 12 dB. Front panel
controls include output level sliders and bypass switches and LEDs, while the rear panel
provides electronically balanced inputs and outputs. All three models 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 recording.
In this manual, you’ll find a more detailed description of the features of the E62i, E31iand
E30i, as well as a guided tour through their front and rear panels, step-by-step instructions
for using the units, suggested applications for use with a patch bay, a Real Time Analyzer
(RTA) or for ringing out monitor systems, reference appendices, and full specifications.
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 products in the future. Also, be sure to check out our website
(http://www.samsontech.com) for complete information about our full product line.
SPECIAL NOTE: Should your unit ever require servicing, a Return Authorization number
(RA) is necessary. Without this number, the unit will not be accepted. If purchased in the
United States, please call Samson at 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 its original carton and packing materials. If purchased outside of the
United States, please contact your local distributor for warranty information.
1
ENGLISH

System Features
The Samson E62i, E31iand E30iGraphic Equalizers all utilize state-of-the-art technology
in audio signal processing. Here are some of their main features:
• In the E62iand E31i, 31 bands of equalization, with each frequency band
representing 1/3 of an octave in the 20 Hz to 20 kHz range; in the E30i, 15 bands of
equalization, with each frequency band representing 2/3 of an octave in the 25 Hz to
16 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 intermodulation distortion is greatly reduced, making for pristine sound.
• In the E62iand E31i, 6 or 12 dB of gain and attenuation for each of the frequency
bands, allowing both fine and coarse adjustment of the equalization curve. In the
E30i, 12 dB of gain and attenuation for each of the frequency bands
• Ultra-low noise circuity ensures superb audio fidelity.
• Switchable 80 Hz High Pass Filter (HPF) for removing rumble and floor noise.
• In the E62iand E3ii, a Cut Only control for fast, easy notched feedback removal.
• Electronically balanced inputs and outputs.
• In the E62iand E30i, dual channel operation for processing either a stereo signal or
two independent monophonic signals.
• Front panel hard-wired Bypass switches (with dedicated Bypass LEDs) allow the
equalization circuitry and output level control to be activated or deactivated.
• Level controls enable output signals to be attenuated or boosted for optimum
signal-to-noise ratio.
• Peak indicator LEDs light 5 dB prior to clipping.
• Relay power-on circuitry prevents speaker “thumps” when the unit is turned on.
• Internal power supply ensures reliability and trouble-free operation.
• Standard 19" rack design (the E62itakes just two rack spaces, while the E31iand
E30irequire only a single rack space) for easy integratation into any traveling or fixed
installation audio system.
• Optional security cover kit prevents EQ settings from accidentally being altered.
• All-steel chassis makes the E62i/ E31i/ E30ieminently road-worthy.
2
ENGLISH

Guided Tour - E62i/ E31i/ E30i
Front Panel
3
20Hz 25Hz 31.5Hz 40Hz 50Hz 63Hz 80Hz 100Hz 125Hz 160Hz 200Hz 250Hz 315Hz 400Hz 500Hz 630Hz 800Hz 1KHz 1.25KHz 1.6KHz 2KHz 2.5KHz 3.15KHz 4KHz 5KHz 6.3KHz 8KHz 10KHz 12.5KHz 16KHz 20KHz
+12dB
0dB
-12dB
0dB
+12dB
-12dB
SAMSON
20Hz 25Hz 31.5Hz 40Hz 50Hz 63Hz 80Hz 100Hz 125Hz 160Hz 200Hz 250Hz 315Hz 400Hz 500Hz 630Hz 800Hz 1KHz 1.25KHz 1.6KHz 2KHz 2.5KHz 3.15KHz 4KHz 5KHz 6.3KHz 8KHz 10KHz 12.5KHz 16KHz 20KHz
20KHz
16KHz
12.5KHz10KHz8KHz6.3KHz5KHz4KHz3.15KHz2.5KHz2KHz1.6KHz1.25KHz1KHz800Hz630Hz500Hz400Hz315Hz250Hz200Hz
160Hz
125Hz100Hz80Hz63Hz50Hz40Hz31.5Hz25Hz20Hz
+6dB
0dB
0dB
+6dB
BYPASS
PEAK
E62i1/3 OCTAVE DUAL 31 BAND CONSTANT Q
GRAPHIC EQUALIZER
CH
A
CH
B
LEVEL
0dB
+12dB
-12dB
0dB
+12dB
-12dB
∞
∞BYPASS
PEAK
±12dB
CUT
ONLY
HPF
±12dB
CUT
ONLY
HPF
1
1
2
2
6
7
7
8
6
3
5
8
4
+6dB
0dB
∞
SAMSON
E31i1/3 OCTAVE 31 BAND CONSTANT Q
GRAPHIC EQUALIZER
BYPASS
±12dB
CUT
ONLY
HPF
PEAK
2KHz 2.5KHz 3.15KHz 4KHz 5KHz 6.3KHz 8KHz 10KHz 12.5KHz 16KHz 20KHz
20KHz
16KHz
12.5KHz10KHz8KHz
+12dB
0dB
-12dB
315Hz 400Hz 500Hz 630Hz 800Hz 1KHz 1.25KHz 1.6KHz
6.3KHz5KHz4KHz3.15KHz2.5KHz2KHz1.6KHz1.25KHz1KHz800Hz630Hz
80Hz 100Hz 125Hz 160Hz 200Hz 250Hz
500Hz400Hz315Hz250Hz200Hz
20Hz 25Hz 31.5Hz 40Hz 50Hz 63Hz
+12dB
0dB
-12dB
160Hz
125Hz100Hz80Hz63Hz50Hz40Hz31.5Hz25Hz20Hz
126
7
58
34
SAMSON
25Hz 40Hz 100Hz 160Hz 250Hz 400Hz 630Hz 1KHz 1.6KHz 2.5KHz 4KHz 6.3KHz 10KHz 16KHz
400Hz
63Hz
40Hz25Hz 63Hz 100Hz 160Hz 250Hz 630Hz 1KHz 1.6KHz 2.5KHz 4KHz 6.3KHz 10KHz 16KHz
25Hz 40Hz 100Hz 160Hz 250Hz 400Hz 630Hz 1KHz 1.6KHz 2.5KHz 4KHz 6.3KHz 10KHz 16KHz
400Hz
63Hz
40Hz25Hz 63Hz 100Hz 160Hz 250Hz 630Hz 1KHz 1.6KHz 2.5KHz 4KHz 6.3KHz 10KHz 16KHz
+6dB
+0dB
∞BYPASS
PEAK
HPF
E30i2/3 OCTAVE DUAL 15 BAND CONSTANT Q
GRAPHIC EQUALIZER
1
123
5
6
+12dB
-12dB
0dB
CH
A
+6dB
+0dB
∞BYPASS
PEAK
HPF
23
5
6
+12dB
-12dB
0dB
CH
B
E30i
E31i
E62i
ENGLISH

