Using Equalization, S83 EQ section | Samson S63, S83 manual

Using Equalization

One of the most exciting aspects to using a mixer such as the S83 or S63 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, bad EQ can really hurt it, so read on...

Every naturally occurring sound consists of a broad range of pitches, or frequen- cies, combined together in a unique way. This blend is what gives every sound its distinctive tonal color. The EQ section in a mixer allows you to alter a sound by boosting or attenuating specific frequency areas. Both the S83 and S63 pro- vide a ten-band graphic master equalizer (more about this shortly) as well as independent equalization for each channel. The S83 offers four-band equaliza- tion controls for each of the eight input channels. The center frequency areas are, from high to low: 10 kHz, 2.5 kHz, 500 Hz, and 80 Hz. Each EQ knob is labeled with the maximum amount of cut or boost provided (± 15 db in the case of the highest and lowest frequencies and ± 12 db in the case of the two mid frequencies). The S63 provides three-band equalization controls for each of the six input channels. The center frequency areas are, from high to low: 10 kHz,

1 kHz, and 80 Hz. Again, each EQ knob is labeled with the maximum amount of cut or boost provided (± 15 db in the case of the highest and lowest frequencies and ± 12 db in the case of the middle frequency).

-15 +15

HIGH

-12 +12 2.5K

-12 +12 500Hz

-15 +15

LOW

S83 EQ section

We provided these particular frequency areas because they have maximum impact on musical signals— that’s why they are sometimes known as “sweet spots.” When an EQ knob is in its center detented position (“0”), it is having no effect. When it is moved right of center, the particular frequency area is being boosted; when it is moved left of center, the frequency area is being attenuated. In both the S83 and S63, the high and low EQ controls employ what is known as a shelving curve (where frequencies either above or below the specified area are affected) while the mid frequency controls employ what is known as a bell curve (where frequencies both above and below the specified area are affected).

30Hz

64Hz

125Hz 250Hz 500Hz

10K

+15dB

0dB

-15dB

30Hz

64Hz

125Hz 250Hz 500Hz

10K

Ten-band graphic master equalizer

-15 +15

HIGH

-12 +12

1kHz 0

-15 +15

LOW

S63 EQ section

The ten-band graphic master equalizer affects the overall output signal of the S83/S63. Its main function is to allow you to “tune” the device to the particular room environment you are in. Perhaps its most important job is to enable you to eliminate ringing or feedback problems caused when a microphone is too close to a loudspeaker. To accomplish this, start with all ten bands flat (that is, all ten sliders at their detented “0” center position). Then, one by one, raise each slider until you hear the feedback or ringing markedly increase. This allows you to identify the problematic frequency area (it will most commonly be one or more of the high mid-range or high frequency areas). When you’ve located the problem area(s), it’s simply a matter of lowering that slider or sliders below the 0 point

S63, S83, S83 specifications

The Samson S63 and S83 microphones are notable products in the realm of professional audio equipment, offering high performance and reliability for various sound applications. These microphones cater to a wide range of users, from musicians to broadcast professionals, ensuring superior sound quality in every scenario.

The Samson S63 is a cardioid dynamic microphone renowned for its robust construction and versatility. It is designed to provide excellent sound capture, especially for live performances and studio recordings. One of its main features is its high output level, which enables the microphone to pick up sound effectively while minimizing background noise. The cardioid pattern is particularly useful for isolating the sound source, reducing the interference from other instruments or background sounds. The S63's frequency response spans from 50 Hz to 15 kHz, making it suitable for a variety of vocal ranges and instruments.

On the other hand, the Samson S83 is a boundary microphone that excels in capturing sound from a wider space, making it ideal for conference rooms, boardrooms, and live events. This microphone features a low-profile design that allows for discreet placement on surfaces, ensuring it blends into any environment. The S83 also employs an omnidirectional pickup pattern, allowing it to capture sound equally from all directions, which is essential in group settings or panel discussions. With a frequency response of 40 Hz to 20 kHz, the S83 ensures clarity for both speech and music.

Both the S63 and S83 are built with durability in mind, featuring sturdy metal construction that can withstand the rigors of frequent use. They also come equipped with internal pop filters, which help to reduce plosive sounds when speaking or singing closely into the microphones. Additionally, these microphones are compatible with various audio equipment, including mixers and audio interfaces, making them highly adaptable for different audio setups.

In summary, the Samson S63 and S83 microphones offer distinct advantages tailored to specific use cases. The S63 is perfect for vocalists and performers requiring a reliable dynamic microphone that handles sound isolation with ease. Meanwhile, the S83 serves as an excellent choice for capturing sound in a broader space, ideal for panel discussions and conferences. Together, they exemplify quality sound engineering and effectiveness essential for both live events and studio environments.