Setting the Correct Gain Structure

You’re now ready to establish the correct gain structure— the key to getting the best performance from the S83/S63, 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.With all connections made (as described above) but with the power off, start by setting all channel level controls fully counterclockwise (to their “∞ ” position), and then set the Main Level knob to its “0” position.

b.Set all channel input trim knobs to their fully counterclockwise (+4) position.

c.Set all channel equalizer knobs to their center detent “0” positions and set the ten-band graphic master equalizer completely flat (all sliders at their center detent “0” positions).

d.Set all channel Effects send knobs and all Effects return level knobs to their fully counterclockwise (“∞ ”) position.

e.Turn on all devices connected to channel line inputs and Effects returns and set their level controls to unity gain or, if there is no unity gain indicated on their output control, to maximum. If you’ve got outboard effects processors connected to Effects returns, make sure they are sending completely “wet” (processed) sig- nal, with no “dry” (unprocessed) signal mixed in.

f.If any condenser microphones are connected to the S83/S63, turn on the Phantom switch.* Then turn on the S83/S63’s main power.

g.Play an instrument connected to one of the S83/S63’s line inputs** and, while doing so, raise the corresponding channel level control to the “0” position. If you are using an S83, you should see the segment meter begin to move— adjust the input trim control for that channel so that the “0” segment lights frequently and the “+2” segment lights only occasionally. If you are using an S63, adjust the input trim control for that channel until the Peak LED just begins flashing and then back off just to the point at which it does not flash at even the highest level input signals. In both the S83 and S63, if the incoming signal seems too hot even with the input channel trim all the way at its minimum (+4) setting, you may need to lower the output level of the instrument, though this will rarely occur. Conversely, if the signal is too low even with the input channel trim all the way up, something’s definitely wrong: in all likelihood, the connecting audio cable is faulty.

h.Once you’ve set the optimum level in step (g) above, continue playing the instrument and slowly raise the main level knob until you get the level you want to hear.

*CAUTION: Before turning phantom power on, be sure to verify that the con- nected mic(s) require 48 volts. Also, disconnect all non-microphone signal sources (such as direct injection boxes) from the XLR mic jacks.

**If you’re using an instrument such as electric guitar or bass, we recommend that you connect it to the S83/S63 with a direct injection box to ensure correct impedance.

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Samson S63, S83 manual Setting the Correct Gain Structure
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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.
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