Guided Tour - E62i/ E31i/ E30i
Front Panel
1: Equalizer sliders - Independent Equalizer sliders are provided for each frequency
area (theE62i’and E31iprovide 31 frequency areas, while the E30i’provides 15).
Calibration markings on either side of each Equalizer slider allow you to cut or boost each
of frequency area. In the E62iand E30i, independent Equalizer sliders are provided for
each of the two channels (Channel A and Channel B). As described below, the exact
action of the Equalizer sliders depends upon the setting of the ±12 dB switch as well as,
in the E62iand E31i, the setting of the Cut Only switch (see #4 and #7 on the next page).
In the E62i and E31i, 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 ±12 dB switch is pressed in) or 6 dB (if the
corresponding ±12 dB switch is not pressed in). When moved all the way down (to the
“-12 dB”position), the frequency area is attenuated by 12 dB (if the corresponding ±12 dB
switch is pressed in) or 6 dB (if the corresponding ±12 dB switch is not pressed in).
In the E62i and E31i, 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 indicated by the blue “0 dB”label. As the Equalizer slider is moved down, the
frequency area is attenuated. As indicated by the blue “-6 dB”label, when the Equalizer
slider is at its center detented position, the frequency area is attenuated by 6 dB (if the
corresponding ±12 dB switch is not pressed in) or 12 dB (if the corresponding ±12 dB
switch is pressed in). When moved all the way down (as indicated by the blue “-24 dB”
label), the frequency area is attenuated by 12 dB (if the corresponding ±12 dB switch is
not pressed in) or 24 dB (if the corresponding ±12 dB switch is pressed in).
In the E30i: 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. When moved all the way
down (to the “-12 dB”position), the frequency area is attenuated by 12 dB.
2: Level sliders - Use these to adjust the output level of signal leaving the E62i/ E31i/
E30ivia its rear-panel output connectors (see #2 and #3 on page 7 for more information).
When a Level slider is at its center detented “0”position, the corresponding output signal
is at unity gain (that is, there is no cut or boost). When a Level slider is moved all the way
up (to the “+6 dB”) position, the corresponding output signal is boosted by 6 dB. When a
Level slider is moved all the way down (to the “∞”position), the corresponding output
signal is infinitely attenuated (that is, there is no signal). In the E62iand E30i,
independent Level sliders are provided for each of the two channels (Channel A and
Channel B). Note that the Level slider is deactivated when the E62i/ E31i/ E30iis in
Bypass mode (see #5 on the following page).
3: Peak LEDs - Light steadily red whenever the corresponding input signal is within 5 dB
of clipping. During normal operation, the Peak LED(s) should light only infrequently or
not at all. In the E62iand E30i, independent Peak LEDs are provided for each of the two
channels (Channel A and Channel B).
4
ENGLISH

