Setting the Correct Gain Structure

i. Repeat step (g) above for each instrument connected to the S83/S63 channel line inputs.

j. The procedure for setting optimum microphone levels is virtually identical; 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 “0” position. Then adjust the input trim control for that channel while watching the meter (if you’re using an S83) or Peak LED (if you’re using an S63). You should expect that microphone inputs will require rather more in the way of input trim boost than line inputs.

k. If you have any outboard signal processors connected to the Effects send jacks on the rear panel, follow this step. Because outboard effects processors can sometimes be quite noisy, it’s particularly important to maximize the amount of signal being sent to them via the S83/S63 Effects sends. The idea is to drive these devices as hot as possible (short of overloading them) and then to use the corresponding Effects return level to carefully adjust the amount of processed signal being blended with the dry signal. To set optimum Effects send levels, use a channel that has already had its gain structure adjusted in step (g) or (j) above. Turn both Effects send knobs for that channel to their “0” (unity gain) position and then play the instrument (or sing into the microphone) connected to that channel. Adjust the input levels of connected outboard effects processors so that their meter shows incoming signal normally in the 0 vu range (with just occasional higher excursions). Then it’s time to optimize the Effects return lev- els. While continuing to play your instrument (or continuing to sing into the microphone), slowly raise each Effects return level control until you hear the desired amount of processed signal added to the dry signal. For information on how to correctly set the levels for the internal reverb unit or Monitor output, see the “Using the Effects Sends and Returns” section in this manual.

l. The gain structure is now correctly set— you’ve optimized the level of all sig- nals coming into and out of the S83/S63, and the end result will be minimum noise and distortion and maximum clean sound. You’ll now find that the majority of your mixes can be accomplished with most channel level controls at or near their 0 (unity gain) position and that (in the case of the S83) channel peak LEDs or (in the case of the S63) the main Peak LED rarely if ever lights (remember, if they do light, it means that something is distorting!). If you need to make adjust- ments to the overall level, use the main level control.

If you encounter difficulty with any aspect of setting up or using your S83/S63, you can call Samson Technical Support (516-932-1062) between 9 AM and 5

PM EST.

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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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