Guided Tour - E62i/ E31i/ E30i
Front Panel
4: Cut Only switches (E62iand E31ionly) - When pressed in, the LED above the switch
lights and all the Equalizer sliders serve to attenuate their frequency areas only (there is no
boost) by up to 12 or 24 dB, depending upon the setting of the ±12 dB 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 “Ringing Out A
Monitor System”section in this manual (page 17) for more information. In the E62i,
independent Cut Only switches are provided for each of the two channels (Channel A and
Channel B).
5: Bypass switches - When pressed in, the LED to the left of the switch lights red and
the equalization circuitry is made inactive so that the signal passes through unaffected,
regardless of the settings of the Equalizer or Level sliders. When out (in the up position),
the LED to the left of the switch lights green and the E62iequalization circuitry affects the
signal as per the setting of the front panel Equalizer and Level sliders (see #1 and #2 on
the previous page for more information). In the E62iand E30i, independent Bypass
switches are provided for each of the two channels (Channel A and Channel B).
6: HPF (High Pass Filter) switches - When pressed in, the LED to the left of the switch
lights and an 80 Hz highpass filter is applied to the signal, effectively removing rumble and
other low frequencies. In the E62iand E30i, independent HPF switches are provided for
each of the two channels (Channel A and Channel B).
7: ±12 dB switches (E62iand E31ionly) - When pressed in, the LED to the left of the
switch lights and the Equalizer sliders cut or boost each frequency area by up to 12 dB,
allowing coarse frequency curves to be set. When out (in the up position), the Equalizer
sliders cut or boost each frequency area by up to 6 dB, allowing finer control and gentler
frequency curves to be set. The setting of the ±12dB switch also affects how Cut Only
operates—see #1 on the previous page for more information. In the E62i, independent
±12 dB switches are provided for each of the two channels (Channel A and Channel B).
5
ENGLISH

6
Guided Tour - E62i/ E31i/ E30i
Rear Panel
E62i1/3 OCTAVE DUAL 31 BAND GRAPHIC EQUALIZER CONSTANT Q
INPUTS
OUTPUTS
BALANCED <75Ω
+4dBu UNITY GAIN
BALANCED <75Ω
+4dBu UNITY GAIN
SERIAL NUMBER
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN !
115V - 60 Hz 15W
POWER
RATING
AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. DO NOT EXPOSE
THIS EQUIPMENT TO RAIN OR MOISTURE. BALANCED <75Ω
+4dBu UNITY GAIN BALANCED
10KΩ, +4dBu BALANCED
10KΩ, +4dBu
BALANCED <75Ω
+4dBu UNITY GAIN BALANCED 10KΩ +4dBu UNITY GAIN BALANCED, 10KΩ
+4dBu UNITY GAIN
SAMSON
~AC INPUT
115V/60Hz, 10W
ON
OFF
POWER
CHANNEL B CHANNEL A CHANNEL B CHANNEL A
35
6
4
1
2
E62i
E 31i1/3 OCTAVE 31 BAND GRAPHIC EQUALIZER CONSTANT Q
SERIAL NUMBER
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN !
115V - 60 Hz 10W
POWER
RATING
AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. DO NOT EXPOSE
THIS EQUIPMENT TO RAIN OR MOISTURE.
~AC INPUT
115V/60Hz, 10W
ON
OFF
POWER
BALANCED <7Ω
+4dBu UNITY GAIN
BALANCED <7Ω
+4dBu UNITY GAIN BALANCED 10KΩ, +4dBu
SAMSON
INPUT
BALANCED
10KΩ, +4dBu
OUTPUT
2
13 4 5 6
E31i
ON
OFF
POWER
INPUTS
OUTPUTS
SERIAL NUMBER
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN !
115V - 60 Hz 15W
POWER
RATING
AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR. DO NOT EXPOSE
THIS EQUIPMENT TO RAIN OR MOISTURE.
BALANCED 10KΩ
+4dBu UNITY GAIN BALANCED
10KΩ, +4dBu
BALANCED <75Ω
+4dBu UNITY GAIN
BALANCED <75Ω
+4dBu UNITY GAIN
CHANNEL A
CHANNEL B
CHANNEL A
CHANNEL B
~AC INPUT
115V/60Hz, 15W
BALANCED <75Ω
+4dBu UNITY GAIN
BALANCED
<75Ω+4dBu
UNITY GAIN
BALANCED 10KΩ
+4dBu UNITY GAIN
BALANCED
10KΩ, +4dBu
SAMSON
E30i2/3 OCTAVE STEREO 31 BAND GRAPHIC EQUALIZER CONSTANT Q
35
6
4
1
2
E30i
ENGLISH

7
Guided Tour - E62i/ E31i/ E30i
Rear Panel
1: Power switch - Use this to turn the power on and off.
2: AC input - Connect the supplied heavy gauge 3-pin “IEC”power cable here.
3: Balanced XLR jack output - Electronically balanced XLR jack output. Wiring is as
follows: pin 2 hot, pin 3 cold, and pin 1 ground.*
4: Balanced 1/4" TRS jack output - Electronically balanced 1/4" TRS jack output.
Wiring is as follows: tip hot, ring cold, and sleeve ground.*
5: Balanced XLR jack input - Electronically balanced XLR jack input. Wiring is as
follows: pin 2 hot, pin 3 cold, and pin 1 ground.
6: Balanced 1/4" TRS jack input - Electronically balanced 1/4" TRS jack input.
Wiring is as follows: tip hot, ring cold, and sleeve ground.
*If required, both the XLR and 1/4" TRS jack outputs can be used simultaneously.
WARNING: The XLR and 1/4" TRS inputs should not be
connected simultaneously, or loading problems may result.
ENGLISH

8
System Configurations
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
PFL
BUSS
ON
OFF
3/ 4
L/ R
1
-•
dB
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
R
PAN
L
16
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
12
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
6
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
2
+15
0
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
3
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
4
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
5
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
7
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
8
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
9
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
10
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
11
PEAK
+10
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
13
PEAK
+10
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
14
PEAK
+10
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
15
PEAK
+10
LR
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
+10
RETURN1 LEVEL
0
−•
+10
0
−•
RETURN2 LEVEL
+10
0
−•
RETURN3 LEVEL
R
BALANCE
L
R
BALANCE
L
R
BALANCE
L
HEADPHONES
3- 4
LEVEL
010
−• +15
STEREOAUXILIARY RETURNS
12345678910 11 12 13 14 15 16
STERE0 PFL
LEFT
RIGHT
PFL PHANTOM POWER
-20 -10 -6 -3 0+3+6
-20 -10 -6 -3 0+3+6
16 CHANNEL AUDIO MIXER
MPL1640
MPL 1640
16CHANNEL
AUDIOMIXER
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
MAIN
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
SAMSON
MUTEMUTEMUTEMUTEMUTEMUTE MUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTE MUTE
SERVO - 240
SAMSON
MAIN MIX OUT R
CHANNEL B INPUT
MAIN MIX OUT L
CHANNEL A INPUT
CHANNEL B OUTPUT
CHANNEL A OUTPUT
20Hz 25Hz 31.5Hz 40Hz 50Hz 63Hz 80Hz 100Hz 125Hz 160Hz 200Hz 250Hz 315Hz 400Hz 500Hz 630Hz 800Hz 1KHz 1.25KHz 1.6KHz 2KHz 2.5KHz 3.15KHz 4KHz 5KHz 6.3KHz 8KHz 10KHz 12.5KHz 16KHz 20KHz
SAMSON
20Hz 25Hz 31.5Hz 40Hz 50Hz 63Hz 80Hz 100Hz 125Hz 160Hz 200Hz 250Hz 315Hz 400Hz 500Hz 630Hz 800Hz 1KHz 1.25KHz 1.6KHz 2KHz 2.5KHz 3.15KHz 4KHz 5KHz 6.3KHz 8KHz 10KHz 12.5KHz 16KHz 20KHz
20KHz
16KHz
12.5KHz10KHz8KHz6.3KHz5KHz4KHz3.15KHz2.5KHz2KHz1.6KHz1.25KHz1KHz800Hz630Hz500Hz400Hz315Hz250Hz200Hz
160Hz
125Hz100Hz80Hz63Hz50Hz40Hz31.5Hz25Hz20Hz
+6dB
0dB
0dB
+6dB
BYPASS
PEAK
E62i1/3 OCTAVE DUAL 31 BAND CONSTANT Q
GRAPHIC EQUALIZER
CH
A
CH
B
LEVEL
0dB
+12dB
-12dB
∞
∞
BYPASS
PEAK
±12dB
HPF
±12dB
HPF
0dB
-6dB
-24dB
0dB
+12dB
-12dB
0dB
-6dB
-24dB
CUT
ONLY
CUT
ONLY
CH
A
CH
A
CH
B
0dB
+12dB
-12dB
0dB
-6dB
-24dB
0dB
+12dB
-12dB
0dB
-6dB
-24dB
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
PFL
BUSS
ON
OFF
3/ 4
L/ R
1
-•
dB
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
R
PAN
L
16
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
12
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
6
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
2
+15
0
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
3
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
4
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
5
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
7
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
8
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
9
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
10
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
11
PEAK
+10
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
13
PEAK
+10
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
14
PEAK
+10
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
15
PEAK
+10
LR
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
+10
RETURN1 LEVEL
0
−•
+10
0
−•
RETURN2 LEVEL
+10
0
−•
RETURN3 LEVEL
R
BALANCE
L
R
BALANCE
L
R
BALANCE
L
HEADPHONES
3- 4
LEVEL
010
−• +15
STEREOAUXILIARY RETURNS
12345678910 11 12 13 14 15 16
STERE0 PFL
LEFT
RIGHT
PFL PHANTOM POWER
-20 -10 -6 -3 0+3+6
-20 -10 -6 -3 0+3+6
16 CHANNEL AUDIO MIXER
MPL1640
MPL 1640
16CHANNEL
AUDIOMIXER
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
MAIN
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
SAMSON
MUTEMUTEMUTEMUTEMUTEMUTE MUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTE MUTE
SERVO - 240
SAMSON
MAIN MIX OUT R
CHANNEL B
OUTPUT
MAIN MIX OUT L
CHANNEL A
OUTPUT
MAIN MIX INSERT
L RETURN MAIN MIX INSERT
R RETURN
CHANNEL B
INPUT
CHANNEL A
INPUT
MAIN MIX INSERT
L SEND MAIN MIX INSERT R SEND
20Hz 25Hz 31.5Hz 40Hz 50Hz 63Hz 80Hz 100Hz 125Hz 160Hz 200Hz 250Hz 315Hz 400Hz 500Hz 630Hz 800Hz 1KHz 1.25KHz 1.6KHz 2KHz 2.5KHz 3.15KHz 4KHz 5KHz 6.3KHz 8KHz 10KHz 12.5KHz 16KHz 20KHz
SAMSON
20Hz 25Hz 31.5Hz 40Hz 50Hz 63Hz 80Hz 100Hz 125Hz 160Hz 200Hz 250Hz 315Hz 400Hz 500Hz 630Hz 800Hz 1KHz 1.25KHz 1.6KHz 2KHz 2.5KHz 3.15KHz 4KHz 5KHz 6.3KHz 8KHz 10KHz 12.5KHz 16KHz 20KHz
20KHz
16KHz
12.5KHz10KHz8KHz6.3KHz5KHz4KHz3.15KHz2.5KHz2KHz1.6KHz1.25KHz1KHz800Hz630Hz500Hz400Hz315Hz250Hz200Hz
160Hz
125Hz100Hz80Hz63Hz50Hz40Hz31.5Hz25Hz20Hz
+6dB
0dB
0dB
+6dB
BYPASS
PEAK
E62i1/3 OCTAVE DUAL 31 BAND CONSTANT Q
GRAPHIC EQUALIZER
CH
A
CH
B
LEVEL
0dB
+12dB
-12dB
∞
∞
BYPASS
PEAK
±12dB
HPF
±12dB
HPF
0dB
-6dB
-24dB
0dB
+12dB
-12dB
0dB
-6dB
-24dB
CUT
ONLY
CUT
ONLY
CH
A
CH
A
CH
B
0dB
+12dB
-12dB
0dB
-6dB
-24dB
0dB
+12dB
-12dB
0dB
-6dB
-24dB
IN-LINE
CONFIGURATION:
INSERT
CONFIGURATION:
ENGLISH

9
System Configurations
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
PFL
BUSS
ON
OFF
3/ 4
L/ R
1
-•
dB
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
R
PAN
L
16
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
12
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
6
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
2
+15
0
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
3
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
4
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
5
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
7
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
8
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
9
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
10
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
11
PEAK
+10
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
13
PEAK
+10
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
14
PEAK
+10
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
15
PEAK
+10
LR
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
+10
RETURN1 LEVEL
0
−•
+10
0
−•
RETURN2 LEVEL
+10
0
−•
RETURN3 LEVEL
R
BALANCE
L
R
BALANCE
L
R
BALANCE
L
HEADPHONES
3- 4
LEVEL
010
−• +15
STEREOAUXILIARY RETURNS
12345678910 11 12 13 14 15 16
STERE0 PFL
LEFT
RIGHT
PFL PHANTOM POWER
-20 -10 -6 -3 0+3+6
-20 -10 -6 -3 0+3+6
16 CHANNEL AUDIO MIXER
MPL 1640
MPL 1640
16CHANNEL
AUDIOMIXER
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
MAIN
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
SAMSON
MUTEMUTEMUTEMUTEMUTEMUTE MUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTE MUTE
SERVO - 240
SAMSON
MAIN MIX OUT R
CHANNEL B
OUTPUT
MAIN MIX OUT L
CHANNEL A
OUTPUT
EFFECTS
RETURN EFFECTS
RETURN
CHANNEL B
INPUT
CHANNEL A
INPUT
EFFECTS
SEND EFFECTS
SEND
20Hz 25Hz 31.5Hz 40Hz 50Hz 63Hz 80Hz 100Hz 125Hz 160Hz 200Hz 250Hz 315Hz 400Hz 500Hz 630Hz 800Hz 1KHz 1.25KHz 1.6KHz 2KHz 2.5KHz 3.15KHz 4KHz 5KHz 6.3KHz 8KHz 10KHz 12.5KHz 16KHz 20KHz
SAMSON
20Hz 25Hz 31.5Hz 40Hz 50Hz 63Hz 80Hz 100Hz 125Hz 160Hz 200Hz 250Hz 315Hz 400Hz 500Hz 630Hz 800Hz 1KHz 1.25KHz 1.6KHz 2KHz 2.5KHz 3.15KHz 4KHz 5KHz 6.3KHz 8KHz 10KHz 12.5KHz 16KHz 20KHz
20KHz
16KHz
12.5KHz10KHz8KHz6.3KHz5KHz4KHz3.15KHz2.5KHz2KHz1.6KHz1.25KHz1KHz800Hz630Hz500Hz400Hz315Hz250Hz200Hz
160Hz
125Hz100Hz80Hz63Hz50Hz40Hz31.5Hz25Hz20Hz
+6dB
0dB
0dB
+6dB
BYPASS
PEAK
E62i1/3 OCTAVE DUAL 31 BAND CONSTANT Q
GRAPHIC EQUALIZER
CH
A
CH
B
LEVEL
0dB
+12dB
-12dB
∞
∞
BYPASS
PEAK
±12dB
HPF
±12dB
HPF
0dB
-6dB
-24dB
0dB
+12dB
-12dB
0dB
-6dB
-24dB
CUT
ONLY
CUT
ONLY
CH
A
CH
A
CH
B
0dB
+12dB
-12dB
0dB
-6dB
-24dB
0dB
+12dB
-12dB
0dB
-6dB
-24dB
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
PFL
BUSS
ON
OFF
3/ 4
L/ R
1
-•
dB
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
R
PAN
L
16
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
12
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
6
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
2
+15
0
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
3
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
4
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
5
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
7
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
8
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
9
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
10
PEAK
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
+10
AUX3
0
−•
11
PEAK
+10
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
13
PEAK
+10
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
14
PEAK
+10
+4 -50
INPUTTRIM
0
-10
-15 +15
HIGH
0
-12 +12
MID
0
-15 +15
LOW
0
+10
AUX1
0
−•
+10
AUX2
0
−•
AUX3
0
−•
15
PEAK
+10
LR
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
R
PAN
L
+10
RETURN1 LEVEL
0
−•
+10
0
−•
RETURN2 LEVEL
+10
0
−•
RETURN3 LEVEL
R
BALANCE
L
R
BALANCE
L
R
BALANCE
L
HEADPHONES
3- 4
LEVEL
010
−• +15
STEREOAUXILIARY RETURNS
12345678910 11 12 13 14 15 16
STERE0 PFL
LEFT
RIGHT
PFL PHANTOM POWER
-20 -10 -6 -3 0+3+6
-20 -10 -6 -3 0+3+6
16 CHANNEL AUDIO MIXER
MPL1640
MPL 1640
16CHANNEL
AUDIOMIXER
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
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+15
0
-•
dB
0
-•
dB
+15
0
-•
dB
+15
0
-•
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+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
-•
dB
+15
0
MAIN
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
PFL
BUSS
ON
OFF
3/ 4
L/ R
SAMSON
MUTEMUTEMUTEMUTEMUTEMUTE MUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTE MUTE
CHANNEL B
OUTPUT
CHANNEL A
OUTPUT
CHANNEL
INPUT INSERT
RETURN
CHANNEL
B
INPUT
CHANNEL A
INPUT
INSERT
SEND
20Hz 25Hz 31.5Hz 40Hz 50Hz 63Hz 80Hz 100Hz 125Hz 160Hz 200Hz 250Hz 315Hz 400Hz 500Hz 630Hz 800Hz 1KHz 1.25KHz 1.6KHz 2KHz 2.5KHz 3.15KHz 4KHz 5KHz 6.3KHz 8KHz 10KHz 12.5KHz 16KHz 20KHz
SAMSON
20Hz 25Hz 31.5Hz 40Hz 50Hz 63Hz 80Hz 100Hz 125Hz 160Hz 200Hz 250Hz 315Hz 400Hz 500Hz 630Hz 800Hz 1KHz 1.25KHz 1.6KHz 2KHz 2.5KHz 3.15KHz 4KHz 5KHz 6.3KHz 8KHz 10KHz 12.5KHz 16KHz 20KHz
20KHz
16KHz
12.5KHz10KHz8KHz6.3KHz5KHz4KHz3.15KHz2.5KHz2KHz1.6KHz1.25KHz1KHz800Hz630Hz500Hz400Hz315Hz250Hz200Hz
160Hz
125Hz100Hz80Hz63Hz50Hz40Hz31.5Hz25Hz20Hz
+6dB
0dB
0dB
+6dB
BYPASS
PEAK
E62i1/3 OCTAVE DUAL 31 BAND CONSTANT Q
GRAPHIC EQUALIZER
CH
A
CH
B
LEVEL
0dB
+12dB
-12dB
∞
∞
BYPASS
PEAK
±12dB
HPF
±12dB
HPF
0dB
-6dB
-24dB
0dB
+12dB
-12dB
0dB
-6dB
-24dB
CUT
ONLY
CUT
ONLY
CH
A
CH
A
CH
B
0dB
+12dB
-12dB
0dB
-6dB
-24dB
0dB
+12dB
-12dB
0dB
-6dB
-24dB
EFFECTS LOOP
CONFIGURATION:
USING THE
TWO CHANNELS
OF THE E62i / E30i
INDEPENDENTLY:
ENGLISH

10
Setting Up and Using
the E62i/ E31i/ E30i
Setting up your E62i, E31ior E30iGraphic 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 (the E62irequires two rack spaces, while the E31iand E30irequire only
a single rack space).
2. Make sure the power to all mixers and amplifiers in your audio system is off. On the
front panel of the E62i/ E31i/ E30i, place all ±12 dB, Cut Only and HPF switches to their
out (off) position and set the Level slider(s) to their bottom-most “∞”setting.
3. Set all Equalizer sliders to their flat (“0”) center detented position.
4. The E62i/ E31i/ E30ican 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 12 - 13 show each of these typical configurations. Choose the configuration that is
best for your application and then begin by making the E62i/ E31i/ E30iinput 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 E62i/ E31i/ E30ioutput 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 special relay power-on circuitry built into the E62i/ E31i/ E30i, 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.”
7. Press the rear panel Power switch in order to turn on the E62i/ E31i/ E30i. The Bypass
LED(s) will light either red or green, depending upon the setting of the front panel Bypass
switch(es). 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 unmuted).
8. Apply an input signal to the E62i/ E31i/ E30iat or about 0 dBm (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 Level slider(s) to their center detented “0”
points. For best signal-to-noise ratio, the Level slider(s) should be at or near the “0”point
during normal operation. However, if the output signal is weak, use the appropriate Level
slider(s) to slightly boost the volume (to a maximum of 6 dB). Conversely, if the signal
causes the front panel Clip LED(s) to light, use the appropriate Level slider(s) to attenuate
volume as necessary. In normal operation, the Clip LED(s) should not light at all; if they do,
use the Level sliders to lower the volume of the output signal so that they do not light at all
(clipping not only sounds awful, it can also damage speakers!).
ENGLISH

11
Setting Up and Using
the E62i/E31i / E30i
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 little or no effect on some signals. If there is significant low
frequency noise (rumble) in the signal, engage the HPF switch(es) as necessary. If you
are using an E62ior E31i, experiment further by pressing in the ±12 dB switch(es) to
deepen the effect of the Equalizer sliders, cutting and boosting by as much as 12 dB
instead of 6 dB. Also try pressing in the Cut Only switch(es) to use the Equalizer sliders
to cut frequencies only without any boost (bear in mind that, when the Cut Only switch is
engaged, the blue labels on the front panel indicate settings, with the maximum “+12 dB”
position for each Equalizer slider representing “flat”and the center detented (“0”) position
of each Equalizer slider representing a cut of -6 or -12 dB, depending upon the setting of
the ±12 dB switch). As you work with the various front panel controls, press the front
panel Bypass switch(es) in and out from time to time in order to compare 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 inadvertantly altered.
If you have followed all the steps above and are experiencing difficulties with any aspect
of setting up or using your E62i/ E31i/ E30i, you can call Samson Technical Support
(1-800-372-6766) between 9 AM and 5 PM EST, or contact your local distributor.
ENGLISH

12
About Equalization
The E62i, E31iand E30igive 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 together in a unique way. This blend is what gives every sound its distinctive
tonal color. The range of frequencies that can be heard by humans is sometimes called
the audible range, and it includes frequencies 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 E62iand E31iprovides a set of high-quality filters that divide 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. The E30iuses the same high-quality filters, instead dividing
the audible range into 15 2/3 octave frequency areas, centered at 25 Hz, 40 Hz, 63 Hz,
100 Hz, 160 Hz, 250 Hz, 400 Hz, 630 Hz, 1 kHz, 1.6 kHz, 2.5 kHz, 4 kHz, 6.3 kHz, 10 kHz,
and 16 kHz. In all three models, “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 distortion.
Each frequency area can be cut or boosted by as much as 12 dB. The E62iand E31i
models also provide ±12 dB switches; when these switches are off (in the up position),
each frequency area is cut or boosted by just 6 dB, giving you finer control and allowing
you to construct gentler frequency curves.
In addition, the E62iand E31imodels provide a Cut Only mode. If the Cut Only switch(es)
on the front panel are off (in their up position), then when an Equalizer slider is in its center
detented “0”position, it is having no effect; when it is moved up, the particular frequency
area is being boosted; when it is moved down, the frequency area is being attenuated
(cut). However, if the Cut Only switch(es) on the front panel are on (in their down position),
the blue labels on the front panel indicate the action of moving an Equalizer slider; when it
is at its maximum (fully up) position, it is having no effect; when it is moved down, the
frequency area is attenuated (cut). In this circumstance, the center detented “0”position
represents a cut of -6 dB (if the ±12 dB switch is out) or -12 dB (if the ±12 dB switch is in),
and the minimum position represents a cut of -12 dB (if the ±12 dB switch is out) or a
whopping -24 dB (if the ±12 dB switch is in).
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—with the accompanying Peak LED warning!). 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 overload-
ed input signal! The key is to get the signal right in the first place, by using correct gain
structure and mic placement.
ENGLISH

13
About Equalization
If you are using your E62i/ E31i/ E30ito equalize a complex mono or stereo signal (for
example, the master mix output 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 E62i/ E31i/ E30ito 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 attenuating low frequencies). Rumble can also be
attenuated by engaging the front panel HPF switch(es), which insert a High Pass Filter
centered at 80 Hz.
If you are using an E62ior E31ito equalize the signal of an overall mix in a live
performance or recording environment, check out the sections in this manual entitled
“Using the E62i/ E31iWith an RTA”and “Using the E62i/ E31ito Ring Out A Monitor
System”(on pages 24 and 25).
ENGLISH

14
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
different 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 isolated 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 E62i, E31i and E30i) should always be
used as is; don’t use adapters. If you are using rack-mounted audio devices such as the
E62i, E31ior E30iand 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. All three models provide electronically balanced inputs and outputs. The
diagram below 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 you’re using the E62i, E31ior E30iin 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
1 GROUND
3 COLD (-)
2 HOT (+) +
ENGLISH

15
Grounding Techniques /
Using the E62i/E31i/E30i
with a Patchbay
there, individual 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 E62i/E31i/E30iwith a Patchbay
If you are using the E62i, E31ior E30iwith an audio patchbay, you may find it
advantageous 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 E62i, E31ior E30ito “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 E62i/ E31i/ E30ipatchpoints, 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.
ENGLISH

16
Using the E62i/ E31i/ E30i
with an RTA (Real Time Analyzer)
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 E62i/ E31i / E30i. Together with a high quality microphone, these
tools allow you to fine tune the overall frequency 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 E62i/ E31i / E30i 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 E62i/ E31i / E30i 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, if you’re using an E62ior E31i,
make sure all Cut Only switch(es) and ±12 dB switch(es) are out (in their up 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 positions. 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 frequency response, so, once you have used the RTA and the
E62i/ E31ito tune a room “by the numbers,”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.
ENGLISH

17
Using the E62i/ E31ito
“Ring Out” a Monitor System
One of the most important applications for the E62i/ E31iis to 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. Because both the E62iand E31iare
one-third octave equalizers (and thus have relatively narrow frequency bands), they are
particularly well-suited for this application. The advanced Constant Q circuitry used by
both models 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
performance, 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 generation of feedback loops in different frequency areas). With
power to all audio components turned off, connect the E62i/ E31ito 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 - 9 in
this manual for typical configuration diagrams.) Set the E62i/ E31i Level slider(s) to the
center detented “0 dB”position. Because you’ll only be cutting frequencies, press the Cut
Only switch(es) so that they are on (in the down position). Also, because you’ll want to be
able to make deep cuts, set the ±12 dB switch(es) so they are also on (in the down posi-
tion). Then raise all front panel Equalizer sliders to their upper-most position; because the
Cut Only switch(es) are 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 on the
E62i/ E31iuntil 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 on the E62i/ E31iuntil the feedback
disappears. 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 speaker. 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!
ENGLISH

Introduction
Nous tenons à vous remercier pour la confiance que vous nous portez en choisissant les
correcteurs graphiques stéréo 31 bandes 1/3 d’octave E62i, mono 31 bandes 1/3 d’octave
E31iou stéréo 15 bandes 2/3 d’octave à largeur constante E30i ! Bien que ces produits
soient très faciles à utiliser, nous vous recommandons de lire attentivement les pages
suivantes afin de comprendre leur fonctionnement.
Les correcteurs E62i, E31iet E30isont des processeurs de signal de très haute qualité qui
vous permettent un contrôle très précis du son sur un ou deux canaux. Les plages de
fréquences présentent un gain maximal de 12 dB. Ces plages de fréquences peuvent être
accentuées ou atténuées à l’aide des curseurs crantés en position centrale. Vous dis-
posez en façade de curseurs linéaires permettant de régler le niveau du signal de sortie
générale, de touches et de Leds de Bypass. Les entrées et les sorties en face arrière sont
à symétrie électronique. Les trois modèles peuvent être utilisés dans de nombreuses
applications, notamment sur scène (conjointement avec une console de façade ou de
retour), en radiodiffusion ou en enregistrement.
Ce manuel explique et décrit de façon détaillée toutes les fonctions des correcteurs E62i,
E31iet E30isituées en façade et en face arrière et il vous explique étape par étape la
façon d’utiliser ces fonctions. Vous trouverez dans ce manuel des suggestions relatives à
l’utilisation des correcteurs avec un Patch Bay, un analyseur en temps réel (RTA) ou pour
améliorer la réponse des systèmes d’écoute. Ce manuel offre également une section
annexes et la liste complète des caractéristiques techniques.
Une carte de garantie est également incluse. Veuillez la remplir et nous la renvoyer
pour bénéficier de l’aide en ligne et recevoir les dernières informations relatives aux
produits Samson. Vous pouvez également consulter notre Site Internet
(http://www.samsontech.com) pour obtenir de plus amples informations sur tous nos
produits.
NOTE SPÉCIALE : Si votre appareil doit être réparé, vous devez posséder un numéro
d’autorisation de retour (RA). Sans ce numéro, la garantie ne sera pas prise en compte.
Si vous avez acheté votre appareil aux Etats-Unis, veuillez appeler Samson au
1-800-372-6766 pour obtenir un numéro d’autorisation de retour avant de nous expédier
l’appareil. Retournez-nous si possible l’appareil dans son emballage d’origine. Si vous
avez acheté l’appareil en dehors des Etats-Unis, contactez votre distributeur qui vous
informera sur les conditions de garantie.
18
FRANÇAIS